Art, with its finite means, cannot hope to record the infinite variety and com-plexity of Nature, and so contents itself with a partial statement, addressing this to the imagination for the full and perfect meaning. This inadequation, and the artificial ad-justments which it involves, are tolerated by right of what is known as artistic convention; and as each art has its own particular limitations, so each has its own particular conventions. Sculpture reproduces the forms of Nature, but discards the color without any shock to our ideas of verity; Painting gives us the color, but not the third dimension, and we are satisfied; and Architecture ispurely conventional, since it does not even aim at the imitation of natural form. The Conventions of Line Drawing,Of the kindred arts which group themselves under the head of Painting, none is based on such broad conventions as that with which we are immediately concerned—the art of Pen Drawing. In this medium, Nature's variety of color, when not positively ignored, is suggested by means of sharp black lines, of varying thickness, placed more or less closely together upon white paper; while natural form depends primarily for its representation upon arbitrary boundary lines. There is, of course, no authority in Na-ture for a positive outline: we see objects only by the difference in color of the other objects behind and around them. The technical capacity of the pen and ink medium, however, does not provide a value corresponding to every natural one, so that a broad interpretation has to be adopted which eliminates the less positive values; and, that form may not likewise be sacrificed, the outline becomes necessary, that light objects may stand relieved against light. This outline is the most characteristic, as it is the most indispensable, of the conventions of line drawing. To seek to abolish it only involves a resort to expedients no less artificial, and the results of all such attempts, dependent as they necessarily are upon elaboration of color, and a general indirectness of method, lack some of the best characteristics of pen drawing. More frequently, however, an elaborate color-scheme is merely a straining at the technical limitations of the pen in an effort to render the greatest possible number of values. It may be worth while to inquire whether excellence in pen drawing consists in thus dispensing with its recognized conventions, or in otherwise taxing the technical re-sources of the instrument. This involves the question of Style,—of what characteristic pen methods are,—a question which we will briefly consider...

Maszumé hétk?znapi kamaszlány a 60-as évek Iránjában. Iskolába menet meglát egy fiatalembert, akivel egymásba szeretnek. Maszumé bátyjai megtalálják ártatlan levelezésüket, húgukat megverik, majd máshoz kényszerítik feleségül. A lánynak fel kell adnia álmait, és el kell indulnia egy g?r?ngy?s úton, melyet a sors rendelt neki. Az ?tven évet fel?lel? regény a hazáját jól ismer? szerz? szemével k?veti végig Irán viharos t?rténelmét: a 60-as évek a sah elnyomó uralma alatt, majd az iszlám forradalom, mely visszahozta Iránba a k?zépkort, az iraki–iráni háború. A regényt, mely az utóbbi évtized legnagyobb bestsellere lett Iránban, kétszer is betiltották, azonban nem politikai tartalma miatt, hanem mert egy olyan független és er?s n? sorsát állítja példaképül, aki a sorscsapások és nehézségek ellenére sosem adja fel a reményt, s bár csendesen, mégis határozottan tiltakozik társadalmának elnyomó hagyományai ellen. Parinoush Saniee szociológus és pszichológus, t?bb regény szerz?je. A sors k?nyve els? regénye, melyet t?bb nyelvre fordítottak le, Olaszországban elnyerte a Boccaccio-díjat, Németországban bestseller lett. Az iráni írón? 1949-ben született, férjnél van, két fia külf?ld?n él.

1. The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgement that all work done by the other arts is put to test. This knowledge is the child of practice and theory. Practice is the continuous and regular exercise of employment where manual work is done with any necessary material according to the design of a drawing. Theory, on the other hand, is the ability to demonstrate and explain the productions of dexterity on the principles of proportion. 2. It follows, therefore, that architects who have aimed at acquiring manual skill without scholarship have never been able to reach a position of authority to correspond to their pains, while those who relied only upon theories and scholarship were obviously hunting the shadow, not the substance. But those who have a thorough knowledge of both, like men armed at all points, have the sooner attained their object and carried authority with them. 3. In all matters, but particularly in architecture, there are these two points:—the thing signified, and that which gives it its significance. That which is signified is the subject of which we may be speaking; and that which gives significance is a demonstration on scientific principles. It appears, then, that one who professes himself an architect should be well versed in both directions. He ought, therefore, to be both naturally gifted and amenable to instruction. Neither natural ability without instruction nor instruction without natural ability can make the perfect artist. Let him be educated, skilful with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of the jurists, and be acquainted with astronomy and the theory of the heavens. 4. The reasons for all this are as follows. An architect ought to be an educated man so as to leave a more lasting remembrance in his treatises. Secondly, he must have a knowledge of drawing so that he can readily make sketches to show the appearance of the work which he proposes. Geometry, also, is of much assistance in architecture, and in particular it teaches us the use of the rule and compasses, by which especially we acquire readiness in making plans for buildings in their grounds, and rightly apply the square, the level, and the plummet. By means of optics, again, the light in buildings can be drawn from fixed quarters of the sky. It is true that it is by arithmetic that the total cost of buildings is calculated and measurements are computed, but difficult questions involving symmetry are solved by means of geometrical theories and methods. 5. A wide knowledge of history is requisite because, among the ornamental parts of an architect's design for a work, there are many the underlying idea of whose employment he should be able to explain toGree inquirers. For instance, suppose him to set up the marble statues of women in long robes, called Caryatides, to take the place of columns, with the mutules and coronas placed directly above their heads, he will give the following explanation to his questioners. Caryae, a state in Peloponnesus, sided with the Persian enemies against Greece; later the Greeks, having gloriously won their freedom by victory in the war, made common cause and declared war against the people of Caryae. They took the town, killed the men, abandoned the State to desolation, and carried off their wives into slavery, without permitting them, however, to lay aside the long robes and other marks of their rank as married women, so that they might be obliged not only to march in the triumph but to appear forever after as a type of slavery, burdened with the weight of their shame and so making atonement for their State. Hence, the architects of the time designed for public buildings statues of these women, placed so as to carry a load..

