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Tuesday is the 250th anniversary of Jane Austen's birth, so today I spoke to John Mullan, professor of English Literature at UCL, author of What Matters in Jane Austen. John and I talked about how Austen's fiction would have developed if she had not died young, the innovations of Persuasion, wealth inequality in Austen, slavery and theatricals in Mansfield Park, as well as Iris Murdoch, A.S. Byatt, Patricia Beer, the Dunciad, and the Booker Prize. This was an excellent episode. My thanks to John!TranscriptHenry Oliver (00:00)Today, I am talking to John Mullen. John is a professor of English literature at University College London, and he is the author of many splendid books, including How Novels Work and the Artful Dickens. I recommend the Artful Dickens to you all. But today we are talking about Jane Austen because it's going to be her birthday in a couple of days. And John wrote What Matters in Jane Austen, which is another book I recommend to you all. John, welcome.John Mullan (00:51)It's great to be here.Henry Oliver (00:53)What do you think would have happened to Austin's fiction if she had not died young?John Mullan (00:58)Ha ha! I've been waiting all this year to be asked that question from somebody truly perspicacious. ⁓ Because it's a question I often answer even though I'm not asked it, because it's a very interesting one, I think. And also, I think it's a bit, it's answerable a little bit because there was a certain trajectory to her career. I think it's very difficult to imagine what she would have written.John Mullan (01:28)But I think there are two things which are almost certain. The first is that she would have gone on writing and that she would have written a deal more novels. And then even the possibility that there has been in the past of her being overlooked or neglected would have been closed. ⁓ And secondly, and perhaps more significantly for her, I think she would have become well known.in her own lifetime. you know, partly that's because she was already being outed, as it were, you know, of course, as ⁓ you'll know, Henry, you know, she published all the novels that were published in her lifetime were published anonymously. So even people who were who were following her career and who bought a novel like Mansfield Park, which said on the title page by the author of Sense and Sensibility and Pride and Prejudice, they knew they knew.John Mullan (02:26)were getting something by the same author, they wouldn't necessarily have known the author's name and I think that would have become, as it did with other authors who began anonymously, that would have disappeared and she would have become something of a literary celebrity I would suggest and then she would have met other authors and she'd have been invited to some London literary parties in effect and I think that would have been very interesting how that might have changed her writing.John Mullan (02:54)if it would have changed her writing as well as her life. She, like everybody else, would have met Coleridge. ⁓ I think that would have happened. She would have become a name in her own lifetime and that would have meant that her partial disappearance, I think, from sort of public consciousness in the 19th century wouldn't have happened.Henry Oliver (03:17)It's interesting to think, you know, if she had been, depending on how old she would have been, could she have read the Pickwick papers? How would she have reacted to that? Yes. Yeah. Nope.John Mullan (03:24)Ha ha ha ha ha!Yes, she would have been in her 60s, but that's not so old, speaking of somebody in their 60s. ⁓ Yes, it's a very interesting notion, isn't it? I mean, there would have been other things which happened after her premature demise, which she might have responded to. I think particularly there was a terrific fashion for before Dickens came along in the 1830s, there was a terrific fashion in the 1820s for what were called silver fork novels, which were novels of sort of high life of kind of the kind of people who knew Byron, but I mean as fictional characters. And we don't read them anymore, but they were they were quite sort of high quality, glossy products and people loved them. And I'm I like to think she might have reacted to that with her sort of with her disdain, think, her witty disdain for all aristocrats. know, nobody with a title is really any good in her novels, are they? And, you know, the nearest you get is Mr. Darcy, who is an Earl's nephew. And that's more of a problem for him than almost anything else. ⁓ She would surely have responded satirically to that fashion.Henry Oliver (04:28)Hahaha.Yes, and then we might have had a Hazlitt essay about her as well, which would have been all these lost gems. Yes. Are there ways in which persuasion was innovative that Emma was not?John Mullan (04:58)Yes, yes, yes, yes. I know, I know.⁓ gosh, all right, you're homing in on the real tricky ones. Okay, okay. ⁓ That Emma was not. Yes, I think so. I think it took, in its method, it took further what she had done in Emma.Henry Oliver (05:14)Ha ha.This is your exam today,John Mullan (05:36)which is that method of kind of we inhabit the consciousness of a character. And I I think of Jane Austen as a writer who is always reacting to her own last novel, as it were. And I think, you know, probably the Beatles were like that or Mozart was like that. think, you know, great artists often are like that, that at a certain stage, if what they're doing is so different from what everybody else has done before,they stop being influenced by anybody else. They just influence themselves. And so I think after Emma, Jane Austen had this extraordinary ⁓ method she perfected in that novel, this free indirect style of a third-person narration, which is filtered through the consciousness of a character who in Emma's case is self-deludedly wrong about almost everything. And it's...brilliantly tricksy and mischievous and elaborate use of that device which tricks even the reader quite often, certainly the first time reader. And then she got to persuasion and I think she is at least doing something new and different with that method which is there's Anne Elliot. Anne Elliot's a good person. Anne Elliot's judgment is very good. She's the most cultured and cultivated of Jane Austen's heroines. She is, as Jane Austen herself said about Anne Elliot, almost too good for me. And so what she does is she gives her a whole new vein of self-deception, which is the self-deception in the way of a good person who always wants to think things are worse than they are and who always, who, because suspicious of their own desires and motives sort of tamps them down and suppresses them. And we live in this extraordinary mind of this character who's often ignored, she's always overhearing conversations. Almost every dialogue in the novel seems to be something Anne overhears rather than takes part in. And the consciousness of a character whodoesn't want to acknowledge things in themselves which you and I might think were quite natural and reasonable and indeed in our psychotherapeutic age to be expressed from the rooftops. You still fancy this guy? Fine! Admit it to yourself. ⁓ No. So it's not repression actually, exactly. It's a sort of virtuous self-control somehow which I think lots of readers find rather masochistic about her. Henry Oliver (08:38)I find that book interesting because in Sense and Sensibility she's sort of opposed self-command with self-expression, but she doesn't do that in Persuasion. She says, no, no, I'm just going to be the courage of, no, self-command. know, Eleanor becomes the heroine.John Mullan (08:48)Yes. Yes, yes, yes, yes, yes, yes. But with the odd with the odd burst of Mariannes, I was watching the I thought execrable Netflix ⁓ persuasion done about two or three years ago ⁓ with the luminous Dakota Johnson as as you know, as Anne Elliot. You could not believe her bloom had faded one little bit, I think.John Mullan (09:23)And ⁓ I don't know if you saw it, but the modus operandi rather following the lead set by that film, The Favourite, which was set in Queen Anne's reign, but adopted the Demotic English of the 21st century. similarly, this adaptation, much influenced by Fleabag, decided to deal with the challenge of Jane Austen's dialogue by simply not using it, you know, and having her speak in a completely contemporary idiom. But there were just one or two lines, very, very few from the novel, that appeared. And when they appeared, they sort of cried through the screen at you. And one of them, slightly to qualify what you've just said, was a line I'd hardly noticed before. as it was one of the few Austin lines in the programme, in the film, I really noticed it. And it was much more Marianne than Eleanor. And that's when, I don't know if you remember, and Captain Wentworth, they're in Bath. So now they are sort of used to talking to each other. And Louisa Musgrove's done her recovering from injury and gone off and got engaged to Captain Benwick, Captain Benwick. So Wentworth's a free man. And Anne is aware, becoming aware that he may be still interested in her. And there's a card party, an evening party arranged by Sir Walter Elliot. And Captain Wentworth is given an invitation, even though they used to disapprove of him because he's now a naval hero and a rich man. And Captain Wentworth and Anna making slightly awkward conversation. And Captain Wentworth says, you did not used to like cards.I mean, he realizes what he said, because what he said is, remember you eight years ago. I remember we didn't have to do cards. We did snogging and music. That's what we did. But anyway, he did not used to like cards. And he suddenly realizes what a giveaway that is. And he says something like, but then time brings many changes. And she says, she cries out, I am not so much changed.Henry Oliver (11:23)Mm. Mm, yes, yes. Yep.Yes.Cries out, yeah.John Mullan (11:50)It's absolutely electric line and that's not Eleanor is it? That's not an Eleanor-ish line. ⁓ Eleanor would say indeed time evinces such dispositions in most extraordinary ways. She would say some Johnsonian thing wouldn't she? so I don't think it's quite a return to the same territory or the same kind of psychology.Henry Oliver (12:05)That's right. Yes, yes, yeah.No, that's interesting, yeah. One of the things that happens in Persuasion is that you get this impressionistic writing. So a bit like Mrs. Elliot talking while she picks strawberries. When Lady Russell comes into Bath, you get that wonderful scene of the noises and the sounds. Is this a sort of step forward in a way? And you can think of Austen as not an evolutionary missing link as such, but she's sort of halfway between Humphrey Clinker and Mr. Jangle.Is that something that she would have sort of developed?John Mullan (12:49)I think that's quite possible. haven't really thought about it before, but you're right. think there are these, ⁓ there are especially, they're impressionistic ⁓ passages which are tied up with Anne's emotions. And there's an absolutely, I think, short, simple, but extraordinarily original one when she meets him again after eight years. And it says something like, the room was full, full of people. Mary said something and you're in the blur of it. He said all that was right, you know, and she can't hear the words, she can't hear the words and you can't hear the words and you're inside and she's even, you're even sort of looking at the floor because she's looking at the floor and in Anne's sort of consciousness, often slightly fevered despite itself, you do exactly get this sort of, ⁓ for want of a better word, blur of impressions, which is entirely unlike, isn't it, Emma's sort of ⁓ drama of inner thought, which is always assertive, argumentative, perhaps self-correcting sometimes, but nothing if not confidently articulate.John Mullan (14:17)And with Anne, it's a blur of stuff. there is a sort of perhaps a kind of inklings of a stream of consciousness method there.Henry Oliver (14:27)I think so, yeah. Why is it that Flaubert and other writers get all the credit for what Jane Austen invented?John Mullan (14:35)Join my campaign, Henry. It is so vexing. It is vexing. sometimes thought, I sometimes have thought, but perhaps this is a little xenophobic of me, that the reason that Jane Austen is too little appreciated and read in France is because then they would have to admit that Flaubertdidn't do it first, you know. ⁓Henry Oliver (14:40)It's vexing, isn't it?John Mullan (15:04)I mean, I suppose there's an answer from literary history, which is simply for various reasons, ⁓ some of them to do with what became fashionable in literary fiction, as we would now call it. Jane Austen was not very widely read or known in the 19th century. So it wasn't as if, as it were, Tolstoy was reading Jane Austen and saying, this is not up to much. He wasn't. He was reading Elizabeth Gaskell.Jane Eyre ⁓ and tons of Dickens, tons, every single word Dickens published, of course. ⁓ So Jane Austen, know, to cite an example I've just referred to, I Charlotte Bronte knew nothing of Jane Austen until George Henry Lewis, George Eliot's partner, who is carrying the torch for Jane Austen, said, you really should read some. And that's why we have her famous letter saying, it's, you know, it's commonplace and foolish things she said. But so I think the first thing to establish is she was really not very widely read. So it wasn't that people were reading it and not getting it. It was which, you know, I think there's a little bit of that with Dickens. He was very widely read and people because of that almost didn't see how innovative he was, how extraordinarily experimental. It was too weird. But they still loved it as comic or melodramatic fiction. But I think Jane Austen simply wasn't very widely read until the late 19th century. So I don't know if Flaubert read her. I would say almost certainly not. Dickens owned a set of Jane Austen, but that was amongst 350 selecting volumes of the select British novelists. Probably he never read Jane Austen. Tolstoy and you know never did, you know I bet Dostoevsky didn't, any number of great writers didn't.Henry Oliver (17:09)I find it hard to believe that Dickens didn't read her.John Mullan (17:12)Well, I don't actually, I'm afraid, because I mean the one occasion that I know of in his surviving correspondence when she's mentioned is after the publication of Little Dorrit when ⁓ his great bosom friend Forster writes to him and says, Flora Finching, that must be Miss Bates. Yes. You must have been thinking of Miss Bates.John Mullan (17:41)And he didn't write it in a sort of, you plagiarist type way, I he was saying you've varied, it's a variation upon that character and Dickens we wrote back and we have his reply absolutely denying this. Unfortunately his denial doesn't make it clear whether he knew who Miss Bates was but hadn't it been influenced or whether he simply didn't know but what he doesn't… It's the one opportunity where he could have said, well, of course I've read Emma, but that's not my sort of thing. ⁓ of course I delight in Miss Bates, but I had no idea of thinking of her when I... He has every opportunity to say something about Jane Austen and he doesn't say anything about her. He just says, no.Henry Oliver (18:29)But doesn't he elsewhere deny having read Jane Eyre? And that's just like, no one believes you, Charles.John Mullan (18:32)Yes.Well, he may deny it, but he also elsewhere admits to it. Yeah.Henry Oliver (18:39)Okay, but you know, just because he doesn't come out with it.John Mullan (18:43)No, no, it's true, but he wouldn't have been singular and not reading Jane Austen. That's what I'm saying. Yes. So it's possible to ignore her innovativeness simply by not having read her. But I do think, I mean, briefly, that there is another thing as well, which is that really until the late 20th century almost, even though she'd become a wide, hugely famous, hugely widely read and staple of sort of A levels and undergraduate courses author, her real, ⁓ her sort of experiments with form were still very rarely acknowledged. And I mean, it was only really, I think in the sort of almost 1980s, really a lot in my working lifetime that people have started saying the kind of thing you were asking about now but hang on free and direct style no forget flow bear forget Henry James I mean they're terrific but actually this woman who never met an accomplished author in her life who had no literary exchanges with fellow writersShe did it at a little table in a house in Hampshire. Just did it.Henry Oliver (20:14)Was she a Tory or an Enlightenment Liberal or something else?John Mullan (20:19)⁓ well I think the likeliest, if I had to pin my colours to a mast, I think she would be a combination of the two things you said. I think she would have been an enlightenment Tory, as it were. So I think there is some evidence that ⁓ perhaps because also I think she was probably quite reasonably devout Anglican. So there is some evidence that… She might have been conservative with a small C, but I think she was also an enlightenment person. I think she and her, especially her father and at least a couple of her brothers, you know, would have sat around reading 18th century texts and having enlightened discussions and clearly they were, you know, and they had, it's perfect, you know, absolutely hard and fast evidence, for instance, that they would have been that they were sympathetic to the abolition of slavery, that they were ⁓ sceptics about the virtues of monarchical power and clear-eyed about its corruption, that they had no, Jane Austen, as I said at the beginning of this exchange, had no great respect or admiration for the aristocratic ruling class at all. ⁓ So there's aspects of her politics which aren't conservative with a big C anyway, but I think enlightened, think, I mean I, you know, I got into all this because I loved her novels, I've almost found out about her family inadvertently because you meet scary J-Night experts at Jane Austen Society of North America conferences and if you don't know about it, they look at scants. But it is all interesting and I think her family were rather terrific actually, her immediate family. I think they were enlightened, bookish, optimistic, optimistic people who didn't sit around moaning about the state of the country or their own, you know, not having been left enough money in exes will. And...I think that they were in the broadest sense enlightened people by the standard of their times and perhaps by any standards.Henry Oliver (22:42)Is Mansfield Park about slavery?John Mullan (22:45)Not at all, no. I don't think so. I don't think so. And I think, you know, the famous little passage, for it is only a passage in which Edmund and Fanny talk about the fact it's not a direct dialogue. They are having a dialogue about the fact that they had, but Fanny had this conversation or attempt at conversation ⁓ a day or two before. And until relatively recently, nobody much commented on that passage. It doesn't mean they didn't read it or understand it, but now I have not had an interview, a conversation, a dialogue involving Mansfield Park in the last, in living memory, which hasn't mentioned it, because it's so apparently responsive to our priorities, our needs and our interests. And there's nothing wrong with that. But I think it's a it's a parenthetic part of the novel. ⁓ And of course, there was this Edward Said article some decades ago, which became very widely known and widely read. And although I think Edward Said, you know, was a was a wonderful writer in many ways. ⁓I think he just completely misunderstands it ⁓ in a way that's rather strange for a literary critic because he says it sort of represents, you know, author's and a whole society's silence about this issue, the source of wealth for these people in provincial England being the enslavement of people the other side of the Atlantic. But of course, Jane Auster didn't have to put that bit in her novel, if she'd wanted really to remain silent, she wouldn't have put it in, would she? And the conversation is one where Edmund says, know, ⁓ you know, my father would have liked you to continue when you were asking about, yeah, and she says, but there was such terrible silence. And she's referring to the other Bertram siblings who indeed are, of course, heedless, selfish ⁓ young people who certainly will not want to know that their affluence is underwritten by, you know, the employment of slaves on a sugar plantation. But the implication, I think, of that passage is very clearly that Fanny would have, the reader of the time would have been expected to infer that Fanny shares the sympathies that Jane Austen, with her admiration, her love, she says, of Thomas Clarkson. The countries leading abolitionists would have had and that Edmund would also share them. And I think Edmund is saying something rather surprising, which I've always sort of wondered about, which is he's saying, my father would have liked to talk about it more. And what does that mean? Does that mean, my father's actually, he's one of these enlightened ones who's kind of, you know, freeing the slaves or does it mean, my father actually knows how to defend his corner? He would have beenYou know, he doesn't he doesn't feel threatened or worried about discussing it. It's not at all clear where Sir Thomas is in this, but I think it's pretty clear where Edmund and Fanny are.Henry Oliver (26:08)How seriously do you take the idea that we are supposed to disapprove of the family theatricals and that young ladies putting on plays at home is immoral?John Mullan (26:31)Well, I would, mean, perhaps I could quote what two students who were discussing exactly this issue said quite some time ago in a class where a seminar was running on Mansfield Park. And one of the students can't remember their names, I'm afraid. I can't remember their identities, so I'm safe to quote them. ⁓ They're now probably running PR companies or commercial solicitors. And one of them I would say a less perceptive student said, why the big deal about the amateur dramatics? I mean, what's Jane Austen's problem? And there was a pause and another student in the room who I would suggest was a bit more of an alpha student said, really, I'm surprised you asked that. I don't think I've ever read a novel in which I've seen characters behaving so badly as this.And I think that's the answer. The answer isn't that the amateur dramatics themselves are sort of wrong, because of course Jane Austen and her family did them. They indulged in them. ⁓ It's that it gives the opportunity, the license for appalling, mean truly appalling behaviour. I mean, Henry Crawford, you know, to cut to the chase on this, Henry Crawford is seducing a woman in front of her fiance and he enjoys it not just because he enjoys seducing women, that's what he does, but because it's in front of him and he gets an extra kick out of it. You know, he has himself after all already said earlier in the novel, oh, I much prefer an engaged woman, he has said to his sister and Mrs. Grant. Yes, of course he does. So he's doing that. Mariah and Julia are fighting over him. Mr. Rushworth, he's not behaving badly, he's just behaving like a silly arse. Mary Crawford, my goodness, what is she up to? She's up to using the amateur dramatics for her own kind of seductions whilst pretending to be sort of doing it almost unwillingly. I mean, it seems to me an elaborate, beautifully choreographed elaboration of the selfishness, sensuality and hypocrisy of almost everybody involved. And it's not because it's amateur dramatics, but amateur dramatics gives them the chance to behave so badly.Henry Oliver (29:26)Someone told me that Thomas Piketty says that Jane Austen depicts a society in which inequality of wealth is natural and morally justified. Is that true?John Mullan (29:29)Ha⁓Well, again, Thomas Piketty, I wish we had him here for a good old mud wrestle. ⁓ I would say that the problem with his analysis is the coupling of the two adjectives, natural and morally right. I think there is a strong argument that inequality is depicted as natural or at least inevitable, inescapable in Jane Austen's novels.but not morally right, as it were. In fact, not at all morally right. There is a certain, I think you could be exaggerated little and call it almost fatalism about that such inequalities. Do you remember Mr. Knightley says to Emma, in Emma, when he's admonishing her for her, you know, again, a different way, terribly bad behavior.Henry Oliver (30:38)At the picnic.John Mullan (30:39)At the picnic when she's humiliatedMiss Bates really and Mr Knightley says something like if she'd been your equal you know then it wouldn't have been so bad because she could have retaliated she could have come back but she's not and she says and he says something like I won't get the words exactly right but I can get quite close he says sinceher youth, she has sunk. And if she lives much longer, will sink further. And he doesn't say, ⁓ well, we must have a collection to do something about it, or we must have a revolution to do something about it, or if only the government would bring in better pensions, you know, he doesn't, he doesn't sort of rail against it as we feel obliged to. ⁓ He just accepts it as an inevitable part of what happens because of the bad luck of her birth, of the career that her father followed, of the fact that he died too early probably, of the fact that she herself never married and so on. That's the way it is. And Mr Knightley is, I think, a remarkably kind character, he's one of the kindest people in Jane Austen and he's always doing surreptitious kindnesses to people and you know he gives the Bates's stuff, things to eat and so on. He arranges for his carriage to carry them places but he accepts that that is the order of things. ⁓ But I, you know Henry, I don't know what you think, I think reading novels or literature perhaps more generally, but especially novels from the past, is when you're responding to your question to Mr. Piketty's quote, is quite a sort of, can be quite an interesting corrective to our own vanities, I think, because we, I mean, I'm not saying, you know, the poor are always with us, as it were, like Jesus, but... ⁓ You know, we are so ⁓ used to speaking and arguing as if any degree of poverty is in principle politically remediable, you know, and should be. And characters in Jane Austen don't think that way. And I don't think Jane Austen thought that way.Henry Oliver (33:16)Yes, yes. Yeah.The other thing I would say is that ⁓ the people who discuss Jane Austen publicly and write about her are usually middle class or on middle class incomes. And there's a kind of collective blindness to the fact that what we call Miss Bates poverty simply means that she's slipping out of the upper middle class and she will no longer have her maid.