Podcasts about palais royal

La Chine s'inquiète : les berceaux se vident, les cheveux grisonnent Poutine, le maître du ciel et de la peur Le triomphe de Marine Le Pen à l'Assemblée nationale Paris 2026 : le parti d'Emmanuel Macron choisit Pierre-Yves Bournazel pour les municipales La Fondation Cartier, nouveau joyau du Palais Royal

La décision de Donald Trump de reprendre les essais nucléaires après des décennies « ravive un débat digne de la guerre froide ». C'est en tout cas le point de vue du New York Times. Le journal parle d'une déclaration « inattendue » qui rappelle des visions d'un retour aux pires heures de cette période de l'Histoire. Une ère qui était censée prendre fin avec l'entrée en vigueur du Traité d'interdiction complète des essais nucléaires, signé par les nations en 1996. Sauf que, comme le rappelle le New York Times, le nombre de signataires n'a pas été suffisant pour que le traité entre formellement en vigueur, sachant que son objectif était de mettre fin à la course aux armements. « Puisque d'autres pays effectuent des essais, je pense qu'il est normal que nous en fassions autant », a donc déclaré jeudi Donald Trump. Mais à tort, souligne le New York Times. « Le seul pays à avoir procédé régulièrement à des essais nucléaires au cours des 25 dernières années est la Corée du Nord, et son dernier essai remonte à septembre 2017 », précise le journal. Quant à la Russie, « Moscou n'a pas procédé à un essai nucléaire depuis 35 ans, à la fin de l'Union soviétique ». Concernant Pékin, Donald Trump a déclaré aux journalistes qu'il n'incluait pas la Chine dans cette liste de pays procédant à des essais nucléaires ; son dernier essai explosif remontant à 29 ans. Le dernier essai nucléaire américain remonte à 1992 Alors que le dernier essai nucléaire américain remonte à 1992, la volonté de Trump de reprendre les essais nucléaires pourrait par ailleurs prendre des années, et coûter des millions, selon les experts. C'est ce que rapporte The Washington Post : la confusion et l'inquiétude de certains spécialistes, qui affirment que les essais physiques sont dépassés et ne feraient qu'alimenter une course aux armements qu'ils visent à contrer. Interrogés par le journal, d'anciens employés du site d'essais du Nevada - où les États-Unis ont procédé à leur dernier essai nucléaire - précisent que leur site s'appuie désormais sur la modélisation informatique, et non plus sur des explosions physiques. Et si d'autres affirment qu'un simple test pourrait être réalisé en seulement six mois, ce dernier pourrait coûter jusqu'à 100 millions de dollars. Le roi Charles se sépare du prince Andrew pour préserver la réputation de la famille royale Le journal Britannique The Guardian revient sur la décision du roi Charles III de se séparer du Prince Andrew. Le roi a en effet lancé une « procédure officielle visant à retirer le titre et les honneurs du prince Andrew », a annoncé le Palais Royal. Cette décision est « l'action la plus lourde de conséquences que le roi Charles ait entreprise depuis son accession au trône en 2022 », commente la presse. Andrew - qui n'a plus de titres princiers - est désormais contraint de quitter sa résidence de Windsor. Derrière cette annonce, se cachent des inquiétudes réelles au sein de la famille royale sur le risque d'atteinte à la réputation de la monarchie. En cause, raconte The Guardian : les gros titres incessants concernant l'amitié d'Andrew avec le délinquant sexuel sur mineurs Jeffrey Epstein - aujourd'hui décédé - mais aussi des accusations d'agression sexuelle portées directement contre lui, par l'une des victimes d'Epstein, qui s'est suicidée en avril dernier. Les révélations s'étaient aussi multipliées ces dernières semaines. The Times rappelle qu'on a appris dernièrement qu'Andrew avait reçu - au Royal Lodge - Epstein, avec Ghislaine Maxwell (l'ex-compagne de Jeffrey Epstein) et le célèbre Harvey Weinstein (condamné en 2020 à 23 ans de prison pour viol et agression sexuelles). Tout ça plusieurs mois après l'émission d'un mandat d'arrêt contre Epstein pour agression sexuelle sur mineure. Cette décision de Charles III est soutenue par le gouvernement et la famille royale au sens large, y compris le prince William. Une source royale a même précisé à la presse : « Sa Majesté était déterminée à faire ce qui était juste, et non ce qui était précipité ».

durée : 00:45:53 - Les Nuits de France Culture - par : Philippe Garbit - "Le Médecin malgré lui" par la Comédie Française dans une mise en scène de Jean Meyer. Première diffusion le 27/07/1950 sur la Chaîne Nationale de la célébrissime comédie en trois actes de Molière qui fut créée le 6 août 1666 au Théâtre du Palais-Royal. - réalisation : Virginie Mourthé

Retour sur le scandale provoqué par l'installation des colonnes de l'artiste Daniel Buren dans la cour du Palais-Royal en 1986, sous le mandat du ministre de la Culture Jack Lang. Le projet a suscité de vives controverses politiques et publiques.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.En 2025, Europe 1 célèbre ses 70 ans. 70 ans d'histoire, de rires, de partages et d'émotions.Pour marquer cet anniversaire, découvrez une collection inédite de podcasts : "70 ans d'Europe 1".Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Quand on observe le plan de Paris, la succession des vingt arrondissements trace une spirale compacte, si parfaite qu'on la surnomme « l'escargot ». Contrairement à la légende, cet enroulement n'a rien d'esthétique : il résulte de deux opérations de découpage que la capitale a connues, d'abord sous la Révolution française, puis sous Napoléon III, chacune répondant à des impératifs très prosaïques.Le 11 octobre 1795, la Convention thermidorienne supprime les anciennes paroisses héritées de l'Ancien Régime et répartit Paris en douze arrondissements. Le principe retenu est celui d'une lecture « en zigzag » : on commence au Palais-Royal, on longe la Seine vers l'ouest, puis on remonte vers le nord jusqu'aux Buttes-Montmartre, avant de redescendre vers l'est. Ce système, calqué sur la façon dont on tourne les pages d'un livre, suffisait tant que la ville restait contenue à l'intérieur du mur des Fermiers généraux.Or, à partir de 1852, Napoléon III engage le préfet Haussmann dans un vaste projet d'embellissement. Pour aérer la ville, il faut annexer les faubourgs qui se sont densifiés de l'autre côté des fortifications de Thiers. Le décret du 1ᵉʳ janvier 1860 agrandit Paris et absorbe onze communes voisines : Passy, Auteuil, Belleville, La Villette, entre autres. En conséquence, la capitale passe de douze à vingt arrondissements ; il devient impossible de garder la vieille numérotation sans bouleverser des milliers d'adresses déjà gravées dans la pierre.Haussmann se met donc en quête d'un schéma qui limite les changements. Avec l'ingénieur Alphand, il décide de prendre le Louvre comme point de départ, symbole central du pouvoir, puis d'attribuer les numéros en tournant dans le sens des aiguilles d'une montre : on balaye la rive droite jusqu'à la barrière d'Ivry, on traverse la Seine au Jardin des Plantes, et l'on achève la boucle sur la rive gauche pour revenir vers Passy. Ce mouvement continu forme une spirale, maintient presque intacte la numérotation du centre et immortalise, par le simple dessin d'une coquille, les priorités sociales et la hiérarchie spatiale voulues par le Second Empire.Rapidement, Charivari et Le Monde illustré repèrent cette forme et la baptisent « l'escargot parisien ». Le surnom reste : il suffit de suivre la coquille pour se repérer, du Louvre (1ᵉʳ) à Belleville (20ᵉ). La logique est si ancrée qu'en 2020, lors des débats sur la fusion administrative des quatre premiers arrondissements, la Ville a préservé la numérotation historique pour ne pas briser la spirale. Ainsi, si les arrondissements de Paris forment un escargot, c'est parce que la capitale a cherché, en 1860, le compromis le plus efficace : économiser les plaques, ménager les riches, intégrer de nouveaux quartiers et offrir au promeneur l'un des plans urbains les plus reconnaissables du monde. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Avant d'être un musée, le Louvre fut une forteresse, une prison, un palais royal. Aujourd'hui, c'est le plus grand musée d'art du monde, mais aussi un bâtiment qui a vu défiler mille visages : de Philippe Auguste à Napoléon, de Belphégor à François Mitterrand... Découvrez ce lieu unique et préparez-vous à une visite guidée à travers huit siècles d'histoires. Crédits : Lorànt Deutsch, Bruno Calvès. Du lundi au vendredi de 15h à 15h30, Lorànt Deutsch vous révèle les secrets des personnages historiques les plus captivants !Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Avant d'être un musée, le Louvre fut une forteresse, une prison, un palais royal. Aujourd'hui, c'est le plus grand musée d'art du monde, mais aussi un bâtiment qui a vu défiler mille visages : de Philippe Auguste à Napoléon, de Belphégor à François Mitterrand... Découvrez ce lieu unique et préparez-vous à une visite guidée à travers huit siècles d'histoires. Crédits : Lorànt Deutsch, Bruno Calvès. Du lundi au vendredi de 15h à 15h30, Lorànt Deutsch vous révèle les secrets des personnages historiques les plus captivants !Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

En cette période de congé, la caravane de Ca vaut vraiment le Détour fait une petite pause pour mieux vaut divertir dès la rentrée et vous propose une série de rediffusions... Aujourd'hui : Sprimont vaut vraiment le Détour - A la découverte de la lustrerie Goosse Aujourd'hui on parle histoire, math, cinéma et endroits magiques à Sprimont au travers des questions posées à Françoise et Luc, les jouteurs du jour qui, avec l'aide de Charlotte Dekoker et Olivier Fraipont, tentent de déjouer les pièges tendus par Walid au cours de ce jeu pas piqué des hannetons ! Qui nous éclairera de ses lumières sur tous les sujets possibles, tout comme notre invité qui vaut le Détour du jour : Laurent Brogneaux, qui dirige la Lustrerie Goosse. Grâce à son savoir-faire, depuis 75 ans la lustrerie a réalisé des restaurations pour des monuments emblématiques tels que le Palais Royal, le Théâtre de Namur, l'hôtel Astoria, la maison Saint-Cyr, le musée du vitrail à Troyes ou le Musée Horta par exemple. En tant qu'artisan certifié et fournisseur officiel de la cour de Belgique depuis novembre 2021, la Lustrerie Goosse est synonyme d'excellence, de compétence et de renommée dans le domaine de la lustrerie. https://www.uap-org.be/membres/lustrerie-goosse/ Merci pour votre écoute Salut les copions, c'est également en direct tous les jours de la semaine de 16h à 17h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Salut les copions sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/19688 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Après Neil Young, Jean-Michel Jarre se produira également cet été sur la Place des Palais à Bruxelles ! Le 1er juillet 2025, le pionnier légendaire de la musique électronique offrira un concert exclusif avec le Palais Royal en toile de fond majestueuse. Après près de 10 ans d'absence, il fait enfin son grand retour en Belgique pour un spectacle rappelant ses shows iconiques. Une occasion unique pour les fans de voir cette légende vivante en live ! Merci pour votre écoute N'hésistez pas à vous abonner également aux podcasts des séquences phares de Matin Première: L'Invité Politique : https://audmns.com/LNCogwPL'édito politique « Les Coulisses du Pouvoir » : https://audmns.com/vXWPcqxL'humour de Matin Première : https://audmns.com/tbdbwoQRetrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Retrouvez également notre offre info ci-dessous : Le Monde en Direct : https://audmns.com/TkxEWMELes Clés : https://audmns.com/DvbCVrHLe Tournant : https://audmns.com/moqIRoC5 Minutes pour Comprendre : https://audmns.com/dHiHssrEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Le Musée des Arts Décoratifs vous propose l'exposition « Christofle, une brillante histoire ». C'est la première rétrospective de cette ampleur. Christofle est une célèbre maison d'orfèvrerie fondée en 1830. Elle a prospéré grâce à deux artistes de génie, Charles Christofle et Henri Bouilhet. Grâce à eux, l'argent se diffuse dans la vie quotidienne. Vous découvrirez des œuvres féériques. En plus des pièces d'orfèvrerie, vous pourrez admirer des bijoux, des tableaux, des dessins et des affiches. Vous pourrez voir des objets très différents, de la petite cuillère aux vases monumentaux. «Christofle, une brillante histoire », c'est jusqu'au 20 avril Rendez-vous au Musée des Arts Décoratifs, 107 rue de Rivoli dans le 1er, métro Palais-Royal. Et sachez que les espaces des expositions sont accessibles grâce à des ascenseurs.

