Podcasts about rereading

Now that our pilgrim Dante is standing in the moon, he has a fundamental question: Why are there spots on the moon?And he thinks he knows the answer, right out of natural philosophy. They're caused by rare and dense material in the moon.He's asking a question for which he knows the answer, trying to play teacher's pet. But Beatrice is having none of it. She's ready to show him how he's not as smart as he thinks he is.Join me, Mark Scarbrough, as we begin our descent into some of the most complicated material in all of COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:14] My English translation of PARADISO, Canto II, Lines 46 - 63. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[02:57] Two small thematic details: the uses of the word "body" and Beatrice's watery metaphor of "submerged."[06:02] Two of three explanations for moon spots in this canto: 1) the folkloric myth and 2) the natural philosophy deduction.[07:57] Folklore: Cain and his thorns in the moon.[09:21] Natural philosophy: rare and dense materials (and how they reflect light).[12:54] The distance Beatrice puts between her arguments (to come) and 1) sensory input and 2) reason . . . and thereby Virgil.[17:07] Diversity and a pluralistic world.[19:07] Rereading the passage: PARADISO, Canto II, lines 46 - 63.

After Dante's warning to his readers (or perhaps some of his readers), we return to the plot, ascending through the heavens to arrive at the moon . . . or really, in the moon.Dante and Beatrice find themselves inside this translucent pearl in the heavens.And in so doing, Dante proves the incarnation really happened . . . at least, if you accept that his journey really happened.Join me, Mark Scarbrough, as we explore the first of several complex passages in the second canto of PARADISO.If you'd like to support this work, please consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:11] My English translation of PARADISO, Canto I, lines 19 - 45. If you'd like to read along or continue the conversation with me, find the entry for this episode on my website, markscarbrough.com.[03:12] Backgrounds: A brief history of "natural philosophy" in Dante's day.[07:29] Backgrounds: The incarnation, of the prime methods of redemption for Dante.[10:10] A thought experiment: the universe as a diaphanous, aesthetic object.[12:20] The journey into the universe . . . or mystery (without spoilers).[14:16] Hysteron proteron: the rhetorical flourish of PARADISO and the ultimate structure of COMEDY.[17:16] Lots of joinings here and in Canto I, all anticipating the incarnation.[18:37] The complex symbolism of the moon as a pearl.[21:27] The incarnation in the foreground of the narrative.[24:17] Dante's journey as proof of the incarnation.[26:37] Rereading the passage: PARADISO, Canto II, lines 19 - 45.

Our poet steps out of the shadows with an important message: "Go home."Because PARADISO is hard. Because we might get lost. Because we're not prepared.The stark address to all readers--or perhaps to a much more limited set of specialty readers--that opens Canto II is one of the most unusual moments in COMEDY. When does an author ever warn his readers to stay away?Join me, Mark Scarbrough, as we attempt to find a way survive with the other Argonauts as our Jason begins to plow his own field.Consider supporting this work with a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:04] My English translation of PARADISO, Canto II, lines 1 - 18. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[02:41] Introductory remarks: Don't skip this canto but don't be too optimistic.[05:10] The rhetoric of the new: PARADISO is not Virgil, not Statius, not the Apocalypse of St John, not PURGATORIO, not INFERNO, and not the CONVIVIO.[10:08] The bread of angels: the Eucharist, theological study, or something less well defined?[12:11] Jason, the Argonauts, and the rewriting of Ovid's METAMORPHOSIS.[15:25] An address to any reader or an address to a more limited audience, like fellow poets?[19:41] The grace of partial understanding with metonymies.[23:19] Rereading the passage: PARADISO, Canto II, lines 1 - 18.

If you enjoy this episode, we're sure you will enjoy more content like this on The Occult Rejects.  In fact, we have curated playlists on occult topics like grimoires, esoteric concepts and phenomena, occult history, analyzing true crime and cults with an occult lens, Para politics, and occultism in music. Whether you enjoy consuming your content visually or via audio, we've got you covered - and it will always be provided free of charge.  So, if you enjoy what we do and want to support our work of providing accessible, free content on various platforms, please consider making a donation to the links provided below.  Thank you and enjoy the episode!Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Cash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsPrimary sourcesIrenaeus. Against Heresies 1.28. Best early witness for the Encratites' rejection of marriage and animal food. Accessible English text online.Eusebius of Caesarea. Ecclesiastical History 4.28–29. Key source for Tatian, Musanus, and the Severians. Accessible English text online.Clement of Alexandria. Stromata 3. Essential for anti-Encratite argument, marriage/continence debates, Cassianus, and use of the Gospel according to the Egyptians. Accessible English text online.Hippolytus. Refutation of All Heresies 8. Useful for Tatian's reputation, abstinence, and sectarian framing. Accessible English text online.Basil of Caesarea. Letter 188. Important later witness showing Encratites still mattered canonically in the fourth century. Accessible English text online.Synod of Gangra (especially Canons 1–2). Important for the later church's rejection of condemning marriage and condemning meat-eating Christians. Accessible English text online.Tatian. Address to the Greeks. Useful for Tatian's tone, worldview, and severity, even if it is not itself the main Encratite text. Modern Cambridge edition available.Acts of Thomas. Important for the wider encratite ascetic imagination and later patristic memory of the text's Encratite character.Gospel according to the Egyptians (fragments preserved in Clement, Stromata 3). Important for Salome sayings, celibacy discourse, and the wider anti-marriage textual world.Modern scholarshipGuffey, Andrew R. “Motivations for Encratite Practices in Early Christian Literature.” Journal of Theological Studies 65, no. 2 (2014): 515–549. Probably the single best focused article for your episode. It is especially useful on motives, mixed origins, and why Encratite practice cannot be reduced to one simple cause.Litwa, M. David. Early Christianity in Alexandria: From its Beginnings to the Late Second Century. Cambridge: Cambridge University Press, 2023. Use especially Chapter 8, “Julius Cassianus and Alexandrian Ascetic Culture.” Very useful for Cassianus and Alexandrian radical continence.Crawford, Matthew R. “The Diatessaron, Canonical or Non-canonical? Rereading the Dura Fragment.” New Testament Studies (2016). Strong on Tatian's Gospel harmony, its reception, and the Syriac afterlife of the Diatessaron.McCarthy, Carmel, trans. Saint Ephrem's Commentary on Tatian's Diatessaron: An English Translation of Chester Beatty Syriac MS 709. Journal of Semitic Studies Supplement 2. Oxford: Oxford University Press, 1993. Useful if you want to lean harder into the Syriac legacy of Tatian.Petersen, William L. Tatian's Diatessaron: Its Creation, Dissemination, Significance, and History in Scholarship. Supplements to Vigiliae Christianae 25. Leiden: Brill, 1994. Still an important specialist study for Tatian and the Diatessaron.“The Syriac Versions.” In an Oxford Academic volume on the Syriac New Testament tradition. Useful for concise background on Tatian's Diatessaron in Syriac Christianity.“The Earliest Syriac Literature.” In The Cambridge History of Early Christian Literature. Helpful for placing Tatian inside the broader Syriac literary and ascetic world.Also want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. 

Beatrice continues in her discourse about our natural instincts, making the bold claim that they can lead us to our natural ends . . . which are the good, not the catastrophic bad.Her Scholastic theology is tinted with poetic metaphors in a bold move to explain how the arrow, once shot, can deviate from its preordained track.Join me, Mark Scarbrough, for the conclusion of Beatrice's first major discourse in PARADISO.Here are the segments for this episode of WALKING WITH DANTE:[01:39] My English translation of PARADISO, Canto I, Lines 115 - 142. To read along or continue the conversation about this passage, please find the entry for this podcast episode on my website, markscarbrough.com.[03:50] Paraphrasing Beatrice's discourse on instinct, order, and ends.[06:41] Keeping the instinct to a predetermined end fuzzy.[09:29] Highlighting Beatrice's poetics in two metaphors: archery and art.[14:43] Swerving with the lightning.[16:02] Drawing further conclusions from Beatrice's first major discourse in PARADISO.[21:05] Rereading the passage: PARADISO, Canto I, lines 115 - 142.

Beatrice has answered Dante's first doubt, but he has another. He can't quite understand how he, maybe in his body, can make his way across the universe.She doesn't have a quick answer. Instead, she has a theory of how the whole universe works.Her answers are always bigger than his questions.And in this case, she brings him out onto the great sea of "to be" as he begins to sail into port.Join me, Mark Scarbrough, as we explore the first part of her great schematic for the universe: its diverse order is a reflection of its unified creator.If you'd like to support this work, consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:14] My English translation of PARADISO, Canto I, Lines 94 - 114. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[03:14] Dante's agitation, Beatrice's smile.[10:00] His implicit question: my body v. all the heavenly bodies.[13:25] The first part of her answer about the orderliness of creation.[20:10] Order and disorder: Dante's and our dualities.[23:43] Rereading the passage: PARADISO, Canto I, lines 94 - 114.

