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First Christian Church of Puyallup is a gathering of diverse individuals in Puyallup, Washington, USA, called by God to live as a blessing in our own neighborhoods and in the world. We dream of being a faithful community of God’s people whose spiritual practices of worship, prayer, study, and ministry nurture those who are seeking to live in the way of Jesus.

Sermons at First Christian Church of Puyallup (Disciples of Christ)

Welcome to Adventure, Suspense & Horror Old Time Radio brought to you by the Prepper Broadcasting Network every evening at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead? There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing.

Welcome to Adventure, Suspense & Horror Old Time Radio brought to you by the Prepper Broadcasting Network every evening at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead? There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing.

Welcome to Adventure, Suspense &amp; Horror Old Time Radio brought to you by the Prepper Broadcasting Network every evening at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead? There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing.

Adventure, Horror & Suspense on Old Time Radio

Si quand tu vois un FMICast de 5H arriver dans ton Flux,  tu te dis que ça va jamais passer, on à la solution fais le passer en 2x!

Retrouvez ici les numéros du FMICast en 2 numéros mensuel parce que même si 3H + 3H feront toujours 6H vous ne le sentirez pas passer!

Par contre si tu veux les Episodes de 1 à 42 c'est ici que ça ce passe: http://fmicast.lepodcast.fr

Si quand tu vois un FMICast de 5H arriver dans ton Flux, tu te dis que ça va jamais passer, on à la solution fais le passer en 2x! Retrouvez ici les numéros du FMICast en 2 numéros mensuel parce que même si 3H + 3H feront toujours 6H vous ne le sentirez pas passer! Par contre si tu veux les Episodes de 1 à 42 c'est ici que ça ce passe: http://fmicast.lepodcast.fr

FMICast Version Arnaque

Hey! It's me, Vrushali Khadilkar. 
Join me~
Chat | Rant | Self-improvement|GenZ &amp; Millennial Vibes
https://candidgear.substack.com/

Email: vrushuk4@gmail.com


@atourwithinpodcast

Thanks!

Hey! It's me, Vrushali Khadilkar. Join me~ Chat | Rant | Self-improvement|GenZ & Millennial Vibes https://candidgear.substack.com/ Email: vrushuk4@gmail.com @atourwithinpodcast Thanks!

A Tour Within With Vrushali Khadilkar

Life In Flux is a podcast that follows our host Jesse Begley exploring the different aspects of our rapidly changing world.

If conversations about travel, media, art and the brilliant and frustrating nuances of the world interest you, then the Life In Flux podcast is for you. 

We speak with comedians, fighters, authors to activists, musicians and scientists – to give you the unedited perspectives of their worlds.

Life In Flux is a podcast that follows our host Jesse Begley exploring the different aspects of our rapidly changing world. If conversations about travel, media, art and the brilliant and frustrating nuances of the world interest you, then the Life In Flux podcast is for you. We speak with comedians, fighters, authors to activists, musicians and scientists – to give you the unedited perspectives of their worlds.

Life In Flux

Cailleach's Herbarium

The conversation after the game ends.  A weekly descent into the depth of narrative in video games.

The conversation after the game ends. A weekly descent into the depth of narrative in video games.

The Deep Dive

Hosts Randy Weckerly and Tim Bona introduce the new Links & Libations Podcast, the companion audio experience of Links & Libations Magazine.

Hosts Randy Weckerly and Tim Bona introduce the new Links &amp; Libations Podcast, the companion audio experience of Links &amp; Libations Magazine.

