Podcasts about Ovid

Send Catherine a text Message"Some sisters said such things could never be, while others were convinced that anything was in the power of true deities---"-The Metamorphoses, Book 4, by Ovid translated by Allen MandelbaumOvid wove Greek myths of transformation to create his masterwork, The Metamorphoses. This poem describes a world of shapeshifting, ambiguity, and forms in flux. Of endless transformations instigated by passion: passionate feelings, fantasies, pleas, prayers, and convictions.This episode contains a couple of more obscure myths from Book 4 that seed a meditation on the fluidity of identity and gender, and the blurriness of boundaries in an ever-changing cosmos.Thanks for listening and keep the mystery in your life alive...Support the showEmail Catherine at catherine@mythicmojo.comPost a positive review on apple podcasts! Learn how you can work with Catherine at https://mythicmojo.comBuy me a coffee. Thank you!

fWotD Episode 3323: Amalthea (mythology) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Wednesday, 10 June 2026, is Amalthea (mythology).In Greek mythology, Amalthea or Amaltheia (Ancient Greek: Ἀμάλθεια) is the figure most commonly identified as the nurse of Zeus during his infancy. She is described either as a nymph who raises the child on the milk of a goat or, in some accounts from the Hellenistic period (c. 323–30 BC) onwards, as the goat itself.From as early as the 6th century BC, there survive references to the "horn of Amalthea" (known in Latin as the cornucopia), a magical horn said to be capable of producing endless amounts of any food or drink desired. In a narrative attributed to the mythical poet Musaeus and dating to around the 4th century BC, Amalthea, a nymph, nurses the infant Zeus and owns a goat which is terrifying in appearance. After Zeus reaches adulthood, he uses the goat's skin as a weapon in his battle against the Titans (the earlier generation of gods). The first known author to describe Amalthea as a goat is the 3rd-century BC poet Callimachus, who presents a rationalised version of the myth in which Zeus is fed on Amalthea's milk. Aratus, also writing in the 3rd century BC, identifies Amalthea with the star Capella, and describes her as "Olenian" (the meaning of which is unclear).Scholars disagree as to when the tale of Zeus's upbringing was first merged with that of the magical horn. They are explicitly combined by the Roman poet Ovid (1st century BC/AD), whose story of Zeus's nursing weaves together elements from multiple accounts. A passage from a marginal note in a manuscript of Aratus's version has been taken as evidence that the two myths may have been connected prior to Ovid. In the Fabulae, a 2nd-century AD mythological handbook, Amalthea hides the infant in a tree and gathers the Kouretes to dance noisily, so that the child's crying cannot be heard. Other accounts of Zeus's upbringing describe Amalthea as related to Melisseus, the mythical king of Crete, including an Orphic version of the story.Among the few surviving representations of Amalthea in ancient art is a 2nd-century AD marble relief which represents her as a goat suckling Zeus, behind two dancing Kouretes. She is also depicted on multiple coins and medallions from the Roman Empire. Between the 16th and 18th centuries, she was the subject of works by painters such as Giorgio Vasari and Jacob Jordaens, and sculptors such as Gian Lorenzo Bernini and Pierre Julien.This recording reflects the Wikipedia text as of 01:13 UTC on Wednesday, 10 June 2026.For the full current version of the article, see Amalthea (mythology) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Russell.

When Bibi gets stuck writing the Prometheus episode, she calls her good friend Morag. Together will they find a way through? This episode concludes Season 3 and includes extracts from Ovid and Aeschylus, some chit-chat and a beautiful poem by Morag Cross.  Sound by Geoff Chong. Production by Geoff Chong & Bibi Jacob. The Ovid extract is from Metamorphoses 1.76–88 in a translation by A.S. Kline The Prometheus Unbound extract, translated by Smythe, appears in Cicero's Tusculan Disputations (Book 2, Section 10.23-25) not one of his speeches! Stelliferous' Heracles post: https://rebelstargazer.substack.com/p/hercules My article on writer's block: https://buymeacoffee.com/talesofthenightsky/what-blocking-writer

Have you ever wondered how far back modern skin-care recipes can be traced? It turns out, pretty far! Join Matilda and guest Katie Chin-Quee in the second part of their discussion all about ancient skin care. This episode, Katie shares some of the experimental archaeology that she has conducted with different ancient recipes, and why some ingredients are best left in the past! Transcripts For rough transcripts of this episode go to https://www.archpodnet.com/teabreak/54 Links Katie's post on her experiment Katie's LinkTree Article on honey and skin care The Scent of Ancient Greco-Roman Sculpture (article) The Ebers Papyrus translated Text Ovid on Cosmetics by Marguerite Johnson The rise of the cosmetic industry in ancient China: Insights from a 2700-year-old face cream (article) American Girl Dolls Some other interesting reads suggested by Katie: Doménech-Carbó, M.T. et al. (2012) “Characterization of prehispanic cosmetics found in a burial of the ancient city of Teotihuacan (Mexico),” Journal of archaeological science, 39(4), pp. 1043–1062. Cilione, M., Cavarra, B. and Gazzaniga, V. (2023) “Once again on the Empress Zoe: Women, dermatology, cosmetics, and materia medica (medical matter) in the ancient world,” Journal of cosmetic dermatology, 22(2), pp. 555–560. Ursin, F., Borelli, C. and Steger, F. (2020) “Dermatology in Ancient Rome: Medical ingredients in Ovid's ‘Remedies for female faces,'” Journal of Cosmetic Dermatology, 19(6), pp. 1388–1394. Contact the Host Email: matilda@thearchaeologiststeacup.com https://www.thearchaeologiststeacup.com insta: @the_archaeologists_teacup fb: /TheArchaeologistsTeacup twitter: @ArchaeoTeacup ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet APN Shop Affiliates Motion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Have you ever wondered how far back modern skin-care recipes can be traced? It turns out, pretty far! Join Matilda and guest Katie Chin-Quee in the second part of their discussion all about ancient skin care. This episode, Katie shares some of the experimental archaeology that she has conducted with different ancient recipes, and why some ingredients are best left in the past! Transcripts For rough transcripts of this episode go to https://www.archpodnet.com/teabreak/54 Links Katie's post on her experiment Katie's LinkTree Article on honey and skin care The Scent of Ancient Greco-Roman Sculpture (article) The Ebers Papyrus translated Text Ovid on Cosmetics by Marguerite Johnson The rise of the cosmetic industry in ancient China: Insights from a 2700-year-old face cream (article) American Girl Dolls Some other interesting reads suggested by Katie: Doménech-Carbó, M.T. et al. (2012) “Characterization of prehispanic cosmetics found in a burial of the ancient city of Teotihuacan (Mexico),” Journal of archaeological science, 39(4), pp. 1043–1062. Cilione, M., Cavarra, B. and Gazzaniga, V. (2023) “Once again on the Empress Zoe: Women, dermatology, cosmetics, and materia medica (medical matter) in the ancient world,” Journal of cosmetic dermatology, 22(2), pp. 555–560. Ursin, F., Borelli, C. and Steger, F. (2020) “Dermatology in Ancient Rome: Medical ingredients in Ovid's ‘Remedies for female faces,'” Journal of Cosmetic Dermatology, 19(6), pp. 1388–1394. Contact the Host Email: matilda@thearchaeologiststeacup.com https://www.thearchaeologiststeacup.com insta: @the_archaeologists_teacup fb: /TheArchaeologistsTeacup twitter: @ArchaeoTeacup ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet APN Shop Affiliates Motion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode, I'm unpacking the history of female body hair removal, the rise of shaving and Brazilian wax culture, and why women are taught to see natural body hair as “gross.”From Ancient Egypt and razor advertising to pornography, patriarchy, and Eurocentric beauty standards, we're digging into how female hairlessness became tied to femininity, desirability, cleanliness, and control. Why is body hair considered masculine on men but unacceptable on women? And why does modern beauty culture reward women for removing visible signs of adulthood from their bodies?Are. You. Ready?****************Sources & References:Attwood, Feona. Mainstreaming Sex: The Sexualization of Western Culture. I.B. Tauris, 2009.Foucault, Michel. Discipline and Punish: The Birth of the Prison. Vintage Books, 1995.Gill, Rosalind. Gender and the Media. Polity Press, 2007.Herzig, Rebecca. Plucked: A History of Hair Removal. NYU Press, 2015.Ovid. Ars Amatoria (The Art of Love). Translated by James Michie, Modern Library, 2002.Peiss, Kathy. Hope in a Jar: The Making of America's Beauty Culture. University of Pennsylvania Press, 2011.Strings, Sabrina. Fearing the Black Body: The Racial Origins of Fat Phobia. NYU Press, 2019.Tyldesley, Joyce. Nefertiti's Face: The Creation of an Icon. Harvard University Press, 2018.Wolf, Naomi. The Beauty Myth: How Images of Beauty Are Used Against Women. Harper Perennial, 2002.Additional historical and cultural analysis referenced throughout the episode includes studies on Ancient Egyptian beauty and grooming rituals, Islamic hygienic traditions and body hair practices, feminist media theory surrounding bodily surveillance, pornography and beauty culture, beauty labor and gendered self-surveillance, racialized beauty standards, Eurocentric femininity, and contemporary discussions surrounding Brazilian wax culture, “clean girl” aesthetics, and social media beauty trends.****************Leave Us a 5* Rating, it helps the show!Apple Podcast:https://podcasts.apple.com/us/podcast/beauty-unlocked-the-podcast/id1522636282Spotify Podcast:https://open.spotify.com/show/37MLxC8eRob1D0ZcgcCorA****************Follow Us on TikTok & Subscribe to our YouTube Channel!YouTube:@beautyunlockedspodcasthourTikTok:tiktok.com/@beautyunlockedthepod****************Intro/Outro Music:“Fame Inc” by Savvier — https://icons8.com/music

