A futuristic satire on the trade in live organs from the Third World to the West. Om, a young man is driven by unemployment to sell his body parts for cash. Guards arrive to make his home into a germ-free zone. When his brother Jeetu returns unexpectedly, he is taken away as the donor. Om can’t accept this. Java, his wife, is left alone. Will she too be seduced into selling her body for use by the rich westerners? Harvest won first prize in the first Onassis Cultural Competition for Theatre and was premiered in Greek at the Teatro Texnis, Athens. It has also been performed by a youth theatre in the UK, broadcast by the BBC World Service and made into a feature film, directed by Govind Nihalani, titled Body, which was screened at the Regus London Film Festival.

The Alchemist is a comedy by English playwright Ben Jonson. First performed in 1610 by the King's Men, it is generally considered Jonson's best and most characteristic comedy; Samuel Taylor Coleridge claimed that it had one of the three most perfect plots in literature. The play's clever fulfilment of the classical unities and vivid depiction of human folly have made it one of the few Renaissance plays (except the works of Shakespeare) with a continuing life on stage (except for a period of neglect during the Victorian era).

The Code of Hammurabi (Codex Hammurabi) is a well-preserved ancient law code, created ca. 1790 BC (middle chronology) in ancient Babylon. It was enacted by the sixth Babylonian king, Hammurabi. One nearly complete example of the Code survives today, inscribed on a seven foot, four inch tall basalt stele in the Akkadian language in the cuneiform script. One of the first written codes of law in recorded history. These laws were written on a stone tablet standing over eight feet tall (2.4 meters) that was found in 1901.

With a foreword by director Ralph Lawson and introduction by Pranav Joshipura, Associate Professor of English, Mahila College, Gandhinagar, India. A follow-up anthology of three hard-hitting plays to Singh’s successful drama anthology Durban Dialogues, Indian Voice (2013) which is now studied internationally. The plays selected, namely Into the Grey, Shooting and Swing cover topics such as social activism, the death of a friend and discrimination in sport. Described through Singh’s satirical lens, these thought-provoking plays bring us up to date with the challenges of life in post-Apartheid South Africa. They focus particularly on people of Indian origin and their relationships with other South African communities and chart the loss of ideals in the dream of the Rainbow nation. Into the Grey: A harrowing drama depicting the twenty-nine year association between two Durban activists who battle a variety of challenges as their country stumbles towards a bleak future. Shooting: A one-man play about the unchanging paradigm in Durban’s small town communities in the early years of democracy as a football prodigy’s dream is brutally shattered. Swing: A two-hander about the relationship between a mixed-race Durban tennis player and her father/coach as they confront many obstacles in a society which undervalues the girl-child.

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. ?

Cartea pe care o ?ine?i ?n m?n? este periculoas?. Incomod?, scor?oas?, incendiar? fiind, ?n mod cert, va deranja unele personaje, nelipsite de importan??, din arena politicii rom?ne?ti, care confund? adeseori politica cu diletantismul, tr?d?nd interesele sus?inute cu at?ta patos ?n campaniile electorale. ?n mod sigur, Nu tr?da?i, v? rog! va alarma edilii capitalei ce se ?ntrec ?n a distruge ?micul Paris“ de pe vremuri. Aceast? carte, a?adar, va deranja nu pu?in? lume prin scenele din via?a social-politic? post-decembrist?, cu at?t mai mult, cu c?t umorul ?fichiuitor nu-i este str?in nici pe departe autorului. Nici deta?area…

KING CHARLES THE SECOND was the son and successor of King Charles the First. These two are the only kings of the name of Charles that have appea-red, thus far, in the line of English sovereigns. Nor is it very probable that there will soon be another. The reigns of both these monarchs were stained and tarnished with many vices and crimes, and darkened by national disasters of every kind, and the name is thus connected with so many painful associations in the minds of men, that it seems to have been dropped, by common consent, in all branches of the royal family.??The reign of Charles the First, as will be seen by the history of his life in this series, was characterized by a long and obstinate contest between the king and the people, which brought on, at last, a civil war, in which the king was defeated and taken prisoner, and in the end beheaded on a block, before one of his own pala-ces. During the last stages of this terrible contest, and before Charles was himself taken prisoner, he was, as it were, a fugitive and an outlaw in his own dominions. His wife and family were scattered in various foreign lands, his cities and castles were in the hands of his enemies, and his oldest son, the prince Charles, was the object of special hostility. The prince incurred, therefore, a great many dangers, and suffered many heavy calamities in his early years. He lived to see these calamities pass away, and, after they were gone, he enjoyed, so far as his own personal safety and welfare were concerned, a tranquil and prosperous life. The storm, however, of trial and suffering which enveloped the evening of his father's days, darkened the morning of his own. ??The life of Charles the First was a river rising gently, from quiet springs, in a scene of verdure and sunshine, and flowing gradually into rugged and gloomy regions, where at last it falls into a terrific abyss, enveloped in darkness and storms. That of Charles the Second, on the other hand, rising in the wild and rugged mountains where the parent stream was engulfed, commences its course by leaping frightfully from precipice to precipice, with turbid and foaming waters, but emerges at last into a smooth and smiling land, and flows through it prosperously to the sea.

