Podcasts about Novalis

Romantiken lever i några av våra mest älskade barn- och ungdomsböcker. Eva-Lotta Hultén berättar om Maria Gripes filosofiska influenser. Lyssna på alla avsnitt i Sveriges Radios app. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.”Allt levande hörer samman.” Orden formuleras på 1700-talet av Linnélärjungen Andreas Wiik, i ett brev till hans hemligt trolovade, Emelie. Deras korrespondens hittas på Selanderska gården i småländska Ringaryd långt senare av tre ungdomar. Av breven framgår att det ska finnas en antik egyptisk staty gömd någonstans på orten.Det finns ingen Linnélärjunge vid namn Andreas Wiik. Och ingen småländsk ort som heter Ringaryd. Men både mannen och platsen lever i Maria Gripes ”Tordyveln flyger i skymningen”.Tillsammans med ”Agnes Cecilia” är det den av hennes berättelser där de mystiska inslagen är starkast. Samhörighet över både tid och rum manifesterar sig och byggnader kan bära minnen och förmedla budskap. Särskilt i ”Tordyveln flyger i skymningen” bistår växter och djur i kommunikationen. Skalbaggar och krukväxter leder protagonisterna till viktiga ledtrådar på gåtans lösning – var finns statyn som Andreas Wiik hemförde från Egypten?Redan tidigare i sitt författarskap, också i sina mer realistiska berättelser, skildrade Maria Gripe en kommunikation med naturen, genom flera av sina karaktärer. Hugo, i ”Hugo och Josefin”, är en trygg skogsvarelse som kommer till människornas värld med ett budskap: skollärarinnan får veta att hon har hållits för lite i skogen och för mycket i skolan och att det är därför hon bekymrar sig så mycket. När Hugos för misshandel fängelsedömda far ­kommer på tal säger Hugo lugnt att ”Skogen ska en inte överge. Då går dä illa.”Också Loella i Pappa Pellerins dotter, är ett sagoväsen som hör ihop med naturen.Gripes biograf Ying Toijer Nilsson beskriver det så här: ”Den spåntäckta stugan är nästan osynlig, insnärjd i slingerväxter och med gräs på taket. Vädrets makter står på hennes sida, blixten laddar ur sig framför barnavårdsnämndens representanter, stigen är villsam och oländig, yrväder hindrar moderns bekanta som kommer för att hämta barnen.”I Gripes värld samspelar vi med naturen och talar med och genom den.Maria Gripe växte upp i Örebro men trivdes inte i stadens flickskola och när det var dags för vidare utbildning fick det bli Enskilda gymnasiet i Stockholm. Hon bodde inackorderad, och i rummet hon hyrde fanns filosofen Friedrich von Schellings samlade verk. Det är hans naturfilosofi som hon klär i Andreas Wiiks ord, och ger gestalt i Tordyveln flyger i skymningen.Schelling var verksam kring sekelskiftet 1800 och framåt och ingick i den intellektuella kretsen i staden Jena. Han räknas till de tyska idealisterna och romantikerna, vars idéer ofta ses som en motreaktion på upplysningen och den vetenskapliga revolutionen. Med den franske 1600-talsfilosofen René Descartes hade uppdelningen mellan den tänkande och den utsträckta substansen fått en strikt formulering. Ande och materia var åtskilda. Men den föreställningen medförde ett antal problem som Schelling noterade. Hur kan ett medvetande uppstå hos materia och hur kan ett levande jag påverka och påverkas av en död omgivning? ”Mellan sinnet och naturen finns en hemlig förbindelse”, menade Schelling. Men han gick längre än så.Mot den mekanistiska värld som upplysningen målat fram, där människor, djur och växter var att betrakta närmast som maskiner, ställde Schelling ett enhetligt världsallt – den ”allsjäl” som Maria Gripe låter Andreas Wiik skriva om i sina brev till Emelie. Schelling drar slutsatsen att allt levande därför kan kommunicera med, och genom allt annat som lever. En idé som han i sin tur kan ha hämtat inspiration till från de indiska vishetstexterna Upanishaderna. Där beskrivs en panteistisk värld där allt har en gemensam ande, brahman. Gud och naturen är ett.Allting, förklarade Schelling, i den andan, ”var förbundet med vartannat och utgjorde en enda universell organism” – från grodor till träd, stenar, insekter, floder och människor. Ande är osynlig natur, medan naturen är synlig ande – en central tes för romantikerna. I stället för total åtskillnad mellan jaget och naturen – dess motsats.Efter sin studentexamen läste Maria Gripe filosofi och religionshistoria vid Stockholms högskola och romantiken intresserade henne särskilt. Också Schiller, Novalis och Fichte går att spåra i hennes böcker. Liksom Atterbom och Schopenhauer. Gripe var beläst och ville få sina unga läsare att reflektera. Vilket breven till henne visar att hon också lyckades med. ”Den där Schopenhauer verkar bra. Var får man tag på hans böcker?”, skrev en ung läsare.I ”Tordyveln flyger i skymningen” låter hon huvudpersonerna Jonas, Annika och David – 13, 15 och 16 år gamla – samtala om de stora idéerna i Andreas Wiik brev. Brev som han hade bett Emelie att förvalta, och som hon gömt under en golvtilja. I ett meddelande till dem som hittar gömman ber hon att de ska lägga tillbaka Andreas skrifter igen, om deras tid är lika oförnuftig och oaktsam om livet som hennes egen. Är tiden mogen nu, funderar David, Jonas och Annika. Kanske är ingen tid redo för sådana tankar? Men kanske kan alla tider öppna sig för dem?Schelling var en oerhört populär föreläsare vid universitetet i Jena men hans idéer har gått stick i stäv med modernitetens förhärskande naturvetenskap och har kritiserats och förlöjligats, från hans egen tid fram till våra dagar. Samtidigt har han inspirerat tänkare över alla spektra. En av dem var Alexander von Humboldt. När Humboldt dog 1859 var han sin tids mest berömde vetenskapsman, med banbrytande forskning inom en hel rad naturvetenskapliga discipliner, och uppfinnare av några nya, som oceanografi och klimatologi. Hans levnadstecknare Andrea Wulf kallar honom för ”naturvetenskapernas Shakespeare.” Humboldt beskrev, i vännen Schellings anda, jorden som en organism som pulserade av liv, ett sammanhängande helt där allting är förbundet med vartannat i ett nät av organiskt liv. Det leder tankarna till James Lovelocks så kallade Gaiahypotes – att hela jorden fungerar som ett levande, sammanhängande system. Idag har denna tanke ett växande stöd inom naturvetenskapen. Samtidigt visar kvantfysiken på märkliga samband på partikelnivå över stora avstånd – och ny forskning på psykedelika, som ger starka upplevelser av att höra ihop med världsalltet, visar att detta har en positiv effekt vid depressioner.Schellings idéer om en förbunden värld tycks i vår tid komma till oss från olika håll. Hans tankar ser också ut att kunna bli ett viktigt verktyg för att finna nödvändiga nya förhållningssätt till, och förståelse av vår omvärld, i klimatkrisens tid. Allt levande hörer samman. Är vi mogna för att ta till oss den tanken? Är vi tillräckligt lyhörda för att följa de spår som tordyveln lägger ut?Eva-Lotta Hulténjournalist och författare

Helge Heynold liest: Hymnen an die Nacht 2 - von Novalis

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Acquista il mio nuovo libro, “Anche Socrate qualche dubbio ce l'aveva”: https://amzn.to/3wPZfmCNovalis, i fratelli von Schlegel, ma anche Madame de Staël: parliamo di chi aiutò il Romanticismo a diffondersi.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/dentro-alla-filosofia--4778244/support.

Paola Capriolo"Il superfluo della vita"Carbonio Editorewww.carbonioeditore.itLa nobile Clara e il borghese Heinrich, spiriti inquieti in un mondo che non li comprende, decidono di stare insieme a dispetto di ogni regola, unendosi in un matrimonio segreto contro la volontà del padre di lei. Innamorati e felici, gli sposi vivono nascosti in un'angusta soffitta, nutrendosi di passione e sogni, assorti nella beatitudine di un dolce conversare, rinunciando al superfluo per godersi la vita nella sua poetica essenzialità. Ma l'inverno impietoso e la miseria spingono Heinrich a uno stravagante espediente che è anche un atto estremo e irrevocabile: bruciare la scala che li collega al mondo, scegliendo l'amore come unico rifugio, pur sapendo di condannarsi all'isolamento…Scritta nel 1839 e considerata dallo stesso autore una delle sue opere più riuscite, Il superfluo della vita è una novella delicata e luminosa, piena di arguzia e candore, in cui l'incanto della fiaba avvolge il mistero della vita, sospesa tra presente e passato, tra doveri e diletti, tra sogno e realtà.Ludwig Tieck (Berlino, 1773-1853) è stato un influente scrittore, traduttore, poeta e critico letterario tedesco, figura di spicco del Romanticismo. Nel 1799 diede vita insieme a Novalis, i fratelli Schlegel, Schelling e Fichte al circolo romantico di Jena, un punto di riferimento per la letteratura dell'epoca. Tra le sue opere più significative si annoverano i romanzi Storia del signor William Lovell (1796) e Le peregrinazioni di Franz Sternbald (1798), il racconto fiabesco Il biondo Eckbert (1797), le fiabe teatrali Il gatto con gli stivali (1797) e Il mondo alla rovescia (1798), le novelle Il fidanzamento (1823) e Il superfluo della vita (1839).Paola Capriolo, nata a Milano nel 1962, è autrice di numerosi libri di narrativa, da La grande Eulalia (Feltrinelli 1988) a Irina Nikolaevna o l'arte del romanzo (Bompiani 2023). Le sue opere sono tradotte in molti Paesi. Ha scritto saggi su Benn, Rilke e Thomas Mann e tradotto per diversi editori testi di Goethe, Kleist, Keller, Stifter, Schnitzler, Thomas Mann e Kafka. Dal 2018 fa parte della giuria del Premio italo-tedesco per la traduzione letterariaDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

This week is all poetry—our first all-poetry week of the Immersive Humanities project! After struggling through young Werther, I decided I needed to step back and understand Romanticism as a movement. I offer a brief review of the history leading up to Romanticism; after all, most movements are reactions against what precedes them. The printing press and Protestant Reformation blew open European thought, leading to centuries of philosophical upheaval. Empiricists like Bacon and Hume insisted that knowledge must be tested; rationalists like Descartes and Spinoza trusted pure reason. Kant eventually tried to unite both. Their world gave rise to the Enlightenment—and then came the Romantics, pushing back with emotion, imagination, and nature.That's the world our poets wrote in. This week I used Pocket Book of Romantic Poetry and read Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats (skipping Novalis and Hölderlin). I loved some poems, disliked others. Blake's mystical, anti-Christian tone left me cold. Wordsworth's childhood wonder won me over. Coleridge's Rime of the Ancient Mariner shocked me--it's gripping, almost epic. Byron was brilliant, scandalous, and endlessly readable. His Prisoner of Chillon might have been my favorite poem of the week. Shelley felt dreamlike and visionary, while Keats, to me, seemed talented but young. What did the world lose when he died?Reading these poets in their historical context changed everything. They're passionate, experimental, and surprisingly radical—not quaint! We are missing out when we resort to tired anthologies to get to know these poets--something that I didn't expect to feel so strongly about! Paired with Beethoven's Pastoral Symphony and Chopin's preludes, this week was a revelation.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)That cool Medieval Science Book The Genesis of Science by James HannamCONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts -

