A Nagy Kaland cím? valóságshow?folytatódik; a F?ldk?zi-tenger partvidékén nem csak a hullámok csapnak ?ssze. Arabella és mindenre elszánt játékostársai már új helyszíneken küzdenek a nyereményért. A m?sor szervez?i úgy d?ntenek: a víz mellett a szárazf?ld?n is meg kell állniuk a helyüket. Az érzelmek felkorbácsolódnak, a játék eldurvul. Arabella és társai küzdelme a végéhez k?zeledik... A nem várt helyzetek nem várt érzelmeket váltanak ki a szerepl?kb?l. Vajon a szerelem vagy az intrika játssza majd a f?szerepet? BORB?S EDINA els? regénye 2013 nyarának meglepetés sikerk?nyve volt, gyorsan sokak kedvence lett. A második részben még t?bb szenvedély, szex és izgalom vár Arabellára és az olvasóra.

Aer ?n iarb? este o poezie a ciclicit??ii. Anotimpuri ?i anotimpuri ale inimii. Toposuri ?i loca?uri ale refugiului ?n bucurii simple. Regenerarea prin elemente g?site ?n col?urile altor inimi. O poezie filmic?. O dinamic? cinematic? a cuvintelor ?i a surprizelor prinse de suflet ?i redate ?n pixelii colora?i ai fericirilor nea?teptate. Aer ?n iarb? este ?i ?n ?note de mare“ ?i ?n ?prim?vara la cheie“ un ciclu care mimeaz? numai aparent dicteul automat. Aer ?n iarb? este momentul c?nd treci pe strad? ?i scapi de lume, este spa?iul gol dintre cuvintele care ??i rostesc via?a ca s? dea propulsie maxim?.?Cu totul remarcabil? este, ?n poemele lui Mihai Vieru, capacitatea autorului de a descoperi, ?n spatele spectacolului cotidian, prezen?a miraculosului, a misterului, c?teodat? feeric, alt?dat? terifiant. Poetul e un spirit fantast, ?nzestrat cu ni?te antene extrem de sensibile la partea de umbr? a existen?ei, ?i un vizionar apt s? surprind? spectacularul banalului ?i s? transforme, a?a cum ??i dorea pe vremuri Rimbaud, o fabric? oarecare ?ntr-o moschee.“ (Octavian Soviany)

Milyen lenne egy regénye, ha Rejt? Jen? napjainkban írná meg? Talán ilyen: Csodálatos dolog egy ?r?kség! F?leg akkor, ha van kinek átadni. De ha nincs, az sem baj. Egy tévútra tévedt magánnyomozó, és egy nyugdíjazás címén félreállított detektív csatasorba áll az ?r?k?s felkutatásával megbízott lelkes ifjú titánnal, hogy végül - egy észbontóan észbontó n?vel kiegészülve - gy?kerestül felforgassák a világ ellen sz?vetkez? b?n?s elemek életét. K?nyvünk h?sei - vérfarkas és vámpír rokonok híján - súlyosan sebezhet?k, legyen szó akár szerelemr?l, akár egyszer? ólomgolyókról, nem laknak koporsóban, és a napvilágnál sem porladnak el hideglel?s sikoltozás k?zepette. Jól bánnak a szavakkal, tudnak kávézaccból jósolni, és kis szerencsével bármit képesek túlélni, ami nem halálos. Figyelem! A k?nyv klasszikusokat is feldolgozó író tollából került ki, ezért nyomokban mondanivalót is tartalmazhat. Kizárólag olvasni tudóknak!

Riduri deschide colec?ia ?Falanga basarabean?“ (coordonator Dumitru Crudu). Un volum al tinere?ii vitaliste care ?ncepe s? se obi?nuiasc? treptat ?i sigur cu ridurile societ??ii cu o speran?? de via?? din ce ?n ce mai exact stabilit?. Un volum de versuri care sfideaz? moartea prin chiar urmele pe care le las? ?n urm?, ca ni?te tatuaje, amintirea poeziei vie?ii celor dragi.

