IT is much easier to understand and remember a thing when a reason is given for it, than when we are merely shown how to do it without being told why it is so done; for in the latter case, instead of being assisted by reason, our real help in all study, we have to rely upon memory or our power of imitation, and to do simply as we are told without thinking about it. The consequence is that at the very first difficulty we are left to flounder about in the dark, or to remain inactive till the master comes to our assistance.? Now in this book it is proposed to enlist the reasoning faculty from the very first: to let one problem grow out of another and to be dependent on the foregoing, as in geometry, and so to explain each thing we do that there shall be no doubt in the mind as to the correctness of the proceeding. The student will thus gain the power of finding out any new problem for himself, and will therefore acquire a true knowledge of perspective.?? George Adolphus Storey??Book First?The Necessity of the Study of Perspective to Painters, Sculptors, and Architects?LEONARDO DA VINCI tells us in his celebrated Treatise on Painting that the young artist should first of all learn perspective, that is to say, he should first of all learn that he has to depict on a flat surface objects which are in relief or distant one from the other; for this is the simple art of painting. Objects appear smaller at a distance than near to us, so by drawing them thus we give depth to our canvas. The outline of a ball is a mere flat circle, but with proper shading we make it appear round, and this is the perspective of light and shade.? ‘The next thing to be considered is the effect of the atmosphere and light. If two figures are in the same coloured dress, and are standing one behind the other, then they should be of slightly different tone, so as to separate them. And in like manner, according to the distance of the mountains in a landscape and the greater or less density of the air, so do we depict space between them, not only making them smaller in outline, but less distinct.’?Sir Edwin Landseer used to say that in looking at a figure in a picture he liked to feel that he could walk round it, and this exactly expresses the impression that the true art of painting should make upon the spectator.??There is another observation of Leonardo’s that it is well I should here transcribe; he says: ‘Many are desirous of learning to draw, and are very fond of it, who are notwithstanding void of a proper disposition for it. This may be known by their want of perseverance; like boys who draw everything in a hurry, never finishing or shadowing.’ This shows they do not care for their work, and all instruction is thrown away upon them. At the present time there is too much of this ‘everything in a hurry’, and beginning in this way leads only to failure and disappointment. These observations apply equally to perspective as to drawing and painting.? Unfortunately, this study is too often neglected by our painters, some of them even complacently confessing their ignorance of it; while the ordinary student either turns from it with distaste, or only endures going through it with a view to passing an examination, little thinking of what value it will be to him in working out his pictures. Whether the manner of teaching perspective is the cause of this dislike for it, I cannot say; but certainly most of our English books on the subject are anything but attractive.??All the great masters of painting have also been masters of perspective, for they knew that without it, it would be impossible to carry out their grand compositions. In many cases they were even inspired by it in choosing their subjects. When one looks at those sunny interiors, those corridors and courtyards by De Hooghe, with their figures far off and near, one feels that their charm consists greatly in their perspective, as well as in their light and tone and colour... ?

