Podcasts about Lord Byron

This week on #ScotsinUs, we explore the City of Glasgow with John Harbour of Exclusive Scottish Visits. He takes us around the historical sites of the city and shares the rich history of the city!This episode is in celebration of the upcoming 850th anniversary of Glasgow, which we will be celebrating at our Tartan Week Events such as Lord Byron, a Talk in conjunction with the National Library of Scotland, and our Fifth Annual Scottish Supper Club!Tp Learn more about these events, visit www.americanscottishfoundation.com/eventsTo learn more about John Harbour, and ESV, visit https://exclusivescottishvisits.co.uk/

Episode 86 Recalling Brigid by Orna Ross Orna Ross reads ‘Recalling Brigid' and discusses the poem with Mark McGuinness. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/86_Recalling_Brigid_by_Orna_Ross.mp3 This poem is from: Poet Town: The Poetry of Hastings & Thereabouts edited by Richard Newham Sullivan Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Interview transcript Mark: Orna, where did this poem come from? Orna: Hi Mark. Yeah, so it's one of a collection that I'm working on, around Irish women from history and myth. And these are women that I grew up with, as a young person, receiving a sort of a typical Irish education, if you like. Orna: And so some of them are saints, some of them are mythological people. Well, saints are also mythological people! Some of them are historical figures who've been mythologized. And I just wanted to go back in and do my own exploration of each of these women because everybody else had. So I've been gathering these poems over a long time, but it actually started with this one. It started with Brigid. And Brigid is a figure from ancient Irish mythology. And she was Christianized into a Roman Catholic saint. She is the patron saint of Ireland. One of. You've probably heard of the other one. Patrick. You probably haven't heard of this one: Brigid. And, so many things have been projected on her. And it's interesting to read what, what survives of what is written about her because what's written earlier on in time is quite different to what's written later on. And she continues to be an inspiration. Her feast day is the first day of spring in Ireland, which in Ireland is the first day of February. It's much earlier than it is in England. And she's just an interesting, personification of the female virtues as they've been perceived over time. Mark: So you said she was written about differently in earlier times to more recent times, which I think is pertinent to how you're exploring that in the poem. So maybe you could just give us a brief summary of that. Orna: Yes. So I, the poem refers to ‘the takeover'. And by that, I kind of mean the Christian, but hand in hand with Christian goes the patriarchal, takeover of old images of women in general. And Brigid is part of that. So earlier, renditions about her tend to focus on her as a healer, as a wise woman, as a very compassionate person, ‘ale to lepers' is one of the, images in the poem. Whereas later versions tend to emphasize her holiness and her saintliness and, her goodness and I suppose what we would typically think is a good, religious, icon. So it's interesting just to read how that changes and differs as we go. And she also then had her detractors, which is where we get to the ideas, about women generally that are in the poem – the consort, mother, victim, whore, those kinds of ideas. You see them brushing against Brigid over time, but she comes through intact actually, as a woman in her own right. And these don't tend to stick to her as they have stuck to others. Mark: And sometimes when poets use mythological figures like this, there's a kind of a critique of, ‘Well, that's a little bit old fashioned, it's poetry with a capital P'. But reading this and listening to you, it kind of really underlines to me that mythology and religion are really quite present in Ireland. Orna: Oh, gosh, yes! The past is very present in Ireland still, in lots of ways. And. It's interesting. I suppose it's something to do with being a small island on the very edge of, in inverted commas, civilization. Although the Irish like to think they civilized Europe during the dark ages by sending our saints and our scholarship, our images of people like Brigid, the truth is that old ways lingered on a long time, and particularly the part of Ireland where I grew up. So, I grew up in County Wexford down in the small bottom right-hand corner, the very southeast tip of Ireland. Around it, there is a river and a small hill that kind of cuts that area off. And around County Wexford in general, there are larger hills and a big river that cuts Wexford off. So they tended to travel by sea more than road, people from that part of the world. And it was the first part of Ireland to be conquered the Norman conquest and, Old English lingered there right up until, well, there are still words that are used in Wexford that aren't used elsewhere. Carols and songs as well. So other parts of Ireland and, obviously England, had moved on, it but kind of got stuck there. So I'm just kind of pointing up the fact that yes, things stayed, passed on in an oral kind of culture and an oral tradition. And hedge schools and such like, long after such things had faded away in other parts of Europe. Mark: And you say Old English rather than Irish was lingering? Orna: That's right. And, because they had, well, the Normans came to England first Hastings, actually where I live now. One of the reasons I'm here, I think is that I felt a lot of similarities between here and Wexford and I think the Norman invasion in both places, it was part of that. So yeah, a hundred years after the Normans landed in Hastings, they were brought over to Wexford by an Irish chieftain to help him win one of his battles with another Irish chieftain. So English came with the Normans to Ireland. Mark: Right. And this is another amazing thing about Ireland, is the kind of the different layers, like archaeological layers of language. You've got Irish, you've got Old English, you've got Norman French, you've got Latin from the church, you've got Norse from the Vikings and so on. It's incredibly rich. Orna: Yes. More diverse, I think. And again, because of its cut off nature, these things lasted longer, I think, because that's also true of England, but the overlay is stronger and so they don't make their way through. Mark: Right, right. And the ghosts can peep through. So, okay, that's the historical cultural context. What does Brigid mean to you and why did you choose her as the first figure in this sequence? Orna: She chose me, I think. I very much feel this poem, you know, some poems are made and some arrive and this one arrived. I wanted to do something to celebrate her. That was all I knew because it was the first day of spring, which I always loved, that first day of February. You know, when winter is really beginning to bite and you feel, I mean, there is no sign of spring except some crocuses maybe peeking up and, uh, a few spring flowers making a little promise. But usually the weather is awful, but it's the first day of spring and it's, been a really important day for me from that point of view. And then the fact that it does, you know, the fact that Patrick is such a great big deal everywhere and Brigid isn't known at all. So that's kind of where I started and I just knew I'd like to write a poem. And then it was one of those ones that I, if I had set out to write a poem about Brigid, I don't think this is what I would have written. It just arrived. And I found that I was thinking about lots of things and as the first poem of this sequence, I wanted to say some of the things about womanhood in the poem, and I, well, I realised I did, because that's what emerged. So for me, it's very much about that kind of quiet aspect of, so, you know, we've got feminism, which talks very much about women's rights to do whatever it is they want to do in the outer world. But for me, she, in this poem, represents the inner, the quiet virtues, if you like, always there for us. We're not always there for them, but they're always there and active in our lives all the time, and I wanted to celebrate that in the poem. So that's what, you know, I got, the rough draft just came pouring out, and that's what I found myself wanting to bring out. Mark: And the title, ‘Recalling Brigid', you know, I was thinking about that word ‘recalling', because it could mean ‘remembering', but it could also mean ‘calling' or ‘summoning'. Orna: Yes, deliberately chosen for both of those meanings, yes, very well spotted there, poetry reader. Mark: Well, you know, this is a very ancient function of poetry, isn't it? And it's where it kind of shades into charm or spells, to summon, or invoke a spirit or some kind of otherworldly creature or being. Orna: Absolutely. I think you've got the heart of what the poem is trying to do there. It is about calling forth, something, as I say, that's there, that we're all, you know, is there for all of us in our lives, but that we're not always aware of it. And our culture actively stifles it, and makes it seem like it's less important than it is. And so, yes, very much exactly all the words, the beautiful words you've just used there. I was hoping this poem would tap into that. Mark: Very much. And, you know, the beginning, ‘Queen of Queens, they called her'. So presumably this is in the old pre-Christian days, ‘they called her'. So there's that word ‘calling' again, and you give us the kind of the gloss, ‘in the old books, the Irish Mary'. And then you introduce the takeover: ‘such was the sort of woman / preferred as the takeover was made:' And then you get the other version. And then you've got: ‘Brigid said nothing to any of this,' which I think is really wonderful that she keeps – so you've gone from ‘they' in the past, ‘what they called her'. And then Brigid keeping her own counsel about this. She said nothing to any of this, ‘the reverence, or the upbraidings'. And then we get you where you say, ‘I am not as womanly / a woman as she. / So I say: let us see. / Let us say how she is the one. // It is she who conceives, and she who does bear.' Lovely, beautiful repetitions and shifts in there. So you really, you step forward into the poem at that point. Orna: I really wanted to, to place myself in relation to, to her and to all the women in this collection. Which isn't out yet, by the way, it's not finished. So I've got another three to go. No, I really wanted to place myself in relation to the women in the poems. That was an important part of the project for me. And I do that, you know, lots of different ways. But this poem, the first one is very much about, I suppose, calling out, you know, the ‘recalling' that you were talking about there a few moments ago, calling out the qualities. That we tend to overlook and that are attributed to Brigid as a womanly woman. And so, yeah, that's, that's what I was saying. I'm more of a feminist woman who is regarded by some as less womanly. so there is a, that's an interesting debate for me. That's a very interesting, particularly now at this time, I think, it's very interesting to talk about, you know, what is a feminist and what is feminism. And I personally believe in feminisms, lots of different, you know, it's multiple sort of thing. But these poems are born of a, you know, a feminist poet's sensibility without a doubt. So in this first one, I just wanted to call out, you know, the womanly virtues, if you like. Mark: Yeah. So I get a sense of you kind of starting as a tuning fork for different ideas and voices, calling her different things. And then you shift into, ‘Let us see. / Let us say…' I love the description earlier on where you said it's a celebration because by the end of the poem, it really is. It's all her attributes, isn't it? ‘It is she who conceives / and she who does bear.' And so on. Again, how easy was it for you to let go and, and, and step into that? Because it's kind of a thing that it's a little bit, it's not what we associate with modern poetry, is it? Orna: No, not at all. Not at all. But I had to ages ago, give up on modern poetry. If I wanted to write poetry, I had to drop so much, so much that I learned, you know, English Lit. was my original degree. And, you know, I, I was in love with poetry from a very young age. So, I learned everything I could about everything. And then I had to drop it all because I didn't write, I didn't write any poems between the end of my teens and my early forties when I lost a very dear friend. And then when I went on, shortly afterwards to, develop breast cancer. So those two things together unlocked the poetry gates and poems came again. And the kind of poems that came, very often were not, poems that they're not fashionable in that sense. You know, they're not what poetry tends to be. And from that point, in our time, if you like, some are, some, some do come that way, but an awful lot don't. And, for that reason, I'm just so entirely delighted to be able to self-publish because they speak to readers and say they communicate. And to me, that's what matters. And I don't have to worry about being accepted by a poetry establishment at all. I don't spend any time whatsoever thinking about that. I work at the craft, but I, it's for myself and for the poem and for the reader, but not to please anybody that, you know, would be a gatekeeper of any kind. Mark: Well, some listeners will know this – you are very much known as a champion of opportunity and diversity in publishing for writers and self-publishing, independent publishing, however you call it. But I think what I'd like to focus on here is the fact that, you know, by writing a poem like this, you highlight the conventions that we have in modern poetry. And it's easy to see the conventions of the past, but maybe not so much the ones in the present. And I love the fact that you've just sidestepped that or ignored that and written the poem that came to you. Orna: Yes. Yes, very much did and do. And like I said, I don't spend, I did at one time spend time thinking about this, but I spend absolutely no time now thinking about this at all. Mark: That's so refreshing to hear! [Laughter] Orna: No, it's, it's great. It's certainly a liberation. I think very much about the poem and what the poem needs and wants from me. And I make mistakes. I, you know, I don't do well on some poems. I go back, rewrite, sometimes years later, sometimes after they're published. so yeah. It's not that I don't think about form or structure or, you know, all of the things that poets think about but I only think about the master, you know, is the poem itself or the reader possibly or the communication between the bridge between me and the reader, something like that. But yeah, it's liberating for sure. Mark: And how did that play out in this poem? I mean, how close is this to the original draft that came to you? Orna: It's one of the poems that's closest to the original. It kind of arrived and I didn't want to play with it too much at all. So yeah, it, I just left it be. I let it be what I wanted to be because for me there are echoes in this poem as well of Old Irish poetry and ways of writing. you know, that if you, I don't know if you've ever had the pleasure of reading Old Irish poetry in translation? Mark: Yes. Orna: So, you know, that sense of I'm reading something from a completely different mind. It's, it isn't just that the, you know, the structures are different or whatever. It's like the whole mind and sensibility is something else. And that was one of the things I wanted to slightly have to retain in this poem. You know, I felt that it, it carries some of that forward and I wanted to, to leave it there as an echo. Mark: Yeah. Quite a lot of those Old Irish poems have a kind of a litany, a list of attributes of the poet or their beloved or the divine being that they're evoking. And that comes across very strongly here. Orna: Yeah, definitely. That's sort of a list of, which to the modern ear can sound obvious and, you know, just not poetry really. So yeah, I think that's one of the qualities that it carries. Mark: And I love the kind of the incantatory repetitive thing. Like I was saying about the, ‘So I say: let us see. / Let us say', and then ‘It is she… It is she… she who', you know, it just carries you along. It's got a hypnotic quality to it. Orna: Yes. And the she part, you know, the emphasizing the feminine, I suppose, touch of the divine feminine, but very much the physical feminine, and activities as well. So, you know, women held the role of birth and death very much in Irish culture again, up to really quite recently. I remember that, in my own youth and okay, I am getting on a bit, but, it's still, you know, it was quite late in time where, women did the laying out for burial. They did the keening of the, the wake, all of that. I remember very well. so at the beginning and end of life at the thresholds, if you like, that was a woman's job. And, that was lost, I think in the takeover. But I still think all the emotional labour around those thresholds are still very much held by women, you know, silently and quietly. And yeah, Brigid doesn't shout about it, but in this poem, I want to call it. Mark: Yeah. Recall it. Okay. And then let's go back to Hastings, which we touched on earlier, because this, okay. It's, it's going to be in your collection. It's been published in a wonderful anthology poetry from Hastings called Poet Town. Tell us a bit about that book and how you came to be involved. Orna: Yeah. So I heard about it and, Richard [Newham Sullivan] wonderful, poet and, publisher and general literary person. He now lives in New York, but he grew up in Hastings and lived here for many years. And it was a kind of a homesickness project he told me later, for him just. But he carried the idea in his mind for a very long time. He wanted to, he knew that there was an incredible, poetic history in Hastings, which people were not aware of. So Hastings is very well known. Hastings and St. Leonard's, where I live, both are very well known as arty kind of towns. Visual arts are very, very visible here, and all sorts of marvellous things going on, and music as well, there's brilliant Fat Tuesday music festival every year, but there's also, there's classical music, music in the pubs, music coming out your ears, literally. But very little about the literary life that goes on here, and lots of writers living here. And so Richard wanted to just bring forward the poetry side of that. And so he decided it's a passion project for him. He decided to, he worked with the publisher, a small publisher here, in Hastings for it. It's Moth Light Press. And he set out to gather as many living poets into one collection as he could. And this is where I was interested because as, I'm a historical novelist as well, so history is big for me, and I was really interested in the history, you know, the history and the poets who had lived here. There were quite a few. It's not every day you find yourself in an anthology with Lord Byron and Keats, and, two Rossetti's! So that was a joy, discovering all the poets who, had a connection to Hastings back to, I think he went back to the early 1800s with it. So, yeah, it's been a huge success, and, people are loving the book, and it has really brought poetry, brought pride, I think, to the poetry community in the town, which is lovely. Mark: Yeah, I'm really enjoying it, and I love the fact that it's got the old and the new. Because, of course, that's what I do here on A Mouthful of Air. I always think the ghosts of poetry past are always present in the work of the living. I hadn't realized what a deep and rich poetic history Hastings had. So, yeah, Poet Town, a great anthology. Do check that out while you're waiting for Orna's sequence to come to light. And Orna, thank you so much for sharing such a remarkable poem and distinctive take on the poet's craft. And I think this would be a good point to listen to the poem again, and appreciate your praise and celebration once more. Orna: Thanks so much, Mark, for having me. I really enjoyed it. Thank you. Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Poet Town: The Poetry of Hastings & Thereabouts ‘Recalling Brigid' is from Poet Town: The Poetry of Hasting & Thereabouts, published by Moth Light Press. Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Orna Ross Orna Ross is an award-winning poet and novelist. Her poetry, rooted in Irish heritage and mindfulness practice, explores love, loss, creativity, and spiritual renewal through a female lens. As founder-director of the Alliance of Independent Authors (ALLi), she champions creative freedom for poets and writers. Her forthcoming collection, And Then Came the Beginning—Poems of Iconic Irish Women, Ancient and Modern—is available for pre-order at OrnaRoss.com/TheBeginning. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom... Alchemy by Gregory Leadbetter Episode 84 Alchemy by Gregory Leadbetter Gregory Leadbetter reads ‘Alchemy' and discusses the poem with Mark McGuinness.This poem is from: The Infernal Garden by Gregory LeadbetterAvailable from: The Infernal Garden is available from: The publisher: Nine Arches...

