Podcasts about herta m

"Niziny" to zbiór tekstów, który zwrócił uwagę na pisanie Herty Müller. Zapraszam do wysłuchania audycji o tym, jak Herta Müller pokazała życie na banackiej wsi.

1945 marschiert die Rote Armee in Rumänien ein, dessen faschistisches Regime Hitler-Deutschland unterstützt hatte. Zu Tausenden wurden Rumäniendeutsche im Alter von 17 bis 45 Jahren alsbald eingesammelt und vorgeblich zu Aufbauarbeiten in die zerstörte Sowjetunion deportiert. Dem damals 17jährige Leo Auberg aus Hermannstadt ist freilich nicht klar, was auf ihn zukommt.

Szczerze polecam Państwu zbiór tekstów Herty Müller. Ta książka daje szansę poznania życia autorki, ale także zrozumienia jej warsztatu. przekład

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Herta Müller should share her Nobel with the Securitate." This comment by a former officer in the Romanian secret police, or Securitate, was in reaction to hearing that Müller, a German writer originally from Romania, had won the 2009 Nobel Prize for Literature. Communist Romania's infamous secret police was indeed a protagonist in Müller's work, though an undesired and dreaded one: most of her writings are deeply and explicitly anchored in Ceaușescu's Romania and her own traumatic experiences with the Securitate. Müller's file traces her surveillance from 1983 until after she emigrated to West Germany in 1987. She has written extensively in reaction to reading her file, but primarily addresses its gaps, begging the question what information the file does in fact contain. The Secret Police Dossier of Herta Müller: A "File Story" of Cold War Surveillance (Camden House, 2023) is an in-depth investigation of Müller's file, and engages with other related files, including that of her then-husband, the writer Richard Wagner. Valentina Glajar treats the files as primary sources in order to re-create the story of Müller's surveillance by the Securitate. In such an intrusive culture of surveillance, surviving the system often meant a certain degree of entanglement: for victims, collaborators, and implicated subjects alike. Veiled in secrecy for decades, these compelling and complex documents shed light on a boundary between victims and perpetrators as porous as the Iron Curtain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Zapraszam do wysłuchania pierwszej audycji o prozie Herty Müller.przekład

In questo episodio Margherita Carbonaro ci svela il potere salvifico della scrittura per Herta Müller, autrice rumena di lingua tedesca, premio Nobel nel 2009. “Cuoreanimale” racconta la storia di Lola, studentessa trovata morta in un armadio, e di quattro ragazzi che si metteranno alla ricerca della verità opponendosi al regime di Ceauşescu.  In questo romanzo corale, spiega Carbonaro, “Lola sta per tutti quelli che nella dittatura nascono e il loro destino è segnato da questa devastazione”. Müller descrive un atto di resistenza che passa attraverso la fiducia nella parola scritta, a partire da quella del titolo, che la traduttrice ha ripristinato nella sua forma originale: Cuoreanimale esprime infatti una condizione che accomuna i personaggi, “l'avidità di vita nella paura della morte”.Broken © 2024 by Giovanni Cascavilla is licensed under Creative Commons Attribution-NoDerivatives 4.0 International. To view a copy of this license, visit https://creativecommons.org/licenses/by-nd/4.0/

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices

The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, in Reading the Archival Revolution: Declassified Stories and Their Challenges (Stanford University Press, 2024), Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution. Cristina Vatulescu is Associate Professor, Department of Comparative Literature, New York University and the author of Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times (Stanford, 2010). Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bernhard, Henry www.deutschlandfunkkultur.de, Lesart

Bernhard, Henry www.deutschlandfunkkultur.de, Lesart

Bernhard, Henry www.deutschlandfunkkultur.de, Lesart

Meer dan 120 Oekraïense kunstenaars zijn overleden aan het front, maakt het Oekraïense ministerie van Cultuur deze week bekend. De Cultuurminister zei naar aanleiding van dit aantal: "Deze oorlog gaat niet alleen over grondgebied; het is erop gericht om alles wat Oekraïens is uit te roeien – cultuur, taal en identiteit. We hebben nu onze eigen generatie van geëxecuteerde kunstenaars."  Het is een verwijzing naar de Geëxecuteerde Renaissance, een generatie Oekraïense kunstenaars, schrijvers en dichters die in de jaren 1920 en 1930 door het Sovjetregime werden geëxecuteerd. Het is niet voor het eerst dat Moskou de cultuur en identiteit van een land van de kaart wil vegen. In de late jaren 40 en begin jaren 50 gebeurde dit ook in Roemenië toen het communisme daar binnen denderde. Een Sovjet-playbook dat steeds door Moskou uitgerold kan worden. Waarom gebeurt dit elke keer weer? En hoe kan je voorkomen dat je cultuur wordt vernietigd?  Twee geweldige gasten zijn van de partij om het te hebben over de Russische en Sovjetrepressie van de elite in Oekraïne (jaren 20 en 30 en nu) en Roemenië (jaren 40 en 50): bij afwezigheid van Geert Jan als gastpresentator Lisa Weeda (wie kent haar niet?) die de Roemeense Alexa Stoicescu uitnodigde voor deze aflevering.  Stoicescu is onder meer vertaler Nederlands-Roemeens. Haar phd ging over de  Roemeense dissidente schrijver en Nobelprijswinnaar Herta Müller die leefde onder dictator Nicolae Ceaușescu. Momenteel werkt ze aan een artikel over hoe Nederlandse vertalingen verschenen in communistisch Roemenië (kort door de bocht) en waarom. Met speciale aandacht voor het werk van Müller, een bijzondere film en 3D-project van het Slovo House in Charkiv en twee moppen maar liefst.  Shownotes: -documentaire Herta Müller: Het alfabet van de angst. -Hartedier-Herta Müller -Ademschommel-Herta Müller -De vos was de jager-Herta Müller -film Metronom-Alexandru Belc -documentaire Cold Waves-Alexandru Solomon -film Slovo House. -3D-project Slovo House. -Aleksandra-Lisa Weeda -Dans Dans revolutie-Lisa Weeda Host: Floris Akkerman Multimediaal kunstenaar: Lisa Weeda Whizzkid (lector Nederlands en vertaler en literaire bemiddelaar): Alexa Stoicescu Levensgenieter: Joost Bosman Tussen hemel en aarde: Geert Jan HahnSee omnystudio.com/listener for privacy information.

