Pe 1 mai 1915, c?nd Primul R?zboi Mondial intra ?n cea de a zecea sa lun?, un transoceanic de linie luxos, la fel de bogat decorat ca un conac englezesc de ?ar?, pleca din New York cu destina?ia Liverpool, av?nd la bord un num?r record de copii. ?n r?ndurile pasagerilor domnea o surprinz?toare stare de bun? dispozi?ie, de?i Germania declarase c? apele din jurul Marii Britanii constituiau o zon? de r?zboi. Luni de zile, submarinele germane sem?naser? teroarea ?n Atlanticul de Nord. Dar Lusitania era unul dintre marile transatlantice ale epocii, cel mai rapid vapor de linie aflat ?n serviciu, iar c?pitanul ei, William Thomas Turner, avea o ?ncredere de nestr?mutat ?n regulile stricte ale r?zboiului purtat de gentlemani, care feriser?, vreme de un secol, vasele civile de orice atac. Este o poveste pe care mul?i dintre noi cred c? o cunosc, f?r? a o ?ti cu adev?rat, iar Erik Larson ne-o readuce ?n aten?ie plin? de suspans, schimb?nd rolurile ?ntre v?n?tor ?i v?nat, ?n timp ce descrie un tablou mai general al Americii la apogeul Erei Progresului. Plin? de str?lucire ?i de emo?ie, Siajul mor?ii aduce la via?? o distribu?ie de personaje evocatoare, de la faimosul librar din Boston Charles Lauriat, la pioniera din domeniul arhitecturii Theodate Pope ?i la pre?edintele Woodrow Wilson, un om sufocat de suferin?? ?i ?ngrozit de perspectiva unui r?zboi mondial. Siajul mor?ii surprinde drama pur? ?i puterea emo?ional? a unui dezastru ale c?rui detalii intime ?i ?n?eles real riscau s? r?m?n? pierdute ?n negurile istoriei.

The Art of War is a Chinese military treatise that was written during the 6th century BC by Sun Tzu. Composed of 13 chapters, each of which is devoted to one aspect of warfare, it has long been praised as the definitive work on military strategies and tactics of its time. The Art of War is one of the oldest books on military strategy in the world. It is the first and one of the most successful works on strategy and has had a huge influence on Eastern and Western military thinking, business tactics, and beyond. Sun Tzu was the first to recognize the importance of positioning in strategy and that position is affected both by objective conditions in the physical environment and the subjective opinions of competitive actors in that environment. He taught that strategy was not planning in the sense of working through a to-do list, but rather that it requires quick and appropriate responses to changing conditions.

Despre Europa s-a vorbit mult, ?n special din perspectiva social? ?i economic?, ?ns? tema nu a fost dezb?tut?, a?a cum s-ar fi cuvenit, de pe pozi?ia culturii. Cartea Mituri ?i legende ale antichit??ii propune studii eseistice referitoare la baza culturii europene. Eseurile ne invit? s? g?ndim ?mpreun? Europa din perspectiva singurului factor care une?te – cultura.

