Literature enthusiast Jacke Wilson journeys through the history of literature, from ancient epics to contemporary classics.Find out more at historyofliterature.com and facebook.com/historyofliterature.
Literature enthusiast Jacke Wilson journeys through the history of literature, from ancient epics to contemporary classics.Find out more at historyofliterature.com and facebook.com/historyofliterature.
© 2019 OwlTail All rights reserved. OwlTail only owns the podcast episode rankings. Copyright of underlying podcast content is owned by the publisher, not OwlTail. Audio is streamed directly from Recorded History Podcast Network servers. Downloads goes directly to publisher.
This podcast is an introduction to Anglophone literature, from ancient times to the present, done by a Ph.D. with lots of books and musical instruments. A typical episode offers a summary of a work, or part of a work of literature, followed by some historical analysis. The episodes include original music, some comedy songs, and goofy jokes. You can listen to the shows in any order, although from time to time, episodes will make brief mention of previous or upcoming ones.
Rank #1: Episode 65: Seneca and the Julio-Claudians (The Life of Seneca).
Seneca the Younger (c 1 BCE-65 CE) practiced the philosophy of stoicism over the course of several volatile, and very different imperial reigns.
Rank #2: Episode 54: Out of Troy (Virgil's Aeneid, Books 1-3).
Virgil’s Aeneid, Books 1-3. The Aeneid is Rome’s great epic. Learn the story of its first three books, and when and why Virgil began writing it.
Entitled Opinions is a literary talk show on Stanford University Radio, KZSU, in which Professor Robert Harrison interviews guests about issues that range from literature and philosophy to politics and sports.
Rank #1: American Literature - Tobias Wolff.
February 9, 2010--Robert Harrison speaks with author Tobias Wolff about his fiction, J.D. Salinger, and the art of the short story.
Rank #2: Friedrich Nietzsche - Andrew Mitchell.
May 26, 2009--A conversation about the philosophy of Friedrich Nietzsche with Andrew Mitchell, professor of philosophy at Emory University. This is Andrew Mitchell's 3rd appearance on Entitled Opinions. He has spoken twice previously about Martin Heidegger.
Home to the world's largest collection of Shakespeare materials. Advancing knowledge and the arts. Discover it all at www.folger.edu. Shakespeare turns up in the most interesting places—not just literature and the stage, but science and social history as well. Our "Shakespeare Unlimited" podcast explores the fascinating and varied connections between Shakespeare, his works, and the world around us.
Rank #1: Myths About Shakespeare (rebroadcast).
Even if you’re not a Shakespeare scholar, there are things you have learned about Shakespeare and his plays throughout your life – that it’s bad luck to say the name of “the Scottish play” or that Shakespeare hated his wife. Are any of these stories true? And whether they are or not, what do they tell us about previous eras, and our own? (This episode was first released on April 22, 2015.) From the Shakespeare Unlimited podcast series. © Folger Shakespeare Library. All rights reserved. Emma Smith, a professor of English at Oxford University, is co-author, along with Laurie Maguire, of "30 Great Myths About Shakespeare." She was interviewed by Rebecca Sheir. This episode, “Thou Dost But Say 'Tis So”, was produced by Richard Pau.; Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had help from Nick Moorbath at Evolution Studios in Oxford, and Jonathan Charry at public radio station WAMU.
Rank #2: Shakespeare and Magic.
In Shakespeare’s THE TEMPEST, the magician Prospero conjures up a storm, charms his daughter to sleep, and uses his power to control Ariel and other spirits. Is this magic for real, or is Prospero pulling off elaborate illusions?Fascinated by this question and by Prospero’s relinquishing of magic at the play’s end, Teller (of the magic/comedy team Penn & Teller) co-directed a production of THE TEMPEST with Aaron Posner at Chicago Shakespeare Theater in 2015.In this episode of Shakespeare Unlimited, Teller joins Barbara Mowat, director of research emerita at the Folger and co-editor of the Folger Editions, to talk about magic in THE TEMPEST and other Shakespeare plays, as well as the attitudes about magic in late sixteenth- and early seventeenth-century England. Teller and Mowat are interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. © March 8, 2016. Folger Shakespeare Library. All rights reserved. This podcast episode is called “Enter Prospero in His Magic Robes, and Ariel.” It was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. We had help from Melissa Marquis at NPR in Washington, Rick Andrews and Casey Morell at Nevada Public Radio in Las Vegas, and Steven Martin at KPCC in Los Angeles.
