A lányok sorban álltak, szétterpesztett lábbal.Integettek a kocsiknak.Az egyik kezükkel, mert a másikkal a szoknyájukat tartották,knykük a híd korlátján...Négy fiatal pina.Ki ne lenne rá kíváncsi”Mit csinálsz, amíg szüleid a társadalom hasznos tagjaikéntdolgoznak, keresik és kltik a pénztTanulsz és játszol, gyjtd a tapasztalatot,hogy majd te is a társadalom hasznos tagja lehess...s persze kipróbálod azt is,amit nem szabad.Amíg lehet.A Kzd kamasz hsei meg akarnak élni, meg akarnak tapasztalni mindent, amit tabuként kezel a civilizáció. Az a gyllt civilizáció, amelytl magányosnak érzik magukat akkor is, amikor együtt vannak.Megélni a gynyr és a kín, a hatalom és az alávetettség mámorát!Belerhgni a halál képébe! Persze lehetleg a másokéba.Mert szabadok vagyunk.Csont nélkül szabadok.Nem így születtünk, nem így neveltek minket:azért vagyunk szabadok, mert azok akarunk lenni.Igaz vagy sem”

The Interrelation Between Art Worlds is a part of PhD thesis and it deals with the simultaneous and successive art using the illustrations of Bhagavad Gita, in 18 chapters, where each chapter has two versions. The substance of the author's interest is a transfer of thoughts and feelings from the ancient Indian epic, through visual elements, that is, the visualization of temporal arts. She tried to explain the philosophy of Bhagavad Gita?through composition, color, contrast, third dimension, structure, texture, proportion, rhythm and dynamics, which is particular because in India philosophy equals religion, and vice versa. Described is also the analogy between temporal and spatial arts, such as color (valeur), music (chord). Through the synergy of meaning and radiation on the illustrations, we can achieve experience of "reading the image". ? Tatjana Burzanovi? is a writer, artist, graphics designer, and interior designer, professor at the Faculty of Culture and Tourism, where she teaches Indian culture, and Faculty of Design and Multimedia, at the University of Donja Gorica in Podgorica, Montenegro. She graduated from Academy of Fine Arts in Sarajevo, and acquired her PhD at Faculty of Art and Design at the University of Belgrade. She presented her works in numerous solo and group exhibitions, and took part in several artistic and pedagogical colonies. She received several awards for her book designs. The book The Interrelation Between Art Worlds?was awarded at 11th Book Fair in Podgorica for the best designed art book.

A kis szellem minden éjjel pontban éjfélkor f?lébred. Vígan járja Bagolyk? várának ?sszes termét, és meglátogatja ?reg barátját, Uhu bácsit. De k?zben arról ábrándozik, milyen jó lenne nappal látni a világot! Csupán egyetlenegyszer… Addig nem nyugszik, míg egy ver?fényes napon a kívánsága váratlanul nem teljesül. Ekkor izgalmas kalandok sora veszi kezdetét, és nemcsak a kis szellem számára… A Kolibri Klasszikusok sorozatban a Torzonborz-t?rténetek után egy újabb Otfried Preussler meseh?s, a kis szellem válhat generációk kedvencévé.

High into air are the great New York buildings lifted by a ray whose source no telescope can find.It seemed only fitting and proper that the greatest of all leaps into space should start from Roosevelt Field, where so many great flights had begun and ended. Fliers whose names had rung—for a space—around the world, had landed here and been received by New York with all the pomp of visiting kings. Fliers had departed here for the lands of kings, to be received by them when their journeys were ended. Of course Lucian Jeter and Tema Eyer were disappointed that Franz Kress had beaten them out in the race to be first into the stratosphere above fifty-five thousand feet. There was a chance that Kress would fail, when it would be the turn of Jeter and Eyer. They didn't wish for his failure, of course. They were sports-men as well as scientists; but they were just human enough to anticipate the plaudits of the world which would be showered without stint upon the fliers who succeeded. The warship simply vanished into the night sky. "At least, Tema," said Jeter quietly, "we can look his ship over and see if there is anything about it that will suggest something to us. Of course, whether he succeeds or fails, we shall make the attempt as soon as we are ready.""Indeed, yes," replied Eyer. "For no man will ever fly so high that another may not fly even higher. Once planes are constructed of unlimited flying radius ... well, the universe is large and there should be no end of space fights for a long time."

