The first ever comprehensive collection of plays ?in English from Southeast Asia. Features work by eight playwrights from seven countries in Southeast Asia, a region which is experiencing profound change:?Singapore, Vietnam, Malaysia, Thailand, the Philippines, Indonesia and Cambodia.? Southeast Asian Plays ?explores the rich variety of dramatic work that is only beginning to be translated into English. Theatre scripts are merely blueprints for productions, especially in this region. As elsewhere, second productions and revivals are rare, so publication is key to allowing play texts to find a wider international readership. Topics include the global financial crisis, sex workers, traditional v modern values, the role of faith in society, corruption in high places and journalistic ethics. The plays have been selected for performance. Plays: The Plunge by Jean Tay (Singapore) An Evening At the Opera by Floy Quintos (Philippines) Night of the Minotaur by Tew Bunnag (Thailand) Tarap Man by Ann Lee (Malaysia) Dark Rac e by Dang Chuong (Vietnam) Frangipani by Chhon Sina (Cambodia) Picnic by Joned Suryatmoko (Indonesia) Nadirah by Alfian Saat (Singapore) "The editors have done an excellent job of opening up our chances of reading and learning about plays from all over Southeast Asia. ...editorial choices are significant for opening up spaces to voices which are otherwise heard less often. All in all the plays are interesting for the ways in which they grapple with key concerns in their respective societies."? --The Asiatic

From a story by Hans Christian Andersen In ancient China, young emperor Wu is kept a virtual prisoner in his palace by his devious guardian, Li Si. Wu believes the world outside the Forbidden City is an evil and dangerous place. But when Xiao, a young servant girl, tells him of the most beautiful sound on earth – the song of the nightingale – it’s too much to resist. The two embark on an adventure that will take them across mountain tops and waterfalls, past chattering monkeys and magical dragons to the far reaches of his kingdom. When Wu returns with the nightingale, and starts to overturn the old palace customs, Li Si plots to restore things to the way they were before. Featuring puppetry, music and all the colour, movement and spectacle of Chinese theatre, this joyful adaptation of Hans Christian Andersen’s fairy tale is a feast for the senses that will delight the whole family. Suitable for ages 6+

The story of a modern Asian young woman trying to straddle Western attitudes and traditional beliefs. You've heard of an Essex Girl or even a Chelsea Girl but what is a Hounslow Girl? The term has become a byword for confident, young Muslim women who are grappling with traditional values, city life and fashion. From the joys of Pakistani weddings to fights on the night bus, Ambreen Razia's? The Diary of a Hounslow Girl ?is a funny, bold, provocative play highlighting the challenges of being a teenage girl in a traditional Muslim family, alongside the temptations and influences of growing up in and around London. “Ambreen’s writing is poetic in its structure and intensity, funny, moving, chilling, and delivered in a style that takes inspiration from spoken word and physical theatre. She has created a rhythm that draws the audience in, as compelling as a thriller, complete with gathering ominousness, shocks and comic relief.” Deborah Bestwick, Director, Ovalhouse “Ambreen Razia’s terrific play is exactly the kind of new work we wish to support in the new home of multi-cultural theatre in London. Hounslow Girl is a wonderfully funny take on a London phenomenon and one audiences will enjoy.” Jatinder Verma, Artistic Director, Tara Arts” "a powerful piece of theatre... Ambreen Razia's performance is astonishing."?BritishTheatre.com "This is a sophisticated, moving and often very funny piece of writing, particularly nuanced in its depiction of Shaheeda's relationship with her mother ... astute in tackling the breakdown of the loving bonds between parent and child that can occur when a child becomes a teenager – and also how this experience can be magnified for the children of first-generation immigrants, whose parents feel distant from their children’s British lives... Razia's script touches on everything from first love to cultural expectations to student-teacher relationships; it’s a bit like an inner-city version of An Education."?The Stage Ambreen Razia is an actress and writer from South London.? The Diary of a Hounslow Girl is Ambreen's debut show which premiered at Ovalhouse in 2015. Passionate about re-establishing British Asian comedy within the UK, she continues to write her comedy sketch show involving two British Asian girls exploring the?clash between traditional Indian/Pakistani culture and modern British life. She is also currently writing her next play POT primarily focusing on the recent comeback of gang culture within the UK.?Performance credits include: On the Middle Day (Old Vic Theatre);? Words and Women (Edinburgh Fringe); Random Acts (Channel 4);? Fair Exchange (Hen and Chickens Theatre);? Variations on a Theme (Camden People's Theatre);? Mind the Gap (National Theatre ); No Guts, No Heart, No Glory? (BBC4/Perth Festival Australia) and Murdered by my Father? (BBC3).

