Podcasts about woolf

Wade Graham & Adam Peacock are in to unpack all the Origin action 2 days out from game 2! We talk Anthony Seibold's coaching future & review all the action from round 15.See omnystudio.com/listener for privacy information.

durée : 00:37:48 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner, Isabelle de Gaulmyn - "Mrs Dalloway" a cent ans. Dans ce roman phare, Virginia Woolf nous entraîne le temps d'une journée dans l'existence d'une femme de la haute société londonienne, Clarissa Dalloway. - réalisation : Félicie Faugère - invités : Nathalie Azoulai Traductrice, romancière.; Marc Porée Angliciste, professeur émérite de l'ENS

durée : 02:40:02 - Les Matins - par : Guillaume Erner, Isabelle de Gaulmyn - - réalisation : Félicie Faugère

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Get the book, Leading Future-Focused Schools: Engaging and Preparing Students for Career Success About The Guest Shira Woolf Cohen brings 25 years of experience in youth workforce development and education,Over a decade of her career was spent in school leadership at a Philadelphia charter school, As a Teacher, Program Director, Dean, Vice Principal, and Principal, she championed student engagement, innovative instruction, and strong community partnerships to create impactful learning experiences. Shira is the co-founder of Innovageous, where she focuses on building partnerships, designing programs, and improving instruction in both school-based and out-of-school settings.

¡¡ PODCAST !!- Dr. Juan Francisco Rivera Ramos… “Nueva subvariante de Covid-19”  - Cassandra Arroyo… “Día Mundial del Medio Ambiente”- Cartelera Cinematográfica...  José Antonio Valdés Peña - María Alatriste… “Implicación de papá en la crianza”-Michelle Johnson,  Actriz - Javier Nieto, Dramaturgo y Director… “Cuento cabaretero:  Virginia como la Woolf” (propone una reflexión lúdica sobre la salud mental y la muerte)

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Novena temporada de Librero SonoroEpisodio 17Conducción: Ingrid Hernández y Roberto Domínguez Este episodio conmemora el centenario de La señora Dalloway, la novela emblemática de Virginia Woolf que revolucionó la narrativa del siglo XX. Publicada en 1925, esta obra sigue a Clarissa Dalloway mientras prepara una fiesta, pero también traza, con delicadeza y profundidad, las tensiones internas, los recuerdos, los silencios y las heridas invisibles que cruzan la vida de sus personajes en un solo día. Esta novela es recordada y discutida por su innovador uso del monólogo interior, su crítica sutil a la sociedad británica de entreguerras y la manera en que Woolf entrelaza lo íntimo y lo político, lo cotidiano y lo trascendente. Cien años después, La señora Dalloway no solo sigue vigente sino que sigue desafiándonos a escuchar lo que el tiempo, la ciudad y la conciencia susurran.Pistas utilizadas:1- Biblioteca compuesta por Ana Leyva Luna y Amaury Pérez Vega.2- "Juan Sánchez - Blue Nights" está bajo una licencia Creative Commons (CC BY-NC-SA 3.0) Música promocionada por Breaking Copyright: https://bit.ly/bkc-blue-nights

This week we've got the next instalment of Bristol Unpacked for you. Neil managed to get a chat in with our new High Sheriff, Kalpna Woolf. Its one of those mysterious, archaic titles that somehow has stood the test of time, but as Kalpna details, is a world away from its original purpose of enforcing the monarch's will and collecting taxes… Kalpna talks us through her upbringing as a first generation migrant kid in London and the life experiences which led her to this point, as an ambassador of community cohesion across cultural divides. It's a good one, and feels poignant in this current political climate where migrant has become a dirty word.Kalpna founded 91 Ways – an organisation using the power of food to connect Bristol's 91 language communities. She also set up the Be Onboard initiative which aims to diversify boardrooms, making them representative of the communities they serve. She's been a boss at the BBC and a board member for University of the West of England. 

Virginia Woolf (1882-1941) är en av den litterära modernismens portalfigurer. Med sina djärva berättargrepp och nyskapande perspektivskiften bidrog Woolfs böcker starkt till skapandet av den moderna romanen. Men som för många kvinnliga författare i historien har biografin ibland ställts i vägen för författarskapet. Om Woolf berättas lika ofta om hennes psykiska ohälsa och slutliga självmord som om hennes banbrytande litteratur, trots att Woolf själv insisterade på litteraturens frihet. Hur blev det så? Bildningspodden diskuterar mytbildningen kring Virginia Woolf och närläser hennes viktigaste böcker. Gäst i studion är litteraturvetaren Maria Trejling. Samtalsledare: Hedvig Ljungar Klippning: Lars in de Betou. Producent: Magnus Bremmer

With her bewitching and beautiful novel NEVERMORE (Seagull Books, translated from French by Tess Lewis, who joins our conversation), Cécile Wajsbrot takes us on a tour of Chenobyl's Forbidden Zone, the High Line in NYC, Dresden, Paris, under the shadow of the Time Passes section of Virginia Woolf's To The Lighthouse. We talk about the challenges of writing a first-person novel about translation, the strange ways Woolf has followed Cecile throughout her careers as author & translator, and how it felt to see her novel about translating Virginia Woolf into French get translated into English. We get into her literary career, how Time Passes became a stand-in for her fascination with destruction, why she's translated Woolf's The Waves three times over thirty years (and whether the first one got her into the bad graces of the editor of Le Monde de Livres), what it was like to subvert the translator's typical role of invisibility with this novel, and the language she wishes she had. We also discuss mourning and the ways we try to keep conversation alive with those we've lost, the time I impressed the Princess of Yugoslavia by transliterating the Cyrillic on her family's jewels, and more. More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

