Podcasts about Narcisa

Los burgaleses El Nido se encamina hacia su tercer disco y hoy volvemos a conocer otra de sus canciones, “Agudillo”, último adelanto ya de “La Constancia”, que esta misma tarde presentan en el Auditorio Círculo de su ciudad. Del dúo vallisoletano de folktrónica que conocemos como Delameseta, estrenamos ya su formato disco completo con cuatro canciones, de las que sólo conocíamos una. Aurora Ibáñez y Teresa Martínez alimentan el tesoro de Las voces de nuestras abuelas, con las grabaciones de mano que nos envían los oyentes de La Tarataña. Anunciamos también conciertos de El Naán y terminamos el programa con el estreno y anuncio de conciertos del dúo que forman Marta y Micó, entroncado más con la Canción de Autor. En este repertorio está todo lo dicho: 1.- Delameseta, “Pandereterita” 4:12, “Jota de la Narcisa” 3:49, “Para que me rondes” 3:19 y “Tiende la rede” 4:032.- Aurora Ibáñez (La voz de nuestras abuelas), “Consolación    1:253.- Teresa Martínez (La voz de nuestras abuelas), “Ayer te vi que subías” 2:204.- El Naán (Dúo), “La desaparición de las luciérnagas: los ajos / Nana” 7:425.- El Nido, “Agudillo” 3:28, “Perdón” 3:23 y “Lo que siento” (con Neomak) 2:586.- Marta y Micó, “Elegía y chachachá” 5:48Escuchar audio

Piše Simon Popek, bere Igor Velše. Naključje je hotelo, da sta se na slovenskih knjižnih policah skoraj hkrati pojavili knjigi, ki s sorodnim poglobljenim poznavanjem obravnavata številna področja in jih s sintezo povezujeta s številnimi na videz nepovezanimi zgodbami. Roman Siri Hustvedt Kar sem ljubil je klasična literarna fikcija, Matrica fikcije Zdenka Vrdlovca pa je primer žlahtne teoretske razprave. Impresivni deli druži avtorjeva zahteva po pozornem in razgledanem bralcu, v obe deli sta namreč avtorja zamešala nepregledno množico referenc – od filozofije, psihoanalize in umetnostne zgodovine do literature, arheologije, mitoloških zgodb in popularnih kulturnih fenomenov dvajsetega stoletja. Ampak posvetimo se Vrdlovčevi Matrici fikcije, referenčno široko zastavljeni zbirki esejev o podobi, njeni lažnosti, varljivosti, izmuzljivosti in manipulativnosti, pa tudi o zgodovini fikcije. Kot teoretik filma se je Vrdlovec vprašanj fikcijskega in dokumentarnega dispozitiva loteval že v znameniti študiji Lepota prevare, objavljeni leta 1987, v Matrici fikcije pa je zdaj zajel precej širši zamah, saj se v študiji podob med drugim posveča prazgodovinskim jamskim slikarijam, kultu mrtvih, mumificiranim truplom in obraznim maskam v antičnem Rimu, pa motivu dvojnika, optične iluzije oziroma trompe-l'oeila in nenazadnje vlogi ogledal (z motivom Narcisa), od koder potem ni daleč do slikarstva, dagerotipije, fotografije in filma. Filmu se Vrdlovec, dokaj presenetljivo, posveča predvsem v njegovi pionirski oziroma arhaični fazi z začetka dvajsetega stoletja, Matrico fikcije začenja s kratko razpravo o »dveh prvotnih scenah« iz primitivnega obdobja, ko so bile gibljive slike še sejemska zabava za amorfne množice; v dveh serijah iz prvega desetletja zgodovine filma, t.i. filmih z vlaki (s poudarkom na bratih Lumière in Prihodom vlaka na postajo La Ciotat) ter »Peeping Tom« filmčki, ki so demonstrirali izvirni kinematografski voajerizem, je Vrdlovec odkril zametek tega, kar danes poznamo kot igrani, fikcijski film. Kar takoj odpre vprašanje mimezisa, v zvezi s posnemanjem stvarnega sveta pa sta se v antičnih časih spopadla že Aristotel in Platon, čemur avtor v sklepnem delu posveti dobršno mero prostora. Pri tako zahtevnem branju, kot je teorija umetnosti, sta zelo pomembni tudi določena notranja logika in dramaturgija knjige. Pretirana suhoparnost je namreč imanentna številnim teoretskim razpravam, Vrdlovcu pa občasno uspe tekstovna »montažna podob«, značilna za sovjetske avantgardiste izpred stotih let in še posebej za znameniti »efekt Kulešova«, s katerim je zgodnji teoretik montaže dokazoval, da ni pomembno, kako so kadri posneti, temveč kako so montirani – o čemer Vrdlovec razpravlja tudi v Lepoti prevare. Še lepši primer prinaša parafraza oziroma inverzija slovitega montažnega reza v Kubrickovi Odiseji 2001, ki nas iz »sodobnosti«, obdobja dominacije filma, s preprostim preskokom ponese v prazgodovino, med jamske poslikave iz mlajšega paleolitika v Altamiri in Lascauxu, ki so Vrdlovcu dale idejo o »arheologiji podobe« in potovanju nazaj do samega »rojstnega kraja podobe«. Tezo o genezi podobe potrjuje tudi knjiga Georgesa Batailla o Lascauxu kot rojstnem kraju umetnosti. V njej je trdil, da se je homo sapiens ali anatomsko moderni človek rodil prav z umetnostjo upodabljanja, s figuracijo, še več, s figuracijo, ki ne pozna portreta paleolitskega človeka. Človek, homo sapiens, v nadaljevanju zgodovine nato prevzame vodilno vlogo in podobe predrugači po svoje; postane gospodar podob, inovator, kreator, njihov kritik in manipulator. Ker se digitalne podobe 21. stoletja Vrdlovcu zdijo neobvladljive, se jim v celoti odreče, saj meni, da ne sodijo v koncept genealogije podobe. Vrdlovec skratka ostaja v svetu analognih podob in ta svet Matrica fikcije artikulira z svojim značilnim eruditskim zamahom.

"La caridad es el camino de santidad y de unión con el Señor"