A magyar k?nyvkiadás legnagyobb adósságainak egyike ez a k?nyv. A világ t?bb országában a holokausztirodalom egyik legjelent?sebb remekm?veként tartják számon, Magyarországon 1982-ben jelent meg utoljára.Zsolt Béla, nagyváradi író, újságíró, a zsidót?rvények után nem folytathatta a pályáját. Munkaszolgálatra Ukrajnába került, az út onnan haza, majd a váradi gettóba, kés?bb Bergen-Belsenbe vezetett, egészen a szabadulásig.Zsolt Béla regénye nem artisztikus memoár. Vad, olykor az elviselhet?ség határáig kegyetlen és ?szinte visszaemlékezés, felzaklató olvasmány.Az olykor egymás kínjának is ?rül? társairól. Az elmebajig kegyetlen, egyszersmind a megtorlástól retteg? csend?r?kr?l. ?rulásról, kétségbeesésr?l, az újra és újra feltámadó hamis reményr?l, és mindennek okáról és céljáról: a zsidók kifosztásáról.Aki elolvassa a Kilenc koffert, megérti, miért nem tud a rémálomból eszmélni sok európai ország azóta sem.Zsolt Béla feleségének egész családja odaveszett, k?ztük az a Heyman ?va, akinek gettónaplója megjelent már t?bb nyelven, magyarul Piros bicikli címen.

In writing upon any matter of experience, such as art, the possibilities of misunderstanding are enormous, and one shudders to think of the things that may be put down to one's credit, owing to such misunderstandings. It is like writing about the taste of sugar, you are only likely to be understood by those who have already experienced the flavour; by those who have not, the wildest interpretation will be put upon your words. The written word is necessarily confined to the things of the understanding because only the understanding has written language; whereas art deals with ideas of a different mental texture, which words can only vaguely suggest. However, there are a large number of people who, although they cannot viibe said to have experienced in a full sense any works of art, have undoubtedly the impelling desire which a little direction may lead on to a fuller appreciation. And it is to such that books on art are useful. So that although this book is primarily addressed to working students, it is hoped that it may be of interest to that increasing number of people who, tired with the rush and struggle of modern existence, seek refreshment in artistic things. To many such in this country modern art is still a closed book; its point of view is so different from that of the art they have been brought up with, that they refuse to have anything to do with it. Whereas, if they only took the trouble to find out something of the point of view of the modern artist, they would discover new beauties they little suspected. If anybody looks at a picture by Claude Monet from the point of view of a Raphael, he will see nothing but a meaningless jargon of wild paint-strokes. And if anybody looks at a Raphael from the point of view of a Claude Monet, he will, no doubt, only see hard, tinny figures in a setting devoid of any of the lovely atmosphere that always envelops form seen in nature. So wide apart are some of the points of view in painting. In the treatment of form these differences in point of view make for enormous variety in the work. Works showing much ingenuity and ability, but no artistic brains; pictures that are little more than school studies, exercises in the representation of carefully or carelessly arranged objects, but cold to any artistic intention. At this time particularly some principles, and a clear intellectual understanding of what it is you are trying to do, are needed. We have no set traditions to guide us. The times when the student accepted the style and traditions of his master and blindly followed them until he found himself, are gone. Such conditions belonged to an age when intercommunication was difficult, and when the artistic horizon was restricted to a single town or province. Science has altered all that, and we may regret the loss of local colour and singleness of aim this growth of art in separate compartments produced; but it is unlikely that such conditions will occur again. Quick means of transit and cheap methods of reproduction have brought the art of the whole world to our doors. Where formerly the artistic food at the disposal of the student was restricted to the few pictures in his vicinity and some prints of others, now there is scarcely a picture of note in the world that is not known to the average student, either from personal inspection at our museums and loan exhibitions, or from excellent photographic reproductions. Not only European art, but the art of the East, China and Japan, is part of the formative influence by which he is surrounded; not to mention the modern science of light and colour that has had such an influence on technique. It is no wonder that a period of artistic indigestion is upon us. Hence the student has need ixof sound principles and a clear understanding of the science of his art, if he would select from this mass of material those things which answer to his own inner need for artistic expression.

