Podcasts about Romanticism

In her diary entry for 20 November 1797, Dorothy Wordsworth describes a late afternoon walk with her brother William and Samuel Taylor Coleridge. ‘ We went eight miles in the dark,' she wrote, ‘William and Coleridge employing themselves in laying the plan of a ballad.' This was the origin of the opening poem of the 'Lyrical Ballads', published the following year – the book often seen as marking the beginning of Romanticism. In this episode, Seamus and Mark discuss the strange hallucinatory power of ‘The Rime of the Ancient Mariner' and Coleridge's search for a meter that could capture the force of his imagination. They also consider some of the poem's many interpretations, from the influence of abolitionist writing to William Empson's reading of the shooting of the albatross, and consider whether it's best understood as a terrible encounter at a wedding reception. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, sign up: Apple Podcasts: ⁠https://lrb.me/applesignupnp⁠ Other podcast apps: ⁠https://lrb.me/scsignupnp Read more in the LRB: Barbara Everett on Coleridge the modernist: https://lrb.me/npep601 Susan Eilenberg on the life of Coleridge: https://lrb.me/npep602 Marilyn Butler on the Lyrical Ballads: https://lrb.me/npep603 Learn more about your ad choices. Visit megaphone.fm/adchoices

All ideas have a history, no matter how inevitable and well-entrenched they may seem to us today. The later Enlightenment was a heady time when people were exploring new conceptions of nature, humanity, and the self. Andrea Wulf is a writer of narrative histories, examining the origins of ideas through the lives of the people who explored them. In this episode we discuss three of her books: The Invention of Nature, about Alexander von Humboldt and environmentalism; Magnificent Rebels, about the Jena circle of Romantics including Goethe, Schiller, Schlegel, and others; and most recently The Traveller, about George Forster, an early naturalist, ethnographer, and champion of human equality. Blog post with transcript: https://www.preposterousuniverse.com/podcast/2026/06/08/356-andrea-wulf-on-enlightenment-nature-romanticism-and-modernity/   Support Mindscape on Patreon. Andrea Wulf was born in India, raised in Germany, and studied design history at the Royal College of Art, London. She is the author of seven books. She is a Miller Scholar at the Santa Fe Institute and a Fellow of the Royal Society of Literature. The Invention of Nature won multiple prizes, including the Royal Society science book prize and the LA Times book prize. Web site Amazon author page Wikipedia

Robert the Devil is a supernatural medieval legend that inspired a 19th-century French opera, which incorporates key elements from a seminal Gothic novel.  The opera and legend are substantially different but both interesting. We begin with Giacomo Meyerbeer’s 1831 opera, Robert le diable, which gained notoriety for a ballet sequence in Act III, which portrays an attempted seduction of the hero, Robert, Duke of Normandy, by the ghosts of corrupted nuns, freshly risen from their crypts. The scene is not found in the original legend, but as we learn, was borrowed from a particularly sensationalistic early Gothic novel,The Monk, written by Matthew Gregory Lewis in 1764.   We also learn that Meyerbeer's chief librettist, Eugène Scribe later went on to crib another storyline from Lewis’ The Monk for the 1854 opera by composer Charles Gounod, La nonne sanglante (“the bloody nun”). Rendering of cloister set for Paris Opera premiere. Along the way, we learn how Robert le diable helped save the financially imperiled Paris Opera after its royal subsidy had been withdrawn following the July Revolution of 1830.  Along with public curiosity about the scandalous ballet, ticket sales owed much to the 19th-century equivalent of special effects — flashy and innovative stagecraft (new gaslight design, trapdoors, floating will-o-the-wisps, etc.) and a spectacular set replicating a ruined gothic monastery. Hans Christian Andersen, George Sand and Frédéric Chopin lavishly praised the production. Honoré de Balzac and Alexander Dumas worked mentions of the opera into their novels. Edgar Degas painted not one but two renderings of the Ballet of the Nuns. Edgar Degas’ rendering of the “Ballet of the Nins” The opera also gave birth to a new style of ballet, one linked to Romanticism's interest in the supernatural: ballet blanc, “white ballet” named for the innovative long, flowing skirts that lent themselves to wafting movements suggestive of misty wisps moving in the darkness. The opera’s 1847  London premiere was attended by Queen Victoria and featured superstar soprano Jenny Lind as Robert’s sister.  Traffic came to a standstill as unruly spectators mobbed the streets hoping for  glimpse of either celebrity. The second half of our episode tells the original story of Robert the Devil.  It first appeared around 1250, sketched out in short form by the Dominican monk, Étienne de Bourbon, in a collection of exempla, or moral tales intended to be used by priests in their homilies.  A couple decades later, details were filled out in a longer, anonymous  poem, preserved in France's National Library. Then by the late 14th century, it was rendered as a miracle play in “Forty Miracles of Our Lady,” commissioned by a guild of Parisian goldsmiths. By 1500, the story had arrived in Britain. That year, Wynkyn de Worde, assistant to pioneering London printshop owner Thomas Caxton, issued a chapbook prose translation hewing close to the French 14th-century poem. I found the Wynkyn de Worde text reproduced in a handsome 1904 volume complete with line illustrations, decorative initials, and borders reminiscent of the Arts and Crafts books of William Morris.  As promised in the episode, here is the link to that book: Robert_the_Deuyll.pdf.  (Visit the show notes on the Bone and Sickle website if you can’t click link). As for the  story itself, it’s best you enjoy it without spoilers as told by Mrs. Karswell.  It’s full of demonic wrath, battles, court intrigue, miracles, pathos, and a very and prolonged peculiar penance.  All told in charming 16th-century language with all the little sound-design extras you’ve come to expect from Bone and Sickle.

Seid beim online Live-Podcast mit den Autor*innen von "Und jetzt queer!" am 9.6.2026 um 19 Uhr dabei! Werdet dafür bis 9.6.2026 Steady-Mitglied von "Die Buch" mit dem Paket "Isabel" und ich werde euch den Link zum Zoom-Call schicken. Mehr Infos dazu: https://steady.page/de/diebuchpodcast/posts/1bc0525e-937b-49ff-9142-46c9d02b4723?utm_campaign=steady_sharing_button Mehr zum Begriff "Romance" hört ihr im BBC Podcast "Word of Mouth" in der Folge "Romance and Romanticism": https://www.bbc.com/audio/play/b06d2j1w Eine weitere Quelle für diese Folge war: Matthias Bauer, "Romantheorie", Stuttgart/Weimar: J.B. Metzler, 1997. 

You might be wondering: why on earth would I choose a piece that is literally called "Dissonance" when I was looking for something a bit simpler or cleaner to talk about on the show today? Actually, Mozart's Dissonance quartet, probably his most famous and beloved quartet, was not called "Dissonance" by Mozart, and the rest of the piece is thought of as one of Mozart's most outgoing and cheerful works, though I think there's a bit more to it than that. This quartet was part of a set of quartets dedicated to his friend and mentor Joseph Haydn, the father of the String Quartet. Upon their publication, Mozart wrote to Haydn: "Behold here, famous man and dearest friend, my six children. They are, to be sure, the fruit of long and arduous work, yet some friends have encouraged me to assume that I shall see this work rewarded to some extent at least, and this flatters me into believing that these children shall one day offer me some comfort." The final one of this set of six quartets is the one we're going to talk about today, the one that has been dubbed "Dissonance." This single dissonance caused massive controversy in its time, which we'll get to later, but it is a fascinating insight into the rules of harmony at the time. Our sojourns into late Romanticism over the last few weeks, and especially my conversation with Case Scaglione about Wagner and the Tristan Chord, should help us understand the intensely heated debates that arose over that chord I just played you. So today on the show, we'll spend some time on that famous dissonance, then dive right into this glorious quartet, exploring Mozart's unparalleled ability to write the most glorious melodies and the most perfect harmonies. Recording: Alban Berg Quartet First Sight Analysis: https://www.youtube.com/watch?v=IctjJOMU9dk Produced by: Charlie Koczela

Janko Kráľ, a poet, a representative of the Romanticism period in Slovak literature. "From dusk till dawn", the 22-year-old student became the most popular Slovak poet of his era. No portrait of Janko Kráľ has ever been found. On 23 May, it will be 150 years since his mysterious death. Who was Janko Kráľ, Johnny the King? Exploring this question are Ľubica Schmarcová of the Slovak Academy of Sciences, Palo Bálik from AFAD and John Minahane, the translator of his poetry. On Wednesday, 20 May, advance ticket sales began for the Bratislava Music Festival. The 61st edition of the festival will take place in September and October, bringing several internationally renowned orchestras and soloists to the Slovak capital. Inviting you to the event are Izabela Pažítková, Juraj Bubnáš and Marián Turner. Culture tips invite you to BRaK, an international festival of literature.

