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.

UNGV?RY KRISZTI?N és TABAJDI G?BOR rendhagyó útikalauza a 20. század politikai diktatúrái és legmegrázóbb t?rténelmi eseményei mentén veszi lajstromba Budapest emlékeit. A szerz?páros olyan f?városi helyszíneket mutat be olvasóinak, amelyek jobbára ismeretlenek a turisták el?tt, a városlakók számára pedig már a félmúlt homályába vesznek. A fiatal kutatók budapesti sétáin feltárulnak az 1919-es Tanácsk?ztársaság és az azt k?vet? fehérterror, a német megszállás, a nyilas rémuralom és a zsidóüld?zés, a világháborús f?város, a szovjet megszállás és a Rákosi-diktatúra, az 1956-os forradalom és szabadságharc, végül a Kádár-korszak elfeledett vagy épp szándékosan titokban tartott t?rténeti helyszínei és emlékhelyei. Az egyes t?rténelmi eseményekhez k?thet? szobrok és m?emlékek kapcsán a szerz?k múlt és jelen emlékezetpolitikai t?rekvéseit is áttekintik. A t?rténészpáros kíméletlen és fájdalmas ?szinteséggel mutat rá: a múlt századi véres diktatúrák emlékei jel?letlenül bár, de ma is ott kísértenek a f?város utcáin – ideje lenne hát mindenkinek megismerni ?ket. UNGV?RY KRISZTI?N 1969-ben született Budapesten. Tanulmányait az ELTE BTK t?rténelem-német szakán végezte. Budapest ostromát feldolgozó doktori disszertációja k?nyv formájában is megjelent, és számos hazai, illetve külf?ldi kiadást megélt. 2001-t?l az 1956-os Intézet tudományos munkatársa, t?bb nemzetk?zi tudományos testület tagja. Kutatási területe a 20. század politika- és hadt?rténete, a széls?jobb mozgalmak, valamint az állambiztonság t?rténete. TABAJDI G?BOR 1980-ban született Budapesten. Az ELTE B?lcsészettudományi Karán t?rténelmet, politikaelméletet és filozófiát tanult. Jelenleg az Országos Széchényi K?nyvtár 1956-os Intézetének munkatársa. Eddig f?ként a 20. századi Magyarország politikat?rténetével kapcsolatos publikációi jelentek meg. F? kutatási területei: a magyar állambiztonsági szervek, illetve a pártállami rendszer m?k?désének t?rténete. A fiatal kutatókat t?m?rít? ?Fehér Hollók” munkacsoport koordinátora.

Make it a YES! With so much competition, JUMP INTO AUDITION is the must-have guide for your audition. You only get one chance to make a FIRST IMPRESSION so let it count! FULFILL your POTENTIAL! Learn the art of preparing for auditions, tips on appropriate dress and etiquette and how to CONQUER your nerves. This book uncovers the true procedures and expectations behind auditions, so you will know exactly what to expect before you set foot on the stage. Quite simply, if you want to SUCCEED, make sure you don't attend another audition before reading this book. Including tips from choreographers, theatrical producers, singing coaches and seasoned audition professionals, JUMP INTO AUDITION will ensure you enter your audition fully prepared and ready to give the performance of your life. With sections dedicated to musicals, theatre, talent shows, dance companies and TV/film, specific advice is given for your individual type of audition, covering aspects of movement, microphone handling, supporting musical accompaniment, translation, choice of song and cold reading. There are also specific tips on breathing exercises and vocal warm-up techniques, designed to strengthen your voice and ensure a powerful delivery which will impress the judges.

