Astfel de dic?ionare care s? te edifice asupra autorului, a operelor ?i a personajelor principale ale acestora n-au mai ap?rut p?n? acum la noi (desigur, ?n ce prive?te literatura universal?). Aici g?se?ti nu numai cuno?tin?ele necesare la orele rezervate lecturii obligatorii sau suplimentare din literatura universal?, ci ?i suficiente informa?ii care s? te incite la noi ?aventuri“ ale lecturii ?i, firesc, la l?rgirea universului intelectual.

Dac? spun un adev?r incomod sunt tratat? ca un trouble-fête. Dac? regret radicalismul sau lipsa de tact de a emite un adev?r nepl?cut, mi se sugereaz? c? sunt la??. Dac? sunt vis?toare sau patetic?, mi se spune c? sunt dep??it?. C?nd sunt trist? ?i m? ascund dup? masca unei veselii debordante, mi se z?mbe?te insidios: ei, ascunde ea ceva. C?nd spun ?n gura mare ceea ce cred, sunt ?fichiuit? cu sarcasme. Iar atunci c?nd abordez teme majore, mi se sugereaz? c? sunt expirat?. Nu, nu exist? nici un fel de comunicare. La mijloc sunt, mai degrab?, ni?te savante mecanisme menite s?-?i deformeze faptele, iar, ?n ultim? instan??, imaginea, ?i s?-?i taie orice elan, pentru ca, ?ntr-un t?rziu, s? te fac? s? alegi, iar??i, singur?tatea – mam? bun?, aspr?, cald? – ?n iadul-raiul de fiecare zi.S? te re?ntorci ?n subterana ta mereu acela?i, mereu altul, tu, cel care e?ti ?i devii ceea ce e?ti. Aici e marea judecat?. ?ntre pere?ii acoperi?i cu c?r?i ?ncepe cunoa?terea. Restul sunt vorbe, fantezii, toane, divaga?ii, ?nt?mpl?ri m?runte, scurse dinspre realitatea de fum, a c?rei amintire e proasp?t? ?i-at?t de vie. Orgoliul, smerenia ?i asprimea ?ndreptat? ?mpotriva ta ??i vor fi sfetnici.Carnea trec?toare a cui sunt, Doamne? (Aura Christi)