RUINS OF ANCIENT CITIES, WITH GENERAL AND PARTICULAR ACCOUNTS OF THEIR RISE, FALL, AND PRESENT CONDITION. - BY CHARLES BUCKE This Volume contain these cities;Messene, Mycen?, Miletus, Nauplia, Nemea, Nineveh, The Destruction of Sennacherib, Numantia, Olympia, Puteoli, Palmyra (Tadmor), Patr?, Pella, Pergamus, Persepolis, Petra (Wady Mousa), Phigalia, Plat?a, P?stum, Pompeii, Rama, Rome, Saguntum, Hannibal’s Speech to His Soldiers, Sais, Samaria, Sapphura, Sardis, Seleucia, Selinus, Or Selinuntum, Sicyon, Sidon, Smyrna, Spalatro, Stratonice, Susa, Sybaris, Syene, Syracuse, Thebes, Troja, And Other Cities of the Troas, Tyre, Veii Fallen, fallen, a silent heap; their heroes allSunk in their urns:—Behold the pride of pomp,The throne of nations fallen; obscured in dustEven yet majestical.—The solemn sceneElates the soul! ? ?{DYER} The reader is requested to observe, that, though the plan of this work is entirely his own, the compiler of it does not put it forth as in any way original in respect to language or description. It is, in fact, a much better book, than if it had been what is strictly called original, (which, indeed, must have involved an utter impossibility:) for it is a selection of some of the best materials the British Museum could furnish; sometimes worked up in his own language; and sometimes—and, indeed, very frequently—in that of others: the compiler having, at an humble distance and with unequal steps, followed the plan which M. Rollin proposed to himself, when he composed his celebrated history of ancient times.—"To adorn and enrich my own," says that celebrated writer, "I will be so ingenuous as to confess, that I do not scruple, nor am ashamed, to rifle whereever I come; and that I often do not cite the authors from whom I transcribe, because of the liberty I take to make some slight alterations. I have made the best use in my power of the solid reflections that occur in the Bishop of Meaux's Universal History, which is one of the most beautiful and most useful books in our language. I have also received great assistance from the learned Dean Prideaux's 'Connexion of the Old and New Testament,' in which he has traced and cleared up, in an admirable manner, the particulars relating to ancient history. I shall take the same liberty with whatever comes in my way, that may suit my design, and contribute to its perfection. I am very sensible, that it is not so much for a person's reputation to make use of other men's labours, and that it is in a manner renouncing the name and quality of author. But I am not over-fond of that title, and shall be extremely well pleased, and think myself very happy, if I can but deserve the name of a good compiler; and supply my readers with a tolerable history, who will not be over-solicitous to inquire what hand it comes from, provided they are but pleased with it."Having followed this example,—the compiler wishes he could say with equal effect,—he will be fully satisfied, should judicious readers feel inclined to concede, that he has shown some judgment in selecting his materials, and some taste in binding "the beads of the chain," that connects them together. He disclaims, in fact, (as, in the present instance, he is bound to do), all the "divine honours" of authorship; satisfied with those of a selecter, adapter, and compiler; and happy in the hope that he has here, by means of the superior writers, whose labours he has used, furnished his readers with an useful, accurate, and amusing work.? ? ? ? ? C. B.

DRAWING is the expression of an idea: “Art must come from within, and not from without. This fact has led some to assert that the study of nature is not essential to the student, and that careful training in the study of the representation of the actual appearance is mechanical and harmful. Such persons forget that all art ideas and sentiments must be based upon natural objects, and that a person who cannot represent truly what he sees will be entirely unable to express the simplest ideal conceptions so that others may appreciate them. Study of nature is, then, of the first and greatest importance to the art student.A drawing may be made in outline, in light and shade, or in color. The value of the drawing artistically does not depend upon the medium used, but upon the individuality of the draughtsman making it. The simplest pencil sketch may have much more merit than an elaborate colored drawing made by one who is unable to represent truly the facts of nature, or who sees, instead of the beauty and poetry, the ugliness and the imperfections of the subject. OBJECTS FOR STUDY:We hear a great deal now about the cultivation of the sense of beauty by the choice of drawing models. Many go so far as to say that nothing but the most beautiful forms should be given from the start, and, asserting that the cube, cylinder,and other type forms are not beautiful, they say that they should not be used, but that beautiful variations of these type forms should be provided. More definite information than this is rarely given. We are not told what natural objects are beautiful, and cheap enough to be provided, or how these objects of beauty are to be obtained, if they are not provided by the city. Such advice as to the use of beautiful models must be very pleasant and valuable to the drawing teacher, who so often fails to secure the money necessary to provide the cheap wooden models costing a few cents each ; and we do not wonder that special and regular teachers often regard this subject as one having no standards and no authorities. Much of all this commotion about beautiful objects of study is raised by those who, suffering from criticism, have in the desire to escape it plunged headlong from one set of mechanical rules for a series of lessons for the public schools, to another set less arbitrary in certain directions, but still mechanical, and if possible, more harmful than before, because attempting more.The average teacher can readily learn to discover at a glance whether or not the drawing of a cube represents the object as it might appear. She can do this even without seeing the model from the pupil's position; and the student can compare his drawing with the object and discover its errors more easily than he can in the drawing of a cast, a leaf, a figure,or any other object of beauty, in which the beauty depends upon lines which are subtile and which require a trained eye to see at all truly.

