Do you love Dr Who? Are you a new fan of the show? This 50 Quick facts guide is ideal for both new and young fans who want an introduction to the show!

Do you love 5 Seconds of Summer, are you a fan of 5SOS, then you need these 50 More Quick facts about the band! With 50 MORE quick facts for fans!

Are you a longstanding member of the 5SOS Family? Or do you want to know everything there is to know about Luke, Michael, Calum and Ashton? If so, then this is the book for you! Contained within are 101 amazing facts about everything, from how the boys got started in the music business to some funny random facts, their favourite things and much, much more. The book is easily organised into sections so you can find the information you want fast and is perfect for all ages!

Lucrarea aduce in dezbaterile istoricilor si economistilor evolutia economica si politica a Romaniei in perioada 1859-1900, marcand o contributie insemnata in acest domeniu destul de putin studiat, analizat si dezbatut.Tema centrala a lucrarii o constituie necesitatea crearii unei industrii romanesti inca de la inceputul secolului al XIX-lea, pledand in favoarea protectionismului, a independentei capitalurilor si a mainii de lucru calificata.De asemenea, autorul analizeaza dezbaterile care au avut loc in epoca pe tema industrializarii si protectionismului intre cele doua partide mari existente in a doua jumatate a secolului XIX: Conservator si Liberal, precum si cele dintre economistii de conceptie din acea vreme: D.P. Martian, I. Ghica, Ionica Tautu, P.S. Aurelian.

The work represents a synthesis published and printed in two volumes (the 1st volume in 2002, the second one, in 2004) under the aegis of Mica Valahie Publishing House in Bucharest. Being elaborated on the basis of some documents discovered in the Romanian and foreign archives, the two volumes cover the period up to 1929 in the first volume and the period from 1929 to 2005 in the second one. The paper reveals the role and place of Romanian oil in the evolution of the national and worldwide history, especially during the World War between 1939 and 1945 and in the development of the so-called “cold war”. The book insists upon the prospects of the specific “black gold” evolution.In the addendum there are to be found some interesting documents and the complete bibliography of oil.

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“

A Blackwater napjaink legrejtélyesebb és legellentmondásosabb vállalata. A korábban a SEAL-nél, az amerikai haditengerészet elit alakulatánál szolgáló Eric Prince által 1997-ben alapított vállalkozás olyan, kül?nleges katonai alakulatoktól leszerelt veteránok és civilek toborzásával és kiképzésével foglalkozott, akik elég képzettek és bátrak voltak ahhoz, hogy elvállalják a világ legveszélyesebb ?rz?-véd? feladatait. A cég hírnevével együtt n?tt a szolgáltatásai iránti kereslet, olyannyira, hogy a Blackwater emberei ?sszesen k?zel százezer küldetést hajtottak végre Irakban és Afganisztánban. A cég a Bush- és az Obama-kormányzat számára is nélkül?zhetetlennek bizonyult. Ezek alapján klasszikus üzleti sikert?rténetnek is t?nhetne a Blackwater sorsának alakulása, csakhogy volt valami, ami beárnyékolta a sikert: a cég ellen zajló világméret? lejárató hadjárat. Az egy kaptafára íródott híradásokban és a valóságot durván elferdít? regényekben és filmekben a Blackwater alkalmazottait hol zsoldosoknak, hol gátlástalan profitvadászoknak, hol pedig primitív, er?szakos vadállatoknak állították be. Mivel a Pentagonnal, a Külügyminisztériummal és a CIA-val k?t?tt szerz?dései titoktartásra k?telezték, Prince kénytelen volt csendben t?rni, ahogy ellenfelei zavartalanul terjesztik a téves információkat róla és a vállalkozásáról. Most azonban végre elmondhatja a cég felemelkedésének és bukásának teljes és gyakran megd?bbent? t?rténetét. Az Amerika szolgálatában Prince kíméletlen ?szinteséggel meséli el a Blackwater-sztori minden részletét. Prince nem próbálja hibátlannak beállítani magát, és nem hallgatja el magánélete néha fájdalmas részleteit sem, ugyanakkor nagy szolgálatot tesz a k?zvéleménynek azzal, hogy tiszta vizet ?nt a pohárba. Az Amerika szolgálatában t?rténete izgalmas, akár egy thrilleré, de valószer?tlenebb, mint amit a képzelet alkothat.

