Over a small bridge on an island in the middle of the Thames, a great 60s club played host to acts that would later make a global name for themselves, including the Rolling Stones, Long John Baldry, Rod Stewart, the Small Faces, the Yardbirds and David Bowie. Jazz greats such as Cyril Davies, Ken Colyer and Acker Bilk also played at the legendary Eel Pie Hotel during its 50s and 60s heyday. This collection of essays traces ‘Eelpiland’s’ long-overlooked contribution to the British music scene.

A kaleidoscope of stories about war, displacement, revolution and liberation taking us on an emotional journey across three continents. Based on the actors’ personal and family experiences, the stories interweave and overlap, exploring moments of joy, sadness and laughter set against key historical events over the last hundred years. Poignant, moving, funny, inspiring, this is the first piece of work created by the Visible Ensemble, dedicated to putting older performers and their rich lives centre stage.

The first ever comprehensive collection of plays ?in English from Southeast Asia. Features work by eight playwrights from seven countries in Southeast Asia, a region which is experiencing profound change:?Singapore, Vietnam, Malaysia, Thailand, the Philippines, Indonesia and Cambodia.? Southeast Asian Plays ?explores the rich variety of dramatic work that is only beginning to be translated into English. Theatre scripts are merely blueprints for productions, especially in this region. As elsewhere, second productions and revivals are rare, so publication is key to allowing play texts to find a wider international readership. Topics include the global financial crisis, sex workers, traditional v modern values, the role of faith in society, corruption in high places and journalistic ethics. The plays have been selected for performance. Plays: The Plunge by Jean Tay (Singapore) An Evening At the Opera by Floy Quintos (Philippines) Night of the Minotaur by Tew Bunnag (Thailand) Tarap Man by Ann Lee (Malaysia) Dark Rac e by Dang Chuong (Vietnam) Frangipani by Chhon Sina (Cambodia) Picnic by Joned Suryatmoko (Indonesia) Nadirah by Alfian Saat (Singapore) "The editors have done an excellent job of opening up our chances of reading and learning about plays from all over Southeast Asia. ...editorial choices are significant for opening up spaces to voices which are otherwise heard less often. All in all the plays are interesting for the ways in which they grapple with key concerns in their respective societies."? --The Asiatic

From a story by Hans Christian Andersen In ancient China, young emperor Wu is kept a virtual prisoner in his palace by his devious guardian, Li Si. Wu believes the world outside the Forbidden City is an evil and dangerous place. But when Xiao, a young servant girl, tells him of the most beautiful sound on earth – the song of the nightingale – it’s too much to resist. The two embark on an adventure that will take them across mountain tops and waterfalls, past chattering monkeys and magical dragons to the far reaches of his kingdom. When Wu returns with the nightingale, and starts to overturn the old palace customs, Li Si plots to restore things to the way they were before. Featuring puppetry, music and all the colour, movement and spectacle of Chinese theatre, this joyful adaptation of Hans Christian Andersen’s fairy tale is a feast for the senses that will delight the whole family. Suitable for ages 6+

