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The Art Gallery of Knoxville

Michael John Burgess » Podcast

Este programa de análisis taurino es conducido por los periodistas Heriberto Murrieta y Rafael Cué, quienes analizan y comentan aspectos diversos que se entretejen alrededor de la fiesta brava.

Toros, Sol y Sombra

Bakunin’s most famous work, published in various lengths, this version is the most complete form of the work published hitherto. Originally titled “Dieu et l’état”, Bakunin intended it to be part of the second portion to a larger work named “The Knouto-Germanic Empire and the Social Revolution” (Knouto-Germanic Empire is in reference to a treaty betwixt Russia and Germany at the time), but the work was never completed.  (from book introduction)

Bakunin’s most famous work, published in various lengths, this version is the most complete form of the work published hitherto. Originally titled “Dieu et l’état”, Bakunin intended it to be part of the second portion to a larger work named “The Knouto-Germanic Empire and the Social Revolution” (Knouto-Germanic Empire is in reference to a treaty betwixt Russia and Germany at the time), but the work was never completed. (from book introduction)

God and the State by Mikhail Bakunin

A weekly podcast, hosted by Ugo Cei and Fabrizia Costa, about photography, art, business, life, and everything.

Closing The_Gap

Ich lese für Dich vor. Genieße es, lasse Dich mittreiben und entspanne Dich.

Märchen zum Mitträumen

The podcast that will give you insight into the Entertainment Industry and your favorite actors! Insta: @digitaldramatics Twit: @DigitDramatics

Digital Dramatics Podcast

Book Discussions , Book Suggestions, Books Reviews and so on

Books And Tea

A novel for the 21st century that is about the past. That treats the familiar as strange and the strange as familiar. An attempt to capture ideas and make them grow- sometimes as flowers, often as mould. A story about relationships; between people, people and places, people and ideas.
Words, pictures and sounds organised with subjective logic for pleasure and wonder. A tragic failure of communication; an invitation and a conversation.
Take all your troubles; gather them in your arms. Stagger under their weight to the quays of wherever you are, look down, let your eyes creep, let go...

A novel for the 21st century that is about the past. That treats the familiar as strange and the strange as familiar. An attempt to capture ideas and make them grow- sometimes as flowers, often as mould. A story about relationships; between people, people and places, people and ideas. Words, pictures and sounds organised with subjective logic for pleasure and wonder. A tragic failure of communication; an invitation and a conversation. Take all your troubles; gather them in your arms. Stagger under their weight to the quays of wherever you are, look down, let your eyes creep, let go...

...throw them in the river...
or a tragic failure of communication

My episode is about my life experience and life changing,also an advisor for those who needs my help,because some people out there are going through what I've been through in my life, thanks and bless.

Carol Romeo Maritz

This podcast is a series of conversations with industry professionals who either work as vocalists themselves, are artists, coaches or other professionals who work with singers. I hope to introduce you to new ideas, resources and inspiration while shining a light on the types of work available to singers who are aspiring to work professionally in the contemporary music world. Episodes are released monthly. Podcast may still show up on some platforms as its former title 'Eat Sleep Sing Repeat'.

Eat Sleep Sing Repeat

um programa voltado ao publico feminino onde falarei de diversos assuntos relacionadas a mulher (alma feminino)

ELAS

Podcast física

Tarea de historia

This podcast is made for the artist of all genres of entertainment, a place to be seen, and heard. 
Join BCnuewaev as he digs deep into your favorite stars as well as the up and coming entertainers of our times. Thank you for your time and enjoy.

This podcast is made for the artist of all genres of entertainment, a place to be seen, and heard. Join BCnuewaev as he digs deep into your favorite stars as well as the up and coming entertainers of our times. Thank you for your time and enjoy.

