Podcasts about andr gide

The Jordan was at flood stage when the priests waded in — before the water moved. Obedience came first. Click here to read the sermon “Walk This Way” Joshua 3:1–4; 3:14–16; 4:18–24 It's such a treat to be back with you. My name is Rob Stone. If we haven't met yet, it's so good to be with you. This is my second of what will be three weeks preaching for you here at Yates Baptist Church. And we are in a series we started last week called Onward: Moving Toward the Uncharted. Onward, moving toward the uncharted. And of course we're walking through the book of Joshua. The book of Joshua is one of my favorite books of the Bible, because Joshua finds a people in the middle of a dramatic change, a dramatic shift. The people of Israel, if you follow from the book of Exodus, have been set free from their captivity, from their slavery in Egypt, but they have spent the better part of the last forty years wandering in the wilderness. They essentially lose a generation in the wilderness. But God is raising up a generation that's going to lead them into the promised land. So after the death of Moses, Joshua finds himself tasked with leading the people of Israel into the promised land. They're going to cross the Jordan River and make their way into Israel. I'm very excited about where we are today, because last week we discovered the what. Last week, we discovered the what: that God has called Joshua to lead the people into the promised land, and He made a lot of promises. We saw that Joshua will only inherit what he inhabits — Joshua will only inherit what he inhabits, which is another way of saying God's promise to Joshua is that every place the sole of his foot treads, God has given to him (cf. Josh 1:3, HCSB) [see "A New Dawn, A New Day," July 12, 2026]. And we talked about last week how that can be a promise, but it's not just a promise — it's a principle. And a principle is a promise that is user dependent. It's a promise that depends on whether or not you live it out, because God's promise to Joshua is a promise that depends on Joshua's action. Joshua has to take steps of obedience in order to receive the blessing that comes with God's promise. But if Joshua keeps his feet planted exactly as they are, if Joshua is not willing to be obedient, then the promise becomes a curse for him. Joshua has to take action. Joshua has to take steps of obedience. And I believe that is what God has called us to as well, because as we talked about last week, I believe God has not brought us this far just to bring us this far. There is more to go. There is further to go. And I believe, by God's power, that the best is yet to come. So before we jump into the second week of the series — looking not just at the what, but the how — because the what is great, but a what without a how leaves us all feeling a little confused. It leaves us lacking clarity, especially if we don't know how to get where we're going. Now, we live in 2026, and I have my phone right here — it has some points of the sermon that I'm going to cover. How many of you have your phones with you? Raise your hand if you have your phone, lift it up high. There we go. We are a smartphone people. Okay, let's try it this way — just for my own interest: if you're an iPhone user, raise your hand. Okay. If you use anything else, raise your hand. [Laughter.] Look at you. Come on now — a bunch of green dots showing up in the group texts. "So-and-so reacted to a photo." We can see it now, all you green-dot people, you non-iPhone users in the room. But here's why I mention it: a smartphone is beautiful, especially if you are lost. And really, with a smartphone, how could you ever truly be lost? But I want you to journey with me back to 2001 — December of 2001. I'm a college student at the University of Central Florida. I'm from Florida, by the way — I don't know if there are any other Floridians in the room. Come on, Sunshine State, look how far we've made it. I was a junior at the University of Central Florida, working with a campus ministry called Campus Crusade for Christ that now goes by Cru. Cru has Christmas Conference every year — our big regional conference. Because I was a student in the Southeast, Christmas Conference was held in Atlanta, Georgia. And there are lots of things to love about Atlanta, Georgia — Waffle House, Chick-fil-A, it's all wonderful, I appreciate it. But here's the thing I can't stand about Atlanta: driving in Atlanta is awful. Amen? Around the city of Atlanta is a circle, the perimeter, if you will, and it is a ten-lane highway that just forms a circle all around the city. And depending on where you get on this circle, the directions you're following make no sense, because there's an inner circle and an outer circle. Here I am in Atlanta before the invention of the iPhone. I want you to remember back in the days of a road atlas — you're pulling it out, maybe you've got it hidden in a map somewhere, and you pull that map out and try to figure out, as you're