The story of a modern Asian young woman trying to straddle Western attitudes and traditional beliefs. You've heard of an Essex Girl or even a Chelsea Girl but what is a Hounslow Girl? The term has become a byword for confident, young Muslim women who are grappling with traditional values, city life and fashion. From the joys of Pakistani weddings to fights on the night bus, Ambreen Razia's? The Diary of a Hounslow Girl ?is a funny, bold, provocative play highlighting the challenges of being a teenage girl in a traditional Muslim family, alongside the temptations and influences of growing up in and around London. “Ambreen’s writing is poetic in its structure and intensity, funny, moving, chilling, and delivered in a style that takes inspiration from spoken word and physical theatre. She has created a rhythm that draws the audience in, as compelling as a thriller, complete with gathering ominousness, shocks and comic relief.” Deborah Bestwick, Director, Ovalhouse “Ambreen Razia’s terrific play is exactly the kind of new work we wish to support in the new home of multi-cultural theatre in London. Hounslow Girl is a wonderfully funny take on a London phenomenon and one audiences will enjoy.” Jatinder Verma, Artistic Director, Tara Arts” "a powerful piece of theatre... Ambreen Razia's performance is astonishing."?BritishTheatre.com "This is a sophisticated, moving and often very funny piece of writing, particularly nuanced in its depiction of Shaheeda's relationship with her mother ... astute in tackling the breakdown of the loving bonds between parent and child that can occur when a child becomes a teenager – and also how this experience can be magnified for the children of first-generation immigrants, whose parents feel distant from their children’s British lives... Razia's script touches on everything from first love to cultural expectations to student-teacher relationships; it’s a bit like an inner-city version of An Education."?The Stage Ambreen Razia is an actress and writer from South London.? The Diary of a Hounslow Girl is Ambreen's debut show which premiered at Ovalhouse in 2015. Passionate about re-establishing British Asian comedy within the UK, she continues to write her comedy sketch show involving two British Asian girls exploring the?clash between traditional Indian/Pakistani culture and modern British life. She is also currently writing her next play POT primarily focusing on the recent comeback of gang culture within the UK.?Performance credits include: On the Middle Day (Old Vic Theatre);? Words and Women (Edinburgh Fringe); Random Acts (Channel 4);? Fair Exchange (Hen and Chickens Theatre);? Variations on a Theme (Camden People's Theatre);? Mind the Gap (National Theatre ); No Guts, No Heart, No Glory? (BBC4/Perth Festival Australia) and Murdered by my Father? (BBC3).

Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli ( 1445 – 1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine school under the patronage of Lorenzo de' Medici, a movement that Giorgio Vasari would characterize less than a hundred years later as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. Botticelli's posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting. Among his best known works are The Birth of Venus and Primavera. In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution included the Temptations of Christ, the Punishment of the Rebels and Trial of Moses. He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist. The masterpieces Primavera (c. 1482) and The Birth of Venus (c. 1485) were both seen by Vasari at the villa of Lorenzo di Pierfrancesco de' Medici at Castello in the mid-16th century, and until recently, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the Primavera was painted for Lorenzo's townhouse in Florence, and The Birth of Venus was commissioned by someone else for a different site. By 1499, both had been installed at Castello. In these works, the influence of Gothic realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive widespread scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace" and by John Ruskin as possessing linear rhythm, there can be no doubt. In the mid-1480s, Botticelli worked on a major fresco cycle with Perugino, Domenico Ghirlandaio and Filippino Lippi, for Lorenzo the Magnificent's villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a fa?ade for the Cathedral of Florence.

In issuing this second treatise on Crayon Portraiture, Liquid Water Colors and French Crystals, for the use of photographers and amateur artists, I do so with the hope and assurance that all the requirements in the way of instruction for making crayon portraits on photographic enlargements and for finishing photographs in color will be fully met. To these I have added complete instructions for free-hand crayons. This book embodies the results of a studio experience of twenty-four years spent in practical work, in teaching, and in overcoming the everyday difficulties encountered, not alone in my own work, but in that of my pupils as well. Hence the book has been prepared with special reference to the needs of the student. It presents a brief course of precepts, and requires on the part of the pupil only perseverance in order that he may achieve excellence. The mechanical principles are few, and have been laid down in a few words; and, as nearly all students have felt, in the earlier period of their art work, the necessity of some general rules to guide them in the composition and arrangement of color, I have given, without entering into any profound discussion of the subject, a few of its practical precepts, which, it is hoped, will prove helpful. While this book does not treat of art in a very broad way, yet I am convinced that those who follow its teachings will, through the work they accomplish, be soon led to a higher appreciation of art. Although this kind of work does not create, yet who will say that it will not have accomplished much if it shall prove to be the first step that shall lead some student to devote his or her life to the sacred calling of art? It has been said that artists rarely, if ever, write on art, because they have the impression that the public is too ill-informed to understand them—that is, to understand their ordinarily somewhat technical method of expression. If, therefore, in the following pages I may sometimes seem to take more space and time for an explanation than appears necessary, I hope the student will overlook it, as I seek to be thoroughly understood. My hope with reference to this work is that it may prove of actual value to the earnest student in helping him reach the excellence which is the common aim of all true artists. ? ?J. A. Barhydt. About Author: To many who know nothing about the art of crayon portraiture, the mastery of it not only seems very difficult, but almost unattainable. In fact, any work of art of whatever description, which in its execution is beyond the knowledge or comprehension of the spectator, is to him a thing of almost supernatural character. Of course, this is more decided when the subject portrayed carries our thoughts beyond the realms of visible things. But the making of crayon portraits is not within the reach alone of the trained artist who follows it as a profession. I claim that any one who can learn to write can learn to draw, and that any one who can learn to draw can learn to make crayon portraits. Making them over a photograph, that is, an enlargement, is a comparatively simple matter, as it does not require as much knowledge of drawing as do free-hand crayons. But you must not suppose that, because the photographic enlargement gives you the drawing in line and an indistinct impression of the form in light and shade, you are not required to draw at all in making a crayon portrait over such an enlargement. Some knowledge of drawing is necessary, though not a perfect knowledge. Many people err in supposing that only the exceptionally skilled can produce the human features in life-like form upon the crayon paper. While recognizing great differences in natural aptitude for drawing in different persons, just as those who use the pen differ widely in their skill, some being able to write with almost mechanical perfection of form, I still hold that any one who is able to draw at all can succeed in producing creditable crayons.. J. A. Barhydt.

Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed. Leonardo's literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations and dissertations. The vast structure of his scientific theories is consequently built up of numerous separate researches, and it is much to be lamented that he should never have collated and arranged them. His love for detailed research—as it seems to me—was the reason that in almost all the Manuscripts, the different paragraphs appear to us to be in utter confusion; on one and the same page, observations on the most dissimilar subjects follow each other without any connection. A page, for instance, will begin with some principles of astronomy, or the motion of the earth; then come the laws of sound, and finally some precepts as to colour. Another page will begin with his investigations on the structure of the intestines, and end with philosophical remarks as to the relations of poetry to painting; and so forth. Leonardo himself lamented this confusion, and for that reason I do not think that the publication of the texts in the order in which they occur in the originals would at all fulfil his intentions. No reader could find his way through such a labyrinth; Leonardo himself could not have done it. ABOUT AUTHOR: Leonardo Da Vinci, Born on April 15, 1452, in Vinci, Italy, Leonardo da Vinci was concerned with the laws of science and nature, which greatly informed his work as a painter, sculptor, inventor and draftsmen. His ideas and body of work—which includes "Virgin of the Rocks," "The Last Supper," "Leda and the Swan" and "Mona Lisa"—have influenced countless artists and made da Vinci a leading light of the Italian Renaissance.Quotes"Iron rusts from disuse, stagnant water loses its purity and in cold weather becomes frozen; even so does inaction sap the vigor of the mind."? ? ? ? ? – Leonardo da Vinci Humble Beginnings:Leonardo da Vinci was born on April 15, 1452, in Vinci, Italy. Born out of wedlock, the love child of a respected notary and a young peasant woman, he was raised by his father, and his stepmothers. 'The Last Supper'In 1482, Lorenzo de' Medici, a man from a prominent Italian family, commissioned da Vinci to create a silver lyre and bring it to Ludovico il Moro, the Duke of Milan, as a gesture of peace. Da Vinci did so and then wrote Ludovico a letter describing how his engineering and artistic tal

Читанка для учн?в старших клас?в середньо? школи в ус?х ?вропейських кра?нах. Книжку створено в рамках сп?льного проекту орган?зац?й та установ, що працюють разом у Платформ? ?вропейсько? пам'ят? та сумл?ння. Зб?рка м?стить 30 дивовижних ?стор?й людей з 16 ?вропейських кра?н, що зазнали тотал?таризму. Це розпов?д? про см?ливц?в, як? протистояли тотал?таризмов? та загинули, а також про тих, кому пощастило вижити. Ц? розпов?д? сповнен? надзвичайного суму через незм?рн? страждання, що ?х завдали фанатичн? орудар?, поборники та п?дсобники тотал?таризму таким же людям, як ? вони. Але водночас вони осп?вують любов до свободи, людську г?дн?сть, несхитн?сть, см?лив?сть, в?ру та в?ддан?сть головним людським ц?нностям.

