O simfonie nevrotic? ?n transe poetice nu s-a mai scris. S-a f?cut ?ns? apel la aceast? formul? neconven?ional?, pentru a se ?ncerca o radiografiere a imaginarului poetic, a st?rilor ?i obsesiilor celui condamnat de societate s? se retrag? ?i s? tr?iasc? ?ntr-un turn. Poate este pentru prima dat? c?nd se ajunge ?n Groapa Marianelor a poeziei. Scardanelli, o carte parc? scris? cu g?ndul la marii damna?i, la H?lderlin, Kleist ?i Trakl. George Mor?rel s-a n?scut la data de 22 octombrie 1948, ?n ora?ul Turnu Severin. A absolvit ?coala primar? ?i liceul ?n Turnu-Severin, ?n anul 1966. ?n perioada 1992-1993 este translator de german? pentru firma de construc?ii Betina, ?n Germania. Este, apoi, ?ef de sec?ie ?i director al Arhivei multimedia din cadrul Televiziunii Rom?ne, de unde demisioneaz?, plec?nd la Paris. Urmeaz? cursurile de limba german? ale Facult??ii Sorbona din Paris. ?n perioada 2001-2002 e redactor la Biblioteca Na?ional? a Fran?ei din Paris, neput?nd s?-?i prelungeasc? contractul pe o durat? determinat?. Traduce din francez? pentru Editura Curtea Veche. Iar din 2007 exercit? func?ia de redactor la Editura Curtea Veche. C?r?i: Agen?i ?i supra-agen?i ?n comunism, critic? (2000); Capul poetic, poeme (2004).

John Milton Complete Works World's Best Collection This is the world’s best John Milton collection, including the most complete set of Milton’s works available plus many free bonus materials. John Milton John Milton was an English poet, polemicist, man of letters, and civil servant for the Commonwealth of England under Oliver Cromwell, best known for his epic poem Paradise Lost. Milton wrote at a time of religious and political upheaval, and his works reflect a passion for freedom, self-determination, and deep personal conviction. He has been called one of the greatest English authors of all time The ‘Must-Have’ Complete Collection In this irresistible collection you get a full set of Milton’s work, with more than 150 works - All his poems, All poetry, All Letters, All Prose and All Non-Fiction Works. Plus a full length biography and extra Free Bonus material. Works Included: Poetry -?All Poems, Early Works And Collections, Including: Paradise Lost Paradise Regained Samson Agonistes All Psalms That Milton Set To Verse All Religious Poetry All Sonnets, Including: On His Blindness On the Late Massacre in Piedmont Methought I Saw my Late Espoused Saint All Tracts, Non Fiction And Writing, Including: Of Prelatical Episcopacy Animadversions The Reason of Church-Government Doctrine and Discipline of Divorce Judgement of Martin Bucer Concerning Divorce Tetrachordon Colasterion Areopagitica The Tenure of Kings and Magistrates Eikonoklastes Defensio pro Populo Anglicano – in English Defensio Secunda – in English A Treatise of Civil Power All Letters, Including: Letters Written In The Name Of The Parliament. Letters Written In The Name Of Oliver The Protector. Letters Written In The Name Of Richard, Protector. Your Free Special Bonuses Life Of Milton - A biography of Milton’s intriguing life. Milton – a second biography, written by Sir Walter Alexander Raleigh Get This Collection Right Now This is the best John Milton collection you can get, so get it now and start enjoying and being inspired by his words like never before!

Come, take a peek Behind the Smile; a world you’ve never known before awaits your pleasures for a while … there’s wonderment for you in store. ? From Free Verse poetry to Sonnets, Ballads, and many more poetic forms and styles, this incomparably amazing collection of 145 selected poems by master poet Richard W. Jenkins is not your everyday smattering of poetic jargon. They will captivate and embrace your senses, taking you on a metaphorical journey of inner exploration and sheer enthrallment that will entice you irresistibly back into their pages—time and again. Aficionados will appreciate the author’s breakdowns of the poems’ 52 forms, including some of his widely used originals. This treasure belongs within easy reach of every poetry lover. ? Whom could who feels what all we do not yearn a deeper bite, when each delicious taste we take flavors our world just right?

