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As the school year kicks off, Adam Louis-Klein shares his unexpected journey from researching the Desano tribe in the Amazon to confronting rising antisemitism in academic circles after October 7. He discusses his academic work, which explores the parallels between indigenous identity and Jewish peoplehood, and unpacks the politics of historical narrative.  *The views and opinions expressed by guests do not necessarily reflect the views or position of AJC. Listen – AJC Podcasts: The Forgotten Exodus: Untold stories of Jews who left or were driven from Arab nations and Iran People of the Pod:  Latest Episodes:  War and Poetry: Owen Lewis on Being a Jewish Poet in a Time of Crisis An Orange Tie and A Grieving Crowd: Comedian Yohay Sponder on Jewish Resilience From Broadway to Jewish Advocacy: Jonah Platt on Identity, Antisemitism, and Israel Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've appreciated this episode, please be sure to tell your friends, and rate and review us on Apple Podcasts or Spotify. Transcript of the Interview: Manya Brachear Pashman:   Adam Louis-Klein is a PhD candidate in anthropology at McGill University, where he researches antisemitism, Zionism, Jewish peoplehood, and broader questions of indigeneity and historical narrative. His work bridges academic scholarship and public commentary, drawing on field work with indigenous communities in the Amazon and studies in philosophy at Yale, The New School and the University of Chicago.  He writes on translation and the politics of peoplehood across traditions, and is committed to developing a Jewish intellectual voice grounded in historical depth and moral clarity. He blogs for The Times of Israel, and he's with us today to talk about his experience emerging from the Amazon, where he was doing research after October 7, 2023, and discovering what had happened in Israel. Adam, welcome to People of the Pod. Adam Louis-Klein:   Thank you so much for having me. It's a real pleasure to be here on this podcast with the American Jewish community. Manya Brachear Pashman:   So tell us about the research that you are doing that took you into the depths of the Amazon rainforest. Adam Louis-Klein:   So I work with a group called the Desano people who live in the Vaupés region, which is a tributary of the upper Rio Negro. Part of it's in Brazil, part of it's in Colombia today. I went there because I was really interested in trying to understand how people were often seen at the margins of the world, the periphery of the global economy. See themselves and their own sort of role in the cosmos and in the world in general.  And what I found actually is that these people see themselves at the center of it all, as a unique people, as a chosen people. And that was something that really inspired me, and later led me to rethink my own relationship to Jewish peoplehood and chosenness, and what it means to be a kind of indigenous people struggling for survival and recognition. Manya Brachear Pashman:   So were you raised Jewish? Did you have a Jewish upbringing? Adam Louis-Klein:   Yeah, I was raised as kind of a cultural and reform Jew. I wouldn't say that Israel was super present in our lives, but we did travel there for my younger brother's Bar Mitzvah at the Kotel, and that did have an impression on me. And then later on, I wear a wristband of Brothers for Life, which is a charity for injured Israeli soldiers. But as time went on, I got involved in these radical academic scenes.  And you know, my own field, anthropology, has fundamentally turned against Jewish peoplehood and Israel, unfortunately. But it was really in the Amazon, actually, that my journey of Teshuvah and rediscovering my Jewishness and the importance of Jewish peoplehood was really re-awoken for me. Manya Brachear Pashman:   You were involved in these radical circles. Did you ascribe to some of the beliefs that a lot of your academic colleagues were ascribing to? Did you start to question the legitimacy of Israel or the actions of the Israeli government?  Adam Louis-Klein:   I think I started to ascribe to them in a kind of background and passive way. In the way that I think that many people in these communities do. So I had actually learned about Israel. I did know something. But as I wanted to kind of ascribe to a broader social justice narrative, I sort of immediately assumed when people told me, that Israelis were the ones doing the oppression and the injustice, that that had to be true. And I didn't question it so much.  So it's ironic that those spaces, I think, that are built around critical thought, have become spaces, in my opinion, that are not so critical today. And I think we really need a critical discourse around this kind of criticism, sort of to develop our own critical discourse of what anti-Zionism is today. Manya Brachear Pashman:   So what inspired the research? In other words, so you're involved in these radical circles, and then you go and immerse yourself with these tribes to do the research. What inspired you to do it, and was it your Jewishness? Adam Louis-Klein:   So I think what led me to anthropology was probably a kind of diasporic Jewish sensibility. So I'd studied philosophy before, and I was very entrenched in the Western tradition. But I was kind of seeking to think across worlds and think in translation. I've always kind of moved between countries and cities, and I think that's always been an intuitive part of who I am as a Jew.  And anthropology was founded by Jews, by Franz Boas, Emile Durkheim, Claude Lévi-Strauss, so I think that's kind of part of what brought me there. But I ended up rediscovering also the meaning of, you know, homeland as well, and what it means to be part of a people with a unique destiny and relationship to territory and land. And that made me understand Zionism in a completely new light. Manya Brachear Pashman:   And did you understand it when you were there? Did you come to these realizations when you were there, or did you start to piece all of that together and connect the dots after you emerged? Adam Louis-Klein:   So part of my research looks at how indigenous people engage with Christian missionaries who try and translate the Bible into indigenous languages. So when that encounter happens, it's actually quite common throughout the world, that a lot of indigenous people identify with the Jewish people quite strongly. So this might sound a little counterintuitive, especially if someone's used to certain activist networks in which indigeneity is highly associated with Palestinians, Jews are treated now as settler colonists, which is basically the opposite of indigeneity. And that's become a kind of consensus in academia, even though it seems to fly in the face of both facts and our own self understanding as Jews. So I saw that in the Amazon, in the way people at the margins of the world who might not already be integrated in the academic, activist kind of scene, sort of organically identify with the Jewish people and Israel.  And they admire the Jewish people and Israel, because they see in us, a people that's managed to maintain our cultural identity, our specific and distinct civilization, while also being able to use the tools of modernity and technology to benefit us and to benefit the world. So I think that also kind of disrupts some primitivist notions about indigenous people, that they should remain sort of technologically backwards, so to speak. I think that they have a more nuanced approach. Manya Brachear Pashman:   So I guess, what did you discover when you did emerge from the Amazon? In other words, October 7 had happened. When did you emerge and how did you find out? Adam Louis-Klein:   So I'd been living in a remote Desano village without internet or a phone or any connection to the outside world for months. And then I returned a couple days after October 7 to a local town, so still in the Amazon, but I was signing onto my computer for the first time in months, and I remember signing onto Facebook and I saw the images of people running from the Nova Festival. And that was the first thing that I saw in months from the world. So that was a very traumatic experience that sort of ruptured my sense of reality in many ways, but the most difficult thing was seeing my intellectual milieu immediately transform into a space of denial or justification or even just straightforward aggression and hate to anyone who showed any solidarity with Israelis in that moment, or who saw it as a moment to to say something positive and inspiring and helpful about the Jewish people. That was actually seen as an act of violence.  So I went to Facebook, and I don't remember exactly what I said, I stand with the Jewish people, or with Israelis, or Am Yisrael Chai, or something like that. And many people in my circles, really interpreted that as an aggression. So at that point, it was really strange, because I'd been living in the Amazon, trying to help people with their own cultural survival, you know, their own struggle to reproduce their own civilization in the face of assimilation and surrounding society that refuses to validate their unique identity. And then I came back to the world, and I was seeing the exact same thing happening to my own people.  And even stranger than that, it was happening to my own people, but in the language of critique and solidarity. So the very language I'd learned in anthropology, of how to support indigenous people and sort of to align myself with their struggles was now being weaponized against me in this kind of horrible inversion of reality. Manya Brachear Pashman:   Had you sensed this aggressive tone prior to your time in the Amazon and when you were involved with these circles? Adam Louis-Klein:   No, I'd never witnessed anything like this in my life, and so it took some real searching and going inward, and I was still in the jungle, but encountering all this anti-Zionist hate online from people I thought were my friends. And I had to really ask myself, you know, maybe I'm in the wrong, because I've never seen people act like . . .  people who are scholars, intellectuals who should be thinking critically about antisemitism. Because antisemitism, you know, we talk a lot about in the academy, critical race theory. So we look at ideologies, tropes, and symbols that are used to dehumanize minority groups, and we learn to be skeptical.  So we learn that there are discourses that speak at times, in languages of reason, of justice, even that are actually biased, structurally biased, against minorities. So then I was deeply confused. Why did these same people not know how to apply those same analytics to Jews? And not only did they not know how, they seemed to think it was offensive to even try. So that was really strange, and I had to kind of think, well, you know, maybe I'm wrong, you know, I think there's a process of they've attempted to sort of stabilize this consensus at such a degree. That Israel is committing genocide, that Israel is a settler colonial entity that is fundamentally evil, basically. And Israelis are fundamentally oppressors. They've created a space it's almost impossible to question them.  And it took me a long time to emerge and to come to that realization that I think anti-Zionism is really a discourse of libel, fundamentally. And these accusations, I wouldn't say, are offered in good faith. And it's unfortunately, not much use to try and refute them. And so instead, I started writing, and I started trying to analyze anti-Zionism itself as an object of critique and as an ideology that we can deconstruct. Manya Brachear Pashman:   So did this change the course of your academic research? In other words, you said you started writing, are you writing academic articles, or is it more The Times of Israel blog and your more public writings? Adam Louis-Klein:   So I've been writing publicly. I started writing on Facebook, and then the readership on Facebook started to grow, and then I sent it to the Times of Israel. And I do have some plans lined up to try and get this material out in the academic context as well. Because I think that's really important, that we build parallel academic spaces and our own language of academic legitimacy. Because I think that academic language, and as well, that kind of activist language, critique of oppression is valuable, but it's also culturally hegemonic today. And so I think that as Jews, if we abandon that language, we will have trouble telling our story. So I think there are also projects like this. I'd like to mention the London Center for the Study of contemporary antisemitism. I think that's a great model. So they're doing serious academic work on contemporary antisemitism, not just classical antiSemitism, which we're all familiar with, Neo Nazis, etc. You know, what does it look like today? You know, red triangles, Hamas headbands. This is a new language of hate that I think we need to be on top of. Manya Brachear Pashman:   In fact, you presented a paper recently, there, correct, at the London Center, or at a conference sponsored by the London Center? Adam Louis-Klein:   Yeah, I did. I presented a paper. It was called the Dissolving the Denotational Account of Antisemitism. So denotational means, what words refer to. Because what I found very often is that it's a trope that's become really familiar now. Anti-Zionists, they say, we don't hate Jews, we only hate Zionists. We don't hate Judaism, we hate Zionism. We're not antisemitic, we're critical of Israel.  So these distinctions that are made are all about saying, you can't point to us as attacking Jews, because our language is such that we are denoting we are referring to something else. So in my talk, I was trying to explain that I like look at anti-Zionism more like a symbolic anthropologist. So when an anthropologist goes and works with an indigenous culture, we look at the kinds of symbols that they use to articulate their vision of the world. The Jaguar, for example, becomes a symbol of certain kinds of potency or predation, for example. So I look at anti-Zionism in the same way. It's not important to me whether they think they're referring to Israel or Jews. What's important to me is the use of conspiratorial symbols, or a symbol of child killing, for example. So we see that classical antisemitism accused Jews of killing children. Anti-Zionism today constructs Israelis as bloodthirsty and desiring to kill children. So when we see that, we see that even if they say not Jews, Zionists, they're using similar symbols that have mutated. So I think that's what I'm trying to track, is both the mutation of classical antisemitism into anti-Zionism, and also the continuities between the two. Manya Brachear Pashman:   Did you ever experience antisemitism from your academic circles or really anywhere in life through from childhood on? Adam Louis-Klein:   Not particularly. So I went to a northeastern prep school, and we were, there were very few Jews, so I think we were sort of seen as another to the kind of traditional northeast New England aristocracy. But it wasn't something that overt, I would say. I think that antisemitism is something that occurs more so in cycles. So if you look at the 19th century, emancipation of Jews and integration of Jews into society, that was the up part of the cycle, and then the reaction to that came on the down part of the cycle. So unfortunately, I think we're in the same thing today.  