The Gun Club, a society based in Baltimore and dedicated to the design of weapons of all kinds, come up with a plan to construct a cannon capable of shooting a projectile to the moon. The projectile is successfully launched, but the destinies of the three astronauts are left inconclusive. The sequel, Around the Moon, deals with what happens to the three men in their travel from the earth to the moon.

Every year few millions of Americans start to study music. After one year 80% of them stop this studying. They are not talented enough? But what they are studying for whole year long. All music theory can be delivered for 30 minutes. In this book we deliver music theory in historical and logic succession demonstrating it on examples for playing piano and keyboards. This book really helps you.Every year few millions of Americans start to study music. After one year 80% of them stop this studying. They are not talented enough? But what they are studying for whole year long. All music theory can be delivered for 30 minutes. In this book we deliver music theory in historical and logic succession demonstrating it on examples for playing piano and keyboards. This book really helps you.

Music Theory for Teenagers, delivers music theory without confusive movement. By the way you'll get system knowledge of music. This book contains no junk which useally confuse many people forever. Read this book and you’ll gain the perception how to play any musical instrument quite professionally in a short period.

A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description.

Leviathan is one of the earliest and most influential examples of social contract theory. A classic western work on statecraft comparable to Machiavelli's The Prince. Written during the English Civil War (1642–1651), Leviathan argues for a social contract and rule by an absolute sovereign.

In this boisterous but sensitive drama, playwright J. Ajlouny looks beyond public image to find the heart of this young woman thrust wildly into fame as a sex symbol. Presented as a play-in-the-making within a play, Marilyn, Norma Jean and Me weaves biography with humor to explore the movie star’s widely speculated plan to leave Hollywood for Broadway. The author imagines her innocence and vulnerability, her friendliness and loyalty, even as the public image threatens to steal her humanity. This play is a must-see or -read for fans of film and stage, not just because it is so good, but for its powerful way of finding the real Norma Jean in the legend known as Marilyn Monroe.

The Art of War is a Chinese military treatise that was written during the 6th century BC by Sun Tzu. Composed of 13 chapters, each of which is devoted to one aspect of warfare, it has long been praised as the definitive work on military strategies and tactics of its time. The Art of War is one of the oldest books on military strategy in the world. It is the first and one of the most successful works on strategy and has had a huge influence on Eastern and Western military thinking, business tactics, and beyond. Sun Tzu was the first to recognize the importance of positioning in strategy and that position is affected both by objective conditions in the physical environment and the subjective opinions of competitive actors in that environment. He taught that strategy was not planning in the sense of working through a to-do list, but rather that it requires quick and appropriate responses to changing conditions.

Dintre toate scrierile Svetlanei Aleksievici, Ultimii martori este cea mai sf??ietoare. C?ci ce poate fi mai cumplit dec?t copil?ria ?n timp de r?zboi, mai tragic dec?t inocen?a supus? violen?ei ?i anihil?rii? Personajele acestei c?r?i, b?ie?i ?i fete, aveau, ?n perioada celui de al Doilea R?zboi Mondial – conflictul poate cel mai inuman din istorie –, ?ntre trei ?i doisprezece ani, dar r?nile c?p?tate atunci le s?ngereaz? p?n? ?n ziua de azi. ?i totu?i, ?n pofida suferin?elor descrise, textul dob?nde?te o extraordinar? for?? evocatoare pentru c? reu?e?te s? reconstituie poezia inerent? v?rstei copil?riei. Tulbur?tor prin ?nc?rc?tura sa de adev?r ?i r?v??itor suflete?te, Ultimii martori ne schimb? perspectiva asupra istoriei, a r?zboiului, a copil?riei ?i a vie?ii.

