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They Don't Teach You How to Get Rich at School
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They Don't Teach You How to Get Rich at School
lumin?, ?ncet
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C?t?lin Ghi?? este unul dintre cei mai serio?i, mai informa?i ?i mai inspira?i cercet?tori care se afirm? ?n comparatistica literar? ?i cultural? de la noi. Neotematismul s?u este unul atent la diferen?e – ?i ?n primul r?nd la diferen?a estetic? –, reticent fa?? de exploatarea ideologizant? a literaturii. Cartea de fa?? ??i acoper? tema cu mare grij?, cu acribie filologic? ?i teoretic?, dar o ?i dep??e?te uneori prin implica?ii nea?teptate ?i prin considera?ii de ansamblu. ?mi place ?n mod deosebit luciditatea autocritic? a autorului, ?n care v?d reflexul moral al modestiei ?i, ?n acela?i timp, orgoliul justificat al competen?ei profesionale“. – Mircea Martin
101 poeme
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Prin u?ile l?sate vrai?teDe cei ce nu se mai ?ntorcPrin pere?ii pe care i?i zg?riar?ViseleD? buzna glasul mul?imiiCare se zbateDeja prins? ?ntre fireleIscusitei urzeli a paianjenilorPoliticiThrough the wide-open doorsBy those who never returnThrough the walls on which they’d scratchedTheir dreamsThe voice barges through from a crowdWhich is strugglingAlreadz trappedIn the skillfullz/woven webOf the spiders of politics
O precizie cu adev?rat ?nsp?im?nt?toare
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Nu cred c trebuie s interpretm altfel referirile lui Clinescu la vechimea poporului romn dect ca o proiecie mitic a unor date istorice i, mai ales, a unor intuiii i ambiii personale. Dar chiar i aa, aceste idei meritau s fie formulate i ncarnate n imagini, aceste pagini meritau s fie scrise, fie i numai pentru clipele de reverie istoric i de mobilizare afectiv pe care ni le produc, pentru ficiunile verosimile pe care ni le propun cu atta trie i n care suntem liberi s credem cu propria noastr trie ca ntr-un alt posibil destin.“ – Mircea Martin
Radio ?n z?pad?
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uneori moartea vinedac? lumea arde multe lum?n?ri,dar muribunda astanu pricepe,nu vrea ca inima s?-i crape ?nc? ?ise tot pune pe partea st?ng?ca s-o lini?teasc?,?i url? c?t poate:?sunt vie! de ce pleca?i?“
B?iatul care a furat calul lui Attila
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Volumul de fa?? din seria Eminescu, poem cu poem ne dezva?? de toate vechile obiceiuri de interpretare care au prezentat ?n limbaj de lemn poeziile eminesciene. Alex. ?tef?nescu ne face din nou cuno?tin??, de data aceasta ?n cuvinte simple ?i idei proaspete, cu unele dintre cele mai cunoscute poezii 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 crea?ia eminescian?.
Funeral of hearts
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Nebunul indian este al treilea volum semnat de Ovidiu Raul Vasiliu ?i marcheaz? maturitatea liric? a t?n?rului poet ie?ean. Cartea con?ine peste 60 de poeme scrise ?n ultima perioad?, autorul exers?nd cu succes diverse registre stilistice ?i prozodice, ?n versuri ?sub a c?ror dexteritate formal? se ?ntrez?re?te ceea ce niciodat? nu poate fi exprimat p?n? la cap?t“ (Daniel Cristea-Enache).
Genera?ia mea
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...A ine jurnal, a nu fi singur sub canonad. A duce n crc trupul cu multe rni al unui camarad, toate sngernde... El mai tria n momentul cnd l-ai aburcat n spate, dar nu mai prea n simiri. naintezi prin viscolul de gloane i schije, dintre care unele adorm scurt n carnea lui dens. Cel puin aa crezi, cel puin aa ndjduieti – c loviturile nu s-au oprit n tine. Dar poi fi sigur Prin canonad nainte, sau cine mai tie ncotro, snge a curs i se mai prelinge nc din trupul prietenului, sau i dintr-al tu Greutatea lui te deznoad, i simi cldura... Mai triete oare ntrebarea nu are nevoie de rspuns, oricum n-ai s te debarasezi de strvul lui: te-a aprat i o s te mai apere de lovitura mortal. (El, camaradul, el, jurnalul.) i de vzut cine dintre noi mai supravieuiete, vom vedea la urm, i spui.“ – Ion Lazu
Poemul de diminea??