So Jews have very successfully assimilated into American society and became very successful and integrated into American society. But now we're seeing the backlash. And the backlash is taking a new form, which is anti-Zionism, which allows itself to evade what classical antisemitism looks like, and what we're used to identifying as classical antisemitism. Manya Brachear Pashman:   So I do want to talk about the word indigenous or indigeneity. Jews celebrate the creation of Israel as a return to their indigenous homeland, and Palestinians also consider it their indigenous homeland. So how are their definitions of indigeneity, how are those definitions different or distinct? I mean, how are their experiences distinct from each other's and from the people and the tribes with whom you immersed yourself in the Amazon? Adam Louis-Klein:   So I think indigeneity, in its fundamental meaning, captures something very real that's common to tons of different groups across the world. Which is a certain conception of the way that one's genealogical ancestry is connected to a specific territory where one emerged as a people, and through which one's own peoplehood  is defined. So as Jews, our own peoplehood is connected to the land of Israel. It's the Promised Land, it's the place where our civilization first flourished, and it's the place we've always looked to return to. And so that is very similar to indigenous groups around the world.  Now, at the same time, I think there's another concept of indigeneity that gets thrown in and sometimes confuses the issue a little bit, and that's that being indigenous relates to a specific history of dispossession, usually by European colonialism, starting in the 16th century. Now, in fact, there have been many colonialism throughout history. So there have been Islamic civilization practiced widespread colonialism. The Romans practiced colonialism. The Babylonians. But there is a tendency to only look at this form of colonialism.  And now when we look at the Middle East, what we find then is these analytics are becoming confused and applied in strange ways. So we see that Palestinians, for example, their genealogical traditions, they understand themselves as tribally derived from tribes in Arabia that expanded with Muhammad's conquest, and that's very common. And Arabian culture and Arabic language is what they practice.  And so at that level, from a factual perspective, Palestinians are not indigenous in the genealogical sense. However, there's a tendency to believe, since Jews have a state today, then since they appear not as dispossessed, because Jews have actually repossessed our ancestral land, that Jews can't be indigenous. But so I think that's a confusion. The basic understanding of what indigenous means, and largely what the UN definition is based on, is this notion of continuous identification with the territory.  So I really think that this isn't so much a question of who can live where. I think Palestinians' right to live in the land has largely been recognized by the UN Partition Plan in 1947, or the Oslo Accords, and other peace deals, but it's a question of conceptual clarity and fact. And so at this level, I believe that the UN and other institutions should formally recognize Jews as indigenous to the land of Israel. Manya Brachear Pashman:   You have written, and I want to read this line, because it's so rich you have written that the recursive logic of an antiSemitic consensus builds upon itself, feeds on moral certainty, and shields its participants from having to ask whether what they are reproducing is not justice at all, but a new iteration of a very old lie. I. So are there other examples of that phenomenon in academia, either currently or in the past? Adam Louis-Klein:   So what I was trying to grasp with that was my sense of despair in seeing that it was impossible to even point to people, point people to fact within academia, or debate these issues, or explain to non Jews who Jews even are. So I got the sense that people are talking quite a lot about Jews, but don't seem to really care about our voices.  So some of that writing that you're quoting is an attempt to understand anti Zionism, not just not only as libel, but also as a kind of practice of exclusion, where Jews feel silenced in spaces. And where, where for all the talk of Academic Freedom versus antisemitism, which I think can sometimes be a tricky issue, I believe that Jews own academic freedom has fundamentally been violated by this discourse so that recursive logic is the way rumor and repeating slogans and repeating notions, regardless of their factual content, like the Jews or settler colonists, sort of builds on itself, as well as on social media, with this algorithmic escalation until it's almost impossible to talk back to it.  So an example would be in 2024 the American Anthropological Association had its big conference, and the Gaza genocide was the main theme. But it wasn't a theme we were all going to go and debate. It was a theme that we assumed was true, and we were going to talk about it as a thing in the world, and then the Society for cultural anthropology released an issue with the exact same premise.  It was glorifying Ismail Haniyeh of Hamas and Nasrallah of Hezbollah. And then, interestingly enough, just the other day, they released another edition, which was about settler colonialism, and saying, We want to come back to this issue and and reaffirm that settler colonialism applies to Israel and Palestine against people who are attacking the concept, and we're against the exceptionalization of Israel in their terms.  And so I searched through the document, but I couldn't find anywhere where Jews were talked about as indigenous, not even as a fact, but even as a claim. I couldn't find anywhere in this journal where Jew it was even acknowledged that Jews might believe that we are indigenous. So it's almost as if the very notion is just completely erased by consciousness within academia. Which is quite frightening. Manya Brachear Pashman:   And do you feel able to push back on that. In other words, as a fellow anthropologist, are you able to ask, why is this omitted from this paper, from this journal? Adam Louis-Klein:   No, because they will simply ignore you. So that's why I believe these parallel spaces are so important and what I see my work trying to do is to help build a Jewish intellectual discourse. And unfortunately, I think we have to start a little bit internally. So we've been somewhat ghettoized.  But if we build up that space, and construct these spaces where we have, where we can share the same premises and we don't have to argue from the bottom up every time. I think that will give us strength and also more clarity on our own understanding of what's happening. You know, both of the level of what is anti-Zionism, what is this new discourse? And at the level of, how can we speak from Jewish peoplehood as a legitimate place to even theorize from or build academic theories from. Manya Brachear Pashman:   You mentioned earlier that you held on to doubt. You kept open the possibility that Israel is in the wrong here, and you were watching for, looking for signs or evidence that your colleagues were correct. But as you've watched the horrors unfold, and wondered to yourself whether maybe Israel isn't really defending itself, why have you not concluded that that is indeed the case? Why have you reached the opposite conclusion? Adam Louis-Klein:   Yeah, so I talked earlier about using, like a critical race theory analysis, so thinking about ideologies and the kind of tropes they're using and the way they're talking about Israelis, but I think that's only one part of the picture. So what I noticed is, one, they didn't want to do that kind of analysis, but two, they also weren't interested in empirical fact. So when I would sometimes try and do that analysis like this. This sounds like antisemitic, right? They would say, oh, but it's true. Israel is doing this stuff. Israel is intentionally killing Palestinian children. Israel is going completely beyond the laws of war. This is a genocide of unique proportions. Completely irrational and exaggerated statements.  They also didn't want to engage with fact. I spent a lot of time digging up the sources of this material, given disinformation. For example, the Al-Ahli incident, where it was claimed by the Hamas health ministry that Israel had intentionally bombed the Al-Ahli hospital, killing 500 people. Al Jazeera promoted it. Western outlets also promoted it, and I had people all over my wall attacking me, saying that I'm justifying this by standing with Israel. And I saw what happened after, which was that they looked into it. The casualty count was tragic, but it was far lower than reported. It was about 50 people, and it was an Islamic Jihad rocket, so Israel was not even responsible.  So I think that any rational person who sees what happened in that incident becomes skeptical of everything else they're being told and of the information circuits. And so when I also saw that the people who were talking about the Gaza genocide, weren't seemed completely unfazed by that. That made me have to rethink also what they were doing, because if they're unfazed by something like that, that suggests this isn't a truth that they're being forced to acknowledge, it sounds a bit more like a truth that has its own sort of incentive to believe in despite fact, rather than being pushed towards it because of fact. Manya Brachear Pashman:   So I'm curious, if you went back to the people that you had been immersed with and had been studying for the matter of months before October 7, did you go back to them and tell them what had happened, or did they somehow know what had happened? And I'm just curious if there was any kind of response from them? Adam Louis-Klein:   Interesting. Yeah, I speak with them regularly, on a regular basis. They don't know exactly what's happened. I think they see sometimes news, but it's largely their understanding, is that there's a lot of wars in the Western world. And they ask why? Why is there so much war? Why is there so much suffering?  I mean, they were particularly interested in in the Ukraine war, because they couldn't wrap their head around why Putin was doing this, which I think is pretty similar to a lot of people, but they do see, some of them see Israel as kind of, you know, a figure of strength, and compare Israel almost to their own notions of ancestral, sort of potency or power. So they have a very different understanding of the relationship between, let's say, power and victimhood. They don't necessarily fetishize being powerless. Manya Brachear Pashman:   Tell me a little bit about this tribe, these people that you spent time with.  Adam Louis-Klein: So the Desano there, they're one of a number of many ethnicities who inhabit the Northwest Amazonian region in northwest Brazil and southeast Columbia. They live in an extremely complex world in which there are over 25 languages in the region. And they have a very unique form of marriage, where you have to marry someone who speaks a different language than you. And so any community has a kind of nucleus of people who speak the same language, and they're from the same tribe. But the women in the community all speak different languages and come from different tribes.  So I think it's a kind of space where you have to think across difference. You're constantly confronted with people who are other than you, who are from different tribes and different communities, as well as the relationship between the Western world and the indigenous world itself. And I think that's really part of the promise of anthropology, like coming back to what I was saying earlier about a diasporic Jewish sensibility, I think it's also just a Jewish sensibility. Part of being a distinct people is that we need to think with other people, and I think that includes Muslims and Arabs and Christians as well. Manya Brachear Pashman:   That is such an enlightened approach that they have taken to marriage. Isn't that what marriage is all about, crossing those differences and figuring out and they just do it from the very beginning. And I'm also curious, though, are they also mixing with Western cultures. In other words, have they broadened that, or do they keep it within those villages? Adam Louis-Klein:   Yeah, so they've taken on a lot of features of the surrounding, Colombian Spanish language culture, and that is the struggle today. Because there's a lot of economic pressures to move to the towns and the cities in order to get work and employment. And that can pose problems to the reproduction of the traditional village community.  And so that's part of what we've been struggling with and part of the project with them. So we're currently translating an old book about anthropology, about them into their language, so they have the Bible, which was translated into the language by missionaries. And now we also want to translate their own cultural material into their language so that can help them preserve the language and preserve their own cultural knowledge. Manya Brachear Pashman:   So what's next for you, Adam? Adam Louis-Klein:   So I'm hoping to continue writing and to continue getting out this work. I'm hoping to also work with grassroots organizers to try to put some activist meat onto this opposition to anti-Zionism. So I believe that, as I was talking about parallel academic spaces are really important, I also think it's important to be able to speak back to anti-Zionism with activist language. Not only the academic side, but the activist side. So I'm working with the group now, a decentralized group, developing infographics, memes, things that can circulate to educate people about anti-Zionism as the new form of antisemitism today. Manya Brachear Pashman:   Thank you for taking on this work and for sharing your story. Adam Louis-Klein:   Thank you so much. It was a pleasure.  

