Podcasts about oriental

Domingão do Carlão conversa com Deivison Assis, do Centro Capoeira do Black – Embrapa Amazônia Oriental, e com Walkymário Lemos, chefe-geral da Embrapa Amazônia Oriental, durante as atividades da Capoeira do Black Embrapa, na COP30, em Belém/PA.Deivison Assis explicou o significado da palavra capoeira, definida como uma área de mata em processo de regeneração, conceito que conecta cultura, território e preservação ambiental.No meliponário, Walkymário Lemos apresentou o trabalho desenvolvido pela Embrapa Amazônia Oriental, destacando a atuação da instituição na pesquisa, na conservação e no desenvolvimento sustentável da região amazônica.Apoio Institucional:AbisoloANDAVFAESP/SENARPatrocínio:Publique AgroAgênciaAgroRevenda

En las Claves del día hacemos un repaso a las noticias de hoy: Estados Unidos destruye otra lancha vinculada al narcotráfico en el Pacífico Oriental, Volodomir Zelensky pide a Putin que se tome las negociaciones de paz en serio y el primer ministro francés Sebastian Lecornu, confía en llegar a un acuerdo para los Presupuestos del año que viene. En la tertulia de Capital Intereconomía analizamos como El Banco de España eleva sus previsiones para la economía española y Trump presume del dato de PIB de EEUU y lo atribuye a los aranceles. La preapertura de Bolsas la preparamos con David Cortina, Responsable de Renta Variable Santander PB.

'Christmas at the Oriental' is a special holiday music show featuring music recorded at Milwaukee's Oriental Theatre on their historic 1925 Wurlitzer organ. 

Paypal: https://www.paypal.com/paypalme/editorialtpv El día de hoy hablaremos sobre el capítulo 11 del libro The Oxford Handbook of Christmas, titulado “Eastern Orthodoxy,” por Mary B. Cunningham. Ver aquí: https://global.oup.com/academic/product/the-oxford-handbook-of-christmas-9780198831464?cc=gb&lang=en& Articulo: https://semperreformandaperu.org/2025/12/25/la-navidad-que-no-conoces-un-viaje-a-las-antiguas-tradiciones-de-la-iglesia-ortodoxa-oriental/  Video: https://youtu.be/v93uA6fFu_0?si=ayn9uRy-dSxtEE6x  PPT: https://semperreformandaperu.org/wp-content/uploads/2025/12/navigating_orthodox_christmas_from_cosmic_to_hearth.pdf  En este episodio nos adentramos en la Navidad de las Iglesias ortodoxas orientales: una festividad que, en su propia autocomprensión, ocupa el segundo lugar en importancia tras la Pascua y se vive ante todo como acontecimiento litúrgico y teológico, más que como temporada comercial. Acompañaremos el ritmo del calendario: el ayuno preparatorio que comienza el 15 de noviembre, la intensificación de los himnos y oficios desde el 20 de diciembre, y la “explosión” festiva cuando el ayuno se rompe en la mañana de Navidad. Veremos también por qué los regalos suelen desplazarse a san Nicolás (6 de diciembre) o al Año Nuevo (1 de enero), según tradiciones locales. Desde ahí, el capítulo nos guía al corazón doctrinal: la liturgia como pedagogía pública de la Encarnación, capaz de “re-escenificar” y, a la vez, explicar lo que la Iglesia confiesa. Luego pasamos del texto a la imagen: la iconografía de la Natividad, donde la veneración del icono, las velas y la disposición visual enseñan una teología del “mundo transfigurado”. Finalmente, descendemos a la casa: ritos serbios como el badnyak, la paja esparcida y la chesnitsa con moneda, y ejemplos griegos donde lo cristiano convive con memorias míticas y folclóricas. Un episodio para comprender cómo doctrina, símbolo y vida cotidiana se entrelazan en la Navidad ortodoxa.

En las Claves del día hacemos un repaso a las noticias de hoy: Estados Unidos destruye otra lancha vinculada al narcotráfico en el Pacífico Oriental, Volodomir Zelensky pide a Putin que se tome las negociaciones de paz en serio y el primer ministro francés Sebastian Lecornu, confía en llegar a un acuerdo para los Presupuestos del año que viene. En la tertulia de Capital Intereconomía analizamos como El Banco de España eleva sus previsiones para la economía española y Trump presume del dato de PIB de EEUU y lo atribuye a los aranceles. La preapertura de Bolsas la preparamos con David Cortina, Responsable de Renta Variable Santander PB.

S7 E10: The Night Before ChristmasWelcome to Tea Toast & Trivia. Thank you for listening in to a Christmas Eve reflection on the poem that changed how we see Christmas.Christmas Eve brings us once more to words that have shaped the wonder of generations. Tonight, we return to Clement Clarke Moore's beloved poem, a story that reminds us that imagination, generosity, and joy are timeless companions.Clement Clarke Moore, born July 15, 1799, was a writer and American Professor of Oriental and Greek Literature, Divinity and Biblical Learning at the General Theological Seminary of the Protestant Episcopal Church in New York City. Clement Moore had strong ties to the seminary, for it was his generosity that led him to donate land — his private apple orchard — upon which the seminary was built. The Seminary remains on that same parcel of land, located at Ninth Avenue between 20th and 21st Streets, in an area known as Chelsea Square.Clement Moore accomplished a great deal in his lifetime. He was a writer and a poet, a professor and scholar. He served twice as President of Columbia College (now Columbia University) and as a board member of the New York Institution for the Blind.Clement Moore published several academic works, including A Compendious Lexicon of the Hebrew Language (Collins & Perkins, 1809). But it was his poem, A Visit from St. Nicholas, more commonly known as The Night Before Christmas, that captured the hearts of children young and old. With these poetic words he changed the way we see Christmas.A Visit from St. Nicholas was published anonymously in the Troy Sentinel in 1823. Clement Moore had second thoughts in 1837, when he eventually told everyone that he had penned the poem. Many believe that it is the most well-known and beloved poem written by an American poet. We read it every Christmas, most often on Christmas Eve, and reflect on Christmases past when we were young and heard the familiar words read by our parents and grandparents. Santa and the tradition of Christmas gift-giving were transformed by this poem.There is a particular stillness that arrives with Christmas Eve, the hush before the dawn, the anticipation of joy renewed. As we listen to these familiar lines once more, we honour the enduring spirit of generosity and imagination that binds us together across generations.Until the next cup is poured, dear friends,Merry Christmas from Tea, Toast & Trivia.RebeccaMusic by Epidemic SoundChristmas Snow by Mike Franklynhttps://www.epidemicsound.com/music/tracks/f2e78ede-e8e3-3c38-a3d1-67254d5a4a28/

Domingão do Carlão conversa com Vladimir Souza, supervisor do Setor de Transferência de Tecnologias da Embrapa Amazônia Oriental, durante as atividades do Núcleo de Responsabilidade Social da Embrapa, na COP30, em Belém/PA.Com 20 anos de atuação na Embrapa, Vladimir Souza falou sobre sua trajetória profissional e contextualizou a presença da instituição na COP30, destacando a importância da ciência e da inovação no debate climático.Ele também apresentou, na prática, o trabalho desenvolvido pela Embrapa na região amazônica, reforçando o papel da transferência de tecnologia como ponte entre pesquisa, produção e sustentabilidade.Apoio Institucional:AbisoloANDAVFAESP/SENARPatrocínio:Publique AgroAgênciaAgroRevenda