How can a historic church navigate a rapidly changing world without losing its soul? In this episode of the Future Christian Podcast, host Martha Tatarnic speaks with Archbishop Shane Parker, the newly elected Primate of the Anglican Church of Canada, about leading through transition, discernment, and hope for the church's future. Archbishop Parker shares the story of his unexpected election, reflecting on themes of surrender, vocation, and guiding change rather than being changed by circumstance. Together, they explore what it means to lead faithfully in a post-Christian context—one where the church no longer holds cultural prominence but still holds deep spiritual purpose. They discuss: The evolving role of Christianity in Canadian society What it means to be “first among equals” in Anglican leadership The spiritual practice of personal prayer and community intercession Why some leaders are called to stay instead of move on The challenge of guiding change before it overtakes the church How to reimagine church structures for relevance and sustainability The importance of friendship, pastoral care, and gathered community in thriving congregations His hope that the future of Christianity will embody the courage, compassion, and justice of Christ Parker offers both realism and hope: that the Anglican Church can rediscover its vitality by focusing on community, worship, and service — not nostalgia or institutional weight. Archbishop Shane Parker was elected the 15th Primate of the Anglican Church of Canada on June 26, 2025, and installed on June 29, 2025, at St. Paul's Cathedral in London, Ontario. Prior to being elected Primate, he had served as the Bishop of the Anglican Diocese of Ottawa since 2020. Before that, he was dean of the Diocese of Ottawa and rector of Christ Church Cathedral for two decades. Born to Irish parents in Edmonton, Alberta, he grew up in western Canada. He worked as a labourer for several years before embarking on undergraduate and graduate studies in sociology at Carleton University. After working as a professional sociologist, he studied theology at Saint Paul University. He was ordained as a priest in 1987 in the Diocese of Ottawa, later serving as the diocesan archdeacon.  Parker has an honorary doctorate from Saint Paul University, where he has served as a part-time professor of pastoral ministry and chairs its Anglican Studies Advisory Committee. A collection of his pastoral essays was published by Novalis in a book called Answering the Big Questions. He is a recipient of the Interfaith Ottawa Award, for devoted service to promoting interfaith dialogue and cooperation. Parker is married to Katherine Shadbolt, a lawyer specializing in family law and mediation. He has three adult children and three grandchildren. He is handy, enjoys physical work and is most comfortable in natural places.   Mentioned Resources:

Roberto Campagna"Anche non far nulla costa fatica"Edizioni Ensemblewww.edizioniensemble.itLa nuova raccolta di aforismi di Roberto Campagna. Da ricordare che l'aforisma, dal greco aphorismos, è un genere letterario che annovera grandi autori da Karl Krauss, uno dei massimi scrittori del secolo passato (1874-1936), a Novalis, da Giacomo Leopardi a Guido Ceronetti… Solo per citarne alcuni. È proprio Krauss sostiene: «Uno che sa scrivere aforismi non dovrebbe disperdersi a fare dei saggi». L'aforisma è parente stretto della massima, della sentenza, ed è vicino al proverbio. Capace di unire forma e contenuto, di cementare generale e parziale, è dilettevole e piacevole al tempo stesso. E anche in questa terza raccolta c'è tutto e il contrario di tutto: la saggezza popolare, spesso rischiosamente collimante col “senso comune”, e la distillazione faticosa della sintesi intellettuale, “filosofica”.Roberto Campagna, sociologo, giornalista e scrittore, è direttore della rivista «Noi/Altri», Collabora con il quotidiano «Latina Oggi» e con «Le Monde Diplomatique-Il Manifesto». Tra i suoi libri ricordiamo: Alle Fontane, E così fu, 10 filastrocche in fila per 1, A Via Fontana dell'Oro e Il Palato della Memoria, Amen (Ensemble, 2022). Ha pubblicato già due raccolte di aforismi: Meglio povero che poveraccio e Di bugie campano tutti.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Still Lives: Jewish Photography in Nazi Germany (U Pennsylvania Press, 2025) is a systematic study of the ways Jews used photographs to document their experiences in the face of National Socialism. In a time of intensifying anti-Jewish rhetoric and policies, German Jews documented their lives and their environment in tens of thousands of photographs. German Jews of considerably diverse backgrounds took and preserved these photographs: professional and amateurs, of different ages, gender, and classes. The book argues that their previously overlooked photographs convey otherwise unuttered views, emotions, and self-perceptions. Based on a database of more than fifteen thousand relevant images, it analyzes photographs within the historical contexts of their production, preservation, and intended viewing, and explores a plethora of Jews' reactions to the changing landscapes of post-1933 Germany. Ofer Ashkenazi is a Professor of History and the director of the Richard Koebner-Minerva Center for German History at the Hebrew University of Jerusalem. While on sabbatical, in 2025-2026 he is the Mosse Visiting Professor at the University of Wisconsin-Madison. He is the co-author of the recently published monograph Still Lives: Jewish Photography in Nazi Germany (2025) , as well as Anti-Heimat Cinema (2020); Weimar Film and Jewish Identity (2012); and Reason and Subjectivity in Weimar Cinema (2010). He edited volumes and published articles on various topics in German and German-Jewish history including Jewish youth movements in Germany; the German interwar anti-war movement; Cold War memory culture; Jewish migration from and to Germany; and German-Jewish visual culture. Rebekka Grossmann is Assistant Professor of Migration History at Leiden University. In her research, she explores the connections of visual culture, migration and politics with a special focus on Jewish history. Her dissertation, which will be published in 2026, investigates the role of the camera as agent, chronicler and critic of Jewish nation-building. In her new project, she looks at the entangled stories of the legacies of Jewish forced migration, post-war memory culture and peace activism through the lens of different artistic projects. Shira Miron is a PhD candidate at the Department of Germanic Languages and Literatures at Yale University. Her research explores aesthetics as a mode of investigation for human experience and social formation and studies the particularities of different artforms alongside their conceptual and practical cross-pollination. She pursues theoretical questions as they relate to history and culture and vice versa. Her dissertation project, Composition and Community: The Extra-Musical Imagination of Polyphony 1800/1900/1950, explores the advent of western polyphony as a modern aesthetic, communicative, and ethical phenomenon that extends beyond the field of music. Shira published on the relationship between music and literature, German-Jewish literature and culture, visual studies, theories of dialogue and communication, and on a wide range of authors including Novalis, Adorno, Kleist, and Gertrud Kolmar. Shira holds B.Mus. and M.Mus. degrees in piano performance from the Jerusalem Academy of Music and Dance and studied German literature at the Hebrew University in Jerusalem and at the Freie Universität Berlin. Currently, she is a DAAD research fellow at the Leibniz Center for Literary and Cultural Research (ZfL) in Berlin. Sarah Wobick-Segev is a research associate at the Institute for Jewish Studies at the University of Hamburg. Her research explores the multiple intersections of European-Jewish cultural and intellectual history with gender studies, everyday life history, and visual and religious studies. Her current project analyzes the religious writings of Jewish women in German-speaking Central Europe from the mid-19th to the mid-20th century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Still Lives: Jewish Photography in Nazi Germany (U Pennsylvania Press, 2025) is a systematic study of the ways Jews used photographs to document their experiences in the face of National Socialism. In a time of intensifying anti-Jewish rhetoric and policies, German Jews documented their lives and their environment in tens of thousands of photographs. German Jews of considerably diverse backgrounds took and preserved these photographs: professional and amateurs, of different ages, gender, and classes. The book argues that their previously overlooked photographs convey otherwise unuttered views, emotions, and self-perceptions. Based on a database of more than fifteen thousand relevant images, it analyzes photographs within the historical contexts of their production, preservation, and intended viewing, and explores a plethora of Jews' reactions to the changing landscapes of post-1933 Germany. Ofer Ashkenazi is a Professor of History and the director of the Richard Koebner-Minerva Center for German History at the Hebrew University of Jerusalem. While on sabbatical, in 2025-2026 he is the Mosse Visiting Professor at the University of Wisconsin-Madison. He is the co-author of the recently published monograph Still Lives: Jewish Photography in Nazi Germany (2025) , as well as Anti-Heimat Cinema (2020); Weimar Film and Jewish Identity (2012); and Reason and Subjectivity in Weimar Cinema (2010). He edited volumes and published articles on various topics in German and German-Jewish history including Jewish youth movements in Germany; the German interwar anti-war movement; Cold War memory culture; Jewish migration from and to Germany; and German-Jewish visual culture. Rebekka Grossmann is Assistant Professor of Migration History at Leiden University. In her research, she explores the connections of visual culture, migration and politics with a special focus on Jewish history. Her dissertation, which will be published in 2026, investigates the role of the camera as agent, chronicler and critic of Jewish nation-building. In her new project, she looks at the entangled stories of the legacies of Jewish forced migration, post-war memory culture and peace activism through the lens of different artistic projects. Shira Miron is a PhD candidate at the Department of Germanic Languages and Literatures at Yale University. Her research explores aesthetics as a mode of investigation for human experience and social formation and studies the particularities of different artforms alongside their conceptual and practical cross-pollination. She pursues theoretical questions as they relate to history and culture and vice versa. Her dissertation project, Composition and Community: The Extra-Musical Imagination of Polyphony 1800/1900/1950, explores the advent of western polyphony as a modern aesthetic, communicative, and ethical phenomenon that extends beyond the field of music. Shira published on the relationship between music and literature, German-Jewish literature and culture, visual studies, theories of dialogue and communication, and on a wide range of authors including Novalis, Adorno, Kleist, and Gertrud Kolmar. Shira holds B.Mus. and M.Mus. degrees in piano performance from the Jerusalem Academy of Music and Dance and studied German literature at the Hebrew University in Jerusalem and at the Freie Universität Berlin. Currently, she is a DAAD research fellow at the Leibniz Center for Literary and Cultural Research (ZfL) in Berlin. Sarah Wobick-Segev is a research associate at the Institute for Jewish Studies at the University of Hamburg. Her research explores the multiple intersections of European-Jewish cultural and intellectual history with gender studies, everyday life history, and visual and religious studies. Her current project analyzes the religious writings of Jewish women in German-speaking Central Europe from the mid-19th to the mid-20th century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Still Lives: Jewish Photography in Nazi Germany (U Pennsylvania Press, 2025) is a systematic study of the ways Jews used photographs to document their experiences in the face of National Socialism. In a time of intensifying anti-Jewish rhetoric and policies, German Jews documented their lives and their environment in tens of thousands of photographs. German Jews of considerably diverse backgrounds took and preserved these photographs: professional and amateurs, of different ages, gender, and classes. The book argues that their previously overlooked photographs convey otherwise unuttered views, emotions, and self-perceptions. Based on a database of more than fifteen thousand relevant images, it analyzes photographs within the historical contexts of their production, preservation, and intended viewing, and explores a plethora of Jews' reactions to the changing landscapes of post-1933 Germany. Ofer Ashkenazi is a Professor of History and the director of the Richard Koebner-Minerva Center for German History at the Hebrew University of Jerusalem. While on sabbatical, in 2025-2026 he is the Mosse Visiting Professor at the University of Wisconsin-Madison. He is the co-author of the recently published monograph Still Lives: Jewish Photography in Nazi Germany (2025) , as well as Anti-Heimat Cinema (2020); Weimar Film and Jewish Identity (2012); and Reason and Subjectivity in Weimar Cinema (2010). He edited volumes and published articles on various topics in German and German-Jewish history including Jewish youth movements in Germany; the German interwar anti-war movement; Cold War memory culture; Jewish migration from and to Germany; and German-Jewish visual culture. Rebekka Grossmann is Assistant Professor of Migration History at Leiden University. In her research, she explores the connections of visual culture, migration and politics with a special focus on Jewish history. Her dissertation, which will be published in 2026, investigates the role of the camera as agent, chronicler and critic of Jewish nation-building. In her new project, she looks at the entangled stories of the legacies of Jewish forced migration, post-war memory culture and peace activism through the lens of different artistic projects. Shira Miron is a PhD candidate at the Department of Germanic Languages and Literatures at Yale University. Her research explores aesthetics as a mode of investigation for human experience and social formation and studies the particularities of different artforms alongside their conceptual and practical cross-pollination. She pursues theoretical questions as they relate to history and culture and vice versa. Her dissertation project, Composition and Community: The Extra-Musical Imagination of Polyphony 1800/1900/1950, explores the advent of western polyphony as a modern aesthetic, communicative, and ethical phenomenon that extends beyond the field of music. Shira published on the relationship between music and literature, German-Jewish literature and culture, visual studies, theories of dialogue and communication, and on a wide range of authors including Novalis, Adorno, Kleist, and Gertrud Kolmar. Shira holds B.Mus. and M.Mus. degrees in piano performance from the Jerusalem Academy of Music and Dance and studied German literature at the Hebrew University in Jerusalem and at the Freie Universität Berlin. Currently, she is a DAAD research fellow at the Leibniz Center for Literary and Cultural Research (ZfL) in Berlin. Sarah Wobick-Segev is a research associate at the Institute for Jewish Studies at the University of Hamburg. Her research explores the multiple intersections of European-Jewish cultural and intellectual history with gender studies, everyday life history, and visual and religious studies. Her current project analyzes the religious writings of Jewish women in German-speaking Central Europe from the mid-19th to the mid-20th century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Still Lives: Jewish Photography in Nazi Germany (U Pennsylvania Press, 2025) is a systematic study of the ways Jews used photographs to document their experiences in the face of National Socialism. In a time of intensifying anti-Jewish rhetoric and policies, German Jews documented their lives and their environment in tens of thousands of photographs. German Jews of considerably diverse backgrounds took and preserved these photographs: professional and amateurs, of different ages, gender, and classes. The book argues that their previously overlooked photographs convey otherwise unuttered views, emotions, and self-perceptions. Based on a database of more than fifteen thousand relevant images, it analyzes photographs within the historical contexts of their production, preservation, and intended viewing, and explores a plethora of Jews' reactions to the changing landscapes of post-1933 Germany. Ofer Ashkenazi is a Professor of History and the director of the Richard Koebner-Minerva Center for German History at the Hebrew University of Jerusalem. While on sabbatical, in 2025-2026 he is the Mosse Visiting Professor at the University of Wisconsin-Madison. He is the co-author of the recently published monograph Still Lives: Jewish Photography in Nazi Germany (2025) , as well as Anti-Heimat Cinema (2020); Weimar Film and Jewish Identity (2012); and Reason and Subjectivity in Weimar Cinema (2010). He edited volumes and published articles on various topics in German and German-Jewish history including Jewish youth movements in Germany; the German interwar anti-war movement; Cold War memory culture; Jewish migration from and to Germany; and German-Jewish visual culture. Rebekka Grossmann is Assistant Professor of Migration History at Leiden University. In her research, she explores the connections of visual culture, migration and politics with a special focus on Jewish history. Her dissertation, which will be published in 2026, investigates the role of the camera as agent, chronicler and critic of Jewish nation-building. In her new project, she looks at the entangled stories of the legacies of Jewish forced migration, post-war memory culture and peace activism through the lens of different artistic projects. Shira Miron is a PhD candidate at the Department of Germanic Languages and Literatures at Yale University. Her research explores aesthetics as a mode of investigation for human experience and social formation and studies the particularities of different artforms alongside their conceptual and practical cross-pollination. She pursues theoretical questions as they relate to history and culture and vice versa. Her dissertation project, Composition and Community: The Extra-Musical Imagination of Polyphony 1800/1900/1950, explores the advent of western polyphony as a modern aesthetic, communicative, and ethical phenomenon that extends beyond the field of music. Shira published on the relationship between music and literature, German-Jewish literature and culture, visual studies, theories of dialogue and communication, and on a wide range of authors including Novalis, Adorno, Kleist, and Gertrud Kolmar. Shira holds B.Mus. and M.Mus. degrees in piano performance from the Jerusalem Academy of Music and Dance and studied German literature at the Hebrew University in Jerusalem and at the Freie Universität Berlin. Currently, she is a DAAD research fellow at the Leibniz Center for Literary and Cultural Research (ZfL) in Berlin. Sarah Wobick-Segev is a research associate at the Institute for Jewish Studies at the University of Hamburg. Her research explores the multiple intersections of European-Jewish cultural and intellectual history with gender studies, everyday life history, and visual and religious studies. Her current project analyzes the religious writings of Jewish women in German-speaking Central Europe from the mid-19th to the mid-20th century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

