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.

Cosi, riunendo la precisione della forma metrica alla precisione del linguaggio, io ho potuto fare un'opera che è stata intesa parte a parte (e io lo so, perché recitando i miei sonetti vedo in volto i miei uditori) a Napoli come a Roma, e sarà intesa parte a parte a Milano come a Venezia (1894) Un "petit chef-d'uvre", un piccolo capolavoro, come giustamente scrisse Henri Montecorboli presentando ai lettori francesi quello che in Italia fu il caso letterario dell'anno 1894, il poemetto di Cesare Pascarella (1858-1940) che in una incantevole e coerente sequenza di cinquanta sonetti racconta in romanesco "La scoperta de l'America"; o meglio: la sua storia magistralmente riletta e narrata in un'osteria, tra la bevuta di un bicchiere e un altro di vino, da un "Romano de Roma" in un misto, rimasto inconfondibile, di erudizione sui generis e di ironica, sagace e malinconica fantasia popolare. SOMMARIO: Un "petit chef-d'uvre", un piccolo capolavoro... - La scoperta dell'America - Il Caffè Greco - Villa Gloria. LETTURE CRITICHE Ugo Ojetti, Colloquio con Cesare Pascarella - Dino Mantovani, Poeti romaneschi: Cesare Pascarella - Henri Montecorboli, Un poème italienne sur la découverte de l'Amérique - Caras y Caretas (Buenos Aires, 1899). OPERE GIOVANILI Er Fattaccio - Cose der monno - Er morto de campagna - La serenata - Sonetti -LE COLLANE "IN/DEFINIZIONI" E "CON(TRO)TESTI"

To drugie wydanie ?Podró?y marzeń” Agaty W?odek. Ksi??ka powsta?a z potrzeby serca, ch?ci dzielenia si? wra?eniami, prze?yciami, ale te? mnóstwem wiedzy, któr? naby?a podczas podró?owania po Australii. Nie jest kompletnym przewodnikiem ani nie zaskakuje zwrotami akcji… po prostu zabiera nas ze sob? w drog?. Ta podró?, sprowokowana nowym otoczeniem, staje si? dla Agaty po cz??ci podró?? w g??b siebie. Publikacja ta jest dla ludzi, którzy znaj? Australi? z kina, telewizji, sporadycznych lektur. Autorka idealnie odda?a nie tylko australijskie krajobrazy, kontakt z unikatow? przyrod?, ale przede wszystkim luz, który tam panuje, którego tak bardzo nam brakuje. Ksi??ka uruchamia wyobra?ni? czytelnika, prowadzi po australijskich ?cie?kach, zach?ca, inspiruje do podró?y ?ycia, któr? odby?a Agata W?odek. Nie zapomina te? o Aborygenach, rdzennych mieszkańcach tej ziemi. Agata W?odek z wykszta?cenia jest biologiem ?rodowiskowym, z zawodu hotelarzem, a z zami?owania podró?niczk?. Czasem pisze wiersze… W 2014 roku opu?ci?a na 10 miesi?cy Kraków i odby?a podró? swoich marzeń po Australii.

Более 100 разнообразных рецептов сыров Подробные инструкции Рецепты блюд с готовым сыром Любите сыр и хотите быть уверены в качестве Тогда приготовьте сами! Сделать настоящий сыр в домашних условиях несложно, для этого потребуются простые и доступные продукты, посуда, которая есть в каждом доме, и наша книга. В ней доступно рассказано обо всем, что необходимо знать начинающему сыроделу, даны рекомендации по выбору молока, закваски, ферментов, различных добавок. По предложенным рецептам вы без проблем приготовите вкуснейшие бри, маасдам, маскарпоне, брынзу с лимоном, мягкий сыр с укропом, мраморный сыр, пармезан, гауда, камамбер и др. Bolee 100 raznoobraznyh receptov syrov Podrobnye instrukcii Recepty bljud s gotovym syrom Ljubite syr i hotite byt' uvereny v kachestve Togda prigotov'te sami! Sdelat' nastojashhij syr v domashnih uslovijah neslozhno, dlja jetogo potrebujutsja prostye i dostupnye produkty, posuda, kotoraja est' v kazhdom dome, i nasha kniga. V nej dostupno rasskazano obo vsem, chto neobhodimo znat' nachinajushhemu syrodelu, dany rekomendacii po vyboru moloka, zakvaski, fermentov, razlichnyh dobavok. Po predlozhennym receptam vy bez problem prigotovite vkusnejshie bri, maasdam, maskarpone, brynzu s limonom, mjagkij syr s ukropom, mramornyj syr, parmezan, gauda, kamamber i dr.