Am c?utat timp s? citesc cartea ta cu aten?ie, de?i unele dintre fragmente mi-erau cunoscute. Te exprim? foarte bine: este polemic?, are energia de care am mai zis ?i pe care ai contestat-o, este o asumare sincer? ?i urmând chemarea ta, felul t?u de a vedea lucrurile, de a fi al?turi de „oamenii mari” ?i de a duce împreun? lupta pentru valorile în care crezi. Este vital? ?i, ca la Marino, repeti?ia este motivat? de (?i exprim?) intensitate. A o citi în afara caracterului ei polemic ?i a sensului de afirmare a solidarit??ii cu comunitatea de care te sim?i ata?at? înseamn? a o rata. Cred c? a fost foarte bine s? începi cu cazul Marino, c?ci este exponen?ial, dar ?i mai clar decât altele. (Gabriel Andreescu) Concluzia central? care ascunde chiar miza întregii c?r?i: „Nu cred c? fenomenul globaliz?rii, r?spândit pe mapamond, a cl?tinat identitatea francezilor, a nem?ilor, spaniolilor sau r?d?cinile altor na?iuni. Oricât de straniu ori deplasat ar suna pentru urechile unor comentatori români, adep?i ai politicii corecte, voi spune un adev?r familiar na?iunilor mari ale lumii. Exist? lucruri ce nu pot fi negociate. Între acestea sunt ?ara, familia, limba, identitatea ?i neamul”. Or, în România aceste dimensiuni ale fiin??rii noastre se „negociaz?” de peste dou? decenii, în condi?ii mistificatorii de intimidare, amenin?are c? nu po?i fi „în rândul lumii”, „european” ?i globalist, dac? nu renun?i la propria identitate, la propriile resurse umane, naturale, spirituale. Or, scriitorul român, de la cronicari la ?coala Ardelean?, pa?opti?ti, marii clasici, genera?ia Marii Uniri, cea interbelic? au fost p?zitori ai fiin?ei române?ti prin for?a crea?iei ?i a ethosului lor, cu întrerupere în deceniul proletcultist, pentru a se revigora cu genera?iile lui Nicolae Labi?, a lui Nichita St?nescu, a lui Nicolae Breban, Ioan Alexandru, a lui Cezar Iv?nescu ?i a Aurei Christi, de îndat? ce o parte dintre optzeci?ti s-a trezit din torpoarea simulacrelor postmoderniste. Sintagma din expresia tr?darea scriitorului are, acum, o dubl? trimitere: scriitorul român a fost tr?dat de elitele politice postdecembriste, dup? cum scriitorul, la rându-i, ?i-a uitat menirea de p?zitor al fiin?ei na?ionale. Solu?ia, crede Aura Christi, este, pe de o parte, heideggeriana p?zire a fiin?ei de c?tre poe?i, pe de alta, întoarcerea la vechea tabl? a valorilor europene ?i române?ti, toate abandonate de mentalitatea postmodernist?. (Theodor Codreanu) Ce sunt aceste polemice? O seam? de arabescuri excesive, radiografia patetic? ?i lucid? a unei sfâ?ieri, o serie de tentative de a în?elege, e?uate în neîn?elegere, reportajul unor revolte aneantizate în albia dezn?dejdii ?i a refuzului de a accepta s? asi?ti – redus la mu?enie, deci, vinovat din start – la comercializarea, trivializarea infernului comunist. Proces culminat, incredibil, cu un masacru al inocen?ilor regizat într?un stil de extrac?ie neostalinist?. Cum s? califici altfel vân?toarea de oameni mari, prin care s?a perpetuat europenitatea culturii române în anii dictaturii stalinisto?dejiste? Vân?toare organizat? sub ochii no?tri, în s?rmana noastr? democra?ie. Ce sunt aceste polemice? Poate, un semn al speran?ei c? nu e vândut chiar totul. Nu e terfelit chiar totul. Nu e pierdut chiar totul. (Aura Christi)

ALTHOUGH Rouen is now very far before all the other cities of Normandy in point of magnitude and importance, and though Rollo, in his conquest of the country, made it his principal headquarters and his main stronghold, it did not continue exclusively the residence of the dukes of Normandy in after years. The father of William the Conqueror was Robert, who be-came subsequently the duke, the sixth in the line. He resided, at the time when William was born, in a great castle at Falaise. Falaise, as will be seen upon the map, is west of Rouen, and it stands, like Rouen, at some distance from the sea. The castle was built upon a hill, at a little distance from the town. It has long since ceased to be habitable, but the ruins still remain, giving a picturesque but mournful beauty to the eminence which they crown. They are often visited by tra-velers, who go to see the place where the great hero and conqueror was born.??It was about 870 that Rollo was banished from Norway, and a few years after that, at most, that he landed in France. It was not, however, until 912 that he concluded his treaty of peace with Charles, so as to be fully invested with the title of Duke of Normandy. He was advanced in age at this time, and, after spending five years in settling the affairs of his realm, he resigned his dukedom into the hands of his son, that he might spend the remainder of his days in rest and peace. He died in 922, five years after his resignation.??He was only ten years old when his father was assassinated. He became involved in long and arduous wars with the King of France, which compelled him to call in the aid of more Northmen from the Baltic. His new allies, in the end, gave him as much trouble as the old enemy, with whom they came to help William contend; and he found it very hard to get them away. He wanted, at length, to make peace with the French king, and to have them leave his dominions; but they said, "That was not what they came for." Richard had a beautiful daughter, named Emma, who afterward became a very important political personage, as will be seen more fully in a subsequent chapter.?Richard died in 996, after reigning fifty-four years.