Janko Kráľ, a poet, a representative of the Romanticism period in Slovak literature. "From dusk till dawn", the 22-year-old student became the most popular Slovak poet of his era. No portrait of Janko Kráľ has ever been found. On 23 May, it will be 150 years since his mysterious death. Who was Janko Kráľ, Johnny the King? Exploring this question are Ľubica Schmarcová of the Slovak Academy of Sciences, Palo Bálik from AFAD and John Minahane, the translator of his poetry. On Wednesday, 20 May, advance ticket sales began for the Bratislava Music Festival. The 61st edition of the festival will take place in September and October, bringing several internationally renowned orchestras and soloists to the Slovak capital. Inviting you to the event are Izabela Pažítková, Juraj Bubnáš and Marián Turner. Culture tips invite you to BRaK, an international festival of literature.

Anticipating a summer to be spent exploring Underworld, DDSWTNP in Episode 35 take a small detour to a DeLillo short story, “Creation,” which distills DeLillo's omnipresent motifs of Romanticism and Christian mythos, transports literal and figurative, and disillusionment with the maintenance of Edenic experience — perhaps especially for the American tourist trying to escape from, rather than into, their vacation world. This 1979 story of infidelity, manipulation, and fantasy depicts repeated journeys to a small, jammed Caribbean airport that draw thoughts about godliness, meaning, and mortal fear from an unnamed narrator who has the impulse to write but perhaps not the skills and honed perception. In “Creation” we find many unexpected things: stirring parallels to the space orbits of “Human Moments in World War III”; a precursor to the voice of James Axton to emerge amid Mediterranean islands three years later; and of course new turns on the key DeLillo topos of plane travel and the contingencies of leaving the earth for the sky. Elements of journeys in Americana, Mao II, Cosmopolis, and Valparaiso come up, and we conclude that Rupert the cab driver may be the hero of this tale, or the figure who understands these affairs the best. We give listeners quite a few reasons to read or re-read this under-appreciated story that DeLillo would later choose to place first in The Angel Esmeralda: Nine Stories (2011).   The cover image incorporates part of Where Do We Come From? What Are We? Where Are We Going? (1897-98) by Paul Gauguin, who seems the likely reference point when the narrator of “Creation” says of his canceled seat on a flight out, “I'll marry a native woman and learn how to paint.”

Why do people think conservatives are boring? Sociologist and cultural thinker Margarita Mooney Clayton joins me to challenge the stereotype that artists must be transgressive and that conservatives lack creativity.Drawing on the philosophy of Jacques Maritain, we explore the true vocation of the artist: cooperating with divine inspiration to create beautiful works that point toward the good, the true, and God Himself. We discuss romanticism vs. ordered creativity, abundance vs. desecration in culture, and how conservatives can reclaim beauty, joy, and cultural renewal.Margarita shares insights from her work at Princeton Theological Seminary, Blackfriars Hall Oxford, and as founder of the Scala Foundation.CHAPTERS: (00:00 Introduction)(01:51 How a sociologist became interested in beauty and the arts)(04:28 Why people think conservatives are boring)(09:02 Art as transgressive? The panel discussion)(10:28 Jacques Maritain and the vocation of the artist)(19:13 Romanticism, reason, and the role of intellect in art)(26:35 Can modern art be beautiful? Tradition vs. modernism)(33:58 The place of transgression, paradox, and truth in art)MARGARITA MOONEY CLAYTON LINKS:

Hey — let's talk Gothic. If you loved the Wuthering Heights episode but aren't sure what “Gothic” means, here's a friendly, no‑pressure rundown: it's a literary vibe that exploded in the late 1700s and early 1800s (part of Romanticism) and stuck around because people couldn't get enough of spooky mystery, big feelings, and weird houses. At its core Gothic mixes suspense and the supernatural with secrets from the past: ghosts (or things that feel like ghosts), hidden diaries or cursed heirlooms, murmured scandals, and the sense that history is still very much alive — and maybe angry. Stories often leave the door open between a rational explanation and the uncanny, so you're always wondering what's real. The setting matters: remote, isolated places—windy moors, stormy cliffs, spooky woods, and usually a grand but slightly crumbling manor. That atmosphere of beauty plus decay is basically Gothic's aesthetic fingerprint. Protagonists are frequently women, which made these books especially thrilling for female readers back when options for adventurous stories were limited. Other common threads: intense emotion over reason, troubled or doomed romances, the ever‑present shadow of death, and objects that carry memory or menace. Short stories work great as an intro (hello, Poe), and novellas are perfect if you want a quick, delicious chill. Gothic isn't one thing — it splinters into cool subgenres. Southern Gothic, for example, folds in religious hypocrisy, the legacy of violence, and heavy landscape feeling. Contemporary takes like Mexican Gothic (Silvia Moreno‑Garcia) remix classic Gothic tropes—isolated mansions, family secrets—with new cultures, histories, and anxieties. Other great touchstones: Jane Eyre, Wuthering Heights, Rebecca, The Turn of the Screw (Bly Manor), Shirley Jackson's Hill House, Daphne du Maurier, Edgar Allan Poe, and even films like Crimson Peak that lean into the look and mood. Gothic also shows up in real cultural practices and local histories: think of rituals that try to heal a place's memory or reckon with past violence. Those real world echoes are part of what keeps the genre alive and relevant — it's not just spooky houses, it's how communities remember and reckon with what happened there. If you want to dive in, try a Poe short story, a classic like Jane Eyre, or a modern pick like Mexican Gothic or a T. Kingfisher novella. And hey — if you've got favorites, tell us. I want to know what weird, moody books give you chills.

Romanticism or misogyny? During the tectonic time of “Me Too” The Splendid Bohemians tackled the subjects of two artists inextricably linked to their romantic images: Sir Tom Jones and Charles Aznavour - both hugely popular and successful in their own times, but, like many with complicated artistic careers, coming under reexamination.Spurred by a demand made to my wife to “shut off that stuff”  by two disgruntled women while she was enjoying a Tom Jones CD, Bill and Rich set out to dissect the difference between romance and chauvinism when considering these cherished icons during this retributive age of Epstein, Trump, Cosby, Weinstein, et al. Seems like a good time to replay this nugget from 2016. The list of predators is long and keeps growing, as evidenced by the recent resignation of democratic Gubernatorial hopeful, Eric Swallwell. So, we batted around the evergreen question of “can you hate the artist, but still love the art?” We ended up with no answers, just more questions.

In this episode of Biographers in Conversation, Dr Paul Kildea chats with Dr Gabriella Kelly-Davies about Chopin's Piano: A Journey through Romanticism. Here's what you'll discover in this episode: Paul Kildea's inspiration for crafting Chopin's Piano. A Journey through Romanticism. The significance of the biography's title. The relevance of Chopin's Piano: A Journey through Romanticism today. Chopin's primitive piano was crafted by Juan Bouwer, an amateur artisan in Palma, Majorca, in 1838. Juan Bouwer had no inkling his humble instrument would become the catalyst for Chopin composing six of his 24 Preludes on the piano. Why Chopin's Piano's 24-chapter structure mirrors Chopin's two books of 12 Preludes. Musica Viva adapted Chopin's Piano as a national touring production in 2023, blending all 24 Preludes with storytelling.

Romanticism gets treated like a synonym for nostalgia, and German Idealism gets shrunk to a few brand-name thinkers. We push back on both habits by talking with Christopher Satoor, a York University doctoral candidate and founder of the Young Idealist series, about what really happens when philosophy, poetry, art, and science collide in Jena.Schelling sits at the center of that collision. We dig into why his Naturphilosophie is neither “woo” nor a quaint premodern science lesson, but a serious attempt to rebuild our concept of nature after Cartesian mechanism. That means thinking in terms of living processes, hidden forces, and organic organization, and then asking what it does to our view of mind, creativity, and embodiment when “nature is visible spirit and spirit is invisible nature.” Along the way, we unpack the rift with Fichte, the shadow cast by Hegel, and how later caricatures and missing translations shaped Schelling's reputation in English-language philosophy.We also take the political and ethical questions seriously: what the Freedom Essay contributes to debates about evil, freedom, and the limits of purely dialectical stories of progress, and why Schelling's later “positive philosophy” focuses on existence, facticity, and the question of why there is something rather than nothing. Finally, we connect the stakes to the present, where climate change and environmental catastrophe demand a less mechanized picture of the world and a more holistic way of thinking across disciplines.If you enjoy deep dives into German Romanticism, German Idealism, Schelling, Kant, Fichte, Hegel, philosophy of nature, and freedom, subscribe, share this with a friend who argues about materialism, and leave a review with the biggest idea you're still wrestling with.Send us Fan Mail Musis by Bitterlake, Used with Permission, all rights to BitterlakeSupport the showCrew:Host: C. Derick VarnIntro and Outro Music by Bitter Lake.Intro Video Design: Jason MylesArt Design: Corn and C. Derick VarnLinks and Social Media:twitter: @varnvlogblue sky: @varnvlog.bsky.socialYou can find the additional streams on YoutubeCurrent Patreon at the Sponsor Tier: Jordan Sheldon, Mark J. Matthews, Lindsay Kimbrough, RedWolf, DRV, Kenneth McKee, JY Chan, Matthew Monahan, Parzival, Adriel Mixon, Buddy Roark, Daniel Petrovic,Julian

#aesthetics #podcast #IsaiahBerlin #seriesA special thanks to everyone who joined us yesterday for our finale episode ( 9) in our ongoing "All About Aesthetics "series centered around Isaiah Berlin and Romanticism. This ongoing special multi part series roamed far and wide this past year and even with all of that, there is so much more to be said about the enduring, profound works of Berlin.The entire playlist is available to enjoy anytime and thanks for being the very best part of what we do!We will be back soon and have a lovely weekend all!