The ultimate guide for breaking into the music industry. You've heard the songs, you went to the gigs, you bought the t-shirts and you read the biographies, but now it's your turn, right? The music industry is seen by many as a direct path to the ultimate party lifestyle of the rich and famous. But there is more to being a successful recording artist than just standing up in front of a crowd and singing, or spending your cash in the glamorous nightspots of London, New York and LA. As an industry that employs thousands of people in producing, marketing, publishing, and promoting musicians, there's a lot of hard work that goes into making recording artists a success. Take a look inside the world of the music business, see how it works and plot YOUR PATH TO FAME! Break down the barriers by knowing how the business works. Knowledge is power and 'Jump into Fame' will help you prepare. In each of these titles you will find advice on the key aspects of the music industry from an artist's perspective, including song writing, rehearsing and choreography to copyright, royalties and merchandising. This eBook covers a series of topics you will need to understand and address within the music industry. Save yourself a lot of time by preparing professionally and with a clear understanding of what's involved. Learn what to expect from others and also, importantly, what the music industry expects from you. Beyond the traditional image of sex, drugs and rock n' roll there is a whole industry generating tens of billions of dollars worldwide, so what does it take to become a part of it? Read advice from professional musicians and choreographers, and get to grips with the basics of the business side of the music industry. Learn about the mysterious rules of music copyright and find out where exactly your riches will come flooding in from with our section on royalties. Get yourself noticed by making your own music video, and protect your assets by retaining ownership of your material, seeking advice from the Musician's Union on the way. Learn how to put together the professional support team you will need. Many of the decisions you make now will be crucial to your chances of success in the future. With so many pitfalls you need to be aware of how the industry works, what to look out for and how to make yourself stand out from the crowd. If you're serious about making a career from your talent, then jump in and take the first step on the road to fame!

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.

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).

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...

"Where ocean bathes earth's footstool these sea-bowersBedeck its solid wavelets: wise was heWho blended shore with deep, with seaweed flowers,And Naiads' rivulets with Nereids' sea." Strictly speaking the peninsula on which the city stands is of the form of a trapezium. It juts out into the sea, beating back as it were the fierce waves of the Bosphorus, and forcing them to turn aside from their straight course and widen into the Sea of Marmora, which the ancients called the Propontis, narrowing again as it forces its way between the near banks of the Hellespont, which rise abrupt and arid from the European side, and slope gently away in Asia to the foot of Mount Ida. Northwards there is the little bay of the Golden Horn, an arm as it were of the Bosphorus, into which run the streams which the Turks call the Sweet Waters of Europe. The mouth of the harbour is no more than five hundred yards across. The Greeks of the Empire spanned it by a chain, supported here and there on wooden piles, fragments of which still remain in the Armoury that was once the church of S. Irene. Within is safe anchorage in one of the finest harbours of the world. South of the Golden Horn, on the narrow tongue of land—narrow it seems as seen from the hills of the northern shore—is the city of Constantine and his successors in empire, seated, like the old Rome, on seven hills, and surrounded on three sides by sea, on the fourth by the still splendid, though shattered, medi?val walls. Northwards are the two towns, now linked together, of Pera and Galata, that look back only to the trading settlements of the Middle Ages.The single spot united, as Gibbon puts it, the prospects of beauty, of safety, and of wealth: and in a masterly description that great historian has collected the features which made the position, "formed by Nature for the centre and capital of a great monarchy," attractive to the first colonists, and evident to Constantine as the centre where he could best combine and command the power of the Eastern half of his mighty Empire. Byzantium Before Constantine.It is impossible to approach Constantinople without seeing the beauty and the wonder of its site. Whether you pass rapidly down the Bosphorus, between banks crowned with towers and houses and mosques, that stretch away hither and thither to distant hills, now bleak, now crowned with dark cypress groves; or up from the Sea of Marmora, watching the dome of S. Sophia that glitters above the closely packed houses, till you turn the point which brings you to the Golden Horn, crowded with shipping and bright with the flags of many nations; or even if you come overland by the sandy wastes along the shore, looking across the deep blue of the sea to the islands and the snow-crowned mountains of Asia, till you break through the crumbling wall within sight of the Golden Gate, and find yourself at a step deep in the relics of the middle ages; you cannot fail to wonder at the splendour of the view which meets your eyes. Sea, sunlight, the quaint houses that stand close upon the water's edge, the white palaces, the crowded quays, and the crowning glory of the Eastern domes and the medi?val walls—these are the elements that combine to impress, and the impression is never lost. Often as you may see again the approach to the imperial city, its splendour and dignity and the exquisite beauty of colour and light will exert their old charm, and as you put foot in the New Rome you will feel all the glamour of the days that are gone by.

