Aceast? carte este un demers pe care l-am g?ndit ca pe o lucrare de sintez? care s? surprind?, ?n m?sura posibilit??ilor, puncte de referin?? ?ntre texte ?i autori din perioade diferite, din Evul Mediu european ?i Rena?tere, con?tient? fiind c? epoca medieval? nu trebuie considerat? cu nimic mai prejos dec?t grandorile Greciei vechi sau ale Rena?terii. Problematica acestui concept al Alegoriei ?n receptarea sa de c?tre literatura Evului Mediu, dar ?i de c?tre epocile ulterioare, este complex? ?i bogata bibliografie ce i s-a consacrat ?n ultimele decenii nu face dec?t s? provoace la noi discu?ii ?i interpret?ri a?a cum este ?i aceast? lucrare.

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?“.

Specialist ?n domeniul avangardei, scriitorul – extrem de incomod uneori! – Ovidiu Morar, scrie despre scriitorii evrei din Rom?nia ?ntr-un stil incomod, m?nat de un zeu al drept??ii, impar?ial ?i feroce. Cine sunt scriitorii evrei? ?n ce m?sura ei se deosebesc de rom?ni, unguri, francezi, ?i ?n ce m?sur? se aseam?n?? Aceste ?i multe alte ?ntreb?ri mai mult sau mai pu?in comode revin aidoma unui laitmotiv pe parcursul c?r?ii, scrise ?ntr-un stil alert, incitant, cu note v?dit incomode, iar pe aclouri de-a dreptul provocatoare.

Brilliant adaptation of Charles Dickens biting novel H ard Times . Dominated by Gradgrind and Bounderby, Coketown’s prosperity is built on the cotton mills where thousands of men and women slave away for long hours and little pay. Gradgrind’s obsession with material progress damages his children Louisa and Tom, leading to scandal and disaster. ‘Hard Times’ celebrates the importance of the human heart in an age obsessed with materialism. Circus, music, and dark comedy all go into the rich mix of this truly Dickensian theatrical tale. Charles Way has written over 50 plays, specializing in writing for children, young people and family audiences. His plays are performed worldwide. He has won several major awards - A Spell of Cold Weather won the Writers Guild best children's play award in 2001 and in 2004 his play Red Red Shoes won the English Arts Council best children's play award. In Germany, his play Missing won the Children's Theatre prize and in the USA? he was nominated for a Helen Hayes Award. He was commissioned by the National Theatre to write Alice In The News , which children all over Britain have performed. He has also written many plays for radio, and a TV poem for BBC 2, No Borders , set in the Welsh borders, where he lives and has spent most of his creative life. ? " A stellar adaptation by Charles Way, moving, thoughtful and wonderfully drawn’.??????????????????????? What’s on Stage ***** ‘Way gives real depth to characters, replaces Dickens’ sentimentality with warmth and his censoriousness with moral indignation’. ?????????????????????????? The Independent ***** ‘daringly restructures Dickens’ plot, yet sticks to the motto of his lisping ringmaster Mr Sleary: “People mutht be amuthed.”’ ????????????????????????????????????????????The Observer ?

With grime music and Guyanese folk stories, Joseph Barnes-Phillip's semi-autobiographical story is a comic, tragic and honest portrayal of becoming a man. The story follows Rayleigh as he negotiates the tensions of growing up and taking responsibility – to his pregnant girlfriend, to his sick mother, to his church, to the multi-cultural community he grew up in and somewhere in the mix to himself. When the euphoric highs of teenage life in south London collide with his mum's terminal illness, all Rayleigh wants to do it watch anime in his pants and eat indomie. Love, life and masculinity meet head-on as Rayleigh tries to find his feet, torn between the new girl in his life and being there for his mum, while trying not to make the same mistakes as his dad.