This week on The Literary Life Podcast with Angelina Stanford and Thomas Banks, we continue our series on Charlotte Brontë's Jane Eyre. In today's episode, they talk about the main plot points and follow threads of meaning in chapters 27-33. Some of the ideas they discuss include Romanticism in literature, Rochester's Byronic qualities, pictures of Jane's awakening, the eucatastrophe in this section of the book, parallels to the story of Cupid and Psyche, and more contrasts between fire and ice. You can check out all the latest offerings of mini-classes and webinars, both upcoming and recorded in the past. Find everything at HouseofHumaneLetters.com, where you can also sign up for the HHL newsletter to stay in the loop about all the latest happenings! Don't forget to visit https://theliterary.life/323 for the full show notes for this episode.

*Warning: some spoilers in this ep* In this episode, I'm joined by screenwriter Sarah Quintrell to dive into the world of Mary Bennet and the brilliance of The Other Bennet Sister

Taylor Reiner. The Quiz 2.Since Taylor was on the show in September 2023, he's been busy with designing, developing, making videos, and more. We get to explore some of the things Taylor has been working on through the lens of sequels, other media, and just general chaos by the way of The Return of the Quiz.Check out Taylor's Trick Taking TableSee Taylor's designs and developments.Follow Taylor's Bluesky. Games Mentioned in this EpisodeIntro (0:00)Reflecting on my butchered introduction, the time that's passed, and the extreme success of The Lord of the Rings: The Fellowship of the Ring — Trick-Taking Game. Then we set up the quiz.The Quiz 2 (8:14)Can't spoil the contents of the newest quiz, but there's a new fun section called “The Tricky Minute.”Also, the question on everyone's mind is if SSX Tricky makes a return.Home Alone 2The Crew 2Renaissance - Enlightenment - Romanticism 2Mini-Director's Commentary (55:45) Keeping the quiz short and then doing a full Director's Commentary as a later episode that paired with this was an initial thought of mine. Fortunately that didn't work out, especially as that will allow more breath and rumination for The Quiz 3. Taylor reflects on sequels in general, Slay the Spire 2, and Oreos here.Wrap-up Questions (1:05:32)A non-StS2 text on Taylor's mind and what to look out for from him.There's a 250 character limit for the titles, in case you're wondering.-----------------------------------------------------------------------------------------If you like this show, liking it on whatever platform you listen to and writing a review would mean so much! Furthermore, it's as independent as it gets, so any financial support would help with the subscriptions that make this project go smoothly.That can be done by "buying me a coffee" and/or buying a copy of my board game (I like it).All of my socials and support information can be found here: Intertextual Experience Linktree

The threads of Scotland's identity, Tartan's journey I'm sorry to say that Tartan was not invented in Scotland. Gasp, horror, but this is just a reality that we will have to live with. In fact, when you've listened to this Podcast, you'll realise that this Iconic symbol of Scotland is so important to this country because of what Scotland did to this chequered cloth rather than inventing it. Scotland's Tartan's story begins with the 'Falkirk fragment', a simple undyed wool check, found in the town of Falkirk, used to stopper a Roman coin hoard in the third century. Though modest, it reveals that patterned twill weaving long predated Scotland, with similar checks found across ancient Eurasia. In early and medieval Scotland, tartan was practical rather than symbolic, shaped by local dyes, regional weaving traditions, and the ecology of the Highlands. The belted plaid later became the defining garment of Highland life, and during the Jacobite risings tartan gained political meaning as a visual marker of rebellion. After Culloden, the Dress Act attempted to suppress Highland identity by banning tartan, but it survived in remote communities and military regiments. In the nineteenth century, Romanticism, Sir Walter Scott, and firms like Wilsons of Bannockburn reinvented tartan as national dress and created the modern system of clan tartans. Diaspora communities from all over the world embraced tartan as a portable homeland, while the British Empire enhanced it's reputation. In the twentieth century, designers, political movements, and popular culture reinterpreted tartan again, turning it into a flexible symbol of identity, rebellion, and heritage. Tartan endures because people continually weave meaning into it, transforming simple cloth into a powerful cultural emblem and one that has come to define Scotland's identity.

Send us Fan MailThe Krewe looks at how stupidity is romanticized with trips to Cuba, Mandela effects, Georgia State Attorneys, and the "glass wall experiment." We'll sip on another #weeklywhisky of course, this one from Nunu's Markets in Youngsville and Maurice Louisiana.Don't miss another episode where we won't celebrate the stupid, but we'll make sure you get your fill of your Implicit Bias!Support the show

Has conservatism really defeated utilitarianism? Or are modern conservatives just utilitarians at their core? Find out as we discuss Jeremy Bentham, James Mill, John Stuart Mill, Walter Scott, George Canning, and Samuel Coleridge in their war for English politics!Follow us on X!Give us your opinions here!

Artificial intelligence or the pandemics were two recentcrises framed as almost  magical non-human actors. They both reshaped the boundaries of human agency. By now,the language explaining them is often one of rupture and unprecedented transformation. AI or COVID-19 were described as opaque, autonomous and difficult to control. Both were imagined as operating beyond ordinaryaccountability, while still exerting real effects on collective life. In that sense, the anxiety does not result only from the fear of machines or unknown germs. It concerns the displacement of agency and the fragility of human beings tasked with governing forces they did not design and do not fully understand. Humans are unsettled when power seems to migrate beyond the human subject.Yet the fear of the non-human as a destabilising force isnot new. What we would like to pinpoint in our series it that societies, when confronted with such moments of rupture, authorize forms of exclusion and violence based on (ir)rationalism. Our focus throughout this series will fallon the vampire and witchcraft epidemics. European societies once confronted witches, revenants and vampires as threats to moral and political order. These figures emerged at moments of epidemic disease, religious fracture andinstitutional weakness. They offered an explanation for crisis. This new dossier revisits those episodes of collectiveanxiety. Whilst the differences between AI, pandemics and zombies, witches and undead are substantial, these moments reveal the fragile boundary between the rational state and collective hysteria. The imagery resulted can be a finebarometer of the how states respond when agency seems to escape human control or what mechanisms of blame, purification and boundary-drawing are activated.In our second podcast of this series, we have as guest Kateryna Dysa, with whom we will discuss her extremely fascinating book Ukrainian Witchcraft Trials: Volhynia, Podolia, and Ruthenia, 17th and 18th Centuries, published by the CEU Press in 2023. In this research, she reconstructs the history of witchcraft in Ukraine, with a particular focus on the three so-called “Ruthenian” palatinates of the Polish-Lithuanian Commonwealth: Podolia, Ruthenia, and Volhynia. Our conversation begins with a conceptual question: what counts as a witch and who defines one? Kateryna Dysa reveals that geographical nuances need to be taken into account. In a region situated at the nexus between Catholicism andOrthodoxy, the definitions were less fixed as they emerged from the local community rather from theologians. The nature of primary sources also differs from thetraditional scholarship on this field. Drawing on 198 primary sources, most of them court books, Dysa reveals a judicial culture markedly different from the better-known Western European persecutions. In most cases, accusations did notculminate in execution. Often, only complaints were recorded; investigations were limited, and verdicts tended to be mild. Death sentences were rare and typically entangled withstark social hierarchies, where accusations flowed upward from elites against socially vulnerable individuals.The episode then turns to gender. Rather than endorsing a monolithic narrative of patriarchal persecution, Dysa emphasizes the social logic of witchcraft accusations as embedded in everyday tensions, including fears surrounding love magic, food, and bodily vulnerability. Finally, the discussion moves to the Enlightenment and Romanticism. In the eighteenth century, state centralization and rationalist reform curtailed formal prosecutions, but popular belief persisted, sometimes leading to extrajudicial violence. In thenineteenth century, Romanticism transformed the witch into a literary and folkloric figure, reshaping her image and symbolic function.

