Podcasts about Kundera

It's a small world. The great David Rieff came to my San Francisco studio today for in person interview about his new anti-woke polemic Desire and Fate. And half way through our conversation, he brought up Daniel Bessner's This Is America piece which Bessner discussed on yesterday's show. I'm not sure what that tells us about wokeness, a subject which Rieff and I aren't in agreement. For him, it's the thing-in-itself which make sense of our current cultural malaise. Thus Desire and Fate, his attempt (with a great intro from John Banville) to wake us up from Wokeness. For me, it's a distraction. I've included the full transcript below. Lots of good stuff to chew on. Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. 5 KEY TAKEAWAYS * Rieff views "woke" ideology as primarily American and post-Protestant in nature, rather than stemming solely from French philosophy, emphasizing its connections to self-invention and subjective identity.* He argues that woke culture threatens high culture but not capitalism, noting that corporations have readily embraced a "baudlerized" version of identity politics that avoids class discussions.* Rieff sees woke culture as connected to the wellness movement, with both sharing a preoccupation with "psychic safety" and the metaphorical transformation of experience in which "words” become a form of “violence."* He suggests young people's material insecurity contributes to their focus on identity, as those facing bleak economic prospects turn inward when they "can't make their way in the world."* Rieff characterizes woke ideology as "apocalyptic but not pessimistic," contrasting it with his own genuine pessimism which he considers more realistic about human nature and more cheerful in its acceptance of life's limitations. FULL TRANSCRIPTAndrew Keen: Hello everybody, as we digest Trump 2.0, we don't talk that much these days about woke and woke ideology. There was a civil war amongst progressives, I think, on the woke front in 2023 and 2024, but with Donald Trump 2.0 and his various escapades, let's just talk these days about woke. We have a new book, however, on the threat of woke by my guest, David Rieff. It's called Desire and Fate. He wrote it in 2023, came out in late 2024. David's visiting the Bay Area. He's an itinerant man traveling from the East Coast to Latin America and Europe. David, welcome to Keen on America. Do you regret writing this book given what's happened in the last few months in the United States?David Rieff: No, not at all, because I think that the road to moral and intellectual hell is trying to censor yourself according to what you think is useful. There's a famous story of Jean Paul Sartre that he said to the stupefaction of a journalist late in his life that he'd always known about the gulag, and the journalist pretty surprised said, well, why didn't you say anything? And Sartre said so as not to demoralize the French working class. And my own view is, you know, you say what you have to say about this and if I give some aid and comfort to people I don't like, well, so be it. Having said that, I also think a lot of these woke ideas have their, for all of Trump's and Trump's people's fierce opposition to woke, some of the identity politics, particularly around Jewish identity seems to me not that very different from woke. Strangely they seem to have taken, for example, there's a lot of the talk about anti-semitism on college campuses involves student safety which is a great woke trope that you feel unsafe and what people mean by that is not literally they're going to get shot or beaten up, they mean that they feel psychically unsafe. It's part of the kind of metaphorization of experience that unfortunately the United States is now completely in the grips of. But the same thing on the other side, people like Barry Weiss, for example, at the Free Press there, they talk in the same language of psychic safety. So I'm not sure there's, I think there are more similarities than either side is comfortable with.Andrew Keen: You describe Woke, David, as a cultural revolution and you associated in the beginning of the book with something called Lumpen-Rousseauism. As we joked before we went live, I'm not sure if there's anything in Rousseau which isn't Lumpen. But what exactly is this cultural revolution? And can we blame it on bad French philosophy or Swiss French?David Rieff: Well, Swiss-French philosophy, you know exactly. There is a funny anecdote, as I'm sure you know, that Rousseau made a visit to Edinburgh to see Hume and there's something in Hume's diaries where he talks about Rousseau pacing up and down in front of the fire and suddenly exclaiming, but David Hume is not a bad man. And Hume notes in his acerbic way, Rousseau was like walking around without his skin on. And I think some of the woke sensitivity stuff is very much people walking around without their skin on. They can't stand the idea of being offended. I don't see it as much - of course, the influence of that version of cultural relativism that the French like Deleuze and Guattari and other people put forward is part of the story, but I actually see it as much more of a post-Protestant thing. This idea, in that sense, some kind of strange combination of maybe some French philosophy, but also of the wellness movement, of this notion that health, including psychic health, was the ultimate good in a secular society. And then the other part, which again, it seems to be more American than French, which is this idea, and this is particularly true in the trans movement, that you can be anything you want to be. And so that if you feel yourself to be a different gender, well, that's who you are. And what matters is your own subjective sense of these things, and it's up to you. The outside world has no say in it, it's what you feel. And that in a sense, what I mean by post-Protestant is that, I mean, what's the difference between Protestantism and Catholicism? The fundamental difference is, it seems to me, that in Roman Catholic tradition, you need the priest to intercede with God, whereas in Protestant tradition, it is, except for the Anglicans, but for most of Protestantism, it's you and God. And in that sense it seems to me there are more of what I see in woke than this notion that some of the right-wing people like Chris Rufo and others have that this is cultural French cultural Marxism making its insidious way through the institutions.Andrew Keen: It's interesting you talk about the Protestant ethic and you mentioned Hume's remark about Rousseau not having his skin on. Do you think that Protestantism enabled people to grow thick skins?David Rieff: I mean, the Calvinist idea certainly did. In fact, there were all these ideas in Protestant culture, at least that's the classical interpretation of deferred gratification. Capitalism was supposed to be the work ethic, all of that stuff that Weber talks about. But I think it got in the modern version. It became something else. It stopped being about those forms of disciplines and started to be about self-invention. And in a sense, there's something very American about that because after all you know it's the Great Gatsby. It's what's the famous sentence of F. Scott Fitzgerald's: there are no second acts in American lives.Andrew Keen: This is the most incorrect thing anyone's ever said about America. I'm not sure if he meant it to be incorrect, did he? I don't know.David Rieff: I think what's true is that you get the American idea, you get to reinvent yourself. And this notion of the dream, the dream become reality. And many years ago when I was spending a lot of time in LA in the late 80s, early 90s, at LAX, there was a sign from the then mayor, Tom Bradley, about how, you know, if you can dream it, it can be true. And I think there's a lot in identitarian woke idea which is that we can - we're not constricted by history or reality. In fact, it's all the present and the future. And so to me again, woke seems to me much more recognizable as something American and by extension post-Protestant in the sense that you see the places where woke is most powerful are in the other, what the encampment kids would call settler colonies, Australia and Canada. And now in the UK of course, where it seems to me by DI or EDI as they call it over there is in many ways stronger in Britain even than it was in the US before Trump.Andrew Keen: Does it really matter though, David? I mean, that's my question. Does it matter? I mean it might matter if you have the good or the bad fortune to teach at a small, expensive liberal arts college. It might matter with some of your dinner parties in Tribeca or here in San Francisco, but for most people, who cares?David Rieff: It doesn't matter. I think it matters to culture and so what you think culture is worth, because a lot of the point of this book was to say there's nothing about woke that threatens capitalism, that threatens the neo-liberal order. I mean it's turning out that Donald Trump is a great deal bigger threat to the neoliberal order. Woke was to the contrary - woke is about talking about everything but class. And so a kind of baudlerized, de-radicalized version of woke became perfectly fine with corporate America. That's why this wonderful old line hard lefty Adolph Reed Jr. says somewhere that woke is about diversifying the ruling class. But I do think it's a threat to high culture because it's about equity. It's about representation. And so elite culture, which I have no shame in proclaiming my loyalty to, can't survive the woke onslaught. And it hasn't, in my view. If you look at just the kinds of books that are being written, the kinds of plays that are been put on, even the opera, the new operas that are being commissioned, they're all about representing the marginalized. They're about speaking for your group, whatever that group is, and doing away with various forms of cultural hierarchy. And I'm with Schoenberg: if it's for everybody, if it's art, Schoenberg said it's not for everybody, and if it's for everybody it's not art. And I think woke destroys that. Woke can live with schlock. I'm sorry, high culture can live with schlock, it always has, it always will. What it can't live with is kitsch. And by which I mean kitsch in Milan Kundera's definition, which is to have opinions that you feel better about yourself for holding. And that I think is inimical to culture. And I think woke is very destructive of those traditions. I mean, in the most obvious sense, it's destructive of the Western tradition, but you know, the high arts in places like Japan or Bengal, I don't think it's any more sympathetic to those things than it is to Shakespeare or John Donne or whatever. So yeah, I think it's a danger in that sense. Is it a danger to the peace of the world? No, of course not.Andrew Keen: Even in cultural terms, as you explain, it is an orthodoxy. If you want to work with the dominant cultural institutions, the newspapers, the universities, the publishing houses, you have to play by those rules, but the great artists, poets, filmmakers, musicians have never done that, so all it provides, I mean you brought up Kundera, all it provides is something that independent artists, creative people will sneer at, will make fun of, as you have in this new book.David Rieff: Well, I hope they'll make fun of it. But on the other hand, I'm an old guy who has the means to sneer. I don't have to please an editor. Someone will publish my books one way or another, whatever ones I have left to write. But if you're 25 years old, maybe you're going to sneer with your pals in the pub, but you're gonna have to toe the line if you want to be published in whatever the obvious mainstream place is and you're going to be attacked on social media. I think a lot of people who are very, young people who are skeptical of this are just so afraid of being attacked by their peers on various social media that they keep quiet. I don't know that it's true that, I'd sort of push back on that. I think non-conformists will out. I hope it's true. But I wonder, I mean, these traditions, once they die, they're very hard to rebuild. And, without going full T.S. Eliot on you, once you don't think you're part of the past, once the idea is that basically, pretty much anything that came before our modern contemporary sense of morality and fairness and right opinion is to be rejected and that, for example, the moral character of the artist should determine whether or not the art should be paid attention to - I don't know how you come back from that or if you come back from that. I'm not convinced you do. No, other arts will be around. And I mean, if I were writing a critical review of my own book, I'd say, look, this culture, this high culture that you, David Rieff, are writing an elegy for, eulogizing or memorializing was going to die anyway, and we're at the beginning of another Gutenbergian epoch, just as Gutenberg, we're sort of 20 years into Marshall McLuhan's Gutenberg galaxy, and these other art forms will come, and they won't be like anything else. And that may be true.Andrew Keen: True, it may be true. In a sense then, to extend that critique, are you going full T.S. Eliot in this book?David Rieff: Yeah, I think Eliot was right. But it's not just Eliot, there are people who would be for the wokesters more acceptable like Mandelstam, for example, who said you're part of a conversation that's been going on long before you were born, that's going to be going on after you are, and I think that's what art is. I think the idea that we make some completely new thing is a childish fantasy. I think you belong to a tradition. There are periods - look, this is, I don't find much writing in English in prose fiction very interesting. I have to say I read the books that people talk about because I'm trying to understand what's going on but it doesn't interest me very much, but again, there have been periods of great mediocrity. Think of a period in the late 17th century in England when probably the best poet was this completely, rightly, justifiably forgotten figure, Colley Cibber. You had the great restoration period and then it all collapsed, so maybe it'll be that way. And also, as I say, maybe it's just as with the print revolution, that this new culture of social media will produce completely different forms. I mean, everything is mortal, not just us, but cultures and civilizations and all the rest of it. So I can imagine that, but this is the time I live in and the tradition I come from and I'm sorry it's gone, and I think what's replacing it is for the most part worse.Andrew Keen: You're critical in the book of what you, I'm quoting here, you talk about going from the grand inquisitor to the grand therapist. But you're very critical of the broader American therapeutic culture of acute sensitivity, the thin skin nature of, I guess, the Rousseau in this, whatever, it's lumpen Rousseauanism. So how do you interpret that without psychologizing, or are you psychologizing in the book? How are you making sense of our condition? In other words, can one critique criticize therapeutic culture without becoming oneself therapeutic?David Rieff: You mean the sort of Pogo line, we've met the enemy and it is us. Well, I suppose there's some truth to that. I don't know how much. I think that woke is in some important sense a subset of the wellness movement. And the wellness movement after all has tens and tens of millions of people who are in one sense or another influenced by it. And I think health, including psychic health, and we've moved from wellness as corporal health to wellness as being both soma and psyche. So, I mean, if that's psychologizing, I certainly think it's drawing the parallel or seeing woke in some ways as one of the children of the god of wellness. And that to me, I don't know how therapeutic that is. I think it's just that once you feel, I'm interested in what people feel. I'm not necessarily so interested in, I mean, I've got lots of opinions, but what I think I'm better at than having opinions is trying to understand why people think what they think. And I do think that once health becomes the ultimate good in a secular society and once death becomes the absolutely unacceptable other, and once you have the idea that there's no real distinction of any great validity between psychic and physical wellness, well then of course sensitivity to everything becomes almost an inevitable reaction.Andrew Keen: I was reading the book and I've been thinking about a lot of movements in America which are trying to bring people together, dealing with America, this divided America, as if it's a marriage in crisis. So some of the most effective or interesting, I think, thinkers on this, like Arlie Hochschild in Berkeley, use the language of therapy to bring or to try to bring America back together, even groups like the Braver Angels. Can therapy have any value or that therapeutic culture in a place like America where people are so bitterly divided, so hateful towards one another?David Rieff: Well, it's always been a country where, on the one hand, people have been, as you say, incredibly good at hatred and also a country of people who often construe themselves as misfits and heretics from the Puritans forward. And on the other hand, you have that small-town American idea, which sometimes I think is as important to woke and DI as as anything else which is that famous saying of small town America of all those years ago which was if you don't have something nice to say don't say anything at all. And to some extent that is, I think, a very powerful ancestor of these movements. Whether they're making any headway - of course I hope they are, but Hochschild is a very interesting figure, but I don't, it seems to me it's going all the other way, that people are increasingly only talking to each other.Andrew Keen: What this movement seems to want to do is get beyond - I use this word carefully, I'm not sure if they use it but I'm going to use it - ideology and that we're all prisoners of ideology. Is woke ideology or is it a kind of post-ideology?David Rieff: Well, it's a redemptive idea, a restorative idea. It's an idea that in that sense, there's a notion that it's time for the victims, for the first to be last and the last to be first. I mean, on some level, it is as simple as that. On another level, as I say, I do think it has a lot to do with metaphorization of experience, that people say silence is violence and words are violence and at that point what's violence? I mean there is a kind of level to me where people have gotten trapped in the kind of web of their own metaphors and now are living by them or living shackled to them or whatever image you're hoping for. But I don't know what it means to get beyond ideology. What, all men will be brothers, as in the Beethoven-Schiller symphony? I mean, it doesn't seem like that's the way things are going.Andrew Keen: Is the problem then, and I'm thinking out loud here, is the problem politics or not enough politics?David Rieff: Oh, I think the problem is that now we don't know, we've decided that everything is part, the personal is the political, as the feminists said, 50, 60 years ago. So the personal's political, so the political is the personal. So you have to live the exemplary moral life, or at least the life that doesn't offend anybody or that conforms to whatever the dominant views of what good opinions are, right opinions are. I think what we're in right now is much more the realm of kind of a new set of moral codes, much more than ideology in the kind of discrete sense of politics.Andrew Keen: Now let's come back to this idea of being thin-skinned. Why are people so thin-skinned?David Rieff: Because, I mean, there are lots of things to say about that. One thing, of course, that might be worth saying, is that the young generations, people who are between, let's say, 15 and 30, they're in real material trouble. It's gonna be very hard for them to own a house. It's hard for them to be independent and unless the baby boomers like myself will just transfer every penny to them, which doesn't seem very likely frankly, they're going to live considerably worse than generations before. So if you can't make your way in the world then maybe you make your way yourself or you work on yourself in that sort of therapeutic sense. You worry about your own identity because the only place you have in the world in some way is yourself, is that work, that obsession. I do think some of these material questions are important. There's a guy you may know who's not at all woke, a guy who teaches at the University of Washington called Danny Bessner. And I just did a show with him this morning. He's a smart guy and we have a kind of ironic correspondence over email and DM. And I once said to him, why are you so bitter about everything? And he said, you want to know why? Because I have two children and the likelihood is I'll never get a teaching job that won't require a three hour commute in order for me to live anywhere that I can afford to live. And I thought, and he couldn't be further from woke, he's a kind of Jacobin guy, Jacobin Magazine guy, and if he's left at all, it's kind of old left, but I think a lot of people feel that, that they feel their practical future, it looks pretty grim.Andrew Keen: But David, coming back to the idea of art, they're all suited to the world of art. They don't have to buy a big house and live in the suburbs. They can become poets. They can become filmmakers. They can put their stuff up on YouTube. They can record their music online. There are so many possibilities.David Rieff: It's hard to monetize that. Maybe now you're beginning to sound like the people you don't like. Now you're getting to sound like a capitalist.Andrew Keen: So what? Well, I don't care if I sound like a capitalist. You're not going to starve to death.David Rieff: Well, you might not like, I mean, it's fine to be a barista at 24. It's not so fine at 44. And are these people going to ever get out of this thing? I don't know. I wonder. Look, when I was starting as a writer, as long as you were incredibly diligent, and worked really hard, you could cobble together at least a basic living by accepting every assignment and people paid you bits and bobs of money, but put together, you could make a living. Now, the only way to make money, unless you're lucky enough to be on staff of a few remaining media outlets that remain, is you have to become an impresario, you have become an entrepreneur of your own stuff. And again, sure, do lots of people manage that? Yeah, but not as many as could have worked in that other system, and look at the fate of most newspapers, all folding. Look at the universities. We can talk about woke and how woke destroyed, in my view anyway, a lot of the humanities. But there's also a level in which people didn't want to study these things. So we're looking at the last generation in a lot places of a lot of these humanities departments and not just the ones that are associated with, I don't know, white supremacy or the white male past or whatever, but just the humanities full stop. So I know if that sounds like, maybe it sounds like a capitalist, but maybe it also sounds like you know there was a time when the poets - you know very well, poets never made a living, poets taught in universities. That's the way American poets made their money, including pretty famous poets like Eric Wolcott or Joseph Brodsky or writers, Toni Morrison taught at Princeton all those years, Joyce Carol Oates still alive, she still does. Most of these people couldn't make a living of their work and so the university provided that living.Andrew Keen: You mentioned Barry Weiss earlier. She's making a fortune as an anti-woke journalist. And Free Press seems to be thriving. Yascha Mounk's Persuasion is doing pretty well. Andrew Sullivan, another good example, making a fortune off of Substack. It seems as if the people willing to take risks, Barry Weiss leaving the New York Times, Andrew Sullivan leaving everything he's ever joined - that's...David Rieff: Look, are there going to be people who thrive in this new environment? Sure. And Barry Weiss turns out to be this kind of genius entrepreneur. She deserves full credit for that. Although even Barry Weiss, the paradox for me of Barry Weiss is, a lot of her early activism was saying that she felt unsafe with these anti-Israeli teachers at Columbia. So in a sense, she was using some of the same language as the woke use, psychic safety, because she didn't mean Joseph Massad was gonna come out from the blackboard and shoot her in the eye. She meant that she was offended and used the language of safety to describe that. And so in that sense, again, as I was saying to you earlier, I think there are more similarities here. And Trump, I think this is a genuine counterrevolution that Trump is trying to mount. I'm not very interested in the fascism, non-fascism debate. I'm rather skeptical of it.Andrew Keen: As Danny Bessner is. Yeah, I thought Danny's piece about that was brilliant.David Rieff: We just did a show about it today, that piece about why that's all rubbish. I was tempted, I wrote to a friend that guy you may know David Bell teaches French history -Andrew Keen: He's coming on the show next week. Well, you see, it's just a little community of like-minded people.David Rieff: There you go. Well, I wrote to David.Andrew Keen: And you mentioned his father in the book, Daniel.David Rieff: Yeah, well, his father is sort of one of the tutelary idols of the book. I had his father and I read his father and I learned an enormous amount. I think that book about the cultural contradictions of capitalism is one of the great prescient books about our times. But I wrote to David, I said, I actually sent him the Bessner piece which he was quite ambivalent about. But I said well, I'm not really convinced by the fascism of Trump, maybe just because Hitler read books, unlike Donald Trump. But it's a genuine counterrevolution. And what element will change the landscape in terms of DI and woke and identitarianism is not clear. These people are incredibly ambitious. They really mean to change this country, transform it.Andrew Keen: But from the book, David, Trump's attempts to cleanse, if that's the right word, the university, I would have thought you'd have rather admired that, all these-David Rieff: I agree with some of it.Andrew Keen: All these idiots writing the same article for 30 years about something that no one has any interest in.David Rieff: I look, my problem with Trump is that I do support a lot of that. I think some of the stuff that Christopher Rufo, one of the leading ideologues of this administration has uncovered about university programs and all of this crap, I think it's great that they're not paying for it anymore. The trouble is - you asked me before, is it that important? Is culture important compared to destroying the NATO alliance, blowing up the global trade regime? No. I don't think. So yeah, I like a lot of what they're doing about the university, I don't like, and I am very fiercely opposed to this crackdown on speech. That seems to be grotesque and revolting, but are they canceling supporting transgender theater in Galway? Yeah, I think it's great that they're canceling all that stuff. And so I'm not, that's my problem with Trump, is that some of that stuff I'm quite unashamedly happy about, but it's not nearly worth all the damage he's doing to this country and the world.Andrew Keen: Being very generous with your time, David. Finally, in the book you describe woke as, and I thought this was a very sharp way of describing it, describe it as being apocalyptic but not pessimistic. What did you mean by that? And then what is the opposite of woke? Would it be not apocalyptic, but cheerful?David Rieff: Well, I think genuine pessimists are cheerful, I would put myself among those. The model is Samuel Beckett, who just thinks things are so horrible that why not be cheerful about them, and even express one's pessimism in a relatively cheerful way. You remember the famous story that Thomas McCarthy used to tell about walking in the Luxembourg Gardens with Beckett and McCarthy says to him, great day, it's such a beautiful day, Sam. Beckett says, yeah, beautiful day. McCarthy says, makes you glad to be alive. And Beckett said, oh, I wouldn't go that far. And so, the genuine pessimist is quite cheerful. But coming back to woke, it's apocalyptic in the sense that everything is always at stake. But somehow it's also got this reformist idea that cultural revolution will cleanse away the sins of the supremacist patriarchal past and we'll head for the sunny uplands. I think I'm much too much of a pessimist to think that's possible in any regime, let alone this rather primitive cultural revolution called woke.Andrew Keen: But what would the opposite be?David Rieff: The opposite would be probably some sense that the best we're going to do is make our peace with the trash nature of existence, that life is finite in contrast with the wellness people who probably have a tendency towards the apocalyptic because death is an insult to them. So everything is staving off the bad news and that's where you get this idea that you can, like a lot of revolutions, you can change the nature of people. Look, the communist, Che Guevara talked about the new man. Well, I wonder if he thought it was so new when he was in Bolivia. I think these are - people need utopias, this is one of them, MAGA is another utopia by the way, and people don't seem to be able to do without them and that's - I wish it were otherwise but it isn't.Andrew Keen: I'm guessing the woke people would be offended by the idea of death, are they?David Rieff: Well, I think the woke people, in this synchronicity, people and a lot of people, they're insulted - how can this happen to me, wonderful me? And this is those jokes in the old days when the British could still be savage before they had to have, you know, Henry the Fifth be played by a black actor - why me? Well, why not you? That's just so alien to and it's probably alien to the American idea. You're supposed to - it's supposed to work out and the truth is it doesn't work out. But La Rochefoucauld says somewhere no one can stare for too long at death or the sun and maybe I'm asking too much.Andrew Keen: Maybe only Americans can find death unacceptable to use one of your words.David Rieff: Yes, perhaps.Andrew Keen: Well, David Rieff, congratulations on the new book. Fascinating, troubling, controversial as always. Desire and Fate. I know you're writing a book about Oppenheimer, very different kind of subject. We'll get you back on the show to talk Oppenheimer, where I guess there's not going to be a lot of Lumpen-Rousseauism.David Rieff: Very little, very little love and Rousseau in the quantum mechanics world, but thanks for having me.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Entretien mené par Raphaëlle Leyris À travers cet ensemble de réflexions (issues de conférences données 2022 à l'université d'Oxford), Juan Gabriel Vásquez explore les caractéristiques du roman, les liens entre fiction et réalité, les zones d'ombre dont s'empare la littérature pour éclairer l'Histoire et sa capacité unique à « traduire » la complexité des vies humaines. Pour assoir son propos, il convoque une pléiade d'écrivains – Zadie Smith, Proust, Yourcenar, Kundera, Defoe, Tolstoï, Tchekhov, etc. –, analyse l'histoire colombienne et sa violence ou observe comment le célèbre récit du massacre des bananeraies de Cent Ans de solitude est devenu une vérité pour une partie de ses compatriotes. Réponse subtile et argumentée à la question de l'appropriation culturelle, portés par l'érudition de leur auteur, ces textes cherchent à redéfinir les usages de la fiction et les raisons pour lesquelles, aujourd'hui, elle est plus indispensable que jamais. À lire – Juan Gabriel Vàsquez, La traduction du monde, traduit de l'espagnol (Colombie) par Isabelle Gugnon, Seuil, 2025.

