Mamele, care fac at?t de multe lucruri, spun adesea despre ele c? stau ?n cas? ?i nu fac nimic. Se simt singure, invizibile ?i ne?nsemnate. ?i asta de?i fiecare mam? ??i preg?te?te copilul pentru societatea ?n care tr?im cu to?ii. ?ntreaga civiliza?ie depinde de munca mamelor. ?i nu sunt vorbe prea mari. Via?a social? ar fi haotic? f?r? contribu?ia at?t de ?nsemnat? a mamelor. Dac? ele se simt lipsite de importan??, atunci cu siguran?? valoarea muncii lor nu este apreciat? cum se cuvine. Cartea Ce fac mamele este scris? cu scopul de a ilustra nu doar motivele pentru care meseria de mam? merit? toat? admira?ia noastr?, ci ?i influen?a pe care noi to?i o avem ?n acest sens. Cu to?ii suntem conecta?i la universul acesta al mamelor.Atunci c?nd o femeie ?ncepe s? le spun? celor din jur c? este ?ns?rcinat?, se simte uneori de parc? ar fi p??it pe un teren minat. Pentru fiecare ?ntrebare posibil? legat? de ea ?i de copilul ei, exist? cel pu?in dou? ?coli opuse de g?ndire. Fiecare ?coal? de g?ndire ??i consolideaz? principiile prin intermediul unui atac la adresa ?colii ?inamice“, cu previziuni ?nfrico??toare privitoare la ceea ce se va ?nt?mpla dac? mama va c?dea prad? influen?ei acesteia. Au ap?rut o mul?ime de c?r?i care le ?ndeamn? pe mame s? urmeze regulile sau instruc?iunile personale ale autorilor, deoarece acestea, chipurile, le-ar u?ura munca. Dar c?t de util este un set de reguli? Tr?im ?ntr-o societate tolerant?, iar dreptul de a alege este o consecin?? pre?ioas? a acestui fapt. Totu?i, mamele se simt adesea etichetate ?n func?ie de alegerile pe care le fac ?i respinse de femeile care au luat decizii diferite. Autoarea ?ncearc? ?ns? s? ne spun? c?, ?n spatele alegerilor noastre individuale, exist? teme fundamentale, comune mai tuturor mamelor. Le ?mp?rt??im oriunde am locui ?i indiferent de epoc?. Rolul de mam? se concentreaz? asupra dragostei pe care o ofer? copilului s?u. Cartea ??i propune s? ofere pe de o parte ?ncuraj?rile de care au at?ta nevoie mamele, pe de alta, un reper ferm pentru oricine ?ncearc? s? le ?n?eleag?.

Are 4 roi care se nvrt, dou sau trei pedale aflate n dreptul picioarelor, un schimbtor de viteze care se folosete cu mna i un volan. Ce este aa greu“ Asta dac suntem att de ignorani, nct nici soarele nu-l vedem. Sau suntem att de ncuiai la minte, nct nu ne-ar sensibiliza nici mcar o piatr aruncat ntre ochi. Sau suntem aa de arogani i plini de noi, nct i la coada de la pine sau n mijlocul pdurii trebuie s artm noi cum st treaba“. Dac ni se pare att de simplu ca numrarea pe degete pn la zece, atunci de ce suntem att de penibili n calitate de oferi