ficiune nseamn poate c.poate c o gaur de vierme este i existena uman.mcar pentru c omul o resimte ca parcurs, mai rapid dect ar fi de dorit, dintr-o zon necunoscut n alta la fel de necunoscut.poate c ntr-o gaur de vierme prezentul e singurul timp posibil.ce este prezentul fr contiin nimic.contiina o amprent de identificare pe care sinele o numete eu, iar ceilali el.criminalitii presar peste amprente un praf, o substan destinat scoaterii lor n relief. poezia lucreaz i ea cu asemenea prafuri, limbajul expresiv sau alte trucuri.trebuie s se poat i altfel.personajul volumului gaura de vierme transfer materialul livrat de contiin printr-un loc ngust, o fant. timpul prezent din gaura de vierme: oameni, lucruri i ntmplri la care, din motivele lui, eu nu a renunat, care sunt vii, active.trecerea prin fant presupune comprimare i tensiune i totui proba trecerii trebuie s fie firescul, normalitatea spunerii. exist un punct unde sunetul nu e alterat de efectele distanei n timp sau spaiu.ce spunem firesc poate fi important, poate interesa cel puin.“ – g.g.

C eti un artist dramatic care se zbate s supravieuiasc sau c eti un om care nu se identific cu sexul cu care a fost nzestrat i ncearc disperat s remedieze aceast problem, c eti un geniu ajuns n zdrene, care cerete ansa de a-i spune povestea, c eti un ndrgostit iremediabil, care ncaseaz doar indiferen, c eti un nimeni urmrit venic de autoriti, de probleme i eecuri, c eti captiv n lumea ta, singurul loc n care nu eti perceput ca fiind nebun tocmai fiindc sfideaz noiunea unanim acceptat de normalitate, c eti un scriitor care i aterne realitatea bidimensional, pe foaie, n replici, n didascalii, n uniti de msur a emoiei – numite cuvinte –, i ridic n alii realiti tridimensionale, c eti o ntmplare care citete aceste rnduri, tii foarte bine c orice fapt consumat d singur startul la o continuare i c exist mereu o a doua ans, la fel cum Moartea tie cnd trebuie s lase ceva s continue, cnd s-i spun stop sau cnd s nchid ochii, fiindc intervenia ar descalifica-o. Totul poart eticheta cu va urma i depinde doar de noi s lsm eticheta acolo i s urmm indicaia.Teatrul prelungete viaa fiindc este o prelungire a vieii. Nu e att parte a ei, ct o extensie, ca o pereche de aripi cu care plonjm ntr-un bar supraaglomerat, ntr-un dormitor n care ncap fix dou persoane, ntr-un vis policrom cu iz de psihotrope, sau ntr-o scen care ne va marca fiindc urmeaz s se petreac n acel interval de timp pe care niciodat nu suntem n stare s-l dibuim, dar tim atunci cnd se ntmpl c nu putea fi altcndva.Trei piese care ne zguduie, ne las simurile bulversate, creierii bruscai, inima n aritmie, dar sufletul cumva ridicat. Trei piese de prelungit viaa, chiar i a celor care cred c aceasta urmeaz abia dup ce vor muri. Moartea strig: Bis!“ cnd se vede aplaudnd de una singur, fiindc nu are de ales dect s lase spectacolul s continue n momentul n care tocmai se dezintegreaz.ndrznete i citete!“ – Andrei Vornicu

Acestea-s cuvintele, Petra. Am aternut copertele peste ele, lsndu-le s se limpezeasc. Timpul trecea, cartea nu-mi mai ncpea n trup. ntr-o zi, mi plimbam ochii peste literele ei. Dup aceea, am rspuns ctorva e-mailuri. Printre tirile care nsoesc n mod obinuit o csu electronic, mi-a atras atenia una. Plasa pianjenului se lsa peste mine, dar cui s-i strig mirarea i bucuria mea Eram singur i ngheat, n biroul pustiu. Atunci, m-am repezit s-i atern aceste nimicuri despre Shaun Higgins, specialistul ce a reuit s rezolve misterul insulei-fantom din Pacific. Aprea pe mai toate hrile, dar nu a fost gsit de cercettorii care au plecat s o caute cu vreo lun n urm. Din 1876 s-a strecurat eroarea. Atunci, comandantul balenierei Velocity a raportat n jurnal o serie de stnci mari i nite insulie de nisip, marcnd poriunea de pmnt pe o hart. Informaiile lui au tot fost copiate i recopiate, postulnd drept insul un probabil i posibil recif. Cineva din lumea aceasta, cu un veac n urm, s-a mai gndit la Plasterca. i dai seama ce lucru minunat i s-ar putea ca lumea despre care am zis odat c nu am gsit-o, aceea ce spuneam c i se cuvine, alturi de aceast carte care abia mai ncape n colivie, s se afle undeva, pe-aproape.“ – Clin Torsan

