Podcasts about Proserpina

Britt and Chris dive into conversations about insecticide showers, the backstage chaos of kids musicals, Lenore Dove's willingness to sacrifice, and the fiasco of the 50th Opening Ceremony. They also explore Haymitch's last conversation with Louella McCoy and the POVs of Proserpina, Vitus, and Magno Stift. Please tell a geeky friend about us and leave a review on your podcast app! If you really enjoy our content, become one of our amazing patrons to get more of it for just $1 per month here: https://www.patreon.com/geekbetweenthelines Every dollar helps keep the podcast going! You can also buy us a ko-fi for one-time support here: https://ko-fi.com/geekbetweenthelines Please follow us on social media, too: Instagram : https://www.instagram.com/geekbetweenthelines Pinterest : https://www.pinterest.com/geekbetweenthelines Facebook : https://www.facebook.com/geekbetweenthelines Twitter : https://twitter.com/geekbetween Website: https://geekbetweenthelines.wixsite.com/podcast Logo artist: https://www.lacelit.com

Here is the original 2019 episode on Persephone, Queen of the Underworld with cleaned up sound editing. The original theme music and original infomation from 2019 still remain in this episode; current information about the podcast and Chthonia in general is at https://chthonia.net 

Sin ir más lejos, el sábado 2 de noviembre en el Centro de Visitantes de la Luz de Murcia, pueden disfrutar de una ruta guiada en la que pueden rastrear parte de esos mitos en las tradiciones de la ciudad de Murcia.Nuestra guía de hoy en el recorrido musical que nos propone la Chica Formal es Proserpina. Según leemos en Wikipedia, «una diosa cuya historia es la base de un mito de la primavera. Es la equivalente en la mitología romana a la diosa griega Perséfone. Una deidad de vida, muerte y resurrección, y la esposa de Plutón». La reproducción del cuadro «El rapto de Proserpina», de Rubens, que está en el Museo del Prado en Madrid nos sirve para ilustrar este podcast.

fWotD Episode 2645: Homeric Hymns Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Thursday, 1 August 2024 is Homeric Hymns.The Homeric Hymns (Ancient Greek: Ὁμηρικοὶ ὕμνοι, romanized: Homērikoì húmnoi) are a collection of thirty-three ancient Greek hymns and one epigram. The hymns praise deities of the Greek pantheon and retell mythological stories, often involving a deity's birth, their acceptance among the gods on Mount Olympus, or the establishment of their cult. In antiquity, the hymns were generally, though not universally, attributed to the poet Homer: modern scholarship has established that most date to the seventh and sixth centuries BCE, though some are more recent and the latest, the Hymn to Ares, may have been composed as late as the fifth century CE.The Homeric Hymns share compositional similarities with the Iliad and the Odyssey, also traditionally attributed to Homer. They share the same artificial literary dialect of Greek, are composed in dactylic hexameter, and make use of short, repeated phrases known as formulae. It is unclear how far writing, as opposed to oral composition, was involved in their creation. They may initially have served as preludes to the recitation of longer poems, and have been performed, at least originally, by singers accompanying themselves on a lyre or other stringed instrument. Performances of the hymns may have taken place at sympotic banquets, religious festivals and royal courts.There are references to the Homeric Hymns in Greek poetry from around 600 BCE; they appear to have been used as educational texts by the early fifth century BCE, and to have been collected into a single corpus after the third century CE. Their influence on Greek literature and art was relatively small until the third century BCE, when they were used extensively by Alexandrian poets including Callimachus, Theocritus and Apollonius of Rhodes. They were also an influence on Roman poets, such as Lucretius, Catullus, Virgil, Horace and Ovid. In late antiquity (c. 200 – c. 600 CE), they influenced both pagan and Christian literature, and their collection as a corpus probably dates to this period. They were comparatively neglected during the succeeding Byzantine period (that is, until 1453), but continued to be copied in manuscripts of Homeric poetry; all the surviving manuscripts of the hymns date to the fifteenth century. They were also read and emulated widely in fifteenth-century Italy, and indirectly influenced Sandro Botticelli's painting The Birth of Venus.The Homeric Hymns were first published in print by Demetrios Chalkokondyles in 1488–1489. George Chapman made the first English translation of them in 1624. Part of their text was incorporated, via a 1710 translation by William Congreve, into George Frideric Handel's 1744 musical drama Semele. The rediscovery of the Homeric Hymn to Demeter in 1777 led to a resurgence of European interest in the hymns. In the arts, Johann Wolfgang von Goethe used the Hymn to Demeter as an inspiration for his 1778 melodrama Proserpina. Their textual criticism progressed considerably over the nineteenth century, particularly in German scholarship, though the text continued to present substantial difficulties into the twentieth. The Homeric Hymns were also influential on the English Romantic poets of the early nineteenth century, particularly Leigh Hunt, Thomas Love Peacock and Percy Bysshe Shelley. Later poets to adapt the hymns included Alfred, Lord Tennyson, and Constantine P. Cavafy. Their influence has also been traced in the works of James Joyce, the films of Alfred Hitchcock, and the novel Coraline by Neil Gaiman.This recording reflects the Wikipedia text as of 00:47 UTC on Thursday, 1 August 2024.For the full current version of the article, see Homeric Hymns 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 neural Arthur.

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Julie discusses the genius sculptor Gian Lorenzo Bernini's "Rape of Proserpina" which she encountered on a recent trip to Rome. To see her analyze his other statues, and discuss his background/life, please check out the videos on her YouTube page.Join Julie live Monday, Tuesday, and Wednesday at 1p PT, call in number: 844-861-5537Check out other Julie Hartman videos: https://www.youtube.com/@juliehartman Follow Julie Hartman on social media: Website: https://juliehartmanshow.com/Instagram: https://www.instagram.com/julierhartman/X: https://twitter.com/JulieRHartmanSee omnystudio.com/listener for privacy information.

In questi giorni di luna calante, Venere, il pianeta dell'amore, è nel segno dei Pesci così i segni d'acqua saranno ancora più romantici e dalla lacrima facile. Mercurio è in Ariete e renderà ancora più testardi del solito i segni di fuoco (tra poco sarà pure retrogrado e li saranno cazzi). Infine Marte finisce il suo percorso in Acquario quindi i segni d'aria devono muoversi a portare a casa più sesso possibile. Ricordatevi che l'equinozio di primavera tecnicamente in Italia sarà alle 4 del mattino del 20 marzo. Giorno e notte avranno la stessa lunghezza e in ogni cultura si festeggia la rinascita. Che sia Proserpina che finalmente torna dalla mamma o che sia l'Ostara poco cambia. È ora di rimettersi in gioco.See omnystudio.com/listener for privacy information.

Doritos is facing a boycott after announcing a transgender artist as brand ambassador, Samantha Hudson; a similar story to what happened with Bud Light and Target. But in order to boycott something, “withdraw from relations with,” you have to support it in the first place. Doritos, Bud Light, and Target are awful products and companies already, and the ingredients in the former are terrifying, despite claims otherwise. The chemicals, flavors, colors, and preservatives in Doritos are enough already to launch a boycott; the chemicals sprayed on the crops, which are also GM, used for Bud Light are equally enough to call for a boycott. Now Kellogg's is being threatened with a boycott because a new ad suggests eating cereal for dinner due to increasing costs of living. But again, the ingredients in Frosted Flakes are the real reason to boycott the company. In fact, the colorings and sugars in these cereals alone are not only cause for concern due to health reasons but also due to spiritual reasons. Cereal crops were sacred in antiquity and the myths of Demeter and her daughter Persephone, and Ceres (where we get the word Cereal) and her daughter Proserpina, were the basis of the ancient mysteries. The colorful purple fungus found on barley, rye, and other crops was used in Greece to induce mind altering contact with the spirit realm. Today we think that “cereal” is a boxed and brand name product, rather than the crop that takes time and magic to grow. We also think that the colors and flavors that appeal to eyes and tongue are magical when rather than expanding the mind like at Eleusis, now drive kids into hyperactivity hypersensitive and a different type of frenzy. Furthermore, the outrage expressed by the political right is equivalent to the same on the political left: censorship and canceling whatever is trending on their news feeds. Boycotting is one thing, but this type of boycotting equates to some type of sophisticated, yet simple, marketing scam. People say, “I'm not buying Frosted Flakes anymore,” while replacing that cereal with Froot Lupes, which are also made by Kellogg's. If not for the ingredients themselves, the only other major reason to boycott these companies and their products is due to the fact that their use of trans-marketing applies to 0.7% of the population, leaving 99.3% of a potential marketplace victim to emotional blackmail and gas lighting with subsidized, chemical, witch brews of dairy, corn, and unnecessary food coloring. These things overwhelm the senses and exploit the same, just as Facebook was designed to exploit a vulnerably in human psychology. -FREE ARCHIVE & RSS: https://www.spreaker.com/show/the-secret-teachingsTwitter: https://twitter.com/TST___RadioFacebook: https://www.facebook.com/thesecretteachingsWEBSITE (BOOKS, RESUBSCRIBE for early show access): http://thesecretteachings.infoPaypal: rdgable@yahoo.comCashApp: $rdgableBuy Me a Coffee: https://www.buymeacoffee.com/tstradioSUBSCRIBE TO NETWORK: http://aftermath.mediaEMAIL: rdgable@yahoo.com / TSTRadio@protonmail.com

Neil Bernstein's The Complete Works of Claudian (Routledge, 2022) offers a modern, accurate, and accessible translation of Claudian's work, published in English for the first time since 1922, and accompanied by detailed notes and a comprehensive glossary. Claudian (active 395-404 CE) was the last of the great classical Latin poets. His best-known work, The Rape of Proserpina, continues to inspire numerous retellings and adaptations. Claudian also wrote poems in praise of rulers, including the emperor Honorius and the regent Flavius Stilicho, which are essential sources for reconstructing politics and society in the late Roman empire. These poems and others are translated here, alongside an introduction offering an overview of Claudian's career, the wider historical and political context of the period, and the poetic traditions in which Claudian wrote: mythological epic, panegyric, invective, and epithalamium. The translations, with explanatory notes, include: The Rape of Proserpina, Panegyric on Olybrius and Probinus's Consulship, Panegyrics on Honorius's Third, Fourth, and Sixth Consulships, Invective Against Rufinus, Fescennines and Epithalamium for Honorius and Maria, The War With Gildo, Panegyric on Manlius Theodorus's Consulship, Invective Against Eutropius, Stilicho's Consulship, The Gothic War, and shorter poems. The Complete Works of Claudian is a vital resource for students and scholars working on late antique literature, particularly Claudian's work, as well as those studying the history and culture of the western Roman Empire in this period. This accessible volume is also suitable for the general reader interested in the works of Claudian and this period more broadly. Bernstein joins the New Books Network to read a few excerpts and discuss the challenges and benefits of reading his panegyric and invective poems as well as his writing in more lyrical and epic modes. 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