Odcinek #199, w którym w Krakowie dyskutuję z Michałem Choińskim o książce „The New Yorker. Biografia pisma, które zmieniło Amerykę”. Niełatwo jest zdobyć P jak pierwszy numer z 21 lutego 1925 roku tego K jak kultowego tygodnika. Zanurzamy się w liczne F jak formy literackie, które kształtowały to czasopismo i stały się jego Z jak znakiem rozpoznawczym.Wyruszamy śladem G jak gatunkowym i sprawdzamy, jak wiele z L jak literatury światowej przedostawało się do C jak czytelników popularnej G jak gazety. P jak przegląd publikacji na S jak stulecie Nowojorczyka tworzy nam gęstą historię tygodnika, minionych czasów. Przypominamy sobie o O jak opowiadaniu „Loteria” Shirley Jackson i zastanawiamy się, co wstrząsnęło A jak Amerykanami. Dyskutujemy o polskich kontaktach pisma - w New Yorkerze publikowali między innymi Adam Zagajewski, Stanisław Lem i Olga Tokarczuk. Ale jest też międzynarodowo - pojawiają się choćby N jak Nabokov i K jak Kundera. Zatrzymuje nas wątek opowiadania i wymagań, które ten gatunek stawia odbiorcy, badamy dlaczego Amerykanie potrafią o O jak opowiadaniu dyskutować. Pojawia się R jak reportaż, N jak nonfiction i pierwsze true crime - tu na scenę wchodzi Truman Capote. Jest „Cicha wiosna”, kult przecinka, F jak fact checking. W końcu przyglądamy się O jak okładkom - co staje się kolejnym poziomem czytania opowieści o piśmie kojarzonym z obrazkiem dandysa z monoklem.