durée : 00:53:17 - Le temps d'un bivouac - par : Daniel FIEVET - Retour sur les voyages du célèbre anthropologue, qui ont façonné sa vision de l'humanité et donné naissance au structuralisme. Du Brésil à New York, sa biographe, l'historienne Emmanuelle Loyer, retrace les expéditions qui ont marqué sa vie. - invités : Emmanuelle LOYER - Emmanuelle Loyer : Historienne, professeure à Sciences Po Paris, spécialiste de l'histoire culturelle des sociétés contemporaines - réalisé par : Anne-Sophie LADONNE Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:08:19 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - (1ère diffusion : 01/01/1951 France III Nationale) Par Jean Amrouche - Avec Paul Claudel (dramaturge, poète et diplomate, membre de l'Académie français) - réalisation : Virginie Mourthé

Près de 40 ans après la mise en scène d'Antoine Vitez, la pièce fleuve de Paul Claudel est adaptée par Eric Ruf et retrouve la Cour d'honneur du Palais des Papes.  En 1929, l'auteur Paul Claudel publie Le soulier de Satin, un drame d'amour qui se déroule au temps des Conquistadors, entre la fin du XVIè siècle et le début du XVIIè siècle. Construite en «quatre journées», l'auteur narre une histoire d'amour passionnelle, mais impossible, entre Rodrigue et Doña Prouhèze, épouse du gouverneur Don Pélage.  L'origine du Soulier de Satin est biographique. Paul Claudel s'est inspiré de sa propre histoire. Il a été éperdument amoureux d'une femme mariée, Rosalie Vetch dont il a été séparé, mais avec qui il a eu un enfant adultérin. Cet amour, qui aura duré quatre ans, lui a inspiré le personnage de Ysé dans la pièce : Partage de Midi, puis celui de Dona Prouheze.  Dans les années 20, il retrouve cette femme. Il apprend alors qu'il a un enfant. Il a voulu rendre cette histoire, mythique.  Paul Claudel s'est inspiré d'une légende chinoise : celles de ces deux étoiles qui ne se rejoignent jamais, mais qui se croisent dans le ciel. En raison de sa longueur, six, sept, huit heures, voire plus ! — la pièce est rarement jouée.   Elle a été créée pour la première fois à la Comédie Française en 1943 par Jean-Louis Barrault dans un Paris occupé. Puis s'ensuit la version d'Antoine Vitez au Festival d'Avignon en 1987 dans la Cour d'honneur du Palais des Papes. Pour cette adaptation, Antoine Vitez prend le parti de couper tout ce qui, dans le texte, était empreint de religion.  Olivier Py a également mis en scène la pièce en 2003 au Théâtre de la Ville.  Dans cette nouvelle mise en scène d'Eric Ruf, administrateur de la Comédie-française jusqu'au 4 août 2025, le spectacle retrouve la Cour d'honneur du Palais des Papes.  Invités : Didier Sandre, comédien et metteur en scène français. Il interprétait le personnage de Rodrigue dans la mise en scène d'Antoine Vitez. Dans cette nouvelle adaptation, il joue le rôle de Don Pelage.  J'ai essayé d'accueillir cette présentation du Soulier pour ce qu'elle est aujourd'hui. Mais en entendant certaines répliques, j'ai des bouffées de temps retrouvé. Didier Sandre  Sefa Yeboah, comédien français. C'est l'une des dernières recrues de la Comédie Française qu'il a rejoint en 2023. Il y est dirigé par Thomas Ostermeier dans L'opéra de quat'sous de Brecht et Weill. Il a interprété Don Apostolo Gazella dans Lucrèce Borgia de Victor Hugo par Denis Podalydès qui lui confie également le rôle de Léandre dans Les Fourberies de Scapin de Molière. Il joue le rôle de l'ange gardien de Doña Prouhèze dans Le Soulier de Satin.  Il y a quelque chose d'accessible presque. Claudel a cette langue qui est magnifique, mais qui peut être très complexe. Eric Ruf a voulu la simplifier, pas la rendre banale, car ce n'est pas possible, mais la rendre audible, la rendre vivante. Sefa Yeboah   Avec aussi le témoignage d'un couple qui a assisté à la mise en scène d'Antoine Vitez, en 1987. Propos recueillis par Fanny Imbert. Le Soulier de Satin à voir dans la Cour d'honneur du Palais des papes jusqu'au 22 juillet 2025. Quelques mots sur Paul Claudel :  Né en 1868, Paul Claudel est un écrivain, dramaturge et diplomate français. Il est le frère de la sculptrice Camille Claudel. Il se convertit eau catholicisme en 1886 et toute son œuvre sera profondément marquée par sa foi. Passé une velléité d'entrer dans les ordres, il entre dans la carrière diplomatique en 1893. Il rencontre Rosalie Vetch avec qui il aura une fille illégitime, Louise. Il entre à l'Académie française en 1946. Paul Claudel est décédé en 1955.  Programmation musicale :  Le groupe occitan Raffut avec le titre «Tout est fragile».