In this week's episode of The Learning Curve, co-hosts Prof. Albert Cheng of the University of Arkansas and Alisha Searcy of the Center for Strong Public Schools speak with Andrew Hadfield, Emeritus Professor of English at the University of Sussex and British Academy Fellow, about the life, works, and legacy of the great poet Edmund Spenser. Prof. Hadfield explains how Edmund Spenser's uncertain family background and humanist education at Merchant Taylors' School and Cambridge, grounded in Virgil, Ovid, Petrarch, and Chaucer, shaped his literary imagination within Elizabethan England. He situates Spenser amid the many political and religious tensions of Queen Elizabeth I's reign, and traces Spenser's rise through The Shepheardes Calender and patronage under the 4th Earl of Leicester, Robert Sidney. Then, Prof. Hadfield turns to The Faerie Queene, its epic allegorical knights, virtues, and the Spenserian stanza, all of which widely influenced British literature and ultimately the English language across the globe. He addresses Spenser's controversial Irish writings and reflects on his enduring reputation as a foundational “poet's poet.” Prof. Hadfield closes the interview with a reading from The Faerie Queene.

In this episode, take a step back from the hustle and bustle of daily life to practice a little bit of self care and join Matilda and her guest Katie Chin-Quee in this latest exploration of the archaeology of everyday things. Katie shares the many twists and turns of the path that led her to a career in archaeology, and how she became involved with the particular topic of ancient skin-care. Together, they chat about the issues with supposedly “feminine” research topics, and why branching out on digital platforms can be a great way to develop your science communication skills. Transcripts For rough transcripts of this episode go to https://www.archpodnet.com/teabreak/53 Links Some examples of cosmetic palettes Katie's LinkTree Katie's instagram Katie's post on experimental ancient skin care The Scent of Ancient Greco-Roman Sculpture (article) The Ebers Papyrus translated Text Ovid on Cosmetics by Marguerite Johnson The rise of the cosmetic industry in ancient China: Insights from a 2700-year-old face cream (article) American Girl Dolls Some other interesting reads suggested by Katie: Doménech-Carbó, M.T. et al. (2012) “Characterization of prehispanic cosmetics found in a burial of the ancient city of Teotihuacan (Mexico),” Journal of archaeological science, 39(4), pp. 1043–1062. Cilione, M., Cavarra, B. and Gazzaniga, V. (2023) “Once again on the Empress Zoe: Women, dermatology, cosmetics, and materia medica (medical matter) in the ancient world,” Journal of cosmetic dermatology, 22(2), pp. 555–560. Ursin, F., Borelli, C. and Steger, F. (2020) “Dermatology in Ancient Rome: Medical ingredients in Ovid's ‘Remedies for female faces,'” Journal of Cosmetic Dermatology, 19(6), pp. 1388–1394. Contact the Host Email: matilda@thearchaeologiststeacup.com https://www.thearchaeologiststeacup.com insta: @the_archaeologists_teacup fb: /TheArchaeologistsTeacup twitter: @ArchaeoTeacup ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet APN Shop Affiliates Motion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode, take a step back from the hustle and bustle of daily life to practice a little bit of self care and join Matilda and her guest Katie Chin-Quee in this latest exploration of the archaeology of everyday things. Katie shares the many twists and turns of the path that led her to a career in archaeology, and how she became involved with the particular topic of ancient skin-care. Together, they chat about the issues with supposedly “feminine” research topics, and why branching out on digital platforms can be a great way to develop your science communication skills. Transcripts For rough transcripts of this episode go to https://www.archpodnet.com/teabreak/53 Links Some examples of cosmetic palettes Katie's LinkTree Katie's instagram Katie's post on experimental ancient skin care The Scent of Ancient Greco-Roman Sculpture (article) The Ebers Papyrus translated Text Ovid on Cosmetics by Marguerite Johnson The rise of the cosmetic industry in ancient China: Insights from a 2700-year-old face cream (article) American Girl Dolls Some other interesting reads suggested by Katie: Doménech-Carbó, M.T. et al. (2012) “Characterization of prehispanic cosmetics found in a burial of the ancient city of Teotihuacan (Mexico),” Journal of archaeological science, 39(4), pp. 1043–1062. Cilione, M., Cavarra, B. and Gazzaniga, V. (2023) “Once again on the Empress Zoe: Women, dermatology, cosmetics, and materia medica (medical matter) in the ancient world,” Journal of cosmetic dermatology, 22(2), pp. 555–560. Ursin, F., Borelli, C. and Steger, F. (2020) “Dermatology in Ancient Rome: Medical ingredients in Ovid's ‘Remedies for female faces,'” Journal of Cosmetic Dermatology, 19(6), pp. 1388–1394. Contact the Host Email: matilda@thearchaeologiststeacup.com https://www.thearchaeologiststeacup.com insta: @the_archaeologists_teacup fb: /TheArchaeologistsTeacup twitter: @ArchaeoTeacup ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet APN Shop Affiliates Motion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome back to Styx and Bones court we're today we are defending our great King - Poseidon! The emperors of Styx and Bones are done with Poseidon slander that stems from our lovely friend Ovid and his retelling of a myth in Metamorphoses.We'll be presenting evidence as to why Poseidon should be free of all charges. What do you think? Let us know!Chapters: FREE POSEIDON, courts in session: (0:00)Has the Ovid hate gone too far?: (40:31)Medusa a goddess or monster?: (43:43)Greek Gods and Aura Maxxing: (57:05)

Send Catherine a text Message“All things change; nothing perishes.”-- OvidOvid was a Roman poet who wrote his master work, The Metamorphoses or "Transformations," in 8 C.E.. He weaves more than 250 Greek myths together in one long poem to tell a story of transformation, and explore the complexities of love as an agent of change. Ovid's voice has been influential over the centuries. The Metamorphoses was an important touchstone for Dante, Chaucer, Shakespeare, and other artists and thinkers whose works are foundational to today's dominant culture. HIs perspective and the story that he tells are worth examination. Is it still useful to us? Does it offer anything to our vision of the future?Support the showEmail Catherine at catherine@mythicmojo.comPost a positive review on apple podcasts! Learn how you can work with Catherine at https://mythicmojo.comBuy me a coffee. Thank you!

In this episode of Domina Tempora, we uncover the ancient obsession with blond hair — a shimmering symbol that has represented divinity, erotic rebellion, political power, and dangerous desire for thousands of years.From the golden tresses of Aphrodite and Freyja, to the fair-haired gods and heroes of Homer, Hesiod, and Pindar, blonde hair was repeatedly linked to the divine. Sculptors like Pheidias and Praxiteles crowned Athena and Aphrodite in gold, while Roman matrons and prostitutes alike bleached, dyed, and adorned themselves with the hair of northern captives. We explore how blondness became entangled with purity and temptation, nobility and subversion: the sacred glow of goddesses and the Virgin Mary, the provocative wigs of Messalina, the moral panic of Roman lawmakers, and the erotic charge that made blonde hair both a status symbol and a mark of transgression.Across cultures and centuries — from Sappho's praise of golden locks to Ovid's wry commentary on “captured hair,” from medieval angels to rebellious medieval heroines — blond hair has never been neutral. It has been weaponised as a marker of fertility, beauty, conquest, and defiance.If the seductive interplay of beauty, power, myth, and forbidden desire speaks to you, immerse yourself in my debut novel Clotho Unbound. In its pages, Clotho — the ancient Fate who has spun death for Zeus across the ages — becomes entangled with Aphrodite in stolen, blasphemous nights of passion that make the very Loom of Fate tremble. Their love is treason. Their desire could unravel destiny itself.Clotho Unbound is out now and available to order on Amazon (Kindle, paperback, and audiobook coming soon).Grab your copy today:https://www.amazon.com/Clotho-Unbound-Marianne-Fisher/dp/B0GTZ8PZFVThank you for listening.Until next time — may your threads shine golden.