Margherita Carbonaro"Il vecchio scapolo"Adalbert StifterCarbonio Editorewww.carbonioeditore.itTraduzione di Margherita Carbonaro.Per il giovane Victor, cresciuto in un villaggio della Boemia circondato dall'affetto della madre e della sorella adottive, è ora di partire per la città, lasciare il mondo dell'infanzia e aprirsi all'ignoto, con un'unica certezza: che mai e poi mai nella sua vita vorrà sposarsi.Durante il cammino lungo i sentieri montani, accompagnato dal suo fedele volpino, si ferma a far visita a un vecchio zio, scapolo, rinchiuso da anni in un'antica dimora arroccata sull'isola di un lago alpino. In quel luogo remoto, avvolto da un'atmosfera cupa, e da quello zio burbero e solitario, da cui Victor non desidera altro che scappare, il giovane apprenderà una lezione di vita che inaspettatamente cambierà il suo destino.Con uno stile sobrio, dalla prosa limpida e impeccabile, che tinge di magico incanto borghi e montagne, boschi e cieli stellati, Stifter ritrae con delicatezza anime semplici e profondamente umane in lotta con i propri dubbi e tormenti, consegnandoci un intenso romanzo di formazione, breve e immortale come una favola.Adalbert Stifter (Oberplan, Boemia, 1805-Linz, 1868) è considerato uno dei massimi scrittori austriaci, ammirato da autori come Mann, Nietzsche, Rilke e von Hofmannsthal. Fu anche pedagogo e pittore. Affetto da una grave malattia epatica, morì suicida. Tra le sue opere ricordiamo i romanzi L'estate di San Martino (1857) e Witiko (1865-67) e le novelle riunite nelle raccolte Studi (1844-50), di cui fa parte Il vecchio scapolo, e Pietre colorate (1853), che contiene anche il celebre racconto Cristallo di rocca.Margherita Carbonaro traduce letteratura di lingua tedesca e lettone. Ha tradotto, fra le altre, opere di Thomas Mann, Max Frisch, Herta Müller, Christoph Ransmayr e Regīna Ezera. Nel 2021 ha ricevuto un Premio nazionale per la traduzione e nel 2022 il premio di traduzione italo-tedesco alla carriera. Nata a Milano, attualmente vive tra la Germania meridionale, l'Italia e la Lettonia.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

diepodcastin europäisiert: Isabel Rohner & Regula Staempfli über "Pfad der Visionärinnen", Herta Müller, Extremistenpropaganda der Medien & grosse Europawahl 2024.

Internationell författarscen 27 september 2011.