Foto?raf makinesi, insan o?lunun en ?nemli icatlar?ndan biridir. Bir foto?raf, ‘’an’’ denilen k?sac?k bir zaman?n tan???d?r. Ancak onda bir tarihi yakalamak da mümkündür. Bu bak?mdan foto?raf? sadece g?rsel bir obje olarak g?rmemek gerekir. Bakmas?n? bilenler i?in foto?raf; tarih, sosyoloji, psikoloji, kültürel yap?, sosyal de?i?im… konular?n ?nemli ip u?lar? i?erir. Foto?raf; g?rüp g?sterme, ger?e?i g?rünür k?lma, ger?e?i kavratmad?r. Her foto?raf?n bir dili vard?r. O dili anlayabilenler, nice güzellikleri ke?federler. Foto?rafta sadece g?rüneni de?il, g?sterilmek isteneni de bilmek ve alg?lamak gerekir. Her foto?raf bir ‘’an’’? yakalasa da onun i?inde sakl? bir hik?ye bulunur. Foto?raf, g?rselli?iyle beraber; topluma, zamana, mekana ve bireylere ili?kin bilgi ve belgelerle doludur. Foto?raf bireylerin ve toplumun aynas?d?r. Bu albüm-kitapta siz kendinizi bulacaks?n?z. Mahalleniz, k?yünüz, hat?ralar?n?z, akraba ve dostlar?n?z burada, sizin kar??n?zda olacakt?r. Sizleri ‘’Ge?mi?ten Gelece?e Emirda? ‘’ gezintisine ??kar?yoruz. Bu albüm-kitap Emirda?’?n tarihi süre? i?inde ge?ti?i a?amalar? da yans?tarak, gelece?imize ???k tutacakt?r. Emirda?’?n sosyal de?i?imini kitapta g?rmek mümkündür Foto?raflar grupla?t?r?larak okuyucuya kolayl?k sa?lanm??t?r. Genel, askerlik, ?ar??-pazar, bayramlar, spor, e?itim, tar?m-hayvanc?l?k, otobüs?ülük, aile, k?yler, ?ehreler, g??, yayla, bina-yap?lar, milli mücadele ve yat?rlara ait foto?raflar bir araya toplanm??t?r. “Ge?mi?ten Gelece?e Emirda?”?n olu?mas?nda eme?i ge?en, katk? sa?layan tüm Emirda?’l?lara te?ekkür ederim.. ? Ak?n A?CA Emirda? Kaymakam?

Inchizi?ia spaniol?, poate cea mai temut? institu?ie din istoria omenirii, a fost ?nfiin?at? ?n 1478 de Regii Catolici, Ferdinand ?i Isabella, ?i abolit? abia ?n 1834, odat? cu R?zboaiele Napoleoniene. Spre deosebire de Inchizi?ia medieval? din restul Europei, cea din Spania ?i Portugalia s-a r?sp?ndit ?n coloniile iberice din Asia, Africa ?i America de Sud, ajung?nd s? terorizeze, timp de peste trei secole, nu mai pu?in de patru continente.Care au fost ?ns? motivele ?nfiin??rii ei? De ce provoca at?ta team?? Cine erau victimele torturate ?i arse ?n autodafeuri? Toby Green readuce la via?? aceast? perioad? a istoriei cu ajutorul uria?ei arhive inchizitoriale p?strate ?i prezint? nenum?rate cazuri judecate de Sf?ntul Oficiu, de la arhiepiscopi la oameni obi?nui?i, victime inocente ale unui sistem diabolic. De?i ?nsp?im?nt?toare, aceste pove?ti sunt un exemplu al rezisten?ei spiritului uman ?n fa?a absurdului ?i a r?ului. Toby Green ne dezv?luie mecanismele prin care pot ap?rea persecu?ia ?i teroarea, dar ?i felul ?n care pot fi evitate. Inchizi?ia este un avertisment venit din trecut, o lec?ie a istoriei pentru noi to?i!

"Romeo and Juliet" is a tragic play written early in the career of William Shakespeare about two teenage "star-cross'd lovers" whose untimely deaths ultimately unite their feuding households. It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal "young lovers"??PROLOGUE:?Two households, both alike in dignity,?In fair Verona, where we lay our scene,?From ancient grudge break to new mutiny,?Where civil blood makes civil hands unclean.?From forth the fatal loins of these two foes?A pair of star-cross'd lovers take their life;?Whole misadventured piteous overthrows?Do with their death bury their parents' strife.?The fearful passage of their death-mark'd love,?And the continuance of their parents' rage,?Which, but their children's end, nought could remove,?Is now the two hours' traffic of our stage;?The which if you with patient ears attend,?What here shall miss, our toil shall strive to mend.