Links & Libations Podcast

A Podcast, sharing individual personal success stories, community services and group discussions about relevant topics. With your host Karl Thomas and sometimes the Amazing Lynn Worrell (co-founder). Brought to you by Vision A&amp;C (Art &amp; Culture). 

https://www.visionartandculture.org

A Podcast, sharing individual personal success stories, community services and group discussions about relevant topics. With your host Karl Thomas and sometimes the Amazing Lynn Worrell (co-founder). Brought to you by Vision A&C (Art & Culture). https://www.visionartandculture.org

The Dep Podcast

The Why Arizona Podcast features weekly interviews with athletes, entrepreneurs, speakers, executives, and beyond, sharing the stories that make Arizona such a special place to live and visit. Your Season 2 host, Ashley Law, will be interviewing 20 incredible women over the next 20 weeks discussing a wide range of topics, issues and journeys. Please subscribe to this channel and connect with us directly at WhyArizona.com

Why Arizona Podcast

Уже 5й сезон авторского цикла передач.
Научно-практический формат передач позволяет рассматривать различные аспекты и темы в этом направлении, вести диалоги и обмениваться информацией.
Онлайн - новая реальность, вошедшая в нашу жизнь, позволяющая экспертам не только эффективно вести профессиональную деятельность, но и существовать
Проект, который был сформирован для возможности общения экспертного и профессионального сообщества в удалённом режиме.
Повышение качества жизни россиян - основная цель деятельности Международной Экспертной Платформы УРАЛРОСПРОМЭКО - МЭП УРАЛ.
#urocpodcast

Уже 5й сезон авторского цикла передач. Научно-практический формат передач позволяет рассматривать различные аспекты и темы в этом направлении, вести диалоги и обмениваться информацией. Онлайн - новая реальность, вошедшая в нашу жизнь, позволяющая экспертам не только эффективно вести профессиональную деятельность, но и существовать Проект, который был сформирован для возможности общения экспертного и профессионального сообщества в удалённом режиме. Повышение качества жизни россиян - основная цель деятельности Международной Экспертной Платформы УРАЛРОСПРОМЭКО - МЭП УРАЛ. #urocpodcast

"УРАЛРОСПРОМЭКО: за повышение качества жизни россиян". ОНЛАЙН ДИСКУССИИ С ЮЛИЕЙ КОРНЕЕВОЙ

CHAMADE, des conversations intimes et étonnantes pour faire palpiter votre vie !


Rencontrez des faiseuses et des faiseurs de beau (artistes, artisan·e·s, écologistes, créateurs·rices…) qui vivent le cœur battant.
Et retrouvez mes Portraits sonores, les Intercalaires et des formats courts en lien avec le beau, les sens et la création.


Au programme : de la profondeur et du jeu, du quotidien et du merveilleux.


Je suis Marie Girardin Lépine, créatrice de La Fantaisie Vagabonde (https://lafantaisievagabonde.com/)
 Dont CHAMADE est le paysage sonore.


Bienvenue dans cet espace dédié à la passion qui rend les gens vivants et au beau qui rend le monde vibrant.

⭐ Si CHAMADE vous a tapé dans l'oreille, abonnez-vous, mettez-lui 5 étoiles et publiez un avis sur votre plateforme de podcasts préférée !

Et puis...
✨ Lisez Bigorneau, ma newsletter sur Substack !
Vous y retrouverez des histoires (vraies) de mise en valeur par les mots et la voix ainsi que les coulisses de mes projets.
 👉 Cliquez ici ! (https://mariegirardinlepine.substack.com/)  👈

Pour m'écrire : bonjour@lafantaisievagabonde.com (mailto:bonjour@lafantaisievagabonde.com)
Hébergé par Ausha. Visitez ausha.co/fr/politique-de-confidentialite pour plus d'informations.

