Podcasts about proust

Jo takes us on a whirlwind tour of their recent reading, including Mary Helen Washington's Paule Marshall: A Writer's Life, and Charlotte explains why Susanna Moore's In the Cut is one of the most thrilling novels she's ever encountered. Then, the profoundly thoughtful Jamie Hood joins to explore the many boyfriends and political disappointments of Doris Lessing's The Golden Notebook. Jamie Hood is the author, most recently, of Trauma Plot: A Life, the hybrid pandemic diary how to be a good girl, the semi-monthly, Proust-infused newsletter, regards, marcel, and a book of love poems, forthcoming in 2026. She has written extensively on books, feminism, #MeToo, and other political matters for many publications, some of them even prestigious. She lives in Brooklyn.Please consider supporting our work on Patreon, where you can access additional materials and send us your guest and book coverage requests! Questions and comments can be directed to readingwriterspod at gmail dot com. Outro music by Marty Sulkow and Joe Valle.Charlotte Shane's most recent book is An Honest Woman. Her essay newsletter, Meant For You, can be subscribed to or read online for free, and her social media handle is @charoshane.  Jo Livingstone is a writer who teaches at Pratt Institute. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comMichael is quite simply one of the best nonfiction writers out the planet: a real role model. He's been a contributing writer to the New York Times Magazine since 1987, and he's the bestselling author of many books, including How to Change Your Mind — which I reviewed in 2018 — and its sequel, This Is Your Mind on Plants, which we discussed on the Dishcast in 2021. This week we covered his new book, A World Appears: A Journey Into Consciousness.For two clips of our convo — on the magic of spontaneous thoughts, and the consciousness of kids — head to our YouTube page.Other topics: toasters and other things that don't have consciousness; Thomas Nagel's bat; panpsychism; Francis Crick trying to solve consciousness; the global neuronal workspace theory; how brains are not like computers; AI and consciousness; Proust; James Joyce; Wordsworth and the Romantics; William James and stream of consciousness; Lucy Ellmann's Ducks, Newburyport; words on the tip of your tongue; phenomenology; letting your mind wander; Addison's Walk at Oxford; how smartphones distract from thinking; Trump taking up our headspace; Oakeshott and “the deadliness of doing”; AI and UBI; Allison Gopnik's lantern vs spotlight consciousness; how a child's brain resembles an adult's on psychedelics; ego death; the default mode network; meditation; the flow state of deep reading; the benefits of boredom; habit and ritual; my 10-day silent meditation retreat; the sentience of plants; Buddhism and Matthieu Ricard; the soul; the film Into Great Silence; and the disenchantment of the Enlightenment.Browse the Dishcast archive for an episode you might enjoy. Coming up: Jeffrey Toobin on the pardon power, Derek Thompson on abundance, Matt Goodwin on the earthquake in UK politics, Jonah Goldberg on the state of conservatism, Tom Holland on the Christian roots of liberalism, Tiffany Jenkins on privacy, Adrian Wooldridge on “the lost genius of liberalism,” Tom Junod on his memoir and masculinity, and Kathryn Paige Harden on the genetics of vice and virtue. As always, please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

In this week's episode photographer Pete Souza takes on our 'Proust Photo Quiz'... The Proust Questionnaire is a set of questions answered by the French writer Marcel Proust. Proust answered the questionnaire in a confession album, a form of parlour game popular at the end of the 1890s. The album, titled An Album to Record Thoughts, Feelings, etc. was found in 1924 and published in the French literary journal Les Cahiers du Mois. Our 'Proust Photo Quiz' is an adaption of the original text. Pete Souza is a best-selling author, speaker and freelance photographer. He started his career working for two small newspapers in Kansas. From there, he worked as a staff photographer for the Chicago Sun-Times;  an Official Photographer for President Reagan; a freelancer for National Geographic  and other publications; the national photographer for the Chicago Tribune based in their Washington, D.C. bureau; and an assistant professor of photojournalism at Ohio University. While at the Tribune, Souza was part of the staff awarded the Pulitzer Prize in 2001. After 9/11, he was among the first journalists to cover the fall of Kabul, Afghanistan. In 1992, Souza published, Unguarded Moments: Behind-the-Scenes Photographs of President Reagan, based on his 5 1/2 years in the Reagan White House. Souza was also the official photographer for the 2004 funeral of President Reagan. His 2008 book, The Rise of Barack Obama, includes exclusive photographs of Obama's rise to power. For all eight years of the Obama administration, Souza was the Chief Official White House Photographer and the Director of the White House photo office. His book, Obama: An Intimate Portrait, was published in 2017. His 2018 book, Shade: A Tale of Two Presidents, tells the tale of the Obama and Trump administrations. In 2021, Souza was inducted into the International Photography Hall of Fame. In 2022, he was honored with the Lifetime Achievement Award from the Professional Photographers of America. Based on his best-selling books, Souza became the subject of a documentary film in 2020, The Way I See It. The film was nominated for an Emmy. Souza's most recent photography book, The West Wing and Beyond: What I Saw Inside the Presidency, was published in 2022. He has won numerous photojournalism awards and had solo exhibits of his photographs at numerous galleries. He is also Professor Emeritus of Visual Communication at Ohio University. www.petesouza.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott continues to work as a photographer, writer and filmmaker and is the Subject Coordinator for both undergraduate and post graduate study of photography at Oxford Brookes University, Oxford, England. © Grant Scott 2026

Jean Dytar est un auteur à part, qui se réinvente à chaque album pour mieux interroger le fond et la forme du neuvième art, et la manière dont l'un nourrit l'autre. Dans son dernier livre, Les Sentiers d'Anahuac, il s'associe à l'historien Romain Bertrand. Ensemble, ils racontent comment les derniers Aztèques se sont battus pour coucher par écrit et préserver leurs traditions au cœur de la conquête menée par les conquistadors. Un récit passionnant qui questionne le rôle des sources dans l'écriture de l'histoire, mais aussi la circulation de l'information et la notion de « fake news ». Jean Dytar n'en est pas à son coup d'essai. Dans #J'accuse, il imaginait l'affaire Dreyfus à l'ère des réseaux sociaux, tandis que Florida revenait sur la désastreuse tentative d'implantation d'une colonie huguenote française en Floride. L'occasion de recevoir Jean Dytar dans ce podcast pour parler d'histoire, de bande dessinée, de représentations, d'appropriation culturelle, et bien sûr de création. L'auteur se prête également à notre questionnaire de Proust, version bande dessinée. Bonne écoute !Photo © Chloé Vollmer-LoHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Cette semaine, nous avons le plaisir d'accueillir la chercheuse en sociologie Lorraine Gehl dans Silence on joue. Dans le cadre de son doctorat, elle travaille sur le jeu vidéo et la précarité et ce sera très logiquement le sujet de notre entretien qui sera publié demain dans le flux du podcast. Mais, c'est la tradition quand on y pense, elle a aussi accepté de répondre au questionnaire de Silence on joue, sorte de questionnaire de Proust en 60 FPS.Pour commenter cette émission, donner votre avis ou simplement discuter avec notre communauté, connectez-vous au serveur Discord de Silence on joue!Soutenez Silence on joue en vous abonnant à Libération avec notre offre spéciale à 5€ par mois : https://offre.liberation.fr/soj/CRÉDITSSilence on joue ! est un podcast de Libération animé par Erwan Cario. Cette bande annonce a été enregistrée le 3 février 2026. Réalisation : Erwan Cario. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Don Asensio, el hombre que lo mismo te cuenta un libro en una hora que en un minuto, ha dejado a sus empleados una carretilla para mover los libros entre los estantes. Una carretilla que le ha regalado un autor, Bruno Galindo, que ha contado la hazaña del vasco de la carretilla, un hombre que cruzó Argentina de sur a norte empujando una con todos sus enseres, 6000 kilómetros caminando y empujando. Pero el problema es que la rueda de la carretilla que ha traído Don Asensio chirría mucho, está poco engrasada y el empleado Sergio está de los nervios. No puede concentrarse para leer a Proust. Una locura