Emmanuel Macron, c??tig?torul alegerilor preziden?iale din Fran?a ?i omul nou al politicii europene, ??i spune pentru prima dat? povestea, vorbind despre ideile care ?l inspir?, despre viziunea sa legat? de stat, cet??eni, Uniunea European?, ?ntr-o lume care se confrunt? cu probleme comune – imigra?ia, locurile de munc?, terorismul –, dar pe care trebuie s? le rezolv?m ?mpreun?.?Revolu?ia lui Macron, alternativa electoral? a Fran?ei la na?ionalismul lui Marine Le Pen, a cucerit imediat opinia public? de pe tot continentul european: o provocare deschis? la adresa populi?tilor ?i a acelora care nu mai cred ?n institu?ii, o revolu?ie f?r? promisiuni de?arte, care ar putea schimba pentru totdeauna modul de a face politic? ?n Europa. O carte puternic?, singular?, care pune bazele unei societ??i cu totul noi.?Sunt absolut convins c? secolul XXI, ?n care ?n sf?r?it am intrat, este ?n egal? m?sur? plin de promisiuni ?i de schimb?ri care ne pot face mai ferici?i. ?i asta v? ?i propun.Aceasta va fi lupta noastr? pentru Fran?a ?i nu ?tiu nimic mai frumos de at?t." –?Emmanuel Macron

n noaptea dinaintea zilei n care mplinea 40 de ani, Rich Roll a avut revelaia nspimnttoare a viitorului su. Cntrind cu aproape 25 de kilograme mai mult dect normalul i incapabil s urce cteva scri fr s gfie, a putut s vad care era rezultatul stilului su de via complet sedentar – i ce fel de schimbare trebuie s adopte pentru a obine rezultate reale. Adoptnd o nou rutin care punea pe primul loc nutriia din plante si antrenamentele zilnice, Rich s-a transformat – n doar cteva luni – dintr-un brbat total ieit din form, ntr-o adevrat mainrie“ destinat sportului de anduran. Omul ultra relateaz cltoria remarcabil a lui Rich spre linia de start a competiiei de elit Ultraman, care i supune pe cei mai n form oameni din lume la un calvar de peste 500 de kilometri strbtui not, pe biciclet i n alergare. i, dup acest test, Rich a trecut cu succes de unul chiar mai dificil: EPIC5 – cinci triatloane pe distana folosit la competiia Ironman, fiecare dintre ele pe o insul diferit din arhipelagul Hawaii, toate finalizate n mai puin de o sptmn. Omul ultra este un portret minunat despre ceea ce poate realiza puterea voinei. Ne provoac pe toi s ne gndim din nou la ce suntem capabili s realizm i ne ndeamn, implicit i explicit, s trecem la treab“.

Far out in the ocean the water is as blue as the petals of the loveliest cornflower, and as clear as the purest glass. But it is very deep too. It goes down deeper than any anchor rope will go, and many, many steeples would have to be stacked one on top of another to reach from the bottom to the surface of the sea. It is down there that the sea folk live. Now don't suppose that there are only bare white sands at the bottom of the sea. No indeed! The most marvelous trees and flowers grow down there, with such pliant stalks and leaves that the least stir in the water makes them move about as though they were alive. All sorts of fish, large and small, dart among the branches, just as birds flit through the trees up here. From the deepest spot in the ocean rises the palace of the sea king. Its walls are made of coral and its high pointed windows of the clearest amber, but the roof is made of mussel shells that open and shut with the tide. This is a wonderful sight to see, for every shell holds glistening pearls, any one of which would be the pride of a queen's crown.

Culorile r?scolite ale oceanului, ce se arunc? furibund spre ??rm, nu cu puterea insuportabil? a unei M?ri, ci cu ?nmiita putere a Oceanului Suprem...; valuri translucide sau verzi, ca ?n Aivazovski, care ?i el trebuie s? fi sim?it Oceanul. Un schifist, siluet? neagr?, de-o grafie subtil?, ?nfrunt?nd coamele ?nspumate. Algele sofisticate de pe plaja cu pietri? foarte m?runt ?i viu colorat (?n locul tradi?ionalului nisip), st?ncile negre, vuietul autoritar al Oceanului, cel mai mare ?i puternic din lume. Extaz f?r? seam?n ?i f?r? cuvinte. Lidia c?nt?. Desc?tu?at?, leg?n?nd ?n m?n? o alg? supl?, coco?at? pe-o st?nc?, ?n cel mai v?dit gen romantic, ?n vreme ce ?iruri de valuri se n?pustesc spre ??rm, explod?nd, readun?ndu-se ?n evantaie de spum?. Ileana ?i Jerry se ?ndep?rteaz? c?teva zeci de pa?i, apoi revin, trec pe l?ng? mine, ?n timp ce filmez, vr?jit, hipnotizat. ?not?torul cu schif a ie?it din valuri, ?l percep cu coada ochiului, ??i adun? sc?ndura, ?ncepe s? urce treptele de lemn din buza falezei, cele pe care am cobor?t ?i noi, acum zece minute. Sau c?nd??i totu?i, ce mi se ?nt?mpl? de-am ame?it a?a? Mi?c infinitezimal aparatul, ?i tot ce intr? ?n cadru mi se pare de domeniul miraculosului. Nu vreau s? pierd nimic. Panoramez, trec de st?nci, spre cealalt? parte a plajei, unde se deschide un golfule? ?i unde coamele de valuri se r?stoarn? sacadat. La o mic? distan??, un ?ir de insuli?e negre, ca ni?te piloni lustrui?i, ?nfrunt?nd hula cea mare. Pelicani pe sus, trec?nd ?ntins spre nord. Extaz ?i sf??iere...