Quelles ont été les meilleures bières et brasseries tchèques en 2024 ? Reportage - Toyen et Kundera comme inspiration : comment les artistes tchèques s'interrogent sur l'identité

Quelles ont été les meilleures bières et brasseries tchèques en 2024 ? Reportage - Toyen et Kundera comme inspiration : comment les artistes tchèques s'interrogent sur l'identité

Given the shameful American sacrifice of Ukraine, there will be few timelier movies than Anna Kryvenko's upcoming “This House is Undamaged”,. It will be an Orwellian documentary examining the Russian destruction of Mariupol, the Ukrainian city devastated by Putin's invasion in 2022. Krivenko, a Fellow at the Artist in Residence program, Institute for Advanced Studies at CEU, explains how Russian authorities are rapidly rebuilding and selling properties there while erasing Ukrainian history and creating the big lie of Mariupol as a historically Russian city. Kryvenko, originally from Kyiv, also discusses the parallels between Putin's and Trump's lies about Ukraine, summarizing their fundamental misrepresentation of the truth as a "carnival of hypocrisy."Here are the five KEEN ON takeaways from our conversation with Kryvenko:* The Russians are engaged in a systematic erasure of Mariupol's Ukrainian identity, not just through physical reconstruction but through an aggressive propaganda campaign that claims the city was "always Russian." This reconstruction effort began shortly after the city's destruction in 2022.* Pre-war Mariupol was not characterized by deep Russian-Ukrainian divisions as Russian propaganda claims. According to Kryvenko, language differences weren't a source of conflict before political forces deliberately weaponized them.* The rebuilding of Mariupol has a dark commercial aspect - Russians are selling apartments in reconstructed buildings, sometimes in properties where the original Ukrainian owners were killed, and marketing them as vacation properties while ignoring the city's tragic recent history.* There's a humanitarian crisis unfolding as some Ukrainians are being forced to return to occupied Mariupol because they have nowhere else to live, with Kryvenko citing statistics that around 150,000 people returned to occupied territories by the end of 2024.* The filmmaker is using a unique methodology of gathering evidence through social media content, vlogs, and propaganda materials to document both the physical transformation of the city and the narrative being constructed around it, rather than traditional documentary filming techniques.Transcript of Anna Kryvenko InterviewAndrew Keen: Hello, everybody. As the situation in Ukraine becomes more absurd, it seems as if the lies of Donald Trump and the lies of Vladimir Putin are becoming increasingly similar. Trump has been talking about Zelensky and Ukraine, what is described as a barrage of lies. As CNN reports, Trump falsely called Zelensky a dictator. It's becoming more and more absurd. It's almost as if the whole script was written by some Central European or East Central European absurdist. Meanwhile, the Russians continue to lie as well. There was an interesting piece recently in the Wall Street Journal about Russia wanting to erase Ukraine's future and its past. My guest today, Anna Kryvenko, is a filmmaker. She's the director of an important new movie in the process of being made called "This House Is Undamaged." She's a visual fellow at the Central European University, and she's joining us from Budapest today. Congratulations on "This House is Undamaged." Before we talk specifically about the film, do you agree with my observations that there seems to be an increasingly eerie synergy between the lies coming out of Washington, D.C. and Moscow, between Trump and Putin?Anna Kryvenko: I think the situation is becoming more crazy and absurd. That's a better word to use in this situation. For me, all of this looks like some carnival of hypocrisy. It's unbelievable that someone can use the word "dictator" in comparison with Vladimir Putin or speaking about this 4% of the people who support Zelensky when he says it's only four persons. It looks completely absurd. And this information comes from Moscow, not from actual Ukrainian statistics.Andrew Keen: The phrase you use "carnival of hypocrisy" I think is a good description. I might even use that in the title of this conversation. It's almost as if Trump in particular is parodying himself, but he seems so separated from reality that it seems as if he's actually being serious, at least from my position in California. How does it look from your perspective in Budapest? You're originally from Ukraine, so obviously you have a particular interest in this situation.Anna Kryvenko: I don't even know what to think because it's changing so fast into absurd situations. Every day when I open the news, I'm speaking with people and it looks like some kind of farce. You're expecting that the next day someone will tell you that this is a joke or something, but it's not. It's really hard to believe that this is reality now, but unfortunately it is.Andrew Keen: Kundera wrote his famous novel "The Joke" as a parody of the previous authoritarian regime in Central Europe. Your new movie, "This House is Undamaged" - I know you are an artist in residence at the Institute for Advanced Study at Central European University - is very much in that vein. Tell us about the project.Anna Kryvenko: We're in work in progress. I was doing research in the archives and internet archives. This documentary film will explore the transformation of Mariupol, a Ukrainian city that was destroyed by the Russian invasion in 2022. I will use only archives and found footage materials from people who are in Mariupol now, or who were in Mariupol at the time of invasion, who were actually trying to film what's going on. Sometimes I'll also use propaganda images from Russia, from Russian authorities. In May 2022, Mariupol, after intense fighting, was almost completely destroyed.Andrew Keen: Tell us the story of Mariupol, this town on the old border of Russia and Ukraine. It's in the southeast of Ukraine.Anna Kryvenko: It's on the shore of the Azov Sea. It's part of Donetsk region. It was always an industrial city, most known for the Azovstal factory. In 2022, after incredible brutality of Russian war against Ukraine, this strategically important city was almost completely destroyed in May 2022 and was occupied by Russian government. About 90% of buildings were destroyed or demolished in some way.Andrew Keen: The Russians have essentially leveled the town, perhaps in the same way as the Israelis have essentially destroyed Gaza.Anna Kryvenko: Exactly. For a lot of people, we have this image of destroyed Mariupol until today. But after these terrible events, the Russians started this big campaign to rebuild the city. Of course, we know it was done just to erase all the scars of war, to erase it from the city's history. They started the reconstruction. Some people who stayed in Mariupol thought they would have new housing since they had no place to live. But business is business - Russian authorities started to sell these apartments to Russian citizens.Andrew Keen: I'm surprised Trump hasn't got involved. Given his real estate background and his cozy relationship with Putin, maybe Trump real estate will start selling real estate in Mariupol.Anna Kryvenko: I was thinking the same thing this last week. It was looking like such an absurd situation with Mariupol. But now we are in this business mode again with Ukraine and all the minerals. It's only the economical part of war they look at.Andrew Keen: He probably would come up with some argument why he really owns Mariupol.Anna Kryvenko: Yes.Andrew Keen: Coming back to the Wall Street Journal piece about Russia wanting to erase Ukraine's future and its past - you're originally from Kyiv. Is it the old East Central European business of destroying history and creating a new narrative that somehow conforms to how you want history to have been made?Anna Kryvenko: I was really shocked at how fast this idea of Russian Mariupol is repeating after two years in Russian media, official and semi-professional blogs, YouTube, and so forth. As a person working with this type of material, watching videos every day to find what I need, I'm listening to these people doing propaganda from Mariupol, saying "we are citizens of the city and it's always been Russian." They're repeating this all the time. Even when I'm hearing this - of course it was always a Ukrainian city, it's completely absurd, it's 100% disinformation. But when you're hearing this repeated in different contexts all the time, you start to think about it.Andrew Keen: It's the same tactics as Trump. If you keep saying something, however absurd it sounds or is, if you keep saying it enough times, some people at least start believing it. You're not a historian or political scientist, but Mariupol is in the part of Ukraine which had a significant population of Russian-speaking people. Some of the people that you're filming and featuring in your movie - are they Russians who have moved into Mariupol from some other part of Russia, or are they people originally from Mariupol who are somehow embracing their new Russian overlords?Anna Kryvenko: The people I'm watching on social media, most of them say they're from Mariupol. But you can find journalistic articles showing they're actually paid by the Russian government. It's paid propaganda and they're repeating the same narrative. It's important that they're always repeating "we were born in Mariupol" and "we want the city to be Russian." But of course, you can see it's from the same propaganda book as 2014 with Crimea. They're repeating the same narrative from Soviet times - they just changed "Soviet Union" to "Russia" and "the West" to "European Union."Andrew Keen: You grew up in Kyiv, so you're familiar with all these current and historical controversies. What's your take on Mariupol before 2020, before it was flattened by the Russians? Was it a town where Russian-speaking and Ukrainian people were neighbors and friends? Were there always deep divisions between the Russian and Ukrainian speaking populations there?Anna Kryvenko: It's hard to explain because you need to dig deeper to explain the Russian-speaking and Ukrainian-speaking parts of Ukraine. But it was never a problem before Yanukovych became prime minister and then president. It was his strategy to create this polarization of Ukraine - that the western part wants to be part of the European Union and the eastern part wants to be part of Russia because of language, and they cannot live together. But it's not true. For me as a person from Kyiv, from the center of the country, with friends from different parts of Ukraine, it was never a problem. I'm from a Russian-speaking family and have many friends from Ukrainian-speaking families. It was never a question. We were in a kind of symbiotic connection. All schools were in Ukrainian, universities in Ukrainian. We were bilingual. It was not a problem to communicate.Some of this division came from Yanukovych's connections to Putin and his propaganda. It was important for them to say "we are Russian-speaking people, and because we are Russian-speaking, we want to be part of Russia." But I have friends from Mariupol, and after 2014, when war in eastern Ukraine started and Mariupol was bombed a few times, it became a really good city to live in. There were many cultural activities. I know friends who were originally from Mariupol, studied in Kyiv in theater or visual art, and went back to Mariupol because it was a good place for their art practice. Ukraine is still a bit centralized, with most activity in Kyiv, Kharkiv, Lviv, and the big cities, but Mariupol wasn't a city with internal conflict. It's weird that so fast after 2022, people started saying it was always problematic in wanting to be part of Russia. It was never like that.Andrew Keen: It's as if I lived for a year in Bosnia before the civil war, and it was almost as if ethnicity was invented by the nationalist Serbian regime. It seems as if the Putin regime is doing or has done the same thing in the eastern part of Ukraine.Anna Kryvenko: Yes.Andrew Keen: You talk to lots of friends still and you're from Kyiv originally, and obviously your professional life remains focused on the situation. In late February 2025, what's your sense of how Ukrainians are feeling given what Trump is now saying?Anna Kryvenko: I think a lot of people in Ukraine or Ukrainians abroad are feeling lonely, that they don't have support. Again we are in this situation where you have big deals about Ukraine without Ukraine. You feel like nothing, just an empty space on a map with minerals or sea access. We're just sitting there waiting while they're agreeing on deals. That's the negative layer. But it's important for all Ukrainians to be together and speak about the situation. After Trump's words about the 4% support for Zelensky, there were statistics from last year showing 57-55% support for Zelensky. Today, after these few days, new statistics show 65% support.Andrew Keen: Zelensky started his political career as a satirical comedian, and it's as if he's participating in his own comedy - as if he's almost paid Trump to promote him. What about the broader take on the US? Obviously Trump isn't all America, but he was just elected a couple of months ago. Are your Ukrainian friends and associates, as well as many people at the Central European University in Budapest, taking this as a message from America itself, or are people able to separate Trump and America?Anna Kryvenko: This is a hard question because we always know that you have a president or representative figure, but that's not the whole state. I spoke with someone from our university who was in Pennsylvania before the election, and he said all the people were pro-Trump. The logic was really simple - "he's good" and "he will stop this war" - though people sometimes don't even know which war or which country. They're just repeating the same talking points.Andrew Keen: It's sort of Orwellian in the sense that it's just war and it doesn't really matter who's involved - he's just going to stop it.Anna Kryvenko: It reminded me of how everyone was repeating about Lukashenko from Belarus that "he's a good manager" and can manage things, and that's why he's still president - not that he's a dictator killing his opponents. They use this to explain why he's good and people choose him. Now with Trump, they say "he's a good businessman," but we can see how this business works. Today, someone from Trump's administration said Zelensky needs to stop being arrogant because Trump is in a bad mood. In what world are we living where this is used as an argument?Andrew Keen: Coming back to real estate, he probably sees Mariupol as a nice strip on the Black Sea, like Gaza, which he sees as a valuable strip on the Mediterranean for real estate development. I found an interesting piece online about the Russian invasion, "When Buildings Can Talk: The Real Face of Civilian Infrastructure Ruined by Russian Invaders." In a way, your project "This House is Undamaged" is your way of making buildings talk. Is that fair?Anna Kryvenko: I think it's the best description you can use.Andrew Keen: Perhaps you might explain how and why.Anna Kryvenko: This name "This House is Undamaged" might or might not be the final name. For me, it's important because after the first months when it started to be a Russian city, some people were trying to sell apartments just to have some money. The reconstruction started a bit later. They were using video websites like Craigslist. It immediately became Russian, part of Russian territory. People from different Russian regions who saw this opportunity were trying to buy something because prices were so cheap. People needed money to buy a ticket and go to other cities or to relatives. In every advertisement, there was this phrase "this house has no damages" or "this house is undamaged." You had to put it there even if it wasn't true - you could see pictures where one building had a hole, but they were still saying "this house is undamaged."Andrew Keen: It's just again coming back to the carnival of hypocrisy or the carnival of absurd hypocrisy - you see these completely destroyed homes, and then you have the signs from the Russians saying this house is undamaged.Anna Kryvenko: It was also interesting why some people from Russia want to buy apartments in Mariupol, in these reconstructed buildings with weird pro-Russian murals - it's like Stalinism. They don't even know where Mariupol is - they think it's somewhere near Crimea, but it's not the Black Sea, it's the Azov Sea, an industrial region. It's not the best place to live. But they think it will be some kind of resort. They're living somewhere in Russia and think they can buy a cheap apartment and use it as a resort for a few months. This is absurd because the city was completely destroyed. You still have mass graves. Sometimes they're selling apartments where they can't even find the owner because the whole family is dead.On Google Maps, someone made an alternative version where you can see all the buildings that were destroyed, because officially you can't find this information anywhere. People were putting crosses where they knew someone died in a building - entire families. And after this, people are buying their apartments. For me, this is unbearable. You can do research about what you're doing, but people are lazy and don't want to do this work.Andrew Keen: It comes back to the Journal piece about Russia literally erasing not just Ukraine's past but also its future, creating a culture of amnesia. It's chilling on so many levels. But it's the old game - it's happened before in that part of the world and no doubt will happen again. As a filmmaker, what particular kind of political or aesthetic responsibility do you have? People have been writing - I mentioned Kundera, Russian writers, Gogol - satires of this kind of absurd political power for centuries. But as a filmmaker, what kind of responsibility do you have? How does your form help you make this argument of essentially restoring the past, of telling the truth?Anna Kryvenko: A lot of filmmakers in Ukraine, with the start of invasion, just brought cameras and started making films. The first goal wasn't to make a film but to document the crimes. My case is different - not only because my family's in Ukraine and I have many friends there and lived there until my twenties. For the last ten years, since the Maidan events in 2013-2014, I started working with archive and found footage material. This is my methodology. For me, it's not important to go somewhere and document. It's more interesting to use media deconstruction from propaganda sources, maybe from Ukrainian sources also because it's a question of ideology.One of my favorite materials now is people doing vlogs - just with their camera or mobile phone going from Russia to Crimea or back. You only have two ways to go there because airports aren't working, so you go through the Kerch-Crimea bridge. Now because of Mariupol's strategic location, you can go through there, so you have two different roads. People from different Russian cities sometimes film their road and say "what is this, is it destroyed?" This is the average Russian person, and you can hear the propaganda they're repeating or what they're really thinking. For me, it's important to show these different points of view from people who were there or are there now. I don't have the opportunity as a Ukrainian citizen to go there. Through this method, in the near future when I finish this film, we can have testimonies from the inside. We don't need to wait for the war to end because we don't know how or when it ends. It's important to show it to people who maybe don't know anything about what's going on in Mariupol.Andrew Keen: Given the abundance of video on the internet, on platforms like YouTube, how do you distinguish between propaganda and truth yourself in terms of taking some of these segments to make your film? It could be conceivable that some of the more absurd videos are put out by Ukrainians to promote their own positions and undermine the Russians. Have you found that? Is there a propaganda war on YouTube and other platforms between Ukrainian and Russian nationalists? And as a filmmaker who's trying to archive the struggle in an honest way, how do you deal with that?Anna Kryvenko: Of course, there are many people, and Mariupol is the best example because the Russian government is paying people to repeat pro-Russian ideology. Sometimes you can see just an average person from Mariupol going with a camera and shooting something without speaking - this is just documentation. Sometimes you have Russian people there for some days just saying something. And of course, you get different segments of real propaganda from some ministry in Russia with drone material and big music. I'm always trying to question myself: What am I looking at? Who is speaking? On technical aspects, why is this like this? It helps me to be holistic.Of course, I'm from Ukraine, and sometimes this is the most uncomfortable - you can hear actual people from Mariupol saying something you don't want to hear because it's not your point of view on the war. But these are people really from the city giving some kind of realistic point of view on the situation. It's sad, but there were statistics at the end of 2024 that about 150,000 people were returning to occupied territories, not only to Mariupol but all occupied territories. Maybe 40% were coming back to register their property and then returning to Ukrainian territory, but many people are returning to Mariupol because they don't have anywhere to live in Ukraine. It's not hundreds but thousands of people. As Ukrainians, we're not comfortable with this because we're all in different situations. But if something's not comfortable for my point of view, it doesn't mean it's bad or good.Andrew Keen: It's an important project. I know your artist residency at the Central European University is finishing at the end of February. You're going to focus on finishing the movie. When do you think it will be ready and what are your ambitions for the finished movie? Will you put it online, in theaters? What's your ideal?Anna Kryvenko: If everything goes well, we can finish it in a year and a half because it will be a long process of editing and working with rights. We only started working on it six months ago, and it's starting to go faster. Documentary making is a long process because of funding and everything. Even though I don't need to go somewhere physically, it's still a long process with a lot of waiting. First, we're thinking about festivals, maybe a theater release, maybe we'll have some broadcasters because it's an important topic to show to a wider audience. After a year, we'll see.Andrew Keen: If "Buildings Can Talk" is the subtitle of this upcoming movie "This House is Undamaged," it's a really important project about Mariupol. Thank you for being on the show. I'm going to have to get you back when the movie is done because I can't wait to see it.Anna Kryvenko: Thank you so much. Thank you.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Anna Kryvenko (1986, Ukraine) is a video and fine art photography artist based in Prague and Kyiv. She is a Fellow at the Artist in Residence program, Institute for Advanced Studies at Central European University. She graduated from the Centre for Audio-Visual Studies at the Film and TV School of the Academy of Performing Arts (FAMU, Prague). Her films and performances were screened at Dok Leipzig, ZagrebDox, Visions du Reel Nyon, Fluidum Festival, Jihlava Documentary Film Festival, etc. With her found-footage film Silently Like a Comet, she won the prize for the Best Experimental Act at FAMUFEST, Prague (CZ), and a few others. Her film Listen to the Horizon won the prize for the Best Czech Experimental Documentary, Jihlava IDFF (CZ). Her first feature documentary film My Unknown Soldier won the Last Stop Trieste 2018 Postproduction Award, Special Mention at Zagreb Dox, the Special Prize of the Jury at IDFF CRONOGRAF, and the Andrej Stankovič Prize. Her newest short film Easier Than You Think won the Jury Award of the Other Vision Competition 2022 (PAF, Czech Republic).Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Rapatriement des urnes de Milan et Věra Kundera en Tchéquie : entretien avec Michel Fleischmann

