Welcome! Come on in! Take part in the project launch of ArtWorks, the new back to work initiative created and run by your friend and ours, the one, the only, the most fantastic… Vince Fine! And so begins the project launch from hell… Exploring issues of how society views those living on benefits, the ‘creative industries’ and what we should value in life, this dark comedy (running in real time) charts the fall from grace of the central comedic hero, Vince Fine, as he watches everything he’s ever dreamed of slip from his fingers. Includes some audience participation and interaction.

Prometheus, a Titan who defies the gods and gives fire to mankind, acts for which he is subjected to perpetual punishment. The Oceanids appear and attempt to comfort Prometheus by conversing with him. Prometheus cryptically tells them that he knows of a potential marriage that would lead to Zeus's downfall. A Titan named Oceanus commiserates with Prometheus and urges him to make peace with Zeus.

Junimea ?i revista Convorbiri literare, pentru o ?ar? ca a noastr?, a tuturor nea?ez?rilor, au fost un suflu de temeinicie care s-a mai repetat ?n perioada interbelic?, f?r? a reu?i s? se coaguleze ca urmare a r?zboiului ?i dictaturilor ce l-au ?nso?it ?i urmat; suflu care pare ?nc? departe, ca s? nu spunem imposibil s? revin? ?n cultura rom?n? sub presiunea globalismului ?i multiculturalismului, a deconstruc?iei cu program ?n toate manifest?rile social-culturale, materiale ?i spirituale. E un model care, dup? o sut? cincizeci de ani, ?nc? ??i trimite razele f?r? a primi o reflectare pe m?sur?.Ceea ce deosebe?te criticismul junimist de criticile epocii ?i, ?n parte, ?i de al ?nainta?ilor este atitudinea comun?, afirmat? de Maiorescu, respectul adev?rului.Importan?a ?i influen?a junimismului ?n sfera politic? sunt de acela?i nivel cu cele afirmate ?n plan cultural ?i literar, e drept, nu cu aceea?i durabilitate, politicul este mult mai efemer, dar nu mai pu?in implicat ?i cu efecte imediate ?i adesea pe termen mediu ?i lung ?n via?a social? a ??rii. (Cassian Maria Spiridon)

Aceast? carte este un demers pe care l-am g?ndit ca pe o lucrare de sintez? care s? surprind?, ?n m?sura posibilit??ilor, puncte de referin?? ?ntre texte ?i autori din perioade diferite, din Evul Mediu european ?i Rena?tere, con?tient? fiind c? epoca medieval? nu trebuie considerat? cu nimic mai prejos dec?t grandorile Greciei vechi sau ale Rena?terii. Problematica acestui concept al Alegoriei ?n receptarea sa de c?tre literatura Evului Mediu, dar ?i de c?tre epocile ulterioare, este complex? ?i bogata bibliografie ce i s-a consacrat ?n ultimele decenii nu face dec?t s? provoace la noi discu?ii ?i interpret?ri a?a cum este ?i aceast? lucrare.

THE Mesopotamian civilization shares with the Egyptian civilization the honour of being one of the two earliest civilizations in the world, and although M. J. de Morgan’s excavations at Susa the ruined capital of ancient Elam, have brought to light the elements of an advanced civilization which perhaps even antedates that of Mesopotamia, it must be remembered that the Sumerians who, so far as our present knowledge goes, were the first to introduce the arts of life and all that they bring with them, into the low-lying valley of the Tigris and Euphrates, probably themselves emigrated from the Elamite plateau on the east of the Tigris; at all events the Sumerians expressed both “mountain” and “country” by the same writing-sign, the two apparently being synonymous from their point of view; in support of this theory of a mountain-home for the Sumerians, we may perhaps further explain the temple-towers, the characteristic feature of most of the religious edifices in Mesopotamia, as a conscious or unconscious imitation in bricks and mortar of the hills and ridges of their native-land, due to an innate aversion to the dead-level monotony of the Babylonian plain, while it is also a significant fact that in the earliest period Shamash the Sun-god is represented with one foot resting on a mountain, or else standing between two mountains. However this may be, the history of the Elamites was intimately wrapped up with that of the dwellers on the other side of the Tigris, from the earliest times down to the sack of Susa by Ashur-bani-pal, king of Assyria, in the seventh century. Both peoples adopted the cuneiform system of writing, so-called owing to the wedge-shaped formation of the characters, the wedges being due to the material used in later times for all writing purposes—the clay of their native soil—: both spoke an agglutinative, as opposed to an inflexional language like our own, and both inherited a similar culture. A further, and in its way a more convincing argument in support of the mountain-origin theory is afforded by the early art of the Sumerians. On the most primitive seal cylinders1 we find trees and animals whose home is in the mountains, and which certainly were not native to the low-lying plain of Babylonia. The cypress and the cedar-tree are only found in mountainous districts, but a tree which must be identified with one or the other of them is represented on the early seal cylinders; it is of course true that ancient Sumerian rulers fetched cedar wood from the mountains for their building operations, and therefore the presence of such a tree on cylinder seals merely argues a certain acquaintance with the tree, but Ceteris paribus it is more reasonable to suppose that the material earthly objects depicted, were those with which the people were entirely familiar and not those with which they were merely casually acquainted. Again, on the early cylinders the mountain bull, known as the Bison bonasus, assumes the r?le played in later times by the lowland water-buffalo. This occurs with such persistent regularity that the inference that the home of the Sumerians in those days was in the mountains is almost inevitable. Again, as Ward points out, the composite man-bull Ea-bani, the companion of Gilgamesh, has always the body of a bison, never that of a buffalo. So too the frequent occurrence of the ibex, the oryx, and the deer with branching horns, all argues in the same direction, for the natural home of all these animals lay in the mountains.