LOST IN A POD with BCnuewaev

welcome to my podcast! this is where i express myself through my poetry, i hope you enjoy your stay! :)

Neem Says

Walt Whitman has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of Northanger Abbey, its completeness, finish, and entrain, obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty. Persuasion, relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of Mansfield Park is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x} wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it. Sense and Sensibility has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between Emma and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for Emma. It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for Pride and Prejudice unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi} this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a coup de théâtre; it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of Emma, but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon Pride and Prejudice; and I dare say that,{xii} if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put Pride and Prejudice far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii} time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the Spectator, who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another Spectator letter—that of the damsel of fourteen who{xiv} wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your Spectators mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv} painter. To make this latter obser

Walt Whitman has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of Northanger Abbey, its completeness, finish, and entrain, obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty. Persuasion, relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of Mansfield Park is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x} wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it. Sense and Sensibility has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between Emma and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for Emma. It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for Pride and Prejudice unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi} this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a coup de théâtre; it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of Emma, but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon Pride and Prejudice; and I dare say that,{xii} if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put Pride and Prejudice far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii} time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the Spectator, who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another Spectator letter—that of the damsel of fourteen who{xiv} wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your Spectators mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv} painter. To make this latter obser

Walt Whitman&nbsp;has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of&nbsp;Northanger Abbey,&nbsp;its completeness, finish, and&nbsp;entrain,&nbsp;obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty.&nbsp;Persuasion,&nbsp;relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of&nbsp;Mansfield Park&nbsp;is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x}&nbsp;wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it.&nbsp;Sense and Sensibility&nbsp;has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between&nbsp;Emma&nbsp;and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for&nbsp;Emma.&nbsp;It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for&nbsp;Pride and Prejudice&nbsp;unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi}&nbsp;this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a&nbsp;coup de théâtre;&nbsp;it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of&nbsp;Emma,&nbsp;but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon&nbsp;Pride and Prejudice;&nbsp;and I dare say that,{xii}&nbsp;if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put&nbsp;Pride and Prejudice&nbsp;far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii}&nbsp;time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the&nbsp;Spectator,&nbsp;who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another&nbsp;Spectator&nbsp;letter—that of the damsel of fourteen who{xiv}&nbsp;wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your&nbsp;Spectators&nbsp;mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv}&nbsp;painter. To make this latter obser

Pride and Prejudice

<a href="https://www.solgoodmedia.com" target="_blank" rel="noreferrer noopener">https://www.solgoodmedia.com</a> - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free! "Daily Fort Laramie" brings the excitement and drama of the historic West to your daily routine. This podcast reimagines the beloved old-time radio series, delivering dramatic episodes each day that depict life and challenges at the legendary Fort Laramie. Perfect for enthusiasts of history and classic radio plays, our podcast ensures a daily dose of drama and nostalgia, artfully adapted for contemporary listeners. Tune in to journey back to an era of gunslingers and pioneers every day!

https://www.solgoodmedia.com - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free! "Daily Fort Laramie" brings the excitement and drama of the historic West to your daily routine. This podcast reimagines the beloved old-time radio series, delivering dramatic episodes each day that depict life and challenges at the legendary Fort Laramie. Perfect for enthusiasts of history and classic radio plays, our podcast ensures a daily dose of drama and nostalgia, artfully adapted for contemporary listeners. Tune in to journey back to an era of gunslingers and pioneers every day!

<a href="https://www.solgoodmedia.com" rel="noopener noreferrer">https://www.solgoodmedia.com</a> - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free! "Daily Fort Laramie" brings the excitement and drama of the historic West to your daily routine. This podcast reimagines the beloved old-time radio series, delivering dramatic episodes each day that depict life and challenges at the legendary Fort Laramie. Perfect for enthusiasts of history and classic radio plays, our podcast ensures a daily dose of drama and nostalgia, artfully adapted for contemporary listeners. Tune in to journey back to an era of gunslingers and pioneers every day!

Daily Fort Laramie

We always talk about the artistic expression of the artist as their "voice" and although this is true what we often miss, is hearing their actual voice - their feelings, intentions, challenges, and perspectives. We want to dial up the voice of the artist, especially in areas where they have felt voiceless, squelched, or minimized - they have so much to say about life, cultural trends, the dynamics of their industry, and sensemaking or the world around us. We gather in necessary voices as panels or one-on-one conversation and listen in.

