Design Guide to Learn Calligraphy: Fonts, Styles, Pens, Letters, & Numbers

Burnt Boats

Az akasztott király: kortárs dráma

Byron's Complete Poetry

Stray Birds

Stendhal Syndrome

The Argonautica is a Greek epic poem written by Apollonius Rhodius in the 3rd century BC. The only surviving Hellenistic epic, the Argonautica tells the myth of the voyage of Jason and the Argonauts to retrieve the Golden Fleece from remote Colchis. Their heroic adventures and Jason's relationship with the dangerous Colchian princess/sorceress Medea were already well known to Hellenistic audiences, which enabled Apollonius to go beyond a simple narrative, giving it a scholarly emphasis suitable to the times.

When Mina’s father dies, she returns to Korea to visit a family she barely knows, desperately looking for some answers. But her mother is reluctant to discuss the past, especially the war, or the reasons that Mina was sent so far away as a child, to America. Her younger sister seems unable to grow up and it doesn’t help that their nosy neighbour is always on their doorstep. Secrets and lies divide them all irrevocably. When the truth is finally revealed, it is both shocking and redemptive, allowing Mina and those around her to see themselves anew and break free from years of pain and guilt.

New adaptation of 'Hamlet' for a modern black theatrical production. Remember me… Denmark, a Black Empire of modern England, where an intelligent young student discovers the world he once knew has crumbled. Implored to defend what is left of his father’s decaying legacy, Hamlet now faces the greatest moral challenge – to kill or not to kill. Directed by Jeffery Kissoon (RSC, National Theatre, Robert Lepage, Peter Hall and in Peter Brook’s seminal production of The Mahabharata) and adapted with Shakespeare’s text by award-winning playwright Mark Norfolk, this fast-moving version gets straight to the heart of a young man’s dilemma. This first all-black production of Hamlet in Britain makes a striking contribution to the Shakespeare 400 anniversary celebration. For ages 12+

A life of fascination, obsession and deep scientific curiosity. William Cavendish-Scott-Bentinck is an eccentric Nottinghamshire aristocrat whose imagination and curiosity know no bounds. This deceptively simple man struggles to come to terms with a world that is teeming with new knowledge, ill-founded opinion and?gossip. Why does he hide himself away? What is his fascination with tunnels? Will he ever unearth the secrets hidden in his memory? In a sequence of events that are often curious and frequently hilarious he reveals moments of surprising perception and wisdom. Nottingham Playhouse and ajtc have combined their talents to co-produce Nick Wood’s stage adaptation of Mick Jackson’s Booker Prize shortlisted novel. The result is a free-flowing, innovative performance which features live music and a specially commissioned score. The Underground Man is a delectable blend of fact and fiction in which the intriguing details of a complex life are richly explored through the vibrant imagination of a gentle soul.

The Metamorphoses, or The Golden Ass, is the only Ancient Roman novel to survive in its entirety. The protagonist of the novel is called Lucius. At the end of the novel, he is revealed to be from Madaurus, in ancient Algeria, the hometown of Apuleius himself. The plot revolves around the protagonist's curiosity and insatiable desire to see and practice magic. While trying to perform a spell to transform into a bird, he is accidentally transformed into an ass. This leads to a long journey, literal and metaphorical, filled with in-set tales. He finally finds salvation through the intervention of the goddess Isis, whose cult he joins.

Much has been explored about Shakespeare and his life, but little is known about how this small-town boy with a grammar-school education came to pen masterworks like Hamlet and King Lear. In Meet William Shakespeare, playwright J. Ajlouny creates authentic and plausible explanations that answer centuries-old questions about the man and his work. The result is an educational and fun portrait of Shakespeare, as told by The Bard himself.

I know you've witnessed your child use their or there when they meant they're. Or the other way around. The same goes for to, too and two. I've even see adults mix it up. Heck, I've even seen it in published books. But that's understandable because they are some of the most misused words in the English language. Don't let your child suffer those mistakes. Let Queen Shinobi teach your child how to use those words properly. ?

Today the women at the festival are going to kill me for insulting them!' This bold statement by Euripides is the absurd premise upon which the whole play depends. The women are incensed by his plays' portrayal of the female sex as mad, murderous, and sexually depraved, and they are using the festival of the Thesmophoria (an annual fertility celebration dedicated to Demeter) as an opportunity to debate a suitable choice of revenge.

