Podcasts about Rendezvous

We’re doing a brand new TO CATCH A CHEATER Phone Tap and pretending to be a guy’s rental car company!See omnystudio.com/listener for privacy information.

We’re doing a brand new TO CATCH A CHEATER Phone Tap and pretending to be a guy’s rental car company!See omnystudio.com/listener for privacy information.

Nach dem Sturz von François Bayrou braucht Frankreich einen neuen Premier und eine neue Regierung. Es wird die Fünfte in zwei Jahren sein. Längst sind die Beliebtheitswerte von Präsident Emmanuel Macron im Keller. Dass er eine Neuwahl ausruft ist unwahrscheinlich, denn schon bei der letzten vorgezogenen Wahl erlangte sein Regierungsbündnis keine Mehrheit mehr. Die Französinnen und Franzosen sind Umfragen zufolge unzufrieden. Die Staatsverschuldung ist auf einem Rekordhoch, an den Sozialausgaben soll stark gespart werden, die wirtschaftliche Lage stockt. Zwei Drittel der Franzosen wünschen sich eine vorgezogene Präsidentschaftswahl. Sie stehen nicht mehr hinter Macron. Kämpft Frankreich mit mehr als nur einer Regierungskrise? Befinden sich die französische Demokratie und Gesellschaft auch längst tief in der Krise? Darüber sprechen wir mit der Politikwissenschaftlerin Claire Demesmay, dem Chefvolkswirt Carsten Brzeski von der ING und der Journalistin und Filmemacherin Géraldine Schwarz. Podcasttipp: Breitengrad - Bayern2 Frankreich - die Macht der rechten Meinungsmacher In Paris fand im Juni ein Gipfeltreffen von Meinungsmachern der besonderen Art statt. Im altehrwürdigen Casino de Paris im Herzen der französischen Hauptstadt trafen sich Parteienvertreter, Unternehmer und Journalisten des extrem rechten politischen Spektrums zu einem "sommet des libertés" - einem sogenannten "Gipfel der Freiheiten". Organisiert und finanziert wurde dieses Rendezvous der Rechten von zwei Milliardären: Vincent Bolloré und Pierre-Édouard Stérin. Während Bolloré seit Jahren Medien und Verlagshäuser aufkauft und auf rechts dreht, finanziert Sterin andere gesellschaftliche Einrichtungen, wie etwa eine Journalistenschule, ein Fortbildungsinstitut für Politiker, Vereine gegen Abtreibung etc. Gemeinsam streben sie eine gesellschaftliche Wende an, einen nationalistisch-identitären Rechtsruck und die politische Union der Rechten, damit diese die nächsten Wahlen gewinnt. ARD-Frankreich-Korrespondentin Julia Borutta berichtet. https://www.ardaudiothek.de/episode/urn:ard:episode:5d97a5722ca774be/

Aujourd'hui, Fatima Aït Bounoua, Didier Giraud et Bruno Poncet, débattent de l'actualité autour d'Alain Marschall et Olivier Truchot.

We’re doing a brand new TO CATCH A CHEATER Phone Tap and pretending to be a guy’s rental car company!See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

➔ IMMENSE merci au LAIT de présenter cet épisode bonus : participe MAINTENANT au concours pour gagner 10 000$ https://www.enviedevrai.com

➔ IMMENSE merci au LAIT de présenter cet épisode bonus : participe MAINTENANT au concours pour gagner 10 000$ https://www.enviedevrai.com

This week on Mature Me, Rich sits down with Michael Koulianos — an old friend with a fiery love for Jesus and the founder of Jesus Image.In this conversation we walk down memory lane—preaching together in my first year at Rendezvous, the early days of ministry, and the lessons Michael learned traveling the world. Michael also shares the story of meeting his wife Jessica, planting Jesus Image Church, and stepping into the cost of answering God's call.At the heart of the conversation is this simple but powerful question: Did your heart burn? It's the encounter Michael longs for every person to have with Jesus—a heart set ablaze with love for Him.Don't miss this episode — watch the full conversation now.Sign up for Leadership With Rich free weekly newsletter: ⁠https://www.richwilkersonjr.com⁠Watch this episode on Youtube: https://www.youtube.com/channel/UCARNPkLHwzeC4KSXGu4RISQ Follow Rich on Instagram: https://www.instagram.com/richwilkersonjr/Follow Rich on TikTok: ⁠https://www.tiktok.com/@richwilkersonjr?lang=en⁠