THE PRINCE was written by Niccolo' Machiavelli in the 1500s. It has continued to be a best seller in many languages. Presently, it is translated into modern English, with illustrations by Benjamin Martinez and an Introduction by Adolph Cso.The Prince is a classic book that explores the attainment, maintenance, and utilization of political power in the western world. Machiavelli wrote The Prince to demonstrate his skill in the art of the state, presenting advice on how a prince might acquire and hold power. Machiavelli defended the notion of rule by force rather than by law. Accordingly, The Prince seems to rationalize a number of actions done solely to perpetuate power. It is an examination of power-its attainment, development, and successful use.

The dominant motives in Calderon's dramas are characteristically national: fervid loyalty to Church and King, and a sense of honor heightened almost to the point of the fantastic. Though his plays are laid in a great variety of scenes and ages, the sentiment and the characters remain essentially Spanish; and this intensely local quality has probably lessened the vogue of Calderon in other countries. In the construction and conduct of his plots he showed great skill, yet the ingenuity expended in the management of the story did not restrain the fiery emotion and opulent imagination which mark his finest speeches and give them a lyric quality which some critics regard as his greatest distinction. Of all Calderon's works, "Life is a Dream" may be regarded as the most universal in its theme. It seeks to teach a lesson that may be learned from the philosophers and religious thinkers of many ages—that the world of our senses is a mere shadow, and that the only reality is to be found in the invisible and eternal. The story which forms its basis is Oriental in origin, and in the form of the legend of "Barlaam and Josaphat" was familiar in all the literatures of the Middle Ages. Combined with this in the plot is the tale of Abou Hassan from the "Arabian Nights," the main situations in which are turned to farcical purposes in the Induction to the Shakespearean "Taming of the Shrew." But with Calderon the theme is lifted altogether out of the atmosphere of comedy, and is worked up with poetic sentiment and a touch of mysticism into a symbolic drama of profound and universal philosophical significance. LIFE IS A DREAM DRAMATIS PERSONAE Basilio King of Poland.Segismund his Son.Astolfo his Nephew.Estrella his Niece.Clotaldo a General in Basilio's Service.Rosaura a Muscovite Lady.Fife her Attendant. Chamberlain, Lords in Waiting, Officers,Soldiers, etc., in Basilio's Service. The Scene of the first and third Acts lies on the Polish frontier: of the second Act, in Warsaw. As this version of Calderon's drama is not for acting, a higher and wider mountain-scene than practicable may be imagined for Rosaura's descent in the first Act and the soldiers' ascent in the last. The bad watch kept by the sentinels who guarded their state-prisoner, together with much else (not all!) that defies sober sense in this wild drama, I must leave Calderon to answer for; whose audience were not critical of detail and probability, so long as a good story, with strong, rapid, and picturesque action and situation, was set before them. about author: Pedro Calderon de la Barca was born in Madrid, January 17, 1600, of good family. He was educated at the Jesuit College in Madrid and at the University of Salamanca; and a doubtful tradition says that he began to write plays at the age of thirteen. His literary activity was interrupted for ten years, 1625-1635, by military service in Italy and the Low Countries, and again for a year or more in Catalonia. In 1637 he became a Knight of the Order of Santiago, and in 1651 he entered the priesthood, rising to the dignity of Superior of the Brotherhood of San Pedro in Madrid. He held various offices in the court of Philip IV, who rewarded his services with pensions, and had his plays produced with great splendor. He died May 5, 1681. At the time when Calderon began to compose for the stage, the Spanish drama was at its height. Lope de Vega, the most prolific and, with Calderon, the greatest, of Spanish dramatists, was still alive; and by his applause gave encouragement to the beginner whose fame was to rival his own. The national type of drama which Lope had established was maintained in its essential characteristics by Calderon, and he produced abundant specimens of all its varieties. Of regular plays he has left a hundred and twenty; of "Autos Sacramentales," the peculiar Spanish allegorical development of the medieval mystery, we have seventy-three; besides a considerable number of farces.

