Podcasts about Geoffrey Chaucer

The Canterbury Tales by Geoffrey Chaucer follows a group of pilgrims traveling from London to Canterbury Cathedral. Join their pilgrimage in the ICC Book Club to read and discuss what is undoubtedly one of the greatest works of Medieval literature.

Ffilm o 2008 gan Jonathan Anderson yw Time and Tide, sy'n para 10 funud 18 eiliad. Mae'r ffilm yn darlunio tŷ syml ar ffurf fechan yng nghanol y sgrin, wedi'i wneud o dywod heb ffenestri na drysau, ar draeth ym Mae Abertawe ar ddiwedd prynhawn gwyntog o aeaf, gyda gwrid gwasgarog pelydrau'r haul yn gynnar fin nos yn adlewyrchu ar draws y dŵr. Mae'r llanw'n sgubo'n ysgafn tuag at y tŷ gan ddisgleirio gydag ewyn gwyn wrth iddo ymchwyddo'n dawel, gan dynnu tywod a gwaddodion ar draws y traeth gyda phob ton. Yn raddol mae'r tonnau meddal yn erydu sylfaen y tŷ, nes iddo ddechrau cwympo gan golli pob ffurf yn y pen draw cyn i'r tywod ddod yn rhan o'r traeth unwaith eto. Mae'r ffilm yn rhan o gyfres 'House' yr artist ac fe'i prynwyd yn 2011. Mae pedwar gwaith celf o'r gyfres hon yng nghasgliad parhaol yr oriel, Time and Tide, Sand House Mould, Concrete house a Concrete House with Coal Seam. Mae'r gwrthrychau y mae Anderson yn eu gwneud i bob golwg yn ymddangos yn syml ac fe'u gwneir yn aml o ddeunyddiau a gafwyd fel pridd, tywod, cerrig a llwch glo. Mae arwyddocâd arbennig y defnydd o lo yn gysylltiedig â gorffennol diwydiannol, cymdeithasol a gwleidyddol de Cymru wrth wneud sylw hefyd ar faterion amgylcheddol cyfredol. Defnyddiwyd cerflun Sand House Mould a wnaed o wydr ffibr, paent sglein a llwch glo, fel offeryn i greu'r tŷ tywod yn y ffilm. Mae'r tŷ tywod ar ffurf fechan yn drosiad ar gyfer natur ddi-ildio bywyd sy'n destun grymoedd amgylcheddol y tu hwnt i reolaeth ddynol, ac mae'n ein hatgoffa o sylw Geoffrey Chaucer, sef ‘nid erys amser'. Roedd y detholwr Meg Anthony, Cyfarwyddwr Oriel Myrddin, Caerfyrddin ar y pryd, o'r farn bod 'y gweithiau hyn yn farddonol ac yn hynod deimladwy gan fod ffurf y tŷ yn ein tynnu'n agos at enaid yr artist yn ogystal â chwestiynu anghytgord ar lefel gymdeithasol a gwleidyddol'.

Time and Tide is a 2008 film by Jonathan Anderson, duration 10 minutes 18 seconds. The film depicts a simple miniature house in the centre of the screen, made of sand without windows or doors, on Swansea Bay beach on a windy winter late afternoon, the diffused glow of early evening sunlight rays reflecting across the water. The tide gently sweeping towards the house glistening with white foam as it surges peacefully, pulling sand and sediment across the beach with every wave. Gradually the soft waves erode the foundation of the house, until it slowly begins to collapse in on itself and eventually loses all form before the sand once again becomes part of the beach. The film is part of the artists ‘House' series and was acquired in 2011. There are four artworks from this series in the galleries permanent collection, Sandhouse, Sand House Mould, Concrete house and Concrete House with Coal Seam. The objects that Anderson makes are deceptively simple and are often made of found materials such as soil, sand, stone and coal dust. The particular significance of the use of coal has resonance with South Wales's industrial, social and political past whilst also making a commentary on current environmental issues. The Sand House Mould Sculpture made of fibreglass, gloss paint and coal dust was used as the tool to create the sand house in the film. The miniature sand house a metaphor for the intransigent nature of life which is subject to environmental forces beyond human control and brings to mind Geoffrey Chaucer's comment that ‘time and tide wait for no man'. Selector Meg Anthony, Director of Oriel Myrddin, Carmarthen at the time, considered ‘these works to be both poetic and profoundly moving as the house form draws us close to the artist's psyche as well as questioning (dis)harmony on a social and political level'.

Niemand ontsnapt aan ten minste een paar van de zeven hoofdzonden. Gulzigheid bijvoorbeeld. Ik heb een vriend – misschien herken je het wel – die ontzettend precies is als het op koffie aankomt. Hij gaat alleen naar de hipste koffiebars, van die plekken waar ze T-shirts van vijftig pond verkopen met het logo van de zaak erop. Zijn koffiebonen koopt hij in kleine, stijlvolle zakjes. Het liefst Ethiopische bonen – al vindt hij Keniaanse ook nog acceptabel – die hij thuis vervolgens ‘middelgrof' maalt voor zijn Chemex, een glazen handmatige koffiemaker. Maar wie hou ik voor de gek? Die vriend ben ik zelf. Ik ben die koffiesnob. Daarnaast hou ik van ambachtelijk bier, kalamataolijven en amandelcroissants van zuurdesem. Lange tijd zag ik die verfijnde voorkeuren vooral als iets om trots op te zijn. Tot ik ontdekte dat ik mezelf volgens de middeleeuwse manuscripten die ik bestudeer regelrecht de hel in help. Want volgens die teksten valt mijn verfijnde smaak onder een van de hoofdzonden: gulzigheid. En in de middeleeuwen ging die zonde minder over het lichaam dan over de geest. Volgens de filosoof Thomas van Aquino (ca. 1225-1274) kent gulzigheid vijf vormen. Sommige daarvan herkennen we vandaag nog moeiteloos. Je kunt bijvoorbeeld 1) te veel eten of drinken, 2) te snel eten of drinken, of 3) je er te gulzig op storten. Maar de andere twee vormen zijn verrassender. In de middeleeuwen gold je ook als gulzig wanneer je 4) overdreven verfijnd of luxueus omging met eten en drinken, bijvoorbeeld door te fixeren op exclusieve producten. Of wanneer je 5) buitensporig veel aandacht besteedde aan de bereiding ervan: een uitgebreid pannenkoekenontbijt maken of een tostada met olijven en ansjovis alsof het een ritueel is. Gulzigheid was dus ook de zonde van overdreven verfijning en omhaal rond eten. Verfijning Op die ochtenden waarop ik mijn Ethiopische Yirgacheffe-koffie nauwkeurig afwoog en met een thermometer controleerde of het water exact negentig graden was, trapte ik volgens de middeleeuwse moraal precies in die laatste twee valkuilen. Maar wat is er eigenlijk mis met verfijning? Volgens Thomas van Aquino schuilt het gevaar erin dat zulke obsessies de geest overnemen. Mijn fixatie op koffie, ambachtelijk bier en croissants is volgens hem een vorm van ‘concupiscentie': een egocentrisch verlangen dat het denken overneemt en het beoordelingsvermogen vertroebelt. Wanneer ik in de supermarkt sta, volledig gefascineerd door de luchtigheid van een briochebrood, sluit ik mezelf af van de wereld om me heen. Mijn obsessie vernauwt mijn blik. Ik zie de mensen, ideeën en dingen om mij heen niet echt meer. Voor kenners van middeleeuwse theologie klinkt dat waarschijnlijk bekend. Blind worden door obsessie is precies waar de zeven hoofdzonden altijd om draaiden. Het Latijnse woord voor jaloezie, invidia, betekende letterlijk ‘niet zien'. Tegenwoordig zijn die zonden echter vooral een cultureel cliché geworden. Hoogmoed, jaloezie, woede, luiheid, hebzucht, gulzigheid en lust klinken in 2026 eerder als namen van cocktails of personages uit een Pixarfilm. Volgens Dante Alighieri komen alle hoofdzonden uiteindelijk voort uit liefde – maar dan liefde die ontspoord is Maar in de middeleeuwen waren de hoofdzonden veel meer dan een lijstje verboden gedragingen. Ze vormden een soort psychologische kaart van menselijke verlangens: een manier om de diepste impulsen van de geest te begrijpen. Eeuwenlang waren ze de ruggengraat van de Europese biecht- en zelfhulpcultuur. En oorspronkelijk waren ze minder veroordelend dan wij vandaag vaak denken. Het systeem ontstond ruim zestien eeuwen geleden in de Egyptische woestijn en werd bedacht door Evagrius Ponticus. Deze denker, afkomstig uit de streek rond de Zwarte Zee, trok zich na een seksschandaal terug uit het openbare leven omdat hij zichzelf opnieuw wilde uitvinden als een soort ‘atleet van de geest': iemand die zijn gedachten en verlangens streng probeerde te beheersen. Hij bracht uren door in ijskoude putten en geselde zichzelf. Maar nog opvallender was dat hij al zijn negatieve gedachten begon op te schrijven. Sommige waren banaal, andere ronduit paranoïde. Toen hij ze bundelde, merkte hij dat ze onder acht categorieën vielen: gulzigheid, lust, hebzucht, verdriet, woede, luiheid, ijdelheid en hoogmoed. Hij wilde die gedachten bestrijden, maar erkende tegelijk dat niemand eraan ontsnapt. Het waren volgens hem de ‘acht fundamentele gedachten': verlangens die iedereen kent, hoe goed of zuiver iemand zichzelf ook vindt. Dante Alighieri In de eeuwen daarna verspreidde dit systeem zich razendsnel. Tegen de twaalfde eeuw waren de ‘acht gedachten' omgevormd tot de ‘zeven hoofdzonden': verdriet werd samengevoegd met luiheid, ijdelheid ging op in hoogmoed en jaloezie werd toegevoegd. Vooral onder Europese studenten sloeg het systeem enorm aan. In de dertiende eeuw gebruikten priesters de hoofdzonden als hulpmiddel tijdens biechten en pastorale gesprekken. En in de veertiende eeuw doken ze overal op in de populaire cultuur. Giotto schilderde de hoofdzonden op de muren van de Arena-kapel. Geoffrey Chaucer en John Gower gebruikten ze als structuur voor hun literaire werken. Maar hun bekendste ambassadeur was waarschijnlijk Dante Alighieri. In zijn Purgatorio laat hij trotse zondaars zware stenen torsen en woedende zielen verstikken in dikke zwarte rook. Toch schuilde achter al die straf en symboliek ook een opvallend mild idee. Volgens Dante Alighieri komen alle hoofdzonden uiteindelijk voort uit liefde – maar dan liefde die ontspoord is. Hoogmoed ontstaat wanneer eigenliefde doorslaat. Jaloezie is liefde voor succes die omslaat in genoegen bij andermans mislukking. Woede is een krampachtige drang om gelijk te hebben. Lust en hebzucht zijn ontspoorde verlangens naar seks en geld. En luiheid – misschien wel de moeilijkst te begrijpen zonde – ontstaat wanneer iemand het vermogen verliest om ergens nog echt om te geven. De conclusie? Je hoeft jezelf niet volledig te veroordelen voor je gulzigheid. Het komt voort uit iets fundamenteel menselijks: het verlangen naar comfort, voeding en genot. Alleen staat dat verlangen soms nét iets te hard afgesteld. Maar wat moet je daar dan mee? Volgens paus Gregorius de Grote (ca. 540-604) zit het probleem niet in het eten zelf, maar in het voortdurende denken eraan. Stop met obsessief bezig zijn met voedsel, vond hij. Ontwikkel wat de veertiende-eeuwse geleerde Conrad van Megenberg een ‘nuchtere smaakdiscipline' noemde. Niet door jezelf uit te hongeren of luxeproducten volledig af te zweren, maar door een ontspannen vorm van matiging te ontwikkelen. Actueel Dat advies voelt verrassend actueel. Onze tijd wordt gekenmerkt door een voedselparadox. Aan de ene kant zijn er ambachtelijke broden, pistache-kaneelbroodjes en Dubai-chocoladelattes. Aan de andere kant bestaan koolhydraatarme diëten, intermittent fasting en influencers met lichamen die haast kunstmatig lijken. We leven in een cultuur van uitersten: eetbuien naast ultramarathons, overvloed naast zelfkastijding. En nu zijn er ook nog medicijnen zoals Ozempic en Wegovy die die kloof proberen te overbruggen. Het resultaat? Een samenleving vol voedselobsessies, waarin mensen soms meer bezig zijn met eten en de effecten ervan dan met elkaar. Ik herken mezelf daar pijnlijk goed in. Tijdens mijn laatste bezoek aan Ierland, waar mijn schoonmoeder woont, had ik blijkbaar verteld hoeveel ik van Ethiopische koffie hou. Toen ik de eerste ochtend beneden kwam, stond er een nieuw pak koffiebonen op tafel. Mijn schoonmoeder – inmiddels met pensioen – was langs vier supermarkten gegaan op zoek naar de juiste bonen en had uiteindelijk iets gevonden dat ‘Kenyan Blend' heette. Uit paniek had ze ook nog een glimmende nieuwe cafetière gekocht. Die ochtend dronk ik één kopje van haar koffie. Maar de volgende dag ging ik zelf op zoek naar mijn vertrouwde Yirgacheffe-bonen, precies gemalen zoals ik ze wilde. De ‘Kenyan Blend' verdween ongebruikt terug in de kast. Wat voor schoonzoon was ik eigenlijk geworden? Dat is uiteindelijk waar gulzigheid – en eigenlijk alle hoofdzonden – over gaat. Je merkt dat je te ver bent gegaan wanneer je gewoontes andere mensen buitensluiten. Wanneer je obsessie, of die nu draait om jezelf, status of verfijning, belangrijker wordt dan aandacht en vriendelijkheid voor anderen. In het vliegtuig terug uit Ierland besefte ik dat mijn koffiesnobisme mijn schoonmoeder had gekwetst. Ik dacht aan de teleurgestelde blik in haar ogen toen ik thuiskwam met dat kleine zakje exclusieve bonen. Volgende keer drink ik gewoon de koffie die ze in de dichtstbijzijnde winkel vindt. Misschien leer ik dan iets van haar over geduld en liefde. En wie weet blijf ik dan zelfs uit de hel.

