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.

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

1944. május k?zepét?l sz?k két hónap leforgása alatt a magyar csend?r?k, rend?r?k és hivatalnokok hatékony k?zrem?k?désével t?bb mint 430 ezer, zsidónak min?sített magyar állampolgárt deportáltak. Túlnyomó t?bbségüket Auschwitz-Birkenauba vitték és meg?lték. Vajon az események milyen láncolata vezetett ehhez a holokauszt t?rténetében is példátlan méret? és gyorsaságú akcióhoz? Hol határoztak a magyarországi ?végs? megoldásról”? Berlinben vagy Budapesten? Kik, mikor és milyen k?rülmények k?z?tt hoztak végs? d?ntést a magyar zsidók deportálásáról? K?D?R G?BOR és V?GI ZOLT?N az etnikai tisztogatásokat és népirtásokat, valamint a világháborús német és magyar d?ntéshozatali mechanizmust elemezve keres válaszokat a kérdésekre. ?gy vélik, hogy a tragédia hátterében két er?, két szándék találkozása állt. Az egyik a német népirtási program volt, amelynek gy?kerei Hitler és a nácik radikális antiszemitizmusában, fajhigiéniai és etnopolitikai elképzeléseiben lelhet?k fel. A másik pedig az a mára szinte elfelejtett magyar t?rténeti attit?d, amely évszázadok óta az ?idegennek” tekintett népcsoportok beolvasztására, kiszorítására és el?zésére t?rekedett, és amely rabul ejtette a hazai fajvéd?k és a politikai elit gondolkodását. A t?rténészpáros szerint 1944-ben e két t?rekvést leginkább megszemélyesít? szerepl?k, a német Adolf Eichmann és a magyar Endre László végzetes találkozása radikalizálta tovább azt a folyamatot, amely az európai zsidóüld?zés egyik leggyilkosabb d?ntéséhez vezetett.

Németh Miklós és Pozsgay Imre egy k?tetben! Mellettük pedig Mayer Péter, Markovics Ferenc, Arató István, Kajli Béla, Kerezsi István és még sokan mások. Ismert, k?zismert és kevésbé ismert nevek egy beszélget?k?nyvben, amely a munkás?rség t?rténetét ?leli fel. A szerz?k megfogalmazásában: t?bb szempontból sem hagyományos interjúk?tetet készítettünk, vállalva ennek el?nyeit és hátrányait egyaránt. K?sz?nhet? volt ez annak is, hogy a k?nyv megírását megel?zte egy, a testület teljes t?rténetét feldolgozó kétrészes, ?sszesen k?zel egyórás dokumentumfilm elkészítése a Munkás?rség - Egy párthadsereg t?rténete címmel. A munkás?r?k nehéz ládát cipelnek. Amikor letették, hogy megpihenjenek, épp arra j?n János bácsi, a téesz juhásza és megkérdi: Mit cipelnek fiaim? Hadititok!, feleli az egyik munkás?r. ?s nagyon nehéz a láda? Már hogyne lenne nehéz, mikor tele van kézigránáttal?, válaszol az egyik munkás?r. A korabeli viccben és t?bbek emlékezetében is úgy él a Munkás?rség, mint egy kissé esetlen, sokszor id?s embereknek a gy?jt?helye vagy klubja. De a valóságban ez egyáltalán nem így volt. Az '56-os forradalom leverését k?vet?en létrehozott szervezet feladata sokáig kizárólag a rend(szer) védelmének a biztosítása volt. A kádári állam kiépülését k?vet?en kidolgozták háborús, határ?rizeti és polgári védelmi feladataikat is. A kezdetben harminc-, majd hatvanezer f?s párthadsereg létszámát tekintve a korabeli Magyar Néphadseregéhez képest is jelent?s volt! A rendszerváltás során a hatalom részér?l felmerült a testület átmentése is, de erre végül nem került sor. A Munkás?rség felszámolását 1989-ben a teljes ellenzék k?vetelte, leszerelésük jelent?s izgalommal t?lt?tte el a magyar társadalmat. De hogy látták mindezt a korabeli vezet? politikusok, katonák, és nem utolsó sorban maguk a munkás?r?k? Az interjúk?tet erre próbál választ találni.