Ce vendredi on parle histoire, math, cinéma et endroits magiques à Sprimont au travers des questions posées à Françoise et Luc, les jouteurs du jour qui, avec l'aide de Charlotte Dekoker et Olivier Fraipont, tentent de déjouer les pièges tendus par Walid au cours de ce jeu pas piqué des hannetons ! Qui nous éclairera de ses lumières sur tous les sujets possibles, tout comme notre invité qui vaut le Détour du jour : Laurent Brogneaux, qui dirige la Lustrerie Goosse. Grâce à son savoir-faire, depuis 75 ans la lustrerie a réalisé des restaurations pour des monuments emblématiques tels que le Palais Royal, le Théâtre de Namur, l'hôtel Astoria, la maison Saint-Cyr, le musée du vitrail à Troyes ou le Musée Horta par exemple. En tant qu'artisan certifié et fournisseur officiel de la cour de Belgique depuis novembre 2021, la Lustrerie Goosse est synonyme d'excellence, de compétence et de renommée dans le domaine de la lustrerie. https://www.uap-org.be/membres/lustrerie-goosse/ Bref, une dernière (et pas des moindres !) étape en public pour ce jeu qui allie culture générale, joie et bonne humeur Merci pour votre écoute Salut les copions, c'est également en direct tous les jours de la semaine de 16h à 17h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Salut les copions sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/19688 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

L'invité de 7h50. Pour cette journée exceptionnelle, Martin Buxant est en direct du Palais Royal avec notre nouveau ministre de la Défense : Theo Francken (NVA) et ce juste avant sa prestation de serment.

Dans cet épisode, nous vous emmenons au Cambodge.Pays au riche héritage culturel et historique, le Cambodge est célèbre pour son site emblématique d'Angkor Wat, sa capitale emblématique Phnom Penh, ses plages de Sihanoukville et ses îles tropicales voisines qui séduisent par leur beauté naturelle.Que faire au Cambodge ?Siem ReapCommencez votre [circuit au Cambodge: https://www.selectour.com/cambodge/circuit], par plusieurs jours dans la ville de Siem Rep, à faire absolument durant votre voyage au Cambodge.Partez à la découverte des villages flottants, visitez la Ferme de la Soie à Siem Reap et découvrez les senteurs d'Angkor.Profitez-en pour aller également faire un tour du marché de Siem Reap.Explorez les mythiques temples de Siem Reap, avec Angkor Wat (le plus grand et le mieux conservé), le Temple de Bayon (des tours aux quatre visages représentant un Bouddha) et le Temple de Ta Prohm (rendu célèbre par le film Tomb Raider).BattambangQue faire au Cambodge après Siem Reap ?À Battambang, nous vous proposons la visite d'une maison traditionnelle, d'une pagode, de villages typiques. On peut apercevoir des nuées de chauves-souris dans les arbres à certains endroits.Ensuite, partez pour une expérience inédite à faire au Cambodge, il s'agit du Bamboo Train. Il trouve ses racines dans les années sombres de la guerre civile cambodgienne, lorsque les voies ferrées du pays ont été détruites. Face à ce défi, les habitants locaux ont créé de manière improvisée une solution ingénieuse : une plateforme en bambou posée sur des roues en métal, propulsée par un petit moteur à essence.Phnom PenhPour la suite de notre circuit au Cambodge, faire une visite de la capitale est un classique à ne pas manquer.Dans la capitale cambodgienne, allez à la découverte de son magnifique Palais Royal et sa Pagode d'Argent. Profitez-en pour faire un tour dans le Musée National à l'édifice très original.Sihanoukville et les îles voisinesNotre circuit sur que faire au Cambodge touche bientôt à fin, mais il vous sera impossible de partir sans faire un arrêt à Sihanoukville et les îles avoisinantes.Ville portuaire du Sud du Cambodge, Sihanoukville est l'unique port maritime en eau profonde du pays.Sihanoukville est la porte vers les îles paradisiaques comme Kho Rong et Kho Rong Samloem.Un voyage qui vaut le détour, puisque vous arriverez sur une île paradisiaque où la nature est préservée et où les paysages sont époustouflants.Pourquoi voyager au Cambodge ?Malgré un passé difficile, le Cambodge se relève et affirme sa beauté à des touristes plus nombreux chaque année. Entre traditions et modernité, vous découvrirez des monuments millénaires et une population des plus accueillantes.Pays du sourire, le Cambodge est un pays attachant, chaleureux et généreux qui ne vous laissera pas indifférent.Si vous souhaitez en savoir plus sur la destination et, pourquoi pas, préparer votre prochain [circuit au Cambodge: https://www.selectour.com/cambodge/circuit], n'hésitez pas à faire appel à nos [experts: https://www.selectour.com/agent/recherche?postalCode=&city=&favoriteDestination=KH&page=1] !À bientôt dans le cockpit !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Le Cordon Bleu là một mạng lưới quốc tế, gồm các trường tư của Pháp ban đầu dạy nghề nấu ăn và giờ đây được mở rộng sang ngành quản lý nhà hàng khách sạn. Năm 2025 kỷ niệm đúng 130 năm ngày thành lập trường Le Cordon Bleu đầu tiên ở Paris. Hiện giờ, có tới 35 chi nhánh Le Cordon Bleu tại 20 nước trên thế giới, đào tạo khoảng 20.000 học viên mỗi năm. Theo quyển tự điển ẩm thực Larousse Gastronomique, thuật ngữ « cordon bleu » xuất phát từ dải ruy băng màu xanh với thánh giá Malta vào giữa thế kỷ XVI do vua Henri Đệ Tam của Pháp ban tặng để phong tước cho các hiệp sĩ trung thành nhất. Với thời gian, dải ruy băng màu xanh được chọn làm biểu tượng của những đầu bếp giỏi nhất.Vào năm 1895, nhà phê bình ẩm thực Marthe Distel đã cho ra mắt tạp chí đầu tiên « La Cuisinière Cordon Bleu » dành cho nghệ thuật nấu ăn. Trên đà thành công của tờ báo, bà Marthe Distel đã cùng với đầu bếp Henri-Paul Pellaprat thành lập trường dạy nghề nấu ăn Le Cordon Bleu vào năm 1895, ngay tại phố Palais-Royal gần Viện bảo tàng Louvre ở trung tâm Paris. Ngoài việc đào tạo nhiều đầu bếp nước ngoài đến Paris nâng cao tay nghề, trường này bắt đầu mở thêm nhiều chi nhánh trên thế giới kể từ đầu những năm 1950 trở đi.Hiện nay, trường Le Cordon Bleu đã dời trụ sở về Paris quận 15, ở phố Beaugrenelle, cách Tháp Eiffel khoảng 15 phút đi bộ. Cơ sở hoạt động nằm trong những tòa nhà nhiều tầng hiện đại, mỗi tầng rộng hơn 4.000 m2. Ơ trên sân thượng, có một vườn cây xanh, trồng nhiều rau quả để phục vụ cho các lớp đào tạo. Với thời gian, Le Cordon Bleu tạo uy tín của một trong những cơ sở dạy nghề hàng đầu không những về ẩm thực mà còn trong ngành quản lý khách sạn, nhà hàng.Do có hơn 35 cơ sở tại 20 nước trên thế giới, cho nên các học viên thường có thêm nhiều cơ hội xuất ngoại để thực tập hay làm việc . Sau một thời gian đi làm ở nước ngoài, anh Vincent Denis dạy nghề làm bánh mì và các loại bánh viennoiserie ở Paris, anh nói về công thức làm những chiếc bánh sừng bò trộn bơ, tức là bánh croissant au beurre 100% theo kiểu Pháp.Để làm bánh croissant cho thật ngon, thì bột phải được nhồi 24 giờ trước khi cho vào lò nướng. Khi cán bột với bơ, thì tôi dùng loại bơ tươi còn mát lạnh ở khoảng 4 độ C. Bánh croissant có ngon là nhờ cách dùng bột ngàn lớp, trong tiếng Pháp là « pâte feuilletée ». Tôi dùng công thức gọi là « tourage », thêm bơ vào lớp bộp mịn dẻo, rồi cán bột sao cho thật đều. Khi cán xong, phải dùng khăn bọc lại rồi tiếp tục ủ bột trong nửa tiếng. Sau đó, phải lặp lại công đoạn này thêm một lần nữa và tránh cho lớp bột bị khô ở bề mặt : khi thiếu độ mịn dẻo, bánh croissant sẽ nở không đều trong lò nướng. Cán bột ngàn lớp với bơ là công đoạn đòi hỏi nhiều thời gian nhất, nhưng nếu thợ làm bánh biết chịu khó, thì chất lượng của bánh croissant theo kiểu Pháp sẽ càng trở nên thơm ngon tuyệt vời.Mario Alves là một học viên người Bồ Đào Nha. Khi ghi tên vào trường Cordon Bleu tại Paris, Mario biết rằng anh không phải là thực tập sinh nước ngoài duy nhất. Nhưng Mario không ngờ rằng trường ở Paris lại thu hút nhiều thực tập sinh ngoại quốc đến như vậy. Dường như đây là một truyền thống có từ lâu đời, vì trường thu hút học viên với hơn 90 quốc tịch khác nhau, từng đào tạo đầu bếp người Nga đầu tiên vào năm 1897 và đầu bếp người Nhật đầu tiên vào năm 1905. Nhưng dù có quốc tịch gì đi chăng nữa, các học viên đều có cùng một mục tiêu, sớm nhận bằng tốt nghiệp Le Cordon Bleu, có thêm cơ hội tìm việc làm một khi ra trường.Trong lớp hôm nay, chúng tôi học cách nấu nhiều món hầm với thịt cừu non hay thịt gà, cách dùng rau thơm cũng như cách g như cách kết hợp nhiều gia vị để chế biến đủ loại nước sốt. Tôi không có cảm tưởng học nghề nấu ăn đơn thuần mà chủ yếu là học các kỹ thuật chế biến cũng như lối tiếp cận ẩm thực của người Pháp. Chỉ cần nhìn vào ngữ vựng của một đầu bếp chuyên nghiệp Pháp, hầu như mỗi cách làm đều có tên gọi riêng (ví dụ như monder, tourer, faire suer ….) tôi có thể thấy ngay kỹ năng và cung cách ẩm thực của người Pháp. Ngoài tay nghề, họ còn có lối tiếp cận công phu và có hệ thống. Bí quyết này theo tôi khác với ẩm thực Bồ Đào Nha.Trường Le Cordon Bleu không chỉ dạy nghề nấu ăn, làm bánh hay nếm rượu mà còn đào tạo thêm những kiến thức cơ bản về lịch sử của từng vừng miền, gắn liền với truyền thống ẩm thực và đặc sản địa phương. Nhưng xa hơn nữa, trường có mở lớp đào tạo về cách quản lý doanh nghiệp, dù đó là quán bar, tiệm ăn hay khách sạn. Theo giảng viên Maxime Bayle, cũng từ đó mà các học viên phải tập làm quen với rất nhiều khái niệm mới trong ngành dịch vụ khách sạn nhà hàng, kể cả phát triển bền vững và bảo vệ môi trường.Xà lách, đậu Hà Lan, đậu cô ve, cà chua hay mướp xanh, đây là các loài rau quả được trồng trên sân thượng của trường. Mục tiêu khi làm vườn rau là giúp các học viên ý thức hơn về khái niệm rau quả của từng mùa, đến mùa nào thì nên ăn trái nấy. Bên cạnh đó, còn có việc tái xử lý rác thực phẩm hoặc đồ ăn thừa chẳng hạn như vỏ trứng, vỏ trái táo, vỏ khoai tây ….. Một khi ý thức được vấn đề đồ ăn thừa, điều đó thường dẫn tới khái niệm tránh phung phí thực phẩm. Công việc nấu nướng buộc người làm bếp chuẩn bị tinh thần, biết quản lý chặt chẻ ngay từ đầu, từ chuyện mua thành phần nguyên liệu trước khi chế biến món ăn. Dĩ nhiên là không phải đầu bếp nào một khi ra trường cũng dễ tìm thấy một tiệm ăn có sẵn vườn rau ở bên cạnh. Nhưng có thể nói là vườn rau ở trường là cách truyền đạt một số kiến thức cần thiết cho người đứng bếp và cũng thường là chủ doanh nghiệp. Như vậy cần nên tạo thêm những điều kiện thuận lợi, có thể giúp cho công ty thu lời.Trường Le Cordon Bleu đã đào tạo nhiều thế hệ đầu bếp trứ danh, sau Julia Child (Mỹ), Cristina Bowerman (Ý), Gastón Acurio (Peru), nay đến phiên Juan Arbelasez (Colombia). Năm nay 36 tuổi, anh là một gương mặt khá quen thuộc do xuất hiện thường xuyên trong các chương trình thi nấu ăn trên đài truyền hình Pháp.Hôm nay , tôi làm món ức vịt quay. Để cho da thật giòn, tôi ướp với nhiều gia vị có thêm một chút sốt me. Nhung khi dọn món này ra dĩa, vịt quay sẽ ăn kèm với sốt cà phê. Vi đăng đắng của cà phê sẽ giúp cho vị ngòn ngọt chua chua của quả me càng thêm hấp dẫn. Nhiều thực khách biết tôi qua các chương trình trên đài truyền hình, nhưng thực ra tôi đã có hơn 10 năm tay nghề trước khi tham gia các cuộc thi nấu ăn. Việc học nghề tại trường Le Cordon Bleu đã giúp cho tôi có một nền tảng vững chắc người đầu bếp cần vững tay nghề rồi từ đó mà có thể tự do sáng tạo. Nhiều người cho rằng tôi nấu rất giỏi các món ăn Pháp, nwhng lúc nào cũng có thêm một nét gì đó rất riêng biệt của người Colombia.Nhờ vào mạng lưới trải rộng trên các châu lục, Le Cordon Bleu tạo điều kiện xuất ngoại cho những học viên nào khao khát khám phá những chân trời mới, từ Mỹ sang Úc, Brazil hay Canada. Trường này cũng có nhiều lớp dạy nghề tại châu Á : Tokyo, Seoul, Thượng Hải, Bangkok, Manila ….Tùy theo chương trình và địa điểm đào tạo, sinh viên có thể xin thực tập từ 6 đến 12 tháng với các nhà hàng trứ danh hay các tập đoàn khách sạn quốc tế để nâng cao kiến thức, trao dồi tay nghề và nhờ vào kinh nghiệm mà có thêm nhiều cơ hội được tuyển dụng khi ra trường.Có thể nói là trong bối cảnh toàn cầu hóa, trường Le Cordon Bleu tìm cách thích nghi với các nhu cầu khá đa dạng của thời công nghệ số và sự phát triển của các mạng xã hội. Ngành dạy nghề ẩm thực là một lãnh vực đòi hỏi tính sáng tạo và sức cạnh tranh cao. Chỉ riêng tại Pháp, ngoài các lớp của Le Cordon Bleu, còn có nhiều trường dạy nghề nổi tiếng khác như Ferrandi, Vatel hay là học viện ẩm thực Lyfe, trước đây là học viện Bocuse. Lợi thế của Le Cordon Bleu vẫn là bề dày lịch sử với 130 năm kinh nghiệm giảng dạy. Dựa vào uy tín lâu đời, trường này củng cố vị thế trong một thế giới đầy cạnh tranh với nhiều ngôi sao mới.

