Podcast appearances and mentions of Moll Flanders

This week in physical media may be appealing to the cults out there. Whichever you belong to, Erik Childress and Peter Sobczynski are here to guide you towards your particular following. Perhaps you are in the Richard E. Grant & Bruce Robinson cult. Or stay on that side of the pond with an Oscar-winning musical and a film that was the Bridgerton of its time in the way it uses music. Maybe you're in the late Friday the 13th cult and enjoy its post-Paramount days. Or you have a taste for a marathon of Blaxploitation. Whether you love movie doggies or mutated bears, its best to just avoid the sleeping bags this week. 1:38 - Criterion (Withnail & I 4K, How to Get Ahead in Advertising 4K) 14:36 - Sony (Oliver 4K, A Knight's Tale 4K) 26:29 - Arrow (Jason Goes to Hell 4K, Jason X 4K) 47:09 - Shout (Blaxploitation Classics Vol 1) 1:02:43 - Kino (Wonder Dogs, The Amorous Adventures of Moll Flanders, Prophecy 4K) 1:23:01 – New Theatrical Titles On Blu-ray (The Quiet Ones, Presence 4K) 1:24:15 - New Blu-ray Announcements

This warm and witty novel presents itself as the first person narration of an immensely likeable and resourceful woman who, born in the most shameful of circumstances, comes to be desired by, and indeed married to, many men, in the course of her life — some of whom she inveigles into marriage on false pretences — who, when all else fails, resorts to an extraordinarily successful life of crime, pulling many ingenious heists until at last she is nabbed and faced with a real prospect of being hanged. Moll's descriptions of the amorous inclinations of males are often very funny — and not the least part of the joke here, of course, is that Moll's voice itself is actually the creation of a male. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This warm and witty novel presents itself as the first person narration of an immensely likeable and resourceful woman who, born in the most shameful of circumstances, comes to be desired by, and indeed married to, many men, in the course of her life — some of whom she inveigles into marriage on false pretences — who, when all else fails, resorts to an extraordinarily successful life of crime, pulling many ingenious heists until at last she is nabbed and faced with a real prospect of being hanged. Moll's descriptions of the amorous inclinations of males are often very funny — and not the least part of the joke here, of course, is that Moll's voice itself is actually the creation of a male. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This warm and witty novel presents itself as the first person narration of an immensely likeable and resourceful woman who, born in the most shameful of circumstances, comes to be desired by, and indeed married to, many men, in the course of her life — some of whom she inveigles into marriage on false pretences — who, when all else fails, resorts to an extraordinarily successful life of crime, pulling many ingenious heists until at last she is nabbed and faced with a real prospect of being hanged. Moll's descriptions of the amorous inclinations of males are often very funny — and not the least part of the joke here, of course, is that Moll's voice itself is actually the creation of a male. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This warm and witty novel presents itself as the first person narration of an immensely likeable and resourceful woman who, born in the most shameful of circumstances, comes to be desired by, and indeed married to, many men, in the course of her life — some of whom she inveigles into marriage on false pretences — who, when all else fails, resorts to an extraordinarily successful life of crime, pulling many ingenious heists until at last she is nabbed and faced with a real prospect of being hanged. Moll's descriptions of the amorous inclinations of males are often very funny — and not the least part of the joke here, of course, is that Moll's voice itself is actually the creation of a male. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This warm and witty novel presents itself as the first person narration of an immensely likeable and resourceful woman who, born in the most shameful of circumstances, comes to be desired by, and indeed married to, many men, in the course of her life — some of whom she inveigles into marriage on false pretences — who, when all else fails, resorts to an extraordinarily successful life of crime, pulling many ingenious heists until at last she is nabbed and faced with a real prospect of being hanged. Moll's descriptions of the amorous inclinations of males are often very funny — and not the least part of the joke here, of course, is that Moll's voice itself is actually the creation of a male. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This warm and witty novel presents itself as the first person narration of an immensely likeable and resourceful woman who, born in the most shameful of circumstances, comes to be desired by, and indeed married to, many men, in the course of her life — some of whom she inveigles into marriage on false pretences — who, when all else fails, resorts to an extraordinarily successful life of crime, pulling many ingenious heists until at last she is nabbed and faced with a real prospect of being hanged. Moll's descriptions of the amorous inclinations of males are often very funny — and not the least part of the joke here, of course, is that Moll's voice itself is actually the creation of a male. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This warm and witty novel presents itself as the first person narration of an immensely likeable and resourceful woman who, born in the most shameful of circumstances, comes to be desired by, and indeed married to, many men, in the course of her life — some of whom she inveigles into marriage on false pretences — who, when all else fails, resorts to an extraordinarily successful life of crime, pulling many ingenious heists until at last she is nabbed and faced with a real prospect of being hanged. Moll's descriptions of the amorous inclinations of males are often very funny — and not the least part of the joke here, of course, is that Moll's voice itself is actually the creation of a male. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In “Moll Flanders,” Daniel Defoe aimed to pen a tale of a heroine who faced a life of poverty, perversion, and penitence. Instead, the title character was an unlikeable heroine  with surprisingly few empathetic qualities and a negative character arc showing that not women are heroines.

I'm chatting with Liza Nash Taylor, author of Etiquette for Runaways and In All Good Faith.Highlights include origins of Etiquette for Runaways (Hint: don't text and talk!); Moll Flanders as inspiration for the main character May Marshall; Finding Easter Eggs to inspire plot; What happens when a fully formed character pops into your head and just won't go away; Prohibition-era moonshine in Etiquette for Runaways;  Black performers in Jazz Age Paris and being inspired by Josephine Baker; Reading from Etiquette for Runaways;  Inspiration for In All Good Faith;  Role of the Veterans Bonus March on Depression-era Washington; Challenges of writing strong women within an historical context; Advice for new authorsPress Play now & be sure to check out  Etiquette for Runaways and In All Good Faith on Art In Fiction.Liza Nash Taylor's WebsiteReceive 20% Off ProWritingAidMusic CreditPaganology, performed by The Paul Plimley Trio; composed by Gregg SimpsonWould you like to support Art In Fiction? Please consider buying us a coffee on Ko-Fi. Thank you!Subscribe to Art In Fiction to find out about upcoming podcast episodes, blog posts, featured authors, and more.This website contains affiliate links. If you use these links to make a purchase, I may earn a commission. As an Amazon Associate, I earn from qualifying purchases.Buzzsprout - Let's get your podcast launched! Start for FREEPro Writing Aid ProWriting Aid is a grammar checker, style editor, and writing mentor in one package, ProWritingAid Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Are you enjoying The Art In Fiction Podcast? Consider helping us keep the lights on so we can continue bringing you interviews with your favorite arts-inspired novelists. Just $3 buys us a coffee (and we really like coffee) at Ko-Fi. Just click this link: https://ko-fi.com/artinfictionThank you!