"Asemeni ecologilor, care privesc natura ca pe un mediu indispensabil de supravie?uire ?i cer stoparea polu?rii pentru ca urma?ii no?tri s? mai poat? avea ce respira, ?i Mihai Maci prive?te ?nv???m?ntul ca pe un mediu de via??, indispensabil pentru viitorul na?iunii ?i pus sever ?n discu?ie de iresponsa?bilitatea distrugerii condi?iilor care fac posibile producerea ?i reproducerea binelui comun.?Vom disp?rea, ne avertizeaz? Maci cu vocea sa bl?nd?, iubitoare ?i ?nc?rcat? de disperare." -?H. R. Patapievici "Atunci c?nd abdic? de la menirea ei, ?coala nu e o simpl? institu?ie iner?ial?, ci una deformatoare. ?i nu deformeaz? doar spatele copiilor, ci, ?n primul r?nd, sufletele lor. Elevul care ?nva?? c? poate ob?ine note mari cu referate de pe internet e adultul de m?ine care va plagia f?r? remu?c?ri, cel care-?i copiaz? temele ?n pauz? va alege ?ntotdeauna?scurt?tura,?iar cel care promoveaz? cu?interven?ii?va ?ti c? la baza reu?itei st? nu cunoa?terea, ci?cuno?tin?ele. Luate indi?vidual, lucrurile acestea pot p?rea m?runte, ?ns? cumulate, ele dau m?sura deform?rii lumii ?n care tr?im ?i arunc? o umbr? grea asupra viitorului pe care ni-l dorim altfel." -?Mihai Maci Colec?ia Contributors?reune?te lucr?ri informative, inteligente, semnate de nume cu autoritate ?n diverse domenii. Cititorul va g?si ?n paginile colec?iei argumente conving?toare, analiz? riguroas? ?i independen?? ?n g?ndire. Volumele incluse ?n aceast? colec?ie sunt menite s? te fac? s? ?n?elegi ideile, tendin?ele ?i muta?iile din lumea modern?, din actualitatea imedi?at? ?i din min?ile celor ce provoac? sau decid schimb?rile.??Anatomia unei imposturi, de Mihai Maci, este al doilea volum al colec?iei Contributors.

Sarcina nu este o boalǎ ?n timpul cǎreia trebuie sǎ stai la pat. Pentru majoritatea femeilor aceasta reprezintǎ o stare normalǎ, armonioasǎ, at?t pentru corp, c?t ?i pentru suflet. Asta ?nseamnǎ cǎ lini?tea absolutǎ va aduce numai daune! Pe de altǎ parte, efortul fizic din aceastǎ perioadǎ trebuie sǎ fie chibzuit ?i sǎ influen?eze ?n mod pozitiv asupra stǎrii dumneavoastrǎ ?i a sǎnǎtǎ?ii copilului, at?t ?n timpul sarcinii ?i ?n momentul na?terii, c?t ?i dupǎ. Activitatea ?n mod regulat v? va ajuta corpul s???i recapete puterea ?i tonusul, iar mintea s? se relaxeze ?i s? fac? fa?? c?t mai bine posibil noilor griji. ?i cel mai important este s? re?ine?i c? a fi mam? ?nseamn? s? ar??i ?i mai bine, s? fii ?i mai ?n?eleapt?, mai puternic?, mai activ?, s? ?tii din ce ?n ce mai multe ?i s? ?n?elegi tot ce exist? ?n lume! Aceste este un rol complex al vie?ii, dar incredibil de interesant ?i profund, ce necesit? un consum mare de energie ?i putere, care trebuie cumva compensate! ?i ce ne poate revigora mai bine dec?t gimnastica, somnul ?i plimb?rile ?n aer liber? De aceea nu lenevi?i, m?mici tinere, deoarece acum nu trebuie s? ave?i grij? de propria persoan? ?i de siluet? doar pentru voi, dar ?i de dragul micu?ului vostru adorat, pentru care ve?i fi mereu un ideal de frumuse?e feminin?! A?a c? nu v? descuraja?i!

Cartea asta e inteligent. i amuzant. Nu, n-am dreptate. E genial i demenial. Dar avei grij: tocmai cnd o s v prpdii de rs, uluii i ngrozii de sinceritatea dezarmant a lui Alex, va schimba brusc tonul ntr-unul tandru i plin de compasiune.“ – Lawrence Cohen, PhD autorul crilor Reete de jocuri, Arta hrjonelii, Reete mpotriva ngrijorrii (ed. Trei).