RUINS OF ANCIENT CITIES, WITH GENERAL AND PARTICULAR ACCOUNTS OF THEIR RISE, FALL, AND PRESENT CONDITION. - BY CHARLES BUCKE This Volume contain these cities; Abydos, Abydus, ?gesta, ?ina, Agrigentum, Alba Longa, Alcantara, Alexandria, Amisus, Antioch, Argos, Ariammene, Arsinoe, Artaxata, Artemita, Athens, Babylon, Balbec, Byzantium, Cairo (Old), Cann?, Capua, Carthage, Catanea, Chalcedon, Ch?ronea, Corduba, Corcyra (Corfu), Corinth, Ctesiphon, Delphos, Ecbatana, Eleusis, Elis, Ephesus, Gerasa (Djerash), Granada, Gnidos, Heliopolis, Herculaneum, Hierapolis, Isfahan, Italica, Jerusalem, Laced?mon, Or Sparta, Laodicea, Leuctra, Magnesia, Mantinea, Marathon, Megalopolis, Megara, Memphis. Of chance or change, oh! let not man complain;Else shall he never, never, cease to wail;For from the imperial dome, to where the swainRears his lone cottage in the silent dale,All feel the assault of fortune's fickle gale.Art, empire, earth itself, to change are doom'd;Earthquakes have raised to heaven the humble vale;And gulfs the mountains' mighty mass entomb'd;And where the Atlantic rolls wide continents have bloom'd. {BEATTIE.} The reader is requested to observe, that, though the plan of this work is entirely his own, the compiler of it does not put it forth as in any way original in respect to language or description. It is, in fact, a much better book, than if it had been what is strictly called original, (which, indeed, must have involved an utter impossibility:) for it is a selection of some of the best materials the British Museum could furnish; sometimes worked up in his own language; and sometimes—and, indeed, very frequently—in that of others: the compiler having, at an humble distance and with unequal steps, followed the plan which M. Rollin proposed to himself, when he composed his celebrated history of ancient times.—"To adorn and enrich my own," says that celebrated writer, "I will be so ingenuous as to confess, that I do not scruple, nor am ashamed, to rifle whereever I come; and that I often do not cite the authors from whom I transcribe, because of the liberty I take to make some slight alterations. I have made the best use in my power of the solid reflections that occur in the Bishop of Meaux's Universal History, which is one of the most beautiful and most useful books in our language. I have also received great assistance from the learned Dean Prideaux's 'Connexion of the Old and New Testament,' in which he has traced and cleared up, in an admirable manner, the particulars relating to ancient history. I shall take the same liberty with whatever comes in my way, that may suit my design, and contribute to its perfection. I am very sensible, that it is not so much for a person's reputation to make use of other men's labours, and that it is in a manner renouncing the name and quality of author. But I am not over-fond of that title, and shall be extremely well pleased, and think myself very happy, if I can but deserve the name of a good compiler; and supply my readers with a tolerable history, who will not be over-solicitous to inquire what hand it comes from, provided they are but pleased with it."

