O carte spectaculoas?, care ??i asum? nu pu?ine riscuri, intr?nd pe terenurile pu?in explorate ale romanului. Cercetarea ?n care ne-am angajat este analitic? ?i speculativ?, o ipotez? pe care ne-o ?nchipuim ?n anticamera adev?rurilor simple ?i general-consim?ite despre romanul secolului XX, fiindc? aceste adev?ruri sunt a?teptate ?nc? spre a fi spuse. Istoriile sistematice, studiile exhaustive despre romanul secolului abia ?ncheiat lipsesc deocamdat?. Este ?i prima dificultate majora pe care a trebuit s? o ignoram pur ?i simplu. Risc?m propria noastr? ipoteza ?ntr-un spa?iu ?nc? insuficient ordonat ?i tocmai de aceea ispititor pentru orice c?l?torie critic?.

Cititorul va g?si ?n cartea mea un Bucure?ti al scriitorilor, un Bucure?ti al oamenilor politici ?i al gazetarilor, un Bucure?ti al dueli?tilor de ocazie ?i al fan?ilor de salon, al boierilor risipitori ?i sibari?i, al briganzilor de felul unor Tunsu, Grozea sau Iancu Jianu, al domnitorilor cu sau f?r? noroc, al pasiunilor amoroase, al dramelor ?i comediilor vie?ii, o adev?rat? surs? de subiecte pentru scenari?tii care vor s?-?i ?ncerce norocul ?n produc?ia unor seriale TV, ca s? nu spun ?telenovele“. Exist? oameni care merit? aminti?i cu p?r?ile lor bune ?i rele, domnitori ca Mircea Ciobanul, Matei Basarab, Br?ncoveanu, Mavrocorda?ii, Nicolae Mavrogheni, Ioan Gheorghe Caragea, Gheoghe Bibescu, Barbu ?tirbei, Alexandru Ioan Cuza, Carol I sau boieri ca Mihai Cantacuzino, Kre?ule?tii, V?c?re?tii, logof?tul Dudescu, Ion C?mpineanu, Ion Ghica, Nicolae B?lcescu, arhitec?i ca Alexandru Or?scu ?i al?ii. Am pornit ?n scrierea acestei c?r?i av?nd ?n fata ochilor r?ndurile scriitorului Mircea Constantinescu, foarte inspirat atunci c?nd afirma ?n romanul sau documentar ?C?nd toca la Radu Voda“ ca ?Bucure?tii nasc pove?ti de amor ca o mam? eroin?“.

Manifesto of the Communist Party (German: Manifest der Kommunistischen Partei), often referred to as The Communist Manifesto, was first published on February 21, 1848, and is one of the world's most influential political manuscripts. Commissioned by the Communist League and written by communist theorists Karl Marx and Friedrich Engels, it laid out the League's purposes and program. The Manifesto suggested a course of action for a proletarian (working class) revolution to overthrow the bourgeois social order and to eventually bring about a classless and stateless society, and the abolition of private property.

Part 1: Logic (Organon) Categories, translated by E. M. Edghill On Interpretation, translated by E. M. Edghill Prior Analytics (2 Books), translated by A. J. Jenkinson Posterior Analytics (2 Books), translated by G. R. G. Mure Topics (8 Books), translated by W. A. Pickard-Cambridge Sophistical Refutations, translated by W. A. Pickard-Cambridge Part 2: Universal Physics Physics (8 Books), translated by R. P. Hardie and R. K. Gaye On the Heavens (4 Books), translated by J. L. Stocks On Gerneration and Corruption (2 Books), translated by H. H. Joachim Meteorology (4 Books), translated by E. W. Webster Part 3: Human Physics On the Soul (3 Books), translated by J. A. Smith On Sense and the Sensible, translated by J. I. Beare On Memory and Reminiscence, translated by J. I. Beare On Sleep and Sleeplessness, translated by J. I. Beare On Dreams, translated by J. I. Beare On Prophesying by Dreams, translated by J. I. Beare On Longevity and Shortness of Life, translated by G. R. T. Ross On Youth, Old Age, Life and Death, and Respiration, translated by G. R. T. Ross Part 4: Animal Physics The History of Animals (9 Books), translated by D'Arcy Wentworth Thompson On the Parts of Animals (4 Books), translated by William Ogle On the Motion of Animals, translated by A. S. L. Farquharson On the Gait of Animals, translated by A. S. L. Farquharson On the Generation of Animals (5 Books), translated by Arthur Platt Part 5: Metaphysics (15 Books), translated by W. D. Ross Part 6: Ethics and Politics Nicomachean Ethics (10 Books), translated by W. D. Ross Politics (8 Books), translated by Benjamin Jowett The Athenian Constitution, translated by Sir Frederic G. Kenyon Part 7: Aesthetic Writings Rhetoric (3 Books), translated by W. Rhys Roberts Poetics, translated by S. H. Butcher

