Podcasts about sabat

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Pelajaran ke 11, Kwartal 2, Tahun 2025 (7 - 13 Juni 2025)

Khatungmani Khorang

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Pelajaran ke 10, Kwartal 2, Tahun 2025 (31 Mei - 6 Juni 2025)

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En este episodio inaugural de la sección Maestros del Misterio, rendimos homenaje a una figura imprescindible del periodismo y la divulgación en el ámbito de lo insólito: Miguel Aracil. Desde su nacimiento en el barrio barcelonés del Poble Sec en 1955, Aracil ha sido testigo y protagonista de la evolución del misterio en España. Viajero infatigable, escritor prolífico —con más de 60 libros publicados— y periodista curtido en todos los frentes, nos abre las puertas de su vida y su trayectoria profesional con una sinceridad tan afilada como su verbo. A lo largo de la entrevista recorremos sus inicios en revistas míticas como Karma 7, su paso como director por publicaciones como Mundo Oculto o Sabat 2000, y su estrecha relación con grandes nombres como Juan García Atienza, Andreas Faber-Kaiser o Fernando Jiménez del Oso. Aracil habla sin tapujos sobre la escena actual del misterio, su amor por los animales, su pasión por la supervivencia, y su preferencia por la naturaleza frente al artificio humano. Un testimonio imprescindible para entender el pasado y el presente del misterio en España, contado por uno de sus grandes protagonistas. Porque en Becarios del Misterio, tenemos preguntas... y Miguel Aracil tiene muchas respuestas. https://www.edenex.es

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Join our Patreon and get access to monthly bonus episodes and more nutriton content!Can fasting really slow aging? Does calorie restriction work for humans, or just for mice and yeast? And how much protein do you actually need to age well? This week on Your Diet Sucks, we break down the evidence behind the most talked-about interventions in the longevity space, what holds up under scrutiny, what doesn't, and why you might not need a supplement stack to live longer, and enjoy life. We dig into:The actual science on calorie restriction, fasting, and supplements—and where the evidence stopsWhat inflammation, oxidative stress, and telomeres have to do with how we ageThe best-researched dietary patterns for living longer (hint: it's not sexy, but it might include red wine)Why protein becomes more important as we ageThe difference between lifespan and healthspan, and why quality of life needs to be part of the conversation

Zapraszam do wysłuchania rozmowy z dr hab. Iwoną Krupecką — filozofką, historyczką filozofii i akademiczką związaną z Uniwersytetem Gdańskim. Rozmowa dotyczy tekstu Pani Iwony opublikowanego w majowym numerze Miesięcznika Znak, zatytułowanego „Czy wierzysz w czarownice?”. Jak również książki Pani Silvi Federici - „Kaliban i czarownica. Kobiety, ciało i akumulacja pierwotna”, która doczekała się pierwszego polskiego tłumaczenia dzięki Wydawnictwu Karakter. Rozmawiamy o kształtowaniu się kapitalizmu w nowożytnej Europie i o tym, czy proces ten mógłby w ogóle zajść, gdyby nie systemowy wyzysk kobiet. Zapraszam.Specjalne podziękowania dla p. Karoliny Brody (Miesięcznik Znak)Fotografia: Francisco Goya, Sabat czarownic, ok. 1797 r., Muzeum Lázaro Galdiano w MadrycieLink do artykułu:https://www.miesiecznik.znak.com.pl/czy-wierzysz-w-czarownice/Link do książki:https://karakter.pl/product-pol-731-Kaliban-i-czarownica-Kobiety-cialo-i-akumulacja-pierwotna.html

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Dumnezeu i-a dat omului șase zile de lucru, dar Și-a rezervat a șaptea zi pentru El și a rostit o binecuvântare asupra acelora care o păzesc drept sfântă. Toată pregătirea necesară pentru Sabat trebuie făcută în ziua a șasea.Citește acest devoțional și multe alte meditații biblice pe https://devotionale.ro#devotionale #devotionaleaudio

Pelajaran ke 8, Kwartal 2, Tahun 2025 (17 - 23 Mei 2025)

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Pelajaran ke 7, Kwartal 2, Tahun 2025 (10 - 16 Mei 2025)