⁓ It doesn't actually mean, she'll still be living on a lot more than a factory worker, who at that time would have been living on a lot more than an agricultural worker, and who would have been living on a lot more than someone in what we would think of as destitution, or someone who was necessitous or whatever. So there's a certain extent to which I actually think what Austin is very good at showing is the... ⁓ the dynamics of a newly commercial society. So at the same time that Miss Bates is sinking, ⁓ I forget his name, but the farmer, the nice farmer, Robert Martin, he's rising. And they all, all classes meet at the drapier and class distinctions are slightly blurred by the presence of nice fabric.John Mullan (34:24)Mr. Robert Martin. Henry Oliver (34:37)And if your income comes from turnips, that's fine. You can have the same material that Emma has. And Jane Austen knows that she lives in this world of buttons and bonnets and muslins and all these new ⁓ imports and innovations. And, you know, I think Persuasion is a very good novel. ⁓ to say to Piketty, well, there's nothing natural about wealth inequality and persuasion. And it's not Miss Bates who's sinking, it's the baronet. And all these admirals are coming up and he has that very funny line, doesn't he? You're at terrible risk in the Navy that you'd be cut by a man who your father would have cut his father. And so I think actually she's not a Piketty person, but she's very clear-eyed about... quote unquote, what capitalism is doing to wealth inequality. Yeah, yeah.John Mullan (35:26)Yes, she is indeed. Indeed.Clear-eyed, I think, is just the adjective. I mean, I suppose the nearest she gets to a description. Yeah, she writes about the classes that she knows from the inside, as it were. So one could complain, people have complained. She doesn't represent what it's like to be an agricultural worker, even though agricultural labour is going on all around the communities in which her novels are set.And I mean, I think that that's a sort of rather banal objection, but there's no denying it in a way. If you think a novelist has a duty, as it were, to cover the classes and to cover the occupations, then it's not a duty that Jane Austen at all perceived. However, there is quite, there is something like, not a representation of destitution as you get in Dickens.but a representation of something inching towards poverty in Mansfield Park, which is the famous, as if Jane Austen was showing you she could do this sort of thing, which is the whole Portsmouth episode, which describes with a degree of domestic detail she never uses anywhere else in her fiction. When she's with the more affluent people, the living conditions, the food, the sheer disgustingness and tawdryness of life in the lodgings in Portsmouth where the Price family live. And of course, in a way, it's not natural because ⁓ in their particular circumstances, Lieutenant Price is an alcoholic.They've got far too many children. ⁓ He's a useless, sweary-mouthed boozer ⁓ and also had the misfortune to be wounded. ⁓ And she, his wife, Fanny's mother, is a slattern. We get told she's a slattern. And it's not quite clear if that's a word in Fanny's head or if that's Jane Austen's word. And Jane Austen...Fanny even goes so far as to think if Mrs. Norris were in charge here, and Mrs. Norris is as it were, she's the biggest sadist in all Jane Austen's fiction. She's like sort Gestapo guard monquet. If Mrs. Norris were in charge, it wouldn't be so bad here, but it's terrible. And Jane Austen even, know, she describes the color of the milk, doesn't she? The blue moats floating in the milk.She dis- and it's all through Fanny's perception. And Fanny's lived in this rather loveless grand place. And now it's a great sort of, ⁓ it's a coup d'etat. She now makes Fanny yearn for the loveless grand place, you know, because of what you were saying really, Henry, because as I would say, she's such an unsentimental writer, you know, andyou sort of think, you know, there's going to be no temptation for her to say, to show Fanny back in the loving bosom of her family, realising what hollow hearted people those Bertrams are. You know, she even describes the mark, doesn't she, that Mr Price's head, his greasy hair is left on the wall. It's terrific. And it's not destitution, but it's something like a life which must be led by a great sort of rank of British people at the time and Jane Austen can give you that, she can.Henry Oliver (39:26)Yeah, yeah. That's another very Dickensian moment. I'm not going to push this little thesis of mine too far, but the grease on the chair. It's like Mr. Jaggers in his horse hair. Yes. That's right, that's right. ⁓ Virginia Woolf said that Jane Austen is the most difficult novelist to catch in the act of greatness. Is that true?John Mullan (39:34)Yes, yes, yes, it is these details that Dickens would have noticed of course. Yes.Yes.⁓ I think it is so true. think that Virginia Woolf, she was such a true, well, I think she was a wonderful critic, actually, generally. Yeah, I think she was a wonderful critic. you know, when I've had a couple of glasses of Rioja, I've been known to say, to shocked students, ⁓ because you don't drink Rioja with students very often nowadays, but it can happen. ⁓ But she was a greater critic than novelist, you know.Henry Oliver (39:54)Yeah.Best critic of the 20th century. Yes, yes. Yeah. And also greater than Emson and all these people who get the airtime. Yes, yes.John Mullan (40:20)You know.I know, I know, but that's perhaps because she didn't have a theory or an argument, you know, and the Seven Types, I know that's to her credit, but you know, the Seven Types of Ambiguity thing is a very strong sort of argument, even if...Henry Oliver (40:31)Much to her credit.But look, if the last library was on fire and I could only save one of them, I'd let all the other critics in the 20th century burn and I'd take the common reader, wouldn't you?John Mullan (40:47)Okay. Yes, I, well, I think I agree. think she's a wonderful critic and both stringent and open. I mean, it's an extraordinary way, you know, doesn't let anybody get away with anything, but on the other hand is genuinely ready to, to find something new to, to anyway. ⁓ the thing she said about Austin, she said lots of good things about Austin and most of them are good because they're true. And the thing about… Yes, so what I would, I think what she meant was something like this, that amongst the very greatest writers, so I don't know, Shakespeare or Milton or, you know, something like that, you could take almost a line, yes? You can take a line and it's already glowing with sort of radioactive brilliance, know, and ⁓ Jane Austen, the line itself, there are wonderful sentences.)Mr. Bennett was so odd a mixture of quick parts, sarcastic humor, reserve and caprice that the experience of three and 20 years had been insufficient to make his wife understand his character. I mean, that's as good as anything in Hamlet, isn't it? So odd a mixture and there he is, the oddest mixture there's ever been. And you think he must exist, he must exist. But anyway, most lines in Jane Austen probably aren't like that and it's as if in order to ⁓ explain how brilliant she is and this is something you can do when you teach Jane Austen, makes her terrific to teach I think, you can look at any bit and if everybody's read the novel and remembers it you can look at any paragraph or almost any line of dialogue and see how wonderful it is because it will connect to so many other things. But out of context, if you see what I mean, it doesn't always have that glow of significance. And sometimes, you know, the sort of almost most innocuous phrases and lines actually have extraordinary dramatic complexity. but you've got to know what's gone on before, probably what goes on after, who's in the room listening, and so on. And so you can't just catch it, you have to explain it. ⁓ You can't just, as it were, it, as you might quote, you know, a sort of a great line of Wordsworth or something.Henry Oliver (43:49)Even the quotable bits, you know, the bit that gets used to explain free and direct style in Pride and Prejudice where she says ⁓ living in sight of their own warehouses. Even a line like that is just so much better when you've been reading the book and you know who is being ventriloquized.John Mullan (43:59)Well, my favourite one is from Pride and Prejudice is after she's read the letter Mr Darcy gives her explaining what Wickham is really like, really, for truth of their relationship and their history. And she interrogates herself. And then at the end, there's ⁓ a passage which is in a passage of narration, but which is certainly in going through Elizabeth's thoughts. And it ends, she had been blind, partial, prejudiced, absurd. And I just think it's, if you've got to know Elizabeth, you just know that that payoff adjective, absurd, that's the coup de grace. Because of course, finding other people absurd is her occupation. It's what makes her so delightful. And it's what makes us complicit with her.Henry Oliver (44:48)Yeah.That's right.John Mullan (45:05)She sees how ridiculous Sir William Lucas and her sister Mary, all these people, and now she has absurded herself, as it were. So blind partial prejudice, these are all repetitions of the same thought. But only Elizabeth would end the list absurd. I think it's just terrific. But you have to have read the book just to get that. That's a whole sentence.You have to have read the book to get the sentence, don't you?Henry Oliver (45:34)Yep, indeed. ⁓ Do we love Jane Austen too much so that her contemporaries are overshadowed and they're actually these other great writers knocking around at the same time and we don't give them their due? Or is she in fact, you know, the Shakespeare to their Christopher Marlowe or however you want to.John Mullan (45:55)I think she's the Shakespeare to their Thomas Kidd or no even that's the... Yes, okay, I'm afraid that you know there are two contradictory answers to that. Yes, it does lead us to be unfair to her contemporaries certainly because they're so much less good than her. So because they're so much less good than her in a way we're not being unfair. know, I mean... because I have the profession I have, I have read a lot of novels by her immediate predecessors. I mean, people like Fanny Burnie, for instance, and her contemporaries, people like Mariah Edgeworth. And ⁓ if Jane Austen hadn't existed, they would get more airtime, I think, yes? And some of them are both Burnie and Edgeworth, for instance. ⁓ highly intelligent women who had a much more sophisticated sort of intellectual and social life than Jane Austen ⁓ and conversed with men and women of ideas and put some of those ideas in their fiction and they both wrote quite sophisticated novels and they were both more popular than Jane Austen and they both, having them for the sort of carpers and complainers, they've got all sorts of things like Mariah Regworth has some working-class people and they have political stuff in their novels and they have feminist or anti-feminist stuff in their novels and they're much more satisfying to the person who's got an essay to write in a way because they've got the social issues of the day in there a bit, certainly Mariah Regworth a lot. ⁓ So if Jane Austen hadn't come along we would show them I think more, give them more time. However, you know, I don't want to say this in a destructive way, but in a certain way, all that they wrote isn't worth one paragraph of Jane Austen, you know, in a way. So we're not wrong. I suppose the interesting case is the case of a man actually, which is Walter Scott, who sort of does overlap with Jane Austen a bit, you know, and who has published what I can't remember, two, three, even four novels by the time she dies, and I think three, and she's aware of him as a poet and I think beginning to be aware of him as a novelist. And he's the prime example of somebody who was in his own day, but for a long time afterwards, regarded as a great novelist of his day. And he's just gone. He's really, you know, you can get his books in know, Penguin and Oxford classics in the shops. I mean, it's at least in good big book shops. And it's not that he's not available, but it's a very rare person who's read more than one or even read one. I don't know if you read lots of Scott, Henry.Henry Oliver (49:07)Well, I've read some Scott and I quite like it, but I was a reactionary in my youth and I have a little flame for the Jacobite cause deep in my heart. This cannot be said of almost anyone who is alive today. 1745 means nothing to most people. The problem is that he was writing about something that has just been sort of forgotten. And so the novels, know, when Waverly takes the knee in front of the old young old pretender, whichever it is, who cares anymore? you know?John Mullan (49:40)Well, yes, but it can't just be that because he also wrote novels about Elizabeth I and Robin Hood and, you know... ⁓Henry Oliver (49:46)I do think Ivanhoe could be more popular, yeah.John Mullan (49:49)Yeah, so it's not just that this and when he wrote, for instance, when he published Old Mortality, which I think is one of his finest novels, I mean, I've read probably 10 Scott novels at nine or 10, you know, so that's only half or something of his of his output. And I haven't read one for a long time, actually. Sorry, probably seven or eight years. He wrote about some things, which even when he wrote about and published about, readers of the time couldn't have much known or cared about. mean, old mortalities about the Covenant as wars in the borderlands of Scotland in the 17th century. I mean, all those people in London who were buying it, they couldn't give a damn about that. Really, really, they couldn't. I mean, they might have recognized the postures of religious fanaticism that he describes rather well.But even then only rather distantly, I think. So I think it's not quite that. I think it's not so much ignorance now of the particular bits of history he was drawn to. I think it's that in the 19th century, historical fiction had a huge status. And it was widely believed that history was the most dignified topic for fiction and so dignified, it's what made fiction serious. So all 19th century authors had a go at it. Dickens had a go at it a couple of times, didn't he? I think it's no, yes, yes, think even Barnaby Rudge is actually, it's not just a tale of two cities. Yes, a terrific book. But generally speaking, ⁓ most Victorian novelists who did it, ⁓ they are amongst, you know, nobodyHenry Oliver (51:22)Very successfully. ⁓ a great book, great book.John Mullan (51:43)I think reads Trollope's La Vendée, you know, people who love Hardy as I do, do not rush to the trumpet major. it was a genre everybody thought was the big thing, know, war and peace after all. And then it's prestige faded. I mean, it's...returned a little bit in some ways in a sort of Hillary man, Tellish sort of way, but it had a hugely inflated status, I think, in the 19th century and that helped Scott. And Scott did, know, Scott is good at history, he's good at battles, he's terrific at landscapes, you know, the big bow wow strain as he himself described it.Henry Oliver (52:32)Are you up for a sort of quick fire round about other things than Jane Austen?John Mullan (52:43)Yes, sure, try me.Henry Oliver (52:44)Have you used any LLMs and are they good at talking about literature?John Mullan (52:49)I don't even know what an LLM is. What is it? Henry Oliver (52:51)Chat GPT. ⁓ John Mullan (53:17)⁓ God, goodness gracious, it's the work of Satan.Absolutely, I've never used one in my life. And indeed, have colleagues who've used them just to sort of see what it's like so that might help us recognise it if students are using them. And I can't even bring myself to do that, I'm afraid. But we do as a...As a department in my university, we have made some use of them purely in order to give us an idea of what they're like, so to help us sort of...Henry Oliver (53:28)You personally don't feel professionally obliged to see what it can tell you. Okay, no, that's fine. John Mullan (53:32)No, sorry.Henry Oliver (53:33)What was it like being a Booker Prize judge?heady. It was actually rather heady. Everybody talks about how it's such a slog, all those books, which is true. But when you're the Booker Prize judge, at least when I did it, you were treated as if you were somebody who was rather important. And then as you know, and that lasts for about six months. And you're sort of sent around in taxes and give nice meals and that sort of thing. And sort of have to give press conferences when you choose the shortlist. and I'm afraid my vanity was tickled by all that. And then at the moment after you've made the decision, you disappear. And the person who wins becomes important. It's a natural thing, it's good. And you realize you're not important at all.Henry Oliver (54:24)You've been teaching in universities, I think, since the 1990s.John Mullan (54:29)Yes, no earlier I fear, even earlier.Henry Oliver (54:32)What are the big changes? Is the sort of media narrative correct or is it more complicated than that?John Mullan (54:38)Well, it is more complicated, but sometimes things are true even though the Daily Telegraph says they're true, to quote George Orwell. ⁓ you know, I mean, I think in Britain, are you asking about Britain or are you asking more generally? Because I have a much more depressing view of what's happened in America in humanities departments.Henry Oliver (54:45)Well, tell us about Britain, because I think one problem is that the American story becomes the British story in a way. So what's the British story?John Mullan (55:07)Yes, yes, think that's true.Well, I think the British story is that we were in danger of falling in with the American story. The main thing that has happened, that has had a clear effect, was the introduction in a serious way, however long ago it was, 13 years or something, of tuition fees. And that's really, in my department, in my subject, that's had a major change.and it wasn't clear at first, but it's become very clear now. So ⁓ it means that the, as it were, the stance of the teachers to the taught and the taught to the teachers, both of those have changed considerably. Not just in bad ways, that's the thing. It is complicated. So for instance, I mean, you could concentrate on the good side of things, which is, think, I don't know, were you a student of English literature once?Henry Oliver (55:49)Mm-hmm.I was, I was. 2005, long time ago.John Mullan (56:07)Yes. OK.Well, I think that's not that long ago. mean, probably the change is less extreme since your day than it is since my day. But compared to when I was a student, which was the end of the 70s, beginning of the 80s, I was an undergraduate. The degree of sort of professionalism and sobriety, responsibility and diligence amongst English literature academics has improved so much.You know, you generally speaking, literature academics, they are not a load of ⁓ drunken wastrels or sort of predatory seducers or lazy, work shy, ⁓ even if they love their own research, negligent teachers or a lot of the sort of the things which even at the time I recognise as the sort of bad behaviour aspects of some academics. Most of that's just gone. It's just gone. You cannot be like that because you've got everybody's your institution is totally geared up to sort of consumer feedback and and the students, especially if you're not in Oxford or Cambridge, the students are essentially paying your salaries in a very direct way. So there have been improvements actually. ⁓ those improvements were sort of by the advocates of tuition fees, I think, and they weren't completely wrong. However, there have also been some real downsides as well. ⁓ One is simply that the students complain all the time, you know, and in our day we had lots to complain about and we never complained. Now they have much less to complain about and they complain all the time. ⁓ So, and that seems to me to have sort of weakened the relationship of trust that there should be between academics and students. But also I would say more if not optimistically, at least stoically. I've been in this game for a long time and the waves of student fashion and indignation break on the shore and then another one comes along a few years later. And as a sort of manager in my department, because I'm head of my department, I've learned to sort of play the long game.And what everybody's hysterical about one moment, one year, they will have forgotten about two or three years later. So there has been a certain, you know, there was a, you know, what, what, you know, some conservative journalists would call kind of wokery. There has been some of that. But in a way, there's always been waves of that. And the job of academics is sort of to stand up to it. and in a of calm way. Tuition fees have made it more difficult to do that I think.Henry Oliver (59:40)Yeah. Did you know A.S. Byatt? What was she like?John Mullan (59:43)I did.⁓ Well...When you got to know her, you recognized that the rather sort of haughty almost and sometimes condescending apparently, ⁓ intellectual auteur was of course a bit of a front. Well, it wasn't a front, but actually she was quite a vulnerable person, quite a sensitive and easily upset person.I mean that as a sort of compliment, not easily upset in the sense that sort of her vanity, but actually she was quite a humanly sensitive person and quite woundable. And when I sort of got to know that aspect of her, know, unsurprisingly, I found myself liking her very much more and actually not worrying so much about the apparent sort of put downs of some other writers and things and also, you know, one could never have said this while she was alive even though she often talked about it. I think she was absolutely permanently scarred by the death of her son and I think that was a, you know, who was run over when he was what 11 years old or something. He may have been 10, he may have been 12, I've forgotten, but that sort of age. I just think she was I just think she was permanently lacerated by that. And whenever I met her, she always mentioned it somehow, if we were together for any length of time.Henry Oliver (1:01:27)What's your favourite Iris Murdoch novel?John Mullan (1:01:33)I was hoping you were going to say which is the most absurd Aris Murdoch novel. ⁓ No, you're an Aris Murdoch fan, are you? Henry Oliver (1:01:38)Very much so. You don't like her work?John Mullan (1:01:59)Okay. ⁓ no, it's, as you would say, Henry, more complicated than that. I sort of like it and find it absurd. It's true. I've only read, re-read in both cases, two in the last 10 years. And that'sThat's not to my credit. And both times I thought, this is so silly. I reread the C to C and I reread a severed head. And I just found them both so silly. ⁓ I was almost, you know, I almost lost my patience with them. But I should try another. What did I used to like? Did I rather like an accidental man? I fear I did.Did I rather like the bell, which is surely ridiculous. I fear I did. Which one should I like the most?Henry Oliver (1:02:38)I like The Sea, the Sea very much. ⁓ I think The Good Apprentice is a great book. There are these, so after The Sea, the Sea, she moves into her quote unquote late phase and people don't like it, but I do like it. So The Good Apprentice and The Philosopher's Pupil I think are good books, very good books.John Mullan (1:02:40)I've not read that one, I'm afraid. Yes, I stopped at the sea to sea. I, you know, once upon a time, I'm a bit wary of it and my experience of rereading A Severed Head rather confirmed me in my wariness because rereading, if I were to reread Myris Murdoch, I'm essentially returning to my 18 year old self because I read lots of Myris Murdoch when I was 17, 18, 19 and I thought she was deep as anything. and to me she was the deep living British novelist. And I think I wasn't alone ⁓ and I feel a little bit chastened by your advocacy of her because I've also gone along with the ⁓ general readership who've slightly decided to ditch Irish Murdoch. her stock market price has sunk hugely ⁓ since her death. But perhaps that's unfair to her, I don't know. I've gone a bit, I'll try again, because I recently have reread two or three early Margaret Drabble novels and found them excellent, really excellent. And thought, ⁓ actually, I wasn't wrong to like these when I was a teenager. ⁓Henry Oliver (1:04:11)The Millstone is a great book.John Mullan (1:04:22)⁓ yes and actually yes I reread that, I reread the Garrick year, the Millstone's terrific I agree, the the Garrick year is also excellent and Jerusalem the Golden, I reread all three of them and and and thought they were very good. So so you're recommending the Philosopher's Apprentice. I'm yeah I'm conflating yes okay.Henry Oliver (1:04:31)first rate. The Good Apprentice and the Philosopher's Pupil. Yeah, yeah. I do agree with you about A Severed Head. I think that book's crazy. What do you like about Patricia Beer's poetry?John Mullan (1:04:56)⁓ I'm not sure I am a great fan of Patricia Beer's poetry really. I got the job of right, what? Yes, yes, because I was asked to and I said, I've read some of her poetry, but you know, why me? And the editor said, because we can't find anybody else to do it. So that's why I did it. And it's true that I came.Henry Oliver (1:05:02)Well, you wrote her... You wrote her dictionary of national... Yes.John Mullan (1:05:23)I came to quite like it and admire some of it because in order to write the article I read everything she'd ever published. But that was a while ago now, Henry, and I'm not sure it puts me in a position to recommend her.Henry Oliver (1:05:35)Fair enough.Why is the Dunciad the greatest unread poem in English?John Mullan (1:05:41)Is it the greatest unread one? Yes, probably, yes, yes, I think it is. Okay, it's great because, first of all, great, then unread. It's great because, well, Alexander Poet is one of the handful of poetic geniuses ever, in my opinion, in the writing in English. Absolutely genius, top shelf. ⁓Henry Oliver (1:05:46)Well, you said that once, yes.Mm-hmm. Yes, yes, yes. Top shelf, yeah.John Mullan (1:06:09)And even his most accessible poetry, however, is relatively inaccessible to today's readers, sort of needs to be taught, or at least you have to introduce people to. Even the Rape of the Lock, which is a pure delight and the nearest thing to an ABBA song he ever wrote, is pretty scary with its just densely packed elusiveness and...Henry Oliver (1:06:27)YouJohn Mullan (1:06:38)You know, and as an A level examiner once said to me, we don't set Pope for A level because it's full of irony and irony is unfair to candidates. ⁓ Which is true enough. ⁓ So Pope's already difficult. ⁓ Poetry of another age, poetry which all depends on ideas of word choice and as I said, literary allusion and The Dunciad is his most compacted, elusive, dense, complicated and bookish poems of a writer who's already dense and compact and bookish and elusive. And the Dunceyad delights in parodying, as I'm sure you know, all the sort of habits of scholarly emendation and encrustation, which turn what should be easy to approach works of literature into sort of, you know, heaps of pedantic commentary. And he parodies all that with delight. But I mean, that's quite a hard ask, isn't it? And ⁓ yeah, and I just and I think everything about the poem means that it's something you can only ever imagine coming to it through an English literature course, actually. I think it is possible to do that. I came to it through being taught it very well and, you know, through because I was committed for three years to study English literature, but it's almost inconceivable that somebody could just sort of pick it up in a bookshop and think, ⁓ this is rather good fun. I'll buy this.Henry Oliver (1:08:26)Can we end with one quick question about Jane Austen since it's her birthday? A lot of people come to her books later. A lot of people love it when they're young, but a lot of people start to love it in their 20s or 30s. And yet these novels are about being young. What's going on there?John Mullan (1:08:29)Sure, sure.Yes.I fear, no not I fear, I think that what you describe is true of many things, not just Jane Austen. You know, that there's a wonderful passage in J.M. Coetzee's novel Disgrace where the reprehensible protagonist is teaching Wordsworth's Prelude.to a group of 19 and 20 year olds. And he adores it. He's in his mid fifties. And he, whilst he's talking, is thinking different things. And what he's thinking is something that I often think actually about certain works I teach, particularly Jane Austen, which is this book is all about being young, but the young find it tedious. Only the aging.You know, youth is wasted on the young, as it were. Only the aging really get its brilliance about the experience of being young. And I think that's a sort of pattern in quite a lot of literature. So, you know, take Northanger Abbey. That seems to me to be a sort of disly teenage book in a way.It's everything and everybody's in a hurry. Everybody's in a whirl. Catherine's in a whirl all the time. She's 17 years old. And it seems to me a delightfully teenage-like book. And if you've read lots of earlier novels, mostly by women, about girls in their, you know, nice girls in their teens trying to find a husband, you know, you realize that sort ofextraordinary magical gift of sort Jane Austen's speed and sprightliness. You know, somebody said to me recently, ⁓ when Elizabeth Bennet sort of walks, but she doesn't walk, she sort of half runs across the fields. You know, not only is it socially speaking, no heroine before her would have done it, but the sort of the sprightliness with which it's described putsthe sort of ploddingness of all fiction before her to shame. And there's something like that in Northanger Abbey. It's about youthfulness and it takes on some of the qualities of the youthfulness of its heroine. know, her wonderful oscillations between folly and real insight. You know, how much she says this thing. I think to marry for money is wicked. Whoa. And you think,Well, Jane Austen doesn't exactly think that. She doesn't think Charlotte Lucas is wicked, surely. But when Catherine says that, there's something wonderful about it. There is something wonderful. You know, only a 17 year old could say it, but she does. And but I appreciate that now in my 60s. I don't think I appreciated it when I was in my teens.Henry Oliver (1:11:55)That's a lovely place to end. John Mullen, thank you very much.John Mullan (1:11:58)Thanks, it's been a delight, a delight. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

