AT the east end of the choir aisle of the Cathedral there is a portion of the wall which is possibly the oldest piece of masonry in Oxford, for it is thought to be a part of the original Church of St. Frideswyde, on whose site the Cathedral Church of Christ (to give its full title) now stands. Even so it is not possible to speak with historical certainty of the saint or of the date of her Church, which was built for her by her father, so the legend says, when she took the veil; though the year 740 may be provisionally accepted as the last year of her life. St. Frideswyde's was a conventual Church, with a Priory attached, and both were burnt down in 1002, but rebuilt by Ethelred. How much of his handiwork survives in the present structure it is not easy to de-termine; but the Norman builders of the twelfth century effected, at any rate, such a transformation that no suggestion of Saxon architecture is obtruded. Their work went on for some twenty years, under the supervision of the then Prior, Robert of Cricklade, and the Church was consecrated anew in 1180. The main features of the interior—the massive pillars and arches—are substantially the same to-day as the builders left them then. THIS BOOK, is not intended to compete with any existing guides to Oxford: it is not a guide-book in any formal or exhaustive sense. Its purpose is to shew forth the chief beauties of the University and City, as they have ap-peared to several artists; with such a running commentary as may explain the pictures, and may indicate whatever is most interesting in connection with the scenes which they represent. Slight as the notes are, there has been no sacrifice, it is believed, of accuracy. The principal facts have been derived from Alexander Chalmers' History of the Colleges, Halls, and Public Buildings of the University of Oxford, from Mr. Lang's Oxford, and from the Oxford and its Colleges of Mr. J. Wells. The illustrations, with the exception of six only, which are derived from Ackermann's Oxford, are reproduced from the paintings of living artists, mostly by Mr. W. Matthison, the others by Mrs. C. R. Walton, Walter S. S. Tyrwhitt, Mr. Bayzant, and Miss E. S. Cheesewright.

A group of women, led by the wise and redoubtable Praxagora, has decided that the women of Athens must convince the men to give them control of the city, as they are convinced they can do a better job. Disguised as men, the women sneak into the assembly and command the majority of votes needed to carry their series of revolutionary proposals, even convincing some of the men to vote for it on the grounds that it is the only thing they have not tried.

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.

Three Sisters was written for the Moscow Art Theatre and was directed by Staniskavski himself on first opening. The play is often included in Chekhov's list of four outstanding plays and part of the classic repertoire of many world theatres. The play follows Chekhovian tradition of subtle character development and humour which often makes it a challenge for both performers and directors.

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Adam Smith's masterpiece, first published in 1776, is the foundation of modern economic thought and remains the single most important account of the rise of, and the principles behind, modern capitalism. Written in clear and incisive prose, The Wealth of Nations articulates the concepts indispensable to an understanding of contemporary society.

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.

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.

Lucrarea abordeaza teme majore ale politicii despre parlamentarism, parlament, parlamentari, care au suscitat si suscita si astazi aprige controverse, antrenand eforturi si pasiuni in toate mediile culturale si politice ale societatii in decursul vremilor.In analiza Discursurilor si dezbaterilor parlamentare, specialistii si nespecialistii au la dispozitie un bogat material arhivistic alaturi de presa timpului, rod al eforturilor parlamentarilor indiferent de sistemele de reprezentare existente in stat la un moment dat – unicameral sau bicameral.De semnalat in cuprinsul volumului este Mesajul Tronului, sustinut de Al.I. Cuza, alaturi de care intalnim maestri ai elocintei parlamentare romanesti cum ar fi M. Kogalniceanu, Titu Maiorescu, P.P. Carp, I.I.C. Bratianu, Take Ionescu, N. Iorga, O. Goga, N. Titulescu, A.C. Cuza, Al. Vaida-Voievod si multi altii.

Cartea de fa?? vrea s? relateze succint, dar temeinic, evenimentele petrecute în cei dou?zeci de ani de insecuritate ?i criz? ce au urmat Marelui R?zboi. Indiferent cât de puternice sau de durat? au fost for?ele ce au dus la izbucnirea celui de-al Doilea R?zboi Mondial, a existat un moment când principalii actori pe scena istoriei s-au v?zut nevoi?i s? se confrunte cu aceste for?e ?i s? ia anumite decizii. Marile evenimente ale istoriei î?i genereaz? o dinamic? ?i o desf??urare proprii. Din perspectiva noastr?, a celor de acum, al Doilea R?zboi Mondial pare s? fi izbucnit din cauza crizei interna?ionale provocate de Germania lui Hitler. Îns? nimic din ce se întâmpl? în istorie nu este inevitabil, dup? cum va încerca s? demonstreze acest volum. Dialogul straniu între sistem ?i actorii lui se afl? la baza relat?rii istorice. Evenimentele înse?i pot fi, în acela?i timp, cauz? ?i efect – la fel cum s-a întâmplat ?

Cartea constituie un foarte dens ?i interesant manual indirect de istorie a Americii, adres?ndu-se elevilor, studen?ilor, precum ?i publicului larg de cititori. O carte despre fragmentele cele mai controversate ale istoriei Americii.

Europa acas“ este un album creat n urma unui turneu de conferine i lecturi publice inute de ctre autoare, Aura Christi, n ara lui Homer i Aristotel. Protagonitii albumului sunt Aura Christi, Nicolae Breban, Ion Ianoi, Janina Ianoi, Andrei Potlog, Victor Ivanovici, Monica Svulescu-Voudouri. Protagonistul cel mai important, ns, este fr ndoial Marea Elad i cultura ei, civilizaia acestei ri mitice - temelia civilizaiei europene moderne. Albumul conine poeme i comentarii, dar i imagini memorabile realizate de poeta Aura Christi la Delphi, Atena i alte epicentre legendare ale civilizaiei europene.

