Schlesak l combin pe Bakunin cu Marx i era sedus de modelul politic iugoslav. “Teoria tnrului Marx (preluat de la Hegel): realizarea i autorealizarea.“ Dictatura i aprea nc umana, aproape de o forma de realitate i de trirea autentic. Libertatea occidental ar fi creat doar un context amorf. n acest inacceptabil context, nu caut o ieire practic, optnd pentru una teoretic, teoria fiind suficient siei i dizlocnd tot restul. “Nu de soluii, ci de utopii, de ieiri, de asta avem nevoie.“ (dec. 1971) epeneag nu gndea diferit. i el definea contextul social i politic n termeni identici. Accepta i modelul iugoslav. i gsea calitatea de a fi joncional. “Iugoslavia poate juca rolul de punct de contact.“ Nu degeaba se spune: Historia magistr vitae! Istoria (realitatea, contextul) dicteaz modurile de a gndi, prea puin retrospectiv, vag proiectiv, ntr-un prezent tranzitoriu, amorf i (n)formal. La 12 august 1973, urma modelul ceh, “opoziie pe fa“ i-i schia corespondentului su un plan de colaborare.“Un eseu incitant despre unul dintre cei mai importani scriitori romni de expresie germana, stabilii n Italia.

Vrnd s fac un dar poeilor romni – de la care n tineree am primit inestimabile daruri, Nichita, Cezar, Grigore – am ndrznit o versiune romneasc a intraductibilelor i abstruselor poeme rilkeene. Mostre supreme ale unui discurs poetic somnambulic, desfidnd nu numai logica i sintaxa curent dar i cea poetic, aceste Elegii… sunt, cred eu, un vrf dac nu un monument al spiritualitii moderne europene. Sunt fericit ca limba romn a strmoilor mei i a marilor poei romni a primit i a putut cuprinde arta poetului austriac, ce se clatin i cuvnt ntr-un aer de o tensiune insuportabil, ntre Pindar i Holderlin, un monument de vrf inegalabil, cu siguran, al creaiei europene.“ (Nicolae Breban)

