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Nick Jeffery and John Granger continue their Q&A conversations about Rowling-Galbraith's Hallmarked Man (if you missed the first discussion, click here to catch up). As usual, the pair promised to send links and notes along with their recorded back and forth for anyone wanting to read more about the subjects they discussed. Scroll down for their seven plus one questions and a bevy of bonus material they trust will add to your appreciation of Rowling's Strike 8 artistry and meaning. Cheers!Q1: What is the meaning of or artistry involved with Pat Chauncey's three fish in the Agency's fish tank, ‘Robin,' ‘Cormoran,' and ‘Travolta/Elton'?Mise en Abyme (Wikipedia)In Western art history, mise en abyme (French pronunciation: [miz ɑ̃n‿abim]; also mise en abîme) is the technique of placing a copy of an image within itself, often in a way that suggests an infinitely recurring sequence. In film theory and literary theory, it refers to the story within a story technique.The term is derived from heraldry, and means placed into abyss (exact middle of a shield). It was first appropriated for modern criticism by the French author André Gide. A common sense of the phrase is the visual experience of standing between two mirrors and seeing an infinite reproduction of one's image. Another is the Droste effect, in which a picture appears within itself, in a place where a similar picture would realistically be expected to appearSnargaloff pods (Harry Potter Wiki)“It sprang to life at once; long, prickly, bramble-like vines flew out of the top and whipped through the air... Harry succeeded in trapping a couple of vines and knotting them together; a hole opened in the middle of all the tentacle-like branches... Hermione snatched her arm free, clutching in her fingers a pod... At once, the prickly vines shot back inside and the gnarled stump sat there looking like an innocently dead lump of wood“— The trio dealing with the Snargaluff plant in sixth year Herbology classSnargaluff was a magical plant with the appearance of a gnarled stump, but had dangerous hidden thorn-covered vines that attacked when provoked, and was usually best handled by more than one person.Juliana's Question about the Oranda Goldfish:did anyone else notice - I confess to only noticing this on my second re-read of THM- that Travolta, Pat's third fish, dies?What do we think about this? Could this mean Mr. Ryan F. Murphy dies…? Or could it just be foreshadowing of the fact that him and Robin don't end up together? I think the fish symbolism was quite humorous and delightful paralleling such a deep and intricate plot. Just wanted to know if anyone noticed this tinge of humor towards the end of the book… As for the fish theory, Pat's three fish in the tank: Strike, Robin and the third, she calls, Travolta — ironically, named after a “handsome” man. I'm thinking JKR meant Travolta, the fish to symbolize Murphy…What I was referring to in my original comment: the three fish = the love triangle between Ellacott/Murphy/Strike. I was asking: since Travolta died in Chapter 113, do we think this foreshadows Murphy either dying physically, or just that Robin and Murphy do not end up together?John's ‘Fish and Peas' Response:It's a relief to learn that Travolta's most famous role wasn't a character named Ryan Murphy that everyone in the world except myself knows very well. Thank you for this explanation!There's more to your idea, though, I think, then you have shared. Forgive me if you were already aware of this textual argument that suggests very strongly that these Oranda goldfish have been an important part of Rowling's plan from the series from the start. In brief, it's about the peas.In Part 2, Chapter 3, of ‘Cuckoo's Calling,' Robin and Matt are having their first fight about Strike and the Agency. The chapter ends with an odd note that this disagreement has blemished the Cunliffe couple's engagement.“She waited until he had walked away into the sitting room before turning off the tap. There was, she noticed, a fragment of frozen pea caught in the setting of her engagement ring.” (73)Your theory that the fish bowl is an embedded picture of the state of Robin's feelings for Murphy and Strike, a Mise en abyme of sorts, is given credibility in the eyes of this reader by the appearance of frozen peas as the cure for the dying Cormoran goldfish. It is hard for a Rowling Reader to believe that these two mentions of frozen pea fragments were coincidental or unrelated, which means that (a) Rowling had the office Oranda goldfish scene-within-the-scene in Strike 8 foreshadowed by the Strike 1 tiff, and (b) therefore of real significance.There is another pea bit, of course, in ‘Troubled Blood' at Skegness, a passage that links Robin's heart or essence with peas.Strike was still watching the starlings when Robin set down two polystyrene trays, two small wooden forks and two cans of Coke on the table.“Mushy peas,” said Strike, looking at Robin's tray, where a hefty dollop of what looked like green porridge sat alongside her fish and chips.“Yorkshire caviar,” said Robin, sitting down. “I didn't think you'd want any.”“You were right,” said Strike, picking up a sachet of tomato sauce while watching with something like revulsion as Robin dipped a chip into the green sludge and ate it.“Soft Southerner, you are,” she said, and Strike laughed. (807-808)If you tie this in with the fish symbolism embedded in Rowling's favorite paintings and the meaning of ‘Oranda,' this is quite a bit of depth in that fish bowl -- and in your argument that the death of Travolta signifies Murphy is out of consideration.You're probably to young to remember this but Travolta's most famous role will always be Tony Manero in ‘Saturday Night Fever,' the breakout event of his acting career. Manero longs for a woman way out of his league, attempts to rape her after they win a dance contest, she naturally rejects him, but they wind up as friends.Or in a book so heavy in the cultish beliefs and practices of Freemasonry, especially with respect to policemen that are also “on the square,” maybe the Travolta-Murphy link is just that the actor is, with Tom Cruise, as famous (well...) for his beliefs in Scientology as for his acting ability.So, yes, it's fun, your ‘Peas and Fish' theory, but there's something to it.Check out this note on ‘Peas' in the Strike novels from Renee over at the weblog: https://www.hogwartsprofessor.com/hallmarked-man-placeholder-post-index/comment-page-1/#comment-1699017 The fish symbolism embedded in Rowling's favorite painting: https://hogwartsprofessor.substack.com/p/rowlings-favorite-painting-and-what And the meaning of ‘Oranda:' https://www.hogwartsprofessor.com/rowling-twixter-fish-and-strike-update/Follow-Up by Julianna:I'm not sure what exact chapter this is in, but let's also not forget that on Sark, Strike procures a bag of frozen peas to soothe the spade to his face injury. I also want to add that he has used frozen peas before, to soothe his aching leg too, but I could be wrong about that…I cant remember where I've read that, so it might not be true….Lastly, after reading Renee's comment, I have to say, that now I do believe that the peas might have been an ongoing symbol for Strike (a la…the pea in the engagement ring) and…stay with me here….peas are potentially, what save Cormoran, the goldfish, from dying.“The black fish called Cormoran was again flailing helplessly at the top of the tank. ‘Stupid a*****e, you've done it to your f*cking self'.” And the very last line of the book being: “Then pushed himself into a standing position ear and knee both throbbing. In the absence of anything else he could do to improve his present situation, he set off for the attic to fetch the empty margerine tub…and some peas.” (Chapter 127).My point being: this could be a way of Rowling saying, that Strike saves himself from himself…another psychological undertone in her stories. (Lake reference: Rowling has pulled herself up out of poverty ‘by her own bootstraps' we say.) Thoughts? Thanks for induldging me here, John! I am enjoying this conversation. Apologies for the grammar and potentially confusing train of thoughts.And from Vicky:Loving the theories and symbolism around the peas and fish! Just had a thought too re John quoting the Troubled blood scene. Robin calls mushy peas by a familiar term “Yorkshire caviar”. Caviar is of course fish eggs, and poor Robin, Yorkshire born, spends much of THM agonising over the thought and pressure of freezing her eggs. Giuliana mentioned the frozen peas Strike puts on his swollen face after the spade hit...maybe this is foreshadowing to their intimate and honest dinner conversation later with Robin baring her heart to Strike about her ectopic pregnancy griefQ2: Why didn't the Strike-Ellacott Agency or the Metropolitan Police figure out how the murderer entered the Ramsay Silver vault to kill William Wright the first time they saw the grainy surveillance film of the auction house crate deliveries?Tweet UrlFrom ‘The Locked Room Lecture' (John Dickson Carr) It's silly to be disappointed in a border-line absurd Locked Room Mystery such as Hallmarked Man because improbability is close to a requirement in such stories:“But this point must be made, because a few people who do not like the slightly lurid insist on treating their preferences as rules. They use, as a stamp of condemnation, the word ‘improbable.' And thereby they gull the unwary into their own belief that ‘improbable' simply means ‘bad.'“Now, it seems reasonable to point out that the word improbable is the very last which should ever be used to curse detective fiction in any case. A great part of our liking fofr detective fiction is based on a liking for improbability. When A is murdered, and B and C are under strong suspicion, it is improbably that the innocent-looking D can be guilty. But he is. If G has a perfect alibi, sworn to at every point by every other letter in the alphabet, it is improbable that G can have committed the crime. But he has. When the detective picks up a fleck of coal dust at the seashore, it is improbable that such an insignificant thing can have any importance. But it will. In short, you come to a point where the word improbable grows meaningless as a jeer. There can be no such thing as any probability until the end of the story. And then, if you wish the murder to be fastened on an unlikely person (as some of us old fogies do), you can hardly complain because he acted from motives less likely or necessarily less apparent than those of the person first suspected.“When the cry of ‘This-sort-of-thing-wouldn't-happen!' goes up, when you complain about half-faced fiends and hooded phantoms and blond hypnotic sirens, you are merely saying, ‘I don't like this sort of story.' That's fair enough. If you do not like it, you are howlingly right to say so. But when you twist this matter of taste into a rule for judging the merit or even the probability of the story, you are merely saying, ‘This series of events couldn't happen, because I shouldn't enjoy it if it did.'“What would seem to be the truth of the matter? We might test it out by taking the hermetically sealed chamber as an example, because this situation has been under a hotter fire than any other on the grounds of being unconvincing.“Most people, I am delighted to say, are fond of the locked room. But – here's the damned rub – even its friends are often dubious. I cheerfully admit that I frequently am. So, for the moment, we'll all side together on this score and see what we can discover. Why are we dubious when we hear the explanation of the locked room? Not in the least because we are incredulous, but simply because in some vague way we are disappointed. And from that feeling it is only natural to take an unfair step farther, and call the whole business incredible or impossible or flatly ridiculous.” (reprinted in The Art of the Mystery Story [Howard Haycraft] 273-286)Q3: Hallmarked Man is all about silver and Freemasonry. What is the historical connection between South American silver (‘Argentina' means ‘Land of Silver'), the end of European feudalism, and the secret brotherhood of the Masons?How Silver Flooded the World: And how that Replaced Feudalism and the Church with Capitalism and Nation-States (‘Uncharted Territories,' Tomas Pueyo) In Europe, silver also triggered the discovery of America, a technological explosion, and a runaway chain of events that replaced feudalism with capitalism and nation-states. If you understand this, you'll be able to understand why nation-states are threatened by cryptocurrencies today, and how their inevitable success will weaken nation-states. In this premium article, we're going to explore how Europe starved for silver, and how the reaction to this flooded the world with silver. ,See also Never Bet Against America and Argentina Could be a Superpower, both by Pueyo.‘Conspiracy Theories associated with Freemasonry' (Wikipedia)* That Freemasonry is a Jewish front for world domination or is at least controlled by Jews for this goal. An example of this is the anti-Semitic literary forgery The Protocols of the Elders of Zion. Adolf Hitler believed that Freemasonry was a tool of Jewish influence,[12] and outlawed Freemasonry and persecuted Freemasons partially for this reason.[13] The covenant of the Palestinian Islamist movement Hamas claims that Freemasonry is a “secret society” founded as part of a Zionist plot to control the world.[14] Hilaire Belloc thought Jews had “inaugurated” freemasonry “as a bridge between themselves and their hosts”[15]* That Freemasonry is tied to or behind Communism. The Spanish dictator Francisco Franco had often associated his opposition with both Freemasonry and Communism, and saw the latter as a conspiracy of the former; as he put it, “The whole secret of the campaigns unleashed against Spain can be explained in two words: masonry and communism”.