"When all the gods had assembled in conference, Zeus arose among them and addressed them thus" . . . "it is with this line that Plato's story of Atlantis ends; and the words of Zeus remain unknown." -- Francis Bacon, New Atlantis Of all the writings of Plato the Timaeus is the most obscure and repulsive to the modern reader, and has nevertheless had the greatest influence over the ancient and mediaeval world. The obscurity arises in the infancy of physical science, out of the confusion of theological, mathematical, and physiological notions, out of the desire to conceive the whole of nature without any adequate knowledge of the parts, and from a greater perception of similarities which lie on the surface than of differences which are hidden from view. To bring sense under the control of reason; to find some way through the mist or labyrinth of appearances, either the highway of mathematics, or more devious paths suggested by the analogy of man with the world, and of the world with man; to see that all things have a cause and are tending towards an end—this is the spirit of the ancient physical philosopher. He has no notion of trying an experiment and is hardly capable of observing the curiosities of nature which are 'tumbling out at his feet,' or of interpreting even the most obvious of them. He is driven back from the nearer to the more distant, from particulars to generalities, from the earth to the stars. He lifts up his eyes to the heavens and seeks to guide by their motions his erring footsteps. But we neither appreciate the conditions of knowledge to which he was subjected, nor have the ideas which fastened upon his imagination the same hold upon us. For he is hanging between matter and mind; he is under the dominion at the same time both of sense and of abstractions; his impressions are taken almost at random from the outside of nature; he sees the light, but not the objects which are revealed by the light; and he brings into juxtaposition things which to us appear wide as the poles asunder, because he finds nothing between them. He passes abruptly from persons to ideas and numbers, and from ideas and numbers to persons,—from the heavens to man, from astronomy to physiology; he confuses, or rather does not distinguish, subject and object, first and final causes, and is dreaming of geometrical figures lost in a flux of sense. He contrasts the perfect movements of the heavenly bodies with the imperfect representation of them (Rep.), and he does not always require strict accuracy even in applications of number and figure (Rep.). His mind lingers around the forms of mythology, which he uses as symbols or translates into figures of speech. He has no implements of observation, such as the telescope or microscope; the great science of chemistry is a blank to him. It is only by an effort that the modern thinker can breathe the atmosphere of the ancient philosopher, or understand how, under such unequal conditions, he seems in many instances, by a sort of inspiration, to have anticipated the truth. The influence with the Timaeus has exercised upon posterity is due partly to a misunderstanding. In the supposed depths of this dialogue the Neo-Platonists found hidden meanings and connections with the Jewish and Christian Scriptures, and out of them they elicited doctrines quite at variance with the spirit of Plato. Believing that he was inspired by the Holy Ghost, or had received his wisdom from Moses, they seemed to find in his writings the Christian Trinity, the Word, the Church, the creation of the world in a Jewish sense, as they really found the personality of God or of mind..

Н?л Фер?юсон зауважу?: ?Ще на початку XV стол?ття сама лише думка про те, що наступн? п’ять стол?ть Зах?д буде дом?нувати над рештою св?ту, здалася б дуже дивною. А вт?м, це сталося?. ? нин? могутн?сть Заходу вража? нав?ть найбагатшу уяву... То чому ж так трапилося? Чому ?вропа, що на 1500-й р?к поступалася Сходу за багатьма показниками — економ?чними, технолог?чними, демограф?чними, — зум?ла р?зко рвонути уперед ? досягти безперечного св?тового панування? Як? складов? усп?ху зах?дно? цив?л?зац??? Саме ц? дражлив? питання украй см?ливо, часом нав?ть зухвало, а проте надзвичайно захопливо висв?тлю? Н?л Фер?юсон.

Mit jelent az, hogy széls?jobboldal? Kikkel szimpatizálnak és mit képviselnek az újhungaristák? Mit jelképez a 88-as szám? Miféle ideológia áll a széls?jobboldali irányzatok hátterében? Mikor és miért válnak sikeressé a radikálisok? K?tetünk ezeken a kérdéseken kívül arra is választ ad, hogy melyek voltak a magyar széls?jobboldali mozgalmak megszületésének hazai el?zményei, külf?ldi szellemi el?képei és testvérmozgalmai. Mindemellett rávilágít a széls?jobboldaliság kritériumaira az irányzat 1919-es születését?l napjainkig, és feltárja a széls?jobboldali szubkultúrák változatos, markáns ismertet?jegyeit. A Jobbik és a Magyar Gárda tevékenységéig ível? áttekintés azt is megmutatja, milyen sokszín? jelenség a magyarországi széls?jobboldal, pontosabban az a radikális politikai mozgalmakat t?m?rít? gy?jt?fogalom, amelyet ma így szokás nevezni. A szerz?, PAKSA RUDOLF 1981-ben született Ajkán, az ELTE-n doktorált t?rténelemb?l és 2009 októberét?l az MTA T?rténettudományi Intézetének a munkatársa. ?rdekl?dési területe a modern kori magyar t?rténelem; kutatásai súlypontja a 19–20. századi historiográfia, a régi E?tv?s Collegium, valamint a Horthy-kori széls?jobboldali irányzatok.