T?bb mint harminc év nagy anyagi, és emberi áldozatokat k?vetel? fejlesztései és kísérletezései után a XIX. század végére kialakult a tengerek új ura, a kor legmodernebb technológiai vívmányait magában egyesít?, modern értelemben vett csatahajó. A hatalmas, félelmetes acélmonstrumok leny?g?zték a kortársakat. Ezek a hajók voltak az ?ket birtokló ország erejének és nagyhatalmi státuszának szimbólumai, a nemzeti büszkeség megtestesít?i. Bennük jutott kifejezésre megépíttet?iknek gazdasági fejlettsége, ipari teljesít?képessége, valamint a szándék, hogy a világ vezet? nagyhatalmainak sorába tartozzanak. Világszerte minden nagyobb haditengerészet ezek k?ré a páncélos óriások k?ré szervez?d?tt, melyek teljes fegyverzetben állva várták, hogy országuk érdekeinek védelmében rendeltetésüknek megfelel?en harcba szálljanak az ellenfél hasonló páncélosai ellen, s bizonyítsák létezésük értelmét, és a rájuk k?lt?tt hatalmas ?sszegek megtérülését. Talán az új id?k kezdetének szimbolikus jelzéseként fogható fel, hogy erre az alkalomra végül nem a világot uraló európai országok vizein, hanem messze keleten, egy felt?rekv?, és nem az európai kultúrk?rbe tartozó új nagyhatalom partjai k?zelében került sor.

RUINS OF ANCIENT CITIES, WITH GENERAL AND PARTICULAR ACCOUNTS OF THEIR RISE, FALL, AND PRESENT CONDITION. - BY CHARLES BUCKE This Volume contain these cities;Messene, Mycen?, Miletus, Nauplia, Nemea, Nineveh, The Destruction of Sennacherib, Numantia, Olympia, Puteoli, Palmyra (Tadmor), Patr?, Pella, Pergamus, Persepolis, Petra (Wady Mousa), Phigalia, Plat?a, P?stum, Pompeii, Rama, Rome, Saguntum, Hannibal’s Speech to His Soldiers, Sais, Samaria, Sapphura, Sardis, Seleucia, Selinus, Or Selinuntum, Sicyon, Sidon, Smyrna, Spalatro, Stratonice, Susa, Sybaris, Syene, Syracuse, Thebes, Troja, And Other Cities of the Troas, Tyre, Veii Fallen, fallen, a silent heap; their heroes allSunk in their urns:—Behold the pride of pomp,The throne of nations fallen; obscured in dustEven yet majestical.—The solemn sceneElates the soul! ? ?{DYER} The reader is requested to observe, that, though the plan of this work is entirely his own, the compiler of it does not put it forth as in any way original in respect to language or description. It is, in fact, a much better book, than if it had been what is strictly called original, (which, indeed, must have involved an utter impossibility:) for it is a selection of some of the best materials the British Museum could furnish; sometimes worked up in his own language; and sometimes—and, indeed, very frequently—in that of others: the compiler having, at an humble distance and with unequal steps, followed the plan which M. Rollin proposed to himself, when he composed his celebrated history of ancient times.—"To adorn and enrich my own," says that celebrated writer, "I will be so ingenuous as to confess, that I do not scruple, nor am ashamed, to rifle whereever I come; and that I often do not cite the authors from whom I transcribe, because of the liberty I take to make some slight alterations. I have made the best use in my power of the solid reflections that occur in the Bishop of Meaux's Universal History, which is one of the most beautiful and most useful books in our language. I have also received great assistance from the learned Dean Prideaux's 'Connexion of the Old and New Testament,' in which he has traced and cleared up, in an admirable manner, the particulars relating to ancient history. I shall take the same liberty with whatever comes in my way, that may suit my design, and contribute to its perfection. I am very sensible, that it is not so much for a person's reputation to make use of other men's labours, and that it is in a manner renouncing the name and quality of author. But I am not over-fond of that title, and shall be extremely well pleased, and think myself very happy, if I can but deserve the name of a good compiler; and supply my readers with a tolerable history, who will not be over-solicitous to inquire what hand it comes from, provided they are but pleased with it."Having followed this example,—the compiler wishes he could say with equal effect,—he will be fully satisfied, should judicious readers feel inclined to concede, that he has shown some judgment in selecting his materials, and some taste in binding "the beads of the chain," that connects them together. He disclaims, in fact, (as, in the present instance, he is bound to do), all the "divine honours" of authorship; satisfied with those of a selecter, adapter, and compiler; and happy in the hope that he has here, by means of the superior writers, whose labours he has used, furnished his readers with an useful, accurate, and amusing work.? ? ? ? ? C. B.