durée : 00:09:31 - Le Fil de l'histoire - par : Stéphanie Duncan - 6 août 1945, trois heures du matin. Trois bombardiers américains décollent de la base de Tinian dans les îles Mariannes, un archipel du Pacifique-Est. Deux avions sont là pour prendre des mesures et des photos. Le troisième est celui qui, dans la soute, transporte la bombe A, surnommée "Little Boy". - invités : Olivier WIEVIORKA - Olivier Wieviorka : Historien, professeur à l'École normale supérieure de Cachan - réalisé par : Claire DESTACAMP Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

El rei de les neus. «Dissection d'une chute de neige», de Sara Stridsberg. Traducció: Marianne Ségol-Samoy. Dramatúrgia: Lucas Samain. Intèrprets: Thierry Bosc, Murielle Colvez, Habib Dembélé, Marie-Sophie Ferdane, Christophe Grégoire, Ludmilla Makowski, Emmanuel Noblet. Escenografia: Alain Lagarde. Vestuari: Fanny Brouste. Il·luminació: Olivier Oudiou. So: Xavier Jacquot. Vídeo: Pierre Martin Oriol. Caracterització: Férouz Zaafour. Màscares: Judith Dubois. Ajudanta de vestuari: Peggy Sturm. Producció: Théâtre Nanterre- Amandiers - CDN, Théâtre du Nord - CDN Lille Tourcoing Hauts-de-France. Amb el suport de Hauts-de-France Region i el Ministeri de Cultura. Equips tècnics i de gestió del TNC. Direcció Christophe Rauck. Sala Gran, Teatre Nacional de Catalunya, Barcelona, 18 i 19 octubre 2025. Veu: Andreu Sotorra. Música: Epitafi de Seikilos. Interpretació: Anonymous, Capella de Ministrers i Carles Magraner. Composició: Anònim. Àlbum: El cicle de la vida, Capella de Ministrers, 2012.