A apărut ultima carte a lui Julian Barnes. Din păcate, „Plecare, plecări” e chiar ultima, ne spune autorul însuși în paginile cărții. În limba română a fost tradusă de Radu Paraschivescu și a apărut la Editura Nemira. Nu e tocmai un memoir, nu e tocmai un roman, e un gen hibrid, alimentat și cu date reale dar și cu ficțiune, cu notații eseistice și reflecții despre literatură și memorie, îmbătrînire și moarte dar și despre viață și iubire. Din care nu lipsesc ironia și autoironia lui Barnes, acest „pesimist vesel”, după cum se descrie el însuși. „Plecare, plecări” ne spune și o poveste de iubire – a unor prieteni din tinerețe ai autorului, care se regăsesc la 60 de ani și decid să-și dea o nouă șansă  –, ne spune și povestea bolii scriitorului – „incurabilă dar gestionabilă” –, ne spune și cum vede Julian Barnes relația lui cu cititorii – „...nu sînt un scriitor didactic. Nu vă spun ce să credeți sau cum să trăiți.” Am vorbit cu traducătorul Radu Paraschivescu despre „Plecare, plecări” de Julian Barnes.Radu Paraschivescu: „E o carte mai greu de dus decît de tradus, pentru că știi că e ultima. (...) E o carte despre memorie. Barnes simte nevoia de a vorbi despre depozitarul ăsta intim, despre silozul ăsta în care se păstrează de-a valma amintiri plăcute cu șocuri, cu traume, cu bucurii, cu revelații, cu surprize neplăcute, cu dezamăgiri, cu imagini ale unor stîngăcii de tinerețe sau chiar din copilărie. Și da, există trimiteri la madlena lui Proust, pe de altă parte să nu uităm că în „Bărbatul cu haină roșie”, o altă carte foarte frumoasă a lui Barnes, pe care am tradus-o, Proust este prezent, este chiar un personaj din carte. Toate aceste lucruri fac din „Plecare, plecări” un soi de poem, care a fost încadrat nedrept drept roman. Scrie pe el novel în edițiile englezești, dar e o împletire de roman, eseu filozofic, scriere despre memorie, autobiografie.”Julian Barnes ne spune în final cum vede relația dintre el și cititorul lui: doi oameni pe o terasă, vara, cu o băutură rece în față, privind lumea și comentînd. O imagine emoționantă și plină de modestie. Ce spune asta despre el?Radu Paraschivescu: „Spune în primul rînd că are percepția exactă a publicului și a ideii de public. El nu scrie în gol și nu scrie pentru că a coborît muza de undeva de sus și i-a dictat ceva sau pentru că a simțit o sfîșiere atît de mare înăuntru lui încît a avut nevoie să erupă magmatic, cum fac unii romancieri, și să toarne absolut totul din el în experiențe cataclismice. Nu. El știe că are un public, știe că acel public îi așteaptă cărțile, știe că acel public este în general instruit și avizat și în materie de artă, și în materie de muzică și că e bine să ai un comerț cu el. Sigur, cuvîntul comerț e vulgar în contextul ăsta, dar Julian Barnes cred că scrie în egală măsură pentru el și pentru public. Scriind își răspunde la niște întrebări, dar ia martor publicul la aceste întrebări și i le pune și publicului. De genul: voi ce-ați face în situația asta? Voi cum vă descurcați știind că vă apropiați de sfîrșit? Voi cum ați procedat cînd v-ați pierdut omul la care țineați ca la ochii din cap? Vouă ce vă trezește un om care este la limita geniului, dar nu poate să se exprime? Și așa mai departe. Imaginea asta e splendidă, cu cititorul și scriitorul care stau la o terasă și sînt pe picior de egalitate, fiecare trăiește și în funcție de celălalt. Asta e bine să nu uităm atunci cînd ne credem niște inspirați de sorginte divină: să nu uităm că cei mai mulți dintre noi nu sînt așa ceva, sînt niște meșteșugari și că publicul nu este nimic altceva decît egalul tău, care te cumpără.”Apasă PLAY pentru a asculta întreaga discuție!O emisiune de Adela GreceanuUn produs Radio România Cultural

I veckans avsnitt: ✔ Procter & Gambles udda sponsring under vinter-OS. ✔ Resumés reporter Madeleine Nilsson får svara på Proust-formuläret. ✔ Obegripliga Tiktok-trenden: ”House burping”. ✔ Hajpen kring delikatesserna i OS-byn. Medverkande: Amanda Törner, Samuel Eriksson och Madeleine Nilsson Producent: Julia SiwertzAnsvarig utgivare: Andreas Rågsjö Thorell Podden görs av: Resumé och Bonnier News

Nous sommes le 24 décembre 1898. En feuilletant « Le Figaro », sous la plume de Gustave Larroumet, historien d'art, écrivain et haut fonctionnaire, on peut lire ceci : « Hier matin, au premier coup d'œil jeté sur le journal, j'éprouvais cette secousse de surprise et de douleur, si fréquent, dans la vie de Paris, où l'on apprend la mort de ses amis avant de les savoir malades. Georges Rodenbach vient d'être enlevé, brusquement, en pleine force, à quarante-trois ans. Il y a quelques jours, il me parlait de son dernier livre et, sachant en quelle estime je tenais son talent, il me quittait sur ces mots : « Parlerez-vous de moi ? » Je lui promis, et je tiens ma promesse avec ces lignes qu'il ne lira pas. Georges Rodenbach avait reçu l'adoption des lettres françaises, grâce au Figaro. Il n'était connu que dans les cénacles, lorsque la publication de « Bruges-la-morte », dans ce journal, vint apprendre son nom au grand public. La poésie de la mort lui ouvrait la vie littéraire. Il contractait ainsi une dette envers l'impitoyable créancière, une dette qu'il paye à bien courte échéance. » Larroumet revient dans la suite de son article sur le parcours et les qualités littéraires de son ami et conclut ainsi : « Il s'est endormi, loin de Bruges, le soir de Noël, à l'heure où le cloches tintent pour la dernière fois, avant le repos de la nuit. Qu'il soit couché dans la terre de France ou que la Belgique réclame son enfant mort, il ne sera pas exilé. Il avait deux patries, celle de son berceau et de celle de sa tombe. » C'est dix ans avant sa disparition que Georges Rodenbach monte à la capitale française. Il devient un parfait dandy, noue des amitiés avec Mallarmé, Mirbeau, Rodin, le jeune Proust et beaucoup d'autres. Chroniqueur de la Belle Epoque, il était un personnage complexe et paradoxal. Tentons d'en percer les secrets … Invité : Marc Quaghebeur, docteur en Philosophie et Lettres Sujets traités : Georges Rodenbach, Figaro, Paris, symbolisme, poésie , dandy, Mallarmé, Mirbeau, Rodin, Proust, Belle Epoque Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Carlo Ginzburg"Il vincolo della vergogna"Letture obliqueAdelphi www.adelphi.it«Il paese al quale apparteniamo non è, come vuole la retorica, quello che si ama, ma quello di cui ci si vergogna, o di cui ci si può vergognare»: questa frase, tratta dal saggio che dà il titolo al nuovo libro di Carlo Ginzburg, ha suscitato, dopo un attimo di sconcerto, il consenso delle persone più diverse, anche se il peso della vergogna cambia a seconda dei tempi, e da paese a paese. Ma il vincolo che deriva dalla vergogna ci invita a riflettere sui limiti della nozione stessa di individuo: il filo conduttore dei saggi qui raccolti, che affrontano in maniera obliqua un autore, un libro, un'immagine, una frase, addirittura una parola. L'analisi approfondita di casi particolari apre la strada a una serie di generalizzazioni, a risposte che provocano altre domande. Parlare di microstoria, a proposito di questa strategia cognitiva, sembra legittimo: ma i risultati sono più importanti delle etichette. Chi legge è invitato a condividere la gioia della ricerca, e l'incontro con l'inaspettato.Carlo Ginzburg (1939) ha insegnato all'Università di Bologna, a UCLA, alla Scuola Normale di Pisa. Tra i suoi libri, tradotti in più di venti lingue: I benandanti (1966, nuova ed. 2020); Il formaggio e i vermi (1976, nuova ed. 2019); Miti emblemi spie (1986); Storia notturna (1989, nuova ed. 2015); Il giudice e lo storico (1991); Rapporti di forza (1990); Occhiacci di legno (1998, nuova ed. 2019); Nessuna isola è un'isola (2002); Il filo e le tracce. Vero falso finto (2006), Paura reverenza terrore (2015); Nondimanco. Machiavelli, Pascal (2018); La lettera uccide (2021). Apparso nel 1981 e arricchito di quattro Appendici nel 1994, Indagini su Piero è uscito ora presso Adelphi, accompagnato da un'inedita Postfazione, I formaggi e i vermi (2019), I benandanti (2020), Miti emblemi spie (2023).Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

In this episode, host Victoria Barlow interviews Lionel Arsac about the recent exhibition at the Palace of Versailles: The Grand Dauphin (1661-1711). Son of a king, father of a king and never king. This exhibition shines a light on the relatively unknown life and career of Louis of France (son and heir of the famous Louis XIV). Their discussion outlines the importance of remembering this interesting figure and explores the organisation of such an extraordinary exhibition. Guest Bio:Lionel Arsac has been curator of sculptures at the Palace of Versailles since 2017 and, since 2019, head of preventive conservation of the collections. In addition to numerous articles on the sculptures of Versailles, Lionel has taken an interest in subjects as diverse as the uses of oriental carpets at Court, Proust and Versailles, and, more recently, the sculpture collections of Ange Laurent La Live de Jully. Lionel has curated several exhibitions at the Palace of Versailles: Rediscovered Masterpieces. Zephyr and Flora and Abundance (2022), Louis XIV by Bernini, Genius and Majesty (2025) and, recently, The Grand Dauphin. Son of a king, father of a king and never king. Follow Lionel on Instagram: @lionelarsac 

I veckans avsnitt: ✔ Resumés nya reporter Jonathan Bylund får svara på Proust-formuläret. ✔ Redaktionens favorit ur årets Super Bowl-kampanjer. ✔ Så tog Bad Bunny tillvara på megautrymmet som är Super Bowls halvtidsshow. ✔ Det säger Sydney Sweeneys nya underklädesvarumärke om samtiden. ✔ Därför pratar alla helt plötsligt om klimakteriet. Medverkande: Amanda Törner, Alicia Price och Jonathan Bylund. Producent: Julia Siwertz. Ansvarig utgivare: Andreas Rågsjö Thorell. Podden görs av: Resumé och Bonnier News.