The plot gets underway in PARADISO.Our pilgrim Dante turns to Beatrice . . . who is paying him no attention. She's staring at the sun.So he does the same! He hasn't even left earth, yet the miraculous nature of his story is already in high gear.As is his understanding of the universe ahead of him. Join me, Mark Scarbrough, as we experience Beatrice's return to the poem and the pilgrim's new mode of reflecting her glory.If you'd like to help underwrite this work, please consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of PARADISO, Canto I, Lines 37 - 60. If you'd like to read along or continue the conversation with me through a comment on this episode, please find its entry on my website, markscarbrough.com.[03:23] In PARADISO plot comes second.[06:06] Where are we? Cosmology and geography in the first three tercets.[12:26] Dante explains the vernal equinox by the geocentric crossings of various circles around the globe.[16:16] PARADISO is based on locations that its readers can observe in real time.[19:18] Beatrice returns to the poem and manifests her ray of light.[26:07] The pilgrim wishes to return home--but where is that?[28:21] PARADISO excels at unanswered questions.[30:24] The sparks fly from the sun . . . or from the sphere of fire.[34:00] Rereading the passage: PARADISO, Canto I, lines 37 - 60.

"It's textbook Rereading the Revolution."Our listeners have been clamoring for us to read Fallen (Lauren Kate, 2009) since our infamous Hush, Hush episode came out. Daphne and Kellie are joined by special guest Thya Leger to take on more fallen angels posing as high schoolers and bravely ask the question of what's worse--the impending Biblical apocalypse or getting meatloaf in smashed your hair as a vegetarian?Follow Thya!Instagram: https://www.instagram.com/wiltedpages/TikTok: https://www.tiktok.com/@wiltedpagesWebsite: https://wiltedpages.wordpress.com/Follow us on social media @rereadingtherevolution for updates and bonus content! Hosted on Acast. See acast.com/privacy for more information.

Our poet moves from his scholastic and even (medieval) scientific opening of PARADISO into his invocation . . . to Apollo?This passage has often embarrassed Dante scholars who feel the need to excuse various pieces of it.But we can let those pieces stand as part of the polyvocality of the text.Join me, Mark Scarbrough, as we move back and forth from the Christian to the pagan as we walk through this second part of Dante's opening lines of PARADISO.Here are the segments for this episode of WALKING WITH DANTE:[01:11] My English translation of PARADISO, Canto I, Lines 13 - 36. If you'd like to read along or continue the conversation with me via a comment on this episode, please find its entry on my website, markscarbrough.com.[03:09] This passage embarrasses too many Dante scholars.[09:14] This passage is polyvocal, a two-part fugue or invention.[17:59] These two voices lead to dissonances in the passage.[23:36] Did Dante intend these dissonances?[25:20] Three small dissonances: Dante crowns himself, fights in an arena, and find his worth in two places at once.[28:32] Marsyas, a comedic tragedy.[32:01] The flame of the tongue, Pentecost, or maybe Ulysses.[34:48] A high-toned, perhaps red-flag reference to Cyrrha.[35:55] An inaccurate but telling reference to Parnassus.[39:07] Rereading the passage: PARADISO, Canto I, lines 13 - 36.

What is it that actually forms our inner reality? Our values, our perspective, our judgment, our understanding of wisdom about the issues that really matter? What difference does that make in Christian character formation? The American church consistently produces fruit that many of its own leaders either don't recognize, don't want, or disapprove of. Under- and malformed Christian people reflect a grounding in the surrounding culture rather than the character and love and gospel of Jesus Christ. In this episode, author, professor, and consultant Tod Bolsinger argues that culture is the thing that forms you before you ever realize it, let alone consent to it. He suggests that the soil of community and belonging—rooted in attachment, vulnerability, trust, and joy—is what makes sense of exemplary models of Christian formation. "If you wanna grow good fruit—abundant harvests of good fruit—you don't focus on the fruit, you focus on the soil." With Mark Labberton, Tod reflects on the agricultural model of spiritual formation; regenerative farming and the impact of soil health on the quality of the fruit; the example of Andre Trocme and the French Huguenots of Le Chambon-sur-Lignon, village whose radical hospitality saved thousands of Jews during the Holocaust; trust, pain, and care The intentionally formative community: joyful belonging, shared values, vulnerable self-reflection, care that isn't comfort. Episode Highlights "There are no dysfunctional systems. They all produce." "These people just lived out their faith." "The precognitive and the unconscious realities of our life are stronger than our words." "Nothing is as formative as the organizational culture you're in." About Tod Bolsinger Tod Bolsinger is co-founder and principal of AE Sloan Leadership, a coaching and consulting firm working with churches, nonprofits, universities, and businesses in seasons of change. He is associate professor of leadership formation at Fuller Theological Seminary, where he earned an MDiv and PhD and served six years as a vice president. His books include "Canoeing the Mountains," "Tempered Resilience," "It Takes a Church to Raise a Christian," and the four-volume Practicing Change Series. He was a Presbyterian pastor for 27 years, most recently in San Clemente, California. Helpful Links and Resources Tod's current project, Good Soil, Holy Ground: Preparing Your People for Facing Change https://www.aesloanleadership.com/good-soil-holy-ground  AE Sloan Leadership, Tod Bolsinger's coaching and consulting firm: https://www.aesloanleadership.com/ Canoeing the Mountains, Bolsinger's best-known book: https://www.ivpress.com/canoeing-the-mountains Tempered Resilience: How Leaders Are Formed in the Crucible of Change: https://www.ivpress.com/tempered-resilience The Practicing Change Series, Bolsinger's four most recent books: https://www.ivpress.com/practicing-change-serie The Biggest Little Farm: https://www.apricotlanefarms.com/biggest-little-farm/ Weapons of the Spirit, Pierre Sauvage's documentary on Le Chambon-sur-Lignon (from the Chambon Foundation): https://www.chambon.org/weapons_en.htm The Patient Ferment of the Early Church by Alan Kreider: https://bakerpublishinggroup.com/books/the-patient-ferment-of-the-early-church/339350 An Everyone Culture by Robert Kegan and Lisa Laskow Lahey, on deliberately developmental organizations: https://store.hbr.org/product/an-everyone-culture-becoming-a-deliberately-developmental-organization/14259 Show Notes Dallas Willard's worry: that spiritual formation would become commoditized—"a cottage industry instead of rooted deeply in the life of the church" "We take on the terroir of the soil, like the way a grape does for wine." "The Biggest Little Farm" documentary: how regenerative agriculture transformed a soil-depleted farm north of Los Angeles "If you wanna grow good fruit—abundant harvests of good fruit—you don't focus on the fruit, you focus on the soil" Rereading the parable of the sower "Jesus literally says that more powerful than his preaching is the soil that the word falls into." Systems perfectly designed for the results they get: "There are no dysfunctional systems. they all produce." No church ever started a program in Christian nationalism, no associate pastor, no strategic plan. "It just came up out of the soil." "Weapons of the Spirit" documentary: Le Chambon-sur-Lignon: How French pastor Andre Trocme led a small village of Huguenots to save thousands of Jewish refugees during the Holocaust. The pastors daughter, at age 93, on being told her parents were heroes: "You're very romantic about this. These people just lived out their faith." Counter-cultural cultivation Examples of radical communal formation: Amish forgiveness, Mother Emanuel AME Cultural competency vs. cultural humility Hospitality as the village economy Mother Teresa and entering East Beirut to save children because of (not in spite of) the bombing Brain scientists reaching for a word: "It is to be in a room with people who are happy to see you." "God, please make me the kind of person my dog thinks I am" The intentionally formative community, which "begins in joy, it ends in death" "Trust, pain, and care": Kegan and Lahey's deliberately developmental organizations, and the three words in the word cloud Are university theology faculty equipped to provide pastoral care to hurting, traumatized students? #SpiritualFormation #Discipleship #ChristianLeadership #LeChambon #AdaptiveLeadership #ChurchLeadership #ChristianNationalism #Fuller Production Credits Conversing is produced and distributed in partnership with Comment Magazine and Fuller Seminary.