Vremurile s-au schimbat, ?i la fel ?i ideea despre ce ?nseamn? s? fii mam?. Costurile vie?ii ?i presiunile acesteia nu mai fac posibil modul de odinioar? de a fi mam?. Femeile de azi trebuie s? aib? mai multe ocupa?ii ?n acela?i timp ?i s? fie ?i mame bune. Cartea de fa?? ??i arat? cum s? procedezi. ?ncepe cu sarcina ?i cum s? fi?i am?ndoi s?n?to?i. Apoi ??i ofer? sfaturi despre via?a ?n familie, cum s? ??i p?strezi bebelu?ul fericit, s? te ?ntorci la munc?, s? ?i modelezi comportamentul, s? ?i alegi ?coala potrivit?, s? ai un adolescent fericit ?i s? mearg? totul bine.

Cum pot fi mai bine ?n?elese finalit??ile pedagogice ale jocului? ?i cum pot educatorii s?-?i dezvolte aptitudinile necesare pentru a utiliza jocul ?n moduri c?t mai eficiente ?n procesul de instruire? Cartea de fa?? demonstreaz? ?n ce fel angrenarea educatorilor (dar ?i a p?rin?ilor) ?n experien?e ludice creative ?i nedirijate conduce la o reevaluare a semnifica?iei jocului pentru educa?ia timpurie. Prin descrierea unor experien?e de formare didactic? ?n jocul "autoactiv", dar ?i prin stabilirea c?torva principii pedagogice specifice, autorii americani demonstreaz? c? jocul practic ?i nestructurat, bazat adesea pe materiale reciclate, reprezint? nu doar un prilej de recreere, ci mai ales o ocazie de dezvoltare psiho-educa?ional?, de autocunoa?tere ?i de sporire a ?ncrederii ?n sine a copiilor din gr?dini?e ?i ?coli primare. ?Pl?cerea de a ?nv??a, at?t de evident? la copiii mici, chiar ?i atunci c?nd ?nva?? lucruri sofisticate sau dificile, se dilueaz? treptat ?i apoi dispare, iar unul dintre motive este ?ndep?rtarea acestui proces de joc ?i transformarea lui ?ntr-o activitate mai degrab? asem?n?toare cu munca dificil?. Jocul reprezint? o dimensiune fundamental? a naturii umane, iar cartea pe care v-o propunem va fi un sprijin solid pentru cei implica?i ?n educa?ia ?i dezvoltarea copiilor mici (profesori, p?rin?i, formatori etc.), pentru a redescoperi jocul pentru ei ?i pentru cei pe care ?i ?nso?esc ?n diverse experien?e de ?nv??are."– Prof. univ. dr. Lucian Ciolan, decan al Facult??ii de Psihologie ?i ?tiin?ele Educa?iei, Universitatea din Bucure?ti

Volumul este c??tig?torul Concursului de Debut ?Adenium START“, sec?iunea Eseu, organizat de Editura Adenium ?n anul 2014 ?i con?ine eseuri despre art? ?i literatur? ce constituie un periplu literar ?i vizual ghidat de o evolu?ie tematic? realizat? pe antiteze: fl?c?rile spiritualizate ale lui El Greco ?i cele negre, demonice ale lui Goya sau eliberarea sugerat? de Rodin prin ner?bdarea formelor create ?i deplina lor rev?rsare ?n extaz senzual la Gauguin. Eseurile presupun atenta observare a unei perechi pictor (sculptor) – scriitor (poet), motiv pentru care fiecare dintre formele de exprimare vizual? este pus? ?n coresponden?? cu cel pu?in un text literar care o reflect?.

