O istorie politico-sentimental? a capitalei noastre. De ce o istorie politico-sentimental?? Pentru c?, ?n evolu?ia Bucure?tiului, de-alungul secolelor, afacerile politice s-au ?mpletit adesea, inevitabil, cu b?t?ile inimii. Chiar prima perioad? a cet??ii, ca ?i capital? domneasc?, tutelat? de figu ra dominant? a doamnei Chiajna, poate fi b?nuit? de un senzualism crud care a deschis drum acelui fenomen pe care Ionescu-Gion ?l numea at?t de plastic ?ginecolatrie“, adic? ascultarea dovedit? de domnitorii valahi fa?? de so?iile lor.

Cititorul va redescoperi, citind aceast? carte, istoriile, uneori-adeseori, scandaloase ale celebrelor cupluri bucure?tene, inclusiv c?teva din pove?tile de dragoste care s-au legat ?ntre domni?ele noastre ?i str?inii ajun?i la Bucure?ti, fie ?n calitate de diploma?i, fie de militari. Nu lipsesc din aceste pagini nici arti?tii din galeria ?aman?ilor magnifici“ ai Bucure?tilor de odinioar?. Un exemplu este povestea rivalit??ii Eminescu – Caragiale ?n ceea ce-o prive?te pe Veronica Micle sau povestea dublei pasiuni a arhitectului Alexandru Orascu – pentru so?ia sa Elena Marcovici ?i pentru ora?ul natal pe care visa s?-l ridice din cenu?? ?i ruine. Un Bucure?ti al Afroditei ?i al lui Eros (cum ?i mergea vestea ?nca din veacul fanariot, potrivit calug?rului grec Daponte), nu era de ?nchipuit f?r? evocarea vestitelor baluri din palatul ?u?u ?i nici f?r? evocarea cuplului Grigore ?i Irina ?u?u, arbitri ai elegan?ei, ospitalit??ii ?i curtoaziei specifice secolului al XIX-lea.

This book, re-edited and illustrated by e-kitap projesi and published again in ebook format. In this book, telling that Boyhood stories of the Most famous persons in the world, and so These 21 famous persons lay out from Christopher Colombus –The pre-founder of the America- to Otto von Bismarc. For example: “When he was sixteen Napoleon and his best friend, a boy named Desmazis, were ordered to join the regiment of La Fère which was then quartered in the south of France. Napoleon was glad of this change which brought him nearer to his island home, and he also felt that he would now learn something of actual warfare. The two boys were taken to their regiment in charge of an officer who stayed with them from the time they left Paris until the carriage set them down at the garrison town. The regiment of La Fère was one of the best in the French army, and the boy immediately took a great liking to everything connected with it. He found the officers well educated and anxious to help him. He declared the blue uniform with red facings to be the most beautiful uniform in the world. He had to work hard, still studying mathematics, chemistry, and the laws of fortification, mounting guard with the other subalterns, and looking after his own company of men. He seemed very young to be put in charge of grown soldiers, but his great ability had brought about this extraordinarily rapid promotion. He had a room in a boarding-house kept by an old maid, but took his meals at the Inn of the Three Pigeons. Now that he was an officer he began to be more interested in making a good appearance before people. He took dancing lessons and suddenly blossomed out into much popularity among the garrison. Older people could not help but see his great strength of character, and time and again it was predicted that he would rise high in the army.”