["The Elements of Drawing" was written during the winter of 1856. The First Edition was published in 1857; the Second followed in the same year, with some additions and slight alterations. The Third Edition consisted of sixth thousand, 1859; seventh thousand, 1860; and eighth thousand, 1861.The work was partly reproduced in "Our Sketching Club," by the Rev. R. St. John Tyrwhitt, M.A., 1874; with new editions in 1875, 1882, and 1886.Mr. Ruskin meant, during his tenure of the Slade Professorship at Oxford, to recast his teaching, and to write a systematic manual for the use of his Drawing School, under the title of "The Laws of Fésole." Of this only vol. i. was completed, 1879; second edition, 1882. As, therefore, "The Elements of Drawing" has never been completely superseded, and as many readers of Mr. Ruskin's works have expressed a desire to possess the book in its old form, it is now reprinted as it stood in 1859.] ? THE SECOND EDITION.As one or two questions, asked of me since the publication of this work, have indicated points requiring elucidation, I have added a few short notes in the first Appendix. It is not, I think, desirable otherwise to modify the form or add to the matter of a book as it passes through successive editions; I have, therefore, only mended the wording of some obscure sentences; with which exception the text remains, and will remain, in its original form, which I had carefully considered. Should the public find the book useful, and call for further editions of it, such additional notes as may be necessary will be always placed in the first Appendix, where they can be at once referred to, in any library, by the possessors of the earlier editions; and I will take care they shall not be numerous.August 3, 1857. ? PREFACE? i. It may perhaps be thought, that in prefacing a manual of drawing, I ought to expatiate on the reasons why drawing should be learned; but those reasons appear to me so many and so weighty, that I cannot quickly state or enforce them. With the reader's permission, as this volume is too large already, I will waive all discussion respecting the importance of the subject, and touch only on those points which may appear questionable in the method of its treatment. ? ii. In the first place, the book is not calculated for the use of children under the age of twelve or fourteen. I do not think it advisable to engage a child in any but the most voluntary practice of art. If it has talent for drawing, it will be continually scrawling on what paper it can get; and should be allowed to scrawl at its own free will, due praise being given for every appearance of care, or truth, in its efforts. It should be allowed to amuse itself with cheap colors almost as soon as it has sense enough to wish for them. If it merely daubs the paper with shapeless stains, the color-box may be taken away till it knows better: but as soon as it begins painting red coats on soldiers, striped flags to ships, etc., it should have colors at command; and, without restraining its choice of subject in that imaginative and historical art, of a military tendency, which children delight in, (generally quite as valuable, by the way, as any historical art delighted in by their elders,) it should be gently led by the parents to try to draw, in such childish fashion as may be, the things it can see and likes,—birds, or butterflies, or flowers, or fruit. ? iii. In later years, the indulgence of using the color should only be granted as a reward, after it has shown care and progress in its drawings with pencil. A limited number of good and amusing prints should always be within a boy's reach: in these days of cheap illustration he can hardly possess a volume of nursery tales without good wood-cuts in it, and should be encouraged to copy what he likes best of this kind; but should be firmly restricted to a few prints and to a few books.

