Podcasts about sassan

Die Atombombe hat alle Untergangsfantasien des Kinos überflügelt, sagt Psychologe und Autor Sassan Niasseri. Der Kriegsfilm "The Day After" könnte sogar den früheren US-Präsidenten Ronald Reagan in seiner Abrüstungspolitik bestärkt haben. Niasseri, Sassan www.deutschlandfunkkultur.de, Kompressor

A wannan makon shirin ya mayar da hankali ne kan yadda ake kara samun saukar farashin kayan masarufi a sassan Najeriya. Bayanai da muka tattaro na nuni da cewa yawancin kayayyakin da farashin su ya sauka na amfanin gona ne da kuma na kamfanonin kasashen waje, amma na kamfanonin cikin gida har yanzu suna nan a yadda suke.A makon jiya Hukumar ƙididdiga ta Najeriya NBS, ta ce an samu sauƙin matsalar hauhawar farashin kayayyakin masarufi a ƙasar da a ƙalla kashi 10.3.Cikin sanarwar da ta fitar a Talatar wancan makon, hukumar ta NBS ta ce hauhawar farashin kayayyaki a Najeriyar ya sauka ne zuwa kashi 24.4 a watan Janairun wannan shekara, saɓanin kashi 34.8 da aka gani a watan Disambar shekarar bara ta 2024.

Shirin Lafiya jari ce a wannan mako tare da Azima Bashir Aminu ya mayar da hankali kan yadda fasahar cire ɗa ta hanyar CS ke taimakawa wajen ceto rayukan uwa da ɗa da nufin rage asarar rayukan da ake fuskanta a lokacin haihuwa. Duk da cewa haihuwa 3 cikin 100 ce kaɗai ake yi ta hanyar tiyata ko kuma CS a Najeriya bisa alƙaluman 2019, amma a baya-bayan nan ana ganin yawaitar matan da ake yiwa CS gabanin haihuwa kama daga nau'in matan da basa zuwa asibiti da kuma mata masu shekaru da yawa ko waɗanda suka yi haihuwa da dama, duk dai a ƙoƙarin kange yawaitar mace-macen mata ko kuma asarar jariran da ake gani a sassan ƙasar mafi yawan jama'a a nahiyar Afrika.Ku latsa alamar sauti don sauraren cikakken shirin.

Duk da nasarorin da sojoji ke samu kan ƴan ta'adda a arewa maso yammacin Najeriya, masu ɗauke da makaman na ci gaba da kai hare-hare a ƙauyuka da dama na jihar Zamfara. Latsa alamar sauti domin sauraren tattaunawar Bashir Ibrahim Idris da Dr Suleiman Shu'aibu Shinkafi...

Arne ist ein Fan, Sassan war es nie. FFK diskutiert über „Hallo Spencer - Der Film“ Learn more about your ad choices. Visit megaphone.fm/adchoices

A wannan makon shirin na lafiya jari ce tare da Azima Bashir Aminu ya mayar da hankali kan yadda aka samu ɓarkewar cutar sankarau a wata Makaranta da ke jihar Maradin Jamhuriyar Nijar, cutar da tuni ta harbi tarin ɗalibai, a wani yanayi da masana ke gargaɗi kan haɗarin da ke tattare da wannan cuta musamman nau'in wadda ake ganin ɓullarta a lokacin sanyi. Kafin yanzu akan ga ɓullar cutar sanƙarau ne a lokaci na zafi sai dai a shekarun baya-bayan nan ana ganin yadda wannan cuta kan sauya salo tare da ta'azzara a lokacin sanyi wadda masana ke ganin ta na da haɗari matuƙa a wasu lokutan illarta kan zarta wadda ake ganin ɓullarta a lokacin sanyi, kasancewarta mai saurin kisa matuƙar ba a ɗauki matakan gaggawa ba.Ku latsa alamar sauti don sauraron cikakken shirin..............

Mabiya addinin Kirista na cigaba da bukukuwan zagayowar ranar Kirsimeti a sassan duniya don tunawa da ranar haihuwar Yesu Al Masihu da aka yi a Bethlehem da ke kudu da birnin Qudus. Sama da shekaru dubu biyu ke nan mabiya addinin Kirista suka kwashe suna gudanar da wannan biki a duk fadin duniya, ta hanyar nuna farin ciki da ƙauma da tausayin juna da sadaukarwa da dai sauransu.Kan wannan Nura Ado Suleiman ya tattauna da Reverend Joseph Nahum, dake garin Maiduguri, wanda ya fara da yin tsokaci kan muhimmancin ranar ta Kirsimeti.Shiga alamar sauti, domin sauraron cikakkiyar tattaunawar.

FFK hat in dieser Ausgabe wieder Marc Vetter zu Gast. Mit Arne und Sassan spricht er über die Bedeutung von Richard Curtis' „Tatsächlich … Liebe“. Learn more about your ad choices. Visit megaphone.fm/adchoices

A wannan mako shirin zai mayar da hankali game da cuta ko kuma ‘‘lalurar katsewar Laka'' wato Spinal cord Injury, lalurar da a baya-bayan nan alƙaluma ke nuna yawaitar masu fama da ita a sassan Najeriya, walau sakamakon haɗarin mota ko rikici dama sauran dalilai. Yayin bikin ranar wayar da kai game da lalurar ta Laka da ke gudana a kowanne wata na Satumba, da a wannan karon aka yiwa take da ‘‘ Kawar da tarzoma a matsayin hanyar kawar da laka'' masana sun ce baya ga haɗurran mota hanyoyi da dama na haddasa wannan lalura ta laka.

Mu Zagaya Duniya, shiri ne da ya saba tacewa gami da zaɓo wasu daga cikin muhimman labarun lamurran da suka wakana a makon da ya ƙare domin bitarsu tare da Nura Ado Suleiman. Shirin wannan makon ya fi mayar da hankali ne wajen bitar yadda zanga-zanga kan tsadar rayuwa da kuma neman shugabanci nagari ta gudana a sassan Najeriya, inda a wasu sassa zanga-zangar ta lumana ta rikiɗe zuwa tashin hankalin da ya kai ga hasarar rayuka da kuma ɗimbin dukiya.'Mu Zagaya Duniya' zai kuma leka Mali, inda dakarun kasar da dama gami da sojojin hayar Rasha na Kamfanin Wagner suka rasa rayukansu, bayan ƙazamin artabun da suka yi da mayakan Abzinawan da suka samu taimakon masu tayar da kayar bayan dake ikirarin jihadi.

FFK hat den ROLLING-STONE-Autoren Marc Vetter zu Gast. Er und Sassan Niasseri stellen einen Film vor, den der andere nicht mag. Marc macht es sich leicht – wer mag David Lynchs „Mulholland Drive“ nicht? Sassan hat sich mit M. Night Shyamalans „The Happening“ einen äußerst ungeliebten Film herausgesucht. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dieses Mal setzen wir das Cross-Over mit der "Freiwilligen Filmkontrolle" vom Rolling Stone Magazin fort und haben Sassan Niasseri und Arne Willander bei uns zu Gast. Nach einem kurzen Abstecher zum "Weißen Hai" mit Bezug auf die Folge "Spielberg-Ranking (4): Der Weiße Hai" der FFK, stellt Sassan die dritte Staffel von Twin Peaks "Twin Peaks The Return" vor. Olli berichtet von "Scrubs - Die Anfänger" und was diese Serie für ihn so ausmacht. Schön, dass ihr da wart und wir freuen uns auf weitere popkulturelle Plaudereien rund um Film und Fernsehen.

Rahotanni daga sassan arewacin Najeriya na nuna cewar an fara samun karancin man fetur a gidajen sayar da man, abinda ya sa wasu masu man kara farashin da suke sayar da kowacce lita. Ko menene ya haddasa matsalar karancin man fetur din a sassan kasar?Shiga alamar sauti, domin sauraron cikakken shirin.

