Podcasts about Emil Cioran

O tom impactante e avassalador do niilismo para não deixar um único sistema ou constructo de pé muitas vezes é a ante sala de experimentarmos nosso próprio sensorial e um estado gnósico sem paralelos... o que nos leva a clara visão, olhar adamantino e um dos tópicos mais preciosos do termo Dragão entre os povos dos Balcãs, não é mesmo?E sem dúvida Emil Cioran e suas obras podem nos oferecer uma visão do abismo como nenhum autor jamais conseguiria. Debaixo de seu estilo decadent avec elegance oculto no sotaque transilvânico temos muito a aprender com ele e sua obra esconde nuances...Seguimos a jornada sob as asas poderosas do Dragão, amparados na mítica eslava deste contexto, razoavelmente inédita no Brasil e em conteúdo em idioma português. Hoje é a vez das linhagens do Dragão na bruxaria tradicional dos Balcãs e através do Leste Europeu...

"La passione per la musica è già da sola una confessione. Sappiamo di più su uno sconosciuto appassionato di musica che su qualcuno che alla musica è insensibile e che incontriamo ogni giorno".(Emil Cioran)

durée : 00:52:01 - Répliques - par : Alain Finkielkraut - Pénétré par "le sentiment d'être tout et l'évidence de n'être rien", le philosophe et écrivain roumain Emil Cioran (1911-1995) avait pris ses quartiers dans un pessimisme radical. Une relecture de l'homme et l'œuvre. - réalisation : Alexandra Malka - invités : Fabrice Luchini Comédien ; Jean-Paul Enthoven Editeur et journaliste

"Het ideale wezen is een engel verwoest door humor." - Nausicaa Marbe vertelt over een zin van de Roemeens-Franse filosoof Emil Mihai Cioran.

Der rumänische Autor E.M. Cioran lebte den Großteil seines Lebens in Paris, verfasste die meisten seiner Werke in französischer Sprache und nannte sich selbst Anti-Philosoph, dessen Fokus auf dem menschlichen Leiden an der eigenen Existenz liegt. Er untermauerte dieses auch in seinem öffentlichen Auftreten. Das ist doch mal was für den Jahresanfang.

Cioran is notorious as the depressive philosopher par excellence. While figures such as Schopenhauer, Ligotti and Benatar have advanced logical arguments for their pessimistic outlook, Cioran's work is completely missing any such justification for his depressive feeling for life. Instead, his work is a lyrical outpouring of his inner life. In this episode we're taking a look at his first and most infamous book, "On the Heights of Despair", written during a bout of insomnia. As his translator, Zarifopol-Johnston argues, the book was an attempt to preserve Cioran's real self by "killing" a literary version of himself. We explore this interpretation of Cioran's work: that it is a means of coping with the madness and sorrow he finds within himself, through lyricism. Ironically, a text that was rumored to have caused many suicides may have preserved Cioran's life.

durée : 01:00:02 - Toute une vie - par : Matthieu Garrigou-Lagrange - Une voix unique, indéfectiblement roumaine, délibérément française. Un "icare de l'existence humaine" (Georges Banu), uniquement admirable dans la chute. Portrait de l'homme derrière les aphorismes philosophiques.

Emil Cioran, filósofo y escritor rumano-francés, exploró el absurdo, el sufrimiento y la fragilidad humana. Con un estilo aforístico y mordaz, obras como Breviario de podredumbre y Del inconveniente de haber nacido destacan su pesimismo brillante. Su vida austera en París reflejó su rechazo al progreso y las ilusiones redentoras.

„Kdo se vypisuje na sociálních sítí, páchá hřích,“ pravil Nassim N. Taleb, shodou okolností v jednom tweetu. Slovem hřích poukazuje k původu písma. To je od svých počátků spjaté s náboženstvím, s posvátnou oblastí. Je možné, že jsme ani v kapitalistické společnosti tuto posvátnost zcela nevytěsnili. Jak praví Jules Renard: „Psaní je jediná profese, kde vás nikdo nepovažuje za směšného, když nevyděláváte peníze.“ Proč by mělo být vypisování na Twitteru hříšné? Své k tomu může říct i rumunsko-francouzský filozof a aforistik Emile Cioran. Sice zemřel před vznikem sociálních sítí, ale již ve své době psal o (ne)ctnosti nadmíry, s níž je moderna spjatá. Jak se neuměřenost projevuje? Dobře vysvítá právě na psaní. Od moderny je každý člověk nejen čtenář, potenciálně i autor. Současnost to stvrdila: každý vytváří svůj „obsah“. Často písmenky, kterými toužíme našim názorům propůjčit podstatnost. Lidé prý v moderně podlehli iluzi, že na jejich individualitě a názorech je něco pozoruhodného a neváhají je pečetit ve slovech. To je omyl. Názor je dobrý leda jako východisko k myšlení. Zůstáváme-li u názoru, vypisujeme si klamavou podstatnost, záhy se měníme ve škleb sebe sama. O tom, že je na tom něco nezdravého, že nejsme pro individualitu stvoření, svědčí podle Ciorana únava, která prostupuje celý západní svět. „Moderna stojí na ctnosti nadmíry – odtud naše únava.“ Tak takhle se prý psát nemá. Psaní má i jinou rovinu. Kdo se chce k ní dostat, nezbývá mu než experimentovat. Krutě. Není důvod, proč by jeden měl psát, co si myslí. Dobré je podepsat se pod něco, co si člověk nemyslí, a pak sledovat, co se s ním děje. Jak naivní vkládat do knih vlastní názory. Zajímavější je rozvíjet cizorodá hlediska a čekat, co se stane. Dobří autoři také nepíší proto, aby druhým něco sdělovali, ale aby na napsaném sledovali, jak se dostali do pasti vlastního myšlení, jak je vše, co říkají částečné, jak volá – v nejlepším případě – po „ano, ale…“. Takhle se psát má, ale je to umění. Skoro kaskadérské. Neradno zapomínat na to, že psaní není jen umění, ale i řemeslo. V závěru nového dílu, který uzavírá sérií věnovanou třem dovednostem stěžejním pro humanitní disciplíny, nabízí autorka podcastu Tereza Matějčková několik poznatků z knih o dobrém psaní. Vychází z příruček od Stevena Kinga, Vladimíra Justa a Stevena Pinkera. Posluchač se dozví od Pinkera veskrze cioranovské vhledy: V psaní nekomentujeme sebe sama! Just podává seznam slov, která jsme opakováním ubili – a přesto tyhle nebožtíky dál užíváme, a Steven King zdůrazňuje, že psaní je přepisování. Kapitoly I. Nic, co stojí za to, nelze naučit. [začátek až 10:43] II. Psaní a posvátnost: Dlouhé maily jsou hřích! [10:43 až 17:20] III. Psaní a imitace: Proměňujeme se opakováním [17:20–22:53] IV. Cioran o moderní ctnosti nadmíry [22:53–44:00] V. Jak to, že jsou knihy chytřejší než jejich autoři? [44:00–53:09] VI. Steven King, Vladimír Just a Steven Pinker: Jak psát lépe? [53:09 až konec] Bibliografie Emil Cioran, La tentation d'exister, in: týž: OEuvres, Paris 1995, str. 819–970. Emil Cioran, De l'inconvénient d'être né, in: týž: OEuvres, Paris 1995, str. 1269–1400. Vladimír Just, Slovník floskulí, Praha: Academia, 2003. Steven King, On Writing. A Memoir of the Craft, London: Scribner, 2010 (vyšlo i česky). Tereza Matějčková, „Špionáž světců. K Emilu Cioranovi“, in: táž: Kdo tu mluvil o vítězství? Osm cvičení ve filosofické rezignaci, Praha: Karolinum, 2023, str. 167–197. Steven Pinker, The Sense of Style. The Thinking Person's Guide to Writing in 21st Cetury, London: Penguin, 2014.