Брошура в стисл?й та популярн?й форм? розпов?да? про под?? Укра?нсько? революц?? 1917–1921 рок?в – процеси державного буд?вництва, творення укра?нсько? пол?тично? нац??, в?дродження укра?нсько? науки, осв?ти, культури та духовност?. Багато уваги прид?ля?ться л?дерам Укра?нсько? революц?? – Михайлу Грушевському, Володимиру Винниченку, Симону Петлюр?, Павлу Скоропадському, ?вгену Петрушевичу, Номану Челеб?дж?хану та ?н., як? розробляли ?? ?деолог?ю, формували порядок денний, вели за собою народ. Розкрива?ться ?нституц?йне буд?вництво, творення законодавчо?, виконавчо?, судово? г?лок влади, розбудова в?йська, дипломат??, ф?нансово? системи тощо. Фотокартки ? св?дчення сучасник?в в?дтворюють атмосферу того часу, проливають св?тло на життя ? побут звичайно? людини в умовах революц?йних потряс?нь.??Брошура п?дготовлена на основ? матер?ал?в ?нформац?йно-просв?тницько? кампан??, яку Укра?нський ?нститут нац?онально? пам’ят? проводить до 100-р?ччя Укра?нсько? революц?? 1917-1921 рок?в, в ход? яко? п?дготовлено низку фотодокументальних виставок, комплект?в лист?вок та ?нформац?йних матер?ал?в, дитячу наст?льну гру, спец?ал?зовану веб-стор?нку, присвячену под?ям Укра?нсько? революц?? 1917–1921 рок?в (www.UNR.memory.gov.ua).??

DRAWING is the expression of an idea: “Art must come from within, and not from without. This fact has led some to assert that the study of nature is not essential to the student, and that careful training in the study of the representation of the actual appearance is mechanical and harmful. Such persons forget that all art ideas and sentiments must be based upon natural objects, and that a person who cannot represent truly what he sees will be entirely unable to express the simplest ideal conceptions so that others may appreciate them. Study of nature is, then, of the first and greatest importance to the art student.A drawing may be made in outline, in light and shade, or in color. The value of the drawing artistically does not depend upon the medium used, but upon the individuality of the draughtsman making it. The simplest pencil sketch may have much more merit than an elaborate colored drawing made by one who is unable to represent truly the facts of nature, or who sees, instead of the beauty and poetry, the ugliness and the imperfections of the subject. OBJECTS FOR STUDY:We hear a great deal now about the cultivation of the sense of beauty by the choice of drawing models. Many go so far as to say that nothing but the most beautiful forms should be given from the start, and, asserting that the cube, cylinder,and other type forms are not beautiful, they say that they should not be used, but that beautiful variations of these type forms should be provided. More definite information than this is rarely given. We are not told what natural objects are beautiful, and cheap enough to be provided, or how these objects of beauty are to be obtained, if they are not provided by the city. Such advice as to the use of beautiful models must be very pleasant and valuable to the drawing teacher, who so often fails to secure the money necessary to provide the cheap wooden models costing a few cents each ; and we do not wonder that special and regular teachers often regard this subject as one having no standards and no authorities. Much of all this commotion about beautiful objects of study is raised by those who, suffering from criticism, have in the desire to escape it plunged headlong from one set of mechanical rules for a series of lessons for the public schools, to another set less arbitrary in certain directions, but still mechanical, and if possible, more harmful than before, because attempting more.The average teacher can readily learn to discover at a glance whether or not the drawing of a cube represents the object as it might appear. She can do this even without seeing the model from the pupil's position; and the student can compare his drawing with the object and discover its errors more easily than he can in the drawing of a cast, a leaf, a figure,or any other object of beauty, in which the beauty depends upon lines which are subtile and which require a trained eye to see at all truly.

