Podcasts about Orestes

(Aniversario de la Inducción de Orestes «Minnie» Miñoso al Salón de la Fama del Béisbol) Saturnino Orestes Armas Arrieta Miñoso, «conocido por Minnie y El Cometa Cubano, nació... en la finca La Lonja, de Perico, Matanzas [en Cuba]... donde... aprendió a jugar pelota... [pues allí]... se jugaba fuerte al béisbol —escribe el avezado cronista deportivo pinareño Juan Antonio Martínez de Osaba y Goenaga en un artículo titulado “Minnie Miñoso... un cometa incapturable”—. En el estadio del Cerro [en La Habana]... en la radio se oía este estribillo por la orquesta de Enrique Jorrín: “Cuando Miñoso batea, verdad, la bola baila [hasta] el cha-cha-chá.”» El profesor Osaba luego relata: «Mi tío Ramón Goenaga me contó: “Más de seis décadas atrás, cuando nadie sabía quién era, lo veía [yo] cortando caña y marabú, descalzo, para el central España. Como... muchacho... [Miñoso] soñó que un día sería estelar, y lo logró. Pocos cubanos llevaron tan alto el deporte de las bolas y los strikes antes de 1959. Quizás ninguno haya sido más popular ni longevo.”» De ahí que uno de los lectores de ese artículo en Internet comentara que su papá, que siempre hablaba de Miñoso, le había contado esta anécdota de la década de 1950: “En un partido [en La Habana cuando] su equipo estaba perdiendo... y [le] tocaba batear a Miñoso... el dueño de la agencia de autos ‘Ambar Motors’... gritó [desde las gradas]: ‘¡Miñoso, si la botas y ganas el juego, ve por Ambar Motors y llévate el carro que más te guste!’... y así fue. Al otro día, antes de comenzar el partido, ¡Orestes Miñoso entró al terreno de juego en un flamante convertible, dándole vueltas al terreno entre el aplauso cerrado del público!” »... En 1976, en la doble función de mánager-jugador con [el equipo mexicano] Puerto Vallarta, se produjo un hecho sin precedentes en la pelota organizada cuando él y su hijo Orestes Jr. dispararon jonrones consecutivos en el juego final del playoff para la victoria del conjunto. »... Su nombre está en el Salón de la Fama del equipo [de los Medias Blancas de Chicago], su número se encuentra retirado, y en el estadio aparece una estatua con su figura.... En el 2005 lo exaltaron al [Pabellón] de la Fama del Caribe.»1 Por fin electo póstumamente al Salón de la Fama del Béisbol en 2022, su placa lo describe así: «Electrizante jardinero izquierdo de Cuba que abrió el camino a seguir para generaciones de peloteros latinos como el primer afroamericano hispano que logró jugar en la Liga Americana o la Liga Nacional. Elevó al equipo de los Cubanos de Nueva York de la Liga Negra Nacional al Campeonato de 1947 antes de encender los ánimos de la Liga Americana como corredor de base y bateador oportuno por los Medias Blancas “Go-Go” [de Chicago].... Fue líder de la Liga Americana tres veces en bases robadas y en triples, a la vez que seleccionado en nueve Juegos de Estrellas y ganador de tres Guantes de Oro. Volvió a jugar con los Medias Blancas y así prolongó por cinco décadas su carrera en las Grandes Ligas. A lo largo de 20 temporadas en las Ligas Mayores, acumuló un promedio de bateo de .299 con 195 cuadrangulares, 216 bases robadas y un porcentaje de embasamiento de .387.»2 Quiera Dios que cada uno de nosotros pueda decir al final de nuestra carrera, al igual que Miñoso cuando su número 9 fue retirado por los Medias Blancas en Chicago: «Entiendo que he cumplido bien mi misión con la ayuda de Dios.»3 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Juan A. Martínez de Osaba y Goenaga, «Minnie Miñoso... un cometa incapturable», Periódico Cubadebate, 4 enero 2015 En línea 23 enero 2025. 2 «Minnie Miñoso: Left Fielder, 2022», National Baseball Hall of Fame, Cooperstown, N.Y. En línea 23 enero 2025. 3 Martínez de Osaba; 2Ti 4:7-8

Conversamos En Perspectiva con Diego Fischer sobre su libro “Directo al corazón" dónde narra la vida y obra del Dr. Orestes Fiandra. Un joven uruguayo que pensaba ser ingeniero pero finalmente se graduó en Medicina. Con su vocación de servicio y su pasión por la investigación, Fiandra lograría un hito en la historia de la cardiología y la innovación: en 1960 logró la primera implantación existosa de un marcapaso en un ser humano el mundo. Pero su legado no se quedó allí; por ejemplo a él le debemos la creación del Fondo Nacional de Recursos.

