Podcasts about pearl buck

It's that time of the year when we lower Steve into a pig trough, talk Severance, and discuss a random viral video literally MOMENTS before it expires. This is the problem with talking about memes on a podcast that goes up days later. Even if we wake up at 4:23, dive into a pool, drown our faces in ice water, and then finish working out by 4:25, we've already missed the meme's window of relevance. Whatever. What's new. Drink your water and keep up the hustle. Music/SFX: If you like our sounds, sign up for ONE FREE MONTH on us at Epidemic Sound! Over 30,000 songs: http://share.epidemicsound.com/n96pc Follow The Valleyfolk across the digital globe: http://twitter.com/TheValleyfolk http://instagram.com/TheValleyfolk http://facebook.com/TheValleyfolk Follow the group on their personal socials: Joe Bereta: http://twitter.com/JoeBereta http://instagram.com/joebereta Elliott Morgan: http://twitter.com/elliottcmorgan http://instagram.com/elliottmorgan Steve Zaragoza: http://twitter.com/stevezaragoza http://instagram.com/stevezaragoza Kevin Plachy: https://twitter.com/pakkap_ https://www.instagram.com/pakkap The only reason people do that crap is so other people can see them do it. We desire the desire of the other, particularly the Big Other. Why don't you stop waking up early and "grinding" and instead pick up some Lacan or Gebser or Jung and try "reading." Or not, whatever, what do I know. These influencers are fit as heck. That dude from that video could snap me like a soggy twig, so whom am I to spit out thinly veiled jealousy in the form of intellectual dazzling? That said, I may be operating alongside a strand of jealousy but that strand does not cancel out the patchwork quilt of dorkiness that subsumes these consumerist, capitalist losers into a malaise of never-ending performance, these marionette dolls for corporations and icons for the dim-witted. No one reads these diatribes, anyway. I could say anything I want down here. The description of these podcasts is my oyster. And I am a pearl. Pearl Buck. The Good Earth. Full circle. May we all walk each other home.

On today's podcast, hear about the first American woman to win a Nobel Prize for Literature, Pearl Buck; find out about new kinds of fruits and vegetables for gardeners; learn how to expand your vocabulary with prefixes and suffixes; then, using ‘whose' correctly on Lesson of the Day.

In September 1883, the South Australian town of Fairly huddles under strange, vivid sunsets. A child has gone missing and the whole town is intent on finding him. More than a mystery, Fiona McFarlane explores the varied townsfolks' relationship with the complex landscape and unsettling history of the Flinders Ranges.  Tsundoku's Annie Hastwell loved it from start to finish and joins the critics in their unanimous praise. + Self-declared fan of Barry Humphries, Annie Warburton, reviews the late comic's opus, pays tribute to his satirical genius and comes down firmly on the right of “grumpy old conservatives” to be free to speak their minds. = Two very different takes on the Australian experience. Guests Fiona McFarlane, author of “The Sun Walks Down”, “The Night Guest” and a collection of short stories, “The High Places”  http://www.fionamcfarlane-writer.com/ Annie Warburton, retired ABC Tasmania broadcaster and Barry Humphries aficionado Other books that get a mention: Cath and Annie mention this year's joint Pulitzer Prize winners, Barbara Kingsolver for “Demon Copperhead” and Herman Diaz for “Trust”. They go on to reference a number of past winners; “The Good Earth” by Pearl Buck, “Beloved” by Toni Morrison, “A Visit from the Goon Squad” by Jennifer Egan, “The Old Man and the Sea” by Ernest Hemingway, “The Grapes of Wrath” by John Steinbeck and “A Confederacy of Dunces” by John Kennedy Toole. Annie Warburton mentions “The Adventures of Barry McKenzie” written by Humphries for Private Eye magazine. Also, “Dame Edna's Coffee Table Book: A Guide to Gracious Living and the Finer Things of Life by One of the First Ladies of World Theatre”, “Neglected Poems and Other Creatures”, “More Please” and “Women in the Background”.  See omnystudio.com/listener for privacy information.

In September 1883, the South Australian town of Fairly huddles under strange, vivid sunsets. A child has gone missing and the whole town is intent on finding him. More than a mystery, Fiona McFarlane explores the varied townsfolks' relationship with the complex landscape and unsettling history of the Flinders Ranges.  Tsundoku's Annie Hastwell loved it from start to finish and joins the critics in their unanimous praise. + Self-declared fan of Barry Humphries, Annie Warburton, reviews the late comic's opus, pays tribute to his satirical genius and comes down firmly on the right of “grumpy old conservatives” to be free to speak their minds. = Two very different takes on the Australian experience. Guests Fiona McFarlane, author of “The Sun Walks Down”, “The Night Guest” and a collection of short stories, “The High Places”  http://www.fionamcfarlane-writer.com/ Annie Warburton, retired ABC Tasmania broadcaster and Barry Humphries aficionado Other books that get a mention: Cath and Annie mention this year's joint Pulitzer Prize winners, Barbara Kingsolver for “Demon Copperhead” and Herman Diaz for “Trust”. They go on to reference a number of past winners; “The Good Earth” by Pearl Buck, “Beloved” by Toni Morrison, “A Visit from the Goon Squad” by Jennifer Egan, “The Old Man and the Sea” by Ernest Hemingway, “The Grapes of Wrath” by John Steinbeck and “A Confederacy of Dunces” by John Kennedy Toole. Annie Warburton mentions “The Adventures of Barry McKenzie” written by Humphries for Private Eye magazine. Also, “Dame Edna's Coffee Table Book: A Guide to Gracious Living and the Finer Things of Life by One of the First Ladies of World Theatre”, “Neglected Poems and Other Creatures”, “More Please” and “Women in the Background”.  See omnystudio.com/listener for privacy information.

In October of last year, Anna May Wong became the only Asian American and fifth woman to appear on the U.S. quarter as a part of the U.S. Mint's American Women Quarters™ Program. Anna May Wong is one of the better known early Chinese American movie stars. She was the first Asian American actress to receive a star on the Hollywood Walk of Fame. She received it in 1960, the inaugural year of the Hollywood Walk of Fame. Anna May Wong was regarded as a fashion icon in the 1920s and 30s, and was also politically outspoken. In May, Barbie announced the release of an Anna May Wong Barbie doll for Asian American and Pacific Islander Heritage Month. Related Links: https://talkingtaiwan.com/peilin-kuo-on-indie-film-making-and-the-life-of-anna-may-wong-ep-241/ To talk about the life and times of Anna May Wong I've invited Peilin Kuo a Taiwanese filmmaker who's made a few short films about Anna May Wong and has plans to work on a biopic about the actress. Peilin also talked about some of her recent film projects, her love of martial arts films and her next film project that will be set in Taiwan. This episode of Talking Taiwan has been sponsored by NATWA, the North America Taiwanese Women's Association. NATWA was founded in 1988, and its mission is: 1. to evoke a sense of self-esteem and enhance women's dignity, 2. to oppose gender discrimination and promote gender equality, 3. to fully develop women's potential and encourage their participation in public affairs, 4. to contribute to the advancement of human rights and democratic development in Taiwan, 5. to reach out and work with women's organizations worldwide to promote peace for all.   To learn more about NATWA visit their website: www.natwa.com   Here's a little preview of what we talked about in this podcast episode:   ·      How Anna May Wong became the only Asian American and fifth woman to appear on the U.S. quarter as a part of the U.S. Mint's American Women Quarters™ Program in October 2022 ·      Anna May Wong was the first Asian American actress to receive a star on the Hollywood Walk of Fame in 1960 ·      In May, Barbie announced release of an Anna May Wong Barbie doll for Asian American and Pacific Islander Heritage Month ·      Taiwanese filmmaker Peilin Kuo who'd made a few short films about Anna May Wong ·      Peilin's interest and start in filmmaking ·      Peilin's connection and upbringing in Taiwan ·      What made Peilin decide to move to New York City ·      How Peilin first learned about Anna May Wong and what impressed her about Anna May Wong ·      Peilin's approach to in creating her short films about Anna May Wong ·      Peilin's plans to make a biopic about Anna May Wong ·      What set Anna May Wong apart from other Chinese American actresses ·      Anna May Wong appeared in 50-60 films ·      The stereotypical characters that Anna May Wong portrayed and the discrimination and anti-miscegenation laws she had to deal with ·      How Anna May Wong was a fashion icon and politically outspoken ·      Chinese press and government were critical of Wong but, Peking University awarded the actress an honorary doctorate in 1932. ·      Later in life Anna May Wong was outspoken about better film roles for Chinese Americans ·      Anna May Wong was passed over for the character O-Lan in the film version of Pearl Buck's book, The Good Earth;  MGM cast Luise Rainer to play the leading role in yellowface, later Rainer won an Oscar for her performance ·      Other stereotypically Asian character played by non-Asian actors in yellowface like Mickey Rooney's character in Breakfast at Tiffany's ·      Anna May Wong's visit to China in 1936 ·      How Anna May Wong passed away at the age of 56 before she was supposed appear in the film, Flower Drum Song ·      How there are no recordings of TV show Anna May Wong appeared in called  the Gallery of Madam Liu Tsong ·      Liu Tsong was Anna May Wong's birth name ·      Peilin's next film project which will be set and shot in Taiwan ·      Peilin's other film projects in the sci-fi and martial arts genre ·      Peilin's love of martial arts films ·      How Peiln's short film Once Upon A Time In The Bamboo was inspired by the film, A Touch of Zen (by director King Hu) ·      What Peilin loves about filmmaking ·      What she would be doing if she wasn't a filmmaker ·      Peilin's approach to filmmaking ·      Peilin's advice for others who want to pursue filmmaking   Related Links: https://talkingtaiwan.com/peilin-kuo-on-indie-film-making-and-the-life-of-anna-may-wong-ep-241/

Before Martin Luther King Jr, there was Paul Robeson, who became an international activist for human rights and racial justice just as radio was beginning to become popular. Robeson used his fame as a star football player, and a popular singer and actor to fight for equality, not only in the United States but around the world. You will hear Paul Robeson perform on the Magic Key radio show on NBC in 1936. After that you will hear his business manager. Paul's wife, Dr. Eslanda Robeson was an anthropologist, author, actress, and civil rights activist, who urged African-Americans to be proud of their history. In 1949 she published her third book, American Argument, which was edited by fellow anthropologist Pearl Buck. In it she spoke freely about society, politics, gender roles, and race relations. You'll hear Eslanda defend her book on the radio show, Author Meets the Critics on NBC in 1949. More at http://krobcollection.com

As a woman, have you been made to feel like you need to conform? Like you don't have a seat at the table just as you are? On today's episode Tiffany shares with us how women need not to wait for permission, the Lord has already decided that we do belong!! Join us as Tiffany Bluhm encourages every woman in their gifts and skill set.Show Notes:Prey Tell by TIffany BluhmConnect with Vivian:Instagram: @somedayisherepodcast and @vivmabuni Website: https://www.vivianmabuni.com/Connect with Tiffany Bluhme:IG- @tiffanybluhmwww.Tiffanybluhm.comDid You Know Segment: The first Asian American on US Currency is actress Anna May Wong? Born in Los Angeles in 1905, Anna May's birth name was Wong Liu Tsong. She is considered the first Chinese American Hollywood movie star, as well as the first Chinese American actress to gain international recognition. (1)Anna May's career spanned 40 years in silent films, sound film, television, stage, and radio. (2) She appeared in more than 60 movies throughout her career. (3) She paved the road for Asian American actors, by fighting through institutional racism in Hollywood. One of the most devastating moments in her career was being denied the lead role of a Chinese farmer's wife in MGM's, “The Good Earth”, a 1937 film adaptation of Pearl Buck's novel. (4)The studio cast a White actress to play O-lan and offered Anna May the role of a villain, which she refused. (5) Major studios often resorted to Yellowface; the practice of casting white actors as Asians. Despite limited lead roles, stereotypical casting and vast pay inequities, Anna May Wong left a legacy for others; now, decades later, her work is being recognized and she is celebrated  by having her image & name placed on an American quarter .SOURCES:https://www.coinworld.com/news/us-coins/oct-25-is-on-sale-date-for-anna-may-wong-quarter-dollar2)Jessica Kariisa, “She Fought Racism in Early Hollywood. Now She'll be the First Asian American on US Currency”, The California Report Magazine, September 16, 2021 https://www.kqed.org/news/11925613/she-fought-racism-in-early-hollywood-now-shell-be-the-first-asian-american-on-us-currency3)Rafu Reports, “Anna May Wong to Be Honored on Quarter”, 10/14/21, https://rafu.com/2021/10/anna-may-wong-to-be-honored-on-quarter/4)Jimmy J, “The First Asian American on US Currency: Who's Anna May Wong?”, Incluvie, June 23, 2022, https://www.incluvie.com/articles/the-first-asian-american-on-us-currency-whos-anna-may-wong5) Ibid HISTORY OF YELLOWFACE:Thaddeus Morgan, “How Hollywood Cast White Actors in Caricatured Asian Roles”, History.com, 10/21/22 Updated; 8/20/18 Original, https://www.history.com/news/yellowface-whitewashing-in-film-america