fWotD Episode 3294: Golden Bough (Aeneid) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Tuesday, 12 May 2026, is Golden Bough (Aeneid).The Golden Bough is a fantastical object described in the Aeneid, an epic poem by the Roman poet Virgil composed between 29 and 19 BCE narrating the adventures of the Trojan hero Aeneas after the Trojan War. The episode of the Golden Bough is found in its sixth book and is part of Aeneas's journey into the Underworld. The bough itself acts as proof of Aeneas's divine favour, and allows him to pass into the Underworld. He is tasked to find it in an expansive forest, which he accomplishes with the aid of his mother, the goddess Venus, and to remove it from its host tree. Although Aeneas has been told that it would come easily, if his journey is ordained by fate, Virgil describes the bough as briefly hesitating before he takes it.Virgil's portrayal of the bough has no direct literary antecedents, though it draws on several precedents from literature, folklore and philosophy. Scholars have connected it with, among others, the Golden Fleece in the story of the Argonauts; symbolic objects associated with deities such as Hermes, Dionysus and Circe; and the branches carried by prospective initiates into the Eleusinian Mysteries, a Greek religious rite centred on a symbolic journey into the Underworld. Virgil associates it with both death and immortality, partly by way of symbolic associations in Graeco-Roman culture between gold and the gods. It also recalls ideas put forth by the Roman philosopher Lucretius as to the nature of the soul. The episode of the Golden Bough was parodied by authors including Virgil's contemporary Ovid, and drawn upon by later Roman poets including Lucan and Valerius Flaccus.Early interpretations of the Golden Bough tended to give it an allegorical function, particularly via Pythagorean and Neoplatonist philosophy, which viewed it as symbolic of the choice between virtue and vice. Medieval commentators often considered it a symbol of wisdom, and several Christian theologians interpreted it as representing Christian wisdom and virtue. In the sixteenth century, it became a heraldic symbol of the Florentine House of Medici. Early modern receptions of the bough, including those of François Rabelais and Jonathan Swift, were often parodic or obscene. In the twentieth century, scholars following the Harvard School interpretation of the Aeneid argued that Virgil's use of the bough reflected his ambivalence towards Aeneas and the latter's mission to set in motion the rise of the Roman Empire. Other critics have highlighted echoes between the episode of the Golden Bough and the morally charged deaths of two of Aeneas's antagonists, Dido and Turnus.In the fourth or fifth century CE, the commentator Servius connected the bough to rex Nemorensis, a priest of the goddess Diana at Lake Nemi whose office was passed on by the killing of its holder. This equation influenced the anthropologist James George Frazer, who used the bough for the title of his 1890 work on comparative religion. The bough is recalled in Dante Alighieri's Divine Comedy and was the subject of an 1834 painting by J. M. W. Turner, which was used as the frontispiece for the early editions of Frazer's book. It was an influential motif in the "Byzantium" poems of W. B. Yeats and in the poetry of Seamus Heaney, who made several translations of Virgil's account of the episode. Scholars have also drawn parallels between the Golden Bough and significant objects in the novels of J. R. R. Tolkien.This recording reflects the Wikipedia text as of 00:53 UTC on Tuesday, 12 May 2026.For the full current version of the article, see Golden Bough (Aeneid) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Emma.

The Phoenix is one of the most well-known mythical creatures in the world, and holds a special place in many hearts due to its symbolism of resurrection. Dying in flame and rising from the ashes, the Phoenix is likely the world's most iconic symbol of rebirth. But many tellings miss what may be the most important part of the Phoenix myth; the dignity and honor with which it treats its past self.We follow the Phoenix from its most ancient origins in Egypt as the Bennu, the radiantly rising bird sacred to the sun god, into Greek mythology through the works of Herodotus, and into the world through diverse works including the oldest Jewish play, Coptic Christian texts, and even the works of William Shakespeare.In the millennia since its origins, the Phoenix is an enduring symbol of rebirth and resurrection, inspiring leaders in rejuvenating society, artists in reinventing culture, and all those who go through the journey of renewal, rising from the ashes of the old self.Mythos & Logos are two ancient words that can be roughly translated as “Story & Meaning.”Support the channel by subscribing, liking, and commenting to join the conversation!Patreon: https://www.patreon.com/c/mythosandlogos00:00 Introduction00:31 Phoenix, from the Aberdeen Bestiary00:54 Ancient Origins00:59 Marble Bust of Herodotus, Rome, Second Century01:14 Obelisk of Sesostris, Heliopolis01:24 Herodotus, Histories, Book II02:08 Pajuheru Papyrus, Egypt, Ptolemaic Period, photographed by Djehouty, licensed under Creative Commons03:00 Cultural Rebirth03:13 Chiron Teaching Achilles to Play the Lyre, Roman Fresco from Herculaneum, First Century03:41 Phoenix, from the Nuremberg Chronicle by Hartmann Schedel03:48 The Burning of Troy by Dirck Verhaert03:56 Ovid, Metamorphoses, Book XV04:29 Aeneas Saving Anchises from Burning Troy by Adam Elsheimer04:47 Queen Elizabeth I by Nicholas Hilliard05:03 20 Lepta Coin, Greece, First Hellenic Republic, photographed by Classical Numismatic Group, licensed under Creative Commons05:34 Fable of the Phoenix by Aegidius Sadeler II05:45 Phoenix Stained Glass, Saint Peter's Church, Purgstall, Austria, photographed by BSonne, licensed under Creative Commons06:22 The Reborn Soul06:33 Roman Portrait of Lactantius or Apuleius, from the Bishop's Museum, Trier06:57 Phoenix by Marcus Gheeraerts the Elder07:04 The Phoenix by Cornelis Troost07:13 Lactantius, The Phoenix07:49 Phoenix, from the Aberdeen Bestiary08:01 Panel with Phoenixes and Flowers, China, Fourteenth Century08:09 Phoenix by Henry Justice Ford08:20 Conclusion: The Human Phoenix10:34 OutroAll works of art are public domain unless stated otherwise. Ambiment- The Ambient by Kevin MacLeod is licensed under a Creative Commons Attribution License.

The J account beginning in Genesis 2:4 of the Garden. The Classical counterpart of the Ages of Man. Originally four ages, as in Ovid. Hesiod adds a 5th, the age of heroes. Decline: each age is worse than the previous. Nostalgia for “paradise lost.” The dangers of nostalgia, but also paradise as a positive model for the good life.

In many Creation myths, a mystery above interacts with a mystery below, and something comes into being in the middle. This is true in the two Biblical versions of Creation, P and J, also in the Classical versions of Hesiod and Ovid. But also in world mythology. The interaction may be (1) sexual; (2) by combat; (3) by emergence from below reaching towards the above.

