Podcasts about Xenophon

Cyrus' exemplary leadership forged a patchwork of ethnicities into an empire that founded Persian rule in the Middle East, Professor Lynette Mitchell explains. Cyrus the Great (or the Elder) is known to many through the Cyrus Cylinder exhibit preserved in the British Museum, which tells us that he was chosen by God for his special virtues to become ‘king of the four corners of the world'.[1]  Indeed, he created a Persian empire that extended from the Greek communities of Asia Minor to the marches of India.  Ever since, virtues of a great strategic leader have been attributed to him, including by Xenophon who, as a Greek, might have been expected to be hostile to Cyrus' expansion. Instead, Xenophon took him as a model for the ideal leader in war and peace. Even today, the stories of his leadership are revered in management literature. But does the reality justify the acclaim? Professor Lynette Mitchell of the University of Exeter has discovered her interest in the life and achievements of Cyrus from her earlier research on Greek culture and customs, on which she has published widely. Her book, Cyrus the Great: A Biography of Kingship, was published by Routledge in 2023. [1] Irving Finkel (ed.): The Cyrus Cylinder: The King of Persia's Proclamation from Ancient Babylon. (London: I-.B- Tauris, 2013)

Greg teaches philosophy (and is Interim Provost at Ashland, loves Xenophon, and runs a podcast. We reflect on the dangers of radon and other "natural" things. How might one of our government agencies become more natural, and would we want that? Are fart jokes the most naturally funny kind? Then, Greg the trucker visits Empty Street and embezzles dead mules. Bill was thrust from the final portion of the call, so Mark and Greg engage in some philosophy podcast shop talk. He returns for the Post-Game after Greg's departure to reflect on the episode and specifically identify the naturalistic fallacy.

We march into the Persian Empire with Xenophon and Alex Petkas to break down the opening of Anabasis—a story of betrayal, survival, and leadership born from failure. This isn't just ancient military drama; it's a mirror for modern challenges: how to lead when no one else will, how to make decisions in chaos, and how to earn trust in a world of uncertainty.https://www.costofglory.com/Retreat infohttps://greece.costofglory.com/This is a podcast by Dan Hörning and Bernie Maopolski.If you like what we do you can support the Fan of History project on https://www.patreon.com/fanofhistory or https://buymeacoffee.com/whatsnewinhistoryYou can also get all the old episodes if you subscribe to Fan of History+ at https://fanofhistory.supercast.com/Custom Printed Shirts in 3 days! Go to graveyardprinting.com and enter coupon code FANOFHISTORY2025 for 11% offContact information:E-mail: zimwaupodcast@gmail.comhttp://facebook.com/fanofhistoryhttps://twitter.com/danhorninghttps://www.instagram.com/dan_horning/Music: “Tudor Theme” by urmymuse.Used here under a commercial Creative Commons license. Find out more at http://ccmixter.org/files/urmymuse/40020 Hosted on Acast. See acast.com/privacy for more information.

Sometimes even a decisive victory is not enough. Your victory may immediately be followed by greater challenges that test you to the ultimate limit. There is no such thing as reaching an "end zone." We discuss the Battle of Cunaxa in 401 B.C., where the Greek mercenaries of Cyrus won the battle, but immediately realized that their fight for survival had just begun. One man, a natural leader named Xenophon the Athenian, then stepped forward to assume the responsibility of command.

Melvyn Bragg and guests explore the history and reputation of the Persian ruler Cyrus the Great. Cyrus the Second of Persia as he was known then was born in the sixth century BCE in Persis which is now in Iran. He was the founder of the first Persian Empire, the largest empire at that point in history, spanning more than two million square miles. His story was told by the Greek historians Herodotus and Xenophon, and in the Hebrew bible he is praised for freeing the Jewish captives in Babylon. But the historical facts are intertwined with fiction.Cyrus proclaimed himself ‘king of the four corners of the world' in the famous Cyrus Cylinder, one of the most admired objects in the British Museum. It's been called by some the first bill of human rights, but that's a label which has been disputed by most scholars today.WithMateen Arghandehpour, a researcher for the Invisible East Project at Oxford University,Lindsay Allen, Senior Lecturer in Ancient Greek and Near Eastern History at King's College London,AndLynette Mitchell, Professor Emerita in Classics and Ancient History at Exeter University.Producer: Eliane GlaserReading list:Pierre Briant (trans. Peter T. Daniels), From Cyrus to Alexander: A History of the Persian Empire (Eisenbrauns, 2002)John Curtis and Nigel Tallis (eds.), Forgotten Empire: The World of Ancient Persia (The British Museum Press, 2005)Irving Finkel (ed.), The Cyrus Cylinder: The King of Persia's Proclamation from Ancient Babylon (I.B.Tauris, 2013)Lisbeth Fried, ‘Cyrus the Messiah? The Historical Background to Isaiah 45:1' (Harvard Theological Review 95, 2002) M. Kozuh, W.F. Henkelman, C.E. Jones and C. Woods (eds.), Extraction and Control: Studies in Honour of Matthew W. Stolper (Oriental Institute of the University of Chicago, 2014), especially the chapter ‘Cyrus the Great, exiles and foreign gods: A comparison of Assyrian and Persian policies in subject nations' by R. J. van der SpekLynette Mitchell, Cyrus the Great: A Biography of Kingship (Routledge, 2023)Michael Roaf, Cultural Atlas of Mesopotamia and the Ancient Near East (Facts On File, 1990)Vesta Sarkosh Curtis and Sarah Stewart (eds.), Birth of the Persian Empire (I.B.Tauris, 2005), especially the chapter ‘Cyrus the Great and the kingdom of Anshan' by D.T. PottsMatt Waters, King of the World: The Life of Cyrus the Great (Oxford University Press, 2022)In Our Time is a BBC Studios Audio production

Melvyn Bragg and guests explore the history and reputation of the Persian ruler Cyrus the Great. Cyrus the Second of Persia as he was known then was born in the sixth century BCE in Persis which is now in Iran. He was the founder of the first Persian Empire, the largest empire at that point in history, spanning more than two million square miles. His story was told by the Greek historians Herodotus and Xenophon, and in the Hebrew bible he is praised for freeing the Jewish captives in Babylon. But the historical facts are intertwined with fiction.Cyrus proclaimed himself ‘king of the four corners of the world' in the famous Cyrus Cylinder, one of the most admired objects in the British Museum. It's been called by some the first bill of human rights, but that's a label which has been disputed by most scholars today.WithMateen Arghandehpour, a researcher for the Invisible East Project at Oxford University,Lindsay Allen, Senior Lecturer in Ancient Greek and Near Eastern History at King's College London,AndLynette Mitchell, Professor Emerita in Classics and Ancient History at Exeter University.Producer: Eliane GlaserReading list:Pierre Briant (trans. Peter T. Daniels), From Cyrus to Alexander: A History of the Persian Empire (Eisenbrauns, 2002)John Curtis and Nigel Tallis (eds.), Forgotten Empire: The World of Ancient Persia (The British Museum Press, 2005)Irving Finkel (ed.), The Cyrus Cylinder: The King of Persia's Proclamation from Ancient Babylon (I.B.Tauris, 2013)Lisbeth Fried, ‘Cyrus the Messiah? The Historical Background to Isaiah 45:1' (Harvard Theological Review 95, 2002) M. Kozuh, W.F. Henkelman, C.E. Jones and C. Woods (eds.), Extraction and Control: Studies in Honour of Matthew W. Stolper (Oriental Institute of the University of Chicago, 2014), especially the chapter ‘Cyrus the Great, exiles and foreign gods: A comparison of Assyrian and Persian policies in subject nations' by R. J. van der SpekLynette Mitchell, Cyrus the Great: A Biography of Kingship (Routledge, 2023)Michael Roaf, Cultural Atlas of Mesopotamia and the Ancient Near East (Facts On File, 1990)Vesta Sarkosh Curtis and Sarah Stewart (eds.), Birth of the Persian Empire (I.B.Tauris, 2005), especially the chapter ‘Cyrus the Great and the kingdom of Anshan' by D.T. PottsMatt Waters, King of the World: The Life of Cyrus the Great (Oxford University Press, 2022)In Our Time is a BBC Studios Audio production

Jordan Peterson sits down with author, professor, and Dean of Intellectual Foundations at the University of Austin, Jacob Howland. They discuss man's finitude and his grasping for the infinite, how orientation can provide limitless abundance or a bottomless fall, where Socrates and the Talmud overlap, and why God offers Abraham adventure as the covenant. Jacob Howland is the Senior Vice President for Academic Affairs, and Dean of Intellectual Foundations at the University of Austin. Previously he was McFarlin Professor of Philosophy Emeritus at the University of Tulsa, where he taught from 1988 to 2020. Howland has published five books and roughly sixty scholarly articles and review essays on the thought of Plato, Aristotle, Xenophon, Kierkegaard, the Talmud, the Holocaust, ideological tyranny, and other subjects  A past winner of the University of Tulsa Outstanding Teacher Award and the College of Arts and Sciences Excellence in Teaching Award, he has received grants from the National Endowment for the Humanities, The Littauer Foundation, the Earhart Foundation, and the Koch Foundation, and has lectured in Israel, France, England, Romania, Brazil, Denmark, Norway, and at universities around the United States.  His most recent book is Glaucon's Fate: History, Myth, and Character in Plato's Republic, Paul Dry Books, 2018. This episode was filmed on March 15th, 2025.  | Links | For Jacob Howland: Read Howland's most recent publication “Glaucon's Fate: History, Myth, and Character in Plato's Republic” https://a.co/d/7EGH57y Howland's philosophy website and blog https://www.jacobhowland.com/?_sm_nck=1 

A brief overview of Socrates, the classical Greek philosopher widely regarded as the founder of Western philosophy.   Known for his Socratic method of questioning, he profoundly influenced ethical thought, epistemology, and later philosophical traditions.

Nicolaas Matsier studeerde klassieke talen en filosofie aan de Vrije Universiteit te Amsterdam en Universiteit van Amsterdam. Hij schrijft sinds de jaren ‘70 romans, verhalenbundels, essays, gedichten en kinderboeken. Zijn roman Gesloten Huis uit 1994 werd bekroond met de F. Bordewijk-prijs en de Mekkaprijs en voor Het Achtenveertigste Uur uit 2005 ontving hij de E. du Perron-prijs. Naast zijn eigen werk vertaalde Matsier onder andere Xenophon, Stefan Themerson, Lewis Carroll en recentelijk Bachelard's De Vlam van een Kaars. Over Bachelard stelt hij: ‘er is niemand die zo schrijft als Bachelard. Hij demonstreert, al schrijvend, een beweeglijk denken dat wars is van elke stolling tot theoretische, dus niet langer levende taal.'

This week, we're going all the way back to ancient Greece. We'll examine the story of Aspasia of Miletus, a woman who came to Athens around 450 BC and quickly became the talk of the town. Her name appears over and over again in writing from the time, Socrates wrote about her, Plato, Plutarch, Cicero the orator, Xenophon the historian, Athenaeus the writer, Aristophanes the comic playwright, Pericles the leader of the city-state of Athens. One woman's name was on all of their minds: Aspasia of Miletus. They loved her. They hated her. They called her a great mind, a teacher, a master of rhetoric. They called a prostitute, a cheap whore, a brothel madam. They gave her credit for writing great speeches passed on to men. They gave her credit for starting great wars, the ruin of Athens. But who was Aspasia really and why was everyone talking about her? Join me to find out! Support the show! Join the Patreon (patreon.com/historyfixpodcast)Buy some merchBuy Me a CoffeeVenmo @Shea-LaFountaineSources: Prisoner of History: Aspasia of Miletus and Her Biographical Tradition by Madeleine M. Henry (affiliate link) National Geographic "Greek City States"Lake Forest College "Everybody's a Little Bit Sexist: A Re-evaluation of Aristotle's and Plato's Philosophies on Women" by Kayla HuberEncyclopedia Britannica "Pericles: Athenian Statesman"World History Encyclopedia "Aspasia of Miletus"World History Encyclopedia "Women in Ancient Greece"PBS "Aspasia"Brooklyn Museum "Aspasia Place Setting"Wikipedia "Aspasia"History of Women Philosophers and Scientists "Aspasia of Miletus"University of Chicago "Aspasia of Miletus"Shoot me a message!

For centuries, magic and warfare have been deeply intertwined, shaping military strategy, morale, and even battlefield outcomes. From Mesopotamian divination and Greek war omens to medieval sacred warfare and modern occult operations, supernatural beliefs have influenced how wars are fought and won. In this episode, we explore the forgotten history of magical warfare, revealing how esoteric traditions have been used to protect warriors, disrupt enemies, and even alter the course of history.Did John Dee's Enochian magic help defeat the Spanish Armada? Were Nazi leaders using occult knowledge for strategic advantage? And did British Wiccans perform a ritual to psychically deter Hitler from invading Britain? We examine historical records, esoteric practices, and modern interpretations of war magic, shedding light on one of history's most mysterious intersections of the mystical and the military.

