Podcasts about romantic era

DescriptionFelix Mendelssohn: The Wunderkind Who Composed with Spark & Soul in 60 Seconds. Take a minute to get the scoop!Fun FactFelix Mendelssohn's first known composition, a *Piano Quartet in C minor*, was completed when he was just 13 years old. Written in 1822, this ambitious work already showed remarkable maturity, blending classical elegance with hints of youthful intensity. It was one of many early pieces that demonstrated Mendelssohn's exceptional talent and foreshadowed his future as a celebrated composer. His sense of structure, melodic grace, and expressive depth made even his earliest compositions stand out.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

En Avant is a five minute ballet segment, hosted by Karen Gibbons-Brown, which airs during Rob Nylund's Classical Connection Review, every Saturday evening on Fort Wayne's 89.1 WBOI.This episode first aired on October 26, 2024, and discusses the particular stars of the Romantic Era of ballet.

On this episode of The Hillsdale College Online Courses Podcast, Jeremiah and Juan (and a very special guest) discuss the groundbreaking work of Ludwig van Beethoven before introducing Dr. Hyperion Knight. In “The History of Classical Music,” concert pianist and Hillsdale College Distinguished Fellow Hyperion Knight explains how music has developed and what distinguishes the greatest musical achievements through the life of Beethoven. Join this course, whether you are a music novice or an aficionado of the classical style, to learn what makes music great. The late Classical Period pointed the way to the Romantic Era as composers revolutionized the expression of musical possibilities within the classical structures. Significant pieces of the period include Beethoven's “Für Elise,” Waldstein Sonata, Appassionata Sonata, Emperor Concerto, and his symphonies, as well as Schubert's “Erlkönig,” Impromptus, and Unfinished Symphony.See omnystudio.com/listener for privacy information.

On this episode of The Hillsdale College Online Courses Podcast, Jeremiah and Juan (and a very special guest) discuss the groundbreaking work of Ludwig van Beethoven before introducing Dr. Hyperion Knight. In “The History of Classical Music,” concert pianist and Hillsdale College Distinguished Fellow Hyperion Knight explains how music has developed and what distinguishes the greatest musical achievements through the life of Beethoven. Join this course, whether you are a music novice or an aficionado of the classical style, to learn what makes music great. The late Classical Period pointed the way to the Romantic Era as composers revolutionized the expression of musical possibilities within the classical structures. Significant pieces of the period include Beethoven's “Für Elise,” Waldstein Sonata, Appassionata Sonata, Emperor Concerto, and his symphonies, as well as Schubert's “Erlkönig,” Impromptus, and Unfinished Symphony.See omnystudio.com/listener for privacy information.

In this week's episode, meet Frédéric Chopin, one of the most famous and celebrated composers and pianists of the Romantic Era, and learn about his life, work, and relationships. Hosted on Acast. See acast.com/privacy for more information.

In this episode of One Symphony, conductor Devin Patrick Hughes interviews acclaimed pianist and composer Marina Arsenijevic to discuss her journey that led to her latest album, Chopin Obsessions. Arsenijevic shared insights into her upbringing in former Yugoslavia, the influences that shaped her musical style, and her unwavering commitment to promoting unity through diversity. Marina Arsenijevic is as an inspiration to artists and audiences alike. Her journey of unity through diversity reminds us of the transformative power of music and its ability to bring people together, even in the most challenging of times.  Growing up in a communist country, Arsenijevic was exposed to a wide range of musical genres, from Western pop to traditional Balkan music, which would later play a significant role in shaping her unique compositional style.  As the disintegration of Yugoslavia began in the early 1990s, Arsenijevic found solace in her music. She recognized the power of music to transcend borders and bring people together, even in the face of conflict and adversity. “I wanted to show our common humanity through history, culture, through music, so I started to blend diverse melodies and rhythms to unite us,” she explained. Arsenijevic's commitment to promoting unity through diversity led to the creation of her PBS special, Marina at West Point: Unity Through Diversity. The concert, which featured the West Point Chorus and Band, showcased a diverse range of musical styles and pieces from Gershwin's Rhapsody in Blue to Freddie Mercury's "Bohemian Rhapsody" alongside Arsenijevic's own compositions. The special aimed to share Arsenijevic's message with a wider audience. During the interview, Arsenijevic also discussed her latest album, Chopin Obsessions. She discussed the influence of Chopin's relationships with aristocratic women on his compositions and the evolution of his musical style throughout his career. Arsenijevic also drew parallels between Chopin and other composers of the Romantic Era.  When asked about her advice for young composers and pianists, Arsenijevic emphasized the importance of using one's own cultural background and traditional music. She encouraged artists to explore the melodies and rhythms of their heritage and incorporate them into their compositions.    MARINA ARSENIJEVIC is an international award-winning pianist and composer, star of the Emmy-nominated Public Television program, “Marina at West Point: Unity through Diversity”which has been broadcast to more than 170 Million viewers on PBS Stations all across the country. Marina created the program and performed with the 120-member joint ensemble of the West Point Band and West Point Cadet Glee Club. The Concert was recorded live at West Point's historic Eisenhower Hall and as of 2020 become one of the longest running single concerts at PBS TV Network. Thank you for joining us on One Symphony. Thanks to Marina Arsenijevic for sharing her music and performances. You can find more info at https://www.marinainamerica.com/home The following music was heard on today's episode: “A Piece of My Sky” composed and performed by Marina Arsenijevic. “Gypsy Suite” from the album My Balkan Soul, composed and performed by Marina Arsenijevic available from KM Records.  “Armed Forces Medley” performed by Marina with the West Point Cadet Glee Club and the West Point Band from the PBS special Marina at West Point: Unity Through Diversity.  The cadenza and finale from Tesla Rhapsody, composed by Marina made possible by the Gold Spirit Award from the Tesla Science Foundation.  Chopin's Waltz in A-flat Major op 42, Fantaisie-impromptu, Op.66, and Ballade No. 1 in G minor, performed by Marina on the album Chopin Obsession available from United World Bravo Music.  “Homolje” from the album Balkan Sounds. Composed and performed by Marina Arsenijevic and the Servian Chamber Orchestra and Chorus. Arranged by Zoran Hristic. Available from United World Bravo Music. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!   https://www.marinainamerica.com/performances https://www.priceattractions.com/devin-patrick-hughes-conductor  

They delve into specific instances where these movements have influenced policy changes, discussing the tensions between activism and open inquiry. The conversation highlights recent cases where protests have either stifled or spurred debates about institutional investment ethics and the balance between social justice and academic discourse.Finally, they discuss the politicization of the humanities, examining how political biases can shape curricula and impact scholarly discourse.In This Episode:Politicization in response to humanities' defundingThe challenges in balancing university finance and missionHow universities are inconsistent when handling student protestsThe complexities of university divestment and geopoliticsDiversity and inclusion frameworks in modern academiaFollow Tyler on X here: https://twitter.com/Tyler_A_HarperAbout Tyler:Tyler Austin Harper is a literary scholar working at the intersection of the history of science, philosophy, and environmental studies. His book, “The Paranoid Animal: Human Extinction Before the Bomb,” is under contract with Princeton University Press. It examines how British literary figures, scientists, and social theorists engaged with the concept of human extinction prior to the nuclear age. Specifically, his work argues that the period between 1800 and 1945 witnessed a shift from fatalistic visions of the end of humanity—dominant during the Romantic Era and influenced by theories of geological catastrophism—toward a new, post-Darwinian conception of human extinction in which threats to the species were reimagined as risks that could be mitigated by technological intervention, prefiguring current debates about AI, nuclear war, and climate change. His scholarly work has been published in Modern Language Quarterly, Science Fiction Studies, Syndicate, and Paradoxa.Harper is a contributing writer at The Atlantic. His public writing on politics, culture, race, and technology has appeared in The Atlantic, The New York Times, The Washington Post, The Boston Globe, Jacobin, and other outlets. Follow Heterodox Academy on:Twitter: https://bit.ly/3Fax5DyFacebook: https://bit.ly/3PMYxfwLinkedIn: https://bit.ly/48IYeuJInstagram: https://bit.ly/46HKfUgSubstack: https://bit.ly/48IhjNF