Mindannyian tudjuk még, mit jelentett az ?tvenes években, ha valakir?l azt mondták: ?elvitte egy fekete autó”, ahogy a ma emberének nem csengenek ismeretlenül az ?VO vagy az ?VH bet?szavak sem. Ezt hallva mindenki tudja: a kommunista diktatúráról, és annak legfontosabb eszk?zér?l, a politikai rend?rségr?l van szó. M?LLER ROLF k?nyve e szervezet t?rténetét dolgozza fel. A második világháború végét?l az 1956-os forradalomig kalauzolja el az olvasót, mik?zben számos k?zszájon forgó fogalmat tisztáz. Sorra veszi a kül?nb?z? elnevezések alatt m?k?d? titkos nyomozó szerveket, az átalakítások m?g?tt meghúzódó okokat. Elbeszéli az államvédelem évekig els? számú vezet?jének, Péter Gábornak az élett?rténetét, bemutatja kevésbé ismert riválisát, segít?it, és pozíciójának ?r?k?seit. Szemléletes példákat hoz a Rákosi Mátyás és sz?kebb k?re által gyakorolt ?kézi irányításra”, amelynek során még a felejthetetlen helsinki olimpia és a magyar-angol labdarúgó mérk?zés is el?kerül. A k?tetb?l természetesen nem maradhatnak ki az ügyn?k?k és a besúgók sem: a hálózat m?k?désén és a titkos technikákon túl az érdekl?d? megismerheti azt is, hogy kikb?l szervezték a hivatásos állományt, bepillanthat mindennapjaikba, és végigjárhatja azokat a helyszíneket, amelyek valamilyen módon a magyar politikai rend?rség legs?tétebb évtizedéhez k?t?dtek. Müller Rolf 1974-ben született Kaposváron. A Kossuth Lajos Tudományegyetem b?lcsészkarán végzett t?rténelem-politológia szakon. 1998-tól a T?rténeti Hivatalnak, 2033 óta jogutódjának, az ?llambiztonsági Szolgálatok T?rténeti Levéltárának munkatársa. Alapító szerkeszt?je a Betekint? cím? internetes folyóiratnak, t?bb éven át a lap f?szerkeszt?je. 2007-ben védte meg doktori disszertációját. 2011 szeptemberét?l a Magyar Tudományos Akadémia Bolyai-?szt?ndíjasa. Kutatási területe az 1945 és 1990 k?z?tt m?k?d? magyar politikai rend?rség t?rténete, illetve a fényképek és az emlékezet kapcsolata.

L?sa?i atunci trufia la o parte, C?ci de b?rba?i trufia ne desparte. ?i m?inile, duioase ?i supuse, ?n slujba lor pe veci s? fie puse. ?i so?ul meu, de ?ndat? ce ar vrea, ?n m?na lui mi a? pune m?na mea. Then vail your stomachs, for it is no boot,And place your hands below your husband’s foot: In token of which duty, if he please, My hand is ready; may it do him ease.

Йшов четвертий р?к св?тово? в?йни. Втомлений под?ями генерал-лейтенант рос?йсько? ?мператорсько? арм?? Павло Петрович Скоропадський, нащадок старовинно? старшинсько? фам?л??, ще не знав, що стане гетьманом незалежно? Укра?нсько? Держави.??Епоха зм?н, яку самовбивчо наближали революц?онери вс?х мастей, перетворилася на апокал?псис, в?йну вс?х проти вс?х, але Скоропадському стало духу взяти на себе невдячну ношу державного буд?вництва. Спроба зак?нчилася ц?лковитим ? оч?куваним провалом, але окрем? починання гетьмана дотривали до наших дн?в: саме йому Укра?на завдячу?, наприклад, Академ??ю наук.