AUTHOR OF "POOR BOYS WHO BECAME FAMOUS," "GIRLS WHO BECAME FAMOUS," "STORIES FROM LIFE," "FAMOUS AMERICAN AUTHORS," "FAMOUS AMERICAN STATESMEN," "SOCIAL STUDIES IN?ENGLAND," "FROM HEART AND NATURE,"?"FAMOUS MEN OF SCIENCE," ETC. "Do not act as if you had ten thousand years to throw away. Death stands at your elbow. Be good for something while you live, and it is in your power." —Marcus Aurelius. "Every line, every road, every gable, every tower, has some story of the past present in it. Every tocsin that sounds is a chronicle; every bridge that unites the two banks of the river, unites also the crowds of the living with the heroism of the dead."The beauty of the past goes with you at every step in Florence. Buy eggs in the market, and you buy them where Donatello bought those which fell down in a broken heap before the wonder of the crucifix. Pause in a narrow by-street in a crowd, and it shall be that Borgo Allegri, which the people so baptized for love of the old painter and the new-born art. Stray into a great dark church at evening time, where peasants tell their beads in the vast marble silence, and you are where the whole city flocked, weeping, at midnight, to look their last upon the dead face of their Michael Angelo. Buy a knot of March anemones or April arum lilies, and you may bear them with you through the same city ward in which the child Ghirlandaio once played amidst the gold and silver garlands that his father fashioned for the young heads of the Renaissance. Ask for a shoemaker, and you shall find the cobbler sitting with his board in the same old twisting, shadowy street-way where the old man Toscanelli drew his charts that served a fair-haired sailor of Genoa, called Columbus." Florence, Shelley's "Smokeless City," was the ardently loved home of Michael Angelo. He was born March 6, 1475, or, according to some authorities, 1474, the Florentines reckoning time from the incarnation of Christ, instead of his birth. Lodovico Buonarotti, the father of Michael Angelo, had been appointed governor of Caprese and Chiusi, and had moved from Florence to the Castle of Caprese, where this boy, his second child, was born. The mother, Francesca, was, like her husband, of noble family, and but little more than half his age, being nineteen and he thirty-one. After two years they returned to Florence, leaving the child at Settignano, three miles from the city, on an estate of the Buonarottis'. He was intrusted to the care of a stone-mason's wife, as nurse. Living among the quarrymen and sculptors of this picturesque region, he began to draw as soon as he could use his hands. He took delight in the work of the masons, and they in turn loved the bright, active child. On the walls of the stone-mason's house he made charcoal sketches, which were doubtless praised by the foster-parents.

Specialist ?n domeniul avangardei, scriitorul – extrem de incomod uneori! – Ovidiu Morar, scrie despre scriitorii evrei din Rom?nia ?ntr-un stil incomod, m?nat de un zeu al drept??ii, impar?ial ?i feroce. Cine sunt scriitorii evrei? ?n ce m?sura ei se deosebesc de rom?ni, unguri, francezi, ?i ?n ce m?sur? se aseam?n?? Aceste ?i multe alte ?ntreb?ri mai mult sau mai pu?in comode revin aidoma unui laitmotiv pe parcursul c?r?ii, scrise ?ntr-un stil alert, incitant, cu note v?dit incomode, iar pe aclouri de-a dreptul provocatoare.