Societatea deschis? contra societ??ii deschise. Societatea rom?neasc? ?ntre utopie ?i realitate este o carte de analiz? profund? ?i complex?, ce ?i-a ales ca obiect de studiu cea mai important? paradigm? sociopolitic? a postmodernit??ii, ?mpreun? cu realit??ile concrete ce se configureaz? ?n jurul acesteia. O paradigm? care ?i-a propus s? schimbe fa?a lumii, sens ?n care, de mai bine de 25 de ani o putem observa manifest?ndu-se pe multiple coordonate ?i ?n planul realit??ilor sociale ?i politice autohtone, pe care, de altfel, autorul le radiografiaz? extrem de atent, cu ochiul, mintea ?i bagajul de cuno?tin?e proprii specialistului, dar ?i cu sufletul ?i con?tiin?a celui care apar?ine societ??ii rom?ne?ti. Cartea de fa?? este, ?n acela?i timp, ?i despre societatea deschis?, dar ?i despre trecutul, prezentul ?i viitorul prefigurat lumii ?n aceast? paradigm?, c?t ?i despre evolu?ia societ??ii rom?ne?ti ca parte integrant? a acestei lumi. Ea surprinde ?i problematizeaz? o multitudine de aspecte ?in?nd at?t de natura intrinsec? a conceptului de societate deschis?, c?t ?i de schimb?rile pe care implementarea acestui concept ca realitate social? le presupune ?i le antreneaz? ?n societ??ile contemporane. Prin aceasta, ea se recomand? ca o lectur? util?, provocatoare ?i, totodat?, revelatoare tuturor celor preocupa?i de c?mpul ?tiin?elor sociale ?i politice, dar ?i celor interesa?i s? ?n?eleag? ceva ?n plus din sistemul cauzalit??ilor profunde care influen?eaz? mersul lumii, ?n general, ?i al societ??ii rom?ne?ti, ?n particular. (Maria Voinea)

La fel ca ?i precedentele romane ale lui Emil Ra?iu – reactualiz?ri ale marilor noastre mituri – romanul Turnul col?ei... are o tem? major?, anume existen?a problematic? a omului ca fiin?? situat? ?ntre timp ?i eternitate, ?ntre clip? ?i ve?nicie. Dilema major? a vie?ii este ?ndoita fa?? a realit??ii, perceput? prin sim?uri ca etern? trecere ?i fragmentare ?n lucruri, ?n timp ce prin cuget – prin filosofia eleat? a lui Parmenide, Pitagora, Platon ?i a altora – ea este unitate ve?nic? a Fiin?ei, trecerea fiind doar o iluzie a sim?urilor noastre. Omul este prins la mijloc, ?ntre vreme ?i ve?nicie, o soart? pu?in de invidiat...Aceast? existen?? a omului ?ntre clip? ?i ve?nicie, ?n permanent? confruntare cu eternitatea, este nodul central al ontologiei, reflectat? ?n romanul de fa?? prin eroii acestuia, ?ncep?nd cu dasc?lul de la Academia de la Sf?ntul Sava, Mihai Ciubo?el, cu ipostazele sale, adev?rate avataruri, care sintetizeaz? contrariile, ajung?nd p?n? ?n timpurile noastre (secolul XXI), definite ale neo-fanariotismului ?i ale supu?eniei servile la noi centre de putere.Romanul str?bate prin eroii s?i trei sute de ani de istorie, de la Sf?ntul Martir Constantin Br?ncoveanu la Eminescu p?n? ?n vremurile noastre, ?ncheindu-se cu optimism ?i m?rturisind, ?n ciuda tuturor greut??ilor, credin?a ?n victoria final? a luminii ?i adev?rului neamului rom?nesc.

