Podcasts about leonce

A 75 minute mix of stompy hard hitting House featuring trax from Loleatta Holloway & Johnny Vicious, Honey Dijon & Kevin Aviance, Basement Jaxx, Bas Noir, Mark Broom, DJ Duke, DJ Mahroo, Leonce, Loffe Ninja, Marshall Jefferson & Steve Mac, Geoffrey C & DJ Spen, Panko & SUB-P, Dario Baldasari, Sister Zo and MORE!FULL TRACKLISTING AT SOUNDCLOUD . COM / DJJOSHPEACE

Novedades: Holy Tongue, Lucrecia Dalt, Michael J. Blood, Manuka Honey, Josi Devil, Two Shell, Demuja, Girl Scout Cookies, BSS, Leonce, Furious Frank, DaphniDisco de la semana: BoofMini-mix: BawrutLa Perla: Adam FEscuchar audio

Celebrate National Read a New Book Month with this episode of Big Blend Radio with acclaimed author Leonce Gaiter who discusses his writing and latest book, “A Memory of Fictions (or) Just Tiddy-Boom." For readers who like their fiction in the grand, old-school tradition comes a jazzy, genre-bending historical fiction/memoir featuring a compelling Black protagonist who presents a fascinating take on 'the Black anti-hero.' "A Memory of Fictions (or) Just Tiddy-Boom" (Legba Books) paints a vivid, wildly entertaining portrait of Jessie Vincent Grandier, the striving African American middle class that shaped him in the 1960s, and a Black man navigating white worlds through the Reagan 80s. More at https://www.leoncegaiter.com/ 

WE're back this week with a lil traditional Christmas reminiscing as we say goodbye to the days of old! And by the days of old we mean Hinds, Leonce and if everything works out according to plans, Rowley.We take in the highlights of Kartel's early visit to Trinidad and with the warm welcome he received we're trying to see if we could get we boy Yankee Boy to grab a bite.Enjoy!!

(00:00:52) Der Leiter des Konrhausforums Bern spricht über die kommende Ausstellung «Vorort Schweiz», den Stadt-Land Graben, gesellschaftliche Relevanz und darüber, ob wir Vorräte bunkern sollen. (00:11:06) «Die Tabubrecherin»: Ein Dokumentarfilm über eine Frau, die sowohl pragmatisch als auch philosophisch mit ihrer Krebs-Erkrankung und ihrem nahen Tod umgeht. (00:15:16) «Leonce und Lena» neu inszeniert: Theater Hora setzt auf Inklusion und Teilhabe. (00:19:56) Michael Fehr wagt das Unfertige: Spoken-Word-Premiere beim woerdz-Festival in Luzern. (00:24:38) «In den Höhlen der Schweiz – vom Abenteuer zur Wissenschaft» - Von den Mythen bis zum Forschungsstand heute.

Kath-Akademie Archiv: „Christian Lehnert zu Gast bei Albert von Schirnding“ (Hördauer: 80 Minuten) „Der Gott, den es nicht gibt,in mir ein dunkler Riss,ist meiner Seele nah,so oft ich ihn vermiss.“(Christian Lehnert). Der Dichter und Essayist Christian Lehnert ist evangelischer Pfarrer und darüber hinaus seit 2012 Geschäftsführer des Liturgiewissenschaftlichen Instituts der Universität Leipzig. So fließen poetische Elemente gleichermaßen wie Erfahrungen seelsorgerlicher Praxis und wissenschaftlicher Forschung in seine Werke mit ein, um, wie Lehnert es einmal formuliert, „die Fragilität einer religiösen Existenz, und zwar meiner religiösen Existenz, zu erkunden, in allen Widersprüchen, in allen Offenheiten, in zweifelnden Fragen ...“ In hochpoetischen Bildern zeigt sich ungeschönt das delikate Verhältnis von Religiosität und Dichtung, zuletzt in den vielbeachteten Bänden „Korinthische Brocken“ (2013), „Windzüge“ (2015) und „Der Gott in einer Nuß. Fliegende Blätter von Kult und Gebet“ (2017). Kritiker sehen in ihm einen „unzeitgemäßen“ Dichter, da er weder im Literaturbetrieb noch in der Kirche einen selbstverständlichen Platz findet. Für die hohe Qualität seiner Lyrik ist Christian Lehnert vielfach ausgezeichnet worden, so noch als Student 1995 mit dem „Leonce und Lena“-Preis der Stadt Darmstadt und zuletzt mit dem Hölty-Preis für Lyrik der Stadt Hannover sowie dem Eichendorff-Literaturpreis. Auf das einleitende Referat von Albert von Schirnding folgt direkt im Anschluss die Lesung von Christian Lehnert. Wenn Ihnen dieser Beitrag gefallen hat, dann mögen Sie vielleicht auch diesen.   Hörbahn on Stage - live in Schwabing  Literatur und Ihre Autor*innen im Gespräch - besuchen Sie uns! Katholische Akademie in BayernKardinal Wendel HausMandlstraße 23, 80802 München Realisation Uwe Kullnick

heute u.a. Nachruf auf die "Grande Dame des Fernsehens" Ruth Maria Kubitschek; Spotifys Problem mit rechten Playlists; Wie an Kafka in seiner Heimat Prag erinnert wird; Stimme Mittel-Osteuropas: 100 Jahre Zsolnay Verlag; Gedicht: "Die wilde Rose" von Louise Aston; Service Bühne: Jelinek-Uraufführung am Schauspielhaus Bochum und "Leonce und Lena und Lenz" in Münster. Moderation: Jörg Biesler. Von Jörg Biesler.

Stupid News 5-7-2024 8am …She was named Employee of the Year and then Fired for being too old …The Legend of Enderlin Leonce …Government Officials raid a UFO Museum in Argentina

Novedades: J. Albert & Holodec, Lakker, NAP, Heavee, Om Unit, Nia Archives, Undo & Vicknoise, Skee Mask, Peder Mannerfelt, Smooth Compacto, Jamie xx, Raphael Schön, LeonceDisco de la semana: Low End ActivistMini-mix: Artur M PugaLa Perla: Gina X PerformanceEscuchar audio

Georg Büchners Lustspiel „Leonce und Lena“ entstand 1836. Erst 1895 in München uraufgeführt erzählt die Geschichte von zwei melancholischen Königskindern, die heiraten sollen. Sie fliehen vor der verordneten Vermählung, finden aber, begleitet von einem nihilistischen Hofnarren, am Ende zueinander - und übernehmen die Regentschaft… Mit: König Peter vom Reiche Popo | Erich Ponto Prinz Leonce, sein Sohn | Gerd Martienzen Prinzessin Lena vom Reiche Pipi | Martha Marbo Valerio | Martin Held Gouvernante | Edith Heerdegen Präsident des Staatsrates | Paul Schuch Hofprediger | Egon Zehlen Rosetta | Hilde Nocker sowie Charly Wimmer, Herbert Sielaff, Friedrich Karl Hellwig, Walter Griesmann, Hans Walter Lautenschläger Hörspielbearbeitung: Hans Kettler Musik: Winfried Zillig Regie: Karlheinz Schilling hr 1952 (Audio verfügbar bis 12.11.2024) Noch mehr Hörspiele und Hörbücher finden Sie im Podcast-Pool des Hessischen Rundfunks: https://www.hr2.de/podcasts/hoerspiel/index.html

Ever wondered how to keep your team strong during challenging times? Come join Leonce Crump and I as we dive deep into the essence of leadership and the power of building an unshakeable team. Drawing from his new book, The Resilience Factor, Leonce shares his personal journey on various teams and the unique strength that emanates when talented individuals converge with a unified vision.We take a hard look at the role of prayer, clarity of vision, and strategic planning in forging an aligned and cohesive team. Not shying away from the hard truth, we also explore the necessity of evaluating individual strengths, designing productive meetings, and setting up meaningful accountability structures. Despite the inherent challenges and potential messiness, we both resonate with the sentiment that this style of leadership is indeed worth the effort.Our conversation also orbits around cultivating a resilient team and assessing your current team's strengths and weaknesses. Leonce emphasizes the importance of a clear mission and vision in constructing a robust team and the vital role of investment in your team's growth, irrespective of their performance level. Tune in for this insightful conversation on leadership and team building.We need your help to get the Lead Culture podcasts in front of more leaders! There are three simple things you can do that truly help us: Review us on Apple podcasts Subscribe - we're available wherever you listen to podcasts. Share - let your friends know about the podcast by sharing your favorite episode on social media!

Leadership is hard if anyone offers you a quick and easy guide to leadership bliss, run away. As we are in Pastor Appreciation month we want to acknowledge how hard it is to lead, and we want to say thank you for leading pastors!  Keep it up!  On to our show, It isn't everyday you have a chance to talk to a former NFL player turned pastor (Leonce) and a leading church researcher (Warren) at the same time! The stories are rich, and there are some fantastic thoughts to chew on as we work to build trust and resilience in the teams we serve on.  We hope you enjoy this podcast! Resources Book: The Resilience Factor Information for coaching and spiritual direction can be found atwww.kairospartnerships.org We'd love to hear from you. Drop us a line. Doug – doug@kairospartnerships.orgBob – bob@kairospartnerships.org If you are looking to grow in your leadership we highly encourage you to check out these free resources from Kairos Partnerships:5 Things In 5 Minutes - a weekly newsletter written by J.R. Briggs that is full of great leadership content that can be read in 5 minutes or less! Here's the link: www.kairospartnerships.org/5t5m For daily leadership content for you and your team follow Kairos Partnerships on Facebook and Instagram!Coaching is a powerful leadership tool that many pastors are taking advantage of through Kairos Partnerships, and the best part is you can try it for free!  If you want to schedule a free exploratory call with Doug, Bob, or another coach on the team head over to http://www.kairospartnerships.org/coaching and schedule your call today.**Monday Morning Pastor is produced by the incredibly gifted Joel Limbauan. Check out his great video and podcast work at On a Limb Productions www.onalimbproductions.com If this podcast adds value to you, your team, or your organization, consider (1) subscribing (2) leaving a review and (3) sharing it with others 

Leonce Gaiter's nonfiction writing has appeared in The New York Times, The New York Times Magazine, The Los Angeles Times, The Washington Times, LA Weekly, Slate, and The Washington Post. Gaiter is also the author of the historical novel, “I Dreamt I Was in Heaven - The Rampage of the Rufus Buck Gang”. Leonce explains why white privilege and white racial innocence will not save (white) Americans from Trump's plans to be a dictator and the hell world that the American neofascist movement is trying to impose on the country. He also reflects on why black and brown “conservatives” like Clarence Thomas and Tim Scott have chosen to surrender to white supremacy and a pathological pursuit of honorary Whiteness as their way of finding “success” and “happiness”. In this wide-ranging conversation, Leonce and Chauncey dialogue about how they both escaped the trap of being black conservatives, masculinity and violence, the Democratic Party's failed messaging, and the much-heralded “Battle for Montgomery” where black folks fought back against white thugs on a pier.  It is Chauncey DeVega's birthday week and as is his habit he reflects on his life journey this past year, successes and failures, and plans for the year ahead.  And because it is his birthday week, Chauncey indulges himself with a story about being a hero in his neighborhood, fighting back against a local pervert, and an encounter with a toilet freak. Chauncey also reads one of his favorite parts of Cormac McCarthy's book “Child of God” and shares why he has already seen Denzel Washington's new film “The Equalizer 3” three times at the movie theater. WHERE CAN YOU FIND ME? On Twitter: https://twitter.com/chaunceydevega On Facebook: https://www.facebook.com/chauncey.devega My email: chaunceydevega@gmail.com HOW CAN YOU SUPPORT THE CHAUNCEY DEVEGA SHOW? Via Paypal at ChaunceyDeVega.com Patreon: https://www.patreon.com/thechaunceydevegashow

Pastor Léonce B. Crump Jr. is an author, international speaker, and co-founder—along with his wife Breanna—of Renovation Church in Atlanta. Before committing his life to pastoral ministry, and civil rights activism, Léonce was a collegiate All American in wrestling, nearly made the World Team in wrestling and a professional football player. He has been in ordained ministry for nearly 20 years and holds multiple graduate degrees. He and Breanna reside in Atlanta with their three daughters and son. Leonce is the author of the recently released: The Resilience Factor, which forms the basis for our conversation. We talk about leadership, self-censorship, the low view that people have of leaders, abuse of power in the church and how to still be a leader in the midst of all the accusations, and the pros and cons of highlighting leadership failures in the church and what this does for leaders who are not narcissistic, power mongering, domineering men who cover up abuse in order to save face and keep their positions of power. 

Our summer series continues with Mark III: Men Are Team Players. From coaching his son's football team, to playing in the NFL, to now leading a thriving church in Atlanta, Georgia, Leonce Crump Jr. knows a thing or two about the power of a thriving team. He shares tips, tricks, and the secret to resiliency in this candid conversation. This is the third episode in an 5-part series called Five Marks Summer, celebrating the repackaged publication of Brian's best-selling book, The Five Marks of a Man. Pre-order it, or the companion Tactical Guide, now and it will show up on your front porch on October 10th.  Find the bear attack video Brian references here. 

Pt 2 - Da Millennial Coach and Pamela Leonce get into the do's and don't want changing careers, upgrading your expertise, investing in yourself and also remembering your #worth and how much you #value your #skill.

TRANSFABULOUS: DJ Stev Zar! @stevzar Fast paced and hard-hitting, Stev Zar weaves worlds when she DJs. Drawing on her expansive tastes and her cultural and queer experience, she moves with her mood to blend fierce percussion, bass-heavy club, experimental electro, and southside rap with classic acapellas and cinematic scores. Her sets are firmly rooted in the now, with tongue and cheek references folded into the chaos. The aim is body euphoria. Her goal is to uplift trans bodies and challenge her audience to move beyond genre to connect with the heart of the sound.Currently based in Naarm, Stev Zar's resume spans DJing, production, and curation. Her work has led her to perform alongside LSDXOXO, Skin On Skin, UNiiQU3, Leonce, Dinamarca, Tygapaw, Estoc, Junglepussy and the Veronicas, with sets at Soft Centre Festival, Dark Mofo, Laneway, Melbourne Music Week, Redbull Music Festival, Rising Music Festival, and guest mixes on Eora's FBi Radio and Nomad Radio, Aoetearoa's Friendly Potential, and Triple J. She recently made her Boiler Room debut both performing and co-curating for UMAMI Collective.As a curator she spotlights artists in so-called Australia's QTBIPOC community and crafts spaces for this community to celebrate themselves and each other. She is currently studying a Bachelor of Arts (Music Industry) at RMIT with hopes to use her degree to continue to champion marginalised voices in the industry.Soundcloud - https://soundcloud.com/stevzarInstagram - https://instagram.com/stevzar/Facebook - https://www.facebook.com/stevzar —— 'Great Dane' (Single) by 3awadi  Mohammad Awadls aka 3awadi is a Queer, Arab, Muslim rapper from Western Sydney here to talk shit and make hits from the area to the world. His debut single 'Great Dane' is an absurd, camp and hilarious hip-hop song about dating in this tragic queer scene. The steamy music video is also out now on youtube. Instagram - https://www.instagram.com/_3awadi Music Video - https://distrokid.com/hyperfollow/3awadi/great-dane  —— Euphoria Social presents a Pride Month Celebration!  An inclusive event for all with a splash of queer creativity, a night to celebrate our incredible LGBTQIA+ people. The venue offers plenty of space to dance, quiet spaces, outdoor area and low lighting. They don't focus on labels and encourage everyone to come and feel safe and included at their events.  "Our lives matter, together we are stronger"Featuring:DJ Eloise Etto Dancer's Blayk & Jacob Performances by Iva GrandeJoni VovoTrixie Lah DaisValencia DilonceThis will be a fundraising event with a percentage of ticket sales will going back to a Switchboard Victoria.They have haircuts, glitter, make up, Sayf Mental Health, limited complimentary beverages from Pals, nibble and more.  Date: 17 JUNE 20237pm – 12amWolfhound on Brunswick386 Brunswick St, Fitzroy VIC 3065 Giveaway tickets entry is closed!Early Bird is Sold Out, GA tickets go on sale 17th May, giving you exclusive access in the mean time. PURCHASE TICKETS -->>> https://events.humanitix.com ______ Music Pangaea by Dj Stev Zar  Great Dane by 3awadi T4T by Bobby Sanchez  Firestarter by The Prodigy  ______ HAPPY BIRTHDAY AMBER HO!   

Pt 1 - This is a riveting conversation with a very experienced Recruiter who provides valuable advice if you are trying to upgrade your job, change careers or simply aim for that CEO role, then this is most definitely the show for you!! 

Seit Oktober 1982 begleitet die Schweizer Filmemacherin Ellen Steiner sieben Schauspielschülerinnen und -schüler mit der Kamera. Sie filmt die Aufnahmeprüfung in Zürich, erste Engagements, grosse Erfolge, aber auch bittere Enttäuschungen. 40 Jahre später besucht sie vier von ihnen ein letztes Mal. Corina Remund, Monik Kravarik, Stéphane Maeder und Kamil Krejčí stehen heute kurz vor der Pensionierung. Sie waren Teil der Klasse von 1982 der Schauspielakademie an der Zürcher Winkelwiese. Was ist aus ihnen geworden? Sind sie beim Theater geblieben? Wie sehen sie heute ihren Traumberuf? Die Langzeitdokumentation zeigt den harten Kampf von Schauspielerinnen und Schauspielern mit sich selbst und gegen die harte Bühnenwirklichkeit. Es wird spürbar, dass neben der Begabung auch das Glück und der Zufall eine Rolle spielen. Diese Mischung aus Hoffnung, Erfolg und Entbehrung drückt der Titel aus: «Für müde Füsse ist jeder Weg zu lang» – ein Zitat aus «Leonce und Lena» von Georg Büchner. 1989 kam der erste Teil über die damals jungen Schauspielerinnen und Schauspieler ins Fernsehen, es folgte ein weiterer (online zu sehen auf www.srf.ch/sternstundekunst). Der dritte und wahrscheinlich letzte Teil zieht ein Resümee kurz vor dem Eintritt ins Rentenalter.

Shubh Diwali friend! I am pleased that you're here! I wanted to share why I love this holiday so much and give a brief overview of where it came from, when it came to Trinidad and its influences on my childhood. Here are some links I used during my research while recording this week's episode! Real Unity by Machel Montano ft Drupatee Mousie by Rakesh Yankaran Rajin Jeem Jeem Joom by Adesh Samaroo Hot Tassa Uploaded on YouTube by Vishan Persaud GAYATRI MANTRA - Navratri Special Best Indian Fusion Music Royalty Free https://www.destinationtnt.com/events/divali/#:~:text=Divali%20was%20brought%20to%20Trinidad,held%20to%20celebrate%20the%20occasion. https://www.nationalgeographic.com/history/article/diwali-history-customs-indian-festival-of-lights#:~:text=In%20northern%20India%2C%20Diwali%20commemorates,by%20the%20rival%20king%20Ravana. https://www.mpm.edu/research-collections/anthropology/online-collections-research/east-indians-trinidad/history#:~:text=Indian%20indentured%20immigration%20began%20with,Leonce%202007%2C%20Lal%201998). https://www.worldnomads.com/explore/caribbean/trinidad-and-tobago/indo-caribbean-culture-in-trinidad-and-tobago --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/shanade-beharry/message Support this podcast: https://anchor.fm/shanade-beharry/support

Mike Glenn Buzzsprout-11445642 Wed, 05 Oct 2022 15:00:00 -0400 1787

The Big Idea Why we do what we do matters to God

Luisa und Konstantin sind ein Ehepaar. Sie lehrt Philosophie an der Uni, er ist Jurist. Gemeinsam wollen sie drei Tage in ihrer Lieblingsstadt Verona verbringen. Ihre Beziehung befindet sich in einer tiefen Krise. Luisa scheint sich Konstantin immer weiter zu entziehen und zu entfremden. Er befürchtet, dass sie eine Affäre hat. Gleichzeitig ist ihm sein Beruf mehr und mehr verleidet. Heimlich hat er begonnen, gegen Schlaflosigkeit und Todesängste Gedichte zu schreiben. Ein Gedicht bezieht sich auf Pisanellos Madonna, die Konstantin tief verehrt und die nach einem früheren Kunstraub gerettet werden konnte. Der Versuch des Ehepaares, sich auszusprechen, scheitert. Die vertraute Stadt Verona entzieht sich ihrem Blick mehr und mehr. Die Reise wird zum Labyrinth und stellt ihr Leben auf den Kopf. Am Ende wird nichts mehr sein, wie es war. Ludwig Steinherr, geboren 1962 in München, studierte Philosophie und promovierte über Hegel und Quine mit der Arbeit »Holismus, Existenz und Identität«, die mit dem Alfred-Delp-Preis der Rottendorff-Stiftung prämiert wurde. Für seine bisher dreiundzwanzig Gedichtbände erhielt Steinherr mehrere Auszeichnungen, so den Leonce-und-Lena-Förderpreis, den Staatlichen Förderpreis für Literatur, den Evangelischen Buchpreis und den Hermann-Hesse-Förderpreis. 1993 begründete er zusammen mit Anton G. Leitner die Zeitschrift DAS GEDICHT. Seit 2003 ist er Mitglied der Bayerischen Akademie der Schönen Künste. Seine Gedichte wurden in viele Sprachen übersetzt, so ins Englische, Französische, Italienische, Tschechische, Griechische, Ungarische, Rumänische, Kroatische, Arabische und Bengali. Steinherr war Gastautor bei zahlreichen internationalen Literaturveran-staltungen: u. a. Journées Littéraires de Mondorf (Luxemburg) 1995, Deutsch-arabischer Lyrik-Salon in Damaskus 2006, European Literature Night, London 2012, King's Lynn Poetry Festival 2012, StAnza – Scotland´s International Poetry Festival 2013, Birmingham Literature Festival 2013, Ilkley Literature Festival 2013, Druskininkai Poetic Fall 2014 (Litauen). Von der University of Notre Dame (USA) wurde er 2012 als Gastautor zu Lesungen und Seminaren in der Advanced Lecture Series eingeladen. Zuletzt erschien von ihm in der Lyrikedition 2000 »Medusen« (2018), in England der zweisprachige Auswahlband »Before the Invention of Paradise« (Arc Publications, 2010) und in Italien »Prima di ogni tempo« (Ladolfi Editore, 2019). Ludwig Steinherr ist aktives Mitglied bei AMNESTY INTERNATIONAL und empfiehlt diese Organisation ausdrücklich. Wir danken dem Präsidenten der Bayerischen Einigung, Herrn Florian Besold und dem Geschäftsführer Carl Hans Engleitner für die Gelegenheit unsere Sendung bei Ihnen aufzuzeichnen und für ihre organisatorische Unterstützung.

