THE Spanish peninsula, separated from France on the north by the Pyrenees, and bounded on the three remaining sides by the Mediterranean Sea and the Atlantic Ocean, con-tains an area of 225,600 square miles, being a little larger than France. Nature has reared a very formidable barrier between Spain and France, for the Pyrenees, extending in a straight line 250 miles in length, from the Bay of Biscay to the Mediterranean, and often rising in peaks more than ten thou-sand feet in height, offer but three defiles which carriages can traverse, though there are more than a hundred passes which may be surmounted by pedestrians or the sure-footed mule. The soil is fertile; the climate genial and salubrious; and the face of the country, diversified with meadows and mountains, presents, in rare combination, the most attractive features both of loveliness and sublimity.?History does not inform us when and how this beautiful peninsula—called Hispania by the Romans—first became in-habited. Whether the earliest emigrants crossed the straits of Gibraltar from Africa, or came from Asia, coasting the shores of the Mediterranean, or descended from France through the defiles of the Pyrenees, can now never be known. The first glimpse we catch of Spain, through the haze of past ages, reveals to us the country inhabited by numerous barbaric tri-bes, fiercely hostile to each other, and constantly engaged in bloody wars. The mountain fastnesses were infested with robber bands, and rapine and violence everywhere reigned. The weapons grasped by these fierce warriors consisted of lances, clubs, and slings, with sabres and hatchets, of rude fashion but of keen edge. Their food was mainly nuts and ro-ots. Their clothing consisted of a single linen garment, girded around the waist; and a woollen tunic, surmounted by a cloth cap, descended to the feet. As in all barbarous nations, the hard work of life was performed by the women.??The names even of most of these tribes have long since perished; a few however have been transmitted to our day, such as the Celts, the Gallicians, the Lusitanians, and the Iberians. Several ages before the foundations of Rome or of Carthage were laid, it is said that the Phoenicians, exploring in their commercial tours the shores of the Mediterranean, established a mercantile colony at Cadiz. The colonists growing rich and strong, extended their dominions and founded the cities of Malaga and Cordova. About 800 years before Christ, a colony from Rhodes settled in the Spanish peninsula, and established the city of Rosas. Other expeditions, from various parts of Greece, also planted colonies and engaged in successful traffic with the Spanish natives.??Four hundred years before Christ, the Carthaginian republic was one of the leading powers, and Carthage was one of the most populous and influential cities on the globe. The Carthaginians crossed the narrow straits which separate Africa from Spain, landed in great strength upon the Spanish peninsula, and, after a short but severe conflict, subdued the foreign colonies there, brought the native Spaniards into subjection, and established their own supremacy over all the southern coast. Cadiz became the central point of Carthaginian power, from whence the invaders constantly extended their conquests. Though many of the interior tribes maintained for a time a sort of rude and ferocious independence, still Carthage gradually assumed dominion over the whole of Spain.??In the year 235 B.C., Hamilcar, the father of the illustrious Hannibal, compelled nearly all the tribes of Spain to ack-nowledge his sway. For eight years Hamilcar waged almost an incessant battle with the Spaniards. Still it was merely a military possession which he held of the country, and he erected Barcelona and several other fortresses, where his soldiers could bid defiance to assaults, and could overawe the surrounding inhabitants.

Referindu-se la Pesc?ru?ul ?ntr-o scrisoare din octombrie 1895, Cehov nota, ?ntre altele: ?Scriu o pies? pe care probabil nu o voi termina p?n? la sf?r?itul lui noiembrie. O scriu nu f?r? pl?cere, de?i m? tem de conven?iile scenei. E o comedie, exist? trei roluri pentru femei, ?ase pentru b?rba?i, patru acte, peisaje (priveli?tea unui lac), o mul?ime de conversa?ii despre literatur?, pu?in? ac?iune, mult? iubire“. Premiera s-a dovedit dezastruoas?, editorul s?u aduc?ndu-i acuze ca, pild?, la?itatea evident?, caracterul din cale afar? de feminin. Con?tient de geniul s?u, Cehov riposteaz?: ?De ce aceast? calomnie? Dup? reprezenta?ie am luat cina la Romanovi. Pe cuv?ntul meu de onoare. Apoi m-am dus la culcare, am dormit s?n?tos ?i a doua zi am mers acas? f?r? a suspina vreo nemul?umire. Dac? a? fi fost un la?, a? fi alergat de la un editor la altul ?i de la un actor la altul, i-a? fi implorat s? fie ?ng?duitori ?i a? fi petrecut dou? trei s?pt?m?ni ?n Petersburg, agit?ndu-m? cu Pesc?ru?ul meu, cu emo?ie, cu o transpira?ie rece ?n lamenta?ii. Am ac?ionat at?t de rece ?i de responsabil precum un om care a f?cut o ofert? ?i apoi a fost ?nt?mpinat cu un refuz ?i nu mai are nimic altceva de f?cut dec?t s? plece. ?ntr-adev?r, vanitatea mea a fost n?ucit?, dar ?ti?i, nu a fost o lovitur? din senin. A?teptam un e?ec ?i m? preg?tisem pentru el precum te-am prevenit cu o absolut? sinceritate“.