Margaret, the eldest of the four, was sixteen, and very pretty, being plump and fair, with large eyes, plenty of soft brown hair, a sweet mouth, and white hands, of which she was rather vain. Fifteen-year-old Jo was very tall, thin, and brown, and reminded one of a colt, for she never seemed to know what to do with her long limbs, which were very much in her way. She had a decided mouth, a comical nose, and sharp, gray eyes, which appeared to see everything, and were by turns fierce, funny, or thoughtful. Her long, thick hair was her one beauty, but it was usually bundled into a net, to be out of her way. Round shoulders had Jo, big hands and feet, a flyaway look to her clothes, and the uncomfortable appearance of a girl who was rapidly shooting up into a woman and didn't like it. Elizabeth, or Beth, as everyone called her, was a rosy, smooth-haired, bright-eyed girl of thirteen, with a shy manner, a timid voice, and a peaceful expression which was seldom disturbed. Her father called her 'Little Miss Tranquility', and the name suited her excellently, for she seemed to live in a happy world of her own, only venturing out to meet the few whom she trusted and loved. Amy, though the youngest, was a most important person, in her own opinion at least. A regular snow maiden, with blue eyes, and yellow hair curling on her shoulders, pale and slender, and always carrying herself like a young lady mindful of her manners. What the characters of the four sisters were we will leave to be found out. The clock struck six and, having swept up the hearth, Beth put a pair of slippers down to warm. Somehow the sight of the old shoes had a good effect upon the girls, for Mother was coming, and everyone brightened to welcome her. Meg stopped lecturing, and lighted the lamp, Amy got out of the easy chair without being asked, and Jo forgot how tired she was as she sat up to hold the slippers nearer to the blaze. "They are quite worn out. Marmee must have a new pair." "I thought I'd get her some with my dollar," said Beth. "No, I shall!" cried Amy. "I'm the oldest," began Meg, but Jo cut in with a decided, "I'm the man of the family now Papa is away, and I shall provide the slippers, for he told me to take special care of Mother while he was gone."

Cirilla, a cintrai trón?r?k?s a Fecske-toronyban elt?nik saját világáról, és olyan útra indul, ahová sem védelmez?je, a fehér hajú vaják, sem mentora, a fekete hajú varázslón? nem k?vetheti. Olyan útra, amelynek a végén a végzet várja – az a végzet, amelyr?l már oly sok látomás kísértette. Minden a helyére kerül, a kígyó a saját farkába harap, valami véget ér, és valami elkezd?dik… A Vaják-saga befejez? k?tetében Sapkowski még magához képest is elképeszt? bravúrral ábrázol nagyszabású háborút és ugyanakkor az egyes ember drámai sorsát. Képzeletének és érzékletes leírásainak hatására megelevenednek el?ttünk az országok, városok és falvak, a t?le megszokott néz?pontváltások pedig gondoskodnak róla, hogy a sorssz?tte t?rténet végét a lehet? legalaposabb, legmélyebb módon kapjuk meg. A sagát átsz?v? fekete humor pedig tükr?t tart nemcsak a társadalom, de az egyes ember kicsinyessége és nagysága elé. ??

R?MA ELESTE CSAK A KEZDET VOLT. EGY ?J BIRODALOM BONTOGATJA SZ?RNYAIT. AD 439: A Római Birodalom az ?sszeomlás szélére sodródik. Hispánia és ?szak-Afrika római provinciáin egy vandál sereg zúdul át megd?bbent? gyorsasággal, leigázza Karthágót, és Rómának a F?ldk?zi-tenger feletti uralmát fenyegeti. ?m ennél is nagyobb veszély k?zeledik keletr?l, egy barbár hader? ?zsia zord sztyeppéir?l, páratlanul vérszomjas harcosok, akik mindenkit els?p?rnek, aki hódítás utáni vágyuk útjában áll – Attila, a hun serege.Római katonák és egy titokzatos brit szerzetes alkotta kicsiny csapat az egyetlen, amely a római császárok züll?ttsége és gyengesége f?lé emelkedik, és a római sereg évszázadokkal korábbi dics? napjaiba nyúl vissza, hogy a t?rténelemb?l merítsen er?t. Hogy végül olyan megd?bbent?en pimasz tervvel rukkoljon el?, ami magába a s?tétség szívébe repíti ?ket, a legrettegettebb harcos-király er?djébe, akit a világ valaha is ismert. Az elk?vetkez? leszámolásban, a legnagyobb ütk?zetben, amelyet Róma valaha is vívott, a gy?zelem azoké lesz, akik a háború leghatalmasabb jelképét, amelyet valaha is kovácsoltak, a magasba tudják emelni – Attila szent kardját.