With a foreword by director Ralph Lawson and introduction by Pranav Joshipura, Associate Professor of English, Mahila College, Gandhinagar, India. A follow-up anthology of three hard-hitting plays to Singh’s successful drama anthology Durban Dialogues, Indian Voice (2013) which is now studied internationally. The plays selected, namely Into the Grey, Shooting and Swing cover topics such as social activism, the death of a friend and discrimination in sport. Described through Singh’s satirical lens, these thought-provoking plays bring us up to date with the challenges of life in post-Apartheid South Africa. They focus particularly on people of Indian origin and their relationships with other South African communities and chart the loss of ideals in the dream of the Rainbow nation. Into the Grey: A harrowing drama depicting the twenty-nine year association between two Durban activists who battle a variety of challenges as their country stumbles towards a bleak future. Shooting: A one-man play about the unchanging paradigm in Durban’s small town communities in the early years of democracy as a football prodigy’s dream is brutally shattered. Swing: A two-hander about the relationship between a mixed-race Durban tennis player and her father/coach as they confront many obstacles in a society which undervalues the girl-child.

A dual language edition in English and French. The genocide in Rwanda shocked the world. Back then, Ery Nzaramba was only a teenager and his family’s escape to Europe turned him into a “survivor”. How should he now respond to questions about who he is and where he comes from? In this autobiographical one-man play, performed to acclaim on the Edinburgh Festival Fringe, the author journeys back to his Rwandan childhood. With the help of a cassette player, he brings to life nearly a dozen characters, exploring memories of kinship, cultural attitudes and personal identity. Both funny and poignant, the play highlights not only the intolerance that can breed violence and war but also the importance of power and privilege in the struggle for survival. Le génocide au Rwanda a choqué le monde. ? l'époque, Ery Nzaramba était un adolescent. Après que sa famille se fut échappé en Europe, il est devenu un ?survivant?. Désormais, que doit-il répondre à des questions sur qui il est et d'où il vient? Dans ce one-man show autobiographique, salué par la critique lors de sa présentation au Festival d'?dimbourg, l'auteur retourne vers son enfance au Rwanda. Accompagné d'un lecteur cassette, il donne vie à une bonne douzaine de personnages, explorant souvenirs de famille et d'affinités, attitudes culturelles et identité. ? la fois poignante et pleine d'humour, la pièce met en lumière non seulement l'intolérance qui peut engendrer violence et guerre, mais aussi l'importance du privilège dans la lutte pour la survie.