Today, I interview Vin Nardizzi, Professor of English at the University of British Columbia, about his new monograph Marvellous Vegetables in the English Renaissance (U Toronto Press, 2025), published by the University of Toronto Press. Vin Nardizzi is the author of Wooden Os: Shakespeare's Theatres and England's Trees (University of Toronto, 2013). He is also the co-editor of Queer Renaissance Historiography: Backward Gaze (Ashgate, 2009) and The Indistinct Human in Renaissance Literature (Palgrave Macmillan, 2012). In Marvellous Vegetables in the English Renaissance, a wide-ranging, elegantly written book, Vin argues that one of the major works of sixteenth-century plant writing, John Gerard's The Herball, can reanimate our thinking about early modern literature and visual art. Marvellous Vegetables in the English Renaissance brings together a rich archive include Shakespeare's Merry Wives of Windsor, Ovid's Metamorphoses and its English translations, seventeenth-century anatomy textbooks, and the paintings of Giuseppe Arcimboldi and Nicholas Hilliard. The book also makes exciting methodological interventions in the critical practices of early modern scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today, I interview Vin Nardizzi, Professor of English at the University of British Columbia, about his new monograph Marvellous Vegetables in the English Renaissance (U Toronto Press, 2025), published by the University of Toronto Press. Vin Nardizzi is the author of Wooden Os: Shakespeare's Theatres and England's Trees (University of Toronto, 2013). He is also the co-editor of Queer Renaissance Historiography: Backward Gaze (Ashgate, 2009) and The Indistinct Human in Renaissance Literature (Palgrave Macmillan, 2012). In Marvellous Vegetables in the English Renaissance, a wide-ranging, elegantly written book, Vin argues that one of the major works of sixteenth-century plant writing, John Gerard's The Herball, can reanimate our thinking about early modern literature and visual art. Marvellous Vegetables in the English Renaissance brings together a rich archive include Shakespeare's Merry Wives of Windsor, Ovid's Metamorphoses and its English translations, seventeenth-century anatomy textbooks, and the paintings of Giuseppe Arcimboldi and Nicholas Hilliard. The book also makes exciting methodological interventions in the critical practices of early modern scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Today, I interview Vin Nardizzi, Professor of English at the University of British Columbia, about his new monograph Marvellous Vegetables in the English Renaissance (U Toronto Press, 2025), published by the University of Toronto Press. Vin Nardizzi is the author of Wooden Os: Shakespeare's Theatres and England's Trees (University of Toronto, 2013). He is also the co-editor of Queer Renaissance Historiography: Backward Gaze (Ashgate, 2009) and The Indistinct Human in Renaissance Literature (Palgrave Macmillan, 2012). In Marvellous Vegetables in the English Renaissance, a wide-ranging, elegantly written book, Vin argues that one of the major works of sixteenth-century plant writing, John Gerard's The Herball, can reanimate our thinking about early modern literature and visual art. Marvellous Vegetables in the English Renaissance brings together a rich archive include Shakespeare's Merry Wives of Windsor, Ovid's Metamorphoses and its English translations, seventeenth-century anatomy textbooks, and the paintings of Giuseppe Arcimboldi and Nicholas Hilliard. The book also makes exciting methodological interventions in the critical practices of early modern scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Today, I interview Vin Nardizzi, Professor of English at the University of British Columbia, about his new monograph Marvellous Vegetables in the English Renaissance (U Toronto Press, 2025), published by the University of Toronto Press. Vin Nardizzi is the author of Wooden Os: Shakespeare's Theatres and England's Trees (University of Toronto, 2013). He is also the co-editor of Queer Renaissance Historiography: Backward Gaze (Ashgate, 2009) and The Indistinct Human in Renaissance Literature (Palgrave Macmillan, 2012). In Marvellous Vegetables in the English Renaissance, a wide-ranging, elegantly written book, Vin argues that one of the major works of sixteenth-century plant writing, John Gerard's The Herball, can reanimate our thinking about early modern literature and visual art. Marvellous Vegetables in the English Renaissance brings together a rich archive include Shakespeare's Merry Wives of Windsor, Ovid's Metamorphoses and its English translations, seventeenth-century anatomy textbooks, and the paintings of Giuseppe Arcimboldi and Nicholas Hilliard. The book also makes exciting methodological interventions in the critical practices of early modern scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, I interview Vin Nardizzi, Professor of English at the University of British Columbia, about his new monograph Marvellous Vegetables in the English Renaissance (U Toronto Press, 2025), published by the University of Toronto Press. Vin Nardizzi is the author of Wooden Os: Shakespeare's Theatres and England's Trees (University of Toronto, 2013). He is also the co-editor of Queer Renaissance Historiography: Backward Gaze (Ashgate, 2009) and The Indistinct Human in Renaissance Literature (Palgrave Macmillan, 2012). In Marvellous Vegetables in the English Renaissance, a wide-ranging, elegantly written book, Vin argues that one of the major works of sixteenth-century plant writing, John Gerard's The Herball, can reanimate our thinking about early modern literature and visual art. Marvellous Vegetables in the English Renaissance brings together a rich archive include Shakespeare's Merry Wives of Windsor, Ovid's Metamorphoses and its English translations, seventeenth-century anatomy textbooks, and the paintings of Giuseppe Arcimboldi and Nicholas Hilliard. The book also makes exciting methodological interventions in the critical practices of early modern scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Today, I interview Vin Nardizzi, Professor of English at the University of British Columbia, about his new monograph Marvellous Vegetables in the English Renaissance (U Toronto Press, 2025), published by the University of Toronto Press. Vin Nardizzi is the author of Wooden Os: Shakespeare's Theatres and England's Trees (University of Toronto, 2013). He is also the co-editor of Queer Renaissance Historiography: Backward Gaze (Ashgate, 2009) and The Indistinct Human in Renaissance Literature (Palgrave Macmillan, 2012). In Marvellous Vegetables in the English Renaissance, a wide-ranging, elegantly written book, Vin argues that one of the major works of sixteenth-century plant writing, John Gerard's The Herball, can reanimate our thinking about early modern literature and visual art. Marvellous Vegetables in the English Renaissance brings together a rich archive include Shakespeare's Merry Wives of Windsor, Ovid's Metamorphoses and its English translations, seventeenth-century anatomy textbooks, and the paintings of Giuseppe Arcimboldi and Nicholas Hilliard. The book also makes exciting methodological interventions in the critical practices of early modern scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, I interview Vin Nardizzi, Professor of English at the University of British Columbia, about his new monograph Marvellous Vegetables in the English Renaissance (U Toronto Press, 2025), published by the University of Toronto Press. Vin Nardizzi is the author of Wooden Os: Shakespeare's Theatres and England's Trees (University of Toronto, 2013). He is also the co-editor of Queer Renaissance Historiography: Backward Gaze (Ashgate, 2009) and The Indistinct Human in Renaissance Literature (Palgrave Macmillan, 2012). In Marvellous Vegetables in the English Renaissance, a wide-ranging, elegantly written book, Vin argues that one of the major works of sixteenth-century plant writing, John Gerard's The Herball, can reanimate our thinking about early modern literature and visual art. Marvellous Vegetables in the English Renaissance brings together a rich archive include Shakespeare's Merry Wives of Windsor, Ovid's Metamorphoses and its English translations, seventeenth-century anatomy textbooks, and the paintings of Giuseppe Arcimboldi and Nicholas Hilliard. The book also makes exciting methodological interventions in the critical practices of early modern scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Explore the ancient idea of a world before the moon and what that would have meant for time, seasons, tides, astrology, and magical practice. Consider how life and reality might have felt without lunar measurement, including questions about menstruation, fertility, agriculture, and whether tides or weather would have been chaotic without the moon's pull. April and Maggie share myths, oral traditions, and philosophers and poets such as Ovid (with the image of the moon "renewing her crescent horns"), Aristotle's mention of the Arcadians as "Proselenes" (people before the moon), and other perspectives that treat the moon's later arrival as common knowledge. The discussion also touches on modern theories of the moon as a hollow satellite or "parked" craft, recent images of the moon's dark side, and ongoing public talk about aliens, ending with a reflection on not taking the moon's influence for granted and a note that the season is concluding and will return in early July. If you are loving this podcast and you feel really motivated or compelled to share, please donate to this podcast: Donate here Connect with the Goddesses:  https://www.goddesswitchwomb.com  Follow us on Instagram: https://www.instagram.com/goddesswitchwomb/  Follow us on TikTok https://www.tiktok.com/@goddesswitchwomb

Nesta quarta-feira, analisamos marcos na saúde pública e na validação científica da tecnologia, começando pelo Dia Mundial da Doença de Chagas, que destaca o papel central das mulheres na eliminação desta patologia e na interrupção da transmissão congênita. Detalhamos um estudo longitudinal do JAMA Psychiatry sobre o impacto da idade no diagnóstico de TDAH e como intervenções precoces influenciam a trajetória escolar e reduzem comorbidades. Por fim, abordamos o lançamento do periódico NEJM AI na plataforma Ovid, um novo repositório com padrão ouro de revisão por pares dedicado a validar a inteligência artificial na prática clínica.Afya News. Informação médica confiável e atualizada no seu tempo.Fontes do episódio aqui:⁠https://portal.afya.com.br/podcasts/afya-news/15-04-2026