Lucrarea abordeaz? cele mai relevante manifest?ri ale modernismului literar interbelic, propun?nd spre analiz? reprezentan?i ai poeziei (George Bacovia, Ion Barbu, Lucian Blaga, Ion Vinea, Ilarie Voronca, Tudor Arghezi), ai prozei (Anton Holban, Camil Petrescu, Max Blecher, Mircea Eliade), tendin?ele ?i mi?c?rile coagulate ?n jurul marilor reviste interbelice (Sbur?torul, Contimporanul, 75 H.P., Integral). Volumul se adreseaz? elevilor de liceu care doresc s?-?i aprofundeze cuno?tin?ele referitoare la una dintre cele mai importante v?rste literare rom?ne?ti, miz?nd ?i pe redescoperirea cititorului avizat, dornic s?-?i sus?in? punctele de vedere, s?-?i modeleze gustul estetic ?i s? descopere modele, ierarhii, valori.

Marele romancier face o incursiune ?n trecutul nu foarte ?ndep?rtat al Rom?niei, trat?nd anii dictaturii ro?ii f?r? p?rtinire, ?ncerc?nd o radiografie crud?, impar?ial? ?i – lucru extrem de rar ?n Balcani – radical? a unei jum?t??i de secol de istorie.Cartea e destinat? studen?ilor, elevilor, profesorilor, precum ?i publicului larg de cititori.

Cred ?n sensibilitatea publicului fa?? de un teatru al ideilor, dar ?i fa?? de un teatru de ac?iune fidel formelor clasice. Cu riscul de a fi considerat un manierist, accept aceast? etichet?, dac? ?mi aleg drept modele nume ca Montherlant, Camus, Vallejo sau Camil Petrescu. Am ?ncercat s? tratez una dintre marile teme ale dramaturgiei universale, care ?ncepe cu vechii greci ?i se ?mpline?te ?n teatrul clasic francez: conflictul dintre datorie ?i pasiune. Drama apare atunci c?nd cele dou? imperative devin divergen?e ?i ea se poate reg?si ?i azi de la marii lideri politici la oamenii de r?nd. Dar pentru a o ilustra am ales varianta teatrului istoric, deoarece (pentru a-l cita pe Henri Rochefort ) ?viitorul, ?n momentul de fa??, pare at?t de sumbru, ?nc?t am sim?it s? m? hr?nesc o vreme cu trecutul". Drama personajelor mele, fie c? este vorba despre Ugo, fie c? este vorba despre printul Rudolf, este e?ecul ?nregistrat ?n ?ncercarea de a le g?si un liant, de a le ?mp?ca. Am v?zut ?n Rudolf de Habsburg un adev?rat profet al lumii moderne… care a prev?zut toate catastrofele secolului al XX-lea ?i a ?ncercat s? orienteze politica austriaca ?ntr-o alta direc?ie. Dar via?a sa privat?, departe de a fi un model, a dejucat acest plan. El dispare pentru c? nu-?i mai g?se?te locul ?n lumea lui, ?n timp ce Ugo d’Este ??i accept? sf?r?itul din acela?i motiv. (Corneliu ?enchea)

Toate popoarele sunt preocupate de identitatea lor, dar la rom?ni aceast? chestiune a ?mbr?cat forme speciale. Rom?nii, locuitori p?n? ?n epoca modern? ?n dou? principate autonome supuse Por?ii Otomane ?i r?vnite de mul?i al?i vecini, dar tr?itori ?i ?n vaste provincii ocupate de unguri, de austrieci, de ru?i ?i de turci, pierdu?i ?n mijlocul at?tor str?ini rapace, s-au ?ntrebat, parc? mai mult dec?t al?ii, de unde vin ?i cine sunt ei. P?n? la urm? ?ns?, toate popoarele mici, lovite de soart? ?i l?sate la cheremul celor mari, au asemenea preocup?ri, transformate uneori ?n adev?rate obsesii. (Ioan-Aurel Pop)