Today I spoke with Carles Prado-Fonts on his recently published book Secondhand China: Spain, the East, and the Politics of Translation (Northwestern UP, 2022). This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies. Dr. Suvi Rautio is an anthropologist of China. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I spoke with Carles Prado-Fonts on his recently published book Secondhand China: Spain, the East, and the Politics of Translation (Northwestern UP, 2022). This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies. Dr. Suvi Rautio is an anthropologist of China. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Today I spoke with Carles Prado-Fonts on his recently published book Secondhand China: Spain, the East, and the Politics of Translation (Northwestern UP, 2022). This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies. Dr. Suvi Rautio is an anthropologist of China. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Today I spoke with Carles Prado-Fonts on his recently published book Secondhand China: Spain, the East, and the Politics of Translation (Northwestern UP, 2022). This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies. Dr. Suvi Rautio is an anthropologist of China. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Today I spoke with Carles Prado-Fonts on his recently published book Secondhand China: Spain, the East, and the Politics of Translation (Northwestern UP, 2022). This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies. Dr. Suvi Rautio is an anthropologist of China. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Today I spoke with Carles Prado-Fonts on his recently published book Secondhand China: Spain, the East, and the Politics of Translation (Northwestern UP, 2022). This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies. Dr. Suvi Rautio is an anthropologist of China. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Today I spoke with Carles Prado-Fonts on his recently published book Secondhand China: Spain, the East, and the Politics of Translation (Northwestern UP, 2022). This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies. Dr. Suvi Rautio is an anthropologist of China. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language

Today I spoke with Carles Prado-Fonts on his recently published book Secondhand China: Spain, the East, and the Politics of Translation (Northwestern UP, 2022). This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies. Dr. Suvi Rautio is an anthropologist of China. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Today I spoke with Carles Prado-Fonts on his recently published book Secondhand China: Spain, the East, and the Politics of Translation (Northwestern UP, 2022). This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies. Dr. Suvi Rautio is an anthropologist of China. Learn more about your ad choices. Visit megaphone.fm/adchoices

I podden Nobelkoden gör kulturredaktionens Mattias Berg en personlig resa genom Nobelhistorien och radioarkivet. Följ med på resan. Det handlar både om gåtan Alfred Nobel, dynamitkungen som genom sitt testamente plötsligt förvandlades till mänsklighetens välgörare, och om Svenska Akademiens försök att tolka hans tankar.   TESTAMENTET Om Alfred Nobels sensationella testamente som förvandlade Dynamitkungen till vår store välgörare. Om förklaringen som brukar ges till hur han kunde få ihop de där ytterligheterna. Kriget och freden, massförstörelseindustrin och mänsklighetens framåtskridande. Om Bertha von Suttner, kvinnan bakom Alfred Nobels förvandling. Om den kvarstående dubbelheten. Namnet som än i dag är ett varumärke för både fredpris - och försvarsindustri.   Ulla Billquist sjunger "Jag bygger ett luftslott" och kanonerna mullrar vid Bofors år 1946. Det är Ingvar Kjellson och Margaretha Byström som spelar Alfred Nobel respektive Bertha von Suttner i radioteaterföreställningen "Dynamitkungen" från 1982, varifrån även uppläsningen av hans militära patent är hämtade. Uppläsningen ur boken "Ned med vapnen" är från programmet Boktornet 1996. Nyheten om förundersökning om mutbrott i den så kallade Boforsaffären kommer från en Eko-sändning 1987.   STRIDERNA Om hur krig och fred fortsatte att spöka i litteraturprisets historia. Hur Hermann Hesse plötsligt prisades som den store humanisten 1946, första fredsåret, efter att under många år ha avfärdats som alltför svartsynt. Om den bokstavliga striden kring just "Krig och fred". Brevet från ett antal svenska kulturpersonligheter direkt till Leo Tolstoj, efter att han 1901 inte fått det första priset. Om alla andra strider kring litteraturpriset. Sartre, som lugnt tände en cigarett i väntan på ostbrickan och sade att han inte ville ha det. Harry Martinson som begick självmord efter priset. Rushdie-affären, förstås. Och om vad spåkvinnans aria i Maskeradbalen kan ha med saken att göra.   Irene Minghini-Cattaneo sjunger Ulricas aria i en inspelning av "Maskeradbalen" från La Scala-operan i Milano 1930. Peter Sandberg läser upp brevet från de svenska kulturpersonligheterna till Leo Tolstoj 1901. Och Magnus Faxén rapporterar från Paris om Sartres vägran att motta Nobelpriset 1964. Karl Ragnar Gierow heter den ständige sekreterare i Akademien som tillkännager att Harry Martinson och Eyvind Johnson får Nobelpriset 1974. Tidningskrönikan om Olof Lagercrantz svar till Lars Gyllensten kommer ur Ekot 1978. Intervjun med Kerstin Ekman kring Rushdie-affären är hämtad från Kulturnytt 1989 - och enkäten från programmet Efter tre samma år.   KVINNORNA Om den sorgliga historien. Hur få kvinnor som fått priset. Hur många män. Om den första kvinnliga litteraturpristagaren, Selma Lagerlöf, som talar om "dödsskuggans dal" trots att hon hyllades som få andra kvinnor i sin tid. Om hur en ung Artur Lundkvist hånade den andra kvinnliga pristagaren, italienska Grazia Deledda. Om att det inte blev mer än en handfull kvinnliga mottagare under Nobelprisets första 45 år. Och att det sedan blev ännu värre: bara en enda under de nästa 45. Och om att Nobelpristagaren Sigrid Undset därför hade fel när hon talade vid Verner von Heidenstams begravning - bara några månader efter Selma Lagerlöfs död.   Vi hör Sven Jerring rapportera från Selma Lagerlöfs jordfästning 1940. Ingemar Sjödin är uppläsare av det Artur Lundkvist skrev om Nobelpristagaren Grazia Deledda - liksom Märta Ekström och Inge Waern läser Gabriela Mistrals respektive Nelly Sachs dikter i svensk översättning. Citatet av Pearl Buck kommer från hennes Nobelföredrag 1938. Inslaget om Nadine Gordimers litteraturpris är hämtat från Kulturnytt 1991 och telefonintervjun med Doris Lessing från Kulturradion 2007.   VALET Om hur vi alla runt omkring Akademien, det hemliga sällskapet, varje år vid den här tiden försöker att tolka tecknen. Om hur vi nästan alltid misslyckas. Ryktet om sockervattnet var inte sant. Kanske inte ens ärtsoppan. Om Nobelkodens dubbla kryptering. Om hur den inte bara exkluderat kvinnorna, utan till exempel också Latinamerika i 45 år och Afrika i 86 år. Om Nobels eget ödesdrama, Nemesis. Hans egen inre gåta. Om vad Wole Soyinka kallade för en grym ödets ironi. Och Giuseppe Verdi för Ödets makt, eller kanske kraft. Om själva valet. Kort sagt.   Det är Gun Arvidsson som läser citatet från Virginia Woolf i programmet "Vem är rädd om Virginia Woolf" från 1983. Frågan till Karl Ragnar Gierow om sockervattnet och ärtsoppan. - och hans svar - kommer ur programmet "Vad gör man på Svenska Akademien?" 1967. Kjell Espmarks fundering om kvinnorna och kriterierna är hämtad från programmet Bokfönstret 2001. Det är Ekot som rapporterar från Wole Soyinkas Nobelföreläsning 1986. Och regissören Richard Turpin intervjuas om urpremiären av Nobels eget ödesdrama "Nemesis" i Kulturnytt 2005. Professor Arne Westgren talar om att "mänskligheten må besinna det ansvar som följer av gåvan av hans upptäckt". Detta apropå Otto Hahns Nobelpris i kemi vid Nobelhögtiden i december 1945. Dramatiseringen av Alfred Nobels egna grubblerier är hämtad ur programmet "Förmögen, högt bildad herre" från 1995. Producent för det var Rolf Hersson. Ouvertyren till Giuseppe Verdis opera "Ödets makt" spelas av Wien-filharmonikerna 2013. Slutligen hör vi ett klipp ur programmet "Bofors. Där de svenska kanonerna smidas" från 1943. Mattias Berg mattias.berg@sverigesradio.se Fotnot: Vid Nobelhögtiden i december 1945 utdelades två kemipris. Det som gick till Otto Hahn - i sin frånvaro, eftersom han och ett antal andra tyska vetenskapsmän då fortfarande internerades i brittiska Farm Hall efter krigsslutet - var 1944 års Nobelpris i efterskott. Först vid Nobelhögtiden 1946 fick Otto Hahn motta medalj och diplom.

In this episode, as part of the Great Powers Competition series, Maj Davis and Maj Hedden sit down with Air War College professor Dr. Liz Woodworth and AFJAGS Law Chair Lt Col Charles Gartland to review The Good Earth by Pearl Buck. The Good Earth is a novel set in early 20th century China and describes the life of Wang Lung, a peasant farmer, and the privations his family overcomes while maintaining their ancestral connections to the land and agriculture

About this series: This 11-part series will help us to understand and apply the Bible's teaching on God's plan for us to steward the gifts he has given us and therefore the type of people he is calling us to be in our day. The entire message of the Bible reflects the statement in Psalm 24:1, “The earth is the Lord's, and everything in it, the world, and all who live in it” (cf. Psalm 89:11).  And yet we must balance that with the fact that God has also called mankind to steward his creation: “The highest heavens belong to the Lord, but the earth he has given to the human race” (Psalm 115:16) In making the distinction between God's rule and our delegated rule, John Stott says, ‘Our possession of the earth is leasehold, therefore, not freehold. We are only tenants; God himself remains...the “landlord.”' It's also clear from the creation account in Genesis that mankind was specifically created to bear God's image and to rule on his behalf over his creation: Genesis 1:28: “God blessed them and said to them, ‘Be fruitful and increase in number; fill the earth and subdue it. Rule over the fish in the sea and the birds in the sky and over every living creature that moves on the ground.'” William Edgar defines this mandate given to Adam: ‘The creation mandate is the on-going charge to humanity, in the power and blessing of God, to be fruitful, multiply, and fill the earth and to gently subdue and cultivate the earth.' This mandate relates not only to the physical ‘earth' but also to our physical selves, what we do with the resources God has given us and to the way we care for the rest of mankind. About this talk: Scripture: Psalm 139:13-18 American writer Pearl Buck:  ‘Our society must make it right and possible for old people not to fear the young or be deserted by them, for the test of a civilization is the way that it cares for its helpless members.' Hubert Humphrey, U.S. Vice President from 1965 to 1969, spoke about the treatment of the weakest members of society as a reflection of its government: ‘The moral test of government is how that government treats those who are in the dawn of life, the children; those who are in the twilight of life, the elderly; those who are in the shadows of life; the sick, the needy and the handicapped.' Theology, of course, informs how we view the whole of life, including, crucially, the beginning and the end points. The Bible speaks about human beings as people before birth on many occasions, for example: Psalm 139:13-16; Luke 1:39-45; Jeremiah 1:5; Psalm 51:5-6; Galatians 1:15. This has huge implications for our belief about the unborn. In addressing this, we need to be hugely sensitive towards those for whom that is a sensitive subject - those who knew they were not wanted by their parents or who have experienced miscarriage or had an abortion. The fact that we are all equally made in God's image means we are all equally valuable: ‘People are equal in the same way pennies are equal. Some are bright, others are dull; some are worn smooth, others are sharp and fresh. But all are equal in value for each for each penny bears the image of the sovereign; each person bears the image of the King of kings' (Vaughan Roberts). This has great meaning for our beliefs: - About the inherent value of every single human being. - That it can never be said of someone that they are a ‘mistake.' - That as Christians we have a responsibility to speak up for, and care for, those who cannot speak up for themselves. - About those born with special needs, along with the truths of Psalm 139:13-16. Again, great sensitivity will be needed here. We look at: - How do attitudes to the beginning of life differ across times and cultures? - What does Psalm 139:13-16 have to say, in practical terms to our attitudes to the beginning of life? - Are there some practical steps we can encourage people to take to stand up for those at the beginning of life and those affected by issues they've encountered regarding the beginning of life?