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Repasando algunas de sus producciones históricas volvemos a los cimientos de Panart, la etiqueta pionera que con carácter independiente, sentó las bases de la industria discográfica nacional. En 1944, con una producción discográfica regular, el ingeniero de sonido Ramón Sabat marcó un antes y un después en el panorama de producción, edición y difusión de la música en la isla. Hasta la aparición de Panart, todo lo atractivo y apetecible que acontecía artística y musicalmente lo registraban emporios norteamericanos. Entre ellos los de mayor presencia Columbia y Victor, esta última fusionada ya en los primeros años 40 con la Radio Corporation of América (RCA). Aún latente la segunda guerra mundial, Sabat comenzó a instalarse en la habanera calle San Miguel no.410. Con el equipamiento técnico mínimo e indispensable, listo para comenzar a grabar y prensar sus producciones, echaba a andar una maquinaria de difusión exitosa que, en un país esencialmente musical, trazó un camino señero para otros emprendedores de la época. Nacía entonces la industria fonográfica independiente cubana. Hacia 1960 la representaban poco más de 30 sellos con unos volúmenes de producción estable y con una presencia importante en el extranjero. La política cultural en función del control absoluto y la estatalización de los medios de difusión, entronizada por el régimen militar instaurado en 1959 (a través de las llamadas "intervenciones") comenzó a poner punto final al flujo de promoción musical sustentado por una eficiente maquinaria de producción, edición y difusión de música popular cubana que funcionaba maravillosamente dentro y fuera de la Isla. El 30 de mayo de 1961 la Panart fue "nacionalizada". Ramón Sabat, su fundador, forzado al exilio murió en los Estados Unidos el 15 de marzo de 1986 completamente olvidado. Los históricos estudios que fundó hace más de ocho décadas en La Habana los ocupa EGREM. Las memorias de la industria discográfica nacional que, en la frontera de los años 50 a los 60, gozaba de maravillosa salud, nos sirve de pretexto para reverenciar el arte del pianista Frank Emilio Flynn. Así retomamos las ediciones del sello independiente "Tropicana". El productor radial Adolfo Seeman quien desempeñaba sus labores en la emisora habanera CMOX con un perfil dedicado al jazz, propició en dos álbumes el debut discografico del llamado "Quinteto de Música Moderna". Junto a Frank Emilio: Papito Hernández en contrabajo, Tata Güines en las tumbadoras, Guillermo Barreto alternando drums y pilas, y Gustavo Tamayo en güiro. Producciones "Tropicana" afianzando en el mercado discografico independiente, la categoría del jazz cubano. Seguimos repasando la banda sonora de los primeros años 60. El argentino Luis Aguilé, precedido por sus grabaciones para la etiqueta Odeon, a la par de conquistar un público netamente adolescente, encontró en Cuba una fenomenal plaza que impulsó su carrera. Aparte de la mega influencia de ídolos norteamericanos como Elvis, Paul Anka o Neil Sedaka, también por esas fechas las grabaciones de "Los Cinco Latinos" y las del mexicano Manolo Muñoz fueron conformando un sedimento estético y sonoro donde estrellas nacientes como el rockero de Palma Soriano: Luisito Bravo se dieron a conocer. Seguimos conectados con la industria del disco independiente cubano. Hacia 1961, en pleno auge el formato de los combos, las grabaciones de Luisito Bravo con los arreglos y acompañamientos del imprescindible Eddy Gaytán, producidas por la etiqueta Velvet, esbozaban la categoría del pop rock cubano, abriendo un camino que muy pronto seguirían otros exponentes. Algunos de los abuelos del pop rock cubano se apoyaron en estilos como el twist, el wawá, el gogó, el yeyé y el shake. Sobrevivieron en un ambiente sonoro marcado por la estatalización del sistema de difusión donde sus canciones no tenían mucho qué hacer. Luisito Bravo, Lita del Real, Raul Gómez con Los Bucaneros, Danny Puga y Luisa María Güell despiden el programa.

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Finalizaban los años 80 y, sumado al naufragio sistémico, los nuevos aires latentes en una generación ansiosa de cambios estremecieron los cimientos de la llamada "nueva trova". Víctima del desgaste propio de las etiquetas ya no parecía tan nueva. En vano intento de prolongar el efecto molde la oficialidad intentó encapsular el importante cambio generacional en otra etiqueta: la "novisima trova". En las canciones de Santiago Feliú resonaba, inequívocamente, aquel espíritu incisivo y renovador que incidió en las artes en el mismo centro de lo que fue punzante antesala de los durísimos y definitorios años 90. Definieron esa franja en transición en la obra del Santi los álbumes "Para mañana" (1988); "Náuseas de fin de siglo" (1991) y "Futuro inmediato" (1999). Con un histórico concierto en las tablas del teatro Amadeo Roldán (antigüo "Auditorium") la Orquesta de Música Moderna salió a la palestra musical el 12 de mayo de 1967. En su formación algunos músicos que, en paralelo, desarrollaban el embrión de lo que en 1973 pasó a ser "Irakere" una de las bandas más progresivas del jazz y la música popular bailable de su tiempo. En La Habana del año 1944 el ingeniero de sonido Ramón Sabat sentaba con sus producciones el primer esfuerzo de discografia independiente en la isla. Su etiqueta Panart con una producción sostenida de discos de 78 revoluciones x minuto, muy pronto de convirtió en referente dentro y fuera de Cuba. Orlando Guerra, "Cascarita", descollaba en su catálogo inicial con la orquesta del trompetista Julio Cueva. La rapidez con que prensaba sus discos le permitió a Sabat desbancar a competidores extranjeros de importancia. Entre ellos el poderoso emporio RCA Víctor. El trío La Rosa, la "Sonora Matancera" y el Conjunto Casino nos recuerdan aquellas veteranas ediciones Panart de la segunda mitad de los años 40. Algunos de los tesoros de la música popular cubana, todas las semanas, los compartimos contigo. A los minutos finales le pone arte, sabor y sentimiento soneros el gran Carlos Embale. En tres tiempos le acompañan el conjunto del guitarrista y compositor santiaguero Ñico Saquito, el Conjunto CubaSon y el Septeto "Nacional" del eterno poeta del son: Ignacio Piñeiro.