C eti un artist dramatic care se zbate s supravieuiasc sau c eti un om care nu se identific cu sexul cu care a fost nzestrat i ncearc disperat s remedieze aceast problem, c eti un geniu ajuns n zdrene, care cerete ansa de a-i spune povestea, c eti un ndrgostit iremediabil, care ncaseaz doar indiferen, c eti un nimeni urmrit venic de autoriti, de probleme i eecuri, c eti captiv n lumea ta, singurul loc n care nu eti perceput ca fiind nebun tocmai fiindc sfideaz noiunea unanim acceptat de normalitate, c eti un scriitor care i aterne realitatea bidimensional, pe foaie, n replici, n didascalii, n uniti de msur a emoiei – numite cuvinte –, i ridic n alii realiti tridimensionale, c eti o ntmplare care citete aceste rnduri, tii foarte bine c orice fapt consumat d singur startul la o continuare i c exist mereu o a doua ans, la fel cum Moartea tie cnd trebuie s lase ceva s continue, cnd s-i spun stop sau cnd s nchid ochii, fiindc intervenia ar descalifica-o. Totul poart eticheta cu va urma i depinde doar de noi s lsm eticheta acolo i s urmm indicaia.Teatrul prelungete viaa fiindc este o prelungire a vieii. Nu e att parte a ei, ct o extensie, ca o pereche de aripi cu care plonjm ntr-un bar supraaglomerat, ntr-un dormitor n care ncap fix dou persoane, ntr-un vis policrom cu iz de psihotrope, sau ntr-o scen care ne va marca fiindc urmeaz s se petreac n acel interval de timp pe care niciodat nu suntem n stare s-l dibuim, dar tim atunci cnd se ntmpl c nu putea fi altcndva.Trei piese care ne zguduie, ne las simurile bulversate, creierii bruscai, inima n aritmie, dar sufletul cumva ridicat. Trei piese de prelungit viaa, chiar i a celor care cred c aceasta urmeaz abia dup ce vor muri. Moartea strig: Bis!“ cnd se vede aplaudnd de una singur, fiindc nu are de ales dect s lase spectacolul s continue n momentul n care tocmai se dezintegreaz.ndrznete i citete!“ – Andrei Vornicu

Sir Peter Paul Rubens ( 28 June 1577 – 30 May 1640), was a Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasised movement, colour, and sensuality. He is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe.. Early lifeRubens was born in the German city of Siegen, Westphalia to Jan Rubens and Maria Pypelincks. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the legal advisor (and lover) of Anna of Saxony, the second wife of William I of Orange, and settled at her court in Siegen in 1570; their daughter Christine was born in 1571. Following Jan Rubens's imprisonment for the affair, Peter Paul Rubens was born in 1577. The family returned to Cologne the next year. In 1589, two years after his father's death, Rubens moved with his mother Maria Pypelincks to Antwerp, where he was raised as a Catholic. Religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting (he had said "My passion comes from the heavens, not from earthly musings").In Antwerp, Rubens received a humanist education, studying Latin and classical literature. By fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the city's leading painters of the time, the late Mannerist artists Adam van Noort and Otto van Veen. Much of his earliest training involved copying earlier artists' works, such as woodcuts by Hans Holbein the Younger and Marcantonio Raimondi's engravings after Raphael. Rubens completed his education in 1598, at which time he entered the Guild of St. Luke as an independent master. Italy (1600–1608)In 1600, Rubens travelled to Italy. He stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The coloring and compositions of Veronese and Tintoretto had an immediate effect on Rubens's painting, and his later, mature style was profoundly influenced by Titian. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601. Last decade (1630–1640)The Exchange of Princesses, from the Marie de' Medici Cycle. Louvre, ParisRubens's last decade was spent in and around Antwerp. Major works for foreign patrons still occupied him, such as the ceiling paintings for the Banqueting House at Inigo Jones's Palace of Whitehall, but he also explored more personal artistic directions.In 1630, four years after the death of his first wife, the 53-year-old painter married 16-year-old Hélène Fourment. Hélène inspired the voluptuous figures in many of his paintings from the 1630s, including The Feast of Venus (Kunsthistorisches Museum, Vienna), The Three Graces and The Judgment of Paris (both Prado, Madrid). In the latter painting, which was made for the Spanish court, the artist's young wife was recognized by viewers in the figure of Venus. In an intimate portrait of her, Hélène Fourment in a Fur Wrap, also known as Het Pelsken, Rubens's wife is even partially modelled after classical sculptures of the Venus Pudica, such as the Medici Venus. In 1635, Rubens bought an estate outside of Antwerp, the Steen, where he spent much of his time. Landscapes, such as his Ch?teau de Steen with Hunter (National Gallery, London) and Farmers Returning from the Fields (Pitti Gallery, Florence), reflect the more personal nature of many of his later works. He also drew upon the Netherlandish traditions of Pieter Bruegel the Elder for inspiration in later works like Flemish Kermis (c. 1630; Louvre, Paris).