LLiB Jg. 37 Heft 147: “Ludwig Steinherr: Verona kopfüber” – eine Novelle – ziemlich dramatisch – eine Rezension von Gernot Eschrich Luisa und Konstantin sind ein Ehepaar. Sie lehrt Philosophie an der Uni, er ist Jurist. Gemeinsam wollen sie drei Tage in ihrer Lieblingsstadt Verona verbringen. Ihre Beziehung befindet sich in einer tiefen Krise. Luisa scheint sich Konstantin immer weiter zu entziehen und zu entfremden. Er befürchtet, dass sie eine Affäre hat. Gleichzeitig ist ihm sein Beruf mehr und mehr verleidet. Heimlich hat er begonnen, gegen Schlaflosigkeit und Todesängste Gedichte zu schreiben. Ein Gedicht bezieht sich auf Pisanellos Madonna, die Konstantin tief verehrt und die nach einem früheren Kunstraub gerettet werden konnte. Der Versuch des Ehepaares, sich auszusprechen, scheitert. Die vertraute Stadt Verona entzieht sich ihrem Blick mehr und mehr. Die Reise wird zum Labyrinth und stellt ihr Leben auf den Kopf. Am Ende wird nichts mehr sein, wie es war. Ludwig Steinherr, geboren 1962 in München, studierte Philosophie und promovierte über Hegel und Quine. Er lebt als freier Schriftsteller in München. Für seine bisher fünfzehn Gedichtbände erhielt Steinherr mehrere Auszeichnungen, so den Leonce-und-Lena-Förderpreis, den Evangelischen Buchpreis und den Hermann-Hesse-Förderpreis. Seit 2003 ist er Mitglied der Bayerischen Akademie der Schönen Künste. Seine Gedichte wurden vielfach übersetzt. Zuletzt erschien von ihm in der Lyrikedition 2000 »Medusen« (2018) sowie »Briefleserin in Blau« (2018) und in England der zweisprachige Auswahlband »Before the Invention of Paradise« (Arc Publications, 2010). In der Lyrikedition 2000 von Ludwig Steinherr außerdem: »Fresko, vielfach übermalt« (2002), »Hinter den Worten die Brandung« (2003), »Musikstunde bei Vermeer« (2004), »Die Hand im Feuer« (2005), »Von Stirn zu Gestirn« (2007), »Kometenjagd« (2009), »Ganz Ohr« (2012), »Das Mädchen Der Maler Ich. Ausgewählte Gedichte (1997–2009)« (2012), »Flüstergalerie« (2013), »All Ears« Translated by Paul-Henri Campbell (2013), »Nachtgeschichte für die Teetasse« (2014), »Elefant mit Obelisk« (2015), »Alpenüberquerung« (2016) sowie »Lichtgesang. Light song« Translated by Paul-Henri Campbell (2017). Weitere Informationen über Ludwig Steinherr unter: http://www.ludwigsteinherr.com

Luisa und Konstantin sind ein Ehepaar. Sie lehrt Philosophie an der Uni, er ist Jurist. Gemeinsam wollen sie drei Tage in ihrer Lieblingsstadt Verona verbringen. Ihre Beziehung befindet sich in einer tiefen Krise. Luisa scheint sich Konstantin immer weiter zu entziehen und zu entfremden. Er befürchtet, dass sie eine Affäre hat. Gleichzeitig ist ihm sein Beruf mehr und mehr verleidet. Heimlich hat er begonnen, gegen Schlaflosigkeit und Todesängste Gedichte zu schreiben. Ein Gedicht bezieht sich auf Pisanellos Madonna, die Konstantin tief verehrt und die nach einem früheren Kunstraub gerettet werden konnte. Der Versuch des Ehepaares, sich auszusprechen, scheitert. Die vertraute Stadt Verona entzieht sich ihrem Blick mehr und mehr. Die Reise wird zum Labyrinth und stellt ihr Leben auf den Kopf. Am Ende wird nichts mehr sein, wie es war. Verona Kopfüber Luisa und Konstantin sind ein Ehepaar. Sie lehrt Philosophie an der Uni, er ist Jurist. Gemeinsam wollen sie drei Tage in ihrer Lieblingsstadt Verona verbringen. Ihre Beziehung befindet sich in einer tiefen Krise. Luisa scheint sich Konstantin immer weiter zu entziehen und zu entfremden. Er befürchtet, dass sie eine Affäre hat. Gleichzeitig ist ihm sein Beruf mehr und mehr verleidet. Heimlich hat er begonnen, gegen Schlaflosigkeit und Todesängste Gedichte zu schreiben. Ein Gedicht bezieht sich auf Pisanellos Madonna, die Konstantin tief verehrt und die nach einem früheren Kunstraub gerettet werden konnte. Der Versuch des Ehepaares, sich auszusprechen, scheitert. Die vertraute Stadt Verona entzieht sich ihrem Blick mehr und mehr. Die Reise wird zum Labyrinth und stellt ihr Leben auf den Kopf. Am Ende wird nichts mehr sein, wie es war. Ludwig Steinherr, geboren 1962 in München, studierte Philosophie und promovierte über Hegel und Quine mit der Arbeit »Holismus, Existenz und Identität«, die mit dem Alfred-Delp-Preis der Rottendorff-Stiftung prämiert wurde. Für seine bisher dreiundzwanzig Gedichtbände erhielt Steinherr mehrere Auszeichnungen, so den Leonce-und-Lena-Förderpreis, den Staatlichen Förderpreis für Literatur, den Evangelischen Buchpreis und den Hermann-Hesse-Förderpreis. 1993 begründete er zusammen mit Anton G. Leitner die Zeitschrift DAS GEDICHT. Seit 2003 ist er Mitglied der Bayerischen Akademie der Schönen Künste. Seine Gedichte wurden in viele Sprachen übersetzt, so ins Englische, Französische, Italienische, Tschechische, Griechische, Ungarische, Rumänische, Kroatische, Arabische und Bengali. Steinherr war Gastautor bei zahlreichen internationalen Literaturveran-staltungen: u. a. Journées Littéraires de Mondorf (Luxemburg) 1995, Deutsch-arabischer Lyrik-Salon in Damaskus 2006, European Literature Night, London 2012, King's Lynn Poetry Festival 2012, StAnza – Scotland´s International Poetry Festival 2013, Birmingham Literature Festival 2013, Ilkley Literature Festival 2013, Druskininkai Poetic Fall 2014 (Litauen). Von der University of Notre Dame (USA) wurde er 2012 als Gastautor zu Lesungen und Seminaren in der Advanced Lecture Series eingeladen. Zuletzt erschien von ihm in der Lyrikedition 2000 »Medusen« (2018), in England der zweisprachige Auswahlband »Before the Invention of Paradise« (Arc Publications, 2010) und in Italien »Prima di ogni tempo« (Ladolfi Editore, 2019). Ludwig Steinherr ist aktives Mitglied bei AMNESTY INTERNATIONAL und empfiehlt diese Organisation ausdrücklich.