GRATIS el libro "Escritor de éxito" ➡️https://www.letraminuscula.com/suscribirse-lista-de-correo/ SI deseas PUBLICAR escríbenos : contacto@letraminuscula.com Lláma☎ o WhatsApp: +34640667855 RESUMEN: Recorremos los siete libros más largos de la historia, desde el monumental Artamène hasta Clarissa, pasando por Proust, Jayamohan y L. Ron Hubbard. Analizamos su extensión, contexto, impacto cultural y por qué resultan tan difíciles de terminar. Un viaje por obras descomunales que desafiaron los límites de la narrativa y la resistencia de los lectores. ⏲MARCAS DE TIEMPO: ▶️00:00 "Artamané" y libros eternos ▶️01:48 Autoría real de "Artamané" ▶️03:28 "Benarasu" y Jayamohan ▶️05:02 "En busca del tiempo perdido" ▶️06:37 "Zettel's Traum" experimental ▶️08:14 "Sironia" y "Misión Tierra" ▶️09:39 "Clarissa" y despedida final

Aujourd'hui une émission encadrée par le bon son analogique des 70' mais avec aussi  pas mal de nouveautés notamment "made in France"  !  Mais d'abord la Suède et l'un de ses groupes majeurs, j'ai nommé KAIPA, à une époque où la formation dont le membre le plus représentatif (même s'il n'en est pas fondateur), le guitariste et chanteur Roine Stolt , s'exprimait dans sa langue maternelle. Le groupe a depuis adopté le langage universel anglais mais peu importe puisque je vous ai choisi un petit instrumental extrait de l'album "Solo" paru  en 1978... En revanche et pour la première nouveauté de l'émission, voici une formation qui s'exprime en langue maternelle mais rencontre un meilleur succès à l'étranger. Nul n'est prophète dans son pays, en l'occurrence le nôtre puisqu'il s'agit de LAZULI. C'est étonnant car les frères Léonetti et leurs amis produisent régulièrement de véritables perles tout à  fait accessible avec des textes magnifiques et in french in the texte, please !!…. Alors pour les voir en concert, mieux vaut aimer voyager… Ah si tout de même, j'ai une date en France : "Chez Paulette" à Pagney (54) le 03 avril prochain ! Dans ce numéro un extrait d' "Etre ou Ne Plus Etre", le tout nouvel album ! Pseudo nouvelle sortie avec YES… Je m'explique : l'album mythique "Tales From Topographic Ocean" est daté de 1973. Mais à l'instar des productions précédentes, Steve Howe (seul rescapé de cette époque bénie) fait recettes en ressortant ces grands albums du groupe en éditions "Super Deluxe"... Et pour le dernier qui vient de se voir offrir une cure de jeunesse, ce n'est pas rien : 4 vinyles - 12CD - 1 blu-ray audio (dont un mixage 5.1). Le tout livré dans un somptueux coffret avec un joli livret et plein de photos...Il faut dire qu'à sa sortie originelle, l'album faisait déjà parler de lui…. Mais pour ceux qui n'aimaient pas le rock progressif (et oui il yen avait déjà

Matt and Andy dissect the late works of Proust.Merch Link: https://snack-spot-se.creator-spring.comTITC Instagram: https://www.instagram.com/twointhecooler/?hl=enInstacart Link: https://instacart.oloiyb.net/vAWXSupport the show

The AMAZING Rescue by Chase ProustBecome a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

Niko Witko vient de publier chez Expé Éditions La Loi du zinc, un album de récits courts, dont certains ont d'abord été prépubliés dans Fluide Glacial. Un livre qui nous emmène au comptoir : celui des bars, des habitués, des piliers, des laissés-pour-compte, des grandes discussions inutiles et des petites tragédies ordinaires. Auteur de bande dessinée, dessinateur et scénariste, figure de la BD indépendante depuis les années 1990, Niko Witko a navigué entre collectifs, revues et éditeurs indés, avant de publier aussi bien dans Psikopat, Fluide Glacial ou Métal Hurlant, que chez Les Requins Marteaux, Carabas ou Delcourt.Un parcours libre, singulier et farouchement indépendant, dont on prend le temps de discuter avec lui dans ce podcast. Niko Witko se prête également au jeu de notre questionnaire de Proust version BD. Bonne écoute !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Matt and Andy dissect the early works of Proust.Merch Link: https://snack-spot-se.creator-spring.comTITC Instagram: https://www.instagram.com/twointhecooler/?hl=enInstacart Link: https://instacart.oloiyb.net/vAWXSupport the show

Si l'acte de manger répond d'abord à un besoin physiologique, c'est aussi un geste culturel. Porter des aliments à sa bouche n'a en effet rien d'anodin. Notre pays, notre région ou notre milieu d'origine façonnent nos habitudes alimentaires, nos goûts et avec nos identités.  C'est ainsi que des harengs fermentés ou une sauce gluante feront saliver une partie du globe tandis que l'autre en sera dégoûtée. Certes la mondialisation et les réseaux sociaux sont passés par là pour nous faire goûter la diversité culinaire et faire évoluer notre relation à la nourriture. Geste domestique du quotidien quand il se limite à la sphère du foyer, l'acte de manger se transforme tout à coup en expérience gastronomique à la table d'un restaurant. Tout comme se nourrir en amoureux, en famille ou seul devant son ordinateur ne procurera pas la même émotion. Derrière une seule et même fonction, une multitude de sensations et de questions : que raconte le contenu de notre assiette ? Un repas partagé est-il forcément meilleur ? Avec : • Emilie Laystary, journaliste spécialiste des sujets de société et d'alimentation. Autrice de Passer à table, ce que l'acte de manger dit de nous (Éditions Divergences, 2025)  • Christy Shields Argeles, anthropologue, ethnographe sensorielle à l'Université américaine de Paris. Elle participe au Colloque de la Chaire Unesco Alimentations du Monde de l'Institut Agro Montpellier et du Cirad «Manger - Que d'émotions» qui se déroule le 6 février 2026 à l'Institut Agro Montpellier.  • Clémence Denavit, journaliste et présentatrice de l'émission Le goût du monde, diffusée le samedi à 21h30 TU et le dimanche à 11h30 TU sur RFI. Créatrice du podcast original Recette de poche dont la saison 2 avec la cheffe Georgiana Viou est disponible depuis fin 2025.  En fin d'émission, un nouveau rendez-vous sur l'interculturel sur les campus. Avec un reportage de Charlie Dupiot. Programmation musicale :  ► Inglés en Miami - Rawayana & Manuel Turizo  ► SORE LOSER - tg.blk  Pour aller plus loin : ► Le lien pour suivre le colloque «Manger - Que d'émotions» en direct. ► Le lien vers Madeleine Shorts, un projet de films courts autour de la fameuse « Madeleine de Proust », et ce que la nourriture procure comme émotions. Le projet est encadré par Christy Shields Argelès et Beth Grannis. Il est possible de postuler pour apporter sa contribution. À retrouver également les films réalisés par les élèves de 6ème du Collège Maurice Ravel à Paris.

Si l'acte de manger répond d'abord à un besoin physiologique, c'est aussi un geste culturel. Porter des aliments à sa bouche n'a en effet rien d'anodin. Notre pays, notre région ou notre milieu d'origine façonnent nos habitudes alimentaires, nos goûts et avec nos identités.  C'est ainsi que des harengs fermentés ou une sauce gluante feront saliver une partie du globe tandis que l'autre en sera dégoûtée. Certes la mondialisation et les réseaux sociaux sont passés par là pour nous faire goûter la diversité culinaire et faire évoluer notre relation à la nourriture. Geste domestique du quotidien quand il se limite à la sphère du foyer, l'acte de manger se transforme tout à coup en expérience gastronomique à la table d'un restaurant. Tout comme se nourrir en amoureux, en famille ou seul devant son ordinateur ne procurera pas la même émotion. Derrière une seule et même fonction, une multitude de sensations et de questions : que raconte le contenu de notre assiette ? Un repas partagé est-il forcément meilleur ? Avec : • Emilie Laystary, journaliste spécialiste des sujets de société et d'alimentation. Autrice de Passer à table, ce que l'acte de manger dit de nous (Éditions Divergences, 2025)  • Christy Shields Argeles, anthropologue, ethnographe sensorielle à l'Université américaine de Paris. Elle participe au Colloque de la Chaire Unesco Alimentations du Monde de l'Institut Agro Montpellier et du Cirad «Manger - Que d'émotions» qui se déroule le 6 février 2026 à l'Institut Agro Montpellier.  • Clémence Denavit, journaliste et présentatrice de l'émission Le goût du monde, diffusée le samedi à 21h30 TU et le dimanche à 11h30 TU sur RFI. Créatrice du podcast original Recette de poche dont la saison 2 avec la cheffe Georgiana Viou est disponible depuis fin 2025.  En fin d'émission, un nouveau rendez-vous sur l'interculturel sur les campus. Avec un reportage de Charlie Dupiot. Programmation musicale :  ► Inglés en Miami - Rawayana & Manuel Turizo  ► SORE LOSER - tg.blk  Pour aller plus loin : ► Le lien pour suivre le colloque «Manger - Que d'émotions» en direct. ► Le lien vers Madeleine Shorts, un projet de films courts autour de la fameuse « Madeleine de Proust », et ce que la nourriture procure comme émotions. Le projet est encadré par Christy Shields Argelès et Beth Grannis. Il est possible de postuler pour apporter sa contribution. À retrouver également les films réalisés par les élèves de 6ème du Collège Maurice Ravel à Paris.