Hosted by Sandy Rosen and Danielle Harvey of Bez Arts Hub

We always talk about the artistic expression of the artist as their "voice" and although this is true what we often miss, is hearing their actual voice - their feelings, intentions, challenges, and perspectives. We want to dial up the voice of the artist, especially in areas where they have felt voiceless, squelched, or minimized - they have so much to say about life, cultural trends, the dynamics of their industry, and sensemaking or the world around us. We gather in necessary voices as panels or one-on-one conversation and listen in. Hosted by Sandy Rosen and Danielle Harvey of Bez Arts Hub

Voice of the Artist

教えて司法書士さん

The PPP is a podcast about sneakers &amp; fashion

The PPP is a podcast about sneakers & fashion

Premium Product Podcast

Welcome to Balanced Life| the series
Where harmony meets reality in the lives of two Libras navigating the beautiful chaos of this life. Join us as we take a deep dive into  self-discovery.  
But let's be real – life isn't always Instagram-perfect. We're here to keep it authentic, raw, and relatable. This isn't about perfection; it's about embracing imperfection with grace and humor.
MiLSo is where vulnerability is strength, and honesty is celebrated. 
So whether you're a fellow Libra seeking balance or anyone craving connection and guidance in the beautiful mess of life, welcome home.
Grow & go with us as we balance it all and make it look SO ordinary. 
We're here to share our journey, lessons learned, and offer a guiding light through it all.Tune in, each week, as we journey together toward a life of harmony, one real conversation at a time.

Welcome to Balanced Life| the series Where harmony meets reality in the lives of two Libras navigating the beautiful chaos of this life. Join us as we take a deep dive into self-discovery. But let's be real – life isn't always Instagram-perfect. We're here to keep it authentic, raw, and relatable. This isn't about perfection; it's about embracing imperfection with grace and humor. MiLSo is where vulnerability is strength, and honesty is celebrated. So whether you're a fellow Libra seeking balance or anyone craving connection and guidance in the beautiful mess of life, welcome home. Grow & go with us as we balance it all and make it look SO ordinary. We're here to share our journey, lessons learned, and offer a guiding light through it all.Tune in, each week, as we journey together toward a life of harmony, one real conversation at a time.

Welcome to Balanced Life| the series
Where harmony meets reality in the lives of two Libras navigating the beautiful chaos of this life. Join us as we take a deep dive into  self-discovery.  
But let's be real – life isn't always Instagram-perfect. We're here to keep it authentic, raw, and relatable. This isn't about perfection; it's about embracing imperfection with grace and humor.
MiLSo is where vulnerability is strength, and honesty is celebrated. 
So whether you're a fellow Libra seeking balance or anyone craving connection and guidance in the beautiful mess of life, welcome home.
Grow &amp; go with us as we balance it all and make it look SO ordinary. 
We're here to share our journey, lessons learned, and offer a guiding light through it all.Tune in, each week, as we journey together toward a life of harmony, one real conversation at a time.

Balanced Life | The series

Jimmy here 歡迎收聽On Road🧩！這是一個關於自我成長 / Genz 時事議題的頻道。 我會在這個平台公佈我的所有學習 / 創業歷程每個月末 來賓企劃［ Z flow ］。 不是邀請百萬千萬級別的創業家而是有著全然熱情 / 創業經驗的Z世代一起探討：新世代創業 / 自我成長 找到Z世代的flow。 這個世代並不是所謂的躺平世代&nbsp;而是下一個時代的主導者。

Jimmy here 歡迎收聽On Road🧩！ 這是一個關於自我成長 / Genz 時事議題的頻道。 我會在這個平台公佈我的所有學習 / 創業歷程 每個月末 來賓企劃［ Z flow ］。 不是邀請百萬千萬級別的創業家 而是有著全然熱情 / 創業經驗的Z世代 一起探討： 新世代創業 / 自我成長 找到Z世代的flow。 這個世代並不是所謂的躺平世代  而是下一個時代的主導者。