Kate Chopin - The Awakening - Episode 4 - Symbolism, Romanticism, Nihilism And A Dissonant Ending!   Hi, I'm Christy Shriver. We're here to discuss books that have changed the world and have changed us.    I'm Garry Shriver, and this is the How to Love Lit Podcast.  This is our final episode in our four-part series of Kate Chopin's masterpiece The Awakening.  There is a lot layered in such a short book.  In episode 1, we discuss Chopin's life, we introduce the concept of “local color” and we arrive on the colorful shores of a summer resort village in Grand Isle, Louisiana.  Episode 2 we spend time on Grand Isle.  We meet Edna, Adele, Mr. Pontellier, Robert Lebrun and Madame Reisz.  We watch Edna awaken to an inner awareness she had never understood before, and we see this awakening occur through a physical sensuality she has never experienced before.  She learns to swim.  Edna Pontellier leaves Grand Isle a very different person than how she arrived at the beginning of her summer. Episode  3 we start with chapter 18 as Edna arrives back home in New Orleans.  Nothing would be the same.  She cannot  conform to the roles she has previously played.  She does not fit into the culture; she doesn't want to anymore.  She abandons almost all that she had previously identified with and experiments with different lifestyles: the arts, the horse races, men, ultimately she decides to leave the ritzy Esplanade street and take up residence in what she calls her Pigeon House just around the corner.  Today, we begin with chapter 26 and we follow Edna's progression through the end of the book.       Stylistically Chopin wrote what we call a realistic novel. The story, the settings, the characters truthfully represent the real world.  Grand Isle really exists and the resort there existed in the way she described it.  The same is true for Esplanade Street.  The details are accurate as Chopin represents the reality the great city of New Orleans at the turn of the century.  The French language, the customs, the way people behave, the races, the music, even the Song, “Ah, si tu savais”…is a real song. All of these things reflect reality.   However, as we get farther to the end of the novel, and as the reader gets more submerged into Edna's perspective, things get more and more romanticized.  Objects that seemed liked just objects at the beginning are now understood to be metaphorical and are symbolic.  We notice that objects are repeating and evolving- they are motifs.   In other words, the objects are still what they have always been, but they have taken on to mean MORE than just what they originally meant.  We understand things to be symbols in two ways.  The first way is whey the author spends an inordinate amount of time describing something that maybe isn't THAT important otherwise.  A second way is when we notice something to keep showing up over and over again.  Here's one example  There is music in the beginning.  It's described in detail, but notice just how much music there is in this book.  Notice how much time is devoted to describing it.   There is music in the middle and there is music at the end.  It means something, but of course it's up to us to draw our own conclusions as to what.  The birds work the same way.  There are birds on the first page, they come back in the middle and there is a bird on the last page.  It means something.  Food and meals are often symbolic.  Meals are archetypal symbols for fellowship.   Chopin use meals as a way to sort track what's going on with Edna and her relationships throughout the story.  Following the symbols helps us understand the universality of the story.  The biggest symbol is the sea, and by the end of the book it takes on mythic proportions.  The sea, as we pointed out in the beginning is personified.  It's alive.  But by the end, if we look carefully, we see in the description that the ocean is described as a serpent- uh ohh.  That's a Biblical symbol- but even in the Bible a serpent is not just one thing.  But it's not just the Bible that that is alluded here in these ocean references.  Edna as called Venus, and Venus emerges from the sea. What is that about? Although everything is still realistic- there are no superheroes or magic or pirates or fairies of any kind, there symbols somehow feel allegorical; is Edna even a real person or is she a type?  I know that's a little hyperbolic, but not by much.  Today as we end our discussion, I'd like to see this book as indeed political; there certainly is that side of it, but that is just the surface.  It goes beyond that to ask questions that are personal.  But before we can do that, we must first address the political.  Chopin was, by her very essence, a woman in the vein of what Europeans of her day called the “New Women” of the fin de siècle.    Garry, Chopin, was a well-read French speaker and reader very attune to the political, social and literary movements of her day, but we are not- although I will say, I've learned a lot about new women by watching them evolve in Downton Abbey, but what is a “new woman” and what does the term “fim de siècle” mean beyond the obvious translation of end of the century.    The term “New Woman” was actually an invention of the British media- it's not an American thing- and you're right, it's showcased in a lot of period pieces.  Here's one tell, a new woman might be the one riding a bicycle as a display of her independence.    A bicycle.  That's funny.      You'd have been the first to get your hands on one, I'm sure.  Think about it; just being able to wear clothes that would allow you to ride it would be liberating.  Anyway, the term first came out in the The Woman's Herald in August of 1893.  To use the newspaper's words, “woman suddenly appears on the scene of man's activities, as a sort of new creation, and demand a share in the struggles, the responsibilities and the honurs of the world, in which, until now, she has been a cipher.”  This feminist vision, as you can imagine was highly controversial and threatening to the status quo.  Among other things, it involved a new definition of female sexuality.  Some considered this alone to be the beginning of the apocalypse- the world was certainly turning upside down.  The mainstream media portrayed the new woman as a mannish brute towering over men- someone who is extremely hideous and monstrous- something most women obviously would not want to embrace- very propagandic.  Opponents were making caricatures as negative as possible of these “independent women”  wearing masculine clothes and pursuing unwomanly pursuits like sports, politics or higher education.     How dare they?    There was a lot of cigar smoking in these pictures.  These were meant to be negative images; the women would have angry faces, maybe with their hands on their hips scowling at the reader.  But in the feminist media, the new woman was portrayed very differently.  The traits were the exact same but portrayed in a positive way.  The new woman in these publications  was portrayed as a social warrior defending her home, using her political positions, social standings to compliment traditional household duties.  The idea being a new woman didn't neglect her family she was a better provider and defender of self and family because of it.  The main difference between these new visions of a new woman had to do with what you do with motherhood.   Femininist media created images of women incorporating traditionally male domains not necessarily excluding motherhood.   The big political interests that stand out were women's suffrage and property rights. Women were interested in careers outside the home and higher education.   Women's periodicals emerged with pretty large readerships, and not all of these readers were women.  Women were publicly and in writing asking other women to openly express their views on contemporary life- this was new.  The question of the era was “What is the role of the ‘new woman'?” I quote the North America Review here, “the great problem of the age is how to emancipate woman and preserve motherhood.”   In the 1890s, the new woman wanted to be what some called a “respected radical”.      And of course, we don't have to get far into The Awakening to see these political and social concerns embedded in Chopin's work.  She is a voice speaking to this socio-political moment in time, and she's commenting in a serious way on women's struggle to speak- Edna struggles to speak for herself at everyone point in the book.  Interestly enough, Edna didn't have a mother and doesn't know what to do with motherhood.  She had no personal role model.    I noticed that, and it matters psychologically when we watch Edna vacillate at the end of the book.  Chopin created a character of extreme economic privilege for her day, yet still, Edna has terrible trouble articulating even to herself what she feels or what she wants.   The reasons for this are not simply resolved.  Chopin seems to suggest to me that for sure there are political, social and cultural adjustments that must be made giving women more rights, but that's just one part of it.  Chopin illustrates this from the vantage point of a woman.  There must be a redefinition of respectable womanhood that is not so polarizing.  Here there are only two versions of respectable women-  Madame Reisz and the other Adele Ratignole.     By chapter 26 Edna clearly understands she is not one or the other, but there is an inarticulate lostness.  Where does Edna fit in?  She tells Madame Reisz that she's moving out of her home, and for a brief moment you wonder if she's got some sort of radical plan, except she doesn't and her reasons don't even make a lot of sense.  They're emotional. She's literally moving  “just two steps away in a little four-room house around the corner.  It looks so cozy, so inviting a restful, whenever I pass by, and it's for rent.  I'm tired looking after that big house.  It seemed seemed like mine, anyway- like home.  It's too much trouble.  I have to keep too many servants.  I am tired bothering with them.”  She goes on to say when Madame Reisz doesn't buy that explanation, “The house, the money, that provides for it are not mine.  Isn't that enough reason?”    Obviously those are NOT reasons enough- what does she get out of this move? When Madame Reisz asks how her husband reacted to this plan this is her response, “I have not told him.   I only thought of it this morning.”      Very impulsive.    SOO impulsive.  I'm ashamed to say, I know people that do things like this, but this is not my vision of the real pioneers of the women's movement- not today or from the turn of the century- women like Elizabeth Cady Stanton, Isadora Duncan, Clara Burton, Mary Wollstonecraft- they aren't anything like Edna Pontellier.    Well, no they are not, Edna has some deficiencies for sure, and they express themselves in various ways.  One of these is expressed through this confusion of passion with relationship like we see with Robert LeBrun.   She indulges in fantasy which is fun, of course, and the idea of Robert is a wonderful fantasy.    This is something else that frustrates me, personally, with Edna. I keep wanting to say, “snap out of it, child!”  Chopin builds this tension but she never lets Edna snap out of it.  And even though the title of this book is The Awakening, and it is true is that Edna awakens continuously throughout the book, There is another sense paradoxically where Edna is always asleep literally and figuratively.  Edna is not a villain; Edna is not a pathetic character; Edna is a realistic character who vacillates all the time between this illusion and reality.  She's continually uncovering things that haven't been real, but then constructing things that are totally fake- like her life in this pigeon house or her relationship with Robert. Unpacking Edna is seeing a real life- a struggle. Chopin's evolutionary character awakens from a very female - not a male one, not a neutered life; the complexity derives from realities that are unique to women, specifically those from the turn of the century, but the social and culture implications aside, in universal terms, what does it mean for Edna to be in love with Robert?  To love someone means something in a universal way.  People love in all cultures in all times all around the world.  For a woman to love a man as she claims to love Robert, what does she mean?  Is she saying she desires a life with him; does she want to take on any responsibility for his happiness or good?  That is what I find confusing, because Edna doesn't seem to be doing that for anyone.  In what sense is Edna “in love” or should we not take her at her word on this?        Ha!  Do we take anyone at their word when they are “in love”?  Of course, when she is asked to describe what she means, she describes the biochemical addiction we all feel when we can't get enough of another person.  That experience is overwhelming for anyone; and Chopin has gone to a lot of trouble to show us that Edna has never been “in love” before.  Edna is a woman who recently just turned on her feelings.  Turning on our feelings is important, and it is very sad that it was so long in happening for her.  Contrary to popular opinion, feelings are good.  To experience feelings is not a sign of weakness. Not taking into account her feelings is what got her into a loveless marriage to begin with.  We have to learn to incorporate our emotions if we are going to live as a whole individual- a person with no dead spots.  Edna has lived from her childhood onward with lots of dead spots.  This has handicapped her in many ways.  In this case, what does it mean for Edna in Edna's mind to love Robert LeBrun?  What does it mean if he loves her?  I'm not sure the relationship between these two is what is important for Chopin.  It appears to be the backdrop of a larger issue?  Love is not the end game for Edna; passion was the catalyst to her awakening, to be sure, but the relationship between Edna and Robert is not a Romeo and Juliet type story.  The Awakening is not a love story.    Indeed, Madame Reisz recognizes that as well.  Madame Reisz calls Edna “Ma Reine” in chapter 26.  She then asks, “Why do you love him when you ought not?”       And why does that term “ma reine” draw your attention?    Because that term means, “My queen”, and that seems to be more in line what Edna wants instead of a relationship with Robert LeBrun.  What has Edna discovered in this world.  She's discovered she doesn't want to be woman-mother.  She discovered she doesn't really want to be artist woman.  She's trying out what it's like to be a “man” in some ways.  But really what she wants is to be Woman-queen.  Which is a nice role- I'd like that to be that one as well.    Ha!  Not a Disney princess.    Heck no- I'm all for mother-queen.  But here's Edna'a problem.  She's not prepared nor does she seem creative enough to invent this role for herself in the actual real world in which she lives; she likely can't conceptualize it.  This illusion of a mother-queen will be the model from here to the end of the book.  The thing is, it's not real; Edna is creating an illusion.  In fact, this whole book is a discussion on illusion versus reality.  What did Edna awaken to, if not to the understanding that her entire life was an illusion- she was living an inauthentic life.  Except, look at what she does in response to that?  She's building more illusion- exhibit A-  this relationship with Robert- if it is anything it is an expression of illusion.      Edna doesn't need a fantasy.  She needs hope.  She needs to see her own potential- a creative vision of what she can become, something she would like to become- if not mother, if not artist, if not horse-racer, if not socialite, then what.    In chapter 27, Edna says this “Don't you know the weather prophet has told us we shall see the sun pretty soon?”  The sun is a very ancient and universal symbol.  It represents hope.  It represents creativity; it's a male archetypal symbol, btw, the sun represents energy.  If you remember, Edna can only paint in the sun, and that's exactly right.  That's all of us, we all can only create in the sun.  We can only move forward when we have hope.  The Sun gives us life and without it we live in darkness, without hope.  Edna is wrestling with finding hope, but that seems to be problematic because she can't even decide if she's a good person or a bad person.  Listen to what she says to Arobin, “I'm going to pull myself together for a while and think- try to determine what character of a woman I am; for, candidly I don't know.  By all the codes which I am acquainted with, I am a devilish wicked specimen of the sex.  But some way I can't convince myself that I am.  I must think about it.”      It is in that line that I think Chopin enraptures many female readers.  I want to read it again, “  By all the codes which I am acquainted with, I am a devilish wicked specimen of the sex.  But some way I can't convince myself that I am.  I must think about it.”      In other words, the world tells me I am a bad person because I'm not conforming properly.  I'm not doing the right things; but something inside of me defies that.  I don't feel devilish.  But I'm told I am, and there is my disconnect.    Indeed-and isn't it interesting that it is here at this point that Edna revisits something Madame Reisz has apparently told her previously but we are only getting to see in this context after this confession, “When I left her today, she put her arms around me and felt my shoulder blades, to see if my wings were strong, she said, ‘the bird that would soar above the level plain of tradition and prejudice must have strong wings.  It is a sad spectacle to see the weaklings bruised, exhausted, fluttering back to earth.”    I agree, but what kind of bird is Edna?  Madame Reisz is not using language that suggest Edna IS this kind of woman.  She's challenging her to be a certain way.  She's saying if Edna wants to have a certain outcome, she must display certain characteristics.  But, notice the next thing that happens, Edna and Arobin kiss passionately.  “It was the first kiss of her life to which her nature had really responded.  It was a flaming torch that kindled desire.”  Chopin is very delicate in how she expresses the implied sex scene.  The entire chapter is very short- very different than how Shonda Rimes does these things in Bridgerton.  Let's read it.    Chapter 28    I know this is not the majority view here, but this is not only Edna asserting independence.  This is Edna running into more illusion. From here, she immediately moves out of Leonce's house, but not without running up a crazy expensive bill with a lavish dinner party.  Arobin calls it a coup d'etat.  “It will be day after tomorrow.  Why do you call it the coup d'etat?  Oh! It will be a very fine; all my best of everything- crystal, silver, and gold. Sevres. Flowers, music and champagne to swim in.  I'll let Leonce pay the bills.  I wonder what he'll say when he sees the bills.”    This dinner party is very strange.  For a book so short, why should so many pages be devoted to a dinner party that is essentially meaningless in terms of plot development.      It is long.  One critic pointed out that it's literally, “the longest sustained episode in the novel.”     So, why?  It does not develop the plot; it does not develop any characters; nothing provocative is uttered.  What is going on?    Well!!!  Meals are never just meals- not in literature, not in the movies.  In fact, food is never just food.  It's almost always symbolic of something.  Food is so essential to life, in fact it IS life,  but meals are essential to community.  They don't just symbolize fellowship- they ARE fellowship.  This Thursday night we are going to celebrate our niece, Lauren,  graduating from Collierville High School, and how are we going to do this, we are going to eat together.  Eating together is bonding.  With that in mind, notice how many meals are consumed in this story.      So, what's with the dinner Edna holds?  Her family isn't there.  Her husband isn't there.  Adele, her closest friend, isn't even there.  Many literary critics have suggested, and I honestly think there is validity to this, that Chopin is creating a parody of Jesus' last supper.  Edna has invited a select 12 to join her on her birthday dinner.  There's irony there.  In some sense, it's not just a day where she is celebrating turning 29.  She sees herself as being reborn- her birth…day.  She is celebrating her departure, but unlike Jesus' humble meal in the upper room before his crucifixion and resurrection- Edna goes high dollar.  She sits at the end of the table presiding over her dinner guests, who all have a magnificent time, btw. She wears a cluster of diamonds she had just received that morning from her husband.   There is a specially designed cocktail her father invented for her sister's wedding that she didn't attend; there are multiple courses, everyone has a special chair.  Everything was queenly.  Let me read the description of Edna, “The golden shimmer….    Page 103    Madame Reisz on her way out at the end of the party again says this, “Bonne nuit, ma reine, soyez sage.”  Translated- Good night, my queen, be wise.”    Well, you've made your case…she is playing the part of the queen. But who are the other people in this charade?  Specifically, why is  Mrs. Highcamp there who we know she doesn't like, and why is she weaving a garland of yellow and red roses and laying it over Victor…according to Chopin transforming Victor into a vision of oriental beauty, his cheeks the color or crushed grapes and his dusty eyes glowed with a languishing fire. After that she drapes a while silk scarf on him. It's just weird…and pagan feeling…nothing like the Lord's Supper of the bible, if you were trying to make that comparison.      No, it's the very opposite. That's why critics say it's a parody of Jesus' last supper.  It's imitating but not recreating.  It feels pagan, doesn't it?   Edna is Queen but she has no stated purpose; she is not Jesus sacrificing his life for the sins of the world.  Another moment of parody is when Victor, Judas' like, quickly falls out of favor or betrays her so to speak by singing a song Edna associates with Robert.  But he is shut down.    In the chapters that follow, we see Leonce saving face by remodeling the house as a way of explaining Edna's odd behavior and moving out of the family home.  Edna feels happy about what she's done.  Of course, these are all feelings but “Every step which she took to relieving herself from obligations added to her strength and expansion as an individual.  She began to look with her own eyes; to see and to apprehend the deeper undercurrents of life.”   Again, Chopin never gets far away from the idea that Edna is trying to understand for herself what is real and she is doing this by stripping down, an image we will see all the way to the end.    And yet, the text never clarifies exactly what it is that Edna is learning about the world and herself.  She draws no conclusions, makes no provisions, takes on no responsibilities.  Reality is an immovable thing.  It is not something we simply escape- that is not possible.      Well, I'm not sure Edna knows that.  She visits her children and weeps when she ssees them. Let me quote here, “She lived with them a whole week long, giving them all of herself, and gathering, and filling. Herself with their young existence.”  She tells then about the Pigeon house and the kids get real very quickly.  They ask her where they would sleep, where papa would sleep. Edna's answer betrays her unwillingness to problem solve.  She says and I quote, “the fairies would fix it all right.”      Edna rejects reality over and over again.  She responds with fantasy at every point.  Madame Ratignolle recognizes this.  In chapter 33 she pays Edna a visit at the pigeon house.  She asks about the dinner party.  She warns her about her behavior with Arobin, but she also makes Edna promise that when the baby comes, Edna would come be a part of the delivery.  Before leaving she says this to Edna, “In some ways you seem to me like a child, Edna. You seem to act without a certain amount of reflection which is necessary in this life.”      Adele is referring to whatever is going on with Arobin, but really, the relationship with Robert is the epitome of her fantasy.  As long as Robert is flirting with no goal- like he did on Grand Isle, Edna is in love with him.  On Grand Isle they share a meal together.  They talk about spirits and pirates.  She loves that.  But here in New Orleans, Robert approaches Edna with a desire to be honest and she rejects that.  The text says that in some way “Robert seemed nearer to her off there in Mexico than when he stood in her presence, and she had touched his hand”.   After Edna's birthday we see no more communal meals, Edna eats alone- there is no more fellowship at this point really with anyone.  Edna invites Robert to eat with her at a little restaurant called “Catiche”.  Edna requests a plate and puts food in front of him, but he doesn't eat a morsel. He walks her home and comes inside.  Edna kisses him.  He confesses his love and how he is tormented because Edna is not free.  Let's read this exchange.    “Something put into my head that you cared for me; and I lost my senses.  I forgot everything but a wild dream of you some way becoming my wife.”    Your wife!    “Religion, loyalty, everything would give way if only you cared.”    Then you must have forgotten that I was Leonce Pontellier's wife.”    “Oh I was demented, dreaming of wild, impossible things, recalling men who had set their wives free, we have heard of such things.”    Yes, we have heard of such things.”    There's a little more back and forth until we get to this line of Edna's, “You have been a very very foolish boy, wasting your time dreaming of impossible things when you speak of Mr. Pontellier setting me free!  I am no longer one of Mr. Pontellier's possessions to dispose of or not.  I give myself where I choose.  If he were to say “here Robert, take her and be happy; she is yours, I should laugh at you both.”    He of course responds with, “What do you mean?”  He has no idea what Edna's talking about.      Exactly, and here is where the a plot complication makes things interesting.  Their conversation is interrupted when Madame Ratignolle's servant comes to say that Adelle is having her baby.  Edna leaves Robert.  She says this to Robert, “I love you.  Only you; no one but you.  It was you who awoke me last summer out of a life-long, stupid dream.”      Robert begs Edna, as if she really were Queen Edna.  He begs her to stay with him- to not go to Adelle.  This is kind reminiscient of the stereotypical female damsel in distress begging her hero to stay- except in revere.  She pulls away, promises to return and leaves him and  quote the text here, “longing to hold her and keep her.”      This Birth scene is symbolic in many ways.  It also is a return to the female reality.  Is there anything more real in this world than bringing life into it?  This birth scene reminds readers that this is a uniquely female story because this is one way men and women engage the world differently and there is no way around it. Motherhood and fatherhood are not the same.  Edna goes to Adelle and begins to feel uneasy. Let's read this paragraph from chapter 37.     Page 127    On the surface, it seems that Adele is hoping to inspire Edna to resume her role as a Woman-mother.  On the surface it seems that Edna is battling social conventions and her own sensuality.      Of course, the whole experience leaves her dazed.  The doctor walks her home, and I quote, “Oh well, I don't know that it matters after all.  One has to think of the children some time or other; the sooner the better.”  Let's read the rest of this dialogue between the doctor and Edna.    Page 128      Even at the end of the chapter, Edna cannot articulate her own thoughts, not even inside her own head.  Still she remembers Adele's voice whispering, “Think of the children; think of them.”  She meant to think of them; that determination had driven into her soul like a death wound- but not tonight.  Tomorrow would be time to think of everything.”    Of course, when she gets inside the pigeon house there is no Robert.  He left a note. “I love you. Good bye- because I love you.”  Edna grew faint; uttered no words and stayed up the entire night, apparently just staring at a flickering lamp.    Again, may I point out- light represents hope and hers is flickering.      Speaking just in a general sense, we are co-creators of our reality- our circumstances proscribe lots of things, but we create out of those circumstances and we know it.  And since we know this, no person can run away from his own innate moral obligation to live up to whatever potential we find inside of us.  Whatever we determine that to be.  We cannot run away from that reality.  No matter how hard we try to put it off until tomorrow, that sense of obligation to create something out of our lives is inside of us.  We can't run from it because it is not coming from outside of us.  Edna, in all of her confusion, and she, is very confused about a lot of things at various points in the book, but she never wavers about that.  She clearly says early on in the book, that she understood herself to have an obligation first and foremost to herself.  But what is that obligation- it is for her what it is for everyone.  She must meet her own potential.  We cannot fail at that.  If we feel we are failing at that, that's when despair sets in.      Edna looks at certain realities in her life and awakens to an awareness she doesn't want to face.  She sees obligations in her future- not opportunities.  She doesn't want tomorrow to come, but not going to bed does not put off the morning from arriving.      The end of the book circles back to where it starts- Grand Isle.  Except it is not the Grand Isle of the summer.  Archetypally, Spring represents new birth, summer represents youth; fall represents adulthood or maturity.  Grand Isle is still there, but the women from the summer resort are not.  It's barren. The sun and the warmth is not there either.  Edna returns to find Victor there.  She arrives to find that he's been telling Mariequita all about her birthday dinner.  He has described Edna and and I quote, “Venus rising from the foam”.  If you remember from your Roman mythology, Venus is the goddess of love and is said to have emerged full-grown from the ocean foam.  So read into that what you will.  Anyway Edna asks him to prepare a meal of fish.  She then leaves Victor for the beach for a swim.  If you recall, it was at this place where she had her first swim and experienced her first real awakening.  But now this beach is dreary and deserted.     Let's listen to the thoughts in Edna's head, “She had said it over and over to herself.  “Today it is Arobin' tomorrow it will be someone else.  It makes no difference to me.  It doesn't matter about Leonce Pontelllier- but Raoul and Etienne!”  She understood now clearly what she had meant long ago when she said to Adele Ratignolle that she would give up the unessential, but she would never sacrifice herself for her children.  Despondency had come upon her there in the wakeful night, and had never lifted. There was no one thing in the world that she desired.  There was no human being whom she wanted near her except Robert; and she even realized that the day would come when he, too, and the thought of him would melt out of her existence, leaving her alone.  The children appeared before her like antagonists who had overcome her, who had overpowered and sought to drag her into the soul's slavery for the rest of her days.  But she knew a way to elude them.  She was not thinking of these things when she walked down to the beach.”    There's a lot of nihilism in those comments.  Edna has found nothing that excites her passion.  “There was no one thing that she desired” – that's the line that stands out.  Desire is the fuel of human behavior.  It's where we see our potential.  This is a huge expression of someone who has given up all desire to have responsibility for anyone or anything- and it is unthinking here.  She is completely detached to a degree that it's actually shocking.  I see why this book unsettled so many people.  We don't want to believe people can detach like this.  We know it's dangerous.     She wades out into this ocean because the seas is seductive.  It whispers, it clamours; it murmurs.  It invites her soul to want in the abysses of solitude.  Edna looks up to see a bird with a broken wing beating the air above and falling down disabled to the water.  She then takes off all of her clothes and stands naked in the open air, at the mercy of the sun with the waves inviting her to come in, and so she does.  Let's read this final page.    Page 133      We notice right away the sea is a serpent about her ankle.  Most of us think of a serpent as a symbol for the devil, and that's true in the book of Genesis.  But that is not the only time we see a serpent in the Bible.  In the book of Exodus, the Israelites in the desert look up to a serpent on a stick for healing.  Archetypally a serpent is a symbol of rebirth.    Edna retreats into thoughts of her childhood which reminds me that Edna has no mother.  Honestly, this does not read like a suicide. I For one, think, Chopin leaves it completely open ended.  Can we be sure Edna even dies?  Chopin ends this book entirely unresolved.  It's disturbing.      It hinges on what you want to do with that ocean.  And scholars have come to zero consensus on how to understand this ending.  Oceans symbolically can be sources of self-awareness.  They can be places to find rebirth.  But, what's jarring about this ending is that there is nothing in Edna's characterization at any point in the book to suggest that Edna wants a beginning or even an ending for that matter.  Edna doesn't search for closure not one time in this story- even the bedtime story she tells her kids there's no ending.  Edna is not just rejecting society's roles for her; she seems to be rejecting herself as an individual here.  Do these final images of her childhood suggest she wants to start over or does she give up up?    When ending a good song, every musician knows you have to create closure at the end or you don't resolve the tension in the music.  Non musicians may not know that but they feel it when it happens. Try ending a song on the 5 chord.  And for a woman with such a keen sense of music, it seems Chopin purposely leaves her song unresolved.  There is no funeral; nobody on the beach; not even any thoughts of exit in Edna's mind.  There is nothing.  Instead, Edna is focused on all the repeating elements of her own life's story.  It is a totally directionless ending.    And that's what people love about it- it's messy and unresolved.  It's realistic but also kind of mythical.   I guess, if we want to we can finish the tale in our own minds.  We can either kill her off or revive her.  She either sinks into further illusion, or she awakens one final time into a creative reality.  The central motif of this book is this sleeping/waking thing that goes on the entire time.  And maybe that's where we find ourselves-- hopefully to a much lesser degree than Edna- the messiness of life sets in when we find ourselves oscillating between waking up and further deluding ourselves at some lost point in our lives.  We will make a mess of things (as Chopin says about Edna) – being a victim of forces without and forces within.  Yet what happens after we go into the ocean- or do we even dare?  I like to see this ending positively.  I like to think of Edna rising up and finding she CAN attach to other humans in a way where one does not consume the other.  She can find meaning in her children, in work, in art, in society.   She can find a way to make peace with her culture, her society, her limitations from without and within.  In my mind's eye, she arises out of the foam-like Venus to rob a term from Victor.  So, whether it's realistic or not- In my mind, Edna comes back up- A woman- Queen.  I know I'm adding extensively to the text and that is a terribly bad no no, but hopefully while she was under water listening to all those bees she came up with a good plan.      HA!  You do like to find the silver lining in every storm.  Well, thanks for spending time with us today.  We hope you enjoyed our final discussion on this very perplexing piece of literature.  Next episode, we move from Louisiana up the road to our home state of Tennessee to discuss the music and life of our own Dolly Parton, self-made woman of this generation, whose displays the very idea of local color in her music.  We would ask you to please share our podcast with a friend.  Email or text them a link.  Share a link on your social media.  That's how we grow.  Also, visit our website at www.howtolovelitpodcast.com for merchandise as well as free listening guides for teachers and students of English.      Peace out.                                     