6. decembrī Latvijas Universitātes Lielajā aulā Valsts kamerorķestris Sinfonietta Rīga jau piektajā kopīgi veidotajā programmā tiksies ar seno taustiņinstrumentu spēles speciālistu Kristianu Bezeidenhautu, kurš dzimis Dienvidāfrikā, studējis Austrālijā un Ņujorkā, bet šobrīd dzīvo Londonā. Viņš teicami pārvalda gan klavieru, gan klavesīna, gan āmuriņklavieru spēli un ir arī atzīts izcils Mocarta mūzikas pazinējs. Koncertā Rīgā līdzās 18. gadsimta Vīnes klasicismam skanēs arī par “zviedru Mocartu” dēvētā Jozefa Martina Krausa mūzikam, kuru pārstāvēs Voltēra traģēdijas “Olimpija” iedvesmota uvertīra. Zinu, ka jūsu interese par Mocartu dzimusi jau bērnībā, skatoties Miloša Formana filmu "Amadejs". No šīs jūs filmas jūs daudz sapratāt vai arī jūs tikai fascinēja Mocarta mūzika? Jāpadomā. Filma iznāca 1984. gadā, un man toreiz bija pieci gadi, bet es to skatījos mazliet vēlāk, man jau varēja būt kādi deviņi vai desmit. Dažus filmas fragmentus vecāki man neļāva skatīties, piemēram, sākuma ainu ar Saljeri pašnāvības mēģinājumu. Savā ziņā tā bija bērnam bīstama filma, bet uz mani atstāja milzīgu iespaidu. Cik meistarīgi mūzika ievīta šajā filmā, cik rūpīga bijusi attieksme pret ideju! Mūzika filmā ir kļuvusi par īstu personāžu! Izraudzītie skaņdarbi uz mani atstāja neizdzēšamu iespaidu, un arī filma kopumā man patika, tur bija visu elementu veiksmīga kombinācija.  Jūs teicāt, ka agrāk kaunējāties pieminēt šo filmu, tagad vairs ne. Kāpēc kaunējāties? Tagad vairs nekaunos, manā prātā noticis kāds klikšķis. Es nezinu. Pirms gadiem desmit man tas šķita, varbūt ne gluži lēts, bet pārāk vienkāršots stāsts, lai izskaidrotu manu saikni ar Mocartu. Un tomēr domāju, ka bez šīs filmas viss būtu bijis citādāk. Ik reizi, dzirdot kādu skaņdarbu, kas ietverts šajā filmā, manī rodas spēcīgas atmiņas, tāda cieša emocionālā saikne ar šo mūziku. Ar citu komponistu darbiem man tā nekad nav bijis. Varbūt vienīgi ar Bahu, bet citu iemeslu dēļ. Vai bez šīs filmas ir vēl citi veidi, kā izskaidrot jūsu saikni ar Mocarta mūziku? Manuprāt, nav. Līdz ar šo filmu sākās mana apsēstība ar Mocarta mūziku. Un Mocarta raksturs mani fascinēja! Viņš bija tāda mistiska personība. Es domāju par šo cilvēku 18. gadsimta beigās. Kā viņš radījis tik daudz skaistas mūzikas taustiņinstrumentiem, tik lieliskas operas un daudz ko citu. Un kā centies atbrīvoties no rāmjiem, kas valdījuši 18. gadsimta beigās. Mocarts vairs nebija ar mieru, ka viņu uzskata par kalpu. Viņš gribēja būt slavens komponists. Bet tajā laikā tas vēl nebija iespējams. Pat Haidns šajā ziņā bija pateicīgākā situācijā. Viņam bija labāki apstākļi un infrastruktūra. Kad viņš devās uz Londonu, viņu kā īstu megazvaigzni. Un tad, protams, vēl ir Bēthovens. Pusaudža gados Jums negribējās vingrināties, tomēr Mocarta mūziku spēlēt gribējāt, tas kalpoja kā stimuls. Tā bija. Bet pusaudža vecumā es nemaz tik daudz nespēlēju Mocartu. Klausījos gan visu laiku. Manā prātā laikam bija kāda barjera, jo tolaik Mocartu spēlēja un mācīja ļoti specifiskā veidā. Viņa klaviermūziku vajadzēja atskaņot tieši tā un ne citādāk. Ja standartos neiekļāvies, tas nebija pieņemami. Un tad es atklāju atskaņojumus uz autentiskajiem instrumentiem. Klaviermūziku gan mazāk, vairāk simfonijas, operas un kamermūziku. Un tas pilnībā mainīja manu izpratni par to, kas IR un kas NAv iespējams šajā mūzikā. Mūziku klausīties Jūs varējāt, jo tēvs pirka CD, katru mēnesi vismaz vienu jaunu. Jā, tā bija. Tur bija arī Mocarta mūzika. Jā, daudz Mocarta mūzikas. Tā man ilgu laiku bija īsta apsēstība. Kad 1991. gadā Philiips laida klajā 180 albumu sēriju ar visiem Mocarta darbiem, es tik ļoti gribēju to iegūt. Man neizdevās, taču vecāki mani ļoti atbalstīja, iedrošināja un pirka daudz Mocarta mūzikas albumu. Un tad man pamazām mainījās prioritātes. 12-13 gadu vecumā sliecos vairāk Baha un Hendeļa virzienā. Baha mūzika mani īpaši interesēja. Bet Mocarts bijis man līdzās vienmēr, viņš bijis manas apsēstības sākums. Tolaik varējāt klausīties Baha siminora mesas 12 dažādas versijas un meklēt interpretācijas atšķirības. Kā ir tagad? Piemēram, Mocarta 20. klavierkoncertu arī klausāties dažādos variantos vai arī esat tikai jūs un partitūra? Klausīšanās aspekts pēdējo 15 gadu laikā ir ļoti mainījies. Vairs neklausos tik daudz ierakstu kā agrāk. Padsmitnieka vecumā gribēju noklausīties visus iespējamos Baha siminora mesas variantus, jo mani fascinēja atšķirības interpretācijā, atskaņošanas manierē. Klausījos, cik apjomīgs ir orķestris un koris katrā ierakstā. Protams, tas viss mani interesē arī šodien, tomēr tagad klausos nedaudz citādāk. Es pat teiktu - klīniskāk. Bet tad, ja dzirdu kaut ko patiešām izcilu, īsteni skaistu, ko varu vienkārši izbaudīt, ir skaidrs, ka atskaņojums ir izcils. Tieši pašlaik esmu pievērsies Baha siminora mesai, jo februārī to atskaņošu ar grupu The English concert. Klausījos Concerto Copenhagen un Lārsa Ulrika Mortensena ierakstu. Tur ir tikai kādi 10 dziedātāji, bet ieskaņojums ir absolūti izcils. Tik meistarīgi paveikts! Pie šāda ieraksta var atgriezties atkal un atkal, ikreizi atklājot aizvien jaunas un jaunas nianses. Tāds, lūk, atšķirīgs klausīšanas veids. Tagad vairs neklausos tik daudz prieka pēc. Pat pirms gadiem pieciem, sešiem vēl bija citādāk. Tagad klausīšanās man ir vairāk izziņas, pētniecības process. Tā tomēr ir brīnišķīga sajūta, ja mūziku var vienkārši klausīties, tai ļauties, nevis analizēt katru interpretācijas niansi. Tieši tā! Aizvien vairāk tiecamies pēc ierakstiem, kas sniedz šo sajūtu. Ļoti novērtēju savus kolēģus, kas spēj radīt ierakstus, ko gribas tikai klausīties un izbaudīt, secinot - viss paveikts ārkārtīgi skaisti. Īsta bauda klausīties! Bet repertuārs, ko klausos, ļoti bieži ir pavisam atšķirīgs no tā, ko spēlēju. Neklausos Mocarta koncdertus vai sonātes. Klausos Baha kantātes vai Šarpantjē mesas. Reizēm arī laikmetīgo mūziku? Vairs ne tik daudz. Agrāk bieži klausījos Stīvu Reihu, mani joprojām viņa mūzika ārkārtīgi interesē, šķiet neparasti skaista. Un tomēr tas nav repertuārs, ko klausos prieka pēc, kā tas ir ar Šarpantjē mūzikas albumiem. Man ļoti patīk Šarpantjē un Pērsels. Viņu mūzika bagātina, to klausoties es varu arī atpūsties. Mocarta mūziku esat daudz spēlējis un ieskaņojis. Jūsu jaunākajā, tikko novembrī klajā nākušajā albumā ietverts Mocarta 19. un 23. koncerts. Vai varat teikt, ka nu jau pārzināt un izprotat Mocarta mūziku? Nē. Aizvien mazāk un mazāk to izprotu. Bet varbūt varu palīdzēt klausītājiem un arī saviem kolēģiem paraudzīties uz šo mūziku no cita skatupunkta. Strādājot ar Mocarta klavierkoncertu vai kādu simfoniju, varu piedāvāt nedaudz atšķirīgu perspektīvu. Šajā mūzikā vēlos atklāt pēc iespējas vairāk detaļu, nianšu, degsmes un skaistuma. Nepārtraukti meklēju skaistumu un izsmalcinātību, atskaņojot šo mūziku tā, it kā tā būtu tikko rakstīta, svaiga, jauna, emocionāli saistoša. Es patiešām nezinu, vai tas, ko daru, ir pareizi vai nepareizi. Bet man šķiet, ka šāda attieksme liek Mocarta mūzikai skanēt dedzīgāk un emocionālāk. Reizēm Mocarta darbu atskaņojumos varam dzirdēt tieši pretējo. Esmu šai mūzikai veltījis tik daudz laika, ka tagad spēju tai piekļūt ātrāk. Noteikti nevaru teikt, ka tagad zinu vairāk nekā pirms gadiem 10, 15. Bet man tagad ir lielāka pieredze, spēju panāk, ka mūzika runā precīzāk un dzīvāk. Vai ir iespējams, ka vienā koncertā Mocarta ir par daudz? Mūsdienās daudzi diriģenti Mocartam līdzās liek kaut ko no laikmetīgā repertuāra, tādējādi meklējot līdzsvaru. Tā ir. Manuprāt, arī tādas programmas ir brīnišķīgas, un, ja es spētu atskaņot jauno mūziku, arī veidotu līdzīgus salikumus. Bet tāds repertuārs vienkārši nav priekš manis, un tas nekad nav bijis. Nekad neesmu juties tik ļoti saistīts ar jauno mūziku, lai spētu tajā kaut ko būtisku pateikt. Bet veidojot programmu, kurā ir tikai Mocarts vai tikai Bēthovens, rodas iespēja pilnībā ienirt viņu mūzikas pasaulē, tas ir vesels universs, ko varam mēģināt atklāt. Šoreiz programmā būs Mocarta reminora klavierkoncerts un "Prāgas simfonija", ļaujot mums ielūkoties ļoti konkrētā laika periodā 18. gasdimta nogalē, kad tapuši divi patiesi lieliski meistardarbi. Es nekad iepriekš neesmu šos darbus licis līdzās vienā programmā. Vienmēr esmu piedāvājis kādus atšķirīgākus salikumus, piemēram, ar "Jupitera simfoniju" vai vēlīno solminora simfoniju. Bet viena komponista programmas ļauj pilnībā iegrimt šo skaņražu valodā, mums mūziķiem, nav nekādu atšķirīga stila blakuslietu, kas novērš uzmanību. Tāpēc varam izcelt svarīgāko šajos skaņdarbos.  Jūs esat teicis, ka Bēthovena mūziku sabojāt ir grūtāk nekā Mocarta. Kāpēc tā? Tā ir, es joprojām tā domāju. Varbūt tas ir nedaudz strīdīgs apgalvojums, gan jau kādi citi mūziķi man iebilstu un censtos pārliecinā par pretējo. Bet reizēm varam dzirdēt, piemēram, kādu jauniešu orķestri vai ne īpaši izcilu orķestri, kas Bēthovena simfoniju spēlē gluži pieņemami. Jo Bēthovena mūzikā ir tas enerģijas līmenis, kas jūtams teju vai fiziski. Bet, ja tas pats orķestris spēlē, teiksim, Mocarta Prāgas simfoniju, Mibemolmažora simfoniju vai arī kaut ko no Haidna, gribas teikt: lūdzu, beidziet! Kāpēc tas izklausās tik briesmīgi? Es nezinu! Joprojām nezinu, kāds ir iemesls, vēl neesmu to sapratis. Bet zinu, ka Mocarta mūzika prasa nepārtrauktu lēmumu pieņemšanu un meistarību. Vajag tādu īpašu iztēli, kas, līdzīgi kā darbojoties ar fotošopu, kaut ko mazliet paspilgtina, tā, lai tās vairāk izceltos. Varbūt acu krāsu vajag spilgtāku, varbūt ādaskrāsu gaišāku, varbūt kontrastu - lielāku. Bet Mocarta mūzikā tas nenotiek pats no sevis. Jāstrādā, lai ritms ir skaisti izcelts, lai būtu pareiza balsu hierarhija, jāsaprot katras takts uzbūve. Frāzējums varbūt pat nav tik svarīgs kā gramatika. Es te tagad jaucu kopā dažādas metaforas. Bet gribu teikt, ka sintaksei ir jābūt skaistai un rūpīgi izstrādātai, tikai tad šī mūzika atstās iespaidu uz klausītājiem. Bēthovena mūzikā ir tiešāks spēks, tās ir neapturamas emocijas, Mocarts ir daudz smalkāks. Jūs minējāt, ka Mocarts prasa nepārtraukti pieņemt lēmumus. Jums tas patīk? Arī dzīvē esat izlēmīgs? Ļoti labs jautājums, neviens man to nebija prasījis! Pirmajā brīdī gribas atbildēt: "Nē, man īsti nepatīk pieņemt lēmumus. Jo manā dzīvē jau tā ir tik daudz lietu, kas ieplānotas kalendārā trīs gadus uz priekšu, piemēram, šajā dienā tu būsi Rīgā un spēlēsi šo koncertu, tagad tev jāizvēlas lidojums, un tagad taksometrs, un kurā viesnīcā nakšņosi. Diendienā tik daudz kas ir saistīts ar lēmumu pieņemšanu. Tāpēc šķiet, ka mana atbilde būtu nē. Bet, ja runājam par lēmumu pieņemšanas procesu mūzikā, tad labākais ir tas, ka šos lēmumus tu pieņem kopā ar pārējiem mūziķiem. Jo tu jau vari viens pats mājās prātot par kādu konkrētu fragmentu un domāt, ka šo spēlēsim tā un tas atkal būs tā, bet formu veidosim tā... Bet kad mēģinājumā tu dzirdi iztēlototo orķestra sniegumā, saproti: nē, tas ir par daudz, bet te - par maz, bet šī vispār nav pareizā doma! Mēģinājums ir gluži kā tāds sarunu process. Man ļoti patīk kopā ar kolēģiem izmēģināt dažādas idejas. Tad ir sajūta, ka visu darām kopā. Es tiešām neesmu  no tiem cilvēkiem, kas nāk uz mēģinājumu un saka, ka obligāti jābūt tā un tā. Nu, varbūt ir daži izņēmumi attiecībā uz kādām pamatlietām. Bet vispār man šis process ļoti patīk. Un Jūs tiešām arī mājās prātojat par kādiem skaņdarba posmiem? Jā, noteikti. Reizēm naktī, guļot ienāk prātā kāda doma, vai mazgājoties dušā saproti, ka tai mūzikas frāzei vajadzētu lielāku diminuendo, vai, ja šis motīvs būtu īsāks, tad atrisinātos tās problēmas. Jo īpaši tas attiecas uz ornamentu veidošanu. Tos es biežāk nosapņoju, nevis izdomāju, sēžot pie klavierēm. Šoreiz programmā būs Mocarta 20.tais klavierkoncerts, tas ir viens no diviem Mocarta klavierkoncertiem, kas rakstīti minora tonalitāte. Vai minoram šeit ir kāda īpaša nozīme? Es nezinu, ko Mocarts domājis ar šo minoru. Var diezgan skaidri redzēt, kā viņš visas savas karjeras laikā kaut ko izmēģina, kā strādā pie kādas idejas un kā to attīsta. Reizēm viņš darbojas kā tāds detektīvs. Kaut ko izmēģina un izstrādā.  Piemēram, pūšaminstrumentiem viņš raksta noteiktās tonalitātēs. Un Mocarta brieduma perioda darbos labi var redzēt, kā konkrētu tonalitāti viņš saista ar noteiktu afektu, drāmu, DNS. Un ir skaidrs, ka reminors viņam kļūst par īstu iedvesmas avotu. Jo īpaši operā "Dons Žuans" viņš to ļoti spēcīgi izmanto. Un arī reminora klavierkoncertā šī tonalitāte, tās krāsas nosaka to, ka Mocarts raksta orķestrim, kādus akordus tam piešķir. "Dona Žuana" ievadakords vispār ir pasaules dārgums, to vajadzētu iekļaut UNESCO pasaules mantojuma sarakstā! Tātad reminors Mocartam kļūst par tādu kā laboratoriju eksperimentiem. Viņam vienmēr ir tas kontrasts starp tumsu un gaismu, starp reminoru un Remažoru, viņš starp tiem migrē turp un atpakaļ, tas rada īpašu noskaņu un raksturu. To labi varam redzēt operās "Dons Žuans", "Figaro kāzas" un "Cosi fan tutte", kur liela nozīme minora tonalitātēm. Tās Mocartam ir ļoti teatrālas un kļūst par treniņu platformu, dodot iespēju eksperimentēt. Prāgas simfonija ir Remažorā, bet arī tur jūtam šo minora un mažora mijiedarbību. Tieši tā! Adagio ievadā Mocarts it kā eksperimentē, simfonija ir mažorā, bet sākumā ir oktāvas un kādu brīdi nemaz nevar saprast, vai tas ir mažors, vai minors. Tad parādās pirmais akords - apvērsums ar la diezu basā, tas ir fadiezmažora akords ar atrisinājumu siminorā. Un tad pēkšņi skaidri parādās re minors. Visu laiku ir sajūta, ka Mocarts eksperimentē ar mažoru un minoru. Mazliet līdzīgi kā tas ir Šūbertam. Bet svarīgi atcerēties, ka 18. gadsimtā šādas spēles kaut kas jauns. Jā, klavierkoncertos tā mēdz notikt, bet simfonijā Remažora un reminora tēlu mija skan tik moderni, patiešām neparasti. Ļoti svarīgs aspekts šajā "Prāgas simfonijā". Šī simfonija ir trijās, nevis četrās daļās. Nav menueta. Vai tam ir kāds sakars ar Prāgas publikas gaumi? Labs jautājums. Es nezinu. Lielisks jautājums. Tāpat tas ir arī "Parīzes simfonijā". Nezinu, kāds tam ir pamatojums. Bieži vien šādu simfoniju malējās daļas ir enerģiskas, vitālas, bet otrā daļa - daudz maigāka, savā ziņā tāda nevainīga. Pavisam citādāk nekā "Jupitera" simfonijā un solminora simfonijā, kur tā sauktās lēnās daļas ar patiešām izvērsti, nopietni, skaņdarbi, neparsati un izsmalcināti. Bet "Prāgas simfonijā" vidējo daļu caurstrāvo naivums, nevainība un aizkustinoša vienkāršība. Te atkal ir Solmažors, ko Mocarts šādām noskaņām bieži izmanto. Ļoti mierīga daļa. Domāju, tas tāpēc, ka malējās daļās viņš vēlējies maksimālu enerģiju un dramatismu. Un tad nolēmis, nu labi, klausītājiem vajag mazliet laika atelpai, ļaušu viņiem atpūsties otrajā daļā. Varbūt, ka tā. Es nezinu. Pirmā daļa sākas ar diezgan lēnu ievadu, tas ir visai izvērsts. Varbūt tāpēc, lai kompensētu menueta neesamību, lai kopējā hronometrāža būtu līdzvērtīga četrdaļībai? Domāju, ka Jums taisnība. Mocarts ļoti jūtīgi izturas pret šādiem strukturāliem elementiem. Pirmā daļa ir patiešām apjomīga. Ne tikai hronometrāžas ziņā. Tā ir arī ārkārtīgi piesātināta, tur ir daudz muzikālā materiāla. Mocarta mūzikā daudziem ar to nācās cīnīties. Piemēram, klavieru kvartetos. Zināmu iemeslu dēļ tie nebija tik populāri. Jo tur ir tik daudz mūzikas materiāli, tik daudz melodiju un dažādu raksturu, kas zibenīgi seko cits pēc cita. Domāju, tieši tāpēc Mocarts "Prāgas simfonijā" nolēmis nerakstīt ceturto daļu. Jo tā labuma jau tā ir daudz. Šajā simfonijā pūšaminstrumentiem ir liela nozīme. Jā, noteikti. Pilnībā piekrītu. Šis ir svarīgs aspekts, jo patiesībā tā ir pirmā reize, kad Mocarts eksperimentē ar pūšaminstrumentu neatkarību. Esam jau gan ko līdzīgu redzējuši klavierkocertos pāris gadus pirms šī - pirms 1786. gada. Taču šeit tā ir pirmā reize simfonijā. Mocarts pirmo reizi izceļ pūšaminstrumentus starmešu gaismā, viņiem ir patstāvīga loma, viņi spēlē paši savu tēmu, nevis tikai dublē stīgas. Un rodas nemitīgs dialogs, mūzikas materiālu parāda te pūšaminstrumenti, tad atkal stīgas. Un katra grupa atspoguļo savu tēlu. Apbrīnojami, kā Mocarts to visu panācis, teju bez jebkāda iepriekšējā treniņa. Jā, ir bijuši klavierkoncerti, bet te, simfonijā, Mocarts izlemj, ka izmantos šo ideju. Un rezultāts ir tik augstā līmenī. Perfekts, izsmalcināts, detalizēts. Kaut ko līdzīgu tolaik nespēj neviens cits skaņradis. Vai diriģējot Jūs arī domājat par to, kā Mocarts pats vadījis atskaņojumu? Skaidrs, ka tā nebija diriģēšana tādā 19. gadsimta izpratnē. Nebija gan. Un atkal jāsaka: kurš gan zina, kā patiesībā noticis. Skaidri gan zinām, ka šajos lielajos koncertos Prāgā un Vīnē Mocarts spēlējis arī klavieres, līdzās klavierkoncertam bijusi simfonija, Mocarts, droši vien arī mazliet spēlējis solo, varbūt improvizējis, vabūt atskaņojis kādu fantāziju vai variācijas. Daudzi pētnieki centušies noskaidrot, kāda šajos koncertos bijusi Mocarta loma. Daži mani kolēģi domā, ka Mocarts varbūt nospēlējis solo savā klavierkoncertā un tad apsēdies klausītāju vidū, lai izbaudītu savu simoniju kā tādu reverensu par godu viņam. Bet es gan nevaru iedomāties, ka Mocarts, kuram bija tik svarīgi visu kontrolēt, būtu ko tādu pieļāvis. Mēs zinām, ka Vīnē viņš spēlējis "Bēgšanā no serāla", bijis pie klavierēm viarākās izrādēs, tad pēc laika atgriezies un secinājis, ka orķestris ir pārāk atslābis, vajag būt pie klavierēm un enerģiju mazliet pavirzīt. Tā ir mūzika bez īstiem rečitatīviem un continuo, tomēr Mocarts spēlē līdzi un kļūs par dzinējspēku, kas rada impulsus. Varbūt tikai, paceļot uzacis vai pamājot ar roku. Esmu drošs, ka pārējie mūziķi Mocartu tā arī uztvēra: viņš bija par atskaņojumu atbildīgs, viņš radīja impulsus, enerģiju. Ne jau nu ierādīja katru taktsdaļu, bet sniedza tādu kā emocinālo karti, ļaujot mūziķiem saprast, kādam vajadzētu būt skanējumam. Nevaram runāt īsti par diriģēšanu, drīzāk par cilvēku iedvesmošanu. Bet kas zina, varbūt viņš brīžiem cēlās kājās, mazliet pavicināja rokas, pamāja ar galvu, varbūt spēlēja continuo simfonijā, un darbojās pie klavierēm līdzīgi kā spēlējot klavierkoncertu. Kas to lai zina. Varbūt atskaņojuma vadīšana notika tandēmā ar orķestra koncertmeistaru. Skaidru liecību ir maz, daudz ko nākas minēt. "Prāgas simfonijas" partitūras autogrāfs liecina, ka darbs pabeigts 1786. gada 6. decembrī. Tagad tieši sestajā decembrī to atskaņosiet, būs jubilejas gadskārta! Patiešām! Cik brīnišķīgi. Skaista sakritība. Tādas gadās reti. Šodien runāju ar vienu no televīzijas cilvēkiem par mūziku Adventes un Ziemassvētku laikā, kad ir tik daudz emociju, tā ir kāda īpaša enerģija. Un "Prāgas simfonija" trāpa tieši sirdī. Bet šī simfonija ir tik neparasts ideju apvienojums. Te ir tik daudz kontrapunkta, it kā līdzīgi kā Hendelim un Baham, bet vienmēr izklausās emocionāli piesātināti. Piemēram, "Burvju flautas" uvertīra. Kā viens cilvēks spēj uzrakstīt uvertīru fūgas stilā tā, lai tā tomēr būtu visbrīnišķīgākā un dzīvespriecīgākā mūzika pasaulē?! Vai arī "Jupitera simfonijas" fināls. Uz papīra viss izskatās teju vai klīniski, tik pareizi un inteliģenti, tik pārdomāti. Bet galu galā, kad klausies, teju pacelies spārnos. Šķiet, ka tu lidotu, it kā kāds būtu pacēlis tevi gaisā un iemetis prieka mākonī. Nezinu nevienu citu komponistu, kura mūzika spēj radīt šādu sajūtu, visu laiku prieka asaras. Kādas klavieres spēlēsiet šajā koncertā, vai tas būs mūslaiku instruments? Jā, mūsdienu klavieres. Šķiet, pašā pirmajā reizē, kad spēlēju ar orķestri Sinfonietta Rīga, mēs eksperimentējām, Bēthovena koncertā spēlēju klavieres, kas tika vestas no Igaunijas. Bija interesanti, tomēr orķestra mūsdienu instrumenti nomāca seno klavieru skaņu. Instrumenti jāizvēlas ļoti uzmanīgi, jādomā par balansu, lai efekts nav nomācošs, lai mūziķi nejūtas saspringti, bet var izbaudīt spēlēšanu. Bet koncertā es šīs mūsdienu klavieres nemaz visu laiku nespēlēšu skaļi, klavieres iekļausies kopējā tekstūrā. Tādu principu, manuprāt, vajadzētu ievērot. Gribu, lai ir tā kamermuzicēšanas sajūta, īpaši mijiedarbojoties klavierēm un pūšaminstrumentiem. Mocarts pats bijis solists sava 20. klavierkoncerta pirmatskaņojumā un viņš esot spēlējis instrumentu, kam arī pedāļu klaviatūra bijusi. Jā, tā ir. Īsti nezinu, kā šis instruments izskatījies. Ir bijuši vairāki mēģinājumi rekonstruēt šādu instrumentu. Jādomā arī, kāpēc Mocartam ko tādu vajadzēja. Tas ir tāds dīvaini brīnišķīgs koncepts, nezinām, kāpēc. Lai paspilgtinātu basa līniju un paplašinātu klavieru reģistru? Jā, droši vien. Mocarts ieviesis teju vai Holivudas, Brodvejas cienīgu izrādīšanās elementu, kas atspoguļo viņa neticamo talantu. Šie koncerti jau tika rīkoti, lai izrādītos, Mocarts bija to centrā. Par šīm programmām zinām diezgan daudz un ir skaidrs, ka Mocarts bija ļoti augstās domās par sevi, viņš bija tāds Narcisa tips, kurš alka būt uzmanības centrā. Visai sarežģīta personība, domāju, nebija viegli būt ar viņu kopā. Mēs daudz runājām par Mocarta mūziku, bet programmā būs arī uvertīra, kuras autors ir Jozefs Martins Krauss, dēvēts arī par "zviedru Mocartu". Krauss ir neparasta personība, Mocarta laikabiedrs. Spožs vizionārs, to viņa mūzikā var labi redzēt. Īpaši stīgu kvarteti ir lieliski darbi. Bet lielformas darbi, kā piemēram, dominora simfonija, ir tiešām revolucionāri. Pavisam nemanāmi, tomēr jūtam Haidna ietekmi, arī Sturm und Drang vēsmas. Tas nav precīzs "Vētru un dziņu laikmets", bet tikai tāda atblāzma, iedvesma. Bet Krausam patīk minora tonalitātes, stūrainas melodijas, drāma un kaislības, sava veida ekstrēmisms, to visu labi var dzirdēt Krausa uvertīrā, ar ko sāksim koncertu. Ļoti atkailinātas, tiešas emocijas. Kaut kādā veidā Krauss malziet atgādina Gluku, ir kādas līdzības orķestra krāsās. Šī uvertīra rakstīta stīgām, divām obojām un fagotiem, kā arī mežragiem. Esmu dažas reizes šo uvertīru atskaņojis kā prelūdiju reminora klavierkoncertam. Tas labi der, jo uvertīra beidzas ar dominanti. Ļoti smalks darbs, skaists, ar teju dēmoniskām instrumentālajām krāsām. Ir lēns ievads - adagio, ko spēlē tikai stīgu instrumenti, tas skan visai antīki, it kā no baroka iedvesmojoties. Bet tad seko Allegro ma non troppo, un te jau jūtam gluži vai Karlu Fīlipu Emanuelu Bahu. Tāds nervozs satraukums, ekscentriski, dramatiski kontrasti. Kā pretstats Mocartam šī uvertīra der ļoti labi. Krauss būtu pelnījis, lai viņa mūziku atskaņo biežāk. Viņam ir laba kamermūzika, lieliskas vijolsonātes, viņš radījis arī, šķiet, trīs klaviersonātes, tie ir ļoti labi darbi. Lieliska mūzika, ko arī kopā ar orķestri atspoguļosim. Teicāt, ka šī uvertīra beidzas ar dominanti. Tātad spēlēsiet bez pārtraukuma un uvertīrai sekos Mocarta klavierkoncerts? Jā, tieši tā. Gluži kā prelūdija, kam atacca seko koncerts. Paldies par sarunu, paldies par Jūsu laiku. Lai patīkams laiks šeit Rīgā! Bija prieks parunāt par mūziku, iedziļināties repertuārā, kas būs šajā programmā. Jo ļoti bieži man uzdod jautājumus par dzīvi. Arī tas ir labi. Bet aicinu tiešām izbaudīt šos divus Mocarta pasaules klases skaņdarbus, kas tapuši vienā laika periodā. Jūtos ļoti pagodināts, ka varu atskaņot šo mūziku, sadarbojoties ar Sinfonietta Rīga lieliskajiem mūziķiem. Man ir sajūta, ka spēlē pareizo iemeslu dēļ, cenšoties sasniegt vislabāko rezultātu.  Šodienas mēģinājums man tiešām sildīja sirdi. Redzēju, cik ļoti cilvēki izbauda procesu, izbauda šo mūziku un ir lepni par rezultātu. To ir ļoti patīkami redzēt, jo mēs jau strādājam ļoti cītīgi. Bet darba procesā ir tik daudz prieka un lepnuma! Šorīt jutos ļoti noguris. Pusdesmitos devos uz ģērbtuvi, man tā nāca miegs, ka gribēju divdesmit minūtes pagulēt, nesapratu, kā tikšu galā ar mēģinājumu. Bet līdz ar simfonijas pirmajām taktīm viss nogurums pagaisa. Nav iespējams būt neapmierinātam, atskaņojot tik brīnišķīgu mūziku. To gribēju pateikt noslēgumā.      

Njegovo ime spominja na Narcisa iz grške mitologije, na vase zagledanega lepotca, in na spomladansko cvetico narciso. Sveti Narcis pa je bil škof v Jeruzalemu, potem ko je bilo mesto spet …

Siga a gente em http://youtube.com/@diariodebordopod

"Nebulosas", obra mais conhecida de Narcisa Amália, é uma das novas obras de leitura obrigatória para os estudantes que participarão do vestibular da Fuvest 2026, além de ser um dos três lançamentos que chegarão ao catálogo da Penguin-Companhia. Neste episódio, o editor Antônio Xerxenesky conversa com Anna Faedrich, pesquisadora e professora de literatura brasileira do Instituto de Letras da Universidade Federal Fluminense, sobre a vida e a obra da poeta, tradutora e professora Narcisa Amália, considerada a primeira mulher jornalista profissional no Brasil. Créditos: Edição: Paulo Júnior Produção: Alex Caires Apresentação: Antônio Xerxenesky

Narcisa es una gata muy bonita que adora salir a pasear por la ciudad creyendo que es la gata más hermosa del mundo. Sin embargo, un percance le ayudará a aprender que la belleza no es un valor tan importante. Mi Instagram: ⁠https://instagram.com/cuentos_e_historias_infantiles⁠ Mi Facebook: ⁠https://www.facebook.com/CuentosHistoriasMexico⁠

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Maliarka Klaudia Kosziba v rozhovore vysvetľuje prečo čerpá z mytológie aj z filozofie.