John Granger Attempts to Convince Nick (and You!) That The Hallmarked Man will be Considered the Best of the Series.We review our take-away impressions from our initial reading of The Hallmarked Man. Although we enjoyed it, especially John's incredible prediction of Robin's ectopic pregnancy, neither of us came away thinking this was the finest book in the series. For Nick, this was a surprise, as enthusiastic J. K. Rowling fan that he is other than Career of Evil every book he has read has been his favourite. Using an innovative analysis of the character pairs surrounding both Cormoran and Robin, John argues that we can't really appreciate the artistry of book number eight until we consider its place in the series. Join John and Nick as they review the mysteries that remain to be resolved and how The Hallmarked Man sets readers up for shocking reveals in Strike 9 and 10!Why Troubled Blood is the Best Strike Novel:* The Pillar Post Collection of Troubled Blood Posts at HogwartsProfessor by John Granger, Elizabeth Baird-Hardy, Louise Freeman, Beatrice Groves, and Nick JefferyTroubled Blood and Faerie Queene: The Kanreki ConversationBut What If We Judge Strike Novels by a Different Standard than Shed Artifice? What About Setting Up the ‘Biggest Twist' in Detective Fiction History?* If Rowling is to be judged by the ‘shock' of the reveals in Strike 10, then The Hallmarked Man, the most disappointing book in the series even to many Serious Strikers, will almost certainly be remembered as the book that set up the finale with the greatest technical misdirection while playing fair.* The ending must be a shock, one that readers do not see coming, BUT* The author must provide the necessary clues and pointers repeatedly and emphatically lest the reader feel cheated at the point of revelation.* If the Big Mysteries of the series are to be solved with the necessary shock per both Russian Formalist and Perennialist understanding, then the answers to be revealed in the final two Strike novels, Books Two and Three of the finale trilogy, should be embedded in The Hallmarked Man.* Rowling on Playing Fair with Readers:The writer says that she wanted to extend the shelf of detective fiction without breaking it. “Part of the appeal and fascination of the genre is that it has clear rules. I'm intrigued by those rules and I like playing with them. Your detective should always lay out the information fairly for the reader, but he will always be ahead of the game. In terms of creating a character, I think Cormoran Strike conforms to certain universal rules but he is very much of this time.* On the Virtue of ‘Penetration' in Austen, Dickens, and Rowling* Rowling on the Big Twist' in Austen's Emma:“I have never set up a surprise ending in a Harry Potter book without knowing I can never, and will never, do it anywhere near as well as Austen did in Emma.”What are the Key Mysteries of the Strike series?Nancarrow FamilyWhy did Leda and Ted leave home in Cornwall as they did?Why did Ted and Joan not “save” Strike and Lucy?Was Leda murdered or did she commit suicide?If she was murdered, who dunit?If she commited suicide, why did she do it?What happened to Switch Whittaker?Cormoran StrikeIs Jonny Rokeby his biological father?What SIB case was he investigating when he was blown up?Was he the father of Charlotte's lost baby? If not, then who was?Why has he been so unstable in his relations with women post Charlotte Campbell?Charlotte CampbellWhy did her mother hate her so much?What was her relationship with her three step-fathers? Especially Dino LongcasterWho was the father of her lost child?Was the child intentionally aborted or was it a miscarriage?What was written in her “suicide note”?Was Charlotte murdered or did she commit suicide?If she was murdered, who done it?If she committed suicide, why did she do it?What happened to the billionaire lover?What clues do we get in Hallmarked Man that would answer these questions?- Strike 8 - Greatest Hits of Strikes 1-7: compilation, concentration of perumbration in series as whole* Decima/Lion - incest* Rupert's biological father not his father of record (Dino)* Sacha Legard a liar with secrets* Ryan Murphy working a plan off-stage - Charlotte's long gameStrike about ‘Pairings' in Lethal WhiteStrike continued to pore over the list of names as though he might suddenly see something emerging out of his dense, spiky handwriting, the way unfocused eyes may spot the 3D image hidden in a series of brightly colored dots. All that occurred to him, however, was the fact that there was an unusual number of pairs connected to Chiswell's death: couples—Geraint and Della, Jimmy and Flick; pairs of full siblings—Izzy and Fizzy, Jimmy and Billy; the duo of blackmailing collaborators—Jimmy and Geraint; and the subsets of each blackmailer and his deputy—Flick and Aamir. There was even the quasi-parental pairing of Della and Aamir. This left two people who formed a pair in being isolated within the otherwise close-knit family: the widowed Kinvara and Raphael, the unsatisfactory, outsider son.Strike tapped his pen unconsciously against the notebook, thinking. Pairs. The whole business had begun with a pair of crimes: Chiswell's blackmail and Billy's allegation of infanticide. He had been trying to find the connection between them from the start, unable to believe that they could be entirely separate cases, even if on the face of it their only link was in the blood tie between the Knight brothers.Part Two, Chapter 52Key Relationship Pairings in Cormoran Strike:Who Killed Leda Strike?To Rowling-Galbraith's credit, credible arguments in dedicated posts have been made that every person in the list below was the one who murdered Leda Strike. Who do you think did it?* Jonny Rokeby and the Harringay Crime Syndicate (Heroin Dark Lord 2.0),* Ted Nancarrow (Uncle Ted Did It),* Dave Polworth,* Leda Strike (!),* Lucy Fantoni (Lucy and Joan Did It and here),* Sir Randolph Whittaker,* Nick Herbert,* Peter Gillespie, and* Charlotte Campbell-RossScripted Ten Questions:1. So, Nick, back when we first read Hallmarked Man we said that there were four things we knew for sure would be said about Strike 8 in the future. Do you remember what they were?2. And, John, you've been thinking about the ‘Set-Up' idea and how future Rowling Readers will think of Hallmarked Man, even that they will think of it as the best Strike novel. I thought that was Troubled Blood by consensus. What's made you change your mind?3. So, Nick, yes, Troubled Blood I suspect will be ranked as the best of series, even best book written by Rowling ever, but, if looked at as the book that served the most critical place in setting up the finale, I think Hallmarked Man has to be considered better in that crucial way than Strike 5, better than any Strike novel. Can you think of another Strike mystery that reviews specific plot points and raises new aspects of characters and relationships the way Strike 8 does?4. Are you giving Hallmarked Man a specific function with respect to the last three books than any of the others? If so, John, what is that exactly and what evidence do we have that in Rowling's comments about reader-writer obligations and writer ambitions?5. Nick, I think Hallmarked Man sets us up to answer the Key mysteries that remain, that the first seven books left for the final three to answer. I'm going to organize those unresolved questions into three groups and challenge you to think of the ones I'm missing, especially if I'm missing a category.6. If I understand the intention of your listing these remaining questions, John, your saying that the restatement of specific plot points and characters from the first seven Strike novels in Hallmarked Man points to the possible, even probable answers to those questions. What specifically are the hallmarks in this respect of Hallmarked Man?7. If you take those four points, Nick, and revisit the mysteries lists in three categories, do you see how Rowling hits a fairness point with respect to clueing readers into what will no doubt be shocking answers to them if they're not looking for the set-ups?8. That's fun, Nick, but there's another way at reaching the same conclusions, namely, charting the key relationships of Strike and Ellacott to the key family, friends, and foes in their lives and how they run in pairs or parallel couplets (cue PPoint slides).9. Can we review incest and violence against or trafficking of young women in the Strike series? Are those the underpinning of the majority of the mysteries that remain in the books?10. Many Serious Strikers and Gonzo Galbraithians hated Striuke 8 because Hallmarked Man failed to meet expectations. In conclusion, do you think, Nick, that this argument that the most recent Strike-Ellacott adventure is the best because of how it sets us up for the wild finish to come will be persuasive -- or just annoying?On Imagination as Transpersonal Faculty and Non-Liturgical Sacred ArtThe Neo-Iconoclasm of Film (and Other Screened Adaptations): Justin requested within his question for an expansion of my allusion to story adaptations into screened media as a “neo-iconoclasm.” I can do that here briefly in two parts. First, by urging you to read my review of the first Hunger Games movie adaptation, ‘Gamesmakers Hijack Story: Capitol Wins Again,' in which I discussed at post's end how ‘Watching Movies is a a Near Sure Means to Being Hijacked by Movie Makers.' In that, I explain via an excerpt from Jerry Mander's Four Arguments for the Elimination of Television, the soul corrosive effects of screened images.Second, here is a brief introduction to the substance of the book I am working on.Rowling is a woman of profound contradictions. On the one hand, like all of us she is the walking incarnation of her Freudian family romance per Paglia, the ideas and blindspots of the age in which we live, with the peculiar individual prejudices and preferences and politics of her upbringing, education, and life experiences, especially the experiences we can call crises and consequent core beliefs, aversions, and desires. Rowling acknowledges all this, and, due to her CBT exercises and one assumes further talking therapy, she is more conscious of the elephant she is riding and pretending to steer than most of her readers.She points to this both in asides she make in her tweets and public comments but also in her descriptive metaphor of how she writes. The ‘Lake' of that metaphor, the alocal place within her from her story ideas and inspiration spring, is her “muse,” the word for superconscious rather than subconscious ideas that she used in her 2007 de la Cruz interview. She consciously recognizes that, despite her deliberate reflection on her PTSD, daddy drama, and idiosyncratic likes and dislikes, she still has unresolved issues that her non-conscious mind presents to her as story conflict for imaginative resolution.Her Lake is her persona well, the depths of her individual identity and a mask she wears.The Shed, in contrast, is the metaphorical place where Rowling takes the “stuff” given her by the creature in her Lake, the blobs of molten glass inspiration, to work it into proper story. The tools in this Shed are unusual, to say the least, and are the great markers of what makes Rowling unique among contemporary writers and a departure from, close to a contradiction of the artist you would expect to be born of her life experiences, formative crises, and education.Out of a cauldron potion made from listening to the Smiths, Siouxie and the Banshees, and The Clash, reading and loving Val McDermid, Roddy Doyle, and Jessica Mitford, and surviving a lower middle class upbringing with an emotionally barren homelife and Comprehensive education on the England-Wales border, you'd expect a Voldemort figure at Goblet of Fire's climax to rise rather than a writer who weaves archetypally rich myths of the soul's journey to perfection in the spirit with alchemical coloring and sequences, ornate chiastic structures, and a bevy of symbols visible only to the eye of the Heart.To understand Rowling, as she all but says in her Lake and Shed metaphor, one has to know her life story and experiences to “get” from where her inspiration bubbles up and, as important, you need a strong grasp of the traditionalist worldview and place of literature in it to appreciate the power of the tools she uses, especially how she uses them in combination.The biggest part of that is understanding the Perennialist definition of “Sacred Art.” I touched on this in a post about Rowling's beloved Christmas story, ‘Dante, Sacred Art, and The Christmas Pig.'Rowling has been publicly modest about the aims of her work, allowing that it would be nice to think that readers will be more empathetic after reading her imaginative fiction. Dante was anything but modest or secretive in sharing his self-understanding in the letter he wrote to Cangrande about The Divine Comedy: “The purpose of the whole work is to remove those living in this life from the state of wretchedness and to lead them to the state of blessedness.” His aim, point blank, was to create a work of sacred art, a category of writing and experience that largely exists outside our understanding as profane postmoderns, but, given Rowling's esoteric artistry and clear debts to Dante, deserves serious consideration as what she is writing as well.Sacred art, in brief, is representational work — painting, statuary, liturgical vessels and instruments, and the folk art of theocentric cultures in which even cutlery and furniture are means to reflection and transcendence of the world — that employ revealed forms and symbols to bring the noetic faculty or heart into contact with the supra-sensible realities each depicts. It is not synonymous with religious art; most of the art today that has a religious subject is naturalist and sentimental rather than noetic and iconographic, which is to say, contemporary artists imitate the creation of God as perceived by human senses rather than the operation of God in creation or, worse, create abstractions of their own internally or infernally generated ideas.Story as sacred art, in black to white contrast, is edifying literature and drama in which the soul's journey to spiritual perfection is portrayed for the reader or the audience's participation within for transformation from wretchedness to blessedness, as Dante said. As with the plastic arts, these stories employ traditional symbols of the revealed traditions in conformity with their understanding of cosmology, soteriology, and spiritual anthropology. The myths and folklore of the world's various traditions, ancient Greek drama, the epic poetry of Greece, Rome, and Medieval Europe, the parables of Christ, the plays of Shakespeare's later period, and the English high fantasy tradition from Coleridge to the Inklings speak this same symbolic language and relay the psychomachia experience of the human victory over death.Dante is a sacred artist of this type. As difficult as it may be to understand Rowling as a writer akin to Dante, Shakespeare, Homer, Virgil, Aeschylus, Spenser, Lewis, and Tolkien, her deployment of traditional symbolism and the success she enjoys almost uniquely in engaging and edifying readers of all ages, beliefs, and circumstances suggests this is the best way of understanding her work. Christmas Pig is the most obviously sacred art piece that Rowling has created to date. It is the marriage of Dantean depths and the Estecean lightness of Lewis Carroll's Alice books, about which more later.[For an introduction to reading poems, plays, and stories as sacred art, that is, allegorical depictions of the soul's journey to spiritual perfection that are rich in traditional symbolism, Ray Livingston's The Traditional Theory of Literature is the only book length text in print. Kenneth Oldmeadow's ‘Symbolism and Sacred Art' in his Traditionalism: Religion in the light of the Perennial Philosophy(102-113), ‘Traditional Art' in The Essential Seyyed Hossein Nasr(203-214), and ‘The Christian and Oriental, or True Philosophy of Art' in The Essential Ananda K. Coomaraswamy(123-152) explain in depth the distinctions between sacred and religious, natural, and humanist art. Martin Lings' The Sacred Art of Shakespeare: To Take Upon Us the Mystery of Things and Jennifer Doane Upton's two books on The Divine Comedy, Dark Way to Paradise and The Ordeal of Mercy are the best examples I know of reading specific works of literature as sacred art rather than as ‘stories with symbolic meaning' read through a profane and analytic lens.]‘Profane Art' from this view is “art for art's sake,” an expression of individual genius and subjective meaning that is more or less powerful. The Perennialist concern with art is less about gauging an artist's success in expressing his or her perception or its audience's response than with its conformity to traditional rules and its utility, both in the sense of practical everyday use and in being a means by which to be more human. Insofar as a work of art is good with respect to this conformity and edifying utility, it is “sacred art;” so much as it fails, it is “profane.” The best of modern art, even that with religious subject matter or superficially beautiful and in that respect edifying, is from this view necessarily profane.Sacred art differs from modern and postmodern conceptions of art most specifically, though, in what it is representing. Sacred art is not representing the natural world as the senses perceive it or abstractions of what the individual and subjective mind “sees,” but is an imitation of the Divine art of creation. The artist “therefore imitates nature not in its external forms but in its manner of operation as asserted so categorically by St. Thomas Aquinas [who] insists that the artist must not imitate nature but must be accomplished in ‘imitating nature in her manner of operation'” (Nasr 2007, 206, cf. “Art is the imitation of Nature in her manner of operation: Art is the principle of manufacture” (Summa Theologia Q. 117, a. I). Schuon described naturalist art which imitates God's creation in nature by faithful depiction of it, consequently, as “clearly luciferian.” “Man must imitate the creative act, not the thing created,” Aquinas' “manner of operation” rather than God's operation manifested in created things in order to produce ‘creations'which are not would-be duplications of those of God, but rather a reflection of them according to a real analogy, revealing the transcendental aspect of things; and this revelation is the only sufficient reason of art, apart from any practical uses such and such objects may serve. There is here a metaphysical inversion of relation [the inverse analogy connecting the principial and manifested orders in consequence of which the highest realities are manifested in their remotest reflections[1]]: for God, His creature is a reflection or an ‘exteriorized' aspect of Himself; for the artist, on the contrary, the work is a reflection of an inner reality of which he himself is only an outward aspect; God creates His own image, while man, so to speak, fashions his own essence, at least symbolically. On the principial plane, the inner manifests the outer, but on the manifested plane, the outer fashions the inner (Schuon 1953, 81, 96).The traditional artist, then, in imitation of God's “exteriorizing” His interior Logos in the manifested space-time plane, that is, nature, instead of depicting imitations of nature in his craft, submits to creating within the revealed forms of his craft, which forms qua intellections correspond to his inner essence or logos.[2] The work produced in imitation of God's “manner of operation” then resembles the symbolic or iconographic quality of everything existent in being a transparency whose allegorical and anagogical content within its traditional forms is relatively easy to access and a consequent support and edifying shock-reminder to man on his spiritual journey. The spiritual function of art is that “it exteriorizes truths and beauties in view of our interiorization… or simply, so that the human soul might, through given phenomena, make contact with the heavenly archetypes, and thereby with its own archetype” (Schuon 1995a, 45-46).Rowling in her novels, crafted with tools all taken from the chest of a traditional Sacred Artist, is writing non-liturgical Sacred Art. Films and all the story experiences derived of adaptations of imaginative literature to screened images, are by necessity Profane Art, which is to say per the meaning of “profane,” outside the temple or not edifying spiritually. Film making is the depiction of how human beings encounter the time-space world through the senses, not an imitation of how God creates and a depiction of the spiritual aspect of the world, a liminal point of entry to its spiritual dimension. Whence my describing it as a “neo-iconoclasm.”The original iconoclasts or “icon bashers” were believers who treasured sacred art but did not believe it could use images of what is divine without necessarily being blasphemous; after the incarnation of God as Man, this was no longer true, but traditional Christian iconography is anything but naturalistic. It could not be without becoming subjective and profane rather than being a means to spiritual growth and encounters. Western religious art from the Renaissance and Reformation forward, however, embraces profane imitation of the sense perceived world, which is to say naturalistic and as such the antithesis of sacred art. Film making, on religious and non-religious subjects, is the apogee of this profane art which is a denial of any and all of the parameters of Sacred art per Aquinas, traditional civilizations, and the Perennialists.It is a neo-iconoclasm and a much more pervasive and successful destruction of the traditional world-view, so much so that to even point out the profanity inherent to film making is to insure dismissal as some kind of “fundamentalist,” “Puritan,” or “religious fanatic.”Screened images, then, are a type of iconoclasm, albeit the inverse and much more subtle kind than the relatively traditional and theocentric denial of sacred images (the iconoclasm still prevalent in certain Reform Church cults, Judaism, and Islam). This neo-iconoclasm of moving pictures depicts everything in realistic, life-like images, everything, that is, except the sacred which cannot be depicted as we see and experience things. This exclusion of the sacred turns upside down the anti-naturalistic depictions of sacred persons and events in iconography and sacred art. The effect of this flood of natural pictures akin to what we see with our eyes is to compel the flooded mind to accept time and space created nature as the ‘most real,' even ‘the only real.' The sacred, by never being depicted in conformity with accepted supernatural forms, is effectively denied.Few of us spend much time in live drama theaters today. Everyone watches screened images on cineplex screens, home computers, and smart phones. And we are all, consequently, iconoclasts and de facto agnostics, I'm afraid, to greater and lesser degrees because of this immersion and repetitive learning from the predominant art of our secular culture and its implicit atheism.Contrast that with the imaginative experience of a novel that is not pornographic or primarily a vehicle of perversion and violence. We are obliged to generate images of the story in the transpersonal faculty within each of us called the imagination, one I think that is very much akin to conscience or the biblical ‘heart.' This is in essence an edifying exercise, unlike viewing photographic images on screens. That the novel appears at the dawn of the Modern Age and the beginning of the end of Western corporate spirituality, I think is no accident but a providential advent. Moving pictures, the de facto regime artistry of the materialist civilization in which we live, are the counter-blow to the novel's spiritual oxygen.That's the best I can manage tonight to offer something to Justin in response to more about the “neo-iconoclasm” of film This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Pedro Sánchez anuncia financiación a Ucrania con 90.000 millones de euros en deuda europea; el uso de activos rusos congelados sigue en debate. Sánchez defiende rescates del gobierno, incluido Plus Ultra, ante investigación del PP que citará a José Luis Rodríguez Zapatero. Sánchez se reúne con Yolanda Díaz tras solicitud por corrupción en el PSOE, sin ver desleal su petición de cambios en gabinete. En la campaña extremeña, María Guardiola (PP) evita debate en TVE, alegando nacionalización de las elecciones. Más de cien papeletas de voto por correo robadas en Badajoz se recuperan; ladrones buscaban dinero. Votantes afectados pueden repetir su voto. El tiempo prevé lluvias en Alborán, Baleares, Cataluña y Cantábrico Oriental, con nevadas en la cordillera Cantábrica (León y Palencia). Temperaturas bajan en España, suben en el oeste y se mantienen en el Mediterráneo y Canarias. "Poniendo las Calles" entrevista a Efecto Pasillo sobre su EP "Oro y Diamantes", que mezcla crítica social y ...