Miała pecha, że najszczęśliwszy i najbardziej intensywny okres w życiu przypadł jej w młodości. Po kilkunastu latach spędzonych w Afryce, zawsze już za nią tęskniła. Była enfant terrible salonów, całe życie bawiła się rolą ekstrawaganckiej arystokratki. Ale na zapleczu bankietowego życia harowała jak wół, "zapominając o nadziei i nie poddając się rozpaczy". Jej pierwsza książka była sukcesem, kolejna przyniosła nam jedno z najbardziej znanych pierwszych zdań w historii literatury: "Miałam farmę w Afryce u stóp gór Ngong", a autorce międzynarodową sławę. Jej nazwisko było regularnie wymieniane na Noblowskiej giełdzie. Afryka dała jej napęd do pisania, ale też ciągnące się całe życie problemy ze zdrowiem, bo jej mąż, baron Bror von Blixen-Finecke, zaraził ją kiłą, a w tamtych czasach leczono ją rtęcią i arszenikiem. Skutki terapii będzie odczuwać już zawsze. Ale to nie przeszkodzi jej polować, założyć szkołę dla tubylczych dzieci oraz nawiązać romans z erudytą i awanturnikiem Denysem Finch Hattonem, a potem - po powrocie z Afryki - brylować w towarzystwie Marylin Monroe, Johna Steinbecka i Pearl Buck. W najnowszym odcinku Herstorii Wysokich Obcasów Natalia Waloch i Katarzyna Wężyk opowiadają o niezwykłym życiu jedynej w swoim rodzaju Karen Blixen.

Here I talk about the beauty of being "in between." You are between today and tomorrow, in a liminal space. Then I read a fabulous short story by Pearl Buck

The second book of Pearl Buck's House of Earth trilogy surprises us by echoing the first book: Wang Lung's son, Wang the Tiger, tragically finds new ways to repeat many of his father's worst mistakes. I'm Rachelle Ferguson of Kittywham Productions, and Unknown Friends is my biweekly book review podcast. Visit the Unknown Friends homepage at www.kittywhamproductions.com/podcast. To learn more about me and my work as a Christian playwright, explore my website at www.kittywhamproductions.com. Support the podcast and access exclusive content: www.patreon.com/unknownfriends Get in touch with me on Instagram: www.instagram.com/rachelle.ferguson Connect with me on Facebook: www.facebook.com/kittywhamproductions Email me: kittywham@gmail.com Thanks for listening! If you enjoyed this episode, please subscribe to the podcast, leave a quick review, and share with your book-loving friends!

The Good Earth by Pearl Buck describes the plight of a peasant farmer, Wang Lung, and his family somewhere around the turn of the century in China. After enduring unspeakable poverty, Wang Lung finally achieves a measure of success and wealth. He becomes arrogant and loses his moral bearings. Driven by lower instincts he pursues his lust for a young prostitute. What makes smart people do stupid things? Perhaps it is the demonic influence driving them into isolation and away from God. “…and though he was chained hand and foot and kept under guard, he had broken his chains and had been driven by the demon into solitary places,” (Luke 8.29 NIV).

Welcome to the Instant Trivia podcast episode 305, where we ask the best trivia on the Internet. Round 1. Category: Declaration Of Independence Signers 1: We all know John Hancock signed it, but how many of you know he did it representing this state. Massachusetts. 2: He's the only signer the World Almanac lists with the occupation "printer, publisher". Benjamin Franklin. 3: Francis Lewis was the only signer born in this U.K. country--he was from Llandaff. Wales. 4: Before Benjamin Harrison landed the job of signer, he was getting his hands dirty in this occupation. farmer. 5: Elder statesman John Witherspoon was the only clergyman to sign; he was part of this church of "Elders". Presbyterian. Round 2. Category: A"Ha" 1: Its nicknames include the "Paradise of the Pacific" and "The Pineapple State". Hawaii. 2: Well, Praise the Lord! It means "Praise the Lord". Hallelujah. 3: In 1640 Henry Dunster became this university's first president; he was also the entire faculty. Harvard. 4: Type of men's store once owned by Harry Truman. Haberdashery. 5: This king's reign has been referred to as the Golden Age of Babylon. Hammurabi. Round 3. Category: Nations Of Africa 1: Add 2 letters to Niger to get the name of this country just south of it. Nigeria. 2: In a song title, this country whose capital is Nairobi might come before "Feel the Love Tonight". Kenya. 3: In a song title, this country whose capital is Accra might come before "Fly Now". Ghana. 4: (Hi, I'm NBA All-Star Dikembe Mutombo) One of the many languages I speak is this official one of my birthplace, Congo. French. 5: Milton Obote, no bargain either, ran this country before and after Idi Amin. Uganda. Round 4. Category: Jon Stewart's America 1: "This follow-up to 'The Articles of Confederation' is the rare sequel that's more bicameral than the original!". the Constitution. 2: He was "quoted" as saying, "the only thing we have to fear is fear itself...oh, and starvation. We might all starve". Franklin Roosevelt. 3: This D.C. building's rotunda "was made famous by the Stephen Baldwin/Pauly Shore vehicle Bio-Rotunda". the Capitol. 4: This 1215 document "served as a wake-up call that Europe would be forced to answer...in about 500 years". the Magna Carta. 5: This mascot "is like Uncle Sam, only shorter and fatter, clearly playing to the British infatuation with stoutness". John Bull. Round 5. Category: American Novelists 1: Tired of whaling, he jumped ship in the Marquesas Islands in July 1842 and lived there for a month. (Hermann) Melville. 2: Having served on a mine-sweeper during World War II, he wrote about one in "The Caine Mutiny". Herman Wouk. 3: This author of "The Good Earth" wrote 5 books using the pseudonym John Sedges. Pearl Buck. 4: This "tasty" author bakes her novels a while: 1992's "The Secret History" was her 1st, and "The Goldfinch" from 2013 is her 3rd. Donna Tartt. 5: This "tasty" author bakes her novels a while: 1992's "The Secret History" was her 1st, and "The Goldfinch" from 2013 is her 3rd. Donna Tartt. Thanks for listening! Come back tomorrow for more exciting trivia!

Como diz Lesslie Newbigin, “uma das esquisitices da atualidade… é a maneira como o evento (história do movimento missionário)  é tão constantemente ignorado ou subestimado”. Pearl Buck ressalta que a tarefa missionária não é para covardes. “Partir, clamar, advertir e salvar outros eram exigências assustadoras feitas à alma já salva. Havia uma espécie de loucura de necessidade - uma agonia de salvação." Herbert Kane: Em 30 anos uma seita judaica se transformou numa religião mundial. Stephen Neil: Cada cristão era uma testemunha. Nada é mais notável que o anonimato desses primeiros missionários.

In the 1920's, Pearl Buck searched for an answer to her 3 year old daughters intellectually disability. Unfortunately, no-one could help her because her daughter's condition was not yet known. From the mid 1930s to the 1960s, a remarkable sequence of events led to the discovery of Phenylketonuria (PKU), accurate testing and widespread screening that revolutionised early detection of childhood disease(s) It was also around the same time (mid 1930s) that some young children were believed to be dying of Coeliac disease. One child had an unusual findings in their pancreas. Further investigation revealed other children with the same finding. This was not Coeliac disease, it was Cystic Fibrosis (of the pancreas). As more was learnt about this disease, children began to live longer with improved quality of life. Over the span of 90 years, the average life expectance for a person with Cystic Fibrosis went from 6 months to close to 50 years. Our special guest for this episode is Professor Graeme Suthers. NB. The voice of Pearl Buck was generously recorded by Christine Helen Coombe. We appreciate all submissions via our social media request. SPECIAL GUEST Professor Graeme Suthers BSc (Med), MBBS, PhD, FRACP, FRCPA, GAICD Prof Suthers is Sonic Healthcare' Director of Genetics. He is one of Australia's most respected experts in the field of genetics, and is nationally and internationally recognised for his expertise in genetic disorders, testing and clinical service provision. See omnystudio.com/listener for privacy information.

** Thanks for downloading this episode. If you'd like to stay in touch with our continuing story, Season 2 continues at This Medical Life, in which Dr Travis Brown continues his exploration of diseases and our approaches to treatment from history to the modern day. Have a look in your podcast app now for This Medical Life, and hit subscribe so you never miss an episode ** In the 1920's, Pearl Buck searched for an answer to her 3 year old daughters intellectually disability. Unfortunately, no-one could help her because her daughter's condition was not yet known. From the mid 1930s to the 1960s, a remarkable sequence of events led to the discovery of Phenylketonuria (PKU), accurate testing and widespread screening that revolutionised early detection of childhood disease(s) It was also around the same time (mid 1930s) that some young children were believed to be dying of Coeliac disease. One child had an unusual findings in their pancreas. Further investigation revealed other children with the same finding. This was not Coeliac disease, it was Cystic Fibrosis (of the pancreas). As more was learnt about this disease, children began to live longer with improved quality of life. Over the span of 90 years, the average life expectance for a person with Cystic Fibrosis went from 6 months to close to 50 years. Our special guest for this episode is Professor Graeme Suthers. The voice of Pearl Buck was generously recorded by Christine Helen Coombe. We appreciate all submissions via our social media request.   SPECIAL GUEST Professor Graeme SuthersBSc (Med), MBBS, PhD, FRACP, FRCPA, GAICD Prof Suthers is Sonic Healthcare' Director of Genetics. He is one of Australia's most respected experts in the field of genetics, and is nationally and internationally recognised for his expertise in genetic disorders, testing and clinical service provision.See omnystudio.com/listener for privacy information.

As a follower of Christ is it ever wrong to do what's right? In this episode, we pull back the curtain on the Pharisees' hypocrisy as we continue to journey through the Gospel of Mark.  We will reach back to the voices of church history and see that it is always the right time to do the right things.

This week, we learn about the first American woman to win the Nobel Prize in Literature, among many other accolades and who introduced Western audiences to Asian cultures: Pearl Buck. Jon takes us back and forth between China and the US, unpacking the complex relationship that Pearl shared in her multi-cultural upbringing. 

Pearl Sydenstricker (épouse Buck), née à Hillsboro (Virginie-Occidentale) le 26 juin 1892, et décédée le 6 mars 1973 à Danby (Vermont), est une femme de lettres américaine. Elle a obtenu le prix Nobel de littérature en 1938. Alors qu'elle n'a que 3 mois, ses parents missionnaires presbytériens partent en Chine près de Chinkiang, puis à Shanghaï, où elle va apprendre le mandarin avant l'anglais. Elle fait ses études universitaires à Randolph Macon en Virginie, puis retourne en Chine où elle épouse John Buck, un ingénieur agronome américain en 1917, avec qui elle part à Suzhou, dans l'Est de la Chine . Elle s'établit ensuite à Nanjing jusqu'à 1927, puis au Japon et revient en 1933 aux États-Unis, où elle divorce en 1935. En 1930 paraît son premier roman inspiré par la Chine qui ouvre un grand cycle romanesque : Vent d'Est, Vent d'Ouest. En 1931, La Terre chinoise, inspiré par son séjour à Suzhou, connaît un immense succès (égal à celui de Quo Vadis). Elle est la première femme à être lauréate du prix Pulitzer, prix obtenu en 1932 pour La Terre chinoise. Cet ouvrage, adapté avec succès au cinéma sous le titre Visages d'Orient, est prolongé par Les Fils de Wang Lung (1932) et La Famille dispersée (1935). La production littéraire de Pearl Buck est foisonnante et comprend des romans, des nouvelles, des pièces de théâtre, des essais, des recueils de poèmes et même un livre de cuisine. Certains de ses romans ont été écrits sous le pseudonyme de John Sedges. La plupart évoquent le pays de son enfance et s'inspirent de l'art populaire chinois. Ses œuvres, écrites dans un style simple et concis, communiquent au public occidental son amour pour la Chine et pour ses habitants. Leur succès est certainement pour beaucoup dans l'attrait en Occident pour cette région du monde. En Chine, où la popularité de l'auteur ne s'est jamais démentie, elle est considérée, sans ironie, comme un vrai auteur chinois1. Dans Un cœur fier (1938), elle pose le problème de la femme artiste et expose le conflit d'une femme entre son œuvre de sculpteur et sa vie d'épouse et de mère. La maladie de sa fille (la phénylcétonurie) lui inspire notamment L'enfant qui n'a pas pu grandir (1950). Pearl Buck reçoit le prix Nobel de littérature en 1938 pour « ses descriptions riches et épiques de la vie des paysans en Chine et pour ses chefs-d'œuvre biographiques ». Elle a créé en Pennsylvanie une fondation humanitaire pour l'adoption des enfants abandonnés et y a consacré temps et argent et aussi en faveur des droits des femmes et des minorités. Pearl Buck meurt d'un cancer du poumon à 80 ans, le 6 mars 1973

Pearl Buck, one of Roosevelt’s first advisory board members, said that “All things are possible until they are proved impossible — and even the impossible may only be so as of now.” On a special live episode for International Women's day, our extraordinary guests talked about redefining what’s possible as leaders.Our Women’s Leadership Council co-chairs, Larissa Herczeg and Ann Ford, offered a personal perspective on obstacles to gender equality. They also shared their best advice for anyone who aspires to be a leader, no matter what your title is.I hope you enjoy their conversation. See acast.com/privacy for privacy and opt-out information.