driving, where you're going. None of it is safe. We're going to our service project — how many of our youth went to Passport, by the way? Raise your hand if you were at Passport last week. Come on, vámonos, I love it, great job. So here's the thing: we're doing our service project as part of this conference, and we're headed into a place in Atlanta, and my friend who lives in Atlanta is like, "I know exactly how to get there." And then he proceeded to tell me — and if you don't live in a city, someone telling you the roads and the various points along the way isn't really helpful. So I do what dumb young men do: I go, "Got it. Gotcha. Totally see you there." And I take off, and I'm getting on I-285, this giant thing that goes around the city. I hop on I-285, and I know I need to go two exits west of where we are on the northern part of this highway. So I follow the sign that says west. But the west sign takes me in the opposite direction, because it's telling me where I'm ultimately trying to end up — not where I'm immediately going. Again, a highway that makes no sense. The fine folks of Atlanta, Georgia need to get their stuff figured out. But I turn the wrong way, and now I spend the next hour just looping around the city, seeing all the sights all the way around Atlanta. Finally, someone in my car has a cell phone — I don't own a cell phone yet, this is 2001, this is pre–cell phone days for me. Someone in the car has a cell phone: "Where are you all at?" "We're still on 285, looking for the exit." We eventually make our way there. This time, as we're going back to the hotel from the service project, I didn't just listen to what my friend told me when he told me how to get back. I said, "You go first, and I will follow you." We got back to the hotel in about five minutes. Now, there are wives in the room being very sweet about not elbowing your husbands right now — I appreciate that, I'm grateful for that — because if I had been married at that point, my wife would have said, "Hey, you don't know where you're going. How about you follow someone who does?" You don't know how to get there — why don't you follow someone who knows how to get there? I knew the what. I knew what we were going to do. I just didn't know how to get there, and I thought I could just figure it out. And of course I didn't, because you can't just figure out everything. Sometimes the only way to learn is to watch someone who knows what they're doing, who knows how to do it. And so here we are in week two of the sermon series Onward, with a message I have titled "Walk This Way." Because just like Joshua and the people of Israel, and just like us today, we need to know not just where we're going — we need to know how to get there. And so this is what we find as we open up Joshua chapter three and Joshua chapter four. We're not going to read the entirety of the two chapters — we're going to read some selections of Scripture from these two chapters. But beginning in Joshua chapter three, verse one — this is Joshua 3:1–4: Joshua started early the next morning and left the Acacia Grove with all the Israelites. They went as far as the Jordan and stayed there before crossing. After three days the officers went through the camp and commanded the people, "When you see the ark of the covenant of the Lord your God carried by the Levitical priests, you must break camp and follow it. But keep a distance of about a thousand yards between yourselves and the ark. Don't go near it, so that you can see the way to go, for you haven't traveled this way before." (Josh 3:1–4, HCSB) I love how practical this section of Scripture is. It's this beautiful thing — it's Joshua saying, "Hey, we're going to follow the ark. We're going to follow God. We're going to follow God where He is leading us, but we're going to let God lead the way. We're not going to jump ahead of God," because sometimes in our lives we try to jump ahead of God's will, and we find ourselves not in the place we wanted to be. Amen? Sometimes we go, "I know what God wants for me," and we find ourselves in a place we never thought we would be — in a circumstance we never imagined we would be in. And here's Joshua, and he's saying, "Come on, we're all going to be ready. You're going to get ready to follow." And the reason you're going to follow is because you don't know where we're going — you've never been there before. There's a French philosopher who said these beautiful words: "If we want to reach new lands, we must be willing to lose sight of the shore.”1 I don't know how many of you have maybe been out on a cruise ship — have you been out on the water? There's something terrifying that happens when you get out in the ocean, and suddenly you look around, three hundred sixty degrees, everywhere you look all you see is horizon. That's a scary spot to be, because if all you have is horizon, you don't really know where you are, you don't really know where you're going. For Joshua, he's saying, look, so much of our wandering, so much of