Près de 40 ans après la mise en scène d'Antoine Vitez, la pièce fleuve de Paul Claudel est adaptée par Eric Ruf et retrouve la Cour d'honneur du Palais des Papes.  En 1929, l'auteur Paul Claudel publie Le soulier de Satin, un drame d'amour qui se déroule au temps des Conquistadors, entre la fin du XVIè siècle et le début du XVIIè siècle. Construite en «quatre journées», l'auteur narre une histoire d'amour passionnelle, mais impossible, entre Rodrigue et Doña Prouhèze, épouse du gouverneur Don Pélage.  L'origine du Soulier de Satin est biographique. Paul Claudel s'est inspiré de sa propre histoire. Il a été éperdument amoureux d'une femme mariée, Rosalie Vetch dont il a été séparé, mais avec qui il a eu un enfant adultérin. Cet amour, qui aura duré quatre ans, lui a inspiré le personnage de Ysé dans la pièce : Partage de Midi, puis celui de Dona Prouheze.  Dans les années 20, il retrouve cette femme. Il apprend alors qu'il a un enfant. Il a voulu rendre cette histoire, mythique.  Paul Claudel s'est inspiré d'une légende chinoise : celles de ces deux étoiles qui ne se rejoignent jamais, mais qui se croisent dans le ciel. En raison de sa longueur, six, sept, huit heures, voire plus ! — la pièce est rarement jouée.   Elle a été créée pour la première fois à la Comédie Française en 1943 par Jean-Louis Barrault dans un Paris occupé. Puis s'ensuit la version d'Antoine Vitez au Festival d'Avignon en 1987 dans la Cour d'honneur du Palais des Papes. Pour cette adaptation, Antoine Vitez prend le parti de couper tout ce qui, dans le texte, était empreint de religion.  Olivier Py a également mis en scène la pièce en 2003 au Théâtre de la Ville.  Dans cette nouvelle mise en scène d'Eric Ruf, administrateur de la Comédie-française jusqu'au 4 août 2025, le spectacle retrouve la Cour d'honneur du Palais des Papes.  Invités : Didier Sandre, comédien et metteur en scène français. Il interprétait le personnage de Rodrigue dans la mise en scène d'Antoine Vitez. Dans cette nouvelle adaptation, il joue le rôle de Don Pelage.  J'ai essayé d'accueillir cette présentation du Soulier pour ce qu'elle est aujourd'hui. Mais en entendant certaines répliques, j'ai des bouffées de temps retrouvé. Didier Sandre  Sefa Yeboah, comédien français. C'est l'une des dernières recrues de la Comédie Française qu'il a rejoint en 2023. Il y est dirigé par Thomas Ostermeier dans L'opéra de quat'sous de Brecht et Weill. Il a interprété Don Apostolo Gazella dans Lucrèce Borgia de Victor Hugo par Denis Podalydès qui lui confie également le rôle de Léandre dans Les Fourberies de Scapin de Molière. Il joue le rôle de l'ange gardien de Doña Prouhèze dans Le Soulier de Satin.  Il y a quelque chose d'accessible presque. Claudel a cette langue qui est magnifique, mais qui peut être très complexe. Eric Ruf a voulu la simplifier, pas la rendre banale, car ce n'est pas possible, mais la rendre audible, la rendre vivante. Sefa Yeboah   Avec aussi le témoignage d'un couple qui a assisté à la mise en scène d'Antoine Vitez, en 1987. Propos recueillis par Fanny Imbert. Le Soulier de Satin à voir dans la Cour d'honneur du Palais des papes jusqu'au 22 juillet 2025. Quelques mots sur Paul Claudel :  Né en 1868, Paul Claudel est un écrivain, dramaturge et diplomate français. Il est le frère de la sculptrice Camille Claudel. Il se convertit eau catholicisme en 1886 et toute son œuvre sera profondément marquée par sa foi. Passé une velléité d'entrer dans les ordres, il entre dans la carrière diplomatique en 1893. Il rencontre Rosalie Vetch avec qui il aura une fille illégitime, Louise. Il entre à l'Académie française en 1946. Paul Claudel est décédé en 1955.  Programmation musicale :  Le groupe occitan Raffut avec le titre «Tout est fragile».