Documentele publicate sub egida Institutului de Istorie ?George Bari?iu“ al Academiei Rom?ne au fost structurate ?n dou? p?r?i: Emigra?ia albgardist? ?i Biserica Rus? din Bucure?ti. Prima parte cuprinde r?spunsul direc?iilor regionale la Ordinul Direc?iei Generale a Securit??ii Statului nr. 354/81558 privind albgardi?tii din raza acestora de competen??, iar cea de a doua – materiale ale Direc?iei Regionale a Securit??ii Bucure?ti despre personalul, emigran?ii ?i refugia?ii care frecventeaz? Biserica Rus?. Sursele relev? destinul, starea de spirit ?i material? a fo?tilor membri ai armatelor ruse ?i ucrainene stabili?i ?n Rom?nia, supravie?uitori ai celor dou? r?zboaie mondiale, liderii fiind deja aresta?i.Din sinteza informativ? a Direc?iei Regionale a Securit??ii Bac?u din 27 octombrie 1951:??n urma ac?iunilor contrarevolu?ionare desf??urate ?n t?n?rul Stat Sovietic de c?tre bandele conduse de Denikin, Kerenski ?i Vranghel, bande ce au fost distruse de c?tre t?n?ra Armat? Ro?ie Sovietic? ?i alungate peste grani?ele Statului Sovietic, ?i ?n ?ar? la noi au venit o serie de elemente ce au f?cut parte din aceste armate, care ?i-au stabilit domiciliul ?n diferite ora?e ale ??rii noastre, unde sub regimul burghezo-mo?ieresc ce se afla ?n acel timp la c?rma ??rii noastre au g?sit azil ?i ocrotire.Astfel ?i ?n regiunea Bac?u din aceste elemente identificate p?n? ?n prezent sunt ?n num?r de 6 persoane, ?i anume: Mateevski Konstantin, ?n prezent domiciliat ?n Piatra-Neam?, de profesie electrician ?i mecanic, angajat ?n aceast? func?ie la Sovromlemn Piatra-Neam?; Petrovski Vasile, fost colonel de artilerie ?i avia?ie ?n armata alb? a lui Vranghel, ?n prezent domiciliat ?n Piatra-Neam?, fiind angajat ca magazioner la fabrica Bistri?a din Piatra-Neam?; Galini?cenko Alexandru, domiciliat ?n Piatra-Neam?, f?r? ocupa?ie, ?n prezent fiind b?tr?n; Kazimirov Mark, de profesie ?ofer angajat ?n aceast? calitate la fabrica ?Reconstruc?ia“ Piatra-Neam?, fost ofi?er ?n Armata Alb? ucrainean?, ?n prezent lucreaz? ca t?mplar, ?i Babici Ifrim, fost ofi?er ?n armata lui Vranghel, actualmente domiciliat ?n comuna Tarc?u, raionul Piatra-Neam?, cu serviciul la Sovromlemn.?n leg?tur? cu susnumi?ii trebuie s? ar?t?m c? dac? ?n trecut existau unele rela?ii de prietenie ?ntre d?n?ii, ?nt?lniri ?n care ??i reaminteau cu pl?cere de trecutul lor, ast?zi, fiind elemente b?tr?ne, nu se mai observ? aceste leg?turi, mai ales c? majoritatea sunt c?s?tori?i cu cet??ence rom?ne ?i parte dintre d?n?ii au chiar ?i copii.De asemeni, din cele cunoscute de noi rezult? c? ace?tia nu ?ntre?in leg?turi prin coresponden?? cu str?in?tatea ?i nici cu elementele dubioase ?i du?m?noase din locurile unde tr?iesc ei. S-a putut constata c? aceste elemente sunt extrem de fricoase ca nu cumva s? vin? o dispozi?ie care s?-i pun? ?n situa?ia s? se ?ntoarc? ?n URSS, obliga?i. Comentarii ?n acest gen au fost extrem de multe ?n r?ndurile lor, ?n special ?ntre anii 1945-1946, c?nd ei credeau sigur c? vor fi evacua?i din ?ara noastr? ?i trimi?i ?n Uniunea Sovietic?. Totu?i ?i ?n prezent, de?i b?tr?ni, exist? ?i ?n r?ndurile lor unele comentarii ?i nemul?umiri, pe care ?ns? ?i le arat? ?n anturajul restr?ns pe care eventual ?l au.“

T?rténik Olivér házában, Frigyes herceg udvarában, valamint az Ardeni-erd?ben – vélhet?leg Franciaországban. Egy nagy erej? vitéz, miként nálunk majd Toldi, legy?z egy bajnokot. Bár testvére ármánya miatt meg kellett volna halnia a párviadalban, mégis az ? homlokára kerül a gy?ztesnek kijáró koszorú. ?s ezzel kezdetét veszi vessz?futása. El?bb csak bátyja, majd uralkodója haragja el?l, utóbb egyenest a szám?zetésbe. Vigaszul csupán egy mosoly, egy fehér lánykézb?l kapott amulett és ?reg szolgája sírig h? ragaszkodása szolgál. ?m az ardeni erd? mélyén további barátokra, igaz szerelemre, és el?z?tt hercegének birodalmára talál.

