Podcasts about goethe

Today's story is based on the classic poem by Johann Wolfgang von Goethe, adapted and written for you by Daniel Hinds. You may also recognize the story from the old Disney movie Fantasia, where it was told with no words, just a Mickey Mouse animation and a musical score. Check out Stories RPG our new show where we play games like Starsworn with all your Max Goodname friends, and Gigacity Guardians featuring the brilliant firefly! https://link.chtbl.com/gigacity Draw us a picture of what you think any of the characters in this story look like, and then tag us in it on instagram @storiespodcast! We'd love to see your artwork and share it on our feed!! If you would like to support Stories Podcast, you can subscribe and give us a five star review on iTunes, check out our merch at storiespodcast.com/shop, follow us on Instagram @storiespodcast, or just tell your friends about us! Check out our new YouTube channel at youtube.com/storiespodcast. If you've ever wanted to read along with our stories, now you can! These read-along versions of our stories are great for early readers trying to improve their skills or even adults learning English for the first time. Check it out.

Au fil de ce passionnant épisode, Jacques Berchtold explore l'influence littéraire et philosophique de La Nouvelle Héloïse sur l'art des jardins au XVIIIe siècle. À contre-courant du modèle versaillais, Rousseau, à travers une fiction amoureuse, propose une vision sensible et naturaliste du paysage. Ce regard inspire Girardin, Goethe et Chateaubriand, grands amateurs de jardins et penseurs du vivant. Une promenade érudite entre littérature, esthétique et écologie naissante. Avec : Jacques Berchtold Date : 15 mai 2025

Este vídeo es un extracto del último programa en directo de AutoFM Motorsport. Comentamos todo lo ocurrido en la emocionante cita del GT World Challenge Europe Sprint en Misano, donde Garage 59 logró una histórica victoria con McLaren tras casi una década de sequía. Analizamos el rendimiento de Kirchhöfer y Goethe, su pulso con Rossi y Marciello, la polémica penalización al BMW #46, y el intenso desenlace tras el accidente que provocó bandera roja en la segunda carrera. También repasamos el triunfo de Garage 59 en la Gold Cup, los ganadores en Silver y Bronze, el espectáculo nocturno del sábado con Rossi en lo más alto, y cómo queda la clasificación del campeonato a falta de dos rondas. ¡Misano no defraudó! Sigue nuestro programa en Twitch y YouTube cada miércoles a las 22:00. Escúchanos en: www.podcastmotor.es Twitter: @AutoFmRadio Instagram: autofmradio Twitch: AutoFMPodcast Contacto: info@autofm.es

Este Panorama Agrícola aborda uma conquista que valoriza a história, o trabalho e a identidade de uma das mais tradicionais cadeias produtivas do Sul do estado. Cultivada há gerações por famílias de agricultores, a uva Goethe e os vinhos elaborados com ela acabam de receber o mais alto reconhecimento de qualidade e autenticidade: a Denominação de Origem, concedida pelo Instituto Nacional de Propriedade Industrial, o INPI. Para entender o que isso significa para os produtores e para a região, entrevistamos Stevan Grützmann Arcari, enólogo e gerente da Estação Experimental da Epagri em Urussanga. >> CRÉDITOS:Produção, roteiro e locução: Mauro Meurer e Maykon OliveiraApoio técnico e edição: Eduardo Mayer

Frau Goethe liest (FGL)"Duftwickensommer" von Sylvia Lott – Rezension(Hördauer ca. 10 Minuten)1911 schrieb die Daily Mail einen Wettbewerb aus, bei dem der schönste Strauß Duftwicken ein Preisgeld von 1.000 Pfund erhielt. Sylvia Lott verbindet in ihrem Roman Duftwickensommer dieses historische Ereignis mit einem Gegenwartsstrang, der nach Borkum führt.Eine Rezension von Heike Stepprath.Sprecherin Heike Stepprath Hat Ihnen diese Rezension gefallen, mögen Sie vielleicht auch diese Sendung.Schnitt: Jupp Stepprath, Realisation: Uwe KullnickIch heiße Heike Stepprath und blogge unter Frau Goethe liest. Vor wenigen Jahren habe ich mich zum Studium von Public Relations entschlossen und das mit meiner Vorliebe zur Literatur verbunden. Mein Bücherregal ist mit Belletristik, Krimis, aber vor allem historischen Romanen gefüllt. Lesen ist bei mir eine Tagesroutine, die auch an stressigen Tagen unbedingt dazu gehört. Rund 120 Bücher lese ich jährlich und davon werden 80 rezensiert. Zum Austausch mit anderen Lesebegeisterten nutze ich liebend gerne Leserunden, Blogtouren, und Interviews. Artikel und Berichte über Veranstaltungen ergänzen das Thema rund ums Buch. Häufig habe ich Gelegenheit, Autoren zu treffen und mit ihnen Podcasts aufzunehmen. Wenn dir Rezensionen gefallen, hör doch mal hier hinein.

What does it mean to live the ideal life — and who gets to decide what “ideal” really means?In this episode, we explore wisdom from the Stoics and Goethe on how striving for purpose and meeting each moment fully might be closer to the answer than endless comfort. Take a moment to look the present in the eye and ask yourself: how long will you wait before you demand the best for yourself?

Allweiss, Marianne www.deutschlandfunkkultur.de, Studio 9

Fausto de Goethe es una obra monumental que encapsulalas tensiones del alma humana: la búsqueda de conocimiento, el deseo de trascendencia y el precio de las ambiciones desmedidas. Su riqueza poética, su profundidad filosófica y su exploración de la moralidad lo convierten en untexto esencial para comprender el Romanticismo y la modernidad. La tragedia de Margarita y el viaje épico de Fausto invitan al lector a confrontar sus propiosdilemas éticos y existenciales. Leer Fausto es un acto de descubrimiento intelectual y emocional, una invitación a explorar los límites de la humanidad y la posibilidad de redención. Para estudiantes, académicos y amantes de laliteratura, esta obra es un faro de belleza y sabiduría que ilumina el camino hacia la comprensión del mundo y de nosotros mismos."Crónicas Lunares di Sun" es un podcast cultural presentado por Irving Sun, que abarca una variedad de temas, desde la literatura y análisis de libros hasta discusiones sobre actualidad y personajes históricos. Se difunde en múltiples plataformas como Ivoox, Apple Podcast, Spotify y YouTube, donde también ofrece contenido en video, incluyendo reflexiones sobre temas como la meditación y la filosofía teosófica. Los episodios exploran textos y conceptos complejos, buscando fomentar la reflexión y el autoconocimiento entre su audiencia, los "Lunares", quienes pueden interactuar y apoyar el programa a través de comentarios, redes sociales y donaciones. AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠Crónicas Lunares di Sun - YouTube⁠ ⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠  ⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠  ⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠  ⁠https://twitter.com/isun_g1⁠  ⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠  ⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠  https://mx.ivoox.com/es/s_p2_759303_1.html⁠ https://tunein.com/user/gnivrinavi/favorites⁠ 

Future Zoo: I wanted you Jan Plewka: Bald sind wir zuhause Nina Hagen: I was born to preach the gospel AnnenMayKantereit: Zukunft Jupiter Jones: Melatonin Extrabreit: Komm nach Hagen Extrabreit: Immer wieder Extrabreit Reinhold Heil: Weg da, weg da Reinhold Heil: BRO M1SD1: Stadt Liebe Hass Frittenbude: Pandabär Fischmob: Triggerflanke KMFDM: WWIII (The one and only “extended” mix) Rammstein: Deutschland (Rmx)

This week's guest is Justin Goethe. Ron and Justin discussed why people struggle to get on board with lean, the role traditional consulting can play, why "A Plan for Every Part" is important, and more. An MP3 audio version of this episode is available for download here. In this episode you'll learn:  The quote Justin likes (2:57) Why we're hesitant to take action (4:02) Justin's background (5:16) Who Justin would train first (12:13) Getting the finance community on board (14:10) Why people struggle with lean (17:03) The role a consultant can play (18:11) Justin's advice for where to start (23:42) Why "A Plan for Every Part" is important (25:38) Podcast Resources Right Click to Download this Podcast as an MP3 Justin on LinkedIn Allied Logistics Get All the Latest News from Gemba Academy Our newsletter is a great way to receive updates on new courses, blog posts, and more. Sign up here. What Do You Think? How do you get people on board with lean?

Barbara Piatti ist Literaturgeografin und beschäftigt sich mit dem Verhältnis zwischen Landschaft und Literatur. Also mit der Frage, wo welche Literatur spielt und warum. Im Talk zur Sommerserie «Höhenfieber» redet sie über die Literatur in den Bergen. Namentlich über die in der Zentralschweiz. Denn im alpinen Raum der Zentralschweiz, also im Bergland zwischen dem Vierwaldstättersee und der Gotthard-Passhöhe, steckt ganz besonders viel Literatur. Natürlich Schillers Tell aber auch Texte von Goethe und Werke von Meinrad Inglin, August Strindberg, Mark Twain, Christina Viragh und vielen anderen. Im Gespräch mich Michael Luisier erzählt die Autorin und Literaturgeografin Barbara Piatti von den grossen Geschichten der Zentralschweiz und von der immer noch unbekannten Forschungsdisziplin Literaturgeografie. Erwähntes Buch: Barbara Piatti. Es lächelt der See. Literarische Wanderungen in der Zentralschweiz. 450 Seiten. Rotpunktverlag.