Greg Jenner is joined in medieval England by Professor Marion Turner and comedian Mike Wozniak to learn all about Geoffrey Chaucer, author of the Canterbury Tales.Since the 15th century, Chaucer has been referred to as the father of English literature. He was one of the first authors to champion the use of Middle English for poetry instead of Latin, and after the invention of the printing press, his works became the foundation of the English literary canon – long before Shakespeare ever put quill to parchment. But Chaucer's life was as extraordinary as his legacy, living as he did through the Black Death, the Hundred Years' War between England and France, and the Peasants' Revolt.In this episode, Greg and his guests explore Chaucer's dramatic biography: growing up the son of a wine merchant in fourteenth-century London, his work for the royal court and long career as a medieval civil servant, his relationship with John of Gaunt through his mistress Katherine Swynford, and his travels throughout Europe. They also examine the poets that influenced him – including Petrarch, Bocaccio and Dante – and take a deep dive into the famous Canterbury Tales.This is a radio edit of the original podcast episode. For the full-length version, please look further back in the feed.Hosted by: Greg Jenner Research by: Rosalyn Sklar Written by: Dr Emmie Rose Price-Goodfellow, Dr Emma Nagouse, and Greg Jenner Produced by: Dr Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Dr Emma Nagouse Executive Editor: Philip Sellars

The Canterbury Tales by Geoffrey Chaucer follows a group of pilgrims traveling from London to Canterbury Cathedral—telling each other stories along the way. Join their pilgrimage in the ICC Book Club.

In March, we welcomed Malcolm Guite for an in-person event to celebrate his new book, Galahad and the Grail, which is the first in his Merlin's Isle trilogy published through Rabbit Room Press. While he was with us, Malcolm sat for this podcast interview in which he described his vision in creating this epic ballad, along with offering a deep exploration of what brought him to poetry in the first place. Since the book's release, Galahad and the Grail has topped bestselling charts and received numerous accolades, demonstrating that its ancient stories find renewal in our modern era. You can watch the video of the full conversation on our Youtube Channel hereRecommended Trinity Forum Readings: God's Grandeur: The Poems of Gerard Manley HopkinsFour Quartets, by T.S. Eliot with an introduction by Makoto FujimuraThe Pardoner's Tale, by Geoffrey Chaucer

We continue to snoop through Jack's Bookshelf, with Dr. Simon Horobin introducing us to Geoffrey Chaucer...[Show Notes]

Umay Acar-Sümer |Writer and Composer of ‘Beowulf the MusicalBio:Umay Acar-Sümer is a Turkish singer and composer based in Hampshire, UK. Having completed an MA in Medieval Studies and MMus in Music Composition at Royal Holloway, Umay draws inspiration from medieval literature and history in her writing. She is the writer and composer of ‘Beowulf the Musical', a two-act musical made up of 35 song based on the medieval epic poem Beowulf. ‘Beowulf the Musical' premiered at the Edinburgh Fringe Festival in 2024 with Umay playing the role of Freawaru; the musical is now set to release an album with many of the original cast and orchestra members reprising their roles. Umay's writing influences include late medieval authors like Geoffrey Chaucer, Sir Thomas Malory and Chrétien de Troyes as well as anonymous poems from the Anglo-Saxon period such as The Wanderer, The Battle of Maldon and The Seafarer. Musically she is inspired by contemporary composers such as Alan Menken, Andrew Lloyd Webber, Lin Manuel Miranda and Anais Mitchell as well as the works of Handel, Verdi, Mozart and Strauss. Umay is currently working on her next musical; a sapphic fairytale about a girl with a magical harp teaming up with a disgraced knight to defeat a dragon.Links:Website:https://umaymakesmusic.wordpress.com/TikTok: https://www.tiktok.com/@umaymakesmusichttps://www.tiktok.com/@beowulfthemusical Facebook:https://www.facebook.com/umayisnotherehttps://www.facebook.com/beowulfthemusicalInstagram:https://www.instagram.com/umayisnotherehttps://www.instagram.com/beowulfthemusical Spotify:https://open.spotify.com/artist/5IrAUtyarBSJGbvzazeBuZ YouTube:https://youtube.com/@umayisnothereTagspodcast for creativescreative podcastpodcast creator interviewsprofessional podcastcreative podcastspodcast host interviewscreative podcast ideasSupport PEG by checking out our Sponsors:Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription.The best tool for getting podcast guests:https://podmatch.com/signup/phantomelectricghostSubscribe to our Instagram for exclusive content:https://www.instagram.com/expansive_sound_experiments/Subscribe to our YouTube https://youtube.com/@phantomelectricghost?si=rEyT56WQvDsAoRprRSShttps://anchor.fm/s/3b31908/podcast/rssSubstackhttps://substack.com/@phantomelectricghost?utm_source=edit-profile-page