Da mensen min begynte å oppføre seg helt uforutsigbart som 39-åring, og jeg i tillegg fikk sterkere PMS, mistenkte jeg at det kunne være perimenopause. Fastlegen og gynekologen mente noe annet, og jeg ble satt på p-piller – som bare gjorde det verre

1967 : Les soldats canadiens ont-ils vraiment été réduits au silence après le crash d'un OVNI en mer ? La Roulette révèle la phobie incontrôlable d'Étienne pour la fosse des Mariannes, et l'équipe s'affronte dans le débat brûlant : devons-nous accepter des chaleurs de 30 degrés en automne ? Voir https://www.cogecomedia.com/vie-privee pour notre politique de vie privée

«Pandemien var en vekker!» mener tidligere justisminister Emilie Enger Mehl, som har jobbet mye med beredskap i sin tid som statsråd. Emilie Enger Mehl er stortingsrepresentant for Senterpartiet. Hun sitter nå i Finanskomiteen, men var justisminister fra stortingsvalget i 2021 og frem til SP gikk ut av regjeringen 4.februar i år. Emilie har vært justisminister i en periode med mange kriser for Norge. I løpet av kort tid i 2021 og 2022 blusset koranapandemien opp igjen, med en ny nedstengelse, Russland invaderte Ukraina og terrorangrepet 25.juni. Hun forteller om hvordan hun jobbet med beredskapsarbeidet og svarer på Mariannes spørsmål om tumultene rundt kriseloven. Emilie forteller om de viktigste sakene fra tiden hun var justisminister og hvordan det var å havne i opposisjon etter at SP gikk ut av regjering. Hva er de viktigste justispolitiske sakene for SP? Hvorfor ombestemte hun seg om allmenn bevæpning av politiet? Og hvordan startet interessen for juss og justispolitikk? Emilie er opptatt av beredskapsdelen av justisministerposten, men også å tenke lange linjer i justispolitikken uavhengig av krisene som rammer. Emilie sier at politikk for henne handler om verdivalg og juss om rettferdighet – hør mer om hvordan det har påvirket hennes meninger i justis- og beredskapspolitikken i denne episoden, hvor hun også forteller hvilke saker som gir henne «indre gru»!See omnystudio.com/listener for privacy information.

durée : 00:09:31 - Le Fil de l'histoire - par : Stéphanie Duncan - 6 août 1945, trois heures du matin. Trois bombardiers américains décollent de la base de Tinian dans les îles Mariannes, un archipel du Pacifique-Est. Deux avions sont là pour prendre des mesures et des photos. Le troisième est celui qui, dans la soute, transporte la bombe A, surnommée "Little Boy". - invités : Olivier WIEVIORKA - Olivier Wieviorka : Historien, professeur à l'École normale supérieure de Cachan - réalisé par : Claire DESTACAMP Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Mariannes hemsida: https://www.livsverk.se/Kontakt: jonasandlighet@gmail.comAndlighet på olika plattformarYoutube: https://www.youtube.com/@andlighetApple podcasts: https://podcasts.apple.com/se/podcast/andlighet/id1603002647?l=enSpotify: https://open.spotify.com/show/5CIB4x6sOyceoxShQvnKpZ?si=Hyo1wvOqTqCIKj5-BIXowQAndlighet, spiritualitet, sanning, ärlighet, kärlek, zen, advaita vedanta, ickedualitet, nonduality, enhet, Ramana Maharshi, Nisargadatta Maharaj, Eckart Tolle, Rumi, psykologi, Ken Wilber, flow, flöde, varande, sådanhet, upplysning, uppvaknande, moksha, teosis, nirvana, fanaa, kensho, satori, kristen mystik, Jesus, sufism, kabbalah, daoism, vetenskap, medvetandet, bhakti, devotion, shakti, prana, chi, kundalini, psykedelika

« Vous êtes contaminés », s'exclame le New York Times. Le plastique est partout et même en nous… « Lorsque les scientifiques testent la neige de l'Antarctique ou les glaces du l'Everest, les plastiques sont là. En 2019, lorsqu'un explorateur a atteint les plus grandes profondeurs de l'océan, dans la fosse des Mariannes, il a constaté que les plastiques l'avaient battu là aussi, à des kilomètres au-delà de la portée de la lumière naturelle. Le plastique est désormais présent dans la chair des poissons, où il interfère avec la reproduction ; dans les tiges des plantes, où il interfère avec la photosynthèse ; et dans bien d'autres choses que nous plaçons dans nos assiettes. Il y a peut-être du plastique dans votre salive, pointe encore le New York Times, et presque certainement dans votre sang. On a trouvé du plastique dans les cœurs et les reins de l'homme et dans d'autres organes, mais aussi dans le lait maternel. Et comme du plastique a été trouvé aussi dans le fluide folliculaire ovarien et dans le tissu testiculaire, ainsi que dans la majorité des échantillons de sperme humain, il est déjà présent non seulement chez les enfants à naître, mais aussi chez ceux qui n'ont pas encore été conçus ». Fantastique, mais… C'est dire, soupire Le Soir à Bruxelles, si « la pression est maximale sur les délégués de près de 180 pays réunis à partir de ce mardi à Genève pour tenter de conclure un traité international pour ralentir la pollution plastique qui étouffe notre planète et… nos organismes ». C'est vrai, poursuit le quotidien belge, « le plastique, c'est fantastique : il a été le support d'un nombre incalculable de progrès, en médecine, en ingénierie, en électronique… À l'image du pétrole et du gaz, dont il est un dérivé, il a rendu et rend encore notre vie plus confortable, plus facile. Mais ce progrès a un prix. Un prix terrible, s'exclame Le Soir. Selon un rapport publié hier par la revue médicale britannique The Lancet, trois des substances les plus utilisées – le bisphénol A, les polybromodiphényléthers et les phtalates – auraient des conséquences sur la santé qui se chiffreraient à… 1 500 milliards de dollars par an ! » « C'est pourquoi, insiste le quotidien suisse Le Temps, les États réunis à Genève jusqu'au 14 août doivent réussir à s'accorder sur un traité, afin de ralentir ce fléau qui rend malades la planète et les humains ». La réunion de la dernière chance ? Reste que les discussions s'annoncent difficiles, prévient pour sa part Le Monde à Paris. « Organisée dans un contexte géopolitique tendu, cette réunion de Genève apparaît comme la réunion de la dernière chance pour parvenir à un accord entre deux blocs dont les positions n'ont jamais paru aussi éloignées : d'un côté une centaine de pays, dont ceux de l'Union européenne, poussent pour un traité ambitieux qui s'attaque au problème à la source en fermant le robinet d'une production de plastiques aujourd'hui hors de contrôle ; de l'autre, pointe Le Monde, un petit groupe de pays producteurs de pétrole et de gaz emmenés par l'Arabie saoudite, l'Iran et la Russie et soutenus par la Chine et les États-Unis s'y oppose fermement et veut cantonner le périmètre du traité à la question de la gestion des déchets et du recyclage ». Quelques conseils… Enfin, en attendant, Le Figaro donne des « conseils pour limiter son exposition quotidienne aux microplastiques : bien que nous n'ayons pas encore assez de distance et de résultats concrets pour attester des effets nocifs, ou non, de la présence impromptue de ces plastiques, beaucoup de chercheurs appellent au principe de précaution », pointe le journal. Alors, « un des premiers gestes simples à adopter est d'arrêter de boire de l'eau contenue dans des bouteilles en plastique car leur emballage tout comme leur bouchon peuvent libérer des particules dans l'eau (…) ; il faut éviter de faire chauffer au micro-ondes des aliments dans des contenants en plastique ;il faut  surveiller sa consommation de poisson et de fruits de mer -  exemple : un plat de moules peut ainsi contenir jusqu'à 90 particules de plastique ; ou encore pour les vêtements, il faut  choisir des matériaux naturels et éviter les produits synthétiques ».