Rahotanni daga sassan arewacin Najeriya na nuna cewar an fara samun karancin mai a gidajen mai, abinda ya sa wasu masu man suka kara farashin da suke sayar da kowacce lita. Bashir Ibrahim Idris ya tuntubi daya daga cikin shugabannin dillalan man a Najeriya, Alhaji Bashir Dan-Malam.Shiga alamar sauti, domin sauraron cikakkiyar tattaunawar.

Die Themen: ESC Vorentscheid; Julia Roberts Bruder Eric will Unschönes über sie auspacken; Mount Everest versinkt im Kot; John Travolta wird 70; Die Berlinale; RTL Event die Passion; "Bob Marley: One Love" auf interessante Weise misslungen; Depeche Mode in Berlin; Wer wird der neue Rambo; Johnny Depp im Bett mit Saudi-Prinz Mohammed bin Salman und "Sie sagt. Er sagt." von Ferdinand von Schirach Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/ApokalypseundFilterkaffee

Bienvenue dans notre Podcast Private EquiTEA ! Dans cet épisode hors-série IPEM Pulse consacré à l'IPEM 2024 à Cannes, nous prenons le pouls de l'IPEM avec plusieurs acteurs de référence de notre industrie : Conseil, GPs, Services provider...Une occasion de plonger au coeur de la communauté de l'IPEM et de découvrir avec nos invités les enjeux de notre belle industrie et les perspectives qui se dessinent pour celle-ci en 2024.Découvrez dans cet épisode le témoignage de Sassan Golshani, Directeur du Développement chez Peqan.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Hukumomin Jihar Yobe da ke Najeriya sun tashi tsaye wajen ganin sun shawo kan matsalar cutar koda da ake yawan kamuwa da ita a wani sashe na jihar, abinda ya sa gwamnan jihar Mai Mlaa Buni tafiya Cibiyar nazarin kiwon lafiya da ake kira 'London School of Hygiene' domin samo kwararrun da za su je suyi bincike a kai da zummar dakile ta. Bayan komawarsa gida, Bilyaminu Yusuf ya tattauna da shi a kan dalilin ziyarar da kuma gayyato wadannan kwararru, kuma ga yadda zantawarsu ta gudana.

In this episode of the Treasury Career Corner podcast, Sassan Parandeh, the Global Treasurer and Head of Insurance, Risk and Property Management Departments at ChildFund International, shares his career journey in treasury and the innovative solutions he has implemented in his current role.As a finance, treasury, and insurance expert Sassan has extensive expertise in various areas such as global leadership, cyber security, PCI compliance, insurance and risk management, cryptocurrency, capital-credit structuring and retirement plans. In 2023 he successfully won the Gold Alexander Hamilton Award for strengthening security and controls over Personally Identifiable Information (PII) and Payment Card Industry data that transformed his department into a cyber-incident-resilient cash fortress.In 2014 he received the Grand Pinnacle Award for payment system innovations that funded remote and underbanked locations in the developing world. Sassan serves as the Principal of the Cyber Incident Response team at ChildFund International. He developed the organization's first cyber incident response plan, optimized cyber insurance policies, conducted tabletop simulations, and implemented communication systems and emergency response protocols. Sassan holds a Master of Business Administration (MBA) from Loyola Marymount University, a Master of Public Administration from California State University, Long Beach, and a Bachelor of Arts in Economics from California State University, Long Beach. He is also a Certified Treasury Professional (CTP) and a member of the Board of Directors of the Association for Financial Professionals (AFP).Aside from this he has also been published in professional and academic journals and he has been interviewed and quoted in various media outlets. Some of his publications include articles in AFP Exchange Magazine and featured interviews on BBC Global News and Treasury & Risk Magazine.On the podcast we discuss… Sassan's accidental entry into treasuryThe changes he has witnessed in the field over the years The importance of staying relevant and adapting to new technologies and risksThe evolution of treasury operations and the challenges he has faced in different industriesThe innovative solutions implemented by Sassan and his team at ChildFund InternationalThe importance of networking and staying connected with the treasury communitySassan's involvement with the Association for Financial Professionals (AFP)Why you should engage with professional organizations to stay informed and learn from others in the field.You can connect with Sassan Parandeh on LinkedIn. Are you interested in pursuing a career within Treasury?Whether you've recently graduated, or you want to search for new job opportunities to help develop your treasury career, The Treasury Recruitment Company can help you in your search for the perfect job. Find out more here. Or, send us your CV and let us help you in your next career move!If you're enjoying the show please rate and review us on whatever podcast app you listen to us on, for Apple Podcasts

Shirin 'Lafiya Jari Ce' na wannan makon ya tattauna da masana akan matsalar ciwon idanu na Apollo da a baya bayan nan ya sake bulla a sassan Najeriya. Cikin shirin za a ji dallilan da suka janyo sake bayyana ciwon idanun da kuma matakan da za a dauka wajen magance shi ko kuma dakile yaduwarsa.

Die Themen: Mutmaßlicher Mörder von Tupac angeklagt; U2 führen in Sphere Dome in Las Vegas ihr Achtung Baby Album auf; Die Lavalampe wird 60 Jahre alt; NSYNC melden sich mit neuem Song zurück; Die Verleihung des deutschen Fernsehpreis; Frau hat Bettnachbarin das Sauerstoffgerät abgedreht; Hollywood AutorInnen Streik beendet; Staccato Deutsch hält Einzug in unsere Sprache; Pleite für Sylvester Stallone und Expendables 4; Beste James Bond Darsteller; Oliver Pocher schreibt Brief an Ex-Frau und Chatbots mit Persönlichkeit Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/ApokalypseundFilterkaffee

Tarantino goes Nazi-Deutschland: Meisterwerk oder Clowneske? Zum ersten Mal sind sich die Kontrolleure Arne und Sassan uneinig: Ist „Inglourious Basterds“ Tarantinos größter Triumph? Learn more about your ad choices. Visit megaphone.fm/adchoices

Zum ersten Mal sind sich die Kontrolleure Arne und Sassan uneinig: Ist „Inglourious Basterds“ Tarantinos größter Triumph?

Shirin Lafiya Jari ce tare da Azima Bashir Aminu ya yi duba kan karuwar masu fama da cutar tarin fuka ko kuma TB da ke ganin bazuwarsa a sassan Najeriya duk kuwa da gangamin yaki da cutar da gwamnatoci ke yi. A cikin shirin na yau, za kuji matakan kare kai daga wannan cuta da ma yadda za a kula da masu dauke da cutar don kaucewa yada ta ga jama'a.Ku latsa alamar sauti don sauraren cikakken shirin.......

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here 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

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together. Firestones I was collecting rocks on the Cardiff coast, a testimony to centuries of silt left on the shore, of sediment pressed into stone: sandstone, shale, tufa, travertine, jasper, flint. There was the stone that knew the sadness of the sea, that saved its secrets. It was pock-marked with holes and lay half-buried in sand eager to save the ocean's spray, like tears, in its miniature pools. There was the stone that always rolled in place. It had rolled round and round with each wave, desperately trying to control the tide. The was the stone that shoe rings upon rings placed by the seas over the years, that kept time for the Pacific. There were stones that breathed sulfur, that sparked when they touched. Unremarkable in luster or shine, they were the lovers of the ocean, firestones whose sparks were not dampened by salty waves (but they only made sense in pairs). And there was this one, more white, more brilliant, more polished than any stone. But it was once upon a shell; it needed centuries to become stone. It was a counterfeit firestone: it did not breathe sulfur, it could not make sparks. I traced my steps back along the Cardiff coast and the stones I returned to the sands. The ocean's secrets would be well-kept by the stones: its tears would be stored in pools, its tides kept in check, its years measured in rungs. But love itself I could not leave on the beach. I kept the firestones. Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names. From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines. *Qazal* As a boy, I waited for the smile to appear in you. Listened for echoes of the sigh I could hear in you. You are the mirror where I have sought the beloved: Her hyacinth curls, a nod, a wink. a tear, in you. In the marketplace you can learn your future for a price. They are merchants of fate; I see the seer in you. What had been buried under the scriupture's weight, Its truth, without words or incense, becomes clear in you. They who bind you on the altar of sacrifice Hide behind masks; don't let them smell the fear in you. As I approach the house lit by dawn's blue light, Step by step, I lose myself, I disappear in you. We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating. Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith. Read the transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

We are joined by poet and scholar Sassan Tabatabai, who translated Blind Owl.