Брошура в стисл?й та популярн?й форм? розпов?да? про под?? Укра?нсько? революц?? 1917–1921 рок?в – процеси державного буд?вництва, творення укра?нсько? пол?тично? нац??, в?дродження укра?нсько? науки, осв?ти, культури та духовност?. Багато уваги прид?ля?ться л?дерам Укра?нсько? революц?? – Михайлу Грушевському, Володимиру Винниченку, Симону Петлюр?, Павлу Скоропадському, ?вгену Петрушевичу, Номану Челеб?дж?хану та ?н., як? розробляли ?? ?деолог?ю, формували порядок денний, вели за собою народ. Розкрива?ться ?нституц?йне буд?вництво, творення законодавчо?, виконавчо?, судово? г?лок влади, розбудова в?йська, дипломат??, ф?нансово? системи тощо. Фотокартки ? св?дчення сучасник?в в?дтворюють атмосферу того часу, проливають св?тло на життя ? побут звичайно? людини в умовах революц?йних потряс?нь.??Брошура п?дготовлена на основ? матер?ал?в ?нформац?йно-просв?тницько? кампан??, яку Укра?нський ?нститут нац?онально? пам’ят? проводить до 100-р?ччя Укра?нсько? революц?? 1917-1921 рок?в, в ход? яко? п?дготовлено низку фотодокументальних виставок, комплект?в лист?вок та ?нформац?йних матер?ал?в, дитячу наст?льну гру, спец?ал?зовану веб-стор?нку, присвячену под?ям Укра?нсько? революц?? 1917–1921 рок?в (www.UNR.memory.gov.ua).??

DRAWING is the expression of an idea: “Art must come from within, and not from without. This fact has led some to assert that the study of nature is not essential to the student, and that careful training in the study of the representation of the actual appearance is mechanical and harmful. Such persons forget that all art ideas and sentiments must be based upon natural objects, and that a person who cannot represent truly what he sees will be entirely unable to express the simplest ideal conceptions so that others may appreciate them. Study of nature is, then, of the first and greatest importance to the art student.A drawing may be made in outline, in light and shade, or in color. The value of the drawing artistically does not depend upon the medium used, but upon the individuality of the draughtsman making it. The simplest pencil sketch may have much more merit than an elaborate colored drawing made by one who is unable to represent truly the facts of nature, or who sees, instead of the beauty and poetry, the ugliness and the imperfections of the subject. OBJECTS FOR STUDY:We hear a great deal now about the cultivation of the sense of beauty by the choice of drawing models. Many go so far as to say that nothing but the most beautiful forms should be given from the start, and, asserting that the cube, cylinder,and other type forms are not beautiful, they say that they should not be used, but that beautiful variations of these type forms should be provided. More definite information than this is rarely given. We are not told what natural objects are beautiful, and cheap enough to be provided, or how these objects of beauty are to be obtained, if they are not provided by the city. Such advice as to the use of beautiful models must be very pleasant and valuable to the drawing teacher, who so often fails to secure the money necessary to provide the cheap wooden models costing a few cents each ; and we do not wonder that special and regular teachers often regard this subject as one having no standards and no authorities. Much of all this commotion about beautiful objects of study is raised by those who, suffering from criticism, have in the desire to escape it plunged headlong from one set of mechanical rules for a series of lessons for the public schools, to another set less arbitrary in certain directions, but still mechanical, and if possible, more harmful than before, because attempting more.The average teacher can readily learn to discover at a glance whether or not the drawing of a cube represents the object as it might appear. She can do this even without seeing the model from the pupil's position; and the student can compare his drawing with the object and discover its errors more easily than he can in the drawing of a cast, a leaf, a figure,or any other object of beauty, in which the beauty depends upon lines which are subtile and which require a trained eye to see at all truly.

Drag? cititorule,Dac? te-ai uitat ieri mai mult de dou? ore la televizor ?i nu po?i f?r? asta, las? cartea asta jos.Dac? vrei s? fii de acord cu cineva, cu oricine, nu e?ti omul meu.Dac? m? ?tii din tinere?e ?i crezi c? sunt b?iatul care se b?lb?ia la prompter, dai banii degeaba.Dac? vrei s? dai cadou cartea asta unui prieten, nu mai bine ?i iei o sticl? de vin? Eu nu ?tiu s? ame?esc a?a bine.?n general, recomand cartea doar c?torva oameni.Cei care vor s? afle cum am ajuns s? tr?im, iubim, alegem ?n social media.Dar mai ales celor care cred c? a scrie poate schimba ceva.P.S. Poate.Doar c? trebuie s? scriem cu to?ii ?n acela?i timp.Despre asta e Share! Despre for?a social media, cel mai bun amplificator de idei pe care ?l ?tiu.?ntr-un fel, dac? stai s? te g?nde?ti, ?i tu ai scris-o.