La riqueza ritmica de la música popular cubana, así como la temprana presencia de los artistas de la Isla en numerosos escenarios del mundo, sumado el respaldo comercial de las disqueras norteamericanas, convirtieron a Cuba (aún sin poseer una industria discográfica propia) en un sólido referente musical. "El Manisero" de Moisés Simons se convertía en el pregón más famoso del mundo; Nilo Menéndez esbozaba el bolero canción con "Aquellos ojos verdes " y la "Serenata cubana" de Gonzalo Roig llegaba a París con un nuevo título: "Quiéreme mucho". Para 1935 el salto tecnológico que había significado, a comienzos de la década anterior, el empleo de los primeros micrófonos eléctricos trajo consigo más posibilidades de difusión, además de un notable incremento de la calidad de sonido. El tránsito de las grabaciones acústicas registradas en los llamados discos "ortofónicos" a los registros con microfonía eléctrica, brindó a los melómanos fidelidad y color, abriendo además un nuevo horizonte donde las producciones cinematográficas con la temática musical alcanzaron primerísimos lugares. Unos minutos más en compañía de Gardel y algunos de aquellos tangos con los que conquistó a la fanaticada cubana desde las salas cinematográficas luego de firmar contrato de exclusividad con el emporio norteamericano Paramount. Su honda presencia en la memoria afectiva de los cubanos nos permite acercarnos al gran Eligio Sardiñas Montalvo, el inmenso boxer negro, nacido en la barriada del Cerro, que conquistó fama y gloria con sus puños con el sobrenombre de "Kid Chocolate". Alguna vez lo entrevistó Antonio García, notable coleccionista, periodista, investigador y fiel defensor del tango en la isla. Y a propósito del Kid Chocolate los próximos minutos los dedicamos a otras figuras del deporte cubano cuya grandeza los hizo merecedores del homenaje artístico musical de sus contemporáneos. Volvemos al ring con el campeón de los pesos pesados Geraldo Ramos Ponciano, mejor conocido como el Niño Valdés. Llega su recuerdo con una simpática estampa, original del guionista y escritor Arturo Liendo, a la manera del acuarelista de la poesía afro antillana: Luis Carbonell. El ambiente beisbolero de los años 40, marcado por el enfrentamiento entre "Habanistas" y "Almendaristas", llega con el Conjunto "Matamoros". Cuarteta vocal de lujo: Miguel, Siro, Juana María Casas "La Mariposa" y un juvenil Carlos Embale. Seguimos con aquellos formidables conjuntos soneros. Roberto Faz, Roberto Espí y Rolito Rodríguez con el Conjunto Casino del año 1954 nos traen de vuelta a Orestes "Minnie" Miñoso, el "Cometa Cubano" que llegó a las Grandes Ligas. Le seguirá el peso mediano Gerardo González Hernández bautizado como Kid Gavilán, quien a mediados de los años 50 probó suerte como bailarín. Presentaciones en directo del Conjunto Casino: "Miñoso al bate" y "El mambo de Gavilán". Desde Barcelona es un gusto volver a disfrutar del arte de la trovadora y compositora Mane Ferret. Trova cubana de la buena sin importar la distancia. Voz, sentimiento y guitarra haciendo girar la rueda del incesante devenir de la música popular cubana. Con un grupo de sones, boleros y guarachas recordamos el natalicio del guitarrista y compositor cienfueguero Rafael Ortíz. Bien conocido en el ambiente musical de los años 30 del siglo XX con el sobrenombre de "Mañungo" entregó sus mejores años al emblema sonero, desarrollando al frente del Septeto Nacional de Ignacio Piñeiro una labor trascendental. Mañungo falleció en La Habana el 29 de diciembre de 1994. Había nacido en Cienfuegos el 20 de junio de 1908.

Hace dos mil quinientos años un poeta dramático escribió una trilogía trágica que plantea la necesidad de establecer un acuerdo cívico que termine con los interminables ciclos de venganza que asolan la convivencia. Este poeta, conocido como Esquilo, concibió no solo una obra de arte, sino un vehículo para proponer un cambio radical en la concepción de la justicia. Charlamos con Orestes, Nicolás Illoro.

Você vai aprender muito com este Debate 93 sobre o povo de Israel no Egito e Faraó e o endurecimento de seu coração. Não perde!!!

Predicado en el culto matutino del 18 de mayo del 2025 en la Iglesia Bautista Cristiana

Unção é o tema deste Debate 93: existem pessoas mais ungidas que outras? Ouça e compartilhe!!!

Radio Universidad Veracruzana y la Editorial UV presentan “Mi libro UV”, un espacio de promoción de los títulos de su amplio catálogo, incluidas las revistas “La Palabra y El Hombre” y “Tramoya, Cuaderno de Teatro”. Es, además, un espacio para informar de novedades literarias.En esta entrega escucharemos “Carta a Orestes”, del dramaturgo griego Lákovos Kambanelis.