Read the longform article at:https://gettherapybirmingham.com/healing-the-modern-soul-part-2/   The Philosophy of Psychotherapy The Corporatization of Healthcare and Academia: A Threat to the Future of Psychotherapy The field of psychotherapy is at a critical juncture, facing numerous challenges that threaten its ability to effectively address the complex realities of the human experience. Chief among these challenges is the growing influence of corporate interests and the trend towards hyper-specialization in academic psychology, which have led to a disconnect between the profession and its roots, as well as a lack of understanding of the physical reality of the body, anthropology, and the history of the field. In this article, we will explore the ways in which the corporatization of healthcare and academia is impacting psychotherapy, and argue that in order for the profession to remain relevant and effective, it must embrace a more holistic and integrative approach that recognizes the interconnectedness of the mind, body, and spirit. This requires a renewed commitment to developing a coherent concept of self, a shared language and understanding of implicit memory, and a vision of psychotherapy as a means of empowering individuals to become more effective at being themselves in the world and, in turn, better at transforming the world for the better. The Corporatization of Healthcare and Academia The influence of corporate interests on healthcare and academia has had a profound impact on the field of psychotherapy. The pressure to maximize profits and minimize costs has led to a shift away from comprehensive diagnosis and towards a reliance on quick fixes like medication and brief, manualized therapies. This trend is particularly evident in the way that psychiatry has evolved over the past few decades. Psychiatrists used to spend an entire hour with their patients doing psychotherapy, but now the majority of the profession relies solely on drug therapy. In fact, a staggering 89% of psychiatrists used only drug therapy in 2010, compared to just 54% in 1988 (Mojtabai & Olfson, 2008). Patients are often left feeling frustrated and unheard, with many giving up on medication after their psychiatrist writes a script in the first and last five minutes of their first session. The same forces are at work in academia, where the cost of education has skyrocketed and the focus has shifted towards producing "products" rather than fostering critical thinking and innovation. Adjunct professors, who often lack the expertise and experience to teach psychotherapy effectively, have replaced tenure-track faculty, and students are graduating with a narrow understanding of the field that is ill-suited to the realities of private practice (Collier, 2017). The result is a profession that is increasingly disconnected from its roots and the physical reality of the body. Anthropology, humanities and the history of the profession, which offer valuable insights into the nature of the human experience and the evolution of psychotherapy, are largely ignored in favor of a narrow focus on cognitive-behavioral interventions and symptom reduction pushed largely to help psychopharm companies' bottom lines (Frances, 2013). The current academic publishing system is also broken. Academics work hard to come up with original ideas and write papers, only to give their work away for free to publishers who make trillions of dollars in profits while the authors get no compensation (Buranyi, 2017). Peers often cite papers to support their own points without actually reading them in depth. And the "best" journals frequently publish absurd psychology articles that would make you laugh if you said their main point out loud, but hide their lack of substance behind academic jargon (Sokal, 2008). Meanwhile, students spend years in graduate school being forced to research what their advisor wants, not what's truly innovative or needed to advance the field. After a decade of study and compromise, the pinnacle achievement is often creating a new 30-question screener for something like anxiety, rather than developing therapists who can actually discern and treat anxiety without needing a questionnaire. The system fails to properly vet or pay therapists, assuming they can't be trusted to practice without rigid manuals and checklists. This hyper-rationality, the madness arising from too much logic rather than too little, is very useful to moneyed interests like the Department of Defense in how they want to fund and control research. Large language models and AI are the pinnacle of this - spreadsheets sorting data points to mimic human speech, created by people so disconnected from a real sense of self that they believe you can turn people into robots because they've turned themselves into robots (Weizenbaum, 1976). But psychology and therapy can't be reduced to hard science and pure empiricism the way fields like physics can (at least until you get to quantum physics and have to rely on metaphor again). We can't remove all intuition, subjective experience and uncertainty (Rogers, 1995). The reproducibility crisis in psychology research shows the folly of this over-rationality (Open Science Collaboration, 2015). Studies that throw out any participant who dropped out of CBT treatment because it wasn't helping them are not painting an accurate picture (Westen et al., 2004). Developing a Coherent Concept of Self A History of the Self Our understanding of the self has evolved throughout history: Ancient Greek Philosophy (6th century BCE - 3rd century CE) Socrates introduces the idea of the self as a distinct entity, emphasizing self-knowledge and introspection (Plato, trans. 2002). Plato's concept of the soul as the essence of the self, distinct from the physical body (Plato, trans. 1997). Aristotle's notion of the self as the unity of body and soul, with the soul being the form or essence of the individual (Aristotle, trans. 1986). Medieval Philosophy (5th century CE - 15th century CE) St. Augustine's concept of the self as a reflection of God, with the inner self being the source of truth and self-knowledge (Augustine, trans. 2002). St. Thomas Aquinas' synthesis of Aristotelian and Christian concepts of the self, emphasizing the soul as the form of the body (Aquinas, trans.1981). Renaissance and Enlightenment (16th century CE - 18th century CE) Descartes' famous "cogito ergo sum" ("I think, therefore I am"), establishing the self as a thinking, conscious being (Descartes, trans. 1996). Locke's idea of the self as a blank slate shaped by experience and the continuity of consciousness (Locke, trans. 1975). Hume's skepticism about the self, arguing that it is merely a bundle of perceptions without a unified identity (Hume, trans. 2000). Romantic Era (late 18th century CE - mid-19th century CE) The self is seen as a creative, expressive force, with an emphasis on individuality and subjective experience (Berlin, 2013). The rise of the concept of the "self-made man" and the importance of personal growth and self-realization (Trilling, 1972). 20th Century Philosophy and Psychology Freud's psychoanalytic theory, which posits the self as composed of the id, ego, and superego, with unconscious drives and conflicts shaping behavior (Freud, trans.1989). Jung's concept of the self as the center of the psyche, integrating conscious and unconscious elements (Jung, 1959). Existentialism's emphasis on the self as a product of individual choices and actions, with the need to create meaning in a meaningless world (Sartre, trans. 1956). The rise of humanistic psychology, with its focus on self-actualization and the inherent potential of the individual (Maslow, 1968). Postmodernism's deconstruction of the self, challenging the idea of a unified, coherent identity (Jameson, 1991). Contemporary Developments (late 20th century CE - present) The influence of neuroscience and cognitive science on the understanding of the self as an emergent property of brain processes (LeDoux, 2002). The impact of social and cultural factors on the construction of the self, with the recognition of multiple, intersecting identities (Gergen, 1991). The rise of narrative theories of the self, emphasizing the role of storytelling in shaping personal identity (Bruner, 1990). The influence of Eastern philosophies and contemplative practices on Western concepts of the self, with an emphasis on mindfulness and interconnectedness (Epstein, 1995). Psychotherapy and the Concept of Self Sigmund Freud (1856-1939) - Psychoanalysis: Freud, the founder of psychoanalysis, conceived of the self as being composed of three elements: the id, the ego, and the superego. The id represents the primitive, instinctual drives; the ego mediates between the demands of the id and the constraints of reality; and the superego represents the internalized moral standards and values of society. Freud believed that the goal of psychotherapy was to bring unconscious conflicts and desires into conscious awareness, allowing the ego to better manage the competing demands of the id and superego (Freud, trans. 1989). Carl Jung (1875-1961) - Analytical Psychology: Jung, a former collaborator of Freud, developed his own theory of the self, which he saw as the central archetype of the psyche. Jung believed that the self represented the unity and wholeness of the personality, and that the goal of psychotherapy was to help individuals achieve a state of self-realization or individuation. This involved integrating the conscious and unconscious aspects of the psyche, including the persona (the public face), the shadow (the repressed or hidden aspects of the self), and the anima/animus (the inner masculine or feminine) (Jung, 1959). Alfred Adler (1870-1937) - Individual Psychology: Adler, another former collaborator of Freud, emphasized the importance of social relationships and the drive for superiority in shaping the self. He believed that individuals develop a unique lifestyle or way of being in the world based on their early experiences and relationships, and that the goal of psychotherapy was to help individuals overcome feelings of inferiority and develop a healthy, socially-oriented way of living (Adler, trans. 1964). Fritz Perls (1893-1970) - Gestalt Therapy: Perls, the founder of Gestalt therapy, saw the self as an ongoing process of self-regulation and self-actualization. He believed that the goal of psychotherapy was to help individuals become more aware of their present-moment experience and to take responsibility for their thoughts, feelings, and actions. Perls emphasized the importance of contact between the self and the environment, and the need to integrate the different aspects of the self into a cohesive whole (Perls et al., 1951). Internal Family Systems (IFS) - Richard Schwartz (1950-present): IFS is a more recent approach that sees the self as being composed of multiple sub-personalities or "parts." These parts are seen as having their own unique qualities, desires, and beliefs, and the goal of IFS therapy is to help individuals develop a greater sense of self-leadership and inner harmony. The self is seen as the core of the personality, with the capacity to lead and integrate the different parts (Schwartz, 1995). As Schwartz writes in the introduction to his book on IFS, the model was heavily influenced by Gestalt therapy and the work of Carl Jung. Schwartz aimed to create a non-pathologizing approach that honored the complexity and wisdom of the psyche. IFS shares Jung's view of the self as the central organizing principle, surrounded by various archetypes or subpersonalities. It also draws on the Gestalt emphasis on present-moment awareness and the need for integration of different aspects of the self. However, IFS offers a more user-friendly language than classical Jungian analysis, without the need for extensive explanations of concepts like anima/animus. In IFS, a patient can quickly identify different "parts" - for example, a protector part that taps its foot and bites its nails to avoid painful feelings. By directly engaging with and embracing that part, the patient can access the vulnerable feelings and memories it is protecting against, fostering self-compassion and integration over time. The IFS model is an example of how contemporary approaches are building on the insights of depth psychology while offering more transparent, experience-near practices suitable for a wider range of patients and practitioners. It reflects an ongoing effort to develop a cohesive yet flexible understanding of the self that remains open to unconscious processes. Cognitive-Behavioral Therapy (CBT) - Aaron Beck (1921-2021) and Albert Ellis (1913-2007): CBT, developed by Beck and Ellis, focuses on the role of thoughts and beliefs in shaping emotional and behavioral responses. CBT sees the self as being largely determined by the individual's cognitions, and the goal of therapy is to help individuals identify and modify maladaptive or irrational beliefs and thought patterns. CBT places less emphasis on the unconscious or intrapsychic aspects of the self, and more on the conscious, rational processes that shape behavior (Beck, 1979; Ellis & Harper, 1975). Applied Behavior Analysis (ABA) - B.F. Skinner (1904-1990): ABA, based on the work of Skinner and other behaviorists, sees the self as a product of environmental contingencies and reinforcement histories. ABA focuses on observable behaviors rather than internal states or processes, and the goal of therapy is to modify behavior through the systematic application of reinforcement and punishment. ABA has been widely used in the treatment of autism and other developmental disorders, but has been criticized for its lack of attention to the inner experience of the self (Skinner, 1953; Lovaas, 1987). What is Self? One of the key challenges facing psychotherapy today is the lack of a coherent concept of self. The self is a complex and dynamic entity that is shaped by a range of internal and external factors, including our experiences, relationships, and cultural context (Baumeister, 1987). Unfortunately, many contemporary models of therapy fail to adequately capture this complexity, instead relying on simplistic and reductionistic notions of the self as a collection of symptoms or behaviors to be modified (Wachtel, 1991). To develop a more coherent and holistic concept of self, psychotherapy must draw on insights from a range of disciplines, including psychology, philosophy, anthropology, and the humanities (Sass & Parnas, 2003). This requires a willingness to engage with the messy and often paradoxical nature of the human experience, recognizing that the self is not a fixed entity but rather a constantly evolving process of becoming (Gendlin, 1978). The psychoanalyst Carl Jung's concept of the self as the central archetype, connected to the divine and the greater unconscious, offers a useful starting point for this endeavor. Jung believed that by making the unconscious conscious and dealing with ego rigidity, individuals could embody a deeper sense of purpose and connection to the universe (Jung, 1959). While we may not need to fully embrace Jung's metaphysical language, his emphasis on the dynamic interplay between conscious and unconscious processes, as well as the importance of symbol, dream, and myth in shaping the self, remains highly relevant today (Hillman, 1975). Other approaches, such as Internal Family Systems (IFS) therapy and somatic experiencing, also offer valuable insights into the nature of the self. IFS sees the self as a core of compassion, curiosity, and confidence that is surrounded by protective parts that arise in response to trauma and other challenges. By working with these parts and fostering greater integration and self-leadership, individuals can develop a more coherent and authentic sense of self (Schwartz, 1995). Similarly, somatic experiencing emphasizes the role of the body in shaping the self, recognizing that trauma and other experiences are stored not just in the mind but also in the muscles, nerves, and other physical structures (Levine, 1997). Models like IFS, somatic experiencing, and lifespan integration are appealing because they see the self as a dynamic ecosystem that is always evolving and striving for integration and actualization (Boon et al., 2011; Ogden et al., 2006; Pace, 2012). They don't try to label and categorize everything, recognizing that sometimes we need to just sit with feelings and sensations without fully understanding them intellectually. Lifespan integration in particular views the self as a continuum of moments threaded together like pearls on a necklace. Traumatic experiences can cause certain "pearls" or ego states to become frozen in time, disconnected from the flow of the self-narrative. By imaginally revisiting these moments and "smashing them together" with resource states, lifespan integration aims to re-integrate the self across time, fostering a more coherent and flexible identity (Pace, 2012). In contrast, the more behavioral and manualized approaches like CBT and ABA have a much more limited and problematic view. They see the self as just a collection of cognitions and learned behaviors, minimizing the role of the unconscious and treating people more like programmable robots (Shedler, 2010). If taken to an extreme, this is frankly offensive and damaging. There has to be room for the parts of the self that we can feel and intuit but not fully articulate (Stern, 2004). Ultimately, developing a coherent concept of self requires a willingness to sit with the tensions and paradoxes of the human experience, recognizing that the self is always in communication with the world around us, and that our sense of who we are is constantly being shaped by implicit memory and other unconscious processes (Schore & Schore, 2008). It requires remaining open to uncertainty and realizing that the self is never static or finished, but always dynamically unfolding (Bromberg, 1996). Good therapy helps people get in touch with their authentic self, not just impose a set of techniques to modify surface-level symptoms (Fosha et al., 2009). Understanding Implicit Memory Another critical challenge facing psychotherapy today is the lack of a shared language and understanding of implicit memory. Implicit memory refers to the unconscious, automatic, and often somatic ways in which our past experiences shape our present thoughts, feelings, and behaviors (Schacter et al., 1993). While the concept of implicit memory has a long history in psychotherapy, dating back to Freud's notion of the unconscious and Jung's idea of the collective unconscious, it remains poorly understood and often overlooked in contemporary practice (Kihlstrom, 1987). This is due in part to the dominance of cognitive-behavioral approaches, which tend to focus on explicit, conscious processes rather than the deeper, more intuitive and embodied aspects of the self (Bucci, 1997). To effectively address the role of implicit memory in psychological distress and personal growth, psychotherapy must develop a shared language and framework for understanding and working with these unconscious processes (Greenberg, 2002). This requires a willingness to engage with the body and the somatic experience, recognizing that our thoughts, feelings, and behaviors are deeply rooted in our physical being (van der Kolk, 2014). One way to think about implicit memory is as a kind of "photoshop filter" that our brain is constantly running, even when we are not consciously aware of it. Just as the center of our visual field is filled in by our brain based on the surrounding context, our implicit memories are constantly shaping our perceptions and reactions to the world around us, even when we are not consciously aware of them. This is why it is so important for therapists to be attuned to the subtle cues and signals that patients give off, both verbally and nonverbally. A skilled therapist can often sense the presence of implicit memories and unconscious processes long before the patient is consciously aware of them, and can use this information to guide the therapeutic process in a more effective and meaningful direction (Schore, 2012). At the same time, it is important to recognize that implicit memories are not always negative or pathological. In fact, many of our most cherished and meaningful experiences are encoded in implicit memory, shaping our sense of self and our relationships with others in profound and often unconscious ways (Fosshage, 2005). The goal of therapy, then, is not necessarily to eliminate or "fix" implicit memories, but rather to help individuals develop a more conscious and intentional relationship with them, so that they can be integrated into a more coherent and authentic sense of self (Stern, 2004). The Future of the Unconscious Many of the most interesting thinkers in the history of psychology understood this symbolic dimension of implicit memory, even if their specific theories needed refinement. Freud recognized the dynamic interplay of conscious and unconscious processes, and the way that repressed material could manifest in dreams, symptoms, and relational patterns (Freud, trans. 1989). Jung saw the unconscious as not just a repository of repressed personal material, but a deep well of collective wisdom and creative potential, populated by universal archetypes and accessed through dream, myth, and active imagination (Jung, 1968). Jung urged individuals to engage in a lifelong process of "individuation," differentiating the self from the collective while also integrating the conscious and unconscious aspects of the psyche (Jung, 1964). Reich connected chronic muscular tensions or "character armor" to blocked emotions and neurotic conflicts, pioneering body-based interventions aimed at restoring the free flow of life energy (Reich, 1980). While some of Reich's later work veered into pseudoscience, his core insights about the somatic basis of psychological experience were hugely influential on subsequent generations of clinicians (Young, 2006). More recently, emerging models such as sensorimotor psychotherapy (Ogden & Fisher, 2015), accelerated experiential dynamic psychotherapy (AEDP; Fosha, 2000), and eye movement desensitization and reprocessing (EMDR; Shapiro, 2017) aim to access and integrate implicit memories through body-based and imagistic techniques. By working with posture, sensation, movement, and breath, these approaches help patients bring nonverbal, affective material into conscious awareness and narrative coherence. Process-oriented therapies such as Arnold Mindell's process work (Mindell, 1985) offer another compelling framework for engaging implicit memory. Mindell suggests that the unconscious communicates through "channels" such as vision, audition, proprioception, kinesthesia, and relationship. By unfolding the process in each channel and following the flow of "sentient essence," therapists can help patients access and integrate implicit memories and in turn catalyze psychological and somatic healing. These contemporary approaches build on the insights of earlier clinicians while offering new maps and methods for navigating the realm of implicit memory. They point towards an understanding of the self as an ever-evolving matrix of conscious and unconscious, cognitive and somatic, personal and transpersonal processes. Engaging implicit memory is not about pathologizing the unconscious so much as learning its unique language and honoring its hidden wisdom. At the same time, this is tricky terrain to navigate, personally and professionally. As therapist and patient venture into the uncharted waters of the unconscious, it is crucial to maintain an attitude of humility, compassion, and ethical integrity (Stein, 2006). We must be mindful of the power dynamics and transference/countertransference currents that can arise in any therapeutic relationship, and work to create a safe, boundaried space for healing and transformation (Barnett et al., 2007). There is also a risk of getting lost in the fascinating world of the unconscious and losing sight of external reality. While depth psychology and experiential therapies offer valuable tools for self-exploration and meaning-making, they are not a replacement for practical skills, behavioral changes, and real-world action. We must be careful not to fall into the trap of "spiritual bypassing," using esoteric practices to avoid the hard work of embodying our insights and values in daily life (Welwood, 2000). Ultimately, the future of psychotherapy lies in integrating the best of what has come before while remaining open to new discoveries and directions. By combining scientific rigor with clinical artistry, cognitive understanding with experiential depth, and technical skill with ethical care, we can continue to expand our understanding of the self and the transformative potential of the therapeutic relationship. As we navigate the uncharted territories of the 21st century and beyond, we will need maps and methods that honor the full complexity and mystery of the human experience. Engaging with the unconscious and implicit dimensions of memory is not a luxury but a necessity if we are to rise to the challenges of our time with creativity, resilience, and wisdom. May we have the courage to venture into the depths, and the humility to be transformed by what we find there. Empowering Individuals to Be Themselves The ultimate goal of psychotherapy, in my view, is to empower individuals to become more effective at being themselves in the world and, in turn, better at transforming the world for the better. This requires a fundamental shift in the way that we think about mental health and well-being, moving beyond a narrow focus on symptom reduction and towards a more holistic and integrative approach that recognizes the interconnectedness of mind, body, and spirit. To achieve this goal, psychotherapy must embrace a range of approaches and techniques that are tailored to the unique needs and experiences of each individual. This may include somatic therapies that work with the body to release trauma and promote healing, such as somatic experiencing, sensorimotor psychotherapy, or EMDR (Levine, 1997; Ogden & Fisher, 2015; Shapiro, 2017). It may also include depth psychologies that explore the unconscious and archetypal dimensions of the psyche, such as Jungian analysis, psychosynthesis, or archetypal psychology (Jung, 1968; Assagioli, 1965; Hillman, 1975). And it may include humanistic and experiential approaches that emphasize the inherent worth and potential of each person, such as person-centered therapy, gestalt therapy, or existential psychotherapy (Rogers, 1995; Perls et al., 1951; Yalom, 1980). At the same time, psychotherapy must also be grounded in a deep understanding of the social, cultural, and political contexts in which individuals live and work. This requires a willingness to engage with issues of power, privilege, and oppression, recognizing that mental health and well-being are intimately connected to the broader structures and systems that shape our lives (Prilleltensky, 1997). It also requires a recognition that the goal of therapy is not simply to help individuals adapt to the status quo, but rather to empower them to become agents of change in their own lives and in the world around them (Freire, 1970). Therapists as Agents of the Post-Secular Sacred One way to think about this is through the lens of what depth psychologist David Tacey calls the "post-secular sacred" (Tacey, 2004). Tacey argues that we are moving into a new era of spirituality that is grounded in a deep respect for science and reason, but also recognizes the importance of myth, symbol, and the unconscious in shaping our experience of the world. In this view, the goal of therapy is not to strip away our illusions and defenses in order to reveal some kind of objective truth, but rather to help individuals develop a more authentic and meaningful relationship with the mystery and complexity of existence. This requires a willingness to sit with the discomfort and uncertainty that often accompanies the process of growth and transformation. It also requires a recognition that the path to wholeness and healing is not always a straight line, but rather a winding and often circuitous journey that involves confronting our deepest fears and vulnerabilities (Jung, 1959). Therapists of Agents of the Post Secular Sacred Riddle in the Garden by Robert Penn Warren My mind is intact, but the shapes of the world change, the peach has released the bough and at last makes full confession, its pudeur had departed like peach-fuzz wiped off, and We now know how the hot sweet- ness of flesh and the juice-dark hug the rough peach-pit, we know its most suicidal yearnings, it wants to suffer extremely, it Loves God, and I warn you, do not touch that plum, it will burn you, a blister will be on your finger, and you will put the finger to your lips for relief—oh, do be careful not to break that soft Gray bulge of blister like fruit-skin, for exposing that inwardness will increase your pain, for you are part of this world. You think I am speaking in riddles. But I am not, for The world means only itself. In the image that Penn Warren creates in "Riddle in the Garden" is a labyrinth leading back to the birth of humans in the garden of Eden.  Life itself is a swelling of inflammation from a wound or a need in both blisters and in peaches. You cannot have one part of the process without accepting all of it. The swelling in the growth of the fruit is also the swelling in the growth of a blister of pain. The peach must swell and become a sweet tempting blister or else no one would eat it and expose the "inwardness" of the seed to grow more trees.  exists to be eaten to die. We eat the peach to grow the next one. Not to touch the “suicidal” peach is not to touch life itself. For to live is to be hurt and to grow. To touch the peach is to become part of the world like Adam and Eve found out. It hurts it blisters us turning us into fruit.  For Penn Warren it is the separation of the self from the world of divine connection with nature that creates our need for meaning. This need is the reason that patients come to therapy. God tells us that “I am the lord your God” but Penn Warren tells us “I am not”. For “The world means only itself”. This process only has the meaning that we allow ourselves to give it. This is not a riddle, Penn Warren tells us.  It is only something we have to deal with but cannot not solve. The world means only itself. There is no gimmick or solution to the problem of being human.  In other words, the process of becoming more fully ourselves is not always easy or comfortable. It requires a willingness to confront the pain and suffering that is inherent in the human condition, and to recognize that growth and healing often involve an alchemical kind of death and rebirth. But it is precisely through this process of facing our fears and vulnerabilities that we can begin to develop a more authentic and meaningful relationship with ourselves, with others, and with the world around us. Ultimately, the goal of psychotherapy is not to provide answers or solutions, but rather to create a space in which individuals can begin to ask deeper questions about the nature of their existence and their place in the world. It is to help individuals develop the tools and capacities they need to navigate the complexities of life with greater courage, compassion, and wisdom. And it is to empower individuals to become more effective at being themselves in the world, so that they can contribute to the greater whole and help to create a more just, equitable, and sustainable future for all. The Future of Psychotherapy The corporatization of healthcare and academia poses a serious threat to the future of psychotherapy, undermining its ability to effectively address the complex realities of the human experience. To remain relevant and effective in the face of these challenges, the field must embrace a more holistic and integrative approach that recognizes the interconnectedness of the mind, body, and spirit. This requires a renewed commitment to developing a coherent concept of self, a shared language and understanding of implicit memory, and a vision of psychotherapy as a means of empowering individuals to become more effective at being themselves in the world and, in turn, better at transforming the world for the better. It also requires a willingness to engage with the full complexity and paradox of the human experience, recognizing that growth and healing often involve a kind of death and rebirth, and that the path to wholeness is not always a straight line. As the psychologist Carl Jung once wrote, "The privilege of a lifetime is to become who you truly are." Psychotherapy and the Dialectic of Self and World As we have explored throughout this essay, the self does not exist in a vacuum, but is always in dynamic interaction with the world around it. Our sense of who we are, what we value, and what is possible for us is shaped by a complex interplay of internal and external factors, from our earliest experiences of attachment and attunement to the broader social, cultural, and political contexts in which we are embedded. In many ways, psychotherapy can be seen as a process of exploring and working with the dialectical tension between self and world, between our innermost longings, fears, and aspirations and the often harsh realities of the environments we find ourselves in. When we enter therapy, we bring with us not only our own unique histories, personality structures, and ways of being, but also the internalized messages, expectations, and constraints of the world around us. For many individuals, these internalized messages and constraints can feel suffocating, limiting their sense of possibility and agency in the world. They may find themselves feeling stuck, trapped, or disconnected from their authentic selves, playing roles and wearing masks that no longer fit who they really are. In the face of external pressures to conform, to achieve, to fit in, the self can become fragmented, disempowered, or lost. The task of psychotherapy, then, is to help individuals rediscover and reclaim a sense of self that feels vital, authentic, and empowered, while also developing the skills and capacities needed to navigate the complexities of the world with greater flexibility, resilience, and integrity. This requires a delicate balance of supportive and challenging interventions, of validating the individual's unique experience while also gently questioning and expanding their assumptions about what is possible. On one end of the spectrum, an overly supportive or myopic approach to therapy can run the risk of enabling individuals to remain stuck in limiting patterns and beliefs, reinforcing a sense of helplessness or dependence on the therapist. While providing a warm, empathic, and nonjudgmental space is essential for building trust and safety in the therapeutic relationship, it is not sufficient for fostering real growth and change. Individuals need to be challenged to step outside their comfort zones, to experiment with new ways of being and relating, and to take responsibility for their choices and actions in the world. On the other end of the spectrum, an overly challenging or confrontational approach to therapy can be experienced as invalidating, shaming, or even retraumatizing, particularly for individuals with histories of abuse, neglect, or marginalization. Pushing individuals to "toughen up," to adapt to oppressive or toxic environments, or to simply accept the "reality" of their situation without questioning or resisting it can lead to a kind of false or forced adaptation, a loss of self that is no less harmful than remaining stuck. The key, then, is to find a middle path between these extremes, one that honors the individual's inherent worth, agency, and potential while also recognizing the very real constraints and challenges of the world they inhabit. This requires a deep understanding of the ways in which power, privilege, and oppression shape our experiences and identities, as well as a willingness to grapple with the existential questions of meaning, purpose, and authenticity that arise when we confront the gap between who we are and who we feel we ought to be. In practice, this might involve helping individuals to: Develop a clearer and more coherent sense of self, one that integrates the various parts of their personality, history, and identity in a way that feels authentic and meaningful to them. Identify and challenge limiting beliefs, assumptions, and patterns of behavior that keep them stuck or disconnected from their true desires and values. Cultivate greater self-awareness, self-compassion, and self-acceptance, learning to embrace the full range of their thoughts, feelings, and experiences with curiosity and kindness. Develop the skills and capacities needed to communicate effectively, set healthy boundaries, and navigate relationships and social situations with greater ease and confidence. Explore and experiment with new ways of being and relating in the world, taking risks and stepping outside their comfort zones in service of their growth and healing. Engage critically and creatively with the social, cultural, and political contexts that shape their lives, developing a sense of empowerment, agency, and social responsibility. Connect with a deeper sense of meaning, purpose, and spirituality, one that transcends the ego and connects them to something greater than themselves. Ultimately, the goal of psychotherapy is not simply to help individuals adapt to the world as it is, but to empower them to become active agents of change, both in their own lives and in the larger systems and structures that shape our collective reality. By developing a stronger, more integrated, and more authentic sense of self, individuals can begin to challenge and transform the limiting beliefs, oppressive power dynamics, and dehumanizing narratives that keep us all stuck and disconnected from our shared humanity. In this sense, psychotherapy is not just a personal journey of healing and self-discovery, but a deeply political and moral enterprise, one that calls us to envision and create a world that is more just, compassionate, and sustainable for all. As therapists, we have a unique opportunity and responsibility to support individuals in this process, to bear witness to their pain and their resilience, and to help them find the courage, clarity, and creativity needed to live a life of purpose, integrity, and connection. As the existential psychiatrist Viktor Frankl once wrote, "Between stimulus and response there is a space. In that space is our power to choose our response. In our response lies our growth and our freedom." By creating a space for individuals to explore and expand their capacity to choose, to respond to the world with authenticity and agency, psychotherapy can play a vital role in the ongoing dialectic of self and world, of personal and collective transformation. 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I rant about how dating is immensely different these days. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