Volumul Sublimul tr?d?rii reprezint? o incursiune ?n lumea ?multidimensional?“ a crea?iei teatrale. Convins de existen?a unor straturi rarefiate ale spiritului, ?n care reprezenta?ia a fost h?r?zit? s? existe, autorul se ?ndep?rteaz? de orice interpretare ?vulgar?“, la prima m?n?, a artei scenice. F?c?ndu-se apel la teorii ale esteticii teatrale, dar ?i ale filosofiei, psihanalizei, exegezei ?i criticii literare, ne este relevat un univers artistic complicat, complex, predispus unei analize profunde. Astfel, locul care ?i este destinat spectatorului nu mai este acela de privitor pasiv, ci de partener al actorilor.?Oper?nd alegerea de sine“, spectatorul iese din plasa esteticului nu pentru a-i desfide rostul, ci pentru a se proiecta ?n centrul ac?iunii scenice, ?ntr-un loc ?n care ??i poate afirma prezen?a. Actul ?lecturii“ teatrului implic? ?ndatoriri egale cu cele din spa?iul public, for??ndu-l pe insul aflat ?n sala de spectacol s? faca o eschiva printre imperativele vie?ii, consider?nd interpretarea ca circumscriere concret? ?n ?legea universal?“ a eticului. Doar ?n acest fel, spectatorul poate accepta responsabilit??i legate de ceea ce i se ?nt?mpl?, atent la (?i preocupat de) via?a sa superioar?, spiritual?.“

** Pamella Singh – Miss India 1982… spioan? de pat la NATO ** Frumoasele Miss, prad? u?oar? pentru trafican?ii de stupefiante ** Angela Nichitin – Miss Johannesburg, victim? a traficului de carne vie ** O Miss pentru solda?ii americani din Irak ** Miss Diaspora… uneori important poten?ial pentru spionaj ?i contraspionaj? ** Momeal? pentru pedofili ** Tita Cristescu, fost? Miss Rom?nia, ucis? cu cianur? de potasiu ** Concursurile Miss ?i reginele alese, motiv de scandal ?i crim?? ** Heather Whitestone – Miss America 1994, sub teroarea unui obsedat ** Evreica Lise Goldarbeiter – Miss Univers 1929 a supravie?uit nazismului ** C?teva regine… surpriz? **** Zsa Zsa Gabor – Miss Ungaria 1936. Nou? c?s?torii ?i scandaluri cu duiumul ** Rosemarie Frankland – Miss Univers 1961, ucis? de singur?tate? ** Imelda Marcos – Miss Leyte ?i ?Muza Manilei“ al?turi de un dictator ** Bess Myerson – Miss America 1945, de la politicieni, la mafio?i ** Plou? cu Miss-uri: Nud, Fund Mare, Jumbo ?i mai tr?snite ** Miss Penitenciar sau… Miss Pu?c?rie? ** Zig-zag ?n lumea concursurilor de frumuse?e ?i a concurentelor. Pilule dulciFiecare om, evident, are destinul s?u. Reginele au avut ?i au, ?i ele, firesc, destinul lor. Cele ?ncoronate ?i declarate ca atare datorit? frumuse?ii lor fizice ?i intelectuale sunt, de multe ori, superioare celor n?scute cu s?nge albastru, dar totodat? ele sunt expuse ?i mai mult unor pericole ce le dau t?rcoale. Tenta?iile ce apar des ?i capcanele ce li se ?ntind fostelor Miss sunt de multe ori ?irezistibile“. Din nefericire, unele tinere nu le-au sesizat la timp ?i, treptat, uneori f?r? voia lor, au c?zut ?n plasa unor servicii de spionaj sau a unor re?ele mafiote interna?ionale, implicate ?n traficul cu droguri, armament ?i fiin?e umane. Altele, ?ns?, au avut un destin ?i mai tragic, ajung?nd dup? gratii sau devenind ?inta unor asasinate care au f?cut v?lv? ?n pres?.Au fost ?ns? ?i ?Regine“ fericite. Din p?cate, pu?ine ?i pentru o perioad? scurt? de timp. Nici ?n lumea Miss-urilor n-au fost ?i nu vor fi dou? destine la fel.O carte ce cuprinde un soi de miniromane poli?iste, axate pe soarta, uneori-adeseori, dramatic? a reginelor frumuse?ii.