Michael Faraday (1791 –1867) was an English scientist who contributed to the fields of electromagnetism and electrochemistry. His main discoveries include those of electromagnetic induction, diamagnetism and electrolysis. Although Faraday received little formal education, he was one of the most influential scientists in history. It was by his research on the magnetic field around a conductor carrying a direct current that Faraday established the basis for the concept of the electromagnetic field in physics. Faraday also established that magnetism could affect rays of light and that there was an underlying relationship between the two phenomena. He similarly discovered the principle of electromagnetic induction, diamagnetism, and the laws of electrolysis. His inventions of electromagnetic rotary devices formed the foundation of electric motor technology, and it was largely due to his efforts that electricity became practical for use in technology. As a chemist, Faraday discovered benzene, investigated the clathrate hydrate of chlorine, invented an early form of the Bunsen burner and the system ofoxidation numbers, and popularised terminology such as anode, cathode, electrode, and ion. Faraday ultimately became the first and foremost Fullerian Professor of Chemistry at the Royal Institution of Great Britain, a life-time position.. Faraday was an excellent experimentalist who conveyed his ideas in clear and simple language; his mathematical abilities, however, did not extend as far as trigonometry or any but the simplest algebra. James Clerk Maxwell took the work of Faraday and others, and summarized it in a set of equations that is accepted as the basis of all modern theories of electromagnetic phenomena. On Faraday's uses of the lines of force, Maxwell wrote that they show Faraday "to have been in reality a mathematician of a very high order – one from whom the mathematicians of the future may derive valuable and fertile methods." The SI unit of capacitance is named in his honour: the farad. Albert Einstein kept a picture of Faraday on his study wall, alongside pictures of Isaac Newton and James Clerk Maxwell. Physicist Ernest Rutherford stated; "When we consider the magnitude and extent of his discoveries and their influence on the progress of science and of industry, there is no honour too great to pay to the memory of Faraday, one of the greatest scientific discoverers of all time". ABOUT AUTHOR: John Tyndall (1820 – 1893) was a prominent 19th-century Irish physicist. His initial scientific fame arose in the 1850s from his study of diamagnetism. Later he made discoveries in the realms of infrared radiation and the physical properties of air. Tyndall also published more than a dozen science books which brought state-of-the-art 19th century experimental physics to a wide audience. From 1853 to 1887 he was professor of physics at the Royal Institution of Great Britain in London. Tyndall was born in Leighlinbridge, County Carlow, Ireland. His father was a local police constable, descended from Gloucestershire emigrants who settled in southeast Ireland around 1670. Tyndall attended the local schools in County Carlow until his late teens, and was probably an assistant teacher near the end of his time there. Subjects learned at school notably included technical drawing and mathematics with some applications of those subjects to land surveying. He was hired as a draftsman by the Ordnance Survey of Ireland in his late teens in 1839, and moved to work for the Ordnance Survey for Great Britain in 1842. In the decade of the 1840s, a railroad-building boom was in progress, and Tyndall's land surveying experience was valuable and in demand by the railway companies. Between 1844 and 1847, he was lucratively employed in railway construction planning. In 1847 Tyndall opted to become a mathematics and surveying teacher at a boarding school (Queenwood College) in Hampshire. Recalling this decision later, he wrote: "the desire to grow intellectually did not forsake me; and, when railway work slackened, I accepted in 1847 a post as master in Queenwood College." Another recently arrived young teacher at Queenwood was Edward Frankland, who had previously worked as a chemical laboratory assistant for the British Geological Survey. Frankland and Tyndall became good friends. On the strength of Frankland's prior knowledge, they decided to go to Germany to further their education in science. Among other things, Frankland knew that certain German universities were ahead of any in Britain in expe-rimental chemistry and physics. (British universities were still focused on classics and mathematics and not laboratory science.)The pair moved to Germany in summer 1848 and enrolled at the University of Marburg, where Robert Bunsen was an influential teacher. Tyndall studied under Bunsen for two years.

This Housemartin Classics edition includes the full original text as well as an easy to use interactive table of contents.

B?R DAMLA SEVG?YLE MERHABA ?Dokunan hafif bir esinti, bir damla ya?, bir kü?ük ka?amak bak??tan ve bir tatl? s?zden sonra yüre?in ?eperlerine yap???p kalan a?k?n izleriyle dolu ya?amakt?r belki de istenilen… ??zlemek sevgiyle yüre?e dokunmaksa; bir tatl? s?z, bir gidenin ard?ndan kalan iz, bir hüzün i?indeki umutsuzluklarda bile, umut arayan kalple var olmakt?r kimbilir belki de i?imizde kalan… ??zlemek; a?k?n g?zya?lar?nda, yar?n? olmayan a?klarda ve bir garip a?k?n i?inde bile mutlulu?u, sevginin kanatlar?nda ?zlemle arayarak yazmakt?r belki de sayfalarda saklanan… ?Kim bilir belki de sevgiyi i?inde bularak kanatlanmakt?r, kanats?z hallerinde bile ?zlemle a?ka u?makt?r… ?Her okunan ?iirin i?inde hissedebilmektir belki de; tarifi olmayan, tarifsiz o duyguyu, yüre?indeki bir k?v?lc?m ate?iyle canland?r?p ya?atabilmektir belki de arzulanan... ?Sevgiyle dolu sayfalarda, hissettiklerinizi bulup dolu dolu ya?aman?z dile?iyle… Cengiz ?ET?K 1964 y?l?nda Konya/Karap?nar do?du. ?lkokulu Emirgazi il?esinde okudu. Ortaokulu ve liseyi Karap?nar’da okudu. Endüstri Meslek Lisesi Torna tesviye’den mezun oldu. 1989 y?l?nda Burdur E?itim Yüksek Okulu’ndan S?n?f ??retmeni olarak mezun olduktan sonra 1990 y?l?ndan bu yana zaman zaman idarecilik yapsa da ?u an Uzman S?n?f ??retmeni olarak ?al??makta olup iki k?z babas?d?r. 1986 y?l?nda ilk ?yküsü “sonun Ba?lang?c?” bir sinema dergisinin a?t??? yar??mada birinci gelmi?tir. Finike yerel gazetelerinde 2005 y?l?ndan sonra bir?ok k??e yaz?lar? yay?nland?. 2006 y?l?nda ilk ?iir kitab? “Son S?züm Sana Gülüm” yay?nlad?. ?kinci kitab? “Siyahlarday?m Alev Bak??l?m” 2008 y?l?nda yay?nland?. Ayr?ca güfte halinde “ Siyahlarday?m” 2010 y?l?nda ve “Vazge? G?nlüm” 2016 y?l?nda iki ?iiri bestelenip ?ark? olarak hayat bulmu?tur. 2017 y?l? son ay?nda ilk bilimkurgu roman? “Pokentranl? G?kmen” okurlar?yla tan??t?.