durée : 00:44:42 - Les Nuits de France Culture - par : Antoine Dhulster - Claude Lévi-Strauss, Jean Malaurie, Georges Balandier et Robert Jaulin sont les invités du quatrième volet d'une série sur la naissance des civilisations. Ils sont les acteurs d'une ethnologie moderne et nous apportent leur éclairage sur la vie des sociétés primitives qu'ils ont appris à observer. - réalisation : Antoine Larcher - invités : Claude Lévi-Strauss Anthropologue et ethnologue français; Jean Malaurie Géographe spécialisé en géomorphologie, fondateur de la collection "Terre humaine"; Georges Balandier sociologue et ethnologue, spécialiste de l'Afrique

durée : 00:58:39 - Le Souffle de la pensée - par : Géraldine Mosna-Savoye - C'est en lisant "Tristes Tropiques" de Claude Lévi-Strauss à l'âge de 17 ans que Philippe Descola a compris que sa vocation était l'anthropologie. Comment ce récit d'expéditions ethnographiques au cœur du Brésil a-t-il changé sa vie et déterminé sa méthode de travail ? - réalisation : Nicolas Berger - invités : Philippe Descola Anthropologue français, professeur émérite au Collège de France

Ecrit d'un jet en quatre nuits fiévreuses, Philippe Claudel signe un texte incisif, rapide et hilarant, une satire burlesque qui procure un bien fou dans laquelle Musk et Trump transgressent toutes les règles au nom du libertarisme. Génial! Par Philippe Congiusti. Retrouvez lʹintégralité de cet entretien dans le podcast de QWERTZ, la newsletter livres de la RTS, distribuée tous les vendredis dans votre boîte mail, sur abonnement gratuit.

Partage de rétablissement de notre invitée de cette semaine Claude L.