[16] In 1950, Irish Roman Catholic priest Denis Fahey republished a work by George F. Dillon under the title Grand Orient Freemasonry Unmasked as the Secret Power Behind Communism. Modern conspiracy theorists such as Henry Makow have also claimed that Freemasonry intends the triumph of Communism[17]* That Freemasons are behind income taxes in the US. One convicted tax protester has charged that law enforcement officials who surrounded his property in a standoff over his refusal to surrender after his conviction were part of a “Zionist, Illuminati, Free Mason [sic] movement”.[18] The New Hampshire Union Leader also reported that “the Browns believe the IRS and the federal income tax are part of a deliberate plot perpetrated by Freemasons to control the American people and eventually the world”[19]Umberto Eco's The Prague Cemetery, a Freemasonry Novel (Wikipedia)So much for the link between Freemasonry and Baphomet worship!‘The Desacralization of Work' (Roger Sworder, Mining, Metallurgy, and the Meaning of Life)Q4: Ian Griffiths is the Bad Guy of Hallmarked Man. His name has definite Christian overtones (a ‘Griffin,' being half-eagle, half-lion, King of Heaven and Earth, is a symbol of Christ); could it also be another pointer to Rowling's mysterious ‘Back Door Man,' Harry Bingham, author of the Fiona Griffiths series?Troubled Blood: The Acknowledgments (Nick Jeffery, November 2020)In both Silkworm and Career Rowling/Galbraith's military advisors are thanked as SOBE (Sean Harris OBE?) Deeby (Di Brookes?) and the Back Door Man. Professor Granger has identified the Back Door Man as a southern US slang term for a man having an illicit relationship, but beyond this is so far unidentified.Any thoughts on her dedications or acknowledgements? Any new leads for the elusive Back Door Man? Please comment down below.Harry Bingham's website, June 2012“My path into TALKING TO THE DEAD was a curious one. I was approached by a well-known figure who was contemplating working with a ghostwriter on a crime thriller. I hadn't read any crime for a long time, but was intrigued by the project. So I went out and bought about two dozen crime novels, then read them back-to-back over about two weeks.”Could Rowling have hired a (gasp) “ghost writer”? Or was it just “expert editorial assistance” she was looking for, what Bingham offers today?Author's Notes in The Strange Death of Fiona Grifiths (Publication date 29th January 2015, before Career of Evil):“If you want to buy a voice activated bugging device that looks like (and is) an ordinary power socket, it'll set you back about fifty pounds (about eighty bucks).”This is the same surveillance device used in Lethal White, but interestingly is not used in Bingham's book. (Nick Jeffery)Moderators Backchannel List of Correspondences between Cormoran Strike series and Bingham's Fiona Griffiths mystery-thrillers (John Granger):(1) A series that has an overarching mystery about which we get clues in every story, one linked to a secret involving a parent who is well known but whose real life is a mystery even to their families;(2) A series that is preoccupied with psychological issues, especially those of the brilliant woman protagonist who suffers from a mental illness and who is a student of psychology;(3) A series that is absorbed with death and populated by the dead who have not yet passed on and who influence the direction of the investigation more or less covertly (”I think we have just one world, a continuum, one populated by living and dead alike,” 92, This Thing of Darkness), a psychic and spiritual realm book that rarely touches on formal religion (Dead House and Deepest Grave excepted, sort of);(4) A series that, while being a police procedural because the detective is a police officer, is largely about how said sergeant works around, even against the hierarchy of department authority and decision makers, “with police help but largely as an independent agent;”(5) A series that makes glancing references to texts that will jar Rowling Readers: “All shall be well” (284, Love Story with Murders), she drives a high heel into a creepy guy's foot when he comes up to her from behind (75, This Thing of Darkness), Clerkenwell! (103, The Dead House), a cave opening cathedral-like onto a lake, the heroine enters with a mentor, blood spilled at the entrance, and featuring a remarkable escape (chapter 34, The Dead House), etc, especially the Robin-Fiona parallels....(6) A series starring a female protagonist who works brilliantly undercover, whose story is about recovery from a trauma experienced when she was a college student, who struggles mostly with her romantic relationships with men, a struggle that is a combination of her mental health-recovery progress (or lack of same) and her vocation as a detective, who is skilled in the martial art of self-defense, and who is from a world outside London, an ethnicity and home fostering, of all things, a love of sheep;(7) A series with a love of the mythological or at least the non-modern (King Arthur! Anchorites!)Q5: Can you help us out with some UK inside jokes or cultural references of which we colonists can only guess the meaning? Start with Gateshead, Pit Ponies, and Council Flats and Bed-Sits!* Gateshead (Wikipedia)J. B. Priestley, writing of Gateshead in his 1934 travelogue English Journey, said that “no true civilisation could have produced such a town”, adding that it appeared to have been designed “by an enemy of the human race”.* Pit Ponies (Wikipedia)Larger horses, such as varieties of Cleveland Bay, could be used on higher underground roadways, but on many duties small ponies no more than 12 hands (48 inches, 122 cm) high were needed. Shetlands were a breed commonly used because of their small size, but Welsh, Russian, Devonshire (Dartmoor) and Cornish ponies also saw extensive use in England.[2] In the interwar period, ponies were imported into Britain from the Faroe Islands, Iceland and the United States. Geldings and stallions only were used. Donkeys were also used in the late 19th century, and in the United States, large numbers of mules were used.[6] Regardless of breed, typical mining ponies were low set, heavy bodied and heavy limbed with plenty of bone and substance, low-headed and sure-footed. Under the British Coal Mines Act 1911 (1 & 2 Geo. 5. c. 50), ponies had to be four years old and work ready (shod and vet checked) before going underground.[15] They could work until their twenties.At the peak of this practice in 1913, there were 70,000 ponies underground in Britain.In shaft mines, ponies were normally stabled underground[16] and fed on a diet with a high proportion of chopped hay and maize, coming to the surface only during the colliery's annual holiday.* Council Flats (Wikipedia)Q6: What are Rowling Readers to think of Robin's dream in chapter 22 (174 )when she's sleeping next to Murphy but dreaming of being at Ramsay's Silver with Strike and the showroom is filled with “cuddly toys instead of masonic swords and aprons”?* ‘Harry's Dreams:' Steve Vander Ark, Harry Potter LexiconQ7: The first bad news phone call that Robin takes from her mother Linda in Hallmarked Man is about the death of Rowntree. What is the connection between Robin's beloved Chocolate Labrador, Quakers, and Rowling's Golden Thread about ‘What is Real'?‘Troubled Blood: Poisoned Chocolates' (John Granger, 2021)‘Troubled Blood: The Secret of Rowntree' (John Granger, 2021)I explained in ‘Deathly Hallows and Penn's Fruits of Solitude‘ why Penn's quotation is a key to the Hogwarts Saga finale, how, in brief, the “inner light” doctrines of the Quakers and of non-conformist esoteric Christianity in general inform the story of Harry's ultimate victory in Dobby's grave over doubt and his subsequent ‘win' in his battle against death and the Dark Lord. I urge you to read that long post, one of the most important, I think, ever posted at HogwartsProfessor, for an idea of how central to Rowling's Christian faith the tenets of Quakerism really are as well as how this shows itself in Deathly Hallows.What makes the historical chocolate connection with the Quakers, one strongly affirmed in naming the Ellacott dog ‘Rowntree,' that much more interesting then is the easy segue from the “inner light” beliefs of the Christian non-conformists to the effect of chocolate on characters in Rowling and Galbraith novels. The conscience of man per the Quakers are our logos within that is continuous with the Logos fabric of reality, the Word that brings all things into existence and the light that is in every man (cf., the Prologue to St John's Gospel). Our inner peace and fellowship, in this view, depend on our identification with this transpersonal “inner light” rather than our ephemeral ego concerns.What is the sure way to recover from a Dementor attack, in which your worst nightmares are revisited? How does Robin deal with stress and the blues? Eat some chocolate, preferably a huge bar from Honeydukes or a chocolate brownie if you cannot get to Hogsmead.Access, in other words, the Quaker spiritual magic, the “inner light” peace of communion with what is Absolute and transcendent, a psychological effect exteriorized in story form by Rowling as the good feeling we have in eating chocolate. Or in the companionship and unconditional love of a beloved Labrador, preferably a chocolate Lab.Christmas Pig: The Blue Bunny' (John Granger, 2021)“Do you just want to live in nice houses?” asked Blue Bunny. “Or is there another reason you want to get in?”“Yes,” said Jack, before the Christmas Pig could stop him. “Somebody I need's in there. He's called DP and he's my favorite cuddly toy.”For a long moment, Jack and Blue Bunny stared into each other's eyes and then Blue Bunny let out a long sigh of amazement.“You're a boy,” he whispered. “You're real.”“He isn't,” said the panic-stricken Christmas Pig. “He's an action figure called—”“It's all right, Pig,” said Blue Bunny, “I won't tell anybody, I promise. You really came all the way into the Land of the Lost to find your favorite toy?” he asked Jack, who nodded.“Then I'll be your decoy,” said Blue Bunny. “It would be an honor” (169).The Bunny's recognition here of Jack as a messiah, sacrificial love incarnate, having descended into existence as a Thing himself from Up There where he was a source of the love that “alivens” objects, is one of, if not the most moving event in Christmas Pig. Note the words he uses: “You're real.”Rowling has used the word “real” twice before as a marker of reality transcending what we experience in conventional time and space, the sensible world. The first was in what she described as the “key” to the Harry Potter series, “lines I waited seventeen years to write” (Cruz), the end of the Potter-Dumbledore dialogue at King's Cross….In a Troubled Blood passage meant to echo that dialogue, with “head” and “backside” reflecting the characters inverted grasp of “reality,” Robin and Strike talk astrology:“You're being affected!” she said. “Everyone knows their star sign. Don't pretend to be above it.”Strike grinned reluctantly, took a large drag on his cigarette, exhaled, then said, “Sagittarius, Scorpio rising, with the sun in the first house.”“You're –” Robin began to laugh. “Did you just pull that out of your backside, or is it real?”“Of course, it's not f*****g real,” said Strike. “None of it's real, is it?” (Blood 242, highlighting in original).The Bunny's simple declaration, “You're real,” i.e., “from Up There,” the greater reality of the Land of the Living in which Things have their awakening in the love of their owners, clarifies these other usages. Dumbledore shares his wisdom with Harry that the maternal love which saved him, first at Godric's Hollow and then in the Forest, is the metaphysical sub-stance beneath, behind, and within all other reality. Strike gives Robin a dose of his skeptical ignorance and nominalist first principle that nothing is real but surface appearance subject to measurement and physical sensation, mental grasp of all things being consequent to that.Christmas Pig‘s “real” moment acts as a key to these others, one evident in the Bunny's response to the revelation of Jack's greater ontological status. He does a Dobby, offering to die for Jack as Jack has done in his descent into the Land of the Lost for DP, a surrender of self to near certain death in being given to the Loser he considers an “honor.” He acts spontaneously and selflessly as a “decoy,” a saving replacement in other words, for the “living boy” as Dobby did for the “Boy Who Lived.” The pathetic distraction that saved the DP rescue mission in Mislaid despite himself, crying out in desperation for his own existence, has metamorphized consequent to his experience with Broken Angel and in Jack's example, into a heroic decoy that allows Jack and CP to enter the City of the Missed.The Blue Bunny makes out better than the House-elf, too, and this is the key event of the book and the best evidence since the death of Lily Potter, Harry's defeat of Quirrell, and the demise of the Dark Lord that mother's love is Rowling's default symbolism for Christian love in her writing. The Bunny's choice to act as decoy, his decision to die to his ego-self, generates the life saving appearance of maternal love and its equivalent in the transference attachment a child feels for a beloved toy. The Johannine quality of the light that shines down on him from the Finding Hole and his Elijah-esque elevation nails down the Logos­-love correspondence.EC: All through Hallmarked Man Robin is saying to herself, “I think I love Ryan, no, really, I know I love him…,” which of course is Rowling's way of signaling the conflict this character has in her feelings for Strike and for Murphy. What is that about?* See ‘The Hallmarked Man's Mythological Template' for discussion of the Anteros/Eros distinction in the myth of Cupid and Psyche as well as the Strike-Ellacott novels Get full access to Hogwarts Professor at hogwartsprofessor.substack.com/subscribe