"Kocham ludzi. Kocham moją rodzinę, moje dzieci. Ale we mnie jest miejsce, w którym żyję samotnie, tam regeneruję źródła, których nigdy nie zabraknie." To słowa Pearl Buck, które oddają mój stan postrzegania bycia od czasu do czasu w samotności.W tym odcinku podcastu nawiązuję do filmu "100 dni samotności" dostępnego na Netflixie. Opis filmu na Filmwebie możesz zobaczyć tutaj:https://www.filmweb.pl/film/100+dni+samotności-2017-804828 Ten dokument, hiszpańskiego fotografa, Jose Diaza o jego 100 dniach samotności w Parku Narodowym Redes jest okazją do podzielenia się z Tobą moją refleksją i punktem widzenia:- jak wykorzystuję i lubię być sam ze sobą,- jakie pytania warto sobie zadać, żeby poznać lepiej swoje zdanie na temat samotności,- czy bycie od czasu do czasu sam ze sobą zmieniło mnie na lepsze.Jeśli mogę Ci jakoś pomóc, masz pomysł na temat odcinka napisz na kontakt@maciejmadeksza.pl lub skorzystaj z formularza na stronie www.maciejmadeksza.plDzięki i jesteśmy w kontakcie!

Two women, a Nobel prize and a Hollywood movie... this episode we celebrate two amazing women who fought for Chinese people suffering in the floods, famines and wars of 1930s China at a time when the western world wasn't doing enough to help.  Their top-tier humanitarian contributions gave a voice to the Chinese people and their sufferings.

Today we officially welcome the Dog Days - they start on this day and last for the next 40 days. We'll also learn about the Landscape Architect who invented the term "landscape architecture." We celebrate the market gardener from Isleworth, who exhibited the first large-scale cultivated strawberry at the Royal Horticultural Society on this day over two hundred years ago. We also celebrate one of America's best-known florists. We honor the life of the English poet William Henry Davies - he loved the natural world, especially birds and butterflies. We Grow That Garden Library™ with a book about flowers - their "History, Culture, Biology, and How They Change Our Lives." And then we'll wrap things up with the story of a preeminent botanist and plant explorer with the USDA. But first, let's catch up on some Greetings from Gardeners around the world and today's curated news.   Subscribe Apple | Google | Spotify | Stitcher | iHeart   Gardener Greetings To participate in the Gardener Greetings segment, send your garden pics, stories, birthday wishes and so forth to Jennifer@theDailyGardener.org And, to listen to the show while you're at home, just ask Alexa or Google to play The Daily Gardener Podcast. It's that easy.   Curated News 5 ways to adopt a more water-efficient approach to gardening 1. Install a water butt 2. Switch to watering plants in the morning 3. Don't water your lawn 4. Use a watering can 5. Train your plants to drink more slowly by giving them less   Let the Dog Days Begin  (Click to read this original post)   Alright, that's it for today's gardening news. Now, if you'd like to check out my curated news articles and blog posts for yourself, you're in luck, because I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. There's no need to take notes or search for links - the next time you're on Facebook, search for Daily Gardener Community and request to join. I'd love to meet you in the group.   Important Events 1796   The Landscape Architect Gilbert Laing Meason was born. Laing Meason was a friend of Sir Walter Scott, and he invented the term' landscape architecture' in his 1828 book, "The Landscape Architecture of the Great Painters of Italy." Not many copies of his book were printed, but somehow the prolific garden author, John Claudius Loudon, secured a copy. He shared the term with American horticulturist Andrew Jackson Downing, who, in turn, shared it with Frederick Law Olmsted. And Olmsted was the first professional to describe himself as a 'landscape architect,' and he is regarded as the founder of landscape architecture. Now, Meason was very balanced in his perspective on architecture. He valued both function and beauty. In terms of his property, Meason was a romantic, and his personal estate was known as Lindertis House. It is no surprise that he surrounded it with ornate gardens. Over time though, the cost of maintaining the elaborate gardens, in addition to the household management of the estate as a whole, brought Lindertis to total financial ruin. Today, barely a trace of the mansion exists. When Meason died, he had no idea that his notion of 'landscape architecture' would be his legacy.   1806   On this day, Michael Keens, a market gardener from Isleworth, exhibited the first large-scale cultivated strawberry at the Royal Horticultural Society. Now when it came to strawberries, Michael combined two crucial variables: flavor and appearance. It's hard to imagine, but large garden strawberries, as we know them today didn't exist before the 1800s. In his wonderfully illustrated book, The Complete Strawberry, Stafford Whiteaker takes us through the strawberry's development over the past two hundred years; sharing how strawberries were harvested from the foot of the Andes and brought to France by a French spy named Amédée François Frézier. Frézier's strawberry story is one of triumph. He cared for five little strawberry plants from the Andes during the six-month journey home to France, and he shared his own precious supply of water with the strawberries to keep them alive. And, in a strange coincidence, Frézier's surname is derived from Fraise - the French word for strawberry. It seems that Frézier's ancestor, Julius de Berry, had presented the French Emperor with a gift of strawberries, and in return, he was honored with the name Frézier as his gift. For clarification, the name "strawberry" does not refer to mulching the berries with straw. Instead, it is from the Old English term straw, which means "to spread' referring to the way the runners grow. On 30 Apr 1859, The Preston Chronicle and Lancashire Advertiser offered a little advice about growing Keen's strawberries, saying, "For edgings, nothing is more profitable than parsley or a line of Keens's seedling strawberry."   1939  On this day, the Asbury Park Press reported that Lambertus Bobbink, one of the country's best-known florists, was honored at the New York Botanical Gardens. In fact, the author, Pearl Buck, was there to dedicate a rose garden and unveil a plaque to Bobbink that read: "Lambertus C. Bobbink, a great rosarian whose counsel and generosity helped to make this garden possible for the enjoyment of all." Bobbink immigrated to the United States from Holland in 1896. He purchased a few acres of land in Rutherford, New Jersey. In 1898, Frederick Atkins, an English nurseryman, became Bobbink's partner in the business, forming Bobbink and Atkins, one of the world's largest horticultural organizations at the time. Both Bobbink and Atkins had homes on Herrick Street, which was just around the corner from their business on Paterson Avenue. The two florists accomplished some significant milestones together: In 1911, Bobbink & Atkins successfully grew the first crop of Hybrid Tea Roses in the United States.  Twenty-four years later, in 1935, Bobbink introduced the Azalea Rutherfordiana. Now, this azalea didn't memorialize a person, but a place - Bobbink's adopted hometown, Rutherford, New Jersey.   Unearthed Words Today is the birthday of the English poet William Henry Davies. Davies loved the natural world, especially birds and butterflies. George Bernard Shaw was a fan of his work, and he wrote the preface of Davies' autobiography. Here are a few of his poems: When I can hear the small woodpeckers ring  Time on a tree for all the birds that sing ;  And hear the pleasant cuckoo, loud and long?  The simple bird that thinks two notes a song.  — William Henry Davies, English poet, April's Charms And here are butterflies: poor things  Amazed with new-created wings;  They in the air-waves roll distressed  Like ships at sea; and when they rest  They cannot help but open and close  Their wings, like babies with their toes.  — William Henry Davies, English poet, Newcomers   A week ago I had a fire  To warm my feet, my hands, and face;  Cold winds, that never make a friend,  Crept in and out of every place.  Today the fields are rich in grass,  And buttercups in thousands grow;  I'll show the world where I have been--  With gold-dust seen on either shoe.  Till to my garden back I come,  Where bumble-bees for hours and hours  Sit on their soft, fat, velvet bums,  To wriggle out of hollow flowers.  — William Henry Davies, English poet, All in June   Grow That Garden Library The Reason for Flowers by Stephen Buchmann This book came out in 2016, and the subtitle is: Their History, Culture, Biology, and How They Change Our Lives The author Amy Stewart said, "Do flowers need a reason? In The Reason for Flowers, Stephen Buchmann reminds us that flowers exist for more than just beauty and fragrance. They are miniature chemical factories, wireless signal stations, the inspiration for artists, and—of course—sustenance for the most important creatures living on the planet. In short, flowers run the world. Stephen Buchmann is a gifted storyteller and a curious scientist who is intrigued by the dazzling and intricate world of flowers. Thanks to this delightful new book, you will be, too." The book is 252 pages of flower history, science, and culture - and it's all enthusiastically simplified and shared for us to enjoy. For plant geeks, it is utterly fascinating. You can get a copy of The Reason for Flowers by Stephen Buchmann and support the show, using the Amazon Link in today's Show Notes for around $4.   Today's Botanic Spark 1993  On this day, newspapers reported on the first recipient of the Richard Evans Schultes Award: Calvin R. Sperling. Sperling was a preeminent botanist and plant explorer with the USDA. As for Schultes, he was a Harvard University professor and widely recognized as the father of ethnobotany. Schultes once offered my favorite definition of Ethnobotany. You hear that term thrown around a lot, but not everyone knows what it means. Schultes said, "Ethnobotany simply means someone who is investigating plants used by primitive societies in various parts of the world." And, Schultes praised Sperling's work while he was alive, saying: "Calvin Sperling is one of the foremost ethnobotanists today, due to his consistent excellence in field research and to his extensive work to conserve biological diversity and to improve crop plants worldwide." An article about Sperling in the Star Tribune said, "Sperling traipsed over mountain slopes [in the Soviet Union] in search of wild apricot trees. He had expected to find about twenty forgotten varieties. Instead, he brought back nearly fifty different specimens. Sperling recalled, 'I found some incredible ones with traits we've never known before..." [Like] tolerance for frosts and freezing that may allow apricots to be grown in areas with harsh winter climates.'" Great discovery. And, great work by a great botanist - Calvin R. Sperling.  