The period included in the reigns of Nero, Galba, Otho, Vitellius, and Vespasian, was remarkable for two memorable events in the annals of ecclesiastical history; the first persecution of the Christian Church by the sixth Roman sovereign, and the dissolution of the Jewish polity by Titus. The destruction of Jerusalem was stupendous, not only as an act of divine wrath, but as being the proximate cause of the dispersion of a whole nation, upon which a long series of sorrow, spoliation, and oppression lighted, in consequence of the curse the Jews had invoked, when in reply to the remonstrances of Pilate they had cried out, “His blood be upon us and our children.” The church below, represented in Scripture as a type of the heavenly Jerusalem above, and having its seat then in the doomed city, was not to continue there, lest the native Jews composing it should gather round them a people of their own nation, in a place destined to remain desolate till the time when the dispersed of Israel should be converted, and rebuild their city and temple. The city bearing the ancient name of Jerusalem does not indeed occupy the same site, being built round the sacred spot where the garden once stood, in which a mortal sepulchre received the lifeless form of the Saviour of the world. But happier times seem dawning on the dispersed of Judea. Our own days have seen the foundations of a Jewish Christian church laid in Jerusalem; our Queen Victoria and the King of Prussia united to commence a work of love, thereby fulfilling in part the promise made to the Jews of old, “And kings shall be thy nursing fathers, and queens thy nursing mothers.” To those readers who feel interested in the dispersed of Israel and Judea, these pages may afford, perhaps, information on an important subject as well as amusement.

ESCAPECOME, shall we go, my comrade, from this denWhere falsehood reigns and we have dallied long?Exchange the curious vanities of menFor roads of freedom and for ships of song? We came as strangers, came to learn and look,To hear their music, drink the wine they gave.Now let us hence again; the happy brookShall quench our thirst, our music be the wave. Come! they are feasting, let us steal away.Beyond the doors the night awaits us, sweet.To-morrow we shall see the break of day,And goat-herds’ pipes shall lead our roaming feet. TO EVE IN TEARSYOU laughed, and all the fountains of the EastLeapt up to Heaven with their diamond rainTo hang in light, and when your laughter ceasedDropped shivered arrows to the ground again. You laughed, and from the belfries of the earthThe music rippled like a shaken pool;And listless banners at the breeze of mirthWere stirred in harbours suddenly made cool. You wept, and all the music of the air—As when a hand is laid upon a bell—Was stilled, and Dryads of the tossing hairCrept back abashed within the secret dell. MARIANA IN THE NORTHALL her youth is gone, her beautiful youth outworn,Daughter of tarn and tor, the moors that were once her homeNo longer know her step on the upland tracks forlornWhere she was wont to roam. All her hounds are dead, her beautiful hounds are dead,That paced beside the hoofs of her high and nimble horse,Or streaked in lean pursuit of the tawny hare that fledOut of the yellow gorse. All her lovers have passed, her beautiful lovers have passed,The young and eager men that fought for her arrogant hand,And the only voice which endures to mourn for her at the lastIs the voice of the lonely land. SORROW OF DEPARTURE. For D.HE sat among the shadows lost,And heard the careless voice speak onOf life when he was gone from home,Of days that he had made his own,Familiar schemes that he had known,And dates that he had cherished mostAs star-points in the year to come,And he was suddenly alone,Thinking (not bitterly,But with a grave regret) that heWas in that room a ghost. He sat among the shades apart,The careless voice he scarcely heard.In that arrested hour there stirredShy birds of beauty in his heart. The clouds of March he would not seeAcross the sky race royally,Nor yet the drift of daffodilHe planted with so glad a hand,Nor yet the loveliness he plannedFor summer’s sequence to fulfil,Nor trace upon the hillThe annual waking of the land,Nor meditative standTo watch the turning of the mill. He would not pause above the WealdWith twilight falling dim,And mark the chequer-board of field,The water gleaming like a shield,The oast-house in the elms concealed,Nor see, from heaven’s chalice-rim,The vintaged sunset brim,Nor yet the high, suspended starHanging eternally afar. These things would be, but not for him. At summer noon he would not lieOne with his cutter’s rise and dip,Free with the wind and sea and sky,And watch the dappled waves go by,The sea-gulls scream and slip;White sails, white birds, white clouds, white foam,White cliffs that curled the love of homeAround him like a whip....He would not see that summer noonFade into dusk from light,While he on shifting waters brightSailed idly on, beneath the moonClimbing the dome of night. This was his dream of happy thingsThat he had loved through many springs, And never more might know.But man must pass the shrouded gateCompanioned by his secret fate,And he must lonely go,And none can help or understand,For other men may touch his hand,But none the soul below.