On Road

Getting By in Campus is a raw, relatable, and refreshingly honest show that speaks directly to the struggles and triumphs of campus life and young adulthood. Hosted by Avi, the podcast blends humor, vulnerability, and actionable advice to help listeners navigate financial stress, mental health, personal growth, and the messy journey of "adulting" while broke. &nbsp;Key Elements of the Podcast:&nbsp; 1. Authentic &amp; Unfiltered Tone&nbsp; &nbsp; &nbsp;- Avi keeps it real, sharing personal fails, confessions, and lessons (like stalking LinkedIn profiles or celebrating a friend’s failure). &nbsp; &nbsp; &nbsp;- Language is casual, witty, and packed with Gen-Z/campus slang ("Stay broke. Stay brilliant," "The bank account’s crying, but the drip? Certified "). &nbsp; 2. Structured Yet Conversational Format &nbsp; &nbsp; &nbsp;- Intro:High-energy hook + teaser of the episode’s theme. &nbsp; &nbsp; &nbsp;- Personal Confession: Avi shares a cringey or vulnerable story to connect with listeners. &nbsp; &nbsp; &nbsp;- Problem-Solving Segments: Breaks down issues (comparison, burnout, budgeting) with science, humor, and step-by-step fixes. &nbsp; &nbsp; &nbsp;- Guest Insights: Real voices (even if impersonated) add credibility and relatability. &nbsp; &nbsp; &nbsp;- Quick Gems &amp; Outro:Memorable one-liners and a motivational sign-off. &nbsp; 3. Themes That Hit Home &nbsp; &nbsp;- Campus Survival: Roommate drama, broke meals, group project nightmares. &nbsp; &nbsp; &nbsp;- Mental Health:Comparison traps, validation addiction, quiet hustle vs. clout chasing. &nbsp; &nbsp; &nbsp;- Hustle &amp; Growth: Side gigs, failing forward, building confidence on a budget. &nbsp; 4. Actionable &amp; Empowering&nbsp; &nbsp; &nbsp;- Every episode gives practical tools (e.g., "The 24-Hour Rule" for social media, "The Only My Lane" mantra). &nbsp; &nbsp; &nbsp;- Encourages self-reflection ("Ask: Is this my dream or society’s?"). &nbsp; 5. Vibes &amp; Aesthetic &nbsp; &nbsp; &nbsp;- Music:Laid-back beats for intro/outro, matching the episode’s mood (hopeful, reflective, or hype). &nbsp; &nbsp; &nbsp;- Visual Brand (Hypothetical): If it were a TV show, it’d look like Insecure meets The Breakfast Club – gritty, youthful, and full of heart. &nbsp; Why It Stands Out: &nbsp; - No toxic positivity. Avi admits to jealousy, burnout, and bad decisions – making growth feel achievable. &nbsp; - Solves real problems. No vague advice; just hacks, scripts, and emergency kits for campus chaos. &nbsp; - Feels like a friend. Listeners leave feeling seen, laughed with, and equipped to handle life’s messes. &nbsp; Perfect for: Students, young professionals, and anyone who’s ever faked confidence while Googling "how to adult." &nbsp; Getting By in Campus is the big sister/brother/friend you wish you had in college – serving tough love, laughs, and lifelines for the broke and brilliant alike.&nbsp;

Getting By in Campus is a raw, relatable, and refreshingly honest show that speaks directly to the struggles and triumphs of campus life and young adulthood. Hosted by Avi, the podcast blends humor, vulnerability, and actionable advice to help listeners navigate financial stress, mental health, personal growth, and the messy journey of "adulting" while broke.   Key Elements of the Podcast:  1. Authentic & Unfiltered Tone     - Avi keeps it real, sharing personal fails, confessions, and lessons (like stalking LinkedIn profiles or celebrating a friend’s failure).      - Language is casual, witty, and packed with Gen-Z/campus slang ("Stay broke. Stay brilliant," "The bank account’s crying, but the drip? Certified ").   2. Structured Yet Conversational Format      - Intro:High-energy hook + teaser of the episode’s theme.      - Personal Confession: Avi shares a cringey or vulnerable story to connect with listeners.      - Problem-Solving Segments: Breaks down issues (comparison, burnout, budgeting) with science, humor, and step-by-step fixes.      - Guest Insights: Real voices (even if impersonated) add credibility and relatability.      - Quick Gems & Outro:Memorable one-liners and a motivational sign-off.   3. Themes That Hit Home    - Campus Survival: Roommate drama, broke meals, group project nightmares.      - Mental Health:Comparison traps, validation addiction, quiet hustle vs. clout chasing.      - Hustle & Growth: Side gigs, failing forward, building confidence on a budget.   4. Actionable & Empowering     - Every episode gives practical tools (e.g., "The 24-Hour Rule" for social media, "The Only My Lane" mantra).      - Encourages self-reflection ("Ask: Is this my dream or society’s?").   5. Vibes & Aesthetic      - Music:Laid-back beats for intro/outro, matching the episode’s mood (hopeful, reflective, or hype).      - Visual Brand (Hypothetical): If it were a TV show, it’d look like Insecure meets The Breakfast Club – gritty, youthful, and full of heart.   Why It Stands Out:   - No toxic positivity. Avi admits to jealousy, burnout, and bad decisions – making growth feel achievable.   - Solves real problems. No vague advice; just hacks, scripts, and emergency kits for campus chaos.   - Feels like a friend. Listeners leave feeling seen, laughed with, and equipped to handle life’s messes.   Perfect for: Students, young professionals, and anyone who’s ever faked confidence while Googling "how to adult."   Getting By in Campus is the big sister/brother/friend you wish you had in college – serving tough love, laughs, and lifelines for the broke and brilliant alike. 