It is believed that the scene of this tale, and most of the information necessary to understand its allusions, are rendered sufficiently obvious to the reader in the text itself, or in the accompanying notes. Still there is so much obscurity in the Indian traditions, and so much confusion in the Indian names, as to render some explanation useful. Few men exhibit greater diversity, or, if we may so express it, greater antithesis of character, than the native warrior of North America. In war, he is daring, boastful, cunning, ruthless, self-denying, and self-devoted; in peace, just, generous, hospitable, revengeful, superstitious, modest, and commonly chaste. These are qualities, it is true, which do not distinguish all alike; but they are so far the predominating traits of these remarkable people as to be characteristic. It is generally believed that the Aborigines of the American continent have an Asiatic origin. There are many physical as well as moral facts which corroborate this opinion, and some few that would seem to weigh against it. The color of the Indian, the writer believes, is peculiar to himself, and while his cheek-bones have a very striking indication of a Tartar origin, his eyes have not. Climate may have had great influence on the former, but it is difficult to see how it can have produced the substantial difference which exists in the latter. The imagery of the Indian, both in his poetry and in his oratory, is oriental; chastened, and perhaps improved, by the limited range of his practical knowledge. He draws his metaphors from the clouds, the seasons, the birds, the beasts, and the vegetable world. In this, perhaps, he does no more than any other energetic and imaginative race would do, being compelled to set bounds to fancy by experience; but the North American Indian clothes his ideas in a dress which is different from that of the African, and is oriental in itself. His language has the richness and sententious fullness of the Chinese. Philologists have said that there are but two or three languages, among all the numerous tribes which formerly occupied the country that now composes the United States. They ascribe the known difficulty one people have to understand another to corruptions and dialects. The writer remembers to have been present at an interview between two chiefs of the Great Prairies west of the Mississippi, and when an interpreter was in attendance who spoke both their languages. The warriors appeared to be on the most friendly terms, and seemingly conversed much together; yet, according to the account of the interpreter, each was absolutely ignorant of what the other said. They were of hostile tribes, brought together by the influence of the American government; and it is worthy of remark, that a common policy led them both to adopt the same subject. They mutually exhorted each other to be of use in the event of the chances of war throwing either of the parties into the hands of his enemies. Whatever may be the truth, as respects the root and the genius of the Indian tongues, it is quite certain they are now so distinct in their words as to possess most of the disadvantages of strange languages; hence much of the embarrassment that has arisen in learning their histories, and most of the uncertainty which exists in their traditions. Like nations of higher pretensions, the American Indian gives a very different account of his own tribe or race from that which is given by other people. He is much addicted to overestimating his own perfections, and to undervaluing those of his rival or his enemy; a trait which may possibly be thought corroborative of the Mosaic account of the creation. The whites have assisted greatly in rendering the traditions of the Aborigines more obscure by their own manner of corrupting names. Thus, the term used in the title of this book has undergone the changes of Mahicanni, Mohicans, and Mohegans; the latter being the word commonly used by the whites.

