Podcasts about Comte

durée : 00:30:08 - Une histoire de... - À Fontenay-le-Comte, en 1644, deux femmes pauvres sont accusées de sorcellerie. Dans ce deuxième épisode, l'historien Gérard Noiriel retrace le procès de Marie Perraudeau et de sa fille Françoise, et raconte leur improbable salut grâce à un recours en appel au Parlement de Paris. - invités : Gérard Noiriel Historien, directeur d'études à l'EHESS, spécialiste de l'immigration et de l'histoire de la classe ouvrière.

My Lord Husband's Ring by Darlene Porter Darleneporter.com Amazon.com Quite near the center of south-central of Medieval France, in the Year of Our Lord, 1535, Lady Marie Therese Caron stepped off a heavy traveling carriage in the courtyard of Aufey Castle. Youthful, gracious Marquis Robert Moreau, one of the four noblemen vassals to the Duc de Languedoc, greeted her upon arrival. His family had been tasked with administering the northernmost territory of the duchy for generations. Death is seldom planned. And Lady Marie had been orphaned at the loss of her father, le Comte' (or baron), himself a vassal of the marquis. Since she had no brothers, her cousin assumed the baronry, essentially pushing her out. As it was but weeks prior to the marriage to Lord Robert's second son, Lord Dominique, the teenage girl had been invited to Aufey prior to the event. In this moving novel, we watch the couple, against the customs of the time, fall in love. The status of wife of the second son fit just fine with the quiet girl's nature. For Lord Dominque, his role as the anticipated future seneschal of the marquisette made him the man out of the spotlight but vital to its function. He and his bride were ready to play support roles to the larger personalities that were next in line of succession. Out of the dark of night came a force of attackers. In a traitorous act the Captain-of-the-Guard had deployed far too many of the vassal knights and garrisoned soldiers away from Aufey. It gave a fatal advantage to the invaders. The Moreau dynasty fell that night. Lady Marie managed to survive the bloodbath, flee the castle and surrounding area. She found herself taken in by a generous-hearted couple, Lady Marie became simple "Marie". She found herself doing naught but marking time. Then a rumor came to town¿ One of the Moreau lords survived the attack¿ About the author Darlene Porter's education at the University of Wisconsin, Milwaukee, resulted in the degree of Bachelor's of Science, Nursing, and a minor in history. The author spent 33 years working as an RN. She currently lives in Southern California with her husband and extended family in a multi-generational home. She places exceptionally relatable characters in authentic settings with interesting situations. This is her third title published since 2017. Her other titles are available on Amazon.

Alexandre Dumas, le père des Trois Mousquetaires, du Comte de Monte-Christo et de la Reine Margot.

Despite being in the middle of the 2024 Bordeaux campaign, we're keeping people of their toes with our Burgundy releases and, therefore, another episode of our Burgundy Unpicked podcast! Today, Joe, Guy, Will and Aaran discuss Domaine Comte Georges de Vogüé. Comte de Vogüé is the largest holder of the Musigny vineyard by some distance, owning 7.12 hectares of the total 10.85. Established in 1450, the current owners are Comtesse Claire de Causans and Marie de Ladoucette. Commercial Director Jean-Luc Pépin has been at the domaine since 1988 and Vineyard Manager Eric Bourgogne since 1996. In spring 2021, Jean Lupatelli started as winemaker/Chef de Cave.