Broadcast from KSQD, Santa Cruz on 10-16-2025: Dr. Dawn explains the 2025 Nobel Prize in Physiology awarded to Shimon Sakaguchi, Mary Brunkow, and Fred Ramsdell for discovering T regulatory cells. Previously, medical teaching held that the thymus only eliminated self-attacking T cells, but Sakaguchi found that removing the thymus from newborn mice caused autoimmune disease, suggesting protective regulatory cells existed. He identified CD4+CD25+ cells that suppress inflammation and can convert other T cells. Brunkow and Ramsdell discovered the FOXP3 gene that controls these cells, linking mutations to severe autoimmune diseases like IPEX syndrome. Tissue-specific Tregs regulate metabolism in fat, maintain gut microbiome tolerance, promote wound healing in skin, and control muscle regeneration. Therapeutic applications include stopping type 1 diabetes, preventing organ rejection, and treating multiple sclerosis. An emailer asks about a study linking soft drinks to depression through gut bacteria changes. Dr. Dawn critiques the cohort association study for establishing only correlation, not causation, with a weak risk ratio of 1.1 representing just 10% increased association. She explains that bacteria can influence food cravings, making it unclear whether sodas change bacteria levels or bacteria drive soda consumption. Without Koch's postulates—isolating bacteria, growing them, and reproducing disease—the causal direction remains uncertain despite statistical significance. Dr. Dawn reads David Whyte's essay on injury as invitation to transformation, exploring how pain reveals vulnerability, changes identity, requires patience, and teaches compassion. She notes this perspective may come easier to men who reach midlife believing they control their bodies, while menstruation disabuses women of that illusion earlier. As a physician, she emphasizes the ego crisis when people transition from healthy to "person with disease," requiring identity restructuring that can shake foundations but also mature and strengthen individuals. A caller responds enthusiastically to the injury essay, citing quotes from André Gide, James Hillman, and Norman O. Brown about how illness opens doors to reality closed to healthy mindedness, how the soul sees through affliction, and how vulnerability is inherent to being human. Dr. Dawn agrees that many religions embrace wounds as paths to spiritual enlightenment and commits to deeper reflection on suffering's role in the human condition. Dr. Dawn discusses cognitive functional therapy for chronic back pain, describing firefighter Joe Lawrence who believed his spine was irreparably damaged until physical therapist Peter O'Sullivan challenged those beliefs. The therapy addresses psychological aspects by teaching that backs need movement, not protection, and that tensing muscles worsens pain. The three-step approach examines pain origins including emotional context, gradually reintroduces avoided activities while learning relaxation, and establishes healthy sleep and exercise routines. GLP-1 drug prices have dropped dramatically to $499 monthly at Costco due to compounding pharmacy competition. Dr. Dawn urges immunizations, noting studies show shingles vaccination reduces dementia risk by 20% over seven years, possibly by generating T regulatory cells that reduce brain inflammation. Natural experiments in England where vaccine rollout occurred at different times in different regions provided strong evidence. She explains that chickenpox vaccination in childhood prevents both chickenpox and future shingles. Even tetanus shots appear to lower dementia risk, suggesting vaccines activate immune responses that reduce chronic inflammation. She concludes with practical advice to reduce microplastic exposure by avoiding plastic cups and containers, especially with heat. Eight-year-old coffee makers contain twice the microplastics of six-month-old machines due to deterioration. She recommends ceramic cups, glass or metal kettles, removing food from plastic before cooking, and washing polyester clothing on low heat to minimize microplastic generation.