After enjoying her new book Open Socrates so much (and having written about her previous book Aspiration in Second Act), I was delighted to talk to Agnes Callard, not least because, as she discusses in Open Socrates, she is a big Tolstoy admirer. We talked about Master and Man, one of my favourite Tolstoy stories, but also about the value of reading fiction, the relationship between fiction and a thought experiment, and other topics of related interest. George Eliot makes an appearance too. In the discussion about the use of fiction in philosophy classes, I was slightly shocked to hear about how much (or how little) reading her undergraduates are prepared to do, but I was interested that they love Pessoa. Agnes has previously written that the purpose of art is to show us evil. Here is Agnes on Twitter. Transcript below, may contain errors!I found this especially interesting.Exactly, and I mean, 10 seconds, that's a wild exaggeration. So do you know what the actual number is? No. On average. Okay, the average amount of time that you're allowed to wait before responding to something I say is two tenths of a second, which, it's crazy, isn't it? Which, that amount of time is not enough time for, that is a one second pause is an awkward pause, okay? So two tenths of a second is not long enough time for the signal that comes at the end of my talking, so the last sound I make, let's say, to reach your ears and then get into your brain and be processed, and then you figure out what you want to say. It's not enough time, which means you're making a prediction. That's what you're doing when I'm talking. You're making a prediction about when I'm going to stop talking, and you're so good at it that you're on almost every time. You're a little worse over Zoom. Zoom screws us up a little bit, right? But this is like what our brains are built to do. This is what we're super good at, is kind of like interacting, and I think it's really important that it be a genuine interaction. That's what I'm coming to see, is that we learn best from each other when we can interact, and it's not obvious that there are those same interaction possibilities by way of text at the moment, right? I'm not saying there couldn't be, but at the moment, we rely on the fact that we have all these channels open to us. Interestingly, it's the lag time on the phone, like if we were talking just by phone, is about the same. So we're so good at this, we don't need the visual information. That's why I said phone is also face-to-face. I think phone's okay, even though a lot of our informational stream is being cut. We're on target in terms of the quick responses, and there's some way in which what happens in that circumstance is we become a unit. We become a unit of thinking together, and if we're texting each other and each of us gets to ponder our response and all that, it becomes dissociated.Transcript (AI generated)Henry: Today, I am talking to Agnes Callard, professor of philosophy at the University of Chicago, author of Aspiration, and now most recently, Open Socrates. But to begin with, we are going to talk about Tolstoy. Hello, Agnes: .Agnes: Hello.Henry: Shall we talk about Master of Man first?Agnes: Yeah, absolutely.Henry: So this is one of Tolstoy's late stories. I think it's from 1895. So he's quite old. He's working on What is Art? He's in what some people think is his crazy period. And I thought it would be interesting to talk about because you write a lot in Open Socrates about Tolstoy's midlife crisis, for want of a better word. Yeah. So what did you think?Agnes: So I think it's sort of a novel, a story about almost like a kind of fantasy of how a midlife crisis could go if it all went perfectly. Namely, there's this guy, Brekhunov, is that his name? And he is, you know, a landowner and he's well off and aristocratic. And he is selfish and only cares about his money. And the story is just, he takes this, you know, servant of his out to, he wants to go buy a forest and he wants to get there first before anyone else. And so he insists on going into this blizzard and he gets these opportunities to opt out of this plan. And he keeps turning them down. And eventually, you know, they end up kind of in the middle of the blizzard. And at kind of the last moment, when his servant is about to freeze to death, he throws himself on top of the servant and sacrifices himself for the servant. And the reason why it seems like a fantasy is it's like, it's like a guy whose life has a lacuna in it where, you know, where meaning is supposed to be. And he starts to get an inkling of the sort of terror of that as they're spending more and more time in the storm. And his initial response is like to try to basically abandon the servant and go out and continue to get to this forest. But eventually he like, it's like he achieves, he achieves the conquest of meaning through this heroic act of self-sacrifice that is itself kind of like an epiphany, like a fully fulfilling epiphany. He's like in tears and he's happy. He dies happy in this act of self-sacrifice. And the fantasy part of it is like, none of it ever has to get examined too carefully. It doesn't like, his thought doesn't need to be subjected to philosophical scrutiny because it's just this, this one momentary glorious kind of profusion of love. And then it all ends.Henry: So the difficult question is answered the moment it is asked. Exactly, exactly, right?Agnes: It's sort of, it's, I see it as like a counterpart to the death of Ivan Ilyich.Henry: Tell me, tell me more.Agnes: Well, in the death of Ivan Ilyich, the questions surface for even, you know, when death shows up for him. And he suddenly starts to realize, wait a minute, I've lived my whole life basically in the way that Brekhunov did. Basically in the way that Brekhunov does as, you know, pursuing money, trying to be a socially successful person. What was the point of all that? And he finds himself unable to answer it. And he finds himself, it's the exact opposite. He becomes very alienated from his wife and his daughter, I think.Henry: Yeah.Agnes: And the absence of an answer manifests as this absence of connection to anyone, except an old manservant who like lifts up his legs and that's the one relief that he gets. And, you know, it's mostly in the gesture of like someone who will sacrifice themselves for another. Right, that's once again where sort of meaning will show up for a Tolstoy, if it ever will show up in a kind of direct and unashamed way.Henry: Right, the exercise of human compassion is like a running theme for him. Like if you can get to that, things are going great. Otherwise you've really screwed up.Agnes: Yeah, that's like Tolstoy's deus ex machina is the sudden act of compassion.Henry: Right, right. But you think this is unphilosophical?Agnes: I think it's got its toe in philosophical waters and sort of not much more than that. And it's in a way that makes it quite philosophical in the sense that there's a kind of awareness of like a deep puzzle that is kind of like at the heart of existence. Like there's a sensitivity to that in Tolstoy that's part of what makes him a great writer. But there's not much faith in the prospect of sort of working that through rationally. It's mostly something we just got a gesture at.Henry: But he does think the question can be answered. Like this is what he shares with you, right? He does think that when you're confronted with the question, he's like, it's okay. There is an answer and it is a true answer. We don't just have to make some, he's like, I've had the truth for you.Agnes: Yes, I think that that's right. But I think that like the true answer that he comes to is it's compassion and it's sort of religiously flavored compassion, right? I mean, that it's important. It's not just. Yeah, it's a very Christian conclusion. Right, but the part that's important there in a way, even if it's not being Christian, but that it's being religious in the sense of, yes, this is the answer. But if you ask for too much explanation as to what the answer is, it's not going to be the right answer. But if you ask for too much explanation as to why it's the answer, you're going the wrong way. That is, it's gotta, part of the way in which it's the answer is by faith.Henry: Or revelation.Agnes: Or, right, faith, exactly. But like, but it's not your task to search and use your rational faculties to find the answer.Henry: I wonder though, because one of the things Tolstoy is doing is he's putting us in the position of the searcher. So I read this, I'm trying to go through like all of Tolstoy at the moment, which is obviously not, it's not currently happening, but I'm doing a lot of it. And I think basically everything in Tolstoy is the quest for death, right? Literature is always about quests. And he's saying these characters are all on a quest to have a good death. And they come very early or very late to this. So Pierre comes very early to this realization, right? Which is why he's like the great Tolstoy hero, master of man, Ivan Ilyich, they come very, and Tolstoy is like, wow, they really get in under the wire. They nearly missed, this is terrible. And all the way through this story, Tolstoy is giving us the means to see what's really going on in the symbolism and in all the biblical references, which maybe is harder for us because we don't know our Bible, like we're not all hearing our Bible every week, whereas for Tolstoy's readers, it's different. But I think he's putting us in the position of the searcher all the time. And he is staging two sides of the argument through these two characters. And when they get to the village and Vasily, he meets the horse thief and the horse thief's like, oh, my friend. And then they go and see the family and the family mirrors them. And Tolstoy's like, he's like, as soon as you can see this, as soon as you can work this out, you can find the truth. But if you're just reading the story for a story, I'm going to have to catch you at the end. And you're going to have to have the revelation and be like, oh my God, it's a whole, oh, it's a whole thing. Okay, I thought they were just having a journey in the snow. And I think he does that a lot, right? That's, I think that's why people love War and Peace because we go on Pierre's journey so much. And we can recognize that like, people's lives have, a lot of people's lives happen like that. Like Pierre's always like half thinking the question through and then half like, oh, there's another question. And then thinking that one through and then, oh, no, wait, there's another question. And I think maybe Tolstoy is very pragmatic. Like that's as philosophical as most people are going to get. Pierre is in some ways the realistic ideal.Agnes: I mean, Pierre is very similar to Tolstoy just in this respect that there's a specific like moment or two in his life where, he basically has Tolstoy's crisis. That is he confronts these big questions and Tolstoy describes it as like, there was a screw in his head that had got loose and he kept turning it, but it kept, it was like stripped. And so no matter when you turned it, it didn't go. It didn't grab into anything. And what happens eventually is like, oh, he learns to have a good conventional home life. Like, and like not, don't ask yourself these hard questions. They'll screw you up. And I mean, it's not exactly compassion, but it's something close to that. The way things sort of work out in War and Peace. And I guess I think that you're sort of right that Tolstoy is having us figure something out for ourselves. And in that way, you could say we're on a journey. There's a question, why? Why does he have us do that? Why not just tell us? Why have it figured out for ourselves? And one reason might be because he doesn't know, that he doesn't know what he wants to tell us. And so you got to have them figure out for themselves. And I think that that is actually part of the answer here. And it's even maybe part of what it is to be a genius as a writer is to be able to write from this place of not really having the answers, but still be able to help other people find them.Henry: You don't think it's, he wants to tell us to be Christians and to believe in God and to take this like.Agnes: Absolutely, he wants to tell us that. And in spite of that, he's a great writer. If that were all he was achieving, he'd be boring like other writers who just want to do that and just do that.Henry: But you're saying there's something additional than that, that is even mysterious to Tolstoy maybe.Agnes: Yeah.Henry: Did you find that additional mystery in Master in Man or do you see that more in the big novels?Agnes: I see it the most in Death of Ivan Ilyich. But I think it's true, like in Anna Karenina, I can feel Tolstoy being pulled back and forth between on the one hand, just a straight out moralistic condemnation of Anna. And of, there are the good guys in this story, Levine and Kitty, and then there's this like evil woman. And then actually being seduced by her charms at certain moments. And it's the fact that he is still susceptible to her and to the seductions of her charms, even though that's not the moral of the story, it's not the official lesson. There's like, he can't help but say more than what the official lesson is supposed to be. And yeah, I think if he were just, I think he makes the same estimation of himself that I am making in terms of saying, look, he finds most of his own art wanting, right? In what is art? Because it's insufficiently moralistic basically, or it's doing too much else besides being, he's still pretty moralistic. I mean, even War and Peace, even Anna Karenina, he's moralistic even in those texts, but his artistry outstrips his moralism. And that's why we're attracted to him, I think. If he were able to control himself as a writer and to be the novelist that he describes as his ideal in what is art, I don't think we would be so interested in reading it.Henry: And where do you see, you said you saw it in Ivan Ilyich as well.Agnes: Yes, so I think in Ivan Ilyich, it is in the fact that there actually is no deus ex machina in Ivan Ilyich. It's not resolved. I mean, you get this little bit of relation to the servant, but basically Ivan Ilyich is like the closest that Tolstoy comes to just like full confrontation with the potential meaninglessness of human existence. There's something incredibly courageous about it as a text.Henry: So what do you think about the bit at the end where he says he was looking for his earlier accustomed fear of death, but he couldn't find it. Where was death? What death? There was no fear whatsoever because there was no death. Instead of death, there was light. Suddenly he said, oh, that's it, oh bliss.Agnes: Okay, fair enough. I'd like forgotten that.Henry: Oh, okay. Well, so my feeling is that like you're more right. So my official thing is like, I don't agree with that, but I actually think you're more right than I think because to me that feels a bit at the end like he saw the light and he, okay, we got him right under the line, it's fine. And actually the bulk of the story just isn't, it's leading up to that. And it's the very Christian in all its imagery and symbolism, but it's interesting that this, when it's, this is adapted into films like Ikiru and there was a British one recently, there's just nothing about God. There's nothing about seeing the light. They're just very, very secular. They strip this into something totally different. And I'm a little bit of a grumpy. I'm like, well, that's not what Tolstoy was doing, but also it is what he was doing. I mean, you can't deny it, right? The interpreters are, they're seeing something and maybe he was so uncomfortable with that. That's why he wrote what is art.Agnes: Yeah, and that's the, I like that. I like that hypothesis. And right, I think it's like, I sort of ignore those last few lines because I'm like, ah, he copped out at the very end, but he's done the important, he's done the important, the important work, I think, is for instance, the scene with, even on his wife, where they part on the worst possible terms with just hatred, you know, like just pure hatred for the fact that she's forcing him to pretend that he isn't dying. Like that is like the profound moment.Henry: What I always remember is they're playing cards in the other room. And he's sitting there, he's lying there thinking about like the office politics and curtain, like what curtain fabrics we have to pick out and the like, his intense hatred of the triviality of life. And I love this because I think there's something, like a midlife crisis is a bit like being an adolescent in that you go through all these weird changes and you start to wonder like, who am I? What is my life? When you're an adolescent, you're told that's great. You should go ahead and you should, yes, lean into that. And when you're like in your forties, people are going, well, try and just put a lid on that. That's not a good idea. Whereas Tolstoy has the adolescent fury of like curtains and cards. Oh my, you know, you can feel the rage of his midlife crisis in some of that seemingly mundane description. Yeah. I think that's what we respond to, right? That like his hatred in a way.Agnes: Yeah. I mean, maybe we, many of us just have trouble taking ourselves as seriously as Tolstoy was able to, you know? And that's something, there's something glorious about that, that anyone else would listen to the people around them telling him, hey, don't worry, you're a great guy. Look, you wrote these important novels. You're a hero of the Russian people. You've got this wife, you're an aristocrat. You've got this family, you've got your affairs. I mean, come on, you've got everything a man could want. Just be happy with it all, you know? Many of us might be like, yeah, okay, I'm being silly. And Tolstoy is like, no one's going to tell me that I'm silly. Like I'm the one who's going to tell myself, if anything. And that kind of confidence is, you know, why he's sort of not willing to dismiss this thought.Henry: Yeah, yeah, interesting. So how do you think of Master and Man in relation to all the others? Because you know Tolstoy pretty well. You teach him a lot. How do you place it? Like how good do you think it is?Agnes: I don't teach him a lot. I'm trying to think if I ever taught Tolstoy.Henry: Oh, I'm sorry. I thought I read that you had.Agnes: I've taught The Death of Ivan Ilyich. That's the one, I have taught that one. I wish, I mean, I would love to teach. I just can't imagine assigning any of these novels in a philosophy, my students wouldn't read it.Henry: They wouldn't read it?Agnes: No.Henry: Why?Agnes: It's pretty hard to get people to read long texts. And I mean, some of them certainly would, okay, for sure. But if I'm, you know, in a philosophy class where you'd have to kind of have pretty high numbers of page assignments per class, if we're going to, I mean, you know, forget War and Peace. I mean, even like Ivan Ilyich is going to be pushing it to assign it for one class. I've learned to shorten my reading assignments because students more and more, they're not in the habit of reading. And so I got to think, okay, what is the minimum that I can assign them that where I can predict that they will do it? Anyway, I'm going to be pushing that next year in a class I'm teaching. I normally, you know, I assign fiction in some of my classes but that's very much not a thing that most philosophers do. And I have to sign it alongside, you know, but so it's not only the fiction they're reading, they're also reading philosophical texts. And anyway, yeah, no, so I have not done much, but I have done in a class on death, I did assign Ivan Ilyich. I don't tend to think very much about the question, what is the level of quality of a work of art?Henry: Well, as in, all I mean is like, how does it compare for you to the other Tolstoy you've read?Agnes: I, so the question that I tend to ask myself is like, what can I learn from it or how much can I learn? Not, it's not because I don't think the question of, the other one is a good one. I just think I trust other people's judgment more than mine unlike artistic quality. And I guess I think it's not as good as Death of Ivan Ilyich and I kind of can't see, like, it's like, what do I learn from it that I don't learn from Death of Ivan Ilyich? Which is like a question that I ask myself. And, there's a way in which that like that little final move, maybe when I'm reading Death of Ivan Ilyich, I can ignore that little final bit and here I can't ignore it. Tolstoy made it impossible for me to ignore in this story. So that's maybe the advantage of this story. Tolstoy makes his move more overt and more dominating of the narrative.Henry: Yeah, I think also, I've known people who read Ivan Ilyich and not really see that it's very Christian. Yeah, oh yeah.Agnes: I don't think I- Much less.Henry: Yeah.Agnes: That's what I'm doing. I'm erasing that from the story.Henry: But that's like much less possible with this one. I agree.Agnes: Right, exactly. That's sort of what I mean is that- Yeah, yeah, yeah. It's like, here the message is more overt. And so therefore I think it's actually a pretty important story in that way. Like, let's say for understanding Tolstoy. That is, if you were to try to take your view of Tolstoy and base it on Death of Ivan Ilyich, which sometimes I do in my own head, because it's occupied such an important place for me, then this is a good way to temper that.Henry: Yeah, they make a nice pairing. Yeah. Yeah, definitely. Let's pick up on this question about philosophers and fiction because you write about that in Open Socrates. You say, great fiction allows us to explore what we otherwise look away from. So it makes questions askable, but then you say only in relation to fictional characters, which you think is a limitation. Are you drawing too hard of a line between fictional characters and real people? Like if someone said, oh, we found out, we were in the archives, Ivan Ilyich, he didn't, it's not fiction. He was just a friend, just happened to a friend, basically word for word. He just did the work to make it kind of look okay for a novel, but basically it's just real. Would that really change very much?Agnes: I think it wouldn't, no. So it might change a little bit, but not that much. So maybe the point, maybe a better thing I could have said there is other people. That is one thing that fictional people are is resolutely other. There's no chance you're going to meet them. And like they are, part of what it is for them to be fictional is that, there isn't even a possible world in which you meet them because metaphysically what they are is the kind of thing that can't ever interact with you. And, like the possible world in which I run into Ivan and Ivan Ilyich is the world in which he's not a Tolstoy character anymore. He's not a character in a novel, obviously, because we're both real people. So I think it's that there's a kind of safety in proving the life of somebody who is not in any way a part of your life.Henry: The counter argument, which novelists would make is that if you gave some kind of philosophical propositional argument about death, about what it means to die, a lot of people just wouldn't, they'd like, maybe they'd understand what you're saying, but it just wouldn't affect them very much. Whereas if they've read Ivan Ilyich, this will actually affect them. I don't want to say it'll resonate with them, but you know what I mean. It will catch them in some way and they're more likely then to see something in their own life and be like, oh my God, I'm appreciating what Ivan Ilyich was telling me. Whereas, this is the argument, right? The statistics of social science, the propositions of philosophy, this just never gets through to people.Agnes: Yeah, so one way to put this is, novelists are fans of epiphanies. I mean, some novelists, like Tolstoy, it's quite explicit. You just get these epiphanies, right? Like in this story, epiphany. James Joyce, I mean, he's like master of every story in Dubliners, epiphany. Novelists have this fantasy that people's lives are changed in a sudden moment when they have a passionate, oh, I just read this story and I'm so happy about it. And I don't actually doubt that these things happen, these epiphanies, that is people have these passionate realizations. I don't know how stable they are. Like they may have a passionate realization and then, maybe it's a little bit the novelist's fantasy to say you have the passionate realization and everything is changed. In this story, we get around that problem because he dies, right? So, that, I don't know. I somehow am now James Joyce. I don't know. I somehow am now James Joyce is in my head. The final story in Dubliners is the dead. And there's this like, amazing, I don't know who read the story.Henry: Yeah, yeah. Also with snow, right?Agnes: Yeah, exactly.You know, and it's this amazing where this guy is realizing his wife, their relationship is not what he thought it was, whatever. But then the story ends, does he really change? Like, do they just go on and have the same marriage after that point? We don't know. I mean, Joyce avoids that question by having the story end. But, so you might say, you know, novelists like epiphanies and they're good at writing epiphanies and producing epiphanies and imagining that their readers will have epiphanies. And then there's a question, okay, how valuable is the epiphany? And I think, not nothing. I wouldn't put it at zero, but you might say, okay, but let's compare the epiphany and the argument, right? So, what philosophers and the social scientists have, what we have is arguments. And who's ever been changed by an argument? And I think I would say all of human history has been changed by arguments and it's pretty much the only thing that's ever done anything to stably change us is arguments. If you think about, like, what are the things we've moved on? What are the things we've come around on? You know, human rights, there's a big one. That's not a thing in antiquity. And it's a thing now. And I think it's a thing because of arguments. Some of those arguments, you know, are starting to come in their own in religious authors, but then really come in, the flourishing is really the enlightenment. And so you might think, well, maybe an argument is not the kind of thing that can change very easily an adult who was already pretty set in their ways and who is not going to devote much of their time to philosophizing. It isn't going to give them the kind of passionate feeling of your life has suddenly been turned around by an epiphany, but it might well be that if we keep arguing with each other, that is how humanity changes.Henry: I think a lot of the arguments were put into story form. So like the thing that changed things the most before the enlightenment maybe was the gospels. Which is just lots of stories. I know there are arguments in there, but basically everything is done through stories. Or metaphor, there's a lot of metaphor. I also think philosophers are curiously good at telling stories. So like some of the best, you know, there's this thing of micro fiction, which is like very, very short story. I think some of the best micro fiction is short stories. Is a thought experiment, sorry. Yeah. So people like Judith Jarvis Thompson, or well, his name has escaped my head, Reasons and Persons, you know who I mean? Derek Parfit, right. They write great short stories. Like you can sit around and argue about long-termism with just propositions, and people are going to be either like, this makes total sense or this is weird. And you see this when you try and do this with people. If you tell them Parfit's thought experiment that you drop a piece of glass in the woods, and a hundred years later, a little girl comes in and she cuts up. Okay, everyone's a long-termist in some way now. To some extent, everyone is just like, of course. Okay, fine. The story is good. The famous thought experiment about the child drowning in the pond. And then, okay, the pond is like 3000. Again, everyone's like, okay, I get it. I'm with you. Philosophers constantly resort to stories because they know that the argument is, you have to have to agree with you. You've got to have the argument. The argument's the fundamental thing. But when you put it in a story, it will actually, somehow it will then do its work.Agnes: I think it's really interesting to ask, and I never asked myself this question, like what is the relationship between a thought experiment and a story? And I think that, I'm fine with a thought experiment with saying it's a kind of story, but I think that, so one feature of a thought experiment is that the person who is listening to it is given often a kind of agency. Like, which way do you push the trolley? Or do you care that you left this piece of glass there? Or are you, suppose that the pond was so many miles away but there was a very long hand that reached from here and you put a coin in the machine and at the other end, the hand will pull the child out of the water. Do you put the coin in, right? So like you're given these choices. It's like a choose your own adventure story, right? And that's really not what Tolstoy wrote. He really did not write choose your own adventure stories. There's a, I think he is-Henry: But the philosopher always comes in at the end and says, by the way, this is the correct answer. I'm giving you this experiment so that you can see that, like, I'm proving my point. Peter Singer is not like, it's okay if you don't want to jump into the pond. This is your story, you can pick. He's like, no, you have to jump in. This is why I'm telling you the story.Agnes: That's right, but I can't tell it to you without, in effect, your participation in the story, without you seeing yourself as part of the story and as having like agency in the story. It's by way of your agency that I'm making your point. Part of why this is important is that otherwise philosophers become preachers, which is what Tolstoy is when he's kind of at his worst. That is, you know, the philosopher doesn't just want to like tell you what to think. The philosopher wants to show you that you're already committed to certain conclusions and he's just showing you the way between the premises you already accept and the conclusion that follows from your premises. And that's quite-Henry: No, philosophers want to tell you the particular, most philosophers create a thought experiment to be like, you should be a virtue ethicist or you should give money away. Like they're preaching.Agnes: I don't think that is preaching. So I think that, and like, I think that this is why so many philosophical thought experiments are sort of meant to rely on what people call intuitions. Like, oh, but don't you have the intuition that? What is the intuition? The