the place we've been stuck in for the last forty years, is because we didn't know how to get out of it. We didn't know how to take the next step. We didn't know how to move forward. And here's Joshua saying: we're going to follow God, and God is going to lead us into a new place. But in order for God to lead us to a new place, we're going to have to walk in a brand-new way. We're going to have to go to a place we have never been before. To put it another way: if we want to reach new lands, we must follow a new path. Church, I want you to hear me when I say this. If we want to reach new lands, if we want to be in a new place, if we want to go where we have not been before, then we're going to have to take a brand-new path to get there. Because all the paths that are familiar to us, all the ways that are known to us, all the directions we are comfortable with, just lead us to the places we've already been. If we want to reach new lands, we've got to follow a brand-new path. We've got to be willing to do some new things and move in a new direction. And if we're honest — new is scary. New is scary, and let's be real: I'm in my forties now, I have three kids, I have teenagers at home. New isn't just scary — new feels sometimes a little irresponsible, because I've got people who are counting on me, I've got kids I'm trying to pay for college for. The older I get, new feels like more and more of a risk. So the older we get, new seems to be a bridge just too far. But God didn't bring us this far just to take us this far — which means it's time for us to get used to new. It's time to get comfortable with new. It's time to get comfortable with the risks that come with new, because we want to reach new lands, and you only reach new lands by following a new path. We're going to skip ahead to verse fourteen — this is Joshua 3:14–16: When the people broke camp to cross the Jordan, the priests carried the ark of the covenant ahead of the people. Now the Jordan overflows its banks throughout the harvest season. But as soon as the priests carrying the ark reached the Jordan, their feet touched the water at its edge and the water flowing downstream stood still, rising up in a mass that extended as far as Adam, a city next to Zarethan. (Josh 3:14–16, HCSB) I want you to track what's happening here. There has been a command from Joshua to the officers for what all the people are going to do: hey, we're going to follow a new path, we're going to go a new direction. And the people are being obedient — the people are saying, "I'm ready, we are ready." They have broken camp. The people are leading. The priests carrying the ark step their feet in the water, and the water stops. Now, here's something to know: the Jordan River is not a large river. If you look at pictures of the Jordan, through most of the year it's about the width of this stage — so crossing it through most of the year is not really a huge deal, especially this far south, because once you get this far south, this is the lowest-lying region on planet Earth. The Dead Sea is just south of here. But it's flood season, so we're not talking about just crossing the stage — we're talking about a flood. In October 2024 (sic) [Hurricane Helene's catastrophic inland flooding in Western North Carolina occurred primarily September 26–28], Hurricane Helene came through Western Carolina and dumped an amount of rain the region had not seen in nearly a hundred years. What happened to all the rivers there? They immediately flooded. The problem is, in any mountainous terrain, you build roads next to rivers, because rivers do what water often does — they follow the path of least resistance. If you're engineering roads, you also want to follow the path of least resistance; otherwise, you're going to spend tons of time, energy, and resources cutting roads into a mountain. So when these rivers flooded, it didn't just flood the rivers — it flooded the roads, it flooded the homes, it flooded the businesses. Suddenly you have this whole area of Western North Carolina destroyed essentially by rain, by floodwaters overflowing these rivers, and you become acutely aware of how powerful floodwaters can be. So we get this detail — this is what the Jordan River was like as they're getting ready to cross. Now again, we've got to be comfortable with new, we've got to get comfortable with the risk associated with new, because let's be honest — if any of us was part of the team with Joshua that day, wouldn't we go, "You know, Joshua, if we could just chill here for another three months, this crossing would be much easier. Joshua, you've picked the worst time to do this — these are flooding rivers. We've waited forty years to do this; another two weeks ain't gonna kill us." That's what, let's be honest, that's what we would say if we were with Joshua that day. But we get this detail, and the reason we get this detail is to understand the power of what comes next: "But as soon as the priests carrying the ark reached the Jordan, their feet