When Mina’s father dies, she returns to Korea to visit a family she barely knows, desperately looking for some answers. But her mother is reluctant to discuss the past, especially the war, or the reasons that Mina was sent so far away as a child, to America. Her younger sister seems unable to grow up and it doesn’t help that their nosy neighbour is always on their doorstep. Secrets and lies divide them all irrevocably. When the truth is finally revealed, it is both shocking and redemptive, allowing Mina and those around her to see themselves anew and break free from years of pain and guilt.

Orestes, Apollo, and the Erinyes go before Athena and eleven other judges chosen by her from the Athenian citizenry at the Areopagus (Rock of Ares, a flat rocky hill by the Athenian agora where the homicide court of Athens later held its sessions), to decide whether Orestes's killing of his mother, Clytemnestra, makes him guilty of the crime of murder.

Для Чехова мирный быт лучше и выше ?событий?, только в нём и может жить поэзия; так, в ?Трёх сёстрах? самое активное лицо — Наташа, одновременно и самый пошлый персонаж драмы; ей принадлежит почин сценического действия. Н. Полянский после премьеры ?Трёх сестёр? в рижском Русском театре отметил: ?Недоумение театралов и читающей публики по поводу произведений и пьес Чехова явление, уже давно замеченное критикой?.

A standalone Jupiter Point novella...Comic book artist Mia Grant is fleeing from her ex-boyfriend when she stumbles across a cabin in the woods, where she finds the last thing she expected--a kidnapping victim. Extra bonus that he's the exceptionally attractive Aiden Knight.Aiden has no idea why he was snatched off his college campus and brought to this wilderness cabin, but he suspects it has to do with the hunt for his father's killer. For now, he has a bigger worry--helping his gorgeous rescuer escape her nasty ex, who's still hot on her trail.Add in a thunderstorm and a white-knuckle wildlife encounter, and Aiden and Mia can hardly be blamed when the simmering attraction between them explodes into fiery passion.Years later, back in Jupiter Point ... was their raw hunger the real deal? Or will the slightly older and wiser couple chalk up the adrenaline-filled bliss to just one hot night?

Rhett Shaw is a widowed author with a lot on his mind. The noise of Brooklyn has drowned out all of his ideas for stories, so in order to get back to the basics and his career, he decides to make a move to the countryside in Vermont. The white wooden house nestled deep inside the privacy of the woods looked perfect. Sure, it was run down, but it was quiet, secluded, and it appeared vacant. Immediately after moving into his new residence and beginning repairs, Rhett starts to notice odd things happening around the house—his tools aren't where he leaves them, appliances come on by themselves, he hears noises rattling through the walls, and sometimes he feels like he's not alone. At first, he ignores it because inspiration hits, and his book seems to start writing itself. Characters come alive and embed themselves deep inside his thoughts—and maybe, he wonders, his actions. The rampage of theft and murder he describes in the book is plaguing the once quiet Vermont community, but he can’t tell if he’s describing the crimes before they’re committed or after. But is it too late to run now that the house has taken a hold of him?

Saya tidak percaya akan cinta. Cinta hanya sebuah omong kosong. Buktinya saat kakak memberikannya emas dan mutiara. Dia langsung?meninggalkanku. Putri kaisar kerajaan Xi Ying Yue Cinta itu menyakitkan. Saya akan menutup hati saya. Untuk apa harus?mengambil? Ratu? Sedangkan saya sudah memiliki keturunan. Apalagi luka?di wajah saya mengerikan. Wanita mana yang akan jatuh cinta denganku? Semua wanita hanya pemuas malamku yang dingin. Kaisar kerajaan Chun Dua orang yang memiliki luka. Berkali-kali bertemu. Apakah jodoh atau sudah kehendak yang kuasa kita harus bersatu?. ? pertemuan #1 itu hanya kebetulan pertemuan #2 artinya kamu jodohku pertemuan #3 kupastikan dia milikku