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices

A major new look at Africa's influence on European culture and how colonization remade Africa in the image of a medieval Europe.Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas's Bones: The African Foundations of Europe (U Chicago Press, 2025), D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil's Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt's, Libya's, and Carthage's influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.Atlas's Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world. D. Vance Smith is professor of English and former director of medieval studies at Princeton University. His many books include Arts of Dying: Literature and Finitude in Medieval England, also published by the University of Chicago Press. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Mount your horse and begin your journey to Canterbury with Emma and Ria as they dig into an excellent movie and extremely loosey-goosey adaptation of Geoffrey Chaucer's The Canterbury Tales—2001 cult classic A Knight's Tale! Must an adaptation of a 14 century book be accurate or can it not simply operate on vibes alone? Why is the fact Chaucer is one of the movie protagonists accurate to the book? Who's getting freaky in the Czech Republic on the weekend? All these questions answered and more in today's episode.  Content warnings for The Canterbury Tales includes: stories of violence, stories of rape, and 1390's typical racism, sexism, religious opinions, and fart jokes. Content warnings for A Knight's Tale (2001) includes: jousting violence, pre-9/11 crude humor, and a naked Paul Bettany. The articles Emma references in this episode can be found here: https://www.latimes.com/archives/la-xpm-2001-may-14-ca-63182-story.html https://www.theguardian.com/film/2026/feb/16/how-we-made-a-knights-tale-heath-ledger-paul-bettany-brian-helgeland https://www.theringer.com/2021/05/11/movies/knights-tale-heath-ledger-behind-the-scenes-stories-paul-bettany https://splicedwire.com/01features/bhelgeland.html You can find Emma on bluesky @crabmoney.bsky.social. Ria can be found on bluesky and twitter @ria_tee and on Instagram @riaeliza. Both Unnatural Selection and So Emo I Fell Apart are a part of the Moonshot Network. If you like what you've heard and want to support us, you can become a patron at patreon.com/moonshotnetwork The music for this show was commissioned from and composed by Jake Loranger. You can check out more of his work at https://amaranthine.bandcamp.com/

Cleopatra revealed: power, propaganda, and the woman behind the mythMost people think they know Cleopatra — the irresistible seductress who captivated Julius Caesar and Mark Antony. But what if that story is largely fiction, shaped by political spin and centuries of retelling?In this episode of History Rage, host Paul Bavill is joined by acclaimed historian and author Lucy Hughes-Hallett to dismantle the enduring myths surrounding Cleopatra VII — and reveal the formidable ruler hidden beneath the legend.Cleopatra: More Than a SeductressCleopatra has long been reduced to a caricature — a femme fatale whose beauty brought powerful men to ruin. But as Lucy Hughes-Hallett explains, this version of Cleopatra owes more to Roman propaganda than historical reality.Much of what we “know” comes from sources loyal to Octavian (Augustus), who had every reason to discredit his rival Mark Antony. Portraying Cleopatra as a dangerous, manipulative temptress helped justify his victory — and reshape history.The truth? Cleopatra was a highly capable ruler who:Stabilised Egypt's economy during crisis Built powerful political alliances Ruled independently in a male-dominated world Understood and deployed propaganda just as effectively as her enemies The Politics Behind the PassionWhile her relationships with Caesar and Antony are often framed as epic romances, this episode explores their political importance.Cleopatra needed Roman military backing. Rome needed Egypt's immense wealth. Their alliances were strategic — not just romantic.Even the famous “love stories” were later exaggerated to serve narratives about:Power and masculinity in Rome Fear of powerful women Suspicion of foreign rulers The dangers of “losing control” to desire Beauty, Myth and MisrepresentationWas Cleopatra truly the legendary beauty of popular culture?Ancient sources suggest otherwise. Coins from her reign depict a strong, distinctive profile — not the flawless icon of Hollywood. According to later accounts, her real strength lay in her intelligence, charisma, and political skill.Her story evolved over centuries:Medieval writers like Geoffrey Chaucer recast her as a model of devotion Renaissance dramatists, including William Shakespeare, emphasised passion and tragedy Each version reveals more about the storyteller than Cleopatra herself.About Lucy Hughes-HallettLucy Hughes-Hallett is an award-winning cultural historian and author, known for exploring how history and myth intertwine.

Wyobraźmy sobie film o Napoleonie, w którym cesarz sprawdza godzinę na cyfrowym zegarku Apple Watch. To jest właśnie anachronizm - umieszczenie przedmiotu, pojęcia lub osoby w czasie, w którym jeszcze nie istniały. Definicja: W literaturze to sygnał, że autor tekstu żył znacznie później niż postacie, o których pisze. W Pięcioksięgu (Torze) takich „zegarków na ręku patriarchów” jest całkiem sporo. Tradycja podaje, że Pięcioksiąg czyli 5 pierwszych ksiąg w Biblii napisał Mojżesz. Znajdują się tam jednak informacje, których nie mógł on znać.Zacznijmy od przykładu geograficznego. W Rodzaju 14:14 czytamy: “Gdy Abram usłyszał, że bratanka jego wzięto do niewoli, uzbroił swoich trzystu osiemnastu wypróbowanych ludzi, urodzonych w jego domu i ruszył w pościg aż do Dan”. Mowa tutaj o Abrahamie, który ruszył za oddziałami, które uprowadziły Lota. Ścigał ich na północ aż do miasta Dan. Problem w tym, że to miasto w czasach Abrahama nazywało się Laisz. Według Biblii Abraham był ojcem Izaaka, który był ojcem Jakuba, który miał 12 synów, w tym jednego o imieniu Dan. Cała ta rodzina udała się do Egiptu i dopiero po wyjściu stamtąd podbili Kanaan i zmienili kilka nazw.W Sędziów 18:29 czytamy o potomkach Dana: “Miastu temu nadali nazwę Dan od imienia ich ojca Dana, który się urodził Izraelowi. Poprzednio miasto to nazywało się Laisz”. Tak więc ani Mojżesz ani nawet Jozue nie mogli znać tej nazwy. Aby unaocznić ten problem przypomnijmy historię miasta nad Bosforem. W czasach starożytnych nazywało się ono Bizancjum, potem Rzymianie zmienili jego nazwę na Konstantynopol, a w końcu Turcy na współczesny Istanbuł. Gdybyśmy czytali jakiś tekst napisany w I wieku n.e. o tym mieści, ale pisarz użyłby nazwy Konstantynopol lub Istanbul to bylibyśmy pewni, że to musiało zostać napisane później.Kolejny przykład dotyczy systemu politycznego. W Rodzaju 36:31 czytamy: “A oto królowie, którzy panowali w ziemi edomskiej, zanim nad synami Izraela zapanował król”. Według Biblii nad Edomitami król panował już w czasach Izaaka i Jakuba. Jednak Izraelici pierwszych królów mieli dopiero po czasach sędziów. Zwykle za pierwszego uznaje się Saula, potem Dawida, Salomona itd. Innymi słowy pierwszy król Izraela pojawił się parę wieków po Mojżeszu. Z drugiej strony w Księdze Powtórzonego Prawa 17:14 czytamy: “Gdy wejdziesz do ziemi, którą Pan, Bóg twój, ci daje, obejmiesz ją w posiadanie, osiądziesz w niej i powiesz sobie: Ustanowię nad sobą króla, jak wszystkie narody wokół mnie”.Kolejny przykład dotyczy demografii. W Rodzaju 13:7 czytamy: “Między pasterzami stad Abrama a pasterzami stad Lota powstał spór. A Kananejczycy i Peryzyci mieszkali wówczas w kraju”. Mowa jest tutaj o przeszłości, czyli okresie gdy w tamtej ziemi mieszkali Kananejczycy. Jednak w czasach Mojżesza to była teraźniejszość. Nawet po podboju Ziemi Obiecanej przez Jozuego dalej mieszkali tam Kananejczycy. Np. Księga Sędziów rozdziały 4 i 5 opisują walkę Baraka i Debory z Jabinem, królem Kananejczyków. W zasadzie Kananejczycy nigdy nie opuścili ziemi obiecanej ale zmieszali się z potomkami Izraela.W Księdze Ezechiela 16:3 czytamy: “I powiedz: Tak mówi Wszechmocny Pan do Jeruzalemu: Twoje pochodzenie i twój ród wywodzi się z ziemi kanaanejskiej. Twoim ojcem był Amorejczyk, a twoją matką Chetytka”. Oczywiście Kananejczycy przestali istnieć jako osobny naród, ale Żydzi w czasach Ezechiela byli ich potomkami. Kiedy zniknęły te narody. Trudno powiedzieć. Jeszcze z niewoli babilońskiej wrócili potomkowie Gibeonitów. Kiedy więc napisano fragment z Rodzaju 13:7 o tym, że kiedyś w tej ziemi mieszkali Kananejczycy? Prawdopodobnie w okresie królów lub po niewoli babilońskiej.Przejdźmy teraz do najważniejszej części naszych rozważań. Skąd się wzięły w Pięcioksięgu te anachronizmy? W czasach Ezdrasza istniała już grupa przepisywaczy, którzy starali się skopiować tekst bez żadnej zmiany. Wcześniej jednak tekst mógł być “żywy” czyli podmieniany. Być może był przekazywany ustnie. Np. kolejne pokolenia dowiadywały się jak to Abraham uratował Lota gdy ścigał wrogów aż do miasta Laisz. Ale w międzyczasie miasto zmieniło nazwę, tak więc opowiadający tą historię zaczęli używać nazwy Dan. Inne wyjaśnienie dotyczy przepisywaczy takich jak Ezdrasz. Być może to oni zrobili korektę tekstu wstawiając nowe nazwy miast i napiali Dan zamiast Laisz.Przykładem jak to mogło wyglądać jest Ewangelia Marka. Według tradycji Marek spisał historię Jezusa opowiedzianą przez Piotra. Np. w Marka 5:41 czytamy: “I ująwszy dziewczynkę za rękę, rzekł jej: Talita kumi! Co znaczy: Dziewczynko, mówię ci, wstań”. Być może Piotr opowiadając przypomniał słowa: “Talita kumi!”, ale Marek pisząc dla Greków od razu je przetłumaczył. Ale tutaj też jesteśmy zdani na tradycję, która przypisuje tą Ewangelię Markowi i dodaje, że jego źródłem był apostoł Piotr. Dokładnie tak samo jest z Pięcioksięgiem. To tradycja żydowska przypisuje te księgi Mojżeszowi.Dla chrześcijan największym autorytetem jest oczywiście Jezus. W Marka 12:26 czytamy: “A co do umarłych, że zostaną wskrzeszeni, czy nie czytaliście w księdze Mojżesza, jak to Bóg rzekł przy krzaku do niego: Jam jest Bóg Abrahama i Bóg Izaaka, i Bóg Jakuba?” Zacytował tutaj Księgę Wyjścia 3:6. Czy jednak oznacza to, że Jezus myślał, że każde słowo w tych księgach napisał Mojżesz? Wyobraźmy sobie taką sytuację masz Pana Tadeusza z wieloma przypisami wyjaśniającymi tekst. Dalej będziesz mówił, że autorem jest Adam Mickiewicz. Podobnie jest z Opowieściami Cantenberyjskimi. Zostały one napisane w staroangielskim. Współczesne angielskie wersje różnią się od oryginału, ale dalej twierdzimy, że napisał je Geoffrey Chaucer.Bibliści badający te księgi wyciągają różne wnioski. Od takich, że wszystko napisał Mojżesz po takich, którzy twierdzą, że nie napisał on ani jednej literki z tego tekstu. Oczywiście są też tacy, których są gdzieś pośrodku i przypisują Mojżeszowi większość tekstu, ale dodają, że niektóre fragmenty dopisali lub zmienili przepisywacze tacy jak Ezdrasz. Jestem ciekawy jakie jest wasze zdanie. Napiszcie mi o tym w komentarzu. Warto pamiętać, że jeżeli nawet uznacie przypisywanie autorstwa Mojżeszowi za błąd to jest to błąd tradycji. Te księgi nigdzie nie mówią: “To ja Mojżesz napisałem każde słowo w tym zwoju”.Gdy Abram usłyszał, że bratanka jego wzięto do niewoli, uzbroił swoich trzystu osiemnastu wypróbowanych ludzi, urodzonych w jego domu i ruszył w pościg aż do Dan.https://biblia-online.pl/Biblia/Warszawska/1-Ksiega-Mojzeszowa/14/14Miastu temu nadali nazwę Dan od imienia ich ojca Dana, który się urodził Izraelowi. Poprzednio miasto to nazywało się Laisz.https://biblia-online.pl/Biblia/Warszawska/Ksiega-Sedziow/18/29A oto królowie, którzy panowali w ziemi edomskiej, zanim nad synami Izraela zapanował król.https://biblia-online.pl/Biblia/Warszawska/1-Ksiega-Mojzeszowa/36/31Gdy wejdziesz do ziemi, którą Pan, Bóg twój, ci daje, obejmiesz ją w posiadanie, osiądziesz w niej i powiesz sobie: Ustanowię nad sobą króla, jak wszystkie narody wokół mniehttps://biblia-online.pl/Biblia/Warszawska/5-Ksiega-Mojzeszowa/17/14Między pasterzami stad Abrama a pasterzami stad Lota powstał spór. A Kananejczycy i Peryzyci mieszkali wówczas w kraju.https://biblia-online.pl/Biblia/Warszawska/1-Ksiega-Mojzeszowa/13/7I powiedz: Tak mówi Wszechmocny Pan do Jeruzalemu: Twoje pochodzenie i twój ród wywodzi się z ziemi kanaanejskiej. Twoim ojcem był Amorejczyk, a twoją matką Chetytka.https://biblia-online.pl/Biblia/Warszawska/Ksiega-Ezechiela/16/3I ująwszy dziewczynkę za rękę, rzekł jej: Talita kumi! Co znaczy: Dziewczynko, mówię ci, wstań.https://biblia-online.pl/Biblia/Warszawska/Ewangelia-Marka/5/41A co do umarłych, że zostaną wskrzeszeni, czy nie czytaliście w księdze Mojżesza, jak to Bóg rzekł przy krzaku do niego: Jam jest Bóg Abrahama i Bóg Izaaka, i Bóg Jakuba?https://biblia-online.pl/Biblia/Warszawska/Ewangelia-Marka/12/26