Podcasts exploring the relationship between literary works and the artwork and Oxford. From J.R.R Tolkien to Philip Pullman, authors have been inspired by Oxford; the architecture, history and culture of the city. This podcast series includes lectures and events which celebrate and explore the literature and art inspired by Oxford
Rank #1: Achebe and the African Writers Series .
A special seminar held at the Postcolonial Writing and Theory Seminar at Wadham College on 2nd May 2013.
Rank #2: Walcott and Naipaul: History and Myth .
Catherine Brown, Lecturer in English Literature, compares West Indian writers Derek Walcott and Vidiadhar Surajprasad Naipaul on their attitudes towards history and myth.
Recordings from the popular public lecture series featuring new work on all aspects of intellectual history. Hosted by the Institute of Intellectual History at the University of St Andrews.
Rank #1: Knud Haakonssen - Political Economy and Utopia, or the Paternalistic Enlightenment in Scotland.
Thomas Reid, the philosopher and founder of the Scottish School of Common Sense, did not publish much on politics, but his manuscripts reveal that he was deeply concerned with social, political and economic issues throughout his career. In this talk, Knud Haakonssen presents an analysis of Reid's hitherto unpublished Glasgow lecture notes, and shows that Reid was an acute commentator on contemporary politics and that his theoretical ideas framed solutions to some of the practical political and economic problems of his day.
Rank #2: Donald Winch - The Political Economy of Empire.
Historians of economics have always been attracted to the political economy of empire because it tells us so much about how serious economic thinking has been shaped by colonial themes. In this lecture, Donald Winch explores this importance of colonies, arguing that whilst the political economy of empire was eventually a theory of capitalist imperialism, it still owed a great deal to those who formulated a case for colonisation as a remedy to some of Britain's problems as a mature economy in the 1820s and 1830s.
Classic Poetry Aloud gives voice to poetry through podcast recordings of the great poems of the past. Our library of poems is intended as a resource for anyone interested in reading and listening to poetry. For us, it's all about the listening, and how hearing a poem can make it more accessible, as well as heightening its emotional impact.See more at: www.classicpoetryaloud.com
Rank #1: 317. Aloof by Christina Georgina Rossetti.
CG Rossetti read by Classic Poetry Aloud: http://www.classicpoetryaloud.com/ Giving voice to the poetry of the past. --------------------------------------------- Aloof by Christina Georgina Rossetti (1830 – 1894) The irresponsive silence of the land, The irresponsive sounding of the sea, Speak both one message of one sense to me:— Aloof, aloof, we stand aloof, so stand Thou too aloof, bound with the flawless band Of inner solitude; we bind not thee; But who from thy self-chain shall set thee free? What heart shall touch thy heart? What hand thy hand? And I am sometimes proud and sometimes meek, And sometimes I remember days of old When fellowship seem'd not so far to seek, And all the world and I seem'd much less cold, And at the rainbow's foot lay surely gold, And hope felt strong, and life itself not weak. First aired: 11 August 2008 For hundreds more poetry readings, visit the Classic Poetry Aloud index. Reading © Classic Poetry Aloud 2008
Rank #2: 338. When Lilacs Last in the Door-yard Bloom’d by Walt Whitman.