Madame de Sévigné föddes den 5 februari 1626 och hennes klassiska brev har påverkat författare som Marcel Proust mycket. Men hur ska man förstå den idealiska bild hon målar upp av sin älskade dotter? Emi-Simone Zawall undersöker saken. Lyssna på alla avsnitt i Sveriges Radios app. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad 2018-09-03.Av alla himlakroppar i vårt planetsystem är solen tyngst. Ändå blir solen hela tiden lite lättare. De väteatomer i stjärnans mittpunkt som förenas med helium, förvandlas nämligen också till helium, som i sin tur är lättare än väte, och följden av det livsljus som uppstår är att solen förtär sig själv med fyra miljoner ton per sekund.Är ett älskande människohjärta som solen?När Madame de Sévigné talar om kärlek i mitten av 1600-talet vänder hon återkommande blicken mot sitt eget hjärta. I ett brev från den 1 juni 1669 beskriver hon det som ett hjärta med resurser som den älskade inte kan förstå. Den 18 september 1679 skriver hon: ”Mitt hjärta är nu en gång skapat så, i förhållande till dig, att jag må vara överkänslig när det gäller allt som har med dig att göra, men det räcker med ett ord, minsta tecken på tillgivenhet, en kram, ett ömhetsbevis för att jag ska falla till föga. Jag blir genast botad, det är nästan övernaturligt, mitt hjärta återfår genast all den ömma känsla som aldrig minskar utan bara fogar sig efter omständigheterna. Det har jag sagt till dig åtskilliga gånger och jag säger det igen för det är ju sant. Jag kan inte tro att du skulle missbruka detta. Säkert är att du är den som sätter mitt hjärta i rörelse, på vilket sätt det vara må.”Den 12 januari 1676 funderar hon, inte helt olikt kartografen som står under sin stjärnhimmel, på vilken färg hennes kärleksfulla hjärta skulle kunna ha. Hon skriver: ”Jag glömde säga dig att jag, som du, har tänkt på olika sätt att framställa människohjärtat, några i vitt, andra i svartaste svart. Mitt för dig har en vacker färg.”Vem var det som gjorde Madames hjärta så antänt?Madame de Sévigne föddes som Marie de Rabutin Chantal i Paris 1626 i en av Frankrikes förnämaste familjer. Redan som barn förlorade hon sina föräldrar och togs därför omhand av sina morföräldrar och sin morbror som såg till att ge henne en fin utbildning. 18 år gammal gifte hon sig med markis Henri de Sévigné och fick två barn, François-Marguerite och Charles. I övrigt var äktenskapet en katastrof. Maken var slösaktig och otrogen – dödades till slut i en duell om en älskarinna – och gjorde Madame till änka vid 25 års ålder. Därefter var intresset för män ett avslutat kapitel för hennes del. Hon gifte sig aldrig igen och hade inga älskare heller, även om hon var beundrad av många. All den kärlekskraft hon var i stånd att uppbåda koncentrerade hon istället till dottern; inte ens sonen Charles kom i närheten av hennes beundran.hennes första svenska översättare, Stig Ahlgren, konstaterar att Madames kyskhet var ”sensationell” för att sedan fråga sig: ”Var Madame de Sévigné frigid?”När dottern flyttade till Provence 1671 där hennes make, greve de Grignan, blivit utsedd till guvernör, sammanfattade Madame sin skilsmässa från henne med orden: ”Jag grät och det kändes som om jag skulle dö.” En månad senare skrev hon till dottern: ”Varenda fläck i detta hus angriper mig; hela ditt rum tar död på mig. Jag har ställt en skärm mitt i för att rubba perspektivet; jag vill slippa se det fönster varifrån jag såg dig stiga upp i d'Hacquevilles vagn och försökte ropa dig tillbaka. Jag blir ju rädd när jag tänker på att jag kunde ha kastat mig ut genom fönstret, ibland blir jag ju som galen.” Ett år senare, den 12 februari 1672, skrev hon: ”Tycker du inte att vi varit ifrån varandra väldigt länge nu? Det smärtar mig och skulle vara outhärdligt om jag inte älskade att älska dig som jag gör, hur många bedrövelser det än måtte medföra.”Sedan dess, eller åtminstone sedan 1745 när ett första urval av hennes brev gavs ut, har Madames livslånga lidelse för sin dotter ekat genom litteraturen. Virginia Woolf liknar henne i en av sina essäer vid en äldre man som har en ung älskarinna som bara plågar honom, medan hennes första svenska översättare, Stig Ahlgren, konstaterar att Madames kyskhet var ”sensationell” för att sedan fråga sig: ”Var Madame de Sévigné frigid?”I Marcel Prousts "På spaning efter den tid som flytt" är hon inte bara den författare som nämns flest gånger. Hon får också fungera som estetiskt föredöme och en påminnelse om faran i att dra för snäva gränser kring livet och kärleken. Ska man tro den amerikanska litteraturprofessorn Elizabeth Ladenson är hon till och med en nyckel till romanens själva kärleksideal. Det visar sig genom att Proust ständigt låter huvudpersonens mormor gå omkring med en volym av Madames brev i sin ficka. Efter mormoderns död blir det istället huvudpersonens mor som alltid vill ha breven tillhands och det band som Sévigné upprättar mellan mormodern och hennes dotter, håller huvudpersonen Marcel utestängd från en gemenskap han inte kan återfinna ens i sina egna kärleksrelationer. På samma sätt, menar Ladenson, visar flera av romanens kvinnor att kärleksrelationer faktiskt kan vara lyckliga, så länge som de äger rum mellan likar, bortom svartsjuka och erotiska maktspel, kort sagt: mellan kvinnor som älskar kvinnor.Det kan hända att Madames så kallade ”frigiditet” och kärlek till sin dotter var ett sätt att slippa älska män. Men det ligger närmare till hands att tro något annat. Man vet helt enkelt för lite om dottern François-Marguerite de Grignan. Visserligen brände hennes egen dotter, Pauline, alla brev som François-Marguerite skrev till Madame, och visserligen har en samtida författare beskrivit henne som fåfäng och kallsinnig. Men det som mest av allt borde utgöra källan till ett närgånget porträtt av henne – Madames alla brev och kärleksförklaringar – låter henne egentligen aldrig framträda som person. Alla omdömen som Madame fäller om henne – som att hennes skrivkonst är ”gudomlig” och att hon är ”vackrare än en ängel” – är så idealiserade att de blir meningslösa.Är Madame de Sévignés brev i själva verket ett narcissistiskt monument?I ”Kärlekens samtal” skriver Roland Barthes om hur kärleksbrevet utmärker sig från andra brev genom att vara uttryckt på ett ”hängivenhetens språk” som saknar alla biavsikter, och Madames brev till sin dotter liknar i det hänseendet en älskandes brev till sin älskade. Men lika mycket som Madame älskade sin dotter, älskade hon att älska sin dotter, och man kan tänka sig att hon älskade sig själv som älskande eftersom det i förlängningen gjorde henne älskansvärd.”Jag skulle ju bli bedrövad om du inte älskade mig lika mycket som jag älskar dig”, skriver hon den 6 april 1672. Istället för att betrakta sin dotter som en människa i egen rätt verkar det alltså som om hon förblev ett objekt för Madames eviga tillbedjan, en idol, och ytterst ett redskap för Madames kärlek till sig själv.”Detta behov av att vara två för att kunna etablera en öm dialog med sig själv”, skriver Simone de Beauvoir i ”Det andra könet” när hon kartlägger den kvinnliga narcissistens behov av att rikta kärleken till en annan mot sig själv för att uppleva sig själv som älskad. Är Madame de Sévignés brev i själva verket ett narcissistiskt monument?Nej, att betrakta Madame som en människa blind för allt och alla andra än sig själv är att gå för hårt åt henne. Trots allt finns det ingen som är som solen, fullkomligt självförbrännande och oegennyttig. Det är det som är älskandets paradox: att man inte kan ge utan att samtidigt ta något.Då är det bättre att läsa Madames brev som betraktelser över alla de uttryck en passion kan ha, och låta henne vara precis det hon är: en kärlekens uppenbarelse.Emi-Simone Zawall, litteraturkritiker och översättareSamtliga citat ur breven är hämtade ur ”Madame de Sévignés brev” i urval och översättning av Arne Melberg, Atlantis 2018.

Jo takes us on a whirlwind tour of their recent reading, including Mary Helen Washington's Paule Marshall: A Writer's Life, and Charlotte explains why Susanna Moore's In the Cut is one of the most thrilling novels she's ever encountered. Then, the profoundly thoughtful Jamie Hood joins to explore the many boyfriends and political disappointments of Doris Lessing's The Golden Notebook. Jamie Hood is the author, most recently, of Trauma Plot: A Life, the hybrid pandemic diary how to be a good girl, the semi-monthly, Proust-infused newsletter, regards, marcel, and a book of love poems, forthcoming in 2026. She has written extensively on books, feminism, #MeToo, and other political matters for many publications, some of them even prestigious. She lives in Brooklyn.Please consider supporting our work on Patreon, where you can access additional materials and send us your guest and book coverage requests! Questions and comments can be directed to readingwriterspod at gmail dot com. Outro music by Marty Sulkow and Joe Valle.Charlotte Shane's most recent book is An Honest Woman. Her essay newsletter, Meant For You, can be subscribed to or read online for free, and her social media handle is @charoshane. Jo Livingstone is a writer who teaches at Pratt Institute. To support the show, navigate to https://www.patreon.com/ReadingWriters Hosted on Acast. See acast.com/privacy for more information.

Après Qui annule quoi (Prix femina essai), Laure Murat publie Toutes les époques sont deguelasses et poursuit son analyse de l'époque, et notamment le mouvement dit de la cancel culture. Fine connaisseuse des Etats-Unis, où elle a enseigné durant près de 20 ans à l'Université de Californie Los Angeles, l'essayiste décrit un pays “violent, cruel et raciste” où une guerre culturelle a lieu entre woke et anti woke. Selon elle, s'il faut enlever certaines statues de figures problématiques dans l'espace public, il faut en revanche absolument ne pas les détruire et les exposer dans un musée. Il ne faut pas priver les opprimés de l'histoire de leur oppression, résume-t-elle. Son dernier livre met en lumière une autre facette de cette opposition, en prenant la littérature en exemple. Si l'on a de tout temps réécrit les histoires dans une visée esthétique (adaptations théâtrales ou cinématographiques, traductions, versions abrégées, pastiches…), il n'en est pas de même pour des récritures qui visent à effacer ce qui fâche certains, aujourd'hui. “On pense beaucoup par injonction, souligne-t-elle, ce qui est le contraire de la pensée critique”. Elle nous invite ainsi à poursuivre la lecture d'Agatha Christie, de Roald Dahl ou encore des aventures de James Bond avec discernement.Bibliographie sélectiveToutes les époques sont dégueulasses, Verdier, 2025.Proust, roman familial, Robert Laffont, 2023 (Prix Médicis essai).Une révolution sexuelle ? Réflexions sur l'affaire Weinstein, Stock, 2018.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Acabo de leer el último libro de Julian Barnes, último hasta la fecha pero también último en el sentido definitivo, pues con él cuelga los hábitos. El libro, que lleva el revelador título de 'Despedidas', se ocupa -como tantos de los suyos- de la memoria. Y se inicia hablando de un fenómeno neurológico, que responde a las siglas de IAM, y que consiste en que, en determinadas circunstancias, una sensación activa un recuerdo, y este recuerdo activa otro, disparando una reacción en cadena que despierta una cascada de recuerdos similares. Imagina que hueles en café de la mañana y, de pronto, se te encadenan los miles de cafés de máquina aguachirlados que te has embaulado a lo largo tu vida. El fenómeno es bonito si pensamos en Proust, ya de mayor, que mordisquea una magdalena y eso abre una esclusa de recuerdos, desplegando ante sus ojos todas las magdalenas que comió en su vida hasta alcanzar esa primera magdalena que probó siendo un niño. Pero también puede ser odioso: imagina que oyes por la calle una canción de verano y, de repente, se te vienen a las mientes King Africa, Georgie Dann, la Macarena y el Tiburón, todo de golpe.Leyendo a Barnes, me preguntaba qué pasaría si experimentáramos un IAM y nos pasaran por la cabeza todas las versiones que se han ido dando a cuento del accidente ferroviario durante los últimos días: primero renovación integral, luego renovación por tramos, que si avisó Adif, luego que si avisó Renfe… Si me dan a elegir, más que una magdalena de Proust, preferiría una magdalena tratada con sedantes que hiciera borrar la memoria de estos días.A veces, como dice Dante en la Divina comedia, la memoria sucumbe a tanto exceso, así que recordemos lo justo.