13 You, my brothers and sisters, were called to be free. But do not use your freedom to indulge the flesh; rather, serve one another humbly in love. 14 For the entire law is fulfilled in keeping this one command: “Love your neighbor as yourself.” k 15 If you bite and devour each other, watch out or you will be destroyed by each other. 16 So I say, walk by the Spirit, and you will not gratify the desires of the flesh. 17 For the flesh desires what is contrary to the Spirit, and the Spirit what is contrary to the flesh. They are in conflict with each other, so that you are not to do whatever you want. 18 But if you are led by the Spirit, you are not under the law. 19 The acts of the flesh are obvious: sexual immorality, impurity and debauchery; 20 idolatry and witchcraft; hatred, discord, jealousy, fits of rage, selfish ambition, dissensions, factions 21 and envy; drunkenness, orgies, and the like. I warn you, as I did before, that those who live like this will not inherit the kingdom of God. 22 But the fruit of the Spirit is love, joy, peace, forbearance, kindness, goodness, faithfulness, 23 gentleness and self-control. Against such things there is no law. 24 Those who belong to Christ Jesus have crucified the flesh with its passions and desires. 25 Since we live by the Spirit, let us keep in step with the Spirit. 26 Let us not become conceited, provoking and envying each other.” Galatians 5:13–26Explain the concept of Legalism and License and how they both lead to slavery… The Flesh leans toward both legalism and license1. If you are led by the Spirit, you are not under the Law16 So I say, walk by the Spirit, and you will not gratify the desires of the flesh. 17 For the flesh desires what is contrary to the Spirit, and the Spirit what is contrary to the flesh. They are in conflict with each other, so that you are not to do whatever you want. 18 But if you are led by the Spirit, you are not under the law. Galatians 5:17-18Legalism: When God impresses on you for your spiritual growth and you insist it upon everyone else.2. Feed the Spirit to defeat the flesh.Acts of the Flesh: Fruit of the Spirit verses doing and being…19 The acts of the flesh are obvious: sexual immorality, impurity and debauchery; 20 idolatry and witchcraft; hatred, discord, jealousy, fits of rage, selfish ambition, dissensions, factions 21 and envy; drunkenness, orgies, and the like. I warn you, as I did before, that those who live like this will not inherit the kingdom of God.  Galatians 5:19-2122 But the fruit of the Spirit is love, joy, peace, forbearance, kindness, goodness, faithfulness, 23 gentleness and self-control. Against such things there is no law. Galatians 5:22-23When you serve people it feeds the SpiritReading the Bible feeds the SpiritBeing in community with Christian brothers and sisters can feed the spiritWorship (Private and Public) feeds the SpiritDeveloping the habit of prayer feeds the SpiritObedience feeds the SpiritWhen you are full of the Holy Spirit, you begin to exude these qualities: Love, joy, peace. patience ectThe Concept of taking off your grave clothes… Lazarus comes out of the tomb. Most people try and put church clothes over their grave clothes.The Bible speaks multiple times about “Putting on Christ”The Fruit of the Spirit: this series, we will journey together to help take off our graveclothes and pursue the Fruit…The Fruit of the Spirit… they are the barometer, the thermometer of your walk with GodTRUE FREEDOM: Fish out of water is free…. But it will die. The rules of nature are good for the fish…3. You can't have the Spirit unless you're born again (Gospel turn)“None are more hopelessly enslaved than those who falsely believe they are free.” Johann Wolfgang von Goethe, German poet and dramatist (1749-1832)

T.Raumhouse: Samstag Nacht Laserkraft 3-D: Nein Mann 3Phase feat. Dr. Motte: Der Klang der Familie Lützenkirchen: 3 Tage wach Tomcraft: Broadsword calling Danny Boy Monika Kruse meets Pig & Dan: Boogie Man Ellen Allien: Traum Monolink: Return to Oz Haldolium: Eine kleine Frühlingssymphonie Paul Kalkbrenner: Altes Kamuffel Ascii.Disko: Hour of 13

You can send me a text if you have a comment or questionTalleyrand represents a strand of the ancient regime, the old nobility that thrives and leads, right through the monstrosity and glory of Empire and the Reaction that follows.  Goethe is the literary Talleyrand, the carefully controlled spark of Romanticism, that could be said to spring into flame when Germany is born.Talleyrand's career spans the Ancien Regime, Revolution and the Empire and the Restoration and the July Monarchy that follows.  This episode follows Roberto Calasso's Talleyrand, and his Goethe too, using various sources for the Congress of Erfurt.Talleyrand will betray Napoleon, but did he betray France?Viola, un homme!  Is it just kitsch?

Ich brauche Urlaub, und ich bekomme auch Urlaub. Wie schön!

☀️ Die Podcast-Empfehlung für deinen entspannten Sommer: die schönsten „All about life“ Folgen noch mal hören. Heute „Farbpsychologie – So nutzt du die Wirkung von Farben für Gesundheit und Wohlbefinden“. ☀️ Möchtest du mehr über Farbpsychologie erfahren, über Farben und ihre Wirkung auf Menschen? Oft ist uns gar nicht bewusst, wie prägend Farben auf uns wirken. Doch Farben und Gefühle stehen in einer engen Verbindung und können damit sowohl unterstützend als auch hinderlich für uns sein. Um die positive Wirkung von Farben in deinem Alltag und für deine Gesundheit und dein Wohlbefinden zu nutzen, findest du in dieser Episode die Antworten auf folgende Fragen:

Jeho listy jsou trochu zaprášené. A moje okno je na úrovni jeho koruny. Ty listy každé ráno pozdravím, pohladím a poděkuju jim. Venku je totiž čtyřicet tři stupňů a tenhle jasan moje okno stíní. V Madridu začíná léto a vedro ještě není na španělské poměry nesnesitelné. Ten mohutný jasan roste v boční ulici a stíní madridský Goethe institut, kde jsem na čtrnáct dní ubytovaná.

Jeho listy jsou trochu zaprášené. A moje okno je na úrovni jeho koruny. Ty listy každé ráno pozdravím, pohladím a poděkuju jim. Venku je totiž čtyřicet tři stupňů a tenhle jasan moje okno stíní. V Madridu začíná léto a vedro ještě není na španělské poměry nesnesitelné. Ten mohutný jasan roste v boční ulici a stíní madridský Goethe institut, kde jsem na čtrnáct dní ubytovaná.Všechny díly podcastu Ranní úvaha můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

The Beat Kings: Summer in the city The Beat Kings: A whiter shade of pale The Lords: Shakin' all over Petula Clark: Downtown (German) Johnny Cash: In Virginia Elvis Presley: Wooden Heart (German) Falco: Der Kommissar Truck Stop: Ich möcht' so gern Dave Dudley hör'n Blue Manner Haze: Body Jam Rammstein: Radio