LA BIBLIOTECA DE LA HISTORIA nos abre uno de sus archivos, que nos va a acercar a: "El aliento del Lobo. La STASI, el Muro de Berlín y la vida de nosotros". Hoy tenemos un programa que a muchos de los oyentes les pondrá los cabellos de punta. Y es que vamos a hablar de la STASI, del Muro de Berlín y de la destrucción psicológica y en ocasiones también física de miles de personas que tuvieron la desgracias de haber vivido en una época concreta en un lugar concreto de la Vieja Europa. Y es que vamos a hablar de la STASI, del Muro de Berlín y de la vida o biografía de muchas personas porque tenemos el honor de presentar el nuevo libro de uno de escritores más reputados de la lengua hispana, ya que tenemos con nosotros a Amir Valle. Así que sin más preámbulos os dejo con el programa. Espero que os guste. Amir Valle es un prestigioso periodista y escritor cubano con más de treinta ensayos, novelas, cuentos, relatos y decenas de artículos a sus espaldas. Actualmente trabaja en Alemania, en Berlín, en los servicios de televisión de la Agencia Internacional de Noticias Deutsche Welle y también trabaja como experto en América Latina en el Ministerio de Asuntos Exteriores de Alemania. Amir está considerado como uno de los escritores hispanoamericanos más destacados de su generación. Su obra, ha sido ya traducida a numerosos idiomas y también ha sido incluida en los programas de estudio de las más importantes universidades del mundo. Por si esto fuera poco su trabajo ha sido además elogiado por grandes nombres de las letras universales como los premios Nobel de Literatura Gabriel García Márquez, Mario Vargas Llosa, Herta Müller y Günter Grass. -Enlace al libro de Amir Valle: https://www.oberonlibros.com/libro/el-aliento-del-lobo-la-stasi-el-muro-de-berlin-y-la-vida-de-nosotros-9788441549043/ -Enlace a la página web de Amir Valle: https://amirvalle.com/es/ -Canal de YouTube de Amir Valle: https://www.youtube.com/channel/UCpcWAFyGMLHWCFsHJ0NBTIg -Twitter/X de Amir Valle: @AmirValle -Facebook de Amir Valle: https://www.facebook.com/AmirValleOficial/?locale=es_ES -Instagram de Amir Valle: https://www.instagram.com/amir_valle/?hl=es Este es un Podcast producido y dirigido por Gerión de Contestania, miembro del grupo "Divulgadores de la Historia". -Enlace a la página del Grupo Divulgadores de la Historia: https://divulgadoresdelahistoria.wordpress.com/ Somos un podcast perteneciente al sello iVoox Originals. Canal de YouTube de LA BIBLIOTECA DE LA HISTORIA: https://www.youtube.com/channel/UCfHTOD0Z_yC-McS71OhfHIA *Si te ha gustado el programa dale al "Like", ya que con esto ayudarás a darnos más visibilidad. También puedes dejar tu comentario, decirnos en que hemos fallado o errado y también puedes sugerir un tema para que sea tratado en un futuro programa de LA BIBLIOTECA DE LA HISTORIA. Gracias. Música del audio: -Entrada: Epic Victory by Akashic Records . License by Jamendo. -Voz entrada: http://www.locutordigital.es/ -Relato: Music with License by Jamendo. Imagen del audio: Portada del libro de Amir Valle titulado "El aliento del Lobo, la STASI, el Muro de Berlín y la vida de nosotros". Redes Sociales: -Twitter: LABIBLIOTECADE3 -Facebook: Gerión De Contestania Muchísimas gracias por escuchar LA BIBLIOTECA DE LA HISTORIA y hasta la semana que viene. Podcast amigos: Niebla de Guerra: https://www.ivoox.com/podcast-niebla-guerra_sq_f1608912_1.html La Biblioteca Perdida: https://www.ivoox.com/podcast-podcast-la-biblioteca-perdida_sq_f171036_1.html Casus Belli: https://www.ivoox.com/podcast-casus-belli-podcast_sq_f1391278_1.html Victoria Podcast: https://www.ivoox.com/podcast-victoria-podcast_sq_f1781831_1.html Relatos Salvajes: https://www.ivoox.com/podcast-relatos-salvajes_sq_f1470115_1.html Motor y al Aire: https://www.ivoox.com/podcast-motor-al-aire_sq_f1117313_1.html Pasaporte Historia: https://www.ivoox.com/podcast-pasaporte-historia_sq_f1835476_1.html Cita con Rama Podcast: https://www.ivoox.com/cita-rama-podcast-ciencia-ficcion_sq_f11043138_1.html Sierra Delta: https://www.ivoox.com/podcast-sierra-delta_sq_f1507669_1.html Permiso para Clave: https://www.ivoox.com/podcast-permiso-para-clave_sq_f1909797_1.html Héroes de Guerra 2.0: https://www.ivoox.com/podcast-heroes-guerra_sq_f1256035_1.html Calamares a la Romana: https://www.ivoox.com/podcast-calamares-a-romana_sq_f12234654_1.html Lignvm en Roma: https://www.ivoox.com/podcast-lignum-roma-ler_sq_f1828941_1.html Bestias Humanas: https://www.ivoox.com/podcast-bestias-humanas_sq_f12390050_1.html Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

New from Knockabout Media: How I Wrote This w/ Pamela HensleyThere's mystery within the creative process and a story behind every story. In the new podcast How I Wrote This, host Pamela Hensley sits down with acclaimed novelists, essayists, playwrights, translators, poets, and short story writers to learn more about their lives and the events that shaped their work.Episode 1: Julia Franck was born in 1970 in East Berlin in the former GDR (German Democratic Republic), a part of Germany that, at the time, was behind the Iron Curtain. As a child, she fled with her mother to the West and lived for nine months in a refugee camp, where they were interrogated by agents of the secret police. Five years later, when she was just thirteen, she left her mother's home and returned to Berlin, this time living on the Western side with friends. Julia is the daughter of an actress and granddaughter of a sculptor whose family history has provided the backdrop for some of her most powerful books. The Blind Side of the Heart (called the Blindness of the Heart in the US), tells the story of a woman who abandons her son on a railway platform in 1945 after surviving the horrors of the Second World War. It was a story based on her own father's childhood, a man she only met at the age of fourteen. The novel won the German Book Prize, the highest honour for literature in Germany, and went on to sell over a million copies. Two more of her books have been translated into English: Back to Back, based on her uncle's life at the time when the Berlin Wall was being built; and West, which was adapted for the screen.Julia's recommended reads:Herta Müller Katja OskampDana VowinckelHow I Wrote This is created and hosted by Pamela HensleyPresented by Knockabout Media. Original music by Tyler K. RaumanListen and subscribe on Apple, Spotify, Amazon Music, and iHeartRadio.Find out more at our website: www.howiwrotethisthepodcast.com Hosted on Acast. See acast.com/privacy for more information.