Acabo de leer el último libro de Julian Barnes, último hasta la fecha pero también último en el sentido definitivo, pues con él cuelga los hábitos. El libro, que lleva el revelador título de 'Despedidas', se ocupa -como tantos de los suyos- de la memoria. Y se inicia hablando de un fenómeno neurológico, que responde a las siglas de IAM, y que consiste en que, en determinadas circunstancias, una sensación activa un recuerdo, y este recuerdo activa otro, disparando una reacción en cadena que despierta una cascada de recuerdos similares. Imagina que hueles en café de la mañana y, de pronto, se te encadenan los miles de cafés de máquina aguachirlados que te has embaulado a lo largo tu vida. El fenómeno es bonito si pensamos en Proust, ya de mayor, que mordisquea una magdalena y eso abre una esclusa de recuerdos, desplegando ante sus ojos todas las magdalenas que comió en su vida hasta alcanzar esa primera magdalena que probó siendo un niño. Pero también puede ser odioso: imagina que oyes por la calle una canción de verano y, de repente, se te vienen a las mientes King Africa, Georgie Dann, la Macarena y el Tiburón, todo de golpe.Leyendo a Barnes, me preguntaba qué pasaría si experimentáramos un IAM y nos pasaran por la cabeza todas las versiones que se han ido dando a cuento del accidente ferroviario durante los últimos días: primero renovación integral, luego renovación por tramos, que si avisó Adif, luego que si avisó Renfe… Si me dan a elegir, más que una magdalena de Proust, preferiría una magdalena tratada con sedantes que hiciera borrar la memoria de estos días.A veces, como dice Dante en la Divina comedia, la memoria sucumbe a tanto exceso, así que recordemos lo justo.Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/mas-noticias--4412383/support.

In this weeks episode we launch the new 'Proust Photo Quiz'. Friend of the podcast photographer Harry Borden is the first to take the questions on... The Proust Questionnaire is a set of questions answered by the French writer Marcel Proust. Proust answered the questionnaire in a confession album, titled An Album to Record Thoughts, Feelings, etc. The album was found in 1924 and published in the French literary journal Les Cahiers du Mois. Our 'Proust Photo Quiz' is an adaption of the original text. Harry Borden was born in New York and brought up on a farm in Devon in the South West of England. He studied photography at Plymouth College of Art and Design. Borden moved to London after graduation, where he worked as an assistant for the photographer Lester Bookbinder. He received his first commission from The Observer in 1994 and continued to work for the title until the present day photographing celebrities, musicians, creatives and politicians. Examples of Borden's work are held in the collections of the National Portrait Gallery, London and National Portrait Gallery, Australia and appeared regularly in Harpers & Queen, Vogue and The New Yorker. In June 2005, he had his first solo exhibition at the National Portrait Gallery, London titled Harry Borden: On Business which included 30 portraits of leading business leaders. In 2017 his book Survivor, A Portrait of the Survivors of the Holocaust was published having been shortlisted for the European Publishers Award for Photography in 2014. It was later judged among the 10 best photography books of 2018 by the Kraszna-Krausz Foundation. In 2021 his second book Single Dad was published by Hoxton Mini Press. He continues to work on a commissioned basis and on personal work, whilst also lecturing on the MA Professional Photography at Oxford Brookes University. Borden's YouTube channel which contains films made with his son Fred can be found at www.youtube.com/@fredandharryborden his photography at www.harryborden.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott continues to work as a photographer, writer and filmmaker and is the Subject Coordinator for both undergraduate and post graduate study of photography at Oxford Brookes University, Oxford, England. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2026

March 2026 marks the release of perhaps Sarah's most personal book to date, drawing from childhood love, family influence, and the evolution of one's own gardening tastes.In this week's ‘grow, cook, eat, arrange' Milli Proust joins us to discuss Sarah's new book, ‘A Year of Cut Flowers', blending the memoir and the method to trace her family's historic love of flora, and how it drew Sarah into the world of cut flowers.In this episode, discover:How childhood wildflower hunts with Sarah's father and her life with Adam shaped her lifetime love of cut flowersHow even a small, carefully planned patch of cut flowers can fill your home with abundant, seasonal bloomsThe surprisingly powerful impact of spacing and pinching on plant health, vase life and stem productionWhy gardening, and especially growing for the vase, can become such a life‑enhancing practice which evolves with youProducts mentioned:Abelia x grandiflorahttps://www.sarahraven.com/products/abelia-x-grandifloraCerinthe major 'Purpurascens'https://www.sarahraven.com/products/cerinthe-major-purpurascensEuphorbia oblongatahttps://www.sarahraven.com/products/euphorbia-oblongataSalvia viridis 'Blue Monday'https://www.sarahraven.com/products/salvia-viridis-blueHelianthus annuus 'ProCut Plum' (Sunflower)https://www.sarahraven.com/products/helianthus-annuus-procut-plumAmmi majushttps://www.sarahraven.com/products/ammi-majusPhlox drummondii 'Blushing Bride'https://www.sarahraven.com/products/phlox-drummondii-blushing-brideFollow Sarah: https://www.instagram.com/sarahravenperchhill/Get in touch: info@sarahraven.comShop on the Sarah Raven Website: http://bit.ly/3jvbaeuFollow us on Instagram: https://www.instagram.com/sarahravensgarden/Order Sarah's latest books: https://www.sarahraven.com/gifts/gardening-books?sort=newest

Laure Murats Essay erkundet die eigene Familie mithilfe von Proust, und Proust mithilfe der eigenen Familie. Die persönliche Selbstvergewisserung einer Frau, die mit ihrer Herkunft bricht.

Laure Murats Essay erkundet die eigene Familie mithilfe von Proust, und Proust mithilfe der eigenen Familie. Die persönliche Selbstvergewisserung einer Frau, die mit ihrer Herkunft bricht.

¿Cual es la relación del vino con la literatura? ¿Es difícil enfrentarse a la hoja en blanco? ¿Cómo se pasa de escribir hilos en twitter a escribir novelas? ¿Hay machismo en el mundo editorial? Hablamos con la escritora Nagore Suárez sobre su trayectoria profesional, su relación con el vino, su anti magdalena de Proust y le hacemos maridar vinos y libros Rocío nos recomienda cuatro libros y cuatro vinos para beberse leyéndolos Rosa nos trae una receta de "Inés y la alegría" de Almudena Grandes ✒️ Y Ramón nos hable de "El Quijote", de Hemingway y de Pérez-Reverte.

Jean-Michel Proust est le créateur et directeur du Montrouge Paris Guitar Festival (parisguitarfestival.com) qui se déroulera du 3 au 6 mars 2026. Voilà son interview pour tout savoir de cette nouvelle édition. Comme toujours Jean-Michel Proust a mitonné avec son équipe un magnifique programme de concerts à retrouver sur le site web. La Chaîne Guitare L'article Montrouge Paris Guitar Festival 2026, interview Jean-Michel Proust est apparu en premier sur La Chaîne Guitare.

Stepping inside an Impressionist painting? Yes, please.Week 41 of Ted Gioia's Immersive Humanities Course made me realize something startling: these books weren't picked for my enjoyment--and yet I loved them anyway. This week's readings, Henry James's The Spoils of Poynton and the “Overture” to Marcel Proust's Remembrance of Things Past, carry us right into the early twentieth century.I approached James with dread, expecting a slow narrative, but instead I found a moody, infinitely readable novel built around obsession, property, and desire. With a small cast and dialogue-driven scenes, it feels almost theatrical, no surprise since James briefly wrote plays. But it's also chilling in its fixation on “stuff” and ownership. This one was a winner.Proust, meanwhile, surprised me with prose that felt dreamlike, luminous, and unexpectedly funny. I had expected dense, boring, and pointless--Proust was none of those. The famous madeleine scene becomes a meditation on memory that expands from a sensation as small as a crumb into an entire world.Though radically different on the surface, James and Proust share a similar impressionistic quality, finding vast meaning in subtle gestures. A brilliant pairing--and a week I adored, even if Ted doesn't care.The Housekeeping:LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)CONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321Captivate - https://crackthebook.captivate.fm