Who benefits and who loses when emotions are described in particular ways? How do metaphors such as "hold on" and "let go" affect people's emotional experiences? Banned Emotions: How Metaphors Can Shape What People Feel (Oxford UP, 2019), written by neuroscientist-turned-literary scholar Laura Otis, draws on the latest research in neuroscience and psychology to challenge popular attempts to suppress certain emotions. This interdisciplinary book breaks taboos by exploring emotions in which people are said to "indulge" self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions traces pervasive patterns in the ways emotions are represented that can make people so ashamed of their feelings, they may stifle emotions they need to work through. The book argues that emotion regulation is a political as well as a biological issue, affecting not only which emotions can be expressed, but who can express them, when, and how. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Who benefits and who loses when emotions are described in particular ways? How do metaphors such as "hold on" and "let go" affect people's emotional experiences? Banned Emotions: How Metaphors Can Shape What People Feel (Oxford UP, 2019), written by neuroscientist-turned-literary scholar Laura Otis, draws on the latest research in neuroscience and psychology to challenge popular attempts to suppress certain emotions. This interdisciplinary book breaks taboos by exploring emotions in which people are said to "indulge" self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions traces pervasive patterns in the ways emotions are represented that can make people so ashamed of their feelings, they may stifle emotions they need to work through. The book argues that emotion regulation is a political as well as a biological issue, affecting not only which emotions can be expressed, but who can express them, when, and how. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Who benefits and who loses when emotions are described in particular ways? How do metaphors such as "hold on" and "let go" affect people's emotional experiences? Banned Emotions: How Metaphors Can Shape What People Feel (Oxford UP, 2019), written by neuroscientist-turned-literary scholar Laura Otis, draws on the latest research in neuroscience and psychology to challenge popular attempts to suppress certain emotions. This interdisciplinary book breaks taboos by exploring emotions in which people are said to "indulge" self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions traces pervasive patterns in the ways emotions are represented that can make people so ashamed of their feelings, they may stifle emotions they need to work through. The book argues that emotion regulation is a political as well as a biological issue, affecting not only which emotions can be expressed, but who can express them, when, and how. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Who benefits and who loses when emotions are described in particular ways? How do metaphors such as "hold on" and "let go" affect people's emotional experiences? Banned Emotions: How Metaphors Can Shape What People Feel (Oxford UP, 2019), written by neuroscientist-turned-literary scholar Laura Otis, draws on the latest research in neuroscience and psychology to challenge popular attempts to suppress certain emotions. This interdisciplinary book breaks taboos by exploring emotions in which people are said to "indulge" self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions traces pervasive patterns in the ways emotions are represented that can make people so ashamed of their feelings, they may stifle emotions they need to work through. The book argues that emotion regulation is a political as well as a biological issue, affecting not only which emotions can be expressed, but who can express them, when, and how. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language

Who benefits and who loses when emotions are described in particular ways? How do metaphors such as "hold on" and "let go" affect people's emotional experiences? Banned Emotions: How Metaphors Can Shape What People Feel (Oxford UP, 2019), written by neuroscientist-turned-literary scholar Laura Otis, draws on the latest research in neuroscience and psychology to challenge popular attempts to suppress certain emotions. This interdisciplinary book breaks taboos by exploring emotions in which people are said to "indulge" self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions traces pervasive patterns in the ways emotions are represented that can make people so ashamed of their feelings, they may stifle emotions they need to work through. The book argues that emotion regulation is a political as well as a biological issue, affecting not only which emotions can be expressed, but who can express them, when, and how. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Who benefits and who loses when emotions are described in particular ways? How do metaphors such as "hold on" and "let go" affect people's emotional experiences? Banned Emotions: How Metaphors Can Shape What People Feel (Oxford UP, 2019), written by neuroscientist-turned-literary scholar Laura Otis, draws on the latest research in neuroscience and psychology to challenge popular attempts to suppress certain emotions. This interdisciplinary book breaks taboos by exploring emotions in which people are said to "indulge" self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions traces pervasive patterns in the ways emotions are represented that can make people so ashamed of their feelings, they may stifle emotions they need to work through. The book argues that emotion regulation is a political as well as a biological issue, affecting not only which emotions can be expressed, but who can express them, when, and how. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/neuroscience

Who benefits and who loses when emotions are described in particular ways? How do metaphors such as "hold on" and "let go" affect people's emotional experiences? Banned Emotions: How Metaphors Can Shape What People Feel (Oxford UP, 2019), written by neuroscientist-turned-literary scholar Laura Otis, draws on the latest research in neuroscience and psychology to challenge popular attempts to suppress certain emotions. This interdisciplinary book breaks taboos by exploring emotions in which people are said to "indulge" self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions traces pervasive patterns in the ways emotions are represented that can make people so ashamed of their feelings, they may stifle emotions they need to work through. The book argues that emotion regulation is a political as well as a biological issue, affecting not only which emotions can be expressed, but who can express them, when, and how.

Esta tarde hay música y dibujo al mismo tiempo en el programa. Nos visita el músico Kevin Johansen para interpretar algunas de sus canciones más conocidas mientras el historietista, ilustrador, pintor y editor argentino, Liniers, improvisa con sus pinceles y recrea esas canciones en dibujos en tiempo real. Este proyecto, que aúna música e ilustración, lleva en marcha más de quince años y recientemente ha tomado forma en el disco 'Desde que te Madrid', grabado en vivo en el Teatro Albéniz.Con Víctor Mora, en nuestra sección Género fluido, abordamos 'Orlando', la novela de Virginia Woolf, a través de varias obras que se han inspirado en ella. Primero, el documental del filósofo Paul B. Preciado, titulado también Orlando, estrenado en 2023. Y después, la adaptación cinematográfica dirigida por Sally Potter en 1993. Entre ambas películas hay 30 años de diferencia, pero la historia escrita hace casi un siglo por Woolf mantiene su vigencia y frescura.El compositor francés David Letellier, conocido como Kangding Ray, ha recibido el premio Cannes Soundtrack a la mejor banda sonora por su trabajo en Sirat, película del cineasta español Oliver Laxe. El filme también ha sido galardonado con el Premio del Jurado del Festival de Cannes 2025, compartido ex aequo con Sound of Falling, de Mascha Schilinski. Hoy, en el pueblo natal del director gallego, se ha proyectado la película y él mismo ha hablado con la prensa.Cerramos el programa con un viaje al Renacimiento veneciano. Paolo Veronese, figura clave del siglo XVI junto a Tiziano y Tintoretto, es el protagonista de una gran exposición antológica en el Museo del Prado. La muestra, que se inaugura hoy, es la principal apuesta primaveral del museo y ofrece un recorrido completo por la obra de este maestro del color, la elegancia y las composiciones monumentales. Nos lo cuenta Ángela Núñez.Escuchar audio

After an impressive win in very wet conditions against the in-form Bulldogs, Dolphin's coach Kristian Woolf (47:35) chats to Andrew Moore, John Gibbs and Michael Carayannis about the win, the evenness of the competition and what he learned from Wayne Bennett. 

In today's podcast Paul has a conversation with Matt Woolf of Terrain. Matt is an economist that works on the nuts, fruit and vegetables part of the farming industry and also has a background in farming in California. These industries have undergone a lot of changes over the last few years due to Covid and tariffs. We review those changes and the outlook for that part of Ag.See omnystudio.com/listener for privacy information.