"Romeo and Juliet" is a tragic play written early in the career of William Shakespeare about two teenage "star-cross'd lovers" whose untimely deaths ultimately unite their feuding households. It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal "young lovers"??PROLOGUE:?Two households, both alike in dignity,?In fair Verona, where we lay our scene,?From ancient grudge break to new mutiny,?Where civil blood makes civil hands unclean.?From forth the fatal loins of these two foes?A pair of star-cross'd lovers take their life;?Whole misadventured piteous overthrows?Do with their death bury their parents' strife.?The fearful passage of their death-mark'd love,?And the continuance of their parents' rage,?Which, but their children's end, nought could remove,?Is now the two hours' traffic of our stage;?The which if you with patient ears attend,?What here shall miss, our toil shall strive to mend.

Societatea deschis? contra societ??ii deschise. Societatea rom?neasc? ?ntre utopie ?i realitate este o carte de analiz? profund? ?i complex?, ce ?i-a ales ca obiect de studiu cea mai important? paradigm? sociopolitic? a postmodernit??ii, ?mpreun? cu realit??ile concrete ce se configureaz? ?n jurul acesteia. O paradigm? care ?i-a propus s? schimbe fa?a lumii, sens ?n care, de mai bine de 25 de ani o putem observa manifest?ndu-se pe multiple coordonate ?i ?n planul realit??ilor sociale ?i politice autohtone, pe care, de altfel, autorul le radiografiaz? extrem de atent, cu ochiul, mintea ?i bagajul de cuno?tin?e proprii specialistului, dar ?i cu sufletul ?i con?tiin?a celui care apar?ine societ??ii rom?ne?ti. Cartea de fa?? este, ?n acela?i timp, ?i despre societatea deschis?, dar ?i despre trecutul, prezentul ?i viitorul prefigurat lumii ?n aceast? paradigm?, c?t ?i despre evolu?ia societ??ii rom?ne?ti ca parte integrant? a acestei lumi. Ea surprinde ?i problematizeaz? o multitudine de aspecte ?in?nd at?t de natura intrinsec? a conceptului de societate deschis?, c?t ?i de schimb?rile pe care implementarea acestui concept ca realitate social? le presupune ?i le antreneaz? ?n societ??ile contemporane. Prin aceasta, ea se recomand? ca o lectur? util?, provocatoare ?i, totodat?, revelatoare tuturor celor preocupa?i de c?mpul ?tiin?elor sociale ?i politice, dar ?i celor interesa?i s? ?n?eleag? ceva ?n plus din sistemul cauzalit??ilor profunde care influen?eaz? mersul lumii, ?n general, ?i al societ??ii rom?ne?ti, ?n particular. (Maria Voinea)