Saints du jour 2023-12-08 L'Immaculée Conception et Sainte Narcisa de Jesus Martillo Moran by Radio Maria France

"La caridad es el camino de santidad y de unión con el Señor"

The Grue-Crew review SISTER DEATH (2023, Netflix) on Gruesome Magazine episode 488. Jeff Mohr from Decades of Horror: The Classic Era, Crystal Cleveland, the Livin6Dead6irl from Decades of Horror: 1980s, award-winning filmmaker Christopher G. Moore, lead news writer Dave Dreher, and Doc Rotten share their thoughts about this week's frightening addition to streaming horror films. Warning: possible spoilers after the initial impressions! SISTER DEATH (2023, Netflix) Synopsis: After a childhood marked by a miracle, Narcisa, a novice nun joins a school to teach young girls. Available Streaming on NETFLIX Beginning October 27, 2023 Directed by: Paco Plaza Written by: Paco Plaza and Jorge Guerricaechevarría Cast: Aria Bedmar, Maru Valdivielso, Luisa Merelas, Chelo Vivares, Sara Roch, Olimpia Roch, Adriana Camarena, Martina Delgado   FOLLOW: Gruesome Magazine Website http://gruesomemagazine.com YouTube Channel (Subscribe Today!) https://youtube.com/c/gruesomemagazine Instagram https://www.instagram.com/gruesomemagazine/ Facebook Group: https://www.facebook.com/groups/HorrorNewsRadioOfficial/ Doc, Facebook: https://www.facebook.com/DocRottenHNR Crystal, Facebook: https://www.facebook.com/living6dead6irl Crystal, Instagram: https://www.instagram.com/livin6dead6irl/ Jeff, Facebook: https://www.facebook.com/jeffmohr9 Dave, Facebook: https://www.facebook.com/drehershouseofhorrors

Bienvenidos a Podcastwood Críticas. El programa semanal sobre estrenos de cartelera en el que desde Podcastwood compartimos nuestras primeras impresiones sobre la rabiosa actualidad cinéfila tras salir del primer pase disponible. Hoy os contamos, ⚠ SIN SPOILERS, que nos ha parecido: HERMANA MUERTE | Podcastwood Críticas El director español Paco Plaza (Rec, Quien a Hierro Mata, La Abuela) nos sumerge de nuevo en el cine de terror de la mano de Hermana Muerte. Secuela directa de su anterior producción, Verónica, que funciona como precuela de la misma. Hermana Muerte nos sitúa en la España de la posguerra, y nos narra la historia de Narcisa, una joven novicia con poderes sobrenaturales, empieza a trabajar de profesora en un antiguo convento, ahora colegio para niñas. Conforme pasen los días, los extraños sucesos y las situaciones cada vez más inquietantes que la atormentan terminarán por llevarla a desenredar la madeja de secretos que rodean al convento y acechan a sus moradoras. Camina junto a Fran Maestra por El Paseo de la Fama escuchando esta crítica sobre Hermana Muerte. ➖➖➖➖➖➖➖➖➖➖➖➖ ⭐ ÚNETE AL PASEO DE LA FAMA DE PODCASTWOOD Si te gusta Podcastwood y quieres ayudarnos a seguir progresando con este proyecto convertirte en fan y parte de nuestra comunidad activando el botón "APOYAR" en ivoox. Con ello recibirás las siguientes ventajas: ▪️ Acceso al grupo privado de Telegram de Podcastwood ▪️ Acceso en ivoox a los programas exclusivos para fans ▪️ Capacidad para elegir contenidos para los programas exclusivos para fans ▪️ Enlaces privados para asistir a las grabaciones de los programas para fans ▪️ Críticas semanales de los estrenos de la semana en salas y/o servicios de streaming Comparte día a día tu pasión por el cine junto a nosotros y otros amigos cinéfilos enamorados del séptimo arte. Acomódate, ¡te estábamos esperando! ➖➖➖➖➖➖➖➖➖➖➖➖ SÍGUENOS EN TWITTER: @podcastwood @fran_maestra @gcuelliga INSTAGRAM: podcastwood BLOGGER: podcastwood.blogspot.com ✉ CONTACTANOS EN podcastwoodmail@gmail.com ➖➖➖➖➖➖➖➖➖➖➖➖ DISFRUTA DE LA BSO DE PODCASTWOOD EN SPOTIFY: https://open.spotify.com/playlist/2FYBsPmqMxvs9gtgrUtQ62 ➖➖➖➖➖➖➖➖➖➖➖➖ CREW ▪️Producción: Fran Maestra y Gonzalo Cuélliga ▪️ Redacción: Fran Maestra y Gonzalo Cuélliga ▪️ Sonido y grafismo: Fran Maestra ▪️ Entorno digital: Gonzalo Cuélliga ▪️ Conducción: Fran Maestra ▪️ Locución: Marta Navas Podcastwood | 2023 ¿Quieres anunciarte en este podcast? Hazlo con advoices.com/podcast/ivoox/1893327

Narcisa Lecușanu (47 de ani) este una dintre cele mai importante jucătoare de handbal din România: vicecampioană mondială cu naționala, campioană cu Oltchim Rm. Vâlcea, câștigătoarea Cupei Cupelor cu Ikast Handbold, dar și vicecampioana Germaniei, cu Borussia Dortmund. Aceasta dezvăluie momentele grele prin care a trecut în carieră și recunoaște că a făcut și pași greșiți, pe care i-a regretat mai târziu # Povestește cum a crescut într-o familie cu părinți surdo-muți și cum era să fie călcată de tren în fața blocului din Bacău

Alina Pușcaș vine la o poveste alături de mine. Povestim despre începuturile sale în lumea modelingului anilor 2000, cum a ajuns să fie protagonista serialului "Narcisa sălbatică", cum i-a schimbat viața prezentarea show-ului "Te cunosc de undeva", care era relația sa cu tatăl său și ce a aflat despre acesta la înmormântarea lui, cum se mint noile generații că vor avea succes în mediul online și multe, multe atele.

En esta ocasión Torcuata se adentrará en la música y los playlist.En la sección Un día en la historia nos espera La Decena Trágica.En el noticiario y eso qué, Torcuata, Narcisa y Garnufo conocerán al Zipi-ZapiensY el cuento corto corre por cuenta de Juan Pablo Balcells Guion: Rodrigo Limón. Producción: Begoña Lomelí. Producción y realización: Raúl Peguero. Invitados especiales: Tania Campos, Steve Huerta y Juan Pablo Balcells. Sistema Jalisciense de Radio y Televisión. Visita: www.jaliscoradio.com

No terceiro episódio da temporada “Profissões: o que você vai ser quando crescer?”, o Pele Preta recebe Rosa Dias (Esteticista Cosmetóloga, Especialista em Pele Negra) e Narcisa Góes (Maquiadora especializada em pele negra).A nova temporada do Pele Preta apresenta profissionais negros de destaque que estão em áreas ou ocupam cargos majoritariamente dominados por pessoas brancas. A ideia é mostrar como eles desenvolvem uma perspectiva afroncentrada em suas respectivas profissões. A temporada Profissões tem apoio do Vale do Dendê, do Ibahia e da Esquina Comunicação.

V epizodi #105 je bila moja gostja Aleksandra Kocmut Vrhovnik, slovenska pesnica in pisateljica. Znana tudi kot Loti Palmer. Poleg svojega literarnega ustvarjanja je tudi terapevtska svetovalka, s poudarkom na odnosih z osebami z narcistično motnjo in sorodnimi patologijami, ter empatoterapevtka. V epizodi se dotakneva naslednjih tematik: Zgodovina narcisoidne osebnostne motnje Kdo je soodvisnik? Mejna osebnostna motnja Resna depresija in sezonska depresija Psihološki vplivi, vzroki in vzorci Kje narcisi sebi škodijo? Zdravljenje s psihadeličnimi substancami Zdravljenje narcizma Kdo je Loti Palmer? Vloga žrtve Kaj razumeš pod besedo ljubezen? Vprašanje prejšnjega gosta ============================= Prijavi se na newsletter in vsak petek prejmi 5 linkov, ki jih ustvarjalci podkastov Dialog in RE:MOAT izberemo tisti teden (knjige, dokumentarci, članki, podkast epizode …). =============================

Laura Garavaglia"Europa in Versi"Festival Internazionale di Poesia"La felicità poetica"https://europainversi.org Dal 19 al 21 maggio è protagonista la poesia, luogo privilegiatodi una “felicità interiore”, raramente raggiungibile con altri mezzi. A Villa Gallia a Como e a Villa Marzorati Uva, con il coinvolgimento degli studenti dell'Università dell'Insubria, del Liceo Volta, del Liceo Ciceri, e con un reading itinerante dedicato a Plinio Europa in versi, Festival Internazionale di Poesia organizzato dalla Casa della Poesia di Como e diretto da Laura Garavaglia, festeggia la tredicesima edizione dal tema “La felicità poetica” con la partecipazione di poeti di rilevanza nazionale e internazionale nella cornice di Villa Gallia a Como e, per la prima volta, in quella di Villa Sormani Marzorati Uva (Missaglia, LC). Il Festival apre le porte della sua XIII edizione venerdì 19 maggio, con una serie di incontri e dialoghi con i poeti riservati agli studenti delle scuole superiori di secondo grado di Como (Liceo classico e scientifico A. Volta, Liceo Orsoline San Carlo) e dell'Università dell'Insubria (sede di Sant'Abbondio).I giovani studenti avranno occasione di presentare le personali rappresentazioni creative ispirate alle poesie dei poeti partecipanti al Festival, realizzate attraverso diverse forme d'arte (dalla musica alla danza, dalla traduzione alla pittura, dalla fotografia al teatro).Alle ore 11 saranno presenti l'Assessore all'Università, Ricerca e Innovazione di Regione Lombardia Alessandro Fermi e l'Assessore alle Politiche Giovanili del Comune di Como Francesca Romana Quagliarini. La giornata di sabato 20 maggio, nell'affascinante Villa Gallia, inizia con un incontro dedicato agli studenti del Liceo Teresa Ciceri, in dialogo con i poeti ospiti, e prosegue con il cuore pulsante del Festival: l'incontro e reading con i poeti internazionali e italiani, accompagnati dalle musiche del Chitarrista Paolo Lucchesi e con l'introduzione a cura di Roberto Galaverni, critico letterario e giornalista del Corriere della Sera. Durante la giornata i reading saranno alternati da pièce teatrali a cura della Compagnia di Teatro Mumble di Capiago. L'edizione 2023 di Europa in versi presenta anche una sorprendente novità: sarà presentato in anteprima il nuovo libro del poeta americano Bill Wolak: fotografo e artista di collage di fama internazionale statunitense, in questo testo (edito da I Quaderni del Bardo Edizioni di Stefano Donno) Wolak unisce poesia, prosa e immagini, per esplorare le connessioni tra l'essere umano e la natura. “Una perla che può solo assaporare il mare” esplora le connessioni tra l'Eros e la Felicità, due categorie dell'esistere apparentemente antitetiche: Wolak porta il lettore in un viaggio ideale durante il quale si percepiscono forti emozioni ed è indotto a riflessioni che generalmente sorgono dinanzi ad un “dionisiaco” esplosivo, proprio come quello del poeta. Una danza di Eros e Felicità, sentimenti connessi perché entrambi donano una sensazione di benessere e soddisfazione: come afferma l'editore Stefano Donno “Wolak è in grado di regalare Meraviglia e Sensualità in maniera davvero incredibile, unendo due codici dall'alto potenziale immaginifico come Poesia e Fotografia.” I poeti provengono da diverse Nazioni di tutto il mondo e il Festival vedrà la partecipazione di Kang Hyung Shik, Console Generale della Repubblica della Corea del Sud a Milano, Alessandro Rapinese, Sindaco del Comune di Como, Enrico Colombo, Assessore alla Cultura del Comune di Como, e Francesca Caruso, Assessore alla Cultura di Regione Lombardia. Quattro i partecipanti italiani al Festival, tra cui due giovani poetesse:Laura Capra, specializzata nei settori risorse umane e comunicazione, firma recensioni e interviste per diverse testate e ha pubblicato alcune raccolte di poesie. È poetessa italiana scelta per il progetto europeo di poesia Versopolis, Programma Creative Europe dell'Unione Europea.Deborah Zingariello, studentessa di Comunicazione presso l'Università degli Studi dell'Insubria, nel 2022, ha sperimentato per la prima volta con “Narcisa” una nuova modalità teoretico-performativa: un progetto per presentare al pubblico dei social network la Poesia. Le sue opere hanno ricevuto segnalazioni al Premio Europa in versi e al Premio Letterario Milano International.Giuseppe Bova, ha ricevuto il Premio alla cultura della Presidenza del Consiglio dei Ministri 1974 ed è stato soprintendente del Teatro comunale “Francesco Cilea” di Reggio Calabria. È residente del prestigioso Premio Rhegium Julii. Negli anni ha pubblicato più di dieci libri di poesie, vari saggi critici e prefazioni e ha vinto importanti premi letterari.Emilio Coco, ispanista, poeta e traduttore, è autore di diverse antologie di poesia spagnola e anche italiana tradotta in spagnolo in Messico, Spagna e Colombia. Nel tempo, ha ottenuto diversi premi e riconoscimenti, tra cui nel 2003, il titolo per meriti culturali di commendatore dell'ordine “Alfonso X el Sabio”, conferitogli dal Juan Carlos I. Diverse le nazionalità dei poeti presenti: Kieu Bich Hau, poetessa, narratrice e giornalista del Vietnam, vincitrice di numerosi premi di letteratura a livello nazionale e internazionale; dalla Corea del Sud partecipano Kooseul Kim, Professoressa Emerita di Letteratura inglese all'Università di Hyupsung, Dongho Choi, anche critico letterario, studioso di letterature orientale e occidentale, Ko Doohyun, giornalista della principale testata nazionale di Seoul; dalla Russia,Julia Pikalova, laureata in Lettere all'Università di San Pietroburgo e in Amministrazione del Business presso l'Università Statale della California, si dedica ormai totalmente alla poesia; dagli Stati Uniti, William Wolak, fotografo, artista del collage, nelle sue poesie, apparse in oltre cento riviste, esplora l'eros; dalla Colombia, Carlos Velasquez Torres, traduttore, musicista, accademico e co-direttore dell'Americas Poetry Festival; dall'Ungheria, Attila Balazs, le cui opere sono state tradotte in 20 lingue ed è stato invitato a diversi festival letterari in tutto il mondo; dal Kosovo, Jeton Kelmendi, professore presso l'AAB University College e membro attivo dell'Accademia europea delle scienze e delle arti di Salisburgo, in Austria. Nella serata di sabato 20 maggio è prevista la cerimonia di premiazione dei vincitori dell'VIII edizione del Premio Europa in versi e in prosa che vede Massimo Calvi, vincitore per la sezione narrativa edita e Valeria Rosselli, vincitrice per la sezione poesia edita. I Presidenti di giuria dell'edizione 2023 sono Milo De Angelis, una delle voci più importanti della poesia italiana contemporanea, e del Professor Gianmarco Gaspari, ordinario di Lingua e Letteratura Italiana all'Università degli Studi dell'Insubria.Nella Sala Ovale di Villa Gallia sarà allestita una mostra di opere ispirate alle poesie degli autori ospiti al Festival realizzate dagli studenti della sezione Liceo Artistico Paolo Carcano, e visitabile per tutta la durata della manifestazione. Gli studenti di Enaip Como accoglieranno il pubblico durante l'evento. Domenica 21 maggio, dalle 10:30 alle 12:30 l'appuntamento è con “In cammino verso la felicità con Plinio e i poeti di Europa in versi”: un reading itinerante insieme ai poeti partecipanti al Festival, in collaborazione con l'Associazione Sentiero dei Sogni, nei luoghi di interesse storico e architettonico della città di Como. In particolare, in occasione del bimillenario della nascita di Plinio il Vecchio, davanti al Duomo, nella cui facciata spicca la statua del grande scrittore saranno letti brani dalla Naturalis Historia.Nel pomeriggio, dalle 17:40, il reading dei poeti si sposta nel parco di Villa Sormani Marzorati Uva, a Missaglia (LC), inserita nel circuito Ville Aperte. IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Método da "pedra cinza" Mas sempre peça ajuda! Estamos por perto! --- Send in a voice message: https://podcasters.spotify.com/pod/show/carlagamba/message

Filhos dourados e a visão sistêmica do narcisismo --- Send in a voice message: https://podcasters.spotify.com/pod/show/carlagamba/message

Gothel e Rapunzel --- Send in a voice message: https://podcasters.spotify.com/pod/show/carlagamba/message

Precisamos brincar e falhar! --- Send in a voice message: https://podcasters.spotify.com/pod/show/carlagamba/message