In classical narrative poetry, there's these formulaic repetitions that come up, right? And then we have these very weird formulaic repetitions that come up in Blind Owl. And I think the function is completely the opposite in the classical works and in this modern work. [In classical poetic narratives, repetitions] keep the reader kind of grounded. It's that same familiar signpost that keeps you on the right track. When we get to Blind Owl, when we get these very odd repetitions … it unhinges the reader, right? It makes you feel like you're in some weird dream and you can't get up.Sassan Tabatabai is a poet, translator, and scholar of Medieval Persian literature. He is Master Lecturer in World Languages and Literatures and the Core Curriculum, and Coordinator of the Persian Language Program at Boston University. His translations of Persian poetry have appeared in numerous journals, and he is the author of Father of Persian Verse: Rudaki and His Poetry, Sufi Haiku, and Uzunburun: Poems. He is also the translator of the novel Blind Owl by Sadeq Hedayat, published by Penguin Classics. His forthcoming books, both scheduled for release in spring 2023 are Ferry to Malta: Poems and Translations, and a Persian translation of the poetry of David Ferry.He joins Suzanne and Chris to talk about the challenges in translating prose and poetry, and to further explore the influences and the intricacies of Sadeq Hedayat's novel Blind Owl.SHOW NOTES.Sassan Tabatabai on Twitter.Sassan Tabatabai's books and translations: Blind Owl. Father of Persian Verse: Rudaki and His Poetry. Sufi Haiku. Uzunburun: Poems. Also some translations of Rumi.Our episodes on Blind Owl, The Conference of the Birds, and Frankenstein.Support The Spouter-Inn on Patreon. Thank you!

Shirin duniyar wasanni na wannan mako tare da Khamis Saleh ya mayar da hankali ne kan wasannin kwallon dawaki ko kuma Polo, guda cikin wasannin da ke dimbin magoya baya a sassan Najeriya ciki har da jihar Plateu inda aka shirya gasar cin kofin Gwamna na kwallon dawaki.