Lords: Tyriq https://store.steampowered.com/app/3276700/Scrubbin_Trubble/ Linker https://linker.itch.io/ Topics: Favourite piece(s) of Greek mythology/history related media The accordion children of BART Esper says: "When I lived in Washington there was a guy with one who would ask for money outside the grocery store quite a bit. He'd have a full setup, accordion, speakers, sheet music, the whole deal. I saw him out there for probably two years before someone pointed out there's no such thing as an electric accordion; he was just playing CDs through the speaker and pretending to perform the whole time. Genius grift." Adult Arnold Palmer Batman's Aff His Nut by Robert Florence https://www.reddit.com/r/Poetry/comments/10hy8nv/poem_batmans_aff_his_nut_by_robert_florence/ https://sco.wikipedia.org/wiki/Frog Do animals have pareidolia particular to their own instincts? Childhood obsessions that we circled back to in adulthood Microtopics: Mym's Sword What does a dog need with a sword? Elephantasy but it's a roguelike. Whether PiCoSteveMo counts as a conference. Waiting until you've forgotten what happens to reread a book. Refusing to reconsume any media. Rereading a book now that you are a different person. Works that you can't scrute. Katabasis: the state of being katabasal. Reading a novel about Greek mythology and recognizing that boss you fought in Hades. PEBCAKing it because you forgot to PEMDAS it. Jason and the Argonauts, with those fun stop motion skeletons. The wine-dark sea. Plinth fans. Neoclassical: it's too new. Inventing columns and getting really excited about it. Making a log cabin out of Greek columns. Buskers bringing a boom box on a train and proceeding to pop and lock. A real kid-looking kid holding an accordion, ready to bust some notes. Evan the accordion-master. According squeezing patterns. Hunting and pecking on the piano. Hand and limb separation. The lute as a shitty guitar. Playing piano vs. playing around on a piano. Having a piano-shaped set of notes in your head and trying to localize it onto a guitar. Too Sparse for Buskers. Performance vs. Rigamarole. Seeing a new genre of busker. Thumbing a hundred bucks to save the clock tower. Situations where you're socially obligated to drink a glass of lemon juice. Sour Screams and other flavor sounds. Being a grownup and having to wear a suit and tie and drink horrible drinks and drive a 6000 pound death machine. The kid the DMV pays to run out in front of you when you're taking your driving test, and whether you're supposed to tip him. Learning to drive and realizing that driving is fun, and then realizing that this is terrible because nobody should do this incredibly unsafe activity for fun. Using your fidget spinner to help you focus better while driving. Do you ever look at the world and feel like it? Scots Wikipedia. Frogs biding with their long shanks. Having a good Scottish accent because you have a theater degree and watched Shrek over and over. Predators who like to go for the neck seeing necks everywhere, like humans see faces everywhere. The Hello Crow. Birds that like to make chainsaw noises. Hunters hunting things that look like the thing they they hunt. Bees that think you are an enormous flower. Wasps that can't tell you're made of meat because your shirt is covering up your meat. Re-enjoying your childhood Legos. Making the Lego/Legos distinction on purpose. Lego vs. Legoids. Growing up a K'nex kid and making the K'nex Rollercoaster. Overconsuming root beer. One of the tamed microbes. Building things with Legos with your child. Making sense out of the random pieces. You say Lego, I say let go of me, let's call the whole thing off.

From its opening lines, it's clear that PARADISO is not like what has come before in COMEDY. Dante seems to be renegotiating the terms of his poem, establishing a new voice, a new model, and a new methodology for who he will proceed.These opening lines are already packed with the sort of theological and philosophical stumbling blocks that make PARADISO a challenge, not just for a modern reader, but even for a medieval one.Join me, Mark Scarbrough, as we slowly walk throug the first twelve lines of what is assuredly the most imaginative canticle, PARADISO.Here are the segments for this episode of WALKING WITH DANTE:[02:42] My English translation of PARADISO, Canto I, lines 1 - 12. If you'd like to read along, please find the entry for this episode on my website, markscarbrough.com.[03:56] The glory of the unmoved mover.[09:39] The varying illuminations of the universe.[13:27] The finite geography of heaven.[15:54] A passing glance at the highest heaven.[17:34] Dante and St. Paul, renegotiated.[19:25] The interrelations of desire, intellect, memory, and potentially Beatrice.[22:23] The memory of a memory--or knowing by not knowing, the core of the aphophatic revelation.[29:37] The key paradox of the mystical experience: the cross-currents of the material and the immaterial.[33:02] The resurrection of Brunetto Latini.[35:25] Rereading the passage: PARADISO, Canto I, Lines 1 - 12.

Do ya feel lucky? Punk! This week, V and Emily are so, so, sososo delighted by a new-to-them fandom: Harry/Johnny, which is technically -- technically -- the Dirty Harry fandom, but is REALLY just an offshoot of Starsky & Hutch. Created wholecloth by two fannish friends based on a single look in the middle of a movie that is only the second out of five in a series that is Decidedly Not Slashy, Harry/Johnny was a hugely influential slash fandom of the 1980s and WE LOVE IT SO MUCH NOW. Come be totally delighted with us! Sources Fanlore: Harry/Johnny Fanlore: Ruth Kurz Fanlore: July (NSFW) Fanlore: Ad Nauseum Press Fanlore: Dirty Harry Promo Virtual TGIF/F - Our friends at TGI Femslash have just announced a brand-new, online fan con happening this summer. On August 29–30, Virtual TGIF/F will bring femslash fans from around the world together for discussion panels, online events, and more. Registration opens June 1st. Find out more at tgifemslash.com/virtualcon Rereading the Revolution - Whether it was a reaction to the politics of the time or the rapidly approaching end date of the Mayan calendar, the pop-cultural landscape of the early 2010s can be best remembered for one thing: dystopian literature. Join plucky young heroines Daphne and Kellie as they dive into all of your favorite young adult novels and series from this era as we reread the revolution. We lived through it once and are back to recap, review, and discuss all the best and worst that the world-shifting genre of YA fiction has to offer–the sci-fi, the fantasy, and the supernatural–at least until our society crumbles and we have to survive a brave new world. The Pieces - Alright babes, Bimini is here with their very own podcast! Bimini is challenging the world around us and asking how the experiences we've lived have made us the people we are today. From pop stars to politicians, artists and activists, every week Bimini will be unearthing the moments that have shaped their guests' identities, whilst exploring how the world today is impacting the people we are becoming. New episodes drop Tuesdays. Aim High Brooch Designs - For 25% off any order on Aim High Brooch Designs on Etsy, including a custom brooch, bag charm, keychain, or magnet design, use the promo code TWIFH.

This week I talk about the 15 Daytime Emmy nominations Beyond The Gates received, why I'm rereading Slave to Sensation for the 6th time ( I think, might be 7th

Yuanyang 鴛鴦 (Faithful in the Hawkes translation) emerges as an iconic proto-feminist heroine! One of the most important and memorable subplots of Hongloumeng 紅樓夢 (Dream of the Red Chamber), Yuanyang's refusal of Jia She's marriage proposal. Is she “faithful,” and, if so, to what or whom?Support the show

Steve Rigby is a good ol' boy who knows how to sell—and this conversation almost never saw daylight. I recorded it, put it on my blog and Vimeo, and never released it to YouTube or the podcast feed. Rereading his book brought it back. When a good ol' boy with gray hair is willing to talk, you make time to listen.Steve wrote "S.M.I.L.E.: How a People-First Philosophy Creates Extraordinary Sales" and "Circle Selling," and he's collected 14 years of business on referrals alone.What you'll learn:The S.M.I.L.E. framework—Simple, Me→We, and Enjoying everyone you meetWhy 70% of the sale is the human relationship (John McKean's research)"Trust, not technology, is the issue of the decade" —Tom PetersHow to bypass cold calling with referral calls to people you already knowKnowledge-Skills-Desire → Habit, and why desire is the front wheel of the tricycleWhy time kills deals—and the "Are you okay?" questionLINKSSteve's book "S.M.I.L.E.": https://amzn.to/2JScdWVSteve's "Circle Selling": https://amzn.to/2WH8OjKSteve on LinkedIn: https://www.linkedin.com/in/steve-rigby-1196837/Full show notes: https://thesaleswhisperer.com/blog/steve-rigbyWORK WITH ME

He tries his best! This week, Emily and V look at a fandom event that was listed on our research spreadsheet as, simply, "A HUGE FUCKING DEAL." Fandom has loved few characters the way it loved, and still loves, Ianto Jones of Torchwood. Unfortunately, he was created by a showrunner who hates fandom even more than most showrunners with the urge to Punish hate their female fans. Even so, fans' love for Ianto is -- like his love interest, Jack Harkness -- immortal. Sources Fanlore: Ianto Jones Fanlore: Save Ianto Jones Fanlore: Jack Harkness/Ianto Jones The History of Ianto's Shrine Promo Virtual TGIF/F - Our friends at TGI Femslash have just announced a brand-new, online fan con happening this summer. On August 29–30, Virtual TGIF/F will bring femslash fans from around the world together for discussion panels, online events, and more. Registration opens June 1st. Find out more at tgifemslash.com/virtualcon Pop Syllabus - Pop Syllabus is a show where host Christiana Mbakwe Medina deconstructs the zeitgeist and answers the big cultural questions. How did we swing from body positivity to thin-being-in? Why do so many people trust wellness influencers over medical doctors? And how did tech oligarchs become the new celebrities? Think of Christiana as a cross between a messy news anchor and guerilla academic. Each week, she and an expert guest will unpack a buzzy topic, and help us understand the moment while going through it. Rereading the Revolution - Whether it was a reaction to the politics of the time or the rapidly approaching end date of the Mayan calendar, the pop-cultural landscape of the early 2010s can be best remembered for one thing: dystopian literature. Join plucky young heroines Daphne and Kellie as they dive into all of your favorite young adult novels and series from this era as we reread the revolution. We lived through it once and are back to recap, review, and discuss all the best and worst that the world-shifting genre of YA fiction has to offer–the sci-fi, the fantasy, and the supernatural–at least until our society crumbles and we have to survive a brave new world. The Pieces - Alright babes, Bimini is here with their very own podcast! Bimini is challenging the world around us and asking how the experiences we've lived have made us the people we are today. From pop stars to politicians, artists and activists, every week Bimini will be unearthing the moments that have shaped their guests' identities, whilst exploring how the world today is impacting the people we are becoming. New episodes drop Tuesdays. Aim High Brooch Designs - For 25% off any order on Aim High Brooch Designs on Etsy, including a custom brooch, bag charm, keychain, or magnet design, use the promo code TWIFH. This Week In Fandom History is a fandom-centric podcast that tells you… what happened this week in fandom history! Follow This Week in Fandom History on Tumblr at @thisweekinfandomhistory We're now on Instagram! @thisweekinfandomhistory Check out our Fandom Primer playlist via linktr.ee/twifh You can support the show via our Patreon at http://www.patreon.com/thisweekinfandomhistory If you have a fannish company, event, or service and would like to sponsor or partner with TWIFH, please contact Shreya@tinkmedia.co  Please remember to rate the show 5 stars on your listening platform of choice!

