Thomas Gainsborough: 60 Drawings ＆ Studies

Anthony van Dyck: 70 Drawings ＆ Studies

Gitanjali

Royal Doulton Shaving Mugs

Indezirabilii, publicat sub egida Institutului de Istorie ?George Bari?iu“ al Academiei Rom?ne, scoate la lumin? informa?ii pu?in cunoscute despre exodul etnicilor evrei, rom?ni, ru?i ?i ucraineni din URSS ?n Rom?nia.Cauzele, mijloacele emigr?rii, reac?ia autorit??ilor, a popula?iei autohtone ?i a organiza?iilor interna?ionale, fenomenele conexe sunt relevate ?n contextul profundelor transform?ri sociale ?i politice din perioada 1919-1939. Prezentarea unor texte scrise de ?i despre emigran?i ofer? detalii asupra atrocit??ilor comise de regimul sovietic, a modului ?n care au fost percepu?i ?i a celui ?n care au perceput indezirabilii statul na?ional unitar rom?n.Fragment din subsec?iunea ?Trecerea Nistrului ?n ambele sensuri: motive ?i consecin?e“Unul din efectele masacrelor de la Nistru din lunile februarie-martie 1932 ?i ale noului val de refugia?i din RASS Moldoveneasc? asupra opiniei publice din Rom?nia a constat ?n exprimarea pozi?iei fa?? de evenimentele tragice ?n publica?ii. Jurnali?tii ?i cercet?torii nu s-au limitat la analiza evenimentelor, ci au publicat o serie ?ntreag? de materiale despre istoria regiunii transnistrene ?i a rom?nilor de acolo. De exemplu, potrivit lui Pamfil ?eicaru, amplificarea represiunilor din URSS reprezenta unul din aspectele luptei ?mpotriva tradi?iei (familia, p?m?ntul, religia), iar rom?nii transnistreni – un bastion de ?nd?r?tnic? rezisten?? a tradi?iei. ?n fapt, purificarea regiunii transnistrene, echivala cu desfiin?area pseudo-autonomiei moldovene?ti, iar dispari?ia entit??ii intra ?n linia necesit??ilor de via?? ale centraliz?rii Moscovei, trec?nd peste particularit??ile provinciale. Motivele extermin?rii sunt rezumate ?n finalul analizei: ?Moldovenii n-au fost buni, n-au slujit scopurilor pentru care li se d?duse chiar ?i titlul de Republic? Moldoveneasc?, dispari?ia lor a ap?rut ca o porunc? nivelatoare a standardului na?ional conceput de Stalin. ?i de pe p?m?nturile unde tr?iesc de veacuri, de pe malurile Nistrului, sunt porni?i ?n dep?rt?rile pustii ?i ?nghe?ate ale Siberiei. Drumul lung ?i greu, foamea, bolile, le va tot ?mpu?ina num?rul, p?n? ce nu va mai r?m?ne niciunul din neamul blestemat al moldovenilor, ace?ti ?nd?r?tnici adversari ai uniformiz?rii staliniste. De-a lungul Rusiei ro?ii (tot at?t de milostiv? ca ?i Rusia ?arist?) mormintele lor vor ?nsemna drumul crucific?rii moldave. ?i ieri ?i azi Pohod na Sibir! Numai imbecilii ??i ?nchipuie c? esen?a na?iilor se schimb? prin revolu?ii“. La 23 martie 1932, sub impresia cazurilor, individuale sau de grup, aproape zilnice, de ?mpu?care a ??ranilor rom?ni care ?ncercau s? p?trund? din Transnistria ?n Rom?nia, Pamfil ?eicaru dezvolta ideea de standardizare spiritual? prin represiune masiv?, exterminatorie, ?ntr-un articol cu accente directe antiminoritare ?i indirecte antiguvernamentale. Raportat la incapacitatea sau imposibilitatea opririi crimelor de la frontiera sovieto-rom?n?, directorul Curentului propunea efectuarea unui schimb de popula?ie cu URSS, mediat de Societatea Na?iunilor: ?[…] exact ?n propor?ia numeric? a moldovenilor de peste Nistru ce ni s-ar trimite, am expedia comuni?ti ruteni, oameni converti?i ce nu ar mai necesita at?ta trud? uciga?? c?te sunt constr?nse autorit??ile sovietice s? fac?“. O critic? explicit? viza rolul activ pe care ar fi trebuit s?-l joace Societatea Na?iunilor: ?Un mijloc foarte simplu de a curma un asasinat, un semn de prezen?? uman? a institu?iei de asisten?? a popoarelor, de activ? prezen?? a Societ??ii Na?iunilor“. Trebuie men?ionat ?ns? faptul c?, ?ntr-un articol ulterior, se consemna sprijinul acordat de A. ?ulghin, reprezentantul ucrainean la Geneva, delega?iei Rom?niei, care a cerut condamnarea masacrelor de la Nistru ?n format multilateral. Mai mult dec?t at?t, putem observa c? ucrainenii sunt men?iona?i pe l?ng? etnicii rom?ni ca victime ale atrocit??ilor: ?Masacrele s-au repetat, ??ranii au fost ?mpu?ca?i f?r? mil?, rom?ni ?i ucraineni laolalt?“.