W Whitman read by Classic Poetry Aloud: http://www.classicpoetryaloud.com/ Giving voice to the poetry of the past. --------------------------------------------- When Lilacs Last in the Door-yard Bloom’d from Leaves of Grass by Walt Whitman (1819 – 1892) This reading lasts some 20 minutes. 1 When lilacs last in the door-yard bloom’d, And the great star early droop’d in the western sky in the night, I mourn’d—and yet shall mourn with ever-returning spring. O ever-returning spring! trinity sure to me you bring; Lilac blooming perennial, and drooping star in the west, And thought of him I love. 2 O powerful, western, fallen star! O shades of night! O moody, tearful night! O great star disappear’d! O the black murk that hides the star! O cruel hands that hold me powerless! O helpless soul of me! O harsh surrounding cloud, that will not free my soul! 3 In the door-yard fronting an old farm-house, near the white-wash’d palings, Stands the lilac bush, tall-growing, with heart-shaped leaves of rich green, With many a pointed blossom, rising, delicate, with the perfume strong I love, With every leaf a miracle......and from this bush in the door-yard, With delicate-color’d blossoms, and heart-shaped leaves of rich green, A sprig, with its flower, I break. 4 In the swamp, in secluded recesses, A shy and hidden bird is warbling a song. Solitary, the thrush, The hermit, withdrawn to himself, avoiding the settlements, Sings by himself a song. Song of the bleeding throat! Death’s outlet song of life—(for well, dear brother, I know If thou wast not gifted to sing, thou would’st surely die.) 5 Over the breast of the spring, the land, amid cities, Amid lanes, and through old woods, (where lately the violets peep’d from the ground, spotting the gray debris;) Amid the grass in the fields each side of the lanes—passing the endless grass; Passing the yellow-spear’d wheat, every grain from its shroud in the dark-brown fields uprising; Passing the apple-tree blows of white and pink in the orchards; Carrying a corpse to where it shall rest in the grave, Night and day journeys a coffin. 6 Coffin that passes through lanes and streets, Through day and night, with the great cloud darkening the land, With the pomp of the inloop’d flags, with the cities draped in black, With the show of the States themselves, as of crape-veil’d women, standing, With processions long and winding, and the flambeaus of the night, With the countless torches lit—with the silent sea of faces, and the unbared heads, With the waiting depot, the arriving coffin, and the sombre faces, With dirges through the night, with the thousand voices rising strong and solemn; With all the mournful voices of the dirges, pour’d around the coffin, The dim-lit churches and the shuddering organs—Where amid these you journey, With the tolling, tolling bells’ perpetual clang; Here! coffin that slowly passes, I give you my sprig of lilac. 7 (Nor for you, for one, alone; Blossoms and branches green to coffins all I bring: For fresh as the morning—thus would I carol a song for you, O sane and sacred death. All over bouquets of roses, O death! I cover you over with roses and early lilies; But mostly and now the lilac that blooms the first, Copious, I break, I break the sprigs from the bushes; With loaded arms I come, pouring for you, For you, and the coffins all of you, O death.) 8 O western orb, sailing the heaven! Now I know what you must have meant, as a month since we walk’d, As we walk’d up and down in the dark blue so mystic, As we walk’d in silence the transparent shadowy night, As I saw you had something to tell, as you bent to me night after night, As you droop’d from the sky low down, as if to my side, (while the other stars all look’d on;) As we wander’d together the solemn night, (for something, I know not what, kept me from sleep;) As the night advanced, and I saw on the rim of the west, ere you went, how full you were of woe; As I stood on the rising ground in the breeze, in the cold transparent night, As I watch’d where you pass’d and was lost in the netherward black of the night, As my soul, in its trouble, dissatisfied, sank, as where you, sad orb, Concluded, dropt in the night, and was gone. 9 Sing on, there in the swamp! O singer bashful and tender! I hear your notes—I hear your call; I hear—I come presently—I understand you; But a moment I linger—for the lustrous star has detain’d me; The star, my departing comrade, holds and detains me. 10 O how shall I warble myself for the dead one there I loved? And how shall I deck my song for the large sweet soul that has gone? And what shall my perfume be, for the grave of him I love? Sea-winds, blown