Zece este o cifr aleas – cum s-a constat, frecvent –, pentru impactul elocvenei ei. Iar calificativul exemplari" trebuie luat ca un indicator al valorii de ansamblu. Selecia procustiana poate fi, n concret, amendabil. M gndesc repede la absena unui prozator ca G. Ibrileanu, prin unicul su roman, Adela. Unul i foarte bun! Prin comparaie cu acest caz, situaia autorilor prezeni aici este mult mai problematic. Nu toat proza lor este marcat de exemplaritate. Sau s lum n seam i exemplaritatea negativ, i aceast reprezenta, uneori n mostre monstruoase (Mitrea Cocor, de M. Sadoveanu), la unii dintre marii" notri prozatori interbelici n absolut, altfel, n-am avea prozatori exemplari. Dar nici prozatorii cunoscui n mod universal nu sunt lipsii de inegalitatea cu ei nii. (Nu se zice c i Homer mai adoarme, uneori) Ar trebui discutate limitele acestei diferene. E poate imposibil s gseti ntre universali“ echivalentul unui autor care semneaz cu aceeai mn, s spunem, Creanga de aur i, reiau exemplul, Mitrea Cocor. (M. V. Buciu)

Un loc important n miniatura vocal instrumental rahmaninovian l ocup romanele ce abordeaz tema dragostei. Ele prezint universul tririlor emoionale ale ndrgostitului, fac o subtil analiz psihologic a acestuia i exprim sentimente i triri profunde, ptimae, de la mrturisiri, la decepii i momente sentimentale generate de pierderea fiinei dragi. Strile sufleteti sunt asociate cu imagini din natur: primvara – bucuria, noaptea – dezndejdea, starea de ateptare chinuitoare, suferina, singurtatea, amurgul – stingerea speranei. Aceste romane pot fi mprite n dou categorii: cele care exprim fericirea i mplinirea prin iubire i cele care exprim suferina n dragoste din vina fiinei iubite. Lucrrile din prima categorie prezint sentimente luminoase, optimiste, nltoare, iar romanele care abordeaz tema dragostei nemprtite, a iubirii trdate sau a suferinei din dragoste au ca tem pierderea speranei, sentimente triste, dramatice, decepia, disperarea sau resemnarea. Intensitatea sentimentelor este sugerat prin sonoritile intense, sau dimpotriv, stinse, care trdeaz o puternic suferin interioar neexteriorizat, prin motive suspine, prin creterile i descreterile dinamice ce sugereaz acumularea tensiunii interioare.“ – Raluca Cimpoi-Iordachi