This is something I love to do. It can be a fascinating way to explore your own psyche and to bond with your spouse as well. And it's free and easy! All in today's episode.Join our men's coaching group! email info@bestlifebehavioralhealth.com to sign up and learn more: ⁠⁠⁠https://www.bestlifebehavioralhealth.com/mens-coaching-group⁠⁠My newest venture, including ALL BRAND NEW POSTS EVERY DAY: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://buymeacoffee.com/drpsychmom/posts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠To get over 220 more episodes, most recently FOUR Conversation Starters With Your Spouse!... subscribe here! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://creators.spotify.com/pod/show/drpsychmomshow/subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For my secret Facebook group, the "best money I've ever spent" according to numerous members: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/groups/drpsychmom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For coaching from DPM, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.drpsychmom.com/coaching/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For therapy or coaching, contact us at info@bestlifebehavioralhealth.com or visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.bestlifebehavioralhealth.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

For this week's episode, we're sharing the next Foundations episode of the Living Joyfully Podcast with Pam and Anna, Recognizing Our Biases. Let's talk about cognitive biases. Commitment bias, confirmation bias, and negativity bias are common thinking patterns that can lead to errors in judgment as well as conflict in our relationships. Anna and Pam dive into how they show up in our everyday lives and how becoming aware of our brain's tendencies can allow us to be more open and curious and to find more joy and connection in our relationships. We hope today's episode sparks some fun insights for you! Watch the video of our conversation on YouTube. THINGS WE MENTION IN THIS EPISODE We invite you to join us in the Living Joyfully Network, a warm and welcoming online community of like-hearted parents. It's a non-judgmental space where you can steep in these unconventional ideas around parenting, relationships, and learning, and explore what they might look like day-to-day in your uniquely wonderful family. We offer a free month trial so you can see if it's a good fit for you. Click here to join us. Sign up to our mailing list on Substack to receive our email newsletters as well as new articles about learning, parenting, and so much more! Check out our website, livingjoyfully.ca for more information about exploring unschooling and navigating relationships. EPISODE QUESTIONS Examine your thoughts around quitting, sunk costs, and commitments. Are those thoughts serving you? Do you and your partner see them in the same way? Describe a time when confirmation bias stopped you from seeing someone else's point of view. Do the Joy Writing exercise for your partner or another loved one. Reflect on how it felt and how it changes your energy when you read it. TRANSCRIPT ANNA: Hello and welcome to the Living Joyfully Podcast. We're happy you're here exploring relationships with us, who we are in them, out of them, and what that means for how we move through the world. If you're new to the podcast, we encourage you to go back and listen to the earlier episodes. We started with some foundational relationship ideas and really have enjoyed how they're kind of playing off each other and building on one another. And if you've already been enjoying the podcast, we'd love it if you could leave a rating and review. That definitely helps new people find us. In today's episode, we're gonna talk about a few common cognitive biases that trip us up as we navigate our relationships. Cognitive biases are basically mental shortcuts that our brains will take as they try to quickly process the vast amounts of information in our very complex world. So, let's start with commitment bias and the sunk cost fallacy. The sunk cost fallacy is associated with the commitment bias, where we continue to support our past decisions despite new evidence suggesting that it isn't really the best course of action. We fail to take into account that whatever time, effort, or money that we've already expended will not be recovered. And this could be something as simple as finishing a meal or a movie one of you isn't enjoying, because you've already paid for it, or something bigger, like finishing a college program even though, at this point, you're pretty sure you don't want to work in that field at all, but you stay because you've committed to it. This can cause friction in our relationships when we have different ideas about money, commitment, and what those things mean. Very often, the idea to stick it out at all costs was pretty much ingrained in us as children. Somehow we're a failure if we quit or we would be wasting the money, so we have to stick with it to make these expenditures worthwhile. It's really worth examining those beliefs if you see them coming into play in your relationships. Understanding sunk costs helps us see that the money is spent, period. The choice then becomes whether I want to take what I've learned about myself and move on to something else I can enjoy or stay with something that I don't. Take the money out of the equation because it's already gone, but what can I get out of that situation? What I get out of is up to me. Just learning that we don't like something has value. Letting go of judging ourselves or our partners as failing when we decide to quit something goes a long way to learning more about each other. And providing unconditional support as we figure out what we want to do with our time. The conversation is so much more valuable when we're looking at the nuances of the situation. And this also comes into play big time with children, doesn't it? PAM: Oh, it definitely does. We think we're teaching our children something positive by insisting they stick it out and follow through on their commitments when we sign them up for a rec class or they join a team. But the message they're often absorbing is, don't try new things unless you're really sure you're going to like it, or you might get stuck having to do something you really dislike. It can be so helpful to frame these kinds of choices, not as commitments, but as opportunities to try something new. You're paying for the opportunity for them to try it out and discover if it's as interesting as they imagine. Insisting someone not quit doing something they're not enjoying or just judging them negatively when they do is disconnecting and damaging to the relationship. And to what end? Because they definitely learn something more about themselves through discovering they don't like the thing and they can use that knowledge along with the time they freed up to pursue something else more in alignment with their interests. So, when you think about it in the bigger picture, they'll find the things that they love more quickly this way. And it's in finding the things they really enjoy where you'll see commitment in action. Even when things get frustrating or inconvenient, they'll show up. So, it's not about teaching commitment, it's about finding the things they are excited to commit to. And that definitely applies to us as well. Sometimes it's easier to think about it in the context of another person, but then to make that shift to realize this applies to us. We don't need to pressure ourselves to follow through on commitments if our enthusiasm has waned and we are ready to move on. Instead, let's celebrate that. Yay! Look what we know. We know more about what we like and what we don't like, or even more about the environments in which we're comfortable. That's another big piece of it too, right? ANNA: Yes. I love celebrating when we're learning more about who we are and how we want to move through the world. And I love the idea of paying for the opportunity. It's such a helpful framework. We're always learning and I want to support my kids, my partner, and myself in trying things that seemed interesting to us. I didn't need to have an attachment to the outcome, because no matter what, there will be learning, even if it's just, I really don't like this particular activity. And so, it goes back to conversations too though, because we can talk about the money involved in trying something and we can see if there's ways to trial it first, and what would be some of our other options. But I didn't want to get stuck only looking at decisions through the lens of how much it costs. It's one part, but it's not the only, and I usually found it wasn't the most important part. And it was actually my finance major husband who first told me about sunk costs when one of our children wanted to quit a class they were taking and it made honoring where they were and what they were learning so much easier, because I could let go of any guilt or baggage around the money part. Because the money's already spent, and again, this was work I needed to do for myself, as well. Giving myself permission to try something, even if I wasn't perfect at it, even if I decided at any point along the way that it wasn't working for me. PAM: Yeah, it's interesting how it's often easier to give grace to other people than it is to give it to ourselves, but we're people too. And I wanted just to bring back that point, when we talk about sunk costs, it's not about ignoring the money. It is once it's spent, but it doesn't mean we don't have that conversation up front. Maybe this is gonna be a big chunk of our budget and we want to look at all sorts of possibilities. If there is a way to get some experience with it before spending the larger chunk, that can be a valid way, too. Again, back to the conversations. ANNA: That's the richness of the conversations and staying connected and the baby steps from last week. It all wraps together. PAM: Okay, so now let's talk about the confirmation bias, which is the tendency to process information by looking for or interpreting information that is consistent with one's existing beliefs. This biased approach to decision making is largely unintentional and often results in ignoring what feels like inconsistent information. “That doesn't make sense. I'm going to toss that.” It's hard to be open and curious when we're filtering information through our existing beliefs. This can sow disconnection in our relationship in a few ways, like discounting the other person's ideas or always bringing the same old ideas to our conversations. We are less creative. And in conversations, we tend to listen to the other person with an eye to picking out the bits that match how we see this situation, which we talked about a couple of weeks ago as well. And we're just waiting until we can jump in with those pieces, rather than hearing the full picture of what they're sharing. When our confirmation bias is in full swing, we are not seeing that bigger picture, are we? ANNA: Not at all. And it really reminds me of our talk about seeing through their eyes from episode four. If we're only seeing through our eyes, we already know what we're looking for and it colors everything. I think this comes into play when we're upset with our partner or children, as well. We tend to see things that confirm our ideas about them. With our partner, it could be reading into every little behavior and thinking, see, they don't care about my feelings. Hello, writing stories! And with kids it can be seeing dysregulation and blaming a video game, because we're thinking that video games are bad, when the dysregulation could just be a need for connection, some food, or some rest, something carried over from school that morning. With our partners and children, we don't want to be writing stories about the meaning of things. If we have an idea that's causing distress, they don't love me, they don't trust me, they don't like this or that, ask them. Open the conversation and enter it with that open and curious mindset we talked about earlier in the month. Upsets can rarely survive the light of inquiry, openness, and understanding. PAM: Yes. The stories we tell ourselves, right? So, for me, the clue is noticing when I'm telling myself a story about someone else. That's when I need to step carefully, because I am not them. I don't know all their personal history or the extenuating circumstances they're seeing right now. I don't know they were tired or feeling frustrated by something completely unrelated. I don't know until I ask. Because when I'm telling myself a story, it is pretty natural for it to be all about me. And definitely that works pretty well when I am talking about myself, how I'm feeling, how I'm seeing these things. But it can take me down all sorts of unhelpful paths when I'm making assumptions about how others are seeing me. As you say, it is so much better to have the conversation with them and just check in and see what's going on. ANNA: Yes, just get out of our head and get into that moment with our partners and loved ones. Okay, so the last one we want to touch on today is the negativity bias. So, the negativity bias is the tendency to remember negative events more starkly and more frequently than positive events. So, this isn't inherently problematic since it's a great way to learn from mistakes and avoid negative experiences in the future. You can see it's actually a survival skill. We quickly learn what can hurt us and what's dangerous, and we actively avoid those things. Our brain is wired to give us those things at a higher priority in order to keep us safe. We haven't really evolved out of that primal need to evaluate safety in our environment. But here's the thing. Most of us don't have tigers lurking around the corner, so bringing that intense survival energy to things like our relationships can cause a lot of heartache. We don't want to constantly be thinking about every negative thing that has happened. It keeps us stuck in the past and doesn't give our loved ones a chance to grow and change. PAM: Everybody just sit with that for just a little bit. It is so true that negative experiences stay with us longer and are recalled more quickly in a challenging moment. And, as you say, there's reasons for that. And not only does it play out on that personal level. We see it on a societal level, as well. Society in general is focused on the negative things that are happening. So often, those are the stories that are widely in the news and on social media. We find ourselves surrounded by negative stories, which fills us with more negative events to recall at a moment's notice, round and round. It can become a lens through which we see the world. Our negativity bias seeping into our confirmation bias. ANNA: Yep. And bringing awareness to these biases helps us understand that we need to be very intentional about changing our focus. Things like joy writing and gratitude practices can help bring our focus to all the things we love, all the things that are actually working. So, when I'm working with couples, I ask them to do a joy writing exercise. Basically, you each write down a list of things you love about the other, what you love about the relationship, beautiful moments, lovely gestures, things that can fill you with love when you're thinking about them. Keep it handy, have it on your phone or somewhere you can read it daily. Rereading it changes our energy and it changes how we interact with our partner, how we see our relationship. It keeps the focus on all the wonderful things there and it fosters that connection. And from a place of connection, we can move through the bumps of life with more ease. PAM: That is so, so true. Just the act of remembering the good side, alongside the challenges. It doesn't mean ignoring the challenges. It's not, let's just pack those in a box and forget about them. But remembering that so much of our lives are all these good things, too. So, as you mentioned, gratitude practices can also foster that loving energy towards our partner and our kids. We can make a point of writing down a few things that we're grateful for related to our partner and kids each day. It need only take a couple of minutes and we can share it with them too. This practice helps us notice the positive bits in our day and in our relationships, because they are there. And it's a great way to counteract that negativity bias. ANNA: Yes. And incorporating these practices and just keeping an eye towards what's working, what feels good, will help train your brain in a way that's more useful in our current environment. You'll still have the skills of recognizing danger, but will be less likely to label something that's just a bump in the day, or the relationship as something serious that feels very threatening. PAM: That's such a big difference there. Put it in the context, in the context of your whole day, not having this one moment that felt uncomfortable or challenging and having that override or color, the whole rest of your day, discount all the other bits that happened that were connecting, that were fun. They have so much value, too. ANNA: And I think just understanding that our brains tend to do that helps us just put that little check in place. Like, okay, wait a minute. Am I forgetting about all the good things and only focusing, because that's what brains like to do? And so, then we're able to take those additional steps and do those practices. So, here are some questions that you might want to ponder as you explore how these cognitive biases might be playing out in your relationships. So, first, examine your thoughts around quitting, sunk costs, and commitments. Are those thoughts that are serving you? Do you and your partner see them the same way? It could be some really fun discussions to have there. Describe a time when confirmation bias stopped you from seeing someone else's point of view. And this, you may even have to watch for, because it's so natural that we don't even notice, but just start seeing it as you're having conversations. Are we looking for what we want to see? PAM: Yeah. And that's where that open and curious piece comes in. That's just that little reminder, for me anyway, just to not get stuck in there. There's other possibilities. ANNA: Yeah. Love it. Okay. And do the joy writing exercise for your partner and other loved ones. Reflect on how it felt and how it changes your energy when you read it. I cannot tell you just how powerful this has been for so many people that have tried it and just really have enjoyed it. PAM: Yeah, I think that that it really does help just change our energy. Reminding us, oh yeah, these are all true. It's not like we're making up anything or trying to fool ourselves. Literally these are the things that we love about our partner, our children, the fun things that we're doing, the fun pieces of the day. And the one thing I want to mention about these questions is I love that we're going through and asking them now. And I really encourage people to take some time to sit with them, because it really is much more helpful I think to be thinking about these things outside of a particular challenge. But don't wait until all of a sudden y'all are arguing about, oh my gosh, our child wants to quit this activity, to have a conversation about sunk costs. Like you were saying, that could be a very fun conversation. When it's heated about a particular thing that's happening right now that feels urgent and feels like it needs a quick decision, that can be a hard time to have that kind of conversation. But if we can start playing with these ideas and asking ourselves these kinds of questions and playing through them without the pressure or urgency of something happening right in this moment, that can be so very helpful. ANNA: Right, because you're steeping in these new ideas and then they're there for us. When these challenges come up, we can recall back like, hey, I want to put it through this lens. I want to blow back a little bit and look at open and curious and see what else is at play here. I want to know that I have plenty of time. All these things that we're talking about can just be things that you keep in your back pocket as you go through and you'll start seeing how they're just helpful tools that help you navigate these things, so we don't have the spirals or the big blowups about it. So, I hope it's helping. It's been a lot of fun to talk about, anyway. So, thank you so much for listening and we hope to see you next time. Take care. PAM: Yes. Bye, everybody.

