You Can Grow Your Own Orchids, Yes You Can! You're probably already thinking to yourself If I have to read a book to grow a flower in a pot, why should I bother?! Yeah, I know –but to be honest, there are a lot of excellent things that come with being able to master at least growing one successful pot of orchids. For one thing, they're gorgeous! Who wouldn't want to say, "Yeah, I grew those…"? Damn right you would! Being a badass indoor gardener is one thing, but tackling tropical plants like orchids is a feat unto itself. It's an artform. Think about it for a second. Most of us do not live in the climate conducive to these beauties just thriving on their own in the wild. Anyone who already actively grows and nurtures any species of orchid knows that you've got to climate control that environment like you wouldn't believe. It's not just about that, but you also must watch other factors too. It's an extremely rewarding yet very challenging experience. In addition, there are so many different species of orchid out there that you can safely assume that each plant you grow is going to be unique to itself. You can get some that you know will definitely be the same color, size or general shape, but we all know that there are so many things unique to each plant. How many flower spikes you end up with after the first blooms dissipate, how many leaves you have, how tall it grows and so many other things are all going to be different. The cool thing is that with the right know-how, you can nurture one potted orchid for years before you have to kiss it goodbye. In fact, you might keep them growing for almost a decade without even realizing it if you can take care them properly. It will also bolster your confidence when it comes to indoor gardening. You might have never planted anything outside, but you can throw these puppies in a pot and watch them go for forever if you follow a few key pointers and stay on top of their care. You just need to lovingly embrace the hobby and be patient with the process. Heck, you could have a whole atrium or sunroom full of tropical flowers by the time you're finished fooling around with different kinds –and there are a lot of them! Just imagine the possibilities… In this book, you're going to learn all about how to start off on the right foot with one of the cantankerous ones: orchids. So get out your gloves, grab a bag of potting mix, start jotting down supplies on a notepad, and get growing!

Il Principe (The Prince) is a political treatise by the Florentine public servant and political theorist Niccolò Machiavelli. Originally called De Principatibus (About Principalities), it was written in 1513, but not published until 1532, five years after Machiavelli's death. The treatise is not representative of the work published during his lifetime, but it is the most remembered, and the work responsible for bringing "Machiavellian" into wide usage as a pejorative term. It has also been suggested by some critics that the piece is, in fact, a satire.

On Liberty is a philosophical work by 19th century English philosopher John Stuart Mill, first published in 1859. To the Victorian readers of the time it was a radical work, advocating moral and economic freedom of individuals from the state.

Endu?stri 4.0 d?nemi ile fabrikadaki u?retim ekipmanlar? birbirleriyle konu?up anla?acak ve gelecekte insans?z fabrikalar yayg?nla?acak. ?? kazalar? azalacak ve teknolojik verimlilik sa?lanacak. Yeni endu?stri devrimi hem enerji tasarrufu sa?layacak hem de maliyetleri du??u?recek. Alman Hu?ku?metinin u?retim su?re?lerini bilgisayarla?ma y?nu?nde te?vik etme ve yu?ksek teknolojiyle donatmas? projesi olarak kabul edilen Endu?stri 4.0, ayn? zamanda d?rdu?ncu? sanayi devrimi anlam?na geliyor. Endu?stri 4.0 ile tu?m yaz?l?m ve networklerde u?ru?n geli?tirme, u?retim ve servis su?re?lerinin ileti?imi, makinalar?n ve u?ru?nlerin ger?ek zamanl? bilgi al??veri?i, otonom kontrol ve optimizasyonu mu?mku?n olacak. 1784’te ortaya ??kan ilk sanayi devriminde, su ve buhar gu?cu?nu?n kullan?m?yla u?retim yap?lmas? hakim iken, 1870’lerde elektrik enerjisinin kullan?m?, ikinci sanayi devriminin de kap?lar?n? a?t?. Dijital devrim olarak da adland?r?labilecek u??u?ncu? sanayi devrimi ise, 1969’da elektronik ve bili?im teknolojilerinin kullan?m? ile ortaya ??kt?. 2013 y?l?na geldi?imizde ise internet uygulamalar?, yatay-dikey entegrasyonlu ve ger?ek zamanl? yeni de?er zincirleri, siber-fiziksel sistemler ve ak?ll? fabrikalar hayatlar?m?zdaki varl???n? gu??lendirdi. Yazar Hakk?nda [Tarkan ?zhan, 1969-] ???REN?M DURUMU: Trakya üniversitesi B?lüm: Fen Fakultesi Kimyager MESLE??: Borsac?, Trader, Portfoy Y?netimi Aktif ?al??ma süresi; 25 y?l