Núcleo de la Alianza: surge como respuesta directa al expansionismo de Turquía (doctrina Mavi Vatan) y al descubrimiento de reservas de hidrocarburos. Se consolida en 2025 como un eje de seguridad indispensable para sus tres miembros. Origen: la alianza nació del vacío de poder creado por el drástico deterioro de las relaciones Israel-Turquía (a partir de 2009-2010). Israel buscó nuevos socios, encontrando en Grecia y Chipre, aliados naturales con una amenaza común. Pilar Militar Principal: Fuerza de Respuesta Rápida Conjunta (propuesta para 2025): plan para una brigada integrada de 2.500 efectivos (1.000 de Israel, 1.000 de Grecia, 500 de Chipre) con componentes terrestres, aéreos y navales, operando desde bases en los tres países. Cooperación Industrial: importantes contratos de defensa, como el centro de entrenamiento de Elbit Systems en Grecia (valorado en 1.680 millones de dólares) y el arrendamiento de drones israelíes. Ejercicios Conjuntos: ejercicios aéreos regulares (como Iniochos) que proporcionan a Israel profundidad estratégica para entrenamiento y a Grecia mayor capacidad operativa.Catalizador y Amenaza Común: Turquía La doctrina expansionista Mavi Vatan de Turquía, que desafía las Zonas Económicas Exclusivas de Grecia y Chipre, es el principal factor unificador. Las acciones turcas (exploraciones en aguas disputadas con escolta militar) validan la necesidad de la alianza para Atenas y Nicosia, mientras que Israel encuentra socios estables en la región. Apoyos Externos Clave: Estados Unidos: respalda institucionalmente la alianza a través del formato “3+1” (Israel, Grecia, Chipre + EE.UU.), proporcionando un paraguas de seguridad y legitimidad política. Emiratos Árabes Unidos (EAU): se ha integrado como socio regional, participando en ejercicios militares. Comparte con la tríada la preocupación por las políticas de Turquía y busca estabilidad, ampliando el alcance de la alianza más allá del Mediterráneo. Conclusión: La alianza ha evolucionado de una cooperación energética a una estructura de seguridad robusta y militarmente integrada. Respaldada por EE.UU. y con socios regionales, se consolida como el nuevo eje de seguridad del Mediterráneo Oriental para contrarrestar a Turquía y garantizar la estabilidad de sus miembros. Artículo sugerido: Interpretación estratégica de los intereses geopolíticos de Turquía en el Mar Mediterráneo Oriental y su influencia en los conflictos regionales

Confira os destaques do Jornal da Manhã desta quinta-feira (18): O presidente Lula anunciou oficialmente, durante a última reunião ministerial de 2025 nesta quarta-feira (17), a saída de Celso Sabino do Ministério do Turismo. O anúncio foi feito após o União Brasil solicitar a vaga ocupada pela pasta. De acordo com Sabino, o indicado para substituí-lo é Gustavo Feliciano. Durante a análise do projeto da Dosimetria no Senado Federal, o líder do governo, Jaques Wagner (PT), quebrou o silêncio e explicou os motivos por trás do acordo firmado para acelerar a votação da medida. Reportagem: Pedro Tritto. O Supremo Tribunal Federal (STF) formou maioria para suspender a validade da lei que instituía o marco temporal para a demarcação de terras indígenas. A decisão reafirma o entendimento da Corte, que já havia considerado a tese inconstitucional em 2023. Reportagem: Matheus Dias. A Polícia Federal realizou uma perícia médica no ex-presidente Jair Bolsonaro. O procedimento atende a uma determinação direta do ministro do STF, Alexandre de Moraes. O objetivo do exame é constatar tecnicamente se há necessidade real de novas intervenções cirúrgicas, conforme alegado pelos advogados de defesa do ex-presidente. Reportagem: Igor Damasceno. O senador Flávio Bolsonaro (PL-RJ), pré-candidato à Presidência da República, participou nesta quarta-feira (17) de um almoço com empresários em São Paulo, em um encontro realizado no Jardim Paulista. Durante a reunião, que durou cerca de 1h30, Flávio destacou a importância de sua candidatura e se apresentou como o “Bolsonaro mais moderado, equilibrado e centrado.” O Senado aprovou o projeto de lei da Dosimetria, que altera o cálculo de penas e pode impactar diretamente as condenações referentes ao 8 de Janeiro. O repórter Igor Damasceno acompanhou a votação no plenário e traz os bastidores da decisão que agora segue para a mesa do presidente Lula (PT). A Polícia Civil de São Paulo deflagrou uma operação para investigar um esquema de compra irregular de grandes quantidades de cafeína. Segundo as investigações, o insumo era desviado para laboratórios do crime organizado e utilizado para misturar e aumentar exponencialmente o volume da cocaína comercializada. Reportagem: Misael Mainetti. Após uma reunião decisiva entre o prefeito de São Paulo, Ricardo Nunes (MDB), o governador Tarcísio de Freitas (Republicanos) e o ministro de Minas e Energia, Alexandre Silveira (PSD), ficou definido que o governo solicitará à ANEEL a abertura do processo de caducidade do contrato da Enel. O repórter Marcelo Mattos entra ao vivo com os detalhes dessa ofensiva conjunta das autoridades. A Polícia Federal conseguiu acesso ao conteúdo dos aparelhos celulares do desembargador preso Macário Júdice e de Rodrigo Bacellar, presidente afastado da Assembleia Legislativa do Rio de Janeiro (ALERJ). Reportagem: Rodrigo Viga. A Mesa Diretora da Câmara dos Deputados tem uma reunião agendada nesta quinta (18), que pode definir o futuro político dos deputados federais Alexandre Ramagem e Eduardo Bolsonaro (PL). A expectativa em Brasília é alta sobre o posicionamento da cúpula da Casa em relação aos processos que envolvem os parlamentares. Enquanto Pablo Marçal (PRTB) declara apoio à pré-candidatura de Flávio Bolsonaro (PL) para 2026, o pastor Silas Malafaia surpreende e vai na contramão. Malafaia defende Tarcísio de Freitas e, diante do cenário atual, colocou seu próprio nome na disputa presidencial. As Forças Armadas dos Estados Unidos confirmaram a realização de mais um ataque letal contra uma embarcação no Oceano Pacífico Oriental. Segundo o Comando Sul dos EUA, a operação visava combater o narcotráfico na região. Reportagem: Eliseu Caetano. Essas e outras notícias você acompanha no Jornal da Manhã. Learn more about your ad choices. Visit megaphone.fm/adchoices

Engr. Randy Joco is TBI Manager at Minsu i-BIBES.Minsu i-BIBES, or Mindoro State University Innovative Business Incubation for Biosystems Solutions is a DOST-funded technology incubator in Victoria, Oriental Mindoro. Minsu i-BIBES is empowering start-ups by providing a strong entrepreneurial ecosystem that drives innovation, contributing to sustainable and resilient economic growth and development. Minsu i-BIBES is the first-ever incubation Hub in the province of Mindoro, funded by DOST PCIEERD.This episode is recorded live at MINSU i-BIBES, technology business incubator of Mindoro State University in Victoria, Oriental Mindoro. This episode is also in partnership with plip.ph Connected Communities.In this episode:00:00 Introduction01:26 Ano ang Minsu i-BIBES?03:27 What services are provided by the incubator?20:35 How can interested startups join? 25:37 What is the story behind the incubator? 40:44 How is the startup ecosystem in Mindoro? 48:00 What are future plans for the incubator? 51:49 How can listeners find more information?MINSU I-BIBESWebsite: ⁠https://minsuibibes.com⁠Facebook: ⁠https://facebook.com/MINSUiBIBES⁠PLIP.PHWebsite: ⁠http://plip.ph⁠Facebook: ⁠https://facebook.com/plip.ph⁠THIS EPISODE IS CO-PRODUCED BY:Yspaces: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://knowyourspaceph.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apeiron: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apeirongrp.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twala: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twala.io⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Symph: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://symph.co⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Secuna: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://secuna.io⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MaroonStudios: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://maroonstudios.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AIMHI: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://aimhi.ai⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CompareLoans: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://compareloans.ph⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CHECK OUT OUR PARTNERS:Ask Lex PH Academy: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://asklexph.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (5% discount on e-learning courses! Code: ALPHAXSUP)Argum AI: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://argum.ai⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PIXEL by Eplayment: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://pixel.eplayment.co/auth/sign-up?r=PIXELXSUP1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Sign up using Code: PIXELXSUP1)School of Profits: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://schoolofprofits.academy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Founders Launchpad: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://founderslaunchpad.vc⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Hier Business Solutions: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://hierpayroll.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Agile Data Solutions (Hustle PH): ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://agiledatasolutions.tech⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Smile Checks: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://getsmilechecks.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CloudCFO: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cloudcfo.ph⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Free financial assessment, process onboarding, and 6-month QuickBooks subscription! Mention: Start Up Podcast PH)Cloverly: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cloverly.tech⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuddyBetes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://buddybetes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HKB Digital Services: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://contakt-ph.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (10% discount on RFID Business Cards! Code: CONTAKTXSUP)Hyperstacks: https://hyperstacksinc.comOneCFO: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://onecfoph.co⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (10% discount on CFO services! Code: ONECFOXSUP)UNAWA: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://unawa.asia⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Wunderbrand: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://wunderbrand.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DVCode Technologies Inc: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://dvcode.tech⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠NutriCoach: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://nutricoach.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Uplift Code Camp: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://upliftcodecamp.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (5% discount on bootcamps and courses! Code: UPLIFTSTARTUPPH)START UP PODCAST PH⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/StartUpPodcastPH⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PIXEL: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://pixel.eplayment.co/dl/startuppodcastph⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://phstartup.online⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Edited by: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tasharivera.com⁠⁠⁠⁠