durée : 00:48:07 - Les Nuits de France Culture - par : Mathias Le Gargasson - Par Marc Bernard - Avec Marcel Jouhandeau, Alain Robbe-Grillet, Jean Schlumberger, Marcel Arland et Dominique Aury - Avec en archives, la voix de Francis Ponge, Jules Supervielle, René Char, Paul Claudel, André Gide, Paul Eluard et Jean Paulhan - réalisation : Virginie Mourthé

Om dagens bokmarknad metadels består av 1800-talsromaner, vad är då en modern roman? Mattias Hagberg försöker skilja äpplen från päron. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Det börjar med en röst, en röst som förefaller komma ur tomma intet: ”Jag är en sjuk människa… Jag är en ond människa. En frånstötande människa.”Fjodor Dostojevskijs ”Anteckningar från källarhålet”, om en namnlös, ensam och bitter man, är omöjlig att värja sig mot. Monologen är påträngande och andfådd; orden väller fram över sidorna; budskapet är svårfångat och motsägelsefullt, men rösten är ändå, på något märkligt sätt, övertygande. Stämman, som kommer mot mig som läsare, är självisk och karaktärslös, den koketterar gärna med sina egna tillkortakommanden och med sin förkärlek för det låga, lidelsefulla och irrationella.Dostojevskij slår an en ton som på en och samma gång känns uppriktig och lögnaktig, intim och främmande. På ett ställe utropar den namnlösa romanfiguren: ”Men nu räcker det… Vad har jag lyckats förklara med dessa ordanhopningar?” Och på ett annat: ”Jag vill här varken försvara lidandet eller välståndet. Det jag försvarar är… mina egna infall och en garanterad rätt att följa dem, närhelst det känns nödvändigt.”Ja, vad är detta egentligen för en text? Vad vill den? Ett intressant svar på dessa frågor finns hos den amerikanske kritikern och tidskriftsredaktören Edwin Frank i hans uppslagsrika studie ”Stranger than Fiction: Lives of the Twentieth-Century Novel” från 2024, ett svar som pekar fram mot en samtida diskussion om litteraturens roll och betydelse.Med Dostojevskij, skriver Edwin Frank, börjar den moderna romanen. Här möter vi för första gången en text som inte utger sig för att vara något annat än just litteratur, men som samtidigt undflyr alla försök att inordnas. Romanen förefaller, med Edwin Franks ord, att handla om ”allt och ingenting”. Här finns ingen entydig handling, ingen början och inget slut, inga distinkta karaktärer, bara en röst som mal och mal, som talar utan att bry sig om ifall någon lyssnar.Visst, ”Anteckningar från Källarhålet” hade föregångare, texter som rörde sig mot det subjektiva och irrationella, men ingen annanstans hade anslaget varit så tydligt och så konsekvent genomfört som hos Dostojevskij. Titeln på Edwin Franks bok, det svåröversatta engelska uttrycket ”stranger than fiction”, är talande. Det bär på en hel teori om litteratur som det kan vara värt att dröja vid; det vill säga att den moderna romanen, den som uppstod med Dostojevskij och fortsatte med författare som Franz Kafka, Gertrude Stein och Virginia Woolf, inte i första hand bygger på fiktion, utan på något mycket märkligare, något mycket mer udda och undflyende.För Edwin Frank är fiktionen intimt förknippad med det tidiga 1800-talet. Fiktionen var romantikens och realismens verkningsfält. Författarna i denna tradition ville avbilda och underhålla, berätta och gestalta, de ville spegla verkligheten eller få den att framträda på nytt med fantasins hjälp. Men även om de bröt ny mark, riktade blicken mot nya områden och nya företeelser, var de fast förankrade i sin form – i den klassiska berättelsen, med sin tydliga början, mitt och slut. De ville förmedla en känsla av trovärdighet. Läsaren skulle bjudas in i en värld som kändes sammanhängande och förståelig. En form som numera dominerar bokmarknaden, och som i dag kanske bäst beskrivs med orden kommersiell realism.Den moderna romanen däremot, den som Edwin Frank kallar 1900-talsromanen, ville något annat, eller rättare sagt något mer.Men vad?Edwin Frank svarar med en katalog, eller en konstellation, som han själv uttrycker det. I ”Stranger than Fiction” lyfter han fram ett trettiotal romanförfattare som verkat i Dostojevskij efterföljd, från André Gide till W. G. Sebald, och deras verk.1900-talsromanen är för Edwin Frank inte en form utan ett förhållningssätt. Den vill inte inordna sig, eller underordna sig någonting, eftersom den inte är intresserad av samma saker som sina föregångare; den vill inte bygga världar, den vill inte gestalta, den vill inte kommunicera. Den är reaktiv i stället för formativ – det vill säga: den moderna romanen är ett subjektivt svar på en upplevelse eller en erfarenhet, inte ett objektivt sätt, en objektiv form, för att gestalta en situation. Därmed blir också själva språket, det personliga uttrycket, en naturlig del av denna reaktion. De författare som Edwin Frank lyfter fram är inte i första hand intresserade av att sända begripliga budskap till sina läsare. Nej, de svarar med de ord de har till hands, med det språk som är möjligt i just deras situation. De prövar sig fram. Undersöker och testar. De försöker. Ja, ordet försöker är centralt. Den moderna romanen, den som Edwin Frank kallar 1900-talsromanen, är en anstas.Hos Dostojevskij är detta tydligt, det räcker med att läsa de första raderna ur ”Anteckningar från källarhålet” för att förstå att här arbetar en författare som reagerat starkt på sin samtids övertro på förnuftet och framsteget, och som gör det på sitt alldeles egna sätt, såväl språkligt som innehållsmässigt. Men det skulle så klart gå lika bra att exemplifiera med någon av de andra romanerna ur Edwin Franks katalog, som Ralph Ellisons reaktion på rasismen i den bitvis absurda ”Osynlig man” från 1952, eller Chinua Achebes svar på kolonialismen i ”Allt går sönder” från 1958, eller Elsa Morantes uppgörelse med den moderna historieskrivningen i romanen ”Historien” från 1974. I debatten om litteratur är det vanligt att göra en distinktion mellan fin- och fullitteratur, mellan det som är bra och det som är dåligt – som om litteraturen var en produkt en på en marknad, där det gällde att göra rationella val. Inrättandet av en kanon handlar om just detta, liksom betygsättning av litteratur, eller listor över de bästa böckerna just nu.Men det finns ett annat synsätt, ett annat språk för att tala om litteraturen i allmänhet och romankonsten i synnerhet. Som inte är intresserat av värdering i traditionell bemärkelse, utan av litteraturen som ett levande förhållningsätt till en värld i ständig förändring. Ur denna blickpunkt växer litteraturen ur ett existentiellt behov av att reagera på sin omgivning. Den är inte bra eller dålig. Sann eller falsk. Den är responsiv. Den är ett genuint försök att svara på en verklig erfarenhet – ett försök som dessutom, i kraft av sin originalitet och sitt språk, kräver ett gensvar av den som läser. Mattias Hagbergkulturjournalist, litteraturkritiker och författare, samt universitetslektor i litterär gestaltningLitteraturEdwin Frank: Stranger Than Fiction – Lives of the Twentieth-Century Novel. Vintage publishing, 2024.

Acostumbrados ya a grabar en cualquier sitio menos en nuestro estudio, esta semana, desde la Escuela Superior de Música Reina Sofía, los culturetas rinden homenaje al pianista y compositor Alfred Brendel tras su fallecimiento a los 94 años. Y siguiendo con homenajes, han visto la serie documental que HBO Max le dedica a la gran Sara Montiel. También han leído La secuestrada de Poitiers, un true crime de principios de siglo XX narrado por el Premio Nobel con André Gide y que publica Plataforma Editorial. 

Acostumbrados ya a grabar en cualquier sitio menos en nuestro estudio, esta semana, desde la Escuela Superior de Música Reina Sofía, los culturetas rinden homenaje al pianista y compositor Alfred Brendel tras su fallecimiento a los 94 años. Y siguiendo con homenajes, han visto la serie documental que HBO Max le dedica a la gran Sara Montiel. También han leído La secuestrada de Poitiers, un true crime de principios de siglo XX narrado por el Premio Nobel con André Gide y que publica Plataforma Editorial. 

Acostumbrados ya a grabar en cualquier sitio menos en nuestro estudio, esta semana, desde la Escuela Superior de Música Reina Sofía, los culturetas rinden homenaje al pianista y compositor Alfred Brendel tras su fallecimiento a los 94 años. Y siguiendo con homenajes, han visto la serie documental que HBO Max le dedica a la gran Sara Montiel. También han leído La secuestrada de Poitiers, un true crime de principios de siglo XX narrado por el Premio Nobel con André Gide y que publica Plataforma Editorial. 

Post Face, émission littéraire présentée par Caroline Gutmann. Elle reçoit Jean-Paul Enthoven pour son livre « Je me retournerai souvent » paru aux éditions Grasset. À propos du livre : « Je me retournerai souvent » paru aux éditions Grasset Cet ouvrage (qui doit son titre à un poème de Guillaume Apollinaire : « Passons, passons, puisque tout passe / Je me retournerai souvent...) emprunte à plusieurs genres littéraires : l'autofiction, l'essai critique, les mémoires, le roman... L'ensemble compose une mosaïque, une « marquèterie disjointe » - l'auteur emprunte cette expression à Montaigne, qui alterne les rythmes et les intrigues. On y retrouve des rêves, des fantômes, des êtres aimés et disparus, des paysages, des bonheurs fragiles, des mélancolies de passage, des souvenirs, des rendez-vous réussis ou manqués... On y retrouve surtout la collection d'affinités et de sensations qui résument une « vision du monde » à travers des écrivains que l'auteur a, pour certains, connus et fréquentés, et qui ont largement infléchi sa vie : Cioran, Barthes, Sollers, Pérec, Camus, Romain Gary, Paul Morand, Jacques Rigaut, André Gide, le Prince de Ligne et quelques autres… On y retrouve aussi des lieux et des êtres qui ont beaucoup compté pour lui : Key West, la Toscane, une bien-aimée, un ami très cher – ainsi qu'un ensemble de méditations et de considérations intempestives sur l'époque. En chemin, Jean-Paul Enthoven se souvient et jette un œil par-dessus son épaule. Il se retournera souvent...

durée : 00:53:12 - Les Nuits de France Culture - par : Christine Goémé - Par Jean Amrouche - réalisation : Virginie Mourthé - invités : Jean Amrouche; André Gide

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

durée : 00:58:47 - La Conversation littéraire - par : Mathias Énard - L'écrivain Joseph Conrad est décédé il y a près de cent ans. Une conversation littéraire en compagnie du bédéiste Maël qui adapte "Nostromo" le roman méconnu de Conrad. Yann Brunel préface la réédition d'un hommage à l'écrivain, avec des textes de ses admirateurs dont André Gide et Joseph Kessel. - réalisation : Laure-Hélène Planchet - invités : Maël Auteur et dessinateur de bande dessinée; Yann Brunel Romancier.