MODERN scientific publications, although they may in some or even many cases equal in their scientific quality the memoirs of earlier workers, do not, on the average, reach a high standard as regards illustration. For instance, in Great Britain botany is pre-eminent in its morphological aspects; it should therefore follow that the illustrations, which form so important a part of such papers, should be beyond reproach. This is not always so, a fact which must be patent to anyone with the slightest critical knowledge who looks through a typical journal. This is a fact much to be regretted, since many of the earlier scientists were accomplished draughtsmen and, indeed, often artists; in this connection the Hookers and Pro-fessor Daniel Oliver may be mentioned. The implication is not intended that there are no good amateur draughtsmen nowadays; there are, and in some cases pos-sessed of great ability. The beautiful work of Church in his Floral Mechanisms may be cited as an example. It may, of course, be argued that any picture which serves to illustrate the particu-lar feature is good enough; this is the contention of one who takes an insufficient pride in his work. A feature worthy of an illustration deserves the best the author can produce, more especially as a literary form is still, fortunately, preserved or, at any rate, aimed at.The reason for indifferent illustrations is primarily due to bad or mediocre draw-ings, or to their unsuitability for the kind of reproduction in view. With regard to the first point: this lack of draughtsmanship often obtains; when education entirely replaces mere instruction, it is to be hoped that all students of science will be trained in the rudiments of drawing. Meanwhile the difficulty can be partly overcome, as will be seen later on, by the simple means of drawing on an enlarged scale, in order that in reproduction reduction can be made. The second reason, the onus of which also falls on the authors, is a lack of knowledge regarding the kind of drawing suitable for the different modes of re-production; this is a very important point, for "technical conditions govern even genius itself."Authors, however, are not always to blame; it would appear that even editors sometimes are wanting in the requisite knowledge, for we have known straight-forward line drawings reproduced by half-tone; in other cases the paper used is unsuitable for the reproduction and, at other times, the printers are at fault. With a view to remedying, at any rate in part, these deficiencies, a course of lec-tures, arranged by the Board of Studies in Botany of the University of London, was delivered in the Lent term of 1913 in the Department of Botany of University College, London. In gratifying the wish expressed by some that these lectures should be given a more permanent dress, the author feels that some apology is necessary, for he can lay no claim to authoritative knowledge of much of the subject-matter; questions relating to the graphic arts and to illustrations, however, have always been of in-terest to him, so that he has tried various experiments, often with disastrous re-sults, and thus has gained some experience. In these matters the author has benefited much through his association with Pro-fessor F. W. Oliver, who, characteristically, has been ever ready to discuss these problems with, and to place his knowledge and experience at the disposal of the author.

ROMANCE and the HISTORY of walled cities are inseparable. Who has not felt this to be so at the sight of hoary ruins lichen-clad and ivy-mantled, that proudly rear their battered crests despite the ravages of time and man’s destructive instincts. It is within walled cities that the life of civilized man began: the walls guarded him against barbarian foes, behind their shelter he found the security necessary to his cultural development, in their defence he showed his finest qualities. And such a city—and such a history is that of Ancient Byzantium, the City of Constantine, the Castle of C?sar. What wonder then that man should endeavour to express by pen and pencil his sense of the greatness and beauty, the Romance of a Walled City such as Constantinople. The more so that a movement is on foot to remove these ancient landmarks of the history of Europe and Asia. True there are other works on this same subject, works by men deeply learned in the history of this fair city, works that bid fair to outlive the city walls if the fell intent of destroying them is carried into execution, and from these men and their works I derived inspiration and information, and so wish to chronicle my gratitude to them—Sir Edwin Pears and Professor van Millingen of Robert College, Constantinople. There are many others too in Constantinople to whom my thanks are due—His Majesty’s Vice-Consul, my host, his colleagues, now my friends, and many others too numerous to mention. They all have helped me in this work, and I am grateful for the opportunity offered me of here recording my thankfulness for their kind offices.B. Granville Baker.

A obra encadeia associa??es entre os valores técnicos da língua e os valores estéticos da literatura. Realiza, ent?o, duas abordagens complementares, defi nida a unidade língua/literatura como uma díade com polos inseparáveis – a língua sustentando um código limitativo e prescritivo; a literatura alimentando a reprodu??o artística do sistema linguístico –, da fus?o de ambas resultando um efeito de sentido.