intuition is supposed to be somehow the kind of visceral and inchoate grasp that you already have of the thing I am trying to teach you. You already think the thing I'm telling you. I'm just making it clear to you what you think. And, you know, like there's like, I want to go back to the gospels. Like, I think it's a real question I have. I'm going to get in trouble for saying this, but I feel like something I sometimes think about Jesus and I say this as a non-Christian, is that Jesus was clearly a really exceptional, really extraordinary human being. And maybe he just never met his Plato. You know, he got these guys who are like telling stories about him. But like, I feel like he had some really interesting thoughts that we haven't accessed. Imagine, imagine if Socrates only ever had Xenophon. You know, if Socrates had never met Plato. We might just have this story about Socrates. Oh, he's kind of like a hero. He was very self-sacrificing. He asked everyone to care about everybody else. And he might like actually look quite a bit like Jesus on a sort of like, let's say simplistic picture of him. And it's like, maybe it's a real shame that Jesus didn't have a philosopher as one of the people who would tell a story about him. And that if we had that, there would be some amazing arguments that we've missed out on.Henry: Is Paul not the closest thing to that?Agnes: What does he give us?Henry: What are the arguments? Well, all the, you know, Paulian theology is huge. I mean, all the epistles, they're full of, maybe, I don't know if they're arguments more than declarations, but he's a great expounder of this is what Jesus meant, you should do this, right? And it's not quite what you're saying.Agnes: It's conclusions, right?Henry: Yes, yes.Agnes: So I think it's like, you could sort of imagine if we only had the end of the Gorgias, where Socrates lists some of his sayings, right? Yes, exactly, yes. You know, it's better to have injustice done to you than to do injustice. It's better to be just than to appear just. Oratories should, you should never flatter anyone under any circumstances. Like, you know, there's others in other dialogues. Everyone desires the good. There's no such thing as weakness of will, et cetera. There are these sort of sayings, right? And you could sort of imagine a version of someone who's telling the story of Socrates who gives you those sayings. And yeah, I just think, well, we'd be missing a lot if we didn't hear the arguments for the sayings.Henry: Yeah, I feel stumped. So the next thing you say about novelists, novelists give us a view onto the promised land, but not more. And this relates to what you're saying, everything you've just been saying. I want to bring in a George Eliot argument where she says, she kind of says, that's the point. She says, I'm not a teacher, I'm a companion in the struggle of thought. So I think a lot of the time, some of the differences we're discussing here are to do with the readers more than the authors. So Tolstoy and George Eliot, Jane Austen, novelists of their type and their caliber. It's like, if you're coming to think, if you're involved in the struggle of thought, I'm putting these ideas in and I'm going to really shake you up with what's happening to these people and you're going to go away and think about it and Pierre's going to stay with you and it's really going to open things up. If you're just going to read the story, sure, yeah, sure. And at the end, we'll have the big revelation and that's whoopee. And that's the same as just having the sayings from Socrates and whatever. But if you really read Middlemarch, one piece, whatever, Adam Bede is always the one that stays with me. Like you will have to think about it. Like if you've read Adam Bede and you know what happens to Hetty at the end, this has the, oh, well, I'm not going to spoil it because you have to read it because it's insane. It's really an exceptional book, but it has some of those qualities of the thought experiment. She really does put you, George Eliot's very good at this. She does put you in the position of saying like, what actually went right and wrong here? Like she's really going to confront you with the situation but with the difficulty of just saying, oh, you know, that's easy. This is what happened. This is the bad thing. Well, there were several different things and she's really putting it up close to you and saying, well, this is how life is. You need to think about that.Agnes: So that last bit, I mean, I think that this is how life is part. Yeah. Really do think that that's something you get out of novels. It's not, so here's how you should live it or so here's why it makes sense, or here are the answers. It's none of the answers, I think. It's just that there's a kind of, it's like, you might've thought that given that we all live lives, we live in a constant contact with reality but I think we don't. We live in a bubble of what it's, the information that's useful to me to take in at any given moment and what do I need in order to make it to the next step? And there's a way in which the novel like confronts you with like the whole of life as like a spectacle or something like that, as something to be examined and understood. But typically I think without much guidance as to how you should examine or understand it, at least that's my own experience of it is that often it's like posing a problem to me and not really telling me how to solve it. But the problem is one that I often, under other circumstances, I'm inclined to look away from and the novelist sort of forces me to look at it.Henry: Does that mean philosophers should be assigning more fiction?Agnes: I, you know, I am in general pretty wary of judgments of that kind just because I find it hard to know what anyone should do. I mean, even myself, let alone all other philosophers.Henry: But you're the philosopher. You should be telling us.Agnes: No, I actually just don't think that is what philosophers do. So like, it was like a clear disagreement about, you know, is the, like George Eliot's like, I'm not a teacher, but the philosopher also says I'm not a teacher. I mean, Tolstoy was like, I am a teacher.Henry: Yeah, I'm a teacher.Agnes: I'm ready to guide you all.Henry: You should take notes.Agnes: But I think it's right that, yeah. So I think it's like, you know, maybe they have some other way of forcing that confrontation with reality. But I, my own feeling is that philosophers, when they use examples, including some of the thought experiments, it's sort of the opposite of what you said. It's kind of like they're writing very bad fiction. And so they'll come up with these, like I am philosophy. We have to, we're forced to sort of come up with examples. And, you know, I discuss one in my aspiration book of, oh, once upon a time, there was a guy. And when he was young, he wanted to be a clown, but his family convinced him that he should be an investment banker and make money. And so he did that. But then when he was older, he finally recovered this long lost desire. And then he became a clown and then he was happy. It's a story in an article by a philosopher I respect. Okay, I like her very much. And I haven't read it in a long time. So I'm hoping I'm summarizing it correctly. But my point is like, and this is supposed to be a story about how sort of self-creation and self-realization and how you can discover your authentic self by contrast with like the social forces that are trying to make you into a certain kind of person. But it's also, it's just a very bad piece of fiction. And I'm like, well, you know, if I'm say teaching a class on self-creation as I do sometimes, I'm like, well, we can read some novelists who write about this process and they write about it in a way that really shows it to us, that really forces us to confront the reality of it. And that story was not the reality. So if you have some other way to do that as a philosopher, then great. I'm very instrumental about my use of fiction, but I haven't found another way.Henry: Which other fiction do you use in the self-creation class?Agnes: So in that class, we read Portrait of the Artist as a Young Man and Elena Ferrante's My Brilliant Friend. And we also read some Fernando Pessoa.Henry: Pessoa, what do your students think of Pessoa?Agnes: They love it. So when I first assigned it, I'm like, I don't know what you guys are going to make of this. It's kind of weird. We're reading like just, you know, 20 pages of excerpts I like from the Book of Disquiet. I mean, it's like my own text I'm creating, basically. I figure with that text, you can do a choose your own adventure. And they like it a lot. And I think that it really, that, you know, the thing that really resonates with them is this stuff where he talks. So there are two passages in particular. So one of them is, one where he talks about how he's like, yeah, he meets his friend. And he can't really listen to what his friend is saying, but he can remember with photographic precision the lines on the face when he's smiling, or like, it's like what he's saying is, I'm paying attention to the wrong thing. Like I'm paying attention to the facial expressions and not to the content. And that I'm somebody who's in a world where my organization of my own experience is not following the rules that are sort of being dictated to me about how my experience is supposed to be organized. And that's sort of his predicament. So that's a thing that they like. And then there's a wonderful passage about how I keep trying to free myself from the social forces oppressing me. And I take away this noose that's around my neck. And as I'm doing it, I realize my hand is attached to a noose and it's pulling me. Like I'm the one who's doing, I'm the one who's suffocating myself all along when I'm trying to free myself from social forces, it's me who's doing the oppressing. Anyway, so those are some passages that we talk about that they like. They like it a lot. They have a lot less trouble making something of it than I had expected that they would.Henry: Is this because he, is he well-suited to the age of social media and phones and fragmented personalities and you're always 16 different people? Is it that kind of thing?Agnes: Partly it's the short texts. I mean, as I said, meeting a problem, right? And so, yeah. So like they like Nietzsche too, probably for the same reason, right? I mean, anything where the-Henry: The aphorism.Agnes: Yeah, exactly. Like no joke. You know, it's not the era for War and Peace. It's the era for the Nietzschean aphorism.Henry: This is so depressing. I thought this wasn't true.Agnes: Yeah, I think it's true. I like, I had a conversation with a student in my office yesterday about this and about how like just his own struggles with reading and how all his friends have the same problem. And, you know, I have made some suggestions and I think maybe I need to push them harder in terms of, you know, just university creating device-free spaces and then people having like, I think we have to view it the way we view exercise. Like none of us would exercise if we didn't force ourselves to exercise. And we use strategies to do it. Like, you know, you have a friend and you're going to go together or, you know, you make a habit of it or whatever. I mean, like, I think we just have to approach reading the same way. Just let's accept that we're in an environment that's hostile to reading and make it a priority and organize things to make it possible rather than just like pretending that there isn't a problem. But yeah, there is. And it's hard for us to see. So you're not as old as me, but I'm old enough that all of my reading habits were formed in a world without all of this, right? So of course it's way easier for me. Even I get distracted, but, you know, for me spending a couple of hours in the evening reading, that's like a thing I can do. But like a lot of people, okay, I was at a like tech, in a little tech world conference in California. And it was early in the morning and my husband wasn't awake yet. So I was just, and it was one of these conferences where there's like a little group room and then you have your own, like we had like a hotel room type room, but like then I would had to be in the room with my husband who was sleeping. I couldn't turn the light on. So it was early. I woke up at four. So I went to the group room just to read. And I'm sitting there reading and someone came up to me and they were like, I can't believe you're just sitting there like reading. I don't think I've seen someone read a book in, you know, he's like ever or something, maybe. I mean, he's a half my age. Like he's like, that's just not a thing that people do. And it was like, he's like, it's so on brand that you're reading, you know? But it's like, it's, I think it's just, it's much harder for people who have grown up with all of this stuff that is in some way hostile to the world of reading. Yeah, it's much harder for them than for us. And we should be reorganizing things to make it easier.Henry: Yeah, I get that. I'm just, I'm alarmed that they can't read, like the depth of Ivan Ilyich. It's like, I don't know, it's like 50 pages or.Agnes: Yeah, for one class, no.Henry: It's very short. It's very short.Agnes: That's not short. 50 pages is not short.Henry: It's an hour or two hours of reading.Agnes: It's like, yeah, between two and three. They also read slower because they don't read as much.Henry: Okay, but you know what I'm like…Agnes: Yeah, right, three hours of reading is a lot to assign for a class. Especially if, in my case, I always also assign philosophy. So it's not the only thing I'm assigning.Henry: Sure, sure, but they read the philosophy.Agnes: Same problem. I mean, it's not like some different problem, right? Same problem, and in fact, they are a little bit more inclined to read the fiction than the philosophy, but the point is the total number of pages is kind of what matters. And from that point of view, philosophy is at an advantage because we compress a lot into very few pages. So, but you know, and again, it's like, it's a matter of like, it's probably not of the level. So I can, you know, I can be more sure that in an upper level class, students will do the reading, but I'm also a little bit more inclined to assign literature in the lower level classes because I'm warming people up to philosophy. So, yeah, I mean, but I think it is alarming, like it should be alarming.Henry: Now, one of the exciting things about Open Socrates, which most people listening to this would have read my review, so you know that I strongly recommend that you all read it now, but it is all about dialogue, like real dialogue. And can we find some, you know, I don't want to say like, oh, can we find some optimism? But like, people are just going to be reading less, more phones, all this talk about we're going back to an oral culture. I don't think that's the right way to phrase it or frame it or whatever, but there's much more opportunity for dialogue these days like this than there used to be. How can Open Socrates, how can people use that book as a way of saying, I want more, you know, intellectual life, but I don't want to read long books? I don't want to turn this into like, give us your five bullet points, self-help Socrates summary, but what can we, this is a very timely book in that sense.Agnes: Yeah, I kind of had thought about it that way, but yeah, I mean, it's a book that says, intellectual life in its sort of most foundational and fundamental form is social, it's a social life, because the kinds of intellectual inquiries that are the most important to us are ones that we can't really conduct on our own. I do think that, I think that some, there is some way in which, like as you're saying, novels can help us a little bit sort of simulate that kind of interaction, at least some of the time, or at least put a question on the table. I sort of agree that that's possible. I think that in terms of social encounters doing it, there are also other difficulties though. Like, so it's, we're not that close to a Socratic world, just giving up on reading doesn't immediately put us into a Socratic world, let's put it that way. And for one thing, I think that there really is a difference between face-to-face interaction, on the one hand, where let's even include Zoom, okay, or phone as face-to-face in an extended sense, and then texting, on the other hand, where text interaction, where like texting back and forth would be, fall under texting, so would social media, Twitter, et cetera, that's sort of- Email. Email, exactly. And I'm becoming more, when I first started working on this book, I thought, well, look, the thing that Socrates cares about is like, when he says that philosophy is like, you know, when he rejects written texts, and he's like, no, what I want to talk back, I'm like, well, the crucial thing is that they can respond, whether they respond by writing you something down or whether they respond by making a sound doesn't matter. And I agree that it doesn't matter whether they make a sound, like for instance, if they respond in sign language, that would be fine. But I think it matters that there is very little lag time between the responses, and you never get really short lag time in anything but what I'm calling face-to-face interaction.Henry: Right, there's always the possibility of what to forestall on text. Yeah. Whereas I can only sit here for like 10 seconds before I just have to like speak.Agnes: Exactly, and I mean, 10 seconds, that's a wild exaggeration. So do you know what the actual number is? No. On average. Okay, the average amount of time that you're allowed to wait before responding to something I say is two tenths of a second, which, it's crazy, isn't it? Which, that amount of time is not enough time for, that is a one second pause is an awkward pause, okay? So two tenths of a second is not long enough time for the signal that comes at the end of my talking, so the last sound I make, let's say, to reach your ears and then get into your brain and be processed, and then you figure out what you want to say. It's not enough time, which means you're making a prediction. That's what you're doing when I'm talking. You're making a prediction about when I'm going to stop talking, and you're so good at it that you're on almost every time. You're a little worse over Zoom. Zoom screws us up a little bit, right? But this is like what our brains are built to do. This is what we're super good at, is kind of like interacting, and I think it's really important that it be a genuine interaction. That's what I'm coming to see, is that we learn best from each other when we can interact, and it's not obvious that there are those same interaction possibilities by way of text at the moment, right? I'm not saying there couldn't be, but at the moment, we rely on the fact that we have all these channels open to us. Interestingly, it's the lag time on the phone, like if we were talking just by phone, is about the same. So we're so good at this, we don't need the visual information. That's why I said phone is also face-to-face. I think phone's okay, even though a lot of our informational stream is being cut. We're on target in terms of the quick responses, and there's some way in which what happens in that circumstance is we become a unit. We become a unit of thinking together, and if we're texting each other and each of us gets to ponder our response and all that, it becomes dissociated.Henry: So this, I do have a really, I'm really interested in this point. Your book doesn't contain scientific information, sociological studies. It's good old-fashioned philosophy, which I loved, but if you had turned it into more of a, this is the things you're telling me now, right? Oh, scientists have said this, and sociologists have said that. It could have been a different sort of book and maybe been, in some shallow way, more persuasive to more people, right? So you clearly made a choice about what you wanted to do. Talk me through why.Agnes: I think that it's maybe the answer here is less deep than you would want. I think that my book was based on the reading I was doing in order to write it, and I wasn't, at the time, asking myself the kinds of questions that scientists could answer. Coming off of the writing of it, I started to ask myself this question. So for instance, that's why I did all this reading in sociology, psychology, that's what I'm doing now is trying to learn. Why is it that we're not having philosophical conversations all the time? It's a real question for me. Why are we not having the conversations that I want us to be having? That's an empirical question, at least in part, because it's like, well, what kinds of conversations are we having? And then I have to sort of read up on that and learn about how conversation works. And it's surprising to me, like the amount of stuff we know, and that it's not what I thought. And so I'm not, maybe I'm a little bit less hostile than most philosophers, just as I'm less hostile to fiction, but I'm also less hostile to sort of empirical work. I mean, there's plenty of philosophers who are very open to the very specific kind of empirical work that is the overlap with their specialization. But for me, it's more like, well, depending on what question I ask, there's just like, who is ready with answers to the question? And I will like, you know, kind of like a mercenary, I will go to those people. And I mean, one thing I was surprised to learn, I'm very interested in conversation and in how it works and in what are the goals of conversation. And of course I started with philosophical stuff on it, you know, Grice and Searle, speech act theory, et cetera. And what I found is that that literature does not even realize that it's not about conversation. I mean, Grice, like the theory of conversational implicature and you know, Grice's logic on conversation, it's like if you thought that making a public service announcement was a kind of conversation, then it would be a theory of conversation. But the way that philosophers fundamentally understand speech is that like, you know, speakers issue utterances and then somebody has to interpret that utterance. The fact that that second person gets to talk too is not like part of the picture. It's not essential to the picture. But if you ask a sociologist, what is the smallest unit of conversation? They are not going to say an assertion. They're going to say something like greeting, greeting or question answer or command obeying or, right? Conversation is like, there's two people who get to talk, not just one person. That seems like the most obvious thing, but it's not really represented in the philosophical literature. So I'm like, okay, I guess I got to say goodbye philosophers. Let me go to the people who are actually talking about conversation. You know, I of course then read, my immediate thought was to read in psychology, which I did. Psychology is a bit shallow. They just don't get to theorize. It's very accessible. It's got lots of data, but it's kind of shallow. And then I'm like, okay, the people who really are grappling with the kind of deep structure of conversation are sociologists. And so that's what I've been reading a lot of in the past, like whatever, two months or so. But I just wasn't asking myself these questions when I wrote the book. And I think the kinds of questions that I was asking were in fact, the kinds of questions that get answered or at least get addressed in philosophical texts. And so those were the texts that I refer to.Henry: So all the sociology you've read, is it, how is it changing what you think about this? Is it giving you some kind of answer?Agnes: It's not changing any, my view, but any of the claims in the book, that is the exact reason that you brought out. But it is making me, it's making me realize how little I understand in a sort of concrete way, what like our modern predicament is. That is, where are we right now? Like what's happening right now? Is the question I ask myself. And I get a lot of, especially in interviews about this book, I get a lot of like, well, given where things are right now, is Socrates very timely? Or how can Socrates help or whatever? And I'm like, I don't think we know where things are right now. That is that given that, where is it? Where is it that we are? And so part of what this kind of sociology stuff is making me realize is like, that's a much harder question than it appears. And even where do we draw the lines? Like, when did now start happening? Like my instinct is like, one answer is like around 1900 is when now started happening. And, and so like, so I guess I'm interested both at the very micro level, how does the conversational interaction work? What are the ways in which I am deciding in this very conversation, I'm deciding what's allowed to be in and what's not allowed to be in the conversation, right? By the moves I'm making, and you're doing the same. How are we doing that? How are we orchestrating, manipulating this conversation so as to dictate what's in it and what's out of it in ways that are like below the surface that we're not noticing, that we either that we are doing it or that we're doing it ourselves. Neither of us is noticing, but we're doing that. So that's at the micro level. And then at the macro level is the question about when did now start happening? And what are the big shifts in like the human experience? And, are we at a point somehow in human history where culture like as a mechanism of coordination is a little bit falling apart and then what's going to come next? That's like a kind of question that I have to put in that kind of vague way. So maybe the right thing to say is that reading all these sociology texts has like, has given me a sets of questions to ask. And maybe what I'm trying to do is, it's like, what my book does is it describes a kind of ideal. And it describes that ideal, you know, using the power of reason to see what would it take to sort of set us straight? What is the straightened version of the crooked thing that we're already doing? And I think that that's right, but that's not at all the same thing as asking the question like, what's our next step? How do we get there from here? That's the question I'm asking now. But part of trying to answer the question, how do we get there from here is like, where are we now? And where are we both very, very locally in an interaction, what are we doing? And then in a big picture way, where are we? What is the big, what is like, you know, in the Taylor Swift sense, what era are we in? And, you know, I guess I still feel like we are, we are living in the world of Fernando Pessoa, Robert Musso, Virginia Woolf, James Joyce, Hermann Bruch, Franz Kafka, like that set of writers, like around 1900-ish set of writers who didn't all know each other or anything, didn't coordinate, but they all, there was this like primal scream moment where they were like, what the hell is going on? What has happened to humanity? Where are the rules? Like, who are we supposed to be? I mean, of all of those, I would pull out Musso as like the paradigm example. So this is me, I guess, taking inspiration from literature again, where I feel like, okay, there's something there about we're lost. There's an expression of, there's a thought we're lost. And I'm trying to understand, okay, how did we get lost? And are we still in that state of being lost? I think yes. And let's get a clear, once we get very clear on how lost we are, we'll already start to be found. Cause that's sort of what it is to, you know, once you understand why you're lost, like that's situating yourself.Henry: Those writers are a long time ago.Agnes: Yeah, I said around 1900.Henry: Yeah, but you don't, you don't, but there's nothing more recent that like expresses, like that's a very long now.Agnes: Yeah. Well, yes, I agree. So I say, when did now start happening? I think it started happening around 1900. So I think-Henry: So are we stuck?Agnes: Yeah, kind of. I think, so here's like a very, he's like a very simple part of history that must be too simple because history is not, is like, it's very mildly not my strong suit. I can't really understand history. But it's like, there is this set of writers and they don't really tell stories. It's not their thing, right? They're not into plot, but they are issuing this warning or proclamation or crisis, like flashing thing. And then what happens? What happens after that? Well, World War I happens, right? And then, you know, not very long after that, we got World War II and especially World War II, the result of that is kind of, oh no, actually we know what good and bad are. It's like fighting Nazis, that's bad. And, you know, so we got it all settled. And, but it's like, it's like we push something under the rug, I guess. And I think we haven't dealt with it. We haven't dealt with this crisis moment. And so, you know, I think I could say something very similar about Knausgaard or something that is, I think he's kind of saying the same thing and his novel has a novel, whatever you want to call it, the, you know, I'm talking about the later one. That's the kind of weird sort of horror quadrilogy or something. It has this feeling of like trying to express a sense of being lost. So there's more recent stuff that, a lot of it's autofiction, the genre of autofiction has that same character. So yeah, like maybe there is some big progress that's been made since then, but if there is, then it has passed me by.Henry: Agnes: Callard, thank you very much. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Imagine being stranded thousands of miles deep in enemy territory with 10,000 soldiers, no allies, no clear way home, and the only means of escape was by foot. This was the predicament faced by Xenophon and the Greek mercenaries in Anabasis, one of the most gripping survival stories of the ancient world. In this episode, we delve into the incredible journey of these soldiers, their battles against the elements, rival armies, and even their own internal strife. Xenophon’s firsthand account is not just a tale of military strategy—it’s a timeless story of leadership, perseverance, and what it means to face impossible odds (it’s been referenced by Napoleon, Lawrence of Arabia, and the director of the 1979 movie “The Warriors”). Why has this 2,400-year-old narrative inspired everyone from ancient generals to modern filmmakers? To unpack the enduring power of Anabasis, we’re joined by Alex Petkas, host of The Cost of Glory podcast, who brings a fresh perspective to Xenophon’s masterwork. Alex shares his insights into Xenophon’s leadership style, his philosophical roots as a student of Socrates, and the universal lessons we can draw from the march of the 10,000.See omnystudio.com/listener for privacy information.

