We sailed from Peru, (where we had continued for the space of one whole year) for China and Japan, by the South Sea; taking with us victuals for twelve months; and had good winds from the east, though soft and weak, for five months space, and more. But the wind came about, and settled in the west for many days, so as we could make little or no way, and were sometime in purpose to turn back. But then again there arose strong and great winds from the south, with a point east, which carried us up (for all that we could do) towards the north; by which time our victuals failed us, though we had made good spare of them. So that finding ourselves, in the midst of the greatest wilderness of waters in the world, without victuals, we gave ourselves for lost men and prepared for death. Yet we did lift up our hearts and voices to God above, who showeth his wonders in the deep, beseeching him of his mercy, that as in the beginning he discovered the face of the deep, and brought forth dry land, so he would now discover land to us, that we might not perish. And it came to pass that the next day about evening we saw within a kenning before us, towards the north, as it were thick clouds, which did put us in some hope of land; knowing how that part of the South Sea was utterly unknown; and might have islands, or continents, that hitherto were not come to light. Wherefore we bent our course thither, where we saw the appearance of land, all that night; and in the dawning of the next day, we might plainly discern that it was a land; flat to our sight, and full of boscage; which made it show the more dark. And after an hour and a half's sailing, we entered into a good haven, being the port of a fair city; not great indeed, but well built, and that gave a pleasant view from the sea: and we thinking every minute long, till we were on land, came close to the shore, and offered to land. But straightways we saw divers of the people, with bastons in their hands (as it were) forbidding us to land; yet without any cries of fierceness, but only as warning us off, by signs that they made. Whereupon being not a little discomforted, we were advising with ourselves, what we should do. During which time, there made forth to us a small boat, with about eight persons in it; whereof one of them had in his hand a tipstaff of a yellow cane, tipped at both ends with blue, who came aboard our ship, without any show of distrust at all. And when he saw one of our number, present himself somewhat before the rest, he drew forth a little scroll of parchment (somewhat yellower than our parchment, and shining like the leaves of writing tables, but otherwise soft and flexible,) and delivered it to our foremost man. In which scroll were written in ancient Hebrew, and in ancient Greek, and in good Latin of the school, and in Spanish, these words: Land ye not, none of you; and provide to be gone from this coast, within sixteen days, except you have further time given you. Meanwhile, if you want fresh water or victuals, or help for your sick, or that your ship needeth repairs, write down your wants, and you shall have that, which belongeth to mercy. This scroll was signed with a stamp of cherubim: wings, not spread, but hanging downwards; and by them a cross. This being delivered, the officer returned, and left only a servant with us to receive our answer. F. BACON About Author: Francis Bacon, 1561 – 1626), was an English philosopher, statesman, scientist, jurist, orator, essayist, and author. He served both as Attorney General and Lord Chancellor of England. After his death, he remained extremely influential through his works, especially as philosophical advocate and practitioner of the scientific method during the scientific revolution.Bacon has been called the father of empiricism. His works established and popularised inductive methodologies for scientific inquiry, often called the Baconian method, or simply the scientific method. His demand for a planned procedure of investigating all things natural marked a new turn in the rhetorical and theoretical framework for science, much of which still surrounds conceptions of proper methodology today.Bacon was knighted in 1603, and created Baron Verulam in 1618 and Viscount St. Alban in 1621; as he died without heirs, both peerages became extinct upon his death. He famously died of pneumonia, contracted while studying the effects of freezing on the preservation of meat. The succession of James I brought Bacon into greater favour. He was knighted in 1603. In another shrewd move, Bacon wrote his Apologies in defence of his proceedings in the case of Essex, as Essex had favoured James to succeed to the throne. The following year, during the course of the uneventful first parliament session, Bacon married Alice Barnham. In June 1607 he was at last rewarded with the office of solicitor general. The following year, he began working as the Clerkship of the Star Chamber. Despite a generous income, old debts still co