El Criticón de la Cultureta Gran Reserva destaca esta semana tres pelis que ha visto no ha visto. ‘Los destellos', de Pilar Palomero, de la que aprecia su tempo lento y sus matizadas interpretaciones; ‘Soy Nevenka' de Icíar Bollaín, con la que conectó desde el principio porque le pareció rodada con naturalidad, claroscuros y crudeza; y ‘Rita', de Paz Vega, a la que le agradece una opera prima como cineasta tan delicada y frágil, pequeña en el buen sentido, personal.También trae a la actualidad ‘Woolf Works', un ballet extraordinario con música de Max Richter y coreo de Wayne McGregor para la Royal Opera House de Londres. De hace unos añitos, pero muy vigente en su corazón de crítico. Bailarines danzando alrededor de las melodías girando a su vez en torno a las obras de Virgina Woolf. Delicatessen. Además, este hombre lleno de criterio se acuerda del aniversario de la faena inolvidable que le realizó Julito Aparicio al toro Cañego de Alcurrucén, obra culmen del desmayo, el quejío y el arte roto encarnado en un humano atravesado por una sensibilidad que ni él mismo comprende y apenas puede expresar o intentar vehicular sin desbaratarse. Fue el 18 de mayo de 1994. Buscan en Internet ‘Julio Aparicio Desmayo' y se lo ven en YouTube. De nada.  

El Criticón de la Cultureta Gran Reserva destaca esta semana tres pelis que ha visto no ha visto. ‘Los destellos', de Pilar Palomero, de la que aprecia su tempo lento y sus matizadas interpretaciones; ‘Soy Nevenka' de Icíar Bollaín, con la que conectó desde el principio porque le pareció rodada con naturalidad, claroscuros y crudeza; y ‘Rita', de Paz Vega, a la que le agradece una opera prima como cineasta tan delicada y frágil, pequeña en el buen sentido, personal.También trae a la actualidad ‘Woolf Works', un ballet extraordinario con música de Max Richter y coreo de Wayne McGregor para la Royal Opera House de Londres. De hace unos añitos, pero muy vigente en su corazón de crítico. Bailarines danzando alrededor de las melodías girando a su vez en torno a las obras de Virgina Woolf. Delicatessen. Además, este hombre lleno de criterio se acuerda del aniversario de la faena inolvidable que le realizó Julito Aparicio al toro Cañego de Alcurrucén, obra culmen del desmayo, el quejío y el arte roto encarnado en un humano atravesado por una sensibilidad que ni él mismo comprende y apenas puede expresar o intentar vehicular sin desbaratarse. Fue el 18 de mayo de 1994. Buscan en Internet ‘Julio Aparicio Desmayo' y se lo ven en YouTube. De nada.  

El Criticón de la Cultureta Gran Reserva destaca esta semana tres pelis que ha visto no ha visto. ‘Los destellos', de Pilar Palomero, de la que aprecia su tempo lento y sus matizadas interpretaciones; ‘Soy Nevenka' de Icíar Bollaín, con la que conectó desde el principio porque le pareció rodada con naturalidad, claroscuros y crudeza; y ‘Rita', de Paz Vega, a la que le agradece una opera prima como cineasta tan delicada y frágil, pequeña en el buen sentido, personal.También trae a la actualidad ‘Woolf Works', un ballet extraordinario con música de Max Richter y coreo de Wayne McGregor para la Royal Opera House de Londres. De hace unos añitos, pero muy vigente en su corazón de crítico. Bailarines danzando alrededor de las melodías girando a su vez en torno a las obras de Virgina Woolf. Delicatessen. Además, este hombre lleno de criterio se acuerda del aniversario de la faena inolvidable que le realizó Julito Aparicio al toro Cañego de Alcurrucén, obra culmen del desmayo, el quejío y el arte roto encarnado en un humano atravesado por una sensibilidad que ni él mismo comprende y apenas puede expresar o intentar vehicular sin desbaratarse. Fue el 18 de mayo de 1994. Buscan en Internet ‘Julio Aparicio Desmayo' y se lo ven en YouTube. De nada.  

Cem anos depois da publicação de “Mrs Dalloway”, o mais conhecido romance de Virginia Woolf (1882-1941), a escritora inglesa ganha novas edições da sua ficção e novos olhares sobre seus ensaios. Neste episódio, dois tradutores de Woolf, a escritora Sofia Nestrovski, que traduziu “Um Quarto Só Para Mim”, e o poeta Leonardo Fróes, que verteu “Ensaios Seletos”, ambos pela Editora 34, falam de como foi traduzir a prosa revolucionária da autora britânica e da atualidade dos escritos de Virginia. O episódio foi realizado com apoio da Lei Rouanet – Incentivo a Projetos Culturais. Seja um Ouvinte Entusiasta e apoie o 451 MHz: https://bit.ly/Assine451  

O programa Autores e Livros desta semana traz uma conversa especial com o escritor Alexandre Staut, autor de O Caldeirão da Velha Chica e outras histórias brasileiras. A obra é uma coletânea de contos que mergulha no imaginário popular do Brasil e apresenta uma pesquisa apaixonada sobre a alimentação brasileira, fruto de mais de 15 anos de investigação informal. Combinando jornalismo literário, relatos de viagem, história oral, antropologia e toques de ficção, Staut utiliza uma linguagem acessível e poética para valorizar tradições, lendas e saberes populares. Seus textos resgatam personagens e histórias do Brasil profundo, especialmente das regiões interioranas e rurais, conectando cultura, memória e identidade. Entre os lançamentos literários comentados no programa, destaque para o livro Teatro Lambe-lambe: uma parição brasileira, assinado por Amara Hurtado, Denise Di Santos, Jirlene Pascoal, Mariana Baeta e Sérgio Maggio. A obra faz um mergulho na história e nas linguagens do Teatro Lambe-lambe, técnica de teatro de bonecos em miniatura. O projeto nasceu da inquietação do grupo As Caixeiras Cia. de Bonecas, do Distrito Federal, pioneiro no movimento da arte lambe-lambeira no Centro-Oeste. Outro destaque do episódio é a nova edição do ensaio Profissões para mulheres, de Virginia Woolf, lançado pela Editora Maralto. Com tradução da escritora Adriana Lisboa e ilustrações inéditas da artista Marilda Castanha, a obra dá nova vida ao clássico texto, publicado originalmente em 1931 como uma palestra. A edição especial combina texto e imagem para reforçar a atualidade da reflexão de Woolf sobre os desafios enfrentados pelas mulheres no mundo profissional e intelectual.