Clare Carlisle's biography of George Eliot, The Marriage Question, is one of my favourite modern biographies, so I was really pleased to interview Clare. We talked about George Eliot as a feminist, the imperfections of her “marriage” to George Henry Lewes, what she learned from Spinoza, having sympathy for Casaubon, contradictions in Eliot's narrative method, her use of negatives, psychoanalysis, Middlemarch, and more. We also talked about biographies of philosophers, Kierkegaard, and Somerset Maugham. I was especially pleased by Clare's answer about the reported decline in student attention spans. Overall I thought this was a great discussion. Many thanks to Clare! Full transcript below. Here is an extract from our discussion about Eliot's narrative ideas.Clare: Yes, that's right. The didactic thing, George Eliot is sometimes criticized for this didacticism because what's most effective in the novel is not the narrator coming and telling us we should actually feel sorry for Casaubon and we should sympathize with him. We'd be better people if we sympathize with Casaubon. There's a moralizing lecture about, you should feel sympathy for this unlikable person. What is more effective is the subtle way she portrays this character and, as I say, lets us into his vulnerabilities in some obvious ways, as you say, by pointing things out, but also in some more subtle ways of drawing his character and hinting at, as I say, his vulnerabilities.Henry: Doesn't she know, though, that a lot of readers won't actually be very moved by the subtle things and that she does need to put in a lecture to say, "I should tell you that I am very personally sympathetic to Mr. Casaubon and that if you leave this novel hating him, that's not--"? Isn't that why she does it? Because she knows that a lot of readers will say, "I don't care. He's a baddie."Clare: Yes I don't know, that's a good question.Henry: I'm interested because, in The Natural History of German Life, she goes to all these efforts to say abstract arguments and philosophy and statistics and such, these things don't change the world. Stories change the world. A picture of life from a great artist. Then when she's doing her picture of life from a great artist she constantly butts in with her philosophical abstractions because it's, she can't quite trust that the reader will get it right as it were.Clare: Yes, I suppose that's one way of looking at it. You could say that or maybe does she have enough confidence in her ability to make us feel with these characters. That would be another way of looking at it. Whether her lack of confidence and lack of trust is in the reader or in her own power as an artist is probably an open question.TranscriptHenry: Today I am talking to Clare Carlisle, a philosopher at King's College London and a biographer. I am a big fan of George Eliot's Double Life: The Marriage Question. I've said the title backwards, but I'm sure you'll find the book either way. Clare, welcome.Clare Carlisle: Hi, Henry. Nice to be here.Henry: Is George Eliot a disappointing feminist?Clare: Obviously disappointment is relative to expectations, isn't it? It depends on what we expect of feminism, and in particular, a 19th-century woman. I personally don't find her a disappointing feminist. Other readers have done, and I can understand why that's the case for all sorts of reasons. She took on a male identity in order to be an artist, be a philosopher in a way that she thought was to her advantage, and she's sometimes been criticized for creating heroines who have quite a conventional sort of fulfillment. Not all of them, but Dorothea in Middlemarch, for example, at the end of the novel, we look back on her life as a wife and a mother with some sort of poignancy.Yes, she's been criticized for, in a way, giving her heroines and therefore offering other women a more conventional feminine ideal than the life she managed to create and carve out for herself as obviously a very remarkable thinker and artist. I also think you can read in the novels a really bracing critique of patriarchy, actually, and a very nuanced exploration of power dynamics between men and women, which isn't simplistic. Eliot is aware that women can oppress men, just as men can oppress women. Particularly in Middlemarch, actually, there's an exploration of marital violence that overcomes the more gendered portrayal of it, perhaps in Eliot's own earlier works where, in a couple of her earlier stories, she portrayed abused wives who were victims of their husband's betrayal, violence, and so on.Whereas in Middlemarch, it's interestingly, the women are as controlling, not necessarily in a nasty way, but just that that's the way human beings navigate their relations with each other. It seems to be part of what she's exploring in Middlemarch. No, I don't find her a disappointing feminist. We should be careful about the kind of expectations we, in the 21st century project onto Eliot.Henry: Was George Henry Lewes too controlling?Clare: I think one of the claims of this book is that there was more darkness in that relationship than has been acknowledged by other biographers, let's put it that way. When I set out to write the book, I'd read two or three other biographies of Eliot by this point. One thing that's really striking is this very wonderfully supportive husbands that, in the form of Lewes, George Eliot has, and a very cheerful account of that relationship and how marvelous he was. A real celebration of this relationship where the husband is, in many ways, putting his wife's career before his own, supporting her.Lewes acted as her agent, as her editor informally. He opened her mail for her. He really put himself at the service of her work in ways that are undoubtedly admirable. Actually, when I embarked on writing this book, I just accepted that narrative myself and was interested in this very positive portrayal of the relationship, found it attractive, as other writers have obviously done. Then, as I wrote the book, I was obviously reading more of the primary sources, the letters Eliot was writing and diary entries. I started to just have a bit of a feeling about this relationship, that it was light and dark, it wasn't just light.The ambiguity there was what really interested me, of, how do you draw the line between a husband or a wife who's protective, even sheltering the spouse from things that might upset them and supportive of their career and helpful in practical ways. How do you draw the line between that and someone who's being controlling? I think there were points where Lewes crossed that line. In a way, what's more interesting is, how do you draw that line. How do partners draw that line together? Not only how would we draw the line as spectators on that relationship, obviously only seeing glimpses of the inner life between the two people, but how do the partners themselves both draw those lines and then navigate them?Yes, I do suggest in the book that Lewes could be controlling and in ways that I think Eliot herself felt ambivalent about. I think she partly enjoyed that feeling of being protected. Actually, there was something about the conventional gendered roles of that, that made her feel more feminine and wifely and submissive, In a way, to some extent, I think she bought into that ideal, but also she felt its difficulties and its tensions. I also think for Lewes, this is a man who is himself conditioned by patriarchal norms with the expectation that the husband should be the successful one, the husband should be the provider, the one who's earning the money.He had to navigate a situation. That was the situation when they first got together. When they first got together, he was more successful writer. He was the man of the world who was supporting Eliot, who was more at the beginning of her career to some extent and helping her make connections. He had that role at the beginning. Then, within a few years, it had shifted and suddenly he had this celebrated best-selling novelist on his hands, which was, even though he supported her success, partly for his own financial interests, it wasn't necessarily what he'd bargained for when he got into the relationship.I think we can also see Lewes navigating the difficulties of that role, of being, to some extent, maybe even disempowered in that relationship and possibly reacting to that vulnerability with some controlling behavior. It's maybe something we also see in the Dorothea-Casaubon relationship where they get together. Not that I think that at all Casaubon was modeled on Lewes, not at all, but something of the dynamic there where they get together and the young woman is in awe of this learned man and she's quite subservient to him and looking up to him and wanting him to help her make her way in the world and teach her things.Then it turns out that his insecurity about his own work starts to come through. He reacts, and the marriage brings out his own insecurity about his work. Then he becomes quite controlling of Dorothea, perhaps again as a reaction to his own sense of vulnerability and insecurity. The point of my interpretation is not to portray Lewes as some villain, but rather to see these dynamics and as I say, ambivalences, ambiguities that play themselves out in couples, between couples.Henry: I came away from the book feeling like it was a great study of talent management in a way, and that the both of them were very lucky to find someone who was so well-matched to their particular sorts of talents. There are very few literary marriages where that is the case, or where that is successfully the case. The other one, the closest parallel I came up with was the Woolfs. Leonard is often said he's too controlling, which I find a very unsympathetic reading of a man who looked after a woman who nearly died. I think he was doing what he felt she required. In a way, I agree, Lewes clearly steps over the line several times. In a way, he was doing what she required to become George Eliot, as it were.Clare: Yes, absolutely.Henry: Which is quite remarkable in a way.Clare: Yes. I don't think Mary Ann Evans would have become George Eliot without that partnership with Lewes. I think that's quite clear. That's not because he did the work, but just that there was something about that, the partnership between them, that enabled that creativity…Henry: He knew all the people and he knew the literary society and all the editors, and therefore he knew how to take her into that world without it overwhelming her, giving her crippling headaches, sending her into a depression.Clare: Yes.Henry: In a way, I came away more impressed with them from the traditional, isn't it angelic and blah, blah, blah.Clare: Oh, that's good.Henry: What did George Eliot learn from Spinoza?Clare: I think she learned an awful lot from Spinoza. She translated Spinoza in the 1850s. She translated Spinoza's Ethics, which is Spinoza's philosophical masterpiece. That's really the last major project that Eliot did before she started to write fiction. It has, I think, quite an important place in her career. It's there at that pivotal point, just before she becomes an artist, as she puts it, as a fiction writer. Because she didn't just read The Ethics, but she translated it, she read it very, very closely, and I think was really quite deeply formed by a particular Spinozist ethical vision.Spinoza thinks that human beings are not self-sufficient. He puts that in very metaphysical terms. A more traditional philosophical view is to say that individual things are substances. I'm a substance, you're a substance. What it means to be a substance is to be self-sufficient, independent. For example, I would be a substance, but my feeling of happiness on this sunny morning would be a more accidental feature of my being.Henry: Sure.Clare: Something that depends on my substance, and then these other features come and go. They're passing, they're just modes of substance, like a passing mood or whatever, or some kind of characteristic I might have. That's the more traditional view, whereas Spinoza said that there's only one substance, and that's God or nature, which is just this infinite totality. We're all modes of that one substance. That means that we don't have ontological independence, self-sufficiency. We're more like a wave on the ocean that's passing through. One ethical consequence of that way of thinking is that we are interconnected.We're all interconnected. We're not substances that then become connected and related to other substances, rather we emerge as beings through this, our place in this wider whole. That interconnectedness of all things and the idea that individuals are really constituted by their relations is, I think, a Spinoza's insight that George Eliot drew on very deeply and dramatized in her fiction. I think it's there all through her fiction, but it becomes quite explicit in Middlemarch where she talks about, she has this master metaphor of the web.Henry: The web. Right.Clare: In Middlemarch, where everything is part of a web. You put pressure on a bit of it and something changes in another part of the web. That interconnectedness can be understood on multiple levels. Biologically, the idea that tissues are formed in this organic holistic way, rather than we're not composed of parts, like machines, but we're these organic holes. There's a biological idea of the web, which she explores. Also, the economic system of exchange that holds a community together. Then I suppose, perhaps most interestingly, the more emotional and moral features of the web, the way one person's life is bound up with and shaped by their encounters with all the other lives that it comes into contact with.In a way, it's a way of thinking that really, it questions any idea of self-sufficiency, but it also questions traditional ideas of what it is to be an individual. You could see a counterpart to this way of thinking in a prominent 19th-century view of history, which sees history as made by heroic men, basically. There's this book by Carlyle, Thomas Carlyle, called The Heroic in History, or something like that.Henry: Sure. On heroes and the heroic, yes.Clare: Yes. That's a really great example of this way of thinking about history as made by heroes. Emerson wrote this book called Representative Men. These books were published, I think, in the early 1850s. Representative Men. Again, he identifies these certain men, these heroic figures, which represent history in a way. Then a final example of this is Auguste Comte's Positivist Calendar, which, he's a humanist, secularist thinker who wants to basically recreate culture and replace our calendar with this lunar calendar, which, anyway, it's a different calendar, has 13 months.Each month is named after a great man. There's Shakespeare, and there's Dante, and there's-- I don't know, I can't remember. Anyway, there's this parade of heroic men. Napoleon. Anyway, that's the view of history that Eliot grew up with. She was reading, she was really influenced by Carlisle and Emerson and Comte. In that landscape, she is creating this alternative Spinozist vision of what an exemplar can be like and who gets to be an exemplar. Dorothea was a really interesting exemplar because she's unhistoric. At the very end of Middlemarch, she describes Dorothea's unhistoric life that comes to rest in an unvisited tomb.She's obscure. She's not visible on the world stage. She's forgotten once she dies. She's obscure. She's ordinary. She's a provincial woman, upper middle-class provincial woman, who makes some bad choices. She has high ideals but ends up living a life that from the outside is not really an extraordinary life at all. Also, she is constituted by her relations with others in both directions. Her own life is really shaped by her milieu, by her relationships with the people. Also, at the end of the novel, Eliot leaves us with a vision of the way Dorothea's life has touched other lives and in ways that can't be calculated, can't really be recognized. Yet, she has these effects that are diffused.She uses this word, diffusion or diffuseness. The diffuseness of the effects of Dorothea's life, which seep into the world. Of course, she's a woman. She's not a great hero in this Carlyle or Emerson sense. In all these ways, I think this is a very different way of thinking about individuality, but also history and the way the world is made, that history and the world is made by, in this more Spinozist kind of way, rather than by these heroic representative men who stand on the world stage. That's not Spinoza's, that's Eliot's original thinking. She's taking a Spinozist ontology, a Spinozist metaphysics, but really she's creating her own vision with that, that's, of course, located in that 19th-century context.Henry: How sympathetic should we be to Mr. Casaubon?Clare: I feel very sympathetic to Mr. Casaubon because he is so vulnerable. He's a really very vulnerable person. Of course, in the novel, we are encouraged to look at it from Dorothea's point of view, and so when we look at it from Dorothea's point of view, Casaubon is a bad thing. The best way to think about it is the view of Dorothea's sister Celia, her younger sister, who is a very clear-eyed observer, who knows that Dorothea is making a terrible mistake in marrying this man. She's quite disdainful of Casaubon's, well, his unattractive looks.He's only about 40, but he's portrayed as this dried-up, pale-faced scholar, academic, who is incapable of genuine emotional connection with another person, which is quite tragic, really. The hints are that he's not able to have a sexual relationship. He's so buttoned up and repressed, in a way. When we look at it from Dorothea's perspective, we say, "No, he's terrible, he's bad for you, he's not going to be good for you," which of course is right. I think Eliot herself had a lot of sympathy for Casaubon. There's an anecdote which said that when someone asked who Casaubon was based on, she pointed to herself.I think she saw something of herself in him. On an emotional level, I think he's just a fascinating character, isn't he, in a way, from an aesthetic point of view? The point is not do we like Casaubon or do we not like him? I think we are encouraged to feel sympathy with him, even as, on the one, it's so clever because we're taken along, we're encouraged to feel as Celia feels, where we dislike him, we don't sympathize with him. Then Eliot is also showing us how that view is quite limited, I think, because we do occasionally see the world from Casaubon's point of view and see how fearful Casaubon is.Henry: She's also explicit and didactic about the need to sympathize with him, right? It's often in asides, but at one point, she gives over most of a chapter to saying, "Poor Mr. Casaubon. He didn't think he'd end up like this." Things have actually gone very badly for him as well.Clare: Yes, that's right. The didactic thing, George Eliot is sometimes criticized for this didacticism because what's most effective in the novel is not the narrator coming and telling us we should actually feel sorry for Casaubon and we should sympathize with him. We'd be better people if we sympathize with Casaubon. There's a moralizing lecture about, you should feel sympathy for this unlikable person. What is more effective is the subtle way she portrays this character and, as I say, lets us into his vulnerabilities in some obvious ways, as you say, by pointing things out, but also in some more subtle ways of drawing his character and hinting at, as I say, his vulnerabilities.Henry: Doesn't she know, though, that a lot of readers won't actually be very moved by the subtle things and that she does need to put in a lecture to say, "I should tell you that I am very personally sympathetic to Mr. Casaubon and that if you leave this novel hating him, that's not--"? Isn't that why she does it? Because she knows that a lot of readers will say, "I don't care. He's a baddie."Clare: Yes I don't know, that's a good question.Henry: I'm interested because, in The Natural History of German Life, she goes to all these efforts to say abstract arguments and philosophy and statistics and such, these things don't change the world. Stories change the world. A picture of life from a great artist. Then when she's doing her picture of life from a great artist she constantly butts in with her philosophical abstractions because it's, she can't quite trust that the reader will get it right as it were.Clare: Yes, I suppose that's one way of looking at it. You could say that or maybe does she have enough confidence in her ability to make us feel with these characters. That would be another way of looking at it. Whether her lack of confidence and lack of trust is in the reader or in her own power as an artist is probably an open question.Henry: There's a good book by Debra Gettelman about the way that novelists like Eliot knew what readers expected because they were all reading so many cheap romance novels and circulating library novels. There are a lot of negations and arguments with the reader to say, "I know what you want this story to do and I know how you want this character to turn out, but I'm not going to do that. You must go with me with what I'm doing.Clare: Yes. You mean this new book that's come out called Imagining Otherwise?Henry: That's right, yes.Clare: I've actually not read it yet, I've ordered it, but funnily enough, as you said at the beginning, I'm a philosopher so I'm not trained at all as a reader of literary texts or as a literary scholar by any means, and so I perhaps foolishly embarked on this book on George Eliot thinking, "Oh, next I'm going to write a book about George Eliot." Anyway, I ended up going to a couple of conferences on George Eliot, which was interestingly like stepping into a different world. The academic world of literary studies is really different from the world of academic philosophy, interestingly.It's run by women for a start. You go to a conference and it's very female-dominated. There's all these very eminent senior women or at least at this conference I went to there was these distinguished women who were running the show. Then there were a few men in that mix, which is the inverse of often what it can be like in a philosophy conference, which is still quite a male-dominated discipline. The etiquette is different. Philosophers like to criticize each other's arguments. That's the way we show love is to criticize and take down another philosopher's argument.Whereas the academics at this George Eliot conference were much more into acknowledging what they'd learned from other people's work and referencing. Anyway, it's really interestingly different. Debra Gettelman was at this conference.Henry: Oh, great.Clare: She had a book on Middlemarch. I think it was 2019 because it was the bicentenary of Eliot's birth, that's why there was this big conference. Debra, who I'd never met before or heard of, as I just didn't really know this world, gave this amazing talk on Middlemarch and on these negations in Middlemarch. It really influenced me, it really inspired me. The way she did these close readings of the sentences, this is what literary scholars are trained to do, but I haven't had that training and the close reading of the sentences, which didn't just yield interesting insights into the way George Eliot uses language but yielded this really interesting philosophical work where Eliot is using forms of the sentence to explore ontological questions about negation and possibility and modality.This was just so fascinating and really, it was a small paper in one of those parallel sessions. It wasn't one of the big presentations at the conference, but it was that talk that most inspired me at the conference. It's a lot of the insights that I got from Debra Gettelman I ended up drawing on in my own chapter on Middlemarch. I situated it a bit more in the history of philosophy and thinking about negation as a theme.Henry: This is where you link it to Hegel.Clare: Yes, to Hegel, exactly. I was so pleased to see that the book is out because I think I must have gone up to her after the talk and said, "Oh, it's really amazing." Was like, "Oh, thank you." I was like, "Is it published? Can I cite it?" She said, "No. I'm working on this project." It seemed like she felt like it was going to be a long time in the making. Then a few weeks ago, I saw a review of the book in the TLS. I thought, "Oh, amazing, the book is out. It just sounds brilliant." I can't wait to read that book. Yes, she talks about Eliot alongside, I think, Dickens and another.Henry: And Jane Austen.Clare: Jane Austen, amazing. Yes. I think it's to do with, as you say, writing in response to readerly expectation and forming readerly expectations. Partly thanks to Debra Gettelman, I can see how Eliot does that. It'd be really interesting to learn how she sees Jane Austen and Dickens also doing that.Henry: It's a brilliant book. You're in for a treat.Clare: Yes, I'm sure it is. That doesn't surprise me at all.Henry: Now, you say more than once in your book, that Eliot anticipates some of the insights of psychotherapy.Clare: Psychoanalysis.Henry: Yes. What do you think she would have made of Freud or of our general therapy culture? I think you're right, but she has very different aims and understandings of these things. What would she make of it now?Clare: It seems that Freud was probably influenced by Eliot. That's a historical question. He certainly read and admired Eliot. I suspect, yes, was influenced by some of her insights, which in turn, she's drawing on other stuff. What do you have in mind? Your question suggests that you think she might have disapproved of therapy culture.Henry: I think novelists in general are quite ambivalent about psychoanalysis and therapy. Yes.Clare: For what reason?Henry: If you read someone like Iris Murdoch, who's quite Eliotic in many ways, she would say, "Do these therapists ever actually help anyone?"Clare: Ah.Henry: A lot of her characters are sent on these slightly dizzying journeys. They're often given advice from therapists or priests or philosophers, and obviously, Murdoch Is a philosopher. The advice from the therapists and the philosophers always ends these characters up in appalling situations. It's art and literature. As you were saying before, a more diffusive understanding and a way of integrating yourself with other things rather than looking back into your head and dwelling on it.Clare: Of course. Yes.Henry: I see more continuity between Eliot and that kind of thinking. I wonder if you felt that the talking cure that you identified at the end of Middlemarch is quite sound common sense and no-nonsense. It's not lie on the couch and tell me how you feel, is it?Clare: I don't know. That's one way to look at it, I suppose. Another way to look at it would be to see Eliot and Freud is located in this broadly Socratic tradition of one, the idea that if you understand yourself better, then that is a route to a certain qualified kind of happiness or fulfillment or liberation. The best kind of human life there could be is one where we gain insight into our own natures. We bring to light what is hidden from us, whether those are desires that are hidden away in the shadows and they're actually motivating our behavior, but we don't realize it, and so we are therefore enslaved to them.That's a very old idea that you find in ancient philosophy. Then the question is, by what methods do we bring these things to light? Is it through Socratic questioning? Is it through art? Eliot's art is an art that I think encourages us to see ourselves in the characters. As we come to understand the characters, and in particular to go back to what I said before about Spinozism, to see their embeddedness and their interconnectedness in these wider webs, but also in a sense of that embeddedness in psychic forces that they're not fully aware of. Part of what you could argue is being exposed there, and this would be a Spinozist insight, is the delusion of free will.The idea that we act freely with these autonomous agents who have access to and control over our desires, and we pick the thing that's in our interest and we act on that. That's a view that I think Spinoza is very critical. He famously denies free will. He says we're determined, we just don't understand how we're determined. When we understand better how we're determined, then perhaps paradoxically we actually do become relatively empowered through our understanding. I think there's something of that in Eliot too, and arguably there's something of that in Freud as well. I know you weren't actually so much asking about Freud's theory and practice, and more about a therapy culture.Henry: All of it.Clare: You're also asking about that. As I say, the difference would be the method for accomplishing this process of a kind of enlightenment. Of course, Freud's techniques medicalizes that project basically. It's the patient and the doctor in dialogue, and depends a lot on the skills of the doctor, doesn't it? How successful, and who is also a human being, who is also another human being, who isn't of course outside of the web, but is themselves in it, and ideally has themselves already undergone this process of making themselves more transparent to their own understanding, but of course, is going to be liable to their own blind spots, and so on.Henry: Which of her novels do you love the most? Just on a personal level, it doesn't have to be which one you think is the most impressive or whatever.Clare: I'm trying to think how to answer that question. I was thinking if I had to reread one of them next week, which one would I choose? If I was going on holiday and I wanted a beach read for pure enjoyment, which of the novels would I pick up? Probably Middlemarch. I think it's probably the most enjoyable, the most fun to read of her novels, basically.Henry: Sure.Clare: There'd be other reasons for picking other books. I really think Daniel Deronda is amazing because of what she's trying to do in that book. Its ambition, it doesn't always succeed in giving us the reading experience that is the most enjoyable. In terms of just the staggering philosophical and artistic achievement, what she's attempting to do, and what she does to a large extent achieve in that book, I think is just incredible. As a friend of Eliot, I have a real love for Daniel Deronda because I just think that what an amazing thing she did in writing that book. Then I've got a soft spot for Silas Marner, which is short and sweet.Henry: I think I'd take The Mill on the Floss. That's my favorite.Clare: Oh, would you?Henry: I love that book.Clare: That also did pop into my mind as another contender. Yes, because it's so personal in a way, The Mill on the Floss. It's personal to her, it's also personal to me in that, it's the first book by Eliot I read because I studied it for A-Level. I remember thinking when we were at the beginning of that two-year period when I'd chosen my English literature A-Level and we got the list of texts we were going to read, I remember seeing The Mill on the Floss and thinking, "Oh God, that sounds so boring." The title, something about the title, it just sounded awful. I remember being a bit disappointed that it wasn't a Jane Austen or something more fun.I thought, "Oh, The Mill on the Floss." Then I don't have a very strong memory of the book, but I remember thinking, actually, it was better than I expected. I did think, actually, it wasn't as awful and boring as I thought it would be. It's a personal book to Eliot. I think that exploring the life of a mind of a young woman who has no access to proper education, very limited access to art and culture, she's stuck in this little village near a provincial town full of narrow-minded conservative people. That's Eliot's experience herself. It was a bit my experience, too, as, again, not that I even would have seen it this way at the time, but a girl with intellectual appetites and not finding those appetites very easily satisfied in, again, a provincial, ordinary family and the world and so on.Henry: What sort of reader were you at school?Clare: What sort of reader?Henry: Were you reading lots of Plato, lots of novels?Clare: No. I'm always really surprised when I meet people who say things like they were reading Kierkegaard and Plato when they were 15 or 16. No, not at all. No, I loved reading, so I just read lots and lots of novels. I loved Jane Eyre. That was probably one of the first proper novels, as with many people, that I remember reading that when I was about 12 and partly feeling quite proud of myself for having read this grown-up book, but also really loving the book. I reread that probably several times before I was 25. Jane Austen and just reading.Then also I used to go to the library, just completely gripped by some boredom and restlessness and finding something to read. I read a lot and scanning the shelves and picking things out. That way I read more contemporary fiction. Just things like, I don't know, Julian Barnes or, Armistead Maupin, or just finding stuff on the shelves of the library that looked interesting, or Anita Brookner or Somerset Maugham. I really love Somerset Maugham.Henry: Which ones do you like?Clare: I remember reading, I think I read The Razor's Edge first.Henry: That's a great book.Clare: Yes, and just knowing nothing about it, just picking it off the shelf and thinking, "Oh, this looks interesting." I've always liked a nice short, small paperback. That would always appeal. Then once I found a book I liked, I'd then obviously read other stuff by that writer. I then read, so The Razor's Edge and-- Oh, I can't remember.Henry: The Moon and Sixpence, maybe?Clare: Yes, The Moon and Sixpence, and-Henry: Painted Veils?Clare: -Human Bondage.Henry: Of Human Bondage, right.Clare: Human Bondage, which is, actually, he took the title from Spinoza's Ethics. That's the title. Cluelessly, as a teenager, I was like, "Ooh, this book is interesting." Actually, when I look back, I can see that those writers, like Maugham, for example, he was really interested in philosophy. He was really interested in art and philosophy, and travel, and culture, and religion, all the things I am actually interested in. I wouldn't have known that that was why I loved the book. I just liked the book and found it gripping. It spoke to me, and I wanted to just read more other stuff like that.I was the first person in my family to go to university, so we didn't have a lot of books in the house. We had one bookcase. There were a few decent things in there along with the Jeffrey Archers in there. I read everything on that bookshelf. I read the Jeffrey Archers, I read the True Crime, I read the In Cold Blood, just this somewhat random-- I think there was probably a couple of George Eliots on there. A few classics, I would, again, grip by boredom on a Sunday afternoon, just stare at this shelf and think, "Oh, is there anything?" Maybe I'll end up with a Thomas Hardy or something. It was quite limited. I didn't really know anything about philosophy. I didn't think of doing philosophy at university, for example. I actually decided to do history.I went to Cambridge to do history. Then, after a couple of weeks, just happened to meet someone who was doing philosophy. I was like, "Oh, that's what I want to do." I only recognized it when I saw it. I hadn't really seen it because I went to the local state school, it wasn't full of teachers who knew about philosophy and stuff like that.Henry: You graduated in theology and philosophy, is that right?Clare: Yes. Cambridge, the degrees are in two parts. I did Part 1, theology, and then I did Part 2, philosophy. I graduated in philosophy, but I studied theology in my first year at Cambridge.Henry: What are your favorite Victorian biographies?Clare: You mean biographies of Victorians?Henry: Of Victorians, by Victorians, whatever.Clare: I don't really read many biographies.Henry: Oh, really?Clare: [laughs] The first biography I wrote was a biography of Kierkegaard. I remember thinking, when I started to write the book, "I'd better read some biographies." I always tend to read fiction. I'm not a big reader of history, which is so ironic. I don't know what possessed me to go and study history at university. These are not books I read for pleasure. I suppose I am quite hedonistic in my choice of reading, I like to read for pleasure.Henry: Sure. Of course.Clare: I don't tend to read nonfiction. Obviously, I do sometimes read nonfiction for pleasure, but it's not the thing I'm most drawn to. Anyway. I remember asking my editor, I probably didn't mention that I didn't know very much about biography, but I did ask him to recommend some. I'd already got the book contract. I said, "What do you think is a really good biography that I should read?" He recommended, I think, who is it who wrote The Life of Gibbon? Really famous biography of Gibbon.Henry: I don't know.Clare: That one. I read it. It is really good. My mind is going blank. I read many biographies of George Eliot before I wrote mine.Henry: They're not all wonderful, are they?Clare: I really liked Catherine Hughes's book because it brought her down from her pedestal.Henry: Exactly. Yes.Clare: Talking about hedonism, I would read anything that Catherine Hughes writes just for enjoyment because she's such a good writer. She's a very intellectual woman, but she's also very entertaining. She writes to entertain, which I like and appreciate as a reader. There's a couple of big archival biographies of George Eliot by Gordon Haight and by Rosemary Ashton, for example, which are both just invaluable. One of the great things about that kind of book is that it frees you to write a different kind of biography that can be more interpretive and more selective. Once those kinds of books have been published, there's no point doing another one. You can do something more creative, potentially, or more partial.I really like Catherine Hughes's. She was good at seeing through Eliot sometimes, and making fun of her, even though it's still a very respectful book. There's also this brilliant book about Eliot by Rosemary Bodenheimer called The Real Life of Mary Ann Evans. It's a biographical book, but it's written through the letters. She sees Eliot's life through her letters. Again, it's really good at seeing through Eliot. What Eliot says is not always what she means. She can be quite defensive and boastful. These are things that really come out in her letters. Anyway, that's a brilliant book, which again, really helped me to read Eliot critically. Not unsympathetically, but critically, because I tend to fall in love with thinkers that I'm reading. I'm not instinctively critical. I want to just show how amazing they are, but of course, you also need to be critical. Those books were--Henry: Or realistic.Clare: Yes, realistic and just like, "This is a human being," and having a sense of humor about it as well. That's what's great about Catherine Hughes's book, is that she's got a really good sense of humor. That makes for a fun reading experience.Henry: Why do you think more philosophers don't write biographies? It's an unphilosophical activity, isn't it?Clare: That's a very interesting question. Just a week or so ago, I was talking to Clare Mac Cumhaill I'm not quite sure how you pronounce her name, but anyway, so there's--Henry: Oh, who did the four women in Oxford?Clare: Yes. Exactly.Henry: That was a great book.Clare: Yes. Clare MacCumhaill co-wrote this book with Rachael Wiseman. They're both philosophers. They wrote this group biography of Iris Murdoch, Elizabeth Anscombe, Philippa Foot, and Mary Midgley. I happened to be having dinner with a group of philosophers and sitting opposite her. Had never met her before. It was just a delight to talk to another philosopher who'd written biography. We both felt that there was a real philosophical potential in biography, that thinking about a shape of a human life, what it is to know another person, the connection between a person's life and their philosophy. Even to put it that way implies that philosophy is something that isn't part of life, that you've got philosophy over here and you've got life over there. Then you think about the connection between them.That, when you think about it, is quite a questionable way of looking at philosophy as if it's somehow separate from life or detachment life. We had a really interesting conversation about this. There's Ray Monk's brilliant biography of Wittgenstein, The Duty of Genius. He's another philosopher who's written biography, and then went on to reflect, interestingly, on the relationship between philosophy and biography.I think on the one hand, I'd want to question the idea that biography and philosophy are two different things or that a person's life and their thought are two separate questions. On the other hand, we've got these two different literary forms. One of them is a narrative form of writing, and one of them- I don't know what the technical term for it would be- but a more systematic writing where with systematic writing, it's not pinned to a location or a time, and the structure of the text is conceptual rather than narrative. It's not ordered according to events and chronology, and things happening, you've just got a more analytic style of writing.Those two styles of writing are very, very different ways of writing. They're two different literary forms. Contemporary academic philosophers tend to write, almost always-- probably are pretty much forced to write in the systematic analytic style because as soon as you would write a narrative, the critique will be, "Well, that's not philosophy. That's history," or "That's biography," or, "That's anecdote." You might get little bits of narrative in some thought experiment, but by definition, the thought experiment is never pinned to a particular time, place, or context. "Let's imagine a man standing on a bridge. There's a fat man tied to the railway line [crosstalk]." Those are like little narratives, but they're not pinned. There is a sequencing, so I suppose they are narratives. Anyway, as you can tell, they're quite abstracted little narratives.That interests me. Why is it that narrative is seen as unphilosophical? Particularly when you think about the history of philosophy, and we think about Plato's dialogues, which tend to have a narrative form, and the philosophical conversation is often situated within a narrative. The Phaedo, for example, at the beginning of the book, Socrates is sitting in prison, and he's about to drink his poisoned hemlock. He's awaiting execution. His friends, students, and disciples are gathered around him. They're talking about death and how Socrates feels about dying. Then, at the end of the book, he dies, and his friends are upset about it.Think about, I know, Descartes' Meditations, where we begin in the philosopher's study, and he's describing--Henry: With the fire.Clare: He's by the fire, but he's also saying, "I've reached a point in my life where I thought, actually, it's time to question some assumptions." He's sitting by the fire, but he's also locating the scene in his own life trajectory. He's reached a certain point in life. Of course, that may be a rhetorical device. Some readers might want to say, "Well, that's mere ornamentation. We extract the arguments from that. That's where the philosophy is." I think it's interesting to think about why philosophers might choose narrative as a form.Spinoza, certainly not in the Ethics, which is about as un-narrative as you can get, but in some of his other, he experimented with an earlier version of the Ethics, which is actually like Descartes' meditation. He begins by saying, "After experience had taught me to question all the values I'd been taught to pursue, I started to wonder whether there was some other genuine good that was eternal," and so on. He then goes on to narrate his experiments with a different kind of life, giving up certain things and pursuing other things.Then you come to George Eliot. I think these are philosophical books.Henry: Yes.Clare: The challenge lies in saying, "Well, how are they philosophical?" Are they philosophical because there are certain ideas in the books that you could pick out and say, "Oh, here, she's critiquing utilitarianism. These are her claims." You can do that with Eliot's books. There are arguments embedded in the books. I wouldn't want to say that that's where their philosophical interest is exhausted by the fact that you can extract non-narrative arguments from them, but rather there's also something philosophical in her exploration of what a human life is like and how choices get made and how those choices, whether they're free or unfree, shape a life, shape other lives. What human happiness can we realistically hope for? What does a good life look like? What does a bad life look like? Why is the virtue of humility important?These are also, I think, philosophical themes that can perhaps only be treated in a long-form, i.e., in a narrative that doesn't just set a particular scene from a person's life, but that follows the trajectory of a life. That was a very long answer to your question.Henry: No, it was a good answer. I like it.Clare: Just to come back to what you said about biography. When I wrote my first biography on Kierkegaard, I really enjoyed working in this medium of narrative for the first time. I like writing. I'd enjoyed writing my earlier books which were in that more analytic conceptual style where the structure was determined by themes and by concepts rather than by any chronology. I happily worked in that way. I had to learn how to do it. I had to learn how to write. How do you write a narrative?To come back to the Metaphysical Animals, the group biography, writing a narrative about one person's life is complicated enough, but writing a narrative of four lives, it's a real-- from a technical point of view-- Even if you only have one life, lives are not linear. If you think about a particular period in your subject's life, people have lots of different things going on at once that have different timeframes. You're going through a certain period in your relationship, you're working on a book, someone close to you dies, you're reading Hegel. All that stuff is going on. The narrative is not going to be, "Well, on Tuesday this happened, and then on Wednesday--" You can't use pure chronology to structure a narrative. It's not just one thing following another.It's not like, "Well, first I'll talk about the relationship," which is an issue that was maybe stretching over a three-month period. Then in this one week, she was reading Hegel and making these notes that were really important. Then, in the background to this is Carlisle's view of history. You've got these different temporal periods that are all bearing on a single narrative. The challenge to create a narrative from all that, that's difficult, as any biographer knows. To do that with four subjects at once is-- Anyway, they did an amazing job in that book.Henry: It never gets boring, that book.Clare: No. I guess the problem with a biography is often you're stuck with this one person through the whole--Henry: I think the problem with a biography of philosophers is that it can get very boring. They kept the interest for four thinkers. I thought that was very impressive, really.Clare: Yes, absolutely. Yes. There's a really nice balance between the philosophy and the-- I like to hear about Philippa Foot's taste in cushions. Maybe some readers would say, "Oh, no, that's frivolous." It's not the view I would take. For me, it's those apparently frivolous details that really help you to connect with a person. They will deliver a sense of the person that nothing else will. There's no substitute for that.In my book about Kierkegaard, it was reviewed by Terry Eagleton in the London Review of Books. It was generally quite a positive review. He was a bit sneering about the fact that it had what he calls "domestic flourishes" in the book. I'd mentioned that Kierkegaard's favorite flower was the lily of the valley. He's like, "Huh." He saw these as frivolities, whereas for me, the fact that Kierkegaard had a favorite flower tells us something about the kind of man he was.Henry: Absolutely.Clare: Actually, his favorite flower had all sorts of symbolism attached to it, Kierkegaard, it had 10 different layers of meaning. It's never straightforward. There's interesting value judgments that get made. There's partly the view that anything biographical is not philosophical. It is in some way frivolous or incidental. That would be perhaps a very austere, purest philosophical on a certain conception of philosophy view.Then you might also have views about what is and isn't interesting, what is and isn't significant. Actually, that's a really interesting question. What is significant about a person's life, and what isn't? Actually, to come back to Eliot, that's a question she is, I think, absolutely preoccupied with, most of all in Middlemarch and in Daniel Deronda. This question about what is trivial and what is significant. Dorothea is frustrated because she feels that her life is trivial. She thinks that Casaubon is preoccupied with really significant questions, the key to all mythologies, and so on.Henry: [chuckles]Clare: There's really a deep irony there because that view of what's significant is really challenged in the novel. Casaubon's project comes to seem really futile, petty, and insignificant. In Daniel Deronda, you've got this amazing question where she shows her heroine, Gwendolyn, who's this selfish 20-year-old girl who's pursuing her own self-interest in a pretty narrow way, about flirting and thinking about her own romantic prospects.Henry: Her income.Clare: She's got this inner world, which is the average preoccupation of a silly 20-year-old girl.Henry: Yes. [laughs]Clare: Then Eliot's narrator asks, "Is there a slenderer, more insignificant thread in human history than this consciousness of a girl who's preoccupied with how to make her own life pleasant?" The question she's asking is-- Well, I think she wants to tell us that slender thread of the girl's consciousness is part of the universe, basically. It's integral. It belongs to a great drama of the struggle between good and evil, which is this mythical, cosmic, religious, archetypal drama that gets played out on the scale of the universe, but also, in this silly girl's consciousness.I think she's got to a point where she was very explicitly thematizing that distinction between the significant and the insignificant and playing with that distinction. It comes back to Dorothea's unhistoric life. It's unhistoric, it's insignificant. Yet, by the end of Middlemarch, by the time we get to that description of Dorothea's unhistoric life, this life has become important to us. We care about Dorothea and how her life turned out. It has this grandeur to it that I think Eliot exposes. It's not the grandeur of historic importance, it's some other human grandeur that I think she wants to find in the silly girls as much as in the great men.Henry: I always find remarks like that quite extraordinary. One of the things I want a biography to tell me is, "How did they come to believe these things?" and, "How did they get the work done?" The flowers that he likes, that's part of that, right? It's like Bertrand Russell going off on his bicycle all the time. That's part of how it all happened. I remember Elizabeth Anscombe in the book about the four philosophers, this question of, "How does she do it all when she's got these six children?" There's this wonderful image of her standing in the doorway to her house smoking. The six children are tumbling around everywhere. The whole place is filthy. I think they don't own a Hoover or she doesn't use it. You just get this wonderful sense of, "This is how she gets it done."Clare: That's how you do it.Henry: Yes. The idea that this is some minor domestic trivial; no, this is very important to understanding Elizabeth Anscombe, right?Clare: Yes, of course.Henry: I want all of this.Clare: Yes. One of the things I really like about her is that she unashamedly brings that domesticity into her philosophical work. She'll use examples like, "I go to buy some potatoes from the grocer's." She'll use that example, whereas that's not the thing that-- Oxford dons don't need to buy any potatoes because they have these quasi-monastic lives where they get cooked for and cleaned for. I like the way she chooses those. Of course, she's not a housewife, but she chooses these housewifely examples to illustrate her philosophy.I don't know enough about Anscombe, but I can imagine that that's a deliberate choice. That's a choice she's making. There's so many different examples she could have thought of. She's choosing that example, which is an example, it shows a woman doing philosophy, basically. Of course, men can buy potatoes too, but in that culture, the buying of the potatoes would be the woman's work.Henry: Yes. She wasn't going to run into AJ Ayre at the grocer's.Clare: Probably not, no.Henry: No. Are you religious in any sense?Clare: I think I am in some sense. Yes, "religious," I think it's a really problematic concept. I've written a bit about this concept of religion and what it might mean. I wrote a book on Spinoza called Spinoza's Religion. Part of what I learned through writing the book was that in order to decide whether or not Spinoza was religious, we have to rethink the very concept of religion, or we have to see that that's what Spinoza was doing.I don't know. Some people are straightforwardly religious and I guess could answer that question, say, "Oh yes, I've always been a Christian," or whatever. My answer is a yes and no answer, where I didn't have a religious upbringing, and I don't have a strong religious affiliation. Sorry, I'm being very evasive.Henry: What do you think of the idea that we're about to live through or we are living through a religious revival? More people going to church, more young people interested in it. Do you see that, or do you think that's a blip?Clare: That's probably a question for the social scientists, isn't it? It just totally depends where you are and what community you're--Henry: Your students, you are not seeing students who are suddenly more religious?Clare: Well, no, but my students are students who've chosen to do philosophy. Some of them are religious and some of them are not. It will be too small a sample to be able to diagnose. I can say that my students are much more likely to be questioning. Many of them are questioning their gender, thinking about how to inhabit gender roles differently.That's something I perceive as a change from 20 years ago, just in the way that my students will dress and present themselves. That's a discernible difference. I can remark on that, but I can't remark on whether they're more religious.Just actually just been teaching a course on philosophy of religion at King's. Some students in the course of having discussions would mention that they were Muslim, Christian, or really into contemplative practices and meditation. Some of the students shared those interests. Others would say, "Oh, well, I'm an atheist, so this is--" There's just a range-Henry: A full range.Clare: -of different religious backgrounds and different interests. There's always been that range. I don't know whether there's an increased interest in religion among those students in particular, but I guess, yes, maybe on a national or global level, statistically-- I don't know. You tell me.Henry: What do you think about all these reports that undergraduates today-- "They have no attention span, they can't read a book, everything is TikTok," do you see this or are you just seeing like, "No, my students are fine actually. This is obviously happening somewhere else"?Clare: Again, it's difficult to say because I see them when they're in their classes, I see them in their seminars, I see them in the lectures. I don't know what their attention spans are like in their--Henry: Some of the other people I've interviewed will say things like, "I'll set reading, and they won't do it, even though it's just not very much reading,"-Clare: Oh, I see. Oh, yes.Henry: -or, "They're on the phone in the--" You know what I mean?Clare: Yes.Henry: The whole experience from 10, 20 years ago, these are just different.Clare: I'm also more distracted by my phone than I was 20 years ago. I didn't have a phone 20 years ago.Henry: Sure.Clare: Having a phone and being on the internet is constantly disrupting my reading and my writing. That's something that I think many of us battle with a bit. I'm sure most of us are addicted to our phones. I wouldn't draw a distinction between myself and my students in that respect. I've been really impressed by my students, pleasantly surprised by the fact they've done their reading because it can be difficult to do reading, I think.Henry: You're not one of these people who says, "Oh students today, it's really very different than it was 20 years ago. You can't get them to do anything. The whole thing is--" Some people are apocalyptic about-- Actually, you're saying no, your students are good?Clare: I like my students. Whether they do the reading or not, I'm not going to sit here and complain about them.Henry: No, sure, sure. I think that's good. What are you working on next?Clare: I've just written a book. It came out of a series of lectures I gave on life writing and philosophy, actually. Connected to what we were talking about earlier. Having written the biographies, I started to reflect a bit more on biography and how it may or may not be a philosophical enterprise, and questions about the shape of a life and what one life can transmit to another life. Something about the devotional labor of the biographer when you're living with this person and you're-- It's devotional, but it's also potentially exploitative because often you're using your subjects, of course, without their consent because they're dead. You're presenting their life to public view and you're selling books, so it's devotional and exploitative. I think that's an interesting pairing.Anyway, so I gave these lectures last year in St Andrews and they're going to be published in September.Henry: Great.Clare: I've finished those really.Henry: That's what's coming.Clare: That's what's coming. Then I've just been writing again about Kierkegaard, actually. I haven't really worked on Kierkegaard for quite a few years. As often happens with these things, I got invited to speak on Kierkegaard and death at a conference in New York in November. My initial thought was like, "Oh, I wish it was Spinoza, I don't want to--" I think I got to the point where I'd worked a lot on Kierkegaard and wanted to do other things. I was a bit like, "Oh, if only I was doing Spinoza, that would be more up my street." I wanted to go to the conference, so I said yes to this invitation. I was really glad I did because I went back and read what Kierkegaard has written about death, which is very interesting because Kierkegaard's this quintessentially death-fixated philosopher, that's his reputation. It's his reputation, he's really about death. His name means churchyard. He's doomy and gloomy. There's the caricature.Then, to actually look at what he says about death and how he approaches the subject, which I'd forgotten or hadn't even read closely in the first place, those particular texts. That turned out to be really interesting, so I'm writing-- It's not a book or anything, it's just an article.Henry: You're not going to do a George Eliot and produce a novel?Clare: No. I'm not a novelist or a writer of fiction. I don't think I have enough imagination to create characters. What I love about biography is that you get given the characters and you get given the plots. Then, of course, it is a creative task to then turn that into a narrative, as I said before. The kinds of biography I like to write are quite creative, they're not just purely about facts. I think facts can be quite boring. Well, they become interesting in the context of questions about meaning interpretations by themselves. Again, probably why I was right to give up on the history degree. For me, facts are not where my heart is.That amount of creativity I think suits me well, but to create a world as you do when you're a novelist and create characters and plots, and so, that doesn't come naturally to me. I guess I like thinking about philosophical questions through real-life stories. It's one way for philosophy to be connected to real life. Philosophy can also be connected to life through fiction, of course, but it's not my own thing. I like to read other people's fiction. I'm not so bothered about reading other biographies.Henry: No. No, no.[laughter]Clare: I'll write the biographies, and I'll read the fiction.Henry: That's probably the best way. Clare Carlisle, author of The Marriage Question, thank you very much.Clare: Oh, thanks, Henry. It's been very fun to talk to you.Henry: Yes. It was a real pleasure. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Le ContreCast, c'est quoi ? C'est un podcast de passionné.e.s, qui savent parler avec amour d'un sujet qui leur a plu dans les semaines passées. On y parle de jeux vidéo, films, jeux de plateau, livres, ou tout autre plaisir distractif. Dans tous les cas, on essaie de vous présenter avec passion des choses qu'on aime, et on essaie aussi de vous donner envie ! --------- Beaucoup de pirates dans cet épisode, presque dans tous les sujets. Et à la fin, il y a même un bonus pour les Patronautes tiens ! --------- De quoi on parle dans l'épisode : Aylee, nous présente le manhwa Solo Leveling. Ketrus, nous rémémore le film Les Goonies. Célia, nous raconte le film le Comte de Monte-Cristo. --------- Liens utiles dont on parle dans l'épisode : Le manwha Solo Leveling L'anime Solo Leveling L'épisode 60 du ContreCast où Aylee parle de Marry My Husband Le film Les Goonies Le film Les Goonies 2 ? Le podcast Drôle de jeu Le Comte de Monte Cristo (film 2024) Le film Sauver ou périr La vidéo de Mcfly et Carlito "Tu te rends comptes les pirates" avec Pierre Niney Le passage de Pierre Niney dans LOL L'histoire de Feuilleman de Mcfly et Carlito avec Pierre Niney La série Casting Le jeu vidéo Sea of Stars La série Daredevil: Born Again Le livre Les orageuses Le tournoi de Shuffle --------- Vous pouvez nous retrouver : Sur Apple Podcasts. Sur Spotify. Partout ailleurs ici. Le Patreon du Vaisseau Hyper Sensas (si vous souhaitez nous soutenir, c'est ici que ça se passe). Le discord du Vaisseau Hyper Sensas. Et sinon sur les réseaux sociaux : Sur Twitter : @LeContreCast Sur Instagram : @LeContreCast --------- Remerciements : JohnCouscous, pour les éléments graphiques. CaliKen, pour le générique et les virgules. JohnCouscous, pour le derushage et le montage. Le ContreCast est un podcast animé par JohnCouscous. Vaisseau Hyper Sensas © 2025