La fel ca ?i precedentele romane ale lui Emil Ra?iu – reactualiz?ri ale marilor noastre mituri – romanul Turnul col?ei... are o tem? major?, anume existen?a problematic? a omului ca fiin?? situat? ?ntre timp ?i eternitate, ?ntre clip? ?i ve?nicie. Dilema major? a vie?ii este ?ndoita fa?? a realit??ii, perceput? prin sim?uri ca etern? trecere ?i fragmentare ?n lucruri, ?n timp ce prin cuget – prin filosofia eleat? a lui Parmenide, Pitagora, Platon ?i a altora – ea este unitate ve?nic? a Fiin?ei, trecerea fiind doar o iluzie a sim?urilor noastre. Omul este prins la mijloc, ?ntre vreme ?i ve?nicie, o soart? pu?in de invidiat...Aceast? existen?? a omului ?ntre clip? ?i ve?nicie, ?n permanent? confruntare cu eternitatea, este nodul central al ontologiei, reflectat? ?n romanul de fa?? prin eroii acestuia, ?ncep?nd cu dasc?lul de la Academia de la Sf?ntul Sava, Mihai Ciubo?el, cu ipostazele sale, adev?rate avataruri, care sintetizeaz? contrariile, ajung?nd p?n? ?n timpurile noastre (secolul XXI), definite ale neo-fanariotismului ?i ale supu?eniei servile la noi centre de putere.Romanul str?bate prin eroii s?i trei sute de ani de istorie, de la Sf?ntul Martir Constantin Br?ncoveanu la Eminescu p?n? ?n vremurile noastre, ?ncheindu-se cu optimism ?i m?rturisind, ?n ciuda tuturor greut??ilor, credin?a ?n victoria final? a luminii ?i adev?rului neamului rom?nesc.

“THE TEMPEST” is Shakespeare's last book. The story Prospero relates is that he is the rightful Duke of Milan and that his younger brother, Antonio, betrayed him, seizing his title and property. Twelve years earlier, Prospero and Miranda were put out to sea in little more than a raft. Miraculously, they both survived and arrived safely on this island, where Prospero learned to control the magic that he now uses to manipulate everyone on the island. Upon his arrival, Prospero rescued a sprite, Ariel, who had been imprisoned by the witch Sycorax. Ariel wishes to be free and his freedom has been promised within two days.??The last inhabitant of the island is the child of Sycorax and the devil: Caliban, whom Prospero has enslaved. Caliban is a natural man, uncivilized and wishing only to have his island returned to him to that he can live alone in peace.??Soon the royal party from the ship is cast ashore and separated into three groups. The king's son, Ferdinand, is brought to Prospero, where he sees Miranda, and the two fall instantly in love. Meanwhile, Alonso, the king of Naples, and the rest of his party have come ashore on another part of the island. Alonso fears that Ferdinand is dead and grieves for the loss of his son. Antonio, Prospero's younger brother, has also been washed ashore with the king's younger brother, Sebastian. ??Antonio easily convinces Sebastian that Sebastian should murder his brother and seize the throne for himself. This plot to murder Alonso is similar to Antonio's plot against his own brother, Prospero, 12 years earlier.??Another part of the royal party — the court jester and the butler — has also come ashore. Trinculo and Stefano each stumble upon Caliban, and each immediately sees a way to make money by exhibiting Caliban as a monster recovered from this uninhabited island. Stefano has come ashore in a wine cask, and soon Caliban, Trinculo, and Stefano are drunk. While drinking, Caliban hatches a plot to murder Prospero and enrolls his two new acquaintances as accomplices. Ariel is listening, however, and reports the plot to Prospero.??Next, Prospero stages a masque to celebrate the young couple's betrothal, with goddesses and nymphs entertaining the couple with singing and dancing. While Ferdinand and Miranda have been celebrating their love, Alonso and the rest of the royal party have been searching for the king's son. Exhausted from the search and with the king despairing of ever seeing his son alive, Prospero has ghosts and an imaginary banquet brought before the king's party. A god-like voice accuses Antonio, Alonso, and Sebastian of their sins, and the banquet vanishes. The men are all frightened, and Alonso, Antonio, and Sebastian run away.??Prospero punishes Caliban, Trinculo, and Stefano with a run through a briar patch and swim in a scummy pond. Having accomplished what he set out to do, Prospero has the king's party brought in. Prospero is clothed as the rightful Duke of Milan, and when the spell has been removed, Alonso rejects all claims to Prospero's dukedom and apologizes for his mistakes. Within moments, Prospero reunites the king with his son, Ferdinand. Alonso is especially pleased to learn of Miranda's existence and that Ferdinand will marry her.?Prospero then turns to his brother, Antonio, who offers no regrets or apology for his perfidy. ??Nevertheless, Prospero promises not to punish Antonio as a traitor. When Caliban is brought in, Caliban tells Prospero that he has learned his lesson. His two co-conspirators, Trinculo and Stefano, will be punished by the king. Soon, the entire party retires to Prospero's cell to celebrate and await their departure home. Only Prospero is left on stage.??In a final speech, Prospero tells the audience that only with their applause will he be able to leave the island with the rest of the party. Prospero leaves the stage to the audience's applause.