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Virginia Woolfs endagsroman Mrs Dalloway är en verklig klassiker. Men vad är det som gör den så bra? Karin Nykvist funderar över sin favorit. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Vad är det med Mrs Dalloway? Hur kommer det sig att jag bara måste återvända till henne gång på gång, år efter år, att jag tvingar alla mina studenter att läsa om henne och aldrig kan hålla litteraturvetarens förväntade distans utan bara måste förklara för alla som vill eller inte kan undgå att lyssna att hon finns i min absoluta favoritroman?Boken om henne handlar ju inte alls om något häpnadsväckande: en dam promenerar runt i London och ordnar en fest, samtidigt som en krigsveteran, skadad av första världskrigets skyttegravshelvete långsamt rör sig mot sitt självmord i samma stad. Och Mrs Dalloway är inte alls som jag – hoppas jag! Hon är snobbig, konservativ, dömande, arrogant – och inte helt lätt att tycka om. Trots att andra möjligheter fanns har hon valt det säkra livet och gift sig med en lagom ointressant man som gett henne en trygg position i samhällets societet. Själv broderar hon, handlar blommor, arrangerar fester och är – som hennes gamla kärlek Peter syrligt säger – en perfekt värdinna. Ytlig och lätt att glömma, med andra ord.Så varför gör jag inte det?Ja, grejen med Clarissa Dalloway är väl just att hon påminner mig om att den sorts människor som jag just beskrev faktiskt inte existerar: de ytliga, ointressanta, de som inte lämnar några spår. Vi bara tror att de finns. Virginia Woolfs mästerskap ligger i hur hon skriver fram den mänskliga erfarenheten, i all dess komplexitet. I Clarissa Dalloway får jag tillgång till en hel människa – på ett sätt som jag faktiskt inte kan få i verkliga livet. För porträttet av Clarissa tecknas inte bara genom hennes eget medvetande utan genom alla dem hon möter, de som känner henne väl och ser henne genom alla hennes tidigare, yngre versioner, och de som flyktigt korsar hennes väg på gatan.Virginia Woolf struntade blankt i sin samtids förväntningar på hur en roman skulle skrivas. I stället gjorde hon som Clarissa själv: kastade sig ut i den vackra Londonmorgonen och lät läsaren följa med i livet som ständigt pågår – överallt. Så byter romanen perspektiv utan förvarningar, från den promenerande Mrs Dalloway till hennes gamla pojkvän Peter Walsh – som just kommit tillbaka till London från att ganska mediokert ha tjänat det brittiska imperiet i Indien – till ungdomskärleken Sally Seton som blivit Lady och fembarnsmor, till butiksinnehavare, gatuförsäljare och nyfikna flanörer. Och så ger den perspektivet till den svårt sjuke Septimus Smith och hans förtvivlade fru Lucrezia, för att låta det gå tillbaka till Clarissa – och vidare igen. Hon tänker på dem alla och på sig själv – medan de i sin tur betraktar henne – och tänker på sig själva.Allt är relativt: tid, plats, minne, identitet – och människans sinnen och psykologi gör en objektiv upplevelse av världen omöjlig. ”Hon ville inte längre säga om någon människa i världen att hon eller han var det eller det [.…] ville inte säga om sig själv: jagär det eller det” tänker Clarissa. För dum är hon inte, hon vet: allt är i flux. Det enda vi verkligen har är ögonblicket, vårt här och nu. Berättelserna, före och efter-tankarna, den skenbara logiken skapar vi själva. Men det är ögonblicken vi minns, synintrycken, dofterna, ljuden, mötet med den andre.Ögonblick. Ordet återkommer genom romanen – i Eva Åsefeldts översättning hela femtiofyra gånger. För Woolf är det nämligen inte ett ord bland andra, inte en neutral beskrivning av en flyktig stund, utan centralt för hela hennes förståelse av livet. Hon kallar dem ”moments of being” – de ögonblick när livet plötsligt fylls av akut härvaro. De kommer sällan och oväntat. För Clarissa sker det till exempel när hon mitt på förmiddagen lägger av sig sin brosch i sitt sovrum. Woolf skriver att Clarissa: ”kastade sig […] ut i ögonblickets själva kärna, naglade fast det, där – ögonblicket denna förmiddag i juni som vilade under trycket av alla de andra förmiddagarna. Hon såg spegeln, toalettbordet och flaskorna som för första gången, samlade hela sitt jag till en enda punkt (med blicken mot spegeln), såg det späda rosa ansiktet hos den kvinna som samma kväll skulle hålla sin fest; Clarissa Dalloway, hon själv.”Ögonblick som dessa kan, som Runeberg skrev, ”bli hos oss evigt”. Som en annan morgon, mer än trettio år tidigare, när Sally plötsligt kysste henne på en terrass: ”det mest fulländade ögonblicket i hennes liv”.Clarissa återkommer ständigt till denna stund och till den hon var då. Då när alla dörrar till livet fortfarande stod öppna. Då, när hon gjorde slut med Peter Walsh – och kysste Sally. Sedan dess har livets dörrar stängts, en efter en. Har hon valt rätt? Var det rätt att tacka nej till allt det osäkra och otippade - och i stället bli fru Dalloway?Virginia Woolf hade hunnit bli fyrtio när hon skapade sin Clarissa. Hon bodde då tillfälligt i Richmond, där hon och hennes man Leonard hade startat Hogarth Press, mycket för att Virginia skulle ha något att göra – hon led sedan barndomen av bräcklig mental hälsa.Många läsare har funderat på hur mycket av författaren som finns i Mrs Dalloway. Det är lite roligt, för Woolf var knappast någon borgerlig societetsdam som gav fester för konservativa premiärministrar och andra noggrant utvalda medlemmar av societeten. Hon var ju bohem, ganska så fattig, gift med en socialist och uppslukad av konst och litteratur. Mrs Dalloway broderar – Virginia Woolf läste James Joyce. Mrs Dalloway planerar menyer – Virginia Woolf satte texten till T.S. Eliots ”Det öde landet” – som gavs ut som bok på paret Woolfs lilla förlag 1923, samtidigt som Virginia skrev på sin roman.Men jag förstår tanken - för visst finns likheterna där. Clarissa ser och noterar det mesta som har med samtidens sociala spel att göra. Men till skillnad från sin skapare Virginia väljer hon bara att spela med. Kanske är Clarissa Dalloway allt det som Woolf själv hade kunnat bli, om hon inte gjort uppror mot det viktorianska samhälle hennes samtid och stränga far uppfostrade henne till.Och det är väl just i det att vara människa i världen, bland andra människor, som jag och Clarissa – och för den delen Virginia Woolf – möts och är lika varandra. Upptagna med vardagens små planer, fasta i oss själva och våra sinnens och tankars begränsningar medan livet pågår och pågår – och plötsligt slår oss med sin storslagenhet, skönhet och korthet – i varats utsträckta ögonblick.Och alla har vi väl våra egna varianter av Sally Seton-kyssar där någonstans längst inne: minnen som vi vårdar och som kommer att försvinna med oss.En av litteraturens främsta egenskaper är att den får oss att känna igen människor vi aldrig mött. Jag känner igen Clarissa Dalloway – trots att hon är hundra år äldre än jag och bara ett stycke text, en uppfinning. För någonstans är det ju ändå så, att Clarissa Dalloway, ja, det är ju jag.Och du.Karin Nykvistlitteraturvetare och kritikerLitteraturVirginia Woolf: Mrs Dalloway. Översättning: Eva Åsefeldt. Albert Bonniers förlag, 2025.