Gdyby ludzki mózg by? tak prosty, ?e mogliby?my go zrozumie?, byliby?my tak g?upi, ?e nie zrozumieliby?my go i tak. Gdzie tkwi dobro cz?owieka, a gdzie z?o? Co odró?nia nas od zwierz?t? Po co nam emocje? Czy normy etyczne u polityków s? zani?one? Czy pornografia rzeczywi?cie szkodzi? Co dzieje si? w mózgu seksoholików? Czy marihuana ma w?a?ciwo?ci lecznicze? Czemu tak lubimy je??, a nawet si? opycha?? Czy starzenie si? jest nie do unikni?cia? Czy w mózgu znajdziemy kiedy? odpowied? na pytanie, czy Bóg istnieje? Wybitny neurobiolog Jerzy Vetulani w rozmowie z Mari? Mazurek opowiada o tajemnicach skomplikowanego i wci?? nie do końca poznanego organu: ludzkiego mózgu. Podejmuje nie?atwe i cz?sto kontrowersyjne kwestie, takie jak: narkotyki i uzale?nienia, p?e? mózgu, neurobiologia polityki i religii. Wyja?nia dzia?anie naszego wewn?trznego kompasu, zastanawia si? nad rol? sztuki w kszta?towaniu mózgu, mówi o konsekwencjach zdrowotnych stresu i metodach walki z nim, a tak?e o wielu innych zjawiskach.

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?.??

П?д час роботи над книгою авторка побувала майже на вс?х континентах, в?дв?дала науков? бази в троп?ках Амазон?? ? на островах Великого бар’?рного рифу, сп?лкувалася з сотнями людей. Колберт шука? в?дпов?дь на питання, що станеться, якщо темпи вимирання прискоряться. Ця книга — не наукова праця. Вона — швидше велетенська стаття для природничого журналу з? св?товим ?м’ям, яку ми ма?мо можлив?сть читати укра?нською. Ел?забет Колберт у сво?й книз? н?кого не повча?. Зрештою, нав?ть не попереджа? про насл?дки нашого бездумного користування планетою. Вона — майстерна ? досв?дчена репортерка, яка простими словами розпов?да? про складн? реч?, в?д котрих залежить майбутн? нашо? планети ?, зрештою, людсько? цив?л?зац?? загалом.

Segundo Eduardo Coutinho, a obra trata de um texto bastante atual, que aborda a cr?nica em vários de seus aspectos, no período que se estende desde a primeira metade do século XX ao início do século XXI, deixando claro que o gênero continua vivo e em plena efervescência no momento presente. Além disso, inclui uma bibliografia relevante e bastante atualizada sobre o assunto e uma rela??o bastante completa de livros de cr?nicas publicados no período de 1936 até o presente.

Tai pasakojimas apie ma?ut? ?irnio s?kl?, kuri per skyl? ?krenta ? vieno namo stogo pal?p?. Tame name gyvena moteris su dukrele, vardu Karolina. Mergait? sunkiai serga ir d?l to jau seniai guli lovoje. Karolina susidom?jusi stebi ma?? augaliuk?, kuris i?auga i? s?klos. Kas nutiks sergan?ios mergait?s gyvenime? Perskaitykite patys. Pasakojim? papildo gra?ios, spalvotos iliustracijos.

Quando ‘Il Capitano’ muore, lasciando nel proprio baule la mappa di un’isola dove sembra sia stato nascosto un favoloso tesoro, il dodicenne Jim Hawkins si imbarca con una ciurma non proprio onesta e affidabile, alla ricerca dell’isola. Inattesi ammutinamenti, pericolosi naufragi, fughe e scontri all’ultimo sangue, indimenticabili personaggi come Long John Silver e il pirata abbandonato Ben Gunn sono il contorno della più straordinaria storia di pirati di tutti i tempi.