Fascinant – cea mai bun lucrare de istorie militar din ultimii ani i o analiz edificatoare a disputelor care continu s mocneasc amenintor i azi. O carte extraordinar sub toate aspectele." – The New York Times O relatare palpitant i revelatoare a uneia dintre cele mai zbuciumate i legendare perioade din istoria secolului al XX-lea – Revolta Arab i marele joc" secret de a controla Orientul Mijlociu. CARTE INCLUS PE LISTA CELOR MAI BUNE TITLURI ALE ANULUI DE New York Times Christian Science Monitor NPR Seattle Times St. Louis Dispatch Chicago Tribune American Library Association Bazat pe cercetri extinse i intense, munc asidu n arhive, Lawrence n Arabia aduce o nou perspectiv asupra modului n care s-a configurat lumea Orientului Mijlociu. Cu o aciune de proporii epice, portretizri expresive, accente critice n condamnarea distrugerilor provocate de comploturile coloniale europene, volumul surprinde strlucit felul n care nesbuina trecutului declaneaz suferina prezentului. Printre numeroasele istorii individuale din Primul Rzboi Mondial care vor fi povestite i repovestite n cadrul centenarelor commemorate ntre 2014 i 2018, cea a lui T.E. Lawrence iese n eviden… Cartea lui Anderson nu putea fi mai oportun. Acum, cnd atenia ntregii lumi se concentreaz asupra Siriei i Egiptului, este uluitor s priveti n urm cu o sut de ani i s vezi un tablou asemntor…. Apelnd la o distribuie bogat, Anderson reuete s exploreze haosul din Orientul Mijlociu de la nceputul secolului al XX-lea dintr-o varietate de perspective distincte i revelatoare totodat. O mrturie captivant, de o mare complexitate i profunzime. – The New York Times Book Review Vast, hipnotic i – s ndrznim s o spunem – cinematografic n detaliu, Lawrence n Arabia ilustreaz modul n care biografia i istoria se poteneaz reciproc. – The Wall Street Journal Absorbii de mcelul ce avea loc n traneele Europei n Primul Rzboi Mondial, combatanii occidentali acordau prea puin importan teatrului de lupt din Orientul Mijlociu. Ca urmare, conflictul de aici a fost influenat surprinztor de mult de o mn de aventurieri i ofieri de rang mrunt aflai departe de marile coridoare ale puterii: Curt Prüfer – universitar tern, ataat pe lng Ambasada German din Cairo, Aaron Aaronsohn – renumit agronom provenit din Romnia i sionist nflcrat. William Yale – descendent scptat al unei familii aristocratice americane. n centrul acestui cerc se afla Lawrence – la nceputul lui 1914, doar un arheolog care lucre la spturi prin deerturile Siriei. n 1917 ajunsese deja cea mai romantic figur din Primul Rzboi Mondial, luptndu-se att cu inamicii Marii Britanii, ct i cu propriul guvern pentru a-i transforma n realitate viziunea sa asupra destinului poporului arab. Drumurile ncruciate ale acestor patru personaje – intrigile pe care le-au pus la cale, btliile pe care le-au purtat, trdrile pe care le-au suferit sau le-au uneltit ei nii – oglindesc grandoarea, complexitatea i tragedia rzboiului din deert.

ALEXANDER the Great died when he was quite young. He was but thirty-two years of age when he ended his career, and as he was about twenty when he commenced it, it was only for a period of twelve years that he was actually engaged in performing the work of his life. Napoleon was nearly three times as long on the great field of human action.??Notwithstanding the briefness of Alexander's career, he ran through, during that short period, a very brilliant series of exploits, which were so bold, so romantic, and which led him into such adventures in scenes of the greatest magnificence and splendor, that all the world looked on with astonishment then, and mankind have continued to read the story since, from age to age, with the greatest interest and attention.??The secret of Alexander's success was his character. He possessed a certain combination of mental and per-sonal attractions, which in every age gives to those who exhibit it a mysterious and almost unbounded ascendency over all within their influence. Alexander was characterized by these qualities in a very remarkable degree. He was finely formed in person, and very prepossessing in his manners. He was active, athletic, and full of ardor and enthusiasm in all that he did.