This carefully crafted ebook is formatted with a functional and detailed table of contents.Franz Kafka (3 July 1883 – 3 June 1924) was a German-language writer of novels and short stories, regarded by critics as one of the most influential authors of the 20th century. Kafka strongly influenced genres such as existentialism. Most of his works, such as "Die Verwandlung" ("The Metamorphosis"), "Der Prozess" ("The Trial"), and "Das Schloss" ("The Castle"), are filled with the themes and archetypes of alienation, physical and psychological brutality, parent–child conflict, characters on a terrifying quest, labyrinths of bureaucracy, and mystical transformations. Kafka was born into a middle-class, German-speaking Jewish family in Prague, then part of the Austro-Hungarian Empire. In his lifetime, most of the population of Prague spoke Czech, and the division between Czech- and German-speaking people was a tangible reality, as both groups were strengthening their national identity. The Jewish community often found itself in between the two sentiments, naturally raising questions about a place to which one belongs. Kafka himself was fluent in both languages, considering German his mother tongue. Kafka trained as a lawyer and, after completing his legal education, obtained employment with an insurance company. He began to write short stories in his spare time. For the rest of his life, he complained about the little time he had to devote to what he came to regard as his calling. He regretted having to devote so much attention to his "Brotberuf" ("day job", literally "bread job"). Kafka preferred to communicate by letter; he wrote hundreds of letters to family and close female friends, including his father, his fiancée Felice Bauer, and his youngest sister Ottla. He had a complicated and troubled relationship with his father that had a major effect on his writing. He also suffered conflict over being Jewish, feeling that it had little to do with him, although critics argue that it influenced his writing.This collection contains the following works:- The Metamorphosis- A Country Doctor- A Hunger Artist- A Report for an Academy- An Imperial Message- Before the Law- In the Penal Colony- Jackals and Arabs- The Great Wall of China- The Hunter Gracchus- The Trial- Up in the Gallery

Charles Dickens was born on 1812, in Portsea, England. His parents were middle-class, but they suffered financially as a result of living beyond their means. When Dickens was twelve years old, his family's dire straits forced him to quit school and work in a blacking factory, a place where shoe polish is made. Within weeks, his father was put in debtor's prison, where Dickens's mother and siblings eventually joined him. At this point, Dickens lived on his own and continued to work at the factory for several months. The horrific conditions in the factory haunted him for the rest of his life, as did the experience of temporary orphanhood. Apparently, Dickens never forgot the day when a more senior boy in the warehouse took it upon himself to instruct Dickens in how to do his work more efficiently. For Dickens, that instruction may have represented the first step toward his full integration into the misery and tedium of working-class life. The more senior boy's name was Bob Fagin. Dickens's residual resentment of him reached a fevered pitch in the characterization of the villain Fagin in Oliver Twist.??After inheriting some money, Dickens's father got out of prison and Charles returned to school. As a young adult, he worked as a law clerk and later as a journalist. His experience as a journalist kept him in close contact with the darker social conditions of the Industrial Revolution, and he grew disillusioned with the attempts of lawmakers to alleviate those conditions. A collection of semi-fictional sketches entitled Sketches by Boz earned him recognition as a writer. Dickens became famous and began to make money from his writing when he published his first novel, The Pickwick Papers, which was serialized in 1836 and published in book form the following year.??In 1837, the first installment of Oliver Twist appeared in the magazine Bentley’s Miscellany, which Dickens was then editing. It was accompanied by illustrations by George Cruikshank, which still accompany many editions of the novel today. Even at this early date, some critics accused Dickens of writing too quickly and too prolifically, since he was paid by the word for his serialized novels. Yet the passion behind Oliver Twist, animated in part by Dickens’s own childhood experiences and in part by his outrage at the living conditions of the poor that he had witnessed as a journalist, touched his contemporary readers. Greatly successful, the novel was a thinly veiled protest against the Poor Law of 1834.??In 1836, Dickens married Catherine Hogarth, but after twenty years of marriage and ten children, he fell in love with Ellen Ternan, an actress many years his junior. Soon after, Dickens and his wife separated, ending a long series of marital difficulties. Dickens remained a prolific writer to the end of his life, and his novels—among them Great Expectations, A Tale of Two Cities, A Christmas Carol, David Copperfield, and Bleak House—continued to earn critical and popular acclaim. He died of a stroke in 1870, at the age of 58, leaving The Mystery of Edwin Drood unfinished.??The Poor Laws: Oliver Twist’s Social Commentary?Oliver Twist opens with a bitter invective directed at the nineteenth-century English Poor Laws. These laws were a distorted manifestation of the Victorian middle class’s emphasis on the virtues of hard work. England in the 1830s was rapidly undergoing a transformation from an agricultural, rural economy to an urban, industrial nation. The growing middle class had achieved an economic influence equal to, if not greater than, that of the British aristocracy.??In the 1830s, the middle class clamored for a share of political power with the landed gentry, bringing about a restructuring of the voting system. Parliament passed the Reform Act, which granted the right to vote to previously disenfranchised middle-class citizens. This desire gave rise to the Evangelical religious movement and inspired sweeping economic and political change.