A?k?n ve Hayat?n ??inden Damlalarla Merhaba ?? ?A?k?n; hafiften yüre?e dokunu?uyla, i?imizdeki tutkular?n dizginlenemez halde damla damla ak???d?r belki s?zcüklerde canlanan… Belki de sonsuz renk dans?n?n büyüsünde kaybolmakt?r bir anda hissedilen. Yeni bir y?l?n geli?iyle bir ba?ka rüzg?r?n ak???nda kendini bulmakt?r belki de hayal edilen… Bir de bakm??s?n hayaller i?inde hayat yolundaki serüvenin i?inde buluvermi?sin kendini… ?ocuklar?m?z ayr? bir yer tutarken, gidenlerin ac?s? da derin bir iz b?rakarak bizlerin ya?am?nda yerini al?r ya?ad?klar?mla birlikte. ?? K?r?lma noktam?z olur bazen hayat?n i?inden yüre?e dü?en ac? damlalar, bazen de sevgiliye d?nü?en bir ???l?k olur son s?zü vasiyet gibi yaz?lan ya da hayat ?etelesinde dola??rken, ayk?r? dü?üncelerle beyninin sol yan?yla sa? yan? ?at???r bulursun hayat yolunda… Bazen de s?yleyecek s?z bulamazs?n ve sessiz bir ???l?k g?nderirsin annene; ?aresizli?inin i?inde ?are arayarak… ? Hayat?n sorgularla, sevgilerle dolu ge?erken, gün gelir d??a kapal? dü?ünce kap?lar?n? k?rmak istersin. Kirlenmi?liklerle, ya?arken ?ürüyenlerle, kapanmayan yaralarla, maddiyatla maneviyat? yok etmeye ?al??anlarla ya?arken i?inden gelen bir sesle a?k?n ve hayat?n i?inden dü?en damlalar?n harf harf dizili?iyle ?rülü bir anlat? serüvenidir sayfalara yans?yan. ??yle bir an gelir ki seslenirsin; elveda son sayfam?n, son tümcesinin, son noktas?…?