Boris Johnson exploreaz?, ?n paginile acestui volum, din ce anume este constituit ?factorul Churchill“ – acea inteligen?? unic? a unuia dintre cei mai importan?i lideri ai secolului XX. Demont?nd miturile ?i prejudec??ile care au d?inuit al?turi de realitate, Johnson realizeaz? – cu inteligen?a ?i pasiunea caracteristice – portretul unui om al contradic?iilor, al curajului contagios, ?nzestrat cu o elocin?? uimitoare ?i cu o putere inegalabil? de a croi strategii. Curajos pe c?mpul de lupt?, Churchill a trebuit s? primeasc? ordin de la rege pentru a sta departe de focul b?t?liei ?n Ziua Z; a fost de acord cu bombardamentele strategice la scar? extins?, cu toate c? ura distrugerile produse de r?zboi ?i ?i dispre?uia pe politicienii care nu ?i tr?iser? ororile. A fost un jurnalist apreciat, un mare orator ?i a c??tigat Premiul Nobel pentru Literatur?. A fost faimos pentru capacitatea de a combina serile de dineuri oficiale cu nop?ile ?n care lua decizii cruciale pentru soarta r?zboiului. Viziunea sa progresist? asupra lumii l-a f?cut un pionier ?n dezvoltarea sistemului public de s?n?tate, de educa?ie ?i de asisten?? social?, de?i a r?mas un adept incorigibil al incorectitudinii politice. Factorul Churchill nu este o carte doar pe gustul pasiona?ilor de istorie. Este o lectur? esen?ial? pentru to?i cei care doresc s? afle din ce material anume e f?cut un mare lider.

O carte spectaculoas?, care ??i asum? nu pu?ine riscuri, intr?nd pe terenurile pu?in explorate ale romanului. Cercetarea ?n care ne-am angajat este analitic? ?i speculativ?, o ipotez? pe care ne-o ?nchipuim ?n anticamera adev?rurilor simple ?i general-consim?ite despre romanul secolului XX, fiindc? aceste adev?ruri sunt a?teptate ?nc? spre a fi spuse. Istoriile sistematice, studiile exhaustive despre romanul secolului abia ?ncheiat lipsesc deocamdat?. Este ?i prima dificultate majora pe care a trebuit s? o ignoram pur ?i simplu. Risc?m propria noastr? ipoteza ?ntr-un spa?iu ?nc? insuficient ordonat ?i tocmai de aceea ispititor pentru orice c?l?torie critic?.

When his cartoons began to reach America toward the end of 1916 this country was neutral. It is with peculiar satisfaction, therefore, that I base this brief foreword upon press extracts published prior to America’s participation in the war. If it were possible to discover today an individual who was entirely ignorant as to the causes and conduct of the war, he would, after an inspection of a hundred or more of these cartoons, probably utter his conviction somewhat as follows: ?“I do not believe that these drawings have the slightest relation to the truth; I do not believe that it is possible for such things to happen in the twenti-eth century.” ??He would be quite justified, in his ignorance of what has happened in Europe, in expressing such an opinion, just as any of us, with the possible exception of the disciples of Bernhardi himself, would have been justified in expressing a similar view in July, 1914.??What is the view of all informed people today? “To Raemaekers the war is not a topic, or a subject for charity. It is a vivid heartrending reality,” says the New York “Evening Post,” “and you come away from the rooms where his cartoons now hang so aware of what war is that mental neutrality is for you a horror. If you have slackened in your determination to find out, these cartoons are a slap in the face. ??Raemaekers drives home a universal point that concerns not merely Germans, but every country where royal decrees have supreme power. Shall one man ever be given the power to seek his ends, using the people as his pawns? We cannot look at the cartoons and remain in ignorance of exactly what is the basis of truth on which they are built.”?The “Philadelphia American” likens Raemaekers to a sensitized plate upon which the spirit which brought on the war has imprinted itself forever, and adds: ?“What he gives out on that subject is as pitilessly true as a photograph. They look down upon us in their naked truth, those pictures which are to be, before the judgment-seat of history, the last indictment of the German nation. Of all impressions, there is one which will hold you in its inexorable grip: it is that Louis Raemaekers has told you the truth.”

