Fictie – Zwitserland – Nieuwe podcasts
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Welcome to GSMC Classics: The Globe Theater, your gateway to the captivating world of classic radio drama. Step back in time and immerse yourself in the enchanting realm of vintage entertainment, where storytelling reigns supreme and imagination knows no bounds.
Relive the glory days of radio with our rebroadcast of The Globe Theater, a timeless treasure that graced the airwaves from 1944 to 1945. Hosted by the charismatic Herbert Marshall, this iconic show transported listeners to the heart of theatrical excellence, offering enchanting performances of beloved plays that captivated audiences far and wide.
At GSMC Classics, we pride ourselves on curating the finest selection of classic radio broadcasts, bringing you a diverse array of genres including dramas, comedies, mysteries, and theatrical presentations from a bygone era. Whether you're a seasoned aficionado or a newcomer to the world of vintage radio, our show promises to delight and inspire, offering a nostalgic escape into the past.
Join us on a journey through time as we revisit some of the greatest moments in radio history. From Shakespearean masterpieces to thrilling mysteries and heartwarming comedies, each episode of GSMC Classics: The Globe Theater is a testament to the enduring power of storytelling and the magic of the spoken word.
Available on YouTube, Apple Podcasts, JioSaavn, and Deezer, our show is accessible to listeners around the globe, ensuring that the legacy of The Globe Theater lives on in the digital age. Whether you prefer to stream our episodes on your favorite platform or download them for offline enjoyment, we make it easy to experience the nostalgia and charm of classic radio whenever and wherever you please.
So why wait? Tune in to GSMC Classics: The Globe Theater and embark on a voyage of discovery through the annals of radio history. Let your imagination take flight as we transport you to a world where anything is possible and the thrill of storytelling knows no bounds. Rediscover the magic of classic radio drama with us today!
The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate, and give you a glimpse into the past. -
In "Pride and Prejudice," Jane Austen creates a timeless love story while satirizing the social norms and class distinctions of her time. This podcast dissects the dynamic relationship between Elizabeth Bennet and Mr. Darcy, and the social commentary on wealth, pride, and societal expectations embedded in this classic novel.
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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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We lift up stories about a more sustainable and just world and talk about the struggle to get there. To build better futures, we need to imagine them first.
brightgreenfutures.substack.com -
Neuengland während des US-Bürgerkriegs: Wir begleiten die vier Schwestern Meg, Jo, Beth und Amy beim Erwachsenwerden. "Kleine Frauen" von Louisa May Alcott, gelesen von Regina Münch.
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Your opinions matter here, let’s bitch and moan and laugh together here. Your opinions are respected.
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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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L'actualité de La Roue du Temps en un podcast !
Communauté de passionnés de l'œuvre majeure de Robert Jordan, La Pierre de Tear suis de près l'actualité de La Roue du Temps, nous nous intéressons aussi au Cosmère de Brandon Sanderson qui a été le continuateur de Jordan et a écrit les trois derniers volumes de la saga.
Ici, vous trouverez les versions podcasts de nos lives twitch mais aussi des émissions dédiés.
Rejoignez notre communauté toujours grandissante sur notre discord : https://discord.gg/hpgkHBVSA7
Et suivre nos lives ici : https://www.twitch.tv/pierredetear -
Using Dropout's newest TTRPG - Never Stop Blowing Up - this loving parody pits a group of Hallmark Heroes against an army of international terrorists for hire! A big city girl returns to her small town after her mother passes away, bumping into her oldest friend and a handsome chestnut farmer from her past. Tensions rise as her celebrity boyfriend shows up AND THEN TERRORISTS ATTACK!? Fuelled by their love for community, each other and America - can these Hallmark Heroes save their hometown, or will this years Chestnut Festival end in disaster?!
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Histoires contées, Enquêtes de ce monde ou d'un autre, poèmes lus, vous trouverez ici tout le fantastique, l'horreur, le poétique ou le merveilleux qu'il vous faut.