O carte pasionant i minuios documentat.“ – Le Figaro Littéraire Dac exist o dinastie care s ntrupeze Europa, aceea este Casa de Habsburg“, scrie Jean des Cars n debutul acestei cavalcade pasionante prin istoria zbuciumat a Europei. Destinul prodigios al Habsburgilor ncepe, n cheie minor, n secolul al XI-lea, ntr-o fortrea situat n cantonul elveian Aargau, prinde aripi n 1273, odat cu alegerea, cu totul neateptat, a contelui Rudolf de Habsburg ca mprat al Sfntului Imperiu German, i i ncheie epopeea monarhic la Schnbrunn, pe 11 noiembrie 1918, cnd Carol al IV-lea semneaz actul de renunare la coroana imperial a Austriei. Vreme de apte secole, Habsburgii au dominat o mare parte a Europei, a Orientului Apropiat i a Americii de Sud. Cuceritorul Carol Quintul, reformatoarea Maria Tereza, Franz Joseph i legendara sa soie Sisi, Zita, suverana datoriei, sunt doar cteva dintre figurile emblematice ale acestei familii excepionale, care a marcat istoria. Nendoielnic, dispariia lor semnaleaz prbuirea unei lumi, dar numele lor rmne venic sinonim cu nflorirea artelor, grandoarea politic i identitatea european. Pentru alctuirea acestui volum incitant, n care faptul istoric documentat se ntlnete fericit cu excursul jurnalistic profesionist i bine calibrat, dar i cu o anecdotic ncnttoare, Jean des Cars, talentat raconteur i recunoscut cronicar al marilor monarhii europene, a consultat arhive, a vizitat toate locurile-reper ale dinastiei, a realizat interviuri i a cules mrturiile inedite ale mprtesei Zita i ale arhiducelui Otto de Habsburg. Istoria este plin de maiesti individuale, ns Habsburgii ntruchipeaz maiestatea dinastic. [...] A ajunge s nu mai constitui doar o familie, s nu mai reprezini doar o ar, ci un agregat de naiuni, a stpni jumtate din Europa i o mare parte din America, a purta o coroan mai grea chiar dect coroana Imperiului Britanic, dar a te plimba, n acelai timp, prin Prater, cu o umbrel sub bra, iat un spectacol pe care omenirea nul va mai vedea vreodat.“ – Paul Morand n 1919, prbuirea imperiilor i, apoi, o redivizare geografic arbitrar elimin de la conducere familii vechi i puternice, cum ar fi Romanovii, Hohenzollernii i Habsburgii. Dup veacuri de prestigiu i influen, vechile case domnitoare sunt terse de pe hart, asasinate sau surghiunite. Dar, n timp ce familiile imperiale din Rusia i din Germania au fost nevoite, ulterior, s se mulumeasc, dup caz, cu nostalgii discrete, compromisuri regretabile sau reabilitri tardive, Habsburgii au luptat mpotriva anihilrii progresive la care erau supui, ripostnd chiar fa de ostracizarea care le era impus. Nu fr eforturi sau adversiti umilitoare, ei au reuit s triasc, s i refac imaginea, s existe din nou, s impun respect fa de numele lor nainte de anii ’40 i s redobndeasc un loc att n memoria vechii Europe, ct i n noua construcie european, ceea ce este un lucru excepional.“ – Jean des Cars

Materialele reunite in acest volum reprezinta o suma de contributii si studii publicate in ultimii ani. Toate materialele au fost selectate pentru a corespunde titlului stabilit: BATALIA PENTRU BASARABIA. Este explicabil de ce, in atare conditii, preocuparile colectivului de autori s-au concentrat asupra epocii celui de-al Doilea Razboi Mondial, cu predilectie tratand sfartecarea teritoriala a Romaniei Mari in 1940 sau rolul si locul Maresalului Ion Antonescu in reluarea luptei nationale pentru eliberarea Basarabiei de sub dominatia Imperiului Rosu stalinist, dupa 1941. Nu au fost neglijate nici anume fapte si consideratii din rastimpul 1945-1989, cand batalia s-a desfasurat indeosebi pe plan politico-diplomatic, dar si ideologic ori istoriografic.

n iunie 2015 am publicat n revista Permanene” (nr. 6) articolul Vladimir Tismneanu - ieri i azi”, motivat de faptul c Preedintele Comisiei Prezideniale pentru Analiza Dictaturii Comuniste din Romnia a devenit brusc un atacator al celor susinute n Raportul Final al Comisiei pe care a prezidat-o. Pn n prezent nu exist niciun fel de opinie a dlui Tismneanu i nici a celor de la Institutul Elie Wiesel” - MCA referitor la acest punct de vedere.

"Reportajele din aceast? carte vorbesc despre aspecte din istoria recent?, cum ar fi migra?ia, corup?ia, via?a ?n penitenciare sau problemele minorit??ilor, ?nchiderea spitalelor sau stresul care schimb? vie?i, crizele din s?n?tate, pove?ti ale unor oameni obi?nui?i, care fac lucruri speciale. Reg?sim, ?ns?, ?i pove?ti de demult, cum e cazul reportajelor despre lupt?torii anticomuni?ti din mun?i, despre tezaurul de la Pietroasele sau istoriile din satele s?se?ti. Reportajele surprind realit??i dintr-o Rom?nie aflat? ?n continu? schimbare, cu enorme discrepan?e. Sunt ca o fotografie a realit??ii. Cine le cite?te afl? cum se tr?ia sau cum se tr?ie?te ?n anumite locuri. Cum se schimb? sau de ce nu se schimb? lucrurile ?i mentalit??ile. Cartea cuprinde 30 de reportaje publicate ?n revista Dilema veche, dar ?i adapt?ri dup? reportaje sau documentare radio difuzate la Europa FM ?i Radio Rom?nia Actualit??i. Reportajul e un gen mai rar ?nt?lnit ast?zi ?n presa din Rom?nia. Dar asta nu se ?nt?mpl? din cauza lipsei de interes a publicului, ci din pricina lipsei de bani ?i de investi?ii ?ntr-o pres? de calitate. De fiecare dat? c?nd totu?i apar reportaje bine f?cute, se constat? c? publicul le urm?re?te cu interes, tot a?a cum urm?re?te reportajele ?i documentarele oferite de televiziunile str?ine. Asta fiindc? oamenii au nevoie de pove?ti. Un reportaj bine f?cut este de fapt o poveste adev?rat?. P?n? la urm?, ?i aceast? carte este o carte cu pove?ti adev?rate." (Liliana Nicolae)