This volume collects the complete works of Edgar Allan Poe (Wikipedia). It started out as a restructuring and reformatting of the 1903 “Raven Edition” of his works—and then it grew.I have rearranged the texts according to genres in the order of first publications (though still using the later revised versions). I added all the stories, poems, essays, and some miscellanea that were missing in the “Raven Edition”. Thus, you’ll find in this collection: THE TALESMetzengerstein, The Duc de L’Omelette, A Tale of Jerusalem, Loss of Breath, Bon-Bon, Ms. Found in a Bottle, The Assignation, Berenice, Morella, Lionizing, The Unparalleled Adventures of One Hans Pfaal, King Pest, Shadow—A Parable, Four Beasts in One—The Homo-Cameleopard, Mystification, Silence—A Fable, Ligeia, How to Write a Blackwood Article, A Predicament, The Devil in the Belfry, The Man that Was Used Up, The Fall of the House of Usher, William Wilson, The Conversation of Eiros and Charmion, Why the Little Frenchman Wears his Hand in a Sling, The Business Man, The Man of the Crowd, The Murders in the Rue Morgue, A Descent into the Maelstr?m, The Island of the Fay, The Colloquy of Monos and Una, Never Bet the Devil Your Head, Eleonora, Three Sundays in a Week, The Oval Portrait, The Masque of the Red Death, The Landscape Garden, The Mystery of Marie Rogêt, The Pit and the Pendulum, The Tell-Tale Heart, The Gold-Bug, The Black Cat, Diddling, The Spectacles, A Tale of the Ragged Mountains, The Premature Burial, Mesmeric Revelation, The Oblong Box, The Angel of the Odd, Thou Art the Man, The Literary Life of Thingum Bob, Esq, The Purloined Letter, The Thousand-and-Second Tale of Scheherazade, Some Words with a Mummy, The Power of Words, The Imp of the Perverse, The System of Doctor Tarr and Professor Fether, The Facts in the Case of M. Valdemar, The Sphinx, The Cask of Amontillado, The Domain of Arnheim, Mellonta Tauta, Hop-Frog, Von Kempelen and his Discovery, X-ing a Paragrab, Landor’s Cottage.THE POEMSPoetry, O, Tempora! O, Mores!, Tamerlane, Song, Dreams, Spirits of the Dead, Evening Star, Imitation, Stanzas, A Dream, The Happiest Day, The Lake —— to ——, To Margaret, Alone, Sonnet—to Science, Al Aaraaf, Romance, To ——, To the River——, To M——, Fairy-Land, To Isaac Lea, An Acrostic, Elizabeth, To Helen, Israfel, The City in the Sea, The Sleeper, A P?an, The Valley of Unrest, Enigma, Fanny, The Coliseum, Serenade, To One in Paradise, Hymn, May Queen Ode, Spiritual Song, Latin Hymn, Bridal Ballad, To Zante, The Haunted Palace, Silence, Lines On Joe Locke, The Conqueror Worm, Lenore, A Campaign Song, Dream-Land, Impromptu. To Kate Carol, To F——, Eulalie, Epigram for Wall Street, The Raven, The Divine Right of Kings, To Frances S. Osgood, A Valentine, Beloved Physician, Deep in Earth, To Marie Louise (Shew), Ulalume, Lines on Ale, To Marie Louise (Shew), An Enigma, To Helen, A Dream within a Dream, Eldorado, For Annie, To My Mother, Annabel Lee, The Bells.THE NOVELSNarrative of A. Gordon Pym, The Journal of Julius Rodman.THE ESSAYSPal?stine, Maelzel’s Chess-Player, Letter to B——, American Novel-Writing, The Capitol at Washington, Instinct vs Reason—A Black Cat, The Philosophy of Furniture, Morning on the Wissahiccon, Some Account of Stonehenge, The Giant’s Dance, A Druidical Ruin in England, A Few Words on Secret Writing, Exordium, Harper’s Ferry, The Balloon-Hoax, Byron and Miss Chaworth, Pay of American Authors, Some Secrets of the Magazine Prison-House, Anastatic Printing, Street-Paving, American Poetry, The Philosophy of Composition, A Few Words on Etiquette, Eureka: A Prose Poem, The Rationale of Verse, The Poetic Principle.THE MISCELLANEAAutography, Pinakidia, Literary Small Talk, Intemperance, A Chapter on Science and Art, Cabs, Omniana, Prospectus of The Penn Magazine, Autobiographical Note, A Chapter on Autography, Prospectus of The Stylus, Souvenirs of Youth, The Head of St. John The Baptist, Doings of Gotham, A Moving Chapter, Desultory Notes on Cats, A Chapter of Suggestions, Marginalia, The Literati, Mr. Poe’s Reply to Mr. English and Others, Fifty Suggestions, Preface to “Tamerlane And Minor Poems,” Prologue to “The Folio Club”, Prefaces and Introduction to “The Conchologist’s First Book,” Preface to “Tales of the Grotesque and Arabesque,” Preface to “The Raven and Other Poems.”THE PLAYPolitian.THE CRITICISMThe Complete Works of Edgar Allan Poe, vols. 8-13, ed. by James A. Harrison, Thomas Y. Crowell & Company 1902.THE LETTERSThe Letters of Edgar Allan Poe, 2nd edition, 2 vols., ed. by J. W. Ostrom, The Gordian Press 1966.