1920-talets författare sörjde inte bara alla döda, utan främst att mänskligheten gått förlorad. Anna Thulin funderar över hur det påverkade romankonsten. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Först publicerad 2020-10-01. Texten är inläst av Sofia Strandberg.Hur mäter man förlusten av ett krig? I kroppar: tio miljoner döda, dubbelt så många sårade och skadade. I platser: ödelagda städer, brända landskap och skyttegravar som djupa, blödande sår. Men platser och kroppar rymmer inte allt. Kanske är det tomheten vi istället bör mäta: det outtalade, minnena som trycks undan och förtvinar, den ekande tystnaden efter de ofödda som aldrig blir till.Ja, första världskriget var ett oöverskådligt trauma för stora delar av världen, och så klart för Europa. Vi kan försöka föra räkenskap över synliga och osynliga förluster, men all sorg kommer ändå inte att rymmas. Ur askan reste sig dock något nytt, inte minst inom den europeiska romankonsten. På 1920-talet skrevs några av århundradets främsta böcker – romaner som Thomas Manns ”Bergtagen”, André Gides ”Falskmyntarna”, Virginia Woolfs ”Mrs Dalloway” och Herman Hesses ”Stäppvargen”. Skildringar av väldigt olika slag, men som har gemensamt att de försökte bearbeta krigets trauma och skildra författarens idéer om samhället och människan. Och trots att de är skrivna i 1900-talets början, har dåtidens romaner mer gemensamt med senare författare än vad man först kan tro.Thomas Mann har kallat människan för ”livets sorgebarn”. I så fall är 1920-talets romaner krigets sorgebarn, skriver journalisten och författaren Åke Lundqvist i sin bok med samma namn. Där skildrar han tiden före och under och efter första världskriget, och djupläser sju romaner från efterkrigstiden – romaner som alla söker ett ljus i mörkret. För hur kunde européerna, som stolt tänkt att de burit på humanitetens och förnuftets fana, falla ut i en sådan katastrof? Det måste vara idéerna det var fel på! Inte främst de politiska idéerna, tänkte författarna, utan de mänskliga grundvalarna.Ja, vad innebär det egentligen att vara människa? Känslan på 1920-talet var att allting stod i sönderfall. Nationer, ekonomi och gamla religiösa och vetenskapliga sanningar. Ingenting gick att lita på. Det gav en längtan tillbaka, efter något ursprungligt och meningsfullt. Man sökte sig till andra länder, till vetenskapen, till svunna civilisationer och inåt sig själv. Mann, Gide, Woolf och Hesse deltog inte i några strider och skrev inte uttryckligen om kriget. Men känslan av förlust var ett arv från kriget. Den vilade som en skugga över de överlevande.På samma sätt fortsätter skuggor att vila över oss. Det ger avtryck i litteraturen.Några böcker om första världskriget kom visserligen tidigt, under själva krigsåren, men det var först med Erich Maria Remarques roman ”På västfronten intet nytt”, från 1929, som genombrottet kom för krigslitteraturen. På samma sätt dröjde det innan andra världskrigets vittneslitteratur om Förintelsen nådde fram till läsarnas medvetande. Kanske tog det tid för publiken att mogna. Kanske för författarna att våga skriva, trygga från hot om våld och plötsliga försvinnanden.1920-talets europeiska författare upplevde inte samma hot, men riskerade att utsättas för censur för att de bröt mot konventioner. De sörjde inte i första hand de miljontals liv som gått till spillo under första världskriget – utan att mänskligheten som helhet gått förlorad. Åke Lundqvist uttrycker det fint i sin bok: ”Samhälleliga andliga värden har dödligt skadats i kriget. Men det ljus som brinner i människan är intakt. Dess förmåga att påverka världens gång må vara oviss. Dock finns den där, som en motkraft. Detta är kärnan i den andliga tro som tjugotalets europeiska idéromaner förmedlar.”Det andliga inuti oss själva. Människan istället för gud. Ja, vi lever fortfarande – eller på nytt – i ett famlande efter andliga värden. Den nya världen har visats sig vara mer globaliserad och sammanknuten än någonsin tidigare, och samtidigt mer fragmenterad och upplöst för individen. Inte underligt att man kan känna sig som Clarissa i Virginia Woolfs ”Mrs Dalloway”, där hon går genom staden, totalt uppslukad och förundrad över alla intryck som möter henne – för att i nästa sekund falla ned i modlöst mörker. Livslusten och meningslösheten lever tätt sida vid sida. För att hitta en plats i samtiden dyker man in i sig själv och lägger ihop skärvor av minnen så att man förstår något om världen.Att dyka ned i sig själv och pussla ihop minnen för att förstå sin samtid…. Visst låter det som en annan litterär genre? Jag tänker såklart på autofiktionen, och undrar om inte vågen av självframställningar har en del gemensamt med förra sekelskiftets litteratur. 1920-talets författare upplevde att de förlorat den gamla sanningen om världen, ja, hela den gamla världen dog i första världskriget. Själva försöker vi navigera mellan falska nyheter, företagens storytelling och sociala mediers polerade yta. Vad är autentiskt när sanningen blivit fiktion? Och vad ska egentligen en roman vara, när allt vi omgärdas av är berättelser?Det är svårt att peka ut vad som är nytt, särskilt som man är mitt uppe i ett skeende, säger den norska litteraturprofessorn Toril Moi i en föreläsning om Karl Ove Knausgård på Lunds Universitet 2019. Men hon pekar på förlusten av sanningen som en avgörande drivkraft för autofiktionens pionjärer, från Annie Ernaux till Knausgård: ”Liksom alla stora konstnärliga rörelser tar också den här upp något oroande i vår kultur, nämligen den ökande produktionen av fiktioner, som nu hotar att drunkna oss i det falska, det oäkta och det overkliga.” Genom att skala av lagren av fiktion vill författarna blottlägga sanningen. Inte den torrt objektiva sanningen, utan den mänskliga och meningsskapande. Inte helt olikt vad 1920-talets författare strävade efter.Det sägs att krigets första offer är sanningen. Men exakt hur mäter man förlusten av ett krig? Den går inte att mäta, är det enkla svaret. Varken i kroppar eller platser eller tomhet. Många av oss som själva förskonats hör ekot av släktingar som överlevde eller som inte gjorde det. Soldater som återvände; eller inte gjorde det. Återigen sover många av oss med någon som vaknar upp i ett skrik mitt i natten när minnena tränger sig på. Att dö är inte svårt, nej, att leva är det svåra. Kanske, i bästa fall, kan litteraturen visa oss en väg.Text: Anna Thulin, journalistTal: Sofia StrandbergLäsning och lyssningÅke Lundqvist: ”Krigets sorgebarn: Om 1920-talets europeiska idéromaner”, Carlssons bokförlag, 2018.”Knausgård: In Search of a New Form” av Toril Moi, föreläsning på Lunds universitet 2019.