1791 októberében Wolfgang Amadeus Mozart azt mondta a feleségének, hogy megmérgezték. Másfél hónap múlva már nem volt az él?k sorában. N?vére, a szintén zongoravirtuózként indult Nannerl sógorn?jét?l értesül a fájdalmas hírr?l, és nyomban Bécsbe indul, de nem csak a temetésre. Elt?kéli, hogy kideríti az igazságot, és megtudja, valóban gyilkosság áldozata lett-e Mozart, és vajon kinek állt útjában. Bécs veszélyes városnak bizonyul: Nannerl s?tét titkokkal, ?sszeesküvésekkel, a császári udvarban zajló intrikákkal szembesül, a szabadk?m?vesek rejtélyes ?sszej?vetelein találja magát, mik?zben életében el?sz?r átéli az igaz szerelmet. ?s mindennek k?zpontjában Mozart utolsó operája, A varázsfuvola áll. Az olvasó a korabeli Bécs arisztokrata szalonjainak és hangversenytermeinek nyüzsg? világát láthatja mintegy függ?ny m?gül, mik?zben fel-felcsendül Mozart halhatatlan zenéje, és fény derül a sz?rny? titokra.

Maszumé hétk?znapi kamaszlány a 60-as évek Iránjában. Iskolába menet meglát egy fiatalembert, akivel egymásba szeretnek. Maszumé bátyjai megtalálják ártatlan levelezésüket, húgukat megverik, majd máshoz kényszerítik feleségül. A lánynak fel kell adnia álmait, és el kell indulnia egy g?r?ngy?s úton, melyet a sors rendelt neki. Az ?tven évet fel?lel? regény a hazáját jól ismer? szerz? szemével k?veti végig Irán viharos t?rténelmét: a 60-as évek a sah elnyomó uralma alatt, majd az iszlám forradalom, mely visszahozta Iránba a k?zépkort, az iraki–iráni háború. A regényt, mely az utóbbi évtized legnagyobb bestsellere lett Iránban, kétszer is betiltották, azonban nem politikai tartalma miatt, hanem mert egy olyan független és er?s n? sorsát állítja példaképül, aki a sorscsapások és nehézségek ellenére sosem adja fel a reményt, s bár csendesen, mégis határozottan tiltakozik társadalmának elnyomó hagyományai ellen. Parinoush Saniee szociológus és pszichológus, t?bb regény szerz?je. A sors k?nyve els? regénye, melyet t?bb nyelvre fordítottak le, Olaszországban elnyerte a Boccaccio-díjat, Németországban bestseller lett. Az iráni írón? 1949-ben született, férjnél van, két fia külf?ld?n él.