The Aeneid is widely considered Virgil's finest work and one of the most important poems in the history of western literature. Virgil worked on the Aeneid during the last eleven years of his life (29–19 BC), commissioned, according to Propertius, by Augustus. The epic poem consists of 12 books in dactylic hexameter verse which describe the journey of Aeneas, a warrior fleeing the sack of Troy, to Italy, his battle with the Italian prince Turnus, and the foundation of a city from which Rome would emerge. The Aeneid's first six books describe the journey of Aeneas from Troy to Rome. Virgil made use of several models in the composition of his epic; Homer the preeminent classical epicist is everywhere present, but Virgil also makes especial use of the Latin poet Ennius and the Hellenistic poet Apollonius of Rhodes among the various other writers to which he alludes. Although the Aeneid casts itself firmly into the epic mode, it often seeks to expand the genre by including elements of other genres such as tragedy and aetiological poetry. Ancient commentators noted that Virgil seems to divide the Aeneid into two sections based on the poetry of Homer; the first six books were viewed as employing the Odyssey as a model while the last six were connected to the Iliad. Book 1 (at the head of the Odyssean section) opens with a storm which Juno, Aeneas' enemy throughout the poem, stirs up against the fleet. The storm drives the hero to the coast of Carthage, which historically was Rome's deadliest foe. The queen, Dido, welcomes the ancestor of the Romans, and under the influence of the gods falls deeply in love with him. At a banquet in Book 2, Aeneas tells the story of the sack of Troy, the death of his wife, and his escape, to the enthralled Carthaginians, while in Book 3 he recounts to them his wanderings over the Mediterranean in search of a suitable new home. Jupiter in Book 4 recalls the lingering Aeneas to his duty to found a new city, and he slips away from Carthage, leaving Dido to commit suicide, cursing Aeneas and calling down revenge in a symbolic anticipation of the fierce wars between Carthage and Rome. In Book 5, Aeneas' father Anchises dies and funeral games are celebrated for him. On reaching Cumae, in Italy in Book 6, Aeneas consults the Cumaean Sibyl, who conducts him through theUnderworld where Aeneas meets the dead Anchises who reveals Rome's destiny to his son. Book 7 (beginning the Iliadic half) opens with an address to the muse and recounts Aeneas' arrival in Italy and betrothal to Lavinia, daughter of King Latinus. Lavinia had already been promised to Turnus, the king of the Rutulians, who is roused to war by the Fury Allecto, and Amata Lavinia's mother. In Book 8, Aeneas allies with King Evander, who occupies the future site of Rome, and is given new armor and a shield depicting Roman history. Book 9 records an assault by Nisus and Euryalus on the Rutulians, Book 10, the death of Evander's young son Pallas, and 11 the death of the Volscian warrior princess Camilla and the decision to settle the war with a duel between Aeneas and Turnus. The Aeneid ends in Book 12 with the taking of Latinus' city, the death of Amata, and Aeneas' defeat and killing of Turnus, whose pleas for mercy are spurned. The final book ends with the image of Turnus' soul lamenting as it flees to the underworld.

1944. május k?zepét?l sz?k két hónap leforgása alatt a magyar csend?r?k, rend?r?k és hivatalnokok hatékony k?zrem?k?désével t?bb mint 430 ezer, zsidónak min?sített magyar állampolgárt deportáltak. Túlnyomó t?bbségüket Auschwitz-Birkenauba vitték és meg?lték. Vajon az események milyen láncolata vezetett ehhez a holokauszt t?rténetében is példátlan méret? és gyorsaságú akcióhoz? Hol határoztak a magyarországi ?végs? megoldásról”? Berlinben vagy Budapesten? Kik, mikor és milyen k?rülmények k?z?tt hoztak végs? d?ntést a magyar zsidók deportálásáról? K?D?R G?BOR és V?GI ZOLT?N az etnikai tisztogatásokat és népirtásokat, valamint a világháborús német és magyar d?ntéshozatali mechanizmust elemezve keres válaszokat a kérdésekre. ?gy vélik, hogy a tragédia hátterében két er?, két szándék találkozása állt. Az egyik a német népirtási program volt, amelynek gy?kerei Hitler és a nácik radikális antiszemitizmusában, fajhigiéniai és etnopolitikai elképzeléseiben lelhet?k fel. A másik pedig az a mára szinte elfelejtett magyar t?rténeti attit?d, amely évszázadok óta az ?idegennek” tekintett népcsoportok beolvasztására, kiszorítására és el?zésére t?rekedett, és amely rabul ejtette a hazai fajvéd?k és a politikai elit gondolkodását. A t?rténészpáros szerint 1944-ben e két t?rekvést leginkább megszemélyesít? szerepl?k, a német Adolf Eichmann és a magyar Endre László végzetes találkozása radikalizálta tovább azt a folyamatot, amely az európai zsidóüld?zés egyik leggyilkosabb d?ntéséhez vezetett.

