Podcasts about renaissance italian

In this episode I revisit Niccolo Machiavelli through the lens of Erica Benner's biography of the Renaissance Italian thinker, Be Like the Fox. I examine Machiavelli's dedication to the ideals of the Florentine Republic and his opposition to leaders who come to rule by the blessings of Fortune.

In this episode, we are speaking with a highly creative and innovative thinker and leader, Dr. Hilary Link, president of Drew University. Dr. Link brings a unique perspective to university leadership, drawing from her background in Renaissance Italian literature and art. She'll share insights on navigating the challenges of the COVID-19 pandemic, reimagining higher education for the 21st century, and the importance of authentic leadership. From flipped classrooms to a Renaissance-inspired approach to learning, Dr. Link offers fresh ideas for transforming the college experience. She'll also discuss the joys and challenges of being a woman in leadership and her vision for Drew University's future. Keep listening for an inspiring discussion that blends historical wisdom with forward-thinking innovation. Keywords leadership journey, interdisciplinary thinking, perspective, liberal arts education, higher education model, COVID-19 pandemic, communication, collaboration, women leaders, authentic self, innovative institution Takeaways ·       Passions and interests can guide your leadership journey. ·       Having the ability to see things from different perspectives is crucial in leadership. ·       A liberal arts education provides essential skills for navigating a complex world. ·       Higher education needs to be restructured to meet the changing needs of students. ·       Communication and collaboration are key in leading through challenging times. ·       Women leaders should embrace their authentic selves and seek support from their networks. ·       Leaders should be open to shifting their perspective and rethinking traditional models. ·       Drew University aims to be an innovative institution that transforms higher education. Sound Bites ·       "I found my voice literally in another culture and in another language." ·       "I consider myself, and I think the people who have worked with me would say, a very iterative and collaborative decision maker and leader." ·       "The skills and types of knowledge and types of thinking and ability to discern fact from fiction, the ability to communicate across difference, analyze and track to go problems from multiple perspectives. These are all things that a traditional liberal arts education teaches." Chapters 00:00President Link's Leadership Journey 07:43Leadership Philosophy and Approach 16:39The Value of a Liberal Arts Education 22:21Leading Through the COVID-19 Pandemic 29:26Advice for Women Leaders 35:40Rethinking the Higher Education Model 49:11The Future of Drew University

Welcome to Inner Whirled, the new podcast with Dylan Saccoccio and Chance Garton, where we'll be providing deeply researched and well prepared podcasts on Spirit Whirled subjects, the language, symbolism, artifacts and system of the ancient universal priestcraft, all reserved exclusively for our direct supporters. Episode 4 investigates the widespread prevalence of literary fraud amongst Renaissance Italian humanists, such as Poggio Bracciolini and Petrarch. What would it mean for our view of history, if forgery was the rule, rather than exception, when it comes to the literature of Roman and Greek antiquity? What motivated the fad of fabricating archaic manuscripts? And what does it tell us about the foundations of other institutional paradigms in our modern world, if deception can go unchecked and unrecognized? Become a supporter on Patreon or Youtube to unlock the episode:https://www.patreon.com/posts/103034579https://youtu.be/qdiP3H8bxmw TELEGRAM LINKShttps://t.me/innerversepodcasthttps://t.me/innerversepodcastchat GET TUNEDhttps://www.innerversepodcast.com/sound-healing SUPPORT INNERVERSEInnerVerse Merch - https://www.innerversemerch.comTippecanoe Herbs - Use INNERVERSE code at checkout - https://tippecanoeherbs.com/Check out the Spirit Whirled series, narrated by Chance - https://www.innerversepodcast.com/audiobooksDonate on CashApp at $ChanceGartonOrgonite from https://oregon-ite.com - coupon code "innerverse"Buy from Clive de Carle with this link to support InnerVerse with your purchase - https://clivedecarle.ositracker.com/197164/11489The Aquacure AC50 (Use "innerverse" as a coupon code for a discount) - https://eagle-research.com/product/ac50TT Hosted on Acast. See acast.com/privacy for more information.

Yale University Press has published a catalog highlighting rarely-seen drawings and prints by the pre-eminent Renaissance Italian painter, Botticelli. Book critic Joan Baum has this review.

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. 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

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu.