Mit jelent az, hogy széls?jobboldal? Kikkel szimpatizálnak és mit képviselnek az újhungaristák? Mit jelképez a 88-as szám? Miféle ideológia áll a széls?jobboldali irányzatok hátterében? Mikor és miért válnak sikeressé a radikálisok? K?tetünk ezeken a kérdéseken kívül arra is választ ad, hogy melyek voltak a magyar széls?jobboldali mozgalmak megszületésének hazai el?zményei, külf?ldi szellemi el?képei és testvérmozgalmai. Mindemellett rávilágít a széls?jobboldaliság kritériumaira az irányzat 1919-es születését?l napjainkig, és feltárja a széls?jobboldali szubkultúrák változatos, markáns ismertet?jegyeit. A Jobbik és a Magyar Gárda tevékenységéig ível? áttekintés azt is megmutatja, milyen sokszín? jelenség a magyarországi széls?jobboldal, pontosabban az a radikális politikai mozgalmakat t?m?rít? gy?jt?fogalom, amelyet ma így szokás nevezni. A szerz?, PAKSA RUDOLF 1981-ben született Ajkán, az ELTE-n doktorált t?rténelemb?l és 2009 októberét?l az MTA T?rténettudományi Intézetének a munkatársa. ?rdekl?dési területe a modern kori magyar t?rténelem; kutatásai súlypontja a 19–20. századi historiográfia, a régi E?tv?s Collegium, valamint a Horthy-kori széls?jobboldali irányzatok.

Habsburgi, Windsori, Romanovi, Hohenzollerni, familii regale ale Belgiei, Olandei, Italiei, Iugoslaviei, Bulgariei, Rom?niei sau Greciei – monarhiile europene s-au aflat ?n inima celor dou? R?zboaie Mondiale.?ntr-o incursiune istoric? fascinant?, punctat? de portrete, anecdote, momente-cheie, ?nt?lniri decisive, jocuri de alian?e, Jean des Cars ne introduce ?n culisele cur?ilor europene prinse ?n v?rtejul celor dou? conflagra?ii care au zguduit secolul al XX-lea.?Jean des Cars, eminent specialist al marilor dinastii europene, realizeaz? – ?ar? dup? ?ar?, deceniu dup? deceniu – un expozeu al faptelor istorice marcante, construind o lucrare plin? de vivacitate ?i bine documentata, o lectura cu at?t mai captivanta, cu c?t cele aproape 170 de subcapitole care o compun istorisesc, fiecare ?n parte, o adev?rat? poveste." - Le Figaro Magazine?Una dintre cele mai bune c?r?i ale autorului ?i un succes de libr?rie: urm?rim pe parcursul acestor conflicte comportamentele monarhilor, majoritatea ?nrudi?i ?ntre ei. Un secol de istorie a marilor familii, a destinelor europene, iar pentru Europa de Est, o memorie reg?sit?." - Valeurs Actuelles?n vara lui 1914, Europa este majoritar monarhic?: din dou?zeci ?i dou? de state, nou?sprezece sunt regate, imperii, principate sau mari ducate. Ast?zi, nu au mai r?mas dec?t zece. Primul R?zboi Mondial provoac? pr?bu?irea a patru imperii (Germania, Rusia, Austro-Ungaria, Imperiul Otoman), iar al Doilea spulber? patru regate (Italia, Iugoslavia, Rom?nia, Bulgaria).Cine erau ace?ti suverani? Dar femeile care le ?mp?rt??eau destinul?De la ambi?ie la orbire, de la curaj la sl?biciune, de la gelozie la abnega?ie, care au fost triumfurile ?i e?ecurile lor? Cum ?i-au tr?it gloria, dramele, cum s-au confruntat cu ascensiunea extremismelor interbelice, cu apari?ia totalitarismelor? Erau con?tien?i de consecin?ele gesturilor lor? Sau au fost incapabili s? stopeze avansul na?ionalismelor? Care au fost vie?ile lor personale, iubirile ?i pasiunile secrete? Ace?ti monarhi, care se vor alia, se vor ?nfrunta ?i uneori tr?da, sunt to?i ?nrudi?i, uni?i prin leg?turi de s?nge ?i matrimoniale. Astfel, ?r?zboiul regilor" va fi o incredibil? reglare de conturi familial? – la scar? continental?, apoi mondial?.