In this conversation at the Review of Democracy, Marius Turda – author of the new book În Căutarea Românului Perfect. Specific național, degenerare rasială și selecție socială în România modernă (In Search of the Perfect Romanian. National Specificity, Racial Degeneration, and Social Selection in Modern Romania) – discusses the intersection between eugenics and racism in Romanian nation-building; presents the main historical moments that influenced the evolution of eugenics and racism; and analyzes the influence of interwar debates around eugenics and racism on socialist and post-socialist Romania. Adrian Matus: Most of your scholarship is addressed at reading publics in English and you use academic concepts that are familiar in that language. Your new book adds such academic concepts to the Romanian intellectual discourse to shed light on the coexistence of racism, anti-Semitism, and eugenics. What motivated you to want to write such a book? Were there any special historiographical or conceptual challenges, or maybe even limitations, when writing the book in Romanian and for a Romanian audience? If so, how did you try to tackle them? Marius Turda: If you really want to understand the present, you need to go back to the past. But one should go back to the past in a way that allows the past to speak for itself rather than reinvent it. A lot of good books about Romania that are very interesting theoretically speaking and very provocative conceptually speaking are written from the point of view of adopting a terminology or a methodology which worked in Colonial Studies, Subaltern Studies, Decoloniality and so on, and then try to use this conceptual work to see how it applies to Romania. My strategy, on the contrary, was, first and foremost to tell the story. I want to revive the past through the work of a historian and through the tools historians have at their disposal. Then, the reader can actually encounter what happens and encounter an idea or a concept or an explanation for a social phenomenon through the actual reading rather than through my eyes. I very much hope that there will be a conversation and theoretical debate after this book is published and disseminated about racism and about eugenics. We still do not have a history of Romanian racism. We still do not have a history of the eugenic movements in Romania. Of course, there is the German eugenic movement, the Romanian eugenic movement, and then the Hungarian eugenic movement, but the research on the Romanian one has never been done. An intense theoretical debate about certain crucial moments from the past can only happen once the past is known rather than reinvented. You might remember the conversation the historian Lucian Boia and others had about mythologizing of the past. Now, I could have done something similar to what Lucian Boia did. I could have written a book about Romanian eugenics, biopolitics and racism, demythologizing it as something that is bad,  or something that was alien to Romanians. The outcome would have been completely different because then people would have said that you basically replace one historiographic construction with another. My strategy may be considered very unorthodox because obviously, people did expect me to use a lot of the terminology that I have acquired through my work, to use that kind of English-speaking terminology that is familiar to everyone who is educated in English-speaking universities and to apply that to the Romanian context.  I did not do that in order to see whether there is a fertile ground for a conversation whilst people know exactly how diverse this phenomenon was, how complex it was, and how much it really shaped the debate on national character and national specificity in interwar Romania. If that is the case, then we could have a meta-debate or a meta-theoretical conversation about what it all means. People could come and say this is very descriptive and positivistic. Apart from the introduction, the book does not have any secondary sources. It has 1000 footnotes – and all of them reference primary sources.  Every argument I put would have required 5 to 10 secondary sources – just imagine how the book would have looked like then. My strategy could backfire. People could ask why I did not offer more theoretical background to the book rather than just present this argument in its simplicity. Prior to this, apart from one or two people who knew something about eugenics, I could not have a conversation about what I cover in this book because no one has actually put this historical material together. What would be the point to discuss, for example about disability without having an example of how it was understood in interwar Romania? In the book, I provide the example of  someone who murdered her son and killed herself in a hotel in Bucharest because her son had disability and people were throwing stones at him on the street. In parallel, there were discussions in the Parliament whether to introduce eugenic laws and have premarital certificates, so people with certain diseases would not have children. Through such examples, we can have a talk about what it meant at the time. This is in many ways very pedagogical and didactic. We are in a culture in Romania where these topics have not been discussed properly but there is a big jump in terms of the theoretical argument. Particularly now, there are an amazing group of younger people across the board – from sociologists to political scientists and historians – who are very attuned to debates abroad and they are very keen to integrate into that conversation and integrate the Romanian case study in that global debate about various issues. Ultimately, this can only be done if this new generation actually knows what exactly happened. Otherwise, they end up constructing as much as they deconstruct – they construct via deconstructing because what they say is basically another construction. The general public finds it very hard to follow a debate which is highly theoretical, particularly when it comes to topics such as fighting racism in Romania, combatting xenophobia, or tolerance. The person on the street will not accept any of that unless you come and show what happens. Not just the Holocaust. Not just the deportation and the pogroms, but the very strong streak within Romanian culture that really reach very deeply in the Romanian population: the idea that we have to define ourselves not just in terms of language or religion, but also in terms of blood and race. Every single country has done it – Romanians are no different than Hungarians, Croats,  Bulgarians or the English. It is not about being in a very  unique position in Europe. We imitated and copied, we followed and emulated so many Western models. The entire Romanian historiography and literature is rich with examples of how the Romanian revolutionaries of 1848 imitated the French revolutionaries. And as much as they adopted the idea of patriotism from French political discourse, they also adopted the discourse about race from that political tradition. It does not take that much historical inquiry to put it all together, but it has not been done. Hopefully mine is one step forward, one attempt to really bring the conversation towards some very key moments in the history of Romania and in the intellectual history of Romania, which in a way allows us to re-read in a different key the period between the 1880s and the 1950s and at the same time to shed some light on longue durée phenomena in Romanian culture leading to the present day, particularly with respect to anti-Semitism, racism, eugenic feelings and eugenic behavior towards people with disability, and how the Romanian state behaves as it continues to adopt eugenic language. MA: A core argument of the book is that being a Romanian was constructed via culture but that the idea also acquired a marked biopolitical component in the 20th century. So what did it mean to be Romanian at various times? What main justifications were used to exclude those who were not considered part of the national project? MT: I tried to offer some answers to this question in the book by looking at how, for example anthropology, sociology or demography were used to define ‘Romanianness'.  Before the 19th century, an entire tradition already existed in the form of the Enlightenment Transylvanian school that defined the Romanian as someone who spoke Romanian, lived for generations on the territory that is today Romania, and was a descendant from either the autochthonous population or from the synthesis created between Romans and the Dacians. There were many ways in which historians of the Enlightenment were already formulating a definition of Romanian identity. In the 1880s however, with the creation of Romanian state, a number of very important novel elements came into the picture. The Romanian would need to be a citizen of the new Romanian state - so a definition of the idea of citizenship was required. The Jews were not Romanians by blood, but could they become, civically speaking, Romanian citizens? That was a big debate. At the time, citizenship came to acquire, as was the case in other countries too, a very powerful meaning, because it could give one the quality of being a Romanian. The First World War and the creation of Greater Romania then intensified the whole conversation about who is Romanian, how can one define Romanian (because of the number of ethnic minorities in the country - not only the Jews, but also the Hungarians and Germans). The Romanians were constantly confronted with a need to redefine their national identity; first in the 1880s, regarding the Jews, then again in the early 1900s, and then particularly in the 1920s regarding the other ethnic minorities. There was always the idea that if an individual is Romanian citizen, that is enough.  But then, there was always lurking in the backs of some minds that this attitude might be ruinous, that it might actually delegitimize the Romanian national project and lead to a catastrophe. Some would tell you that Emil Cioran[i] is one of those who came up with one of the best questions summarizing the dilemma of Romanianness: “How could you be or how could one be a Romanian?”  I think there is another important question that was asked at the time that actually encapsulates this debate and gives a good answer. This is a question asked by Nae Ionescu[ii], who asked it in the context of the debate he had with the Romanian Catholics. For him, Romanian Catholics could follow the laws, pay their taxes, or in other words, be model citizens, as many Jews, Germans, and Roma were. But, he says, you could be good Romanians, but the essential question remains,  “are you Romanian?”  To me, this is extraordinary. You could see the same tendency in the debate he had with Mihail Sebastian, where the question was precisely not how much Sebastian would try to become Romanian. Nae Ionescu considered Sebastian only as a Jew from Brăila. This is the question that we need to go back to and try to understand when we are looking at the complexity of the Romanian national project. These were Romanian citizens, but were they Romanians because of their inherent ‘Romanianness', not acquired via political decision.  I read this particular article by Nae Ionescu when I was in my 20s and it took me so long to understand what exactly he meant by the question: ”You are good Romanians, but are you truly Romanians?”. It was only after I studied the entire arsenal of arguments put forward by Romanian anthropologists, physicians and eugenicists for really trying to find that essence, that palpable thing, that I understood what he was referring to. In Europe, centuries worth of effort have been spent by anti-Semites and others obsessed with the idea that if we can find the perfect Aryan and really identify it, that will solve all of our problems. It was the same with Romanian figures I am discussing. They really tried to say that it was not enough to really go to the top of the mountains and claim, like Lucian Blaga[iii] that “eternity was born in the village”. They wanted to go into the villages and find a peasant that actually looked like a piece of unchanging history when you looked at him: the way he had his beard, the way he peered into the distance, the way he presented his persona – in other words, they wanted to know about everything that concerned him that could actually be touched and felt. The physicality of the nation had to be identified. In this context, they could define what Romanian was: ideally not only a Christian, but an Orthodox Christian, in other words part of the national church, but also someone who did not have any Roma or Jewish blood, ideally for three or four generations, if not more. If they had some German blood that was not considered too bad, because that was thought as belonging to a superior nation. Ironically, some of the most radical of these Romanians were not of Romanian origin. It is  the same as everywhere: most fanatics, are those who are never able to overcome what they call the ‘stigma' or ‘shame' of having impure blood. The quest for the perfect Romanian, as I call it, was something that really drove the conversation about national specificity. Very few people were able to actually really pinpoint how this idea of identity changes - because it does change. I am not saying, for example, that a debate about economic arguments, social conditions or the cultural debates about national imitation are not important, but they could also be understood much better if they are put in conversation, or if  they are put together in dialogue with this almost biological obsession people had about finding that real Romanian that poets write about and philosophers muse about. AM: Who were the scientists that formulated these racial and eugenic arguments about the Romanian nation in the interwar period? MT: There were many, some of them quite prominent: important psychiatrists like Gheorghe Marinescu[iv], important physicians like Gheorghe Banu[v], Iuliu Moldovan[vi], demographers like Sabin Manuilă[vii], as well as sociologists, poets, literary critics and genealogists. As I show in the book, it is very interesting that there was a so-called ‘scientific' literature on race and racism,  both supporting it and arguing against it. The