1974-ben az Emmanuelle meghódította a francia mozikat, és r?vid id?n belül az egész világon hatalmas sikert aratott. A korabeli plakátokról egy húsz év k?rüli, r?vid hajú, félmeztelen szépség nézett kihívóan egy fonott karosszékéb?l. Ekkor még senki sem sejtette, hogy SYLVIA KRISTEL, ez az akkor még ismeretlen holland lány hamarosan a szexuális forradalom egyik emblematikus alakjává válik. A hírnévt?l és a sikert?l megrészegült színészn? egy csapásra a nemzetk?zi filmvilág ünnepelt sztárja lett, azonban nem kapott elég id?t, hogy feldolgozza a hirtelen j?tt népszer?séget, sem pedig a gyermekkorában ?t ért sérelmeket. A sztárok fény?z? és gondtalan életét élte, udvarlók seregei hevertek a lába el?tt, bejáratos volt a legcsillogóbb hollywoodi fogadásokra. Magánéletében azonban már k?zel sem volt ilyen szerencsés. Házasságai zátonyra futottak, a sorozatos sorscsapások és a múlt démonai el?l az alkoholba és drogokba menekült. Kicsapongásainak végül egy súlyos betegség vetett véget. Visszaemlékezéseiben ?szintén tárja elénk egy olyan asszony felemel? és megrendít? t?rténetét, akinek nem csak meztelen teste érdemel figyelmet.

A rock and roll nem csupán egy zenei m?faj, ?nem egy tánc”: maga az ?r?k fiatalság. Alkotás és feloldódás, amit nem magányos farkasoknak találtak ki. Csapatmunka, melyben zenész és hallgatósága egyaránt részt vesz. ?Mindenki itt van?” – kiáltja a sztár a színpadról, a t?meg pedig harsogva feleli: ?Mindenki!” Mert ahhoz, hogy egy dal megszülessen, hogy ezernyi torok visszhangozza az énekes mágikus szavait, valóban mindenkire szükség van. Az Azok a régi csibészek a hazai pop és rock legendáinak arcképcsarnoka. Csatári Bence t?rténész és Poós Zoltán író faggatja a popkultúra olyan ikonikus alakjait és nagyágyúit, mint Bródy János, Nagy Feró, Sz?rényi Levente, T?r?k ?dám, Pataky Attila, Zalatnay Sarolta és még sokan mások. Az interjúkból kirajzolódik a magyarországi rock and roll els? negyedszázadának íve Nógrádver?cét?l Londonig. A megszólalók mesélnek és mesélnek – a legvidámabb barakk k?nny?zenei szcénájáról, ?rületes bulikról, rend?rpofonokról és persze a rock and roll iránti olthatatlan szerelemr?l...

Na prostorima nekada?nje Jugoslavije u posljednjih sto godina dogodile su se vi?estruke promjene, nastajale su? i nestajale dr?ave i politi?ki sistemi, doga?ali su se brojni ratovi i prevrati, povijest je nemilice mar?irala ulicama razdvajaju?i obitelji i tra?e?i od pojedinca da joj se povinuje ili suprotstavi. O jednoj takvoj povijesti pi?e Igor ?tiks? u svojoj kapitalnoj knjizi Dr?avljanin, gra?anin, stranac, neprijatelj. Nastala kao plod dugogodi?njeg bavljenja temama dr?avljanstva i gra?anstva na doktorskim? i postdoktorskim studijima, niza predavanja i referata te iznimnoga terenskog rada, ova knjiga kao nijedna do sada propituje pravo pojedinca i njegovu ulogu unutar dr?ave. ?tiks iz pojma dr?avljanina i gra?anina razvija i dokazuje tezu o mijenama politi?kih sistema i zajednica te koliko su i kako utjecali na poziciju i ?ivot pojedinca. Odgovara na pitanja ?to uop?e zna?i biti dr?avljanin, biti uklju?en ili pak isklju?en, kako se osje?ati u poziciji gra?anina i ?to se doga?a kada se ona mijenja u onu stranca ili pak neprijatelja. Knjiga Dr?avljanin, gra?anin, stranac, nepri?jatelj povijesna je, kulturolo?ka i sociolo?ka, ali prije svega politi?ka studija koja pokazuje koliko su krhki identiteti, kako se lako stvaraju i grade novi te koliko je pitanje dr?avljanstva i gra?anstva va?no i danas.