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Der Adventskalender 2019
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see trailer <3
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Anna und Lukas arbeiten beide auf der Redaktion des Regionalboten. In ihrer Freizeit gehen sie gerne auch mal zusammen in die Natur. Auf ihren Spaziergängen und über ihre Arbeit stossen sie immer wieder auf seltsame Vorkommnisse, denen sie auf die Spur gehen. Da sind verschwundene Tiere, verfaulte Lebensmittel auf der Strasse, ein umgestürzter Mobilfunkmast und seltsame Zeichen bei einem verlassenen Haus.
Der Mensch interagiert seit eh und je mit der Natur. Dabei kann es zu Konflikten kommen, wenn das sensible Ökosystem zu sehr gestört wird. Arten verschwinden, das Ökosystem wird instabil und gefährdet wiederum die Gesundheit von uns Menschen. Viele Konflikte können verhindert werden, wären sie den Menschen bewusst, denn Lösungen sind vorhanden. Mit diesem Podcast möchte das Amt für Abfall, Wasser, Energie und Luft des Kantons Zürich Umweltkonflikte ins Bewusstsein rücken, die wenig bekannt sind und aufzeigen, was jede und jeder dagegen tun kann.
Figuren und Orte sind frei erfunden, Fakten und Fachexperte:innen sind echt und wahrheitsgetreu.
www.zh.ch/ufdespur -
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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Vijf bekende Nederlandse en Vlaamse schrijvers maakten in opdracht van NOORDWOORD en ondersteund door productiehuis PodGront een verhaal van geluid. Anne Eekhout, Jonathan Griffioen, Valentijn Hoogenkamp, Vincent Kortmann en Moya De Feyter nemen je mee in een wereld van geluid.
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When Hallie Halprin - trail name Monarch - sets off to hike the Continental Divide Trail, she’s doggedly determined to go alone. While the people who know her best express concern, Monarch is unfazed. She has a plan to interview people for an audio project about supernatural encounters, a catalogue of campfire stories (no reason! she’s just interested!).
The perils Monarch encounters on her five-month journey, real and imagined, mirror her complicated, optimistic, and doomed attempt to use adventure as a way to be reborn.
Website: monarchcast.com
YouTube/Instagram/TikTok: @monarchpodcast -
Mido & Hex's recap podcast of The Scum Villain's Self-Saving System by Mo Xiang Tong Xiu
Hosted on Acast. See acast.com/privacy for more information.
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Hier kommen spannende Geschichten von verschiedenen Leuten erzählt.
Jeden Tag um 15:00 Uhr eine neue Folge -
Bienvenue sur le podcast “La Météo de l'Amour”, votre podcast dédié aux récits amoureux en fonction de la météo.
Pourquoi choisir un nom comme “La Météo de l'Amour” ? Parce que, à bien des égards, les affaires de cœur ressemblent aux caprices du climat : imprévisibles, changeants, avec leurs éclaircies et leurs tempêtes.
Dans chaque épisode, nous plongeons dans des récits d'amour, qu'ils soient passionnés, amicales ou familiales, éclairés par le prisme du temps qu’il fait dehors.
Nos invités viennent partager leurs histoires, celles qui ont fleuri sous un soleil radieux ou qui ont résisté ou pas à l'assaut des orages.
Rendez- vous deux fois par mois le lundi, sur toutes les plateformes de podcasts, pour échanger sur l'histoire d'amour en fonction de la météo
Nous vous souhaitons une belle écoute et à bientôt
“La Météo de l'Amour” est un podcast sur une idée d'Akimana.
Voix : Akimana
Interview & montage : Akimana
Illustration : Arisa Pechin
🌈 instragram : @lameteodelamour
💌 Si vous souhaitez participer, vous pouvez me contacter lamété[email protected]
📹 TikTok : la.meteo.de.lamour
✨ N'hésitez pas à faire des commentaires si vous le souhaitez
Belle journée et à bientôt ☀️
Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
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While searching for his missing father, audio engineer Paul Harmon discovers a series of grotesque and unsettling revelations left in an abandoned motel room. What follows is a terrifying journey into the dark corners of small-town America, urban legend, and ancient occultism.
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