On the second day of July in the year 1863 the Civil War in America was at its height. Late in the preceding month Lee had turned his face northward, and, with an army of a hundred thou-sand Confederate soldiers at his back, had marched up into Penn-sylvania. There was little to hinder his advance. Refraining, by reason of strict orders, from wanton destruction of property, his soldiers nevertheless lived on the rich country through which they passed. York and Carlisle were in their grasp. Harrisburg was but a day’s march away, and now, on this second day of July, flushed with fresh victories, they had turned and were giving desperate battle, through the streets and on the hills of Gettysburg, to the Union armies that had followed them. The old commonwealth was stirred as she had not been stirred before since the fall of Sumter. Every town and village in the state responded quickly to the governor’s call for emergency troops to defend the capital city. Mount Hermon, already depleted by gen-erous early enlistments, and by the draft of 1862, gathered to-gether the bulk of the able-bodied men left in the village and its surroundings, and sent them forth in defense of the common-wealth. Not that Mount Hermon was in especial danger from Lee’s invasion, far from it. Up in the northeastern corner of the state, on a plateau of one of the low foot-hills of the Moosic range, sheltered by the mountains at its back, it was well protected, both by reason of distance and location, from the advancing foe. But Mount Hermon was intensely patriotic. In the days preceding the Revolution the sturdy pioneers from Connecticut had met the equally sturdy settlers from the domain of Penn, and on this plateau they had fought out their contentions and settled their differences; the son of the Pennamite had married the daughter of the Yankee; and the new race, with love of country tingeing every drop of its blood a deeper red, had stayed on and possessed the land. So, on this July day, when the armies of North and South were striving and struggling with each other in bloody combat back and forth across the plain and up the hills of Gettysburg, Mount Hermon’s heart beat fast. But it was not for themselves that these people were anxious. It was for the fathers, husbands, sons, lovers in that army with which Meade, untried and unproven, was endeavoring to match the strategy and strength of Lee. News of the first day’s skirmishing had reached the village, and it was felt that a great battle was imminent. In the early evening, while the women were still busy at their household tasks, the men gathered at the post-office and the stores, eager for late news, anxious to discuss the situation as they had learned it. In the meantime the boys of the town had congregated on the village green to resume the military drills which, with more or less frequency, they had carried on during the summer. These drills were not wholly without serious intent. It was play, indeed; but, out of the ranks of these boys, three of the older ones had already gone to the front to fight real battles; and it was felt, by the men of the town, that the boys could not be too thoroughly imbued with the military spirit. So, on this July evening, wakened into new ardor by the news from Gettysburg, they had gathered to resume their nightly work—and play.There were thirty-three of them, ranging in years all the way from eight to eighteen. They were eager and enthusiastic. At the command to fall in there was much pushing and jostling, much striving for desirable places, and even the young captain, with great show of authority, could not quite adjust all differences to the complete satisfaction of his men.Before the confusion had wholly ceased, and while there were still awkward gaps in the ranks, a tall, straight, shy-mannered boy of seventeen, who had remained hitherto on the outskirts of the group, quietly slipped into one of the vacant places.