Le Cordon Bleu là một mạng lưới quốc tế, gồm các trường tư của Pháp ban đầu dạy nghề nấu ăn và giờ đây được mở rộng sang ngành quản lý nhà hàng khách sạn. Năm 2025 kỷ niệm đúng 130 năm ngày thành lập trường Le Cordon Bleu đầu tiên ở Paris. Hiện giờ, có tới 35 chi nhánh Le Cordon Bleu tại 20 nước trên thế giới, đào tạo khoảng 20.000 học viên mỗi năm. Theo quyển tự điển ẩm thực Larousse Gastronomique, thuật ngữ « cordon bleu » xuất phát từ dải ruy băng màu xanh với thánh giá Malta vào giữa thế kỷ XVI do vua Henri Đệ Tam của Pháp ban tặng để phong tước cho các hiệp sĩ trung thành nhất. Với thời gian, dải ruy băng màu xanh được chọn làm biểu tượng của những đầu bếp giỏi nhất.Vào năm 1895, nhà phê bình ẩm thực Marthe Distel đã cho ra mắt tạp chí đầu tiên « La Cuisinière Cordon Bleu » dành cho nghệ thuật nấu ăn. Trên đà thành công của tờ báo, bà Marthe Distel đã cùng với đầu bếp Henri-Paul Pellaprat thành lập trường dạy nghề nấu ăn Le Cordon Bleu vào năm 1895, ngay tại phố Palais-Royal gần Viện bảo tàng Louvre ở trung tâm Paris. Ngoài việc đào tạo nhiều đầu bếp nước ngoài đến Paris nâng cao tay nghề, trường này bắt đầu mở thêm nhiều chi nhánh trên thế giới kể từ đầu những năm 1950 trở đi.Hiện nay, trường Le Cordon Bleu đã dời trụ sở về Paris quận 15, ở phố Beaugrenelle, cách Tháp Eiffel khoảng 15 phút đi bộ. Cơ sở hoạt động nằm trong những tòa nhà nhiều tầng hiện đại, mỗi tầng rộng hơn 4.000 m2. Ơ trên sân thượng, có một vườn cây xanh, trồng nhiều rau quả để phục vụ cho các lớp đào tạo. Với thời gian, Le Cordon Bleu tạo uy tín của một trong những cơ sở dạy nghề hàng đầu không những về ẩm thực mà còn trong ngành quản lý khách sạn, nhà hàng.Do có hơn 35 cơ sở tại 20 nước trên thế giới, cho nên các học viên thường có thêm nhiều cơ hội xuất ngoại để thực tập hay làm việc . Sau một thời gian đi làm ở nước ngoài, anh Vincent Denis dạy nghề làm bánh mì và các loại bánh viennoiserie ở Paris, anh nói về công thức làm những chiếc bánh sừng bò trộn bơ, tức là bánh croissant au beurre 100% theo kiểu Pháp.Để làm bánh croissant cho thật ngon, thì bột phải được nhồi 24 giờ trước khi cho vào lò nướng. Khi cán bột với bơ, thì tôi dùng loại bơ tươi còn mát lạnh ở khoảng 4 độ C. Bánh croissant có ngon là nhờ cách dùng bột ngàn lớp, trong tiếng Pháp là « pâte feuilletée ». Tôi dùng công thức gọi là « tourage », thêm bơ vào lớp bộp mịn dẻo, rồi cán bột sao cho thật đều. Khi cán xong, phải dùng khăn bọc lại rồi tiếp tục ủ bột trong nửa tiếng. Sau đó, phải lặp lại công đoạn này thêm một lần nữa và tránh cho lớp bột bị khô ở bề mặt : khi thiếu độ mịn dẻo, bánh croissant sẽ nở không đều trong lò nướng. Cán bột ngàn lớp với bơ là công đoạn đòi hỏi nhiều thời gian nhất, nhưng nếu thợ làm bánh biết chịu khó, thì chất lượng của bánh croissant theo kiểu Pháp sẽ càng trở nên thơm ngon tuyệt vời.Mario Alves là một học viên người Bồ Đào Nha. Khi ghi tên vào trường Cordon Bleu tại Paris, Mario biết rằng anh không phải là thực tập sinh nước ngoài duy nhất. Nhưng Mario không ngờ rằng trường ở Paris lại thu hút nhiều thực tập sinh ngoại quốc đến như vậy. Dường như đây là một truyền thống có từ lâu đời, vì trường thu hút học viên với hơn 90 quốc tịch khác nhau, từng đào tạo đầu bếp người Nga đầu tiên vào năm 1897 và đầu bếp người Nhật đầu tiên vào năm 1905. Nhưng dù có quốc tịch gì đi chăng nữa, các học viên đều có cùng một mục tiêu, sớm nhận bằng tốt nghiệp Le Cordon Bleu, có thêm cơ hội tìm việc làm một khi ra trường.Trong lớp hôm nay, chúng tôi học cách nấu nhiều món hầm với thịt cừu non hay thịt gà, cách dùng rau thơm cũng như cách g như cách kết hợp nhiều gia vị để chế biến đủ loại nước sốt. Tôi không có cảm tưởng học nghề nấu ăn đơn thuần mà chủ yếu là học các kỹ thuật chế biến cũng như lối tiếp cận ẩm thực của người Pháp. Chỉ cần nhìn vào ngữ vựng của một đầu bếp chuyên nghiệp Pháp, hầu như mỗi cách làm đều có tên gọi riêng (ví dụ như monder, tourer, faire suer ….) tôi có thể thấy ngay kỹ năng và cung cách ẩm thực của người Pháp. Ngoài tay nghề, họ còn có lối tiếp cận công phu và có hệ thống. Bí quyết này theo tôi khác với ẩm thực Bồ Đào Nha.Trường Le Cordon Bleu không chỉ dạy nghề nấu ăn, làm bánh hay nếm rượu mà còn đào tạo thêm những kiến thức cơ bản về lịch sử của từng vừng miền, gắn liền với truyền thống ẩm thực và đặc sản địa phương. Nhưng xa hơn nữa, trường có mở lớp đào tạo về cách quản lý doanh nghiệp, dù đó là quán bar, tiệm ăn hay khách sạn. Theo giảng viên Maxime Bayle, cũng từ đó mà các học viên phải tập làm quen với rất nhiều khái niệm mới trong ngành dịch vụ khách sạn nhà hàng, kể cả phát triển bền vững và bảo vệ môi trường.Xà lách, đậu Hà Lan, đậu cô ve, cà chua hay mướp xanh, đây là các loài rau quả được trồng trên sân thượng của trường. Mục tiêu khi làm vườn rau là giúp các học viên ý thức hơn về khái niệm rau quả của từng mùa, đến mùa nào thì nên ăn trái nấy. Bên cạnh đó, còn có việc tái xử lý rác thực phẩm hoặc đồ ăn thừa chẳng hạn như vỏ trứng, vỏ trái táo, vỏ khoai tây ….. Một khi ý thức được vấn đề đồ ăn thừa, điều đó thường dẫn tới khái niệm tránh phung phí thực phẩm. Công việc nấu nướng buộc người làm bếp chuẩn bị tinh thần, biết quản lý chặt chẻ ngay từ đầu, từ chuyện mua thành phần nguyên liệu trước khi chế biến món ăn. Dĩ nhiên là không phải đầu bếp nào một khi ra trường cũng dễ tìm thấy một tiệm ăn có sẵn vườn rau ở bên cạnh. Nhưng có thể nói là vườn rau ở trường là cách truyền đạt một số kiến thức cần thiết cho người đứng bếp và cũng thường là chủ doanh nghiệp. Như vậy cần nên tạo thêm những điều kiện thuận lợi, có thể giúp cho công ty thu lời.Trường Le Cordon Bleu đã đào tạo nhiều thế hệ đầu bếp trứ danh, sau Julia Child (Mỹ), Cristina Bowerman (Ý), Gastón Acurio (Peru), nay đến phiên Juan Arbelasez (Colombia). Năm nay 36 tuổi, anh là một gương mặt khá quen thuộc do xuất hiện thường xuyên trong các chương trình thi nấu ăn trên đài truyền hình Pháp.Hôm nay , tôi làm món ức vịt quay. Để cho da thật giòn, tôi ướp với nhiều gia vị có thêm một chút sốt me. Nhung khi dọn món này ra dĩa, vịt quay sẽ ăn kèm với sốt cà phê. Vi đăng đắng của cà phê sẽ giúp cho vị ngòn ngọt chua chua của quả me càng thêm hấp dẫn. Nhiều thực khách biết tôi qua các chương trình trên đài truyền hình, nhưng thực ra tôi đã có hơn 10 năm tay nghề trước khi tham gia các cuộc thi nấu ăn. Việc học nghề tại trường Le Cordon Bleu đã giúp cho tôi có một nền tảng vững chắc người đầu bếp cần vững tay nghề rồi từ đó mà có thể tự do sáng tạo. Nhiều người cho rằng tôi nấu rất giỏi các món ăn Pháp, nwhng lúc nào cũng có thêm một nét gì đó rất riêng biệt của người Colombia.Nhờ vào mạng lưới trải rộng trên các châu lục, Le Cordon Bleu tạo điều kiện xuất ngoại cho những học viên nào khao khát khám phá những chân trời mới, từ Mỹ sang Úc, Brazil hay Canada. Trường này cũng có nhiều lớp dạy nghề tại châu Á : Tokyo, Seoul, Thượng Hải, Bangkok, Manila ….Tùy theo chương trình và địa điểm đào tạo, sinh viên có thể xin thực tập từ 6 đến 12 tháng với các nhà hàng trứ danh hay các tập đoàn khách sạn quốc tế để nâng cao kiến thức, trao dồi tay nghề và nhờ vào kinh nghiệm mà có thêm nhiều cơ hội được tuyển dụng khi ra trường.Có thể nói là trong bối cảnh toàn cầu hóa, trường Le Cordon Bleu tìm cách thích nghi với các nhu cầu khá đa dạng của thời công nghệ số và sự phát triển của các mạng xã hội. Ngành dạy nghề ẩm thực là một lãnh vực đòi hỏi tính sáng tạo và sức cạnh tranh cao. Chỉ riêng tại Pháp, ngoài các lớp của Le Cordon Bleu, còn có nhiều trường dạy nghề nổi tiếng khác như Ferrandi, Vatel hay là học viện ẩm thực Lyfe, trước đây là học viện Bocuse. Lợi thế của Le Cordon Bleu vẫn là bề dày lịch sử với 130 năm kinh nghiệm giảng dạy. Dựa vào uy tín lâu đời, trường này củng cố vị thế trong một thế giới đầy cạnh tranh với nhiều ngôi sao mới.