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Marilyn Nissim-Sabat and Neil Roberts have edited a new collection of essays, Creolizing Hannah Arendt. This edited volume dives into Hannah Arendt's thinking while also pushing the understanding and ways that Arendt has influenced political theory, philosophy, and politics. The idea of “creolizing,” especially philosophic or theoretical work, is to explore a thinker's work from more pluralistic perspectives, often pushing the ideas and their analysis beyond the northern and western position in which that work was generally created. Arendt's work, which comes to us in a number of forms, was written in the context of the Holocaust and the world before and after that trauma. The contributing authors to Creolizing Hannah Arendt build on Arendt's considerations and analysis, taking and applying her work to other situations, to determine what we can learn in a distinct situation or in context of other theoretical frameworks. Creolizing is an engagement where two or more elements come into discourse with each other, rethinking the ways those in western political thought are positioned, or see the world. This process questions, on some level, the entire notion of the “canon” and the design of borders that hem in thinking, or disciplinary lines. Creolizing Hannah Arendt is a sophisticated collection of essays that brings forth Hannah Arendt's thinking about freedom and individuals while also integrating other theorists who have interpreted Arendt's work over the last century. Arendt focused some of her early work on the notion of being an outsider, of having a kind of double consciousness (for her, it was her Jewish identity in Europe during the Holocaust and afterwards in the United States.) But double consciousness was originally posited as an understanding and perspective by W.E.B. Dubois and Sylvia Wynter in their work, specifically the experience of African Americans, and that Paget Henry analyzes in the chapter “Sylvia Wynter, Political Philosophy, and the Creolization of Hannah Arendt.” Thus, putting these ideas in conversation with each other is an example of creolization, and an example of the kind of analysis in this edited volume. This is a fascinating book, opening up spheres of thinking not just about Arendt, but about so many other important theorists. And putting these ideas into conversation with each other. Creolizing Hannah Arendt does not intend to proselytize on behalf of Hannah Arendt, as Nissim-Sabat and Roberts note in our conversation, but to truly interact act with Arendt's thinking and her ideas about freedom and unfreedom, double consciousness, revolution, and the concept of humanity. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Marilyn Nissim-Sabat and Neil Roberts have edited a new collection of essays, Creolizing Hannah Arendt. This edited volume dives into Hannah Arendt's thinking while also pushing the understanding and ways that Arendt has influenced political theory, philosophy, and politics. The idea of “creolizing,” especially philosophic or theoretical work, is to explore a thinker's work from more pluralistic perspectives, often pushing the ideas and their analysis beyond the northern and western position in which that work was generally created. Arendt's work, which comes to us in a number of forms, was written in the context of the Holocaust and the world before and after that trauma. The contributing authors to Creolizing Hannah Arendt build on Arendt's considerations and analysis, taking and applying her work to other situations, to determine what we can learn in a distinct situation or in context of other theoretical frameworks. Creolizing is an engagement where two or more elements come into discourse with each other, rethinking the ways those in western political thought are positioned, or see the world. This process questions, on some level, the entire notion of the “canon” and the design of borders that hem in thinking, or disciplinary lines. Creolizing Hannah Arendt is a sophisticated collection of essays that brings forth Hannah Arendt's thinking about freedom and individuals while also integrating other theorists who have interpreted Arendt's work over the last century. Arendt focused some of her early work on the notion of being an outsider, of having a kind of double consciousness (for her, it was her Jewish identity in Europe during the Holocaust and afterwards in the United States.) But double consciousness was originally posited as an understanding and perspective by W.E.B. Dubois and Sylvia Wynter in their work, specifically the experience of African Americans, and that Paget Henry analyzes in the chapter “Sylvia Wynter, Political Philosophy, and the Creolization of Hannah Arendt.” Thus, putting these ideas in conversation with each other is an example of creolization, and an example of the kind of analysis in this edited volume. This is a fascinating book, opening up spheres of thinking not just about Arendt, but about so many other important theorists. And putting these ideas into conversation with each other. Creolizing Hannah Arendt does not intend to proselytize on behalf of Hannah Arendt, as Nissim-Sabat and Roberts note in our conversation, but to truly interact act with Arendt's thinking and her ideas about freedom and unfreedom, double consciousness, revolution, and the concept of humanity. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Marilyn Nissim-Sabat and Neil Roberts have edited a new collection of essays, Creolizing Hannah Arendt. This edited volume dives into Hannah Arendt's thinking while also pushing the understanding and ways that Arendt has influenced political theory, philosophy, and politics. The idea of “creolizing,” especially philosophic or theoretical work, is to explore a thinker's work from more pluralistic perspectives, often pushing the ideas and their analysis beyond the northern and western position in which that work was generally created. Arendt's work, which comes to us in a number of forms, was written in the context of the Holocaust and the world before and after that trauma. The contributing authors to Creolizing Hannah Arendt build on Arendt's considerations and analysis, taking and applying her work to other situations, to determine what we can learn in a distinct situation or in context of other theoretical frameworks. Creolizing is an engagement where two or more elements come into discourse with each other, rethinking the ways those in western political thought are positioned, or see the world. This process questions, on some level, the entire notion of the “canon” and the design of borders that hem in thinking, or disciplinary lines. Creolizing Hannah Arendt is a sophisticated collection of essays that brings forth Hannah Arendt's thinking about freedom and individuals while also integrating other theorists who have interpreted Arendt's work over the last century. Arendt focused some of her early work on the notion of being an outsider, of having a kind of double consciousness (for her, it was her Jewish identity in Europe during the Holocaust and afterwards in the United States.) But double consciousness was originally posited as an understanding and perspective by W.E.B. Dubois and Sylvia Wynter in their work, specifically the experience of African Americans, and that Paget Henry analyzes in the chapter “Sylvia Wynter, Political Philosophy, and the Creolization of Hannah Arendt.” Thus, putting these ideas in conversation with each other is an example of creolization, and an example of the kind of analysis in this edited volume. This is a fascinating book, opening up spheres of thinking not just about Arendt, but about so many other important theorists. And putting these ideas into conversation with each other. Creolizing Hannah Arendt does not intend to proselytize on behalf of Hannah Arendt, as Nissim-Sabat and Roberts note in our conversation, but to truly interact act with Arendt's thinking and her ideas about freedom and unfreedom, double consciousness, revolution, and the concept of humanity. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

