O carte spectaculoas?, care ??i asum? nu pu?ine riscuri, intr?nd pe terenurile pu?in explorate ale romanului. Cercetarea ?n care ne-am angajat este analitic? ?i speculativ?, o ipotez? pe care ne-o ?nchipuim ?n anticamera adev?rurilor simple ?i general-consim?ite despre romanul secolului XX, fiindc? aceste adev?ruri sunt a?teptate ?nc? spre a fi spuse. Istoriile sistematice, studiile exhaustive despre romanul secolului abia ?ncheiat lipsesc deocamdat?. Este ?i prima dificultate majora pe care a trebuit s? o ignoram pur ?i simplu. Risc?m propria noastr? ipoteza ?ntr-un spa?iu ?nc? insuficient ordonat ?i tocmai de aceea ispititor pentru orice c?l?torie critic?.

When his cartoons began to reach America toward the end of 1916 this country was neutral. It is with peculiar satisfaction, therefore, that I base this brief foreword upon press extracts published prior to America’s participation in the war. If it were possible to discover today an individual who was entirely ignorant as to the causes and conduct of the war, he would, after an inspection of a hundred or more of these cartoons, probably utter his conviction somewhat as follows: ?“I do not believe that these drawings have the slightest relation to the truth; I do not believe that it is possible for such things to happen in the twenti-eth century.” ??He would be quite justified, in his ignorance of what has happened in Europe, in expressing such an opinion, just as any of us, with the possible exception of the disciples of Bernhardi himself, would have been justified in expressing a similar view in July, 1914.??What is the view of all informed people today? “To Raemaekers the war is not a topic, or a subject for charity. It is a vivid heartrending reality,” says the New York “Evening Post,” “and you come away from the rooms where his cartoons now hang so aware of what war is that mental neutrality is for you a horror. If you have slackened in your determination to find out, these cartoons are a slap in the face. ??Raemaekers drives home a universal point that concerns not merely Germans, but every country where royal decrees have supreme power. Shall one man ever be given the power to seek his ends, using the people as his pawns? We cannot look at the cartoons and remain in ignorance of exactly what is the basis of truth on which they are built.”?The “Philadelphia American” likens Raemaekers to a sensitized plate upon which the spirit which brought on the war has imprinted itself forever, and adds: ?“What he gives out on that subject is as pitilessly true as a photograph. They look down upon us in their naked truth, those pictures which are to be, before the judgment-seat of history, the last indictment of the German nation. Of all impressions, there is one which will hold you in its inexorable grip: it is that Louis Raemaekers has told you the truth.”

IN preparing a first book of American history, it is necessary to keep in mind the two purposed such a work is required to serve. There are children whose school life is brief; these must get all the instruction they are to receive in their country's history from a book of the grade of this.To another class of pupils the first book of American history is a preparation for the intelligent study of a textbook more advanced. It is a manifest waste of time and energy to require these to learn in a lower class the facts that must be re-studied in a higher grade. Moreover, primary histories which follow the order of larger books are likely to prove dry and unsatisfactory condensations. But a beginner's book ought before all things else to be interesting. A fact received with the attention raised to its highest power remains fixed in the memory; that which is learned listlessly is lost easily, and a lifelong aversion to history is often the main result produced by the use of an unsuitable textbook at the outset.The main peculiarity of the present book is that it aims to teach children the history of the country by making them acquainted with some of the most illustrious actors in it. A child is interested, above all, in persons. Biography is for him the natural door into history. The order of events in a nation's life is somewhat above the reach of younger pupils, but the course of human life and the personal achievements of an individual are intelligible and delightful. In teaching younger pupils by means of biography, which is the very alphabet of history, we are following a sound principle often forgotten, that primary education should be pursued along the line of the least resistance. Moreover, nothing is more important to the young American than an acquaintance with the careers of the great men of his country.

John Stuart Mill's book Utilitarianism is a philosophical defense of utilitarianism in ethics. The essay first appeared as a series of three articles published in Fraser's Magazine in 1861; the articles were collected and reprinted as a single book in 1863. It went through four editions during Mill's lifetime with minor additions and revisions. Although Mill includes discussions of utilitarian ethical principles in other works such as On Liberty and The Subjection of Women, Utilitarianism contains Mill's only major discussion of the fundamental grounds for utilitarian ethical theory.

Ni prevodi najzna?ajnijih drama Oskara Vajlda: Salome, Sveta kurtizana i Va?no je?da si?Ernest

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.