In this boisterous but sensitive drama, playwright J. Ajlouny looks beyond public image to find the heart of this young woman thrust wildly into fame as a sex symbol. Presented as a play-in-the-making within a play, Marilyn, Norma Jean and Me weaves biography with humor to explore the movie star’s widely speculated plan to leave Hollywood for Broadway. The author imagines her innocence and vulnerability, her friendliness and loyalty, even as the public image threatens to steal her humanity. This play is a must-see or -read for fans of film and stage, not just because it is so good, but for its powerful way of finding the real Norma Jean in the legend known as Marilyn Monroe.

When Sheherazad is brought to the palace to be the Sultan’s new bride, her very life depends upon her skill as a storyteller. She tells him tales of lost cities and buried treasure, of slave girls and robbers, of genies in bottles and evil sorcerers. But will it be enough to save her? The stories of the Arabian Nights date back more than a thousand years and originate from Persia, India and Arabia. Neil Duffield has combined elements of many of them, keeping alive the excitement and humour to produce a show which will transport the audience into a world of myth and legend where fantasy and reality can never be separated.

Bradford, in the month of Ramadan. Shaz, a local garage mechanic, is trying to keep his business going despite the terrible scandal of Asian men involved in grooming young girls for sex in the area. A protest march through the city is planned and Samina, Shaz’s sister wants to make a speech at a counter-demonstration for Peace. Shaz just wants a quiet life so that his prospective in-laws will let him marry their beautiful daughter, but as the city gets swept up in the protest, his world gets turned upside down. Asif Khan’s debut play is a fabulously comic take on the combustion surrounding young British Muslim lives.

Orestes arrives at the grave of his father, accompanied by his cousin Pylades, the son of the king of Phocis, where he has grown up in exile; he places two locks of his hair on the tomb. Orestes and Pylades hide as Electra, Orestes' sister, arrives at the grave accompanied by a chorus of elderly slave women (the libation bearers of the title) to pour libations on Agamemnon's grave; they have been sent by Clytemnestra in an effort to ward off harm. Just as the ritual ends, Electra spots a lock of hair on the tomb which she recognizes as similar to her own; subsequently she sees two sets of footprints, one of which has proportions similar to hers. At this point Orestes and Pylades emerge from their hiding place and Orestes gradually convinces her of his identity.

Today the women at the festival are going to kill me for insulting them!' This bold statement by Euripides is the absurd premise upon which the whole play depends. The women are incensed by his plays' portrayal of the female sex as mad, murderous, and sexually depraved, and they are using the festival of the Thesmophoria (an annual fertility celebration dedicated to Demeter) as an opportunity to debate a suitable choice of revenge.

