London's recent history captured in dramatic form. Created from dozens of personal testimonies, this is the story of the changing face of work today. Surrey Docks in South-East London was once a thriving commercial hub, hosting some of the UK’s leading commercial brands, including Crosse & Blackwell, Sarson’s, Peek Freans and Lipton’s. These huge organisations created a myriad of jobs for local people, and the community prospered. But, with the decline of the docks in the 1970s, factories closed down or relocated, work patterns changed and redevelopment began. ‘From Docks to Desktops’ explores the fascinating story of how one community has survived the 21st-century challenges of urban change and renewal.

The Hound of the Baskervilles is one of the four crime novels by Sir Arthur Conan Doyle in which detective Sherlock Holmes and Dr Watson investigate the legend of a supernatural beast that may have been trained to murder Sir Henry Baskerville on the fog-shrouded moorland that makes up his estate.

A landmark work of romantic and gothic literature, as well as science fiction, the novel's storyline emerged from a dream and Shelley's own travels of the region in which the story unfolds. Mary Shelley started writing the story when she was just eighteen.

Set on a tropical island where Robinson Crusoe found himself after a terrible storm at sea, we follow his life and adventures far away from civilization. A novel which has inspired countless imitations and adaptations, remains one of the most original and inspiring stories in the English language.

Chichikov, a gentleman of middling social class and position arrives in a small town and quickly tries to make a good name for himself by impressing the officials of the town. Despite his limited funds, he spends extravagantly hoping that a great show of wealth and power at the start will gain him the connections he needs to carry out his mysterious plan to acquire 'dead souls.'

The Oresteia, a trilogy of Greek tragedies written by Aeschylus. The name derives from the character Orestes, who sets out to avenge his father's murder. The only extant example of an ancient Greek theater trilogy, the Oresteia won first prize at the Dionysia festival in 458 BC. Principal themes of the trilogy include the contrast between revenge and justice, as well as the transition from personal vendetta to organized litigation.

The Danaids form the chorus and serve as the protagonists. They flee a forced marriage to their Egyptian cousins. When the Danaides reach Argos, they entreat King Pelasgus to protect them. He refuses pending the decision of the Argive people, who decide in the favor of the Danaids. Danaus rejoices the outcome, and the Danaids praise the Greek gods. Almost immediately, a herald of the Egyptians comes to attempt to force the Danaids to return to their cousins for marriage. Pelasgus arrives, threatens the herald, and urges the Danaids to remain within the walls of Argos. The play ends with the Danaids retreating into the Argive walls, protected.

The story is based around incident when Apuleius was accused of using magic to gain the attentions and fortune of a wealthy widow. He declaimed and then distributed a witty tour de force in his own defense before the proconsul and a court of magistrates convened in Sabratha, near ancient Tripoli, Libya.

Two middle-aged men stumbling across a hillside wilderness are guided by a pet crow and a pet jackdaw. One of them advises the audience that they are fed up with life in Athens, where people do nothing all day but argue over laws, and they are looking for Tereus, a king who was once metamorphosed into the Hoopoe, for they believe he might help them find a better life somewhere else.

Today the women at the festival are going to kill me for insulting them!' This bold statement by Euripides is the absurd premise upon which the whole play depends. The women are incensed by his plays' portrayal of the female sex as mad, murderous, and sexually depraved, and they are using the festival of the Thesmophoria (an annual fertility celebration dedicated to Demeter) as an opportunity to debate a suitable choice of revenge.

A watchman on top of the house, reporting that he has been lying restless there like a dog for a year, for so rules the expectant manly-willed heart of a woman (that woman being Clytemnestra awaiting the return of her husband, who has arranged that mountaintop beacons give the signal when Troy has fallen). He laments the fortunes of the house, but promises to keep silent: 'A huge ox has stepped onto my tongue.' However, when Agamemnon returns, he brings with him Cassandra, the enslaved daughter of the Trojan king, Priam, and a priestess of Apollo, as his concubine, further angering Clytemnestra.

Orestes arrives at the grave of his father, accompanied by his cousin Pylades, the son of the king of Phocis, where he has grown up in exile; he places two locks of his hair on the tomb. Orestes and Pylades hide as Electra, Orestes' sister, arrives at the grave accompanied by a chorus of elderly slave women (the libation bearers of the title) to pour libations on Agamemnon's grave; they have been sent by Clytemnestra in an effort to ward off harm. Just as the ritual ends, Electra spots a lock of hair on the tomb which she recognizes as similar to her own; subsequently she sees two sets of footprints, one of which has proportions similar to hers. At this point Orestes and Pylades emerge from their hiding place and Orestes gradually convinces her of his identity.

A group of women, led by the wise and redoubtable Praxagora, has decided that the women of Athens must convince the men to give them control of the city, as they are convinced they can do a better job. Disguised as men, the women sneak into the assembly and command the majority of votes needed to carry their series of revolutionary proposals, even convincing some of the men to vote for it on the grounds that it is the only thing they have not tried.

A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description.

Leviathan is one of the earliest and most influential examples of social contract theory. A classic western work on statecraft comparable to Machiavelli's The Prince. Written during the English Civil War (1642–1651), Leviathan argues for a social contract and rule by an absolute sovereign.

When Sheherazad is brought to the palace to be the Sultan’s new bride, her very life depends upon her skill as a storyteller. She tells him tales of lost cities and buried treasure, of slave girls and robbers, of genies in bottles and evil sorcerers. But will it be enough to save her? The stories of the Arabian Nights date back more than a thousand years and originate from Persia, India and Arabia. Neil Duffield has combined elements of many of them, keeping alive the excitement and humour to produce a show which will transport the audience into a world of myth and legend where fantasy and reality can never be separated.

Bradford, in the month of Ramadan. Shaz, a local garage mechanic, is trying to keep his business going despite the terrible scandal of Asian men involved in grooming young girls for sex in the area. A protest march through the city is planned and Samina, Shaz’s sister wants to make a speech at a counter-demonstration for Peace. Shaz just wants a quiet life so that his prospective in-laws will let him marry their beautiful daughter, but as the city gets swept up in the protest, his world gets turned upside down. Asif Khan’s debut play is a fabulously comic take on the combustion surrounding young British Muslim lives.

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.“

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

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!

In any military operation throughout history, few 24-hour periods have been as crucial as that of 6th June 1944. With the aid of specially commissioned maps, D-Day: The First 24 Hours series gives the dramatic history of the first 24 hours of the Normandy landings, and explains in detail the events that occurred in each landing zone. In this fourth volume of the series, the book describes the British and Canadian landings on Gold, Juno and Sword beaches. The book also includes details of the human cost of the first day, and a full order of battle for both sides. With colour and black & white photographs, the book is a guide to key events in the first 24 hours of the D-Day landings that saw the Allies successfully achieve a foothold in Northern Europe.