The Art of the StoryTeller

Die Shakespeare-Trag?die, übersetzt von Christoph Martin Wieland. Wikipedia: "Romeo und Julia ist eine Trag?die, die früh in der Karriere von William Shakespeare über zwei jugendliche" Stern-überkreuzte Liebende "geschrieben wurde, deren pl?tzlicher Tod ihre verfeindeten Familien vereint. Es war zu Shakespeares popul?rsten Stücken zu seinen Lebzeiten mit Hamlet, ist eines seiner am h?ufigsten aufgeführten Stücke. Heute gelten die Titelfiguren als archetypische junge Liebhaber. "

All three series. This edition is based on on the first published collection, edited by Mabel Loomis Todd and T.W. Higginson, which was released in three "series", the first of which appeared in 1890. According to Wikipedia, Mabel Loomis Todd "became friends with the Dickinsons, and though she never met Emily Dickinson in person, the two women exchanged letters. After Emily's death in 1886, hundreds of her unpublished poems were discovered. In 1888, Emily's sister Lavinia asked Todd to copy and organize the poems, which were to be sent to the publisher Thomas Wentworth Higginson. The first volume of Poems by Emily Dickinson was published in 1890. This version included many alterations by Todd. In 1896, Todd and the Dickinson family had a falling-out over a legal battle regarding property owned by Austin Dickinson. As a result, Emily Dickinson's manuscripts were split between the two families. In 1945, Todd's daughter Millicent published some of the poems from Todd's portion of the manuscripts."

This book includes: Gondoliers, Grand Duke, H.M.S Pinafore, Iolanthe, The Mikado, Pirates of Penzance, Ruddigore, The Sorcerer, Thespis, Trial by Jury, Utopia Limited, Yeomen of the Guard, and Patience. All of these plays/operettas were written 1871 to 1896. According to Wikipedia: "Gilbert and Sullivan refers to the Victorian era partnership of librettist W. S. Gilbert (1836–1911) and composer Arthur Sullivan (1842–1900). Together, they wrote fourteen comic operas between 1871 and 1896, of which H.M.S. Pinafore, The Pirates of Penzance, and The Mikado are among the best known. Gilbert, who wrote the words, created fanciful "topsy-turvy" worlds for these operas, where each absurdity is taken to its logical conclusion—fairies rub elbows with British lords, flirting is a capital offence, gondoliers ascend to the monarchy, and pirates turn out to be noblemen who have gone wrong. Sullivan, six years Gilbert's junior, composed the music, contributing memorable melodies that could convey both humour and pathos. Producer Richard D'Oyly Carte brought Gilbert and Sullivan together and nurtured their collaboration. He built the Savoy Theatre in 1881 to present their joint works—which came to be known as the Savoy Operas—and he founded the D'Oyly Carte Opera Company, which performed and promoted their works for over a century. The Gilbert and Sullivan operas have enjoyed broad and enduring international success and are still performed frequently throughout the English-speaking world. The collaboration introduced innovations in content and form that directly influenced the development of musical theatre through the 20th century. The operas have also influenced political discourse, literature, film and television and have been widely parodied and pastiched by humorists."

Classic play. According to Wikipedia: "Thackeray is most often compared to one other great novelist of Victorian literature, Charles Dickens. During the Victorian era, he was ranked second only to Dickens, but he is now much less read and is known almost exclusively for Vanity Fair. In that novel he was able to satirize whole swaths of humanity while retaining a light touch. It also features his most memorable character, the engagingly roguish Becky Sharp. As a result, unlike Thackeray's other novels, it remains popular with the general reading public; it is a standard fixture in university courses and has been repeatedly adapted for movies and television. In Thackeray's own day, some commentators, such as Anthony Trollope, ranked his History of Henry Esmond as his greatest work, perhaps because it expressed Victorian values of duty and earnestness, as did some of his other later novels. It is perhaps for this reason that they have not survived as well as Vanity Fair, which satirizes those values."