anakkale Sava üzerine zellikle son yllarda yazlan kitaplarda doru ve dürüst yaklamlara da, cehaletin, aymazln, tarihe ihanetin ve yalann bin bir türlüsüne de rastlamak mümkün… ylesine aknlk yaratacak rnekler var ki... Kimisi, deniz savalar (18 Mart) ile Gelibolu’daki kara savalarn (25 Nisan) kronolojik olarak ayrt edebilecek bilgiden bile yoksun! ünkü gerei ideolojiye kurban etmeyi kafaya koymular bir kere… Tek ama, her ne pahasna olursa olsun anakkale’den Mustafa Kemal’in adn silip atmak… Mustafa Kemal’in ad gemesin, Mustafa Kemal o baardan pay almasn yeter! Varsn verdikleri tarihler de, saylar da, ordularn muharebe düzenleri de yalan-yanl olsun, ne kar! Meydan bo zannedilmesin... te polemik konular, yalanlar, iftiralar ve tarihi gerekler... --- YAZAR ZGEM----- Tayfun AVUOLU (1964 / …) Uluda niversitesi Eitim Fakültesi Alman Dili Anabilim Dal (1985) mezunu. renciyken 1983 yl balarnda Türk Haberler Ajans (THA) Bursa Bürosu’nda muhabirlie balad. Bursa’daki yerel gazeteler Hkimiyet, Olay, Bursa hkimiyet ve Kent gazetelerinde muhabir, istihbarat efi, haber müdürü, yaz ileri müdürü olarak alt. Bursa hkimiyet ve Bursa Haber gazetelerinde genel yayn ynetmenlii grevinde bulundu. Halen Bursa yerel basnndaki almalarn sürdürüyor. ada Gazeteciler Dernei (GD) Bursa ubesi’nde iki dnem (1997-2001) bakanlk yapan Tayfun avuolu, Bursa Gazeteciler Cemiyeti’nde (BGC) bir dnem (2009-2012) ynetim kurulu üyeliinde de bulundu. Basn meslek rgütlerinden ok sayda dül de alan, sürekli basn kart sahibi Tayfun avuolu, ngilizce retmeni Nesrin avuolu ile evli olup, Altu ve Alper’in babasdr. lk kitab “anakkale 1915, ftiralar, Yalanlar, Polemikler”, 2014’ün ubatnda Kasta Yaynevi (stanbul) tarafndan yaynland.

"The Spanish Tragedy", or "Hieronimo" is Mad Again is an Elizabethan tragedy written by Thomas Kyd between 1582 and 1592. Highly popular and influential in its time, The Spanish Tragedy established a new genre in English theatre, the revenge play or revenge tragedy. Its plot contains several violent murders and includes as one of its characters a personification of Revenge. "The Spanish Tragedy "was often referred to (or parodied) in works written by other Elizabethan playwrights, including William Shakespeare, Ben Jonson, and Christopher Marlowe. Many elements of The Spanish Tragedy, such as the play-within-a-play used to trap a murderer and a ghost intent on vengeance, appear in Shakespeare's Hamlet. (Thomas Kyd is frequently proposed as the author of the hypothetical Ur-Hamlet that may have been one of Shakespeare's primary sources for Hamlet.)

Como todas las mananas, el marques de Torrebianca salio tarde de su dormitorio, mostrando cierta inquietud ante la bandeja de plata con cartas y periodicos que el ayuda de camara habia dejado sobre la mesa de su biblioteca. Cuando los sellos de los sobres eran extranjeros, parecia contento, como si acabase de librarse de un peligro. Si las cartas eran de Paris, fruncia el ceno, preparandose a una lectura abundante en sinsabores y humillaciones. Ademas, el membrete impreso en muchas de ellas le anunciaba de antemano la personalidad de tenaces acreedores, haciendole adivinar su contenido. Su esposa, llamada ?la bella Elena?, por una hermosura indiscutible, que sus amigas empezaban a considerar historica a causa de su exagerada duracion, recibia con mas serenidad estas cartas, como si toda su existencia la hubiese pasado entre deudas y reclamaciones. El tenia una concepcion mas anticuada del honor, creyendo que es preferible no contraer deudas, y cuando se contraen, hay que pagarlas. ? AUTOR: Vicente Blasco Ibanez nacio el 29 de enero de 1867 en Valencia (Espana). Era hijo de Ramona Ibanez y del comerciante Gaspar Blanco. Estudio Derecho en la Universidad de Valencia. Participo en la politica uniendose al Partido Republicano". En 1894 fundo el periodico El pueblo. En el ano 1896, fue detenido y condenado a varios meses de prision. En 1889 contrajo matrimonio con Maria Blasco del Cacho, hija del magistrado Rafael Blasco y Moreno. Cuando subio al poder Canovas del Castillo, el escritor se exilio brevemente en la ciudad de Paris. Fue un autor vinculado en muchos aspectos al naturalismo frances. Por otra parte, la explicita intencion politicosocial de algunas de las novelas de Blasco Ibanez, aunada al escaso bagaje intelectual del autor, lo mantuvo alejado de los representantes de la Generacion del 98. Murio el 28 de enero de 1928 en Menton (Francia)a los 60 anos. Entre sus titulos destacan: "Arroz y Tartana" (1894), "La Barraca" (1898), "Entre Naranjos (1900), "Canas y Barro" (1902), "La Horda" (1905), "Sangre y Arena" (1908) o "Los Cuatro Jinetes Del Apocalipsis" (1916).