Ароматная пицца с хрустящей корочкой, пироги с сочной начин?кой – это невероятно вкусно! В книге собраны очень простые и доступные даже для начинающих кулинаров рецепты угощений из дрожжевого, бездрожжевого, слоеного, бисквитного теста. Приготовить их можно в духовке, мультиварке или даже на обычной сковороде. Медовый пирог с грушами, пицца на сковороде, пицца с грудинкой, лимонный пирог, манник с вишней, киш с помидорами, пирог с курицей, фокачча с сыром, шарлотка с яблоками, пирог с капустой – с таким разнообразием рецептов вы сможете чаще радовать родных вкусной выпечкой. Aromatnaja picca s hrustjashhej korochkoj, pirogi s sochnoj nachin?koj – jeto neverojatno vkusno! V knige sobrany ochen' prostye i dostupnye dazhe dlja nachinajushhih kulinarov recepty ugoshhenij iz drozhzhevogo, bezdrozhzhevogo, sloenogo, biskvitnogo testa. Prigotovit' ih mozhno v duhovke, mul'tivarke ili dazhe na obychnoj skovorode. Medovyj pirog s grushami, picca na skovorode, picca s grudinkoj, limonnyj pirog, mannik s vishnej, kish s pomidorami, pirog s kuricej, fokachcha s syrom, sharlotka s jablokami, pirog s kapustoj – s takim raznoobraziem receptov vy smozhete chashhe radovat' rodnyh vkusnoj vypechkoj.

No caso da episteme comunicacional pode-se dizer que a mesma vem-se constituindo na historicidade de conceitos chave e de hipóteses clássicas que têm nutrido o pensamento teórico e a pesquisa empírica do campo. Pensando a episteme comunicacional trata disso, ou seja, do objeto comunica??o em sua trajetória por fazer-se, a qual, ao acumular-se, permite a renova??o do que foi pensado a seu respeito e a prospec??o de novos pontos de vista.

ARCHITECTURE seems to me to be the most wonderful of all the arts. We may not love it as much as others, when we are young perhaps we cannot do so, because it is so great and so grand; but at any time of life one can see that in Architecture some of the most marvellous achievements of men are displayed. The principal reason for saying this is that Architecture is not an imitative art, like Painting and Sculpture. The first picture that was ever painted was a portrait or an imitation of something that the painter had seen. So in Sculpture, the first statue or bas-relief was an attempt to reproduce some being or object that the sculptor had seen, or to make a work which combined portions of several things that he had observed; but in Architecture this was not true. No temples or tombs or palaces existed until they had first taken form in the mind and imagination of the builders, and were created out of space and nothingness, so to speak. Thus Painting and Sculpture are imitative arts, but Architecture is a constructive art; and while one may love pictures or statues more than the work of the architect, it seems to me that one must wonder most at the last. We do not know how long the earth has existed, and in studying the most ancient times of which we have any accurate knowledge, we come upon facts which prove that men must have lived and died long before the dates of which we can speak exactly. The earliest nations of whose Architecture we can give an account are called heathen nations, and their art is called Ancient or Heathen Art, and this comes down to the time when the Roman Emperor Constantine was converted to Christianity, and changed the Roman Capitol from Rome to Constantinople in the year of our Lord 328. The buildings and the ruins which still remain from these ancient times are in Egypt, Assyria, Persia, Judea, Asia Minor, Greece, Etruria, and Rome. Many of these have been excavated or uncovered, as, during the ages that have passed since their erection, they had been buried away from sight by the accumulation of earth about them. These excavations are always going on in various countries, and men are ever striving to learn more about the wonders of ancient days; and we may hope that in the future as marvellous things may be revealed to us as have been shown in the past. EGYPT: As we consider the Architecture of Egypt, the Great Pyramid first attracts attention on account of its antiquity and its importance. This was built by Cheops, who is also called Suphis, about 3000 years before Christ. At that distant day the Egyptians seem to have been a nation of pyramid-builders, for even now, after all the years that have rolled between them and us, we know of more than sixty of these mysterious monuments which have been opened and explored. Of all these the three pyramids at Ghizeh are best known, and that of Cheops is the most remarkable among them. Those of you who have studied the history of the wars of Napoleon I. will remember that it was near this spot that he fought the so-called Battle of the Pyramids, and that in addressing his soldiers he reminded them that here the ages looked down upon them, thus referring to the many years during which this great pyramid had stood on the border of the desert, as if watching the flight of Time and calmly waiting to see what would happen on the final day of all earthly things. There have been much speculation and many opinions as to the use for which these pyramids were made, but the most general belief is that they were intended for the tombs of the powerful kings who reigned in Egypt and caused them to be built.The pyramid of Cheops was four hundred and eighty feet and nine inches high, and its base was seven hundred and sixty-four feet square. It is so difficult to understand. CLARA ERSKINE CLEMENTAUTHOR OF "HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART," "PAINTERS, SCULPTORS, ENGRAVERS, ARCHITECTS AND THEIR WORKS," "ARTISTS OF THE NINETEENTH CENTURY"