Bart de Wever au Palais Royal : On a voté il y a 6 mois et on tente toujours de former un gouvernement Emmanuel Macron doit trouver un nouveau Premier Ministre Syrie : Premier Ministre nommé, il s'agit de Mohammad al-Bachir Le groupe HTS (Hayat Tahrir al-Cham) essaye de se faire bien voir dans le monde, même par les monarchies du Golfe Trafic illicite de captagon en Syrie Luigi Mangione, ce jeune homme devenu le meurtrier d'un PDG américain Brian Thompson à Manhattan, a été arrêté Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...)

Dans cet épisode, je reçois Anne Roumanoff. C'est lovée au coeur d'un de ses confortables canapés de son appartement parisien que j'ai échangé sur la trajectoire de cette humoriste qui occupe la scène française depuis plus de 30 ans ! Avec Anne, nous sommes revenues sur son enfance elle qui est l'ainée d'une famille de 4 enfants.  Volubile et ambitieuse depuis ses jeunes années, Anne découvre son gout pour le théâtre dès l'âge de 12 ans. Après avoir eu son bac en poche à 17 ans, elle entre à Sciences Po dans les années 80 et en sort diplomée quelques années plus tard. Elle poursuit alors le théâtre, écrit rapidement des sketchs qu'elle démarrera au Club Med, passe des auditions et essuiera plusieurs refus avant de finir par décrocher une opportunité à la télé, à l'époque ou elle ne comporte que 3 chaînes ! C'est le début de l'ascension pour Anne qui réalise peu de temps après son premier One Woman Show. Anne a fait les plus grandes scènes parisiennes comme l'Olympia, le Casino de Paris, le théâtre Bobino ou encore Palais Royal, mais également effectué des tournées dans toute la France.  En 2010 elle est désignée humouriste préférée des français et a même inaugurée sa statue au musée Grévin ! Anne s'est également largement illustré à la télé et à la radio, tout en maintenant une longévité incroyable sur la scène depuis plus de 30 ans. Nous avons parlé du rapport d'Anne à la scène, de comment trouver l'énergie d'enchainer des centaines de représentations sans se lasser mais également de sujets plus intimes comme les injonctions qui pèsent sur les femmes, le sexisme dans le monde du stand up, de son rapport à la notoriété ou encore de ses vécus de maternité pour cette maman de deux enfants. Inutile de vous dire qu'Anne est une ambitieuse saine et assumée et que celà explique certainement son incroyable parcours. Belle écoute ! 

Delphine Roy deals with some themes that are not our favorite, but does seem aware of the difficulty and makes some fun choices within a very not fun context. Mind the trigger warnings here for sure.

"L'extraordinaire destinée de Sarah Bernhardt" est mis en scène au Palais Royal depuis le 27 août dernier. Géraldine Martineau, qui a écrit la pièce, était au téléphone des Grosses Têtes ce 2 septembre 2024. Retrouvez tous les jours le meilleur des Grosses Têtes en podcast sur RTL.fr et l'application RTL.

Le développement d'un fait d'actualité: Bart De Wever attendu aujourd'hui au Palais royal Merci pour votre écoute Matin Première, c'est également en direct tous les jours de la semaine de 6h à 9h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Matin Première sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/60 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

L'émission 28 Minutes du 24/07/2024 Moche, impudique ou offensant : quand l'art public suscite la controverse Si la construction de la tour Eiffel avait été soumise à l'approbation du peuple parisien, elle n'aurait sans doute jamais vu le jour, probablement jugée trop moche, “inutile et monstrueuse”, comme on pouvait le lire dans une tribune signée, à l'époque, par Guy de Maupassant et Alexandre Dumas fils. C'est le propre des œuvres qui peuplent l'espace public : elles s'exposent à l'hostilité d'une partie de la population, qui se sent d'autant plus légitime à les rejeter car elles lui sont imposées et elles sont financées sur des fonds publics. L'historienne de l'art Julie Bawin s'est intéressée à ces œuvres et aux scandales qu'elles suscitent dans son ouvrage "Art public et controverses". On se souvient, à titre d'exemple, du tollé provoqué par l'installation des colonnes de Buren dans la cour du Palais Royal en 1986, jugées par ses opposants comme une atteinte au patrimoine. Aujourd'hui, les contestations relèvent davantage de l'atteinte aux "bonnes mœurs" et des procès en offense ou en appropriation culturelle de la part de militants antiracistes, le tout porté par des réseaux sociaux qui amplifient de manière inédite ces polémiques. Mais n'est-ce pas là une des fonctions de l'art public que de bousculer… le public ? Julie Bawin est notre invitée. Panne informatique mondiale : sommes-nous à l'abri du grand bug ? Le 19 juillet 202, le monde s'est arrêté de tourner, ou presque. Avions cloués au sol, cotations boursières suspendues, chaînes télé interrompues, hôpitaux contraints de fermer certains services… Une panne géante a paralysé de nombreuses infrastructures et entreprises par effet de contagion. En cause ? Un simple problème de mise à jour du logiciel Falcon Sensor commercialisé par l'entreprise texane CrowdStrike, sous-traitant de Microsoft. Ce bug a impacté l'ensemble des ordinateurs et serveurs utilisant le système d'exploitation Windows. Ce qui est spectaculaire n'est donc pas la nature de la panne, mais la vitesse avec laquelle elle s'est propagée. Pour l'économiste Sarah Guillou, qui qualifie l'événement de "première épidémie numérique mondiale", le problème tient à la concentration du secteur, qui augmente l'interconnexion et, par extension, l'ampleur des conséquences en cas de souci. Bien que la panne ait été résorbée, elle soulève des interrogations : nos systèmes informatiques sont-ils assez solides et sécurisés pour faire face à des pannes techniques généralisées ou à des actions criminelles d'envergure ? Notre haut niveau de connexion est-il un indicateur de force ou de vulnérabilité ? On en débat. Enfin, retrouvez également les chroniques de Marjorie Adelson et Justin Morin !  28 Minutes est le magazine d'actualité d'ARTE, présenté par Elisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio. Enregistrement : 24 juillet 2024 - Présentation : Jean-Mathieu Pernin - Production : KM, ARTE Radio

Stéphane Bern raconte l'histoire riche, comme le sont ses collections, de l'un des plus grandioses monuments de Paris, une forteresse médiévale érigée au XIIe siècle sous le règne de Philippe-Auguste, devenue Palais Royal et enfin musée en 1793. Ou la véritable histoire du Musée du Louvre… Quelle était la vocation première de celui qui était à l'origine le Muséum central des Arts ? Qui l'a initié ? Quelle est l'histoire de ce bâtiment parisien emblématique, érigé il y a plus de 800 ans ? Pour en parler, Stéphane Bern reçoit Vivien Richard, conservateur, chef du service Histoire du musée du Louvre.

Stéphane Bern raconte l'histoire riche, comme le sont ses collections, de l'un des plus grandioses monuments de Paris, une forteresse médiévale érigée au XIIe siècle sous le règne de Philippe-Auguste, devenue Palais Royal et enfin musée en 1793. Ou la véritable histoire du Musée du Louvre… Quelle était la vocation première de celui qui était à l'origine le Muséum central des Arts ? Qui l'a initié ? Quelle est l'histoire de ce bâtiment parisien emblématique, érigé il y a plus de 800 ans ? Pour en parler, Stéphane Bern reçoit Vivien Richard, conservateur, chef du service Histoire du musée du Louvre.

durée : 00:25:03 - Jean-Baptiste Lully, Armide - par : Anne-Charlotte Rémond - Il y a 350, sous Louis XIV, naissait l'Académie Royale de Musique; Musicopolis célèbre l'évènement et vous invite à suivre pas à pas la genèse d' ''Armide'' de Jean-Baptiste Lully, créé au Théâtre du Palais-Royal le 15 février 1686 ! - réalisé par : Claire Lagarde

The Executive Director Eveline Pierre had the opportunity to speak with Lindsay Brun take a listen to Haitian Arts Podcast - H.A.P.S will engage Haitian and Caribbean artists in a dialogue of the critics of arts forms that reflect the culture and heritage of the Caribbean. Meet our Guest Lindsey Brun After -many years as a Human Resources manager, Lindsay Brun decided to explore her passion and her talents during her downtime. Inspired by her mother's recipes, a pastry cook herself, Lindsay decided to create her own desserts. After recognition amongst her peers, Lindsay launched Sucre Brun, a nod to her name, in 2007.  Sucre Brun is an homage to family recipes, to the Haitian culture, to personal journey, and to multiple defining trips. When developing her recipes, Lindsay gets her inspiration from her lifelong assets. Her trips on Haitian soil, from 2013 to 2016, brought her to use almost exclusively vanilla extract from Haiti, for its unique flavour and taste. Her trips to Europe brought her to extend her sweet offerings. The Palais Royal de Paris inspired a banana-flavoured cake, Greek yogurt and fruits inspired a mouthwatering dessert and Dutch pancakes inspired her to develop delightful recipes for brunch. Also, a touch of Asia is infused at Sucre Brun with the mango custard, a take on the mango sticky rice.  #HaitianHeritageMonth #CaribbeanHeritageMonth #HaitianArtsPodcast

durée : 00:24:58 - Jacques Offenbach, La vie parisienne - par : Anne-Charlotte Rémond - Le 31 octobre 1866, le public du Théâtre du Palais-Royal assiste à la création de La Vie Parisienne, l'opéra-bouffe de Jacques Offenbach sur le livret du tandem Meilhac-Halévy. Le succès est au rendez-vous pour le compositeur qui est devenu en quelques années la coqueluche de Paris ! - réalisé par : Claire Lagarde

L'art et la photographie peuvent-ils nous mobiliser ?