Hogyan váltak a lovak az emberiség kiszolgálóivá?A lovak évezredek óta jelen vannak az emberek életében: hatalmas erejüket és engedelmességüket kihasználva dolgoznak, küzdenek, hódítanak.De hogyan lehetséges, hogy a 60-65 millió éve a F?ld?n él? állatokat végül az ember igába hajthatta? Ez a regény err?l is szól, fantasztikus, mesés elemekkel telet?zdelve. Kül?n?s mozzanat a t?rténetben a lovak találkozása az emberekkel, akik a F?ldész nev?, egy a F?ldh?z hasonló élhet? bolygóról érkeztek, és egyedül ezekben csodás állatokban találták meg azt az akarater?t és intelligenciát, ami alkalmassá teszi ?ket majd a f?ldi emberi társadalmak kialakítására.Fuli Sándor kalandos regénye az életigenlésr?l felhívja fiatal olvasói figyelmét a minden nehézséggel való bátor szembenézés fontosságára.

A Kádár-kori titkosszolgálatok m?k?dése a rendszerváltás óta mind a mai napig a magyar k?zélet egyik meghatározó és kibeszéletlen témájának számít. Az 1962-ben új m?k?dési kereteket kialakító egykori szervezet legismertebb részlege – els?sorban egyes k?zéleti szerepl?k utóbb leleplez?d? ügyn?kmúltja miatt – a bels? elhárítással foglalkozó III/III. Csoportf?n?kség lett. E részleg tényleges tevékenysége ugyanakkor ma is csak t?redékesen ismert, mik?zben továbbra is számtalan félreértés, legenda és mítosz él a III/III-mal kapcsolatban. TABAJDI G?BOR k?tete az elmúlt évek kutatási eredményeinek felhasználásával a pártállami titkosszolgálatok, azon belül is a bels?reakció-elhárítás m?k?désének átfogó krónikáját adja. A k?nyv az események id?rendi tárgyalása során a sok esetben félrevezet? ügyn?kt?rténetek helyett magára a szervezetre helyezi hangsúlyt, így a jól dokumentálható, konkrét esetek kapcsán a bels? elhárítás nagyszabású akciói mellett a III/III-asok mindennapjait befolyásoló egyéb hatásokat is igyekszik bemutatni, a pártutasítások fogadtatásától kezdve a szabadid?s tevékenységeken át egészen az állomány társadalmi helyzetéig. Az egyes szócikkekhez tartozó események arra is rávilágítanak, hogy a ?létez? szocializmus” világában milyen hétk?znapi tevékenységi formák válhattak politikai kérdéssé, és melyek voltak azok, amelyek a hatalom megtorló intézkedéseit kiváltották. A szócikkekkel párhuzamosan futó k?zt?rténeti kronológia és a kor hangulatát megidéz? dokumentumok ugyanakkor eddig kevésbé érzékelt ?sszefüggéseket is megvilágítanak. A Budapest a diktatúrák árnyékában cím? nagy siker? t?rténelmi útikalauz szerz?je új néz?pontból, a III/III szervezeti oldaláról láttatja e sz?k három évtized t?rténéseit, és ennek k?sz?nhet?en az olvasó el?tt oldalról oldalra feltárul a pártállami Magyarország titkos t?rténete. A Kádár-kori titkosszolgálatok m?k?dése a rendszerváltás óta mind a mai napig a magyar k?zélet egyik meghatározó és kibeszéletlen témájának számít. Az 1962-ben új m?k?dési kereteket kialakító egykori szervezet legismertebb részlege – els?sorban egyes k?zéleti szerepl?k utóbb leleplez?d? ügyn?kmúltja miatt – a bels? elhárítással foglalkozó III/III. Csoportf?n?kség lett. E részleg tényleges tevékenysége ugyanakkor ma is csak t?redékesen ismert, mik?zben továbbra is számtalan félreértés, legenda és mítosz él a III/III-mal kapcsolatban. TABAJDI G?BOR k?tete az elmúlt évek kutatási eredményeinek felhasználásával a pártállami titkosszolgálatok, azon belül is a bels?reakció-elhárítás m?k?désének átfogó krónikáját adja. A k?nyv az események id?rendi tárgyalása során a sok esetben félrevezet? ügyn?kt?rténetek helyett magára a szervezetre helyezi hangsúlyt, így a jól dokumentálható, konkrét esetek kapcsán a bels? elhárítás nagyszabású akciói mellett a III/III-asok mindennapjait befolyásoló egyéb hatásokat is igyekszik bemutatni, a pártutasítások fogadtatásától kezdve a szabadid?s tevékenységeken át egészen az állomány társadalmi helyzetéig. Az egyes szócikkekhez tartozó események arra is rávilágítanak, hogy a ?létez? szocializmus” világában milyen hétk?znapi tevékenységi formák válhattak politikai kérdéssé, és melyek voltak azok, amelyek a hatalom megtorló intézkedéseit kiváltották. A szócikkekkel párhuzamosan futó k?zt?rténeti kronológia és a kor hangulatát megidéz? dokumentumok ugyanakkor eddig kevésbé érzékelt ?sszefüggéseket is megvilágítanak. A Budapest a diktatúrák árnyékában cím? nagy siker? t?rténelmi útikalauz szerz?je új néz?pontból, a III/III szervezeti oldaláról láttatja e sz?k három évtized t?rténéseit, és ennek k?sz?nhet?en az olvasó el?tt oldalról oldalra feltárul a pártállami Magyarország titkos t?rténete.