Bu ?yküler okuru yüz y?l ?ncesine ta??yarak toplumun hangi evrilmelerden ge?ti?ine ???k tutuyor. Ayn? zamanda 1953’de ba?lay?p 68’lerde sonu?lanan a?alar?n doymak bilmeyen toprak h?rs? yüzünden y?redeki Elmal? Avlan, S??üt ve G?lhisar G?llerinin kurutulup topra??n?n payla??lmas?ndaki e?itsizlikler ve bu durum kar??s?nda y?re insan?n?n duru?u tüm y?nleriyle ele al?n?rken, güncelli?ini yitirmeyen ?evre y?k?mlar?n? g?zler ?nüne serer. Ayr?ca u?runa türküler yak?lan, ?lümüne ya?anan a?k ?yküleri, yüz y?ld?r susmayan türkülerin ?yküsü Gahbe Gen?lik anlat?l?r. Bu y?nüyle halk ?ykücülü?üne yak?n yal?n bir dil kullan?lm??. Co?rafya insanlar? ?ekillendirirken, insanlar da üzerinde ya?ad??? co?rafyaya anlam kazand?r?r. Toplumlar diliyle, ya?ad?klar?yla co?rafyalar?nda ?nemli izler b?rak?r. Bu y?nüyle istedim ki yazd?klar?m co?rafyan?n bir belle?i olsun. Bu ?yküler okuru yüz y?l ?ncesine ta??yarak toplumun hangi evrilmelerden ge?ti?ine ???k tutuyor. Ayn? zamanda 1953’de ba?lay?p 68’lerde sonu?lanan a?alar?n doymak bilmeyen toprak h?rs? yüzünden y?redeki Elmal? Avdan, S??üt ve G?lhisar G?llerinin kurutulup topra??n?n payla??lmas?ndaki e?itsizlikler ve bu durum kar??s?nda y?re insan?n?n duru?u tüm y?nleriyle ele al?n?rken, güncelli?ini yitirmeyen ?evre y?k?mlar?n? g?zler ?nüne sermeye ?al??t?m. Ayr?ca u?runa türküler yak?lan, ?lümüne ya?anan a?k ?yküleri ve yüz y?ld?r susmayan türkülerin ?ykülerini yazd?m. Bu y?nüyle halk ?ykücülü?üne yak?n yal?n bir dille anlatmaya ?al??t?m. “G?l Hikayeleri / Gahbe Gen?lik” size ge?mi?in izlerinde sessiz, sakin ama derin, bir gezinti yapt?raca??n? dü?ünüyorum. ???????????????????????????????????????????????????????????????????????? HAL?L ERDEM 1961 Dirmil-Burdur do?umlu. Gazi ?niversitesi E?itim Fakültesi S?n?f ??retmenli?ini bitirdi. Türk?e B?lümünde lisans tamamlad?. Kar Ayd?nl??????????? (Roman)?????? Fam Yay?nlar? 2014 Dirmil ?mürcüsü (Roman)?????? Fam Yay?nlar?2006- 2014 Goca Meryem????? (Roman)?????? Fam Yay?nlar? 2014 Tokat?????????????????????? (?ocuk Roman?) Kendi Yay?n? 2013 Teke Y?resi Halk ?nan?lar? (Ara?t?rma - inceleme) Kendi Yay?n? 2008 Karacao?lan Gelene?inde Dirmil Güzellemeleri ve ?yküler (Ara?t?rma inceleme) 2011 Alter Yay. Gece Mavisinde A?k???? (?iir)?????? Kendi Yay?n? 1998 Ve Al???ld? ?lüme?????????? (?iir )????? Temmuz Yay?nlar? 1990 Kardan Adam??????? (?ocuk ?iirleri) Kendi Yay?n? 1998 I??k Avc?lar???????????? (?ocuk ?iirleri) Kendi Yay?n?) 2013 ??pten ??rendi?im Hayat?? ?ocuk Kitab?????????????? 2015 G?l Hikayeleri?????????? (?ykü)???????????????????????????????????? 2015 ? ?iir ve yaz?lar?n? Bah?e, Mavi Umut, Bahar, ?al?, ??retmen Dünyas?, Dirmil, Noktam, Bezuvar, süje, Kar dergilerinde yay?nlad?. Beykonak E?itim ve Kültür Vakf? Yirce ?iir Yar??mas?nda. Ne-Var Yok ?iiriyle Birincilik ald?.(2004) Resim ?al??malar?n? da yürüten Halil ERDEM 3 ki?isel, 25 karma resim sergi etkinli?inde bulundu.

“Love thy God, and love Him only,And thy breast will ne’er be lonely.In that One Great Spirit meetAll things mighty, grave, and sweet.Vainly strives the soul to mingleWith a being of our kind;Vainly hearts with hearts are twined:For the deepest still is single.An impalpable resistanceHolds like natures still at distance.Mortal: love that Holy One,Or dwell for aye alone.”De Vere In no province of the vast Roman empire, as it existed in the middle of the third century, did Nature wear a richer or a more joyous garb than she displayed in Proconsular Africa, a territory of which Carthage was the metropolis, and Sicca might be considered the centre. The latter city, which was the seat of a Roman colony, lay upon a precipitous or steep bank, which led up along a chain of hills to a mountainous track in the direction of the north and east. In striking contrast with this wild and barren region was the view presented by the west and south, where for many miles stretched a smiling champaign, exuberantly wooded, and varied with a thousand hues, till it was terminated at length by the successive tiers of the Atlas, and the dim and fantastic forms of the Numidian mountains. The immediate neighbourhood of the city was occupied by gardens, vineyards, corn-fields, and meadows, crossed or encircled here by noble avenues of trees or the re-mains of primeval forests, there by the clustering groves which wealth and luxury had created. This spacious plain, though level when compared with the northern heights by which the city was backed, and the peaks and crags which skirted the southern and western horizon, was discovered, as light and shadow travelled with the sun, to be diversified with hill and dale, upland and hollow; while orange gardens, orchards, olive and palm plantations held their appropriate sites on the slopes or the bottoms. Through the mass of green, which extended still more thickly from the west round to the north, might be seen at intervals two solid causeways tracking their persevering course to the Mediterranean coast, the one to the ancient rival of Rome, the other to Hippo Regius in Numidia. Tourists might have complained of the absence of water from the scene; but the native peasant would have explained to them that the eye alone had reason to be discontented, and that the thick foliage and the uneven surface did but conceal what mother earth with no niggard bounty supplied. The Bagradas, issuing from the spurs of the Atlas, made up in depth what it wanted in breadth of bed, and ploughed the rich and yielding mould with its rapid stream, till, after passing Sicca in its way, it fell into the sea near Carthage. It was but the largest of a multitude of others, most of them tributaries to it, deepening as much as they increased it. While channels had been cut from the larger rills for the irrigation of the open land, brooks, which sprang up in the gravel which lay against the hills, had been artificially banked with cut stones or paved with pebbles; and where neither springs nor rivulets were to be found, wells had been dug, sometimes to the vast depth of as much as 200 fathoms, with such effect that the spurting column of water had in some instances drowned the zealous workmen who had been the first to reach it. And, while such were the resources of less favoured localities or seasons, profuse rains descended over the whole region for one half of the year, and the thick summer dews compensated by night for the daily tribute extorted by an African sun.