We are moving right along in our series about the 4 major periods of western classical music by learning about the Romantic Era in today's episode. As a pianist, I'm rather partial to the music of this era -- which was a time when many virtuoso pianists composed and performed. The expressive music in today's episode makes for a beautiful and dramatic experience as we learn more about this period of time from 1830-1900. Be sure to check out all the links I've included below to learn more about some of the composers from this period that we've discussed previously on the podcast.     Links Mentioned in this Episode: Busy Kids Do Music History Course Episode 78: The Baroque Era Episode 79: The Romantic Era Previous Episodes About Romantic Composers: Episode 32: The Piano Episode 2: Edvard Grieg & Peer Gynt Suite Episode 15: Fanny Mendelssohn Episode 20: The Life of Tchaikovsky Episode 40: Frédéric Chopin Episode 42: Clara Schumann Episode 44: The Life of Johannes Brahms Music Heard in this Episode: Beethoven: Symphony No. 6, Pastoral | Bernard Haitink & Berlin Philharmonic Eric Lu – Mazurka in A minor Op. 17 No. 4 Johannes Brahms -- Hungarian Dance No.5 - Hungarian Symphony Orchestra Budapest Franz Liszt Hungarian Rhapsody no 2 Tchaikovsky - Swan Lake (Swan Theme) Music Listening Schedule for Episode 80 I've created a YouTube playlist for you that includes music from today's episode as a few additional songs from the Romantic Era. You can view the videos I've complied here. Subscribe & Review in iTunes Are you subscribed to my podcast? If you're not, head on over to do that today so you don't miss an episode. Click here to subscribe in iTunes! If you're feeling extra magnanimous, I would be really grateful if you left a review over on iTunes, too. Those reviews help other families find my podcast learn more about music. Just click here to review, select “Ratings and Reviews” and “Write a Review” and let me know what you love about Busy Kids Love Music. Thanks!