This book, re-edited and illustrated by e-kitap projesi and published again in ebook format. In this book, telling that Cooterell’s adventures, and so was a treasure adventure, Naturally then Ben felt that this puzzle of Peter Cotterell’s treasure was right in his line, and the finding of the half-sheet of parchment whetted his appetite to discover more. He walked about the room, whittling shavings right and left, he sat down and kept on whittling, he stood up again, and since by now the willow-stick had been whittled down to almost nothing, he threw what was left in the fireplace. That done, he went to a bookcase and took down from the shelf on top the old notebook that Tuckerman had found in his uncle’s bedroom. He thumbed the pages until he came to the place where Tuckerman had inserted a slip of paper. Ben read the words at the top of the page out loud. “Find the mahogany-hued man with the long, skinny legs and look in his breast pocket. That’s a saying my father handed down. What can it mean?” Ben looked at the desk. “Well, we’ve done that, anyhow.” He shook his head in deep thought. “I don’t understand why that piece of parchment wasn’t discovered before. They might not have taken the desk to be the mahogany man; but surely Crusty Christopher or his father would have known of those three little drawers. However, they might have found that writing and left it there. That’s possible, of course. Probably it didn’t tell them any more than it’s told us so far.” ABOUT AUTHOR: Rupert Sargent Holland ?was an American author. His works include: Historic Boyhoods (1909), The Boy Scouts of Birchbark Island (1911), The Boy Scouts of Snowshoe Lodge (1915) and King Arthur and The Knights of the Round Table. "A privateer was leaving Genoa on a certain June morning in 1461, and crowds of people had gathered on the quays to see the ship sail. Dark-hued men from the distant shores of Africa, clad in brilliant red and yellow and blue blouses or tunics and hose, with dozens of glittering gilded chains about their necks, and rings in their ears, jostled sun-browned sailors and merchants from the east, and the fairer-skinned men and women of the north."

Багато людей не визначають пр?оритет?в, не формулюють мети життя ?, як насл?док, просто пливуть за теч??ю. Так? люди ризикують опинитися не там, де хот?ли. Коли житт?ва р?ка почина? кидати тебе на порогах, де шукати рят?вний круг, як не втратити весло, що допоможе повернутися на обраний шлях? Автори ц??? книжки — в?домий блогер Майкл Гаят ? б?знес-тренер Ден?ел Гаркав? — вважають, що вряту? ефективний житт?вий план. ??Книжка ?Дивись уперед? покрокова ?нструкц?я з? створення карти д?й, яка стане вашим найважлив?шим проектом. Книжка стане в нагод? ус?м, хто хоче розвиватись ? зм?нюватись, та вважа?, що життя ма? приносити рад?сть.

"A Doll's House" is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. List of characters of the Book: ? ? Nora Helmer – wife of Torvald, mother of three, living out the ideal of the 19th century wife, but leaves her family at the end of the play. ? ? Torvald Helmer – Nora's husband, a newly promoted bank manager, suffocates but professes to be enamoured of his wife. ? ? Dr. Rank – Rich family friend, who is secretly in love with Nora. He is terminally ill, and it is implied that his "tuberculosis of the spine" originates from a venereal disease contracted by his father. ? ? Kristine Linde – Nora's old school friend, widowed, seeking employment (named Kristine in the original Norwegian text). ? ? Nils Krogstad – Employee at Torvald's bank, single father, pushed to desperation. A supposed scoundrel, he is revealed to be a long-lost lover of Kristine. ? ? The Children – Ivar, Bobby and Emmy? ? Anne Marie – Nora's former nanny, now cares for the children.? ? Helene – The Helmers' maid? ? The Porter – Delivers a Christmas Tree to the Helmer household at the beginning of the play. We must come to a final settlement, Torvald. During eight whole years. . . We have never exchanged one serious word about serious things.Nora, in Ibsen's A Doll's House (1879) ABOUT AUTHOR: Henrik Johan Ibsen (Norwegian; 20 March 1828 – 23 May 1906) was a major 19th-century Norwegian playwright, theatre director, and poet. He is often referred to as "the father of realism" and is one of the founders of Modernism in theatre.?