Tender Is the Night is a novel by American writer F. Scott Fitzgerald. It was his fourth and final completed novel, and was first published in Scribner's Magazine between January and April 1934 in four issues. The title is taken from the poem "Ode to a Nightingale" by John Keats. In 1932, Fitzgerald's wife Zelda Sayre Fitzgerald was hospitalized for schizophrenia in Baltimore, Maryland. The author rented the La Paix estate in the suburb of Towson to work on this book, the story of the rise and fall of Dick Diver, a promising young psychoanalyst, and his wife, Nicole, who is also one of his patients. It was Fitzgerald's first novel in nine years, and the last that he would complete. The book reveals the detrimental days of Fitzgerald's past as he lives out his last remaining years with his wife, Zelda. The novel almost mirrors the events that take places as characters are pulled and put back into mental care, and the male figure, Dick Diver, starts his descent into alcoholism. While working on the book, several times he ran out of cash and had to borrow from his editor and agent and write short stories for commercial magazines. The early 1930s, when Fitzgerald was conceiving and working on the book, were the darkest years of his life and, accordingly, the novel has its very bleak elements that he experienced himself. On the pleasant shore of the French Riviera, about half way between Marseilles and the Italian border, stands a large, proud, rose-colored hotel. Deferential palms cool its flushed fa?ade, and before it stretches a short dazzling beach. Lately it has become a summer resort of notable and fashionable people; a decade ago it was almost deserted after its English clientele went north in April. Now, many bungalows cluster near it, but when this story begins only the cupolas of a dozen old villas rotted like water lilies among the massed pines between Gausse's H?tel des ?trangers and Cannes, five miles away. The hotel and its bright tan prayer rug of a beach were one. In the early morning the distant image of Cannes, the pink and cream of old fortifications, the purple Alp that bounded Italy, were cast across the water and lay quavering in the ripples and rings sent up by sea-plants through the clear shallows. Before eight a man came down to the beach in a blue bathrobe and with much preliminary application to his person of the chilly water, and much grunting and loud breathing, floundered a minute in the sea. When he had gone, beach and bay were quiet for an hour. Merchantmen crawled westward on the horizon; bus boys shouted in the hotel court; the dew dried upon the pines. In another hour the horns of motors began to blow down from the winding road along the low range of the Maures, which separates the littoral from true Proven?al France.A mile from the sea, where pines give way to dusty poplars, is an isolated railroad stop, whence one June morning in 1925 a victoria brought a woman and her daughter down to Gausse's Hotel. The mother's face was of a fading prettiness that would soon be patted with broken veins; her expression was both tranquil and aware in a pleasant way. However, one's eye moved on quickly to her daughter, who had magic in her pink palms and her cheeks lit to a lovely flame, like the thrilling flush of children after their cold baths in the evening. Her fine forehead sloped gently up to where her hair, bordering it like an armorial shield, burst into lovelocks and waves and curlicues of ash blonde and gold. Her eyes were bright, big, clear, wet, and shining, the color of her cheeks was real, breaking close to the surface from the strong young pump of her heart. Her body hovered delicately on the last edge of childhood—she was almost eighteen, nearly complete, but the dew was still on her. As sea and sky appeared below them in a thin, hot line the mother said:"Something tells me we're not going to like this place.""I want to go home anyhow," the girl answered. ? ABOUT AUTHOR: ? F. Scott Fitzgerald was one of the major American writers of the twentieth century -- a figure whose life and works embodied powerful myths about our national dreams and aspirations. Fitzgerald was talented and perceptive, gifted with a lyrical style and a pitch-perfect ear for language. He lived his life as a romantic, equally capable of great dedication to his craft and reckless squandering of his artistic capital. He left us one sure masterpiece, The Great Gatsby; a near-masterpiece, Tender Is the Night; and a gathering of stories and essays that together capture the essence of the American experience. His writings are insightful and stylistically brilliant; today he is admired both as a social chronicler and a remarkably gifted artist.

"I don't believe that you'd care a cent if she did marry a Dutchman! She might as well as to marry some white folks I know."Samuel Anderson made no reply. It would be of no use to reply. Shrews are tamed only by silence. Anderson had long since learned that the little shred of influence which remained to him in his own house would disappear whenever his teeth were no longer able to shut his tongue securely in. So now, when his wife poured out this hot lava of argumentum ad hominem, he closed the teeth down in a dead-lock way over the tongue, and compressed the lips tightly over the teeth, and shut his fingernails into his work-hardened palms. And then, distrusting all these precautions, fearing lest he should be unable to hold on to his temper even with this grip, the little man strode out of the house with his wife's shrill voice in his ears.Mrs. Anderson had good reason to fear that her daughter was in love with a "Dutchman," as she phrased it in her contempt. The few Germans who had penetrated to the West at that time were looked upon with hardly more favor than the Californians feel for the almond-eyed Chinaman. They were foreigners, who would talk gibberish instead of the plain English which everybody could understand, and they were not yet civilized enough to like the yellow saleratus-biscuit and the "salt-rising" bread of which their neighbors were so fond. Reason enough to hate them!Only half an hour before this outburst of Mrs. Anderson's, she had set a trap for her daughter Julia, and had fairly caught her."Jule! Jule! O Jul-y-e-ee!" she had called.And Julia, who was down in the garden hoeing a bed in which she meant to plant some "Johnny-Jumpups," came quickly toward the house, though she know it would be of no use to come quickly. Let her come quickly, or let her come slowly, the rebuke was sure to greet her all the name."Why don't you come when you're called, I'd like to know! You're never in reach when you're wanted, and you're good for nothing when you are here!"