Fire?te c?, de la schimbarea de paradigm? numit? apari?ia genurilor rock ?i folk (precedate de jazz, dar mai cu seam? de blues... ?i ?n m?sur? cov?r?itoare de explozia beat!), ?n Rom?nia comunist? (?ncerc?nd mereu s? fie sincron? cu voga occidental?), lucrurile n-au fost tocmai roz. Unii chiar se bat ?n piept c? de la ei ?ncoace se poate vorbi de...; al?ii (implica?i direct) sunt sc?rbi?i de ceea ce se ?nt?mpl?, mai cu seam? ?n lipsa unei istorii oficiale ?i documentate, ?i ??i v?d de treab?. ?n era net/Wikipedia, oricine se poate da ?n stamb?, se poate lua la tr?nt? (sub pav?za anonimatului, implicit a nesim?irii) cu orice; cum anticipa parc? Andy Warhol, a venit vremea ?n care oricine va fi fost vedet? 15 minute.Dar au existat ?i vedete reale, grei ai genurilor a?a-zis u?oare, mon?tri sacri! Celor acum ?n umbr? (cite?te underground) le este dedicat acest volum. M?rturii orale puse cap la cap despre aceia care au trecut ?i – iat? – se ?ntorc ?n Clubul Arhitecturii. Dac? un Cenaclu ?Flac?ra“, la ?nceput genial ?n scopuri, a fost mai apoi r?st?lm?cit ideologic ?i impus aproape cu for?a p?n? la implozie, clubul – recte pivni?a – din strada Bl?nari nr. 14 a rezistat peste decenii intrinsec; pe temelia solidificat? de la o zi la alta, de la un artist la altul, de la o bere la alta... Din student ?n student (dar nu numai prin ei), ?tafeta a tot fost preluat? de genera?iile care s-au perindat, iar ast?zi ne-am trezit cu o ?ntreag? istorie care apas? pe funda?iile cl?dirii vechi..., dar f?r? bulin? ro?ie! Nu, Club A nu va c?dea, a?a cum va exista ?n continuare ?i Casa Studen?ilor din Bucure?ti (ca ?i cele din Timi?oara, Ia?i, Cluj...), ?i Radioul, ?i Televiziunea, ?i Electrecordul...Din cuprins: Amintiri ? Clubul de pariuri muzicale sau Cu... v?nt ?nainte... din pupa! ? A fost o dat?... din 1969 ? Primul Festival Na?ional de Muzic? Pop ?Club A“ (16–22 decembrie 1969) ? Ro?u ?i Negru ? Romanticii ? Chromatic Grup ? Sideral (Modal Quartet) ? Olympic ‘64 ? Phoenix ? Coral... ?i Adrian Ivani?chi ? Al doilea Festival Na?ional de Muzic? Pop ?Club A“ (10–17 mai 1971) ? Modern Grup ? Metronom ? Mondial ? Timi?oara, la vest de Rom?nia ? Carusel ? Post-scriptum la al doilea festival ? Folk ?n Club A ? Mihai Munteanu ?Michone“ ? Dorin Liviu Zaharia ?Chubby“ ? Mircea ?Ciocu“ Vintil? ? Florian ?Mo?u“ Pitti? ? Doru St?nculescu ? Sorin Minghiat ? Dan Oprina ?i Mircea Valeriu Popa ? Nicu Vladimir ? Marcela Saftiuc ? Adriana Ausch ? Anda C?lug?reanu ? Zoia Alecu ? Catena ? FFN ? Valeriu Sterian (?i Compania de Sunet) ? Mircea Bodolan ? Curtea Veche nr. 43 ? Al treilea Festival ?Club A“ (5–8 iunie 1979) ? Metropol ? Academica ? Experimental Q ? Modal Q ? Mircea Florian (din Transilvania) ? Al patrulea Festival ?Club A“ (16–19 martie 1981) ? Dan Andrei Aldea ?i Sfinx ? Pro Musica ? Accent ? Redivivus ? Basorelief ? Gramophon/Post Scriptum ?i... Mircea Baniciu ? Semnal M ? Sorin Chifiriuc ?i Domino/Roata ? Grup ‘74 ? Club A – 15 ani (12–17 martie 1984) ? Nicu Alifantis ? Iris ? Liviu Tudan & Ro?u ?i Negru ? Al cincilea Festival ?Club A“ (28 februarie–1 martie 1990) ? Compact ? Holograf ? Celelalte Cuvinte ? Gala ?Club A – 30 de ani“ (18 iunie 1999)?/ ?Club A – 34 de ani“ (4 iunie 2003) ? Sfinx (Experience) ? Alexandru Andrie? ? Cargo ? Timpuri Noi ? Sfatul ?b?tr?nilor“ ? Al ?aptelea Festival ?Club A“ (13–18 mai 2011) ? Imagini ?necenzurate“