When the chef, writer and filmmaker Eddie Huang joined the “Modern Love” podcast to discuss his new novel, “Come Undone,” our host Anna Martin asked him to start by reading a few lines from his 2017 guest essay for The New York Times. In it, Huang called out stereotypical portrayals of Asian men that have persisted in pop culture: “Every Asian American man knows what the dominant culture has to say about us,” Huang read. “We count good, we bow well … our male anatomy is the size of a thumb drive and we could never in a thousand millenniums be a threat to steal your girl.”  Rereading his old piece took Huang right back to his childhood, to when he was targeted by kids who assumed he was an easy mark. Huang said he created a tough exterior in response, becoming someone whom no one wanted to pick a fight with. That tough kid grew up into a tough man who rarely let his sensitive inner self show, a persona that sounds a lot like the main character of Huang's new book.  In this episode, Huang explains how he is both similar to and different from his fictional character, how his own ideas of masculinity have changed and what it was like to finally let himself be vulnerable with someone after years of pretending not to be. How to submit a Modern Love Essay How to submit a Tiny Love Story Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

 John 18:11-40We read John 18 closely, tracing how the Gospel portrays Jesus as calm and purposeful during arrest, interrogation, and the first steps toward crucifixion. We test translations and historical context to see how small word choices shape big theological claims about truth, power, and an inward kingdom.• Rereading the garden arrest and the meaning of “I am he”• Debating why the arresting party falls to the ground and what that signals about control• Unpacking first-century naming conventions behind “Jesus of Nazareth”• Asking why John names Malchus and what that suggests about sources and memory• Clarifying Simon, Peter, disciple, and key Greek terms tied to learning and identity• Examining the Annas and Caiaphas exchange as an example of coercive authority• Discussing Ioudaios and how translation choices can fuel anti-Semitic misreadings• Following Peter's denials and the narrative weight of the cockcrow• Exploring Pilate, Roman power, “What is truth,” and basileia as realm or inward state• Rethinking Barabbas as an insurrectionist rather than a mere robberThe quote in our introduction is from Chapter IV of Penn's No Cross, No  Crown.A complete list of our podcasts,  organized into topics, is available on our website.We will be publishing video interviews with Conservative Friends on YouTube.  See our YouTube channel.  The first interview is with Susan Smith. To learn more about Ohio Yearly Meeting (Conservative) of the Religious Society of Friends (Quakers), please visit  ohioyearlymeeting.org. Those interested in exploring the distinctives of Conservative Friends waiting worship should consider checking out our many Zoom Online Worship opportunities during the week here. All are welcome! We also have several Zoom study groups.  Check out the Online Study and Discussion Groups on our website.   Advices read in these podcasts can be found on page 29 in our Book Of Discipline.We welcome feedback on this and any of our other podcast episodes.   Contact us through our website.