Jess is back, and she and Trisha catch up on news and books — specifically, outdoorsy romance. Follow the podcast via RSS, Apple Podcasts, or Spotify. To get even more romance recs and news, sign up for our Kissing Books newsletter! Trust your reading list to the experts at Tailored Book Recommendations! The professional book nerds (aka bibliologists) at TBR have recommended over 160,000 books to readers of all kinds. Let TBR match you with your next favorite read! Simply fill out a quick survey about what you want more of in your reading life, and your bibliologist will scour their bookish knowledge to find three reads they think you'll love. Choose from receiving just the recommendations via email, or opt to have paperbacks or hardcovers delivered right to your door. Get started for only $18 at mytbr.co! This content contains affiliate links. When you buy through these links, we may earn an affiliate commission. News Consider preordering To L.A. With Love: A Charity Anthology More AI…sigh. [Bloomberg] The top fiction 100 books of the 21st Century from Kirkus include 6 romances!  There's a new adaptation of Pride and Prejudice! So, great, I guess…! Books Discussed Marriage Bargain with the Comte by Parker J. Cole Fan Service by Rosie Danan Losing Sight by Tati Richardson Something Wild and Wonderful by Anita Kelly Love Letters from the Trail by Tif Marcelo Birding with Benefits by Sarah T. Dubb Cubs and Campfires by Dylan Drakes (Trust) Falling With You by Charish Reid Let us know what you're reading, what you're thinking, and what you're thinking about what you're reading! As always, you can find Jess and Trisha at the WIR email address (wheninromance@bookriot.com). You can also find us on Twitter (@jessisreading), or Instagram (@jess_is_reading and @trishahaleybrown), and Jess is even on TikTok (@jess_isreading). Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:08:11 - Nouvelles têtes - par : Mathilde Serrell - Pierre Niney dit de lui qu'il a une cinégénie de star ! Depuis son rôle d'Andrea dans "Le Comte de Monte-Cristo", son carnet de tournages déborde… A commencer par le nouveau film de Régis Wargnier, "La Réparation" ! Julien de Saint Jean est ce matin l'invité de Mathilde Serrell.