ARCHITECTURE seems to me to be the most wonderful of all the arts. We may not love it as much as others, when we are young perhaps we cannot do so, because it is so great and so grand; but at any time of life one can see that in Architecture some of the most marvellous achievements of men are displayed. The principal reason for saying this is that Architecture is not an imitative art, like Painting and Sculpture. The first picture that was ever painted was a portrait or an imitation of something that the painter had seen. So in Sculpture, the first statue or bas-relief was an attempt to reproduce some being or object that the sculptor had seen, or to make a work which combined portions of several things that he had observed; but in Architecture this was not true. No temples or tombs or palaces existed until they had first taken form in the mind and imagination of the builders, and were created out of space and nothingness, so to speak. Thus Painting and Sculpture are imitative arts, but Architecture is a constructive art; and while one may love pictures or statues more than the work of the architect, it seems to me that one must wonder most at the last. We do not know how long the earth has existed, and in studying the most ancient times of which we have any accurate knowledge, we come upon facts which prove that men must have lived and died long before the dates of which we can speak exactly. The earliest nations of whose Architecture we can give an account are called heathen nations, and their art is called Ancient or Heathen Art, and this comes down to the time when the Roman Emperor Constantine was converted to Christianity, and changed the Roman Capitol from Rome to Constantinople in the year of our Lord 328. The buildings and the ruins which still remain from these ancient times are in Egypt, Assyria, Persia, Judea, Asia Minor, Greece, Etruria, and Rome. Many of these have been excavated or uncovered, as, during the ages that have passed since their erection, they had been buried away from sight by the accumulation of earth about them. These excavations are always going on in various countries, and men are ever striving to learn more about the wonders of ancient days; and we may hope that in the future as marvellous things may be revealed to us as have been shown in the past. EGYPT: As we consider the Architecture of Egypt, the Great Pyramid first attracts attention on account of its antiquity and its importance. This was built by Cheops, who is also called Suphis, about 3000 years before Christ. At that distant day the Egyptians seem to have been a nation of pyramid-builders, for even now, after all the years that have rolled between them and us, we know of more than sixty of these mysterious monuments which have been opened and explored. Of all these the three pyramids at Ghizeh are best known, and that of Cheops is the most remarkable among them. Those of you who have studied the history of the wars of Napoleon I. will remember that it was near this spot that he fought the so-called Battle of the Pyramids, and that in addressing his soldiers he reminded them that here the ages looked down upon them, thus referring to the many years during which this great pyramid had stood on the border of the desert, as if watching the flight of Time and calmly waiting to see what would happen on the final day of all earthly things. There have been much speculation and many opinions as to the use for which these pyramids were made, but the most general belief is that they were intended for the tombs of the powerful kings who reigned in Egypt and caused them to be built.The pyramid of Cheops was four hundred and eighty feet and nine inches high, and its base was seven hundred and sixty-four feet square. It is so difficult to understand. CLARA ERSKINE CLEMENTAUTHOR OF "HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART," "PAINTERS, SCULPTORS, ENGRAVERS, ARCHITECTS AND THEIR WORKS," "ARTISTS OF THE NINETEENTH CENTURY"

Volumul top t – festivalul rezisten?ei rock (re)aduce ?n discu?ie istoria celui mai important festival rock al Rom?niei. Ap?rut ?n seria STRATONE, cu Nelu Stratone coordonator, volumul beneficiaz? de un cuv?nt introductiv semnat de Gabi Gombo? plus o potfa?? de Florin-Silviu Ursulescu, doi grei ai istoriei rockului rom?nesc ?i prieteni ai festivalului. Structura este una cumva istoricizant?: un palmares al edi?iilor, un amplu interiviu cu Cornel Constantinescu, Tolea Po?tovei ?i Florin Artene, trei dintre artizanii organizatori, un capitol dedicat scenei rock buzoiene, impresii ale participan?ilor la festival, interviuri realizate de-a lungul timpului ?n caietele program. Ve?i reg?si ?i multe fotografii din edi?iile top t. Cartea-document este ?i o pledoarie pentru revenirea festivalului ?n circuitul na?ional, editura Casa de pariuri literare propun?nd ?n noiembrie 2016, la t?rgul Gaudeamus, un stand personalizat al festivalului.