Oooh there's a wealth of wonderful new fragrance launches to rejoice in this week (yes, MORE!) Steady yourself for osmanthus-infused Oolong tea, joyful Art Deco-inspired butterflies, vintage-style mementos; and some seriously grown-up fruitiness via light-filled, Champagne-bubbled, wickedly peach-y and “marmalade made from sunshine” (Suzy's description) varieties. We both admitted to feeling a bit glum and exhausted prior to recording this, but as we know - fragrance has the power to slice through sadness and revivify flagging spirits… and we definitely left the virtual studio feeling brighter, energised, and just BETTER for sharing our fragrant news. We hope you feel the same, as you listen! ️ We discuss…@akrofragrances Infuse @alexandrejparfums Butterfly@jomalonelondon Scented Mementos @moltonbrown Sunlit Clementine & Vetiver@nestfragrances Lychee Rose@houseofsarahbaker Peach's Revenge @parfumsdemarly Perseus @matierepremiereparfums Vanilla Powder@kilianparis Sunkissed GoddessAnd in answer to a listener's #perfumeprescription:@histoiredeparfums1889 Moulin RougeThis is Not a Blue Bottle 1/.1Encens Roi1804[Their flagship Paris boutique is located at 11 rue du Roi Doré in the Marais district.]@binetpapillonparfumsNo.1 Alkemist PepperNo.9 Patchouli MonarqueNo.15 Jungle TobaccoNo.18 Santal Tintoretto[Paris showroom-boutique: 2 Galeroe Vivienne, 5 Rue de la Banque, 75002 Paris.Subway: Bourse, Chatelet, Palais-Royal.]

durée : 00:13:19 - Paradisi Gloria (Scarlatti, Rubino, Lotti, Vivaldi) - Le Palais royal dir.Jean-Philippe Sarcos - Place aux réjouissances et à la fête : dans son tout nouvel enregistrement, le Palais royal nous invite en plein cœur de l'Italie baroque avec les œuvres de Rubino, Vivaldi et Scarlatti

durée : 01:28:26 - En pistes ! du mardi 09 avril 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce mardi matin, nous parcourons les époques et les styles avec les œuvres de Gustav Mahler, Claude Debussy, Domenico Scarlatti, Joseph Haydn, Nikolai Kapustin, mais également Franz Schubert, Maurice Ravel et Richard Strauss. En pistes !

Fluent Fiction - French: Unlocking Parisian Humor: A Tale of Irony and Sarcasm Find the full episode transcript, vocabulary words, and more:fluentfiction.org/unlocking-parisian-humor-a-tale-of-irony-and-sarcasm Story Transcript:Fr: Dans la ville lumière où les flâneurs se perdent dans les rues pavées, où la Seine murmure des histoires d'amour, nos deux amis, Camille et Pierre, avaient un dilemme à résoudre. Il ne s'agissait ni de l'art ultime de la cuisine française, ni de la complexité de construire un château de sable parfait. C'était plutôt une tâche teintée d'humour et d'ironie : expliquer le sarcasme à un non francophone.En: In the city of lights where wanderers get lost in the cobblestone streets, where the Seine whispers love stories, our two friends, Camille and Pierre, had a dilemma to solve. It was neither about the ultimate art of French cuisine, nor the complexity of building a perfect sandcastle. It was rather a task tinged with humor and irony: explaining sarcasm to a non-French speaker.Fr: Camille, une Parisienne pure et dure, était réputée pour son sarcasme bien affiné. Pierre, un Breton avec une âme aventureuse, avait choisi Paris comme sa nouvelle maison. Ensemble, ils étaient une équipe indomptable, prêts à prendre le défi qui se présentait à eux.En: Camille, a true Parisian, was renowned for her refined sarcasm. Pierre, a Breton with an adventurous spirit, had chosen Paris as his new home. Together, they were an unstoppable team, ready to take on the challenge before them.Fr: En marchant le long des quais de la Seine, avec la Tour Eiffel en toile de fond, Pierre expliqua à Camille leur mission. Leur nouvel ami, John, un Américain qui apprenait le français, lut le mot "sarcasme" dans un livre. "Pour lui, il est comme un jardin sans tournesol, il ne comprend pas l'humour subtil français". Paris, avec sa beauté majestueuse, écoutait leur conversation, prête à être témoin de leur défi.En: Walking along the banks of the Seine, with the Eiffel Tower in the background, Pierre explained to Camille their mission. Their new friend, John, an American learning French, had read the word "sarcasm" in a book. "For him, it's like a garden without sunflowers, he doesn't understand French subtle humor." Paris, with its majestic beauty, listened to their conversation, ready to witness their challenge.Fr: Le premier essai fut un fiasco. "Le sarcasme, c'est comme dire le contraire de ce que tu veux vraiment dire...mais de manière fun et ironique", dit Pierre à John tandis qu'ils buvaient du café à la terrasse d'un café de la Place des Vosges. John a simplement incliné la tête, une expression confuse sur son visage.En: The first attempt was a failure. "Sarcasm is like saying the opposite of what you really mean... but in a fun and ironic way," Pierre told John as they sipped coffee on a café terrace in Place des Vosges. John simply nodded, a confused expression on his face.Fr: Camille a alors tenté sa chance. "Imagine que tu aimes beaucoup les olives mais que tu dis : 'Oh, j'adore manger ces petites bêtes amères' avec un sourire moqueur. C'est le sarcasme!" John fronça les sourcils, "Alors je dis que je déteste quelque chose alors que je l'adore?" La mission semblait une colline escarpée.En: Camille then took her turn. "Imagine you really like olives but you say, 'Oh, I just love eating these little bitter creatures' with a mocking smile. That's sarcasm!" John furrowed his brow, "So I say I hate something when I actually love it?" The mission seemed like a steep hill to climb.Fr: Mais Camille et Pierre n'avaient pas perdu espoir. Ils ont choisi le Louvre, avec son œuvre artistique pleine d'ironie et de sarcasme, pour leur prochaine leçon. Après plusieurs analogies, jeux de rôles et beaucoup de rires, John commença à comprendre.En: But Camille and Pierre had not lost hope. They chose the Louvre, with its artistic work full of irony and sarcasm, for their next lesson. After several analogies, role-playing, and lots of laughter, John began to understand.Fr: Un jour, alors qu'ils se promenaient dans le jardin bien soigné du Palais Royal, John regarda un mime qui imitait une secrétaire en train de taper rapidement sur une machine imaginaire. "Cette dame tape vraiment vite, n'est-ce pas?" dit-il, un sourire taquin sur le visage. Camille et Pierre se sont regardés, des éclats de rire éclatant entre eux.En: One day, as they were strolling in the well-kept garden of the Palais Royal, John watched a mime imitating a secretary typing quickly on an imaginary machine. "That lady types really fast, doesn't she?" he said, a teasing smile on his face. Camille and Pierre looked at each other, bursts of laughter breaking out between them.Fr: Le sarcasme était comme une clé manquante du puzzle français pour John, et enfin, il l'avait trouvée. Dans le cœur de Paris, l'endroit où l'amour et l'histoire se mêlent, nos amis ont réussi leur mission, c'était une preuve que même l'ironie la plus subtile pouvait être comprise. Leur lien était plus fort, leur amitié plus profonde, et leur humour, absolument, plus sarcastique.En: Sarcasm was like the missing key to the French puzzle for John, and finally, he had found it. In the heart of Paris, where love and history intertwine, our friends accomplished their mission, proving that even the most subtle irony could be understood. Their bond was stronger, their friendship deeper, and their humor, most definitely, more sarcastic. Vocabulary Words:city: villelights: lumièrewanderers: flâneurscobblestone: pavéesSeine: Seinelove stories: histoires d'amourfriends: amisdilemma: dilemmesarcasm: sarcasmeFrench: françaiscuisine: cuisinebuilding: construireperfect: parfaitsandcastle: château de sablehumor: humourirony: ironieexplaining: expliquerrefined: affinéParisian: Parisiennerenowned: réputéeBreton: bretonadventurous: aventureusechallenge: défibanks: quaisbackground: toile de fondmission: missionamerican: américainlearning: apprenant

durée : 00:56:02 - Affaires sensibles - par : Fabrice Drouelle - Passage obligé des touristes, en plein cœur de la capitale, à deux pas du musée du Louvre, le Palais-Royal occupe une place à part dans la ville de Paris. Construit par Richelieu, investi par Louis XIV pendant la fronde, développé durant la Régence par Philippe d'Orléans, célébré grâce au discours de Camille Desmoulins à la Révolution... Se pencher sur ce lieu, y aller, c'est dérouler l'histoire de France. Ses évolutions architecturales successives témoignent du temps qui passe. En 1985, au cœur de cet ensemble, dans la Cour d'honneur du Palais-Royal,Daniel Buren érige une œuvre contemporaine, intitulée Les Deux Plateaux , sur une commande de l'État. Comme un symbole, le titre initial de cette œuvre est aujourd'hui plus connu sous le nom des « colonnes de Buren », témoignage de l'incroyable polémique qui a accompagné ce chantier et du rôle qu'a joué l'élément central du projet : ces fameuses colonnes rayées blanc et noir. La réalisation de cette œuvre moderne en plein cœur d'un site patrimonial et historique soulève un tollé national. Un intense débat esthétique gagne la France. On parle de seconde bataille d'Hernani, de nouvelle querelle des Anciens et des Modernes. Bataille artistique qui se transforme rapidement en lutte politique dans le contexte de la première cohabitation de l'histoire de la Vème République… En débat médiatique également : 260 colonnes à la une. Reportage Notre reporter, Gaylord Van Wymeersch s'est rendu dans la cour d'honneur du Palais-Royal, en compagnie de Patrick Bouchain , l'architecte des "Deux-Plateaux" de Daniel Buren. Une déambulation entre les colonnes de cette œuvre qui fait aujourd'hui partie de l'espace public parisien et que la population s'est appropriée. Invitée Cette histoire, cette passion française, nous y reviendrons en seconde partie avec Nathalie Heinich . Sociologue, spécialiste de l'art contemporain, elle a notamment étudié dans le détail les réactions autour de la construction de l'œuvre de Buren, relatées dans son ouvrage intitulé : L'Art contemporain exposé aux rejets . ? Une émission à suivre, commenter et partager sur Facebook . Les liens Affaires sensibles : découvrez l'appli Affaires sensibles, une collection d'histoires vraies à lire sur votre mobile - invités : Nathalie Heinich - Nathalie Heinich : Sociologue, directrice de recherche au CNRS (Centre national de la recherche scientifique) - réalisé par : Jérôme CHELIUS, Khoï NGUYEN

Nous allons faire une jolie promenade ensemble dans le très chic quartier du Palais-Royal à Paris. Vous pouvez retrouver la ⁠⁠⁠⁠⁠⁠transcription⁠⁠⁠⁠⁠⁠ de cet épisode sur mon site et la ⁠⁠⁠⁠⁠⁠liste de vocabulaire⁠⁠⁠⁠⁠⁠ sur Patreon.

durée : 00:10:15 - Les Nuits de France Culture - par : Albane Penaranda - La romancière Colette, la chanteuse Mireille et le cinéaste, écrivain et peintre Jean Cocteau vantent les mérites et la beauté de leur quartier : le Palais-Royal à Paris dans l'émission "Rive droite rive gauche" en 1948. - invités : Colette Femme de lettres, actrice et journaliste française; Mireille Chanteuse, auteur, compositrice; Jean Cocteau Poète, écrivain, peintre, cinéaste, dramaturge

SynopsisOn today's date in 1738, a once-successful French composer died destitute in an asylum of Charenton. It was a lamentable end for the 56-year-old Jean-Joseph Mouret, who had once served the French king at the Palais Royal and whose operas had once graced the stage of the Paris Opéra.How ironic, then, that Mouret would achieve belated fame in 20th-century America when the “Rondeau” from his Symphonies and Fanfares for the King's Supper was chosen as the theme for the Masterpiece Theatre TV series on PBS. Christopher Sarson, the original executive producer of Masterpiece Theatre, recalls how this came about.“In 1962, my future wife and I went to one of the Club Med villages in Italy. We were in these little straw huts and every morning we were summoned to breakfast by that theme. It was just magic. ... I wanted to use it for Masterpiece Theatre but there was no way I could bear to put a French piece of music on something that was supposed to be English. I went through all kinds of English composers and nothing worked. So, Mouret became the theme.”Music Played in Today's ProgramJean-Joseph Mouret (1682-1738) Rondeau; Wynton Marsalis, trumpet; English Chamber Orchestra; Anthony Newman, cond. Sony 66244

➡️ Ma dernière formation – LA SOLUTION INSTAGRAM™ : Maîtrisez enfin l'Art et la Science d'Instagram ➡ Démarrer le programme

durée : 00:25:21 - Charpentier, Médée - par : Anne-Charlotte Rémond - Le public se masse dans la salle du Palais-Royal, sur la rive droite de la Seine. Ce soir, on donne la première représentation de « Médée », une tragédie lyrique dont le texte est signé Thomas Corneille, le frère de Pierre et la musique de Marc-Antoine Charpentier. Un triomphe. - réalisé par : Philippe Petit