Luke from UltraliteSacks (www.ultralitesacks.com) stops by my home to visit with me about new and exciting materials that are available for gearmakers now in the backpacking world. It has only been a few years since Dyneema came on the scene and completely changed pack weight, size and what we have to carry every time we go out. Now, there are new and exciting materials, stronger than ever, that are available for gearmakers to make our gear lighter and stronger than it ever has been.Luke loves to geek out on this kind of stuff so its fun to visit with him about this. He talks about some of the things he makes and why he makes different pieces of gear out of different materials and why. Thank you for joining us and listening to this next edition of THE Overland Podcast. You can find more at www.the-overland-podcast.com.Special thanks to our Podcast Sponsors andPartners who make sure that this Podcast happens each week!⁠Midwest Adventure Outfitters ⁠- The Official Overland Shop of TOP⁠Blue Sail Coffee⁠ - The Official Coffee of TOP. Save 10% off your order with the Code - OVERLANDPODCAST10⁠Pruitt Knives of Valor⁠ - The Official Knife of TOP⁠UltraliteSacks⁠ - For all your packing, storage, backpacking and organizational needs!⁠Mamoo's Kitchen⁠ - The Official FOOD of TOP. The BEST freeze dried camp meals on the planet! Save 10% with CODE - OVERLANDPODCAST10⁠Mothy Offroad⁠ - Solar Panels for the Modern Wanderer.  Use Code TOP10 for 10% off and FREE SHIPPING.Events and Partners⁠Natural State Overland⁠ - the Home of Rendezvous in the Ozarks⁠Overland of America⁠ - The NOT MISS Event each year in Jay, OK. THE Overland Podcast is the official Podcast of THE Overland of America.JasperJeep Jam and Overlanding Rally – TOP is the OFFICIAL Podcast of JJJ which takes place in Jasper AR each year in March.For MORE visit www.brofessoradventures.comThank you for listening and foryour supporting the BRO's, not the PRO's! This week, in all you do...look out for number 1 and don't step in #2!

Invité : -  Thierry Breton, ancien commissaire européen au marché intérieur Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invité : -  Thierry Breton, ancien commissaire européen au marché intérieur Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Kath-Akademie Archiv: Geburtsstunde des Realismus200 Jahre Gottfried Keller- ein Vortrag von Prof. Ursula Amrein (Hördauer ca. 32. Min.) "200 Jahre Theodor Fontane", ein Vortrag von Prof. Hans-Dieter Zimmermann (Hördauer ca. 31. Min.)Diskussion: Moderation Dominik Fröhlich (Hördauer ca. 38. Min)Theodor Fontane (1819–1898) und Gottfried Keller (1819–1890) haben das literarische Schaffen in der zweiten Hälfte des 19. Jahrhunderts maßgeblich geprägt. Unabhängig voneinander, aber zur selben Zeit formulierten sie ein literaturkritisches Programm, das in Auseinandersetzung mit Romantik und Idealismus die Forderung erhebt, die Wirklichkeit der Welt und des Menschen möglichst transparent zu machen: den Realismus.Die Literatur des Realismus lässt sich mithin als eine Form der Religionskritik verstehen: Sie reflektiert und beschreibt den Wandel, der in der Kritik am unwirklichen Jenseits begründet liegt, und stellt durch ihre Diesseitsorientierung gleichsam neue Lebensentwürfe zur Debatte. Umso bemerkenswerter aber, dass gerade die Gründerväter des Realismus in dieser Frage gänzlich uneins sind: Während Keller „sich sein Rendezvous mit diesem Leben durch kein zweites hat lassen stören wollen“ (Walter Benjamin), erteilte Fontane solchem „frivolen Unglauben“ eine deutliche Absage und legte mit Quitt sogar einen religiösen Roman vor. Steht hinter dem gemeinsamen Realismus also in Wirklichkeit ein großes Fragezeichen? Persönlich sind sich Keller und Fontane nie begegnet – ein Grund mehr, die beiden zu ihrem 200. Geburtstag zu dieser Frage zu Wort kommen zu lassen. Möglich machen soll es unser Literaturabend „Geburtsstunde des Realismus“, der die ausgewiesenen Experten Prof. Dr. Ursula Amrein (Keller) und Prof. Dr. Hans Dieter Zimmermann (Fontane) auch darüber nachdenken lässt, worüber die Jubilare selbst Zeit ihres Lebens nachgedacht haben: Gott und die Welt.Ursula Amrein ist Professorin für Neuere Deutsche Literatur, Universität Zürich. Buchpublikationen u.a.: «Los von Berlin!» Die Literatur- und Theaterpolitik der Schweiz und das «Dritte Reich» (2004). – Phantasma Moderne. Die literarische Schweiz 1880–1950 (2007). – (Hrsg.) Das Authentische. Referenzen und Repräsentationen (2009).Hans Dieter Zimmermann ist Professor em. für Literaturwissenschaft an der TU Berlin. Er hat u. a. Bücher zu Kleist und Kafka vorgelegt und die "Tschechische Bibliothek" in deutscher Sprache herausgegeben.  Wenn Ihnen dieser Beitrag gefallen hat, dann mögen Sie vielleicht auch diesen. Katholische Akademie in BayernKardinal Wendel HausMandlstraße 23, 80802 München Realisation Uwe Kullnick 