O livro apresenta uma abordagem sobre como foram construídos os saberes inerentes à medicina e ao hospital na Sociedade Moderna. Mostra, historicamente, como foi estabelecido o poder e as práticas médico-hospitalares. A obra apresenta o discurso das institui??es dominantes sobre o modelo assistencial, como também revela a realidade pragmática do acesso efetivo ao direito social à saúde, que, formalmente, foi expresso como uma necessidade básica traduzida em mínimos sociais, como condi??o legítima de dignidade da pessoa humana. A relev?ncia desse estudo é em virtude de sua especial significa??o nas diversas áreas das Ciências Humanas e Sociais, ao nutrir o debate sobre a temática do Direito à Saúde nas inst?ncias do Poder Público, bem como ao introduzi-la na agenda das profiss?es relacionadas com o campo da saúde, aprofundando suas dimens?es de transdisciplinariedade e transversalidade.

No caso da episteme comunicacional pode-se dizer que a mesma vem-se constituindo na historicidade de conceitos chave e de hipóteses clássicas que têm nutrido o pensamento teórico e a pesquisa empírica do campo. Pensando a episteme comunicacional trata disso, ou seja, do objeto comunica??o em sua trajetória por fazer-se, a qual, ao acumular-se, permite a renova??o do que foi pensado a seu respeito e a prospec??o de novos pontos de vista.

Fic??o brasileira no século XXI é um livro instigante. De leitura agradável e de interesse amplo, debru?a-se, com competência e inventividade, sobre oito escritores brasileiros contempor?neos, consagrados e premiados. O que n?o é pouco em uma tradi??o como a nossa, em que n?o se encontram muitos estudiosos de literatura que encarem o contempor?neo e consigam discuti-lo de forma a dialogar, n?o apenas com o estudioso e o especialista como também com o leitor comum interessado em literatura. Adriana Lunardi, Alberto Martins, Luiz Ruffato, Michel Laub, Milton Hatoum, Nelson de Oliveira, Ricardo Lísias e Rodrigo Lacerda encontram, por meio da leitura que deles fazem os autores deste livro, novos olhares para suas obras. E, nestes novos olhares, há um convite para novos leitores e leituras renovadas.

Okupiv?i na jednome mjestu najzanimljivija imena lijeve politi?ke misli od Slovenije do Bugarske, s naglaskom na zemlje biv?e Jugoslavije, filozofi? i aktivisti Sre?ko Horvat i Igor ?tiks pred njih su stavili zadatak da napi?u tekstove o situaciji danas i ovdje, prije svega na Balkanu. ?etrnaest autora, od mladih filozofskih nada do svjetski priznatih imena, u svojim esejima pokazuje koliko je po?ast neoliberalizma u sprezi s politi?ko-mafija?kim klanovima i krupnim kapitalom razjela sve one pozitivne tekovine koje je ostavilo socijalisti?ko naslje?e. Bez sentimenta i nostalgije prema pro?lim vremenima, Dobro do?li u pustinju postsocijalizma najzanimljivija je i najaktualnija knjiga o suvre?menom trenutku. Ona je nezaobilazna studija za svakoga tko ?eli ozbiljnije shvatiti ?to nam se i za?to doga?a u vremenima duboke krize.

Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed. Leonardo's literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations and dissertations. The vast structure of his scientific theories is consequently built up of numerous separate researches, and it is much to be lamented that he should never have collated and arranged them. His love for detailed research—as it seems to me—was the reason that in almost all the Manuscripts, the different paragraphs appear to us to be in utter confusion; on one and the same page, observations on the most dissimilar subjects follow each other without any connection. A page, for instance, will begin with some principles of astronomy, or the motion of the earth; then come the laws of sound, and finally some precepts as to colour. Another page will begin with his investigations on the structure of the intestines, and end with philosophical remarks as to the relations of poetry to painting; and so forth. Leonardo himself lamented this confusion, and for that reason I do not think that the publication of the texts in the order in which they occur in the originals would at all fulfil his intentions. No reader could find his way through such a labyrinth; Leonardo himself could not have done it. ABOUT AUTHOR: Leonardo Da Vinci, Born on April 15, 1452, in Vinci, Italy, Leonardo da Vinci was concerned with the laws of science and nature, which greatly informed his work as a painter, sculptor, inventor and draftsmen. His ideas and body of work—which includes "Virgin of the Rocks," "The Last Supper," "Leda and the Swan" and "Mona Lisa"—have influenced countless artists and made da Vinci a leading light of the Italian Renaissance.Quotes"Iron rusts from disuse, stagnant water loses its purity and in cold weather becomes frozen; even so does inaction sap the vigor of the mind."? ? ? ? ? – Leonardo da Vinci Humble Beginnings:Leonardo da Vinci was born on April 15, 1452, in Vinci, Italy. Born out of wedlock, the love child of a respected notary and a young peasant woman, he was raised by his father, and his stepmothers. 'The Last Supper'In 1482, Lorenzo de' Medici, a man from a prominent Italian family, commissioned da Vinci to create a silver lyre and bring it to Ludovico il Moro, the Duke of Milan, as a gesture of peace. Da Vinci did so and then wrote Ludovico a letter describing how his engineering and artistic tal

Читанка для учн?в старших клас?в середньо? школи в ус?х ?вропейських кра?нах. Книжку створено в рамках сп?льного проекту орган?зац?й та установ, що працюють разом у Платформ? ?вропейсько? пам'ят? та сумл?ння. Зб?рка м?стить 30 дивовижних ?стор?й людей з 16 ?вропейських кра?н, що зазнали тотал?таризму. Це розпов?д? про см?ливц?в, як? протистояли тотал?таризмов? та загинули, а також про тих, кому пощастило вижити. Ц? розпов?д? сповнен? надзвичайного суму через незм?рн? страждання, що ?х завдали фанатичн? орудар?, поборники та п?дсобники тотал?таризму таким же людям, як ? вони. Але водночас вони осп?вують любов до свободи, людську г?дн?сть, несхитн?сть, см?лив?сть, в?ру та в?ддан?сть головним людським ц?нностям.