Syfilis följde med Columbus sjömän från den nya världen och fick snabb spridning i Europa. Syfilis smittade främst vid sex och någon riktigt bra behandling kom inte förrän penicillin började användas brett efter andra världskriget. I slutet på 1800-talet drabbade 15 procent av den manliga befolkningen i Europa.Sjukdomen som orsakar oerhörda plågor hos den drabbade med smärtor, deformationer, förlorade extremiteter och i sitt sista stadium galenskap. I tongivande kretsar som författare och konstnärer var syfilis mycket vanligt, men sjukdom avhandlas ofta kodad form eftersom den var så skamlig.I detta avsnitt av podden Historia.nu samtalar programledaren Urban Lindstedt med litteraturvetaren Agneta Rahikainen som skrivit boken Smittans rike: Om syfilis i konst, kultur och kropp.Listan på kända personer med syfilis kan göras lång från politikern Cesare Borgia i renässansens Italien, till poeten Charles Baudelaire i 1800-talets Paris, filosofen Nietzsche i Tyskland. Kompositören Ludwig van Beethoven i Österrike och konstnären Anders Zorn i Sverige. En del hävdar att Adolf Hitler led av syfilis.Både Carl-Michael Bellman och Lasse Lucidor diktade om syfilis, men även om samtiden förstod vad sångerna handlade om är det inte alltid tydligt vad som menas med att akta näsan idag när syfilis är en ganska ovanlig och behandlingsbar sjukdom.Inom dekadenslitteraturens författare på 1800-talet var syfilis inget författarna skämdes för, utan snarare ett bevis på virilitet.”För en fransman är det otänkbart att uppnå medelåldern utan att fått syfilis och Hederslegionen.” skrev författaren André Gide och hans uttalande visar vilken spridning syfilis hade under 1800-talet och det tidiga 1900-talet.I Frankrike uppskattades cirka 150 000 personer årligen dö till följd av syfilis och sjukdomen drabbade människor i alla samhällsklasser. De existerande behandlingarna med kvicksilver och malaria kunde ofta döda patienterna.De första anteckningarna om en syfilisepidemi i Europa gjordes åren 1494/1495 i Neapel, Italien under en fransk invasion och fick först namnet "Neapolitanska sjukan", i Frankrike kom den att kallas "Italienska sjukan". Efter att ha fått fäste i Frankrike genom att sprida av de återvändande franska trupperna blev den bland annat i Tyskland känd som ”Franska sjukan”; en äldre benämning som fortfarande används. Vid sidan av fransosen är pocker det vanligaste äldre svenska namnet.Skelett äldre än 1500 e.Kr. som uppvisar syfilis har endast återfunnits på den amerikanska kontinenten. Skelett från precolumbianska gravar i Centralamerika bär till exempel tydliga tecken på sjukdomen. I samtida källor beskrivs också den sjukdom Columbus sjömän hade med sig hem från Amerika 1493.Lyssna också på När en handfull män erövrade Latinamerika och Smittorna som dödar mer än kulor och granater.Bild Gustav-Adolf Mossa, The Dead Women (Les Mortes), 1908. Musik: Beethoven Symphony #9 med Craig Austin, Storyblocks Audio. Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:22:18 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - En 1951, Michel Tournier étudie "Les grands mythes" dans l'émission "Connaissance de l'homme" sur la Chaîne Nationale. Son invité Robert Kemp explore ici le mythe de Narcisse, ses significations symboliques et métaphysiques dans la littérature à travers deux exemples : André Gide et Paul Valéry. - réalisation : Massimo Bellini

Martin, Marko www.deutschlandfunkkultur.de, Studio 9

Martin, Marko www.deutschlandfunkkultur.de, Studio 9

„Die ersten und wichtigsten Siege des Menschen waren die über die Götter.“ Andre Gide, Literaturnobelpreisträger von 1947, lässt Theseus, der Begründer des alten Athens und Überwinder der Gewaltherrschaft des Minotaurus, sein Leben resümieren. Kurz vor seinem Tode erkennt er versöhnt, dass der Menschen Glück und Freiheit trotz allen Elends immer zuerst an Abenteuer- wie Lebenslust gebunden ist, an Respektlosigkeit gegenüber Traditionen und Herrschern. Erst später soll alles in sachliches Abwägen münden. Mit: Peter Lühr, Horst Beilke, Cläre Ruegg u. a. Bearbeitung: Gert Westphal Technische Realisierung: Friedrich Wilhelm Schulz, Lock Regie: Karl Peter Biltz Produktion: SWF 1951

En 1925 André Gide part au Congo en quête d'exotisme et revient révolté.Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

"One doesn't discover new lands without consenting to lose sight, for a very long time, of the shore."That quote is from Nobel Prize winning novelist André Gide. And I think there is a great lesson for marketers here.For 25 years, MarketingSherpa has published case study articles. And sometimes when I talk to marketers, they are so myopically focused on just the case studies from their industry.We're an ideas profession. And sometimes to get the best ideas you have to step away from the familiar…including your industry.Which is why I was intrigued by a story in a recent podcast guest application, about a tech industry leader who learned the transformative power of digital marketing by pivoting away from the tech world for a bit to run a charity.To hear that story, along with many more lesson-filled stories, I sat down with Tim Peters, the CMO of Enghouse Systems [https://www.enghouse.com/].Enghouse Systems is a public company, founded in 1984, that trades on the Toronto Stock Exchange. It reported $454 million in revenue for fiscal year 2023. Peters manages a team of 52 marketing professionals at Enghouse.Stories (with lessons) about what he made in marketingLeverage digital platforms to build strong communities and amplify your messageAdapt your marketing to reflect cultural nuances for global successFoster trust and cooperation through transparent communication in M&AEmbrace strategic thinking and creativity to drive measurable marketing outcomesInvest in people to foster talent growth and a collaborative team environmentAlign marketing strategies with financial accountability for strategic successDiscussed in this episodeResume and Cover Letter Writer – Some marketing professionals listen to How I Made It In Marketing to get ideas for managing their career. If you're ready to take the next step in your career, here's a shared chat I made in MeclabsAI that can help – the resume and cover letter writer [https://meclabsai.com/share/NUB98Ta7PdfdhA8] (MeclabsAI is the parent company of MarketingSherpa). Customer-First Marketing: Every click is a wish (podcast episode #85) [https://marketingsherpa.com/article/interview/customer-first]CMO-CPO Collaboration: Bridge Marketing and Product for collaborative growth (podcast episode #95) [https://www.marketingsherpa.com/article/interview/CMO]Marketing: It's not about you, and when you make it about you, you are never going to succeed (podcast episode #53) [https://marketingsherpa.com/article/interview/marketing-not-about-you]Marketing: High growth can be excruciating (podcast episode #64) [https://www.marketingsherpa.com/article/interview/marketing-growth]Marketing, Communications, and Pricing Leadership: Business must have a relentless focus on ROI, which includes marketing (podcast episode #35) [https://marketingsherpa.com/article/interview/marketing-communications]Apply to be a guestIf you would like to apply to be a guest on How I Made It In Marketing, here is the podcast guest application – https://www.marketingsherpa.com/page/podcast-guest-application

Avec Margot Gallimard, Anne F. Garréta, Laure Murat, Suzette Robichon & Céline Sciamma En 1915, Adrienne Monnier fonde une librairie-bibliothèque de prêts, la Maison des Amis des Livres, au 7, rue de l'Odéon. Quelques années plus tard, Sylvia Beach ouvre en face, au n°12, Shakespeare and Company, son équivalent anglo-saxon. L'Odéonie est née. Entre les deux librairies, se construit dans l'entre-deux guerres un espace pour la pensée et le commerce de l'esprit, l'échange des idées et la défense de la littérature contemporaine, où se croisent James Joyce, André Gide, Valery Larbaud, André Breton, Louis Aragon, Colette, Gertrude Stein, Violette Leduc, Walter Benjamin, Gisèle Freund, Ernest Hemingway et bien d'autres. L'Ulysse de Joyce, partout rejeté par la censure, y verra le jour, en anglais, puis en français. Des rencontres, des publications, des lectures publiques, des expositions animent pendant vingt ans cet espace où se réinvente la vie intellectuelle autant que se développe, souterraine, une culture féministe et lesbienne. À travers un montage de textes, « L'Odéonie ou la vie de l'esprit » rend hommage à un couple de libraires à l'énergie et l'indépendance hors normes, modèles de résistance au conformisme et source d'inspiration à laquelle notre époque gagnerait de s'abreuver. À lire – Laure Murat, Passage de l'Odéon. Sylvia Beach, Adrienne Monnier et la vie littéraire à Paris dans l'entre-deux-guerres, coll. “L'imaginaire”, Gallimard, 2024. Photo d'Adrienne Monnier et Sylvia Beach

CELÝ ROZHOVOR V DÉLCE 66 MIN. JEN NA HTTPS://HEROHERO.CO/CESTMIR Zamýšlení se nad světem je investorovi, podnikateli a filantropovi Václavu Dejčmarovi vlastní stejně jako běžci běhání. Ve svých úvahách přitom dospěl k témuž přesvědčení, ke kterému o sto let dříve francouzský dramatik André Gide, totiž že štěstí spočívá v přijetí úkolu. V praxi si to vyložil tak, že je důležité uvědomit si své nejsilnější stránky a s těmi pracovat. Fakt, že to z něj udělalo miliardáře, vnímá jako vedlejší. Peníze jsou podle něj výhodou, ale taky mění charakter. Bez výjimky všem. Označuje je za nespecifické amplifikátory, které mají schopnost nasvítit, před čím člověk utíká nebo co více či méně vědomě potlačuje. Stejně jako psychedelika. I ty jsou nedílnou součástí Dejčmarova života. Deset let jezdil každoročně do Peru na Ayahuascu a jako součást svého sebezkoumání podstupoval šamanské rituály s ní spojené. Umožnilo mu to vnímat minulost a budoucnost jako pouhé konstrukty a vztahovat se pouze k přítomnosti. Nepopírá přitom, že stavy navozené užitím psychoaktivních látek můžou být až děsivé, protože jde vlastně o setkání se smrtí. V pokročilé fázi pak pod jejich vlivem dochází i k rozpadu identity, v čemž vidí řešení velkého množství různých úzkosti a depresí. Že s nimi neumožňujeme psychiatrům pracovat a stavíme je vedle heroinu a pervitinu, považuje za úplně perverzní. Nepochopitelná je pro něj i absence zákona o asistovaném usmrcení. Je přesvědčený, že pokud dokážeme hacknout stáří, musíme být připraveni hacknout i smrt. Čím dalším se netají, si poslechněte v našem rozhovoru.