Apokrif evangélium vagy egyszer? imak?nyv? Hamisítvány vagy hiteles t?rténeti emlék? Elfeledett írás vagy szuperbiztos kód, esetleg mesterséges nyelv? Magyar, román, szanszkrit, latin, netalán t?r?k? A Rohonci kódex hírnevét kül?n?s kett?sség jellemzi: helyet kapott a világt?rténelem megfejtetlen írásainak illusztris társaságában, mik?zben a legutóbbi id?kig komoly kísérlet nem t?rtént rejtélyes jeleinek elolvasására. L?NG BENEDEK k?nyve egy izgalmas nyomozás t?rténete, amelyet a szerz? e Budapesten ?rz?tt, titokzatos és gazdagon illusztrált kódex megfejtése érdekében folytatott. A fiatal tudományt?rténész minden részletre kiterjed?, alapos vizsgálata során az olvasó beavatást nyerhet a máig megfejtetlen, rejtélyes k?nyvek világába, a titkosírások és a kódok t?rténetébe, valamint a rejtjelfejtés hagyományos és modern módszereibe is. Láng Benedek 1974-ben született Budapesten. T?rténészként végzett az ELTE b?lcsészkarán, jelenleg a Budapesti M?szaki és Gazdaságtudományi Egyetemen oktat humán és társadalomtudományi tárgyakat. Kutatóként az elfogadott és elutasított tudomány határterületei érdeklik mind t?rténeti, mind elméleti szempontból. Ez utóbbi kérdésk?rr?l t?bb k?nyve is megjelent. Budapesten él, n?s, két gyermek apja.

In The Beginner's American History, D. H. Montgomery provides a wide-ranging and authoritative history of America, capturing in a compact space the full story of our nation. The Beginner's American History offers an illuminating account of politics, diplomacy, and war as well as the full spectrum of social, cultural, and scientific developments that shaped our country.?Illustrated, Maps, Full-Page Illustrations. Contents start with Columbus, last chapter is Since the Civil War. Some of the other contents: Captian Sutter, General Sam Houston, General Andrew Jackson, General George Rogers Clark and lots more.

"Ugyanabban az id?ben, és ugyanazon a napon, amelyen a nemzetek megszentégtelenítették, ugyanakkor szentelték fel a templomot énekszóvel, lantok, hárfák és cintányérok kíséretével. Az egész nép arcra borult, imádta és áldotta at Eget, hogy szerencséssé tette útjukat. Az oltár újraszentelését nyolc napig végezték, és ?r?mmel áldoztak ég?álozatokat és dícs?it? áldozatokat a szabadulásért. A templom homlokzatát aranykoszorúkkal és -pajzsocskákkal díszítették fel, megújították a kapukat és a papi kamrákat, és ajtókkal láttál el ?ket. Igen nagy ?r?m t?lt?tte le a népet, mivel sikerült elhárítaniuk magukról a nemzetek gyalázatát. Júdás és testvérei Izrael egész gyülekezetével együtt elhatározták, hogy évr?l évre megünnepilik az oltár újraszentelésének napjait a maga idején a Kiszlév hónap huszon?t?dik napjától kezdve nyolc napon át vidámsággal és ?r?mmel."? A Makkabeusok els? k?nyve Izrael népe t?rténelmének olyan fejezetét mutatja be, amikor az ?s?k hitéért való harc egyben a nemzeti ?nrendelkezésért való küzdelmet is jelentett a hellenizmus globális trendjével szemben.?

Organizarea, activitatea ?i orientarea ?n coresponden?? diplomatic? rom?n? ?i note ale SSIVolumul are ca subiect principal organizarea, activitatea ?i orientarea emigra?iei politice din fostul Imperiu Rus ?n Europa, considerat? ca un pericol permanent la adresa regimului comunist, emigra?ie ai c?rei lideri au f?cut obiectul ?ncerc?rilor permanente de terorizare, lichidare sau discreditare.Documentele selectate, ?n cea mai mare parte, din Arhiva Diplomatic?, reprezint? rapoarte ale lega?iilor ?i oficiilor consulare rom?ne din Atena, Belgrad, Berlin, Berna, Bratislava, Budapesta, Istanbul, Lisabona, Madrid, Paris, Praga, Roma, Rusciuk, Skopje, Sofia, Stockholm, Vichy sau Zagreb, precum ?i note ale Serviciului Special de Informa?ii, c?tre Ministerul Afacerilor Str?ine, ?n timpul campaniei germano-rom?ne ?mpotriva Uniunii Sovietice. Sursele reflect? nu doar starea de fapt ?i de spirit a emigran?ilor, for?a?i s? aleag? ?ntre regimul totalitar comunist ?i cel nazist, dar ?i pozi?ia Bucure?tiului fa?? de problemele rus? ?i ucrainean?, cu profunde implica?ii geopolitice.

