T?bb mint harminc év nagy anyagi, és emberi áldozatokat k?vetel? fejlesztései és kísérletezései után a XIX. század végére kialakult a tengerek új ura, a kor legmodernebb technológiai vívmányait magában egyesít?, modern értelemben vett csatahajó. A hatalmas, félelmetes acélmonstrumok leny?g?zték a kortársakat. Ezek a hajók voltak az ?ket birtokló ország erejének és nagyhatalmi státuszának szimbólumai, a nemzeti büszkeség megtestesít?i. Bennük jutott kifejezésre megépíttet?iknek gazdasági fejlettsége, ipari teljesít?képessége, valamint a szándék, hogy a világ vezet? nagyhatalmainak sorába tartozzanak. Világszerte minden nagyobb haditengerészet ezek k?ré a páncélos óriások k?ré szervez?d?tt, melyek teljes fegyverzetben állva várták, hogy országuk érdekeinek védelmében rendeltetésüknek megfelel?en harcba szálljanak az ellenfél hasonló páncélosai ellen, s bizonyítsák létezésük értelmét, és a rájuk k?lt?tt hatalmas ?sszegek megtérülését. Talán az új id?k kezdetének szimbolikus jelzéseként fogható fel, hogy erre az alkalomra végül nem a világot uraló európai országok vizein, hanem messze keleten, egy felt?rekv?, és nem az európai kultúrk?rbe tartozó új nagyhatalom partjai k?zelében került sor.

This Illustrated version of the "A Short History of the world" contains about 300 Illustrated picture, and many historic objects.. THE story of our world is a story that is still very imperfectly known. A couple of hundred years ago men possessed the history of little more than the last three thousand years. What happened before that time was a matter of legend and speculation. Over a large part of the civilized world it was believed and taught that the world had been created suddenly in 4004 B.C., though authorities differed as to whether this had occurred in the spring or autumn of that year. This fantastically precise misconception was based upon a too literal interpretation of the Hebrew Bible, and upon rather arbitrary theological assumptions connected therewith. Such ideas have long since been abandoned by religious teachers, and it is universally recognized that the universe in which we live has to all appearances existed for an enormous period of time and possibly for endless time. Of course there may be deception in these appearances, as a room may be made to seem endless by putting mirrors facing each other at either end. But that the universe in which we live has existed only for six or seven thousand years may be regarded as an altogether exploded idea. "A Short History of the world" by E-Kitap projesi, Illustrated version by Murat Ukray.. Also added "IN the last fifty years there has been much very fine and interesting speculation on the part of scientific men upon the age and origin of our earth. Here we cannot pretend to give even a summary of such speculations because they involve the most subtle mathematical and physical considerations. The truth is that the physical and astronomical sciences are still too undeveloped as yet to make anything of the sort more than an illustrative guesswork. The general tendency has been to make the estimated age of our globe longer and longer. It now seems probable that the earth has had an independent existence as a spinning planet flying round and round the sun for a longer period than 2,000,000,000 years. It may have been much longer than that. This is a length of time that absolutely overpowers the imagination. "

A Midsummer Night's Dream is a romantic comedy by William Shakespeare, suggested by "The Knight's Tale" from Geoffrey Chaucer's The Canterbury Tales, written around 1594 to 1596. It portrays the adventures of four young Athenian lovers and a group of amateur actors, their interactions with the Duke and Duchess of Athens, Theseus and Hippolyta, and with the fairies who inhabit a moonlit forest. The play is one of Shakespeare's most popular works for the stage and is widely performed across the world.

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.

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. ?

Okupiv?i na jednome mjestu najzanimljivija imena lijeve politi?ke misli od Slovenije do Bugarske, s naglaskom na zemlje biv?e Jugoslavije, filozofi? i aktivisti Sre?ko Horvat i Igor ?tiks pred njih su stavili zadatak da napi?u tekstove o situaciji danas i ovdje, prije svega na Balkanu. ?etrnaest autora, od mladih filozofskih nada do svjetski priznatih imena, u svojim esejima pokazuje koliko je po?ast neoliberalizma u sprezi s politi?ko-mafija?kim klanovima i krupnim kapitalom razjela sve one pozitivne tekovine koje je ostavilo socijalisti?ko naslje?e. Bez sentimenta i nostalgije prema pro?lim vremenima, Dobro do?li u pustinju postsocijalizma najzanimljivija je i najaktualnija knjiga o suvre?menom trenutku. Ona je nezaobilazna studija za svakoga tko ?eli ozbiljnije shvatiti ?to nam se i za?to doga?a u vremenima duboke krize.

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.

Are you a fan of world famous girl band The Saturdays? Do you want to know everything there is to know about Frankie, Mollie, Una, Rochelle and Vanessa? If so, then this is the book for you.Contained within are over one hundred amazing facts about everything from the girls' upbringing to the band's formation, their love lives, award nominations and much more. Get the facts you want quick!

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.