“THE TEMPEST” is Shakespeare's last book. The story Prospero relates is that he is the rightful Duke of Milan and that his younger brother, Antonio, betrayed him, seizing his title and property. Twelve years earlier, Prospero and Miranda were put out to sea in little more than a raft. Miraculously, they both survived and arrived safely on this island, where Prospero learned to control the magic that he now uses to manipulate everyone on the island. Upon his arrival, Prospero rescued a sprite, Ariel, who had been imprisoned by the witch Sycorax. Ariel wishes to be free and his freedom has been promised within two days.??The last inhabitant of the island is the child of Sycorax and the devil: Caliban, whom Prospero has enslaved. Caliban is a natural man, uncivilized and wishing only to have his island returned to him to that he can live alone in peace.??Soon the royal party from the ship is cast ashore and separated into three groups. The king's son, Ferdinand, is brought to Prospero, where he sees Miranda, and the two fall instantly in love. Meanwhile, Alonso, the king of Naples, and the rest of his party have come ashore on another part of the island. Alonso fears that Ferdinand is dead and grieves for the loss of his son. Antonio, Prospero's younger brother, has also been washed ashore with the king's younger brother, Sebastian. ??Antonio easily convinces Sebastian that Sebastian should murder his brother and seize the throne for himself. This plot to murder Alonso is similar to Antonio's plot against his own brother, Prospero, 12 years earlier.??Another part of the royal party — the court jester and the butler — has also come ashore. Trinculo and Stefano each stumble upon Caliban, and each immediately sees a way to make money by exhibiting Caliban as a monster recovered from this uninhabited island. Stefano has come ashore in a wine cask, and soon Caliban, Trinculo, and Stefano are drunk. While drinking, Caliban hatches a plot to murder Prospero and enrolls his two new acquaintances as accomplices. Ariel is listening, however, and reports the plot to Prospero.??Next, Prospero stages a masque to celebrate the young couple's betrothal, with goddesses and nymphs entertaining the couple with singing and dancing. While Ferdinand and Miranda have been celebrating their love, Alonso and the rest of the royal party have been searching for the king's son. Exhausted from the search and with the king despairing of ever seeing his son alive, Prospero has ghosts and an imaginary banquet brought before the king's party. A god-like voice accuses Antonio, Alonso, and Sebastian of their sins, and the banquet vanishes. The men are all frightened, and Alonso, Antonio, and Sebastian run away.??Prospero punishes Caliban, Trinculo, and Stefano with a run through a briar patch and swim in a scummy pond. Having accomplished what he set out to do, Prospero has the king's party brought in. Prospero is clothed as the rightful Duke of Milan, and when the spell has been removed, Alonso rejects all claims to Prospero's dukedom and apologizes for his mistakes. Within moments, Prospero reunites the king with his son, Ferdinand. Alonso is especially pleased to learn of Miranda's existence and that Ferdinand will marry her.?Prospero then turns to his brother, Antonio, who offers no regrets or apology for his perfidy. ??Nevertheless, Prospero promises not to punish Antonio as a traitor. When Caliban is brought in, Caliban tells Prospero that he has learned his lesson. His two co-conspirators, Trinculo and Stefano, will be punished by the king. Soon, the entire party retires to Prospero's cell to celebrate and await their departure home. Only Prospero is left on stage.??In a final speech, Prospero tells the audience that only with their applause will he be able to leave the island with the rest of the party. Prospero leaves the stage to the audience's applause.