The Aeneid is widely considered Virgil's finest work and one of the most important poems in the history of western literature. Virgil worked on the Aeneid during the last eleven years of his life (29–19 BC), commissioned, according to Propertius, by Augustus. The epic poem consists of 12 books in dactylic hexameter verse which describe the journey of Aeneas, a warrior fleeing the sack of Troy, to Italy, his battle with the Italian prince Turnus, and the foundation of a city from which Rome would emerge. The Aeneid's first six books describe the journey of Aeneas from Troy to Rome. Virgil made use of several models in the composition of his epic; Homer the preeminent classical epicist is everywhere present, but Virgil also makes especial use of the Latin poet Ennius and the Hellenistic poet Apollonius of Rhodes among the various other writers to which he alludes. Although the Aeneid casts itself firmly into the epic mode, it often seeks to expand the genre by including elements of other genres such as tragedy and aetiological poetry. Ancient commentators noted that Virgil seems to divide the Aeneid into two sections based on the poetry of Homer; the first six books were viewed as employing the Odyssey as a model while the last six were connected to the Iliad. Book 1 (at the head of the Odyssean section) opens with a storm which Juno, Aeneas' enemy throughout the poem, stirs up against the fleet. The storm drives the hero to the coast of Carthage, which historically was Rome's deadliest foe. The queen, Dido, welcomes the ancestor of the Romans, and under the influence of the gods falls deeply in love with him. At a banquet in Book 2, Aeneas tells the story of the sack of Troy, the death of his wife, and his escape, to the enthralled Carthaginians, while in Book 3 he recounts to them his wanderings over the Mediterranean in search of a suitable new home. Jupiter in Book 4 recalls the lingering Aeneas to his duty to found a new city, and he slips away from Carthage, leaving Dido to commit suicide, cursing Aeneas and calling down revenge in a symbolic anticipation of the fierce wars between Carthage and Rome. In Book 5, Aeneas' father Anchises dies and funeral games are celebrated for him. On reaching Cumae, in Italy in Book 6, Aeneas consults the Cumaean Sibyl, who conducts him through theUnderworld where Aeneas meets the dead Anchises who reveals Rome's destiny to his son. Book 7 (beginning the Iliadic half) opens with an address to the muse and recounts Aeneas' arrival in Italy and betrothal to Lavinia, daughter of King Latinus. Lavinia had already been promised to Turnus, the king of the Rutulians, who is roused to war by the Fury Allecto, and Amata Lavinia's mother. In Book 8, Aeneas allies with King Evander, who occupies the future site of Rome, and is given new armor and a shield depicting Roman history. Book 9 records an assault by Nisus and Euryalus on the Rutulians, Book 10, the death of Evander's young son Pallas, and 11 the death of the Volscian warrior princess Camilla and the decision to settle the war with a duel between Aeneas and Turnus. The Aeneid ends in Book 12 with the taking of Latinus' city, the death of Amata, and Aeneas' defeat and killing of Turnus, whose pleas for mercy are spurned. The final book ends with the image of Turnus' soul lamenting as it flees to the underworld.

Doamna Marusia CIRSTEA, doctor in stiinte istorice, a investigat, in baza cercetarii unei extrem de bogate bibliografii si a unor studii intense in arhivele diplomatice si militare interne (Arhiva Ministerului de Externe al Romaniei - Bucuresti, Arhivele Militare Nationale – Bucuresti si Pitesti, Arhivele Nationale ale Romaniei - Bucuresti, Biblioteca Nationala si Biblioteca Academiei Romane, ambele din Bucuresti), o problema de mare interes, abordata pana acum de numerosi istorici romani si straini (Paul D. Quinlan, Elisabeth Barker, V. F. Dobrinescu, Gh. Pascalau, Ion Patroiu s.a.). Tocmai de aceea, meritul autoarei este cu totul deosebit, intrucat, bazandu-se pe rezultatele cercetarilor anterioare, dar, aprofundandu-le si completandu-le substantial cu documente inedite, este in masura sa realizeze o contributie stiintifica de reala valoare pe marginea evolutiei raporturilor politico-diplomatice intre Romania si Marea Britanie intr-una din perioadele cele mai captivante si mai dificile ale epocii contemporane – ajunul conflagratiei mondiale din 1939-1945. Asa dupa cum se subliniaza in ampla Introducere, problema cercetata ?constituie o tema de studiu si de reflectie importanta, interesanta si plina de invataminte, nu numai pentru istoricul de astazi, dar si pentru omul simplu, pasionat de istorie si, indeosebi, pentru politicianul si diplomatul care trebuie sa gaseasca solutii practice unor aspecte interesand raporturile internationale“ (p. 3). Astfel, dupa o pertinenta si documentata Introducere, care elucideaza si aspectele istoriografice ale cercetarii, autoarea realizeaza o consistenta monografie privind relatiile dintre Bucuresti si Londra intre 1936 si 1939, in cuprinsul a patru capitole judicios repartizate pentru a se asigura tratarea globala si unitara a materiei. De un mare interes si cu o importanta pondere in economia lucrarii se dovedesc, nu mai putin, Concluziile (pp. 200-213), Bibliografia (pp. 214-232) si cele 25 de Anexe (pp. 233-350).Ultimele luni de pace si inceputul celui de-al doilea razboi mondial, evolutia raporturilor anglo-romane in context fac obiectul celui de-al IV-lea capitol. Principalele evenimente tratate sunt, in ordine cronologica, faimosul caz Tilea; garantiile franceze si britanice acordate Poloniei, Greciei si Romaniei; rostul pactului sovieto-german din 23 august 1939 in politica europeana; declansarea razboiului si atitudinea Romaniei si, in sfarsit, proclamarea neutralitatii Romaniei in razboi vizavi de implicarea Marii Britanii in ostilitati. Temeinicia cercetarii este atestata de o bogata si sistematica Bibliografíe, care, fara indoiala, intregeste, in chip fericit, textul lucrarii. In acelasi timp, Anexele ingaduie specialistului si cititorului interesat sa aprecieze amploarea si seriozitatea investigatiilor arhivistice.