"The Darkling is written, like, really hotly."Rereading the Revolution has entered the Grishaverse. We finally read Leigh Bardugo's Shadow and Bone (2012)! Kellie and Daphne recap the tsarpunk fantasy novel that spawned some of the most beloved YA books of all time, a Netflix show, and a ship that's almost as diabolical as its name.Follow us on social media @rereadingtherevolution for updates and bonus content! Hosted on Acast. See acast.com/privacy for more information.

It's a poetry-pilled installment of Rereading the Stone! We compare Zhang Ruoxu's 張若虛 (660 – ca. 720) “Spring River in the Flower Moon Night《春江花月夜》,” featuring a new draft translation, with Lin Daiyu's 《秋窗風雨夕》, “Autumn Window: A Night of Wind and Rain” in David Hawke's translation of Dream of the Red Chamber 紅樓夢 (Story of the Stone.)Support the show

OPINION: Global leaders rereading Thucydides; litigating Mary Grace Piattos in PH | May 24, 2026Subscribe to The Manila Times Channel - https://tmt.ph/YTSubscribe Visit our website at https://www.manilatimes.net Follow us: Facebook - https://tmt.ph/facebook Instagram - https://tmt.ph/instagram Twitter - https://tmt.ph/twitter DailyMotion - https://tmt.ph/dailymotion Subscribe to our Digital Edition - https://tmt.ph/digital Check out our Podcasts: Spotify - https://tmt.ph/spotify Apple Podcasts - https://tmt.ph/applepodcasts Amazon Music - https://tmt.ph/amazonmusic Deezer: https://tmt.ph/deezer Stitcher: https://tmt.ph/stitcher Tune In: https://tmt.ph/tunein #TheManilaTimes #KeepUpWithTheTimes Hosted on Acast. See acast.com/privacy for more information.

How we talk about food, model it and the environment we create around it all impacts our children's relationship with food!In this episode, I'm joined by Kids Eat In Color to break down what a healthy relationship with food actually looks like and how to approach meals and snacks without pressure, bribing, or power struggles.In this episode, we cover:What a healthy relationship with food really looks likeHow to approach snacks and whether they help or hurt appetite How to build balanced, filling meals that actually hold kids over The truth about using food to soothe (and what to do instead) How our own relationship with food impacts our kids Thoughts on dessert, sugar, and raising kids without obsession around sweets What to do when your child fixates on “fun foods” at parties or playdates A realistic approach to picky eating How to avoid labeling foods as “good” or “bad” Creating a mealtime environment that feels calm, not stressful----------------------------------------------------------------------------IMPORTANT LINKS•✨ Join our Mom Club on Patreon HERE ✨

Xifeng (and her purse) is invited into the Crabflower Club. Meanwhile we review the family relations of lesser characters like Lai Da's wife and discuss her “don't spare the rod” 不打不成才 philosophy.Support the show

Organic introductions. What happened to sprees? Rereading old texts to yourself. A thorough exploration of revolving doors. If you could have one boy scout badge for your life, what would it be? Tiny 3D printer. At the 50 minute mark, "Nicky's Advice Corner:" We all get kleptomania. In "What's the Deal?" we review a very special celebrity auction with one of our favorites, Jay Leno. Sports Short: the biggest, weirdest trade in NBA history. 

We come to the end of the second canticle, of PURGATORIO . . . and it includes all the ambiguity and humanness we've come to expect, plus hopeful notes for the journey ahead into Paradise.Dante complicates his ending of PURGATORIO with notes about his own dark mind and the incomplete work of this second part of his masterpiece COMEDY.At the same time, we're ready for the stars.Join me, Mark Scarbrough, as we explore the final passage of PURGATORIO.Here are the segments for this episode of WALKING WITH DANTE:[01:22] My English translation of PURGATORIO, Canto XXXIII, Lines 124 - 145. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:26] Dante, ever the medieval poet, no matter how modern we try to make him.[05:28] The final address to the reader in PURGATORIO and the tricky question of the "woven bridle."[10:58] Matelda, apparently doing what she's always done . . . which only makes her character more complex.[12:49] The threat to memory, the threat to COMEDY as a whole.[15:23] Four hopeful notes that conclude PURGATORIO.[17:55] Rereading the passage: PURGATORIO, Canto XXXIII, lines 124 - 145.

The procession continues away from Lethe and farther into the Garden of Eden until they come to a dark, frigid spot that stops them . . . a curious moment in this innocent landscape.And it gets more curious as we discover rivers named and then renamed before we come to the most difficult naming of them all: Matelda, the fair lady who has been with us since PURGATORIO, Canto XXVIII.We'll talk cosmology, geography, and even poetic rhyme sequences before we turn to the thorny question of exactly who Matelda is.Join me, Mark Scarbrough, as I offer you lots of answers without giving any final solution to this most enigmatic figure.Please consider underwriting this work with a one-time contribution or a small monthly stipend which you can set up at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:26] My English translation of PURGATORIO, Canto XXXIII, Lines 103 - 123. If you'd like to read along or continue the discussion with me, please find the entry for this episode on my website, markscarbrough.com.[03:25] Cosmological references that help set (and even bookend) PURGATORIO.[06:24] Stopping the procession at a dark, frigid spot (somehow in Eden!).[08:56] The Tigris and Euphrates rivers: how and why?[14:27] A beautiful rhyme sequence that encodes the fall into Eden.[17:10] Matelda: the difficult and long-standing interpretive questions about who this fair lady is.[31:06] Rereading the passage: PURGATORIO, Canto XXXIII, lines 103 - 123.

After her final discourse in PURGATORIO, Beatrice and Dante enter into a brief conversation in which he admits he already has images stamped into his brain but he doesn't know what many of them mean, particularly those from her.She, on the other hand, launches into her final condemnation: the school he followed was too debased to capture the truths she has in hand.But she doesn't end there. She also promises greater clarity ahead. Thank goodness!Join me, Mark Scarbrough, as we work through the conclusion of her discourse and discover the ways Dante may be signaling us that the rational mind is not enough to understand theological truths.Here are the segments for this episode of WALKING WITH DANTE:[01:18] My English translation of PURGATORIO, Canto XXXIII, Lines 79 - 102. If you'd like to read along or continue the conversation with me about this passage, please find the entry for this episode on my website, markscarbrough.com.[03:15] Questions about brain impressions, perhaps derived from the figurae of Joachim da Fiore.[09:22] Beatrice's condemnation of the school Dante followed . . . and the questions about which school does she mean.[17:38] The question of whether Dante fully experiences Purgatory.[21:02] The hope of greater clarity ahead.[22:57] Rereading the passage: PURGATORIO, Canto XXXIII, lines 79 - 102.

Beatrice concludes her monologue at the end of PURGATORIO with some dazzling metaphoric pyrotechnics, a slam on Dante's intellect, and a redefinition of this journey across the known universe. It's not just any old pilgrimage. It's a crusade.Join me, Mark Scarbrough, as we look at the final images of her speech and discover its larger, structural details . . . which point us directly ahead to PARADISO.Consider defraying the many costs of this podcast with a one-time donation or a small monthly stipend by using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:11] My English translation of PURGATORIO, Canto XXXIII, Lines 61 - 78. If you'd like to read along or continue the conversation about this episode, please find its entry on my website, markscarbrough.com.[03:03] Fun calculations to discover how long Adam (and Eve) stayed in Limbo.[07:52] Beatrice's assertions about the writing and reading of texts.[13:33] References to the river Elsa and to Pyramus.[17:10] A badly mixed metaphor that leads into questions of interiority.[21:14] Rereading all of Beatrice's final monologue in PURGATORIO: XXXIII: 31 - 78.[23:49] Four structural notes on this monologue.

Beatrice continues her discourse at the end of PURGATORIO by offering Dante classical examples of her own obscurity, Christian resonances for the very hope of writing, and a challenge for him to become her scribe, to take notes on her lectures.This passage falls in the middle of her long monologue in the last canto of PURGATORIO and it forms the fulcrum that turns us from the apocalyptic vision to something much closer to Dante's own concerns: the craft of writing.Join me, Mark Scarbrough, as we tease out the difficulties in this notoriously challenging passage at the end of PURGATORIO.Here are the segments for this episode of WALKING WITH DANTE:[01:59] My English translation of PURGATORIO, Canto XXXIII, Lines 46 - 60. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:24] The obscurity as the point.[07:02] Themis and the Sphinx, early human riddles.[10:02] Dante's well-intended mistake about the Naiads.[13:41] Beatrice's theory of Dante's craft.[15:59] The classical to the Christian: the dominant move in INFERNO and PURGATORIO.[17:35] A twice-robbed tree--but how?[19:50] The tree for God's sole use.[21:58] Rereading the passage: PURGATORIO, Canto XXXIII, lines 46 - 60.