touched the water at its edge, and the water flowing downstream stood still." Now, what does this immediately remind you of? [A member of the congregation responds.] Q: And what's your name? A: Gail. Y'all give it up for Gail — Gail had the right answer, come on, that's right. This is the same group of people who, forty years earlier, was fleeing Pharaoh and the Egyptian army, and they get to the Red Sea, and what happens when they get to the water (cf. Exod 14:21–22)? Here they are — an entire race of people, an entire ethnicity of people, fleeing their enslavers, and they get to a body of water they cannot cross. It looks like it's over. It looks like this is the end of the story. Surely the people in that moment are terrified for their lives. But God tells Moses to stand up, and what happens to the waters? They part. Now here we are, forty years later, Joshua leading the people to cross the river — a much smaller body of water, but still a significant body of water in flood season — and the priests are carrying the ark, and their feet hit the water, and when their feet hit the water, a wall of water stands. I don't know about you, but when I am afraid, nothing comforts me faster than remembering how God has rescued me before. The older we get, the harder new becomes. But the older we get, the more testimony we have in our rearview mirror. The older we get, the more we have seen, time and time again: "I didn't think there was a way out. I didn't think there was any hope in this situation, and God came through." How many of us — the greatest testimony of our life is something we would have never asked for, something we would have dreaded if someone said it was coming, and yet we can look back on that season and go, "God, thank You. Thank You for bringing me to it, and thank You for bringing me through it. God, thank You, because now I know what You're capable of." There's this beautiful thing that happens before the people step into a new land, before they take this new path to their new destination, to their new future: before any of that happens, God reminds them of His past faithfulness. Church, we need our memories of God's past faithfulness. We need our memories of God's past faithfulness. We need that. [Addressing the media team.] This is the time for that slide to move on — thank you. We need our memories of God's past faithfulness. We need it. Every one of those stories you have — those stories we call your testimony — every one of those stories of God's past faithfulness, we need them. We need every one. We need the stories from the previous generations of God's faithfulness. If you were lucky enough to grow up with a mother and a father who worship the Lord, then you have generations of past faithfulness to talk about. Some of you in this room know what it's like to have generations and generations go before you, and you can tell the story of God's past faithfulness to those generations. And when you hear the stories of God's past faithfulness, it should not lead you to be afraid. It should not leave you suddenly more conservative in your decision-making. The more you are aware of God's past faithfulness, the more boldness you should have to take steps down a new path to a brand-new destination — because God has proven it time and time again, in your own story, in the story of your family before you, in the story of the generations that have gone before. God has been faithful time and time again, and He's not about to quit right now. He's not about to stop! This should be so encouraging for us, church, because seeing this story is the reminder that God is always true to His promise — He is faithful yesterday, today, and forever. So church, when we find ourselves at a crossroads where we've got to pick — hey, are we going to do the same thing we've always done and end up in the same place we've always been, or are we going to do something brand new? Are we going to have enough faith to take a new path to a new destination? If you're struggling with that today, if you're like me, if you're someone who — the older you get, the more you struggle with that kind of decision — I want to encourage you to take a moment today and just remember God's past faithfulness. I want you to remember the ways God showed up time and time again when people were willing to trust Him enough to follow a new path to a new destination. Joshua and the people of Israel, the twelve tribes of Israel, make their way across the river. Historians disagree on the predicted size of the nation of Israel at this time, but somewhere between eighty thousand and two hundred fifty thousand people is what we're talking about, and they have made the journey across the river. Now, moving across a river, especially when it's dry because the water has stopped, doesn't take forever — but when you've got that many people, it takes a while. It takes a while, and I wonder how many people got to the river, saw the water standing still, and still rushed, still ran — "Hey, it's been