Mein Kampf ist eine politisch-ideologische Programmschrift Adolf Hitlers. Sie erschien in zwei Teilen. Hitler stellte darin seinen Werdegang zum Politiker und seine Weltanschauung dar. Das Buch enthalt Hitlers Autobiografie, ist in der Hauptsache aber eine zweckgerichtete Kampf- und Propagandaschrift, die zum Neuaufbau der NSDAP als zentral gelenkter Partei unter Hitlers Fuhrung dienen sollte.??Der erste Band entstand in Hitlers Haftzeit 1924 und wurde erstmals am 18. Juli 1925, der zweite am 11. Dezember 1926 veroffentlicht. Vor allem der erste Band wurde bis 1932 in der Weimarer Republik zu einem viel diskutierten Bestseller.??Hitler schrieb 1924 den ersten Teil von Mein Kampf wahrend seiner Festungshaft in der Haftanstalt Landsberg in Landsberg am Lech. Er soll den Text seinem spateren Stellvertreter Rudolf HeB diktiert haben. Neuere Erkenntnisse weisen darauf hin, dass Hitler den Text selbst auf einer Reiseschreibmaschine tippte. Winifred Wagner berichtete, Hitler "massenhaft Schreibpapier" nach Landsberg geschickt zu haben.??Ursprunglich sollte das Buch Viereinhalb Jahre [des Kampfes] gegen Luge, Dummheit und Feigheit heiBen. Nach der vorzeitigen Haftentlassung im Dezember 1924 diktierte Hitler den starker programmatisch ausgelegten zweiten Teil von Mein Kampf seinem Gefolgsmann Max Amann, Direktor des Franz-Eher-Verlags. Amann und Hitler zogen sich im Sommer 1925 in das (daher spater so genannte) Kampfhausl des Pensionswirts Bruno Buchner auf dem Obersalzberg (nahe dem spateren Berghof) zuruck, um das Manuskript zu tippen.??Im Juli 1925 erschien der erste Band, im Dezember 1926 der zweite. Bis 1930 vertrieb der Verlag Mein Kampf in zwei groBformatigen Banden zum Preis von zunachst je 12, ab 1928 14 Reichsmark.??Der Originaltext erlebte in seiner zwanzigjahrigen Editionsgeschichte von 1925 bis 1945 zahlreiche Anderungen und Erweiterungen. Der Text der spaten Ausgaben aus den 1940er Jahren ist nur bedingt in direkten Bezug zu setzen mit Hitlers publizistischer und politischer Positionierung Mitte der 1920er. ??Im Herbst 2006 tauchten in Munchen funf Manuskript- und achtzehn Entwurfsseiten zu Hitlers Buch auf, die er vor dessen Veroffentlichung im Fruhjahr und im Sommer 1924 wahrend seiner Festungshaft in Landsberg verfasst hatte. Der Vergleich mit der spateren Endfassung ermoglichte der Hitlerforschung Ruckschlusse zur Entwicklung von Hitlers Weltbild und Agitationsweise.??Der erste und der zweite Band erschienen in einer Erstauflage von je 10.000 Exemplaren. Die NSDAP finanzierte sich ganz wesentlich uber den eigenen Parteiverlag, an dem auch Hitler personlich beteiligt war. Von der einbandigen Volksausgabe wurden bis Januar 1933 287.000 Exemplare zum Preis von je 12 RM durch den Zentralverlag der NSDAP (Franz Eher Nachfolger) verkauft. ??Hitler erhielt pro verkauftem Buch 10 Prozent Tantiemen. Die folgende einbandige Ausgabe kostete 8 RM ("Volksausgabe", ab 1930)...