A obra encadeia associa??es entre os valores técnicos da língua e os valores estéticos da literatura. Realiza, ent?o, duas abordagens complementares, defi nida a unidade língua/literatura como uma díade com polos inseparáveis – a língua sustentando um código limitativo e prescritivo; a literatura alimentando a reprodu??o artística do sistema linguístico –, da fus?o de ambas resultando um efeito de sentido.

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.

ARCHITECTURE seems to me to be the most wonderful of all the arts. We may not love it as much as others, when we are young perhaps we cannot do so, because it is so great and so grand; but at any time of life one can see that in Architecture some of the most marvellous achievements of men are displayed. The principal reason for saying this is that Architecture is not an imitative art, like Painting and Sculpture. The first picture that was ever painted was a portrait or an imitation of something that the painter had seen. So in Sculpture, the first statue or bas-relief was an attempt to reproduce some being or object that the sculptor had seen, or to make a work which combined portions of several things that he had observed; but in Architecture this was not true. No temples or tombs or palaces existed until they had first taken form in the mind and imagination of the builders, and were created out of space and nothingness, so to speak. Thus Painting and Sculpture are imitative arts, but Architecture is a constructive art; and while one may love pictures or statues more than the work of the architect, it seems to me that one must wonder most at the last. We do not know how long the earth has existed, and in studying the most ancient times of which we have any accurate knowledge, we come upon facts which prove that men must have lived and died long before the dates of which we can speak exactly. The earliest nations of whose Architecture we can give an account are called heathen nations, and their art is called Ancient or Heathen Art, and this comes down to the time when the Roman Emperor Constantine was converted to Christianity, and changed the Roman Capitol from Rome to Constantinople in the year of our Lord 328. The buildings and the ruins which still remain from these ancient times are in Egypt, Assyria, Persia, Judea, Asia Minor, Greece, Etruria, and Rome. Many of these have been excavated or uncovered, as, during the ages that have passed since their erection, they had been buried away from sight by the accumulation of earth about them. These excavations are always going on in various countries, and men are ever striving to learn more about the wonders of ancient days; and we may hope that in the future as marvellous things may be revealed to us as have been shown in the past. EGYPT: As we consider the Architecture of Egypt, the Great Pyramid first attracts attention on account of its antiquity and its importance. This was built by Cheops, who is also called Suphis, about 3000 years before Christ. At that distant day the Egyptians seem to have been a nation of pyramid-builders, for even now, after all the years that have rolled between them and us, we know of more than sixty of these mysterious monuments which have been opened and explored. Of all these the three pyramids at Ghizeh are best known, and that of Cheops is the most remarkable among them. Those of you who have studied the history of the wars of Napoleon I. will remember that it was near this spot that he fought the so-called Battle of the Pyramids, and that in addressing his soldiers he reminded them that here the ages looked down upon them, thus referring to the many years during which this great pyramid had stood on the border of the desert, as if watching the flight of Time and calmly waiting to see what would happen on the final day of all earthly things. There have been much speculation and many opinions as to the use for which these pyramids were made, but the most general belief is that they were intended for the tombs of the powerful kings who reigned in Egypt and caused them to be built.The pyramid of Cheops was four hundred and eighty feet and nine inches high, and its base was seven hundred and sixty-four feet square. It is so difficult to understand. CLARA ERSKINE CLEMENTAUTHOR OF "HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART," "PAINTERS, SCULPTORS, ENGRAVERS, ARCHITECTS AND THEIR WORKS," "ARTISTS OF THE NINETEENTH CENTURY"