Documentele publicate sub egida Institutului de Istorie ?George Bari?iu“ al Academiei Rom?ne au fost structurate ?n dou? p?r?i: Emigra?ia albgardist? ?i Biserica Rus? din Bucure?ti. Prima parte cuprinde r?spunsul direc?iilor regionale la Ordinul Direc?iei Generale a Securit??ii Statului nr. 354/81558 privind albgardi?tii din raza acestora de competen??, iar cea de a doua – materiale ale Direc?iei Regionale a Securit??ii Bucure?ti despre personalul, emigran?ii ?i refugia?ii care frecventeaz? Biserica Rus?. Sursele relev? destinul, starea de spirit ?i material? a fo?tilor membri ai armatelor ruse ?i ucrainene stabili?i ?n Rom?nia, supravie?uitori ai celor dou? r?zboaie mondiale, liderii fiind deja aresta?i.Din sinteza informativ? a Direc?iei Regionale a Securit??ii Bac?u din 27 octombrie 1951:??n urma ac?iunilor contrarevolu?ionare desf??urate ?n t?n?rul Stat Sovietic de c?tre bandele conduse de Denikin, Kerenski ?i Vranghel, bande ce au fost distruse de c?tre t?n?ra Armat? Ro?ie Sovietic? ?i alungate peste grani?ele Statului Sovietic, ?i ?n ?ar? la noi au venit o serie de elemente ce au f?cut parte din aceste armate, care ?i-au stabilit domiciliul ?n diferite ora?e ale ??rii noastre, unde sub regimul burghezo-mo?ieresc ce se afla ?n acel timp la c?rma ??rii noastre au g?sit azil ?i ocrotire.Astfel ?i ?n regiunea Bac?u din aceste elemente identificate p?n? ?n prezent sunt ?n num?r de 6 persoane, ?i anume: Mateevski Konstantin, ?n prezent domiciliat ?n Piatra-Neam?, de profesie electrician ?i mecanic, angajat ?n aceast? func?ie la Sovromlemn Piatra-Neam?; Petrovski Vasile, fost colonel de artilerie ?i avia?ie ?n armata alb? a lui Vranghel, ?n prezent domiciliat ?n Piatra-Neam?, fiind angajat ca magazioner la fabrica Bistri?a din Piatra-Neam?; Galini?cenko Alexandru, domiciliat ?n Piatra-Neam?, f?r? ocupa?ie, ?n prezent fiind b?tr?n; Kazimirov Mark, de profesie ?ofer angajat ?n aceast? calitate la fabrica ?Reconstruc?ia“ Piatra-Neam?, fost ofi?er ?n Armata Alb? ucrainean?, ?n prezent lucreaz? ca t?mplar, ?i Babici Ifrim, fost ofi?er ?n armata lui Vranghel, actualmente domiciliat ?n comuna Tarc?u, raionul Piatra-Neam?, cu serviciul la Sovromlemn.?n leg?tur? cu susnumi?ii trebuie s? ar?t?m c? dac? ?n trecut existau unele rela?ii de prietenie ?ntre d?n?ii, ?nt?lniri ?n care ??i reaminteau cu pl?cere de trecutul lor, ast?zi, fiind elemente b?tr?ne, nu se mai observ? aceste leg?turi, mai ales c? majoritatea sunt c?s?tori?i cu cet??ence rom?ne ?i parte dintre d?n?ii au chiar ?i copii.De asemeni, din cele cunoscute de noi rezult? c? ace?tia nu ?ntre?in leg?turi prin coresponden?? cu str?in?tatea ?i nici cu elementele dubioase ?i du?m?noase din locurile unde tr?iesc ei. S-a putut constata c? aceste elemente sunt extrem de fricoase ca nu cumva s? vin? o dispozi?ie care s?-i pun? ?n situa?ia s? se ?ntoarc? ?n URSS, obliga?i. Comentarii ?n acest gen au fost extrem de multe ?n r?ndurile lor, ?n special ?ntre anii 1945-1946, c?nd ei credeau sigur c? vor fi evacua?i din ?ara noastr? ?i trimi?i ?n Uniunea Sovietic?. Totu?i ?i ?n prezent, de?i b?tr?ni, exist? ?i ?n r?ndurile lor unele comentarii ?i nemul?umiri, pe care ?ns? ?i le arat? ?n anturajul restr?ns pe care eventual ?l au.“