  EPISODE 25 - ORNAMENT Ornament has always had an important meta function within the human psyche. It has been "outlawed" for the past 100 years.   RESOURCE LINKS https://www.gadarchitecture.com/en/ornament-in-architecture https://www.artforum.com/features/louis-sullivans-ornament-209337/ https://journals.sagepub.com/doi/abs/10.1177/1354067x13515937?journalCode=capa https://medium.com/the-thinking-of-design/ornament-as-an-abstraction-of-society-853bb29cdf08 https://www.youtube.com/watch?v=5PmydPmwrKA https://dreamswork.co.uk/portfolio/how-ornament-is-functional/ https://designmanifestos.org/adolf-loos-ornament-and-crime/   AK links: Four D Design - Organic Architecture, Geometry of Nature www.fourddesign.com Star Tile - Multidimensional Ceramics www.star-tile.com Star Tile Studio - Joshua Tree, CA https://g.co/kgs/DUMmCLh   Contact: ak@fourddesign.com     WHY DO WE USE ORNAMENT? - SIGNIFIER Social signaling - and this changes over time!  Example tattoos - British nobility 1900-1920 Historically it was the demarcation of class and status - governments had rules about what colors and types of clothing could be worn, so that people could never be socially mobile- Ornament on clothing has always been important for the military and in battle, people wore family crests / telling others who they were The same went for houses - all ornament had meaning that could be learned (this is western) Heraldry   WHY DO WE USE ORNAMENT? - SOCIAL & PSYCHOLOGICAL Belonging is so important that people will go into debt to buy clothing that lets them fit into a social group, or a car, or jewelry etc - people are wildly craving belonging, and ornament is a way to show your tribe.   OTHER REASONS: Repetition causes peace - relaxation of the nervous system By creating the ornament, the maker can embody the energy of the thing that might be feared  Establish historic continuity - memory, legacy. Spiritual Side of Ornament - Adornment, Defense, Totems, Enhancing Consciousness. META FUNCTION, embodied practice Adorning parts of us that are vulnerable - defensive and actively stating who we are / calling in our guides.   HISTORY OF ORNAMENT Industrial Revolution - 1851 - now possible to make cheap ornament / mass production Attempt at standardizing the language - Owen Jones “Grammar of Ornament” - huge interest in revival of styles / what we would now call Cultural Appropriation.. started with Archaeology around 1750, people discovering ruins, Marie Antoinette wearing toile / chinoiserie In victorian era, people started ascribing a moral judgment to the ornament - Augustis Pugin:  ornament should be flat if the floor is flat, not 3d etc.. can't be inappropriate.  He was a CATHOLIC in England - super religious, championed gothic revival because it was faith-based John Ruskin  - wrote on architecture but also on geology, botany, ornithology etc - polymath Said that the moral condition of a society could be determined by the ornament - ornament was being incorrectly applied- Shows what is leading up to the birth of modernism, nothing happens in a vacuum.   What Happened - Loos, Modernism and the 1920s As both Sullivan and Lévi-Strauss indicate, ornament (as well as other factors) becomes a language of social structures, social experience and even social contradictions. It signifies the status and position of the building, which is itself a representation of the importance of its “owners” and users. Here the manipulation of the image, or in architecture the adding of ornamental beauty to a structure, may increase its relative desirability and value. For buildings are models of ourselves and our society, communicating through form and organizational system the character of that society.   BUILDINGS REFLECT THE VALUES AND VALUE OF THE OWNER.   MODERNISM - WHAT HAPPENED? Adolf Loos Ornament and Crime The evolution of culture marches with the elimination of ornament from useful objects", Loos proclaimed, thus linking the optimistic sense of the linear and upward progress of cultures with the contemporary vogue for applying evolution to cultural contexts.[2]  "The child is amoral. To us the Papuan is also amoral. The Papuan slaughters his enemies and devours them. He is no criminal. If, however, the modern man slaughters and devours somebody, he is a criminal or a degenerate. The Papuan tattoos his skin, his boat, his oar, in short, everything that is within his reach. He is no criminal. The modern man who tattoos himself is a criminal or a degenerate. There are prisons where eighty percent of the inmates bear tattoos. Those who are tattooed but are not imprisoned are latent criminals or degenerate aristocrats. if a tattooed person dies at liberty, it is only that he died a few years before he committed a murder."   Where do we go from here - how do we start?   (HUMANS ALWAYS START OVER WITH FORMS FROM NATURE) Architectural adornment or ornament, like cooking—that most basic transformation of nature—is a way of being in and representing the world simultaneously, a world that in Sullivan's words “procreates man's own personality, that fits him, that he might feel at home with himself,” a world of natural objects transformed by the hand of man. This is why Sullivan defined the architect's task in a manner that reveals his belief in man's transforming power: the architect as the agent who brings nature into community.   James Trilling - The Language of Ornament Harvard-trained art historian, former Textile Museum associate curator, and independent scholar James Trilling expands here on many of the highly original themes that appeared in his The Language of Ornament (2001). He offers intriguing new views of the modernist movement in art and architecture, its puritanical hostility to ornament, and its manifold relationships to the history of technology, science, and industry in the phenomenon known as modernization. Trilling is a passionate advocate of ornament, and he makes a fervent plea for its revival, largely on the grounds that it gives pleasure and "makes people happy" (p. 227). Ranging widely across cultures, time periods, disciplines, and topics, Ornament: A Modern Perspective is a densely layered book of formidable learning, imagination, and complexity. The argument is deceptively simple and difficult to summarize; as Trilling writes of Comte (p. 177), "it is rarely possible to give the bare bones of a utopian vision without making it sound naive." Ornament for Trilling is a specific, intricate concept. He spends part 1 of his two-part book explicating this concept, by which he means the use of motifs and patterns by skilled artists/craftsmen, "the art we add to art" (p. xiii), in the creation of one-of-a-kind objects laden with cultural meaning and symbol, esteemed as art by collectors, connoisseurs, and knowledgeable art historians. In part 2 Trilling traces the links between modernism and the rejection of ornament. Though the focus is on the period since the pivotal Crystal Palace exhibition of 1851, his book includes an impressive intellectual history [End Page 418] of the many ways in which ornament was repudiated as idolatry and artifice in numerous societies long before modernism. But after the triumph of mechanization and the ascendancy of efficiency, materialism, and positivism, the leading theorists of modernism thoroughly devalued and assaulted ornament. The most famous instance was Viennese architect and critic Adolf Loos's 1908 essay that seemingly equated ornament with crime. Modernism's visionaries instead exalted functionalism and simplicity in architecture and design. They saw ornament as wasteful, inefficient, and, after the Industrial Revolution, as the product of dehumanized, debased workers far removed from the ideal of the skilled artisan/craftsman of the prefactory era. Modernism's subsequent long reign among intellectual and cultural elites (despite the thin, pale revolt of the postmodern movement), Trilling argues, has now all but blinded us to ornament, erased it from our collective memory and from art. Early modernist theorists sought to jettison the wealth of inherited patterns and motifs rather than welcoming their incorporation and reworking, as traditional crafts had done. (Ironically, one of Trilling's most original arguments is that modernism in fact had its own ornamental style, employing materials that had pattern and texture and creating art rooted in indeterminacy, "labile, ambiguous, unpredictable" [p. 217].) Trilling's mission is to restore understanding and appreciation of the rich, lost world of artisanal ornament. His book addresses artists, architects, designers, their clients and collectors, art historians—tastemakers and all who care about taste.                