Do you want to become the ultimate Directioner? Do you want to know everything about Harry, Louis, Liam, Niall and Zayn? Want to prove your knowledge with not just one but TWO quizzes?If so, then this is the book for you! It contains all five of Jack Goldstein's 1D titles, including: 101 Amazing One Direction Facts, 101 More Amazing One Direction Facts, Harry Styles: The Story So Far, The Ultimate Quiz and finally The Ultimate Lyrics Quiz.With over 200 facts, 320 questions and a quick-read biography of Harry Styles, this is sure to keep any One Direction fan happy for hours!

Why do giraffes have long necks? It can't really be for reaching tasty leaves since their main food is ground level bushes, tidy though that explanation would be. And how does relativity theory cope with the fact that the observable universe defies prediction by being far too small and anything but homogeneous? By inventing a vastly larger, but invisible, universe. And what exactly should we make of the scientists who claim to be witnessing thought itself, when the changes of blood flow in the brain that they observe are a thousand times slower than the neuronal activity it is supposed to reveal? A little scepticism is in order.Yet if philosophers of science, from Thomas Kuhn to Paul Feyerabend, have argued that science is a more haphazard process, driven by political fashion and short-term economic self-interest, today almost everyone seems to assume it is a vast jigsaw of interlocking facts pieced slowly but steadily together by expert practitioners.In this witty but profound 21st-century update on the issues, Martin Cohen offers vital clues for understanding not only the way knowledge develops, but also into the dangers of accepting too readily or too uncritically the claims of experts of all kinds - even philosophical ones! The claims are invariably presented as objective fact, yet are rooted in human subjectivity.

Runtime: 38 minutesFollowing on from Jack Goldstein and Frankie Taylor's popular '101 Amazing Harry Potter Facts', this wonderful audiobook contains over one hundred amazing facts covering topics such as muggles in the series, the Ministry of Magic, the Weasleys, quidditch, the triwizard tournament and much more! Through JK Rowling's books and films, we have been introduced to a fantastic and magical world that many of us would like to visit, despite the chance of running into a Death Eater or even Voldemort himself. If you love the world of Harry Potter, you'll also love listening to this book!

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.

A magyar turanizmus jellegzetesen magyar és teljességgel elhallgatott eszmeáramlat: akik benne voltak, igyekeztek még a nyomait is eltüntetni. Pedig a magyar k?zvéleményt a 19. század eleje óta izgatta a magyarság keleti eredete és nyugati mintak?vetése k?zti ellentmondás. Vissza kell-e fordulnunk keletre? Létrej?het-e a ?turáni népek” ?sszefogása? Van-e a magyaroknak küldetésük Keleten? Vagy éppen Nyugaton? Száz évvel ezel?tt magyar expedíciók rótták Anatólia, a Balkán és Dél-Oroszország útjait, a magyar kormány hatalmas ?sszegeket áldozott, hogy keleti ?szt?ndíjasokat hozzon Magyarországra, magyar üzletemberek próbáltak piacot találni a K?zel-Keleten, és a turanizmus divatjának k?sz?nhet? az els? külf?ldi magyar intézet megnyitása is. A két világháború k?z?tt az eszmeáramlat számos befolyásos értelmiségit kísértett meg, majd 1945 után elhallgattatták. Ennek ellenére túlélte az államszocializmus éveit, és újra teret nyert a rendszerváltozás után. Ez a k?nyv nemcsak a turanizmus, hanem a Keletr?l való gondolkodás és politikai konzekvenciáinak t?rténete is. Izgalmas, másfél évszázados utazás Tibett?l Argentínáig, Tartutól Isztambulig. Felbukkan benne a turáni egyistenhív? rádióm?szerész, a feministából lett vércsoportkutató f?ldbirtokosleány, a monoklis múzeumalapító, aki egyszerre találta ki a világbékét és a l?vészárokásó gépet, néhány pénzhamisító, illetve a mérn?k, aki megállapította a magyar–maori rokonságot. Turanista emlékek k?z?tt élünk – csak nem tudunk róluk. Ablonczy Balázs (1974) t?rténész, az ELTE BTK oktatója és az MTA BTK T?rténettudományi Intézetének tudományos f?munkatársa. Doktori címét 2004-ben szerezte, tanított és kutatott Londonban, Párizsban, Berlinben és az Egyesült ?llamokbeli Bloomingtonban. 2011 és 2015 k?z?tt a Párizsi Magyar Intézet igazgatója volt. Jelenleg az MTA Lendület-pályázatán támogatott Trianon 100 kutatócsoport vezet?je, Budapesten él.