Medicina modern? a f?cut progrese imense. Cu toate acestea, nu a reu?it s? ?nving? cancerul, boala nemiloas? care face milioane de victime ?n fiecare an, la nivel mondial. ?i totu?i, dr. Max Gerson (1881-1959) ne-a oferit o raz? de speran??, prin terapia alternativ? care ?i poart? numele. ?n 1958, el a fost primul medic din lume care a spus despre cancer c? ar fi cauzat de mai mul?i factori independen?i. Dintre cei 49 de astfel de factori identifica?i p?n? ?n prezent (deficien?ele de nutri?ie, radia?iile de diverse tipuri, ingerarea aditivilor alimentari, stresul cronic, consumul de tutun ?i de alcool etc.), ?n mod surprinz?tor, alimentele toxice fac cel mai mare r?u. Peste 70% dintre tumorile maligne sunt cauzate, ?ntr-un fel sau altul, de ceea ce m?nc?m. Tocmai de aceea, Terapia Gerson are la baz? o diet? care include fructe ?i legume proaspete, cultivate organic, ?i 13 pahare de sucuri proaspete pe zi, la intervale fixe. Dup? 70 de ani de la apari?ia terapiei, timp ?n care mii de pacien?i au fost trata?i cu succes, fiica dr. Gerson, Charlotte, ea ?ns??i terapeut ?n medicina alternativ?, ?mpreun? cu dr. Morton Walker ofer? ?i mai multe informa?ii despre efectele puternice de vindecare ale fructelor ?i legumelor organice. Afl?: cum s? ?nvingi cancerul schimb?nd chimia organismului;cum s? prepari sucuri prin tehnici speciale pentru a le maximiza puterea de vindecare;cum s? scapi de alergii, obezitate, hipertensiune, SIDA, lupus ?i alte boli;ce suplimente ?nt?resc sistemul imunitar. Terapia Gerson – cea mai bun? metod? pentru oricine a spus vreodat? ?Vreau s? m? fac bine. Ar?ta-mi cum“ A func?ionat ?i pentru al?ii, va func?iona ?i pentru tine! ?nvinge boala cu ajutorul Terapiei Gerson!

Кра?на стр?мко летить у пр?рву: моторошна криза охоплю? вс? царини людського життя. Псевдовчен? наполегливо пропагують: мислення – це ?люз?я, пошук будь-якого сенсу – абсурд, ? зрештою уряд оголошу? моратор?й на розум. Талано- вит? п?дпри?мц? безсл?дно зникають, кидаючи сво? виробництво напризволяще або знищуючи його. Головн? геро? роману – Да?н? Та??арт ? Генк Р?арден – в?дчайдушно намагаються в?двернути катастрофу. Да?н? переконана, що в кра?н? з’явився та?м- ничий Руйн?вник, ц?ль якого – крах економ?ки ? тотальна деградац?я людей. Ж?нка не покида? над?? в?дтворити досконалий двигун, але перспективний молодий нау- ковець, який погодився допомогти ?й, в?дмовля?ться працювати на благо нев?глас?в. Да?н? не хоче в?дмовлятися в?д свого задуму, тож ?де на зустр?ч з? знев?реним до- сл?дником, а в дороз? знайомиться з волоцюгою. Свого часу в?н працював там, де й зародилося ?чисте зло?, яке зараз пожира? кра?ну… Друга частина роману м?стить блискуч? св?тоглядн? монологи, вкладен? в уста Франциско Д’Анкон?? та Генка Р?ардена.

In 1888 a client, Mary Morstan, comes with two puzzles for Holmes. The first is the disappearance of her father Captain Arthur Morstan in December 1878 and the second is that she has received 6 pearls in the mail from an anonymous benefactor once a year since 1882, since she answered an anonymous newspaper query inquiring for her. With the last pearl she has received a letter remarking that she has been a wronged woman and asks for meeting. Holmes takes the case and soon discovers that Major Sholto — Morstan's only friend who had denied seeing Morstan — had died in 1882 and that within a short span of time Mary began to receive the pearls, implying a connection. The only clue Mary can give Holmes is a map of a fortress with the names of Jonathan Small and three Sikhs, who are named Dost Akbar, Abdullah Khan, and Mahomet Singh. Holmes, Watson, and Mary meet Thaddeus Sholto, the son of the late Major Sholto and Capt Morstan's Army friend who has sent her the pearls. Thaddeus remarks that his father had a paranoid fear of one-legged men and confirms that Mary's father had seen the Major the night he died. That night, in a quarrel about an Agra Treasure, Morstan — who was in weak health — suffered a heart attack. Not wanting to bring attention to the object of the quarrel to public notice, Sholto disposed of the body and hid the treasure. However his own health became worse when he received a letter from India. Dying, he called his two sons and confessed to Morstan's death and was about to divulge the location of the treasure when he suddenly cried "Keep him out!". The puzzled sons glimpsed a face in the window but the only trace was a single footstep in the dirt. On their father's body is a note reading "The Sign of Four". Both brothers quarreled over whether a legacy should be left to Mary Morstan and Thaddeus left his brother Bartholomew, taking a chaplet and sending its pearls to Mary. The reason he sent the letter is that Bartholomew has found the treasure and possibly Thaddeus and Mary might confront him for a division of it. Bartholomew is found dead in his home from a poison dart and the treasure is missing. While the police wrongly take Thaddeus in as a suspect Holmes deduces that there are two persons involved in the murder: a one-legged man, Jonathan Small, as well as another "small" accomplice. He traces them to a boat landing where Small has hired a launch named the Aurora. With the help of his Baker Street Irregulars and his own disguise Holmes traces the launch. In a Police launch Holmes and Watson chase the Aurora and capture it but in the process end up killing the "small" companion after he attempts to kill Holmes with a poisoned dart shot from a blow-pipe. Small tries to escape but is captured. However the iron treasure box is empty; Small claims to have dumped the treasure over the side during the chase.