A NEW AND FACETIOUS INTRODUCTION TO THE ENGLISH TONGUEBy Percival LeighEmbellished with upwards of forty-five Characteristic IllustrationsBy JOHN LEECH. Fashion requires, and like the rest of her sex, requires because she requires, that before a writer begins the business of his book, he should give an account to the world of his reasons for producing it; and therefore, to avoid singularity, we shall proceed with the statement of our own, excepting only a few private ones, which are neither here nor there. To advance the interests of mankind by promoting the cause of Education; to ameliorate the conversation of the masses; to cultivate Taste, and diffuse Refinement; these are the objects we have in view in submitting a Comic English Grammar to the patronage of a discerning Public. Few persons there are, whose ears are so extremely obtuse, as not to be frequently annoyed at the violations of Grammar by which they are so often assailed. It is really painful to be forced, in walking along the streets, to hear such phrases as, "That 'ere omnibus." "Where've you bin?" "Vot's the odds?" and the like. Very dreadful expressions are also used by cartmen and others in addressing their horses. What can possibly induce a human being to say "Gee woot!" "'Mather way!" or "Woa not to mention the atrocious "Kim aup!" of the barbarous butcher's boy. It is notorious that the above and greater enormities are perpetrated in spite of the number of Grammars already before the world. This fact sufficiently excuses the present addition to the stock; and as serious English Grammars have hitherto failed to effect the desired reformation, we are induced to attempt it by means of a Comic one. With regard to the moral tendency of our labors, we may be here permitted to remark, that they will tend, if successful, to the suppression of evil speaking ; and as the Spartans used to exhibit a tipsy slave to their children with a view to disgust them with drunkenness, and We will not allow a man to give an old woman a dose of rhubarb if he have not acquired at least half a dozen sciences; but we permit a quack to sell as much poison as he pleases. When one man runs away with another's wife, and, being on that account challenged to fight a duel, shoots the aggrieved party through the head, the latter is said to receive satisfaction. We never take a glass of wine at dinner without getting somebody else to do the same, as if we wanted encouragement; and then, before we venture to drink, we bow to each other across the table, preserving all the while a most wonderful gravity. This, however, it may be said, is the natural result of endeavoring to keep one another in countenance. The way in which we imitate foreign manners and customs is very amusing. Savages stick fish-bones through their noses; our fair countrywomen have hoops of metal poked through their ears. The Caribs flatten the forehead; the Chinese compress the foot; and we possess similar contrivances for reducing the figure of a young lady to a resemblance to an hour-glass or a devil-on-two-sticks. There being no other assignable motive for these and the like proceedings, it is reasonable to suppose that they are adopted, as schoolboys say, "for fun." We could go on, were it necessary, adducing facts to an almost unlimited extent; but we consider that enough has now been said in proof of the comic character of the national mind. And in conclusion, if any other than an English or American author can be produced, equal in point of wit, humor, and drollery, to Swift, Sterne, Dickens, or Paulding, we hereby engage to eat him; albeit we have no pretensions to the character of a "helluo librorum." "English Grammar," according to Lindley Murray, "is the art of speaking and writing the English language with propriety." The English language, written and spoken with propriety, is commonly called the King's English.

Книжку присвячено дол? радянсько? символ?чно? спадщини п?сля розпаду СРСР. На приклад? Центрально? Укра?ни. Олександра Гайдай показу?, як сп?в?снували ? конкурували р?зн? погляди на радянську ?стор?ю; як проявлялася на м?сцях м?нлива ?сторична пол?тика; як давали соб? раду з радянським минулим кра?ни Центрально-Сх?дно? ?вропи; як помирали пам’ятники Лен?ну — ?жив?шому за вс?х живих?.

