#Hannah Nussbaum

[alarmalade]

sting¹

Taught wet towel snapped the cute ass pink caught by surprise red blooms, beachside spit and hot water coaxed the barbed stem to the head of the welt thicker than forget but thinner than recall the insecure sun came fast after that nasty spell the tide looped on and on it was plot- less, incidental

¹Stingray venom is composed of the enzyme 5-nucleotidase and the neurotransmitter serotonin. When injected into smooth muscle, serotonin causes severe contractions, activating pain receptors in the brain.

"sting¹" - Hannah Nussbaum - Iterant issue #12

[movies-to-add-to-your-tbw]

Title: Sleepover

Rating: PG

Director: Joe Nussbaum

Cast: Alexa Vega, Mika Boorem, Jane Lynch, Sam Huntington, Sara Paxton, Brie Larson, Scout Taylor-Compton, Douglas Smith, Steve Carell, Jeff Garlin, Sean Faris, Katija Pevec, Kallie Flynn Childress, Evan Peters, Hunter Parrish, Eileen April Boylan, Shane Hunter

Release year: 2004

Genres: comedy, adventure

Blurb: As their first year of high school looms ahead, best friends Julie, Hannah, Yancy, and Farrah have one last summer sleepover...little do they know they're about to embark on the adventure of a lifetime. Desperate to shed their nerdy status, they take part in a night-long scavenger hunt that pits them against their popular arch-rivals. Everything under the sun goes on, from taking Yancy's father's car to sneaking into nightclubs.

[stuartelden]

Martha Nussbaum and Politics; Hannah Arendt and Politics - Edinburgh University Press, January 2023

[spamzineglasgow]

(SPAM Cuts) Two Poems by Heather Christle

In this bumper SPAM Cut, Hannah Lee Nussbaum responds to two poems written by Heather Christle — The Running of Several Simulations at Once May Lead to Murky Data and Learned Has Two Syllables and I Only Have One — published here as a diptych in Granta’s August digital issue. Working alongside Christle’s language, Nussbaum considers why we need weird lossy metaphors created by defective machine learning algorithms, the rotten state of metaphor in late-stage human language, the possibility of applying a reverse Turing test to your best friends, and why things feel so good when we are told they are only simulations.

> Learned Has Two Syllables and I Only Have One is the first poem in this diptych by Heather Christle, although the poem isn’t a staccato mono-syllabic exercise, and there are some duo-syllabics and a few sneaky tri-syllabic words in there too. The title of the poem made me try to cram each double into a single (ma-chine as m’chine) and each triple into a double, but manually speaking, this was a total failure when I tried to read the poem out loud like this.

> Christle is conservative with syllables in this poem, because too many would ruin the machinic pace of the piece, would disrupt the leaden plainness of the language being used. Each stanza acts as a divestment from metaphor, and there’s a crystalline, Ouilippan thing happening here. Christle’s words are tautologically sterile, are trying to mean only what they mean, although this is difficult, because even the most ordinary language is metaphorical by nature. Like how happy is a metaphor for up and sad is a metaphor for down, which Natasha Stagg points out in an essay she wrote in 2016 called Internet as Horror, which I read around the same time as I read this poem.

> Christle’s clipped, germ-free language makes me think of Stefan Themerson’s semantic writing, which would not say ‘horse’ but would rather say ‘a solid-hoofed, plant-eating domesticated mammal,’ and it seems true that her language practices the kind of estrangement required when you are doing childcare. The kid will inevitably point to something, like a hair on your arm or a blemish on your face, and say what’s that, what’s that on your arm, what’s that on your face. And you, inevitably, will be really stupefied, stupid feeling too, because your sculpted human brain is trained in abstraction, not literalism, not low-level classification. It’s shame, it’s the abject body, you will probably tell the kid, and you’ll give them an orange cracker and pat their skull, and they will grow up surrounded by words and images which they have been taught to classify as broad political and cultural concepts.

> But when you speak like a computer, or to a computer — which is what Christle seems to be doing in this first poem — you must necessarily turn away from this human meat language of ours, which is supersaturated in allegory and metaphor. Ours is a language deployed towards symbol-heavy populist speechifying, where words are all units of metonymy, where words are constantly circulating and evolving like memes, where each single syllable is pregnant with history and culture, and in fact I would even argue that each syllable in its own right acts as a tiny self-driving metaphor, a little sound island that makes us think of this or that. In late-stage human language, meaning has gone totally viral and each sound has a thick crust around it. Context accumulates and accelerates as words are repeated. Late-stage human language is apparent in terms like “globalist,” “states’ rights,” “locker room,” “inner city” — all saying and not saying, all totems of the way metaphor and abstraction have ossified our words into compact, lazy symbols. Christle’s poem pokes at what’s at stake in moving backwards or outside of our lazy regime of abstraction. Which is, certainly, what is required if we are to approach the problem of machine learning as it relates to language, which is, on the level of content, what this poem is directly about. And maybe it’s not a problem, I’d like to add, but an opening.

> I imagine that she originally wrote a decadent and highly pigmented poem, or at least thought of one, then took a palette knife to it and attempted to strip it back into its constituent zeros and ones. The difficulty — the one she calls a readjustment/no more/painful than/a thicket — is that all of this abstract, high-level information is lost when you strip an image or a word or a whole poem down to its back-end code. New metaphors are created. Metaphors of misidentification, of confusion. An imperfect algorithm might accidentally categorize a red robin as a smear of blood. A long man’s face might be sorted into the column category. To backpedal words into non symbolic, bag-of-formal-qualities territory creates a moment of reverse emergence — concepts are stripped back into their constituent aesthetic facts, and a culturally innocent machine might well make connections between these constituent aesthetic facts, and new, stranger metaphors will be the upshot. The result is inevitably a weird realism, a Picasso-esque reality, which sounds sensual to me, do you agree?