Adultery became the subject of some of the greatest European novels of the nineteenth century, including Madame Bovary and Anna Karenina. English novels of the period needed adultery for their plots, yet flinched from treating the subject openly.Through the twentieth century to the present – from Ulysses and A Handful of Dust to recent fiction by Zadie Smith, Tessa Hadley and Sally Rooney – adultery has fascinated novelists. Why is this? And do male and female authors treat adultery differently?A lecture by John MullanThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/watch-now/adultery-novelGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollege

The comedian Ria Lina - who's appeared on the BBC's Live at the Apollo, Have I Got News for You and Mock the Week - joins Otegha Uwagba - author of Little Black Book, Whites and We Need to Talk About Money - to talk to Harriett Gilbert about the books they love. Ria chooses Moll Flanders, the 18th-century classic by Daniel Defoe. Otegha picks the popular romance story Like Water for Chocolate by Mexican author Laura Esquivel and Harriett Gilbert brings a book about motherhood; Making Babies by Anne Enright. Produced by Eliza Lomas Comment on Instagram at @agoodreadbbc

Kris and I continue our discussion about imaginary worlds by looking into the work of Daniel Defoe, with a particular focus on Moll Flanders and his Imaginary Voyages to the Moon. Did Defoe predict the invention of virtual reality? We discuss the importance of satire as a method of observing and reporting, a "descriptive" practice rather than a "prescriptive" one. This morphs into a great discussion about writing and storytelling. What's the difference between "telling a story" and "building a narrative"? For the creative challenge, David is tasked with using a blind eel to navigate the web of a dead man's brain, in search of secrets.

“You don't need a stretcher up there – you need a mop!” Just in time for the very most spookiest part of the year, your favorite Distinguished Professors discuss the films that established the slasher movie genre – Halloween, Friday the 13th, and A Nightmare on Elm Street – in their offensively-named named Goryhole Special! Topics covered include Psycho's origination of the slasher genre, Halloween's great main theme, Robert Englund's thinly-disguised role as folklorist Jan Harold Brunvand in Urban Legend, our brief windows of attractiveness, the anti-sex message of these movies and whether they actually discourage people from having sex, a brief digression into Defoe's Moll Flanders, the disappointing lack of boobs in these movies, the lack of story and decent red herrings in Friday the 13th, Crazy Ralph and the “death curse,” why you don't pet or talk to random dogs, the cruel disappointment of not getting to see Ned get killed, a brief ode to jorts and neckerchiefs, the utter lack of non-white folks, why you can't think too hard about plot for any of these movies, the various murder tableaus as art, why you need to Negan every psycho killer every opportunity you get, a reference to Vangelis (RIP), Freddy as the superior slasher and is your boyfriend now, the problem of shooting California for Illinois, the uncanniness of the lonely suburb, a quick flashback to Pumaman, Friday the 13th's portrayal of the fifties, lucid dreaming is the key to beating Freddy, don't bone your TV, some slander of John Saxon's character as a dad, Hmong deaths from sleep paralysis as an inspiration for Wes Craven, a rumination on the nature of sweet dreams, the barrier to enjoying Freddy imposed by his status as a pedophile and child murderer, hilarious mantraps, lighting film vs. digital, Vanderpool's plans for a horror movie, and a lesson about the monsters to whom we give too much attention. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/because-you-watched/support

Cuéntame un libro. Agosto 1. Las mil y una noches - Anónimo 2. La historia de Genji – Murasaki Shikibu 3. El cantar de Mio Cid – Anónimo 4. Libro del buen amor – Juan Ruiz, Arcipreste de Hita 5. El conde Lucanor – Don Juna Manuel 6. Metamorfosis o el Asno de oro – Lucio Apuleyo 7. Tirant lo Blac – Joanot Martorell 8. La Celestina – Fernando Rojas 9. Amadís de Gaula – Garci Rodríguez de Montalvo 10. Anónimo – Lazarillo de Tormes 11. Gargantúa y Pantagruel – François Rabelais 12. Las Lusiadas – Luis Vaz de Camoes 13. Libro de la vida – Teresa de Jesús 14. Guzmán de Alfarache – Mateo Alemán 15. Novelas ejemplares – Miguel de Cervantes Saavedra 16. Don Quijote de la Mancha – Miguel de Cervantes Saavedra 17. Los trabajos de Persiles y Segismunda – Miguel de Cervantes Saavedra 18. El Buscón – Francisco de Quevedo 19. Historia verdadera de la conquista de la Nueva España – Bernal Díaz del Castillo 20. La Dorotea – Lope de Vega 21. El Criticón – Baltazar Gracián 22. La princesa de Cléves – Marie-Madelaine Pioche de Lavergne, condesa de La Fayette 23. Robinson Crusoe – Daniel Defoe 24. Love in Excess – Elisa Haywood 25. Moe Flanders - Daniel Defoe --- Send in a voice message: https://anchor.fm/irving-sun/message

The Storm (1704) holds a special place in the writings of Daniel Defoe. Widely considered a founding document of modern journalism, The Storm narrates the calamitous events of November 1703 that are framed by the author in the first four chapters. These are followed by verbatim eyewitness accounts, solicited from survivors through a newspaper advertisement that Defoe placed shortly after the hurricane struck. Defoe is primarily known for his later fiction, loosely based on historical calamities, such as his Journal of the Plague Year (1722), and by fictionalized novels purporting to be first-person accounts, including Robinson Crusoe (1719) and Moll Flanders (1722). It can be argued that The Storm was the journalistic crucible in which the master realist Defoe forged his later novelistic artistry, with its penchant for "the telling detail." In fact, his fiction novel The Plague Year remains a required reading for journalism students to this day, side-by-side with the non-fiction account of The Storm.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Storm (1704) holds a special place in the writings of Daniel Defoe. Widely considered a founding document of modern journalism, The Storm narrates the calamitous events of November 1703 that are framed by the author in the first four chapters. These are followed by verbatim eyewitness accounts, solicited from survivors through a newspaper advertisement that Defoe placed shortly after the hurricane struck. Defoe is primarily known for his later fiction, loosely based on historical calamities, such as his Journal of the Plague Year (1722), and by fictionalized novels purporting to be first-person accounts, including Robinson Crusoe (1719) and Moll Flanders (1722). It can be argued that The Storm was the journalistic crucible in which the master realist Defoe forged his later novelistic artistry, with its penchant for "the telling detail." In fact, his fiction novel The Plague Year remains a required reading for journalism students to this day, side-by-side with the non-fiction account of The Storm.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Storm (1704) holds a special place in the writings of Daniel Defoe. Widely considered a founding document of modern journalism, The Storm narrates the calamitous events of November 1703 that are framed by the author in the first four chapters. These are followed by verbatim eyewitness accounts, solicited from survivors through a newspaper advertisement that Defoe placed shortly after the hurricane struck. Defoe is primarily known for his later fiction, loosely based on historical calamities, such as his Journal of the Plague Year (1722), and by fictionalized novels purporting to be first-person accounts, including Robinson Crusoe (1719) and Moll Flanders (1722). It can be argued that The Storm was the journalistic crucible in which the master realist Defoe forged his later novelistic artistry, with its penchant for "the telling detail." In fact, his fiction novel The Plague Year remains a required reading for journalism students to this day, side-by-side with the non-fiction account of The Storm.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Storm (1704) holds a special place in the writings of Daniel Defoe. Widely considered a founding document of modern journalism, The Storm narrates the calamitous events of November 1703 that are framed by the author in the first four chapters. These are followed by verbatim eyewitness accounts, solicited from survivors through a newspaper advertisement that Defoe placed shortly after the hurricane struck. Defoe is primarily known for his later fiction, loosely based on historical calamities, such as his Journal of the Plague Year (1722), and by fictionalized novels purporting to be first-person accounts, including Robinson Crusoe (1719) and Moll Flanders (1722). It can be argued that The Storm was the journalistic crucible in which the master realist Defoe forged his later novelistic artistry, with its penchant for "the telling detail." In fact, his fiction novel The Plague Year remains a required reading for journalism students to this day, side-by-side with the non-fiction account of The Storm.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Storm (1704) holds a special place in the writings of Daniel Defoe. Widely considered a founding document of modern journalism, The Storm narrates the calamitous events of November 1703 that are framed by the author in the first four chapters. These are followed by verbatim eyewitness accounts, solicited from survivors through a newspaper advertisement that Defoe placed shortly after the hurricane struck. Defoe is primarily known for his later fiction, loosely based on historical calamities, such as his Journal of the Plague Year (1722), and by fictionalized novels purporting to be first-person accounts, including Robinson Crusoe (1719) and Moll Flanders (1722). It can be argued that The Storm was the journalistic crucible in which the master realist Defoe forged his later novelistic artistry, with its penchant for "the telling detail." In fact, his fiction novel The Plague Year remains a required reading for journalism students to this day, side-by-side with the non-fiction account of The Storm.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Join me to learn about one of the most engaging criminal narrators you're ever likely to come across - Moll Flanders. Through multiple marriages (one to her brother and a few that overlap), she keeps her spirits up in a world that sometimes seems set against her. She always finds a way to triumph - though her methods are often unorthodox (prostitution, theft, etc.). *************************** Content note: this episode involves discussions of sex, adultery, prostitution, bigamy, incest, capital punishment, and crime (mostly theft).