Kate Chopin - The Awakening - Episode 3 - Edna Pontellier Battles The Forces Without Only To Meet The Forces Within!   Hi, I'm Christy Shriver and we're here to discuss books that have changed the world and have changed us.    I'm Garry Shriver and this is the How to Love Lit Podcast.  This is our third episode discussing Kate Chopin's controversial novella, The Awakening.  Week 1 we introduced Chopin, her life and the book itself.  We talked about what a stir it made during her lifetime ultimately resulting in it being forgotten and then rediscovered midway through the 20th century.  Last week, we spent all of our time on the vacation resort island of Grand Isle.  We met Mr. ad Mrs. Pontellier, as well as the two women who represent got Edna, our protagonist, two alternating lifestyles.  Edna Pontellier, we were quick to learn, is not a happily married woman.  Her husband is outwardly kind to her, but readers are told outright that love and mutual respect was never part of the arrangement between these two.  Edna is indulged by Mr. Pontellier, for sure.  He gives her anything she wants in terms of money or material, but in exchange, she is his ornament, an expensive hobby, a pet even- something to be prized- or as Ibsen would describe it- a beautiful doll for his doll house.      The story starts in the summer at the vacation resort town of Grand Isle, Louisiana.  While vacationing on the island, Edna Pontellier experiences what Chopin terms “the awakening”.  She awakens to the understanding that she is not a pet or a doll in the doll house, and just like Nora in the The Doll's House, she decides she really doesn't want to be one anymore.     No, I guess if that were the only thing to this story, we'd have to say, Sorry Kate, Ibsen beat you by about 20 years.  In Ibsen's story, Nora awakens when her husband, Torvald, turns on her over money.      That's a good point, what awakens Edna in this book is not a marital crisis over money.  It is a crisis that awakens her, and it totally informs how she views her marriage, but it is a crisis concerning her husband at all that is the catalyst.   She is awakened to her own humanity by discovering her own sensuality.  I want to highlight that this awakening isn't overtly sexually provoked.  No man comes in and seduces Edna; she does not go off with a wild vacation crew.  She is left vulnerable, if you want to think about it that way, because of loveless marriage, but she is sensually and emotionally provoked through three  very different relationships- all of which affect her physically as well as emotionally.  The first is with a Creole woman, Adele Ratigntole, one with a younger Creole man, Robert LeBrun, and the third with the provocative music of Madame Reisz.  Experiences with these three awaken something in Edna that encourages maybe even forces her to rebel- rebel against her husband, against the culture, against the person she has always been, against the roles she has played, against everything that she has ever known.      The problem is- rebellion only takes you so far.  You may know what you DON'T want, but does that help you understand what you DO?  And this is Edna's problem.  Where do we go from here?     And so, in chapter 17, we return with the Pontellier's to their home in New Orleans.  And, as we have suggested before, New Orleans is not like any other city in America, and it is in these cultural distinctives of Creole life at the turn of the century that Chopin situates our protagonist.  But before we can understand some of the universal and psychological struggles Chopin so carefully sketches for us, we need to understand a little of the culture of this time period and this unusual place.  Garry, tell us a little about this world.  What is so special about Esplanade Street?    Well, one need only Google tourism New Orleans and a description of Esplanade street will be in the first lists of articles you run into.  Let me read the opening sentence from the travel website Neworleans.com    One of the quietest, most scenic and historic streets in New Orleans, Esplanade Avenue is a hidden treasure running through the heart of the city. From its beginning at the foot of the Mississippi River levee to its terminus at the entrance of City Park, Esplanade is a slow pace thoroughfare with quiet ambiance and local charm.  According to this same website, Esplanade Street, during the days of Chopin, functioned as “millionaire row”- which, of course is why the Pontelliers live there.    It actually forms the border between the French Quarter and the less exclusive Faubourg Marigny.  At the turn of the last century it was grand and it was populated by wealthy creoles who were building enormous mansions meant to compete with the mansions of the “Americans” on St. Charles Avenue.    “The Americans”?    Yes, that was the term for the non-Creole white people.  The ones that descended from the British or came into New Orleans from other parts of the US.     Esplanade Street was life at its most grand- there is no suffering like you might find in other parts of New Orleans.  The Pontelliers were wealthy; they were glamorous; these two were living competitively.      The first paragraph of chapter 17 calls the Pontellier mansion dazzling white. And the inside is just as dazzling as the outside. Mrs. Pontellier's silver and crystal were the envy of many women of less generous husbands.  Mr. Pontellier was very proud of this and according to our sassy narrator loved to walk around his house to examine everything.  He “greatly valued his possessions.  They were his and I quote “household gods.”    The Pontelliers had been married for six years, and Edna over this time had adjusted to the culture and obligations of being a woman of the competitive high society of Creole New Orleans.  One such obligation apparently centered around the very serious etiquette of calling cards and house calls.  This is something we're familiar with, btw, since we watch Bridgerton.  It was something we saw in Emma, too.  Garry, talk to us about the very serious social business of calling cards.     Well, this is first and foremost a European custom during this time period. It started with simple cards designed to announce a person's arrival, but as in all things human, it grew and grew into something much larger and subtextual- and of course, with rules.  During the Victorian era, the designs on the cards as well as the etiquette surrounding were elaborate.  A person would leave one's calling card at a friend's house, and by friend meaning a person in your community- you may or may not actually be friends. Dropping off a card was a way to express appreciation, offer condolences or just say hello.  If someone moved into the neighborhood, you were expected to reach out with a card, and a new arrival was expected to do the same to everyone else.      The process would involve putting the card on an elaborate silver tray in the entrance hall.  A tray full of calling cards was like social media for Victorians- you were demonstrating your popularity.    For example, if we were doing this today, we would have a place in the entrance of our home, and we'd make sure the cards of the richest or most popular people we knew were on to.  We would want people who dropped off cards to be impressed by how many other callers we had AND how impressive our friends were. The entire process was dictated by complicated social rules, and as Leonce explains to Edna, to go against these rules could mean social suicide.     It could also mean financial suicide because business always has a human component.  The function of an upper class woman would be to fulfil a very specific social obligation and this involved delivering and accepting these calling cards.  Every woman would have a specific day where she would make it known she was receiving cards, and the other ladies would go around town to pay house calls.  In some cases, a woman might remain in her carriage while her groom would take the card to the door.  During the Regency era like in Jane Austen's day, there was a system of bending down the corner of the card if you were there in person, and not if you were sending it, but by Chopin's day, I'm not sure if that was still a thing.     The main thing was that the card would be dropped off on this special silver tray. If it were a first call, the caller might only leave a card.  But, if you were calling on the prescribed day, the groom would further inquire if the lady of the house were home.  A visit would consist of about twenty minutes of polite conversation.  It was important that if someone called on you, you must reciprocate and call on then on their visiting day.      Well, the Tuesday they get back, Edna leaves the house on her reception day and does not receive any callers- a social no-no.  In fact, as we go through the rest of the book, she never receives callers again. This is an affront to the entire society, and an embarrassment to her husband; it's also just bad for business, as Mr. Pontellier tries to explain to his wayward wife, let's read this exchange.    “Why, my dear, I should think you'd understand by this time that people don't do such things; we've got to observe “les convenances” if we ever expect to get on and keep up with the procession.  If you felt that you had to leave this afternoon, you should have left some suitable explanation for your absences.      One thing I find interesting.  Mr. Pontellier assumes that Mrs. Pontellier is on the same page on wanting the same things as he wants, and what he wants is to keep up with the procession.  They'd been doing this for the last six years, and doing it well.    Another thing I notice is that he doesn't rail at her for skipping out. Mr. Pontellier, unlike her father, even as we progress through the rest of the book, is not hard on her at all.  In fact, he's indulgent.  The problem in the entire book is not that he's been overtly abusive or cruel.  Read the part where he tries to kind of help her fix what he considers to be a serious social blunder.    Page 60    Well, if taken in isolation, this exchange doesn't seem offensive, and I might even have taken sides with Mr. Pontellier if it weren't back to back with this horrid scene of him complaining about his dinner then walking out to spend the rest of the evening at the club where he clearly spends the majority of his time.  You have to wonder what is going on at that club, but beyond that.  Edna is again left in sadness.  “She went and stood at an open window and looked out upon the deep tangle of tea garden below”.  (On an aside, if you've read Chopin's story, the story of an hour, you should recognize the language here and the image of this open window).  Anyway,, Here again we have another image of a caged bird, or a person who is looking out in the world but not feeling a part of it.  “She was seeing herself and finding herself in just sweet half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars.  They jeered and sounded mournful notes without promise, devoid even of home.  She turned back into the room and began to walk to and from down its whole length, without stopping, without resting.  She carried in her hands a thin handkerchief, which she tore into ribbons, rolled into a ball, and flung from her.  Once she stopped, and taking off her wedding ring, flung it upon the carpet.  When she saw it there, she stamped her heel upon it, striving to crush it.  But her small boot heel did not make an indenture, not a mark upon the little glittering circlet.  In a sweeping passion she seized a glass vase from the table and flung it upon the tiles of the hearth.  She wanted to destroy something.  The crash and the clatter were what she wanted to hear.”    She's clearly angry…and not just because Mr. Pontellier complained about the food and walked out of the house.  She's angry about everything.     Never mind the fact that we are never told what goes on at this club, but there are several indications in different parts of the book that Mr. Pontellier may be doing other things besides smoking cigars in crowded rooms.  Adele even tells Edna that she disapproves of Mr. Pontellier's club.  She goes on to say, “It's a pity Mr. Pontellier doesn't stay home more in the evenings.  I think you would be more- well, if you don't me my saying it- more united.”      Although I will add, Edna quickly replies, “'Oh dear no!' What should I do if he stayed home? We wouldn't have anything to say to each other.”  - the fact remains that MR. Pontelier does not see any need to nurture any sort of human or intimate relationship with Edna- theirs comes across as a cordial business arrangement, at best, with Edna in the position of employee.      True, and although I don't know if this is the right place to point this out, but in terms of the sexual indiscretions that may or may not be going on when Mr. Pontellier is at the club, there is likely a lot in the culture at large going on under the surface that a person from the outside wouldn't immediately be aware of.   Edna is naïve at first to all that goes on in her Victorian-Creole world.  There just is no such thing as “lofty chastity”  amongst the Creole people, or any people I might add, although Edna initially seems to believe that in spite of all the sexual innuendo in the language, nothing sexual was ever going on.  There are just too many indications otherwise in the story that that is not the case.  The reader can see it, even though Edna cannot.     True, and if you didn't catch it on Grand Isle, in the city, it is more obvious, and the farther along we go in the story, it gets more obvious as well.  Mrs. James Highcamp is one example.  She has married an “American” but uses her daughter as a pretext for cultivating relationships with younger men.  This is so well-known that Mr. Pontellier tells Edna, after seeing her calling card, that the less you have to do with Mrs. Highcamp the better.  But she's not the only example.  Victor basically details an encounter with Edna of being with a prostitute he calls “a beauty” when she comes to visit his mother..ending with the phrase that she wouldn't comprehend such things.  And of course, most obviously there is the character Arobin with whom Edna eventually does get sexually involved, but his reputation has clearly preceded him.       Well, Edna's awakening to all of this would explain part of her anger, but  there is more to Edna's awakening then just Leonce, or the new culture she's a part of, or really any outside factor.     Yes, and it is in the universality of whatever is going on inside of Edna that we find ourselves.  That's what's so great about great literature- the setting can be 120 years ago, but our humanity is still our humanity.       I agree and love that, but let's get back to her setting for a moment. I think it's worth mentioning that the 19th century culture of the Creole people in New Orleans is messy and complicated in its own unique way.  It's fascinating, but for those who are not of the privileged class, life was often a harsh reality.  The world, especially in the South, was problematic for people of mixed race heritage.  So, and this is more true the closer we get to the Civil War and the Jim Crow era, but those who called themselves “white creoles” had a problem because of the large existence of the free people of mixed race ancestry in New Orleans.  There was a strong outside pressure to maintain this illusion of racial purity, but the evidence suggests this simply wasn't reality.  Let me throw out a few numbers to tell you what I'm talking about.  From 1782-1791, the St. Louis Catholic Church in New Orleans recorded 2688 births of mixed race children.  Now that doesn't seem like a large number, but let me throw this number out- that same congregation at that time same only records 40 marriages of black or mixed race people.  Now, I know Catholics are known for having large families, but I'm not sure 20 women can account for 2688 births.      No, something feels a little wrong.  That number suggests another explanation may be in order.      Exactly, and by 1840 that number grows from 2688 to over 20,000 with mixed raced Creoles representing 18% of the total population of residents of New Orleans.  And if that doesn't convince you, here's another indicator, during this same period many many free women of color were acquiring prime real estate in New Orleans under their own names.  These women had houses built and passed estates on to their children, but notice this detail, the children of these mixed-raced women had different last names then their mothers.  We're not talking about small amounts of property here.  By 1860 $15 million dollars worth of property was in the name of children with last names that were not the same as that of their mothers, oh and by the way, a lot of that property was in the neighborhood where Edna rents her pidgeon house just around the corner from Esplanade street- in other words around the corner and walking distance from millionaire row.      Well, that's really interesting, and I guess, does add a new dimension to the subtext in the language for sure.    Well, it does, and it is likely something readers of the day would have certainly understood, more than we do 100 years later when the stakes of identifying as being of mixed raced heritage are not the difference between freedom and slavery.  But beyond just that, it's an example of cultures clashing.  Edna represents an outwardly prudish Puritan culture coming into a society that is French, Spanish and Caribbean- very different thinking.  This is a de-facto multi-cultural world; it's Catholic; it's French-speaking; it's international.  She doesn't understand what she's seeing.  And in that regard, her own situational reality is something she's realizing she is only beginning to understand, and she comes into it all very gradually. She is not, in Adele's words, “One of them.”  In fact, there may have been irony in the narrator in Grand Isle suggesting that Robert LeBrun's relationships every summer were platonic.  His relationship with the girl in Mexico we will see most certainly is not, but nor was his relationship with Mariequeita on Grand Isle, the girl they meet on the day they spent together.      Indeed.  You may be right- perhaps there is a real sense that Edna has been blind, and perhaps not just to her husband but by an entire society that presents itself one way but in reality is something entirely different altogether.  When she visits Adele and her husband at their home, everything seems perfect- of course.  Adele is the perfect woman with this perfect life.  Adele is beautiful.  Her husband adores her.  The Ratignolle's marriage is blissful, in fact to use the narrator's words, “The Ratignolles' understood each other perfectly.  If ever the fusion of two human beings into one has been accomplished on this sphere it was surely in their union.”      Do you think it's sarcasm again?  Was it truly perfect, or just presenting itself to be perfect?     It's really hard to tell.  Maybe they have worked out a great life together.  I think there is a lot in this passage to suggest they are truly happy together.  Edna even expresses that their home is much happier than hers.  She quotes that famous Chinese proverb “Better a dinner of herbs”.  The entire quote is “Better a dinner of herbs than a stalled ox where hate is.”- meaning her house has better food but she thinks of it as a hateful place- whereas this place is the opposite.   Poor thing- she sees her reality for what it is.  I still see a little sarcasm in the narrator's language, but even if Adele is every bit as perfect as she seems, and even if her home is every bit as perfect as it seems, and even if her husband is every bit as perfect as he seems, in the most real of ways, that could all be true and it wouldn't matter.  E    Precisely, The Ratignole's life can be every bit as perfect as it appears. and it wouldn't make Edna want it any more.  Edna leaves Adele's happy home, realizing that even if she could have it it's not the life she wants.  She wouldn't want that world even if Leonce loved her.  It's just not for her.  The problem is, that's as far as she's gotten with her problem solving.  All she knows is what she DOESN'T want.  Her new world is a world of negation.  She wants to quit, and so she does.  She absolutely disregards all her duties to the point that it finally angers Leonce enough to confront her.    “It seems to me the utmost folly for a woman at the head of a household, and the mother of children, to spend in an atelier days which would be better employed contriving for the comfort of her family.”    An atelier is an artist studio.  It' seems Edna has left all the responsibilities she had as a housewife as well as a mother.  And let me add, Edna was never dusting, cooking, or bathing her children.  She has several house keepers and nannies.  But now, she's not even overseeing what others are doing.  Instead, she's devoting herself entirely to painting.  And surprisingly, Leonce doesn't even have a problem with that in and of itself.  Edna tells her husband, “I feel like painting.”  To which he responds, “Then in God's name paint!  But don't let the family go to the devil.  There's Madame Ratignolle, because she keeps up her music, she doesn't let everything else go to chaos.   And she's more of a musician than you are a painter.”  Yikes, that may be honest, but it does come across as a little harsh.  I know.  I think it's kind of a funny line.  To which, Edna has an interesting comeback- it's like she knows it's not about the painting. She says, “It isn't on account of the painting that I let things go.”  He asks her then why she's let everything go, but she has no answer.  She says she just doesn't know.  Garry, do you want to take a stab at what's going on with Edna?   Well, I do want to tread carefully.  What is fascinating about this book is not so much that Chopin is arguing for any specific course of action, or warning against any specific set of behaviors.  She doesn't condemn Edna for anything, not even the affair she will have with Arobin.  Instead of judging, Chopin, to me, seems to be raising questions.  And it is the questions that she raises that are so interesting.  Edna is desperately trying to rewrite the narrative of her life.  There is no question about that.  But that is an artistic endeavor, in some ways like painting or singing.   I guess we can say Chopin is blending her metaphors here.  Edna doesn't want to be a parrot and copy, but she's living her life exactly the way she is painting- it's uncontrolled; it's undisciplined; it's impulsive.  I'd also say, it's rather unoriginal.  There is no doubt that the social roles offered to her are restrictive.  There's no doubt her marriage is a problem, but as we get farther into the story, it's hard to believe that even if all of these problems could be rectified that Edna would be able define a life for herself.  We, as humans, are always more than a reaction to the social and cultural forces in our world- I hate to get back to the word we used last week, but I can't get away from it.  Even under strict social norms, which I might add, Edna is NOT under for her time period- she is after all one of the most privileged humans on planet Earth at that particular time in human history, but even if she were under severe restrictions, she, as a human, still has agency- we all do.  Yes- and to use Chopin's words from chapter 6, Mrs Pontellier was beginning to realize her position as an individual as a human being, and to recognize her relations as an individual to the world WITHIN and about her.  I think that Edna is like the rest of us in that it's easier to understand and manage the world about us as opposed to the world within.  At least I can SEE the world about me- how can I see within?  How can I understand myself?  And so Edna goes to the world of Madame Reisz having discarded the world of Adele Ratignolle- the world of art, the world of the artist- which is where Edna goes in chapter 21.  I would argue that she sees it as the polar opposite of Adele's reality.  There is the Adele version of being a woman- a totally objectified, sexualized but mothering type of woman= versus this version of womanhood who is basically asexually.  Perhaps Madame Reisz isn't a woman at all- she's an artist.    Except that world, the world of the artist, comes with its own share of difficulties nevermind that it is simply more uncomfortable.  Reisz' house is described as “dingy”.  There's a good deal of smoke and soot.  It's a small apartment.  There's a magnificent piano, but no elegant food or servants or silver trays for calling cards.  She cooks her meals on a gasoline stove herself.  Let me quote here, “it was there also that she ate, keeping her belongings in a rare old buffet, dingy and battered from a hundred years use.”  True, but there is also  the music and when the music filled the room it floated out upon the night, over the housetops, the crescent of the river, losing itself in the silence of the air and made Edna sob. The art is otherworldly, and there is something to that.  Something attractive maybe even metaphysical.  I want to talk about Kate Chopin's choice of music.  I don't think we noted this in episode one, but Chopin was an accomplished pianist.  She played by ear and read music.  She held parties, almost identical to the ones she described Madame Ratignole throwing in the book with dancing and card playing.  Music was a very big deal to Kate Chopin, so when she includes specific music in her writing, she's not just dropping in commonly used songs, she uses artists she likes for specific reasons, and in this novel, the pianist Frederic Chopin is selected intentionally- and not because he has the same last name, although I did check that out- they are not related.  Garry, as a musician yourself, what can you tell us about Frederic Chopin, the Polish composer and pianist?  Well, let me make this comparison, Frederic Chopin's music in his day was the pelvis gyrating Elvis' Rock in Roll of his day.  It was provocative.  19th century attitudes towards this type of harmony driven romantic music would seem hysterical to us.  They were seen as sensual and a destructive force, especially for women.  This may even be Chopin's sassy narrator playing with us again- Frederic Chopin's music is definitely driving sensuality in Edna. To say Kate Chopin is using it ironically is likely taking it too far, but I don't know, maybe not.  This narrator has been ironic before. The main undeniable connection is that Madame Reisz plays Impromptus.  Impromptus are improvisational music.  Frederic Chopin wrote only four of them in his career.  The one Kate selects here is called Fantasie-Impromptu in C minor- it's the only one in a minor key that he ever wrote.  You can pull it up on Spotify and hear it for yourself.   It is full of rhythmical difficulties.  It's very difficult to play. It's quick and full of emotion.  There is banging on low notes at times, thrills and rolling notes going faster and slower at others points.  Frederic Chopin, by the way, was a very temperamental person and in some ways shares a lot of the personality quirks of Madame Reisz. But he did have an interesting philosophy about music that I really like and does connect to our book.  He is recorded to have said this, “words were born of sounds; sounds existed before words…Sounds are used to make music just as words are used to form language.  Thought is expressed through sounds.  And undefined human utterance is mere sound; the art of manipulating sounds is music.”  Interesting, music is thoughts as sounds.  I like the expression “undefined human utterance” especially in regard to Edna because she absolutely cannot get her thoughts out nor is she willing to share then with anyone.  She expresses more than once that her inner world was hers and hers alone. She can't get her thoughts out when she talks to Adele; she can't get them out when she talks to her husband, and she can't get them out even with Madame Reisz which would have been a very safe space for her to express herself.  At the end of chapter 21, she's sobbing at the music and holding in her hands a letter from Robert LeBrun crumpled and damp with tears.   It would have helped her to have found someone to talk to, maybe the Dr. Mandelet that Leonce goes to in chapter 22 for advice about how to help his wife.    What we find out from Leonce's conversation is that Edna has withdrawn from every single person in her world.  She won't even go to her sister's wedding.  What the doctor sees when he goes to dinner at their house is a very outwardly engaging woman but an inwardly withdrawn one.  The Doctor wonders if she's having an affair, but she isn't.    She is, to use the title of the book, One Solitary Soul.  As a human being, there are only so many types of relationships we find meaning in: we have our parents and birth family, we have our intimate relationship, we have our children (if we have any), we have our professional relationships, and we have our social friends- at least one of these has to be working for us.  Edna finds no satisfaction in any of them.  She doesn't have a trusting relationship anywhere.    Yes, every single relationship in her life is basically a burden.  Edna is trying to relieve herself of every single responsibility in the world hoping that getting out of relationships will help her expand her identity.  The problem is getting RID of responsibilities is not really the answer.  To find meaning in this world you must DO something worth doing.  Something that takes strength and energy.  Something you can be proud of.  Of course as a classroom teacher, that is what we do everyday.  It's not helpful to give students high grades or marks for nothing.  It weakens them.  When you give them a difficult task and then they are able to do that task, they grow, they get strong, they learn they are capable of even great responsibilities.  If you want to get strong, you have to take ON responsibilities- you have to practice strength training, Edna goes the opposite way here.      Edna does look for models, and if she wanted a career path, or a professional life like we think of in  our era, Chopin threw in a character that could have served that function.  It's what I see going on in  the chapters about the races.  Edna is actually really good at horse gambling.  She knows horses.  She knows the horse-racing business and knows it well.  The text actually says that she knows more about horse-racing than anyone in New Orleans.  In fact, it's her knowledge about horses that puts her on the radar of the man she eventually has the sexual relationship with, Alcee Arobin.    Let's read the section where we see this relationship, if we want to call it that, take shape.  Arobin had first seen her perform well at the tracks and to use the narrator's words, he admired Edna extravagantly after meeting her at the races with her father.  Mrs. Highcamp is also a completely different version of a feminine ideal, although neither Edna nor the narrator seem to think enough of to give her a first name.  This confused me some when I read this because in my mind, Mrs. James Highcamp would have been this type of a liberated woman that Chopin might want to have Edna admire.  She's clearly sexualy liberated, but beyond that she's worldly, intelligent, slim, tall.  Her daughter is educated, participates in political societies, book clubs, that sort of thing.  But nothing about Mrs. James Highcamp is alluring to Edna at all.  She suffers Mrs. James Highcamp because of her interest in Arobin.   Let's read about these encounters between Arobin and Edna.   Here's the first one  Page 86     So, Arobin becomes fascinated with Edna, in part because she is so smart and different from other women.  At the end of that evening, they dined with the Highcamps. And afterwards Arobin takes Edna home.  The text says this “She wanted something to happen- something, anything, she did not know what.  She regretted that she had not made Arobin stay a half hour to talk over the horses.  She counted the money she had won.  There was nothing else to do, so she went to bed, and tossed there for hours in a sort of monotonous agitation.  And so the relationship with Arobin is born out of boredom.    Yes, the dominant movement in Edna's life is always drifting towards boredom.  Edna wants to rewrite her social script, but she can't seem to define what she wants.  She has trouble speaking, so she has no words to write her own story.  She doesn't want to be a mother; she doesn't want to work except in sunny weather; she has an opportunity with Mrs. Highcamp to get involved with political or literary women; but that doesn't spark her interest.  She could make a name for herself at the races, but the money doesn't motivate her- she's always had it and in some ways doesn't seem to know a world without money.  So, she's going to default into this relationship with Arobin.  I'm going to suggest that she is again playing the part of the parrot.  Messing around with Arobin is just the kind of thing she sees men doing.  It's what Victor does; it may be what her husband does; it is likely what Robert is doing down in Mexico, so she's going to try to mimic male behavior since she hasn't really found a female model she's interested in emulating, and Arobin is an opportunitiy for this.    And yet, she's self-aware enough to not be seduced by Arobin.  The first time he really tries to make a move on her by kissing her hand, this is what she says which I find insightful,  “When she was alone she looked mechanically at the back of her hand which he had kissed so warmly.  Then she leaned her head down on the mantlepiece.  She felt something like a woman who in a moment of passion is betrayed into an act of infidelity, and realizes the significance of the act without being wholly awakened from its glamour.  The thought was passing vaguely through her mind, “what would he think?”  She did not mean her husband; she was thinking of Robert LeBrun.  Her husband seemed to her now like a person whom she had married without love as an excuse.  She lit a candle and went up to her room.  Alcee Arobin was absolutely nothing to her.  Yet his presence, his manners, the warmth of his glances, and above all the touch of his lips upon her hand had acted like a narcotic upon her.  She slept a languorous sleep, interwoven with vanishing dreams.”  Garry, is there a connection between Edna's boredom with her new life and her desire to pursue this relationship with Arobin.   Well, again, Dr. Kate Chopin is playing the psychologist.  Science has absolutely confirmed there is a relationship with boredom and risk-taking behaviors.  In other words, the more bored you find yourself, the more likely you are to do something risky.  It's one reason teenagers are so prone to dangerous behaviors like drugs.  They don't know yet how to cope with personal down time.  They can't manage their own boredom.  Bored people don't know what they want to do.  They also score low on scares that measure self-awareness.  Bored people can't monitor their own moods or understand what they truly want.  And here's another characteristic that should sound familiar in the life of Mrs. Edna Pontellier, notice that last line “vanishing dreams”, Edna is not dreaming.  She's not working at writing a script for her life..structuring a story for herself.  Her dreams and not building anything, they are vanishing.  That's not good.  And it's not that doesn't have illusions, she does, but a dream is not an illusion.  Dreams are what inspire us to do something different. Both a dream and an illusion are unreal, but an illusion will always be an illusion- it has no chance of becoming real; out of dreams new realities are born.  We are not seeing Edna dream.  Her dreams are vanishing.    Which brings us to the place where I want to end with this episode- chapter 26 and Edna's decision to move out of her husband's house.  I mentioned that this book is constructed with the archetypal 3 in mind at every point.  Edna has been living on Esplanade street- the wealthy gilded cage life, and she doesn't want that.  She has visited Madame Reisz's apartment, but she doesn't seem to want that- it's, and I quote, “cheerless and dingy to Edna”.  So what does she do? She moves two steps away from Esplanade Street, to a house Ellen calls, “the pigeon house.”  Pigeons are the oldest domesticated bird in the world.  They never fly far from home- homing pigeons is actually a term. She's building an illusion. Edna is going out of her husband's house to a place around the corner, but is she really building a new life of any kind?  What is this about?   Edna describes it to Madame Reisz, this way,  “I know I shall like it, like the feeling of freedom and independence.”    But is the feeling of freedom and independence the same as actually having freedom and independence?  Well, obviously not.  They are worlds apart.  But Edna lives in feelings.  She works when she feels like it.  She plays with her children when she feels like it, and now she admits to Madame Reisz that she's in love with Robert LeBrun, who by the way is coming back.  And when she finds that out she feels, and I quote “glad and happy to be alive.”  And what does she do after that, she stops at a candy store, buys a box to send to her children who are with their grandparents in the country and she writes a charming letter to her husband.  Her letter was brilliant and brimming with cheerfulness.  I'm sorry, but Edna frustrates the feminist in me.    Well, Edna is struggling for sure.  She can't connect with people.  She can't identify a dream worth pursuing.  She can't write her own story.  There is no doubt that a lot of this has to so with cultural and social forces at work in her world.   These are powerful forces.  However,  it is not the outside forces of her world that will do her in.  Edna is smart.  She's beautiful.  She's charming.  She actually has a lot going for her, especially for a woman during this time period.  If Chopin had wanted to write a story where a woman breaks free and soars, she has a protagonist who is positioned to do that very thing.    But she's in a mess.  And maybe that's why she's so relatable.  Many of us have made messes of our lives.  We have an incredible ability to screw up, but  humans are also incredibly resilient.  Look at Chopin's own life as an example.  In some ways, she's both Adele Ragntingole and Madame Reiz, at different points in her life she'd been both.  She may even have been Mrs. James Highcamp to a lesser degree. Why is Edna struggling here?  Well, humans are incredibly resilient, but you know what else we are- we are social beings.  Let's revisit that original book title, “One Solitary Soul”- it's my experience that no one gets out alone- not even the rich, the beautiful or the smart.  No one gets out alone.    Ah, Edna is strong enough to confront the forces without, but who will help her confront the forces within?  And so next episode, we will see her confront those internal forces.  There are no more female characters to meet; no more male characters either for that matter.  We will see Edna confront Edna alone, and we will see what happens.  Thank you for listening.  If you enjoy our podcast, please share it with a friend, a relative, your classmates, your students.  We only grow when you share.  Also, come visit with us via our social media how to love lit podcast- on Instagram, facebook and our website.  Feel free to ask questions, give us your thoughts, recommend books.  These are all things we love.  Thanks for being with us today.  Peace out.         