O livro apresenta uma abordagem sobre como foram construídos os saberes inerentes à medicina e ao hospital na Sociedade Moderna. Mostra, historicamente, como foi estabelecido o poder e as práticas médico-hospitalares. A obra apresenta o discurso das institui??es dominantes sobre o modelo assistencial, como também revela a realidade pragmática do acesso efetivo ao direito social à saúde, que, formalmente, foi expresso como uma necessidade básica traduzida em mínimos sociais, como condi??o legítima de dignidade da pessoa humana. A relev?ncia desse estudo é em virtude de sua especial significa??o nas diversas áreas das Ciências Humanas e Sociais, ao nutrir o debate sobre a temática do Direito à Saúde nas inst?ncias do Poder Público, bem como ao introduzi-la na agenda das profiss?es relacionadas com o campo da saúde, aprofundando suas dimens?es de transdisciplinariedade e transversalidade.

No caso da episteme comunicacional pode-se dizer que a mesma vem-se constituindo na historicidade de conceitos chave e de hipóteses clássicas que têm nutrido o pensamento teórico e a pesquisa empírica do campo. Pensando a episteme comunicacional trata disso, ou seja, do objeto comunica??o em sua trajetória por fazer-se, a qual, ao acumular-se, permite a renova??o do que foi pensado a seu respeito e a prospec??o de novos pontos de vista.

Fic??o brasileira no século XXI é um livro instigante. De leitura agradável e de interesse amplo, debru?a-se, com competência e inventividade, sobre oito escritores brasileiros contempor?neos, consagrados e premiados. O que n?o é pouco em uma tradi??o como a nossa, em que n?o se encontram muitos estudiosos de literatura que encarem o contempor?neo e consigam discuti-lo de forma a dialogar, n?o apenas com o estudioso e o especialista como também com o leitor comum interessado em literatura. Adriana Lunardi, Alberto Martins, Luiz Ruffato, Michel Laub, Milton Hatoum, Nelson de Oliveira, Ricardo Lísias e Rodrigo Lacerda encontram, por meio da leitura que deles fazem os autores deste livro, novos olhares para suas obras. E, nestes novos olhares, há um convite para novos leitores e leituras renovadas.

["The Elements of Drawing" was written during the winter of 1856. The First Edition was published in 1857; the Second followed in the same year, with some additions and slight alterations. The Third Edition consisted of sixth thousand, 1859; seventh thousand, 1860; and eighth thousand, 1861.The work was partly reproduced in "Our Sketching Club," by the Rev. R. St. John Tyrwhitt, M.A., 1874; with new editions in 1875, 1882, and 1886.Mr. Ruskin meant, during his tenure of the Slade Professorship at Oxford, to recast his teaching, and to write a systematic manual for the use of his Drawing School, under the title of "The Laws of Fésole." Of this only vol. i. was completed, 1879; second edition, 1882. As, therefore, "The Elements of Drawing" has never been completely superseded, and as many readers of Mr. Ruskin's works have expressed a desire to possess the book in its old form, it is now reprinted as it stood in 1859.] ? THE SECOND EDITION.As one or two questions, asked of me since the publication of this work, have indicated points requiring elucidation, I have added a few short notes in the first Appendix. It is not, I think, desirable otherwise to modify the form or add to the matter of a book as it passes through successive editions; I have, therefore, only mended the wording of some obscure sentences; with which exception the text remains, and will remain, in its original form, which I had carefully considered. Should the public find the book useful, and call for further editions of it, such additional notes as may be necessary will be always placed in the first Appendix, where they can be at once referred to, in any library, by the possessors of the earlier editions; and I will take care they shall not be numerous.August 3, 1857. ? PREFACE? i. It may perhaps be thought, that in prefacing a manual of drawing, I ought to expatiate on the reasons why drawing should be learned; but those reasons appear to me so many and so weighty, that I cannot quickly state or enforce them. With the reader's permission, as this volume is too large already, I will waive all discussion respecting the importance of the subject, and touch only on those points which may appear questionable in the method of its treatment. ? ii. In the first place, the book is not calculated for the use of children under the age of twelve or fourteen. I do not think it advisable to engage a child in any but the most voluntary practice of art. If it has talent for drawing, it will be continually scrawling on what paper it can get; and should be allowed to scrawl at its own free will, due praise being given for every appearance of care, or truth, in its efforts. It should be allowed to amuse itself with cheap colors almost as soon as it has sense enough to wish for them. If it merely daubs the paper with shapeless stains, the color-box may be taken away till it knows better: but as soon as it begins painting red coats on soldiers, striped flags to ships, etc., it should have colors at command; and, without restraining its choice of subject in that imaginative and historical art, of a military tendency, which children delight in, (generally quite as valuable, by the way, as any historical art delighted in by their elders,) it should be gently led by the parents to try to draw, in such childish fashion as may be, the things it can see and likes,—birds, or butterflies, or flowers, or fruit. ? iii. In later years, the indulgence of using the color should only be granted as a reward, after it has shown care and progress in its drawings with pencil. A limited number of good and amusing prints should always be within a boy's reach: in these days of cheap illustration he can hardly possess a volume of nursery tales without good wood-cuts in it, and should be encouraged to copy what he likes best of this kind; but should be firmly restricted to a few prints and to a few books.