Istoria serviciilor de informa?ii sovietice continu? s? fie un mister“, m?rturise?te Boris Volodarski, fost c?pitan în Serviciul de Informa?ii Militare din URSS (GRU), unul dintre cei mai mari exper?i în studierea serviciilor secrete sovietice. ?i tot Volodarski este de p?rere c? majoritatea materialelor publicate pe aceast? tem? este plin? de falsuri ?i de informa?ii distorsionate, incluzând aici ?i memoriile publicate de fo?tii agen?i. Noile documente disponibile ast?zi ne permit s? cunoa?tem mult mai bine adev?rul despre interven?ia sovietic? în Spania ?i rolul jucat de agen?ii URSS: Gerö, Grigulevici, Philby (ini?ial trimis cu misiunea de a-l asasina pe Franco), Kol?ov ?i, mai ales, Lev Nikolski, cunoscut drept Aleksandr Orlov – omul care i-a în?elat pe Stalin ?i pe cei de la CIA, ?i chiar lumea întreag? cu memoriile sale. Acesta a condus, din februarie 1937, sta?ia NKVD din Spania ?i a fost responsabil de o etap? important? a regimului de teroare sângeroas?, care a inclus asasinarea lui Kurt Landau ?i a lui Andreu Nin. Cartea de fa??, care demonteaz? o cantitate impresionant? de fabula?ii, falsuri ?i minciuni, ce continu? s? fie propagate ?i ast?zi, va fi, f?r? îndoial?, o referin?? indispensabil? pentru to?i cei care î?i propun s? studieze R?zboiul Civil din Spania.

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)

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.

Necesitatea acestei carti s-a impus in campul istoriografiei contemporane ca un raspuns ce se cerea stringent intr-un moment in care istoriografia in ansamblul ei a intrat intr-un serios impas girat si incurajat de predominanta agresiva si interferenta unor scoli si curente inconsistente, care de care mai zgomotoase, mai belicoase, mai ?originale“, concomitent cu intensificarea presiunii factorului politic (guverne, parlamente, tribunale, ong-uri etc).Tematica lucrarii o constituie evenimentele care au tulburat intreaga lume in perioada celui de-al Doilea Razboi Mondial.Studiile din aceasta carte au aparut sub semnatura celor mai prestigiosi istorici ai neamului nostru din aceasta perioada: acad. Dan Berindei, acad. Florin Constantiniu, prof. univ. dr. Gh. Buzatu (coordonatorul editiei), Stela Cheptea si multi altii.

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.

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.

Volumul de fa?? reune?te portretele sclipitoare ale celor mai ilustre favorite. Apropiate puterii, exercit?ndu??i influen?a adesea ?ntr?o manier? clandestin?, ele alc?tuiesc un galant cortegiu de femei c?rora importan?i b?rba?i de stat le datoreaz? mult. Ce este o favorit?? Cuv?ntul, ne?ndoielnic originar din italian?, se refer? la o femeie care ?se bucur? de favorurile" unei persoane de rang foarte ?nalt. Spre deosebire de o amant?, favorita nu se mul?ume?te s? fie obiectul unei pasiuni amoroase, fie aceasta efemer? ori durabil?. Ea are putere, exercit? influen?? politic?, economic? sau artistic?; ob?ine rezultate, fericite sau dezastruoase. Fie c? e iubit? de popula?ie, tolerat? sau detestat?, nimic nu se face ?i nu se desface f?r? ea. Muzele prezentate de autor ?n acest periplu prin istoria Europei au jucat toate un rol propor?ional cu influen?a exercitat? asupra monarhului, prin?ului mo?tenitor, regelui sau ?mp?ratului l?ng? care s-au aflat, fie el c?s?torit, v?duv sau celibatar: Agnes Sorel, Diana de Poitiers, Gabrielle d’Estrées, Louise de La Valliere, marchiza de Montespan, doamna de Maintenon, surorile de Nesle, marchiza de Pompadour, doamna du Barry, Zoé du Cayla, Lol Montez, Miss Howard, Katia Dolgorukova, Blanche Delacroix, Magda Lupescu ?i Wallis Simpson. Optsprezece portrete de femei care au influen?at cursul istoriei. ?n bine ?i ?n r?u.?

“Midsummer Night's Dream” is Shakespeare's classic tale of two couples who can't quite pair up to everyone's satisfaction. Demetrius and Lysander love Hermia. ??Hermia loves Lysander but has been promised to Demetrius by her father. Hermia's best friend Helena loves Demetrius, but in his obsession for Hermia Demetrius barely even notices her smitten friend. ??When Hermia and Lysander plan to elope all four find themselves in the forest late at night where the fairy Puck and his lord Oberon wreck havoc on the humans with a love potion that causes the victim to fall in love with the first thing they see upon waking.??- Some Books of Shakespeare:?- Romeo and Juliet (1597)?- Hamlet (1599)?- Macbeth (1606)?- Julius Caesar (1599)?- Othello (1603)?- The Merchant of Venice (1598)?- Much Ado About Nothing (1600)?- King Lear (1606)?- The Taming of the Shrew (1594)?- The Comedy of Errors (1594)