Kate Chopin - The Awakening - Episode 2 - Edna Pontellier Defies All Explanations!   HI, I'm Christy Shriver and we're here to discuss books that have changed the world and have changed us.    And I'm Garry Shriver and this is the How to Love Lit Podcast.  This is our second episode in our four part series discussing the world of Kate Chopin.  Last week we introduced our author and what is generally considered her masterpiece, the novella, The Awakening.  Today we will continue discussing this book as we meet Edna and mosey around the Creole world of Victorian Louisiana on the vacation island of Grand Isle.      This book is like Camus' The Stranger in that it is incredibly complicated but deceptively simple looking.  It has been misunderstood since the minute it was published, and it's still misunderstood.  Critics have claimed it's a champion of the women's movement; a challenge to the patriarchy, an expose on depression, a discussion of narcissism, an exploration of female sexuality- and certainly it can be looked at through each of these lens without any difficulty at all and there are things to say there.  And yet, Chopin cryptically told one critic in response to her book nothing along any ideological lines.  This is how she chose to frame her book, and I never and I quote, “dreamed of Edna making such a mess of things and working out her own damnation as she did.”    What does that even mean?     Exactly, it's a consciously and deliberately messy book.  It is NOT best read as an ideological book of any kind- no matter if your prejudices lie for or against her apparent causes.  It certainly makes it easier to read if you're looking to make it a political statement, and when I was first introduced to it, that's how I was taught to read it, but I have since decided to reject easy interpretations of great literature in general primarily because that makes something great immediately uninteresting.  And this book is definitely NOT uninteresting.    So, if we're not to read it about being about politics, the patriarchy, oppression or that sort of thing, how should we understand it?    Isn't that the million dollar question?  What is so compelling about Edna Pontellier- and she has been compelling even maddening for the last 120 years.    I don't find her necessarily a likeable person, are we supposed to?  At first I wondered if it was designed so that men are supposed to not like her or maybe not like themselves by looking at what's happened to her, but do women generally find her likeable?  I also don't see how to avoid seeing gender as an important component of this book.    Oh I agree, you can't help but see gender and you're definitely supposed to.  It's about a woman- it's about being a woman- but is there anything more complicated than a woman?    That's a loaded question!!  Do you honestly think you can bait me into answer that?   Ha!  Wise man!  In all serious, it's about being human, but from a women's perspective- and that can't be reduced to any single set of definable variables.  That's what's messy about it.  It's about a woman in the Victorian era at the turn of the century- the particulars of the challenges women faced that that particular political moment in US history- the woman question, as they referred to it in those days, but that's just our starting point- the setting, so to speak- there are more interesting parts of Edna and her awakening than just resolving the contextual economic, sexual or matrimonial roles in society.  Beyond that, let's just look at the term “the awakening”.  It's kind of  a strange  term to use in a book where the protagonist spends an unusually large amoung of her time asleep.  I'm not sure I've seen a protagonist sleep as much as Edna in any book, except maybe Sleeping Beauty or Rip Van Wrinkle.    And yet, the title begs a question.  What is an awakening, or at least what is '”The Awakening”? as Edna is to experience it.  The first part of the book which we are going to talk about today- chapters 1-16 IS her awakening.  For her, it's kind of a gradual experience that happens to her over a summer.  Chopin first defines it in chapter 6, it's described as coming into one's own humanity – to recognize one's relations as an individual to the world within and about.    You know that's a great definition of what it means to grow up really- to find one's agency in the world.      Chopin insightfully connects someone's internal awakening with their sexual awakening.  This awareness of how you are a sexual being and as such interact with other beings as sexual beings- both of the same sex as well as the opposite sex.  Chopin illustrates this many ways and, and I would go far as to say seems to use sexual agency as an expression of agency of a general kind.     Yes, and what does that mean?  How should we define agency, as in human agency?  What do you mean when you use that term?  I know I asked a question that could be a long answer, but in just a few words.        Agency, in general, refers to our capability as humans to influence our own functioning.  It is our ability to direct the course of events through our own actions.  Said another way, it's our ability to determine and make meaning through purposeful and reflective creative action.      A psychologist by the name of Albert Bandura out of Stanford university is a leading figure in this field, so if you're interested, just Google his nam and you can read as much as you want.  But basically, according to Bandura, we exercise our agency in four ways.  We are self-organizing, pro-active, self-regulating, and self-reflecting. We are not simply onlookers of our behavior. We are contributors to our life circumstances, not just products of them.  That's a quote       We like to think, and we do think the younger we are, that agency means freedom.  And in many ways it does.  But what does freedom even mean?  Does it mean I get to do whatever I want?  Well, sort of, but we're interacting in a world full of forces both from the outside but also from the inside.  Understanding that seems to be what Chopin is wanting to explore in a very feminine context- because female forces aren't always the same as male forces, by definition.     Well, I will tell you what Bandura would say.  The problem is that Most human pursuits involve other people, so there is no absolute agency. Let me use Bandura's words here.  He says, “Individuals have to accommodate their self-interests if they are to achieve unity of effort within diversity. Collective endeavors require commitment to a shared intention and coordination of interdependent plans of action to realize it- in other words you have to get along in the world you live in.  That's the rub.      Ahhh- getting along with others.  That's another important idea to think about here.  The Awakening wasn't even the original title of this book. The original title was A Solitary Soul.  That makes you think of the story in an entirely different way.  Is this a story about waking up or being alone or both?  If there's something that we can see immediately in the characterization of Edna, is that she is a solitary woman.  She is very much alone and has been all of her life not physically alone, but emotionally.      Well, for me that title tells me that this book is about attachment and intimacy, but I may be jumping the gun.  We didn't get very far into the story last episode. We basically only got through the first chapter, so let's kind of start there.  We found ourselves on a vacation resort island, the Grand Isle- which is fifty miles from New Orleans.   Emily Toth, Chopin's biographer, described it as kind of a tropical paradise of sorts.  She said that For young mothers, like Kate Chopin it was a wholesome place to spend what otherwise was a dangerous season in the South.  Unlike New Orleens the Grand Isld didn't have open canals or cisterns.  There weren't swarms of disease infested mosquitos to threaten children or adults. No one there had to lock their doors.  The island was a tropical paradise.  It had palm trees, vines, orange and lemon trees, acres of yellow chamomile.  There were no actual streets only grassygreen or sandy paths.  It was seductive to the imagination, too, with tales of shipwrecks and pirate gold from Barataria Bay, the old haunt of the pirate Jean Lafitte.    And of course that makes sense Memphis is also sweltering hot in the summer.  And for years, summer months in the South were deadly.  Mosquitos came in and with them deadly diseases.  Yellow fever especially was terrorizing, so if you could afford to get away from the city in the summer you did; and many many people did exactly what we see the Pontellier's doing here.  Edna and the kids would stay at Grand Isle, Leonce would go into the city during the week and would come out to spend the weekends with the family.    Last week, we didn't actually meet Edna; we met her husband who is annoyed by these cackling birds that are making so much noise he can't read his newspaper- a parrot and a mockingbird, and we talked about how birds are important symbols in this book.      Yes- Birds and wings.  We have a parrot, we have a mockingbird, and later we're going to have a pigeon house.  We're also going to have a woman with angel wings, and another woman who tells Edna she needs strong wings.  But before we get to the lady friends with wings, let's meet Edna Pontellier.      Soon after Mr. Pontellier leaves the house,  Mrs. Pontellier and her summer companion Robert LeBrun come strolling along.  It's not one of the world's more normal love triangles- watch how these three interact-  Let's read this interaction    Page 4    Well, there's nothing quite so startling as introducing a book's protagonist as an object on page one.  Mr. Pontellier literally looks at his wife as a piece of property according to our narrator, and he seems to care less about the man she's spending all of her time with.    Yes, but there's more to see here.  She's clearly a beautiful woman and a prize for her husband, but what does she get in exchange- rings.  And they sparkle.   She also gets days at the beach free of responsibility- in fact, we will see that Edna is the only character in this book who does no work of any kind, ever. These two have made a deal.  And what we clearly see as we watch the relationship develop is that love was never part of their original agreement, at least not the way we would like to understand love as it works in an ideal marriage.  Edna married Leonce because he loved her and flattered her, but Chopin is careful to make us very aware that she never loved Leonce in return or even deceived herself into thinking she did.  She  was “running away from prayers, from the Presbyterian service” from her father.  Although, we have to jump ahead to chapter 7 to see that.  Let's just read the love story of these two lovebirds…to borrow from Chopin's bird motif:    Her marriage to Léonce Pontellier was purely an accident, in this respect resembling many other marriages which masquerade as the decrees of Fate. It was in the midst of her secret great passion that she met him. He fell in love, as men are in the habit of doing, and pressed his suit with an earnestness and an ardor which left nothing to be desired. He pleased her; his absolute devotion flattered her. She fancied there was a sympathy of thought and taste between them, in which fancy she was mistaken. Add to this the violent opposition of her father and her sister Margaret to her marriage with a Catholic, and we need seek no further for the motives which led her to accept Monsieur Pontellier for her husband.  The acme of bliss, which would have been a marriage with the tragedian, was not for her in this world. As the devoted wife of a man who worshiped her, she felt she would take her place with a certain dignity in the world of reality, closing the portals forever behind her upon the realm of romance and dreams.  But it was not long before the tragedian had gone to join the cavalry officer and the engaged young man and a few others; and Edna found herself face to face with the realities. She grew fond of her husband, realizing with some unaccountable satisfaction that no trace of passion or excessive and fictitious warmth colored her affection, thereby threatening its dissolution.    Not the most romantic love story I've ever read.  In fact, she seems almost proud that she doesn't love Leonce, but honestly, I think we can say that story is common enough.  How many girls and guys marry whoever they're dating in their youth just because it seems like it's the time to do something like that happens to be the person they met at that time- as Chopin would call it, “an accident masquerading as a decree of Fate”?  How many others make a deal of convenience- a financial transaction or sorts.    I agree completely- my favorite Marilyn Monroe movie, is about that- Diamond are a Girl's Best Friend. Although I will say, most of the time things don't work out like they do for Mrilyn Monroe.  Chopin's portrayal is more realistic.  People marry and then sooner or later, one or both partners start doing things that resemble Chopin's descriptions of the Pontellier marriage. In Victorian days, it was women, but today, I've seen situations where either partner experiences this exact thing Edna's experiencing- sad isolation- being discarded for one thing or another.  Edna and Leonce have two small children, but here in chapter 3, Edna finds herself in isolation and crying in the middle of the night.  It's gut-wrenching.  This relationship is cruel, and not just because Leonce wakes her up in the middle of the night wanting to talk- the scene  as it unfolds is an expression of a total lack of understanding between these two.     What is most cruel here is the total lack of intimacy between these two. And money doesn't make it all better even though they seem to think it does.  Leonce gives Edna a bunch of money the next day knowing that it makes her happy.  And later on after he goes back to New Orleans, Edna receives a care package from her husband, and she even admits to her friends that she knows of no better husband than Leonce Pontellier.      Of course, this comes across very ironic to the reader because Chopin has already taken us behind the veil of what looks like a perfectly ideal marriage to see a lonely woman who cries when no one is watching.       I also found it interesting that in the second chapter of the book before we even read the sad incident of Edna crying through the night, we are told that her mother had been dead- just a very psychological detail to introduce into the text.       She's a solitary soul.  There's a couple more important details I think we need to pay attention to here early on in the text- what about this gentlemen- Robert LeBrun- Robert spends all day every day with Edna at Grande Isle, but Leonce is not jealous of him at all.  In fact, we are told Creole husbands are never jealous- that the gangrene passion is one which has become is dwarfed by disuse- although I'm not really sure I understand exactly what that expression means.     No, On the contrary, Leonce seems to like the fact that Edna has a playmate. Robert takes Edna off his hands, so to speak.   Later in chapter 5, we are told that Robert picks a different girl every summer to fawn over. Some of the girls are single, but mostly  he picks married women- unattainable ones. These women apparently enjoy the attention, and Robert isn't taken seriously as a threat. It's part of the beach culture, and not a threat in this Creole culture.     Agreed, except, as we're going to find out, Edna isn't a Creole woman and things aren't the same with her- as Adele reminds Robert in chapter 8 as she tries to talk him into leaving Edna alone.  She point blank tells him, “Edna isn't one of us”.  And she very much is NOT. Edna, the reader knows, was raised in a very frigid home- nothing like the physicality, sensuality and the openness of the Creole people.   I've got more to say about that, but before we get too far from the crying scene in chapter 3, I want draw attention to the detail where Chopin connects Edna's loneliness and tears to the sea.  As Edna sat there alone and crying in the night, Chopin points out that and I quote, “no sound abroad except the hooting of an old owl in the top of a water-oak, and the everlasting voice of the sea.”  Two ideas here worth noticing- first Chopin is going to do a lot with sounds.  Music is important, which we'll talk about extensively next episode.  But Grand Isle is noisy place- we've already had noisy birds and little, girls playing the piano, but here's the second idea- notice the emphasis and presence of the sea, it is the most important symbol of the entire book. The ocean is also an archetype.    Just in case you haven't heard us talk about archetypes before and unfamiliar what we mean by them in this literary context, archetypes are psychological.  The psychologist Carl Jung famously theorized that they are symbols wired into our brains- that's one way to look at them- he called them a universal collective consciousness.  They are universal…meaning cultures all over the world throughout time having had nothing to do with each other use the same symbols to mean the same things- although they have had no way to coordinate this.  It's an interesting  and true phenomena whether you agree with Jung's understanding of the unconsciousness or not.  Not all traditional symbols are archetypes, but many are.  The ocean is an archetype that represents death, rebirth, timelessness, eternity, the mother of all life- it has in cultures of all times all over the world.  This is not a symbol Chopin just made up.  Do we know how she's using it here, Christy, any ideas?    Well, we'll have to see how she develops it along the way.  That's the thing about symbols, they take a life of their own in the story but also inside of every different reader.  But let's just take note of what we can see: they are at the seaside, Robert and Edna have been at the sea all day, and now Edna listens to the sea- to its mournful lullaby- it's just something to pay attention to and watch.    In chapter 4, we meet our first Creole woman,  Mrs. Adele Raginolle, and my goodness she is basically described as a goddess.   Chopin says there are no words to describe her, she's that gorgeous.  She's the bygone heroine of romance.    Oh yes, I'm intimidated by just reading about her.  I also want to point out before we get too far away from our discussion of archetypes that Chopin does a lot of things in threes- an archetypal number.  There are three women- Adele, Edna and this other one we're going to meet in chapter 9, Mademoiselle Reisz.  Edna was raised in a household of 3 girls.  She had three crushes before marrying Leonce.  She has three male lovers in the later part of the book.  She has three homes to consider living in later on- it's all carefully constructed and thematic, and we'll need to look at all of them. But we'll start with the women.  First, the amazing Adele.  She reminds me of some of the Louisianan beauties that intimated me when I showed up my ninth grade year at West Monroe  Junior High School, home of the Colonels.  Adele is perfect- gracious, well-mannered.  She is Southern charm writ large. Let me quote, “there was nothing subtle or hidden about her charms; her beauty was all there, flaming and apparent: the spungold hair that comb nor confining pin could restrain; the blue eyes that were nothing but sapphires, two lips that pouted, that were so red one could only think of cherries or some other delicious or crimson fruit in looking at them.”  Does it get any more perfect than that?    HA!, well, before she even talks about her physical beauty we find out she is the ideal mother-woman, and Chopin describes what that is.  A  mother-woman is one who is “fluttering about with extended, protecting wings when any harm, real or imaginary, threatened their precious brood.”  A woman who and again I quote, “idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels.”  Christy,  of course we're supposed to notice the wings, but I can't help but detect a slight bit of sarcasm on the part of the narrator.  Is she mocking “mother-women”? That whole description of Adele and the mother-women sound over the top.    Great point and good question- and truly hits on another of the several brilliant strokes of this novel. We talked about this when discussing Jane Austen, but Chopin uses the same narrative style Jane Austen used- this thing we call free indirect discourse. And- for me this is important in understanding the novel as a whole.   What Chopin does is manipulates our perspective of events by mixing the perspective of a neutral narrator  and merging that perspective with perspectives of the characters, mostly Edna's but not always.  When we have this objective narrator we see sarcasm and strong opinion, like when we saw that Mr. Pontellier looked at Edna on page two as a valuable piece of property.  That's the narrator's perspective, but then sometimes we have with this also an ability to merge into the point of view of one of the characters and see how they see things- like when Edna describes not really being in love with Leonce when they got married or fighting with her younger sister or even crying alone.   Sometimes we even see things from the point of view of another character, and a lot of times this objective narrator is very ironic about this- like here, but we saw it before when Leonce came in from the club at 11pm after Edna was asleep.  Listen to how Chopin phrases this, “He thought it very discouraging that his wife, who was the sole object of his existence, evinced so little interest in the things which concerned him and valued so little his conversation.  Isn't that ironic and kind of funny.  It seems unreasonable for him to think of her as the object of his existence. But the way she writes it makes us understand that Robert really and truly believes Edna is the center of his universe.  We just don't buy it.  Here again, we truly believe that everyone thinks Adele is the ideal woman, we're just not so sure we should buy it.  It doesn't really seem a holy privilege to us to be efface oneself as an individual and grow wings as a ministering angel.  In fact, it sounds terrible.  Never mind the fact, that right after that glowing recommendation of Adele's perfection, we are let on to the fact that she fakes being sick all the time.  Why do that?  That's manipulative- that's not a perfect angel at all.    Well, being around Adele, being around all the sensuous women and you haven't mentioned the dirty book these ladies passed around, that embarrasses Edna- but all of this changes Edna.  She's not use to the carefree openness of the Croele culture towards sensuality.  She doesn't understand it.  And to add onto that, being around the ocean, being around this adoring younger man, Robert, being around the physicality of the females towards each other affects her- it's the sensuality that awakens something in her, if you will.  She had felt it slightly before, but shut it down and almost prided herself in shutting it down by marrying Leonce.       And, in some ways, it comes in slowly and takes her by surprise.  By chapter six Edna is starting to dream, to feel emotional- something beyond just whatever is going on between her and Mr. Pontellier.  In short, “Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relationships as an individual to the world within and about her.  Ths may seem like a ponderous weight of wisdom to descend upon the soul of a young woman of 28- perhaps more wisdom than the Holy Ghost is usually pleased to vouchsafe to any woman.  But the beginning of things, of a world especially, is necessarily vague, tangled, chaotic, and exceedingly disturbing.  How few of us ever emerge from such beginnings!  How many souls perish in its tumult!  The voice of the sea is seductive, never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abyss of solitude, to lose itself in mazes of inward contemplation.  The voice of the sea speaks to the soul.  The touch of the sea is sensuous, enfolding the body in its soft, close embrace.”    Dang, that's definitely an outside narrator.  It feels a little like foreshadowing.       The language is metaphorical- the ocean is personified- it's alive.      There are two things that really stand out to me psychologically, the first is the admission that chaos is the beginning of things.  Which of course is true.  Organizing chaos is what starting anything is about.  But that is problematic.  Chaos requires a lot of effort and responsibility to untangle.  Is Edna ready to begin something like that?  Is that what she wants? Because we aren't given any hints that Edna looks towards anything.  The text goes to a lot of trouble to suggest that she's whimsical, thoughtless, impulsive, almost childish even.  What comes after an awakening is naturally more responsibility- the exercise of agency as Bandura would describe it.  We haven't seen much of a responsible side in Edna. The second is how dangerous the ocean is expressed to be- which of course is something everyone knows who's ever gotten into the ocean.  The ocean is certainly seductive; it's beautiful but incredibly dangerous?  And thus the second question?  Is Chopin suggesting that Edna is walking into something that is deceptively beautiful- something that looks enticing but is actually terrible- something that promises to be an awakening but actually something that would silence her forever.  Just asking for a friend, as they say?  As a man, I wouldn't want to presume to unsettle any woman's spiritual awakening.      HA!  No, I would say you would not- that would be wading in dangerous waters- parumpum.  And of course, you are right on all accounts.  Edna doesn't look forward, but she does look back and in chapter 7 as she and Adele stroll on the beach, Chopin takes us back into Edna's past.  Edna reflects on the three men she had crushes on, how being infatuated made her feel.  This is the chapter where Edna reflects on not loving Leonce but enjoying his flattery.    She also awakens in chapter 7 to the idea that she has mixed feelings about her own children.  She doesn't think she loves her kids the way Adele loves hers.  And I quote, “She was fond of her children in an uneven, impulsive way.  She would sometimes gather them passionately to her heart; she would sometimes forget them…their absence was a sort of relief, though she did not admit this, even to herself.  It seemed to free her of a responsibility which she had blindly assumed and for which Fate had not fitted her. Garry, what do you think about that?    Well, it's hard not to diagnose Edna, even though it's not prudent to diagnose fictional characters. Obviously Kate Chopin is an incredibly observant student of human behavior.  She has seen this in real life.  Her interest in Edna is microscopic in some of the details.  What we know now from neuroscientists as well as psychologists who study attachment theory is that some women because they weren't nurtured as babies or children DO have trouble attaching to their own children.  Obviously that was not Kate Chopin's experience, but she clearly saw it somewhere.  She goes to great lengths to talk about how isolated Edna was as a child, how her mother was dead and her older sister was distant.  When we meet Edna's father later on in the book, the reader can see for themselves that he's mean.  It seems clear, that Edna either feels guilty or at least feels like she at least should feel guilty that she doesn't seem to feel the way Adele feels towards either her husband or her children.  There's a very telling passage at the end of chapter 16 where she tells Adele that she would never sacrifice herself for her children or for anyone.  That had actually started an argument with Adele.  Edna says this, “I would give up the unessential; I would give up my money, I would give up my life for my children; but I wouldn't give myself.  I can't make it more clear; it's only something which I am beginning to comprehend which is revealing itself to me.”    I would also add, that that might be a dangerous thing to say in a Victorian world.  A Victorian woman would never admit to having such a feeling.  That wouldn't be well-received.    Yes, I've read that passage too.  In fact, it's quoted a lot as a passage for female empowerment.  A woman saying she won't give up her essence as an individual- to be subsumed into anyone else- be it a child or a man or anything.    Yes, and maybe that's what it means, but it may not mean that.  It may mean that she just can't.  She literally can't.  Lots of men and women both give up their lives for their families, their friends, even their country- and giving up their lives doesn't mean giving up their identities. It means they love greatly.  I'm wondering if Chopin is suggesting Edna is realizing she is incapable of loving anyone outside herself, at least not loving greatly.  It's not entirely clear to me which direction she intends to direct this character.      So, if Adele is the first model of woman for Edna, the second model is Madame Reisz.  Adele and Madame Reisz are foils.  Total contrasts.  Chapter 9 introduces Reisz at an evening party there at Grand Isle.  I should mention that the treatment of time in this novel is completely non-traditional.  There are large gaps of time between events, so you just have to keep up.  Anyway, a few weeks have passed between chapter 8 and chapter 9.  In chapter 8 is where Adele tells Robert to stop flirting with Edna because, to use Adele's words “she is not like us” and she might take him seriously.      Of course, Robert ignores Adele's warning and spends all of his time with Edna.  He seems to have decide he's good with that.     Yeah, he's good with that until he isn't…but that's not the point I want to make here- In chapter 9, we meet another version of a feminine ideal in the person of Madame Reisz  The summer residents of the Grand Isle are having a party at the big house.  Everyone's dancing.  Adele is on the piano since she's too pregnant to dance herself, and everyone is having the best time. It's pointed out that Adele plays the piano, not because she cares about the piano but because music makes her kids and husband happy.  Music brightens their home.  It's a means to an end, but not the end itself.   She is passionate about her family- that's the goal.      She is the mother-woman, after all.      Exactly- but not so with Mademoiselle Reisz.  Mademoiselle Reisz we will see is the artist-woman.  Mademoiselle Reisz' relationship with music is much deeper.  Music is the end for her.  It's her passion. and her music doesn't make people happy it moves them to another place entirely.      Before we talk about how Madame Reisz' music affects everyone including Edna, let's see how Chopin describes Madame Reisz- and contrast that with how she compared Adele. if you remember Adelle is the most beautiful creature to alight on planert earth.  But here's Madame Reisz.    She was a disagreeable little woman, no longer young, who had quarreled with almost everyone, owing to a temper which was self-assertive and a disposition to trample upon the rights of others….she was a homely woman, with a weazened face and body and eyes that glowed.  She had absolutely no taste in dress, and wore a batch of rusty black lace with a bunch of artificial violents pinned to th side of her hair.”    Well, that's not exactly flattering.    No, I'd say it isn't.  She is not a mother-woman either.  She's single and strong in a different way, not that Adele isn't strong because I think she is.   It's just a different feminine ideal. When Madame Reisz plays the piano it sends a tremor down Edna's spinal cord, literally.  Let me read the text here, “the very passions themselves were aroused within her soul, swaying it, lashing it, as the waves daily beat upon her splendid body.  She trembled, she was choking and tears blinded her.”      Edna is crying again, but this time it's very different.      True, and it is this night that Edna finally learns to swim.  Robert talks the entire party out into the white moonlight for a late night swim.  The sea is quiet, and Edna for the first time, boldly and with overconfidence goes into the water all by herself.   She has been trying all summer to learn to swim and has failed, but tonight it's different.  A feeling of exultation overtakes her.  She grows and I quote, “daring and reckless, overestimating her strength, she wanted to swim far out, where no woman had swum before.”  She's intoxicated by her power to swim alone.  The text says, ‘she seemed to be reaching out for the unlimited in which to lose herself.”  She tells Robert how swimming made her feel as he walks her back to her cottage.  She said this, “A thousand emotions have swept through me tonight.  I don't comprehend half of them…she goes on to say.  It is like a night in a dream.”      She stays on the porch that night instead of going in to bed like she usually does.  Mr. Pontellier comes home sometime past 1am (although I'm not quite sure where he went after the beach party), and she's still on the porch wide awake.  He tells her to come in with him.  The text says that she normally would have “yielded to his desire”- however you want to understand that- but this night for the first time in her life, she tells him no.  She feels strong- maybe even masculine.  He's kind of shocked and stays on the porch with her the entire night.  The text says this, “Edna began to feel like one who awakens gradually out of a dream, a delicious, grotesque, impossible dream, to feel again the realities pressing into her soul.”    That sounds like she has had her awakening.      Well, it does, but then what does that awakening impel her to do?  The very first paragraph of chapter 12 says this, She was blindly following whatever impulse moved her, as if she had placed herself in alien hands for direction, and freed her soul of responsibility.”  That does NOT sound like empowerment or Dr. Bandura's description of human agency.  It sounds like the opposite of empowerment.    Impulsivity and irresponsibility are not noble character traits that lead to success.    No, and if Edna is the parrot from the first chapter of the book, it seems to me, she might be parroting the behavior of her husband as her first acts of independence.  She tries to outwait him at night, then, the next morning, she gets up early and leaves him, just has he has done to her every single day.  She calls Robert and is gone, and she stays gone until 9pm at night leaving Adele to put her kids down.   It seems to me Edna and Leonce have more in common than we might have thought from the first two chapters of the book.      Yeah, the text literally says, “She was blindly following whatever impulse moved her, as if she had placed herself in alien hands for direction, and freed her soul of responsibility.”  Robert even mentions to Edna that he had often noticed that she lacked forethought.    There's that word again- responsibility.  And hence the great paradox Edna does not understand responsibility and freedom go hand in hand.  If you don't have responsibility, you really can't have freedom.  Edna tries to have one at the expense of the other.      She also starts things and doesn't see them through.  Even on this little adventure outing, she starts the mass, but walks out.  She literally goes into the house of a woman she doesn't know, imposes herself by laying on her bed and sleeps the entire day away.  She is able to exercise freedom, but often only because other people are willing to take responsibility for her.      The first part of the book ends with chapter 16.  Robert has announced that he is leaving Grand Isle and going to Mexico.      We are left to infer, that after a day with Edna and the realization he might have real feelings for her, he doesn't want the entanglement taking responsibility for that will bring.  Edna, on the other hand, doesn't seem to get it.  She is distraught.  She doesn't know how will she spend the rest of her summer without Robert.  Her husband literally asks her, “How do you get on without him, Edna?”  Which I think is a question I would never ask you about another man, but again I'm not a Victorian Creole.    Ha, no, that's true, but these two don't think a thing about it.  Let me read this part, “It did not strike her as in the least grotesque that she should be making or Robert the object of conversation and leading her husband to speak of him.  The sentiment which she entertained for Robert in no way resembled that which she felt for her husband, or had ever felt, or ever expected to feel.  She had all her life been accustomed to harbor thoughts and emotions which never voiced themselves.  They had never taken the form of struggles.  They belonged to her and were her own, and she entertained the conviction that she had a right to them and they concerned no one but herself.”- again that outside narrator commenting somewhat ironically on the state of affairs.      Well, our solitary soul has not found wings, but she has found her sea legs and is exercising them.  I don't find her behavior necessarily admirable at this point, but, but as we said in the beginning of the podcast- beginings are always chaotic.  That's the normal state of affairs.  The question will be, is Edna capable of creating a story for herself?  She has decided she hasn't been the protagonist of her own life, she's been a parrot, or an object of Leonce's.  She's awakened to that in some way, she has begun.  She has two models of womanhood before her- the mother-woman of Adele and the artist-woman of Madame Reisz.   Next episode we will see the middle part of her story, what will Edna do when she goes back home?  What will she do when she's away from the sea, the dreamy unreality of vacation life.  Will she take on new responsibilities with her awakening?      Will Leonce?    Indeed, things aren't always the same when we get back home after vacation.  So, thanks for listening………..    peace OUT.                              