Pour bien comprendre la portée de l'intervention et de l'influence de l'?uvre de Delacroix dans l'école fran?aise, il est nécessaire de se rappeler la situation exacte de la peinture au moment où il parut.??La Révolution avait brutalement traité les ma?tres du XVIIIème siècle finissant. ?prise d'un sévère idéal gréco-romain, dont déjà Vien avait donné des exemples et que David allait porter à son apogée, la génération jacobine avait considéré les peintres légers et délicieux du règne de Louis XVI comme les bénéficiaires de la corruption luxueuse des nobles et des fermiers généraux, et elle les avait rejetés dans le même mouvement d'injuste fureur. Fragonard mourait oublié, chassé de son logis des galeries du Louvre. Hubert Robert échappait gr?ce à une erreur à l'échafaud. Greuze mourait dans la misère noire. On ne parlait plus de Chardin. Un Latour se vendait quelques francs. ??L'?Embarquement pour Cythère?, peint par Watteau pour son entrée à l'Académie, y était criblé de boulettes de papier m?ché par les élèves de David, neveu de Boucher dont ils parlaient en de tels termes, qu'il était obligé, par pudeur, d'excuser à leurs yeux son oncle. Les gravures de Cochin, de Lépicié, de Choffard, de Lavreince, des Saint-Aubin, de Debucourt, de Gravelot, d'Eisen, allaient s'ensevelir dans les soupentes de quelques brocanteurs, et on attendrait quatrevingts ans avant de les rechercher pour les couvrir d'or. Un siècle s'effondrait. Son go?t exquis, sa morale profondément naturelle et humaine, son libéralisme sceptique, tout lui était imputé à vice et à crime. On rêvait d'un art moralisateur, que Greuze avait préparé aux applaudissements de Diderot par ses scènes familiales et son ingénuité bourgeoise, mêlée de libertinage hypocrite. ??On voulait un art héro?que, sévère, propre à élever les consciences. David apparut l'homme d'une telle ?uvre, et créa d'un seul effort la réaction d'une esthétique néo-romaine, d'une peinture con?ue d'après la statuaire antique, et toute consacrée à des expressions de sentiments cornéliens. La discipline de cette école fut plus dure encore que celle imposée, centvingtcinq années auparavant, par Louis XIV, Le Brun et l'école de Rome. Plus de recherches de la nature, plus de gr?ce, plus de vérité, plus de coloris, mais simplement un art allégorique, pompeux, aride, éloigné de la vie et tout entier construit sur des théories, un art aussi opposé que possible au tempérament fran?ais.

Eseuri ?i cronici teatrale structurate simultan ?n dou? planuri, ?nc?t se reconstituie panorama artei spectacolului ?n Rom?nia ?i par?ial ?n lume, ?n perioada 1993-2003, ?i se realizeaz? o privire din unghiul zilei de azi a artei dramatice, ?n evolu?ia ei, de la antici la contemporani.

i corbul, croncnind, a rguit, Vestind c sorii fost au aruncai! Venii! Venii! Voi, duhuri, ce vegheai Pe gndurile morii, crunta zee! i m nvai s nu mai fiu femeie! M umplei, de la cretet pn’ la tlpi Cu o rutate nenduplecat! The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements. Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top full Of direst cruelty!

Hamlet is commonly regarded as one of the greatest plays ever written. Drawing on Danish chronicles and the Elizabethan vogue for revenge tragedy, Shakespeare created a play that is at once a philosophic treatise, a family drama, and a supernatural thriller. In the wake of his father’s death, Prince Hamlet finds that his Uncle Claudius has swiftly taken the throne and married his mother, Queen Gertrude. The ghost of the dead king then appears and charges Claudius with ‘murder most foul.’ Hamlet is called to revenge his father’s death: but will he be able to act before it is too late?

Cititorul va g?si ?n cartea mea un Bucure?ti al scriitorilor, un Bucure?ti al oamenilor politici ?i al gazetarilor, un Bucure?ti al dueli?tilor de ocazie ?i al fan?ilor de salon, al boierilor risipitori ?i sibari?i, al briganzilor de felul unor Tunsu, Grozea sau Iancu Jianu, al domnitorilor cu sau f?r? noroc, al pasiunilor amoroase, al dramelor ?i comediilor vie?ii, o adev?rat? surs? de subiecte pentru scenari?tii care vor s?-?i ?ncerce norocul ?n produc?ia unor seriale TV, ca s? nu spun ?telenovele“. Exist? oameni care merit? aminti?i cu p?r?ile lor bune ?i rele, domnitori ca Mircea Ciobanul, Matei Basarab, Br?ncoveanu, Mavrocorda?ii, Nicolae Mavrogheni, Ioan Gheorghe Caragea, Gheoghe Bibescu, Barbu ?tirbei, Alexandru Ioan Cuza, Carol I sau boieri ca Mihai Cantacuzino, Kre?ule?tii, V?c?re?tii, logof?tul Dudescu, Ion C?mpineanu, Ion Ghica, Nicolae B?lcescu, arhitec?i ca Alexandru Or?scu ?i al?ii. Am pornit ?n scrierea acestei c?r?i av?nd ?n fata ochilor r?ndurile scriitorului Mircea Constantinescu, foarte inspirat atunci c?nd afirma ?n romanul sau documentar ?C?nd toca la Radu Voda“ ca ?Bucure?tii nasc pove?ti de amor ca o mam? eroin?“.