> Said another way, these new lossy metaphors produced by still-too-dumb technology might help us make connections between seemingly disparate words, tease similar properties out of culturally dissimilar symbols. In this way, machinic metaphors might well be a tool of world building that verge on magick — they can make our sense and they can re-arrange it.

*  

> If the activity of cutting language away from abstraction — doing language like a sort-of-dumb machine would do it —  is the move happening in the first poem, Christle’s second poem does something tangential, cock-teasing but not straightforwardly delivering on my guilty desire for facile conceptual twinning between the two texts. The second poem — The Running of Several Simulations at Once May Lead to Murky Data — moves with a protagonist who imagines her meaty human companions — the real ones she is eating dinner with around a real table with real salt shakers ­— to be virtual (or machinic, or programmed, or otherwise computationally choreographed). The protagonist invites us to join her in an uneasy case of pretending, an induced brain-game that makes everything look different. A reverse Turing test that coats real humans (which are typically bland and predicable social organisms) in the dazzling gloss of life-likeness (the amazement with which we hear a machine speak in a women’s voice, as though we have never heard it before, so clear, so feminine). The poem knows that when a virtual object is life-like (what verisimilitude!), it is eons more astonishing than the real thing, because the real thing is yesterday’s news.

> And so Christle’s brain-game (this poem) allows real things to take on the glittery mystique of the virtual or the simulated: artificially I will induce this feeling in myself, the speaker tells us, pretending/—until it is real—that each person/is speaking from a highly naturalistic script,/having carefully rehearsed each/tiny gesture. What intrepid attention to detail! What finely tuned mockups! I am reminded of a short story written by Ben Marcus in 2013, Notes From the Hospital, in which Marcus describes a hospital on an island — a fastidiously fashioned space in which the air is breathable, the scale is one-to-one, and even the most advanced scrutiny cannot reveal the setup to be constructed and forged — so close is it to an actual hospital, with all of the bodies and walls and smells therein. But this hospital isn’t real, we are told — it’s made by a technically masterful artist — and so the thing feels miraculously life-like, accurate, while still retaining some of the impossible and strange and utopian feelings we associate with and assign to things we know to be virtual.    

> Simulation is at the very centre of what poetry is, in the sense that poetry is always a necessarily really inadequate representation of the thing the poet originally tried to evoke. A poem on a page is always a simulation of an original ghost poem, and in this sense a poem is always a record of failure, says poet and critic Allen Grossman (to whom I was led by Ben Lerner, who also writes on this). The actual poem is a failure, but the virtual poem (the poem the poet meant to write) holds within it that feeling of immense potential, the deep, instinctive sensation of a yet-to-be-executed idea in all of its impossible perfection — a schematic, a model, a mockup, a prototype: all perfect ghosts prior to the flaccid not-quite-right of real life execution. Virtuality itself is a way of feeling, a way of looking, and simulation is a sensation, and the sensation is generous, hopeful, rapt.  

> The ginger minutiae of social tics and turns, the remarkable talent it takes to speak, to reach for the salt, to be alive (being alive not being the norm) — all of these signals are consigned to the filing cabinet labeled ‘actual’, and so we don’t see the poetics in these small and ceaseless triumphs. Perhaps it takes a brain game, a reverse Turing test, a clever cranial experiment, a poem that writes around these little moves, to entertain the possibility of the actual poem being the virtual poem, the actual friend as the finely tuned machinic replica, and with such skill! Producing perhaps some awe for their remarkable talent/ for portraying with such detailed conviction/ the humans I know as my friends. Can the meat world shock and delight you as much as an imagined version or close approximation of it might? Does the long cold distance have to be so far?

~

Text and Image: Hannah Nussbaum

Published: 8/3/20

[thatchronicfeeling]

In 2017, I have been well enough to read novels again and make regular trips to the public library. It has been liberating.

Here’s a list of the books I liked best:

Hannah Kent, Burial Rites Jhumpa Lahiri, Interpreter of Maladies Sandra Cisneros, The House on Mango Street Jade Sarson, For the Love of God, Marie! Han Suyin, Winter Love Rita Mae Brown, Rubyfruit Jungle Emma Straub, Laura Lamont’s Life in Pictures Susan Nussbaum, Good Kings, Bad Kings Jo Baker, Longbourn Jean Kwok, Mambo in Chinatown Rona Jaffe, The Best of Everything Madeline Miller, The Song of Achilles Samantha Ellis, How to be a Heroine Balli Kaur Jaswal, Erotic Stories for Punjabi Widows Willa Cather, O Pioneers! Jean Kwok, Girl in Translation Anne Brontë, Agnes Grey Alison Bechdel, Fun Home Moira Buffini, Silence Achy Obejas, We came all the way from Cuba so you could dress like this? Julie Otsuka, The Buddha in the Attic Paula Knight, The Facts of Life

[coruscatingdust]

bio

I’m a Korean-American student in her late 20s working on a PhD in Plato’s virtue epistemology at the University of Oxford.

Some of my favorite philosophers are:

Simone Weil, Iris Murdoch, Martha Nussbaum, Gillian Rose and Hannah Arendt (yes, female philosophers are the best).

In general I’m interested in existentialism, metaphysics, epistemology, and ethics. I’m invested in asking the questions regarding selfhood and alterity, what it means to live a good life, and the truths we may discover at the ruins and ruptures of our existence (no wonder I love Greek tragedies).

I also love poetry.

Some of my favorite poets are:

Franz Wright, Anne Carson, Mahmoud Darwish, Louise Glück, David Whyte, and Rainer Maria Rilke.