AAD PARTE 1 – El SERIDA acaba de anunciar que ha conseguido finalizar la secuenciación del genoma de la faba asturiana en su variedad más popular, la de la Granja o Andecha. Hoy hablamos con Juan José Ferreira, director del programa de genética vegetal del SERIDA, Ana Campa, investigadora del programa de genética vegetal del SERIDA y Ana González de Sela es auditora y responsable de la promoción del Consejo Regulador de la IGP. AAD PARTE 2 – Marcos Merino acaba de estrenar en el FICX “Plaza Mayor”, documental que explica la transformación que ha ido experimentando Xixón a lo largo de los años, a través de celebraciones, protestas, gestos cotidianos e imágenes del pasado: de ciudad industrial a destino turístico, de plaza de lucha a escenario de espectáculo. AAD PARTE 3 – El Teatro de Grao acoge el viernes la representación de “Ada Byron, la tejedora de números”, a cargo de La Westia Producciones. Se trata de un espectáculo que versa sobre la vida de Ada Byron, hija de Lord Byron, considerada "La Madre de la Informática".Un espectáculo que combina matemáticas y teatro que ganó el Premio Jovellanos a la Producción Escénica y que fue el gran triunfador en la gala de los Premios OH! de las Artes Escénicas de Asturias, con 6 galardones. Hablamos con Gustavo Adolfo Fernández, programador cultural del Ayuntamiento de Grao, Paco Pardo, interpreta a Lord Byron en la obra de teatro “Ada Byron, la tejedora de números”, de La Westia Producciones e Iciar Díaz, interpreta a Ada Byron

En la segunda conferencia del ciclo sobre el Grand Tour, Andreu Jaume se centra en un viajero concreto y emblemático, George Gordon Byron. En obras clave como Don Juan, donde plasmó su visión de Europa y del Grand Tour, y Las peregrinaciones de Childe Harold, el poema que lo lanzó a la fama y que recoge su primer viaje por el Mediterráneo, veremos cómo Byron describió el panorama de la Europa posnapoleónica y anticipó el mundo moderno. Viajar más allá de Inglaterra, hacia Oriente, supuso para él transgredir las convenciones sociales, sexuales y políticas de su tiempo. Más información de este acto

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Mary Shelley famously wrote Frankenstein while on a summer-long sleepover party with her husband, sister, and her husband's friend, Lord Byron. To close out Mary Shelley Month, it's time for a deep dive on Lord Byron. Joining us is podcast legend Emily Edwards (from F***bois of Literature and Ticklish Business fame). Learn more about Emily's work at msemilyedwards.com — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