The Chinese Cultural Revolution was launched by Chairman Mao in 1966 and lasted a whole decade until his death. It aimed to purify China of perceived bourgeois elements and reinforce hardline communist ideology. The era left a huge impact on China's socio-political landscape, but despite its seismic impact, it's not that well understood by many Westerners. Today, I'm speaking with Tania Branigan. Tania spent 7 years as the Guardian's China correspondent, and is also the author of a recent non-fiction book called Red Memory, which explores stories that have emerged about the Cultural Revolution and its lingering impact on contemporary China. I read and reviewed it earlier this year, and I was absolutely blown away.  In this episode, Tania and I go deep into her book, Red Memory, the process she went through in writing and researching the text. For those of you who don't know all that much about the Cultural Revolution, don't panic – Tania does an incredible job of covering the basics while also getting into the intricacies of the relevant political history. I thoroughly recommend the book for anyone looking to improve their knowledge of China, especially how this contemporary society is still haunted by many ghosts of the Cultural Revolution. Tania mentioned Sparks, by Ian Johnson (2023), a work of non-fiction which follows “counter-historians” documenting contemporary China. Her favourite book that I'd never heard of was The Memory Police, Yōko Ogawa (1994), a dystopian tale in which a totalitarian regime controls collective memory. Also by that author was The Housekeeper and The Professor, by Yōko Ogawa (2003), which follows an ageing mathematician whose memory is limited to 80 minutes. The best book she has read in the last twelve months was Waiting to be Arrested at Night, by Tahir Hamut Izgil (2023), which is a Uyghur poet's memoir of China's genocide of the majority-Muslim population in Xinjiang Province in Northwestern China. This also reminded her of another favourite with similar undertones, The Appointment, by the Romanian author Herta Müller (1997), which follows the life of a young woman living under a communist regime. The book she would take to a desert island is the collected short stories of Anton Chekhov. On that note, she also mentioned the fantastic book A Swim in The Pond in the Rain by George Saunders (2021), in which the author, a master short story writer, examines four classic Russian short stories, including one by Chekhov. Finally, a book that changed her mind was Heidi Larson's Stuck (2020), which explores vaccine rumours, and how best to deal with people who have different opinions on that subject.