Yirmi birinci yüzy?lda, teknolojik geli?melerin de etkisiyle, büyük bir "öz güven patlamas?" ya?ayan insanl?k; kurulu?undan bu yana kendi yasalar?na göre çal??an ba?ta ekolojik sistem olmak üzere: Biyolojik ve jeolojik sistemlere müdahale ederek; kendi kurallar?na göre de?i?tirmeye kalkt?. ??te, ba?ta baz? hastal?klar olmak üzere; birçok sorunlar da burada ortaya ç?kt?. Maalesef bugün nerede ise hepimiz, hastay?z! Hastal?klar?m?z?n ise çe?it çe?it ad? olsa bile en yayg?n olan?: "Parçalama Hastal???" olup çok da kolay tedavi edilebilecek gibi de görünmemektedir.Günümüzde, teknolojik geli?mi?li?in de etkisiyle: ?nsano?lu, bütünü anlamak için onu parçalamay? seçti. Parçalar? üzerinden bütünü; anlamaya ve tan?maya çal??maktad?r.. Oysa ki, parçalar? birle?tirerek bütünü tan?mak hem daha kolay, hem de daha do?al bir yöntem oldu?unu da bilmesine ra?men.Y?llard?r; maddeleri parçalad?k yetmedi. Atomlar? parçalad?k bitmedi. Bu i? daha nereye kadar gidecek? Ve ne kadar daha sürecek? Bilinmez! Ancak bizler, bir an önce maddeleri ve sistemleri parçalamaktan vazgeçmek mecburiyetindeyiz! Yoksa: Korkar?m çok yak?nda, yeryüzündeki ya?am? kökünden bitirece?iz!..Bu arada, baz? "Laboratuvar Ka?iflerine" de birkaç hat?rlatmada bulunmak isterim:Hani; Sizlerin, mikro organizmalar? incelemek için hergün bakt???n?z o devasa büyüteçler'iniz (Dev Elektron Mikroskoplar?n?z) var ya! ??te o büyüteçler; inceledi?iniz o organizmalar?, sizlerin gözünde milyonlarca kez büyütmekte iken; sizleri de belki onlar?n "gözünde" milyonlarca kez küçültüyor olmas?nlar (?) Yine: Belki de sizler; onlar? tan?maya çal???rken; onlar da bizleri anlamaya çabal?yor olmas?nlar? Dahas?: Belki de onlar da bizleri merak ediyorlard?r (?) Kim bilir? Ne dersiniz? Bir de böyle dü?ünmeyi denemelisiniz!.."LABORATUARDAK? ?BL?S"{???R L?STES? & ?Ç?NDEK?LER}:YAZAR HAKKINDA {ÖZ GEÇM??}TANITMALIK {PROSPEKTÜS}T?N VE TENZERRELABORATUARDAK? ?BL?SB?ZDEN M?D?R?RUH YARASIKONDUNEFES?ST?R?DYEN?N HÜNER?MOLEKÜLER SEYAHATYARI?L?NÇHIZ/HAZ ÇEL??MECES?HAL?S YAPAYLIKLAR D?YARINDA -1MAZ?DEK? AYAK ?ZLER?MMAN?SA TARZANIARKA KAPAK?a’irin Yay?nlanm?? Di?er Kitaplar?VEYSEL TOPALO?LU (?A?R; SADEKUL)