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

To my thinking, all modern English books on the Devil and his works are unsatisfactory. They all run in the same groove, give the same cases of witchcraft, and, moreover, not one of them is illustrated. I have endeavoured to remedy this by localizing my facts, and by reproducing all the engravings I could find suitable to my purpose. I have also tried to give a succinct account of demonology and witchcraft in England and America, by adducing authorities not usually given, and by a painstaking research into old cases, carefully taking everything from original sources, and bringing to light very many cases never before republished. For the benefit of students, I have given—as an Appendix—a list of the books consulted in the preparation of this work, which, however, the student must remember is not an exhaustive bibliography on the subject, but only applies to this book, whose raison d’être is its localization. The frontispiece is supposed to be the only specimen of Satanic caligraphy in existence, and is[Pg vi] taken from the ‘Introductio in Chaldaicam Linguam,’ etc., by Albonesi (Pavia, 1532). The author says that by the conjuration of Ludovico Spoletano the Devil was called up, and adjured to write a legible and clear answer to a question asked him. Some invisible power took the pen, which seemed suspended in the air, and rapidly wrote what is facsimiled. The writing was given to Albonesi (who, however, confesses that no one can decipher it), and his chief printer reproduced it very accurately. I am told by experts that in some of the characters may be found a trace of Amharic, a language spoken in its purity in the province of Amhara (Ethiopia), and which, according to a legend, was the primeval language spoken in Eden. JOHN ASHTON. CHAPTER IUniversal Belief in the Personality of the Devil, as portrayed by the British Artist—Arguments in Favour of his Personality—Ballad—‘Terrible and Seasonable Warning to Young Men.’ The belief in a good and evil influence has existed from the earliest ages, in every nation having a religion. The Egyptians had their Typho, the Assyrians their Ti-a-mat (the Serpent), the Hebrews their Beelzebub, or Prince of Flies,[1] and the Scandinavians their Loki. And many religions teach that the evil influence has a stronger hold upon mankind than the good influence—so great, indeed, as to nullify it in a large degree. Christianity especially teaches this: ‘Enter ye by the narrow gate; for wide is the gate, and broad is the way, that leadeth to destruction, and many be they that enter in thereby. For narrow is the gate, and straitened the way, that leadeth unto life, and few be they that find it.’ This doctrine of the great power of the Devil, or evil influence over man, is preached from every pulpit, under every form of Christianity, throughout the world; and although at the present time it is only confined to the greater moral power of the Devil over man, at an earlier period it was an article of belief that he was able to exercise a greater physical power. This was coincident with a belief in his personality; and it is only in modern times that that personality takes an alluring form. In the olden days the Devil was always depicted as ugly and repulsive as the artist could represent him, and yet he could have learned a great deal from the modern Chinese and Japanese. The ‘great God Pan,’ although he was dead, was resuscitated in order to furnish a type for ‘the Prince of Darkness’; and, accordingly, he was portrayed with horns, tail and cloven feet, making him an animal, according to a mot attributed to Cuvier, ‘graminivorous, and decidedly ruminant’; while, to complete his classical ensemble, he was invested with the forked sceptre of Pluto, only supplemented with another tine.

Diego Rodríguez de Silva y Velázquez (June 6, 1599 – August 6, 1660) was a Spanish painter who was the leading artist in the court of King Philip IV and one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period, important as a portrait artist. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656). From the first quarter of the nineteenth century, Velázquez's artwork was a model for the realist and impressionist painters, in particular ?douard Manet. Since that time, famous modern artists, including Pablo Picasso, Salvador Dalí and Francis Bacon, have paid tribute to Velázquez by recreating several of his most famous works. Early lifeBorn in Seville, Andalusia, Spain, Diego, the first child of Jo?o Rodrigues da Silva and Jerónima Velázquez, was baptized at the church of St Peter in Seville on Sunday, June 6, 1599. This christening must have followed the baby's birth by no more than a few weeks, or perhaps only a few days. Velázquez's paternal grandparents, Diego da Silva and Maria Rodrigues, had moved to Seville from their native Porto, Portugal decades earlier. As for Jo?o Rodrigues da Silva and his wife, both were born in Seville, and were married, also at the church of St Peter, on December 28, 1597. They came from the lesser nobility and were accorded the privileges generally enjoyed by the gentry. Velázquez was educated by his parents to fear God and, intended for a learned profession, received good training in languages and philosophy. Influenced by many artists he showed an early gift for art; consequently, he began to study under Francisco de Herrera, a vigorous painter who disregarded the Italian influence of the early Seville school. Velázquez remained with him for one year. It was probably from Herrera that he learned to use brushes with long bristles. After leaving Herrera's studio when he was 12 years old, Velázquez began to serve as an apprentice under Francisco Pacheco, an artist and teacher in Seville. Though considered a generally dull, undistinguished painter, Pacheco sometimes expressed a simple, direct realism in contradiction to the style of Raphael that he was taught. Velázquez remained in Pacheco's school for five years, studying proportion and perspective and witnessing the trends in the literary and artistic circles of Seville.To Madrid (early period) By the early 1620s, his position and reputation were assured in Seville. On April 23, 1618, Velázquez married Juana Pacheco (June 1, 1602 – August 10, 1660), the daughter of his teacher. She bore him two daughters—his only known family. The elder, Francisca de Silva Velázquez y Pacheco (1619–1658), married painter Juan Bautista Martínez del Mazo at the Church of Santiago in Madrid on August 21, 1633; the younger, Ignacia de Silva Velázquez y Pacheco, born in 1621, died in infancy. Velázquez produced notable works during this time. Known for his compositions of amusing genre scenes (also called bodegones), such as Old Woman Frying Eggs, his sacred subjects include Adoración de los Reyes (1619, The Adoration of the Magi), and Jesús y los peregrinos de Emaús (1626, Christ and the Pilgrims of Emmaus), both of which begin to express his more pointed and careful realism.