HANNIBAL was a Carthaginian general. He acquired his great distinction as a warrior by his desperate contests with the Romans. Rome and Carthage grew up together on opposite sides of the Mediterranean Sea. For about a hundred years they waged against each other most dreadful wars. There were three of these wars. Rome was successful in the end, and Carthage was entirely destroyed.?There was no real cause for any disagreement between these two nations. Their hostility to each other was mere rivalry and spontaneous hate. They spoke a different language; they had a different origin; and they lived on opposite sides of the same sea. So they hated and devoured each other.?Those who have read the history of Alexander the Great, in this series, will recollect the difficulty he experienced in besieging and subduing Tyre, a great maritime city, situated about two miles from the shore, on the eastern coast of the Mediterranean Sea. Cart-hage was originally founded by a colony from this city of Tyre, and it soon became a great commercial and maritime power like its mother. The Carthaginians built ships, and with them explored all parts of the Mediterranean Sea.

THERE were three great European nations in ancient days, each of which furnished history with a hero: the Greeks, the Carthaginians, and the Romans.??Alexander was the hero of the Greeks. He was King of Macedon, a country lying north of Greece proper. He headed an army of his countrymen, and made an excursion for conquest and glory into Asia. He made himself master of all that quarter of the globe, and reigned over it in Babylon, till he brought himself to an early grave by the excesses into which his boundless prosperity allured him. His fame rests on his triumphant success in building up for himself so vast an empire, and the admiration which his career has always excited among mankind is heightened by the consideration of his youth, and of the noble and generous impulses which strongly marked his character.??The ROMAN hero was CAESAR. He was born just one hundred years before the Christian era. His renown does not depend, like that of Alexander, on foreign conquests, nor, like that of Hannibal, on the terrible energy of his aggressions upon foreign foes, but upon his protracted and dreadful contests with, and ultimate triumphs over, his rivals and competitors at home.

WHEN children advance beyond the nursery age, no story is so wonderful as a true story. Fiction to them is never as appealing as fact. I have often been faced with the inquiry: whether or not a story is a true one. The look of gratification, when told that "it actually happened," was most satisfying to me as a story-teller.??The nearer a story is to the life and traditions of the child, the more eagerly it is attended. True stories about our own people, about our neighbors and friends, and about our own country at large, are more interesting than true stories of remote places and people. We naturally are interested in our own affairs, and the nearer they are to us the greater the interest we feel.??That history is just a long, thrilling story of the trials and triumphs of pioneers and patriots is well known to those who have had to do with the teaching of history to youthful minds. That the dry recital of political and governmental history does not interest children is also well known. History should be made vital, vibrant, and personal if we expect children to be stirred by its study.?To gratify the love of children for the dramatic and picturesque, to satisfy them with stories that are true, and to make them familiar with the great characters in the history of their own country, is the purpose of this volume.??It is hoped that through appeal to youthful love of adventure, this collection of stories, covering the entire range of American history, will stimulate the ambition and strengthen the patriotism of those young citizens whose education has been the constant concern of the author for many years.