My favorite artists I listen to on repeat:

novo amor, ben howard, harrison storm, old sea brigade, and phoebe bridgers.

if you’re into typology, my type is

INFJ 4w5 tritype 461 sp/so

If you would like to be friends on tumblr, feel free to send me a message. My asks are open as well.

my other blog is @agardenofdaydreams and if i follow you, it would show up through that blog. the theme for that blog is hope, beauty, and love (daytime, spring, and the light). the theme for this blog is suffering, haunting, duality, memories and loss (nighttime, winter, darkness and the void).

[paulinedorchester]

Jewish singers of Western classical music

Compiling this list — the last in this series for the foreseeable future, although I’m well aware that there are others that I could do — has been a frustrating experience.

What I’m looking for, ultimately, is self-identification, which isn’t always forthcoming. And you can’t always trust Encyclopedia Judaica, which follows Israeli policy in determining Jewish status, i.e., one Jewish grandparent makes you Jewish, no matter what. (This is settled law in Israel, and it’s caused no end of trouble.)

Also, I’m not willing to knowingly include here the likes of Alma Gluck, who was a practicing Christian Scientist for most of her adult life, nor Richard Tauber, a life-long, if largely nominal, Roman Catholic who was bewildered to learn, in 1933, that he did in fact have a Jewish grand-parent. Since I’ve tended to err on the side of caution, there may be artists who should be on this list but aren’t.

You also won’t find here a number of artists whom my instincts tell me must be Jewish, but who are being, or were in their time, insufferably coy about it. (Jake Arditti, Beniamino Gigli, Jonas Kaufman, Selma Kurtz, Margarete Matzenauer, Jakub Józef Orliński, Annie Rosen, Regina Sarfaty: I’m looking at all of you.)

I’ve had to be vague about birthplaces in some cases, because some of these singers were born in jurisdictions that either no longer exist or whose names have changed. (Poland didn’t exist as a nation when Rosa Raisa was born there, and I don’t know what part of Poland — Austrian, German, or Russian — she came from.)

What applies to the earlier lists also applies here: I’ve included many of the younger ones solely on the basis of reputation, without having heard them. Not all are or were A-listers, but they are all people who sing or sang Western classical music for a living, or taught others to do so, or a combination of the two.

And finally, I should point out that while stage names are now a rare phenomenon in classical music, they were fairly common in the past — especially for singers! (Richard Tucker was born Reuben Ticker, for example.)

Mario Ancona (1860-1931), baritone, Italy

Rafael Arie (1922-1988), bass, Bulgaria

Sharon Azrieli, soprano, Canada

Richard Bernstein, bass, USA

Rachel Blaustein, soprano, USA

John Braham (ca. 1775-1856), tenor, UK

Lucienne Bréval (1869-1935), soprano, Switzerland

Katharine Carlisle (Kitty Carlisle Hart; 1910-2007), soprano, USA

Aryeh Nussbaum Cohen, counter-tenor, USA

Netanya Davrath (1931-1987), soprano, USSR

Shannon Delijani, mezzo-soprano, USA

Jeanne Diamond, soprano, USA

Pauline Donalda (1882-1970), soprano, Canada

Edis de Philippe (1918-1978), soprano, USA

Daryl Freedman, mezzo-soprano, USA

Rachel Frenkel, mezzo-soprano, Israel

Blake Friedman, tenor, USA

Allan Glassman, tenor, USA

Hannah Goodman, soprano, USA

Oren Gradus, bass, USA

Sheri Greenawald, soprano, USA

Hermann Jadlowker (1878–1953), tenor, Latvia

Cheri Rose Katz, mezzo-soprano, USA

Solomon Khromchenko (1907-2002), tenor, Russia

Alexander Kipnis (1891–1978), bass-baritone, Russia

Nina Koshetz (1894–1965), soprano, Russia

Isa Kremer (1887-1956), soprano, Russia

Maya Lahyani, mezzo-soprano, Israel

Evelyn Lear (1926-2012), soprano, USA

Adèle Leigh (1928-2004), soprano, UK

Samuel Levine, tenor, USA

Brenda Lewis (1921-2017), soprano, USA

Assaf Levitin, baritone, Israel

Estelle Liebling (1880-1970), soprano, USA

Emanuel List (1888-1967), bass, Austria

George London (1920-1985), bass, Canada

Channa Malkin, soprano, Netherlands

Jeffrey Mandelbaum, counter-tenor, USA

Mikhail Medvedev (1852-1925), tenor, Russia

Robert Merrill (1917-2004), baritone, USA

Ottilie Metzger (1878-1943), contralto, Germany

Rinnat Moriah, soprano, Israel

Andrew Morstein, tenor, USA

Rosa Pauly (1894–1975), soprano, Austro-Hungarian Empire

Jan Peerce (1904-1984), tenor, USA

Roberta Peters (1930-2017), soprano, USA

Ian Pomerantz, bass-baritone, USA

Rosa Raisa (1893–1963), soprano, Poland

Miriam Rap-Janowska (also known as Miriam Janowsky; 1891-1992), soprano, Latvia

Judith Raskin (1928-1984), soprano, USA

Spencer Reichman, baritone, USA

Chen Reiss, soprano, Israel

Regina Resnik (1923-2013), mezzo-soprano, USA

Neil Rosenshine, tenor, USA

Aaron Marko Rothmuller (1908-1993), baritone, Yugoslavia

Charlotte de Rothschild, soprano, UK

Arieh Sacke, tenor, Canada

Gidon Saks, bass-baritone, Israel

Dalia Schaechter, mezzo-soprano, Israel

Doron Schleifer, counter-tenor, Israel

Joseph Schmidt (1904-1942), tenor, Romania

Friedrich Schorr (1888–1953), bass-baritone, Austro-Hungary

Rinat Shaham, mezzo-soprano, Israel

Neil Shicoff, tenor, USA

Beverly Sills (1929-2007), soprano, USA

Julia Sitkovetsky, soprano, UK

Wiliam Socolof, bass-baritone, USA

Daniel Sutin, baritone, USA

Jennie Tourel (1910-1973), mezzo-soprano, Canada

Richard Tucker (1913-1975), tenor, USA

Sandra Warfield (1921-2009), mezzo-soprano, USA

Nofar Yacobi, soprano, Israel

Jennifer Zetlan, soprano, USA

[nellygwyn]

hi liv, i was wondering if you know of any good books on theatre in 18th century britain? i'm particularly interested in the overlap between theatre and sex work, though i'm struggling to find many sources on the subject. thank you so much in advance!! i love your blog <3