Marianne Behn er kanskje aller mest kjent i Norge som moren til vår kjære avdøde Ari Behn, men hun er selvfølgelig uendelig mye mer enn det. Nå i sommer er Marianne aktuell med boken Krystallmagi. Det er en bok hun opprinnelig begynte å arbeide med sammen med Ari. Men etter at han valgte å avslutte sitt liv, var det en annen bok, Min Ari som først trengte å komme ut i verden.  I episoden snakker vi om hva krystaller egentlig er, og hvordan vi kan bruke krystaller blant annet til personlig vekst og i ulike former for healingarbeid gjennom det vi kan kalle VIBRASJONSMEDISIN. Vi snakker om Mariannes krystallfavoritter, hvilke krystaller som hjalp henne da hun var utbrent da hun var i førtiårene (som bergkrystall, granat, fluoritt og sort turmalin), og vi går litt dypere inn på rubin, rav, apofylitt og ametrin.Velkommen inn i en dyp, sårbar og ærlig samtale om livets opp- og nedturer, om tap, sorg, og om å finne kraften igjen - ved hjelp av blant annet krystallenes kraft, skjønnhet og visdom. Boken Krystallmagi - som jo er så mye mer enn en bok, finner du i alle landets bokhandlere, f.eks. her på Ark.no:https://www.ark.no/produkt/boker/hobbyboker-og-fritid/krystallmagi-9788205611979Følg gjerne Marianne Behn på Facebook - og sjekk gjerne ut Marianne Behn Akademiet på mariannebehn.no Og du: LIKER DU DENNE EPISODEN, SÅ ABONNER GJERNE! Det er gratis- og gjør at algoritmene bringer episoden enda lenger ut til potensielle lyttere.-og følg meg gjerne på Insta på @lamaskenfalle eller på Facebook - under mitt navn - Mai Camilla Munkejordog heeeelt til sist: Jeg avslutter episoden med å vise til MAGISK OKTOBERKVELD 25. oktober på Gjøvik kino - hvor jeg skal bidra med foredrag. Sjekk ut HER for mer informasjon:https://gjovikkinoogscene.no/magisk-oktoberkveld-en-portal-til-sjelen-a9k2dz/

In Folge 176 hat Marianne von ihren ersten zwei Geburten - einer schnellen Geburt im Geburtshaus und einem Kaiserschnitt bei 24+4 - erzählt. Zum Zeitpunkt der Aufnahme war sie mit ihrem dritten Kind schwanger und die Hebamme, die sie bei der Geburt ihres Kindes zuhause hätte begleiten sollen, hatte ihr in Folge des Gerichtsurteils gegen Margarete Wana abgesagt. In dieser Folge erzählt Marianne, wie sie letztlich doch die heilsame Hausgeburt erleben konnte, die sie sich so sehr gewünscht hatte. Die Petition von Justice for Birth zur Verbesserung der Geburtshilfe in Österreich findest du hier. *** Die Shownotes findest du hier. Hier geht es zum Geburtsgeschichten Newsletter. Unterstütze den Podcast auf buymeacoffee.com/geburt Folge direkt herunterladen

Son grand-père est le premier à avoir volé dans la stratosphère, inspirant à Hergé le professeur Tournesol. son père le premier à avoir plongé dans les abysses en bathyscaphe, quant à Bertrand il a réussi le premier tour du monde en avion solaire. Les Piccard en BD, pionniers du ciel et des abysses... Prenons de la hauteur et de la profondeur aujourd'hui dans l'espace comme dans le temps, sur les traces de trois savanturiers de génie. 3 générations de pionniers du ciel et des abysses Dans la famille Piccard, on commence par le grand-père Auguste Piccard, le physicien qui inspira Hergé pour le personnage du professeur Tournesol est le 1er homme à avoir atteint la stratosphère en ballon et à voir la courbure de la Terre. On poursuit avec le père Jacques Piccard, océanographe et écologiste avant l'heure qui descendit avec le bathyscaphe conçu par son père à plus de 10 000 mètres dans la fosse des Mariannes pour y découvrir la vie au fond des océans. Et enfin, dans la famille Piccard, nous aurons la chance d'être en duplex depuis Lausanne avec le fils Bertrand Piccard, aéronaute et pionner des énergies propres, qui réalisa le 1er tour du monde en ballon sans escale et avec Solar impulse le premier tour du monde en avion solaire... Avec Bertrand Piccard (le premier à avoir fait le Tour du Monde en ballon avant de se lancer dans l'aventure des énergies renouvelables avec Solar Impulse, l'avion solaire) et l'auteur et dessinateur Jean-Yves Duhoo pour la BD 1, 2, 3 Piccard parue chez Dargaud.

Son grand-père est le premier à avoir volé dans la stratosphère, inspirant à Hergé le professeur Tournesol. son père le premier à avoir plongé dans les abysses en bathyscaphe, quant à Bertrand il a réussi le premier tour du monde en avion solaire. Les Piccard en BD, pionniers du ciel et des abysses... Prenons de la hauteur et de la profondeur aujourd'hui dans l'espace comme dans le temps, sur les traces de trois savanturiers de génie. 3 générations de pionniers du ciel et des abysses Dans la famille Piccard, on commence par le grand-père Auguste Piccard, le physicien qui inspira Hergé pour le personnage du professeur Tournesol est le 1er homme à avoir atteint la stratosphère en ballon et à voir la courbure de la Terre. On poursuit avec le père Jacques Piccard, océanographe et écologiste avant l'heure qui descendit avec le bathyscaphe conçu par son père à plus de 10 000 mètres dans la fosse des Mariannes pour y découvrir la vie au fond des océans. Et enfin, dans la famille Piccard, nous aurons la chance d'être en duplex depuis Lausanne avec le fils Bertrand Piccard, aéronaute et pionner des énergies propres, qui réalisa le 1er tour du monde en ballon sans escale et avec Solar impulse le premier tour du monde en avion solaire... Avec Bertrand Piccard (le premier à avoir fait le Tour du Monde en ballon avant de se lancer dans l'aventure des énergies renouvelables avec Solar Impulse, l'avion solaire) et l'auteur et dessinateur Jean-Yves Duhoo pour la BD 1, 2, 3 Piccard parue chez Dargaud.

Sommeren nærmer seg noe som betyr økt fokus på slanking og dietter. Derfor tenker jeg er det er helt på sin plass å snakke med en som er pensjonert slanker! Jeg får besøk av Marianne Sæbø som helt fra hun var liten har slanket seg, men de siste årene har hun tatt et oppgjør med slankingen og ønsker nå mindre vektstigma og en klokere måte å snakke om vekt på.Ønsker du mer påfyll om denne tematikken kan vi tipse om at Marianne har en egen podcast som heter nettopp "Ferdig slanka"! Den finner du alle steder du lytter til podcast.

En sensommerdag i 1981 forsvinner seks år gamle Marianne Rugaas Knutsen sporløst etter en tur til butikken for å kjøpe is. Til tross for en omfattende leteaksjon og mange mennesker i området, er det ingen som har sett henne etter at hun forlot butikken for over førti år siden. Mariannes mor, Torunn Rugaas, føler at tiden begynner å renne ut, og på datterens femtiårsdag la hun ut en etterlysning på Facebook. Posten gikk viralt, og er delt over 18.000 ganger. Familien håper å få nye svar på hva som skjedde med Marianne. «Jenta som ble borte» har premiere i Svarttrost Dok den 15. mai. Hvis du vil høre hele serien så fort den er ute, kan du starte abonnement på Svarttrost Dok via Spotify her: https://creators.spotify.com/pod/show/svarttrost/subscribe , ved å trykke på abonner-knappen i Apples podkastspiller eller ved å bli medlem på vår YouTube-kanal. «Jenta som ble borte» er laget av Kristin Vestreim og Linn Bjørnsen i Fenomen. Klipp og lyddesign ved Nils Wingerei. Ansvarlig redaktør i Svarttrost er Kari Hesthamar. Serien er fra 2025. 

Voir le théâtre sous un nouvel angle. En direct du théâtre Amandiers-Nanterre, dans ce lieu sublime, avec des tableaux sur les murs oui, des livres à acheter, un bar et cette tapisserie fleurie. Nous sommes dans ce lieu éphémère qu'est le théâtre des Amandiers, en plein travaux. Théâtre du monde, des joies et des réflexions, c'est un théâtre qui est ce soir et ce week-end, le théâtre des séries, puisque ce week-end, le théâtre des Amandiers accueille le festival Théâtre en séries. Mais aussi un focus sur la pièce "Anatomie d'un suicide" d'Alice Birch qui se joue jusqu'au 19 avril. Angèle Chatelier accueille au micro : Christophe Rauck, metteur en scène et directeur du théâtre des Amandiers, Marianne Ségol, comédienne, ici à la dramaturgie et à la collaboration artistique et Raphael, Sébastien, Clément et Antoine, presque tous les Feu! Chatterton.

Voir le théâtre sous un nouvel angle. En direct du théâtre Amandiers-Nanterre, dans ce lieu sublime, avec des tableaux sur les murs oui, des livres à acheter, un bar et cette tapisserie fleurie. Nous sommes dans ce lieu éphémère qu'est le Théâtre des Amandiers, en plein travaux. Théâtre du monde, des joies et des réflexions, c'est un théâtre qui est ce soir et ce week-end, le théâtre des séries, puisque ce week-end, le théâtre des Amandiers accueille le festival Théâtre en Série(s) et donne la pièce "Anatomie d'un suicide" d'Alice Birch qui se joue jusqu'au 19 avril.Angèle Chatelier accueille au micro : Christophe Rauck, metteur en scène et directeur du Théâtre des Amandiers, Marianne Ségol, comédienne, ici à la dramaturgie et à la collaboration artistique et Raphaël, Sébastien, Clément et Antoine, presque tous les Feu! Chatterton. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

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Wer kennt es nicht? Die Steuererklärung wartet, der Schreibtisch quillt über, und die To-Do-Liste wird immer länger - aber irgendwie findet sich ständig etwas "Wichtigeres" zu tun. In dieser Folge widmen sich Andreas und Werner zusammen mit der erfahrenen Ergotherapeutin Marianne Jouanneaux dem Phänomen der Prokrastination - dem chronischen Aufschieben von Aufgaben. Warum fällt es uns manchmal so schwer, Dinge anzupacken, obwohl wir genau wissen, dass sie erledigt werden müssen? Marianne erklärt die psychologischen Mechanismen hinter dem Aufschiebeverhalten und räumt dabei mit dem Mythos auf, dass es sich dabei einfach nur um "Faulheit" handelt. Die drei diskutieren, wann harmloses Aufschieben in problematische Prokrastination übergeht und welche Folgen das für Betroffene haben kann. Besonders wertvoll wird diese Episode durch Mariannes therapeutische Expertise: Sie teilt bewährte Strategien aus ihrer Praxis und gibt konkrete, alltagstaugliche Tipps, wie man den inneren Schweinehund überlisten kann. Von cleveren Planungsmethoden bis hin zu motivationspsychologischen Tricks - hier finden Hörerinnen und Hörer praktische Werkzeuge, um aus dem Teufelskreis des Aufschiebens auszubrechen. Eine Folge, die nicht nur zum Nachdenken anregt, sondern auch direkt umsetzbare Lösungen bietet. Daher solltest Du diese Podcastfolge gleich anhören ….und nicht auf morgen verschieben! Links: Infoseiten der Uni Münster: https://www.uni-muenster.de/Prokrastinationsambulanz/prokrastination.html Selbsttest: https://ww3.unipark.de/uc/SelbsttestProkrastination23/ Selbsthilfe: https://www.prokrastination.net/forum/viewtopic.php?t=27 Infos auf den ARD-Seiten: https://www.ardalpha.de/wissen/psychologie/prokrastination-ueberwinden-definition-ursache-behandlung-aufschieberitis-prokrastinieren-100.html Infoseiten der BARMER: https://www.barmer.de/gesundheit-verstehen/psyche/psychische-gesundheit/prokrastination-1070908#:~:text=Prokrastination%20ist%20im%20Rahmen%20der,sehr%20hinter%20ihren%20M%C3%B6glichkeiten%20zur%C3%BCckbleiben. Überblicksartiger Ratgeberbeitrag: https://www.therapie.de/psyche/info/ratgeber/lebenshilfe-artikel/prokrastination/ueberwindungsstrategien/ Infoseiten der Hochschule Fresenius: https://www.hs-fresenius.de/blog/ratgeber/5-tipps-gegen-prokrastination/ Therapiezentrum in dem Marianne arbeitet: https://therapiezentrum-rahnsdorf.de/ergotherapie-jouanneaux/ Buch von Marianne: https://www.amazon.de/dp/B0DKCBQKQV?ref=pe93986420_774957520

Marianne Marescotti hade en världsranking på 283 i världen så seniorrankingen redan före hon tog beslutet att börja på college i Las Vegas. Efter college valde Marianne att inte satsa vidare som proffs men blev ändå kvar inom tennisen på olika sätt. Dels genom styrelseroller på KLTK, SALK, i Gustavsbergs TK och i Svenska Tennisförbundet och idag genom sitt företag Upotential, ett gym för mental träning.    I avsnittet pratar vi dels om Mariannes egen tenniskarriär, men också om rollerna i olika styrelser och hur viktig den mentala biten är både för tennisspelare och för människor generellt. Vad behövs för att må bättre? Vilka kakbitar behöver finnas med för att få en helhet i sitt välbefinnande och vad har Marianne för filosofi när det gäller mental träning för idrottare?   * Läs mer om Stöde Tennis Camp⁠⁠ ⁠⁠* Läs mer om 360 Player⁠⁠ Tack till alla partners:  * Zenniz – The Smart Tennis Solution: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.zenniz.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  * House of Bontin – Smarta destinationen för tennis och padel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://⁠⁠⁠⁠⁠www.houseofbontin.se⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Använd koden ”Baslinjen” för 10% på hela sortimentet förutom på Slinger Bag eller redan nedsatta priser.)  * Wilson Tennis Camp: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://⁠⁠www.tenniscamp.se/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Stort tack också till alla föreningspartners och prenumeranter på Baslinjen.com! Besök ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.baslinjen.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ för allt möjligt material om svensk och nordisk tennis! 

Lauréate du prix de la Femme d'Influence 2024 dans la catégorie Politique, ex-aequo avec Rachida Dati, Charlyne Péculier navigue dans la sphère politique depuis ses 19 ans.Tour à tour militante, collaboratrice d'élus et élue locale, elle livre les coulisses de ses différentes expériences dans cet épisode. Mais la vie de Charlyne ne se résume pas à la politique. Elle est aussi fondatrice et directrice générale de l'association Un abri qui sauve des vies, qui propose des solutions d'hébergement d'urgence pour les personnes victimes de violences grâce à un réseau de solidarité partout en France. Vous adorerez cet épisode si vous avez envie d'en savoir plus sur : Les coulisses des investitures en circo ;La vraie vie d'une élue locale ;Les challenges de la gestion d'une association. Pour suivre Charlyne Péculier :Sur InstaSur LinkedInL'asso sur InstaPour consulter le site d'Un abris qui sauve des vies

In dieser festlichen Episode von „Schnurri mit Buri“ nimmt Marianne Cathomen die Zuhörerinnen und Zuhörer mit auf eine Reise durch ihr bewegtes Leben als Schlagersängerin und Songwriterin. Nach ihrem grossen Erfolg beim internationalen Grandprix 2001 in Wien, der sie einem Millionenpublikum bekannt machte, prägte sie die Schlagerszene in der Schweiz und im deutschsprachigen Raum. Zudem hat es Mariannes aktuelles Album „Alles ist Liebe“ direkt auf Platz 1 geschafft.  Die Bündnerin lebte bis vor kurzem in Florida, USA, und berichtet, wie diese Erfahrung ihr Leben geprägt hat. Marianne erzählt von den Unterschieden zwischen der amerikanischen und der Schweizer Kultur und was sie an beiden besonders schätzt. Zudem spricht sie darüber, warum es wichtig ist, sich neben der Musik weitere berufliche Standbeine aufzubauen und wie sie diese in ihrem Leben integriert hat.    Als begeisterte Weihnachtsliebhaberin spricht Marianne Cathomen über die Bedeutung der Adventszeit, ihren Glauben und ihre Lieblings-Weihnachtstraditionen. Sie verrät, wie sie ihre Heimkehr in die Schweiz mit festlicher Dekoration, stimmungsvoller Musik und besinnlichen Momenten zelebriert. Gemeinsam mit Anita tauscht sie sich über Weihnachtslieder aus, die für „Hühnerhaut“-Momente sorgen, und lässt die Zuhörerinnen und Zuhörer an ihren Neujahrsvorsätzen teilhaben. Eine Episode voller Herzlichkeit, inspirierender Geschichten und weihnachtlicher Stimmung, die perfekt in die Festtage passt.   Anita Buri Instagram: anita_buri_official Marianne Cathomen: mariannecathomenofficial Sponsored by Lidl Schweiz: https://www.lidl.ch Lidl Schweiz Instagram: lidlch

I denne episoden har jeg med meg lege og spesialist i allmennmedisin, Marianne Natvik. Hun har mange års erfaring som fastlege og ved kvinneklinikk, og jobber nå som forsker ved Universitetet i Oslo. Marianne kaller seg selv en "overgangsoptimist" og mener at overgangsalderen slett ikke er noen undergang – faktisk kan det være starten på en ny og givende fase i livet. Vi snakker om hvorfor overgangsalderen har vært så tabubelagt, hva kinesisk medisin omtaler som "den andre våren," og den fascinerende bestemorhypotesen. I episoden gir Marianne også en grundig innføring i hva perimenopause og menopause er, når det starter, og hvilke symptomer som kan dukke opp. Vi diskuterer alt fra hetetokter til PMS, og hvordan man kan skille hormonelle endringer fra stress og belastninger i hverdagen. Marianne deler sine beste råd for behandling av overgangsplager, inkludert både medikamentelle og naturlige tilnærminger – ja, vi snakker også litt om testosteron! Vi avslutter med Mariannes beste tips for egenomsorg, fordi å ta vare på seg selv er kanskje viktigere enn noen gang i denne livsfasen. Mer fra Marianne Natvik: https://www.instagram.com/drmariannenatvik/Boken OvergangskraftØnsker deg en nydelig uke!Alt godt,AnnetteFølg meg gjerne på:Instagram.com/dr.annettedraglandFacebook.com/drannettedraglandhttps://youtube.com/@drannetteDisclaimer: Innholdet i podcasten og på denne nettsiden er ikke ment å utgjøre eller være en erstatning for profesjonell medisinsk rådgivning, diagnose eller behandling. Søk alltid råd fra legen din eller annet kvalifisert helsepersonell hvis du har spørsmål angående en medisinsk tilstand. Hosted on Acast. See acast.com/privacy for more information.