The grandfather of Nell Trent wants to make sure his granddaughter is provided for when he dies. His memory of his daughter’s suffering and premature death gives him a fear of poverty. This obsession results in his financial and physical ruin. Nell and her grandfather flee and embark on a journey that has no destination. For Nell, all she wants is a peaceful existence with enough to subsist on.??They come across many interesting people in their travels and are often met with the kindness of strangers. Yet, underneath an animated and colorful world, they also encounter the bleak reality of the industrial age. From simple villages and fields of flowers, they cross into a dirty city full of mass unemployment and plague victims—where children die from starvation and are left on the curb.??The story isn’t just about Nell and her grandfather, but the people who are connected to them directly or indirectly. There is Richard Swiveller, a careless young man who is a friend of Nell’s plotting brother, who wants Swiveller to marry Nell for the fortune he thinks she has. Daniel Quilp, the malicious dwarf, has a vendetta against the grandfather—who was the one person who managed to fool him. There is honest Kit, who finds himself the victim of spite of people he never harmed. Kit desires to help Nell, whoM he worships as a personal angel that has always inspired the best in him. The mysterious Bevis Marks, who is a generous patron to some and an enemy to others, also has his own reasons for finding Nell and her grandfather.??Unique to this book, unlike Dickens other works, is a fairy tale quality to the story. It is certainly a book of contrasts: the purity of Nell compared to the sadistic depravity of Quilp, fresh air and scenic villages to the polluted, stone covered city, etc. Even people’s reactions to the book revealed a stark contrast. At first, Nell Trent was praised as the most perfect Dickens character. Later, she was ridiculed and criticized by many well-known people like Oscar Wilde. While characters in other Dickens books are moving towards a better future, Nell and her grandfather are fleeing their life—and their story is moving towards an ending.??The Old Curiosity Shop was inspired by a personal tragedy in Dickens life. Nell Trent is based on the seventeen year old sister-in-law of Dickens who lived with him and whom he was fond of. The girl collapsed and died suddenly after the family had come home from the theater, probably due to undiagnosed heart disease. The story is a time capsule—full of references of popular songs, literature, and scandals of the period. As to be expected of a Dickens novel, there is social commentary on the plight of the poor. The Old Curiosity Shop delves into the unknown world of freak shows and other traveling entertainers—showing a magical world, yet one with a dark underside to it.

Deniz fenerinin ki gibidir: Ayd?n?n da ?????. Birisi gemileri, di?eri insanlar? ayd?nlat?r. Onlar?n sayesinde: Gemiler ve toplumlar yollar?n? bulabilirler."Batmaktan" kurtulup ayakta kalabilirler. Yeter ki: I??klar? söndürülmesin. Hiçbir fener, hiçbir ko?ulda; bir geminin tonaj?n? ve band?ras?n? sormaz. Gerçek bir ayd?n da öyle: Ayd?nl???n?n bilgisini sunarken; insanlar?n hiçbirine, ne ?rk?n? ve cinsiyetini ne de inanç tercihini sormaz. Ayd?n dedi?in; ayn? zamanda gerçekçidir. Gördü?ü: Hiçbir kötü rüyay? da hayra yormaz!...Her ikisi de; ?ss?z ve sessiz geceler boyu çal??arak; ayd?nlatmaya çabalar karanl?klar?. Ayd?nlar da fenerler gibidirler: Ortakt?r yaln?zl?klar?!..Özetle:"Ben de;Küçük bir "burunda"Küçük bir deniz feneriyim,Hümanizmin ise; sad?k bir neferiyim.I????m? hep çakar?m, Her durumda.Ya?am benim kutsal?m:Ya?ayan her canl? benim umurumda.Fenerler, kimseleri aramazlar;Arayanlar, mutlaka onlar? bulurlar:Ço?u kez de zor durumda.Ben her daim i?ime bakar,Sürekli ?????m? çakar?m.Hiç y?lmam; bunu hep yapar?m!...FELSEFE ???RLER? tüm bu duygular? ifade etmek için, yeni bir ?iir türü olarak yaz?ld?..