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

The Odyssey (Greek:Odysseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. It is believed to have been composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres or Proci, who compete for Penelope's hand in marriage. It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter. Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage. The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in Antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). ABOUT AUTHOR: Homeros, In the Western classical tradition, Homer (Ancient Greek: Homeros) is the author of the Iliad and the Odyssey, and is revered as the greatest of ancient Greek epic poets. These epics lie at the beginning of the Western canon of literature, and have had an enormous influence on the history of literature. When he lived is unknown. Herodotus estimates that Homer lived 400 years before his own time, which would place him at around 850 BC, while other ancient sources claim that he lived much nearer to the supposed time of the Trojan War, in the early 12th century BC. Most modern researchers place Homer in the 7th or 8th centuries BC. The formative influence of the Homeric epics in shaping Greek culture was widely recognized, and Homer was described as the teacher of Greece. Homer's works, which are about fifty percent speeches, provided models in persuasive speaking and writing that were emulated throughout the ancient and medieval Greek worlds. Fragments of Homer account for nearly half of all identifiable Greek literary papyrus finds. PeriodFor modern scholars "the date of Homer" refers not to an individual, but to the period when the epics were created. The consensus is that "the Iliad and the Odyssey date from around the 8th century BC, the Iliad being composed before the Odyssey, perhaps by some decades," i.e. earlier than Hesiod, the Iliad being the oldest work of Western literature. Over the past few decades, some scholars have argued for a 7th-century BC date. Oliver Taplin believes that the conclusion of modern researchers is that Homer dates to between 750 to 650 BC. Some of those who argue that the Homeric poems developed gradually over a long period of time give an even later date for the composition of the poems; according to Gregory Nagy for example, they only became fixed texts in the 6th century BC. The question of the historicity of Homer the individual is known as the "Homeric question"; there is no reliable biographical information handed down from classical antiquity. The poems are generally seen as the culmination of many generations of oral story-telling, in a tradition with a well-developed formulaic system of poetic composition. Some scholars, such as Martin West, claim that "Homer" is "not the name of a historical poet, but a fictitious or constructed name."

Art, with its finite means, cannot hope to record the infinite variety and com-plexity of Nature, and so contents itself with a partial statement, addressing this to the imagination for the full and perfect meaning. This inadequation, and the artificial ad-justments which it involves, are tolerated by right of what is known as artistic convention; and as each art has its own particular limitations, so each has its own particular conventions. Sculpture reproduces the forms of Nature, but discards the color without any shock to our ideas of verity; Painting gives us the color, but not the third dimension, and we are satisfied; and Architecture ispurely conventional, since it does not even aim at the imitation of natural form. The Conventions of Line Drawing,Of the kindred arts which group themselves under the head of Painting, none is based on such broad conventions as that with which we are immediately concerned—the art of Pen Drawing. In this medium, Nature's variety of color, when not positively ignored, is suggested by means of sharp black lines, of varying thickness, placed more or less closely together upon white paper; while natural form depends primarily for its representation upon arbitrary boundary lines. There is, of course, no authority in Na-ture for a positive outline: we see objects only by the difference in color of the other objects behind and around them. The technical capacity of the pen and ink medium, however, does not provide a value corresponding to every natural one, so that a broad interpretation has to be adopted which eliminates the less positive values; and, that form may not likewise be sacrificed, the outline becomes necessary, that light objects may stand relieved against light. This outline is the most characteristic, as it is the most indispensable, of the conventions of line drawing. To seek to abolish it only involves a resort to expedients no less artificial, and the results of all such attempts, dependent as they necessarily are upon elaboration of color, and a general indirectness of method, lack some of the best characteristics of pen drawing. More frequently, however, an elaborate color-scheme is merely a straining at the technical limitations of the pen in an effort to render the greatest possible number of values. It may be worth while to inquire whether excellence in pen drawing consists in thus dispensing with its recognized conventions, or in otherwise taxing the technical re-sources of the instrument. This involves the question of Style,—of what characteristic pen methods are,—a question which we will briefly consider...