Noël approche J-27…. Alors, avez-vous commencé à penser à votre bûche ? La bûche, c'est une ode au rêve et c'est une ode à la gourmandise…. Dans cet épisode, je ne vais pas vous parler des tendances…. Par contre, Vous savez combien l'humain est important chez Tatousenti podcast… Alors, je donne la parole à Guy Martin, propriétaire et chef du célèbre Grand Vefour au Palais Royal et à Pierre Marcolini, le grand chocolat belge. Tous les 2 sont animées d'une flamme créative et gourmande, toujours à la recherche d'un goût innovant mais néanmoins harmonieux et bon Plan de l'épisode · 2,18 : Guy Martin, propriétaire et chef du Grand Vefour au Palais Royal -8,4 : Pierre Marcoloni, chocolatier belge Soutenir Tatousenti : · Faire un don pour soutenir et encourager Tatousenti à continuer, cliquez ici · Site : www.tatousenti.com · Instagram : https://www.instagram.com/bettinaaykroyd/ Production : Bettina Aykroyd Si cet épisode vous a plu, n'hésitez pas à laisser plein d'étoiles et un commentaire sur la plateforme Apple Podcasts et surtout à vous abonner grâce à votre application de podcasts préférée ! Cela m'aide énormément à faire découvrir Tatousenti à de nouveaux auditeurs et de nouvelles auditrices. Tatousenti, le podcast qui agite le parfum Tatousenti podcast explore le monde du parfum dans tous ses sens. Le sens de l'innovation, de la créative et de l'audace. Chaque semaine, Bettina donne la parole à celles et ceux qui créent et imaginent le parfum de demain. On y parle parfum, saveurs, ingrédient, odeur, émotion développement durable avec les parfumeurs et des chefs d'entreprise, des chocolatiers, des chefs cuisiniers à titre d'exemple.Bettina Aykroyd, franco-britannique et expert odeur, parfum et saveurs. Mon motto : pour bien sentir, il faut se sentir bien.

durée : 00:57:45 - Affaires culturelles - par : Arnaud Laporte - Comédienne, réalisatrice, chanteuse, Valérie Lemercier aime avant tout faire rire. Des “visiteurs” jusqu'à “Aline” en passant par “Palais Royal”. Elle nous a fait découvrir un aspect plus sombre de son jeu dans ” L'Arche de Noé” le nouveau film de Bryan Marciano. Rencontre. - invités : Valérie Lemercier Actrice, réalisatrice, scénariste, humoriste

L'humoriste, actrice et réalisatrice âgée de 59 ans, à l'affiche du film L'Arche de Noé de Bryan Marciano, en salle le 22 novembre, nous reçoit chez elle du côté de Palais-Royal, au cœur de Paris.Valérie Lemercier évoque son enfance dans une ferme normande auprès de parents agriculteurs. Ceux-ci l'emmènent au théâtre, voir de la danse contemporaine, des expositions de peinture. Elle s'intéresse très vite à de vieux chansonniers comme Minstinguett, Joséphine Baker ou Bourvil et fabrique de petits livres pour ses proches et s'amuse à faire rire sa famille. A 14 ans, elle part en pension à Rouen. A 18 ans, elle commence à travailler dans une école puis dans les grands magasins à Paris et se lance sur les planches. Elle montera cinq seule en scène avant de jouer dans de nombreuses comédies au cinéma. Si elle place au-dessus de tout ce qui est drôle, elle se rappelle avoir été bouleversée par Breaking the Waves de Lars Von Trier. Elle aime être occupée, le design, manger chaud et habiller les autres.Elle revient longuement sur son goût des objets et notamment de l'art de la table. « Faut que ce soit joli. J'adore les assiettes, les tasses, les théières, les verres. Je ne pourrais pas servir quelque chose dans son papier d'emballage. Je voulais une table d'un mètre sur deux, je ne l'ai pas trouvée alors je l'ai dessinée. » Depuis cinq saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Johanna SebanRéalisation : Emmanuel BauxMusique : Gotan Project

La Machine de Turing au Théâtre du Palais Royal jusqu'au 23/12/2023 sauf prolongations. Turing a construit une machine pensante qui se révélera être le premier ordinateur. Contraint au silence par les services secrets, il fut condamné pour homosexualité, avant de se suicider en croquant une pomme empoisonnée rappelant étrangement un célèbre logo… Vous est-il déjà arrivé de détenir un secret, un grand secret ? Non ? Dans ce cas, vous ignorez combien il peut être difficile de le garder pour soi. De toutes les choses immatérielles, le silence est l'une des plus lourde à porter. Et justement, ma vie était remplie de secrets… Avez-vous déjà entendu parler de l'Enigma ? Bien sûr que non, comment le pourriez-vous ? Alors, c'est le moment d'être bien attentif. » Benoît Solès, auteur et « Turing » dans la pièce est notre invité pour Xpresso

Présentation de l'invitée : Olivia Cognet est une designer et artiste-céramiste française au parcours professionnel extrêmement riche, passant des podiums de la mode aux ateliers de céramique. Originaire de Nice, sur la Côte d'Azur, elle a rapidement découvert sa vocation dans les arts appliqués, nourrie par la culture abondante qui l'entourait. Après avoir travaillé avec des figures renommées de la mode telles que Castelbajac, Sonia Rykiel et Guillaume Henry, Olivia a suivi sa passion pour la céramique et a trouvé sa voie, donnant vie à des créations uniques mêlant esthétique abstraite et fonctionnalité. Au fil de l'épisode, nous nous retrouvons dans le jardin du Palais-Royal, où Olivia partage avec nous son parcours inspirant, des premiers pas dans l'industrie de la mode jusqu'à sa découverte de la céramique à Los Angeles et sa transition vers une carrière artistique épanouissante marquée par la liberté et l'intuition. Elle évoque les défis qu'elle a rencontrés, les leçons apprises et son évolution personnelle en tant que créatrice. Explorez l'univers singulier d'Olivia Cognet et découvrez comment elle a su transformer sa passion en une carrière artistique florissante. Plongez dans les coulisses de son parcours, fait d'audace, d'exploration et de persévérance, et laissez-vous inspirer par cette artiste et entrepreneure accomplie. Ce que vous allez apprendre dans cet épisode : - Son parcours - Ses différentes expériences dans la mode - Les difficultés qu'elle a rencontrée - Sa révélation pour la céramique à Los Angeles - Sa première exposition dans une galerie à Paris - Sa rencontre avec David Giroire - Les étapes clés de son évolution artistique - Ses inspirations - Ses conseils - Qui elle souhaiterait entendre dans ce podcast « J'aime bien apprendre des autres, je trouve que c'est là où tu apprends le mieux, t'observes, tu vois comment ça marche, et puis après, tu te l'appropries différemment. » « Si t'es sérieux et que tu bosses, ça peut que bien se passer. » « Les gens ont besoin de voir 10 fois les choses pour les aimer, c'est ce qu'on m'a dit et c'est vrai, je pense. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode !

Présentation de l'invitée : Olivia Cognet est une designer et artiste-céramiste française au parcours professionnel extrêmement riche, passant des podiums de la mode aux ateliers de céramique. Originaire de Nice, sur la Côte d'Azur, elle a rapidement découvert sa vocation dans les arts appliqués, nourrie par la culture abondante qui l'entourait. Après avoir travaillé avec des figures renommées de la mode telles que Castelbajac, Sonia Rykiel et Guillaume Henry, Olivia a suivi sa passion pour la céramique et a trouvé sa voie, donnant vie à des créations uniques mêlant esthétique abstraite et fonctionnalité. Au fil de l'épisode, nous nous retrouvons dans le jardin du Palais-Royal, où Olivia partage avec nous son parcours inspirant, des premiers pas dans l'industrie de la mode jusqu'à sa découverte de la céramique à Los Angeles et sa transition vers une carrière artistique épanouissante marquée par la liberté et l'intuition. Elle évoque les défis qu'elle a rencontrés, les leçons apprises et son évolution personnelle en tant que créatrice. Explorez l'univers singulier d'Olivia Cognet et découvrez comment elle a su transformer sa passion en une carrière artistique florissante. Plongez dans les coulisses de son parcours, fait d'audace, d'exploration et de persévérance, et laissez-vous inspirer par cette artiste et entrepreneure accomplie. Ce que vous allez apprendre dans cet épisode : - Son parcours - Ses différentes expériences dans la mode - Les difficultés qu'elle a rencontrée - Sa révélation pour la céramique à Los Angeles - Sa première exposition dans une galerie à Paris - Sa rencontre avec David Giroire - Les étapes clés de son évolution artistique - Ses inspirations - Ses conseils - Qui elle souhaiterait entendre dans ce podcast « J'aime bien apprendre des autres, je trouve que c'est là où tu apprends le mieux, t'observes, tu vois comment ça marche, et puis après, tu te l'appropries différemment. » « Si t'es sérieux et que tu bosses, ça peut que bien se passer. » « Les gens ont besoin de voir 10 fois les choses pour les aimer, c'est ce qu'on m'a dit et c'est vrai, je pense. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode !

durée : 00:55:45 - Autant en emporte l'Histoire - par : Stéphanie DUNCAN - Colette avait connu la guerre de 14-18. Comme la plupart des femmes, elle l'avait vécue à l'arrière, et comme écrivaine, elle l'avait évoquée dans ses romans et ses chroniques. Quand en 1939, la Seconde guerre mondiale avait éclaté, cette ardente patriote l'avait affrontée avec la même abnégation.

durée : 00:10:15 - Les Nuits de France Culture - par : Albane Penaranda - La romancière Colette, la chanteuse Mireille et le cinéaste, écrivain et peintre Jean Cocteau vantent les mérites et la beauté de leur quartier : le Palais-Royal à Paris dans l'émission "Rive droite rive gauche" en 1948. - invités : Colette Écrivaine et journaliste; Mireille Chanteuse, auteur, compositrice; Jean Cocteau Auteur

durée : 00:10:15 - Les Nuits de France Culture - par : Albane Penaranda - La romancière Colette, la chanteuse Mireille et le cinéaste, écrivain et peintre Jean Cocteau vantent les mérites et la beauté de leur quartier : le Palais-Royal à Paris dans l'émission "Rive droite rive gauche" en 1948. - invités : Colette Écrivaine et journaliste; Mireille Chanteuse, auteur, compositrice; Jean Cocteau Auteur

The 1st arrondissement is this week's focus on the podcast. Here's what we found after spending a full day there. Mentioned in this show Louvre Museum  Jardin des Tuileries Square du Vert-Galant  Place Dauphine Place Vendôme Pont Neuf Domaine National du Palais-Royal  Samaritaine  Costes Bar  Restaurant Le Dalí   Bonjour Cafe Café le Nemours  This podcast episode includes our final ranking on the district out of 100 and a mid-tour interview or two with Amber Minogue in the Louvre.  This episode also features music by Pres Maxson, including his take on Paris by Edith Piaf and more. We'll share our visit, in video format, on our YouTube channel in the coming days. We have been making one of these travel vlogs every week, so be sure to subscribe (you can do it in one click via this link).  Read our full guide with all the pictures on the Earful Tower website here. A big thanks to the Patreon members who make all this possible. Join them here.