As Beatrice and Dante continue to walk through Eden, she begins the final discourse that will end PURGATORIO: a cryptic, apocalyptic vision of the world (or maybe just the church?) set right. But by whom? Or when? And is the church destroyed? Or is it going to be rehabilitated?Beatrice's vision is the capstone of PURGATORIO and prepares us for the elliptical and stylized poetry to come in PARADISO, just ahead of us. It's a test to see whether we can make it. Don't worry: We will!Join me, Mark Scarbrough, as we begin our final walk across one of the most difficult passages in PURGATORIO. Seven hundred years of commentary hasn't come to any agreement on these lines. Why should we?To keep this podcast afloat, please consider a one-time donation or a very small monthly stipend to underwrite its many fees. You can do so at this PayPal link.Here are the segments for this episode of WALKING WITH DANTE:[01:43] My English translation of PURGATORIO, Canto XXXIII, Lines 25 - 45. If you'd like to read along or continue the conversation with me by a comment on this episode, please find it on my website: markscarbrough.com.[04:18] A reminder: the rigid and highly stylized manner code in the Middle Ages.[08:46] Beatrice's redefinition of the terms: wakefulness rather than walking, the chariot as a vessel, the dragon as a serpent (from Eden?), and the chariot's possible, full destruction.[14:18] A translation problem: the possible sop of bread. And difficult interpretations: God's vendetta and a future heir.[18:30] Seven hundred years of commentary on the tough problem of "five hundred ten and five--God's messenger."[27:42] Rereading the passage: PURGATORIO, Canto XXXIII, lines 25 - 45.

From tragedy to comedy, the apocalyptic vision in Canto XXXII has come to an end and Beatrice accepts Dante as her walking companion in Eden.A relatively easy passage begins the final canto of PURGATORIO, perhaps a breather before the much more difficult material that will make up the bulk of the last canto of PURGATORIO.Join me, Mark Scarbrough, as we walk with Beatrice, Dante, the seven ladies, the lady who tends Eden, and Statius. They're a final parade to wrap up this second canticle of COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:26] My English translation of PURGATORIO, Canto XXXIII, Lines 1 - 24. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:31] Possibly, a simple interlude between much more difficult passages.[04:58] The Latin quotation from Psalm 78/79 that opens the final canto of PURGATORIO.[09:19] Beatrice's Latin quotation from the Gospel of John as Dante fuses Mary and Jesus into her character.[16:46] Beatrice's parade and the question of her nine steps.[21:53] Beatrice, Dante's new guide across the known universe.[26:51] Rereading the passage: PURGATORIO, Canto XXXIII, lines 1- 24.

Xifeng is shaking with anger. Is there meaning in the madness? What are the real and imagined consequences of Jia Lian's transgressions? We try to conceive a contemporary framework for interpreting a tumultuous series of events in Dream of the Red Chamber 紅樓夢.Support the show

Dante wakes back up from his unexpected sleep to find that the grand parade is heading off into the forest (or maybe the skies). He's in a panic that Beatrice has left, too, although the young woman of Eden comforts him and shows her now humble place under the renewed tree.Meanwhile, we readers are equally panicked . . . or at least de-centered, as we try to make sense of complicated similes and oblique symbolic meanings. COMEDY is getting more complex by the line. It's a game of interpretation we've been preparing to play since INFERNO, Canto I.Join me, Mark Scarbrough, as we look at the passage just before the giant apocalyptic vision of PURGATORIO, Canto XXXII.To underwrite the many fees for this work, consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:21] My English translation of PURGATORIO, Canto XXXII, Lines 70 - 108. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:53] Four (or maybe five) interwoven Biblical references in the opening twelve lines of this passage (or the opening four tercets).[13:25] The interweaving of textuality to de-center the reader by pushing meaning further into mystery.[15:52] Dante's awakening to panic and then obeisance.[19:43] The complex meaning of Beatrice's changed position under the tree.[25:10] Dante's Roman hopes for heaven.[26:47] A flourish of the medieval high rhetorical style at the end of the passage.[28:53] Writing as awakening and return.[31:23] Rereading this passage: PURGATORIO, Canto XXXII, lines 70 - 108.

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

The griffin rolls his chariot up to the foot of a denuded tree as Beatrice descends out of her ride. The symbolism (the allegories, in fact) become increasingly murky, difficult to parse, especially when the griffin says his one and only line in COMEDY.Dante's Garden of Eden is a place where the games of interpretation kick into high gear. Nothing is what it seems . . . yet what it is is a matter of much debate.Join me, Mark Scarbrough, as we work through this increasingly complex passage on our way to the final apocalyptic vision of PURGATORIO.To help support this work with a one-time donation or a very small on-going stipend, please consider using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:04] My English translation of PURGATORIO, Canto XXXII, Lines 28 - 48. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:04] Statius, both physically and thematically in the passage.[05:55] Adam and Eve, with notes toward the theological fall of mankind.[09:19] The stripped tree in the Garden of Eden . . . but which tree?[14:49] The griffin, becoming a more difficult allegory with his one and only line in COMEDY.[21:06] Beatrice and her (complex) descent from the chariot/cart.[25:57] Rereading the passage: PURGATORIO, Canto XXXII, lines 28 - 48.

Face to face with Beatrice, the pilgrim Dante is ready for more revelation. Problem is, even after Lethe he's still doing things wrong and must be corrected by the women around the griffin's chariot.But what is he doing wrong? And why does the entire parade of revelation go into retreat? What indeed does that griffin symbolize? And how did we get from the intensely personal experience of Dante's confession and contrition to this much more global view of the allegories on the march?Join me, Mark Scarbrough, as we begin to walk slowly through one of the most complex cantos (and certainly the longest canto) in all of COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:17] My English translation of PURGATORIO, Canto XXXII, Lines 1 - 27. If you'd like to read along or continue the conversation with me about this canto, please find the entry for this podcast episode on my website, markscarbrough.com.[03:31] A brief introduction to PURGATORIO, Canto XXXII.[05:19] Notes for the first nine lines (or three tercets) of the canto.[10:40] Dante's forgotten failings and Beatrice's on-going attraction.[12:04] Dante's intense gaze . . . but for or at what?[16:23] Beatrice and the problem of the "lesser thing" of revelation.[21:28] The parade of revelation (or of the church militant) in retreat with its "precious cargo."[25:01] The griffin's feathers, which prompt further questions about the griffin's allegorical meaning.[28:08] Bridging the personal and the universal.[31:04] Rereading the passage: PURGATORIO, Canto XXXII, lines 1- 27.

Sometimes the most comforting thing you can do is return to what you already love. In this episode, Tina invites you to reread a favorite book and rediscover the joy, comfort, and familiarity that comes with revisiting a story that once meant something to you. This invitation offers a gentle reminder that rereading can feel safe, grounding, and deeply nourishing. For episode resources, see https://www.tinaboogren.com/. Music: Happy Clappy Ukulele by Shane Ivers - https://www.silvermansound.com. 

We finally come to the face-to-face meeting of Beatrice and Dante. We've waited for this moment since INFERNO, Canto II, when Beatrice first stepped into COMEDY.Neither Dante nor Beatrice speak at their close meeting. Instead, the women around the chariot beg Beatrice to reveal her second, hidden beauty: her mouth.Join me, Mark Scarbrough, as we explore the complex symbolism in this passage. We'll also take on its textual difficulties: a Biblical allusion that has been muddled in commentary, a lost word that's hard to translate, and a question of quotation marks in a medieval manuscript.To support this work, consider a one-time donation or a small monthly stipend by using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:26] My English translation of PURGATORIO, Canto XXXI, lines 127 - 145. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:11] Textual problems in the first six lines (XXXI: 127 - 132)--a muddled Biblical reference, a moral question of virtues, and a word that's hard to translate.[07:49] Beatrice's turning and the coming revelation of her mouth.[10:57] A difficult conclusion to Canto XXXI: Who says these complicated lines that use the informal "you"?[16:59] Forgetting and remembering your former works to create something new.[23:10] Rereading the passage: PURGATORIO, Canto XXXI, lines 127 - 145.

Dante has now crossed Lethe and is ready to face Beatrice head on. She has moved to get ready for this eye-to-eye conversation. She's positioned nearer the griffin, a complicated symbol that may have more than one interpretation.Join me, Mark Scarbrough, as we explore both Beatrice (particularly her emerald eyes) and this dual-natured beast that seems to become more difficult to interpret with its every move in the poem.To support this podcast, consider a one-time donation or a small monthly stipend through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of PURGATORIO, Canto XXXI, Lines 112 - 126. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[02:44] Beatrice has moved . . . but where?[05:09] With her emerald eyes, Beatrice and Dante finally escape the Francesca episode.[09:15] Dante is the Orpheus who can look into the eyes of his Eurydice.[10:49] Here are at least two additional interpretations for the griffin.[13:58] Beatrice's eyes are the methodology of revelation (and mystery).[16:41] The passage drops the first hint about Jesus' transfiguration.[18:50] Reflection is transfiguring, as in the craft of poetry.[19:34] Rereading the passage: PURGATORIO, Canto XXXI, lines 112 - 126.