你听到的是跳岛「读懂金钱」付费系列节目的第二期试听片段，「读懂金钱」付费专题目前只在小宇宙app和网易云音乐上线。如果你对我们的内容感兴趣，欢迎你在这两个平台付费支持我们！ 19世纪的英国，一个新的概念悄然兴起——“经济学人”，也就是以完全追求物质利益为目的而进行经济活动的人。这一永远理性、终极利己的形象，很快成为了庞大经济理论中的基础假设。 很少有人提到的是，几乎与此同时，同样是在英国，现代小说也从上天入地、刀山火海的骑士传奇中分化出来，坠入账单、婚嫁、租房、还贷的现实世界。 这是巧合吗？浪漫故事中的纯爱少女们怎么就成为要面包不要爱情的经济主体了？本期节目，美国布朗大学比较文学博士、英国文学研究者肖一之将从《鲁滨逊漂流记》《傲慢与偏见》《名利场》等经典作品入手，解析“经济学人”如何登上历史舞台，如何演变，又如何反映出我们所处时代的困境。 当理性计算逐渐成为时代主流，小说家们发现自己越来越难以构想替代性的叙事。或许，重温这些故事，也是在提醒我们思考一个难以回避的问题：在一个拜金的世界里，除了成为经济学人，我们还有别的活法吗？ 【本期主播】 肖一之 译者、文学研究者，上海外国语大学英语学院讲师，美国布朗大学比较文学博士。 主要研究19世纪与20世纪早期英国文学、比较文学、全球思想史、文学与科学。译有英国作家福特·马多克斯·福特著“队列之末”四部曲后两部、美国作家 E.B.怀特散文集《论希望》、英国作家马丁·艾米斯短篇小说集《爱因斯坦的怪兽》等作品。 【时间轴】 02:00 罗曼史 vs 小说：从浪漫骑士传奇到账单、进货、租房子 08:09 小说是堕落世界的圣歌，被上帝抛弃的世界的史诗 10:00 理性？算计？利己？到底什么是经济学人？ 16:00 《鲁滨逊漂流记》：真不好意思承认，被困荒岛后还是想搞钱 22:00 《傲慢与偏见》：闺蜜嫁给了被我拒绝的相亲丑男？ 37:50 《名利场》：怎样一毛钱不花，过上一年好日子？ 50:00 《米德尔马契》：如果能继承一大笔遗产，谁还想努力呢？ 63:00 《我们共同的朋友》：当英国霸道总裁冒充保镖爱上做保洁的我 75:42 19世纪纯爱战士狄更斯的高呼：光有理性是没用的，真爱拯救世界！ 78:20 《新寒士街》：不把文化理想当生意，还能活下去吗？ 91:00 《霍华德庄园》：站在金钱之岛，双脚才能不被生活的海浪拖走 104:44 来自弗吉尼亚·伍尔夫的辩白：为什么要想谈文学反而更应该谈钱？ 【节目中提到的人名和作品】 人物 拜伦（Lord Byron）：英国浪漫主义诗人、革命家，代表作《唐璜》。 安妮·伊莎贝拉·米尔班克（Anne Isabella Milbanke）：英国教育改革家和慈善家，诗人拜伦之妻，人称拜伦夫人。 埃达·洛夫莱斯（Ada Lovelace）：英国数学家，作家，诗人拜伦的唯一婚生子女。她是第一位主张计算机不只可以用来算数的人，也发表了第一段分析机用的算法，被公认为世界上第一位程序员。 简·奥斯丁（Jane Austen）：英国现实主义小说家，以《傲慢与偏见》《理智与情感》闻名，描绘女性在金钱与爱情之间的理性抉择。 格奥尔格·卢卡奇（György Lukács）：匈牙利马克思主义哲学家和文学理论家，代表作《历史与阶级意识》《小说理论》，提出“小说是被上帝抛弃的世界的史诗”。 黑格尔（G. W. F. Hegel）：德国哲学家，提出“世界的散文”概念，强调现代生活的矛盾与复杂性。 约翰·斯图亚特·密尔（John Stuart Mill）：英国哲学家、经济学家，代表作《论自由》《政治经济学原理》，提出“经济学人”（economic man/homo economicus）概念。 莱昂内尔·罗宾斯（Lionel Charles Robbins）：英国经济学家，罗宾斯对确定经济学的意义方面产生重要影响，他认为“经济学是一门研究人类在有限的资源情况下作出选择的科学”。 玛丽·普维（Mary Poovey）：美国文化史学家与文学评论家，代表作《小说作为想象秩序》，研究女性写作的发展、小说与经济学的历史交织，提出小说与现代市场经济的兴起有密不可分的关系。 丹尼尔·笛福（Daniel Defoe）：英国作家，代表作《鲁滨逊漂流记》，被视为现代小说的奠基人。 W.H.奥登（W.H. Auden）：英国诗人，凭长诗《焦虑的年代》获得普利策诗歌奖，被认为是20世纪最重要的诗人之一。写过《致拜伦爵士的信》，称奥斯丁“比乔伊斯更令人震惊”。 詹姆斯·乔伊斯（James Joyce）：爱尔兰诗人、小说家，著有《都柏林人》《尤利西斯》《芬尼根的守灵夜》，以意识流写作著称。 威廉·梅克比斯·萨克雷（W. M. Thackeray）：英国讽刺小说家，著有《名利场》，其标题灵感来源于约翰·班扬的《天路历程》中描写的“浮华集市”（Vanity Fair）。 约翰·班杨（John Bunyan）：英国基督教作家、布道家，其著作《天路历程》是最著名的基督教寓言文学。 乔治·艾略特（George Eliot，本名Mary Ann Evans）：英国小说家，著有《米德尔马契》，擅写理性与道德的冲突。 查尔斯·狄更斯（Charles Dickens）：英国维多利亚时期最具影响力的小说家，代表作《雾都孤儿》《双城记》《远大前程》等。《我们共同的朋友》是其晚期代表作。 乔治·吉辛（George Gissing）：英国小说家，著有《新寒士街》，描绘知识分子在资本社会的困境。 塞缪尔·约翰逊（Samuel Johnson）：英国诗人、剧作家、散文家、评论家、伦理学家、布道者、传记作家与辞典编撰家，花九年时间独力编出的《约翰逊字典》，为他赢得了“博士”头衔。 巴尔扎克（Honoré de Balzac）：法国小说家、剧作家、评论家与记者，欧洲现实主义文学奠基人。 E·M·福斯特（Edward Morgan Forster）：英国小说家、散文家，著有《霍华德庄园》《看得见风景的房间》等。 书籍 《堂吉诃德》《傲慢与偏见》《政治经济学原理》《鲁滨逊漂流记》《名利场》《米德尔马契》《我们共同的朋友》《新寒士街》《天路历程》《致拜伦爵士的一封信》《尤利西斯》《霍华德庄园》 音乐 《谈钞票伤感情 谈感情又伤钞票又伤感情》（顶楼的马戏团，2013） 出品方 | 中信书店 出品人｜李楠 策划人｜蔡欣 制作人 | 何润哲 广岛乱 运营编辑 | 黄鱼 运营支持｜李坪芳 设计｜王尊一 后期剪辑 | 崔崔 公众号：跳岛FM Talking Literature 跳到更多：即刻|微博|豆瓣|小红书

“De wind huilde door de bergpassen, en de zwarte dennen wrongen zich alsof ze in pijn verkeerden.”Met zulke zinnen voert Bram Stoker zijn lezers het duistere Transsylvanië binnen. Maar achter de vampier die hij schiep, schuilt een echte man: Vlad Dracula Tepes. De vorst die zijn vijanden spietste en een mythe werd die al vijf eeuwen standhoudt. Gijs is nog steeds doodsbang voor Dracula, maar zet toch zijn angsten opzij om het verhaal te vertellen over de man die in de bergen van Wallachije angst zaaide als geen ander. In deze aflevering duiken Gijs en Thomas in de mistige grens tussen feit en legende. Van de echte Vlad de Spietser tot de Victoriaanse fascinatie voor vampiers, van Lord Byron's duisternis tot knoflook aan de deurpost. Wat maakt Dracula tot het ultieme monster, en waarom blijft hij ons al meer dan vijf eeuwen achtervolgen? Even Independeren en het is in 3 minuten geregeld. Ga naar Independer.nl. #independer #vergelijken #afsluiten #evenindependeren

The year is 1816, and 18-year-old Mary Shelley has fled London with her lover, Percy Shelley, and her sister, Claire. They're on their way to visit Lord Byron's villa in Lake Geneva, Switzerland - and to change the course of literary history. In this episode, Jacke talks to Caroline Lea about her novel Love, Sex, and Frankenstein, which tells the haunting, evocative story of the summer that should have broken Mary Shelley, but instead inspired her to write her Gothic masterpiece. PLUS we hear from a listener who's been reading with her children and has a recommendation for Jacke, we cover #10 on our list of Greatest Books of All Time, and Geoffrey Turnovsky (Reading Typographically: Immersed in Print in Early Modern France) stops by to discuss his choice for the last book he will ever read. Join Jacke on a trip through literary England (signup closing soon)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠. Or visit the ⁠⁠⁠⁠History of Literature Podcast Tour itinerary⁠⁠⁠⁠ at ⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠. Help support the show at ⁠⁠⁠⁠patreon.com/literature ⁠⁠⁠⁠or ⁠⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Friends-There's music in all things, if men had ears: Their earth is but an echo of the spheres.”—Lord Byron, "Don Juan"Welcome back to The BH Sales Kennel Kelp Holistic Healing Hour. I'm your host, Grandpa Bill, and last week we laid the foundation for a truly meaningful life by talking about the Second Self—Aristotle's ideal of Virtuous Friendship.""Today, we're going to zoom out and look at the ultimate goal of all that virtuous action and profound connection. We're talking about the Greek concept that defines the entire holistic approach: Eudaimonia.""It's a word that's often mistranslated, but its true meaning is the key to lasting contentment. Let's get into it.""Let's start with the word itself. I want you to say it with me, nice and slow: 'Yoo-dye-moh-NEE-uh.'"Pronunciation: Yoo-dye-moh-NEE-uhDefinition: Eudaimonia (εὐδαιμονία) is often translated as 'happiness.' But that is shallow and misleading. 'Happiness' in English sounds temporary, based on external circumstance or fleeting feeling."The Greek root of the word tells the real story: 'Eu-' means good, and 'daimon' means spirit or genius or inner self.""So, Eudaimonia literally means having a good guiding spirit or, more powerfully, 'living well and doing well.' It is a state of human flourishing.""Imagine two people: One wins the lottery, throws wild parties for a year, and feels happy. The other is a dedicated scholar, a caring parent, and a generous volunteer. They live a life of commitment, struggle, and deep purpose, and they feel a deep sense of meaning.""The first person has 'happiness.' The second person has Eudaimonia. It's not a burst of joy; it's the deep satisfaction that comes from realizing your highest potential and living in alignment with your best self—that Virtuous Self we discussed last time."The Wisdom Segment: Eudaimonia DefinedThe Narrative: Flourishing, Not FeelingPhilosophical#Eudaimonia ,#FlourishingLife, #Aristotle, #AncientWisdom,Self-Improvement#LifePurpose ,#MeaningfulLife, #VirtueEthics Podcast/Wellness#HolisticHealth, #GrandpaBill, #WellnessJourney, #LiveWellDoWell,Conclusion and Call to Action"So, your challenge this week is to assess your own life with the lens of Eudaimonia.""Ask yourself: Am I truly flourishing? Am I engaged in activities and surrounded by relationships that are developing my best self? Are my choices leading me toward that deep, abiding sense of 'living well and doing well?'""Prioritize the friends who inspire you toward virtue. Invest your time in the meaningful actions that define your purpose. That is the true blueprint for Eudaimonia.""I'm Grandpa Bill. Thank you for joining me on The BH Sales Kennel Kelp Holistic Healing Hour. We'll talk again soon."