Publica?ii, documente, scrisori ?i fotografii?n anul 1920, ?ntr-o lupt? inegal? cu trupele bol?evice, ?n fruntea Brig?zii a 2-a de Mitraliere a Armatei Na?ionale Ucrainene, locotenent-colonelul Hnat Porohivski s-a retras pe malul drept al Nistrului. Participant la Primul R?zboi Mondial, lider al emigran?ilor ucraineni care s-au salvat din fostul Imperiu Rus ?n Rom?nia, ?n anul 1931 absolv? ?coala Superioar? de ?tiin?e Administrative din Bucure?ti, iar ?n 1940 devine comisar al guvernului ucrainean ?n exil pentru statele balcanice.Din anul 1930 lucreaz? pentru Serviciul Secret de Informa?ii al Armatei Rom?ne, sub numele conspirativ Ciobanu, loialitatea sa fiind determinat? nu doar de orientarea antisovietic?, dar ?i de ospitalitatea oferit?. Lu?nd parte la lupte din primele zile ale r?zboiului rom?no-sovietic, sub numele conspirativ Dobrescu, ?n calitate de ofi?er superior al Agenturii Frontului de Est, a condus Biroul de Studii, Documentare ?i Centralizare.Volumul reprezint? un prim pas de recuperare a memoriei celui c?ruia i se datoreaz?, ?n mare parte, renumele de care s-a bucurat emigra?ia politic? ucrainean? din Rom?nia, rezisten?a acesteia ?n fa?a asaltului de distrugere ?i divizare, men?inerea pozi?iei de ostilitate fa?? de comunism ?i de imperialism.

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!

ESCAPECOME, shall we go, my comrade, from this denWhere falsehood reigns and we have dallied long?Exchange the curious vanities of menFor roads of freedom and for ships of song? We came as strangers, came to learn and look,To hear their music, drink the wine they gave.Now let us hence again; the happy brookShall quench our thirst, our music be the wave. Come! they are feasting, let us steal away.Beyond the doors the night awaits us, sweet.To-morrow we shall see the break of day,And goat-herds’ pipes shall lead our roaming feet. TO EVE IN TEARSYOU laughed, and all the fountains of the EastLeapt up to Heaven with their diamond rainTo hang in light, and when your laughter ceasedDropped shivered arrows to the ground again. You laughed, and from the belfries of the earthThe music rippled like a shaken pool;And listless banners at the breeze of mirthWere stirred in harbours suddenly made cool. You wept, and all the music of the air—As when a hand is laid upon a bell—Was stilled, and Dryads of the tossing hairCrept back abashed within the secret dell. MARIANA IN THE NORTHALL her youth is gone, her beautiful youth outworn,Daughter of tarn and tor, the moors that were once her homeNo longer know her step on the upland tracks forlornWhere she was wont to roam. All her hounds are dead, her beautiful hounds are dead,That paced beside the hoofs of her high and nimble horse,Or streaked in lean pursuit of the tawny hare that fledOut of the yellow gorse. All her lovers have passed, her beautiful lovers have passed,The young and eager men that fought for her arrogant hand,And the only voice which endures to mourn for her at the lastIs the voice of the lonely land. SORROW OF DEPARTURE. For D.HE sat among the shadows lost,And heard the careless voice speak onOf life when he was gone from home,Of days that he had made his own,Familiar schemes that he had known,And dates that he had cherished mostAs star-points in the year to come,And he was suddenly alone,Thinking (not bitterly,But with a grave regret) that heWas in that room a ghost. He sat among the shades apart,The careless voice he scarcely heard.In that arrested hour there stirredShy birds of beauty in his heart. The clouds of March he would not seeAcross the sky race royally,Nor yet the drift of daffodilHe planted with so glad a hand,Nor yet the loveliness he plannedFor summer’s sequence to fulfil,Nor trace upon the hillThe annual waking of the land,Nor meditative standTo watch the turning of the mill. He would not pause above the WealdWith twilight falling dim,And mark the chequer-board of field,The water gleaming like a shield,The oast-house in the elms concealed,Nor see, from heaven’s chalice-rim,The vintaged sunset brim,Nor yet the high, suspended starHanging eternally afar. These things would be, but not for him. At summer noon he would not lieOne with his cutter’s rise and dip,Free with the wind and sea and sky,And watch the dappled waves go by,The sea-gulls scream and slip;White sails, white birds, white clouds, white foam,White cliffs that curled the love of homeAround him like a whip....He would not see that summer noonFade into dusk from light,While he on shifting waters brightSailed idly on, beneath the moonClimbing the dome of night. This was his dream of happy thingsThat he had loved through many springs, And never more might know.But man must pass the shrouded gateCompanioned by his secret fate,And he must lonely go,And none can help or understand,For other men may touch his hand,But none the soul below.