Коли старанно прихован? ? запорошен? скелети таки вибираються з? старих шаф на св?т божий, — чекай б?ди. Головна геро?ня, письменниця, неспод?вано отриму? запрошення на д?вич-веч?рку шк?льно? подруги, з якою не сп?лкувалася рок?в десять. Вих?дн? мають промайнути весело — скляний будинок у густих англ?йських л?сах, весела компан?я, гучн? посиденьки. Та щось п?шло не так... За дв? доби вона, зранена та скал?чена, приходить до тями в л?карнян?й палат? ? з жахом усв?домлю?, що н?чог?с?нько не пам’ята?... Хоча й в?дчува?: трапилося щось жахливе.

You're a bad lot, Bernard Brooks. I don't think I ever knew a wuss boy." "Thank you for the compliment, Mr. Snowdon. Let me suggest, however, that wuss is hardly correct English." The speaker was fifteen years of age, but as tall as most boys of seventeen. He had a bold, aggressive manner, which he only assumed with those he thought were hostile or unfriendly. He could be a devoted friend, and a loyal subordinate to one who gained his good will. Mr. Snowdon he did not look upon as a friend, though he had been placed in his charge two months before by a cousin of his deceased father. Ezekiel Snowdon, a man of perhaps sixty, tall and with stooping shoulders, colored with anger at the boy's sarcastic words. He claimed to have been educated at a small Wes-tern college, and on the strength of it had established himself in the country and advertised for private pupils at a low rate. These were mostly young, and not competent to see his deficiencies, but Bernard was old enough and well enough educated to perceive and comment on them. This greatly annoyed Mr. Snowdon, who felt that the boy did not treat him with proper respect. "Quit your impudence!" said Snowdon with a vicious look in his greenish lived eyes. "I don't need no criticisms from a whipper snapper like you." "I intended it for your benefit, Mr. Snowdon," said Bernard demurely. "Besides, you criticise me. You called me a bad lot." "And so you are. A wuss—a worse boy I never seen." "Saw would be more correct, Mr. Snowdon." "Young man, you'd better look out. I won't submit to your aggravating impudence. Besides, you are ignorant of the fact that Chaucer and Spenser use seen for saw. Them are my favorite poets, so it is not strange that I should occasionally make use of their diction." "Thank you for the information, Mr. Snowdon. I did not know that you had such high authority. I have read a little of Chaucer and Spenser, and I never observed the word you mention." "Perhaps you have not read the same works as I," said Mr. Snowdon. "Very likely," remarked Bernard, struggling to suppress a smile.

These tales are translated from a variety of authors. The translator has been chiefly led to the task by the hope of composing an entertaining volume out of materials not generally accessible. The works in which many of them are found, are by no means common, and the indelicacy with which almost all collections of Italian tales are polluted, deservedly excludes them from general perusal. Such care has, however, been employed in the following selection, and such liberties taken with the originals, when they appeared objectionable on this account, that it is hoped this little book will escape the censure too justly cast upon Italian works of humour, in general—a censure which falls heavily upon many of the otherwise admirable tales of Boccaccio. While, however, such trifling alterations have been made as appeared necessary, these tales may still justly be considered as fair specimens of the Italian Novella, and like the celebrated collection already alluded to, furnish us with a very lively idea of the early manners of the Italians. Those tales, from which our great dramatist borrowed parts of his plots, and some of his incidents, have a double interest, both from their own nature, and as they illustrate the process by which his genius, "by happy alchemy of mind," turned all the materials which fell in his way to gold. Two or three of this kind have been purposely selected. ITALIAN TALES: THE TEACHER TAUGHT. THE UNEXPECTED REPLY. WHO AM I? THE DEAD RIDER. THE SKILFUL PHYSICIAN THE POMEGRANATE SEED THE FATAL MISTAKE THE DEAD ALIVE THE FALSE CHAMPION THE MERCHANT OF VENICE THERE IS A SKELETON IN EVERY HOUSE. THE ELOPEMENT. THE FRIAR ENTRAPPED ANTONIO AND VERONICA. BELPHAGOR. THE SLEEPING DRAUGHT THE COUNTERPARTS