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Acceso anticipado para Fans - ** VIDEO EN NUESTRO CANAL DE YOUTUBE **** https://youtube.com/live/uu6O33kqgkA +++++ Hazte con nuestras camisetas en https://www.bhmshop.app +++++ #historia #historiamilitar #áfrica Etiopía: la nación que humilló a Italia, que resistió al fascismo y que luego fue devorada por sus propias guerras. En este nuevo episodio, junto al profesor Carlos Caballero, recorremos el siglo más sangriento de la historia etíope. Un país orgulloso, heredero de imperios milenarios, que se enfrentó a invasores europeos, dictaduras marxistas, guerras civiles y al desgarro de su unidad nacional. Desde la gesta de Adwa hasta la pesadilla del Derg. Desde los aviones de Mussolini lanzando gas mostaza hasta los AK-47 de los milicianos tigrinos. Desde Haile Selassie como emperador de un imperio cristiano, hasta la descomposición de un Estado multinacional. Un viaje a través de la guerra, la política y la historia de una nación indomable. África no se entiende sin Etiopía. ️ En este programa descubrirás: Cómo Etiopía venció a una potencia europea en 1896... y fue invadida 40 años después. - La invasión italiana y la guerra química olvidada por Occidente. - El último emperador, Haile Selassie, y la traición que acabó con el Imperio. - El terror rojo del Derg y la guerra civil más sangrienta de África. - La independencia de Eritrea y la fractura definitiva del Estado etíope. - El actual conflicto en Tigray: etnicismo, geopolítica y violencia sin fin. SUSCRÍBETE A @BELLUMARTISHISTORIAMILITAR Y @BELLUMARTISACTUALIDADMILITAR para no perderte ningún programa y únete a nuestra comunidad de apasionados por la historia militar, la geopolítica y los conflictos del mundo. Apóyanos para seguir creando contenido riguroso e independiente: Patreon: https://www.patreon.com/bellumartis PayPal: https://www.paypal.me/bellumartis Bizum: 656 778 825 Libros de Francisco García Campa (Paco): Un Mundo Convulso — https://franciscogarciacampa.com/ Ejemplares firmados y dedicados disponibles en la web oficial. Síguenos también en redes: Instagram: https://www.instagram.com/bellumartis X / Twitter: https://x.com/bellumartis Bellumartis Historia Militar — Porque entender el pasado es prepararse para el futuro.Escucha este episodio completo y accede a todo el contenido exclusivo de BELLUMARTIS PODCAST. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/618669

Le phénomène n'est pas nouveau, mais depuis une vingtaine d'années, il est en plein essor : certains groupes en Afrique subsaharienne assurent être des descendants des Tribus perdues d'Israël, exilées vers Koush (la terre des Hébreux en Afrique) ; d'autres se sont identifiés au judaïsme par conviction, parfois par conversion personnelle, s'estimant plus proches de cette religion que du christianisme imposé par la force par le colonisateur. Certains ne recherchent pas la reconnaissance par Israël, d'autres au contraire la souhaitent et ne veulent plus être ignorés par les communautés juives. Malgré des cultures et traditions ancestrales riches liées aux ancêtres, certains de ces groupes revendiquent leur appartenance au judaïsme et parfois leur filiation au peuple juif. Un essor étonnant qui ne semble pas fléchir ni subir les conséquences de la situation à Gaza et la guerre menée par Israël. Reportages d'illustrations en Côte d'Ivoire, au Kenya, en France, entretiens et décryptages avec les chercheurs Edith Bruder et Daniel Dossou.   Intervenants : - Daniel Dossou, docteur en Histoire internationale, Graduate Institute – Institut de hautes Études internationales et du développement (IHEID), il vient de terminer sa thèse en Histoire internationale au Geneva Graduate Institute (IHEID), intitulée : «Being Black and Jewish in Côte d'Ivoire and Kenya : Histories, Communities, and Life Stories» (Être noir et juif en Côte d'Ivoire et au Kenya : histoires, communautés et vies) - Edith Bruder, chercheuse associée à la prestigieuse School of Oriental and African Studies de l'Université de Londres. Elle a publié en 2014 chez Albin Michel «Black Jews. Les Juifs noirs d'Afrique et le mythe des Tribus perdues», ainsi qu'un ouvrage collectif sur les diasporas juives méconnues ou oubliées (Juifs d'ailleurs. Diasporas oubliées, identités singulières, Albin Michel, 2020 ; voir Études, n° 4277, décembre 2020, pp. 127-128 - Reportage en Côte d'Ivoire / Benoît Almeras - Entretien au Kenya avec le Dr Silverstein (cardiologue, ex-chef de la synagogue de Nairobi, il a joué un grand rôle dans l'intégration des Noirs convertis dans la Nairobi Hebrew Congregation. / Gaëlle Laleix - Entretien en France avec Hortense Bilé, présidente de l'association Am Israël Farafina (association multiculturelle juive de France, qui regroupe notamment des juifs noirs d'origine africaine et antillaise).

Le phénomène n'est pas nouveau, mais depuis une vingtaine d'années, il est en plein essor : certains groupes en Afrique subsaharienne assurent être des descendants des Tribus perdues d'Israël, exilées vers Koush (la terre des Hébreux en Afrique) ; d'autres se sont identifiés au judaïsme par conviction, parfois par conversion personnelle, s'estimant plus proches de cette religion que du christianisme imposé par la force par le colonisateur. Certains ne recherchent pas la reconnaissance par Israël, d'autres au contraire la souhaitent et ne veulent plus être ignorés par les communautés juives. Malgré des cultures et traditions ancestrales riches liées aux ancêtres, certains de ces groupes revendiquent leur appartenance au judaïsme et parfois leur filiation au peuple juif. Un essor étonnant qui ne semble pas fléchir ni subir les conséquences de la situation à Gaza et la guerre menée par Israël. Reportages d'illustrations en Côte d'Ivoire, au Kenya, en France, entretiens et décryptages avec les chercheurs Edith Bruder et Daniel Dossou.   Intervenants : - Dr Edith Bruder, anthropologue et historienne, chercheuse associée à la School of Oriental and African Studies (University of London) au CNRS (France), à UNISA (University of South Africa) et Senior Research Fellow à ISGAP, New York. Elle est la présidente-fondatrice de The International Society for the Study of African Jewry- ISSAJ.Elle est l'auteure de divers articles scientifiques et ouvrages tels que The Black Jews of Africa, History, Identity, Religion (Oxford University Press, 2008 et 2012) ; Black Jews, Les Juifs noirs d'Afrique et le mythe des Tribus perdues (Albin Michel 2014) ; Juifs d'ailleurs. Diasporas oubliées, identités singulières (Albin Michel 2020 ; Jews from Elsewhere, Forgotten Diasporas, Singular Jewish Identities (Oxford University Press, 2026), ainsi que de Histoire des relations entre les Juifs et les Noirs- De la Bible à Black Lives Matter (Albin Michel 2023). - Daniel Dossou, docteur en Histoire internationale, Graduate Institute – Institut de Hautes Études internationales et du développement (IHEID), il vient de terminer sa thèse en Histoire internationale au Geneva Graduate Institute (IHEID), intitulée : «Being Black and Jewish in Côte d'Ivoire and Kenya : Histories, Communities, and Life Stories» (Être noir et juif en Côte d'Ivoire et au Kenya : histoires, communautés et vies). Reportage en Côte d'Ivoire / Benoît Almeras Entretien au Kenya avec le Dr Silverstein (cardiologue, ex-chef de la synagogue de Nairobi, il a joué un grand rôle dans l'intégration des Noirs convertis dans la Nairobi Hebrew Congregation. / Gaëlle Laleix Entretien en France avec Hortense Bilé, présidente de l'association Am Israël Farafina (association multiculturelle juive de France, qui regroupe notamment des juifs noirs d'origine africaine et antillaise).

Whisper in Museum, the oriental perspective - tourist San Francisco Asian Art

(00:00) The HVAC system is broken in the studio — when will it be fixed? Your guess is as good as ours. Also, Hardy shares his secrets for properly pruning oriental grass for the winter season.WHAT HAPPENED LAST NIGHT: (17:59.41) The Chargers forced five turnovers from Jalen Hurts and sealed a 22-19 overtime win with a Tony Jefferson interception, despite their offense stalling after an early touchdown and Justin Herbert rushing for 66 yards just a week after hand surgery.(33:01.55) Vrabel gets snippy towards Phil Perry again.Please note: Timecodes may shift by a few minutes due to inserted ads. Because of copyright restrictions, portions—or entire segments—may not be included in the podcast.CONNECT WITH TOUCHER & HARDY: linktr.ee/ToucherandHardyFor the latest updates, visit the show page on 985thesportshub.com. Follow 98.5 The Sports Hub on Twitter, Facebook and Instagram. Watch the show every morning on YouTube, and subscribe to stay up-to-date with all the best moments from Boston's home for sports!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Operação envolveu motos, caminhões e empilhadeiras e resultou na apreensão de equipamentos; chefe da agência de assistência aos refugiados palestinos chamou ação de “desrespeito flagrante” das obrigações de Israel enquanto Estado-membro das Nações Unidas.

Investigan explosión frente a la Policía Comunitaria de Coahuayana Guardia Costera de EU incauta 9 toneladas de droga en el PacíficoMás información en nuestro Podcast

Até quinta-feira houve um aumento de mortes, deslocamentos, operações militares, demolições e ataques de residentes de assentamentos na Cisjordânia, incluindo Jerusalém Oriental, ao longo de 2025.

Viernes 05 de diciembre: Sigue la pelea contra el crimen organizado. Hoy serán formalizados 30 detenidos del caso muralla oriental, 27 chinos, una boliviana y dos chilenos.

Entrevista Álvaro García - Presidente del Banco República Oriental del Uruguay by En Perspectiva

Gracie Mandujano was born in Honduras, a land rooted in ancient Mayan traditions, and from an early age felt called to reconnect with life's true purpose and the depth of her courageous spirit. Guided by yoga and dance, she returned to her physical body and divine power, dedicating herself to ancestral arts and becoming a healer and light worker. Her lineage eventually led her back to the ways of her ancestors, committing to the Camino Rojo and the Danza de la Luna, where she studies traditional forms of ceremony, prayer, and healing. Uniting these paths, Gracie and Estelle co-created a series of transformative containers under the school Modern Organic Dance & Sacred Arts, sharing this sacred space of essential growth with women and men across the world.In this episode you will learn about:- Gracie's journey from dentistry to discovering tribal fusion and Oriental dance.- The hidden energetics behind “inward” and “outward” movements in Oriental dance.- How class energy, rhythm choices, and even the moon cycle shape her teaching.- The story of healing a pre-cancer diagnosis through intentional dance practice.- The birth of “Modern Organic Dance” and why belly dance didn't feel like the right label.Show Notes to this episode:Find Gracie Mandujano on Instagram, FB, YouTube, and website.Details and training materials for the BDE castings are available at www.JoinBDE.comFollow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

Rebecca Ruth Gould, Distinguished Professor of Comparative Poetics and Global Politics, School of Oriental and African Studies (SOAS) and author of Erasing Palestine: Free Speech and Palestinian Freedom (Verso, 2020), discusses the political reframing of “antisemitism” by the International Holocaust Remembrance Alliance (IHRA) which tailored a new definition designed specifically to silence criticism of both Zionism and the state of Israel. Recalling how she was caught within the radar of the IHRA's definition of antisemitism in 2017 while an academic at the University of Bristol for a short article she had written years earlier, Gould analyses how the IHRA definition has very clear implications far beyond Israel and Palestine, even to the extent that it exists as a quasi-law that is treated as law while never having gone through any kind of democratic parliamentary vetting process. Moreover, Gould observes how the IHRA definition of antisemitism basically set out to define what we can and cannot say about Israel while also serving to foreshadow how free speech on Palestine would be persecuted for the following decade. Considering the language of mass starvation and famine within the media, Gould confirms how the famine of the Holodomor, in a 1933 New York Times piece, was narrated in an eerily similar way to how the famine in Gaza is currently represented. Articulating how “Never again” has never really been true, given the numerous genocides since the Holocaust, Gould describes how older generations have internalised the state-based nationalist “Holocaust memories” which have blinded them from seeing, much less understanding, that Israel is currently carrying out a genocide of Palestinians. Get full access to Savage Minds at savageminds.substack.com/subscribe

China has important islands of technological excellence, even dominance, but these islands exist in a sea of macroeconomic imbalances and headwinds. Xi Jinping is adamant that by focusing on technology, and other aspects of national security, China can hold sway in the global system and determine global governance. Many western economists and even some in China are not so sure, choosing to wonder if the government has the political capacity to address deep-seated economic problems.This lecture was recorded by George Magnus on the 3rd of November 2025 at Barnard's Inn Hall, London.George Magnus is a Research  Associate at the China Centre, Oxford University, and at the School of Oriental and African Studies, London, a Member of the China Foresight Forum at LSE IDEAS, and an advisory board member of the China Observatory, a non-partisan initiative at the Council on Geostrategy. The transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/watch-now/china-economicsGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeSupport the show

En este episodio de Ciencia Fresca exploramos dos historias fascinantes. La primera nos lleva al Plioceno temprano, hace entre 4,6 y 4,4 millones de años, cuando el nivel del mar era unos 16 metros más alto que hoy. ¿La causa? Un planeta más cálido, con concentraciones de CO₂ en torno a 400 ppm, capaz de derretir casi todo el hielo de Groenlandia, la Antártida Occidental y parte de la Antártida Oriental. Hoy vivimos una situación similar, con niveles que superan las 420 ppm. ¿Podría ocurrir algo parecido en el futuro? El segundo tema aborda un avance biotecnológico sorprendente: científicos han logrado que bacterias produzcan xantommatina, el pigmento que permite a pulpos y sepias cambiar de color casi al instante. Esta innovación podría revolucionar el desarrollo de materiales inteligentes, tintas fotocrómicas, protectores solares naturales y tecnologías de camuflaje activo.