Frances Wilson has written biographies of Dorothy Wordsworth, Thomas De Quincey, D.H. Lawrence, and, most recently, Muriel Spark. I thought Electric Spark was excellent. In my review, I wrote: “Wilson has done far more than string the facts together. She has created a strange and vivid portrait of one of the most curious of twentieth century novelists.” In this interview, we covered questions like why Thomas De Quincey is more widely read, why D.H. Lawrence's best books aren't his novels, Frances's conversion to spookiness, what she thinks about a whole range of modern biographers, literature and parasocial relationships, Elizabeth Bowen, George Meredith, and plenty about Muriel Spark.Here are two brief extracts. There is a full transcript below.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?And.Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now.TranscriptHenry: Today, I am talking to Frances Wilson. Frances is a biographer. Her latest book, Electric Spark, is a biography of the novelist Muriel Spark, but she has also written about Dorothy Wordsworth, Thomas De Quincey, DH Lawrence and others. Frances, welcome.Frances Wilson: Thank you so much for having me on.Henry: Why don't more people read Thomas De Quincey's work?Frances: [laughs] Oh, God. We're going right into the deep end.[laughter]Frances: I think because there's too much of it. When I chose to write about Thomas De Quincey, I just followed one thread in his writing because Thomas De Quincey was an addict. One of the things he was addicted to was writing. He wrote far, far, far too much. He was a professional hack. He was a transcendental hack, if you like, because all of his writing he did while on opium, which made the sentences too long and too high and very, very hard to read.When I wrote about him, I just followed his interest in murder. He was fascinated by murder as a fine art. The title of one of his best essays is On Murder as One of the Fine Arts. I was also interested in his relationship with Wordsworth. I twinned those together, which meant cutting out about 97% of the rest of his work. I think people do read his Confessions of an English Opium-Eater. I think that's a cult text. It was the memoir, if you want to call it a memoir, that kick-started the whole pharmaceutical memoir business on drugs.It was also the first addict's memoir and the first recovery memoir, and I'd say also the first misery memoir. He's very much at the root of English literary culture. We're all De Quincey-an without knowing it, is my argument.Henry: Oh, no, I fully agree. That's what surprises me, that they don't read him more often.Frances: I know it's a shame, isn't it? Of all the Romantic Circle, he's the one who's the most exciting to read. Also, Lamb is wonderfully exciting to read as well, but Lamb's a tiny little bit more grounded than De Quincey, who was literally not grounded. He's floating in an opium haze above you.[laughter]Henry: What I liked about your book was the way you emphasized the book addiction, not just the opium addiction. It is shocking the way he piled up chests full of books and notebooks, and couldn't get into the room because there were too many books in there. He was [crosstalk].Frances: Yes. He had this in common with Muriel Spark. He was a hoarder, but in a much more chaotic way than Spark, because, as you say, he piled up rooms with papers and books until he couldn't get into the room, and so just rented another room. He was someone who had no money at all. The no money he had went on paying rent for rooms, storing what we would be giving to Oxfam, or putting in the recycling bin. Then he'd forget that he was paying rent on all these rooms filled with his mountains of paper. The man was chaos.Henry: What is D.H. Lawrence's best book?Frances: Oh, my argument about Lawrence is that we've gone very badly wrong in our reading of him, in seeing him primarily as a novelist and only secondarily as an essayist and critic and short story writer, and poet. This is because of F.R. Leavis writing that celebration of him called D.H. Lawrence: Novelist, because novels are not the best of Lawrence. I think the best of his novels is absolutely, without doubt, Sons and Lovers. I think we should put the novels in the margins and put in the centre, the poems, travel writing.Absolutely at the centre of the centre should be his studies in classic American literature. His criticism was- We still haven't come to terms with it. It was so good. We haven't heard all of Lawrence's various voices yet. When Lawrence was writing, contemporaries didn't think of Lawrence as a novelist at all. It was anyone's guess what he was going to come out with next. Sometimes it was a novel [laughs] and it was usually a rant about-- sometimes it was a prophecy. Posterity has not treated Lawrence well in any way, but I think where we've been most savage to him is in marginalizing his best writing.Henry: The short fiction is truly extraordinary.Frances: Isn't it?Henry: I always thought Lawrence was someone I didn't want to read, and then I read the short fiction, and I was just obsessed.Frances: It's because in the short fiction, he doesn't have time to go wrong. I think brevity was his perfect length. Give him too much space, and you know he's going to get on his soapbox and start ranting, start mansplaining. He was a terrible mansplainer. Mansplaining his versions of what had gone wrong in the world. It is like a drunk at the end of a too-long dinner party, and you really want to just bundle him out. Give him only a tiny bit of space, and he comes out with the perfection that is his writing.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?Frances: I think that the way I approach biography is that there is a code to crack, but I'm not necessarily concerned with whether I crack it or not. I think it's just recognizing that there's a hell of a lot going on in the writing and that, in certain cases and not in every case at all, the best way of exploring the psyche of the writer and the complexity of the life is through the writing, which is a argument for psycho biography, which isn't something I necessarily would argue for, because it can be very, very crude.I think with the writers I choose, there is no option. Muriel Spark argued for this as well. She said in her own work as a biographer, which was really very, very strong. She was a biographer before she became a novelist. She thought hard about biography and absolutely in advance of anyone else who thought about biography, she said, "Of course, the only way we can approach the minds of writers is through their work, and the writer's life is encoded in the concerns of their work."When I was writing about Muriel Spark, I followed, as much as I could, to the letter, her own theories of biography, believing that that was part of the code that she left. She said very, very strong and very definitive things about what biography was about and how to write a biography. I tried to follow those rules.Henry: Can we play a little game where I say the names of some biographers and you tell me what you think of them?Frances: Oh my goodness. Okay.Henry: We're not trying to get you into trouble. We just want some quick opinions. A.N. Wilson.Frances: I think he's wonderful as a biographer. I think he's unzipped and he's enthusiastic and he's unpredictable and he's often off the rails. I think his Goethe biography-- Have you read the Goethe biography?Henry: Yes, I thought that was great.Frances: It's just great, isn't it? It's so exciting. I like the way that when he writes about someone, it's almost as if he's memorized the whole of their work.Henry: Yes.Frances: You don't imagine him sitting at a desk piled with books and having to score through his marginalia. It sits in his head, and he just pours it down on a page. I'm always excited by an A.N. Wilson biography. He is one of the few biographers who I would read regardless of who the subject was.Henry: Yes.Frances: I just want to read him.Henry: He does have good range.Frances: He absolutely does have good range.Henry: Selina Hastings.Frances: I was thinking about Selina Hastings this morning, funnily enough, because I had been talking to people over the weekend about her Sybil Bedford biography and why that hadn't lifted. She wrote a very excitingly good life of Nancy Mitford and then a very unexcitingly not good life of Sybil Bedford. I was interested in why the Sybil Bedford simply hadn't worked. I met people this weekend who were saying the same thing, that she was a very good biographer who had just failed [laughs] to give us anything about Sybil Bedford.I think what went wrong in that biography was that she just could not give us her opinions. It's as if she just withdrew from her subject as if she was writing a Wikipedia entry. There were no opinions at all. What the friends I was talking to said was that she just fell out with her subject during the book. That's what happened. She stopped being interested in her. She fell out with her and therefore couldn't be bothered. That's what went wrong.Henry: Interesting. I think her Evelyn Waugh biography is superb.Frances: Yes, I absolutely agree. She was on fire until this last one.Henry: That's one of the best books on Waugh, I think.Frances: Yes.Henry: Absolutely magical.Frances: I also remember, it's a very rare thing, of reading a review of it by Hilary Mantel saying that she had not read a biography that had been as good, ever, as Selina Hastings' on Evelyn Waugh. My goodness, that's high praise, isn't it?Henry: Yes, it is. It is. I'm always trying to push that book on people. Richard Holmes.Frances: He's my favourite. He's the reason that I'm a biographer at all. I think his Coleridge, especially the first volume of the two-volume Coleridge, is one of the great books. It left me breathless when I read it. It was devastating. I also think that his Johnson and Savage book is one of the great books. I love Footsteps as well, his account of the books he didn't write in Footsteps. I think he has a strange magic. When Muriel Spark talked about certain writers and critics having a sixth literary sense, which meant that they tuned into language and thought in a way that the rest of us don't, I think that Richard Holmes does have that. I think he absolutely has it in relation to Coleridge. I'm longing for his Tennyson to come out.Henry: Oh, I know. I know.Frances: Oh, I just can't wait. I'm holding off on reading Tennyson until I've got Holmes to help me read him. Yes, he is quite extraordinary.Henry: I would have given my finger to write the Johnson and Savage book.Frances: Yes, I know. I agree. How often do you return to it?Henry: Oh, all the time. All the time.Frances: Me too.Henry: Michael Holroyd.Frances: Oh, that's interesting, Michael Holroyd, because I think he's one of the great unreads. I think he's in this strange position of being known as a greatest living biographer, but nobody's read him on Augustus John. [laughs] I haven't read his biographies cover to cover because they're too long and it's not in my subject area, but I do look in them, and they're novelistic in their wit and complexity. His sentences are very, very, very entertaining, and there's a lot of freight in each paragraph. I hope that he keeps selling.I love his essays as well, and also, I think that he has been a wonderful ambassador for biography. He's very, very supportive of younger biographers, which not every biographer is, but I know he's been very supportive of younger biographers and is incredibly approachable.Henry: Let's do a few Muriel Spark questions. Why was the Book of Job so important to Muriel Spark?Frances: I think she liked it because it was rogue, because it was the only book of the Bible that wasn't based on any evidence, it wasn't based on any truth. It was a fictional book, and she liked fiction sitting in the middle of fact. That was one of her main things, as all Spark lovers know. She liked the fact that there was this work of pure imagination and extraordinarily powerful imagination sitting in the middle of the Old Testament, and also, she thought it was an absolutely magnificent poem.She saw herself primarily as a poet, and she responded to it as a poem, which, of course, it is. Also, she liked God in it. She described Him as the Incredible Hulk [laughs] and she liked His boastfulness. She enjoyed, as I do, difficult personalities, and she liked the fact that God had such an incredibly difficult personality. She liked the fact that God boasted and boasted and boasted, "I made this and I made that," to Job, but also I think she liked the fact that you hear God's voice.She was much more interested in voices than she was in faces. The fact that God's voice comes out of the burning bush, I think it was an image for her of early radio, this voice speaking, and she liked the fact that what the voice said was tricksy and touchy and impossibly arrogant. He gives Moses all these instructions to lead the Israelites, and Moses says, "But who shall I say sent me? Who are you?" He says, "I am who I am." [laughs] She thought that was completely wonderful. She quotes that all the time about herself. She says, "I know it's a bit large quoting God, but I am who I am." [laughs]Henry: That disembodied voice is very important to her fiction.Frances: Yes.Henry: It's the telephone in Memento Mori.Frances: Yes.Henry: Also, to some extent, tell me what you think of this, the narrator often acts like that.Frances: Like this disembodied voice?Henry: Yes, like you're supposed to feel like you're not quite sure who's telling you this or where you're being told it from. That's why it gets, like in The Ballad of Peckham Rye or something, very weird.Frances: Yes. I'm waiting for the PhD on Muriel Sparks' narrators. Maybe it's being done as we speak, but she's very, very interested in narrators and the difference between first-person and third-person. She was very keen on not having warm narrators, to put it mildly. She makes a strong argument throughout her work for the absence of the seductive narrative. Her narratives are, as we know, unbelievably seductive, but not because we are being flattered as readers and not because the narrator makes herself or himself pretty. The narrator says what they feel like saying, withholds most of what you would like them to say, plays with us, like in a Spark expression, describing her ideal narrator like a cat with a bird [laughs].Henry: I like that. Could she have been a novelist if she had not become a Catholic?Frances: No, she couldn't. The two things happened at the same time. I wonder, actually, whether she became a Catholic in order to become a novelist. It wasn't that becoming a novelist was an accidental effect of being a Catholic. The conversion was, I think, from being a biographer to a novelist rather than from being an Anglican to a Catholic. What happened is a tremendous interest. I think it's the most interesting moment in any life that I've ever written about is the moment of Sparks' conversion because it did break her life in two.She converted when she was in her mid-30s, and several things happened at once. She converted to Catholicism, she became a Catholic, she became a novelist, but she also had this breakdown. The breakdown was very much part of that conversion package. The breakdown was brought on, she says, by taking Dexys. There was slimming pills, amphetamines. She wanted to lose weight. She put on weight very easily, and her weight went up and down throughout her life.She wanted to take these diet pills, but I think she was also taking the pills because she needed to do all-nighters, because she never, ever, ever stopped working. She was addicted to writing, but also she was impoverished and she had to sell her work, and she worked all night. She was in a rush to get her writing done because she'd wasted so much of her life in her early 20s, in a bad marriage trapped in Africa. She needed to buy herself time. She was on these pills, which have terrible side effects, one of which is hallucinations.I think there were other reasons for her breakdown as well. She was very, very sensitive and I think psychologically fragile. Her mother lived in a state of mental fragility, too. She had a crash when she finished her book. She became depressed. Of course, a breakdown isn't the same as depression, but what happened to her in her breakdown was a paranoid attack rather than a breakdown. She didn't crack into nothing and then have to rebuild herself. She just became very paranoid. That paranoia was always there.Again, it's what's exciting about her writing. She was drawn to paranoia in other writers. She liked Cardinal Newman's paranoia. She liked Charlotte Brontë's paranoia, and she had paranoia. During her paranoid attack, she felt very, very interestingly, because nothing that happened in her life was not interesting, that T.S. Eliot was sending her coded messages. He was encoding these messages in his play, The Confidential Clerk, in the program notes to the play, but also in the blurbs he wrote for Faber and Faber, where he was an editor. These messages were very malign and they were encoded in anagrams.The word lived, for example, became devil. I wonder whether one of the things that happened during her breakdown wasn't that she discovered God, but that she met the devil. I don't think that that's unusual as a conversion experience. In fact, the only conversion experience she ever describes, you'll remember, is in The Girls of Slender Means, when she's describing Nicholas Farrington's conversion. That's the only conversion experience she ever describes. She says that his conversion is when he sees one of the girls leaving the burning building, holding a Schiaparelli dress. Suddenly, he's converted because he's seen a vision of evil.She says, "Conversion can be as a result of a recognition of evil, rather than a recognition of good." I think that what might have happened in this big cocktail of things that happened to her during her breakdown/conversion, is that a writer whom she had idolized, T.S. Eliot, who taught her everything that she needed to know about the impersonality of art. Her narrative coldness comes from Eliot, who thought that emotions had no place in art because they were messy, and art should be clean.I think a writer whom she had idolized, she suddenly felt was her enemy because she was converting from his church, because he was an Anglo-Catholic. He was a high Anglican, and she was leaving Anglo-Catholicism to go through the Rubicon, to cross the Rubicon into Catholicism. She felt very strongly that that is something he would not have approved of.Henry: She's also leaving poetry to become a prose writer.Frances: She was leaving his world of poetry. That's absolutely right.Henry: This is a very curious parallel because the same thing exactly happens to De Quincey with his worship of Wordsworth.Frances: You're right.Henry: They have the same obsessive mania. Then this, as you say, not quite a breakdown, but a kind of explosive mania in the break. De Quincey goes out and destroys that mossy hut or whatever it is in the orchard, doesn't he?Frances: Yes, that disgusting hut in the orchard. Yes, you're completely right. What fascinated me about De Quincey, and this was at the heart of the De Quincey book, was how he had been guided his whole life by Wordsworth. He discovered Wordsworth as a boy when he read We Are Seven, that very creepy poem about a little girl sitting on her sibling's grave, describing the sibling as still alive. For De Quincey, who had lost his very adored sister, he felt that Wordsworth had seen into his soul and that Wordsworth was his mentor and his lodestar.He worshipped Wordsworth as someone who understood him and stalked Wordsworth, pursued and stalked him. When he met him, what he discovered was a man without any redeeming qualities at all. He thought he was a dry monster, but it didn't stop him loving the work. In fact, he loved the work more and more. What threw De Quincey completely was that there was such a difference between Wordsworth, the man who had no genius, and Wordsworth, the poet who had nothing but.Eliot described it, the difference between the man who suffers and the mind which creates. What De Quincey was trying to deal with was the fact that he adulated the work, but was absolutely appalled by the man. Yes, you're right, this same experience happened to spark when she began to feel that T.S. Eliot, whom she had never met, was a malign person, but the work was still not only of immense importance to her, but the work had formed her.Henry: You see the Wasteland all over her own work and the shared Dante obsession.Frances: Yes.Henry: It's remarkably strong. She got to the point of thinking that T.S. Eliot was breaking into her house.Frances: Yes. As I said, she had this paranoid imagination, but also what fired her imagination and what repeated itself again and again in the imaginative scenarios that recur in her fiction and nonfiction is the idea of the intruder. It was the image of someone rifling around in cupboards, drawers, looking at manuscripts. This image, you first find it in a piece she wrote about finding herself completely coincidentally, staying the night during the war in the poet Louis MacNeice's house. She didn't know it was Louis MacNeice's house, but he was a poet who was very, very important to her.Spark's coming back from visiting her parents in Edinburgh in 1944. She gets talking to an au pair on the train. By the time they pull into Houston, there's an air raid, and the au pair says, "Come and spend the night at mine. My employers are away and they live nearby in St. John's Wood." Spark goes to this house and sees it's packed with books and papers, and she's fascinated by the quality of the material she finds there.She looks in all the books. She goes into the attic, and she looks at all the papers, and she asks the au pair whose house it is, and the au pair said, "Oh, he's a professor called Professor Louis MacNeice." Spark had just been reading Whitney. He's one of her favourite poets. She retells this story four times in four different forms, as non-fiction, as fiction, as a broadcast, as reflections, but the image that keeps coming back, what she can't get rid of, is the idea of herself as snooping around in this poet's study.She describes herself, in one of the versions, as trying to draw from his papers his power as a writer. She says she sniffs his pens, she puts her hands over his papers, telling herself, "I must become a writer. I must become a writer." Then she makes this weird anonymous phone call. She loved the phone because it was the most strange form of electrical device. She makes a weird anonymous phone call to an agent, saying, "I'm ringing from Louis MacNeice's house, would you like to see my manuscript?" She doesn't give her name, and the agent says yes.Now I don't believe this phone call took place. I think it's part of Sparks' imagination. This idea of someone snooping around in someone else's room was very, very powerful to her. Then she transposed it in her paranoid attack about T.S. Eliot. She transposed the image that Eliot was now in her house, but not going through her papers, but going through her food cupboards. [laughs] In her food cupboards, all she actually had was baked beans because she was a terrible cook. Part of her unwellness at that point was malnutrition. No, she thought that T.S. Eliot was spying on her. She was obsessed with spies. Spies, snoopers, blackmailers.Henry: T.S. Eliot is Stealing My Baked Beans would have been a very good title for a memoir.Frances: It actually would, wouldn't it?Henry: Yes, it'd be great.