今天为大家介绍的这本书，是Jonathan Spence史景迁，他所写的《大汗之国：西方眼中的中国》。他选择了48位作家关于中国的各种不同形式的描述，集合成为这样一本书。而且这48个作家他们跨越的时间非常非常的久远，从西元1253年一直到1985年，这中间跨过了700年。所以这本书读起来非常非常有趣，因为它让我们看到了在各个不同的时代，欧洲人、美国人他们对于中国的各种不同的想象的记录。其中有一个分类，史景迁把它称之为叫做“法式的异国风情”，这指的是可以追溯到法王路易十四时期，由于宗教跟国际声望等等的理由，这个时候法国大力于投注扩张法籍的传教士在中国的宗教版图。那个时期相对应的在中国是康熙，所以法国一批最有才华的耶稣会的传教士，他们就到了中国，来到了康熙皇帝的宫廷，因此得到了钻研中国数学和哲学的大好的时机，同时也就助长了叫Chinoiserie，就叫做“中国风”的这种狂热。这种中国风的狂热到了19世纪的中期，有了另外一种Chinese exotic，这种“中国式的异国风情”的另外一个波段的狂热。史景迁的分析，是由四个主要的因素融合而成的：第一，是对于叫做中国式的雅致风味的品位。人们刚开始的时候，只是爱好赏玩中国的丝织品、瓷器、跟宗庙的建筑，但是这股热潮逐渐拓展，变成了当时所有欧洲人的美学基础。第二，是意识到有一种中国式的感官享受，这种体认跟前面所讲到的这种美学的品位是有关联的。不过它接着改变了方向，变成那种由气味、汗水、热浪、还有糜烂的夜空所交织成的一种更粗俗、无以名状、既让人害怕又让人心醉神迷的一种东方的氛围；接下来，就把中国视之为一个非常奇特的、暴力、还有野蛮的国度。在中国潜藏着残忍、强取豪夺的隐忧，还有难以控制的冲动。最后一个元素，最后一个层面，则是鸦片。也就是从鸦片而来的那种奇幻、既是怠惰、又是渴望、又是欲望、又是欲望的消减，用这种方式而形成了这个时候讲到中国，在法国所产生的一种特殊的刺激，或者是特殊的联想。除了法国之外，这个时候到了20世纪再晚一点，美国也产生了美国自己的“异国风情”来呈现中国。这里面最具有代表性的那就是赛珍珠（Pearl Buck）她所写的小说；另外有埃兹拉·庞德（Ezra Pound），他对于中国诗学，还有历史持续不懈的探究；另外比较特殊的，在20世纪的中期，尤金·奥尼尔（Eugene O'Neill），他写了一出非常奇特的戏剧的剧本（备注：该剧本为《马克百万》），那是重塑马可波罗跟忽必烈汗之间的关系，而在这里面放了许许多多的现代的寓言；另外他也找到了约翰·斯坦贝克（John Steinbeck），这位了不起的美国小说家曾经写过的一篇，关于美国西部小镇的短篇小说故事，这个故事里面有中国人，而且竟然写的是，这样一个美国西部的小镇，如何毁于中国人激情之下，非常令人好奇、有趣的故事。再下来，我们就看到平行发展的，那就是关于中国的20世纪的政治的变化跟发展，有不一样的作家，他们有不同的呈现。这里面最有名的是大家最熟悉的，那是埃德加·斯诺（Edgar Snow），斯诺他的《红星照耀在大地上》（内地版译名为：《红星照耀中国》或《西行漫记》），这本书讲的是延安时代的中国共产党。而且在这里面，为西方的读者，成功刻画出一个非常非常鲜明的毛泽东的形象。我们甚至可以说毛泽东以及中国共产党，在西方尤其在美国，之所以能够得到这么多的支持，跟埃德加·斯诺的这本书有着非常密切的关系。这是这整本书的，基本的架构，用这么长的历史当中找到的这些西方人，他们分别从不同的态度、不同的角度来记录中国。把它合在一起看，我们看到的是，的的确确在那个时代，中国所产生的巨大西方好奇。要让西方产生这么高度的好奇心，用史景迁自己的话说：“一个国家之所以伟大，其必然的条件之一，在于能够吸引别人的注意，而又能持续保有这份吸引力。在西方接触中国之时，中国也明显地展现了这种能力。即使风气的变化无常，以及政治立场的更替，有时候会使得中国的光彩暂时蒙尘，然而中国的吸引力却从未随着这几个世纪的过去而抹杀殆尽。中国在西方引发了激烈的情感，西方人屡屡企图描述，并且分析中国这个国家，还有她的子民，而且显然从未停止接收来自于中国的消息。凡此种种，无一不可证实这个国家对于西方激荡的魅力。”这是我们读这个书得到的非常重要的一个印象，也就意味着，中国是用什么样的方式，能够长期地，在西方引起这么多的好奇。另外一部分我们也就看到了，西方在有限的资料，再加上自己的文化背景，还有文化的隔阂的情况底下，他们绝对不可能如实地，能够记录、能够接受中国。他们混杂了许许多多自身的价值、自身的想望、乃至于自身的偏见、跟自身的观念，促成打造出非常非常奇特的、不同时代、不同作者笔下的“中国”。这些“中国”跟真实的中国之间当然有距离，不过更重要的是，藉由这样的一种混杂、打造出来的、虽然不是现实真实的中国，却是人类心灵的一种伟大的练习；那个不是真实在地球上存在过的“中国”，但它如实地存在，在这些充满了想象力，充满了对于人类命运以及人类遭遇，有着高度好奇心的这些作者的心上。所以在书里面，史景迁对于三位20世纪公认的天才作家，他们的中国描写，再三质疑。因为他们的中国虽然跟现实中国没有关系，但是却留下了永恒、恒长、一直到今天，都值得我们去阅读跟思考的价值。这三位是弗兰兹·卡夫卡（Franz Kafka） 、还有博尔赫斯（Borges）——阿根廷的盲人作家博尔赫斯、以及意大利的后现代主义的最了不起的小说家，伊塔罗·卡尔维诺（Italo Calvino）。这三个人对他们来说，中国都是刺激他们灵感最重要的一种起源。虽然这三篇作品，可以都视之为是叫做“大师戏笔”，可是正因为有中国的存在，所以才使得他们能够用这种方法，去发挥他们的想象力跟他们的灵感。例如说，卡夫卡，他在1917年的春天，他写了这样一篇短篇小说，叫做《中国长城》。那个时候卡夫卡在布拉格的“劳工职灾保险组织”工作，一天要轮值6个小时。这个时候他写长城，他拿长城作为中国辉煌历史最磅礴的象征，因为它屏障了万里幅员，巍然地屹立的多少个世纪，堪称是最广为人知的中国的事物。不过卡夫卡的“长城”，彻头彻尾是来自于他个人的创造，甚至对于建筑工法，以及为何要修筑长城都给了他自己的一套诠释。按卡夫卡自己的说法，尽管中国的这座万里长城是非常谨慎的工事，但是是用零星一小段一小段先分别兴建的，这些各自盘踞一隅的、零星的城墙，每段大概是500公尺，这是一队一队，大概20名上下的民工去负责兴建的。这一队在兴建这里的时候，另外有一队在另外一个地方兴建，他们各自兴建的500公尺的城墙延伸出去，必须要有一端能够两两相连。可是每一个做这一段长城的人，他们对于整个完整的长城的全貌是无从想象、无从了解的；盖完了这一段，他们就会被送到另外一个工地去，开始另外一段城墙的建筑工事。所以，卡夫卡化身成为叙述者，置身在中国历史的洪流之中，用这种方式，卡夫卡给了我们一个谜一样的，参与长城建筑的工人的自述。当然，那不是长城，而是用长城作为人类命运的一个象征跟发挥。因为有中国，所以让这整件事情看起来格外的神秘，也就格外的迷人了。这是Jonathan Spence史景迁为我们编撰的这样的一本大书，藉由这本大书我们可以清楚地看到，西方的作者们他们如何书写中国、如何想象中国。 注：“杨照书话”系列节目由杨照和方所联合制作。本音频和文字稿由方所剪辑和编写而成，版权所有。若需转载，请注明来源及出处。

Retrouvez mon quatrième podcast consacré à la mère en littérature. Quels sont les archétypes de mères que l'on retrouve le plus souvent dans les romans ? Quels liens, pétris d'amour fou, de haine immense, de violence, entretiennent-elles avec leurs rejetons ? Quelques éléments de réponse avec Maxime Gorki, Pearl Buck, Hervé Bazin, Jules Vallès, Elizabeth Gaskell et François Mauriac.

Sometimes the plant gods smile on you with a clearance sale featuring something truly spectacular like Japanese Forest Grass or in this case, Hakonechloa 'All Gold'. My local Lowes was clearancing them for $3 a pop - and it was just what the plant doctor ordered to dress up our  cabin up north. In 2009, my garden idol, Margaret Roach tweeted, "Another plant I cannot garden without: Hakonechloa 'All Gold.' Solid gold in the shade." She's right.     Brevities #OTD  On this day in 1796, Gilbert Laing Meason was born.   Laing Meason was a friend of Sir Walter Scott and he invented the term 'landscape architecture', in his 1828 book on The Landscape Architecture of the Great Painters of Italy. Not many copies of his book were printed, but somehow the prolific garden author, John Claudius Loudon, . secured a copy. He shared the term with American horticulturist Andrew Jackson Downing, who, in turn, shared it with Frederick Law Olmsted.  Olmsted was the first professional to describe himself as a 'landscape architect', and he is regarded as the founder of landscape architecture. Meason was very balanced in his perspective on architecture. He valued both function and beauty.   In terms of his own property, Meason was a romantic and his personal estate was known as Lindertis House. It is no surprise that he surrounded it with ornate gardens. Over time, the cost of maintaining the elaborate gardens in addition to the household management of the estate as a whole brought Lindertis to total financial ruin. Today, barely a trace of the mansion exists. When Meason died, he had no idea that his notion of 'landscape architecture' would be his legacy.     #OTD Today in 1806, Michael Keens, a market gardener from Isleworth, exhibited the first large-scale cultivated strawberry combining flavor and appearance, at the Royal Horticultural Society. It's hard to imagine, but large garden strawberries didn't exist prior to the 1800s. In his wonderfully illustrated book, The Complete Strawberry (Century Books, 1985), Stafford Whiteaker revealed the modern strawberry's development over the last two centuries; sharing how plants were harvested from the foot of the Andes and brought to France by a French spy named Amédée François Frézier (1682- 1773).  Frézier cared for five plants during the six-month journey home by sharing his own precious supply of water. In a strange coincidence, Frézier’s surname is itself derived from fraise, the French word for strawberry. It turns out, his ancestor, Julius de Berry, presented the Emperor with a gift of strawberries and was honored with the name of his gift.  For clarification, the name ‘‘strawberry’’ does not refer to mulching the berries with straw. Rather, it is from the Old English term straw which means ‘‘to spread’ referring to their runners grow. On 30 Apr 1859, The Preston Chronicle and Lancashire Advertiser, offered a little advise about growing Keen's strawberries, saying, "For edgings for these nothing is more profitable than parsley or a line of Keens's seedling strawberry."     #OTD It was on this day in 1939, that The Asbury Park Press, reported that Lambertus C. Bobbink, one of the country's best known florists, was honored at the New York Botanical Gardens. The author, Pearl Buck, was there to dedicate a rose garden and unveil a plaque to Bobbink that read, "To honor Lambertus C. Bobbink, a great rosarian whose counsel and generosity helped to make this garden possible for the enjoyment of all."  Bobbink immigrated to the United States from Holland in 1896. He purchased a few acres of land in Rutherford, New Jersey, and in 1898 Frederick L. Atkins, an English nurseryman, became his partner in the business forming Bobbink and Atkins;  one of the worlds largest horticultural organizations at the time. They both made their homes on Herrick Street, around the corner from their business on Paterson Avenue. In 1911, Bobbink & Atkins successfully grew the first crop of budded Hybrid Tea Roses in the United States and they hybrid tea roses to this country. In 1935, Bobbink introduced the Azalea Rutherfordiana in 1935 which memorialized Rutherford, his hometown.     Unearthed Words  Today is the birthday of the English poet, William Henry Davies.  Davies loved the natural world, especially birds and butterflies. George Bernard Shawwas a fan of his work and he wrote the preface of Davies' autobiography. Here are a few of his poems:   " When I can hear the small woodpeckers ring Time on a tree for all the birds that sing ; And hear the pleasant cuckoo, loud and long? The simple bird that thinks two notes a song."   "And here are butterflies : poor things Amazed with new-created wings; They in the air-waves roll distrest Like ships at sea ; and when they rest They cannot help but ope and close Their wings, like babies with their toes."     Today's book recommendation: Grow in the Dark by Lisa Eldred Steinkopf   Lisa Eldred-Steinkopf is known as the Houseplant Guru and this is her latest book.  She's putting thespotlight on 50 of the best houseplants you can grow in dim or dark areas.   Having a south-facing window doesn’t always guarantee you the best light to grow plants—especially if your window faces an alley or a tree-lined street. What’s the point of growing an urban jungle if tall buildings are blocking all your sunshine? This compact guide, designed to look as good on your shelf as it is useful, will help you learn how to make the most of your light so you can reap the physical and emotional benefits of living with plants.   Detailed profiles include tips on watering your plants just right, properly potting them, and troubleshooting pests and diseases. You’ll also learn which plants are safe to keep around your pets.   Whether you live in a shady top-floor apartment or a dungeon-y garden level, this book will help you grow your plant collection to its healthiest for its Instagram debut.     Today's Garden Chore   Plant Hakonechloa 'All Gold' in your garden. All Gold is grass perfection. Graceful, tactile, and easy. As its name suggests, Hakonechloa 'All Gold' is bright, golden and beautiful. Plant it next to anything red or purple-leafed and you'll have something amazing in your garden. The best part about Hakonechloa is that it prefers part shade and why not? It brings plenty of sunshine all on its own.      Something Sweet  Reviving the little botanic spark in your heart   It was on this day in 1993, that newspapers reported on the first recipient of the Richard Evans Schultes Award.    The honor went to a preeminent botanist and plant explorer with the U. S. Department of Agriculture's Agriculture Research Service: Calvin R. Sperling.   Schultes was a Harvard University professor and widely recognized as the father of ethnobotany. As Schultes once said,  "Ethnobotany simply means someone who is investigating plants used by primitive societies in various parts the world."   Schultes praised Sperling: "Calvin Sperling is one of the foremost ethnobotanists today, due to his consistent excellence in field research and to his extensive work to conserve biological diversity and to improve crop plants worldwide."   Sperling was selected to receive the award by an international committee established by the award's sponsor, The Healing Forest Conservancy in San Francisco.    An article about Sperling in the Star Tribune, said, "Sperling traipsed over mountain slopes [in the Soviet Union] in search of wild apricot trees. He had expected to find about 20 forgotten varieties. Instead, he brought back nearly 5O different specimens. "I found some incredible ones with traits we've never known before..." [Like] tolerance for frosts and freezing that may allow apricots to be grown in areas with harsh winter climates."     Thanks for listening to the daily gardener, and remember: "For a happy, healthy life, garden every day."

For Pearl S. Buck, writing wasn't just something she was going to try: it was her path to independence. Today’s poem, a sonnet.

Since 1938, the College English Association has served academics who seek to keep teaching college students as the focus of the profession. Its official publication, the CEA Critic, recently published a double issue commemorating its 80th anniversary with content from the history of the journal. The issue includes essays from Willa Cather, H.L. Mencken, Pearl Buck, Wallace Stevens, Phillip K. Dick, Margaret Atwood, John Updike and many others. Editor Jeri Craver joined us for a lively discussion about the social issue and the journal's place in the field.