Referindu-se la Pesc?ru?ul ?ntr-o scrisoare din octombrie 1895, Cehov nota, ?ntre altele: ?Scriu o pies? pe care probabil nu o voi termina p?n? la sf?r?itul lui noiembrie. O scriu nu f?r? pl?cere, de?i m? tem de conven?iile scenei. E o comedie, exist? trei roluri pentru femei, ?ase pentru b?rba?i, patru acte, peisaje (priveli?tea unui lac), o mul?ime de conversa?ii despre literatur?, pu?in? ac?iune, mult? iubire“. Premiera s-a dovedit dezastruoas?, editorul s?u aduc?ndu-i acuze ca, pild?, la?itatea evident?, caracterul din cale afar? de feminin. Con?tient de geniul s?u, Cehov riposteaz?: ?De ce aceast? calomnie? Dup? reprezenta?ie am luat cina la Romanovi. Pe cuv?ntul meu de onoare. Apoi m-am dus la culcare, am dormit s?n?tos ?i a doua zi am mers acas? f?r? a suspina vreo nemul?umire. Dac? a? fi fost un la?, a? fi alergat de la un editor la altul ?i de la un actor la altul, i-a? fi implorat s? fie ?ng?duitori ?i a? fi petrecut dou? trei s?pt?m?ni ?n Petersburg, agit?ndu-m? cu Pesc?ru?ul meu, cu emo?ie, cu o transpira?ie rece ?n lamenta?ii. Am ac?ionat at?t de rece ?i de responsabil precum un om care a f?cut o ofert? ?i apoi a fost ?nt?mpinat cu un refuz ?i nu mai are nimic altceva de f?cut dec?t s? plece. ?ntr-adev?r, vanitatea mea a fost n?ucit?, dar ?ti?i, nu a fost o lovitur? din senin. A?teptam un e?ec ?i m? preg?tisem pentru el precum te-am prevenit cu o absolut? sinceritate“.

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

National Book Critics Circle Award 2005 pentru carte de nonfic?iune. Premiul pentru Pace Erich-Maria-Remarque, 2001 Carte interzis? ?n Bielorusia ?Explozia reactorului num?rul 4 va deveni cel mai mare dezastru nuclear civil din istoria omenirii. Zona este o realitate ?n toat? monstruozitatea ei. La fel ca ?n cartea SF a fra?ilor Struga?ki, Picnic la marginea drumului, Zona este un infern pe p?m?nt, guvernat de propriile legi. Aici danseaz? lumini deasupra c?mpului, praful ridicat de v?nt are culori ciudate, se nasc copii cu muta?ii genetice, popula?ia a fost evacuat?, regiunea, interzis? ?i p?zit? de patrule militare, dar oameni stranii ?i-au f?cut din Zon? locul ?n care tr?iesc. Ei sunt C?l?uzele reale ?n Zona reactorului de la Cernob?l.“ – Ion M. Ioni?? C?nd fra?ii Arkadi ?i Boris Struga?ki publicau ?n 1972 celebrul lor roman SF Picnic la marginea drumului, nu ?i-ar fi putut imagina, nici ?n cele mai negre vise, c? Zona descris? ?n roman va deveni realitate paisprezece ani mai t?rziu, ?n ?ara lor, URSS. Conform ideologiei oficiale, Zona nu avea cum s? apar? ?n patria sovietelor. Doar URSS construia cele mai sigure reactoare nucleare din lume care ?ar fi putut fi instalate chiar ?n Pia?a Ro?ie, at?t de fiabile erau“. Nu a fost a?a. Pe 26 aprilie 1986, lumea avea s? intre ?n epoca Cernob?l. Explozia reactorului num?rul patru va deveni cel mai mare dezastru nuclear civil din istoria omenirii. Zona este o realitate ?n toat? monstruozitatea ei. La fel ca ?n cartea SF a fra?ilor Struga?ki, Zona este un infern pe p?m?nt, guvernat de propriile legi. Aici lumini danseaz? deasupra c?mpului, praful ridicat de v?nt are culori ciudate, se nasc copii cu muta?ii genetice, popula?ia a fost evacuat?, regiunea, interzis? ?i p?zit? de patrule militare, dar oameni stranii ?i-au f?cut din Zon? locul ?n care tr?iesc. ?O istorie oral? mi?c?toare a catastrofei din 1986 de la reactorul nuclear de la Cernob?l, ?n care curajul fatalist ?i stoic este dublat de un umor incredibil de negru. Jurnalista rus? Svetlana Aleksievici a ?nregistrat o serie de m?rturii pe care le-a prezentat sub forma unor ?monologuri?, ?n stil romanesc, care zugr?vesc imaginea vie a atmosferei generale de nemul?umire de la sf?r?itul perioadei comuniste, ?n care liderilor de partid agresivi, propagandei paranoice ?i mobiliz?rilor haotice li se opun sarcasmul deprimant, g?ndurile amare ?i abuzul de votc?. Rezultatul este o radiografie de neuitat a sufletului rus.“ – Publishers Weekly