This book contains instructions for camping and walking in the wilderness.As an infantryman with the Union Army, John M. Gould marched and camped in an organized group for several years. He wrote down what he knew, and the result is a book that shows you how to camp and how to organize yourself when you go camping.

Кра?на, яку залишили ?? творц?, винах?дники та мислител?, приречена на в?йну, голод ? смерть. Владу захоплюють нев?гласи, корупц?онери й мародери. ?стор?я трива? бодай тому, що одна вольова ж?нка на ?м’я Да?н? Та??арт переконана, що досконалий св?т справжн?х ц?нностей ?сну?. Вона намага?ться зламати сценар?й неминучо? катастрофи. ?? Атлантида не м?ф. У св?т? ще ? см?ливц?, спроможн? створити сусп?льний лад, де нема? конфл?кт?в, не виника? потреби в самопожертв?, жодна людина не становить загрози для мети ?нших. Бунт?вн? атланти знають, що розум таки переможе. Риторичне питання, хто такий Джон ?олт, насправд? ма? в?дпов?дь, а неймов?рн? ?де? — сво? вт?лення, яке проголомшу? людську уяву. В останн?й частин? свого фундаментального роману ?дей Айн Ренд змальову? ц?л?сну ф?лософську систему, яка дос? виклика? палк? дискус??, де в?д захвату до обурення — один крок.

First published in 1850, The Scarlet Letter is Nathaniel Hawthorne's masterpiece and one of the greatest American novels. Its themes of sin, guilt, and redemption, woven through a story of adultery in the early days of the Massachusetts Colony, are revealed with remarkable psychological penetration and understanding of the human heart.?The book's immediate and lasting success are due to the way it addresses spiritual and moral issues from a uniquely American standpoint. In 1850, adultery was an extremely risqué subject, but because Hawthorne had the support of the New England literary establishment, it passed easily into the realm of appropriate reading. It has been said that this work represents the height of Hawthorne's literary genius, dense with terse descriptions. It remains relevant for its philosophical and psychological depth, and continues to be read as a classic tale on a universal theme.

Нельсон Мандела — п?вденноафриканський правозахисник, юрист, пол?тик, президент П?вденно-Африкансько? Республ?ки (1994 –??1999 рр.). Мандела був першим президентом ПАР, обраним на демократичних, не сфальсиф?кованих виборах. У сво?й трет?й книз? Нельсон Мандела в?дверто опису? ?н?ц?ац?ю африканських хлопчик?в, побут ? злидн? свого дитинства, навчання й одруження, народження ? смерть сво?х д?тей, жах самотност? в’язня на остров? Роббен ? вистраждану Свободу. Житт?вий досв?д та погляди Нельсона Мандели як н?коли актуальн? в контекст? нин?шн?х укра?нських реал?й, бо ?правда поляга? в тому, що ми ще не в?льн?, ми просто здобули свободу бути в?льними, право не бути пригноблюваними…справжн? випробування нашо? в?дданост? свобод? лише почина?ться?.??