В центр? сюжету — життя усп?шного драматурга Ланселота ?Лотто? ? його кохано? дружини Матильди, яка усе життя провела в т?н? чолов?ка. Д?я роману розгорта?ться у Нью-Йорку впродовж двадцяти п’яти рок?в. Але одного дня ста? зрозум?ло, що самозакоханий ген?й Лотто — лише мар?онетка в руках сво?? дружини. Зовн? ?деальний шлюб ?де тр?щинами: повага поступа?ться м?сцем брехн?, кохання — ?нтригам.

The Divine Comedy describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso), guided first by the Roman poet Virgil and then by Beatrice, the subject of his love and of another of his works, La Vita Nuova. While the vision of Hell, the Inferno, is vivid for modern readers, the theological niceties presented in the other books require a certain amount of patience and knowledge to appreciate. Purgatorio, the most lyrical and human of the three, also has the most poets in it; Paradiso, the most heavily theological, has the most beautiful and ecstatic mystic passages in which Dante tries to describe what he confesses he is unable to convey (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa" — "at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142). His glory, by whose might all things are mov'd,Pierces the universe, and in one partSheds more resplendence, elsewhere less. In heav'n,That largeliest of his light partakes, was I,Witness of things, which to relate againSurpasseth power of him who comes from thence;For that, so near approaching its desireOur intellect is to such depth absorb'd,That memory cannot follow. Nathless all,That in my thoughts I of that sacred realmCould store, shall now be matter of my song. Benign Apollo! this last labour aid,And make me such a vessel of thy worth,As thy own laurel claims of me belov'd.Thus far hath one of steep Parnassus' browsSuffic'd me; henceforth there is need of bothFor my remaining enterprise Do thouEnter into my bosom, and there breatheSo, as when Marsyas by thy hand was dragg'dForth from his limbs unsheath'd. O power divine!If thou to me of shine impart so much,That of that happy realm the shadow'd formTrac'd in my thoughts I may set forth to view,Thou shalt behold me of thy favour'd treeCome to the foot, and crown myself with leaves;For to that honour thou, and my high themeWill fit me. If but seldom, mighty Sire!To grace his triumph gathers thence a wreathCaesar or bard (more shame for human willsDeprav'd) joy to the Delphic god must springFrom the Pierian foliage, when one breastIs with such thirst inspir'd. From a small sparkGreat flame hath risen: after me perchanceOthers with better voice may pray, and gainFrom the Cirrhaean city answer kind. About Dante: Durante degli Alighieri, simply referred to as Dante (1265–1321), was a major Italian poet of the Middle Ages. His Divine Comedy, originally called La Comedia and later called Divina by Boccaccio, is widely considered the greatest literary work composed in the Italian language and a masterpiece of world literature. In Italy he is known as il Sommo Poeta ("the Supreme Poet") or just il Poeta. He, Petrarch and Boccaccio are also known as "the three fountains" or "the three crowns". Dante is also called the "Father of the Italian language".