IT is much easier to understand and remember a thing when a reason is given for it, than when we are merely shown how to do it without being told why it is so done; for in the latter case, instead of being assisted by reason, our real help in all study, we have to rely upon memory or our power of imitation, and to do simply as we are told without thinking about it. The consequence is that at the very first difficulty we are left to flounder about in the dark, or to remain inactive till the master comes to our assistance.? Now in this book it is proposed to enlist the reasoning faculty from the very first: to let one problem grow out of another and to be dependent on the foregoing, as in geometry, and so to explain each thing we do that there shall be no doubt in the mind as to the correctness of the proceeding. The student will thus gain the power of finding out any new problem for himself, and will therefore acquire a true knowledge of perspective.?? George Adolphus Storey??Book First?The Necessity of the Study of Perspective to Painters, Sculptors, and Architects?LEONARDO DA VINCI tells us in his celebrated Treatise on Painting that the young artist should first of all learn perspective, that is to say, he should first of all learn that he has to depict on a flat surface objects which are in relief or distant one from the other; for this is the simple art of painting. Objects appear smaller at a distance than near to us, so by drawing them thus we give depth to our canvas. The outline of a ball is a mere flat circle, but with proper shading we make it appear round, and this is the perspective of light and shade.? ‘The next thing to be considered is the effect of the atmosphere and light. If two figures are in the same coloured dress, and are standing one behind the other, then they should be of slightly different tone, so as to separate them. And in like manner, according to the distance of the mountains in a landscape and the greater or less density of the air, so do we depict space between them, not only making them smaller in outline, but less distinct.’?Sir Edwin Landseer used to say that in looking at a figure in a picture he liked to feel that he could walk round it, and this exactly expresses the impression that the true art of painting should make upon the spectator.??There is another observation of Leonardo’s that it is well I should here transcribe; he says: ‘Many are desirous of learning to draw, and are very fond of it, who are notwithstanding void of a proper disposition for it. This may be known by their want of perseverance; like boys who draw everything in a hurry, never finishing or shadowing.’ This shows they do not care for their work, and all instruction is thrown away upon them. At the present time there is too much of this ‘everything in a hurry’, and beginning in this way leads only to failure and disappointment. These observations apply equally to perspective as to drawing and painting.? Unfortunately, this study is too often neglected by our painters, some of them even complacently confessing their ignorance of it; while the ordinary student either turns from it with distaste, or only endures going through it with a view to passing an examination, little thinking of what value it will be to him in working out his pictures. Whether the manner of teaching perspective is the cause of this dislike for it, I cannot say; but certainly most of our English books on the subject are anything but attractive.??All the great masters of painting have also been masters of perspective, for they knew that without it, it would be impossible to carry out their grand compositions. In many cases they were even inspired by it in choosing their subjects. When one looks at those sunny interiors, those corridors and courtyards by De Hooghe, with their figures far off and near, one feels that their charm consists greatly in their perspective, as well as in their light and tone and colour... ?

Are you the world's biggest Nicole Richie fan? Or do you want to know everything there is to know about the fashion designer, author and reality TV star? If so, then this is the book for you! Contained within are over one hundred facts about everything, from her unusual upbringing to her on/off friendship with Paris Hilton, her relationships, fashion lines and much, much more. The book is easily organised into sections so you can find the information you want fast and is perfect for all ages!

Are you the world's biggest Sam Smith fan? Or do you want to find out everything there is to know about one of the world's greatest singer-songwriters of modern times? If so, then this is the book for you! Contained within are over one hundred facts about Sam, from his life before making it big in the music industry to his relationships, likes, dislikes plus much, much more. The book is easily organised into sections so you can find the information you want fast and is an unmissable addition to any fan's bookshelf.

O nuan autobiografic, perfect ntemeiat, irizeaz concepia lui Breban de la acest nivel, miza mare a ideii fiind aceea de a demonstra – ceea ce romancierul a mai fcut… – c generaia din care face el nsui parte (Nichita Stnescu, Matei Clinescu etc.) a transformat literatura ntr-un asemenea mediu germinativ de excelene, prin intermediul promovrii esteticului ca replic alternativ sublim la grotescul ideologic din jur. Trebuie s recunoatem c Breban rmne seniorial i impecabil de fiecare dat cnd enun aceast dihotomie: de pild, nu trebuie uitat faptul c Istoria dramatic a prezentului s-a zamislit cnd mpotriva autorului se trgea cu tunul, pe motivul orchestratei acuze de colaborare cu Securitatea. Nici un raspuns n volum, nimic insidios, revanard sau resentimentar: doar idei i fapte, nu psihologie. Jos plria!“ (tefan Borbély)Numai cultura, carevaszica, ne poate lecui de aceast nesiguran identitar i numai ea poate nnobila istoria noastr de care, s-a putut constata, prozatorul maramureean nu-i mulumit… Face i alte profeii, atunci cnd n capitolul final vorbete despre specificul naional, dar despre toate acestea vom putea discuta cu alt prilej. Este o tem pe care noi, romnii, o aducem mereu n discuie fie pentru a o sataniza, fie pentru a o apra. Observ c N. Breban n-o respinge, de plano, cum fac globalitii, nici n-o smintete cu un discurs encomiastic, cum fac localitii. El procedeaz corect, aa cum procedeaz orice intelectual lucid i responsabil, adic analizeaz un concept (un concept esenial) i ncearc s-i vad viitorul… Este trist, i are de ce, cnd se gndete la lumea politic de azi i la retorica resentimentului i a rzbunrii care domin lumea intelectual… S mai spun c are i n acest caz dreptate, c dup douzeci de ani de libertate intelectualii romni, cu precdere scriitorii (ei, care s-au inut bine sub regimul totalitar), se detest cu o grea sinceritate mi amintesc de o propoziie din Eminescu (reproduc din memorie): Nu eti liber, dac nu eti drept. Se poate spune i invers: Nu eti drept, dac nu eti liber. Liber, n cazul oamenilor de litere, de prejudeci, de complexe i idiosincrazii, de eecurile i vexaiunile pe care i le-a provocat istoria i pe care spiritul nu poate s le stpneasc.“ (Eugen Simion)