Читанка для учн?в старших клас?в середньо? школи в ус?х ?вропейських кра?нах. Книжку створено в рамках сп?льного проекту орган?зац?й та установ, що працюють разом у Платформ? ?вропейсько? пам'ят? та сумл?ння. Зб?рка м?стить 30 дивовижних ?стор?й людей з 16 ?вропейських кра?н, що зазнали тотал?таризму. Це розпов?д? про см?ливц?в, як? протистояли тотал?таризмов? та загинули, а також про тих, кому пощастило вижити. Ц? розпов?д? сповнен? надзвичайного суму через незм?рн? страждання, що ?х завдали фанатичн? орудар?, поборники та п?дсобники тотал?таризму таким же людям, як ? вони. Але водночас вони осп?вують любов до свободи, людську г?дн?сть, несхитн?сть, см?лив?сть, в?ру та в?ддан?сть головним людським ц?нностям.

Брошура в стисл?й та популярн?й форм? розпов?да? про под?? Укра?нсько? революц?? 1917–1921 рок?в – процеси державного буд?вництва, творення укра?нсько? пол?тично? нац??, в?дродження укра?нсько? науки, осв?ти, культури та духовност?. Багато уваги прид?ля?ться л?дерам Укра?нсько? революц?? – Михайлу Грушевському, Володимиру Винниченку, Симону Петлюр?, Павлу Скоропадському, ?вгену Петрушевичу, Номану Челеб?дж?хану та ?н., як? розробляли ?? ?деолог?ю, формували порядок денний, вели за собою народ. Розкрива?ться ?нституц?йне буд?вництво, творення законодавчо?, виконавчо?, судово? г?лок влади, розбудова в?йська, дипломат??, ф?нансово? системи тощо. Фотокартки ? св?дчення сучасник?в в?дтворюють атмосферу того часу, проливають св?тло на життя ? побут звичайно? людини в умовах революц?йних потряс?нь.??Брошура п?дготовлена на основ? матер?ал?в ?нформац?йно-просв?тницько? кампан??, яку Укра?нський ?нститут нац?онально? пам’ят? проводить до 100-р?ччя Укра?нсько? революц?? 1917-1921 рок?в, в ход? яко? п?дготовлено низку фотодокументальних виставок, комплект?в лист?вок та ?нформац?йних матер?ал?в, дитячу наст?льну гру, спец?ал?зовану веб-стор?нку, присвячену под?ям Укра?нсько? революц?? 1917–1921 рок?в (www.UNR.memory.gov.ua).??

Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed. Leonardo's literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations and dissertations. The vast structure of his scientific theories is consequently built up of numerous separate researches, and it is much to be lamented that he should never have collated and arranged them. His love for detailed research—as it seems to me—was the reason that in almost all the Manuscripts, the different paragraphs appear to us to be in utter confusion; on one and the same page, observations on the most dissimilar subjects follow each other without any connection. A page, for instance, will begin with some principles of astronomy, or the motion of the earth; then come the laws of sound, and finally some precepts as to colour. Another page will begin with his investigations on the structure of the intestines, and end with philosophical remarks as to the relations of poetry to painting; and so forth. Leonardo himself lamented this confusion, and for that reason I do not think that the publication of the texts in the order in which they occur in the originals would at all fulfil his intentions. No reader could find his way through such a labyrinth; Leonardo himself could not have done it. ABOUT AUTHOR: Leonardo Da Vinci, Born on April 15, 1452, in Vinci, Italy, Leonardo da Vinci was concerned with the laws of science and nature, which greatly informed his work as a painter, sculptor, inventor and draftsmen. His ideas and body of work—which includes "Virgin of the Rocks," "The Last Supper," "Leda and the Swan" and "Mona Lisa"—have influenced countless artists and made da Vinci a leading light of the Italian Renaissance.Quotes"Iron rusts from disuse, stagnant water loses its purity and in cold weather becomes frozen; even so does inaction sap the vigor of the mind."? ? ? ? ? – Leonardo da Vinci Humble Beginnings:Leonardo da Vinci was born on April 15, 1452, in Vinci, Italy. Born out of wedlock, the love child of a respected notary and a young peasant woman, he was raised by his father, and his stepmothers. 'The Last Supper'In 1482, Lorenzo de' Medici, a man from a prominent Italian family, commissioned da Vinci to create a silver lyre and bring it to Ludovico il Moro, the Duke of Milan, as a gesture of peace. Da Vinci did so and then wrote Ludovico a letter describing how his engineering and artistic tal

Hard Times – For These Times (commonly known as "Hard Times") is the tenth novel by Charles Dickens, first published in 1854. The book appraises English society and highlights the social and economic pressures of the times. Hard Times is unusual in several respects. It is by far the shortest of Dickens' novels, barely a quarter of the length of those written immediately before and after it. Also, unlike all but one of his other novels, Hard Times has neither a preface nor illustrations. Moreover, it is his only novel not to have scenes set in London. Instead the story is set in the fictitious Victorian industrial Coketown, a generic Northern English mill-town, in some ways similar to Manchester, though smaller. Coketown may be partially based on 19th-century Preston. One of Dickens's reasons for writing Hard Times was that sales of his weekly periodical, Household Words, were low, and it was hoped the novel's publication in instalments would boost circulation – as indeed proved to be the case. Since publication it has received a mixed response from critics. Critics such as George Bernard Shaw and Thomas Macaulay have mainly focused on Dickens's treatment of trade unions and his post–Industrial Revolution pessimism regarding the divide between capitalist mill owners and undervalued workers during the Victorian era. F. R. Leavis, a great admirer of the book, included it—but not Dickens' work as a whole—as part of his Great Tradition of English novels. ***‘Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them. This is the principle on which I bring up my own children, and this is the principle on which I bring up these children. Stick to Facts, sir!’ ? ?The scene was a plain, bare, monotonous vault of a school-room, and the speaker’s square forefinger emphasized his observations by underscoring every sentence with a line on the schoolmaster’s sleeve. The emphasis was helped by the speaker’s square wall of a forehead, which had his eyebrows for its base, while his eyes found commodious cellarage in two dark caves, overshadowed by the wall. The emphasis was helped by the speaker’s mouth, which was wide, thin, and hard set. The emphasis was helped by the speaker’s voice, which was inflexible, dry, and dictatorial. The emphasis was helped by the speaker’s hair, which bristled on the skirts of his bald head, a plantation of firs to keep the wind from its shining surface, all covered with knobs, like the crust of a plum pie, as if the head had scarcely warehouse-room for the hard facts stored inside. The speaker’s obstinate carriage, square coat, square legs, square shoulders,—nay, his very neckcloth, trained to take him by the throat with an unaccommodating grasp, like a stubborn fact, as it was,—all helped the emphasis. ‘In this life, we want nothing but Facts, sir; nothing but Facts!’The speaker, and the schoolmaster, and the third grown person present, all backed a little, and swept with their eyes the inclined plane of little vessels then and there arranged in order, ready to have imperial gallons of facts poured into them until they were full to the brim.