Marco Cassini"Alias"Incontri sulla traduzioneCircolo dei Lettori, Torinowww.circololettori.itFondazione Circolo dei lettori e Scuola del libro presentano "Alias". Incontri sulla traduzione, la prima edizione di un simposio sul tradurre, su chi traduce e chi sogna di farlo.A febbraio a Torino, tra giovedì 1 e sabato 3 al Circolo dei lettori, si alternano incontri dedicati alla teoria e alla pratica di uno dei più affascinanti mestieri legati al mondo del libro. «Tradurre non è tradire, è il contrario: far dialogare fra loro lingue, parole, voci di autrici e autori è il principio stesso di ogni arte, non soltanto della letteratura. Perché la cultura è essa stessa traduzione, messaggio che passa fra chi scrive e chi legge.Ancora una volta, George Steiner ci illumina sull'evidenza che «capire» significa sempre «decifrare», anche quando la comunicazione avviene all'interno della stessa lingua. Tradurre è anche avere nelle mani, nella testa e nel cuore un mestiere bellissimo che è un confronto quotidiano, intenso e appassionante, in cui ogni giorno le lingue regalano e si regalano qualcosa di nuovo» commenta Elena Loewenthal, direttore Fondazione Circolo dei lettori.«Le nostre letture sono spesso mediate dal lavoro invisibile di chi, dietro le quinte di un testo, ha sapientemente (ri)costruito scenografia, dialoghi, costumi, luci di quello spettacolo favoloso che è l'opera letteraria, che sembra svolgersi sotto i nostri occhi come fosse nato nella lingua che conosciamo. Le traduzioni ci portano in mondi e tempi che ci diventano familiari anche se concepiti con altri segni, in altre latitudini. ALIAS racconta tutto questo; è un assaggio di percorsi che qui possono prendere l'avvio. È dedicato a chi i libri in traduzione li legge e desidera indagare quella metamorfosi e a chi quel mestiere alchemico vorrebbe farlo suo», dichiara Marco Cassini della Scuola del libro. giovedì 1° febbraio h 19Consigli per sopravvivere in naturaValentina Lodovini legge Margaret Atwoodintroduce Gaja CenciarelliDa sempre Margaret Atwood trasfigura narrativamente i grandi temi che animano i nostri giorni, dalla incombente catastrofe climatica alla questione femminile; in questo testo, pubblicato in Italia da Racconti edizioni, l'autrice tratteggia un prontuario per sopravvivere sì in natura, ma soprattutto alla nostra natura, quella di esseri umani. La lettura di Valentina Lodovini, una delle più apprezzate attrici del panorama cinematografico italiano, ci permetterà di assaporare le parole di Atwood nella versione di Gaja Cenciarelli, che introdurrà la lettura raccontando come è entrata nel suo mondo letterario.venerdì 2 febbraio h 17-17.45Gina Maneri: «Saer, Onetti e gli altri: il traduttore camaleonte»In traduzione è preferibile un approccio filologico o autoriale? Le cose non sono così semplici: chi traduce deve saper affrontare scritture diverse e modulare il suo approccio, capire quando la forma è sostanza e quando invece la scrittura è solo un veicolo per raccontare delle storie.venerdì 2 febbraio h 18-18.45Marco Federici Solari: «Satira e sintassi: tradurre la comicità di Brecht»La traduzione del comico mostra i cortocircuiti tra le culture: ciò che fa ridere gli uni lascia perplessi gli altri. E si è allora costretti alla riscrittura. Di esempio in esempio, con lo sguardosempre rivolto ai problemi della resa linguistica, affronteremo un maestro della satira come Bertolt Brecht.venerdì 2 febbraio h 19Nobel oblige: tradurre i maestri con Maurizia Balmelli, Margherita Carbonaro, Anna Ruchat. Modera Vittoria MartinettoLe traduttrici che hanno reso in italiano, tra le altre, le opere dei premi Nobel Herta Müller e Thomas Mann (Carbonaro), Jean-Marie Le Clezio (Balmelli), Elfriede Jelinek, Nelly Sachs e Heinrich Böll (Ruchat), stimolate da Vittoria Martinetto (traduttrice e docente di letteratura iberoamericana all'Università degli studi di Torino) raccontano difficoltà e piacere di tradurre opere immortali.sabato 3 febbraio h 10-10.45Federica Aceto: «Ali Smith: la lingua inglese come personaggio»Ali Smith fa un uso originale e personalissimo della lingua inglese, che nei suoi libri trascende il ruolo di semplice veicolo di senso, diventando a tutti gli effetti un elemento fondamentale della storia, un vero e proprio personaggio. Ciò rende particolarmente difficile e stimolante il compito di chi traduce, costantemente sul filo del paradosso e dell'intraducibilità.sabato 3 febbraio h 11-11.45Fabio Pedone: «Rifare il classico: tradurre il mondo alla rovescia dei Viaggi di Gulliver»Ritradurre un classico moderno come Gulliver's Travels non significa riprodurlo con una patina linguistica d'epoca, ma ridargli vita nel momento attuale, con tutti i suoi paradossi,per provare a ricreare un'utopia concreta: l'emozione impregiudicata della prima lettura in un pubblico coevo.sabato 3 febbraio h 12-12.45Lorenzo Flabbi: «Tradurre Annie Ernaux, le sfide della scrittura esatta»In traduzione, è più facile riprodurre in maniera convincente le sinuosità di un raffinato arabesco (la scrittura di Julien Gracq, ad esempio) o la traiettoria di una linea precisissima che non ammette deviazioni (Annie Ernaux, per dirne una)? Si elabora qui una possibile risposta, appoggiandosi a una fedeltà traduttiva lunga dieci anni.Durante i tre giorni si indagano gli aspetti più camaleontici di questo mestiere che richiede solitudine ma suscita contatti inaspettati, costringe all'attenzione ma addestra alla fantasticheria. Partendo da scrittori e scrittrici del calibro di Margaret Atwood, Herta Müller, Thomas Mann, Jean-Marie Le Clezio, Elfriede Jelinek, Heinrich Böll, Annie Ernaux e Bertolt Brecht esploriamo i problemi della resa linguistica grazie a traduttori e traduttrici che ogni giorno affrontano la difficoltà e il piacere di tradurre opere immortali, il filo sottile tra paradosso e intraducibilità, il bisogno di capire quando la forma è sostanza e quando invece la scrittura è solo un veicolo per raccontare delle storie. Info e prenotazioniQuote di iscrizione:1 lezione: 30 euro • 5 lezioni: 120 euroiscrizioni: info@scuoladellibro.itper i titolari di Carta Io leggo di Più del Circolo dei lettori1 lezione: 15 euro • 5 lezioni: 60 euroiscrizioni: info@circololettori.itIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/show/tracce-di-il-posto-delle-parole_1/support.

Die Aktualität der Nobelpreisrede der deutschen Schriftstellerin, die in der kommunistischen Diktatur in Rumänien aufgewachsen ist, diskutieren Literaturwissenschaftlerin Daniela Strigl und Theatermacherin Anna Maria Krassnigg auf dem Theaterfestival Wortwiege Europa in Szene. Hosted on Acast. See acast.com/privacy for more information.

Zwangs-Checkout im Hotel Mama, das schmutzige Geschäft der Zopfgeldjäger und ein Nobelpreis für Gartenbau - im Mutmachpodast von Funke präsentieren Paul und Hajo Schumacher Wichtiges, Witziges und Wirres für die neue Woche. Wir fragen uns: Sprengt Gretas Pro-Palästina-Haltung die weltweite Klimaschutzbewegung? Was kostet ein Kilo Nasenhaare? Was machen Olaf Scholz und Nancy Faeser in Afrika? Pilzfluencer und Hexenjagd als neue Hobbies? Wen juckt die Trennung von Oliver Pocher? Warum eine frische Tischdecke den Sound verbessert? Sollten Veganer ihrer Katze frische Singvögel servieren? Wer ist Herta Müller? Und: Warum liegt hier Stroh? Plus: Ausnahmsweise ein Lob für den Bundespräsidenten. Folge: 669.