Hi from NYC! This week, we're debriefing NYFW — everything that happened on and off the runways that stopped us in our tracks.From Ralph Lauren's romantic revival to the iconic wardrobe on the Wuthering Heights press tour, we unpack why fashion feels like it's entering a new era of dressing for joy. We also dive into the power shift at Vogue, British Vogue's moving March cover, and what it signals about the future of media.Joining me is my friend Lydia Berry, co-founder of the social media agency Darlington, and our resident Gen Z eyes and ears on what's actually driving conversation online right now. Follow Lydia on Instagram https://www.instagram.com/lydberry/Thanks to Banana Republic for my favorite pieces from the spring collection. Shop their new arrivals at www.bananarepublic.com #BananaRepublicPartnerLet's Get DressedYouTube: https://www.youtube.com/@livvperezInstagram: https://www.instagram.com/letsgetdressedpod/Newsletter: https://substack.com/@livvperezLiv Perez Instagram: www.instagram.com/livvperezTikTok: www.tiktok.com/livv.perezShopMy: https://shopmy.us/livvperez Hosted on Acast. See acast.com/privacy for more information.

pWotD Episode 3211: Wuthering Heights Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 287,720 views on Sunday, 15 February 2026 our article of the day is Wuthering Heights.Wuthering Heights is the only novel by the English author Emily Brontë, initially published in 1847 under her pen name "Ellis Bell". It concerns two extensive upland estates and their landowning families on the West Yorkshire moors, the Earnshaws and the Lintons; and their turbulent relationships with the Earnshaws' foster son, Heathcliff. Driven by themes of love, possession, revenge, and reconciliation, the novel is influenced by Romanticism and Gothic fiction. It is considered a classic of English literature.Wuthering Heights was accepted by publisher Thomas Newby along with Anne Brontë's Agnes Grey before the success of their sister Charlotte Brontë's novel Jane Eyre, but they were published later. The first American edition was published in April 1848 by Harper & Brothers of New York. After Emily's death, Charlotte edited a second edition of Wuthering Heights, which was published in 1850.Though contemporaneous reviews were polarised, Wuthering Heights has come to be considered one of the greatest novels written in English. It was controversial for its depictions of mental and physical cruelty, including domestic abuse, and for its challenges to Victorian morality, religion, and the class system. It has inspired an array of adaptations across several types of media.This recording reflects the Wikipedia text as of 02:29 UTC on Monday, 16 February 2026.For the full current version of the article, see Wuthering Heights on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Kimberly.

In this episode, we discuss how Coleridge's poem "Kubla Khan" relates to the victory of Romanticism. That, and we giggle sometimes.

In this episode, we dive into Théodore Géricault's “The Raft of the Medusa”, a painting inspired by a real shipwreck and full of drama. We talk about the tragic story of the Méduse, the scandal it caused, and how Géricault turned human suffering into an unforgettable work of art. We explore the painting's composition, the emotions it evokes, and how it balances horror with beauty. Our discussion also looks at the tricky question of whether it's okay to make tragedy “beautiful.” Tune in for a conversation about Romanticism, the power of art, and why this painting still fascinates people today.

In this, the seventh episode of our series on Isaiah Berlin and romanticism, I take a break from the discussion of German philosophers Hamann and Herder to discuss the historical and political context of Berlin's original scholarship - the mid 20th century - and reflect on current receptions of that consequential and possibly misunderstood period..#IsaiahBerlin #UK #facism #ColdWar #SamuelMoyn #Arendt #enlightnenemnt #honesty #ethics #romanticism #fanatacism #hermit #isolation #loneliness #politics #revolution #socialism #manners #mores #france #england  #liberalism #conservatism #socialcontract #rousseau #totalitarianism #diderot #rameau #classicalmusic #beethoven #psychology #behavior 

Seduction. Vampires. Romance. Sounds like an Anne Rice movie. Drained is far from being just that… As a matter of fact, the movie is smart and alluring which makes this movie excellent. The film is exceedingly captivating. The character Rhea is fascinating and mysterious, and Madalina played the role extremely well. Romanticism will bite you in the neck! No pun intended, it's the truth because you cannot have romance without vampires. The elements are there, and Madalina broke them down in this interview. It was wonderful to speak to Madalina about her character in this not so typical movie about vampires. Although she was born less than a stones throw away outside Transylvania, she is the perfect rendition of a female vampire who is the predator, but who also has a tiny trickle of humanity within her. I highly recommend watching this movie if you want to get away from the usual, boring, repeated vampire plot. The tone and pace in this film is what you are looking for if you need to watch something different and Madalina delivers. Now available for steaming on Amazon Prime, Video, Tubi, Google TV, Apple TV, and YouTube.

Wisdom for pastors seeking to preach and lead well in a post-Christian age.So much of our culture judges events in isolation — a single moment, a single failure, a single decision — detached from what led to it and what flows from it. But history doesn't work like that. Events emerge from long trajectories, and they reshape the future in ways no one fully controls or intends.We're joined by Archie Poulos, Head of the Ministry Department at Moore Theological College, to reflect on Remaking the World: How 1776 Created the Post-Christian West by Andrew Wilson. Wilson's argument isn't that everything changed overnight in 1776, but that the events clustered around that year give us a window into the forces that have shaped the WEIRDER world we now inhabit — Western, Educated, Industrialised, Rich, Democratic, Ex-Christian and Romantic.We explore why reading history as an ecosystem rather than isolated episodes matters, why Romanticism isn't just a past movement but our present operating system, and how Christian faith — offers a deeper, more hopeful way to understand our moment.The Church Cohttp://www.thechurchco.com is a website and app platform built specifically for churches.  Anglican AidTo find out more about supporting Anglican Aid. Advertise on The Pastor's HeartTo advertise on The Pastor's Heart go to thepastorsheart.net/sponsorSupport the show

Today the Pugs welcome Dr. Scott Masson of Tyndale University onto the show. Scott is an Associate Professor of English and an authority on Romanticism. He also is known for his commitment to a recovery of classical learning. Today Scott reflects on the broken relationship between the humanities and theology and the disastrous consequences for higher education. He notes that this strikes right at the heart of the Christian faith because it separates the divine and human natures of the Son of God. He compares this to the broken sword Aduril from The Lord of the Rings and notes that the right ordering of our loves and the restoration of culture won't occur until the sword is reforged in the West. Join us for a great conversation. The Anduril Moment - A Call to Return to Christian Humanism: Dr. Scott Masson’s lecture: https://www.youtube.com/watch?v=c2IWBJcN5kk Dr. Masson’s Substack: https://drscottmasson.substack.com/ Paideia Today: https://www.paideiatoday.com/ Recommended videos from Dr. Masson’s YouTube channel: www.youtube.com/c/DrScottMasson i) How the Ideology of the French Revolution Destroyed Human Nature: https://www.youtube.com/watch?v=rEYyIHiA0kE ii) The History of Literary Theory (An overview): https://youtu.be/0QsnNzFq9cs?si=yw06YOzRR1R6H0LN iii) The Legacy of Romanticism: https://youtu.be/2-ethRyqhzQ?si=K5KEkrlN0E77izN6 iv) The History of Cultural Marxism: https://youtu.be/lC7q26ddu2k?si=m1R03Cu3fYdDqzDk www.paideiatoday.com Support the Theology Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8 Learn more about First Pres. Battle Ground: https://www.solochristo.org/ Connect with WileyCraft Productions: https://wileycraftproductions.com/

Today the Pugs welcome Dr. Scott Masson of Tyndale University onto the show. Scott is an Associate Professor of English and an authority on Romanticism. He also is known for his commitment to a recovery of classical learning. Today Scott reflects on the broken relationship between the humanities and theology and the disastrous consequences for higher education. He notes that this strikes right at the heart of the Christian faith because it separates the divine and human natures of the Son of God. He compares this to the broken sword Aduril from The Lord of the Rings and notes that the right ordering of our loves and the restoration of culture won't occur until the sword is reforged in the West. Join us for a great conversation.The Anduril Moment - A Call to Return to Christian Humanism: Dr. Scott Masson's lecture: https://www.youtube.com/watch?v=c2IWBJcN5kkDr. Masson's Substack: https://drscottmasson.substack.com/Paideia Today:  https://www.paideiatoday.com/Recommended videos from Dr. Masson's YouTube channel: www.youtube.com/c/DrScottMassoni) How the Ideology of the French Revolution Destroyed Human Nature:https://www.youtube.com/watch?v=rEYyIHiA0kEii) The History of Literary Theory (An overview):https://youtu.be/0QsnNzFq9cs?si=yw06YOzRR1R6H0LNiii) The Legacy of Romanticism:https://youtu.be/2-ethRyqhzQ?si=K5KEkrlN0E77izN6iv) The History of Cultural Marxism:  https://youtu.be/lC7q26ddu2k?si=m1R03Cu3fYdDqzDkwww.paideiatoday.comSupport the Theology Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8Learn more about First Pres. Battle Ground: https://www.solochristo.org/Connect with WileyCraft Productions: https://wileycraftproductions.com/