Organizarea, activitatea ?i orientarea ?n coresponden?? diplomatic? rom?n? ?i note ale SSIVolumul are ca subiect principal organizarea, activitatea ?i orientarea emigra?iei politice din fostul Imperiu Rus ?n Europa, considerat? ca un pericol permanent la adresa regimului comunist, emigra?ie ai c?rei lideri au f?cut obiectul ?ncerc?rilor permanente de terorizare, lichidare sau discreditare.Documentele selectate, ?n cea mai mare parte, din Arhiva Diplomatic?, reprezint? rapoarte ale lega?iilor ?i oficiilor consulare rom?ne din Atena, Belgrad, Berlin, Berna, Bratislava, Budapesta, Istanbul, Lisabona, Madrid, Paris, Praga, Roma, Rusciuk, Skopje, Sofia, Stockholm, Vichy sau Zagreb, precum ?i note ale Serviciului Special de Informa?ii, c?tre Ministerul Afacerilor Str?ine, ?n timpul campaniei germano-rom?ne ?mpotriva Uniunii Sovietice. Sursele reflect? nu doar starea de fapt ?i de spirit a emigran?ilor, for?a?i s? aleag? ?ntre regimul totalitar comunist ?i cel nazist, dar ?i pozi?ia Bucure?tiului fa?? de problemele rus? ?i ucrainean?, cu profunde implica?ii geopolitice.

Йшов четвертий р?к св?тово? в?йни. Втомлений под?ями генерал-лейтенант рос?йсько? ?мператорсько? арм?? Павло Петрович Скоропадський, нащадок старовинно? старшинсько? фам?л??, ще не знав, що стане гетьманом незалежно? Укра?нсько? Держави.??Епоха зм?н, яку самовбивчо наближали революц?онери вс?х мастей, перетворилася на апокал?псис, в?йну вс?х проти вс?х, але Скоропадському стало духу взяти на себе невдячну ношу державного буд?вництва. Спроба зак?нчилася ц?лковитим ? оч?куваним провалом, але окрем? починання гетьмана дотривали до наших дн?в: саме йому Укра?на завдячу?, наприклад, Академ??ю наук.

MODERN scientific publications, although they may in some or even many cases equal in their scientific quality the memoirs of earlier workers, do not, on the average, reach a high standard as regards illustration. For instance, in Great Britain botany is pre-eminent in its morphological aspects; it should therefore follow that the illustrations, which form so important a part of such papers, should be beyond reproach. This is not always so, a fact which must be patent to anyone with the slightest critical knowledge who looks through a typical journal. This is a fact much to be regretted, since many of the earlier scientists were accomplished draughtsmen and, indeed, often artists; in this connection the Hookers and Pro-fessor Daniel Oliver may be mentioned. The implication is not intended that there are no good amateur draughtsmen nowadays; there are, and in some cases pos-sessed of great ability. The beautiful work of Church in his Floral Mechanisms may be cited as an example. It may, of course, be argued that any picture which serves to illustrate the particu-lar feature is good enough; this is the contention of one who takes an insufficient pride in his work. A feature worthy of an illustration deserves the best the author can produce, more especially as a literary form is still, fortunately, preserved or, at any rate, aimed at.The reason for indifferent illustrations is primarily due to bad or mediocre draw-ings, or to their unsuitability for the kind of reproduction in view. With regard to the first point: this lack of draughtsmanship often obtains; when education entirely replaces mere instruction, it is to be hoped that all students of science will be trained in the rudiments of drawing. Meanwhile the difficulty can be partly overcome, as will be seen later on, by the simple means of drawing on an enlarged scale, in order that in reproduction reduction can be made. The second reason, the onus of which also falls on the authors, is a lack of knowledge regarding the kind of drawing suitable for the different modes of re-production; this is a very important point, for "technical conditions govern even genius itself."Authors, however, are not always to blame; it would appear that even editors sometimes are wanting in the requisite knowledge, for we have known straight-forward line drawings reproduced by half-tone; in other cases the paper used is unsuitable for the reproduction and, at other times, the printers are at fault. With a view to remedying, at any rate in part, these deficiencies, a course of lec-tures, arranged by the Board of Studies in Botany of the University of London, was delivered in the Lent term of 1913 in the Department of Botany of University College, London. In gratifying the wish expressed by some that these lectures should be given a more permanent dress, the author feels that some apology is necessary, for he can lay no claim to authoritative knowledge of much of the subject-matter; questions relating to the graphic arts and to illustrations, however, have always been of in-terest to him, so that he has tried various experiments, often with disastrous re-sults, and thus has gained some experience. In these matters the author has benefited much through his association with Pro-fessor F. W. Oliver, who, characteristically, has been ever ready to discuss these problems with, and to place his knowledge and experience at the disposal of the author.