Denis Olivennes « Dictionnaire amoureux des Juifs de France » (Plon)Dans ce " Dictionnaire amoureux ", à l'encontre des idées complaisamment entretenues, Denis Olivennes révèle tout ce que la France a apporté aux Juifs de France et tout ce que ces Juifs ont apporté à notre histoire nationale.L'auteur montre comment les Juifs, présents sur le sol de France depuis deux mille ans, ont entretenu avec la Nation, et la Nation avec eux, des liens inouïs d'amitié réciproque. Mais il fait aussi le constat que ni les non-Juifs ni les Juifs ne se souviennent désormais de cet héritage fertile.Sont ici évoqués, à travers une panoplie de notices originales et souvent inattendues, les événements forts de l'Histoire (l'Affaire Dreyfus, la collaboration du régime de Vichy...) et les grandes figures qui furent juives, d'origine juives ou demi-juives : Nostradamus, Montaigne, Bergson, Proust, André Citroën... Et de grands personnages chrétiens qui les protégèrent : d'Abélard à Charles de Gaulle en passant par Bernard de Clairvaux ou Pascal, dans un pays qui a aussi admiré sans réserve Sarah Bernhardt, Barbara ou Gérard Oury, et confié le pouvoir à des hommes d'État comme Léon Blum, Georges Mandel ou Pierre Mendès France. À travers des artistes ou des penseurs comme André Maurois, Emmanuel Berl ou Raymond Aron par exemple, on voit comment s'est constitué le berceau de ce que les historiens ont nommé le franco-judaïsme.Musique : « On ne se guérit pas de son enfance » Jean FerratHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Today's author (and neuropsychologist) shows us how and why the human brain has adapted in order to read and write. Join Mike & Cory as they examine the past and consider the future of the reading brain.Support the showNew Bookworm websiteMike's Live Practical PKM CohortSublimeProust and The Squid by Maryanne WolfReader, Come Home by Maryanne Wolf#196: Focus & The Reading Life, with Maryanne WolfBandersnatch by Diana GlyerHow to Read a Book by Mortimer AdlerThe Veldt by Ray BradburyHacking the Human Mind by Richard Shotton and MichaelAaron FlickerIntentional by Chris BaileyReady Player One by Ernest ClineMike's Rating: ⭐⭐⭐⭐⭐Cory's Rating: ⭐⭐⭐⭐

durée : 00:03:43 - Le Pourquoi du comment : philo - par : Frédéric Worms - "Longtemps, je me suis couché de bonne heure." (À la recherche du temps perdu, Proust) / "Quelqu'un avait dû calomnier Joseph K, car il fut arrêté un matin sans avoir rien fait de mal." (Le Procès, Kafka) : la fracture du XXᵉ siècle en dialogue - réalisation : Luc-Jean Reynaud

Maryanne Wolf is a UCLA professor and the renowned author of "Proust and the Squid: The Story and Science of the Reading Brain" and "Reader, Come Home: The Reading Brain in a Digital World." She says deep reading makes you a better thinker, communicator, and citizen. But what happens if you lose the ability to read slowly, patiently, and critically? Is there anything you can do to get it back? Sponsored By: GoDaddy - Get a domain for pennies at godaddy.com/nbi The Next Big Idea Club - Get 20% a membership when you use code PODCAST at nextbigideaclub.com (This episode first aired in March 2023.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Pour fêter Noël dignement, on a rouvert nos âmes d'adolescentes en nous intéressant à notre madeleine de Proust préférée : la saga Twilight, et particulièrement le premier film de Catherine Hardwicke, mal-aimé et pourtant cultissime. 20 ans après la publication du premier livre de Stephenie Meyer, et plus de 15 ans après la sortie du premier film, que peut-on encore dire sur ce film qu'une génération entière a adoré détester ?Animation : Mariana AgierParticipantes : Mariana Agier, Alicia Arpaïa, Lisa Durand, Victoria FabyRéalisation, montage, son : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In this episode of the Shakespeare and Company Podcast, Adam Biles speaks with poet, translator and critic Ian Patterson about Books: A Manifesto, his passionate defence of reading in all its forms. What begins with the construction of a personal library in a converted coach house opens into a wide-ranging meditation on memory, loss, vulnerability and the profound role books play in shaping a life. Patterson discusses the anguish of parting with thousands of volumes, the intimacy of marked-up, well-lived-in books, and the politics of reading slowly in a culture addicted to speed. The conversation moves through genre snobbery, guilty pleasures, poetry's complex rewards, the porous borders of contemporary literature, and Patterson's experience translating the final volume of Proust—an immersion so deep it altered his own prose. It's a warm, generous exploration of why books matter, how they remake us, and why defending them feels more urgent than ever.Buy Books: A Manifesto: https://www.shakespeareandcompany.com/books/books-a-manifesto*Ian Patterson is a widely published poet and translator, and a former academic. The translator of Finding Time Again, the final volume of the Penguin Proust, he is also the author of Guernica and Total War and Nemo's Almanac. He won the Forward Prize for Best Poem in 2017, with an elegy for his late wife, Jenny Diski. He worked in Further Education between 1970 and 1984, had a second-hand bookselling business for ten years after that, and from 1995 until 2018 was an academic, teaching English Literature at the University of Cambridge. Many of his students have gone on to shape the world of publishing and writing, both in the UK and the US.Adam Biles is Literary Director at Shakespeare and Company.Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Hosted on Acast. See acast.com/privacy for more information.

This week, for Christmas, a heart-warming festive treat full of joy, goodwill and Peter Sellers at his cuddliest. ONLY JOKING.Actually, it's Carol for Another Christmas, Rod Serling's bleak, angry, Cold War reworking of A Christmas Carol . Conceived as the opening salvo in a run of UN-friendly TV specials, the film is a full-throated warning against isolationism, nuclear brinkmanship and the idea that minding your own business ever ends well. Xerox paid for it, ABC aired it ad-free on 28 December 1964, viewers and critics were divided about it, and it then disappeared for nearly 50 years.Directed by Joseph L. Mankiewicz (Cleopatra) in his only television outing, the film stars Sterling Hayden as Daniel Grudge, a wealthy American industrialist who hates foreign aid, diplomacy and the United Nations in equal measure. On Christmas Eve he clashes with his liberal nephew Fred (Ben Gazzara) and is hauled through a series of visions featuring war dead, nuclear devastation and, most memorably, Peter Sellers as “Imperial Me” – a cowboy-Santa demagogue preaching radical individualism. It was Sellers' first screen appearance after his near-fatal heart attack earlier that year.Also featuring Eva Marie Saint, Robert Shaw, Steve Lawrence, Pat Hingle, Britt Ekland and music by Henry Mancini, the film is verbose, didactic and relentlessly grim – and all the more fascinating for it.Joining Tyler is Tilt Araiza (The Sitcom Club / Jaffa Cakes for Proust), drawing parallels with Planet of the Apes, The Prisoner and unpacking Serling and the social and political climate just one year after after the assassination of JFK... looking at how things came together to produce this Christmas curio.