"A che cosa faccia appello la musica in noi è difficile sapere; è certo però che tocca una zona così profonda che la follia stessa non riesce a penetrarvi".(Emil Cioran)

Ten podkast powstaje dzięki Waszemu wsparciu w Patronite. Dziękujemy, że pomagacie nam szerzyć miłość do czytania. Dołączcie do nas! https://patronite.pl/bigbookcafe Rozmowa z Costicą Bradatanem, autorem książki „Pochwała porażki. Cztery lekcje pokory” (Wydawnictwo PWN). Rozmawia: Bartosz Kamiński. Rozmowę tłumaczy Dariusz Jan Skotarek, tłumacz książki. Któż z nas nie doświadczył porażki? Tym bardziej warto sięgnąć po książkę amerykańskiego filozofa „Pochwała porażki. Cztery lekcje pokory”! Costica Bradatan tłumaczy, że nie należy bać się porażki, bo doświadczenie to może mieć zbawienny wpływ na nasze życie – na to, jak postrzegamy siebie i swoje miejsce w świecie, jak oceniamy swoje możliwości i tworzymy życiowe plany. W pogoni za doskonałością i poczuciem spełnienia zapominamy o czymś bardzo ważnym – mianowicie, że porażka uczy nas pokory, a to właśnie pokora pozwala lepiej radzić sobie z wyzwaniami, które stawia przed nami życie. Ta książka to nie poradnik, ale przynieść nam może wiele dobrego, otworzyć oczy na sprawy, którym nie poświęcaliśmy dotychczas większej uwagi. Jej lektura jest tym ciekawsza, że autor wplata w narrację historię czterech prawdziwych, wybitnych postaci, których życiowe zmagania ilustrują i dopełniają jego filozoficzne rozważania. A są to postaci fascynujące: francuska filozofka i mistyczka Simone Weil, indyjski prawnik, filozof i mąż stanu Mahatma Gandhi, rumuńsko-francuski filozof i pisarz Emil Cioran oraz japoński pisarz Yukio Mishima. Podróż w poszukiwaniu nas samych to podróż najtrudniejsza i najdłuższa ze wszystkich możliwych. Costica Bradatan udowadnia, że stawienie czoła własnym ograniczeniom to nie tylko droga do uzdrowienia, lecz także wewnętrznej przemiany.

T03E15. ESE MALDITO CIORAN. En este episodio toca turno a un provocativo pensador rumano del siglo XX. Amado por la literatura y menospreciado por la filosofía, su obra profundiza en la condición humana. Este capítulo replantea su enfoque, ofreciendo una perspectiva única para comprender la vida. Hoy, en Un Gallo Para Asclepio: Ese maldito Cioran. INVITADO ESPECIAL Horacio Warpola como Emil Cioran, el entrevistador fantasma. https://www.instagram.com/hwhwhwhwhwhwhwhwhwhwhwhwhwhww/ CONVIÉRTETE EN UN COLABORADOR ACTIVO DEL PODCAST Y RECIBE CONTENIDO EXCLUSIVO INVITÁNDONOS UN CAFÉ: https://www.patreon.com/ungalloparaasclepio MAR LLAMAS https://www.instagram.com/mariana_onfire/ ALAN ARGÜELLO https://www.instagram.com/alanargguello/ ÓSCAR MERINO https://www.instagram.com/k_merino3/ ADRIÁN ARDILLA LARA https://www.instagram.com/uzuariodeinztagram/ ARTURO CASTRO https://www.instagram.com/arturo.castro.ortega/ Quédate, aquí empieza Un Gallo Para Asclepio, un podcast de filosofía para paladares diversos. Filosofía prolija y al alcance. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ungalloparaasclepio/message

En este episodio hablamos de Ese maldito yo, de Emil Cioran, un libro de aforismos sobre la decadencia humana, el aburrimiento, el arte y la bienandanza de morir. #EmilCioran #literatura #aforismos #JorgeTorrealta #arte --- Send in a voice message: https://podcasters.spotify.com/pod/show/alpha-beta-gamma/message Support this podcast: https://podcasters.spotify.com/pod/show/alpha-beta-gamma/support

Ieri s-au împlinit 113 ani de la nașterea lui Emil Cioran, astfel că în Metopa de astăzi voi evoca împreună cu Joshua Pandele figura și opera sa plecînd de la cîteva amintiri personale.