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

***Please excuse my voice - I recorded this towards the end of a several weeks-long illness!***What is the difference between late medieval and early Renaissance Italian painting? Dr. Philip LeBoit knows! (find out how!) (I still don't know the actual answer....) Dr. Philip LeBoit is Professor of Pathology and Dermatology as well as Division Chief of the Dermatopathology Service at the University of California, San Francisco. He founded the UCSF Dermatopathology and Oral Pathology Service in 1987. He trained in Anatomic Pathology at University of California, San Francisco and then in Dermatopathology at New York University under Dr. Bernard Ackerman and at New York Hospital-Cornell Medical Center under Dr. N. Scott McNutt. He has written several academic textbooks, including one of my favorites with Dr. Guido Massi, Histologic Diagnosis of Nevi and Melanoma. He was editor-in-chief of the American Journal of Dermatopathology from 1997-2006 and an associate editor of the Journal of Investigative Dermatology.

You and your ancestor from 1,000 years ago have almost nothing in common. Your clothes are different. Your worship rituals are different. Your thoughts about the opposite sex are definitely different. Almost the only similarity is that both of you are driven to obtain food. In fact, one could say that civilization itself began in the quest for food. In this episode, Professor Ken Albala of the University of the Pacific puts the subject of food and its importance in history on the table. Ken has studied widely on the types of cuisine that would be featured at a Roman feast, a medieval banquet, or a Renaissance Italian civic celebration. He's ground Italian flour to make the sort of bread one would eat in Pompeii. He's made stewed rabbit in a homemade clay pot the way an Elizabethean peasant would. He hasn't tried field-mouse-on-a-stick (a popular Roman delicacy) but probably not for lack of trying. We discuss how Roman food reflected social rank, wealth, and sophistication; why the Middle Ages produced some of history's most outlandish and theatrical presentations of food, such as gilded boars' heads, “invented” creatures, mixing parts of different animals; and cooked peacocks spewing flames; modern foody gastronomy; and finally, one of my favorite desserts, Turkish Chicken pudding.

Episode #71 A medieval swordsman, whaaaaaaaaat? This was an incredible conversation with Dr. Guy Windsor who studies and teaches medieval and renaissance martial arts. This conversation was not long enough! Check out his podcast The Sword Guy: https://swordschool.com/podcast/ From his website: I am a consulting swordsman, teacher, and writer. I research and teach medieval and Renaissance Italian swordsmanship (I have a PhD in recreating historical martial arts), blog about it, write books about it, have developed a card game to teach it (which involved founding another company, and crowdfunding), and run Swordschool.   https://guywindsor.net/   Music for all episodes by Jon Griffin. My YouTube channel: https://www.youtube.com/channel/UCugOLERePPuD4nwtZO-Zwnw?view_as=subscriber My Instagram: @joelyshmoley and @slideswithjohn FaceBook: https://www.facebook.com/wereyoustilltalking/   Twitter: @JoelAAlbrecht   #Podcasting #medievalmartialarts #guywindsor #swordsman #swordschool

This is the first in a new series of podcasts. Long time listeners will remember that when my book Daniel Morgan: A Revolutionary Life was published, I did a number of podcasts with experts delving into aspects of Daniel Morgan's life—from the place where he lived, to how he was flogged, to the rifles that he carried. But I thought that this was unsatisfactory for a podcast called “Historically Thinking”. It's the conversations that historians have before they write a book that show how a research project comes together, and how historical thinking gets done. So, in something of a leap of faith, I'm going to have conversations with other historians on topics that apply to a project that I'm now working on…more about that, perhaps, at the end of our conversation. In effect I'm doing podcasts on spec, which fills me with superstitious dread.  My guest today Mark Anderson, author of Down the Warpath to the Cedars: Indians' First Battles in the Revolution. It's a fascinating study of native politics, diplomacy, and war on the Canadian border during the first year of the American Revolution, a politics which would have confused a Renaissance Italian diplomat. Mark has previously written The Battle for the Fourteenth Colony: America's War of Liberation in Canada, 1774-1776. In a previous life, before establishing himself as one of the few American authorities on revolutionary-era Canada, he was an officer in the United States Air Force.  