Ovid 04.09.26 | VISLA FM by VISLA

“That's my story, but not where it ends.” — Bob Dylan, “Key West (Philosopher Pirate)”Fitzgerald said there were no second acts in the American story. But it is, of course, a narrative of second chances. And there's no more of an American story than Bob Dylan, whose second act may be more memorable than his first.Robert Polito — poet, National Book Critics Circle Award-winning biographer, and former director of creative writing at the New School — has written what may be the (anti) definitive book on Dylan's second act. After the Flood: Inside Bob Dylan's Memory Palace covers the years from “Time Out of Mind” in 1997 through “Rough and Rowdy Ways” in 2020. It's structured as an abecedarium — twenty-six chapters, A to Z — because Polito explains, he wanted a form that acknowledged the limits of what anyone can know about Dylan. There is no rosebud sled buried in the Tulsa archive. So an alphabet book as good as we are gonna get.Digging into Dylan's Tulsa archive, Polito found much blood on the tracks — multiple drafts for every work, songs ripped up and redistributed line by line. The freewheeling spontaneity of Dylan's first act, Polito suggests, was replaced by something more deliberate: an American folk process merging into literary modernism. A hostage to his own memory palace, Dylan weaves Civil War poetry, Ovid's exile poems, Homer, and nineteenth-century speeches into songs that know more than any single listener can interpret.Polito argues that “Rough and Rowdy Ways” is Bob Dylan's real Nobel Prize speech — his self-reflection on his own art, delivered in his own forms and idioms. This pinnacle of Dylan's second act is his story, but not where it ends. Five Takeaways•       Rough and Rowdy Ways Is Dylan's Real Nobel Prize Speech: The 2020 album is Dylan's self-reflection on his own art, delivered in his own forms and idioms. Every song addresses his craft, his legacy, his audience. I Contain Multitudes, Key West, Murder Most Foul, My Own Version of You — each one a chapter in the speech the Nobel committee was waiting for. That's when Polito knew he could write the book.•       Dylan Works Harder Than Anyone Would Expect: The Tulsa archive reveals multiple drafts of songs that change radically from version to version. For Time Out of Mind, Dylan completed three or four songs, then ripped them up and redistributed the lines across different tracks. The spontaneity of the first act gave way to something more deliberate — folk process merging into literary modernism. Eliot, Joyce, Gertrude Stein.•       The Memory Palace Is Real: Dylan embeds Civil War poetry, Ovid's exile poems, Homer, nineteenth-century speeches, and movies into his late songs. The classical mnemonic device — depositing memories in specific rooms — became Polito's image for how much those songs know. There is no rosebud sled buried in the Tulsa archive. The memory palace is the art itself.•       That's My Story, But Not Where It Ends: The last line of Key West — probably Polito's favourite song on Rough and Rowdy Ways. If the song had ended with “that's my story,” there would have been a definitiveness about it. Instead, Dylan subverts the line in the very next breath. Tentativeness and self-skepticism, all the way through.•       The Police Didn't Believe He Was Bob Dylan: Wandering around New Jersey in the rain, looking for where Springsteen grew up. The police pick him up. What's your name? Bob Dylan. What's your real name? Robert Zimmerman. Where do you live? That's a good question. The more precisely he told the truth, the more they assumed he was lying. Knowing innocence. About the GuestRobert Polito is a poet, critic, and biographer. His biography of Jim Thompson, Savage Art, won the National Book Critics Circle Award. He is a former director of creative writing at the New School. After the Flood: Inside Bob Dylan's Memory Palace is published by Farrar, Straus and Giroux.References:•       After the Flood: Inside Bob Dylan's Memory Palace by Robert Polito (FSG) — the book under discussion.•       Episode 2849: How Stories Can Save Us — Colum McCann on Narrative Four. McCann's “that's his story, but not where it ends” is also Dylan's line.About Keen On AmericaNobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,800 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting.WebsiteSubstackYouTubeApple PodcastsSpotify Chapters:(00:00) - (00:31) - Introduction: Fitzgerald, second acts, and A Complete Unknown (02:57) - Team Dylan? No — tentativeness and self-skepticism (04:00) - The abecedarium: twenty-six chapters, A to Z, no rosebud sled (06:13) - Dylan the movie guy: always watching films on the tour bus (07:13) - The memory palace: how much those late songs know (09:26) - The interlude: the Grammy lifetime achievement speech and starting over (12:11) - Time Out of Mind and the Tulsa archive: how hard Dylan works (15:55) - Folk process meets literary modernism: Eliot, Joyce, Stein (18:34) - Lanois, the spoken vs. written word, and why albums are just a stage (21:41) - Rough and Rowdy Ways as Dylan's real Nobel Prize speech (24:19) - Key West: that's my story, but not where it ends (26:04) - The sacrificial quality: he was given something and shouldn't squander it (30:24) - Race, the civil war, and Love and Theft as minstrel acknowledgment (34:32) - Murder Most Foul: take me back to Tulsa, to the scene of the crime (40:56) - Picked up by police in New Jersey looking for Springsteen's house

In this conversation, we explore the cultural foundations of artificial intelligence with Nina Beguš, Assistant Professor at UC Berkeley and author of "Artificial Humanities: A Fictional Perspective on Language in AI." Nina makes a compelling case for an entirely new field—one that brings humanistic insights into the very creation of technology rather than treating humanities as critical afterthought or ethical guardrail.Nina's work emerged from recognizing patterns everywhere she looked: the same fictional scripts appearing in technology products, films, and Silicon Valley's imagination. When Siri launched as a feminized virtual assistant designed to build rapport, Nina immediately asked "why is it a woman?" and began tracing how deeply fiction shapes our technological reality—not as metaphor but as blueprint.Key themes we explore:The Pygmalion Template: How an ancient myth—male creator produces idealized woman, projects desire onto creation—persistently shapes virtual assistants and AI interfacesFrom Marble to Cockney to LLMs: Tracing evolution from Ovid through Shaw's "Pygmalion" to the "ELIZA effect" named after Eliza DoolittleLanguage No Longer Uniquely Human: The profound implications of machines using language eloquently without consciousnessMonolingual AI at Global Scale: How tokenization creates structural monolingualism beyond just favoring EnglishWriters Responding to AI: Nina's project gathering sixteen writers to reflect on what happens when language is no longer exclusively humanPlanetary Ontology: Collaborative work seeing human/nature/technology as sitting "in the same continuum of this planet"Nina Beguš is Researcher and Lecturer at the Center for Science, Technology, Medicine & Society at the University of California, Berkeley. She graduated with a Ph.D. in comparative literature from Harvard University. During her time at the Berggruen Institute and ToftH, she helped implement novel humanities-based consulting techniques for big tech companies.https://www.ninabegus.com

Ok, AdNaserinos, you have slogged your way through 214 episodes of this humble podcast, patiently enduring many digressions, running gags, and inside jokes. You have also heard the hosts gush over the wit and brilliance of Publius Ovidius Naso, and the many vignettes mined from his Metamorphoses. For this Gurgle, Dave and Jeff take a quick bite of an important article from the journal Phoenix, Winter 1959, by G.B. Riddehough. Citing Ovid's "wonderful power of differentiation", Riddehough seeks to connect the dots between the endless changes into birds, bears (no beets), fish, and other bestial creepy crawlies that fill the pages of this most unconventional epic. What themes emerge? When a human being takes on fins, scales, feathers, or fangs, does he retain his core identity, a man trapped in an animal's body? Or is there something else that's happening? What does it mean to be quintessentially human, to possess humanities? And what happens when that is ripped away? For keen interpretive insight on Ovid, this is one you don't want to miss.

Why do some cultures embrace wine as a cultural expression while others see it simply as a beverage? Why do some cultures embrace wine as a cultural expression while others see it simply as a beverage? Can fine wine actually be defined, or is it something subjective to be debated? Why is it so important to identify both the aroma and structure of wines when tasting? In this episode of the Unreserved Wine Talk podcast, I'm chatting with Sarah Heller, Master of Wine. You can find the wines we discussed at https://www.nataliemaclean.com/winepicks.   Highlights What was it about tasting Barolo for the first time that completely changed Sarah's understanding of wine complexity? How does Nebbiolo grown on clay soils in Piemonte create a sense of density and structure that feels different from Tuscan Sangiovese? How has Attilio Scienza's perspective on synesthesia shaped Sarah's approach to wine education? Why does Sarah believe wine should be understood as a cultural artifact rather than just a beverage? How does the ancient figure of Bacchus in Ovid's Metamorphoses reveal wine's power for both chaos and redemption? Why does Sarah feel that studying wine deeply increases enjoyment? How do different cultures respond differently to studying wine before enjoying it? What is Sarah's pragmatic definition of a fine wine? How did Sarah train for the Master of Wine tasting exam? Why did Sarah design the Elements glass collection around fire, water, air, earth, and balance instead of grape-specific shapes? Why does Sarah see wine education and global exchange as a two-way dialogue?   About Sarah Heller Sarah Heller MW is an internationally acclaimed wine expert and visual artist whose work explores the cultural history and multi-sensory experience of wine. She is the Italian wine reviewer for Club Oenologique, Faculty of the Vinitaly International Academy and Wine Editor for Asia Tatler. Sarah has co-hosted the series Wine Masters and Wine Masters Class and has collaborated with Lucaris Crystal on a line of hand-blown glasses.       To learn more, visit https://www.nataliemaclean.com/379.