Île de Margarita, 24 janvier, 4 h 15   56.   Évite de butinerd'une spiritualité à l'autre par curiosité   Seigneur Jésus, durant ce temps de vacances qui s'achève, je crois avoir approfondi et découvert l'importance de revenir sur des écrits qui nous transforment afin de vivre plus profondément notre foi, alors que j'ai eu l'impression de perdre un peu mon temps en m'adonnant à d'autres lectures, par ailleurs très bonnes. Je crois comprendre que lorsqu'on a trouvé, ilfaut s'arrêter, se laisser interpeller par cette parole qui a retenu notre attention et qui est susceptible de nourrir notre foi. Je demeure à Votre écoute pour me corriger ou me confirmer sur ce que je crois avoir découvert. Merci d'entendre et d'exaucer cette prière. Je Vous  aime.   « Mon tout-petit, Je t'ai dit et redit que ce qui est important, c'est l'intimité que nous avons ensemble. C'est par cette intimité que la transformation se fait en toiet que tu peux devenir un être d'Amour. Ce quia déjà été révélé et écrit n'a qu'un  seul objectif : permettre  à des personnes de découvrir, de donner leur “oui” et de se laisser conduire dans Mon Cœur. Lorsqu'une  personne se retrouve dans Mon Cœur, elle n'a pas besoin d'être amenée à nouveau, elle y est déjà. Ce qui importe pour  elle,  c'est de passer du temps seule à seul avec Moi, souvent sans rien dire ou faire, afin de pouvoir bénéficier de l'Amour que Je veux déverser en elle. Être là  pour  accueillir  Mon  Amour  et se laisser transformer,  c'est cela l'essentiel. Pour réanimer la foi ou pour se placer dans cet état de réceptivité, il peut être bon et souhaitable même de revenir sur un texte passé afinde bien l'intégrer en soi. Pour devenir un saint, il n'est pas nécessaire de savoir et de connaître toutes les révélations passées, ni les multiples facettes de spiritualité véhiculées dans l'Église. Ce qui est important, c'est de découvrir celle qui lui est propre, en sachant qu'un  saint n'est jamais exactement comme un autre saint. Imiter un saint ou une sainte est bénéfique pour se laisser conduire à Moi. Mais, façonnée par Mes mains, la personne sera différente des autres. Le Père ne fait jamais de copies, Ilne faitque des originaux. Pour devenir rapidement un saint, il est plus important de s'arrêter pour se laisser modeler par le Créateur que de courir pour tout savoir. Comme tu le dis bien, pourquoi continuer à chercher lorsqu'on a trouvé ? Il est beaucoup plus sageet épanouissant de laisser croître et fleurir la jolierose quiest en nous que d'être toujours à la recherche de nouvelles.   Il est tellement bon d'être ensemble tous les deux. Bénéficie au maximum de ce temps précieux. Évite de butinerd'une spiritualité à l'autrepar curiosité; tu ris- querais ainsi de t'écarter de Ma Présence. C'est ta présence que Je veux pour te combler de mon Amour. Entends le doux murmurede Mes lèvres : Je t'aime, Je t'aime, Je t'aime. Divinement, Je t'aime. »   Pour visionner ce RDV du dimanche, rendez-vous sur notre site web.      