My first recommendation would be 'The First English Actresses 1660-1700' by Elizabeth Howe. It's obviously slightly out of the 18th century proper, but it sets the groundwork for attitudes towards actresses and women in theatre that prevailed well into the 18th century and discusses why there seemed to be such an overlap with sex workers/courtesans and acting (and why the idea that there was stuck, too). It was an invaluable source for me when I wrote a short paper on the topic (the idea of the actress and the sex worker being one and the same) during my undergrad.

There are two books on 18th century actresses in general that might be helpful for you: 'Rival Queens' by Felicity Nussbaum (honestly, anything by Nussbaum on this topic tbh) and 'Actresses, Gender, and the Eighteenth Century Stage' by Helen Brooks. I'd also recommend seeking out sources, primary and secondary, on specific actresses who straddled the line between sex worker and actress: women like Dorothea Jordan, Sophia Baddeley, Lavinia Fenton, Fanny Abington, Mary Robinson, Anne Oldfield, Elizabeth Barry, Peg Woffington, Hanna Norsa, and Anne Bracegirdle. You could also seek out sources on women who actually DISPROVED the idea of the actress and the sex worker being one in the same, either by their long-term marriages or because they deliberately put out a "virtuous" image: women like Eliza Farren, Elizabeth Inchbald, Sarah Siddons, Hannah Pritchard, and Susannah Cibber.

[seaoflove]

📖✨

i decided to invent my own ask game because a) i was going to post this anyway and b) im just so incurably curious. SO im posting my 52-ish reading list of 2021 under the cut below, and i ask you to post your own reading list for the year (doesnt have to be 52! it could be one, ten, or a hundred!) however many books you want to read: please post your reading list (if u want too!!)❣️ i am nosy and always open for recs and i know myself too well so i probably wont be sticking to mine anyway. cant wait to read your lists :’-)

i tag: @engulfes @sheherazade @loveletter2you @firstfullmoon @ampiyas @nangua @steviefinch @juenereveuse @douceurs @essayisms @soracities @mossyshadows @duefoglie @iriseslonging @the2headedcalf @filmforwomen @varandra @libramoon @wolfishgirl @dakotajohnsongf @petitxchou @581d00 @heavenlyyshecomes @orienta1ism @hjarta @2ndsubstance + and anyone who sees this and wants to do it — post your list and tag me in it !

bolded = i so desperately want to read this i feel insane

ways of seeing - john berger

the brothers karamazov - fyodor dostoyevsky

paranoid reading and reparative reading, or, youre so paranoid you probably think this essay is about you - eve kosofksy sedgwick

essayism - brian dillon

suppose a sentence - brian dillon

braiding sweetgrass - robin wall kimmerer

the notebooks of malte laurids brigge - rainer maria rilke

borrowed time: and AIDS memoir - paul monette

close to the knives - david wojnarowicz

when my brother was an aztec - natalie díaz

deaf republic - ilya kaminsky

flaneuse: women who walk the city - lauren walkin

wanderlust: a history of walking - rebecca solnit

dracula - bram stoker

art objects - jeanette winterson

so much longing in so little space: the art of edvard munch - karl ove knausgaard

the waves - virginia woolf

the house by the sea - may sarton

autobiography of red - anne carson

how to do nothing: resisting the attention economy - jenny odell

“why have there been no great women artists?” - linda nochlin 1972 essay

paradise lost – john milton

la comedia divinia - dante alighieri

nausea - jean-paul sartre

personal writings - albert camus

resistance, rebellion, and death: essays - albert camus

the fall - albert camus

the second sex - simone de beauvoir

the colour purple - alice walker

loves knowledge - martha nussbaum

selected poems of john keats

collected poems of arthur rimbaud

lunch poems - frank ohara

catalog of unabashed gratitude - ross gay

homie - deniz smith

to the river - olivia laing

the house in the cerulean sea - t.j klune

kris - karin boye

circe - madeline miller

on earth were briefly gorgeous - ocean vuong

colour: a natural history of the palette - victoria finley

the waste land - ts eliot

leaves of grass - walt whitman

steppenwolf - herman hesse

othello - shakespeare

the bhagavad gita

all about love: new visions - bell hooks

giovannis room - james baldwin

the origins of totalitarianism - hannah arendt

why i wake early - mary oliver

long life - mary oliver

fear and trembling - sören kierkegaard

sense and sensibility - jane austen

history of beauty - umberto eco

on being blue: a philosophical enquiry - william gass

[nolabballgirl]

Hello, how are you? Do you have another tumblr that you dont mind sharing and you are more active on (or some tips for resources that you like to frequent for academic reading or just for intelligent and/or thoughtful views on different topics)? You seem really smart and i would like to get that level too. I know I will need to work on my English some more, but I have great aspirations for myself and i am very inspired when I see people who have a great command of the English language

hi, Anon! thanks for asking - i’m doing quite well on this lovely Monday! and thanks for your questions and compliments as well! you are too kind!

first of all, i think you have an excellent command of the English language. i’m a native English speaker, and seriously, i’m so impressed by so many of you on this site where you’re able to articulately and cogently write meta, critiques, fic, etc. in multiple languages. it makes me miss my university and language learning days. so keep reading, writing, and practicing!