Tiziano Vecelli or Tiziano Vecellio (1488/1490 – 27 August 1576) known in English as Titian was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno (in Veneto), in the Republic of Venice. During his lifetime he was often called da Cadore, taken from the place of his birth. Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art. During the course of his long life, Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone are without precedent in the history of Western art. Early years This early portrait (c. 1509), described by Giorgio Vasari in 1568, was long wrongly believed to be of Ludovico Ariosto; it is now thought to be a portrait of Gerolamo Barbarigo, and the composition was borrowed by Rembrandt for his own self-portraits. The exact date of Titian's birth is uncertain; when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures which would equate to birthdates between 1473 to after 1482, but most modern scholars believe a date nearer 1490 is more likely; the Metropolitan Museum of Art's timeline supports c.1488, as does the Getty Research Institute.He was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore and managed local mines for their owners. Gregorio was also a distinguished councilor and soldier. Many relatives, including Titian's grandfather, were notaries, and the family of four were well-established in the area, which was ruled by Venice. At the age of about ten to twelve he and his brother Francesco (who perhaps followed later) were sent to an uncle in Venice to find an apprenticeship with a painter. The minor painter Sebastian Zuccato, whose sons became well-known mosaicists, and who may have been a family friend, arranged for the brothers to enter the studio of the elderly Gentile Bellini, from which they later transferred to that of his brother Giovanni Bellini. At that time the Bellinis, especially Giovanni, were the leading artists in the city. There Titian found a group of young men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani, and Giorgio da Castelfranco, nicknamed Giorgione. Francesco Vecellio, his older brother, later became a painter of some note in Venice.A fresco of Hercules on the Morosini Palace is said to have been one of Titian's earliest works; others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth (from the convent of S. Andrea), now in the Accademia, Venice.

THE earliest record we have of the employment of an infernal machine at all resembling the torpedo of the present day, was in 1585 at the siege of Antwerp. Here by means of certain small vessels, drifted down the stream, in each of which was placed a magazine of gunpowder, to be fired either by a trigger, or a combination of levers and clockwork, an Italian engineer, Lambelli, succeeded in demolishing a bridge that the enemy had formed over the Scheldt. So successful was this first attempt, and so tremendous was the effect produced on the spectators, by the explosion of one of these torpedoes, that further investigation of this new mode of Naval warfare was at once instituted.But it was not until some two hundred years after that any real progress was effected, though numerous attempts were made during this period, to destroy vessels by means of sub-marine infernal machines.It was owing to the fact, that the condition which is now considered as essential in torpedo warfare, viz., that the charge must be submerged, was then entirely ignored, that so long a standstill occurred in this new art of making war. Captain Bushnell, the Inventor of Torpedoes.—To Captain David Bushnell, of Connecticut, in 1775, is most certainly due the credit of inventing torpedoes, or as he termed them submarine magazines. For he first proved practically that a charge of gunpowder could be fired under water, which is incontestably the essence of submarine warfare. Submarine Boat.—To Captain Bushnell is also due the credit of first devizing a submarine boat for the purpose of conveying his magazines to the bottom of hostile ships and there exploding them.Drifting Torpedoes.—Another plan of his for destroying vessels, was that of connecting two of his infernal machines together by means of a line, and throwing them into the water, allowing the current to carry them across the bows of the attacked ship. Mode of Ignition.—The ignition of his magazines was generally effected by means of clockwork, which, when set in motion, would run for some time before exploding the machines, thus enabling the operators to get clear of the explosion.Captain Bushnell's few attempts to destroy our ships off the American coast in 1776 and 1777, with his submarine boat, and his drifting torpedoes were all attended with failure, a result generally experienced, where new inventions are for the first time subjected to the test of actual service. Robert Fulton.—Robert Fulton, an American, following in his footsteps, some twenty years after, revived the subject of submarine warfare, which during that interval seems to have been entirely forgotten. A resident in France, in 1797, he is found during that year making various experiments on the Seine with a machine which he had constructed, and by which he designed "to impart to carcasses of gunpowder a progressive motion under water, to a certain point, and there explode them."[A] Fulton's Failures.—Though these first essays of his resulted in failure, Fulton thoroughly believed in the efficacy of his schemes, and we find him, during that and succeeding years, vainly importunating the French and Dutch Governments, to grant him aid and support in carrying out experiments with his new inventions, whereby he might perfect them, and thus ensure to whichever government acceded to his views, the total destruction of their enemy's fleets. Bonaparte aids Fulton.—Though holding out such favourable terms, it was not until 1800, when Bonaparte became First Consul, that Fulton's solicitations were successful, and that money was granted him to carry out a series of experiments. In the following year (1801), under Bonaparte's immediate patronage, Fulton carried out various and numerous experiments in the harbour of Brest, principally with a submarine boat devised by him (named the Nautilus), subsequently to his invention of submarine carcasses as a means of approaching a ship and fixing one of his infernal machines beneath her..