Greg Jenner is joined in medieval England by Professor Marion Turner and comedian Mike Wozniak to learn all about Geoffrey Chaucer, author of the Canterbury Tales. Since the fifteenth century, Chaucer has been referred to as the father of English literature. He was one of the first authors to champion the use of Middle English for poetry instead of Latin, and after the invention of the printing press, his works became the foundation of the English literary canon – long before Shakespeare ever put quill to parchment. But Chaucer's life was as extraordinary as his legacy, living as he did through the Black Death, the Hundred Years' War between England and France, and the Peasants' Revolt. In this episode, Greg and his guests explore Chaucer's dramatic biography: growing up the son of a wine merchant in fourteenth-century London, his work for the royal court and long career as a medieval civil servant, his relationship with John of Gaunt through his mistress Katherine Swynford, and his travels throughout Europe. They also examine the poets that influenced him – including Petrarch, Bocaccio and Dante – and take a deep dive into the famous Canterbury Tales. If you're a fan of medieval literature, historical courtroom dramas, and the tumult of fourteenth-century England, you'll love our episode on Geoffrey Chaucer. If you want more literary history with Mike Wozniak, listen to our episodes on Charles Dickens at Christmas and the Legends of King Arthur. And for more fourteenth-century lives, check out our episode on medieval Muslim traveller Ibn Battuta. You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past. Hosted by: Greg Jenner Research by: Rosalyn Sklar Written by: Dr Emmie Rose Price-Goodfellow, Dr Emma Nagouse, and Greg Jenner Produced by: Dr Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Dr Emma Nagouse Executive Editor: Philip Sellars

One of Kent's most popular visitor attractions has been revived, with its new bosses promising a spectacular, immersive experience. It follows a million-pound makeover of The Canterbury Tales - which tells Geoffrey Chaucer's much-loved stories of a medieval cast of pilgrims on their journey from London to Canterbury Cathedral. Also in today's podcast, we've spoken to a Kent homelessness charity as new figures show there's been a rise in the number of people sleeping rough on our streets. A government snapshot shows 174 were counted on a single night last autumn – that's an increase of 17%.  You can also hear from the neice of a Rainham man who died from a rare cancer at just 55 who's hoping to raise money so other people can be tested for it. Andy Bird initially thought a lump on his leg was an insect bite - but it turned out to be epithelioid sarcoma. A transport boss is ditching the Middle East to come back home and get back behind the pumps at an award-winning pub. New licensees have taken over the running of The Admiral's Arm in Queenborough - which was previously named Kent pub of the year as well as one of the top 16 pubs in Britain. And you can hear from a Kent family who were left stunned as their dog gave birth to a record-breaking 17 puppies. The owner, who lives near Canterbury, has told us how the adorable Irish Doodles “just kept coming” after her pet went into a 13-hour labour. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Good Sunday to you,Geoffrey Chaucer wrote The Canterbury Tales in around 1400, and it is considered one of the first great works of English literature.Try reading it today and you might question the “English” part. Here're the opening lines:Whan that Aprille with his shoures soote,The droghte of March hath perced to the roote,It does not get much easier.Canterbury Tales is the story of group of pilgrims who walk from Southwark to Canterbury Cathedral. I have done the pilgrimage myself and I would urge you to as well. The structure is quite simple. To pass the time, the pilgrims have to a storytelling contest and so each tells his or her tale. There are around thirty pilgrims - in effect, thirty professions, and so we get the Knight's Tale, the Miller's Tale, the Wife of Bath's Tale and so on.Here is the interesting part. Since the story was written in 1400 we have had, off the top of my head, the printing press, the Agricultural Revolution, the Industrial Revolution, steam power, fossil fuels, the internal combustion engine, electricity, aviation, nuclear power, computers, the internet, smartphones and now artificial intelligence.And yet, if you look the list of characters below, every single one of Chaucer's professions still exists in some recognisable form today.You could go all the way back to the dawn of civilisation and argue the same thing. We still have farmers. We still have merchants. We still have lawyers, doctors, religious people, soldiers, landlords, craftsmen, entertainers, administrators and hustlers.AI will change the nature of the job, but it will not erase the underlying human needs that created it.Machines put many farm labourers out of work at the turn of the 19th century, but they also generated enormous productivity, which created new industries and new jobs, and, it's worth noting, productivity which enabled us to be able to ban slavery. The net result was not mass permanent unemployment but rising prosperity.What Actually ChangesWhat does get destroyed is power structure.Feudalism has gone. The Church no longer dominates European politics - not the Christian Church, anyway. Guilds have faded. The landed aristocracy has all but gone. In their place we have the modern State, bureaucracy, multinational banks, global corporations, Big Tech, Big Pharma, the mainstream media and so on.AI is more likely to erode existing hierarchies than to eliminate work altogether. It will compress middle layers. It will reduce friction. It will concentrate power in some places and decentralise it in others.If you live in a third world country such as the UK, I urge you to own gold or silver. The pound will be further devalued, as will the euro and dollar. The bullion dealer I recommend is The Pure Gold Company. More here.The winners are likely to include: platforms, energy producers, owners of scare assets, large scale infrastructure, those who control distribution. AI is already being used in manufacturing, agriculture and mining, but so much to replace jobs as to increase productivity. You can't help feeling the physical economy is a better place to be than parts of the digital - at least for now, though I guess robots are next if those Chinese videos doing the rounds are anything to go by.Who else wins? AI and machine learning engineers, obviously, certain content creators, those who get good at prompting will find it useful for anything from medicine to plumbing to consultancy.The losers will be among those whose job is mainly to control access to or verify information that AI can now do instantly. Think: interpreters and translators, proofreaders and editors, coders, copywriters and journalists, graphic designers, sales reps, basic financial advisors. I think long-distance drivers' days are numbered too.The work doesn't disappear but the pricing power and margins collapse.Legacy media distribution - not the content creators themselves, but the distribution gatekeepers who controlled which creators reached audiences. Publishers who mainly performed filtering rather than editing, talent agencies for routine work, certain music labels.The job may technically exist but the power and economics drain away.Chaucer's Cast, ModernisedFinally, below is Chaucer's professional cross-section of medieval England. I have added approximate modern equivalents.* Narrator – content creator (!)* Host – Event organiser, podcast presenter* Knight – Army officer* Squire – Cadet, trainee officer* Knight's Yeoman – Bodyguard, fixer, executive assistant* Prioress – Headmistress, senior religious leader* Second Nun – Clergy* Nun's Priest – Chaplain* Monk – Monk* Friar – Fundraiser, community organiser* Merchant – Import–export, trader, entrepreneur* Clerk – Researcher* Man of Law – Barrister, judge* Franklin – Wealthy landowner, landlord, businessman* Haberdasher – Fashion retailer, Etsy seller* Carpenter – Builder* Weaver – Textile manufacturer* Dyer – Industrial processor* Tapestry-maker – Textile artisan* Cook – Chef* Shipman – Merchant mariner, sailor* Physician – Doctor* Wife of Bath – Self-made businesswoman* Parson – Parish priest* Plowman – Smallholder farmer* Miller – Construction materials supplier* Manciple – Buyer, procurement officer* Reeve – Estate manager, COO* Summoner – Bailiff, compliance officer* Pardoner – Carbon credit broker* Canon – Serial start-up founder, “entrepreneur'* Canon's Yeoman – Startup engineerThe Real QuestionI think a fear frenzy is being whipped up - and I say this as someone who has lost his primary source of income (voiceovers) to AI.The work changes. The tools change. The leverage changes. The power centres change. The underlying human needs do not.There will still be farmers because people eat. There will still be merchants because people trade. There will still be storytellers because people crave stories. Most importantly of all, there will still be opportunities, if anything there will be more of them.AI will reduce headcount in some sectors. It will elevate productivity so dramatically that fewer people are required to produce more output. That is economic evolution.If you are worried about AI taking your job, ask yourself this: are you positioned inside an old power structure that is about to weaken? Or are you aligned with the next one forming?Join the gang.Until next time,DominicICYMI here is this week's commentaryFinally, Charlie Morris and I appeared on In The Company of Mavericks this week to discuss what's been going on with gold, silver and bitcoin. (Charlie writes Atlas Pulse which I heartily recommend. Get your copy here - it's free.)Links to Spotify and Apple podcasts are here: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