Mme. Vauquer (nee de Conflans) is an elderly person, who for the past forty years has kept a lodging-house in the Rue Nueve-Sainte-Genevieve, in the district that lies between the Latin Quarter and the Faubourg Saint-Marcel. Her house (known in the neighborhood as the Maison Vauquer) receives men and women, old and young, and no word has ever been breathed against her respectable establishment; but, at the same time, it must be said that as a matter of fact no young woman has been under her roof for thirty years, and that if a young man stays there for any length of time it is a sure sign that his allowance must be of the slenderest. In 1819, however, the time when this drama opens, there was an almost penniless young girl among Mme. Vauquer's boarders. That word drama has been somewhat discredited of late; it has been overworked and twisted to strange uses in these days of dolorous literature; but it must do service again here, not because this story is dramatic in the restricted sense of the word, but because some tears may perhaps be shed intra et extra muros before it is over. Will any one without the walls of Paris understand it? It is open to doubt. The only audience who could appreciate the results of close observation, the careful reproduction of minute detail and local color, are dwellers between the heights of Montrouge and Montmartre, in a vale of crumbling stucco watered by streams of black mud, a vale of sorrows which are real and joys too often hollow; but this audience is so accustomed to terrible sensations, that only some unimaginable and well-neigh impossible woe could produce any lasting impression there. Now and again there are tragedies so awful and so grand by reason of the complication of virtues and vices that bring them about, that egotism and selfishness are forced to pause and are moved to pity; but the impression that they receive is like a luscious fruit, soon consumed. Civilization, like the car of Juggernaut, is scarcely stayed perceptibly in its progress by a heart less easy to break than the others that lie in its course; this also is broken, and Civilization continues on her course triumphant. And you, too, will do the like; you who with this book in your white hand will sink back among the cushions of your armchair, and say to yourself, "Perhaps this may amuse me." You will read the story of Father Goriot's secret woes, and, dining thereafter with an unspoiled appetite, will lay the blame of your insensibility upon the writer, and accuse him of exaggeration, of writing romances. Ah! once for all, this drama is neither a fiction nor a romance! All is true,—so true, that every one can discern the elements of the tragedy in his own house, perhaps in his own heart. During the day a glimpse into the garden is easily obtained through a wicket to which a bell is attached. On the opposite wall, at the further end of the graveled walk, a green marble arch was painted once upon a time by a local artist, and in this semblance of a shrine a statue representing Cupid is installed; a Parisian Cupid, so blistered and disfigured that he looks like a candidate for one of the adjacent hospitals, and might suggest an allegory to lovers of symbolism. The half-obliterated inscription on the pedestal beneath determines the date of this work of art, for it bears witness to the widespread enthusiasm felt for Voltaire on his return to Paris in 1777: "Whoe'er thou art, thy master see; He is, or was, or ought to be."

Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, 'and what is the use of a book,' thought Alice 'without pictures or conversation?'So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid), whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her. There was nothing so VERY remarkable in that; nor did Alice think it so VERY much out of the way to hear the Rabbit say to itself, 'Oh dear! Oh dear! I shall be late!' (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it all seemed quite natural); but when the Rabbit actually TOOK A WATCH OUT OF ITS WAISTCOAT-POCKET, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge. In another moment down went Alice after it, never once considering how in the world she was to get out again. The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down, so suddenly that Alice had not a moment to think about stopping herself before she found herself falling down a very deep well. Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything; then she looked at the sides of the well, and noticed that they were filled with cupboards and book-shelves; here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed; it was labelled 'ORANGE MARMALADE', but to her great disappointment it was empty: she did not like to drop the jar for fear of killing somebody, so managed to put it into one of the cupboards as she fell past it. 'Well!' thought Alice to herself, 'after such a fall as this, I shall think nothing of tumbling down stairs! How brave they'll all think me at home! Why, I wouldn't say anything about it, even if I fell off the top of the house!' (Which was very likely true.) Down, down, down. Would the fall NEVER come to an end! 'I wonder how many miles I've fallen by this time?' she said aloud. 'I must be getting somewhere near the centre of the earth. Let me see: that would be four thousand miles down, I think—' (for, you see, Alice had learnt several things of this sort in her lessons in the schoolroom, and though this was not a VERY good opportunity for showing off her knowledge, as there was no one to listen to her, still it was good practice to say it over) '—yes, that's about the right distance—but then I wonder what Latitude or Longitude I've got to?' (Alice had no idea what Latitude was, or Longitude either, but thought they were nice grand words to say.) ? ? ABOUT AUTHOR: ??Charles Lutwidge Dodgson (1832 – 1898), better known by his pen name, as “Lewis Carroll”, was an English writer, mathematician, logician, Anglican deacon and photographer. His most famous writings are Alice's Adventures in Wonderland and its sequel Through the Looking-Glass, as well as the poems "The Hunting of the Snark" and "Jabberwocky", all examples of the genre of literary nonsense.

After too many years, T. L. Sherred returns with a story that gets our SPACE SPECIAL rating. It's the story of a man with a headache—who found a cure for it! And the cure gave him more power than any man could dream of. ________________________________________ So I had a headache. The grandfather of all headaches. You try working on the roof line sometime, with the presses grinding and the overhead cranes wailing and the mechanical arms clacking and grabbing at your inner skull while you snap a shiny sheet of steel like an armored pillowcase and shove it into the maw of a hungry greasy ogre. Noise. Hammering, pounding, shrieking, gobbling, yammering, incessant noise. And I had a headache. PART I This headache had all the signs of permanency. It stayed with me when I slid my timecard into an empty slot that clanged back at me, when I skittered across a jammed street of blowing horns and impatient buses with brakedrums worn to the rivets, when I got off at my corner and stood in the precarious safety of a painted island in a whirring storm of hurtling hornets. It got even worse when I ate dinner and tried to read my paper through the shrill juvenile squeals of the housing project where I live surrounded by muddy moppets and, apparently, faithless wives and quarrelsome spouses. The walls of my Quonset are no thicker than usual. When Helen—that's my wife—dropped the casserole we got for a wedding present from her aunt and just stood there by the kitchen sink crying her eyes out in frustration I knew she finally had more of a mess to clean up than just the shattered remains of a brittle bowl. I didn't say a word. I couldn't. I shoved the chair across the room and watched it tilt the lamp her mother bought us. Before the lamp hit the floor my hat was on my head and I was out the door. Behind me I heard at least one pane of the storm door die in a fatal crash. I didn't look around to see if it were the one I'd put in last Sunday.