Despite Chaad's efforts to reign in the ruckus, co-host Kristie Brablec incites a vigorous and opinionated discussion with this diverse panel of wine enthusiasts with plenty to say about matters such as the silliness of "Tip Of The Mitt" as an appellation name, how you can taste the woman in the wine, and what to wear in a bathtub full of Comte. It's a fun, wide ranging conversation with Jenna Belevender, a pro photog, Lars Makie, a music supervisor in advertising, and Megan Turriff, owner of wine and beer wholesaler M4 Distributing. Join us for the fun!

Ce mercredi 2 avril, Donald Trump célèbre son "Liberation day" : ce jour de libération où il va taxer la terre entière. Mais ce n'est pas tant une libération qu'une revanche assumée contre le monde entier, déguisée en politique commerciale. Après les défaites électorales, la disgrâce judiciaire et la tentative d'assassinat, il revient d'entre les morts pour régler ses comptes. Trump impose des tarifs douaniers massifs, menace les pays qu'il qualifie de "profiteurs" et parle de réciprocité totale. Mais le ton est celui d'un règlement de comptes global. Ce faisant, Trump voulait frapper la Chine, mais il lui ouvre en réalité une autoroute. Pendant que les États-Unis insultent leurs alliés, la Chine renforce ses partenariats. Ces derniers mois ont donné l'illusion d'une Chine un peu à la peine, avec une croissance de seulement 5 %, une crise immobilière, une consommation plutôt atone et un chômage élevé des jeunes. Mais la Chine ne vit pas à l'heure du court terme occidental. Elle s'inscrit dans une autre temporalité. Et là où Trump construit sa revanche en 100 jours, Xi Jinping pense en décennies. Pendant que Trump agite ses épées tarifaires, Pékin aiguise ses lames industrielles. L'un joue la revanche, l'autre joue l'histoire. Et c'est toute la différence. Mots-clés : marché public, diplomatie, punition, Edmond Rostand, Le Figaro, Comte de Monte-Cristo, vengeance, Martin Wolf, éditorialiste, Financial Times, Pékin, sabotage, accord, stabilité, tweet, alliance, twitter, Amérique, clash, adrénaline, plan, planification, japon, tokyo, court terme, occident, revanche, hyperactivité, alliance, mandarin, marchand, OpenAI, DeepSeek, ChatGPT, BYD, chargeur, voiture électrique, autonomie, Palais du peuple, Xi Jinping, Huawai, Xiamo, Alibaba, Christophe Colomb --- La chronique économique d'Amid Faljaoui, tous les jours à 8h30 et à 17h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment i: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer Belgique Retrouvez tous les épisodes de La chronique économique sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/802 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. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankxDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Amid Faljaoui nous dévoile les coulisses des entreprises et passe en revue les grands événements de l'actualité économique. Merci pour votre écoute Vous pouvez nous écouter à tout moment sur www.rtbf.be/musiq3 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be : 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. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

It's our quarterly discoverabilibuddy episode! Get your TBR piles structurally sound and excercise that preorder clicking finger, because here are more than 40 books coming out in the next three months that we're excited to read! Eric said next time we have to split it into two if we're going to keep talking about what's coming for hours... In the meantime, we're ungovernable! Tell us about the books you're waiting for...and if you're a romance novelist and have a book coming this year, please head over and fill out our handy Google form to let us know!If you want more Fated Mates in your life, please join our Patreon, which comes with an extremely busy and fun Discord community! Join other magnificent firebirds to hang out, talk romance, and be cool together in a private group full of excellent people. Learn more at patreon.com.Our next read along is Rachel Reid's Heated Rivalry, which you can get in print, ebook, audiobook or with your monthly subscription to Kindle Unlimited. Find it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books. The Books MARCHWitch of Wall Street by MJ EtkindA Wager at Midnight by Vanessa RileyLush by Tinia MontfordAPRIL Royal Bride Demand by LaQuetteWyoming Double Jeopardy by Juno RushdanAny Trope but You by Victoria LavineWhisk Me Away by Georgia BeersPlaying for Keeps by Lainey DavisThe Nanny is Off Limits by QB TylerMarriage Bargain with the Comte by Parker J. Cole A Lady's Guide to London by Faye DelecourThe Duke and the Widow by Christina DianeNaked in Naknek by Lolu SinclairFly by Night by Kelly CainThe Matchmaker by Aisha Saeed

N'hésite pas à nous laisser une note ou un commentaire sur les plateformes de podcast si tu apprécies l'émission ! Les actus :Coco 2Assassin's Creed : Shadows (dispo sur consoles et PC)Trailer de BallerinaRemake américain du Comte de Monte-CristoLes références de l'épisode :Mickey 17 (film de Bong Joon-Ho)Black box diaries (film de Shiori Itō)Adolescence (dispo sur Netflix)L'île des morts (tableau de Arnold Böcklin)Le mystère de l'île des morts (vidéo YouTube d'ALT 236)Avowed (dispo sur Steam)Hello Kitty : Island Adventure (dispo sur Switch)Céleste (dispo sur consoles et PC)Two Point Museum (dispo sur Steam)Solann (musique)Détective Renan (chaîne YouTube)L'Attachement (film de Carine Tardieu)On ira (film de Enya Baroux)Monster Hunter Wilds (dispo sur consoles et PC)La papeterie Tsubaki (livre de Ito Ogawa)Tu peux nous retrouver sur tous nos autres réseaux : Instagram : https://www.instagram.com/picturalthings/YouTube : https://www.youtube.com/@PicturalThingsTikTok : https://www.tiktok.com/@pictural.thingsHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Dans le cadre du Festival "Paroles citoyennes", le philosophe André Comte-Sponville animera le 8 avril un débat à la suite de la représentation du "Dernier soir" de Thomas Miraschi au théâtre Récamier. Ecoutez L'invité de 9h40 avec Amandine Bégot et Thomas Sotto du 21 mars 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans le cadre du Festival "Paroles citoyennes", le philosophe André Comte-Sponville animera le 8 avril un débat à la suite de la représentation du "Dernier soir" de Thomas Miraschi au théâtre Récamier. Ecoutez L'invité de 9h40 avec Amandine Bégot et Thomas Sotto du 21 mars 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:06:50 - « Je te salue, vieil océan ! » du Comte de Lautréamont - Arthur Teboul 19/20

durée : 00:48:26 - Affaires sensibles - par : Fabrice Drouelle - Aujourd'hui dans Affaires sensibles : l'histoire du Comte de Saint-Germain – alchimiste, mythomane et amant de Dalida.