Stāsta literatūrzinātnieks, Latvijas Universitātes Literatūras, folkloras un mākslas institūta vadošais pētnieks Benedikts Kalnačs 19. un 20. gadsimta mijā aptuveni piecpadsmit gadu garumā ciešas koleģiālas saiknes rakstnieku Rūdolfu Blaumani tuvināja ar gleznotāju Jani Rozentālu, kuram Blaumaņa vērtējumā piemita ļoti nozīmīgas īpašības, kas mākslinieku atšķīra no daļas tālaika autoru: uzskats, ka māksla nav iespējama bez rūpīga, neatlaidīga darba un neatņemama radīšanas sastāvdaļa ir mākslinieka amata prasme un izcila tehnika. Rozentāla personība atklāja saiknes dažādu kultūras jomu starpā, viņa veikums lieliski reprezentēja šī laikposma mākslas stilistisko daudzveidību. Jaņa Rozentāla profesionālajā pilnveidē izšķirošs bija studiju periods Pēterburgas Mākslas akadēmijā no 1888. līdz 1894. gadam, kad viņš kļuva arī par latviešu mākslinieku grupas "Rūķis" dalībnieku. Šīs grupas vēlme bija radīt nacionālu un vienlaikus modernu mākslu, kuru realizē individuāli savdabīgi mākslinieki. Tas spilgti izpaudās viņu līdzdalībā Latviešu etnogrāfiskajā izstādē Rīgā 1896. gadā, kuras centrālā figūra mākslas jomā bija Janis Rozentāls; tā kļuva par pirmo nacionālā reālisma skati Latvijā. Glezniecības un rakstniecības mijiedarbes spilgts apliecinājums bija Rūdolfa Blaumaņa novele "Baltais", kuras pirmpublikācija žurnālā "Mājas Viesa Mēnešraksts" 1896. gada septembrī sasaucās ar tobrīd vēl aplūkojamo izstādi, kas bija atvērta no 15. augusta līdz 30. septembrim. Šīs noveles vēstītājs ir mākslinieks Jānis Kalnroze, kura prototips ir Janis Rozentāls, un literārajā darbā izmantoti arī atsevišķi mākslinieka daiļrades fakti. Sižeta aizmetnis ir saistīts ar mākslinieka atgriešanos dzimtajā pusē pēc sekmīga studiju noslēguma. Dažas paralēles saskatāmas arī novelē tēlotā gleznotāja un literārā darba autora pieredzē. Augsti novērtētajā Kalnrozes diplomdarbā "Baznīcas priekšā" atpazīstama norāde uz 1894. gadā tapušo Rozentāla gleznu "No baznīcas". Taču jau noveles sākumā, tēlojot laimīgā gleznotāja atgriešanos mājās, viņa vecāku raksturojumā izcelta arī saikne ar Blaumaņa ģimeni: "(..) gaidīju un nevarēju sagaidīt acumirkļa, kad brāļam mājās avīzes varēšu izklāt priekšā, lai tas arī manu slavu lasa, un mātei, mīļajai neticīgai mātei apgalvot, ka no manis reiz iznāks krietns mākslenieks, un kad tēvam varēšu noskaitīt uz galda trīssimts rubļus un turklāt izskaidrot, ka tā ir maksa par vienu vienīgu bildi." Atgriežoties dzimtenē, Kalnroze redzēto izvērtē ar patiesu interesi un arī zināmu distanci. Atbraukušo mākslinieku novelē sagaida lauku puisis Jānis, un gleznotājs pievērš uzmanību viņa izskatam: sejai, rokām un apģērbam; turklāt raugās profesionāli vērtējoši: "Tiešām, šis cilvēks bija ārkārtīgi skaists. Slaikais, taisnais deguns, lūpas, žods, piere, cik no tās varēju redzēt, viss bija klasiski daiļš un pilnīgs. Vaigi bij tumši nodeguši, bet tomēr zem nodeguma bij manāms veselīgs sārtums, kas ģīmim piešķīra samtam līdzīgu, sevišķi tīkamu krāsu. Ap ausīm vijās gaišas matu sprodziņas, uz pakausi izplūzdamas lielās, kuplās sprogās. Virslūpa bij plika, tāpat žods rūpīgi nodzīts." Literatūrvēsturnieks Kārlis Kārkliņš šo aprakstu novērtējis kā Blaumaņa prozas stila paraugu, kas pielīdzināms portretam glezniecībā. Raksturīgu literārā darba problemātikas segmentu skar arī mākslinieka pārdomas par Narcisa, Antinoja un Apolona tēliem kā vienlaikus līdzīgiem un gluži atšķirīgiem no vienkāršā lauku puiša. Visi minētie piemēri atspoguļo klasiskās mākslas ideālus, kuri Rozentālam bija acu priekšā studiju procesā un par kuriem 19. gadsimta beigās interesējās arī latviešu sabiedrība. Viens no minētajiem tēliem, Belvederes Apolons, reproducēts "Mājas Viesa Mēnešrakstā" 1896. gada jūlijā, divus mēnešus pirms Blaumaņa noveles "Baltais" publikācijas; nākamajā žurnāla numurā sniegts arī šī mākslas darba iztirzājums. Sekojot noveles sižetam, atklājas līdzības un pretstati starp antīko ideālu un konkrēto laikmetu. Mākslinieka un lauku puiša "sarunai raisoties, aiz klasiskās ārienes iezīmējas arvien sarežģītāks psiholoģiskais portrets". Ar gleznotāja Kalnrozes starpniecību novelē tiek risināta diskusija par mākslas darba tapšanas gaitu. Blaumanim un Rozentālam bija līdzīga mākslas izpratne, un tas labi vispārināts Rozentāla izteikumā: "stils un daiļums ir jāizlobj no dabas pašas, cieši pie viņas turoties, to studējot, un, lai mums arī būtu maz panākumu [..], tad tomēr tāds darbs būs simtreiz interesantāks, tādēļ [..] ka viņš mums dod jaunas idejas, atver jaunas puses no dabas un rādās kā jauns cilvēka gara dokuments."

Picolé De Limão é um quadro do canal Não Inviabilize. Aqui você ouve as suas histórias misturadas às minhas! Use a hashtag #Narcisa e comente a história no nosso grupo do telegram: https://t.me/naoinviabilize PUBLICIDADE HIDRABENE https://hidrabene.com.br/produtos/?utm_source=N%C3%A3oInviabilize&utm_medium=PUBLI DESCONTOS COM O CUPOM PICOLE10 Envie a sua história bem detalhada para naoinviabilize@gmail.com, seu anonimato será mantido, todos os nomes, profissões e locais são trocados para preservar a sua identidade. Contato: atendimento@naoinviabilize.com.br Site: naoinviabilize.com.br Transcrição dos episódios: naoinviabilize.com/episodios Assine e fortaleça o meu trabalho: naoinviabilize.com.br/assine Histórias em Libras no Youtube: youtube.com/naoinviabilize Instagram: instagram.com/naoinviabilize TikTok: tiktok.com/@naoinviabilize Twitter: twitter.com/naoinviabilize Facebook: facebook.com/naoinviabilize

Despre Narcisa Suciu se știu două lucruri: are o voce incredibil de frumoasă și este mereu cu zâmbetul pe buze. Un om drept, cu privirea înainte, fără regrete, artista a avut un parcurs cu multe greutăți, dar nimic nu i-a luat bucuria de trăi. Într-o discuție foarte deschisă cu Cătălin Măruță, Narcisa povestește despre durerea cauzată de pierderea părinților, dar și de iubirile care i-au marcat viața. A luat-o de la capăt în Finlanda, dar revine mereu cu drag acasă, în România. Un interviu de neratat, Acasă la Măruță.

"La caridad es el camino de santidad y de unión con el Señor"

Narcisa Tamborindeguy estabelece regra aos seus convidados ao comemorar os 56 anos com festão de luxo no Rio de Janeiro A socialite Narcisa Tamborindeguy decidiu estabelecer uma regra bem séria ao comemorar seu aniversário de 56 anos nesta terça-feira (25) no Rio de Janeiro. A ex de Boninho deu um festão para diversos famosos em um hotel chiquérrimo ao pé da praia, mas surpreendeu ao deixar um comunicado nas mesas dos convidados: ”Aniversário Narcisa! Favor não falar de política”. O aviso foi capturado pelo jornalista Bruno Chateaubriand, que estava registrando o evento em suas redes sociais. Parece que, mesmo às vésperas do segundo turno das eleições, a dona de vários memes não quer ser incomodada com assuntos sérios demais, preferindo aproveitar a festança. --- Support this podcast: https://anchor.fm/nativa-fm-campinas/support

Ouça um trecho do romance "D. Narcisa de Villar", de Ana Luísa de Azevedo Castro, lançado em 2000, pela Editora Mulheres. Ficha técnica: Sugestão: Elizabete Tomasi Bortolin (Sesc Criciúma) Leitura: Elizabete Tomasi Bortolin (Sesc Criciúma) Roteiro: Maria Julia Vargas Madruga (Sesc Centro Cultural Vidal Ramos) Edição: Marina Gelowate Fernandez (Sesc Mafra) Trilha sonora: "Alegretto", de Nicolas Munzfeld (Sesc Itajaí), Giulia Franke (Sesc Itajaí) e Peter Allan Ramos (Sesc Balneário Camboriú)

A Fazenda 14: "Vaza" prova; Baia tá definida e já tem cheiro de expulsão; Narcisa detona Boninho

Nebulosas (1872) é o livro de poesias de Narcisa Amália (1852-1924), jornalista, republicana e abolicionista do século XIX. Nebulosas tem 44 poemas de exaltação à natureza, à Pátria, a lembranças da infância da “bela e jovem poetisa”, como definiu Machado de Assis, para quem ela tinha a “pena delicada e fina”. Desta obra, elegemos três poesias para esse quarto episódio especial do Bicentenário da Independência do Brasil: “Nebulosas", “A Itatiaia”e “Sete de Setembro”, versos nos quais ela enaltece que o Brasil entrara no Fórum das Nações. Nebulosas recebeu o prêmio “Lira de Ouro”, em 1873. Em setembro de 1874, Narcisa recebeu o prêmio mais importante dos Grandes Escritores da Mocidade Acadêmica, uma pena de ouro, entregue pelas mãos do conselheiro das letras Saldanha Marinho. Grande incentivadora para a mulher no universo das letras, a poeta tornou-se a primeira jornalista brasileira, fundando na capital, o jornal quinzenal “O Gazetinha”, folha dedicada ao belo sexo, no periódico Tymburitá. Alcançou projeção no país com artigos sobre abolição da escravatura, a mulher e os oprimidos de modo geral. Boa leitura! Apoie pela chave PIX: leituradeouvido@gmail.com Apoie pelo financiamento coletivo: https://apoia.se/leituradeouvido Entre em contato: leituradeouvido@gmail.com Instagram e Facebook: @leituradeouvido Direção e narração: @daianapasquim Direção, edição, trilha de abertura e arte de capa: @lucaspiaceski Uma produção @rockastudios #audiolivro #audiobook #literatura #literaturabrasileira #podcastliterario #leituradeouvido