In honor of legendary Dodgers announcer and Westlake Village resident Vin Scully, who passed away August 2 at the age of 94, we're dedicating this episode to Dodgers baseball history. Sports host David Lopez visits the home of retired Dodger pitcher Ralph Mauriello, who spent eight years in the Dodgers organization, including three games for the big league club in 1958. Mauriello shares fond memories of his friends Vin and Tommy Lasorda and looks back on nearly 70 years of Los Angeles Dodgers history. Accompanying Links: Former Dodger pitcher battled batters on both coastsMore information about Tales from Beyond the DugoutBranching Out:Find us on TwitterEmail us at branchingout@theacorn.comCall us at (805) 222-0237Written by David LopezAudio Engineering + Graphic Design by David LopezProduced by Allison MontroyMusic by Ian Bradley SUPPORT OUR SPONSORS!Timios Title and Escrow Services211 Village Commons Blvd. #13, Camarillo(800) 377-8019Maid in America HousecleaningCall for a free estimate!(805) 499-7259Gold Coast Veterans Foundation4001 Mission Oaks Blvd, Suite D, Camarillo, CA(805) 482-6550Save a Life Thrift Stores315 Arneill Rd #103, Camarillo (888) 876-0605Arsenal Comics & Games1610-1 Newbury Rd, Newbury Park3431 Telegraph Rd, Ventura(805) 499-6197Sunburst Skylights 520 N Ventu Park Rd, Newbury Park (805) 499-8935Support the show

An examination of the waxing and waning influence of demoted planets• Explains in detail how the demotion or proved nonexistence of a planet marks the beginning of a roughly 30-year period in which that planet's influence wanes• Explores Pluto's arc of influence on individual and collective life in depth, from its discovery in 1930 to the end of its influence in 2036• Offers examples from other demoted planets, such as Ceres, whose fifty-year reign as a planet corresponds very closely to the Romantic Era of historyRecent research in astrology has shown that the discovery of a new planet correlates with the emergence of a new set of influences in individual and collective life. As John Michael Greer reveals, the opposite is also true: the demotion of a planet correlates with the decline of a set of influences into the background.Exploring the waxing and waning of planetary influences in astrology, Greer explains in detail how the demotion or proved nonexistence of a planet marks the beginning of a roughly 30-year period in which that planet's influence fades out. He examines several examples of planet demotion, including Ceres, whose influence began to take shape some 30 years before its discovery in 1801 and gradually faded over the three decades following its demotion in the 1850s.Examining Pluto's astrological influence in depth, from the beginning of the search for “Planet X” in 1900 to the end of its influence in 2036, the author shows how during the Plutonian era the concept of cosmos--from the ancient Greek meaning “that which is beautifully ordered”--was in eclipse. Pluto's influence led to the rejection of unity, beauty, and order, exemplified through the splitting of the atom by physicists, the splitting of the individual into conscious and subconscious halves by psychoanalysts, and the splitting of the world into warring camps by politicians.Offering an essential guide not only to the astrology of the future but also to the twilight of the Plutonian era, Greer shows how as Pluto's influence fades out in the years ahead, a great many disruptive phenomena of the recent past will fade with it.ohn Michael Greer is a writer, blogger, and independent scholar who has written more than 70 books, including The King in Orange, Circles of Power, and the award-winning New Encyclopedia of the Occult. A longtime student of astrology, he began working as a political astrologer in 2017. He lives in Rhode Island.

The Gothic novel calls to mind abandoned castles, ghosts and vampires. But perhaps it is time to look beyond these familiar tropes. Often taking their inspiration from Ann Radcliffe's The Mysteries of Udolpho (1794), there exists an interesting and understudied corpus of late eighteenth-century popular gothic fiction written by women authors. Writing against the increasing conservatism in British politics in the wake of the French Revolution, these authors often chose female protagonists fond of composing poems. These poems appear to be marginal, but they in fact suggest a profound rethinking of female agency and emotions. Listen to how Yasemin Nurcan Hacıoğlu, senior lecturer in English at NTNU and associate researcher with LCE, in conversation with Stijn Vervaet, discusses writing as a form of extended cognition and as a method of constructing radically unconventional feelings and decisions. Follow their journey from eighteenth-century England all the way to post-Napoleonic Russia. Post-production: HF:Studio – Baoxin Long & Bernt Brundtland Written alternative

Before the binge-watch was the binge-read, and few binge-reads come bigger than “The Count of Monte Cristo”, a book which bucks the trend of big things being hard to swallow. In the character of Edmond Dantès and the injustice done to him, Alexandre Dumas (père) managed to prove that famous phrase said to have originated in France during that Romantic Era of the July Monarchy, and ultimately the 1848 Revolution, the phrase: Revenge is a dish best served cold. Of course, as his name suggests, Dantès has to go through Hell before he can take his vengeance, which explains why Dumas takes another 1,000 pages for the dish to cool down. And far from being a complaint, readers to this day complain only that the dish could've been served even colder. This podcast is for all those people who gorged on each of the 1,200-plus pages of “The Count of Monte Cristo”, and yet are still hungry for more. Some of the books and authors discussed in this episode include: "The Count of Monte Cristo" by Alexandre Dumas "The Secret History" by Donna Tartt “Norwegian Wood” by Haruki Murakami “The Three Musketeers” by Alexandre Dumas “One Thousand and One Nights”    Additional segments throughout the podcast include: Inner Shelf Fact or fiction What are you reading? On that Quote Twitter: https://twitter.com/thesamepagepod_ Email: seamusandblake@gmail.com IG: https://www.instagram.com/on.the.same.page.podcast/ ---------- #bookpodcast #podcast #montecristo #book #novel #thecountofmontecristo #alexandredumas #thesecrethistory #donnatartt #norwegianwood #harukimurakami #dantes #thethreemusketeers #artforartssake #allartisuseless #avengingangel #sinbadthesailor #1001nights #arabiannights #napoleon #literature #books #novels #podbean #spotifypodcasts #applepodcasts #audible #books #novels #audibleau #lit #onthesamepage #whatareyoureading #literaryfacts #podbean

This week, we take our first step into the Romantic Era with Hector Berlioz's masterstroke: The Symphonie Fantastique! If you liked this episode, please subscribe, leave a comment, and share with your friends! Check us out in Patreon to support our channel: https://www.patreon.com/goodmusicpodcast Also, click on this link to listen to this week's songs! https://open.spotify.com/user/lucaschrisman/playlist/1bhH8fpP24BOrPiEC3BBL7?si=nq7CV5NKRju-IKo-m5w7qA

Joaquin, Nicky, and Chase offer their knowledge and thoughts regarding the strong presence of religion in the poetry of the Romantic Era.