GBC by Avi(Getting By in Campus)

Welcome to the 'The Art of Self' podcast where you will learn how to walk towards your truth.&nbsp; Hosted by Charmaine Marinkovich, she's a Mum of four, a Baba (aka.Nana) of three. She's been a photographer (photographing primarily women) for over 20 years, she's a writer who shares from her heart and now coaches women to step towards their own truth and to find freedom in expressing themselves fully. Charmaine is so passionate about women finding their voice, standing up to what feels right for them, and really connecting back to who they are and coming back home to self. She believes we are all a piece of art, who get to step into our full expression to feel freedom within and break away from all that's holding us back. Charmaine brings these conversations to you through her own life experiences. Leaving school at 16 yrs old with no qualifications, becoming pregnant with her first child at 17, pulling herself through domestic violence, finding life again after nearly losing her life twice, healing herself of PTSD to then becoming so committed to walking towards her own truth to create a new future for herself. Her hope is that these conversations spark life back inside of you and bring the change you wish to see for yourself. This is for the women who refuse to hold back, shrink down or play small any longer. Thank you so much for being here and joining me as you discover or rediscover more of your truth and choose to step towards it. When you choose this for yourself you lead the way for those around you to do the same. We need more truth leaders in this world, so give yourself the permission to be one of them.&nbsp; If an episode lands on your heart (if you love it) please share it, so together we can support more women in walking towards their truth.&nbsp; Feel free to tag me on Instagram or Facebook - Charmaine Marinkovich, so I too can share you. Right, get comfy with a beverage of choice or get moving while I chat away...Let's get these conversations started.&nbsp; Charmaine x

Welcome to the 'The Art of Self' podcast where you will learn how to walk towards your truth.  Hosted by Charmaine Marinkovich, she's a Mum of four, a Baba (aka.Nana) of three. She's been a photographer (photographing primarily women) for over 20 years, she's a writer who shares from her heart and now coaches women to step towards their own truth and to find freedom in expressing themselves fully. Charmaine is so passionate about women finding their voice, standing up to what feels right for them, and really connecting back to who they are and coming back home to self. She believes we are all a piece of art, who get to step into our full expression to feel freedom within and break away from all that's holding us back. Charmaine brings these conversations to you through her own life experiences. Leaving school at 16 yrs old with no qualifications, becoming pregnant with her first child at 17, pulling herself through domestic violence, finding life again after nearly losing her life twice, healing herself of PTSD to then becoming so committed to walking towards her own truth to create a new future for herself. Her hope is that these conversations spark life back inside of you and bring the change you wish to see for yourself. This is for the women who refuse to hold back, shrink down or play small any longer. Thank you so much for being here and joining me as you discover or rediscover more of your truth and choose to step towards it. When you choose this for yourself you lead the way for those around you to do the same. We need more truth leaders in this world, so give yourself the permission to be one of them.  If an episode lands on your heart (if you love it) please share it, so together we can support more women in walking towards their truth.  Feel free to tag me on Instagram or Facebook - Charmaine Marinkovich, so I too can share you. Right, get comfy with a beverage of choice or get moving while I chat away...Let's get these conversations started.  Charmaine x

The Art of Self Podcast

Share stories of the people impacted by war and hardship.