1931 gavs romanen "The Good Earth" ut i USA. Den var skriven av Pearl Buck och vann genast publikens och kritikernas gillande. "The Good Earth" belönades med Pulitzerpriset och det gjordes film i Hollywood. Även i Sverige uppmärksammades romanen och några år senare tilldelades författaren det finaste priset av dem alla: Nobelpriset i litteratur. Vem var Pearl Buck? Och är boken "Den goda jorden" en klassiker? Det tycker i alla fall Elin Claeson. Detta är en repris från 2009,

In his new book, Dinner in Camelot: The Night America’s Greatest Scientists, Writers, and Scholars Partied at the Kennedy White House (ForeEdge, 2018), Joseph Esposito examines the night of April 49, 1962 when President John F. Kennedy and First Lady Jacqueline Kennedy hosted America’s leading scientists, writers, activists, and thinkers to honor 49 Nobel Prize Winners. With guests such as American hero and astronaut John Glenn, Linus and Ava Helen Pauling who had picketed the White House prior to the dinner, J. Robert Oppenheimer, and writers including Pearl Buck, John Dos Passos, Robert Frost, and James Baldwin the dinner served as one of the most important nights in the White House. Esposito positions readers in the political climate of the time and shares a glimpse into a political climate where intellectuals and immigrants were honored, and even those with political differences could come together to honor one another for one night. Well researched, Esposito’s work gives a fascinating glimpse not only into a single night at the White House, but also a snapshot into the world of a number of the important and influential minds of the early 1960s. He shows us how this impressive gathering not only honored these important thinkers, but also created relationships and friendships for years to come. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book, Dinner in Camelot: The Night America’s Greatest Scientists, Writers, and Scholars Partied at the Kennedy White House (ForeEdge, 2018), Joseph Esposito examines the night of April 49, 1962 when President John F. Kennedy and First Lady Jacqueline Kennedy hosted America’s leading scientists, writers, activists, and thinkers to honor 49 Nobel Prize Winners. With guests such as American hero and astronaut John Glenn, Linus and Ava Helen Pauling who had picketed the White House prior to the dinner, J. Robert Oppenheimer, and writers including Pearl Buck, John Dos Passos, Robert Frost, and James Baldwin the dinner served as one of the most important nights in the White House. Esposito positions readers in the political climate of the time and shares a glimpse into a political climate where intellectuals and immigrants were honored, and even those with political differences could come together to honor one another for one night. Well researched, Esposito’s work gives a fascinating glimpse not only into a single night at the White House, but also a snapshot into the world of a number of the important and influential minds of the early 1960s. He shows us how this impressive gathering not only honored these important thinkers, but also created relationships and friendships for years to come. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book, Dinner in Camelot: The Night America’s Greatest Scientists, Writers, and Scholars Partied at the Kennedy White House (ForeEdge, 2018), Joseph Esposito examines the night of April 49, 1962 when President John F. Kennedy and First Lady Jacqueline Kennedy hosted America’s leading scientists, writers, activists, and thinkers to honor 49 Nobel Prize Winners. With guests such as American hero and astronaut John Glenn, Linus and Ava Helen Pauling who had picketed the White House prior to the dinner, J. Robert Oppenheimer, and writers including Pearl Buck, John Dos Passos, Robert Frost, and James Baldwin the dinner served as one of the most important nights in the White House. Esposito positions readers in the political climate of the time and shares a glimpse into a political climate where intellectuals and immigrants were honored, and even those with political differences could come together to honor one another for one night. Well researched, Esposito’s work gives a fascinating glimpse not only into a single night at the White House, but also a snapshot into the world of a number of the important and influential minds of the early 1960s. He shows us how this impressive gathering not only honored these important thinkers, but also created relationships and friendships for years to come. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book, Dinner in Camelot: The Night America’s Greatest Scientists, Writers, and Scholars Partied at the Kennedy White House (ForeEdge, 2018), Joseph Esposito examines the night of April 49, 1962 when President John F. Kennedy and First Lady Jacqueline Kennedy hosted America’s leading scientists, writers, activists, and thinkers to honor 49 Nobel Prize Winners. With guests such as American hero and astronaut John Glenn, Linus and Ava Helen Pauling who had picketed the White House prior to the dinner, J. Robert Oppenheimer, and writers including Pearl Buck, John Dos Passos, Robert Frost, and James Baldwin the dinner served as one of the most important nights in the White House. Esposito positions readers in the political climate of the time and shares a glimpse into a political climate where intellectuals and immigrants were honored, and even those with political differences could come together to honor one another for one night. Well researched, Esposito’s work gives a fascinating glimpse not only into a single night at the White House, but also a snapshot into the world of a number of the important and influential minds of the early 1960s. He shows us how this impressive gathering not only honored these important thinkers, but also created relationships and friendships for years to come. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

For Women's History Month, we listen to an essay from Edward R. Murrow's original This I Believe radio series. Even in the face of possible nuclear war, Nobel Prize-winning writer Pearl S. Buck finds her faith in humanity to be stronger than ever, and believes that cooperation can solve the world’s problems. For more This I Believe programs, please visit thisibelieve.org.

In school, we’re required to read many books, some pleasant and some downright dull. Is there a book that stands out in your mind, either one you loved or one you hated? For me, it was the latter. The book was Pearl Buck’s The Good Earth. By all accounts, I should’ve loved it. Pearl advocated for human rights and women’s rights. Heck, she even won the Nobel Prize in Literature. But in school, we spent weeks, even months, analyzing each word—and I was so over it. Today, pick up a book you really want to read, even if it makes your high-school English teacher grimace, or maybe because it would make her grimace! The post Maris Kreizman: She’s Book-smart appeared first on On The Dot Woman.

I podden Nobelkoden gör kulturredaktionens Mattias Berg en personlig resa genom Nobelhistorien och radioarkivet. Följ med på resan. Det handlar både om gåtan Alfred Nobel, dynamitkungen som genom sitt testamente plötsligt förvandlades till mänsklighetens välgörare, och om Svenska Akademiens försök att tolka hans tankar.   TESTAMENTET Om Alfred Nobels sensationella testamente som förvandlade Dynamitkungen till vår store välgörare. Om förklaringen som brukar ges till hur han kunde få ihop de där ytterligheterna. Kriget och freden, massförstörelseindustrin och mänsklighetens framåtskridande. Om Bertha von Suttner, kvinnan bakom Alfred Nobels förvandling. Om den kvarstående dubbelheten. Namnet som än i dag är ett varumärke för både fredpris - och försvarsindustri.   Ulla Billquist sjunger "Jag bygger ett luftslott" och kanonerna mullrar vid Bofors år 1946. Det är Ingvar Kjellson och Margaretha Byström som spelar Alfred Nobel respektive Bertha von Suttner i radioteaterföreställningen "Dynamitkungen" från 1982, varifrån även uppläsningen av hans militära patent är hämtade. Uppläsningen ur boken "Ned med vapnen" är från programmet Boktornet 1996. Nyheten om förundersökning om mutbrott i den så kallade Boforsaffären kommer från en Eko-sändning 1987.   STRIDERNA Om hur krig och fred fortsatte att spöka i litteraturprisets historia. Hur Hermann Hesse plötsligt prisades som den store humanisten 1946, första fredsåret, efter att under många år ha avfärdats som alltför svartsynt. Om den bokstavliga striden kring just "Krig och fred". Brevet från ett antal svenska kulturpersonligheter direkt till Leo Tolstoj, efter att han 1901 inte fått det första priset. Om alla andra strider kring litteraturpriset. Sartre, som lugnt tände en cigarett i väntan på ostbrickan och sade att han inte ville ha det. Harry Martinson som begick självmord efter priset. Rushdie-affären, förstås. Och om vad spåkvinnans aria i Maskeradbalen kan ha med saken att göra.   Irene Minghini-Cattaneo sjunger Ulricas aria i en inspelning av "Maskeradbalen" från La Scala-operan i Milano 1930. Peter Sandberg läser upp brevet från de svenska kulturpersonligheterna till Leo Tolstoj 1901. Och Magnus Faxén rapporterar från Paris om Sartres vägran att motta Nobelpriset 1964. Karl Ragnar Gierow heter den ständige sekreterare i Akademien som tillkännager att Harry Martinson och Eyvind Johnson får Nobelpriset 1974. Tidningskrönikan om Olof Lagercrantz svar till Lars Gyllensten kommer ur Ekot 1978. Intervjun med Kerstin Ekman kring Rushdie-affären är hämtad från Kulturnytt 1989 - och enkäten från programmet Efter tre samma år.   KVINNORNA Om den sorgliga historien. Hur få kvinnor som fått priset. Hur många män. Om den första kvinnliga litteraturpristagaren, Selma Lagerlöf, som talar om "dödsskuggans dal" trots att hon hyllades som få andra kvinnor i sin tid. Om hur en ung Artur Lundkvist hånade den andra kvinnliga pristagaren, italienska Grazia Deledda. Om att det inte blev mer än en handfull kvinnliga mottagare under Nobelprisets första 45 år. Och att det sedan blev ännu värre: bara en enda under de nästa 45. Och om att Nobelpristagaren Sigrid Undset därför hade fel när hon talade vid Verner von Heidenstams begravning - bara några månader efter Selma Lagerlöfs död.   Vi hör Sven Jerring rapportera från Selma Lagerlöfs jordfästning 1940. Ingemar Sjödin är uppläsare av det Artur Lundkvist skrev om Nobelpristagaren Grazia Deledda - liksom Märta Ekström och Inge Waern läser Gabriela Mistrals respektive Nelly Sachs dikter i svensk översättning. Citatet av Pearl Buck kommer från hennes Nobelföredrag 1938. Inslaget om Nadine Gordimers litteraturpris är hämtat från Kulturnytt 1991 och telefonintervjun med Doris Lessing från Kulturradion 2007.   VALET Om hur vi alla runt omkring Akademien, det hemliga sällskapet, varje år vid den här tiden försöker att tolka tecknen. Om hur vi nästan alltid misslyckas. Ryktet om sockervattnet var inte sant. Kanske inte ens ärtsoppan. Om Nobelkodens dubbla kryptering. Om hur den inte bara exkluderat kvinnorna, utan till exempel också Latinamerika i 45 år och Afrika i 86 år. Om Nobels eget ödesdrama, Nemesis. Hans egen inre gåta. Om vad Wole Soyinka kallade för en grym ödets ironi. Och Giuseppe Verdi för Ödets makt, eller kanske kraft. Om själva valet. Kort sagt.   Det är Gun Arvidsson som läser citatet från Virginia Woolf i programmet "Vem är rädd om Virginia Woolf" från 1983. Frågan till Karl Ragnar Gierow om sockervattnet och ärtsoppan. - och hans svar - kommer ur programmet "Vad gör man på Svenska Akademien?" 1967. Kjell Espmarks fundering om kvinnorna och kriterierna är hämtad från programmet Bokfönstret 2001. Det är Ekot som rapporterar från Wole Soyinkas Nobelföreläsning 1986. Och regissören Richard Turpin intervjuas om urpremiären av Nobels eget ödesdrama "Nemesis" i Kulturnytt 2005. Professor Arne Westgren talar om att "mänskligheten må besinna det ansvar som följer av gåvan av hans upptäckt". Detta apropå Otto Hahns Nobelpris i kemi vid Nobelhögtiden i december 1945. Dramatiseringen av Alfred Nobels egna grubblerier är hämtad ur programmet "Förmögen, högt bildad herre" från 1995. Producent för det var Rolf Hersson. Ouvertyren till Giuseppe Verdis opera "Ödets makt" spelas av Wien-filharmonikerna 2013. Slutligen hör vi ett klipp ur programmet "Bofors. Där de svenska kanonerna smidas" från 1943. Mattias Berg mattias.berg@sverigesradio.se Fotnot: Vid Nobelhögtiden i december 1945 utdelades två kemipris. Det som gick till Otto Hahn - i sin frånvaro, eftersom han och ett antal andra tyska vetenskapsmän då fortfarande internerades i brittiska Farm Hall efter krigsslutet - var 1944 års Nobelpris i efterskott. Först vid Nobelhögtiden 1946 fick Otto Hahn motta medalj och diplom.