Today, you'll hear Joaquin, Chase, and Nicky offer their knowledge and thoughts on the passage of time and its presence in Romantic Era poetry. Along with literature and poetic evaluation, we offer insight on what we feel is the best way to preserve time.

Today, we veer away from the Romantic Era of Poetry and dive into the issues facing our National Park!

Synopsis According to Wikipedia, an art song is “a vocal music composition, usually written for one voice with piano accompaniment … often a musical setting of an independent poem or text intended for the concert repertory as part of a recital.” The 600-plus art songs of the Viennese composer Franz Schubert are the most familiar examples of the genre and rank among the greatest achievements of the Romantic Era in music. On today's date in 1814, Schubert was just 17 years old when he finished one of the most famous of them, “Gretchen at the Spinning Wheel,” a remarkably empathetic setting of a scene from Goethe's “Faust” in which the naïve young Gretchen confesses being both terrified and thrilled by falling passionately in love. The British pianist Graham Johnson has recorded all 600 plus Schubert songs with some of the greatest singers of our day, and says, “The most amazing thing is that a 17-year-old boy can somehow enter into the female psyche with such an incredible amount of understanding as if he himself had experienced such feelings … There is a real distinct feeling of Schubert blown away by the drama and the story he has read." Music Played in Today's Program Franz Schubert (1797 - 1828) — Gretchen am Spinnrade, D118 (Elly Ameling, soprano; Dalton Baldwin, piano) Phillips 420870

Acclaimed author and Toronto Star contributor Janet Somerville sits down with Giller-shortlisted author Kathleen Winter about her latest, Undersong , a reimagining of the lost years of misunderstood Romantic Era genius Dorothy Wordsworth. When young James Dixon, a local jack-of-all-trades recently returned from the Battle of Waterloo, meets writer Dorothy Wordsworth, he quickly realizes he's never met another woman anything like her. In her early thirties at the time of the meeting, Dorothy has already lived a wildly unconventional life. As her famous brother William Wordsworth's confidante and creative collaborator—considered by some in their circle to be the secret to his success as a poet—she has carved a seemingly idyllic existence for herself, alongside William and his wife, in England's Lake District. Through the fictional James Dixon—a gentle but troubled soul, more attuned to the wonders of the garden he faithfully tends than to vexing worldly matters—we step inside the Wordsworth family, witnessing their dramatic emotional and artistic struggles, hidden traumas, private betrayals and triumphs. At the same time, Winter slowly weaves a darker, complex “undersong” through the novel, one as earthy and elemental as flower and tree, gradually revealing the pattern of Dorothy's rich, hidden life—that of a woman determined, against all odds, to exist on her own terms despite societal norms.

Nic is switching things up with producer Elizabeth this week and letting her interview him. That's right, Nic is answering his own Sound of Success Proustian questionnaire about formative music moments in his life on this episode, and also reveals he was in a band in the early '80s in which he performed live wearing a billowy sheer top and skin-tight pleather pants. Listen as Nic talks about growing up on the Beatles, coming up with The O.C. soundtrack, and the band he really doesn't regret not featuring on his show.

Jordan Drinnon and Kollin Klingler will be discussing the Romantic Era of music!

Yes, my parents did have a serious side when it came to music.  My parents had all the biggies, You know...real toe-tappers. Vivaldi, Bach, Tchaikovsky, Shostakovich.  And THIS very nice record with two composers who were on the cusp between the classical and romantic eras of music in the early 1800s. Let's really go back into musical time with Volume 16: Beethoven and Schubert Beethoven Ludwig van Beethoven's 5th Symphony was written between 1804 and 1808. It was a significant work because it was composed during the transition from the Classical to the Romantic Period. It is important because it represents the culmination of the Classical Era, and the ignition of the Romantic Era. (Promised link: https://www.biography.com/musician/ludwig-van-beethoven) Schubert Franz Schubert's Symphony No. 8 may be the most famous unfinished work in the symphonic repertoire. Because of the depth of feeling and drama of the work it has been called the first Romantic era symphony by some. One was a pallbearer for the other, then died a year later. Credits and Copyrights:  Schubert / Beethoven / Viennese Symphonic And Salzburg Festival Orchestras / Hans Wolf And H. Arthur Brown ‎– Unfinished Symphony No.8 In B Minor / Fifth Symphony In C Minor, Opus 67 Label: Paris ‎– ALBUM 9 Format: Vinyl, LP, Mono Released: 1956 Genre: Classical Allegro Con Brio  Beethoven: Symphony No.5 In C Minor, Op.67 Conductor – Hans Wolf (8) Orchestra – Viennese Symphonic Orchestra Andante Con Moto Franz Schubert's Symphony No.8 In B Minor (Unfinished) Conductor – H. Arthur Brown Orchestra – The Salzburg Festival Orchestra Finale Allegro Beethoven: Symphony No.5 In C Minor, Op.67 Conductor – Hans Wolf (8) Orchestra – Viennese Symphonic Orchestra ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. https://www.discogs.com/Schubert-Beethoven-Viennese-Symphonic-And-Salzburg-Festival-Orchestras-Hans-Wolf-And-H-Arthur-Brown-/release/7018184

Bach, Handel, Vivaldi, Purcell, Monteverdi. These are some of the biggest names in the history of Western Classical Music, and they were all writing in one of the most innovative periods in musical history - the Baroque Era. Spanning from ca.1600 to ca. 1750, Baroque music is truly the bedrock of the Western Classical Music tradition all the way through the Romantic Era. We'll discuss the earth-shattering impact of this, along with all of the composers who led the way to a new way of thinking about music.

Today we travel back to 1819 Manchester with Peterloo! Join us as we get really fired up and talk about casualties of the Peterloo Massacre, women in the reform movement, and more! Sources: Peterloo Casualties: "Lists of the killed and wounded from the Peterloo Massacre" https://www.bl.uk/collection-items/lists-of-the-killed-and-wounded-from-the-peterloo-massacre "Ian Hernon, Riot! Civil Insurrection from Peterloo to the Present Day (Pluto Press, 2006). https://www.jstor.org/stable/j.ctt18fs8hm.6 and https://www.jstor.org/stable/j.ctt18fs8hm.7 and https://www.jstor.org/stable/j.ctt18fs8hm.8 and https://www.jstor.org/stable/j.ctt18fs8hm.9 " Katrina Navickas, "Peterloo and the changing definition of seditious assembly," Protest and the politics of space and place, 1789-1848 (Manchester University Press, 2016), 82-105. https://www.jstor.org/stable/j.ctt1b3h98h.11 Robert Poole, "'By the Law or the Sword': Peterloo Revisited," History 91:2 (April 2006): 254-276. https://www.jstor.org/stable/24427836 "Historian tracks down living descendants from rare Peterloo veterans photograph," Manchester Metropolitan University (15 August 2019). https://www.mmu.ac.uk/news-and-events/news/story/?id=10817 National Archives, HO 42/198 https://discovery.nationalarchives.gov.uk/details/r/C1905817 Protestors and Symbolism: Murray Pittock, "Henry Hunt's White Hat: The Long Tradition of Mute Sedition," Commemorating Peterloo: Violence, Resilience and Claim-making during the Romantic Era eds. Michael Demson and Regina Hewitt, 84-99 (Edinburgh: Edinburgh University Press, 2019). https://www.jstor.org/stable/10.3366/j.ctvnjbgpx.9 Katrina Navickas, ""That sash will hang you": Political Clothing and Adornment in England, 1780-1840," Journal of British Studies 49:3 (July 2010): 540-65. https://www.jstor.org/stable/23265378 Peter Linebaugh, "The Red Cap of Liberty," Red Round Globe Hot Burning: A Tale at the Crossroads of Commons and Closure, of Love and Terror, of Race and Class, and of Kate and Ned Despard (University of California Press, 2019), 384-95. https://www.jstor.org/stable/j.ctvd1c81c.39 Paul A. Pickering, "Class without Words: Symbolic Communication in the Chartist Movement," Past & Present 112 (August 1986): 144-62. https://www.jstor.org/stable/651001 J. David Harden, "Liberty Caps and Liberty Trees," Past & Present 146 (February 1995): 66-102. https://www.jstor.org/stable/651152 James Epstein, "Understanding the Cap of Liberty: Symbolic Practice and Social Conflict in Early Nineteenth-Century England," Past & Present 122 (February 1989): 75-118. https://www.jstor.org/stable/650952 Surviving banner: http://rochdaleonline.co.uk/news-features/2/news-headlines/127936/only-surviving-protest-banner-from-1819-peterloo-massacre-unveiled-at-touchstones Film Background: Indie Film Hustle, "Mike Leigh: Writing a Screenplay with Improvisation and Actors," available at https://indiefilmhustle.com/mike-leigh/ Daniel Schindel, "Mike Leigh on Why His New Film on an 1819 Massacre Feels Eerily Relevant Today," Observer, available at https://observer.com/2019/04/mike-leigh-on-why-his-new-film-about-an-1819-massacre-feels-eerily-relevant-today/ Glenn Kenny, Review on Rogerebert.com, available at https://www.rogerebert.com/reviews/peterloo-2019 Scout Tafoya, The Unloved, Part 69: Peterloo, available at https://www.rogerebert.com/mzs/the-unloved-part-69-peterloo Mary Fildes: Reenactment of Mary Fildes' Petition, available at Remembering Peterloo, https://thehistoryofparliament.wordpress.com/2019/07/18/remembering-peterloo-protest-satire-and-reform/ EP Thompson, Making of the English Working Class, 1963. EP Thompson, Customs in Common. The New Press, 1980. Ashley J. Cross, "What a World We Make the Oppressor and the Oppressed: George Cruikshank, Percy Shelley, and the Gendering of Revolution in 1819." ELH 71, 1 (2004) Iain McCalman, "Females, Feminism, and Free Love in an Early Nineteenth Century Radical Movement," Labour History 38 (1980) Christina Parolin, "The She-Champion of Impiety: Female Radicalism and Political Culture in Early-Nineteenth Century England," in Radical Spaces: Venues of Popular Politics in London 1790-1845. ANU Press. James Epstein, "Understanding the Cap of Liberty: Symbolic Practice and Social Conflict in Early-Nineteenth-Century England," Past and Present 122 (1989) John Tyas and Journalism: News UK Archives, Peterloo Massacre (Includes scanned copy of Tyas's article). Available at https://medium.com/@NewsUKArchives/peterloo-massacre-f7ad4d156130 News UK Archives, Times Editor Before a Cabinet Council (Scanned Letter to the Editor). Available at https://medium.com/@NewsUKArchives/times-editor-before-a-cabinet-council-4a43e4d8da02 Stephen Bates, "The Bloody Clash That Changed Britain," Guardian, available at https://www.theguardian.com/news/2018/jan/04/peterloo-massacre-bloody-clash-that-changed-britain Margaret Holborn, "How Peterloo Led to the Founding of the Manchester Guardian," Guardian, available at https://www.theguardian.com/gnmeducationcentre/2019/aug/15/how-peterloo-led-to-the-founding-of-the-manchester-guardian

Romantic Era music, what could be more wonderful! If you don't know about this amazing period of breakthrough creativity, find out what it is all about in today's episode. To hear some music from this era go to my blog here --- Send in a voice message: https://anchor.fm/musicsecretsexposed/message

In this episode of S&P, Jill & Emily switch roles. Jill teaches Emily about a few new favorite French, Romantic Era composers; Emily teaches Jill about a French cordial made by monks. You can find a playlist, spirits list, cocktail recipe, merchandise and support us financially on Patreon.

megmentors@gmail.com

megmentors@gmail.com

In this episode, we talk about the life and music of Fanny Mendelssohn! Although overshadowed by the success of her brother Felix, pressure from her family, and expectations of society, Fanny nevertheless stood out as one of the most influential composers of the Romantic Era. Fanny and Felix Mendelssohn piano sonatas: https://drive.google.com/drive/folders/1Z41bUZTayxopVPBgBDBmf9kO0v3i7yV1?usp=sharing We do not own any rights to the music featured on this podcast; all music featured is used solely for educational purposes. Logo by Sabrina Handal.