Take your first step to becoming a professional short fiction writer—Buy this book! In an engaging and conversational style, award-winning author Douglas Smith teaches you how to market and sell short stories—and much, much more. Even experienced writers will find value here as Smith takes you from your first sale to using your stories to build a writing career. CONTENTS: The Fundamentals: The different types of writers. The benefits of short fiction. Rights and licensing. Selling Your Stories: Knowing when it's ready. Choosing markets. Submitting stories. Avoiding mistakes. How editors select stories. Dealing with rejections. When to give up on a story. After a Sale: Contracts. Working with editors. What your first sale means. Dealing with reviews. A Writer's Magic Bakery: Selling reprints. Foreign markets. Audio markets. Selling a collection. The indie option. Becoming Established: Leveraging your stories. Discoverability and promotion. Career progression in short fiction. With an introduction by multi-award winning writer and editor, Kristine Kathryn Rusch. "We short story writers have needed a book like this for decades. ... It’s spectacular." —Kristine Kathryn Rusch, Award-winning Author & Editor “If you are the least bit interested in having a career as a fiction writer then I can tell you what to read: Douglas Smith’s Playing the Short Game: How to Market & Sell Short Fiction. From now on this is my go-to book for all things related to starting and maintaining my fiction writing career.” —Filip Wiltgren, The Guide to a Professional Writing Career

Hogyan váltak a lovak az emberiség kiszolgálóivá?A lovak évezredek óta jelen vannak az emberek életében: hatalmas erejüket és engedelmességüket kihasználva dolgoznak, küzdenek, hódítanak.De hogyan lehetséges, hogy a 60-65 millió éve a F?ld?n él? állatokat végül az ember igába hajthatta? Ez a regény err?l is szól, fantasztikus, mesés elemekkel telet?zdelve. Kül?n?s mozzanat a t?rténetben a lovak találkozása az emberekkel, akik a F?ldész nev?, egy a F?ldh?z hasonló élhet? bolygóról érkeztek, és egyedül ezekben csodás állatokban találták meg azt az akarater?t és intelligenciát, ami alkalmassá teszi ?ket majd a f?ldi emberi társadalmak kialakítására.Fuli Sándor kalandos regénye az életigenlésr?l felhívja fiatal olvasói figyelmét a minden nehézséggel való bátor szembenézés fontosságára.

Leonardo's views of aesthetic are all important in his philosophy of life and art. The worker's thoughts on his craft are always of interest. They are doubly so when there is in them no trace of literary self-consciousness to blemish their expression. He recorded these thoughts at the instant of their birth, for a constant habit of observation and analysis had early developed with him into a second nature. His ideas were penned in the same fragmentary way as they presented themselves to his mind, perhaps with no intention of publishing them to the world. But his ideal of art depended intimately, none the less, on the system he had thrown out seemingly in so haphazard a manner. The long obscurity of the Dark Ages lifted over Italy, awakening to a national though a divided consciousness. Already two distinct tendencies were apparent. The practical and rational, on the one hand, was soon to be outwardly reflected in the burgher-life of Florence and the Lombard cities, while at Rome it had even then created the civil organization of the curia. The novella was its literary triumph. In art it expressed itself simply, directly and with vigour. Opposed to this was the other great undercurrent in Italian life, mystical, religious and speculative, which had run through the nation from the earliest times, and received fresh volume from mediaeval Christianity, encouraging ecstatic mysticism to drive to frenzy the population of its mountain cities. Umbrian painting is inspired by it, and the glowing words of Jacopone da Todi expressed in poetry the same religious fervour which the life of Florence and Perugia bore witness to in action. Italy developed out of the relation and conflict of these two forces the rational with the mystical. Their later union in the greater men was to form the art temperament of the Renaissance. The practical side gave it the firm foundation of rationalism and reality on which it rested; the mystical guided its endeavour to picture the unreal in terms of ideal beauty.The first offspring of this union was Leonardo. Since the decay of ancient art no painter had been able to fully express the human form, for imperfect mastery of technique still proved the barrier. Leonardo was the first completely to disengage his personality from its constraint, and make line express thought as none before him could do. Nor was this his only triumph, but rather the foundation on which further achievement rested. Remarkable as a thinker alone, he preferred to enlist thought in the service of art, and make art the handmaid of beauty. Leonardo saw the world not as it is, but as he himself was. He viewed it through the atmosphere of beauty which filled his mind, and tinged its shadows with the mystery of his nature. From his earliest years, the elements of greatness were present in Leonardo. But the maturity of his genius came unaffected from without. He barely noticed the great forces of the age which in life he encountered. After the first promise of his boyhood in the Tuscan hills, his youth at Florence had been spent under Verrocchio as a master, in company with those whose names were later to brighten the pages of Italian art. At one time he contemplated entering the service of an Oriental prince. Instead, he entered that of Caesar Borgia, as military engineer, and the greatest painter of the age became inspector of a despot's strongholds. But his restless nature did not leave him long at this. Returning to Florence he competed with Michelangelo; yet the service of even his native city could not retain him. His fame had attracted the attention of a new patron of the arts, prince of the state which had conquered his first master. In this his last venture, he forsook Italy, only to die three years later at Amboise, in the castle of the French king.