[laughter]Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now. Anything can happen. This is one of the reasons Spark was attracted to Catholicism because anything can happen, because it legitimizes the supernatural. I felt so strongly that the supernatural experiences that Spark had were real, that what Spark was describing as the spookiness of our own life were things that actually happened.One of the things I found very, very unsettling about her was that everything that happened to her, she had written about first. She didn't describe her experiences in retrospect. She described them as in foresight. For example, her first single authored published book, because she wrote for a while in collaboration with her lover, Derek Stanford, but her first single authored book was a biography of Mary Shelley.Henry: Great book.Frances: An absolutely wonderful book, which really should be better than any of the other Mary Shelley biographies. She completely got to Mary Shelley. Everything she described in Mary Shelley's life would then happen to Spark. For example, she described Mary Shelley as having her love letters sold. Her lover sold Mary Shelley's love letters, and Mary Shelley was then blackmailed by the person who bought them. This happened to Spark. She described Mary Shelley's closest friends all becoming incredibly jealous of her literary talent. This happened to Spark. She described trusting people who betrayed her. This happened to Spark.Spark was the first person to write about Frankenstein seriously, to treat Frankenstein as a masterpiece rather than as a one-off weird novel that is actually just the screenplay for a Hammer Horror film. This was 1951, remember. Everything she described in Frankenstein as its power is a hybrid text, described the powerful hybrid text that she would later write about. What fascinated her in Frankenstein was the relationship between the creator and the monster, and which one was the monster. This is exactly the story of her own life. I think where she is. She was really interested in art monsters and in the fact that the only powerful writers out there, the only writers who make a dent, are monsters.If you're not a monster, you're just not competing. I think Spark has always spoken about as having a monster-like quality. She says at the end of one of her short stories, Bang-bang You're Dead, "Am I an intellectual woman, or am I a monster?" It's the question that is frequently asked of Spark. I think she worked so hard to monsterize herself. Again, she learnt this from Elliot. She learnt her coldness from Elliot. She learnt indifference from Elliot. There's a very good letter where she's writing to a friend, Shirley Hazzard, in New York.It's after she discovers that her lover, Derek Stanford, has sold her love letters, 70 love letters, which describe two very, very painfully raw, very tender love letters. She describes to Shirley Hazzard this terrible betrayal. She says, "But, I'm over it. I'm over it now. Now I'm just going to be indifferent." She's telling herself to just be indifferent about this. You watch her tutoring herself into the indifference that she needed in order to become the artist that she knew she was.Henry: Is this why she's attracted to mediocrities, because she can possess them and monsterize them, and they're good feeding for her artistic programme?Frances: Her attraction to mediocrities is completely baffling, and it makes writing her biography, a comedy, because the men she was surrounded by were so speck-like. Saw themselves as so important, but were, in fact, so speck-like that you have to laugh, and it was one after another after another. I'd never come across, in my life, so many men I'd never heard of. This was the literary world that she was surrounded by. It's odd, I don't know whether, at the time, she knew how mediocre these mediocrities were.She certainly recognised it in her novels where they're all put together into one corporate personality called the pisseur de copie in A Far Cry from Kensington, where every single literary mediocrity is in that critic who she describes as pissing and vomiting out copy. With Derek Stanford, who was obviously no one's ever heard of now, because he wrote nothing that was memorable, he was her partner from the end of the 40s until-- They ceased their sexual relationship when she started to be interested in becoming a Catholic in 1953, but she was devoted to him up until 1958. She seemed to be completely incapable of recognising that she had the genius and he had none.Her letters to him deferred to him, all the time, as having literary powers that she hadn't got, as having insights that she hadn't got, he's better read than she was. She was such an amazingly good critic. Why could she not see when she looked at his baggy, bad prose that it wasn't good enough? She rated him so highly. When she was co-authoring books with him, which was how she started her literary career, they would occasionally write alternative sentences. Some of her sentences are always absolutely-- they're sharp, lean, sparkling, and witty, and his are way too long and really baggy and they don't say anything. Obviously, you can see that she's irritated by it.She still doesn't say, "Look, I'm going now." It was only when she became a novelist that she said, "I want my mind to myself." She puts, "I want my mind to myself." She didn't want to be in a double act with him. Doubles were important to her. She didn't want to be in a double act with him anymore. He obviously had bought into her adulation of him and hadn't recognised that she had this terrifying power as a writer. It was now his turn to have the breakdown. Spark had the mental breakdown in 1950, '45. When her first novel came out in 1957, it was Stanford who had the breakdown because he couldn't take on board who she was as a novelist.What he didn't know about her as a novelist was her comic sense, how that would fuel the fiction, but also, he didn't recognize because he reviewed her books badly. He didn't recognise that the woman who had been so tender, vulnerable, and loving with him could be this novelist who had nothing to say about tenderness or love. In his reviews, he says, "Why are her characters so cold?" because he thought that she should be writing from the core of her as a human being rather than the core of her as an intellect.Henry: What are her best novels?Frances: Every one I read, I think this has to be the best.[laughter]This is particularly the case in the early novels, where I'm dazzled by The Comforters and think there cannot have been a better first novel of the 20th century or even the 21st century so far. The Comforters. Then read Robinson, her second novel, and think, "Oh God, no, that is her best novel. Then Memento Mori, I think, "Actually, that must be the best novel of the 20th century." [laughs] Then you move on to The Ballad of Peckham Rye, I think, "No, that's even better."The novels landed. It's one of the strange things about her; it took her so long to become a novelist. When she had become one, the novels just landed. Once in one year, two novels landed. In 1959, she had, it was The Bachelors and The Ballad of Peckham Rye, both just completely extraordinary. The novels had been the storing up, and then they just fell on the page. They're different, but samey. They're samey in as much as they're very, very, very clever. They're clever about Catholicism, and they have the same narrative wit. My God, do the plots work in different ways. She was wonderful at plots. She was a great plotter. She liked plots in both senses of the world.She liked the idea of plotting against someone, also laying a plot. She was, at the same time, absolutely horrified by being caught inside someone's plot. That's what The Comforters is about, a young writer called Caroline Rose, who has a breakdown, it's a dramatisation of Sparks' own breakdown, who has a breakdown, and believes that she is caught inside someone else's story. She is a typewriter repeating all of her thoughts. Typewriter and a chorus repeating all of her thoughts.What people say about The Comforters is that Caroline Rose thought she is a heroine of a novel who finds herself trapped in a novel. Actually, if you read what Caroline Rose says in the novel, she doesn't think she's trapped in a novel; she thinks she's trapped in a biography. "There is a typewriter typing the story of our lives," she says to her boyfriend. "Of our lives." Muriel Sparks' first book was about being trapped in a biography, which is, of course, what she brought on herself when she decided to trap herself in a biography. [laughs]Henry: I think I would vote for Loitering with Intent, The Girls of Slender Means as my favourites. I can see that Memento Mori is a good book, but I don't love it, actually.Frances: Really? Interesting. Okay. I completely agree with you about-- I think Loitering with Intent is my overall favourite. Don't you find every time you read it, it's a different book? There are about 12 books I've discovered so far in that book. She loved books inside books, but every time I read it, I think, "Oh my God, it's changed shape again. It's a shape-shifting novel."Henry: We all now need the Frances Wilson essay about the 12 books inside Loitering with Intent.Frances: I know.[laughter]Henry: A few more general questions to close. Did Thomas De Quincey waste his talents?Frances: I wouldn't have said so. I think that's because every single day of his life, he was on opium.Henry: I think the argument is a combination of too much opium and also too much magazine work and not enough "real serious" philosophy, big poems, whatever.Frances: I think the best of his work went into Blackwood's, so the magazine work. When he was taken on by Blackwood's, the razor-sharp Edinburgh magazine, then the best of his work took place. I think that had he only written the murder essays, that would have been enough for me, On Murder as a Fine Art.That was enough. I don't need any more of De Quincey. I think Confessions of an English Opium-Eater is also enough in as much as it's the great memoir of addiction. We don't need any more memoirs of addiction, just read that. It's not just a memoir of being addicted to opium. It's about being addicted to what's what. It's about being a super fan and addicted to writing. He was addicted to everything. If he was in AA now, they'd say, apparently, there are 12 addictions, he had all of them. [laughs]Henry: Yes. People talk a lot about parasocial relationships online, where you read someone online or you follow them, and you have this strange idea in your head that you know them in some way, even though they're just this disembodied online person. You sometimes see people say, "Oh, we should understand this more." I think, "Well, read the history of literature, parasocial relationships everywhere."Frances: That's completely true. I hadn't heard that term before. The history of literature, a parasocial relationship. That's your next book.Henry: There we go. I think what I want from De Quincey is more about Shakespeare, because I think the Macbeth essay is superb.Frances: Absolutely brilliant. On Knocking at the Gate in Macbeth.Henry: Yes, and then you think, "Wait, where's the rest of this book? There should be an essay about every play."Frances: That's an absolutely brilliant example of microhistory, isn't it? Just taking a moment in a play, just the knocking at the gate, the morning after the murders, and blowing that moment up, so it becomes the whole play. Oh, my God, it's good. You're right.Henry: It's so good. What is, I think, "important about it", is that in the 20th century, critics started saying or scholars started saying a lot, "We can't just look at the words on the page. We've got to think about the dramaturgy. We've got to really, really think about how it plays out." De Quincey was an absolute master of that. It's really brilliant.Frances: Yes.Henry: What's your favourite modern novel or novelist?Frances: Oh, Hilary Mantel, without doubt, I think. I think we were lucky enough to live alongside a great, great, great novelist. I think the Wolf Hall trilogy is absolutely the greatest piece of narrative fiction that's come out of the 21st century. I also love her. I love her work as an essayist. I love her. She's spooky like Spark. She was inspired.Henry: Yes, she is. Yes.Frances: She learnt a lot of her cunning from Spark, I think. She's written a very spooky memoir. In fact, the only women novelists who acknowledge Spark as their influencer are Ali Smith and Hilary Mantel, although you can see Spark in William Boyd all the time. I think we're pretty lucky to live alongside William Boyd as well. Looking for real, real greatness, I think there's no one to compare with Mantel. Do you agree?Henry: I don't like the third volume of the trilogy.Frances: Okay. Right.Henry: Yes, in general, I do agree. Yes. I think some people don't like historical fiction for a variety of reasons. It may take some time for her to get it. I think she's acknowledged as being really good. I don't know that she's yet acknowledged at the level that you're saying.Frances: Yes.Henry: I think that will take a little bit longer. Maybe as and when there's a biography that will help with that, which I'm sure there will be a biography.Frances: I think they need to wait. I do think it's important to wait for a reputation to settle before starting the biography. Her biography will be very interesting because she married the same man twice. Her growth as a novelist was so extraordinary. Spark, she spent time in Africa. She had this terrible, terrible illness. She knew something. I think what I love about Mantel is, as with Spark, she knew something. She knew something, and she didn't quite know what it was that she knew. She had to write because of this knowledge. When you read her, you know that she's on a different level of understanding.Henry: You specialise in slightly neglected figures of English literature. Who else among the canonical writers deserves a bit more attention?Frances: Oh, that's interesting. I love minor characters. I think Spark was very witty about describing herself as a minor novelist or a writer of minor novels when she was evidently major. She always saw the comedy in being a minor. All the minor writers interest me. Elizabeth Bowen, Henry Green. No, they have heard Elizabeth Bowen has been treated well by Hermione Lee and Henry Green has been treated well by Jeremy Treglown.Why are they not up there yet? They're so much better than most of their contemporaries. I am mystified and fascinated by why it is that the most powerful writers tend to be kicked into the long grass. It's dazzling. When you read a Henry Green novel, you think, "But this is what it's all about. He's understood everything about what the novel can do. Why has no one heard of him?"Henry: I think Elizabeth Bowen's problem is that she's so concise, dense, and well-structured, and everything really plays its part in the pattern of the whole that it's not breezy reading.Frances: No, it's absolutely not.Henry: I think that probably holds her back in some way, even though when I have pushed it on people, most of the time they've said, "Gosh, she's a genius."Frances: Yes.Henry: It's not an easy genius. Whereas Dickens, the pages sort of fly along, something like that.Frances: Yes. One of the really interesting things about Spark is that she really, really is easy reading. At the same time, there's so much freight in those books. There's so much intellectual weight and so many games being played. There's so many books inside the books. Yet you can just read them for the pleasure. You can just read them for the plot. You can read one in an afternoon and think that you've been lost inside a book for 10 years. You don't get that from Elizabeth Bowen. That's true. The novels, you feel the weight, don't you?Henry: Yes.Frances: She's Jamesian. She's more Jamesian, I think, than Spark is.Henry: Something like A World of Love, it requires quite a lot of you.Frances: Yes, it does. Yes, it's not bedtime reading.Henry: No, exactly.Frances: Sitting up in a library.Henry: Yes. Now, you mentioned James. You're a Henry James expert.Frances: I did my PhD on Henry James.Henry: Yes. Will you ever write about him?Frances: I have, actually. Just a little plug. I've just done a selection of James's short stories, three volumes, which are coming out, I think, later this year for Riverrun with a separate introduction for each volume. I think that's all the writing I'm going to do on James. When I was an academic, I did some academic essays on him for collections and things. No, I've never felt, ever, ready to write on James because he's too complicated. I can only take tiny, tiny bits of James and home in on them.Henry: He's a great one for trying to crack the code.Frances: He really is. In fact, I was struck all the way through writing Electric Spark by James's understanding of the comedy of biography, which is described in the figure in the carpet. Remember that wonderful story where there's a writer called Verica who explains to a young critic that none of the critics have understood what his work's about. Everything that's written about him, it's fine, but it's absolutely missed his main point, his beautiful point. He said that in order to understand what the work's about, you have to look for The Figure in the Carpet. It's The Figure in the CarpetIt's the string on which my pearls are strung. A couple of critics become completely obsessed with looking for this Figure in the Carpet. Of course, Spark loved James's short stories. You feel James's short stories playing inside her own short stories. I think that one of the games she left for her biographers was the idea of The Figure in the Carpet. Go on, find it then. Find it. [laughs] The string on which my pearls are strung.Henry: Why did you leave academia? We should say that you did this before it became the thing that everyone's doing.Frances: Is everyone leaving now?Henry: A lot of people are leaving now.Frances: Oh, I didn't know. I was ahead of the curve. I left 20 years ago because I wasn't able to write the books I wanted to write. I left when I'd written two books as an academic. My first was Literary Seductions, and my second was a biography of a blackmailing courtesan called Harriet Wilson, and the book was called The Courtesan's Revenge. My department was sniffy about the books because they were published by Faber and not by OUP, and suggested that somehow I was lowering the tone of the department.This is what things were like 20 years ago. Then I got a contract to write The Ballad of Dorothy Wordsworth, my third book, again with Faber. I didn't want to write the book with my head of department in the back of my mind saying, "Make this into an academic tome and put footnotes in." I decided then that I would leave, and I left very suddenly. Now, I said I'm leaving sort of now, and I've got books to write, and felt completely liberated. Then for The Ballad of Dorothy Wordsworth, I decided not to have footnotes. It's the only book I've ever written without footnotes, simply as a celebration of no longer being in academia.Then the things I loved about being in academia, I loved teaching, and I loved being immersed in literature, but I really couldn't be around colleagues and couldn't be around the ridiculous rules of what was seen as okay. In fact, the university I left, then asked me to come back on a 0.5 basis when they realised that it was now fashionable to have someone who was a trade author. They asked me to come back, which I did not want to do. I wanted to spend days where I didn't see people rather than days where I had to talk to colleagues all the time. I think that academia is very unhappy. The department I was in was incredibly unhappy.Since then, I took up a job very briefly in another English department where I taught creative writing part-time. That was also incredibly unhappy. I don't know whether other French departments or engineering departments are happier places than English departments, but English departments are the most unhappy places I think I've ever seen.[laughter]Henry: What do you admire about the work of George Meredith?Frances: Oh, I love George Meredith. [laughs] Yes. I think Modern Love, his first novel, Modern Love, in a strange sonnet form, where it's not 14 lines, but 16 lines. By the time you get to the bottom two lines, the novel, the sonnet has become hysterical. Modern Love hasn't been properly recognised. It's an account of the breakdown of his marriage. His wife, who was the daughter of the romantic, minor novelist, Thomas Love Peacock. His wife had an affair with the artist who painted the famous Death of Chatterton. Meredith was the model for Chatterton, the dead poet in his purple silks, with his hand falling on the ground. There's a lot of mythology around Meredith.I think, as with Elizabeth Bowen and Henry Green, he's difficult. He's difficult. The other week, I tried to reread Diana of the Crossways, which was a really important novel, and I still love it. I really recognise that it's not an easy read. He doesn't try, in any way, to seduce his readers. They absolutely have to crawl inside each book to sit inside his mind and see the world as he's seeing it.Henry: Can you tell us what you will do next?Frances: At the moment, I'm testing some ideas out. I feel, at the end of every biography, you need a writer. You need to cleanse your palate. Otherwise, there's a danger of writing the same book again. I need this time, I think, to write about, to move century and move genders. I want to go back, I think, to the 19th century. I want to write about a male writer for a moment, and possibly not a novelist as well, because after being immersed in Muriel Sparks' novels, no other novel is going to seem good enough. I'm testing 19th-century men who didn't write novels, and it will probably be a minor character.Henry: Whatever it is, I look forward to reading it. Frances Wilson, thank you very much.Frances: Thank you so much, Henry. 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