ALFRED THE GREAT figures in history as the founder, in some sense, of the British monarchy. Of that long succession of sovereigns who have held the scepter of that monarchy, and whose government has exerted so vast an influence on the condition and welfare of mankind, he was not, indeed, actually the first. ??There were several lines of insignificant princes before him, who governed such portions of the kingdom as they individually possessed, more like semi-savage chieftains than English kings. Alfred followed these by the principle of hereditary right, and spent his life in laying broad and deep the foundations on which the enormous superstructure of the British empire has since been reared. If the tales respecting his character and deeds which have come down to us are at all worthy of belief, he was an honest, conscientious, disinterested, and farseeing statesman. ??If the system of hereditary succession would always furnish such sovereigns for mankind, the principle of loyalty would have held its place much longer in the world than it is now likely to do, and great nations, now republican, would have been saved a vast deal of trouble and toil expended in the election of their rulers.

KING CHARLES THE SECOND was the son and successor of King Charles the First. These two are the only kings of the name of Charles that have appea-red, thus far, in the line of English sovereigns. Nor is it very probable that there will soon be another. The reigns of both these monarchs were stained and tarnished with many vices and crimes, and darkened by national disasters of every kind, and the name is thus connected with so many painful associations in the minds of men, that it seems to have been dropped, by common consent, in all branches of the royal family.??The reign of Charles the First, as will be seen by the history of his life in this series, was characterized by a long and obstinate contest between the king and the people, which brought on, at last, a civil war, in which the king was defeated and taken prisoner, and in the end beheaded on a block, before one of his own pala-ces. During the last stages of this terrible contest, and before Charles was himself taken prisoner, he was, as it were, a fugitive and an outlaw in his own dominions. His wife and family were scattered in various foreign lands, his cities and castles were in the hands of his enemies, and his oldest son, the prince Charles, was the object of special hostility. The prince incurred, therefore, a great many dangers, and suffered many heavy calamities in his early years. He lived to see these calamities pass away, and, after they were gone, he enjoyed, so far as his own personal safety and welfare were concerned, a tranquil and prosperous life. The storm, however, of trial and suffering which enveloped the evening of his father's days, darkened the morning of his own. ??The life of Charles the First was a river rising gently, from quiet springs, in a scene of verdure and sunshine, and flowing gradually into rugged and gloomy regions, where at last it falls into a terrific abyss, enveloped in darkness and storms. That of Charles the Second, on the other hand, rising in the wild and rugged mountains where the parent stream was engulfed, commences its course by leaping frightfully from precipice to precipice, with turbid and foaming waters, but emerges at last into a smooth and smiling land, and flows through it prosperously to the sea.

HANNIBAL was a Carthaginian general. He acquired his great distinction as a warrior by his desperate contests with the Romans. Rome and Carthage grew up together on opposite sides of the Mediterranean Sea. For about a hundred years they waged against each other most dreadful wars. There were three of these wars. Rome was successful in the end, and Carthage was entirely destroyed.?There was no real cause for any disagreement between these two nations. Their hostility to each other was mere rivalry and spontaneous hate. They spoke a different language; they had a different origin; and they lived on opposite sides of the same sea. So they hated and devoured each other.?Those who have read the history of Alexander the Great, in this series, will recollect the difficulty he experienced in besieging and subduing Tyre, a great maritime city, situated about two miles from the shore, on the eastern coast of the Mediterranean Sea. Cart-hage was originally founded by a colony from this city of Tyre, and it soon became a great commercial and maritime power like its mother. The Carthaginians built ships, and with them explored all parts of the Mediterranean Sea.