This episode we look at some of the physical evidence from this period.  In particular, since we are talking about the sovereign known as Ankan Tenno, we will look at a glass bowl, said to have come from his tomb, which appears to have made its way all the way from Sassanid Persia to Japan between the 5th and 6th centuries CE.  Along the way we'll take a brief look at the route that such an item may have taken to travel across the Eurasian continent all the way to Japan. For more on this episode, check out https://sengokudaimyo.com/podcast/episode-79 Rough Transcript: Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is Episode 79:  Ankan's Glass Bowl. We are currently in the early part of the 6th century.  Last episode was our New Year's wrapup, but just before that we talked about the reign of Magari no Ōye, aka Ohine, aka Ankan Tennō.   According to the Chronicles, he was the eldest son of Wohodo, aka Keitai Tennō, coming to the throne in 534.  For all of the various Miyake, or Royal Grannaries, that he granted, his reign only lasted about two years, coming to an unfortunate end in the 12th month of 535.  The Chronicles claim that Ohine was 70 years old when he died, which would seem to indicate he was born when his father, Wohodo, was only 13 years of age.  That seems rather young, but not impossibly so. It is said that Ankan Tennō was buried on the hill of Takaya, in the area of Furuichi.  And that is where my personal interest in him and his short reign might end, if not for a glass bowl that caught my eye in the Tokyo National Museum. Specifically, it was the Heiseikan, which is where the Tokyo National Museum hosts special exhibitions, but it also hosts a regular exhibition on Japanese archaeology.  In fact, if you ever get the chance, I highly recommend checking it out.  I mean, let's be honest, the Tokyo National Museum is one of my favorite places to visit when I'm in Tokyo.  I think there is always something new—or at least something old that I find I'm taking a second look at. The Japanese archaeology section of the Heiseikan covers from the earliest stone tools through the Jomon, Yayoi, Kofun, and up to about the Nara period.  They have originals or replicas of many items that we've talked about on the podcast, including the gold seal of King Na of Wa, the Suda Hachiman mirror, and the swords from Eta Funayama and Inariyama kofun, which mention Wakatakiru no Ōkimi, generally thought to be the sovereign known as Yuuryaku Tennō.  They also have one of the large iron tate, or shields, on loan from Isonokami Shrine, and lots of bronze mirrors and various types of haniwa. Amongst this treasure trove of archaeological artifacts, one thing caught my eye from early on.  It is a small, glass bowl, round in shape, impressed throughout with a series of round indentations, almost like a giant golf ball.  Dark brown streaks crisscross the bowl, where it has been broken and put back together at some point in the past.  According to the placard, this Juuyo Bunkazai, or Important Cultural Property, is dated to about the 6th century, was produced somewhere in West Asia, and it is said to have come from the tomb of none other than Ankan Tennō himself. This has always intrigued me.  First and foremost there is the question of provenance—while there are plenty of tombs that have been opened over the years, generally speaking the tombs of the imperial family, especially those identified as belonging to reigning sovereigns, have been off limits to most archaeological investigations.  So how is it that we have artifacts identified with the tomb of Ankan Tennō, if that is the case? The second question, which almost trumps the first, is just how did a glass bowl from west Asia make it all the way to Japan in the 6th century?  Of course, Japan and northeast Asia in general were not strangers to glassmaking—glass beads have a long history both on the Korean peninsula and in the archipelago, including the molds used to make them.  However, it is one thing to melt glass and pour it into molds, similar to working with cast bronze.  These bowls, however, appear to be something different.  They were definitely foreign, and, as we shall see, they had made quite the journey. So let's take a look and see if we can't answer both of these questions, and maybe learn a little bit more about the world of 6th century Japan along the way. To start with, let's look at the provenance of this glass bowl.  Provenance is important—there are numerous stories of famous “finds” that turned out to be fakes, or else items planted by someone who wanted to get their name out there.  Archaeology—and its close cousin, paleontology—can get extremely competitive, and if you don't believe me just look up the Bone Wars of the late 19th century.  Other names that come to mind:  The infamous Piltdown man, the Cardiff Giant, and someone we mentioned in one of our first episodes, Fujimura Shin'ichi, who was accused of salting digs to try to claim human habitation in Japan going back hundreds of thousands of years. This is further complicated by the fact that, in many cases, the situation behind a given find is not necessarily well documented.  There are Edo period examples of Jomon pottery, or haniwa, that were found, but whose actual origins have been lost to time.  Then there are things like the seal of King Na of Wa, which is said to have been discovered by a farmer, devoid of the context that would help to otherwise clear the questions that continue to surround such an object.  On top of this, there are plenty of tombs that have been worn down over the ages—where wind and water have eroded the soil, leaving only the giant stone bones, or perhaps washing burial goods into nearby fields or otherwise displacing them. So what is the story with the tomb of Ankan Tennō, and this glass bowl? To answer this, let's first look at the tomb attributed to Ankan Tennō.  The Nihon Shoki tells us in the 8th century that this tomb was located at Takaya, in the area of Furuichi.  This claim is later repeated by the Engi Shiki in the 10th century.  Theoretically, the compilers of both of these works had some idea of where this was, but in the hundreds of years since then, a lot has happened.  Japan has seen numerous governments, as well as war, famine, natural disaster, and more.  At one point, members of the royal household were selling off calligraphy just to pay for the upkeep of the court, and while the giant kofun no doubt continued to be prominent features for locals in the surrounding areas, the civilian and military governments of the intervening centuries had little to no budget to spare for their upkeep.  Records were lost, as were many details. Towards the end of the Edo period, and into the early Meiji, a resurgence in interest in the royal, or Imperial, family and their ancient mausoleums caused people to investigate the texts and attempt to identify mausoleums for each of the sovereigns, as well as other notable figures, in the Kojiki and the Nihon Shoki.  Given that many of those figures are likely fictional or legendary individuals, one can see how this may be problematic.  And yet, the list that eventually emerged has become the current list of kofun protected by the Imperial Household Agency as imperial mausolea. Based on what we know, today, some of these official associations seem obviously questionable.  Some of them, for instance, are not even keyhole shaped tombs—for instance, some are circular, or round tombs, where the claim is often made that the other parts of the tomb were eroded or washed away.  Still others engender their own controversy, such as who, exactly, is buried in Daisen-ryō, the largest kofun, claimed to be the resting place of Ōsazaki no Mikoto, aka Nintoku Tennō.  Some people, however, claim that it is actually the sovereign Woasatsuma Wakugo, aka Ingyō Tennō, who is buried there, instead.  What is the truth?  Well, without opening up the main tomb, who is to say, and even then it is possible that any evidence may have already been lost to the acidic soils of the archipelago, which are hardly kind to organic matter. By the way, quick divergence, here—if you look up information on Daisen-ryō, aka Daisen Kofun, you may notice that there are drawings of a grave, including a coffin, associated with it.  That might get you thinking, as I did at one point, that Daisen kofun had already been opened, but it turns out that was a grave on the slopes of the square end of the kofun, and not from the main, circular burial mound.  Theoretically this may have been an important consort, or perhaps offspring or close relative of the main individual interred in the kofun, but most likely it is not for the person for whom the giant mound was actually erected.  So, yes, Daisen kofun remains unopened, at least as far as we know. As for the kofun identified for Ankan Tennō, today that is the tomb known as Furuichi Tsukiyama Kofun, aka Takaya Tsukiyama Kofun.  While the connection to Ankan Tennō may be somewhat unclear, the kofun has had its own colorful history, in a way.  Now most of the reports I could find, from about '92 up to 2022, place this kofun, which is a keyhole shaped kofun, in the correct time period—about the early to mid-6th century, matching up nicely with a 534 to 535 date for the reign given to Ankan Tennō.  But what is fascinating is the history around the 15th to 16th centuries.  It was just after the Ounin War, in 1479, when Hatakeyama Yoshihiro decided to build a castle here, placing the honmaru, the main enclosure, around the kofun, apparently incorporating the kofun and its moats into the castle design.  The castle, known as Takaya Castle, would eventually fall to Oda Nobunaga's forces in 1575, and most of the surrounding area was burned down in the fighting, bringing the kofun's life as a castle to an end. Some of the old earthworks still exist, however, and excavations in the area have helped determine the shape of the old castle, though there still have not been any fulsome excavations of the mound that I have found.  This makes sense as the kofun is designated as belonging to a member of the imperial lineage. There are, however, other keyhole shaped kofun from around the early 6th century that are also found in the same area, which also could be considered royal mausolea, and would seem to fit the bill just as well as this particular tomb.  In addition, there are details in the Chronicles, such as the fact that Magari no Ohine, aka Ankan Tennō, was supposedly buried with his wife and his younger sister.  This is, however, contradicted by records like the 10th century Engi Shiki, where two tombs are identified, one for Ankan Tennō and one for his wife, Kasuga no Yamada, so either the Chronicles got it wrong, or there were already problems with tomb identification just two centuries later.  So we still aren't entirely sure that this is Ankan Tennō's tomb. But at least we know that the glass bowl came from a 6th century kingly tomb, even if that tomb was only later identified as belonging to Ankan Tennō, right? Well, not so fast. The provenance on the bowl is a bit more tricky than that.  You see, the bowl itself came to light in 1950, when a private individual in Fuse, Ōsaka invited visiting scholar Ishida Mosaku to take a look.  According to his report at the time, the bowl was in a black lacquered box and wrapped in a special cloth, with a written inscription that indicated that the bowl had been donated to a temple in Furuichi named Sairin-ji. There are documents from the late Edo period indicating that various items were donated to Sairin-ji temple between the 16th to the 18th centuries, including quote-unquote “utensils” said to have been washed out of the tomb believed to be that of Ankan Tennō.  Ishida Mosaku and other scholars immediately connected this glass bowl with one or more of those accounts.  They were encouraged by the fact that there is a similar bowl found in the Shōsōin, an 8th century repository at Tōdai-ji temple, in Nara, which houses numerous artifacts donated on behalf of Shōmu Tennō.  Despite the gulf of time between them—two hundred years between the 6th and 8th centuries—this was explained away in the same way that Han dynasty mirrors, made in about the 3rd century, continued to show up in burials for many hundreds of years afterwards, likewise passed down as familial heirlooms. Still, the method of its discovery, the paucity of direct evidence, and the lack of any direct connection with where it came from leaves us wondering—did this bowl really come from the tomb of Ankan Tennō?  Even moreso, did it come from a 6th century tomb at all?  Could it not have come from some other tomb? We could tie ourselves up in knots around this question, and I would note that if you look carefully at the Tokyo National Museum's own accounting of the object they do mention that it is quote-unquote “possibly” from the tomb of Ankan Tennō. What does seem clear, however, is that its manufacture was not in Japan.  Indeed, however it came to our small group of islands on the northeastern edge of the Eurasian continent, it had quite the journey, because it does appear to be genuinely from the Middle East—specifically from around the time of the Sassanian or Sassanid empire, the first Iranian empire, centered on the area of modern Iran. And it isn't the only one.  First off, of course, there is the 8th century bowl in the Shousoin I just mentioned, but there are also examples of broken glass found on Okinoshima, an island deep in the middle of the strait between Kyushu and the Korean peninsula, which has a long history as a sacred site, mentioned in the Nihon Shoki, and attached to the Munakata shrine in modern Fukuoka.  Both Okinoshima and the Shōsōin—at least as part of the larger Nara cultural area—are on the UNESCO register of World Heritage sites, along with the Mozu-Furuichi kofun group, of which the Takaya Tsukiyama kofun is one.. Okinoshima is a literal treasure trove for archaeologists. However, its location and status have made it difficult to fully explore.  The island is still an active sacred site, and so investigations are balanced with respect for local tradition.  The lone occupant of the island is a Shinto priest, one of about two dozen who rotate spending 10 days out at the island, tending the sacred site.  Women are still not allowed, and for centuries, one day a year they allowed up to 200 men on the island after they had purified themselves in the ocean around the island.  Since then, they have also opened up to researchers, as well as military and media, at least in some instances. The island is apparently littered with offerings.  Investigations have demonstrated that this island has been in use since at least the 4th century.  As a sacred site, guarding the strait between Kyushu and the Korean peninsula, fishermen and sailors of all kinds would make journeys to the island and leave offerings of one kind or another, and many of them are still there: clay vessels, swords, iron ingots, bronze mirrors, and more.  The island's location, which really is in the middle of the straits, and not truly convenient to any of the regular trading routes, means that it has never really been much of a strategic site, just a religious one, and one that had various religious taboos, so it hasn't undergone the centuries of farming and building that have occurred elsewhere. Offerings are scattered in various places, often scattered around or under boulders and large rocks that were perhaps seen as particularly worthy of devotion.  