Voices of Humanity

We are excited to deliver this series discussing all things chaos and all things Burning Man. We’ll lift the veil to show you behind the scenes of Celtic Chaos camp, and what it takes to build and run a sound camp like ours. We’ll also delve deep into our experiences from Burning Man and how those experiences have impacted us and created a ripple effect in our lives. For any first-time burners, there will be lots of tips shared throughout the series that will help you both prepare for Burning Man and re-entry afterward.

Embrace the Chaos

By Ambalika Rayan featuring people from around the world who are changing lives.The&nbsp;podcast&nbsp;reflects&nbsp;Ambalika’s&nbsp;decade long&nbsp;journey&nbsp;as&nbsp;an&nbsp;author&nbsp;and&nbsp;her&nbsp;desire&nbsp;to&nbsp;celebrate&nbsp;creativity,&nbsp;resilience,&nbsp;and&nbsp;cultural&nbsp;identity.&nbsp;Each&nbsp;season&nbsp;invites&nbsp;listeners&nbsp;to&nbsp;experience&nbsp;the&nbsp;art,&nbsp;science,&nbsp;and&nbsp;personal&nbsp;stories&nbsp;behind&nbsp;writing&nbsp;and&nbsp;creative&nbsp;leadership. Connect Here:Instagram : <a href="https://www.instagram.com/celebratethepodcast/" rel="noopener noreferrer" target="_blank">Celebrate: The Podcast</a>Facebook: <a href="https://www.facebook.com/people/Celebrate-The-Podcast/100067904243175/#" rel="noopener noreferrer" target="_blank">Celebrate: The Podcast</a><hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

By Ambalika Rayan featuring people from around the world who are changing lives. The podcast reflects Ambalika’s decade long journey as an author and her desire to celebrate creativity, resilience, and cultural identity.  Each season invites listeners to experience the art, science, and personal stories behind writing and creative leadership. Connect Here: Instagram : Celebrate: The Podcast Facebook: Celebrate: The Podcast Hosted on Acast. See acast.com/privacy for more information.

By Ambalika Rayan featuring people from around the world who are changing lives.The&nbsp;podcast&nbsp;reflects&nbsp;Ambalika’s&nbsp;decade long&nbsp;journey&nbsp;as&nbsp;an&nbsp;author&nbsp;and&nbsp;her&nbsp;desire&nbsp;to&nbsp;celebrate&nbsp;creativity,&nbsp;resilience,&nbsp;and&nbsp;cultural&nbsp;identity.&nbsp;Each&nbsp;season&nbsp;invites&nbsp;listeners&nbsp;to&nbsp;experience&nbsp;the&nbsp;art,&nbsp;science,&nbsp;and&nbsp;personal&nbsp;stories&nbsp;behind&nbsp;writing&nbsp;and&nbsp;creative&nbsp;leadership. Connect Here:Instagram : <a href="https://www.instagram.com/celebratethepodcast/" rel="noopener noreferrer">Celebrate: The Podcast</a>Facebook: <a href="https://www.facebook.com/people/Celebrate-The-Podcast/100067904243175/#" rel="noopener noreferrer">Celebrate: The Podcast</a> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> for more information.

Celebrate: The Podcast

Audio book: Junky by William S. Burroughs

Audio book: Junky by William S. Burroughs

Junky

Welcome to The Book Talkies Podcast!
A unique show where we take you into the wonderful world of books. 
On this platform, we will be conversing about the books we have read and come to love. 

Our purpose for this podcast is to make you fall in love with books! As we discuss our perspective on some bestsellers and hidden treasures, we hope to persuade our listeners to join us on this splendid journey of reading.

You can reach us on the below links to share your thoughts:
Twitter Handle: @thebooktalkies
LinkedIn page: https://www.linkedin.com/company/the-book-talkies

Welcome to The Book Talkies Podcast! A unique show where we take you into the wonderful world of books. On this platform, we will be conversing about the books we have read and come to love. Our purpose for this podcast is to make you fall in love with books! As we discuss our perspective on some bestsellers and hidden treasures, we hope to persuade our listeners to join us on this splendid journey of reading. You can reach us on the below links to share your thoughts: Twitter Handle: @thebooktalkies LinkedIn page: https://www.linkedin.com/company/the-book-talkies

The Book Talkies

Books! w/ Bitches is a podcast of two lifelong friends that feel the need to add extra commentary on the books they read. With having a long-distance friendship, they created a way to ensure they stay in contact with each other and keep their friendship strong. Join Madison and Maria as they dive into any book they can agree on and discuss the characters, plot and sometimes even their own lives. BYEEEEE!