Дарону Аджемо?лу ? Джеймсу Роб?нсону вдалося, здавалося б, неможливе — в?дпов?сти на питання, яке до них безрезультатно вивчали стол?ттями: чому одн? кра?ни багат?, а ?нш? — б?дн?????рунтуючись на п’ятнадцятир?чних досл?дженнях у галузях ?стор??, пол?толог?? та економ?ки, автори легко ? доступно пояснюють, чому економ?чний усп?х держав не залежить в?д культури, кл?мату чи географ?чного положення.??Аджемо?лу та Роб?нсон переконан?: кра?ни стали найусп?шн?шими через те, що ?хн? громадяни повалили владну ел?ту ? створили сусп?льства, де головною ц?нн?стю стали р?вн? економ?чн? та пол?тичн? права кожного. На ?хню думку, саме свобода робить св?т багатшим.??Книга ?Чому нац?? занепадають? — сво?р?дний пос?бник, який допоможе краще зрозум?ти причини, що сприяють процв?танню держав та ?хньому занепаду.

Dvadeset godina nakon epohalne promjene 1989., koja je na postjugoslavenski prostor djelovala na posve druk?iji na?in nego na druge prija?nje realsocijalisti?ke europske zemlje, ova studija predstavlja poku?aj analiti?kog osvrta na dva desetlje?a razvoja civilnog dru?tva na zapadnom Balkanu. Njen autor Sr?an Dvornik iz Hrvatske, u to je dobro upu?en. Nije slu?ajno ?to se kroz cijeli sadr?aj i u strukturi ove knjige ispreple?u teorija i praksa te odnosi unutar i izvan “civilnodru?tvenog” razvoja. (...) Ova je studija va?an doprinos, dosad nedostatnim, razmatranjima o mogu?nostima i ograni?enjima akter? civilnog dru?tva u (post)autoritarnim dru?tvima. Istovremeno ona donosi i pouku da instrumenti zapadne politike demokratizacije imaju pred sobom jo? dug put razvoja do to?ke na kojoj ?e posve iscrpsti svoje dosada?nje organizacijske i politi?ke potencijale, da bi potom na nove me?unarodne izazove, koje nam novi svjetski (ne)red postavlja posljednja dva desetlje?a, mogli primjerenije reagirati. dr. Azra D?aji?-Weber

We sailed from Peru, (where we had continued for the space of one whole year) for China and Japan, by the South Sea; taking with us victuals for twelve months; and had good winds from the east, though soft and weak, for five months space, and more. But the wind came about, and settled in the west for many days, so as we could make little or no way, and were sometime in purpose to turn back. But then again there arose strong and great winds from the south, with a point east, which carried us up (for all that we could do) towards the north; by which time our victuals failed us, though we had made good spare of them. So that finding ourselves, in the midst of the greatest wilderness of waters in the world, without victuals, we gave ourselves for lost men and prepared for death. Yet we did lift up our hearts and voices to God above, who showeth his wonders in the deep, beseeching him of his mercy, that as in the beginning he discovered the face of the deep, and brought forth dry land, so he would now discover land to us, that we might not perish. And it came to pass that the next day about evening we saw within a kenning before us, towards the north, as it were thick clouds, which did put us in some hope of land; knowing how that part of the South Sea was utterly unknown; and might have islands, or continents, that hitherto were not come to light. Wherefore we bent our course thither, where we saw the appearance of land, all that night; and in the dawning of the next day, we might plainly discern that it was a land; flat to our sight, and full of boscage; which made it show the more dark. And after an hour and a half's sailing, we entered into a good haven, being the port of a fair city; not great indeed, but well built, and that gave a pleasant view from the sea: and we thinking every minute long, till we were on land, came close to the shore, and offered to land. But straightways we saw divers of the people, with bastons in their hands (as it were) forbidding us to land; yet without any cries of fierceness, but only as warning us off, by signs that they made. Whereupon being not a little discomforted, we were advising with ourselves, what we should do. During which time, there made forth to us a small boat, with about eight persons in it; whereof one of them had in his hand a tipstaff of a yellow cane, tipped at both ends with blue, who came aboard our ship, without any show of distrust at all. And when he saw one of our number, present himself somewhat before the rest, he drew forth a little scroll of parchment (somewhat yellower than our parchment, and shining like the leaves of writing tables, but otherwise soft and flexible,) and delivered it to our foremost man. In which scroll were written in ancient Hebrew, and in ancient Greek, and in good Latin of the school, and in Spanish, these words: Land ye not, none of you; and provide to be gone from this coast, within sixteen days, except you have further time given you. Meanwhile, if you want fresh water or victuals, or help for your sick, or that your ship needeth repairs, write down your wants, and you shall have that, which belongeth to mercy. This scroll was signed with a stamp of cherubim: wings, not spread, but hanging downwards; and by them a cross. This being delivered, the officer returned, and left only a servant with us to receive our answer. F. BACON About Author: Francis Bacon, 1561 – 1626), was an English philosopher, statesman, scientist, jurist, orator, essayist, and author. He served both as Attorney General and Lord Chancellor of England. After his death, he remained extremely influential through his works, especially as philosophical advocate and practitioner of the scientific method during the scientific revolution.Bacon has been called the father of empiricism. His works established and popularised inductive methodologies for scientific inquiry, often called the Baconian method, or simply the scientific method. His demand for a planned procedure of investigating all things natural marked a new turn in the rhetorical and theoretical framework for science, much of which still surrounds conceptions of proper methodology today.Bacon was knighted in 1603, and created Baron Verulam in 1618 and Viscount St. Alban in 1621; as he died without heirs, both peerages became extinct upon his death. He famously died of pneumonia, contracted while studying the effects of freezing on the preservation of meat. The succession of James I brought Bacon into greater favour. He was knighted in 1603. In another shrewd move, Bacon wrote his Apologies in defence of his proceedings in the case of Essex, as Essex had favoured James to succeed to the throne. The following year, during the course of the uneventful first parliament session, Bacon married Alice Barnham. In June 1607 he was at last rewarded with the office of solicitor general. The following year, he began working as the Clerkship of the Star Chamber. Despite a generous income, old debts still co