Favorittvenneparet for deg som ikke liker vennepar er tilbake der de hører hjemme - i ørene dine! Vegard, lapskauspølse (44), er ferdig utredet og er klar for å avsløre resultatet i denne neglebitersk spennende sesongfinalen av pakkeforløpet hans. Såvel lyttere som internasjonale bettingselskaper holder pusten! Cia, student, sektmedlem og sumomor (45), har et arsenal av livsbejaende prosjekter på gang, og gir løpende oppdateringer fra både utdanning, yrkesliv, kulturliv og indre reiseliv! Ellers byr episoden på nye utgaver av "Språkspalta", Cias psykodramabaserte veiledningshjørne "Cias psykodramabaserte veiledningshjørne", den første Detta nitter itte-babyen ønskes velkommen, en bunke nye lytterbrev tar for seg så ulike temaer som ubesvarte vennskap, møtekonflikter og lettrørthetens velsignelse/forbannelse, før det hele rundes av med ei ekstra tjukk og trivelig TSGVB-spalte. Denne episoden trakk seg fra stortingslista etter nominasjonsmøtet i Sør-Trøndelag Arbeiderparti. TSGVB: Marit Røstes bok "Tjukk - føkk skammen". Sunniva Árja Tobiassens tjukkforskning. Carina Carlsens bok "Ikke mere kake nå". Bra Folk. Kompani Lauritzen: Tropp 3. TES V: Skyrim. Hallmark-julefilmer. Detta nitter ittes podkastfamilie "Det handler ikke om deg", "Tordentale" og "Også pasient". Podkasten "Ferdig slanka" med Marianne Sæbø. Podkasten "Let's play Skyrim" med MrNavens. Hunder, katter, valper og kattunger. Odalen. Spilletid: 1 time og 45 minutter. Lenker: Marit Røstes bok Tjukk - føkk skammen: https://www.norli.no/boker/dokumentar-og-fakta/familie-og-helse/medisin-og-sykdom/tjukk   Marit Røste på instagram: https://www.instagram.com/marit_roste/  Om “tjukkforsker” Sunniva Árja Tobiassen: https://www.uib.no/skok/164926/en-tjukkere-kj%C3%B8nns-og-seksualitetsforskning Tjukkforskning på instagram: https://www.instagram.com/tjukkforskning/ VIPPS: #813459 Kontakt Detta nitter itte: ⁠nitteritte@gmail.com

Det er ergerlig å måtte prioritere fattigfolk på dødsleiet når rike mennesker ligger for døden et annet sted i byen. Men slike prøvelser må presten Martens utholde i ukens kapitler av "Garman & Worse". Hvorfor jubler Gabriel plutselig over skolegang i Dresden, og hva ER egentlig greia med jomfru Cordsens mange hemmeligheter? I 2024 er det 175 år siden Stavanger største forfatter, Alexander L. Kielland, ble født. Derfor leser vi Kiellands roman "Garman & Worse" i Sølvbergets podcast høsten 2024. Boka blir også del ut gratis til Stavangers befolkning. Les mer om prosjektet og hør hele serien på solvberget.no/garman. Kapittel 19-21: (00:00) Velkommen (00:59) Handlingsreferat (03:55) Kiellands snarveier (09:34) Ordveksling om veksler (12:48) Har man sagt A, så ... (20:03) Metoo, 1880-style? (23:11) Føniks, hva er det? (28:55) Åsmund er lei av jomfru Cordsen (32:21) Unge-konsulens død (35:55) Mariannes død (40:30) Hva nå? (45:11) Bare én setning Har du kommentarer til boka eller podcast-serien? Skriv til podcast@solvberget.no. God lesing! Sliter du med å holde oversikten over persongalleriet i "Garman & Worse"? Sjekk relasjonskartet vårt her: https://shorturl.at/lxVXn --- Innspilt på Sølvberget bibliotek og kulturhus i november 2024. Medvirkende: Tomas Gustafsson, Nana Jaokbsen og Åsmund Ådnøy Produksjon: Åsmund Ådnøy

Lorsqu'elle devient Députée de la Gironde en 2017, Bérangère Couillard n'a aucune expérience de la politique. Pourtant, à 31 ans, elle s'impose rapidement comme une figure importante de la Macronie. Devenue porte-parole de son groupe parlementaire à l'Assemblée nationale, elle est réélue en 2022 et la même année, elle est nommée secrétaire d'État à l'Écologie auprès du ministre de la Transition Écologique. Un an plus tard, elle devient ministre chargée de l'Égalité femmes-hommes. Suite à la dissolution de l'Assemblée nationale en juin 2024, elle se désiste au profit du candidat du socialiste dans sa circonscription. Mais la vie publique continue puisqu'elle est nommée Présidente du Haut Conseil à l'Egalité dans l'été. Dans cet épisode, vous découvrirez : le parcours et l'ascension politique de Bérangère Couillard ; à quoi ressemble l'agenda d'une ministre ; les priorités de travail qu'elle va engager au HCE ;en quoi la vie politique est plus difficile pour les femmes et comment renforcer la parité ? ce qu'on ressent quand le mandat politique s'arrête ;comment réagir face à la gender fatigue et aux crispations que peut susciter le sujet du féminisme dans la société.Pour suivre Bérangère Couillard : Sur InstagramSur LinkedInPour consulter le site du HCE

Utiliser des miroirs pour booster la croissance des plantes, c'est l'idée ingénieuse mise en œuvre par une équipe de chercheurs de l'université de Guam. Dans les forêts karstiques de cette région, la lumière peine à atteindre le sol sous la canopée dense, un problème crucial pour les jeunes plants, notamment ceux de l'espèce menacée *Serianthes nelsonii*, un arbre légumineux des îles Mariannes.L'équipe du laboratoire de physiologie végétale a donc cherché une solution pour préserver cette espèce en voie de disparition. Selon Thomas Marler, professeur retraité à l'université de Guam, le paillis plastique coloré est couramment utilisé pour réfléchir la lumière du soleil et améliorer les cultures. Toutefois, son coût élevé et son efficacité limitée ont poussé les chercheurs à envisager une alternative : les miroirs.Placés en mosaïque autour des jeunes plants, ces miroirs hexagonaux reflètent la lumière du soleil à 360°, baignant ainsi la plante d'une lumière ambiante plus homogène. Les résultats, publiés dans la revue *Agronomy*, sont impressionnants : une augmentation de 161 % de la survie des semis, une longévité accrue de 236 %, et une croissance en hauteur améliorée de 175 %. Cette technique, à la fois simple et peu coûteuse, pourrait facilement être mise en place dans les pépinières de conservation, offrant une solution efficace pour maximiser la survie des plantes rares et contribuer à la préservation d'espèces en danger. Une innovation qui montre comment de petites interventions peuvent avoir un impact majeur sur la biodiversité et la préservation de l'environnement. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Welkom terug bij 'Helende gesprekken' (instagram: @helendegesprekken), de video-podcast (kijk voor de video op YouTube: @stephaniekaars) waarin ik (Stephanie Kaars, schrijver en spreker) om de week in gesprek ga met iemand die een bijzonder verhaal te vertellen heeft dat hoop, licht en inspiratie brengt.Deze aflevering praat ik met Marianne de Bruijn. Ergens was Mariannes man Simon altijd bang om ooit een hersentumor te krijgen. Marianne kon dat niet plaatsen, maar het gebeurde écht. Eind 2021 werd Simon ziek en helaas konden de artsen vrijwel niets voor hem doen. Mariannes (gezins)leven stond op z'n kop en als vanzelf werd zij Simons mantelzorger. Totdat Simon overleed... Hoe nuchter Marianne ook is, op zoek naar Simon en antwoorden maakt zij toch een afspraak met een medium. "Verpletterend", zo beschrijft ze deze ontmoeting, in pósitieve zin.Ruim twee jaar na Simons overlijden denkt Marianne nu heel anders over het leven en de dood: in dit 'helende gesprek' vertelt ze er alles over! Kijk voor meer informatie over het boek 'Hersenstreken, over leven met en sterven aan een hersentumor' op https://www.elikser.nl/hersenstreken.htm#:~:text=Hersenstreken%20is%20een%20boek%20dat,met%20andere%20vormen%20van%20kanker Ook benieuwd naar mijn verhaal? Luister dan de tien afleveringen van 'Mijn helende verhaal' op dit kanaal, plus de toegift van mijn dochter Sterre.Laat alsjeblieft een review achter en abonneer je op deze podcast als je niets wilt missen. Liefs, Stephanie (www.stephaniekaars.nl)

Gurli, Curi og Mariannes ferietur ved Viktoriasøen i Kenya afbrydes brat af et væbnet røveri, og en absurd jagt på de skyldige tager sin begyndelse. Medvirkende: Gurli Nielsen, Curi Thraner og Marianne Vedel. Tilrettlæggelse: Cecilie Sølvsten. Producer og vært: Torben Brandt. Kontakt radiofortaellinger@dr.dk

Les États-Unis viennent de revendiquer la possession d'une zone d'un million de km2, soit près de deux fois la superficie de la France. Ils ne se sont pas agrandis par la conquête militaire, mais par la revendication d'eaux territoriales plus étendues.En effet, la Convention des Nations Unies sur le droit de la mer (UNCLOS), adoptée en 1982, permet aux États concernés de revendiquer, notamment, la possession de plateaux continentaux au-delà de 200 milles marins.Ces régions, généralement peu profondes, sont une extension marine de zones terrestres. Un pays peut ainsi gérer, par-delà ses eaux territoriales, de vastes secteurs, dont les ressources halieutiques et minières sont parfois considérables.Les autorités américaines ont d'abord recueilli, durant des années, les données géologiques destinées à appuyer leurs revendications. C'est sur la base de ces informations qu'ils réclament à présent de vastes zones maritimes.Elles sont situées dans sept secteurs différents. En effet, ces extensions maritimes concernent aussi bien les rivages de l'Atlantique que ceux du Pacifique ou du golfe du Mexique. Ces zones offshore se trouvent aussi au large de l'Alaska comme au-delà de certaines possessions outre-mer, comme les îles Mariannes.Cette revendication se heurte cependant à certains obstacles juridiques. En effet, si plus de 160 pays ont ratifié l'UNCLOS, ce n'est pas le cas des États-Unis. De leur côté, les Américains soulignent le sérieux de leur démarche, entreprise en collaboration avec des agences officielles.Les autorités se sont notamment appuyées sur l'"United States geological survey", un organisme gouvernemental qui recueille des données sur les ressources terrestres. Mais cet argument ne convainc pas tout le monde, la Convention des Nations Unies sur le droit de la mer restant la référence obligée en matière de revendications maritimes.Si beaucoup d'observateurs restent prudents, c'est que de telles prétentions peuvent bouleverser certains équilibres géopolitiques. On se souvient ainsi des tensions provoquées par les revendications concurrentes, en mer de Chine du Sud, de la Chine et de certains de ses voisins, comme le Vietnam ou les Philippines. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

TK Pooe & Marianne Severin | The TK Show This episode was recorded on 15 July 2024. In this episode, TK speaks to Dr. Marianne Séverin about the differences and parallels between South Africa and France. They discuss the impact of political corruption on South Africa, the history of the National Front and Jean-Marie Le Pen in France, what motivates French voters, the legacy of French colonialism in Africa, the virtues of South African media, if the rise of the far right threatens the European Union, and the socio-political challenges facing French society. Marianne Séverin (PhD) is a French researcher of African descent who specializes in South Africa's political context. She has covered South African politics for over 30 years, having written her PhD dissertation on the ANC's political networks. In addition to this, her research encompasses human rights in Africa, including women's rights, disability rights, and the Right to Development, as well as the fight against corruption and Illicit Financial Flows (IFFs). Since 2023, she has been teaching courses on peace processes in Africa and will soon introduce courses on International Development and International Solidarity. LinkedIn TK Pooe (PhD) is a senior lecturer at the Witwatersrand School of Governance; his main fields of research are Public Policy themes such as Local Economic Development, Law and Development, Scenario Planning and Thinking, and Failure Analysis. Over the last ten years, he has lectured and consulted for various institutions like the North-West University's Government Studies Programme, the University of KwaZulu-Natal, Gordon Institute of Business Science (University of Pretoria) and the Thabo Mbeki African Leadership Institute. Before joining academia, he worked in various government institutions as a Public Policy research consultant. Twitter LinkedIn Subscribe to our Substack.   Follow us on Social Media: YouTube LinkedIn Facebook Twitter Instagram   Subscribe to the Discourse ZA Podcast: iTunes Stitcher Spotify RSS feed  

À la surprise générale, Julian Assange pourrait être bientôt libre. Le fondateur de Wikileaks vient de conclure un accord avec la justice américaine et devrait plaider coupable dans la nuit de mardi à mercredi, selon des documents judiciaires dévoilés mardi.Julian Assange a quitté la prison de haute sécurité à Londres où il était incarcéré pour rejoindre un tribunal américain des îles Mariannes. C'est là que le lanceur d'alerte australien devrait être jugé pour la diffusion de documents confidentiels américains. Il échapperait ainsi à une extradition vers les Etats-Unis. Pour comprendre le dernier rebondissement de cette longue et complexe bataille judiciaire, nous vous proposons de réécouter l'épisode que nous avions consacré avec Martin Untersinger du service "Pixels" du "Monde" au parcours hors-norme de ce hackeur devenu bête noire des Etats-Unis.Un épisode produit et présenté par Morgane Tual, réalisé par Florentin Baume. Voix de doublage : Garance Muñoz et Pierre Trouvé.---Pour soutenir "L'Heure du Monde" et notre rédaction, abonnez-vous sur abopodcast.lemonde.fr