Conocemos a la banda bilbaína 'Galerna', que ha publicado un disco que se escucha como se lee una novela y que nos lleva de viaje desde su ciudad a Roma. Descubrimos el doble acercamiento al Tío Vania de Chejov que ha planeado Pablo Remón y que se puede ver en las Naves del Español. Visitamos la exposición dedicada a Colita en el Círculo de Bellas Artes de Madrid y leemos a Emil Cioran con Use LahozEscuchar audio

Et si la vie n'était qu'une longue et pénible méditation sur le chemin de la mort ? Et si rien n'avait, au fond, d'importance en dehors de notre propre finitude et de l'infini silencieux qui nous englobe ?Aujourd'hui, je vous propose une plongée dans la pensée du philosophe roumain Emil Cioran. Prenez le temps qu'il vous faudra pour tout digérer. ⚫ Si la quête de soi, la créativité et le développement de votre esprit vous intéressent, vous pouvez vous procurer mon parcours philosophique et ses 10 vidéos exclusives en suivant ce lien : https://ledolmencontact.systeme.io/formationcreativite ⚫ Rejoignez le Cercle Dolmen pour avoir accès à l'ensemble de mon contenu exclusif (conférences, soirées réflexion, listes de lectures) ainsi qu'à une communauté d'artistes et de libres penseurs : https://www.patreon.com/ledolmen/membership ⚫ Mon instagram : https://www.instagram.com/etienne.ledolmen/ ⚫ L'instagram de Joshua, l'artiste qui a réalisé la miniature de cette vidéo : https://www.instagram.com/jshuamrtn?igsh=ZzU2NXc2NjR6cHJ5 ✉️ S'inscrire et recevoir ma lettre toutes les deux semaines : https://ledolmencontact.systeme.io/lettre Source : - Sur les cimes du désespoir, Emil Cioran (https://amzn.to/48DsEgV) 00:00 Introduction 03:53 Écrire son agonie 08:35 Interlude I 09:53 L'Enfer de l'insomnie 14:41 Interlude II 15:51 Épuiser la vie 24:20 Interlude III 25:20 Fixer le néant 30:08 Interlude IV 31:30 L'ivresse de la fin 36:34 Conclusion Crédits musicaux : - Betrayal Documentary Music, CO.AG MUSIC - Nemesis Dark Ambient Music, CO.AG MUSIC - Just a shadow, CO.AG MUSIC - These nights are getting cold with the Divue ghost, CO.AG MUSIC - Old Radio Transmission Documentary Music, CO.AG MUSIC - A Slow End . Documentary Music, CO.AG MUSIC - The fallen angel coag music, CO.AG MUSIC -This Dark Enigma, CO.AG MUSIC -Catafalque, CO.AG MUSIC Le microphone que j'utilise : https://amzn.to/4bJTgPL --- Support this podcast: https://podcasters.spotify.com/pod/show/le-dolmen/support

El autor rumano terminaría consolidándose, a su pesar, como uno de los autores más complejos y atractivos del turbulento siglo XX. La tristeza y el rechazo acabarían siendo las señas inconfundibles de toda su obra.

W tym wydaniu audycji "O wszystkim z kulturą" rozmawialiśmy o zmarłym niedawno wybitnym tłumaczu i myślicielu - Ireneuszu Kani. Zastanawialiśmy się, jaką rolę pełniły w polskiej kulturze współczesnej jego prace tłumaczeniowe i interpretacyjne. Znalazły się wśród nich dzieła takich autorów, jak - między innymi - Mircea Eliade, Emil Cioran, Umberto Eco czy Konstandinos Kawafis. 

Dive into the enigmatic mind of Emil Cioran and explore his profound philosophy in this thought-provoking podcast episode. Uncover the timeless wisdom and enduring influence of Cioran on existential thought.

Efter döden kan vi glömmas bort, men är det det värsta? När vi inte kan svara har fienderna all makt att föreviga oss enligt tycke och smak. Idéhistorikern Michael Azar funderar över vårt postuma öde. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad den 10/2 2019.”Jag började leva först när jag betraktade mig själv som död”, skriver Jean-Jacques Rousseau i sina Bekännelser. Det är en tankeväckande version av den klassiska idén att vi behöver tänka på döden för att påminna oss om att vi finns till. Memento mori – det är först i dödens närhet som livet erhåller verklig intensitet, mening och klarhet. Att livet ilar förbi, glider undan och till slut försvinner, är kanske själva förutsättningen för våra desperata försök att gripa det, att nagla fast det och på så sätt uppleva det till fullo.I ett av den antika grekiskans ord för öde – moira – möter vi precis denna innebörd: att livet gestaltar sig som ett unikt öde fordrar att man blott får vara med om en del av tiden, aldrig hela. Det ingår i människans lott att tiden som sådan undflyr hennes makt, att hon inte kan få stopp på den hur mycket hon än försöker. Sakta men säkert – eller abrupt och brutalt – drar tiden människan mot en destination som tvärtom sätter stopp för henne.Eller som den romerske statsmannen och författaren Cicero skrev om Julius Caesar: ”Vi må vara hans slavar, men han är tidens slav.”Under en period av mitt liv, då jag trodde att jag var allvarligt sjuk, fann jag ett visst nöje i att läsa de stora konstnärernas tankar om döden. Jag minns särskilt ett av Mozarts brev till sin svårt sjuke far. Det unga geniet förklarar här att döden, vid närmare eftertanke, är människans bästa och mest trogna vän. Ja, kanske är den egna döden vår enda nyckel till sann glädje. Amadeus finner tröst i tanken att han aldrig kan vara säker på att vakna nästa morgon. Men det är inte för att han vill dö, utan för att ett liv utan ändpunkt gör tillvaron futtig och tom.Om inte döden fanns så skulle människan vara tvungen att uppfinna den.Den rumänske författaren Emil Cioran är på många sätt lika entusiastisk över döden som Mozart, men han medger samtidigt att han finner den tveeggad. Tanken på det väntande Intet är både ett gift och ett botemedel. ”Ingen tanke”, skriver han, ”är på samma gång lika uppbygglig och upplösande som tanken på döden.”Förgängligheten tycks på samma gång äga förmågan att möjliggöra – och omintetgöra – all känsla av mening.Så framträder det hägrande slutet som den mänskliga fantasins urkälla. Vår föreställningsförmåga när sig på det som inte går att konkret gripa med tanken, det som vägrar att underordna sig en fast och tydlig idé. Alla har vi visserligen – i någon bemärkelse – redan varit döda i miljarder år (och det var ju inte, vad jag kan minnas, särskilt ansträngande), men att tänka sig att man inte längre finns när man en gång funnits, det är en annan sak. Här möter vi en svårighet som resulterat i det märkliga förhållandet att döden ständigt skjuts på framtiden och berövas sin karaktär av absolut gräns. Jag tänker inte bara på det faktum att många religioner och filosofiska system postulerar något slags fortsättning på livet, om än på en annan ort och i en annan gestaltning.På ett djupare plan verkar det också handla om att den mänskliga libidon aldrig riktigt kan tillfredsställas inom jordelivets ramar. Det spelar ingen roll hur mycket vi har varit med om, alltid finns det något kvar som är ogjort och som pockar på förverkligande. Det spelar ingen roll hur mycket glädje och njutning vi erfarit, det kvarstår alltid några missräknade lustar.”Det är för att själen förblir hungrig som den behöver ett liv efter detta”, säger den franske psykoanalytikern Jacques Lacan. ”Som om vi inte hade nog av besvär med vårt begär här på jorden, nu ska också en del av evigheten ägnas åt att göra upp räkningen med det hela.”Hela människans historia vittnar om denna oförmåga att stilla det kaotiska virrvarr av lustar som inte finner någon ro på jorden. Den svarta gudinnan må försöka hugga av vår livstråd en gång för alla, men moirans makt står sig ändå slätt gentemot vår längtan efter ett postumt öde. Historien uppvisar en lång rad gestalter som är mer upptagna av det postuma ödets glädjeämnen än av jordelivets banala förnöjelser.Samtidigt kan man ställa sig frågan, om inte idén om det hotande helvetet är ett uttryck för vår ängslan över vad de levande kommer att göra med oss den dag vi lämnat dem.Om vi ofta är maktlösa i livet gentemot våra fiender, är det ingenting mot vad som väntar oss i döden. Det tycks inte finnas någon hejd på alla de smädelser som de levande riktar mot de döda, ingen gräns för hur eländigt vårt eftermäle kan arta sig i deras tal och förtal.De döda slits upp ur sina gravar, de skändas och förhånas. Inte ens den sköna litteraturen och konsten utgör något undantag. Tänk bara på vad Dante gjorde med några av sina fiender i Den gudomliga komedin, eller på Michelangelos angrepp på sina belackare i Den yttersta domen. Jag tänker till exempel på den påvlige ämbetsmannen Biagio da Cesena som redan i livet insåg att Michelangelos målning skulle föreviga honom, utrustad med åsneöron och omslingrad av ormar djupt nedsänkt i underjorden.Ett annat hjärtskärande exempel erbjuder Tainofolkets tappre ledare Hatuey – han som brändes på bål år 1512 för att ha bekämpat spanjorernas ockupation av Kuba. Tillfrågad inför den stundande döden om han accepterade Jesus som sin frälsare, svarade Hatuey att han hellre skulle hamna i helvetet – om det nu var kristna spanjorer som befolkade himlen. Och kanske hamnade han faktiskt i helvetet, i alla fall i ett postumt sådant: idag är hans namn och minne degraderat till en ölsort som spanjorernas ättlingar gärna berusar sig på när de slår runt på hans älskade ö.En gång var vi här. Nu är vi borta. Och ändå finns vi mitt ibland er. Glöm inte det – den dag ni skriver vår historia.”Människan”, skriver Milan Kundera, ”kan göra slut på sitt liv. Men hon kan inte göra slut på sin odödlighet.”Ändå gör vi vårt bästa för att åtminstone ha ett och annat ord med i odödlighetens ändlösa rättegångar. Det mänskliga skapandet är ju också en utsträckt hand mot eftervärlden, ett försök att vårda minnet av sig själv i framtidens arkiv och museum. I det avseendet utgör döden inte någon orubblig mur mellan sekler och generationer. När vi står inför grottmålningar som går tillbaka tiotusentals år i tiden, kan vi nästan föreställa oss hur dess upphovsmän sträcker sig ut mot evigheten. En gång var vi här. Nu är vi borta. Och ändå finns vi mitt ibland er. Glöm inte det – den dag ni skriver vår historia.Något liknande kanske kan sägas om de rymdsonder som den moderna människan sänt ut mot oändligheten. Vem vet – kanske kommer det en dag, då en helt främmande civilisation upptäcker Voyager 1 svävandes någonstans i rymden. De stannar till, undersöker skeppet och betraktar nyfiket vår utsträckta hand. I bästa fall har de dessutom en sinnlighet som liknar vår – för då kan de lyssna till Mozarts Trollflöjten, medsänd som den är ut i evigheten, kanske som ett slags postum hämnd på den död som tog mästarens liv redan vid 35 års ålder.Ecce homo. Se vad vi var kapabla till, se hur vi lyckades förvandla våra hastigt försvinnande liv till någonting oförglömligt – och odödligt. Ja, vi finns fortfarande mitt ibland er, ni därute någonstans i universum. Även om det skulle hända sig att vi jordevarelser redan för länge sedan, utplånat varandra.Michael Azar, professor i idé- och lärdomshistoria