Neil Bernstein's The Complete Works of Claudian (Routledge, 2022) offers a modern, accurate, and accessible translation of Claudian's work, published in English for the first time since 1922, and accompanied by detailed notes and a comprehensive glossary. Claudian (active 395-404 CE) was the last of the great classical Latin poets. His best-known work, The Rape of Proserpina, continues to inspire numerous retellings and adaptations. Claudian also wrote poems in praise of rulers, including the emperor Honorius and the regent Flavius Stilicho, which are essential sources for reconstructing politics and society in the late Roman empire. These poems and others are translated here, alongside an introduction offering an overview of Claudian's career, the wider historical and political context of the period, and the poetic traditions in which Claudian wrote: mythological epic, panegyric, invective, and epithalamium. The translations, with explanatory notes, include: The Rape of Proserpina, Panegyric on Olybrius and Probinus's Consulship, Panegyrics on Honorius's Third, Fourth, and Sixth Consulships, Invective Against Rufinus, Fescennines and Epithalamium for Honorius and Maria, The War With Gildo, Panegyric on Manlius Theodorus's Consulship, Invective Against Eutropius, Stilicho's Consulship, The Gothic War, and shorter poems. The Complete Works of Claudian is a vital resource for students and scholars working on late antique literature, particularly Claudian's work, as well as those studying the history and culture of the western Roman Empire in this period. This accessible volume is also suitable for the general reader interested in the works of Claudian and this period more broadly. Bernstein joins the New Books Network to read a few excerpts and discuss the challenges and benefits of reading his panegyric and invective poems as well as his writing in more lyrical and epic modes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Neil Bernstein's The Complete Works of Claudian (Routledge, 2022) offers a modern, accurate, and accessible translation of Claudian's work, published in English for the first time since 1922, and accompanied by detailed notes and a comprehensive glossary. Claudian (active 395-404 CE) was the last of the great classical Latin poets. His best-known work, The Rape of Proserpina, continues to inspire numerous retellings and adaptations. Claudian also wrote poems in praise of rulers, including the emperor Honorius and the regent Flavius Stilicho, which are essential sources for reconstructing politics and society in the late Roman empire. These poems and others are translated here, alongside an introduction offering an overview of Claudian's career, the wider historical and political context of the period, and the poetic traditions in which Claudian wrote: mythological epic, panegyric, invective, and epithalamium. The translations, with explanatory notes, include: The Rape of Proserpina, Panegyric on Olybrius and Probinus's Consulship, Panegyrics on Honorius's Third, Fourth, and Sixth Consulships, Invective Against Rufinus, Fescennines and Epithalamium for Honorius and Maria, The War With Gildo, Panegyric on Manlius Theodorus's Consulship, Invective Against Eutropius, Stilicho's Consulship, The Gothic War, and shorter poems. The Complete Works of Claudian is a vital resource for students and scholars working on late antique literature, particularly Claudian's work, as well as those studying the history and culture of the western Roman Empire in this period. This accessible volume is also suitable for the general reader interested in the works of Claudian and this period more broadly. Bernstein joins the New Books Network to read a few excerpts and discuss the challenges and benefits of reading his panegyric and invective poems as well as his writing in more lyrical and epic modes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Neil Bernstein's The Complete Works of Claudian (Routledge, 2022) offers a modern, accurate, and accessible translation of Claudian's work, published in English for the first time since 1922, and accompanied by detailed notes and a comprehensive glossary. Claudian (active 395-404 CE) was the last of the great classical Latin poets. His best-known work, The Rape of Proserpina, continues to inspire numerous retellings and adaptations. Claudian also wrote poems in praise of rulers, including the emperor Honorius and the regent Flavius Stilicho, which are essential sources for reconstructing politics and society in the late Roman empire. These poems and others are translated here, alongside an introduction offering an overview of Claudian's career, the wider historical and political context of the period, and the poetic traditions in which Claudian wrote: mythological epic, panegyric, invective, and epithalamium. The translations, with explanatory notes, include: The Rape of Proserpina, Panegyric on Olybrius and Probinus's Consulship, Panegyrics on Honorius's Third, Fourth, and Sixth Consulships, Invective Against Rufinus, Fescennines and Epithalamium for Honorius and Maria, The War With Gildo, Panegyric on Manlius Theodorus's Consulship, Invective Against Eutropius, Stilicho's Consulship, The Gothic War, and shorter poems. The Complete Works of Claudian is a vital resource for students and scholars working on late antique literature, particularly Claudian's work, as well as those studying the history and culture of the western Roman Empire in this period. This accessible volume is also suitable for the general reader interested in the works of Claudian and this period more broadly. Bernstein joins the New Books Network to read a few excerpts and discuss the challenges and benefits of reading his panegyric and invective poems as well as his writing in more lyrical and epic modes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Tonight's bedtime story is The Pomegranate Seeds- an adaptation of a Roman myth by Nathaniel Hawthorne. It was first published in 1851 in his collection of stories called "A Wonder Book for Girls and Boys". Proserpina is captured by Pluto. Her mother searches worlds to find her. If you like this episode, please remember to follow on Spotify, Apple Podcasts, or your favourite podcast app.Interested in more sleepy content or just want to support the show? Join Just Sleep Premium here: https://justsleeppodcast.com/supportAs a Just Sleep Premium member you will receive:The latest episodes ad-free and Intro-free episodesThe entire back catalog of the podcast, ad and intro-freeThe entire audiobook of the Wizard of OzA collection of short fairy tales including Rapunzel and the Frog PrinceThe chance to vote on the next story that you hearThe chance to win readings just for youThanks for your support!Sweet Dreams... Hosted on Acast. See acast.com/privacy for more information.

La Divina comedia Libro de Dante Alighieri CANTO VIGESIMOCTAVO DESEOSO ya de observar en su interior y en sus contornos la divina floresta espesa y viva, que amortiguaba la luz del nuevo día, dejé sin esperar más el borde del monte y marché lentamente a través del campo, cuyo suelo por todas partes despedía gratos aromas. Un aura blanda e invariable me oreaba la frente con no mayor fuerza que la de un viento suave: a su impulso, todas las verdes frondas se inclinaban trémulas hacia el lado a que proyecta su primera sombra el sagrado monte; pero sin separarse tanto de su derechura, que las avecillas dejaran por esta causa de ejercitar su arte sobre las copas de los árboles, pues antes bien, llenas de alegría, saludaban a las primeras auras, cantando entre las hojas, que acompañaban a sus ritmos haciendo el bajo, con un susurro semejante al que de rama en rama va creciendo en los pinares del llano de Chiassi, cuando Eolo deja escapar el Sirocco. Ya me habían transportado mis lentos pasos tan adentro de la antigua selva, que no podía distinguir el sitio por donde había entrado, cuando vi interceptado mi camino por un riachuelo, que corriendo hacia la izquierda, doblegaba bajo el peso de pequeñas linfas las hierbas que brotaban en sus orillas. Las aguas que en la tierra se tienen por más puras, parecerían turbias comparadas con aquellas, que no ocultan nada, aunque corran obscurecidas bajo una perpetua sombra, que no da paso nunca a los rayos del Sol ni de la Luna. Detuve mis pasos, y atravesé con la vista aquel riachuelo, para admirar la gran variedad de sus frescas arboledas, cuando se me apareció, como aparece súbitamente una cosa maravillosa que desvía de nuestra mente todo otro pensamiento, una mujer sola, que iba cantando y cogiendo flores de las muchas de que estaba esmaltado todo su camino. —¡Ah!, hermosa Dama, que te abrasas en los rayos de Amor, si he de dar crédito al semblante que suele ser testimonio del corazón; dígnate adelantarte—le dije—hacia este riachuelo, lo bastante para que pueda comprender qué es lo que cantas. Tú traes a mi memoria el sitio donde estaba Proserpina, y cómo era cuando la perdió su madre, y ella perdió sus lozanas flores. Así como bailando se vuelve una mujer, con los pies juntos y arrimados al suelo, poniendo apenas uno delante de otro, de igual suerte se volvió aquélla hacia mí sobre las florecillas rojas y amarillas, semejante a una virgen que inclina sus modestos ojos, y satisfizo mis súplicas aproximándose tanto, que llegaba hasta mí la dulce armonía de su canto, y sus palabras claras y distintas. Luego que se detuvo en el sitio donde las hierbas son bañadas por las ondas del lindo riachuelo, me concedió el favor de levantar sus ojos. No creo que saliera tal resplandor bajo las cejas de Venus, cuando su hijo la hirió inconsideradamente. Ella se sonreía desde la orilla derecha, cogiendo mientras tanto las flores que aquella elevada tierra produce sin necesidad de simiente. El río nos separaba a la distancia de tres pasos; pero el Helesponto por donde pasó Jerjes, cuyo ejemplo sirve aún de freno a todo orgullo humano, no fué tan odioso a Leandro, por el impetuoso movimiento de sus aguas entre Sestos y Abydos, como lo era aquél para mí por no abrirme paso. —Sois recién llegados—dijo ella—; y quizá porque me sonrío en este sitio escogido para nido de la humana naturaleza, os causo asombro y hasta alguna sospecha; pero el salmo "Delectasti" esparce una luz que puede disipar las nubes de vuestro entendimiento. Y tú, que vas delante y me has rogado que hable, dime si quieres oír otra cosa, que yo responderé con presteza a todas tus preguntas hasta dejarte satisfecho. —El agua—le dije—y el rumor de la floresta impugnan en mi interior una nueva creencia sobre una cosa que he oído y que es contraria a esta. A lo que ella contestó: —Te diré cómo procede de su causa eso que te admira, y disiparé la nube que te ciega...