Today the Pugs welcome Dr. Scott Masson of Tyndale University onto the show. Scott is an Associate Professor of English and an authority on Romanticism. He also is known for his commitment to a recovery of classical learning. Today Scott reflects on the broken relationship between the humanities and theology and the disastrous consequences for higher education. He notes that this strikes right at the heart of the Christian faith because it separates the divine and human natures of the Son of God. He compares this to the broken sword Aduril from The Lord of the Rings and notes that the right ordering of our loves and the restoration of culture won't occur until the sword is reforged in the West. Join us for a great conversation. The Anduril Moment - A Call to Return to Christian Humanism: Dr. Scott Masson’s lecture: https://www.youtube.com/watch?v=c2IWBJcN5kk Dr. Masson’s Substack: https://drscottmasson.substack.com/ Paideia Today: https://www.paideiatoday.com/ Recommended videos from Dr. Masson’s YouTube channel: www.youtube.com/c/DrScottMasson i) How the Ideology of the French Revolution Destroyed Human Nature: https://www.youtube.com/watch?v=rEYyIHiA0kE ii) The History of Literary Theory (An overview): https://youtu.be/0QsnNzFq9cs?si=yw06YOzRR1R6H0LN iii) The Legacy of Romanticism: https://youtu.be/2-ethRyqhzQ?si=K5KEkrlN0E77izN6 iv) The History of Cultural Marxism: https://youtu.be/lC7q26ddu2k?si=m1R03Cu3fYdDqzDk www.paideiatoday.com Support the Theology Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8 Learn more about First Pres. Battle Ground: https://www.solochristo.org/ Connect with WileyCraft Productions: https://wileycraftproductions.com/

Today the Pugs welcome Dr. Scott Masson of Tyndale University onto the show. Scott is an Associate Professor of English and an authority on Romanticism. He also is known for his commitment to a recovery of classical learning. Today Scott reflects on the broken relationship between the humanities and theology and the disastrous consequences for higher education. He notes that this strikes right at the heart of the Christian faith because it separates the divine and human natures of the Son of God. He compares this to the broken sword Aduril from The Lord of the Rings and notes that the right ordering of our loves and the restoration of culture won't occur until the sword is reforged in the West. Join us for a great conversation. The Anduril Moment - A Call to Return to Christian Humanism: Dr. Scott Masson’s lecture: https://www.youtube.com/watch?v=c2IWBJcN5kk Dr. Masson’s Substack: https://drscottmasson.substack.com/ Paideia Today: https://www.paideiatoday.com/ Recommended videos from Dr. Masson’s YouTube channel: www.youtube.com/c/DrScottMasson i) How the Ideology of the French Revolution Destroyed Human Nature: https://www.youtube.com/watch?v=rEYyIHiA0kE ii) The History of Literary Theory (An overview): https://youtu.be/0QsnNzFq9cs?si=yw06YOzRR1R6H0LN iii) The Legacy of Romanticism: https://youtu.be/2-ethRyqhzQ?si=K5KEkrlN0E77izN6 iv) The History of Cultural Marxism: https://youtu.be/lC7q26ddu2k?si=m1R03Cu3fYdDqzDk www.paideiatoday.com Support the Theology Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8 Learn more about First Pres. Battle Ground: https://www.solochristo.org/ Connect with WileyCraft Productions: https://wileycraftproductions.com/

We humans seem to love comeback stories, and there is no comeback quite as compelling in the classical music world as Rachmaninoff's Second Piano Concerto. It was written three years after the disastrous premiere of his First Symphony, a premiere so catastrophic that it lives on in the annals of musical history, and is the essential starting point for understanding the Second Piano Concerto and how it came to be. The concerto revived both Rachmaninoff's career and his spirits, and it remains his most famous orchestral work. It is a towering masterpiece of Romanticism, overflowing with glorious melody after glorious melody, supported by virtuosic and sumptuous writing for the solo piano, and a deeply satisfying orchestral part that continues to make audiences swoon around the world. Today on the show, we'll begin with the story of Rachmaninoff's First Symphony, and then walk through this extraordinary concerto, highlighting what truly makes Rachmaninoff's music so special. Hint: it's not just the pretty melodies. Recording: Vladimir Ashkenazy with the Moscow Philharmonic Orchestra, Kirill Kondrashin cond.

In this episode, we will be discussing the history of the impact of the transatlantic slave economy on the lives and times of some of the most well-known poets of the British Romantic literary tradition, such as Shelley and Keats, among others. Joining me is Mathelinda Nabugodi. Mathelinda is a Lecturer in Comparative Literature at University College London. She is the author of Shelley with Benjamin: A Critical Mosaic (2023) and one of the editors on the six-volume Longman edition of The Poems of Shelley (1989-2024). Her current research explores the connections between British Romanticism and the Black Atlantic. This episode focuses on her recently published book, The Trembling Hand: Reflections of a Black Woman in the Romantic Archive. 

In this episode I'm joined by author and Scarlet Imprint founder Peter Grey for a wide-ranging conversation around his book Lucifer Praxis—a work that approaches Lucifer not as a static figure or moral symbol, but as a living current of rebellion, imagination, and spiritual authority.We explore the deep mythic roots of Lucifer and the fallen angels, tracing them from ancient sources and early biblical material—where these beings were associated with the transmission of magic and forbidden knowledge—through their later demonisation under Christianity. Peter explains how John Milton's Paradise Lost radically reshaped the image of Lucifer, transforming him into a defiant figure whose influence carried forward into Romanticism through writers like Blake, Shelley, and Byron, helping to form the foundations of modern Luciferian thought.Our conversation moves through early Christian exorcism and its relation to grimoire magic conjuration and Pauline theology. We also spend time on Peter's argument that the French Revolution of 1789 marked a decisive cultural rupture—a symbolic regicide and deicide that signalled the death of God and the emergence of a modern Luciferian worldview. Paris itself becomes part of this story, reshaped through monuments, symbolism, and revolutionary ritual.Peter also outlines his approach to magical practice and teaching: drawing on ancient traditions while deliberately avoiding rigid systems or prescriptive methods. We discuss the importance of personal gnosis, the risks of over-identifying with deities, and the need for open structures that allow practitioners to find their own way into the spirit world.Show notes:Get the book: https://scarletimprint.com/publications/p/lucifer-praxisJohn Milton - Paradise Lost: https://en.wikipedia.org/wiki/Paradise_LostWilliam Blake: https://en.wikipedia.org/wiki/William_BlakePercy Bysshe Shelly: https://en.wikipedia.org/wiki/Percy_Bysshe_ShelleyLord Byron: https://en.wikipedia.org/wiki/Lord_ByronRomantic poetry: https://en.wikipedia.org/wiki/Romantic_poetryThe Book of Enoch: https://en.wikipedia.org/wiki/Book_of_EnochThe French Revolution: https://en.wikipedia.org/wiki/French_RevolutionLouis XVI: https://en.wikipedia.org/wiki/Louis_XVIThe Spirit of Liberty: https://en.wikipedia.org/wiki/July_ColumnKeep in touch?https://linktr.ee/darraghmason

Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/87_Dover_Beach_by_Matthew_Arnold.mp3 Poet Matthew Arnold Reading and commentary by Mark McGuinness Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Podcast Transcript This is a magnificent and haunting poem by Matthew Arnold, an eminent Victorian poet. Written and published at the mid-point of the nineteenth century – it was probably written around 1851 and published in 1867 – it is not only a shining example of Victorian poetry at its best, but it also, and not coincidentally, embodies some of the central preoccupations of the Victorian age. The basic scenario is very simple: a man is looking out at the sea at night and thinking deep thoughts. It's something that we've all done, isn't it? The two tend to go hand-in-hand. When you're looking out into the darkness, listening to the sound of the sea, it's hard not to be thinking deep thoughts. If you've been a long time listener to this podcast, it may remind you of another poet who wrote about standing on the shore thinking deep thoughts, looking at the sea, Shakespeare, in his Sonnet 60: Like as the waves make towards the pebbled shore,So do our minutes hasten to their end; Arnold's poem is not a sonnet but a poem in four verse paragraphs. They're not stanzas, because they're not regular, but if you look at the text on the website, you can clearly see it's divided into four sections. The first part is a description of the sea, as seen from Dover Beach, which is on the shore of the narrowest part of the English channel, making it the closest part of England to France: The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; – on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay. And as you can hear, the poem has a pretty regular and conventional rhythm, based on iambic metre, ti TUM, with the second syllable taking the stress in every metrical unit. But what's slightly unusual is that the lines have varying lengths. By the time we get to the third line: Upon the straits; – on the French coast the light There are five beats. There's a bit of variation in the middle of the line, but it's very recognisable as classic iambic pentameter, which has a baseline pattern going ti TUM, ti TUM, ti TUM, ti TUM, ti TUM. But before we get to the pentameter, we get two short lines: The sea is calm tonight.Only three beats; andThe tide is full, the moon lies fair – four beats. We also start to notice the rhymes: ‘tonight' and ‘light'. And we have an absolutely delightful enjambment, where a phrase spills over the end of one line into the next one: On the French coast the light,Gleams and is gone. Isn't that just fantastic? The light flashes out like a little surprise at the start of the line, just as it's a little surprise for the speaker looking out to sea. OK, once he's set the scene, he makes an invitation: Come to the window, sweet is the night-air! So if there's a window, he must be in a room. There's somebody in the room with him, and given that it's night it could well be a bedroom. So this person could be a lover. It's quite likely that this poem was written on Arnold's honeymoon, which would obviously fit this scenario. But anyway, he's inviting this person to come to the window and listen. And what does this person hear? Well, helpfully, the speaker tells us: Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Isn't that just great? The iambic metre is continuing with some more variations, which we needn't go into. And the rhyme is coming more and more to the fore. Just about every line in this section rhymes with another line, but it doesn't have a regular pattern. Some of the rhymes are close together, some are further apart. There's only one line in this paragraph that doesn't rhyme, and that's ‘Listen! You hear the grating roar'. If this kind of shifting rhyme pattern reminds you of something you've heard before, you may be thinking all the way back to Episode 34 where we looked at Coleridge's use of floating rhymes in his magical poem ‘Kubla Khan'. And it's pretty evident that Arnold is also casting a spell, in this case to mimic the rhythm of the waves coming in and going out, as they ‘Begin, and cease, and then again begin,'. And then the wonderful last line of the paragraph, as the waves ‘bring / The eternal note of sadness in'. You know, in the heart of the Victorian Age, when the Romantics were still within living memory, poets were still allowed to do that kind of thing. Try it nowadays of course, and the Poetry Police will be round to kick your front door in at 5am and arrest you. Anyway. The next paragraph is a bit of a jump cut: Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; So Arnold, a classical scholar, is letting us know he knows who Sophocles, the ancient Greek playwright was. And he's establishing a continuity across time of people looking out at the sea and thinking these deep thoughts. At this point, Arnold explicitly links the sea and the thinking:                                     weFind also in the sound a thought,Hearing it by this distant northern sea. And the thought that we hear when we listen to the waves is what Arnold announces in the next verse paragraph, and he announces it with capital letters: The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled. And for a modern reader, I think this is the point of greatest peril for Arnold, where he's most at risk of losing us. We may be okay with ‘the eternal note of sadness', but as soon as he starts giving us the Sea of Faith, we start to brace ourselves. Is this going to turn into a horrible religious allegory, like The Pilgrim's Progress? I mean, it's a short step from the Sea of Faith to the Slough of Despond and the City of Destruction. And it doesn't help that Arnold uses the awkwardly rhyming phrase ‘a bright girdle furled' – that's not going to get past the Poetry Police, is it? But fear not; Arnold doesn't go there. What comes next is, I think, the best bit of the poem. So he says the Sea of Faith ‘was once, too, at the full', and then: But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Well, if you thought the eternal note of sadness was great, this tops it! It's absolutely fantastic. That line, ‘Its melancholy, long, withdrawing roar,' where the ‘it' is faith, the Sea of Faith. And the significance of the line is underlined by the fact that the word ‘roar' is a repetition – remember, that one line in the first section that didn't rhyme? Listen! you hear the grating roar See what Arnold did there? He left that sound hovering at the back of the mind, without a rhyme, until it came back in this section, a subtle but unmistakeable link between the ‘grating roar' of the actual sea at Dover Beach, and the ‘withdrawing roar' of the Sea of Faith: Its melancholy, long, withdrawing roar, Isn't that the most Victorian line ever? It encapsulates the despair that accompanied the crisis of faith in 19th century England. This crisis was triggered by the advance of modern science – including the discoveries of fossils, evidence of mass extinction of previous species, and the theory of evolution, with Darwin's Origin of Species published in 1859, in between the writing and publication of ‘Dover Beach'. Richard Holmes, in his wonderful new biography of the young Tennyson, compares this growing awareness of the nature of life on Earth to the modern anxiety over climate change. For the Victorians, he writes, it created a ‘deep and existential terror'. One thing that makes this passage so effective is that Arnold has already cast the spell in the first verse paragraph, hypnotising us with the rhythm and rhyme, and linking it to the movement of the waves. In the second paragraph, he says, ‘we find also in the sound a thought'. And then in the third paragraph, he tells us the thought. And the thought that he attaches to this movement, which we are by now emotionally invested in, is a thought of such horror and profundity – certainly for his Victorian readers – that the retreat of the sea of faith really does feel devastating. It leaves us gazing down at the naked shingles of the world. The speaker is now imaginatively out of the bedroom and down on the beach. This is very relatable; we've all stood on the beach and watched the waves withdrawing beneath our feet and the shingle being left there. It's an incredibly vivid evocation of a pretty abstract concept. Then, in the fourth and final verse paragraph, comes a bit of a surprise: Ah, love, let us be trueTo one another! Well, I for one was not expecting that! From existential despair to an appeal to his beloved. What a delightful, romantic (with a small ‘r') response to the big-picture, existential catastrophe. And for me, it's another little echo of Shakespeare's Sonnet 60, which opens with a poet contemplating the sea and the passing of time and feeling the temptation to despair, yet also ends with an appeal to the consolation of love: And yet to times in hope my verse shall stand,blockquotePraising thy worth, despite his cruel hand. Turning back to Arnold. He says ‘let us be true / To one another'. And then he links their situation to the existential catastrophe, and says this is precisely why they should be true to each other: for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain; It sounds, on the face of it, a pretty unlikely justification for being true to one another in a romantic sense. But actually, this is a very modern stance towards romantic love. It's like the gleam of light that just flashed across the Channel from France – the idea of you and me against an unfeeling world, of love as redemption, or at least consolation, in a meaningless universe. In a world with ‘neither joy, nor love, nor light,' our love becomes all the more poignant and important. Of course, we could easily object that, regardless of religious faith, the world does have joy and love and light. His very declaration of love is evidence of this. But let's face it, we don't always come to poets for logical consistency, do we? And we don't have to agree with Matthew Arnold to find this passage moving; most of us have felt like this at some time when we've looked at the world in what feels like the cold light of reality. He evokes it so vividly and dramatically that I, for one, am quite prepared to go with him on this. Then we get the final three lines of the poem:We are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. I don't know about you, but I find this a little jarring in the light of what we've just heard. We've had the magnificent description of the sea and its effect on human thought, extending that into the idea of faith receding into illusion, and settling on human love as some kind of consolation for the loss of faith. So why do we need to be transported to a windswept plain where armies are clashing and struggling? It turns out to be another classical reference, to the Greek historian Thucydides' account of the night battle of Epipolae, where the two armies were running around in the dark and some of them ended up fighting their own side in the confusion. I mean, fine, he's a classical scholar. And obviously, it's deeply meaningful to him. But to me, this feels a little bit bolted on. A lot of people love that ending, but to me, it's is not as good as some of the earlier bits, or at least it doesn't quite feel all of a piece with the imagery of the sea. But overall, it is a magnificent poem, and this is a small quibble. Stepping back, I want to have another look at the poem's form, specifically the meter, and even more specifically, the irregularity of the meter, which is quite unusual and actually quite innovative for its time. As I've said, it's in iambic meter, but it's not strictly iambic pentameter. You may recall I did a mini series on the podcast a while ago looking at the evolution of blank verse, unrhymed iambic pentameter, from Christopher Marlowe and Shakespeare's dramatic verse, then Milton's Paradise Lost and finally Wordsworth's Tintern Abbey. ‘Dover Beach' is rhymed, so it's not blank verse, but most of the techniques Arnold uses here are familiar from those other poets, with variations on the basic rhythm, sometimes switching the beats around, and using enjambment and caesura (a break or pause in the middle of the line). But, and – this is quite a big but – not every line has five beats. The lines get longer and shorter in an irregular pattern, apparently according to Arnold's instinct. And this is pretty unusual, certainly for 1851. It's not unique, we could point to bits of Tennyson or Arthur Hugh Clough for metrical experiments in a similar vein, but it's certainly not common practice. And I looked into this, to see what the critics have said about it. And it turns out the scholars are divided. In one camp, the critics say that what Arnold is doing is firmly in the iambic pentameter tradition – it's just one more variation on the pattern. But in the other camp are people who say, ‘No, this is something new; this is freer verse,' and it is anticipating free verse, the non-metrical poetry with no set line lengths that came to be the dominant verse form of the 20th century. Personally, I think you can look back to Wordsworth and see a continuity with his poetic practice. But you could equally look forward, to a link with T. S. Eliot's innovations in ‘The Love Song of J. Alfred Prufrock' and The Waste Land. Eliot is often described as an innovator in free verse, which is true up to a point, but a lot of his writing in that early period isn't strictly free verse; it's a kind of broken up metrical verse, where he often uses an iambic metre with long and short lines, which he varies with great intuitive skill – in a similar manner to Arnold's ‘Dover Beach'. Interestingly, when ‘Dover Beach' was first published, the reviews didn't really talk about the metre, which is ammunition for the people who say, ‘Well, this is just a kind of iambic pentameter'. Personally, I think what we have here is something like the well-known Duck-Rabbit illusion, where you can look at the same drawing and either see a duck or a rabbit, depending how you look at it. So from one angle, ‘Dover Beach' is clearly continuing the iambic pentameter tradition; from another angle, it anticipates the innovations of free verse. We can draw a line from the regular iambic pentameter of Wordsworth (writing at the turn of the 18th and 19th century) to the fractured iambic verse of Eliot at the start of the 20th century. ‘Dover Beach' is pretty well halfway between them, historically and poetically. And I don't think this is just a dry technical development. There is something going on here in terms of the poet's sense of order and disorder, faith and doubt. Wordsworth, in the regular unfolding of his blank verse, conveys his basic trust in an ordered and meaningful universe. Matthew Arnold is writing very explicitly about the breakup of faith, and we can start to see it in the breakup of the ordered iambic pentameter. By the time we get to the existential despair of Eliot's Waste Land, the meter is really falling apart, like the Waste Land Eliot describes. So overall, I think we can appreciate what a finely balanced poem Arnold has written. It's hard to categorise. You read it the first time and think, ‘Oh, right, another conventional Victorian melancholy lament'. But just when we think he's about to go overboard with the Sea of Faith, he surprises us and with that magnificent central passage. And just as he's about to give in to despair, we get that glimmering spark of love lighting up, and we think, ‘Well, maybe this is a romantic poem after all'. And maybe Arnold might look at me over his spectacles and patiently explain that actually, this is why that final metaphor of the clashing armies is exactly right. Friend and foe are running in first one direction, then another, inadvertently killing the people on the wrong side. So the simile gives us that sense of being caught in the cross-currents of a larger sweep of history. With all of that hovering in our mind, let's go over to the window once more and heed his call to listen to the sound of the Victorian sea at Dover Beach. Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Matthew Arnold Matthew Arnold was a British poet, critic, and public intellectual who was born in 1822 and died in 1888. His father was Thomas Arnold, the famed headmaster of Rugby School. Arnold studied Classics at Oxford and first became known for lyrical, melancholic poems such as ‘Dover Beach', ‘The Scholar-Gipsy', and ‘Thyrsis', that explore the loss of faith in the modern world. Appointed an inspector of schools, he travelled widely and developed strong views on culture, education, and society. His critical essays, especially Culture and Anarchy, shaped debates about the role of culture in public life. Arnold remains a central figure bridging Romanticism and early modern thought. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Dover Beach by Matthew Arnold Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold.Poet Matthew ArnoldReading and commentary by Mark McGuinnessDover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies... Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom...