C'est donc "Le Comte de Monte-Cristo" qui est le grand gagnant du concours RTL. Nous vous proposions d'élire votre film préféré, alors que la 50e cérémonie des Césars a lieu ce soir. Les deux réalisateurs du film, Matthieu Delaporte et Alexandre de la Patellière, sont avec nous.

We discuss ski touring on Mt Etna in Sicily, the mountains of Catalonia and Borovets in Bulgaria.  Host Iain Martin was joined by guests Becs Miles and Mike Richards. Intersport Ski Hire Discount Code Don't forget that if you want to help The Ski Podcast and save yourself some money this winter all you need to do is to use the code ‘SKIPODCAST' when you book your ski hire at intersportrent.com or simply take this link and your discount will automatically be applied.  SHOW NOTES Becs was last on the show in Episode 209, when she was telling us about Trysil in Norway (0:45) Mike Richards was last on the show as a guest in Episode 226 discussing Hokkaido in Japan (1:15) He has also been on the show discussing Bosnia, Madesimo, Turkey, North Macedonia, Georgia, Montenegro and Wales (1:30) Mike called in from Erciyes in Turkey (2:00) Katja Gaskell reported from Japan (3:30) Alex Armand (Tip Top Ski Coaching) is in Les 2 Alpes (5:40) Jen Tsang (That's LaPlagne) is in La Plagne (6:00) Freddy Carrick-Smith took gold in the GS & Zak Carrick-Smith took bronze in the Slalom at the European Youth Olympic Festival (8:30) In freestyle Sandra Caune won gold in ski Big air and bronze in slopestyle and Emily Rothney won gold in the Snowboard Big Air The Ski Podcast sponsors Team Carrick Smith (9:20) Find out more about Iain's train travel journey to Sicily, using an Interrail from Rail Europe (12:30) The trip involved taking the unique rail ferry from the southern tip of Italy to Messina (13:00) https://www.youtube.com/shorts/1ysMVLaA6Jc Iain saw an Italian football match at Empoli on his return journey (16:00) Mirto Monaco is one of three UAIGM guides on Sicily (17:30) Ski touring was on Etna Nord out of Piano Provenzala - Etna's ‘ski resort' (17:45) https://youtu.be/7bkj_m-5d6Y Etna was erupting on the south side of the volcano (19:00) In 2002, both ski resorts were destroyed by eruptions (25:00) Iain hiked up to the source of the current eruption to view the lava flow (25:30) Iain went ski touring in Morrocco in 2019 (27:30) Becs as ‘glamping' in Catalonia at Forest Days (28:30) She did ski touring at the resort of Port del Comte (32:00) You can try cross country sking in Tuixant (32:30) Other activities included truffle hunting (33:00) Becs learned how to search for fire kindling (34:00) Iain recently drove to Courmayeur and Chamonix in an electric car (35:45) Mike travelled to Borovets in Bulgaria (38:30) He stayed at the Hotel Lion (42:15) Take a look at the piste map for Borovets (44:00) Feedback Please send your feedback on the show on social @theskipodcast or by email theskipodcast@gmail.com Matt Sylvestre: "Just wanted to say hello from Pleasant Mountain in Maine, USA. I am obsessed with skiing, kit and technique and enjoyed Episode 235 with Stuart Winchester from the Storm Skiing Podcast.”  Chris Howie: "Loved Episode 235 of the Ski Podcast today as always. It was super to hear more about the Ikon/Epic passes and how the USA model for skiing is completely different from Europe.” Jane Gotts: “Really enjoy listening to the podcast” Anon: “Loving the ski podcast in the car from wet and windy Dublin” Anon: "Great podcast, Iain. I've enjoyed it for ages and attended your talks at The Snow Show. Skiing has generally poor coverage on TV, so podcasts like yours help keep ski enthusiasts like me stoked in between ski trips and seasons. Keep it up!" The winner of our Vallon goggles competition is Dominic Hales: “Loved listening to Episode 237 about the Dolomites. We just got our photos from a trip in Val Gardena and surely can't be a more photogenic place.” There are now 251 episodes of The Ski Podcast to catch up with and 185 of those were listened to in the last week.  You can find old episodes in our back catalog at theskipodcast.com where you can find your next podcast to listen to.  If you like the podcast, there are three things you can do to help:    1) Follow us. Just take a look for that button and press it now  2) Give us a review or just leave a comment on Apple Podcasts or Spotify  3) Book your ski hire with Intersport Rent using the code ‘SKIPODCAST' or take this link You can follow me @skipedia and the podcast @theskipodcast. You can also follow us on WhatsApp for exclusive material released ahead of the podcast. 

C'est donc "Le Comte de Monte-Cristo" qui est le grand gagnant du concours RTL. Nous vous proposions d'élire votre film préféré, alors que la 50e cérémonie des Césars a lieu ce soir. Les deux réalisateurs du film, Matthieu Delaporte et Alexandre de la Patellière, sont avec nous.

Artus, Gilles Lellouche, Benjamin Lavernhe, les réalisateurs du "Comte de Monte Cristo" : Stéphane Boudsocq les a rencontrés tous rencontrés. Écoutez-les à 5 jours de la 50e cérémonie des César. La musique Disco a droit à une expo événement. Nous la visitons avec Laurent Marsick en compagnie du pionnier Marc Cerrone. La romancière Agnès Martin-Lugand publie "Les Renaissances". Elle nous présente son livre avec Antoine Leiris. L'édito télé de Isabelle Morini Bosc : coup de cœur pour l'émission de M6 "Qui veut être mon associé ?" Dans notre playlist avec Marie Gicquel : les nouveaux singles de Aya Nakamura, Michel Polnareff et Matthieu Chedid. Ecoutez Laissez-vous tenter avec Le Service Culture du 23 février 2025.

durée : 00:48:20 - Grand bien vous fasse ! - par : Ali Rebeihi - Le philosophe André Comte-Sponville publie à 72 ans ses ultimes études, "L'opportunité de vivre" (PUF). L'occasion de revenir avec lui sur les messages des stoïciens, d'Epicure et de Montaigne.

La fidélité

durée : 00:30:18 - Une histoire particulière - par : Michel Pomarède - De Marenches a laissé entendre qu'il avait été un grand résistant et un grand combattant de la seconde guerre mondiale. C'est un peu…romancer la réalité. - réalisation : Benjamin Hû

durée : 00:30:18 - Une histoire particulière - par : Michel Pomarède - De Marenches a laissé entendre qu'il avait été un grand résistant et un grand combattant de la seconde guerre mondiale. C'est un peu…romancer la réalité. - réalisation : Benjamin Hû

durée : 00:30:44 - Une histoire particulière - par : Michel Pomarède - La scène se passe sur le plateau d'Apostrophe. Nous sommes le 5 septembre 1986. Ce soir-là Bernard Pivot reçoit le Comte Alexandre de Marenches. - réalisation : Benjamin Hû

durée : 00:30:44 - Une histoire particulière - par : Michel Pomarède - La scène se passe sur le plateau d'Apostrophe. Nous sommes le 5 septembre 1986. Ce soir-là Bernard Pivot reçoit le Comte Alexandre de Marenches. - réalisation : Benjamin Hû

En el butlletí d'aquesta setmana hi trobareu notícies relacionades amb les proves de nivell d'expressió escrita que es passen a l'escola, així com de les proves diagnòstiques de 4t i de final d'etapa de 6è. També parlem sobre l'esquiada de les classes de 5è a Port del Comte, el taller d'identitat sexual i canvis puberals, i les entrevistes radiofòniques de 4t que faran a personatges famosos de la nostra vila.  L'entrada Les notícies de l’Utrillo ha aparegut primer a Radio Maricel.

Aujourd'hui dans "Punchline", Laurence Ferrari et ses invités débattent de l'actualité en compagnie du philosophe, André Comte-Sponville.

durée : 00:20:39 - L'interview de 9h20 - par : Léa Salamé - Le philosophe André Comte-Sponville évoque son livre "L'opportunité de vivre", peut-être son dernier dit-il, car actuellement sans projet pour la première fois de sa vie. Une vie dont il cherche désormais à vivre pleinement.

durée : 02:58:57 - Le 7/10 - par : Nicolas Demorand, Léa Salamé, Sonia Devillers, Anne-Laure Sugier - Ginette Kolinka, Gérard Davet et Fabrice Lhomme, Nastasia Hadjadji et Thibaut Boutrou, André Comte-Sponville, Lyas sont les invités de la matinale.

durée : 00:20:39 - L'interview de 9h20 - par : Léa Salamé - Le philosophe André Comte-Sponville évoque son livre "L'opportunité de vivre", peut-être son dernier dit-il, car actuellement sans projet pour la première fois de sa vie. Une vie dont il cherche désormais à vivre pleinement.

Have you ever considered doing TNR (Trap Neuter Return) or maybe fostering some cats while they wait for their furr-ever homes? There are many well-known people in the world of TNR and fostering, like Sterling Davis the Trap King and Kitten Lady Hannah Shaw. They commit their days to these tasks, and we are thankful for them. But what if you want to help, but you can't commit to helping full time? Or you don't have resources? Rita and Linda are joined by Rachel Comte, who decided to help when and where she can. She's here with Rita and Linda to discuss how she is helping by doing some part time TNR and fostering and making a big impact in her neighborhood. EPISODE NOTES: Rachel Comte - TNR and Fostering

durée : 01:30:02 - Les Nuits de France Culture - par : Philippe Garbit - Le vampire est l'ombre portée de toute société. Ce "Ciné Club" dédié à Dracula retrace la saga draculienne depuis ses débuts en 1922 jusqu'à ses dernières incarnations sous la férule de Coppola en 1992. Soixante-dix années se sont écoulées qui ont vu muter sur l'écran l'image du Comte transylvanien. - réalisation : Virginie Mourthé - invités : Gilles Menegaldo Professeur émérite de littérature anglo-saxonne et de cinéma à l'Université de Poitiers; Serge Brussolo

A côté des triomphes mérités pour Dune 2, Vice Versa 2 et le remake du « Comte de Monte-Cristo », quels films originaux, inattendus, interpellants, ont réussi à créer la surprise en 2024 ? Quels artistes ont secoué la scène musicale avec des propositions incroyables ? Les découvertes musicales : -Cindy Lee – Dracula -Peso Pluma - Las Morras -Becky and the Birds - Only music makes me cry now -Fred Again, Japanese House - Backseat -Mica Levi - 'The Zone of Interest' Soundtrack Merci pour votre écoute La semaine des 5 Heures, c'est également en direct tous les jours de la semaine de 19h à 20h00 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de La semaine des 5 Heures avec les choix musicaux de Rudy dans leur intégralité sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/1451 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.

Augusto Comte, padre del positivismo y fundador de la sociología, propuso que el conocimiento humano evoluciona en tres estados: teológico, metafísico y positivo, centrado en la ciencia y los hechos observables. Su legado influyó en la ciencia, el marxismo y el capitalismo, pero su visión lineal y reduccionista fue ampliamente criticada.

For the Season 1 Finale we have the godfather of effortless style. All roads in skiing lead back to this man. This week we have the one and only Mickael Deschenaux-Comte. For the New Heads who don't know: Watch any early 2000s movie and you will see a timeless segment from Mick. This is the dude that brought t-shirt shiesty to skiing. The dude that named Henrik E-Dollo. The dude that introduced Iberg to spliffs! Mick's influence on the sport cannot be overstated. Don't miss this one! @TwoPlankerNetwork ⁠https://www.instagram.com/twoplankernetwork/ @inspiredmediatv ⁠https://www.instagram.com/inspiredmediatv/ @mickcomte https://www.instagram.com/mickcomte/ Use code "inspired20" for 20% off all individual items on https://darkhorsehempfarms.com/home Intro: @WhiteBlackz https://www.instagram.com/whiteblackzmusic7/ Spotify: ⁠⁠https://open.spotify.com/show/4DoaAVYv69xAV50r8ezybK⁠ ⁠⁠⁠ Apple Podcast: ⁠⁠https://podcasts.apple.com/us/podcast/two-planker-podcast/id1546428207⁠⁠ YouTube:⁠⁠⁠ ⁠https://www.youtube.com/channel/UCRvAYQSF4s3bsC887ALAycg⁠⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/twoplanker/support

Hosted by The Lower Manhattan Historical Association, Sons of the Revolution in the State of New York, Inc. and its Fraunces Tavern Museum, and cultureNOW. Each October the Lower Manhattan Historical Association celebrates two of the Continental Army's most decisive Revolutionary War victories, the battles of Saratoga and Yorktown. Both General Horatio Gates, the commanding general at the Battle of Saratoga, and Alexander Hamilton, a key aide to General George Washington and the leader the climactic charge against redoubt 10 at the Battle of Yorktown, are buried at Trinity Churchyard. Additionally, the Battle of Yorktown is symbolic of the United States of America's oldest military alliance. Powerful French land forces, commanded by the Comte de Rochambeau, and an equally important and sizable French fleet, commanded by the Comte de Grasse, played a crucial role in the defeat and capitulation of the British army. Participants include the Sons of the Revolution in the State of New York, Inc. Color Guard; Abby Suckle, Vice President Lower Manhattan Historical Association & President cultureNOW; Ambrose Madison Richardson III, President, Lower Manhattan Historical Association; James S. Kaplan, Former President/co-Founder Lower Manhattan Historical Association; Elizabeth Kahn Kaplan, The Alexander Hamilton Awareness Society; Camille Letournel, French Cadet, United States Military Academy at West Point; Alain H. Dupuis, President of the Federation of French War Veterans, 2nd Vice President & Deputy General Delegate, Le Souvenir Francais in the United States. Also includes the inaugural presentation of the Frederic P. Vigneron Award to the Federation of French War Veterans.* This program was recorded on Saturday, October 19, 2024. *The views of the speakers are their own and do not necessarily represent the views of Sons of the Revolution℠ in the State of New York, Inc. or its Fraunces Tavern® Museum.