THERE were three great European nations in ancient days, each of which furnished history with a hero: the Greeks, the Carthaginians, and the Romans.??Alexander was the hero of the Greeks. He was King of Macedon, a country lying north of Greece proper. He headed an army of his countrymen, and made an excursion for conquest and glory into Asia. He made himself master of all that quarter of the globe, and reigned over it in Babylon, till he brought himself to an early grave by the excesses into which his boundless prosperity allured him. His fame rests on his triumphant success in building up for himself so vast an empire, and the admiration which his career has always excited among mankind is heightened by the consideration of his youth, and of the noble and generous impulses which strongly marked his character.??The ROMAN hero was CAESAR. He was born just one hundred years before the Christian era. His renown does not depend, like that of Alexander, on foreign conquests, nor, like that of Hannibal, on the terrible energy of his aggressions upon foreign foes, but upon his protracted and dreadful contests with, and ultimate triumphs over, his rivals and competitors at home.

ELIZABETH was about three years old at the death of her mother. She was a princess, but she was left in a very forlorn and desolate condition. She was not, however, entirely abandoned. Her claims to inherit the crown had been set aside, but then she was, as all admitted, the daughter of the king, and she must, of course, be the object of a certain degree of consideration and ceremony. It would be entirely inconsistent with the notions of royal dignity which then prevailed to have her treated like an ordinary child.??Next came Elizabeth, who was about fourteen years of age. She was the daughter of the king's second wife, Queen Anne Boleyn. She had been educated a Protestant. She was not pretty, but was a very lively and sprightly child, altogether different in her cast of character and in her manners from her sister Mary.??Then, lastly, there was Edward, the son of Jane Seymour, the third queen. He was about nine years of age at his father's death. He was boy of good character, mild and gentle in his position, fond of study and reflection, and a general favorite with all who knew him.

Referindu-se la Pesc?ru?ul ?ntr-o scrisoare din octombrie 1895, Cehov nota, ?ntre altele: ?Scriu o pies? pe care probabil nu o voi termina p?n? la sf?r?itul lui noiembrie. O scriu nu f?r? pl?cere, de?i m? tem de conven?iile scenei. E o comedie, exist? trei roluri pentru femei, ?ase pentru b?rba?i, patru acte, peisaje (priveli?tea unui lac), o mul?ime de conversa?ii despre literatur?, pu?in? ac?iune, mult? iubire“. Premiera s-a dovedit dezastruoas?, editorul s?u aduc?ndu-i acuze ca, pild?, la?itatea evident?, caracterul din cale afar? de feminin. Con?tient de geniul s?u, Cehov riposteaz?: ?De ce aceast? calomnie? Dup? reprezenta?ie am luat cina la Romanovi. Pe cuv?ntul meu de onoare. Apoi m-am dus la culcare, am dormit s?n?tos ?i a doua zi am mers acas? f?r? a suspina vreo nemul?umire. Dac? a? fi fost un la?, a? fi alergat de la un editor la altul ?i de la un actor la altul, i-a? fi implorat s? fie ?ng?duitori ?i a? fi petrecut dou? trei s?pt?m?ni ?n Petersburg, agit?ndu-m? cu Pesc?ru?ul meu, cu emo?ie, cu o transpira?ie rece ?n lamenta?ii. Am ac?ionat at?t de rece ?i de responsabil precum un om care a f?cut o ofert? ?i apoi a fost ?nt?mpinat cu un refuz ?i nu mai are nimic altceva de f?cut dec?t s? plece. ?ntr-adev?r, vanitatea mea a fost n?ucit?, dar ?ti?i, nu a fost o lovitur? din senin. A?teptam un e?ec ?i m? preg?tisem pentru el precum te-am prevenit cu o absolut? sinceritate“.

Cartea de fa?? r?spunde unor ?ntreb?ri majore: ce este omul? Cine este omul? De ce este omul?Cartea cuprinde teme subiective de medita?ie, filosofie diletant? ?i analiz? psihologic?, ?n genul unor confesiuni, fiind structurat? pe trei p?r?i. Cuvintele abuzive reprezint? o g?ndire fraged?, haotic?, pueril?, prima descoperire a propriului g?nd ?n contradic?ie cu g?ndirea lumii ?i cu g?ndirea proprie ?n alt? faz? a ei, necesitatea dubl?rii g?ndirii ?n dezacordurile ei.Dialogurile sunt descoperirea min?ii personajului ?n proprie minte, descoperirea personajelor vie?ii ?i amintiri fugare ale unor ?nt?mpl?ri obi?nuite care primesc subiectivism paranoic.A treia parte prime?te obiectivitatea, a?a zis? universal?, a unui anumit Narator, care reinterpreteaz? ?i reintegreaz? g?ndurile unui anumit om, ales la ?nt?mplare, dar decis totu?i de circumstan?ele c?r?ii. Dovedirea c? omul ?i ?nsumeaz? pe to?i, lumea.