THE history, the features, and the most famous examples of European architecture, during a period extending from the rise of the Gothic, or pointed, style in the twelfth century to the general depression which overtook the Renaissance style at the close of the eighteenth, form the subject of this little volume. I have endeavoured to adopt as free and simple a mode of treatment as is compatible with the accurate statement of at least the outlines of so very technical a subject. Though it is to be hoped that many professional students of architecture will find this hand-book serviceable to them in their elementary studies, it has been my principal endeavour to adapt it to the requirements of those who are preparing for the professional pursuit of the sister arts, and of that large and happily increasing number of students who pursue the fine arts as a necessary part of a complete liberal education, and who know that a solid and comprehensive acquaintance with art, especially if joined to some skill in the use of the pencil, the brush, the modelling tool, or the etching needle, will open sources of pleasure and interest of the most refined description. The broad facts of all art history; the principles which underlie each of the fine arts; and the most precious or most noteworthy examples of each, ought to be familiar to every art student, whatever special branch he may follow. Beyond these limits I have not attempted to carry this account of Gothic and Renaissance architecture; within them I have endeavoured to make the work as complete as the space at my disposal permitted. THE architecture generally known as Gothic, but often described as Christian Pointed, prevailed throughout Europe to the exclusion of every rival for upwards of three centuries; and it is to be met with, more or less, during two others. Speaking broadly, it may be said that its origin took place in the twelfth century, that the thirteenth was the period of its development, the fourteenth that of its perfection, and the fifteenth that of its decline; while many examples of its employment occur in the sixteenth. In the following chapters the principal changes in the features of buildings which occurred during the progress of the style in England will be described. Subsequently, the manner in which the different stages of development were reached in different countries will be given; for architecture passed through very nearly the same phases in all European nations, though not quite simultaneously. It must be understood that through the whole Gothic period, growth or at least change was going on; the transitions from one stage to another were only periods of more rapid change than usual. The whole process may be illustrated by the progress of a language. If, for instance, we compare round-arched architecture in the eleventh century to the Anglo-Saxon form of speech of the time of Alfred the Great, and the architecture of the twelfth century to the English of Chaucer, that of the thirteenth will correspond to the richer language of Shakespeare, that of the fourteenth to the highly polished language of Addison and Pope, and that of the fifteenth to the English of our own day. We can thus obtain an apt parallel to the gradual change and growth which went on in architecture; and we shall find that the oneness of the language in the former case, and of the architecture in the latter, was maintained throughout. For an account of the Christian round-arched architecture which preceded Gothic, the reader is referred to the companion volume in this series. Here it will be only necessary briefly to review the circumstances which went before the appearance of the pointed styles.