RediffusionDans le jardin ou sur la plage, le "transat" est une chaise longue très appréciée des amoureux du farniente. Mais d'où tient-elle son nom ?Transat est le diminutif de "transatlantique". On désignait ainsi les grands paquebots qui, voilà quelques décennies, sillonnaient les mers du globe. On prit l'habitude d'appeler "transatlantiques" les "chaises de pont" sur lesquelles pouvaient se délasser les passagers.Elles étaient faites de bois et de rotin et pourvues d'accoudoirs et de repose-pieds. Au moment de l'instauration des congés payés, en 1936, les Français découvrent ces chaises longues et les adoptent.Le nom comme la chaise elle-même sont un peu simplifiés. L'appellation d'origine étant un peu longue, on l'abrège bientôt en "transat". Quant au rotin, il est remplacé par de la toile, accoudoirs et repose-pieds disparaissant de la plupart des modèles.L'un des premiers à utiliser cette abréviation, plus facile à retenir, serait André Gide, qui l'écrit dans son journal dès 1943.Un jeu de dupesSi quelqu'un essaie de vous tromper, vous direz volontiers qu'il vous "mène en bateau". Contrairement à ce qu'on pourrait croire, cette expression n'a rien à voir avec les marins et la navigation.Elle est fort ancienne puisqu'elle remonte au Moyen-Âge. On rencontrait alors, sur les places et les parvis des églises, des bateleurs, qui essayaient d'attirer les passants.Grâces à des tours de leur façon, ces gens adroits parvenaient à duper les badauds. Un peu comme les joueurs de bonneteau qui, aujourd'hui encore, trompent les gens en manipulant des cartes sous leurs yeux.Or, on a fini par confondre "bateleur" avec "batelier", qui désigne le propriétaire d'un bateau fluvial. Du batelier au bateau, il n'y avait plus qu'un pas. Dès lors, quand quelqu'un se faisait duper, on disait qu'il était "mené en bateau". L'expression n'a pas tardé à s'imposer dans l'usage.Il existe une variante, "monter un bateau", mais qui n'a pas tout à fait le même sens. Elle désigne en effet la préparation d'une entreprise frauduleuse ou d'une "arnaque". Elle comporte donc toujours une idée de tromperie. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

1914 – Un año antes, ha comenzado a publicarse la obra maestra de Marcel Proust, “En busca del tiempo perdido”. Le había enviado su primer tomo a André Gide, de la revista literaria Nouvelle Revue de France, para que lo publicara, pero él solo hojeó el manuscrito y le pareció que eran historias de duquesas. Arrepentido, un año después, le envía a Proust la siguiente carta.

L'hôtel Lutetia, dans le 6e arrondissement de la capitale, fait partie de ces palaces parisiens qui sont autant perçus comme des monuments historiques que comme des lieux d'hébergement. Il a été construit en 1910, à l'initiative de Marguerite Boucicaut, propriétaire du Bon Marché, l'un des premiers grands magasins français.Cette femme d'affaires pensait que ses clients provinciaux fortunés pourraient séjourner dans cet hôtel prestigieux, situé non loin de son établissement.Comme il est proche de l'Assemblée Nationale, des parlementaires le fréquentent aussi, ainsi que des écrivains. Certains, comme André Gide, y vivaient à l'année. Quand il se rendait dans la capitale, le général de Gaulle y descendait également.Le Lutetia va cependant connaître une période sombre. Quand les Allemands occupent Paris, en juin 1940, ils réquisitionnent l'hôtel, comme beaucoup d'autres établissements.Une partie du personnel de l'Abwehr, le service de renseignement et de contre-espionnage de l'armée, s'installe dans l'hôtel. Il abrite aussi le chef de la Geheime Feldpolizei, la police secrète de l'armée allemande.Elle est placée sous le contrôle de la Wehrmacht jusqu'en 1942, puis passe sous l'autorité du RSHA, qui comprend notamment la tristement célèbre Gestapo.Certains collaborateurs notoires, comme Henri Lafont et Pierre Bonny, qui dirigent l'un des centres de la Gestapo française, situé rue Lauriston, fréquentent aussi l'hôtel Lutetia.Les employés de l'hôtel réussissent néanmoins à dissimuler de grands crus, que les Allemands ne verront jamais servis à leur table. La cachette, située dans la cave, ne sera jamais découverte par les nazis. La Résistance avait donc réussi à s'infiltrer, à sa manière, dans ce haut lieu de l'occupation allemande.À la Libération de Paris, en 1944, le propriétaire de l'hôtel accepte, pour se dédouaner, d'ouvrir son établissement aux rescapés des camps de concentration allemands.C'était aussi le vœu du général de Gaulle, chef du gouvernement provisoire, qui, avant la guerre, avait ses habitudes dans l'hôtel. Le Lutetia devient donc un centre d'accueil, vers lequel affluent les familles de déportés, anxieuses de les retrouver ou de glaner des informations. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Nous sommes le 8 janvier 1897, à la taverne du Globe, place royale à Bruxelles. Ce jour-là a lieu la première rencontre entre André Gide et le romancier belge Georges Eekhoud, publié aux prestigieuses éditions du Mercure de France et lauréat, trois ans plus tôt, du Prix quinquennal de littérature française. L'auteur de « La nouvelle Carthage » est, à l'époque, au centre d'un réseau d'intellectuel.le.s, que l'on appellerait queer, aujourd'hui, et dans son œuvre, il n'hésite pas à légitimer les amours entre hommes, ayant même pris la défense d'Oscar Wilde, condamné en mai 1895 , à la peine maximale de deux ans de travaux forcés pour indécence, en vertu d'une loi interdisant l'homosexualité, en Angleterre. Gide, quant à lui, n'est pas encore le romancier renommé et sulfureux qu'il deviendra et il faut attendre cinq ans avant qu'il n'évoque, à mots couverts, ses préférences. Mais il a, lui aussi, crée son réseau et est lié à Oscar Wilde. Oscar Wilde sera d'ailleurs le mot de passe que les deux écrivains utiliseront pour se reconnaitre au milieu des autres convives qui participent à leur rencontre. Immédiatement, une complicité s'établit entre les deux hommes. André Gide et Georges Eekhoud ne sont pas les seuls à amorcer un engagement en faveur du droit à aimer librement, avec d'autres, ils font partie d'une société dite « marginale » et vont militer, plus ou moins franchement, à travers leur création et jeter des ponts dans le contexte européen de la Belle Epoque. Revenons sur les multiples formes de ces collaborations. Avec nous : Michael Rosenfeld est chercheur postdoctoral de la Research Foundation – Flanders au sein de la Vrije Universiteit Brussel. A dirigé « Intellectuel.les Queer – Collaborations (1880-1920) » ; éd. Université de Bruxelles. Sujets traités : Queer, André Gide,Georges Eekhoud,Mercure, littérature, intellectuel.le.s, Oscar Wilde, homosexualité, Belle Epoque Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

durée : 00:15:00 - Les Nuits de France Culture - par : Philippe Garbit - L'émission "La revue des idées" se penchait sur l'histoire et l'évolution de "La Nouvelle Revue Française" créée par André Gide.

durée : 00:14:54 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'émission "La revue des idées" se penchait sur l'histoire et l'évolution de "La Nouvelle Revue Française" créée par André Gide. - réalisation : Virginie Mourthé

André Gide

In André Gides humorvoller Version des Mythos befreit sich Prometheus und verspeist den Adler in einem Pariser Restaurant mit Gästen wie den Monsieurs Zeus, Damokles und Cocles.