#mitchhampton #IsaiahBerlin #romanticism #TomStoppard #arts #culture #podcast On this, the sixth episode of our miniseries on Isaiah Berlin and Romanticism, I continue to emphasize prose style and conclude the subject of the art of letter writing - with a couple of examples from Berlin's extensive correspondence with the then young Polish political philosopher and dissident Beata Polanowska-Sygulska at the end of Berlin's life. In addition I will include the beginnings of a discussion of the Germans Hamann and Herder and their significance for arts and letters from the 19th century all the way to our present day.

The “Attention” series explores the dynamics of how, why, and what we focus on shapes our reality and creates our purpose. Also known as concentration, alertness, focus, notice, awareness, heed, regard, and consideration—Attention is the fundamental cognitive ability to sustain one's energy on a specific pursuit or thought. The OHC's 2025–26 Robert D. Clark Lectureship features three UO faculty members discussing, from their own perspectives, how attention connects us to others and allows us to experience the world around us. Santiago Jaramillo is an associate professor in the Department of Biology and the Institute of Neuroscience. His lab studies auditory cognition—how the brain helps us hear the world (recognize sounds, pay attention to sounds, remember sounds, etc). Their research is performed on mice so advanced techniques can be utilized to measure individual neurons of different classes and change their activity with high precision. While their work focuses on the healthy brain, rather than any specific disorder, their studies can help others understand and address disorders related to hearing (tinnitus, auditory processing disorders, age-related hearing loss, etc) and inspire better artificial hearing systems. Kate Mondloch is a professor of Contemporary Art History and Theory. Her research interests focus on late 20th- and early 21st-century art, theory, and criticism, particularly as these areas of inquiry intersect with the cultural, social, and aesthetic possibilities of new technologies. Her research fields include media art and theory, installation art, feminism, new media, science and technology studies, digital humanities, human flourishing, and mindfulness in higher education. She is especially interested in theories of spectatorship and subjectivity, and in research methods that bridge the sciences and the humanities. Forest Pyle is a professor of English and Cartoon and Comics Studies. His interests include 19th-century British Literary Studies, Literary and Critical Theory, Poetry and Poetics, Postmodern and Contemporary Literary Studies, and Visual Culture. His current research project explores the persistence and extensions of Romanticism in some of the more adventurous forms of contemporary music, art, film, and literature.

Facing life-altering trauma like injury/disability? In this episode of Adulting with Autism, host April explores resilience without romanticism with Joshua Dvorkin, Registered Psychotherapist/Reclamation Coach and Headway Mental Health founder. After a 2004 epileptic seizure/spinal cord injury (paralyzed chest-down, ventilator-bound with 20% survival odds), Joshua defied prognosis—off ventilator in 10 days, independent in 6 months, earning 3 degrees (Master's Psychology)—now guiding ND folks (autism/ADHD) through chronic illness/disability/transitions/LGBTQ2S+ support via radical compassion/authentic empowerment/narrative sovereignty. Key insights: Injury rebirth: Mind strength/10-day recovery; present gratitude crushes fear (beyond "stay positive"). Radical acceptance: Embrace reality, small steps close gaps (dream big, actionable traits). Narrative sovereignty: Own your story—beliefs shape reality (no pathologizing, validate strengths). Manifesting concrete: Steps over woo (research/skills import, affirmations/repetition for beliefs). Grief/pressure: Feel ungrateful/angry/anxious—use fear for freedom; peer support/community for purpose. Tools: 7-day negative thinking DM (Instagram @headway.mental.health), 7-column thought record (reframe emotions/evidence). Support mistakes: Pathologize/judge; instead, normalize/validate (safe spaces, no rushing). Society changes: Inclusive mental health first (non-judgmental, community over segregation). For autistic/ADHD adults in grief/isolation, Joshua's lived expertise flips "impossible" to purposeful—free 45-page stress workbook at headwaymentalhealth.com. Book 20-min consult: (437) 523-8933/joshua@headwaymentalhealth.com. Subscribe for ND resilience tips! Rate/review on Podbean/Apple/Spotify. Linktree: (socials/shop/Podbean). Holiday merch sale: 30% off tees/hoodies with code BLACK25 at https://adulting-with-autism-shop.fourthwall.com—reclaim your gear fierce! #ResilienceWithoutRomanticism #ReclamationCoachingND #TraumaRecoveryAutism #NarrativeSovereigntyADHD #RadicalCompassionDisability #MentalHealthSpinalInjury #AdultingWithAutism #GriefProcessingNeurodivergent #PodMatch #Podcasts #BTSNeurodivergent #Neurodiversity #MentalHealth #Autism #AuDHD #ADHD #OTTips #OT #BTSArmy   Episode: Resilience Without Romanticism with Joshua Dvorkin [00:00] Intro: Life-Altering Trauma & ND Rebirth [00:30] Joshua's Story: Seizure Injury to Independent Thriving [02:00] Resilience Without Romanticism: Messy Acceptance (Feel Fear, Crush It) [05:00] Radical Acceptance/Transformation: Small Steps, Dream Big [08:00] Narrative Sovereignty: Own Beliefs (No Pathologizing, Validate Strengths) [11:00] Manifesting Concrete: Steps/Skills Import (Affirmations/Repetition) [14:00] Grief Processing: Present Gratitude, Peer Support/Community [17:00] Tools: 7-Day Negative Thinking (DM Instagram), 7-Column Thought Record [20:00] Support Mistakes: Judgment/Rushing; Instead Normalize/Validate [23:00] Society Shifts: Inclusive Mental Health, Community Over Segregation [26:00] Outro: Takeaways & CTAs Resources: Headway Mental Health: headwaymentalhealth.com (psychotherapy/coaching—20-min consult, free 45-page stress workbook) Contact: (437) 523-8933 | joshua@headwaymentalhealth.com Instagram: @headway.mental.health Linktree: (socials/shop/Podbean) Subscribe on Podbean/YouTube for ND resilience! Share your narrative shift in comments. #NDTraumaRecovery #AutismResilience #ADHDNarrativeSovereignty #SpinalInjuryMentalHealth

Jason Smith and Mike Harmon get the romanticism of Philip Rivers coming back. But looking at the back of his football card doesn't mean this is going to go well because it's 2025 now. Plus, another College Football Playoff meltdown!See omnystudio.com/listener for privacy information.