It was a winter night, and the ground around Paris was covered with snow, although the flakes had ceased to fall since some hours.?Spite of the cold and the darkness, a young man, wrapped in a mantle so voluminous as to hide a babe in his arms, strode over the white fields out of the town of Villers Cotterets, in the woods, eighteen leagues from the capital, which he had reached by the stage-coach, towards a hamlet called Haramont. His assured step seemed to indicate that he had previously gone this road.?Soon above him streaked the leafless boughs upon the grey sky. The sharp air, the odor of the oaks, the icicles and beads on the tips of branches, all appealed to the poetry in the wanderer.??Through the clumps he looked for the village spire and the blue smoke of the chimneys, filtering from the cottages through the natural trellis of the limbs.?It was dawn when he crossed a brook, bordered with yellow cress and frozen vines, and at the first hovel asked for the laborer's boy to take him to Madeline Pi-tou's home.??Mute and attentive, not so dull as most of their kind, the children sprang up and staring at the stranger, led him by the hand to a rather large and good-looking cottage, on the bank of the rivulet running by most of the dwellings.?A plank served as a bridge.?"There," said one of the guides nodding his head to-wards it.?Gilbert gave them a coin, which made their eyes open still more widely, and crossed the board to the door which he pushed open, while the children, taking one another's hand, started with all their might at the handsome gentleman in a brown cloth coat, buckled shoes and large cloak, who wanted to find Madeline Pitou.?Apart from them, Gilbert, for such was the young man's name, simply so for he had no other, saw no liv-ing things: Haramont was the deserted village he was seeking.??As soon as the door was open, his sight was struck by a scene full of charm, for almost anybody, and par-ticularly for a young philosopher like our roamer.?A robust peasant woman was suckling a baby, while another child, a sturdy boy of four or five, was saying a prayer in a loud voice.?In the chimney corner, near a window or rather a hole in the wall in which was stuck a pane of glass, an-other woman, going on for thirty-five or six, was spin-ning, with a stool under her feet, and a fat poodle on an end of this stool.?Catching sight of the visitor the dog barked in a civil and hospitable manner just to show that he had not been caught napping. The praying boy turned, cutting the devotional phrase in two, and both females uttered an exclamation between joy and surprise.?"I greet you, good mother Madeline," said Gilbert with a smile.

Vera Maria Rosenberg a fost, probabil, cea mai important? femeie spion din al Doilea R?zboi Mondial. N?scut? ?n 1908 la Gala?i, a emigrat ?n Marea Britanie ?n 1933, fiind recrutat? ?n tinere?e de serviciile de informa?ii britanice. Ulterior ?i-a schimbat numele, pentru a-?i ascunde originea evreiasc?, iar dup? stabilirea ?n Marea Britanie a participat la nenum?rate misiuni secrete, ajung?nd ?n fruntea SOE, serviciul de opera?iuni speciale creat de Winston Churchill. Agen?ii ei au participat la nenum?rate opera?iuni vitale, inclusiv la preg?tirea debarc?rii ?n Normandia. ?n 1987, Fran?ois Mitterand i-a acordat Legiunea de Onoare, pentru aportul ei la eliberarea Fran?ei. Dup? r?zboi, Vera Atkins s-a retras ?ntr-un sat din Anglia, unde a r?mas p?n? la moarte, ?n 2000. Via?a i-a fost ?nconjurat? de mister, ?i pu?ini au ?tiut cine este cu adev?rat. Biografia lui Sarah Helm dezv?luie secretele celei despre care Ian Fleming, creatorul celebrului James Bond, spunea ??n adev?rata lume a spionilor, Vera Atkins a fost ?eful.“

Cartea abordeaz? o tem? important?, care nu a f?cut obiectul unei cercet?ri distincte ?n istoriografia rom?neasc?, mai ales perioada 1948-1955. Autorul a analizat evolu?ia elitei politice na?ional-??r?niste ?i na?ional-liberale ?n ?ntreg intervalul 1945-1955 … Ponderea cea mai mare o ocup? activitatea represiv? a guvernan?ilor care, ?n anii 1947-1950, au desf??urat o ampl? ac?iune de arestare a tuturor adversarilor regimului … Urm?rind simultan, potrivit criteriului cronologic, ?ntregul tablou al situa?iei interna?ionale, al activit??ii guvernamentale, al vie?ii interne a partidelor analizate, al ac?iunii liderilor politici etc … lucrarea se dovede?te a fi temeinic documentat? ?i realmente original?.

Lucrarea vizeaz? o tem? de actualitate – brandul de ora?, oferind un cadru teoretic al acestui nou concept de marketing, completat de o parte aplicativ? divers?, care ?i-a propus s? identifice ?i s? completeze eforturile autorit??ilor locale ?n aceast? direc?ie.