T?rténik Olivér házában, Frigyes herceg udvarában, valamint az Ardeni-erd?ben – vélhet?leg Franciaországban. Egy nagy erej? vitéz, miként nálunk majd Toldi, legy?z egy bajnokot. Bár testvére ármánya miatt meg kellett volna halnia a párviadalban, mégis az ? homlokára kerül a gy?ztesnek kijáró koszorú. ?s ezzel kezdetét veszi vessz?futása. El?bb csak bátyja, majd uralkodója haragja el?l, utóbb egyenest a szám?zetésbe. Vigaszul csupán egy mosoly, egy fehér lánykézb?l kapott amulett és ?reg szolgája sírig h? ragaszkodása szolgál. ?m az ardeni erd? mélyén további barátokra, igaz szerelemre, és el?z?tt hercegének birodalmára talál.

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

UNGV?RY KRISZTI?N és TABAJDI G?BOR rendhagyó útikalauza a 20. század politikai diktatúrái és legmegrázóbb t?rténelmi eseményei mentén veszi lajstromba Budapest emlékeit. A szerz?páros olyan f?városi helyszíneket mutat be olvasóinak, amelyek jobbára ismeretlenek a turisták el?tt, a városlakók számára pedig már a félmúlt homályába vesznek. A fiatal kutatók budapesti sétáin feltárulnak az 1919-es Tanácsk?ztársaság és az azt k?vet? fehérterror, a német megszállás, a nyilas rémuralom és a zsidóüld?zés, a világháborús f?város, a szovjet megszállás és a Rákosi-diktatúra, az 1956-os forradalom és szabadságharc, végül a Kádár-korszak elfeledett vagy épp szándékosan titokban tartott t?rténeti helyszínei és emlékhelyei. Az egyes t?rténelmi eseményekhez k?thet? szobrok és m?emlékek kapcsán a szerz?k múlt és jelen emlékezetpolitikai t?rekvéseit is áttekintik. A t?rténészpáros kíméletlen és fájdalmas ?szinteséggel mutat rá: a múlt századi véres diktatúrák emlékei jel?letlenül bár, de ma is ott kísértenek a f?város utcáin – ideje lenne hát mindenkinek megismerni ?ket. UNGV?RY KRISZTI?N 1969-ben született Budapesten. Tanulmányait az ELTE BTK t?rténelem-német szakán végezte. Budapest ostromát feldolgozó doktori disszertációja k?nyv formájában is megjelent, és számos hazai, illetve külf?ldi kiadást megélt. 2001-t?l az 1956-os Intézet tudományos munkatársa, t?bb nemzetk?zi tudományos testület tagja. Kutatási területe a 20. század politika- és hadt?rténete, a széls?jobb mozgalmak, valamint az állambiztonság t?rténete. TABAJDI G?BOR 1980-ban született Budapesten. Az ELTE B?lcsészettudományi Karán t?rténelmet, politikaelméletet és filozófiát tanult. Jelenleg az Országos Széchényi K?nyvtár 1956-os Intézetének munkatársa. Eddig f?ként a 20. századi Magyarország politikat?rténetével kapcsolatos publikációi jelentek meg. F? kutatási területei: a magyar állambiztonsági szervek, illetve a pártállami rendszer m?k?désének t?rténete. A fiatal kutatókat t?m?rít? ?Fehér Hollók” munkacsoport koordinátora.