Quotes from Thought Leaders "The secret joy in work is contained in one word: excellence. To know how to do something well is to enjoy it." -- Pearl Buck "You get good (and fast) at what you do a lot of." -- Robert Hunt "If I had more time, I would have written you a shorter letter." -- Winston Churchill Productivity tip: set high resolution pictures of nature as your desktop background (and set it to change once per hour if possible) Self-Publish a Book on Amazon Get out more: stop showing off to your peers so much and solve real problems that people are looking for. The danger in copying what's right in front of you is that you only copy "the top layer." Most people have a tendency to make simple things complicated (including your future buyers, your fellow competitors) and blindly copying someone else just leads to something that's hard to follow. You need to be a content machine (hint: content can be videos, podcast interviews, not necessarily articles and blog posts) 80% of life is just showing up. You should have at the very least, a short book with your best blog posts. Dish some helpful advice anyone can pick up. Be the person that stuck around and kept selling books after everyone else gave up because it was "too hard." Giving up and procrastinating aren't "real" things. It's just a matter of incorrect priorities. Amazon books last forever, even if you die and your websites are gone (although you can edit or unpublish at any time) -- use it to silence the haters in your life and show them you have a real business. It's a must-have credibility tool that ALL successful people have (celebrities, politicians, thought leaders) It's free. Amazon only takes a cut. You can publish unlimited books, with unlimited pen names, so why not do it? It's easier to edit crap than air. Get that first draft completed so you have something to edit. Your message is more important than one or two typos in a book. Don't quit. Take action now. The time will never be just right. A year ago, you'll wish you had started today. Write a Book with Lightning Speed Speak out the book YOURSELF and get it transcribed. That way you don't take forever on it, and you're saying it in your voice the way you "would have said it." It's done while you're still within the three day window of excitement. You need a guide from someone who has done it before. And a proven system so that you can easily follow in their footsteps, and then repeat the process yourself over and over again. Have a real deadline, know why you're doing what you're doing and know exactly how much progress you've made. There's no such thing as being 80% or 90% done with a book. Are you in the outline stage, speaking stage, editing stage, cover stage? Use 10-7-4 to pile in "too many ideas" and reduce down to just the important ones, and then WWHW to ensure those short chapters are packed with value. Use the step by step process to overcome uncertainty, scope creep, and negative associations to "that damn book I can't seem to finish." Resources  Make a Product (Book Publishing Course)

Richard Jean So’s new book studies a group of American and Chinese writers in the three decades after WWI to propose a conceptual framework for understanding intellectual and cultural relations between China and America in the twentieth century and beyond. The period that So focuses on was crucial for a number of reasons, including a transformation in US-China relations, transformations in the world economy and international politics, the rise of a new era in media technologies (including the formation of a massive technological infrastructure between the US and East Asia, due in part to radio and telegraph technology and a transpacific transportation system) and the related emergence of a discourse of communications. In Transpacific Community: America, China, and the Rise and Fall of a Cultural Network (Columbia University Press, 2016), So argues that literary histories of U.S.-China cultural encounter in the twentieth century must also, in part, be histories of media. So recasts the Pacific in the twentieth century as a site of mediation and traces the engagement with concepts of democracy through the work of such writers as Agnes Smedley, Pearl Buck, Paul Robeson, Lin Yutang, Ding Ling, Liu Liangmo, Lao She, and Ida Puitt. It’s a focused, compelling account with resonance for Asian studies, Asian American studies, and broader debates about literature, translation, networks, and media in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Richard Jean So’s new book studies a group of American and Chinese writers in the three decades after WWI to propose a conceptual framework for understanding intellectual and cultural relations between China and America in the twentieth century and beyond. The period that So focuses on was crucial for a number of reasons, including a transformation in US-China relations, transformations in the world economy and international politics, the rise of a new era in media technologies (including the formation of a massive technological infrastructure between the US and East Asia, due in part to radio and telegraph technology and a transpacific transportation system) and the related emergence of a discourse of communications. In Transpacific Community: America, China, and the Rise and Fall of a Cultural Network (Columbia University Press, 2016), So argues that literary histories of U.S.-China cultural encounter in the twentieth century must also, in part, be histories of media. So recasts the Pacific in the twentieth century as a site of mediation and traces the engagement with concepts of democracy through the work of such writers as Agnes Smedley, Pearl Buck, Paul Robeson, Lin Yutang, Ding Ling, Liu Liangmo, Lao She, and Ida Puitt. It’s a focused, compelling account with resonance for Asian studies, Asian American studies, and broader debates about literature, translation, networks, and media in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Richard Jean So’s new book studies a group of American and Chinese writers in the three decades after WWI to propose a conceptual framework for understanding intellectual and cultural relations between China and America in the twentieth century and beyond. The period that So focuses on was crucial for a number of reasons, including a transformation in US-China relations, transformations in the world economy and international politics, the rise of a new era in media technologies (including the formation of a massive technological infrastructure between the US and East Asia, due in part to radio and telegraph technology and a transpacific transportation system) and the related emergence of a discourse of communications. In Transpacific Community: America, China, and the Rise and Fall of a Cultural Network (Columbia University Press, 2016), So argues that literary histories of U.S.-China cultural encounter in the twentieth century must also, in part, be histories of media. So recasts the Pacific in the twentieth century as a site of mediation and traces the engagement with concepts of democracy through the work of such writers as Agnes Smedley, Pearl Buck, Paul Robeson, Lin Yutang, Ding Ling, Liu Liangmo, Lao She, and Ida Puitt. It’s a focused, compelling account with resonance for Asian studies, Asian American studies, and broader debates about literature, translation, networks, and media in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Richard Jean So’s new book studies a group of American and Chinese writers in the three decades after WWI to propose a conceptual framework for understanding intellectual and cultural relations between China and America in the twentieth century and beyond. The period that So focuses on was crucial for a number of reasons, including a transformation in US-China relations, transformations in the world economy and international politics, the rise of a new era in media technologies (including the formation of a massive technological infrastructure between the US and East Asia, due in part to radio and telegraph technology and a transpacific transportation system) and the related emergence of a discourse of communications. In Transpacific Community: America, China, and the Rise and Fall of a Cultural Network (Columbia University Press, 2016), So argues that literary histories of U.S.-China cultural encounter in the twentieth century must also, in part, be histories of media. So recasts the Pacific in the twentieth century as a site of mediation and traces the engagement with concepts of democracy through the work of such writers as Agnes Smedley, Pearl Buck, Paul Robeson, Lin Yutang, Ding Ling, Liu Liangmo, Lao She, and Ida Puitt. It’s a focused, compelling account with resonance for Asian studies, Asian American studies, and broader debates about literature, translation, networks, and media in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

I podden Nobelkoden gör kulturredaktionens Mattias Berg en personlig resa genom Nobelhistorien och radioarkivet. Följ med på resan. Det handlar både om gåtan Alfred Nobel, dynamitkungen som genom sitt testamente plötsligt förvandlades till mänsklighetens välgörare, och om Svenska Akademiens försök att tolka hans tankar.TESTAMENTETOm Alfred Nobels sensationella testamente som förvandlade Dynamitkungen till vår store välgörare.Om förklaringen som brukar ges till hur han kunde få ihop de där ytterligheterna. Kriget och freden, massförstörelseindustrin och mänsklighetens framåtskridande.Om Bertha von Suttner, kvinnan bakom Alfred Nobels förvandling.Om den kvarstående dubbelheten. Namnet som än i dag är ett varumärke för både fredpris - och försvarsindustri.Ulla Billquist sjunger "Jag bygger ett luftslott" och kanonerna mullrar vid Bofors år 1946.Det är Ingvar Kjellson och Margaretha Byström som spelar Alfred Nobel respektive Bertha von Suttner i radioteaterföreställningen "Dynamitkungen" från 1982, varifrån även uppläsningen av hans militära patent är hämtade. Uppläsningen ur boken "Ned med vapnen" är från programmet Boktornet 1996.Nyheten om förundersökning om mutbrott i den så kallade Boforsaffären kommer från en Eko-sändning 1987.STRIDERNAOm hur krig och fred fortsatte att spöka i litteraturprisets historia. Hur Hermann Hesse plötsligt prisades som den store humanisten 1946, första fredsåret, efter att under många år ha avfärdats som alltför svartsynt.Om den bokstavliga striden kring just "Krig och fred". Brevet från ett antal svenska kulturpersonligheter direkt till Leo Tolstoj, efter att han 1901 inte fått det första priset.Om alla andra strider kring litteraturpriset. Sartre, som lugnt tände en cigarett i väntan på ostbrickan och sade att han inte ville ha det. Harry Martinson som begick självmord efter priset. Rushdie-affären, förstås.Och om vad spåkvinnans aria i Maskeradbalen kan ha med saken att göra.Irene Minghini-Cattaneo sjunger Ulricas aria i en inspelning av "Maskeradbalen" från La Scala-operan i Milano 1930.Peter Sandberg läser upp brevet från de svenska kulturpersonligheterna till Leo Tolstoj 1901. Och Magnus Faxén rapporterar från Paris om Sartres vägran att motta Nobelpriset 1964.Karl Ragnar Gierow heter den ständige sekreterare i Akademien som tillkännager att Harry Martinson och Eyvind Johnson får Nobelpriset 1974. Tidningskrönikan om Olof Lagercrantz svar till Lars Gyllensten kommer ur Ekot 1978.Intervjun med Kerstin Ekman kring Rushdie-affären är hämtad från Kulturnytt 1989 - och enkäten från programmet Efter tre samma år.KVINNORNAOm den sorgliga historien. Hur få kvinnor som fått priset. Hur många män.Om den första kvinnliga litteraturpristagaren, Selma Lagerlöf, som talar om "dödsskuggans dal" trots att hon hyllades som få andra kvinnor i sin tid.Om hur en ung Artur Lundkvist hånade den andra kvinnliga pristagaren, italienska Grazia Deledda.Om att det inte blev mer än en handfull kvinnliga mottagare under Nobelprisets första 45 år. Och att det sedan blev ännu värre: bara en enda under de nästa 45.Och om att Nobelpristagaren Sigrid Undset därför hade fel när hon talade vid Verner von Heidenstams begravning - bara några månader efter Selma Lagerlöfs död.Vi hör Sven Jerring rapportera från Selma Lagerlöfs jordfästning 1940.Ingemar Sjödin är uppläsare av det Artur Lundkvist skrev om Nobelpristagaren Grazia Deledda - liksom Märta Ekström och Inge Waern läser Gabriela Mistrals respektive Nelly Sachs dikter i svensk översättning.Citatet av Pearl Buck kommer från hennes Nobelföredrag 1938. Inslaget om Nadine Gordimers litteraturpris är hämtat från Kulturnytt 1991 och telefonintervjun med Doris Lessing från Kulturradion 2007.VALETOm hur vi alla runt omkring Akademien, det hemliga sällskapet, varje år vid den här tiden försöker att tolka tecknen.Om hur vi nästan alltid misslyckas. Ryktet om sockervattnet var inte sant. Kanske inte ens ärtsoppan.Om Nobelkodens dubbla kryptering.Om hur den inte bara exkluderat kvinnorna, utan till exempel också Latinamerika i 45 år och Afrika i 86 år.Om Nobels eget ödesdrama, Nemesis. Hans egen inre gåta.Om vad Wole Soyinka kallade för en grym ödets ironi. Och Giuseppe Verdi för Ödets makt, eller kanske kraft.Om själva valet. Kort sagt.Det är Gun Arvidsson som läser citatet från Virginia Woolf i programmet "Vem är rädd om Virginia Woolf" från 1983.Frågan till Karl Ragnar Gierow om sockervattnet och ärtsoppan. - och hans svar - kommer ur programmet "Vad gör man på Svenska Akademien?" 1967. Kjell Espmarks fundering om kvinnorna och kriterierna är hämtad från programmet Bokfönstret 2001.Det är Ekot som rapporterar från Wole Soyinkas Nobelföreläsning 1986. Och regissören Richard Turpin intervjuas om urpremiären av Nobels eget ödesdrama "Nemesis" i Kulturnytt 2005.Professor Arne Westgren talar om att "mänskligheten må besinna det ansvar som följer av gåvan av hans upptäckt". Detta apropå Otto Hahns Nobelpris i kemi vid Nobelhögtiden i december 1945.Dramatiseringen av Alfred Nobels egna grubblerier är hämtad ur programmet "Förmögen, högt bildad herre" från 1995. Producent för det var Rolf Hersson.Ouvertyren till Giuseppe Verdis opera "Ödets makt" spelas av Wien-filharmonikerna 2013.Slutligen hör vi ett klipp ur programmet "Bofors. Där de svenska kanonerna smidas" från 1943.Mattias Berg mattias.berg@sverigesradio.seFotnot: Vid Nobelhögtiden i december 1945 utdelades två kemipris. Det som gick till Otto Hahn - i sin frånvaro, eftersom han och ett antal andra tyska vetenskapsmän då fortfarande internerades i brittiska Farm Hall efter krigsslutet - var 1944 års Nobelpris i efterskott. Först vid Nobelhögtiden 1946 fick Otto Hahn motta medalj och diplom.