Rapatriement des urnes de Milan et Věra Kundera en Tchéquie : entretien avec Michel Fleischmann

En este nuevo episodio de Biblioteca Personal, nos adentramos en la vida y obra de Milan Kundera, un escritor que logró dominar el arte de la novela y ser uno de los intelectuales más emblemáticos de su tiempo. Nacido en la antigua Checoslovaquia, Kundera se convirtió en una figura literaria universal, pero siempre evadió las etiquetas y los compromisos políticos, buscando únicamente la verdad en la narrativa. Desde La insoportable levedad del ser hasta Los testamentos traicionados, El olvido y La risa, entre otros, sus novelas se enmarcan en la categoría de tragicómicas, y mezclan a su vez un contenido profundo, denso y ligero, llenas de buen humor e ironía, que han generado todo tipo de interpretaciones que siempre cuestionó Kundera. Sus personajes viven en mundos donde las decisiones más trascendentales se entrelazan con lo absurdo, donde las pasiones se mezclan con el desencanto, y donde las grandes preguntas de la vida surgen entre risas y tragedias. Este episodio es un homenaje a la maestría de Kundera para mostrar cómo dominó el arte de la novela, ilustrando complejidades humanas a través de una lente irónica, y nos invita a reflexionar sobre cómo su visión de la vida sigue vigente y esencial para entender el mundo contemporáneo. Escúchalo ahora en Biblioteca Personal

Los restos de Milan y Věra Kundera regresan a Brno. Cada vez más checos desean adquirir armas legales. República Checa se acerca al récord de producción de autos.

A Haza bölcse naponta omnibuszozott a Városligetbe – beszélgetés a Városligetről szóló új könyv szerzőjével Tudás.hu     2025-01-21 05:55:43     Könyv Városliget Tudta-e, hogy az 11-12. században vadmacskák és bölények tanyáztak a Városliget területén? Akkoriban, és még a 18. századig Ökördűlőnek nevezték. 1752-től kezdődik fejlesztése, Batthyány József hercegprímás és Boráros János főbíró, Pest alpolgármesterének szorgalmazására. A 18. század végére, a 19. elejére a polgárosodó város kedvelt szórakozó- és Creed III: A film üzenete visszatetsző Mafab     2025-01-21 04:54:02     Film Ökölvívás Boksz A Creed III kétségtelenül ambiciózus próbálkozás Michael B. Jordan rendezői debütálásával, de nem minden szempontból váltja be a hozzá fűzött reményeket. A film hozza a szokásos bokszdrámai elemeket, viszont a történet és a karakterek kezelése hagy kívánnivalót maga után, emiatt nehezen éri el az előző részek színvonalát.Damian karaktere a film egy Tom Felton kizárólag egyetlen feltétellel lenne hajlandó Daniel Radcliffe-fel újra egy filmben játszani Hamu és Gyémánt     2025-01-21 08:24:03     Film Harry Potter HBO Daniel Radcliffe A Harry Potter-filmsorozatban egymás riválisát alakították, a valóságban pedig azzal viccelődnek, hogy a következő közös projektjükben is hasonló felállást szeretnének – egy plusz csavarral. Nemrég írtuk meg, hogy 2026-ban érkezik az HBO égisze alatt készülő legújabb Harry Potter-feldolgozás. A varázslótanoncról szóló sorozat a hírek szeri 80 éves lenne Bob Marley, a reggae királya Márkamonitor     2025-01-21 06:36:01     Zene Fesztiválok Életmű Jamaica Redemption Song, One Love, No Woman No Cry, Get Up, Stand Up – csak néhány dal, amely a mai napig velünk van Bob Marley életművéből. Minden idők legismertebb reggae zenésze 2025. február 6-án lenne 80 éves. A világ számos pontján emlékkoncertekkel, fesztiválokkal készülnek a jubileumra. Hazánkban a Ladánybene 27 kizárólag Marley-dalokból álló műsor Hazatértek Csehországba a Kundera házaspár földi maradványai Magyar Hírlap     2025-01-20 20:51:00     Könyv Csehország Könyvtár Hamvaikat a brünni városi temetőben kialakítandó sír és emlékhely elkészültéig a Morva Tartományi Könyvtár őrzi. A Netflix kidobta a You-sorozat ötödik évadának első, izgalmas előzetesét in.hu     2025-01-20 18:11:03     Film Netflix A Netflix most osztotta meg az első hivatalos teasert a You várva várt ötödik évadához. Amit biztosan ki lehet venni az egyperces klipből, az az, hogy Joe Goldberg (Penn Badgley) szinte semmit sem tanult az elmúlt öt évadból.A teaserben Joe visszamegy a Mooney's-ba, a könyvesboltba, ahol az első évadban minden kezdődött. Itt vagyunk, újra együtt, o Mesterséges intelligenciával javították fel Adrien Brody magyarját A brutalistában Telex     2025-01-20 19:34:13     Film Mesterséges intelligencia Jancsó Dávid, a film vágója azt mondta, hogy az épületek apró részleteit is MI segítségével oldották meg. Bejelentették a Magyar Filmszemle zsűritagjait Librarius     2025-01-21 09:00:21     Film Karácsony Gergely A 44. Magyar Filmszemle nyitógálájára február 3-án, hétfő este kerül sor, ahol Karácsony Gergely, Budapest főpolgármestere köszönti a vendégeket. Önmagát győzte le Herendi Gábor az új filmjével: "Örülnék, ha le tudnánk nyomni A miniszter félrelépet" Blikk     2025-01-20 19:16:28     Film Mozi Udvaros Dorottya Herendi Gábor Az elmúlt huszonöt év legnézettebb magyar filmje lett Herendi Gábor Futni mentem című mozija. A november végi bemutató óta 562 ezernél is többen látták az Udvaros Dorottya főszereplésével látható filmet. A rendező szerint az alkotás azért ennyire sikeres, mert jókor jött. Sajátságos, új reneszánszát éli a magyar film HírTV     2025-01-21 09:42:04     Film USA Interjú Mozi Kormánybiztos Korábban úgy tűnt, mintha a magyar filmekről leszoktunk volna, az amerikai mozik már-már legyőzhetetlennek tűnnek. Csakhogy mindkét mítosz megdőlni látszik, ahogy az Káel Csaba filmügyi kormánybiztos Magyar Nemzetnek adott interjújából is kiderült. Online csatát vívnak Szoboszlai Dominik szerelmei Story     2025-01-21 11:02:42     Bulvár Párkapcsolat Szoboszlai Dominik A követőknek is feltűnt, hogy a két szőke szépség között mintha arról menne a harc: melyikük a népszerűbb. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