Theodore Roosevelt had the good fortune to be born of a well-known, long-established family, with every facility for education and with an atmosphere of patriotism and disinterested service both to country and humanity all about him. In his father he had before him an example of lofty public spirit, from which it would have been difficult to depart. But if the work of his ancestors relieved him from the hard struggle which meets an unaided man at the outset, he also lacked the spur of necessity to prick the sides of his intent, in itself no small loss. As a balance to the opportunity which was his without labor, he had not only the later difficulties which come to him to whom fate has been kind at the start; he had also spread before him the temp-tations inseparable from such inherited advantages as fell to his lot—temptations to a life of sports and pleasure, to lettered ease, to an amateur's career in one of the fine arts, perhaps to a money-making business, likewise an inheritance, none of them easily to be set aside in obedience to the stern rule that the larger and more facile the opportunity the greater and more insistent the responsibility. ? About Author: ? henry Cabot Lodge (May 12, 1850 – November 9, 1924) was an American Republican Senator and historian from Massachusetts. Lodge received his PhD in history from Harvard. Lodge was a long-time friend and confidant of Theodore Roosevelt. Lodge had the role (but not the official title) of the first Senate Majority Leader. He is best known for his positions on foreign policy, especially his battle with President Woodrow Wilson in 1919 over the Treaty of Versailles. Lodge demanded Congressional control of declarations of war; Wilson refused and blocked Lodge's move to ratify the treaty with reservations. As a result, the United States never joined the League of Nations.Historian George E. Mowry argues that: Henry Cabot Lodge was one of the best informed statesmen of his time, he was an excellent parliamentarian, and he brought to bear on foreign questions a mind that was at once razor sharp and devoid of much of the moral cant that was so typical of the age....[Yet] Lodge never made the contributions he should have made, largely because of Lodge the person. He was opportunistic, selfish, jealous, condescending, supercilious, and could never resist calling his opponent's spade a dirty shovel. Small wonder that except for Roosevelt and Root, most of his colleagues of both parties disliked him, and many distrusted him. * * *

"Volumul Picaj al Ioanei Miron e de fapt un poem amplu scris parc? sub imperiul aceleia?i st?ri, una a dezordinii interioare, a hausului existen?ial. Poezia ?ncearc? s? pun? ordine ?ntr-o lume dezmembrat? ?i schizoid?. Spa?iile psihice sunt ?n acord cu toate acele lucruri dezlocuite de sens. Cea care a decis s? dep??easc? un oarecare prag existen?ial are nevoie de o propulsare spre altceva cu adev?rat autentic ?i plin de con?inut. De aici, un r?zboi interior, o tenta?ie a punctului zero, un picaj. Cartea nu descrie traiectoria descendent? a unui spirit din ce ?n ce mai lucid. Nu e vorba aici de o probu?ire, dup? cum ar putea sugera titlul. Confruntarea cu limita (suportabilit??ii?) stimuleaz? ?nfiriparea unei dimensiuni material-spiritual?. Materialitatea dur?, abraziv?, t?ioas? poate fi ?n?eleas? ?n dou? feluri: ca nevoie de echilibru, de fixitate ?i, mai plauzibil, ca o ?ngreunare a spiritului dornic de libertate. Dincolo de toate acestea, timpul cunoa?te reprezent?ri clar delimitate:? ?ncet ?ncet ne facem loc aici/ o s? ne aciu?m mai bine/ cine ne spune cu adev?rat cine suntem cine o s? ne descopere/ de ce s? taci ?ine-m? bine minte/ ?mpreun? am scotocit prin d?rm?turi/ ?i cu toate astea n-ai dat impresia de nesiguran??/ s?-mi poveste?ti ce ?i c?nd/ cum ?i de ce se ?nt?mpl? s? mai ?i uit?m/ ?n lipsa concentr?rii aerul devine ?ngust/ & str?zile cu tot restul/ bitimul cald ?mp?ienjenit privirile ?ntinse/ un loc sigur ?n care te infiltrezi”." (?erban Axinte) "Poezia Ioanei Miron face chiar lucrurile pe care teoriile literare au ?ncercat mereu f?r? succes s? le explice. Alege diferite scenarii existen?iale ?i decupeaz? secven?ele relevante pentru circula?ia unei energii speciale. Face acest lucru chiar ?i atunci c?nd reformuleaz? mizele t?cerii: "am ?nv??at s? mim?m t?cerea/ despre noi ?i despre al?ii am ?nv??at/ s? fim o singur? gur? din care iese orice imbold orice/ striden??". Arta Ioanei Miron ?ine mai ales de injectarea cu for?? a unor expresii al c?ror sunet pare str?in de ceea ce ?tim deja c? este poezie ?i totul se ?nt?mpl? contur?nd circuite controlate poetic. Dintre variantele de titlu pe care Ioana Miron mi le-a ar?tat, "Blocaje tactile" era sintagma care mie mi se p?rea c? sugereaz? linia investiga?iei poetice din acest volum: "schimb?ri comune gesturi banale/ facem corp comun cu obiectele/ am stat pe iarb? important e s? fim ?n locuri cunoscute ?i/ sigur te-a? convinge/ s? ne ?nt?lnim la ?nt?mplare s? ?nlocuim/ aerul cu sufl?rile tale tactile/". S-ar putea s? m? fi ?n?elat, ?ns? picajul este numai cadrul acestui demers ?n care se ?nc?p???neaz? Ioana Miron, ?n ciuda tuturor celor care ?in s? rezume poezia la fluctua?iile ipocriziei militante." (R?zvan ?upa)