CHAMADE, des conversations intimes et étonnantes pour faire palpiter votre vie ! Rencontrez des faiseuses et des faiseurs de beau (artistes, artisan·e·s, écologistes, créateurs·rices…) qui vivent le cœur battant. Et retrouvez mes Portraits sonores, les Intercalaires et des formats courts en lien avec le beau, les sens et la création. Au programme : de la profondeur et du jeu, du quotidien et du merveilleux. Je suis Marie Girardin Lépine, créatrice de La Fantaisie Vagabonde (https://lafantaisievagabonde.com/) Dont CHAMADE est le paysage sonore. Bienvenue dans cet espace dédié à la passion qui rend les gens vivants et au beau qui rend le monde vibrant. ⭐ Si CHAMADE vous a tapé dans l'oreille, abonnez-vous, mettez-lui 5 étoiles et publiez un avis sur votre plateforme de podcasts préférée ! Et puis... ✨ Lisez Bigorneau, ma newsletter sur Substack ! Vous y retrouverez des histoires (vraies) de mise en valeur par les mots et la voix ainsi que les coulisses de mes projets. 👉 Cliquez ici ! (https://mariegirardinlepine.substack.com/) 👈 Pour m'écrire : bonjour@lafantaisievagabonde.com (mailto:bonjour@lafantaisievagabonde.com) Hébergé par Ausha. Visitez ausha.co/fr/politique-de-confidentialite pour plus d'informations.

CHAMADE, des conversations intimes et étonnantes pour faire palpiter votre vie !


Rencontrez des faiseuses et des faiseurs de beau (artistes, artisan·e·s, écologistes, créateurs·rices…) qui vivent le cœur battant.
Et retrouvez mes Portraits sonores, les Intercalaires et des formats courts en lien avec le beau, les sens et la création.


Au programme : de la profondeur et du jeu, du quotidien et du merveilleux.


Je suis Marie Girardin Lépine, créatrice de La Fantaisie Vagabonde (https://lafantaisievagabonde.com/)
 Dont CHAMADE est le paysage sonore.


Bienvenue dans cet espace dédié à la passion qui rend les gens vivants et au beau qui rend le monde vibrant.

⭐ Si CHAMADE vous a tapé dans l'oreille, abonnez-vous, mettez-lui 5 étoiles et publiez un avis sur votre plateforme de podcasts préférée !

Et puis...
✨ Lisez Bigorneau, ma newsletter sur Substack !
Vous y retrouverez des histoires (vraies) de mise en valeur par les mots et la voix ainsi que les coulisses de mes projets.
 👉 Cliquez ici ! (https://mariegirardinlepine.substack.com/) &nbsp;👈

Pour m'écrire : bonjour@lafantaisievagabonde.com (mailto:bonjour@lafantaisievagabonde.com)
Hébergé par Ausha. Visitez ausha.co/fr/politique-de-confidentialite pour plus d'informations.

CHAMADE

Two grown men talking about stuff that made my friends wife say ew! Thats pretty much it.

We provide you with the fullness of updates that concern lifestyle. This podcast is entertaining, educative, inspiring, and captivating. Listen to an episode today and you will be glad you did.

Everyday YOU and ME

Success in life is where you find it--and yourself: good people and their even better stories from expats everywhere.

Expat Enclave

Cn tggg

PodSilva
Um podcast real, direto e diferente. #podcastbrs
@rubensilvablogue

PodSilva Um podcast real, direto e diferente. #podcastbrs @rubensilvablogue

PodSilva

Bonjour, moi c'est Solène Delannoy...oui bah moi je l'aime bien mon nom ! Je suis comédienne, humoriste et auteure.Tous les lundis et jeudis, je vous fait découvrir une insulte mais surtout, je vous apprend à jurer peu mais mieux ! Auteure et voix : <a href="https://www.solenedelannoy.com/" rel="noopener noreferrer" target="_blank">Solène Delannoy</a>Production : <a href="https://latoilesurecoute.com/" rel="noopener noreferrer" target="_blank">La Toile sur Ecoute</a>Gestion Editoriale : <a href="https://www.linkedin.com/in/alix-philippot-650104136/?originalSubdomain=fr" rel="noopener noreferrer" target="_blank">Alix Philippot</a> Pour profiter de l’offre&nbsp;CyberGhost&nbsp;cliquez ci dessous :&nbsp;<a href="https://www.cyberghostvpn.com/Latoilesurecoute" rel="noopener noreferrer" target="_blank">https://www.cyberghostvpn.com/Latoilesurecoute</a> <hr> Voir <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>Acast.com/privacy</a> pour les informations sur la vie privée et l'opt-out.