Ac?iunea informativ? Nichita Smochin? reprezint? rezultatul cercet?rii ?n Arhiva CNSAS.Documentele publicate sub egida Institutului de Istorie ?George Bari?iu“ al Academiei Rom?ne au ca subiect urm?rirea informativ? a lui Nichita Smochin? de c?tre Securitate ?n perioada 1952-1962. Dup? abandonarea Rom?niei ?n sfera de influen?? sovietic?, activitatea academic?, publicistic? ?i umanitar?, desf??urat? ?n perioada interbelic? ?i ?n timpul celui de al Doilea R?zboi Mondial, dar mai ales calitatea de consilier al mare?alului Ion Antonescu, l-au plasat pe cel mai important militant pentru afirmarea spiritului rom?nesc ?n Transnistria ?n fruntea listei du?manilor URSS.FragmentDin nota privind ?nt?lnirea agentului ?Speran?a“ cu Nichita Smochin?: ?n ziua de 17 octombrie 1952, informatorul ?Speran?a“, sub pretextul c? vrea s? primeasc? lec?ii de limba rus? ?n scris, s-a dus la Smochin? Nichita, din str. N. Golescu nr. 14. La intrare ?Speran?a“ a fost ?nt?mpinat? de fiica lui Smochin?, care nu prea vroia s? o primeasc? ?n?untru. Dup? ce a fost primit? ?n?untru, a venit ?i Smochin?, cu care a ?nceput discu?ia. Din discu?ii a rezultat c? Smochin? ?n prezent traduce din limba rus? ?n limba rom?n? diferite c?r?i, pe care le prime?te de la o redac?ie din apropiere de locuin?a sa. A mai rezultat c? el, p?n? ?n anul 1938, a locuit ?n Ia?i, dup? care s-a mutat ?n Bucure?ti. Este v?duv, locuie?te ?mpreun? cu fiica sa, ginerele s?u ?i un nepot. Este o fire ?nchis?, necomunicativ?, ?ns? fa?? de ?Speran?a“ s-a ar?tat foarte binevoitor, mai ales v?z?nd c? ?tie la perfec?ie s? vorbeasc? limba rus?. Toat? conversa?ia a fost dus? ?n limba rus?. Sursa: ?Speran?a“. Valoarea: serioas?. Nota biroului: S-au trasat instruc?iuni informatorului s? se mai duc? la Smochin? ?i s? primeasc? lec?ii ?n scris, iar deocamdat? s? nu deschid? discu?ia despre trecutul s?u, pentru a putea c?p?ta ?ncrederea lui Smochin?, iar la a treia vedere s? deschid? discu?ia. Nota superiorului: ?S? se urm?reasc? ?n continuare ac?iunea lui Smochin?, p?n? vom primi noi dispozi?iuni de la Cabinet. Informatorului s? i se dea bani pentru a pl?ti medita?ia pe care o prime?te de la Smochin? (ss)“.

Volumul Dic?iunea ideilor, apar?in?nd profesorului Mircea Martin de la Facultateade Litere a Universit??ii Bucure?ti, este o contribu?ie valoroas? ?i original? la analiza unui raport extrem de important ?n teoriile socio-umane ale cunoa?terii, anume raportul dintre natural, artificial ?i autentic, aplicat asupra discursului metaliterar. Cartea se constituie ca o ?nsumare de analize a acestui raport ?n opera unor teoreticieni ai fenomenului literar rom?ni ?i str?ini: Tudor Vianu, G. C?linescu, B. Fondane, Matei C?linescu, Marcel Raymond, Roland Barthes, Carlos Bouso?o, Jaap Linnvelt. Departe de a fi o simpl? ?nsumare de analize aplicate, cartea este de fapt o critic? aconceptelor folosite deopotriv? de cercetarea antropologic?, cea estetic? ?i cea pur literar? ?i o contribu?ie esen?ial? la un proces de inserare ?nmodernitate a culturii rom?ne. Contribu?iile teoreticienilor rom?ni sunt v?zute ?n raportul lor de originalitate-sincronicitate cu cele ale cercet?torilor str?ini, ?nscriindu-se ?ntr-un proces de organicitate care implic? categorii culturale largi.