“ yo, como estaba hecho al vino, moría por el y viendo que aquel remedio de la paja no me aprovechaba ni valía, acordé en el suelo del jarro hacerle una fuentecilla y agujero sutil, y delicadamente, con una muy delgada tortilla de cera, taparlo; y al tiempo de comer, fingiendo tener frío, entrábame entre las piernas del triste ciego, a calentarme en la pobrecilla lumbre que teníamos, y al calor de ella luego derretida la cera, por ser muy poca, comenzaba la fuentecilla a destilarme en la boca, la cual yo de tal manera ponía que maldita la gota se perdía”. Fragmento del “Lazarillo de Tormes”. Por espacio de poco menos de cien años, desigualmente repartidos entre los siglos XVI y XVII, va a tener vigencia un tipo de novela que se compone según un patrón conocido hoy como género picaresco. Con él la literatura clásica del Sigo de Oro español alcanza uno de los hitos más destacados y de mayor resonancia universal. Cuando aún no se aplicaba a tales libros el término de novela – reservado entonces para ciertos cuentos y relatos breves – ni se disponía de conceptos teóricos claros, la novela picaresca española sentó con su enfoque realista las bases del importante desarrollo de la novelística moderna europea. Sin petulancia puede afirmarse que España inventó la novela realista con Cervantes y la picaresca, hecho olvidado con frecuencia. Lo que distinguía principalmente a la novela picaresca de otros géneros narrativos coetáneos, como los libros de caballerías y pastoriles, era su cercanía a la realidad de aquel tiempo, representada como telón de fondo de las aventuras del héroe o protagonista. No siempre provenía ello de una observación directa del entorno real. En buena medida, los autores extraen sus personajes novelísticos y no pocos puntos del argumento del fondo folklórico de refranes, historietas y chascarrillos populares, que tanto influjo ejerció sobre la literatura del Siglo de Oro. Figuras tales como estudiantes pobres y traviesos, soldados sin acomodo, hidalgos tronados, mendigos, criados ingeniosos, rufianes, prostitutas, cómicos de la legua.., corren como estereotipos de boca en boca y aparecen en diversos géneros, como el teatro, el cuento y la poesía satírica, además de la picaresca. El propio pícaro, héroe que da nombre al género, pertenece al mismo censo de personajes. Esta circunstancia, sin embargo, no quita valor al realismo de la novela, ya que, en definitiva, la realidad es la fuente primera de inspiración para crear entre el pueblo tipos y situaciones típicas. La innovación de la novela picaresca consiste en implicar a estas figuras, petrificadas en la tradición popular, con otras inventadas por el autor, en una trama novelística, cuyo hilo conductor es la vida de un personaje al que corrientemente se denomina pícaro. La forma de disponer el material revestirá unas características comunes para la docena larga de novelas acreedoras al título de picarescas. Al revés que los libros de caballerías y pastoriles, que con su idealismo proporcionaban al lector evasiones literarias a mundos artificiosos, respectivamente heroicos y sentimentales, la novela picaresca tiene, en principio, voluntad de referirse a problemas sociales. Se vincula así la corriente literaria que integran obras realistas como “La Celestina” y las promovidas por el humanismo de inspiración eramista. En especial este último movimiento intelectual, fuerte alrededor de la segunda mitad del siglo XVI, se inclina de forma influyente por una literatura que, sin descuidar el aspecto de diversión, contenga enseñanzas morales. Al pícaro, a la vez protagonista y narrador de su vida, se le encomienda una función crítica y surge así la figura nueva, y en cierto modo paradójica, del pícaro reformador que sermonea o despotrica sobre una cantidad de temas que interesan a la sociedad de su tiempo. Con todo sorprende el amplio margen que concedía la censura de la época a la discusión de valores y comportamientos de las clases dirigentes y al despliegue de las lacras del país. En función de este cometido, los novelistas adecuarán la personalidad de los pícaros a las propias intenciones, dentro de una amplia gama de variantes. Aparte de factores ideológicos y literarios específicos, las peculiaridades sociales de España se hallan en la raíz de la aparición de la novela picaresca en este - y no otro - país. Ciertamente las condiciones de vida, reflejadas en la picaresca, eran igualmente malas, si no peores, en el resto de Europa occidental. Pero en ninguna parte se daban las contradicciones y fisuras de la sociedad española. Durante aquel tiempo se produce el auge y el declive político, económico y militar de España; el desarrollo de la picaresca coincide con las primeras fases, aún indecisas, del proceso fatal. Las victorias en el exterior y las riquezas del Nuevo Mundo concurren en las repetidas bancarrotas del Estado y la peste y el hambre que asolaban la despoblada Castilla. En la sociedad del país que aspiraba a una dominación universal, se discriminaba a grupos con lejanos ascendientes judíos conocidos, a pesar de su total integración social y religiosa. La riqueza de los pocos contrastaba con la pobreza de los muchos. En la novela picaresca no dejan de repercutir consciente o inconscientemente algunos de esos problemas. En particular, las barreras que imponen las clases privilegiadas, cada vez más cerradas en sí mismas, a los intentos individuales de ascenso social. Los medios poco honrados empleados por los arribistas guardan cierta relación metafórica con las trampas del pícaro para mejorar su suerte. El desdén manifiesto de muchos pícaros por la honra al propalar la infamia de sus padres o despreocuparse del qué dirán de la gente, había de seducir a los lectores españoles, agobiados por una sociedad puntillosa y exigente con sus miembros en las formas externas de comportamiento. El viejo concepto de honor había quedado reducido a las apariencias de conducta o nacimiento que crean el prestigio u honra, acordada por la opinión de la gente, perfectamente manipulable, como demostraba el pícaro. Como consecuencia de la explosión demográfica del XVI, el éxodo rural llena las ciudades europeas de desocupados, que se mantienen por la caridad o el vicio y el delito que propicia el desarraigo. El aumento del hampa y el parasitismo se deja notar en España, sobre todo en las ciudades de rápido crecimiento, como Sevilla, centro económico, y especialmente Madrid, convertida en sede de la Corte, que rondan los cien mil habitantes, por eso en sus bajos fondos se ambientan muchas novelas picarescas. Se calcula en un 14 por ciento la proporción de población mendiga, en parte asimilable a los pícaros literarios. El fraude y el germen del delito en estas comunidades preocupan mucho a los reformadores de la asistencia pública; esa preocupación se traslada también a algunos novelistas, como Mateo Alemán, de forma explícita. El interés por el modo de vida de los falsos mendigos y delincuentes en otros países europeos dio lugar a tratados descriptivos, a veces llamados . Sólo en España una realidad en la que se combinan pobreza, marginación social y delincuencia recibió un tratamiento novelístico. El mérito y la iniciativa de transformar en ficción narrativa esa parcela de la realidad corresponden a un librillo de apariencia modesta: “Lazarillo de Tormes”. Con él arranca un género que incluye obras maestras junto a otras mediocres. Las circunstancias no pudieron ser más desfavorables para el nacimiento del