Herta Müller gehört zu den renommiertesten Schriftstellerinnen überhaupt. Sie ist Literaturnobelpreisträgerin und Autorin erfolgreicher Romane wie «Herztier» und «Atemschaukel». Nun erscheint ein Band mit Reden, Artikeln und Essays, in denen sie sich einmal mehr mit ihrem Lebensthema befasst. Und dieses Thema ist die Diktatur. 1953 als Kind Banater Schwaben in Rumänien geboren, gerät sie bald in Konflikt mit dem kommunistischen Regime Nicolai Ceausescus. Gleichzeitig überwirft sie sich mit ihren Banater Landsleute, deren Schweigen über die NS-Vergangenheit sie nicht mittragen will. Schreibend beginnt sie, sich mit sich und ihrer Situation auseinanderzusetzen, bis sie schliesslich Rumänien verlässt. Doch auch im Westen ist der Schrecken nicht vorbei. Eine Verleumdungskampagne führt dazu, dass sie sich auch hier wieder mit dem Vorwurf konfrontiert sieht, eine feindliche Agentin zu sein. Im Kultur-Talk mit Michael Luisier verrät Herta Müller, wie sie mit ihren Diktatur-Erfahrungen zurechtkommt. Und warum sie das Thema immer noch nicht ad acta legen kann. Buchangaben: Herta Müller. Eine Fliege kommt durch einen halben Wald. Hanser Verlag, 2023.

Herta Müller. „Amo sūpuoklės“. Knygą vertė Antanas Gailius, išleido leidykla „Versus Aureus“.Lageris – marga žmonių minia, trokštanti meilės ir duonos, šilumos ir poilsio, siekianti būti graži ir madinga, mokanti linksmintis ir ištverti, žudyti ir atleisti, galinti šokti ir nukirpti gyvenimo siūlą. Tokios mintys sukirba galvoje, veidu nuslysta šypsena ar nenorom prasiveržia juokas su Leo gyvenant barake, vartantis ant narų, slapčiomis kniaukiant viltį – anglių gabalus – ir mainant ją į dar vieną dieną. Knygos ištraukas skaito aktorius Vidmantas Fijalkauskas.

Herta Müller. „Amo sūpuoklės“. Knygą vertė Antanas Gailius, išleido leidykla „Versus Aureus“.Lageris – marga žmonių minia, trokštanti meilės ir duonos, šilumos ir poilsio, siekianti būti graži ir madinga, mokanti linksmintis ir ištverti, žudyti ir atleisti, galinti šokti ir nukirpti gyvenimo siūlą. Tokios mintys sukirba galvoje, veidu nuslysta šypsena ar nenorom prasiveržia juokas su Leo gyvenant barake, vartantis ant narų, slapčiomis kniaukiant viltį – anglių gabalus – ir mainant ją į dar vieną dieną. Knygos ištraukas skaito aktorius Vidmantas Fijalkauskas.

Herta Müller. „Amo sūpuoklės“. Knygą vertė Antanas Gailius, išleido leidykla „Versus Aureus“.Lageris – marga žmonių minia, trokštanti meilės ir duonos, šilumos ir poilsio, siekianti būti graži ir madinga, mokanti linksmintis ir ištverti, žudyti ir atleisti, galinti šokti ir nukirpti gyvenimo siūlą. Tokios mintys sukirba galvoje, veidu nuslysta šypsena ar nenorom prasiveržia juokas su Leo gyvenant barake, vartantis ant narų, slapčiomis kniaukiant viltį – anglių gabalus – ir mainant ją į dar vieną dieną. Knygos ištraukas skaito aktorius Vidmantas Fijalkauskas.

Herta Müller. „Amo sūpuoklės“. Knygą vertė Antanas Gailius, išleido leidykla „Versus Aureus“.Lageris – marga žmonių minia, trokštanti meilės ir duonos, šilumos ir poilsio, siekianti būti graži ir madinga, mokanti linksmintis ir ištverti, žudyti ir atleisti, galinti šokti ir nukirpti gyvenimo siūlą. Tokios mintys sukirba galvoje, veidu nuslysta šypsena ar nenorom prasiveržia juokas su Leo gyvenant barake, vartantis ant narų, slapčiomis kniaukiant viltį – anglių gabalus – ir mainant ją į dar vieną dieną. Knygos ištraukas skaito aktorius Vidmantas Fijalkauskas.

Herta Müller. „Amo sūpuoklės“. Knygą vertė Antanas Gailius, išleido leidykla „Versus Aureus“.Lageris – marga žmonių minia, trokštanti meilės ir duonos, šilumos ir poilsio, siekianti būti graži ir madinga, mokanti linksmintis ir ištverti, žudyti ir atleisti, galinti šokti ir nukirpti gyvenimo siūlą. Tokios mintys sukirba galvoje, veidu nuslysta šypsena ar nenorom prasiveržia juokas su Leo gyvenant barake, vartantis ant narų, slapčiomis kniaukiant viltį – anglių gabalus – ir mainant ją į dar vieną dieną. Knygos ištraukas skaito aktorius Vidmantas Fijalkauskas.