Aceast? carte a fost, este ?i va fi o fabuloas? c?l?torie spre centrul fiin?ei mele, chiar ?i la mul?i ani dup? ce voi fi terminat-o. V? mai aminti?i problemele de aritmetic? din clasele primare? Un tren pleac? cu viteza H, Y, Z (?tiind c? viteza este variabil?) din punctul A ?i ajunge ?n punctul B dup? un num?r de ore. Ei bine, povestea care urmeaz? este acea problem? de aritmetic?. Dac? trenul sunt eu, ?nseamn? c? Dumnezeu este o problem? de aritmetic?. Grea. ?i de rezolvat. (Daniela Lungu)

This Classic Edition commemorates the 100-year anniversary of William Strunk's grammar primer, The Elements of Style.?Generations of writers have learned the basics of grammar from Strunk’s little book. It was rated “one of the 100 most influential books written in English” by Time in 2011, and iconic author Stephen King recommended it as a grammar primer that all aspiring writers should read.Elements of Style: Classic Edition 2018?includes the full text of Strunk's original work. It adds two new chapters requested by college professors and students to help clarify points of confusion in modern writing: Basic Rules of Capitalization?and Style Rules for Better Writing.?It also features a variety of enhancements that make this grammar handbook even more useful: 1. Editor’s notes have been inserted throughout the book to flag grammar rules that are now obsolete and to provide up-to-date advice for students and writers. 2. Emojis have been added to help readers identify correct examples from errors at a glance. 3. A Study Guide is included in the last chapter. 4. The paperback version includes blank, lined pages in the back of the book for convenient notetaking. 5. The e-book versions have been restyled for improved display on the latest generations of digital book-reading devices.Elements of Style: Classic Edition?is now being used as a textbook in courses at University of Minnesota, University of Texas, UC Berkeley and elsewhere, giving students and writers a blueprint that they can follow to write clearly and effectively while adhering to the fundamental rules of English Grammar.

Nici avangardi?tii cei mai radicali n-au putut ignora total tradi?ia, de?i, la modul teoretic, au pretins c? au aruncat-o la co?ul de gunoi. Un Urmuz a valorificat absurdul care nu lipse?te din folclor, dar nici din Caragiale. ?Constructivi?tii” au sim?it tenta?ia s?-l asimileze pe Br?ncu?i la avangard? etc. Iat? ?ns? c? postmoderni?tii au ajuns la ??n?elepciunea” c? lumea contemporan? ?ncepe doar cu d?n?ii. Am auzit voci spun?nd c? Liviu Rebreanu este at?t de ??nvechit”, ?nc?t nu mai are ce c?uta ?n programele de ?nv???m?nt. Nu mai vorbim de Eminescu. Acesta n-ar fi dec?t un scriitor ?istoricizat”, interesant, cel mult, prin c?teva poeme cu tent? parodic-textualist?, cum sus?ine un eminent istoric literar, care consider? c? locul ?n ?canonul literar” rom?nesc trebuie cedat postmodernistului Mircea C?rt?rescu, cu detronarea ?poetului na?ional”, sintagm? complet ?dep??it?”. Captatio benevolentiae din conferin?a Aurei Crhisti ?ncepe cu o astfel de provocare: ?M-am ?ntrebat nu o dat?, pe ?ntinderea ultimilor ani, ce s-ar ?nt?mpla dac?, ?ntr-o bun? zi, ne-am pomeni fa?? ?n fa?? cu Mihai (sau Mihail, cum ?i spunea Nichita St?nescu) Eminescu, cu Lucian Blaga sau Nicolae Iorga, cu George C?linescu sau Liviu Rebreanu, cu Titu Maiorescu sau cu una dintre marile doamne ale literaturii rom?ne, Hortensia Papadat-Bengescu? S-ar sim?i acas?? Aici, printre noi, scriitorii rom?ni… Aceste ?ntreb?ri ar st?rni, f?r? ?ndoial?, ironiile sau comentariile sarcastice ale multor postmoderni?ti, textuali?ti, dou?mii?ti sau post-post-moderni?ti, care ?i-au ?ntocmit, ?ntr-o grab? suspect?, precipitat?, o ?nou? tabl? de valori acceptate?, fiindc? no?iunea de cultur? e... ?suspect? din punct de vedere politic!? Desigur, ace?ti mari scriitori nu s-ar mai sim?i acas?, ci abandona?i, cu patria lor cu tot, ?n numele alteia, obscur?, fudul?, ?n vulgaritatea ei, hibrid? din punct de vedere nu numai cultural, a?a cum o prevedea, alarmat, Mircea Eliade ?n celebra lui conferin?? din 1953, Destinul culturii rom?ne?ti. (Theodor Codreanu)