tudiants en Classe Préparatoire aux Grandes coles des filières littéraires, scientifiques ou commerciales, ce livre est fait pour vous !Divisé en dix thématiques centrales, ce guide pratique, inspiré des dernières découvertes scientifiques, met à votre disposition un ensemble de conseils, méthodes et astuces qui vous permettront de gagner en efficacité dans l’acquisition de vos connaissances tout en renforant votre mental.Découvrez le secret de ces petites choses , qui contribueront grandement à améliorer la qualité de vos révisions : développement de la confiance en soi, réduction du stress, meilleure organisation...Cet ouvrage sera le partenaire de votre réussite.Lise LEINER, Psychologue clinicienne, diplmée de l’université Paris VII, est formée aux Thérapies Cognitivo-Comportementales et à la Sophrologie. Spécialisée dans la gestion du stress, elle accompagne depuis plusieurs années dejeunes étudiants dans la préparation de cursus exigeants.

Kriz yaratan bir insan! Anlataca??m ya?am?n? Kral Arkada??m?n! Ki?iliksiz, a?ks?z, ruhsuz bir adam?n kendine ve topluma yabanc?la?mas?na sebep olan günah dolu bir hakikatini! Uyumsuz aray??lar i?inde beyhude ??rp?nan bir insan! ?nsani hedeflerden sapm?? bir gen?! S?zde bat?l? bir ya?am sürüyor gencimiz. Gen? adam bu dü?ünce i?inde ya?amaya ?al??an ama karanl???n, ?fkenin ve nefretin i?inde do?mu? biri. Adam?n g?revi adeta ?nce bir yang?n ??karmak, sonra da kendini ve ba?kalar?n? o ate?te yakmak gibi bir ?ey! Tesellisi de yok bu i?in… ?Rica ederim bu kitab? okuyun! Okuyun! ?nan?n ben o kadar deh?etli bir katil de?ilim. Okuduk?a ger?ekleri g?receksiniz. ?stelik bunu size kibirle s?ylüyorum. Bir dü?ünün! Bat?l? gibi ya??yor adam… Bat? dünyas?n?n ve Siyonizm’in geri kalm?? ülkelerde hedefledi?i insan modelidir bu! Bilirsiniz o bat?l? devletler i?in hay?rl? taraf?n? g?receklerine, her veriyi kendi menfaati do?rusunda g?rmedik?e her eylemi kendilerine y?nelik bir sald?r? olarak g?rürler. Siyonistler yeryüzünü fitne ve fesatlarla kar??t?r?p dünyay? kana bularken, Birinci, ?kince Cihan Harpleri ??kar?p milyonlarca masum insanlar? ac?mas?z bir ?ekilde ?ldürdüler. Buna bütün dünya ?ahittir... ?O menfaat felsefesine g?re hareket eden bu Burjuvalar?, Kapitalizm’i ve Sosyalizmin adaletini yak?n zamanda g?rdük ve ya?ad?k i?te. Bat?n?n bin y?ld?r ?slam’a kar?? yap?lan Ha?l? Seferlerini ve sebep olduklar? Dünya Sava?lar?n? da ?ldürülen milyonlarca insanlar? da g?rdük. Ney az?k ki, günümüzde de Bat?l?lar taraf?ndan yap?lan katliamlar sürdürülerek devam ediyor. Günümüzde o kadar ileri gitmi?lerdir ki, yirmi birinci Yüzy?l? ?slam’? yok etme yüz y?l? ilan etmi?lerdir. G?rdü?ünüz gibi günümüzde bunu “Arap Bahar?” projesiyle k?smen bunu ba?arm??lard?r da… Kahraman?m?za gelince! Bat? dünyas?n?n ve Siyonizm’in geri kalm?? ülkelerde hedefledi?i insan modelidir bu! Bilirsiniz Bat?l? devletler i?in hay?rl? taraf?n? g?receklerine, her veriyi kendi menfaati do?rusunda g?rmedik?e her eylemi kendilerine y?nelik bir sald?r? olarak g?rürler. O zaman da, dünya harpleri ??kar?p, insanlar? ?ldürürler i?te...