Brandon is joined by a true OG. The first ever first baseman for the Florida Marlins - Orestes Destrade. They discuss the pop in offense early in the MLB season, the play style of the game today, throwback stories, the torpedo bats, and more!

Vengeance is sweet - sometimes. Explore revenge in Harry Potter and the ancient Greek Oresteia by Aeschylus. We welcome back to the show classicist Dr. Mitchell Parks (Knox College), who presented on "Dumbledore, Agamemnon, and the Imperfect Legacy" at the 2024 Harry Potter Academic Conference. He was struck by the epigraph from The Libation Bearers, one of the plays that makes up the Oresteia, at the beginning of Harry Potter and the Deathly Hallows. We discuss the parallels between the play trilogy and the book series, particularly the intertwined themes of justice and revenge. Although there are some similarities between Harry and Orestes, the former spends much more time wrestling with his options and emotions than the latter. The two texts have very different gender politics, which have been reinterpreted in different ways over the years based on current contexts. Although authorial intent is not Mitchell's main interest, the author made a very deliberate choice to include the epigraph, which is formatted similarly to the lightning bolt-shaped dedication. Still, if a reader can notice parallels and convince other readers of their significance, whether or not the author had a deep familiarity with the referenced text doesn't invalidate the meaning.

Dcn. Harrison Garlick is joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss the end of the Oresteia, the second part of the Eumenides.Check out thegreatbookspodcast.com.Check out our guide to the Oresteia. The first half of the Eumenides demonstrates Aeschylus' ability to dramatize philosophical questions. The old system of justice, bound to the Furies' blood-soaked vengeance, has proven incomplete. The Olympian purity rituals are not a sufficient answer either.Athena's brilliance is found in pushing the concept of justice forward into a more dispassionate, procedural affair while also discovering how to incorporate the ancient powers. As Lackey notes, “Justice here becomes communal—rooted in reason but enriched by tradition.” The second half of the Eumenides promises a trial that will decide not only Orestes' fate but that of justice itself.The second half of Eumenides begins with a dramatic shift in scene. Athena elects to conduct the trial at the Areopagus also known as the “Crag of Ares” or the “Hill of Ares.” It is a mythical place of justice, as it bears its name from when Ares was accused of murder and tried there by the gods. It is a place of divine judgment. It was also said to be an ancient place of council for the Athenians. As such, Aeschylus bridges mythology and Athenian politics to create a new myth on the maturation of justice.Overall, the trial allows Aeschylus to bring the contrasts he's been making throughout the Oresteia into explicit dialogue. The trial begins, and Apollo serves as an advocate for Orestes (582). One wonders whether Agamemnon is helping his son as well (604).Notice the questions from the Furies are reductive and without nuance (591). The Furies again do not recognize the murder of a spouse as meriting their vengeance (611). Apollo appeals to the authority and power of Zeus (626), and one wonders whether justice here is reducible to the will of he who has the most power. The Furies makes the clever argument that even Zeus shackled his own father, Cronos (648), and Apollo retorts that Cronos could be unchained—he was not murdered (655).Next up we are reading Dante's Inferno for Lent!Then we'll return to the Greek plays to read Prometheus Bound by Aeschylus.

Dcn. Harrison Garlick is once again joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss the first part of the Eumenides, the third play in Aeschylus' Oresteia.Check out thegreatbookspodcast.com for more information.Check out our written guide to the Oresteia.The final play of Aeschylus' Oresteia, The Eumenides, sets forth the transformation of justice from the familial mechanics of the blood avenger to a more mature procedural justice set within the polis. It is a story of civilizational maturation. Whereas Agamemnon and the Libation Bearers dealt with the house of Atreus, the Eumenides deals with Athens—a movement from family to polis in consideration of justice.The first half of the Eumenides establishes the groundwork for the plays central conflict: the trial of Orestes with the Furies and Apollo vying against each under with Athena as the judge. The play seeks to find a resolution between two warring worldviews: the more primordial justice of the Furies and the more rational Olympian sensibilities represented by Apollo. What is brought forth by Athena is a new answer to the question: what is justice? To the degree her answer is new, however, is a topic to discuss.Lean more by checking out our guide!