hours now, it was good for that tribe and that tribe, but I'd better get working fast, I'd better run my way across this river." The people of Israel make their way to the other side. And before they get out of the river entirely, Joshua orders each tribe to choose one person and send that person back to the riverbed to pull a rock out of the dry place they have crossed on. Joshua orders the people to go back, take twelve rocks, and bring those rocks to the west side of the river. They've crossed from the east side to the west side, and here they are on the west side, and they stack up these twelve stones as a monument. And the monument was not to an event. The monument was not to a thing that happened. The monument was about God's faithfulness. When we turn to Joshua 4:18–24, this is what we read: When the priests carrying the ark of the covenant came up from the middle of the Jordan and their feet stepped out onto solid ground, the waters of the Jordan resumed their course, flowing over all the banks as before. The people came up from the Jordan on the tenth day of the first month and camped at Gilgal, on the eastern limits of Jericho. Then Joshua set up in Gilgal the twelve stones they had taken from the Jordan, and he said this to the Israelites: "In the future, when your children ask their fathers, 'What is the meaning of these stones?' you should tell your children, 'Israel crossed the Jordan on dry ground.' For the Lord your God dried up the waters of the Jordan before you until you had crossed over, just as the Lord your God did to the Red Sea, which He dried up before us until we had crossed over. This is so that all the people of the earth may know that the Lord's hand is mighty, and so that you may always fear the Lord your God." (Josh 4:18–24, HCSB) I want to stop here for a second. Look at the Scripture — "This is so." Now, last week we opened up and talked about the what: it's God coming to Joshua — "Joshua, you're going to lead the people into the promised land, into the land I am giving them as an inheritance. You're going to do it, Joshua." There's the what. We started this week looking at the how: here's how we're going to do it. We don't know the way, so we're following God, and God is going to lead us on a new path to a brand-new land. So we've got the what and the how. But as Simon Sinek would say, the most important thing in your life is not the what or the how — the most important thing in your life is the why. Why are you being faithful? Why are you here in church this morning? Why do you give? Why do you sacrifice? Why do you do the right thing when no one is watching, when no one will ever know if you didn't? What's your why? I love that Joshua hears from the Lord — this is the why: "so that all the people of the earth may know that the Lord's hand is mighty, and so that you may always fear the Lord your God." There's a lie we can get sucked into if we're not careful — the lie that everything God has done in the Old Testament is about giving one ethnicity a place to call home. I want you to know that what God is doing in the Old Testament is so much bigger and so much greater than that, because what Joshua is doing is not about a people receiving this plot of land — it's about the whole earth knowing that the Lord's hand is mighty, and so that we may always have fear of the Lord our God, which is what Solomon will say is wisdom (cf. Prov 9:10, HCSB). God's why in getting a group of less than a quarter million people from one side of the river to the next, God's why in what He's going to do next week as we look at the Battle of Jericho, God's why in everything that happens in the rest of the Old Testament is the same: that all the earth may know the Lord and have wisdom, because the beginning of wisdom is the fear of the Lord. God's why is that the whole earth would know Him and have wisdom. I wonder today for us — we've got a called business meeting right after the church service. There's a lot going on at Yates Baptist Church, and let's be honest, I think there's still some confusion. But what I want to let you know is this: if we focus too much on this, we'll miss the whole story, we'll miss the bigger picture, we'll miss what God has come to do. And what I want to let you know is this: everything God has done in your life, everything God has done in this church, everything God has done in every church that has ever been, has been the same as God's why in Joshua chapter four — that the whole world would know Him and walk in wisdom. God's why is that the whole earth would know Him and walk in wisdom. And I wonder today, if that became your why — if that became your why, that everything you did was so that people could know God and walk in wisdom — how would it change things? How would it change your life? How would it change your choices? How would it change your community? How would God bring dead things to life all around you if we adopted that as our why? I love that Joshua gives the why to the people this way — he says, "In the future, when your children ask you." Do you see what's happening? It's Joshua saying, right now, I want you to prepare yourselves to remember, prepare yourselves to remember what God has done, because the day is coming where the next generation is going to ask you what this means, and you go, "I'm so glad you've asked" — because my why, my motivating factor in my whole life, has been to tell you this story. Let me tell you about my God, and let me give you all you need to begin walking in wisdom. So church, we've celebrated two weeks in a row of children and teenagers spending time in camp, spending formative time in community, hearing more about the God we worship. You've got to be a part of it — you've gotten to be a part of it already, in the last two weeks. In the future, when your children ask, you've been able to send your children to places where all they've done is learn about who God is and how to walk in wisdom. So church, today — are you prepared? Are you prepared to remember what God is about to do? Because the testimony of God's might and His work is not just a story for yesterday — that's a story for today. Tomorrow, you have no idea what God might do. You have no idea what God might do. So the question for each and every one of us: are we prepared to remember what God is about to do — what has not yet come to fruition, but which we see by faith and not by sight (cf. 2 Cor 5:7, HCSB)? I believe that's our why, and I believe if it becomes your why, it just might change the whole world. Let me pray for us. Heavenly Father, we love You, we praise You, God. We are people who have testimony, who have story after story of how You have been good, how You have been faithful, how You have delivered us when there seemed to be no other way. And so God, we are asking the same right now, and we are believing by faith, not by sight, that You are about to do a new thing. Would You give us the obedience? Would You give us the courage? Would You give us the boldness to follow You on a new path to a brand-new future? And would You prepare our hearts now to remember what You're about to do, so that as generations come, we can declare Your faithfulness to each and every generation. God, would You help us to live with a why like Yours, like Joshua's? Would You help us to live with a why that says everything I do is so that the whole world will know Jesus and walk in the wisdom His Holy Spirit provides? Jesus, we pray this in Your name. Amen. Endnote 1 This is a summary of the French novelist and essayist André Gide's words as they appear in dialogue near the end of his novel Les Faux-monnayeurs (The Counterfeiters), spoken between the characters Édouard and Bernard. The standard English rendering, from Dorothy Bussy's translation, reads: "One doesn't discover new lands without consenting to lose sight, for a very long time, of the shore." The French original reads: "On ne découvre pas de terre nouvelle sans consentir à perdre de vue, d'abord et longtemps, tout rivage." Works Cited Gide, André. Les Faux-monnayeurs. Paris: Gallimard, 1925. Gide, André. The Counterfeiters. Translated by Dorothy Bussy. New York: Alfred A. Knopf, 1927. The Holy Bible, Holman Christian Standard Bible. 2004, rev. 2009. Nashville: Holman Bible Publishers. Sinek, Simon. Start with Why: How Great Leaders Inspire Everyone to Take Action. New York: Portfolio, 2009. © 2026 Rob Stone. All rights reserved.

durée : 01:15:28 - Les Nuits de France Culture - par : Albane Penaranda - Par Claude Royet-Journoud - Lectures Roland Barthes de textes de François René de Chateaubriand, Platon, Johann Wolfgang Von Goethe, Severo Sarduy, Charles Baudelaire, Paul Verlaine et André Gide - équipe : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Recomiendo estos libros para pacientes que luchan con rigidez moral, represión emocional o búsqueda de autenticidad. "Los monederos falsos" ayuda a desmantelarmáscaras sociales, reduciendo disonancia cognitiva y fomentando autoaceptación. "Los alimentos terrenales" y su secuela liberan del sentimiento de pecado, promoviendo hedonismo sano para combatir depresión o anhedonia,equilibrado con espiritualidad madura. El "Diario" es ideal paraterapia narrativa, alentando journaling para procesar traumas o identidades (como sexualidad o fe). Juntos, estos textos actúan como catalizadores para la catarsis, fortaleciendo resiliencia y libertad interior, siempre bajo guía profesional para evitar interpretaciones extremas. "Crónicas Lunares di Sun" es un podcast cultural presentado por Irving Sun, que abarca una variedad de temas, desde la literatura y análisis de libros hasta discusiones sobre actualidad y personajes históricos. Se difunde en múltiples plataformas como Ivoox, Apple Podcast, Spotify y YouTube, donde también ofrece contenido en video, incluyendo reflexiones sobre temas como la meditación y la filosofía teosófica. Los episodios exploran textos y conceptos complejos, buscando fomentar la reflexión y el autoconocimiento entre su audiencia, los "Lunares", quienes pueden interactuar y apoyar el programa a través de comentarios, redes sociales y donaciones. AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠Crónicas Lunares di Sun - YouTube⁠ ⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠  ⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠  ⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠  ⁠https://twitter.com/isun_g1⁠  ⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠  ⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠  https://mx.ivoox.com/es/s_p2_759303_1.html⁠ https://tunein.com/user/gnivrinavi/favorites⁠ 