Deja de lado lo que estás leyendo en la web sobre Elon Musk. Hay una cantidad de información más significativa que no se limita a hablar solo sobre su genio y sus logros. Este libro expone la vida que tuvo antes de llegar a los Estados Unidos y mira al ni?o que se encuentra en su interior, quien se abrió camino por sí solo, y literalmente pasó por los fuegos del infierno antes de obtener las oportunidades que deseaba.No cayó en la riqueza y no trabajó dentro de la escalera corporativa, sino que Elon conformó cada parte de su vida que puedes ver hoy. Algunas de las historias que encontrarás en este libro te sorprenderán, asombrarán y cambiarán la forma en que consideras tus propios desafíos. De llegar a un nuevo país con pocos dólares y no conocer a nadie, trabajar en granjas y limpiar los animales, hasta trabajar en el fuego de un horno tóxico. Lee sobre el hombre que está a punto de hacer que este planeta sea un lugar más seguro para vivir.Elon Musk es una inspiración para una generación porque representa muchos de los valores que definen a los Millennials de hoy y a los de la Generación X. Desde PayPal hasta Tesla, la fuerza impulsora que construyó estos íconos de la imaginación fue el deseo de hacer del mundo un lugar mejor para todos: y nunca se trató sobre el dinero. Este libro te da una mirada y un análisis más profundo de un hombre que desafía el molde tradicional de lo que es ser industrial, emprendedor y triunfador.

40 éves lettem. Bibliai értelemben – ha egy emberéletet 80 esztend?ben mérünk – eljutottam az élet felére. Ezért a cím: Félélet. 6 k?tet, kisregények sorozata után elgondolkodtam, miért is írok, hogyan jutottam el addig a pontig, amikor tollat vettem a kezembe. Végül ráj?ttem, és magam is meglep?dtem, hogy az els? nyomtatásban megjelent írásom 1996-ból való, ha innen indulok, akkor az életem felében írtam. Mindenfélét: verset, cikket, naplót, t?rténeteket. Ezekb?l állt ?ssze ez, az életem els? felét ?sszegz? k?tet. Nem változtattam a rég leírt szavakon, gondolatokon, akkor és ott jók voltak, ma is megfelelnek. Sokan kísértek az úton. K?sz?net jár mindazoknak, akiket illet, hogy eddig eljutottam. Indulok tovább. 2017. október 13. Csüll?g Ferenc

Starting from the dialogue initiated by historian Filip-Lucian Iorga, this e-book introduces Prince Nicholas (Nicolae), the grandson of His Majesty King Michael I, from his first visit to Romania in 1992 to his decision to settle down in Romania, in 2012. The reader has the opportunity of knowing Prince Nicholas from his earliest childhood, a fan of knightly stories, but also willing to explore the world, a dynamic adolescent with a passion for cars, just like his royal grandfather, recounting with a genuine sense of humour the adventures he went through in his attempt to obtain a driver’s license in Kenya. As a young man, Prince Nicholas went to a traditional British college and studied management in England, while keeping to his passion for sports: he played football, cricket, grass hockey, lacrosse, and rugby, went scuba diving into the ocean and worked as a rafting instructor in Africa. Moreover, this is a young man who sat at the same table as Queen Elizabeth II of Great Britain, with his uncles and cousins of the European Royal Families, but also with homeless children and within charitable institutions. The same young man has assumed at present the duties of Prince of Romania.

Monumentala monografie dedicat? unuia dintre cei mai mari romancieri ai lumii are avantajul de a sintetiza o bun? parte din bibliografia scris? pe marginea operei uria?ului care a semnat, ?ntre altele, capodopera Crima ?i pedeaps?. Ion Iano?i plaseaz? ?ac?iunea“, firul epic al cercet?rii ?ntreprinse ?n contextul secolului al XIX-lea, astfel ?nc?t eroii vie?ii literare de atunci se contureaz? pregnant, provoc?tor de viu.