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..

“From the fury of the Northmen, good Lord deliver us.” – Anonymous monk, Noirmoutier, France, 9th century AD Beginning in 789AD, the Vikings raided monasteries, sacked cities and invaded western Europe. They looted and enslaved their enemies. But that is only part of their story. In long boats they discovered Iceland and America (both by accident) and also sailed up the Seine to Paris (which they sacked). They settled from Newfoundland to Russia, founded Dublin and fought battles as far afield as the Caspian Sea. A thousand years after their demise, traces of the Vikings remain all the way from North America to Istanbul. They traded walruses with Inuits, brought Russian furs to Western Europe and took European slaves to Constantinople. Their graves contain Arab silver, Byzantine silks and Frankish weapons. In this accessible book, the whole narrative of the Viking story is examined from the eighth to the eleventh centuries. Arranged thematically, Vikings: A History of the Norse People examines the Norsemen from exploration to religion to trade to settlement to weaponry to kingdoms to their demise and legacy. But today questions remain: what prompted the first Viking raids? What stopped their expansion? And how much of the tales of murder, rape and pillage is myth? Illustrated with more than 200 photographs, maps and artworks, Vikings: A History of the Norse People is an expertly written account of a people who have long captured the popular imagination.

A series of short, single voice plays by writers based in the North West of England. These powerful, contemporary monologues share the struggles, courage, conflicts and joys of different characters facing difficult decisions in their lives. Developed through consultation with young people, they offer a range of authentic, memorable voices to stimulate discussion and participatory drama work. ‘First Date’ by Anne-Marie O’Connor: Sometimes friendship comes with a heavy price tag. ‘Getting it Right’ by Peter Spafford: Luke can't choose between his shirts, let alone his parents. ‘Results Day’ by Aelish Michael: Karly’s mum thinks she’s an angel, but what if she flaps her wings? ‘Close to Home’ by Mary Cooper: Jay’s little sister is pregnant and he’s livid – who’s he going to punish? ‘Weighed Down’ by Carla Monvid-Jenkinson and Mary Cooper: When Claire’s dad left, she thought that he was all she would lose. ‘Giggsy’s Legs’ by Michael Harvey: Do you choose everything you are or does it choose you?