Exila?i este singura pies? scris? de Joyce, unde ??i face manifest?, prin regulile speciei, predilec?ia pentru m??tile puse fiec?rui personaj. Citit? ca o trecere ?n ordine cronologic? de la Portret al artistului ?n tinere?e la Ulise, piesa con?ine m?rci clare ale obsesiilor scriitorului ?i urme vizibile ale experien?ei omului James Joyce. Rela?iile de dragoste, parentale sau de prietenie sunt cele care dezechilibreaz? personajele, exilul temporar ?n Italia fiind doar o alt? form? a ?nstr?in?rii din Irlanda natal?.

Rejtély, amelyet másfél száz éve próbálnak írók, irodalomt?rténészek, színházi szakemberek, esztéták, filozófusok megfejteni. Mese? ?rgirus királyfi és Tündér Ilona csodásan valószer?tlen t?rténete számtalan változatban létezik a magyar népmesekincsben, s olasz k?zvetít? forrásokon át g?r?g, s?t egyiptomi gy?kerekig nyúlik vissza az aranyalmát term? fa s a két szerelmes t?rténete. Szerelmi románc? Nem fontos a kor, a táj, a t?rténelmi háttér, csak az érzelmeiben egymásba gabalyodott két ember – itt és most: Csongor és Tünde – lángolása, viharzása, minden eléjük tornyosuló akadályt leromboló akarása, szerelmi szárnyalása. Színdarab? Karakteres, jó szerepek – ?rd?g?k, boszorkányok, b?lcsek, ledérek – forgataga zegzugos cselekmény, váratlan fordulatok, lehet?ség mindenféle színpadi csoda semmi nem korlátozva megvalósítására: sok alakra bomló, egy személybe olvadó boszorkány, leveg?ben r?pk?d?, láthatatlanná váló ?rd?gfiak, f?ld mélyér?l szemünk láttára kiemelked?, fényárban úszó tündérpalota. Minden pillanatban tátva maradhat a szánk. Filozófiai traktátus? ?letutak: Kalmáré a kincs, Fejedelemé a hatalom, Tudósé a b?lcsesség; Csongoré a szerelem. A kincs elpereg, a hatalom elkopik, a tudás semmivé porlad. A szerelem ?r?k. Drámai k?ltemény? ?jfélt?l éjfélig élünk: hajnalodik, felragyog az ég, dél van, alkonyodik, beesteledik, már f?lénk borul az éjszaka. Reményekkel telten, harcra készen kezdjük hajnalban, küszk?dünk reggel, boldogok vagyunk délben, szorongunk alkonyatkor, s?tétedéskor belenyugszunk az elmúlásba. De másnap újra f?lkel a nap. V?r?smarty Mihály 1830-ban fejezte be m?vét, a cím alá azt írta: színjáték ?t felvonásban. Már csak boldogan sajgó, rejtve rejtett szomorú emlék szívében reménytelen szerelme, Perczel Etelka. Mindennapi életében legf?képpen arra büszke, hogy sok kínnal keletkezett nagy m?vét, a Zalán futását a várva várt nemzeti eposzként ünneplik. Tagja az éppen szület? Magyar Tudományos Akadémiának, a legismertebb, legfontosabb szépirodalmi és m?vészeti lapok ?dolgozótársa”, szívét melenget? jóérzés: Széchenyi István a barátja. Igaz, a pénztárcája t?bbnyire lapos, gyakran kínosan lapos, de ismert és népszer? ember. Harminc éves. Férfi. Kincse nincs, hatalomra nem vágyik, a tudásról azt gondolja: valójában senki nem tudja, mennyit ér s mire jó. De Csongor boldog, amikor megpillantja Tündét, boldog, amikor át?leli, boldog, amikor elveszíti, mert hiszi, tudja: nem ?r?kre veszítette el. Küzd, harcol, verekszik: keresi a boldogságot. S boldog, amikor embert próbáló kalandok után végre megtalálja Tündét, s f?ldi létükben ?r?kre ?sszeforrnak. Csongor és Tünde számára a szerelem a kincs, a hatalom, a tudás. El nem veszíthet? kincs, ?r?kre er?t adó hatalom, b?lcsességgé párlódott tudás. ?gy lesznek halandók halhatatlanok. ?s másnap újra f?lkel a nap.