Iubitafizica este ?tiin?a iubirilor imaginare. Toate iubirile ?i iubitele imaginare s?nt excep?ii ce se supun, ?n t?cere, iubitafizicii. Adev?rul care conteaz? pentru iubitafizic? este cel inventat, adev?rul ?nchipuit, adev?rul visat, adev?rul din flori.

“Prima edi?ie din Jurnalul lui Lev Tolstoi a ap?rut la Editura Univers, ?n dou? volume (?n anii 1975 ?i 1976 – vol. I: 1847-1895, vol. II: 1896-1910), incluse ?n colec?ia ?Coresponden??, memorii, jurnale“. Traducerea a realizat-o Janina Iano?i; prefa??, tabelul cronologic, notele ?i comentariile – Ion Iano?i. Respectiva edi?ie a reprezentat o selec?ie din textul integral al edi?iei academice ruse?ti Polnoe sobranie socinenii (iubileinoe izdanie), Opere complete (edi?ie jubiliar?). Din volumele 1-90 (Moscova-Leningrad, 1928-1958), am folosit cele treisprezece volume de jurnal, 46-58 (ap?rute ?ntre 1934 ?i 1958). Orientativ, am consultat ?i o edi?ie de Opere ?n dou?zeci de volume (din 1965) – volumele 19 ?i 20. ?n alegerea textelor am urm?rit devenirea ?i dominantele cople?itoarei personalit??i a marelui scriitor, ?in?nd seama ?i de interesele publicului cititor rom?nesc. Edi?ia a II-a i s-a datorat Editurii Elit (tip?rit?, f?r? specificarea datei, ?n 2000). Ea a urmat, cu unele renun??ri ?i c?teva complet?ri, varianta ini?ial?, dar ?i pe baza confrunt?rii textelor cu cele re?inute ?ntr-o selec?ie ruseasc? ulterioar?, ?n dou?zeci ?i dou? de volume, Sobranie socinenii v dvadtati dvux tomah (Moscova, 1985), Opere ?n dou?zeci ?i dou? de volume, volumele 21 ?i 22. Am constatat cu acel prilej coinciden?a ?ntre majoritatea textelor re?inute ini?ial de noi ?i de alc?tuitorul respectivei edi?ii ruse?ti, dar ?i unele deosebiri: sunt acolo prezente fie pasaje ?teoretice“ mai ample, fie altele cu adres? recognoscibil? doar de c?tre cititorii autohtoni familiariza?i cu mediul specific vremii – ?n schimb, sunt omise at?t detalii biografice considerate a fi prea intime (mai ales erotice, ?n genere legate de starea corporal?, de s?n?tate ori boal?), c?t ?i multe accente sociale considerate de editorul rus de atunci ca indezirabile prin ascutisul lor critic (cu deosebire, cele la adresa revolu?iei, marxismului, socialismului). ?n ceea ce ne prive?te, le-am p?strat ?i pe unele, ?i pe celelalte, ?n schimb nu am dorit – cu rare excep?ii – s? ?nc?rcam selec?ia noastr? cu expozeuri lungite, care oricum variaza idei cunoscute. Amintita edi?ie rus? ne-a servit, mai degrab?, pentru suplimentarea acribiei de care am ?ncercat s? d?m dovada ?nc? din anii ?aptezeci ai secolului trecut. Am urmat aceea?i cale ?i la revederea ?i ?mbun?ta?irea textului pentru prezenta edi?ie, a III-a, finalizat?, dup? al?i cinci ani, prin bun?voin?a Editurii Ideea European?.“ (Ion Iano?i)