AT the east end of the choir aisle of the Cathedral there is a portion of the wall which is possibly the oldest piece of masonry in Oxford, for it is thought to be a part of the original Church of St. Frideswyde, on whose site the Cathedral Church of Christ (to give its full title) now stands. Even so it is not possible to speak with historical certainty of the saint or of the date of her Church, which was built for her by her father, so the legend says, when she took the veil; though the year 740 may be provisionally accepted as the last year of her life. St. Frideswyde's was a conventual Church, with a Priory attached, and both were burnt down in 1002, but rebuilt by Ethelred. How much of his handiwork survives in the present structure it is not easy to de-termine; but the Norman builders of the twelfth century effected, at any rate, such a transformation that no suggestion of Saxon architecture is obtruded. Their work went on for some twenty years, under the supervision of the then Prior, Robert of Cricklade, and the Church was consecrated anew in 1180. The main features of the interior—the massive pillars and arches—are substantially the same to-day as the builders left them then. THIS BOOK, is not intended to compete with any existing guides to Oxford: it is not a guide-book in any formal or exhaustive sense. Its purpose is to shew forth the chief beauties of the University and City, as they have ap-peared to several artists; with such a running commentary as may explain the pictures, and may indicate whatever is most interesting in connection with the scenes which they represent. Slight as the notes are, there has been no sacrifice, it is believed, of accuracy. The principal facts have been derived from Alexander Chalmers' History of the Colleges, Halls, and Public Buildings of the University of Oxford, from Mr. Lang's Oxford, and from the Oxford and its Colleges of Mr. J. Wells. The illustrations, with the exception of six only, which are derived from Ackermann's Oxford, are reproduced from the paintings of living artists, mostly by Mr. W. Matthison, the others by Mrs. C. R. Walton, Walter S. S. Tyrwhitt, Mr. Bayzant, and Miss E. S. Cheesewright.

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.

Aganetha Smart, a 104 éves egykori olimpikon futón? elfeledve él egy nyugdíjasotthonban. Gy?zelmével annak idején mindenkit leny?g?z?tt: a kanadai versenyz? abban az évben nyert aranyat, amikor el?sz?r szerepelhettek n?i atléták az olimpián. Sorsát azonban legalább ennyire meghatározták az els? világháború komor évei, valamint vágya, hogy szembeszálljon korának konvencióival. Egy napon két idegen keresi fel, akik dokumentumfilmet készítenek a régi id?k n?i sportolóiról. A múlt eseményeit megismerve lassan megértjük, miként segített az aranyérem Aganethának megszabadulni a titkokkal terhelt családi ház béklyóitól. ?m a hajdani bajnokn?nek még egy kihívással szembe kell néznie: a filmesek talán nem is azok, mint akiknek mutatják magukat… Carrie Snydert valós t?rténelmi helyzetek inspirálták, hogy megírja fordulatokban gazdag regényét, a becsvágy és a n?i emancipáció t?rténetét, amelyb?l kiderül, hogyan képes határait átlépve a saját életét élni egy n?.