from east and west, Blown from the eastern sea, and blown from the western sea, till there on the prairies meeting: These, and with these, and the breath of my chant, I perfume the grave of him I love. 11 O what shall I hang on the chamber walls? And what shall the pictures be that I hang on the walls, To adorn the burial-house of him I love? Pictures of growing spring, and farms, and homes, With the Fourth-month eve at sundown, and the gray smoke lucid and bright, With floods of the yellow gold of the gorgeous, indolent, sinking sun, burning, expanding the air; With the fresh sweet herbage under foot, and the pale green leaves of the trees prolific; In the distance the flowing glaze, the breast of the river, with a wind-dapple here and there; With ranging hills on the banks, with many a line against the sky, and shadows; And the city at hand, with dwellings so dense, and stacks of chimneys, And all the scenes of life, and the workshops, and the workmen homeward returning. 12 Lo! body and soul! this land! Mighty Manhattan, with spires, and the sparkling and hurrying tides, and the ships; The varied and ample land—the South and the North in the light—Ohio’s shores, and flashing Missouri, And ever the far-spreading prairies, cover’d with grass and corn. Lo! the most excellent sun, so calm and haughty; The violet and purple morn, with just-felt breezes; The gentle, soft-born, measureless light; The miracle, spreading, bathing all—the fulfill’d noon; The coming eve, delicious—the welcome night, and the stars, Over my cities shining all, enveloping man and land. 13 Sing on! sing on, you gray-brown bird! Sing from the swamps, the recesses—pour your chant from the bushes; Limitless out of the dusk, out of the cedars and pines. Sing on, dearest brother—warble your reedy song; Loud human song, with voice of uttermost woe. O liquid, and free, and tender! O wild and loose to my soul! O wondrous singer! You only I hear......yet the star holds me, (but will soon depart;) Yet the lilac, with mastering odor, holds me. 14 Now while I sat in the day, and look’d forth, In the close of the day, with its light, and the fields of spring, and the farmer preparing his crops, In the large unconscious scenery of my land, with its lakes and forests, In the heavenly aerial beauty, (after the perturb’d winds, and the storms;) Under the arching heavens of the afternoon swift passing, and the voices of children and women, The many-moving sea-tides,—and I saw the ships how they sail’d, And the summer approaching with richness, and the fields all busy with labor, And the infinite separate houses, how they all went on, each with its meals and minutia of daily usages; And the streets, how their throbbings throbb’d, and the cities pent—lo! then and there, Falling upon them all, and among them all, enveloping me with the rest, Appear’d the cloud, appear’d the long black trail; And I knew Death, its thought, and the sacred knowledge of death. 15 Then with the knowledge of death as walking one side of me, And the thought of death close-walking the other side of me, And I in the middle, as with companions, and as holding the hands of companions, I fled forth to the hiding receiving night, that talks not, Down to the shores of the water, the path by the swamp in the dimness, To the solemn shadowy cedars, and ghostly pines so still. And the singer so shy to the rest receiv’d me; The gray-brown bird I know, receiv’d us comrades three; And he sang what seem’d the carol of death, and a verse for him I love. From deep secluded recesses, From the fragrant cedars, and the ghostly pines so still, Came the carol of the bird. And the charm of the carol rapt me, As I held, as if by their hands, my comrades in the night; And the voice of my spirit tallied the song of the bird. DEATH CAROL. 16 Come, lovely and soothing Death, Undulate round the world, serenely arriving, arriving, In the day, in the night, to all, to each, Sooner or later, delicate Death. Prais’d be the fathomless universe, For life and joy, and for objects and knowledge curious; And for love, sweet love—But praise! praise! praise! For the sure-enwinding arms of cool-enfolding Death. Dark Mother, always gliding near, with soft feet, Have none chanted for thee a chant of fullest welcome? Then I chant it for thee—I glorify thee above all; I bring thee a song that when thou must indeed come, come unfalteringly. Approach, strong Deliveress! When it is so—when thou hast taken them, I joyously sing the dead, Lost in the loving, floating ocean of thee, Laved in the flood of thy bliss, O Death. From me to thee glad serenades, Dances for thee I propose, saluting thee—adornments and feastings for thee; And the sights of the open landscape, and the high-spread sky, are fitting, And life and the fields, and the huge and thoughtful night. The night, in silence, under many a star; The ocean shore, and the husky whispering wave, whose voice I know; And the soul turning to thee, O vast and well-veil’d Death, And the body gratefully nestling close to thee. Over the tree-tops I float thee a song! Over the rising and sinking waves—over the myriad fields, and the prairies wide; Over the dense-pack’d cities all, and the teeming wharves and ways, I float this carol with joy, with joy to thee, O Death! 