Eseurile cuprinse ?n aceast? carte au ?n comun c?teva teme care m-au preocupat: ra?ionalitatea, valorile ?i libertatea. O parte din articole au ap?rut ?n diferite publica?ii, altele au v?zut lumina tiparului prin aceast? carte. Am ?ncercat s? aduc ?n con?tiin?a public? c??iva g?nditori rom?ni importan?i ?n spa?iul cultural rom?nesc ?i l?sa?i ?n umbra uit?rii. Opera acestora e realizat? ?n bun? parte ?n perioada interbelic?, ?ntr-un climat de libertate, f?r? presiuni ideologice sau de alt? natur?, fiind rezultatul for?ei intelectuale ?i al culturii personale. Dup? 1946 regimul comunist a ?ngr?dit progresiv libert??ile politice, a ?ncercat s? distrug? tradi?iile culturale a?a-zis burgheze, exercit?nd o represiune asupra intelectualit??ii ?i a creatorilor de opere. Domeniul ?tiin?elor sociale a fost afectat de o cenzur? inchizitorial?, pun?ndu-se la index autori ?i opere considerate periculoase pentru societatea rom?neasc? ?i ideologia marxist?.

n condiiile n care cmpul teoriilor cosmopolite contemporane se afl ntr-o permanent expansiune, lucrarea urmrete maniera n care aceast paradigm a cosmopolitismului, care nu este lipsit de anumite tensiuni i controverse, poate fi aplicat i n analiza tiinelor politice, n general, i a teoriei politice, n special. Nivelurile de analiz se refer la principiile fundamentale, noile concepte i ipotezele formulate i soluiile propuse n cadrul cosmopolitismului.

Dincolo de miza succesului ?colar (examenul de Evaluare Na?ional? fiind un prag important pentru fiecare elev), studiul limbii ?i al literaturii rom?ne trebuie s? r?m?n?, ?n gimnaziu, o experien?? cultural? pertinent? ?i interesant?, care s? implice imagina?ia, gustul estetic, nevoia de autointerogare ?i de comunicare. Respect?nd programa specific?, structura oficial? a subiectelor ?i maniera de formulare a sarcinilor de lucru stabilite de Ministerul Educa?iei, volumul ??i propune s? nuan?eze preg?tirea continu? ?i sistematic? pentru Evaluarea Na?ional?, intervenind cu fi?e teoretice esen?ializate, teme de portofoliu, modele ?i sugestii de rezolvare, r?spunsuri selective ?i o cons istent? baterie de teste de antrenament. De asemenea, cartea are ?n vedere, prin selec?ia textelor (clasice sau contemporane, din autori celebri sau mai pu?in cunoscu?i ?n anii de gimnaziu), redescoperirea ?n adolescentul de 14?15 ani a cititorului pasionat sau m?car avizat, dornic s???i sus?in? punctele de vedere, s???i l?rgeasc? orizontul cultural ?i s? descopere, dincolo de informa?ii, reguli, canoane, adev?ratele provoc?ri, ierarhii, idoli, ca form? de acomodare cu specificul ?i noile problematici ale orelor de limba ?i literatura rom?n? din clasa a IX?a de liceu.

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.