Дарону Аджемо?лу ? Джеймсу Роб?нсону вдалося, здавалося б, неможливе — в?дпов?сти на питання, яке до них безрезультатно вивчали стол?ттями: чому одн? кра?ни багат?, а ?нш? — б?дн?????рунтуючись на п’ятнадцятир?чних досл?дженнях у галузях ?стор??, пол?толог?? та економ?ки, автори легко ? доступно пояснюють, чому економ?чний усп?х держав не залежить в?д культури, кл?мату чи географ?чного положення.??Аджемо?лу та Роб?нсон переконан?: кра?ни стали найусп?шн?шими через те, що ?хн? громадяни повалили владну ел?ту ? створили сусп?льства, де головною ц?нн?стю стали р?вн? економ?чн? та пол?тичн? права кожного. На ?хню думку, саме свобода робить св?т багатшим.??Книга ?Чому нац?? занепадають? — сво?р?дний пос?бник, який допоможе краще зрозум?ти причини, що сприяють процв?танню держав та ?хньому занепаду.

Habsburgi, Windsori, Romanovi, Hohenzollerni, familii regale ale Belgiei, Olandei, Italiei, Iugoslaviei, Bulgariei, Rom?niei sau Greciei – monarhiile europene s-au aflat ?n inima celor dou? R?zboaie Mondiale.?ntr-o incursiune istoric? fascinant?, punctat? de portrete, anecdote, momente-cheie, ?nt?lniri decisive, jocuri de alian?e, Jean des Cars ne introduce ?n culisele cur?ilor europene prinse ?n v?rtejul celor dou? conflagra?ii care au zguduit secolul al XX-lea.?Jean des Cars, eminent specialist al marilor dinastii europene, realizeaz? – ?ar? dup? ?ar?, deceniu dup? deceniu – un expozeu al faptelor istorice marcante, construind o lucrare plin? de vivacitate ?i bine documentata, o lectura cu at?t mai captivanta, cu c?t cele aproape 170 de subcapitole care o compun istorisesc, fiecare ?n parte, o adev?rat? poveste." - Le Figaro Magazine?Una dintre cele mai bune c?r?i ale autorului ?i un succes de libr?rie: urm?rim pe parcursul acestor conflicte comportamentele monarhilor, majoritatea ?nrudi?i ?ntre ei. Un secol de istorie a marilor familii, a destinelor europene, iar pentru Europa de Est, o memorie reg?sit?." - Valeurs Actuelles?n vara lui 1914, Europa este majoritar monarhic?: din dou?zeci ?i dou? de state, nou?sprezece sunt regate, imperii, principate sau mari ducate. Ast?zi, nu au mai r?mas dec?t zece. Primul R?zboi Mondial provoac? pr?bu?irea a patru imperii (Germania, Rusia, Austro-Ungaria, Imperiul Otoman), iar al Doilea spulber? patru regate (Italia, Iugoslavia, Rom?nia, Bulgaria).Cine erau ace?ti suverani? Dar femeile care le ?mp?rt??eau destinul?De la ambi?ie la orbire, de la curaj la sl?biciune, de la gelozie la abnega?ie, care au fost triumfurile ?i e?ecurile lor? Cum ?i-au tr?it gloria, dramele, cum s-au confruntat cu ascensiunea extremismelor interbelice, cu apari?ia totalitarismelor? Erau con?tien?i de consecin?ele gesturilor lor? Sau au fost incapabili s? stopeze avansul na?ionalismelor? Care au fost vie?ile lor personale, iubirile ?i pasiunile secrete? Ace?ti monarhi, care se vor alia, se vor ?nfrunta ?i uneori tr?da, sunt to?i ?nrudi?i, uni?i prin leg?turi de s?nge ?i matrimoniale. Astfel, ?r?zboiul regilor" va fi o incredibil? reglare de conturi familial? – la scar? continental?, apoi mondial?.

Materialele reunite in acest volum reprezinta o suma de contributii si studii publicate in ultimii ani. Toate materialele au fost selectate pentru a corespunde titlului stabilit: BATALIA PENTRU BASARABIA. Este explicabil de ce, in atare conditii, preocuparile colectivului de autori s-au concentrat asupra epocii celui de-al Doilea Razboi Mondial, cu predilectie tratand sfartecarea teritoriala a Romaniei Mari in 1940 sau rolul si locul Maresalului Ion Antonescu in reluarea luptei nationale pentru eliberarea Basarabiei de sub dominatia Imperiului Rosu stalinist, dupa 1941. Nu au fost neglijate nici anume fapte si consideratii din rastimpul 1945-1989, cand batalia s-a desfasurat indeosebi pe plan politico-diplomatic, dar si ideologic ori istoriografic.