The griffin pulls the chariot or cart up to the denuded tree--the "widowed" tree--and the tree regenerates into a color reminiscent of other moments in PURGATORIO. But which one exactly?We're descending into the murk of mystery with new songs that can't be defined, with allegories that are becoming increasingly opaque, and even with classical references that seem somehow out of place in the overall arch of the glorious parade.Join me, Mark Scarbrough, as we begin to approach the strange and incomprehensible mysteries that lie at the end of the second canticle of COMEDY.To support this work, consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:24] My English translation of PURGATORIO, Canto XXXII, Lines 49 - 69. If you'd like to read along or continue the conversation with me with a comment on this episode, please find its entry on my website, markscarbrough.com.[03:32] A correction perhaps: "Adam" may have been a murmured reassessment of the misogyny in the text.[04:55] The pole, the chariot, and the tree: complicated translation problems.[07:15] The pole as the cross or perhaps the ties of good human governance.[11:49] The changing seasons as the tree regenerates.[13:26] The ambiguous symbolism of purple.[15:41] The unknown new song, a further mystery in the passage.[18:48] A tense and perhaps off-pitch reference to Ovid.[22:27] A knock against representative art before the apocalyptic vision just ahead.[24:18] Rereading the text: PURGATORIO, Canto XXXII, lines 49 - 69.

While our last episode discussed Orpheus through the lens of archetypal creativity, this episode focuses on the grief elements of the story as depicted in Ovid’s version of the story. We share our own grief stories and explore the hazards experienced when people do not allow themselves to grieve. This episode we will be reading from: Metamorphoses – by Ovid⁠⁠⁠ Parables and Portraits – by Stephen Mitchell Orpheus. Euridice. Hermes. – by Rainer Maria Rilke You can listen to El Maleh Rachamim prayer on My Jewish Learning here. This prayer asks God to grant rest to departed souls and is often recited at funerals. Our intro/outro music a sample of Seikilos Epitaph with the Lyre of Apollo, by Lina Palera, under an Attribution-NonCommercial-ShareAlike 3.0 International License. You can find the full version at ⁠⁠⁠⁠⁠FreeMusicArchive.org⁠⁠⁠⁠⁠. Banner Image: Kratzenstein orpheus.jpg – Wikipedia Email: jungianeverafter@gmail.com Twitter: @JEA_Podcast Discord: https://discord.gg/GEdn4TPgHR Ko-fi: https://ko-fi.com/jungianeverafter

For our first episode of the Three Ravens Bestiary for 2026, we're talking all about Centaurs and Pegasus!We begin in Dark Age Greece, way back before Homer, when horse-riding cavalry suddenly became a factor in human life. Representations in art leave us in no doubt - the combination of a horse with a man makes for a terrifying foe, though that's only the start of the story.Starting with Homer, developed by Hesiod, expanded upon by Pindar, then reinterpreted by Ovid, Centaurs graduate from fearful, lusty, xenophobic savages to become something else - a version of human beings, though unable to restrain their animalistic urges. From Cheiron, the wise and noble mentor to many an Ancient Greek hero, on through to C.S. Lewis and J.K. Rowling, we are left in a place where now we have to wonder what ought a Centaur be a symbol for, if anything at all?Then we switch our focus to the primal flying wonder-horse and father of horsekind, Pegasus, who is born out of his mother's neck, has a non-identical twin brother we don't talk about, and who perhaps got a bit carried away himself during escapades with Bellerophon, Prince of Corinth. As always, expect lots of nerdy references to dead people and things, a few digressions to talk about, for example, whether horses are innately shifty, and plenty more besides - so bring your Golden Bridle and let's giddyup!Speak to you again on Saturday for Eleanor's Local Legends interview about Glamorganshire with author, folklorist and storyteller Cath Little!Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcastREGISTER FOR THE TALES OF SOUTHERN ENGLAND TOURVisit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

When Ovid was exiled from Rome to a border town on the Black Sea, he despaired at his new bleak and barbarous surroundings. Like many Greeks and Romans, Ovid thought the outer reaches of his world was where civilization ceased to exist. Our fascination with the Greek and Roman world, and the abundance of writing that we have from it, means that we usually explore the ancient world from this perspective too. Was Ovid's exile really as bad as he claimed? What was it truly like to live on the edges of these empires, on the boundaries of the known world? Thanks to archaeological excavations, we now know that the borders of the empires we consider the 'heart' of civilization were in fact thriving, vibrant cultures – just not ones we might expect. This is where the boundaries of 'civilized' and 'barbarians' began to dissipate; where the rules didn't always apply; where normally juxtaposed cultures intermarried; and where nomadic tribes built their own cities. In this episode, Owen Rees joins me to discuss his book The Far Edges of the Known World (W.W. Norton & Company, 2025) and his research into what ‘everyday' life looked like beyond the Athenian or Roman heartlands. Covering over 6,000 years of history on three continents, the book encourages readers to interrogate misconceptions about the ancient world and to understand its enormous diversity of lived experiences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

When Ovid was exiled from Rome to a border town on the Black Sea, he despaired at his new bleak and barbarous surroundings. Like many Greeks and Romans, Ovid thought the outer reaches of his world was where civilization ceased to exist. Our fascination with the Greek and Roman world, and the abundance of writing that we have from it, means that we usually explore the ancient world from this perspective too. Was Ovid's exile really as bad as he claimed? What was it truly like to live on the edges of these empires, on the boundaries of the known world? Thanks to archaeological excavations, we now know that the borders of the empires we consider the 'heart' of civilization were in fact thriving, vibrant cultures – just not ones we might expect. This is where the boundaries of 'civilized' and 'barbarians' began to dissipate; where the rules didn't always apply; where normally juxtaposed cultures intermarried; and where nomadic tribes built their own cities. In this episode, Owen Rees joins me to discuss his book The Far Edges of the Known World (W.W. Norton & Company, 2025) and his research into what ‘everyday' life looked like beyond the Athenian or Roman heartlands. Covering over 6,000 years of history on three continents, the book encourages readers to interrogate misconceptions about the ancient world and to understand its enormous diversity of lived experiences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

When Ovid was exiled from Rome to a border town on the Black Sea, he despaired at his new bleak and barbarous surroundings. Like many Greeks and Romans, Ovid thought the outer reaches of his world was where civilization ceased to exist. Our fascination with the Greek and Roman world, and the abundance of writing that we have from it, means that we usually explore the ancient world from this perspective too. Was Ovid's exile really as bad as he claimed? What was it truly like to live on the edges of these empires, on the boundaries of the known world? Thanks to archaeological excavations, we now know that the borders of the empires we consider the 'heart' of civilization were in fact thriving, vibrant cultures – just not ones we might expect. This is where the boundaries of 'civilized' and 'barbarians' began to dissipate; where the rules didn't always apply; where normally juxtaposed cultures intermarried; and where nomadic tribes built their own cities. In this episode, Owen Rees joins me to discuss his book The Far Edges of the Known World (W.W. Norton & Company, 2025) and his research into what ‘everyday' life looked like beyond the Athenian or Roman heartlands. Covering over 6,000 years of history on three continents, the book encourages readers to interrogate misconceptions about the ancient world and to understand its enormous diversity of lived experiences. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Ovid was exiled from Rome to a border town on the Black Sea, he despaired at his new bleak and barbarous surroundings. Like many Greeks and Romans, Ovid thought the outer reaches of his world was where civilization ceased to exist. Our fascination with the Greek and Roman world, and the abundance of writing that we have from it, means that we usually explore the ancient world from this perspective too. Was Ovid's exile really as bad as he claimed? What was it truly like to live on the edges of these empires, on the boundaries of the known world? Thanks to archaeological excavations, we now know that the borders of the empires we consider the 'heart' of civilization were in fact thriving, vibrant cultures – just not ones we might expect. This is where the boundaries of 'civilized' and 'barbarians' began to dissipate; where the rules didn't always apply; where normally juxtaposed cultures intermarried; and where nomadic tribes built their own cities. In this episode, Owen Rees joins me to discuss his book The Far Edges of the Known World (W.W. Norton & Company, 2025) and his research into what ‘everyday' life looked like beyond the Athenian or Roman heartlands. Covering over 6,000 years of history on three continents, the book encourages readers to interrogate misconceptions about the ancient world and to understand its enormous diversity of lived experiences. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Ovid was exiled from Rome to a border town on the Black Sea, he despaired at his new bleak and barbarous surroundings. Like many Greeks and Romans, Ovid thought the outer reaches of his world was where civilization ceased to exist. Our fascination with the Greek and Roman world, and the abundance of writing that we have from it, means that we usually explore the ancient world from this perspective too. Was Ovid's exile really as bad as he claimed? What was it truly like to live on the edges of these empires, on the boundaries of the known world? Thanks to archaeological excavations, we now know that the borders of the empires we consider the 'heart' of civilization were in fact thriving, vibrant cultures – just not ones we might expect. This is where the boundaries of 'civilized' and 'barbarians' began to dissipate; where the rules didn't always apply; where normally juxtaposed cultures intermarried; and where nomadic tribes built their own cities. In this episode, Owen Rees joins me to discuss his book The Far Edges of the Known World (W.W. Norton & Company, 2025) and his research into what ‘everyday' life looked like beyond the Athenian or Roman heartlands. Covering over 6,000 years of history on three continents, the book encourages readers to interrogate misconceptions about the ancient world and to understand its enormous diversity of lived experiences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography

Myths and legends are a massive part of our culture. We have the original versions of them that still stay with us, mostly intact, but because of how important and well known they are we're always getting new versions of them that are changed and added to to reflect our contemporary culture. Big stories like King Arthur, Robin Hood, Beowulf, the Odyssey, The Journey to the West and many other stories keep getting new versions in our modern world. The Greek myths beings quite old, very detailed, and well written get a LOT of different versions, which has been happening since antiquity. Even the Romans like Ovid revised them, his versions were made to reflect his own cultural and political realities. Most recently there's the Nolan version of the Odyssey coming out. Some are annoyed at the various non-white people in certain roles, but that's a trend that's been popular for about 30-40 years or so and simply reflects our modern diverse cultural and ethnic makeup. The only thing that irks me are the stupid costumes and reinterpretation of the armour, but also the silly commentary concerning it- on one hand you have supporters of the crude fantasy styles in the film and on the other supporters of ancient Mycenaean styles. The thing is though that Ancient Greeks ALWAYS depicted their mythological figures armoured like hoplites (or naked), with Corinthian helmets. That wasn't a case of them showing the figures in contemporary fashions either- hundreds of years after those styles were dead they were still used for the characters. So there was never a need to reinterpret them OR imagine them in archaic "historically accurate" styles, they should always be shown as classical Greek warriors. /rant Beowulf shows up in various ways, there are direct and indirect interpretations. One of the interesting aspects is that people use the monster, Grendel, for their indirect interpretations- Everything from Friday the 13th (the first one), to Frankenstein (at least as an inspiration to the various adaptations), Jaws, The 13th Warrior, Split Second (a monster in futuristic flooded London), you could even include Predator and Alien. Journey to the West is a very important story to many cultures in eastern Asia because it's tied closely with Buddhism and the spread of that religion on the continent. It was important to me when I grew up with endless TV repeats of the dubbed Japanese series Monkey Magic, starring Masaaki Sakai, Japanese pop sensation (The Spiders), and perennial charismatic TV personality. It featured comedy, endless fighting with demons and monsters, and the retelling of various stories. This version was so popular that people have remade it rather than just the myth itself, and it's inspired films and TV shows with the costumes it used for the characters. Many others now know the myth through the Dragon Ball anime and Manga, with Goku as the Monkey King. Disney's anthro version of Robin Hood had a gigantic impact on the creation of furry culture. The King Arthur myth, focussing on the heroic journey of a random, scruffy orphan into a prophesied king of a nation shows up everywhere in fantasy and Scifi, examples include Star Wars and the fantasy series The Belgariad and Malloreon by David Eddings and many others, including more direct versions like Monty Python's Quest for the Holy Grail, Disney's Sword in the Stone, and the fantastic Excalibur. The Jewish myth of David and the giant Goliath show up over and over in things too because of the focus on an underdog who triumphs despite huge odds and then goes on to become a famous ruler. What are your fave myths that keep on inspiring popular culture (directly and indirectly), and what is your fave version? This week we have another best off from Gunwallace and this time it's - Ripping off King Arthur - We're all preparing for the big event here with this theme. It's a weird mixture of a Rocky theme, fantasy epic, and 8 bit video game music… as if were were about to see a pixelated, medieval fantasy themed version of Mortal Kombat! The fight showdown to end all fight showdowns! - I chose this because it mentions King Arthur, a mythical figure. Originally from: Quackcast 451, 4th of Nov, 2019. Topics and shownotes Links Featured comic: Exposure - https://www.theduckwebcomics.com/news/2026/feb/03/featured-comic-exposure/ Featured music: Ripping off King Arthur - https://www.theduckwebcomics.com/Ripping_Off_King_Arthur/ - by Arspitzer, rated M. Special thanks to: Gunwallace - https://www.theduckwebcomics.com/user/Gunwallace/ Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/ Kawaiidaigakusei - https://www.theduckwebcomics.com/user/kawaiidaigakusei Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean Banes - https://www.theduckwebcomics.com/user/Banes/ VIDEO exclusive! Become a subscriber on the $5 level and up to see our weekly Patreon video and get our advertising perks! - https://www.patreon.com/DrunkDuck Even at $1 you get your name with a link on the front page and a mention in the weekend newsposts! Join us on Discord - https://discordapp.com/invite/7NpJ8GS

A search for the meaning of one of nature's greatest riddles: why do so many creatures transform? “How many creatures walking on this earth / Have their first being in another form?” the Roman poet Ovid asked two thousand years ago. He could not have known the full extent of the truth: today, biologists estimate a stunning three-quarters of all animal species on Earth undergo some form of metamorphosis.But why do tadpoles transform into frogs, caterpillars into butterflies, elvers into eels, immortal jellyfish from sea sprigs to medusae and back again, growing younger and younger in frigid ocean depths? Why must creatures go through massive destruction and remodeling to become who they are? Tracing a path from Aristotle to Darwin to cutting-edge science today, Harman explores that central mystery in Metamorphosis: A Natural and Human History (Basic Books, 2025).Metamorphosis, however, isn't just a biological puzzle: it takes us to the very heart of questions of being and identity, whatever kind of change we humans may undergo. Metamorphosis is a new classic of natural history: a book that, by unveiling a mystery of nature, causes us to relearn ourselves. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

"It may not be Mister Right YouTube, but it is Mister Right Now." — Erika DildayOn Super Bowl Sunday — with America celebrating its 250th anniversary — Erika Dilday joins to discuss the power of documentary film to cut through algorithmic noise and show us who we really are. As executive producer of POV, the longest-running documentary program on American television (now entering its 39th season), Dilday has spent her career championing first-person storytelling that platforms won't surface. She's also co-directing an upcoming series with Ken Burns, Emancipation to Exodus, exploring the period from the Civil War to the Great Migration. We discuss why algorithms limit discovery, whether AI can replicate human nuance, and what she learned from screening films at San Quentin.About the GuestErika Dilday is the Executive Producer of POV, America's longest-running documentary series, now in its 39th season on PBS. She is co-directing Emancipation to Exodus with Ken Burns, a documentary series about the period from the end of the Civil War to the Great Migration, scheduled for PBS in 2027. Her father was the first Black television station manager in the United States.Chapters:00:00:01 OpeningSuper Bowl Sunday, America's 250th, and Erika's prediction ("all Patriots all the way")00:02:28 Emancipation to ExodusHer collaboration with Ken Burns on the period from Civil War to Great Migration (PBS, 2027)00:05:09 Her father's legacyThe first Black TV station manager in the United States; "Those who want change don't have the luxury of being comfortable"00:06:23 Documentary as truth and artWhat distinguishes film from news; Hoop Dreams and the power of immersive storytelling00:08:21 POV's mission39 seasons, Tongues Untied, and stories that wouldn't be told elsewhere00:11:27 PBS and the culture warsPressures on public broadcasting, the need for alternative distribution00:15:47 YouTube: Mister Right NowNot the ideal platform, but the only one for democratic distribution00:17:38 San Quentin Film FestivalIncarcerated audiences engaging deeply with documentary00:20:06 Media consolidationTime Warner, Netflix, Paramount; indie platforms like Mubi and Ovid00:21:49 Algorithms and discoveryPlatforms suggest what they think you want, not what might stretch your thinking00:24:47 AI vs. human nuance"It can be imitated, but it's not going to be replicated"00:27:26 Oscar picksThe Perfect Neighbor (2025) (Netflix) and Cutting Through Rocks (2025) (the sleeper)References:POVHoop Dreams (1994) — documentary about two Chicago high school students dreaming of NBA careersTongues Untied (1989) — Marlon Riggs' documentary on Black gay identity in America (POV Season 4)Salesman (1968) — Maysles Brothers documentary following door-to-door Bible salesmenThe Perfect Neighbor (2025) — Geeta Gandbhir's documentary about a killing in Florida, told through body cam footage (Netflix)Cutting Through Rocks (2025) — Sara Khaki and Mohammad Reza Eyni's documentary about a female elected official and motorcycle rider in IranSan Quentin Film Festival — the first film festival ever held inside a U.S. prison, celebrating incarcerated and formerly incarcerated filmmakersIndependent platforms mentioned: Mubi, Ovid, JoltAbout Keen On AmericaKeen On America is a daily podcast hosted by Andrew Keen, the Anglo-American writer and Silicon Valley insider. Every day, Andrew brings his uniquely transatlantic and eclectic eye to the forces reshaping the United States — interviewing leading thinkers and writers about American politics, technology, culture, and democracy. With nearly 2,800 episodes, Keen On America is the most prolific intellectual interview show in podcasting history.Website: KeenOn.TVSubstack: keenon.substack.comYouTube: youtube.com/@KeenOnShowApple Podcasts: Keen On AmericaSpotify: Keen On America