How was C. S. Lewis' life influenced by Romanticism? Dr. Jeffrey Barbeau joins the show to talk about Lewis' connection to this important literary movement.[Show Notes]

How have industry and technology shaped our understanding of ourselves and of our understanding and relationship with God? How have such intellectual and societal trends contributed to the rise of atheism and unbelief? We continue our conversation this week with author and teaching fellow of the Davenant Institute in Landrum, South Carolina, Dr. Joseph Minich. We discuss some of his 2023 book Bulwarks of Unbelief - Atheism and Divine Absence in a Secular Age. From the Davenant Institute Dr. Joseph Minich Dr. (PhD, The University of Texas at Dallas) is Faculty Chair and Professor of Philosophy at Davenant Hall. As part of his work, he also co-hosts the Pilgrim Faith podcast. The founding editor of Ad Fontes and former Editor-in-Chief of the Davenant Press, he is the author of Enduring Divine Absence (Davenant Press, 2018) and Bulwarks of Unbelief: Atheism and Divine Absence in a Secular Age (Lexham Press, 2023). His public writing can be found at The Calvinist International, Mere Orthodoxy, Modern Reformation, and Ad Fontes.Free Four-Page Articles from Watchman Fellowship: Charles DarwinNaturalismScientismDeconstructionAtheismAdditional Resources from Watchman Fellowship: FREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/Free.PROFILE NOTEBOOK: Order the complete collection of Watchman Fellowship Profiles (over 600 pages -- from Astrology to Zen Buddhism) in either printed or PDF formats here: www.watchman.org/notebook. SUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/give.Daniel Ray's The Story of the Cosmos - How the Heavens Declare the Glory of God (https://www.thestoryofthecosmos.com). Apologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © 2025 Watchman Fellowship, Inc.

This week is all poetry—our first all-poetry week of the Immersive Humanities project! After struggling through young Werther, I decided I needed to step back and understand Romanticism as a movement. I offer a brief review of the history leading up to Romanticism; after all, most movements are reactions against what precedes them. The printing press and Protestant Reformation blew open European thought, leading to centuries of philosophical upheaval. Empiricists like Bacon and Hume insisted that knowledge must be tested; rationalists like Descartes and Spinoza trusted pure reason. Kant eventually tried to unite both. Their world gave rise to the Enlightenment—and then came the Romantics, pushing back with emotion, imagination, and nature.That's the world our poets wrote in. This week I used Pocket Book of Romantic Poetry and read Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats (skipping Novalis and Hölderlin). I loved some poems, disliked others. Blake's mystical, anti-Christian tone left me cold. Wordsworth's childhood wonder won me over. Coleridge's Rime of the Ancient Mariner shocked me--it's gripping, almost epic. Byron was brilliant, scandalous, and endlessly readable. His Prisoner of Chillon might have been my favorite poem of the week. Shelley felt dreamlike and visionary, while Keats, to me, seemed talented but young. What did the world lose when he died?Reading these poets in their historical context changed everything. They're passionate, experimental, and surprisingly radical—not quaint! We are missing out when we resort to tired anthologies to get to know these poets--something that I didn't expect to feel so strongly about! Paired with Beethoven's Pastoral Symphony and Chopin's preludes, this week was a revelation.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)That cool Medieval Science Book The Genesis of Science by James HannamCONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts -

This week we leave the Middle Ages far behind and land squarely in the emotional whirlwind of Romanticism with Goethe's The Sorrows of Young Werther. Written in 1774 when Goethe was just twenty-five, the novel became what might be the first true worldwide bestseller—so influential that young men across Europe dressed like Werther, and suicides even spiked in imitation of his tragic end.Werther himself is…a lot. His passion for Charlotte—who is engaged, then married, to another man—spirals into obsession. When he realizes life without her is unbearable, he stages an elaborate, melodramatic exit: visiting friends for final goodbyes, embracing Charlotte while they read Ossian together (a scene straight out of Inferno's Francesca and Paolo), and then borrowing her husband's pistols to kill himself. The ending is bleak, as it should be.Goethe's writing is wonderfully accessible, but Werther's self-indulgent emotionalism reveals the contradictions of early Romanticism: exalting nature and feeling while refusing the grounding work of actual life. Still, this novel opens a door into the powerful reaction against Enlightenment rationalism—a door we'll walk through next week with the Romantic poets. Things are about to accelerate.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)CONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

Protodeacon Patrick Mitchell returns to the show to discuss his new book, Christ as Truth and Truth as Christ. In this conversation, we explore what it truly means that Christ is Truth—not as a concept, not as a feeling, but as a living Person. Protodeacon Patrick helps us unpack the difference between objective truth and the modern world's obsession with "personal truth," showing how our understanding of Truth shapes everything from our love for others to our view of the world. We then examine the five great enemies of Truth: Gnosticism, Romanticism, Anarchism, Nihilism, and Tribalism, each of which distorts the human mind and heart in its own way. Along the way, we discuss the God of Israel and the temptation to make the self the measure of all things. This is a deep-dive into how Truth, rightly understood, leads us not into ideology or isolation, but into the life of Christ Himself. Sponsors: Fox n Sons Coffee: https://www.foxnsons.com  Code: BUCK15 Podsworth App: https://podsworth.com  Code: BUCK50 for HALF off your first order! Clean up your recordings, sound like a pro, and support the Counterflow Podcast! Full Ad Read BEFORE processing: https://youtu.be/F4ljjtR5QfA  Full Ad Read AFTER processing: https://youtu.be/J6trRTgmpwE Get the new Counterflow T-shirt before it sells out! Visit https://www.counterflowpodcast.com/store or send $30 via PayPal to buck@counterflowpodcast.com with your size and shipping address! Donate to the show here: https://www.patreon.com/counterflow  Visit my website: https://www.counterflowpodcast.com  Audio Production by Podsworth Media: https://www.podsworth.com  Leave us a review and rating on Apple Podcasts! Thanks!

Meet Friedrich Schleiermacher, the "Father of Modern Liberal Theology." Michael Horton, Justin Holcomb, Walter Strickland, and Bob Hiller explain how Romanticism, culture, and personal doubt shaped Schleiermacher's theology and how he transformed faith and doctrine into feeling as he reimagined Christianity for the modern age. PARTNER WITH US - https://solamedia.org/partner/?sc=AS2502V When you become a partner today, you'll receive two remarkable books as our thanks: Rediscovering the Holy Spirit by Dr. Michael Horton and Praying with Jesus by Pastor Adriel Sanchez. We believe these books can guide you into a clearer understanding of the Spirit's work and a richer prayer life. FOLLOW US YouTube | Instagram | X/Twitter | Facebook | Newsletter WHO WE ARE Sola is home to White Horse Inn, Core Christianity, Modern Reformation, and Theo Global. Our mission is to serve today's global church by producing resources for reformation grounded in the historic Christian faith. Our vision is to see reformation in hearts, homes, and churches around the world. Learn more: https://solamedia.org/

The Portuguese singer and songwriter Carminho is one of the leading singers in the style known as fado – the deeply soulful, melancholy music that is somewhat akin to Spanish flamenco or American blues. She has collaborated with the iconic Brazilian musician Caetano Veloso, performed for the late Pope Francis, recorded with Steve Albini, and made a special appearance in the film Poor Things, by Yorgos Lanthimos, where she sings from a balcony accompanying herself on the teardrop-shaped Portuguese guitar. Carminho has a new album called Eu Vou Morrer de Amor ou Resistir – I'll die of love, or I'll resist.  Accompanied by classical guitar, Portuguese guitar, and acoustic bass guitar, she performs in-studio.Set list: 1. Canção à ausente 2. Saber 3. Lá vai Lisboa

Popular views of capitalism and free markets are not shaped by the facts, but rather by anti-capitalist intellectuals and the media.Original article: https://mises.org/mises-wire/popular-media-romanticism-and-statist-insinuation

In this episode, Alexi is joined by writer, editor, and dear friend Olivia Kan-Sperling to discuss the aesthetic universe of her brand new novel, Little Pink Book, a lyrical and decadent romantic tragedy set in Shanghai. In unpacking her wide range of influences, we explore shabby chic Orientalism, avant garde florists, Chinese romantasy web novels, baroque bespoke beverages, the emerging field of Wasian studies, the triggering qualities of Clairo's “Pretty Girl” music video, the possibility of Labubu as a literary format, and much more. Links:Image boardLittle Pink Book by Olivia Kan-Sperling from Simon and SchusterOlivia's websiteOlivia on Instagram @dianadiagramAlexi's interview with Olivia in Interview magazineDiane Severin Nguyen: In Her Time (Iris's Version)Empire of Signs by Roland BarthesMolly Tea's domineering CEO romance receipt promo via Dr. Candise LinThe Architecture of Taste by Pierre Hermé - Lecture to the Harvard Graduate School of Design (2013)Julian Castronovo review of Little Pink Book in BOMB magazineShanzhai: Deconstruction in Chinese by Byung-Chul Han This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.nymphetalumni.com/subscribe