Since researchers have been allowed in, over 80,000 treasures have been found and catalogued.  Among those artifacts that have been brought back is glass, including glass from Sassanid Persia.  Pieces of broken glass bowls, like the one said to have come from Ankan's tomb, as well as what appear to be beads made from broken glass pieces, have been recovered over the years, once more indicating their presence in the trade routes to the mainland, although when, exactly, they came over can be a little more difficult to place. That might be helped by two other glass artifacts, also found in the archaeological exhibit of the Heiseikan in the Tokyo National Museum: a glass bowl and dish discovered at Niizawa Senzuka kofun Number 126, in Kashihara city, in Nara. This burial is believed to date to the latter half of the 5th century, and included an iron sword, numerous gold fittings and jewelry, and even an ancient clothes iron, which at the time looked like a small frying pan, where you could put hot coals or similar items in the pan and use the flat bottom to help iron out wrinkles in cloth.  Alongside all of this were also discovered two glass vessels.  One was a dark, cobalt-blue plate, with a stand and very shallow conical shape.  The other was a round glass bowl with an outwardly flared lip.  Around the smooth sides, the glass has been marked with three rows of circular dots that go all the way around, not dissimilar from the indentations in the Ankan and Shōsōin glass bowls. All of these, again, are believed to have come from Sassanid Persia, modern Iran, and regardless of the provenance of the Ankan bowl, it seems that we have clear evidence that Sassanian glassworks were making their way to Japan.  But how?  How did something like glass—hardly known for being the most robust of materials—make it all the way from Sassanid Persia to Yamato between the 5th and 8th centuries? To start with, let's look at Sassanid Persia and its glass. Sassanid Persia—aka Sassanid or Sassanian Iran—is the name given to the empire that replaced the Parthian empire, and is generally agreed to have been founded sometime in the early 3rd century.  The name “Sassanid” refers to the legendary dynastic founder, Sassan, though the first historical sovereign appears to be Ardeshir I, who helped put the empire on the map. Ardeshir I called his empire “Eran sahr”, and it is often known as an Iranian or Persian empire, based on their ties to Pars and the use of the Middle Persian, or Farsi, language.   For those not already well aware, Farsi is one of several Iranian languages, though over the years many of the various Iranian speaking peoples would often be classified as “Persian” in English literature.  That said, there is quite a diversity of Iranian languages and people who speak them, including Farsi, Pashto, Dari, Tajik, and the ancient Sogdian language, which I'm sure we'll touch on more given their importance in the ancient silk road trade.  Because of the ease with which historical “Iranian” ethnic groups can be conflated with the modern state, I am going to largely stick with the term Persian, here, but just be aware that the two words are often, though not always, interchangeable. The Sassanid dynasty claimed a link to the older Achaemenid dynasty, and over the subsequent five centuries of their rule they extended their borders, dominating the area between the Caspian Sea and the Persian Gulf, eastward to much of modern Afghanistan and Pakistan, running right up to the Hindu Kush and the Pamir mountains.  They held sway over much of Central Asia, including the area of Transoxiana.  With that they had access to both the sea routes, south of India and the overland routes through the Tianshan mountains and the northern and southern routes around the great Taklamakan desert – so, basically, any trade passing between Central and East Asia would pass through Sassanid territory. The Persian empire of the Sassanids was pre-Islamic—Islamic Arab armies would not arrive until about the 7th century, eventually bringing an end to the Sassanid dynasty.  Until that point, the Persian empire was largely Zoroastrian, an Iranian religion based around fire temples, restored after the defeat of the Parthians, where eternal flames were kept burning day and night as part of their ritual practice.  The Sassanids inherited a Persian culture in an area that had been dominated by the Parthians, and before that the Hellenistic Seleucids, and their western edge bordered with the Roman empire.  Rome's establishment in the first century BCE coincided with the invention of glassblowing techniques, and by the time of the Sassanid Empire these techniques seem to have been well established in the region. Sassanid glass decorated with patterns of ground, cut, and polished hollow facets—much like what we see in the examples known in the Japanese islands—comes from about the 5th century onward.  Prior to that, the Sassanian taste seems to have been for slightly less extravagant vessels, with straight or slightly rounded walls. Sassanid glass was dispersed in many different directions along their many trade routes across the Eurasian continent, and archaeologists have been able to identify glass from this region not just by its shape, but by the various physical properties based on the formulas and various raw materials used to make the glass. As for the trip to Japan, this was most likely through the overland routes.  And so the glass would have been sold to merchants who would take it up through Transoxiana, through passes between the Pamirs and the Tianshan mountains, and then through a series of oasis towns and city-states until it reached Dunhuang, on the edge of the ethnic Han sphere of influence. For a majority of this route, the glass was likely carried by Sogdians, another Iranian speaking people from the region of Transoxiana.  Often simply lumped in with the rest of the Iranian speaking world as “Persians”, Sogdians had their own cultural identity, and the area of Sogdia is known to have existed since at least the ancient Achaemenid dynasty.  From the 4th to the 8th century, Sogdian traders plied the sands of Central Eurasia, setting up a network of communities along what would come to be known as the Silk Road. It is along this route that the glassware, likely packed in straw or some other protective material, was carried on the backs of horses, camels, and people along a journey of several thousand kilometers, eventually coming to the fractious edge of the ethnic Han sphere.  Whether it was these same Sogdian traders that then made their way to the ocean and upon boats out to the Japanese islands is unknown, but it is not hard imagining crates being transferred from merchant to merchant, east, to the Korean Peninsula, and eventually across the sea. The overland route from Sogdia is one of the more well-known—and well-worn—routes on what we modernly know as the Silk Road, and it's very much worth taking the time here to give a brief history of how this conduit between Western Asia/Europe and Eastern Asia developed over the centuries.  One of the main crossroads of this area is the Tarim Basin, the area that, today, forms much of Western China, with the Tianshan mountains in the north and the Kunlun Mountains, on the edge of the Tibetan plateau, to the south.  In between is a large desert, the Taklamakan desert, which may have once been a vast inland sea.  Even by the Han dynasty, a vast saltwater body known as the Puchang Sea existed in its easternmost regions.  Comparable to some of the largest of the Great Lakes, and fed by glacial run-off, the lake eventually dwindled to become the salt-marshes around Lop Nur.  And yet, researchers still find prominent boat burials out in what otherwise seems to be the middle of the desert. Around the Tarim basin were various cultures, often centered on oases at the base of the mountains.  Runoff from melting ice and snow in the mountains meant a regular supply of water, and by following the mountains one could navigate from watering hole to watering hole, creating a natural roadway through the arid lands.  In the middle of the Basin, however, is the great Taklamakan desert, and even during the Han dynasty it was a formidable and almost unpassable wasteland.  One could wander the sands for days or weeks with no water and no indication of direction other than the punishing sun overhead.  It is hardly a nice place and remains largely unpopulated, even today. While there were various cultures and city-states around the oasis towns, the first major power that we know held sway, at least over the northern route, were the Xiongnu.  Based in the area of modern Mongolia, the Xiongnu swept down during the Qin and early Han dynasties, displacing or conquering various people. An early exploration of the Tarim basin and its surroundings was conducted by the Han dynasty diplomat, Zhang Qian.  Zhang Qian secretly entered Xiongnu territory with the goal of reaching the Yuezhi—a nomadic group that had been one of those displaced by the Xiongnu.  The Yuezhi had been kicked out of their lands in the Gansu region and moved all the way to the Ferghana valley, in modern Tajikistan, a part of the region known as Transoxiana.  Although Zhang Qian was captured and spent 10 years in service to the Xiongnu, he never forgot his mission and eventually made his way to the Yuezhi.  By that time, however, the Yuezhi had settled in to their new life, and they weren't looking for revenge. While Zhang Qian's news may have been somewhat disappointing for the Han court, what was perhaps more important was the intelligence he brought back concerning the routes through the Tarim basin, and the various people there, as well as lands beyond.  The Han dynasty continued to assert itself in the area they called the “Western Regions”, and General Ban Chao would eventually be sent to defeat the Xiongnu and loosen their hold in the region, opening up the area all the way to modern Kashgar.  Ban Chao would even send an emissary, Gan Ying, to try to make the journey all the way to the Roman empire, known to the Han court as “Daqin”, using the name of the former Qin dynasty as a sign of respect for what they had heard.  However, Gan Ying only made it as far as the land of Anxi—the name given to Parthia—where he was told that to make it to Rome, or Daqin, would require crossing the ocean on a voyage that could take months or even years.  Hearing this, Gan Ying decided to turn back and report on what he knew. Of course if he actually made it to the Persian Gulf—or even to the Black Sea, as some claim—Gan Ying would have been much closer to Rome than the accounts lead us to believe. It is generally thought that he was being deliberately mislead by Parthian merchants who felt they might be cut out if Rome and the Han Dynasty formed more direct relations.  Silks from East Asia, along with other products, were already a lucrative opportunity for middlemen across the trade routes, and nobody wanted to be cut out of that position if they could help it. That said, the Parthians and, following them the Sassanid Persians, continued to maintain relationships with dynasties at the other end of what we know as the Silk Road, at least when they could.  The Sassanid Persians, when they came to power, were known to the various northern and southern dynasties as Bosi—possibly pronounced something like Puasie, at the time, no doubt their attempt to render the term “Parsi”.  We know of numerous missions in both directions between various dynasties, and Sassanian coins are regularly found the south of modern China. And so we can see that even in the first and second centuries, Eurasia was much more connected than one might otherwise believe.  Goods would travel from oasis town to oasis town, and be sold in markets, where they might just be picked up by another merchant.  Starting in the fourth century, the Sogdian merchants began to really make their own presence known along these trade routes.  They would set up enclaves in various towns, and merchants would travel from Sogdian enclave to Sogdian enclave with letters of recommendation, as well as personal letters for members of the community, setting up their own early postal service.  This allowed the Sogdian traders to coordinate activities and kept them abreast of the latest news.     I'm not sure we have a clear indication how long this trip would take.  Theoretically, one could travel from Kashgar to Xi'an and back in well under a year, if one were properly motivated and provisioned—it is roughly 4,000 kilometers, and travel would have likely been broken up with long stays to rest and refresh at the various towns along the way. I've personally had the opportunity to travel from Kashgar to Turpan, though granted it was in the comfort of an air conditioned bus.  Still, having seen the modern conditions, the trip would be grueling, but not impossible back in the day, and if the profits were lucrative enough, then why not do it—it is not dissimilar to the adventurers from Europe in the 16th century who went out to sea to find their own fortunes.  And so the glass bowl likely made its way through the markets of the Tarim basin, to the markets of various capitals in the Yellow River or Yangzi regions—depending on who was in charge in any given year—and eventually made its way to the Korean peninsula and from there to a ship across the Korean strait. Of course, those ships weren't simply holding a single glass vessel.  Likely they were laden with a wide variety of goods.  Some things, such as fabric, incense, and other more biodegradable products would not be as likely to remain, and even glass breaks and oxidizes, and metal rusts away.  Furthermore, many of the goods had likely been picked over by the time any shipments arrived in the islands, making things such as these glass bowls even more rare and scarce. Still, this bowl, whether it belonged to Ankan or not, tells us a story.  It is the story of a much larger world, well beyond the Japanese archipelago, and one that will be encroaching more and more as we continue to explore this period.  Because it wasn't just physical goods that were being transported along the Silk Road.  The travelers also carried with them news and new ideas.  One of these ideas was a series of teachings that came out of India and arrived in China during the Han dynasty, known as Buddhism.  It would take until the 6th century, but Buddhism would eventually make its way to Japan, the end of the Silk Road. But that is for another episode.  For now, I think we'll close out our story of Ankan and his glass bowl.  I hope you've enjoyed this little diversion, and from here we'll continue on with our narrative as we edge closer and closer to the formal introduction of Buddhism and the era known as the Asuka Period. Until then, thank you for listening and for all of your support.  If you like what we are doing, tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to Tweet at us at @SengokuPodcast, or reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.      