Dark Snow: A Collection of Poignant, Deeply Emotional Soliloquies and Duets

Whispers of a soul

High Concept Harry: Hollywood Hustler

Handel

Characters of Shakespeare's Plays

A Second Book of Operas

Moral Emblems and Other Poems

Idylls of the King

In the Scene: Jane Campion

Edward MacDowell

n 1960, Adolf Eichmann, artizanul soluiei finale“, era capturat n Argentina de un comando al Mossadului i adus n Israel pentru a fi judecat. Avea s fie doar una dintre rsuntoarele operaiuni ale temutului serviciu secret israelian. Au ieit la iveal multe altele – eradicarea gruprii Septembrie Negru (responsabil de atentatul sngeros de la München, din 1972), distrugerea facilitilor nucleare siriene, eliminarea savanilor iranieni implicai n proiectul nuclear, lichidarea unor lideri teroriti extrem de periculoi etc.Despre misiunile Mossadului s-a scris puin, n comparaie cu alte servicii secrete de elit (KGB, CIA sau MI5). Cu att mai fascinant este cartea autorilor Michael Bar-Zohar i Nissim Mishal, care ne introduce n culisele spionajului israelian, de la nfiinarea acestuia pn n prezent. Metodele pe care le folosete, de la otrav la virui informatici i drone, par desprinse din filmele cu spioni, de o complexitate i o eficien incredibile. Nu este de mirare c Mossadul a cptat, n timp, o aur de legend, fiind considerat n prezent cel mai eficient serviciu de spionaj din lume.Aceast carte ne spune ceea ce ar fi trebuit s fie tiut i nu este – c fora ascuns a Israelului este la fel de formidabil ca puterea lui fizic recunoscut.“ – Shimon Peres, preedinte al statului Israel

Fiecare zi a anului are o poveste de spus. Cine a fost asasinat, cine a urcat pe tron, cine a fugit din ?ar?? Cine s-a n?scut? Ce armat? a fost ?nvins? ?n mod nea?teptat?Autorii prezint?, structurate pe zilele anului, evenimente cu impact asupra epocii ?n care s-au petrecut (?i poate chiar asupra epocii noastre) – na?teri, decese, c?s?torii, ?ncoron?ri, asasin?ri, scandaluri, execu?ii, b?t?lii, dueluri ?i tratate. Adeseori, evenimentele au ?n centrul lor c?te o personalitate marcant?, precum Horatio Nelson sau Lorenzo Magnificul, Robespierre sau Dante. Ve?i citi despre ziua ?n care Rommel, Vulpea De?ertului, s-a sinucis, cea ?n care Napoleon a evadat din exilul de pe insula Elba, cea ?n care Galileo Galilei a fost condamnat pentru erezie ?i despre multe altele.Un compendiu fascinant, pentru to?i cei interesa?i de marile evenimente care au marcat istoria sau de sl?biciunile oamenilor mari din toate epocile.

Volumul cuprinde un amplu studiu introductiv (aprox. 50 pag.) si o selectie – pe tema stabilita in titlu – de 200 documente inedite descoperite in arhivele britanice, americane, franceze, germane si foste sovietice.

The work represents a synthesis published and printed in two volumes (the 1st volume in 2002, the second one, in 2004) under the aegis of Mica Valahie Publishing House in Bucharest. Being elaborated on the basis of some documents discovered in the Romanian and foreign archives, the two volumes cover the period up to 1929 in the first volume and the period from 1929 to 2005 in the second one. The paper reveals the role and place of Romanian oil in the evolution of the national and worldwide history, especially during the World War between 1939 and 1945 and in the development of the so-called “cold war”. The book insists upon the prospects of the specific “black gold” evolution.In the addendum there are to be found some interesting documents and the complete bibliography of oil.