Este un autoportret al cunoa?terii personale, un autoportret schi?at ?n timp real, sub ochii cititorului, pe m?sura ce Lara ia cuno?tin?? de st?rile emo?ionale prin care trece, ??i analizeaz? sentimentele, rezultatul posibilelor ac?iuni, analizeaz? deciziile pe care le ia, consecin?ele posibile. Dilema declarat? a Larei este: cum ?mpaci nevoia inimii pentru noutate, pentru tr?iri spontane, cu monotonia mariajului, chiar dac? acesta e fericit? Con?tiin?a sa este prins? ?ntre dragostea pentru so?ul cu care ?tie c? se potrive?te ca structur? ?i pe care ?l iube?te, ?i efervescen?a aventurii cu un alt b?rbat, care ?i furnizeaz? spontanul dup? care t?nje?te. Romanul se concentreaz? pe amant ?n mod deliberat. Lara este perfect con?tient? de r?ul pe care ?l produce celor trei personaje ?mplic?te: so?, amant, ?i ei ?ns??i. Perioada ?n care este creat ?i definitivat autoportretul sunt ultimii ai comunismului, anii ?n care priva?iunile impuse popula?iei sem?nau mai degrab? cu priva?iunile unui r?zboi. Cu toate acestea, eroina se concentreaz? cu ?nc?p???nare pe iubirea ei, pe mi?c?rile sufletului ei, refugiindu-se ?n tr?irile proprii ?i reu?ind astfel s? se salveze de autocomp?timire ?i s? supravie?uiasc? ?ntr-o aparent? normalitate.

Titlul se refer? la ceea ce autorul c?r?ii consider? esen?a mitului faustic: surmontarea limitelor cunoa?terii ?i tenta?ia spre ceea ce exist? dincolo, necunoscutul sau imposibilul ?n ordinea normal? a lumii. Tenta?ia limitei ?i limita tenta?iei este o investigare critic? a ideilor ?i motivelor din perspectiva unui comparatism orientat spre filosofie ?i estetic?, pe care profesorul universitar clujean, Vasile Voia, l-a practicat consecvent ?n cariera sa.

Drept cadru general al discu?iei noastre propun o poetic? a traducerii. Dup? p?rerea mea, aceast? disciplin? – al c?rei teritoriu ?nc?lca (ba chiar ??nc?leca“) domeniile lingvisticii teoretice ?i aplicate, teoriei literaturii ?i crea?iei literare – se pliaz? pe modelul actului comunic?rii. Dup? cum se ?tie, actul respectiv implic? un produc?tor de mesaje, mesajul sau textul produs ?i un receptor sau lector (care arareori e unul cu totul pasiv; cel mai adesea el exercit? func?ia de interpret al mesajului ori textului).S? observ?m acum c? procesul traducerii este compus de fapt din dou? acte de comunicare ?nl?n?uite, dintre care primul se desf??oara ?n spa?iul limbii ?i culturii de plecare, adica al Limbii sursa, iar cel?lalt ?n sfera limbii ?i culturii de destina?ie, altfel spus a Limbii ?int?. Traduc?torul reprezint? veriga de leg?tura dintre cele dou? segmente, c?ci lui ?i incumb? at?t lectura ?i interpretarea textului surs?, c?t ?i producerea textului ?int?.