In Group Psychology and the Analysis of the Ego, (1922), Sigmund Freud based his preliminary description of group psychology on Le Bon's work, but went on to develop his own, original theory, related to what he had begun to elaborate in Totem and Taboo. Theodor Adorno reprised Freud's essay in 1951 with his Freudian Theory and the Pattern of Fascist Propaganda, and said that "It is not an overstatement if we say that Freud, though he was hardly interested in the political phase of the problem, clearly foresaw the rise and nature of fascist mass movements in purely psychological categories. Group Dynamics refers to a system of behaviors and psychological processes occurring within a social group (intragroup dynamics), or between social groups (intergroup dynamics). The study of group dynamics can be useful in understanding decision-making behavior, tracking the spread of diseases in society, creating effective therapy techniques, and following the emergence and popularity of new ideas and technologies. Group dynamics are at the core of understanding racism, sexism, and other forms of social prejudice and discrimination. These applications of the field are studied in psychology, sociology, anthropology, political science, epidemiology, education, social work, business, and communication studies. Within the context of psychology, Social Psychology is the scientific study of how people's thoughts, feelings, and behaviors are influenced by the actual, imagined, or implied presence of others. By this definition, scientific refers to the empirical method of investigation. The terms thoughts, feelings, and behaviors include all psychological variables that are measurable in a human being. The statement that others' presence may be imagined or implied suggests that we are prone to social influence even when no other people are present, such as when watching television, or following internalized cultural norms. Social psychologists typically explain human behavior as a result of the interaction of mental states and immediate social situations. In general, social psychologists have a preference for laboratory-based, empirical findings. Social psychology theories tend to be specific and focused, rather than global and general.Social psychologists therefore deal with the factors that lead us to behave in a given way in the presence of others, and look at the conditions under which certain behavior/actions and feelings occur. Social psychology is concerned with the way these feelings, thoughts, beliefs, intentions and goals are constructed and how such psychological factors, in turn, influence our interactions with others. Social psychology is an interdisciplinary domain that bridges the gap between psychology and sociology. During the years immediately following World War II, there was frequent collaboration between psychologists and sociologists. However, the two disciplines have become increasingly specialized and isolated from each other in recent years, with sociologists focusing on "macro variables" (e.g., social structure) to a much greater extent. Nevertheless, sociological approaches to social psychology remain an important counterpart to psychological research in this area. In addition to the split between psychology and sociology, there has been a somewhat less pronounced difference in emphasis between American social psychologists and European social psychologists. As a broad generalization, American researchers traditionally have focused more on the individual, whereas Europeans have paid more attention to group level phenomena.. About Author: Sigmund Freud (Born Sigismund Schlomo Freud; 6 May 1856 – 23 September 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 con

A obra encadeia associa??es entre os valores técnicos da língua e os valores estéticos da literatura. Realiza, ent?o, duas abordagens complementares, defi nida a unidade língua/literatura como uma díade com polos inseparáveis – a língua sustentando um código limitativo e prescritivo; a literatura alimentando a reprodu??o artística do sistema linguístico –, da fus?o de ambas resultando um efeito de sentido.