17 To the tally of my soul, Loud and strong kept up the gray-brown bird, With pure, deliberate notes, spreading, filling the night. Loud in the pines and cedars dim, Clear in the freshness moist, and the swamp-perfume; And I with my comrades there in the night. While my sight that was bound in my eyes unclosed, As to long panoramas of visions. 18 I saw askant the armies; And I saw, as in noiseless dreams, hundreds of battle-flags; Borne through the smoke of the battles, and pierc’d with missiles, I saw them, And carried hither and yon through the smoke, and torn and bloody; And at last but a few shreds left on the staffs, (and all in silence,) And the staffs all splinter’d and broken. I saw battle-corpses, myriads of them, And the white skeletons of young men—I saw them; I saw the debris and debris of all the dead soldiers of the war; But I saw they were not as was thought; They themselves were fully at rest—they suffer’d not; The living remain’d and suffer’d—the mother suffer’d, And the wife and the child, and the musing comrade suffer’d, And the armies that remain’d suffer’d. 19 Passing the visions, passing the night; Passing, unloosing the hold of my comrades’ hands; Passing the song of the hermit bird, and the tallying song of my soul, (Victorious song, death’s outlet song, yet varying, ever-altering song, As low and wailing, yet clear the notes, rising and falling, flooding the night, Sadly sinking and fainting, as warning and warning, and yet again bursting with joy, Covering the earth, and filling the spread of the heaven, As that powerful psalm in the night I heard from recesses,) Passing, I leave thee, lilac with heart-shaped leaves; I leave thee there in the door-yard, blooming, returning with spring, I cease from my song for thee; From my gaze on thee in the west, fronting the west, communing with thee, O comrade lustrous, with silver face in the night. 20 Yet each I keep, and all, retrievements out of the night; The song, the wondrous chant of the gray-brown bird, And the tallying chant, the echo arous’d in my soul, With the lustrous and drooping star, with the countenance full of woe, With the lilac tall, and its blossoms of mastering odor; With the holders holding my hand, nearing the call of the bird, Comrades mine, and I in the midst, and their memory ever I keep—for the dead I loved so well; For the sweetest, wisest soul of all my days and lands...and this for his dear sake; Lilac and star and bird, twined with the chant of my soul, There in the fragrant pines, and the cedars dusk and dim. First aired: 23 August 2008 For hundreds more poetry readings, visit the Classic Poetry Aloud index. Reading © Classic Poetry Aloud 2008
Lecture series looking at key concepts in studying Literature; including lectures on the concept of unreliable narrators to theory of comparative literature. This series was filmed in the English Faculty in Trinity Term 2012
Rank #1: Literature and Form 4: What is "Comparative Literature"? .
Dr Catherine Brown gives the fourth and final lecture in the Literature and Form lecture series. With a philosophical discussion on what Comparative Literature is and how we can study 'literature in comparison'.
Rank #2: Literature and Form 3: Multiple Plotting .
Dr Catherine Brown gives the third lecture in the Literature and Form lecture series. Including the differing ways writers plot their work; from multi-plotted works like Ulysses (Joyce) to double plotted works like Daniel Deronda (George Eliot).
Each lecture in this series focuses on a single play by Shakespeare, and employs a range of different approaches to try to understand a central critical question about it. Rather than providing overarching readings or interpretations, the series aims to show the variety of different ways we might understand Shakespeare, the kinds of evidence that might be used to strengthen our critical analysis, and, above all, the enjoyable and unavoidable fact that Shakespeare's plays tend to generate our questions rather than answer them.