Lecture par Chloé RéjonLe cycle « À voix haute » donne vie à des textes dont les manuscrits sont conservés à la BnF et exposés pour l'occasion.En 1955 paraissait Tristes tropiques de Claude Lévi-Strauss, deuxième opus de la collection « Terre humaine » : cet ouvrage inclassable, au carrefour du livre de voyage, de l'autobiographie intellectuelle, de l'écrit philosophique et ethnographique conféra à son auteur notoriété et considération dans sa discipline, tout en le révélant comme un grand écrivain.Lecture par Chloé Réjon, enregistrée le 12 mai 2025 à la BnF I Richelieu. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Partage de rétablissement de notre invitée de cette semaine Claude L.

durée : 01:56:37 - Fictions / Théâtre et Cie - Quatrième journée

durée : 01:56:37 - Fictions / Théâtre et Cie - Quatrième journée

durée : 01:00:06 - Monique Lévi-Strauss, écrivaine - par : Priscille Lafitte - Susciter les souvenirs de Monique Lévi-Strauss, c'est ouvrir un siècle d'Histoire et des décennies aux côtés de l'anthropologue Claude Lévi-Strauss : des journées à relire ses écrits, notamment "Tristes tropiques" et "Les Mythologiques", des soirées à écouter France Musique ou à aller au concert. - réalisé par : Claire Lagarde Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Brandon, James, Britnee, and Hanna discuss a grab bag of biopics about famous visual artists, starting with 1988's Camille Claudel, in which Isabelle Adjani plays the titular sculptor https://swampflix.com/ 00:00 Welcome 03:07 Linda (2025) 05:09 The Black Sea (2025) 08:58 Sinners (2025) 14:08 Popeye the Slayer Man (2025) 18:45 Dreamchild (1985) 22:27 The Story of Adele H (1975) 25:32 Camille Claudel (1988) 52:57 Pirosmani (1969) 1:03:28 Basquiat (1996) 1:18:48 Frida (2002)

L'émission 28 minutes du 24/06/2025  À bientôt 100 ans, elle raconte sa vie trépidante avec Claude Lévi-StraussMonique Lévi-Strauss est écrivaine, sociologue de la culture et a partagé une partie de sa vie avec le célèbre anthropologue et ethnologue Claude Lévi-Strauss. À 99 ans, elle publie "J'ai choisi la vie" (aux éditions Plon), une autobiographie construite autour d'entretiens avec l'académicien Marc Lambron. Elle y revient sur son parcours, pour le moins atypique. Née en 1926 à Paris, elle déménage avec sa famille en Allemagne en 1939, alors que sa mère est juive et que les nazis sont au pouvoir.  Malgré des années difficiles et le passage par la prison de son père, la famille assiste à la fin de la guerre en 1945. Elle retourne alors à Paris, où elle va rencontrer Claude Lévi-Strauss en 1949 à l'occasion d'un dîner chez le psychanalyste Jacques Lacan. Monique et Claude se marient 5 ans plus tard et passeront les 60 années à arpenter le monde et ses cultures. Cette autobiographie est aussi le témoignage du siècle traversé par Monique Lévi-Strauss. Benjamin Netanyahu est-il en train de redessiner la carte du Moyen-Orient ?Benyamin Netanyahu n'a jamais caché sa volonté de modeler un "nouveau Moyen-Orient".Il reprend ainsi à son compte l'impérialisme et la rhétorique des faucons de l'administration Bush, architectes de l'invasion de l'Irak en 2003.  Depuis le 7 octobre 2023, Israël mène la guerre au Liban, en Syrie et récemment en Iran, le tout sur fond de colonisation en Cisjordanie et de massacres quotidiens dans la bande de Gaza. Fort du soutien américain, Benyamin Netanyahu semble imperturbable sur la scène régionale. Est-il en train de remodeler le Moyen-Orient ? On en débat avec Aziza Nait Sibaha, rédactrice en chef à France 24, spécialiste de politique internationale, David Khalfa, co-directeur de l'Observatoire du Moyen-Orient de la Fondation Jean-Jaurès et Vincent Lemire, historien, ex-directeur du Centre de recherche français à Jérusalem.Enfin, Xavier Mauduit prend le chemin de l'école pour nous raconter la genèse de la pratique sportive à l'école. Marie Bonnisseau nous parle d'un site de rencontre qui met en relation les futurs amoureux en fonction de leur historique de navigation.28 minutes est le magazine d'actualité d'ARTE, présenté par Élisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio. Enregistrement 24 juin 2025 Présentation Élisabeth Quin Production KM, ARTE Radio

durée : 01:57:02 - Fictions / Théâtre et Cie - Deuxième et troisième journée

durée : 01:57:02 - Fictions / Théâtre et Cie - Deuxième et troisième journée

On this episode of Turning Points, Patricia Killeen welcomed Úna Ní Cheallaigh, an award-winning poet. Úna hails from Dublin, Ireland. Educated at St Patrick's College (DCU), University College and Trinity College Dublin, she had a varied career in teaching, including Special Education, Home School Community Liaison and Drama in Education. Úna also holds an M.Phil in Theatre Studies from the University of Glasgow and a Master's in Creative Writing from University College Cork.  She has been involved in drama and writers' groups and is currently a member of Poetry Circle at the Irish Writers Centre. She has enjoyed many opportunities to travel, and time to write in Ferrazze, Italy, was organised by the Irish Writers Centre. Úna describes her writing journey and presents her collection of poetry entitled ‘The Colour of Time', described by poet James Harpur as an ‘elegy touched with beauty'.  She spent a month at the Centre Culturel Irlandais in Paris in 2018, and revisiting the Camille Claudel salon in the Rodin Museum would lead her to pen a sequence at the very heart of ‘The Colour of Time', giving voice to the sculptor, Camille Claudel. Many of us know that Claudel was committed to an asylum (in 1913) after destroying some of her artworks. Claudel died in 1943, after spending 30 years in the Montedevergues insane asylum and the 'Mémoire de Montedevergues' sequence in ‘The Colour of Time' gives the incarcerated Camille Claudel a soul-touching, poetic, and finally, unforgettable voice. ‘The Colour of Time', by Úna Ní Cheallaigh, published by Arlen House https://thesalmonbookshop.com/products/the-colour-of-time-poems-by-una-ni-cheallaigh Musée Rodin: https://www.musee-rodin.fr/en Musée Camille Claudel : https://www.museecamilleclaudel.fr/ 

durée : 00:09:28 - L'invité de 7h50 - par : Sonia Devillers - Monique Lévi-Strauss, historienne et veuve de l'anthropologue Claude Lévi-Strauss, était l'invitée de Sonia Devillers ce mardi. Elle publie, à 99 ans, "J'ai choisi la vie" (Plon). - invités : Monique Levi-Strauss - Monique Lévi-Strauss : Historienne et anthropologue française

durée : 00:09:28 - L'invité de 7h50 - par : Sonia Devillers - Monique Lévi-Strauss, historienne et veuve de l'anthropologue Claude Lévi-Strauss, était l'invitée de Sonia Devillers ce mardi. Elle publie, à 99 ans, "J'ai choisi la vie" (Plon). - invités : Monique Levi-Strauss - Monique Lévi-Strauss : Historienne et anthropologue française Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:57:33 - Fictions / Théâtre et Cie - Première et deuxième journée

durée : 01:57:33 - Fictions / Théâtre et Cie - Première et deuxième journée

Stella Sulak, directrice du Perth French Theatre nous parle du prochain spectacle " Je suis Camille Claudel ". Les représentations au Camelot Theatre, Mosman Park à Perth du 19 au 22 juin.

durée : 00:28:45 - Les Midis de Culture - par : Marie Labory - Et si les États-Unis étaient de retour au temps sans foi ni loi du Far West ? Dans son nouveau roman, Philippe Claudel imagine une politique-fiction où un multimilliardaire met à prix la tête d'un dictateur. Toute ressemblance avec des personnages réels est purement préméditée. - réalisation : Laurence Malonda - invités : Philippe Claudel Écrivain, scénariste et réalisateur français

Meilleurs moments, nouvelles rencontres, objectifs pour la saison prochaine... Dans ce nouveau podcast inédit, les "Grosses Têtes" font le bilan de cette saison au micro de Sara Kemacha ! Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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.