This fourth novel of Boothby's Dr. Nikola series reveals that Nikola has discovered all of the facts necessary to extend a human being's life. He has studied science and magic secrets of Tibetan monks. He explains: ?"It has been a long and tedious search, but such labour only makes success the sweeter. The machinery is now prepared; all that remains is to fit the various parts together. In six months' time, if all goes well, I will have a man walking upon this earth who, under certain conditions, shall live a thousand years."??To assist him, he hires a destitute young physician, who explains his predicament: ?"As ill luck would have it, however, I had got into the wrong set, and before I had been two years in the hospital was over head and ears in such a quagmire of debt and difficulties that it looked as if nothing but an absolute miracle co-uld serve to extricate me." ?That miracle seems to have come to him in the person of Dr. Nikola.??The nefarious and wealthy Nikola has purchased a remote castle in the north of England, where the seclusion will allow him and his new assistant and Nikola's deaf-mute malformed Chinese servant to conduct his grand experiment on a human subject. ? AUTHOR: Guy Newell Boothby was an Australian novelist and writer, born in Adelaide, son of Thomas Wilde Boothby, who for a time was a member of the South Australian Legislative Assembly. Guy Boothby's grandfather was Benjamin Boothby (1803-1868), judge of the supreme court of South Australia from 1853 to 1867. When Boothby was six, he traveled to England with his mother. Around 1890, he took the position of private secretary to the mayor of Adelaide, Australia, but was not content with the work due to little opportunity for advancement. He turned to his writing talents, writing librettos for 2 comic operas and stories about Australian life. Boothby moved back to the United Kingdom in 1894. He wrote over 50 books in the course of a decade, before dying of pneumonia in Bournemouth. Some of Boothby's earlier works were non-fiction, but later he turned to writing novels. He was once well known for his series of five novels about Doctor Nikola, an occultist anti-hero seeking immortality and world domination.

Aceasta nu este o arc? a salv?rii, a speran?ei, a regener?rii suflete?ti, nici locul ?n care personaje-kamikaze arunc? ?n jur ?n timpul sacrificiului lor, bun?tate, generozitate, bl?nde?e, ?n?elepciune, cump?tare. E o arc? simbolic?. Fictiv?, sau e chiar lumea noastr? condamnat? s? pluteasc? ?n deriv? pe un ocean sub care p?nde?te un tzunami apocaliptic? Da, ?ntr-adev?r, Breban nu neglijeaz? nici o specie, sunt toate conservate aici, e destul s? ?nl?turi dificila, fragila ?i totu?i rezistenta perdea ?esut? din mii de pagini de carte, ca s? descoperi o umanitate crud?, pe care mul?i dintre noi, dintre cititori sau autori avem tendin?a de a o evita, tendin?a de a o machia, de a-i face opera?ii estetice… Arca are capaciatatea de a re?nvia din cenu?a ?i de a ne propune o c?l?torie imaginar? spre o alt? dimensiune, ?ncerc?nd s?-i salveze deopotriv? pe credincio?i ?i pe atei, pe puternici ?i pe cei slabi, pe victime ?i pe c?l?i, pe mae?tri ?i pe discipoli, pe slugi ?i pe st?p?ni. Tu alegi de care parte vrei s? te afli, ?n afara arcei, pe arc? sau ?n structura ei intim? fragil? ?i totu?i rezistent?, capabil? s? te duc? spre cele mai insolite teritorii care ?nc? nu au fost inventate ?i pe care doar acul busolei lui Breban le indic? ?i le plaseaz? pe o hart? altfel inaccesibil?.

Two scientists devise a compound that produces enormous plants, animals — and humans! The chilling results are disastrous.

Tales of Space and Time is a fantasy and science fiction collection of three short stories and two novellas written by the English author H. G. Wells between 1897 and 1898. It was first published by Doubleday & McClure Co. in 1899. All the stories had first been published in various monthly periodicals and this was the first volume to collect these stories. 1. "The Crystal Egg" (short story, The New Review, May 1897) 2. "The Star" (short story, The Graphic, December 1897) 3. "A Story of the Stone Age" (novella, The Idler, May–September 1897) comprising: "Ugh-Lomi and Uya" "The Cave Bear" "The First Horseman" "Uya the Lion" "The Fight in the Lion's Thicket" 4. "A Story of the Days to Come" (novella, The Pall Mall Magazine, June–October 1899) comprising: "The Cure for Love" "The Vacant Country"...

A fantastic tale of the world's beauty and unity after the Great Change occurs.