Leonardo's views of aesthetic are all important in his philosophy of life and art. The worker's thoughts on his craft are always of interest. They are doubly so when there is in them no trace of literary self-consciousness to blemish their expression. He recorded these thoughts at the instant of their birth, for a constant habit of observation and analysis had early developed with him into a second nature. His ideas were penned in the same fragmentary way as they presented themselves to his mind, perhaps with no intention of publishing them to the world. But his ideal of art depended intimately, none the less, on the system he had thrown out seemingly in so haphazard a manner. The long obscurity of the Dark Ages lifted over Italy, awakening to a national though a divided consciousness. Already two distinct tendencies were apparent. The practical and rational, on the one hand, was soon to be outwardly reflected in the burgher-life of Florence and the Lombard cities, while at Rome it had even then created the civil organization of the curia. The novella was its literary triumph. In art it expressed itself simply, directly and with vigour. Opposed to this was the other great undercurrent in Italian life, mystical, religious and speculative, which had run through the nation from the earliest times, and received fresh volume from mediaeval Christianity, encouraging ecstatic mysticism to drive to frenzy the population of its mountain cities. Umbrian painting is inspired by it, and the glowing words of Jacopone da Todi expressed in poetry the same religious fervour which the life of Florence and Perugia bore witness to in action. Italy developed out of the relation and conflict of these two forces the rational with the mystical. Their later union in the greater men was to form the art temperament of the Renaissance. The practical side gave it the firm foundation of rationalism and reality on which it rested; the mystical guided its endeavour to picture the unreal in terms of ideal beauty.The first offspring of this union was Leonardo. Since the decay of ancient art no painter had been able to fully express the human form, for imperfect mastery of technique still proved the barrier. Leonardo was the first completely to disengage his personality from its constraint, and make line express thought as none before him could do. Nor was this his only triumph, but rather the foundation on which further achievement rested. Remarkable as a thinker alone, he preferred to enlist thought in the service of art, and make art the handmaid of beauty. Leonardo saw the world not as it is, but as he himself was. He viewed it through the atmosphere of beauty which filled his mind, and tinged its shadows with the mystery of his nature. From his earliest years, the elements of greatness were present in Leonardo. But the maturity of his genius came unaffected from without. He barely noticed the great forces of the age which in life he encountered. After the first promise of his boyhood in the Tuscan hills, his youth at Florence had been spent under Verrocchio as a master, in company with those whose names were later to brighten the pages of Italian art. At one time he contemplated entering the service of an Oriental prince. Instead, he entered that of Caesar Borgia, as military engineer, and the greatest painter of the age became inspector of a despot's strongholds. But his restless nature did not leave him long at this. Returning to Florence he competed with Michelangelo; yet the service of even his native city could not retain him. His fame had attracted the attention of a new patron of the arts, prince of the state which had conquered his first master. In this his last venture, he forsook Italy, only to die three years later at Amboise, in the castle of the French king.

POW Escape and Evasion covers everything you need to know about making a successful return to friendly territory. Beginning from the point where a combatant finds himself or herself trapped in enemy territory, the book offers useful tips and solid advice on how to evade capture and, if that fails, how to escape. Key topics include the will to survive; handling stress in captivity; escape techniques; survival in a variety of environments, including urban, rural, jungle and desert; how to forage for food; tracking and how to cover your tracks; navigation, with or without a map; and seeking recovery by friendly forces. The book also includes a number of real life accounts of POW escape from World War II (including The Great Escape story and Colditz), the Vietnam War (Dieter Dengler, with others, escaping from Laos), the Balkans, Iraq (Thomas Hamill in 2004) and Afghanistan. With more than 120 black-&-white artworks and with easy-to-follow text, POW Escape and Evasion is for anyone who wants to know how to survive in the most stressful of circumstances and emerge a winner. Presented in a handy, pocket-size format, this is a book you could take with you into the field. And it could save your life.