L'info du matin - Les nouvelles traditions entrant au patrimoine immatériel de l'Unesco : le saké, les traditions autour du henné et la fabrication de l'Attiéké. Le winner du jour - Un automobiliste évite de payer le péage pendant des mois grâce à quelques centimes et des mots doux. - Des policiers américains tentent en vain de capturer un cochon pendant des heures, une scène cocasse filmée par leurs caméras corporelles. Le flashback d'octobre 1995 - La sortie de trois albums mythiques : "Made in Heaven" de Queen, "Tragic Kingdom" de No Doubt et "(What's the Story) Morning Glory?" d'Oasis. Les savoirs inutiles - Dans le village polonais de Suloszowa, les 6000 habitants vivent tous dans une seule rue. 3 choses à savoir sur Paul McCartney Qu'est-ce qu'on fait ? - À Lyon, la fête des lumières fête sa 25e édition jusqu'au 8 décembre. - À Strasbourg, le Markerland Festival ce week-end rassemble des artisans dans une ambiance conviviale et gratuite. Le jeu surprise - Régis de Coëtmieux gagne un séjour pour 4 personnes au parc Astérix. La banque RTL2 - Camille de Beauvais gagne 200 euros. - Alice de Fontenay-le-Comte gagne 1400 euros.

L'info du matin - Les Beatles et la science : deux chercheurs ont décomposé 70 chansons pour déterminer qui, entre John Lennon et Paul McCartney, a écrit leurs plus grands succès. Le winner du jour - Un client découvre un Mars sans dessin sur le dessus, résultat d'une erreur de production. Il est dédommagé de 2,5 euros. - Un Américain ayant fait fortune dans la cryptomonnaie organise une chasse au trésor avec près de 3 millions d'euros en jeu. Cinq coffres sont cachés aux États-Unis. Le flashback de mars 1999 - "Tu m'oublieras" de Larusso était numéro 1 des ventes. - Axelle Red dominait le top albums avec "Toujours Moi". Les savoirs inutiles - Pablo Picasso portait un nom complet incroyablement long : Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Mártir Patricio Ruiz y Picasso. Il mélangeait les noms de famille de ses parents et des saints. 3 choses à savoir sur le festival des Vieilles Charrues Le jeu surprise - Cedrick de Béville-le-Comte près de Chartres gagne un séjour pour 4 personnes au parc Astérix. La banque RTL2 - Caroline de Nort-sur-Erdre près de Nantes gagne 250 euros. - Fanny de Jouy-le-Moutier dans le 95 gagne 300 euros.

Mage isn't the only game with weird metaphysics. Frank and Tormsen from 33.3 FM join to talk the metaphysics of Unknown Armies, their favorite supplements and magic types, and of course the Comte de Saint Germain. 33.3FM on Soundcloud Unnatural Phenomena - Unknown Armies resource site Atlas Games - Official purveyor of Unknown Armies Break Today - Supplement about Mak Attax Unknown Armies 2e Core One Shots for Unknown Armies 1e Unknown Armies Discord

Subscribe, Rate, & Review on YouTube • Spotify • Apple Podcasts✨ Support & Participate• Become a patron on Substack (my preference) or Patreon (15% off annual memberships until 12/21 with the code 15OFF12)• Make a tax-deductible donation to Humans On The Loop• Original paintings available as thank-you gifts for large donors• Hire me as an hourly consultant or advisor on retainer• Buy the books we discuss from Bookshop.org• Join the Future Fossils Facebook group• Join the Holistic Technology & Wise Innovation and Future Fossils Discord servers• Buy the show's music on Bandcamp — intro “Olympus Mons” from the Martian Arts EP and outro “Sonnet A” from the Double-Edged Sword EP, coda “You Don't Have To Move → 8:33” from The Age of Reunion✨ About This EpisodeIn this penultimate episode of Future Fossils before we transform into Humans On The Loop, I bring two of my favorite guests and comrades in the so-called “Weirdosphere” back for their first-ever conversation together — and it's a real banger! Probably the most inspired and provocative conversation I've ever had on the nature of time and human creativity.Joining me for this trialogue are Eric Wargo, author of From Nowhere: Artists, Writers, and the Precognitive Imagination (previously on FF episodes 117 and 171), and J.F. Martel, author of Reclaiming Art in The Age of Artifice and co-host (with Phil Ford) of Weird Studies podcast (previously on FF episodes 18, 71, 126, and 214). Our discussion centers on the concept of precognition — the ability to perceive future events — as the mechanism of all human creative activity. Both Eric and J.F. argue that art, like shamanistic practices, acts as a means of accessing and expressing precognitive experiences, often manifesting as seemingly coincidental events or uncanny correspondences between art and reality. We talk about the role of trauma and dissociation in stimulating creative breakthroughs — why there seems to be a direct biological and psychological link between suffering, displacement, and the discovery of radical new insights and modes of being. Can we create without destroying, or are rupture and connection one thing?We also examine how emerging media through the ages have shaped our experience of time. Starting with the earliest Paleolithic artifacts and the role of cave art in facilitating or encoding ecstatic experience, we trace the evolution of art through to how the development “the cut” in modern cinema led to new ideas of causality. Each new medium provides novel ways of thinking about leaps across space and time, and their study offers new points of entry into a unifying philosophy of rupture and discontinuity.Lastly, we explore some of my own most potent and disquieting precognitive experiences in light of Eric's argument that the UFO phenomenon may actually be the braided precognitive experiences of future human beings and symbiotic artificial intelligences — a thesis that sheds new light on everything from the lives and work of Philip K. Dick, Jacques Vallée, Carl Jung, Andrei Tarkovsky, to The Book of Ezekiel.Where we're going, we won't need roads…Speaking of art, UFOs, psychedelic experience, and time machines, here's the standalone music video for the song we discuss in this episode that was inspired by my UFO (or were they time machine) experiences in 2007. I threw it back in as a coda to the episode but in case you want to view it in its original resolution and in the context of the entire album, here you go. The “8:33” section starts around 3:58:✨ ChaptersChapter 1: Introduction (0:00:00)Chapter 2: Precognitive Imagination in the Arts (0:08:57)Chapter 3: The Personal is Precognitive (0:13:34)Chapter 4: The Cut and the Leap (0:22:15)Chapter 5: The Brain as a Fast-Forwarder (0:30:38)Chapter 6: Campfires, TVs, and Flickering Consciousness (0:38:57)Chapter 7: The Trauma of Truth (0:48:04)Chapter 8: Prophecy and The Trash Stratum (0:54:33)Chapter 9: UFOs as Time Machines, The Disappointment of Destiny (1:14:39)Chapter 10: Closing and News on Upcoming Releases (1:20:28)✨ Other MentionsAn inexhaustive list of people, places, and key works mentioned in this episode.* Morgan Robertson: Author of a novel that is believed to have predicted the sinking of the Titanic.* Hunter S. Thompson: Author and journalist.* William Shakespeare: Playwright who wrote Macbeth.* Comte de Lautréamont: A French poet who talked about "the cut" in his work.* Jean Epstein: Author of the book on the philosophy of cinema, The Intelligence of a Machine.* Carl Jung: Psychoanalyst who developed the concept of synchronicity.* Sergei Eisenstein: Filmmaker, and film theorist.* Gilles Deleuze: Philosopher who argued that “difference is more fundamental than identity.”* Cy Twombly: Artist whose work is discussed by Eric Wargo.* Andrei Tarkovsky: Filmmaker who wrote a diary entry quoted in From Nowhere.* Philip K. Dick: Science fiction author whose experiences with precognition and synchronicity are discussed in From Nowhere.* Jacques Vallée: Scientist and ufologist, author of a book about the UFO phenomena called Passport to Magonia.* Diana Pasulka: Academic who studies the UFO phenomenon.* Johnjoe McFadden: Scientist who works on quantum biology.* Henri Bergson: Philosopher known for his work on time and consciousness, is quoted as saying “the universe is a machine for the making of gods.”* Octavia E. Butler: Science fiction author.* Harlan Ellison: Science fiction author.* James Cameron: Filmmaker who directed The Terminator.* Max Simon Ehrlich: Screenwriter who wrote the Star Trek episode The Apple.* Megan Phipps: Guest on the Future Fossils podcast (episode 214).* Michelangelo: Guest on the Future Fossils podcast who discussed Paisley Ontology and precognition with Michael Garfield.* Björk: Musician, whose song "Modern Things" is mentioned.* Greg Bishop: UFO historian.* Terence McKenna: Ethnobotanist and writer who coined the term "immanentize the eschaton.".* Phil Ford: Co-host of the Weird Studies podcast.* Richard Wagner: Composer who was arrested in 1837.* Zozobra: a hundred-year-old effigy burn in Santa Fe, NM.* Esalen Institute: the center of the Human Potential movement, in Big Sur, CA.* The Fort-Da Game: A game observed by Sigmund Freud in which a child throws a toy away and then retrieves it, demonstrating an understanding of object permanence.* The Third Man Factor: A phenomenon experienced by explorers and mountain climbers in extreme survival situations, involving the feeling of a presence accompanying them. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit michaelgarfield.substack.com/subscribe