Dcn. Harrison Garlick, Mr. Thomas Lackey, and the Adam Minihan come together to discuss the second part of the Libation Bearers, the second play in Aeschylus' Oresteia. Visit thegreatbookspodcast.com for guides and more information.Support us on Patreon and get access to guides!The second half of the Libation Bearers moves decisively toward the climax of Orestes' role as blood avenger, culminating in the deaths of Clytemnestra and Aegisthus. He will enact the justice that is demanded, and in turn be guilty of murdering his own blood—his mother. As Adam observed, “Orestes is both hero and victim.” This tangled question of justice—whether Orestes can fulfill his father's demand without succumbing to his mother's curse—creates the tension from which Aeschylus will bring forth a narrative not in Homer—the third part of the triad, the Eumenides.I. Orestes' Plan: Vengeance Under the Guise of Guest Friendship (634)Orestes arrives at the house of his father disguised as a stranger (634). Notice, however, that the dynamics of xenia in this scene are subtly off-kilter from the start. First, no one is answering the door (636). Second, the porter asks the stranger for his name (639), an immediate breach of Homeric norms in the Iliad and Odyssey where hospitality was always extended before the host asks who the guest is. The cultural norm of guest-friendship being poorly shown by the house of Clytemnestra and Aegisthus is a subtle sign that the house is disordered and unhealthy. Like Odysseus, Aeschylus has Orestes come home in disguise and lie about his identity (556). Thomas noted the complexity and methodical planning of Clytemnestra's murder of Agamemnon juxtaposed with the simplicity of Orestes' plan of revenge.A key part of this deception is his claim that he, Orestes, has died, a declaration that seems unnecessary for his mission (665). Why does Orestes tell them he's dead? One answer could be another parallel Aeschylus is making with the Odyssey: like Odysseus the beggar testing the loyalty of those in Ithaca prior to his reveal, so too is Orestes using news of his death to test those in the palace at Argos. In other words, he can observe who shows true despair at the news of his death—those are his friends in this mission of vengeance.Check out our written guide for more information!

A prosperidade e o coração na riqueza são os assuntos principais deste Debate 93, que você PRECISA ouvir!!!

This week Dcn. Garlick is joined by Mr. Thomas Lackey and the Adam Minihan to discuss part one of the Libation Bearers, the second play in Aeschylus' Oresteia. Check out thegreatbooksdpodcast.com for more resources.Check out our Patreon for a written GUIDE to the whole Oresteia.From our guide:The Libation Bearers presents Orestes as both the hero and the victim. The cycle of violence will both demand his action and condemn it. “The one who acts must suffer,” as Aeschylus observes. The play builds an incredible tension within the current mechanics of justice and primes the audience to desire some lasting resolution—a resolution that will only come in the Eumenides.Aeschylus' Libation Bearers, the second play in the triad of the Oresteia, places Orestes within the moral tension of lex talionis and its cycle of violence. He is the son who, to avenge his father, must kill his mother, Clytemnestra. Aeschylus presents us with fundamental questions on justice—a primitive justice that demands blood for blood, an eye for an eye. The cycle of violence both demands action and condemns it.What makes the Libation Bearers such an essential and resonant part of the Oresteia is its relentless focus on the mechanics of justice and its interplay between violence and fate. Aeschylus "pushes us to think not only about the relationships in play but about larger moral questions.” Through Orestes' struggle to fulfill his divine obligation as blood avenger, and through Electra's own crisis of prayer, the play asks profound questions about the nature of justice. Aeschylus' beautiful line, "The anvil of justice stands fast... fate beats out her sword" (628), is arguably the moral heart of the play. A tale of pain, justice, and fate. I. Orestes Returns Home (1)The story begins several years after the murder of Agamemnon, when Orestes, now a young man of eighteen or so, secretly returns home from exile.[1] Much of the tragedy lies in understanding Orestes' difficult situation: to be a blood avenger for his father, he must kill his own blood, his mother.Orestes' opening monologue invokes Hermes—who fittingly serves as the bridge between the living and the dead (1). The opening invocation to the divine was seen in Agamemnon as well and will be seen again in the Eumenides. The relationship between the living and the dead is a key theme in this play and a perennial question that makes this a great book. It will contain both prayers on behalf of the dead and the intercession of the dead for the living.It is notable that in the absence of having a father, Orestes is presented as a confident, determined figure ready to do the unthinkable. In the Odyssey, he served as the role model for Telemachus, and here we see him lack the timidity and self-doubt that plagued the fatherless Telemachus. It raises the question, however, of who or what shaped Orestes into a character ready to face this grave moral burden? To use a phrase, who was his Mentor? As we will see in the text, as Telemachus had Athena, Orestes had Apollo....Keep up the good work![1] Fagles,...