second, i don’t have another tumblr (this particular blog has transformed over the years from a sports blog to a law school blog to now being resurrected as a skam remake blog 😅 but maybe one day!) however, i do read a ton! there are so many different types of writing styles, and traditional academic writing can differ based on whether it’s a peer-reviewed publication, critical analysis, commentary, essay, etc. for example, a lot of the legal articles i read are quite different in style and tone than most of the pop culture articles. so i personally try and read as broad a variety as possible to help improve my own critical thinking and writing skills.

this is only scratching the surface. but as far as writing styles, here are some of my favorite current English-language commentators and publications:

TV/Film/Pop Culture

Emily Nussbaum at the New Yorker, Sonia Saraiya at Vanity Fair, Jia Tolentino at the New Yorker, Mo Ryan at Vanity Fair, E. Alex Jung at New York Magazine, Angelica Bastien at Vulture.

Law/Politics/Science/Sports

Dahlia Lithwick at Slate, Hannah Giorgis at the Atlantic, Vann Newkirk at the Atlantic, Ed Yong at the Atlantic, Katie Barnes at ESPN, Grant Wahl formerly Sports Illustrated, Mark Joseph Stern at Slate. I enjoy Roxane Gay and Ta-Nehisi Coates’s writing as well.

and there are so many awesome tumblr blogs that i’ve encountered over the years sharing great content too. if anyone else has any favorites, please feel free to share as well! hope this helps!  😊

[bookclub4m]

Episode 114 - Hot Cocoa & Book Recommendations

This episode we’re Receiving Book Recommendations! Last episode we asked each other for books in specific areas and this week we’re back with our suggestions for table top role playing games, folklore, healthcare, poetry, urban fantasy and more.

You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts, Stitcher, Google Podcasts, Spotify, or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray | RJ Edwards

Things We Recommend

An Indie Tabletop Game

The Queen of Cups

TTRPG Safety Toolkit by Kienna Shaw & Lauren Bryant-Monk

The Skeletons

Slavic/Eastern European Folklore

Slavic Folklore: A Handbook by Natalie Kononenko

Natalie Kononenko (Wikipedia)

Nart Sagas from the Caucasus: Myths and Legends from the Circassians, Abazas, Abkhaz, and Ubykhs by John Colarusso

Baba Yaga: The Wild Witch of the East in Russian Fairy Tales

Baba Yaga cross stitch Matthew’s working on

Humanism in/of Healthcare

2020 Summer Reading for Compassionate Clinicians - The Gold foundation

The Finest Traditions of My Calling: One Physician's Search for the Renewal of Medicine by Abraham M. Nussbaum

Journal of Applied Hermeneutics - Canadian Hermeneutic Institute

Fiction that Surprises

Bunny by Mona Awad

Untold Night and Day by Bae Suah

Sci-fi/Fantasy set in the Contemporary World

The Scapegracers by Hannah Abigail Clarke

Trail of Lightning by Rebecca Roanhorse

Mooncakes by Suzanne Walker and Wendy Xu

Spellhacker by M.K England

The Lost Coast by A.R. Capetta

Cemetery Boys by Aiden Thomas

The Book of Phoenix by Nnedi Okorafor

The Nobody People by Bob Proehl

Urban Fantasy

Certain Dark Things by Silvia Moreno-Garcia

Minimum Wage Magic by Rachel Aaron

Horror

Hull Zero Three by Greg Bear

Parasite Eve by Hideaki Sena

Parasite Eve (video game) (Wikipedia)

The Fog Knows Your Name

Poetry

Curator of Ephemera at the New Museum for Archaic Media by Heid E. Erdrich

Ledger by Jane Hirshfield

Catrachos by Roy G. Guzmán

Dub: Finding Ceremony by Alexis Pauline Gumbs

Queer Poets Write About Nature by edited by Dylan Ce

Feminist Essay Collection

Pleasure Activism: The Politics of Feeling Good by adrienne maree brown

Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity by Julia Serano

Fiction set at Christmastime/Non-Fiction about Christmas

Christmas Inn Maine by Chelsea M. Cameron

Glass Tidings by Amy Jo Cousins

The Battle for Christmas by Stephen Nissenbaum

Russian Language Learning Materials

Learn to Read and Write Russian - Russian Alphabet Made Easy

Sputnik: An Introductory Russian Language Course, Part I by by Julia Rochtchina

Space Opera

Binti by Nnedi Okorafor

To Be Taught, If Fortunate by Becky Chambers

Suggestions from our Listeners!

An Indie Tabletop Game

Bluebeard's Bride from Magpie Games

Slavic/Eastern European Folklore

Slavic Folklore: A Handbook by Natalie Kononenko

On the Banks of the Yaryn by Aleksandr Kondratiev

Humanism in/of Healthcare

The Language of Kindness: A Nurse’s Story by Christie Watson

Fiction that Surprises

Slade House by David Mitchell

Sci-fi/Fantasy set in the Contemporary World

Empire State by Adam Christopher

The Abyss Surrounds Us by Emily Skrutskie

Finna by Nino Cipri

Urban Fantasy

God Save the Queen by Kate Locke

Three Parts Dead by Max Gladstone

Horror

And the Trees Crept In by Dawn Kurtagich

Under the Pendulum Sun by Jeannette Ng

Poetry

The Octopus Museum by Brenda Shaughnessy

Feminist Essay Collection

Hood Feminism by Mikki Kendall

This Bridge Called My Back: Writings by Radical Women of Color edited by Cherríe L. Moraga and Gloria E. Anzaldúa

Colonize This!: Young Women of Color on Today's Feminism edited by Bushra Rehman and Daisy Hernández