En este episodio de Ciencia Fresca exploramos dos historias fascinantes. La primera nos lleva al Plioceno temprano, hace entre 4,6 y 4,4 millones de años, cuando el nivel del mar era unos 16 metros más alto que hoy. ¿La causa? Un planeta más cálido, con concentraciones de CO₂ en torno a 400 ppm, capaz de derretir casi todo el hielo de Groenlandia, la Antártida Occidental y parte de la Antártida Oriental. Hoy vivimos una situación similar, con niveles que superan las 420 ppm. ¿Podría ocurrir algo parecido en el futuro? El segundo tema aborda un avance biotecnológico sorprendente: científicos han logrado que bacterias produzcan xantommatina, el pigmento que permite a pulpos y sepias cambiar de color casi al instante. Esta innovación podría revolucionar el desarrollo de materiales inteligentes, tintas fotocrómicas, protectores solares naturales y tecnologías de camuflaje activo.

En esta nueva edición de «En perspectiva», Mariana García de Alvear entrevista a Raad Salam Naaman, doctor en filología árabe, que nos hace la presentación de su libro «La Iglesia Oriental frente al Islam». De origen iraquí y un cristiano católico caldeo, Raad Salam nos introduce en el mundo del Islam para hacernos comprender la persecución que viven los cristianos católicos en los países mayoritariamente islámicos como son Irán, Siria y Egipto. Nos habla de una fe que llevan custodiando desde la predicación de los apóstoles, y en su libro, da a conocer diferentes experiencias vividas por él y su comunidad cristiana frente al Islam y lo que han sufrido por la fe, haciendo vida la enseñanza de Jesús cuando dice: «Amad a vuestros enemigos y orad por los que os persiguen».

Today we have a CHILL CHAT SESSION: We continue the series with part 4 on symmetrical and asymmetrical christology, logos-sarx christology, composite hyspotasis and tertium quid.  @OrthodoxShahada  and  @OrthodoxDavid  Send Superchats at any time here: https://streamlabs.com/jaydyer/tip David's key talk is here https://youtu.be/Gm_GRzu-BR0 Qai substack is here https://orthodoxshahada.substack.com/p/oriental-monophysites-do-not-understand-a2b https://orthodoxshahada.substack.com/p/st-basil-completely-refutes-oriental Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join Order New Book Available here: https://jaysanalysis.com/product/esoteric-hollywood-3-sex-cults-apocalypse-in-films/ Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyer Music by Amid the Ruins 1453 https://www.youtube.com/@amidtheruinsOVERHAUL Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join #comedy #podcast #entertainmentBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Spotted lanternflies, Japanese barberry, Oriental bittersweet – When plants and animals like these invade our environment, they can disrupt other organisms that are native to the region. But can we stop these species? And should we?

A Conversation with Jim Anderson and Amanda Hughes of the Southern California Poultry Club In this episode of the Bred to Perfection, we sit down with Jim Anderson and Amanda Hughes of the Southern California Poultry Club to spotlight one of the most breeder-focused events in the country—the 3rd Annual American & Oriental Gamefowl Show, happening Saturday, November 22, 2025, at the Lake Perris Fairgrounds in Perris, California. This APA- and ABA-sanctioned event is truly a show built for breeders, featuring specialty classes for American Games, Oriental Games, and Seramas—complete with both cage and tabletop competitions. Jim and Amanda share what makes this year's show stand out, including the double-show format that gives exhibitors twice the feedback, twice the competition, and twice the opportunity to win, all in a single day. You'll also meet this year's judging panel: Ben Porter – Kentucky Amanda Clark – California Jeff Halbach – Arizona Mike Sayre – Ohio We talk about why poultry shows are vital for preserving and improving bloodlines, how they serve as living laboratories for gamefowl breeders, and the importance of competition, education, and community in sustaining breed standards. Whether you're a seasoned breeder or new to the world of exhibition poultry, this episode will get you fired up for a day dedicated to community, competition, and the preservation of our cherished breeds. Join us—and join the community—at the 3rd Annual American & Oriental Gamefowl Show. #BredToPerfectionPodcast #AmericanGamefowl #OrientalGamefowl #SouthernCaliforniaPoultryClub #PoultryBreeders #ExhibitionPoultry #APAABA #SeramaShow #PoultryCommunity #PreserveTheBreed #LakePerrisFairgrounds Join us on Bred to Perfection Live, Friday's at 6pm PST or 9pm EST on YouTube, as we discuss the benefits of creating your own strain. See ya there! Kenny Troiano Founder of "The Breeders Academy"  We specialize in breeding, and breeding related topics. This includes proper selection practices and the use of proven breeding programs. It is our mission to provide our followers and members a greater understanding of poultry breeding, poultry genetics, poultry health care and disease prevention, and how to improve the production and performance ability of your fowl.  If you are interested in creating a strain, or improving your established strain, you are in the right place.  We also want to encourage you to join us at the Breeders Academy, where we will not only help you increase your knowledge of breeding and advance your skills as a breeder, but improve the quality and performance of your fowl. If you would like to learn more, go to: https://www.breedersacademy.com

Nuestro Insólito Universo ¦¦ Extraña Pasión Oriental, En los cinco minutos de duración que tiene este programa se narran historias asombrosas referentes a cualquier tema.La primera transmisión de este programa se realizó por la RadioNacional de Venezuela el 4 de agosto de 1969 y su éxito fue tal que, posteriormente, fue transmitido también por Radio Capital y, actualmente, se mantiene en la Radio Nacional (AM) y en los circuitos Éxitos y Onda, de Unión Radio (FM), lo cual le otorga una tribuna de red AM y FM que cubren todo el país, uno de los programas radiales más premiados y de mayor duración en la historia de la radio de Venezuela.

This week I'm joined by author and music critic Keith Cameron (Mudhoney: The Sound and the Fury From Seattle, 168 Songs of Hatred and Failure: A History of Manic Street Preachers), who picked the documentary I'M NOW: THE STORY OF MUDHONEY to dive into.We discuss our relationship with the British musical weeklies and how Keith ended up working for them, the power of Radio One DJ John Peel, Keith trying to get his favorite bands on the cover of the NME, the Mudhoney riot at the School of Oriental & African Studies in 1989 (where Mark Arm invited the entire audience onstage before the first note), cracking Green River, seeing Mudhoney's 2nd show opening for White Zombie, the brilliance and haphazardness of SubPop, Jack Endino asking the band if they really wanted to sound like they did while recording them, Mudoney saving SubPop's label at their lowest point, how Caroline records wanted to polish up Mudhoney, the follies of indie labels & the notion of selling out, Mark Arm as a world class lyricist, Keith visiting Seattle & interviewing Nirvana at the time they were kicking out Dan Peters of Mudhoney and replacing him with Dave Grohl, touring with Nirvana vs. Pearl Jam, the handheld camera tour footage of the band, Keith spending time in Mudhoney's childhood locations, Matt Lukin leaving the band and Guy Maddison replacing him, the obstacles and triumphs of continuing to making music for nearly 40 years and more!So let's collectively make the stage collapse on this week's episode of Revolutions Per Movie!!!Keith Cameron:https://keithcameron.co.uk/about-me/https://www.mojo4music.com/author/keith-cameron/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Con José María García, CEO de Suba, la promotora del grupo Sinerba; Juan Conejo Villanueva, director de Promoción Residencial de Andalucía Oriental de Grupo Insur; y José Luis Bravo, director de Residencial en Savills Andalucia.

En la segunda parte del programa, Meli Torres aborda la colaboración público-privada con Francisco Pomares, concejal de Vivienda y Regeneración Urbana en el Ayuntamiento de Málaga; y Javier Braza, cofundador y CEO de Lagoom. Después, recorre los stands de Neinor Homes con Alberto Salamanca, director territorial Andalucía Oriental de la compañía; y el de AQ Acentor con Julio Gómez, director territorial de Andalucía en esta promotora.

A group linked to the Al Qaeda Islamist network is closing in on the capital of Mali, in north-west Africa. This group, known as JNIM, now controls swathes of territory in the Sahel, a region that stretches across several countries in the Sahara. If JNIM takes the capital, Bamako, it would be the first time an Al Qaeda affiliate has seized power in a country. What would that mean for Africa and the Islamic world? Dr TESSA DEVEREAUX has been analysing the situation.On the fiftieth anniversary of the dismissal of the Whitlam government, you'll hear many theories about Gough Whitlam's downfall. But ROY WILLIAMS has explored one reason that by no means caused but may have contributed to the events of November 11, 1975. Williams is the author of In God They Trust: The Religious Beliefs of Australia's Prime Ministers. He also has a very personal connection. His late father, Evan Williams, was a speechwriter and long-time confidante of Whitlam. Roy wonders if a throwaway insult about the faith of then Queensland premier Joh Bjelke Petersen hardened the resolve of Whitlam's opponents.One of the geopolitical tactics Russia has used in its war with Ukraine has been to divide opinion among the world's Orthodox Christians. Vladimir Putin is not the first Russian leader to style himself as a champion of Orthodox communities but in Greece and the Middle East, he's tried to marshal sympathy among Christians. Dr MANOS KARAGIANNIS aas in Australia recently with the Affinity Intercultural Foundation.GUESTS:Dr Tessa Deveraux- Assistant Professor in Politics at the School of Oriental and African Studies in LondonProfessor Roy Williams - legal academic and authorDr Manos Karagiannis specialises in international security at Kings College, London.This program was made on the lands of the Gadigal People

A group linked to the Al Qaeda Islamist network is closing in on the capital of Mali, in north-west Africa. This group, known as JNIM, now controls swathes of territory in the Sahel, a region that stretches across several countries in the Sahara. If JNIM takes the capital, Bamako, it would be the first time an Al Qaeda affiliate has seized power in a country. What would that mean for Africa and the Islamic world? GUEST:Dr Tessa Deveraux- Assistant Professor in Politics at the School of Oriental and African Studies in London

In this week's episode of Heart Glow CEO®, we explore the unseen architecture that shapes our lives — the energetic web that holds us, guides us, and connects every thread of our experience. Through metaphors of sacred geometry, the Oriental rug, and “ether webs,” we'll look at how to trust the divine design unfolding beneath the surface, even when it feels messy or unclear. You'll be invited to notice the repeating motifs in your life, sense your energetic body as part of a greater network, and choose trust over control as an act of sacred surrender. In this episode, you'll learn: How to recognize the unseen threads shaping your path How to shift from reaction to alignment through presence and trust Three reflective prompts to help you live in flow with your unseen design Mentioned in this episode: The Layers of the Human Energy Field with guest expert (listen here: Heart Glow CEO® Episode ) Power vs. Force by David R. Hawkins Key takeaway: Even the underside of life's rug — the messy, tangled parts — is part of a masterful pattern. When we pause, breathe, and trust, we begin to see the beauty of the design and walk in alignment with it. Love the show?Your voice matters! Leaving a quick review helps more soul-led leaders discover this transformational content. www.lovethepodcast.com/brilliance About Kc Rossi Kc Rossi is an Integrative Leadership Coach and Professional Certified Coach (PCC) who helps high-achieving entrepreneurs and executives grow with flow—not force. With over three decades of entrepreneurial experience and a deep commitment to conscious business, she supports soulful leaders who want to expand their impact while staying grounded, energized, and aligned. When she's not coaching, podcasting, or leading group programs, you'll find Kc walking forest trails in the Finger Lakes, crafting plant-based creations in the kitchen, or scuba diving with sharks. Yes, really. ✨ Follow & Tag:@heartglowceo

Episode #425: Dr. Lalita Hanwong, a Thai historian and analyst, has dedicated her career to understanding Myanmar and its ties to Thailand. “I'm morally attached to the peoples of Myanmar,” she says, summing up a lifetime of scholarship and advocacy that spans from the archives of colonial Burma to the war-torn Thai-Myanmar border. “I just want to talk to everybody.” Trained at the School of Oriental and African Studies in London, Lalita's research explored how British rule relied on racial hierarchies to govern Burma. “The British were pretty paranoid and suspicious of the Burmese… the specific race that they found the most difficult to rule and police was actually the Bamar,” she explains. “Their solution was pretty simple: let's bring somebody to scare the Burmese—hence the presence of the Gurkhas, the Sikhs and so on.” These studies taught her how old systems of mistrust shaped modern Myanmar. Her work later shifted from archives to activism. Returning to Thailand, she began advising parliament and the army on border affairs, refugee policy, and Myanmar relations. “There are some really good-hearted [Thai] soldiers who mean well, who want to help Myanmar as well,” she says. Mae Sot, the border town she calls her second home, has become central to her life: “Mae Sot is a really fascinating place. There's no place like Mae Sot… Thailand has been the hub of resistance from Myanmar for generations.” Lalita argues that Thailand must take a more active role as mediator and humanitarian partner. “Thailand could do a lot more,” she says. “The border is a gray zone… we cannot use the urban mindset to get the border fixed however we like it.” She rejects isolation of the junta—“you need somebody who can still negotiate and get access to Naypyidaw”—and believes dialogue is the only way forward. “War is never good for anybody except war business people.”