Orestes Serrano, director de Relaciones Institucionales de la Fundación para la Seguridad Vial, alerta de las precauciones que hay que tener en cuenta en este Día de Reyes. Subraya que, debido a las condiciones climáticas y meteorológicas, se deben evitar los desplazamientos si no son imprescindibles. "Hay que vigilar el estado de las carreteras y de nuestro vehículo, tanto de los neumáticos y el sistema de alumbrado como del estado de los limpiaparabrisas", explica Serrano. La Operación Especial de Tráfico por Navidad termina con un balance provisional de 44 siniestros mortales con 47 víctimas. "Lo triste de esta situación es que son cifras que se repiten, año tras año se van repitiendo", asegura el director de Relaciones Institucionales. Las causas siguen siendo las mismas: distracciones, cada vez mayores por el uso del móvil, la presencia de alcohol y estupefacientes y la velocidad excesiva.Escuchar audio

"These five courageous men shone like five resplendent stars in the dark days of the anti-Christian Emperors Diocletian and Maximian. St Eustratius was a Roman general in the city of Satalios, Eugene was one of his comrades in arms and Orestes likewise a respected soldier. Auxentius was a priest and Mardarius a simple citizen who came, like Eustratius, from the town of Aravraca. The imperial governors, Lysias and Agricola, tortured Auxentius first as he was a priest. Beholding the innocent suffering of the Christians, Eustratius presented himself before Lycias and declared that he also was a Christian. While Eustratius was being tortured, Eugene stood up before the judge and cried out: 'I am a Christian too, Lycias!' When they were driving Eustratius and the other martyrs through the town, Mardarius saw them from the roof of his house, and he took leave of his wife and two frail daughters and hastened after them, shouting into the faces of their tormentors: 'I am a Christian too, like the Lord Eustratius!' Orestes was a young and handsome soldier, who stood head and shoulders above all the other soldiers. One day, when he was at target practice in Lycias's presence, the Cross he was wearing fell from his breast, and Lycias realised that he was a Christian. Orestes openly confessed his faith, and was martyred with the others. Auxentius was beheaded, Eugene and Mardarius died under torture, Orestes was exposed on a red-hot iron grid and Eustratius died in a flaming furnace. St Blaise (see Feb. 11th) gave Communion to St Eustratius in prison before his death. Their relics were later taken to Constantinople, and are preserved in the church dedicated to them — The Holy Five Companions. They were seen alive in that church, and St Orestes appeared to St Dimitri of Rostov (see Oct. 28th). A beautiful prayer by St Eustratius is extant, which is read at the Midnight Service on Saturdays: 'I glorify Thy majesty, 0 Lord for Thou hast regarded my lowliness and hast not shut me up in the hands of my enemies, but hast saved my soul from want...'. " (Prologue)

Dcn. Harrison Garlick is joined by Dr. Jennifer Frey of the University of Tulsa Honors College to discuss Book 20 of the Odyssey: The Portents Gather.Check out thegreatbookspodcast.com for guides and more!From the written guide:97. What happens in book twenty?After his conversation with Penelope, Odysseus the beggar lays in bed alert to the fact the maidservants are leaving the house to go sleep with the suitors (20.08). Athena causes him to fall asleep (20.59), and in the morning Odysseus prays to Zeus for an omen of support (20.109). His prayer is answered and his “heart leapt up… convinced he'd grind the scoundrels' lives out in revenge” (20.134). The palace is alive in preparation for a feast in honor of Apollo (20.173).We are introduced to a new character, the cowherd, who is immediately reminded of king Odysseus when he sees Odysseus the beggar the first time (20.224). Athena stirs up the suitors (20.316), and one of the suitors throws on “oxhoof” at Odysseus (20.320). Telemachus chastises the suitor (20.339), and the suitors ask Telemachus to have Penelope choose a new husband (20.370). Athena whips the suitors up into a frenzy (20.385), and the prophet, Theoclymenus, leaves the palace—as he is so troubled by his visions of the house drenched in blood (20.390). The book ends with the suitors mocking Telemachus, Telemachus bearing it stoically while looking at his father, and Penelope listening to every word said in the hall (20.439).98. What should be made of Odysseus' request of Athena?Odysseus' request of Athena gives structure to the rest of the text (20.41). First, recall that it is Zeus that oversees guest-friendship; thus, Odysseus understands he needs divine permission to kill the guests in his home. Second, note the concern that if he does kill the suitors, their avengers will come to kill him (20.45). Here, we need to understand the judicial custom of blood avengers. In short, if a person in the family was murdered, a member of the victim's family bore a responsibility to then avenger the death of their relative. This is the underpinning to the story of Orestes killing Aegisthus for the murder of his father, Agamemnon. Later in Aeschylus' Oresteia, the tragedian will take up this story and explore the shortcomings with this understanding of justice. One such fault with the blood avenger model of justice is that is perpetuates circles of violence. For example, Odysseus will kill the suitors, but the family of the suitors will then seek to murder him; in turn, if they do murder Odysseus, Telemachus would then be bound to avenge father. As such, the concern is how does the cycle of violence stop? The answer to that question will be given one way at the end of the Odyssey and in another at the end of the Oresteia.Returning to the text, note that Athena does not answer him (20.47). Odysseus needs to have faith, as he's not given a detailed explanation of the divine plan. It is notable the passage ends with Homer using “loosed his limbs” as an idiom for sleep—as its normally an idiom for death (20.61). One wonders then if we are not on the verge of a rebirth for Odysseus. Finally, despite Athena's response, note that Odysseus still asks Zeus for a sign—and Zeus gives it to him (20.109).More questions and answers in our guide!