Franz Schubert: “When I wished to sing of love, it turned to sorrow. And when I wished to sing of sorrow, it was transformed for me into love.” Robert Schumann: “To send light into the darkness of men's hearts – such is the duty of the artist.” Franz Liszt: “Music embodies feeling without forcing it to contend and combine with thought, as it is forced in most arts and especially in the art of words.” Sources for this episode: Hector Berlioz - Symphonie Fantastique https://www.youtube.com/watch?v=ewoAW-Zyuj8 Other Sources: https://www.classicfm.com/discover-music/periods-genres/romantic/#:~:text=Discover%20Music%20Home-,Romantic,inspiration%20from%20art%20and%20literature. https://www.britannica.com/art/Romanticism/Music https://www.musictheoryacademy.com/periods-of-music/romantic-period-music/ https://racheltaylorgeier.org/2017/04/15/75-inspirational-composer-quotes/ https://cnx.org/contents/5xVkusr9@11/The-Music-of-the-Romantic-Era https://www.bbc.co.uk/bitesize/guides/zgcmxnb/revision/2

St. Agnes' Eve—Ah, bitter chill it was!        The owl, for all his feathers, was a-cold;        The hare limp'd trembling through the frozen grass,        And silent was the flock in woolly fold:        Numb were the Beadsman's fingers, while he told        His rosary, and while his frosted breath,        Like pious incense from a censer old,        Seem'd taking flight for heaven, without a death, Past the sweet Virgin's picture, while his prayer he saith. With those lines, the Romantic Era poet John Keats (1795-1821) began “The Eve of St. Agnes”(available here). A beadsman was someone whose duty it was to pray for his benefactor, the beads being the beads of the rosary. While he prays in the chapel, in the adjacent castle, Keats tells us, Madeline dreams of her love for Porphyro, her family's great enemy. Later that night Porphyro arrives at the castle and finds his way to Madeline's bedroom. She wakes from a dream, the two declare their love for each other, and they run off together. Dr. Glenn Arbery and Dr. Tiffany Schubert got together—online of course—to discuss the poem for the benefit of Wyoming Catholic College juniors listening at home.

Welcome back to Music Minute! In honor of Valentines Day, I compared the Romantic Era in music history to 90s R&B!

On episode six of Victoria's World, Noah chats with Professor Susan Wolfson about one of the grandest sensations of the Victorian era: Mary Shelley's novel, Frankenstein. They discuss the origin stories of Frankenstein ("the house party of the year"), why the book resonated with the people of the period, and much more. Professor Wolfson is Professor of English at Princeton University and an expert in Romantic Era literature.If you like this episode, please be sure to rate and review the show wherever you listen to podcasts. See acast.com/privacy for privacy and opt-out information.

A brief overview of the most influential people in the second generation romantic era including, Lord Byron, Percy Bysshe Shelley, Eugène Delacroix and Mary Shelley.

Ingrid Horrocks talks about the way women travelers, specifically women wanderers, are represented in late-eighteenth century literature. Horrocks in an associate professor in the School of English and Media Studies at Massey University in Wellington, New Zealand. She is the author of Women Wanderers and the Writing of Mobility, 1784–1814.

In this week’s instalment, the team are tackling Lord Byron’s ‘She Walks in Beauty’, discussing the superficial nature of beauty, Romantic Era poetry and Byron’s own scandalous life.

In this week’s episode, the team are exploring Wordsworth’s ‘Excerpt from the Prelude’ considering themes of nostalgia, Man’s relationship with nature and of course, the Romantic Era.

Is there such a thing as right and wrong, or is morality a fabrication of social and evolutionary design? Enlightenment thinkers, such as Hobbes and Rousseau, believed that morality is a social construct. Contemporary atheist philosophers, like Paul Kurtz and Michael Ruse, are convinced that evolutionary biology is responsible for a sense of morality. Judeo-Christian thinkers throughout millennia have said that moral laws require a moral law giver. And Friedrich Nietzsche dismisses the entire conversation, arguing that all morals are illusory constraints adopted by weak willed peons.NotesThe featured painting is an oil on canvas by Caspar David Friedrich, painted in 1818. It is titled, "Wanderer Above the Sea of Fog." I selected it because it is widely considered one of the greatest masterpieces from the Romantic Era––an era that was destroyed by the horrors of the 20th century. Furthermore, it seems to beautifully symbolize man as Nietzsche sees him. A lone wanderer navigating a mysterious and unknown future. The tone and color matches Nietzsche's work brilliantly.The featured piece is by Hanz Liszt, a Hungarian composer of the 19th century and contemporary of Nietzsche. The piece, Sonata in B Minor, is one of the most influential and powerful sonatas after Beethoven's. Similarly to the chosen artwork, it, too, marks the best and last one of its kind before the death of Romanticism after World War 1.LinksVisit our website: https://www.wellreadchristian.comCheck our our blog: https://www.wellreadchristian.com/blogFacebook: https://www.facebook.com/wellreadchristianTwitter: https://www.twitter.com/WellReadChrist1Youtube: https://www.youtube.com/channel/UCfGxz4OH1-hVD0fL9AWR4Xg

Friedrich Nietzsche (1844-1900) is one of the most radical, untamed and influential philosophers of all time. Often categorized as an Existentialist, Nietzsche is remembered for his blistering and unapologetic denouncement of religion, especially Christianity. Nietzsche declared that “God is dead” and spent a large portion of his intellectual efforts demolishing the remnants of Christianity’s influence, including the moral framework established by two thousand years of cultural dominance. Genealogy of Morals is one of his last works, and seeks to expose the sinister roots of Christian ethics, explore the true rise of morality among humans, and predict the inevitable collapse of society into nihilism until a “Superman” will lead humanity to greater heights. Notes The featured painting is an oil on canvas by Caspar David Friedrich, painted in 1818. It is titled, "Wanderer Above the Sea of Fog." I selected it because it is widely considered one of the greatest masterpieces from the Romantic Era––an era that was destroyed by the horrors of the 20th century. Furthermore, it seems to beautifully symbolize man as Nietzsche sees him. A lone wanderer navigating a mysterious and unknown future. The tone and color matches Nietzsche's work brilliantly. The featured piece is by Hanz Liszt, a Hungarian composer of the 19th century and contemporary of Nietzsche. The piece, Sonata in B Minor, is one of the most influential and powerful sonatas after Beethoven's. Similarly to the chosen artwork, it, too, marks the best and last one of its kind before the death of Romanticism after World War 1. Links Visit our website: https://www.wellreadchristian.com Check our our blog: https://www.wellreadchristian.com/blog Facebook: https://www.facebook.com/wellreadchristian Twitter: https://www.twitter.com/WellReadChrist1 Youtube: https://www.youtube.com/channel/UCfGxz4OH1-hVD0fL9AWR4Xg

Ingrid Horrocks talks about the way women travelers, specifically women wanderers, are represented in late-eighteenth century literature. Horrocks in an associate professor in the School of English and Media Studies at Massey University in Wellington, New Zealand. She is the author of Women Wanderers and the Writing of Mobility, 1784–1814.

Preston, Jordan, and Ian discuss the Romantic Era. Blog: https://wisdomfactoryliterarysocietyt... Facebook: https://www.facebook.com/wisdomfactor...

Things changed drastically as archaeology developed and professionalized. During the pre-professional time, or the Romantic Era of archaeology as Jeb Card and David Anderson (2016) call it, archaeology was really more of a jumbled collection of competing methodologies, antiquarians out looking for epic adventures chasing down mythic locations, and making extraordinary claims to establish racial dominance and promote nationalist agendas (Card and Anderson 2016). However, as the field of archaeology matured, it began to challenge these behaviors, choosing scientific procedures over frivolity, demanding evidence to support wild claims, and in general, growing up. For example, Alternative theorists love to point out a couple early hoaxes that archeology had to deal with. The most famous of these would be the Piltdown man hoax. Ever so briefly, the Piltdown man was an early 1900’s hoax were the lower jaw of an ape was altered to look like it belonged with the cranial part of a human skull. It was ‘discovered’ in 1912 in Sussex England and was lauded as the missing link (Feder 2010, 1990). Though the hoax wasn’t one-hundred percent debunked until 1949, it did have its early detractors (Feder 1990). Many thought it was just a little too convenient that Piltdown man was discovered where it was, and as time went by and more actual hominids were found around the world that predated Piltdown’s supposed age, more suspicions were thrown at it. 1949 was the beginning of the end for Piltdown man as a series of tests revealed that the bones that made up the skull were not the right age or even from the same species (Feder 1990). Piltdown man fits because of the desperate need by the British government to have, not only an early hominid discovered on their soil but to have it be *the* missing link. British archaeologists at the time were willing to overlook clues that this was probably a hoax. Yet 40 years later, after a lot of questions from inside the field, the Piltdown man was exposed. The reason this case is so well known is because it played out in the public eye, mainly by the circumstances of the time. Newspapers carried stories and images of the Piltdown man (Feder 1990). The public loved it and talked about it. It was even presented by the researchers to the public. Because of this, other researchers were able to know of and examine the hoax, and call it into question long enough to finally get it disproven. Now when we talk about the Piltdown man, we’re talking about the hoax and not the supposed missing link. The development of Institutional Professional Archaeology. Honestly, this is where things start to decline as far as the interactions between archaeology and pseudoarchaeology are concerned. Leading up to the 60’ Archaeologists were all over the place publicly. During the 1800’s they were traveling around speaking and presenting findings. Granted this was a necessity of the times, but the side effect was a great deal of public engagement. As time moved on, Archaeologists began to appear on the radio and then TV (Card and Anderson 2016) embracing the new media as ways to communicate with the public. They wrote popular books about archaeology and, again, spoke publicly about the topic. This all seemed to work out best over in the UK. Sir Lenord Woolley was all over the radio, Sir Mortimer Wheeler and Glyn Daniel were named TV personality of the year in 1954, the UK show Animal, Vegetable, Mineral was a success where the US version What in the World was not (Card and Anderson 2016). Overall, it seemed like everything was going good. Then the New Archeology moment began in archaeology, symbolizing a shift in archaeological theory and practice. This time was important, it was a time when archeology began to look critically at itself and evaluate itself. It started important theory groups like gender and queer theory, started a realization of the colonial practices of archeology and called out the racism of the field.