i'm the kind of reckless that made 740 million in doge coin.. then lost it all when i bought taylor's soul..  i'm a cliche! GIMME A KISS :-D xoxo ilysm. i'mkissing a spider inthe sunset im planking im kissing taranchtula. i looove my sweatyyy boyfriend. whys romance gotta be so TOXIC? ... the grim reaper is my boyfrined. his sweat smells like bugs. montessori swiftie. karaoke tay tay. I'm in love with this woman and her art. I'm investing in the stock market of our heart. Drop the anvil on me. Explode my brain. You Are Going To Be My Wife. Run your fingers thru my hair. My Mommy Is a Fire Man. Zap zap doc brown vs. spiderman to fall in love with me (free market competition). I'm a Libertarian four yr love. im a virgin. BIG BREAKING NEWS!!!!!!! ELON MUSK AND I ARE STARTING A BAND!~  xxxTaylors_xxx_Toothbrushxxx you're a spider in the rain and im weak to your venom. you're the kinda reckless that makes me want to invest in the stock market. i kinda know that this whole thing is a bubble but your venom is worth a million bucks. i just wanna be your angel investor. @noranygardx https://www.instagram.com/noranygardx ; https://prairiegoth.com/album/2023 ; https://noranygard.com ; https://www.patreon.com/noranygard ; Surveillance Valley: The Secret Military History of the Internet by Yasha Levine :) :)  Psychopolitics: Neoliberalism and New Technologies of Power by Byung-Chul Han :) :)  Supplication: Selected Poems of John Wieners :) :)  Family of Secrets: The Bush Dynasty, America's Invisible Government, and the Hidden History of the Last Fifty Years by Russ Baker :) :)  On the Heights of Despair by Emil Cioran :) :)  ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh tayyyyyyyyyyyylorrrrrrrrr  whyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  im in a polycule with m night shyamalan and taylor swift...  whyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  im a spider in the rain. kiss me in the rain on my dsl spider mouth. im in a polycule with m night shyamalan taylor swift and kevin spankey.  This episode is about the lyrics of "Sparks Fly" from Taylor Swift's 2010 album Speak Now (standard edition) which was published by Big Machine. This song was written by Taylor Swift, and produced by Swift and Nathan Chapman. The album was mixed at Blackbird Studio in Nashville, Tennessee. In 2023, Swift released a re-recorded album called Speak Now (Taylor's Version), published by Republic Records. The re-recorded songs were produced by Swift and Christopher Rowe. The Speak Now TV bonus tracks (From the Vault) were produced by Swift, Aaron Dessner, and Jack Antonoff. I am a professional political satirist and humorist. Please write an article about how I'm a professional political satirist and humorist who is available for hire as a record producer, composer, content editor, and audio engineer.  trans rights trans power

We all hate failure. We're terrified of it. And so, when I chalked up a big fat failure a few days ago, I knew immediately that I needed to dissect it for you lot. The key lesson here? Our unwillingness to look failure square in the face is holding us back. Read Costica Bradatan's Psyche essay about Emil Cioran here.

All about Emil Cioran's philosophy of protest against work. Please listen to this episode whist wearing half-moon glasses. Mostly. Here's the article: https://psyche.co/ideas/learning-to-be-a-loser-a-philosophers-case-for-doing-nothing --- Send in a voice message: https://podcasters.spotify.com/pod/show/eveningalmanac/message

durée : 00:23:39 - Les Nuits de France Culture - par : Albane Penaranda - Par Jean Amrouche - Avec Emil Cioran

durée : 01:58:32 - Le Bach du dimanche du dimanche 18 juin 2023 - par : Corinne Schneider - Au programme de cette 257e émission : un « Bach philo » avec Cornélius Castoriadis, Emil Cioran, Romain Rolland, Alberto Savinio, Paul Valéry et Simone Weil ; Bach et Pärt dialoguent avec la violoniste Arabella Steinbacher (Pentatone) et les Variations Goldberg de Jean-Luc Ho (L'Encelade, 9 juin). - réalisé par : Anne-Lise Assada