Merry Christmas! In between looking at houses to rent and packing up the Granger house in Oklahoma City, Nick and John put together this yuletide conversation about perhaps the most neglected of Rowling's influences, Dodie Smith's I Capture the Castle. John was a reluctant reader, but, while listening to the audio book, reading the Gutenberg.com file on his computer, and digging the codex out of his packed boxes of books, the author of Harry Potter's Bookshelf was totally won over to Nick's enthusiasm for Castle.In fact, John now argues that, even if Rowling didn't read it until she was writing Goblet of Fire as some have claimed, I Capture the Castle may be the best single book to understand what it is that Rowling-Galbraith attempts to do in her fiction. Just as Dodie Smith has her characters explain overtly and the story itself delivers covertly, When Rowling writes a story, like Smith it is inevitably one that is a marriage of Bronte and Austen, wonderfully accessible and engaging, but with important touches in the ‘Enigmatist' style of Joyce and Nabokov, full of puzzles and twists in the fashion of God's creative work (from the Estecean logos within every man [John 1:9] continuous with the Logos) rather than a portrait of creation per se. Can you say ‘non liturgical Sacred Art'?And if you accept, per Nick's cogent argument, that Rowling read Castle many times as a young wannabe writer? Then this book becomes a touchstone of both Lake and Shed readings of Rowling's work — and Smith one of the the most important influences on The Presence.Merry Christmas, again, to all our faithful readers and listeners! Thank you for your prayers and notes of support and encouragement to John and for making 2025 a benchmark year at Hogwarts Professor. And just you wait for the exciting surprises we have in hand for 2026!Hogwarts Professor is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.The Twelve Questions and ‘Links Down Below' Referred to in Nick and John's I Capture the Castle Conversation:Question 1. So, Nick, we spoke during our Aurora Leigh recording about your long term project to read all the books that Rowling has admitted to have read (link down below!), first question why? and secondly how is that going?Rowling's Admitted Literary InfluencesWhat I want is a single internet page reference, frankly, of ‘Rowling's Admitted Literary Influences' or ‘Confessed Favorites' or just ‘Books I have Read and Liked' for my thesis writing so I needn't do an information dump that will add fifty-plus citations to my Works Cited pages and do nothing for the argument I'm making.Here, then, is my best attempt at a collection, one in alphabetical order by last name of author cited, with a link to at least one source or interview in which Rowling is quoted as liking that writer. It is not meant as anything like a comprehensive gathering of Rowling's comments about any author; the Austen entry alone would be longer than the whole list should be if I went that route. Each author gets one, maybe two notes just to justify their entry on the list.‘A Rowling Reading of Aurora Leigh' Nick Jeffery Talking about ‘A Rowling Reading of Aurora Leigh' Question 2. ... which has led me to three works that she has read from the point of view of writers starting out, and growing in their craft. Which leads us to this series of three chats covering Aurora Leigh by Elizabeth Barrett Browning, I Capture the Castle by Dodie Smith and the Little Women series by Louisa May Alcott. I read Castle during the summer. Amid all the disruptions at Granger Towers, have you managed to read it yet? How did you find it?Capturing Dodie Smith's I Capture the Castle: Elizabeth Baird-Hardy (October 2011)Certain elements of the story will certainly resonate with those of us who have been to Hogwarts a fair few times: a castle with an odd combination of ancient and modern elements, but no electricity; eccentric family members who are all loved despite their individual oddities (including Topaz's resemblance to Fleur Delacour); travel by train; a character named Rose who may have been one of the reasons Rowling chose the name for Ron and Hermione's daughter; descriptions of food that make even somewhat questionable British cuisine sound tasty; and inanimate objects that have their own personalities (the old dress frame, which Rose and Cassandra call Miss Blossom, is voiced by Cassandra and sounds much like the talking mirror in Harry's room at the Leaky Caldron).But far more than some similar pieces, I Capture the Castle lends something less tangible to Rowling's writing. The novel has a tone that, like the Hogwarts adventures, seamlessly winds together the comic and the crushing in a way that is reflective of life, particularly life as we see it when we are younger. Cassandra's voice is, indeed, engaging, and readers will no doubt see how the narrative voice of Harry's story has some of the same features.A J. K. Rowling Reading of I Capture the Castle: Nick Jeffery (December 2025)Parallels abound for Potter fans. The Mortmain's eccentric household mirrors the Weasleys' chaotic warmth: loved despite quirks, from Topaz's nude communing with nature (evoking a less veiled Fleur Delacour) to Mortmain's intellectual withdrawal. Food descriptions—meagre yet tantalising—prefigure Hogwarts feasts, turning humble meals into sensory delights. Inanimate objects gain voice: the family dress-frame “Miss Blossom” offers advice, akin to the chatty mirrors or portraits in Rowling's world. Even names resonate—Rose Mortmain perhaps inspiring Ron and Hermione's daughter—and train journeys punctuate the plot.The Blocked Writer: James Mortmain, a father who spent his fame early and now reads detective novels in an irritable stupor, mirrors the “faded glory” or “lost genius” archetypes seen in Rowling's secondary characters, such as Xenophilius Lovegood and Jasper Chiswell.The Bohemian Stepmother: Topaz, who strides through the countryside in only wellington boots, shares the whimsical, slightly unhinged energy of a character like Luna Lovegood or Fleur Delacour.Material Yearning: The desperate desire of Cassandra's sister, Rose, to marry into wealth reflects the very real, non-magical pressures of class and poverty that Rowling weaves into Harry Potter, Casual Vacancy, Strike and The Ickabog.Leda Strike parallels: Leda Fox-Cotton the bohemian London photographer, adopts Stephen, the working-class orphan, and saves him from both unrequited love and the responsibility that comes with the Mortmain family.Question 3. [story of finishing the book last night by candle light in my electricity free castle] So, in short Nick, I thought it astonishing! I didn't read your piece until I'd finished reading Capture, of course, but I see there is some dispute about when Rowling first read it and its consequent influence on her as a writer. Can you bring us up to speed on the subject and where you land on this controversy?* She First Read It on her Prisoner of Azkaban Tour of United States?tom saysOctober 21, 2011 at 4:00 amIf I recall correctly, Rowling did not encounter this book until 1999 (between PoA & Goblet) when, on a book tour, a fan gave her a copy. This is pertinent to any speculation about how ‘Castle' might have influenced the Potter series.* Rowling Website: “Books I Read and Re-Read as a Child”Question 4. Which, when you consider the other books on that virtual bookshelf -- works by Colette, Austen, Shakespeare, Goudge, Nesbit, and Sewell's Black Beauty, something of a ‘Rowling's Favorite Books and Authors as a Young Reader' collection, I think we have to assume she is saying, “I read this book as a child or adolescent and loved it.” Taking that as our jumping off place, John, and having read my piece, do you wish you had read it before writing Harry Potter's Bookshelf?Harry Potter's Bookshelf: The Great Books behind the Hogwarts Adventures John Granger 2009Literary Allusion in Harry Potter Beatrice Groves 2017Question 5. So, yes, I certainly do think it belongs -- with Aurora Leigh and Little Women -- on the ‘Rowling Reader Essential Reading List.' The part I thought most interesting in your piece was, of course, the Shed elements I missed. Rowling famously said that she loved Jo Marsh in Little Women because, in addition to the shared name and the character being a wannabe writer, she was plain, a characteristic with which the young, plain Jane Rowling easily identified. What correspondences do you think Little Jo would have found between her life and Cassandra Mortmain's?* Nick Jeffery's Kanreki discussion of Rowling's House on Edge of Estate with Two Children, Bad Dad ‘Golden Thread' (Lethal White)Question 6. Have I missed any, John?* Rockefeller Chapel, University of ChicagoQuestion 7. Forgive me for thinking, Nick, that Cassandra's time in church taking in the silence there with all her senses may be the biggest take-away for the young Rowling; if the Church of England left their chapel doors open in the 70s as churches I grew up in did in the US, it's hard to imagine Jo the Reader not running next door to see what she felt there after reading that passage. (Chapter 13, conversation with vicar, pp 234-238). The correspondence with Beatrice Groves' favorite scene in the Strike novels was fairly plain, no? What other scenes and characters do you see in Rowling's work that echo those in Castle?* Chapter 13, I Capture the Castle: Cassandra's Conversation with the Vicar and time in the Chapel vis a vis Strike in the Chapel after Charlotte's Death* Beatrice Groves on Running Grave's Chapel Scene: ‘Strike's Church Going'Question 8. I'm guessing, John, you found some I have overlooked?Question 9. The Mortmain, Colly, and Cotton cryptonyms as well as Topaz and Cassandra, the embedded text complete with intratextuual references (Simon on psycho-analysis), the angelic servant-orphan living under the stairs (or Dobby's lair!) an orphan with a secret power he cannot see in himself, the great Transformation spell the children cast on their father, an experiment in psychomachia a la the Shrieking Shack or Chamber of Secrets, the hand-kiss we see at story's end from Smith, love delayed but expressed (Silkworm finish?), the haunting sense of the supernatural everywhere especially in the invocation that Rose makes to the gargoyle and Cassandra's Midsummer Night's Eve ritual with Simon, the parallels abound. Ghosts!* Please note that John gave “cotton” a different idiomatic meaning than it has; the correct meaning is at least as interesting given the Cotton family's remarkable fondness for all of the Mortmains!* Kanreki ‘Embedded Text' Golden Thread discussion 1: Crimes of Grindelwald* Kanreki ‘Embedded Text' Golden Thread discussion 2: Golden Thread Survey, Part II* Rose makes an elevated Faustian prayer to a Gargoyle Devil: Chapter IV, pp 43-46* Cassandra and Simon celebrate Midsummer Night's Eve: Chapter XII, pp 199-224Let's talk about the intersection of Lake and Shed, though, the shared space of Rowling's bibliography, works that shaped her core beliefs and act as springs in her Lake of inspiration and which give her many, even most of the tools of intentional artistry she deploys in the Shed. What did you make of the Bronte-Austen challenge that Rose makes explicitly in the story to her sister, the writer and avid reader?“How I wish I lived in a Jane Austen novel.” [said Rose]I said I'd rather be in a Charlotte Bronte.“Which would be nicest—Jane with a touch of Charlotte, or Charlotte with a touch of Jane?”This is the kind of discussion I like very much but I wanted to get on with my journal, so I just said: “Fifty percent each way would be perfect,” and started to write determinedly.Question 10. So, I'm deferring to both Elizabeth Barrett Browning and J. K Rowling. Elizabeth Barrett Browning valued intense emotion, social commentary, and a grand scope in literature, which led her to favour the passionate depth of the Brontës over the more restrained, ironical style of Jane Austen. Rowling about her two dogs: “Emma? She's a bundle of love and joy. Her sister, Bronte, is a bundle of opinions, stubbornness and hard boundaries.”Set in the 30s, written in the early 40s, but it seems astonishingly modern. Because her father is a writer, a literary novelist of the modern school, do you think there are other more contemporary novelists Dodie Smith was engaging than Austen and Bronte?Question 11. Mortmain is definitely Joyce, then, though Proust gets the call-out, and perhaps the most important possible take-away Rowling the attentive young reader would have made would have been Smith's embedded admiration for Joyce the “Enigmatist” she puts in Simon's mouth at story's end (Chapter XVI, pp 336-337) and her implicit criticism of literary novels and correction of that failing. Rowling's re-invention of the Schoolboy novel with its hidden alchemical, chiastic, soul-in-crisis-allegories and embedded Christian symbolism can all be seen as her brilliant interpretation of Simon's explanation of art to Cassandra and her dedication to writing a book like I Capture the Castle.* Reference to James Joyce by Simon Cotton, Chapter IX, p 139:* The Simon and Cassandra conversation about her father's novels, call it ‘The Writer as Enigmatist imitating God in His Work:' Chapter XVI, pp 331-334* On Imagination as Transpersonal Faculty and Non-Liturgical Sacred ArtSacred art differs from modern and postmodern conceptions of art most specifically, though, in what it is representing. Sacred art is not representing the natural world as the senses perceive it or abstractions of what the individual and subjective mind “sees,” but is an imitation of the Divine art of creation. The artist “therefore imitates nature not in its external forms but in its manner of operation as asserted so categorically by St. Thomas Aquinas [who] insists that the artist must not imitate nature but must be accomplished in ‘imitating nature in her manner of operation'” (Nasr 2007, 206, cf. “Art is the imitation of Nature in her manner of operation: Art is the principle of manufacture” (Summa Theologia Q. 117, a. I). Schuon described naturalist art which imitates God's creation in nature by faithful depiction of it, consequently, as “clearly luciferian.” “Man must imitate the creative act, not the thing created,” Aquinas' “manner of operation” rather than God's operation manifested in created things in order to produce ‘creations'which are not would-be duplications of those of God, but rather a reflection of them according to a real analogy, revealing the transcendental aspect of things; and this revelation is the only sufficient reason of art, apart from any practical uses such and such objects may serve. There is here a metaphysical inversion of relation [the inverse analogy connecting the principial and manifested orders in consequence of which the highest realities are manifested in their remotest reflections[1]]: for God, His creature is a reflection or an ‘exteriorized' aspect of Himself; for the artist, on the contrary, the work is a reflection of an inner reality of which he himself is only an outward aspect; God creates His own image, while man, so to speak, fashions his own essence, at least symbolically. On the principial plane, the inner manifests the outer, but on the manifested plane, the outer fashions the inner (Schuon 1953, 81, 96).The traditional artist, then, in imitation of God's “exteriorizing” His interior Logos in the manifested space-time plane, that is, nature, instead of depicting imitations of nature in his craft, submits to creating within the revealed forms of his craft, which forms qua intellections correspond to his inner essence or logos.[2] The work produced in imitation of God's “manner of operation” then resembles the symbolic or iconographic quality of everything existent in being a transparency whose allegorical and anagogical content within its traditional forms is relatively easy to access and a consequent support and edifying shock-reminder to man on his spiritual journey. The spiritual function of art is that “it exteriorizes truths and beauties in view of our interiorization… or simply, so that the human soul might, through given phenomena, make contact with the heavenly archetypes, and thereby with its own archetype” (Schuon 1995a, 45-46).Rowling in her novels, crafted with tools all taken from the chest of a traditional Sacred Artist, is writing non-liturgical Sacred Art. Films and all the story experiences derived of adaptations of imaginative literature to screened images, are by necessity Profane Art, which is to say per the meaning of “profane,” outside the temple or not edifying spiritually. Film making is the depiction of how human beings encounter the time-space world through the senses, not an imitation of how God creates and a depiction of the spiritual aspect of the world, a liminal point of entry to its spiritual dimension. Whence my describing it as a “neo-iconoclasm.”I want to close this off with our sharing our favorite scene or conversation in Castle with the hope that our Serious Reader audience will read Capture and share their favorites. You go first, Nick.* Cassandra and Rose Mortmain, country hicks in the Big City of London: Chapter VI, pp 76-77Question 12. And yours, John?* Cassandra Mortmain ‘Moat Swimming' with Neil Cotton, Chapter X, 170-174* Cassandra seeing her dead mother (think Harry before the Mirror of Erised at Christmas time?): Chapter XV, pp 306-308Hogwarts Professor is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Chaque samedi, dans CLAP !, Laurie Cholewa s'intéresse aux goûts cinématographiques d'une personnalité, en l'interrogeant sur le principe du questionnaire de Proust.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Sanatta ilham gerçekten var mı? “Deha” dediğimiz şey doğuştan mı gelir, yoksa masa başında emekle mi oluşur? Spekülatif'in bu bölümünde kültür üretimi, yaratıcılık ve ilham kavramını tarihten örneklerle ele alıyoruz. Emre Dündar, Michelangelo'nun 24 yaşında yaptığı La Pieta'dan Beethoven'ın eskiz defterlerine, Pascal Dussapin'in ilham reddine, Dostoyevski'den Proust'a kadar yaratıcı süreçlerin arkasındaki gerçekleri konuşuyor. Sanat ilhamla mı yapılır? Sanatta romantik mitler neden hâlâ güçlü? Yoksa üretimin ana gücü irade, çalışma ve tasarım mıdır? Sanat, kültür ve felsefeye meraklıysanız Spekülatifin bu bölümünü kaçırmayın. Learn more about your ad choices. Visit megaphone.fm/adchoices