Ecclesiastes(No.4)-Beautiful Piano Pieces from the Classical and Romantic Era / Mixed 1 .mp3

Ecclesiastes(No.3)-Beautiful Piano Pieces from the Classical and Romantic Era / Mixed 2 刘致中(Tze-John Liu) .mp3

A girl, play violin? Not too long ago, it just wasn’t done. These women did it. Then, they disappeared. In this episode, we set the stage for the violin in music, and meet four shining starlets of the early stage through the late Romantic Era – those wonderful women born in the late 1800s at the turn of the century –the pioneering pioneers in our evolving story… Ms. Maud Powell… Florence Austin, Florence Hardeman, and Vera Barstow. Podcast 1 Featured Violinists Maud Powell, Florence Austin, Florence Hardeman, and Vera Barstow. Other Mentions Andrea Amtai, Antonio Stradivari, Nicolo Armati, Henry Shradieck, Camille Urso, Ovdie Musin, Eugene Ysaye, Luigi Von Kunits, John Philip Sousa, William Lewis, Hanry Schradieck, Charles Dancla, and Joseph Joachim. Podcast 1 Music & Credits Maud Powell – Souvenir (Drdla), Polonaise Op. 38 (Vieuxtemps), Air-Have Pity, Sweet Eyes, Deep River (Coleridge-Taylor), Tambourin (LeClair), Bouquet American Op 33 St. Patricks Day (Vieuxtemps), Violin Concerto No 2 Op 22 Romance (Wieniawski), Violin Concerto No 7 in G (Arr) Allegro Maestro (Beriot), Zephyr (Blumenleben), La Boheme Potpouri/introduction, musetta’s waltz, Bright Eyes as Yours (Wieniawski) Devon Filo – Improvisation Smithsonian Institute Brass Band – Free and Easy Ralk Kirkpatrick – Sonata in G Major, K105 (Scarlatti) Billy Murray –  Over There (George M Cohan) Vera Barstow –  Ballet Music from Rosamunde (Schumbert-Kreisler), Viennese Popular Song-The Old Refrain (Transcribed by Fritz Kreisler) Bill Brown and his Brownies – Hot Lips (Brusse, Lange, Davis) ### About Ribbons & Bows  An exciting new podcast series from Elfenworks Productions, LLC “Ribbons & Bows ~ American Women in Violin History”  delves into the stories of dozens of pioneering American women who helped shape today’s robust violin scene.  These are fabulous tales of perseverance,  vision, and hope.   Why has so little been said about them, in history books, until today?  More importantly, won’t you please join us for an enchanting trip down memory lane as we call them back to us to tell their stories, ensuring they’ll never be lost in the mists of time?  You’ll love these brave and beautiful souls, as you share their experiences back in the days when little girls were not encouraged to play violin.  After all, who among us hasn’t felt like the odd one out, the person interested in trying something different, in going where they didn’t exactly fit in?  Ribbons & Bows… a Podcast Series with accompanying downloadable CD release from Elfenworks Productions, LLC,  expected in 2018.

Mary Wollstonecraft was one of the most revolutionary and influential feminist thinkers of the Romantic Era at the end of the 18th century. As a writer and philosopher, Mary is perhaps best known for her work A Vindication of the Rights of Woman, a piece that argues that the presumed inferiority of women to men is due to their lack of an equal education; however, Wollstonecraft’s genius stems far beyond this progressive and, for the time period, radical article. Not only did Mary fiercely advocate for female rights in her very short four decades of life , but she also was actively involved in the French Revolution, and was additionally present when the revolution went to hell and became the Reign of Terror. Wollstonecraft’s literary works regrettably spent over a century following her death being ignored and condemned by the intellectual community for her unconventional ideas AND due to her own lifestyle, which while nowadays we might see as rather ordinary, the Victorian and tight-collared 19th century folk definitively disagreed. But to a certain degree, you could probably understand why given the context – she had two children, one out of wedlock, suffered and survived two suicide attempts, was seen as an active traitor to Britain for her participation in the French Revolution, and let’s not forget the HORRENDOUS demand for gender equality. Mary Wollstonecraft is, by and large, a woman to be admired, one who loved openly and without stigma, a woman who worked her ass off to support herself, her sisters, and her friends through literary publications, and last but not least, set the groundwork for the future feminist philosophers that would follow in her wake. So, let’s go ahead and get this episode rolling, shall we?

We're back with another episode of Lit, Period tackling one of the most wide spread and influential movements in artistic history: the Romantic Era. Much more than ooey gooey feelings, hearts, and rainbows, Romanticism and Transcendentalism shifted intellectual life in a major way that still affects us today. We rapid fire our way through the 5 "W" questions for this literary period, and you can follow along by downloading our nifty guide at the link below:www.centerforlit.com/litperiod3Today's episode is sponsored by The Commons, a podcast that chronicles the lives and times of people worth imitating from our friends over at the CiRCE Institute. Join them for season 2, airing now, where host Brian Phillips and his guests lead the way through major church figures and movements in history from the early church through the Great Awakening. We love hearing your questions and comments! You can contact us by emailing adam@centerforlit.com, or you can visit our website www.centerforlit.com to find even more ways to participate in the conversation.

This month we will be giving away an unopened leather bound Great Expectations - we will explain how to enter toward the end of the show. We discuss getting drunk and falling asleep for twenty years, Washington Irving's fantastic characterization, the one book Kaisha refuses to read, and Kelsey's insistence that Captain Kirk is the ideal Romantic Era hero. Make sure to enter our giveaway this month! Don't forget to check out our website, readwriterepeatpod.com for more detailed notes and links to everything. Bookish Rants: Kaisha tells us why she absolutely refuses to read American Psycho. Author Rants: How’d the last assignment that Kaisha gave Kelsey go? So Friday Kaisha texted Kelsey a podcast episode from PubCrawl. The mission: to listen and then pick 1 agent and query them. Kelsey chose Jason Yarn, but before she does she wants to: take a look at the books he reps and really dig into who he is. personalize her letter to him. Reasons why she hasn't followed through--squirrels, terrible twos, drinking games on twitter, rejection. Which brings us to Prompt Up: If you are inspired by today's prompt, consider submitting it to me on the prompt page at tibetanlemon.com and I might feature it on my website. Check out the show notes for links. Short Story Pow-wow: The collection where the story can be found Tellers of Tales by Somerset Maugham “The definitive anthology of the short story” 1939 Today's story discussion: "Rip Van Winkle" by Washington Irving (1783-1859) Timed Summary of Rip Van Winkle (can Kelsey make it in time?) Discussion- Kelsey’s notes: OMG, this guy’s name: Dietrich Knickerbocker Love the description of the house as a book-- “looked upon it as a little clasped volume of black letter, and studied it with the zeal of a book-worm.” “It is still held dear by many folk whose good opinion is well worth having, particularly by certain biscuit bakers, who have gone so far as to imprint his likeness on their new year cakes, and have just given him a chance for immortality, almost equal to being stamped on a Waterloo medal or a queen Anne's farthing.” “A termagant wife may, therefore, and some respects, be considered a tolerable blessing; and if so, rip van winkle was thrice blessed.” Theodore Sturgeon's "The Man Who Lost the Sea" Hilarious Faulkner article: "Reading William Faulkner: Closely and repeatedly, ideally" Balzac’s "The Grande Breteche" Balzac and the Little Chinese Seamstress Nerd Girl Lit and Books, quirks, and intrigues, oh my! Lit genres as told by Star Trek Characters: Kirk and Romanticism. Star Trek episodes discussed: "This Side of Paradise" and "The Enemy Within" Great essay on Romanticism. "Why We Crave Horror Movies" by Stephen King. Wrap Up If anything sparked an idea for you, or you have thoughts or ideas about what we should discuss next. Let us know. Leave a comment below or fill out our feedback form on the give us a shout page. Don't forget to enter our giveaway for June. This month we will be giving away an unopened leather bound Great Expectations. To enter, rate us and leave a review on Itunes, and then go to the giveaway tab on our website, readwriterepeatpod.com and let us know how to get in touch with you if you win. A winner will be drawn at random on July first. That's a wrap for today! Let us know how we did on our website. If you love us, be sure to leave a review for us on iTunes, Stitcher, or your preferred podcast platform. Don't forget to connect with us on social media. You can find links to those in our show notes. Thanks for listening to Read Write Repeat! Talk with you next time!

Romantic, 1810-1856: Robert Schumann is one of the central figures of the Romantic Era. Not only did he make important contributions to the piano, art song and orchestral repertoire, he was also a celebrated musical journalist whose prose and poetry influenced the music of a generation.

Romantic, 1810-1849: In the Romantic Era, composers were no longer employees of the aristocracy; they composed for the people. This freedom was doubled-edged. Although it allowed the artistic genius of Berlioz, Liszt and Wagner to flourish, it also spawned a generation of composers who happily wrote crowd pleasing, disposable works for commercial success. Composers like Frederic Chopin rejected this “popularization” of music altogether by retreating from public performance and refusing to compromise his emerging artistic style. Ironically, Chopin’s music became (and has remained) extremely popular.

The era of illusion, Dr Dre and Apple, Pharmaceutical ads in the U.S. The Romantic Era and how it influenced consumerism.

Nov. 9, 2013. The Library celebrated the bicentennials of composers Richard Wagner and Giuseppe Verdi with lecture/recital double-bill. In the lecture, prominent Liszt scholar Alan Walker spoke about the art of arrangement as exemplified in the transcriptions and paraphrases of Franz Liszt. Perhaps the 19th century's greatest advocate at the keyboard of orchestral and operatic scores, Liszt produced a tremendous body of piano works based on the music of Wagner and Verdi. Speaker Biography: Alan Walker is professor emeritus of music at McMaster University, Canada. Before settling in North America, he was on the staff of the music division of the British Broadcasting Corporation in London. He has broadcast for the BBC, for the CBC, and for CJRT-FM (Toronto) and gives regular public lectures on the music of the Romantic Era, a period in which he specializes. His 13 published books include "A Study in Musical Analysis," "An Anatomy of Musical Criticism," and symposia on Chopin, Schumann, and Liszt. Walker's three-volume, prize-winning biography of Franz Liszt was a project which took him 25 years to complete, and for which the President of Hungary bestowed on him the medal Pro Cultura Hungarica. The biography also received the Royal Philharmonic Society Prize, presented by HRH The Duke of Kent in London. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6357

Recorded 6 December 2013. You can download the m4a file. This is the last episode of Identical Cousins. Thank you so much for listening! We had a great time, and we loved hearing from people who enjoyed the show. This episode is sponsored by Oxygene from the super-awesome RemObjects Software. See remobjects.com/oxygene and use the discount code ID13 for 20% off. This episode is also sponsored by HostGator. Use the coupon code COUSINS for 25% off. Get your very own .net domain name! (And web hosting. And 24/7 support. And plenty more.) Some things we mention (or just felt like linking to): Gold is Best 24 Atari Xcode Legos Microserfs RIM’s $10K Developer Committment Pull to refresh iOS 7 360 iDev System 7 Romantic Era Modernism Richard Wagner Claude Debussy Paul Cezanne Pablo Picasso The girls would turn the color of an avocado when he would drive down their street in his El Dorado Pablo Picasso was never called an asshole Ernest Hemingway Bauhaus The bats have left the bell tower Fantastical Flipboard iPad Jean Michel Jarre AltWWDC Skype Scott Forstall iCloud Core Data Syncing Letterpress Pinbook Albina Development Collin Donnell Black Pixel Black Pixel Acquires NetNewsWire Rogue Amoeba Vesper Chatology Glassboard Ulan Bator Yak Shaving The Cannonball Run Cannonball Run Bloopers History of the World, Part 1 Dom DeLuise We talk alot about previous episodes. Instead of linking to them in the show notes, we figured you could just visit the Archive.