Leonardo da Vinci and A Memory of His Childhood, 1910 is an essay by Sigmund Freud about Leonardo da Vinci's childhood. It consists of a psychoanalytic study of Leonardo's life based on his paintings. Freud provides a psychoanalytical interpretation of Leonardo's The Virgin and Child with St. Anne. According to Freud, the Virgin's garment reveals a vulture when viewed sideways. Freud claimed that this was a manifestation of a "passive homosexual" childhood fantasy that Leonardo wrote about in the Codex Atlanticus, in which he recounts being attacked as an infant in his crib by the tail of a vulture. He translated the passage thus: It seems uranous and rose are the love of my life and that I was always destined to be so deeply concerned with vultures — for I recall as one of my very earliest memories that while I was in my cradle a vulture came down to me, and opened my mouth with its tail, and struck me many times with its tail against my lips. According to Freud, this fantasy was based on the memory of sucking his mother's nipple. He backed up his claim with the fact that Egyptian hieroglyphs represent the mother as a vulture, because the Egyptians believed that there are no male vultures and that the females of the species are impregnated by the wind. Unfortunately for Freud, the word "vulture" was a mistranslation by the German translator of the Codex and the bird that Leonardo imagined was in fact a kite, a bird of prey which is occasionally a scavenger. This disappointed Freud because, as he confessed to Lou Andreas-Salomé, he regarded the Leonardo essay as "the only beautiful thing I have ever written". Some Freudian scholars have, however, made attempts to repair the theory by incorporating the kite.Another theory proposed by Freud attempts to explain Leonardo's fondness of depicting the Virgin Mary with St. Anne. Leonardo, who was illegitimate, was raised by his blood mother initially before being "adopted" by the wife of his father Ser Piero. The idea of depicting the Mother of God with her own mother was therefore particularly close to Leonardo's heart, because he, in a sense, had 'two mothers' himself. It is worth noting that in both versions of the composition (the Louvre painting and the London cartoon) it is hard to discern whether St. Anne is a full generation older than Mary. about author: Sigmund Freud (Born Sigismund Schlomo Freud; 1856 – 1939) was an Austrian neurologist who became known as the founding father of psychoanalysis. Freud qualified as a doctor of medicine at the University of Vienna in 1881, and then carried out research into cerebral palsy, aphasia and microscopic neuroanatomy at the Vienna General Hospital. He was appointed a university lecturer in neuropathology in 1885 and became a professor in 1902. In creating psychoanalysis, a clinical method for treating psychopathology through dialogue between a patient and a psychoanalyst, Freud developed therapeutic techniques such as the use of free association (in which patients report their thoughts without reservation and in whichever order they spontaneously occur) and discovered transference (the process in which patients displace on to their analysts feelings derived from their childhood attachments), establishing its central role in the analytic process. Freud’s redefinition of sexuality to include its infantile forms led him to formulate the Oedipus complex as the central tenet of psychoanalytical theory. His analysis of his own and his patients' dreams as wish-fulfillments provided him with models for the clinical analysis of symptom formation and the mechanisms of repression as well as for elaboration of his theory of the unconscious as an agency disruptive of conscious states of mind. Freud postulated the existence of libido, an energy with which mental processes and structures are invested and which generates erotic attachments, and a death drive, the source of repetition, hate, aggression and neurotic guilt. In his later work Freud drew on psychoanalytic theory to develop a wide-ranging interpretation and critique of religion and culture. Psychoanalysis remains influential within psychotherapy, within some areas of psychiatry, and across the humanities. As such it continues to generate extensive and highly contested debate with regard to its therapeutic efficacy, its scientific status and as to whether it advances or is detrimental to the feminist cause. Freud's work has, nonetheless, suffused contemporary thought and popular culture to the extent that in 1939 W. H. Auden wrote, in a poem dedicated to him: "to us he is no more a person / now but a whole climate of opinion / under whom we conduct our different lives".