In this episode of Everyday Leaders, we sit down with Greg Enas, a visionary leader whose journey is marked by a deep commitment to human dignity, community impact, and redemptive enterprise. Greg served as the Senior Director at Eli Lilly and Co, and currently serves Vice Chair at Chorus Inc, and a Venture Catalyst at Innovatov. His leadership influence extends through his roles as the former President of Trinity Fellows Academy, Founding Board Chair at The Oaks Academy, and involvement with the Harrison Center for the Arts. Greg's heart for empowering the poor and oppressed is evident as he shares his passion for restoring human dignity through purpose-driven enterprise. In our conversation, we explore Greg's story, which is a testament to the transformative power of leadership rooted in faith, purpose, and a heart for the oppressed. Whether you're looking to lead with greater empathy or create impact through redemptive enterprise, this episode will inspire you to take meaningful action.Connect with Greg through:Citizen 7 Praxis Guild Indianapolis Cohatch Polk Stables Books Greg is Reading Heaven, Hell and Paradise LostGateway to Statesmanship: Selections from Xenophon to Churchill Culture and Anarchy After 1177 BC: The Survival of Civilizations

Subscriber-only episodeThis is the inaugural discussion of my series on fathers and sons reading Great books together.  Here I discuss the reasoning behind the series, encompassing everything from Homer's Iliad and Odyssey, to Plato's Republic, Aristotle's Poetics, Xenophon, Plutarch, Shakespeare, Mark Twain, Melville, Bloom's Closing of the American Mind and, of course and definitively, the Bible.  At issue is an assessment of we ourselves as educators of the youth and the meaning of greatness in the education fathers seek to cultivate in their sons. 