The Dolphins have had a rocky start to 2025, recording four wins and six losses to open the season. However, the team remains confident they can finish strong. Dolphins coach, Kristian Woolf, told Peter Psaltis on Wide World of Sports, "I think if you look at the course of the season, particularly from where we started, we've shown that we're improving." "You can see that we're really heading in the right direction there, and now that doesn't give you success every week." "But as long as we can see that improvement, then I know where we're going to end up," Mr Woolf continued. See omnystudio.com/listener for privacy information.

In this fiery episode of Food Rebels, AJ Sharp chats with the brilliant Dominique Woolf – musician, writer, and founder of The Woolf's Kitchen – about how she turned a lockdown kitchen experiment into a nationwide chilli oil sensation. Dominique shares her inspiring journey from stay-at-home mum to award-winning food entrepreneur, opening up about her Thai heritage, the challenges of launching a brand from scratch, and the joy of discovering purpose and creativity through food. Plus, she reveals a few (very cool) things you definitely won't find in her press bio…

Stuart Woolf, among California's largest farmers and Executive Chairman of Woolf Farming Company, has a vision for the heart of California's Great Central Valley. And agave, the hearty cousin of the tasty asparagus plant, is central to that vision. We talk of Stuart's interesting journey, his family's regenerative practices and his fascination with and enthusiasm for agave's resilience in a drying valley and its distilled spirits that could create a whole new industry in the Golden State. 

Who are the most symbolic mid 20th century American Jews? In Eminent Jews, New Yorker staff writer David Denby tells the remarkable stories of Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer. He explains how each embodied a new Jewish confidence after WWII, contrasting with earlier generations' restraint. Each figure pushed boundaries in their own way - Bernstein through his musical versatility, Brooks through his boundary-pushing humor about Jewish experiences, Friedan through her feminist theories, and Mailer through his provocative writing style. Five key takeaways * Post-WWII Jewish Americans displayed a newfound confidence and willingness to stand out publicly, unlike previous generations who were more cautious about drawing attention to their Jewishness.* The four figures in Denby's book (Bernstein, Brooks, Friedan, and Mailer) each embraced their Jewish identity differently, while becoming prominent in American culture in their respective fields.* Mel Brooks used humor, particularly about Jewish experiences and historical trauma, as both a defense mechanism and a way to assert Jewish presence and resilience.* Each figure pushed against the restraint of previous Jewish generations - Bernstein through his expressive conducting and openness about his complex sexuality, Friedan through her feminist activism, and Mailer through his aggressive literary style.* Rejecting the notion that a Jewish "golden age" has ended, Denby believes that despite current challenges including campus anti-Semitism, American Jews continue to thrive and excel disproportionately to their population size.David Denby is a staff writer at The New Yorker. He served as a film critic for the magazine from 1998 to 2014. His first article for The New Yorker, “Does Homer Have Legs?,” published in 1993, grew into a book, “Great Books: My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World,” about reading the literary canon at Columbia University. His other subjects for the magazine have included the Scottish Enlightenment, the writers Susan Sontag and James Agee, and the movie directors Clint Eastwood and the Coen brothers. In 1991, he received a National Magazine Award for three of his articles on high-end audio. Before joining The New Yorker, he was the film critic at New York magazine for twenty years; his writing has also appeared in The Atlantic, The New York Review of Books, and The New Republic. He is the editor of “Awake in the Dark: An Anthology of Film Criticism, 1915 to the Present” and the author of “American Sucker”; “Snark”; “Do the Movies Have a Future?,” a collection that includes his film criticism from the magazine; and “Lit Up,” a study of high-school English teaching. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Tony Squires is joined by Nathan Hindmarsh, Wade Graham, and Michael Chammas on Triple M Saturday Scrum as they put their heads together to discuss the weekend of footy so far. The boys break down the altercation between Spencer Leniu and Johnathan Thurston, the wins for the Roosters and the Dragons and where to new for the possibly new expansion team in Perth? We were also joined by Dolphins coach Kristian Woolf and Dragons newcomer Dylan Egan. Plus Believe It Or Not returns, Tony’s Quiz, and the team talk about if Penrith's season is done.See omnystudio.com/listener for privacy information.

Tony Squires is joined by Nathan Hindmarsh, Wade Graham, and Michael Chammas on Triple M Saturday Scrum as they put their heads together to discuss the weekend of footy so far. The boys break down the altercation between Spencer Leniu and Johnathan Thurston, the wins for the Roosters and the Dragons and where to new for the possibly new expansion team in Perth? We were also joined by Dolphins coach Kristian Woolf and Dragons newcomer Dylan Egan. Plus Believe It Or Not returns, Tony’s Quiz, and the team talk about if Penrith's season is done.See omnystudio.com/listener for privacy information.