Emma and Christy use Eugène Grasset's lithograph Morphinomaniac (1897) as a starting point to talk about artistic depictions of morphine and historical opioid addiction, as well as decadence and degeneration in fin-de-siècle Parisian society. In this episode, we cover vampires, hypodermic syringes, Orientalism and Japonisme, 'dangerous' women, masturbation, pleasure, and sex work, true crime waxworks, and gendered consumption — of women, goods, and drugs. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. MEDIA DISCUSSED Eugène Grasset, Morphinomaniac (1897) Photographs of a ‘hysterical' woman yawning at the Salpetrière from Nouvelle Iconographie de la Salpêtrière (c. 1888-1918) Eugène Grasset, Inquiétude (1897) Aubrey Beardsley, cover illustrations for The Yellow Book, An Illustrated Quarterly (1894) Henri de Toulouse-Lautrec, Divan Japonais poster (1892-93) Bernini, detail from Rape of Proserpina (1621-22) Edvard Munch, Vampire II (Vampyr II) (1895) Walter Sickert, Reclining Nude (Le lit de cuivre) (c. 1906) Examples of Parisian wax work: Death of Marat at the Musée Grévin (photograph taken 1959) Albert Joseph Pénot, La Femme Chauve-Souris ('The Bat-Woman') (c. 1890) Luis Ricardo Falero, Vision of Faust (1878) Eugène Grasset, Vitrioleuse (The Acid Thrower) (1894) Katsushika Hokusai, The Waterfall Where Yoshitsune Washed His Horse at Yoshino in Yamato Province(c. 1832) Jules Cheret, Vin Mariani (c. 1896-1900) Jean Bernard Restout, Morpheus (Sleep) (c. 1771) Pablo Picasso, Waiting (Margot) (1901) Pablo Picasso, Morphinomanes (1900) Paul-Albert Besnard, Morphine Addicts (Morphinomanes) (1887) CREDITS This season of ‘Drawing Blood' was funded in part by the Association for Art History. Follow our Twitter @drawingblood_ ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song - Kim Petras text us back!!

We return to the table of Nolan Paige and roll the dice to create an archfey named Proserpina. A powerful fey creature utilizing a disguise of an elven teen version of herself to be a market barker/coupon book promoter for this city undergoing a Steampunk/Industrial Revolution. She wants to steer these people in the right direction, and she needs your help to clean up a contaminated fountain at the source of pollution. Podcast art by Chauncy Riley (https://www.behance.net/graphicsbychauncy), Graphics by Chauncy. Visit our website at https://sidekicksandsidequests.com (https://sidekicksandsidequests.com) Twitter Page (https://twitter.com/SideKQPodcast) Facebook Page (https://www.facebook.com/SideKQPodcast) Subreddit Page (https://www.reddit.com/r/SideKQPodcast) Instagram Page (https://www.instagram.com/sidekqpodcast) Discord Server (https://discord.gg/yraJJ6JHEd) Special Guest: Nolan Paige.

Emma and Christy look at Julia Margaret Cameron's photograph 'Maud' (c. 1874) and discuss plant consciousness, agency, and erotics. In this episode, we cover tendrils and tentacles, Victorian queerness, plant horror, early ecologies, Darwin and plant sex, interspecies entanglements, photography and desire, colonial botany, tipitiwitchets, sadomasochism, and whether your houseplant can kill you. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. MEDIA DISCUSSED Julia Margaret Cameron, Maud (c. 1874) Bernini, Apollo and Daphne (1622–25); see also this detail from Rape of Proserpina (1621–22) Julia Margaret Cameron, Illustrations to Tennyson's ‘Idylls of the King', and Other Poems (London: King, 1874–75) Alfred Tennyson, ‘Maud', excerpted by hand by Julia Margaret Cameron (1874–75) Julia Margaret Cameron, Pomona [Alice Liddell](1872) Anna Atkins, cyanotype from Photographs of British Algae (c. 1843–53) Earlier Julia Margaret Cameron illustration of Maud: The Passion Flower at the Gate (c. 1865) Julia Margaret Cameron, Charles Darwin (1868) Charles Darwin, ‘Diagram showing the movement of the upper internodes of the common Pea, traced on a hemispherical glass and transferred to paper' (1867) Hokusai, The Dream of the Fisherman's Wife (1814) Illustration from H. G. Wells's The Flowering of the Strange Orchid (1894) CREDITS This season of ‘Drawing Blood' was funded in part by the Association for Art History. Follow our Twitter @drawingblood_ ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

Gaetano ToldonatoXIV Edizioni di TeatroComunitàDal 15 giugno al 9 luglio 2023 un ricco calendario di eventi, mostre, spettacoli e workshop per riscoprire la storia dell'Associazione Chorós e riflettere sull'utilità sociale del TeatroTeatroComunità in Festival è ormai un appuntamento rituale a Teatro Marchesa, che per la sua XIV edizione si trasforma e torna nelle vesti di Teatro Marchesa - Cantiere in Arte. Dal 15 giugno al 9 luglio, infatti, il ‘palco' di Barriera di Milano accoglierà un ricco programma di performance, spettacoli e workshop per ripercorrere la storia del teatro e dell'Associazione Culturale Choròs, che quest'anno festeggia anche i suoi 10 anni come presidio culturale e artistico di riferimento nel territorio della Circoscrizione 6.A caratterizzare questa nuova edizione di TeatroComunità in Festival, il tema di ‘cantiere artistico' che intende anticipare il cantiere reale che interesserà presto tutta l'area. Grazie ai fondi del PNRR e al sostegno progettuale ed economico della Città di Torino, infatti, Teatro Marchesa verrà ristrutturato. In questo modo, tutti gli spazi della Cascina (Teatro, Biblioteca, Scuola e Sala Colonne) potranno trasformarsi in luogo artistico, interagendo tramite linguaggi diversi: danza, teatro, letteratura, arte visiva, storia e musica. Da sempre, infatti, l'Associazione Culturale Choròs si interroga sull'utilità sociale del teatro: ascolto, cittadinanza, immaginazione, arte, territorio e solidarietà tra artisti e persone non sono che le parole più importanti che ne guidano l'operato. «Si è giunti a concepire questo luogo quale simbolo di una presenza culturale ed artistica in Barriera, dopo un lavoro decennale nella comunità e nel teatro – racconta Maria Grazia Agricola, direttrice dell'Associazione Choròs – Pensiamo a cosa sia successo in un remoto angolo della Sicilia con la costruzione da parte dell'artista pastore/scultore Lorenzo Reina del teatro Andromeda: con un atto artistico ha trasformato la sorte di un territorio abbandonato, restituendolo alla comunità e creando anche una nuova vitalità economica. Ecco, noi pensiamo che Teatro Marchesa, insieme ad altre realtà ed interventi artistici e culturali presenti in loco, possa, e lo ha già dimostrato in parte, essere un volano per la trasformazione e la riqualificazione di questo territorio. Crediamo nella potenza sociale dell'arte e del teatro e nella creazione di un modello culturale innovativo, capace di rispondere a nuovi bisogni di rappresentanza simbolica da parte di abitanti di diverse età, formazione culturale, provenienza geografica e sociale». A partire proprio da questo cantiere fisico, dunque, ne prenderà piede uno metaforico, che accoglierà appuntamenti, eventi e laboratori aperti a tutta la città (richiesta la prenotazione) acavallo tra giugno e luglio.Ad inaugurare il Festival il 15 giugno alle ore 18 sarà un'installazione evento, progetto nato da un'idea di Maria Grazia Agricola e Marianna Barbaro. Una mostra fotografica a cura di Lorena Tadorni – con scatti di Gaetano Toldonato – che verrà allestita nel Foyer del teatro per ripercorrere la storia di Choròs Comunità e dei suoi protagonisti. Questi ultimi si racconteranno mettendo in scena la performance "Il Teatro nel Mondo" a cura di Maria Grazia Agricola e Marianna Barbaro. All'interno dell'allestimento saranno presentati, inoltre, dei video-racconti sulla storia e il futuro di Cascina Marchesa e sulle precedenti produzioni teatrali di Choròs Comunità, con la partecipazione dell'assessora Rosanna Purchia, il presidente della Circoscrizione 6 Valerio Lomanto e della consigliera comunale Nadia Conticelli. Le produzioni video sono a cura di Andrea Deaglio, Gaetano Toldonato e Luciano Vivirito. Il 16 giugno alle ore 16.30 vedrà il debutto dello spettacolo “Maneggiateci con-tatto”, un progetto di Chiara Cau e Rita Stasi, scritto e interpretato dai ragazzi della cooperativa sociale Altramente: un viaggio nei vissuti personali di giovani con problematiche psichiatriche narrato attraverso i cinque sensi. Il 17 giugno alle ore 21.30 Teatro Marchesa accoglierà Associazione ArTeMuDa con il loro “Non avere paura”, uno spettacolo sull'amore e il coraggio di essere se stessi, scritto, diretto e interpretato da Roberto Micali, Jovana Panic e Patrizia Spadaro, liberamente ispirato a The Pride di Alexis Campbell. Il 18 giugno dalle ore 18, Giulietta DeBernardi e Paola Dusio proporranno in anteprima per bambini e famiglie una rilettura a rovescio del mito di Proserpina, con la performance itinerante “Il ritorno al pianeta Terra”. A seguire, un nuovo atto performativo di Choròs Comunità, seconda parte de “Il Teatro nel Mondo”, che ci porterà dentro all'incontro delle persone con Cascina Marchesa, metafora del nostro incontro con il teatro, con la vita.Si prosegue poi il 23 giugno alle ore 21 con il debutto, nella sua forma finale, dell'ultimo percorso teatrale dell'Associazione Choròs dal titolo "Quei sogni di felicità che credevamo al sicuro", presentato a dicembre 2022 come esito laboratoriale e poi nel marzo 2023 all'interno di Biennale Democrazia. Una drammaturgia corale, l'omonimo testo di Vera Brittain e una scenografia in movimento sono i perni fondanti di questa scrittura teatrale, che indaga nei vissuti dei protagonisti/autori per riflettere sulla fragilità della nostra democrazia e libertà.A chiudere il Festival sarà, infine, un workshop intensivo che si terrà dal 4 al 9 luglio a cura di Duccio Bellugi Vannuccini e Maria Grazia Agricola. Tramite la tecnica delle maschere balinesi applicate a una ricerca drammaturgica sui propri vissuti, i partecipanti avranno modo di lavorare sul testo “Le città invisibili” di Italo Calvino, alla ricerca dei propri luoghi del cuore, metaforici e no. DIECI di DIECIsaperne di piùDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Are you ready for us? We realize we've been gone for a while, so this is a very quick recap. If this isn't enough, maybeee relisten to our show again?