género. A poco de salir impresas sin nombre de autor las tres primeras ediciones conocidas el mismo año 1.554 y otra al siguiente, se incluye el “Lazarillo” en la lista o índice de libros prohibidos por la Inquisición. Junto con la prohibición de estudiar en universidades extranjeras y el control estricto de los libros introducidos en España, el índice es una de las medidas de Felipe II que puso fin al clima intelectual de los últimos años del reinado de Carlos V, en los que se fraguó la novela. Para el espíritu combativo y cerrado de la Contrarreforma, implantada por Felipe II, el “Lazarillo” transpiraba malicia anticlerical y trataba con demasiada ligereza y libertad temas religiosos. Más tarde, en 1.573, para evitar su lectura clandestina, se autorizó una edición expurgada, con un par de capítulos y varios pasajes suprimidos, lo que evitó su total olvido hasta que Mateo Alemán tomó el relevo en 1.599 e inauguró el género ya con otros aires políticos más benévolos. El nombre del autor del “Lazarillo de Tormes” sigue siendo un enigma, a pesar de que no hayan faltado candidatos. A comienzos el siglo XVII se proponen los nombre del distinguido fraile jerónimo Juan de Ortega – por hallarse a su muerte un manuscrito de la novela, original o copia – y Diego Hurtado de Mendoza, aristócrata, historiador y poeta. De espíritu liberal y alegre ambos carecen, no obstante, de textos similares que apoyen la atribución del libro. Por coincidencias con el estilo, las ideas o la personalidad posible del autor anónimo, se ha señalado modernamente, sin pruebas concluyentes, a los hermanos erasmistas Alfonso o Juan de Valdés, el folklorista Sebastián de Horozco y varios autores más con pocas probabilidades. Son aproximaciones valiosas, en el mejor de los casos, al perfil humano e ideológico del autor, cuya identidad sólo podrá revelar hipotéticamente un descubrimiento sensacional. En tal empeño se ha partido del sentido y de indicios encontrados en la misma obra, interpretados en formas muy dispares. Así, se le ha considerado erasmista. Pero en ninguna parte se expone su programa de renovación de la Iglesia a través de la práctica de un cristianismo íntimamente sentido, depurado de las supersticiones y pompas que fomentaba un clero ignorante e indigno. Con todo, la sátira de la vida eclesiástica, corriente desde la Edad Media, sitúa la obra en la atmósfera crítica que crearan el erasmismo y otros movimientos afines, con el beneplácito de Carlos V, algunos años atrás. Varios indicios, diversamente valorados, de inconformismo religioso y la ridiculización de la honra falsa del escudero, tercer amo de Lazarillo, dieron pie a la hipótesis de un autor descendiente de conversos. Aparte que éstos no ostentaban la exclusiva del descontento, falta demostrar que hubo una concepción de la realidad uniforme para todos los cristianos nuevos. A la vista del factor más sobresaliente del libro, la ambigüedad moral relativa a Lázaro de Tormes, resulta tentador imaginar al autor como un espíritu escéptico y abierto, libre de prejuicios y partidismos, que enfrenta a un individuo con la sociedad, corrompida, hipócrita y despiadada, y que le hace, por último, sucumbir al ambiente. Cuando por fin Mateo Alemán se inspiró en el esquema del “Lazarillo de Tormes” para escribir el “Guzmán de Alfarache”, aquel dejó de ser la golondrina aislada que no hace verano. A la zaga del éxito editorial de la obra en 1.599, a uno de los editores se le ocurrió aquel mismo año reimprimir el casi olvidado “Lazarillo”; luego, ambos libros se publicarán juntos varias veces. En la conciencia de los lectores estaba claro que “Lazarillo” y “Guzmán” pertenecían al mismo tipo o género de libros. Pronto los imitadores, deseosos de reactualizar el éxito de Mateo Alemán, seguirán en sus novelas la pauta establecida conjuntamente por ambos. La fórmula inventada por “Lazarillo de Tormes” y aplicada por Alemán era bastante sencilla. Consistía en un relato autobiográfico de un personaje ficticio, un sujeto de vil condición. Los episodios de la vida se narran en sucesivas etapas al servicio de una serie de amos, que representaban a diferentes tipos de la sociedad y se prestaban a la sátira de narrador; Mateo Alemán introduce una variante equivalente al hacer encarnar también a su pícaro diversas personalidades o profesiones. La relación de sucesos vividos en el pasado servía para explicar una situación de deshonor en el presente en el que se escribía; una vez cumplida su misión, la narración se cerraba y terminaba. Juntamente, el presente proporcionaba el motivo de escribir. Así, Lázaro se ve obligado por un señor a justificar su matrimonio con la manceba de un clérigo por sus aventuras anteriores. Guzmán confiesa arrepentido sus faltas pasadas para advertencia del lector, mientras cumple condena como remero de una galera por sus delitos. Ante este andamiaje constructivo, el carácter picaresco del héroe pasa a un segundo plano. A Lázaro ni siquiera se le llama pícaro, aunque retrospectivamente, tenga muchos rasgos en común. Sin más que la presencia de personajes picarescos, una novela que no reúna otras condiciones no puede adscribirse al género. La vida del pícaro abarca dese la infancia a la edad adulta y se inicia con la mención de los padres deshonrosos. Los episodios se refieren desde el único punto de vista posible: el del pícaro narrador. En una alternancia continua de la fortuna, adversa o favorable, el héroe se afana por mejorar de condición, a fuerza de trampas y engaños. Por tal motivo, el viaje es un recurso, además de un medio para conocer varios ambientes. A grandes trazos, el cotejo del breve “Lazarillo de Tormes” y el dilatado “Guzmán de Alfarache” proporciona este modelo resultante, que se puede alterar en los detalles, siempre que se tenga en cuenta el conjunto de rasgos esenciales. El impacto extraordinario de estas dos obras animó a otros escritores a seguir sus pasos y, aunque la novela picaresca posterior cae en manos de autores más respetuosos con el sistema que el autor anónimo y Alemán. Podemos citar aquí “El Buscón” de 1.626, del gran Francisco de Quevedo; “La pícara Justina”, de Lòpez de Úbeda; “Vida del escudero Marcos de Obregón” de Vicente Espinel; y “Vida y hechos de Estebanillo González, hombre de buen humor” de 1.646, que marca el cierre del ciclo de la picaresca española y que se trata de una obra anónima, autobiografía cierta o ficticia, que señala el enlace con la primera novela picaresca, cuyo autor pretende ser Lázaro de Tormes; es significativo, el círculo queda totalmente cerrado. Cervantes y su relación con la picaresca daría para varios espacios complementarios. Aunque por mucho tiempo España se desinteresa de la novela y de la picaresca en particular, no puede decirse que el género muere completamente. En Europa, la novela picaresca española es apreciada y saboreada en traducciones. De este modo, en los siglos XVII y, sobre todo, XVIII, puede hablarse de imitaciones europeas del género, en las que se transponen las novelas a las respectivas circunstancias nacionales, como por ejemplo: “Simplicissimus” de Grimmelshausen; “Gil Blas de Santillana” de Lesage, “Moll Flanders” de Daniel Defoe o “Tom Jones” de Fielding. En otras novelas, también se manifiesta el influjo de Cervantes, que con la picaresca, es el maestro de los autores realistas del XVIII y XIX. No cabe la menor duda de que la novela picaresca, como genero genuinamente español, continúa siendo un valor vivo de la literatura universal.