Valentina Sturli"Professori di desiderio"Seduzione e rovina nel romanzo del NovecentoCarocci Editorewww.carocci.itIl volume indaga in chiave comparatistica il tema letterario novecentesco dell'intellettuale che si degrada per amore e che si perde (o si ritrova) sulle tracce di un oggetto del desiderio misterioso, enigmatico, attraente e sfuggente. Da Senilità di Italo Svevo a L'immoralista di André Gide, dalla Morte a Venezia di Thomas Mann a Lolita di Vladimir Nabokov, passando per il fondamentale modello del Professor Unrat di Heinrich Mann fino a Dino Buzzati, Alberto Moravia e Goffredo Parise, e all'estremo contemporaneo con J. M. Coetzee, Philip Roth e Walter Siti, il libro ricostruisce la genealogia di un tema che, pur avendo precursori illustri, solo nel secolo scorso acquista ampiezza considerevole e da comico, come nel caso del personaggio del senex amans e del vieux barbon dei secoli precedenti, si fa serio. Il sapiente moderno, che dovrebbe essere in grado di governare una realtà complessa e cangiante – di cui l'amato o l'amata sono figura – si scopre invece preda dei propri impulsi, smarrito e instabile nel suo controllo sul mondo, e sulle tracce del desiderio intraprende un percorso tanto pericoloso quanto affascinante e inaspettato, alla scoperta di tutto ciò che fin lì aveva represso e negato.Valentina SturliÈ ricercatrice senior di Letterature comparate nel Dipartimento di Lettere, Arti e Scienze Sociali dell'Università “G. d'Annunzio” di Chieti-Pescara. Si occupa di teoria della letteratura e di letterature comparate, con particolare riferimento all'ambito italo-francese. È autrice di saggi sul fantastico in letteratura e sulle narrazioni intermediali contemporanee, e delle monografie Figure dell'invenzione (Quodlibet, 2020) ed Estremi Occidenti (Mimesis, 2020). Ha curato l'edizione critica di Bestie di Federigo Tozzi (Edizioni di Storia e Letteratura, 2023).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

"Swann's Way" is the first of the seven parts of Marcel Proust's great autobiographical novel "In Search of Lost Time." From the very first page the reader is drawn into the many facets of memory, memory as prompted by all the human senses. "Swann's Way"(Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life." (Adapted from Wikipedia.)Translated by C. K. Scott-Moncrieff.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Swann's Way" is the first of the seven parts of Marcel Proust's great autobiographical novel "In Search of Lost Time." From the very first page the reader is drawn into the many facets of memory, memory as prompted by all the human senses. "Swann's Way"(Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life." (Adapted from Wikipedia.)Translated by C. K. Scott-Moncrieff.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Swann's Way" is the first of the seven parts of Marcel Proust's great autobiographical novel "In Search of Lost Time." From the very first page the reader is drawn into the many facets of memory, memory as prompted by all the human senses. "Swann's Way"(Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life." (Adapted from Wikipedia.)Translated by C. K. Scott-Moncrieff.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Swann's Way" is the first of the seven parts of Marcel Proust's great autobiographical novel "In Search of Lost Time." From the very first page the reader is drawn into the many facets of memory, memory as prompted by all the human senses. "Swann's Way"(Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life." (Adapted from Wikipedia.)Translated by C. K. Scott-Moncrieff.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Swann's Way" is the first of the seven parts of Marcel Proust's great autobiographical novel "In Search of Lost Time." From the very first page the reader is drawn into the many facets of memory, memory as prompted by all the human senses. "Swann's Way"(Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life." (Adapted from Wikipedia.)Translated by C. K. Scott-Moncrieff.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Swann's Way" is the first of the seven parts of Marcel Proust's great autobiographical novel "In Search of Lost Time." From the very first page the reader is drawn into the many facets of memory, memory as prompted by all the human senses. "Swann's Way"(Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life." (Adapted from Wikipedia.)Translated by C. K. Scott-Moncrieff.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Swann's Way" is the first of the seven parts of Marcel Proust's great autobiographical novel "In Search of Lost Time." From the very first page the reader is drawn into the many facets of memory, memory as prompted by all the human senses. "Swann's Way"(Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life." (Adapted from Wikipedia.)Translated by C. K. Scott-Moncrieff.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Swann's Way" is the first of the seven parts of Marcel Proust's great autobiographical novel "In Search of Lost Time." From the very first page the reader is drawn into the many facets of memory, memory as prompted by all the human senses. "Swann's Way"(Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life." (Adapted from Wikipedia.)Translated by C. K. Scott-Moncrieff.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"Swann's Way" is the first of the seven parts of Marcel Proust's great autobiographical novel "In Search of Lost Time." From the very first page the reader is drawn into the many facets of memory, memory as prompted by all the human senses. "Swann's Way"(Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life." (Adapted from Wikipedia.)Translated by C. K. Scott-Moncrieff.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Nous sommes le 17 octobre 1897, à Paris. L'écrivain Pierre Louÿs, auteur des « Chansons de Bilitis » ou de « La femme et le pantin », reçoit la visite de, Il est fou d'elle, elle est mariée à un autre. Il a cru pouvoir l'oublier mais, ce jour-là, son amour enfoui se libère. S'ensuivent deux mois et demi d'une liaison passionnelle, charnelle, qui alimente la fibre créatrice du poète en même temps qu'elle le précipite au bord de l'abîme. Il y aura un avant et un après. L'onde de choc se fera sentir bien des années encore. En octobre 1900, Pierre Louÿs confie à son ami de longue date Paul Valéry : « C'est bien fini, fini, je ne crois plus à la littérature ». L'amour déçu n'est peut-être pas la seule raison au désenchantement de ce novateur qui puisait son inspiration dans la culture gréco-latine et méditerranéenne, sans doute, la maladie, la drogue, sa mise en doute spectaculaire et, pour beaucoup, choquante, de la paternité de l'œuvre de Molière, ont confirmé son enlisement. « Il est presque trop beau pour un homme » avait dit de lui Oscar Wilde. Trop beau pour se survivre, peut-être… Son œuvre est aujourd'hui bien oubliée et si l'on se souvient de lui, c'est pour mettre l'accent sur son érotomanie, on parle de pornographie ; son érudition serait bizarre, on se focalise sur ses relations avec Gide ou Debussy. Pierre Louÿs incarne plus que cela, il est l'une des grandes signatures de l'une des plus grandes période de la littérature. « Croyez que cela devait être beau » griffonne-t-il sur une note peu de temps avant de mourir… Revenons, aujourd'hui, à Pierre Louÿs… Avec nous : Luc Dellisse, romancier, essayiste, membre de l'Académie de langue et de littérature françaises de Belgique. « Entre sexe et silence » in « L'Article » mars 2023, mensuel publié par les éditions Lamiroy. « Le tombeau d'une amitié – André Gide et Pierre Louÿs » ; Les Impressions Nouvelles. Sujets traités : Pierre Louÿs, auteur, écrivain, Chansons de Bilitis, La femme et le pantin, Marie de Heredia, Paul Valéry, oeuvre, André Gide, Claude Debussy, Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Georges Joseph Christian Simenon, born on 12/13 February 1903 in Liège, Belgium, and passing away on 4 September 1989, was a prolific Belgian writer renowned for creating the iconic fictional detective Jules Maigret. Simenon's literary legacy extends beyond the realm of detective fiction, with his impressive body of work comprising approximately 400 novels, 21 volumes of memoirs, and numerous short stories, totaling sales of over 500 million copies. While Jules Maigret brought Simenon widespread fame, he also garnered critical acclaim for his romans durs, or "hard novels," demonstrating his versatility as a writer. Esteemed literary figures such as Max Jacob, François Mauriac, and André Gide praised Simenon, with Gide hailing him as a "great novelist, perhaps the greatest" in contemporary French literature. Simenon's life unfolded against a backdrop of diverse locales. After being born and raised in Liège, he spent considerable periods residing in France (1922–45), the United States (1946–55), and, ultimately, Switzerland (1957–1989). His literary creations were deeply influenced by his semi-autobiographical reflections, drawing inspiration from his formative years in Liège, extensive travels across Europe and the world, wartime experiences, troubled marriages, and numerous love affairs. Renowned for his psychological insights and vivid portrayal of time and place, Simenon's novels have been lauded by critics such as John Banville. Among his notable works are "The Saint-Fiacre Affair" (1932), "Monsieur Hire's Engagement" (1933), "Act of Passion" (1947), "The Snow was Dirty" (1948), and "The Cat" (1967). Simenon's enduring impact on literature lies not only in the enduring popularity of Jules Maigret but also in the rich tapestry of narratives that reflect the complexities of human nature and the varied landscapes of his own life. Learn more about your ad choices. Visit megaphone.fm/adchoices

SynopsisToday's date in 1946 marks an important moment in Parisian theatrical history with the debut performance of a legendary acting company created by husband-and-wife actors Jean-Louis Barrault and Madeleine Renaud. Their opening production was Shakespeare's Hamlet in a French translation by André Gide, with incidental music by Swiss composer Arthur Honegger. To play Honegger's score, Barrault hired two young musicians at the start of their careers. The first, 21, was to play the eerie electronic sounds Honegger scored for the Ondes Martinon, evoking the elder Hamlet's ghost. That young musician was a composition student named Pierre Boulez, who would remain associated with Barrault's company for a decade before becoming a famous conductor and composer of avant-garde scores of his own like Le Marteau Sans Maître.The second musician Barrault hired was a 22-year old percussionist, who brought Hamlet to a dramatic close with timpani crescendos evoking Fortinbras' final line in the play, “Go, bid the soldiers shoot.” That young musician, Maurice Jarre, would also become a famous composer, taking quite a different career path than Boulez. Jarre devoted himself to film scoring, composing several famous ones, such as Dr. Zhivago for British film director David Lean.Music Played in Today's ProgramPierre Boulez (1925 - 2016) – Le Marteau Sans Maître (Orchestre Du Domaine Musical; Pierre Boulez, cond.) PCA 101 Maurice Jarre (1924 - 2009) – Lara's Theme, from Dr. Zhivago (Royal Philharmonic Orchestra; Maurice Jarre, cond.) Sony 42307

durée : 00:13:00 - Les Nuits de France Culture - par : Albane Penaranda - Sur la Chaîne Nationale, en 1949, André Gide lisait des extraits de son propre "Journal". Une émission produite par Jean Amrouche. En 1949, André Gide lisait quelques extraits de son propre Journal (1921, 1923) sur la Chaîne Nationale dans une émission produite par Jean Amrouche.  * Voici comment commençait la lecture d'extraits de son Journal (1921) par lui-même, sur le thème de la jeunesse : Plus encore que la beauté, la jeunesse m'attire et d'un irrésistible attrait. je crois que la vérité est en elle et qu'elle a toujours raison contre nous. (...) Je crois que souvent en voulant préserver la jeunesse on l'empêche. Je crois que chaque génération nouvelle arrive chargée d'un message et qu'elle le doit délivrer. Notre rôle est d'aider à cette délivrance.  Production : Jean Amrouche Lecture par André Gide : "Pages du journal" (1ère diffusion : 1949 Chaîne Nationale) Indexation web : Sandrine England, Documentation Sonore de Radio France Archive Ina-Radio France - invités : André Gide