This episode originally aired in January 2023 as part of the research series on ancient Sparta. We're talking all things Spartan culture: all the things made them Spartan, set them apart from the rest of the Greek world. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Constitution of the Lacedaimonians by Xenophon, translated by Xenophon E. C. Marchant and G. W. Bowersock; Spartan Women by Sarah B. Pomeroy; The Public School of Sparta by T. Rutherford Harley; Spartan Education in the Classical Period by Nicolas Richer. Bad Ancient articles of interest: Spartan infanticide myth, Molon Labe, the 300 at Thermopylae. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

Dr. Xenophon Papademetris, Professor of Biomedical Informatics & Data Science, and Radiology & Biomedical Imaging at Yale School of Medicine speaks with Pitt HexAI guest host Jamie Gramz, Senior Director of Digital Strategy and Business Development with Siemens Healthineers. Jamie and Dr. Papademetris discuss Xenophon's experience in medical image analysis, machine learning, and software development and his involvement in the development of medical image analysis software as well as his involvement in Yale's Certificate Program in Medical Software and Medical AI. Jamie and Dr. Papademetris also discuss Xenophon's textbook “Introduction to Medical Software: Foundations for Digital Health, Devices and Diagnostics” and his Coursera online class “Introduction to Medical Software”, the importance of medical software and AI education as well as the importance of interdisciplinary collaboration in AI for healthcare, and they discuss explainability in AI and clinical communications.

Socrates - How To Master Self Control (Socratic Skepticism) One fundamental teaching of Socrates refers to the theme of self control. According to Socrates, wisdom or philosophy allows people to adopt self-control and to do what is right in their life. To achieve self control, people must be free from their appetites for bodily pleasures, like food, drink, sex and other physical comforts. For example, Socrates was  famous for going barefoot and dressing as simply as possible, managing to control his own passions, desires, and appetites. His asceticism - or severe self-discipline - is difficult to follow in our modern lives as for many of us such a lifestyle is neither practical nor desirable.   In spite of this, he can still teach us to enhance our self-control, and to help you better understand his teachings regarding the mastery of self-control and how best to implement them into your own life, here are 3 lessons from the wisdom of Socrates: 01. Be in control of your bodily desires 02. Be Just 03. Know yourself I hope you enjoyed listening to this podcast and hope these 3 ways to master self-control will add value to your life.  Socrates lived between 469 and 399 B.C.E. and he is one of the most famous philosophers in the entire history of humankind. He is sometimes considered as the founder of the Western philosophy and his work reflects the philosophy of Skepticism, which has as its main base that knowledge can be obtained through systematic doubt and continual testing. Although Socrates hasn't written anything, he has forever changed philosophy itself. Most of the things we know today about his philosophy came from Plato, Aristophanes and Xenophon whose writings are in the form of dialogues between Socrates and other Athenians. These writings gave birth to a new literary genre called the Socratic dialogue. Unfortunately, he is also famous for his tragic life. In 399 BCE, he was accused of corrupting the youth of Athens and of failing to acknowledge the city's official gods. After a trial that lasted just a single day, he was sentenced to death. He spent his last day in prison, refusing to escape. The way his life ended can be considered as the founding myth of philosophy as a discipline. For one to really practice philosophy, they have to go against societal norms, to question everything even at the risk of their own peril. Everything about Socrates was impressive: his appearance, personality, and behaviour, as well as in his views and methods. And this made many of the people around him to write about him, including Plato. It is unfortunate that Socrates did not write at all and all we have is indirect evidence. Also, it is said that each age produces a Socrates of its own, however there are some core fundamental teachings of the original Socrates that transcend the centuries.