Good Sunday to you,Geoffrey Chaucer wrote The Canterbury Tales in around 1400, and it is considered one of the first great works of English literature.Try reading it today and you might question the “English” part. Here're the opening lines:Whan that Aprille with his shoures soote,The droghte of March hath perced to the roote,It does not get much easier.Canterbury Tales is the story of group of pilgrims who walk from Southwark to Canterbury Cathedral. I have done the pilgrimage myself and I would urge you to as well. The structure is quite simple. To pass the time, the pilgrims have to a storytelling contest and so each tells his or her tale. There are around thirty pilgrims - in effect, thirty professions, and so we get the Knight's Tale, the Miller's Tale, the Wife of Bath's Tale and so on.Here is the interesting part. Since the story was written in 1400 we have had, off the top of my head, the printing press, the Agricultural Revolution, the Industrial Revolution, steam power, fossil fuels, the internal combustion engine, electricity, aviation, nuclear power, computers, the internet, smartphones and now artificial intelligence.And yet, if you look the list of characters below, every single one of Chaucer's professions still exists in some recognisable form today.You could go all the way back to the dawn of civilisation and argue the same thing. We still have farmers. We still have merchants. We still have lawyers, doctors, religious people, soldiers, landlords, craftsmen, entertainers, administrators and hustlers.AI will change the nature of the job, but it will not erase the underlying human needs that created it.Machines put many farm labourers out of work at the turn of the 19th century, but they also generated enormous productivity, which created new industries and new jobs, and, it's worth noting, productivity which enabled us to be able to ban slavery. The net result was not mass permanent unemployment but rising prosperity.What Actually ChangesWhat does get destroyed is power structure.Feudalism has gone. The Church no longer dominates European politics - not the Christian Church, anyway. Guilds have faded. The landed aristocracy has all but gone. In their place we have the modern State, bureaucracy, multinational banks, global corporations, Big Tech, Big Pharma, the mainstream media and so on.AI is more likely to erode existing hierarchies than to eliminate work altogether. It will compress middle layers. It will reduce friction. It will concentrate power in some places and decentralise it in others.If you live in a third world country such as the UK, I urge you to own gold or silver. The pound will be further devalued, as will the euro and dollar. The bullion dealer I recommend is The Pure Gold Company. More here.The winners are likely to include: platforms, energy producers, owners of scare assets, large scale infrastructure, those who control distribution. AI is already being used in manufacturing, agriculture and mining, but so much to replace jobs as to increase productivity. You can't help feeling the physical economy is a better place to be than parts of the digital - at least for now, though I guess robots are next if those Chinese videos doing the rounds are anything to go by.Who else wins? AI and machine learning engineers, obviously, certain content creators, those who get good at prompting will find it useful for anything from medicine to plumbing to consultancy.The losers will be among those whose job is mainly to control access to or verify information that AI can now do instantly. Think: interpreters and translators, proofreaders and editors, coders, copywriters and journalists, graphic designers, sales reps, basic financial advisors. I think long-distance drivers' days are numbered too.The work doesn't disappear but the pricing power and margins collapse.Legacy media distribution - not the content creators themselves, but the distribution gatekeepers who controlled which creators reached audiences. Publishers who mainly performed filtering rather than editing, talent agencies for routine work, certain music labels.The job may technically exist but the power and economics drain away.Chaucer's Cast, ModernisedFinally, below is Chaucer's professional cross-section of medieval England. I have added approximate modern equivalents.* Narrator – content creator (!)* Host – Event organiser, podcast presenter* Knight – Army officer* Squire – Cadet, trainee officer* Knight's Yeoman – Bodyguard, fixer, executive assistant* Prioress – Headmistress, senior religious leader* Second Nun – Clergy* Nun's Priest – Chaplain* Monk – Monk* Friar – Fundraiser, community organiser* Merchant – Import–export, trader, entrepreneur* Clerk – Researcher* Man of Law – Barrister, judge* Franklin – Wealthy landowner, landlord, businessman* Haberdasher – Fashion retailer, Etsy seller* Carpenter – Builder* Weaver – Textile manufacturer* Dyer – Industrial processor* Tapestry-maker – Textile artisan* Cook – Chef* Shipman – Merchant mariner, sailor* Physician – Doctor* Wife of Bath – Self-made businesswoman* Parson – Parish priest* Plowman – Smallholder farmer* Miller – Construction materials supplier* Manciple – Buyer, procurement officer* Reeve – Estate manager, COO* Summoner – Bailiff, compliance officer* Pardoner – Carbon credit broker* Canon – Serial start-up founder, “entrepreneur'* Canon's Yeoman – Startup engineerThe Real QuestionI think a fear frenzy is being whipped up - and I say this as someone who has lost his primary source of income (voiceovers) to AI.The work changes. The tools change. The leverage changes. The power centres change. The underlying human needs do not.There will still be farmers because people eat. There will still be merchants because people trade. There will still be storytellers because people crave stories. Most importantly of all, there will still be opportunities, if anything there will be more of them.AI will reduce headcount in some sectors. It will elevate productivity so dramatically that fewer people are required to produce more output. That is economic evolution.If you are worried about AI taking your job, ask yourself this: are you positioned inside an old power structure that is about to weaken? Or are you aligned with the next one forming?Join the gang.Until next time,DominicICYMI here is this week's commentaryFinally, Charlie Morris and I appeared on In The Company of Mavericks this week to discuss what's been going on with gold, silver and bitcoin. (Charlie writes Atlas Pulse which I heartily recommend. Get your copy here - it's free.)Links to Spotify and Apple podcasts are here: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

What is that in the air? Could it be… love? HA! Bet you thought we'd say death! Today we recognize Valentine's Day by looking at the origins of Valentine's Day, including the grizzly execution of its namesake Saint Valentine. Sorry, we can't help ourselves, but we do what we love! We also take a look at the lost (and frankly much cooler sounding) Pagan version of the holiday known as Lupercalia with its ample displays of debauchery. Plus we take a gander at Valentine's Day mascot Cupid, that lovable cherub scamp that spreads love by shooting people with arrows; the epic poem that tied the concept of love with the death of a martyred saint; and how St. Valentine (amongst others) is the Patron Saint of Epilepsy. Love it or hate it, Valentine's Day is here, so snuggle up to that special someone, read them the entirety of Geoffrey Chaucer's “The Parliament of Fowls,” and most importantly, listen in, Land of the Living!Links for today's episode:Origins of Valentine's Dayhttps://www.history.com/articles/valentines-day-originLupercaliahttps://www.history.com/articles/lupercaliaWho is Cupid?https://www.history.com/articles/who-is-cupidTranslation of Geoffrey Chaucer's “The Parliament of Fowls”https://www.poetryintranslation.com/PITBR/English/Fowls.phpSt. Valentines and Others: The Patron Saints of Epilepsyhttps://www.epilepsy.org.uk/news/st-valentine-and-others-patron-saints-of-epilepsy#deathiseverything #DeathIsEverythingPodcast  #DIEwithMarianne #DIEwithMarianneandChris #DIEwithMCA #deathinpsiration #deathpodcast #LApodcast #takingchances #landoftheliving #ValentinesDay #StValentine #holidays #Lupercalia #cupid #loveThanks for listening, Land of the Living! Subscribe, and follow us on Instagram @die.podcast  for updates! Check out deathiseverything.com for merchandise, our mailing list, and more!