With Guillermo del Toro's Netflix adaptation of Mary Shelley's Frankenstein in the news, we thought we would bring out an episode we did for Annotated several years ago. It's a great story and we had fun doing this one. Enjoy. This episode of Annotated was written by me, Jeff O'Neal, and directed by Jeremy Desmon. Sound editing and design by Kyle O'Neal. Our thanks to Mahvesh Murad for being our Mary Shelley, Bob Schinsky for being our Lord Byron, Amanda Nelson for being our Jane Clairmont and Kyle O'Neal for taking on the role of Percy Shelley. Further reading recommendations: Mary Shelley by Miranda Seymour The Lady and Her Monsters by Roseanne Montillo Romantic Outlaws by Charlotte Gordon Mary Shelley by Muriel Spark Mary Shelley: Romance and Reality by Emily W. Sunstein Learn more about your ad choices. Visit megaphone.fm/adchoices

Mary Shelley began writing her novel, Frankenstein, in 1816 when she was only 17 years old. Today it remains one of the most-assigned books of all time, finding it's way into classes ranging from Law to Scientific Ethics to Fashion to Politics. As a new film by Guillermo del Toro is set to debut on Netflix, re-join Dawn for the episode that started the podcast! Guest, Helen Shephard, is a British TV Host, model and comedian, who has no recollection of ever reading the book - and only cursory memory of the early film versions. However, as the original recording took place right around Halloween, 2021 - she was intrigued by this ubiquitous monster and wanted to know the sexy story about his real origin. ---

When Marion pops up on Zoom with her curls blown out to smooth newscaster perfection, it's a hot topic and one that offers a perfect lead-in to the first poem up for discussion, “Your Hair Wants Cutting” by this episode's featured poet, Michael Montlack. The three poems we're considering take inspiration from the Mad Hatter character in Lewis Carroll's Alice's Adventures in Wonderland. We discuss, Slushies, how much, if any, contextual framing is needed to guide the reader when poems refer to a character who resides in our collective imagination. We also talk about local and regional idioms, and for Kathy, how difficult they are to unlearn (shout out to Pittsburgh!). Marion accidentally bestows a new nickname on Jason. Dagne has an opinion about how speech is rendered within a poem: italics or quotation marks. She's team italics, Slushies, which are you? While thinking about the line in these poems; Marion refers to Jason's excellent essay on the history and theory of the line from his book Nothingism: Poetry at the End of Print Culture. Another poem in the batch has Marion recalling Jason's poem “Wester.” As always, thanks for listening! At the table: Dagne Forrest, Samantha Neugebauer, Jason Schneiderman, Kathleen Volk Miller, Marion Wrenn, and Lisa Zerkle Michael Montlack's third poetry collection COSMIC IDIOT will be published by Saturnalia. He is the editor the Lambda Finalist essay anthology My Diva: 65 Gay Men on the Women Who Inspire Them (University of Wisconsin Press). His work has appeared in Poetry Daily, Prairie Schooner, Cincinnati Review, Lit, Epoch, Alaska Quarterly Review, Phoebe and other magazines. In 2022, his poem won the Saints & Sinners Poetry Contest for LGBTQIA+ poets. He lives in NYC and teaches poetry at NYU and CUNY City College. https://www.facebook.com/michael.montlack https://www.instagram.com/michaelmontlack (website) https://www.michaelmontlack.com/ “Your Hair Wants Cutting” my grandmother would say, sitting there at her window, monitoring the restless crows. Her robe nearly as ancient as she. Since when are you concerned with fashion? I once dared to ask. I was seventeen, restless as those crows. I knew she wasn't talking about my curls. Plumage, she used to call it when I was a boy. Sit down, little peacock—your hair wants cutting. Even then I knew it was a cutting remark. Laden. Throwing cold kettle water on my fire. I reminded myself that she was a widow. And was glad that at least I would never cause a woman to suffer such grief. I reminded her how I donned a hat most days. She stared me up and down, her eyes like the ocean's green cold. Clever. Your kind seems to have a clever answer for everything … I swallowed the indictment. Why not make yourself useful, she said, putting down her tea cup, eyeing the trash on her tray. I was glad to oblige, happy to depart before she could notice the low waist of my trousers, let alone the height of my heels. Muchier Picture me on a grand terrace, tipping my hat. Crossing a bridge over the river of defeat— it's definitely a state of ascent. Being owed rather than owing. A blatant triumph against the conventional. A la Lord Byron. A monocle without glass, worn for style. It's an advance for a memoir about a life you haven't yet lived. Bound to be lost on some but admired by all. Likely absent during the lessons on common subjects: Algebra, Classic Literature, Biology. More devoted to the mastery of the quaintest arts: Porcelain, Calligraphy, Tapestry Weaving, Drag. As ephemeral and ethereal as a bubble. It's not something you adopt. It's something that abducts you. Enviers call it utter madness, but the muchiest of the muchier won't even fathom the phrase. Inheritance There wasn't much to leave—my sister, also suspiciously unwed, took the cottage and the wagon. But our mother had insisted that the tea set should be mine. “It's dainty and a bit chipped. Like you,” she chortled on her deathbed. I failed to see the humor but took it just the same. Knowing my sister would likely surrender it to the church, where the nuns might put it to good use but never appreciate its finery, as that would be vanity. I much rather hear my motley chums slurp from it as they sit steeped in my ridiculous riddles. I never admitted how I crafted them at night, alone in bed, in the quiet twilight, the hour I imagined reading bedtime stories to the children I never had. An apprentice son would've been nice, to hand down millinery techniques. Instead I had the ghost of one, there in my workshop, where imaginary fights erupted over whose turn it was to sweep up the felt or sharpen the scissors. Of course, I appeared mad, a much better impression to leave than the riddle of my bachelorhood. Sometimes I wanted to smash the porcelain cups, chuck them at that bloody caterpillar stinking up the forest with his opium. Why not? There was no one to inherit my pittance. No one to be trusted with my legacy… until the appearance of this girl, at once strange yet so familiar. I quite liked her. The way she held her own with me. If ever I had a daughter, I would have wanted her to be as brave as she. Defending the poor Knave of Hearts, accused of stealing the Queen's tarts. There in that courtroom, I almost lost my head but finally found a beneficiary.

Hello Giant Robot FM listeners! Welcome to the end of The Beginning as we see Machu get a taste of Clan Battle and we try to dissect whatever is going on with Challia Bull. Expert poster GundamPixel joins pmc and Stephen to discuss the experience following GQux in Japan as well as to dig through all the fine details of ep. 3, Machu in Clan Battle!Please find GundamPixel on bsky:Bsky: https://bsky.app/profile/gundampixel.bsky.socialBlog: https://www.gundampixel.com/Skeet us @giantrobotfm.bsky.social and write to us ⁠⁠⁠⁠giantrobotfm@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠ Giant Robot FM is hosted by Stephen Hero and pmcTRILOGY Support us directly at ⁠⁠⁠patreon.com/giantrobotfm⁠⁠⁠ Graphic Design by DuarfS ⁠⁠⁠⁠⁠https://www.behance.net/maezurita⁠⁠⁠⁠ ⁠⁠⁠⁠⁠https://www.instagram.com/duarfs⁠⁠⁠ ⁠⁠⁠Art by Szkin ⁠⁠⁠⁠⁠⁠https://twitter.com/szkin_art⁠⁠⁠⁠ Music by fretzl (@fretzl) ⁠⁠⁠⁠⁠⁠https://www.youtube.com/fretzl⁠