"Where ocean bathes earth's footstool these sea-bowersBedeck its solid wavelets: wise was heWho blended shore with deep, with seaweed flowers,And Naiads' rivulets with Nereids' sea." Strictly speaking the peninsula on which the city stands is of the form of a trapezium. It juts out into the sea, beating back as it were the fierce waves of the Bosphorus, and forcing them to turn aside from their straight course and widen into the Sea of Marmora, which the ancients called the Propontis, narrowing again as it forces its way between the near banks of the Hellespont, which rise abrupt and arid from the European side, and slope gently away in Asia to the foot of Mount Ida. Northwards there is the little bay of the Golden Horn, an arm as it were of the Bosphorus, into which run the streams which the Turks call the Sweet Waters of Europe. The mouth of the harbour is no more than five hundred yards across. The Greeks of the Empire spanned it by a chain, supported here and there on wooden piles, fragments of which still remain in the Armoury that was once the church of S. Irene. Within is safe anchorage in one of the finest harbours of the world. South of the Golden Horn, on the narrow tongue of land—narrow it seems as seen from the hills of the northern shore—is the city of Constantine and his successors in empire, seated, like the old Rome, on seven hills, and surrounded on three sides by sea, on the fourth by the still splendid, though shattered, medi?val walls. Northwards are the two towns, now linked together, of Pera and Galata, that look back only to the trading settlements of the Middle Ages.The single spot united, as Gibbon puts it, the prospects of beauty, of safety, and of wealth: and in a masterly description that great historian has collected the features which made the position, "formed by Nature for the centre and capital of a great monarchy," attractive to the first colonists, and evident to Constantine as the centre where he could best combine and command the power of the Eastern half of his mighty Empire. Byzantium Before Constantine.It is impossible to approach Constantinople without seeing the beauty and the wonder of its site. Whether you pass rapidly down the Bosphorus, between banks crowned with towers and houses and mosques, that stretch away hither and thither to distant hills, now bleak, now crowned with dark cypress groves; or up from the Sea of Marmora, watching the dome of S. Sophia that glitters above the closely packed houses, till you turn the point which brings you to the Golden Horn, crowded with shipping and bright with the flags of many nations; or even if you come overland by the sandy wastes along the shore, looking across the deep blue of the sea to the islands and the snow-crowned mountains of Asia, till you break through the crumbling wall within sight of the Golden Gate, and find yourself at a step deep in the relics of the middle ages; you cannot fail to wonder at the splendour of the view which meets your eyes. Sea, sunlight, the quaint houses that stand close upon the water's edge, the white palaces, the crowded quays, and the crowning glory of the Eastern domes and the medi?val walls—these are the elements that combine to impress, and the impression is never lost. Often as you may see again the approach to the imperial city, its splendour and dignity and the exquisite beauty of colour and light will exert their old charm, and as you put foot in the New Rome you will feel all the glamour of the days that are gone by.

Sorsdráma. Szrny, barbár mese. Véres és szexuális talányok. Elnyomott emlékek és gyermekkori borzalmak flkeverése. Hirtelen, képtelen, elre tudott és mégis elháríthatatlan katasztrófa. Babona, vallás és matematika külns fonadékú szvete. A sors irracionális gykereinek ízeit érezzük. Micsoda ellentét forma és tartalom kzt! Ilyen vad, si, nyers, babonás mélyeket éppen csak az emberi tudat és kultúra leglucidasabb mvészete tár fl: annál megrendítbb! A Szophoklész mvészete” – írja Babits Mihály Az európai irodalom trténeté-ben.

The Odyssey (Greek:Odysseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. It is believed to have been composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres or Proci, who compete for Penelope's hand in marriage. It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter. Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage. The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in Antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). ABOUT AUTHOR: Homeros, In the Western classical tradition, Homer (Ancient Greek: Homeros) is the author of the Iliad and the Odyssey, and is revered as the greatest of ancient Greek epic poets. These epics lie at the beginning of the Western canon of literature, and have had an enormous influence on the history of literature. When he lived is unknown. Herodotus estimates that Homer lived 400 years before his own time, which would place him at around 850 BC, while other ancient sources claim that he lived much nearer to the supposed time of the Trojan War, in the early 12th century BC. Most modern researchers place Homer in the 7th or 8th centuries BC. The formative influence of the Homeric epics in shaping Greek culture was widely recognized, and Homer was described as the teacher of Greece. Homer's works, which are about fifty percent speeches, provided models in persuasive speaking and writing that were emulated throughout the ancient and medieval Greek worlds. Fragments of Homer account for nearly half of all identifiable Greek literary papyrus finds. PeriodFor modern scholars "the date of Homer" refers not to an individual, but to the period when the epics were created. The consensus is that "the Iliad and the Odyssey date from around the 8th century BC, the Iliad being composed before the Odyssey, perhaps by some decades," i.e. earlier than Hesiod, the Iliad being the oldest work of Western literature. Over the past few decades, some scholars have argued for a 7th-century BC date. Oliver Taplin believes that the conclusion of modern researchers is that Homer dates to between 750 to 650 BC. Some of those who argue that the Homeric poems developed gradually over a long period of time give an even later date for the composition of the poems; according to Gregory Nagy for example, they only became fixed texts in the 6th century BC. The question of the historicity of Homer the individual is known as the "Homeric question"; there is no reliable biographical information handed down from classical antiquity. The poems are generally seen as the culmination of many generations of oral story-telling, in a tradition with a well-developed formulaic system of poetic composition. Some scholars, such as Martin West, claim that "Homer" is "not the name of a historical poet, but a fictitious or constructed name."