The dual purpose of the revision of this work has been simplification and amplification.?The language has been recast in parts and there have been added sub-titles within each chapter, cross-references and an index. Ideas such as "Religion as law," the Logos of Philo and the development of Messianism have been made as simple as these subjects admit of.??In seeking illustrations to vivify the narrative it is unfortunate that so little is available. Ah! if we had pictures of Hillel, of Akiba the Martyr, of Judah the Saint, of the Jamnia Academy, of the splendor of the Babylonian Exilarch. But this very absence of pictures is in itself a bit of Jewish history.??This new edition contains quotations from the literature of the periods covered, from the Apocrypha, Philo, Josephus and the Mishna. Three chapters have been added, two on "Stories and Sayings of the Sages of the Talmud" and one on "Rabbi Judah and his times."?Other chapters have been placed in more logical sequence. Both the Chronological Tables and the Notes are fuller. A new feature has been introduced in a "theme for discussion" at the close of each chapter that may be found helpful to study circles and Chautauqua societies. This has also been introduced in the recently issued "Modern Jewish History."??The author expresses his grateful indebtedness to Dr. David de Sola Pool for a most careful reading of the manuscript and for many corrections and suggestions; also to Mr. Philip Cowen for the aid rendered in collecting the illustrations. The author has availed himself of writings that have appeared on this epoch since the edition of 1904. He hopes he has succeeded in producing a more readable book.??When the impatient youth demands, like the heathen from Hillel, a definition of Judaism, bid him "go and learn" the history of the Jew. Let him follow the fascinating story from hoar antiquity, when the obscure Hebrews, "leaving kindred and father's house," took a bold and new departure for the land that God would show—the land that would show God.??Point to the colossal figure of Moses on Sinai, "greatest of the prophets," who gave the first uplifting impulse with his Ten Words of Faith and Duty. Trace with him the soul struggle of this "fewest of all peoples" to reach the truth of divinity—beginning with a crude conception that became steadily more exalted and more clarified with each successive age, until, at last, the idea is realized of an all-pervading Spirit, with "righteousness and justice as the pillars of His throne," the "refuge of all generations."??Make clear to him how the revelation of the divine will came to be expressed in Law. And, how the preservation and development of this Law, in the interpreting hands of prophets, scribes, rabbis, poets and philosophers, became henceforth the controlling motif of the history of the Jew, his modus vivendi, whether under Babylonians, Persians, Greeks, Romans, Arabians or Franks. Help him to see that through it the Jew held in his keeping the religious fate of Orient and Occident, that took from him their respective impressions of Islamism and Christianity.??Let him see the "God-intoxicated" teaching his message by living it; the Suffering Servant whose martyrdom brought healing to his smiters.??Then, perhaps, he may understand that no one definition can completely express the Faith of the Jew and his place in the divine economy. But with this glimpse of his history the grandeur of his inheritance will sink into his consciousness, becoming part of himself, and he will be thrilled with the tremendous responsibility devolving upon him as a member of the priest-people, the witnesses of God, whose mission was and is to "bring light to the Gentiles—that salvation may reach to the ends of the earth."??By e-Kitap Projesi, Illustrated by Murat Ukray..

Candide is characterised by its sarcastic tone, as well as by its erratic, fantastical and fast-moving plot. A picaresque novel with a story similar to that of a more serious bildungsroman, it parodies many adventure and romance clichés, the struggles of which are caricatured in a tone that is mordantly matter-of-fact. Still, the events discussed are often based on historical happenings, such as the Seven Years' War and the 1755 Lisbon earthquake. As philosophers of Voltaire's day contended with the problem of evil, so too does Candide in this short novel, albeit more directly and humorously. Voltaire ridicules religion, theologians, governments, armies, philosophies, and philosophers through allegory; most conspicuously, he assaults Leibniz and his optimism. Voltaire's men and women point his case against optimism by starting high and falling low. A modern could not go about it after this fashion.?He would not plunge his people into an unfamiliar misery. He would just keep them in the misery they were born to. But such an account of Voltaire's procedure is as misleading as the plaster cast of a dance. Look at his procedure again. Mademoiselle Cunégonde, the illustrious Westphalian, sprung from a family that could prove seventy-one quarterings, descends and descends until we find her earning her keep by washing dishes in the Propontis. The aged faithful attendant, victim of a hundred acts of rape by negro pirates, remembers that she is the daughter of a pope, and that in honor of her approaching marriage with a Prince of Massa-Carrara all Italy wrote sonnets of which not one was passable. We do not need to know French literature before Voltaire in order to feel, although the lurking parody may escape us, that he is poking fun at us and at himself. His laughter at his own methods grows more unmistakable at the last, when he caricatures them by casually assembling six fallen monarchs in an inn at Venice. A modern assailant of optimism would arm himself with social pity. There is no social pity in "Candide." Voltaire, whose light touch on familiar institutions opens them and reveals their absurdity, likes to remind us that the slaughter and pillage and murder which Candide?witnessed among the Bulgarians was perfectly regular, having been conducted according to the laws and usages of war. Had Voltaire lived today he would have done to poverty what he did to war. Pitying the poor, he would have shown us poverty as a ridiculous anachronism, and both the ridicule and the pity would have expressed his indignation. About Author: VOLTAIREFran?ois-Marie Arouet (1694 – 1778), known by his nom de plume Voltaire, was a French Enlightenment writer, historian and philosopher famous for his wit, his attacks on the established Catholic Church, and his advocacy of freedom of religion, freedom of expression, and separation of church and state. Voltaire was a versatile writer, producing works in almost every literary form, including plays, poems, novels, essays, and historical and scientific works. He wrote more than 20,000 letters and more than 2,000 books and pamphlets. He was an outspoken advocate, despite the risk this placed him in under the strict censorship laws of the time. As a satirical polemicist, he frequently made use of his works to criticize intolerance, religious dogma, and the French institutions of his day.