Donald Trump's been on a triumphant tour of Asia, shaking hands, signing peace deals, and lapping up royal treatment fit for, well, himself. From Tokyo Tower lit in red, white and blue to 250 cherry trees gifted in his honour, it was a spectacle of ego and diplomacy rolled into one. In South Korea, they even played YMCA as he strutted past a military band. Trump's “12 out of 10” meeting with Xi Jinping was big on smiles but is it enough to combat Beijing's increasingly confident posture in the Pacific? Plus, beyond the fireworks and photo ops, what did this Asia trip actually achieve? Were the rare earth and critical mineral deals Trump struck enough to protect Western militaries from China's stranglehold on this key industry? Venetia is joined by Ben Bland from Chatham House and Steve Tsang from The School of Oriental and African Studies to find out.Trump may already be losing the economic war for the Asia-Pacific: https://www.telegraph.co.uk/business/2025/11/03/trump-may-already-be-losing-war-china-asia-pacific/Air Force One is stuffed with golden gifts but the promises remain paper-thin: https://www.telegraph.co.uk/world-news/2025/10/30/air-force-one-stuffed-gifts-trump-trade-deals-uncertain/► Sign up to our most popular newsletter, From the Editor. Look forward to receiving free-thinking comment and the day's biggest stories, every morning. telegraph.co.uk/fromtheeditorhttps://linktr.ee/BattleLinesContact us with feedback or ideas:battlelines@telegraph.co.uk @venetiarainey@RolandOliphant Hosted on Acast. See acast.com/privacy for more information.

En Perspectiva Interior - Entrevista Natalia Bottaro y María Eugenia Lastreto, autoras del libro "Cerro Largo el más oriental del Uruguay" by En Perspectiva