This week, a sampling of Ozark original stringbands recorded live at the Ozark Folk Center State Park's 2024 Stringband festival held annually in Mountain View, Arkansas. Each Fall, the Ozark Folk Center State Park holds its annual Stringband Festival featuring internationally touring musicians as well as local stringbands. In 2024, the headliners were The Lonesome Ace Stringband from Toronto and Dirk & Amelia Powell from Louisiana. Both these internationally touring acts were featured recently on Ozark Highlands Radio. In this episode, we'll spotlight the authentic local Ozark stringbands that round out our festival. Featured are Lillyanne McCool & Ozark Legacy, The Creek Rocks, Bug Shuffle, The Riggsville Ramblers, and Salem Plateau. Lillyanne McCool & Ozark Legacy is a five piece string band that straddles the line between oldtime and bluegrass musics. Led by award winning banjo virtuoso Lillyanne McCool, Ozark legacy is based in Mountain View, Arkansas. Joined by her brother Jared on mandolin and her mother Crystal on upright bass, Lillyanne has grown up on the Ozark Folk Center stage. Esther Exley joins in on fiddle and Emalee Flatness-Combs brings the guitar. The Creek Rocks from Springfield, Missouri are Cindy Woolf and Mark Bilyeu. Cindy Woolf was raised in Batesville, Arkansas along the southern foothills of the Ozarks Mountain region. Mark Bilyeu hails from Springfield, located atop the Ozarks Plateau. They began their musical collaboration in 2003 with Mark at the helm for Woolf's debut CD “Simple and Few.” They married in 2013 and have endeavored together on a mission to breath new life into traditional Ozark folk songs, a mission that's carried them all the way to the Smithsonian Folklife Festival! Bug Shuffle is a traditional oldtime stringband trio based in Mountain View, Arkansas. The band consists of husband and wife Scott & Shay Pool and our very own Dave Smith, the host of Ozark Highlands Radio. Shay Pool is an oldtime fiddle contest champion and educator in the Ozark Folk Center's Music Roots program. Scott is a renowned guitar accompanist and talented luthier. Together, they own and operate Mountain View Music, an old fashioned retail music store and local landmark. The Riggsville Ramblers are another Mountain View fixture. This four piece Ozark original stringband can be heard regularly in the craft grounds at the Ozark Folk Center State Park. The Ramblers are husband and wife Jenny & Tom Sartain on banjo and guitar, Joe Roe on fiddle, and Carl Adkins on resonator guitar. With a sound plucked right out of the 19th century, the Riggsville Ramblers will have your toes tapping and your hands clapping. Salem Plateau is an oldtime husband and wife duo made up of five time Arkansas CMA winner Grace Stormont-McCarthy and multi-instrumentalist Joseph McCarthy. With a penchant and a voice for ancient ballads, Grace grew up on the Ozark Folk Center stage singing and playing everything from upright bass to guitar and banjo to fiddle. Not only a talented multi-instrumentalist, Joseph McCarthy is a human encyclopedia of knowledge when it comes to traditional Ozark music. In this week's “From the Vault” segment, OHR producer Jeff Glover offers an archival recording of Ozark original stringband Squirrel Heads in Gravy performing a medley of “My Own House Waltz and Come on with Dinah,” from the Ozark Folk Center State Park archives. In this week's guest host segment, renowned traditional folk musician, writer, and step dancer Aubrey Atwater discusses the folk song Lazy John.

In this episode of Sunday Sin Bin, the team kicks things off with a big discussion about the Tigers sitting second on the ladder! We talk the possibility of DCE moving to the Dolphins, and the young star from the Titans, Keano Kini, joins to share his insights. ARLC Chairman Peter V’Landys makes a fiery appearance, taking aim at the AFL, while Dobbo and James Graham go head-to-head in a debate about what it really means to be a fan. The team then explores whether Penrith’s recent victory over the Storm was a psychological win, and discusses the looming "Wayne Bennett curse"—is Woolf already under pressure?See omnystudio.com/listener for privacy information.

In this episode of Sunday Sin Bin, the team kicks things off with a big discussion about the Tigers sitting second on the ladder! We talk the possibility of DCE moving to the Dolphins, and the young star from the Titans, Keano Kini, joins to share his insights. ARLC Chairman Peter V’Landys makes a fiery appearance, taking aim at the AFL, while Dobbo and James Graham go head-to-head in a debate about what it really means to be a fan. The team then explores whether Penrith’s recent victory over the Storm was a psychological win, and discusses the looming "Wayne Bennett curse"—is Woolf already under pressure?See omnystudio.com/listener for privacy information.

En este episodio de La Biblioteca Personal, nos sumergimos en la vida fascinante y el legado inmortal de Virginia Woolf, una de las voces más innovadoras e influyentes de la literatura del siglo XX. Exploramos su universo literario a través de sus obras más emblemáticas—Al faro, Una habitación propia, Mrs. Dalloway, Orlando y sus íntimos diarios—para comprender cómo revolucionó la narrativa y expandió los límites de la literatura y el pensamiento feminista. Woolf no solo transformó la forma en que contamos historias, sino que también cuestionó las estructuras de poder y género que aún hoy nos afectan. En un mundo donde las conversaciones sobre igualdad, identidad y la representación de las mujeres en la literatura siguen siendo urgentes, su obra continúa iluminando caminos y ofreciendo respuestas. ¿Por qué sigue hablándonos con tanta claridad, casi un siglo después? Descúbrelo en este episodio, donde desentrañamos su genio y su vigencia inquebrantable.

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Izabella Lily - Fields of Green FOLLOW ON SPOTIFYYayee x Jan Francis - You Are The One FOLLOW ON SPOTIFYFINICK - Yes I Do FOLLOW ON SPOTIFYHeather Hill - Love FOLLOW ON SPOTIFYSierra Bell - Stupid FOLLOW ON SPOTIFYNatalie Clark - HERE FOLLOW ON SPOTIFYCC Sanders - Unwritten FOLLOW ON SPOTIFYArden Woolf - Fever Dream FOLLOW ON SPOTIFYSoundThing - Mundane World FOLLOW ON SPOTIFYDead Dave - Oh My Friend FOLLOW ON SPOTIFY Bitty - Mango FOLLOW ON SPOTIFYRay Duncan - Used To It FOLLOW ON SPOTIFYRita Mercury - Liberating Rhythm FOLLOW ON SPOTIFYPOPSPHERE - Shine Like A Star (Original) FOLLOW ON SPOTIFYEmilie Thorsby - Darkest Night FOLLOW ON SPOTIFYFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Profitable Musician Newsletter at profitablemusician.com/joinVisit our Sponsor Kick Bookkeeping at http://profitablemusician.com/kickVisit our Sponsor Track Stage at https://profitablemusician.com/trackstageVisit our Sponsor 39 Streams of Income at profitablemusician.com/incomeVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resourcesBecome more Profitable in just 3 minutes per day. http://profitablemusician.com/join

Sarah Woolf, a California Ag and Water icon, joins Darcy and Darcy and discusses Water Wise - a water management company for farmers in the central San Joaquin Valley, the Change Coalition, the San Joaquin Blueprint, the San Joaquin Valley Water Collaborative Action Program, and family farming – just to name a few!Sarah shares her perspective on California water and agriculture, how it has changed, and where it may be going over the next decade or two.  What was clear, was there is so much more to talk about!  Darcy & Darcy can't wait to have her back! Sarah is truly a W.O.W. – a Woman of WATER! This is a conversation you can't miss! To learn more about Sarah's consulting firm, Water Wise, visit, www.WaterWise.AgSend us a textWe Grow California Podcast is paid for by the Exchange Contractors Federal PAC and Exchange Contractors State PAC and is not authorized by any candidate or candidate committee.