And we're back!!! Season 3 is going to be crazy, especially since this season's theme is TRICKSTERS. That's right, our main characters are obviously going to get themselves into trouble again! Learn about creatures from all over the world and hope our main characters make it out in one piece in this mythical urban fantasy story!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Travel to storyland by riding a parade of zoo animals, The classic tale of a wealthy merchant who lost all he had. He and his two daughters now have to…

Lo scultore-rockstar del Barocco: Gian Lorenzo Bernini. Le nostre conduttrici ci raccontano il Ratto di Proserpina insieme a Jago, che si sa, non ha bisogno di presentazioni. Artista e scultore italiano di fama internazionale! Riuscirà a non farsi travolgere dalla comicità di Michela Giraud? Scopriamolo insieme nella quarta puntata di Gioconde, disponibile su Spotify e Youtube.

Tornano i podcast di Morgana de L'antro di Ecate, questa volta dedicato all'equinozio d'autunno, erroneamente chiamato Mabon, nonostante la divinità celtica fosse associata alla primavera. Nella puntata, verranno esplorati i temi mitologici legati a Mabon, e quelli relativi a un mito più prettamente correlato all'equinozio d'autunno: la storia del rapimento di Proserpina. Morgana parlerà come sempre del modo in cui viene recepita questa festività dalla comunità Neopagana, darà alcuni consigli pratici e si addentrerà nel simbolismo della cornucopia e della mela. +++ Vuoi sostenere il nostro progetto offrendoci un caffé? Ko-fi! SCOPRI NEXUS ARCANUM CONTATTI, CONTENUTI & NOVITA' -> Qui Antro di Ecate Facebook Instagram Sito web Tempio della Grande Dea Serpente Facebook Instagram Sito web +++ MUSICA Intro: Golden reflection of the sun, by Vlad Gluschenko Background music: all tracks by Eann Grimm

Finalist #16 in the Book Review Contest https://astralcodexten.substack.com/p/your-book-review-kora-in-hell [This is one of the finalists in the 2022 book review contest. It's not by me - it's by an ACX reader who will remain anonymous until after voting is done, to prevent their identity from influencing your decisions. I'll be posting about one of these a week for several months. When you've read them all, I'll ask you to vote for a favorite, so remember which ones you liked.]   The sense that everything is poetical is a thing solid and absolute; it is not a mere matter of phraseology or persuasion. — G.K. Chesterton I. William Carlos Williams attributes the title to his friend/rival Ezra Pound, mythological references' number one fanboy. Kora is a parallel figure to Persephone or Proserpina, the Spring captured and taken to Hades by Hades himself. Persephone as a plant goddess and her mother Demeter were the central figures of the Eleusinian Mysteries, which promised the initiated a groovy afterlife glimpsed at by psychedelic shrooms. And Kora means maiden. Ancient Greeks called her that either because she was like Voldemort, and you were apotropaically not supposed to say her true name because this is a Mystery Cult, damn it. Keeps some of the mystery. Or because she in a way represents all of the maidens, everywhere. So, in that sense, Kora in Hell alludes to the multitude of suffering young women Williams met while working as a doctor, assisting in 1917 style home labors, and, because WWI was going on at the time and doctors were extremely scarce, as a local police surgeon. Conditions were dire:

Hey Sound Sleepers! Tonight we listen to the myth about Ceres and her daughter Proserpina who was abducted by the ruler of the underworld and forced to become his wife.

En 1680, a los 81 años, murió en Roma Gian Lorenzo Bernini. Dejaba a sus espaldas algunas de las obras de arquitectura y escultura más significativas de la corte papal del siglo XVII, obras aún reconocidas universalmente: del baldaquino de la basílica hasta la columnata de la plaza de San Pedro, o del Rapto de Proserpina hasta el Éxtasis de Santa Teresa. Bernini, napolitano de nacimiento y, por lo tanto, súbdito de los monarcas españoles, murió aclamado por todos como un artista fuera de lo común cuyas obras eran admiradas en el mundo entero y de las que los romanos se sentían muy orgullosos. Le enterraron bajo una humilde lápida en la basílica de Santa María la Mayor de Roma y pasó a formar parte del panteón de los grandes arquitectos y escultores de la Roma del renacimiento papal de los siglos XVI y XVII junto a Miguel Ángel, Rafael o Bramante. Buena parte de esa fama de la que disfrutó en vida hubo de compartirla con un singular rival, un hombre de su misma edad y que murió trece años antes que él: Francesco Borromini, un dotadísimo arquitecto proveniente del Tesino, en la Suiza italiana, que firmó muchos de los mejores edificios de la Roma del 'seicento' como la iglesia de San Carlos de las cuatro fuentes, el oratorio de San Felipe Neri o el Colegio de Propaganda fide, una congregación creada por Gregorio XV en plena contrarreforma para extender la evangelización por el mundo. Bernini y Borromini, las dos grandes “bes” de la arquitectura romana del siglo XVII se formaron juntos como arquitectos hasta que Bernini fue nombrado director de las obras de San Pedro del Vaticano en 1629 y Borromini se convirtió en su ayudante. Pero en 1644, las tornas cambiaron y Borromini se convirtió en el nuevo director del Vaticano mientras Bernini quedaba marginado. La rueda de la fortuna volvió a girar y en 1655, Bernini volvió al mando y Borromini al olvido, esto agudizó su carácter retraído y desconfiado y le llevó directo al suicidio en 1667. Lo hizo al modo de los antiguos héroes griegos, como Áyax el Grande, apoyó su espada sobre el suelo y se la clavó. Luego pidió ser enterrado sin que se consignase su nombre junto a Carlo Maderno, otro gran arquitecto de la Roma papal por quien sentía devoción y que había muerto muchos años antes. El trágico final de Francesco Borromini puso fin a cinco décadas en las que convivieron en Roma dos arquitectos geniales. A pesar de su rivalidad no hicieron más que prestarse ideas y soluciones que marcarían el arte en el centro de Italia y en todo el orbe católico, desde Europa occidental hasta Hispanoamérica. Para conocer con más detalle la vida y obra de ambos, los motivos de su rivalidad y los muchos aportes que hicieron a la arquitectura hoy tenemos de nuevo a Alberto Garín en La ContraHistoria. Alberto conoce muy bien la obra de ambos, la tiene, de hecho, estudiada a fondo, así que nos va a descubrir más de un secreto de esos que en las clases de historia del arte suelen pasarse por alto y en los que acostumbra a estar la clave de muchas obras artísticas. Bibliografía: - "Geni rivali. Bernini, Borromini e la creazione di Roma barocca" de Jake Morrissey - https://amzn.to/3zXYua4 - "Bernini" de Franco Borsi - https://amzn.to/3oQtCBZ - "Borromini" de Anthony Blunt - https://amzn.to/3vEbjDT - "El Renacimiento en Roma" de Loren Partridge - https://amzn.to/3zw6Vb9 · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #Bernini #Borromini Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Eugenia Kuyda is a biologist and an expert on the behaviour of aquatic animals, mostly her study focuses on fish. Today she talks to Lexman about Proserpina: the Roman goddess of spring, fertility and gardens. Kuyda tells us all about the various reactions that fish have to being feeders, and how toolmaking evolved in relation to this behaviour. Finally, we get to hear a little bit about Eugenia's favourite merengues!

Gestern fand in der Wiener Staatsoper die zweite Vorstellung von Claudio Monteverdis „L`Orfeo“ statt. Der radio klassik Stephansdom Opernliebhaber Richard Schmitz berichtet: L'Orfeo ist zwar nicht die erste Oper, aber die erste die vollständig erhalten ist. Sie ist von einer frappierenden Vollkommenheit. Nicht nur die differenzierte Musik Claudio Monteverdis, auch das Textbuch von Alessandro Striggio sind von hoher Qualität. Eigentlich erstaunlich, dass keinerlei Anfängerfehler zu erkennen sind. Die Geschichte der Oper – damals sagte man noch „Favola“ – beginnt mit einem Paukenschlag. Kaum zu glauben, dass man vor 415 Jahren schon so professionell war. Die Wiener Staatsoper hat dieses Werk in einer Realisierung präsentiert, die allen Ansprüchen genügt. Nikolaus Harnoncourt hat mit seiner Einspielung 1968 die Basis gelegt. Schon damals war der Concentus Musicus Wien jener Klangkörper, der die Genialität dieser Partitur zur Geltung brachte. Auch gestern erklangen unter Pablo Heras-Casado alle Feinheiten der Musik. Viele Musikerinnen und Musiker hatten solistische Aufgaben, die mit Bravour bewältigt wurden. In der Titelrolle war der Bariton Georg Nigl ein Glücksfall. Er bewältigte auch die hohen Töne und war in der mittleren Lage dem Text und der Musik verpflichtet. Nur in den Koloraturen hätte ich mir mehr tenorale Geschmeidigkeit gewünscht. Es ist kein Wunder, dass fast alle Einspielungen den Orpheus mit einem Tenor besetzt haben, auch wenn die Tessitura sehr tief liegt. Mich wundert, dass Caronte – verlässlich Wolfgang Bankl – bei diesem Gesang einschläft. Der zweite Star des Abends ist Kate Lindsey, der man die allegorischen Figuren der Musik, der Speranza (Hoffnung) und das Echo anvertraut hat. Slavka Zámečnikova sang wunderschön die Eurydice. Schade, dass die Rolle so kurz ist. Das übrige Ensemble – Christina Bock las Proserpina und Botin – Andrea Mastroni als Pluto und Hiroshi Amako als Apollo – passten sich allzusehr an. Da sollten sich in Zukunft mehr Persönlichkeiten entwickeln. Auch diese Figuren haben Charakter. Schon vor Beginn binden der Regisseur Tom Morris und die Kostümbildnerin Anna Fleischle das Publikum ein. Eine ideale Einladung zur Hochzeit von Orpheus und Eurydike. Sogar die Handydurchsage und der Maskenhinweis sind schon heiter durchinszeniert. Dann findet das Drama des Todes eines geliebten Menschen statt. Das Bühnenbild mit dem live mitgefilmten Zuschauerraum wird im Hades zu einer grauenerregenden Unterwelt, in der es keine Hoffnung gibt. Anna Fleischle hat auch als Bühnenbildnerin Außergewöhnliches zu bieten. Am Schluss entschwebt Orpheus gegen den Himmel. Das ist schon fast kitschig. Das Publikum war auch gestern begeistert und das wiegt bei einer zweiten Vorstellung noch mehr als bei der Premiere. So kann die älteste erhaltene Oper gezeigt werden. Wertnote: 9,3/10 Punkten