Rank #1: Macbeth .
In this fourth Approaching Shakespeare lecture the question is one of agency: who or what makes happen the things that happen in Macbeth?
Rank #2: Hamlet .
The fact that father and son share the same name in Hamlet is used to investigate the play's nostalgia, drawing on biographical criticism and the religious and political history of early modern England.
A scattershot podcast about William Shakespeare and his works.
Rank #1: Hamlet Act I.
We're doing Hamlet in a series of five Acts. I think it's a way that we can look at the development of the story and characters as we go through it. Here's Act I.Warning, if you haven't seen Hamlet, or know the story, I'd strongly advise seeing it before doing literally anything else. That may not be too practical because there aren't a lot of theaters performing it at any given time, but it's still nice to dream that someone could see it completely fresh, even today. We're hoping to have our next episode be a very special edition. I'm keeping it a secret right now, but we're very excited!
Rank #2: Twelfth Night.
We both like Twelfth Night a lot. It's our new episode!We've been having a lot of cool comments here, I'm excited about our next mini-episode discussion!
Interviews with Scholars of Literature about their New Books
Rank #1: Paul K. Saint-Amour, “Tense Future: Modernism, Total War, Encyclopedic Form” (Oxford UP, 2015).
Paul K. Saint-Amour, Associate Professor of English at the University of Pennsylvania, is a ruminative thinker and meticulous writer. These traits pay dividends in the surprising insights of his new book, Tense Future: Modernism, Total War, Encyclopedic Form (Oxford University Press, 2015), which reframes total war and literature in the interwar years and in the present moment. The book’s articulation of the partiality of total war, especially its focus on violence committed in the so-called periphery–which denies civilians the protections of officially declared war–is all too familiar in the present. Tense Future, like the texts it examines, defamiliarizes works we thought we knew well. It also makes strange some of the familiar narratives within the field of modernist studies, like that concerning the genre of the Modern Epic. Tense Future decouples encyclopedic form from the modern epic, showing how the encyclopedia inspired interwar writers to playfully wrest totality out of the suffocating grip of total war. Saint-Amour’s boldest claim, that we live in perpetual interwar, sutures the drone attacks of the present to air-war theories developed after the zeppelin raids of WWI. Our own future, though not foreclosed, is nonetheless subject to the aperture of the past. Tense Future reminds us of futures past in order to pry open a little room for hope. Learn more about your ad choices. Visit megaphone.fm/adchoices
Rank #2: Richard Salomon, "The Buddhist Literature of Ancient Gandhāra: An Introduction with Selected Translation" (Wisdom Publications, 2018).
In this episode of New Books in Buddhist Studies, Dr. Richard Salomon speaks about his book The Buddhist Literature of Ancient Gandhāra: An Introduction with Selected Translation (Wisdom Publications, 2018). One of the great archeological finds of the 20th century, the Gandhāran Buddhist Texts, dating from the 1st century CE, are the oldest Buddhist manuscripts ever discovered. Richard discusses his pioneering research on these fascinating manuscripts, how the then obscure Gāndhārī language was deciphered, the historical and religious context from which these texts emerged, and the Gandhāran influence on other parts of the Buddhist world. Learn more about your ad choices. Visit megaphone.fm/adchoices
Author Nigel Warburton reads from his book Philosophy: The Classics which is an introduction to 27 key works in the history of Philosophy
Rank #1: Descartes - Meditations.
Can I know anything for certain? Can I even be sure that I exist? Descartes pushed scepticism to its limits in his Meditations. Nigel Warburton explains Descartes' key ideas and some of the criticisms that can be levelled against them.
Rank #2: Kant - Critique of Pure Reason.
What is our relation to reality? Are some features of our experience conditions of our having any experience at all? In this reading from his book Philosophy: The Classics Nigel Warburton attempts to summarise Immanuel Kant's Critique of Pure Reason, a notoriously difficult yet important book.