To present at a single glance a comprehensive view of the History of English Church Architecture from the Heptarchy to the Reformation, and to do this in a manner, which, without taxing too seriously the memory of the student, may enable him to fix in his mind the limits, and the general outline of the inquiry he is about to enter upon, is the object of the present treatise.? Instead therefore of entering, as is usual in elementary works of this nature, into a detailed account of all the parts of an Ecclesiastical structure, a certain portion only of such a building has for this purpose been selected, and so exhibited in the garb in which it appeared at successive intervals of time, as to present to the reader a means of comparison that will enable him readily to apprehend the gradual change of form through which it passed from the Eleventh to the Sixteenth Centuries, and at once to recognise the leading characteristics of the several Periods into which it is here proposed to divide the History of our National Architecture. Having thus fixed these leading characteristics in his mind, he will then be in a condition to follow us hereafter, if he pleases, into the detail of the whole subject, and to become familiar with those niceties of distinction, the detection of which—escaping, as they do, the eye of the general observer—contributes so materially to the enjoyment of the study, and a perfect acquaintance with which is so absolutely essential to a correct understanding of the true History of the Art.?That this mode of approaching the study of this subject is a convenient one, will probably be admitted by those who may remember the difficulties they encoun-tered, in their early attempts to acquire a general conception of the scheme of the History of Church Architecture, as given in most of the manuals now in use; and the complexity of detail in which they found themselves immediately involved on the very threshold of their inquiry.? It has been the practice in most elementary works on Church Architecture to derive the illustrations of the subject, indifferently from the smaller and the larger buildings of the Kingdom; and by implication to assign an equal authority to both. It will be readily admitted, however, that the History of an Art is to be gathered from its principal Monuments, and not from those the design or execution of which may have been entrusted to other than the ablest masters of the Period: in the choice, therefore, of the examples which have been selected to illustrate the series of changes which are described in the following pages, reference has been made principally to the great Cathedral, Abbey, and Collegiate Churches of the Kingdom, and occasionally only to some of the larger Parish Churches whose size or importance would seem to bring them under the above denomination.??Church Architecture in England, from its earliest existence down to the Sixteenth Century, was in a state of constant progress, or transition, and this progress appears to have been carried on, with certain exceptions in different parts of the country, very nearly simultaneously. It follows from this circumstance, first, That it is impossible to divide our National Architecture correctly into any number of distinct Orders or Styles; and secondly, That any Division of its History into a given number of Periods, must necessarily be an arbitrary one. It is nevertheless absolutely essential for the purpose of conveniently describing the long series of noble monuments which remain to us, that we should adopt some system of chronological arrangement, which may enable us to group, and to classify them in a distinct and intelligible manner: and although no broad lines of demarcation in this connected series are discernible—so gradual was the change—yet so rapid and so complete was it also, that a period of fifty years did not elapse without a material alteration in the form and fashion of every detail of a building. ?

Milyen lenyomatot hagyott bennünk 1956? T?rténelem alulnézetb?l, avagy családi emlékek, személyes t?rténetek az ominózus ?szr?l, ami után minden más lett. Hogyan lesz egy 17 éves gyárimunkás fiúból néhány nap leforgása alatt forradalmár? Mi t?rtént Erdélyben 56-ban? Mikor eszmél rá a hatéves kislány, hogy a nagyapja Magyarország legfontosabb embere? Hogyan él tovább az, akinek a menyasszonya ?r?kre elhagyta az országot? Hogyan válik a távoli kultúrából érkez? idegen október 23. szellemiségét átérz? emberré? Ilyen és ezekhez hasonló kérdésekre válaszol t?bbek k?z?tt Horgas Eszter, Varga Miklós, Kiss Zoltán Zéro, Tordai Teri, Vámos Miklós, Bornai Tibor és sokan mások. A kül?n?s, szívszorító vagy kalandos emlékekb?l megismerhetjük az ezerarcú forradalom néhány emberi mozzanatát. Naszvadi Judith családi érintettsége okán is kezdte el feltenni a kérdéseket el?bb sz?kebb, majd tágabb k?rnyezetében. A 60. évfordulóra így, ezekb?l az interjúkból állt ?ssze A mi '56-unk.