Edi?ia de fa?? o reproduce ?ntocmai pe cea din 1966 care a v?zut lumina tiparului la Editura pentru literatura ?i este menit? s? repun? – laolalt? cu alte titluri editate de noi – ?n circula?ie numele ?i opera unui mare profesor de filosofie ?i a unui important om de cultur? din perioada interbelice. Edi?ia este structurat? pe c?teva capitole, cum ar fi bun?oar? ?Amintiri din copil?rie ?i tinere?e“, ?Amintiri culturale, didactice ?i politice“, cuprinz?nd, ?ntre altele, ?i coresponden?a cu Titu Maiorescu, conferin?e ?i cursuri ?inute la Viena, Paris, Geneva, Praga, Oslo ?i Bruxelles. ?Petrovici a avut o via?? fracturat?. ?ntr-o vreme, a urcat n? pe Everestul performan?ei ?i al recunoa?terii publice, de unde, atunci c?nd istoria s-a virusat de o ideologie apocaliptic?, s-a pr?bu?it direct ?n groapa Marianelor, b?ntuit? de tot felul de silnicii ?i nes?buin?e. Mult? vreme s-a am?git cu in?elesul m?ng?ietor al filosofiei, a?a cum i-l h?r?zise cei vechi, dar s-a ?i ?nfiorat de mizeriile ei, atunci c?nd a v?zut-o dec?zut? ?n condi?ia de surogat ideologic. Oare trebuia, dup? ce a privit lumea prin sp?rtura pe?terii lui Platon, s-o p?ndeasc? ?i din spatele gra?iilor ?i ale z?voarelor trase? Vremurile noi, rascolnice, l-au g?sit total nepreg?tit. Glasul s?u, obi?nuit s? peroreze ?n aule universitare, ?n Camera, ?n Academie, ?n cadrul unor fastuoase reuniuni interna?ionale a fost, pentru multe decenii, obligat la t?cere.“ (Ionel Necula)

Un fast spectacol despre feminitate, moarte ?i alte teme eterne, ne ofer? de ast? dat? redutabilul eseist, istoric ?i critic literar Irina Petra?, despre care Marin Mincu scria c? este ?cel mai “b?rbat“ critic al nostru“. ?Demersul constituie o modalitate de a-?i apropia moartea, propria moarte, de a o studia sub lupa m?ritoare, de a o ?ine deliberat, zi de zi, ceas de ceas, al?turi, ?n imediata proximitate, pentru a te impulsiona s? fii c?t mai mult, c?t mai decis ?n spirit, pentru a te determina s? te investe?ti ?n toate cu ?ntreaga-?i fiin??, una dintre limitele c?reia e moartea-cea-cotidian?, pentru a te remodela, sim?ind atingerea botului mor?ii, pentru a recurge la travaliul dep??irii de sine prin crea?ie. A nu te obi?nui cu vecin?tatea mor?ii, obi?nuindu-te ?n acela?i timp, a realiza eficienta ei, adun?ndu-te, sporindu-?i eficien?a, a fi, ?n pofida con?tiin?ei tragice a finitudinii umane – iat? o piatr? de ?ncercare, iat? un examen major, la care au c?zut nu pu?ini. Cei ce-au rezistat constituie pentru Irina Petra? un fast obiect de studiu, care, fiind cercetat cu acribia unui colec?ionar, nelipsit de o redutabil? experien?? ?n domeniu, alc?tuiesc o galerie acoperit? cu oglinzi, ?n care, v?z?nd reflectat propriul univers, propriile spaime, frici, angoase, nelini?ti, autorul se supune, el ?nsu?i, din spirit de fair play, dar ?i dintr-un subtil, rafinat amestec de sado-masochism intelectual, unui examen: ?i va rezista co?ul pieptului? va ?ti sa r?spund?? dar s? reziste? Ei, mon?trii sacri… au rezistat, descriind modul ?n care se men?in pe muchia abisului, ?n care ?i-au v?zut propriul chip, contemplat de cineva…“ (Aura Christi)

Editorul, criticul ?i istoricul literar clujean Irina Petra? propune lectorilor un studiu despre locurile favorite din literatura rom?n? ?i cea universal?, paginile de teorie literar? oferind nu pu?ine repere asupra predilec?iilor clasicilor autohtoni de la Eminescu ?i Creang? p?n? la Norman Manea ?i Marta Petreu. Cartea se adreseaz? elevilor, studen?ilor, precum ?i publicului larg de cititori.