Herta Müller. „Amo sūpuoklės“. Knygą vertė Antanas Gailius, išleido leidykla „Versus Aureus“.Lageris – marga žmonių minia, trokštanti meilės ir duonos, šilumos ir poilsio, siekianti būti graži ir madinga, mokanti linksmintis ir ištverti, žudyti ir atleisti, galinti šokti ir nukirpti gyvenimo siūlą. Tokios mintys sukirba galvoje, veidu nuslysta šypsena ar nenorom prasiveržia juokas su Leo gyvenant barake, vartantis ant narų, slapčiomis kniaukiant viltį – anglių gabalus – ir mainant ją į dar vieną dieną. Knygos ištraukas skaito aktorius Vidmantas Fijalkauskas.

heute u.a. Düsseldorfer Zentralbibliothek ist "Bibliothek des Jahres"; "love/love" - Ausstellung Künstlerhaus Dortmund ; Scala Kulturrätsel; Robert de Niro wird 80; Gedicht: "Der Mann vom Geheimamt" von Herta Müller; Filmtipps: "Past lives" und "Forever young". Moderation: Markus Brügge. Von Brügge. Markus.

Geisel, Sieglindewww.deutschlandfunk.de, BüchermarktDirekter Link zur Audiodatei

Netz, Dinawww.deutschlandfunk.de, BüchermarktDirekter Link zur Audiodatei

En este capítulo, nos sumergimos en la literatura rumana contemporánea de la mano de Ioana Gruia y Mircea Cărtărescu. En la sección “Escucha para leer”, Gilberto Díaz nos trae un fragmento de Todo lo que tengo lo llevo conmigo, de Herta Müller, escritora que ha dedicado su narrativa a descifrar Rumanía, su país de nacimiento. También invitamos a la escritora peruana Claudia Ulloa Donoso, quien nos platicó sobre su novela Yo maté a un perro en Rumanía. Rodrigo Morlesin consiguió, como siempre, las mejores recomendaciones de literatura infantil y juvenil del momento. Para rematar Irma Gallo y Carina Vallejo nos comparten unas recomendaciones literarias extraordinarias. Ahora dale play.

Today we conclude our series Life under Communism by taking a second look at all three novels, The Passport, Satantango, and The Garlic Ballads. We talk about whether there are any takeaways about Communism for us here, or whether that's even something that should be sought from realist fiction. We also discuss whether these realist novels change how we feel about speculative fiction dealing with Communism or adjacent ideas (Vagabonds, The Dispossessed, Parable of the Sower), and if all those books belong under the same topical genre umbrella as the books we just read. Finally, we explore what these books tell us about the future of Communism in their respective countries. For this series, we discussed Life Under Communism with Herta Muller's The Passport Aug 12-26, László Krasznahorkai's Satantango Sept 2-16, and Mo Yan's The Garlic Ballads Sept 23 - Oct 7. You can join our Reddit discussion here: https://www.reddit.com/r/CanonicalPod where you can also find show notes, credits and extended discussions for every episode.  You can also find bonus content on our Youtube page: https://www.youtube.com/c/CanonicalPod You can support us by rating/liking/sharing our podcast! Subscribe to us here: Apple | Stitcher | Spotify | Google | Youtube We are also on Twitter and Facebook @CanonicalPod. Follow us to get updates on upcoming episodes!

We're concluding our look at Herta Müller's The Passport by examining it as a feminist novel. How does the novel's exploration of sexual exchange interact with the the way Müller presents 1980s Romania? And what exactly does it mean to be a great pheasant in the world? For this series we will be reviewing and discussing Herta Muller's The Passport Aug 12-26, László Krasznahorkai's Satantango Sept 2-16, and The Garlic Ballads Sept 23 - Oct 7. You can join our Reddit discussion here: https://www.reddit.com/r/CanonicalPod where you can also find show notes, credits and extended discussions for every episode. You can support us by rating/liking/sharing our podcast! Subscribe to us here: Apple | Stitcher | Spotify | Google | Youtube We are also on Twitter and Facebook @CanonicalPod. Follow us to get updates on upcoming episodes!

We're back to discuss more of The Passport by Herta Müller. This week, we talk about the German concept of heimat, as well as Müller's criticisms of the concept as introduced in her 2003 essay "Der König verneigt sich und tötet" ("The King Bows and Kills"). Don't worry, none of us read German, and we don't expect you to, either. For this series we will be reviewing and discussing Herta Muller's The Passport Aug 12-26, László Krasznahorkai's Satantango Sept 2-16, and The Garlic Ballads Sept 23 - Oct 7. You can join our Reddit discussion here: https://www.reddit.com/r/CanonicalPod where you can also find show notes, credits and extended discussions for every episode. You can support us by rating/liking/sharing our podcast! Subscribe to us here: Apple | Stitcher | Spotify | Google | Youtube We are also on Twitter and Facebook @CanonicalPod. Follow us to get updates on upcoming episodes!