Shirin Kasuwa akai miki Dole tare da Ahmed Abba a wannan mako ya yi duba kan yadda 'Yan Najeriya suka ci gaba da fuskantar karanci da kuma tsadar man fetur duk da shiga sabuwar shekarar 2023 da aka sa ran a samu sassaucin matsalar man.

Shekara ta 2022 ta kawo katshe tare da shiga sabuwar shekara ta 2023.Tabbas, wannan lokaci na yin waiwaye abin da hausawa ke cewa adon tafiya dangane da abubuwan da suka fara a bara, tare da bayyana fata nigari a game da wannan sabuwar shekara. Shiga alamar sauti domin sauraron cikakken shirin da Hauwa Muhammad ta gabatar.

Sama da mutane milyan 280 ne ke rayuwa a matsayin ‘yan ci-rani a sassan duniya, kamar dai yadda alkalumman da MDD ta fitar a ranar kula da matsalolin bakin haure da aka gudnar 18 ga wannan wata na Disamba. Yayin da wasu ke gararamba a cikin kasashensu, wasu kuwa na kokarin tsallakawa ne zuwa yankin Turai da Amurka a cikin yanayi mai hadari da kuma kaskanci. Shiga alamar sauti domin sauraron cikakken shirin da Hauwa Muhammad ta gabatar.

Under the Paris Climate Agreement, countries must document all of their greenhouse gas emissions and sinks, and that means measuring changes in tree cover. NASA Senior Scientist Sassan Saatchi has spent 30 years helping the world's space agencies and foresters do just that by blending the newest science of the space age with centuries-old practices from ship-building and forestry. Thanks, to him, countries will soon be able track the growth and decay of every tree within their borders. 

In dieser Episode spreche ich mit Sassan Torabi-Goudarzi, Lead Digital Process Lab, August-Wilhelm Scheer Institut Wir sprechen über folgende Themen: Wie nutzen Unternehmen bereits Daten auf eine intelligente Art und Weise? Wenn Unternehmen Daten richtig nutzen, welche Ergebnisse kann man erwarten? Welche Hürden gibt es auf dem Weg zur Data-driven Company? Podcast-Moderator: Christoph Pacher LinkedIn: https://www.linkedin.com/in/pacherchristoph/ Interviewgast: Sassan Torabi-Goudarzi, Lead Digital Process Lab, August-Wilhelm Scheer Institut LinkedIn: https://www.linkedin.com/in/sassan-torabi-goudarzi/

Shirin al'adunmu na gado da ke zuwar muku kowanne mako tare da Abdoulaye Issa a wannan karon ya dora ne kan bikin kabilar tubawa da ya zo muku a makon jiya, kabilun da ke da matukar tasiri a kasashen Najeriya da Nijar.

Jihohin Najeriya da dama na fama da ibtila'in ambaliyar ruwa wadda ta cinye garuruwa da kauyuka musamman a yankin arewacin kasar, yayin da aka samu asarar rayuka da dimbin dukiya. Ambaliyar ta lalata gonaki akalla dubu 14 a jihar Kano kadai, yayin da ta cinye filayen noman shinkafa da fadinsu ya kai kilomita 250 a jihar Taraba, baya ga irin baarnar da ta ke ci gaba da yi a jihohin Yobe da Nasarawa da Adamawa da Bauchi da Lagos da dai saurannsu. Latsa alamar sauti domin sauraron cikakken shirin da Hauwa Muhammad ta shirya

Kungiyoyi masu zaman kansu sama da 200 sun kiyasta cewa, akalla mutum guda na mutuwa saboda yunwa a duk bayan dakika hudu a duniya, matsalar da suka yi kira ga kasshen duniya su dau matakin gaggawa wajen maganceta. Latsa alamar sauti domin sauraron cikakken shirin da Hauwa Muhammad ta shirya

Shirin Muhallinka Rayuwarka tare da Nasiru Sani a wannan mako ya mayar da hankali kan yadda kananan manoma ke fama da karancin takin zamani bisa zargin jami'an da gwamnati ke damkawa alhakin rarrabawa na karkata takin zuwa hanun yan baranda yanayin dake kara ta'azzara karanci da tsadar takin ga manoma.

Shirin Mu zagaya Duniya tare da Nura Ado Suleiman da ke bitar muhimman labaran da suka faru a makon da ya gabata, a wannan karon shirin ya yi waiwaye kan wani rahoton Majalisar Dinkin Duniya ke nuna yadda aka samu karuwar yaran da basa zuwa makaranta zuwa yara sama da miliyan 240 sai kuma yadda yara dubu 22 suka rasa rayukansu saboda gurbatar iska a jihar Lagos. Ayi saurare Lafiya. 

