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Nous connaissons tous cette sensation frustrante et parfois horrible de laisser s'échapper un rêve, de ne pouvoir attraper ce souvenir irréel qui nous glisse entre les doigts. Plus nous nous y attachons et plus les détails disparaissent, nous abandonnant, fragiles.
Mercredi Creepy est un podcast créé par Malo, l’aventurière des cauchemars, et Kepa, l’observateur de l’ombre. Ils proposent des histoires d’horreur inédites, écrites et contées par leurs soins, inspirées de leur imagination, de leur entourage proche et des vies des auditeurs.
Les épisodes sont publiés chaque mercredi à 19h, et peuvent être écoutés sur les plateformes Spotify et YouTube, ainsi que sur le site web du podcast. Les récits tentent de se souvenir de rêves échappés, de moments de frayeur et d’incertitude, pour offrir une expérience sonore horrifique et immersive.
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MERCREDI CREEPY | 2022 - 2024 MALO ET KEPA | TOUS DROITS RÉSERVÉS LES OEUVRES PRÉSENTÉES SONT DES ORIGINALES. MERCI DE NOUS CONTACTER EN CAS DE DEMANDE DE RÉUTILISATION
Suis nous et abonne toi pour plus de contenus à https://plus.acast.com/s/mercredicreepy.
Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
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Einmal im Monat taucht Moderatorin Sarah Christen in die verschiedensten literarischen Wunderwelten ein. Mit ihren Gästen, den Expert*innen von Orell Füssli, bespricht sie unterschiedlichste Themen und reflektiert diese anhand von diversen Büchern und Genres.
Warum sind uns Leser:innen gewisse Figuren sympathisch, auch wenn sie ganz anders sind als wir? Was für eine Faszination üben Fabelwesen auf die Leser*innen aus? Wer denkt sich eigentlich alle diese wunderbaren und fantastischen Welten aus? Und warum funktioniert die alte Geschichte von Liebe und Hass bis heute?
«Über den Bücherrand»: Zu verschiedenen Themen schaut Sarah mit den Orell Füssli Expert*innen in Bücher hinein und auch über den Bücherrand hinaus. Zu hören auf Apple Podcasts, Spotify und orellfuessli.ch -
A fantasy book podcast for the tragically mortal. Join hosts Dina, Rachel, and Will as we recap magical adventures, dissect sultry romances, and root for — or laugh at — our lightly traumatized protagonists. What we lack in literary insight we make up for in hearty lols and complete indifference to action sequences.
Follow us on Tiktok/Instagram: @faewatchpod
Questions, comments and unadulterated praise highly encouraged: [email protected]
www.faewatchpodcast.com -
Join us as we explore the lost generation and their search for meaning in a world shattered by war. The Sun Also Rises, by Ernest Hemingway, is a timeless masterpiece that takes us on a journey from the streets of Paris to the bullfighting arenas of Spain. Through Hemingway's iconic prose, we witness the struggles of a generation as they navigate the complexities of love, loss, and the search for identity. Subscribe now and immerse yourself in this timeless work of literature, a defining moment in American writing. Don't miss a beat, hit the subscribe button today.
https://www.solgood.org - Check out our Streaming Service for our full collection of audiobooks, podcasts, short stories, & 10 hour sounds for sleep and relaxation at our website
Ernest Hemingway, American literature, modernism, expatriate culture, disillusionment, masculinity, identity, love, relationships, social commentary, literary style, literary legacy, literary analysis, literary adaptation, literary criticism, 20th century literature, American culture, societal norms, lost generation, cultural influence, war, bullfighting, personal growth, character development, psychological analysis -
Come explore the dizzying space opera of Iain M. Banks' culture novels. Buy a book and then read along with us as we explore them chapter by chapter!