ROMANCE and the HISTORY of walled cities are inseparable. Who has not felt this to be so at the sight of hoary ruins lichen-clad and ivy-mantled, that proudly rear their battered crests despite the ravages of time and man’s destructive instincts. It is within walled cities that the life of civilized man began: the walls guarded him against barbarian foes, behind their shelter he found the security necessary to his cultural development, in their defence he showed his finest qualities. And such a city—and such a history is that of Ancient Byzantium, the City of Constantine, the Castle of C?sar. What wonder then that man should endeavour to express by pen and pencil his sense of the greatness and beauty, the Romance of a Walled City such as Constantinople. The more so that a movement is on foot to remove these ancient landmarks of the history of Europe and Asia. True there are other works on this same subject, works by men deeply learned in the history of this fair city, works that bid fair to outlive the city walls if the fell intent of destroying them is carried into execution, and from these men and their works I derived inspiration and information, and so wish to chronicle my gratitude to them—Sir Edwin Pears and Professor van Millingen of Robert College, Constantinople. There are many others too in Constantinople to whom my thanks are due—His Majesty’s Vice-Consul, my host, his colleagues, now my friends, and many others too numerous to mention. They all have helped me in this work, and I am grateful for the opportunity offered me of here recording my thankfulness for their kind offices.B. Granville Baker.

The dominant motives in Calderon's dramas are characteristically national: fervid loyalty to Church and King, and a sense of honor heightened almost to the point of the fantastic. Though his plays are laid in a great variety of scenes and ages, the sentiment and the characters remain essentially Spanish; and this intensely local quality has probably lessened the vogue of Calderon in other countries. In the construction and conduct of his plots he showed great skill, yet the ingenuity expended in the management of the story did not restrain the fiery emotion and opulent imagination which mark his finest speeches and give them a lyric quality which some critics regard as his greatest distinction. Of all Calderon's works, "Life is a Dream" may be regarded as the most universal in its theme. It seeks to teach a lesson that may be learned from the philosophers and religious thinkers of many ages—that the world of our senses is a mere shadow, and that the only reality is to be found in the invisible and eternal. The story which forms its basis is Oriental in origin, and in the form of the legend of "Barlaam and Josaphat" was familiar in all the literatures of the Middle Ages. Combined with this in the plot is the tale of Abou Hassan from the "Arabian Nights," the main situations in which are turned to farcical purposes in the Induction to the Shakespearean "Taming of the Shrew." But with Calderon the theme is lifted altogether out of the atmosphere of comedy, and is worked up with poetic sentiment and a touch of mysticism into a symbolic drama of profound and universal philosophical significance. LIFE IS A DREAM DRAMATIS PERSONAE Basilio King of Poland.Segismund his Son.Astolfo his Nephew.Estrella his Niece.Clotaldo a General in Basilio's Service.Rosaura a Muscovite Lady.Fife her Attendant. Chamberlain, Lords in Waiting, Officers,Soldiers, etc., in Basilio's Service. The Scene of the first and third Acts lies on the Polish frontier: of the second Act, in Warsaw. As this version of Calderon's drama is not for acting, a higher and wider mountain-scene than practicable may be imagined for Rosaura's descent in the first Act and the soldiers' ascent in the last. The bad watch kept by the sentinels who guarded their state-prisoner, together with much else (not all!) that defies sober sense in this wild drama, I must leave Calderon to answer for; whose audience were not critical of detail and probability, so long as a good story, with strong, rapid, and picturesque action and situation, was set before them. about author: Pedro Calderon de la Barca was born in Madrid, January 17, 1600, of good family. He was educated at the Jesuit College in Madrid and at the University of Salamanca; and a doubtful tradition says that he began to write plays at the age of thirteen. His literary activity was interrupted for ten years, 1625-1635, by military service in Italy and the Low Countries, and again for a year or more in Catalonia. In 1637 he became a Knight of the Order of Santiago, and in 1651 he entered the priesthood, rising to the dignity of Superior of the Brotherhood of San Pedro in Madrid. He held various offices in the court of Philip IV, who rewarded his services with pensions, and had his plays produced with great splendor. He died May 5, 1681. At the time when Calderon began to compose for the stage, the Spanish drama was at its height. Lope de Vega, the most prolific and, with Calderon, the greatest, of Spanish dramatists, was still alive; and by his applause gave encouragement to the beginner whose fame was to rival his own. The national type of drama which Lope had established was maintained in its essential characteristics by Calderon, and he produced abundant specimens of all its varieties. Of regular plays he has left a hundred and twenty; of "Autos Sacramentales," the peculiar Spanish allegorical development of the medieval mystery, we have seventy-three; besides a considerable number of farces.