["The Elements of Drawing" was written during the winter of 1856. The First Edition was published in 1857; the Second followed in the same year, with some additions and slight alterations. The Third Edition consisted of sixth thousand, 1859; seventh thousand, 1860; and eighth thousand, 1861.The work was partly reproduced in "Our Sketching Club," by the Rev. R. St. John Tyrwhitt, M.A., 1874; with new editions in 1875, 1882, and 1886.Mr. Ruskin meant, during his tenure of the Slade Professorship at Oxford, to recast his teaching, and to write a systematic manual for the use of his Drawing School, under the title of "The Laws of Fésole." Of this only vol. i. was completed, 1879; second edition, 1882. As, therefore, "The Elements of Drawing" has never been completely superseded, and as many readers of Mr. Ruskin's works have expressed a desire to possess the book in its old form, it is now reprinted as it stood in 1859.] ? THE SECOND EDITION.As one or two questions, asked of me since the publication of this work, have indicated points requiring elucidation, I have added a few short notes in the first Appendix. It is not, I think, desirable otherwise to modify the form or add to the matter of a book as it passes through successive editions; I have, therefore, only mended the wording of some obscure sentences; with which exception the text remains, and will remain, in its original form, which I had carefully considered. Should the public find the book useful, and call for further editions of it, such additional notes as may be necessary will be always placed in the first Appendix, where they can be at once referred to, in any library, by the possessors of the earlier editions; and I will take care they shall not be numerous.August 3, 1857. ? PREFACE? i. It may perhaps be thought, that in prefacing a manual of drawing, I ought to expatiate on the reasons why drawing should be learned; but those reasons appear to me so many and so weighty, that I cannot quickly state or enforce them. With the reader's permission, as this volume is too large already, I will waive all discussion respecting the importance of the subject, and touch only on those points which may appear questionable in the method of its treatment. ? ii. In the first place, the book is not calculated for the use of children under the age of twelve or fourteen. I do not think it advisable to engage a child in any but the most voluntary practice of art. If it has talent for drawing, it will be continually scrawling on what paper it can get; and should be allowed to scrawl at its own free will, due praise being given for every appearance of care, or truth, in its efforts. It should be allowed to amuse itself with cheap colors almost as soon as it has sense enough to wish for them. If it merely daubs the paper with shapeless stains, the color-box may be taken away till it knows better: but as soon as it begins painting red coats on soldiers, striped flags to ships, etc., it should have colors at command; and, without restraining its choice of subject in that imaginative and historical art, of a military tendency, which children delight in, (generally quite as valuable, by the way, as any historical art delighted in by their elders,) it should be gently led by the parents to try to draw, in such childish fashion as may be, the things it can see and likes,—birds, or butterflies, or flowers, or fruit. ? iii. In later years, the indulgence of using the color should only be granted as a reward, after it has shown care and progress in its drawings with pencil. A limited number of good and amusing prints should always be within a boy's reach: in these days of cheap illustration he can hardly possess a volume of nursery tales without good wood-cuts in it, and should be encouraged to copy what he likes best of this kind; but should be firmly restricted to a few prints and to a few books.

s vezes, a única coisa verdadeira num jornal é a data, disse Luis Fernando Verissimo. Tomar ao pé da letra essa frase bem-humorada do cronista pode no ser um bom negócio. Porém, ainda mais temerário seria aceitar a hipótese oposta, ou seja, de que tudo acontece do jeito que o jornalista nos conta. Certos recursos de escrita e de edio aumentam tanto a temperatura do texto que provocam a fuso entre a fantasia e a realidade. Esse fenmeno misterioso, com seu toque de alquimia, é o que Renato Modernell investiga em A notícia como fábula.

Le piante percepiscono il suono e amano suonare.Lo dimostrano studi e sperimentazioni condotte in ambito accademico e, ancora di più, le esperienze di numerosi ricercatori e musicisti che insegnano alle piante a usare apparecchiature musicali elettroniche e suonano e cantano insieme a loro.Le ricerche sull’intelligenza vegetale, sulla sensibilità delle piante e sulla loro disponibilità a dialogare con noi aprono la nostra mente verso una più profonda visione della natura e il nostro cuore a nuove occasioni di scambio con tutto ciò che è vivo intorno a noi.