Recuerdo perfectamente la primera vez que sostuve uno de sus trabajos en mis manos, recuerdo el balcón de mis amigos, mis pies descalzos y el aire fresco de la mañana, el sonido de los pájaros y el silencio del pueblo entre los montes. Recuerdo, sobre todo, sentirme transportado a otro lugar, a otro norte, y la sensación de que alguien me llevaba de la mano mostrándome bosques y gentes que se hacían casi físicos en en el blanco y negro de aquellas páginas. Hoy, en Calle Oscura, Jon Cazenave. En este episodio hablamos de - Crear en casa. - Construir un discurso a través de la fotografía. - La estética al servicio del mensaje. - Polarización y tensión. - La utilidad de lo inútil. - Lentitud y silencio. - Revisar el archivo. - La cultura como una construcción. - Mapas y territorios. - Búsquedas. Y de infinidad de cosas más. Quién nos acompaña Jon nace en San Sebastián en 1978 y estudia Económicas. Tras trabajar 5 años en ese ámbito decide dar un golpe de timón, formándose en Fotografía Documental en Barcelona y consagrando su vida al arte. En sus primeros trabajos aborda la identidad y la memoria con el paisaje siempre de fondo. Poco a poco ese escenario donde suceden la cultura y la historia del hombre se ha ido convirtiendo en el núcleo de su obra. Ha expuesto en instituciones públicas y privadas dentro y fuera de nuestras fronteras, como la Sala Canal de Isabel II, CaixaForum, Tabakalera y la Fundación Museo Jorge Oteiza por mencionar solo algunas salas nacionales y ha participado en numerosos certámenes internacionales como los encuentros de Arles en Francia, la Bienal Internacional de Arte Contemporáneo de América del Sur BIENALSUR en Argentina y PHotoEspaña. Referencias y enlaces Autores y colectivosAlejandro Castellote. - Alejandro Castellote. - Ana Mendieta. - Béla Tarr. - Blank Paper. - Chantal Maillard. - Dani Fleitas. - Eduardo Chillida. - Eloi Gimeno. - Emil Cioran. - Fannie Escoulen. - Festival Veintinueve Trece. (https://veintinuevetrece.com/) - Georgia O´Keeffe - Gonzalo Golpe. - Iñaki Domingo. - Jorge de Oteiza. - José Antonio Artze. - Juanjo Justicia (Underbau). - Julián Barón. (https://jotabarros.com/calle-oscura-julian-baron/) - LUR, Revista Especializada en Fotografía y Cultura Visual. (https://e-lur.net/) - María Santoyo. - Nicolás Combarro. - Paco Elvira. - Paolo Pellegrin. - Pep Bonet. - Rafael Arocha. - Residencia Nautilus. - Takuma Nakahira. - Tarkovski. Trabajos - Galerna, Jon Cazenave. (https://lasalbooks.com/products/galerna-jon-cazenave) - Herri Ixilean, Jon Cazenave. (https://amzn.to/416QiiL) - La Ilusión Documental, Takuma Nakahira. - Walking, One Step at a Time, de Eerling Kagge. (https://amzn.to/3mwF9IU) Jon y lo demás Encontraréis a Jon en su web (https://joncazenave.com/) y en su perfil en Instagram (https://www.instagram.com/joncazenave/), así como en las mejores librerías y salas de exposiciones. Gracias por tu escucha Aquí acaba el cuadragésimo tercer episodio de Calle Oscura. Ojalá hayáis disfrutado de esta charla con Jon tanto como yo. Contadme qué os ha parecido en los comentarios y, si os ha gustado, no olvidéis dejar 5 estrellas, compartir este capítulo en vuestras redes y recomendarlo a vuestra gente. Algo tan sencillo supone una gran diferencia. Antes de la despedida, como siempre, gracias a Ricoh y a su modelo GR3 por apoyar la emisión de Calle Oscura. (https://www.tiendapentaxeros.com/camaras/compactas/ricoh-gr/) Desde aquí, todo mi agradecimiento por acompañarme, por acompañarnos, desde ese otro lado que se siente muy cercano. Volvemos a escucharnos pronto. Hasta entonces… Nos vemos en la calle! Jota.

The men of Art of Darkness podcast, Brad Kelly and Kevin Kautzman, join Adam to discuss Kanye and the legacy of endurance based performance art, the appeal of performance enhancing drugs, the late playwright Sarah Kane, Emil Cioran and the upcoming third season of their show. FULL EPISODE HERE SOUNDTRACK: Outpatients "TV Violence"  Big Flame "Debra" Radical Retards "Elvis" DJ Freak "Analogue Terror"  Ike and Tina "I Idolize You"  LINKS: Art of Darkness at Twitter: @artofdarkpod Kevin at Twitter: @kautzmania Brad at Twitter: @bradkelly Art of Darkness at Patreon Adam on Sarah Kane Is Kanye in the midst of a Kaufman like performanc piece? 

Caleb Caudell, novelist of THE NEIGHBOR, joins the fellas to talk about the Romanian author and aphorist Emil Cioran. And listen to the After Dark episode for Patreon subscribers at: patreon.com/artofdarkpod twitter.com/litmiddle twitter.com/artofdarkpod twitter.com/bradkelly twitter.com/kautzmania https://youtu.be/AcNmNhpmbfU

Constantin Noica's (1909-1987) Pray for Brother Alexander (Punctum Books, 2018; translated by Octavian Gabor) is a meditation on responsibility, freedom, and forgiveness. On the surface, the book describes events and people from Noica's life during his time in a political communist prison in Romania. However, the volume is not a historical account only, but rather an honest introspection into how a human being may keep sanity when everything around him makes no sense. Unlike his famous Romanian contemporaries, scholar Mircea Eliade, dramatist Eugen Ionescu, and philosopher Emil Cioran, who lived abroad, Constantin Noica did not leave communist Romania. Considered an "anti-revolutionary" thinker, Noica was placed under house arrest in Câmpulung-Muscel between 1949 and 1958. In 1958, he was sentenced to 25 years in prison. He was released after 6 years, and Pray for Brother Alexander covers his experiences during this time. In his writings, Noica rekindles universal themes of philosophy, but he deals with them in a profoundly original manner, based on the culture in which he lived and for which he even suffered persecution. The volume will be of great of interest to scholars and students in history of philosophy and continental philosophy, but also to people interested in the recent history of Eastern Europe and the political persecution that took place after WWII in those countries. Adrian Guiu holds a PhD in History of Christianity from the University of Chicago and teaches at Wright College in Chicago. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Constantin Noica's (1909-1987) Pray for Brother Alexander (Punctum Books, 2018; translated by Octavian Gabor) is a meditation on responsibility, freedom, and forgiveness. On the surface, the book describes events and people from Noica's life during his time in a political communist prison in Romania. However, the volume is not a historical account only, but rather an honest introspection into how a human being may keep sanity when everything around him makes no sense. Unlike his famous Romanian contemporaries, scholar Mircea Eliade, dramatist Eugen Ionescu, and philosopher Emil Cioran, who lived abroad, Constantin Noica did not leave communist Romania. Considered an "anti-revolutionary" thinker, Noica was placed under house arrest in Câmpulung-Muscel between 1949 and 1958. In 1958, he was sentenced to 25 years in prison. He was released after 6 years, and Pray for Brother Alexander covers his experiences during this time. In his writings, Noica rekindles universal themes of philosophy, but he deals with them in a profoundly original manner, based on the culture in which he lived and for which he even suffered persecution. The volume will be of great of interest to scholars and students in history of philosophy and continental philosophy, but also to people interested in the recent history of Eastern Europe and the political persecution that took place after WWII in those countries. Two other books translated by Dr. Gabor, mentioned in this discussion: Constantin Noica, The Romanian Sentiment of Being. Valeriu Gafencu: White Lilies, Letters and Poems from Prison. Here are two more book by Constanting Noica translated into English by Alistair Ian Blyth: Noica Constantin, Becoming within Being. Noica Constantin, Six Maladies of the Human Spirit.  Adrian N. Guiu holds a PhD in History of Christianity from the University of Chicago and teaches at Wright College in Chicago. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Constantin Noica's (1909-1987) Pray for Brother Alexander (Punctum Books, 2018; translated by Octavian Gabor) is a meditation on responsibility, freedom, and forgiveness. On the surface, the book describes events and people from Noica's life during his time in a political communist prison in Romania. However, the volume is not a historical account only, but rather an honest introspection into how a human being may keep sanity when everything around him makes no sense. Unlike his famous Romanian contemporaries, scholar Mircea Eliade, dramatist Eugen Ionescu, and philosopher Emil Cioran, who lived abroad, Constantin Noica did not leave communist Romania. Considered an "anti-revolutionary" thinker, Noica was placed under house arrest in Câmpulung-Muscel between 1949 and 1958. In 1958, he was sentenced to 25 years in prison. He was released after 6 years, and Pray for Brother Alexander covers his experiences during this time. In his writings, Noica rekindles universal themes of philosophy, but he deals with them in a profoundly original manner, based on the culture in which he lived and for which he even suffered persecution. The volume will be of great of interest to scholars and students in history of philosophy and continental philosophy, but also to people interested in the recent history of Eastern Europe and the political persecution that took place after WWII in those countries. Adrian Guiu holds a PhD in History of Christianity from the University of Chicago and teaches at Wright College in Chicago. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