Two friends and academics recap classic literature and take it off its pedestal. Our nineteenth episode is all about S-E-X: we cover Daniel Defoe's 1722 raunchy crime-spree confessional, Moll Flanders. Abby gets turned on by a bandito in a cool hat, Daniel gets turned on by an economic value calculator, and Moll gets turned on by pretty much anything.Cover art © Catherine Wu.Episode theme: Christoph Schaffrath, 'Duetto in D-Minor for 2 Violas da Gamba'. Hosted on Acast. See acast.com/privacy for more information.

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Daniel Defoe, orig. Daniel Foe, (born 1660, London, Eng.—died April 24, 1731, London), was a British novelist, pamphleteer, and journalist. A well-educated London merchant, he became an acute economic theorist and began to write eloquent, witty, often audacious tracts on public affairs. A satire he published resulted in his being imprisoned in 1703, and his business collapsed. He traveled as a government secret agent while continuing to write prolifically. In 1704–13 he wrote practically single-handedly the periodical Review, a serious and forceful paper that influenced later essay periodicals such as The Spectator. His Tour Through the Whole Island of Great Britain, 3 vol. (1724–26), followed several trips to Scotland. Late in life he turned to fiction. He achieved literary immortality with the novel Robinson Crusoe(1719), which drew partly on memoirs of voyagers and castaways. He is also remembered for the vivid, picaresque Moll Flanders (1722); the nonfictional Journal of the Plague Year (1722), on the Great Plague in London in 1664–65; and Roxana (1724), a prototype of the modern novel.From https://www.britannica.com/summary/Daniel-Defoe. For more information about Daniel Defoe:Previously on The Quarantine Tapes:Nicholson Baker about Defoe, at 07:00: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-160-nicholson-bakerWerner Herzog about Defoe, at 17:25: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-002-werner-herzog“Daniel Defoe”: https://www.poetryfoundation.org/poets/daniel-defoe“A Journal of the Plague Year”: https://www.penguinrandomhouse.com/books/38621/a-journal-of-the-plague-year-by-daniel-defoe/“What the Great Pandemic Novels Teach Us”: https://www.nytimes.com/2020/04/23/opinion/sunday/coronavirus-orhan-pamuk.html

Daf Yummy épisode 414 : Megila 7. Moll Flanders. Esther en force. by Myriam Ackermann Sommer

UNLOCKED PATREON EPISODE! To celebrate the release of No Time to Die, we are releasing our final Daniel Craig Patreon episodes from 2020. Feel free to skip if you're just here for the Brenton Thwaites Hour, we will keep releasing BTH episodes every week. Otherwise, enjoy our review of the 1996 BBC mini series Moll Flanders, starring the one and only Daniel Craig!

Django Nudo and the Smut Peddler celebrate the first #CultpixIRL cinema screening this past week at Bio Aspen, the groovy new retro cinema in Stockholm's new hipster district.  It was a double bill of "Anita - Swedish Nymphet" (1973) and "Kyrkoherden / The Lustful Vicar" (1970), both beautifully restored by the Swedish Film Institute. Guest of honour was Christina 'Anita' Lindberg herself and the authors of the book 'Frigjorda Tider' ('Liberated Times'), who talked about the period when these films were released, a time when "porn became culture and culture became porn."Sticking with the theme of culture and porn, DN and SP discuss the Cultpix Theme Week of Literally Erotic Women. Adapting classics of literature for provided good plots, a veneer of highbrow credibility and - best of all - they were out of copyright and the authors were too dead to complain about having their works adapted with lots of boobs, bums and other bits. Chief amongst these literary smut auteurs was Mac Ahlberg, who as Bert Torn, directed six literary adaptations that can be streamed on Cultpix now, including John Cleland's "Fanny Hill" (1968) and "Jorden runt med Fanny Hill / Around the World With Fanny Hill" (1974); Anonymous' "Flossie" (1974); Marqis de Sade's "Justine & Juliette" (1975); Daniel Defoe's Moll Flanders adaptation "Molly" (1977, aka "Sex in Sweden") and Guy de Maupassant's "Bel Ami" (1977).We discuss the stars who appeared in many of these, including the lovely Maria Forså (who apparently didn't fake it), Harry Reems and how he ended up in Sweden, the on-stage sex real life couple Jack and Kim Frank, plus the director Torgny Wickman, who insisted " on painting every clit a little pinker immediately before each take.'"There is also the early US nudie cutie "Kipling's Women" (1961), which was said to be based on "A Picturization of Rudyard Kipling's Immortal Poem---The Ladies," with the priceless tagline 'They Wear Only the Wind!'. And to prevent projectionists from cutting out the nudie bits of the 35mm prints, you could send of for free photos of the six lovely ladies in questions. Finally there is also the Austro-Hungarian turn-of-the-century smut classic Josephine Mutzenbacher, with two of the dozen adaptations available on Cultpix: "Naughty Knickers/Josefine Mutzenbacher" (1970) and "Don't Get Your Knickers in a Twist/Josefine Mutzenbacher II - Meine 365 Liebhaber" (1971). Many of these films are available too in multiple English, French, German and Swedish dub. So you can not only refine your cultural credentials, but also your linguistic one, by watching these films. Just like you used to read Playboy for the articles. 

Alex Kingston is Moll Flanders!Our favorite Whovian actors have a wide filmography - so we look into one of our favorites, River Song herself, in a 1996 mini-series, "The Fortunes and Misfortunes of Moll Flanders." Alex Kingston plays the titular role, based on the Daniel Defoe novel, as she seeks to be a "gentlewoman" in a society that pushes back against women. The four episodes span a wide assortment of romances and adventures (and children!) that leave their mark on Alex's performance. In our look into the TARDIS library, the couple examine the Academy Award-winning short film written and directed by the 12th Doctor, Peter Capaldi, "Franz Kafka's It's a Wonderful Life."

Alex Kingston is Moll Flanders! Our favorite Whovian actors have a wide filmography - so we look into one of our favorites, River Song herself, in a 1996 mini-series, "The Fortunes and Misfortunes of Moll Flanders." Alex Kingston plays the titular role, based on the Daniel Defoe novel, as she seeks to be a "gentlewoman" in a society that pushes back against women. The four episodes span a wide assortment of romances and adventures (and children!) that leave their mark on Alex's performance. In our look into the TARDIS library, the couple examine the Academy Award-winning short film written and directed by the 12th Doctor, Peter Capaldi, "Franz Kafka's It's a Wonderful Life."