It is fair to characterise the three suites of original water-colour drawings, as executed by our artist, as unique examples of the great George Cruikshank's special individual proficiency as an exponent of this branch of technical dexterity. More-over, it may be regarded as a fortunate circumstance that the three works, here reproduced with amazing fidelity in facsimile, represent happily the very chefs d'oeuvre of his wonderful productions; in their respective categories, preserving the best examples of his remarkable genius as an imaginative creator of vivid pictures, alike stirring and animated, and representing at one glance his vast dramatic powers, his mastery of the humorous side of life, and the intensity he was consistently able to infuse into terrible and tragic scenes. It is noteworthy that the inimitable artist George Cruikshank but rarely pro-duced finished water-colour drawings; the bulk of his prolific and familiarly rec-ognised designs for book illustrations were mostly dainty pencil sketches, occa-sionally finished in pen and ink. It is a problem difficult to solve satisfactorily whether, beyond the three memorable instances of the works here reproduced in facsimile, there are in existence any other complete suites of original illustrations by George Cruikshank—that is to say, fully executed by his master hand as finished water-colour drawings. Tinted sketches may be found in the prized possessions of Cruikshank collectors, and spirited studies for many of his favourite and most successful subjects have been cleverly touched in with watercolours; for instance, such as certain of his original drawings as designed for the illustrations of Harri-son Ainsworth's Tower of London, and the clever historical and picturesque series of Windsor Castle designs; these are, however, to be regarded as exceptional cases, for the bulk of these most successful and popular designs were carefully executed in pencil, or occasionally outlined with the pen, and highly finished with washes of warm sepia. It is worthy of recollection that Cruikshank was a most dexterous artist in this monochrome branch, his earlier artistic experiences having been al-most exclusively in the walk of aqua-tinted etchings; all his early book illustrations, his caricatures, and satirical plates—social or political—were uniformly etched by his hand in the most spirited fashion, after his ready sketches and rough studies, and when the outline etching was bitten in, Cruikshank elaborately worked out his colour suggestions, for light and shade, with a brush over the first-etched outline, in tones of sepia or Indian ink, for the guidance of the professional 'aquatinters'—the school of artists to whose trained skill was entrusted the task of completing these plates to produce the effect of highly finished washed drawings in mono-chrome. By this, his youthful practice, George Cruikshank had acquired remarka-ble dexterity, his original pen-and-ink designs, and the outline etchings, after his earlier book illustrations, being worked up in monochrome to the dainty finish of delicate miniatures, in which art both his father Isaac and his brother Isaac Robert were first-class proficients, as he himself has recorded with pride in describing the special gifts and qualifications which distinguished the Cruikshank family. ? ABOUT THE AUTHOR; George Cruikshank (1792 – 1878) was a British caricaturist and book illustrator, praised as the "modern Hogarth" during his life. His book illustrations for his friend Charles Dickens, and many other authors, reached an international audience. Cruikshank was born in London. His father, Isaac Cruikshank, was one of the leading caricaturists of the late 1790s and Cruikshank started his career as his father's apprentice and assistant. His older brother, Isaac Robert, also followed in the family business as a caricaturist and illustrator. Cruikshank's early work was caricature; but in 1823, at the age of 31, he started to focus on book illustration. He illustrated the first, 1823 English translation (by Edgar Taylor and David Jardine) of Grimms' Fairy Tales, published in two volumes as German Popular Stories. On 16 October 1827, he married Mary Ann Walker (1807–1849). Two years after her death, on 7 March 1851, he married Eliza Widdison. The two lived at 263 Hampstead Road, North London.Upon his death, it was discovered that Cruikshank had fathered 11 illegitimate children with a mistress named Adelaide Attree, his former servant, who lived close to where he lived with his wife. Adelaide was ostensibly married and had taken the married surname 'Archibold'.