“My White Coat Doesn't Fit” by Narjust Florez (Duma): a medical oncologist shares her story about exclusion, depression and finding her way in oncology as a Latina in medicine and oncology.   TRANSCRIPT Narrator: My White Coat Doesn't Fit, by Narjust Duma, MD (10.1200/JCO.21.02601) There I was, crying once again all the way from the hospital's parking lot to my apartment, into the shower, and while trying to fall asleep. This had become the norm during my internal medicine residency. For years, I tried hard every day to be someone else in order to fit in. It started with off-hand comments like “Look at her red shoes,” “You are so colorful,” and “You are so Latina.” These later escalated to being interrupted during presentations with comments about my accent, being told that my medical school training in my home country was inferior to my US colleagues, and being assigned all Spanish-speaking patients because “They are your people.” Some of those comments and interactions were unintentionally harmful but led to feelings of isolation, and over time, I began to feel like an outsider. I came to the United States with the dream of becoming a physician investigator, leaving behind family, friends, and everything I knew. Over time, I felt pigeonholed into a constricting stereotype due to my ethnicity and accent. Back home, I was one of many, but in this new setting, I was one of a few, and in many instances, I was the only Latina in the room. I was raised by divorced physician parents in Venezuela; my childhood years were often spent in the clinic waiting for my mother to see that one last patient or outside the operating room waiting for my father to take me home. The hospital felt like my second home, growing up snacking on Graham crackers and drinking the infamous hospital's 1% orange juice. “She was raised in a hospital,” my mother used to say. Sadly, that feeling of being at home in the hospital changed during medical training as I felt isolated and like I did not belong, making me question my dream and the decision to come to the United States. I remember calling my family and crying as I asked “Why did I leave?” “Why didn't you stop me from coming here?” and seeking permission to return home. I felt like I was disappointing them as I was no longer the vivid, confident young woman who left her home country to pursue a bright future. I remember one colleague, Valerie (pseudonym), from Connecticut. Valerie attended medical school in the United States, did not have an accent, and was familiar with the American health care system. She understood how the senior resident-intern relationship functioned, a hierarchy that continually confused me. Over the following weeks, I took a closer look at how my colleagues and other hospital staff interacted with Valerie. I noticed that people did not comment about her clothing or personality. She was “normal” and fit in. I remember my senior resident asking me, “Narjust, why can't you be more like Valerie?” Ashamed, I mumbled that I would try and then ran to the bathroom to cry alone. That interaction was a turning point for me; I got the message. I needed to change; I needed to stop being who I was to be accepted. As the years passed, I kept key pieces of my personality hidden, hoping I could earn the respect of my colleagues. I refrained from sharing my personal stories as they were different from those around me. I grew up in a developing country with a struggling economy and an even more challenging political situation. It was clear that we simply did not share similar experiences. When I sought help from my senior residents and attending physicians, my feelings were often minimized or invalidated. I was told that “residency is tough” and that I should “man up.” A few even suggested that I mold my personality to fit the box of what a resident physician was supposed to be. I slowly realized that my clothing changed from reds and pinks to greys and blacks because it was “more professional”; my outward appearance faded, as did my once bright sense of humor and affability. All these issues led to depression and an overwhelming sense of not belonging. A few months later, I was on antidepressants, but the crying in the shower continued. Rotation by rotation, I looked for a specialty that would help me feel like I belonged, and I found that in oncology. My mentor embraced my research ideas; my ethnic background or accent did not matter; we had the same goal, improving the care of our patients with cancer. I got to travel to national and international conferences, presented my research findings, and received a few awards along the way. From the outside, it looked like I was thriving; my mentor often called me a “Rising Star,” but in reality, I was still deeply depressed and trying to fit in every day. My career successes led me to believe that not being myself was the right thing to do. I felt isolated; I was trying to be someone I was not. A year later, I matched at my top choice oncology fellowship program; the program had the balance I was looking for between clinical care and research. This meant that I needed to move to the Midwest, further away from family, and to an area of the country with less racial and ethnic diversity. After 2 years on antidepressants and the 10 extra pounds that came with it, my white coat did not fit. My white coat felt like a costume that I would put on every day to fulfill the dream of being a doctor. I would often wake up in the middle of the night exhausted and depressed. I had all the responsibilities of a hematology/ oncology trainee and the additional full-time job of trying to fit in every day; I was using all my energy trying to be someone I was not. Regardless of my fears, I felt in my element when talking to patients and interacting with my cofellows. Despite having a different skin color and accent, I felt accepted by my patients with cancer. I remember when one of my patients requested to see me while in the emergency room because “Dr Duma just gets me.” She had been evaluated by the head of the department and attending physicians, but for her, I washer doctor. Tears of happiness accompanied my bus ride to see her; at that moment, I knew I was an oncologist, and oncology was the place I belonged. The next day, I realized that it was time to be myself: Narjust from Venezuela, a Latina oncologist who was her true self. I searched the bottom of my closet for the last piece of colorful clothing I had saved, a yellow dress. I put on that brightly colored dress for the first time in 5 years and finally felt comfortable being my authentic self; the yellow dress represented freedom and embraced the culture and colors I grew up seeing in my hometown. I finally understood that I brought something special to the table: my unique understanding of the challenges faced by Latinx patients and trainees, my advocacy skills, and my persistence to endure the academic grindstone. Psychotherapy was also an essential part of my recovery; I learned that happiness lived within me as a whole person—hiding my accent, cultural background, and past experiences was also hiding the light and joy inside me. Along the way, I found colleagues who faced the same challenges and validated that my experiences resulted from an environment that excludes the difference and values homogeneity. This route to self-discovery helped me find my calling to support others in situations similar to mine.3 I learned how to incorporate and celebrate my ethnicity in the world of academic oncology by teaching others the power of cultural humility, diversity, equity, and inclusion. Together with newfound friends and colleagues, I cofounded the #LatinasinMedicine Twitter community for those who face similar burdens during their training and careers. The #LatinasinMedicine community was created to share our stories, embrace our culture, and amplify other Latinas in medicine—to create connections that alleviate the sense of isolation that many of us have experienced and serve as role models to the next generation of Latinas in medicine. To help drive systemic change, I founded the Duma Laboratory, a research group that focuses on cancer health disparities and discrimination in medical education. Through research, the Duma Laboratory has shown that my experiences are not unique but rather an everyday reality for many international medical graduates and other under-represented groups in medicine. The Duma Laboratory has become a safe environment for many trainees; we seek to change how mentorship works for under-represented groups in oncology, with the hope that the isolation I felt during my training is not something that future physicians will ever have to endure. After years of depression and self-discovery, my white coat now fits. However, this is not your regular white coat; it has touches of color to embrace my heritage and the ancestors who paved the way for me to be here today. The face of medicine and oncology is changing around the world; young women of color are standing up to demonstrate the strength of our experiences and fuel the change that medical education needs. For all minority medical students, residents, fellows, and junior faculty, we belong in medicine even during those moments when our identity is tested. Through my journey, I learned that we can and must challenge the status quo. I hope to inspire others to join me in this path of advocating for diversity, equity, and inclusion because the time for change is now. I was finally free the moment I realized I could not be anyone else but myself, a proud Latina in medicine and oncology. Dr. Lidia Schapira: Welcome to JCO's Cancer Stories: The Art of Oncology, brought to you by the ASCO Podcast Network, which offers a range of educational and scientific content and enriching insight into the world of cancer care. You can find all of the shows including this one at podcast.asco.org. I'm your host, Lidia Shapira, Associate Editor for Art of Oncology and Professor of Medicine at Stanford. And with me today is Dr. Narjust Duma, Associate Director of the Cancer Care Equity Program and Medical Thoracic Oncologist at Dana Farber and an Assistant Professor at Harvard Medical School. We'll be discussing her Art of Oncology article, ‘My White Coat Doesn't Fit.' Our guest has a consulting or advisory role with AstraZeneca, Pfizer, NeoGenomics Laboratories, Janssen, Bristol Myers Squibb, Medarax, Merck, and Mirati. Our guest has also participated in a speaker's bureau for MJH Life Sciences. Narjust, welcome to our podcast. Dr. Narjust Duma: Thank you for the invitation and for letting us share our story. Dr. Lidia Schapira: It's lovely to have you. So, let's start with a bit of background. Your essay has so many powerful themes, the story of an immigrant in the US, the story of resilience, the story of aggression and bullying as a recipient of such during training, of overcoming this and finding not only meaning, but really being an advocate for a more inclusive and fair culture in the workplace. So, let's untangle all of these and start with your family. I was interested in reading that you're named after your two grandmothers, Narcisa and Justa. And this is how your parents, both physicians, Colombian and Dominican, gave you your name, and then you were raised in Venezuela. So, tell us a little bit about your family and the values that were passed on in your family. Dr. Narjust Duma: Thank you for asking. Having my two grandmothers names is something that my mother put a lot of effort into. She was a surgery resident with very limited time to decide to do that. And I don't have a middle name, which is quite unique in Latin America, most people in Latin America have one or two middle names. So, my mother did that to assure that I will use her piece of art, which is my first name. But little does she know that my grandmothers were going to be such an important part of my life, not only because they're in my name, but also because I am who I am thanks to them. So, the first part of my name, Narcisa was my grandma who raised me and she gave me the superpower of reading and disconnecting. So, I'm able to read no matter where I am and how loud it can be and disconnect with the world. So, it is often that my assistants need to knock on my door two or three times so, I don't like being scared because I'm able to travel away. That was also very unique because you will find me in the basketball games from high school or other activities with a book because I was able to block that noise. But it also makes very uncomfortable situations for my friends that find it embarrassing that I will pull a book in the basketball game. And as I grow, thanks to the influence of my grandmothers, I always have these, how can I say, mixed situation, in which they were very old school grandmothers with old school habits and values, and how I'm able to modify that. My grandma told me that you can be a feminist, but you still take care of your house. You can still, you know, cook. And that taught me that you don't have to pick a side, there is no one stereotype for one or another. Because as my mother being a single mother and a surgeon, my parents divorced early on, told me, ‘Yes, I can be the doctor but I can also be the person that has more than a career that's able to have hobbies.' I love cooking, and when I'm stressed, I cook. So, I had a grant deadline a few weeks ago and I cooked so much that there was food for days. So, having the names of my grandmothers is very important because I have their values, but I have modified them to the current times. Dr. Lidia Schapira: Let me ask a little bit about reading. I often ask the guests of this podcast who have written and therefore I know enjoy reading and writing, what their favorite books are or what is currently on their night table. But I'm going to ask you a second question and that is what languages do you read in? Dr. Narjust Duma: I prefer to read in Spanish. I found that books in Spanish, even if it's a book that originated in English, have these romantic characteristics. And I often tell my editors, ‘Just take into account that I think in Spanish, and write in English'. Because I grew up with Gabrielle Garcia Marquez, and when he describes a street, that's a page of the little things that he describes. So, that's how I write and that's how I read in a very romantic, elaborate way. The aspects of realistic imagism, which is my favorite genre in literature, and there are so many Latin American and South American writers that I don't think that I am going to run out. And when I run out, I reread the same books. I have read all of Gabrielle Garcia Marquez's books twice, and Borges, too. It's the type of stories that allows you to submerge yourself and you imagine yourself wearing those Victorian dresses in the heat of a Colombian street, as you try to understand if, you know, Love in the Time of Cholera, if they were more in love with being in love or what it was happening in the story. And that just gives me happiness on a Sunday morning. Dr. Lidia Schapira: That's beautiful. I must confess that reading Borges is not easy. So, I totally admire the fact that you have managed to read all of his work. And I think that you're absolutely right, that magical realism is a genre that is incredibly fresh, and perhaps for the work that we do in oncology, it's a wonderful antidote in a way to some of the realities, the very harsh realities that we deal with on a daily basis. So, let me ask you a little bit about growing up in Venezuela in the 80s, 90s, early aughts. That must have been difficult. Tell us a little bit about that, and your choice of attending medical school. Dr. Narjust Duma: So, growing up in Venezuela, with a Colombian mother, it was quite a unique perspective because she was very attached to her Colombian roots. So, a lot of the things that happened in the house were very Colombian, but I was in Venezuela. So, it was a unique characteristic of being from a country but your family is not from there. So, my parents are not from Venezuela, my grandparents either, and I'm Venezuelan because I was born and raised there. So, that brought a unique perspective, right? The music that I played in my house was Colombian music, not Venezuelan music. So, my family migrated from Colombia to Venezuela due to the challenges in the early 80s with violence and the Medellin, due to the drug cartels. So, we moved to Venezuela for a better future. And growing up in the first years, Venezuela was in a very good position. Oil was at the highest prices. Economically, the country was doing well. I remember, in my early years, the dollar and the bolivar had the same price. But then little by little I saw how my country deteriorated, and it was very heartbreaking. From a place where the shells were full of food to a place now when there is no food, and you go to the supermarket, and many of them are close. And now you're only limited to buying certain things. And you used to use your federal ID that has an electronic tracking on how much you can buy because of socialism. So, you're only allowed to buy two kilograms of rice per month, for example, you're only allowed to buy this number of plantains. So, every time I go home, because Venezuela is always going to be my home, it doesn't matter where I am., I see how my country has lost pieces by pieces, which is quite very hard because I had a very good childhood. I had a unique childhood because I was raised in hospitals. But I had a childhood in which I will play with my friends across the street. We were not worried about being kidnapped. We were not worried about being robbed. That's one thing that children in Venezuela cannot do right now. Children of doctors – there's a higher risk of being kidnapped as a kid right now if your father is a doctor or your mother. So, my childhood wasn't like that. When I teach my students or talk to my mentees, I'm often selling my country, and saying that's not what it used to be. That's not where I grew up. But every year I saw how it no longer is where I grew up. That place doesn't exist, and sometimes, Lidia, I feel like my imagination may have to fill it out with more good things. But I think it was a good childhood. It's just that nobody in Venezuela is experiencing what I experienced as a kid. Dr. Lidia Schapira: So, both parents were doctors and you chose to study medicine, was this just right out of high school? Dr. Narjust Duma: Even before high school, I found myself very connected to patients. So, since I turned 15, my father would give his secretary a month of vacation because that's the month that we fill in. So, I was the secretary for a month every summer since I was 15 until I was 20. That early exposure allowed me to like get to know these patients and they know I was the daughter, but I was also the secretary. So, I really cherished that. Growing up in my household, we're a house of service. So, our love language is acts of service. That's how pretty much my grandmas and my parents were. So, in order to be a physician, that's the ultimate act of service. I have wanted to be a doctor since I was 11. I think my mother face horrible gender harassment and sexual harassment as a female in the surgery in the early 80s, that she tried to push me away from medicine. Early on, when I was 11, or 12, being an oil engineer in Venezuela was the career that everybody should have, right? Like, people were going to the Emirates and moving to different parts of the world and were doing wonderful. So, my mother, based on her experience in the 80s, was pushing me away from it. She's like, ‘You can do other things.' My father always stayed in the back and said, ‘You can do what you want.' This is how our parents' experiences affect our future. If I wouldn't be this stubborn, I would probably be an oil engineer today, and I wouldn't be talking to you. Dr. Lidia Schapira: So, you went to medical school, and then after you graduated, what did you decide to do? Because when I look at what we know about the history there is I think you graduated in '09, and then the story that you write about sort of begins in '16 when you come to New Jersey to do training in the US, but what happened between '09 and '16? Dr. Narjust Duma: I started residency in 2013. '16 was my fellowship. So, going to medical school was one of the hardest decisions I made because right in 2003 and 2004 was a coup in Venezuela where part of the opposition took over the country for three days, and then the President of the time came back and the country really significantly destabilized after that coup. Most schools were closed. Entire private industries were closed for a month. And I think for some people, it's hard to understand what happened. Everything closed for a month, McDonald's was closed for a month. There was no Coke because a Coke company was not producing. Everything was closed. The country was just paralyzed. So, my mother and I, and my family, my father, took into account that we didn't know when medical school would resume in Venezuela. We didn't know if the schools would ever open again. I decided to apply for a scholarship and I left Venezuela at the age of 17 to go to the Dominican Republic for medical school. Very early on, I noticed that I was going to be a foreigner wherever I go because I left home. And since then, I think I became very resilient because I was 17 and I needed to move forward. So, that is what happened in 2004. I left everything I knew. I left for the Dominican. I do have family in the Dominican, but it was very hard because even if you speak the same language, the cultures are very different. And then I went to medical school in the Dominican and when I was in the Dominican Republic, I realized I really wanted to do science and be an advocate and focus on vulnerable populations with cancer. So, then I made the decision to come to the United States, I did a year of a research fellowship at Fred Hutchinson, and then I went to residency in 2013. Dr. Lidia Schapira: I see. And that's when you went to New Jersey, far away from home. And as you tell the story, the experience was awful, in part because of the unkindness and aggression, not only microaggression but outright bullying that you experienced. In reading the essay, my impression was that the bullying was mostly on two accounts. One was gender. The other was the fact that you were different. In this particular case, it was the ethnicity as a Latin or Hispanic woman. Tell us a little bit about that so we can understand that. Dr. Narjust Duma: I think what happened is that perfect example of intersectionality because we are now the result of one experience, we're the result of multiple identities. So many woman have faced gender inequalities in medicine, but when you are from a marginalized group, those inequalities multiply. I have an accent and clearly a different skin color. I grew up in a family in which you were encouraged to be your true self. My grandmothers and my mother said, ‘You never want to be the quiet woman in the corner because the quiet woman never generates change.' That's what they said, and I bet there are some who do. But that intersection of my identities was very challenging because I was seen as inferior just for being a woman and then you multiply being one of the few Latinas you are seen like you are less just because you are - it doesn't matter how many degrees or papers or grants you had done and all, I was the most productive research resident in my residency for two years in a row - but I would still be judged by my identity and not what I have produced, or what I do on my patients' experiences, which were great – the feedback from my patients. It's just because I was the different one. Dr. Lidia Schapira: When I hear your story about your origins, it seems to me that you came from a very capable loving family, and they basically told you to go conquer the world, and you did. And then you arrive and you're a productive successful resident, and yet, you are marginalized, as you say. People are really aggressive. Now that you've had some years that have passed, if you think back, what advice would you give that young Narjust? Dr. Narjust Duma: My number one advice, would be that, I will tell myself is that I belong, in many instances, I feel like I didn't belong. It makes me question all the decisions to that day because when you're doing a presentation, and I still remember like today, and you're interrupted by someone, just for them to make a comment about your accent, it really brings everything down to your core, like, 'Is my presentation not accurate? Is the information not all right? And why am I here? Why did I left everything I love to be treated like this?' Dr. Lidia Schapira: Of course. So, from New Jersey, you write in your essay that you really discover your passion for cancer research, and you land in a fellowship with a mentor who is encouraging, and things begin to change for you. Can you tell us a little bit about that phase of your training in your life where you slowly begin to find your voice in the state, that also where you crash, where you find yourself so vulnerable that things really fall apart? Dr. Narjust Duma: So, when I was a resident, I didn't know exactly - I was interested in oncology, but I wasn't sure if it was for me. So, Dr. Martin Gutierrez at Rutgers in Hackensack is the person who I cold emailed and said, ‘I'm interested in studying gastric cancer in Hispanic patients because I think that patients in the clinic are so young.' He, without knowing me or having any idea, he trusted me. We still meet. He still follows up with me. He encouraged me. I think him being a Latino made the experience better, too, because I didn't have to explain my experience to him. I didn't have to explain that. He understood because he went through the same things. And he's like, ‘I got you. Let's follow what you want to do.' He embraced who I was, and how I put who I was into my research. And thanks to Dr. Gutierrez, I'm at the Mayo Clinic as an international medical grad. So, finding a place in which my ideas were embraced was very important to allow me to stay in medicine because, Lidia, I can tell you several times, I decided to leave. I was very committed to finding something else to do or just being a researcher and leaving clinical medicine behind. So, when I went to Mayo, I still followed with that mentor, but I already knew what I wanted to do. I wanted to do cancer health disparities. I wanted to do inclusion and diversity. And that allowed me to develop the career I have now and is having that pathway because I, with my strong personality and everything else, faced this discrimination, and I can imagine for other trainees that may still be facing that or will face that in the future. So, I use the negative aspects to find my calling and do many things I have done after that. Dr. Lidia Schapira: Speaks to your strengths and your determination. Let's talk a little bit about the people who may also feel different but whose differences may not be so apparent. How do you now as an emerging leader, and as a mentor, make sure that you create an inclusive and safe environment for your younger colleagues and your mentees? Dr. Narjust Duma: One of the things that resulted was the founding of the Duma Lab, which is a research group that focuses on cancer, health disparities, social justice as a general, and inclusion in medical education. So, one of the things that I practice every day is cultural humility. I continue to read and remember the principles. I have them as the background on my computer at work. The number one principle in lifelong learning is that we learn from everyone and that we don't know everything and other people's cultures, and subculture, we learn their culture is rich. So, in every meeting, I remind the team of the principles of cultural humility when somebody is joining the lab. I have one-on-one meetings, and I provide information and videos about cultural humility because the lab has been created as an environment that's safe. We have a WhatsApp group that is now kind of famous - it's called The Daily Serotonin. The majority of the members of the lab are part of marginalized groups, not only by gender but race, religion, sexual and gender orientation. So, we created this group to share good and bads, and we provide support. So, a few weeks ago, a patient made reference to one of their lab member's body, the patient was being examined and that was quite inappropriate. The member debriefed with the group and we all provided insights on how she had responded, and how she should respond in the future. That's not only learning from the person that brought the scenario but anybody else feels empowered to stop those microaggressions and stop those inappropriate behaviors that woman particularly face during clinical care. So, cultural humility, and having this WhatsApp group that provides a place where, first, I remind everybody that's confidential, and a place in which anything is shared has been very successful to create inclusivity in the group. Dr. Lidia Schapira: You have such energy and I'm amazed by all of the things that you can do and how you have used social connection as a way of bringing people up. So, can you give our listeners perhaps some tips for how you view creating a flatter culture, one with fewer hierarchies that makes it safer for learners and for those who are practicing oncology? What are three quick things that all of us can do in our work starting this afternoon? Dr. Narjust Duma: The concept is that we all can be allies. And being an ally doesn't take a lot of time or money because people think that being an ally is a full-time job, it is not. So, the first one tip will be to bring people with you. Your success is not only yours. It's a success of your mentees. It's a success of your colleagues. So, don't see your success as my badge on my shoulder. It's the badge that goes on everyone. So, bring people in, leave the door open, not only bring them but leave the door open because when you do it helps the next generation. Two, little things make a difference. I'm going to give you three phrases that I use all the time. When you think somebody has been marginalized in a meeting, bring them up, it takes no time. For example, 'Chenoa, what do you think we can do next?' You're bringing that person to the table. Two, you can advocate for other women and minorities when they're easily interrupted in a meeting. This takes no time. ‘I'm sorry you interrupted Dr. Duma. Dr. Duma?' So, that helps. The third thing is very important. You can connect people. So, one of the things is that I don't have every skill, so I advocate for my mentees and I serve as a connector. I have a mentee that is into bioinformatics. Lidia, that's above my head. I don't understand any of that. So, I was able to connect that person to people that do bioinformatics. And follow up. My last thing is to follow up with your people because they need you. Dr. Lidia Schapira: Well, I'm very glad that you're not an oil engineer in the Emirates. I'm sure your family is incredibly proud. I hope that you're happy where you are. We started a little bit about where you started, I'd like to end with your idea of where you imagine yourself 10 years from now? Dr. Narjust Duma: That is a question I don't have an answer prepared for. I guess my career development plans I think I want to be in a place where I look back and I can see that the careers of my mentees being successful. And I think that we measure my success based not on myself, I would measure my success in 10 years based on where my mentees are. And medical education is a more inclusive place. That will be the two things I want to see in 10 years. In the personal aspect, I don't know if we have art, don't know if we have those grants as long as my mentees are in a better place. Dr. Lidia Schapira: It has been such a pleasure to have this conversation. Thank you so much, Narjust. Dr. Narjust Duma: Thank you. Dr. Lidia Schapira: Until next time, thank you for listening to this JCO's Cancer Stories: The Art of Oncology podcast. If you enjoyed what you heard today, don't forget to give us a rating or review on Apple podcasts or wherever you listen. While you're there, be sure to subscribe so you never miss an episode of JCO's Cancer Stories: The Art of Oncology podcast. This is just one of many of ASCO's podcasts. You can find all of the shows at podcast.asco.org. The purpose of this podcast is to educate and inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement. Narrator: My White Coat Doesn't Fit, by Narjust Duma, MD (10.1200/JCO.21.02601) There I was, crying once again all the way from the hospital's parking lot to my apartment, into the shower, and while trying to fall asleep. This had become the norm during my internal medicine residency. For years, I tried hard every day to be someone else in order to fit in. It started with off-hand comments like “Look at her red shoes,” “You are so colorful,” and “You are so Latina.” These later escalated to being interrupted during presentations with comments about my accent, being told that my medical school training in my home country was inferior to my US colleagues, and being assigned all Spanish-speaking patients because “They are your people.” Some of those comments and interactions were unintentionally harmful but led to feelings of isolation, and over time, I began to feel like an outsider. I came to the United States with the dream of becoming a physician investigator, leaving behind family, friends, and everything I knew. Over time, I felt pigeonholed into a constricting stereotype due to my ethnicity and accent. Back home, I was one of many, but in this new setting, I was one of a few, and in many instances, I was the only Latina in the room. I was raised by divorced physician parents in Venezuela; my childhood years were often spent in the clinic waiting for my mother to see that one last patient or outside the operating room waiting for my father to take me home. The hospital felt like my second home, growing up snacking on Graham crackers and drinking the infamous hospital's 1% orange juice. “She was raised in a hospital,” my mother used to say. Sadly, that feeling of being at home in the hospital changed during medical training as I felt isolated and like I did not belong, making me question my dream and the decision to come to the United States. I remember calling my family and crying as I asked “Why did I leave?” “Why didn't you stop me from coming here?” and seeking permission to return home. I felt like I was disappointing them as I was no longer the vivid, confident young woman who left her home country to pursue a bright future. I remember one colleague, Valerie (pseudonym), from Connecticut. Valerie attended medical school in the United States, did not have an accent, and was familiar with the American health care system. She understood how the senior resident-intern relationship functioned, a hierarchy that continually confused me. Over the following weeks, I took a closer look at how my colleagues and other hospital staff interacted with Valerie. I noticed that people did not comment about her clothing or personality. She was “normal” and fit in. I remember my senior resident asking me, “Narjust, why can't you be more like Valerie?” Ashamed, I mumbled that I would try and then ran to the bathroom to cry alone. That interaction was a turning point for me; I got the message. I needed to change; I needed to stop being who I was to be accepted. As the years passed, I kept key pieces of my personality hidden, hoping I could earn the respect of my colleagues. I refrained from sharing my personal stories as they were different from those around me. I grew up in a developing  country with a struggling economy and an even more challenging political situation. It was clear that we simply did not share similar experiences. When I sought help from my senior residents and attending physicians, my feelings were often minimized or invalidated. I was told that “residency is tough” and that I should “man up.” A few even suggested that I mold my personality to fit the box of what a resident physician was supposed to be. I slowly realized that my clothing changed from reds and pinks to greys and blacks because it was “more professional”; my outward appearance faded, as did my once bright sense of humor and affability. All these issues led to depression and an overwhelming sense of not belonging. A few months later, I was on antidepressants, but the crying in the shower continued. Rotation by rotation, I looked for a specialty that would help me feel like I belonged, and I found that in oncology. My mentor embraced my research ideas; my ethnic background or accent did not matter; we had the same goal, improving the care of our patients with cancer. I got to travel to national and international conferences, presented my research findings, and received a few awards along the way. From the outside, it looked like I was thriving; my mentor often called me a “Rising Star,” but in reality, I was still deeply depressed and trying to fit in every day. My career successes led me to believe that not being myself was the right thing to do. I felt isolated; I was trying to be someone I was not. A year later, I matched at my top choice oncology fellowship program; the program had the balance I was looking for between clinical care and research. This meant that I needed to move to the Midwest, further away from family, and to an area of the country with less racial and ethnic diversity. After 2 years on antidepressants and the 10 extra pounds that came with it, my white coat did not fit. My white coat felt like a costume that I would put on every day to fulfill the dream of being a doctor. I would often wake up in the middle of the night exhausted and depressed. I had all the responsibilities of a hematology/ oncology trainee and the additional full-time job of trying to fit in every day; I was using all my energy trying to be someone I was not. Regardless of my fears, I felt in my element when talking to patients and interacting with my cofellows. Despite having a different skin color and accent, I felt accepted by my patients with cancer. I remember when one of my patients requested to see me while in the emergency room because “Dr Duma just gets me.” She had been evaluated by the head of the department and attending physicians, but for her, I washer doctor. Tears of happiness accompanied my bus ride to see her; at that moment, I knew I was an oncologist, and oncology was the place I belonged. The next day, I realized that it was time to be myself: Narjust from Venezuela, a Latina oncologist who was her true self. I searched the bottom of my closet for the last piece of colorful clothing I had saved, a yellow dress. I put on that brightly colored dress for the first time in 5 years and finally felt comfortable being my authentic self; the yellow dress represented freedom and embraced the culture and colors I grew up seeing in my hometown. I finally understood that I brought something special to the table: my unique understanding of the challenges faced by Latinx patients and trainees, my advocacy skills, and my persistence to endure the academic grindstone. Psychotherapy was also an essential part of my recovery; I learned that happiness lived within me as a whole person—hiding my accent, cultural background, and past experiences was also hiding the light and joy inside me. Along the way, I found colleagues who faced the same challenges and validated that my experiences resulted from an environment that excludes the difference and values homogeneity. This route to self-discovery helped me find my calling to support others in situations similar to mine.3 I learned how to incorporate and celebrate my ethnicity in the world of academic oncology by teaching others the power of cultural humility, diversity, equity, and inclusion. Together with newfound friends and colleagues, I cofounded the #LatinasinMedicine Twitter community for those who face similar burdens during their training and careers. The #LatinasinMedicine community was created to share our stories, embrace our culture, and amplify other Latinas in medicine—to create connections that alleviate the sense of isolation that many of us have experienced and serve as role models to the next generation of Latinas in medicine. To help drive systemic change, I founded the Duma Laboratory, a research group that focuses on cancer health disparities and discrimination in medical education. Through research, the Duma Laboratory has shown that my experiences are not unique but rather an everyday reality for many international medical graduates and other under-represented groups in medicine. The Duma Laboratory has become a safe environment for many trainees; we seek to change how mentorship works for under-represented groups in oncology, with the hope that the isolation I felt during my training is not something that future physicians will ever have to endure. After years of depression and self-discovery, my white coat now fits. However, this is not your regular white coat; it has touches of color to embrace my heritage and the ancestors who paved the way for me to be here today. The face of medicine and oncology is changing around the world; young women of color are standing up to demonstrate the strength of our experiences and fuel the change that medical education needs. For all minority medical students, residents, fellows, and junior faculty, we belong in medicine even during those moments when our identity is tested. Through my journey, I learned that we can and must challenge the status quo. I hope to inspire others to join me in this path of advocating for diversity, equity, and inclusion because the time for change is now. I was finally free the moment I realized I could not be anyone else but myself, a proud Latina in medicine and oncology. Dr. Lidia Schapira: Welcome to JCO's Cancer Stories: The Art of Oncology, brought to you by the ASCO Podcast Network, which offers a range of educational and scientific content and enriching insight into the world of cancer care. You can find all of the shows including this one at podcast.asco.org. I'm your host, Lidia Shapira, Associate Editor for Art of Oncology and Professor of Medicine at Stanford. And with me today is Dr. Narjust Duma, Associate Director of the Cancer Care Equity Program and Medical Thoracic Oncologist at Dana Farber and an Assistant Professor at Harvard Medical School. We'll be discussing her Art of Oncology article, ‘My White Coat Doesn't Fit.' Our guest has a consulting or advisory role with AstraZeneca, Pfizer, NeoGenomics Laboratories, Janssen, Bristol Myers Squibb, Medarax, Merck, and Mirati. Our guest has also participated in a speaker's bureau for MJH Life Sciences. Narjust, welcome to our podcast. Dr. Narjust Duma: Thank you for the invitation and for letting us share our story. Dr. Lidia Schapira: It's lovely to have you. So, let's start with a bit of background. Your essay has so many powerful themes, the story of an immigrant in the US, the story of resilience, the story of aggression and bullying as a recipient of such during training, of overcoming this and finding not only meaning, but really being an advocate for a more inclusive and fair culture in the workplace. So, let's untangle all of these and start with your family. I was interested in reading that you're named after your two grandmothers, Narcisa and Justa. And this is how your parents, both physicians, Colombian and Dominican, gave you your name, and then you were raised in Venezuela. So, tell us a little bit about your family and the values that were passed on in your family. Dr. Narjust Duma: Thank you for asking. Having my two grandmothers names is something that my mother put a lot of effort into. She was a surgery resident with very limited time to decide to do that. And I don't have a middle name, which is quite unique in Latin America, most people in Latin America have one or two middle names. So, my mother did that to assure that I will use her piece of art, which is my first name. But little does she know that my grandmothers were going to be such an important part of my life, not only because they're in my name, but also because I am who I am thanks to them. So, the first part of my name, Narcisa was my grandma who raised me and she gave me the superpower of reading and disconnecting. So, I'm able to read no matter where I am and how loud it can be and disconnect with the world. So, it is often that my assistants need to knock on my door two or three times so, I don't like being scared because I'm able to travel away. That was also very unique because you will find me in the basketball games from high school or other activities with a book because I was able to block that noise. But it also makes very uncomfortable situations for my friends that find it embarrassing that I will pull a book in the basketball game. And as I grow, thanks to the influence of my grandmothers, I always have these, how can I say, mixed situation, in which they were very old school grandmothers with old school habits and values, and how I'm able to modify that. My grandma told me that you can be a feminist, but you still take care of your house. You can still, you know, cook. And that taught me that you don't have to pick a side, there is no one stereotype for one or another. Because as my mother being a single mother and a surgeon, my parents divorced early on, told me, ‘Yes, I can be the doctor but I can also be the person that has more than a career that's able to have hobbies.' I love cooking, and when I'm stressed, I cook. So, I had a grant deadline a few weeks ago and I cooked so much that there was food for days. So, having the names of my grandmothers is very important because I have their values, but I have modified them to the current times. Dr. Lidia Schapira: Let me ask a little bit about reading. I often ask the guests of this podcast who have written and therefore I know enjoy reading and writing, what their favorite books are or what is currently on their night table. But I'm going to ask you a second question and that is what languages do you read in? Dr. Narjust Duma: I prefer to read in Spanish. I found that books in Spanish, even if it's a book that originated in English, have these romantic characteristics. And I often tell my editors, ‘Just take into account that I think in Spanish, and write in English'. Because I grew up with Gabrielle Garcia Marquez, and when he describes a street, that's a page of the little things that he describes. So, that's how I write and that's how I read in a very romantic, elaborate way. The aspects of realistic imagism, which is my favorite genre in literature, and there are so many Latin American and South American writers that I don't think that I am going to run out. And when I run out, I reread the same books. I have read all of Gabrielle Garcia Marquez's books twice, and Borges, too. It's the type of stories that allows you to submerge yourself and you imagine yourself wearing those Victorian dresses in the heat of a Colombian street, as you try to understand if, you know, Love in the Time of Cholera, if they were more in love with being in love or what it was happening in the story. And that just gives me happiness on a Sunday morning. Dr. Lidia Schapira: That's beautiful. I must confess that reading Borges is not easy. So, I totally admire the fact that you have managed to read all of his work. And I think that you're absolutely right, that magical realism is a genre that is incredibly fresh, and perhaps for the work that we do in oncology, it's a wonderful antidote in a way to some of the realities, the very harsh realities that we deal with on a daily basis. So, let me ask you a little bit about growing up in Venezuela in the 80s, 90s, early aughts. That must have been difficult. Tell us a little bit about that, and your choice of attending medical school. Dr. Narjust Duma: So, growing up in Venezuela, with a Colombian mother, it was quite a unique perspective because she was very attached to her Colombian roots. So, a lot of the things that happened in the house were very Colombian, but I was in Venezuela. So, it was a unique characteristic of being from a country but your family is not from there. So, my parents are not from Venezuela, my grandparents either, and I'm Venezuelan because I was born and raised there. So, that brought a unique perspective, right? The music that I played in my house was Colombian music, not Venezuelan music. So, my family migrated from Colombia to Venezuela due to the challenges in the early 80s with violence and the Medellin, due to the drug cartels. So, we moved to Venezuela for a better future. And growing up in the first years, Venezuela was in a very good position. Oil was at the highest prices. Economically, the country was doing well. I remember, in my early years, the dollar and the bolivar had the same price. But then little by little I saw how my country deteriorated, and it was very heartbreaking. From a place where the shells were full of food to a place now when there is no food, and you go to the supermarket, and many of them are close. And now you're only limited to buying certain things. And you used to use your federal ID that has an electronic tracking on how much you can buy because of socialism. So, you're only allowed to buy two kilograms of rice per month, for example, you're only allowed to buy this number of plantains. So, every time I go home, because Venezuela is always going to be my home, it doesn't matter where I am., I see how my country has lost pieces by pieces, which is quite very hard because I had a very good childhood. I had a unique childhood because I was raised in hospitals. But I had a childhood in which I will play with my friends across the street. We were not worried about being kidnapped. We were not worried about being robbed. That's one thing that children in Venezuela cannot do right now. Children of doctors – there's a higher risk of being kidnapped as a kid right now if your father is a doctor or your mother. So, my childhood wasn't like that. When I teach my students or talk to my mentees, I'm often selling my country, and saying that's not what it used to be. That's not where I grew up. But every year I saw how it no longer is where I grew up. That place doesn't exist, and sometimes, Lidia, I feel like my imagination may have to fill it out with more good things. But I think it was a good childhood. It's just that nobody in Venezuela is experiencing what I experienced as a kid. Dr. Lidia Schapira: So, both parents were doctors and you chose to study medicine, was this just right out of high school? Dr. Narjust Duma: Even before high school, I found myself very connected to patients. So, since I turned 15, my father would give his secretary a month of vacation because that's the month that we fill in. So, I was the secretary for a month every summer since I was 15 until I was 20. That early exposure allowed me to like get to know these patients and they know I was the daughter, but I was also the secretary. So, I really cherished that. Growing up in my household, we're a house of service. So, our love language is acts of service. That's how pretty much my grandmas and my parents were. So, in order to be a physician, that's the ultimate act of service. I have wanted to be a doctor since I was 11. I think my mother face horrible gender harassment and sexual harassment as a female in the surgery in the early 80s, that she tried to push me away from medicine. Early on, when I was 11, or 12, being an oil engineer in Venezuela was the career that everybody should have, right? Like, people were going to the Emirates and moving to different parts of the world and were doing wonderful. So, my mother, based on her experience in the 80s, was pushing me away from it. She's like, ‘You can do other things.' My father always stayed in the back and said, ‘You can do what you want.' This is how our parents' experiences affect our future. If I wouldn't be this stubborn, I would probably be an oil engineer today, and I wouldn't be talking to you. Dr. Lidia Schapira: So, you went to medical school, and then after you graduated, what did you decide to do? Because when I look at what we know about the history there is I think you graduated in '09, and then the story that you write about sort of begins in '16 when you come to New Jersey to do training in the US, but what happened between '09 and '16? Dr. Narjust Duma: I started residency in 2013. '16 was my fellowship. So, going to medical school was one of the hardest decisions I made because right in 2003 and 2004 was a coup in Venezuela where part of the opposition took over the country for three days, and then the President of the time came back and the country really significantly destabilized after that coup. Most schools were closed. Entire private industries were closed for a month. And I think for some people, it's hard to understand what happened. Everything closed for a month, McDonald's was closed for a month. There was no Coke because a Coke company was not producing. Everything was closed. The country was just paralyzed. So, my mother and I, and my family, my father, took into account that we didn't know when medical school would resume in Venezuela. We didn't know if the schools would ever open again. I decided to apply for a scholarship and I left Venezuela at the age of 17 to go to the Dominican Republic for medical school. Very early on, I noticed that I was going to be a foreigner wherever I go because I left home. And since then, I think I became very resilient because I was 17 and I needed to move forward. So, that is what happened in 2004. I left everything I knew. I left for the Dominican. I do have family in the Dominican, but it was very hard because even if you speak the same language, the cultures are very different. And then I went to medical school in the Dominican and when I was in the Dominican Republic, I realized I really wanted to do science and be an advocate and focus on vulnerable populations with cancer. So, then I made the decision to come to the United States, I did a year of a research fellowship at Fred Hutchinson, and then I went to residency in 2013. Dr. Lidia Schapira: I see. And that's when you went to New Jersey, far away from home. And as you tell the story, the experience was awful, in part because of the unkindness and aggression, not only microaggression but outright bullying that you experienced. In reading the essay, my impression was that the bullying was mostly on two accounts. One was gender. The other was the fact that you were different. In this particular case, it was the ethnicity as a Latin or Hispanic woman. Tell us a little bit about that so we can understand that. Dr. Narjust Duma: I think what happened is that perfect example of intersectionality because we are now the result of one experience, we're the result of multiple identities. So many woman have faced gender inequalities in medicine, but when you are from a marginalized group, those inequalities multiply. I have an accent and clearly a different skin color. I grew up in a family in which you were encouraged to be your true self. My grandmothers and my mother said, ‘You never want to be the quiet woman in the corner because the quiet woman never generates change.' That's what they said, and I bet there are some who do. But that intersection of my identities was very challenging because I was seen as inferior just for being a woman and then you multiply being one of the few Latinas you are seen like you are less just because you are - it doesn't matter how many degrees or papers or grants you had done and all, I was the most productive research resident in my residency for two years in a row - but I would still be judged by my identity and not what I have produced, or what I do on my patients' experiences, which were great – the feedback from my patients. It's just because I was the different one. Dr. Lidia Schapira: When I hear your story about your origins, it seems to me that you came from a very capable loving family, and they basically told you to go conquer the world, and you did. And then you arrive and you're a productive successful resident, and yet, you are marginalized, as you say. People are really aggressive. Now that you've had some years that have passed, if you think back, what advice would you give that young Narjust? Dr. Narjust Duma: My number one advice, would be that, I will tell myself is that I belong, in many instances, I feel like I didn't belong. It makes me question all the decisions to that day because when you're doing a presentation, and I still remember like today, and you're interrupted by someone, just for them to make a comment about your accent, it really brings everything down to your core, like, 'Is my presentation not accurate? Is the information not all right? And why am I here? Why did I left everything I love to be treated like this?' Dr. Lidia Schapira: Of course. So, from New Jersey, you write in your essay that you really discover your passion for cancer research, and you land in a fellowship with a mentor who is encouraging, and things begin to change for you. Can you tell us a little bit about that phase of your training in your life where you slowly begin to find your voice in the state, that also where you crash, where you find yourself so vulnerable that things really fall apart? Dr. Narjust Duma: So, when I was a resident, I didn't know exactly - I was interested in oncology, but I wasn't sure if it was for me. So, Dr. Martin Gutierrez at Rutgers in Hackensack is the person who I cold emailed and said, ‘I'm interested in studying gastric cancer in Hispanic patients because I think that patients in the clinic are so young.' He, without knowing me or having any idea, he trusted me. We still meet. He still follows up with me. He encouraged me. I think him being a Latino made the experience better, too, because I didn't have to explain my experience to him. I didn't have to explain that. He understood because he went through the same things. And he's like, ‘I got you. Let's follow what you want to do.' He embraced who I was, and how I put who I was into my research. And thanks to Dr. Gutierrez, I'm at the Mayo Clinic as an international medical grad. So, finding a place in which my ideas were embraced was very important to allow me to stay in medicine because, Lidia, I can tell you several times, I decided to leave. I was very committed to finding something else to do or just being a researcher and leaving clinical medicine behind. So, when I went to Mayo, I still followed with that mentor, but I already knew what I wanted to do. I wanted to do cancer health disparities. I wanted to do inclusion and diversity. And that allowed me to develop the career I have now and is having that pathway because I, with my strong personality and everything else, faced this discrimination, and I can imagine for other trainees that may still be facing that or will face that in the future. So, I use the negative aspects to find my calling and do many things I have done after that. Dr. Lidia Schapira: Speaks to your strengths and your determination. Let's talk a little bit about the people who may also feel different but whose differences may not be so apparent. How do you now as an emerging leader, and as a mentor, make sure that you create an inclusive and safe environment for your younger colleagues and your mentees? Dr. Narjust Duma: One of the things that resulted was the founding of the Duma Lab, which is a research group that focuses on cancer, health disparities, social justice as a general, and inclusion in medical education. So, one of the things that I practice every day is cultural humility. I continue to read and remember the principles. I have them as the background on my computer at work. The number one principle in lifelong learning is that we learn from everyone and that we don't know everything and other people's cultures, and subculture, we learn their culture is rich. So, in every meeting, I remind the team of the principles of cultural humility when somebody is joining the lab. I have one-on-one meetings, and I provide information and videos about cultural humility because the lab has been created as an environment that's safe. We have a WhatsApp group that is now kind of famous - it's called The Daily Serotonin. The majority of the members of the lab are part of marginalized groups, not only by gender but race, religion, sexual and gender orientation. So, we created this group to share good and bads, and we provide support. So, a few weeks ago, a patient made reference to one of their lab member's body, the patient was being examined and that was quite inappropriate. The member debriefed with the group and we all provided insights on how she had responded, and how she should respond in the future. That's not only learning from the person that brought the scenario but anybody else feels empowered to stop those microaggressions and stop those inappropriate behaviors that woman particularly face during clinical care. So, cultural humility, and having this WhatsApp group that provides a place where, first, I remind everybody that's confidential, and a place in which anything is shared has been very successful to create inclusivity in the group. Dr. Lidia Schapira: You have such energy and I'm amazed by all of the things that you can do and how you have used social connection as a way of bringing people up. So, can you give our listeners perhaps some tips for how you view creating a flatter culture, one with fewer hierarchies that makes it safer for learners and for those who are practicing oncology? What are three quick things that all of us can do in our work starting this afternoon? Dr. Narjust Duma: The concept is that we all can be allies. And being an ally doesn't take a lot of time or money because people think that being an ally is a full-time job, it is not. So, the first one tip will be to bring people with you. Your success is not only yours. It's a success of your mentees. It's a success of your colleagues. So, don't see your success as my badge on my shoulder. It's the badge that goes on everyone. So, bring people in, leave the door open, not only bring them but leave the door open because when you do it helps the next generation. Two, little things make a difference. I'm going to give you three phrases that I use all the time. When you think somebody has been marginalized in a meeting, bring them up, it takes no time. For example, 'Chenoa, what do you think we can do next?' You're bringing that person to the table. Two, you can advocate for other women and minorities when they're easily interrupted in a meeting. This takes no time. ‘I'm sorry you interrupted Dr. Duma. Dr. Duma?' So, that helps. The third thing is very important. You can connect people. So, one of the things is that I don't have every skill, so I advocate for my mentees and I serve as a connector. I have a mentee that is into bioinformatics. Lidia, that's above my head. I don't understand any of that. So, I was able to connect that person to people that do bioinformatics. And follow up. My last thing is to follow up with your people because they need you. Dr. Lidia Schapira: Well, I'm very glad that you're not an oil engineer in the Emirates. I'm sure your family is incredibly proud. I hope that you're happy where you are. We started a little bit about where you started, I'd like to end with your idea of where you imagine yourself 10 years from now? Dr. Narjust Duma: That is a question I don't have an answer prepared for. I guess my career development plans I think I want to be in a place where I look back and I can see that the careers of my mentees being successful. And I think that we measure my success based not on myself, I would measure my success in 10 years based on where my mentees are. And medical education is a more inclusive place. That will be the two things I want to see in 10 years. In the personal aspect, I don't know if we have art, don't know if we have those grants as long as my mentees are in a better place. Dr. Lidia Schapira: It has been such a pleasure to have this conversation. Thank you so much, Narjust. Dr. Narjust Duma: Thank you. Dr. Lidia Schapira: Until next time, thank you for listening to this JCO's Cancer Stories: The Art of Oncology podcast. If you enjoyed what you heard today, don't forget