The excellence of the following Treatise is so well known to all in any tolerable degree conversant with the Art of Painting, that it would be almost superfluous to say any thing respecting it, were it not that it here appears under the form of a new translation, of which fome account may be expected. Of the original Work, which is in reality a selection from the voluminous manuscript collections of the Author, both in Solio and Quarto, of all such passages as related to Painting, no edition appeared in print till 1651. Though its Author died so long before as the year 1519; and it is owing to the circumstance of a manuscript copy of these extracts in the original Italian, having fallen into the hands of “Raphael” that in the former of these years it was published at Paris in a thin folio volume in that language, accompanied with a set of cuts from the drawings of Niccolo Pouissin, and Alberti, the former having designed and defined the human figures, the latter the geometrical and other representations.. The first translation of this Treatise into English, appeared in the year 1721. It does not declare by whom it was made; but though it prosesses to have been done from the original Italian, it is evident, upon a comparison, that more use was made of the revised edition of the French translation. Indifferent, however, as it is, it had become fo scarce, and risen to a price fo extravagant, that, to supply the demand, it was found necessary, in the year 1796, to reprint it as it stood, with all its errors on its head, no opportunity then offering of procuring a french translation. This last impression, however, being now alfo disposed of, and a new one again called for, the present Translator was induced to step forward, and undertake the office of frenh translating it, on finding, by comparing the former versions both in French and English with the original, many passages which he thought might at once be more concisely and more faithfully rendered. ABOUT AUTHOR: Leonardo di ser Piero da Vinci (15 April 1452 – 2 May 1519) was an Italian painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer. He is widely considered to be one of the greatest polymaths of all time and perhaps the most diversely talented person ever to have lived. His genius, perhaps more than that of any other figure, epitomized the Renaissance humanist ideal. Leonardo has often been described as the archetype of the Renaissance Man, a man of "unquenchable curiosity" and "feverishly inventive imagination". Marco Rosci states that while there is much speculation about Leonardo, his vision of the world is essentially logical rather than mysterious, and that the empirical methods he employed were unusual for his time. Born out of wedlock to a notary, Piero da Vinci, and a peasant woman, Caterina, in Vinci in the region of Florence, Leonardo was educated in the studio of the renowned Florentine painter Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, and he spent his last years in France at the home awarded him by Francis I. Leonardo was, and is, renowned as one of the greatest painters of all time. Among his works, the Mona Lisa is the most famous and most parodied portrait and The Last Supper the most reproduced religious painting of all time, with their fame approached only by Michelangelo's The Creation of Adam. Leonardo's drawing of the Vitruvian Man is also regarded as a cultural icon, being reproduced on items as varied as the euro coin, textbooks, and T-shirts. Perhaps fifteen of his paintings have survived, the small number because of his constant, and frequently disastrous, experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works, together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, compose a contribution to later generations of artists rivalled only by that of his contemporary, Michelangelo. Leonardo is revered for his technological ingenuity. He conceptualised flying machines, an armoured vehicle, concentrated solar power, an adding machine, and the double hull, also outlining a rudimentary theory of plate tectonics.

To present at a single glance a comprehensive view of the History of English Church Architecture from the Heptarchy to the Reformation, and to do this in a manner, which, without taxing too seriously the memory of the student, may enable him to fix in his mind the limits, and the general outline of the inquiry he is about to enter upon, is the object of the present treatise.? Instead therefore of entering, as is usual in elementary works of this nature, into a detailed account of all the parts of an Ecclesiastical structure, a certain portion only of such a building has for this purpose been selected, and so exhibited in the garb in which it appeared at successive intervals of time, as to present to the reader a means of comparison that will enable him readily to apprehend the gradual change of form through which it passed from the Eleventh to the Sixteenth Centuries, and at once to recognise the leading characteristics of the several Periods into which it is here proposed to divide the History of our National Architecture. Having thus fixed these leading characteristics in his mind, he will then be in a condition to follow us hereafter, if he pleases, into the detail of the whole subject, and to become familiar with those niceties of distinction, the detection of which—escaping, as they do, the eye of the general observer—contributes so materially to the enjoyment of the study, and a perfect acquaintance with which is so absolutely essential to a correct understanding of the true History of the Art.?That this mode of approaching the study of this subject is a convenient one, will probably be admitted by those who may remember the difficulties they encoun-tered, in their early attempts to acquire a general conception of the scheme of the History of Church Architecture, as given in most of the manuals now in use; and the complexity of detail in which they found themselves immediately involved on the very threshold of their inquiry.? It has been the practice in most elementary works on Church Architecture to derive the illustrations of the subject, indifferently from the smaller and the larger buildings of the Kingdom; and by implication to assign an equal authority to both. It will be readily admitted, however, that the History of an Art is to be gathered from its principal Monuments, and not from those the design or execution of which may have been entrusted to other than the ablest masters of the Period: in the choice, therefore, of the examples which have been selected to illustrate the series of changes which are described in the following pages, reference has been made principally to the great Cathedral, Abbey, and Collegiate Churches of the Kingdom, and occasionally only to some of the larger Parish Churches whose size or importance would seem to bring them under the above denomination.??Church Architecture in England, from its earliest existence down to the Sixteenth Century, was in a state of constant progress, or transition, and this progress appears to have been carried on, with certain exceptions in different parts of the country, very nearly simultaneously. It follows from this circumstance, first, That it is impossible to divide our National Architecture correctly into any number of distinct Orders or Styles; and secondly, That any Division of its History into a given number of Periods, must necessarily be an arbitrary one. It is nevertheless absolutely essential for the purpose of conveniently describing the long series of noble monuments which remain to us, that we should adopt some system of chronological arrangement, which may enable us to group, and to classify them in a distinct and intelligible manner: and although no broad lines of demarcation in this connected series are discernible—so gradual was the change—yet so rapid and so complete was it also, that a period of fifty years did not elapse without a material alteration in the form and fashion of every detail of a building. ?