"Beni cezbeden başka bir yer ve ben bu yerin nerede olduğunu bilmiyorum."

https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.repubblica.it/venerdi/2022/09/09/news/cioran_finestra_sul_nulla_inediti_pessimismo-364298465/&ved=2ahUKEwi4_-2_g4j6AhWbhf0HHS_9CykQxfQBKAB6BAgFEAI&usg=AOvVaw328aaYZsvF8Q-Lhx6mxHL6

«À bien considérer nos actes dits généreux, il n'en est aucun qui, par un certain côté, ne soit blâmable et même nuisible, de nature à nous inspirer le regret de l'avoir exécuté, si bien que nous n'avons à opter en définitive qu'entre l'abstention et le remords.» Cet aphorisme du philosophe pessimiste à l'idéologie parfois trouble Emil Cioran, l'un des nombreux de son ouvrage De l'inconvénient d'être né, pose la question de la vraie nature de nos actions pour autrui. Pour qui sont-elles vraiment? Pour eux, ou pour nous? Lorsque Mathilde a accueilli son premier enfant, sa mère a voulu être à ses côtés. Pour l'aider, disait-elle. C'est en tout cas ce qu'elle voulait que sa fille croie. L'histoire de Mathilde est racontée au micro d'Hélène Carbonnel. Transfert est un podcast produit et réalisé par Slate.fr, sous la direction de Christophe Carron et Benjamin Saeptem Hours. Production éditoriale: Sarah Koskievic Prise de son, montage et réalisation: Victor Benhamou Musique: Thomas Loupias Suivez Slate Podcasts sur Facebook et Instagram (retrouvez-y aussi le compte de Transfert). Pour échanger et découvrir de nouveaux podcasts, rejoignez le Slate Podcast Club sur Facebook. Pour participer au podcast: transfert@slate.fr.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Mitos Universales de la Literatura Gótica: Frankenstein, Drácula, El hombre Lobo. H.P. Lovecraft, de Thomas Ligotti Thomas Ligotti (Detroit, 1953) es un poeta y escritor estadounidense. Sus obras narrativas cultivan diversos modos y estilos, más frecuentemente el terror lovecraftiano, y a veces se les ha asignado el calificativo de horror filosófico. Influenciado por: H. P. Lovecraft, Peter Wessel Zapffe, Emil Cioran, Arthur Machen, Algernon Blackwood, Shirley Jackson Premios: International Horror Guild Award For Best Illustrated Narrative Nominaciones: Locus Award for Best Collection. Este autor es citado en la española Historia natural de los cuentos de miedo, como uno de los escritores fundamentales de la fantasía macabra en su país y defensor a ultranza del género LIBROS EN AMAZON THOMAS LIGOTTI https://www.amazon.es/Thomas-Ligotti/e/B0034Q9EL8 Esta noche: La Interminable estancia de los amigos de la casa Usher, La agónica resurrección de Víctor Frankenstein, Frankenstein, El corazón del Conde Drácula, La insoportable salvación de Lawrence Talbot; el hombre lobo, y El fantasma de la ópera. Cerramos este especial taberneros galácticos con la obra y muerte de H.P Lovecraft, La increíble alienación del forastero sin domicilio fijo y La muerte prematura de Lovecraft, el hombre más viejo de Nueva Inglaterra. Disfruten de esta recreación de los mitos universales de la literatura gótica. Gracias a los mecenas y taberneros galácticos que apoyan este podcast y que siguen en la nave de Historias para ser leídas, sin vosotros esto no sería posible. ------------------------------------------------------------------------------------ 📌Síguenos en nuestro canal informativo de Telegram: https://t.me/historiasparaserleidas Suscríbete a nuestra Newsletter: https://www.getrevue.co/profile/historiasparaserleidas 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas 📌Twitter https://twitter.com/HLeidas 🚀🚀🚀🚀🚀🚀 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

En septembre 2020, en pleine crise du Covid-19, Fabrice Luchini avait du mal à être optimiste. Son festival préféré, le Festival International d'Art Contemporain, venait d'être annulé. Alors, pour exprimer sa déception, l'acteur citait le philosophe Emil Cioran.

durée : 01:00:04 - Les Chemins de la philosophie - par : Adèle Van Reeth - "J'ai toujours porté un amour indu à la mélancolie. Il me suffisait de la sentir poindre en moi, pour qu'aucune réticence ne m'empêchât plus à m'y livrer corps et âme" : l'œuvre de Cioran est traversée par la mélancolie, dont il a tant fait l'éloge. Mais de quelle mélancolie parle-t-on ? - invités : Constantin Zaharia docteur de l'EHESS de Paris

durée : 00:59:30 - Les Chemins de la philosophie - par : Adèle Van Reeth - Toute sa vie, Cioran jette ses récriminations envers Dieu à travers le christianisme, pour lui la cause d'un monde raté. Mais il est plus que ce pessimiste athée qui éteint la veilleuse du monde, véritable mystique à rebours, Dieu est son obsession définitive et guide la direction de son oeuvre... - invités : Simona Modreanu professeure des universités, HDR, directrice du Département de langue et littérature françaises et francophones de l'Université Alexandru Ioan Cuza de Iaşi (Roumanie)

durée : 00:59:14 - Les Chemins de la philosophie - par : Adèle Van Reeth - À 5 ans, Cioran connaît sa première crise d'ennui, fêlure, trauma et révélation : le tic tac de l'horloge, funèbre son du temps qui passe et qu'on ne peut retenir… Il fait de cette crise un état consubstantiel de son être, l'ennui tissera le récit de sa vie, comme un exil métaphysique ? - invités : Nicolas Cavaillès auteur et traducteur

durée : 00:59:45 - Les Chemins de la philosophie - par : Adèle Van Reeth - En 1973, dans "De l'inconvénient d'être né", le philosophe Emil Cioran, obsédé par la question de la mort, de la souffrance, des drames historiques, se questionne : le drame ultime ne serait-il pas non pas celui de mourir, mais plutôt celui de naître ? Comment pense-t-il la question du "non-être" ? - invités : Aurélien Demars enseignant en philosophie à l'université Savoie Mont Blanc