This story belongs to the year 1837, and was regarded by the generations of that and a succeeding time as the most miraculous of all the recorded deliverances from death at sea. It may be told thus: Mr. Montagu Vanderholt sat at breakfast with his daughter Violet one morning in September. Vanderholt's house was one of a fine terrace close to Hyde Park. He was a rich man, a retired Cape merchant, and his life had been as chequered as Trelawney's, with nothing of romance and nothing of imagination in it. He was the son of honest parents, of Dutch extraction, and had run away to sea when about twelve years old. Nothing under the serious heavens was harsher, more charged with misery, suffering, dirt, and wretchedness, than seafaring in the days when young Vanderholt, with an idiot's cunning, fled to it from his father's comfortable little home. He got a ship, was three years absent, and on his return found both his father and mother dead. He went again to sea, and, fortunately for him, was shipwrecked in the neighbourhood of Simon's Bay. The survivors made their way to Cape Town, and presently young Vanderholt got a job, and afterwards a position. He then became a master, until, after some eight or ten years of heroic perseverance, attended by much good luck, behold Mr. Vanderholt full-blown into a colonial merchant prince. How much he was worth when he made up his mind to settle in England, after the death of his wife, and when he had disposed of his affairs so as to leave himself as free a man as ever he had been when he was a common Jack Swab, really signifies nothing. It is certain he had plenty, and plenty is enough, even for a merchant prince of Dutch extraction. Besides Violet, he had two sons, who will not make an appearance on this little brief stage. They are dismissed, therefore, with this brief reference—that both were in the army, and both, at the time of this tale, in India. Violet was Vanderholt's only daughter, and he loved her exceedingly. She was not beautiful, but she was fair to see, with a pretty figure, and an arch, gay smile. You saw the Dutch blood in her eyes, as you saw it in her father's, whose orbs of vision, indeed, were ridiculously small—scarcely visible in their bed of socket and lash. An English mother had come to Violet's help in this matter. Taking her from top to toe, with her surprising quantity of brown hair, soft complexion, good mouth, teeth, and figure, Violet Vanderholt was undoubtedly a fine girl. THE LAST ENTRY "OPINIONS OF THE PRESS ON THE LAST ENTRY": '"The Last Entry" is a rattling good salt-water yarn, told in the author's usual breezy, exhilarating style.'-”Daily Mail. 'In this new novel Mr. Russell has cleverly thrown its events into the year 1837, and there are one or two ingenious passages which add to the Diamond Jubilee interest which that date suggests.... "The Last Entry" is as certain of general popularity as any of Mr. Russell's former tales of the marvels of the sea.'-”Glasgow Herald. 'We do not think it possible for anyone to dip into this novel without desiring to finish it, and it adds another to the long list of successes of our best sea author.'-”Librarian. 'In addition to mutiny and murder, "The Last Entry" contains many of those good things which have made Mr. Russell's pages a joy to so many lovers of the sea during the last twenty years.... "The Last Entry" is a welcome addition to Mr. Clark Russell's library.'-”Speaker. 'The writer is as realistic and picturesque as usual in his vivid descriptions of the stagnant life on board the homeward-bound Indiaman.'-”Times. 'It is full of pleasant vigour.... As is always the case in Mr. Clark Russell's books, the elements are treated with the pen of an artist.'-”Standard. 'We expected plenty of go, of fresh and vigorous description of sea-faring life, coupled with a story which would not be wanting in interest. All this we have here.'”-Tablet.