El libro es un relato de terror de la escritora inglesa Margaret Irwin (1889-1967), publicado originalmente en la edición de septiembre de 1930 en la revista The London Mercury, y luego reeditado en la antología de 1935: Madame le teme a la oscuridad. El libro, acaso uno de los mejores cuentos de Margaret Irwin, relata la historia del señor Corbett, un abogado pusilánime que comienza a traducir un extraño libro en latín que descubre en su biblioteca. A medida que avanza con la tarea, su percepción de la realidad empieza a cambiar, y un súbito instinto homicida se apodera de él. SPOILERS. Aburrido de su historia de detectives, el señor Corbett busca una lectura más fuerte a la hora de dormir. La estantería del comedor tiene una colección variada, pero nada le resulta apetecible. De repente vislumbra un libro antiguo con cierres oxidados, quizás uno de los «supervivientes moribundos» de la biblioteca de un tío clerical. Parece una buena lectura para calmar sus nervios alterados, excepto... El desayuno lo encuentra mejor, hasta que se da cuenta de que no hay ningún espacio en la estantería. Jean, la hija menor, dice que nunca hay un hueco en el segundo estante; no importa cuántos libros se saquen, siempre se vuelve a llenar. El señor Corbett comienza a disfrutar diseccionando autores venerados hasta sus motivaciones más básicas. ¡Qué lástima que sea solo un abogado pusilánime; con su mente aguda como la suya, debería haber alcanzado la grandeza! Incluso su familia es indigna: la señora Corbett es aburrida; su hijo, un insolente; sus hijas, insípidas. De modo que el señor Corbett se encierra en sus libros, buscando «alguna clave secreta de la existencia». Uno de los tomos teológicos de su tío lo intriga. Por desgracia, está escrito en latín. Sin embargo, toma prestado el diccionario de latín de Dickie y ataca el manuscrito con «ansiosa laboriosidad». El manuscrito, anónimo y sin título, termina abruptamente en páginas en blanco. Corbett reflexiona sobre sus detalles y copia los símbolos marginales. Un frío enfermizo lo abruma. Toda la familia comienza a reaccionar de forma extraña. Mike el perro, lo ve como si fuera un enemigo. La esposa y los hijos están alarmados por una marca roja como una huella digital en la frente del señor Corbett, pero este no puede verla en el espejo. Todas las noches, el señor Corbett sigue traduciendo el libro, aparentemente el registro de una sociedad secreta involucrada en prácticas oscuras y viles. Pero en el hedor a corrupción que emana de las páginas amarillentas reconoce el olor del conocimiento secreto. Una noche, Corbett nota un nuevo párrafo, escrito con tinta moderna, pero con la misma caligrafía del siglo XVII: «Continúa, tú, los estudios interminables». Corbett intenta rezar. En ese momento entra la señora Corbett, temblando. ¿No escuchó su marido esa risa inhumana, demoníaca? El libro tiene instrucciones con tinta fresca todos los días, generalmente sobre inversiones descabelladas. Para el envidioso asombro de los colegas de Corbett, las inversiones dan sus frutos. Pero el libro también ordena a Corbett que cometa ciertas blasfemias. Una noche, el libro revela una orden directa: Canem Occide [«mata al perro»]. No hay problema, Corbett está resentido por la nueva aversión del animal hacia él. Pero eventualmente el libro continúa emitiendo órdenes cada vez más atroces, como Infantem Occide [«mata a la niña»]. El libro se refiere a Jeannie, su hija favorita. Una atrocidad, sin dudas, pero si está escrito en el libro... En varias de sus historias H.P. Lovecraft proporciona una bibliografía de libros prohibidos llenos de contenido arcano y aterrador. En la parte superior de la lista se encuentra el temido Necronomicón, pero también el De Vermis Mysteriis de Ludvig Prinn, el Cultes des Goules del Comte d'Erlette y el Unaussprechlichen Kulten de von Junzt, entre otros. Estos son libros raros, libros que han obtenido un número reducido pero devoto de lectores a lo largo de los siglos. Esta lista, sin embargo, no menciona el manuscrito de Margaret Irwin, que nada tiene que envidiarle a los libros apócrifos de los Mitos de Cthulhu. El libro establece su historia en un hogar de clase media alta, en medio de entornos familiares y rutinas domésticas. El señor Corbett, el patriarca de la casa, es un ávido lector, pero últimamente su actitud hacia sus libros favoritos se ha vuelto crítica y hastiada. Se obsesiona con el libro anónimo, que se vuelve más fácil de leer a medida que pasa más tiempo con él, mientras se desintegran sus lazos familiares. En este sentido, El libro de Margaret Irwin es notable en el uso de pequeños detalles para crear presagios siniestros. Su documentación sutil y llena de suspenso le añade una nueva dimensión al convincente e inquietante colapso psicológico del protagonista. Margaret Irwin, escribiendo casi al mismo tiempo que Lovecraft garabateaba notas sobre el Necronomicón, presenta el que debería ser el más prohibido de los libros apócrifos: un volumen que no solo se abre camino en la mente de sus lectores, sino que corrompe otros libros. En efecto, los libros favoritos del señor Corbett [Austen, Dickens, Brontë, Stevenson] parecen estar siendo afectados por la lectura de este manuscrito. Quizás realmente haya cosas terribles debajo de la superficie de cualquier libro, quizás todos están embrujados, llenos de «secreciones mórbidas». El libro de Margaret Irwin logra ese estado de ánimo que Lovecraft describía como «cierta atmósfera de falta de aliento y temor inexplicable a las fuerzas externas desconocidas». El protagonista no solo se da cuenta de lo inquietante, a pesar de su escepticismo, sino que llega a ver su mundo ordinario como una ilusión. Su misma racionalidad se quiebra, apoyando su descenso a la locura. El manuscrito utiliza la propensión de todas las personas a la arrogancia para apoderarse de ellas. El señor Corbett no es un estudioso del ocultismo. Es abogado, un simple asesor financiero. Pero lo que le sucede, aclara la historia, puede pasarle a cualquiera. Una y otra vez, Margaret Irwin rechaza la idea de que haya algo especialmente vulnerable en Corbett [o que el lector pueda imaginarse a sí mismo especialmente invulnerable]. Todo lo que hace el protagonista es completamente humano. Por otro lado, El libro describe rituales viles que la mayoría de los autores exotizarían; Lovecraft probablemente lo habría atribuido al culto perverso de mestizos y orientales. En cambio, Margaret Irwin nos dice que nadie es inmune. Y, sin embargo, Corbett finalmente se resiste y se sacrifica por un sentimiento que esa lectura blasfema no ha logrado eliminar por completo. Esto tampoco es particularmente especial, no se limita a algún subconjunto de la humanidad. Todo el mundo es vulnerable, pero todos tienen la opción de elegir. El libro solo nos brinda la mirada del señor Corbett, pero la historia es consciente de las perspectivas de otras personas sobre lo que le está sucediendo, a veces directamente, a veces a través de reacciones. Son pocos los autores que, como Margaret Irwin, son capaces de comprender cómo las personas pueden ser persuadidas para adoptar comportamientos terribles y, al mismo tiempo, seguir creyendo que son buenas personas. Cada paso del descenso del señor Corbett suena verdadero y, por lo tanto, el horror suena verdadero. Aunque carece de un nombre exótico como el Necronomicón, el libro de Margaret Irwin tiene un efecto tan devastador en el lector como los infames grimorios del multiverso lovecraftiano. El veneno del manuscrito también es exquisitamente insidioso: infecta el contenido de los libros vecinos con su propio cinismo. Incluso los libros ilustrados de los niños se ven afectados. Corbett inicialmente se desanima por la forma en que el libro deforma su sensibilidad, pero las alegrías del cinismo crecen en él. El libro aprovecha ese punto débil. Convence a Corbett de que es extraordinario, subestimado, pero eso cambiará. El libro lo conducirá a su legítima eminencia, si Corbett se deshace de sus tontas inhibiciones, incluidos su esposa e hijos. Los libros son preciosos, o peligrosos, porque transmiten ideas, conocimientos, que luego se combinan con las propias ideas y conocimientos del lector para volverse más valiosos [o peligrosos]. En el caso del señor Corbett, la recombinación es tan peligrosa que su única salida es quemar el libro en un último paroxismo. Una victoria trágica para la Luz, hay que decirlo, pero victoria al fin. Al final, Corbett no puede matar a su propio hija. Arroja el tomo maldito a la chimenea. Como resultado, su cuerpo se descubre más tarde. Se supone que se suicidó, pero las marcas de dedos descubiertas alrededor de su cuello sugieren una explicación sobrenatural de su muerte y todos los eventos anteriores: la mano cortada del sueño de su hija lo ha matado por desobediencia. Lo horrible de esta historia no es tanto lo sobrenatural en sí mismo como la disposición del ser humano [de algunos, al menos] a obedecer órdenes aberrantes. La segunda mitad tiene ciertas similitudes con La araña (Die spinne) de H.H. Ewers, sobre todo en cómo este vacío parece susurrar oscuras diabólicas al protagonista, exigiendo una obediencia absoluta. Desde un punto de vista político, es interesante que Corbett invierta en el comercio de marfil africano, lo que probablemente signifique que invirtió en el Congo, donde los belgas fueron responsables de abusos genocidas a principios de siglo. Esas atrocidades incluyeron cortar las manos a los esclavos rebeldes. En este contexto, es sugerente que una mano cortada asesine a Corbett, quizás un guiño al lector de 1930 bien informado sobre lo que estaba sucediendo en África, aunque es posible que esto, una vez más, sea un divague de El Espejo Gótico y el cuento de Margaret Irwin no admita tal interpretación. Análisis de: El Espejo Gótico http://elespejogotico.blogspot.com/2021/08/el-libro-margaret-irwin-relato-y.html Texto del relato extraído de: http://elespejogotico.blogspot.com/2021/08/el-libro-margaret-irwin-relato-y.html Musicas: - 01. Murder in the Dark - Jon Bjork (Epidemic) - 02. Beast by Beast - Edward Karl Hanson (Epidemic) Nota: Este audio no se realiza con fines comerciales ni lucrativos. Es de difusión enteramente gratuita e intenta dar a conocer tanto a los escritores de los relatos y cuentos como a los autores de las músicas. ¿Quieres anunciarte en este podcast? Hazlo con advoices.com/podcast/ivoox/352537 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The Phantom of the Opera by Jennifer Basset原文Chapter 8: Where is Christine Daae?On Saturday morning,Comte Phillipe looked across the breakfast table at his brother."Don't do it,Raoul, please. All this talk about ghosts and phantoms. I think the girl is mad.""She's not mad,and I'm going to marry her." Raoul said."She's only a little opera singer" Phillipe said unhappily. "And she's very young. Are you still going to love her in ten or twenty years time?Raoul drank his coffee and did not answer.There were two more unhappy faces in the Opera House, too.The directors now understood about O.G.They didn't want anymore accidents."It's a lot of money," Mr. Firmin said unhappily.He thought for a minute."What about some flowers in Box 5? Madam Giry says that O.G likes flowers.""O.G. can bring his own flowers!" shouted Mr. Armand.The evening began well.The chandelier was now back in place, with new ropes.All Paris was in the Opera House.Everybody wanted to hear Christine Daae's voice again.People also knew about the love story between Christine Daae and the Vicomte de Chagny.There are no love secrets in Paris!People watched the Comte and the Vicomte Box 14 with interest.Young men from families like de Chagny do not marry opera singers.When Christine came onto the stage, her face was white, and she looked afraid.But she sang like an angel.Ah, what a voice!All Paris was in love with Christine Daae.She began to sing the famous love song.Suddenly, every light in the Opera House went out.For a second, nobody moved or spoke.Then a woman screamed, and all the lights came on again.But Christine Daae was no longer on the stage!She was not behind the stage. She was not under the stage.Nobody could find her.The Opera House went mad.Everybody around here and there, shouted and called.In the director's office, people ran in and out.The police came and asked questions.But nobody could answer the questions.Mr. Armand got angry and shouted, and Mr. Firmin told him to be quiet.Then, Madame Giry arrived in the office with her daughter, Meg."Go away,woman! " Mr. Armand shouted."Monsieur,there are three people missing now!" Madame Giry said. "Meg, tell the directors your story."This was Meg story."When the lights went out, we were just behind the stage. We heard a scream - I think it was Christine Daae's voice. Then the lights came back on, but Christine wasn't there! We were very afraid, and we began to run back to our dressing room. There were people running everywhere. Then we saw the Vicomte de Chagny. His face was red, and he was very angry. "Where's Christine? Where's Christine?"He shouted. Suddenly, the Persian came up behind him and took his arm. He said something to the Vicomte and they went into Christine Daae's dressing room.….""Yes? And then?" Mr. Firmin said quickly. "What happened next?""Nobody knows!" Meg's face was white. "We looked into Christine Daae's dressing room, but ... but that...was nobody there!"翻译第八章:克丽斯廷·达埃在哪里?星期六早晨，菲利普伯爵隔着早餐桌望着他的哥哥。“别这样，拉乌尔，求你了。一直在说鬼魂和幽灵。我想这女孩疯了。”“她没疯，我要娶她。”拉乌尔说。“她只是个小歌剧演员。”菲利普不高兴地说。“她还很年轻。十年二十年后你还会爱她吗?拉乌尔喝了咖啡，没有回答。歌剧院里还有两张不高兴的脸。董事们现在理解了O.G.他们不想再发生意外。“这是一大笔钱，”菲尔曼先生不高兴地说。他想了一会儿。“在5号盒子里放些花怎么样?”吉丽夫人说O.G.喜欢花。”“O.G.可以带他自己的花来!”阿尔芒先生喊道。这个晚上开始得很顺利。枝形吊灯现在用新绳子放回了原位。整个巴黎都聚集在歌剧院。每个人都想再听到克丽斯廷·达埃的声音。人们也知道克里斯汀·达埃和沙尼子爵之间的爱情故事。巴黎没有爱情的秘密!人们饶有兴趣地看着伯爵和子爵包厢。像德·沙尼这样家庭出身的年轻人不会和歌剧演唱家结婚。当克里斯汀走上舞台时，她脸色苍白，看上去很害怕。但她唱得像个天使。啊，多么美妙的声音!整个巴黎都爱上了克丽斯廷·达埃。她开始唱那首著名的情歌。突然，歌剧院里所有的灯都熄灭了。一时间，没有人动，也没有人说话。然后一个女人尖叫起来，所有的灯又亮了。但是克丽斯廷·达埃已经不在舞台上了!她不在舞台后面。她不在舞台下面。没人能找到她。歌剧院都疯了。周围的每个人都喊着。在主任办公室里，人们进进出出。警察来问了些问题。但是没有人能回答这些问题。阿尔芒先生生气了，大喊大叫，菲尔曼先生叫他安静。接着，吉丽夫人带着她的女儿麦格来到了办公室。“走开，女人!”阿尔芒先生喊道。“先生，现在有三个人失踪了!”吉丽夫人说。“梅格，把你的故事告诉主管们。”这就是梅格的故事。“当灯光熄灭时，我们就在舞台后面。我们听到一声尖叫——我想那是克丽斯廷·达埃的声音。然后灯又亮了，但是克丽丝汀不在那儿!我们非常害怕，开始跑回更衣室。到处都有人在跑。他们看见了沙尼子爵。他的脸涨得通红，非常生气。“克里斯汀在哪里?克里斯汀在哪里?”他喊道。突然，波斯人走到他身后，抓住他的胳膊。他对子爵说了些什么，他们就走进了克丽斯廷·达埃的化妆室.....”“是吗?然后呢?”菲尔曼先生很快地说。“接下来发生了什么?”“没人知道!”麦格的脸变白了。“我们查看了克丽斯廷·达埃的化妆间，但是……但这…那里一个人也没有!”

Patrick Bruel déplore son absence dans la future comédie musicale du Comte de Monte-Cristo. Pourtant, son rôle était tout trouvé... Tous les jours, retrouvez en podcast les meilleurs moments de l'émission "Ça peut vous arriver", sur RTL.fr et sur toutes vos plateformes préférées.

Cette semaine, j'ai eu l'immense plaisir de recevoir l'humoriste Yassine Belattar. Préparez-vous à découvrir un Yassine authentique, touchant et loin de l'image qu'on a souvent de lui à la télévision.Nous avons plongé dans des sujets profonds : son parcours, son enfance, la quête d'identité, et le climat actuel en France. Il a aussi partagé son ressenti sur sa rupture amicale avec l'animateur Cyril Hanouna, qui l'a beaucoup affecté. Il a également fait une belle déclaration à son père et à ses pairs, qui m'a vraiment touché. ❤️ (je suis trop fier de cette rime) les frangins et les frangines comme il les appelle préparez vous à lâcher une petite larme pour sa dédicace : Rokhaya Diallo, Djamil Le Shlag, Marwan Mohammed, le Comte de Bouderbala, Faiza Guene, Blanche Gardin, Hakim Jemili, Malik Bentalha, Fary, Bouder et Al'Pach ! Bien sûr, nous avons évoqué le succès de son podcast "Les 30 glorieuses", que j'affirme être le meilleur antidépresseur au monde !

Cinquième épisode d'une série sur l'histoire de la connaissance et de l'épistémologie de l'antiquité à nos jours.19è et début 20è siècle : Comment la science et la philosophie ont chamboulé notre perception de la réalité ?

durée : 00:58:06 - Le Souffle de la pensée - par : Géraldine Mosna-Savoye - Aujourd'hui, pour la première du "Souffle de la pensée", le philosophe André Comte-Sponville vient nous parler de la "Lettre à Ménécée" d'Épicure, texte qui a marqué sa jeunesse et a bouleversé sa pensée. Mais la conception épicurienne du bonheur peut-elle vraiment servir de guide de vie ? - invités : André Comte-Sponville Philosophe français

Dans le premier épisode de cette conversation avec Nicolas, il nous a parlé de sa lecture du Comte de Monte-Cristo, le célèbre roman d'Alexandre Dumas qu'il est en train de lire, mais aussi des élections européennes. Reprenons la conversation.  www.onethinginafrenchday.com