Der Begriff Rechtsstaat scheint auszudrücken, dass Politik und Recht ein einheitliches System wären. Die Theorie sozialer Systeme kann jedoch analytisch aufzeigen, dass es sich um zwei operativ geschlossene Systeme handelt. Bereits die Entstehung des Begriffs setzt Gewaltenteilung voraus und damit gegenseitige Anerkennung von Autonomie. Am Widerstandsrecht lässt sich nachvollziehen, wie beide Systeme ihre Ansprüche auf Autonomie verteidigen. Aus Perspektive der Politik ist ein Staatsbürger, der sich mit Berufung aufs Recht in die Politik einmischt, ein Friedensstörer. Aus Perspektive des Rechts darf jedoch niemand, auch nicht der Gesetzgeber, über dem Recht stehen. Sonst gäbe es kein Recht. Diese Auffassung führte zur Entwicklung der civil rights im Common Law. Dass die Systeme sich Machtkämpfe liefern, bestätigt nur ihre operative Geschlossenheit. Sie verteidigen dann jeweils ihren Anspruch darauf. Rechtsstreitigkeiten um dieses Thema führten dazu, dass der Begriff Rechtsstaat nach der Französischen Revolution 1789 zunehmend als Beobachtungsschema verstanden werden konnte. Die Verkettung der beiden Begriffe zu einem gemeinsamen neuen Denkrahmen fordert dazu auf, das Verhältnis zwischen Politik/Recht zu beobachten. Also: gegenseitige Bedingungen und Wechselwirkungen. (Luhmann zitiert hier in Fußnote 17 Novalis, 1795/96, u.a. mit dem Satz: »Jedes ist nur das auf seinem Platz, was es durch den anderen ist.«) Das Ziel ist damit nicht mehr Konsens, der mithilfe von Kriterien wie Vernunft erreichbar wäre. Stattdessen gibt der Begriff Rechtsstaat vor, dass die Systeme ihr Verhältnis zueinander jeweils autonom beschreiben müssen. Im Zentrum stand hier stets die Differenz von Notwendigkeit und Freiheit. Um Freiheit zu gewährleisten, muss sie notwendigerweise durch Gesetze eingeschränkt werden. Die Durchsetzung von Gesetzen verantwortet dann die Exekutive, die Durchsetzung von Gerichtsurteilen die Judikative, jeweils in einem als Nationalstaat begriffenen Territorium. Um Widerstand gegen als ungerecht empfundene Herrschaft in politisch und rechtlich akzeptable Bahnen lenken zu können, musste die Figur des Bürgers mit umfangreichen Rechten ausgestattet werden. Der Bürger braucht Staatsangehörigkeit, Rechtsfähigkeit, Wahlrecht, subjektive Rechte. Parallel zur Ausdifferenzierung der Rechte häufen sich Streitigkeiten darum. Diese klären nach und nach, was darunter jeweils rechtlich und/oder politisch zu verstehen ist. Auch der Rechtsschutz des Bürgers gegenüber politischer Hoheitsgewalt muss erfunden werden. Diese Kontroversen führten dazu, dass der Begriff des Politischen im 19. Jh. fast ausschließlich auf den Nationalstaat bezogen wurde. Infolge der geteilten Gewalten konnten Parteien mit Staatsämtern entstehen. Gesetzgebung, Steuern und Abgaben werden zu Top-Instrumenten der Politik. Dadurch wächst das Normmaterial rasant an. Das führt zu dem Zeitproblem, dass sich Gesetze nicht mehr schnell ändern (»reliquidieren«) lassen, weil immer mehr Material mitbeachtet werden muss. In der Folge schafft der Gesetzgeber beim Versuch, Konflikte zu lösen und politische Ziele zu realisieren, neue Konflikte. Diese ergeben sich erst aus der Gesetzgebung. Und auch diese selbst produzierten Konflikte kann der Gesetzgeber wiederum nur durch Gesetzgebung lösen. Historisch wurde das Rechtsstaatsverständnis dadurch geprägt, dass die Positivierung des Rechts und die Demokratisierung der Politik in etwa parallel verliefen und schrittweise aufeinander abgestimmt werden mussten. Sprachlich wurden dabei zwei Begriffe zu einem gemeinsamen Sinnhorizont verschmolzen. Analytisch handelt es sich jedoch um zwei operativ geschlossene Systeme. Vollständiger Text auf luhmaniac.de

En este episodio de La Ruleta Rusa hemos escuchado y comentado los discos:ÁLBUM DESTACADO. Montresor. Autopoiesis (2024).Land Of Talk. The EPs (2024).Living Colour. Time's Up (1990)Novalis, Banished Bridge (1973).Hedvig Mollestad Trio. Bees in the Bonnett (2025).Soundgarden. Echo of Miles: Scattered Tracks Across the Path (2014).Johnny Winter. First Winter (1969).

Bei "Woanders", seinerzeit ein radioeins-Album der Woche, drehte sich 2021 alles um von Masha Qrella vertonte Gedichte des 2001 verstorbenen Autors Thomas Brasch. Eines der so entstandenen Stücke, die Single "Geister", wurde von unseren Hörer*innen sogar auf Platz 27 der 100 beliebtesten Songs des Jahres gewählt. Vier Jahre später nun erschien Ende März mit "Songbook" der Nachfolger, und wie der Titel schon andeutet, finden sich darauf ebenfalls Texte (und diesmal auch Musik) aus "fremder Feder", kombiniert mit ausgewählten Eigenkompositionen. In gewisser Weise ist Qrellas neues Album eine Art "Best-of", versammelt sie doch hier die gelungensten und interessantesten Lieder, die sie aus ganz unterschiedlichen Anlässen aufgenommen hat, zu einem dennoch erstaunlich schlüssigen Gesamtwerk – zu einem guten Teil bislang unveröffentlicht, aber alles andere als "Ausschuss". So steht beispielsweise eine melancholisch-reduzierte Gitarrenversion des Whitney Houston-Evergreens "I Wanna Dance With Somebody", die im Kontext einer letztlich nicht zustande gekommenen Auftragsarbeit für einen Fernsehfilm-Soundtrack ihren Anfang nahm, in trauter Eintracht neben der Adaption eines Textes von Novalis. Diesen zu singen "ertrug" die 1975 in Ost-Berlin geborene Künstlerin, wie sie sagt, jedoch nur in der englischen Übersetzung, deren Titel "Sometimes The Rain Just Keeps Falling For A Long Time" sie auf positive Weise an den Namen des von ihr geschätzten Prince-Songs "Sometimes It Snows In April" erinnerte. Hinter jedem der Lieder auf "Songbook" steckt eine ähnlich interessante Geschichte, in die einzutauchen es heute Abend Gelegenheit gibt. Denn Masha Qrella besucht uns im studioeins und wird im Anschluss an das Interview selbstverständlich auch den ein oder anderen Song aus dem "Book" live auf der kleinen Bühne spielen; auch, um so auf ihr Konzert am 27. Mai im Hebbel am Ufer einzustimmen.