Classic satiric play. According to Wikipedia: "Nikolai Vasilievich Gogol ( 1809 - 1852) was a Russian writer of Ukrainian ethnicity. Although his early works were heavily influenced by his Ukrainian upbringing and identity, he wrote in Russian and his works belong to the tradition of Russian literature; often called the "father of modern Russian realism," he was one of the first Russian authors to criticize his country's way of life. The novels Taras Bul'ba (1835; 1842 [revised edition]), Dead Souls (1842), the play The Inspector-General (1836, 1842), and the short story The Overcoat (1842) are among his masterpieces."

Classic Shakespearean comedy, with line numbers. According to Wikipedia: "The Taming of the Shrew is an early comedy by William Shakespeare believed to have been written between 1590 and 1594. The play begins with a framing device, often referred to as the Induction, in which a drunken tinker named Sly is tricked into thinking he is a nobleman by a mischievous Lord. The Lord has a play performed for Sly's amusement with a primary and sub-plot. The main plot depicts the courting of Petruchio, a gentleman of Verona, and Katherina, the headstrong, obdurate, and eponymous shrew. Katherina is at first an unwilling participant in the relationship but Petruchio tempers her with various psychological torments - the "taming" - until she is an obedient bride. The sub-plot features a competition between the suitors of Katherina's less intractable sister, Bianca."

Astara kehrt mit ihrem Vormund Sir Roderick, der sie als seine Erbin eingesetzt hat, nach einer langen Reise nach Hause zurück. Als sie zusammen ihre zusammengetragenen Gem?lde betrachten, schl?gt Sir Roderick zum Spaβ vor, seine drei Neffen einzuladen, unter denen sie sich, ganz ihrem Lieblingsgem?lde des Parisurteils gleich, einen zum Mann aussuchen soll. Zuerst z?gert Astara, doch schlieβlich willigt sie in den Plan ein. Zwei von Sir Rodericks Neffen kommen der Einladung freudig nach, doch vom dritten fehlt jede Spur. Je mehr sie über ihn nachdenkt, desto mehr ger?t Astara in den Bann des abwesenden Vulcan Worfield. W?hrenddessen verfolgen die beiden anderen ihre eigenen Pl?ne – wir wird der Spaβ wohl enden?

Alone in the world after her mother dies of consumption in a Swiss sanatorium, the beautiful young Larina Milton’s only comfort was a mortally ill American, Elvin Farren, who befriends her and they have fascinating conversations about the next world and the meaning of life.. But now he has gone back to his home in New York – perhaps forever. Larina’s relief to find that she has not caught her mother’s consumption is short-lived – her doctor delivers the terrible news to her that she has a rare heart disease, which will kill her in just twenty-one days! Desperate, she writes to Elvin, who had promised that alive or dead he would be at her side the moment she called out for him. Larina vows to do the same for him and they form a spiritual pact between them. Little does she know that her friend. Elvin, is one of the four sons of the immensely rich and famous Vanderfeld family of New York City and is abroad under his assumed name of ‘Farren’ Suspecting that she is a gold-digger and could blackmail the family, as his other brother Harvey is running for President of the United States, Wynstan Vanderfeld lures Larina to the family Villa in Sorrento. And there mysteries unfold amid incomparable beauty and both the lovely Larina and the worldly millionaire despite endless problems eventually find time for love.

Widowed Mrs. Mansforde and her younger daughter Philomena (or ‘Mena’ for short) are pleasantly surprised when elder daughter Lais returns unannounced to the family home. They have not seen her for an age, not even at her father’s funeral. And the news she brings is not so pleasant as it seems that she too has been widowed, but already has another wealthy and prestigious husband in her sights, the highly respected Duke of Kernthorpe. The Duke, who is much older than Lais, has invited her to bring her mother to meet him, an invitation that Lais does not extend to young Mena, seeing how beautiful she has become. Mrs. Mansforde insists that Mena goes with her and then it is decided that she will pose as her mother’s employed companion. Once at the Duke’s Castle Mena goes for a walk in the garden and then sees a stallion and rider galloping towards her. The horse is clearly out of control and throws the rider so Mena rushes over to see if he has been hurt. He is a handsome young man and when he looks up at Mena he thinks, because she is so beautiful, that she must be a Greek Goddess. He is then most impressed when Mena calms the stallion down by talking to him in a quiet gentle voice. At the Duke’s Castle love is to take each of the three women, Mena, Lais and their mother, by surprise and brings them ultimate happiness in the form of entirely unexpected suitors. And it seems that Fate has brought them together at the magnificent but mysterious Kerne Castle.