Tired Eyes Kingdom: Edge mind.in.a.box: It's so good to see you again In Strict Confidence: Erde Ade Peter Schilling: Major Tom Isabelle Pabst: Als die Stille aus der Zeit fiel Mila Mar: Grace Mila Mar: Thrud Qntal: Ecce Gratum Swandive: Exit 101 Rotoskop meet dazerdoreal: NMI/Res Abay: In transit Robot Koch and Delhi De France: California Dreamin' Kante: Im ersten Licht

Adriaan en Simon bespreken: een roman schrijven is heilzaam / de nachtredacteur / NAVO-top / beschaving begint achter de IJssel / doe in het openbaar een masker van beschaving op / (echt niet) ongefilterd / Akwasi / gedichten bidden / het lied van Amsterdam / Anak Indië / stemmen uit Gaza / propjes oprapen / post van onze luisteraars / interview met Alfred Schaffer Schrijvers van dienst: Dorien Pessers / Milan Kundera / Philip Roth / Plato / Akwasi / Anton de Kom / Amer Almassri / Alfred Schaffer Download het essay Big Mother van Dorien Pessers hier: 201506291653.pdf Brieven aan Anton de Kom is hier te bestellen: https://boekenwereld.com/akwasi-brieven-aan-anton-de-kom-9789026366086 De man die achteromkeek van Amer Almassri is hier te bestellen: https://boekenwereld.com/amer-almassri-de-man-die-achteromkeek-9789493397125 Goethe in Dachau van Nico Rost is nog beperkt te verkrijgen bij uitgeverij Schokland: http://www.uitgeverijschokland.nl/bestellen/?bid=251 Zo heb ik u lief, alle gedichten tot nu toe van Alfred Schaffer is hier te bestellen: https://boekenwereld.com/alfred-schaffer-zo-heb-ik-u-lief-9789403141213 De gedichten van deze aflevering: Leven van Nazim Hikmet / Hoop van Czesław Miłosz / Dennis the Menace van Ashwin Arendse / The Sink Toilet en The Immaculate Toilet van Musawenkosi Khanyile Je kunt de boeken van Adriaan natuurlijk in de boekwinkel bestellen, maar veel van zijn boeken zijn ook als audioboek te beluisteren, ingesproken door Adriaan zelf. Neem nou bijvoorbeeld Naar zachtheid en een warm omhelzen bij Spotify: https://open.spotify.com/show/5dfcEIZk7KS2J123DerKuO?si=fB8nFoHGQKmqOTPRHlH5sg Voor een toelichting over de auteursbijeenkomst: Auteurs én uitgeverijen zijn boos over eigenaar KKR wegens banden met Israël. ‘We zijn medeplichtig gemaakt’ - NRC Volg het Instagram-account van de podcast: @vandis.ongefilterd Wil je een vraag stellen of reageren? Mail het aan: vandis@atlascontact.nl Van Dis Ongefilterd wordt gemaakt door Adriaan van Dis, Simon Dikker Hupkes en Bart Jeroen Kiers. Montage door Sten Govers van Thinium Audioboekproducties. Bedankt voor uw recensie. © 2025 Atlas Contact | Adriaan van DisSee omnystudio.com/listener for privacy information.