Milyen lenyomatot hagyott bennünk 1956? T?rténelem alulnézetb?l, avagy családi emlékek, személyes t?rténetek az ominózus ?szr?l, ami után minden más lett. Hogyan lesz egy 17 éves gyárimunkás fiúból néhány nap leforgása alatt forradalmár? Mi t?rtént Erdélyben 56-ban? Mikor eszmél rá a hatéves kislány, hogy a nagyapja Magyarország legfontosabb embere? Hogyan él tovább az, akinek a menyasszonya ?r?kre elhagyta az országot? Hogyan válik a távoli kultúrából érkez? idegen október 23. szellemiségét átérz? emberré? Ilyen és ezekhez hasonló kérdésekre válaszol t?bbek k?z?tt Horgas Eszter, Varga Miklós, Kiss Zoltán Zéro, Tordai Teri, Vámos Miklós, Bornai Tibor és sokan mások. A kül?n?s, szívszorító vagy kalandos emlékekb?l megismerhetjük az ezerarcú forradalom néhány emberi mozzanatát. Naszvadi Judith családi érintettsége okán is kezdte el feltenni a kérdéseket el?bb sz?kebb, majd tágabb k?rnyezetében. A 60. évfordulóra így, ezekb?l az interjúkból állt ?ssze A mi '56-unk.

A sorozat és ami m?g?tte van I. Szulejmán szultán 1494-ben született, és 1566-ban Szigetvár alatt vesztette életét. 1520-tól haláláig az Oszmán Birodalom ikonikus uralkodójaként hódított. A magyar t?rténelmet ismer?k biztosan nem rajongtak érte soha. Miután 2013-ban az egyik kereskedelmi csatorna megvásárolta az életér?l szóló Szulejmán cím? sorozatot, a szultán negatív megítélése sokat változott. A néz?k megkedvelték a Halit Ergen? által alakított Fényességest. A sorozatban ábrázolt t?rténelmi események, személyek azonban nem minden esetben egyeznek a valósággal. Ezt az alkotók is megjegyzik: a m? t?rténelmi ihletés? - ami nem azonos a t?rténelmi h?séggel. R. Kelényi Angelika tisztázza a valós t?rténelmi eseményeket. ?sszegy?jt?tt érdekességeken keresztül oszlatja el a félreértéseket, mik?zben szórakoztatja az olvasót.

E tündérjátékról úgy tartják, egy f?úri esküv? alkalmából íródott. Err?l szól maga a darab is, a szerelemr?l, a házasságról, a szenvedélyr?l, az akadályok legy?zésér?l. A Szentivánéj egyetlen hatalmas nászéjszaka. Puck, a csúfondáros apród, aki miatt kit?r a háborúság a tündérkirály és tündérkirályn? k?z?tt, minden kerget?z?, egymást ?z? szerelmesnek jelképe lehet, akik szüntelen váltakozásban gerjednek egyért s taszítják el a másikat. Mintha a való életben is Puck gonosz varázslatára fordulna meg minden, majd jótékony varázslatára az éj végére valahogy mégis ?sszerendez?djék. Tündéri álomvilág cívódással, féltéssel, ellenállhatatlan vágyakkal.