Love in Literature and Pop Culture: How Stories Shaped the Holiday. The narrative of Valentine's Day extends beyond historical records, finding expression in literature, film, and popular music. The transformation of the holiday from a religious observance to a celebration of romance was a deliberate cultural development, shaped by the creative efforts of writers and artists over centuries. Literature and popular culture have not merely reflected the holiday's significance; they have actively constructed and disseminated its meanings, converting a specialized observance into a widely recognized romantic tradition. The expectations, symbols, and conventions associated with Valentine's Day are products of this ongoing process of cultural storytelling. A pivotal moment in the evolution of Valentine's Day occurred in the late Middle Ages with Geoffrey Chaucer's 1382 poem "Parliament of Fowls," in which he creatively associated the feast day with the mating of birds: "For this was on seynt Valentynes day, / Whan every foul cometh there to chese his make." This literary innovation established a connection between the holiday and courtly love. Subsequently, William Shakespeare reinforced the romantic connotations of the day in "Hamlet," where Ophelia's lament—"Tomorrow is Saint Valentine's day, / All in the morning betime, / And I a maid at your window, / To be your Valentine"—further embedded the association with romantic love in the cultural imagination. These contributions by prominent literary figures facilitated the holiday's transition from a religious to a romantic observance.Read the full content hereMore Podcasts HereProduced by SimVal Media Group, USA

Religious Observance vs. Secular Celebration: The Split IdentityValentine's Day in the contemporary context exemplifies a pronounced duality, serving both as a religious observance and a secular celebration. On one hand, it remains the Feast of Saint Valentine, a minor liturgical event in the Catholic calendar commemorating the martyrdom of early Christian saints. This observance is solemn and centers on themes of faith and sacrifice, with historical details often obscured by legend. For practicing Catholics, the day emphasizes devotion to God rather than romantic love, and similar themes are present in some Eastern Orthodox traditions. However, for most participants, religious origins have been overshadowed by the holiday's secular iteration, which emphasizes romance, consumerism, and popular sentiment. The transformation from religious commemoration to secular celebration began in the late Middle Ages, notably through the literary interventions of poets such as Geoffrey Chaucer, who associated the day with courtly love and the mating of birds. Over time, the exchange of notes, the commercialization of cards, and marketing further redefined the holiday. The secular version draws its vitality from literature, commerce, and universal human longing, rather than from its ecclesiastical roots. This dual identity generates both tension and adaptation, as some religious groups discourage participation in the secular holiday, while others incorporate it into their own traditions. Most individuals, however, engage in secular rituals without reference to the original saint. Despite this, the secular celebration retains subtle echoes of its religious predecessor, such as the emphasis on selfless love and enduring commitment. The coexistence of these two layers illustrates the holiday's capacity for cultural adaptation, as it continues to acquire new meanings in response to evolving societal needs.More Podcasts HereProduced by SimVal Media Group, USA

GoodKind Co-Founders, Clayton Greene, and Chris Pappalardo, caught up with Danielle Hitchen on the podcast this week to discuss the significance of Valentine's Day. They're exploring its historical roots, its role as a feast day, and how families can celebrate it meaningfully. They share personal experiences and insights on teaching children about love, faith, and the importance of recognizing the true essence of holidays. The conversation emphasizes the balance between cultural celebrations and spiritual teachings, providing practical tips for parents to engage their children in meaningful discussions about love and faith.TakeawaysValentine's Day can be a feast day to honor St. Valentine.Teaching children about love is essential.Valentine's Day has historical roots that can be explored.Families can create their own traditions around Valentine's Day.It's important to balance cultural celebrations with spiritual teachings.Reading stories about St. Valentine can enrich the holiday experience.Engaging children in discussions about love is valuable.Celebrating holidays can shape children's understanding of faith.Recommended Resources Catechesis Books - founded by Danielle Hitchen catechesisbooks.com Baby Believer Series (board books) First Bible BasicsSacred Seasons, book by Danielle Hitchen (for grown-ups!)Book of Common Prayer The Parliament of Fowls - poem by Geoffrey Chaucer (origin of Valentine's Day as a romantic holiday)Till We Have Faces - novel by C.S. Lewis (retelling of the Cupid & Psyche myth) Building Spiritual Habits in the Home - book by GoodKind Co-founders, Clayton Greene and Chris Pappalardo Chapters00:00 - Introduction and Guest Introduction02:49 - The Journey of Catechesis Books05:33 - Parenting and Spiritual Habits08:25 - Valentine's Day as a Feast Day11:04 - Cupid and Historical Context14:05 - Valentine's Day Celebrations with Family17:27 - Celebrating Valentine's Day Creatively21:51 - Teaching Love Through Valentine's Day28:17 - Balancing Cultural and Religious Aspects of Valentine's Day36:16 - Practical Tips for Meaningful Valentine's Day Celebrations

Ah, yes, the medieval coming of age film starring future Oscar Winner Heath Ledger (RIP), directed by Oscar Winner Brian Helgeland, adapted from the works of Geoffrey Chaucer! Surely, this will be a very dignified and romantic adventure that will take itself completely seriously!Pluggables:Mikey: LeagueOfSwords.Com and twitch.tv/VengeanceGodÉmile: The Not Even Podcast (https://www.youtube.com/@notevencomedy), and Malaika, coming soon from Hear Me Out Productions (hearmeoutproductions.com)B: THE SUN EATER series by Christopher Ruocchio, available at highmatterbooks.comMutual Aid Spotlights:Rebuild.US fund for Winter Storm Fern: https://donate.rebuild.us/page/FUNETXDHNCY?utm_source=ads&utm_medium=gs&utm_campaign=FERNMinneapolis/St. Paul Magazine's list of Resources: https://mspmag.com/arts-and-culture/general-interest/ice-minnesota-support-immigrant-communities-fundraisers-food-drives-trainings/Support the showSam: @DemiSemme on YouTube, Tumblr, BlueSky, and most other social media platforms (NOT eX-Twitter). Visit our Tumblrs at sixdegreesofstarwars.tumblr.com and ier-6d.tumblr.comTheme Music provided by Refractory Period: @RefractoryPeriodTheBand on Instagram, linktr.ee/RefractoryPeriodForever Mutual Aid LinksE-Sims for Gaza: https://gazaesims.com/Click to Help: https://arab.org/click-to-help/Anti-Imperialism support for people across the world, organized by Kandakat_alhaqq: https://linktr.ee/kandakat_alhaqqCampus Bail Funds: https://campusbailfunds.com/6DOSW is a Pro-Union podcast. Please support artists by contributing to the Entertainment Community Fund if you can: https://entertainmentcommunity.org/how-get-help-and-give-help-during-work-stoppageThe views and opinions expressed in this podcast are those of the speakers and do not necessarily reflect the views or positions of any entities they represent.

Merriam-Webster's Word of the Day for January 23, 2026 is: astrolabe • A-struh-layb • noun An astrolabe is a compact instrument used to observe and calculate the position of celestial bodies before the invention of the sextant. // The new astronomy exhibit featured various gadgets and instruments, including an extensive collection of astrolabes. See the entry > Examples: “‘Renaissance Treasures' includes two contemporary navigational devices, a planispheric astrolabe from Persia and a pocket compass (think of them as beta-version GPS), as well as two Mercator globes. One dates from 1541 and shows the surface of the Earth. The other dates from 1551 and shows the heavens ...” — Mark Feeney, The Boston Globe, 9 May 2025 Did you know? “Thyn Astrolabie hath a ring to putten on the thombe of thi right hond in taking the height of thinges.” Thus begins a description of an astrolabe in A Treatise on the Astrolabe, a medieval user's guide penned by an amateur astronomer by the name of Geoffrey Chaucer. Chaucer is best known for his Middle English poetic masterpiece The Canterbury Tales, but when his nose wasn't buried in his writing, Chaucer was stargazing, and some of his passion for the heavens rubbed off on his son Lewis, who had displayed a special “abilite to lerne sciences touching nombres and proporciouns.” Chaucer dedicated his treatise to the 10-year-old boy, setting his instructions not in the usual Latin, but in “naked wordes in Englissh” so that little Lewis could understand. When he got older, Lewis may have learned that the word astrolabe traces to the Late Greek name for the instrument, astrolábion.

You will recognise the BAFTA nominated actor Paul Bettany best as the superhero Vision, the trudging Geoffrey Chaucer in A Knight's Tale, or maybe as the long suffering surgeon opposite Russell Crow in Master and Commander…a role which saw him learn to play a period accurate cello.But, his familial lineage is full of musical stars and Paul himself was even a busker on the London Underground for a time.What then will he choose for his Inheritance Tracks.Inherited: The Eton Rifles by The Jam Passing on: Hollow Ponds by Damon AlbarnProducers: Anna Bailey and Ben Mitchell

It is our pleasure to welcome you to Crushed by Margaret Cabourn-Smith - the podcast about unrequited love. We're joined here by the wonderful and brilliantly talented comedian, presenter, artist and podcaster BEC HILL. She's so funny and wise and also the proud owner of a life-sized cardboard cutout so she is very much our people. If you want more Bec, you can also listen to the excellent podcast she does with the standup and mathematician Matt Parker - A Problem Squared is available from all good podcast shops. And, if you're quick and feeling festive, you can catch Bec alongside former Crushed guest John-Luke Roberts in his Geoffrey Chaucer's Mediaeval Christmas Festivitye shows in early December 2025 Thanks for downloading and supporting us (me). You're the absolute best.  Come and find us... On Substack where if you subscribe, you'll have access to the podcast ad-free and exclusive blogs as well as a lot of gushy love from me. On Instagram for a right old ragbag of silly and serious videos and clips. On email, where you can send us anecdotes, adoration and arguments   Who doesn't love post!? And if you want to do nothing but simply chuck me £4 to buy myself some sellotape and a copy of the Radio Times to make a collage, head for ⁠ko-fi.com/crushedbymcs⁠   Just out of interest: I'm appearing in Sherlock Holmes and the 12 Days of Christmas with former guests Humphrey Ker and David Reed at the Birmingham Rep over Christmas – well, from NOW until 18th January 2026. When I was a kid they'd have announcements like that over the closing credits of comedy programmes sometimes. I'd love to bring that back. Learn more about your ad choices. Visit megaphone.fm/adchoices