Om politic liberal mai pu?in cunoscut, Gheorghe D. Pallade a l?sat un jurnal care, de?i cuprinde o perioad? destul de scurt? ?n timp, 1 martie 1897 - 8 ianuarie 1898, ne va introduce ?n atmosfera extrem de fr?m?ntat? din interiorul Partidului Na?ional Liberal.S-a n?scut ?n anul 1858 la B?rlad, dintr-o familie ?nst?rit?. ?i-a f?cut studiile secundare ?i universitare ?n ?ar?, lu?ndu-?i licen?a ?n drept la Facultatea de drept a Universit??ii din Bucure?ti ?n anul 1880. Intr? ?n magistratur? p?n? ?n 1884 c?nd, particip?nd la alegeri este ales deputat pe listele Partidului Na?ional Liberal. Din acest moment via?a lui devine public? ?i intr? ?n v?ltoarea luptelor politice. ?n acela?i an, al?turi de C.A. Rosetti a sus?inut colegiul unic ?i libertatea absolut? a presei. De fapt a ?i fost colaborator al ziarului Rom?nul.Paginile de jurnal, de?i nu acoper? nici un an de zile, prezint? una din cele mai zbuciumate perioade al Partidului Na?ional Liberal. Subiective sau nu, paginile r?mase de la Gh.D. Pallade vin s? completeze istoria politic? a Rom?niei de la sf?r?itul secolului al XIX-lea.L?s?m pe seama cititorului s? analizeze jurnalul lui Gh.D. Pallade. Nou? nu ne r?m?ne dec?t s? ar?t?m c? am considerat ca notele s? fie c?t se poate de complete, persoanele ?i locurile fiind foarte numeroase, f?r? de care, chiar un cititor avizat nu s-ar descurca. Iat? de ce am recurs la solu?ia de a desp?r?i notele de indicele de nume. Trebuie, de asemenea, s? atragem aten?ia c? notele sunt a?ezate alfabetic, deoarece tot volumul ar fi fost prea ?nc?rcat de numere ?i cifre. Sper?m c? modesta noastr? contribu?ie prin editarea acestui jurnal s? ?mplineasc? un scurt moment din fr?m?ntata noastr? istorie politic? a Rom?niei de la sf?r?itul secolului al XIX-lea.

Cartea de Poezii a poetei confirm? un stil, o atitudine estetic? ?i o capacitate de a dep??i ?ngr?dirile presupuse de reactualizare a vechilor formule poetice. Claudia Voiculescu ??i asum? riscul de a p?rea demodat?, abord?nd ceea ce majoritatea poe?ilor din diverse genera?ii ori promo?ii, a respins, cel mai adesea din neputin??.Cred c? poezia Claudiei Voiculescu merit? aten?ia criticii ?i o mediatizare corespunz?toare. (Liviu Gr?soiu)Claudia Voiculescu ridic? forma fix? a rondelului la ?n?l?imi demne de orice competi?ie.... Este o poet? ?n al c?rei talent cred. (C.D. Zeletin)Poet? de ?nalt? for?? r?scolitoare, talent viguros cu cizel?ri de art? adev?rat? ?n ad?ncul substrat al cuv?ntului, vers pasional ?i cotropitor... (Pan. M. Vizirescu)Claudia Ilie, preoteas? ?ntru poezie... (Tudor George)Delicata poet? Claudia Ilie Voiculescu este o voce liric? de mare sensibilitate... (Dumitru Radu Popa)