Lidia Lazu semneaz? o poezie delicat-confesiv?, parcelat? pe momente distincte, cu o structur? de jurnal. De?i termenul structur? e oarecum inadecvat acestei materii de fr?gezimi ce se transcriu ca atare, f?r? grija unei osaturi, a unui tipar ce i-ar st?njeni fluiditatea, evanescent?. Fiin?a respir? neconstr?ns? de nimic, supus? doar clipei, ?nc?nta?iei tranzitoriului. A?tept?rile sale sunt naiv-fabuloase, ?n continuitatea unei copil?rii care nu s-a epuizat, care-?i tr?ie?te intens uimirile, dezvolt?ndu-le fin imaginativ... O atare autoscopie fantezista este rodul unei virtuozit??i a simplit??ii. Coeziunea textului se produce ?n jurul acestei neputin?e de a accepta ordinea pragmatic?, meschin?ria, ?n numele unei candori funciare. La polul opus criticismului luciferic, poeta se d?ruie lumii nu doar prin contempla?ie, ci ?i printr-un soi de automatism existen?ial, l?s?ndu-se ?n voia lui, sublim lipsit? de voin??. Ceea ce e o moral? a extazului. (Gheorghe Grigurcu)

Mare poet clasic, Co?buc ?i-a asigurat locul printre marii creatori: Eminescu, Creang?, Caragiale, Slavici, prin con?inutul na?ional al operei sale, prin cultivarea ?i frecventarea clasicilor, prin puritatea expresiei ?i claritatea stilului, prin promovarea idealului de frumuse?e echilibrat?, ?n general prin ?nnoirea limbii poetice. Co?buc este – unanim recunoscut – un mare clasic al versului rom?nesc. Poet al naturii ?i al omului de la ?ar?, al exuberan?ei juvenile, al iubirii, al revoltei ?i luptei, al b?rb??iei, Co?buc ?nscrie una din cele mai pre?ioase experien?e ale literelor rom?ne?ti, ?ntr-un moment de r?scruce, c?nd, prin scrierile unei pletore de pseudoeminescieni, se crease ?n poezia noastr? o stare deprimant?, maladiv?, din care se p?rea c? nu exist? perspective de ie?ire spre un liman s?n?tos. ?n acest climat de mal de siecle, de Wetschmerz r?sare nea?teptat de viguros ?i nou George Co?buc, redres?nd poezia rom?neasc?, aduc?nd noi orizonturi, noi sensuri, noi valori artistice.

Romanul e captivant, bine scris, n ciuda unor efuziuni retorice prea lungi pe alocuri, care puteau fi scurtate. Un text elaborat de ctre un crturar, cu lecturi din Schopenhauer, Nietzsche, Jung sau Dostoievski fcute n profunzime, temeinic. n consecin, e un roman n care simbolurile apar la tot pasul, incifrate n text, n tehnica unui modernism hermeneutic care nu poate fi scos din ecuaie (…). Strict tehnic, ne aflm n faa unui Bildungsroman construit pe un scenariu clasic, de iniiere: tnrul Matei (toate numele sunt luate din Biblie…) interiorizeaz sfietor, dramatic moartea prematur a tatlui su, David, pierdut ntr-un accident de main pe Valea Oltului, se afl n conflict deschis cu mama sa, Riri, femeie pragmatic, dar intrat n faza unui deficit de cldura uman, mascat prin nervozitate, i i fixeaz ntreaga afeciune pe fiina compensativ a bunicului, Grig, mort i el spre sfritul romanului, i pe aceea a profesorului universitar Semion Ruda, stilat, elevat, aristorcatic, un concitadin de ocazie i tat-surogat, cruia, n cele din urm, protagonistul romanului i datoreaz relansarea intelectuala – viitor student n filosofie – i formarea literar, ca romancier, talentul compensativ al scrisului descoperindu-i-l oarecum fr premeditare sau ndemnuri din afar, ca pe o efervescen intern a propriei sale fiine. (tefan Borbély)Viaa cotidian este transferat n interioritate, iar tensiunile generatoare de suspans sunt direcionate ctre aceeai nevoie urgent de a deveni. Eroii Aurei Christi sunt fpturi aflate ntre lumi, ntre vrste, ntre maluri. (Irina Ciobotaru)Intenia vdit a autoarei este aceea de a explora personajele pn n adncul firii lor, astfel nct nu aciunea s stea n prim-plan, ci caracterele. (Bogdan Mihai Dasclu)

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Los trabajos de Persiles y Sigismunda es la última obra de Miguel de Cervantes. Pertenece al subgénero de la novela bizantina. El propio autor la consideró su mejor obra; sin embargo la crítica da este título unánimemente a Don Quijote de la Mancha. En ella escribió la dedicatoria al Conde de Lemos el 19 de abril de 1616, cuatro días antes de morir, donde se despide de la vida citando estos versos: Puesto ya el pie en el estribo, con las ansias de la muerte, gran se?or, esta te escribo.