Milyen állambiztonsági kockázatokat rejtett magában egy futball-világbajnokság? Vajon miért volt olyan fontos a titkosszolgálat számára Puskás, hogy még a hatvanas évek végén is érkeztek róla jelentések? Valóban kiváltságos klubként kezelte a rendszer Kádár kedvenc csapatát, a Vasast? A politikai rend?rség szempontjából miért voltak kiemelten veszélyesek a Ferencváros mérk?zései? ?s vajon mi igaz abból, hogy a magyar válogatott nem nyerhetett a Szovjetunió ellen? ?s egyáltalán: miért érdekelte mindez az állambiztonságot? TAK?CS TIBOR k?nyvéb?l kiderül, hogy a sport, így a futball egyre fokozódó állambiztonsági ellen?rzését mindenekel?tt a kiszélesed? nemzetk?zi kapcsolatok indokolták, de egyes sportvezet?ket, játékosokat és szurkolókat is folyamatosan megfigyelés alatt tartottak. Ezzel együtt a kádári politikai rend?rség olykor maga sem tudta pontosan, mi dolga a labdarúgás k?rül – ilyenkor aztán m?k?désbe lépett az állambiztonsági paranoia, amely egy egyszer? szurkolói megnyilvánulásban is ?ellenséges tevékenységet” szimatolt. A t?rténész arra vállalkozik, hogy bemutassa: milyen tevékenységet végzett a Kádár-korszak állambiztonsága a legnagyobb t?megeket vonzó t?megsport, a labdarúgás k?rül. Futball és állambiztonság kapcsolatáról kül?nb?z?, néha párhuzamosan futó, olykor egymást metsz? t?rténeteken keresztül ad átfogó képet, mik?zben felvázolja az 1956 utáni állami sportirányítási rendszer és a politikai rend?rség m?k?désének f?bb vonásait és jellemz?it is. TAK?CS TIBOR Nyíregyházán született 1974-ben. A Kossuth Lajos Tudományegyetem B?lcsészettudományi Karán diplomázott 1997-ben. Ezt k?vet?en doktori ?szt?ndíjas volt, majd a nyíregyházi levéltárban dolgozott. 2002-t?l a T?rténeti Hivatal, illetve utódintézménye, az ?llambiztonsági Szolgálatok T?rténeti Levéltára munkatársa. 2005-ben a Debreceni Egyetemen doktori címet szerzett. F? kutatási területe az 1945 utáni magyar t?rténelem, kül?n?s tekintettel a politikai rend?rség m?k?désére

K?ztudott, hogy a pártállami diktatúra idején minden jobboldali gondolat eredend?en üld?zend?nek számított. De vajon hogyan élték túl a hagyományos politikai felosztás szerint jobboldalinak tekintett személyek és mozgalmak a Rákosi-, majd a Kádár-rendszer üld?ztetéseit? Kik választották az évtizedekre szóló, csendes ?alámerülést”, és kik azok, akik továbbra is aktívan képviselték korábbi eszméiket? ?s vajon a rendelkezésünkre álló dokumentumok alapján meg lehet-e kül?nb?ztetni a jobboldalhoz k?thet? valós társadalmi jelenségeket az állambiztonság konstruált ügyeit?l? Az UNGV?RY KRISZTI?N által szerkesztett tanulmányk?tet a Kádár-rendszer állambiztonsága szempontjából ?jobboldalinak” tekintett hagyomány és gondolkodás, illetve az ezt képvisel? csoportok 1945 és 1990 k?z?tti t?rténetéb?l ad reprezentatív válogatást. Mivel e meglehet?sen széles – a progresszív konzervatív eszmét?l a kisgazdákon át az egyetemi szervezkedésekig és a radikális széls?jobboldali mozgalmakig terjed? – politikai paletta szerepl?i és nézetei a kommunista és államszocialista diktatúra idején egyként ?ellenségesnek” min?sültek, a k?tet tanulmányai mindenekel?tt az állambiztonsági iratok feldolgozására épülnek. Az ?sszeállítás áttekintést nyújt az olvasónak a belügyminisztérium ?jobboldali” ellenségképér?l, részletesen tárgyalja a prominens kisgazda és kereszténydemokrata politikusok sorsát, illetve nyomon k?veti a háború el?tti széls?jobboldalhoz k?thet? mozgalmak utóéletét is. E hiánypótló k?tet kit?n? írásai nem csupán arra világítanak rá, hogy a jobboldali hagyományok hogyan élték túl búvópatakszer?en a háborút k?vet? fél évszázadot, de a ma jobboldalinak tekintett attit?d?ket és mentalitásokat is jobban érthet?vé teszik.