Geoffrey Chaucer's granddaughter Alice was first married at the age of 11. She was granted a license to marry her third husband on 11th November, 1430; and became defined by her three powerful unions with men she outlived. Having lost her first two husbands in the Hundred Years War, she then settled down with William de la Pole, Earl of Suffolk; a marriage that got her closer than ever to the seat of power. At one point, she even filled in for Queen Margaret on a ceremonial parade in France. In this episode, Arion, Rebecca and Olly marvel at Chaucer's ability to climb the social hierarchy via her marriages; explain why ‘jointures' changed the fortunes of widows in the Middle Ages; and consider the merits of commissioning multiple statues of themselves… Further Reading: • ‘Four Thought: And His Wife' (BBC Radio 4, 2021) - Olly Mann interviews Jessica Barker about medieval statues of women, including Alice Chaucer: https://www.bbc.co.uk/programmes/m000z0c4 • ‘Historical Figures: Alice Chaucer, Lady of the Garter' (Just History Posts, 2020): https://justhistoryposts.com/2020/08/11/historical-figures-alice-chaucer-lady-of-the-garter/ • ‘'Till Death Us Do Part? Love and the Medieval Tomb Monument with Dr Jessica Barker' (The Churches Conservation Trust, 2021): https://www.youtube.com/watch?v=zH55Vq3tHo0 This episode first aired in 2021 Learn more about your ad choices. Visit podcastchoices.com/adchoices

October 25th — St Crispin's Day. On this date in 1400, Geoffrey Chaucer, London's first great poet, breathed his last. Fifteen years later, on another St Crispin's Day, Henry V's tiny army triumphed at Agincourt. Two centuries after that, Shakespeare turned that muddy field into legend with “We few, we happy few, we band of brothers...” This episode of London Calling links those moments – Chaucer's passing and his London voice, Shakespeare's stage thunder, and the date that binds them. A tale of bells, battles, and words: how the vintner's son and the glover's son together made English – London English – the language of poetry and power.

As one of the fantasy genre's most successful authors, R.A. Salvatore enjoys an ever-expanding and tremendously loyal following. His books regularly appear on The New York Times best-seller lists and have sold more than 30,000,000 copies. Salvatore's most recent original hardcover, The Two Swords, Book III of The Hunter's Blade Trilogy (October 2004) debuted at # 1 on The Wall Street Journal best-seller list and at # 4 on The New York Times best-seller list. His books have been translated into numerous foreign languages including German, Italian, Finnish, Greek, Hungarian, Turkish, Croatian, Bulgarian, Yiddish, Spanish, Russian, Polish, Czech, and French. Salvatore's first published novel, The Crystal Shard from TSR in 1988, became the first volume of the acclaimed Icewind Dale Trilogy and introduced an enormously popular character, the dark elf Drizzt Do'Urden. Since that time, Salvatore has published numerous novels for each of his signature multi-volume series including The Dark Elf Trilogy, Paths of Darkness, The Hunter's Blades Trilogy, and The Cleric Quintet. His love affair with fantasy, and with literature in general, began during his sophomore year of college when he was given a copy of J.R.R. Tolkien's The Lord of the Rings as a Christmas gift. He promptly changed his major from computer science to journalism. He received a Bachelor of Science Degree in Communications from Fitchburg State College in 1981, then returned for the degree he always cherished, the Bachelor of Arts in English. He began writing seriously in 1982, penning the manuscript that would become Echoes of the Fourth Magic. Salvatore held many jobs during those first years as a writer, finally settling in (much to our delight) to write full time in 1990. The R.A. Salvatore Collection has been established at his alma mater, Fitchburg State College in Fitchburg, Massachusetts, containing the writer's letters, manuscripts, and other professional papers. He is in good company, as The Salvatore Collection is situated alongside The Robert Cormier Library, which celebrates the writing career of the co-alum and esteemed author of young adult books. Salvatore is an active member of his community and is on the board of trustees at the local library in Leominster, Massachusetts. He has participated in several American Library Association regional conferences, giving talks on themes including "Adventure fantasy" and "Why young adults read fantasy." Salvatore himself enjoys a broad range of literary writers including James Joyce, Mark Twain, Geoffrey Chaucer, Shakespeare, Dante, and Sartre. He counts among his favorite genre literary influences Ian Fleming, Arthur Conan Doyle, Fritz Leiber, and of course, J.R.R. Tolkien. Born in 1959, Salvatore is a native of Massachusetts and resides there with his wife Diane, and their three children, Bryan, Geno, and Caitlin. The family pets include three Japanese Chins, Oliver, Artemis and Ivan, and four cats including Guenhwyvar. When he isn't writing, Salvatore chases after his three Japanese Chins, takes long walks, hits the gym, and coaches/plays on a fun-league softball team that includes most of his family. His gaming group still meets on Sundays to play.

Saucy stories, moralistic narratives, comic tales, cutting criticism, incisive insights, pilgrims pious and phony alike—just what was Geoffrey Chaucer up to in his provocative Canterbury Tales? Zach Weichbrodt, literature teacher extraordinaire, will help us find out in this friendly guide to Classical Christian Education.

Let Sleeping Dogs Lie #RTTBROS #NightlightLet Sleeping Dogs LieProverbs 26:17 - "He that passeth by, and meddleth with strife belonging not to him, is like one that taketh a dog by the ears."Geoffrey Chaucer knew something about human nature when he wrote in his medieval poetry, "It is nought good a slepyng hound to wake." He understood that sometimes the wisest thing you can do is leave well enough alone. There was even an earlier French version that said essentially the same thing: don't wake the sleeping dog.Anyone who's ever been around dogs knows exactly what this means. You see an old hound sleeping peacefully in the sun, and common sense tells you to walk quietly around him. Sure, he might be friendly when he's awake, but startle him out of a deep sleep and you might get a very different reaction. Better to let him wake up naturally than to poke him and find out the hard way that he doesn't appreciate being disturbed.Solomon understood this principle too, long before Chaucer wrote about it. He said that getting involved in someone else's fight is like grabbing a dog by the ears. You're asking for trouble, and you're probably going to get bit for your efforts. Sometimes the most loving thing you can do is step back and let peaceful situations stay peaceful.Now, I'm not talking about ignoring real problems or turning your back when someone genuinely needs help. There are times when we absolutely need to get involved, times when love requires us to step into difficult situations. But there's a difference between helping someone who's asking for help and stirring up trouble where there doesn't need to be any.We all know people who seem to specialize in waking sleeping dogs. They bring up old hurts that had been forgiven and forgotten. They ask questions that are designed to start arguments. They poke at sensitive subjects just to see what kind of reaction they'll get. They meddle in marriages and friendships and family relationships that were getting along just fine without their input.Friend, sometimes wisdom means knowing when to speak up and when to keep quiet. Sometimes love means getting involved, and sometimes it means staying out of it. Sometimes the most spiritual thing you can do is walk quietly around that sleeping dog and let him rest in peace.Before you wake up an old controversy, ask yourself: is this really going to help anyone, or am I just satisfying my own curiosity? Before you bring up that past mistake, consider whether it needs to be discussed or whether it's better left buried. Before you get in the middle of that family dispute, think about whether your involvement will bring peace or just make things worse.There are enough real problems in this world that need our attention. We don't need to go around creating new ones by waking sleeping dogs.Prayer: Lord, give me wisdom to know when to speak and when to stay quiet, when to get involved and when to let sleeping dogs lie. Amen.Be sure to Like, Share, Follow and subscribe. It helps get the word out.https://linktr.ee/rttbros

After a bit of a blip, we're now back with an episode all about the mythology of Djinns and Genies from prehistory through to today! Part of our Three Ravens Bestiary Bonus Series, we begin with our Western conception of 'the genie' - a pantomime creature, memorably played by Robin Williams in the 90's Disney movie, filtered through a century of fairy tales and family-friendly legends. Yet, as you might expect, this slight cozy form of 'Oriental' spirit is very different to the 'Jinni' of early Semitic cultures, as discussed in a range of poetry and art, later addressed by Islamic scholars and critics informed by the entire chapter of the Qur'an dedicated to discussing desert spirits and acceptable forms of magical belief.What emerges, as we explore these distinctions, is a series of parallels, including between the 'human' and 'spirit' worlds, between Muslim and Christian discussions of Otherworldly creatures, between types of Devil, and the ways that folktales and legends enable us to see ourselves through tales of so-called monsters.It's a journey that takes us from abandoned ruins lost in Arabian dunes to the times of Geoffrey Chaucer, from Classical discussions of 'genius loci' to tales of pre-Islamic Soothsayers possessed by demons.If you've been rubbing lamps and hoping to have wishes granted then you may have been barking up the wrong tree - but worry not: we've got advice for you on magic rings, fishing, and transcendental meditations that might well enable you to commune with a Jinn.Just don't go expecting them to make all your dreams come true, as they're much more likely to ask you out on a date or hide in the form of a serpent than they are to turn your fantasies into reality... Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcastProud members of the Dark Cast Network.CLICK HERE TO COMPLETE THE THREE RAVENS ACAST SURVEY - PLEASE DO! IT'LL HELP!!!Visit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

In this preview of our paid subscriber bonus episode, we're diving deeper into The Canterbury Tales. Imagine Love Island but it's 1390, everyone's going on a religious road trip, and instead of coupling up, they're having a storytelling competition. That's The Canterbury Tales. Join us as we go a little deeper into Geoffrey Chaucer's The Canterbury Tales, exploring how this 14th-century masterpiece was the original "common people's literature" and why these 600-year-old stories feel surprisingly modern. Spoiler alert: there's a lot more butt-kissing and fart jokes than you'd expect from "classic literature” or Taylor Swift songs.  If you enjoyed this sneak peek and want to hear the full episode plus additional monthly episodes of AP Taylor Swift After School, subscribe at aptaylorswift.substack.com/subscribe.  Stay up to date with all episodes at aptaylorswift.com Mentioned in this episode: The Canterbury Tales, Geoffrey Chaucer The Decameron, Giovanni Boccaccio Harry Potter and the Deathly Hallows, J.K. Rowling Monsters: A Fan's Dilemma, Claire Dederer Fourth Wing, Rebecca Yarros Beowulf Netflix's The Decameron (2024) 1972 Italian film adaptation of The Canterbury Tales The Waiting Game, Nicola Clark J. K. Rowling, Chaucer's Pardoner, and the Ethics of Reading Subscribe to get new episode updates: aptaylorswift.substack.com/subscribe Stay up to date at aptaylorswift.com    Follow AP Taylor Swift podcast on social!  TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree →linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm →  tinyurl.com/aptslibro Contact us at aptaylorswift@gmail.com  Affiliate Codes:  Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off!  Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro   This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.