Historical Martial Arts are a combination of the study of historical texts and martial arts. They involve swordsmanship, other weaponry and hand to hand combat styles. I talk to Guy Windsor to get the lowdown on HMA and how he uses history to develop and teach swordsmanship. Guy has been fundamental in the development of HMA. He is a consulting swordsman, teacher, and writer. He researches and teaches medieval and Renaissance Italian swordsmanship, and has a PhD in recreating historical martial arts. He also runs The School of European Swordsmanship Guy has written a large number of books on the subject. For a good overview I'd suggest starting with The Theory and Practice of Historical Martial Arts

Ziya Tong is "one of the world's most engaging science journalists" and after co-hosting Discovery Canada's Daily Planet television program for ten years, she wrote her first book, The Reality Bubble. It's a veil-removing tour-de-force, filled with wonder, rigour and a powerful thesis about our role in the world and how we are often blinded, sometimes by our own choice, from what on earth is really going on. Ben is in Toronto to chat with Ziya about The Reality Bubble and so much more. About the Guest Award-winning host Ziya Tong has been sharing her passion for science, nature and technology for almost two decades. Best known as the co-host of Daily Planet, Discovery Canada’s flagship science program, she brings a wealth of knowledge, experience, and enthusiasm to the stage. Tong speaks on leadership, how to shift perspective, and the role of science and technology in society in her riveting and eye-opening talks. Before co-hosting Daily Planet, Tong served as host and field producer for PBS’ national primetime series, Wired Science, produced in conjunction with Wired magazine. In Canada, Tong hosted CBC’s Emmy-nominated series ZeD, a pioneer of open source television, for which she was nominated for a Gemini Viewer’s Choice Award. Tong also served as host, writer, and director for the Canadian science series, The Leading Edge and as a correspondent for NOVA scienceNOW alongside Neil deGrasse Tyson on PBS. In the spring of 2019, she participated in CBC’s annual “battle of the books.” After a national four-day debate, she won Canada Reads. In May 2019, Tong released her bestselling book The Reality Bubble. Called “ground-breaking” and “wonder-filled”, the book has been compared to The Matrix. It takes readers on a journey through the hidden things that shape our lives in unexpected and sometimes dangerous ways. Tong received her Masters degree in communications from McGill University, where she graduated on the Dean’s Honour List. She currently serves on the Board of Directors of the World Wildlife Fund and is the founder of Black Sheep. Learn more about Ziya or follow her on Twitter (@ziyatong). Mentioned in this Conversation Henrik Ibsen (1828-1906), Norwegian writer Lebenswelt, a German word roughly translating to "lifeworld" Tom Robbins, American novelist Extinction Rebellion, a global climate movement Greta Thunberg, Swedish environmental activist Galileo Galilei, Renaissance Italian scientist Yuval Noah Harari, Israeli historian The Righteous Mind: Why Good People Are Divided by Politics and Religion by Jonathan Haidt The Animal People, a 2019 documentary The Matrix, a 1999 film The Interpreter, a series and newsletter from The New York Times "Irony poisoning", an emerging social concept Nav Bhatia, the Toronto Rapots "superfan" The "Beer Summit", a 2009 White House meeting arranged by US President Obama between Harvard Professor Henry Louis Gates and the police officer who arrested him, Sgt. James Crowley, allegedly because of racial profiling Sarah Bernhardt (1844-1923), French stage actress Ghostbusters, a 1984 science fiction comedy film Bertrand Russell (1872-1970), British philosopher The Quote of the Week "We have the technological lenses to see into vast distances of outer space, to see the tiniest microscopic organisms, to see right through the human body, to see the very atoms that make up the material world. But there is one fundamental thing that we do not see. When it comes to how our species survives, we are utterly blind." - From The Reality Bubble by Ziya Tong

During his inaugural lecture, Professor Gilson will show how ideas about vision and cognate faculties such as the wits and the imagination are central to Dante’s masterpiece, the Commedia. Understanding these concerns helps us to appreciate not only how his narrative is structured and enlivened but also raises fundamental questions about the poem’s status, ultimate themes and messages. Simon Gilson Agnelli-Serena Professor of Italian Studies at the University of Oxford and a fellow of Magdalen College. He works on Dante and Renaissance Italian literary, cultural and intellectual history. He has published widely on Dante, literary criticism in Renaissance Italy, and the relations between science, philosophy and literary culture in medieval and Renaissance Italy.