Episode Summary: In this episode, Heather “Lucky” Penney talks to Lt. Gen. David Deptula, USAF (Ret.), Charles Galbreath, Todd “Sledge” Harmer, Anthony “Lazer” Lazarski, JV Venable, and Brig. Gen. Houston Cantwell, USAF (Ret.) about the top defense issues this month in Washington, D.C. and beyond. Our team digs into what a new Chief of Staff of the Air Force will mean for the service and the broader defense environment. They also discuss the CCA's first flight, plus Gen. Adrian Spain's call for an increased focus on readiness in his new capacity as commander of Air Combat Command. We look at a broad array of spacepower developments—everything from the most recent Starship launch to the X-37B mission and NTS-3.  Added to that, there are also a lot of issues going on with our partners and allies—quite a few are boosting their defense budgets, but some are calling into question buying U.S. systems. What does this mean for the defense ecosystem? We wrap looking at where the Sentinel Program is headed these days and consider the latest with B-21 and B-52 modernization efforts. Credits: Host: Heather "Lucky" Penney, Director of Research, The Mitchell Institute for Aerospace Studies Producer: Shane Thin  Executive Producer: Douglas Birkey Guest: Lt Gen David A. Deptula, USAF (Ret.), Dean, The Mitchell Institute for Aerospace Studies Guest: Brig. Gen. Houston "Slider" Cantwell, Senior Fellow for Airpower Studies, The Mitchell Institute for Aerospace Studies Guest: John "JV" Venable, Senior Fellow for Airpower Studies, The Mitchell Institute for Aerospace Studies Guest: Charles Galbreath, Senior Resident Fellow for Space Studies, The Mitchell Institute Spacepower Advantage Center of Excellence (MI-SPACE) Guest: Todd “Sledge” Harmer, Senior Vice President, American Defense International Guest: Anthony “Lazer” Lazarski, Principal, Cornerstone Government Affairs Links: Subscribe to our Youtube Channel: https://bit.ly/3GbA5Of Website: https://mitchellaerospacepower.org/ Twitter: https://twitter.com/MitchellStudies Facebook: https://www.facebook.com/Mitchell.Institute.Aerospace LinkedIn: https://bit.ly/3nzBisb Instagram: https://www.instagram.com/mitchellstudies/ #MitchellStudies #AerospaceAdvantage #rendezvous

Dans cet épisode, Lisa Kamen nous plonge dans le champ lexical de l'été et des vacances. Elle explore l'origine de mots estivaux tels que "bikini", "tong", "Bermuda", "apéro", "transat" et "sport", tout en partageant des anecdotes et des explications linguistiques. L'épisode se termine sur une note légère et enjouée, parfaite pour l'été.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Chaque jour, retrouvez le journal de 8h de la rédaction d'Europe 1 pour faire le tour de l'actu. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Chaque jour, retrouvez le journal de 8h de la rédaction d'Europe 1 pour faire le tour de l'actu. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, Lisa Kamen explique l'origine des noms des mois de septembre à décembre, qui semblent décalés par rapport à leur position dans l'année. Elle retrace l'évolution des calendriers, du calendrier romain lunaire au calendrier julien de Jules César, puis au calendrier grégorien. Lisa éclaire également sur les raisons historiques derrière le choix du 1er janvier comme début de l'année.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, Lisa Kamen explore le calendrier révolutionnaire instauré après la Révolution française. Elle explique comment ce système, basé sur le système décimal, a remplacé le calendrier grégorien pour rompre avec la monarchie et le christianisme. Les mois étaient nommés d'après des éléments agricoles et artisanaux, et les semaines comptaient 10 jours. Lisa évoque également des prénoms inspirés de ce calendrier et mentionne des tentatives modernes de modifier le temps, comme en Bolivie.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Chaque semaine, pour compléter votre histoire inédite, Crimes · Le focus analyse en cinq minutes un élément clé de l'affaire. Procédure juridique complexe, interrogatoire décisif, phénomène de société... Allons plus loin pour rendre ces récits encore plus passionnants !

Chaque semaine, pour compléter votre histoire inédite, Crimes · Le focus analyse en cinq minutes un élément clé de l'affaire. Procédure juridique complexe, interrogatoire décisif, phénomène de société... Allons plus loin pour rendre ces récits encore plus passionnants !