"Goddess Venus Conjured a Spell for Armani slowly drifting off into dream land" is about the love story of Goddess Venus and Armani.The two kingdoms of mortal and immortal are at peace under Goddess Venus' protection, but when she falls in love with the falling Angel Jake, she succumbs to human desires. Her kingdom is in jeopardy, and with her gone, the balance between mortal and immortal worlds will be lost.Follow Me:Website: https://taraonelovecoach.comTwitter:@withFacebook:@thetarotcafee Twitch:@thetarotcafeYoutube@ https://bit.ly/3A4XgqYRelax To A Soothing Story with Romance Stories for Sleep Podcasthttps://bit.ly/3EeDH1N

Le Muse battono le gazze nella gara di canto narrando di Cerere che disperata cerca la figlia Persefone rapita da Plutone per renderla sua sposa e regina dell'oltretomba. TW: violenza sessuale.

We're back! And the park has gotten a major makeover... Join us for season 2 premiering on Oct 25, 2021! Which creature would you want to meet in Proserpina Park?

This is Angela Yih, the creator of Residents of Proserpina Park. This podcast focuses on mythological creatures mixed with a story just as wild as the past. Learn about creatures you've never heard before and follow Alina on her crazy journey to find the truth. Transcript can be found at: https://docs.google.com/document/d/14D461VMtEzZBY_m0Gzt7vYoTYN-d3CMl5sRaEEbkuCw/edit?usp=sharing https://www.residentsofproserpinapark.com Twitter: @ProserpinaPark

Ti piace il podcast? Scopri di più nel mio libro “Il Re degli dei”! --> https://amzn.to/3Ba1dv1Ecate è figlia del potente titano Perse e di Asteria, sorella di Leto che come sai è madre di Artemide e di Apollo. La sua schiatta è di prim'ordine! Asteria e Leto sono figlie di Febe, divinità preolimpica misteriosa, legata alla luna, nume dello stupore e della distanza.Dalla nonna Artemide, Apollo ereditano perciò questa tensione a stare “a distanza”, ad agire da lontano. Questo non accade in toto per Ecate, la quale, con delle torce in mano, si muove nell'oscurità...Ti piacciono i brani sottofondo? Vengono dal servizio Soundstripe!Se sei un Creator e hai bisogno di brani nuovi e originali, liberi da royalties, questo servizio può fare per te!Con questo codice otterrai uno sconto del 40% sull'abbonamento annuale:https://www.soundstripe.com/join?id=geB3kKGoPer correttezza, devi sapere che anche io otterrò un piccolo beneficio.#sperling&kupfer

In this episode Callan sits down with Ripley to talk about writing, books and everything inbetween. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/callan-harrington/support

Ogni venerdì, dalle 16:15, il Prof. Daniele Coluzzi interviene in diretta su Radio Rock, all'interno di “Antipop”, con le sue pillole di Storia e Letteratura. Podcast del 18 giugno 2021

Jessica Schots neemt je mee naar de Galleria Borghese, voor een bezoek aan het mooiste beeld van Bernini. Daarna bewonder je ook Bernini's Fontana dei Quattro Fiumi, zijn Vierstromenfontein, op Piazza Navona, na de Trevifontein de beroemdste fontein van Rome. 

Have you ever wanted to work with a goddess or connect with a matron deity for wisdom, guidance, and support? To be honest, I never really did and never really worked with goddesses in my own practice until I discovered that the asteroid, Diana, is exactly conjunct my moon! There are hundreds, (maybe thousands), of asteroids named after goddesses that are Greek, Roman, Norse, Celtic, Germanic, Sumerian, Egyptian, Chinese, Japanese, Aztec, Inuit, and probably other cultures too! Finding goddess asteroids in your chart, especially those that are very close to your sun, moon, or personal planets, is a powerful way to discover goddesses who might be open to working with you - and in fact, who may have even been calling out to work with you since you were born. In this episode, I'm diving into how to explore the spectrum of the divine feminine in your own birth chart and in your own being, how to find goddess asteroids in your chart, and what they can mean for you.  --- To find goddess asteroids in your chart, go to www.astro.com and enter your birth information. Then click on Extended Chart Selection, scroll down to the bottom, and enter the asteroid codes you want to see into the "Additional Objects" dialogue box or choose them from the alphabetical listing. Here are the asteroid codes for some popular goddesses you might want to find in your chart:  1 - Ceres 2 - Pallas 3 - Juno 4 - Vesta / 34 - Hestia 10 - Hygiea 14 - Psyche 16 - Fortuna 19 - Proserpina / 399 - Persephone 33 - Isis 76 - Freia 78 - Diana / 105 - Artemis 100 - Hekate 318 - Magdalena 580 - Selene 4227 - Kaali 5381 - Sekhmet 7088 - Ishtar --- Want professional, intuitive insight on the goddess asteroids in your chart? Book a Goddess Codes written astrology reading with me today!

Le è stata rapita la figlia Persefone! Demetra rinuncia per dolore e rabbia ad intervenire coi suoi poteri sulla natura: ne segue un anno terribile: il sole è perennemente basso all’orizzonte, nevica e il lavoro dei buoi e dei seminatori è tutto vano: nulla cresce più sui campi o sugli alberi.La carestia inonda l’oriente come l’occidente: nessuno più gode del calore del sole o di un buon pasto caldo.Gli dei preoccupati corrono ai ripari.Zeus in persona manda Iris, la dea dalle ali dorate, a parlare con Demetra. La dolce lingua di Iris però non riesce a smuovere la dea dal suo sconforto...

Ade, il buio dio, è attratto dalle giovani ninfe e dalle bellezze che ancora camminano sulla superficie della Terra. Per questo, di quando in quando - di certo non con la stessa frequenza di suo fratello minore Zeus - si reca dove il sole riscalda i campi e l’aria è fresca e cristallina alla caccia di questa o quella.Durante un suo chiamiamolo “giro di ricognizione”, si accorge della presenza di una giovinetta appena sedicenne dal nome Core, "la ragazzina".Ella è figlia di Demetra, la sorella maggiore del dio. Demetra ha avuto questa figlia in giovanissima età da un incontro con Zeus: Core è perciò di una bellezza, anche se ancor acerba, irresistibile...

We start off with "What to say to the new Moon" and continue with the Giant of the Flood cause there is a Unicorn. Next Flower Fairies leading to the classic tale of Ceres and Proserpina. We close down with the tale of The Waterlily and the Gold Spinners" and we revisit Zelda's rendition of the Princess and the Pea for Philemina.

Here's a brand new trailer of season 1 featuring most of our cast! Which creature would you want to meet in Proserpina Park?

Join Alina and Sam on their adventures in Proserpina Park and all the mythical creatures that they'll meet!

Conoscete questa meraviglia che attraversa il Rione Ponte ed il Rione Pigna?Da piazza dell'Oro - dove per i Romani antica stava il Tarentum, con l'altare di Dite e Proserpina che veniva disseppellito una volta oogni cent'anni - all'Arco dei Farnese, chiese, palazzi, progetti, corse di cavalli attarverso i secoli, sofà di pietra, carceri ed oratori... a lavorarci, tra gli altri, Donato Bramante, Raffello Sanzio, Francesco Borromini, Jacopo Sansovino, Carlo Maderno, Giacomo Della Porta. Il video sul canale youtube di radio 21 aprile Web è a questo link: https://youtu.be/yL2ukYuG6rM

In which I celebrate a mysterious ancient Greek rite of passage, sing badly, and rant about how essential derivative art is.2020 Attic Calendar: http://www.epistemeacademy.org/calendars/yearly_calendar.html?year1=2020&vADBC=AD&CCode=Attic&day=284More information on the Eleusinian Mysteries: http://www.epistemeacademy.org/calendars/documents/Eleusinian.pdfMartha Wainwright singing her mother's song 'Proserpina':https://youtu.be/0CfwGwhcycIA symphony/video performance of Bugs Bunny & Elmer Fudd in 'The Rabbit of Seville' at the Hollywood Bowl:https://youtu.be/qdSm12O11Gg'Write Like a Motherfucker' advice column by Dear Sugar a.k.a. Cheryl Strayed:https://therumpus.net/2010/08/dear-sugar-the-rumpus-advice-column-48-write-like-a-motherfucker/Strayed's book 'Wild' is also a movie with Reese Witherspoon; here's all the places you can stream/rent/buy it:https://www.justwatch.com/us/search?q=wild

"Yol kenarı bitkileri" üzerine gözlemlerini topladığı Proserpina'nın (1875-1886) ilk cildinin sayfalarında dolaşarak John Ruskin'in doğa analizlerini konuşmaya devam ediyoruz.