Bonjour, moi c'est Solène Delannoy...oui bah moi je l'aime bien mon nom ! Je suis comédienne, humoriste et auteure. Tous les lundis et jeudis, je vous fait découvrir une insulte mais surtout, je vous apprend à jurer peu mais mieux ! Auteure et voix : Solène Delannoy Production : La Toile sur Ecoute Gestion Editoriale : Alix Philippot Pour profiter de l’offre CyberGhost cliquez ci dessous :  https://www.cyberghostvpn.com/Latoilesurecoute Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Bonjour, moi c'est Solène Delannoy...oui bah moi je l'aime bien mon nom ! Je suis comédienne, humoriste et auteure.Tous les lundis et jeudis, je vous fait découvrir une insulte mais surtout, je vous apprend à jurer peu mais mieux ! Auteure et voix : <a href="https://www.solenedelannoy.com/" rel="noopener noreferrer">Solène Delannoy</a>Production : <a href="https://latoilesurecoute.com/" rel="noopener noreferrer">La Toile sur Ecoute</a>Gestion Editoriale : <a href="https://www.linkedin.com/in/alix-philippot-650104136/?originalSubdomain=fr" rel="noopener noreferrer">Alix Philippot</a> Pour profiter de l’offre&nbsp;CyberGhost&nbsp;cliquez ci dessous :&nbsp;<a href="https://www.cyberghostvpn.com/Latoilesurecoute" rel="noopener noreferrer">https://www.cyberghostvpn.com/Latoilesurecoute</a> Voir <a href="https://acast.com/privacy" rel="noopener noreferrer">Acast.com/privacy</a> pour les informations sur la vie privée et l'opt-out.

SOLÈNE

ニュースにもカルチャーにも興味津々のＭＢＳアナウンサー西靖と、フリーなＤＪ・谷口キヨコが、果てしない好奇心で、さまざまな分野のエキスパートに迫り、リスナーの「聴きたい」気持ちを満たす２時間。

西靖・谷口キヨコのもっと聴きたい！火曜日

V podcastu 68 minutes se hokejová legenda Jaromír Jágr setkává u jednoho stolu s českými hvězdami. Podcast moderují Jitka Boho a Petr Větrovský.Chcete díly slyšet s předstihem a získat exkluzivní přístup k dalšímu obsahu? Přidejte se do našeho týmu na Herohero!<a target="_blank" rel="noopener noreferrer nofollow" href="http://herohero.co/68tv">http://herohero.co/68tv</a>

V podcastu 68 minutes se hokejová legenda Jaromír Jágr setkává u jednoho stolu s českými hvězdami. Podcast moderují Jitka Boho a Petr Větrovský. Chcete díly slyšet s předstihem a získat exkluzivní přístup k dalšímu obsahu? Přidejte se do našeho týmu na Herohero! http://herohero.co/68tv

V podcastu 68 minutes se hokejová legenda Jaromír Jágr setkává u jednoho stolu s českými hvězdami. Podcast moderují Jitka Boho a Petr Větrovský.Chcete díly slyšet s předstihem a získat exkluzivní přístup k dalšímu obsahu? Přidejte se do našeho týmu na Herohero!<a href="http://herohero.co/68tv" rel="noopener noreferrer">http://herohero.co/68tv</a>

68 minutes

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

Las historias, investigaciones y trabajos periodísticos más cuidados, elaborados por el equipo de Hora 25 de la Cadena SER. El mejor periodismo en audio: el rigor en la información, el poder de la narración y la atracción de la edición sonora.

Mirada 25

Depuis pr&egrave;s de 20 ans au micro du FM93, Sylvain Bouchard fait la pluie et le beau temps. Avec Philippe Couture, il vous met au parfum de tout ce qui se passe dans l'actualit&eacute; de Qu&eacute;bec.