"AI should do your laundry and dishes so you can do art and writing." This week, Tim sits down with Matt Bradley (Partnership Manager at WhyFire and editor of The Fire Time Magazine) to discuss the thoughtful use of AI in business—and the critical distinction between tools that enhance our humanity versus those that erode it. In this episode, Tim and Matt discuss: Why kale, cold showers, and AI all triggered the same stubborn response—and what changed Matt's mind about it Where AI can be used within every hearth business to save time and free up capacity for other things. What to understand about training AI to give you the results you need. How AI is turning us into "pancake people" who are wide but shallow—and what one activity actually prevents it Don't miss this conversation that balances practical AI application with philosophical warning about what we risk losing if we outsource our thinking to artificial intelligence. ------ Links from this episode: Is Google Making Us Stupid? Proust and the Squid The Shallows: What the Internet is Doing to Our Brains Become a supporter of The Fire Time Network and get access to awesome rewards: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://itsfiretime.com/join⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Subscribe to the Fire Time Magazine for free: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.itsfiretime.com/subscribe Read The Fire Time Magazine online: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://magazine.itsfiretime.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

"The Story and Science of the Reading Brain"

durée : 00:20:24 - Lectures du soir - "Bonnes nouvelles, grands comédiens " : parmi ces émissions proposées par Patrice Galbeau de 1970 à 1982, nous vous invitons à (re)découvrir cinq nouvelles d'écrivains français du XIXe siècle – de Gérard de Nerval à Marcel Proust -, lues par des grandes voix de ces années.

Teatime with Miss LizDecember 16th, 3 PM ESTGuest: Russell G. Little — “Murder for Me, Courtroom Truths & Stories of the Human Heart” Russell G. Little Truth, Fiction & the Stories Born From a Lifetime in the Courtroom. Where law meets literature and real lives spark unforgettable fiction. Miss Liz doesn't serve a beverage; she serves real-life changemakers.On December 16th, she serves Russell G. Little, Houston-based writer, seasoned divorce attorney, and the author of Murder for Me, a gripping fictionalized blend drawn from the unforgettable characters, cases, and human complexities he witnessed in his 40-year legal career. Born in Amarillo, Texas, where the land is flat, the wind never stops, and the federal government builds bombs, Russell grew up surrounded by grit and resilience. After law school, he married a Houston girl and moved to Houston, where he practiced law for four decades, raised three children, and remained married to his wife, Melinda, for 32 years, a fact that surprises many, given his specialty in divorce law. His work in Family Law and Criminal Law brought him face-to-face with situations both wild and unbelievable, the kind that live quietly in the soul but loudly on the page. Russell has tried over one hundred jury trials, handled hundreds more before a judge, and witnessed the rawest layers of human truth. His upcoming novel, Murder by Storm (October release), continues the battle of pursuit and deception in a hurricane-shaken Houston, a story every reader will want to experience from the safety of their chair. Russell also writes children's books inspired by his granddaughter Vivi, blending adventure with messages of animal care and conservation. Miss Liz will pour a cup of courtroom grit, Texas storytelling, and literary honesty with Russell G. Little, a practicing attorney of four decades and the author of Murder for Me, a crime novel born from real experiences, unforgettable characters, and the emotional residue of hundreds of cases. Born in Amarillo and settled in Houston, Russell has lived a life shaped by wide-open landscapes, courtroom battles, human complexity, and the kind of stories you carry long after the verdict. With more than one hundred jury trials behind him, he has seen the best and worst of people,e and he channels that truth into fiction with depth, empathy, and a sharp eye for detail. Inspired by literary giants like Proust, Dostoevsky, Chekhov, and Hemingway, Russell writes with classic influence, modern grit, and a soul shaped by decades inside the legal arena. His upcoming novel, Murder by Storm, dives into pursuit, deception, and survival as Houston is battered by a hurricane. Outside of crime fiction, his heart shows in the children's books he co-wrote with his wife, stories inspired by his granddaughter Vivi and focused on protecting Africa's remarkable wildlife. Today, we explore law, humanity, writing, truth, tension, family, and the stories that stay with us forever. What an engaging and richly layered Teatime with Russell G. Little, a conversation filled with humanity, humour, honesty, and hard-earned wisdom. Russell will remind us that behind every case is a person, behind every verdict is a story, and behind every courtroom door are truths that can shape a writer forever. His seamless weaving of legal experience into fiction, his love for classic literature, and his heartfelt family stories made today's Teatime unforgettable. Miss Liz will thank Russell for sharing your world, your work, and your wit. And thank you to everyone who joined live or on replay. Your support continues the ripple of storytelling, truth, and transformation. Author of Murder for Me and the upcoming Murder by Storm, he blends courtroom insight with storytelling. He also co-writes children's books inspired by his granddaughter, Vivi. #TeatimeWithMissLiz#RussellGLittle#CrimeFiction#TexasAuthors#CourtroomStories

Alain Kruger "On ne parle pas la bouche pleine" (Albin Michel)Ce sont des personnages de la mythologie, de la culture ou de l'agriculture : d'Antonin Carême aux grands manitous de la cuisine d'aujourd'hui, on célèbre l'intelligence de la main. Du ventre de Paris à celui d'Obélix, de la panse de Sancho à celle d'Apollinaire, des Misérables de Victor Hugo aux Fables de La Fontaine, des tréteaux de Molière à ceux des banquets qui expirent chez Shakespeare, on goûte la chair de Proust ou les fruits défendus, on se régale d'oursins, d'huîtres, de blinis, de foul sentimental et on se dévore jusqu'à La Grande Bouffe, mais on ne parle pas la bouche pleine.L'émission d'Alain Kruger On ne parle pas la bouche pleine, nourrie du savoir et de la fantaisie de ses prestigieux invités, a dans les années 2010 stimulé la curiosité et les papilles des auditeurs de France Culture.La première édition de cette « petite encyclopédie culturelle de la gourmandise », adaptation de quelques-uns de ses entretiens radiophoniques, est une traversée originale du monde vu du ventre, sous un angle historique, géographique, mystique, poétique, ludique et gastronomique.Musique : Indicatif de l'émission « On ne parle pas la bouche pleine ». Musique de la séquence de folie collective du film  « Le grand restaurant » Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:58:22 - Mauvais genres - par : François Angelier - Au travers de deux fictions biographiques et fantastiques, Xavier Mauméjean et Julien Leschiera rêvent les mondes de Proust et d'Anaïs Nin. - réalisation : Laurent Paulré - invités : Xavier Mauméjean Ecrivain, membre du Collège de ‘Pataphysique et auteur de pièces radiophoniques pour France Culture; Julien Leschiera Ecrivain, libraire

durée : 00:58:22 - Mauvais genres - par : François Angelier - Au travers de deux fictions biographiques et fantastiques, Xavier Mauméjean et Julien Leschiera rêvent les mondes de Proust et d'Anaïs Nin. - réalisation : Laurent Paulré - invités : Xavier Mauméjean Ecrivain, membre du Collège de ‘Pataphysique et auteur de pièces radiophoniques pour France Culture; Julien Leschiera Ecrivain, libraire

Episode 163 features the return of one of my best friends Jason Zapata. He's back to tackle some of Proust's Questionnaire, plus ch-ch-ch-changes, responsible technology usage, virtues, authors, unfinished projects and much much more. Mentioned and Helpful Links from This Episode What is the Proust Questionnaire? JasonZapata.com AgentPalmer.com Friendship Episode I: Jason Zapata Other Links These are the Bobs I like, I like, These are the Bobs I like. (Top 10 Real Bobs) The Beauty of the Bay is captured in Michener's Chesapeake Special Guest Executive Producer: Bill Sweeney Music created and provided by Henno Heitur of Monkey Tongue Productions. --End Show Notes Transmission--