In this episode, we’re joined by scholars Bill Wallace and Isabella Magni to dissect a letter written by Michelangelo in 1545. But we’re less interested in what the letter says than in the way it was written. What does Michelangelo’s style of handwriting reveal about who he was as an artist and how he saw himself in Renaissance Italian society? 

In this episode, Christy Callaway-Gale (DPhil Student, Medieval and Modern Languages) examines a Renaissance Italian perfume burner to discover the sensory world of disease. Further reading: https://www.talkingsenseoxford.com/podcast. Originally delivered as the first half of a gallery talk in partnership with Amélie Bonney (DPhil Student, History of Science). Listen to Episode 4 for the second half of the talk.

How exactly has Donald J. Trump maintained control of America for this long with so much against him? Well he may have stumbled into it, or he is an adept reader of Renaissance Italian political treatises. Either way, he’s a folk hero on his greatest adventure yet. He’s also orange.

In this edition of Melbourne Recital Centre's Soundescapes podcast: How have the acoustics of buildings shaped the style of music that is composed and performed within them? In essence, how does space shape sound? Join acoustician Cameron Hough from ARUP and Ensemble Gombert in this special talks event live from Elisabeth Murdoch Hall. Topics explored in this podcast include how church music changed from plainsong to polyphony in the reverberant acoustic of Renaissance Italian churches, to the contrapuntal cantatas by Bach in the drier acoustic of German churches. How the different acoustics of the Eisenstadt Palace and the Hanover Square Rooms influenced Haydn’s writing in his symphonies, and how Wagner created a completely new sound-world for opera in his new theatre at Bayreuth.

Gretchen Menn stops in for our last interview of the year. We talk composition, practice, gear, Renaissance Italian literature and oh yeah guitar. Check out her podcast with Nili Brosh: https://www.youtube.com/watch?v=nCLXkZooShc In Pedal Talk we break down our pics for pedals of 2017 and Jon goes nuts with reverb. As always What we have been listening to and what we have been working on. Plus the usual banter you expect. Big plans for us for the new year so enjoy the Holidays and Stay Sharp! All the socials Patreon: https://www.patreon.com/SharpenThatAxe FB: https://www.facebook.com/Sharpen-That-Axe-Podcast-779600132187413/ Twitter: https://twitter.com/SharpenThatAxe?lang=en Soundcloud: https://soundcloud.com/user-154377324 Youtube: https://www.youtube.com/channel/UCj5zraw3mlxIb5JT70MwKpg email: sharpenthataxe@gmail.com iTunes: https://itunes.apple.com/us/podcast/sharpen-that-axe/id1236262099?mt=2 Stitcher: http://www.stitcher.com/podcast/sharpen-that-axe

You and your ancestor from 1,000 years ago have almost nothing in common. Your clothes are different. Your worship rituals are different. Your thoughts about the opposite sex are definitely different. Almost the only similarity is that both of you are driven to obtain food. In fact, one could say that civilization itself began in the quest for food. Epicure Jean-Anthelme Brillat-Savarin said it best: “Gastronomy governs the whole life of man.” In this episode, Professor Ken Albala of the University of the Pacific puts the subject of food and its importance in history on the table. Ken has studied widely on the types of cuisine that would be featured at a Roman feast, a medieval banquet, or a Renaissance Italian civic celebration. He’s ground Italian flour to make the sort of bread one would eat in Pompeii. He’s made stewed rabbit in a homemade clay pot the way an Elizabethean peasant would. He hasn’t tried field-mouse-on-a-stick (a popular Roman delicacy) but probably not for lack of trying. In this episode we discuss How Roman food reflected social rank, wealth, and sophistication The Middle Ages produced some of history’s most outlandish and theatrical presentations of food, such as gilded boars’ heads; “invented” creatures, mixing parts of different animals; and cooked peacocks spewing flames. The sophistication and complexity of Renaissance-era food culture in the writings of Platina, Ficino, and Messisbugo, and the extravagance of banquets at the court of Ferrara. The aesthetics of French 17th-century cookery, based in refinement and pureness of flavors and study four Gallic cookbooks that revolutionized culinary history. In the 21st century, the phenomenon of “molecular gastronomy”—technology-enhanced food creations designed to titillate and amaze the palate.