Europa, 1900.–1914.: svijet u tra?enju, pulsiraju?e razdoblje kreativ?nosti i suprotnosti. Glavne su teme terorizam, globalizacija, imigranti, konzumerizam, propast moralnih vrijednosti i suparni?tvo velikih sila. Dvadeseto stolje?e nije se rodilo u rovovima kod Somme ili Passchendaela, nego u petnaest vrtoglavih godina koje su prethodile Prvome svjetskom ratu. U kratkom razdoblju novi svjetski poredak proiza?ao je iz tragi?nih suprotnosti staroga. Posljedice industrijske revolucije, na politi?kom i osobnom planu, osje?ale su se u cijelom svijetu: gradovi rastu zbog pristizanja seoskog stanovni?tva koje napu?ta svoje tradicionalne vrijednosti, znanost donosi napredak, ali i izume iz no?nih mora, obrazovanje je milijunima ljudi otvorilo nove mogu?nosti, masovno proizvedeni predmeti promijenili su svakodnevni ?ivot, radnici zahtijevaju udio u politi?koj vlasti, ?ene ?ele promijeniti svoj polo?aj u dru?tvu i prirodu seksualnih odnosa. Od nevjerojatne nade u novo stolje?e koju je utjelovio Svjetski sajam u Parizu 1900. do atentata na austrijskog nadvojvodu u Sarajevu 1914., povjesni?ar Philipp Blom ovo razdoblje istra?uje godinu po godinu. Premijeri i seljaci, anarhisti i glumice, znanstvenici i psihopati susre?u se na pozornici novoga stolje?a u ovom prikazu rasko?noga, nestabilnog doba na rubu katastrofe. Prelijepo napisana i puna vje?to ispri?anih anegdota, knjiga Vrtoglave godine o?ivljava ?udesa, u?ase i strahove ranoga dvadesetog stolje?a.

The Interrelation Between Art Worlds is a part of PhD thesis and it deals with the simultaneous and successive art using the illustrations of Bhagavad Gita, in 18 chapters, where each chapter has two versions. The substance of the author's interest is a transfer of thoughts and feelings from the ancient Indian epic, through visual elements, that is, the visualization of temporal arts. She tried to explain the philosophy of Bhagavad Gita?through composition, color, contrast, third dimension, structure, texture, proportion, rhythm and dynamics, which is particular because in India philosophy equals religion, and vice versa. Described is also the analogy between temporal and spatial arts, such as color (valeur), music (chord). Through the synergy of meaning and radiation on the illustrations, we can achieve experience of "reading the image". ? Tatjana Burzanovi? is a writer, artist, graphics designer, and interior designer, professor at the Faculty of Culture and Tourism, where she teaches Indian culture, and Faculty of Design and Multimedia, at the University of Donja Gorica in Podgorica, Montenegro. She graduated from Academy of Fine Arts in Sarajevo, and acquired her PhD at Faculty of Art and Design at the University of Belgrade. She presented her works in numerous solo and group exhibitions, and took part in several artistic and pedagogical colonies. She received several awards for her book designs. The book The Interrelation Between Art Worlds?was awarded at 11th Book Fair in Podgorica for the best designed art book.

Idu?i ?enskom stranom hrvatske knji?evnosti Lidija Duji? sla?e koncizan i zanimljiv pregled izabranog segmenta doma?e knji?evne povijesti. Ocrtava sociolo?ke krokije hrvatskih knji?evnica, iznosi kratke karakterizacije, uzgred problematiziraju?i ?enski geto didakti?ke i dje?je knji?evnosti. Analiziraju?i i ponovno vrednuju?i neka djela, prihva?ena pod etiketom ??enskog pisma“, autorica dovodi u pitanje mnoga op?a mjesta, ne ?tite?i se krinkom autoriteta znanstvene objektivnosti – pi?u?i u prvom licu. Knjiga se temelji na njezinoj doktorskoj disertaciji, ali je pisana popularno te je namijenjena ?iroj publici.