Cred ?n sensibilitatea publicului fa?? de un teatru al ideilor, dar ?i fa?? de un teatru de ac?iune fidel formelor clasice. Cu riscul de a fi considerat un manierist, accept aceast? etichet?, dac? ?mi aleg drept modele nume ca Montherlant, Camus, Vallejo sau Camil Petrescu. Am ?ncercat s? tratez una dintre marile teme ale dramaturgiei universale, care ?ncepe cu vechii greci ?i se ?mpline?te ?n teatrul clasic francez: conflictul dintre datorie ?i pasiune. Drama apare atunci c?nd cele dou? imperative devin divergen?e ?i ea se poate reg?si ?i azi de la marii lideri politici la oamenii de r?nd. Dar pentru a o ilustra am ales varianta teatrului istoric, deoarece (pentru a-l cita pe Henri Rochefort ) ?viitorul, ?n momentul de fa??, pare at?t de sumbru, ?nc?t am sim?it s? m? hr?nesc o vreme cu trecutul". Drama personajelor mele, fie c? este vorba despre Ugo, fie c? este vorba despre printul Rudolf, este e?ecul ?nregistrat ?n ?ncercarea de a le g?si un liant, de a le ?mp?ca. Am v?zut ?n Rudolf de Habsburg un adev?rat profet al lumii moderne… care a prev?zut toate catastrofele secolului al XX-lea ?i a ?ncercat s? orienteze politica austriaca ?ntr-o alta direc?ie. Dar via?a sa privat?, departe de a fi un model, a dejucat acest plan. El dispare pentru c? nu-?i mai g?se?te locul ?n lumea lui, ?n timp ce Ugo d’Este ??i accept? sf?r?itul din acela?i motiv. (Corneliu ?enchea)

K?ztudott, hogy a pártállami diktatúra idején minden jobboldali gondolat eredend?en üld?zend?nek számított. De vajon hogyan élték túl a hagyományos politikai felosztás szerint jobboldalinak tekintett személyek és mozgalmak a Rákosi-, majd a Kádár-rendszer üld?ztetéseit? Kik választották az évtizedekre szóló, csendes ?alámerülést”, és kik azok, akik továbbra is aktívan képviselték korábbi eszméiket? ?s vajon a rendelkezésünkre álló dokumentumok alapján meg lehet-e kül?nb?ztetni a jobboldalhoz k?thet? valós társadalmi jelenségeket az állambiztonság konstruált ügyeit?l? Az UNGV?RY KRISZTI?N által szerkesztett tanulmányk?tet a Kádár-rendszer állambiztonsága szempontjából ?jobboldalinak” tekintett hagyomány és gondolkodás, illetve az ezt képvisel? csoportok 1945 és 1990 k?z?tti t?rténetéb?l ad reprezentatív válogatást. Mivel e meglehet?sen széles – a progresszív konzervatív eszmét?l a kisgazdákon át az egyetemi szervezkedésekig és a radikális széls?jobboldali mozgalmakig terjed? – politikai paletta szerepl?i és nézetei a kommunista és államszocialista diktatúra idején egyként ?ellenségesnek” min?sültek, a k?tet tanulmányai mindenekel?tt az állambiztonsági iratok feldolgozására épülnek. Az ?sszeállítás áttekintést nyújt az olvasónak a belügyminisztérium ?jobboldali” ellenségképér?l, részletesen tárgyalja a prominens kisgazda és kereszténydemokrata politikusok sorsát, illetve nyomon k?veti a háború el?tti széls?jobboldalhoz k?thet? mozgalmak utóéletét is. E hiánypótló k?tet kit?n? írásai nem csupán arra világítanak rá, hogy a jobboldali hagyományok hogyan élték túl búvópatakszer?en a háborút k?vet? fél évszázadot, de a ma jobboldalinak tekintett attit?d?ket és mentalitásokat is jobban érthet?vé teszik.

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)“.

Vajon van esélye Hanna és Olivér szerelmének?Túlélheti a fiatal lány a végzetesnek hitt balesetet? ?s ha túl is éli, visszaállhat-e az élete a normális kerékvágásba?Mire képes a szerelem, mit bír el a szív? Elfogadni, megbocsátani, elengedni, újrakezdeni. A másik oldalról els? részében megismert szerepl?ké mellett új kapcsolatok alakulását is nyomon k?vethetjük. Együtt sírhatunk és nevethetünk a hétk?znapi h?s?kkel, akikkel végtelen természetességük miatt igazán k?nny? azonosulni. A korábbi k?tethez hasonlóan ezúttal is számtalan komoly téma vet?dik fel, a bonyodalmakkal dúsított, meglep?, néhol megd?bbent? fordulatokban gazdag t?rténet mégis k?nnyed, szórakoztató kikapcsolódást ígér. Papp Csilla legújabb k?nyvében, mely ott kezd?dik, ahol az els? regény véget ér, újra és újra rácsodálkozhatunk a szerelem erejére, mik?zben minden kétséget kizáróan el fogjuk hinni, hogy biztosan nincsenek véletlenek.

n iunie 2015 am publicat n revista Permanene” (nr. 6) articolul Vladimir Tismneanu - ieri i azi”, motivat de faptul c Preedintele Comisiei Prezideniale pentru Analiza Dictaturii Comuniste din Romnia a devenit brusc un atacator al celor susinute n Raportul Final al Comisiei pe care a prezidat-o. Pn n prezent nu exist niciun fel de opinie a dlui Tismneanu i nici a celor de la Institutul Elie Wiesel” - MCA referitor la acest punct de vedere.