Dup? apari?ia monumentalei (la propriu) Istorii a literaturii rom?ne contemporane, 1941-2000, Alex ?tef?nescu este omul zilei ?n critica literar? rom?neasc?. Admirat sau pizmuit de confra?i, invitat ?i celebrat cu fast ?n ora?ele de provincie, intervievat de superbe ziariste, Alex ?tef?nescu se afl? mereu ?n centrul aten?iei, prezen?a sa ?ntr-un loc este imposibil s? treac? neobservat?. Chiar ?i cei care ??i propun s? ?l ignore ajung p?n? la urm? s? ??i piard? cump?tul, ?ncep s?-l v?neze cu invectivele lor, sporindu-i, indirect, vizibilitatea, notorietatea ?i popularitatea. Alex ?tef?nescu este, ?n lumea literaturii, genul de personaj care nu las? pe nimeni indiferent. Unii ?i sunt prieteni, al?ii du?mani de moarte (cei neinclu?i ?n Istorie ?i cei men?iona?i ?n emisiunea sa TV rezervat? c?r?ilor proaste, Tichia de m?rg?ritar). ?n fine, mai exist? o categorie, a celor care ?l cultiv? cu speran?a secret? c? i-ar putea intra ?n gra?ii ?i c? ?n felul acesta ?i-ar putea asigura un viitor luminos ?n literatura rom?n?. (Tudorel Urian)?Alex. ?tef?nescu este singurul critic rom?n contemporan care, metodic, confer? criticii caracteristicile unui ?act de persuasiune?. El face uz de o veritabil? strategie de seducere a cititorului: limbajul este dezabstractizat, f?r? a-?i pierde ?ns? competen?a ?i precizia conceptual?; expresia critic?, mereu dezinvolt? ?i de multe ori memorabil?, are o anumit? materialitate fraged?, fiind astfel u?or de receptat; pl?cerea lecturii ?i a scrisului, aproape palpabil?, devine contaminant? ?i ?mbie la reverii hedoniste; ?n sf?r?it, discursul e ?mp?nat de compara?ii sugestive ?i cu at?t mai ?ocante cu c?t nu se produc ?n spa?iul livrescului, ci al experien?ei comune, con?in?nd ?i o infuzie de umor gra?ios care ?ntre?ine comuniunea afectiv? cu cititorul.“??n volumul Cum se fabric? o emo?ie autorul adopt? forma dialogal? a discursului (?ntre un eu inocent-iscoditor ?i unul doct, profesoral) d?nd dinamism ?i o concrete?e plin? de substan?? problemelor convocate: stilul aluziv, natura artei, rela?ia artist-public, talentul, valoarea, mecanismul psihologic al crea?iei, succesul etc. Este vorba, de fapt, despre un mic ?tratat“ de educa?ie estetic?, alert, eficient ?i care, ?n mod expres, se adreseaz? unui public concret.“ (Petru Poant?)

i acest volum intr ?n seria celor pregtitoare, anun?nd O istorie politic a literaturii rom?ne postbelice. Nu e vorba de un ?rzboi cu estetismul”, reanim?nd fantoma lui Gherea, ci de reevaluri pe temei estetic, la mai multe m?ini, folosind achiziiile criticii literare; i, firete, de recontextualizri (interog?nd epoca), in?nd cont, ?ns, de fluctuaiile recepiei i de capricioasa meteorologie politic. ?n fond, suntem consecveni cu programul, anunat ?nc de la debut (Orizontul lecturii, 1983), ?neleg?nd c, sociologic judec?nd, nu putem examina fenomenul literar retez?ndu-i ombilicul istoric. Generaia orfelin discut, prin profiluri sintetizatoare, despre o serie creatoare, av?nd drept numitor comun vitregele condiii formative; ea a fost modelat de interdicii (lecturi clandestine, maetri ?ascuni”, biblioteci epurate), provoc?nd o reacie polemic (ruptura) i promov?nd, astfel, la start, un program negativ. Dar, ?n acelai timp, este o generaie auroral, cu rol de verig, redescoperind – euforic – tradiia, definind o stare de spirit, angaj?ndu-se, prin combustie creatoare, la o lucrare comun, recuperatoare, fecund, susinut, prin propulsie adjectival, de o critic solidar, risipind i cronici ?tactice”, cum recunotea Matei Clinescu. Chiar dac noi discutm, ?n acest volum, poeii ei, evident nu poate fi vorba doar despre o generaie de poei, transport?nd legenda Labi, anun?nd, prin voci tinere, o nou epoc de lirism. Nu e vorba, aadar, de o compact ?echip” liric, ci de un buchet de personaliti, cu voci distincte, evolu?nd ?n direcii imprevizibile, isc?nd, ?n timp, disensiuni, controverse ?nfierb?ntate, ierarhizri provizorii. i propun?nd un inventar tematic, hrnind un imaginar, p?n la un punct, comun, definind o fizionomie specific. (Adrian Dinu Rachieru)

The play follows the King of Navarre and his three companions as they attempt to forswear the company of women for three years of study and fasting, and their subsequent infatuation with the Princess of Aquitaine and her ladies. In an untraditional ending for a comedy, the play closes with the death of the Princess's father, and all weddings are delayed for a year. The play draws on themes of masculine love and desire, reckoning and rationalization, and reality versus fantasy.