In this conversation with Terry Pinkard, I discuss Hegel's famous Phenomenology of Spirit. Terry recently published a brilliant introductory guide to this famously difficult book [Hegel's Phenomenology of Spirit: A Guide (2023)] which we use as our jumping off point. We discuss the origin of Hegel's book against the backdrop of its turbulent historical moment - the aftermath of the French Revolution and Napoleon's decisive victory at the Battle of Jena. At Jena Hegel too was writing alongside figures like Hölderlin, Schelling, Goethe, and Schiller. Terry clarifies common misreadings of Hegel, particularly the idea of Geist [spirit] as some kind of cosmic spirit or divine substance, emphasizing instead how Hegel understands his notion of Geist as something very concrete and social. Geist is the collective activity of reason unfolding in history. We also discuss Hegel's engagement with the scientific thought of his time, including the influence of Newton and Leibniz, and how their debates about force shaped his philosophy. The conversation traces key stages in the Phenomenology, from sense-certainty to understanding, and examines Hegel's distinctive view of freedom - not as mere individual choice, but as embedded in institutional and social practices. Finally, we consider what Terry might ask Hegel himself if given the chance. Prof. Terry Pinkard is a leading American philosopher and Hegel scholar, known for his influential work on German Idealism, phenomenology, and social philosophy. A professor at Georgetown University, he has written the definitive biography of Hegel (Hegel: A Biography 2000) and key interpretive works like Hegel's Phenomenology: The Sociality of Reason (1994) and Hegel's Naturalism (2011).  If you would like to study with me you can find more information about our online education MAs in Philosophy here at Staffordshire University. You can find out more information on our MA in Continental Philosophy via this link. Or, join our MA in Philosophy of Nature, Information and Technology via this link. Find out more about me here.  September intakes F/T or January intakes P/T. You can listen to more free back content from the Thales' Well podcast on TuneIn Radio, Player Fm, Stitcher and Pod Bean. You can also download their apps to your smart phone and listen via there. You can also subscribe for free on iTunes. Please leave a nice review.

Hinweis: Aufgrund unzureichender Tonqualität in der ursprünglichen Aufnahme wurde dieser Beitrag neu eingespielt. Joseph Goebbels – von dem Historiker Joachim C. Fest als „das Gehirn der Manipulation der Seelen“ und als „eine der wenigen echten Potenzen im Führungsapparat der Bewegung“ charakterisiert – zählt zu den zentralen Figuren des Nationalsozialismus. Doch hinter der öffentlichen Rolle als Propagandaminister verbarg sich ein innerlich zerrissener Mensch: ein gescheiterter Künstler, geplagt von körperlicher Behinderung, tiefem Selbstzweifel und der rastlosen Suche nach Identität und Anerkennung. Geboren im Rheinland als Sohn einer streng katholischen Arbeiterfamilie, durchlebte Goebbels eine Jugend voller Spannungen zwischen religiöser Prägung und intellektuellem Ehrgeiz. Die nationalsozialistische Bewegung, die ihn zunächst als körperlich wie geistig ungeeignet abtat, erschien ihm schließlich als Ort der Erlösung – ein verhängnisvoller Irrglaube, der sein Leben und das Millionen anderer zerstören sollte. Sein literarisches Projekt „Michael. Ein deutsches Schicksal in Tagebuchblättern“, 1929 im Franz-Eher-Verlag erschienen, sollte der Welt seine künstlerische Berufung beweisen. Goebbels verstand das Werk als Ausdruck innerer Hingabe – ein „Denkmal deutscher Inbrunst“, wie er es selbst formulierte. Doch in Wahrheit offenbart der autobiografisch gefärbte Roman vor allem eines: das Weltbild eines Mannes, der sich und andere der Ideologie opfert, die ihm Halt zu geben scheint. In seinem Tagebuch notierte Goebbels im Februar 1924 mit Pathos: „Mein Roman in Tagebuchblättern bekommt Linie und Farben. Blut strömt hinein; es ist ein Augenblick der schöpferischen Geburt in mir. Dostojewski fungiert als Geburtshelfer. Goethe [hält] mit seinem ‚Werther‘ formale Patenschaft.“ Doch trotz solcher literarischer Anleihen bleibt der Zweifel allgegenwärtig: „Die ersten Seiten sind die schwierigsten. Man muß den Ton finden, den Duft, den Hauch: den Stil.“ Und am Ende des Schreibprozesses steht eine resignative Bilanz: „Ich bin wohl zufrieden mit dieser Geschichte. Aber doch bin ich froh, daß ich sie hinter mich gebracht habe. Ich werde nie zu Frieden kommen!“ So zeigt sich in „Michael“ nicht nur der Wunsch eines Mannes, sich als Künstler zu verwirklichen, sondern auch der innere Abgrund, aus dem seine radikale Weltanschauung erwächst.

Wolfgang Goethe: biografia, caratteristiche del suo pensiero e delle sue opere più importanti: I dolori del giovane Werther e il Faust.

 When I moved to Asia, I learned again and again that Asian people hate Criticism.And this is so dam wrong, even it is part of the Hindu and Buddhist Scripture!We should not tell the Truth if it hurts..(Hindu and Buddhist Scripture)???To the same time, we should reduce our EGO without getting any Criticism…??I never could understand this!!!And the Bible tells us that we can get better only through Criticism…Jesus said everything that you take in (Criticism) can't poison you! Only what you give out (insults) can poison you.One honest word (regardless if it hurts) is better than 1000 flatter words! BibleFor sure I hate the Bible and love the Srimad Bhagavatam and the I-Ging. In ancient time lived a king who wanted to be dressed at best… And after some time some cheaters introduced him to wear their special cloth… All the people in the palace said how handsome the King looks with his new cloth. … And then some Kids were coming to the great emperor and asked: Why the king doesn't wear any cloth… And so is this with all of our blind spots that we can't see because we are blinded by our own mistakes. We should embrace everybody who criticizes us… We should build our enemy a throne because through him we will learn the best… Sufi Wisdom.When somebody is abusing us, then it might be a projection of himself or some information that can improve our life. How can his abusing harm us?If the abusing hurt us, then there must be a reason for that…Maybe we want to hide something? Maybe the guy is speaking out what we think from ourselves or our parents have said that already to us….We are the world… everything that we see/hear is already in us. Our brain is comparing the stuff from outside to the information that is inside already.Only our Ego can be hurt because we want to be something and not to be… That is crucial to understand… we like to blemish other people for our suffering. You can say nearly everything to me, and I don't care… Because I know already that I am ALSO a bad guy, an asswhxxx …If somebody is saying for instance to me: You are a Nazi. I think I am ALSO a Nazi… And if you think that you are only a Nazi…You are totally wrong!!!The Idea is, we are the world, and we can see/hear only that what is already inside of us. First, we see our own sins by others … Goethe Through an insult or through our negative thoughts about another guy we can discover our own faults. What is wrong with that?We can even learn about our blind spots when we abuse somebody! My Video: Why should we embrace Criticism? https://youtu.be/UkUmZMdCBFkMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast.B/Why-should-we-embrace-Criticism.mp3

Jane: Redskin Novalis: Wer Schmetterlinge lachen hört La Düsseldorf: Rheinita Harmonia: Walky Talky Deuter: Soham Puhdys: Steige nicht auf einen Baum Die Skalden: Ein ferner Punkt Gruppe WIR: Eisberg City: Der Tätowierte

Tonino Benacquista, écrivain, nouvelliste, scénariste, dramaturge, dont l'univers glisse du roman noir au roman blanc, de l'écrit à l'image, est l'auteur d'une œuvre importante, populaire et exigeante. À l'image de son nouveau roman «Tiré de faits irréels» qui, à travers la satire du milieu littéraire français, fait le portrait d'un éditeur et lecteur passionné en bout de course qui pourtant n'a pas dit son dernier mot.  « Mon banquier avoue volontiers qu'il ne lit pas quand je lui offre les dernières parutions de ma maison d'édition, non pour m'attirer ses bonnes grâces, encore moins son admiration, réservée aux seuls patrons du CAC 40, mais pour lui fournir de temps à autre une preuve matérielle de mon activité. Le livre n'étant pour lui ni un outil d'émancipation, ni même un objet récréatif, je veille à ne jamais employer le mot «littérature» de peur de provoquer l'ennui ou la gêne d'un individu s'étant construit contre celle-ci, qui n'engendre ni profit ni épargne, du moins dans le sens où il l'entend. À ses chiffres je n'ai pas su imposer mes lettres. Que n'ai-je suivi naguère un stage de gestion au lieu de lire Goethe ! Soulagé de s'être débarrassé d'un insolvable, il a tenu à me raccompagner jusqu'au seuil de sa banque. » Après quarante ans de bons et loyaux services rendus à la littérature, « Bertrand Dumas Éditeur » a fait faillite. Mais Bertrand, son fondateur, refuse cette fatalité. Il lui reste une dernière nuit pour trouver une solution miracle. Lui qui a tant cru au pouvoir du romanesque rêverait que le romanesque vienne maintenant à son secours. Il va être entendu au-delà de ses espérances. (Présentation des éditions Gallimard). Illustration musicale : Les Rolling Stones You can't always get what you want.