Guy de Maupassant - The Necklace - The Master Of The Short Story At His Best!   Hi, I'm Christy Shriver and we're here to discuss books that have changed the world and have changed us.    I'm Garry Shriver and this is the How to Love Lit Podcast.  Today we are going to journey to France and meet one of the greatest short story writers in the world- he influenced O Henry, Chekov, Kate Chopin and many others- this would be Guy de Maupassant.  And the story we will be reading and discussing is his most famous story, “The Necklace”.    Guy de Maupaussant didn't live very long.  He died right before turning 43, but fortunately during his life he got to enjoy financial success and even fame.  He wrote over 300 stories, six novels, three travel books and a bunch of poetry.      So, let's date him exactly.  He was born in 1850 and died in 1893.  If we put that in historical context in the America's, we were living through the American Civil War.  Europe in general was experiencing the good and bad of the height of the Industrial Revolution(we talked  about that briefly when we talked about Charles Dickens but also William Blake-some of the excesses were pretty terrible and were felt all over Europe), but France in particular under the leadership of Emperor Napoleon 3rd, made great strides to modernization.  France led the world in many ways.  Unfortunately this all came crashing down to some degree with Emperor Napoleon III, reluctantly really, led France into the Franco-Prussian war.  As with every other war, it was an atrocity, although we don't talk about it much today.  Among other things, it changed the landscape of Europe and the. European balance of power from then on.     Yeah, I guess I've heard of the Franco-Prussian war, but I can't say I understand it very well.      This war was between France and what is now primarily what we call Germany.  However, this isn't exactly accurate because our maps have changed so much since those days.  The German confederation led by the Kingdom of Prussia defeated Napoleon III and France's Second Empire. Napoleon the 3rd, would be the last emperor of France. Guy de Maupassant volunteered in that war and pulled from his experiences in the war for a lot of his stories.      I'm sure MauPaussant's war experiences were one big influence and subject of his writing, but certainly not the only one.  De Maupassant observed  all levels of French society starting with prostitutes to soldiers and upward on the social scale.  He was very interested in social struggle and in some ways a little cynical about the whole thing.   A lot of his stories convey a sense of hopelessness really- trying to fight fate.  Which in some ways is interesting in light of the fact that he did financially and professionally well for himself in spite of some very difficult obstables not the least of which is his parents fairly traumatic divorce.  He grew up in Normandy which is in the North of France. His mother filed for and got divorced from his dad for his being a womanizer-     a woman being granted a divorce was unusual for that time.      Well, it was, and Guy was raised by his mom.  He went to Catholic school which apparently wasn't a positive experience, and he orchestrated his own expulsion.  Eventually, he moved to Paris, and his mother introduced him to a man who would be the single greatest influence in his life, outside of his mother, Gustave Flaubert. Flaubert was famous and he was a writer.  His most famous book- Madame Bovary-maybe one of the most infuriating books I've ever read- of course that's intentional.  is beautifully written and admired as a powerful work concerned with human frailty .      Well, Flaubert introduced de Maupassant to other famous writers and off his career started.  He was prolific and well-received.  After a few years, he was able to quit his day job and live off his writing and in a high style.    Yes, amd he apparently inherited his father's taste in women, for he too has been labeled by history as “a womanizer.”  He was single, had many relationships: these included relationships prostitutes all the way to many other women of high rank including countesses.  He even had three children with one lover.  Unfortunatetly, his lifestyle ultimately resulted in his contracting syphilis.  As his syphilis progressed his writing got more and more shocking because he himself was losing his sense of reality.  Eventually he became convinced that flies were devouring his brain.  He tried to shoot himself, then he rammed a paper knife into his throat.  This got him taken to an asylym where he stayed until he died just a few months later.      Wow.  That ending is somewhat shocking.     Well, it truly is and perhaps ironic that a writer so respected for his ability to see real life for what it really was, ended his life without a real notion of reality.      Well, Tolstoy, the Russian writer found him worthy enough of a writer to write a very long and complimentary piece titled “The Works of Guy de Maupassant”.  He claimed that de  MauPaussant could see with his own eyes things as they were, see their meaning, see the contradictions of life, which are hidden from others and vividly present them.      Yes, and that in a nutshell is basically what what he's famous for.  At that time, many writers in France, and this includes Flaubert, de MauPassant's mentor, but also others most notably Emile Zola, were moving away from a romanticized way of writing about the world towards a move gritty realistic way.   The trend was to portray life as it really was- we call this realism.  Of course, we saw this with Ibsen and the theater.  In Ibsen's plays he also  portrayed real life, but Ibsen was working in the theater.  We saw this with Chopin.  But the French were doing this first and most notably in the plastic arts, like painting. One notable and famous early example was a politically controversial artist by the name of Gustave Coubert.  He would paint peasants, which wasn't that big of a deal, but in his work, tney weren't out in some field happily picking wheat.  They were miserable.  He was showing that life was hard—people didn't like that in their paintings.  They wanted the romantized versions showing how beautiful life was., Guy de Maupasasnt was in this vein.  He didn't want to make people or life look like they were better than they really were.  However, de Maupassant wasn't just a realist in the sense that he wanted to portray real life, he extended this idea further into a branch which we call naturalism.  Now, I know I'm throwing out a lot of -isms and that can get boring, but if you understand what these guys were doing it actually makes reading the stories more interesting.  De Maupassant was of the mindset that nature held a very large sway on your agency in the world.  In other words, it's not really possible to pull yourself up by your bootstraps- the powers of this world are going to win.  He saw this in evolutionary terms- This is survival of the fittest type thinking.  The strongest survive, the weakest die and there's not a whole lot you can do about it.  God is not coming to your rescue; there is no prince charming that will swoop down.  Nobody is coming to save you.  John Steinbeck thought like this too and we see that in Of Mice and Men.      That kind of writing is pretty dark.      Well, it certainly can be.  But our story today isn't as dark as Of Mice and Men; no one dies, but we do see that people are what they are, and they are not always good.  They are selfish and often stupid.  Also, they will be products of their environment.  It's not likely that you will rewrite your story to overcome your circumstances- not really- most people will succumb to their environments.  De Maupassant said this about what he wanted to do, He wanted to “write the history of the heart, soul and mind in their normal state.”  His goal was not “telling a story or entertaining us or touching our hearts but at forcing us to think and understand the deeper, hidden meaning of events.”    So, let's do it….this story, “The Necklace” is set in Paris sometime during the 1800s.          She was one of those pretty and charming girls born, as though fate had blundered over her, into a family of artisans. She had no marriage portion, no expectations, no means of getting known, understood, loved, and wedded by a man of wealth and distinction; and she let herself be married off to a little clerk in the Ministry of Education. Her tastes were simple because she had never been able to afford any other, but she was as unhappy as though she had married beneath her; for women have no caste or class, their beauty, grace, and charm serving them for birth or family. their natural delicacy, their instinctive elegance, their nimbleness of wit, are their only mark of rank, and put the slum girl on a level with the highest lady in the land.    De MauPaussant immediately situates our protagonist in the social system of her day. During this period of European history, classes were very stratified.  There was the highest class, there were the peasants, but because of the Industrial Revolution, there was a growing middle class- but even the  middle class was stratified. The woman in this story, is from a family of artisans.  That's one class up from peasants but not prestigious or powerful by any definition.  Artisans work with their hands. Bottom line, our protagonist is born poor; however, because she is so gorgeous she is able to have a little upward mobility.  Her beauty, according to our story “puts the slum girl on a level with the higest lady of the land.”  Her husband, on the other hand, is a bureaucrat- that's better than a bricklayer of other working class people, but certainly not high ranking.      I do notice a little editorializing on the narrator's part in that he comments that women live outside of the class system since they cannot work.  They have only their physical attributes, their elegance and their social smarts as a way to improve their lives, NOT their ability to work for a living.    Indeed, and what makes this girl upset is that she thinks she is better looking and basically better than her husband because she's beautiful.  Her beauty, in her mind, means she DESERVES something in this life.  She deserves luxury, and since he can't provide that, she suffers.  She's tormented use deMaupassant's words.  Let's read how she thought of her life.     She suffered endlessly, feeling herself born for every delicacy and luxury. She suffered from the poorness of her house, from its mean walls, worn chairs, and ugly curtains. All these things, of which other women of her class would not even have been aware, tormented and insulted her. The sight of the little Breton girl who came to do the work in her little house aroused heart-broken regrets and hopeless dreams in her mind. She imagined silent antechambers, heavy with Oriental tapestries, lit by torches in lofty bronze sockets, with two tall footmen in knee-breeches sleeping in large arm-chairs, overcome by the heavy warmth of the stove. She imagined vast saloons hung with antique silks, exquisite pieces of furniture supporting priceless ornaments, and small, charming, perfumed rooms, created just for little parties of intimate friends, men who were famous and sought after, whose homage roused every other woman's envious longings.  When she sat down for dinner at the round table covered with a three-days-old cloth, opposite her husband, who took the cover off the soup-tureen, exclaiming delightedly: "Aha! Scotch broth! What could be better?" she imagined delicate meals, gleaming silver, tapestries peopling the walls with folk of a past age and strange birds in faery forests; she imagined delicate food served in marvellous dishes, murmured gallantries, listened to with an inscrutable smile as one trifled with the rosy flesh of trout or wings of asparagus chicken.  She had no clothes, no jewels, nothing. And these were the only things she loved; she felt that she was made for them. She had longed so eagerly to charm, to be desired, to be wildly attractive and sought after.  She had a rich friend, an old school friend whom she refused to visit, because she suffered so keenly when she returned home. She would weep whole days, with grief, regret, despair, and misery.  It's a very long description describing her “misery.”  It's also a long description of the things she imagines she deserves.  And again, we see our narrator communicating through the subtext that maybe, this woman's perspective does not align with her reality.  She describes how bad her house is..but notice she has a MAID!!!  So, obviously, she is better than some people.  Also, she complains that she doesn't have elegant food over her dinner, so obviously she's not starving.      If you listen to how she behaves it's pitifully over-dramatic.  Listen to the language- it is as if she were in a war zone, but the reality is, she's not as well off as her friend friend from her old school days.  The text states the ONLY thing she loves is clothes and jewels.  She weeps for whole days with grief, regret, despair and misery, but what is she weeping over?  We are set up to question this woman's priorities and perspectives.  One evening her husband came home with an exultant air, holding a large envelope in his hand.  " Here's something for you," he said.  Swiftly she tore the paper and drew out a printed card on which were these words:  "The Minister of Education and Madame Ramponneau request the pleasure of the company of Monsieur and Madame Loisel at the Ministry on the evening of Monday, January the 18th."  Instead of being delighted, as her-husband hoped, she flung the invitation petulantly across the table, murmuring:  "What do you want me to do with this?"  "Why, darling, I thought you'd be pleased. You never go out, and this is a great occasion. I had tremendous trouble to get it. Every one wants one; it's very select, and very few go to the clerks. You'll see all the really big people there."  She looked at him out of furious eyes, and said impatiently: "And what do you suppose I am to wear at such an affair?"  He had not thought about it; he stammered:  "Why, the dress you go to the theatre in. It looks very nice, to me...."  He stopped, stupefied and utterly at a loss when he saw that his wife was beginning to cry. Two large tears ran slowly down from the corners of her eyes towards the corners of her mouth.  "What's the matter with you? What's the matter with you?" he faltered.  But with a violent effort she overcame her grief and replied in a calm voice, wiping her wet cheeks:  "Nothing. Only I haven't a dress and so I can't go to this party. Give your invitation to some friend of yours whose wife will be turned out better than I shall."  He was heart-broken.  "Look here, Mathilde," he persisted. :What would be the cost of a suitable dress, which you could use on other occasions as well, something very simple?"  She thought for several seconds, reckoning up prices and also wondering for how large a sum she could ask without bringing upon herself an immediate refusal and an exclamation of horror from the careful-minded clerk.  At last she replied with some hesitation:  "I don't know exactly, but I think I could do it on four hundred francs."  He grew slightly pale, for this was exactly the amount he had been saving for a gun, intending to get a little shooting next summer on the plain of Nanterre with some friends who went lark-shooting there on Sundays.  Nevertheless he said: "Very well. I'll give you four hundred francs. But try and get a really nice dress with the money."    Again, the focus of our story is Madame Mathilde Loisel.  Her husband, so proud of himself, has scored for his miserable and despairing wife a very impressive and selective invitation to go to a ball, an event for elite people.  She weeps for days because she doesn't have a certain life, and he's finally found something he thinks his wife will appreciate.   What follows is a dialogue between the two where we see Mathilde very obviously condescend to and degrade her husband. She also manipulates him to get something she wants.  She says this,    Only I haven't a dress and so I can't go to this party. Give your invitation to some friend of yours whose wife will be turned out better than I shall."  He was heart-broken.    In other words, give this invitation that you think I'll like to a better man than you.  