Podcast Papagaio Falante é um bate papo com o Sérgio Mallandro e Renato Rabello. Toda terça-feira e quinta-feira. Geralmente as 20h! Instagram do Papagaio Falante: @podcastpapagaiofalante Sérgio Mallandro: @serginhomallandro Renato Rabello: @ren.atorabelo

(Partido Premundial Ecuador-Argentina) «El pitazo final hace rugir el estadio Olímpico Atahualpa. Cuarenta y dos mil hinchas saltan, gritan, lloran. El Ecuador le ganó dos a cero a la Argentina. ¡Dos a cero! ... »Pocos hinchas han olvidado ese día. Era domingo. Un 2 de junio de 1996. Ecuador y Argentina se enfrentaban por las eliminatorias al Mundial de Francia.» Así presenta las emociones vividas ese día la profesora ecuatoriana Martha Cecilia Ruiz en el segundo volumen de la serie titulada: Con sabor a gol: Biblioteca del fútbol ecuatoriano. Según el sociólogo Hernán Reyes, «una de las tantas magias que ofrece el fútbol es el hecho de invertir los valores sociales, aunque sea por noventa minutos». Así, por obra y gracia de un partido bien jugado, un hombre pobre o negro —mal visto antes de entrar a la cancha— puede convertirse en héroe —señala Ruiz—. Por eso, en el partido Ecuador-Argentina, el esmeraldeño Eduardo Hurtado se volvió estrella cuando, dos minutos antes del pitazo final, pegó la carrera desde la media cancha y, con un cañonazo, marcó el segundo tanto: el del triunfo. Los hinchas lloraron. Hurtado corrió hacia [las graderías], se levantó la camiseta tricolor, besó el escapulario con la imagen de Narcisa de Jesús y ofreció el gol a su padre. Patria, religión y familia... tres pájaros de un tiro.»1 Apodado «El Tanque», Eduardo Hurtado (que en ese entonces era el goleador del Galaxy de Los Ángeles, Estados Unidos) se había sumado a la selección ecuatoriana apenas cinco días antes del partido, pero se había quedado entrenando en Guayaquil para no sentir los efectos de la altura. Viajaba a la capital para los entrenamientos tácticos y para escuchar lo que tenía que enseñar el técnico Maturana, pero inmediatamente después regresaba en avión al puerto principal del país. Dos años antes, en un partido amistoso disputado allí mismo en Guayaquil, la selección del Ecuador había logrado derrotar por primera vez a Argentina, encabezada por su máxima estrella Diego Armando Maradona. Pero ahora Maradona estaba encendiendo los ánimos diciendo que Maturana tenía miedo de este encuentro.2 «Yo le había prometido a mi padre Ramón que iba a hacer un gol ante Argentina —recuerda Hurtado acerca de esa histórica tarde de 1996—.... Estuve a punto de marcar en varias ocasiones, pero Bossio atajaba todo. »En el minuto 89 la gente pedía que terminara el partido. Pero yo nunca perdí las esperanzas: un minuto después, Álex Aguinaga me hizo un pase desde la media cancha, corrí con todo y le pegué con fuerza y mucha fe. Vi que el balón entró en el ángulo.... Me abrazaban Wagner Rivera y Lucho Capurro, pero yo buscaba a mi padre en la tribuna. Cuando lo vi, me salieron las lágrimas.»3 ¡Qué linda esa imagen del padre que revienta de orgullo por la hazaña de su hijo, a la vez que el hijo revienta de emoción por haberle podido cumplir semejante promesa a su padre! Si bien un padre es capaz de sentir tal emoción aquí en la tierra, ¿cuál no será la emoción que colmará de satisfacción a nuestro Padre celestial cuando, como hijos suyos, marquemos el gol final y se lo dediquemos a Él en las graderías de la gloria? Para que ese sea nuestro futuro, más vale que le prometamos a Dios que de aquí en adelante entregaremos alma y corazón en la cancha de las eliminatorias mundiales de nuestra vida. Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Martha Cecilia Ruiz, «El fútbol: ¿el espacio absoluto de la masculinidad?», Con sabor a gol: Biblioteca del fútbol ecuatoriano, Kintto Lucas, Editor Volumen II (Quito: FLACSO Sede Ecuador, 2006), pp. 223-25 En línea 11 marzo 2020. 2 Emilio José Carrión, «El día que Argentina perdió en el Ecuador», Diario El Universo, 31 mayo 2005 En línea 11 marzo 2020. 3 Eduardo Hurtado, «Esa tarde le cumplí a mi padre», Diario El Universo, 31 mayo 2005 En línea 11 marzo 2020.