À Kharkiv, en Ukraine, l'opéra vient de fêter ses cent ans. La ville a beau être située à une trentaine de kilomètres du front, l'institution continue ses spectacles, au sous-sol de cet immense bâtiment. Et si la scène est trois fois plus petite, si plus de la moitié des danseurs et chanteurs sont partis, les représentations font salle comble et pas question pour la troupe d'arrêter. Des portés majestueux, des danseurs qui virevoltent. En cette fin d'après-midi, le ballet de Kharkiv donne une représentation de Corsaire, inspirée d'un poème de Lord Byron. On est bien dans l'opéra de la ville, mais au sous-sol. Plus exactement, dans un abri anti-bombes, transformé depuis un an en salle de spectacle. Ici, l'orchestre joue à quelques centimètres des spectateurs. Les quatre cents sièges de la salle ont davantage l'air de chaises de bureau que de confortables sièges de velours, mais tous les regards sont rivés sur les danseurs qui multiplient les figures aériennes. Olha Charikova, 35 ans, incarne ce soir Gulnare, l'un des rôles principaux. Pour elle, danser à Kharkiv était une évidence : « C'est ma ville natale, mes parents sont ici. Ils ne sont jamais partis. Je veux rester avec eux et faire mon travail. Nous avons l'opportunité de montrer notre art à notre peuple, la guerre est dehors, mais à l'intérieur, nous essayons de leur donner du bonheur et un peu d'espoir pour un futur meilleur. » Il a fallu s'adapter : la scène, trois fois plus petite, ne permet pas d'exécuter toutes les figures, les décors sont simplifiés et certains morceaux ont même dû être retravaillés pour correspondre aux dimensions de la salle. « "Corsaire" se joue maintenant en deux actes au lieu de trois. Par exemple, dans la dernière scène, il y a un grand navire qui vogue sur la scène et coule. Ça ne peut vraiment être montré que sur une grande scène. Aujourd'hui, le ballet se termine avec des jeunes filles en tutu, des fleurs, et une happy end, parce que nous avons déjà assez de tragédies dans nos vies ! », explique Olha Charikova. Maintenir l'opéra à Kharkiv, coûte que coûte  Après le 24 février 2022, la troupe est partie deux ans en Europe, accueillie en Lituanie et en Slovaquie. Mais dès que cela fut possible, ceux qui ont pu le faire sont revenus à Kharkiv. Le directeur de l'opéra, Ihor Tuluzov, a tout tenté pour maintenir l'institution : « Durant les premières semaines, c'était vraiment très difficile, parce qu'il y avait des bombardements constants. Notre bâtiment aussi a été touché. »  À lire aussiUkraine: «pluie» de drones russes sur la ville de Kharkiv, deux morts et trente blessés De nombreuses fenêtres de cette immense dalle de béton ont par exemple explosé. Dans la ville d'ailleurs, même si les ouvriers travaillent vite pour effacer les stigmates de la guerre, on croise encore des façades éventrées, des trottoirs marqués par des éclats d'obus, ou des fenêtres recouvertes par d'immenses palissades. Après deux ans de fermeture, l'opéra a désormais presque repris une activité normale et propose des spectacles plusieurs fois par semaine : « Pour nous, il est très important de montrer, psychologiquement, que Kharkiv bouillonne », souligne Ihor Tuluzov. « Et puis, nous voulons présenter les exemples les plus éclatants de la culture ukrainienne : l'opéra, le ballet, etc. Ce qui compte aussi, c'est que nous, en tant que troupe professionnelle, nous nous produisions ici, à Kharkiv. La ville avait besoin de notre activité, de notre travail, de nos représentations, de notre soutien », ajoute-t-il. « Je suis vraiment heureuse de voir qu'à Kharkiv, notre ville vit sa vie » Plus de la moitié des danseurs et des musiciens sont partis, certains en Europe, d'autres ailleurs en Ukraine. Et d'autres sont partis sur le front. L'un d'entre eux est mort au combat dans les environs de la ville. Chaque représentation est d'ailleurs précédée de l'hymne ukrainien pour leur rendre hommage. Malgré ces conditions, le directeur de l'opéra se veut optimiste : « Bien sûr, maintenant, nous n'avons plus la possibilité d'accueillir autant de spectateurs. Mais je pense que nous avons aussi gagné un nouveau public : des gens qui n'étaient jamais venus à l'opéra ou au ballet avant la guerre. » Dans cette ville où beaucoup de bars, de musées et de salles de concert ont dû fermer, venir à l'opéra est un luxe rare. À l'entracte, Yulia, 27 ans, invitée par son amie Khrystyna, découvre les lieux et a encore les yeux qui brillent : « Je suis très heureuse d'avoir la possibilité de voir l'opéra et le ballet à Kharkiv. » À côté d'elle, son amie renchérit : « Je suis vraiment heureuse de voir qu'à Kharkiv, notre ville vit sa vie. » À l'extérieur, une alerte aérienne retentit : des drones survolent la région. Mais dans la salle, où la sécurité est maximale, personne ne bouge : le public n'entend que la musique. Et dans cet abri, chaque spectacle devient bien plus qu'un simple divertissement : une parenthèse dans un quotidien d'angoisse. À lire aussiUkraine: rester à Kramatorsk, malgré le danger quotidien des bombes russes

À Kharkiv, en Ukraine, l'opéra vient de fêter ses cent ans. La ville a beau être située à une trentaine de kilomètres du front, l'institution continue ses spectacles, au sous-sol de cet immense bâtiment. Et si la scène est trois fois plus petite, si plus de la moitié des danseurs et chanteurs sont partis, les représentations font salle comble et pas question pour la troupe d'arrêter. Des portés majestueux, des danseurs qui virevoltent. En cette fin d'après-midi, le ballet de Kharkiv donne une représentation de Corsaire, inspirée d'un poème de Lord Byron. On est bien dans l'opéra de la ville, mais au sous-sol. Plus exactement, dans un abri anti-bombes, transformé depuis un an en salle de spectacle. Ici, l'orchestre joue à quelques centimètres des spectateurs. Les quatre cents sièges de la salle ont davantage l'air de chaises de bureau que de confortables sièges de velours, mais tous les regards sont rivés sur les danseurs qui multiplient les figures aériennes. Olha Charikova, 35 ans, incarne ce soir Gulnare, l'un des rôles principaux. Pour elle, danser à Kharkiv était une évidence : « C'est ma ville natale, mes parents sont ici. Ils ne sont jamais partis. Je veux rester avec eux et faire mon travail. Nous avons l'opportunité de montrer notre art à notre peuple, la guerre est dehors, mais à l'intérieur, nous essayons de leur donner du bonheur et un peu d'espoir pour un futur meilleur. » Il a fallu s'adapter : la scène, trois fois plus petite, ne permet pas d'exécuter toutes les figures, les décors sont simplifiés et certains morceaux ont même dû être retravaillés pour correspondre aux dimensions de la salle. « "Corsaire" se joue maintenant en deux actes au lieu de trois. Par exemple, dans la dernière scène, il y a un grand navire qui vogue sur la scène et coule. Ça ne peut vraiment être montré que sur une grande scène. Aujourd'hui, le ballet se termine avec des jeunes filles en tutu, des fleurs, et une happy end, parce que nous avons déjà assez de tragédies dans nos vies ! », explique Olha Charikova. Maintenir l'opéra à Kharkiv, coûte que coûte  Après le 24 février 2022, la troupe est partie deux ans en Europe, accueillie en Lituanie et en Slovaquie. Mais dès que cela fut possible, ceux qui ont pu le faire sont revenus à Kharkiv. Le directeur de l'opéra, Ihor Tuluzov, a tout tenté pour maintenir l'institution : « Durant les premières semaines, c'était vraiment très difficile, parce qu'il y avait des bombardements constants. Notre bâtiment aussi a été touché. »  À lire aussiUkraine: «pluie» de drones russes sur la ville de Kharkiv, deux morts et trente blessés De nombreuses fenêtres de cette immense dalle de béton ont par exemple explosé. Dans la ville d'ailleurs, même si les ouvriers travaillent vite pour effacer les stigmates de la guerre, on croise encore des façades éventrées, des trottoirs marqués par des éclats d'obus, ou des fenêtres recouvertes par d'immenses palissades. Après deux ans de fermeture, l'opéra a désormais presque repris une activité normale et propose des spectacles plusieurs fois par semaine : « Pour nous, il est très important de montrer, psychologiquement, que Kharkiv bouillonne », souligne Ihor Tuluzov. « Et puis, nous voulons présenter les exemples les plus éclatants de la culture ukrainienne : l'opéra, le ballet, etc. Ce qui compte aussi, c'est que nous, en tant que troupe professionnelle, nous nous produisions ici, à Kharkiv. La ville avait besoin de notre activité, de notre travail, de nos représentations, de notre soutien », ajoute-t-il. « Je suis vraiment heureuse de voir qu'à Kharkiv, notre ville vit sa vie » Plus de la moitié des danseurs et des musiciens sont partis, certains en Europe, d'autres ailleurs en Ukraine. Et d'autres sont partis sur le front. L'un d'entre eux est mort au combat dans les environs de la ville. Chaque représentation est d'ailleurs précédée de l'hymne ukrainien pour leur rendre hommage. Malgré ces conditions, le directeur de l'opéra se veut optimiste : « Bien sûr, maintenant, nous n'avons plus la possibilité d'accueillir autant de spectateurs. Mais je pense que nous avons aussi gagné un nouveau public : des gens qui n'étaient jamais venus à l'opéra ou au ballet avant la guerre. » Dans cette ville où beaucoup de bars, de musées et de salles de concert ont dû fermer, venir à l'opéra est un luxe rare. À l'entracte, Yulia, 27 ans, invitée par son amie Khrystyna, découvre les lieux et a encore les yeux qui brillent : « Je suis très heureuse d'avoir la possibilité de voir l'opéra et le ballet à Kharkiv. » À côté d'elle, son amie renchérit : « Je suis vraiment heureuse de voir qu'à Kharkiv, notre ville vit sa vie. » À l'extérieur, une alerte aérienne retentit : des drones survolent la région. Mais dans la salle, où la sécurité est maximale, personne ne bouge : le public n'entend que la musique. Et dans cet abri, chaque spectacle devient bien plus qu'un simple divertissement : une parenthèse dans un quotidien d'angoisse. À lire aussiUkraine: rester à Kramatorsk, malgré le danger quotidien des bombes russes

This episode, we look at one of Conan Doyle's last short stories, ‘The End of Devil Hawker' (1930) which he completed shortly before his death. You can read the story here. The show notes will be available at https://bit.ly/DOD67sn (for all shownotes, just replace ‘67' with the episode number in question). The episode will shortly be posted to our Youtube channel: www.youtube.com/@doingsofdoyle. Please like and subscribe. Synopsis It seems like just another night at Tom Cribb's London establishment, the Union Arms at the corner of Panton Street, in the first decade of the nineteenth century. The bar is crowded with aristocratic men about town, members of the boxing fraternity and all their assorted followers, hangers-on and hearty rowdies. Cribb himself, still nominally the champion of all England, is there, as is the nascent young poet Lord Byron. Amidst the uproar and chaff, the sinister figure of Sir John Hawker - ‘Devil Hawker' – holds quiet converse with Sir Charles Trevor over a debt of three thousand pounds. They decide to settle the issue by the turn of a card, a transaction that is witnessed surreptitiously by the sharp bookmaker Billy Jakes, who notices a slight of hand and makes a decision that will cost both him and Hawker dearly… Next time on Doings of Doyle… We are joined by Nick Lane, author of several Sherlock Holmes plays for Blackeyed Theatre, to talk about their new production Sherlock Holmes: The Hunt for Moriarty. Acknowledgements Thanks to our sponsor, Belanger Books (www.belangerbooks.com), and our supporters on Patreon and Paypal. Image credits: Thanks to Alexis Barquin at The Arthur Conan Doyle Encyclopaedia for permission to reproduce these images. Please support the encyclopaedia at www.arthur-conan-doyle.com. Music credit: Sneaky Snitch Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/ YouTube video created by @headlinerapp.