According to Orestes Brownson, America is truly a Catholic country! Join us as we discuss the final chapter of The American Republic: Its Constitution, Tendencies, and Destiny, as we break down Brownson's vision of the future of the United States. We discuss the importance of religion, a far-reaching form of manifest destiny, and our own thoughts on the future of our nation. We also offer our much-sought-after opinions on the 2024 Presidential Election!Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

How do we manage the battle between rampant individualism and all-consuming socialism, two ideologies rooted in pure humanism? Orestes Brownson's answer: Catholicism! Join as we discuss Brownson's views of the political future of the United States, and how we need to fight for a future based on eternal truth.Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Should we continue to punish the South, or readmit them as full citizens of the United States? Join us for Orestes Brownson's great answer to this question, and some less than great answers to some other questions! We discuss his view of the contradictions between the Executive and the Supreme Court in the handling of the Supreme Court, what actually happened when the States seceded, and what we should do moving forward.Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Este é mais um imperdível Debate Biográfico. Você vai aprender mais sobre a história de Rute e várias lições que aprendemos com essa incrível personagem bíblica. Não deixe de ouvir!!! Tema: Debatedores:

In perhaps the most convoluted chapter of Orestes Brownson's The American Republic, we discuss secession, and how that relates to modern American politics. We discuss why secession does not make a state an independent sovereign, and instead is the state giving up its existence as a state and becoming a territory once more. We also discuss abortion, immigration, and much more!Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Tus comentarios son muy valiosos. Envía un mensaje de texto. Send us a Text Message.Poseedor de un gran carisma, una alegría contagiosa y su estilo guapachoso para cantarlo prácticamente todo, Orestes Macías escribió una larga historia musical por más de sesenta años. Lamentablemente, parece que lo hemos olvidado muy pronto. Nacido en Bejucal, entonces en la provincia de La Habana, se estableció con su familia en la capital, siendo niño. En su juventud triunfó en un programa para aficionados y pronto se convirtió en cantante profesional. El presente episodio resume su extensa carrera, su paso por importantes orquestas, la etapa como solista y el colofón junto a Rumbavana. En el Calendario Musical de Cuba, recordamos nombres muy destacados: Juan Pablo Miranda con sus boleros de filin, el rumbero y compositor Calixto Callava y el gran flautista José Antonio Fajardo.Support the show

A terrible crime weighs on Orestes and he is pursued across the world by ghosts both literal and metaphorical - how can he lay these ghosts to rest? Inspired by Aeschylus, Eumenides, and Eurpides, Iphigenia in Tauris, this modernised re-telling of a classic Greek myth is followed by a discussion of a Taurian goddess, the Oracle at Delphi, and the Furies of Greek mythology.

How does the government of the United States actually function, and how does it relate to Orestes Brownson's idea of a providential constitution? We discuss this and more as we continue our discussion of the constitutions of the United States of America, including our first place where we fully disagree with Brownson!Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Are we finally starting to disagree with something Orestes Brownson has said? Find out as we discuss how Brownson applies his theories of the two constitutions to the American Founding, and whether or not the Constitution created the American people, or if the American people existed long beforehand.Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Hypatia von Alexandria wird oft als "die erste Astronomin" bezeichnet. Ob die Philosophin aus der Spätantike das tatsächlich, was wir wirklich über sie wissen und was (leider) nicht, erfahrt ihr in der neuen Folge der Sternengeschichten. Wer den Podcast finanziell unterstützen möchte, kann das hier tun: Mit PayPal (https://www.paypal.me/florianfreistetter), Patreon (https://www.patreon.com/sternengeschichten) oder Steady (https://steadyhq.com/sternengeschichten)

The United States: one sovereign people, or really fifty different sovereigns in a trench coat? Find out as we discuss Orestes Brownson's description of America, eventually concluding that the American people were one unified whole long before 1787. We also discuss many other vitally important topics, such as where college students should vote and how long the ideal nap length is. Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Who really is the sovereign, and why is their job to promote the common good of the people of the nation? Find out as we conclude our discussion of the two constitutions of a nation, how the history of Rome reflects this idea, and when the overthrow of a ruler may be warranted!Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Is there a difference between the constitution of the people and the constitution of their government? How are those two constitutions related, and what is the role of God in their development? What about societies with terrible morals? Find out the answers to these questions and more!Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