Depuis près de 20 ans au micro du FM93, Sylvain Bouchard fait la pluie et le beau temps. Avec Philippe Couture, il vous met au parfum de tout ce qui se passe dans l'actualité de Québec.

Depuis près de 20 ans au micro du FM93, Sylvain Bouchard fait la pluie et le beau temps. Avec Philippe Couture, il vous met au parfum de tout ce qui se passe dans l'actualité de Québec.

Bouchard en parle

Dr. Sean covers deep and powerful headlines that affect the African-American community and gives advice to guests who are in need.

Book Of Sean

打破固有观念，重塑自我成长。

探寻「东方哲学与传统文化智慧」，化解「现代生活中的身心困扰」。

用深入浅出的文化解读和娓娓道来的节奏，与大家一起滋养身心能量，找回内在平衡。也可以把它当做「助眠播客」睡个好觉。

在这个匆忙的时代，欢迎你跟「樹樹」一起慢生活、慢思考，告别焦虑与内耗。

驰而不息，慢而有恒，事缓则圆，万事胜意都在路上。祝你天天开心~

--------------------------------------

🎧听友群：VX搜索yeshengfuyu
📕小红书：樹樹Sunya
👀微博：野生抚育-樹樹Sunya
📭邮箱：AshuSunya@aliyun.com

打破固有观念，重塑自我成长。 探寻「东方哲学与传统文化智慧」，化解「现代生活中的身心困扰」。 用深入浅出的文化解读和娓娓道来的节奏，与大家一起滋养身心能量，找回内在平衡。也可以把它当做「助眠播客」睡个好觉。 在这个匆忙的时代，欢迎你跟「樹樹」一起慢生活、慢思考，告别焦虑与内耗。 驰而不息，慢而有恒，事缓则圆，万事胜意都在路上。祝你天天开心~ -------------------------------------- 🎧听友群：VX搜索yeshengfuyu 📕小红书：樹樹Sunya 👀微博：野生抚育-樹樹Sunya 📭邮箱：AshuSunya@aliyun.com

野生抚育

Face à une crise d'ordre politique et climatique, face au réchauffement climatique, il est urgent d'interroger notre vision du monde. Quel relation nos sociétés entretiennent-elle aujourd'hui avec le milieu dans lequel elles évoluent ? Pouvons-nous collectivement adapter nos modes de pensées et de vie aux nouvelles limite planétaires ? Le vivant étant devenu une notion politique, Mazarine Mitterrand Pingeot reçoit les grands penseurs des enjeux liés à la démocratie, à la préservation de la vie ou du réchauffement climatique. Cette nouvelle saison inédite des&nbsp;Grands Entretiens&nbsp;insuffle enfin l'esprit revigorant de la philosophie universitaire dans l'espace publique. Les Grands Entretiens est une émission produite et diffusée sur LCP - Assemblée nationale. Elle est disponible en replay sur le site lcp.fr La Chaîne Parlementaire, un carrefour d'opinions où ministres, députés, élus locaux, experts et personnalités de la société civile, font entendre leur voix. Abonnez-vous à la chaîne YouTube LCP : https://bit.ly/2XGSAH5 Suivez-nous sur les réseaux ! Twitter : https://twitter.com/lcpFacebook : https://fr-fr.facebook.com/LCPInstagram : https://www.instagram.com/lcp_an/ Retrouvez nous sur notre site : https://www.lcp.fr/ #LCP<h4> </h4>Sciences, France, Philosophie, Idées, Politique, écologie, environnement, nature, réchauffement climatique, Climat. <hr> Hébergé par Acast. Visitez <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> pour plus d'informations.