ADV - Prova Veggy Goods! ⁠⁠⁠⁠https://veggygood.sancarlo.com/⁠⁠⁠⁠ ADV - Dona il 5x1000 al WWF: 80078430586 Torniamo nel 1700 per conoscere Alessandro Conte di Cagliostro, una figura mistica e misteriosa. Un nobile, un mago, un massone, un medium e un medico, grande amico del Cardinale di Rohan - un'amicizia che aiuterà Cagliostro ad accumulare prestigio, ma anche un'amicizia, che, alla fine, lo annienterà. Faremo il possibile per scoprire la vera identità di questo personaggio avvolto dal mistero e soprattutto per scoprire anche cos'hanno in comune Fabrizio Corona e Johann Wolfgang von Goethe. ------ ⁠⁠⁠⁠⁠ https://www.instagram.com/vitescomode.podcast/⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

(00:50) «La Traviata» von Giuseppe Verdi ist eine der beliebtesten Opern überhaupt. Im Grand Théâtre in Genf steht sie jetzt wieder auf dem Spielplan - in einer aktualisierten Fassung. Regisseurin Karin Henkel erzählt die Geschichte aus einer weiblichen Perspektive. Weitere Themen: (05:05) Schwimmendes Museum auf dem Vierwaldstättersee - auf dem Dampfschiff «Schiller» wird eine Ausstellung zu Goethe und seiner Liebe zur Schweiz gezeigt. (11:21) Fabel über den Krieg - der poetische Film «Hôtel Silence» erzählt von einem Mann, der auszieht, um Dinge zu reparieren - und sich selbst. (15:30) Vermächtnis eines engagierten Schriftstellers - in seinem posthum erschienenen Essayband «Zeiten der Scham» ergründet der österreichische Autor Martin Pollack politische und persönliche Themen. (19:44) Gitarrist zu Gast im Studio - der österreichische Musiker Wolfgang Muthspiel war für die Veranstaltungsreihe «Public Recordings @ SRF» zu Besuch in Basel.

Naked Lunch: To all and everyone I love Balbina: Infinity tune The Interlaken: Roter Mond Drangsal: Die satanischen Fersen Kraftclub: Schief in jedem Chor Kalipo: Alles Nina Hagen: Personal Jesus Nina Hagen: All you fascists bound to lose Ideal: Blaue Augen Beatsteaks: Hello Joe Donots: Wake the dogs Fiddler's Green: No Anthem Betontod: Zusammen Benzin: Chor der Kaputten Jupiter Jones: Hey! Menetekel Sondaschule: Costa liebt dich Leichtmatrose: Dalai Lama

Adriaan en Simon bespreken: Adriaan schrijft aan een roman! / piepende poortjes / spitskool op je knie of bord / (niet) kabinet Schoof / Nico Rost / Goethe in Dachau / over de reddende kracht van literatuur in tijden van duisternis / tanken en poëzie / plaasmoorde / Musk in plaatjes / de president van Burkina Faso (v/h Opper-Volta) / commotie rondom KKR / post van onze luisteraars Schrijvers van dienst: Nico Rost / Barend Roest Crollius / Darryl Cunningham Koop nu je kaarten voor het Theatercollege van Adriaan op 26 juni in Arnhem: https://www.musisenstadstheater.nl/nl/agenda/adriaan-van-dis/9073 Achtergrondinfo bij het gesprek over Zwarte Cross en KKR: https://www.ftm.nl/artikelen/roofkapitaal-stort-zich-op-festivals Meer weten over Elon Musk? Simon maakte eerder een speciale aflevering die ingaat op zijn familie en jeugd: https://open.spotify.com/episode/7vdNKsf4oWWY3IcAimK8II?si=Sq1na2QISDWtlj6cR19vUw Elon Musk van Darryl Cunningham is hier te koop: https://boekenwereld.com/darryl-cunningham-elon-musk-9789493383128 Goethe in Dachau van Nico Rost is te verkrijgen bij antiquariatensite boekwinkeltjes.nl. De gedichten van deze aflevering: Das Knie van Christian Morgenstern / Meneer, mijn moeder van Barend Roest Crollius Je kunt de boeken van Adriaan natuurlijk in de boekwinkel bestellen, maar veel van zijn boeken zijn ook als audioboek te beluisteren, ingesproken door Adriaan zelf. Neem nou bijvoorbeeld Klifi bij Spotify: https://open.spotify.com/show/340TLXeFU5057AhKWBXmYS Volg het Instagram-account van de podcast: @vandis.ongefilterd Wil je een vraag stellen of reageren? Mail het aan: vandis@atlascontact.nl Van Dis Ongefilterd wordt gemaakt door Adriaan van Dis, Simon Dikker Hupkes en Bart Jeroen Kiers. Montage door Sten Govers van Thinium Audioboekproducties. Bedankt voor uw recensie. © 2025 Atlas Contact | Adriaan van DisSee omnystudio.com/listener for privacy information.

In dieser Episode greife ich zurück auf Episode 509 und mache ein Update, was sich im Garten so entwickelt hat. Spoiler: alles gut!

Infamis: Kammerspiel Rosenstolz: Ich bin ich Danny Dziuk: Falscher Feind Hannes Wader: Die Moorsoldaten Konstantin Wecker: Frieden im Land Ludwig Hirsch: Komm großer schwarzer Vogel Herman van Veen: Edith Piaf Stoppok: Glück auf, der Steiger kommt Stefan Waggershausen: Hallo Engel Peter Maffay: Sonne in der Nacht The Beauty of Gemina: Whispers of the seasons Northern Lite: Trusting blind 2raumwohnung: Wir trafen uns in einem Garten mit Max

Am 6. Juni 1925 feierte Thomas Mann seinen 50. Geburtstag, und kaum eine Zeitung, die etwas auf sich hielt, versäumte es, ihm aus diesem Anlass ein paar Elogen zu winden. Auch der Hamburger Anzeiger widmete ihm an diesem Datum gleich eine ganze Sonderseite, um doch drei Tage später, am 9. Juni, noch einmal nachzulegen und den Jubilar selbst zu Wort kommen zu lassen, allerdings natürlich nicht in eigener Sache, sondern über die Figur sprechend, in der er sich in seinen späteren Jahren fraglos am liebsten gespiegelt hat: Goethe. Grundlage war ein Vortrag Manns in Wien, in dem es neben Goethe auch noch um Leo Tolstoi gegangen war und beider gebrochenes Verhältnis zu ihrer sie jeweils zu Nationaldichtern erhebenden Nation. Inwieweit Thomas Mann hier sich, wie so oft, in Goethe doch irgendwo auch selbst porträtierte, erfahren wir von Frank Riede.

Join Elton as he stumbles through the lives of two women; one real, one fake. This time around Elton's irreverence locks onto "The Invisible Life of Addie LaRue", a book all about cutting deals with the devil, living forever, and learning that, when cutting a deal with Satan, it's all about the details. On his hilarious journey, Elton discovers the nature of how others affect your identity, and what a Faustian bargain is all about. Come along,...and stop all that "smirkstibating.""France, 1714: in a moment of desperation, a young woman makes a Faustian bargain to live forever―and is cursed to be forgotten by everyone she meets.Thus begins the extraordinary life of Addie LaRue, and a dazzling adventure that will play out across centuries and continents, across history and art, as a young woman learns how far she will go to leave her mark on the world.But everything changes when, after nearly 300 years, Addie stumbles across a young man in a hidden bookstore and he remembers her name."GET THE BOOK: The Invisible Life of Addie LaRue by V.E SchwabElton Reads A Book A Week Patreon⁠⁠⁠⁠⁠⁠Tips!⁠⁠⁠⁠⁠⁠SOCIAL MEDIA!⁠⁠⁠ ⁠⁠This is the LINK TREE!⁠EMAIL: eltonreadsabookaweek@gmail.comThe following section is reserved for the people, places, things, and more that Elton probably offended in this episode--THE APOLOGIES SECTION: Satan, God, fanatical Christians, Rodney Mullen, Tony Hawk, skateboarders from the "Golden Age", and psychologists, and Goethe.A special thanks to Diedrich Bader and Jenna Fischer for all their inspiration.[Addie LaRue, V.E. Schwab, invisible life, forgotten curse, immortal woman, dark fantasy romance, contemporary fantasy, book review comedy, YA fantasy, adult fantasy crossover, Faustian bargain, deal with devil, supernatural contracts, cursed deals, immortality curse, dark magic, price of wishes, soul selling, supernatural consequences, devil's bargain, looking glass self, social identity, self perception, identity crisis, how others see us, social psychology, Charles Horton Cooley, invisible identity, forgotten existence, social reflection theory, book comedy podcast, funny book review, literary humor, book roast, comedy book club, sarcastic book review, witty literary analysis, humorous fantasy review, book parody, literary comedy, fantasy podcast, book podcast, solo podcast, literary podcast, bookish humor, reading comedy, book discussion, fantasy book review, romance fantasy, dark academia adjacent, book recommendations, fantasy book lovers, bookstagram, booktok, book community, reading humor, literary memes, book obsessed]

Schon viel zu lang hat Friedrich Schiller die ausstehende Antwort auf einen Brief seines Bekannten Friedrich Hölderlin aufgeschoben. Also setzt er sich abends hin und schreibt. Dabei geht ihm einiges durch den Kopf.

Reinhold Heil: Aschebeschää Reinhold Heil: Weg da, weg da Spliff: Deja Vu Spliff: Herzlichen Glückwunsch Eisbrecher: Everything is wunderbar Eisbrecher: Kaltfront Extrabreit: Polizisten Extrabreit: Der Präsident ist tot Marius Müller-Westernhagen: Mit Pfefferminz bin ich dein Prinz Marius Müller-Westernhagen: Mit 18 Udo Lindenberg: Mit dem Sakko nach Monaco Udo Lindenberg: Grande Finale Shiny Gnomes: Bubble Burst Shiny Gnomes: It's all here

In de podcast Wat Blijft een aflevering over schrijver, dichter, wetenschapper en staatsman Goethe, één van de belangrijkste filosofen van Duitsland. Zijn bekendste boeken zijn Faust en Die Leiden des jungen Werthers. Journalist Maarten Dallinga onderzoekt wat het werk van Goethe nu nog kan betekenen. Hoe kan Goethe helpen ons te verhouden tot de onrust en onzekerheid in de wereld?     In Wat Blijft praat hij met:    *de Vlaamse schrijver Tom Lanoye. Hij bewerkte Goethe's klassieker Faust tot toneelstuk OustFaust voor Het Nationale Theater.    *dichteres Iduna Paalman, die zich verdiepte in ‘Werther' van Goethe en hier een essay over schreef voor De Groene Amsterdammer.    *priester en filosoof Victor Bulthuis, die de liefdesgedichten van Goethe vertaalde    Wat blijft is een podcast van HUMAN en NPO Radio 1 over de nalatenschap van overleden mensen en hun betekenis. In deze serie veel aandacht voor iconische ‘grote geesten': denkers en filosofen.    De podcast staat zondags om 21 uur online en is 's nachts om één uur te beluisteren in Wat Blijft Radio op NPO Radio 1. 