In this episode, we finally end our discussion of Orestes Brownson's description of where authority comes from! We talk about why the spiritual authority does not grant temporal authority to kings, and how authority really has divine origins as expressed mediately through the people! We also look at how these ideas reflect our society today, and whether the American Revolution is really moral in a Christian context. Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Is sovereignty really held by the people themselves, acting as the voice of God? Or is government just a natural evolutionary development? Or does God supernaturally give certain people the divine right to rule? Orestes Brownson says no to all three! Hear our thoughts on his refutations of these theories, as well as some lengthy rants in this episode of Unlimited Opinions!Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Today, I'm thrilled to announce my episode with the brilliant, Tony winning actor Jefferson Mays. Tune in to hear some of the stories of his legendary career, including how three 5-minute plays at the Sundance Theater Festival evolved into I AM MY OWN WIFE, his experience performing that play in Poland, Brazil, and Australia, the backstage game he played with Angela Lansbury during THE BEST MAN, his unique take on Henry Higgins in PYGMALION, why he wishes a film had been made backstage at A GENTLEMAN'S GUIDE TO LOVE AND MURDER, the greatness of the late Steven Lutvak, a bloody accident during a site-specific ORESTES, why he used a prosthetic nose during THE MUSIC MAN, performing OSLO for the real-life Terje Rod-Larsen, what inspired his solo performance of A CHRISTMAS CAROL, how his vocal chords hemorrhaged during BLOOD AND GIFTS, taking advice from Robert Morse and Nathan Lane during THE FRONT PAGE, his next idea inspired by The Grand Guignol, and so much more. You won't want to miss this episode with a once-in-a-generation talent.

In this episode, we examine all of the reasons why Orestes Brownson believes that social compact theory is not a good explanation for the origin of government! By the end of this episode, we're pretty convinced that he's right! We break down the issues with the theory, including the nature of man, eminent domain, and the logical conclusions of the idea, and how these all fit into Brownson's theory of government.Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

In this episode, we break down how Orestes Brownson views the authority of the state as coming from proprietorship of territory, rather than from the private rights of individuals. We also discuss what makes a society barbaric, how a republic should promote the common good, and why we need to bring back manifest destiny!Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

Is loyalty one of the highest virtues? Is politics really founded on communion with God? Are libertarians really about liberty, or just licentiousness? Orestes Brownson has the answers to all these questions and more in his description of the nature of government! We discuss his description, beginning with the three ways man communes with God (religion, society, and property), through the idea of politics as a branch of ethics, and the importance of loyalty to proper government! We also discuss all the goods and evils in dealing with municipal government! Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

A new season, with a more optimistic topic! For this season, we'll be reading Orestes Brownson's 1865 work The American Republic: Its Constitution, Tendencies, and Destinies. In this book, Brownson, a former socialist and Catholic convert, discusses what the nature of America really is and what it should be, as guided by providence and the truth. Brownson's words are especially prescient in this time, and even in our first discussion of his preface and introduction, we see his desire for the truth and humility everywhere. Follow us on Twitter! https://twitter.com/UlmtdOpinionsGive us your opinions here!

The ladies are back for more SPORTS!  Mo & Mel welcome Orestes Moffin on the show, he is a avid bike guy and he shares with the ladies the latest Tour de France results, some fun facts & history that was made.  Orestes also gets the ladies geared up for the Women's Tour coming in August!  Mo & Mel get right into #hottopics with #KAMALA now in the running for President, doing your own research and really looking into the Project 2025 details.  Listeners are encouraged to look up #JoyReid and her discussions on the details of it. VOTE, be knowledgeable!  The #ParisOlympics are also here, the ladies discus the Men's & Women's Basketball teams for #TeamUSA and their warm-up games.  #AjaWilson was dominant vs Germany, #LeBronJames and #CocoGolf are flag bearers.  Also did you know that #breakdancing is now officially an Olympic sport that we will get to check out in August!  And keep an eye of #SnoopDog in Paris!  Plus it was a INCREDIBLE #WNBAAllStar weekend, broke record viewing, jersey being sold more than ever and the ladies put on an amazing show with both rookies #AngelReese & #CaitlinClark making history.  The WNBA & NBA have also sealed their media deals, giving the women a boost in revenue & the men without NBA on TNT *tear*.  #NFL Training camp has officially started and the count down to the season is ON, plus players are no-showing to the start of camp, or coming in with new looks…Joe “Slim Shady” Burrow.  The ladies also share a great video of the #LADodgers sharing their favorite Woman Athlete, and the recognition and diverse names is a special #GirlPower moment!  Catch GirlChatSports LIVE on ⁠Fuel Sports Network⁠ on #Firestick & #Roku devices. We are #LIVE on Facebook LIVE each Wednesday through the GirlChatSports ⁠YouTube⁠ & ⁠Facebook⁠ & ⁠Twitter⁠⁠ ⁠pages.  Miss the LIVE show? Don't worry, ⁠#Subscribe to our YouTube⁠ or we can also be found on your favorite podcast app through our ⁠LinkTree link⁠ ⁠https://linktr.ee/girlchatsports⁠.  GirlChatSports is always looking for businesses or products to partner up with, send us an email, let's connect! We can't wait to hear from you!  #Subscribe #Listen #Follow #Like & #Share Reach out to us on Social Media (⁠Instagram⁠ & ⁠Twitter⁠) or ⁠email GirlChatSports@gmail.com⁠ to give us your feedback and any topics you would like to have addressed. --- Support this podcast: https://podcasters.spotify.com/pod/show/girlchatsports/support