In Paris fand im Juni ein Gipfeltreffen von Meinungsmachern der besonderen Art statt. Im altehrwürdigen Casino de Paris im Herzen der französischen Hauptstadt trafen sich Parteienvertreter, Unternehmer und Journalisten des extrem rechten politischen Spektrums zu einem "sommet des libertés" - einem sogenannten "Gipfel der Freiheiten". Organisiert und finanziert wurde dieses Rendezvous der Rechten von zwei Milliardären: Vincent Bolloré und Pierre-Édouard Stérin. Während Bolloré seit Jahren Medien und Verlagshäuser aufkauft und auf rechts dreht, finanziert Sterin andere gesellschaftliche Einrichtungen, wie etwa eine Journalistenschule, ein Fortbildungsinstitut für Politiker, Vereine gegen Abtreibung etc. Gemeinsam streben sie eine gesellschaftliche Wende an, einen nationalistisch-identitären Rechtsruck und die politische Union der Rechten, damit diese die nächsten Wahlen gewinnt. ARD-Frankreich-Korrespondentin Julia Borutta berichtet.

Chaque semaine, pour compléter votre histoire inédite, Crimes · Le focus analyse en cinq minutes un élément clé de l'affaire. Procédure juridique complexe, interrogatoire décisif, phénomène de société... Allons plus loin pour rendre ces récits encore plus passionnants !

Brandon "Horsepower" Weis is an American long-distance hiker known for completing the "Calendar Year Triple Crown" in 2021, which involves hiking the Appalachian Trail, Pacific Crest Trail, and Continental Divide Trail (a combined 8,000 miles) within one calendar year. Originally from Ohio, Weis was a future law student who left for the trails after an eye-opening backpacking experience in college, which inspired him to take on extraordinary hiking challenges.Brandon returned home to pen his experiences in the book, "This is Gonna Hurt" where he recounts in detail what he went through to complete this (what some would call) crazy task. You can find the book on Amazon.THIS IS GONNA HURT Book LINKSpecial thanks to our Podcast Sponsors and Partners who make sure that this Podcast happens each week!Midwest Adventure Outfitters - The Official Overland Shop of TOPBlue Sail Coffee - The Official Coffee of TOP. Save 10% off your order with the Code - OVERLANDPODCAST10Pruitt Knives of Valor - The Official Knife of TOPUltraliteSacks - For all your packing, storage, backpacking and organizational needs!Mamoo's Kitchen - The Official FOOD of TOP. The BEST freeze dried camp meals on the planet! Save 10% with CODE - OVERLANDPODCAST10Mothy Offroad - Solar Panels for the Modern Wanderer.Events and PartnersNatural State Overland - the Home of Rendezvous in the OzarksOverland of America - The NOT MISS Event each year in Jay, OK. THE Overland Podcast is the official Podcast of THE Overland of America.For MORE visit www.brofessoradventures.comThank you for listening and for your supporting the BRO's, not the PRO's! This week, in all you do...look out for number 1 and don't step in #2!

Dans cet épisode, Lisa Kamen et Christophe discutent des élections régionales en France, expliquant le rôle des conseils régionaux et le fonctionnement du scrutin proportionnel à deux tours. Ils abordent également l'histoire des régions françaises et partagent quelques anecdotes humoristiques sur les noms des régions.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, Lisa Kamen explique la différence entre la masse et le poids. Elle clarifie que la masse est une mesure constante de la quantité de matière, tandis que le poids est une force variable liée à la gravitation. Elle illustre ces concepts avec des exemples de pesée sur différentes planètes.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

Dans cet épisode, Lisa Kamen explore les subtilités des adjectifs "nu" et "demi". Elle explique les règles d'accord en fonction de leur position dans la phrase et les exceptions à connaître. Une leçon de grammaire ludique et instructive.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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Learn more at TheCityLife.org

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Invité : - Jérôme Guedj, député PS de l'Essonne Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, Lisa Kamen et Christophe discutent de l'importance de ne pas mélanger les unités, illustrée par l'addition des fractions. Lisa explique comment trouver un dénominateur commun pour additionner des fractions, tout en utilisant des métaphores amusantes comme les torchons et les serviettes. L'épisode se termine par une question ludique sur l'orthographe des homophones "sceau".Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