Bei "Woanders", seinerzeit ein radioeins-Album der Woche, drehte sich 2021 alles um von Masha Qrella vertonte Gedichte des 2001 verstorbenen Autors Thomas Brasch. Eines der so entstandenen Stücke, die Single "Geister", wurde von unseren Hörer*innen sogar auf Platz 27 der 100 beliebtesten Songs des Jahres gewählt. Vier Jahre später nun erschien Ende März mit "Songbook" der Nachfolger, und wie der Titel schon andeutet, finden sich darauf ebenfalls Texte (und diesmal auch Musik) aus "fremder Feder", kombiniert mit ausgewählten Eigenkompositionen. In gewisser Weise ist Qrellas neues Album eine Art "Best-of", versammelt sie doch hier die gelungensten und interessantesten Lieder, die sie aus ganz unterschiedlichen Anlässen aufgenommen hat, zu einem dennoch erstaunlich schlüssigen Gesamtwerk – zu einem guten Teil bislang unveröffentlicht, aber alles andere als "Ausschuss". So steht beispielsweise eine melancholisch-reduzierte Gitarrenversion des Whitney Houston-Evergreens "I Wanna Dance With Somebody", die im Kontext einer letztlich nicht zustande gekommenen Auftragsarbeit für einen Fernsehfilm-Soundtrack ihren Anfang nahm, in trauter Eintracht neben der Adaption eines Textes von Novalis. Diesen zu singen "ertrug" die 1975 in Ost-Berlin geborene Künstlerin, wie sie sagt, jedoch nur in der englischen Übersetzung, deren Titel "Sometimes The Rain Just Keeps Falling For A Long Time" sie auf positive Weise an den Namen des von ihr geschätzten Prince-Songs "Sometimes It Snows In April" erinnerte. Hinter jedem der Lieder auf "Songbook" steckt eine ähnlich interessante Geschichte, in die einzutauchen es heute Abend Gelegenheit gibt. Denn Masha Qrella besucht uns im studioeins und wird im Anschluss an das Interview selbstverständlich auch den ein oder anderen Song aus dem "Book" live auf der kleinen Bühne spielen; auch, um so auf ihr Konzert am 27. Mai im Hebbel am Ufer einzustimmen.

Bei "Woanders", seinerzeit ein radioeins-Album der Woche, drehte sich 2021 alles um von Masha Qrella vertonte Gedichte des 2001 verstorbenen Autors Thomas Brasch. Eines der so entstandenen Stücke, die Single "Geister", wurde von unseren Hörer*innen sogar auf Platz 27 der 100 beliebtesten Songs des Jahres gewählt. Vier Jahre später nun erschien Ende März mit "Songbook" der Nachfolger, und wie der Titel schon andeutet, finden sich darauf ebenfalls Texte (und diesmal auch Musik) aus "fremder Feder", kombiniert mit ausgewählten Eigenkompositionen. In gewisser Weise ist Qrellas neues Album eine Art "Best-of", versammelt sie doch hier die gelungensten und interessantesten Lieder, die sie aus ganz unterschiedlichen Anlässen aufgenommen hat, zu einem dennoch erstaunlich schlüssigen Gesamtwerk – zu einem guten Teil bislang unveröffentlicht, aber alles andere als "Ausschuss". So steht beispielsweise eine melancholisch-reduzierte Gitarrenversion des Whitney Houston-Evergreens "I Wanna Dance With Somebody", die im Kontext einer letztlich nicht zustande gekommenen Auftragsarbeit für einen Fernsehfilm-Soundtrack ihren Anfang nahm, in trauter Eintracht neben der Adaption eines Textes von Novalis. Diesen zu singen "ertrug" die 1975 in Ost-Berlin geborene Künstlerin, wie sie sagt, jedoch nur in der englischen Übersetzung, deren Titel "Sometimes The Rain Just Keeps Falling For A Long Time" sie auf positive Weise an den Namen des von ihr geschätzten Prince-Songs "Sometimes It Snows In April" erinnerte. Hinter jedem der Lieder auf "Songbook" steckt eine ähnlich interessante Geschichte, in die einzutauchen es heute Abend Gelegenheit gibt. Denn Masha Qrella besucht uns im studioeins und wird im Anschluss an das Interview selbstverständlich auch den ein oder anderen Song aus dem "Book" live auf der kleinen Bühne spielen; auch, um so auf ihr Konzert am 27. Mai im Hebbel am Ufer einzustimmen.

Bei "Woanders", seinerzeit ein radioeins-Album der Woche, drehte sich 2021 alles um von Masha Qrella vertonte Gedichte des 2001 verstorbenen Autors Thomas Brasch. Eines der so entstandenen Stücke, die Single "Geister", wurde von unseren Hörer*innen sogar auf Platz 27 der 100 beliebtesten Songs des Jahres gewählt. Vier Jahre später nun erschien Ende März mit "Songbook" der Nachfolger, und wie der Titel schon andeutet, finden sich darauf ebenfalls Texte (und diesmal auch Musik) aus "fremder Feder", kombiniert mit ausgewählten Eigenkompositionen. In gewisser Weise ist Qrellas neues Album eine Art "Best-of", versammelt sie doch hier die gelungensten und interessantesten Lieder, die sie aus ganz unterschiedlichen Anlässen aufgenommen hat, zu einem dennoch erstaunlich schlüssigen Gesamtwerk – zu einem guten Teil bislang unveröffentlicht, aber alles andere als "Ausschuss". So steht beispielsweise eine melancholisch-reduzierte Gitarrenversion des Whitney Houston-Evergreens "I Wanna Dance With Somebody", die im Kontext einer letztlich nicht zustande gekommenen Auftragsarbeit für einen Fernsehfilm-Soundtrack ihren Anfang nahm, in trauter Eintracht neben der Adaption eines Textes von Novalis. Diesen zu singen "ertrug" die 1975 in Ost-Berlin geborene Künstlerin, wie sie sagt, jedoch nur in der englischen Übersetzung, deren Titel "Sometimes The Rain Just Keeps Falling For A Long Time" sie auf positive Weise an den Namen des von ihr geschätzten Prince-Songs "Sometimes It Snows In April" erinnerte. Hinter jedem der Lieder auf "Songbook" steckt eine ähnlich interessante Geschichte, in die einzutauchen es heute Abend Gelegenheit gibt. Denn Masha Qrella besucht uns im studioeins und wird im Anschluss an das Interview selbstverständlich auch den ein oder anderen Song aus dem "Book" live auf der kleinen Bühne spielen; auch, um so auf ihr Konzert am 27. Mai im Hebbel am Ufer einzustimmen.

Ziemlich zu Beginn des Gesprächs mit dem Schriftsteller und Literaturwissenschaftler Jan Röhnert, erzählt er von Novalis, dem grossen Deutschen Romantiker, der das Bild der blauen Blume und die Sehnsucht danach entscheidend geprägt hat. Was ich nicht wusste, war, dass Novalis u.a. in Leipzig lebte und dass er einem „naturwissenschaftlichen Job“ nachging. Er trug zur Erschließung der dortigen Braunkohlelagerstätten bei und damit auch dazu, dass sich die Landschaft um Leipzig durch den Kohleabbau auf immer veränderte. Sie wurde schliesslich geflutet, zu einer Seenlandschaft, oder anders ausgedrückt, zu einer Bergbaufolgelandschaft. Auch Jan Röhnert lebt in Leipzig. Er reist mit uns in seinem neuen Buch „Wildnisarbeit. Schreiben, Tun und Nature Writing“ gen Leipzig und in das Herz der Stadt hinein. Hier wird er Zeuge, wie dort ein kleines Stück Wildnis in der Stadt, die Leuschner Brache mehr oder minder verschwindet. Doch wie es der Titel des Buches sagt, beschäftigt sich Jan Röhnert nicht nur mit Brachen und Landschaften, sondern auch damit, was „Nature Writing“ überhaupt ist. Kurz gesagt: Für Jan Röhnert ist dieses Genre, das Schreiben über, mit und durch die Natur, ein literarisches-poetisches-politisches und vor allem auch ein ökologisches Projekt. Denn anders als zu Novalis' Zeiten ist der Artenschwund und das Verschwinden ganzer Landschaften heute im Echtzeit erlebbar.

durée : 00:58:39 - Le Souffle de la pensée - par : Géraldine Mosna-Savoye - Poète romantique allemand, Novalis a cherché à rassembler en une encyclopédie toute l'histoire de l'humanité. Une œuvre fragmentaire, fulgurante, et laissée inachevée par la mort prématurée de son auteur, sur laquelle revient l'écrivain Jean-Christophe Bailly. - réalisation : Nicolas Berger - invités : Jean-Christophe Bailly Essayiste, écrivain

This week, we tried an experiment: a Substack live event! Matthew Gasda wrote a popular article about Romanticism, his contribution to an ongoing debate. Samuel Kimbriel had a few disagreements with Gasda's piece. In the spirit of Wisdom of Crowds, we hosted our first-ever live-streamed Substack debate.It went pretty well! We hope to host more. By popular demand, here is a video recording of that debate. Please continue the discussion in the comments below!— Santiago Ramos, executive editorRequired Reading:* Matthew Gasda, “A Few Doubts About Neo-Romanticism” (WoC).* CrowdSource: “Hopeful Romantics” (WoC).* Ted Gioia, “Notes Toward a New Romanticism” (The Honest Broker).* Ross Barkan, “The zeitgeist is changing. A strange, romantic backlash to the tech era looms” (Guardian).Recommendations:Matthew Gasda: * Terence Malick, To the Wonder (YouTube).* Johann Wolfgang von Goethe, The Sorrows of Young Werther (Amazon). * Any biography of Goethe (Amazon). Samuel Kimbriel:* Percy Bysshe Shelley, “Hymn to Intellectual Beauty” (Poets.org). * Novalis, Hymns to the Night (Amazon). Santiago Ramos:* Ludwig von Beethoven, Piano Concerto Number 4, Second Movement (YouTube). Wisdom of Crowds is a platform challenging premises and understanding first principles on politics and culture. Join us! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit wisdomofcrowds.live/subscribe

¡Superamos la barrera de los 100 libros! Con este capítulo son 105 libros recomendados para que tengas de dónde elegir ese libro que quieres regalar durante esta navidad. Recomendamos libros de #MaggieOFarrel, #JonFosse, #MaríaGómezLara, #ByungChulHan, #JulioTrebolle, #CarlGustavJung, #VictoriaCirlot, #Novalis, #DanielPennac, y más. ¡Regala un libro esta navidad! Lo impulsamos desde #Comfama y #ParedroPodcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/paredropodcast/support