Comandorul Sablin are ca subiect principal activitatea fostului ofi?er al Marinei Ruse Imperiale reflectat? ?n dosarele Siguran?ei ?i ale Securit??ii. Documentele publicate sub egida Institutului de Istorie ?George Bari?iu“ al Academiei Rom?ne acoper? perioada interbelic? ?i cea postbelic?. Nikolai Vasilievici Sablin a activat pe vasul ?arului Nikolai al II-lea al Rusiei, ??tandart“, iar dup? 1918 – ca ?ef al Cifrului Statului Major al Flotei Militare din Marea Baltic?. ?n Rom?nia a fost reprezentant al Marelui Duce Kiril Vladimirovici, pre?edinte al filialei Uniunii Militare Navale Ruse, vicepre?edinte al Societ??ii de Ajutor a Fo?tilor Combatan?i Ru?i de pe Frontul Rom?n, director al ziarului Golos Buharesta, a participat la r?zboiul antisovietic.Din nota agentului Securit??ii ?Alexandru Popescu“, casa ?Paula“, 19 octombrie 1956:?Urmare notelor anterioare referitoare la emigrantul rus, fost reprezentant pentru Rom?nia al organiza?iei emigran?ilor ru?i Mi?carea Monarhist? Rus?, ?inut ?n observa?ie, comunic:Despre leg?tura lui Sablin N. cu organele informative militare rom?ne ?nainte de 23 august 1944 am auzit din timpul vechiului meu serviciu, ?ns? nu am avut preciziuni. ?n prezent semnalez urm?toarele:Dup? cum s-a comunicat prin nota din 10 octombrie a.c., ?n ziua de 4 octombrie a.c., Sablin Nikolai a f?cut o vizit? lui Baikov Andrei (str. Sl?ve?ti 3), c?nd s-a discutat cu acesta chestiunea cu pensia lui Sablin N., sistat?.?n timpul convorbirii (am asistat ?n camer? ?i eu) Sablin N. a povestit c? el s-a ?nt?lnit cu un fost colonel rom?n (numele n-am putut re?ine) pe care Sablin N. l-a cunoscut ?nainte de 23 august 1944 ?i cu care a avut ni?te leg?turi.Sablin N. a spus c? el sper? c? la cererea lui acest colonel va ajuta lui ?n chestia pensiei sale, deoarece el ?n trecut a colaborat cu acesta ?n domeniul informativ, privitor la URSS. Sablin Nikolai a specificat c? acest material el c?p?ta de la fratele s?u Sablin Eugen, din Londra (Sablin Eugen ?n ultimul an al regimului ?arist a fost ministrul Rusiei ?n Anglia, iar apoi a fost conduc?torul emigra?iei ruse din Londra ?i unul din activi?tii principali din Mi?carea Monarhist? Rus?).“

Ilie Badescu, sociologul care a redeschis dezbaterea privind puterea si importanta pe care o are spiritul si desavarsirea fiintei si societatii, in lucrarea de fata ne vorbeste despre forta invataturilor precum si despre devierile prin care sunt propagate in lume falsele invataturi.

Since the latter part of the century just past, Stanley Bing has been exploring the relationship between authority and madness. In one bestselling book after another, reporting from his hot-seat as an insider in a world-renowned multinational corporation, he has tried to understand the inner workings of those who lead us and to inquire why they seem to be powered, much of the time, by demons that make them obnoxious and dangerous, even to themselves. In What Would Machiavelli Do?, Bing looked at the issue of why mean people do better than nice people, and found that in their particular form of insanity lay incredible power. In Throwing the Elephant: Zen and the Art of Managing Up, he offered a spiritual path toward managing the unruly executive beast. And in Sun Tzu Was a Sissy, he taught us how to become one of them, and wage war on the playing field that ends in a dream home in Cabo. Now he returns to his roots to offer the last word on the entity that shapes our lives and stomps through and on our dreams: The Crazy Boss. Students of Bing and there are many, secreted inside tortured organizations, yearning for blunt instruments with which to fight will note that he has walked this ground before, looking for answers. In 1992, he published the first edition of Crazy Bosses, which was fine, as far as it went. Now, some 15 years and several dozen insane bosses later, he has updated and rethought much of the work. Back in the last century, Bing was a small, trembling creature, looking up at those who made his life miserable and analyzing the mental illness that gave them their power. Today, while still trembling much of the time, he is in fact one of those people his prior work has warned us against. His own hard-won wisdom and now institutionalized dementia make this new edition completely fresh and indispensable to anyone who works for somebody else or lives with somebody else, or would like to. In short, Bing is back on his home turf in this funny, true, and essential book, peering with his keen and frosty eye at the crazy boss in all his guises: the Bully, the Paranoid, the Narcissist, the Wimp, and the self-destructive Disaster Hunter. If you loved the original, classic Crazy Bosses, you'll be thrilled to plunge back into the new, refurbished pool. If you are new to the book, strap yourself in: it's going to be a crazy ride.