Hoje foi dia de falar tudo sobre os vencedores da SAG AWARDS, a formação do paredão do BBB e o Neko trazendo um resumeko do que ele achava que era a Narcisa Apoie o Diário de Bordo: http://picpay.me/diariodebordo

Hoy platicaremos de uno de nuestros goles sin querer queriendo que nos abrieron los ojos, las metas y expectativas de Narcisa al siguiente nivel, nos mostraron lo que queremos seguir haciendo y sobretodo nos enseñaron lo descuidado que casas de moda y la moda "general" tienen a la diversidad de cuerpos, que va mas allá de hablar de una talla xl, sino una talla que SI QUEDE, porque no es una talla estándar ni la xs ni la xl, ¿entonces cómo supimos qué aquejaba a clientas?, entérate!

la caridad es el camino de Santidad y de unión con el Señor

This week it's our first saint from the western hemisphere as we talk Saint Narcisa de Jesús; a wandering serial self-crucifier who love bread and helping the poor. Plus she's great with banana cancer and missing vaginas. Also, Anna has a miraculous find and Matthew's family gets some divine pajamas. Click here to see a fun picture of Matthew being crucified. Please rate, review, and subscribe wherever you can. It really helps the show. And tell a friend! Thanks. If you would like to support the show you can become a patron at Patreon.com/Saintmisbehavinpod Or you can give us a one-time tip at ko-fi.com/qedcomedylab If you want to tell us anything please contact us at SaintMisbehavinPod@gmail.com --- Send in a voice message: https://anchor.fm/saintmisbehavinpod/message

Thanks for tuning into The Grow & Glow Podcast today we are playing catch up as I get back in the swing of things. My goal is to focus more of my energy on this platform. Be sure to stay connected WHERE TO FIND ME! ♥ MY BLOG: www.narcisamaura.com ♥ INSTAGRAM: @Narcisam08 ♥ YOUTUBE: https://youtube.com/narcisamaura __________________________________________________________________ ABOUT ME: Hi there! I'm so glad you've stumbled across my podcast! And if you're reading all the way down here, you're a real one. I'm Narcisa a spunky, optimistic, vivacious, and compassionate lady. I'm originally from Brooklyn, NYC and after years in the big apple, I decided to move to the Low-country of Charleston, SC. I'm known for my bubbly personality, dope digital content, and lifestyle blog. In 2020 I stepped into my purpose to inspire women all over the world to grow and glow through life one moment at a time. I hope you enjoy and subscribe! New episodes are posted every Saturday at 9am! --- Support this podcast: https://anchor.fm/narcisa-maura/support

“O curioso foram os que falaram que iam fazer, mas depois, na sequência, falavam assim: ‘Vai entrar o maquiador, né? Vai ter o cabeleireiro? Vai ter sei lá o que'. Posso falar o nome, pois ela não vai ficar chateada. Ela falou que desse jeito [sem regalias], não conseguia, que é a Narcisa. É o nosso sonho, mas é impossível, porque ela gostaria de ter essa estrutura, tem vários que não vivem sem essa estrutura”, contou. --- Support this podcast: https://anchor.fm/nativa-fm-campinas/support

- Maestros cierran un tramo de la avenida Narcisa de Jesús y obstaculizan la vía - La Conaie espera hasta el 10 de agosto una respuesta del Gobierno a sus demandas económicas - Ordenan el arresto domiciliario de Berenice Quezada, candidata a vicepresidenta de Nicaragua - Independiente del Valle presentó a Mateo Carabajal y se despidió de Brian Montenegro

- Manifestantes cierran un tramo de la avenida Narcisa de Jesús. Exigen la vigencia de la Ley Orgánica de Educación Intercultural - Lamentable: Una pitbull mató a una abuelita en el norte de Quito - La Conaie le pone plazo al Gobierno para que responda a sus demandas económicas - En el centro de Quito, brigadas comunitarias se imponen a la delincuencia

¿Qué evidencia hay sobre los efectos secundarios de las vacunas? ¿Quién no debe vacunarse? ¿Qué tan segura es la tecnología que usaron? Mavi y Daniel van 'De Un Punto Al Otro' con la Dra. Narcisa Martínez, especialista en inmunología y biología molecular.¿Quién es la Dra. Narcisa Martínez? Narcisa es profesora Titular en la Universidad Complutense de Madrid desde noviembre de 2016 donde enseña Inmunología Avanzada en grado y Máster. Obtuvo la licenciatura en Biología, especialidad de Bioquímica y Biología Molecular y también es Especialista en Inmunología.Leer más:https://dupao.news/podcast/e45-toda-la-verdad-sobre-las-vacunas-contra-el-covid-19Puedes ver el video

Narcisa is a Lifestyle Digital Content Creator. She partners with brands as an ambassador and influencer. Through her blog, she brings awareness to events and brands by sharing her experiences. Her goal is to inspire women to grow and glow through life one moment at a time. Connect with her on social media @narcism08 or on her website www.narcisamaura.com Join the Tribe! An Official Tribe Member can be found increasing her faith while manifesting her wildest dreams, designing her ideal life by slaying goals, and evolving into the confident leader of her life. ✅ FREE ADMISSION TO MONTHLY COFFEE + CONVERSATION Attend our monthly girl chat in your local city. Interested in starting a new chapter and facilitating a group? Email us to get your city on the map! ✅ MONTHLY VIRTUAL MASTERMIND SESSION Submit your questions to us before our monthly meetup and we'll discuss your most pressing questions live during our monthly mastermind sessions. ✅ MEMBERSHIP DIRECTORY Get the brand exposure you want and need in the faces of dynamic women of influence across the nation by listing your business/brand on our directory. ✅ INDIVIDUAL SUCCESS SESSION Schedule your 15-Minute accountability call time with Thee Goal Slayer herself or one of the brand ambassadors for your monthly dose of “Let's get it!” at a discounted rate. ✅ MEMBER ONLY MASTERCLASSES + EVENTS Private invitations for building your brand with systems, tools and some of our favorite hacks. ✅ EXCLUSIVE DISCOUNTS ON SWAG + EVENTS Of course membership comes with the perks of major ticket/vendor/sponsorship discounts and coins saved on swag items like tees, tights, hats, mugs and more in our online store. ✅ ADVERTISE ON OUR PODCAST Increase your sales by submitting your information via email at least 4 weeks prior to your event or sale for a podcast shoutout. ✅ INSTAGRAM STORIES TAKEOVER ​You get 7 days of sharing your genius and behind the scenes of your brand/business. Be sure to invite your fanbase to follow @goalslayerstribe on Instagram. ✅ SPECIAL MEDIA INVITATIONS Increase your visibility by being a featured guest on our highly anticipated God. Goals. Growth. #Goalslayers podcast. We're always looking for featured speakers for upcoming workshops. You'll be the first to know for opportunities. ✅ SPECIAL ONLINE FEATURES ​You never know when you may be featured on our website/social media pages for your outstanding philanthropic work, accomplishments or launches. ✅ GUEST CONTRIBUTOR OPPORTUNITIES It's important to be positioned as the go-to expert in your industry and writing an article in your niche will allow space for you to get noticed, attract new clients, and have your work shared across multiple platforms. ✅ WEEKLY PRAYER CALL The Goal Slayers are all about GOD, GOALS and GROWTH. Join us every Wednesday at 7am for a midweek prayer and manifestation call to help you grow on your spiritual journey .

Narcisa Amália de Campos foi uma poetisa, escritora e jornalista brasileira. Foi a primeira mulher a trabalhar como jornalista profissional no Brasil. Movida por forte sensibilidade social, combateu a opressão da mulher e o regime escravista.

Nesta quinta minha convidada especial é Francisca Narcisa e nosso poema em parceria se chama #AMIZADE - Segue ela lá no Instagram >>> https://www.instagram.com/narcisa_silva47 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Hoje nosso quadro será sobre a grande Narcisa Amália de Campos, por Agnes Alencar --- Support this podcast: https://anchor.fm/inadequados/support

En la tarde de "Dos linternas" dialogamos con la directora, montajista y productora Daniela Muttis sobre el documental "Narcisa" que se puede ver desde el jueves 20 de mayo por http://www.puentesdecine.com/

ESTRENO: 20 DE MAYO EN https://www.puentesdecine.com SINOPSIS Narcisa Hirsch elaboró una obra en Argentina que, desde fines de los sesenta, tiene una amplitud estética, conceptual y cinemática que pocos realizadores experimentales pudieron lograr. A veces tensando la relación entre lo visual y lo verbal, otras como una paisajista alucinada de pura iconicidad, y otras veces desde una concepción musical de la imagen, en la que el ojo sin límite de Hirsch busca ese aleph borgeano que una de sus últimas obras evoca desde el título, ese punto de “intolerable fulgor” donde confluyen el universo real y el imaginado, es decir, la vigilia y el sueño. FICHA TÉCNICA Dirección: Daniela Muttis Guión y Montaje: Daniela Muttis Fotografía: Daniela Muttis, Rubén Guzmán S. Música: Nicolás Diab Género: DOCUMENTAL Duración: 61 País de origen: ARGENTINA Seguí todas las novedades del mundo del cine y los últimos estrenos videocomentados en: En Twitter: http://twitter.com/pablomcfly En Facebook: https://www.facebook.com/cineconmcfly En Instagram: http://www.instagram.com/pablomcfly

Ilinca Vandici vine la o poveste, alături de mine. Povestim despre drumul său din satul Măgești până la București, cât a muncit pentru a ajunge unde este în momentul de față, ce a motivat-o cel mai tare în viață și nu în ultimul rând despre depresie și viața de familie. linca Vandici este una dintre cele mai cunoscute vedete de televiziune din România, cu o carieră de peste 15 ani pe sticlă, dar şi o prezenţă populară în concursurile autohtone de Miss, pe vremea când era o adolescentă. Ilinca şi-a început cariera în televiziune la postul B1 TV, unde a prezentat rubrica Meteo' şi emisiunea Esentze'. În 2007, s-a alaturat echipei Kanal D pentru a prezenta emisiunile Bulevard' şi Magic Taxi'. Au urmat o serie de emisiuni la alte posturi de televiziune, precum „Ministerul de Secrete” şi „Stele sub lupă'de la Antena 2. Ilinca Vandici construindu-şi pas cu pas o carieră solidă în lumea televiziunii. A cochetat şi cu actoria, în 2011 făcând parte din distribuţia telenovelei Narcisa salbatică' şi, mai apoi, filmul „Jocul'. În vara anului 2014, Ilinca a revenit la Kanal D pentru a fi gazda emisiunii O iubire de-o vară', alături de Liviu Varciu. După aceea a prezentat show-ul D-Paparazzi', la Kanal D. Momentan, Ilica Vandici prezintă emisiunea „Bravo, ai stil!', la Kanal D.

Você sabia que Boninho, o diretor do “BBB”, foi casado com Narcisa Tamborindeguy e tem uma filha com ela? A famosa socialite do Rio relembrou o dia em que eles subiram ao altar num post feito nesta quinta-feira. Narcisa compartilhou uma foto vestida de noiva ao lado do padrinho da união, que aconteceu em junho de 1983. TARDE NATIVA 23/04/2021 LOCUTORA: Milena Barros --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nativa-fm-campinas/support

Arvien biežāk uzzinu par gadījumiem, kad cilvēks ir cietis dēļ kādas personas, kam ir pastiprinātas narcisisma iezīmes. Visbiežāk tas ir personīgajās attiecībās, jo sabiedrībā narcisi sevi citiem parāda kā gandrīz vai perfektus cilvēkus. Bet mēdz arī gadīties, ka saskarsme ar narcisu ir notikusi darba vietā vai draugu lokā. Par narcisiem un toksiskiem cilvēkiem izjautāju Pēteri Sičevu, kas ir praktiskais psihologs, sistēmiskais un strukturālais koučs, kā arī centra “Labas attiecības” dibinātājs.Ja mēs spējam laicīgi atpazīt narcisistisku cilvēku vai toksisku cilvēku, tad mums ir iespēja pagūt sevi pasargāt no pārliekas enerģijas, laika un iespēju zaudēšanas, kas notiek šādai saskarsmei turpinoties.Pētera Sičeva kontaktinformāciju atradīsi sarunas lapā: ugunsskola.lv/cilvekjauda56ŠĪS SARUNAS PIETURPUNKTI AR LAIKA NORĀDĒM:02:28 Ko cilvēks zaudē, ja laikus neapjauš, ka viņam ir darīšana ar narcisu05:56 Kas ir tā pamatsajūta, ko narciss cenšas iedvest apkārtējiem07.42 Narcisa definīcija, raksturojums, paveidi un pazīmes20:00 Pēc kādiem kritērijiem narciss izvēlas sev partneri25:35 “Izsistais logs” jeb stratēģija, kā pārstāt būt par narcisa upuri35:45 Nelabvēlīgie un apgrieztie narcisi – kādas ir šo divu tipu atšķirības41:35 Kāda bērnības pieredze cilvēku padara par nelabvēlīgo jeb ļaundabīgo narcisu47:06 Kuram dzimumam vairāk ir novērotas narcisisma iezīmes, un kā nesajaukt narcisus ar histēriķiem53:10 Kas veido cilvēka rakstura īpašības un personības iezīmes57:55 Vai ir iespējama normāla kopdzīve ar narcisu, un kā sev palīdzēt, ja esi šādās attiecībās1:09:18 Kādas sajūtas rodas ķermenī pēc sarunas ar narcisu, un kā pēc šādas saskarsmes atgūt savus resursus1:12:34 Praktisks paņēmiens, kā sagatavoties uz sarunu ar narcistisku vai toksisku cilvēku

"La joven laica ecuatoriana Narcisa de Jesús Martillo Morán nos ofrece un ejemplo acabado de respuesta pronta y generosa a la invitación que el Señor nos hace a participar de su amor. Ya desde una edad muy temprana, al recibir el sacramento de la Confirmación, sintió clara en su corazón la llamada a vivir una vida de santidad y de entrega a Dios. Para secundar con docilidad la acción del Espíritu Santo en su alma, buscó siempre el consejo y la guía de buenos y expertos sacerdotes, considerando la dirección espiritual como uno de los medios más eficaces para llegar a la santificación. Santa Narcisa de Jesús nos muestra un camino de perfección cristiana asequible a todos los fieles. A pesar de las abundantes y extraordinarias gracias recibidas, su existencia transcurrió con gran sencillez, dedicada a su trabajo como costurera y a su apostolado como catequista. En su amor apasionado a Jesús, que la llevó a emprender un camino de intensa oración y mortificación, y a identificarse cada vez más con el misterio de la cruz, nos ofrece un testimonio atrayente y un ejemplo acabado de una vida totalmente dedicada a Dios y a los hermanos" (Benedicto XVI, Homilía de canonización, 12 octubre 2008). P. Douglas Bohórquez Sandoya. Parroquia Sagrado Corazón de Jesús (Guayaquil - Ecuador)

Santa Narcisa de Jesús fue una niña que se consagró a Dios desde chiquita. Privada de padres y desprovista de sustento, después de muchos trabajos, fue recibida de religiosa donde se dio por completo a la oración continua y a la penitencia, pues la crucifixión de Nuestro Señor estaba todo el tiempo en su mente y corazón.

La caridad es el camino de santidad y de unión con el Señor.