Tras los notables éxitos de Valentiniano en Occidente —ese emperador severo pero prudente que mantuvo el Rin, aseguró Britania y contuvo los conflictos religiosos con sensatez—, viajamos ahora al otro extremo del Imperio. La corte de Constantinopla nos espera, para conocer el reinado de su hermano y colega imperial: Valente. El gobierno de Valente dista mucho de la estabilidad de su hermano. Faltó en él la prudencia política y la habilidad militar que caracterizaron a Valentiniano, y su falta de carisma y su adhesión al arrianismo encendieron tensiones en un Oriente ya inflamado por disputas teológicas y las fracturas sociales. A esta delicada situación interna se sumó pronto un desafío aún mayor: la usurpación de Procopio: pretendiente surgido de los rescoldos de la dinastía constantiniana, que pondrá a prueba la legitimidad y la autoridad del emperador. La guerra civil que siguió será uno de los episodios más intensos de su reinado. En la segunda parte del episodio - conjurada ya la rebelión de Procopio - nos vamos a las tierras del Éufrates, en donde el viejo Sapor II sigue gobernando Persia con mano firme. Los ecos de la desastrosa campaña de Juliano aún resuenan, y los tratados firmados tras su muerte pesan sobre la diplomacia romana. Armenia, los reinecillos caucásicos y las fortificaciones del limes oriental se convierten en piezas de un tablero siempre inestable, donde Roma y Persia juegan una partida perpetua entre la guerra y la diplomacia. Difícil gobierno el de Valente...imponentes los retos que tiene por delante. Así es. Episodio complejo, profundo y lleno de contenido el que os presento. Así que solo espero que lo disfrutéis. Instagram: https://www.instagram.com/carlosdemiguelpodcaster/ Facebook: https://www.facebook.com/elocasoderoma/ Twitter (X): @elocasoderoma Novelas: https://www.planetadelibros.com/autor/carlos-de-miguel/000057983#bibliografia Mapas y cartografía: https://ko-fi.com/elocasoderomacartografia Web oficial: www.elocasoderoma.com Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This episode we start to get more into the material culture of the period with court fashion, as we look at the court robes that went along with the updated court ranks.  Granted, we only have a few resources, but from those it does seem like we can construct at least a plausible idea of what the court may have looked like at this time. For more discussion, check out the blogpost:  https://sengokudaimyo.com/podcast/episode-137   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 137:  Courtly Fashion. In the New Year's ceremony, the court officials lined up in front of the Kiyomihara Palace, arranged by their relative court rank, dressed in their assigned court robes.  The effect was impressive—the rows of officials painting the courtyard like the bands of color in a rainbow, albeit one with only a couple of hues.  The fact that they were all wearing the same style of dress and black, stiffened gauze hats only added to the effect.  The individual officers were all but lost in what was, at least in outward form, a single, homogenous machine of government, just waiting for the command of their monarch to attend to the important matters of state. We are covering the reign of Ohoama no Ohokimi, aka Ama no Nunahara oki no mabito no Sumera no Mikoto, aka Temmu Tennou.  Last episode we went over the changes he had made to the family titles—the kabane—as well as to the courtly rank system.  For the former, he had consolidated the myriad kabane and traditional titles across Yamato into a series of eight—the Yakusa no Kabane.   These were, from highest to lowest: Mabito, Asomi, Sukune, Imiki, Michinoshi, Omi, Muraji, and Inaki.  By the way, you might notice that "Mabito" actually occurs in Ohoama's posthumous name:  Ama no Nunahara oki no mabito, which lends more credence to the idea that that kabane was for those with a special connection to the royal lineage. Besides simplifying and restructuring the kabane, Ohoama also reformed the court rank system.  He divided the Princely ranks into two categories:  Myou, or Bright, and Jou, or Pure.  For the court nobles the categories were:                Shou – Upright                Jiki – Straight                Gon – Diligent                Mu – Earnest                Tsui – Pursue                Shin – Advancement Each category was further divided into four grades (except for the very first princely category, Myou, which was only two).  Each grade was then further divided into large, "dai", or broad, "kou". And this brings us to our topic today. Along with this new rank system, Ohoama's administration also instituted a new set of court sumptuary laws. Some are vague in the record—we can just make assumptions for what is going on based on what we know from later fashion choices.  Others are a little more clear.  We'll take a look at those sumptuary laws, particularly those that were directly associated with the new court rank system, but we'll also look at the clothing styles more generally. To start with, let's talk about what we know about clothing in the archipelago in general.  Unfortunately, fabric doesn't tend to survive very well in the generally acidic soils of the Japanese archipelago.  Cloth tends to break down pretty quickly.  That said, we have fragments here and there and impressions in pottery, so we have some idea that there was some kind of woven fabric from which to make clothing out of. And before I go too far I want to give a shout out to the amazing people at the Kyoto Costume Museum.  They have a tremendous website and I will link to it in the comments.  While there may be some debate over particular interpretations of historical clothing, it is an excellent resource to get a feel for what we know of the fashion of the various periods.  I'll also plug our own website, SengokuDaimyo.com, which has a "Clothing and Accessory" section that, while more geared towards Heian and later periods, may still be of some use in looking up particular terms and getting to know the clothing and outfits. At the farthest reaches of pre-history, we really don't have a lot of information for clothing.  There is evidence of woven goods in the Jomon period, and we have Yayoi burials with bits of cloth here and there, but these are all scraps.  So at best we have some conjecture as to what people were wearing, and possibly some ability to look across the Korean peninsula and see what people had, there. There are scant to no reliable records from early on in Japanese history, and most of those don't really do a great job of describing the clothing.  Even where we do get something, like the Weizhi, one has to wonder given how they tended to crib notes from other entries. There is at least one picture scroll of interest: Portraits of Periodical Offering of Liang, or Liáng -Zhígòngtú.  It is said to have been painted by Xiao Yi in the early 6th century, and while the original no longer exists there is an 11th century copy from the time of the Song Dynasty.  The scroll shows  various ambassadors to the Liang court, including one from Wa.  The Wa ambassador is shown with what appears to be a wide piece of cloth around his hips and legs, tied in front.  His lower legs are covered in what we might call kyahan today: a rather simple wrap around leg from below the knee to the foot.  He has another, blue piece of cloth around his shoulders, almost like a shawl, and it is also tied in front.  Then there is a cloth wrapped and tied around his head. It's hard to know how much of this depiction is accurate and how much the artist was drawing on memory and descriptions from things like the Weizhi or Wei Chronicles, which stated that the Wa people wore wide cloths wrapped around and seamlessly tied As such, it may be more helpful to look at depictions actually from the archipelago: specifically, some of the human-figured haniwa, those clay cylinders and statues that adorned the burial mounds which gave the kofun period its name.  Some of these haniwa are fairly detailed, and we can see ties, collars, and similar features of clothing. These haniwa primarily seem to cluster towards the end of the Kofun period, in the later 6th century, so it is hard to say how much they can be used for earlier periods, though that is exactly what you will typically see for periods where we have little to know evidence.  I'm also not sure how regional certain fashions might have been, and we could very much be suffering from survivorship bias—that is we only know what survived and assume that was everything, or even the majority. Still, it is something. Much of what we see in these figures is some kind of upper garment that has relatively tight sleeves, like a modern shirt or jacket might have, with the front pieces overlapping create a V-shaped neckline.  The garment hem often hangs down to just above the knee, flaring out away from the body, and it's held closed with ties and some kind of belt, possibly leather in some cases, and in others it looks like a tied loop of cloth.  There is evidence of a kind of trouser, with two legs, and we see ties around the knee.  In some cases, they even have small bells hanging from the ties.  Presumably the trousers might have ties up towards the waist, but we cannot see that in the examples we have. We also see individuals who have no evidence of any kind of bifurcated lower garment.  That may indicate an underskirt of some kind, or possibly what's called a "mo"—but it could also be just a simplification for stability, since a haniwa has a cylindrical base anyway.  It is not always obvious when you are looking at a haniwa figure whether it depicts a man or woman: in some cases there are two dots on the chest that seem to make it obvious, but the haniwa do come from different artisans in different regions, so there is a lot of variability. We also see evidence of what seem to be decorative sashes that are worn across the body, though not in all cases.  There are various types of headgear and hairstyles.  Wide-brimmed and domed hats are not uncommon, and we also see combs and elaborate hairstyles depicted.  On some occasions we can even see that they had closed toed shoes.  For accessories, we see haniwa wearing jewelry, including necklaces (worn by both men and women), bracelets, and earrings.  In terms of actual human jewelry, early shell bracelets demonstrate trade routes, and the distinctive magatama, or comma shaped jewel, can be found in the archipelago and on the Korean peninsula, where it is known as "gogok".  Based on lines or even colored pigment on the haniwa, it appears that many of these outfits were actually quite heavily decorated.  Paint on the outfits is sometimes also placed on the face, suggesting that they either painted or tattooed themselves, something mentioned in the Wei Chronicles.  We also have archaeological examples of dyed cloth, so it is interesting that people are often depicted in undyed clothing.  There is one haniwa that I find particularly interesting, because they appear to be wearing more of a round-necked garment, and they have a hat that is reminiscent of the phrygian cap: a conical cap with the top bent forward.  These are traits common to some of the Sogdians and other Persian merchants along the silk road, raising the possibility that it is meant to depict a foreigner, though it is also possible that it was just another local style. If we compare this to the continent, we can see some immediate difference.  In the contemporaneous Sui dynasty, we can see long flowing robes, with large sleeves for men and women.  The shoes often had an upturned placket that appears to have been useful to prevent one from tripping on long, flowing garments.  Many of these outfits were also of the v-neck variety, with two overlapping pieces, though it is often shown held together with a fabric belt that is tied in front.  The hats appear to either be a kind of loose piece of fabric, often described as a turban, wrapped around the head, the ends where it ties together trailing behind, or black lacquered crowns—though there were also some fairly elaborate pieces for the sovereign. As Yamato started to import continental philosophy, governance, and religion, they would also start to pick up on continental fashion.  This seems particularly true as they adopted the continental concept of "cap rank" or "kan-i". Let's go over what we know about this system, from its first mention in the Chronicles up to where we are in Ohoama's reign. As a caveat, there is a lot we don't know about the details of these garments, but we can make some guesses. The first twelve cap-ranks, theoretically established in 603, are somewhat questionable in their historicity, as are so many things related to Shotoku Taishi.  And their names are clearly based on Confucian values:  Virtue, Humanity, Propriety, Faith, Justice, and Wisdom, or Toku, Nin, Rei, Shin, Gi, and Chi.  The five values and then just "Virtue", itself. The existence of this system does seem to be confirmed by the Sui Shu, the Book of Sui, which includes a note in the section on the country of Wa that they used a 12 rank system based on the Confucian values, but those values were given in the traditional Confucian order vice the order given in the Nihon Shoki.   The rank system of the contemporaneous Sui and Tang dynasties was different from these 12 ranks, suggesting that the Yamato system either came from older dynasties—perhaps from works on the Han dynasty or the Northern and Southern Dynasty, periods—or they got it from their neighbors, Baekje, Silla, and Goguryeo.  There does seem to be a common thread, though, that court rank was identifiable in one's clothes. As for the caps themselves, what did they look like?  One would assume that the Yamato court just adopted a continental style cap, and yet, which one? It isn't fully described, and there are a number of types of headwear that we see in the various continental courts. Given that, we aren't entirely sure exactly what it looked like, but we do have a couple of sources that we can look at and use to make some assumptions.  These sources l ead us to the idea of a round, colored cap made of fabric, around the brim that was probably the fabric or image prescribed for that rank.  It is also often depicted with a bulbous top, likely for the wearer's hair, and may have been tied to their top knot.     Our main source for this is the Tenjukoku Mandala Embroidery (Tenjukoku-mandara-shuuchou) at Chuuguuji temple, which was a temple built for the mother of Prince Umayado, aka Shotoku Taishi.    This embroidery was created in 622, so 19 years after the 12 ranks would have been implemented. It depicts individuals in round-necked jackets that appear to have a part straight down the center.  Beneath the jacket one can see a pleated hem, possibly something like a "hirami", a wrapped skirt that is still found in some ceremonial imperial robes.  It strikes me that this could also be the hem of something like the hanpi, which was kind of like a vest with a pleated lower edge.  Below that we see trousers—hakama—with a red colored hem—at least on one figure that we can see.  He also appears to be wearing a kind of slipper-like shoe. As for the women, there are a few that appear to be in the mandala, but it is hard to say for certain as the embroidery has been damaged over the years. That said, from what we can tell, women probably would have worn something similar to the men in terms of the jacket and the pleated under-skirt, but then, instead of hakama, we see a pleated full-length skirt, or mo.  We also don't have a lot of evidence for them wearing hats or anything like that. The round necked jacket is interesting as it appears to be similar to the hou that was common from northern China across the Silk Road, especially amongst foreigners.  This garment  came to displace the traditional robes of the Tang court and would become the basis for much of the court clothing from that period, onwards.  The round necked garment had central panels that overlapped, and small ties or fastenings at either side of the neck to allow for an entirely enclosed neckline.  This was more intricate than just two, straight collars, and so may have taken time to adopt, fully. The next change to the cap-rank system was made in 647, two years into the Taika Reform.  The ranks then were more directly named for the caps, or crowns—kanmuri—and their materials and colors.  The ranks translate to Woven, Embroidered, Purple, Brocade, Blue, Black, and finally "Establish Valor" for the entry level rank. The system gets updated two years later, but only slightly.  We still see a reference to Woven stuff, Embroidery, and Purple, but then the next several ranks change to Flower, Mountain, and Tiger—or possibly Kingfisher.  These were a little more removed from the cap color and material, and may have had something to do with designs that were meant to be embroidered on the cap or on the robes in some way, though that is just speculation based on later Ming and Qing court outfits. Naka no Ohoye then updates it again in 664, but again only a little.  He seems to add back in the "brocade" category, swapping out the "flower", and otherwise just adds extra grades within each category to expand to 26 total rank grades. And that brings us to the reforms of 685, mentioned last episode.  This new system was built around what appear to be moral exhortations—Upright, Straight, Diligent, Earnest, etc.  And that is great and all, but how does that match up with the official robes? What color goes with each rank category?  Fortunately, this time around, the Chronicle lays it out for us pretty clearly. First off we are given the color red for the Princely ranks—not purple as one might have thought.  Specifically, it is "Vermillion Flower", hanezu-iro, which Bentley translates as the color of the "Oriental bush" or salmon.  In the blogpost we'll link to a table of colors that the founder of Sengoku Daimyo, Anthony Bryant, had put together, with some explanation of how to apply it.  I would note that there is often no way to know exactly what a given color was like or what shades were considered an acceptable range.  Everything was hand-dyed, and leaving fabric in the dye a little longer, changing the proportions, or just fading over time could create slightly different variants in the hue, but we think we can get pretty close. From there we have the six "common" ranks for the nobility.  Starting with the first rank, Upright, we have "Dark Purple".  Then we have "Light Purple".  This pattern continues with Dark and Light Green and then Dark and Light Grape or Lilac.  Purple in this case is Murasaki, and green here is specifically Midori, which is more specifically green than the larger category of "Aoi", which covers a spectrum of blue to green.  The grape or lilac is specifically "suou", and based on Bentley's colors it would be a kind of purple or violet. The idea is that the official court outfits for each rank would be the proper color.  And yes, that means if you get promoted in rank, your first paycheck—or rice stipend—is probably going to pay for a new set of official clothes.  Fortunately for the existing court nobles at the time, in the last month of 685, the Queen provided court clothing for 55 Princes and Ministers, so they could all look the part. And the look at court was important.  In fact, several of the edicts from this time focus specifically on who was allowed—or expected—to wear what.  For instance, in the 4th month of 681, they established 92 articles of the law code, and among those were various sumptuary laws—that is to say, laws as to what you could wear.  We are told that they applied to everyone from Princes of the blood down to the common person, and it regulated the wearing of precious metals, pearls, and jewels; the type of fabric one could use, whether purple, brocade, embroidery, or fine silks; and it also regulated woollen carpets, caps, belts, and the colors of various things. And here I'd like to pause and give some brief thought to how this played into the goals of the court, generally, which is to say the goal of creating and establishing this new system of governance in the cultural psyche of the people of the archipelago.  From the continental style palaces, to the temples, and right down to the clothing that people were wearing, this was all orchestrated, consciously or otherwise, to emphasize and even normalize the changes that were being introduced.  When everything around you is conforming to the new rules, it makes it quite easy for others to get on board. The court had surrounded themselves with monumental architecture that was designed along continental models and could best be explained through continental reasoning.  Even if they weren't Confucian or Daoist, those lines of reasoning ran through the various cultural and material changes that they were taking up.  Sure, they put their own stamp on it, but at the same time, when everything is right in front of you, it would become that much harder to deny or push back against it. And when you participated in the important rituals of the state, the clothing itself became a part of the pageantry.  It reinforced the notion that this was something new and different, and yet also emphasized that pushing against it would be going against the majority.  So court uniforms were another arm of the state's propaganda machine, all designed to reinforce the idea that the heavenly sovereign—the Tennou—was the right and just center of political life and deserving of their position.  Getting back to the sumptuary laws and rank based regulations: It is unfortunate that the record in the Nihon Shoki doesn't tell us exactly how things were regulated, only that they were, at least in some cases.  So for anything more we can only make assumptions based on later rules and traditions.  A few things we can see right away, though.  First is the restriction of the color purple.  Much as in Europe and elsewhere in the world, getting a dark purple was something that was not as easy as one might think, and so it tended to be an expensive dye and thus it would be restricted to the upper classes—in this case the princely and ministerial rank, no doubt.  Similarly brocade and fine silks were also expensive items that were likely restricted to people of a particular social station for that reason. The mention of woolen rugs is particularly intriguing.  Bentley translates this as woven mattresses, but I think that woolen rugs makes sense, as we do have examples of woolen "rugs" in Japan in at least the 8th century, stored in the famous Shousouin repository at Toudaiji temple, in Nara.  These are all imported from the continent and are actually made of felt, rather than woven.  As an imported item, out of a material that you could not get in the archipelago, due to a notable lack of sheep, they would have no doubt been expensive. The funny thing is that the carpets in the Shousouin may not have been meant as carpets.  For the most part they are of a similar size and rectangular shape, and one could see how they may have been used as sleeping mattresses or floor coverings.  However, there is some conjecture that they came from the Silk Road and may have been originally meant as felt doors for the tents used by the nomadic steppe peoples.  This is only conjecture, as I do not believe any of these rugs have survived in the lands where they would have been made, but given the size and shape and the modern yurt, it is not hard to see how that may have been the case.  Either way, I tend to trust that this could very well have meant woolen rugs, as Aston and the kanji themselves suggest, though I would understand if there was confusion or if it meant something else as wool was not exactly common in the archipelago at that time or in the centuries following. The last section of the regulations talks about the use of caps and belts.  The caps here were probably of continental origin:  The kanmuri, or official cap of state of the court nobles, or the more relaxed eboshi—though at this time, they were no doubt closely related. In fact, a year later, we have the most specific mention to-date of what people were actually wearing on their heads: there is a mention of men tying up their hair and wearing caps of varnished gauze.  Earlier caps related to the cap rank system are often thought to be something like a simple hemisphere  that was placed upon the head, with a bulbous top where the wearer's hair could be pulled up as in a bun. The kanmuri seems to have evolved from the soft black headcloth that was worn on the continent, which would have tied around the head, leaving two ends hanging down behind.  Hairstyles of the time often meant that men had a small bun or similar gathering of hair towards the back of their head, and tying a cloth around the head gave the effect of a small bump.  This is probably what we see in depictions of the early caps of state.  Sometimes this topknot could be covered with a small crown or other decoration, or wrapped with a cloth, often referred to as a "Tokin" in Japanese.  But over time we see the development of hardened forms to be worn under a hat to provide the appropriate silhouette, whether or not you actually had a topknot (possibly helpful for gentlemen suffering from hair loss).  And then the hat becomes less of a piece of cloth and more just a hat of black, lacquered gauze made on a form, which was much easier to wear.  At this point in the Chronicle, the cap was likely still somewhat malleable, and would made to tie or be pinned to that bun or queue of hair.  This explains the mention of men wearing their hair up.  This pin would become important for several different types of headgear, but ties were also used for those who did not have hair to hold the hat on properly. Two years after the edict on hats, we get another edict on clothing, further suggesting that the court were wearing Tang inspired clothing.  In 685 we see that individuals are given leave to wear their outer robe either open or tied closed. This is a clue that this outer robe might something akin to the round-necked hou that we see in the Tenjukoku Mandala, where the neck seems to close with a small tie or button.  However, we do see some examples, later, of v-necked garments with a tie in the center of the neck, so that may be the reference..  Opening the collar of the formal robes was somewhat akin to loosening a necktie, or unbuttoning the top button of a shirt.  It provided a more relaxed and comfortable feeling.  It could also be a boon in the warm days of summer.  Leaving it closed could create a more formal appearance. The courtiers also had the option of whether or not to wear the "Susotsuki", which Bentley translates as "skirt-band".  I believe this refers to the nai'i, or inner garment.  This would often have a pleated hem—a suso or ran—which would show below the main robe as just a slight hem.  Again, this is something that many would dispense with in the summer, or just when dressing a bit more casually, but it was required at court, as well as making sure that the tassles were tied so that they hung down.  This was the uniform of the court.  We are also told that they would have trousers that could be tied up, which sounds like later sashinuki, though it may have referred to something slightly different.  We are also given some regulations specifically for women, such as the fact that women over 40 years of age were allowed the discretion on whether or not to tie up their hair, as well as whether they would ride horses astride or side-saddle.  Presumably, younger women did not get a choice in the matter.  Female shrine attendants and functionaries were likewise given some leeway with their hairstyles. A year later, in 686, they do seem to have relaxed the hairstyles a bit more: women were allowed to let their hair down to their backs as they had before, so it seems that, for at least a couple of years, women under the age of 40 were expected to wear their hair tied up in one fashion or another. In that same edict, men were then allowed to wear "habakimo".  Aston translates this as "leggings" while Bentley suggests it is a "waist skirt".  There are an example of extant habakimo in the Shousouin, once again, and they appear to be wrappings for the lower leg.  It actually seems very closely related to the "kyahan" depicted all the way back in the 6th century painting of the Wo ambassador to Liang. Even though these edicts give a lot more references to clothing, there is still plenty that is missing.  It isn't like the Chroniclers were giving a red carpet style stitch-by-stitch critique of what was being worn at court.  Fortunately, there is a rather remarkable archaeological discovery from about this time. Takamatsuzuka is a kofun, or ancient burial mound, found in Asuka and dated to the late 7th or early 8th century.  Compared to the keyhole shaped tombs of previous centuries, this tomb is quite simple: a two-tiered circular tomb nestled in the quiet hills.  What makes it remarkable is that the inside of the stone burial chamber was elaborately painted.  There are depictions of the four guardian animals, as well as the sun and the moon, as well as common constellations.  More importantly, though, are the intricate pictures of men and women dressed in elaborate clothing. The burial chamber of Takamatsuzuka is rectangular in shape.  There are images on the four vertical sides as well as on the ceiling.  The chamber is oriented north-south, with genbu, the black tortoise, on the north wall and presumably Suzaku, the vermillion bird, on the south wall—though that had been broken at some point and it is hard to make out exactly what is there. The east and west walls are about three times as long as the north and south walls.  In the center of each is a guardian animal—byakko, the white tiger, on the west wall and seiryuu, the blue—or green—dragon on the east.  All of these images are faded, and since opening of the tomb have faded even more, so while photos can help, it may require a bit more investigation and some extrapolation to understand all of what we are looking at. On the northern side of both the east and west wall we see groups of four women.  We can make out green, yellow, and red or vermillion outer robes with thin fabric belt sashes, or obi, tied loosely and low around the waist.  There is another, lightly colored—possibly white, cream or pink—that is so faded it is hard to make out, and I don't know if that is the original color.  These are v-necked robes, with what appear to be ties at the bottom of the "v".  Around the belt-sash we see a strip of white peaking out from between the two sides of the robe—most likely showing the lining on an edge that has turned back slightly.  The cuffs of the robe are folded back, showing a contrasting color—either the sleeves of an underrobe or a lining of some kind.  Below the outer robe is a white, pleated hem—possibly a hirami or similar, though where we can make it out, it seems to be the same or similar color as the sleeves.  Under all of that, they then have a relatively simple mo, or pleated skirt.  The ones in the foreground are vertically striped in alternating white, green, red, and blue stripes.  There is one that may just be red and blue stripes, but I'm not sure.  In the background we see a dark blue—and possibly a dark green—mo.  At the base of each mo is a pleated fringe that appears to be connected to the bottom of the skirt.  The toe of a shoe seems to peek out from underneath in at least one instance.  They don't have any obvious hair ornaments, and their hair appears to be swept back and tied in such a way that it actually comes back up in the back, slightly.  They appear to be holding fans and something that might be a fly swatter—a pole with what looks like tassels on the end. In comparison, at the southern end of the tomb we have two groups of men.  These are much more damaged and harder to make out clearly.  They have robes of green, yellow, grey, blue, and what looks like dark blue, purple, or even black.  The neckline appears to be a v-necked, but tied closed, similar to what we see on the women.  We also see a contrasting color at the cuff, where it looks like the sleeves have turned back, slightly.  They have belt-sashes similar to the women, made of contrasting fabric to the robe itself.  Below that we see white trousers, or hakama, and shallow, black shoes.  On some of the others it is suggested that maybe they have a kind of woven sandal, but that is hard to make out in the current image.  On their heads are hats or headgear of black, stiffened—probably lacquered—gauze.  They have a bump in the back, which is probably the wearer's hair, and there is evidence of small ties on top and larger ties in the back, hanging down.  Some interpretations also show a couple with chin straps, as well, or at least a black cord that goes down to the chin.  They carry a variety of implements, suggesting they are attendants, with an umbrella, a folding chair, a pouch worn around the neck, a pole or cane of some kind, and a bag with some kind of long thing—possibly a sword or similar. The tomb was originally found by farmers in 1962, but wasn't fully examined until 1970, with an excavation starting in 1972.  The stone at the entryway was broken, probably from graverobbers, who are thought to have looted the tomb in the Kamakura period.  Fortunately, along with the bones of the deceased and a few scattered grave goods that the robbers must have missed, the murals also survived, and somehow they remained largely intact through the centuries.  They have not been entirely safe, and many of the images are damaged or faded, but you can still make out a remarkable amount of detail, which is extremely helpful in determining what clothing might have looked like at this time—assuming it is depicting local individuals. And there is the rub, since we don't know exactly whom the tomb was for.  Furthermore, in style it has been compared with Goguryeo tombs from the peninsula, much as nearby Kitora kofun is.  Kitora had images as well, but just of the guardian animals and the constellations, not of human figures. There are three theories as to who might have been buried at Takamatsuzuka.  One theory is that it was one of Ohoama's sons.  Prince Osakabe is one theory, based on the time of his death and his age.  Others have suggested Prince Takechi.  Based on the teeth of the deceased, they were probably in their 40s to 60s when they passed away. Some scholars believe that it may be a later, Nara period vassal—possibly, Isonokami no Maro.  That would certainly place it later than the Asuka period. The third theory is that it is the tomb of a member of one of the royal families from the Korean peninsula—possibly someone who had taken up refuge in the archipelago as Silla came to dominate the entire peninsula.  This last theory matches with the fact that Takamatsuzuka appears to be similar to tombs found in Goguryeo, though that could just have to do with where the tomb builders were coming from, or what they had learned. That does bring up the question of the figures in the tomb.  Were they contemporary figures, indicating people and dress of the court at the time, or were they meant to depict people from the continent?  Without any other examples, we may never know, but even if was indicative of continental styles, those were the very styles that Yamato was importing, so it may not matter, in the long run.     One other garment that isn't mentioned here is the hire, a scarf that is typically associated with women.  It is unclear if it has any relationship to the sashes we see in the Kofun period, though there is at least one mention of a woman with a hire during one of the campaigns on the Korean peninsula.  Later we see it depicted as a fairly gauzy piece of silk, that is worn somewhat like a shawl.  It is ubiquitous in Sui and Tang paintings of women, indicating a wide-ranging fashion trend.  The hire is a fairly simple piece of clothing, and yet it creates a very distinctive look which we certainly see, later. Finally, I want to take a moment to acknowledge that almost everything we have discussed here has to do with the elites of society—the nobles of the court.  For most people, working the land, we can assume that they were probably not immediately adopting the latest continental fashions, and they probably weren't dressing in silk very much.  Instead, it is likely that they continued to wear some version of the same outfits we see in the haniwa figures of the kofun period.  This goes along with the fact that even as the elite are moving into palaces built to stand well above the ground, we still have evidence of common people building and living in pit dwellings, as they had been for centuries.  This would eventually change, but overall they stuck around for quite some time.  However, farmers and common people are often ignored by various sources—they aren't often written about, they often aren't shown in paintings or statues, and they did often not get specialized burials.  Nonetheless, they were the most populous group in the archipelago, supporting all of the rest. And with that, I think we will stop for now.  Still plenty more to cover this reign.  We are definitely into the more historical period, where we have more faith in the dates—though we should remember that this is also one of the reigns that our sources were specifically designed to prop up, so we can't necessarily take everything without at least a hint of salt and speculation, even if the dates themselves are more likely to be accurate. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