Vem var egentligen Alfred Nobel? Hur kunde sprängämnesindustrins grundare bli mänsklighetens välgörare? Varför bråkas det så ofta om litteraturpriset? Mattias Berg söker svaren i radioarkivets myller. Om Alfred Nobels sensationella testamente som förvandlade Dynamitkungen till vår store välgörare.Om förklaringen som brukar ges till hur han kunde få ihop de där ytterligheterna. Kriget och freden, massförstörelseindustrin och mänsklighetens framåtskridande.Om Bertha von Suttner, kvinnan bakom Alfred Nobels förvandling. Den märklig brevväxlingen mellan Fredsängeln och Dynamitkungen, mötet på sjön i Zürich.Om den kvarstående dubbelheten. Namnet som än i dag är ett varumärke för både fredpris och försvarsindustri.Om hur krig och fred fortsatte att spöka i litteraturprisets historia. Hur Hermann Hesse plötsligt prisades som den store humanisten 1946, första fredsåret, efter att under många år ha avfärdats som alltför svartsynt.Om den bokstavliga striden kring just Krig och fred. Brevet från ett antal svenska kulturpersonligheter direkt till Leo Tolstoj, efter att han 1901 inte fått det första priset.Om alla andra strider kring litteraturpriset. Sartre, som lugnt tände en cigarett i väntan på ostbrickan och sade att han inte ville ha det. Harry Martinson som begick självmord efter priset. Rushdie-affären, förstås.Och om vad spåkvinnans aria i Maskeradbalen kan ha med saken att göra.Om den sorgliga historien. Hur få kvinnor som fått priset. Hur många män.Om den första kvinnliga litteraturpristagaren, Selma Lagerlöf, som talar om dödsskuggans dal trots att hon hyllades som få andra kvinnor i sin tid.Om hur en ung Artur Lundkvist hånade den andra kvinnliga pristagaren, italienska Grazia Deledda.Om att det inte blev mer än en handfull kvinnliga mottagare under Nobelprisets första 45 år. Och att det sedan blev ännu värre: bara en enda under de nästa 45.Och om att Nobelpristagaren Sigrid Undset därför hade fel när hon talade vid Verner von Heidenstams begravning bara några månader efter Selma Lagerlöfs död.Om hur vi alla runt omkring Akademien, det hemliga sällskapet, försöker att tolka tecknen.Om hur vi nästan alltid misslyckas. Ryktet om sockervattnet var inte sant. Inte ens ärtsoppan.Om Nobelkodens dubbla kryptering.Om hur den inte bara exkluderat kvinnorna, utan till exempel också Latinamerika i 45 år och Afrika i 86 år.Om Nobels eget ödesdrama, Nemesis, som brändes efter hans död. Det yttre uttrycket för hans inre drama - som fick världspremiär först långt in på 2000-talet.Om hur hans kemipris bara fyra månader efter atombomberna över Hiroshima och Nagasaki gavs just till den vetenskapliga upptäckt som gjort dem möjliga.Om ouvertyren till Verdis opera "Ödets makt". Och musiken som spelas för kvinnorna längst inne i hans apteringsfabrik under andra världskriget, Blomman från Hawaii och Nya Sätervalsen. Kort sagt: Om hela dubbelheten. Motsatsernas förening. Nobelkoden.Medverkande (utöver vad som nämns i programmet):Del 1: Testamentet.Ulla Billquist sjunger Jag bygger ett luftslott och kanonerna mullrar vid Bofors år 1946.Det är Ingvar Kjellson och Margaretha Byström som spelar Alfred Nobel respektive Bertha von Suttner i radioteaterföreställningen Dynamitkungen från 1982, varifrån även uppläsningen av hans militära patent är hämtade. Uppläsningen ur boken Ned med vapnen är från programmet Boktornet 1996.Nyheten om förundersökning om mutbrott i den så kallade Boforsaffären kommer från en Eko-sändning 1987. Del 2: Striderna.Irene Minghini-Cattaneo sjunger Ulricas aria i en inspelning av Maskeradbalen från La Scala-operan i Milano 1930.Peter Sandberg läser upp brevet från de svenska kulturpersonligheterna till Leo Tolstoj 1901. Och Magnus Faxén rapporterar från Paris om Sartres vägran att motta Nobelpriset 1964.Karl Ragnar Gierow heter den ständige sekreterare i Akademien som tillkännager att Harry Martinson och Eyvind Johnson får Nobelpriset 1974. Tidningskrönikan om Olof Lagercrantz svar till Lars Gyllensten kommer ur Ekot 1978.Intervjun med Kerstin Ekman kring Rushdie-affären är hämtad från Kulturnytt 1989 och enkäten från programmet Efter tre samma år. Del 3: Kvinnorna.  Vi hör Sven Jerring rapportera från Selma Lagerlöfs jordfästning 1940.Ingemar Sjödin är uppläsare av det Artur Lundkvist skrev om Nobelpristagaren Grazia Deledda liksom Märta Ekström och Inge Waern läser Gabriela Mistrals respektive Nelly Sachs dikter i svensk översättning.Citatet av Pearl Buck kommer från hennes Nobelföredrag 1938. Inslaget om Nadine Gordimers litteraturpris är hämtat från Kulturnytt 1991 och telefonintervjun med Doris Lessing från Kulturradion 2007. Del 4: Ödets makt.Det är Gun Arvidsson som läser citatet från Virginia Woolf i programmet Vem är rädd om Virginia Woolf från 1983.Frågan till Karl Ragnar Gierow om sockervattnet och ärtsoppan. och hans svar kommer ur programmet Vad gör man på Svenska Akademien? 1967. Kjell Espmarks fundering om kvinnorna och kriterierna är hämtad från programmet Bokfönstret 2001.Det är Ekot som rapporterar från Wole Soyinkas Nobelföreläsning 1986. Och regissören Richard Turpin intervjuas om urpremiären av Nobels eget ödesdrama Nemesis i Kulturnytt 2005.Professor Arne Westgren talar om att mänskligheten må besinna det ansvar som följer av gåvan av hans upptäckt. Detta apropå Otto Hahns Nobelpris i kemi vid Nobelhögtiden i december 1945.Dramatiseringen av Alfred Nobels egna grubblerier är hämtad ur programmet Förmögen, högt bildad herre från 1995. Producent för det var Rolf Hersson.Ouvertyren till Giuseppe Verdis opera Ödets makt spelas av Wien-filharmonikerna 2013.Slutligen hör vi ett klipp ur programmet Bofors. Där de svenska kanonerna smidas från 1943. Fotnot: Vid Nobelhögtiden i december 1945 utdelades två kemipris. Det som gick till Otto Hahn i sin frånvaro, eftersom han och ett antal andra tyska vetenskapsmän då fortfarande internerades i brittiska Farm Hall efter krigsslutet var 1944 års Nobelpris i efterskott. Först vid Nobelhögtiden 1946 fick Otto Hahn motta medalj och diplom.

Before transracial adoption, an openness to nonwhite cultures in general, the holocaust, civil rights, or a social awareness of the disabled, Pearl Buck was tirelessly pioneering on every front, using her talent as a writer and status as a nobel-prize winning celebrity to bring about social justice and global change. In the pantheon of great humanitarians such as Martin Luther King, Gandhi, Mother Theresa, and others, she has been lost to history. One of the world's first international celebrities, she was truly a citizen of the world and her message and life still resonates -- and needs to resonate far more loudly. It is so rare for someone who was constantly in the public eye to be on the right side of history in every respect. Her life is a testament to the human ideal, and we would be so lucky to have more like her. http://philoofhealth.org/2015/03/legacy-of-pearl-buck

From the “everywoman” to exemplars such as Hillary Clinton, Madeleine Albright, and Maya Stein, author/ artists Mary Anne Radmacher and Liz Kalloch have gathered fierce and feisty females to empower women on the topics of leadership, friendship, purpose, adventurousness, cooperation, collaboration, risk-taking, resourcefulness, happiness, compassion, and much more. SHE: A CELEBRATION OF GREATNESS IN EVERY WOMAN pays tribute to all women’s everyday inspirational richness. Along with their best advice for our life journey, the contributors portray what it really means to inspire. Each page spread features vintage art and ephemera elegantly designed by Liz Kalloch to represent a quality, along with a tribute to women's strength, character, and the extraordinary capabilities within each and every woman. SHE gathers the wisdom of many wise women, including Madeleine L'Engle, Laura Schlessinger, Erica Jong, Rachel Carson, Oprah Winfrey, Harper Lee, Lucille Ball, Mother Teresa, Pearl Buck, Cheri Huber, Julia Child, Drew Barrymore, and many more. With the help of beautiful images and snippets of empowering wisdom, SHE is truly a book of qualities that illustrates the greatness of women and how they represent the very best in the human spirit.

Born in Hillsboro, WV.  Pearl S. Buck was a Pulitzer Prize winning author known the world over for such books as The Good Earth.  The child of missionary parents, she grew up in China, and her writing later in life greatly influenced the change in Western perceptions of that nation.  As part of the WV Writers Annual Writing Contest, our organization has teamed with the Pearl S. Buck Birthplace Foundation in Hillsboro to sponor the Pearl S. Buck Award for Writing for Social Change category of our 2013 contest.   Joining host Eric Fritzius to talk about the award and about Pearl Buck herself, are Jolie Lewis,vice president of the board of directors for the Pearl S. Buck Birthpalce Foundation, and Dr. Edwina Pendarvis, a biographer of Buck's.  

Snittet: Vad är verkligheten? Yvonne Ihmels om dokumentärfotografi idag och på 70-talet Vad har dagens iscensatta fotografi gemensamt med den dokumentära svartvita ådra som odlades på 1970 talet? I spåren av tidskriften Lifes dokumentära krigsreportage växte det fram ett dokumentärt gatufotografi, en slags snappshotmetodik som skulle återge verkligheten. Men vad har föregångare som Strömholm, Petersen och den förra året bortgångne Rune Hassner gemensamt med dagens unga fotografer? Fotografen Anna Linderstam till exempel som förra året fick Hasselbladstiftelsens Victorstipendium, filmar och fotograferar sina offer med närmast tortyrliknande metoder - efter många timmar utan sömn, just innan sammanbrottet.Yvonne Ihmels som en gång själv ville bli fotograf har träffat yngre och äldre bildskapare för Snittet. Klassikern: Pearl Buck 1938 fick den amerikanska författaren Pearl Buck nobelpriset i litteratur. Av många anses den pristagaren väga lätt, det har sagts att valet av henne var ogen                                                                                                                          Vad har dagens iscensatta fotografi gemensamt med den dokumentära svartvita ådra som odlades på 1970 talet? I spåren av tidskriften Lifes dokumentära krigsreportage växte det fram ett dokumentärt gatufotografi, en slags snappshotmetodik som skulle återge verkligheten. Men vad har föregångare som Strömholm, Petersen och den förra året bortgångne Rune Hassner gemensamt med dagens unga fotografer? Fotografen Anna Linderstam till exempel som förra året fick Hasselbladstiftelsens Victorstipendium, filmar och fotograferar sina ”offer” med närmast tortyrliknande metoder – efter många timmar utan sömn, just innan sammanbrottet. Yvonne Ihmels som en gång själv ville bli fotograf har träffat yngre och äldre bildskapare för Snittet.                     Klassikern: Pearl Buck 1938 fick den amerikanska författaren Pearl Buck nobelpriset i litteratur. Av många anses den pristagaren väga lätt, det har sagts att valet av henne var ogenomtänkt, populistiskt och svagt. Den roman som gjorde Pearl Buck till författaren på allas läppar under 30-talet var trilogin om den kinesiske bonden Wang Lungg och hans familj, och kanske framförallt den första delen som heter "Den goda jorden". Elin Claeson berättar om Pearl Buck, om hennes förhållande till Kina och framförallt om en roman som förblivit en Klassiker.

Entrée en matière...A l'occasion de la manifestation "Céramiques sur Seine", venez écouter ou lire un texte autour du thème de la matière et des éléments.Rendez-vous lecture n°1Ecouter en ligneTélécharger le fichierClic droit / Enregistrer sous...Téléchargement >> [mp3 : 33,6 Mo]A la découverte de la lune, de Géraud des Courtils, lu par Michel Dutrévis.Le voleur d'innocence, de René Fregni, lu par Vinciane Lecocq.L'orage, de Georges Brassens, lu par Fanny Fageon.Les deux maisons, de Didier Kowarsky et Samuel Ribeyron, lu par Fanny Fageon.Le pain, extrait de Le parti pris des choses, de Francis Ponge, lu par Philippe Diaz.Peinture, de Marthe Richard, lu par Nicole Koch.Un coeur fier, de Pearl Buck, lu par Myriam Lott.Le feu, extrait de Le parti pris des choses, de Francis Ponge, lu par Chantal Loizeleur.La section dorée et Teinturière, extrait d'Emulsions, de Régine Detambel, lu par Philippe Diaz.