Kasashen duniya da dama, ciki harda nahiyar Afirka, ke fuskantar matsalar ambaliyar ruwa wadda ta kaiga rasa rayuka da lalata kadarori. Masana na danganta wannan matsalar da sauyin yanayi. Latsa alamar sauti domin sauraron cikakken shirin da Halima Sani Jumare ta shirya

Ruwan sama da ake ci gaba da shatatawa a sassan Najeriya na haifar da ambaliyar dake kaiga rasa rayuka da rushewar gidaje da kuma katsewar hanyoyin mota. Rahotanni sun ce a jihar Jigawa kawai mutane 50 hukumomi suka tabbatar da mutuwar su, baya ga rushewar gidaje a garuruwa daban daban, yayin da ambaliyar ta ratsa jihohi irin su Yobe da Borno da Gombe. Dangane da wannan matsalar, Bashir Ibrahim Idris ya zanta da Malam Nazifi Alaramma, masanin yanayi a Jami'ar Northwest dake Kano, kuma ga yadda zantawar su ta gudana. Latsa alamar sauti domin sauraron cikakkiyar tattaunawar

Shirin Mu zagaya Duniya tare da Nura Ado Suleiman ya bibiyi muhimman labaran da suka faru a makon da ya kare, ciki har da kisan Sojojin Najeriya fiye da 80 da 'yan sanda fiye da 60 wadanda 'yan bindiga suka kashe sai kuma atisayen sojin China a Taiwan matsayin martani kan ziyarar Nancy Pelosi a tsibirin.

Shirin na wannan makon ya fara ne da waiwaiyar ta'asar da mayakan ISWAP suka yi a yankin arewa maso gabashin Najeriya, inda suka yi ikirarin kashe mutane da dama yayin hare-haren da suka kai a jihar Taraba da kuma Yobe. A Kenya kuwa, mutan kasar ne ke can suna rarraba idanu, watakila ma wasu har da tafa hannuwa gami da rafka salallami, sakamakon wani bincike da ya bulla, wanda ya tabbatar da cewar, ‘yan sandan kasar kusan dubu 2 ne basu cancanci aikin nasu ba, saboda matsala ta kwakwalawa.

Cikin shirin za a ji Yadda Yan bindiga a Najeriya suka  mummunar barna, inda suka kai hari kan jirgin kasa dauke da dauruwan fasinjoji, dake safara tsakanin Kaduna da Abuja.  A Nijar kuwa, Kwamandan rundunonin sojan Faransa nea ya kai ziyara jamhuriyar Nijar kan shirin tura dakarun rundunonin Barkhane da na Takuba don taimaka wa sojojin kasar yaki da suke da yan ta'adda.   A Turai kuwa Rasha ta zargi Ukraine ta kai mata hari, matakin da ya haifar da nakasu ga tattaunawar sulhu kan yakin da suka shafe fiye da wata guda suna gwabzawa.

Shirin 'Lafiya Jari Ce' na wannan makon tare da Azima Bashir Aminu ya yi dubi ne kan sake bayyanar cutar shan ina, wato Polio a wasu sassan Najeriya, bayan da hukumomi suka ce an fatattake ta.

Wannan shiri na musamman tare da Michael Kuduson ya yi dubi kan muhimman labaran da suka faru a sassan Duniya cikin shekarar da muka yi bankwana da ita ta 2021. Ayi saurare Lafiya.

Wutar daji ta lakume fadin kasar da ya kai eka dubu 19 a jihar Agadez dake arewacin Jamhuriyar Nijar inda wutar daji ta lakume akalla eka dubu 19 na gandun daji da gabilinsa da ya kasance Sahara ne wanda kuma ke fuskantar matsalar gusowar Hamada sakamakon wasu ayukkan da dan Adam ke gudarnawa a doron kasa wadanda ke lahanta muhallinsa.

This episode is with my good friend Sassan Scott Zaker AKA FADEDAEON. Known to me and many of his friends as Scotty. I've known Scotty since the early 2000's. I met him through my younger brother and we've ended up having a lot of mutual friends over the years. Scotty is an extremely talented drummer and musician. He puts out music under the name FADEDAEON. In this episode we have a very in depth conversation about coming from CA and growing up in MN, his start with music, the loss with both of our mothers, the power of music, music production, what he is doing with music currently, mental health, the pandemic, and a lot of stuff related to the craziness of 2020/2021. If you'd like to check out his music you can do so by streaming the 3 albums he has available on your favorite streaming platform.... "These Fleeting Moments" album: https://album.link/us/i/1457526771 "Aqueous Anemoia" album: https://album.link/us/i/1530513444 "Sleepy Head" album: https://album.link/us/i/1580059086 If you'd like to keep up with what Scotty is up to, follow him on IG: @fadedaeon If you'd like to check out the documentary "Alive Inside" that he mentions in the episode, you can do so here: https://www.youtube.com/watch?v=aN_Cpd_NpMY Check out the other stuff I have going on. Including beats for artists, sample packs for producers, and more: http://www.NiceGuyEnt.com​​​​ Follow me @NiceGuyEnt on IG!

A feature interview with Iranian-French multidisciplinary artist, Sassan Behnam-Bakhtiar, an abstract painter who has become one of the preeminent young talents of the global art world. Sassan joins Jian from the south of France to discuss his dramatic visceral style of painting, reflections on his “dark and traumatic” past in Iran, and his recent essay, The Age of Energy, lamenting the idea that we have lost connection to our true selves in an iPhone-driven world. Plus the Roqe team continues to address home birthing and Jian's revelation from the previous episode.

Sama da watanni 7 bayan da mayakan Boko Haram su ka yiwa manonan Zabarmari akalla 43 kisan gilla a garin Koshebe da ke jihar Borno, bayanai sun ce manoman wannan yankin sun fara komawa gonakinsu domin ci gaba da ayyukan noma. Shirin a wannan makon ya yi tattaki zuwa jihar Borno domin jin halin da noma da manoman ke ciki musamman a yankunan da suka fi fuskantar barazanar matsalar tsaro.

Shirin Kasuwa akai miki dole tare da Ahmed Abba, a yau ya mayar da hankali kan tsadar rayuwa da kuma tashin farashin kayaki a kusan ilahirin sassan Duniya, ko da ya ke lamarin ya tsananta a Najeriya kasar da alkaluma ke nuna yadda ake samun karuwar matalauta a kowacce rana. 

Hukumomin Jamhuriyar Nijar na kokarin shawo kan matsalolin tsaro a wasu yankunan  kasar dake fuskantar hare-haren ‘yan bindiga, abinda ya sanya was uke zargin gwamnatin kasar da gazawa duk da ikirarinta na daukar matakan murkushe ta'addancin. Kan halin da ake ciki Abdoulaye Isa ya tattauna da masanin harkokin tsaro dake aiki da kungiyar Securitagom a yankin Sahel Nicolas Fall.

Babbar Jamiyar adawa a Nigeria PDP ta yi tsokaci a game da lamarin rashin tsaro musammam satar  mutane da ya zama babbar sana’a a arewacin kasar. Babban Sakaren Jam'iyyar ta PDP, Sanata Umar Ibrahim Tsauri ya fadi a tattaunawar da suka yi da Garba Aliyu Zaria cewa sam, ba su yi  likimo ba, lamarin ne ke basu mamaki da tsoro.

In this episode of StreetsTalksTo we are joined by Sassan Danesh, Managing Partner at Etrading Software and James Haskell the Business Operations Officer.   We discuss two major industry developments: the consolidated tape and developments in crypto asset trading. We delve deeper into the consolidated tape infrastructure challenges and operating models from the highest levels of governance down to some of the technical requirements concerning data and standardisation.  We talk about rapid growth in crypto asset trading and the opportunities that may be missed if considered discussions are left unaddressed.  We also discover Sassan and James' fascinating views on regulation, or lack thereof, in the crypto asset trading world. Etrading Software is an independent global provider of technology led solutions. They design, build and operate technology for the front office, fixed income OTC markets, helping clients keep full governance and control using transparent and vendor neutral solutions  Etrading Software has a proven record of working with consortia through a mutualised approach to design, implement and operate technology-based services - from incubation to execution - that help solve common challenges faced by the industry.