Dario Del Puppo, Professor of Language and Culture Studies at Trinity College, sits down with Kevin MacDermott on this episode of the Trinity Faculty Profile podcast series. Follow @FacultyProfile on Twitter Dario Del Puppo is Professor of Language and Culture Studies. Besides teaching all levels of Italian language, he teaches courses on Dante’s Divine Comedy, surveys of Italian literature from the Middle Ages to the present, Food in Italian History, Society, & Art, Italian Cinema, and a course on the history of manuscripts and books from Greek and Roman Antiquity to the age of electronic texts. In all of these courses, Del Puppo encourages students to consider the way cultural phenomena have been transmitted through the ages and students frequently learn about the material formats of literary texts and how that influences interpretation and reception. His research deals primarily with the manuscripts and early printed books of Medieval and Renaissance Italian literature and, more broadly, with popular and material culture in Italy during the 14th-16th centuries. He also has a longstanding research interest in the Romantic poet, Giacomo Leopardi. Del Puppo is currently working on a book project “Poets, Scribes, and Enterprising Readers in Quattrocento Florence” which examines the development of vernacular literary culture before and at the time of the invention of the printing press. He is also Chairman of the Barbieri Endowment for Italian Culture which organizes lectures, exhibits, and performances dealing with all facets of Italian culture.

Curator Peter Benson Miller introduces special exhibition Philip Guston, Roma, on view at The Phillips Collection Feb. 12 through May 15, 2011. Philip Guston, Roma brings together for the first time 39 paintings from Philip Guston's Roma series, produced during his six months as artist-in-residence at the American Academy in Rome in 1970--71. Saturated in deep pinks and salmons, Guston's cartoon-like pictures evoke numerous aspects of the ancient and modern Roman cityscape and Italian art and culture, from the films of Federico Fellini to the works of both modern and Renaissance Italian artists. The Roma paintings mark a pivotal time in Guston's career. Guston (1913--80), whose abstractions in the 1950s and 1960s won him critical acclaim, was a leading figure in the New York School that included such artists as Jackson Pollock, Mark Rothko, and Willem de Kooning. By the late 1960s, however, Guston felt abstraction was no longer viable. Profoundly affected by the social and political upheaval of the 1960s and the shift in the art world toward pop art and minimalism, Guston was determined to reinvent storytelling in modern painting. His initial effort at creating this new figurative vocabulary went on view at New York's Marlborough Gallery just weeks before he left for Rome. These new works, with their sophisticated political satire and self-parody painted in a deliberately clumsy style, stunned the artistic community, which neither understood nor accepted them. As a part of La Dolce DC, a citywide celebration of all things Italian in partnership with the embassy of Italy, Philip Guston, Roma presents a crucial period in the life of a modern American artist inspired and shaped by Italian art and culture, not only during his Roman sojourn in 1971, but throughout his life.

Curator Peter Benson Miller introduces special exhibition Philip Guston, Roma, on view at The Phillips Collection Feb. 12 through May 15, 2011. Philip Guston, Roma brings together for the first time 39 paintings from Philip Guston's Roma series, produced during his six months as artist-in-residence at the American Academy in Rome in 1970--71. Saturated in deep pinks and salmons, Guston's cartoon-like pictures evoke numerous aspects of the ancient and modern Roman cityscape and Italian art and culture, from the films of Federico Fellini to the works of both modern and Renaissance Italian artists. The Roma paintings mark a pivotal time in Guston's career. Guston (1913--80), whose abstractions in the 1950s and 1960s won him critical acclaim, was a leading figure in the New York School that included such artists as Jackson Pollock, Mark Rothko, and Willem de Kooning. By the late 1960s, however, Guston felt abstraction was no longer viable. Profoundly affected by the social and political upheaval of the 1960s and the shift in the art world toward pop art and minimalism, Guston was determined to reinvent storytelling in modern painting. His initial effort at creating this new figurative vocabulary went on view at New York's Marlborough Gallery just weeks before he left for Rome. These new works, with their sophisticated political satire and self-parody painted in a deliberately clumsy style, stunned the artistic community, which neither understood nor accepted them. As a part of La Dolce DC, a citywide celebration of all things Italian in partnership with the embassy of Italy, Philip Guston, Roma presents a crucial period in the life of a modern American artist inspired and shaped by Italian art and culture, not only during his Roman sojourn in 1971, but throughout his life.