Turn This World Inside Out: The Emergence of Nurturance Culture by Nora Samaran

Fiction set at Christmastime/Non-Fiction about Christmas

Whiteout by Elyse Springer

Glad Tidings of Struggle and Strife by Llew Smith

Mangos & Mistletoe by Adriana Herrera

Better Not Pout by Annabeth Albert

Russian Language Learning Materials

We Read These Tales by Syllables by Vladimir Suteev

Space Opera

Alien People by John Coon

Dreamships by Melissa Scott

A Matter of Oaths by Helen S. Wright

Other Media We Mentioned

Fiasco

Ring by Kōji Suzuki

Tomie by Junji Ito

Spirit of the Season

The Coldest City by Antony Johnston and Sam Hart

Atomic Blonde (Wikipedia)

Saga, Vol. 1 by Brian K. Vaughan and Fiona Staples

On a Sunbeam by Tillie Walden

House of Reeds by Thomas Harlan

Links, Articles, and Things

Eisner Award for Best Lettering (Wikipedia)

Lambda Literary Award (Wikipedia)

Episode 078 - Supernatural Thrillers

Shadowrun (Wikipedia)

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Join us again on Tuesday, December 1st we’ll be discussing the genre that you chose for us to read, New Weird Fiction!

Then on Tuesday, December 15th it’ll be our Best of 2020 episode!

[baeddel]

birlinterrupted

i feel like there are quite a few philosophers who i dont particularly care for who might qualify: Hannah Arendt, Ayn Rand, Martha Nussbaum 

yeah right... I kind of excluded Arendt and Rand because they’re ‘political philosophers’ but I’m now starting to think this distinction I made is kind of silly. I end up working with a definition of ‘philosophy’ that stands apart from more ‘applied’ disciplines that ends up including Cisholm but excluding Simone Weil, including Austen and Merleau-Ponty but excluding Judith Butler, including Alain Locke but excluding du Bois, including Imre Lakatos but excluding Donna Haraway, including Rawls but excluding Angela Davis, and so on, essentially excluding people who take up exactly the same questions merely because of their priorities. I take the philosophy department’s story to itself a little too on its face this way...

Looking up Nassbaum I realized that for some reason I entirely excluded ethical philosophy from consideration without realizing - surely most ethical philosophers are women! A few months ago I wrote an extremely long article engaging with Mary Anne Warren and Judith Jarvis Thompson but for some reason I excised it all from memory...

[antifainternational]

November 9 Copenhagen - Aldrig mere en Krystalnat 2019

Program: - For en værdig flygtningepolitik - Børn ud af asylcentrene Talere af: Ulla Jessing og Hannah Skop (Krystalnatvidner) Aydin Soie (sociolog). Kulturelt indslag: Channe Nussbaum musiker og Henrik Nordbrandt, forfatter. Musik: Radiant Arcadia Mødeleder: John Ekebjærg-Jakobsen, Byggefagenes Samvirke Den 9. november 1938 overfaldt nazistiske bander og bøller jødiske borgere, butikker, synagoger og ejendomme i Tyskland og Østrig. Mange blev slået ihjel og store værdier – økonomiske og kulturelle – gik tabt. Krystalnatten, som dette brutale overfald kom til at hedde, blev det første organiserede og planlagte overgreb på jøder og indledningen til den nazistiske kampagne. Dens brutale slutresultat blev udryddelse af seks millioner jøder, romaer, politiske anti-nazister, handikappede, homoseksuelle og andre, som ikke fandt plads i nazisternes Tredje Rige. Blandt de mange, som mærkede konsekvenserne af nazisternes forfølgelser, var talløse børn og unge, som blev gjort til flygtninge for at redde livet. Nogle klarede det ikke, andre gjorde gennem solidaritet og medmenneskelig indsats. Følgerne af den nazistiske politik blev skæbnesvanger for mange. For at mindes ofrene fra dengang og for at minde offentligheden om, hvad der skete – og at det kan ske igen, hvis vi ikke er os bevidste, hvad der dengang drev den udvikling frem – markerer vi i Krystalnatinitiativet  i år lørdag den 9. november, kl. 16.30 - 18 ved en manifestation i København. [Krystalnatinitiativet har siden 1993 afholdt fakkelmanifestation den 9. november på årsdagen for nazisternes overfald på jøder i Tyskland og Østrig i 1938. Initiativet er samlet om at markere modstand mod racisme og diskrimination og for tolerance, dialog, ytringsfrihed og ligestilling. Som græsrodsinitiativ er vi partipolitisk neutrale. Ligeledes forholder vi os som initiativ ikke til konkrete konflikter ude i verden, herunder Mellemøsten.]

[maaarine]