Desde Los Angeles, Ophelia nos regala un set en el que mezcla tracks de Trentemoller, Tom Demac, Arnaud Rebotini, Pan Pot, Leonce o Patrick Topping. @ophe1ia + Info: https://microondas.org/microondas-radio-175-ophelia-mix Smashing Pumpkins - Perfect (Perfecto Mix) Imre Kiss - Hysteric (3 AM Mix) Five Suns - Ascend Trentemoler - November Katapult Duo - Voluge Reinier Zonneveld & Cari Golden - Bending the End (Original Mix) Adam Beyer - Teach Me (Amelie Lens Acid Mix) Tom Demac - Seventh Sign Arnaud Rebotini & Christian Zanési - Acidmonium Kluentah - So High Alignment - Nothingness (Original Mix) Pan Pot - Luio Jon Hester - Artifical Intelligence Sara Landry - Queen of the Banshees Leonce - Arp Jam 916 Patrick Topping - Lift Off (Reub-ke Remix) Hidden Culture - Collider (Original Mix)

Tavaly júliusban rekordszámú bemutatót jelentett be a közönségnek 2021/22-es évadjával a Szegedi Nemzeti Színház. A teátrum első premierje a Leonce és Léna volt január 14-én, méghozzá a főigazgató, Barnák László rendezésében, amit a kortárs magyar költészet és könnyűzene két meghatározó alakja, Závada Péter és Subicz Gábor hangolt újra. A színház élete azonban, mint természetesen minden más területé, az utóbbi két évben rendkívül nehéz volt a koronavírus-járvány miatt, aminek túlélésére különböző megoldásokkal és rögtönzött ötletekkel tettek kísérletet – sikerrel. Czene Zoltán, a Szegedi Nemzeti Színház rendezőasszisztense hosszú évek óta része a színház életének, aki tulajdonképpen a színház teljes működésére rálát. Elmondása szerint a két évvel ezelőtti lezárások híre éppen egy főpróba közepén érte a társulatot, aminek hallatán „gyakorlatilag egymás vállára borulva, szó szerint sírtunk a hírtől.” A kezdeti kivárások után persze nem tudtak ők sem nyugodni, így próbálkoztak korábban felvett előadások interneten történő újravetítésével, de volt olyan, hogy hangjátékokat rendeztek olyan előadásokból, amelyek monodrámák vagy kétszereplős darabok. „A színház azonban egy élő dolog, amit lehet nézni online és hallgatni is lehet, de soha nem lesz ugyanolyan, mint a nézőtérről vagy a színpadról.” A színház helyzete pedig most sem könnyű, hiszen az év első hónapjában eddig összesen 11 előadás hiúsult meg betegség miatt, többek között a Szegedi Kortárs Balett táncjátékai, a Szegedi Nemzeti Színház társulatának előadásában látható 1984, a 39 lépcsőfok, a Bohémélet, illetve az Időfutár is. Ennek dacára Czene Zoltán úgy látja, hogy a közönség nagyon erős és kitart a színház mellett, olyannyira, hogy a bérletes látogatók közül sokan generációról generációra adják a bérleteiket, és mindig látja egy-egy széken a különböző családokat.  „Az elmúlt időszak legnagyobb pozitívuma, hogy nem pártoltak el tőlünk a nézők” – fogalmazott, s ahogy az interjú során elmondta, több előadásra tulajdonképpen lehetetlen bejutni, így például a jelenlegi két „zászlóshajóra”, amely a Padlás, illetve az 1984. Czene egyébként az 1984 rendezőasszisztense is, amely előadás azért különleges, mert Orwell örökösei Magyarországon első alkalommal a Szegedi Nemzeti Színháznak engedélyezték Horgas Ádám adaptációjának színpadra állítását. Arról, hogy milyen szempontok alapján állt össze az új évad programja, milyen a színházi lét, hogyan zajlanak az előkészületek egy új darabnál, hogyan lehet színre vinni egy social sci-fi-t, arról hosszabban beszélgettünk a Helyzetben a Szegedi Nemzeti Színház rendezőasszisztensével, méghozzá a napfény városának teátrumában. NYITÓKÉP: Ágoston Dániel / Azonnali

Schwarze Komödie: Am Vorarlberger Landestheater feiert kommenden Mittwoch Georg Büchners einziges Lustspiel "Leonce und Lena" Premiere. (OTs: Milena Fischer, Regisseurin; Lisa Maria Huber, Schauspielerin; Nico Raschner, Schauspieler; Red: Annette Raschner) // Ein wahrer Energiekick war das lange ersehnte Konzert der Brassband Vorarlberg in der Kulturbühne Ambach in Götzis. (OT's: Jan Ströhle, Gründer Brassband; Benjamin Markl, Dirigent; Red.: Jasmine Ölz) // Ein Material, das tief berührt. Die Architektin Anna Heringer hat in Bangladesh die Vorzüge des Materials Lehm kennengelernt. Ihre Erkenntnisse hat sie in einem Vortrag im KUB präsentiert. (OT Anna Heringer, Architektin; Red.: Carina Jielg) // Moderation: Ines Hergovits-Gasser

Unser Dramaturg Michael Küster gibt einen Einblick in das Ballett «Leonce und Lena».

Le sujet : À l'origine de la presse il y avait… le papier ! À l'heure où le digital est quasiment devenu la norme pour s'informer, on vous propose de rendre hommage au papier et à celleux qui produisent ces magazines : les imprimeur·euses.L'invité : Petit-fils d'une famille d'imprimeurs, Léonce-Antoine Deprez est aujourd'hui le PDG de l'Imprimerie Léonce Deprez et le cofondateur du média B2B Silex-ID. Lorsqu'il a repris l'imprimerie en succédant à son grand-père, puis à son père, elle commençait déjà à faire faillite. Alors aux grands maux, les grands remèdes : Léonce-Antoine a mis en place un plan de relance et a rebaptisé l'imprimerie pour prendre un nouveau départ. ILD a vu le jour.ILD : Imprimerie du Pas-de-Calais fondée en 1922 par Léonce Deprez, ILD imprimait à l'origine les hebdomadaires de la région. En 2021, ILD imprime désormais les magazines de la presse nationale comme Society ou encore Sogood, pour ne citer qu'eux. Au micro de François Defossez, cofondateur de l'agence CosaVostra, il raconte comment il a fait face à la faillite vécue : # Quand l'imprimerie a commencé à faire faillite, Léonce-Antoine Deprez a dû ne garder que ses produits les plus rentables et a donc été obligé de licencier de nombreuses personnes pour mettre en place un redressement judiciaire. # En prime, avec le confinement, ses ventes ont baissé de 70%. # Heureusement, le contexte économique lui a permis de racheter sa propre entreprise et d'insuffler un nouveau départ à ILD. # Depuis, il essaie d'apporter une dimension durable à son imprimerie en changeant l'encre qu'il utilise, choisissant d'autres types de papiers et en regroupant toute la production au même endroit pour limiter les coûts. # L'imprimerie est d'ailleurs l'un des métiers les plus éco-circulaires puisque tout y est réutilisé. # Désormais, la presse papier n'est plus un média de masse. Léonce-Antoine a donc arrêté de produire des gros volumes d'impression. Au maximum, il imprime 30 000 exemplaires d'un même magazine. # Par contre, la presse papier n'est pas morte ! Elle est de plus en plus prisée par celleux qui souhaitent se déconnecter des écrans et permet de mieux retenir les informations qui y sont inscrites. # Son nouveau défi ? Améliorer les services de transport et de logistique en les réalisant lui-même.Merci à Cédric Naux, avec qui nous avions enregistré l'épisode 35 de Mediarama, de m'avoir soufflé l'idée de cet épisode.Et un petit clin d'œil à Hervé Lenglart, le directeur de NetMedia Group avec qui ILD travaille depuis des années.Pour découvrir tout ça, c'est par ici si vous préférez Apple Podcast, par là si vous préférez Deezer, ici si vous préférez Google Podcast, ou encore là si vous préférez Spotify.Et n'oubliez pas de laisser 5 étoiles et un commentaire sympa sur Apple Podcast si l'épisode vous a plu.

How communicating and relationship building with investors can make you a successful syndicator with Jeff Anzalone and Kevin Leonce.  Follow us on Instagram, Facebook, and TwitterFor more educational content, visit our website at www.diaryofanapartmentinvestor.comInterested in investing with Four Oaks Capital?  First step is to schedule a call with us. ----Jeff AnzaloneDr. Jeff Anzalone is a full-time practicing periodontist in the great state of Louisiana, author and founder of DebtFreeDr.com. His focus is on helping doctors and other high-income professionals create passive income from real estate so that they can STOP trading their time for money.Check out his website! http://www.Debtfreedr.com ----Kevin LeonceKevin Leonce is a Chartered Accountant with over 20 years combined experience in the corporate world and private practice. But during his time in the corporate environment there was always a sense that something was missing, that there was more and during his search is when he found and became fascinated with real estate. Kevin was born and lives in Trinidad & Tobago. He invest in US real estate from his home country and is now looking into the commercial multifamily investing space.Connect with him on LinkedIn https://www.linkedin.com/in/kevinleonce/----Your host, Brian Briscoe, is a co-founder and principal in the real estate investing firm Four Oaks Capital.  He and his team currently have 485 units worth $21 million in assets under management and are continuing to grow.  He will retire as a Lieutenant Colonel in the United States Marine Corps in 2021. Learn more about him and the Four Oaks team at www.fouroakscapital.com  or contact him at brianbriscoe@fouroakscapital.com - be sure to let him know where you found him.vvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvv> Check out our multifamily investing community!> The Tribe of Titans> Get exclusive access to the Four Oaks Team!> Find it at https://www.thetribeoftitans.info^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Boiler Room has teamed up with HBO Max Legendary to celebrate the grand finale of ‘Legendary' Season 2 with an exciting virtual show with some of the hottest and most exciting DJ's from the scene including Jersey club queen Uniiqu3, Atlanta ballroom royalty Leonce, vogue-house fixtures MikeQ & Capital K'aos b2b Sky LaBeija and iconic dancers Arturo Miyake-Mugler, Omari Orrici, Milan Garcon & Zay Lanvin serving us the floor darling. With Gregg Evisu XL hosting all night.