Alex Petkas of Cost of Glory podcast joins us to chat about his Ph.D in the Classics, getting out of academia, his series on Plutarch's 'Parrellel Lives', Ancient Greece and the Roman Empire.   We chat about how the education has changed - intentionally and especially since the 60's, Sulla the Roman General, Fiction based on Fact books on a way to learn history, the campaign of Caesar, the Classics, Rhetoric, rule by experts, the art of ruling and being ruled, The Battle for the American Mind, how Democracy used to be related to mobile military capacity, Lawfare, and how it always ends in Tyranny.   In the second half we get into Roman civil war, the change in education, the chain of greatness, the modern German Research Institute and the creation of Ph.D's, new UNI's like Austin and Rolston, the founding of America, Plutarch, Xenophon, the real meaning of Philosopher, personal development, the story of the Giant, the meaning of Virtue, Plato's school, the 7th letter, and the big Rome question. How do we get back to traditions of Epic and honoring great men.   https://www.costofglory.com/about   To gain access to the second half of show and our Plus feed for audio and podcast please clink the link http://www.grimericaoutlawed.ca/support.   For second half of video (when applicable and audio) go to our Substack and Subscribe. https://grimericaoutlawed.substack.com/ or to our Locals  https://grimericaoutlawed.locals.com/ or Rokfin www.Rokfin.com/Grimerica Patreon https://www.patreon.com/grimericaoutlawed   Support the show directly: https://grimerica.ca/support-2/ Outlawed Canadians YouTube Channel: https://www.youtube.com/@OutlawedCanadians Our Adultbrain Audiobook Podcast and Website: www.adultbrain.ca Our Audiobook Youtube Channel:  https://www.youtube.com/@adultbrainaudiobookpublishing/videos Darren's book www.acanadianshame.ca Check out our next trip/conference/meetup - Contact at the Cabin www.contactatthecabin.com Other affiliated shows: www.grimerica.ca The OG Grimerica Show www.Rokfin.com/Grimerica Our channel on free speech Rokfin Join the chat / hangout with a bunch of fellow Grimericans  Https://t.me.grimerica https://www.guilded.gg/chat/b7af7266-771d-427f-978c-872a7962a6c2?messageId=c1e1c7cd-c6e9-4eaf-abc9-e6ec0be89ff3   Leave a review on iTunes and/or Stitcher: https://itunes.apple.com/ca/podcast/grimerica-outlawed http://www.stitcher.com/podcast/grimerica-outlawed Sign up for our newsletter http://www.grimerica.ca/news SPAM Graham = and send him your synchronicities, feedback, strange experiences and psychedelic trip reports!! graham@grimerica.com InstaGRAM https://www.instagram.com/the_grimerica_show_podcast/  Purchase swag, with partial proceeds donated to the show www.grimerica.ca/swag Send us a postcard or letter http://www.grimerica.ca/contact/ ART - Napolean Duheme's site http://www.lostbreadcomic.com/  MUSIC Tru Northperception, Felix's Site sirfelix.bandcamp.com 

In this podcast we will be talking about 9 Life Lessons From Socrates. Socrates is sometimes considered as the founder of the Western philosophy and his work reflects the philosophy of Skepticism. So with that in mind, here are 9 important lessons that we can learn from Socrates -  01. Open yourself to the truth  02. Be courageous  03. Be authentic 04. Be humble 05. Beware the busyness of life 06. Be a citizen of the world 07. Be happy with less 08. Don't seek vengeance 09. Have a sense of humour I hope you enjoyed listening to this podcast and hope these 9 Life Lessons From Socrates will add value to your life.  Socrates lived between 469 and 399 B.C.E. and he is one of the most famous philosophers in the entire history of humankind. He is sometimes considered as the founder of the Western philosophy and his work reflects the philosophy of Skepticism, which has as its main base that knowledge can be obtained through systematic doubt and continual testing. Although Socrates hasn't written anything, he has forever changed philosophy itself. Most of the things we know today about his philosophy came from Plato, Aristophanes and Xenophon whose writings are in the form of dialogues between Socrates and other Athenians. These writings gave birth to a new literary genre called the Socratic dialogue. Unfortunately, he is also famous for his tragic life. In 399 BCE, he was accused of corrupting the youth of Athens and of failing to acknowledge the city's official gods. After a trial that lasted just a single day, he was sentenced to death. He spent his last day in prison, refusing to escape. The way his life ended can be considered as the founding myth of philosophy as a discipline. For one to really practice philosophy, they have to go against societal norms, to question everything even at the risk of their own peril. Everything about Socrates was impressive: his appearance, personality, and behaviour, as well as in his views and methods. And this made many of the people around him to write about him, including Plato. It is unfortunate that Socrates did not write at all and all we have is indirect evidence. Also, it is said that each age produces a Socrates of its own, however there are some core fundamental teachings of the original Socrates that transcend the centuries.

Onder tientallen pseudoniemen was Hugo Brandt Corstius een halve eeuw lang aanwezig in het publieke debat in Nederland. Hij schreef columns in alle media die ertoe deden en haalde onder andere als Piet Grijs, Battus, Stoker, Maaike Helder en Jan Eter de autoriteiten het bloed onder de nagels vandaan. Naar eigen zeggen loog Brandt Corstius nooit, maar veel heeft hij verzwegen. Lara Billie Rense spreekt met Elsbeth Etty over haar biografie van Brandt Corstius. Wat maakte hem zo gevreesd en geniaal tegelijk? In het tweede uur en de podcast van Wat blijft: In de podcast Wat Blijft hoor je de komende weken de 12-delige serie Grote Geesten over indrukwekkende denkers uit de Humanistische Canon. Van Aristoteles tot Hannah Arendt en van Simone De Beauvoir tot James Baldwin. Wat hebben zij betekend? Wat kunnen we leren van hun leven en denken?  En hoe leven zij voort?  In de achtste aflevering volgt Kees van den Bosch het spoor terug van filosoof Socrates. Socrates, geboren bijna vijfhonderd jaar voor Christus in Athene, geldt als één van de grootste klassieke Griekse denkers. Hij wordt gezien als de stichter van de Westerse filosofie, maar heeft geen geschriften nagelaten. Alles wat wij over hem weten is door de geschriften van zijn tijdgenoten, onder wie Plato, Xenophon en Aristophanes. Socrates liet zich erop voorstaan dat hij wist dat hij niets wist. Hij werd door een rechtbank ter dood veroordeeld voor zijn opvattingen, iets wat ook in die tijd in de Atheense democratie bijzonder was. Vaak wordt zijn gedachtengoed teruggebracht naar de kernopdracht ‘Ken uzelf'. Zijn dood via de gifbeker maakte bijna net zoveel los als de dood van Jezus, ruim vierhonderd jaar later. Zelf vond Socrates troost bij de gedachte dat lichaam en ziel los van elkaar staan en dat hij dus in geest zou doorleven. Presentator: Lara Billie Rense Redactie: Jessica Zoghary, Nina Ramkisoen, Geerte Verduijn, Sushmita Lageman  Eindredactie: Bram Vollaers  Productie: Mare de Vries

In de podcast Wat Blijft hoor je de komende weken de 12-delige serie Grote Geesten over indrukwekkende denkers uit de Humanistische Canon. Van Socrates tot Hannah Arendt en van Simone De Beauvoir tot James Baldwin. Wat hebben zij betekend? Wat kunnen we leren van hun leven en denken?  En hoe leven zij voort?  In de achtste aflevering volgt Kees van den Bosch het spoor terug van filosoof Socrates. Socrates, geboren bijna vijfhonderd jaar voor Christus in Athene, geldt als één van de grootste klassieke Griekse denkers. Hij wordt gezien als de stichter van de Westerse filosofie, maar heeft geen geschriften nagelaten. Alles wat wij over hem weten is door de geschriften van zijn tijdgenoten, onder wie Plato, Xenophon en Aristophanes. Socrates liet zich erop voorstaan dat hij wist dat hij niets wist. Hij werd door een rechtbank ter dood veroordeeld voor zijn opvattingen, iets wat ook in die tijd in de Atheense democratie bijzonder was. Vaak wordt zijn gedachtengoed teruggebracht naar de kernopdracht ‘Ken uzelf'. Zijn dood via de gifbeker maakte bijna net zoveel los als de dood van Jezus, ruim vierhonderd jaar later. Zelf vond Socrates troost bij de gedachte dat lichaam en ziel los van elkaar staan en dat hij dus in geest zou doorleven.   Kees van den Bosch praat in deze aflevering met schrijver Ilja Leonard Pfeiffer, praktisch filosoof Elke Wiss en classicus en expert Griekse literatuur, filosofie en ideeëngeschiedenis Tázuko van Berkel.

Discover the blend of ancient wisdom and modern entrepreneurship as Tony welcomes Alex Petkas, a scholar in classics and philosophy, to share his riveting transformation from an uninspired student to a seeker of profound truths. Driven by a thirst for meaning, Alex unveils how ancient texts, particularly those of Marcus Aurelius, shaped his worldview and business philosophy. His journey from the academic halls of Princeton to the realization that traditional education often misses the mark reveals a quest to make ancient philosophies accessible and relevant in today's fast-paced world. You'll hear about the fascinating interplay between philosophy and religion and explore timeless insights on living a fulfilling life. With a focus on Stoicism, Alex and Tony discuss practical strategies that foster resilience and self-improvement, such as embracing what we can control and letting go of the rest.  This episode unravels leadership lessons from iconic figures of history, drawing parallels between their moral clarity and today's leadership challenges. From the sagacious Socrates to the strategic leadership of Xenophon and Gaius Marius, Alex highlights the unending relevance of integrity and character. With insights into classic literature and the power of public speaking, he encourages listeners to unlock their potential, transforming admiration into action through the enduring wisdom of the ancients. Key highlights: The Philosophy of Entrepreneurship and Education Philosophy, Religion, and Life's Urgency The Life and Legacy of Socrates The Value of Classic Literature Unlocking Potential Through Public Speaking Leadership Lessons From Ancient Figures Lessons in Leadership and Integrity Exploring Ancient Leadership Wisdom Connect with Alex Petkas: Website: ancientlifecoach.com Podcast: The Cost of Glory with Alex Petkas Connect with Tony Whatley: Website: 365driven.com Instagram: @365driven Facebook: 365 Driven

This podcast conversation goes in-depth on the Oracle at Delphi and her influence on Western culture and Christian theology. We explore historical figures like Socrates, Xenophon, Alexander the Great, Saint Paul, and Julian the Apostate to follow the links in the chain of Western philosophy back to the Prophetess of Apollo, and the appearance of her and Pagan gods in the Bible. Many thanks to Matt Benjamin of 60 Second Philosophy for joining! Matt's expertise on Socrates, philosophy, and theology is always appreciated.

The World's #1 Personal Development Book Podcast!  Today's episode is sponsored by Ken Rusk, if you're ready to get UNSTUCK check out the links below: https://courses.kenrusk.com/ https://www.kenrusk.com/ ————————————— In today's episode we have the pleasure to interview Darius Lahoutifard author of “Leadership by Cyrus the Great: Unlocking Xenophon's Cyropaedia” Darius is an accomplished entrepreneur, technology leader, and author. By age 28, he had become CEO of a $10M business. Over his career, he has founded five companies, launched over a dozen innovative software and services, experienced failure twice, and successfully exited twice. Now dedicated to education, Darius founded MEDDIC  Academy, a platform pioneering modern blended learning for leaders and business professionals in technology. His clients include all the top 10 global software companies, such as Google Cloud and Amazon Web Services.Born in Iran, Darius moved to France as a teenager after the political changes in his country which profoundly shaped his global perspective and professional path. After a successful career in France, he migrated again, at age of 47, this time to the US. He was admitted under the exceptional ability program. In this episode, you'll about his background and what his book is about, how and why leaders don't need a new way of doing things we can simply look to and apply lessons from 2,500 years ago, how Cyrus the great influenced America's founding fathers, what greek philosophy has to do with modern day leadership, why the best leadership is done out of love not force, and how  you can start to apply leadership lessons from the ancient greek world.  We hope you enjoy this  incredible conversation with Darius Lahoutifard To learn more about Darius and buy his book follow the links below: The Book: https://a.co/d/3OZrSjp Website: https://cyrus-the-great.com/ https://cyropaedia.us ________________________________________________ Join the world's largest non-fiction Book community! https://www.instagram.com/bookthinkers/ The purpose of this podcast is to connect you, the listener, with new books, new mentors, and new resources that will help you achieve more and live better. Each and every episode will feature one of the world's top authors so that you know each and every time you tune-in, there is something valuable to learn. If you have any recommendations for guests, please DM them to us on Instagram. (www.instagram.com/bookthinkers) If you enjoyed this show, please consider leaving a review. It takes less than 60-seconds of your time, and really makes a difference when I am trying to land new guests. For more BookThinkers content, check out our Instagram or our website. Thank you for your time!

When, because of their fear, they do away secretly with such men, who is left for them to use save the unjust, the incontinent, and the slavish? The unjust are trusted because they are afraid, just as the tyrants are, that someday the cities, becoming free, will become their masters. The incontinent are trusted because they are at liberty for the present, and the slavish because not even they deem themselves worthy to be free. This affliction, then, seems harsh to me: to think some are good men, and yet to be compelled to make use of the others. - Xenophon, Tyrannicus part 5 --- Support this podcast: https://podcasters.spotify.com/pod/show/donavon-riley/support

In this episode of Higher Ed Now, the second of two conversations devoted to core texts, ACTA's Academic Affairs Fellow Veronica Bryant speaks in Spanish with Clemente Cox, classics and philosophy scholar and the Academic Director of the Center of General Studies at the Universidad de los Andes. Their conversation includes the differences between Anglo-Saxon and Hispanic higher education, core curricula, the “barbarism of specialism,” what we mean when we talk about Great Books, the humanities' special relevance today, and the Hispanic Canon study abroad program that Clemente Cox will co-lead with Maria Jose Gomez in summer 2025. Clemente Cox holds a MA in Philosophy, with a concentration in Classical Languages, from the Universidad de los Andes, Chile. He received both his BA in Philosophy and his BA in Literature from the same university. He currently serves as academic director of the Center for General Studies at the Universidad de los Andes, Chile. In addition to coordinating the general education program, he teaches courses in anthropology, ethics and core texts in literature. His research focuses on the intersections between ancient literature and the practical philosophy of figures such as Aristotle, Plato and Xenophon. He is also interested in the tradition of rhetorical education and its potential uses in contemporary educational contexts. In Fall 2024, he will start studying for a Ph.D. in Philosophy at the University of Dallas. 

I'm excited to share with you one of my favorite podcasts that I've recorded!