IN preparing a first book of American history, it is necessary to keep in mind the two purposed such a work is required to serve. There are children whose school life is brief; these must get all the instruction they are to receive in their country's history from a book of the grade of this.To another class of pupils the first book of American history is a preparation for the intelligent study of a textbook more advanced. It is a manifest waste of time and energy to require these to learn in a lower class the facts that must be re-studied in a higher grade. Moreover, primary histories which follow the order of larger books are likely to prove dry and unsatisfactory condensations. But a beginner's book ought before all things else to be interesting. A fact received with the attention raised to its highest power remains fixed in the memory; that which is learned listlessly is lost easily, and a lifelong aversion to history is often the main result produced by the use of an unsuitable textbook at the outset.The main peculiarity of the present book is that it aims to teach children the history of the country by making them acquainted with some of the most illustrious actors in it. A child is interested, above all, in persons. Biography is for him the natural door into history. The order of events in a nation's life is somewhat above the reach of younger pupils, but the course of human life and the personal achievements of an individual are intelligible and delightful. In teaching younger pupils by means of biography, which is the very alphabet of history, we are following a sound principle often forgotten, that primary education should be pursued along the line of the least resistance. Moreover, nothing is more important to the young American than an acquaintance with the careers of the great men of his country.

John Stuart Mill's book Utilitarianism is a philosophical defense of utilitarianism in ethics. The essay first appeared as a series of three articles published in Fraser's Magazine in 1861; the articles were collected and reprinted as a single book in 1863. It went through four editions during Mill's lifetime with minor additions and revisions. Although Mill includes discussions of utilitarian ethical principles in other works such as On Liberty and The Subjection of Women, Utilitarianism contains Mill's only major discussion of the fundamental grounds for utilitarian ethical theory.

Ni prevodi najzna?ajnijih drama Oskara Vajlda: Salome, Sveta kurtizana i Va?no je?da si?Ernest

Despre Europa s-a vorbit mult, ?n special din perspectiva social? ?i economic?, ?ns? tema nu a fost dezb?tut?, a?a cum s-ar fi cuvenit, de pe pozi?ia culturii. Cartea Mituri ?i legende ale antichit??ii propune studii eseistice referitoare la baza culturii europene. Eseurile ne invit? s? g?ndim ?mpreun? Europa din perspectiva singurului factor care une?te – cultura.

Pour bien comprendre la portée de l'intervention et de l'influence de l'?uvre de Delacroix dans l'école fran?aise, il est nécessaire de se rappeler la situation exacte de la peinture au moment où il parut.??La Révolution avait brutalement traité les ma?tres du XVIIIème siècle finissant. ?prise d'un sévère idéal gréco-romain, dont déjà Vien avait donné des exemples et que David allait porter à son apogée, la génération jacobine avait considéré les peintres légers et délicieux du règne de Louis XVI comme les bénéficiaires de la corruption luxueuse des nobles et des fermiers généraux, et elle les avait rejetés dans le même mouvement d'injuste fureur. Fragonard mourait oublié, chassé de son logis des galeries du Louvre. Hubert Robert échappait gr?ce à une erreur à l'échafaud. Greuze mourait dans la misère noire. On ne parlait plus de Chardin. Un Latour se vendait quelques francs. ??L'?Embarquement pour Cythère?, peint par Watteau pour son entrée à l'Académie, y était criblé de boulettes de papier m?ché par les élèves de David, neveu de Boucher dont ils parlaient en de tels termes, qu'il était obligé, par pudeur, d'excuser à leurs yeux son oncle. Les gravures de Cochin, de Lépicié, de Choffard, de Lavreince, des Saint-Aubin, de Debucourt, de Gravelot, d'Eisen, allaient s'ensevelir dans les soupentes de quelques brocanteurs, et on attendrait quatrevingts ans avant de les rechercher pour les couvrir d'or. Un siècle s'effondrait. Son go?t exquis, sa morale profondément naturelle et humaine, son libéralisme sceptique, tout lui était imputé à vice et à crime. On rêvait d'un art moralisateur, que Greuze avait préparé aux applaudissements de Diderot par ses scènes familiales et son ingénuité bourgeoise, mêlée de libertinage hypocrite. ??On voulait un art héro?que, sévère, propre à élever les consciences. David apparut l'homme d'une telle ?uvre, et créa d'un seul effort la réaction d'une esthétique néo-romaine, d'une peinture con?ue d'après la statuaire antique, et toute consacrée à des expressions de sentiments cornéliens. La discipline de cette école fut plus dure encore que celle imposée, centvingtcinq années auparavant, par Louis XIV, Le Brun et l'école de Rome. Plus de recherches de la nature, plus de gr?ce, plus de vérité, plus de coloris, mais simplement un art allégorique, pompeux, aride, éloigné de la vie et tout entier construit sur des théories, un art aussi opposé que possible au tempérament fran?ais.