For more than 400 years, the big-gun warship stood as the supreme naval war machine. It was not only a major instrument of warfare, but a visible emblem of a nation’s power, wealth and pride. The World’s Greatest Battleships features 52 of the greatest warships to have sailed in the last 500 years. Beginning with English king Henry VIII’s flagship, Henry Grace a? Dieu , the book covers all the main periods of battleship development, including the great sail ships, such as Sovereign of the Seas, Santissima Trinidad and HMS Victory . The advent of steam-driven warships provides the core of the book, beginning with the introduction of Gloire in 1859, and continuing through all the major pre-Dreadnoughts, such as Inflexible, Maine and Tsessarevitch . There is detailed coverage of the great battleships of the two world wars, including Derfflinger , Yamato and Iowa , while the book closes with the last new battleship to be commissioned, Vanguard , in 1946. Each entry includes a brief description of the battleship’s development and history, a colour profile artwork, key features and specifications. Packed with more than 200 artworks and photographs, The World’s Greatest Battleships is a colourful guide for the military historian and naval warfare enthusiast.

The Second World War saw elite units take a prominent role on the battlefield for the first time. The Encyclopedia of Elite Forces in World War II is a wide-ranging guide to the excellent units on land, sea or in the air whose success was usually hard-won against the odds, and whose actions had an impact on the course of the fighting around them. The best units from both sides of the fighting are represented, as are the two main theatres of war. Arranged by combatant nation, the book covers such famous units as the US Rangers, British SAS and German Waffen-SS, as well as some of the less well-known units like Popski’s Private Army, the LRDG and Merrill’s Marauders. Not all the units featured in the book were officially designated as elite forces – indeed, some of those involved were only ordinary soldiers – but they achieved elite status through their deeds. Illustrated with action photographs, The Encyclopedia of Elite Forces in World War II is a comprehensive guide to the elite forces of both sides during the 1939-45 war. Each entry describes the unit’s strength, date of formation and gives a brief overview of its combat record during the war. Covering all aspects of warfare and both the European and Pacific theatres in World War II, the book will appeal to anyone with an interest in either World War II or elite units at war.

"Where ocean bathes earth's footstool these sea-bowersBedeck its solid wavelets: wise was heWho blended shore with deep, with seaweed flowers,And Naiads' rivulets with Nereids' sea." Strictly speaking the peninsula on which the city stands is of the form of a trapezium. It juts out into the sea, beating back as it were the fierce waves of the Bosphorus, and forcing them to turn aside from their straight course and widen into the Sea of Marmora, which the ancients called the Propontis, narrowing again as it forces its way between the near banks of the Hellespont, which rise abrupt and arid from the European side, and slope gently away in Asia to the foot of Mount Ida. Northwards there is the little bay of the Golden Horn, an arm as it were of the Bosphorus, into which run the streams which the Turks call the Sweet Waters of Europe. The mouth of the harbour is no more than five hundred yards across. The Greeks of the Empire spanned it by a chain, supported here and there on wooden piles, fragments of which still remain in the Armoury that was once the church of S. Irene. Within is safe anchorage in one of the finest harbours of the world. South of the Golden Horn, on the narrow tongue of land—narrow it seems as seen from the hills of the northern shore—is the city of Constantine and his successors in empire, seated, like the old Rome, on seven hills, and surrounded on three sides by sea, on the fourth by the still splendid, though shattered, medi?val walls. Northwards are the two towns, now linked together, of Pera and Galata, that look back only to the trading settlements of the Middle Ages.The single spot united, as Gibbon puts it, the prospects of beauty, of safety, and of wealth: and in a masterly description that great historian has collected the features which made the position, "formed by Nature for the centre and capital of a great monarchy," attractive to the first colonists, and evident to Constantine as the centre where he could best combine and command the power of the Eastern half of his mighty Empire. Byzantium Before Constantine.It is impossible to approach Constantinople without seeing the beauty and the wonder of its site. Whether you pass rapidly down the Bosphorus, between banks crowned with towers and houses and mosques, that stretch away hither and thither to distant hills, now bleak, now crowned with dark cypress groves; or up from the Sea of Marmora, watching the dome of S. Sophia that glitters above the closely packed houses, till you turn the point which brings you to the Golden Horn, crowded with shipping and bright with the flags of many nations; or even if you come overland by the sandy wastes along the shore, looking across the deep blue of the sea to the islands and the snow-crowned mountains of Asia, till you break through the crumbling wall within sight of the Golden Gate, and find yourself at a step deep in the relics of the middle ages; you cannot fail to wonder at the splendour of the view which meets your eyes. Sea, sunlight, the quaint houses that stand close upon the water's edge, the white palaces, the crowded quays, and the crowning glory of the Eastern domes and the medi?val walls—these are the elements that combine to impress, and the impression is never lost. Often as you may see again the approach to the imperial city, its splendour and dignity and the exquisite beauty of colour and light will exert their old charm, and as you put foot in the New Rome you will feel all the glamour of the days that are gone by.