Find a bigger man who can take care of his wife better than you can take care of yours.  This is passive aggressive and accusasatory and it  has the desired effect.  She breaks his heart.  He wants to know how much it would cost to satisfy her, and we notice that she takes her time before responding.  She asks for exactly the amount he has set aside for a hunting trip- we aren't told this is a coincidence, but we have been led to believe this is a self-centered manipulative woman.  He gives her the whole thing.        The day of the party drew near, and Madame Loisel seemed sad, uneasy and anxious. Her dress was ready, however. One evening her husband said to her:  "What's the matter with you? You've been very odd for the last three days."  "I'm utterly miserable at not having any jewels, not a single stone, to wear," she replied. "I shall look absolutely no one. I would almost rather not go to the party."    Again- the hyperbolic language demonstrates her total contempt and ingratitude for her husband.  She's miserable because she doesn't have jewels.  Remember- clothes and jewels are the only things she loves. She's humiliated, and she looks to her husband to problem-solve for her.   He's going to recommend she go see her rich friend- which she does.      "Wear flowers," he said. "They're very smart at this time of the year. For ten francs you could get two or three gorgeous roses."  She was not convinced.  "No . . . there's nothing so humiliating as looking poor in the middle of a lot of rich women."  "How stupid you are!" exclaimed her husband. "Go and see Madame Forestier and ask her to lend you some jewels. You know her quite well enough for that."  She uttered a cry of delight.  "That's true. I never thought of it."  Next day she went to see her friend and told her her trouble.  Madame Forestier went to her dressing-table, took up a large box, brought it to Madame Loisel, opened it, and said:  "Choose, my dear."  First she saw some bracelets, then a pearl necklace, then a Venetian cross in gold and gems, of exquisite workmanship. She tried the effect of the jewels before the mirror, hesitating, unable to make up her mind to leave them, to give them up. She kept on asking:  "Haven't you anything else?"  "Yes. Look for yourself. I don't know what you would like best."  Suddenly she discovered, in a black satin case, a superb diamond necklace; her heart began to beat covetousIy. Her hands trembled as she lifted it. She fastened it round her neck, upon her high dress, and remained in ecstasy at sight of herself.  Then, with hesitation, she asked in anguish:  "Could you lend me this, just this alone?"  "Yes, of course."  She flung herself on her friend's breast, embraced her frenziedly, and went away with her treasure.    Again notice the words, her heart beats “covetously”.  Her hands tremble.  She's in ecstacy.  She embraces her friend in a frenzy.      The day of the party arrived. Madame Loisel was a success. She was the prettiest woman present, elegant, graceful, smiling, and quite above herself with happiness. All the men stared at her, inquired her name, and asked to be introduced to her. All the Under-Secretaries of State were eager to waltz with her. The Minister noticed her.  She danced madly, ecstatically, drunk with pleasure, with no thought for anything, in the triumph of her beauty, in the pride of her success, in a cloud of happiness made up of this universal homage and admiration, of the desires she had aroused, of the completeness of a victory so dear to her feminine heart.    What is interesting about this account of the party is that it's so short.  Her delusions of gradeur at the beginning were described in more words.  She's a hit.  She's the most beautiful woman there and by far.  All the men want to dance with her.  The Minister himself notices her.  She is “drunk with pleasure”.  All she thinks about is her triumph, her success the “universal homage and admiration”. Her presence at the ball is a complete victory.  In other words, she gets everything she wanted.  Except, it only lasts two short paragraphs.     She left about four o'clock in the morning. Since midnight her husband had been dozing in a deserted little room, in company with three other men whose wives were having a good time. He threw over her shoulders the garments he had brought for them to go home in, modest everyday clothes, whose poverty clashed with the beauty of the ball-dress. She was conscious of this and was anxious to hurry away, so that she should not be noticed by the other women putting on their costly furs.  Loisel restrained her.  "Wait a little. You'll catch cold in the open. I'm going to fetch a cab."  But she did not listen to him and rapidly descended-the staircase. When they were out in the street they could not find a cab; they began to look for one, shouting at the drivers whom they saw passing in the distance.  They walked down towards the Seine, desperate and shivering. At last they found on the quay one of those old nightprowling carriages which are only to be seen in Paris after dark, as though they were ashamed of their shabbiness in the daylight.    Notice how much attention is paid to the fact that she's ashamed.  This paragraph is just as long as the entire party.  She races out the door because she's ashamed of her coat.  Her husband literally tries to restrain her, but she's in a rush.  She shouts, she walks, she's out pacing in the streets ashamed of her “shabbiness.”    It brought them to their door in the Rue des Martyrs, and sadly they walked up to their own apartment. It was the end, for her. As for him, he was thinking that he must be at the office at ten.  She took off the garments in which she had wrapped her shoulders, so as to see herself in all her glory before the mirror. But suddenly she uttered a cry. The necklace was no longer round her neck!  "What's the matter with you?" asked her husband, already half undressed.  She turned towards him in the utmost distress.  "I . . . I . . . I've no longer got Madame Forestier's necklace. . . ."  He started with astonishment.  "What! . . . Impossible!"  They searched in the folds of her dress, in the folds of the coat, in the pockets, everywhere. They could not find it.  "Are you sure that you still had it on when you came away from the ball?" he asked.  "Yes, I touched it in the hall at the Ministry."  "But if you had lost it in the street, we should have heard it fall."  "Yes. Probably we should. Did you take the number of the cab?"  "No. You didn't notice it, did you?"  "No."  They stared at one another, dumbfounded. At last Loisel put on his clothes again.  "I'll go over all the ground we walked," he said, "and see if I can't find it."  And he went out. She remained in her evening clothes, lacking strength to get into bed, huddled on a chair, without volition or power of thought.  Her husband returned about seven. He had found nothing.  He went to the police station, to the newspapers, to offer a reward, to the cab companies, everywhere that a ray of hope impelled him.    Notice the juxtaposition here- after the necklace is lost, the husband takes the initiative to look for it.  He looks for it until 7am.  Matilde lays in bed.  He walks, he goes to the police, he goes to the newspapers, he offers a reward.  She does nothing.    She waited all day long, in the same state of bewilderment at this fearful catastrophe.  Loisel came home at night, his face lined and pale; he had discovered nothing.  "You must write to your friend," he said, "and tell her that you've broken the clasp of her necklace and are getting it mended. That will give us time to look about us."  She wrote at his dictation.    By the end of a week they had lost all hope.  Loisel, who had aged five years, declared:  "We must see about replacing the diamonds."  Next day they took the box which had held the necklace and went to the jewellers whose name was inside. He consulted his books.  "It was not I who sold this necklace, Madame; I must have merely supplied the clasp."  Then they went from jeweller to jeweller, searching for another necklace like the first, consulting their memories, both ill with remorse and anguish of mind.  In a shop at the Palais-Royal they found a string of diamonds which seemed to them exactly like the one they were looking for. It was worth forty thousand francs. They were allowed to have it for thirty-six thousand.  They begged the jeweller not to sell it for three days. And they arranged matters on the understanding that it would be taken back for thirty-four thousand francs, if the first one were found before the end of February.  Loisel possessed eighteen thousand francs left to him by his father. He intended to borrow the rest.  He did borrow it, getting a thousand from one man, five hundred from another, five louis here, three louis there. He gave notes of hand, entered into ruinous agreements, did business with usurers and the whole tribe of money-lenders. He mortgaged the whole remaining years of his existence, risked his signature without even knowing it he could honour it, and, appalled at the agonising face of the future, at the black misery about to fall upon him, at the prospect of every possible physical privation and moral torture, he went to get the new necklace and put down upon the jeweller's counter thirty-six thousand francs.    By this point in the story, no one should have any respect for Matilde.  She has done nothing for herself.  We even find out that he has a pretty good inheritance from his father, and he spends the entirety of it to partially pay for this necklace his wife lost.  Listen to the language, he is appalled at the agonizing face of the future, at the lack misery about to fall upon him, at the prospect of every possible physical privation and moral torture….it's very inflated language- in fact, the sentence structure and contrasts very obviously with the language used to describe Matilde  in all of her glory.  The inflated misery will be as inflated as her momentary glory- except it will last into the infinite future.    This stands out!  His misery is undeserved.  Her short-lived fabricated glory is undeserved.  He is grounded in his own reality; she does nothing to fix her problem; it is his to solve.      When Madame Loisel took back the necklace to Madame Forestier, the latter said to her in a chilly voice:  "You ought to have brought it back sooner; I might have needed it."  She did not, as her friend had feared, open the case. If she had noticed the substitution, what would she have thought? What would she have said? Would she not have taken her for a thief?  ***  Madame Loisel came to know the ghastly life of abject poverty.   From the very first she played her part heroically. This fearful debt must be paid off. She would pay it. The servant was dismissed. They changed their flat; they took a garret under the roof.  She came to know the heavy work of the house, the hateful duties of the kitchen. She washed the plates, wearing out her pink nails on the coarse pottery and the bottoms of pans. She washed the dirty linen, the shirts and dish-cloths, and hung them out to dry on a string; every morning she took the dustbin down into the street and carried up the water, stopping on each landing to get her breath. And, clad like a poor woman, she went to the fruiterer, to the grocer, to the butcher, a basket on her arm, haggling, insulted, fighting for every wretched halfpenny of her money.  Every month notes had to be paid off, others renewed, time gained.  Her husband worked in the evenings at putting straight a merchant's accounts, and often at night he did copying at twopence-halfpenny a page.  And this life lasted ten years.    At the beginning of the story, we see that she thought she was poor.  Now, she has come to know what real poverty looks like.  Now she is “glad like a poor woman.”    At the end of ten years everything was paid off, everything, the usurer's charges and the accumulation of superimposed interest.  Madame Loisel looked old now. She had become like all the other strong, hard, coarse women of poor households. Her hair was badly done, her skirts were awry, her hands were red. She spoke in a shrill voice, and the water slopped all over the floor when she scrubbed it. But sometimes, when her husband was at the office, she sat down by the window and thought of that evening long ago, of the ball at which she had been so beautiful and so much admired.    If you remember, this is how she started.  She was pretty but she was poor.  Now she's poor and ugly, like everyone else who she thought she was better than. Even her dillusions have stopped.  All she has is the memory of her one moment of glory.     What would have happened if she had never lost those jewels. Who knows? Who knows? How strange life is, how fickle! How little is needed to ruin or to save!  One Sunday, as she had gone for a walk along the Champs-Elysees to freshen herself after the labours of the week, she caught sight suddenly of a woman who was taking a child out for a walk. It was Madame Forestier, still young, still beautiful, still attractive.  Madame Loisel was conscious of some emotion. Should she speak to her? Yes, certainly. And now that she had paid, she would tell her all. Why not?  She went up to her.  "Good morning, Jeanne."  The other did not recognise her, and was surprised at being thus familiarly addressed by a poor woman.  "But . . . Madame . . ." she stammered. "I don't know . . . you must be making a mistake."  "No . . . I am Mathilde Loisel."  Her friend uttered a cry.  "Oh! . . . my poor Mathilde, how you have changed! . . ."  "Yes, I've had some hard times since I saw you last; and many sorrows . . . and all on your account."  "On my account! . . . How was that?"  "You remember the diamond necklace you lent me for the ball at the Ministry?"  "Yes. Well?"  "Well, I lost it."  "How could you? Why, you brought it back."  "I brought you another one just like it. And for the last ten years we have been paying for it. You realise it wasn't easy for us; we had no money. . . . Well, it's paid for at last, and I'm glad indeed."  Madame Forestier had halted.  "You say you bought a diamond necklace to replace mine?"  "Yes. You hadn't noticed it? They were very much alike."  And she smiled in proud and innocent happiness.  Madame Forestier, deeply moved, took her two hands.  "Oh, my poor Mathilde! But mine was imitation. It was worth at the very most five hundred francs! . . .     And of course the irony.  If you remember, irony is when things are opposite.  Here we have situational irony.  The situation is the opposite of what we should have expected.  And the story ends with an ellipsis…what happens next has no consequence.  The self-delusion, the self-serving nature, the lack of agency, all of it…was it her destiny, was it her personality, was it her society, de Maupassant ends with an ellipsis, but he has led us to his conclusion.      If we go back to the essay Tolstoy wrote about Guy de Maupassant, this is what he had to say,    There has hardly been another such an author, who thought so sincerely that all the good, the whole meaning of life was in woman, in love, and who with such force of passion described woman and the love of her from all sides, and there has hardly been another author, who with such clearness and precision has pointed out all the terrible sides of the same phenomenon, which to him seemed to be the highest, and one that gives the greatest good to men. The more he comprehended this phenomenon, the more did it become unveiled; the shrouds fell off, and all there was left was its terrible consequences and its still more terrible reality.- Tolstoy    Oh, I feel like for me to comment here would be swimming in dangerous waters.    HA!  Yes, it seems that Guy de Maupassant loved women passionately in every way until the day he died, but he was a realist; he was a naturalist.  Humanity is what it is- both men and women are equally human, and he felt no need to romanticize our essence.  It's kind of refreshing, really.     Well, we hope you enjoyed this very famous short story by one of our world's greatest writers of short stories.  Thank you for being with us today.  If you enjoy our work, please like us on social media.  Give us a review on your podcast app, but most importantly share our podcast with a friend.  That's how we grow.    Peace out!