Lucio Coco"Avvertimento all'Europa"Thomas MannNino Aragno Editorewww.ninoaragnoeditore.itNel 1936 sul lago di Zurigo a Küsnacht, dove Thomas Mann si era auto-esiliato dopo l'ascesa al potere di Hitler, si incontrano lo scrittore tedesco (premio Nobel nel 1929) e André Gide (futuro premio Nobel nel 1946). Dall'incontro nasce l'idea di pubblicare un libro che descrivesse la situazione in cui versava il vecchio continente allora. Ne nacque l'Avvertimento all'Europa che uscì in Francia nel 1937 e che comprendeva 4 scritti di Mann e la prefazione di Gide. Un volumetto snello, di non molte pagine, ma che ancora oggi rivela spunti ed elementi di natura profetica sul tema della guerra, della pace e sul ruolo dell'Europa nel contesto mondiale.Thomas Mann  (Lubecca 1875 – Zurigo 1955) ha legato la sua fama a celebri romanzi I Buddenbrook, La morte a Venezia, La montagna incantata, Giuseppe e i suoi fratelli, Doktor Faustus. Anche l'attività di saggista e le prese di posizione su questioni sociali, politiche e culturali destarono grande interesse. Nel 1933, con l'avvento del nazismo, di cui si rivelò fermo oppositore, si trasferì prima in Svizzera (1933) e in seguito negli USA (1938). Dopo la fine della seconda guerra mondiale decise di non tornare in Germania, preferendo di nuovo la Svizzera, dove visse fino alla morte.Lucio Coco  è curatore di importanti edizioni di testi dei Padri della Chiesa quali Giovanni Crisostomo, Gregorio di Nazianzo e Gregorio di Nissa. Si è inoltre interessato alla storia della spiritualità cristiana, approfondendo quella russa, nel cui ambito ha curato la prima edizione del Meterikon nella versio russica di Feofan Zatvornik (Mondadori) e dedicando particolare attenzione al fenomeno dello jurodstvo nella sua declinazione femminile con l'edizione delle Sante stolte della Chiesa russa (Città Nuova). Particolare attenzione ha dedicato allo studio della tradizione gnomologica cristiana greca approntando l'edizione delle Sentenze di Evagrio Pontico, delle Sentenze spirituali di Basilio Magno, Isaia di Scete, Iperechio, Marco l'Eremita e delle Sentenze morali di Fozio (Olschki).Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Bueno, voy mejor; incluso me siento todo lo bien que razonablemente puedo esperar estar a la edad que tengo. Para trabajar de verdad, quiero decir: para entregarme a un trabajo productivo, solo me falta la soledad...

durée : 01:29:07 - Les Nuits de France Culture - par : Philippe Garbit - Par François Angelier - Avec en archives de nombreux témoinagnages d'écrivains, de poètes, de musiciens contemporains de Paul Claudel, notamment de : François Mauriac, André Gide et Germaine Tailleferre - Réalisation Annie Douel - réalisation : Mydia Portis-Guérin

Connaissez-vous notre site ? www.lenouvelespritpublic.frUne conversation entre Amos Reichman et Philippe Meyer, enregistrée au studio l'Arrière-boutique le 16 septembre 2022.Sur le portrait officiel du président de la République on voit Stendhal, Gide et de Gaulle en Pléiade. Oui mais qui est à l'origine de cette glorieuse maison d'édition si centrale dans l'histoire de la littérature française ?Dans ce bada, Philippe Meyer discute avec Amos Reichman de son ouvrage, Jacques Schiffrin, un éditeur en exil, paru aux éditions du Seuil. Il y raconte le destin tragique et méconnu d'un immigrant russe venu en France pour devenir le fondateur de la mythique collection : la Bibliothèque de la Pléiade. On y apprend beaucoup sur le Paris d'entre-deux guerres comme sur le New York des exilés dans les années 40 et on y croise de nombreux personnages bien connus comme André Gide ou Gaston Gallimard. Laissez-vous conter cette histoire passionnante d'un bonheur fugace et d'une nostalgie incurable.Chaque semaine, Philippe Meyer anime une conversation d'analyse politique, argumentée et courtoise, sur des thèmes nationaux et internationaux liés à l'actualité. Pour en savoir plus : www.lenouvelespritpublic.frHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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. 

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.

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 : 00:14:54 - 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

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.

André Gide

"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

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