Demersul Antoanetei Olteanu, reputat? traduc?toare de limba rus? ?iexpert? ?n istoria cultural? a Rusiei, se distinge at?t prin calitatea informa?iilor, adesea inedite, c?t ?i prin compozi?ia complex?, care ?mbin? viziunea sintetic? cu o perspectiv? transcultural? exersat?. Cartea se recomand? de la sine at?t cititorului profesionist, care g?se?te aici o serie de date altfel greu accesibile, c?t ?i celui interesat de istoria ?i cultura Europei ?n ansamblu. Dup? cum anun?? ?i subtitlul, lucrarea reconstituie o istorie cultural? a secolului al XIX-lea, realiz?nd, ?n fapt, o fresc? a uneia dintre cele mai captivante perioade din istoria Rusiei, cea imperial?. Datele prezentate acoper? practic toate Aspectele vie?ii politice, sociale, economice ?i culturale ale acestui interval de timp, marcat at?t de aura ?arilor, c?t ?i de nenum?ratele revolte populare. Tabloul evenimentelor majore este ?ntregit cu minu?ioase inventare de titluri nobiliare, cu date economice consemnate cu acribie, cu o expunere vie a panoramei cutumelor sociale, familiale ?i religioase, merg?nd de la modalit??ile de confec?ionare a juc?riilor sau a bijuteriilor p?n? la istorii ale ceaiului sau vodcii. Atmosfera epocii cap?t? un contur des?v?r?it prin citarea unor fragmente din lucr?ri ?tiin?ifice de referin??, din jurnalele de c?l?torie ?i din publicistica vremii, dar ?i din operele marilor scriitori ai vremii, ca Dostoievski, Gogol ?i Tolstoi. Se contureaz?, astfel, o imagine neconven?ional? a Rusiei, o na?iune confruntat? permanent cu tensiunea unei alegeri fundamentale, care pune ?n opozi?ie modelul str?in ?i inegalabila for?? intern?. Autoarei ?i revine meritul de a fi surprins aspectele esen?iale ale acestei tensiuni, cu ample ecouri ?n perioadamodern? ?i cu evidente efecte asupra mentalit??ii contemporane.

The Code of Hammurabi (Codex Hammurabi) is a well-preserved ancient law code, created ca. 1790 BC (middle chronology) in ancient Babylon. It was enacted by the sixth Babylonian king, Hammurabi. One nearly complete example of the Code survives today, inscribed on a seven foot, four inch tall basalt stele in the Akkadian language in the cuneiform script. One of the first written codes of law in recorded history. These laws were written on a stone tablet standing over eight feet tall (2.4 meters) that was found in 1901.

Cartea pe care o ?ine?i ?n m?n? este periculoas?. Incomod?, scor?oas?, incendiar? fiind, ?n mod cert, va deranja unele personaje, nelipsite de importan??, din arena politicii rom?ne?ti, care confund? adeseori politica cu diletantismul, tr?d?nd interesele sus?inute cu at?ta patos ?n campaniile electorale. ?n mod sigur, Nu tr?da?i, v? rog! va alarma edilii capitalei ce se ?ntrec ?n a distruge ?micul Paris“ de pe vremuri. Aceast? carte, a?adar, va deranja nu pu?in? lume prin scenele din via?a social-politic? post-decembrist?, cu at?t mai mult, cu c?t umorul ?fichiuitor nu-i este str?in nici pe departe autorului. Nici deta?area…