Stefano Rossi"Sentimenti maleducati"Coltivare l'intelligenza affettiva per insegnare ai ragazzi le cose dell'amoreFeltrinelli Editorewww.feltrinellieditore.itSe le emozioni ci vengono assegnate dalla natura, i sentimenti sono figli della cultura. Cosa accade quando la scuola si limita a istruire e la famiglia non trova le parole per educare all'empatia e alle relazioni? Lo vediamo nelle classi, sui treni, sui social, dove dilagano comportamenti guidati da sentimenti maleducati.“L'amore non si può spiegare, solo i poeti possono custodirne il segreto.” Frasi seducenti come questa di Novalis ci hanno fatto disertare l'educazione sentimentale. I comportamenti violenti, il riaffacciarsi tra i ragazzi di dinamiche relazionali ritenute superate portano il nome dell'analfabetismo sentimentale.Stefano Rossi, che della cura dei ragazzi ha fatto la sua missione, ha racchiuso in questo libro idee e suggerimenti per far fiorire l'intelligenza affettiva, intrecciando neuroscienze, arte, filosofia e psicologia. I sentimenti nocivi alla base delle trappole dell'amore, di fatto, germinano già in giovanissima età per poi esplodere nella vita adulta sotto forma di narcisismo, manipolazione, dipendenza affettiva, controllo ossessivo, adescamento, violenza e stereotipi di genere. Prevenirli e contrastarli si può.Troverete questo libro ricco di assist per nutrire il rispetto, l'attenzione e l'approccio all'altro, per insegnare il potere difensivo del “no” e la capacità di liberarsi da invidia, gelosia, paura, rancore, arroganza, che avvelenano la capacità dei nostri ragazzi di vivere relazioni sane e socialmente costruttive.Da una delle voci più coinvolgenti della psicopedagogia italiana, autore dei best seller Mio figlio è un casino e Lezioni d'amore per un figlio, una guida indispensabile all'educazione sentimentale.Stefano Rossi, psicopedagogista e conferenziere tra i più amati, è uno dei massimi esperti di educazione emotiva di bambini e adolescenti.Dopo aver lavorato come educatore di strada in contesti di marginalità e coordinato centri psicopedagogici per famiglie e minori, oggi è una voce autorevole nel panorama educativo italiano. Negli ultimi vent'anni ha formato più di ottocento scuole e oltre centomila insegnanti e genitori sugli strumenti da lui creati per l'educazione emotiva.Ogni anno da settembre a luglio è in tour nelle scuole, nelle piazze e nei teatri di tutto il Paese per far prosperare l'intelligenza emotiva nel cuore di bambini, ragazzi e adulti.Per Feltrinelli ha pubblicato Sentimenti maleducati (2024), i best seller Lezioni d'amore per un figlio (2023), Mio figlio è un casino (2022) e, indirizzato ai ragazzi, Se non credi in te, chi lo farà? (2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

【德語劈啪聊ｘ東吳大學德文系】攜手合作，讓文學「加」進我們的生活！ ⁡ 讓我們跟著東吳大學德文系Julius 萬壹遵老師，一同揭開「德國文學家」的樣貌，藉由了解他們的故事與著作，進而理解文學家們的人生價值觀，再應用於我們的生活情境！ ⁡

Fairy tales are among the most familiar cultural objects, so familiar that we let our kids play with them unsupervised. At the same time, they are also the most mysterious of artifacts, their heimlich giving way to unheimlich as soon as we give them a closer look and ask ourselves what they are really about. Indeed, these imaginal nomads, which seem to evade all cultural and historical capture, existing in various forms in every time and place, can become so strange as to make us wonder if they are cultural at all, and not some unexplained force of nature — the dreaming of the world. In this episode, JF and Phil use "Rapunzel" as a case study to explore the weirdness of fairy tales, illustrating how they demand interpretation without ever allowing themselves to be explained. Sign up for the upcoming course "Writing at the Wellspring" (https://weirdosphere.mn.co/) October 22-December 1 with Dr. Matt Cardin on Weirdosphere.org Support us on Patreon (https://www.patreon.com/weirdstudies). Buy the Weird Studies soundtrack, volumes 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2), on Pierre-Yves Martel's Bandcamp (https://pierre-yvesmartel.bandcamp.com) page. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! SHOW NOTES Walter Benjamin, "The Storyteller" in Illuminations (Hannah Arendt, ed.; Harryn Zohn, trans.). Novalis, Philosophical Writings. (Margaret Mahony Stoljar, trans.). Cristina Campo, The Unforgivable and Other Writings (Alex Andriesse, trans.) William Irwin Thompson, Imaginary Landscape (https://www.amazon.com/Imaginary-Landscape-Making-Worlds-Science/dp/0312048084) Bruno Bettelheim, The Uses of Enchantment (https://bookshop.org/a/18799/9780307739636) Marie-Louise von Franz, (https://en.wikipedia.org/wiki/Marie-Louise_von_Franz), Swiss Jungian psychologist Sesame Street, “Rapunzel Rescue” (https://www.youtube.com/watch?v=J-fK8rYa45Q&ab_channel=SesameStreet) Disney's Tangled (https://www.imdb.com/title/tt0398286/) The Annotated Brothers Grimm (https://www.amazon.com/Annotated-Brothers-Grimm-Books/dp/0393058484) Aarne-Thompson-Uther Index (https://en.wikipedia.org/wiki/Aarne%E2%80%93Thompson%E2%80%93Uther_Index) Marina Warner, Once Upon a Time (https://bookshop.org/a/18799/9780198779858) W. A. Mozart, [The Magic Flute](https://en.wikipedia.org/wiki/TheMagicFlute) Dante Alighieri, Il Convito (https://www.gutenberg.org/ebooks/12867) Panspermia hypothesis (https://en.wikipedia.org/wiki/Panspermia) Gregory Bateson, Mind and Nature (https://www.amazon.com/Mind-Nature-Necessary-Advances-Complexity/dp/1572734345) John Mitchell, Confessions of a Radical Traditionalist (https://bookshop.org/a/18799/9781620554159) Clint Eastwood (dir.) The Unforgiven (https://www.imdb.com/title/tt0105695/)

In this episode we explore the correct context for understanding Kant's relation to the historical period known as “the Enlightenment” or “the Age of Reason.” On the one hand, Kant's Critique of Pure Reason may be understood as “critiquing reason to make room for faith.” On the other hand, the Method of Kant's Transcendental Philosophy reveals Spirit as the condition for the possibility of the unity of Mind and Body. We'll understand these insights by discussing what has been called “the Homeric Contest” to complete Kant's “System of Transcendental Philosophy.” The contest refers to the competition that may be witnessed in the writings of Fichte, Novalis, Hölderlin, Schelling, Schopenhauer, and Hegel. Understanding this historical contextualization of Kant's philosophy makes it much easier to see that contemporary Postmodern criticisms of Kant's philosophy are not actually criticisms of Kant's philosophy. Rather, they are criticisms of Descartes' philosophy. Thus, Kant's philosophy is not the problem; Kant's philosophy is the solution to the problem(s) with Descartes' philosophy. . Please post your questions or comments on The Philosophemes YouTube Channel. Accessible through this Linktree link: https://linktr.ee/philosophemes . Amazon Author Page: https://amzn.to/4cM6nzf . The Existentialism Book: http://shepherd.com/book/what-is-existentialism-vol-i . Online Courses (Gumroad) Coming Soon! . Podcast Page: https://evergreenpodcasts.com/the-philosophemes-podcast #philosophy, #existentialism, #FrankScalambrino, #phenomenology, #psychology, #historyofphilosophy, #historyofpsychology, #Plato, #Heidegger, #philosophypodcast . Some links may be “affiliate links,” which means I may I receive a small commission from your purchase through these links. This helps to support the channel. Thank you. Editorial, educational, and fair use of images. © 2024, Frank Scalambrino, Ph.D. Learn more about your ad choices. Visit megaphone.fm/adchoices

In dieser Folge zu hören sind: Gast: Annika Brockschmidt Moderation: Oliver Rautenberg alias Anthroblogger Aus dem Team #ExWaldi: Sarah, Katharina Technik: Steffen In dieser Folge unterhalten wir uns über Religion, die amerikanische christliche religiöse Rechte und die thematischen Überschneidungen und Parallelen zur anthroposophischen Lehre. Content-Notes: Content Note für die gesamte Folge: Wir thematisieren in der gesamten Folge u. a. Transfeindlichkeit, Sexismus, Antisemitismus, Rassismus, Ableismus, christliche Religion und die christliche religiöse Rechte. Wir benennen dabei auch diskriminierende Begriffe sowie trans- und queerfeindliche Narrative. Steiner im Original: 04:12 - 05:20 (Aus dem Zusammenhang gerissenes Zitat) Queer- und Transfeindlichkeit der christlichen religiösen Rechten und der Anthroposophie: 48:09 - 52:20 Mutter Theresas Menschenfeindlichkeit, Benennung anthroposophischer Konzepte: 52:25 - 55:20 Sexismus: 56:16 - 59:50 Wir reden über 00:00:00 Prolog 00:01:35 Intro 00:05:10 Aus dem Zusammenhang gerissenes Zitat zur Religiosität 00:06:40 Rekrutierung und Missionierung von Kindern durch die religiöse Rechte in den USA 00:10:40 Religiosität im Alltag an der Waldorfschule 00:19:50 Christengemeinschaft, Exkurs: Epochenunterricht 00:29:55 Religionsunterricht als Pflichtfach, Heiligenlegenden 00:32:20 Privatschulen, Schulwahl der Eltern und Schulgemeinschaft 00:43:45 Parallelen zur religiösen Rechten, insbesondere Geschlechterbilder 00:48:40 Geht die Transfeindlichkeit der christlichen religiösen Rechten mit einem steinerschen Weltbild zusammen? 00:53:00 Scheinbar empathische Weltbilder, die eigentlich unmenschlich sind 00:56:10 Reaktionäre Geschlechterbilder, rosig verkauft 01:00:40 Anthroposophie zum Rosinenpicken, Steiner als “Kind seiner Zeit” 01:03:55 Evolutionstheorie, Dinosaurier und Fabelwesen 01:10:40 Menschengemachter Klimawandel und Wissenschaftsfeindlichkeit 01:17:20 Impfgegnertum und Verschwörungsglauben, Tarnformulierungen, Doppelsprech 01:25:10 Wünsche für die Zukunft 01:31:50 Wortsalat - Das Zitat in seinem Zusammenhang Zu Annika Brockschmidt: Annika Brockschmidt ist eine deutsche Journalistin, Autorin und Podcast-Produzentin. In ihrem Buch “Amerikas Gotteskrieger: Wie die Religiöse Rechte die Demokratie gefährdet” beschäftigt sie sich mit der evangelikalen Bewegung in den Vereinigten Staaten. Ihr aktuelles Buch: “Die Brandstifter. Wie Extremisten die Republikanische Partei übernahmen” erschien am 26. Februar 2024. Webseite: https://www.rowohlt.de/autorin/annika-brockschmidt-18251 Twitter und Instagram: @ardenthistorian Podcasts: Kreuz und Flagge Feminist Shelf Control Der Bätchcast Weiterführende Links und Anmerkungen Literatur: Helmut Zander: Die Anthroposophie. Rudolf Steiners Ideen zwischen Esoterik, Weleda, Demeter und Waldorfpädagogik. Paderborn 2019. https://brill.com/display/title/53491 Christengemeinschaft/Christentum: S. 61 - 73 Protestantismus - Katholizismus: S. 189 - 192 Rudolf Steiners Religiosität: Rudolf Steiner war katholisch getauft, seine Jugend war aber kaum vom Katholizismus geprägt. Helmut Zander bezeichnet die Anthroposophie als “ein Kind des Protestantismus”. Seine erste tiefergehende religiöse Sozialisation erhielt Rudolf Steiner laut Zander bei dem Protestanten Karl Julius Schröer. (Zander, Die Anthroposophie, S. 189.) Auch die Christengemeinschaft wurde mehrheitlich von Protestant*innen begründet, wobei die sieben Sakramente der katholischen Kirche übernommen wurden. (Zander, Die Anthroposophie, S. 61.) Die Waldorf-Zeitschrift “Erziehungskunst” über Religionsunterricht an der Waldorfschule: https://www.erziehungskunst.de/artikel/religion-ist-so-alt Die pädagogische Forschungsstelle beim Bund der Freien Waldorfschulen über den freien (auch: freichristlichen) Religionsunterricht an Waldorfschulen https://www.forschung-waldorf.de/service/downloadbereich/detail/lehrplan-fuer-den-freien-religionsunterricht-an-waldorfschulen/ Novalis war laut Steiner eine Inkarnation von Raffael, Johannes des Täufers, des Propheten Elias und von Pinchas ben Eleasar: https://anthrowiki.at/Johannes_der_T%C3%A4ufer#Fr%C3%BChere_und_sp%C3%A4tere_Inkarnationen Die Christengemeinschaft ist nicht Mitglied in der Arbeitsgemeinschaft christlicher Kirchen (ACK). (Zander, Die Anthroposophie, S. 68.) Die Taufe der CG, die als Inkarnationshilfe verstanden wird, wird von der EKD und der katholischen Kirche nicht anerkannt: https://www.ezw-berlin.de/publikationen/lexikon/anthroposophie-und-christengemeinschaft/ Selbstbild der Christengemeinschaft: https://christengemeinschaft.de/hintergruende/die-christengemeinschaft Die Christengemeinschaft fühlt sich als Teil der Ökumene: https://christengemeinschaft-international.org/wer-wir-sind/faq Annika erwähnt R. J. Rushdoony (Rshtuni), einen Vordenker der amerikanischen religiösen Rechten: https://en.wikipedia.org/wiki/R._J._Rushdoony https://en.wikipedia.org/wiki/The_Institutes_of_Biblical_Law Theonomie: https://de.wikipedia.org/wiki/Theonomie Waldorfpädagogische Sicht auf “zu frühes Lesenlernen”: “Frühes Lesenlernen schadet der Gesundheit”, Steinerzitate über “Sklerotiker” durch angeblich zu frühes Lesenlernen und das optimale Alter zum Schreiben- und Lesenlernen: “Lesen und Schreiben, so wie wir es heute haben, ist eigent­lich erst etwas für den Menschen … im 11., 12. Lebensjahre. Und je mehr man damit begnadigt ist, kein Lesen und Schreiben vorher fertig zu können, desto besser ist es für die späteren Lebensjahre.” https://www.waldorfkindergarten.de/en/paedagogik/erziehungskunst-fruehe-kindheit/artikel/wenn-kinder-spaeter-lesen-lernen/ GA 302, 8. Vortrag vom 19. Juni 1921: Rudolf Steiner über das Lesen- und Schreibenlernen: “Wir können nicht sagen: Seid froh, daß euer Junge mit 9 Jahren noch nicht lesen und schreiben kann. Er wird um so besser lesen und schreiben, wenn er es mit 9 Jahren nicht gekonnt hat; denn wenn er mit 9 Jahren wunderschön schreiben und lesen kann, dann wird er später ein Automat, weil dem Menschen etwas Fremdes eingeimpft worden ist. Er wird ein Automat. Diejenigen werden aber Vollmenschen, die noch etwas entgegengestellt haben in ihrer Kindheit dem Lesen und Schreiben.” (S. 130f.) https://steiner.wiki/GA_302#ACHTER_VORTRAG_Stuttgart,_19._Juni_1921 Anthroposophische Evolutionsleugnung mit eigenem Institut in Witten-Herdecke: https://www.uni-wh.de/gesundheit/department-fuer-humanmedizin/lehrstuehle-institute-und-zentren/institut-fuer-evolutionsbiologie/ Studie: Anthroposophic Climate Science Denial https://journals.sagepub.com/doi/10.1177/20503032221075382 Oliver Nachtwey, Nadine Frei u. a.: Quellen des “Querdenkertums”. Eine politische Soziologie der Corona-Proteste in Baden-Württemberg. https://www.boell-bw.de/de/2021/11/19/quellen-des-querdenkertums-eine-politische-soziologie-der-corona-proteste-baden Rudolf Steiner in “Die Erkenntnis des Menschenwesens nach Leib, Seele und Geist. Über frühe Erdzustände“ (GA 347, S.123ff.) über Ichthyosaurier (auch Fischsaurier genannt) https://anthroposophie.blog/2015/08/30/fliegende-fischsaurier-frassen-selige-elektrische/ Rudolf Steiner über ausgeschiedene Tiere: “Der Mensch hatte noch alle anderen Wesen in sich. Nachher entwickelte sich der Mensch höher hinauf und ließ die Fischform zurück, die er in sich hatte. [...] Wieder entwickelte sich der Mensch höher hinauf und sonderte die Vögel aus sich heraus. Dann gingen die Reptilien und Amphibien aus dem Menschen heraus, groteske Wesen wie die Saurier, Fischeidechsen, die eigentlich nur Nachzügler der früher zurückgebliebenen, noch menschenunähnlicheren Wesen waren. Dann noch später setzte der Mensch die Säugetiere heraus. Zuletzt stieß er die Affen ab und ging selbst höher hinauf.” (GA 95, S. S. 76: https://steiner.wiki/GA_95#Achter_Vortrag,_Stuttgart,_29._August_1906) auch S. 157 (mit Abbildung) Das aus dem Zusammenhang gerissene Zitat Quelle: Erziehung zum Leben. Selbsterziehung und pädagogische Praxis, GA 297a, S.81f https://steiner.wiki/GA_297a#FRAGENBEANTWORTUNG_AM_P%C3%84DAGOGISCHEN_ABEND_Darmstadt,_28._Juli_1921