From To The Lighthouse to Mrs Dalloway, the writing of Virginia Woolf shook up literary norms and challenged societal ideas about what it meant to be a woman. In this 'life of the week' episode, Francesca Wade discusses the impact of Woolf's work, and the key moments of her life – from her late-night soirées with the Bloomsbury Group and love affair with Vita Sackville-West, to her long struggles with her mental health. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send us a textIn this episode of Greetings from the Garden State, powered by the New Jersey Lottery, host Mike Ham sits down with Emerson Woolf, the frontwoman of Emerson Woolf and the Wishbones. Broadcasting from Radio Garden State HQ in Bloomfield, NJ (a.k.a. one corner of the Spaghetti Triangle), they dive into Emerson's musical journey, the formation of The Wishbones, and what's next for the rising band.From her early days writing songs in Maine to discovering the vibrant Asbury Park music scene, Emerson shares how she found her way to New Jersey and built a band that's been making waves in the local and indie music communities.What You'll Hear in This Episode:

Jean Mills, Associate Professor and chairperson in the English Dept. at John Jay College, and Ria Banerjee, Professor of English and Honors Program Coordinator at Guttman Community College and the Graduate Center, discuss Dr. Banerjee's book Drafty Houses in Forster, Eliot, and Woolf: Spatiality and Cultural Politics and related topics. Visit IndoorVoicesPodcast.com for more.

In Part 2, Amy continues the discussion on Virginia Woolf'sMrs. Dalloway, delving deeper into its rich themes and contemporary relevance. She explores how the novel's portrayal of mental health, independence, and societal roles still resonates today. This episode highlights films that complementMrs. Dalloway—perfect for the movie lovers in our community!Tune in for an insightful conversation bridging classic literature and modern perspectives.Key Points:Introduction to Mrs. Dalloway: Amy shares her journey of choosing "Mrs. Dalloway" for her grad school thesis project, underlining its timeless insights into mental health and identity.Symbolism of Flowers: The significance of Clarissa Dalloway's choice to buy flowers herself is discussed, symbolizing independence, personal identity, and class dynamics.The Relevance of Themes: Themes from "Mrs. Dalloway" such as societal roles, life and death, class, and routine are examined in depth, showcasing their enduring relevance.The "The Hours" Connection: The episode draws parallels between "Mrs. Dalloway" and the film "The Hours," enhancing the understanding of Woolf's complex themes through modern storytelling.Spotlight on Modern Characters: Amy highlights the intertwined storylines of "The Hours," involving Virginia Woolf, Laura Brown, and Clarissa Vaughan, emphasizing the continuity of struggles with identity and societal roles.Mental Health Narratives: Virginia Woolf's own mental health struggles are explored, connecting her reality to her fictional creations and their significance in contemporary discussions about mental health.Encouragement for Exploration: Amy invites listeners to delve into both the novel and the film, offering a richer comprehension of the enduring challenges related to identity and society.Personal Growth Reflection: The episode blends the discussion of literature with Amy's own experiences, drawing on themes of recovery, spirituality, and personal transformation.Hosted by Amy Liz-HarrisonBuy Amy's Books: https://amzn.to/3ys8nuvhttp://amylizharrison.com/Subscribe on Apple Podcasts: https://apple.co/3Lgxy8FSubscribe on Spotify: https://spoti.fi/3vHHHoi#EternallyAmy #MrsDalloway #VirginiaWoolf #MentalHealth #PersonalGrowth #Independence #Identity #Society #ClassDynamics #TheHours #ExploringLiterature #PersonalTransformation #RecoveryJourney

This week, we are back to Hitchcock's silent era for the first time in months, with the long-awaited 1927 thriller, The Lodger: A Story of the London Fog. It's the story of a mysterious tenant at a family-run inn, who may or may not be an at-large serial killer. The film launched Alfred Hitchcock's career. ***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes. Details: A Gainsborough Picture released on February 14, 1927. Produced by Michael Balcon, Carlyle Blackwell, and C. M. Woolf. Screenplay by Eliot Stannard, based on the 1913 novel by Marie Belloc Lowndes. Starring Ivor Novello, Marie Ault, Arthur Chesney, June Tripp, and Malcolm Keen. Cinematography by Gaetano di Ventimiglia. Ranking: 24 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines The Lodger got 1,693 ranking points.

In today's episode, we explore the ripple effect of macro counting with Anna, a MACROS 101 alumna whose story highlights how this journey extends beyond nutrition and fitness. Anna shares how macro counting helped her rediscover herself after feeling lost in her identity post-motherhood. Through MACROS 101, Anna learned to approach her goals with kindness, intention, and empowerment. She discusses overcoming people-pleasing tendencies, trusting her body, and creating sustainable, lasting habits that fit her lifestyle. If you've ever struggled with saying no, maintaining an identity outside of motherhood, or finding long-term solutions, Anna's inspiring journey offers hope and actionable insights. Tune in to hear how transformation is possible when you shift from quick fixes to sustainable habits.Find show notes at bicepsafterbabies.com/357Follow me on Instagram and Tiktok!Links:bicepsafterbabies.com/waitlist

Sam Woolf creates a foreboding atmosphere in this disturbing mystery with strong Christie vibes. Host Jo Reed and AudioFile's Robin Whitten discuss this newest story from Ragnar Jónasson set in Iceland in 1952, 1983, and 2012. Listeners enter a tuberculosis sanatorium repurposed from the 1940-50s and meet likable Helgi, who is reopening an investigation into earlier unsolved murders. Woolf maintains a consistent atmosphere of dread while flawlessly segueing from ordinary to terrifying situations. Audio is ideal for the slowly unfolding police procedural and its abrupt, disturbing conclusion. Read our review of the audiobook at our website. Published by Macmillan Audio.  Discover thousands of audiobook reviews and more at AudioFile's website.       Learn more about your ad choices. Visit megaphone.fm/adchoices

From the archive: This episode was originally recorded and published in 2021. Our interviews on Entrepreneurs On Fire are meant to be evergreen, and we do our best to confirm that all offers and URL's in these archive episodes are still relevant. After 20 years in the corporate world, just over a year ago in perhaps the most unlikely time, Samantha Woolf and Hilla Narov took the leap and founded their own marketing & entertainment agency. Not only do they make authentic connections between brands and talent, but they have a unique instinct for what's next and what's newsworthy that allows them to put their clients at the center of pop culture moments. Top 3 Value Bombs 1. Nice guys do get ahead in the end. 2. Part of every success is learning along the way. 3. You have to understand who your consumers are and ensure that you put the right face out there that will resonate. Follow Official Partner Agency on Instagram - Official Partner Agency's Instagram Sponsors HubSpot Breeze is HubSpot's collection of AI tools that helps you turn one piece of content into a whole suite of assets. Visit HubSpot.com/marketers to learn more LastPass The most accessible and easy-to-use password manager on the planet! Visit LastPass.com/fire for a free trial and get started today