This week we are talking about careers specifically how can we ensure we are in careers that's align with our values, how we can take action to have the career success we want. On this weeks episode I am joined by Pamela Leonce who is the founder of a Careers coaching and business development company Stowhill Consultancy. Pamela shares her Journey of Personal Career success, she currently sits on a number of Boards. She also shares her top tips for leaning into your career, and how she now helps other women on their career journeys through her business @stowhillconsultancy. She provided so many useful tips during this episode it is a must listen whatever stage of career you are currently in.

Intense rivalries are the backbone of professional wrestling. In this episode we review the year long rivalry featuring "The Ace of Hearts" Leonce Love and "The Black Knight" Perciville. Y'all, this one is real personal.

With 'Soca Entaglements' gaining alot of attention we are getting to know more about NY based Soca Artist Leonce We will be getting into her journey so far and her new music video which is droped last week.     Join the conversation on Twitter #DSAPodcast 

FMCG Executive Thomas Leonce has an eye for seeing way beyond the dilapidated nature and complexities of a Fixer Upper. Learn his secrets on how to turn the neighborhood eye sore into a cash-flowing, profitable, real estate diamond!

Written by George Buchner. Directed and sound designed by Graydon Gund, music by Anna Stefanic, sound editing by Dee White, produced by Freda Mattea and Graydon Gund. Starring in order of appearance Montgomery Mauro as Leonce, Enrique Huili as tutor and first servant, William Burns as Valerio, Scott Corey as King Peter, Fady Kerko as second servant and curate, Kevin Sebastian as the president, prefect, and master of ceremonies, Anna Stefanic as Rosetta and the school master, Margie Zarcone as Lena, and Alexandra Kopko as the governess.

SOCA THERAPY - JANUARY 17, 2021: Your weekly dose of Soca Therapy is here with some WORLD PREMIERES such as the Sunkissed Shores Riddim from DJ Private Ryan as well as Soca Entanglement from Leonce. We give you some sunshine in between the wine with Jus Smile Nuh by Study With Joanne plus the Top 8 @ 8 with a new number 1 track!Follow Dr. Jay @socaprince“Like” Dr. Jay on http://facebook.com/DrJayOnlinesocaprince / socatherapy on Instagram

Written by George Buchner. Directed and sound designed by Graydon Gund, music by Anna Stefanic, sound editing by Dee White, produced by Freda Mattea and Graydon Gund. Starring in order of appearance Montgomery Mauro as Leonce, Enrique Huili as tutor and first servant, William Burns as Valerio, Scott Corey as King Peter, Fady Kerko as second servant and curate, Kevin Sebastian as the president, prefect, and master of ceremonies, Anna Stefanic as Rosetta and the school master, Margie Zarcone as Lena, and Alexandra Kopko as the governess.

Pour la 21ème édition de votre podcast en français sur la justice fiscale et sociale en Afrique et dans le monde proposée par Tax Justice Network, nous revenons sur la récente sortie de l'ICRICT (la Commission Indépendante pour la Réforme de la fiscalité internationale des entreprises), qui souhaite voir l'Organisation pour la Coopération et le Développement Economique (OCDE), accélérer les réformes qu’elle a entreprises pour la réforme de la fiscalité internationale des grands groupes mondiaux. Nous revenons aussi sur la critique par un réseau d’ONG internationale, notamment Eurodad, qui estime insuffisante, l’Initiative actuelle de suspension du remboursement des dettes par les pays pauvres.   Sont intervenant dans cette édition : Leonce Ndikumana : Professeur émérite et membre de l’ICRICT Fanny Gallois : Coordinatrice de la plateforme Dette et Développement

Yirgalem Fisseha Mebrahtu (Eritrea), Jiyar Jahan Fard (Iran) und Aleksei Bobrovnikov (Ukraine) lesen aus ihren Werken Seit mehr als 20 Jahren setzt sich das deutsche PEN-Zentrum mit seinen beiden Programmen „Writers-in-Prison“ und „Writers-in-Exile“ dafür ein, in ihren Heimatländern verfolgten Autor*innen zu helfen und sie mittels dreijähriger Stipendien zu unterstützen. Die derzeit in München lebenden Stipendiat*innen lesen Texte, die ihr „neues Leben“ reflektieren. Einführung, Moderation und Lesung der Übersetzung: Vera Botterbusch (Präsidium des deutschen PEN-Zentrums) Vera Botterbusch, geboren am 10. Februar 1942 in Dortmund. April 1942 Umzug nach Bielitz/Bielsko (Oberschlesien), Januar 1945 Flucht. Studium der Romanistik, Germanistik und Kunst in Bonn, Münster und Grenoble. 1. + 2. Staatsexamen. Regiestudium bei August Everding in München. Studententheater in Bonn, Grenoble und Münster mit Jean Genet (“Die Zofen”), Eugène Ionesco (“La Leçon” – Die Nachhilfestunde), Georg Büchner (“Leonce und Lena”), Jean Paul Sartre “Huit Clos”. Diverse publizistische Tätigkeiten: Kunst, Literatur, Theater u.a. für epd, Radio Bremen, Deutsche Volkszeitung, Kürbiskern, taz …. Ab 1971 regelmäßige Mitarbeit bei der Süddeutschen Zeitung und ständige Mitarbeit als Autorin, Regisseurin und Filmemacherin beim Bayerischen Rundfunk/ Fernsehen. Fotografien für Süddeutsche Zeitung Photo. Ab 1979 regelmäßige längere Arbeitsaufenthalte in Griechenland. Ab 2010 Foto-Ausstellungen u.a. in Jena, München, Passau, Paris, Regensburg, Straubing, Waldkirchen, Weilheim 2016 Künstlerresidenz in Paris. Reisen in fast alle europäischen Länder, in die Türkei/ Irak/ Iran, Russland, La Réunion, Frz. Polynesien (Tahiti, Tuamotu-Archipel, Marquesas, Mangareva), Pitcairn), Osterinsel, Santiago de Chile, Nigeria. Lebt seit 1968 in München und seit 1992 auch im bayerischen Böhmerwald, in der “Neuen Welt”. Mitglied im Bundesverband bildender Künstler (BBK), im Verband deutscher SchriftstellerInnen (VS), ver.di-Medien und im PEN.

TORCH Goes Digital! presents a series of weekly live events Big Tent - Live Events! Translation Week Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. This event presents a conversation between academic, translator and writer Karen Leeder and poet, performer and novelist Ulrike Almut Sandig who have been collaborating for the last eight years. Karen and Ulrike were due to appear together with Sandig’s poetry band LANDSCHAFT (with Grigory Semenchuk) at the Big Tent! in May 2020. Ulrike Sandig is that rare thing: a writer who is as much at home on the stage as the page. She began as a guerrilla poet, pasting poems to lampposts, and today often collaborates with sound artists, musicians and filmmakers to take her poetry to the audiences that poetry doesn’t usually reach. Translation is a vital part of all this, not only at the most fundamental level of turning a feeling, image, or an idea into a poem on the page, but also carrying over that impetus into performance, the screen, a classical orchestra or an electronic hip hop band. She also works at translating older texts for contemporary times as with her Grimm cycle (published in English in 2018) which reanimates the dark side of the Household Tales of the Brothers Grimm for our own age. A further level comes with translation into English, which itself has become part of new collaborations - for example, in the animated poetry films by Beate Kunath & Eléonore Roedel that have taken their work to new audiences all over the world through the medium of English. In this event, Karen and Ulrike will perform recent work, and discuss the creative transformations poetry can undergo, with emples from Ulrike’s work for page, stage, film and gig, along with their own creative process and the way poetry, that voice from the wings, can become part of an inclusive political project. Biographies: Professor Karen J. Leeder Karen Leeder started her academic life researching the samizdat poetry, art and music scene that existed in East Germany before the fall of the Berlin Wall. She has continued her interest in the GDR and has published widely on modern German culture, especially of the post-1945 and contemporary periods. She is a prize-winning translator of contemporary German literature and has been awarded residences in UK and Berlin. Most recently she won the John Frederick Nims Memorial Prize for her translation of Durs Grünbein. Her translation of Ulrike Almut Sandig’s Thick of it (Seagull Books, 2018) won an English PEN award and an American PEN/Heim award, and was runner up for the Schlegel-Tieck Prize (2019). Grimm appeared in a special limited edition with Hurst Street Books in 2018. Their new collaboration, due in Summer 2020, I am a field full of rapeseed give cover to deer and shine like thirteen oil paintings laid one on top of the other is ‘hotly anticipated’ by the New York Times. She was TORCH Knowledge Exchange Fellow with the Southbank Centre, London (2014-2015) and keeps up work especially with MPT, Poet in the City, and The Poetry Society on her project Mediating Modern Poetry: http://www.mmp.mml.ox.ac.uk/. Ulrike Almut Sandig (Poet) Born in rural Großenhain in former East Germany in 1979, Ulrike Almut Sandig started life as a kind of guerrilla poet, pasting poems onto lamp posts on the streets of Leipzig with friends and handing them out on flyers and free postcards. Two books of stories and four volumes of her poetry have been published to date, including, most recently, Ich bin ein Feld voller Raps verstecke die Rehe und leuchte wie dreizehn Ölgemälde übereinandergelegt. Her first novel will appear this Autumn. Performance is a key part of Sandig’s work. She frequently collaborates with filmmakers, sound artists and musicians and her first CD with her poetry band LANDSCHAFT (with Grigory Semenchuk) appeared in 2018. Sandig has often appeared in the UK including at The Edinburgh Festival, Hay Festival, and StAnza and won many prizes, including the Leonce and Lena Prize (2009), the Literary Prize of the Federation of German Industries (2017), the Wilhelm Lehmann Prize (2018) and the Horst-Bingel Prize (2018). She lives in Berlin with her family.

GUEST: Pastor Léonce Crump Jr.; founder and senior pastor of Renovation Church in Atlanta, GA --- Russ from Hampton, VA has questions on anger and how it affects his health. Yude from North Carolina is seeking dating advice. Jeremiah from California is seeking advice on dealing with his family.

Mara-Daria Cojocaru wurde 1980 in Hamburg geboren. An der LMU München studierte sie Politik- und Theaterwissenschaft, Recht und Philosophie. Heute lehrt sie Praktische Philosophie als Dozentin an der Hochschule für Philosophie München SJ und forscht zum philosophischen Pragmatismus und zur Tierphilosophie. Als Finalistin beim Leonce-und-Lena-Preis 2015 machte sie mit ihrer Lyrik auf sich aufmerksam, 2017 erhielt sie den Kunstförderpreis Bayern. ANSTELLE EINER UNTERWERFUNG ist Mara-Daria Cojocarus zweiter Gedichtband. Dr. Pia-Elisabeth Leuschner,geb. 1966 in München, studierte Italianistik, Komparatistik und Anglistik in München, Köln, Canterbury und Venedig und wurde 1999 mit einer komparatistischen Arbeit zu Musik in Texten der englischen und deutschen Romantik promoviert. Sie arbeitet als Pressereferentin der Stiftung Lyrik Kabinett München und betreut dort u.a. das pädagogische Modellprojekt Lust auf Lyrik, zudem freiberuflich als Moderatorin, Jurorin, als wissenschaftliche Publizistin, gelegentlich auch als Übersetzerin, Sprecherin und Lektorin. Armin Steigenberger, geboren 1965 in Nürnberg, lebt in München. Studium der Architektur mit Abschluss zum Architekten, seit 2001 freier Schriftsteller. Vorwiegend Lyrik; Prosa, Essay, Dramatik. Von 1998 bis 2000 1. Vorsitzender des Münchner Literaturbüros, seit 2000 Leitung von Lite­ratur­seminaren und Schreib­werkstätten. Mit­heraus­geber der Literatur­zeitschrift außer.dem. Mitglied der Mün­chener Lyrik­gruppe reimfrei. Teilnehmer der Darm­städter Text­werkstatt bei Kurt Drawert seit 2008. Preise und Auszeichnungen 1. Preis beim 11. Irseer Pegasus, 2009; In der letzten Auswahl­runde zum 3. Dramen-Wett­bewerb der Alexander S. Onassis Public Benefit Foundation mit dem Theaterstück Planspiel, 2006; 3. Preis bei dO!PEN-Award, 2006

Episode 131 - Hesitant Hopefulness With Pastor Leonce Crump, Jr. - Part 2 Episode sponsored by DiverseChurchJobs.com We all are in the middle of new norms, new realities, and having old conversations in new ways. The Wise Idea Podcast welcomed Pastor Leonce Crump, Jr. to offer his insight, wisdom on what we are facing today, how he's processing the pandemics as a leader and a path forward.. And beyond that, he also had an opportunity to share his own story and life transitions. You can listen to Part 1 of our discussion here. You can connect with Leonce Crump here: Website | Instagram | Twitter | Facebook Books Recommended On This Episode: Frederick Douglass: Prophet of Freedom by D. Blight NPR Article Referenced in Episode If you need further assistance or have questions, feel free to email us at info@thewiseideapodcast.com ================== For Coaching, Questions, or Additional Information: You can contact us at info@thewiseideapodcast.com  - Subscribe via: iTunes, Google Play, Stitcher, TuneIn, RSS Feed, and Spotify Enjoy what you're hearing & seeing? Do you mind Rating & Reviewing This Podcast? Your ratings and reviews help us place the podcast in front of new leaders and listeners. Your feedback also lets me know how I can better serve you. If you have the desire to donate financially to The Wise Idea Podcast, you can do so here. A donation of any amount will be helpful in allowing us to creating the movement to INSPIRE WISDOM. DONATE HERE!                                                    About Our Host: Christopher J. Harris, a native of Palatka, Fla., is currently Executive Pastor of Crossover Church of Tampa, Fla. He is also the Director of Administration & Vision Implementation working collaboratively with the Presiding Bishop's Office and Administration for Full Gospel Baptist Church Fellowship International. He's served at ministries in Florida, South Carolina, North Carolina, and Chicago,IL. He's an author and blogger with two books, Temporary Assignments and Church Strategies and Ministry Systems. He's an alumnus of Florida State University, University of South Carolina, special studies at Princeton Theological Seminary and doctoral work at Nova Southeastern University. Harris currently resides in Florida with his wife Dr Carmen J Harris and their children. You can check him out here: www.ChristopherJHarris.com You can see his Social media here on Facebook, Instagram, Twitter, Periscope, and LinkedIn ALL at @CJHarrisOne Here are Christopher's Theological Beliefs: http://christopherjharris.com/what-i-believe/ He is affiliated with the following organizations (among others): www.CrossoverChurch.org , https://www.fullgospelbaptist.org/, http://www.mosaix.info/ , and https://www.biblicalleadership.com/ Thank You's: My family for their commitment to the vision to inspire wisdom in others and release me to endeavors like this. To my Producer, Kevin Scullion. (Note: Want your name listed here? Leave a review of this podcast and you may find your name listed here…)

Episode 130 - Hesitant Hopefulness With Pastor Leonce Crump, Jr. - Part 1 Episode sponsored by DiverseChurchJobs.com We all are in the middle of new norms, new realities, and having old conversations in new ways. The Wise Idea Podcast welcomed Pastor Leonce Crump, Jr. to offer his insight, wisdom on what we are facing today, how he's processing the pandemics as a leader and a path forward.. And beyond that, he also had an opportunity to share his own story and life transitions. You can connect with Leonce Crump here: Website | Instagram | Twitter | Facebook Books Recommended On This Episode: Frederick Douglass: Prophet of Freedom by D. Blight NPR Article Referenced in Episode If you need further assistance or have questions, feel free to email us at info@thewiseideapodcast.com ================== For Coaching, Questions, or Additional Information: You can contact us at info@thewiseideapodcast.com  - Subscribe via: iTunes, Google Play, Stitcher, TuneIn, RSS Feed, and Spotify Enjoy what you're hearing & seeing? Do you mind Rating & Reviewing This Podcast? Your ratings and reviews help us place the podcast in front of new leaders and listeners. Your feedback also lets me know how I can better serve you. If you have the desire to donate financially to The Wise Idea Podcast, you can do so here. A donation of any amount will be helpful in allowing us to creating the movement to INSPIRE WISDOM. DONATE HERE!                                                    About Our Host: Christopher J. Harris, a native of Palatka, Fla., is currently Executive Pastor of Crossover Church of Tampa, Fla. He is also the Director of Administration & Vision Implementation working collaboratively with the Presiding Bishop's Office and Administration for Full Gospel Baptist Church Fellowship International. He's served at ministries in Florida, South Carolina, North Carolina, and Chicago,IL. He's an author and blogger with two books, Temporary Assignments and Church Strategies and Ministry Systems. He's an alumnus of Florida State University, University of South Carolina, special studies at Princeton Theological Seminary and doctoral work at Nova Southeastern University. Harris currently resides in Florida with his wife Dr Carmen J Harris and their children. You can check him out here: www.ChristopherJHarris.com You can see his Social media here on Facebook, Instagram, Twitter, Periscope, and LinkedIn ALL at @CJHarrisOne Here are Christopher's Theological Beliefs: http://christopherjharris.com/what-i-believe/ He is affiliated with the following organizations (among others): www.CrossoverChurch.org , https://www.fullgospelbaptist.org/, http://www.mosaix.info/ , and https://www.biblicalleadership.com/ Thank You's: My family for their commitment to the vision to inspire wisdom in others and release me to endeavors like this. To my Producer, Kevin Scullion. (Note: Want your name listed here? Leave a review of this podcast and you may find your name listed here…)

Back from an unintentional hiatus, it's Euth Radio with almost two hours of hot dance music released around the end of May, beginning of June. I'm back on track, and you'll be hearing the very finest new releases on a regular fortnightly basis once again, but in the meantime enjoy this slightly aged collection of new releases from the likes of Osunlade, James Bangura, AceMoMA, BASSBEAR!!,OSSX, Kanyon, King Britt, Leonce, and many more right here on Euth Radio. Tracklist: VENDi - Noos Lxury - Do This Forever Osunlade - Auto Machine (Album Edit) King Britt - Too Shay Theus Mago - Softcore in my Hardcore (Fairmont Remix) Horatio - Thursday 9PM Franck Roger - Ohh Bass! Athlete Whippet - Arrows Dosem - It's All Relative G-Prod - Daisy Lusion (Part 2) Ana Helder - Short Cut James Bangura - Bountiful Fruit Leonce - Sunrise Drew. - Entropy AceMoMA - Dream Dancer Helix - DJ Vague Presents Zaida Elkka - Every Body Is Welcome (Violet's It's a Gay Club Remix) BASSBEAR!! - Heard Voices Today Cyberdine Systems Corp. - Funktion Generator (Perko & Solid Blake Remix) Perm - Duom Scholm Sugar - Keep the Wounds Clean Locked Club - Memphis Mumbai Tool Nahash - The Horns feat. Osheyack OSSX - Dis Vegan Shit Easy Machine Woman - last days of the Montreal's summer you spoke softly 183 Kanyon - Systems Blur Metrist - VV Squi Pugilist & Tamen - Guidance Refraq - Plucked from the Pixie Ring AMEN the Producer - Blinded by the Light

In this episode, I share the journey I've been on as I've been reflecting on my life and the topic of racism. I share how my upbringing has shaped both good and wrong perceptions of people. I talk about why it's not just enough to love and accept people. And I share the five things that I want to teach my son so that he shows up better for all humans.In this episode, I refer to my friend Leonce Crump and I also reference a book, How To Be An Anti-racist. I'd highly recommend you follow Leonce and that you buy the book. Here are the links Connect with Leonce: https://www.instagram.com/leoncecrump/Buy the book: https://www.amazon.com/How-Be-Antiracist-Ibram-Kendi/dp/0525509283/ref=sr_1_1?crid=3K7VTPHYQ0XYC&dchild=1&keywords=how+to+bean+antiracist+by+ibram+x.+kendi&qid=1591791482&sprefix=how+to%2Caps%2C162&sr=8-1Stay connected with me:Instagram.com/kellerthikns | twitter.com/kellerthinks | Text "BRILLIANT" to 33777 to sign up for the Fight For Brilliance email  

In de audioreeks RE: Rosa Luxemburg schrijven Arnon Grunberg, Maarten van der Graaff, Miek Zwamborn en Edna Azulay Rosa Luxemburg een brief terug. In deze aflevering luister je naar een brief over het belang van vriendschap, geschreven en voorgelezen door schrijver Edna Azulay. Vriendschappen zijn, net als voor Rosa Luxemburg en bomen, ook voor Edna van levensbelang. De brief van Rosa, waarop Edna reageert, wordt voorgelezen door regisseur Rebekka Nilsson. Edna Azulay studeerde Writing for Performance in Utrecht. Ze schrijft vooral toneel, poëzie, en draagt voor. Zo maakte ze met negen anderen ‘Don’t Kill Your Darlings’, een interdisciplinaire voorstelling gebaseerd op het stuk Leonce en Lena als kritiek op romantiek en neoliberalisme. Voor Likeminds schreef ze een toneeltekst over de Wallen, waarin thema’s als kapitalisme en queer-verlangen centraal staan.