Making a selection of objects from the British Museum and collections across the UK, Neil MacGregor uncovers the stories they tell about Shakespeare's world.
Rank #1: Snacking through Shakespeare.
Neil MacGregor, Director of the British Museum, returns to Radio 4 with a new object-based history. Taking artefacts from William Shakespeare's time, he explores how Elizabethan and Jacobean playgoers made sense of the unstable and rapidly changing world in which they lived. With old certainties shifting around them, in a time of political and religious unrest and economic expansion, Neil asks what the plays would have meant to the public when they were first performed. He uses carefully selected objects to explore the great issues of the day that preoccupied the public and helped shape the works, and he considers what they can reveal about the concerns and beliefs of Shakespearean England. Programme 3. SNACKING THROUGH SHAKESPEARE - A luxury fork discovered on the site of the Rose theatre helps explain what people were nibbling on when they first heard: "Is this a dagger I see before me?"Producer: Paul Kobrak.
Rank #2: Life without Elizabeth.
Radio 4 with a new object-based history. Taking artefacts from William Shakespeare's time, he explores how Elizabethan and Jacobean playgoers made sense of the unstable and rapidly changing world in which they lived. With old certainties shifting around them, in a time of political and religious unrest and economic expansion, Neil asks what the plays would have meant to the public when they were first performed. He uses carefully selected objects to explore the great issues of the day that preoccupied the public and helped shape the works, and he considers what they can reveal about the concerns and beliefs of Shakespearean England. Programme 4. LIFE WITHOUT ELIZABETH - Painted in 1571 to justify and celebrate Elizabeth I's position in the Tudor succession, by the 1590s, with no direct Tudor heir, this image had very different implications.Producer: Paul Kobrak.
The show dedicated to revealing the plays of William Shakespeare as tasty entertainment for today’s hungry audience. Be you actor or observer, this show offers a fresh look at some very old goods.
Rank #1: 141 Don't Fear the Lear.
King Lear – We begin series number ten with an introduction to Shakespeare's hardcore tragedy about a King and his three daughters. We talk history, Quarto vs.Folio, and breakdown an impossible persona. Peter Brook, Lear Ian Holm, Lear Olivier, Lear PBS RSC 2009, Ian McKellen, Lear 2014 Stratford Festival Lear Globe Lear 2014 First Encounter: RSC King Lear Shakespeare Uncovered: King Lear with Christopher Plummer Sling & Arrows Season 3 Talking Lear: Simon Russell Beale on King Lear King Lear – Nothing will come from nothing Fool, by Christopher Moore PlayShakespeare.com
Rank #2: 57 Hello darkness.
Macbeth 1.1-2 – We begin with witches, meet King Duncan, and hear news of a bloody battle. I mean lots of blood... Buckets. Rivers of blood, and Macbeth isn't even on stage yet. In the Past, by Satan's Pilgrims, courtesy of music.mevio.com Stuff You Missed In History Class : Why did a riot start over Shakespeare? 1/5/11
The podcast that transports you to the ancient world and back, with some good conversation along the way. It's not just about ancient Greece. It's about a huge chunk of human history that the Greek texts give us access to: from Egypt and Babylon, to Persia, to Carthage and Rome, we'll sail the wine-dark sea of history with some expert guides at the helm. Topics will include archaeology, literature, and philosophy. New episode every month.
Rank #1: 02 Bronze Age Apocalypse 1177BC w/ Eric Cline.
Archaeologist Eric Cline on what caused the simultaneous collapse of the Mycenaeans, Hittites, and most other major civilizations at the end of the second millennium BC, thus ushering in the world's first dark ages. Hint: it wasn't just the Sea Peoples.
Rank #2: 03 Dying For Immortality in Homer's Iliad w/ Andrew Ford.
Andrew Ford of Princeton University joins us for a conversation about the Iliad. What makes it so...epic? And what kind of vision of the world does Homer provide his audiences?