Send us a textIt's alive! IT'S ALIVE! ("It" being another Off Topic episode!) Welcome back, gals and ghouls! This week, Max is telling us all about the teenaged mother of science fiction herself, and the lengths she went to to avoid hanging out with Lord Byron. Enjoy!Support the showCheck out our books (and support local bookstores!) on our Bookshop.org affiliate account!Starting your own podcast with your very cool best friend? Try hosting on Buzzsprout (and get a $20 Amazon gift card!)Want more??Visit our website!Join our Patreon!Shop the merch at TeePublic!If you liked these stories, let us know on our various socials!InstagramTiktokGoodreadsAnd email us at sortofthestory@gmail.com

The Parthenon Sculptures have been hugely controversial objects from the moment that they arrived in England. The British public has long been split over the morality of keeping these famous works of art in London. In the early 1800's the famous poet Lord Byron went so far as to write angry poems castigating Lord Elgin for defiling Athena's temple. Over the last 200 years the topic of the sculptures has remained a perennial topic of public debate. Where are we at with that debate in 2025? Tune-in and find out how 19th century diss tracks, half a nose, and the "universal museum" all play a role in the story.Come with me to Greece in September 2025! Check out the full itinerary HERERula patients typically pay $15 per session when using insurance. Connect with quality therapists and mental health experts who specialize in you at https://www.rula.com/fakehistory #rulapodSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Am 7. September 1795 wird John William Polidori in London geboren. Er stirbt jung, nur 25-jährig, hinterlässt aber mit "The Vampyre" das literarische Vorbild für Dracula & Co. Von Christiane Kopka.

In this episode of the Anglotopia podcast, host Jonathan Thomas speaks with Agnes Stamp, author of 'Country Life's Book of Dogs.' They explore the rich history of dogs in British aristocracy, the inspiration behind the book, and Agnes's personal experiences with various dog breeds. The conversation delves into the role of dogs in society, the impact of photography on public perception, and delightful anecdotes from history. Agnes shares her journey to writing the book and discusses the importance of preserving vulnerable native breeds. The episode is a celebration of the bond between humans and dogs, highlighting their significance in British culture. Special guest stars include Jonathan's King Charles Cavalier Spaniel Cooper. Links Win a Copy of the Book Sign-up Form Country Life's Book of Dogs (Amazon) Country Life's Book of Dogs (Bookshop.org) Country Life Magazine Country Life Archive Country Life 125 Book (Amazon) Country Life 125 Book (Bookshop.org) Country Life 125 Interview John Goodall Takeaways The book is a love letter to dogs. Dogs have been part of Country Life's editorial makeup since its inception. Agnes has a deep love for all dog breeds. Historically, dogs served various purposes in society. The shift from working dogs to companion dogs reflects societal changes. Photography has played a crucial role in shaping public perception of dogs. Agnes's personal experiences with dogs influenced her writing. The importance of preserving vulnerable native breeds is emphasized. Humans and dogs share a unique bond that transcends time. The book offers a snapshot of the breeds dear to Country Life. Sound Bites "Princess Diana actually called them a moving carpet of corgis because she was always had them at her ankles." - Agnes describing Queen Elizabeth II's famous corgi pack. "on his wedding night when Napoleon went back to the covers to hop into bed with Josephine, fortune popped out and savaged Napoleon." - The story of Josephine Bonaparte's pug attacking Napoleon on their wedding night. "Lord Byron had his beloved Newfoundland, Bowson... But a little known fact is that he also kept two bulldogs during his time at Cambridge University. And they were called Savage and Smut." - Revealing Byron's lesser-known bulldogs with memorable names. "all I observed was the silliness of the king playing with his dogs all the while and not minding the business." - Samuel Pepys' 1666 critique of King Charles II's obsession with his spaniels during government meetings. "And when one of the young princes appears on screen, she says, you know, could be William could be George. And then as soon as a corgi appears, she says instantly that Susan." - Queen Elizabeth II recognizing her dog before her own grandchildren in family videos. "the tale of Laszlo, the Dan-Diedenmont Terrier... this particular Terrier terrorized Boris Johnson when he was editing The Spectator." - A vulnerable native breed dog giving the future PM trouble. "there are great kennels at an estate here called Goodwood, which by the way had heating before the main house did." - The priority given to prize foxhounds over human comfort in aristocratic estates. "Dachshunds had a bit of a, you know, rough deal in this country historically... They were persecuted for being German." - The unfortunate wartime treatment of German dog breeds in Britain. "I think beauty is in the eye of the beholder. I agree. I mean, I don't think any dog could be described as grotesque." - Agnes diplomatically defending all dog breeds when asked about "grotesque looking dogs." "They said that Staffies should have a tail like a old fashioned pump handle and Titan really did." - A charming breed standard description that perfectly matched Agnes's own dog. Chapters 00:00 Introduction to the World of Aristocratic Dogs 03:03 The Inspiration Behind the Book 06:56 Agnes Stamp's Journey as a Writer 12:06 The Role of Dogs in British Aristocracy 17:00 Selection Criteria for Dog Breeds 21:09 Delightful Discoveries in Dog History 22:57 Exploring the Royal Kennel Club Library 24:05 Anecdotes of King Charles Spaniels 25:09 Researching Dog Breeds and Historical Figures 26:32 Captivating Stories of Dogs in History 28:25 Monarchs and Their Love for Dogs 30:08 The Aristocratic Appeal of Basset Hounds and Dachshunds 31:38 The Shift from Working Dogs to Companions 35:14 Preserving Britain's Canine Heritage 37:26 The Role of Photography in Dog Culture 40:06 Takeaways for Non-Dog Owners 41:28 Choosing the Right Dog Breed 44:04 anglotopia-podcast-outro.mp4 YouTube Version

En 1816, un volcán afectó el clima de todo el planeta. Percy Shelley, Lord Byron, John William Polidori y una jovencísima Mary Wollstonecraft pasaron, gracias a a ello, un año sin verano en la Villa Diodati, teniendo así las condiciones perfectas para crear a dos poderosos monstruos de la literatura: El Vampiro y la Criatura de Frankenstein.

¡Queridíchimos!Esta semana hablaremos de la mejor creación de Lord Byron, y la razón por la cual hoy podemos pudrirnos enfrente de la computadora viendo videos de YouTube: Ada Lovelace, una genia.Hiii hiii

To Find JS Garrett ----> Youtube.com/JSGarrettTo Find Lord Byron---> Youtube.com/LordByronTo sign up for our Patreon go to-> Patreon.com/cultofconspiracypodcast To Join the Cajun Knight Patreon---> Patreon.com/cajunknight To Find The Cajun Knight Youtube Channel---> click hereTo Invest In Gold & Silver, CHECK OUT—-> Www.Cocsilver.com 10% OFF Rife Machine---> https://rifemachine.myshopify.com/?rfsn=7689156.6a9b5c To find the Meta Mysteries Podcast---> https://open.spotify.com/show/6IshwF6qc2iuqz3WTPz9Wv?si=3a32c8f730b34e79 50% OFF Adam&Eve products---> :adameve.com (promo code : CULT) To Sign up for our Rokfin go to --> Rokfin.com/cultofconspiracy Cult Of Conspiracy Linktree ---> https://linktr.ee/cultofconspiracyBecome a supporter of this podcast: https://www.spreaker.com/podcast/cult-of-conspiracy--5700337/support.

To Follow Us On Patreon—> https://www.patreon.com/c/MetaMysteriesSubscribe to our Youtube---> http://www.youtube.com/@MetaMysteriesPodcastTo Follow Us On TikTok—> https://www.tiktok.com/@metamysteries111Give us a follow on Instagram---> @MetaMysteriesFor 10% OFF Orgonite----> Click Here! (Use Code: ONE)Reach out to us! ---> MetaMysteries111@gmail.comTo find E.A. —> https://www.becomealivinggod.com/To find Lord Byron—-> https://www.youtube.com/@myapotheosis-Become a supporter of this podcast: https://www.spreaker.com/podcast/cult-of-conspiracy--5700337/support.

To Follow Us On Patreon—> https://www.patreon.com/c/MetaMysteriesSubscribe to our Youtube---> http://www.youtube.com/@MetaMysteriesPodcastTo Follow Us On TikTok—> https://www.tiktok.com/@metamysteries111Give us a follow on Instagram---> @MetaMysteriesFor 10% OFF Orgonite----> Click Here! (Use Code: ONE)Reach out to us! ---> MetaMysteries111@gmail.comTo find E.A. —> https://www.becomealivinggod.com/To find Lord Byron—-> https://www.youtube.com/@myapotheosis-Become a supporter of this podcast: https://www.spreaker.com/podcast/meta-mysteries--5795466/support.