Aceasta este o carte despre p?rin?ii care sunt exagerat de implica?i ?n via?a copiilor lor. Vorbe?te despre dragostea ?i teama din spatele implic?rii prea mari. Vorbe?te despre r?ul pe care ?l facem atunci c?nd facem prea mult. ?i vorbe?te despre cum am putea realiza obiective pe termen lung mai bune – ?i despre cum i-am putea ajuta pe copiii no?tri s? ob?in? succese ?i mai mari, cresc?ndu-i altfel. ?mi iubesc copiii la fel de aprig ca orice alt p?rinte ?i ?tiu c? dragostea este temelia a tot ceea ce facem ca p?rin?i. Dar, ?n cursul anilor ?n care am f?cut cercet?ri pentru aceast? carte, am constatat c? multe dintre comportamentele noastre izvor?sc ?i din temeri; poate cea mai important? dintre acestea este teama c? ei ar putea s? nu aib? succes ?n lumea real?. Bine?n?eles, e firesc s? dorim s? reu?easc?, dar, pe baza cercet?rilor, a interviurilor cu peste o sut? de oameni ?i a experien?elor personale, am ajuns la concluzia c? d?m o defini?ie prea ?ngust? succesului. ?i, ceea ce este ?i mai grav, aceast? defini?ie ?ngust?, superficial? ne-a adus ?n situa?ia de a face r?u unei genera?ii de tineri adul?i – copiii no?tri.

Los Angeles, New York ve ?stanbul'da ge?en bir a?k hikayesi..

COMMON opinion said that Lord Lynborough ought never to have had a peerage and forty thousand a year; he ought to have had a pound a week and a back bedroom in Bloomsbury. Then he would have become an eminent man; as it was, he turned out only a singularly erratic individual. So much for common opinion. Let no more be heard of its dull utilitarian judgments! There are plenty of eminent men—at the mo-ment, it is believed, no less than seventy Cabinet and ex-Cabinet Ministers (or thereabouts)—to say nothing of Bishops, Judges, and the British Academy—and all this in a nook of the world! (And the world too is a point!) Lynborough was something much more un-common; it is not, however, quite easy to say what. Let the question be postponed; perhaps the story itself will answer it. He started life—or was started in it—in a series of surroundings of unimpeachable orthodoxy—Eton, Christ Church, the Grenadier Guards. He left each of these schools of mental culture and bodily discipline, not under a cloud—that metaphor would be ludicrously inept—but in an explosion. That, having been thus shot out of the first, he managed to enter the second—that, having been shot out of the second, he walked placidly into the third—that, having been shot out of the third, he suffered no apparent damage from his repeated propulsions—these are matters explicable only by a secret knowledge of British institutions. His father was strong, his mother came of stock even stronger; he himself—Ambrose Caverly as he then was—was very popular, and extraordinarily handsome in his unusual outlandish style. His father being still alive—and, though devoted to him, by now apprehensive of his doings—his means were for the next few years limited. Yet he contrived to employ himself. He took a soup-kitchen and ran it; he took a yacht and sank it; he took a public-house, ruined it, and got himself severely fined for watering the beer in the Temperance interest. This injustice rankled in him deeply, and seems to have permanently influenced his development. For a time he forsook the world and joined a sect of persons who called themselves “Theophilanthropists”—and surely no man could call himself much more than that? Returning to mundane affairs, he refused to pay his rates, stood for Parliament in the Socialist interest, and, being defeated, declared himself a practical follower of Count Tolstoy. His father advising a short holiday, he went off and narrowly escaped being shot somewhere in the Balkans, owing to his having taken too keen an interest in local politics. (He ought to have been shot; he was clear—and even vehement—on that point in a letter which he wrote to The Times.) Then he sent for Leonard Stabb, disappeared in company with that gentleman, and was no more seen for some years.