Face à une crise d'ordre politique et climatique, face au réchauffement climatique, il est urgent d'interroger notre vision du monde. Quel relation nos sociétés entretiennent-elle aujourd'hui avec le milieu dans lequel elles évoluent ? Pouvons-nous collectivement adapter nos modes de pensées et de vie aux nouvelles limite planétaires ? Le vivant étant devenu une notion politique, Mazarine Mitterrand Pingeot reçoit les grands penseurs des enjeux liés à la démocratie, à la préservation de la vie ou du réchauffement climatique. Cette nouvelle saison inédite des Grands Entretiens insuffle enfin l'esprit revigorant de la philosophie universitaire dans l'espace publique. Les Grands Entretiens est une émission produite et diffusée sur LCP - Assemblée nationale. Elle est disponible en replay sur le site lcp.fr La Chaîne Parlementaire, un carrefour d'opinions où ministres, députés, élus locaux, experts et personnalités de la société civile, font entendre leur voix. Abonnez-vous à la chaîne YouTube LCP : https://bit.ly/2XGSAH5 Suivez-nous sur les réseaux ! Twitter : https://twitter.com/lcp Facebook : https://fr-fr.facebook.com/LCP Instagram : https://www.instagram.com/lcp_an/ Retrouvez nous sur notre site : https://www.lcp.fr/ #LCP Sciences, France, Philosophie, Idées, Politique, écologie, environnement, nature, réchauffement climatique, Climat. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Face à une crise d'ordre politique et climatique, face au réchauffement climatique, il est urgent d'interroger notre vision du monde. Quel relation nos sociétés entretiennent-elle aujourd'hui avec le milieu dans lequel elles évoluent ? Pouvons-nous collectivement adapter nos modes de pensées et de vie aux nouvelles limite planétaires ? Le vivant étant devenu une notion politique, Mazarine Mitterrand Pingeot reçoit les grands penseurs des enjeux liés à la démocratie, à la préservation de la vie ou du réchauffement climatique. Cette nouvelle saison inédite des&nbsp;Grands Entretiens&nbsp;insuffle enfin l'esprit revigorant de la philosophie universitaire dans l'espace publique. Les Grands Entretiens est une émission produite et diffusée sur LCP - Assemblée nationale. Elle est disponible en replay sur le site lcp.fr La Chaîne Parlementaire, un carrefour d'opinions où ministres, députés, élus locaux, experts et personnalités de la société civile, font entendre leur voix. Abonnez-vous à la chaîne YouTube LCP : https://bit.ly/2XGSAH5 Suivez-nous sur les réseaux ! Twitter : https://twitter.com/lcpFacebook : https://fr-fr.facebook.com/LCPInstagram : https://www.instagram.com/lcp_an/ Retrouvez nous sur notre site : https://www.lcp.fr/ #LCP Sciences, France, Philosophie, Idées, Politique, écologie, environnement, nature, réchauffement climatique, Climat. Hébergé par Acast. Visitez <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> pour plus d'informations.

Les philosophes du vivant

Kristopher Schau møter landets fremste vitenskapspersonligheter og snakker med dem om hva som fikk dem til å ende opp der de er og forskningen de bedriver.<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.

Kristopher Schau møter landets fremste vitenskapspersonligheter og snakker med dem om hva som fikk dem til å ende opp der de er og forskningen de bedriver. Hosted on Acast. See acast.com/privacy for more information.

Kristopher Schau møter landets fremste vitenskapspersonligheter og snakker med dem om hva som fikk dem til å ende opp der de er og forskningen de bedriver. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> for more information.

Nysgjerrige Norge

Kan du lide creepy facts, uhyggelige historier og true crime? 

I Ondskabens Arkiv hører du om nogle af de værste hændelser rundt omkring i verden. Om det er nådesløse seriemordere, paranormale hændelser eller tragiske ulykker, så vil værten tage dig med på en uhyggelige rejse fra start til slut. 

Udover denne podcast kan du løbende holde dig opdateret på horror relateret indhold fra værten, Sascha Eibye, på Tiktok eller Instagram hvor der flere gange om ugen bliver delt spændende og ikke mindst skræmmende indhold. 