Following the Equator (sometimes titled More Tramps Abroad) is a non-fiction travelogue published by American author Mark Twain in 1897. Twain was practically bankrupt in 1894 due to a failed investment into a "revolutionary" typesetting machine. In an attempt to extricate himself from debt of $100,000 (equivalent of about $2.5 million in 2010) he undertook a tour of the British Empire in 1895, a route chosen to provide numerous opportunities for lectures in the English. Themes:In Following the Equator, an account of that travel published in 1897, the author criticizes racism, imperialism and missionary zeal in observations woven into the narrative with classical Twain wit.In keeping with that wit, and Twain's love of a tall tale, Twain included a number of fictional stories in the body of what is otherwise a non-fiction work. In particular, the story of how Cecil Rhodes made his fortune by finding a newspaper in the belly of a shark, and the story of how a man named Ed Jackson made good in life out of a fake letter of introduction to Cornelius Vanderbilt, were anthologized in Charles Neider (ed) The Complete Short Stories of Mark Twain, (Doubleday, 1957) where they are presented as fiction. Chapter I A man may have no bad habits and have worse. —Pudd'nhead Wilson's New Calendar. The starting point of this lecturing-trip around the world was Paris, where we had been living a year or two. We sailed for America, and there made certain preparations. This took but little time. Two members of my family elected to go with me. Also a carbuncle. The dictionary says a carbuncle is a kind of jewel. Humor is out of place in a dictionary. We started westward from New York in midsummer, with Major Pond to manage the platform-business as far as the Pacific. It was warm work, all the way, and the last fortnight of it was suffocatingly smoky, for in Oregon and British Columbia the forest fires were raging. We had an added week of smoke at the seaboard, where we were obliged to wait awhile for our ship. She had been getting herself ashore in the smoke, and she had to be docked and repaired. We sailed at last; and so ended a snail-paced march across the continent, which had lasted forty days. We moved westward about mid-afternoon over a rippled and sparkling summer sea; an enticing sea, a clean and cool sea, and apparently a welcome sea to all on board; it certainly was to me, after the distressful dustings and smokings and swelterings of the past weeks. The voyage would furnish a three-weeks holiday, with hardly a break in it. We had the whole Pacific Ocean in front of us, with nothing to do but do nothing and be comfortable. The city of Victoria was twinkling dim in the deep heart of her smoke-cloud, and getting ready to vanish and now we closed the field-glasses and sat down on our steamer chairs contented and at peace. But they went to wreck and ruin under us and brought us to shame before all the passengers. They had been furnished by the largest furniture-dealing house in Victoria, and were worth a couple of farthings a dozen, though they had cost us the price of honest chairs. In the Pacific and Indian Oceans one must still bring his own deck-chair on board or go without, just as in the old forgotten Atlantic times—those Dark Ages of sea travel.

Micrographia is a historic book by Robert Hooke, detailing the then thirty-year-old Hooke's observations through various lenses. Published in September 1665, the first major publication of the Royal Society, it was the first scientific best-seller, inspiring a wide public interest in the new science of microscopy. It is also notable for coining the biological term cell. Observations: Hooke most famously describes a fly's eye and a plant cell (where he coined that term because plant cells, which are walled, reminded him of a monk's quarters). Known for its spectacular copperplate engravings of the miniature world, particularly its fold-out plates of insects, the text itself reinforces the tremendous power of the new microscope. The plates of insects fold out to be larger than the large folio itself, the engraving of the louse in particular folding out to four times the size of the book. Although the book is best known for demonstrating the power of the microscope, Micrographia also describes distant planetary bodies, the wave theory of light, the organic origin of fossils, and various other philosophical and scientific interests of its author. Publication: Published under the aegis of The Royal Society, the popularity of the book helped further the society's image and mission of being "the" scientifically progressive organization of London. Micrographia also focused attention on the miniature world, capturing the public's imagination in a radically new way. This impact is illustrated by Samuel Pepys' reaction upon completing the tome: "the most ingenious book that I ever read in my life." Hooke also selected several objects of human origin; among these objects were the jagged edge of a honed razor and the point of a needle, seeming blunt under the microscope. His goal may well have been as a way to contrast the flawed products of mankind with the perfection of nature (and hence, in the spirit of the times, of biblical creation). About Author: Robert Hooke (1635 – 1703) was an English natural philosopher, architect and polymath.His adult life comprised three distinct periods: as a scientific inquirer lacking money; achieving great wealth and standing through his reputation for hard work and scrupulous honesty following the great fire of 1666, but eventually becoming ill and party to jealous intellectual disputes. These issues may have contributed to his relative historical obscurity. He was at one time simultaneously the curator of experiments of the Royal Society and a member of its council, Gresham Professor of Geometry and a Surveyor to the City of London after the Great Fire of London, in which capacity he appears to have performed more than half of all the surveys after the fire. He was also an important architect of his time – though few of his buildings now survive and some of those are generally misattributed – and was instrumental in devising a set of planning controls for London whose influence remains today. Allan Chapman has characterised him as "England's Leonardo".Robert Gunther's Early Science in Oxford, a history of science in Oxford during the Protectorate, Restoration and Age of Enlightenment, devotes five of its fourteen volumes to Hooke.Hooke studied at Wadham College during the Protectorate where he became one of a tightly knit group of ardent Royalists led by John Wilkins. Here he was employed as an assistant to Thomas Willis and to Robert Boyle, for whom he built the vacuum pumps used in Boyle's gas law experiments. He built some of the earliest Gregorian telescopes and observed the rotations of Mars and Jupiter. In 1665 he inspired the use of microscopes for scientific exploration with his book, Micrographia. Based on his microscopic observations of fossils, Hooke was an early proponent of biological evolution. He investigated the phenomenon of refraction, deducing the wave theory of light, and was the first to suggest that matter expands when heated and that air is made of small particles separated by relatively large distances. He performed pioneering work in the field of surveying and map-making and was involved in the work, though his plan for London on a grid system was rejected in favour of rebuilding along the existing routes. He also came near to an experimental proof that gravity follows an inverse square law, and hypothesised that such a relation governs the motions of the planets, an idea which was subsequently developed by Newton.