A Haza bölcse naponta omnibuszozott a Városligetbe – beszélgetés a Városligetről szóló új könyv szerzőjével Tudás.hu     2025-01-21 05:55:43     Könyv Városliget Tudta-e, hogy az 11-12. században vadmacskák és bölények tanyáztak a Városliget területén? Akkoriban, és még a 18. századig Ökördűlőnek nevezték. 1752-től kezdődik fejlesztése, Batthyány József hercegprímás és Boráros János főbíró, Pest alpolgármesterének szorgalmazására. A 18. század végére, a 19. elejére a polgárosodó város kedvelt szórakozó- és Creed III: A film üzenete visszatetsző Mafab     2025-01-21 04:54:02     Film Ökölvívás Boksz A Creed III kétségtelenül ambiciózus próbálkozás Michael B. Jordan rendezői debütálásával, de nem minden szempontból váltja be a hozzá fűzött reményeket. A film hozza a szokásos bokszdrámai elemeket, viszont a történet és a karakterek kezelése hagy kívánnivalót maga után, emiatt nehezen éri el az előző részek színvonalát.Damian karaktere a film egy Tom Felton kizárólag egyetlen feltétellel lenne hajlandó Daniel Radcliffe-fel újra egy filmben játszani Hamu és Gyémánt     2025-01-21 08:24:03     Film Harry Potter HBO Daniel Radcliffe A Harry Potter-filmsorozatban egymás riválisát alakították, a valóságban pedig azzal viccelődnek, hogy a következő közös projektjükben is hasonló felállást szeretnének – egy plusz csavarral. Nemrég írtuk meg, hogy 2026-ban érkezik az HBO égisze alatt készülő legújabb Harry Potter-feldolgozás. A varázslótanoncról szóló sorozat a hírek szeri 80 éves lenne Bob Marley, a reggae királya Márkamonitor     2025-01-21 06:36:01     Zene Fesztiválok Életmű Jamaica Redemption Song, One Love, No Woman No Cry, Get Up, Stand Up – csak néhány dal, amely a mai napig velünk van Bob Marley életművéből. Minden idők legismertebb reggae zenésze 2025. február 6-án lenne 80 éves. A világ számos pontján emlékkoncertekkel, fesztiválokkal készülnek a jubileumra. Hazánkban a Ladánybene 27 kizárólag Marley-dalokból álló műsor Hazatértek Csehországba a Kundera házaspár földi maradványai Magyar Hírlap     2025-01-20 20:51:00     Könyv Csehország Könyvtár Hamvaikat a brünni városi temetőben kialakítandó sír és emlékhely elkészültéig a Morva Tartományi Könyvtár őrzi. A Netflix kidobta a You-sorozat ötödik évadának első, izgalmas előzetesét in.hu     2025-01-20 18:11:03     Film Netflix A Netflix most osztotta meg az első hivatalos teasert a You várva várt ötödik évadához. Amit biztosan ki lehet venni az egyperces klipből, az az, hogy Joe Goldberg (Penn Badgley) szinte semmit sem tanult az elmúlt öt évadból.A teaserben Joe visszamegy a Mooney's-ba, a könyvesboltba, ahol az első évadban minden kezdődött. Itt vagyunk, újra együtt, o Mesterséges intelligenciával javították fel Adrien Brody magyarját A brutalistában Telex     2025-01-20 19:34:13     Film Mesterséges intelligencia Jancsó Dávid, a film vágója azt mondta, hogy az épületek apró részleteit is MI segítségével oldották meg. Bejelentették a Magyar Filmszemle zsűritagjait Librarius     2025-01-21 09:00:21     Film Karácsony Gergely A 44. Magyar Filmszemle nyitógálájára február 3-án, hétfő este kerül sor, ahol Karácsony Gergely, Budapest főpolgármestere köszönti a vendégeket. Önmagát győzte le Herendi Gábor az új filmjével: "Örülnék, ha le tudnánk nyomni A miniszter félrelépet" Blikk     2025-01-20 19:16:28     Film Mozi Udvaros Dorottya Herendi Gábor Az elmúlt huszonöt év legnézettebb magyar filmje lett Herendi Gábor Futni mentem című mozija. A november végi bemutató óta 562 ezernél is többen látták az Udvaros Dorottya főszereplésével látható filmet. A rendező szerint az alkotás azért ennyire sikeres, mert jókor jött. Sajátságos, új reneszánszát éli a magyar film HírTV     2025-01-21 09:42:04     Film USA Interjú Mozi Kormánybiztos Korábban úgy tűnt, mintha a magyar filmekről leszoktunk volna, az amerikai mozik már-már legyőzhetetlennek tűnnek. Csakhogy mindkét mítosz megdőlni látszik, ahogy az Káel Csaba filmügyi kormánybiztos Magyar Nemzetnek adott interjújából is kiderült. Online csatát vívnak Szoboszlai Dominik szerelmei Story     2025-01-21 11:02:42     Bulvár Párkapcsolat Szoboszlai Dominik A követőknek is feltűnt, hogy a két szőke szépség között mintha arról menne a harc: melyikük a népszerűbb. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Los restos de Milan y Věra Kundera regresan a Brno. Cada vez más checos desean adquirir armas legales. República Checa se acerca al récord de producción de autos.

16. Amores imposibles La otra noche vi Cold War, la película polaca de Paweł Pawlikowski que cuenta la trama de dos amantes durante la Guerra Fría. Me pareció de una belleza fría, descorazonadora, como son todas las historias de amor imposible bajo una dictadura. Los personajes, Wiktor y Zula, saltan de un lado a otro del Telón de Acero, sienten el desarraigo en la libertad, y la opresión en el hogar. Fue una hora y media sentado en el sofá, llenando de invierno caricias y besos antiguos. Sentí tristeza por estos dos amantes, por todos los que no pudieron expresar su amor por culpa de una dictadura, un Estado férreo que determina hasta la forma de amar de las personas. El comunismo es eso y decenas de países en Europa lo atestiguan. La relación entre Wiktor y Zula me hizo pensar en esos amores imposibles que ha dejado la literatura, que han cruzado toda una geografía de nieve y miseria en busca de la amada, que no se han rendido nunca con la esperanza de encontrar, al otro lado de la alambrada, la imagen de aquella juventud. Estoy pensando en Doctor Zhivago, una de las novelas más clarividentes en este sentido. Boris Pasternak sufrió la censura y la detención en sus propias carnes, y su novela se publicó en Italia, gracias a Feltrinelli. Los lectores rusos no la leerían en 1988, en plena Perestroika. De frío tiemblan las baldas de mi biblioteca hoy, Alejo, porque el amor a veces es más fuerte que el odio. Solo a veces. También bajo los kilómetros de vías de tren que solo disponen de viaje de ida. Doctor Zhivago. B. Pasternak La insoportable levedad del ser. M. Kundera

Í yfirgefnu bílaverkstæði við Skeljanes í Reykjavík hefur hópur sviðslistafólks komið sér fyrir með starfsemi undir yfirskriftinni Tóma rýmið. Þar hafa þau æfingaaðstöðu og rými til þess að prófa áfram og sýna verk á mismunandi stigum í undirbúningsferlinu. Hluti af starfsemi Tóma rýmisins felst í mánaðarlegum tilraunakvöldum, þar sem meðlimir hópsins bera á borð verk í vinnslu eða gera tilraunir í samtali við áhorfendur. Tilraunakvöld janúarmánaðar fer fram í Tóma rýminu í kvöld. Þar verður áhorfendum meðal annars boðið upp á brot úr leikverkinu Skeljar, eftir Magnús Thorlacius, og lifandi tónlistarmyndband úr smiðju systkinana Snæfríðar Sólar og Kormáks Jarls, en gestum býðst líka að skella sér í sánu við sjóinn eftir viðburðinn. Við hittum þau Snæfríði og Magnús og heyrum nánar af starfsemi Tóma rýmisins. Við ætlum líka að kynna okkur tónlistarkonuna Molly Drake sem var algjörlega óþekkt sem listakona á meðan hún lifði. Molly var bresk millistéttarhúsmóðir í litlu sveitaþorpi nálægt Birmingham þegar hún samdi nær alla sína tónlist. Hún skrifaði ljóð og lagatexta og samdi melódíur á heimilispíanóið, fyrst og fremst fyrir sjálfa sig. Molly datt aldrei í hug að gefa tónlistina sína út en þökk sé eiginmanni hennar eru til upptökur sem hann tók upp á heimili þeirra. Þessar upptökur voru gefnar út löngu eftir dauða Mollyar, þegar sonur hennar, Nick Drake, var orðinn heimsfrægur tónlistarmaður. Gauti Kristmannsson verður líka með okkur í dag og fjallar að þessu sinni um Vesturlönd í gíslingu - eða harmleik um Mið-Evrópu, tvær ritgerðir tékkneska rithöfundarins Milan Kundera, í þýðingu Friðriks Rafnssonar. Umsjón: Halla Harðardóttir og Melkorka Ólafsdóttir

Sandra Petrignani"Leggere gli uomini"Editori Laterza.itwww.laterza.itSpalancando le chiuse ‘stanze tutte per sé' degli scrittori, Sandra Petrignani legge gli uomini, con passione e in ordine sparso. Rilegge i loro libri cercando di comprendere anche la loro natura.Per secoli, solo gli scrittori maschi hanno potuto disporre di una stanza tutta per sé, di uno ‘studio' inaccessibile dove indisturbati hanno composto capolavori. E quando ne uscivano, avevano il mondo intero per fare esperienza di cose e persone. Al sesso femminile raramente è stato concesso un analogo privilegio. Il sesso femminile per molto tempo non ha potuto scriverli quei libri meravigliosi: soltanto leggerli. Così intere generazioni di donne hanno esplorato le geografie dell'animo umano, scoperto l'amore, l'amicizia e la propria identità sulle opere scritte dagli uomini. Rispecchiandosi a volte perfettamente, a volte con difficoltà, a volte per niente.Fra esercizi di ammirazione e scatti di rabbia, attraverso memorabili citazioni, Sandra Petrignani ci porta dentro tante pagine indimenticabili, da Dumas a Roth, da Pavese a Proust, da Calvino a Tolstoj, da Gary a Dostoevskij, da Moravia a Mann, da Manganelli a Kundera, da Malerba a Čechov, da Nabokov a Chatwin, da Tabucchi a Kafka e a mille altri. Fino ad alcuni grandi di oggi, Modiano, McEwan, Carrère... Cercando davvero di capirli i maschi, nella scrittura e nella vita, nel coraggio e nella fragilità, nel bisogno di nascondersi e di negarsi, nelle ossessioni di cui sono preda. Una scorribanda molto personale e appassionata che ci fa scoprire, come insegna Virginia Woolf, quanto «nella vita come nell'arte i valori delle donne non sono i valori degli uomini» e che esiste, probabilmente, un modo femminile di essere lettore.Sandra Petrignani, nata a Piacenza, vive fra la campagna umbra e Roma. Fra le sue pubblicazioni: con La Tartaruga Le signore della scrittura; con Neri Pozza i libri di viaggio Ultima Indiae La scrittrice abita qui, i racconti di fantasmi Care presenze, ilritratto della società letteraria del dopoguerra Addio a Roma, il romanzo dedicato alla figura di DurasMarguerite, il ritratto di Natalia GinzburgLa corsara, finalista Premio Strega 2019; con Giunti La persona giusta, romanzo per YA; con Rrose Sélavy la fiaba illustrata per bambini Elsina e il grande segreto, ispirata a Elsa Morante; con Gramma/Feltrinelli Autobiografia dei miei cani. Per Laterza è autrice di E in mezzo il fiume. A piedi nei due centri di Roma e Lessico femminile.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Cette semaine, on fait rentrer le carré dans le rond avec des tas de jeux pour ceux qui ont le cerveau bien plein.Bonne émission !

Hlustaðu á þáttinn í fullri lengd inni á www.patreon.com/skodanabraedur Friðrik Rafnsson er þýðandi tveggja minna uppáhalds rithöfunda Milan Kundera og Michel Houellebecq. Í þessum þætti förum við yfir ítarlega yfir þessa tvo menn og Friðrik segir okkur frá hugmyndum þeirra, bókum og persónuleikum. Hann hitti Kundera oft og hefur þýtt hverja einustu bók hans. Houellebecq hitti hann líka þegar hann kom til Íslands árið 2012. Fyrri hluti þáttarins fjallar um Kundera og síðan skiptum við yfir í Houellebecq um miðbik. Þetta var dásamlegt að taka upp. Takk fyrir mig og Guð blessi ykkur kæra bræðralag.