B?rba?ii vin de pe Marte, femeile de la coafor este urmarea best-sellerului Femeile vin de pe Venus, b?rba?ii de la b?ut. Ambele volume s-au n?scut ?n paginile s?pt?m?nalului satiric Ca?avencii. De?i pare c? e vorba de un ?r?zboi ?ntre sexe“, ?n realitate, autorii n-au dus niciodat? un r?zboi, ci un dialog. R?nd pe r?nd, toate stereotipurile care circul? despre via?a de cuplu au fost puse ?ntr-o lumin? umoristic?, eliberatoare. Primul volum s-a bucurat de o primire extraordinar? din partea publicului, ating?nd ?n mai pu?in de doi ani de la lansare un tiraj de aproape 20.000 de exemplare. Ne face pl?cere s? v? oferim acum continuarea lui, const?nd ?ntr-o nou? colec?ie de texte pline de umor, inteligen?? ?i autoironie. * * * De unde naiba s? ?tie b?rbatul care-i sunt hainele murdare??? ??i miroase, timp de dou? ore, toate c?rpele de pe scaunul-cuier. Le ?mparte ?n dou? gr?mezi, unele curate ?i altele murdare. C?nd, transpirat, anun?? c? a terminat, bestia de so?ie se ?nfiin?eaz? ?i ia ambele mormane la sp?lat. — De ce le iei ?i pe-alea curate? o ?ntreab?, confuz. — Pentru c? sunt jegoase. ?i d?-le ?i pe toate alea de pe tine, c? put. — Dar sunt proasp?t sp?late, le-am luat de-abia acum o s?pt?m?n?. Vr?jitoarea e ?ns? de neclintit. ?i ?ntoarce spatele ?i iese, l?s?ndu-l gol, dezorientat, umilit ?i mirosindu-se la subra?. * * * C?nd e o hain? murdar?? C?nd te-ai uitat la ea. Ai p?ng?rit-o cu privirea ta. E ca ?i cum s-a frecat un pechinez ?n c?lduri pe ea, trebuie aruncat? la sp?lat. Multe femei stau la u?a ?ifonierului ?i te urm?resc c?nd ??i alegi haine: — Haaaa, tricou atins, tricou ?mbr?cat, tricou ?mpu?iiiiit!

Amurgul ora?elor este o antologie care reune?te cele mai valoroase poezii scrise de Nichita Danilov de la debutul din anii ‘80 p?n? ?n prezent. De?i este un membru de seam? al optzecismului, prezent ?n toate antologiile importante ale acestui curent literar, Nichita Danilov propune o poezie atemporal?, metaforic?, parabolic?, cu scenarii mitice, al c?rei model este, cum remarca ?i Nicolae Manolescu, Lucian Blaga. Se poate detecta la Nichita Danilov un neoexpresionism mistic ?i vizionar, dublat de o con?tiin?? ironic? vie. Exist?, ?n Amurgul ora?elor, superbe poezii de dragoste, de o clasic? simplitate, c?t ?i poeme alegorice, cu substrat filozofic, dar ?i capodopera Nou? varia?iuni pentru org?.

Critic? literar? Editura Allfa inaugureaz? seria de volume ?Eminescu, poem cu poem” care va cuprinde ?ntreaga oper? poetic? antum? a marelui poet analizat? de scriitorul ?i criticul literar Alex. ?tef?nescu. Lucrarea ?Eminescu, poem cu poem. Luceaf?rul” ne dezva?? de toate vechile obiceiuri de interpretare care au prezentat ?n limbaj de lemn poezia eminescian?. Alex. ?tef?nescu ne face din nou cuno?tin??, de data aceasta ?n cuvinte simple ?i idei proaspete, cu cea mai cunoscut? poezie din literatura rom?n?. Analiza sa cuprinde observa?ii fresh ?i referin?e culturale pe gustul elevilor, tinerilor ?i iubitorilor de literatur? care (re)descoper? ast?zi poezia eminescian?. Numai un scriitor de geniu poate crea un personaj care s? ajung? mai cunoscut dec?t el. A?a cum Hamlet egaleaz? celebritatea lui Shakespeare, iar Don Quijote pe cea a lui Cervantes, ?i Eminescu este concurat ca notorietate de unul dintre personajele sale, luceaf?rul. Mai mult dec?t at?t, poetul a fost numit p?n? la sa?ietate ?luceaf?rul poeziei rom?ne?ti”, sintagm? despre care Alex. ?tef?nescu spune c? este considerat? ?n prezent o expresie uzat? din limba de lemn a omagierii lui Eminescu. Renun??nd la limbajul bombastic ?n care a fost prezentat p?n? acum, criticul literar subliniaz? frumuse?ea literar? a straniului love-story dintre luceaf?r ?i C?t?lina. Este o poveste de neuitat, comparabil? cu alte iubiri irealizabile (sau posibile numai prin sacrificiu) ?ntip?rite ?n memoria noastr? cultural?, precum aceea dintre Zeus, st?p?nitorul cerurilor, ?i Europa, prin?esa fenician?, cea a lui Romeo ?i a Julietei, ?i precum povestea dintre riga Crypto ?i lapona Enigel din poemul lui Ion Barbu. Volumul cuprinde poemul ?Luceaf?rul” ?nso?it de textul critic al lui Alex. ?tef?nescu.