MBTI Typing Index: ENFJ

Other types: INFP INFJ ENFP ENFJ INTP INTJ ENTP ENTJ ISTJ ISFJ ESTJ ESFJ ISTP ISFP ESTP ESFP

Elizabeth ALEXANDER

Mahershala ALI

Julie ANDREWS

Maya ANGELOU

Jacinda ARDERN

Hayley ATWELL

Roselyne BACHELOT

Javier BARDEM

Mary BEARD

Kristen BELL

Cory BOOKER

Connie BRITTON

Brené BROWN

Karamo BROWN

Sterling K. BROWN

Sophia BUSH

Mike CAHILL

Jessica CHASTAIN

Hillary CLINTON

George CLOONEY

Ada COLAU

Bradley COOPER

Enola COSNIER

Terry CREWS

Benedict CUMBERBATCH

Richard CURTIS

Susan DAVID

Elizabeth DAY

Hugues DAYEZ

Natalie DORMER

Ramani DURVASULA

Ava DUVERNAY

Joel EDGERTON

Lara FABIAN

Beanie FELDSTEIN

Emerald FENNELL

America FERRERA

Carrie Hope FLETCHER

Jane FONDA

Tom FORD

Morgan FREEMAN

Stephen FRY

Guy GARVEY

Elizabeth GILBERT

Matthieu GONET

Alison GOPNIK

Briahna Joy GRAY

Josh GROBAN

Tom HANKS

Kamala HARRIS

Naomie HARRIS

Tristan HARRIS

Anne HATHAWAY

Ethan HAWKE

Tom HIDDLESTON

Mellody HOBSON

Arlie Russell HOCHSCHILD

Jameela JAMIL

Barry JENKIS

Sam JONES

Steve KERR

Gayle KING

Ben KINGSLEY

Naomi KLEIN

Keira KNIGHTLEY

Katrina LAKE

Brie LARSON

Jude LAW

Zane LOWE

Mark MANSON

Meghan MARKLE

Alyssa MILANO

Alfred MOLINA

Alanis MORISSETTE

Wagner MOURA

Marcus MUMFORD

Mike NICHOLS

Marti NOXON

Martha NUSSBAUM

Michelle OBAMA

Alexandria OCASIO-CORTEZ

Leslie ODOM

David OYELOWO

Esther PEREL

Tyler PERRY

Natalie PORTMAN

Will POULTER

Adam PRICE

Shonda RHIMES

Claire SAFFITZ

Sheryl SANDBERG

Anita SARKEESIAN

Reshma SAUJANI

Faiza SHAHEEN

Yara SHAHIDI

Dan STEVENS

Martha STEWART

Meryl STREEP

Joachim TRIER

Emma WATSON

Rachel WEISZ

Olivia WILDE

Marianne WILLIAMSON

Beau WILLIMON

Oprah WINFREY

Hannah WITTON

Meg WOLITZER

Joe WRIGHT

Steven YEUN

Other types: INFP INFJ ENFP ENFJ INTP INTJ ENTP ENTJ ISTJ ISFJ ESTJ ESFJ ISTP ISFP ESTP ESFP

[arco-rc]

CLÁSICOS [ Classical Studies‎  |  Hispanic Studies‎ | Others ]

Entendemos por clásico lo que debe tomarse como modelo debido a su calidad superior o perfección (remite a la cultura grecolatina). Clásico, dentro del ámbito más específico de la Estética y la Historia del Arte, denomina una "categoría histórico-estilística", frecuentemente asociada en el par clásico / barroco, también clásico / romántico, que sin embargo quedaría subsumido en el anterior.

1.«El Quijote». Miguel de Cervantes. La primera novela moderna, maestra de narradores. Junto a «Las Novelas ejemplares». 2 y 3. «La Ilíada». Homero. El imaginario humano al completo está tejido en esta obra, que escenifica el combate que todos nosotros sabemos que es la vida entera. Junto a «La Odisea». El poema épico por antonomasia, el origen de toda la literatura posterior, la divina pirámide de la literatura.

4. «La Divina Comedia». Dante Alighieri. Este genial poema comenzó a escribirse hacia 1306 y relata el viaje de su autor por el Infierno, el Paraíso y el Purgatorio. 5. «Hamlet». William Shakespeare. Una de las piezas más representadas. La ira, el amor, la venganza... se concitan en la desdichada historia del príncipe de Dinamarca. 6. «Frankenstein o el moderno Prometeo». Mary W. Shelley. Publicado el 11 de marzo de 1818 y enmarcado en la tradición de la novela gótica, el texto habla de temas tales como la ética, la moral científica, la creación y destrucción de vida y el atrevimiento de la humanidad en su relación con Dios. De ahí, el subtítulo de la obra: el protagonista intenta rivalizar en poder con Dios, como una suerte de Prometeo moderno que arrebata el fuego sagrado de la vida a la divinidad. Pertenece al género de ciencia ficción. 7. «En busca del tiempo perdido». Marcel Proust. Siete novelas forman esta obra imprescindible del siglo XX donde el escritor francés bucea en su memoria. 8. «La Eneida». Virgilio. Compuesta en el siglo I a. C., sobrepasa su condición de encargo del emperador Augusto para alzarse como una magistral epopeya. 9. «Ensayos».Michel de Montaigne. Recluido en la torre de su castillo, el autor renacentista se preguntó: «¿Qué sé yo?». La respuesta: crear un género clave de la Modernidad. 10. «Madame Bovary». Gustave Flaubert. Novela cumbre del realismo decimonónico, aúna un soberbio retrato psicológico con un perfecto fresco social. 11. «Cumbres borrascosas». Emily Brontë. 12. «Edipo Rey». Sófocles. 13. «Tragedias» y «Comedias». William Shakespeare. 14. «Las mil y una noches». Anónimo. 15. «Los orígenes del totalitarismo» Hannah Arendt. 16. «Casa sin amo». Heinrich Böll. 17. «De rerum natura». Lucrecio. 18. «La vida es sueño». Calderón de la Barca. 19. «Epopeya de Gilgamesh». Anónimo. 20. «Ulises». James Joyce. 21. «Antígona». Sófocles. 22. «Fedón». Platón. 23. «La Regenta». Leopoldo Alas «Clarín». 24. «Cien años de soledad». Gabriel García Márquez. 25. «Cancionero». Petrarca. 26. «Poemas». Emily Dickinson. 27. «Léxico familiar». Natalia Ginzburg. 28. «Ana Karenina». León Tolstói. 29. «Lazarillo de Tormes». Anónimo. 30. «Guerra y paz». León Tolstói. 31. «La vida del Buscón». Francisco de Quevedo. 32. «El mar, el mar». Iris Murdoch. 33. «Ficciones». Jorge Luis Borges. 34. «La montaña mágica». Thomas Mann. 35. «Poesía». Antonio Machado. 36. «Fedro». Platón. 37. «Trilogía Los mercaderes». Ana M.ª Matute. 38. «El hombre sin atributos». Robert Musil. 39. «Carta al padre», «El proceso» y «La metamorfosis». Franz Kafka. 40. «Las metamorfosis». Ovidio. 41. «Pedro Páramo». Juan Rulfo. 42. «Decamerón». Boccaccio. 43. «La Celestina». Fernando de Rojas. 44. «La tempestad». William Shakespeare. 45. «El laberinto mágico». Max Aub. 46. «Crimen y castigo». Fiódor Dostoyevski. 47. «Rojo y negro». Henri Beyle Stendhal. 48. «Emma». Jane Austen. 49. «Azul». Rubén Darío. 50. «Vida y opiniones del caballero Tristram Shandy». Laurence Sterne. 51. «Soledades». Luis de Góngora. 52. «Una habitación propia». Virginia Woolf. 53. «El amor en los tiempos del cólera». Gabriel García Márquez. 54. «Hojas de Hierba». Walt Whitman. 55. «Baladas líricas». William Wordsworth. (Junto con la obra de escritores como Coleridge y Keats). 56. «El corazón de las tinieblas». Joseph Conrad. 57. «El cantar de los cantares». Anónimo. 58. «Fausto». J. W. Goethe. 59. «Trece teorías de la naturaleza humana». Leslie Stevenson. 60. «Los papeles póstumos del Club Pickwick». Charles Dickens. 61. «Casa de muñecas». Henrik Johan Ibsen. 62. «Nada». Carmen Laforet. 63. «Traidor, inconfeso y mártir». José Zorrilla. 64. «Metafísica». Aristóteles. 65. «Fin y principio». Wislawa Szymborska. 66. «Cordero blanco, halcón gris». Rebecca West. 67. «Fuenteovejuna». Lope de Vega. 68. «Discurso de Onofre». Carlos Castilla del Pino. 69. «La señora Dalloway». Virginia Woolf. 70. «Fábulas». Esopo.