We kick off our new series Life Under Communism, with a review of The Passport by Nobel prize winner Herta Müller. In a terse prose style, Müller uses surreal imagery to tell the story of ethnic Germans living in 1980s Romania and what they must do to get ahold of the passports necessary to leave the country.   For this series we will be reviewing and discussing Herta Muller's The Passport Aug 12-26, László Krasznahorkai's Satantango Sept 2-16, and The Garlic Ballads Sept 23 - Oct 7. You can join our Reddit discussion here: https://www.reddit.com/r/CanonicalPod where you can also find show notes, credits and extended discussions for every episode. You can support us by rating/liking/sharing our podcast! Subscribe to us here: Apple | Stitcher | Spotify | Google | Youtube We are also on Twitter and Facebook @CanonicalPod. Follow us to get updates on upcoming episodes!

رمان “سرزمین گوجه های سبز”روایتی است از زندگی واقعی و تجربه نویسنده, با سرنوشتی که برای دانشجویانی روی می‌دهد که با هزاران امید راهی شهر می‌شوند برای کسب علم ولی چیزی جز فقر و مرگ و فحشا نصیبشان نمی‌شود. مولر در "سرزمین گوجه های سبز" با زبان استعاره و کنایه واقعیت‌های زندگی در #سایه_دیکتاتوری را روایت می‌کند. نمایش عنصر واقعیت و تخیل در هر نویسنده‌ای شیوه‌ای خاص دارد. اگر واقع گرایی در اثری از یک نویسنده , وجهه ی اجتماعی داشته باشد ,می‌تواند در اثر ی دیگر از همان نویسنده وجهه ایی سیاسی پیدا کند. همچنان که مولر واقعیت و تخیل را امری سیاسی می‌داند که نتیجه دیکتاتوری است. درون مایه "سرزمین گوجه های سبز" تنهایی است و این تنهایی نتیجه بی توجهی مردم به رفتار حکومت و همچنین خواست حکومت است وی تنهایی را در بعضی جاها با استعاره و کنایه و در برخی دیگر به صراحت به تصویر می‌کشد. از جمله ویژگی‌های خاص نگارش رمان سرزمین گوجه های سبز به سبک رئالیسم جادویی فضاسازی وهم آلود آن است. در این فضاسازی واقعیات زندگی و طبیعت، مضامینی را در خدمت نویسنده قرار می‌دهد که لبه هراس انگیز زندگی را نشان می‌دهد. راوی کوشیده است که با استفاده از عنصر تخیل در دنیای واقعی یک فضای واقعی وهم آلود خلق کند. از دیگر ویژگی‌های این نوع ادبی , چندلایه بودن فضا و فضایی اغراق گونه است. استفاده از تخیل در تصویر کشیدن واقعیت، کار نویسنده را به جایی می‌رساند که اغراق و غلو را نمی‌تواند ندید بگیرد. به تصویر کشیدن فضایی متعفن در داستان نویسی به سبک رئالیسم جادویی , لایه ایی از رمان نویسی در این سبک میباشد. لایه ایی از رمان نویسی به سبک رئالیسم جادویی , به تصویر کشیدن فضایی متعفن در داستان است و "هرتا مولر" در این کتاب فضایی اغراق گونه را با کمک عناصر طبیعی ایجاد میکند تا آنکه در توصیف و وصف شرایط اجتماعی و سیاسی ِ داستان , مخاطب را به درکی عمیق از اوضاع برساند. فضا سازی مولری, امری سیاسی است که در کلیت داستان حضور دارد. بیان ِاین فضای وهم آلود به وصف ِ فضایی تعفن بار انجامیده است: «وقتی پتو را بلند کردم که روکش آن را در آورم چشمم به گوش خوکی افتاد. این شیوه دختران بود برای وداع. ملافه را تکانیدم اما گوش خوک نیفتاد.» او در کتاب سرزمین گوجه‌های سبز داستان چهار جوان را روایت می کند , راوی داستان, نماینده قشر دانشجو است. این چهار تن در دوران رژیم دیکتاتور #چائوشسکو در رومانی زندگی می‌کنند و می‌خواهند قبل از کشته شدن توسط حکومت , به آلمان فرار کنند. داستان این کتاب از زبان زنی بدون هویت تعریف می‌شود که متعلق به اقلیت آلمانی زبان کشور رومانی است. "مولر" می‌گوید: «برای نوشتن این کتاب از داستان زندگی دوست رومانیایی‌ام الهام گرفتم، کسی که توسط رژیم کمونیست این کشور کشته شد.» ولی بسیاری از صاحب نظران معتقدند که هرتا مولر Herta Müller تجربیات شخصی‌اش از دوران دانشجویی و زندگی در رومانی را در این رمان روایت می‌کند. رمان , تصویری مخوف از کشوری است که قرار بود بهشتی باشد علیه امپریالیسم؛ و سرشار از آزادی‌ها و برابری‌هایی که بی عدالتی را در زیر چکمه‌‌های کارگردان زحمتکش له کند. داستان چهار جوان شجاع که برای در هم شکستن این خفقان و ریشه کن کردن استبداد در کشورشان در تلاش بوده اند اما .......!!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/hazardastan/message