Eseuri ?i cronici teatrale structurate simultan ?n dou? planuri, ?nc?t se reconstituie panorama artei spectacolului ?n Rom?nia ?i par?ial ?n lume, ?n perioada 1993-2003, ?i se realizeaz? o privire din unghiul zilei de azi a artei dramatice, ?n evolu?ia ei, de la antici la contemporani.

i corbul, croncnind, a rguit, Vestind c sorii fost au aruncai! Venii! Venii! Voi, duhuri, ce vegheai Pe gndurile morii, crunta zee! i m nvai s nu mai fiu femeie! M umplei, de la cretet pn’ la tlpi Cu o rutate nenduplecat! The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements. Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top full Of direst cruelty!

Hamlet is commonly regarded as one of the greatest plays ever written. Drawing on Danish chronicles and the Elizabethan vogue for revenge tragedy, Shakespeare created a play that is at once a philosophic treatise, a family drama, and a supernatural thriller. In the wake of his father’s death, Prince Hamlet finds that his Uncle Claudius has swiftly taken the throne and married his mother, Queen Gertrude. The ghost of the dead king then appears and charges Claudius with ‘murder most foul.’ Hamlet is called to revenge his father’s death: but will he be able to act before it is too late?

Cititorul va g?si ?n cartea mea un Bucure?ti al scriitorilor, un Bucure?ti al oamenilor politici ?i al gazetarilor, un Bucure?ti al dueli?tilor de ocazie ?i al fan?ilor de salon, al boierilor risipitori ?i sibari?i, al briganzilor de felul unor Tunsu, Grozea sau Iancu Jianu, al domnitorilor cu sau f?r? noroc, al pasiunilor amoroase, al dramelor ?i comediilor vie?ii, o adev?rat? surs? de subiecte pentru scenari?tii care vor s?-?i ?ncerce norocul ?n produc?ia unor seriale TV, ca s? nu spun ?telenovele“. Exist? oameni care merit? aminti?i cu p?r?ile lor bune ?i rele, domnitori ca Mircea Ciobanul, Matei Basarab, Br?ncoveanu, Mavrocorda?ii, Nicolae Mavrogheni, Ioan Gheorghe Caragea, Gheoghe Bibescu, Barbu ?tirbei, Alexandru Ioan Cuza, Carol I sau boieri ca Mihai Cantacuzino, Kre?ule?tii, V?c?re?tii, logof?tul Dudescu, Ion C?mpineanu, Ion Ghica, Nicolae B?lcescu, arhitec?i ca Alexandru Or?scu ?i al?ii. Am pornit ?n scrierea acestei c?r?i av?nd ?n fata ochilor r?ndurile scriitorului Mircea Constantinescu, foarte inspirat atunci c?nd afirma ?n romanul sau documentar ?C?nd toca la Radu Voda“ ca ?Bucure?tii nasc pove?ti de amor ca o mam? eroin?“.

