Konst – Schweiz – Nya 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 ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited.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. -
Kontekst.no – kulturlivets stemme. En podkast om musikk, scenekunst, kulturpolitikk og kulturutdanning.
Kontekst er et tidsskrift fra Creo – Forbundet for kunst og kultur. Kontekst ble lansert i 2021 og ser utøvende kulturuttrykk i et politisk, økonomisk og kulturhistorisk perspektiv. Vi setter den stadig skiftende kulturen i kontekst. Ansvarlig redaktør er Brand Barstein.
Hosted on Acast. See acast.com/privacy for more information.
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KUNST n’all is here!
Step behind the curtain and discover the artistry, challenges, and tech that bring dance performances to life. Hosted by Lorenzo Alberti, Francesco Ricci and Nastazia Philippou, we’re diving deep with dancers, choreographers, designers, conductors, and more..
Whether you’re a dance lover, industry pro, or just curious about what happens behind the scenes, KUNST n’all is your new go-to podcast!
You can follow us on Instagram at @kunstnall -
Podcast 100 % Culture
Découvres la culture autrement ! -
We've been creating small town drama since 1891 and we want to talk about it! We discuss everything from upcoming community and Opera House events, to our famous folklore and everything in between! Occasionally we will have guests stop in to chat with us, so don't miss out on your chance to hear from all different kinds of artists who love creating drama as much as we do. Completely unfiltered, but heavily edited for your sake.
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Join Liam Sturgess as he learns about, explores and celebrates the world around him through educational and musical "microjourneys."
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Ein Podcast von Theater Marie mit Hintergrundinformationen zu unseren Theaterproduktionen. In jeder Episode geben die künstlerisch Beteiligten einen spannenden Einblick in die Entwicklung der Inszenierungen.
Unser Dank geht an DigiCulture und die Stiftung für Radio und Kultur für die Unterstützung sowie Kanal K für die Medienpartnerschaft. -
Harry Potter ist die wohl größte Fantasy-Reihe unserer Zeit. In Radio Ravenclaw erkunden das, was alles angefangen hat: Die Harry Potter Bücher. Wir werden Kapitel für Kapitel uns durchlesen und auf alles eingehen was uns auffällt - so unwichtig es zu sein mag. Ziel ist es uns durch alle 7 Bücher zu lesen um Harry Potter, wie es ursprünglich gedacht war, wiederzuentdecken.
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Gousters, Glims and Veerie-orums
This is the audio version o Gousters, Glims and Veerie-orums, the book written bae Orkney Voices and published by the George Mackay Brown Fellowship for the centenary o George Mackay Brown in 2021
Orcadians don’t aal spaek the same. Aal the perishes and islands hiv thir own weys o spaekeen and thir own wirds. And we even write the wird/wurd different weys/wiys. Some fokk write hid ‘spikk’; some fokk, ‘spaek’; some, ‘spake’.
In this you’ll hear different versions o Orcadian fae different perts o the islands - Birsay tae Deerness, Shapinsay tae Kirkwall, Orphir tae Harray, Tankerness and Holm. You’ll hear twathree uncan vowels, descended fae Orkney Norn and wir Norse heritage, and a mense o wirds you might no ken but that aer rich and expressive and rooted in the land and shores o wir islands.
The title hidsel hads three good Orkney wirds:
Gouster is a sharp breeze o wind or an ootburst o language
Glim is a glimmer, a blink o light or fire
Veerie-orums aer fancy patterns or ornamentation; but the word originates in the Latin ‘variorum’, which noo usually means a book wae contributions fae different writers.
We are very prood tae present this audio version o wark fae Orkney Voices: Gousters, Glims and Veerie-orums.
Alison Miller, January 2025 -
LE podcast qui parle de livres, sans prise de tête, juste quelques minutes pour partager mon ressenti avec vous.
Un coup de cœur simple, rapide et convaincant !
Juste une poignée de minutes, à écouter partout, en cuisinant, en marchant, en faisant du sport ou au fond de votre lit ... -
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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Rest and Recreation is the part of WorkWorkWork.works where we look at work life balance from a very practical perspective identifying and exploring ways in which you can improve your work life balance in a sustainable way.The range of topics we cover will be as varied as life itself.
As well as guidance about improving your own work life balance you will practical hints and tips including
Reviews of the books, and interviews with the authors Previews and reviews of the films, theatre or other culture events Our experiences trying out new leisure activities, hobbies or learn new skills Ideas of what you can do to enjoy life away from work -
Retrouvez sur euradio la Chronique littéraire de la Fabrique Urbaine avec Xavier Capodano et Juliette Lechaux-Ewest.
Xavier Capodano, libraire au genre urbain à Paris, revient sur ses coups de cœur littéraire en lien, de près mais aussi de loin, avec l'urbanisme. Une chronique bimensuelle animée par Aldo Bearzatto et produite par la Fabrique Urbaine. -
Many people have the desire to write a book but have no clue how to. This podcast is to help them write, publish, and market a book to create a successful self-publishing career that they love and are proud of.
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Willkommen zu Pizza & Pastry deinem Podcast für kulinarische Entdeckungen, nerdiges Küchenwissen und Themen, die bewegen.
Hier dreht sich alles um die Welt des guten Geschmacks: von der perfekten Pizza bis zum perfekten Gebäck. Darüberhinaus sprechen wir über nachhaltige Zutaten und ethischen Tierschutz.
Ich bin Sandra und ich nehme dich mit auf eine Reise in meine kulinarische Welt - mit Tipps, Tricks und spannenden Einblicken in meine Küche. -
Welcome to the OneNote apps and experiences podcast, where the application manager hosts your own times for the people we look at today.
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Sometimes good films are terrible and sometimes terrible films are terrible.
New episodes every Wednesday.
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Wir plaudern gemütlich über verschiedene Themen und schauen wo es uns hinführt :-)
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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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