Dans le jardin ou sur la plage, le "transat" est une chaise longue très appréciée des amoureux du farniente. Mais d'où tient-elle son nom ?Transat est le diminutif de "transatlantique". On désignait ainsi les grands paquebots qui, voilà quelques décennies, sillonnaient les mers du globe. On prit l'habitude d'appeler "transatlantiques" les "chaises de pont" sur lesquelles pouvaient se délasser les passagers.Elles étaient faites de bois et de rotin et pourvues d'accoudoirs et de repose-pieds. Au moment de l'instauration des congés payés, en 1936, les Français découvrent ces chaises longues et les adoptent.Le nom comme la chaise elle-même sont un peu simplifiés. L'appellation d'origine étant un peu longue, on l'abrège bientôt en "transat". Quant au rotin, il est remplacé par de la toile, accoudoirs et repose-pieds disparaissant de la plupart des modèles.L'un des premiers à utiliser cette abréviation, plus facile à retenir, serait André Gide, qui l'écrit dans son journal dès 1943.Un jeu de dupesSi quelqu'un essaie de vous tromper, vous direz volontiers qu'il vous "mène en bateau". Contrairement à ce qu'on pourrait croire, cette expression n'a rien à voir avec les marins et la navigation.Elle est fort ancienne puisqu'elle remonte au Moyen-Âge. On rencontrait alors, sur les places et les parvis des églises, des bateleurs, qui essayaient d'attirer les passants.Grâces à des tours de leur façon, ces gens adroits parvenaient à duper les badauds. Un peu comme les joueurs de bonneteau qui, aujourd'hui encore, trompent les gens en manipulant des cartes sous leurs yeux.Or, on a fini par confondre "bateleur" avec "batelier", qui désigne le propriétaire d'un bateau fluvial. Du batelier au bateau, il n'y avait plus qu'un pas. Dès lors, quand quelqu'un se faisait duper, on disait qu'il était "mené en bateau". L'expression n'a pas tardé à s'imposer dans l'usage.Il existe une variante, "monter un bateau", mais qui n'a pas tout à fait le même sens. Elle désigne en effet la préparation d'une entreprise frauduleuse ou d'une "arnaque". Elle comporte donc toujours une idée de tromperie. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Dans le jardin ou sur la plage, le "transat" est une chaise longue très appréciée des amoureux du farniente. Mais d'où tient-elle son nom ? Transat est le diminutif de "transatlantique". On désignait ainsi les grands paquebots qui, voilà quelques décennies, sillonnaient les mers du globe. On prit l'habitude d'appeler "transatlantiques" les "chaises de pont" sur lesquelles pouvaient se délasser les passagers. Elles étaient faites de bois et de rotin et pourvues d'accoudoirs et de repose-pieds. Au moment de l'instauration des congés payés, en 1936, les Français découvrent ces chaises longues et les adoptent. Le nom comme la chaise elle-même sont un peu simplifiés. L'appellation d'origine étant un peu longue, on l'abrège bientôt en "transat". Quant au rotin, il est remplacé par de la toile, accoudoirs et repose-pieds disparaissant de la plupart des modèles. L'un des premiers à utiliser cette abréviation, plus facile à retenir, serait André Gide, qui l'écrit dans son journal dès 1943. Un jeu de dupes Si quelqu'un essaie de vous tromper, vous direz volontiers qu'il vous "mène en bateau". Contrairement à ce qu'on pourrait croire, cette expression n'a rien à voir avec les marins et la navigation. Elle est fort ancienne puisqu'elle remonte au Moyen-Âge. On rencontrait alors, sur les places et les parvis des églises, des bateleurs, qui essayaient d'attirer les passants. Grâces à des tours de leur façon, ces gens adroits parvenaient à duper les badauds. Un peu comme les joueurs de bonneteau qui, aujourd'hui encore, trompent les gens en manipulant des cartes sous leurs yeux. Or, on a fini par confondre "bateleur" avec "batelier", qui désigne le propriétaire d'un bateau fluvial. Du batelier au bateau, il n'y avait plus qu'un pas. Dès lors, quand quelqu'un se faisait duper, on disait qu'il était "mené en bateau". L'expression n'a pas tardé à s'imposer dans l'usage. Il existe une variante, "monter un bateau", mais qui n'a pas tout à fait le même sens. Elle désigne en effet la préparation d'une entreprise frauduleuse ou d'une "arnaque". Elle comporte donc toujours une idée de tromperie. Learn more about your ad choices. Visit megaphone.fm/adchoices

He taught international relations for a living, and he lived Indian culture -- food, clothes, music, films, languages, the whole package. Pushpesh Pant joins Amit Varma in episode 326 of The Seen and the Unseen to talk about his life, his times and this beautiful country he loves so much. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Pushpesh Pant on Amazon, Twitter and YouTube. 2. India: Cookbook -- Pushpesh Pant. 3. The Life and Times of Mrinal Pande — Episode 263 of The Seen and the Unseen. 4. Sara Rai Inhales Literature — Episode 255 of The Seen and the Unseen. 5. Chandrahas Choudhury's Country of Literature — Episode 288 of The Seen and the Unseen. 6. The Life and Times of Jerry Pinto — Episode 314 of The Seen and the Unseen. 7. Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 8. Devi : Tales Of The Goddess In Our Time -- Mrinal Pande. 9. Amader Shantiniketan — Shivani (translated by Ira Pande). 10. 2001: A Space Odyssey — Stanley Kubrick. 11. In Praise of Slowness -- Carl Honore. 12. Tabiyat: Medicine and Healing in India and Other Essays --  Farokh Erach Udwadia. 13. Things to Leave Behind -- Namita Gokhale. 14. Raag Pahadi -- Namita Gokhale, translated by Pushpesh Pant. 15. Roshan Abbas and the Creator Economy — Episode 239 of The Seen and the Unseen. 16. The Adda at the End of the Universe — Episode 309 of The Seen and the Unseen (w Vikram Sathaye and Roshan Abbas). 17. Natasha Badhwar Lives the Examined Life — Episode 301 of The Seen and the Unseen. 18. Lahron Ke Rajhans (Hindi) -- Mohan Rakesh. 19. India: A Sacred Geography -- Diana Eck. 20. Caste, Gender, Karnatik Music — Episode 162 of The Seen and the Unseen (w TM Krishna). 21. An Equal Music -- Vikram Seth. 22. The Wonder That Was India -- AL Basham. 23. Dhano Dhanne -- Jaya Varma and the Chandigarh Choir. 24. Ira Pande's obituary of Jaya Varma. 25. Ira Pande on Amazon. 26. Akshaya Mukul and the Life of Agyeya -- Episode 324 of The Seen and the Unseen. 27. Constantine Cavafy, André Gide and Jean Genet. 28. The Counterfeiters -- André Gide. 29. Death in Venice -- Thomas Mann. 30. Collected Poems 1954 - 2004 -- Dom Moraes. 31. From Cairo to Delhi With Max Rodenbeck — Episode 281 of The Seen and the Unseen. 32. Phir Ek Din Aisa Aayega -- Ali Sardar Jafri. 33. Zindagi -- Kiran Ahluwalia. 34. The Case Against Sugar — Gary Taubes. 35. In a Silent Way — Episode 316 of The Seen and the Unseen (w Gaurav Chintamani). 36. Kishore Mahbubani on Amazon. 37. The Discreet Charm of the Bourgeoisie — Luis Buñuel. 38. Chance and Necessity -- Jacques Monod. 39. Try Anything Twice -- Peter Cheyney. 40. Rakesh Raghunathan on YouTube. 41. The Indianness of Indian Food — Episode 95 of The Seen and the Unseen (w Vikram Doctor). 42. Cooking the world's oldest known curry -- Soity Banerjee. 43. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 44. Stage.in. 45. The Slow Fire Chef on Twitter. 46. Marginal Revolution posts on books. 47. The Myth of the Holy Cow -- DN Jha. 48. Elite Imitation in Public Policy — Episode 180 of The Seen and the Unseen (w Shruti Rajagopalan and Alex Tabarrok). 49. The Lady's Dressing Room -- Jonathan Swift. 50. My Friend Dropped His Pants -- Amit Varma. 51. A Paean to the Paan -- Pushpesh Pant. 52. Vairagya Shatak (Hindi) -- Bhartihari. 53. Bhaja Govindam -- Adi Shankara. 54. Rainer Maria Rilke and Meer Taqi Meer. 55. Titash Ekti Nadir Naam -- Ritwik Ghatak. 56. Jukti Takko Aar Gappo -- Ritwik Ghatak. 57. Teesri Kasam -- Basu Bhattacharya. 58. Duniya Banane Wale -- Song from Teesri Kasam. 59. Guide — Vijay Anand. 60. Caurapañcāśikā -- Bilhana. 61. Dagar Brothers, Siyaram Tiwari, Vidya Rao and TM Krishna. 62. A Southern Music — TM Krishna. 63. The Raga-Ness of Ragas -- Deepak S Raja.. 64. NAD - Understanding Raga Music -- Sandeep Bagchee. 65. Form in Indian and Western Music -- Chetan Karnani. This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘The Feast' by Simahina.

Episode: 2474 Antoine de St. Exupéry, André Gide, and a new vocabulary for a new technology.  Today, Antoine de St. Exupéry.