Deseyve, Yvette www.deutschlandfunkkultur.de, Fazit

durée : 00:02:19 - L'Humeur du matin par Guillaume Erner - par : Guillaume Erner - Les chefs-d'œuvre surgissent souvent lorsque les intellectuels s'affranchissent des normes et écrivent en toute indépendance. - réalisation : Félicie Faugère

durée : 00:37:54 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner, Isabelle de Gaulmyn - Dans un livre d'entretiens intitulé "J'ai choisi la vie" (Plon), Monique Lévi-Strauss revient sur sa vie et le couple d'intellectuels qu'elle a formé avec Claude Lévi-Strauss. - réalisation : Félicie Faugère - invités : Monique Lévi-Strauss Historienne et anthropologue française

Le président de l'Académie Goncourt sort un livre sur Donald Trump, Elon Musk et Vladimir Poutine... Ecoutez Laissez-vous tenter - Première avec Antoine Leiris du 23 mai 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

À l'occasion des 10 ans de Laurent Ruquier aux commandes des "Grosses Têtes", RTL vous propose chaque jour de revivre en podcasts les meilleures séquences de l'émission ! Aujourd'hui, découvrez un extrait du 4 septembre 2023 ! Retrouvez tous les jours le meilleur des Grosses Têtes en podcast sur RTL.fr et l'application RTL.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Quand la réalité dépasse de loin la fiction, que peut encore le roman ? Depuis le début du second mandat de Donald Trump, chaque semaine apporte au monde des nouvelles sidérantes. Les déclarations et les attitudes du Président, de son Vice-Président, d'Elon Musk, l'homme le plus riche du monde, bouleversent les équilibres internationaux, les alliances traditionnelles, les usages de la diplomatie, et plongent une grande partie de l'humanité dans une profonde angoisse. Wanted propose au lecteur une fable burlesque, une dystopie grinçante qui montre les fous devenir plus fous encore et le réel s'en accommoder. Merci pour votre écoute N'hésistez pas à vous abonner également aux podcasts des séquences phares de Matin Première: L'Invité Politique : https://audmns.com/LNCogwPL'édito politique « Les Coulisses du Pouvoir » : https://audmns.com/vXWPcqxL'humour de Matin Première : https://audmns.com/tbdbwoQRetrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Retrouvez également notre offre info ci-dessous : Le Monde en Direct : https://audmns.com/TkxEWMELes Clés : https://audmns.com/DvbCVrHLe Tournant : https://audmns.com/moqIRoC5 Minutes pour Comprendre : https://audmns.com/dHiHssrEt 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. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

En 1938, Claude Lévi-Strauss, jeune ethnologue, séjourne pour la seconde fois chez des Nambikwara, en Amazonie. De ses observations naîtra vingt ans plus tard un chef-d'œuvre : Tristes Tropiques. 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.

Roberto Rossi Precerutti"Il bestiario o corteggio d'Orfeo"Guillame ApollinaireNeos Edizioniwww.neosedizioni.it“Il bestiario o corteggio d'Orfeo” di Guillaume ApollinaireCura e traduzione di Roberto Rossi Precerutti Tavole di Giorgio Enrico BenaDivertito e divertente atlante zoologico compilato come elegante divertissement intellettuale, la raccolta coniuga sapienti suggestioni classiche al meraviglioso di ascendenza medievale attraverso un linguaggio in cui la raffinatezza della cultura antica si coniuga alla moderna visione del reale propria delle avanguardie artistiche del primo Novecento.Roberto Rossi Precerutti nasce l'8 giugno 1953 a Torino, dove vive, da famiglia lombardo-piemontese di antica origine, al cui ramo fiorentino appartenne Ernesto Rossi, insigne figura di antifascista, politico ed economista. Presso l'editore Crocetti, per il quale ha curato Le più belle poesie di Stéphane Mallarmé (1994) e Le più belle poesie di Arthur Rimbaud (1995), è stata pubblicata la raccolta,  Una meccanica celeste (2000). Sulla rivista “Poesia” sono apparse sue traduzioni da Arnaut Daniel e altri trovatori, Gide, Desnos, Góngora, Yourcenar, Sully-Prudhomme, Claudel, Louÿs, La Tour du Pin, Mallarmé, Cros, Radiguet, Béquer, Péguy. Suoi inediti sono stati ospitati, tra l'altro, su “Nuovi Argomenti” e “Poesia”. Tra i suoi ultimi libri: Rimarrà El Greco,Crocetti 2015; Vinse molta bellezza , Neos Edizioni 2015; Domenica delle fiamme, Aragno 2016; Fatti di Caravaggio, Aragno 2016; Un sogno di Borromini, puntoacapo 2018; Un impavido sonno, Aragno 2019.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 00:33:28 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - En 1956, Claude Lévi-Strauss, Michel Leiris et Jean Guéhenno débattent autour de l'ouvrage "Tristes Tropiques" paru l'année précédente. L'émission revient sur ce tournant humaniste et réflexif de l'ethnographie, quand la science devient aussi récit, conscience et regard critique sur l'Occident. - réalisation : Massimo Bellini, Vincent Abouchar - invités : Jean Guéhenno Écrivain et critique littéraire français; Michel Leiris; Claude Lévi-Strauss Anthropologue et ethnologue français

durée : 01:03:18 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Dans les années 50 et 60, sociologie et anthropologie se renouvellent à la lumière de la décolonisation. Une émission de 1963 interroge la famille comme construction sociale, entre sociétés dites "exotiques" et réalités rurales françaises, avec notamment Claude Lévi-Strauss et Pierre Bourdieu. - réalisation : Massimo Bellini, Vincent Abouchar - invités : Claude Lévi-Strauss Anthropologue et ethnologue français; Pierre Bourdieu Sociologue, professeur au Collège de France (1930-2002); Michel Izard

durée : 00:21:54 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Ce débat du 17 mars 1952, animé par Raymond Thévenin, explore la question du métissage, notamment au Brésil, en interrogeant la possibilité et la désirabilité d'une "fusion des races". Une réflexion d'époque, teintée d'idéalisme. - réalisation : Massimo Bellini, Vincent Abouchar - invités : Roger Bastide; Claude Lévi-Strauss Anthropologue et ethnologue français; Alfred Métraux; Michel Leiris

durée : 00:04:21 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Entretiens, débats, documentaires avec Claude Lévi-Strauss, Georges Balandier, et bien d'autres... Cette nuit d'archive revient sur la décennie qui transforma les sciences humaines et fonda l'anthropologie moderne à la lumière des enseignements de la Seconde guerre mondiale et de la décolonisation. - réalisation : Massimo Bellini, Vincent Abouchar

durée : 00:59:22 - Les Nuits de France Culture - par : Philippe Garbit - Georges Henri Rivière a révolutionné la muséologie en alliant rigueur scientifique et sens artistique. Organisateur du musée de l'Homme à sa création et fondateur du Musée des Arts et Traditions Populaires, il a œuvré pour préserver les cultures populaires et combattre les préjugés. - réalisation : Virginie Mourthé - invités : Jean Cuisenier; Yvonne Oddon Bibliothécaire, résistante française du réseau du Musée de l'Homme (1902-1982); Germaine Tillion Ethnologue et résistante; Jean Jamin Anthropologue; Claude Lévi-Strauss Anthropologue et ethnologue français; Gilbert Rouget; Georges-Henri Rivière