OTR Radio Christmas Shows Comedy - Drama - Variety. --------------------------------------------------------------------------- Sherlock Holmes Radio Station Live 24/7 Click Here to Listen https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 ---------------------------------------------------------------------------- Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

La pittura della Grecia antica è stata ampiamente descritta ma sono rimasti solo pochi frammenti. Il Ratto di Proserpina di Filosseno è una pallida ma importante memoria dei traguardi raggiunti dai pittori greci. Tutte le immagini su https://quellodiarte.com/2020/05/26/il-pennello-di-filosseno/ Vuoi rimanere aggiornato su tutte le novità su Quello di Arte? Iscriviti alla mailing list di Quello di Arte cliccando su questo link https://mailchi.mp/e5da93e9fc36/mailinglistSe volete scrivere a Quello di Arte l'email è quellodiarte@gmail.comPlaylistMichelangelo Mammoliti, Mono, 2019

"Acá en Buenos Aires ya es otoño... los días empiezan a ser un poco más duros, se caen las hojas de los árboles y el cielo parece estar como triste. Y para darle algo de poesía a este clima que nos empieza a acompañar, me gustaría recordar con ustedes la historia de Perséfone, así llamada en la mitología griega, o Proserpina para la mitología romana." También hablaremos de la escultura "El rapto de Perséfone" del gran maestro Bernini para terminar nuevamente en Perséfone y soñar con su historia la llegada de la primavera. ¡Ojalá les guste!

Temporada estable de Teatre Radiofònic a la 95.2 Ràdio. 'Cándida' de Georges Bernard Shaw. Emissió del 11 d'Abril de 2020. Dramaturg, crític literari i activista polític d'ideari socialista i pacifista, Shaw neix a Dublín el 1856, fill d'una família pobra i protestant. Atesa la seva condició econòmica precària, es forma de manera autodidacte i de seguida s’interessa per la literatura. D’ençà del 1870, s’instal·la a Londres. Allà passa llargues hores instruïnt-se a la biblioteca del ‘British Museum’ i s’inicia en l’escriptura, però les seves primeres cinc novel·les són rebutjades per tots els editors. És aleshores que comença a escriure una columna de crítica musical al diari 'Star' i que comença a involucrar-se en política, per acabar esdevenint una de les figures clau del moviment socialista i de les idees polítiques progressistes, i un provocador inconformista que aprofita la seva obra per criticar de manera constant i amb una certa dosi d’humor diferents aspectes socials de l’època. El 1892 es converteix en crític teatral del diari 'Saturday review' , fet que significa el pas definitiu cap a la seva carrera de dramaturg. Apassionat admirador d’Ibsen, la seva primera peça teatral, ‘’Widower’s’Houses’’ (1892), es pot considerar plenament ibseniana i el preludi dels seus Unpleasant Plays (obres teatrals desagradables, perquè, segons ell, el públic es veu forçat a veure les coses desagradables de la societat). Li segueixen els Pleasant Plays (les obres agradables), la més famosa de les quals és ‘’Candida’’ , l’obra que avui posem en antena, del 1895. El 1898 contrau matrimoni amb Charlotte Payne-Townshend, una dona posseïdora d’una gran fortuna personal i amb una extrema dedicació i admiració cap al seu marit. Les seves següents obres continuen mantenint l’element de crítica social i comèdia de les anteriors, amb títols com ‘’The Devil’s Disciple’’ (1901) i ‘’Man and Superman’’ (1903), que posen de manifest les seves idees polítiques. El 1913, arriba la que és la seva obra més emblemàtica, ‘’Pigmalió’’ , un guió que ja hem pogut gaudir en aquest espai de Teatre Radiofònic, on Shaw empren una lúcida crítica envers el classisme imperant de la societat anglesa de l’època. Entre les seves darreres obres, ‘’Saint Joan’’ (1923), que recrea la vida de l’heroïna francesa Joana d’Arc, és considerada com la millor de la seva producció. Aquest seguit d’èxits, el porten a ser mereixedor del Premi Nobel de Literatura concedit el 1925. Com a assagista polític, d’entre la seva producció en destaca ‘’The Intelligent Woman's Guide to Socialism and Capitalism’’ (1928, revisada el 1937 incloent-hi un estudi sobre el comunisme i el feixisme). Shaw mor el 1950 deixant una producció dramàtica de gairebé una seixantena d’obres, i és un dels autors anglosaxons més importants de totes les èpoques, per darrera de Shakespeare. ‘’Cándida’’ és una comèdia situada a un suburbi del nord-est de Londres que posa de manifest la relació matrimonial de la jove esposa del reverend James Morrell, un cristià socialista, popular de l’església d’Anglaterra. Cándida torna a casa després d’un viatge a Londres amb Eugenio, un jove poeta que vol rescatar-la de la seva vida aburrida i sumisa al seu espòs, i de la que n’està enamorat. La versió radiofònica que avui posem en antena és un enregistrament del Quadre de Veus de Radioteatre de l'any 2009, sota la direcció de Joan Garrigó i Ismael Majó, amb les veus de Joan Salvador en James, Laura Castillo en Proserpina, Aurelio Rodriguez en Alejandro, Joan Rodón en el Señor Burguess, Rosa Aguado en Cándida i Jordi Bernad en Eugenio. La narració és d’Ismael Majó, i el Muntatge Musical i la realització tècnica de Joan Borràs.

Alessandro Vanoli"Primavera"La stagione inquietaIl Mulino Editorewww.mulino.itIn bilico tra il gelo dell'inverno e il caldo dell'estate, periodo di profumi, di piogge e di vento, di sconforto e di speranza, la primavera è per sua natura inquieta. Raccontarla significa narrare di feste dedicate alla vita che rinasce e di luce che ritorna: dai greci agli ebrei, sino alla Pasqua dei cristiani. Ma anche di eserciti e di mercanti – che per secoli hanno atteso che i mari si facessero calmi per ripartire –, di rivoluzioni, di diritti e conquiste. La primavera è però prima di tutto ciclo terrestre, equinozio, risvegliarsi di sensi e di corpi, di fiori, erbe, insetti, uccelli, in un'ansia di desiderio dove tutto sembra rimandare in realtà a qualcosa di più antico e profondo: forse alle origini del mondo, a quella natura primordiale alla quale ci lega la nostra stessa biologia. La primavera racconta una sorta di struggente nostalgia, di quando, alle origini, noi e il mondo eravamo una cosa sola, legati dallo stesso ritmo e dallo stesso ordine delle cose.Così comincia "Primavera"In principio.I cieli e la terra scossi dai gemiti di un'alba di tempesta. Un'aria calda, bagliori grigi all'orizzonte, un'eco di tuono. Cominciò forse con un rumore di pioggia: lenta e irregolare, poi il suono si fece fragore e il fragoreboato. E in un istante, tutto fu acqua: scorreva, gocciava, respirava, scrosciava tra le rocce di torrenti appena nati. Una pioggia fitta come una risata. E con la pioggia venne la vita. E la vita si protese verso il cielo con ogni stelo, ramo o foglia. E scavò nel fango, immergendo radici affamate nel buio della terra. Poi il fragore poco alla volta si spense, lasciando un nuovo silenzio carico di voci, mentre vapori di nebbia salivano densi dalla terra e una luce dorata si schiudeva tra squarci di nuvole nere. Quel giorno la primavera ebbe i tuoi occhi. Flora, Demetra, Proserpina, qualunque sia il tuo nome. Si aprirono stupiti e sorridenti dal profondo inestricabile di un bosco appena sorto. Quel giorno la primavera ebbe il tuo corpo. Lunghi capelli castani intrecciati di foglie; seni bianchi umidi ancora dell'ultima pioggia; braccia e gambe dischiuse nei colori di larghi fiori profumati.Alessandro Vanoli è esperto di storia mediterranea. Tra i suoi libri per il Mulino: «Andare per l'Italia araba» (2014), «Quando guidavano le stelle» (2015), «La Sicilia musulmana» (2016), «L'ignoto davanti a noi (2017)», «La via della seta» (con F. Cardini, 2017) e in questa stessa serie «Inverno» (2018).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

Estamos en la época del año donde Proserpina se esta yendo al Averno producto de su ignorancia

Persefone (dal greco Περσεφόνη, Persephónē), detta anche Kore (Κόρη, giovinetta), Kora, o Core, è una figura della mitologia greca, fondamentale nei Misteri eleusini, entrata in quella romana come Proserpina. Essendo la sposa di Ade, era la dea minore degli Inferi e regina dell'oltretomba. Secondo il mito principale, nei sei mesi dell'anno (Autunno e Inverno) che passava nel regno dei morti, Persefone svolgeva la stessa funzione del suo consorte Ade, cioè governare su tutto l'oltretomba; negli altri sei mesi (Primavera ed Estate) ella andava sulla Terra da sua madre Demetra, facendo rifiorire la terra al suo passaggio. Qui Persefone non svolgeva alcuna funzione. [fonte Wikipedia]