The present ebook comprises the complete writings of William Shakespeare (37 plays, 160 sonnets, 5 poetry books). It comes with 150 original illustrations which are the engravings John Boydell commissioned for his Boydell Shakespeare Gallery.------------Contents:COMEDIES:The Comedy of ErrorsThe Taming of the ShrewThe Two Gentlemen of VeronaLove’s Labor’s LostA Midsummer Night’s DreamThe Merchant of VeniceThe Merry Wives of WindsorMuch Ado about NothingAs You Like ItTwelfth Night, or What You WillThe History of Troilus and CressidaAll’s Well That Ends WellMeasure for MeasureHISTORIES:The First Part of Henry the SixthThe Second Part of Henry the SixthThe Third Part of Henry the SixthThe Tragedy of Richard the ThirdThe Life and Death of King JohnThe Tragedy of King Richard the SecondThe First Part of Henry the FourthThe Second Part of Henry the FourthThe Life of Henry the FifthThe Famous History of the Life of King Henry the EighthTRAGEDIES:The Tragedy of Titus AndronicusThe Tragedy of Romeo and JulietThe Tragedy of Julius CaesarThe Tragedy of Hamlet, Prince of DenmarkThe Tragedy of Othello, the Moor of VeniceThe Tragedy of King LearThe Tragedy of MacbethThe Tragedy of Antony and CleopatraThe Tragedy of CoriolanusThe Life of Timon of AthensROMANCES:Pericles, Prince of TyreCymbelineThe Winter’s TaleThe TempestThe Two Noble KinsmenPOEMS:Venus and AdonisThe Rape of LucreceSonnetsA Lover’s ComplaintThe Passionate PilgrimThe Phoenix and Turtle

De la ?nfiin?area sa, acum o sut? de ani, MI6 a fost ?nconjurat de mister ?i a avut un aer aproape mitic. Pentru opinia public?, no?iunea de ?spion“ a fost modelat? de universurile fic?ionale ale unor scriitori precum Ian Fleming, p?rintele lui James Bond, ?i John le Carré, creatorul cerebralului Smiley. Gordon Corera le ofer? cititorilor s?i ?ansa unic?, f?r? precedent, de a p?trunde ?n aceast? lume secret? ?i de a observa realitatea care a stat la baza fic?iunii. Cartea prezint? pove?ti individuale – mai degrab? dec?t pe cele ale institu?iilor sau descrierea evolu?iei situa?iei politice de-a lungul timpului –, scopul fiind acela de a explora rela?iile unice ?i personale din spatele spionajului – ceea ce Graham Greene numea ?factorul uman“, cu alte cuvinte, ?n cazul de fa??, motiva?iile ?i loialit??ile unui spion sau ale unui tr?d?tor ?i faptele care decurg de aici.De la ?nceputurile R?zboiului Rece p?n? ?n ziua de azi, MI6 a suferit o transformare extraordinar?, devenind dintr-o organiza?ie de diletan?i, cu iz de club select, una modern?, profesionist?, dar nu mai pu?in controversat?. Iar Gordon Corera ?i dezv?luie deopotriv? e?ecurile ?i succesele de-a lungul timpului, ?n contextele politice aferente. Marile drame ale R?zboiului Rece, ridicarea ?i c?derea Zidului Berlinului, Criza Rachetelor Cubaneze, atacurile de la 11 septembrie 2001, r?zboiul din Irak – toate aceste evenimente care au marcat istoria reprezint? fundalul pentru pove?tile adev?rate cu spioni.Corera prezint? cazurile interesante ale celor care au spionat, au min?it, au ?n?elat ?i, ?n unele cazuri, chiar ?i-au pierdut via?a ?n slujba ??rii pe care au servit-o. ?i oric?t de palpitante ar fi c?r?ile sau filmele cu spioni, ve?i vedea c?, cel pu?in aici, via?a bate filmul.

Lucrarea abordeaz? cele mai relevante manifest?ri ale modernismului literar interbelic, propun?nd spre analiz? reprezentan?i ai poeziei (George Bacovia, Ion Barbu, Lucian Blaga, Ion Vinea, Ilarie Voronca, Tudor Arghezi), ai prozei (Anton Holban, Camil Petrescu, Max Blecher, Mircea Eliade), tendin?ele ?i mi?c?rile coagulate ?n jurul marilor reviste interbelice (Sbur?torul, Contimporanul, 75 H.P., Integral). Volumul se adreseaz? elevilor de liceu care doresc s?-?i aprofundeze cuno?tin?ele referitoare la una dintre cele mai importante v?rste literare rom?ne?ti, miz?nd ?i pe redescoperirea cititorului avizat, dornic s?-?i sus?in? punctele de vedere, s?-?i modeleze gustul estetic ?i s? descopere modele, ierarhii, valori.