Sientes que tu pareja te manipula a su voluntad? Este episodio es para ti

(3 sep: Partido Premundial Bolivia-Ecuador) «El pitazo final hace rugir el estadio Olímpico Atahualpa. Cuarenta y dos mil hinchas saltan, gritan, lloran. El Ecuador le ganó dos a cero a la Argentina. ¡Dos a cero! ... »Pocos hinchas han olvidado ese día. Era domingo. Un 2 de junio de 1996. Ecuador y Argentina se enfrentaban por las eliminatorias al Mundial de Francia.» Así presenta las emociones vividas ese día la profesora ecuatoriana Martha Cecilia Ruiz en el segundo volumen de la serie titulada: Con sabor a gol: Biblioteca del fútbol ecuatoriano. Según el sociólogo Hernán Reyes, «una de las tantas magias que ofrece el fútbol es el hecho de invertir los valores sociales, aunque sea por noventa minutos». Así, por obra y gracia de un partido bien jugado, un hombre pobre o negro —mal visto antes de entrar a la cancha— puede convertirse en héroe —señala Ruiz—. Por eso, en el partido Ecuador-Argentina, el esmeraldeño Eduardo Hurtado se volvió estrella cuando, dos minutos antes del pitazo final, pegó la carrera desde la media cancha y, con un cañonazo, marcó el segundo tanto: el del triunfo. Los hinchas lloraron. Hurtado corrió hacia [las graderías], se levantó la camiseta tricolor, besó el escapulario con la imagen de Narcisa de Jesús y ofreció el gol a su padre. Patria, religión y familia... tres pájaros de un tiro.»1 Apodado «El Tanque», Eduardo Hurtado (que en ese entonces era el goleador del Galaxy de Los Ángeles, Estados Unidos) se había sumado a la selección ecuatoriana apenas cinco días antes del partido, pero se había quedado entrenando en Guayaquil para no sentir los efectos de la altura. Viajaba a la capital para los entrenamientos tácticos y para escuchar lo que tenía que enseñar el técnico Maturana, pero inmediatamente después regresaba en avión al puerto principal del país. Dos años antes, en un partido amistoso disputado allí mismo en Guayaquil, la selección del Ecuador había logrado derrotar por primera vez a Argentina, encabezada por su máxima estrella Diego Armando Maradona. Pero ahora Maradona estaba encendiendo los ánimos diciendo que Maturana tenía miedo de este encuentro.2 «Yo le había prometido a mi padre Ramón que iba a hacer un gol ante Argentina —recuerda Hurtado acerca de esa histórica tarde de 1996—.... Estuve a punto de marcar en varias ocasiones, pero Bossio atajaba todo. »En el minuto 89 la gente pedía que terminara el partido. Pero yo nunca perdí las esperanzas: un minuto después, Álex Aguinaga me hizo un pase desde la media cancha, corrí con todo y le pegué con fuerza y mucha fe. Vi que el balón entró en el ángulo.... Me abrazaban Wagner Rivera y Lucho Capurro, pero yo buscaba a mi padre en la tribuna. Cuando lo vi, me salieron las lágrimas.»3 ¡Qué linda esa imagen del padre que revienta de orgullo por la hazaña de su hijo, a la vez que el hijo revienta de emoción por haberle podido cumplir semejante promesa a su padre! Si bien un padre es capaz de sentir tal emoción aquí en la tierra, ¿cuál no será la emoción que colmará de satisfacción a nuestro Padre celestial cuando, como hijos suyos, marquemos el gol final y se lo dediquemos a Él en las graderías de la gloria? Para que ese sea nuestro futuro, más vale que le prometamos a Dios que de aquí en adelante entregaremos alma y corazón en la cancha de las eliminatorias mundiales de nuestra vida. Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Martha Cecilia Ruiz, «El fútbol: ¿el espacio absoluto de la masculinidad?», Con sabor a gol: Biblioteca del fútbol ecuatoriano, Kintto Lucas, Editor Volumen II (Quito: FLACSO Sede Ecuador, 2006), pp. 223-25 En línea 11 marzo 2020. 2 Emilio José Carrión, «El día que Argentina perdió en el Ecuador», Diario El Universo, 31 mayo 2005 En línea 11 marzo 2020. 3 Eduardo Hurtado, «Esa tarde le cumplí a mi padre», Diario El Universo, 31 mayo 2005 En línea 11 marzo 2020.

"Bruchstücke" aus: Aus Portugal und Brasilien (1250-1890) Ausgewählte Gedichte verdeutscht von Wilhelm Storck Narcisa Amália (3. April 1856, São João da Barra – 24. Juni 1924, Rio de Janeiro) Neue Folgen immer Montag bis Freitag um 7 Uhr! Mich gibt es auch auf YouTube & Instagram: ✬ YouTube: https://www.youtube.com/channel/UC7hH-ierv-7NVjICidtBpBg ✬ Kaninchenkanal (englisch): https://www.youtube.com/channel/UCBw4Q_nTVkUSrjT3fx4iDcg ✬ Instagram: https://www.instagram.com/alyssaaajulie/

No programa de hoje estudamos três capítulos, onde fomos informados sobre as equipes dos Samaritanos de Nosso Lar que prestam socorro aos espíritos infelizes nas regiões sombrias do Umbral. Atendemos junto com Narcisa alguns irmãos em profundas perturbações mentais, aprendemos sobre as heranças deixadas na Terra e também vimos um breve relato sobre eutanásia.

Neste estudo acompanhamos a agradável companhia de Rafael, que conduziu André Luiz até o Ministério da Regeneração, onde fomos apresentados ao Ministro Genésio e ao companheiro Tobias. Fomos informados por Narcisa sobre as tarefas e seus desdobramentos, naquele recanto de refazimento e auxílio.

NotiMundo - Narcisa Mashienta, Contagio Masivo En El Cantón Taisha by FM Mundo

Violeta este o albinuță care are un nume de floare, ca toate surorile ei: Roza, Iris, Narcisa, Hortensia, Camelia... Fiecare dintre ele trebuie să culeagă polen din floarea al cărei nume îl poartă. Dar în frumoasa lor grădină nu se vede nicio violetă! Prin urmare, albinuța noastră pleacă în căutarea florii ei, pe care o găsește ascunsă în Pădurea Înflorită. --- Send in a voice message: https://anchor.fm/cufarulcupovesti/message

I love being alone I’m Narcisa tic buckle up bitches for this mental breakdown

Moedas virtuais, bitcoin, mineração e blockchain são expressões que se popularizaram nos últimos anos. Mas você realmente está por dentro de toda tecnologia e dos impactos que envolvem o processo de fabricação das chamadas criptomoedas? Neste episódio, explicamos tudo o que você está a fim de saber sobre esse tema.

#165 | Narcisa Amália Campos (séc. XIX, Brasil)

Cine? Narcisa Pheres - Creative Director at PHERES Am super apreciat ceea ce Narcisa a reusit prin propriul ei business. Bijuteriile realizate au ajuns la diferite vedete cunoscute international ca Beyonce sau Madona si am devenit curios dorind sa aflu mai multe. Va invit sa o ascultam! Mai multe despre ce face Narcisa aici: http://www.pheres.com

Série semanal, com Flavia Contartesi. Recitações de poesias espíritas.

Episódio gravado para fechamento de semestre para a disciplina de história da comunicação. Roteiro: Lavínnia Moraes Voz: Lavínnia Moraes Produção: Douglas Vale

Narcisa Pheres by Good Morning LaLa Land

Hola! Solar aquí! Hemos tenido una acaloradísima discusión con Willow sobre la tráfica de mujeres y los derechos humanos, sin duda la situación que vive Narcisa ahora es horrible y es algo que debe dejar de suceder... no puedo evitar sentirme horrible cuando pienso que como ella hay muches más, pero al menos ya existe un cambio de mentalidad en la sociedad y las víctimas del tráfico de blanca ya no están solas. INSTAGRAM: @habitacion037podcast

Pomislimo na Hopkinsovega Hanibala Lecterja v filmu Ko jagenjčki obmolknejo. Pomislimo na Ellisovega Patricka Batemana v romanu Ameriški psiho. Pomislimo na človeka z brazgotinami v prvi sezoni televizijske serije Pravi detektiv. Očitno je, da sodobno zahodno kulturo fascinirajo serijski morilci. Zakaj? Zakaj njihova dejanja zmorejo pritegniti našo praviloma razpršeno pozornost in uročiti našo domišljijo? V čem natanko je njihov draž, zaradi česar jih – pa čeprav v nas prebujajo občutke tesnobe, nelagodja in strahu – redno in v velikem številu srečujemo na filmskem platnu in televizijskem ekranu, med platnicami knjig in stripov? – To vprašanje si zdaj že nekaj časa zastavlja antropologinja, soustanoviteljica inštituta Danes je nov dan in asistentka na Katedri za kulturologijo ljubljanske Fakultete za družbene vede, dr. Eva Vrtačič. Do kakšnih ugotovitev se je navsezadnje dokopala, preverjamo v tokratnih Podobah znanja, ki so bile posnete pred tragičnimi dogodki na Novi Zelandiji. Oddajo je pripravil Goran Dekleva. foto: Goran Dekleva

Cítite sa osamelí? Nie, úplne vážne, napriek internetu, napriek novým technológiám, napriek sociálnym sieťam, ktoré na nás neustále kričia, necítite sa niekedy úplne sami? Nuž, ak áno, v tejto samote sami nie ste. Práve naopak. Sociálne siete totiž môžu byť dôvodom, prečo sa cítime osamelo. A osamelosť môže byť pre naše telá horšia, ako trebárs cigarety. A keď už sme pri nich, vedci sa teraz pozreli, ako funguje nikotín v našich nervových bunkách. A ako vzniká nikotínová závislosť. V Zoome sa tento týždeň sa pozrieme na vzťah osamelosti a sociálnych sietí, ako funguje nikotín v našich mozgoch aj čo majú kľuky spoločné s našim zdravotným stavom. Krátke správy z vedy Rusi plánujú poslať do vesmíru turistov a letieť by mali po trase Jurija Gagarina. Gagarinov let trval v roku 1961 108 minút. Zároveň by sa na medzinárodnú vesmírnu stanicu ISS mali pozrieť dvaja ďalší turisti. Ich štart sa očakáva v roku 2021. Dosiaľ sa na ISS vydalo sedem turistov. V Pompejach objavili ďalšiu fresku, tento raz ukazuje bájneho Narcisa, ktorý sa zamiloval do vlastného odrazu na hladine rieky. Fresku objavili na nádvorí domu, v ktorého spálni sa koncom minulého roka našla aj freska zachytávajúca antickú mytologickú Lédu s labuťou. Deti vnímajú národnosť ako čosi, čo je biologicky dané. Ukazuje to nový výskum psychológov, ktorý tiež hovorí, že postupne, ako deti starnú, takáto predstava ustupuje. Výskumníci naznačujú, že toto zistenie môže vysvetľovať, aké sú korene nacionalizmu. Cvičenie ráno alebo večer má nečakaný dôsledok: posúva naše vnútorné hodiny. Napríklad ranné cvičenie posunie naše vnútorné hodiny na mierne skorší čas. Večerné cvičenie ich zase posunie vpred. Toto zistenie môže pomôcť napríklad pri vyrovnávaní sa s následkami jet lagov či práce na zmeny.

Bogdan Olaru - La Narcisa - Quanticman Records. https://www.beatport.com/label/quanticman-records/13578

Welcome to the inaugural episode of I Stand, with host Michael B. Judkins. This week, Michael talks to Narcisa Sierra about mental health. I Stand is produced in produced in partnership with OCT14 Publishing and is available on Apple Podcasts, Stitcher Radio, Google Play, TuneIn, Podomatic, and media.aois21.com.​

Narcisa de Jesús Martillo Morán nació en 1832, en la hacienda San José de Nobol, Daule, Ecuador. Los dominicos regentaban su parroquia desde hacía casi trescientos años. Fue hija de Pedro Martillo y Josefa Morán, campesinos propietarios, gente sencilla y profundamente creyente. Su padre, dotado de una inteligencia clara y espíritu de trabajo, reunió una apreciable fortuna. Era muy devoto de la futura Santa Mariana de Jesús y de San Jacinto de Polonia, que se venera con fervor en toda la provincia del Guayas. Los nueve hijos del matrimonio crecieron sanos y robustos, Narcisa ocupaba el sexto lugar. En 1838, cuando contaba 6 años, falleció su madre. Con la ayuda de una maestra particular y de su hermana mayor, se instruyó en las primeras letras. Aprendió a leer, escribir, cantar, tocar la guitarra, coser, arte que llegó a dominar con verdadera maestría, tejer, bordar, cocinar. Poseía grandes cualidades, con predisposición especial para la música. Con frecuencia su plegaria se hacía canción, y su cántico fue íntimo y piadoso, entregando el corazón a Quien bien lo merecía, como rezaba una composición que gustaba repetir cuando era jovencita. Tuvo una clara percepción de su llamada a la santidad, especialmente a partir del sacramento de la Confirmación, que recibió a la edad de 7 años, el 16 de septiembre de 1839. Adquirió la costumbre de retirarse con frecuencia a un bosquecillo cercano a la casa, para entregarse libremente a la contemplación de las realidades divinas. El árbol de Guayabo junto al cual rezaba, es hoy el término de nutridas peregrinaciones. Convirtió en oratorio doméstico, un pequeño cuarto de su casa. Se propuso imitar a Santa Mariana de Jesús, identificándose con la vocación de víctima. Asumió un camino arduo de penitencia, para unirse más íntimamente a Cristo sufriente y ayudarle a la redención del mundo. Colaboraba en los trabajos domésticos y en los del campo. Era una joven reflexiva, amable, alegre, de carácter dulce y apacible, sumamente buena y obediente, caritativa, compasiva para con los pobres, extremadamente piadosa, amada por todo el vecindario. Joven muy hermosa, de ojos azules y cabello rubio, esbelta, fuerte y ágil. Se manifestó una excelente catequista. No podía menos de transmitir el fuego del amor divino a los suyos y a los niños del vecindario. En enero de 1852 falleció su buen padre. Narcisa, que contaba 19 años de edad, pasó a Guayaquil, y se hospedó con una familia muy conocida que habitaba junto a la catedral. En esta ciudad permaneció hasta 1868, exceptuando unos meses que pasó en la ciudad de Cuenca. Mudó varias veces de morada para preservar su intimidad y dedicarse con mayor libertad a la oración y penitencia, viviendo del trabajo de costurera. Socorría a pobres y enfermos. Fue dócil a las directrices de sus directores espirituales, y compartió ideales, y a veces vivienda, con la Beata Mercedes de Jesús Molina. Impulsada por un anhelo de mayor perfección y aconsejada por un religioso franciscano, se embarcó en junio de 1868 para Lima, Perú, y vivió como seglar interna en el convento dominicano del Patrocinio, fundado en 1688 en lugares donde solía apacentar su rebaño San Juan Macías. El Señor la favorecía con dones extraordinarios, y le mostraba cuán acepta le era su vida, también en medio de las pruebas del espíritu. A finales de septiembre de 1869 se le declararon unas fiebres. Poco pudieron hacer los remedios médicos, pero continuó con su ritmo de vida normal, y así hasta finalizar la novena y celebrar con gran gozo, vestida de blanco, la Eucaristía en la solemnidad de la Inmaculada Concepción de María, 8 de diciembre de 1869, el mismo día en que el Beato Pío IX abría en Roma el Concilio Vaticano I. Al final de la jornada se despidió de las hermanas, porque iba a realizar un viaje muy largo. Lo tomaron a broma, pero al poco rato una de ellas, la encargada de bendecir las habitaciones, advirtió un resplandor y una fragancia especial en la suya. Acudió la comunidad y comprobaron que había muerto. Contaba 37 años de edad. Se supo después que había hecho voto privado de virginidad perpetua, de pobreza, obediencia, clausura, eremitismo, ayuno a pan y agua, comunión diaria, confesión, mortificación y oración. Todos estos votos los mantuvo fielmente. Vivía en continua unión con Jesucristo. Sus mortificaciones fueron muy severas. Llevaba constantemente en su cuerpo la crucifixión del Señor. Tenía una fe firme y una admirable esperanza. Los médicos se maravillaban de que hubiera podido vivir con tan poco alimento. En su cadáver se advirtieron durante largo tiempo signos de flexibilidad y fragancia, y ante él se obraron múltiples gracias. Lima la aclamó como santa, y lo mismo hicieron las gentes de Guayaquil y Nobol. Las hermanas del Patrocino guardaron memoria de sus virtudes y custodiaron con suma veneración el sepulcro, hasta que su cuerpo, prácticamente incorrupto, se trasladó a Guayaquil en 1955. Los videos se encuentran en www.magnificat.tv Otros canales de comunicación de Magnificat TV de los Franciscanos de María: Podcast:http://goo.gl/FRhNmS Youtube : http://goo.gl/slj8LL Twitter: https://twitter.com/MagnificatTV (Fuente: aciprensa.com)

El escritor estadounidense Jonathan Shaw estuvo recientemente en México para presentar su novela Narcisa. Ambientada en Rio de Janeiro, relata la tortuosa relación amorosa entre un exconvicto y una adicta al crack. Shaw es también un reconocido tatuador, uno de los responsables de que este ornamento corporal haya gozado de popularidad en tiempos recientes. En este episodio lo entrevistamos.

HOMENAJE A GLADIS NARCISA por sus 54 años en CADENA ENERGIA para MURCIA Y ALMERIA

Nessa edição com a participação super especial de Jana Rosa, decidimos voltar com o "Pegação Feroz na Balada, FDS transante ou Faz Minha Unha na 4ª feira"! Mas acabou que colocar uma convidada viciada em celebs com a gente deu em muuuuuita fofoca! Sabia que Narcisa já causou com Jana Rosa e Phelipe? Também comentamos assuntos da semana no Meryl e Lotus e fazendo um Me Ajuda Wanda maravilhosoney! ASSINE O PODCAST NO ITUNES LINK > bit.ly/AssineWandaNoItunes RSS FEED DO MILKSHAKE LINK > bit.ly/RSSdoWANDA WANDA NO FACEBOOK: facebook.com/PodcastWanda WANDA NO TWITTER: @PodcastWanda ME AJUDA WANDA "Wanda, hoje é meu aniversário!" As melhores salas de cinema de São Paulo Tô Curioso Wanda: recomendação de livros Tô Curioso Wanda: momentos "Caralho, fudeu" de nossas vidas "Socorro, Wanda! Estou no Vale dos Heterossexuais!" "A BFF do meu namorado odeia a gente juntos e está apaixonada. O que eu faço?" "Minha namorada não transa o quanto eu gostaria. Termino? Me aborreço?" LOTUS Criticos exagerados com Batman VS Superman Pedidos para ativar notificação no Instagram Pessoal em cima do muro na política MERYL Snapchat da Inês Brasil (panterona69) Beleza da J-Lo / Carpool Karaoke MERYLOTUS: Sonho com o Cris Pratt INTERESSANTENEY LIVRO: “Enfim Trinta”, da Jana Rosa APP: Ball Maze SÉRIE: "Revenge" MÚSICAS "You Know You Like 1 Derererê" - Inês Brasil (Yanescudo) "Waiting for Tonight" - Jennifer Lopez "All the Things She Said" - T.a.T.u. "Tears Dry On Their Own" - Amy Winehouse "Mortal Vindication" - Tema de "Revenge" Podcast #82 apresentado por: TWITTER / INSTAGRAM @phelipecruz @santahelena @samsworld @janarosa / twitter: @janessacamargo SNAPCHAT papelpop marinastahelena samirduarte janessacamargo MANDE SEU CASO PARA O "ME AJUDA WANDA" Quer ter seu caso lido em nosso podcast? Mande um desabafo, uma rapidinha, ou pergunte curiosidades para o e-mail redacao@papelpop.com. Coloque qualquer coisa com "Wanda" no assunto! ASSINE O PODCAST NO ITUNES (E, se curtiu, avalie a gente!) LINK > bit.ly/AssineWandaNoItunes RSS FEED DO MILKSHAKE LINK > bit.ly/RSSdoWANDA Toda semana um episódio novo: Às quintas-feiras, às 13h17, no papelpop.com e também no blog dontskip.com

Author/tattoo master, Jonathan Shaw, (dubbed “the next Bukowski”-Rolling Stone Magazine) talks about heroin addiction and reads from his cult classic novel "Narcisa: Our Lady of The Ashes." 

Só mesmo nosso herói Homem-cueca pra dar um rumo na vida dessa socialite carioca pseudo-neurastênica... Ai, que loucura! Ai, que absurdo! Eike Batista!See omnystudio.com/listener for privacy information.

Só mesmo nosso herói Homem-cueca pra dar um rumo na vida dessa socialite carioca pseudo-neurastênica... Ai, que loucura! Ai, que absurdo! Eike Batista!

Wonderlijke, ware verhalen rond een thema. De wonderlijke avonturen van de familie Omerovic. Adnan en Narcisa zijn vluchtelingen die weigeren vluchtelingen te zijn.

Ai, que loucura! O PopCast entra no universo mais ryco e luxuoso da TV pra contar todos os babados, segredos dos bastidores, intrigas dentro e fora do programa mais falado dos últimos tempos: Mulheres Ricas. Participam: @gilmoreguy, @klausroger, @rehvivan, @liviafigueiredo e @silvestremendes.