The excellence of the following Treatise is so well known to all in any tolerable degree conversant with the Art of Painting, that it would be almost superfluous to say any thing respecting it, were it not that it here appears under the form of a new translation, of which fome account may be expected. Of the original Work, which is in reality a selection from the voluminous manuscript collections of the Author, both in Solio and Quarto, of all such passages as related to Painting, no edition appeared in print till 1651. Though its Author died so long before as the year 1519; and it is owing to the circumstance of a manuscript copy of these extracts in the original Italian, having fallen into the hands of “Raphael” that in the former of these years it was published at Paris in a thin folio volume in that language, accompanied with a set of cuts from the drawings of Niccolo Pouissin, and Alberti, the former having designed and defined the human figures, the latter the geometrical and other representations.. The first translation of this Treatise into English, appeared in the year 1721. It does not declare by whom it was made; but though it prosesses to have been done from the original Italian, it is evident, upon a comparison, that more use was made of the revised edition of the French translation. Indifferent, however, as it is, it had become fo scarce, and risen to a price fo extravagant, that, to supply the demand, it was found necessary, in the year 1796, to reprint it as it stood, with all its errors on its head, no opportunity then offering of procuring a french translation. This last impression, however, being now alfo disposed of, and a new one again called for, the present Translator was induced to step forward, and undertake the office of frenh translating it, on finding, by comparing the former versions both in French and English with the original, many passages which he thought might at once be more concisely and more faithfully rendered. ABOUT AUTHOR: Leonardo di ser Piero da Vinci (15 April 1452 – 2 May 1519) was an Italian painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer. He is widely considered to be one of the greatest polymaths of all time and perhaps the most diversely talented person ever to have lived. His genius, perhaps more than that of any other figure, epitomized the Renaissance humanist ideal. Leonardo has often been described as the archetype of the Renaissance Man, a man of "unquenchable curiosity" and "feverishly inventive imagination". Marco Rosci states that while there is much speculation about Leonardo, his vision of the world is essentially logical rather than mysterious, and that the empirical methods he employed were unusual for his time. Born out of wedlock to a notary, Piero da Vinci, and a peasant woman, Caterina, in Vinci in the region of Florence, Leonardo was educated in the studio of the renowned Florentine painter Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, and he spent his last years in France at the home awarded him by Francis I. Leonardo was, and is, renowned as one of the greatest painters of all time. Among his works, the Mona Lisa is the most famous and most parodied portrait and The Last Supper the most reproduced religious painting of all time, with their fame approached only by Michelangelo's The Creation of Adam. Leonardo's drawing of the Vitruvian Man is also regarded as a cultural icon, being reproduced on items as varied as the euro coin, textbooks, and T-shirts. Perhaps fifteen of his paintings have survived, the small number because of his constant, and frequently disastrous, experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works, together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, compose a contribution to later generations of artists rivalled only by that of his contemporary, Michelangelo. Leonardo is revered for his technological ingenuity. He conceptualised flying machines, an armoured vehicle, concentrated solar power, an adding machine, and the double hull, also outlining a rudimentary theory of plate tectonics.

Anthony Van Dyck: Annotated Artworks

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... ?

Kádár János és a nevével fémjelzett korszak megítélése napjainkig élesen megosztja a magyar k?zvéleményt. Ennek egyik ered?je az a hatvanas évek elején meghirdetett ?sz?vetségi politika”, amely egy újfajta kiegyezés reményében együttm?k?d?k, ?társutasok” megnyerésével igyekezett alkut k?tni a magyar társadalommal. Az ennek érdekében hozott politikai, gazdasági intézkedések a t?rténeti elemzések révén mára jól ismertek. Kádár hatalomtechnikai t?rekvéseinek mélyebb rétegei, személyes dimenziói azonban részben még ma is feltáratlanok. Kik voltak azok, akikkel a pártállami vezet?k a megújuló hatalomgyakorlási mód jegyében párbeszédet kezdtek? Milyen korábbi mintákat hasznosított az MSZMP ?sz?vetségi politikájának” kialakítása során? Milyen út vezetett addig, amíg az 1956-os forradalom leverése után ?t évvel elhangozhatott a kádárizmus jelszava, a bibliai mondást kifordító ?aki nincs ellenünk, az velünk van” mottó? TABAJDI G?BOR legújabb k?tete a ?kádárizmus” hatalomtechnikai módszereinek kialakulását mutatja be, és azt a hatalom birtokosai, a magyar kommunisták, illetve Kádár János politikája fel?l értelmezi. ?tfogó elemzéséhez a r?vid és hosszú távú, kül-, illetve belpolitikai folyamatok bemutatása mellett eddig nem publikált titkosszolgálati dokumentumokat is felhasznál.

Little more than ten years ago drones were barely used, but now more than 50 countries have them in service and they are not only changing how wars are fought but how crops are sprayed, how underwater pipelines are monitored and even how sports events are filmed. If it’s too risky to send a manned aircraft to survey the intensity of a hurricane or a combat zone, or too costly for conservation wardens to chart the movement of wildlife, drones can be used. Used for reconnaissance work and mapping as well as launching missiles, drones can fly autonomously or be controlled by remote control. Peering into a volcano about to erupt, checking how fast a forest fire is spreading, exploring the wreck of a sunken ship, charting your enemy’s position and taking out a military target—these are just some of the uses of drones today. From drones the size of a fingertip to drones that can carry soldiers, from single rotorcraft to multi-rotorcraft to propeller craft drones, Drones expertly examines these complex vehicles, which are not only very different from manned aircraft, but also very different from each other. Illustrated with more than 220 colour photographs and artworks, Drones is an exciting, accessibly written work about the latest in military and civilian aviation technology.

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.

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.