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Fabuloso viaje musical de la mano de Carles Pinós y Carlos Romeo. Carlos regresa al Rarities con una selección de temas de distintos artistas utilizando como nexo a Robert Wyatt, concretamente Phil Manzanera, Nick Mason y Michael Mantler. Carles Pinós nos hablará de cuatro discos, en esta ocasión ha seleccionado a Ed Mann, Novalis, Mcluhan y Solstice. Presentado y dirigido por David Pintos. Edición: David Pintos www.subterranea.eu www.davidpintos.com Escucha este episodio completo y accede a todo el contenido exclusivo de Subterranea Podcast. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/17710

Can Europe survive without its Christian spirit? Can the West? It's a question that's weighing on more and more intelligent people's minds, and Novalis helps us to grapple with it in a unique way. In this episode I look at three key areas--science, religion, and politics--where the secular spirit of Enlightenment humanism has exhausted itself and needs a new source of inspiration. Perhaps those sources are to be found in the middle ages, and perhaps Novalis can help us find them. Check out our sponsor, the Ancient Language Institute: https://ancientlanguage.com/youngheretics/ I maked this: "How Woke Hierarchy Created an Upper-Class Underclass," at The Spectator World: https://thespectator.com/topic/how-woke-hierarchy-created-upper-class-underclass/ Subscribe to be in the mailbag: https://rejoiceevermore.substack.com Christendom or Europe? in a new edition, edited by Michael Martin: https://angelicopress.com/products/christendom-or-europe My review of Tom Holland and further thoughts on cultural Christianity: https://claremontreviewofbooks.com/the-anxiety-of-influence/  

Are we on the brink of a return to Medieval wonder? A collapse into total warfare? Both? Bear with me while I present my Unified Field Theory of Human History in thirty minutes or less, by way of introduction to the mind-blowing essay "Christendom or Europe," by Novalis. He's the most important figure you've never heard of in Western literature, and now is the perfect time to get to know him, because he's going to be with us in the years ahead. Check out our sponsor, the Ancient Language Institute: https://ancientlanguage.com/youngheretics/ I maked this: pre-order my new book, Light of the Mind, Light of the World: https://a.co/d/2QccOfM Subscribe to be in the mailbag: https://rejoiceevermore.substack.com Christendom or Europe? in a new edition, edited by Michael Martin: https://angelicopress.com/products/christendom-or-europe  

Kris begins his address with a question: "Who was Georg Philipp Friedrich Fruihwald von Hadenburg - alias Novalis?" a corruption from di Novali - "The Newcomers" - the name his ancestors gave to themselves when they settled on their land. Novalis b. 1772, was a Lutheran, (Pietist) mystic, in awe of the beauty and mystery of Nature and the universe that surrounded him. It was the beginning of the Age of Reason that applied Reason and Intellect to understand Nature and God. As a young mystic poet, novelist and philosopher, aged only 28, Novalis contracted tuberculosis or cystic fibrosis and died at 29 but had packed so much into his short life. Kris's biographical research will encourage you to listen on to find out more about the contribution of this young, free-thinker and "Unitarian", who expressed his "Thoughts - through Philosophy" and his "Feelings - through Poetry", but concluding - "Humanity is a comic role"?

Rampolli by George MacDonald audiobook. A collection of poems by George MacDonald translated from various European languages including works by Novalis, Schiller, Goethe, Heine, Petrach, Milton and Martin Luther. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jason Foster is the CEO of groundbreaking biotech firm Ori who've raised $130m in funding from the likes of Novalis, Octopus & Amadeus.  Jason also runs his own angel investment portfolio & supports over a dozen healthtech & Saas ventures as a Board member/advisor. We explored:  Ensuring a smooth handover from a technical founder to an incoming professional CEO  Why startups need to prove they've a viable business model - not just a glossy deck! How to be nimble & adaptable to overcome global upheavals like supply chain shocks & plunges in VC funding  Why carrot & stick incentives drive inferior employee performance Learning to trust your team to hire the best talent For more insights into Ori check out https://oribiotech.com/ and for advice on hiring C Suite talent for VC-backed startups and scale-ups head over to https://alpinasearch.com/      

La portada del episodio 05.2024 de La Ruleta Rusa fueron los 36 minutos en directo de Play, el proyecto de Dave Grohl sobre la enseñanza en la música y que fue presentado en directo en la Jam de Navidad del guitarrista de The Allman Brothers Band y Govt’ Mule, Warren Haynes, en 2022. Estupendo. Después descubriremos juntos la música de Nolan Potter, con su álbum de 2021, Music Is Dead. Nuestros primeros clásicos contemporáneos fueron la banda de Billy Corgan, The Smashing Pumpkins, a los que escucharemos en sus gloriosos años 90, con el indispensable recopilatorio The Aeroplane Flies High, de 1996. Continue reading La Ruleta Rusa 05.2024. Dave Grohl. Nolan Potter. The Smashing Pumpkins. John Martyn. Orchestre Tout Puissant Marcel Duchamp. Franz Ferdinand. Novalis. at La Ruleta Rusa Radio Rock.

John Wu Discusses Novalis' Growth and LVT Products at Surfaces 2024 by Floor Focus Magazine

Venus, Mercury, and Mars cross through the morning Milky Way, bringing to mind the inspiring words of German mystic poet Novalis.

This final installment of the organ compositions of Axel Ruoff (born in Stuttgart in 1957) presents two starkly contrasted sides of his musical personality: three of them, for voice and organ, are concerned with the spiritual – two even addressing head-on the issue of death itself – and are thus solemn and hieratic, whereas the concluding work is a whimsical, tongue-in-cheek set of variations on ‘Happy Birthday', written as a present for Ruoff's publisher on his 80th birthday.Tracks Memento creatoris tui for baritone and organ (2001) (12:43)Messe basse for soprano and organ (2015) (21:15) I. Introitus (6:02) II. Kyrie (5:46) III. Sanctus (2:40) IV. Agnus Dei (6:47) In Hora Mortis. Sieben Totenlieder for medium voice and organ (2020) (28:31) No. 1, O bleibe treu den Toten (Storm) (7:31) No. 2, Lied der Toten (Werfel) (2:35) No. 3, O Herr, gib jedem seinen eignen Tod (Rilke) (3:55) No. 4, Vergiss mein nicht (von Knebel?, arttrib. Novalis) (3:39) No. 5, Ausgang (Fontane) (1:18) No. 6, Tiefstille (from Psalm 39, transl. Buber) (6:06) No. 7, Selig sind die Toten (Revelation 14:13) Happy Birthday. Variationen und Fuga grottesca (2019) (16:02) Thema (0:58) Var. 1: Ländler (1:45) Var. 2: Danse populaire (0:27) Var. 3: Marsch (2:26) Var. 4: Andante (0:48) Var. 5: Choral (1:02) Var. 6: Walzer (1:20) Var. 7: Galopp (0:44) Var. 8: Interludium (0:43) Var. 9: Polka (0:32) Var. 10: Grave (1:07) Fuga grottesca (4:10) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Episode: Suzanna Millar and Sébastien Doane introduce us to a newer field in biblical studies that focuses on animals in the Bible and ancient Near East. Millar and Doane co-chair "The Bible and Animal Studies" program unit at the Society for Biblical Literature. Guests: Dr. Suzanna Millar is the Chancellor's Fellow in Hebrew Bible/Old Testament at the University of Edinburgh. She co-edited the Cambridge Companion to Biblical Wisdom literature, and is also interested in ecology and non-human animals. She's also editing the forthcoming Oxford Handbook of the Bible and Animals and is writing a book tentatively entitled Animals and Power in the Books of Samuel. Dr. Sébastien Doane is Associate Professor of Biblical Studies at the Université Laval. He's the author of several books, including Questions controversées sur Jésus (Montréal, Novalis, 2023) and Analyse de la réponse du lecteur au récit des origines de Jésus en Mt 1-2 (Leuven, Peeters, 2019). He's currently writing Reading the Bible Amid the Environmental Crisis: Interdisciplinary Insights to Ecological Hermeneutics (Lexington). Image Attribution: By Syrischer Maler um 1335 - The Yorck Project (2002), Public Domain, https://commons.wikimedia.org/w/index.php?curid=159265 Give: Visit our Donate Page if you want to help Biblical World continue by becoming a regular donor. Live Event! If you'd like to attend our live event in San Antonio on Nov 19, click HERE.