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Rendering Unconscious Podcast is now at Substack! https://renderingunconscious.substack.com RU334: ÙNA MARIA BLYTH ON MUSES NO MORE: PORTRAITS OF OCCULT WOMEN: https://renderingunconscious.substack.com/p/ru333-una-maria-blythe-on-muses-no Rendering Unconscious episode 334. Ùna Maria Blyth is here to talk about her new book Muses No More: Portraits of Occult Women (Hexen Press 2024), which features illustrations by Luciana Lupe Vasconcelos. https://www.hexen.fr/books-prints/muses-no-more-una-maria-blyth#/edition-hardcover Follow at Instagram: @unaofthepeatbog @hexen_press @luciferovs The conversation centers on the book Muses No More: Portraits of Occult Women by Ùna Maria Blyth, which features 17 occult women, including Marjorie Cameron, Maya Deren, Annie Besant, Marie Laveau, Pamela Colman Smith, Maria de Naglowska, and Rosaleen Norton. The artist Luciana Lupe Vasconcelos created the cover art and accompanying illustrations. With this book, Ùna emphasizes accessibility and personal connection, avoiding dry academic language. She discusses the importance of including gossip and personal stories. The second half of the book includes interactive spells and exercises to engage readers. This discussion touches on the challenges of being a queer artist and the importance of play and experimentation in both magic and psychoanalysis. Ùna also mentions her apprenticeships in writing and cartomancy, available on her website. https://www.unamariablyth.com Ùna Maria Blyth is an occult writer and practitioner of peatbog folk magic, tarot reader/teacher, workshop facilitator, and meditation teacher living in the Shetland Isles. Alongside offering card readings, magical consultations & meditation facilitation, she has written for a range of publications including Folklore for Resistance, Sabat, Rituals & Declarations, Cunning Folk Magazine, Doggerland, Fire & Knives, and the academic text Reframing Immersive Theatre (published by Palgrave Macmillan).

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