Primul meu interviu cu Florian Lungu s-a consumat la sf?r?itul anului 1994, ?n c?m?ru?a sa de la cap?tul etajului IV din Radio, acolo unde cutiile cu benzile de magnetofon st?teau mai s? cad? peste el, printre ness-uri ?i ?ig?ri. Ideea era s? apar? ?n revista ?Panoramic Radio-TV” ?n jur de 5 ianuarie, c?nd e n?scut. ?i aceast? carte trebuia s? apar? pe 5 ianuarie 2016, dar n-a fost s? fie; ?ns? mai bine mai t?rziu… ?n fine, au trecut peste 20 de ani, eu am avut privilegiul – ca redactor TVR – s?-l intervievez ?nc? de multe ori, s? realizez chiar o emisiune la TVR Cultural, vreo doi ani, numit? ?Jazz Restitutio”, ?ntr-un studiou improvizat la Mo?u acas? – el antama invitatul, ?l aducea acolo, noi filmam dialogul dintre cei doi ?i ad?ugam imaginile de ilustra?ie, deopotriv? arhiv? ?i evenimente recente. Am tr?it momente inedite al?turi de candidul ?i glume?ul jazzman ?i jazzolog (de?i de c?nd se ?tie a luat aceast? muzic? ?n serios c?t i-a stat lui ?n putin??, ba ?i ?n exces, ceea ce i-a afectat s?n?tatea grav ?n mai multe r?nduri). Nu se pot uita bancurile lui Mo?u de la G?r?na, spuse pe marea scen?, ca ?i modul ?n care prezint? el sponsorii festivalului, martori sunt spectatorii (cu zecile de mii) de la fiecare edi?ie. ?n particular, eu p?strez mai multe amintiri: o tab?r? de jazz de la Jup?ne?ti, primul interviu filmat ?n care mi-a vorbit de Richard Oschanitzky, prima lui ?nt?lnire cu Alexander B?l?nescu (aranjat? de noi la un hotel, atunci c?nd muzicianul a lansat ?n concert discul ?Maria T”), dialogul s?u cu Johnny R?ducanu filmat ?n Club A pentru emisiunea ?Remix”, ori acela cu marele pianist Jancy Korossy, acas? la Mo?u, pentru ?Jazz Restitutio”… (Doru Ionescu)

Homo brucans e o carte interdisciplinar?, multifa?etat?, de ?inut? preponderent hermeneutic?, axat? pe teme legate de interpretarea Vechiului ?i Noului Testament (eseuri pe Decalog, pe personalitatea Sf. Pavel sau pe semnifica?ia mitic? ?i religioas? a cenu?ei), pe R?zboiul Rece, Revolu?ia Rus? ?i Contracultura anilor ‘60 (eseuri despre decantarea mediatic? ?n Rom?nia a revoltelor studen?e?ti din anul 1968, futuri?ti, violen?a lui Lenin sau despre The White Negro al lui Norman Mailer), pe aspecte structurale ale literaturii rom?ne din perioada de dup? Revolu?ia din decembrie 1989 (teme de genul: impactul lui Silviu Brucan asupra mentalit??ii postrevolu?ionare, identitarul rom?nesc difuz pe Internet, dinamica genera?ional? a literaturii rom?ne, rolul dinamizator al lui Marin Mincu ?i Adrian Marino), pe psihoistorie (cu un portret al lui Loyd deMause ?i o radiografie a concep?iilor sale). ?n final, cartea se ?ncheie cu decantarea eseistic? a unei c?l?torii ?n India, prilej de evocare a personalit??ii lui Mircea Eliade.