Ich habe einen tschechischen Freund und kann das nur empfehlen. Ein Jeder sollte einen tschechischen Freund haben, es hat nur Vorteile!Erstens trinkt man nie wieder schlechtes Bier. In welcher Schenke auch immer man sich befindet, man schickt dem tschechischen Freund ein Foto der Getränketafel und erhält binnen Sekunden die Information, welche Biersorte zu empfehlen, welche zu meiden sei. Nur kurze Zeit später folgt ein kurzer Abriss zur Geschichte der angebotenen Sorten, sowie der herstellenden Brauerei und Informationen darüber, welche Fußballvereine der unteren tschechischen Ligen das Getränk anbieten, samt zu erwartender Preise in CZK und EUR. Zweitens, kann man sich den Erwerb einer Wetterapp fürs Smartphone sparen. Denn speziell im böhmischen Wetterkessel ist man seit Jahrhunderten bewandert darin, exakte Vorhersagen über Niederschlagszeiten und -mengen tätigen zu können, allein durch einen Blick in den Himmel. Das Aufkommen moderner Vorhersagetechnologie wird da nicht als Konkurrenz verstanden, sondern als Bestätigung der eigenen Progonosefähigkeiten. Drittens jedoch, eröffnet ein jedes Gespräch mit dem tschechischen Freund einen Einblick in einen Kulturraum, den man als Angehöriger eines so viel größeren Sprachgebiets zu oft mit Ignoranz straft - zum eigenen Verlust.  Dabei werden starke Meinungen vertreten, nicht in Abgrenzung zu anderen Kulturen (ok, die Polen ausgenommen), nein, ein jeder Tscheche, so hat man das Gefühl, besitzt einen unerschöpflichen Vorrat an Meinungen zu den landeseigenen Kulturschaffenden aus Literatur, Theater, Funk und Fernsehen. Und von Heavy Metal sollte man gar nicht erst anfangen, wenn man vor dem Morgengrauen ins Bett möchte. Das habe ich letztens nur knapp geschafft, nach einem Gespräch in einer der in meiner deutschen Heimatstadt mittlerweile, und dankenswerterweise, etablierten böhmischen Bierstuben. Ein Gespräch, wie ich es in Prag und Brno, Ústí und Děčín an Nachbartischen schon so oft sprachunfähig beneidet habe, endlich war ich Teil davon, dank des tschechischen Freundes und seiner Großmutter, denn die sprach deutsch und so tat er es ihr nach. Zum Prager Urquell wurde gedisst (Kundera), genaserümpft (Havel), stolzgebrüstet (Kafka).  Anekdoten wurden erzählt, selbsterlebt oder legendär in der Heimat. Und als ich kurz überlegte, ob wir denn bei Lob und Verriss schon mal einen Autor aus dem so nahen Nachbarland rezensiert hätten, fiel mir keiner ein (weil ich alt bin, denn ich hatte natürlich “Klapperzahns Wunderelf” vergessen.) Dennoch, nur ein einziger rezensierter tschechischer Autor in 17 Jahren, das ist peinlich und traurig und so nahm sich der tschechische Freund meiner an und empfahl und verwarf, rang mit sich und der Welt, welche oder welcher es denn sein solle, welches tschechische Buch baldmöglichst im Studio B vorgestellt werden solle. Keiner der ganz großen: Kafka hat zu wenig geschrieben und den hatten wir auch alle in der Schule; Kundera ist doof und ein Verräter; keiner der Jungen: Jaroslav Rudiš ist zwar witzig aber auch doof (vielleicht war er auch witzig und cool, es gab Pilsner Urquell).  Nach einigem solchen Hin und Her leuchteten die Augen des tschechischen Freundes plötzlich auf und es wurde festgelegt: Der Pavel Kohout muss es sein! Hierzulande eher unbekannt, hat er ein Ouvré das sich über Jahrzehnte erstreckt. Ja, man kann da etwas Neues, Modernes lesen, aber es soll ein Roman sein, der von der Idee her so entzückend und ergräulich zugleich sei, ja, der müsse es sein! Des Buches Namen: “Die Henkerin”.Ich hätte mir den Lesebefehl zwar sofort zu Herzen genommen und die Kindle-App gestartet, mir wurde dennoch begeistert gespoilert warum es “Die Henkerin” sein soll und wenn mir das widerfuhr, widerfährt es auch der Rezensionsleserschaft, zumal der Spoiler klitzeklein ist: das Folgende wird alles im ersten Teil des Buches abgehandelt, der Kindle sagt innerhalb der ersten 7%, und ist tatsächlich eine wunderschöne Romanidee und 1978 in der Tschechoslowakei geschrieben, funktioniert sie auch tatsächlich fast nur dort:  So wie alles in den sozialistischen Planwirtschaften des Ostblocks, war auch die Berufswahl gesteuert und damit die Verantwortlichkeit für die berufliche Zukunft der sozialistischen Kinder nicht immer besonders verantwortlichen Beamten unterstellt. An einen Ebensolchen gerät Lucie Tachecí mit ihrer vierzehnjährigen Tochter Lízinka. Letztere hatte sowohl die Voraussetzungen fürs Abitur knapp verpasst als auch die zur Musikhochschule. Der Tochter eines Philologen und einer Hausfrau mit Niveau drohte ein Abgleiten in ein proletarisches Leben. Eine Katastrophe vor allem für die Mutter, der Herr Professor lebt eh in einer Welt zwischen  syn- und diachronischer Syntax. Also ließ Frau  Tachecí, wie das damals so war, ihre Beziehungen spielen und erfuhr, wer der aktuelle Vorsitzende der Berufsberatungskommission ist, es sei ein Herr, dem man wohl mit ein bisschen weiblichen Reizen oder einer Flasche Kognak den Kopf verdrehen könne. Und so blieb also es wieder mal an ihr hängen, denn ihr Mann, der Professor, ist zu weltfremd und unfähig auch nur eine klitzekleine Bestechung vorzunehmen. Es takeln sich Mutter und Tochter auf, nur um beim Betreten des Kommisionszimmers gewahr zu werden, dass die Information nicht ganz aktuell war: es gibt einen neuen Komissionsvorsitzenden und der ist ein grauer, böser Mann, absolut unbestechlich, weder durch ausländische Schnäpse, noch durch weibliche Busen. Eine Katastrophe. Es werden verschiedene Berufswege aufgezeigt, Bäuerin!, Bäckerin!, alles komplett unakzeptable, nicht standesgemäße Professionen. Verzweifelt und den Tränen nahe, wenden sich die beiden Damen ab, als dem Herrn Vorsitzenden einfällt, dass es im Ordner PST aka “Papiere streng geheimer Natur”, doch kürzlich ein neues Stellenangebot gab. Er stellt Lízinka ein paar seltsame Fragen: wie sie sich selbst einschätze, zum Beispiel, sei sie jemand, bei deren Anblick in unangenehmen Situationen man sich eher besänftigt fühlen würde, was sie durchaus bejahte. Auch, so stellte er fest, seien ihre intellektuellen Leistungen nicht so weit von der Abiturreife entfernt. Er habe hier eine ganz besondere Stelle im Angebot: so die Tochter und die Mutter es denn wünschten, könnte Lízinka eine einjährige Ausbildung zur Vollstreckerin mit Abitur annehmen. Die Mutter, im Angesicht der drohenden Alternativen: Bäuerin oder Bäckerin, kaum noch aufnahmefähig, nimmt an, ja klar, eine Vollstreckerin, klingt wichtig, es sei so!Wir, im Besitz der Information über den Titel des Buches wissen, was die Tochter da unterschrieben hat und auch die Eltern lernen bald, dass ihre Tochter - eine Henkerin werden wird!Wir deutsche Leser freuen uns über ein gelungenes Setup und hinterfragen zunächst nicht, ob es denn in 1978 in der ČSSR noch die Todesstrafe gab. Um ehrlich zu sein, wir können es uns nicht vorstellen. Zu liberal ist unsere Welt, zu aufgeklärt das Europa, in dem wir den Roman fast fünfzig Jahre später lesen, war doch schon 1964 in Großbritannien der letzte Henker in Ruhestand gegangen. Welch ein Verlust für die Gesellschaft, meint der fiktive Professor Wolf im Roman, halte doch die ultimative Strafe Verbrecher, wie potentielle solche, auf Trapp und, machen wir uns nichts vor, der Mensch ist schlecht, ein jeder steht mit einem Bein in der Guillotine. Und natürlich hat Professor Wolf auch zu dieser eine Meinung: abzulehnen, nicht handwerklich genug. Er hat überhaupt zu allem eine Meinung, was das regulierte Umbringen von Menschen betrifft und Pavel Kohout gibt uns durch ihn einen faszinierenden, von Quellen nur so sprudelnden Abriss über das Wesen des Unwesens mit dem sich Menschen seitdem sie sich Schürzen vor die Lenden binden gegenseitig reguliert umbringen. Und da geht es nicht nur um das “warum”, nein, es geht vor allem um das “wie”. Erschießen: zu unpersönlich, Kopf abhacken: muss man üben, Garotte: eigentlich recht elegant - aber es gibt an sich nur eine wahre Art der Hinrichtung und das ist der fachgerechte Genickbruch durch den Strang. Diese jahrhundertealte Kunst gelte es zu bewahren, weshalb Professor Wolf seit Jahren im Rahmen der politischen Verháltnisse in der Tschechoslowakei Lobbyarbeit betreibt um eine Lehre, nein, eine Schule, nein, noch besser: eine Universität des Hinrichtens zu etablieren. Dabei findet er Mitstreiter in allen Ebenenen der Justiz: Staatsanwälten und Verteidigern, die in wilder Ehe leben, perverse Richtern, korrupte Politiker und einem Stamm von Azubis hat er sich auch schon besorgt, sechs Jungs mit unterschiedlichen Qualifikationen: Tierquäler, Söhne von Vollzugsbeamten oder geschickte Metzgerssöhne. Nun hat er aber sieben Ausbildungsstellen zum Henker bewilligt bekommen, weshalb die Ausschreibung in der Mappe der Berufsberatungsstelle gelandet war. Als sie von der Vermittlung eines Mädchens erfuhren, waren Professor Wolf und sein Assisten Schimmsa eher skeptisch aber bald überzeugte man sich, dass das ein kongenialer Schachzug sei, es sei nun mal das Zeitalter der Emanzipation der Frau zumal ein historische Präzedent, zudem die beeindruckende Leistung der potentiellen Henkerin in der Eignungsprüfung die Herzen der Pädagogen höher schlagen ließen - und das alles hatte natürlich überhaupt nichts mit dem zauberhaften Aussehen der neuen Studentin zu tun.Das alles wurde geschrieben um das Jahr 1978 herum, 12 Jahre, ein Systemwechsel und eine Landestrennung vor der Abschaffung der Todesstrafe. Denn, ja, als das Buch geschrieben wurde, gab es sie in der CSSR (wie auch in der DDR) noch und wir können uns nur  wundern, wie kam dieses Buch durch die Zensur? Kam es natürlich nicht. Pavel Kohout, Jahrgang 1928, mitunterzeichner der Charta 77, war, als er den Roman schrieb bereits mit einem Bein im österreichische Exil. Aber ok, warum liest man das heute, fast fünfzig Jahre später. Die einen werden einwenden “Warum liest man überhaupt alte Bücher?” und ich sage “Exakt!” und bin damit sicher nicht in der Minderheit. Anne Findeisen guckt mich dabei naserümpfend an und Irmgard Lumpini möchte auch, kann aber nicht, ich kenne ihre Leseliste - alles neues Zeugs. Ich bin nicht mehr in der Schule, wo die Zolas, die Gorkis und die Kants Pflicht waren und lasse es normalerweise mit Neuerscheinungen Galore krachen. Und trotzdem, am Ende hab ich die Henkerin zu Ende gelesen. Natürlich ein bisschen aus Pflichtgefühl dem tschechischen Freund gegenüber. Es liest sich schon ein bisschen zäh, das Tempo der 70er ist nicht kompatibel mit unserer aktuellen Aufmerksamkeitsspanne. Aber Kohout schafft es zu fesseln. Da ist zunächst das Sujet: Endlos Tote, Grime und Splatter, es passt in die Zeit, wie fast nichts und wenn ich in Hollywood wäre, hätte ich mir die Rechte schon lange unter den Nagel gerissen, das Script in die 2020er verpflanzt und mir von der Netflixkohle eine Insel vor Hawaii gekauft. Denn, so skurril das Buch beginnt, als nicht viel mehr als eine Sozialkomödie, fast Slapstick, so deep, wie man heute sagt, wird es nur wenig später. Wir merken, spoilerfrei, dass die Henkerin selbst physisch passiv bleibt, nachdem sie ihr Talent in der Eignungsprüfung beeindruckend unter Beweis gestellt hatte, indem sie einem Karpfen und einem Huhn ohne zu zögern den Kopf abhieb. Aber als Fremdkörper in einer Männerwelt voller Süchte, Sehnsucht, Selbstbetrug und Schweinereien treibt sie sirenenhaft einen Protagonisten nach dem anderen in den Wahnsinn. Diese Storyline nimmt Kohout zum Anlass aus der reinen Groteske, der tiefschwarzen Satire des real existieren Sozialismus, einen tiefen Blick in unser aller Möglichkeiten zu Selbstbetrug, -verliebtheit, -gerechtigkeit bis zum Selbstmord  zu werfen. Keiner der Protagonisten in ihrer Niedertracht oder auch nur abgrundtiefen Bescheuertheit ist sympathisch, aber wir alle finden etwas von ihnen in uns und das ist der wahre Schrecken eines sich schlussendlich zum amtlichen Horrorroman wandelnden Werkes: Es wird alles an Schweinereien geben, die der Mensch sich, seinen Mitmenschen oder auch “nur” -tieren antun kann und doch ist keine der Szenen sinnfreie Splatter, alles ist Philosophie, Psychologie, Geschichte. Das alles durchzogen von diesem speziellen tschechischen Humor, den, so scheint mir, wir Deutschen nicht wirklich verstehen. Aber als 1/8 Schlesier und Dresdner ist man ja fast ein Tscheche, ich habe also an allen unmöglichen und verbotenen Stellen laut lachen müssen, sorry dafür, ich lache bekanntermaßen über alles. Für ernstere Menschen konstatiere ich: man muss es ausprobiert haben, das Taschenbuch kostet drei EUR, eine Menge Leser werden es aus unterschiedlichsten Gründen nach 50 Seiten weglegen, aber ein paar Prozente kommen mit der Sprache zurecht, dem Humor und dem Sujet und für diese ist es ein ganz außergewöhnliches Buch, das sie ihr Lebtag nicht vergessen werden! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit lobundverriss.substack.com

La adicción a los medios digitales alcanza incluso a los alumnos más pequeños de los colegios. Kafka, Kundera y Havel acompañarán a los viajeros en el Aeropuerto de Praga. “Quien no ha vivido un intercambio de estudiantes, no lo puede entender”.

Stefano Zecchi"Resurrezione"Mondadori Editorewww.mondadori.itDelia, fotografa di guerra, intrappolata in una profonda nebbia creativa, convince il marito, Freddy, ad accompagnarla a Srinagar, la capitale del Kashmir, una regione nel nord dell'India al confine con il Pakistan. Con loro c'è Clara, sorella di Delia, la tipica persona che Kundera chiamerebbe “vandalo”, tale è l'inerzia con cui abita la vita. Nessuno di loro se la sente di chiedersi cosa cerchi davvero in quella parte del mondo, e certamente nessuno di loro vuole affrontare da solo il cielo dell'India. Tutti e tre, in modi diversi, hanno commesso l'errore di considerare pigramente il tempo, come se il suo trascorrere sia qualcosa di ovvio. Delia, per ritrovare un senso al proprio lavoro, vorrebbe attraversare il confine con il Pakistan per fotografare le zone di guerra, ma è costretta a rimanere a Srinagar perché fatica a ottenere il visto, mentre il marito cerca di aiutarla tra i meandri della burocrazia, e Clara non trova di meglio da fare che la turista annoiata. In un incontro fortuito conoscono un ingegnere francese che per amore si è convertito all'induismo. Proprio all'indomani di quell'incontro s'innesca una diaspora imprevista, che porta i tre a vivere giornate indipendenti: Delia naviga a fatica tra le sale dei consolati, mentre Freddy trascorre i pomeriggi a casa di un affascinante studioso che lo introduce ai vangeli gnostici, alla comunità degli Esseni e a una teoria rivoluzionaria su Cristo, il cui corpo sarebbe sepolto proprio lì vicino, nel santuario di Rozabal. È Clara, però, a intraprendere un cammino ai suoi stessi occhi imprevedibile: in una delle sue peregrinazioni s'imbatte in una comunità che professa una religiosità travolgente nelle sue ritualità erotiche. Senza saperlo, tutti e tre stanno andando incontro a un destino che sembrava attenderli lì, in quel luogo del mondo e dell'anima in cui l'essenza stessa dell'essere umani si spoglia di ogni soffocante sovrastruttura, costringendo ognuno di loro ad affrontare la propria resurrezione.Stefano Zecchi, già professore ordinario di Estetica all'Università degli Studi di Milano, dopo essere diventato ordinario di Filosofia teoretica all'Università degli Studi di Padova, è stato membro del Gruppo di lavoro interministeriale per il Patrimonio Mondiale dell'unesco e presidente dell'Accademia di Belle Arti di Brera. È presidente del Museo delle Scienze di Trento. Romanziere e saggista, svolge da oltre trent'anni una regolare attività di editorialista su quotidiani e settimanali. Da Mondadori ha pubblicato, tra gli altri, i saggi L'artista armato (1998), L'uomo è ciò che guarda (2005, premio Hemingway), Le promesse della bellezza (2006), Il lusso (2015), Paradiso Occidente (2016) e i romanzi Quando ci batteva forte il cuore (2010, premio Acqui Storia, e premio delle Biblioteche di Roma), Rose bianche a Fiume (2014), L'amore nel fuoco della guerra (2018, premio Niccolò Tommaseo) e Anime nascoste (2020).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

La adicción a los medios digitales alcanza incluso a los alumnos más pequeños de los colegios. Kafka, Kundera y Havel acompañarán a los viajeros en el Aeropuerto de Praga. “Quien no ha vivido un intercambio de estudiantes, no lo puede entender”.