Send us a textLinda Lee Jackson is found murdered in 2009 near the town of Oriental in North Carolina. The case is still unsolved. Come visit us on YouTube

Se terminan los avisos que nos enseñaban a ser armas humanas, a dominar artes marciales secretas y prohibidas, y que ahora... nos piden que prometamos solo usarlas como defensa. Se terminan los 70s, y con los 80s aparecen los ninjas, aunque el misticismo oriental desciende a medida que Asia pierde su exoticidad a los ojos de los estadounidenses. Además, un pantallazo a la carrera del Conde Danté, el hombre más letal del mundo... y/o flor de garca. Bienvenidos al final de esta saga de Sopapo Oriental e Historias de Historietas... o Sopapo de Historietas. Pueden ver las imágenes de los avisos y otras cosas que mencionamos en bit.ly/perdidos645avisos, pero en YouTube las tienen sincronizadas con el audio. Con música de Paul Hertzog, Shandi Sinnamon & Stan Bush, y Yukinojo Mori, Shiro Sagisu, & The Kung Fu Kids. Próximo programa: Los Mitos de Cthulhu (Adaptación de Breccia y Buscaglia).

Max Pearson presents a collection of the week's Witness History interviews from the BBC World Service. Sonny Roberts' daughter tells us about how her father created the UK's first black-owned music studio - this programme contains outdated and offensive language. Music producer and professor emerita at the School of Oriental and African Studies, Lucy Durán takes us through the history of music studios around the world. How a Macedonian scientist's discovery led to treatments for diabetes and obesity, and the story of the Kenyan ecologist who became the first African woman to win the Nobel Peace Prize. Plus, the mysterious sinking of a British oil tanker in Indonesia in the the 1950s and how the first lottery scratchcard was invented by an American mathematician. As well as the story of the first South American to win the International Surfing Association world title back in 2004. Contributors: Cleon Roberts – daughter of Sonny Roberts. Lucy Duran – music producer and professor at the School of Oriental and African studies at the University of London. Svetlana Mojsov – Macedonian scientist who discovered the hormone called GLP-Joseph McCorry – who was on the San Flaviano oil tanker. Wanjira Mathai – daughter of Wangari Maathai. Sofia Mulanovich – three-time world surfing champion. John Koza – the inventor of the scratchcard. (Photo: Jamaican record producer Sonny Roberts Record Shop in Willesden Junction, London, UK in December 1982. Credit: David Corio/Redferns via Getty)

Na coluna dessa semana Carapanã discute como o combate à extrema-direita deve ser encarado como um esforço permanente e que é necessário encará-lo como parte da vida.

Elen Oriental (Elen Chikhladze) is a Georgian choreographer and dance instructor from Tbilisi, specializing in oriental dance since 2002. Beginning her artistic journey at the School for Athletic Fine Arts and later the Department of World National Dances, she graduated with honors from the College of Choreography and the N. Pridonishvili School of Popular Dance in 2001. As President of the International Association of Oriental Dance in Georgia and founder of her own belly dance school, Elen emphasizes the historical depth, elegance, and physical artistry of the dance. Her teaching method combines elements of gymnastics, yoga, and dance to strengthen muscles and joints while fostering psychological readiness, enabling students to master the demanding yet captivating techniques of oriental dance.In this episode you will learn about:- The danger, stigma, and literal risks of working as a belly dancer in Georgia during the chaotic post-Soviet years.- How Elen fought back against prejudice by going on national TV, writing in magazines, and reframing Oriental dance as an art form.- The story behind her iconic Arabic–Spanish fusion pieces, why they made audiences cry, and why she later chose to move beyond them.- The critical difference between “advanced” and truly “professional” dancers.- Why she insists on studying with Egyptian teachers rather than chasing festival choreographies.Show Notes to this episode:Find Elen Chikhladze on Instagram, and FB. Follow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

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In party conference season, we look at what bonds party members and what it means to create a new network with its own shared beliefs and rituals. What light can the big thinkers from the worlds of anthropology and sociology shed? From political tribes to criminal gangs, from social media to social class - how do shared beliefs, rituals, rules and values bond us together - and pull us apart?Anne McElvoy is joined by Kit Davis, emeritus professor of anthropology at the School of Oriental and African Studies at the University of London; Lynsey Hanley writer and author of Estates and Respectable: The Experience of Class; Adele Walton, Journalist and author of Logging Off; Alistair Fraser, professor of criminology at Glasgow University; assistant editor of The Spectator and political journalist and Isabel Hardman; and, Rebecca Earle, Professor of History and Chair of the British Academy Book PrizeShortlist for the British Academy Book Prize announced on October 22nd: The Burning Earth: An Environmental History of the Last 500 Years by Sunil Amrith The Baton and The Cross: Russia's Church from Pagans to Putin by Lucy Ash The Golden Road: How Ancient India Transformed the World by William Dalrymple Africonomics: A History of Western Ignorance by Bronwen Everill Sick of It: The Global Fight for Women's Health by Sophie Harman Sound Tracks: Uncovering Our Musical Past by Graham LawsonProducer: Ruth Watts