Sir Peter Paul Rubens ( 28 June 1577 – 30 May 1640), was a Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasised movement, colour, and sensuality. He is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe.. Early lifeRubens was born in the German city of Siegen, Westphalia to Jan Rubens and Maria Pypelincks. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the legal advisor (and lover) of Anna of Saxony, the second wife of William I of Orange, and settled at her court in Siegen in 1570; their daughter Christine was born in 1571. Following Jan Rubens's imprisonment for the affair, Peter Paul Rubens was born in 1577. The family returned to Cologne the next year. In 1589, two years after his father's death, Rubens moved with his mother Maria Pypelincks to Antwerp, where he was raised as a Catholic. Religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting (he had said "My passion comes from the heavens, not from earthly musings").In Antwerp, Rubens received a humanist education, studying Latin and classical literature. By fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the city's leading painters of the time, the late Mannerist artists Adam van Noort and Otto van Veen. Much of his earliest training involved copying earlier artists' works, such as woodcuts by Hans Holbein the Younger and Marcantonio Raimondi's engravings after Raphael. Rubens completed his education in 1598, at which time he entered the Guild of St. Luke as an independent master. Italy (1600–1608)In 1600, Rubens travelled to Italy. He stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The coloring and compositions of Veronese and Tintoretto had an immediate effect on Rubens's painting, and his later, mature style was profoundly influenced by Titian. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601. Last decade (1630–1640)The Exchange of Princesses, from the Marie de' Medici Cycle. Louvre, ParisRubens's last decade was spent in and around Antwerp. Major works for foreign patrons still occupied him, such as the ceiling paintings for the Banqueting House at Inigo Jones's Palace of Whitehall, but he also explored more personal artistic directions.In 1630, four years after the death of his first wife, the 53-year-old painter married 16-year-old Hélène Fourment. Hélène inspired the voluptuous figures in many of his paintings from the 1630s, including The Feast of Venus (Kunsthistorisches Museum, Vienna), The Three Graces and The Judgment of Paris (both Prado, Madrid). In the latter painting, which was made for the Spanish court, the artist's young wife was recognized by viewers in the figure of Venus. In an intimate portrait of her, Hélène Fourment in a Fur Wrap, also known as Het Pelsken, Rubens's wife is even partially modelled after classical sculptures of the Venus Pudica, such as the Medici Venus. In 1635, Rubens bought an estate outside of Antwerp, the Steen, where he spent much of his time. Landscapes, such as his Ch?teau de Steen with Hunter (National Gallery, London) and Farmers Returning from the Fields (Pitti Gallery, Florence), reflect the more personal nature of many of his later works. He also drew upon the Netherlandish traditions of Pieter Bruegel the Elder for inspiration in later works like Flemish Kermis (c. 1630; Louvre, Paris).

1. The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgement that all work done by the other arts is put to test. This knowledge is the child of practice and theory. Practice is the continuous and regular exercise of employment where manual work is done with any necessary material according to the design of a drawing. Theory, on the other hand, is the ability to demonstrate and explain the productions of dexterity on the principles of proportion. 2. It follows, therefore, that architects who have aimed at acquiring manual skill without scholarship have never been able to reach a position of authority to correspond to their pains, while those who relied only upon theories and scholarship were obviously hunting the shadow, not the substance. But those who have a thorough knowledge of both, like men armed at all points, have the sooner attained their object and carried authority with them. 3. In all matters, but particularly in architecture, there are these two points:—the thing signified, and that which gives it its significance. That which is signified is the subject of which we may be speaking; and that which gives significance is a demonstration on scientific principles. It appears, then, that one who professes himself an architect should be well versed in both directions. He ought, therefore, to be both naturally gifted and amenable to instruction. Neither natural ability without instruction nor instruction without natural ability can make the perfect artist. Let him be educated, skilful with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of the jurists, and be acquainted with astronomy and the theory of the heavens. 4. The reasons for all this are as follows. An architect ought to be an educated man so as to leave a more lasting remembrance in his treatises. Secondly, he must have a knowledge of drawing so that he can readily make sketches to show the appearance of the work which he proposes. Geometry, also, is of much assistance in architecture, and in particular it teaches us the use of the rule and compasses, by which especially we acquire readiness in making plans for buildings in their grounds, and rightly apply the square, the level, and the plummet. By means of optics, again, the light in buildings can be drawn from fixed quarters of the sky. It is true that it is by arithmetic that the total cost of buildings is calculated and measurements are computed, but difficult questions involving symmetry are solved by means of geometrical theories and methods. 5. A wide knowledge of history is requisite because, among the ornamental parts of an architect's design for a work, there are many the underlying idea of whose employment he should be able to explain toGree inquirers. For instance, suppose him to set up the marble statues of women in long robes, called Caryatides, to take the place of columns, with the mutules and coronas placed directly above their heads, he will give the following explanation to his questioners. Caryae, a state in Peloponnesus, sided with the Persian enemies against Greece; later the Greeks, having gloriously won their freedom by victory in the war, made common cause and declared war against the people of Caryae. They took the town, killed the men, abandoned the State to desolation, and carried off their wives into slavery, without permitting them, however, to lay aside the long robes and other marks of their rank as married women, so that they might be obliged not only to march in the triumph but to appear forever after as a type of slavery, burdened with the weight of their shame and so making atonement for their State. Hence, the architects of the time designed for public buildings statues of these women, placed so as to carry a load..