"Ugyanabban az id?ben, és ugyanazon a napon, amelyen a nemzetek megszentégtelenítették, ugyanakkor szentelték fel a templomot énekszóvel, lantok, hárfák és cintányérok kíséretével. Az egész nép arcra borult, imádta és áldotta at Eget, hogy szerencséssé tette útjukat. Az oltár újraszentelését nyolc napig végezték, és ?r?mmel áldoztak ég?álozatokat és dícs?it? áldozatokat a szabadulásért. A templom homlokzatát aranykoszorúkkal és -pajzsocskákkal díszítették fel, megújították a kapukat és a papi kamrákat, és ajtókkal láttál el ?ket. Igen nagy ?r?m t?lt?tte le a népet, mivel sikerült elhárítaniuk magukról a nemzetek gyalázatát. Júdás és testvérei Izrael egész gyülekezetével együtt elhatározták, hogy évr?l évre megünnepilik az oltár újraszentelésének napjait a maga idején a Kiszlév hónap huszon?t?dik napjától kezdve nyolc napon át vidámsággal és ?r?mmel."? A Makkabeusok els? k?nyve Izrael népe t?rténelmének olyan fejezetét mutatja be, amikor az ?s?k hitéért való harc egyben a nemzeti ?nrendelkezésért való küzdelmet is jelentett a hellenizmus globális trendjével szemben.?

Volumul top t – festivalul rezisten?ei rock (re)aduce ?n discu?ie istoria celui mai important festival rock al Rom?niei. Ap?rut ?n seria STRATONE, cu Nelu Stratone coordonator, volumul beneficiaz? de un cuv?nt introductiv semnat de Gabi Gombo? plus o potfa?? de Florin-Silviu Ursulescu, doi grei ai istoriei rockului rom?nesc ?i prieteni ai festivalului. Structura este una cumva istoricizant?: un palmares al edi?iilor, un amplu interiviu cu Cornel Constantinescu, Tolea Po?tovei ?i Florin Artene, trei dintre artizanii organizatori, un capitol dedicat scenei rock buzoiene, impresii ale participan?ilor la festival, interviuri realizate de-a lungul timpului ?n caietele program. Ve?i reg?si ?i multe fotografii din edi?iile top t. Cartea-document este ?i o pledoarie pentru revenirea festivalului ?n circuitul na?ional, editura Casa de pariuri literare propun?nd ?n noiembrie 2016, la t?rgul Gaudeamus, un stand personalizat al festivalului.