Vreau s? cred c? drumul lui Eugenio Barba este cel ?n care ?nt?lne?te copacul de care at?rn? pe creanga cea mai de sus un m?r de aur ?i f?r? s? ?i pese de cei din jurul lui, de privirile lor arogante sau sc?nteind a dispre?, se ca??r? ?n copac, ?n plin? lumin? de zi, ?i culege m?rul. M?rul norocos al destinului. Curaj, perseveren??, credin?? de nezdruncinat ?n vocea l?untrului care mereu ?i ?opte?te drumul pe care s?-l urmeze, c?ci este drumul lui.Eugenio Barba, vizionar, reformator, artist, dramaturg-regizor, maestru, scriitor, ?n dramaturgia sa, ?n cuvintele sale imortalizate ?n reflec?ii asupra sensului ?i condi?iei artei teatrului ?i a artistului, ?n cercet?rile de natur? artistic? ?i ?tiin?ific?, ?n laboratorul de teatru, sesiunile ?colii Interna?ionale de Antropologie Teatral? forjeaz? un act artistic unificator prin coprezen?e ale contrariilor, ?ntrup?ri ale simultaneit??ilor, combin?ri temporale ?i spa?iale, dintre trecut ?i viitor, dintre Est ?i Vest, declan??nd ?o revolu?ie copernician? f?r? de care ?tiin?a teatrului de la sf?r?itul secolului XX ar fi incomprehensibil?“. (Diana Cozma)

Cartea lui Dan Dungaciu se individualizeaza prin originalitatea metodei sale: logistica. Sociologia este, prin excelenta, o "stiinta de spate", cum ar spune logisticienii, adica o stiinta care serveste marilor incordari colective (ofensive sau defensive) pe o durata anumita. Dan Dungaciu propune, in acest sens, cel putin trei procedee de cercetare a sociologiei la scara unei epoci si a unei arii de civilizatie, cea europeana in acest caz: a) "centrele logistice ale gandirii sociale" (care sustin retelele sociologiei); b). "Harta logistica a sociologiei" (romanesti in acest caz); c). Seria teoriilor reprezentative pentru cateva dintre temele dominante ale sociologiei interbelice. Modelul lecturii dezvaluie o fata surprinzatoare a uneia dintre cele mai spectaculoase manifestari ale sociologiei in secolul XX: sociologia romaneasca interbelica. Istoria logistica a sociologiei romanesti reconstituie astfel una dintre secventele de mare tensiune creatoare ale dramei neamului romanesc in secolul al XX-lea, ceea ce face din cartea lui Dan Dungaciu una de exceptie.

As in the case of "The Bases of Design," to which this is intended to form a companion volume, the substance of the following chapters on Line and Form originally formed a series of lectures delivered to the students of the Manchester Municipal School of Art. There is no pretension to an exhaustive treatment of a subject it would be difficult enough to exhaust, and it is dealt with in a way intended to bear rather upon the practical work of an art school, and to be suggestive and helpful to those face to face with the current problems of drawing and design. These have been approached from a personal point of view, as the results of conclusions arrived at in the course of a busy working life which has left but few intervals for the elaboration of theories apart from practice, and such as they are, these papers are now offered to the wider circle of students and workers in the arts of design as from one of themselves. They were illustrated largely by means of rough sketching in line before my student audience, as well as by photographs and drawings. The rough diagrams have been re-drawn, and the other illustrations reproduced, so that both line and tone blocks are used, uniformity being sacrificed to fidelity.? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?WALTER CRANE. Outline, one might say, is the Alpha and Omega of Art. It is the earliest mode of expression among primitive peoples, as it is with the individual child, and it has been cultivated for its power of characterization and expression, and as an ultimate test of draughtsmanship, by the most accomplished artists of all time. The old fanciful story of its origin in the work of a lover who traced in charcoal the boundary of the shadow of the head of his sweetheart as cast upon the wall by the sun, and thus obtained the first profile portrait, is probably more true in substance than in fact, but it certainly illustrates the function of outline as the definition of the boundaries of form.Silhouette As children we probably perceive forms in nature defined as flat shapes of colour relieved upon other colours, or flat fields of light on dark, as a white horse is defined upon the green grass of a field, or a black figure upon a background of snow.Definition of BoundariesTo define the boundaries of such forms becomes the main object in early attempts at artistic expression. The attention is caught by the edges—the shape of the silhouette which remains the paramount means of distinction of form when details and secondary characteristics are lost; as the outlines of mountains remain, or are even more clearly seen, when distance subdues the details of their structure, and evening mists throw them into flat planes one behind the other, and leave nothing but the delicate lines of their edges to tell their character. We feel the beauty and simplicity of such effects in nature. We feel that the mind, through the eye resting upon these quiet planes and delicate lines, receives a sense of repose and poetic suggestion which is lost in the bright noontide, with all its wealth of glittering detail, sharp cut in light and shade. There is no doubt that this typical power of outline and the value of simplicity of mass were perceived by the ancients, notably the Ancient Egyptians and the Greeks, who both, in their own ways, in their art show a wonderful power of characterization by means of line and mass, and a delicate sense of the ornamental value and quality of line. Formation of LettersRegarding line—the use of outline from the point of view of its value as a means of definition of form and fact—its power is really only limited by the power of draughtsmanship at the command of the artist. From the archaic potters' primitive figures or the rudimentary attempts of children at human or animal forms up to the most refined outlines of a Greek vase-painter, or say the artist of the Dream of Poliphilus, the difference is one of degree.