THE story of Cleopatra is a story of crime. It is a narrative of the course and the consequences of unlawful love. In her strange and romantic history we see this passion portrayed with the most complete and graphic fidelity in all its influences and effects; its uncontrollable impulses, its intoxicating joys, its reckless and mad career, and the dreadful remorse and ultimate despair and ruin in which it always and inevitably ends.??Cleopatra was by birth an Egyptian; by ancestry and descent she was a Greek. Thus, while Alexandria and the delta of the Nile formed the scene of the most im-portant events and incidents of her history, it was the blood of Macedon which flowed in her veins. Her character and action are marked by the genius, the courage, the originality, and the impulsiveness pertaining to the stock from which she sprung. The events of her history, on the other hand, and the peculiar character of her adventures, her sufferings, and her sins, were determined by the circumstances with which she was surrounded, and the influences which were brought to bear upon her in the soft and voluptuous clime where the scenes of her early life were laid..??Egypt has always been considered as physically the most remarkable country on the globe. It is a long and narrow valley of verdure and fruitfulness, completely insulated from the rest of the habitable world. It is more completely insulated, in fact, than any literal island could be, inasmuch as deserts are more impassable than seas. The very existence of Egypt is a most extraordinary phenomenon. If we could but soar with the wings of an eagle into the air, and look down upon the scene, so as to observe the operation of that grand and yet simple process by which this long and wonderful valley, teeming so profusely with animal and vegetable life, has been formed, and is annually revivified and renewed, in the midst of surrounding wastes of silence, desolation, and death, we should gaze upon it with never-ceasing admiration and pleasure. We have not the wings of the eagle, but the generalizations of science furnish us with a sort of substitute for them. The long series of patient, careful, and sagacious observations, which have been continued now for two thousand years, bring us results, by means of which, through our powers of mental conception, we may take a comprehensive survey of the whole scene, analo-gous, in some respects, to that which direct and actual vision would afford us, if we could look down upon it from the eagle's point of view. It is, however, so-mewhat humiliating to our pride of intellect to reflect that long-continued philosophical investigations and learned scientific research are, in such a case as this, after all, in some sense, only a sort of substitute for wings. A human mind connected with a pair of eagle's wings would have solved the mystery of Egypt in a week; whereas science, philosophy, and research, confined to the surface of the ground, have been occupied for twenty centuries in accomplishing the undertaking.

Avangardismul rom?nesc r?m?ne a fi unul dintre curentele literare cele mai controversate ?i, ?n ultima instanta – ne demonstreaza aceasta monografie – cele mai putin cunoscute. Monografia abunda ?n informa?ii, aspecte, ?nt?mpl?ri, evenimente, mai pu?in sau deloc cunoscute. Cartea se adreseaz? elevilor, studen?ilor, precum ?i publicului larg de cititori.

Un periplu documentat prin lumea artelor plastice contemporane, un model de analiz? a fenomenului plastic actual, extrem de viu ?i incitant, ba chiar provoc?tor, ?n ciuda multiplelor probleme ridicate de tranzi?ia autohton?.