AFTER the brilliant success which attended, in the spring of last year, our volume on The Fan—a success which was the result, as I cannot conceal from myself, much more of the original conception and decorative execution of that work of luxe than of its literary interest—I have determined to close this series of Woman's Ornaments by a last little work on the protective adornments of that delicate being, as graceful as she is gracious: THE SUNSHADE, the Glove, the Muff. This collection, therefore, of feminine toys will be limited to two volumes, a collection which at first sight appeared to us so complex and heavy that a dozen volumes at least would have been required to contain its principal elements. This, doubtless, on the one hand, would have tried our own constancy, and on the other, would have failed in fixing more surely the inconstancy of our female readers. THE spirit has its freaks of independence, and the unforeseen of life ought to be carefully economised. Moreover, to tell the whole truth, the decorative elegance of a book like the present hides very often beneath its prints the torture of an intellectual thumbscrew.

In Sister Carrie, Dreiser portrayed a changing society, writing about a young woman who flees rural life for the city (Chicago) and struggles with poverty, complex relationships with men, and prostitution. It sold poorly and was considered controversial because of moral objections to his featuring a country girl who pursues her dreams of fame and fortune through relationships with men. The book has since acquired a considerable reputation. It has been called the "greatest of all American urban novels." It was adapted as a 1952 film by the same name, directed by William Wyler and starring Laurence Olivier and Jennifer Jones.??"..When Caroline Meeber boarded the afternoon train for Chicago, her total outfit consisted of a small trunk, a cheap imita-tion alligator-skin satchel, a small lunch in a paper box, and a yellow leather snap purse, containing her ticket, a scrap of paper with her sister's address in Van Buren Street, and four dollars in money. It was in August, 1889. ??She was eighteen years of age, bright, timid, and full of the illusions of ignorance and youth. Whatever touch of regret at parting characterised her thoughts, it was certainly not for advantages now being given up. A gush of tears at her mother's farewell kiss, a touch in her throat when the cars clacked by the flour mill where her father worked by the day, a pathetic sigh as the familiar green environs of the village passed in review, and the threads which bound her so lightly to girlhood and home were irretrievably broken.."

I met him first in a hurricane; and though we had gone through the hurricane on the same schooner, it was not until the schooner had gone to pieces under us that I first laid eyes on him. Without doubt I had seen him with the rest of the kanaka crew on board, but I had not consciously been aware of his existence, for the Petite Jeanne was rather overcrowded. ??In addition to her eight or ten kanaka seamen, her white captain, mate, and supercargo, and her six cabin passengers, she sailed from Rangiroa with something like eighty-five deck passengers—Paumotans and Tahitians, men, women, and children each with a trade box, to say nothing of sleeping mats, blankets, and clothes bundles.??The pearling season in the Paumotus was over, and all hands were returning to Tahiti. The six of us cabin passengers were pearl buyers. Two were Americans, one was Ah Choon (the whitest Chinese I have ever known), one was a German, one was a Polish Jew, and I completed the half dozen. ?

Testele propuse ?n aceast? culegere respect? num?rul, structura, con?inutul ?i gradul de dificultate ale testelor date la Drept, ?ncep?nd cu anul 2001, ?i realizate de c?tre aceea?i echip? de profesori. Ele reprezint?, a?adar, o oglind? fidel? a subiectelor din ultimul deceniu ?i, ?n acela?i timp, o verificare relevant? a cuno?tin?elor cerute la acest examen de admitere. Rezolv?rile propuse de c?tre noi sunt f?cute dup? concep?ia autorilor subiectelor de la Drept, pentru a se evita orice ambiguitate de interpretare. De asemenea, am respectat obiceiul autorilor, devenit regul? ?n formularea subiectelor, de a numerota propozi?iile ?n ordinea ?n care se succed? predicatele lor (exprimate sau sub?n?elese). Rezolvarea subiectelor vine, suntem convin?i, ?n continuarea cunoa?terii subiectelor date deja la admitere ?n anii anteriori. Ele pot reprezenta pentru candida?i un prilej de verificare, care s? le arate stadiul cuno?tin?elor la un moment dat, s? le arate unde trebuie s? revad? materia ?i s? le acorde ?ncredere ?n capacitatea lor de a reu?i.