In this episode, host Neil Howe talks to Leonce Crump, lead pastor of Renovation Church about how the church is impacting the community and helping fulfill needs during the Covid-19 Coronavirus Pandemic. Léonce Crump Jr., is an author, international speaker, and the founder and senior pastor of Renovation Church in Atlanta. In 2006, Crump answered God’s call to relocate from Tennessee to Atlanta and begin the process of planting Renovation Church. He details the obstacles he and his family faced and the revelations he uncovered during this process in Renovate: Changing Who You Are by Loving Where You AreListen in a Pastor Crump shares how the church is changing before our eyes. The church has been deployed to minister within the community and when they return to the house of worship in person, things will never be the same again. This is a pivotal moment for the church in which people are being drawn in to hear the message and experience the Good News of Christianity. To learn more about Pastor Leonce Crump, visit: https://www.leoncecrump.com/To learn more about Renovation Church, visit:RenovationChurch.comPastor Léonce – FacebookRenovation Church – Facebook @RenovationATL Renovation Church – Twitter @RenovationATLPastor Léonce – Twitter @LeonceCrumpInstagram @renovationatlRenovation Church Phone Number: 404-414-0589Expert Profiles Atlantahttps://businessinnovatorsradio.com/expert-profiles-atlanta/

In this episode, host Neil Howe talks to Leonce Crump, lead pastor of Renovation Church about how the church is impacting the community and helping fulfill needs during the Covid-19 Coronavirus Pandemic. Léonce Crump Jr., is an author, international speaker, and the founder and senior pastor of Renovation Church in Atlanta. In 2006, Crump answered God’s call to relocate from Tennessee to Atlanta and begin the process of planting Renovation Church. He details the obstacles he and his family faced and the revelations he uncovered during this process in Renovate: Changing Who You Are by Loving Where You AreListen in a Pastor Crump shares how the church is changing before our eyes. The church has been deployed to minister within the community and when they return to the house of worship in person, things will never be the same again. This is a pivotal moment for the church in which people are being drawn in to hear the message and experience the Good News of Christianity. To learn more about Pastor Leonce Crump, visit: https://www.leoncecrump.com/To learn more about Renovation Church, visit:RenovationChurch.comPastor Léonce – FacebookRenovation Church – Facebook @RenovationATL Renovation Church – Twitter @RenovationATLPastor Léonce – Twitter @LeonceCrumpInstagram @renovationatlRenovation Church Phone Number: 404-414-0589Expert Profiles Atlantahttps://businessinnovatorsradio.com/expert-profiles-atlanta/

This week we hear from Pastor Leonce Crump Jr of Renovation Church in Atlanta. We're discussing parenting during lockdown, the challenges of doing church online and especially holding online Easter Service! We also cover the importance of remembering Holy Week while at home. See acast.com/privacy for privacy and opt-out information.

In this episode, Pastor Leonce Crump, talks about the practical things that he does in order to navigate all of the different emotions that come with the changes he's facing right now. We talk about the power of acknowledging and naming your emotions, how flexibility is not enough at times like this, and what it looks like to live forward instead of hoping for things to get back to normal.Léonce B. Crump Jr. is lead pastor of Renovation Church in Atlanta. The former professional athlete has strong transcultural appeal and connections in the world of professional sports and pop music as well as leadership circles.Connect with Leonce: Instagram.com/leoncecrump | Renovationchurch.com Connect with Justin: Instagram.com/kellerthinks | twitter.com/kellerthinks | fb.com/kellerthinks | text "BRILLIANT" to 33777 to sign up for the weekly Fight For Brilliance email 

Session 1 of the New Rules Conference with Pastor Leonce Crump of Renovation Church in Atlanta, GA. The New Rules Conference took place January 24-25, 2020 in Tallahassee, FL.

Einundzwanzig Gedichte zur Ankunft eines Kindes. Eine Rezension von Klaus Hübner Großer Gott wir loben Dich darf man wohl zu den eindrucksvollsten Kirchenliedern des Abendlandes rechnen. Drei Worte aus dem Liedtext machte der emeritierte Romanistikprofessor und wunderbare Erzähler Johannes Hösle zum Titel des ersten, seine Kindheit betreffenden Teils seiner Erinnerungen: Vor aller Zeit … Ludwig Steinherr, geboren 1962 in München, studierte Philosophie und promovierte über Hegel und Quine. Er lebt als freier Schriftsteller in München. Für seine bisher zwanzig Gedichtbände erhielt Ludwig Steinherr mehrere Auszeichnungen, so den Leonce-und-Lena-Förderpreis, den Evangelischen Buchpreis und den Hermann-Hesse-Förderpreis. Seit 2003 ist er Mitglied der Bayerischen Akademie der Schönen Künste. Seine Gedichte wurden vielfach übersetzt. In der Lyrikedition 2000 erschien von ihm unter anderem der Auswahlband »Das Mädchen Der Maler Ich«, in England die zweisprachige Sammlung »Before the Invention of Paradise« (Arc 2010) und in Italien soeben »Prima di ogni tempo / Vor aller Zeit« (Ladolfi 2019). Den Text der Rezension finden Sie hier

If you've been listening to the people's theology recently, you are familiar (probably exhaustingly so) with the themes and questions we're wrestling with: Mainly, why is the world the way that it is and, what do we do about it? In the last few episodes we've interviewed and explored the lives of different people who have been startled, grieved, frustrated by these questions and thus committed to answering them. These folks come from different places and experiences but their stories share something. Each person went through a similar kind of journey to get to where they are. It starts with a set of questions, experiences, wounds, needs which leads to an attempt to answer those questions. So we try and address those needs but what we learn is that the situation is more complicated than our question assumed and so we need to evaluate, rebuild, and do a little renovation so that we can truly get at the issues. In this episode of The Peoples Theology we are talking to someone who has both done that work and will force us to do our own work with their story. This person is, Leonce Crump former New Orleans Saint, founding pastor of Renovation Atlanta, and author of the book Renovate.

Abdou, Klaessens & Error son venu représenter leur Kaj, un collectif d'artiste montréalais. On a parler politique, vie nocturene, identité culturelle.Le tout est accompagné d'un freestyle tranchant d'Error et un set b2b de Aboudou et Klaessens   In this episode we've received Abdou. Klaessens & error from the Montreal based Kaj collective. We spoke about politics, nightlife & cultural identity follow up by a rap performance by Error & a b2b from Abdou & klaessens   Tracklist: Chicago '87 - Last drink Casper nyovist - Ngud Florentino - get you alone Sza - The weekend (Leonce remix) Mura Masa - Nugget Say3 - afrokaytra Siroj - Look at me Branko - Take off Myd & Sam Tiba - Solid Snake Rapier Gradur x Crookers - On est pas tout seul (Get monet remix) Rilla force - Youth Lonyo - Summer of Love

Abdou, Klaessens & Error son venu représenter leur Kaj, un collectif d'artiste montréalais. On a parler politique, vie nocturene, identité culturelle.Le tout est accompagné d'un freestyle tranchant d'Error et un set b2b de Aboudou et Klaessens   In this episode we've received Abdou. Klaessens & error from the Montreal based Kaj collective. We spoke about politics, nightlife & cultural identity follow up by a rap performance by Error & a b2b from Abdou & klaessens   Tracklist: Chicago '87 - Last drink Casper nyovist - Ngud Florentino - get you alone Sza - The weekend (Leonce remix) Mura Masa - Nugget Say3 - afrokaytra Siroj - Look at me Branko - Take off Myd & Sam Tiba - Solid Snake Rapier Gradur x Crookers - On est pas tout seul (Get monet remix) Rilla force - Youth Lonyo - Summer of Love

Join us as we continue in our series, Up Next! This guest speaker is an author, international speaker, and pastor who has a unique story that will keep you sitting on the edge of your seat while listening to him speak. Get excited for an amazing sermon!

On this episode, we continue our interview with Pastor Leonce Crump of Renovation Church in Atlanta, GA. We're speaking on race in America, the church's involvement in this, and where we need to go the next 50 years. If you missed the first part, be sure to go back to the previous episode to hear more. Enjoy this week's episode of the New Rules Podcast.   "Why it's important to have minorities in places of power is because we know what it's like to not have any voice." - @adriancrawford #newrulespodcast TWEET THIS!   "Evangelicalism is breathing it's last breath. Something new is going to be born out of that. You can't put new wine in the old wine skins. There are people treading grape for new wine." - @leoncecrump #newrulespodcast TWEET THIS!   "When ignorance meets truth, ignorances changes. When arrogance meets truth, arrogance doubles down on the thing it's holding to so tightly." - @leoncecrump #newrulespodcast TWEET THIS!   Books: Long Walk to Freedom: The Autobiography of Nelson Mandela The Ideal Team Player Working Toward Whiteness One Drop God's Long Summer The Pilgrim's Progress   Pastor Leonce Crump Jr. Book: Renovate Renovation Church website Twitter Instagram   Book of the Month: Dream Year   Adrian Crawford Facebook: Adrian Crawford Instagram: @adriancrawford5 Twitter: @adriancrawford   Billy Humphrey Facebook: Billy Humphrey Instagram: @billy_humphrey   Dena Landers Instagram: @denawarriorprincess_

This year marks the 50 year anniversary of the assassination of Dr. Martin Luther King, Jr. Since then, we've made great strides in our country with racial reconciliation, but we've still got a long way to go. To discuss where we need to go to continue the reconciliation process in the next 50 years, both as the church and as a country, Adrian drove to Atlanta to meet with Pastor Leonce Crump of Renovation Church. Both Adrian and Leonce have a heart to see real racial reconciliation happen, but it won't be easy. Listen as they discuss racism, process that still needs to be made, things that are hindering us to move forward, and more on this week's episode of the New Rules Podcast. "You can't find any black creatives? Have you been the America? The stoplight that you sit under: made it. The super soaker: we made that. Washington DC: we made that. You can't find black creatives? You're not looking." @leoncecrump #newrulespodcast TWEET THIS! [on the church and racial reconciliation] "The gospel has been allowed to be turned into a message of personal salvation without any societal implications. The gospel is now about me getting off the planet versus seeing God renew all things." - @leoncecrump #newrulespodcast TWEET THIS!   Pastor Leonce Crump Jr. Book: Renovate Renovation Church website Twitter Instagram   Book of the Month: Dream Year   Adrian Crawford Facebook: Adrian Crawford Instagram: @adriancrawford5 Twitter: @adriancrawford   Billy Humphrey Facebook: Billy Humphrey Instagram: @billy_humphrey   Dena Landers Instagram: @denawarriorprincess_

STC Ft Pastor Leonce Crump - Social Justice by Ebenezer Endiryas

Tobias Pagel - grenzgebiete II Tobias Pagel, geboren 1981 in Sigmaringen, lebt und arbeitet in Konstanz als Lehrer. und seit 2016 als Lehrbeauftragter für eine Lyrik-Textwerkstatt an der Uni Konstanz. Er studierte Germanistik, Geschichte und Sportwissenschaft und ist Absolvent des Studios für Literatur und Theater in Tübingen. Tobias Pagel schreibt vor allem Gedichte und Lieder, außerdem fotografiert er. Er veröffentlichte bereits in Zeitschriften und Anthologien. 2017 war er Stipendiat des Förderkreises deutscher Schriftsteller in Baden-Württemberg und Finalist beim 20. Leonce und Lena-Preis in Darmstadt. Die Lesung fand am zweiten Tag des open mike 25 am 12. November 2017 im Heimathafen Neukölln statt. Foto © Gezett

Biggest Takeaways You Don't Want To Miss: If you are under the age of 40, slow down. Embrace the process of maturity. Move patiently toward the time when your experience and results earn you the right to be heard. The importance of leading locally. Social media creates an opportunity to influence people you’ve never met in places that you’ve never been. Time-tested leadership, however, requires focused work and a shared life with the people around you. Jesus is a friend of sinners. Pastor Leonce’s story of conversion as a student-athlete at the University of Oklahoma reminds us to never give up on someone because of their behavior. God is always at work! The Church must have a social conscience. Biblical discipleship helps people gain perspective and a view of the world that will not fit neatly into any political party. Instead of relying on partisan sound bites, church leaders must cross lines, challenge assumptions and cultivate a hunger for human flourishing. Are You Healthy? Grab Our FREE Assessment And Find Out. In the interview, Pastor Leonce shares some of his practices for maintaining spiritual and physical health and explains why he has made time with his family a priority. If you wonder what it takes to thrive as a leader, here’s a FREE overview of the ‘five factors’ of healthy leadership. Check Out These Highlights: How young leaders sabotage their legacy The wisdom and metrics needed to evaluate new leadership opportunities The present pain that shapes you into the leader you need to be tomorrow The hollow success of social media presence How Jesus persuaded Pastor Leonce to follow him How Bob Stoops persuaded Pastor Leonce to play football at Oklahoma Why Pastor Leonce is a social activist How to overcome partisan politics and embrace a biblical worldview Which practices help Pastor Leonce cultivate spiritual health Why Pastor Leonce periodically ‘reinvents himself’ What matters most if you want to be physically healthy Links Mentioned In The Episode: Book: Renovate: Changing Who You Are By Loving Where You Are by Pastor Leonce Follow Pastor Leonce: Facebook, Instagram, Twitter Five Factors Facebook Group *Download Transcript Thank you so much for checking out this episode of the Five Factors Podcast. If you haven’t done so already, please take a minute and leave a quick rating and review of the show on iTunes by clicking on the link below. You’ll help us keep delivering life-changing information every week! Click here to Subscribe via iTunes Click here to Subscribe via Stitcher Click here to Subscribe via Google Play

LEONCE SHOUTING OUT DJJUNKY

Checkout My Mixtapes Here www.djjunky.blogspot.com Exclusively For Our Loyal Supporters MIXCLOUD PAGE: www.mixcloud.com/dj_junky/ SOUNDCLOUD PAGE: www.soundcloud.com/dj_junky/ INSTAGRAM PAGE: www.instagram.com/iamdjjunky/ TWITTER PAGE: twitter.com/IAMDJJUNKY FACEBOOK PAGE: www.facebook.com/DJJUNKY/ YOUTUBE PAGE: tinyurl.com/hkarwdu No Copyright Intended, For Promotional Purposes Only.©. If you're the owner of any content posted here or it offends you in any way, please email : djjunkymusic@gmail.com it to get it removed from the account within 12 hours. PLEASE DON'T REPORT THE ACCOUNT FOR PROMOTIONAL PURPOSES ONLY.

Episode 3 Rebecca Forstadt Rebecca Forstadt has been a voice actor in the Los Angeles area for over 35 years and is a long time member of SAG – AFTRA. Let’s learn about her career! She has an extensive resume in film, television, commercials, animation, video games, audio books, ADR.   Rebecca is best known in the anime genre specializing in kid’s voices and has voiced hundreds of projects including Robotech, Tenchi Muyo, Ghost in the Shell, Code Geass and Metropolis. Rebecca studied theater at Orange Coast College, the Lee Strasberg Institute and the Ossetynski Actor’s Lab.   She received 2 Drama- Logue Awards for outstanding performance as an actress in Ionesco’s Tales with Eugene Ionesco in residence and Leonce and Lena at Stages Trilingual Theatre in Hollywood. She has also appeared on camera in starring roles in the films Mugsy’s Girls with Ruth Gordon and Laura Branigan, and Round Numbers with Kate Mulgrew and Samantha Egger and on television. www.rebeccaforstadt.com Twitter – @RebeccaForstadt --- International Women in Film Podcast http://InternationalWomenInFilm.com/ To join the International Women in Film Podcast Community https://michelethetrainer.leadpages.co/podcast-iwif-1/

In Karin Fellners aktuellem Band »hangab zur kehle« (yedermann Verlag 2010) entführen die Gedichte in eine Welt der aufgefächerten Lebenswirklichkeiten. Ob es sich um die Visionen einer sterbenden Magd, um die geharnischte Widerrede einer Bathseba oder um unseren Alltag zwischen Schlagerparaden und PIN-Codes handelt: Im vielgliedrigen Transfer zwischen Innen und Außen entzündet sich ein bilderreicher »funkverkehr«. Karin Fellner (*1970 München) studierte Psychologie und Literaturwissenschaften und arbeitet als Autorin, Übersetzerin und freie Lektorin. Sie leitet Schreib- und Lyrikseminare und moderiert Lyrikveranstaltungen. Sie erhielt u.a. 2005 den Wolfgang-Weyrauch-Förderpreis beim Leonce-und-Lena-Wettbewerb in Darmstadt. Neben zahlreichen Veröffentlichungen in Anthologien und Zeitschriften erschienen von ihr bislang drei Gedicht-Einzelbände: »avantgarde des schocks« (parasitenpresse, Köln 2005), »in belichteten wänden« (yedermann Verlag, München 2007) und nun »hangab zur kehle«. In Lesung und Gespräch: Karin Fellner (Autorin, München); Moderation: Nico Bleutge (Autor und Literaturkritiker, Berlin). "hangab zur kehle" ist 2010 im yedermann Verlag erschienen. Die Sendung der gelesenen Gedichte erfolgt mit seiner freundlichen Genehmigung. (Karin Fellner. hangab zur kehle. Gedichte. © yedermann Verlag 2010.) Foto: Michael Memminger

Leonce Gaiter is the guest on this installment of the podcast known as The Chauncey DeVega Show. Leonce is the author of I Dreamt I Was in Heaven: The Rampage of the Rufus Buck Gang.  He is a straight shooter and a real talker. This is a great and honest conversation where Chauncey and Leonce have a real salon. There is no agenda or prepared set of questions in the conversation between Leonce and Chauncey: this is spontaneous, honest, and direct truth-telling without a filter. We call this "grown folks talk". The Chauncey DeVega Show has had some generous guests, and amazing moments of learning. This episode is one for the books. In this episode, Leonce and Chauncey discuss notions of black male honor, revenge, and self-respect. What does it mean to be black, male, and brave? Why is American society afraid of black folks who claim their honor and self-respect? How do movies that are revenge fantasies like Tarantino's Django, and commercial hip-hop, fit into America's collective imagination, anxiety, and fear about black manhood, respectability, and honor? How do people of color navigate elite white spaces such as Harvard University, and what does that teach us about the color line? Why does black male self-respect and honor scare so many white folks? Leonce also shares some great insights about writing, race, and the Old West. Chauncey does some sharing in this episode about Memorial Day, Confederate white trash, thug cops, the Waco outlaw motorcycle riot and shooting, Barack Obama, and his recipe for frying pork chops.

Relationship 2.0 - Sarah & Leonce Gauthey by Bless2n

Léon Escalaïs (August 8, 1859, Cuxac-d'Aude – November 8, 1940, Cuxac-d'Aude) was a prominent Gallic tenor, particularly associated with French and Italian heroic roles. His lean, nimble and powerful voice was noted for the ease and brilliance of its upper register. Life and career Born Léonce-Antoine Escalaïs, he commenced his vocal studies as a young man at the Music Conservatory of Toulouse, where he won prizes for singing and opera performance. He continued his studies at the Paris Conservatory with two well-known teachers of the day, Crosti and Obin, prior to making his professional debut at the Théâtre du Château (Paris) in 1882, in Sardanapale by Jean-Baptiste Duvernoy. Escalaïs was offered a contract by the Paris Opéra. His first appearance with the Paris Opéra at the Palais Garnier occurred in 1883, as Arnold in Guillaume Tell. (Arnold would become one of his signature roles.) Two years later, he sang for the first time at the Théâtre de la Monnaie in Brussels, and he made his debut at La Scala, Milan, in 1888. He left the Paris Opéra in 1892 after a dispute with management and accepted engagements in Dijon, Lyon, Marseille and Italy. Among the taxing roles which he undertook were Eléazar in La Juive, Robert in Robert le diable, Raoul in Les Huguenots, Vasco in L'Africaine and the title parts in Le Cid and Sigurd. Between 1892 and 1908, Escalaïs sang more often in Italy (this is wrong, he sang once in Milan and it was a fiasco) than he did in his native land. He added to his repertoire such Verdi roles as Manrico in Il trovatore, Radamès in Aida and the title part in Otello' (Escalais never sang Otello)'. Consequently, he was sometimes described as "the French Tamagno" (after Francesco Tamagno, the Italian heroic tenor). Escalaïs rejoined the Paris Opéra in 1908. The following year, he sang as a guest artist at the New Orleans Opera House. These would be his only performances in the United States. He retired from the stage in 1912 while still in good voice and was appointed to the Legion of Honour by the French Government in 1927. In retirement, he gave private singing lessons. One of his students was José Luccioni, an outstanding dramatic tenor of the 1930s and '40s. Escalaïs died in Cuxac-d'Aude during the Second World War, aged 82. What a VOICE!!!!!!   Wm.Tell, Robert le Diable, Huguenots,Prophete,Africaine,Juive,Jerusalem,Trovatore,Aida, Otello

Unforgettable - Who's the Greatest? - Leonce Crump - Aug 9-10, 2014

Unforgettable - Who's the Greatest? - Leonce Crump - Aug 9-10, 2014

How exactly does the church the multiply? How are disciples made? Who do we preach the gospel to? Leonce Crump looks at Acts 9:31 to answer these questions as he discusses what the evangelistic implications for local churches are today. Leonce Crump is the Elder for Vision, Preaching and Leadership at Renovation Church in Atlanta, GA. Originally from Louisiana and raised Roman Catholic, Leonce began following Jesus at age 16. He is a graduate of the University of Oklahoma and holds Masters degrees in Criminal Justice, with a focus on Case Law (University of Tennessee), Missional Leadership (Resurgence Theological Training Center), and is currently finishing his Masters of Divinity at Reformed Theological Seminary. At Oklahoma he was an All-American wrestler and played defensive end on the Sooner football team. After college he competed to make the world team in wrestling, played professional football for the New Orleans Saints and coached collegiate wrestling. In 2006, he felt called to plant a church and through prayerful seeking of direction settled on the under-served area of downtown Atlanta. Leonce and his wife, Breanna, have lived in Atlanta for over 4 years, and have two daughters.

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