Cosmoza, demonstrat? aproape matematic ?ntr-o construc?ie original?, este drumul sacru al ?mplinirii. Iubirea cosmic? e ideea de raport ?ntre Dumnezeu ?i lume, un raport ?ntemeiat pe compatibilitate ?i justificat prin deosebire. F?r? ea, crea?ia s-ar destr?ma. Cu ea, cele dep?rtate se apropie, se unesc, se ?nal?? ?i devin asemenea. Un parcurs temerar al g?ndului ?ntre generarea, degenerarea ?i regenerarea noastr?.Un demers care une?te prin metafizic? ?i metafor? trecutul cu viitorul, Orientul cu Occidentul, credin?a cu ?tiin?a, matematica cu teologia. Un eseu holistic profund ?i liric pres?rat cu sentin?e ingenue ?i disec?ii nemiloase. O carte despre cunoa?tere, care se cite?te cu creionul ?n m?n?...

Lucrarea de fa?? are ?n vedere tratarea unei adev?rate realit??i europene ?nc? nerezolvat?: migra?ia. Ea este un fenomen cu care se confrunt? aproape toate popoarele lumii, efectele ei marc?nd societatea, fie din perspectiva celor care pleac? dintr-o ?ar? (a emigran?ilor), fie din perspectiva celor care vin ?ntr-o ?ar? (a imigran?ilor). Personal eu am sim?it emigra?ia ca pe o tr?ire pe un interval ?n care omul vie?uie?te ?ntre dou? lumi, lumi ca dou? p?r?i din sine pe care nu poate s? le mai uneasc? pentru a fi un ?ntreg. Lectura acestei lucr?ri este o incursiune ?n via?a emigrantului, cu motiva?ia lui, cu lumea lui din ?ara de unde pleac?, cu lumea lui ?n ?ara unde se a?az?, cu efectele ?i schimb?rile pe care le provoac? acest fenomen la nivel individual ?i social. Este o incursiune ?n apropierea unor realit??i occidentale unde emigran?ii ?ncearc? s? supravie?uiasc? discrimin?rilor ?i umilin?elor. Este tr?irea re?ntoarcerii acas?, ?n apropierea anotimpurilor ?i a eternit??ilor rom?ne?ti.

Volumul este c??tig?torul Concursului de Debut organizat de Editura Adenium, sec?iunea ?Teatru“, ?i con?ine dou? piese ce readuc ?n prim-plan vechi personaje mitologice (Dionysos, Medeea, Electra, Antigona, Penteu) ?i literare (Don Quijote, Dulcinea, Arlechino, Pulcinella, Trufaldino), dintr-o perspectiv? liric?, dar ?i umoristic?.

Volumul De unde stau eu pot vedea cerul este c??tig?torul Concursului de Debut, sec?iunea Poezie, organizat de Editura Adenium ?n anul 2014.Volumul cuprinde trei sec?inui ?n care poemele se ?n?iruie ca o poveste intim? care merit? citit? pe ner?suflate. Poezia Ioanei Du?? este una feminin?, confesiv?, cald?, liric?, direct?, cu accente ironice. Cititorul este plasat ?n microuniversul autoarei, tensiunea creat? de aceasta fiind conving?toare.

Se poate comunica i e necesar sǎ se comunice cu valorile literaturii universale, pǎstrandu-se o perspectivǎ istoricǎ, citindu-l pe Sofocle ca pe contemporanul lui Pericle. Dar, am nceput sǎ nelegem, spre deosebire de secolul trecut, istoricist, cǎ tot att de necesarǎ, ba poate chiar mai fecundǎ, e o comunicare cu trecutul, adoptndu-se o perspectivǎ actualizatoare, citindu-l pe Sofocle ca pe contemporanul nostru. Dincolo de aceastǎ perspectivǎ care, n cele din urmǎ, e i ea oarecum istoricistǎ, doar cǎ istoria e localizatǎ n actualitate, se deschide o perspectivǎ a sincroniei literare care dispune sǎ-l citim pe Sofocle ca pe contemporanul nimǎnui ori al tuturor, ca pe un martor al esenialitǎii umane i nu numai al unei existene istoric cantonate. ncercare ambiioasǎ, ce nǎzuiete sǎ derelativizeze valorile literar-artistice, pǎstrnd totodatǎ contiina unei relativitǎi a formelor i figurilor pe care o hermeneuticǎ a textelor se cuvine sǎ o punǎ n luminǎ. Relativitate impusǎ chiar de prezena autorului, a cititorului interpret, a scriitorului i hermeneutului n comentariile sale. n cartea aceasta a attor cǎri, scribul interpret apare n textele sale ca i pictorul ce se zugrǎvete pictnd n propriile sale tablouri. Sǎ-i fie iertatǎ aceastǎ ultimǎ deertǎciune.” (Nicolae Balot)