Tá achando que arte é bagunça? Se não tá, deveria, porque onde tem ser humano, tem treta. E não é pouca não: tem fofoca, tem picuinha, tem ranço, tem tráfico, tem falsificação, tem briga de egos, tem causos mirabolantes, tem roubos hollywoodianos. Quer saber mais? Ouve o nosso papo com Ari Noert, que pesquisa arte clássica e sabe TU-DO dos babados das Tartarugas Ninjas originais, e muitas outras coisas também. Ficha técnica Hosts: Leticia Dáquer e Thiago Corrêa Convidada: Ari Noert  Edição: Thiago Corrêa Capa: Leticia Dáquer  Data da gravação: 10/01/2020 Data da publicação: 23/01/2020 Músicas: La Rocha del Fuso (Musica renascentista italiano do séc XV) Hieronymus Bosch butt music (sonorização de uma partitura encontrada na bunda de um homem em uma pintura de Bosch) Las Bistecs - HDA Peter Bjorn and John - Blue Period Picasso Links relacionados ao episódio Thread no Twitter sobre a Cruz de Caravaca usada no vídeo do pseudo Goebbels brasileiro. Caravaggio Gian Lorenzo Bernini (mais especificamente: O Êxtase de Santa Teresa D'Ávila - e não Santa Teresa de Lisieux, como mencionado no episódio, e O Rapto de Proserpina) O David de Donatello (Wikipedia) A Escola de Atenas, de Raffaello Sanzio (Wikipedia) Michelangelo, o mala sem alça (Wikipedia) Aldo Locatelli (Wikipedia), mais especificamente  Rinha de pintor renascentista: como foi a briga entre Michelangelo e Da Vinci que virou meme? (Rolling Stone, 18/12/2019) 7 casos surpreendentes de roubos de obras de arte (Superinteressante, 12/12/2019) Museu francês descobre que metade de suas obras é falsa (O Globo, 28/04/2018) Empresas ensinam como investir em obras de arte (Valor Econômico, 07/06/2019) L'Italia è il primo paese al mondo per furti d'arte: ecco quali sono le più ricercate (L'Espresso, 20/04/2018) Mafia, il caso del Caravaggio perduto riaperto dal pentito: “Venduto in Svizzera”. Bindi: “Indagare ancora” (Il Fatto Quotidiano, 11/02/2018) I tesori dell'arte nelle mani della mafia (La Repubblica, 12/01/2015) 1911: "Mona Lisa" era roubada do Louvre (DW, 21/08/2018) Um século depois, motivo do roubo da Mona Lisa é ainda um mistério (G1, 21/08/2011) How Beltracchi, the world's most famous art forger, plays with the market (DW, 29/08/2015) The prolific forger whose fake 'Old Masters' fooled the art world (CNN, 24/10/2019) Everything in This Museum Is Fake (Smithsonian Magazine, 13/10/2017) Inside the Underground World of Legal Art Forgery (Architectural Digest, 09/11/2017)   A Balada do Pistoleiro Ari Noert Livro: Leonardo Da Vinci (Walter Isaacson)    Leticia Dáquer Série: Ru Paul's Drag Race (Netflix)   Thiago Corrêa Aplicativo: Daily Art   Jabás Ari Noert Twitter pessoal: @arinoert   Leticia Dáquer Twitter: @pacamanca Blog: www.pacamanca.com Papo Cético, podcast do site Mitografias    Thiago Corrêa Twitter: @thiago_czz Parceria com Veste Esquerda: use o código de desconto PISTOLA10 pra ter 10% de desconto na sua compra de camisetas maneiríssimas esquerdopatas #MULHERESPODCASTERS Mulheres Podcasters é uma ação de iniciativa do Programa Ponto G, desenvolvida para divulgar o trabalho de mulheres na mídia podcast e mostrar para todo ouvinte que sempre existiram mulheres na comunidade de podcasts Brasil. O Pistolando apoia essa iniciativa.  Apoie você também: compartilhe este programa com a hashtag #mulherespodcasters e nos ajude a promover a igualdade de gênero dentro da podosfera.   Links do Pistolando www.pistolando.com contato@pistolando.com Twitter: @PistolandoPod Instagram: @PistolandoPod APOIE O PISTOLANDO   Descrição da capa: Quadro Gabrielle d'Estrées e sua irmã, de pintor anônimo francês do século XVI. O quadro mostra as duas irmãs, mulheres brancas, com cabelo preso no alto, nuas dentro de uma banheira. A da esquerda está segurando entre as pontas do indicador e do polegar o mamilo direito da irmã. Ao fundo, uma mulher mais velha está sentada costurando. Ao lado dela, uma lareira grande e um pequeno quadro na parede. Foi aplicado um filtro escuro sobre a imagem. Acima da imagem da capa, fundo preto e o número e o nome do episódio em letras brancas, fonte sem serifa. Em uma faixa cinza estreita atravessando a parte inferior da imagem, a frase "aumenta o volume que esse episódio promete", fazendo alusão à pose da irmã que segura o mamilo da outra, parecendo que está girando o botão do volume ou do canal de um rádio ou de um aparelho de TV antigo.

In the first episode of a short series exploring planets, houses, and birth charts more closely, Leann and Jordan strap in for a cosmic adventure where they get to know the planets as individuals.  TRIGGER WARNING: [Timestamp: 1:09:42 Proserpina] rape/kidnapping in mythology, painted by Bernini.     Contact Us Twitter: @byscorpios Instagram: @byscorpios Email us at ForScorpiosByScorpios@gmail.com Follow Jordan on Twitter: @KeyTenavast Follow Leann on Instagram: @leann_schneider Art by Kelsey Heaton: @kelsey.heaton on Instagram   Timestamps 00:01:20 -- Getting right into Scorpio moments 00:07:41 -- Scorpio horoscopes 00:10:44 -- Daily Scorpio horoscope 00:13:07 -- applying horoscopes to your life, in a helpful way 00:14:05 -- Monthly sexscope  00:17:55 -- Introducing today’s topic: the planets! 00:19:38 -- Describing the different types of birth charts 00:20:11 -- FSBS Official Stance on Co--Star 00:22:28 -- Planets 00:23:12 -- The Sun 00:25:30 -- Mercury 00:26:50 -- Mercury in retrograde, finally 00:29:18 -- Art History Corner: Botticelli's Primavera 00:31:59 -- What signs does Mercury rule?  00:32:40 -- Back at (f)art history corner with Leann: classicism & The Medicis.  00:37:37 -- Venus 00:42:38 -- Just a little bit about Earth 00:43:20 -- Mars 00:45:25 -- “Another Botticelli, I promise it’ll be worth it.” 00:47:44 -- PSA About Valentine’s Day 00:48:24 -- The dangers of erotic love with Botticelli 00:50:11 -- Entering outer space  00:50:35 -- Jupiter  00:52:54 -- Jupiter as Zeus 00:55:01 -- Zeus and his brothers 00:56:35 -- Jupiter in astrology 00:57:36 -- Saturn 01:00:10 -- Uranus  01:04:13 -- Neptune 01:06:30 -- Pluto, the Scorpio planet! 01:09:42 -- The story of Proserpina (Trigger warning, kidnap and rape)  01:10:16 -- Art History Corner! (Again!) Sculpture with Bernini  01:12:02 -- Time’s Up though. (Trigger warning, assault)   01:15:32 -- Back to Scorpio and its ruling planet, Scorpio  01:17:40 -- Exhausted on the planets, Leann brings it back to the hawt Medici brother, Giuliano 01:19:56 -- Final questions, comments, concerns about the planets   Bibliography NASA https://en.wikipedia.org/wiki/Mercury_(planet) https://www.nationalgeographic.com/science/space/solar-system/mercury/ VOX has a really good video on Mercury in Retrograde:  https://www.youtube.com/watch?v=FtV0PV9MF88 Universe Today Venus and Mars, c 1485. Tempera and oil on poplar panel, 69 cm x 173 cm.[1] National Gallery, London https://en.wikipedia.org/wiki/Venus_and_Mars_(Botticelli) Sandro Botticelli; late 1470s or early 1480s; Tempera on panel; 202 cm × 314 cm (80 in × 124 in); Uffizi Gallery, Florence: https://en.wikipedia.org/wiki/Primavera_(Botticelli) Tarot.com Labyrinthos.co Cafeastrology.com https://greekgodsandgoddesses.net/gods/neptune/ Astrostyle.com

THE MOUNTAIN GOATS. MOON OVER GOLDSBORO – 4:55Get Lonely, 4AD, 2006 MARTHA WAINWRIGHT. PROSERPINA – 4:00Come Home To Mama, Cooperative music, 2012 NICK CAVE & THE BAD SEEDS. LOVE LETTER – 4:05No More Shall We Part, Mute, 2001 MARIANNE FAITHFULL. LATE VICTORIAN HOLOCAUST – 4:25Give My Love To London, Dramatico, 2014 PORTISHEAD. THE RIP – […] Cet article Errance #126 : De The Mountain Goats à Philip Glass est apparu en premier sur Eldorado.

Digitalisaation tuulet puhaltavat Radio Sodomassa, ja Kalevi Tuonisen korvaa ohjelmoitu automaattinen kuuluttaja Proserpina. Musta aurinko nousee Aamupala kurkussa -ohjelmassa Jonna Hiltunen-Mareistoniemi-Kemppi-Ylärinteen johdolla. Risto-täti palaa ohjaamaan Lasten laivan syvälle paapuuriin. Sisältövaroitukset: kuolema, väkivallan kuvaus, huumeet, masennus, seksuaaliset teot. Radio Sodoma sisältää voimakasta kielenkäyttöä. Radio Sodoma on Antti Holman kuvitteellinen radiokanava helvetissä. Kaikki hahmot on kirjoittanut ja näyttelee Antti Holma.

Im dritten Teil von Werner Cees sizilianischen Trilogie geht es hauptsächlich um das Hinterland der sizilianischen "Insel". | Mit: Caroline Junghanns, Patrizia Manuguerra u. a. | Musik und Realisation: Werner Cee | (Produktion: SWR 2016) |

To Hell and Back Again, a Bards tale by Orpheus of Thrace. Orpheus would do anything for love, and he would do that. Go to hell with Orpheus in pursuit of his lost love, Eurydice. He’ll prove that true love and love songs conquer almost all, even death as he plays his lyre and sways the crowds including Pluto, Proserpina, Charon and Cerberus. And if that don’t touch your heart, then you might be a murder-lusting Maenad Bacchus groupie. Drunk Mythology is a podcast created by Krista and Christian, recounting the feats and failures of world Mythology, with a few drinks along the way.

Perséfone es la reina del inframundo, hija de Deméter. A causa del rapto de esta joven diosa a manos de Hades, Deméter acaba instaurando los famosos misterios de Eleusis. Sobre los yambos que cantaba la nodriza Yambé, puedes leer este artículo sobre métrica grecolatina: https://academialatin.com/nociones-elementales-de-metrica/ ?? Este vídeo es una parte de la cuarta clase del CURSO DE MITOLOGÍA GRIEGA (Y ROMANA). Tienes la clase completa aquí ???? https://academialatin.com/curso/mitologia-griega-romana/demeter-persefone-hera-atenea/ En esta cuarta clase del curso de mitología griega (y romana) vamos a continuar con las biografías de los dioses olímpicos. Proseguiremos con cuatro de las diosas principales: Deméter y Perséfone, Hera y Atenea. ???? Aquí tienes el curso completo: https://academialatin.com/curso/mitologia-griega-romana/ En este curso veremos todo lo necesario para tener una visión completa sobre la mitología griega (y romana), así como algunas nociones sobre la religión griega; hay que tener en cuenta que, aunque conectadas, mitología y religión son dos cosas distintas a la par que complementarias. Nos valdremos, durante la narración de los contenidos, de la impresionante cantidad de pinturas que los artistas de todas las épocas han realizado inspirándose en la mitología griega, así como de los propios textos clásicos que narran estas historias. Este curso está pensado para cualquier persona interesada en la mitología griega (y romana). Puesto que la cultura y la historia española e hispana en general están directamente conectadas con la tradición grecolatina, cualquier persona que quiera considerarse razonablemente culta ha de tener buenos conocimientos de mitología. De forma más concreta, este curso es imprescindible para los aficionados y estudiosos de… ???????? La literatura ¿Cómo entender la literatura occidental sin conocer las historias en las que están basadas sus relatos? ¿Cómo leer a los autores del Siglo de Oro sin conocer a los personajes de Homero y Virgilio? ????????? Las artes Tantas grandísimas obras de arte (pictóricas y escultóricas, pero también musicales) están basadas en los mitos grecorromanos que es imposible apreciar su belleza sin conocer los relatos en los que se basan. ???????? El mundo clásico Entender la mentalidad de los griegos y los romanos requiere entender los mitos alrededor de los cuales se basaban sus vidas. También el filólogo clásico, como lingüista, ha de conocer estas historias.