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Wir werden erschlagen von einer Flut an Neuerscheinungen. Niemand ist in der Lage, sie alle zu lesen. Wir pflegen unsere Lieblingsautoren/innen, folgen unserer Neugier und Empfehlungen, sind von manchem Buch enttäuscht, andere wiederum wünschen wir viele Leser. Dieser Podcast widmet sich den vergessenen Bücher und den Neuerscheinungen, die in den Regalen der Buchhandlungen verstauben. Jeden Mittwoch von nun an eine Autorin oder ein Autor. Die Welt der Literatur wächst mit jedem Jahr. Also schauen sie mir über die Schultern, vielleicht ist ja etwas für sie dabei.
www.wolfgangfranssen.de -
Explore the timeless tragedy of "Hamlet" in this riveting podcast. Delve into the complexities of Shakespeare's iconic characters, the gripping plot of revenge, and the profound themes of madness, betrayal, and mortality. Whether you're a literature enthusiast or new to Shakespeare, this podcast offers deep insights and engaging discussions that bring "Hamlet" to life like never before.
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Mary Anne Mohanraj and Benjamin Rosenbaum planned an epic Summer 2020 US Road Trip to publicize their new books. Now it’s coronapocalypse time, and that road trip is going to have to be a podcast. Join two old friends as they talk about science fiction, community, the writing life, teaching, parenting, and a whole lot more. Does Ben really think you should let your kids touch the stove, and did he really burn his son's homework? Why did he write a novel with no men or women in it? What exactly did a young Mary Anne do to appall her aunts in college, and how did it lead circuitously to her founding science fiction's longest-running webzine? Mohanraj and Rosenbaum… Are Humans? Yes, yes they are.
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Walt Whitman has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of Northanger Abbey, its completeness, finish, and entrain, obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty. Persuasion, relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of Mansfield Park is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x} wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it. Sense and Sensibility has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between Emma and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for Emma. It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for Pride and Prejudice unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi} this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a coup de théâtre; it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of Emma, but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon Pride and Prejudice; and I dare say that,{xii} if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put Pride and Prejudice far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii} time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the Spectator, who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another Spectator letter—that of the damsel of fourteen who{xiv} wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your Spectators mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv} painter. To make this latter obser
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Sci-fi and fantasy audio drama from the Wireless Theatre Ltd. Also look out for our award winning series 'Red Moon' and 'The Springheel Saga' at wirelesstheatrecompany.co.uk.
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Le chef d’œuvre officiel qui leur tombe des mains ? L’écrivain avec lequel ils aimeraient passer une soirée ? Le livre qui les réconcilie avec l’existence ?... Pour Le Monde, en partenariat avec le Salon du livre du Mans "Faites Lire", 6 auteurs se prêtent au jeu du "Keskili", une sorte de questionnaire de Proust élaboré par Le Monde des Livres pour découvrir leur rapport à la littérature et à la lecture. A partir du 15 octobre, retrouvez tour à tour Olivier Adam, Augustin Trapenard, Ananda Devi, Jean-Baptiste Del Amo, Jakuta Alikavazovic et Thomas Reverdy. Un podcast diffusé tous les vendredi sur Le Monde.fr et sur toutes les plateformes d'écoute.
Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d’informations. -
Murder and madness, witches and war: Macbeth, perhaps Shakespeare's best known tragedy. Macbeth, a general in King Duncan's army, is given a prophecy by a trio of witches: he himself will become king. Fired by ambition and goaded by his ruthless wife, he murders Duncan and assumes the throne. More killings follow as Macbeth attempts to retain his crown, until he discovers that prophecies are not always what they seem.
View our full collection of podcasts at our website: https://www.solgoodmedia.com or YouTube channel: www.solgood.org/subscribe
This is a Librivox Recording. All Librivox recordings are in the public domain. -
Bienvenue sur le podcast de Paroles de Plumes par Marie F Florie, le podcast de conseils et motivations en écriture et communication.
Je m'appelle Marie, je suis rédactrice web, chargée de communication et autrice et via Paroles de Plumes, je veux lier ma passion pour l'écriture avec mes compétences en communication.