THE history, the features, and the most famous examples of European architecture, during a period extending from the rise of the Gothic, or pointed, style in the twelfth century to the general depression which overtook the Renaissance style at the close of the eighteenth, form the subject of this little volume. I have endeavoured to adopt as free and simple a mode of treatment as is compatible with the accurate statement of at least the outlines of so very technical a subject. Though it is to be hoped that many professional students of architecture will find this hand-book serviceable to them in their elementary studies, it has been my principal endeavour to adapt it to the requirements of those who are preparing for the professional pursuit of the sister arts, and of that large and happily increasing number of students who pursue the fine arts as a necessary part of a complete liberal education, and who know that a solid and comprehensive acquaintance with art, especially if joined to some skill in the use of the pencil, the brush, the modelling tool, or the etching needle, will open sources of pleasure and interest of the most refined description. The broad facts of all art history; the principles which underlie each of the fine arts; and the most precious or most noteworthy examples of each, ought to be familiar to every art student, whatever special branch he may follow. Beyond these limits I have not attempted to carry this account of Gothic and Renaissance architecture; within them I have endeavoured to make the work as complete as the space at my disposal permitted. THE architecture generally known as Gothic, but often described as Christian Pointed, prevailed throughout Europe to the exclusion of every rival for upwards of three centuries; and it is to be met with, more or less, during two others. Speaking broadly, it may be said that its origin took place in the twelfth century, that the thirteenth was the period of its development, the fourteenth that of its perfection, and the fifteenth that of its decline; while many examples of its employment occur in the sixteenth. In the following chapters the principal changes in the features of buildings which occurred during the progress of the style in England will be described. Subsequently, the manner in which the different stages of development were reached in different countries will be given; for architecture passed through very nearly the same phases in all European nations, though not quite simultaneously. It must be understood that through the whole Gothic period, growth or at least change was going on; the transitions from one stage to another were only periods of more rapid change than usual. The whole process may be illustrated by the progress of a language. If, for instance, we compare round-arched architecture in the eleventh century to the Anglo-Saxon form of speech of the time of Alfred the Great, and the architecture of the twelfth century to the English of Chaucer, that of the thirteenth will correspond to the richer language of Shakespeare, that of the fourteenth to the highly polished language of Addison and Pope, and that of the fifteenth to the English of our own day. We can thus obtain an apt parallel to the gradual change and growth which went on in architecture; and we shall find that the oneness of the language in the former case, and of the architecture in the latter, was maintained throughout. For an account of the Christian round-arched architecture which preceded Gothic, the reader is referred to the companion volume in this series. Here it will be only necessary briefly to review the circumstances which went before the appearance of the pointed styles.

"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.

Щороку ми д?зна?мося дедал? б?льше нових сл?в у галуз? економ?ки, комп’ютерних технолог?й ? маркетингу, натом?сть невпинно убож?? наш лексикон у сфер? етики й морал?. Дев?д Брукс б’? на сполох: очевидно, що сучасне сусп?льство у гонитв? за новац?ями нехту? усталеними етичними принципами, втрача? моральн? стимули й ?деали, руйну? св?й духовний стрижень. ?ДНК особистост?? про те, як переглянути власн? пр?оритети ? зосередитися на внутр?шн?х чеснотах. Вона покаже, як деяким людям вдалося проторувати шлях до сильного характеру ? стати г?дною особист?стю. ?хн? ?стор?? стануть для читача певними ор??нтирами у пошуках власно? стратег?? гартування характеру, допоможуть п?знати себе, в?днайти душевну гармон?ю ? щастя.

Капталзм свобода — класика полтико-економчно лтератури ХХ столття — як нколи актуальна для Украни. Нобелвський лауреат Млтон Фрдман розгляда зв’язок мж економчною та полтичною свободою. Вн опису, чому варто обмежити вплив держави в економку, децентралзувати владу, забезпечити гнучкий валютний курс, роздержавити сфери освти соцального забезпечення.

Piping down the valleys wild,?Piping songs of pleasant glee,?On a cloud I saw a child,?And he laughing said to me:??"Pipe a song about a Lamb!"?So I piped with merry cheer.?"Piper, pipe that song again;"?So I piped: he wept to hear.??"Drop thy pipe, thy happy pipe;?Sing thy songs of happy cheer!"?So I sang the same again,?While he wept with joy to hear.??"Piper, sit thee down and write?In a book, that all may read."?So he vanish'd from my sight;?And I pluck'd a hollow reed,??And I made a rural pen,?And I stain'd the water clear,?And I wrote my happy songs?Every child may joy to hear. ?