Volumul Sublimul tr?d?rii reprezint? o incursiune ?n lumea ?multidimensional?“ a crea?iei teatrale. Convins de existen?a unor straturi rarefiate ale spiritului, ?n care reprezenta?ia a fost h?r?zit? s? existe, autorul se ?ndep?rteaz? de orice interpretare ?vulgar?“, la prima m?n?, a artei scenice. F?c?ndu-se apel la teorii ale esteticii teatrale, dar ?i ale filosofiei, psihanalizei, exegezei ?i criticii literare, ne este relevat un univers artistic complicat, complex, predispus unei analize profunde. Astfel, locul care ?i este destinat spectatorului nu mai este acela de privitor pasiv, ci de partener al actorilor.?Oper?nd alegerea de sine“, spectatorul iese din plasa esteticului nu pentru a-i desfide rostul, ci pentru a se proiecta ?n centrul ac?iunii scenice, ?ntr-un loc ?n care ??i poate afirma prezen?a. Actul ?lecturii“ teatrului implic? ?ndatoriri egale cu cele din spa?iul public, for??ndu-l pe insul aflat ?n sala de spectacol s? faca o eschiva printre imperativele vie?ii, consider?nd interpretarea ca circumscriere concret? ?n ?legea universal?“ a eticului. Doar ?n acest fel, spectatorul poate accepta responsabilit??i legate de ceea ce i se ?nt?mpl?, atent la (?i preocupat de) via?a sa superioar?, spiritual?.“

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!

Short biography. Edition of 1913. According to Wikipedia: "Wilhelm Richard Wagner (22 May 1813, Leipzig, Germany – 13 February 1883, Venice, Italy) was a German composer, conductor, theatre director and essayist, primarily known for his operas (or "music dramas", as they were later called). Unlike most other great opera composers, Wagner wrote both the scenario and libretto for his works." "Franz Liszt (October 22, 1811 – July 31, 1886) was a Hungarian composer, virtuoso pianist and teacher."

His complete poetical works. According to Wikipedia: "Samuel Taylor Coleridge (1772 – 1834) was an English poet, critic and philosopher who was, along with his friend William Wordsworth, one of the founders of the Romantic Movement in England and one of the Lake Poets. He is probably best known for his poems The Rime of the Ancient Mariner and Kubla Khan, as well as his major prose work Biographia Literaria."

Die Shakespeare-Trag?die, auf Deutsch übersetzt von Christoph Martin Wieland. Laut Wikipedia: "Die Trag?die von Hamlet, Prinz von D?nemark ist eine Trag?die von William Shakespeare. Im K?nigreich D?nemark dramatisiert das Stück die Rache, die Prinz Hamlet an seinen Onkel Claudius wegen Mordes an K?nig Hamlet, Claudius 'Bruder und Prinz Hamlets Vater richtet Danach tritt er als Thronfolger in Erscheinung und nimmt Gertrude, die Witwe des alten K?nigs und die Mutter von Prinz Hamlet, mit, die den wahren und vorget?uschten Wahnsinn - von überw?ltigender Trauer bis zu brodelndem Zorn - anschaulich darstellt und Themen wie Verrat, Rache, Inzest, und moralische Korruption.

Shakespeare-Kom?die in deutscher ?bersetzung. Laut Wikipedia: "The Comedy of Errors ist eines der frühesten Stücke William Shakespeares. Es ist seine kürzeste und eine seiner absurdesten Kom?dien, wobei ein Gro?teil des Humors aus Slapstick und falscher Identit?t stammt, zus?tzlich zu Wortspielen und Wortspielen Die Kom?die der Irrungen (zusammen mit The Tempest) ist eines von nur zwei von Shakespeares Stücken, um die klassischen Einheiten zu beobachten. "

Shakespeare-Geschichte spielen Henry der vierte Teil Zwei, in deutscher ?bersetzung. Nach Wikipedia: "Heinrich IV., Teil 2 ist ein historisches Stück von William Shakespeare, das zwischen 1596 und 1599 geschrieben wurde. Es ist der dritte Teil einer Tetralogie, der Richard II. Und Heinrich IV., Teil 1 vorangingen und Heinrich V. folgte. "

All 11 comedies, literally translated. Two volumes in one file. Includes: Knights, Acharnians, Peace, Lysistrata, The Clouds, The Wasps, The Birds, The Frogs, The Thesmophoriazusae, The Ecclesiazusae, and Plutus. According to Wikipedia: "Aristophanes (ca. 446 BCE – ca. 386 BCE), son of Philippus, of the deme Cydathenaus, was a prolific and much acclaimed, comic playwright of ancient Athens. Eleven of his forty plays have come down to us virtually complete. These, as well as fragments of some of his other plays, provide us with the only real example we have of a genre of comic drama known as Old Comedy and they are in fact used to define the genre. Also known as the Father of Comedy and the Prince of Ancient Comedy, Aristophanes has been said to recreate the life of ancient Athens more convincingly than any other author. His powers of ridicule were feared and acknowledged by influential contemporaries - although more than one contemporary, satirical playwright caricatured the philosopher Socrates, his student Plato singled out Aristophanes' play The Clouds as slander contributing to his old mentor's trial and execution."

First published in 1903. Biographical chapters cover Liszt, Mozart, Bach, Haydn, Beethoven, Chopin, Purcell, Gluck, Wagner, Tschaikovski, Schumann, and others.