Macbeth (full title The Tragedy of Macbeth) is a tragedy written by William Shakespeare, and is considered one of his darkest and most powerful works. Set in Scotland, the play dramatizes the corrosive psychological and political effects produced when evil is chosen as a way to fulfil the ambition for power. The play is believed to have been written between 1599 and 1606, and is most commonly dated 1606. The earliest account of a performance of what was probably Shakespeare's play is the Summer of 1606, when Simon Forman recorded seeing such a play at the Globe Theatre. Macbeth is Shakespeare's shortest tragedy, and tells the story of a brave Scottish general named Macbeth who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the throne for himself. He is then wracked with guilt and paranoia, and he soon becomes a tyrannical ruler as he is forced to commit more and more murders to protect himself from enmity and suspicion. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of arrogance, madness, and death. The play opens amidst thunder and lightning, and the Three Witches decide that their next meeting shall be with Macbeth. In the following scene, a wounded sergeant reports to King Duncan of Scotland that his generals—Macbeth, who is the Thane of Glamis, and Banquo—have just defeated the allied forces of Norway and Ireland, who were led by the traitorous Macdonwald and the Thane of Cawdor. Macbeth, the King's kinsman, is praised for his bravery and fighting prowess.In the following scene, Macbeth and Banquo discuss the weather and their victory. As they wander onto a heath, the Three Witches enter and greet them with prophecies. Though Banquo challenges them first, they address Macbeth, hailing him as "Thane of Glamis," "Thane of Cawdor," and that he shall "be King hereafter." Macbeth appears to be stunned to silence. When Banquo asks of his own fortunes, the witches inform him that he will father a line of kings, though he himself will not be one. While the two men wonder at these pronouncements, the witches vanish, and another thane, Ross, arrives and informs Macbeth of his newly bestowed title: Thane of Cawdor, as the previous Thane of Cawdor shall be put to death for his traitorous activities. The first prophecy is thus fulfilled, and Macbeth immediately begins to harbour ambitions of becoming king.King Duncan welcomes and praises Macbeth and Banquo, and declares that he will spend the night at Macbeth's castle at Inverness; he also names his son Malcolm as his heir. Macbeth sends a message ahead to his wife, Lady Macbeth, telling her about the witches' prophecies. Lady Macbeth suffers none of her husband's uncertainty, and wishes him to murder Duncan in order to obtain kingship. When Macbeth arrives at Inverness, she overrides all of her husband's objections by challenging his manhood, and successfully persuades him to kill the king that very night. He and Lady Macbeth plan to get Duncan's two chamberlains drunk so that they will black out; the next morning they will blame the chamberlains for the murder. They will be defenseless, as they will remember nothing.While Duncan is asleep, Macbeth stabs him, despite his doubts and a number of supernatural portents, including a hallucination of a bloody dagger. He is so shaken that Lady Macbeth has to take charge. In accordance with her plan, she frames Duncan's sleeping servants for the murder by placing bloody daggers on them. Early the next morning, Lennox, a Scottish nobleman, and Macduff, the loyal Thane of Fife, arrive. A porter opens the gate and Macbeth leads them to the king's chamber, where Macduff discovers Duncan's body. ABOUT AUTHOR: William Shakespeare ( 1564 (baptised) – 1616) was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare was born and brought up in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physic