Send us a text-Welcome to is Celebrate Creativity for episode 440 Crossing the Symbol -the second part of a look into Lord Byron.Making swimming even more difficult historically and even today it's a vital strategic waterway which means it was and still is a busy maritime passageway  Now if you will excuse me, I wanna take a little aside and delve into the Hellespont - and hopefully in a few minutes you will understand it's importance to Lord Byron, his thinking, and where I'm trying to go with this.So I asked Gemini for a little background about the Hellespont.It answered - The Hellespont, now known as the Dardanelles, is a narrow, historically significant strait in northwestern Turkey that connects the Aegean Sea (part of the Mediterranean) to the Sea of Marmara, and ultimately, via the Bosphorus, to the Black Sea.To Lord Byron, the Hellespont was what's like a bridge Between Continents and Civilizations - metaphorically. It famously marks a natural boundary between Europe (on the Gallipoli Peninsula side) and Asia (on the Troad, or mainland Turkey, side). Byron's swim was, in essence, a literal crossing between continents.Support the showThank you for experiencing Celebrate Creativity.

Send us a textWelcome to Celebrate Creativity - Episode 439 -  An Uneasy MindLet me start with an example of my creative - if if that is what you wanna call it - approach to Gemini - I figured out what I wanted to say, my situation, and give Gemini a place to start with. I knew that Gustav Flaubert and Lord Byron lived approximately at the same time, but I was not exactly sure which came first chronologically.  So I looked them up Gemini and got Lord Byron was Born: January 22, 1788 and died April 19, 1824 - whileWell now I guess you could say that I'm speaking as me here I guess you could say that is true with me personally I may have the tendency to have a seizure but I haven't had a seizure for decades but then I can take well anticonvulsants and the medication's seem to have Gustave Flaubert was born about 30 years later on December 12, 1821 and died may 8, 1880.  So chronologically, this episode and the one afterwards will be about Lord Byron.  I then typed the following prompt into GeminiI am doing a podcast where I am planning several episodes about writers who it is believed suffered from epilepsy - such as Edgar Allan Poe, Dostoyevsky - definitely - Agatha Christie - of course there are other notable figures who are believed to have suffered from epilepsy. From what I understand there is not definite proof that dickens had epilepsy, but he did take great care en describing the symptoms and actions of people with epilepsy. First - and it may require several episodes to cover all the writers - could you describe the role of epilepsy in the life of Lord Byron?And Gemini replied - The role of epilepsy in the life of Lord Byron is a fascinating and often debated topic. While some historical accounts and figures (like Nietzsche) suggested he suffered from epilepsy, modern interpretations of the available evidence tend to be more nuanced, suggesting that if he experienced seizures, they were likely occasional convulsions rather than chronic epilepsy.Support the showThank you for experiencing Celebrate Creativity.

Vincenzo Patanè"Una piccola goccia d'inchiostro"il ramo e la foglia edizioniwww.ilramoelafogliaedizioni.itIl romanzo, ambientato nel rione Sanità a Napoli, è basato su una storia vera e prende l'avvio dal casuale ritrovamento di sessantasei lettere che il protagonista, Elvio, zio dell'autore, inviò a sua sorella dal 1953 al 1965. Nello svolgersi delle vicende emergono via via i turbamenti sessuali adolescenziali di Elvio, la consapevolezza di essere attratto dagli uomini, la scoperta di non essere il solo a provare pulsioni di quel tipo, l'esplorazione del sesso, il primo amore. Parallelamente c'è la consapevolezza dell'impossibilità di esprimere a voce alta ciò che provava, da un lato per un soffocante controllo familiare, improntato a un rigido rigore morale, dall'altro per una società che, con il fascismo prima e con la società perbenista del dopoguerra, condannò duramente l'omosessualità.Nel romanzo vi sono molti stralci di quelle lettere, grondanti di umanità, focalizzate in particolare su due episodi: il viaggio che effettuò, ventiseienne, in Danimarca nel 1954, al fine di ottenere una riassegnazione di sesso sulla scia di quella di Christine Jorgensen del 1952, e la successiva relazione con un giovane napoletano, un amore sfortunato ma che pure mutò le sorti della sua vita.*«Per più di un'ora non si stancò di osservare i particolari di quel corpo che pareva emanare una luce, come se sotto la sua pelle ardesse una fiamma. I suoi occhi lo scandagliarono quasi volessero entrarci dentro, per scoprire una volta per tutte i segreti di quella perfezione, mentre i numerosi nei che ammantavano il suo dorso gli sembrarono come le stelle di un ideale firmamento di un microcosmo in cui si rifletteva tutta la meravigliosa semplicità del creato. A un certo punto, senza che neanche se ne accorgesse, le lacrime gli rigarono il volto. In quel momento, si sentiva grato alla vita per avergli concesso questo privilegio. Non aveva mai provato una felicità così grande.»Vincenzo Patanè nato ad Acireale ma napoletano per essenza e cultura, ha insegnato Storia dell'Arte presso il Liceo Artistico di Venezia. È autore della raccolta di versi Ebano Nudo (1982) e dei seguenti saggi: Cinema & Pittura (1992), A qualcuno piace gay (1995), Derek Jarman (1995), Shakespeare al cinema (1997), Arabi e noi (2002), L'altra metà dell'amore (2005), 100 classici del cinema gay (2009), Oasi gay (2010), L'estate di un ghiro. Il mito di Lord Byron (2013, seconda edizione 2018), I frutti acerbi. Lord Byron, gli amori & il sesso (2016, pubblicato negli Usa nel 2019 con il titolo The Sour Fruit. Lord Byron, Love & Sex), Intervista impossibile a Lord Byron & altri saggi (2022), Icone gay nell'arte. Marinai • Angeli • Dei (2022) e Il rovinismo di Lord Byron nell'opera di Marco Filiberti (2024).Ha vinto numerosi premi letterari, tra cui il “Premio Speciale Montale Fuori di Casa” (2020), “Aci & Galatea” (2023) e “Lord Byron Porto Venere Golfo dei Poeti” (2019).Giornalista, critico cinematografico e attivista gay, collabora con l'Ufficio Cinema del Comune di Venezia e con le riviste “Touring” e “FMR”, dopo aver curato per anni il settore cinema delle riviste gay “Babilonia” e “Pride”.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Nous sommes le 16 juillet 1824, en Angleterre, dans la petite Eglise du village de Hucknall Torkard, pas très loin du manoir de Newstead où vécu celui que l'on enterre, ici, en présence de ses seuls amis et de quelques proches. Celui qui a incarné de son vivant déjà, et aujourd'hui encore, le génie poétique romantique. Un révolté épris d'indépendance, un ténébreux égoïste et misogyne, scandaleux mais aussi courageux qui n'aura pas hésité à combattre pour la liberté des peuples d'Italie et de Grèce. Il fut le sixième baron Byron. Mieux connu sous le nom de Lord Byron. Avec Daniel Salvatore Schiffer. « Lord Byron » ; folio biographies. Sujets traités : Lord Byron, baron, Newstead, Angletterre, poète, romantique, génie, scandaleux , liberté Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

¡Queridíchimos!En el episodio de hoy, Luli revisitará a uno de sus favoritos: Lord Byron. Hablamos de el hace unos años en un episodio vintage con pésimo audio, así que ahora volveremos a visitar al hombre más peligroso y seductor del Romanticisimo…Hiii hiii

When it comes to lording over other Satanist writers, Byron has got the goods.

What happens when five brilliant, rebellious Romantics take refuge from a climate catastrophe in a lakeside villa — and decide to conjure monsters?In this episode of Ojai Talk of the Town, we sit down with acclaimed playwright, screenwriter and novelist Jule Selbo to discuss her gripping new play, Mary Shelley: The Year Without Summer, premiering in Ojai on August 8, running through August 17th at Matilija Auditorium, directed by Richard Camp as the Ojai Performing Arts Theater's summer production.Set in the summer of 1816, amid the eerie aftermath of a volcanic eruption that blotted out the sun, the play captures a charged gathering at Villa Diodati, where Mary Shelley, Percy Bysshe Shelley, Lord Byron, Dr. Polidori, and Mary's stepsister Claire Clairmont engage in a dark game: Who can write the best horror story?From this stormy retreat, two modern mythologies are born —Mary's Frankenstein, which redefined horror and science fiction, and Polidori's Vampyre, the prototype for the seductive bloodsucker that haunts our popular imagination to this day.Jule shares her insights into dramatizing these iconic figures, why the tensions of that fateful summer still resonate, and how creativity thrives in chaos. A must-listen for literature lovers, theater fans, and anyone who enjoys a good ghost story.We talk about how these gothic tales speak to the modern imagination, writing for money and much more. (We do not talk about old English desserts, Arthur Rimbaud or folk dancing.)For more information, check out OPAT's website at OjaiTheater.org or Jule Selbo's site at JuleSelbo.com.

En 1809, Lord Byron, con apenas 21 años, emprendió un viaje -sin pisar- España que marcaría el inicio de una nueva forma de explorar el país. Byron se aventuró a hablar de tierras menos transitadas, atraído por la riqueza cultural y el exotismo que ofrecía España. Este viaje, que le inspiró para escribir algunos de sus poemas, también sentó las bases para una nueva percepción de España como destino turístico. Posteriormente, distintos escritores seguirían sus pasos, consolidando la imagen de una España apasionada y misteriosa que cautivaría a viajeros europeos durante todo el siglo XIX. Y descubre más historias curiosas en el canal National Geographic y en Disney +. Learn more about your ad choices. Visit podcastchoices.com/adchoices

To Follow Us On Patreon—> https://www.patreon.com/c/MetaMysteriesSubscribe to our Youtube---> http://www.youtube.com/@MetaMysteriesPodcastTo Follow Us On TikTok—> https://www.tiktok.com/@metamysteries111Give us a follow on Instagram---> @MetaMysteriesFor 10% OFF Orgonite----> Click Here! (Use Code: ONE)Reach out to us! ---> MetaMysteries111@gmail.comFind Byron @lordbyronjester InstagramBecome a supporter of this podcast: https://www.spreaker.com/podcast/cult-of-conspiracy--5700337/support.