«La Parole aux négresses», paru en 1978, est l'ouvrage fondateur du féminisme noir francophone. L'anthropologue sénégalaise Awa Thiam y met au jour le vécu, les maux et les combats des femmes noires, à travers leurs propres paroles. Devenu introuvable, ce texte est réédité en France aux éditions Divergences avec une préface de Mame-Fatou Niang, et au Sénégal et en Afrique de l'Ouest, aux éditions Saaraba, préfacée par Ndèye Fatou Kane. Awa Thiam, née en 1950 au Sénégal, est une anthropologue, femme politique et écrivaine féministe sénégalaise. Étudiante à Paris dans les années 1970, elle cofonde la Coordination des Femmes noires en mai 1976. Très engagée dans la lutte contre les mutilations génitales, elle cofonde également la Commission pour l'abolition des mutilations sexuelles en 1982. À son retour au Sénégal, elle devient professeure associée et chercheure en Anthropologie et s'implique dans le domaine de la santé publique en s'engageant plus particulièrement dans la cause des femmes.Dans La Parole aux négresses, Awa Thiam met au jour le vécu, les maux et les combats des femmes noires, à travers leurs propres paroles. Pour elle, le féminisme doit tenir compte de la «triple oppression» des femmes noires (de genre, de classe, de race) et des problèmes spécifiques de ces dernières, tels que les mutilations génitales, l'analphabétisme, les grossesses précoces, la polygamie, le mariage forcé et l'influence de la religion. Awa Thiam est la première féministe à formuler, quelques années avant Bell hooks, la question du positionnement des femmes noires dans le mouvement féministe.Sa réédition chez Divergences est préfacée par Mame-Fatou Niang.Mame-Fatou Niang est une universitaire franco-sénégalaise. Maîtresse de conférences, elle enseigne la littérature française et francophone aux États-Unis et s'intéresse aux questions urbaines dans la littérature française contemporaine, ainsi qu'à l'étude de la diaspora noire en Europe. Elle a également réalisé un documentaire intitulé «Mariannes noires».

durée : 00:57:47 - Cultures Monde - par : Mélanie Chalandon - Retour d'Haïti, où la population lutte pour sa survie au quotidien entre menace des gangs et désaffection de l'Etat // En Afrique du Sud, les élections générales pourraient bien marquer la fin du règne de l'ANC après 30 ans d'hégémonie. - invités : Marianne Séverin Chercheuse associée au laboratoire Les Afriques dans le Monde à l'Université de Bordeaux, experte de l'Afrique du Sud; Francis Kpatindé Maître de conférence à Sciences Po; Roméo Langlois Grand reporter à France 24

durée : 00:10:35 - Les Enjeux internationaux - par : Guillaume Erner - Jacob Zuma, ancien président mis en cause dans plusieurs affaires de corruption, pourra-t-il à nouveau se présenter aux élections législatives d'Afrique du Sud ? Le doute plane encore à l'approche des élections qui auront lieu à la fin du mois de mai dans le pays. - invités : Marianne Séverin Experte de l'Afrique du Sud au laboratoire Les Afriques dans le Monde (LAM) à Sciences Po Bordeaux

Vital Kamerhe a été officiellement désigné candidat à la présidence de l'Assemblée nationale pour la majorité au pouvoir en RDC. Il a été choisi lors d'une primaire, une première dans le pays. Également dans l'actualité, à près d'un mois des élections générales en Afrique du Sud, l'ANC de Cyril Ramaphosa et le MK de Jacob Zuma battent campagne. Marianne Séverin, chercheuse associée au laboratoire de recherche Les Afriques dans le Monde (LAM) Sciences Po Bordeaux, est notre invitée. Enfin au Kenya, des chercheurs ont mis au point un haricot super résistant. 

Med en mimosa i hånden tar Marianne med deg med på en reise gjennom de nyeste trendene i denne episoden av "Haute Mess". Marianne tar vare på noen påsketradisjoner, nemlig påskenøtter. Hun presenterer en helt revolusjonerende konkurranse der du har sjansen til å vinne et magisk påskeegg fylt med Mariannes favoritter innen klær, styling og hudpleie. Alt du trenger å gjøre for å være med i trekningen, er å følge nøye med på denne episoden. Marianne deler også ferske nyheter, snakker om det spennende fenomenet "Sephora Kids", tar farvel med Valentinos Golden boy, Pierpaolo Piccioli, etter hans imponerende 16 år som kreativ leder. Og hun diskuterer den store gjenkomsten av capribuksen og hvordan vi kan få den til å fungere. Bli med meg og la oss utforske de hotteste temaene innen mote og skjønnhet i denne episoden av "Haute Mess".

Fast 120 Frauen aus den Bereichen Kultur, Medien, Wissenschaft und Gesellschaft waren seit 2014 zu Gast. Im Gespräch mit Ocke Bandixen erinnert sich Hubertus Meyer-Burckhardt an viele spannende Begegnungen. Er erklärt seine Prinzipien, mit denen er in den Austausch hineingeht und spricht über den großen Respekt, den er seinen Gesprächspartnerinnen entgegenbringt. Zu hören sind Ausschnitte aus den Gesprächen mit Katrin Sass, Annette Humpe, Doris Dörrie, Marianne Sägebrecht und Senta Berger. Abgeschlossen wird die Sendereihe "Meyer-Burckhardts Frauengeschichten" mit Iris Berben. Dieses Gespräch finden Sie – wie viele andere – in der ARD Audiothek.

Lebensklug, bayerisch, authentisch und liebenswürdig – so erinnert sich Hubertus Meyer-Burckhardt an Marianne Sägebrecht, die 2016 zu Gast bei den Frauengeschichten war. Die unglaublich temperamentvolle Schauspielerin hat im Schloss Plön alle in ihren Bann gezogen mit ihren Geschichten über das Mutti Bräu, ihre Zusammenarbeit mit Hollywood-Stars und ihrem NEIN zu einer Hollywood-Karriere. Freuen Sie sich auf ein Wiederhören mit Marianne Sägebrecht!

Klar for en moteopplevelse som tar deg til nye høyder? I det aller første avsnittet av Haute Mess, tar Marianne deg med på en reise gjennom 2024s mest etterlengtede trender! Bli med på en spennende trendreise der vi avslører årets fargepalett og utforsker det siste innen mote. Sett deg godt til rette mens vi dykker inn i trendverdenen og tar deg med på en nostalgisk reise tilbake til Justin Timberlake og Britney Spears ikoniske denim på denim-look. Men det er ikke alt! Vi avslører også det heteste innen skomote med ballerinaskoene som tar over catwalken. Ikke glem å holde øynene åpne for Mariannes faste spalter: "Trendspotting", "Be a Haute Mess" og "Lyx VS Budget". Alt dette og mye mer venter deg i dagens avsnitt av Haute Mess med Marianne Jemtegård. Så, hva venter du på? Bli en del av vår mote-community og abonner nå for å alltid være et steg foran!

À force de lorgner de l'autre côté du périph', aujourd'hui Mame-Fatou Niang réfléchit outre Atlantique. La parole précieuse de Miss Niang, maître de conférences à la Carnegy Mellon University de Pittsburgh, commence par Virginia Woolf, se poursuit par le rire noir (qui deviendra un Mémoire) et par la représentation des périphéries dans la littérature et le cinéma français contemporain. (Rediffusion du 13 mars 2022)    Parce que « L'arbre qui tombe fait plus de bruit que la forêt qui pousse », notre intellectuelle franco-sénégalaise a dégainé son fameux documentaire Mariannes noires et elle nous revient avec une petite bombe de 100 pages, co-écrite avec Julien Suaudeau, sobrement intitulé Universalisme, un concept humaniste blanc puissamment interrogé par une conscience postcoloniale… Bienvenue à Mame-Fatou Niang qui avance comme une ambassadrice du dialogue.Les choix musicaux de Mame Fatou Niang :Baaba Maal + Taj Mahal - « Trouble Sleep Yanga Wak am ​​​​​​​».

Monopolet: Komiker Natasha Brock, direktør og filosof Morten Albæk og journalist Abdel Aziz Mahmoud. Vært: Sara Bro. Dilemmaliste: 1. Ditte føler ikke, at der sker nok spændende ting i sit parforhold, da hun og hendes kæreste stort set hver aften ender med at hænge på sofaen, 2. Maria savner en kæreste og har svært ved at kunne deltage i samtalerne med sine veninder. 3. Jan er kæmpe Pink Floyd-fan og har billet til en kommende koncert med Roger Waters, men er nu blevet opmærksom på, at Roger Waters har politiske holdninger, som Jan slet ikke kan acceptere eller støtte. 4. Lasse synes, at det er synd for sin kollega Jonas, der har ry på jobbet som ham med "håndværkerrøv", og Lasse spørger Monopolet, om han bør gøre noget ved det. 5. Sine er efter ubeskyttet sex med Simon blevet testet positiv for klamydia, og Sine er i tvivl om, hvem der har smittet hvem. 6. Aksel er flyttet hjem til sin far, men Aksel synes, at det er svært at bo sammen med faren, da han mest af alt bor som en ungkarl. 7. Pernille og Anders har mødt deres veninde Lindas kæreste på en hjemmeside for swingermiljøet. 8. Kamilla er i gang med at ''springe ud'' som transkvinde og er i tvivl om, hvordan hun bedst videregiver informationen til de andre forældre i hendes døtres klasser 9. Mariannes søn Anton skal konfirmeres, men Anton ønsker ikke, at Mariannes bedste veninde skal tage sin søn Dennis med til konfirmationen. 10. Vera finder sin fars nye kæreste bedrevidende og fordømmende.

Sweet Oscar the angel cat is featured in this episode of the Healing Pet Loss Podcast. Listen to his wise and loving message for his human family, and afterwards, visit the Healing Pet Loss blog where you can see a photo of Oscar and read the whole journey with his message. https://healingpetloss.com/let-peace-find-you-with-oscar-the-angel-cat/If you are interested in receiving a Sacred Spirit Journey with your pet's message via Marianne Soucy, you can learn more here: https://healingpetloss.com/receive-a-message-from-your-pet/

En kalla-fall grupp försöker utvinna DNA ur Therese Johannessens saker samtidigt som Mariannes föräldrar, med stöd av ett produktionsbolag som gör en dokumentär, försöker utvinna DNA från Mariann-äs mössa. Dessutom dyker en ny person av intresse för båda utredningarna upp i ett tips.Manus av Sofie Karlsson.Du hittar Mördarpodden där du hittar Olösta Mord. Du kan också följa Mördarpoddens instagram här: https://www.instagram.com/mordarpodden/Vill du att Olösta mord ska komma ut varje vecka? Du kan påverka genom att dela podden med alla du känner som kan tänkas vara intresserade och/eller sponsra via Patreon; https://www.patreon.com/olostamord Välj valfri summa du vill sponsra med per avsnitt på Patreon. Når vi 2000 kr per avsnitt kommer podden att komma ut varje torsdag istället för varannan vecka.Swishdonationer till 070-7715864 fungerar fortfarande. Märk swishen "Olösta mord".Har du teorier om vad som hänt i fallen som vi tagit upp i podden? Skicka dem till: zimwaypodcast@gmail.com så kommer vi ta upp dem i kommande avsnitt. Det här är en podd av Dan Hörning.Följ Dan Hörning här:Twitter: @danhorningInstagram: https://www.instagram.com/dan_horning/?hl=enYoutube: https://www.youtube.com/channel/UCV2Qb7SmL9mejE5RCv1chwgMail: zimwaypodcast@gmail.comFacebook: https://www.facebook.com/Olostamord/ Hosted on Acast. See acast.com/privacy for more information.

Etter masseskytingen i Oslo i sommer har ikke den siktede latt seg avhøre av politiet. Da får man ikke svar på motivasjonen for handlingen og aller viktigst; innsikt i om det var flere involverte og om faren er over eller om det vil skje flere lignende handlinger. Hva gjør politiet da? Og hvorfor er det en grunnleggende rettighet å forholde seg taus?Asbjørn Rachlew er politioverbetjent og ekspert på avhørsteknikk. I denne episoden forteller han alt om hvordan politiet går frem for å få løst en sak, hvorfor mistenkte har de rettighetene de har og hvilke regler han mener ikke er gode nok.I tillegg arresterer han (pun intented) Mariannes begrepsbruk – hvorfor kan du høre mer om i ukens episode! Hør mer om avhørsteknikker og manipulasjon i episode 70, avhør av terrorister i episode 85, avhør av barn i episode 127 og avhør av funksjonshemmede i episode 115.