Iwo Jima, Okinawa, and Tarawa are legendary names on the US Marines’ roll of honour, a testament to the bravery and sacrifice of Marines who answered the call to arms following the Japanese surprise attack on Pearl Harbor in December 1941. Growing to a peak of almost half a million men in 1945, at the beginning of the war the Marine Corps was a small expeditionary force with outdated equipment and an unproven new mission – amphibious assault. The Marines in World War II charts the combat history of the Marines from Wake Island to Okinawa, covering every major battle in between: Guadalcanal, Kwajalein Atoll, Bougainville, Saipan, Guam, and Peleliu, to name just a few. In addition to chronicling these hard-fought battles, the book also examines the important role played by Navajo code talkers, the development of Marine Corps aviation, the little-known role of Marines in the European theatre, and the story behind the iconic “Raising the Flag on Iwo Jima” photograph. Today, the Marines are best remembered as the gritty, determined combat force that matured rapidly, learned hard lessons, took on the committed defenders of the Empire of Japan, crossed the Pacific Ocean island by island, and fought, bled, died – and won.

The Glock series of handguns represents one of the greatest steps forward in pistol design since the introduction of the Colt M1911. Inspired by the Austrian Army’s 1980 request for a new sidearm, the Glock Ges.m.b.H. company set to work designing and developing a revolutionary new weapon that combined reliability, firepower, and the latest in material technology. Within two years it had been adopted by the Austrian Army, but such were its qualities that within a decade the handgun was a dominant presence in the global military, law enforcement, and civilian markets. More than 2.5 million Glocks have been sold to date, to more than 50 nations. Glock: The World’s Handgun follows the evolution of the Glock handgun from concept to market leader, and explains each of the many variants and calibers, starting with the original Glock 17 and working through to the latest fourth generation models, including the 9mm Model 19, .40 caliber Model 22., and subcompact Model 26. Illustrated with more than 200 artworks and photographs, Glock: The World’s Handgun is an expertly written account of one of the most influential handguns in the world today.

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 first volume of the series, the book describes the build-up to the landings themselves, the German preparations for defending the French coastline, and the reasons behind the final Allied decision to attack in Normandy on 6 June 1944. With colour and black & white photographs, 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.

Egy t?kéletes férfi és egy kül?nleges lány. Vajon mit rejthet a hibátlan álca? William, a milliárdos üzletember Seattle-be utazik, hogy megtalálja elhunyt nevel?apja egyetlen vér szerinti gyermekét, akit ténylegesen megillet a férfira hagyott ?r?kség. Mik?zben piszkos módszereivel a valódi ?r?k?s után kutat, ?sszehozza a sors egy dacos, szemtelen, fiatal lánnyal, aki egyedi szépségével azonnal megbabonázza ?t. William felrúgva saját szabályait, enged Jessica csábításának. Ahogy egyre k?zelebb kerülnek egymáshoz, William ráj?n, hogy Jessica nem egy átlagos lány, a múltját s?tét titkok rejtik, ami után a férfi hiába nyomoz, folyton zsákutcába fut.Mer?ben eltér? személyiségük, életvitelük és a k?ztük lév? korkül?nbség nehéz d?ntés elé állítja ?ket. Megéri ennyit szenvedni egy boldog kapcsolat lehet?sége miatt? Ha fény derül minden titokra, képesek lesznek ugyanúgy nézni egymásra, mint azel?tt?Lilly Shade t?rténete nemcsak arra bizonyíték, hogy nincsenek véletlenek, de arra is, hogy a sors sem mindig kegyes. A t?kéletes nem valódi, és ami annak látszik, csupán álca. Az ilyen álcák pedig a legs?tétebb titkokat rejtegetik.

Ervin, ?va és Csaba t?rténete folytatódik. A F?pap és a praetoriánusok serege már nem fenyegetik ?ket, helyettük azonban egy gyilkos klán, egy természetimádó szekta és egy minden dimenziót uralni akaró entitás háborújának frontvonalában találják magukat. A tét pedig nem kevesebb, mint a F?ld j?v?je. Vajon az emberiség ki tud lépni a saját árnyékából, vagy végleg elenyészik? H?seink meg tudnak birkózni a rájuk váró akadályokkal? Bízhatnak-e az új sz?vetségeseikben? ?s egymásban??rmány, árulás, átalakulás és áldozathozatal. A világunk sorsa most d?l el!