To Follow Us On Patreon—> https://www.patreon.com/c/MetaMysteriesSubscribe to our Youtube---> http://www.youtube.com/@MetaMysteriesPodcastTo Follow Us On TikTok—> https://www.tiktok.com/@metamysteries111Give us a follow on Instagram---> @MetaMysteriesFor 10% OFF Orgonite----> Click Here! (Use Code: ONE)Reach out to us! ---> MetaMysteries111@gmail.comFind Byron @lordbyronjester InstagramBecome a supporter of this podcast: https://www.spreaker.com/podcast/meta-mysteries--5795466/support.

Hot, rich, European, emotionally unavailable... sound familiar?It's your Hinge profile all over again.No, silly, it's vampires!We are thrilled to welcome back folklorist and queer historian, Sacha Coward (author of Queer as Folklore) this week, as we trace the gloriously queer history of vampires—from ancient blood-sucking demons to modern brooding bisexuals.Drape your capes and get ready to dive into:Lilith, the original bad girl who got kicked out of Eden for not sleeping with Adam.The juicy backstory of Lord Byron, a chaotic bisexual whose life inspired the first mean, cold, sexy vampiresCarmilla, the 19th-century vampire lesbian who walked so Pam and Tara inTrue Blood could one day suckHow Hollywood turned queer people into monsters so they could portray them onscreenWhy vampires got hotter, more leathery, and more counterculture in the aftermath of the AIDS epidemicPlus, how vampires got from Dracula terror to Twilight trysting, from cursed to cool, from monsters of the fringe to main characters with fangbanging stans.As Sacha eloquently puts it:"Vampire here. Vampire not going anywhere." (Direct quote)

This is Part 2! For Part 1, check the feed!This week we are trawling the archives for scandals! (And let's attempt this episode description in true tabloid fashion). Hear all about Lord Byron's saucy behaviour! The blackmail of Alexander Hamilton! And (one of the all-time great scandals) you simply won't believe the Profumo affair!And this week we're asking: how on earth did anyone ever travel anywhere more than 50 years ago? And we're also asking for more contributions to our hit new feature ‘COULD YOU BE ARSED THOUGH'? And also…PLEASE SEND US YOUR QUAINT LOCAL ATTRACTIONS! (With a pic of the leaflet if possible).Please email them in here: hello@ohwhatatime.comIf you fancy a bunch of OWAT content you've never heard before, why not treat yourself and become an Oh What A Time: FULL TIMER?Up for grabs is:- two bonus episodes every month!- ad-free listening- episodes a week ahead of everyone else- And much moreSubscriptions are available via AnotherSlice and Wondery +. For all the links head to: ohwhatatime.comYou can also follow us on: X (formerly Twitter) at @ohwhatatimepodAnd Instagram at @ohwhatatimepodAaannnd if you like it, why not drop us a review in your podcast app of choice?Thank you to Dan Evans for the artwork (idrawforfood.co.uk).Chris, Elis and Tom xSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week we are trawling the archives for scandals! (And let's attempt this episode description in true tabloid fashion). Hear all about Lord Byron's saucy behaviour! The blackmail of Alexander Hamilton! And (one of the all-time great scandals) you simply won't believe the Profumo affair!And this week we're asking: how on earth did anyone ever travel anywhere more than 50 years ago? And we're also asking for more contributions to our hit new feature ‘COULD YOU BE ARSED THOUGH'? And also…PLEASE SEND US YOUR QUAINT LOCAL ATTRACTIONS! (With a pic of the leaflet if possible).Please email them in here: hello@ohwhatatime.comIf you fancy a bunch of OWAT content you've never heard before, why not treat yourself and become an Oh What A Time: FULL TIMER?Up for grabs is:- two bonus episodes every month!- ad-free listening- episodes a week ahead of everyone else- And much moreSubscriptions are available via AnotherSlice and Wondery +. For all the links head to: ohwhatatime.comYou can also follow us on: X (formerly Twitter) at @ohwhatatimepodAnd Instagram at @ohwhatatimepodAaannnd if you like it, why not drop us a review in your podcast app of choice?Thank you to Dan Evans for the artwork (idrawforfood.co.uk).Chris, Elis and Tom xSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today's poem kicks off a short trek through English poetry. 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

This week on The Broski Report, Fearless Leader Brittany Broski discusses millennial core, unpacks her thoughts on Sex and the City, and analyzes Fontaines D.C. lyrics. Thank you to Dunkin for sponsoring this episode!

D.H. Lawrence (1885-1930) is one of the most famous novelists of his era - and one of the most difficult to pin down. Was he a tasteless, avant-garde pornographer? Or the greatest imaginative novelist of his generation (as E.M. Forster once said)? What should we know about his hard-luck childhood and turbulent adult life? In this episode, Jacke talks to biographer David Ellis (D.H. Lawrence: A Critical Life) about the struggle to capture and convey the essence of Lawrence's life and works. PLUS Dorian Lynskey (Everything Must Go: The Stories We Tell About the End of the World), an expert in literature about cataclysmic events, stops by to discuss the last book he - and others - might turn to at the very end. Additional listening: 508 Lord Byron (with David Ellis) 694 Apocalyptic Literature (with Dorian Lynskey) 87 Man in Love: The Passions of D.H. Lawrence The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com . Help support the show at patreon.com/literature or historyofliterature.com/donate . The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature . Learn more about your ad choices. Visit megaphone.fm/adchoices

Fernando Valverde (Granada, 1980) has been voted the most relevant Spanish-language poet born since 1970 by nearly two hundred critics and researchers from more than one hundred international universities (Harvard, Oxford, Columbia, Princeton, Bologna, Salamanca, UNAM and the Sorbonne).His books have been published in different countries in Europe and America and translated into several languages. He has received some of the most prestigious awards for poetry in Spanish, including the Federico García Lorca, the Emilio Alarcos del Principado de Asturias and the Antonio Machado. His last book, The Insistence of Harm, received the Book of the Year award from the Latino American Writers Institute of the City University of New York.For ten years he has worked as a journalist for the Spanish newspaper El País. He directs the International Festival of Poetry in Granada and is a professor at the University of Virginia (Charlottesville, EEUU).His last bilingual book, America, has been published by Copper Canyon Press with translation by Carolyn Forché.In 2022, Fernando Valverde published the first biography of the poet Percy B. Shelley in Spanish and in 2024 he published a monumental biography of Lord Byron. Valverde is considered one of the greatest specialists in Romanticism today.-bio via FernandoValverde.com 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

President Trump’s attempts to freeze federal dollars for “sanctuary” jurisdictions were thwarted in court last week. Where is the battle headed?  The Supreme Court is considering two cases about public education this week. One involves the bar to prove discrimination related to disability, and the other involves state funding for a religious charter school. “Sinners” takes the box office for a second week, sparking debate about originality, biased media coverage, and what its success means for Hollywood’s future. Rufus Wainwright’s new album, “Dream Requiem,” is interwoven with Lord Byron’s poem “Darkness.” It’s partly inspired by Giuseppe Verdi, and is dedicated to Wainwright’s dog named Puccini. 

Where did Lord Byron and Percy Shelley come to sip coffee while they jotted down their verses? Where did Bizet and Berlioz go to discuss their work? Where could Casanova be found trying to pick up girls? Caffè Greco, where else? Having opened in 1760, Antico Caffè Greco is the oldest café in Rome and the second-oldest in all of Italy! And you can still go there and sit where Hawthorne, Ibsen, Gogol, Goethe, Canova, and many many other literary, art, and musical greats rubbed elbows and drank coffee. On this episode, we visit the famous café, grab some espresso ourselves, and discuss what it feels like to drink coffee in the same place so many brilliant thinkers over the generations did the same.   Hear this episode transformed into a bedtime story by Sleep With Me podcast's Drew Ackerman (aka Dear Scooter).   If you'd like to learn more about Literary Rome, download Tiffany's VoiceMap audio tour Rome for Readers, a self-guided walking tour that takes you past the residences of the most famous foreign writers who visited and lived in Rome.   ***Katy's sister Dana has recently been diagnosed with stage 4 agressive brain cancer. To help with the staggering medical costs—her specialist is outside her insurance network—as well of the costs of temporarily relocating to San Francsico for her treatments, please consider donating to her GoFundMe. Anything you can contribute will be extremely helpful. Thank you.   ***The Bittersweet Life podcast has been on the air for an impressive 10+ years! In order to help newer listeners discover some of our earlier episodes, every Friday we are now airing an episode from our vast archives! Enjoy!*** ------------------------------------- COME TO ROME WITH US: For the third year in a row, we are hosting an intimate group of listeners for a magical and unforgettable week in Rome, this October 2025! Discover the city with us as your guides, seeing a side to Rome tourists almost never see. Find out more here. ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!  

Sign Up For Patreon—> https://www.patreon.com/MetaMysteriesFor 10% OFF Orgonite----> Click Here! (Use Code: ONE)Reach out to us! ---> MetaMysteries111@gmail.comGive us a follow on Instagram---> @MetaMysteriesSubscribe to our Youtube---> http://www.youtube.com/@MetaMysteriesPodcastTo find Lord Byron—-> myapotheosis.comTo contact Lord Byron or L The Alchemist For Their Services and devices—-> jsgarrett.netBecome a supporter of this podcast: https://www.spreaker.com/podcast/cult-of-conspiracy--5700337/support.

we talk lord byron, a major difference in men, and rudy's involvement with the flight logs. ads: Roman - Connect with a provider at RO.co/UNTOLD to find out if prescription Ro Sparks are right for you and get $15 off your first order Factor - Get started at https://FACTORMEALS.com/FACTORPODCAST and use code FACTORPODCAST to get 50% off your first box plus free shipping. Stella Blue - Enjoy Stella Blue Coffee by visiting https://stellabluecoffee.com and use promo code UNTOLDSTORY for 20% off orders of $25 or find them on Amazon for next day deliveryYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/anuspodcast