Conseils, témoignages, interviews, bonne humeur, retrouve tous mes conseils pour t'aider à progresser dans l'écriture de ton roman et ainsi atteindre tes objectifs livresques.
Retrouve moi sur instagram : @parolesdeplumes
Par Marie F Florie -
In unserem Podcast »Dichtung & Wahrheit« spricht Annika von Taube mit Autorinnen und Autoren der Verlage Suhrkamp und Insel über das, was nicht zwischen zwei Buchdeckel passt: von ihrer Arbeit mit Texten bis zum Leben fernab der Literatur. Sie haben Kritik, Anregungen oder Wünsche? Dann schreiben Sie uns gerne eine Mail an [email protected].
Hosted on Acast. See acast.com/privacy for more information.
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Hallihallöchen an meine lieben Dramione-Fans und die, die es noch werden wollen! Willkommen zur Vertonung der Fanfiktion "Draco Malfoy und die demütigende Tortur des Verliebt-Seins"!Die Fanfiction ist ursprünglich aus dem Englisch von Isthisselfcare und wurde von meiner liebsten Daedalean ins Deutsche übersetzt.Ich lese euch hier die Dramione-Harry Potter- Fanfiction Kapitel für Kapitel vor und hoffe, ihr habt ganz viel Spaß ^^ Weitere Features: Schließe ein Abo ab: https://anchor.fm/mrscowly/sub
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Art History student Clara Torres disappears while working on her thesis about Ursula Blum, a avant-garde painter from the 20th century. Five years later, journalist Emma Clark decides to travel to Switzerland to continue Clara's investigation and narrate in a podcast what she discovers about the mystery surrounding both women.
Blum is an audio drama produced by El Extraordinario, created, written, and directed by Carmen Pacheco and Manuel Bartual.
Starring Charlotte Vega, Joe Manjón, Nikki García and Natalia Tena.
For more information, visit: myswitzerland.com/BLUM -
Wie sieht die Zukunft der Literatur aus?
Hoffentlich solidarisch!
Diskutiert wird über das Wort "Solidarität" wieder und wieder. Doch was genau bedeutet es und wie können wir wahre Solidarität leben?
In diesem Podcast-Experiment sprechen wir mit verschienden Gäst*innen aus dem Literatur- & Kulturbertrieb über ihre Erfahrungen und schaffen einen Raum für literarische und gesellschaftliche Utopien. -
Dareenside waa podcast soo gudbiya sheekooyin xiiso leh oo taxane ah, mawduucyo qiimo leh oo si qotodheer aynu u lafa-gurno, dhacdooyin taariikheed.
Waxaad ka dhagaysan kartaa dhammaan madalaha Podcast-yada sida Google podcast, apple podcast, Spotify, Pocket Cast, Cast box, podtail, Amazon music, Samsung music iwm.
Nagala soco baraha bulshada sida:
YouTube: https://youtube.com/@DareensidePodcast?si=5Fo
Instagram: https://instagram.com/dareen_side_
Telegram: https://t.me/Dareen_side
TikTok: https://www.tiktok.com/@dareen_side_?_t=8bmg
Hosted on Acast. See acast.com/privacy for more information.
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A Podcast about the Art of the Possible. Hosted by Frank, a Brazilian Historian (@FrankGothic), and Leon, Dutch social scientist (@LaboringLeon). In which we look at Literature (The Left Page) and Media (Here Be Media) through a socio-historical & Utopian lens!
Find more of our work and projects at https://linktr.ee/leftpagehbm
Hosted on Acast. See acast.com/privacy for more information.
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Children's book publishing’s secrets are revealed as we listen in on fascinating, unguarded, insider discussion from two uniquely qualified best friends: award-winning author/illustrator Grace Lin, and one of NYC’s top editors, Alvina Ling. Go behind the scenes of kid lit and catch a glimpse of the lives of the best-selling author and editor, and the relationship between them.