Mary W. Shelley, con «Frankenstein», ocupa uno de los puestos relevantes entre las escritoras, seguida de las hermanas Brontë, Emily Dickinson, Natalia Ginzburg, Iris Murdoch, Ana M.ª Matute y Carmen Laforet.

71. «Una temporada en el infierno». Arthur Rimbaud. 72. «Moby Dick». Herman Melville. 73. «Cuentos completos». Antón Chéjov. 74. «Coplas por la muerte de su padre». Jorge Manrique. 75. «Cuentos». Jacob y Wilhelm Grimm (y «Cuentos» Hans. Ch. andersen). A los que habría que sumar la lectura de «Romper el hechizo. Una visión política de los cuentos folclóricos y maravillosos», junto a «El irresistible cuento de hadas», ambos de Jack Zipes. 76. «Cuentos judíos». Isaac B. Singer. 77. «La siesta de M. Andesmas». Marguerite Duras. 78. «Nocturnos». E.T.A. Hoffmann. 79. «El peregrino ruso». Anónimo. 80. «El Abencerraje y la hermosa Jarifa». Anónimo. 81. «Santuario» y «¡Absalón, Absalón!». William Faulkner. 82. «MIAU». Benito Pérez Galdós. 83. «Cuentos de antaño». Charles Perrault. 84. «Hermosos y malditos». F. Scott Fitzgerald. 85. «La Cartuja de Parma». Henry Beyle Stendhal.

La mitología clásica, la hebrea, la nórdica (y hasta la sumeria, con «Gilgamesh») están presentes en la lista.

86. «Cuentos» (y «Poesía»). Edgar Allan Poe. 87. «Poesía» (y «Niebla»). Miguel de Unamuno 88. «Noches áticas». Aulo Gelio. 89. «El año de la muerte de Ricardo Reis». José Saramago. 90. «La Biblia». Varios autores. 91. «La Teogonía». Hesiodo. 92. «Cartas a Lucilio». Séneca. 93. «Medea». Eurípides. 94. «Elizabeth Costello». J. M. Coetzee. 95. «El idiota». Fiódor Dostoyevski. 96. «La fragilidad del bien: fortuna y ética en la tragedia y la filosofía griega». Martha C. Nussbaum. 97. «Orgullo y prejuicio». Jane Austen. 98. «Poesía». Cátulo. 99. «Cantar de los nibelungos». Anónimo. 100. «Esperando a Godot». Samuel Beckett.

[lisaschittulli]

Regionale 20 Eine Karte -35/65+

23. Nov 2019 – 19. Jan 2020

Does age play a role in art beyond the biography of the artist? Does geography, beyond the place of the artist’s youth, and where they live and work today? For twenty years, the Regionale has been a unique event taking place at the center of Europe connecting three countries (Switzerland, Germany, and France), their histories, and traditions, leading to various exhibitions in different venues. It is not exclusively for young artists, nor dedicated to appreciating established ones. It is rather an inventory, and a cartography, in the best sense. In this edition of the Regionale, all of the featured artists are either older than sixty-five or younger than thirty-five. To juxtapose youth and maturity might have implied something different twenty years ago—when decades were more closely identified with particular styles—than it does today. Here, twenty-one artistic positions meet around two biographical “poles”, and together focus on thematic questions with both older and newly produced works of art.

Featuring Annette Barcelo, Selina Baumann, Camille Brès, Peter Brunner-Brugg, Jorinde Fischer, Pierre-Charles Flipo, Gerome Johannes Gadient, Hannah Gahlert, Vincent Gallais, Danae Hoffmann, Géraldine Honauer, Rebecca Kunz, Marie-Louise Leus, Catrin Lüthi K, Marie Matusz, Guido Nussbaum, Mirjam Plattner, Lisa Schittulli, Jürg Stäuble, Werner von Mutzenbecher, and Alfred Wirz.

Curated by Peter Pakesch, co-initiator of the Regionale 20 years ago and former director of Kunsthalle Basel