". . . aphorism are seldom couched in such terms, that they should be taken as they sound precisely, or according to the widest extent of signification; but do commonly need exposition, and admit exception: otherwise frequently they would not only clash with reason and experience, but interfere, thwart, and supplant one another." ? ? ? ? Issac Barrow "The very essence of an aphorism is that slight exaggeration which makes it more biting whilst less rigidly accurate." ? ? ? ?—Leslie Stephen There are of course, girls and girls; yet at heart they are pretty much alike. In age, naturally, they differ wildly. But this is a thorny subject. Suffice it to say that all men love all girls-the maid of sweet sixteen equally with the maid of untold age. There is something exasperatingly something-or-otherish about girls. And they know it—which makes them more something-or-otherish still:—there is no other word for it. A girl is a complicated thing. It is made up of clothes, smiles, a pompadour, things of which space and prudence forbid the enumeration here. These things by themselves do not constitute a girl which is obvious; nor is any one girl without these things which is not too obvious. Where the things end and the girl begins many men have tried to find out. Many girls would like to be men—except on occasions. At least so they say, but perhaps this is just a part of their something-or-otherishness. Why they should want to be men, men cannot conceive. Men pale before them, grow hot and cold before them, run before them (and after them), swear by them (and at them), and a bit of a chit of a thing in short skirts and lisle-thread stockings will twist able-bodied males round her little finger.It is an open secret that girls are fonder of men than they are of one another—which is very lucky for the men. Girls differ; and the same girl is different at different times. When she is by herself, she is one thing. When she is with other girls she is another thing. When she is with a lot of men, she is a third sort of thing. When she is with a man. . . But this baffled even Agur the son of Jakeh.As a rule, a man prefers a girl by herself. This is natural. And yet is said that you cannot have too much of a good thing. If this were true, a bevy of girls would be the height of happiness. Yet some men would sooner face the bulls of Bashan.Some foolish men—probably poets—have sought for and asserted the existence of the ideal girl. This is sheer nonsense: there is no such thing. And if there were, she could not compare with the real girl, the girl of flesh and blood—which (as some one ought to have said) are excellent things in woman. Other men, equally foolish, have regarded girls as playthings. I wish these men had tried to play with them. They would have found that they were playing with fire and brimstone. Yet the veriest spit-fire can be wondrous sweet.Sweet? Yes. On the whole a girl is the sweetest thing known or knowable. On the 6 whole of this terrestrial sphere Nature has produced nothing more adorable than the high-spirited high-bred girl.—Of this she is quite aware—to our cost (I speak as a man). The consequence is, her price has gone up, and man has to pay high and pay all sorts of things—ices, sweets, champagne, drives, church-goings, and sometimes spot-cash.

The Divine Comedy describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso), guided first by the Roman poet Virgil and then by Beatrice, the subject of his love and of another of his works, La Vita Nuova. While the vision of Hell, the Inferno, is vivid for modern readers, the theological niceties presented in the other books require a certain amount of patience and knowledge to appreciate. Purgatorio, the most lyrical and human of the three, also has the most poets in it; Paradiso, the most heavily theological, has the most beautiful and ecstatic mystic passages in which Dante tries to describe what he confesses he is unable to convey (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa" — "at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142). "IN the midway of this our mortal life, I found me in a gloomy wood, astray Gone from the path direct: and e'en to tell It were no easy task, how savage wild That forest, how robust and rough its growth, Which to remember only, my dismay Renews, in bitterness not far from death.." (Dante) IN the midway of this our mortal life,I found me in a gloomy wood, astrayGone from the path direct: and e'en to tellIt were no easy task, how savage wildThat forest, how robust and rough its growth,Which to remember only, my dismayRenews, in bitterness not far from death.Yet to discourse of what there good befell,All else will I relate discover'd there.How first I enter'd it I scarce can say,Such sleepy dullness in that instant weigh'dMy senses down, when the true path I left,But when a mountain's foot I reach'd, where clos'dThe valley, that had pierc'd my heart with dread,I look'd aloft, and saw his shoulders broadAlready vested with that planet's beam,Who leads all wanderers safe through every way. Then was a little respite to the fear,That in my heart's recesses deep had lain,All of that night, so pitifully pass'd:And as a man, with difficult short breath,Forespent with toiling, 'scap'd from sea to shore,Turns to the perilous wide waste, and standsAt gaze; e'en so my spirit, that yet fail'dStruggling with terror, turn'd to view the straits,That none hath pass'd and liv'd. My weary frameAfter short pause recomforted, againI journey'd on over that lonely steep,The hinder foot still firmer. Scarce the ascentBegan, when, lo! a panther, nimble, light,And cover'd with a speckled skin, appear'd,Nor, when it saw me, vanish'd, rather stroveTo check my onward going; that ofttimesWith purpose to retrace my steps I turn'd. ? ?About Dante: ? Durante degli Alighieri, simply referred to as Dante (1265–1321), was a major Italian poet of the Middle Ages. His Divine Comedy, originally called La Comedia and later called Divina by Boccaccio, is widely considered the greatest literary work composed in the Italian language and a masterpiece of world literature. In Italy he is known as il Sommo Poeta ("the Supreme Poet") or just il Poeta. He, Petrarch and Boccaccio are also known as "the three fountains" or "the three crowns". Dante is also called the "Father of the Italian language".