Que prevalezca el amor por encima del capitalismo... --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

On Saturday, May 19, 2018, performer and songwriter Martha Wainwright shared her distinctive voice and arsenal of powerful songs in the Hawthorne Barn in Provincetown, Mass. The solo performance featured her on an acoustic guitar, performing new and old material, including fan favorites "Bloody Mother Fucking Asshole" and "Proserpina," and telling intimate stories along the way. Martha, who is the daughter of folk legends Kate McGarrigle and Loudon Wainwright III, is currently finishing up a book titled Stories I Might Regret Telling You, which, like her songs, is a window into her life without artifice, pretension, or fakery. You can watch the full video of this event and more at https://www.20summers.org/videos.

Muestra de grabación profesional

Mezzosopran/Alt, Lied, Konzert, Oper: barocke und zeitgenössische Musik;        experimentelles Musiktheater (Mathis Nitschke). Eigene Konzertreihe: kunst.salon auf wanderschaft (zusammen mit Monika Lichtenegger und Michel Watzinger): Musik und Literatur verbinden, neue Interpretationen und Kompositionen anregen. Mitglied der Gruppe 3Gesang (mit Ruth Geiersberger, Performance, und Georg Glasl, Zither): Verbindung von zeitgenössischer und bayr. Volksmusik Dozentin für Ariengestaltung am Masterstudiengang Musiktheater an der August -Everding-Akademie, München. Stimmbildnerin beim Münchner Mädchenchor Nach der Musikhochschule München nahm sie Engagements an verschiedenen Opernhäusern an, widmete sich aber auch gleichermaßen dem Konzert- und Liedgesang. Die Mezzosopranistin arbeitete mit Dirigenten wie Enoch zu Guttenberg, Helmuth Rilling, Armin Jordan, Alicja Mounk, Paul Goodwin und Constantinos Carydis und war Gast u.a. beim Rheingau-Musikfestival, den Internationalen Festwochen in Stuttgart, dem Osterklang Wien und dem International Festival of Music in Bath/England. Martina Koppelstetter ist eine gefragte Interpretin für zeitgenössische Musik. Sie war wiederholt Gast bei der Münchener Biennale für modernes Musiktheater und trat bei Konzerten der Reihe „das neue werk“ des NDR in Hamburg, beim A.Devantgart-Festival und bei „musica viva“ des BR in München auf, sowie bei den Tagen für Neue Musik in Darmstadt und Witten. Sie gastierte am Stadttheater Klagenfurt, Theater Ulm, Tiroler Landestheater und am Staatstheater am Gärtnerplatz, München, dem Sie von 2003 bis 2007 als Ensemblemitglied angehörte. Dort war sie u.a. als Dorabella, Hänsel, Suzuki, Orlofsky, Nancy und Frau Reich zu hören und arbeitete mit Regisseuren wie Claus Guth, Doris Dörrie und Katharina Wagner. In der Saison 2012/13 debutierte Martina Koppelstetter an der Opéra National de Montpellier mit „What next?“ von E. Carter und „Jetzt“ von Mathis Nitschke, sowie als „Fili“ in Händels „Acis and Galatea“ am Théâtre des Champs-Élysées, Paris, und dem Theater an der Wien. Im Sommer 2015 u.a. erarbeitete sie mit Mathis Nitschke dessen interaktive Kurzoper im öffentlichen Raum „Viola“ in der Titelrolle, im Rahmen des Festivals „pasing by“ in München. Eine Fortsetzung dieses Aufsehen erregenden Konzeptes bildete „Katharina“ im September 2016 im Rahmen von „München dezentral“. (katharina.mathis-nitschke.com). 2017 wird sie in nun die „Maya“ im gleichnamigen Werk des Komponisten verkörpern. Eine enge Zusammenarbeit verbindet die Künstlerin auch mit dem Ensemble für Alte und Neue Musik Così facciamo. Hier war sie als Herzog Polinesso in Händels „Ariodante“ und als Sorceress in „Dido & Aeneas“ von H. Purcell zu hören sowie als Messagiera und Proserpina in „L'Orfeo“ und als Ottavia in „L'incoronazione di Poppea“ von C. Monteverdi. Mit dieser Partie war sie zuletzt 2016 u.a. im Münchener Cuvilliéstheater zu erleben. Zu ihren Einspielungen zählen die „Petite Messe Solennelle“ von Gioacchino Rossini, die „h-moll-Messe“ von Bach, „Der kleine blaue Bergsee“ und „Peter Pan“  von Wilfried Hiller (Deutsche Grammophon) und eine Reihe von Liedaufnahmen mit Werken von R. Schumann, B. Britten, R. Spring und J. Sibelius beim HR und BR. Martina Koppelstetter arbeitet als Gesangspädagogin u.a. beim Münchner Mädchenchor und hat eine Dozentur für Ariengestaltung im Masterstudiengang Musiktheater an der Bayerischen Theaterakademie inne. Buchempfehlung:  „Strudlhofstiege“ von Heimito von Dodoerer   „Alles hat seine Zeit“ Ole Knausgard  „Warum ich fühle, was du fühlst“ Joachim Bauer    Kontakt:  www.koppelstetter.com

Los misterios de Eleusis sirven como telón de fondo para desentrañar otro misterio, quizás no tan grande como el mito griego pero necesario en este diario de confidencias: ¿quién es Uterina? Camila, como si de Hermes se tratara, penetra en los más recóndito de las entrañas del mito que dio lugar a una explicación de las estaciones del año. Ya saben, Démeter pierde a su hija Perséfone raptada y seducida por Hades y coronada como reina de las profundidades. La madre envuelta en su dolor pide a Mercurio que intente rescatarla pero la niña, antes de salir del inframundo, come unos granos de granada y sella su unión con Hades para la eternidad. Al final, llegan a un acuerdo tácito: Démeter y Proserpina pasarán unos meses juntas, que coinciden con la siembra y el esplendor primaveral y otros meses alejadas, momento en el que la tierra se queda baldía.Este episodio de Camila está lleno de narraciones místicas, ritos iniciáticos y experiencias ocultas que acercan el conflicto de lo terrenal y lo divino.

2 parte della Fantasia tra l'antico e il moderno di Pier Maria Rosso di San Secondo. Compagnia di prosa di Roma della Rai diretta da Alberto Casella. Interpreti: Giovanna Scotto, Annibale Ninchi, Olga Villi, Roldano Lupi, Riccardo Cucciolla (Radiouno 1960)

Celebramos dos años y 35 obras comentadas en Arte Compacto tal como rompíamos el hielo en marzo de 2013: con una escena mitológica. Esta vez viajamos hasta Si cilia, a orillas del Lago Percusa, un bucólico escenario para una escena tan desgarradora como El rapto de Proserpina. Este episodio interesó a maestros como Bernini o Rembrandt y explica el origen de las estaciones del año. www.artecompacto.com

Virgil and Ovid were both incredibly influential upon later poetry and culture, and in this lecture we look at some of the texts which look back to their epics in the late antique period through to the Renaissance, in particular Claudian's Rape of Proserpina and Shakespeare's poetry and drama, as well as other creative arts. By looking at the reception of Roman epic we gain some perspective on these ancient works and can appreciate how they were read and interpreted by their European cultural inheritors. Copyright 2014 Rhiannon Evans / La Trobe University, all rights reserved. Contact for permissions.

Virgil and Ovid were both incredibly influential upon later poetry and culture, and in this lecture we look at some of the texts which look back to their epics in the late antique period through to the Renaissance, in particular Claudian's Rape of Proserpina and Shakespeare's poetry and drama, as well as other creative arts. By looking at the reception of Roman epic we gain some perspective on these ancient works and can appreciate how they were read and interpreted by their European cultural inheritors. Copyright 2014 Rhiannon Evans / La Trobe University, all rights reserved. Contact for permissions.

Orfeo ed Euridice - seconda parte:Ipse cava solans aegrum testudine amorem te, dulcis coniunx, te solo in litore secum, te veniente die, te decedente canebat. Taenarias etiam fauces, alta ostia Ditis, et caligantem nigra formidine lucum ingressus manesque adiit regemque tremendum nesciaque humanis precibus mansuescere corda. At cantu commotae Erebi de sedibus imis umbrae ibant tenues simulacraque luce carentum, quam multa in foliis avium se milia condunt vesper ubi aut hibernus agit de montibus imber, matres atque viri defunctaque corpora vita magnanimum heroum, pueri innuptaeque puellae, impositique rogis iuvenes ante ora parentum, quos circum limus niger et deformis harundo Cocyti tardaque palus inamabilis unda alligat et noviens Styx interfusa coercet. Quin ipsae stupuere domus atque intima Leti tartara caeruleosque implexae crinibus angues Eumenides, tenuitque inhians tria Cerberus ora atque Ixionii vento rota constitit orbis. Iamque pedem referens casus evaserat omnes; redditaque Eurydice superas veniebat ad auras, pone sequens, namque hanc dederat Proserpina legem, cum subita incautum dementia cepit amantem, ignoscenda quidem, scirent si ignoscere manes. Restitit Eurydicenque suam iam luce sub ipsa immemor heu! victusque animi respexit. Ibi omnis effusus labor atque immitis rupta tyranni foedera, terque fragor stagnis auditus Avernis. Illa, Quis et me, inquit, miseram et te perdidit, Orpheu, quis tantus furor? En iterum crudelia retro Fata vocant, conditque natantia lumina somnus. Iamque vale: feror ingenti circumdata nocte invalidasque tibi tendens, heu non tua, palmas!