Dante wakes up in the arms of the young woman who first welcomed him to the Garden of Eden. She's dragging him through Lethe before she forcefully pushes him underwater.This scene is deeply symbolic and allegorical . . . although it raises many more questions than it answers. In fact, it seems to want to leave many things open-ended, a cue that Dante wants us in the poem, working on solutions to the many puzzles he has set.Join me, Mark Scarbrough, as we see the pilgrim Dante cleansed and ready to dance with the seven virtues around Beatrice's chariot.To support this work, consider a one-time donation or a small monthly stipend. You can make either contribution at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:29] My English translation of PURGATORIO, Canto XXXI, Lines 91 - 111. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website: markscarbrough.com.[03:43] Two notes on the first nine lines: the heart and the shuttle.[06:33] Is this a baptism?[09:46] Three questions that surround the Latin line from the Psalms.[13:43] Why is the dunking so forceful?[15:45] What sign do the four women make over Dante?[17:41] The seven women fill in the details from PURGATORIO, Cantos I and VIII.[19:56] The four women are linked to the classical world; the three women, to the contemplative life.[22:43] Does everything happen to Statius, too? And to other penitent souls?[26:23] How do you express the inexpressible?[28:28] Must our poet forget the CONVIVIO in Lethe?[29:39] Rereading the passage: PURGATORIO, Canto XXXI, lines 91 - 111.

Beatrice has finished her case against the pilgim Dante. All that's left is for him to find his way beyond confession and into confession . . . which he does with a major crack-up that leads him to faint for the third time in COMEDY.Before he collapses, the poem begins a series of inversions or reversals that both increase the ironic valences of the passage and give its reader an almost vertigo-inducing sense of Dante's emotional landscape.A difficult passage in the Garden of Eden, here Beatrice accomplishes what she came for. Join me, Mark Scarbrough, as we explore the slow build-up to the final moment of contrition . . . which mimics the moment when Dante gives way in front of Francesca, back in INFERNO's circle of lust.Here are the segments for this episode of WALKING WITH DANTE:[01:20] My English translation of PURGATORIO, Canto XXXI, Lines 64 - 90. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:15] Dante, from boy to man.[07:26] Recognition, the key to the passage, to contrition, and a possible node of irony.[10:38] The "unbearded" oak and the final crack-up.[13:49] Iarbas and Dido v. Dante and the new Dido.[16:28] Beatrice's venom.[17:27] Dante's beard.[20:00] The angels' departure?[21:16] The meaning of the beast's two natures.[23:53] Glossing the end of the passage: lines 82 - 90.[27:57] Francesca and her physical seduction v. Beatrice and her physical-theological seduction.[33:01] Rereading the passage: PURGATORIO, Canto XXXI, lines 64 - 90.

Ever since INFERNO, Canto I, we've never fully understood why Dante woke up lost in that dark wood.Now, in the Garden of Eden, Beatrice brings him to the point where he can voice what he did wrong. He can finally offer his confession.It was all about her all along. And maybe about what he wrote. And maybe about another woman who caught his eye. Or maybe all of it at once.Join me, Mark Scarbrough, as we explore the moment in PURGATORIO in which Beatrice finally brings the pilgrim to his full confession.If you'd like to support this podcast, consider a small monthly stipend or a one-time donation, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:12] My English translation of PURGATORIO, Canto XXXI, Lines 22 - 48. If you'd like to read along or continue the conversation with me, please find this episode's entry on my website, markscarbrough.com.[03:16] An easy outline of this passage.[04:27] Recasting Dante's faults into metaphoric language.[09:18] Dante's confession.[12:40] Beatrice and the formal form of "you."[14:34] Her acceptance of Dante's confession, leading him to contrition.[18:15] Beatrice: allegory v. realism.[23:15] Rereading the passage: PURGATORIO, Canto XXXI, lines 22 - 48.

Beatrice finishes her first indictment of Dante by showing him the fit subject matter for his abundant talent: her and the damned.She accuses him of chasing after false images, then of discounting her own inspiration in dreams. She ends with her final hope: to descend to the doorway of the dead and get the pilgrim started across the known universe.Join me, Mark Scarbrough, as we explore the final lines of PURGATORIO, Canto XXX: Beatrice's first indictment of Dante.Here are the segments for this episode of WALKING WITH DANTE:[01:25] My English translation of the passage: PURGATORIO, Canto XXX, Lines 127 - 145. If you'd like to read along or continue the discussion with me, please find the entry for this episode on my website, markscarbrough.com.[03:16] In praise of Beatrice's elevated rhetoric.[05:20] The erotic tension between Beatrice and Dante.[07:59] First callback in the passage: to either the Siren in PURGATORIO XIX or to the second woman in the VITA NUOVA.[10:22] Second callback: to either Beatrice's eyes or her appearance in a dream toward the end of the VITA NUOVA.[13:43] Third callback: to Limbo (and Virgil).[15:37] Dante's search for the subject matter that will fit his talent.[16:47] Four levels of interpretation for Beatrice's first indictment: literal, moral, allegorical, and anagogical.[21:31] When was Dante supposed to purse these failings on the mountain?[23:27] Rereading the passage: PURGATORIO, Canto XXX, lines 127 - 145.

Beatrice is now fully in charge . . . so much so that she can even tell the angels in the chariot with her what they can't understand.She launches into her first indictment of the pilgrim, Dante. Here, she claims that he hasn't fulfilled his talent.He hasn't? With so much of COMEDY behind us?And what if then the point of this journey? Is it poetic craft or personal redemption?Join me, Mark Scarbrough, as we comb through the first of Beatrice's condemnations of Dante's many failings that have led him to the top of Mount Purgatory.If you'd like to help support this podcast with a one-time donation or a small monthly stipend, please consider donating what you can through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:41] My English translation of PURGATORIO, Canto XXX, Lines 100 - 126. If you'd like to read along or continue the conversation with me, please find its entry on my website, markscarbrough.com.[04:23] What can the angels in the chariot not know?[08:13] What germinates from heaven, far above the seeds that blow out of the Garden of Eden?[11:15] What was Dante supposed to have done?[15:19] What good was this journey across the known universe?[18:40] How do you stay open to the grace you get but perhaps don't expect?[20:02] Rereading the passage: PURGATORIO, Canto XXX, lines 100 - 126.

Beatrice has offered her first condemnation of Dante, just as his salve and mentor, Virgil, has left the scene. He's stuck across Lethe with the ice sheet encasing his heart. Even the angels surrounding Beatrice in the chariot seem dumbfounded by her vitriol and offer the pilgrim a psalm of consolation . . . which finally makes the ice that has surrounded his heart melt. He ends up wailing.Join me, Mark Scarbrough, as we explore this brilliant passage about interiority from the very top of Mount Purgatorio in the Garden of Eden.Here are the segments for this episode of WALKING WITH DANTE:[01:34] My English translation of PURGATORIO, Canto XXX, Lines 79 - 99. If you'd like to read along or drop a comment on this episode, please find its entry on my website: markscarbrough.com.[03:53] One textual reference in the passage: Psalm 30/31: 1 - 8.[07:46] A second textual reference in the passage: Augustine's CONFESSIONS, Book VIII.[09:07] One metaphoric rearrangement in the passage: Beatrice as mother and Dante as son.[11:55] A second metaphoric rearrangement: the melting ice inside of Dante.[19:28] Allegory as art.[22:30] Rereading the passage: PURGATORIO, Canto XXX, lines 79 - 99.

We finally hear the first words from Beatrice's mouth. (We've heard her before but as told by Virgil in INFERNO, Canto II.) She is certainly not person we expected. She's the admiral controlling her ship.She names the pilgrim, names herself, and gets very close to blasphemy in a passage that defies our expectations, about as revelation should.Join me, Mark Scarbrough, for the moment that Beatrice takes center stage in Dante's masterwork, COMEDY.If you'd like to help underwrite this podcast, please consider a one-time donation or a very small monthly stipend, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:33] My English translation of PURGATORIO, Canto XXX, Lines 55 - 78. If you'd like to read along or drop a comment about this episode, please find its entry on my website: markscarbrough.com.[04:41] The pilgrim finally named: Dante.[09:03] The crux dilemma of orthodoxy: purity versus human feeling.[13:44] Beatrice's ship, plus other ships in COMEDY.[15:29] Beatrice, the admiral.[17:34] Dante's difficulty in naming himself.[20:20] Beatrice, Minerva, and our (or the pilgrim's?) expectations.[23:42] Beatrice's curious blasphemy and questions.[27:09] Dante as a rejuvenated Narcissus.[30:32] Rereading the passage: PURGATORIO, Canto XXX, lines 55 - 78.

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