A sorozat és ami m?g?tte van I. Szulejmán szultán 1494-ben született, és 1566-ban Szigetvár alatt vesztette életét. 1520-tól haláláig az Oszmán Birodalom ikonikus uralkodójaként hódított. A magyar t?rténelmet ismer?k biztosan nem rajongtak érte soha. Miután 2013-ban az egyik kereskedelmi csatorna megvásárolta az életér?l szóló Szulejmán cím? sorozatot, a szultán negatív megítélése sokat változott. A néz?k megkedvelték a Halit Ergen? által alakított Fényességest. A sorozatban ábrázolt t?rténelmi események, személyek azonban nem minden esetben egyeznek a valósággal. Ezt az alkotók is megjegyzik: a m? t?rténelmi ihletés? - ami nem azonos a t?rténelmi h?séggel. R. Kelényi Angelika tisztázza a valós t?rténelmi eseményeket. ?sszegy?jt?tt érdekességeken keresztül oszlatja el a félreértéseket, mik?zben szórakoztatja az olvasót.

E tündérjátékról úgy tartják, egy f?úri esküv? alkalmából íródott. Err?l szól maga a darab is, a szerelemr?l, a házasságról, a szenvedélyr?l, az akadályok legy?zésér?l. A Szentivánéj egyetlen hatalmas nászéjszaka. Puck, a csúfondáros apród, aki miatt kit?r a háborúság a tündérkirály és tündérkirályn? k?z?tt, minden kerget?z?, egymást ?z? szerelmesnek jelképe lehet, akik szüntelen váltakozásban gerjednek egyért s taszítják el a másikat. Mintha a való életben is Puck gonosz varázslatára fordulna meg minden, majd jótékony varázslatára az éj végére valahogy mégis ?sszerendez?djék. Tündéri álomvilág cívódással, féltéssel, ellenállhatatlan vágyakkal.

William Shakespeare egyik legnagyobb m?ve a Macbeth, a hatalomvágytól megszállott gyenge ember drámája. Macbethnek egyszer azt j?vend?lik, hogy király lesz. Felesége ?szt?nzésére és segítségével, hogy beteljesedjék a jóslat, álmában meg?lik a náluk vendégesked? királyt. Tettüket a leitatott ?r?kre fogják, akiknek nincs is idejük tiltakozásra a hamis vád ellen, mert Macbeth sz?rny? ?felindultságában” meg?li ?ket. A hatalmat, a rangot azonban nem tudják élvezni…

Az álomszer?en meseszép hangulat hirtelen féltékenységi dührohammá változik, rémálommá: a szicíliai király barátját, Polixenést és feleségét (Hermione) házasságt?réssel vádolva küldi a halálba, el?bbi csupán Camillo h?ségének k?sz?nhet?en menekülhet el. Apollo jóslata sem tudja meggy?zni Leontest képzetei hamisságáról, csupán a sz?rny? látvány – szerettei holtteste – ébreszti fel zavaros állapotából. Már kés?, egyetlen utódját, a fattyúnak vélt csecsem?t távoli partokon hagyta sorsára. A t?rténetbe sok év múltán kapcsolódunk bele újra, Perdita – a csecsem?, akit megtalált fiával együtt (Mufurc) nevelt egy pásztor – felcseperedett, és mindenkit elámít vélt származását meghazudtoló szépsége, nemessége. Florizel királyfi beleszeret, és elhagyja érte apja, Polixenes királyi udvarát. A király, a h? Camillóval együtt, álruhában meglesi a pásztorok ünnepét, és haraggal veszi tudomásul fia vonzódását egy egyszer? pásztorlány iránt. Camillo, aki ráj?n Perdita kilétére, a fiatalokat Szicíliába küldi, ahol Leontes tárt karokkal fogadja elveszettnek hitt lányát, és Hermione szobra életre kel. A megbocsájtás, a feloldás pillanata lehetne ez, ha a t?rténetet mindvégig mozgató figura nem g?rdítené a néz?tér és a színpad k?zé az áttetsz?ség, a látomás, az álomszer?ség tüllfügg?nyét. ?s számunkra nem marad más, csupán a feloldatlanság feszültsége.