In this solo episode Marianne draws some thought-provoking analogies between her junk drawer and life.   Learn more about the parallels between the two and about Mariannes journey to this work.    Connect with Marianne:Website: Message In The Middle with MarianneMessage In the Middle Facebook Group: https://www.facebook.com/groups/422430469323847/Email: Contact | Message In The Middle with Marianne

On this actual final episode of 2022, we take a look back at our favorite Christmas movie of the decade, Danny DeVito's 1989 film The War of the Roses. ----more---- TRANSCRIPT   Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Before we get started, yes, I said our previous episode, on Michael Jackson's Thriller, was going to be our last episode of 2022. When I wrote that, and when I said that, I meant it. But then, after publishing that episode, I got to thinking about Christmas, and some of my favorite Christmas movies, and it reminded me I have considering doing an episode about my favorite Christmas movie from the 1980s, and decided to make myself an unintentional liar by coming back one more time.   So, for the final time in 2022, this time for real, I present this new episode of The 80s Movie Podcast. This time, we'll be talking about Danny DeVito's best film as a director, The War of the Roses.   The genesis of War of the Roses was a novel by American author and playwright Warren Adler. After graduating from NYU with a degree in English literature, in a class that included Mario Puzo, the author of The Godfather, and William Styron, who won the 1968 Pulitzer Prize for Fiction for his novel The Confessions of Nat Turner, Adler paved an interesting road before becoming a novelist. He worked as a journalist at the New York Daily News, before becoming the editor of the Queens Post, an independent weekly newspaper devoted to all things happening in that New York City borough.    He would buy four radio stations and a television station in New York City, before opening his own advertising and public relations firm in Washington D.C.   Adler would create ads for politicians, businesses and communities all across the nation. In fact, it was Warren Adler who would create the name of the DC complex whose name is now synonymous with high crimes: Watergate. In 1974, he would sell the firm, and the stations, after the publication of his first novel, Undertow.   The War of the Roses would be Adler's seventh novel to be published in as many years, and the first of four to be published in 1981 alone. The novel follows Jonathan and Barbara Rose, who, initially, seem to be the perfect couple. He has a thriving career as a lawyer, she is an up-an-coming entrepreneur with an exceptional pâté recipe. Their extravagant home holds a collection of antiquities purchased over the years, and they enjoy their life with their children Evie and Josh. One day, Jonathan suffers what seems to be a heart attack, to which Barbara responds by asking for a divorce. Very quickly, their mutual love turns to a destructive hatred, especially after Jonathan, trying to save his marriage despite his wife's de facto declaration of lost love for her husband, decides to invoke an old state law that allows a husband to remain in his house while in the process of divorce.   The novel became an immediate sensation, but Hollywood had already come knocking on Mr. Adler's door seven months before the book's publication.   Richard D. Zanuck, the son of legendary Fox studio head Daryl Zanuck, and his producing partner David Brown, would purchase the movie rights to the book in September 1980 through their production deal at Fox. The producers, whose credits included The Sting and Jaws, would hire Adler to write the screenplay adaptation of his novel, but they seemingly would let the film rights lapse after two years.    James L. Brooks, the television writer and producer who created The Mary Tyler Moore Show and Taxi, was transitioning to movies, and purchased the movie rights to the book, which he would produce for Polly Platt, the former wife of filmmaker Peter Bogdanovich who had made a name for herself as an art director, costume designer, screenwriter and producer, including as the production designer and on-set sounding board for Brooks on Terms of Endearment.   At the time, Brooks was working at Paramount Pictures, but in 1986, he would end his association with that studio when Fox would offer Brooks the opportunity to create his own production company at the studio, Gracie Films. When the transfer of Brooks' properties from Paramount to Fox was being worked on, it was discovered that Brooks didn't actually own the movie rights to War of the Roses after all.    In fact, Arnon Milchan, an Israeli businessman who had been making a splash in the film industry financing movies like Martin Scorsese's The King of Comedy, Ridley Scott's Legend and Terry Gilliam's Brazil, had actually purchased the movie rights to the novel before the Zanuck/Brown option seemingly lapsed, which would require Brooks to enter into a new round of negotiations to secure the rights once and for all. Milchan would sell them to Gracie Films for $300k and a producer credit on the final film.   Once the rights were finally and properly secured, Brooks would hire Michael Neeson, a writer Brooks had worked with on The Mary Tyler Moore, Rhoda and Taxi, to write the screenplay. But instead of spending time getting ready to make her directorial debut, Platt instead took a job as the production designer on George Miller's adaptation of John Updike's The Witches of Eastwick. In fact, Miller was so keen on getting Platt involved in his production that he would consider shooting a good portion of the movie in Platt's hometown of Hingham, Massachusetts, although they would eventually spend most of the location shoot in nearby Colhasset, which had more of the historical buildings Miller wanted for the film.   Platt would finish her work on Witches before Brooks would begin shooting his Terms of Endearment follow-up, Broadcast News, on which Polly would serve as an executive producer, but her leaving Brooks for several months to work on someone else's film would begin a fracture between the two that would lead to Platt leaving Gracie Films in a few years.   But not before she helped with the creation of The Tracy Ullman Show, one of the earliest shows on the then-brand new Fox television network, which included a short animated segment each week about a quirky family in a town called Springfield.    The Simpsons.   While Platt was in New England working on Witches, James L. Brooks would visit an old friend, Danny DeVito, who was shooting his feature directing debut, Throw Momma From the Train. DeVito had known about The War of the Roses for years, and really wanted to make it as a director, but knowing how important the project was to Platt, he would defer his interest in the film.    In a July 2020 episode of Karina Longworth's excellent podcast You Must Remember This, Danny DeVito tells Longworth that he only became involved in the film when Brooks told him the project was not going to move forward with Polly Platt.    And sidebar, if you aren't familiar with Polly Platt or her importance to cinema and pop culture, I highly encourage you to listen to Ms. Longworth's entire season about Ms. Platt. Polly Platt was an amazing, complicated woman who deserves a better legacy. Just trust me on this. Please.   Okay, so now were at the end of 1986. Polly Platt was out as the director of The War of the Roses, even if she didn't know she was out at the time.   So what could DeVito bring to the project that Platt could not?   DeVito had just finished his first feature film as a director. And while Momma wasn't a big hit when it was released in December 1987, it was successful enough at the box office, and the film would garner an unlikely Oscar nomination for Anne Ramsay, the actress who played the film's diminutive title character. But more importantly, DeVito could bring in Michael Douglas and Kathleen Turner, his co-stars on Romancing the Stone and The Jewel of the Nile, to play the now Oliver and Barbara Rose. The three actors had had spent years looking for another project unrelated to that other series they could make together. Douglas would sign on to the project before his amazing fall and winter 1987 run, first as the star of the mega-hit Fatal Attraction, and then as the star of Wall Street, which would garner him an Academy Award for Best Actor.   Turner had been taking some time off from acting after finishing Peggy Sue Got Married in July 1985, and was pregnant with her daughter Rachel when DeVito approached her about The War of the Roses. Turner was already working on a comedy called Switching Channels, which had to finish shooting by early July 1987, as Turner's pregnancy would be rather visible if shooting lasted any longer. She had also committed to being a featured actor in Body Heat director Lawrence Kasdan's The Accidental Tourist, which would also re-team Turner with William Hurt.    But she would agree to star in The War of the Roses if they could give her some time being a new mom before shooting began.   DeVito and Leeson would continue to work on the script. As there was no character in the novel that would work for the compact actor/director, the two would create a framing device for the story. DeVito would play Gavin D'Amato, a divorce lawyer who was friends with Oliver Rose, who tells the story of Oliver and Barbara Rose to a potential client, played by Dan Castellaneta, the voice of Homer Simpson, as a way of trying to get his client to reconsider splitting with his wife. The character of Gavin D'Amato would take the place of Murray Goldstein in the novel, an overweight former rabbi who would only meet Oliver Rose during the course of the story.   Sean Astin, who had made a splash a few years earlier as the lead in The Goonies, would be cast as the Rose's teenage son Josh, while newcomer Heather Fairfield would get her first major movie role playing the Roses' daughter Evie, who would be renamed Carolyn for the movie.   The other major change DeVito and Leeson would make to the story would be to change the Roses' sitter from a teenager to a fortysomething woman, as they would be able to get German actress Marianne Sägebrecht, who had just found international stardom as the star of Percy Adlon's surprise global hit Baghdad Cafe, to come aboard.   Although the $26m film took place on the East Coast, the scenes not shot on the sound stages at Fox Studios in Los Angeles were filmed in Coupeville, WA, a small town on Whidbey Island, about forty miles north of Seattle, which had never been used as a filming location before.   Filming would begin on Stage 6 on the Fox lot, which was set up as the main living area for the Roses' house, on March 21st, 1989. The production would shoot as much of the film on the soundstages until April 7th, which was the first day they would be allowed to shoot in Coupeville. The evening of April 6th, though, would be spent on the backlot of Universal Studios, which was the only available space in Los Angeles at the time to accommodate shooting a massive, snowy Christmas Eve scene standing in for Cambridge, MA.   Two days after arriving in Coupeville, DeVito would discover a note on his rental car parked at the hotel where the production had its base, stating that thieves had stolen the dailies from the first day of location shooting, and demanded a ransom to have the footage returned. But DeVito was quickly able to find the dailies had not been stolen, and just laughed the note off as a prank.   After several weeks in Washington State, the production would return to Los Angeles to finish the remainder of the set shooting on the Fox Lot, as well as a few additional shots of homes in the Los Angeles neighborhood of Hancock Park, standing in suburban Washington D.C. Shooting would finish on July 25th, which would give DeVito and his team less than four and a half months to get the film ready for its planned December 8th release date.   Because the editing team lead by Lynne Klingman had been putting together an assembly cut for DeVito during production, the director was able to screen his first cut of the film for Fox executives in mid-August. That cut would run three hours and four minutes. But that's what an assembly cut is for. You get to see all the stuff you shot put together, and see what you need to whittle down, what you need to move around, and what you need to get rid of completely.   Over the course of the next few months, DeVito and the editors would get the movie down to a tight one hour and fifty six minutes. And unlike many movies then and now, there were very few scenes that needed to be reshot or added in. One shot that would be added after the audiences at several test screenings was horrified at the suggestion that Barbara's pâté may have been made with the family dog. DeVito would later state that he always meant to have a shot of the dog later in the movie, but it was definitely a late addition after the first few test screenings.   The War of the Roses would hold its world premiere at Century Plaza Cinemas in Century City, about a mile from the Fox lot, on December 4th, 1989. It would be a star-studded affair that included DeVito, Turner, and Douglas, who brought his father Kirk along with him, along with Courtney Cox, Olivia Newton-John, Kelly Preston, Mimi Rogers, Christian Slater and Samantha Morton, Oliver Stone, and Jennifer Tilly, followed by a New York City premiere two days later at the Gotham Theatre. The film would open in 1259 theatres on Friday, December 8th, and would be the highest grossing film in the nation, taking in $9.5m, knocking the previous week's #1 film, National Lampoon's Christmas Vacation, out of the top spot. It would fall to second place in its second week, as Christmas Vacation retook first place, and it would fall to third place during the long Christmas weekend. However, in its fourth week of release, the long New Years weekend, The War of the Roses would retake the top spot for the second and final time. At the end of the year, after 25 days of release, the film had grossed $43.85m, or the equivalent of $105m in 2022 dollars. The film would continue to stay strong for several more weeks, staying in the top ten until mid-February, before ending its run in theatres in the spring with $86.89m.   The reviews were pretty good, with particular praise heaped upon Douglas and Turner's performances as well as DeVito's direction. But, sadly, there would be little awards love for the film.   The Golden Globes would nominate the film for Best Comedy, and both Turner and Douglas for lead comedy performances, and the British Academy would nominate Michael Leeson for his screenplay, but would be completely shut out at the Academy Awards.   I love the movie. It was one of the first movies I bought on Laserdisc back in the early 1990s, and when I call it a box set, I mean it was actually two discs and a four page booklet about the movie not in an album-like slipcover but an actual box. The movie was on the first disc, with roughly an hour on each side, which included a separate audio track for DeVito's commentary and a personal introduction to the film by DeVito, while the second disc featured deleted scenes, theatrical trailers, a copy of the shooting script, production stills, and a gallery of the theatrical posters. For a guy who had spent years building an enviable VHS videotape collection, this was next level stuff most people wouldn't get to experience for nearly another decade.   More than thirty years after Warren Adler published The War of the Roses, he would release a sequel to his novel, entitled The Children of the Roses. Josh and Evie are now adults. Josh is married with two children himself, a boy and a girl, Michael and Emily. Much like his parents' marriage, Josh's marriage to Victoria seems to be picture perfect on the outside, but after their son gets caught up in a caper at his elite private school involving stolen Milky Way bars, Josh finds himself in his own War of the Roses.   Evie, who still copes with her depression by eating, comforts her niece and nephew with loads of food, since to Evie still, food is love, while Michael and Emily decide for themselves that their parents will stay together no matter what.   While the book was not a best seller like the first book, it would still sell quite well, as did almost every one of the other 43 books Adler would write and publish until his passing in 2019 at the age of 91.   Thank you for joining us for this year's Christmas episode of The 80s Movie Podcast. We'll talk again in early 2023, when Episode 98, about Neil Diamond's sole attempt at movie acting, The Jazz Singer, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about The War of the Roses.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

durée : 00:14:18 - Les Enjeux internationaux - par : Baptiste Muckensturm - Au centre d'un scandale de fraude fiscale, le président de l'Afrique du Sud Cyril Ramaphosa est sorti renforcé d'un débat autour de son éventuelle destitution à l'African National Congress. Au sommet de l'Etat, les querelles pour les successions politiques se suivent et se ressemblent. - invités : Marianne Séverin Experte de l'Afrique du Sud au laboratoire Les Afriques dans le Monde (LAM) à Sciences Po Bordeaux

Jeg har besøg af Marianne Gellert og Amalie Franceska Bendixen og hvis du er interesseret i astrologi, så er jeg helt sikker på at du godt ved, hvem de er. Det er nemlig de to kvinder, der står bag podcasten Astropod, bogen Stjernetegn og tv-programmet Matchet på mælkevejen.Vi har en stor snak om selvfølgelig astrologi, men også om Amalie og Mariannes forhold til spiritualitet helt generelt.Derudover har vi også en stor samtale, om livsformål. Hvordan ved man hvad ens livsformål er, hvordan det udvikler sig gennem livet og hvad man helt konkret kan gøre for at komme tættere på det.Så taler vi også om, hvordan det er at kende sit barns horoskop, og om hvor meget man egentlig har lyst til at vide og hvordan det kan hjælpe til bedre at forstå sit barn.Du kan se mere til Astropod på Instagram @astropodpodcastDu kan også følge Det spirituelle hjørne på Instagram @detspirituellehjorne Hvis du vil I kontakt med Hjørnet kan du skrive til detspirituellehjorne@gmail.comFor at støtte Det spirituelle hjørne kan du klikke her: https://detspirituellehjorne.10er.app/Tak til alle jer der støtter

"Om någon hade frågat mig om mitt liv när jag var i 20-årsåldern, så hade jag aldrig drömt om att jag skulle bo i Australien - det fanns inte på min karta överhuvudtaget." Så börjar berättelsen om vitala och dynamiska Marianne som fortfarande vid 80 års ålder bor både i Sydney, där hon arbetar som lärare i svenska språket men också delar av året på Lidingö, norr om Stockholm. Det står dock klart att Mariannes hjärta klappar extra för Sverige och vi blir lyriska när hon beskriver vackra försommar-Stockholms grönska i poetiska termer. Marianne var en av nyckelpersonerna bakom starten av Svenska Skolan i Sydney för över 40 år sedan - hon brinner verkligen för språk. Efternamnet Fancelli fick hon av en viss italienare som tog privatlektioner i svenska för Marianne i Stockholm i slutet av 60-talet.  På senare år har Marianne även varit en av initiativtagarna till bildandet av Australiens SWEA SAC, Sydney, Adelaide, Canberra som startade år 2019.  Vi samtalar också om vikten av att lära sig flera språk och språkets påverkan av kulturen i ett land, att alltid “se glaset halvfullt”, Covid och röstning i Australien, Tyskland på 60-talet, livet på Italienska landsbygden, och självklart hinner vi med lite tips för dig som vill besöka eller rent av flytta till Australien.    Läs mer om Marianne: Svenska Skolan i Sydney 40 år: https://swedesinsydney.org/the-swedish-school-in-sydney/2107/ https://swedesinsydney.org/allmant-intresse/svenska-skolan-i-sydney-40-ar-en-reflektion/   SWEA SAC, Sydney Adelaide Canberra:  https://swealand.swea.org/2020/avdelning-fokus-sac/ https://sac.swea.org/ SWEA-poddens team i detta avsnitt:  Intervju: Anna Bril och Anna Frick Redigering: Anna Bril