It is fair to characterise the three suites of original water-colour drawings, as executed by our artist, as unique examples of the great George Cruikshank's special individual proficiency as an exponent of this branch of technical dexterity. More-over, it may be regarded as a fortunate circumstance that the three works, here reproduced with amazing fidelity in facsimile, represent happily the very chefs d'oeuvre of his wonderful productions; in their respective categories, preserving the best examples of his remarkable genius as an imaginative creator of vivid pictures, alike stirring and animated, and representing at one glance his vast dramatic powers, his mastery of the humorous side of life, and the intensity he was consistently able to infuse into terrible and tragic scenes. It is noteworthy that the inimitable artist George Cruikshank but rarely pro-duced finished water-colour drawings; the bulk of his prolific and familiarly rec-ognised designs for book illustrations were mostly dainty pencil sketches, occa-sionally finished in pen and ink. It is a problem difficult to solve satisfactorily whether, beyond the three memorable instances of the works here reproduced in facsimile, there are in existence any other complete suites of original illustrations by George Cruikshank—that is to say, fully executed by his master hand as finished water-colour drawings. Tinted sketches may be found in the prized possessions of Cruikshank collectors, and spirited studies for many of his favourite and most successful subjects have been cleverly touched in with watercolours; for instance, such as certain of his original drawings as designed for the illustrations of Harri-son Ainsworth's Tower of London, and the clever historical and picturesque series of Windsor Castle designs; these are, however, to be regarded as exceptional cases, for the bulk of these most successful and popular designs were carefully executed in pencil, or occasionally outlined with the pen, and highly finished with washes of warm sepia. It is worthy of recollection that Cruikshank was a most dexterous artist in this monochrome branch, his earlier artistic experiences having been al-most exclusively in the walk of aqua-tinted etchings; all his early book illustrations, his caricatures, and satirical plates—social or political—were uniformly etched by his hand in the most spirited fashion, after his ready sketches and rough studies, and when the outline etching was bitten in, Cruikshank elaborately worked out his colour suggestions, for light and shade, with a brush over the first-etched outline, in tones of sepia or Indian ink, for the guidance of the professional 'aquatinters'—the school of artists to whose trained skill was entrusted the task of completing these plates to produce the effect of highly finished washed drawings in mono-chrome. By this, his youthful practice, George Cruikshank had acquired remarka-ble dexterity, his original pen-and-ink designs, and the outline etchings, after his earlier book illustrations, being worked up in monochrome to the dainty finish of delicate miniatures, in which art both his father Isaac and his brother Isaac Robert were first-class proficients, as he himself has recorded with pride in describing the special gifts and qualifications which distinguished the Cruikshank family. ? ABOUT THE AUTHOR; George Cruikshank (1792 – 1878) was a British caricaturist and book illustrator, praised as the "modern Hogarth" during his life. His book illustrations for his friend Charles Dickens, and many other authors, reached an international audience. Cruikshank was born in London. His father, Isaac Cruikshank, was one of the leading caricaturists of the late 1790s and Cruikshank started his career as his father's apprentice and assistant. His older brother, Isaac Robert, also followed in the family business as a caricaturist and illustrator. Cruikshank's early work was caricature; but in 1823, at the age of 31, he started to focus on book illustration. He illustrated the first, 1823 English translation (by Edgar Taylor and David Jardine) of Grimms' Fairy Tales, published in two volumes as German Popular Stories. On 16 October 1827, he married Mary Ann Walker (1807–1849). Two years after her death, on 7 March 1851, he married Eliza Widdison. The two lived at 263 Hampstead Road, North London.Upon his death, it was discovered that Cruikshank had fathered 11 illegitimate children with a mistress named Adelaide Attree, his former servant, who lived close to where he lived with his wife. Adelaide was ostensibly married and had taken the married surname 'Archibold'.