“Besó el suelo y apoyó en él su cabeza, y tomando mi pie lo puso sobre ella, lo que sin duda representaba su voluntad de hacerse mi esclavo por toda la vida”. Daniel Foe, que más tarde añadiría el prefijo “De” a su apellido, nació al parecer en Londres en 1.660. En 1.684 se casó con Mary Tuffley, y luego pasó unos años como empresario y mercader, pero en 1.692 cayó en bancarrota. En 1.697 se convirtió en confidente del rey Guillermo III y viajó por Gran Bretaña como agente secreto. En 1.702, su panfleto “El camino más corto con los disidentes” lo llevó a la cárcel, debido a su contenido político, y a una segunda bancarrota. Fue liberado gracias al influyente político Robert Harley, para el que trabajó como espía, viajando de nuevo por todo el país con el fin de informarle sobre la opinión pública. Defoe no se dedicó a la novela hasta casi cumplir los sesenta años. “Moll Flanders” de 1.722, “Diario del año de la peste” del mismo año y “Roxana”de 1.724 las escribió después de “Robinson Crusoe” escrita en 1.719, que obtuvo un enorme éxito, convirtiendo a su autor en una figura fundamental del género. Murió en el año 1.731. Construir una narración como una autobiografía ficticia es un recurso que permite al escritor no solo presentar el relato de la vida de un individuo como si este fuera el autor, sino también crear la impresión de que las palabras escritas son la transcripción directa de sucesos reales. El “Robinson Crusoe” de Daniel Defoe (originalmente titulado “Vida y extrañas y sorprendentes aventuras de Robinson Crusoe”) fue el padre de esa voz autobiográfica de ficción. Muchos otros personajes literarios notables de los siglos XVIII y XIX siguieron a Crusoe; entre ellos el Gulliver de Jonathan Swift, el Tom Jones de Henry Fielding o el David Copperfield de Charles Dickens. La portada de la primera edición de “Robinson Crusoe” no citaba a Defoe como autor: bajo el título decía simplemente . Así, los lectores muy bien podían suponer que la historia que contaba era cierta, verídica. La primera frase del libro: sugiere que se trata de una narración real relatada por la misma persona que vivió esas aventuras. Los detalles sobre el nacimiento del autor aportan autenticidad a la obra como texto autobiográfico, y por tanto como narración real. El hecho de que parte de la novela esté escrita en forma de diario refuerza esa verosimilitud. “Robinson Crusoe” es ampliamente reconocido como un texto fundacional del realismo y, para muchos, es además la primera novela inglesa. Se cree que Defoe se inspiró en el relato de un náufrago que existió realmente, Alexander Selkirk, quién a principios del siglo XVIII quedó aislado en una isla del Pacífico. La historia de Defoe, que tuvo un éxito inmediato, menciona expediciones a regiones exóticas de África y Brasil, y una misión esclavista que acaba en naufragio en una isla del Caribe. Crusoe explica sus intentos de rescatar provisiones del barco y su solitaria existencia en la isla. Construye un refugio y fabrica herramientas para cazar, labrar y recolectar; lleva la cuenta de los días haciendo muescas en una cruz de madera; lee la Biblia y reza a Dios. Domestica a un loro. Durante años, esta es su vida. Entonces, en un famoso episodio de la literatura universal, Crusoe descubre una huella en la arena, lo que le provoca un miedo obsesivo a ser atacado por . Después de dos años dedicado a fortificar su refugio, encuentra a un nativo que huye de unos caníbales. El protagonista entonces lo rescata, lo pone a su servicio y lo llama Viernes, por el día en que lo encontró. La relación entre ambos hombres ha sido criticada como propia del amo y esclavo o explorador/explotador – europeo/indígena; Crusoe, como portador de civilización, entre comillas, constituye un símbolo del emergente imperialismo británico. Igual que las naciones europeas tomaban el mando de sus colonias, así Crusoe asume el dominio sobre la isla, y se considera a sí mismo dueño y señor de estas tierras. Ciertamente, la forma en que Daniel Defoe se abre paso en el nuevo escenario social y literario, da expresión narrativa a la naciente ética mercantilista e individualista de la época y no deja lugar a dudas que que la novela encontró terreno abonado en la realidad social del siglo XVIII. Cuando a la edad de sesenta años, Defoe decidió publicar la primera parte de “Robinson Crusoe”, en pocos meses se multiplicaros las ediciones, aparecieron ediciones piratas y el libro fue devorado por toda clase de público, incluida gentes de clase humilde. Esta, y las otras obras posteriores del autor, celebran el mundo de la industria, la adquisición de una propiedad, y a través de ellas configura Defoe unos ideales de clase haciendo contar a los personajes sus propias vidas en función de los cambios sociales, condiciones económicas y estados de conciencia. ¿Relato de aventuras y de viajes?, ¿Autobiografía espiritual?, ¿Alegoría religiosa?. Defoe recurrió a diversas fuentes para incorporar ingredientes de memoria personal e historia espiritual y justificar la verosimilitud del relato en función de un propósito moral. Por su fondo ideológico, “Robinson Crusoe” transluce un credo individualista, mercantilista y liberal que suponía un reto frente a la concepción aristocrática de la estabilidad social. Y efectivamente así ha sido. El mundo occidental – Rousseau, Coleridge y Marx, entre otros – ha visto en Robinson encarnado en uno de los grandes mitos modernos: la épica de supervivencia individual frente a la opresión de la naturaleza. Jamás la experiencia individual había sido presentada con tanta precisión, ni el curso de los episodios marcado tan convincentemente un proceso espiritual. La historia hipnotiza por su realismo, mientras el espíritu mercantilista de su héroe, la personificación del nuevo >, acepta los caminos de la providencia. La insular de Crusoe inspiró numerosas refiguraciones y dio origen a todo un subgénero. Texto fundamental en la literatura inglesa, ha tenido una enorme influencia – tal vez como ninguna otra obra -, y la figura de Robinson Crusoe se ha convertido en parte de la cultura general en todo el mundo.

This episode, I offer amends, and correction. Also, if ghosts and spirits do exist, where are they, and where are we? A few books & movies, form theory. The movie Somewhere In Time - we start the conversation. _______________ REFERENCE NOTES: "upon further reflection" corrections corner: Ashley Judd: Ruby in Paradise - movie In her voice: https://twitter.com/ashleyjudd?lang=en __________ Heart of Darkness by Conrad, about the Congo: https://en.wikipedia.org/wiki/Heart_of_Darkness __________ Frida - movie __________ Casino regulations in the states versus foreign country __________ Kobayashi Maru = "A test of one's character or a solution that involves redefining the problem and managing an insurmountable scenario gracefully." https://en.wikipedia.org/wiki/Kobayashi_Maru _______ Doc martens, Starina, American Angel dresses ______ Dr. Irene Pepperberg, Harvard, & Alex the parrot. Cognition and Communication research, in parrots. https://alexfoundation.org/about/dr-irene-pepperberg/ ____________ Bid Time Return, by Richard Matheson. The movie Somewhere In Time is based on this book: https://en.wikipedia.org/wiki/Bid_Time_Return ________ The Attic ghost. I touch what he was like, but have to pause, because my heart starts pounding. _________ Moll Flanders. written by Daniel Defoe. Actress Alex Kingston, BBC version, best. Daniel Defoe apparently avoids naming his characters, sometimes. "The Elder Brother" is the one who gloats over Molle in prison. Robert's the brother who married Flanders. CORRECTION - misspoke the name of the song. Rachmaninoff: I mispronounce the name. Peganini. _____ /Romantic relationship addiction: ______________ POD DESCRIPTION: This is the House on Valencia Street. This is a place where ghosts & psychics, with PTSD, exist, & I'm talking about it. Share time with a rare survivor, walking back to haunted rooms and space being claimed from long ago. This is from the survivor's perspective, communicated as I see fit, in a way that feels right, for me. I do not offer advice here, I share what worked for me. I am not a professional therapist, this is just one case study, one perspective. Please seek professional help, if mental health issues need attention. Language is explicit, Content / Trigger Warning: ghosts, psychic ability, rape, incest, foster care, murder, emancipation, BDSM, therapy, lightning strikes, personal responsibility, Buddhism, recovery, codependency, domestic violence - and inappropriate humor, most likely. Picture inset: This is me, so many years ago, standing in front of my mother's Impala, and the House on Valencia Street. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mohmah/support