Négy gimis egy s?tét, dohos pincében ébred… Nyár, haverok, emberrablás. Doma, Zoli, Zsófi és Max egy s?tét, dohos pincében ébred. Hol lehetnek? ?s vajon hogy kerültek oda? A négy gimis csak arra emlékszik, hogy hazaindultak az év utolsó bulijáról, amit az egyik hipergazdag osztálytársuk rendezett. Szorult helyzetükben mind egymást okolják a t?rténtekért, hiszen valamennyiük életében van is valami gyanús. Doma édesanyja korábban rend?r volt, most magánnyomozóként dolgozik. Zoli a város legmen?bb brókerének a fia. A belevaló Zsófi, aki a tanév k?zepén érkezett, maga a két lábon járó rejtély. ?s ott van Max, aki a legidegesít?bb, legnagykép?bb srác az osztályban. Ráj?nnek, melyikük miatt kerültek bajba? ?s vajon meg tudnak sz?kni fogvatartóiktól? Minden leleményükre szükségük lesz, hogy az országhatárt és a saját korlátaikat is képesek legyenek átlépni. A Váltságdíj nélkül izgalmas, lebilincsel? krimi, melyben a tinisorsokból sz?v?d? kül?nleges hálótól az utolsó oldal után sincs kedvünk szabadulni. Varga Bálint (1970) újságíró, író. 2005-ben jelent meg els? k?nyve, a Magándetektívek. T?bb mint negyven krimit (k?ztük Lawrence Block és Jim Thompson munkáit) valamint ifjúsági regényeket (P. B. Kerr A lámpás gyermekei-sorozat) fordított. Számos k?nyv (k?ztük John le Carré regényeinek) szerkeszt?je. Tíz éven át maga is k?nyvkiadó volt. 2013-ig pedig egy magánnyomozó-irodának dolgozott analitikusként és legális hírszerz?ként.

This is illustrated and translated version od the "Jaufry the Knight and the Fair Brunissende" & “A Tale of the Times of King Arthur" Now of a tale of chivalry, of proper fashion, great allurement, full of-wise and courteous instances, and wherein abound acts of great prowess, strange adventures, assaults, encounters, and dread battles, you may list the telling. An it amuse you, I will relate thereof all that I do know, or that it please you to give ear unto. Let me know only that which ye desire, and if ye be inclined to listen in good sooth. When the minstrel doth indeed recite, neither should hearers buy nor sell, nor in low voice hold council; for thus the recital is lost to him who speaketh, and they methinks who listen cannot find therein great pleasure. I come, then, to recount to you tidings of the court of good King Arthur; he who was so worthy, so valiant, and so wise, that his name shall never die, but whereof shall eternally be spoken the mighty things he did; and the good knights, all for their prowess known, whom he did gather at his famed Round Table. In that court, the fairest and most loyal that ever shone beneath the stars, all men did find that counsel and that aid of which they stood in need. There triumphed right, and there were wrongs redressed. There dames and damsels, widows and orphans attacked unjustly, or disinherited by force, ne'er failed to meet with champions. The oppressed of all conditions there did find a refuge, and none e'er sought protection there in vain. Give, then, sweet welcome to a poem the fruit of such good place, and deign to listen unto it in peace. The troubadour who rhymed it never knew King Arthur; but he heard the entire story told at the court of the king of Aragon, the best of monarchs in this world. * Don Pedro III., killed in 1213 at the battle of Muret. A worthy father and a famous son, lord of goodly fortunes, humble in heart, and frank in nature as in mind, the king of Aragon loveth God and feareth Him; he maintaineth faith and loyalty, peace and justice: thus God protecteth him, giveth him the victory when he raiseth his banner against the infidel, and placeth him above all those who are alike worthy and bold. Where shall we seek youthful brows wearing a crown which emitteth rays of greater splendour He giveth good gifts to minstrels and to knights, and his court is the resort of all those who are esteemed brave and courteous. It was before him the troubadour heard related, by a stranger-knight of kin to Arthur and Sir Gawain, the song he here hath rhymed; and whereof the first adventure occurred while the king of the Round Table held his court at Carlisle on the day of Pentecost. The Adventure of the Forest Twas on the day of Pentecost, a feast which to Carlisle had drawn a host of knights, that Arthur, King of Briton's isle, his crown placed on his brows, and to the old monastic church proceeded to hear mass. And with him went a brilliant train, the Knights of the Round Table. There were Sir Gawain, Lancelot du Lac, Tristrem, and Ivan bold, Eric frank of heart, and Quex the seneschal, Percival and Calogrant, Cliges the worthy, Coedis the handsome knight, and Caravis short i' the arm; the whole of his bright court, indeed, was there, and many more whose names I have forgot. When mass was done, they to the palace home returned 'mid laughter and loud noise, the thoughts of each on pleasure only bent. Each on arrival gave his humour play. Some spoke of love, and some of chivalry; and some of ventures they were going to seek. Quex at this moment came into the hall, holding a branch of apple in his hand. All made room for him; for there were few who did not fear his tongue and the hard words which it was wont to utter. This baron bold held nothing in respect. E'en of the best he ever said the worst. But this apart, he was a brave stout knight, in council sage, a valiant man of war, and lord of lineage high..