Johnny Hambone, library bouncer and detective, worries with sidekick Rollo about the ontology of episode 5, so they call upon Novalis—again!

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

n this episode (originally aired by our partner Novel Dialogue) John and his Brandeis colleague Eugene Sheppard speak with Joshua Cohen about The Netanyahus. Is the 2021 novel a Pulitzer-winning bravura story of the world's worst job interview? Or is it a searing indictment of ethno-nationalist Zionism–and the strange act of pretense whereby American Jewish writers and thinkers in postwar America pretended that Israel and its more extreme ethno-nationalist strains didn't concern them? Cohen dramatizes the return of that repressed by imagining the family of the Benzion Netanyahu (actual medieval Spanish historian and father of Israel's past and present Prime Minister Bibi) landing itself on a would-be assimilated American Jewish family ripped straight from the pages of a Philip Roth or Bernard Malamud novel. With John and Eugene, Joshua dissects the legacy of earlier American Jewish writers like Cynthia Ozick, and offers finer details of how Ze'ev Jabotinksy‘s bellicose views would ultimately take hold in Israel, wisecracking his way to a literally jaw-dropping conclusion… Mentioned in this episode: Zionist and ethnonationalist Ze'ev Jabotinksy (1880-1940): "We must eliminate the Diaspora or the Diaspora will eliminate us." Novalis (the German Romantic writer Georg Von Hardenberg) says somewhere "Every book must contain its counter-book." Slavoj Zizek makes the case that everything is political including the choice not to have a politics. Joshua wants readers to think about why celebrated postwar American fiction by Jewish authors like Cynthia Ozick, Saul Bellow, Bernard Malamud, Philip Roth (starting from his 1959 Goodbye Columbus) largely ignores both the Holocaust and Israel until the 1970s or 1980s. Joshua invokes Harold Bloom's 1973 Anxiety of Influence to explain his relationship to them. He is less interested in Hannah Arendt. "Shoah Religion" is the way in which the Holocaust came to not only function as a key element in post-war American Jewish identification but also to legitimate the state of Israel (cf Abba Eban's famous quip "There's no business like Shoah business") Yekke: a German-Jew in Israel or American characterized by an ethos of industrial self-restraint and German culture, satirized in Israeli culture as a man who wears a three piece suit in the middle of summer heat. Leon Feuchtwanger "There's hope but not for us" Joshua (subtly) quotes a line of Kafka's that Walter Benjamin (in "Franz Kafka: On the Tenth Anniversary of His Death‟ from Illuminations) apparently lifted from Max Brod ("Oh Hoffnung genug, unendlich viel Hoffnung, — nur nicht für uns.") Yitzhak La'or "you ever want a poem to become real" Netanyahu tells the story of the snowy drive to Ithaca (again) in an interview with Barry Weiss. Philip Roth, The Ghost Writer Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/genocide-studies

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee    Connect for FREE! The Friday Newsletter |  Daily Gardener Community   Historical Events 1497 John Cabot, the Canadian Explorer, set sail from Bristol, England, on his ship, Matthew. He was looking for a route to the west, and he found it. He discovered parts of North America on behalf of Henry VII of England. And in case you're wondering why we're talking about John Cabot today, it's because of the climbing rose named in his honor. And it's also the rose that got me good. I got a thorn from a John Cabot rose in my knuckle and ended up having surgery to clean out the infection about three days later. It was quite an ordeal. I think my recovery took about eight months. So the John Cabot Rose - any rose - is not to be trifled with.   1519 Leonardo da Vinci, the mathematician, scientist, painter, and botanist, died. Leonardo once said, We know more about the movement of celestial bodies than about the soil underfoot.   He also wrote, The wisest and noblest teacher is nature itself.   And if you're spending any time outdoors, we are learning new lessons in spring. Isn't that the truth? There's always some new development we've never encountered - and, of course, a few delights. Leonardo continued to study the flower of life, the Fibonacci sequence, which has fascinated them for centuries. You can see it in flowers. You can also see it in cell division. And if you've never seen Leonardo's drawings and sketches of flowers, you are missing a real treat, and I think they would make for an awesome wallpaper. Leonardo once wrote about how to make your own perfume. He wrote, To make a perfume, take some rose water and wash your hands in it, then take a lavender flower and rub it with your palms, and you will achieve the desired effect. That timeless rose-lavender combination is still a good one.   I think about Leonardo every spring when I turn on my sprinkler system because of consistent watering. Gives such a massive boost to the garden. All of a sudden, it just comes alive. Leonardo said, Water is the driving force in nature.   The power of water is incredible, and of course, we know that life on Earth is inextricably bound to water. Nothing grows; nothing lives without water. Leonardo was also a cat fan. He wrote, The smallest feline is a masterpiece.   In 1517 Leonardo made a mechanical lion for the King of France. This lion was designed to walk toward the king and then drop flowers at his feet. Today you can grow a rose named after Leonardo da Vinci in your garden. It's a beautiful pink rose, very lush, very pleasing, with lots of lovely big green leaves to go with those gorgeous blooms. It was Leonardo da Vinci who wrote, Human subtlety will never devise an invention more beautiful, more simple, or more direct than does nature because in her inventions, nothing is lacking, and nothing is superfluous.   1803 On this day, Napoleon and the United States inked a deal for the Louisiana Purchase and added 828,000 square miles of French territory to the United States for $27 million. This purchase impacted the Louis and Clark Expedition because they had to explore the area that was bought in addition to the entire Pacific Northwest. To get ready for this trip, Meriwether Lewis was sent to Philadelphia. While there, he worked with a botanist, a naturalist, and a physician named Benjamin Smith Barton. He was the expert in Philadelphia, so he tutored Meriwether Lewis to get him ready because Lewis did not know natural history or plants. So he needed to cram all this information to maximize what he saw and collected. Now, in addition to all of this homework, all of this studying about horticulture and botany and the natural world, Meriwether made one other purchase for $20. He bought himself a big, beautiful Newfoundland dog, and he named him Seaman. It's always nice to have a little dog with you while exploring.   1806 The garden writer John Abercrombie died.  The previous day, John had fallen down some steps. He had broken his hip a few weeks earlier, and so this last fall is what did him in. John was a true character. He loved to drink tea. He was a vegetarian. He was Scottish, and he was a lifelong gardener. His most significant success was his book, Every Man His Own Garden. John would go on to write other books on gardening like The Garden Mushroom, The Complete Wall and Tree Pruner (1783), and The Gardener's Daily Assistant (1786), but none of them rose to the level of popularity as Every Man His Own Garden. John and his wife had 17 children, and they all died before him - with his last child dying about ten years before he died on this day in 1806.   1867 Thomas Hanbury bought a property in the French Riviera that he called La Mortola. In 1913, The Botanical Journal shared the story of Thomas and his brother Daniel, and it also described the moment that Thomas saw his property for the first time. It had been the dream of Thomas Hanbury from his early youth to make a garden in a southern climate and to share its pleasures and botanical interests with his favorite brother. While staying on the Riviera, in the spring of 1867, after many years of strenuous work in the East, he decided to carry out his plan. He was first inclined to buy Cap Martin, near Mentone, but gave up the idea as soon as he became acquainted with the little cape of La Mortola. As he first approached it by sea, he was struck by the marvelous beauty of this spot. A house, once the mansion of a noble Genoese family, and at that time, though almost a ruin, known as the Palazzo Orego, stood on a high commanding position. Above it was the little village, and beyond all rose the mountains. To the east of the Palazzo were vineyards and olive terraces; to the west, a ravine whose declivities were here and there scantily clothed by Aleppo pines; while on the rocky point, washed by the sea waves, grew the myrtle, to which La Punta della Murtola probably owed its name.   So Thomas purchased this incredible property in May of 1867, and by July, he returned with his brother, and together the two of them started to transform both the home and the garden. The article says that Thomas's first goal was to get planting because the property had been destroyed by goats and the local villagers who had come in and taken what they wanted from the property during all the years that it was left unoccupied now Thomas and Daniel went all out when it came to selecting plants for this property, and by 1913 there were over. Five thousand different species of plants, including the opuntia or the prickly pear cactus, along with incredible succulents (so they were way ahead of their time). Thomas loved collecting rare and valuable plants and found a home for all of them on this beautiful estate. Now, for the most part, Thomas and his brother Daniel did the bulk of the installations, but a year later, they managed to find a gardener to help them. His name was Ludwig Winter, and he stayed there for about six years. Almost a year after they hired him, Thomas's brother Daniel died. This was a significant loss to Thomas, but he found solace in his family, friends, and gorgeous estate at La Mortola - where Thomas spent the last 28 years of his life. Thomas knew almost every plant in his garden, and he loved the plants that reminded him of his brother. Thomas went on to found the Botanical Institute at the University of Genoa. The herbarium there was named in his honor; it was called the Institute Hanbury and was commemorated in 1892. As Thomas grew older, the Riviera grew more popular, and soon his property was opened to the public five days a week. The garden is practically never without flowers. The end of September may be considered the dullest time. Still, as soon as the autumnal rains set in, the flowering begins and continues on an ever-increasing scale until the middle of April or the beginning of May. Then almost every plant is in flower, the most marked features being the graceful branches of the single yellow Banksian rose, Fortune's yellow rose, the sweet-scented Pittosporum, the wonderful crimson Cantua buxifolia, and the blue spikes of the Canarian Echium.   But Thomas knew that there were limitations, frustrations, and challenges even in that lovely growing zone. It was Thomas Hanberry who said, Never go against nature.    Thomas used that as his philosophy when planning gardens,  working with plants, and trying to figure out what worked and what didn't - Proving that even in the French Riviera, never go against nature.   1928 On this day, folks were lined up to see the lilacs in bloom at Hulda Klagers in Woodland, Washington. Here's an excerpt from a book by Jane Kirkpatrick called Where Lilacs Still Bloom. In it, she quotes Hulda. Beauty matters… it does. God gave us flowers for a reason. Flowers remind us to put away fear, to stop our rushing and running and worrying about this and that, and for a moment, have a piece of paradise right here on earth.   Jane wrote, The following year there were two articles: one in Better Homes and Gardens and yet another on May 2, 1928, in the Lewis River News. The latter article appeared just in time for my Lilac Days and helped promote Planter's Day, following in June. They were covering the news, and we had made it! In the afternoon, a count showed four hundred cars parked at Hulda Klager's Lilac Garden in one hour, the road being lined for a quarter of a mile. It is estimated that at least twenty-five hundred people were there for the day, coming from points all the way from Seattle. In addition, there were several hundred cars during the week to avoid the rush. Today you can go and visit the Hulda Klager Lilac Gardens. It's a nonprofit garden, and of course, it specializes in lilacs. The gardens are open from 10 to 4 pm daily. There's a $4 admission fee - except during lilac season when the admission fee is $5.   Grow That Garden Library™ Book Recommendation A Gardener's Guide to Botany by Scott Zona This book came out in December of 2022, and the subtitle is The Biology Behind the Plants You Love, How They Grow, and What They Need. I think it's that last part - what they need - that most gardeners are intrigued by. If you're a true botany geek, you'll love every page of Scott's book. I wanted to share a little bit from the preface of Scott's book. Scott, by the way, is truly an expert. He's a research botanist by training, and his undergraduate degree is in horticulture, so he's a lifelong gardener and a trained expert. He's a conscious-competent. He knows exactly what he is writing about, Here's what he wrote in the preface of his book. As I sit down to write, I gaze at the windowsill near my desk. On it sits a dwarf sansevieria forming little rosettes of deep green leaves above. It hangs a slab of cork on which is mounted a tiny air plant that is pushing out oversized violet flowers, one at a time. Nearby are two plants, an agave, and an aloe, that have similar forms, but one evolved from Mexico and the other in South America. Above them, a furry-leaved and a hybrid philodendron both grow contently in the diffuse light that reaches the shelf next to the window. My most curious visitors might ask a question about a plant or two, and when that happens, I can barely contain my delight. There is so much to tell. Well, this book starts out with a chapter called Being a Plant, and if you are a bit of an empath, you may feel that you understand what it's like to be a plant, but Scott is going to tell you scientifically what does it mean to be a plant.   He writes in chapter one, For most people, the plant kingdom is a foreign land. It's inscrutable. Inhabitants are all around us, but they communicate in a language that seems unintelligible and untranslatable. Their social interactions are different. Their currency doesn't fit in our wallet and their cuisine. Well, it's nothing like what we eat at home in the plant kingdom. We are tourists.   So I would say this book is for the very serious and curious gardener- and maybe you. This book was a 2023 American Horticulture Society Award winner. I love the cover. It's beautiful, and of course, I love the title, A Gardener's Guide to Botany. This is the perfect book to round out your collection. If you have the Botany in a Day book, it looks like a big botany workbook. I love that book. This book is a great companion to that. There's also a book called Botany for Gardeners, and when I think about Scott's book here, I will be putting it on the shelf beside both books. This book is 256 pages that will amp up your understanding of plants - No more mystery -and provide all of the answers you've been looking for. You can get a copy of A Gardener's Guide to Botany by Scott Zona and support the show using the Amazon link in today's show notes for around $20.   Botanic Spark 1772 Georg Philipp Friedrich Freiherr von Hardenberg, better known by his pen name Novalis, is born. He was an 18th-century German poet and writer, mystic, and philosopher of early German romanticism. All last week I was watching videos about Novalis. He led such an exciting but short life. He had a tragic romance after falling in love with a girl who tragically died of tuberculosis, and then Novalis himself died young. He died at 28 of tuberculosis as well. But in his concise life, he accomplished so much, including the fact that during his life, he had three moments of mystical revelation, which led to a deeper understanding of the world and time, and humanity. This is partly what makes him such a fascinating person to examine. One of the things that we remember Novalis for is his fascination with blue flowers. He made the blue flower a symbol of German romanticism. To Novalis, the blue flower represented romantic yearning. It also meant a point of unification between humanity and nature. It represented life, but it also described death. And if you are a gardener who the blue flower bug has bitten (and who hasn't? I mean, who does not love a blue flower?), you know what I'm talking about. Blue blossoms are so rare. They're so captivating. Most people can relate to Novalis' love of Blue Flowers and why it became so significant in his writing. Now the book where Novalis wrote about the Blue flower is a book called Henry of Ofterdingen, and it's here where we get these marvelous quotes about the blue blossom, which some believe was a heliotrope and which others believe was a cornflower, But whatever the case, the symbolism of the blue flower became very important. Novalis wrote, It is not the treasures that have stirred in me such an unspeakable longing; I care not for wealth and riches. But that blue flower I do long to see; it haunts me, and I can think and dream of nothing else.   And that reminds me of what it was like to be a new gardener 30 years ago. A friend got me onto growing Delphinium, and I felt just like Novalis; I could not stop thinking about the Delphinium and imagining them at maturity around the 4th of July, standing about five to six feet tall, those beautiful blue spikes. And, of course, my dream of the Delphinium always surpassed what the actual Delphinium looked like, and yet, I still grew them. I loved them. And I did that for about ten years. So there you go, the call and the power of the blue flower. Novalis writes later in the book, He saw nothing but the blue flower and gazed at it for a long time with indescribable tenderness.   Those blue flowers command our attention. Well, I'll end with this last quote. It's a flower quote from Novalis, and it'll get you thinking. Novalis was a very insightful philosopher and a lover of nature, and he believed in the answers that could be found in nature. And so what he does here in this quote is he asks a series of questions, and like all good philosophers, Novalis knows that the answer is in the questions and that the questions are more powerful than the answers. Novalis writes, What if you slept?  And what if, in your sleep, you dreamed?  And what if, in your dream, you went to heaven and plucked a strange and beautiful flower?  And what if, when you awoke, you had the flower in your hand?  Ah, what then?   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.