Kamar yadda kukaji a labaran duniya, Rahotanni daga Gabashin Jihar Sokoto dake Najeriya na nuna cewar yanzu haka Yan bindiga na cigaba da cin karen su babu babbaka wajen kai hare hare suna kashe mutane suna kuma kwashe musu dukiya, tare da yiwa mata fyade. Wannan matsala ta jefa yankin da Jihohin dake makwabtaka da shi da kuma yankunan Jamhuriyar Nijar cikin halin kakanikayi. Bashir Ibrahim Idris ya tattauna da Sanata Ibrahim Gobir, Dan Majalisar Dattawa dake wakiltar Sokoto ta Gabas, kuma ga yadda zantawar su ta Gudana.

Shirin Ilimi hasken rayuwa tare da Bashir Ibrahim Idris ya duba na musamman kan tasirin da labaran karya ke yi wajen haddasa yamutsi a sassa daban-daban na Duniya.

Eine erfrischende Folge mit vielen neuen Ansichten und einem sehr untypischen Karriereweg wartet auf Dich! Mein heutiger Gast in Sassan Sangsari und Sassan ist mittlerweile Medical Director bei Siilo. Wie es dazu kam und was genau Siilo ist, davon erzählt uns Sassan im Interview. Außerdem erfährst Du: • warum er in Kanada Medizin studiert hat und welche Voraussetzungen dafür notwendig sind • warum er sich vorerst dafür entschieden hat, seine FA-Weiterbildung zu unterbrechen • was genau zu seiner Tätigkeit als Medical Director zählt und wie ein typischer Arbeitsalltag bei ihm aussieht Wir unterhalten uns aber auch darüber, inwiefern sich das Studium in Kanada vom deutschen Medizinstudium unterscheidet oder wie unterschiedlich auch die Einstellungen der Student*innen und Ärzt*inenn teilweise sind. Sassan gibt uns dabei Einblicke in seine Ansichten und eröffnet dadurch neue Blickwinkel, die sich lohnen anzuhören! Es ist ein sehr erfrischendes Gespräch geworden mit einem super sympathischen Interviewgast und ich wünsche Dir viel Spaß beim Anhören der Folge! Shownotes: Links zum MedPower-Podcast: https://medpower-podcast.com sayhello@medpower-podcast.com Facebook: https://www.facebook.com/medpowerpodcast Instagram: https://www.instagram.com/medpower_podcast/ Buchempfehlung: Michael Sandel - The Tyranny of Merit https://amzn.to/37gz6y2 Kontakt und weitere Informationen zu Sassan & Siilo: LinkedIn: https://de.linkedin.com/in/sassan-sangsari-1844b72b Siilo: Siilo: https://www.siilo.com/de/

Kamar yadda aka saba a kowane mako, shirin Mu Zagaya Duniya tare da Garba Aliyu Zaria, ya waiwayi wasu daga cikin muhimman labaran da suka fi daukar hankula a makon da ya kare, cikinsu kuwa har da halin da ake ciki a sassan duniya bayan sake barkewar annobar coronavirus, musamman a nahiyar Turai.

Roger Stone is out! What's happening to elected officials in Oklahoma?  What does God want for us during this "pandemic?" All that and more on today's show. See omnystudio.com/listener for privacy information.

Shirin Ilimi Hasken Rayuwa na wannan makon ya duba yadda annobar coronavirus ta shafi fanni ilimi a kasashen duniya, bayan tilastawa dalibai na manya da kananan makarantu zaman gida.

Shirin Tambaya da Amsa a wannan makon ya tattauna da masana kan batutuwan da masu sauraro suka nemi karin haske akai, ciki har da karin bayani kan rabe-raben aikin hako mai a sassan Najeriya, da kuma tasiri rufe kan iyakokin kasa da kuma kasashen da suka yi amfani da salon wajen karfafa tattalin arzikinsu.

ساسان نصیری از اولین نسل هنرمندان بعد از انقلاب و از نقاشان با سابقه‌ای‌ست که در تمام سال‌های فعالیتش ژانرهای مختلف نقاشی را آزموده و ژانر منظره همواره حضوری بارز و ثابت در کارهای او داشته است. گالری ایرانشهر در یکم شهریورماه آخرین مجموعه مناظر او را نمایش خواهد داد. در چهارمین اپیزود پادکست «ایرانشهر»، افسانه جوادپور در گفت وگویی با ساسان نصیری به ریشه‌های علاقه‌‌مندی‌اش به طبیعت و نقاشی در فضای باز و همچنین ویژگی‌های آثارش، ترکیب‌بندی و پالت رنگی اش پرداخته است؛ علاوه بر آن ساسان نصیری در میان این گفتگو با بازگشت‌هایی به گذشته به فعالیت‌های گروهی خود در زمینه هنر مفهومی در ایران و بستر شکل‌گیری آن اشاره می‌کند.

Die wichtigste Verleihung der Filmwelt steht bevor: Gewinnt „Bohemian Rhapsody“ wirklich den Hauptpreis? Daniel und Sassan hoffen auf andere Sieger und arbeiten sich gemeinsam durch die wichtigsten Kategorien. Des Weiteren wird erklärt, warum der deutsche Beitrag „Werk ohne Autor“ höchstens bei den Erotik-Awards in Las Vegas gewinnen könnte.

In this inaugural edition of the Podcast Behnam-Bakhtiar, we sit down with Sassan Behnam-Bakhtiar for a fascinating conversation detailing the journey of "Oneness Wholeness", the exhibition of work which took place at the legendary Villa Santa Sospir, in St Jean Cap Ferrat last autumn. In this podcast, we hear how Sassan was inspired by late philosopher, artist and writer Jean Cocteau and how the two artists, separated across decades, histories, cultures and eras found common ground through their respective artistic practises, conveying messages ever more relevant and timely than before.

Sassan und Daniel besprechen in der aktuellen Folge zwei der wichtigsten Crime-Serien: „American Crime Story: Der Mord an Gianni Versace“ und „True Detective“.

Daniel und Sassan widmen sich dem bislang meistdiskutierten Film des noch jungen Jahres: M. Night Shyamalans Thriller „Glass“, dem Nachfolger von „Unbreakable“ und „Split“. Diesmal kriegen die Redakteure von Musikexpress und Rolling Stone sich richtig in die Haare: Mr. Glass, David Dunn und „das Biest“ – sind das wirklich Superhelden?

Daniel und Sassan diskutieren den Horrorfilm des Jahres und schwärmen von den beeindruckendsten Kampfszenen 2018. Weitere Themen: „Bohemian Rhapsody“ und Netflix.

Ist das Horror-Musical der Film des Jahres? Ganz sicher, findet Daniel. Ganz sicher nicht, sagt Sassan. Die Zwei streiten über „Climax“ und küren die besten Filmleichen.

Wer ist die „Streifenpolizei“? Daniel vom MUSIKEXPRESS und Sassan von ROLLING STONE stellen sich und ihren Podcast vor. Spoiler: Es geht um Filme und Serien.

Was hat Shopping mit Digitaler Mobilität zu tun und welche Rolle spielen Personenströme sowohl im Retail als auch im Straßenverkehr ? Diesen Fragestellungen ist Sassan Shirazi, CEO Public Mobility von DILAX Intelcom auf der Digital Mobility Conference des Bitkom nachgegangen. In seinem Vortrag erklärt er, welche Zusammenhänge es hier gibt. Das Video zum Vortrag: https://www.youtube.com/watch?v=NiiIHgQ9hGc Die Digital Mobility Conference des Bitkom: https://digital-mobility.berlin/ Digitale Mobilität beim Bitkom: https://www.bitkom.org/Themen/Digitale-Transformation-Branchen/Mobility/index.jsp