From medieval England to modern pop music, some things never change - women fighting for agency, authority, and the right to write their own stories. In this milestone 100th episode, we go full literary nerd and explore the surprising connections between Geoffrey Chaucer's iconic Wife of Bath from The Canterbury Tales and Taylor Swift's empowering anthems. By looking at Blank Space, New Romantics, and The Man, we examine how both the 14th-century literary character and the 21st-century pop star challenge societal expectations, manipulate narratives to their advantage, and advocate for women's autonomy in love and life.  Subscribe for episode updates and After School premium content at aptaylorswift.substack.com/subscribe.  After School subscribers get monthly bonus episodes, exclusive content, and early access to help shape future topics! Stay up to date at aptaylorswift.com Mentioned in this episode: The Canterbury Tales, Geoffrey Chaucer The Great Gatsby, F. Scott Fitzgerald The Catcher in the Rye, J.D. Salinger Episode Highlights: [1:10] Introduction to paid subscriber content announcement  [2:55] Connecting Taylor Swift to The Canterbury Tales [6:42] "Blank Space"  [15:50] "New Romantics" [25:00] "The Man" Follow AP Taylor Swift podcast on social! TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree → linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm → tinyurl.com/aptslibro Contact us at aptaylorswift@gmail.com Affiliate Codes: Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off! Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.

Merriam-Webster's Word of the Day for August 28, 2025 is: diminution • dim-uh-NOO-shun • noun Diminution is a formal word that refers to the act or process of becoming less. // The company is committed to seeing that efforts to scale up production do not result in a diminution of quality. See the entry > Examples: “A sense of abasement hovers over the performer of the Super Bowl halftime show. It is slight, but it is there. ... The gig—a live gig—is essentially done for free. It ends, the performer is spirited away, and the multi-million-dollar commercials and multi-million-dollar game resume. It's popular music as the doula to football. The next morning, everyone makes big talk about history and legend-making; the feeling of diminution lingers.” — Doreen St. Félix, The New Yorker, 10 Feb. 2025 Did you know? In his late 14th century tragic poem Troilus and Criseyde, Geoffrey Chaucer employed the word diminution, contrasting the verb encrece (“increase”) with the phrase “maken dyminucion” (“make diminution”). Like many words Chaucer used, diminution came to English from Anglo-French, and ultimately from the Latin word deminuere, meaning “to diminish,” which is also an ancestor of the English verb diminish. That word entered the language in the 15th century, and the related noun diminishment, a synonym of diminution, was adopted in the 16th century.

Recorded for release W/C 28th July 2025 This week you join us onboard the MS Geoffrey Chaucer from Riviera travel on their Rhine Cruise to Switzerland. Don't forget you have until midnight on the 11th of August 2025 to use the code JASONRIV15 to save 15% on any holiday from https://www.rivieratravel.co.uk/ Call 01283 893062 and chat with their friendly team at their Burton-on-Trent head office to book. T's&C's Apply #Ad

Send us a textWhat do stained glass, jousting, and Geoffrey Chaucer have to do with your next career move? More than you think.In this episode, Vanessa uses A Knight's Tale to explore what it means to reinvent yourself without erasing who you've been. From burnout to “changing your stars,” we break down how hope, identity, and real-world strategy (hello, skills gap analysis!) can guide you out of survival mode and into something that finally fits.You've been weighed. You've been measured. And you have not been found wanting.  

Do you know what a Squire did? Was a Merchant as fancy as he sounds?Gone Medieval continues our week of pilgrimage as Matt Lewis is joined by Professor Robert Mayer Lee to explore the diverse jobs and social status' of the pilgrims in Geoffrey Chaucer's Canterbury Tales.They discuss how Chaucer's work reflects the fluidity and complexities of social mobility in 14th century England and the motivations and messages behind these timeless stories.More:Geoffrey Chaucer, Father of English Literaturehttps://open.spotify.com/episode/3TMGrNTfPS5wwOqspKNfK3How to Dress in the Middle Ages https://open.spotify.com/episode/7JOjrPdijf3VD2eT9iCrgSGone Medieval is presented by Matt Lewis. It was edited by Amy Haddow, the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

This episode contains explicit language and themesWe're revelling in the Canterbury Tales this week; who else to kick things off with a bang than the scandalous Wife of Bath?Dr. Eleanor Janega is joined by Dr. Hetta Howes to celebrate Chaucer's scandalous and witty Wife of Bath, as they explore her five marriages, defiance of medieval norms, and her unapologetically bold voice. Together they unravel the rich details of her prologue and tale, filled with humour, controversy, and groundbreaking challenges to gender roles. Romp through one of literature's most unforgettable tales and characters.More:Medieval Writers, Extraordinary Womenhttps://open.spotify.com/episode/2axC5tQ8weR8tfb9ZwQJbKGeoffrey Chaucer, Father of English Literaturehttps://open.spotify.com/episode/3TMGrNTfPS5wwOqspKNfK3Gone Medieval is presented by Dr. Eleanor Janega. It was edited by Amy Haddow, the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

The Routledge Companion to Global Chaucer (Routledge, 2024) offers 40 chapters by leading scholars working with contemporary, theoretical, and textual approaches to the poetry and prose of Geoffrey Chaucer (c. 1340–1400) in a global context. This volume provides post-pandemic, twenty-first century readers a way to teach, learn, and write about Chaucer's works complete with awareness of their reach, their limitations, and occlusions on a global field of culture. Interviewees: Craig E. Bertolet is Hollifield Professor of English at Auburn University. Susan Nakley is Professor and Associate Chair of English at St. Joseph's University, New York. Shoshana Adler is Assistant Professor of English at Vanderbilt University. Shazia Jagot is Senior Lecturer in Medieval and Global Literature at the University of York. Host: Schneur Zalman Newfield is an Associate Professor of Sociology and Jewish Studies at Hunter College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Routledge Companion to Global Chaucer (Routledge, 2024) offers 40 chapters by leading scholars working with contemporary, theoretical, and textual approaches to the poetry and prose of Geoffrey Chaucer (c. 1340–1400) in a global context. This volume provides post-pandemic, twenty-first century readers a way to teach, learn, and write about Chaucer's works complete with awareness of their reach, their limitations, and occlusions on a global field of culture. Interviewees: Craig E. Bertolet is Hollifield Professor of English at Auburn University. Susan Nakley is Professor and Associate Chair of English at St. Joseph's University, New York. Shoshana Adler is Assistant Professor of English at Vanderbilt University. Shazia Jagot is Senior Lecturer in Medieval and Global Literature at the University of York. Host: Schneur Zalman Newfield is an Associate Professor of Sociology and Jewish Studies at Hunter College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

My guest on this week's Book Club podcast is the historian Alice Loxton, whose new book Eighteen: A History of Britain in 18 Young Lives is just out in paperback. In it, she tells the story of the early lives of individuals as disparate as the Venerable Bede and Vivienne Westwood. On the podcast, Alice tells me about Geoffrey Chaucer's racy past, what Bede was like before he was venerable, and why her editor wouldn't let her take her characters to Pizza Express. She also reassures me that – in a post-Rest is History world, where history is more exciting and accessible than ever – there is still a place for the fusty old historians. Hosted on Acast. See acast.com/privacy for more information.

Though J. R. R. Tolkien translated portions of Chaucer's Canterbury Tales, he did not live to complete the project. Fortunately another Inkling, Nevill Coghill, succeeded where Tolkien could not, and produced the modernized verse-rendering that today's selection comes from. Happy reading! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

The Thirsty Boys are back after a bit of a hiatus and in great spirits, bantering far and wide from parades to paradise, beers to good food, vintage music to Geoffrey Chaucer, and much more. Toss in the ever demanded fact check and plenty of laughs. Salut!

Matt Lewis is joined by Alice Loxton to explore the lives of 18-Year-Olds through historyFrom Bede surviving a devastating plague to Empress Matilda's unexpected rise to power after the White Ship disaster, and Geoffrey Chaucer's adventurous youth in royal courts and French campaigns, discover how turning 18 has dramatically evolved over the centuries. Learn about the key moments and experiences that shaped these young lives and how they relate to the challenges faced by today's youth.Music from Epidemic Sounds.Gone Medieval is presented by Matt Lewis and edited by Amy Haddow. The producer is Joseph Knight. The senior producer is Anne-Marie Luff.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://uk.surveymonkey.com/r/6FFT7MK