A Midsummer Night's Dream is a romantic comedy by William Shakespeare, suggested by "The Knight's Tale" from Geoffrey Chaucer's The Canterbury Tales, written around 1594 to 1596. It portrays the adventures of four young Athenian lovers and a group of amateur actors, their interactions with the Duke and Duchess of Athens, Theseus and Hippolyta, and with the fairies who inhabit a moonlit forest. The play is one of Shakespeare's most popular works for the stage and is widely performed across the world.

Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli ( 1445 – 1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine school under the patronage of Lorenzo de' Medici, a movement that Giorgio Vasari would characterize less than a hundred years later as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. Botticelli's posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting. Among his best known works are The Birth of Venus and Primavera. In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution included the Temptations of Christ, the Punishment of the Rebels and Trial of Moses. He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist. The masterpieces Primavera (c. 1482) and The Birth of Venus (c. 1485) were both seen by Vasari at the villa of Lorenzo di Pierfrancesco de' Medici at Castello in the mid-16th century, and until recently, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the Primavera was painted for Lorenzo's townhouse in Florence, and The Birth of Venus was commissioned by someone else for a different site. By 1499, both had been installed at Castello. In these works, the influence of Gothic realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive widespread scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace" and by John Ruskin as possessing linear rhythm, there can be no doubt. In the mid-1480s, Botticelli worked on a major fresco cycle with Perugino, Domenico Ghirlandaio and Filippino Lippi, for Lorenzo the Magnificent's villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a fa?ade for the Cathedral of Florence.

In issuing this second treatise on Crayon Portraiture, Liquid Water Colors and French Crystals, for the use of photographers and amateur artists, I do so with the hope and assurance that all the requirements in the way of instruction for making crayon portraits on photographic enlargements and for finishing photographs in color will be fully met. To these I have added complete instructions for free-hand crayons. This book embodies the results of a studio experience of twenty-four years spent in practical work, in teaching, and in overcoming the everyday difficulties encountered, not alone in my own work, but in that of my pupils as well. Hence the book has been prepared with special reference to the needs of the student. It presents a brief course of precepts, and requires on the part of the pupil only perseverance in order that he may achieve excellence. The mechanical principles are few, and have been laid down in a few words; and, as nearly all students have felt, in the earlier period of their art work, the necessity of some general rules to guide them in the composition and arrangement of color, I have given, without entering into any profound discussion of the subject, a few of its practical precepts, which, it is hoped, will prove helpful. While this book does not treat of art in a very broad way, yet I am convinced that those who follow its teachings will, through the work they accomplish, be soon led to a higher appreciation of art. Although this kind of work does not create, yet who will say that it will not have accomplished much if it shall prove to be the first step that shall lead some student to devote his or her life to the sacred calling of art? It has been said that artists rarely, if ever, write on art, because they have the impression that the public is too ill-informed to understand them—that is, to understand their ordinarily somewhat technical method of expression. If, therefore, in the following pages I may sometimes seem to take more space and time for an explanation than appears necessary, I hope the student will overlook it, as I seek to be thoroughly understood. My hope with reference to this work is that it may prove of actual value to the earnest student in helping him reach the excellence which is the common aim of all true artists. ? ?J. A. Barhydt. About Author: To many who know nothing about the art of crayon portraiture, the mastery of it not only seems very difficult, but almost unattainable. In fact, any work of art of whatever description, which in its execution is beyond the knowledge or comprehension of the spectator, is to him a thing of almost supernatural character. Of course, this is more decided when the subject portrayed carries our thoughts beyond the realms of visible things. But the making of crayon portraits is not within the reach alone of the trained artist who follows it as a profession. I claim that any one who can learn to write can learn to draw, and that any one who can learn to draw can learn to make crayon portraits. Making them over a photograph, that is, an enlargement, is a comparatively simple matter, as it does not require as much knowledge of drawing as do free-hand crayons. But you must not suppose that, because the photographic enlargement gives you the drawing in line and an indistinct impression of the form in light and shade, you are not required to draw at all in making a crayon portrait over such an enlargement. Some knowledge of drawing is necessary, though not a perfect knowledge. Many people err in supposing that only the exceptionally skilled can produce the human features in life-like form upon the crayon paper. While recognizing great differences in natural aptitude for drawing in different persons, just as those who use the pen differ widely in their skill, some being able to write with almost mechanical perfection of form, I still hold that any one who is able to draw at all can succeed in producing creditable crayons.. J. A. Barhydt.