A search for the meaning of one of nature's greatest riddles: why do so many creatures transform? “How many creatures walking on this earth / Have their first being in another form?” the Roman poet Ovid asked two thousand years ago. He could not have known the full extent of the truth: today, biologists estimate a stunning three-quarters of all animal species on Earth undergo some form of metamorphosis.But why do tadpoles transform into frogs, caterpillars into butterflies, elvers into eels, immortal jellyfish from sea sprigs to medusae and back again, growing younger and younger in frigid ocean depths? Why must creatures go through massive destruction and remodeling to become who they are? Tracing a path from Aristotle to Darwin to cutting-edge science today, Harman explores that central mystery in Metamorphosis: A Natural and Human History (Basic Books, 2025).Metamorphosis, however, isn't just a biological puzzle: it takes us to the very heart of questions of being and identity, whatever kind of change we humans may undergo. Metamorphosis is a new classic of natural history: a book that, by unveiling a mystery of nature, causes us to relearn ourselves. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science

In an AN first, Dave and Jeff take the show on the road to the Michigan state capital. Hosted by the world-class nerds of the Michigan Junior Classical League, the guys slush their way into Lansing to talk Ovid once more—specifically the crushing demise of "gym bro" Acis, who stood zero chance against that hulking, one-eyed colossus, the Cyclops. Here is your opportunity to master the geometry of emotion: do Polyphemus, Acis, and Galatea form a love Dorito, a rectangle of spite, or a dodecahedron of nostalgia? Join us for a unique, live format, featuring crowd participation with sharp questions and comments from bright Classical minds across Michigan. Plus, listen in for a chance to win the collected works of Aristotle from Hackett, edited by C.D.C. Reeve and Pavlos Kontos!

Tonight's reading is drawn from Book X, Fable I of Ovid's Metamorphoses — the story of Orpheus and Eurydice. After Eurydice's death, Orpheus descends into the underworld and is granted a single, fragile mercy: he may lead her back to the living world, provided he does not look back until they have crossed fully into the light. What follows is not a story about disobedience, but about devotion under strain — about love asked to endure silence, uncertainty, and distance without reassurance. This is a soft-spoken, live-ish reading offered as part of our 28 Nights of Dark Devotion — a series exploring love, longing, sacrifice, and return in their quieter, shadowed forms.

'Hero and Leander' was published in 1598, and anyone who came across it in a stationer's shop in Elizabethan London would have known that its author was dead, killed in a brawl in Deptford in 1593. Christopher Marlowe's sensational life as playwright and spy is matched by the wit, sophistication and eroticism of his eccentric retelling of Ovid's myth, based on a 6th-century version by Musaeus. Seamus and Mark begin their new series by looking at the playful but often troubling treatment of desire in a poem that contains one of the most explicit depictions of sex in English poetry. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, sign up: Apple Podcasts: https://lrb.me/applesignupnp Other podcast apps: https://lrb.me/scsignupnp Further reading in the LRB: Michael Dobson on the life of Marlowe https://lrb.me/np1marlowe1 Hilary Mantel on the murder of Marlowe: https://lrb.me/np1marlowe2 Charles Nicholl on Faustus: https://lrb.me/np1marlowe3

What do the classical stories of myths and legends mean to us today? In this episode of Mythmakers, Dr. Lorna Robinson—founder of the Iris Project and director of the Rumble Museum at Cheney School in Oxford—joins Julia Golding to discuss her quest to bring these timeless tales to young people.The conversation explores Lorna’s reinterpretation of Ovid's Metamorphoses in The Birder, a magical realism novel built around the idea that, as in the myths, people don’t die—they transform into other creatures or things.The Birder is available now at https://www.amazon.co.uk/Birder-Dr-Lorna-Robinson/dp/B0DNC7V79X, alternatively you can ask your local bookshop to order a copy for you.(00:05) Introducing Mythmakers and Dr Lorna Robinson(05:40) Widening Access to Myths Through Education(09:30) Young Readers, Modern Media, and Classical Stories(13:40) Cultural Literacy and Why Myths Still Matter(16:10) Writing The Birder and Imagining Metamorphosis(20:10) Ovid, Magical Realism, and Belief in Ancient Stories(23:20) Environmental Themes and Future Writing Projects(25:00) Reading Ovid Today and Modern RetellingsFor more information on the Oxford Centre for Fantasy, our writing courses, and to check out our awesome social media content visit: Website: https://centre4fantasy.com/website Instagram: https://centre4fantasy.com/Instagram Facebook: https://centre4fantasy.com/Facebook TikTok: https://centre4fantasy.com/tiktok

The lady in the forest has come to face the pilgrim and his poets across the stream in the forest.The pilgrim clearly feels a sexual attraction toward her, one that might even make us think of his reactions to Beatrice.She, however, has other ideas, like answering their many questions. Except in so doing, she raises even more questions than she has time to answer.Join me, Mark Scarbrough, as we work through this passage in PURGATORIO in which we first learn we're wandering around in the Garden of Eden.Here are the segments for this episode of WALKING WITH DANTE:[01:37] My English translation of PURGATORIO, Canto XXVIII, lines 67 - 84. If you'd like to read along or continue the conversation with me by dropping a comment on this episode, please find it on my website, markscarbrough.com.[03:38] Upright and flirty: the many contradictions of the lady in the forest.[07:04] A rare misstep in COMEDY.[08:06] A tough tangle of references from Ovid and the Bible: from pride to sexual attraction to (thwarted) redemption.[15:28] The tenuous connections between the lady's laugh and their doubts, as well as her words and Virgil's presence.[21:17] Her purpose: to offer answers (but not to remove sexual tension).[23:39] The Garden of Eden, utterly reimagined by Dante.[28:23] Rereading the passage: PURGATORIO, Canto XXVIII, lines 67 - 84.

Featuring Thea Riofrancos on Extraction: The Frontiers of Green Capitalism. The green energy transition requires a vast array of inputs: copper, cobalt, rare earth elements, and the focus of this discussion, lithium — all of which must be mined from the earth. This is a wide-ranging discussion stretching from Chile to Nevada, and from the dawn of colonialism to the geoeconomic conflict between the US and China — and a lot more. In New York City? See Thea discuss Extraction with David Wallace-Wells tonight, Friday, November 14, at McNally Jackson Seaport. Say hi to Dan if you attend! Tickets here: mcnallyjackson.com/event/thea-riofrancos-david-wallace-wells Support The Dig at Patreon.com/TheDig Buy Black History is for Everyone at Haymarketbooks.org Get your first month free at OVID.tv using promo code DIG25 The Dig goes deep into politics everywhere, from labor struggles and political economy to imperialism and immigration. Hosted by Daniel Denvir.

Featuring Thea Riofrancos on Extraction: The Frontiers of Green Capitalism. The green energy transition requires a vast array of inputs: copper, cobalt, rare earth elements, and the focus of this discussion, lithium—all of which must be mined from the earth. This is a wide-ranging discussion stretching from Chile to Nevada, and from the dawn of colonialism to the geoeconomic conflict between the US and China—and a lot more. In New York City? See Thea discuss Extraction with David Wallace-Wells. Friday, November 14 at McNally Jackson Seaport. Say hi to Dan if you attend! Tickets here: mcnallyjackson.com/event/thea-riofrancos-david-wallace-wells Support The Dig at Patreon.com/TheDig Buy Black History is for Everyone at Haymarketbooks.org Get your first month free at OVID.tv using promo code DIG25

Featuring Melinda Cooper on Counterrevolution: Extravagance and Austerity in Public Finance. Balanced budget conservatism and supply side populism engineered a politics of austerity and budget deficits. Deep cuts to the social wage like welfare reform disciplined labor so severely that Fed Chair Alan Greenspan opened the floodgates of easy money confident it would juice the price of assets alone. Assets like homes, the value of which spiraled ever upward until the Global Financial Crisis. The crash made the politics of revolutionary conservatism that dominate us today with MAGA. But the crisis also revealed powerful monetary tools that we could wield to make socialism—if only we organize the power necessary to seize them. The SECOND in a two-part series. Call in to leave a question for The Dig's mailbag episode: speakpipe.com/ListenerMailbag Support The Dig at Patreon.com/TheDig Get your first month free at OVID.tv using promo code DIG25 Visit dropsitenews.com/DIG20 for 20% off an annual Drop Site subscription