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

A manhunt can involve helicopters, hounds and hundreds of military or police personnel, but it can also turn on the evidence of one broken spider’s web. Manhunts today might involve the technology of infrared cameras and surveillance devices such as powerful satellite technology, but they may also rely on examining the width, depth, tread and intervals of footprints, or observing minute changes in the natural environment. From searching for high-value enemy targets such as Osama bin Laden and Saddam Hussein to finding soldiers caught behind enemy lines, from escaped prisoners and serial killers to a missing child, SAS and Elite Forces Guide: Manhunt explores just how the military and police forces track people down. Including many case studies of high-value targets, suspected criminals and fugitives from justice, and with extensive background on the different techniques in tracking used, from traditional Native American trackers’ skills to the latest high-tech methods, Manhunt brings together the history and science of tracking. Illustrated with 150 maps and photographs, SAS and Elite Forces Guide: Manhunt is an authoritative examination of tracking from footprints to forensics and a must for anyone interested in the latest military practices, true crime and survival skills.

Small arms have developed hugely since the introduction of the machine gun in the 1870s. Magazine-fed rifles, submachine guns, automatic pistols and, later, assault rifles and personal defence weapons have changed the face of infantry warfare, offering a range of weaponry designed for both the specialist and novice. The World’s Greatest Small Arms features 52 weapons from the late 19th century to the present day. The book includes the best-known weapons from throughout the modern era, from the Gatling gun, SMLE rifle and Luger pistol, to the Uzi, FN MAG and the M110 sniper rifle. Great iconic weapons, such as the Colt M1911 pistol, Bren Gun, MP5 submachine gun, and Steyr AUG rifle are featured, as well as timeless classics still in use today: the M2 Browning 50 cal, AK-47 and M16 rifle. Each weapon is illustrated with a colour profile artwork and photographs, along with a description of the weapon’s development and history, key features and a full specifications box. Including more than 200 artworks and photographs, The World’s Greatest Small Arms is a colourful guide for the military historian.

Charles Dickens’ timeless story is brought to life in this vibrant new version by the award-winning playwright Neil Duffield. Christmas, the most wonderful time of the year! Well, it is for everyone except the miserable Scrooge. He prefers to spend Christmas all alone in his large house, instead of celebrating with mistletoe and merriment. Bah, humbug! But one cold, dark Christmas Eve Scrooge is surprised by the ghost of Marley, his former business partner. Marley warns Scrooge that he will be called upon by three spirits – each will take him on a mysterious and magical journey to show him the error of his ways… Can Scrooge discover the true wonder and meaning of Christmas before it’s too late?

In any military operation throughout history, few 24-hour periods have been as crucial as that of 6th June 1944. With the aid of specially commissioned maps, D-Day: The First 24 Hours series gives the dramatic history of the first 24 hours of the Normandy landings, and explains in detail the events that occurred in each landing zone. In this second volume of the series, the book describes the airborne landings by paratroopers and glider troops that secured the flanks of the Allied beachheads, including such famous encounters as Pegasus Bridge and Ste Mère Eglise, as well as the more secret operations carried out by the SAS, SOE and Maquis. With colour and black & white photographs and specially commissioned maps, the book is a guide to key events in the first 24 hours of the D-Day landings that saw the Allies successfully achieve a foothold in Northern Europe.

Brief Description: Liverpool FC is one of England's most popular football teams with an army of loyal supporters and a long and successful history but how much information have you picked up about the club through the years? If you are a fan of the Reds or would like to find out more about them 101 Things You Might Not Know About Liverpool will tell you everything you ever wanted to know.How many players have scored over 100 goals for Liverpool? What five companies have been the club's kit sponsors? How many Liverpool players have captained England? The answers can all be found in this book together with lots more fascinating facts about Liverpool FC.This gem of a book will tell you about club records and history, famous players and managers, memorable wins, draws and losses and all those golden moments from Liverpool's glorious past. This is a must-have book for Liverpool fans of all ages and anyone with an interest in English Premier League football.

Runtime: 18 minutesThrough JK Rowling's series of Harry Potter books and the eight films, we have been introduced to a fantastic and magical world that many of us would like to visit. But what is the story behind what we see and read, and what are some little-known facts about the books, the films, the actors and the characters? This audiobook contains 101 amazing facts which you most likely didn't know!