« Mais enfin les enfants, on accorde un verbe avec son sujet ! » : voilà bien une phrase que les enseignants serinent à leurs élèves. Il suffirait donc de trouver ce fameux sujet et tout irait pour le mieux dans le meilleur des mondes possibles. Oui mais voilà, ce n'est pas toujours aussi simple (et c'est pour ça que c'est rigolo, aussi). Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, Lisa Kamen nous emmène à la découverte des constellations. Elle explique comment les premières civilisations ont imaginé des figures dans le ciel pour nommer les étoiles, et comment ces constellations ont évolué au fil du temps. L'épisode aborde également la classification moderne des constellations par l'Union Astronomique Internationale.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans cet épisode, Lisa Kamen raconte la légende de Guillaume Tell, symbole de la liberté suisse. Elle narre comment ce héros national a défié l'autorité en refusant de saluer le chapeau du bailli Gessler, et comment il a réussi l'exploit de tirer une flèche dans une pomme posée sur la tête de son fils. L'histoire se poursuit avec l'évasion audacieuse de Tell et sa vengeance contre Gessler, illustrant la lutte pour l'indépendance de la Suisse.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Surprise ! Considérez cet épisode comme un hors série : Ginger, Delphine et Mélanie allument les micros, et répondent aux questions (souvent très insolites) de MélanieEt vous, vous vous posez des questions insolites parfois ? Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

L'ogre du Petit Poucet, le nain messager de la Belle au bois dormant ou encore Jack le tueur de géants sont dotés de ces formidables bottes qui leur permettent de parcourir des distances incroyables ! L'idée même de bottes ou de sandales qui métamorphosent le personnage qui les chausse en héros invulnérable est très ancienne et fréquente dans les légendes et les contes. Mais saviez-vous que les bottes de sept lieues avaient réellement existé ? Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 01:08:04 - Club Jazzafip - Nous vous proposons de découvrir la riche programmation de la 39ème édition de Jazz et de Belle plaisance au fil de l'eau. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Dans cet épisode, Lisa Kamen explore les faux anglicismes utilisés en français, comme "flipper" ou "footing", qui prêtent à sourire les anglophones. Elle évoque également des termes similaires en japonais et recommande le site Le Framponnet pour découvrir des traductions humoristiques.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

For the sixteenth edition of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon] held at the 7L library in Paris, CHANEL and Charlotte Casiraghi, ambassador and spokesperson for the House, invited novelist Katie Kitamura.Moderated by journalist Caroline Issa, this encounter dedicated to the work of Katie Kitamura explores the changing nature of identity—a theme at the heart of her latest novel Audition—and the essential role of reading in her writing process: “The most intimate and optimistic thing I do every single day is to read. Because when I read, I open myself up to the mind of another person. And I hope to write the kind of fiction that allows a reader to do the same thing.” Together, they also talk about the contemporary questions that the author's fictional heroines encounter.00 : 10 : Opening by Charlotte Casiraghi02 : 20 : Introduction by Caroline Issa03 : 50 : Katie Kitamura and her unnamed women characters06 : 17 : Reading of an extract of “Audition” by India Ennenga11 : 37 : The role of self-performance in the construction of one's identity16 : 15 : Charlotte Casiraghi on female protagonists in contemporary literature 20 : 50 : On the relationships shaping Katie Kitamura's characters 24 : 35 : Siri Hustvedt's message to Katie Kitamura26 : 40 : Reading of an extract of “A Separation” by Charlotte Casiraghi32 : 40 : On literature as a collaboration between reader and writer33 : 40 : On taking risks in the creative process 38 : 14 : On literature as a way to approach the complexity of truth39 : 40 : On feelings after reading Katie Kitamura's books42 : 32 : Katie Kitamura's takes on how to start writing44 : 05 : Questions from the audience

Dans cet épisode, Lisa Kamen explore les subtilités de l'impératif en français. Elle explique les erreurs courantes et les exceptions, tout en soulignant l'importance de bien maîtriser ce mode de conjugaison pour conserver son autorité. L'épisode se termine par une annonce sur le prochain sujet : les contes de fées.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Le Journal en français facile du lundi 25 août 2025, 18 h 00 à Paris. ► EXERCICE Comprendre un extrait du journal | L'australopithèque Lucy est exposée en Europe | niveau B1 (exercice + PDF)Retrouvez votre épisode avec la transcription synchronisée et des exercices pédagogiques pour progresser en français : http://rfi.my/Bx7G.A