The Art of Collective Invention is a recent recording created by The Cavell Trio. It is a collection of twentieth century works for Reed Trio and includes the composers Villa-Lobos, Ibert, Hetu, Szalowski, Feld, and Francaix. The disk contains two premiere recordings: Szalowski and Feld. The Reed Trio is an ensemble that was popular in France in the Romantic Era and early twentieth century. It is emerging in popularity once again, and The Cavell Trio is at the forefront.

Episode 10: Romantic Era. Full video episode of Introduction to the Humanities, a university course produced by Distance Education at Utah Valley University in the USA.

We in the West tend to classify people by the color of their skin, or what we casually call “race.” But, as Nell Irvin Painter shows in her fascinating new book The History of White People (Norton, 2010), it wasn't always so. The Greeks didn't do it, at least very seriously. The Romans didn't do it, at least very often. And the folks of the Middle Ages didn't do it, at least with much gusto. In fact, the people who invented the modern concept of “race” and the classification of people by skin color were Europeans and Americans of the Enlightenment and Romantic Era. Why then and there? As Painter points out, a number of historical trends coincided to produced “racial science” and its child “whiteness” in Europe and North America in the eighteenth and nineteenth centuries. These trends included: the “discovery” of New Worlds (and the people in them) in the Americas, Asia, and Africa; the evolution of the African slave trade and with it the historically novel identification of “negroes” with slavery; the birth of proto-anthoropology and with its ancillary sciences (e.g., “craniometry”); nationalism, and desire of nationalists (especially Germans) to discover the intrinsic “greatness” of particular nations (notably theirs); the massive influx of “undesirable” Irish and Eastern Europeans into the United States; and the “progressive” idea that human populations could be bred for “superior traits,” that is, eugenics. All these things forced European and American elites to think hard about what kind of people they were. The conclusion they reached was that they were (variously) “Anglo Saxons,” “Nordics,” “Aryans” and eventually just “Whites.” That they believed themselves to be superior to all other “races” should not surprise us (humans being naturally prideful). But the muddle-headed quality of their thought on matters racial should raise some eyebrows, for these people were not dumb. They were, however, afraid, and fear often drives even well-intentioned, intelligent people to say foolish things. This they certainly did. Alas, some people still do. They should read Nell Painter's fine book. Please become a fan of “New Books in History” on Facebook if you haven't already. Learn more about your ad choices. Visit megaphone.fm/adchoices

We in the West tend to classify people by the color of their skin, or what we casually call “race.” But, as Nell Irvin Painter shows in her fascinating new book The History of White People (Norton, 2010), it wasn't always so. The Greeks didn't do it, at least very seriously. The Romans didn't do it, at least very often. And the folks of the Middle Ages didn't do it, at least with much gusto. In fact, the people who invented the modern concept of “race” and the classification of people by skin color were Europeans and Americans of the Enlightenment and Romantic Era. Why then and there? As Painter points out, a number of historical trends coincided to produced “racial science” and its child “whiteness” in Europe and North America in the eighteenth and nineteenth centuries. These trends included: the “discovery” of New Worlds (and the people in them) in the Americas, Asia, and Africa; the evolution of the African slave trade and with it the historically novel identification of “negroes” with slavery; the birth of proto-anthoropology and with its ancillary sciences (e.g., “craniometry”); nationalism, and desire of nationalists (especially Germans) to discover the intrinsic “greatness” of particular nations (notably theirs); the massive influx of “undesirable” Irish and Eastern Europeans into the United States; and the “progressive” idea that human populations could be bred for “superior traits,” that is, eugenics. All these things forced European and American elites to think hard about what kind of people they were. The conclusion they reached was that they were (variously) “Anglo Saxons,” “Nordics,” “Aryans” and eventually just “Whites.” That they believed themselves to be superior to all other “races” should not surprise us (humans being naturally prideful). But the muddle-headed quality of their thought on matters racial should raise some eyebrows, for these people were not dumb. They were, however, afraid, and fear often drives even well-intentioned, intelligent people to say foolish things. This they certainly did. Alas, some people still do. They should read Nell Painter's fine book. Please become a fan of “New Books in History” on Facebook if you haven't already. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

We in the West tend to classify people by the color of their skin, or what we casually call “race.” But, as Nell Irvin Painter shows in her fascinating new book The History of White People (Norton, 2010), it wasn’t always so. The Greeks didn’t do it, at least very seriously. The Romans didn’t do it, at least very often. And the folks of the Middle Ages didn’t do it, at least with much gusto. In fact, the people who invented the modern concept of “race” and the classification of people by skin color were Europeans and Americans of the Enlightenment and Romantic Era. Why then and there? As Painter points out, a number of historical trends coincided to produced “racial science” and its child “whiteness” in Europe and North America in the eighteenth and nineteenth centuries. These trends included: the “discovery” of New Worlds (and the people in them) in the Americas, Asia, and Africa; the evolution of the African slave trade and with it the historically novel identification of “negroes” with slavery; the birth of proto-anthoropology and with its ancillary sciences (e.g., “craniometry”); nationalism, and desire of nationalists (especially Germans) to discover the intrinsic “greatness” of particular nations (notably theirs); the massive influx of “undesirable” Irish and Eastern Europeans into the United States; and the “progressive” idea that human populations could be bred for “superior traits,” that is, eugenics. All these things forced European and American elites to think hard about what kind of people they were. The conclusion they reached was that they were (variously) “Anglo Saxons,” “Nordics,” “Aryans” and eventually just “Whites.” That they believed themselves to be superior to all other “races” should not surprise us (humans being naturally prideful). But the muddle-headed quality of their thought on matters racial should raise some eyebrows, for these people were not dumb. They were, however, afraid, and fear often drives even well-intentioned, intelligent people to say foolish things. This they certainly did. Alas, some people still do. They should read Nell Painter’s fine book. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

We in the West tend to classify people by the color of their skin, or what we casually call “race.” But, as Nell Irvin Painter shows in her fascinating new book The History of White People (Norton, 2010), it wasn’t always so. The Greeks didn’t do it, at least very seriously. The Romans didn’t do it, at least very often. And the folks of the Middle Ages didn’t do it, at least with much gusto. In fact, the people who invented the modern concept of “race” and the classification of people by skin color were Europeans and Americans of the Enlightenment and Romantic Era. Why then and there? As Painter points out, a number of historical trends coincided to produced “racial science” and its child “whiteness” in Europe and North America in the eighteenth and nineteenth centuries. These trends included: the “discovery” of New Worlds (and the people in them) in the Americas, Asia, and Africa; the evolution of the African slave trade and with it the historically novel identification of “negroes” with slavery; the birth of proto-anthoropology and with its ancillary sciences (e.g., “craniometry”); nationalism, and desire of nationalists (especially Germans) to discover the intrinsic “greatness” of particular nations (notably theirs); the massive influx of “undesirable” Irish and Eastern Europeans into the United States; and the “progressive” idea that human populations could be bred for “superior traits,” that is, eugenics. All these things forced European and American elites to think hard about what kind of people they were. The conclusion they reached was that they were (variously) “Anglo Saxons,” “Nordics,” “Aryans” and eventually just “Whites.” That they believed themselves to be superior to all other “races” should not surprise us (humans being naturally prideful). But the muddle-headed quality of their thought on matters racial should raise some eyebrows, for these people were not dumb. They were, however, afraid, and fear often drives even well-intentioned, intelligent people to say foolish things. This they certainly did. Alas, some people still do. They should read Nell Painter’s fine book. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

We in the West tend to classify people by the color of their skin, or what we casually call “race.” But, as Nell Irvin Painter shows in her fascinating new book The History of White People (Norton, 2010), it wasn’t always so. The Greeks didn’t do it, at least very seriously. The Romans didn’t do it, at least very often. And the folks of the Middle Ages didn’t do it, at least with much gusto. In fact, the people who invented the modern concept of “race” and the classification of people by skin color were Europeans and Americans of the Enlightenment and Romantic Era. Why then and there? As Painter points out, a number of historical trends coincided to produced “racial science” and its child “whiteness” in Europe and North America in the eighteenth and nineteenth centuries. These trends included: the “discovery” of New Worlds (and the people in them) in the Americas, Asia, and Africa; the evolution of the African slave trade and with it the historically novel identification of “negroes” with slavery; the birth of proto-anthoropology and with its ancillary sciences (e.g., “craniometry”); nationalism, and desire of nationalists (especially Germans) to discover the intrinsic “greatness” of particular nations (notably theirs); the massive influx of “undesirable” Irish and Eastern Europeans into the United States; and the “progressive” idea that human populations could be bred for “superior traits,” that is, eugenics. All these things forced European and American elites to think hard about what kind of people they were. The conclusion they reached was that they were (variously) “Anglo Saxons,” “Nordics,” “Aryans” and eventually just “Whites.” That they believed themselves to be superior to all other “races” should not surprise us (humans being naturally prideful). But the muddle-headed quality of their thought on matters racial should raise some eyebrows, for these people were not dumb. They were, however, afraid, and fear often drives even well-intentioned, intelligent people to say foolish things. This they certainly did. Alas, some people still do. They should read Nell Painter’s fine book. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

We in the West tend to classify people by the color of their skin, or what we casually call “race.” But, as Nell Irvin Painter shows in her fascinating new book The History of White People (Norton, 2010), it wasn’t always so. The Greeks didn’t do it, at least very seriously. The Romans didn’t do it, at least very often. And the folks of the Middle Ages didn’t do it, at least with much gusto. In fact, the people who invented the modern concept of “race” and the classification of people by skin color were Europeans and Americans of the Enlightenment and Romantic Era. Why then and there? As Painter points out, a number of historical trends coincided to produced “racial science” and its child “whiteness” in Europe and North America in the eighteenth and nineteenth centuries. These trends included: the “discovery” of New Worlds (and the people in them) in the Americas, Asia, and Africa; the evolution of the African slave trade and with it the historically novel identification of “negroes” with slavery; the birth of proto-anthoropology and with its ancillary sciences (e.g., “craniometry”); nationalism, and desire of nationalists (especially Germans) to discover the intrinsic “greatness” of particular nations (notably theirs); the massive influx of “undesirable” Irish and Eastern Europeans into the United States; and the “progressive” idea that human populations could be bred for “superior traits,” that is, eugenics. All these things forced European and American elites to think hard about what kind of people they were. The conclusion they reached was that they were (variously) “Anglo Saxons,” “Nordics,” “Aryans” and eventually just “Whites.” That they believed themselves to be superior to all other “races” should not surprise us (humans being naturally prideful). But the muddle-headed quality of their thought on matters racial should raise some eyebrows, for these people were not dumb. They were, however, afraid, and fear often drives even well-intentioned, intelligent people to say foolish things. This they certainly did. Alas, some people still do. They should read Nell Painter’s fine book. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

Here's a hint: This guy is good . . . maybe too good. . .

Here’s a hint: This guy is good . . . maybe too good. . .

Cisco and the Gypsy Poet discuss and take calls on the topic of Lord Byron. One of the most noted Poets of the 19th Century...Rock Star of his time...