Meet John Novalis...He recently joined Victory Strategies after serving 32 years in leadership and executive level roles in the U.S. Army retiring as a Brigadier General. He's from Indiana, Pennsylvania, and currently resides in Keller, Texas. John works for Bell Helicopter as the Director of Advanced Programs and Weapon Systems Integration, leading sustainment, logistics, and digital enterprise initiatives for Bell's Future Vertical Lift programs.   Top tip for a successful life?Maintain mental, physical, and spiritual strength.Best piece of advice you ever received?Listen - Actively and with Empathy. Allows you to hear insights, new information, it is a display of humility and empathy, and finally it is a component of human intelligence.Advice you would give yourself 30 years ago? Never miss an opportunity to spend quality time with your family. I lost my parents and brother at young ages...I feel regret. My career became more important than life experiences with my family. Life is fleeting.Professional achievement you're most proud of:Leading, training, and deploying a unit of +3,000 personnel and +150 aircraft into Afghanistan. An experience that taught me team building, conflict resolution, logistics and sustainment, operations and crisis management, and the value of discipline and goal setting.What advice would you give someone now who is just starting their career?1. Be competent2. Be humble3. Be a person of character4. Maintain life balance/equilibriumWhat's next for you?I plan to write a number of leadership articles relying on my experiences in the Army which included four years in combat, Command of numerous units both in peace and war, Executive Assistant to the Chairman of the Joint Staff, and Director of Logistics and Sustainment for the 101st Airborne Division and for a period of time Iraq and Syria.Instagram: www.instagram.com/victory_podcast/ LinkedIn:  www.linkedin.com/company/thevictorypodcastThe Victory Podcast Youtube Playlist: https://bit.ly/3VxXMsgMP3: https://www.buzzsprout.com/958345/12702899Check out the Victory Strategies Leadership Library: www.victory-strategies.com/podcast#victorypodcast #victorystrategies #lifeleadershipjourney #accelerateleadership #WhatsNext

For centuries, Medieval life in Europe meant a world determined and prescribed by church and royalty. The social sphere was very much a pyramid, and everybody had to answer to and fit within the schemes of those on top. And then, on wings of reason, Modern selves emerged to scrutinize these systems and at great cost swap them for others that more evenly distribute power and authority. Cosmic forces preordained one's role within a transcendental order…but then, across quick decades of upheaval, philosophy and politics started celebrating self-determination and free will. Art and science blossomed as they wove together. Nothing was ever the same.Welcome to COMPLEXITY, the official podcast of the Santa Fe Institute. I'm your host, Michael Garfield, and every other week we'll bring you with us for far-ranging conversations with our worldwide network of rigorous researchers developing new frameworks to explain the deepest mysteries of the universe.This week we engage with returning guest, New York Times best-selling author of seven books and SFI Miller Scholar Andrea Wulf, about her latest lovingly-detailed long work, Magnificent Rebels: The First Romantics and The Invention of The Self. In this episode we explore the conditions for an 18th century revolution in philosophy, science, literature, and lifestyle springing from Jena, Germany. Over just a few years, an extraordinary confluence of history-making figures such as Goethe, Schelling, Schlegel, Hegel, and Novalis helped rewrite what was possible for human thought and action. Admist a landscape of political revolt, this braid of brilliant friends and enemies and lovers altered what it means to be a self and how the modern self relates to everything it isn't, inspiring later British and American Romantic movements. Arguing for art and the imagination in the work of science and infusing art with reason, Jena's rebels of the mind lived bold, iconoclastic lives that seem 200 years ahead in retrospect. We stand to learn a great deal from a careful look at Jena and the first Romantics…maybe even how to replicate their great successes and avoid their self-implosion in the face of social turbulence.If you value our research and communication efforts, Please subscribe to Complexity Podcast wherever you prefer to listen, rate and review us at Apple Podcasts, and/or consider making a donation at santafe.edu/podcastgive. You can find numerous other ways to engage with us at santafe.edu/engage — in particular, you may wish to celebrate ten years of free online courses at Complexity Explorer with SFI Professor Cris Moore's Computation in Complex Systems, starting March 28th. Learn more in the show notes…and thank you for listening!Podcast theme music by Mitch Mignano.Follow us on social media:Twitter • YouTube • Facebook • Instagram • LinkedIn Related Reading & Listening:Episode 60 - Andrea Wulf on The Invention of Nature, Part 1: Humboldt's NaturegemäldeEpisode 61 - Andrea Wulf on The Invention of Nature, Part 2: Humboldt's Dangerous IdeaThe Invention of Nature: Alexander von Humboldt's New Worldby Andrea WulfMagnificent Rebels: The First Romantics and The Invention of The Selfby Andrea WulfCommon As Air: Revolution, Art, and Ownershipby Lewis HydeEpisode 37 - The Art & Science of Resilience in the Wake of Trauma with Laurence Gonzales“Nature” (1844)by Ralph Waldo EmersonChopin's PreludesFinnegans Wakeby James JoyceInterPlanetary Voyager (Interactive Golden Record Liner Notes)by SFI's InterPlanetary FestivalBlue Planet (BBC)with David Attenborough

“For most of my adult life, I have been trying to understand why we are who we are,” Andrea Wulf writes at the start of “Magnificent Rebels: The First Romantics and the Invention of the Self.” “This is the reason why I write history books. In my previous books, I have looked at the relationship between humankind and nature in order to understand why we've destroyed so much of our magnificent blue planet. But I also realize that it is not enough to look at the connections between us and nature. The first step is to look at us as individuals—when did we begin to be as selfish as we are today? At what point did we expect to have the right to determine our own lives? When did this—us, you, me, or our collective behavior—all come from? When did we first ask the question, how can I be free?” This week on the podcast, Lewis H. Lapham speaks with Andrea Wulf, author of “Magnificent Rebels: The First Romantics and the Invention of the Self,” and takes us to Jena to begin answering these questions by introducing us to a few German Romantics, including Caroline Böhmer-Schlegel-Schelling, Johann Wolfgang von Goethe, Georg Wilhelm Friedrich Hegel, Novalis, and Friedrich Schiller. Thanks to our generous donors. Lead support for this podcast has been provided by Elizabeth “Lisette” Prince. Additional support was provided by James J. “Jimmy” Coleman Jr.