Mindannyian tudjuk még, mit jelentett az ?tvenes években, ha valakir?l azt mondták: ?elvitte egy fekete autó”, ahogy a ma emberének nem csengenek ismeretlenül az ?VO vagy az ?VH bet?szavak sem. Ezt hallva mindenki tudja: a kommunista diktatúráról, és annak legfontosabb eszk?zér?l, a politikai rend?rségr?l van szó. M?LLER ROLF k?nyve e szervezet t?rténetét dolgozza fel. A második világháború végét?l az 1956-os forradalomig kalauzolja el az olvasót, mik?zben számos k?zszájon forgó fogalmat tisztáz. Sorra veszi a kül?nb?z? elnevezések alatt m?k?d? titkos nyomozó szerveket, az átalakítások m?g?tt meghúzódó okokat. Elbeszéli az államvédelem évekig els? számú vezet?jének, Péter Gábornak az élett?rténetét, bemutatja kevésbé ismert riválisát, segít?it, és pozíciójának ?r?k?seit. Szemléletes példákat hoz a Rákosi Mátyás és sz?kebb k?re által gyakorolt ?kézi irányításra”, amelynek során még a felejthetetlen helsinki olimpia és a magyar-angol labdarúgó mérk?zés is el?kerül. A k?tetb?l természetesen nem maradhatnak ki az ügyn?k?k és a besúgók sem: a hálózat m?k?désén és a titkos technikákon túl az érdekl?d? megismerheti azt is, hogy kikb?l szervezték a hivatásos állományt, bepillanthat mindennapjaikba, és végigjárhatja azokat a helyszíneket, amelyek valamilyen módon a magyar politikai rend?rség legs?tétebb évtizedéhez k?t?dtek. Müller Rolf 1974-ben született Kaposváron. A Kossuth Lajos Tudományegyetem b?lcsészkarán végzett t?rténelem-politológia szakon. 1998-tól a T?rténeti Hivatalnak, 2033 óta jogutódjának, az ?llambiztonsági Szolgálatok T?rténeti Levéltárának munkatársa. Alapító szerkeszt?je a Betekint? cím? internetes folyóiratnak, t?bb éven át a lap f?szerkeszt?je. 2007-ben védte meg doktori disszertációját. 2011 szeptemberét?l a Magyar Tudományos Akadémia Bolyai-?szt?ndíjasa. Kutatási területe az 1945 és 1990 k?z?tt m?k?d? magyar politikai rend?rség t?rténete, illetve a fényképek és az emlékezet kapcsolata.

THE PRINCE was written by Niccolo' Machiavelli in the 1500s. It has continued to be a best seller in many languages. Presently, it is translated into modern English, with illustrations by Benjamin Martinez and an Introduction by Adolph Cso.The Prince is a classic book that explores the attainment, maintenance, and utilization of political power in the western world. Machiavelli wrote The Prince to demonstrate his skill in the art of the state, presenting advice on how a prince might acquire and hold power. Machiavelli defended the notion of rule by force rather than by law. Accordingly, The Prince seems to rationalize a number of actions done solely to perpetuate power. It is an examination of power-its attainment, development, and successful use.

1974-ben az Emmanuelle meghódította a francia mozikat, és r?vid id?n belül az egész világon hatalmas sikert aratott. A korabeli plakátokról egy húsz év k?rüli, r?vid hajú, félmeztelen szépség nézett kihívóan egy fonott karosszékéb?l. Ekkor még senki sem sejtette, hogy SYLVIA KRISTEL, ez az akkor még ismeretlen holland lány hamarosan a szexuális forradalom egyik emblematikus alakjává válik. A hírnévt?l és a sikert?l megrészegült színészn? egy csapásra a nemzetk?zi filmvilág ünnepelt sztárja lett, azonban nem kapott elég id?t, hogy feldolgozza a hirtelen j?tt népszer?séget, sem pedig a gyermekkorában ?t ért sérelmeket. A sztárok fény?z? és gondtalan életét élte, udvarlók seregei hevertek a lába el?tt, bejáratos volt a legcsillogóbb hollywoodi fogadásokra. Magánéletében azonban már k?zel sem volt ilyen szerencsés. Házasságai zátonyra futottak, a sorozatos sorscsapások és a múlt démonai el?l az alkoholba és drogokba menekült. Kicsapongásainak végül egy súlyos betegség vetett véget. Visszaemlékezéseiben ?szintén tárja elénk egy olyan asszony felemel? és megrendít? t?rténetét, akinek nem csak meztelen teste érdemel figyelmet.