Cartea lui Michael Finkenthal ofer o prim, ptrunztoare, lectur critic mai ampl a scrierilor suprarealiste ale lui Dolfi Trost, unul dintre membrii Grupului suprarealist romn – foarte activ ntre anii 1940 i 1947 la Bucureti –, coautor, alturi de Gherasim Luca, al celebrului manifest Dialectique de la dialectique. E o contribuie valoroas, revelatoare pentru suprarealismul frenetic al bucuretenilor angajai ntr-un ndrzne dialog cu micarea european de avangard. Documente inedite rotunjesc profilul unui spirit nonconformist, pe care interpretul su are grij s-l situeze, atent la nuane, n contextul agitat al epocii. O recuperare, aadar, salutar care mbogete substanial imaginea acestei ultime etape a avangardei istorice romneti.“ – Ion Pop

Dar mai bine las-m pe o strad pustie i privete cum nimic nu se schimb.“ – Laureniu Ion

ntr-o cultur temeinic articulat, ideile au ecouri. Antinomia lui Turgheniev a fost strlucit confirmat de arta urmtoarelor decenii, ntr-o polarizare tipologic esenial, confirmat anume de neierttorul su oponent. Idiotul“ Mkin, Makar Ivanovici Dolgoruki sau Aleoa Karamazov sunt ipostaze ale unui Don Quijote rusesc, iar n aceleai mprejurri Hamlet are chipul omului din subteran, al lui Raskolnikov, Ippolit, Stavroghin, Versilov, Ivan Karamazov. Hamlet are descendeni sntoi i morbizi. Diagnosticarea celor din urm este obsesia constant a lui Dostoievski. El a surprins genial spiritul analitic dizolvant, egoismul, cinismul, rceala, scepticismul devenit i indiferentism, a prezis profetic pactul unui tip de intelectual din secolul douzeci cu diavolul. Acestui Hamlet bolnav al epocii moderne i-am consacrat cteva lucrri... – Ion Ianoi

Sunt un om modelat mai mult de literatur dect de prini i de coal, aa c practic nu-mi pot imagina cum a fi artat, n alt context social-familial, ce a fi devenit, cum a fi evoluat. Atras de lumea din cri. Poate i pentru c personajele din literatur sunt mai pregnante, mai coerente, mai plauzibile, cu noim i de neles, n ultim instan, iar nu indecise, confuze, lipsite de sens, ca n viaa obinuit. Cnd spun uneori c eu i fr studii superioare, rmas funcionar ori meteugar, a fi fost acelai om, cam la asta m refer. La faptul c pentru formarea mea decisive au fost crile, lecturile, lumea stilizat, nsmnat cu mesaj. Poate c abia prin asta m apropii de ali scribi...Exist suflet, m ntrebam azi, n parc, pe o slab ninsoare, dnd un semiocol lacului. Poate c nu exist, n sensul dat acestui cuvnt de cei care neag transcendentul. ns pentru unul ca mine sufletul exist, el este ceea ce a rmas din prinii mei i mi umple mie viaa, gndurile; ceea ce m face s fiu n comuniune cu ei.“ – Ion Lazu