Send your questions or provocations to Adam or Budi here!In this episode, Adam and Budi discuss their fifth book of the year, 'And Then, You Act' by Anne Bogart.  Anne Bogart lives in New York City. She attended Bard College (BA) and New York University (MA). She is the co-artistic director of SITI Company, and her works there have included: Café Variations, Trojan Women, American Document, Antigone, Under Construction, Freshwater, Who Do You Think You Are, Radio Macbeth, Hotel Cassiopeia, Death and the Ploughman, La Dispute, Score, bobrauschenbergamerica, Room, War of the Worlds, Cabin Pressure, War of the Worlds: The Radio Play, Alice's Adventures, Culture of Desire, Bob, Going, Going, Gone, Small Lives/Big Dreams, The Medium, Noel Coward's Hay Fever and Private Lives, August Strindberg's Miss Julie, and Charles Mee's Orestes. She is a professor at Columbia University. She has also written four books: A Director Prepares, The Viewpoints Book, And Then, You Act and Conversations with Anne.Support the Show.If you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

Finishing off the play about the crimes of gods and men. Creusa considers burning Apollo's Oracle to the ground. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Euripides' Ion: translation by Cecelia Eaton Luschnig; introduction to Euripides' Orestes and Other Plays by Edith Hall. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

Mistaken identities, lost half divine children, and the horrors of Apollo. Euripides tears apart the patriarchy. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Euripides' Ion: translation by Cecelia Eaton Luschnig; introduction to Euripides' Orestes and Other Plays by Edith Hall. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

Oh Muses! The royal family of Mycenae works on their coping skills in this episode. We encounter intergenerational trauma, three-to-four murders, two attempted murders, and heists! You can listen to Greeking Out two weeks early and ad free on Wondery+! What's that? You want another book? Okay!: https://bit.ly/grkoutbk2

Mistaken identities, lost half divine children, and the horrors of Apollo. This week, Creusa and Ion continue to share stories and Xuthus takes on the role of Patriarch. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Euripides' Ion: translation by Cecelia Eaton Luschnig; introduction to Euripides' Orestes and Other Plays by Edith Hall. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

Back with another fascinating Euripidean woman... Mistaken identities, lost half divine children, and the horrors of Apollo. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Euripides' Ion: translation by Cecelia Eaton Luschnig; introduction to Euripides' Orestes and Other Plays by Edith Hall. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

Dante and Virgil make haste across the second terrace of Purgatory before they're accosted by disembodied voices, calling them to the banquet of love.Sounds great, right? Except there's so much alienation in the landscape and even in the poetry.Join me, Mark Scarbrough, as we take our first steps onto the second terrace of PURGATORIO with Dante and Virgil.Please consider helping to support this podcast with a donation to cover all the various fees associated with streaming, licensing, recording, editing, and hosting. You can do so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of the passage: PURGATORIO, Canto XIII, lines 22 - 45. If you'd like to read along or continue the conversation, please visit my website, markscarbrough.com.[03:54] Three disembodied voices on the second terrace of PURGATORIO: quotes from the Virgin Mary, Orestes (maybe?), and Jesus.[13:25] Voices moving from the left, not right![15:26] Envy: a root sin, sometimes seen as the primary sin, even by Dante.[18:59] The schematics of Purgatory, as intuited by Virgil.[22:03] Disembodied voices and the problem of alienation.[26:28] The distance (and alienation) between Dante and Virgil.[32:36] A rereading of the passage: PURGATORIO, Canto XIII, lines 22 - 45.

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More tension, more unknown sibling secrets, and the hatching of a plan... For background on Iphigenia's family and the events that lead to this play, check out this Spotify playlist. Submit your Q&A responses here! Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Iphigenia Among the Taurians, translated by Anne Carson; and another edition by George Theodoridis. Herodotus' Histories. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

This family has the worst luck! Iphigenia, Orestes, and Pylades deal with a bit of a misunderstanding. For background on Iphigenia's family and the events that lead to this play, check out this Spotify playlist. Submit your Q&A responses here! Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Iphigenia Among the Taurians, translated by Anne Carson; and another edition by George Theodoridis. Herodotus' Histories. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.