We sailed from Peru, (where we had continued for the space of one whole year) for China and Japan, by the South Sea; taking with us victuals for twelve months; and had good winds from the east, though soft and weak, for five months space, and more. But the wind came about, and settled in the west for many days, so as we could make little or no way, and were sometime in purpose to turn back. But then again there arose strong and great winds from the south, with a point east, which carried us up (for all that we could do) towards the north; by which time our victuals failed us, though we had made good spare of them. So that finding ourselves, in the midst of the greatest wilderness of waters in the world, without victuals, we gave ourselves for lost men and prepared for death. Yet we did lift up our hearts and voices to God above, who showeth his wonders in the deep, beseeching him of his mercy, that as in the beginning he discovered the face of the deep, and brought forth dry land, so he would now discover land to us, that we might not perish. And it came to pass that the next day about evening we saw within a kenning before us, towards the north, as it were thick clouds, which did put us in some hope of land; knowing how that part of the South Sea was utterly unknown; and might have islands, or continents, that hitherto were not come to light. Wherefore we bent our course thither, where we saw the appearance of land, all that night; and in the dawning of the next day, we might plainly discern that it was a land; flat to our sight, and full of boscage; which made it show the more dark. And after an hour and a half's sailing, we entered into a good haven, being the port of a fair city; not great indeed, but well built, and that gave a pleasant view from the sea: and we thinking every minute long, till we were on land, came close to the shore, and offered to land. But straightways we saw divers of the people, with bastons in their hands (as it were) forbidding us to land; yet without any cries of fierceness, but only as warning us off, by signs that they made. Whereupon being not a little discomforted, we were advising with ourselves, what we should do. During which time, there made forth to us a small boat, with about eight persons in it; whereof one of them had in his hand a tipstaff of a yellow cane, tipped at both ends with blue, who came aboard our ship, without any show of distrust at all. And when he saw one of our number, present himself somewhat before the rest, he drew forth a little scroll of parchment (somewhat yellower than our parchment, and shining like the leaves of writing tables, but otherwise soft and flexible,) and delivered it to our foremost man. In which scroll were written in ancient Hebrew, and in ancient Greek, and in good Latin of the school, and in Spanish, these words: Land ye not, none of you; and provide to be gone from this coast, within sixteen days, except you have further time given you. Meanwhile, if you want fresh water or victuals, or help for your sick, or that your ship needeth repairs, write down your wants, and you shall have that, which belongeth to mercy. This scroll was signed with a stamp of cherubim: wings, not spread, but hanging downwards; and by them a cross. This being delivered, the officer returned, and left only a servant with us to receive our answer. F. BACON About Author: Francis Bacon, 1561 – 1626), was an English philosopher, statesman, scientist, jurist, orator, essayist, and author. He served both as Attorney General and Lord Chancellor of England. After his death, he remained extremely influential through his works, especially as philosophical advocate and practitioner of the scientific method during the scientific revolution.Bacon has been called the father of empiricism. His works established and popularised inductive methodologies for scientific inquiry, often called the Baconian method, or simply the scientific method. His demand for a planned procedure of investigating all things natural marked a new turn in the rhetorical and theoretical framework for science, much of which still surrounds conceptions of proper methodology today.Bacon was knighted in 1603, and created Baron Verulam in 1618 and Viscount St. Alban in 1621; as he died without heirs, both peerages became extinct upon his death. He famously died of pneumonia, contracted while studying the effects of freezing on the preservation of meat. The succession of James I brought Bacon into greater favour. He was knighted in 1603. In another shrewd move, Bacon wrote his Apologies in defence of his proceedings in the case of Essex, as Essex had favoured James to succeed to the throne. The following year, during the course of the uneventful first parliament session, Bacon married Alice Barnham. In June 1607 he was at last rewarded with the office of solicitor general. The following year, he began working as the Clerkship of the Star Chamber. Despite a generous income, old debts still co

Vajon van esélye Hanna és Olivér szerelmének?Túlélheti a fiatal lány a végzetesnek hitt balesetet? ?s ha túl is éli, visszaállhat-e az élete a normális kerékvágásba?Mire képes a szerelem, mit bír el a szív? Elfogadni, megbocsátani, elengedni, újrakezdeni. A másik oldalról els? részében megismert szerepl?ké mellett új kapcsolatok alakulását is nyomon k?vethetjük. Együtt sírhatunk és nevethetünk a hétk?znapi h?s?kkel, akikkel végtelen természetességük miatt igazán k?nny? azonosulni. A korábbi k?tethez hasonlóan ezúttal is számtalan komoly téma vet?dik fel, a bonyodalmakkal dúsított, meglep?, néhol megd?bbent? fordulatokban gazdag t?rténet mégis k?nnyed, szórakoztató kikapcsolódást ígér. Papp Csilla legújabb k?nyvében, mely ott kezd?dik, ahol az els? regény véget ér, újra és újra rácsodálkozhatunk a szerelem erejére, mik?zben minden kétséget kizáróan el fogjuk hinni, hogy biztosan nincsenek véletlenek.