Die Krupps: Fire Die Krupps: Volle Kraft voraus [:SITD:]: Dunkelziffer Funker Vogt: City of darkness In Strict Confidence: Zauberschloss Retrosic: Unleash hell Massiv in Mensch feat. Mind.in.a.box: Supermassive gravity Mind.in.a.box: What used to be Diary of Dreams: The wedding Janus: Kadaverstern Faun feat. Micha Rhein: Buntes Volk Faun: Zeitgeist

Robert shoots from the hip and brings in an amazing quote about change, growth and the evils of stagnation from the great German polymath Johann Wolfgang von Goethe . . . 

Comedy writer Mike Drucker (Fallon, Samantha Bee, SNL) is here to talk about his memoir Good Game, No Rematch: A Life Made of Video Games. The thing is, while it's his debut memoir it's not the first book he's written. We dig into his scholastically nerdy past, his love of video games, his ill-fated Mario-themed wedding, Goethe, Silent Hill 2, working at Nintendo, working at SNL, his dad's painting of Captain Jack Sparrow and so much more. Plus we did a round of Just Me Or Everyone and Podcast Pals Product Picks. Get yourself some new ARIYNBF merch here: https://alison-rosen-shop.fourthwall.com/ Subscribe to my Substack: http://alisonrosen.substack.com Podcast Palz Product Picks: https://www.amazon.com/shop/alisonrosen/list/2CS1QRYTRP6ER?ref_=cm_sw_r_cp_ud_aipsflist_aipsfalisonrosen_0K0AJFYP84PF1Z61QW2H Products I Use/Recommend/Love: http://amazon.com/shop/alisonrosen Check us out on Patreon: http://patreon.com/alisonrosen   Buy Alison's Fifth Anniversary Edition Book (with new material): Tropical Attire Encouraged (and Other Phrases That Scare Me) https://amzn.to/2JuOqcd You probably need to buy the HGFY ringtone! https://www.alisonrosen.com/store/ Try Amazon Prime Free 30 Day Trial

Alicia Edelweiss: Behind the gates Madanii: Tehran is burning Freunde der italienischen Oper: Pforte zur Ewigkeit Rummelsnuff: Bohrmilch Udo Lindenberg: Elli Pyrelli Udo Lindenberg: 0-Rhesus Negativ Click Click Decker: Am Ende Shiny Gnomes: Rain Cascades Hackedepicciotto: Aichach (live in Napoli) Ava Rabiat: The end The Allegorist: Fata Morgana The Allegorist: In my blood Peter Baumann: From a far land

Im Haltungsblock spreche ich über Kompromisse, die man mit sich selbst eingehen muss und bei anderen aushalten sollte. Im Entspannungsteil erzähle ich dann von einer sehr schönen, anstrengenden, aber lohnenswerten Reise zum Auswärtsspiel des FC St. Pauli bei der Eintracht in Frankfurt.

Today I offer three different recordings of excerpts, sung in German, from Charles Gounod's opera Faust, which was known in the day in Germany as Margarethe. The Germans have always regarded this work with more than a little scorn because it has so little to do with Goethe's towering masterpiece upon which it is based. The earliest of today's excerpts is from a complete 1908 recording on the Berlin branch of the Grammophon label (when such a thing as a complete operatic recording was virtually unheard of), featuring Emmy Destinn, Karl Jörn and Paul Knüpfer under the baton of Bruno Seidler-Winkler. Much later came two recordings of excerpts in German: the first released on Deutsche Grammophon in 1958 with stalwart recording artist Maria Stader; nonpareil Kavalierbariton Eberhard Wächter; fierce Finnish bass Kim Borg; and the late German lyric tenor Heinz Hoppe under Ferdinand Leitner. The latter was released on Philips in 1963 with Ernst Kozub (recently featured on a “rehabilitational” Countermelody episode; the extraordinary German bass Franz Crass, and Swiss mega-soprano Colette Lorand (soon to be featured in her own Countermelody episode) under Marcel Couraud. As a bonus, I also feature a very young Sylvia Sass in one of her very first recordings from 1975 singing Marguerite's Jewel Song in Hungarian. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Satan comes forward a sinkapace.Topics in this episode include Goethe's Wilhelm Meister, Goethe's thoughts on Hamlet translated through Thomas Lyster, Elizabethan dances, Sir Toby Belch, Monsieur de la Palice and a hilarious French pun, John Milton, Paradise Lost, Stephen's six brave medicals, Marie Corelli's The Sorrows of Satan, Cranly, Medical Dick and Medical Davy, betrayal, W.B.'s shining seven, the significance of the number seven, Malacoda's trumpet, Dante, extended Wicklow imagery, Satanic imagery in the works of Joyce, Stephen's Luciferian impulses, Diablous in Musica, and Stephen's ultimate rejection of Satan despite his declaration of “Non serviam.”Support us on Patreon to access episodes early, bonus content, and a video version of our podcast.On the Blog:Decoding Dedalus: Folly. Persist.Blooms & Barnacles Social Media:Facebook | Twitter | InstagramSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | YouTube

Matthew David Segall, PhD, is an Associate Professor in the Philosophy, Cosmology, and Consciousness Department at California Institute of Integral Studies in San Francisco, and the Chair of the Science Advisory Committee for the Cobb Institute. He is a transdisciplinary researcher, writer, teacher, and philosopher applying process-relational thought across the natural and social sciences, as well as to the study of consciousness. He describes himself as a “process philosopher” and transdisciplinary researcher, reflecting his commitment to bridging multiple fields​. Segall's work builds on the metaphysical framework of Alfred North Whitehead, extending Whitehead's philosophy of organism into new domains of science, religion, and ecology. In doing so, Segall reinterprets the Western philosophical lineage – from ancient ideas of a world-soul to German Idealism and beyond – to articulate a participatory, organismic vision of nature. His philosophy portrays a cosmos ensouled with meaning and experience, challenging mechanistic materialism and inviting a renewed dialogue between science and spirit​. Segall integrates insights from Whitehead, Schelling, Goethe, and Steiner into a process worldview, develops an organic (panpsychist) cosmology, practices a bold transdisciplinary methodology, and engages public dialogues that embody a form of sacred activism on behalf of our living planet.TIMESTAMPS:(0:00) - Introduction (0:43) - History of Mind-Body Problem(7:40) - Critiquing Physicalism(12:55) - Quantum Theory Interpretations(16:14) - Addressing Illusionism & Scientism(22:00) - The Metaphysics of Prehension(28:14) - Panexperientialism in Physics(31:55) - Propositional Feelings(37:09) - What is Consciousness?(45:00) - Panexperientialism & Free Will(50:00) - Bridging Science & Philosophy(54:42) - Challenging the Cold/Dead Universe tale(1:00:39) - Misconceptions about Matt's work(1:04:20) - Telos(1:07:44) - Matt's Philosopher recommendations(1:13:00) - Mind At Large (Upcoming Events!)(1:17:40) - Conclusion EPISODE LINKS:- Matt's Website: https://footnotes2plato.com-  @Footnotes2Plato : http://www.youtube.com/@Footnotes2Plato- Physics Within the Bounds of Feeling Alone: https://footnotes2plato.com/wp-content/uploads/2023/11/physics-within-the-bounds-of-feeling-alone.pdf- Matt's X: https://x.com/ThouArtThat- Matt's Facebook: https://www.facebook.com/matthew.david.segall- Matt's LinkedIn: https://www.linkedin.com/in/matthewdavidsegall- Matt's Instagram: https://www.instagram.com/footnotes2platoCONNECT:- Website: https://tevinnaidu.com - Podcast: https://creators.spotify.com/pod/show/mindbodysolution- YouTube: https://youtube.com/mindbodysolution- Twitter: https://twitter.com/drtevinnaidu- Facebook: https://facebook.com/drtevinnaidu - Instagram: https://instagram.com/drtevinnaidu- LinkedIn: https://linkedin.com/in/drtevinnaidu=============================Disclaimer: The information provided on this channel is for educational purposes only. The content is shared in the spirit of open discourse and does not constitute, nor does it substitute, professional or medical advice. We do not accept any liability for any loss or damage incurred from you acting or not acting as a result of listening/watching any of our contents. You acknowledge that you use the information provided at your own risk. Listeners/viewers are advised to conduct their own research and consult with their own experts in the respective fields.

John J. Miller is joined by Peter Meilaender of Houghton University to discuss 'The Sorrows of Young Werther' by Goethe.

Goethe, Marie-Antoinette, Oskar Wilde: Sie starben, wie sie gelebt haben - wenn man ihren letzten Worten glaubt. Berühmte letzte Sätze, die über Jahrhunderte hinweg gesammelt und verklärt wurden. Doch was davon ist wahr und was nur Legende? Von Lavina Stauber

Where did Lord Byron and Percy Shelley come to sip coffee while they jotted down their verses? Where did Bizet and Berlioz go to discuss their work? Where could Casanova be found trying to pick up girls? Caffè Greco, where else? Having opened in 1760, Antico Caffè Greco is the oldest café in Rome and the second-oldest in all of Italy! And you can still go there and sit where Hawthorne, Ibsen, Gogol, Goethe, Canova, and many many other literary, art, and musical greats rubbed elbows and drank coffee. On this episode, we visit the famous café, grab some espresso ourselves, and discuss what it feels like to drink coffee in the same place so many brilliant thinkers over the generations did the same.   Hear this episode transformed into a bedtime story by Sleep With Me podcast's Drew Ackerman (aka Dear Scooter).   If you'd like to learn more about Literary Rome, download Tiffany's VoiceMap audio tour Rome for Readers, a self-guided walking tour that takes you past the residences of the most famous foreign writers who visited and lived in Rome.   ***Katy's sister Dana has recently been diagnosed with stage 4 agressive brain cancer. To help with the staggering medical costs—her specialist is outside her insurance network—as well of the costs of temporarily relocating to San Francsico for her treatments, please consider donating to her GoFundMe. Anything you can contribute will be extremely helpful. Thank you.   ***The Bittersweet Life podcast has been on the air for an impressive 10+ years! In order to help newer listeners discover some of our earlier episodes, every Friday we are now airing an episode from our vast archives! Enjoy!*** ------------------------------------- COME TO ROME WITH US: For the third year in a row, we are hosting an intimate group of listeners for a magical and unforgettable week in Rome, this October 2025! Discover the city with us as your guides, seeing a side to Rome tourists almost never see. Find out more here. ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!