An exciting collection of stories from W.W. Jacobs, a London based novelist famous for his horror and travel stories. This volume includes some of his iconic work: The Monkey's Paw, The Lady of the Barge, Bill's Paper Chase, The Well, Cupboard Love, In the Library, Captain Rogers, A Tiger's Skin, A Mixed Proposal, An Adulteration Act, A Golden Venture, and Three at Table.

An exciting collection of stories from W.W. Jacobs, a London based novelist famous for his humour, horror and travel stories. This volume includes some of his iconic work: Deserted, Homeward Bound, Self-help, Sentence Deferred, Matrimonial Openings, Odd Man Out, The Toll-house, Peter's Pence, The Head of the Family, Prize Money, Double Dealing, Keeping Up Appearances.

American futurist poet and playwright Mark Antony Rossi has selected essays, notes and interviews from the past thirty three years of writing covering poetry, short fiction and drama. A short book of instruction and discovery meant to help fellow writers.

This Tribeca Press edition includes the full original text as well as an easy to use interactive table of contents.

Biografia sugereaz?, ?n chip aproape inevitabil, prin relatarea cronologic? a faptelor vie?ii acelui individ, ?ncep?nd de la na?tere ?i continu?nd cu experien?ele tr?ite pe parcursul anilor, c? evenimentele respective au avut o importan?? mai larg?, mai cuprinz?toare dec?t cele ale unui om oarecare, c? au contribuit, ?ntr-un fel sau altul, la scrierea istoriei acelor vremuri. ?n cazul lui Napoleon Bonaparte, merit? s? ne aplec?m ?i asupra mitologiei, ad?ug?nd-o impresiei generale, create de-a lungul deceniilor de nenum?ra?i istorici ?i biografi, conform c?reia ceea ce a contat ?n principal a fost omul ?nsu?i, viziunile ?i ambi?iile sale, ?i nu vremurile ?n care a tr?it ori circumstan?ele ?nt?lnite ?n cale. Pu?ine personaje istorice s-au bucurat de at?ta notorietate ?i de at?tea scrieri dedicate ?i pu?ine au fost descrise ?ntr-o manier? at?t de subiectiv?, prezent?nd ?ntrega istorie a epocii de parc? ar fi fost o reflectare a voin?ei ?i a dorin?ei de putere ?i de glorie a unui singur om. Din acest motiv poate c? ar fi mai ?n?elept ca, ?nainte de orice, s? ne oprim un pic ?i s? ?ncepem aceast? carte cu un soi de avertisment.

Al Doilea R?zboi Mondial nu va ajunge niciodat? s?-?i dezv?luie ?ntreaga groz?vie. ?n spatele faptelor de arme, al atrocit??ilor ?i al crimelor monstruoase comise ?mpotriva civililor se ascunde o alt? realitate. Aceea a miilor de femei sovietice trimise pe front ?mpotriva inamicului nazist. Svetlana Aleksievici ?i-a dedicat ?apte ani din via?? colect?rii m?rturiilor unor femei care, multe dintre ele, la momentul acela erau abia ie?ite din copil?rie. Dup? primele sentimente de euforie, asist?m la o schimbare radical? de ton, pe m?sur? ce ajungem la ?ncercarea fatal? a luptei, ?nso?it? de partea sa de ?ntreb?ri ?i de suferin??. Abandon?nd t?cerea ?n care ?i-au g?sit refugiul, aceste femei ?ndr?znesc, ?n sf?r?it, s? prezinte r?zboiul a?a cum l-au tr?it. ?Svetlana Aleksievici este unul dintre cei mai valoro?i scriitori ai vremurilor noastre. Proza ei nu este feminin?, ci aspr? precum r?zboiul […], dar, prin expresivitatea ei, devine artistic?, palpabil?, profund emo?ionant?.” – Vladimir Voinovici