“Whole world's comin' to an end, Mal.” The Distinguished Professors give into fate and face off against Oliver Stone's crazed take on the Bonnie and Clyde story, Natural Born Killers. Topics include the mystery of Owen, the symbolic end of our world and the beginning of a new one, apocalypse as revelation, John Milton's love of Satan, our inability to say “apocalyptic” or “cinematography,” Woody Harrelson's heel turn from Cheers, Juliette Lewis getting typecast, Rodney Dangerfield's even more horrifying heel turn, Wayne Gale as our viewpoint character, Charles Starkweather and Charles Whitman and Charles Manson, the critique of TV culture and parallels with Robocop,the 1990s' greatest hits of true crime, Stone's errors in seeing himself as a crusaderand the failure of JFK, Tarantino's original script, ubiquitous Dutch angles, musing about what Tarantino's version would have looked like, American Maniacs, Vanderpool resolves to not be the weakest link, Leave it to Beaver as an early distortion of reality through TV, Mallory as the sympathetic center of the movie, the amazing Russell Means and Native American imagery as another layer of meaning, the ambiguity of Kevin, the Trent Reznor-supervised soundtrack, Steven Jesse Bernstein and the opening montage, 89X out of Detroit, the wedding scene, the metaphysical reading of the movie and Mickey as a god, NBK as a magical working, chaos magic, American Mary, Charles in Charge and the Electric Hellfire Club's cover of the show's theme, the very special episode of Diff'rent Strokes and the juxtaposition of sitcom elements with Mallory's backstory, a perfect reset, why it's important to not be so eager, our plug for why everyone needs to see this movie, Tommy Lee Jones cannot sanction your tomfoolery, the awfulness of Scagnetti, the guilt of the spectator and audience, being “lost in a world of ghosts,” the (eventual) redemption of Wayne Gale, British moral panic about NBK and Trainspotting, Mickey's more mysterious trauma and the link between murder and childhood trauma, Charles Whitman and the UT Austin shooting, blurring of hero and villain, Altamont and the Maysles, Moll Flanders and the audience's love of terrible people, our crisis of purpose when we talk about good movies, and why we shouldn't censorthe word “douchebag.” --- Support this podcast: https://anchor.fm/because-you-watched/support

Why did stories of criminals become irresistible for novelists? Starting with works like Moll Flanders in the eighteenth century, this lecture goes on to examine the role of criminals in Dickens, keen to let his readers and characters experience what Pip in Great Expectations calls 'the taint of crime'. To what ends? How does the recent genre fiction of novelists like Patricia Highsmith and Ruth Rendell return us to the transgressive pleasures of Defoe's criminal autobiographies?A lecture by John Mullan 24 FebruaryThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/crime-fictionGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

in this episode I give five reasons you should consider reading Moll Flanders, an early 18th century novel written by Daniel Defoe, who is the author of Robinson Crusoe.The five reasons are:1) You get to visit 17th century London-I mention a painting, which is featured as the artwork for this episode. It is "The Egg Dance by Jan Steen."2) Meet an "immoral" woman who, nevertheless, leads an interesting life.-Here I discuss why so many people have hated Moll Flanders.3) Understand what philosophers hate about commercialism and capitalism.4) Learn about the novel as an artistic achievement5) Understand the novel as a moral institution.

in this episode I give five reasons you should consider reading Moll Flanders, an early 18th century novel written by Daniel Defoe, who is the author of Robinson Crusoe.The five reasons are:1) You get to visit 17th century London-I mention a painting, which is featured as the artwork for this episode. It is "The Egg Dance by Jan Steen."2) Meet an "immoral" woman who, nevertheless, leads an interesting life.-Here I discuss why so many people have hated Moll Flanders.3) Understand what philosophers hate about commercialism and capitalism.4) Learn about the novel as an artistic achievement5) Understand the novel as a moral institution.

Fu pubblicato a Londra nel gennaio 1722 ed ebbe subito fortuna, con tre edizioni successive nello stesso anno. Come Robinson Crusoe anche questo romanzo prende spunto da fatti reali; in questo caso la vita di una ladra, Mary Frith – conosciuta anche col nome di Moll la tagliaborse – che era entrata dopo la sua […]

Fu pubblicato a Londra nel gennaio 1722 ed ebbe subito fortuna, con tre edizioni successive nello stesso anno. Come Robinson Crusoe anche questo romanzo prende spunto da fatti reali.

Moll Flanders - Daniel Defoe | parte 2 Cronologia: https://anonfiles.com/9c9fNa45o6/Cronologia_-_Daniel_Defoe_pdf Resumo: https://anonfiles.com/Z79eN044ob/Resumo_Moll_Flanders_pdf

Moll Flanders - Daniel Defoe | parte 1 Cronologia: https://anonfiles.com/9c9fNa45o6/Cronologia_-_Daniel_Defoe_pdf Resumo: https://anonfiles.com/Z79eN044ob/Resumo_Moll_Flanders_pdf

In this episode, Josh and Ian have a candid conversation by expressing why they've arrived at their own personal philosophies and perspectives. They talk about with why Ian can't help himself get into altercations online, the importance of conversations and the goal for having them, Ian's struggle with obsessive compulsive disorder, not letting points slide during the podcast, understanding the way words are used, the differences between growing up in a small town vs. the city, Ian's ideal of self-reliance and Josh's progressive pragmatism, if survival should be the main focus of humanity's concern, the use of stoicism in Josh's book, the importance of the emotions in human experience, the value of suffering, how technology has shaped human discourse and happiness, the threat of nuclear power, the uncertainty that is stemming from the COVID-19 pandemic, Josh's theater background and his understanding of human psychology.For the last part of the episode, they introduce a new segment: Read/Watch/Play, where they chat about what media their consuming. They talk about The Lord of the Rings, Moll Flanders, Schitt's Creek, Suspiria, the Uncharted series on PlayStation, Sekiro, and Hunt: Showdown.Follow them on Twitter at:Josh @theonlyoneblogIan @modernovermanand the podcast @NecessaryBSPodWebsite: https://www.necessarybspodcast.com/Patreon: https://www.patreon.com/necessarybspodRecorded 2 April 2020Support the show (https://www.patreon.com/necessarybspod)

This week was all about our favourite hooker. Julia Roberts in Pretty Woman, Moll Flanders and three seasons of Band of Gold all don't get a mention as it's the number 9s we're talking about! We get your views on the best dummy halves you've seen and throw ours into the mix too. Of course, there's a new edition of This Week in Coronavirus and a few old games get us chatting too. So, you see, there's doesn't need to be live games to get loads of Rugby League fan chatter!Episode running orderNews, from 05:45Match reviews, from 20:15Hookers chat & Quiz, from 33:30Recommendations, from 125:30

This week was all about our favourite hooker. Julia Roberts in Pretty Woman, Moll Flanders and three seasons of Band of Gold all don't get a mention as it's the number 9s we're talking about! We get your views on the best dummy halves you've seen and throw ours into the mix too. Of course, there's a new edition of This Week in Coronavirus and a few old games get us chatting too. So, you see, there's doesn't need to be live games to get loads of Rugby League fan chatter! Episode running order News, from 05:45 Match reviews, from 20:15 Hookers chat & Quiz, from 33:30 Recommendations, from 125:30