David Stevenson?jedan je od najistaknutijih prou?avatelja Prvoga svjetskog rata. U svom monumentalnom djelu?1914.–1918. Povijest Prvog svjetskog rata?kre?e od uzroka sukoba, prolazi kroz sva boji?ta, analizira geopoliti?ke odnose, ravnote?u izme?u imperijalnih sila, politi?ke i vojne promjene, kraj rata i mirovne ugovore koji su odredili okvir budu?ih me?unarodnih odnosa, te zavr?ava raspravom o nastavku ratnog sukoba drugim sredstvima i o poslijeratnom ure?enju svijeta koje ?e izazvati nove sukobe. Ova povijest jedna je od onih koje otkrivaju nove ?injenice i reinterpretiraju povijesne izvore, ali jednako tako stvaraju cjelovitu sliku o kompleksnosti sukoba. Stevensonova povijest prva je sveobuhvatna povijest Prvoga svjetskog rata objavljena u Hrvatskoj nakon vi?e od 50 godina. Knjiga koju je potrebno pro?itati da bi se shvatilo dvadeseto stolje?e i razumjelo vrijeme u kojem ?ivimo.

Knjiga Me?uodnosi umjetni?kih svjetova dio je doktorske disertacije, a govori o simultanoj i sukcesivnoj umjetnosti kroz ilustracije Bhagavad Gite, u 18 poglavlja od kojih svako ima dvije verzije. Su?tina autori?inog interesa je prijenos misli i osje?aja iz drevnog indijskog epa, kroz likovne elemente, odnosno vizualizacija vremenske umjetnosti; poku?ala je interpretirati kroz kompoziciju, boju, liniju, kontrast, tre?u dimenziju, strukturu, teksturu, proporciju, ritam i dinamiku, filozofiju Bhagavad Gite, koja je posebna utoliko ?to je u Indiji filozofija jednako religija, i obrnuto. Spomenuta je i analogija izme?u vremenskih i prostornih umjetnosti, kao ?to je boja (valer), glazba (akord), te upravo kroz sinergiju zna?enja i zra?enja na ilustracijama mo?emo do?ivjeti da "?itamo sliku". ? Tatjana Burzanovi? je autorica, umjetnica, grafi?ka dizajnerica i dizajnerica interijera, profesor na Fakultetu za kulturu i turizam na predmetu Indijska kultura, te na Fakultetu za dizajn i multimediju na Univerzitetu Donja Gorica u Podgorici, Crna Gora. Diplomirala je na Akademiji likovnih umjetnosti u Sarajevu, a doktorat obranila na Fakultetu primenjenih umjetnosti u Beogradu. Svoje je radove izlagala na brojnim samostalnim i grupnim izlo?bama, te sudjelovala u umjetni?kim i pedago?kim kolonijama. Dobila je nekoliko nagrada za dizajn knjiga. Knjiga Me?uovisnost umjetni?kih svjetova?nagra?ena je na 11. sajmu knjiga u Podgorici za najbolje opremljeno umjetni?ko izdanje. Knjiga je u elektroni?kom izdanju dostupna i u engleskom prijevodu.

Gustáv Murín? k?nyvében a vad és zabolátlan kilencvenes évekbe kalauzolja el az olvasót, abba az id?be, amikor a volt szocialista államoknak azzal kellett szembesülniük, hogy a demokratizálódás bizony t?rvényszer?en magával hozza a komolyabb szervezett b?n?z?i csoportok megjelenését is. Az államapparátus fenekén tojáshéj, a b?n?z?k zsebében pedig a fegyver és a pénz. Kicsoda valójában Jozef Rohá?, a profi, akihez a legvéresebb merényletek k?t?dnek Szlovákiában és Magyarországon egyaránt? Mi k?ze van a magyar b?rt?nbüntetését t?lt? Eva Reze?ovának a kassai gengszterekhez? Hogyan t?nt el 114 vagonnyi olaj Pozsony és Budapest k?z?tt? Mi k?ti ?ssze Magyarországot az újkori t?rténelem legvéresebb maffialeszámolásával? Ki szervezte meg a szlovák k?ztársasági eln?k fiának elrablását? Ki ne emlékezne a vadkeletre? Ezek a csoportok nem ismertek határokat, így a szlovák és a magyar alvilág számos ponton és ügyben kapcsolódhatott egymáshoz. Ezekb?l a t?rténetekb?l kiderül, hogyan. T?rténetek, amelyek egyszer véget érnek. A b?n azonban marad, itt jár k?ztünk továbbra is.