Books w/ Bitches

YA4B

A devilish Project Runway recap show from season one and beyond

The Inseam

Der Podcast zur sinnlichen Fotografie. Hier findet ihr Themen rund um die Boudoir-Fotografie, die Sinnlichkeit und das „Frau sein“ generell. Zeit, um den Kopf einfach mal auszuschalten! Ich freue mich, wenn ihr reinhört! 
Liebe Grüße! Eure Nadine

Der Podcast zur sinnlichen Fotografie. Hier findet ihr Themen rund um die Boudoir-Fotografie, die Sinnlichkeit und das „Frau sein“ generell. Zeit, um den Kopf einfach mal auszuschalten! Ich freue mich, wenn ihr reinhört! Liebe Grüße! Eure Nadine

KOPF AUS. GEFÜHL AN.

Voor muzikanten --> door muzikanten. Podcast over de creatie, structuur en taal van muziek. Zoran Rosendahl gaat in gesprek met componisten, muzikanten en dirigenten uit de Benelux en ver daarbuiten...

Intro-tune: Tom Schipper

Logo: Simon de Rooij

Voor muzikanten --> door muzikanten. Podcast over de creatie, structuur en taal van muziek. Zoran Rosendahl gaat in gesprek met componisten, muzikanten en dirigenten uit de Benelux en ver daarbuiten... Intro-tune: Tom Schipper Logo: Simon de Rooij

Voor muzikanten --&gt; door muzikanten. Podcast over de creatie, structuur en taal van muziek. Zoran Rosendahl gaat in gesprek met componisten, muzikanten en dirigenten uit de Benelux en ver daarbuiten...

Intro-tune: Tom Schipper

Logo: Simon de Rooij

Diep in de Muziek

Sydney Theatre Company has been a major force in Australian drama since its establishment in 1979. We present work at our home base The Wharf, the nearby Sydney Theatre, and at the Drama Theatre, Sydney Opera House.

Sydney Theatre Company

How Far Podcast is for anyone living away from home (how far, really) or for those dreaming to move and live somewhere else other than their home country. Join us as we talk about real and raw life stories as an immigrant. Follow our socials! Tiktok: @howfarpodcast Instagram: @howfar.podcast

How Far Podcast

Основатели ресейл-платформы культовых сумок THE CULTT и сервиса по аренде одежды Cloudset рассказывают про тренды фэшн-индустрии и будущее альтернативной моды.  Ресейл, облачный гардероб, покупки в один клик и digital-коллекции – все это рано или поздно станет нашей обыденностью. Когда, как и зачем? Обсудим вместе с главными инсайдерами индустрии.  Ведущие: Амина Мусаева, основатель и CEO CloudsetМария Манаева, сооснователь и операционный директор THE CULTT Этот подкаст мы делаем вместе со студией «Шторм».

Основатели ресейл-платформы культовых сумок THE CULTT и сервиса по аренде одежды Cloudset рассказывают про тренды фэшн-индустрии и будущее альтернативной моды. Ресейл, облачный гардероб, покупки в один клик и digital-коллекции – все это рано или поздно станет нашей обыденностью. Когда, как и зачем? Обсудим вместе с главными инсайдерами индустрии. Ведущие: Амина Мусаева, основатель и CEO Cloudset Мария Манаева, сооснователь и операционный директор THE CULTTЭтот подкаст мы делаем вместе со студией «Шторм».

Основатели ресейл-платформы культовых сумок THE CULTT и сервиса по аренде одежды Cloudset рассказывают про тренды фэшн-индустрии и будущее альтернативной моды.&nbsp; Ресейл, облачный гардероб, покупки в один клик и digital-коллекции – все это рано или поздно станет нашей обыденностью. Когда, как и зачем? Обсудим вместе с главными инсайдерами индустрии.&nbsp; Ведущие: Амина Мусаева, основатель и CEO CloudsetМария Манаева, сооснователь и операционный директор THE CULTT Этот подкаст мы делаем вместе со студией «Шторм».

Arts Podcasts / Page 1415