Demagóg, ?rült, gazember? Népvezér, próféta, mártír? E két véglet k?z?tt ingadozott Szálasi Ferenc megítélése kortársai szemében. Az utókor azonban k?zel sem ilyen megosztott személyét illet?en, Szálasi a 20. századi magyar t?rténelem talán legelutasítottabb alakja. K?tetünkben arra keressük a választ, miként vált azzá. Miért lépett egyáltalán a politika színpadára otthagyva ezzel a biztos karriert kínáló katonaságot? Milyen célok vezették? Mit gondolt és mit tett politikusként? Szálasi életútjának állomásairól számos egykori dokumentum vall, ami lehet?séget ad, hogy t?bb, olykor lényegesen eltér? néz?pontokból vizsgálhassuk ugyanazt az eseményt. K?nyvünkben megkíséreljük a sok esetben részrehajló – vagy éppen elfogult – kortársak írásai alapján áttekinteni Szálasi életútját: a katonáét, az ideológusét, a politikusét – gyermekkorától egészen haláláig. Végül pedig azt is bemutatjuk, miként viszonyul hozzá az utókor. A k?tetet életrajzi kronológia, válogatott bibliográfia, valamint térképek teszik teljessé. PAKSA RUDOLF 1981-ben született Ajkán, az ELTE-n doktorált t?rténelemb?l és 2009 októberét?l az MTA BTK 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.

This Illustrated version of the "A Short History of the world" contains about 300 Illustrated picture, and many historic objects.. THE story of our world is a story that is still very imperfectly known. A couple of hundred years ago men possessed the history of little more than the last three thousand years. What happened before that time was a matter of legend and speculation. Over a large part of the civilized world it was believed and taught that the world had been created suddenly in 4004 B.C., though authorities differed as to whether this had occurred in the spring or autumn of that year. This fantastically precise misconception was based upon a too literal interpretation of the Hebrew Bible, and upon rather arbitrary theological assumptions connected therewith. Such ideas have long since been abandoned by religious teachers, and it is universally recognized that the universe in which we live has to all appearances existed for an enormous period of time and possibly for endless time. Of course there may be deception in these appearances, as a room may be made to seem endless by putting mirrors facing each other at either end. But that the universe in which we live has existed only for six or seven thousand years may be regarded as an altogether exploded idea. "A Short History of the world" by E-Kitap projesi, Illustrated version by Murat Ukray.. Also added "IN the last fifty years there has been much very fine and interesting speculation on the part of scientific men upon the age and origin of our earth. Here we cannot pretend to give even a summary of such speculations because they involve the most subtle mathematical and physical considerations. The truth is that the physical and astronomical sciences are still too undeveloped as yet to make anything of the sort more than an illustrative guesswork. The general tendency has been to make the estimated age of our globe longer and longer. It now seems probable that the earth has had an independent existence as a spinning planet flying round and round the sun for a longer period than 2,000,000,000 years. It may have been much longer than that. This is a length of time that absolutely overpowers the imagination. "