Marisa Mitton ist keinesfalls das, was sie vorgibt zu sein: eine gew?hnliche Gouvernante. Auch ihr flammendrotes Haar pa?t so gar nicht zu der Rolle, die sie sich zu spielen bemüht. In ihrer Maskerade als Angestellte im Haushalt des Herzogs von Milverley hofft sie Material sammeln zu k?nnen, das die Korruptheit und Oberfl?chlichkeit der nur scheinbar ?guten“ Gesellschaft aufzeigen soll. Doch ihr Plan ist schwieriger zu realisieren, als sie geglaubt hat. Da ist zum einen ihr Verantwortungsgefühl für ein einsames, liebes Kind, das als unkontrollierbar, ungezogen und verstockt gilt. Und da ist zum anderen der Herzog: ein arroganter, skrupelloser Schürzenj?ger.

Ceylon born and bred, yet English through and though thanks to their stern father, who is the local Vicar, beautiful young Dominica Radford and her five sisters are excited when one Sunday a very handsome English gentleman comes calling on their father in their rundown Vicarage in Colombo. But excitement turns to shock when Lord Hawkston out of the blue asks for Dominica’s hand in marriage for his twenty-four year old nephew Gerald Warren, who is running Lord Hawkston’s estate in Northern Ceylon. Having discovered that Gerald, recently spurned by a previous fiancée, is drinking heavily, letting the Hawkston tea estate go to wrack and ruin and treating his native lover cruelly, Lord Hawkston is desperate to see him married and settled and so sees the intelligent and sensible Dominica as the perfect bride for him. Overwhelmed by his Lordship’s generosity in giving her a glorious trousseau of pretty clothes, Dominica initially agrees, but soon she realises not only that she does not love Gerald she is repelled by him and the ugliness and coarseness he brings to the new Garden of Eden where she now finds herself. Nevertheless the lovely Dominica is happier than she has ever been in her entire life. And the reason suddenly comes to her in a blinding light. She is in love with Lord Hawkston!

This eBook features the unabridged text of ‘The Complete Short Stories by Elizabeth Gaskell - Delphi Classics (Illustrated)’ from the bestselling edition of ‘The Complete Works of Elizabeth Gaskell’. Having established their name as the leading publisher of classic literature and art, Delphi Classics produce publications that are individually crafted with superior formatting, while introducing many rare texts for the first time in digital print. The Delphi Classics edition of Gaskell includes original annotations and illustrations relating to the life and works of the author, as well as individual tables of contents, allowing you to navigate eBooks quickly and easily. eBook features: * The complete unabridged text of ‘The Complete Short Stories by Elizabeth Gaskell - Delphi Classics (Illustrated)’ * Beautifully illustrated with images related to Gaskell’s works * Individual contents table, allowing easy navigation around the eBook * Excellent formatting of the text Please visit www.delphiclassics.com to learn more about our wide range of titles

Le classique Shakespeare joue en traduction fran?aise. Selon Wikipédia: "Périclès, prince de Tyr est une pièce jacobéenne écrite au moins en partie par William Shakespeare et incluse dans les éditions modernes de ses ?uvres rassemblées malgré des questions sur sa paternité, car elle n'était pas incluse dans le premier folio. conviennent que Shakespeare est responsable de presque exactement la moitié du jeu - 827 lignes - la partie principale après la scène 9 qui suit l'histoire de Périclès et Marina.Les études textuelles modernes indiquent que les deux premiers actes de 835 lignes détaillant les nombreux voyages de Périclès ont été écrits par un collaborateur médiocre, qui suggère fortement d'avoir été l'aviateur, pander, dramaturge et pamphlétaire George Wilkins.

The classic comedy. According to Wikipedia: "All's Well That Ends Well is a play by William Shakespeare. It was probably written between 1601 and 1608, and it was first published in the First Folio in 1623. Though originally the play was classified as a comedy, the play is now often considered one of his problem plays.[citation needed] These plays of Shakespeare's are so named because they cannot be neatly classified as tragedy or comedy."

Lecture de l'histoire de Shakespeare, Richard III, en traduction fran?aise. Selon Wikipédia: "Richard III est une pièce d'histoire de William Shakespeare, qui aurait été écrite vers 1591. Elle décrit l'accession au pouvoir machiavélique et le court règne de Richard III d'Angleterre. Le premier folio est le plus souvent classé comme tel, mais de temps à autre, comme dans l'édition quarto, il s'agit d'une tragédie: Richard III conclut la première tétralogie de Shakespeare (qui contient aussi Henry VI, parties 1-3).