As the United States gears up for a significant presidential election, the political climate has become an omnipresent factor influencing journalism and PR strategies.David Fuscus, CEO of Xenophon Strategies and Précis AI, talks about the intricate relationships between politics, media, and public relations. He shares his observations on the current polarized state of the country and its impact on businesses, journalists, and PR professionals alike.Key Takeaways PR professionals must counsel clients on the importance of strategic and tactical decisions, especially in politically charged times. Companies should be aware of the political landscape, especially during election cycles, to avoid unintended controversies. The media environment has evolved significantly, necessitating a nuanced understanding of both traditional and new media. The PR industry's focus has shifted from purely earned media to include a significant portion of social media and niche publications. Businesses must be prepared for unintended political entanglements and understand how to manage crises effectively.About the Guest David Fuscus is CEO of Xenophon Strategies, a Washington, DC based public relations agency that he founded in 2000. Xenophon works with clients from around the world such as Airbus, The Virgin Group, The U.S. Centers for Disease Control, the U.S. Coast Guard and NEC Corporation. Fuscus wrote his first press release for his parents restaurant when he was 19 and he's been a PR professional ever since. In 2023, he was one of two inductees into the PRSA Hall of Fame and was the President of the Public Relations Global Network that same year. Fuscus is also the CEO/Founder of Précis AI which recently launched Précis Public Relations, a generative AI platform highly specialized for PR and marketing.About the Host Abbie Fink is president of HMA Public Relations in Phoenix, Arizona and a founding member of PRGN. Her marketing communications background includes skills in media relations, digital communications, social media strategies, special event management, crisis communications, community relations, issues management, and marketing promotions for both the private and public sectors, including such industries as healthcare, financial services, professional services, government affairs and tribal affairs, as well as not-for-profit organizations. PRGN Presents is brought to you by Public Relations Global Network, the world's local public relations agency. Our executive producer is Adrian McIntyre. Follow the Podcast If you enjoyed this episode, please follow PRGN Presents in Apple Podcasts, Spotify, Google Podcasts, or any other podcast app. We publish new episodes every other Thursday. To have them delivered automatically and free of charge, just choose your preferred podcast player from this list, open the app, and click the button to “Follow” or “Subscribe” to the show: https://prgnpodcast.com/listenNeed to hire a PR firm? Leading a business effectively in today's fast-paced world requires expert guidance and a strong...

Controversial things are happening on the campus of the University of Austin (UATX), the brand new anti-woke university designed to “dare” its students to “think”. Last week, we interviewed UATX's founding president, Pano Kanelos, who explained how he was trying to build what he called a 21st century “liberal university”. Today, in this KEEN ON America interview, we talk to Jacob Howland, UATX's founding Provost, on what should be taught at this university. For some, of course, Howland's focus on a 21st century anti-woke university education represents a new humanism; for others, it's the last gasps of a reactionary 20th century intellectual elite. In either case, UATX is a provocative pedagogical experiment which we, at KEEN ON America, will be following as the new university opens its doors to students this month.JACOB HOWLAND is Provost, Senior Vice President for Academic Affairs, and Dean of Intellectual Foundations at the University of Austin. Previously he was McFarlin Professor of Philosophy Emeritus at the University of Tulsa, where he taught from 1988 to 2020. He has published five books and roughly sixty scholarly articles and review essays on the thought of Plato, Aristotle, Xenophon, Kierkegaard, the Talmud, the Holocaust, ideological tyranny, and other subjects  A past winner of the University of Tulsa Outstanding Teacher Award and the College of Arts and Sciences Excellence in Teaching Award, Howland has received grants from the National Endowment for the Humanities, The Littauer Foundation, the Earhart Foundation, and the Koch Foundation, and has lectured in Israel, France, England, Romania, Brazil, Denmark, Norway, and at universities around the United States.  His most recent book is Glaucon's Fate: History, Myth, and Character in Plato's Republic, Paul Dry Books, 2018. In addition, his articles have appeared in The New Criterion, Commentary, Newsweek, the Claremont Review of Books, the Jewish Review of Books, City Journal, Mosaic, Tablet, the New York Post, Unherd, Quillette, Forbes, and The Nation, among other venues. He has appeared in numerous podcasts including The Symbolic World, The Art of Manliness, and the podcast of City Journal and First Things.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

This lecture discusses key ideas from the ancient philosopher and statesman Marcus Tullius Cicero's work, On The Nature Of The Gods, which critically examines Epicurean, Stoic, and Skeptic perspectives on matters of theology and cosmology Specifically it the Epicurean Velleius' criticisms of various ancient philosophers viewpoints on the divine. These include a number of pre-Socratics, such as: Thales, Anaximander, Anaximenes, Anaxagoras, Alcmæo of Croton, Pythagoras, Xenophanes, Parmenides, Empedocles, Protagoras, Democritus, and Diogenes of Apollonia. He also criticises the views of post-Socratics like Plato, Xenophon, Antisthenes, Speusippus, Aristotle, Xenocrates, Heraclides of Pontus, and Theophrastus To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3,000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Cicero's On The Nature Of Gods - https://amzn.to/3JITSZc

About the Olympics, Athenian demagogues, and the importance of cultivating a love of Latin in local communities. Bob Simmons is an Associate Professor and Chair of Classics at Monmouth College in Monmouth, Illinois. His research interests include Athenian demagogues, political and social conflict in 5th-century Athens, and sports in ancient Greece and Rome. He is the author of Demagogues, Power, and Friendship in Classical Athens: Leaders as Friends in Aristophanes, Euripides, and Xenophon, a book published by Bloomsbury in 2023. Over the course of his career, Bob has received such recognitions as the Award for Excellence in College Teaching from the Classical Association of the Middle West and South, the Outreach Prize from the Society for Classical Studies, and the Charles Humphreys Award for Innovative Pedagogy from the American Classical League. In the summer of 2024, he served as the Co-Director of The Ancient Olympics and Daily Life in Ancient Olympia: A Hands-On History, a National Endowment for the Humanities Summer Institute for K-12 teachers.  The other Co-Director of this NEH Institute – friend of the podcast Nathalie Roy. You can learn more about Nathalie and her innovative approach to classical studies in Episode 31 and Episode 3. How Can We Save Latin in our Public High Schools? (Bob's 2019 article for the SCS Blog) Show Me the Money: Pliny, Trajan, and the Iselastic Games (referenced by Bob at the very end of the episode) Recorded in July of 2024 ⁠⁠⁠⁠⁠⁠Quintilian⁠⁠⁠⁠⁠⁠ is supported by a Bridge Initiative Grant from the Committee for the Promotion of Latin and Greek, a division of the ⁠⁠⁠⁠⁠⁠⁠⁠⁠Classical Association of the Middle West and South⁠⁠⁠⁠⁠⁠⁠⁠⁠. Music: "Echo Canyon Instrumental" by ⁠⁠⁠⁠⁠⁠⁠⁠⁠Clive Romney⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Comments or questions about this podcast may be directed to ryangsellers@gmail.com. Thanks for listening! If you're enjoying ⁠⁠⁠⁠⁠⁠Quintilian⁠⁠⁠⁠⁠⁠, please leave us a rating and/or a review on your favorite podcast distribution platform.

This week Jeff and Dave continue their look at Carl Richard's 2009 masterpiece on Classics in America. As Richard surveys the antebellum landscape, there are some surprises in store. For example, devotion to the Classics, to the expanding literary reign of 'Tully' was not limited to the eastern elite along the seaboard. Even in the hinterlands, rustic frontier types were clutching copies of Cicero's Catilinarians. And, with the war for Greek independence raging abroad, Lord Byron and others fostered a wave of Hellenism that swept through American schools. No longer did the Romans dominate. Now, Aeschylus, Euripides, Xenophon, and a host of others--both in the original and in translation--rode a wave of new found popularity. Perhaps most surprisingly, the President of Yale Jeremiah Day briefly considered appointing a Prof. of Whittling. So grab your penknife, your whittlin' gloves, a jug of Mountain Dew, and tune in!

Hey, Hi, Hello, this is the History Wizard and welcome back for Day 17 of Have a Day w/ The History Wizard. Thank you to everyone who tuned in for Day 16 last week, and especially thank you to everyone who rated and/or reviewed the podcast. I hope you all learned something last week and I hope the same for this week. We're going to do something different this week. We've been learning about some, frankly depressing things. War, genocide, slaughter, ethnic tensions and cleansings. These are all important things to be learning about. Especially the ones that are happening in the world right now. But it is always important to remember to take care of ourselves. We need to take some time to breathe and remember that we are human beings with thoughts and feelings and that we require rest or we will, quite simply, die. So today, after our visit to the Alchemist's Table, we are going to learn about the history of juggling! Today's libation is called Herb Garden. It's 1 oz each of gin, elderflower liquor, and jagermeister. 2 splashes each of Orleans and Cardamom bitters, and a splash of lavender simple syrup. Shake well and strain into a glass with muddled mint. Top with lemonade and enjoy! So! Now onto the juggling. First let's get the obvious out of the way. What is juggling? Juggle is a verb and it is defined as to continuously toss into the air and catch (a number of objects) so as to keep at least one in the air while handling the others, typically for the entertainment of others. Though it also bears mentioning that what we will be discussing in this episode is more specifically referred to as toss juggling. Bounce juggling and contact juggling also exist as distinct disciplines. Moving forward I'll be using the general term juggling, but know that we are discussing toss juggling. The classic tool for juggling is, obviously, balls but you can juggle anything that you can throw. I've seen people juggle knives, flaming torches, chainsaws, music stands, bowling balls. Anything you can throw. Although, the three most basic juggling props are balls, clubs, and rings. The oldest archeological depiction that we have of juggling comes from ancient Egypt from around the 21st century BCE. There was some wall art in the Beni Hasan cemetery complex that appears to show 4 young women juggling balls. We say appears to be because without text based evidence describing the scene or the ability to talk to someone who made the art it's just a guess. But you can look up the wall art, and it looks like juggling to me. The next big piece of juggling in the historical record comes from the Spring and Autumn period of Chinese history and it is not only my favorite story from the history of juggling, but it is also one of my favorite historical stories to exist, full stop. Xiong Yiliao was a Chu warrior who fought under King Zhuang of Chu during the Spring and Autumn period of Chinese history. Ancient Chinese annals state that he practiced nòngwán, "throwing multiple objects up and down without dropping". During a battle in about 603 BC between the states of Chu and Song, Xiong Yiliao stepped out between the armies and juggled nine balls, which so amazed the Song troops that all five hundred of them turned and fled, allowing the Chu army to win a complete victory. Dude just walked in between two armies about to fight and pulled one of the biggest bluffs since the Empty Fort Strategy. But also, NINE BALLS!??!?! That's amazingly impressive. The world record for most balls juggled at a single time TODAY is only 11. The record was set by Alex Barron on the 3rd of April, 2012. Juggling 9 balls is still considered a massive achievement. I've never really been able to progress beyond 3. There's another story from the Spring and Autumn period of a man named Lanzi who was known to walk around on stilts that were “twice as long as his body” while juggling 7 jian swords. Let's put aside, for a moment, that jian swords are not weighted even remotely close to how modern juggling clubs or knives are and that they are far longer. The current record for most clubs juggled is only 8. It was set in 2023 by Moritz Rosner who managed a bare 18 tosses and catches before losing the pattern. Lanzi, by the way, was probably not the guy's actual name. Lanzi was often used as a general term for itinerant entertainers during this time. The Ancient Greek historian Manetho once described jugglers and acrobats thusly:  “birds of the country, the foulest brood of the city.” Male and female jugglers jumped forward and backward over swords or tables; girls threw up and caught again a number of balls or hoops to the accompaniment of a musical instrument; others displayed an astounding skill with their feet and toes while standing on their hands. And the Greek historian Xenophon once had this to say about the performance of a dancing girl at a party hosted by Socrates: And at the instant her fellow with the flute commenced a tune to keep her company, whilst someone posted at her side kept handing her the hoops till she had twelve in all. With these in her hands she fell to dancing, and the while she danced she flung the hoops into the air - overhead she sent them twirling - judging the height they must be thrown to catch them as they fell in perfect time. The record for ring juggling, by the way, is only 13 rings and was set in 2002 by Albert Lucas who managed exactly 13 throws and catches. Now, many of these ancient historians were known to exaggerate, so it's unclear if these historic records are real, or if they were just picking numbers they assumed were impressive. If the former, it's wild that the records have increased by so little. If the latter, they were correct. Ancient Roman sources make mention of jugglers and juggling fairly frequently. They mention contact juggling with glass spheres a number of times and Sidonius Apollinaris, a Roman officer leading a legion in the French province of Niemen, allegedly wrote in his letters that he enjoyed juggling three or four balls as a hobby for his own satisfaction and to entertain his companions in the legions. The Boke of Saint Albans, published in England in 1486, contains one of my very favorite  juggling fun facts. It mentions a “Neverthriving of Jugglers” as part of a list of collective nouns. This is hilarious and painful and it is nearly impossible to make a thriving wage as a juggler. Stewart Culin in Games of the North American Indians, a book that was written in 2012 lists examples of juggling among the Naskapi, Eskimo, Achomawi, Bannock, Shoshone, Ute, and Zuni tribes of North America. One example, quoted from George Dorsey, describes a game played by Shoshone women who juggled up to four balls made of mud, cut gypsum, or rounded water-worn stones. Dorsey describes betting contests in which the women raced toward an objective such as a tree or tipi while juggling. This is very similar to a modern day sport called joggling where participants juggle while jogging. From 1768 onwards, when Phillip Astley opened the first modern circus he included jugglers along with his equestrian acts, acrobatics, and clowns. And in 1793 when John Bill Rickets brought the idea of the circus to the United States and performed for George Washington he juggled while on horseback. So largely from the 18th century forward juggling has been heavily associated with the circus. There have been man firsts and exciting advancements made in the field of juggling over the years. From Jim Harrigan creating the concept of comedic juggling to Dewitt Cook inventing the modern concept of club juggling when he performed a routine using Indian Clubs. Indian clubs are a heavy wooden club that was and still are used as a strengthening and conditioning tool. They are much heavier and not weighted quite the same as modern plastic clubs. There have also been more weird stories, such as Enrico Rastelli who was born in Siberia in 1896. Widely hailed as one of the greatest jugglers of all time he was the first recorded person to juggle 10 balls, though he was never able to juggle 9. There was also Charles Hoey who was the first to juggle 4 clubs, though he could not stop juggling without dropping. When performing on stage the curtain had to be closed while he was still juggling so the audience wouldn't see him drop. Juggling has a long and delightfully quirky history. It's one of my favorite party trick, though one that I don't practice as often as I used to or as often as I should. Still, it's fun to do and fun to learn about. I hope you enjoyed learning about it, because next week it's right back into the breach. That's it for this week folks. No new reviews, so let's get right into the outro. Have a Day! w/ The History Wizard is brought to you by me, The History Wizard. If you want to see/hear more of me you can find me on Tiktok @thehistorywizard or on Instagram @the_history_wizard. Please remember to rate, review, and subscribe to Have a Day! On your pod catcher of choice. The more you do, the more people will be able to listen and learn along with you. Thank you  for sticking around until the end and, as always, Have a Day.  