Celebrities' Favourite Pets has been put together in aid of the PDSA (People's Dispensary for Sick Animals) who provide free veterinary treatment to sick and injured animals.This fun book provides a fascinating insight into the favourite pets of people in the public eye and, along with the obvious choices, there are bound to be one or two surprises as we find out which animals celebrities choose to get close to. Hopefully the book will also get people thinking about the relationship we have with our pets.With a fitting forward by Bob Champion MBE, this book supports the work of the UK's leading veterinary charity and reminds us of the responsibility we all have towards ensuring that the nation's pets are happy and well looked after.

In June 1863, General Robert E. Lee and the 75,000-strong Army of Northern Virginia launched a second invasion of the North, crossing into Maryland and Pennsylvania to try to win a decisive victory over Federal forces. On July 1, Lee’s army encountered Major General Meade’s 90,000 strong Army of the Potamac at the small town of Gettysburg. After some initial success in dispersing the Federal advance guard, Lee launched attack after attack against the main army, but everywhere the Union line held. On July 3, Lee ordered a final assault of 12,500 Confederates at the center of the Union line on Cemetery Ridge, known as Pickett’s Charge. The charge was repulsed with huge loss of life, bringing the battle to an end. Today, Gettysburg is recognized as the turning point in the Civil War and one of the iconic battles of the great struggle between North and South. Lee’s gamble didn’t pay off, leaving the Army of Northern Virginia fatally weakened and unable to continue its invasion of the North. Gettysburg is divided into five chapters, outlining the campaign, the fighting on July 1, July 2, and July 3, as well as a chapter dealing with the aftermath; an extended appendices provides biographical background of the main Federal and Confederate leaders who fought in the battle. Through letters, journal entries, and official reports, the book includes numerous first-hand accounts from those who survived. Color maps show the battle as it unfolded over three days of fighting in places that have a place in Civil War legend: Seminary Ridge, Little Round Top, Cemetery Hill, Devil’s Den, the Wheat Field, Culp’s Hill, the Peach Orchard. Including more than 200 archival photographs, illustrations, paintings, and maps, Gettysburg is a colorful, accessible guide to the great battle that marked the turning point in the Civil War.

A collection of three enchanting plays adapted from popular fairy tales and suitable for family audiences:?Tin Soldier (adapted from The Steadfast Tin Soldier by Hans Christian Andersen), A Tasty Tale (Hansel and Gretel), Hood in the Wood (Little Red Riding Hood). Acclaimed playwright Noel Greig, has recreated these well-known tales for the stage with wit and imagination. All three plays have been performed throughout the UK by Tangere Arts, winning a? Time Out Critics' Choice Award . Teachers, youth theatres and amateur groups working with young performers will use this collection time and again for productions, drama classes and workshops - whether for one performer or many. Suitable for children aged 7+ The simple form and language of the plays belie their theatrical and psychological sophistication. Tin Soldier ' a powerful poetic drama, an epic fable for our times.' **** ?Independent A Tasty Tale (Hansel and Gretel) ' Delicious moments... fashioned into a rhyming feast.' ****?Time Out Hood in the Wood (Little Red Riding Hood) ' a first-rate piece of storytelling that will make children squeal with terrified delight and parents shiver with recognition. ' **** ?Guardian

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