Tiktok: @eibyen
Instagram: @eibyenn

Kan du lide creepy facts, uhyggelige historier og true crime? I Ondskabens Arkiv hører du om nogle af de værste hændelser rundt omkring i verden. Om det er nådesløse seriemordere, paranormale hændelser eller tragiske ulykker, så vil værten tage dig med på en uhyggelige rejse fra start til slut. Udover denne podcast kan du løbende holde dig opdateret på horror relateret indhold fra værten, Sascha Eibye, på Tiktok eller Instagram hvor der flere gange om ugen bliver delt spændende og ikke mindst skræmmende indhold. Tiktok: @eibyen Instagram: @eibyenn

Ondskabens Arkiv

[F]law School is a podcast created, produced, and hosted by high school, college, and law students as well as lawyers and law professors who all share an interest in exploring the flaw . . . in the law. [F]law School is an initiative of The [F]law magazine (flaw.org) and the Systemic Justice Project (systemicjustice.org). Its episodes focus especially on the role of corporate power in capturing law and legal institutions and in causing social problems.

[F]law School is a podcast created, produced, and hosted by high school, college, and law students as well as lawyers and law professors who all share an interest in exploring the flaw . . . in the law. [F]law School is an initiative of The [F]law magazine (flaw.org) and the Systemic Justice Project (systemicjustice.org). Its episodes focus especially on the role of corporate power in capturing law and legal institutions and in causing social problems.

[F]law School

The Dad team who’ve got your back as we navigate the rocky roads of Dad Life. 
Hosted by storytellers Dan Sedge and CB Jackson

The Dad team who’ve got your back as we navigate the rocky roads of Dad Life. Hosted by storytellers Dan Sedge and CB Jackson

Only Dads Get This

👉 This is a serialized story. Start with Episode 1 so it all makes sense.
A heart attack. Cardiac arrest. Heart valve replacement.
I survived all three—and now I’m trying to make sense of the wreckage they left behind.
This isn’t a podcast about advice, inspiration, or being strong.
It’s raw. It’s honest. Sometimes dark. Sometimes funny.
Just me, processing the absurdity of what happened—physically, emotionally, spiritually—and saying the things I couldn’t say in the moment.
If you’ve ever faced something life-shattering… maybe this will land with you too.

👉 This is a serialized story. Start with Episode 1 so it all makes sense. A heart attack. Cardiac arrest. Heart valve replacement. I survived all three—and now I’m trying to make sense of the wreckage they left behind. This isn’t a podcast about advice, inspiration, or being strong. It’s raw. It’s honest. Sometimes dark. Sometimes funny. Just me, processing the absurdity of what happened—physically, emotionally, spiritually—and saying the things I couldn’t say in the moment. If you’ve ever faced something life-shattering… maybe this will land with you too.

Three Strikes. And Still Beating.

#TuneInWhatever

專門聊那些有的沒的，反正聽聽就好啦～
從走跳人生的愛恨嗔痴癲，到那些跌倒過、笑出來、有點ㄎ一ㄤ的瞬間。

✨ Instagram: https://www.instagram.com/tunein_whatever?igsh=MXUwMXhyd2N3M2NwbQ%3D%3D&amp;utm_source=qr
✉️ 連絡信箱：tuneinwhatever@gmail.com

喜歡內容的話，要不要贊助這個節目😉？
https://ko-fi.com/tuneinwhatever

歡迎評論留言，沒加班或沒忘記就會看！

#TuneInWhatever 專門聊那些有的沒的，反正聽聽就好啦～ 從走跳人生的愛恨嗔痴癲，到那些跌倒過、笑出來、有點ㄎ一ㄤ的瞬間。 ✨ Instagram: https://www.instagram.com/tunein_whatever?igsh=MXUwMXhyd2N3M2NwbQ%3D%3D&utm_source=qr ✉️ 連絡信箱：tuneinwhatever@gmail.com 喜歡內容的話，要不要贊助這個節目😉？ https://ko-fi.com/tuneinwhatever 歡迎評論留言，沒加班或沒忘記就會看！

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