1920-ban a magyar t?rténelem egyik legsúlyosabb krízise érkezett el. Nem csupán a t?rténelmi Magyarország és hagyományos vezet? rétegei találtattak k?nny?nek: 1918 és 1919 forradalmaival együtt elbuktak a radikális reformokat szorgalmazó baloldali pártok is. K?zel hat év háborús pusztítás után gazdasági, szociális, külpolitikai és m?vel?dési problémák sokasága halmozódott fel. Ekkor született meg a fiatal értelmiség reform iránt elk?telezett részéb?l a magyar népi mozgalom. Az ? t?rténetükr?l szól ez a k?nyv. A magyar népi mozgalomról meglep?en keveset tud a jelenkor emlékezete, és ismereteink jó része is leginkább félreértésekb?l és el?ítéletekb?l táplálkozik. A népi mozgalom elitjéhez tartozók – Németh Lászlótól és Illyés Gyulától kezdve Veres Péteren és Kovács Imrén át egészen Bibó Istvánig – megpróbáltak választ találni a Trianon utáni Magyarország legéget?bb kérdéseire, méghozzá nem a hagyományos ideológiák mentén, hanem egy általuk ?harmadik útnak” nevezett eszmeiség jegyében. Papp István k?tete – amely harminc év óta az els? modern szemlélet? ?sszefoglalása a témának – els?sorban azt kívánja bemutatni, hogyan és miért született meg a népi mozgalom, illetve hogy legfontosabb tagjai milyen elgondolásokat fogalmaztak meg, és milyen reformokat láttak szükségesnek 1945 el?tt és után.

Lord Ronald Gower (1845 ù1916) was a British aristocrat, Liberal politician, sculptor and writer. Besides being a sculpture he wrote biographies of Marie Antoinette and Joan of Arc, and a history of the Tower of London. Joan of Arc was a15th century French heroine. She was born a peasant girl in eastern France who grew up to lead the French army to several important victories during the Hundred Years' War. She was captured by the Burgundians, sold to the English, tried by an ecclesiastical court, and burned at the stake when she was nineteen years old.

A színházi kulisszák sok titkot rejtenek. Minden el?adás valódi küzdelem a sikerért, amiért nem csak a színészek, de a m?szak is megdolgozik. Honnan tudja a súgó, hogy mikor szorul a színész a segítségére? Miként lehet az asszisztens a rendez? igazi társa? Milyen egy igazi gyors?lt?zés? Mi t?rténik, ha nem sül el id?ben egy kelléknek használt fegyver? Hogyan varázsolják át pillanatok alatt a színpadképet a díszít?k? Milyen módszerekkel dolgoznak a koreográfusok? Mi jelenti az igazi kihívást az ügyel?k számára? Miért is van szükség annyi lámpára a színházban? Ez a k?nyv most egy kül?nleges utazásra hív a színházi kulisszák m?gé, amelyben ?lt?ztet?k, díszít?k, kellékesek, súgók, rendez?asszisztensek, világosítók, hangosítók, koreográfusok és ügyel?k mesélnek arról, hogy mi is t?rténik a függ?ny m?g?tt, amit már a reflektorok sem világítanak meg.Lovász-Horváth Nikolett, amellett, hogy az ARTIQ Kulturális Magazinba ír színikritikákat, hosszú évek óta dolgozik néz?téri munkatársként az egyik népszer? belvárosi színházban. Számára a színház nem munkahely, hanem maga a szerelem. Az? évek alatt pedig nemcsak a néz?i szokásokat ismerte meg, de a kulisszák m?gé is volt alkalma bepillantani.

William Shakespeare egyik legnagyobb m?ve a Macbeth, a hatalomvágytól megszállott gyenge ember drámája. Macbethnek egyszer azt j?vend?lik, hogy király lesz. Felesége ?szt?nzésére és segítségével, hogy beteljesedjék a jóslat, álmában meg?lik a náluk vendégesked? királyt. Tettüket a leitatott ?r?kre fogják, akiknek nincs is idejük tiltakozásra a hamis vád ellen, mert Macbeth sz?rny? ?felindultságában” meg?li ?ket. A hatalmat, a rangot azonban nem tudják élvezni…