Welcome to Episode 232 of Lucretius Today. This is a podcast dedicated to the poet Lucretius, who wrote "On The Nature of Things," the most complete presentation of Epicurean philosophy left to us from the ancient world. Each week we walk you through the Epicurean texts, and we discuss how Epicurean philosophy can apply to you today. If you find the Epicurean worldview attractive, we invite you to join us in the study of Epicurus at EpicureanFriends.com. Today we are continuing to review the Epicurean sections of Cicero's "On the Nature of The Gods," as presented by the Epicurean spokesman Velleius. Today's Text XII. ... What shall I say of Democritus, who classes our images of objects, and their orbs, in the number of the Gods; as he does that principle through which those images appear and have their influence? He deifies likewise our knowledge and understanding. Is he not involved in a very great error? And because nothing continues always in the same state, he denies that anything is everlasting, does he not thereby entirely destroy the Deity, and make it impossible to form any opinion of him? Diogenes of Apollonia looks upon the air to be a Deity. But what sense can the air have? or what divine form can be attributed to it? It would be tedious to show the uncertainty of Plato's opinion; for, in his Timæus, he denies the propriety of asserting that there is one great father or creator of the world; and, in his book of Laws, he thinks we ought not to make too strict an inquiry into the nature of the Deity. And as for his statement when he asserts that God is a being without any body—what the Greeks call ἀσώματος—it is certainly quite unintelligible how that theory can possibly be true; for such a God must then necessarily be destitute of sense, prudence, and pleasure; all which things are comprehended in our notion of the Gods. He likewise asserts in his Timæus, and in his Laws, that the world, the heavens, the stars, the mind, and those Gods which are delivered down to us from our ancestors, constitute the Deity. These opinions, taken separately, are apparently false; and, together, are directly inconsistent with each other. Xenophon has committed almost the same mistakes, but in fewer words. In those sayings which he has related of Socrates, he introduces him disputing the lawfulness of inquiring into the form of the Deity, and makes him assert the sun and the mind to be Deities: he represents him likewise as affirming the being of one God only, and at another time of many; which are errors of almost the same kind which I before took notice of in Plato.

An interview with Johnny Burtka, the President and Chief Executive Officer of the Intercollegiate Studies Institute. He is a graduate of Hillsdale College, and his most recent book is titled “Gateway to Statesmanship—Selections from Xenophon to Churchill”.In this episode:The Mirrors for Princes traditionObstacles as a Ladder to GreatnessThe Potency of Xenophon's ‘Education of Cyrus'The Leadership Qualities of CyrusThe Complex Enduring Power of Cicero's ‘On Duties'Cultivating Greatness of Soul and the Magnitudo Animi of ChurchillMachiavelli as Practitioner, not Political PhilosopherWhere should an 18-year old dedicate himself to?Washington's Farewell Address as a Beautiful Political TextBooks Mentioned:Gateway to Statesmanship—Selections from Xenophon to Churchill by Johnny BurtkaEducation of Cyrus by XenophonOn Duties by CiceroThe Founders: The Story of PayPal and the Entrepreneurs Who Shaped Silicon Valley by Jimmy SoniWalking with Destiny by Andrew RobertsFor the episode transcript, be sure to subscribe to my Substack!Thanks to our sponsor Intercollegiate Studies Institute! Check out their programs on supporting quality thought and intellectual life in and after your college years.

In this spontaneous musing, I dive into the surprising connections between two films: Whatever Works and Another Round. Both movies explore the complexities of love, life, and personal growth, showing that there's no one-size-fits-all approach to finding happiness and meaning. Drawing on insights from philosophy, I discuss how these films reflect the idea that life's advice isn't universal; what works for one person may not work for another. This theme is echoed in the characters' experiences with love and drinking in the movies, highlighting the unpredictable nature of life. But I also discuss how Whatever Works doesn't mean that Anything Goes! There is still room for good life advice, and you'll hardly find a better of that than Socrates, especially the down-to-earth version we get in Xenophon's Memorabilia. If you enjoyed this discussion, don't forget to like, comment, and subscribe for more musings on philosophy, politics, and life.

The idea of sexual fluidity may seem new, but it is at least as old as the ancient Greeks, who wrote about queer experiences with remarkable frankness, wit, and insight. Sarah Nooter's  How to Be Queer: An Ancient Guide to Sexuality (Princeton UP, 2024) is an infatuating collection of these writings about desire, love, and lust between men, between women, and between humans and gods, in lucid and lively new translations. Filled with enthralling stories, this anthology invites readers of all sexualities and identities to explore writings that describe many kinds of erotic encounters and feelings, and that envision a playful and passionate approach to sexuality as part of a rich and fulfilling life. How to Be Queer starts with Homer's Iliad and moves through lyric poetry, tragedy, comedy, philosophy, and biography, drawing on a wide range of authors, including Sappho, Plato, Anacreon, Pindar, Theognis, Aristophanes, and Xenophon. It features both beautiful poetry and thought-provoking prose, emotional outpourings and humorous anecdotes. From Homer's story of the relationship between Achilles and Patroclus, one of the most intense between men in world literature, to Sappho's lyrics on the pleasures and pains of loving women, these writings show the many meanings of what the Greeks called eros. Complete with brief introductions to the selections, and with the original Greek on facing pages, How to Be Queer reveals what the Greeks knew long ago--that the erotic and queer are a source of life and a cause for celebration. 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

The idea of sexual fluidity may seem new, but it is at least as old as the ancient Greeks, who wrote about queer experiences with remarkable frankness, wit, and insight. Sarah Nooter's  How to Be Queer: An Ancient Guide to Sexuality (Princeton UP, 2024) is an infatuating collection of these writings about desire, love, and lust between men, between women, and between humans and gods, in lucid and lively new translations. Filled with enthralling stories, this anthology invites readers of all sexualities and identities to explore writings that describe many kinds of erotic encounters and feelings, and that envision a playful and passionate approach to sexuality as part of a rich and fulfilling life. How to Be Queer starts with Homer's Iliad and moves through lyric poetry, tragedy, comedy, philosophy, and biography, drawing on a wide range of authors, including Sappho, Plato, Anacreon, Pindar, Theognis, Aristophanes, and Xenophon. It features both beautiful poetry and thought-provoking prose, emotional outpourings and humorous anecdotes. From Homer's story of the relationship between Achilles and Patroclus, one of the most intense between men in world literature, to Sappho's lyrics on the pleasures and pains of loving women, these writings show the many meanings of what the Greeks called eros. Complete with brief introductions to the selections, and with the original Greek on facing pages, How to Be Queer reveals what the Greeks knew long ago--that the erotic and queer are a source of life and a cause for celebration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The idea of sexual fluidity may seem new, but it is at least as old as the ancient Greeks, who wrote about queer experiences with remarkable frankness, wit, and insight. Sarah Nooter's  How to Be Queer: An Ancient Guide to Sexuality (Princeton UP, 2024) is an infatuating collection of these writings about desire, love, and lust between men, between women, and between humans and gods, in lucid and lively new translations. Filled with enthralling stories, this anthology invites readers of all sexualities and identities to explore writings that describe many kinds of erotic encounters and feelings, and that envision a playful and passionate approach to sexuality as part of a rich and fulfilling life. How to Be Queer starts with Homer's Iliad and moves through lyric poetry, tragedy, comedy, philosophy, and biography, drawing on a wide range of authors, including Sappho, Plato, Anacreon, Pindar, Theognis, Aristophanes, and Xenophon. It features both beautiful poetry and thought-provoking prose, emotional outpourings and humorous anecdotes. From Homer's story of the relationship between Achilles and Patroclus, one of the most intense between men in world literature, to Sappho's lyrics on the pleasures and pains of loving women, these writings show the many meanings of what the Greeks called eros. Complete with brief introductions to the selections, and with the original Greek on facing pages, How to Be Queer reveals what the Greeks knew long ago--that the erotic and queer are a source of life and a cause for celebration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

This week, we conclude a relaxing Greek classic about getting the best from your cavalry horse, including what to wear, and then fall asleep to the riveting legalese of Project Gutenberg's usage license for all these free eBooks I share with you. The horse stuff is more fun, to be honest.   Giveaway! All Patreon supporters in May will have a chance at one of four slots to determine our readings for August. By joining Patreon, you get exclusive episodes, keep us ad-free AND get a chance to hear your personal fave. Win-win! Patreon: https://www.patreon.com/boringbookspod Buy Me a Coffee: https://www.buymeacoffee.com/d5kcMsW   Read “On Horsemanship” at Project Gutenberg: https://www.gutenberg.org/ebooks/1176   Music: "earth 2 earth,” by PC III, licensed under CC BY   If you'd like to suggest a copyright-free reading for soft-spoken relaxation to help you overcome insomnia, anxiety and other sleep issues, connect on our website, http://www.boringbookspod.com.

#socrates #philosophy #inspiration Socrates (470–399 BC) was a Greek philosopher from Athens who is credited as the founder of Western philosophy and among the first moral philosophers of the ethical tradition of thought. An enigmatic figure, Socrates authored no texts and is known mainly through the posthumous accounts of classical writers, particularly his students Plato and Xenophon. KiranPrabha, in this talk show, made an attempt to reconstruct Socrates life journey (from books published around 1900 - 1930). Socrates philosophy was also discussed at a high level.

Guests: John J. Miller, John A. Burtka IV, & Andrew Russell Host Scot Bertram talks with John J. Miller, director of the Dow Journalism Program at Hillsdale College and author of Reading Around, about proposals around the country to institute taxpayer-funded "news voucher" systems to support local news reporting. John Burtka, president and chief executive officer of the Intercollegiate Studies Institute, describes the lost art of training statesmen and discusses his new edited collection of historical essays on statesmanship, Gateway to Statesmanship: Selections from Xenophon to Churchill. And Andrew Russell, associate professor of biology at Hillsdale College, continues a conversation on biofilms and his work on the applications of the compound zingerone.See omnystudio.com/listener for privacy information.

We have a preponderance of books on leadership in business; yet, despite broad dissatisfaction with our political leaders, almost none on how to be a good statesman. John A. Burtka IV, President and CEO of the Intercollegiate Studies Institute, discusses lessons on political leadership from thinkers and leaders throughout history, from Xenophon and Aristotle to […]

In this episode, John A. Burtka IV joins Mark Bauerlein to discuss his new book, “Gateway to Statesmanship: Selections from Xenophon to Churchill.” Music by J. S. Bach/C. Gounod, public domain. Track edited, cropped, and merged with another track.

In this episode, John A. Burtka IV joins Mark Bauerlein to discuss his new book, “Gateway to Statesmanship: Selections from Xenophon to Churchill.” Music by J. S. Bach/C. Gounod, public domain. Track edited, cropped, and merged with another track.

On this episode of "The Federalist Radio Hour," John Burtka, president and CEO of the Intercollegiate Studies Institute, joins Federalist Culture Editor Emily Jashinsky to discuss the decline of statesmanship and analyze how the example of ancient philosophers could help rebuild it. You can find Burtka's book Gateway to Statesmanship: Selections from Xenophon to Churchill here. If you care about combatting the corrupt media that continue to inflict devastating damage, please give a gift to help The Federalist do the real journalism that America needs.

On this episode of “The Federalist Radio Hour,” John Burtka, president and CEO of the Intercollegiate Studies Institute, joins Federalist Culture Editor Emily Jashinsky to discuss the decline of statesmanship and analyze how the example of ancient philosophers could help rebuild it. You can find Burtka’s book Gateway to Statesmanship: Selections from Xenophon to Churchill […]

Join Victor Davis Hanson with cohost Sami Winc this weekend for a discussion of Biden's "reassuring" speech, the Biden classified files, and Xenophon's life as a soldier, philosopher, historian, and his works covering everything from war to Socrates to everyday life--is he the first man we should know from Ancient Greece.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

John Burtka, president of ISI, joins me to discuss his new book Gateway to Statesmanship: Selections from Xenophon to Churchill. It's a collection of some of the best writing in history about the nature of the statesman.Buy the book: https://www.amazon.com/Gateway-Statesmanship-Selections-Xenophon-Churchill/dp/1684515432/Subscribe to my newsletter: https://www.aaronrenn.com/