These Essays, or rather Lectures, contain the first-fruits of the earliest systematic attempt to apply the theory of Evolution to the products of human handiwork. In their original form they have long been difficult to obtain; and they are reprinted now to supply the needs of candidates for the Oxford Diploma in Anthropology, and of the numerous visitors to the Pitt-Rivers Museum in Oxford. But they will certainly appeal to a far wider public also, as a brief and authentic statement of their author’s discoveries. The four Essays are reprinted substantially as they were first delivered and published. But verbal errors and actual misquotations have been corrected; and allusions to specimens or diagrams exhibited during the original discourses, but not published, have been replaced so far as possible by references to similar objects figured in the Plates. The Plates are photographic reproductions of the original illustrations, with the exception of Plates V, XIII, XVII, XVIII. Of these, Plate XIII has simply been re-drawn, from a faded original; Plates XVII and XVIII have been translated, without loss of detail, from colours to monochrome shading; Plate V has been reconstituted from illustrations quoted in the text, with the permission of their publisher, Mr. Murray. Plate XXI is reproduced, by permission of Sir John Evans, from the paper which it illustrated originally. The footnotes demand a word of explanation. The author, as the original publications show, was not precise in indicating his sources: he frequently gave, as a quotation, the general sense rather than the exact words of his authority; and occasionally his memory played him false. In the reprint, the precise references have been identified, and are given in full, and obvious errors in the text have been either amended or corrected in a footnote. The editor desires to acknowledge much valuable help in the search for references from Miss C. M. Prior, of Headington.

MYTH: ITS BIRTH AND GROWTH.“Unchecked by external truth, the mind of man has a fatal facility for ensnaring, entrapping, and entangling itself. But, happily, happily for the human race, some fragment of physical speculation has been built into every false system. Here is the weak point. Its inevitable destruction leaves a breach in the whole fabric, and through that breach the armies of truth march in.”Sir H. S. Maine. MYTH: ITS BIRTH AND GROWTH.CHAPTER IITS PRIMITIVE MEANING.It is barely thirty years ago since the world was startled by the publication of Buckle’s History of Civilisation, with its theory that human actions are the effect of causes as fixed and regular as those which operate in the universe; climate, soil, food, and scenery being the chief conditions determining progress. That book was a tour de force, not a lasting contribution to the question of man’s mental development. The publication of Darwin’s epoch-making Origin of Species[1] showed wherein it fell short; how the importance of the above-named causes was exaggerated and the existence of equally potent causes overlooked. Buckle probably had not read Herbert Spencer’s Social Statics, and he knew nothing of the profound revolution in silent preparation in the quiet of Darwin’s home; otherwise, his book must have been rewritten. This would have averted the oblivion from which not even its charm of style can rescue it. Its brilliant but defective theories are obscured in the fuller light of that doctrine of descent with modifications by which we learn that external circumstances do not alone account for the widely divergent types of men, so that a superior race, in supplanting an inferior one, will change the face and destiny of a country, “making the solitary place to be glad, and the desert to rejoice and blossom as the rose.” Darwin has given us the clue to those subtle and still obscure causes which bring about, stage by stage, the unseen adaptations to requirements varying a type and securing its survival, and which have resulted in the evolution of the manifold species of living things. The notion of a constant relation between man and his surroundings is therefore untenable. The object of this book is to present in compendious form the evidence which myths and dreams supply as to primitive man’s interpretation of his own nature and of the external world, and more especially to indicate how such evidence carries within itself the history of the origin and growth of beliefs in the supernatural. The examples are selected chiefly from barbaric races, as furnishing the nearest correspondences to the working of the mind in what may be called its “eocene” stage, but examples are also cited from civilised races, as witnessing to that continuity of ideas which is obscured by familiarity or ignored by prejudice.Had more illustrations been drawn from sources alike prolific, the evidence would have been swollen to undue dimensions without increasing its significance; as it is, repetition has been found needful here and there, under the difficulty of entirely detaching the arguments advanced in the two parts of this work.