The Literature Lady herself is here to walk us through the Daniel Defoe classic MOLL FLANDERS. Dr. Janet Bartholomew (@Literature_Lady) and host Emily Edwards (@MsEmilyEdwards) apparently, stan an unrepentant thief on this podcast, and ladies who commit crimes because they have to, and because it's just real fun. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/fuckboisoflit/message

"I saw the Cloud, though I did not foresee the Storm." The daughter of a convicted mother, Moll Flanders – a tough and self-assertive young woman – must learn early on how to look out for herself...Uitgeven door SAGA Egmont 2020Spreker(s): Christina May

Even if you don't know who Pen Densham is, you probably do know some of his films. A veteran producer and near-life-long entertainment professional, Pen joined the Los Angeles ISA Third Thursdays event in November as ISA's Director of Education, Max Timm, interviewed him in front of a live audience. To say the discussion was inspirational would be an understatement. From stories about making Robin Hood: Prince of Thieves, to the acclaimed Moll Flanders, Pen's wisdom, advice, and pep talk to our writers will resonate for years to come. Stay tuned for future ISA Third Thursdays panels and discussions, and make sure to check out the ISA Events page to see if there is a Third Thursdays social event in a city near you.

This exclusive interview with Alex Kingston took place as part of an exclusive event for the theater's Playhouse Pass members which covers a variety of topics ranging from her training at RADA, her early career in regional theatre, as well as her time acting in Moll Flanders, ER and Dr Who.It also explores her role in An Enemy of the People – Nottingham Playhouse’s latest production.Alex Kingston will take to the stage as Doctor Stockmann on Friday 13 September, with performances running until Saturday 28 September.Tickets are still available: nottinghamplayhouse.co.uk/whats-on/drama/an-enemy-of-the-people.

In this episode, we'll talk with author and University of Windsor faculty member, Heidi Jacobs about her new novel inspired by the historic Daniel Defoe novel, Moll Flanders. We'll also hear a clip of Christian Laforet of Adventure Worlds Press reading from his new novel at the ChiSeries Reading at Windsor's premier downtown music venue, the Phog Lounge. Born and raised in Edmonton, Alberta, Heidi L.M. Jacobs completed her Bachelor’s and Masters’ degrees in English at the University of Alberta. She also holds a Mater’s of Library and Information Science from Western University, and a PhD in English from the University of Nebraska-Lincoln. She is currently the English and History Librarian at the University of Windsor and Co-Director of the Centre for Digital Scholarship. And she’s a superb writer. Her new novel is Molly of the Mall: Literary Lass & Purveyor of Fine Footwear: Her History and Misadventures, released just this spring by NeWest Press.

Facebook plans to shake up the finance world with a new digital currency called Libra - we hear about its pros and cons. Next up, we discover what Moll Flanders, the literary anti-heroine, can tell us about modern day bank fraud. And finally we find out how smaller shareholders can stand up for their rights. See acast.com/privacy for privacy and opt-out information.

Poet and novelist Anne Kennedy chats with Karen about her new book 'The Ice Shelf', a wicked and hilarious satire on life and literati as experienced in the course of a wild night in Wellington by a modern-day Moll Flanders. Read more on the Auckland Libraries blog: https://aucklandlibrariesblog.blogspot.com/2018/11/books-and-beyond-anne-kennedy.html Auckland Libraries' radio show Books and Beyond explores the world of books with guest authors, recommended reads, gems from the Central City Library basement and… beyond. Catch us on Planet FM 104.6, Sundays at 9.35pm. This episode originally aired on Planet FM 104.6 on 25 November 2018.

Moll Flanders, eller skjebnen og vanskjebnen til den berømte Moll Flanders.

Mannesitting, hockey-mekling, sms-terror, Picasso-krise og "Moll Flanders" på fire minutter.

[Watch the video interview on our YouTube Channel] On this episode of All Access we are joined by composer Mark Mancina whose career has given us some of the most iconic scores of our generation. Mark takes us through his path to becoming a composer as well as his approach to some of his most memorable scores. We discuss Speed and how Mark worked with director Jan de Bont to craft the now iconic action score. Hear the stories behind some of his other scores such as Bad Boys, Twister, Con Air, Moll Flanders, Blood+, August Rush, Planes and Moana. Mark also shares why working with Jerry Bruckheimer and Michael Bay was a challenge, and why he decided to walk away from Bad Boys II. Also hear Mark talk about the challenges of bringing The Lion King to life as a musical. Mark's career has given us some amazing scores that spanned across so many genres, and each of them special in their own way. Enjoy this fascinating and fun interview with one of the most respected and influential composers in the industry. Interview Produced & Presented By:Kaya Savas Special Thanks:Mark MancinaMarlon Espino

Sarah Perry is the author of the best-selling and award-winning The Essex Serpent : she and I discussed the passions and obsessions behind that novel, as well as about six books that inspired her as a writer, from Hilary Mantel's memoir, Giving up the Ghost, to Foxe's Book of Martyrs Jake Arnott's latest novel, The Fatal Tree, tells the story of Edgworth Bess and her Moll-Flanders-esque life in the heart of the 18th century criminal underworld.

This week on Brunch With The Brits it's part 2 of Tinker Tailor Soldier Spy but first we'll learn about Queen Victoria's sixtieth year in office, and begin unraveling the plot of Moris Prune while we listen to a parody of Moll Flanders.  Simon Russel Beal again plays Smiley.  Enjoy.

Pen Densham is the twice Oscar nominated writer/producer/director of movies such as “Moll Flanders”, starring Morgan Freeman and Robin Wright, “Houdini” starring Mark Ruffalo and Emile Hirsch, and the box office smash hit “Robin Hood: Prince of Thieves”, which was the second-highest grossing film of 1991. In addition he is renowned for his television revivals of “The Outer Limits” and “The Twilight Zone”, for which he earned the unique distinction of being named number eight in Cinefantastique’s list of The 50 Most Powerful People in Science Fiction. And Pen’s production company Trilogy Entertainment Group has produced more than 400 hours of network and prime time programming. Its combined gross between film and television product is more than $1 billion. His documentaries, which include “Life Times Nine”, have garnered over 70 international awards, in addition to a medal from the Queen of England for his contribution to the Arts of Canada. And Pen is the author of the book “Riding The Alligator: Strategies for a Career in Screenplay Writing (And Not Getting Eaten)”, which includes supportive essays by screenwriters such as Shane Black, Oscar nominated Nia Vardalos, and Oscar winner Eric Roth, and which received positive reviews from Oscar winners Paul Haggis, Ron Howard, Jeff Bridges, and Morgan Freeman.

"Tricky things, mammoths." In our fourth show, we take a trip back to 19th century England for three slices of Victoriana, Doctor Who style. This month we go through the looking glass with Patrick Troughton for Evil of the Daleks, see Matt Smith get tickled pink by the Crimson Horror, and scratch our heads while Sylvester McCoy is dazzled by Ghost Light. Along the way, Jim reveals who he’d choose as a companion over Victoria, Matt berates modern Doctor Who for not being bad enough, and John fondly remembers ITV’s adaptation of Moll Flanders.

Brillant und witzig war er schon immer, und deshalb schätzte ihn die Politik als Ghostwriter. Erst sehr spät ist er darauf gekommen, dass er bei seinen Talenten viel besser Romane schreiben könnte. Am 26.04.1731 starb Daniel Defoe, der geistige Vater von Moll Flanders und Robinson Crusoe.