Marino Freschi"Praga"Guida letteraria alla città di KafkaMimesis Edizioniwww.mimesisedizioni.itPraga misteriosa, Praga capitale culturale europea, Praga dei tre popoli.Un grande studioso come Marino Freschi ci conduce alla scoperta dei luoghi letterari di una città da sempre punto di riferimento della vita intellettuale continentale, che ha ospitato alcuni tra i più grandi scrittori e artisti del Novecento. La Praga di Kafka, naturalmente, ma anche di Rilke, Brod, Hašek, Hrabal, Meyrink, Kundera e di molti altri. Li ritroviamo qui tra caffè eleganti e luoghi malfamati, palazzi e vicoli, teatri e università. Una guida affascinante che mette in risalto l'influenza della città boema sull'opera di alcuni suoi figli illustri e offre un affresco della vita dell'epoca. Contiene una mappa letteraria della città.Marino Freschi, germanista, ha insegnato all'Università di Roma Tre, all'Orientale e al Suor Orsola Benincasa di Napoli. Ha pubblicato numerosi saggi e collaborato con riviste e quotidiani.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

In this 244th in a series of live discussions with Bret Weinstein and Heather Heying (both PhDs in Biology), we talk about the state of the world through an evolutionary lens.In this week's episode, we discuss excess deaths from 2021 on, and what the insurance industry is recommending that we do (more of the same treatments that got us into this mess!). Related: Francis Collins, the head of the National Institutes of Health during Covid, asks why “facing a common enemy” didn't bring us together, while celebrating the Covid “vaccines,” drugs, and tests. Scientific American endorses Harris, saying she's the right choice for your health. Kundera makes no distinction between legal and illegal vandalism. Bret puts forward further arguments for why it is the time to Rescue the Republic, and why fear is not the way forward. Heather reads about serpent badassery at the equinox.*****Our sponsors:Brain.fm: intense music that boosts productivity. Unlock your brain's full potential free for 30 days by going to brain.fm/DARKHORSECaraway: Non-toxic, beautiful, light ceramic cookware. Go to Carawayhome.com/DarkHorse for 10% off your order.Seed: Start a new healthy habit today with Seed probiotics. Use code 25DarkHorse at https://seed.com/darkhorse to get 25% off your first month of Seed's DS-01® Daily Synbiotic.*****Join us on Locals! Get access to our Discord server, exclusive live streams, live chats for all streams, and early access to many podcasts: https://darkhorse.locals.com/Heather's newsletter, Natural Selections (subscribe to get free weekly essays in your inbox): https://naturalselections.substack.comOur book, A Hunter-Gatherer's Guide to the 21st Century, is available everywhere books are sold, including from Amazon: https://a.co/d/dunx3atCheck out our store! Epic tabby, digital book burning, saddle up the dire wolves, and more: https://darkhorsestore.org*****Mentioned in this episode:Excess deaths: https://www.insurancebusinessmag.com/ca/news/life-insurance/excess-mortality-may-stay-high-for-a-decade-swiss-re-warns-505653.aspxThe Atlantic: https://www.theatlantic.com/ideas/archive/2024/09/covid-political-polarization-public-trust-vaccine/679806/Scientific American: https://www.scientificamerican.com/article/vote-for-kamala-harris-to-support-science-health-and-the-environment/Milan Kundera on vandals (1967 essay): https://www.amazon.com/Kidnapped-West-Tragedy-Central-Europe/dp/0063272954/ref=sr_1_1Faces of protest: https://naturalselections.substack.com/p/facesofprotestThe equinox: https://naturalselections.substack.com/p/the-equinoxCounty Highway: https://www.countyhighway.comRescue the Republic: https://jointheresistance.orgSupport the show

Milan Kundera sosteneva che il romanzo non fosse altro che “la lunga ricerca di alcune definizioni sfuggenti”. Questo tentativo di rincorrere un'idea vale anche per la forma saggistica, in particolare per il libro intitolato “Praga, poesia che scompare”, in cui l'autore ceco, già esule in Francia, va alla ricerca della propria identità letteraria, eleggendo Praga a simbolo di un'utopia, quella dell'Europa centrale e delle minoranze, cancellate dagli assetti politici del secondo Novecento. Praga rappresenta, come ci spiega Giorgio Pinotti, “l'idea della massima diversità culturale contenuta nel minimo spazio”; ma è anche la metafora di una patria perduta per chi come Kundera ha scelto di abitare uno spazio translinguistico e transnazionale.Praha © 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/

Un oyente ha mencionado el "momento Beatle": dar con el producto adecuado en el momento adecuado. Él no volvió a ser el mismo después de leer "La insoportable levedad del ser" de Milán Kundera, pero a Adolfo García Ortega y Lucía Lijtmaer, nuestros gozosos de los viernes, les ocurrió con Albert Camus, PJ Harvey, "Rayuela" de Cortázar, "Uno de los nuestros de Scorsese" o "Nuestra parte de noche", de Mariana Enríquez. Además, disfrutamos de la conversación de arranque con Manuel Vicent en Denia. Hoy nos explica un placer que nos espera en la vejez. 

Ludvík Kundera byl člověkem devatera literárních řemesel. Rozsah jeho talentu zahrnuje nejen literární tvorbu nebo brilantní překlady německé poezie, ale i organizační schopnosti nakladatele nebo pečlivého historika. Nad protivenstvím osudu a normalizační cenzurou vítězil jemným humorem a laskavou povahou. Jako profesor hluboce ovlivnil také spisovatele a pedagoga Univerzity Karlovy Radka Malého, který se vydal v jeho stopách.

Über dieses heikle Thema sei zu lang geschwiegen worden, sagt der US-amerikanische Germanist und Goetheforscher Daniel Wilson: "Goethe und die Juden". So heißt sein neues Buch, in dem er sich das Verhältnis des Dichters zu Jüdinnen und Juden ganz genau ansieht. Wilson durchkämmt sein Werk, aber schaut sich auch an, wie Goethe privat sprach, wie er sich politisch verhielt oder als Theaterdirektor in Weimar – mit sehr unterschiedlichen Ergebnissen: zwischen Feindschaft und Faszination. Außerdem diskutieren Maja Beckers und Alexander Cammann diesmal über ein hochaktuelles und ebenso streitbares Buch: "Die vulnerable Gesellschaft" von Frauke Rostalski. Die Juristin beklagt eine neue Verletzlichkeit und die juristischen Folgen. Sind wir wirklich zu weich? Geht das Gesetz zu weit und macht selbst Opfer unfrei? "Der erste Satz" kommt diesmal aus einem Buch, das höchst unterhaltsam Illusionen platzen lässt: In "Mythos Nationalgericht" erklärt der italienische Historiker Alberto Grandi, was wirklich hinter Pizza, Carbonara und italienischem Olivenöl steckt. Und kurz vor der Europawahl empfehlen unsere Hosts diesmal den Klassiker "Der entführte Westen", ein Essay von Milan Kundera aus dem Jahr 1983. Darin beklagt Kundera eine Entführung, wie er es nennt, von Mitteleuropa in den Osten, obwohl Staaten wie Polen, Tschechien oder Ungarn eigentlich tief sitzende westliche Traditionen hätten. Sie erreichen das Team von "Was liest du gerade?" unter buecher@zeit.de. Literaturangaben: W. Daniel Wilson: Goethe und die Juden. Zwischen Feindschaft und Faszination, C.H. Beck, 351 Seiten, 29,90 Euro Frauke Rostalski: Die vulnerable Gesellschaft. Die neue Verletzlichkeit als Herausforderung für die Freiheit, C.H. Beck, 189 Seiten, 16 Euro Alberto Grandi: Mythos Nationalgericht. Die erfundenen Traditionen der italienischen Küche, aus dem Italienischen von Andrea Kunstmann, Harper Collins, 256 Seiten, 22 Euro Milan Kundera: Der entführte Westen. Die Tragödie Mitteleuropas, aus dem Französischen von Uli Aumüller, Kampa, 96 S., 20 Euro [ANZEIGE] Mehr über die Angebote unserer Werbepartnerinnen und -partner finden Sie HIER [ANZEIGE] Falls Sie uns nicht nur hören, sondern auch lesen möchten, testen Sie jetzt 4 Wochen kostenlos Die ZEIT. Hier geht's zum Angebot.

Giorgio Pinotti"Praga, poesia che scompare"Milan KunderaAdelphi Edizioniwww.adelphi.itTraduzione di Giorgio PinottiL'invasione russa della Cecoslovacchia nel 1968 non ha solo conculcato i diritti umani, la democrazia, la giustizia: ha ridotto a «un foglio di carta in fiamme / dove scompare la poesia» – scriveva Kundera nel 1980 citando l'amato Nezval – una «grande cultura». Una cultura unica, che la «capitale magica d'Europa» ha forgiato lungo i secoli, e che ha conosciuto l'apogeo con Kafka, Hašek e Janaček, artefici dei «tre pannelli del quadro dell'inferno futuro»: «labirinto burocratico», «idiozia militare», «disperazione concentrazionaria». Tracciare il ritratto di Praga significava allora, per Kundera, riportare alla luce un'Atlantide inabissata, salvare una visione del mondo renitente a «identificarsi con la Storia» e a «cogliere nei suoi spettacoli serietà e senso». Ma noi lettori non potremo fare a meno, oggi, di riconoscere in quel ritratto, attraversato da un fremito di commossa nostalgia, un autoritratto, che rivela, meglio di qualunque saggio critico, la genealogia segreta da cui scaturisce l'opera di Kundera. Dentro al suo laboratorio ci conduce anche Ottantanove parole, un dizionario personale nato nel 1985 dall'esigenza, per lui che ancora scriveva in ceco ma pensava ormai a come ogni frase sarebbe suonata in francese, di chiarire al nuovo pubblico le «parole chiave», le «parole trabocchetto», le «parole d'amore» attorno alle quali erano costruiti i suoi romanzi – e tuttora essenziale per chi li ami e voglia conoscerli meglio.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Gioia Guerzoni"T"Chetna MarooAdelphiwww.adelphi.itTraduzione a cura di Gioia Guerzoni.Ha solo undici anni, Gopi, quando muore la madre. Per zia Ranjan lei e le due sorelle maggiori non sono che «selvagge». Così ha detto al padre di Gopi: sottintendendo che non rispettano le regole della comunità indiana a cui appartengono. E aggiungendo che per dargli una mano è pronta a prendersi in casa una di loro. Per il momento, però, il padre pensa che le figlie abbiano bisogno di appassionarsi a qualcosa che le accompagni poi «per tutta la vita» – e decide che sarà lo squash. Non funzionerà per tutte: l'unica che diventerà sempre più brava, e continuerà caparbiamente a cercare di scoprire, fra le quattro pareti del campo (ma non solo), che cosa fare dei suoi sentimenti, della sua vita, delle persone che incontra, e a quali traguardi può aspirare, sarà Gopi. Ed è lei stessa a raccontarci quell'anno di lutto e di rinascita – l'anno in cui sperimenta il dolore e l'assenza, ma anche la tenerezza e la determinazione, i cambiamenti del corpo e le sue potenzialità, le regole e la necessità di trasgredirle – con una voce insieme pacata e audace, sommessa e perentoria. In questo suo primo romanzo, con mano insospettabilmente sicura, e con uno stile essenziale, preciso, allusivo, la scrittrice angloindiana Chetna Maroo ci apre le porte di un mondo che ci era ignoto – e non è esattamente questa, come ci ha insegnato Kundera, la funzione del romanzo?IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Alain Finkielkraut "Pêcheur de perles" (Gallimard)Walter Benjamin collectionnait amoureusement les citations. Dans la magnifique étude qu'elle lui a consacrée, Hannah Arendt compare ce penseur inclassable à un pêcheur de perles qui va au fond des mers "pour en arracher le riche et l'étrange". Subjugué par cette image, je me suis plongé dans les carnets de citations que j'accumule pieusement depuis plusieurs décennies. J'ai tiré de ce vagabondage les phrases qui me font signe, qui m'ouvrent la voie, qui désentravent mon intelligence de la vie et du monde. Arendt, Kundera, Levinas, mais aussi Valéry, Canetti, Tocqueville, Nietzsche, Thomas Mann, Virginia Woolf ont été quelques-uns de mes guides. Dans leur sillage, j'ai essayé de penser à nouveaux frais l'expérience de l'amour, la mort, les avatars de la civilité, le destin de l'Europe, la fragilité de l'humour, le monde comme il va et surtout comme il ne va pas. A. F.Lecture de Thibault de MontalembertMusique : Paul MCCartney "Penny Lane"Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Don Paolo Alliata"L'amore fa i miracoli"Tra le pagine dei grandi romanziPrefazione di Isabella GuanziniPonte alle Graziewww.ponteallegrazie.itLa letteratura ci insegna ad amare: è una maestra di sentimenti, una fonte di sapienza, il giardino in cui Dio respira di nascosto. Seguendo questa intuizione, don Paolo Alliata ci conduce tra le pagine dei grandi romanzi, cercando il soffio che ci nutre. Perché l'amore trova sempre il modo per raggiungerci, declinandosi nelle forme, nelle storie, nelle voci più diverse. L'amore di Romain Gary è memoria e resistenza, nel volo degli aquiloni che inseguono l'azzurro. L'amore che scalda il cuore del professor Stoner è un sonetto di Shakespeare che schiude la porta sull'eterno. L'amore di Kundera oscilla tra leggerezza e pesantezza, vulnerabilità e compassione: è la voce bambina che canta. L'amore che aleggia nella resurrezione secondo Tolstoj è metamorfosi, grazia, primavera che arriva anche in città. L'amore, per Steinbeck, è profezia, preghiera in movimento, marcia collettiva verso la libertà. L'amore che sostiene C.S. Lewis è pianto che volge in letizia, legame che scavalca la morte, fede. L'amore è quella forza che ci spinge a tuffarci nelle cose così come sono. Che ci rende vivi, non nelle aspettative, ma nella nostalgia di infinito, un infinito tanto più potente quanto incolmabile.Paolo Alliata (Milano, 1971) è sacerdote della Diocesi di Milano. Laureato in Lettere classiche, cerca di raccontare, nella predicazione e negli scritti, il grande Mistero cristiano ricorrendo volentieri a immagini e temi tratti dalla letteratura e dal cinema. Ha scritto e messo in scena per bambini e ragazzi testi teatrali sulla Bibbia (E Dio disse: “Su il sipario!”, ed. Centro Ambrosiano; “Io a Gesù bambino non ci credo mica!”, illustrato da Carla Manea, Valentina Edizioni - Centro Ambrosiano, entrambi usciti nel 2013). Per Ponte alle Grazie ha pubblicato: Dove Dio respira di nascosto (2018), C'era come un fuoco ardente (2019), Gesù predicava ai bradipi (2021). Dal 2019 è responsabile del Servizio per l'Apostolato Biblico per la Diocesi di Milano. Dal 2022 è rettore del liceo Montini di Milano.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Central Europe has long been infamous as a region beset by war, a place where empires clashed and world wars began. In The Middle Kingdoms: A New History of Central Europe (Basic Books, 2023) Martyn Rady offers the definitive history of the region, demonstrating that Central Europe has always been more than merely the fault line between West and East. Even as Central European powers warred with their neighbors, the region developed its own cohesive identity and produced tremendous accomplishments in politics, society, and culture. Central Europeans launched the Reformation and Romanticism, developed the philosophy of the Renaissance and the Enlightenment, and advanced some of the twentieth century's most important artistic movements. Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. 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