1920-ban a magyar t?rténelem egyik legsúlyosabb krízise érkezett el. Nem csupán a t?rténelmi Magyarország és hagyományos vezet? rétegei találtattak k?nny?nek: 1918 és 1919 forradalmaival együtt elbuktak a radikális reformokat szorgalmazó baloldali pártok is. K?zel hat év háborús pusztítás után gazdasági, szociális, külpolitikai és m?vel?dési problémák sokasága halmozódott fel. Ekkor született meg a fiatal értelmiség reform iránt elk?telezett részéb?l a magyar népi mozgalom. Az ? t?rténetükr?l szól ez a k?nyv. A magyar népi mozgalomról meglep?en keveset tud a jelenkor emlékezete, és ismereteink jó része is leginkább félreértésekb?l és el?ítéletekb?l táplálkozik. A népi mozgalom elitjéhez tartozók – Németh Lászlótól és Illyés Gyulától kezdve Veres Péteren és Kovács Imrén át egészen Bibó Istvánig – megpróbáltak választ találni a Trianon utáni Magyarország legéget?bb kérdéseire, méghozzá nem a hagyományos ideológiák mentén, hanem egy általuk ?harmadik útnak” nevezett eszmeiség jegyében. Papp István k?tete – amely harminc év óta az els? modern szemlélet? ?sszefoglalása a témának – els?sorban azt kívánja bemutatni, hogyan és miért született meg a népi mozgalom, illetve hogy legfontosabb tagjai milyen elgondolásokat fogalmaztak meg, és milyen reformokat láttak szükségesnek 1945 el?tt és után.

i corbul, croncnind, a rguit, Vestind c sorii fost au aruncai! Venii! Venii! Voi, duhuri, ce vegheai Pe gndurile morii, crunta zee! i m nvai s nu mai fiu femeie! M umplei, de la cretet pn’ la tlpi Cu o rutate nenduplecat! The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements. Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top full Of direst cruelty!

Hamlet is commonly regarded as one of the greatest plays ever written. Drawing on Danish chronicles and the Elizabethan vogue for revenge tragedy, Shakespeare created a play that is at once a philosophic treatise, a family drama, and a supernatural thriller. In the wake of his father’s death, Prince Hamlet finds that his Uncle Claudius has swiftly taken the throne and married his mother, Queen Gertrude. The ghost of the dead king then appears and charges Claudius with ‘murder most foul.’ Hamlet is called to revenge his father’s death: but will he be able to act before it is too late?

Demagóg, ?rült, gazember? Népvezér, próféta, mártír? E két véglet k?z?tt ingadozott Szálasi Ferenc megítélése kortársai szemében. Az utókor azonban k?zel sem ilyen megosztott személyét illet?en, Szálasi a 20. századi magyar t?rténelem talán legelutasítottabb alakja. K?tetünkben arra keressük a választ, miként vált azzá. Miért lépett egyáltalán a politika színpadára otthagyva ezzel a biztos karriert kínáló katonaságot? Milyen célok vezették? Mit gondolt és mit tett politikusként? Szálasi életútjának állomásairól számos egykori dokumentum vall, ami lehet?séget ad, hogy t?bb, olykor lényegesen eltér? néz?pontokból vizsgálhassuk ugyanazt az eseményt. K?nyvünkben megkíséreljük a sok esetben részrehajló – vagy éppen elfogult – kortársak írásai alapján áttekinteni Szálasi életútját: a katonáét, az ideológusét, a politikusét – gyermekkorától egészen haláláig. Végül pedig azt is bemutatjuk, miként viszonyul hozzá az utókor. A k?tetet életrajzi kronológia, válogatott bibliográfia, valamint térképek teszik teljessé. PAKSA RUDOLF 1981-ben született Ajkán, az ELTE-n doktorált t?rténelemb?l és 2009 októberét?l az MTA BTK T?rténettudományi Intézetének a munkatársa. ?rdekl?dési területe a modern kori magyar t?rténelem; kutatásai súlypontja a 19–20. századi historiográfia, a régi E?tv?s Collegium, valamint a Horthy-kori széls?jobboldali irányzatok.