L'écrivain Philippe Claudel vous raconte la naissance du célèbre monstre Frankenstein, dont tout le monde a une certaine image en tête ! Saviez-vous que tout commence avec une éruption volcanique en Indonésie, il y a plus de 200 ans ? Chaque semaine, retrouvez les meilleurs moments de l'émission "Ça va faire des histoires" diffusée l'été 2024 sur RTL. Jean-Michel Zecca avait réuni les meilleurs experts de RTL pour un grand concours d'anecdotes. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 01:49:40 - Comme un samedi - par : Arnaud Laporte - Philippe Claudel n'est pas le nouveau président de l'Académie Goncourt pour rien : c'est un curieux invétéré qui navigue entre tous les arts. Pour cette carte blanche, il les convie tous à sa table, et nous fait l'honneur de lire un texte inédit dans lequel il retrouve le goût de ses 20 ans. - réalisation : Alexandre Fougeron - invités : Philippe Claudel Écrivain, scénariste et réalisateur français; Bertrand Belin Chanteur, guitariste, auteur, compositeur, écrivain; Marie-Ange Luciani Productrice de cinéma; Laure Vasconi Photographe; Guy Cassiers Metteur en scène de théâtre

In this episode, Gaby and Andreina learn more about the French artist Camille Claudel (1864-1943) by watching two films portraying different times in her life: Camille Claudel (1988) and Camille Claudel 1915 (2013). Claudel became one of the most acclaimed sculptors of her time through prodigious ability and drive. However, in popular imagination, she is most often remembered as August Rodin's lover, a secondary character in the history of one of France's greatest artists.Gaby and Andreina discuss how Camille Claudel is portrayed in both films and how the artistic dimension of her life is represented: Do these two films succeed in portraying Claudel in all her dimensions, including as a woman and an artist? Listen to this special episode, the third in our series dedicated to artists and their art in film. Links and sources: Abstract of the article “Camille Claudel: trajectory of a psychosis” The Art Institute of Chicago: Member Lecture: Camille ClaudelCamille Claudel through Five WorksCamille Claudel, Bust of RodinAugust Rodin, Thought (Camille Claudel)

In this episode, Andreina and Gabriela learn more about the French sculptor Camille Claudel (1864-1943), through two films: Camille Claudel (1988) and Camille Claudel 1915 (2013).An artistic prodigy from a very young age, Claudel gained recognition and acclaim as an artist during her lifetime. However, in the popular imagination, she is most often remembered as Auguste Rodin's lover.Andreina and Gabriela discuss how Camille Claudel is portrayed in the two movies and how her dimension as a female artist and woman in a male-dominated art practice is conveyed: do the films give us a good sense of who she was as an artist?Join us in this third episode of our series of discussions about artists and their art in film.Links and sources:Abstract of article “Camille Claudel: trajectory of a psychosis”The Art Institute of Chicago: Member Lecture: Camille ClaudelCamille Claudel through Five WorksCamille Claudel, Bust of RodinAugust Rodin, Thought (Camille Claudel)

Dans cet épisode, vous avez écouté : Isabelle Lecomte, Proviseure du lycée Camille Claudel à RemiremontNathalie Valentin, Responsable Bureau Des Entreprises du lycée Camille Claudel à RemiremontLionel Hemmer, Pofesseur d'art appliqués au lycée Camille Claudel à RemiremontAnthony Corthier, apprenti en sculpture sur pierre au Lycée Camille Claudel Lisa Heinimann, apprentie en sculpture sur pierre au Lycée Camille Claudel Robin Petitnicolas, apprenti taille/sculpture au Lycée Camille Claudel Pierre, apprenti taille/sculpture au Lycée Camille Claudel Lilou, apprentie en sculpture sur pierre au Lycée Camille Claudel  

durée : 01:30:02 - Les Nuits de France Culture - par : Philippe Garbit - - réalisation : Mydia Portis-Guérin

durée : 00:07:19 - "Le soulier de Satin" de Paul Claudel, par Eric Ruf

Virginie Girod raconte la descente aux enfers de Camille Claudel (1864-1943), l'une des artistes les plus importantes du XIXe siècle. Dans le second épisode de ce double récit inédit d'Au cœur de l'Histoire, Camille Claudel sculpte le marbre, le grès et le bronze et s'impose comme une statuaire de génie, présentant ses œuvre au Salon, la manifestation artistique de référence. Elle poursuit une liaison passionnée avec Auguste Rodin, qui lui promet monts et merveilles. Isolée, Camille Claudel sombre progressivement dans la folie. En 1913, elle est arrachée à son atelier parisien du quai Bourbon pour être internée. Elle passera à l'asile les trente dernières années de sa vie.

Virginie Girod raconte le parcours de Camille Claudel (1864-1943), l'une des artistes les plus importantes du XIXe siècle. Dans le premier épisode de ce double récit inédit d'Au cœur de l'Histoire, Camille Claudel naît dans la seconde partie du XIXe siècle, au sein d'une famille bourgeoise implantée dans l'Aisne. Découvrant sa vocation pour la sculpture aux côtés de l'artiste Alfred Boucher, elle montre l'étendue de son talent et rencontre bientôt Auguste Rodin, dont elle devient l'élève. Entre les deux artistes, c'est aussi le début d'une passion dévorante. Leur art se mêle au gré de leur passion, si bien qu'il est parfois difficile, aujourd'hui, de démêler leur travail.

C'est l'une des artistes féminines les plus importantes du XIXe siècle. Son héritage est de marbre, de grès et de bronze. Élève d'Auguste Rodin, Camille Claudel a dépassé le maître, réalisant des sculptures dont la poésie nous touche aujourd'hui encore. Mais l'artiste fut aussi une femme fragile, abimée… La semaine prochaine, dans Au cœur de l'Histoire, découvrez un double récit inédit consacré au destin tragique de Camille Claudel, artiste passionnée ayant fini sa vie dans la solitude d'un asile.