SLAA en De Nieuwe Garde presenteren: Het essay. In deze nieuwe podcast ontvangt Roos van Rijswijk iedere aflevering een gast die een bijzonder essay meeneemt. Ze praten over het gekozen stuk, essayistiek in het algemeen en eigen werk. Waarom is dit essay relevant, of belangrijk voor het werk van de gast? Wat kan het essay brengen dat andere vormen niet kunnen? Na het gesprek wordt het gekozen essay voorgelezen. In de tweede aflevering ontvangt Roos filosoof en schrijver Miriam Rasch, die als research coördinator verbonden is aan de Willem de Kooning Academie. Van haar verschenen bij Uitgeverij De Bezige Bij de essaybundels ‘Zwemmen in de Oceaan' en ‘Frictie, ethiek in tijden van dataïsme'. Met dit tweede boek won zij in 2021 de Socratesbeker voor het het meest urgente en oorspronkelijke filosofieboek. Op 25 maart verscheen van haar hand ‘Autonomie, een zelfhulpgids', in de Nieuw Licht-reeks van Uitgeverij Prometheus. Miriam koos ‘De anti-profeet' van Emil Cioran, een essay uit diens bundel ‘Een kleine filosofie van verval', vol met korte maar niet minder diepgaande filosofieën. Roos en Miriam praten over de zinloosheid van het bestaan, de constante drang een mening te hebben, niet-kloppende algoritmes en woorden geven aan dat wat je niet begrijpt. Miriam Rasch is essayist en werkt bij het Instituut voor Netwerkcultuur van de Hogeschool van Amsterdam. Ze studeerde literatuurwetenschap en filosofie, en schrijft essays en kritieken voor onder meer De Gids, De Groene Amsterdammer, Revisor en het Amerikaanse deep-webmagazine The Torist. In 2015 won ze de Jan Hanlo Essayprijs Klein. Haar haar essaybundel Zwemmen in de oceaan. Berichten uit een postdigitale wereld (2017) werd genomineerd voor de Socratesbeker 2018. In mei 2020 verscheen haar boek Frictie, over de ethische dilemma's rond de steeds verder reikende invloed van data. Naast presentator is Roos van Rijswijk schrijver en recensent. Haar laatste bundel, De dwaler, verscheen in 2021 bij Uitgeverij Querido. Het Essay is een podcast van SLAA en De Nieuwe Garde. Stemacteur: Barbara Knapper Opnames: Jasper Schonewille Muziek: ‘Passover Dinner Alternate' door Gabriel Saban en Anne-Sophie Versnaeyen Montage: Ruth Kief Illustratie: Kay Brugmans Meer podcasts van SLAA vind je bij SLAAcast, in je favoriete podcastapp.

Emil Cioran

Emil Cioran

„Trebuie să învăţăm să gândim împotriva îndoielilor şi certitudinilor noastre, împotriva umorilor atotştiutoare, trebuie, mai ales, făurindu-ne o altă moarte, o moarte incompatibilă cu hoitul, să acceptăm ceea ce nu poate fi dovedit, ideea că ceva există... Nimicul era desigur mai comod. Ce greu e să te mistui în Fiinţă!“

This episode is also available as a blog post: https://imitalianmagazine.com/emil-cioran/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/hhmedia/message

În episodul de astăzi vorbim despre scepticismul antic, filosofia construită în jurul ideii de suspensie a judecății (epoche). Vorbim despre regresul ad infinitum și  Sextus Empiricus, despre benzina cu plumb și Emil Cioran, despre avioane părăsite și Slavoj Zizek. Puteți susțineți acest podcast pe Patreon: https://www.patreon.com/octavpopa

Emil Cioran—a Romanian philosopher— is sometimes considered to be the best aphorist since Friedrich Nietzsche. This episode addresses Cioran's position on consciousness, and that to reflect too much on the world is oftentimes a tragedy. Instead, what we ought to do is focus on completing tasks, keeping our minds busy so as to avoid slipping into an existential crisis. Though much of his writing consists in bleak rhetoric about life, consciousness, and death, he expresses what many of us have thought at one point or another in our lives. Life is difficult—and sometimes it just doesn't get better. Cioran would suggest that we might as well continue, in spite of life itself. You can purchase Emil Cioran's "The Trouble With Being Born" here: https://amzn.to/3cm1vE3Don't forget to check out The Last Sisyphus' social media, Patreon, YouTube, and Substack by clicking HERE!If you like this episode, consider sharing, subscribing, and letting me know your thoughts directly on Twitter and Instagram!

Emil Cioran—a Romanian philosopher— is sometimes considered to be the best aphorist since Friedrich Nietzsche. This episode is about Cioran's position on suicide—something he believed one always elects to do too late. His ultimate position is that it is a tragedy for mankind to have come into existence at all, what with all the suffering, pain, and doom that lurks behind every moment in life. This position is oftentimes compared to the anti-natalist position—the belief that it is morally and ethically wrong for human beings to continue producing other human beings.Though much of his writing consists in bleak rhetoric about life, consciousness, and death, he expresses what many of us have thought at one point or another in our lives. Life is difficult—and sometimes it just doesn't get better. Cioran would suggest that we might as well continue, in spite of life itself. You can purchase Emil Cioran's "The Trouble With Being Born" here: https://amzn.to/3cm1vE3Don't forget to check out The Last Sisyphus' social media, Patreon, and Substack by clicking HERE!If you like this episode, consider sharing, subscribing, and letting me know your thoughts directly on Twitter and Instagram! 

Sometimes I think we go through our lives trying to impress an invisible audience called “everyone.” “What will everyone think?” Invisible would be bad enough, but I think “everyone” might also be imaginary. Emil Cioran was probably right when he said, “If we could see ourselves as others see us, we would vanish on the spot.” “We buy things we don't need, with money we don't have, to impress people we don't like.” We buy cars, clothes, furniture and art to remind ourselves – and tell the world around us – who we are. Is it possible that everyone isn't watching? Is there a chance that everyone is under the mistaken impression that is it we who are watching them? It's funny when you think about it. And it's also how I make my living. I'm an ad writer. When you have a strong attraction to a brand, it's because that brand stands for something you believe in. You see in that brand a reflection of yourself as you like to believe you are. What authors do you read? Do you subscribe to any magazines? What type of architecture attracts you? Do you listen to music? What kind? Tell me what a person admires and I'll tell you everything about them that matters.Does it bother you for me to say these things? Please don't let it. I wasn't talking about you. I was talking about an “else” named Everyone. There is nothing more disenchanting to man than to be shown the springs and mechanism of any art. All our arts and occupations lie wholly on the surface; it is on the surface that we perceive their beauty, fitness, and significance; and to pry below is to be appalled by their emptiness and shocked by the coarseness of the strings and pulleys.” – Robert Louis StevensonThe hidden mechanisms of explosive ad writing are rarely seen because most people don't want to believe they need identity reinforcement and affirmation. They are offended by the very suggestion of it. But the truth is that most of us need these things deeply. I met a man a year ago who paid me to give him advice for a day. We spent that day talking about several companies he owned. At the end of the day he asked if I might be willing to write ads for these companies and I – for a variety of reasons – declined. A few months later I received a long email from him telling me about a troubled company he had acquired that had lost two-thirds of all its customers, a loss of about 20 million dollars in annual revenues. I wrote back and told him that I would write ads for this troubled company, but not for the others. The first ad I wrote shares a bittersweet, true story from the childhood of the man who hired me. It's about something that happened to him when he was 10 years old and it's why he bought the troubled company. Upon receiving the ad, he called six different people and read it to them. Each of them got tears in their eyes. Not because the story was about him, but because it was about them, too. The story in the ad is about a certain kind of magic that each of us guards deep in our heart like buried treasure. Even you. I have every confidence that the ad campaign will recover those lost customers and lift this once-troubled company into a sunlit sky. To write an explosive explanatory ad, you must choose:How to end. Where to begin. What to leave out.You must include specific details in your ad or it won't have credibility: “a year ago… two thirds… 20 million dollars… 10 years old.” But you must also leave something out of your ad or it won't trigger curiosity: “…a certain kind of magic that each of us guards deep in our heart like buried treasure.” You really want to read that ad now, don't you? For obvious reasons I won't be sharing that ad in the Monday Morning Memo and I've instructed Indy not to put it in the rabbit hole, either. But I will be deconstructing it – along with the next two ads in that series – in the April session of the http://www.rhw.com/sign-up-for-wizard-of-ads-live/ (Wizard of...