Central Europe has long been infamous as a region beset by war, a place where empires clashed and world wars began. In The Middle Kingdoms: A New History of Central Europe (Basic Books, 2023) Martyn Rady offers the definitive history of the region, demonstrating that Central Europe has always been more than merely the fault line between West and East. Even as Central European powers warred with their neighbors, the region developed its own cohesive identity and produced tremendous accomplishments in politics, society, and culture. Central Europeans launched the Reformation and Romanticism, developed the philosophy of the Renaissance and the Enlightenment, and advanced some of the twentieth century's most important artistic movements. Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Central Europe has long been infamous as a region beset by war, a place where empires clashed and world wars began. In The Middle Kingdoms: A New History of Central Europe (Basic Books, 2023) Martyn Rady offers the definitive history of the region, demonstrating that Central Europe has always been more than merely the fault line between West and East. Even as Central European powers warred with their neighbors, the region developed its own cohesive identity and produced tremendous accomplishments in politics, society, and culture. Central Europeans launched the Reformation and Romanticism, developed the philosophy of the Renaissance and the Enlightenment, and advanced some of the twentieth century's most important artistic movements. Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Central Europe has long been infamous as a region beset by war, a place where empires clashed and world wars began. In The Middle Kingdoms: A New History of Central Europe (Basic Books, 2023) Martyn Rady offers the definitive history of the region, demonstrating that Central Europe has always been more than merely the fault line between West and East. Even as Central European powers warred with their neighbors, the region developed its own cohesive identity and produced tremendous accomplishments in politics, society, and culture. Central Europeans launched the Reformation and Romanticism, developed the philosophy of the Renaissance and the Enlightenment, and advanced some of the twentieth century's most important artistic movements. Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Central Europe has long been infamous as a region beset by war, a place where empires clashed and world wars began. In The Middle Kingdoms: A New History of Central Europe (Basic Books, 2023) Martyn Rady offers the definitive history of the region, demonstrating that Central Europe has always been more than merely the fault line between West and East. Even as Central European powers warred with their neighbors, the region developed its own cohesive identity and produced tremendous accomplishments in politics, society, and culture. Central Europeans launched the Reformation and Romanticism, developed the philosophy of the Renaissance and the Enlightenment, and advanced some of the twentieth century's most important artistic movements. Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/arguing-history

Central Europe has long been infamous as a region beset by war, a place where empires clashed and world wars began. In The Middle Kingdoms: A New History of Central Europe (Basic Books, 2023) Martyn Rady offers the definitive history of the region, demonstrating that Central Europe has always been more than merely the fault line between West and East. Even as Central European powers warred with their neighbors, the region developed its own cohesive identity and produced tremendous accomplishments in politics, society, and culture. Central Europeans launched the Reformation and Romanticism, developed the philosophy of the Renaissance and the Enlightenment, and advanced some of the twentieth century's most important artistic movements. Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House's International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles. 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 Patočka Booth is a three-part series of interviews on the Czech philosopher and dissident, Jan Patočka (1907–77). Interviews will explore his philosophical and political thought, his biography and context, and his import for theology. Erin Plunkett is Senior Lecturer in Philosophy and Religious Studies at the University of Hertfordshire, UK. She is the editor of the Selected Writings of Jan Patočka: Care for the Soul (2022) and Kierkegaard and Possibility (2023) and the author of A Philosophy of the Essay (2018).  PODCAST LINKS: Dr. Plunkett's Twitter: https://twitter.com/jd_silentio Dr. Plunkett's academia.edu page: https://herts.academia.edu/ErinPlunkett Dr. Plunkett's research profile: https://researchprofiles.herts.ac.uk/en/persons/erin-plunkett Dr. Plunkett's website: https://erinshalonplunkett.wordpress.com The Selected Writings of Jan Patočka: Care for the Soul: https://www.amazon.com/Selected-Writings-Jan-Patocka-Care/dp/1350139092 Kierkegaard and Possibility: https://www.amazon.com/Kierkegaard-Possibility-Erin-Plunkett/dp/1350298980   CONNECT: Website: https://wipfandstock.com/ Twitter: https://twitter.com/wipfandstock Facebook: https://www.facebook.com/wipfandstock Instagram: https://www.instagram.com/wipfandstock/    SOURCES MENTIONED: Derrida, Jacques. The Gift of Death. ———. Hospitality. 2 vols. Heidegger, Martin. “The Question Concerning Technology.” Husserl, Edmund. The Crisis of European Sciences and Transcendental Phenomenology: An Introduction to Phenomenological Philosophy. Kundera, Milan. The Unbearable Lightness of Being. Musil, Robert. The Man Without Qualities. Patočka, Jan. Heretical Essays in the Philosophy of History. ———. Plato and Europe. ———. The Selected Writings of Jan Patočka: Care for the Soul. Plunkett, Erin, ed. Kierkegaard and Possibility. Ricœur, Paul. “Jan Patocka: A Philosopher of Resistance.” The Socrates of Prague. Documentary. Tava, Francesco, and Darian Meacham, eds. Thinking After Europe: Jan Patočka and Politics.   OUTLINE: (01:39) – Discovering “the myth of Patočka” (06:18) – Roundtable: Patočka, Nietzsche, Foucault, Arendt (09:51) – The life of Patočka in the century of war (15:37) – Key themes: Movement, care for the soul, sacrifice (21:03) – Relationship to Husserl and Heidegger (25:02) – Husserlian transcendence vs. Patockian transcendence (27:36) – The “limping pilgrim” and the “sacrifice for nothing” (32:05) – Patočka, Heidegger, and Husserl on science and technology (38:09) – “Asubjective phenomenology” (43:05) – Aesthetic and literary criticism (48:35) – “The solidarity of the shaken” (52:28) – Patočka and Derrida (54:08) – The failure of the European project (59:32) – What's next for Dr. Plunkett (01:00:55) – Where to find Dr. Plunkett

Met de Russische invasie van Oekraïne heeft De tragedie van Midden-Europa van de onlangs overleden Tsjechische schrijver Milan Kundera een nieuwe, profetische lading gekregen. Het essay uit 1983 ontlokte destijds een vurig debat over het lot van Midden-Europa. Het lijkt alsof de door Kundera geschetste polaire situatie tussen West en Oost nu weer helemaal terug is van weggeweest. De Oekraïner staat nu als model-Europeaan tegenover de barbaarse Rus. Kundera's essay waart tegenwoordig rond in allerlei opiniebijdragen en politieke speeches. Macron parafraseerde eruit op een conferentie in Bratislava eind mei van dit jaar, aan de vooravond van de bijeenkomst van de Europese Politieke Gemeenschap in Moldavië. Guido van Hengel is schrijver en historicus en publiceerde eerder boeken over Joegoslavië. Deze week schuift hij aan om te vertellen over veertig jaar weerklank op Kundera's essay.Lees ook het artikel 'Ruslands angstaanjagende vreemdheid' deze week in De Groene Amsterdammer.Productie: Stephan Sanders, Gizelle Mijnlieff en Liesbet Samyn.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

En este nuevo encuentro en el café de Mendel, José Carlos Rodrigo (@literatura_instantanea) y Jan Arimany (@trotalibros) hablan de sus lecturas, que van de Ditlevsen a Mazarrasa. También comentan el coleccionismo librófilo, las muertes de Kundera e Ibáñez, el Black History July y el nuevo libro de José Carlos. Seas de café solo o de los que se alargan describiendo todos los ingredientes añadidos que desean, ¡no te olvides de acompañarlo con una buena lectura! --- Send in a voice message: https://podcasters.spotify.com/pod/show/elcafedemendel/message

Per lottare contro lo spreco tessile, il governo francese ha annunciato l'introduzione di un bonus riparazione per abbigliamento e calzature. L'autore dell'Insostenibile leggerezza dell'essere è morto l'11 luglio a Parigi.Marina Forti, giornalistaSandro Ferri, direttore della casa editrice e/oFrancia: https://www.youtube.com/watch?v=sgQVAqwnwE8Kundera: https://www.arte.tv/it/videos/102301-000-A/milan-kundera-l-insostenibile-leggerezza-della-storia/Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/podcastScrivi a podcast@internazionale.it o manda un vocale a +39 3347063050Consulenza editoriale di Chiara Nielsen.Produzione di Claudio Balboni, con Vincenzo De Simone.Musiche di Tommaso Colliva e Raffaele Scogna.Direzione creativa di Jonathan Zenti.

Únava ze světa v nás posiluje izolacionalismus. In memoriam nemusíme udílet jen vyznamenání. Německo je vůči Číně ostražité. Proíránská milice (asi) vězní izraelskou vědkyni. Kundera a disent.

Latinské úsloví „de mortuis nil nisi bonum“, tedy, že o mrtvých se má mluvit v dobrém, dnes odmítají někteří zpupní kritici s tím, že se nemá o nich říkat nic než pravda. Dělají to ovšem tak, že když někdo slavný zemře, vytahují před oči veřejnosti hlavně jeho hříchy, ať už domnělé nebo skutečné a někdy pro úplnost poznamenají, že také něco zajímavého udělal, vytvořil a napsal.

El debate del lunes entre Pedro Sánchez y Alberto Núñez Feijóo cambió la tendencia de las encuestas, en una campaña marcada por ellas. En el plano internacional y cultural, falleció el autor de ‘La insoportable levedad del ser'. Y en geopolítico, Erdogan levantó su veto en la Alianza Atlántica CRÉDITOS Realización: Belén Remacha Dirección y presentadora: Silvia Cruz Lapeña  Edición: Ana Ribera  Diseño de Sonido: Camilo Iriarte Sintonía: Jorge Magaz 

News, Kundera death, new security strategy, Franciscan Garden, Palace Svet

Este miércoles no hay agua en 8 colonia de la alcaldía Tláhuac La pentatleta olímpica, Tamara Vega, denuncia por trata y pederastia a quien fuera su entrenador Sergio “N Murió el escritor Milán Kundera a los 94 años de edadMás información en nuestro podcast

durée : 00:15:01 - Journal de 18h - Il avait émigré en France en 1975 après avoir été frappé de censure par le régime communiste dans l'ancienne Tchécoslovaquie puis il était redevenu tchèque sur le tard. Milan Kundera avait une relation compliquée avec son pays natal.

durée : 00:51:42 - Répliques - par : Alain Finkielkraut - Milan Kundera : autour de l'homme et de l'œuvre avec Florence Noiville et Benoît Duteurtre. - invités : Florence Noiville journaliste, critique littéraire, écrivain; Benoît Duteurtre

Hoy en Viernes de Libros con Juan Carlos Echeverry hablamos de dos libros muy interesantes: uno de Stephen Kotkin y El occidente secuestrado de Milán Kundera.