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Sonete n-ai s? sco?i b?t?nd pe taste?i complet?nd trei strofe ?i jumateCu vorbe-plevi, cu furca adunatePe aria rom?nei limbi prea vaste;Nu-?i ies nici cu ?epu?a pus?-n coaste,Nici cu-nghiontiri ?n prip?, pe la spate,Cum nu aduni senten?e, pe-nserateDin tigva celor ce-au tr?it la Oaste...C? ies din taste doar voroave proasteS?-mproa?te broa?te din b?ltoace-opace,Cum in?i peltici ?i babe prost?nace?ngaim? t?lcuri, cum c? via?a iaste...Nu ies sonetele lovind ?n clape.Sub ele Inefabilul nu-ncape.
Fundamentals Of Kids Soccer Training
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Fundamentals Of Kids Soccer Training
Delphi Complete Works of John Singer Sargent (Illustrated)
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Delphi Complete Works of John Singer Sargent (Illustrated)
Sketches Sartorial, Tonsorial and the Like
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St Claire Bullock - a Professor of Philosophy, no less - in the intervals between pondering the great questions of life, turned his hand to penning light verse in the manner of Hilaire Belloc, Ogden Nash and Edward Lear. In rhyming couplets these wry and witty poems ponder the foibles and vanities of mortals. Some of these are captured in pen and ink drawings which caricature the subject of the poems. Each character is given an amusing name, beginning with Master Cecil Abercorn, through Clarence Castle, Serena Huff, The Marchioness of Mal de Mer, Major Houghton Reid and Thomas Tinkham Tattersall to Roland Washburn White. There are 70 poems in all of which 10 are illustrated. The illustration on the front cover relates to Rupert Ashe: 'The greatest pride of Rupert Ashe was his luxuriant moustache. He took great care to keep it groomed, And even, with restraint, perfumed. He brushed it upward every day, and it made such a grand display, that people who were not the wiser, imagined that he was the Kaiser.'
John Clare
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John Clare (1793-1864) was born at a time of great social upheaval, just months after the beheading of Louis XVI and the outbreak of war with France which was to last till the defeat of Napoleon at Waterloo in 1815. He also lived through the upheavals of the land enclosure movement and agricultural revolution which changed the face of the countryside and the way of life in rural England. His father was a farm worker who managed to pay for his son’s schooling, though this was cut short as conditions worsened, but at least Clare had by then learnt to read and write so he could continue his own education, reading whatever books he could lay his hands on. At the age of sixteen he witnessed the social dislocation caused by the local enclosure Act and observed how the landscape was gradually transformed. Drawing on Clare’s writing, this extensively researched study gives the modern reader an appreciation of the divisive effects of these policies. Structured chronologically, this exploration of John Clare’s life highlights the socio-economic and environmental aspects of his observations and includes his reports on an insidious revolution taking place in the English countryside. Parliament, dominated by landowners, authorised the enclosure of large tracts of common land by private acts without considering the effect on those who had enjoyed rights of use and pasturage for centuries. Land enclosures, and the improved agricultural techniques which this permitted, was important in increasing food production at a time when the population of England was growing rapidly. While additional work was initially provided for agricultural labourers in the fencing and walling needed, this was temporary. The introduction of new, labour-saving machinery further reduced the opportunities for work. Insufficient attention, the author argues, has been given to the consequences. Those driven out of their homes in the country were left with no option but to migrate to the towns and sell their labour to whoever would pay for it. In effect, land enclosure created a market in land; landlessness created a market in labour. These are the foundations of our modern market economy. The author asserts that the harshness of the early years of the industrial revolution were the product of land enclosure which the welfare state has to some extent mitigated, although at the cost of creating a dependency culture in contrast to the sturdy independence of Clare’s parents’ generation of farm workers.
Marcus Aurelius: The Dialogues
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‘In this delightful and well written book, Alan Stedall … has done an enormous service in making some of Marcus Aurelius’s reflections very accessible to the modern reader’ Faith & Freedom ‘The Dialogues are eminently readable and immediate …in places it is irresistible’ The Philosopher ‘I was drawn deeper and deeper into the simple solid reasoning …Stedall’s imagined dialogue had me fully in the present’ Midwest Book Review ‘I knew within a few lines this was going to be a treasure... Stedall is a word master... Bravo!’ The Smoking Poet Marcus Aurelius, one of the greatest Roman emperors, is remembered less for his military exploits than for his private reflections. His Meditations, as they became known, have been a major influence on Western thought and behaviour down the centuries the pen is mightier than the sword. Seeking an alternative to faith based religion, Alan Stedall came across the book and found rational answers to questions about the meaning and purpose of life that had been troubling him. Here too were answers to his concern that, in the absence of moral beliefs based on religion, we risk creating a world where relativism, the rejection of any sense of absolute right or wrong, prevails. In such a society any moral position is considered subjective and amoral behaviour is unchallengeable. Because the Meditations were jotted down in spare moments during a busy life ruling and defending a huge empire, they lack order and sequence. Inspired by the wisdom of Marcus Aurelius, Stedall has sought to present the contents in a more contemporary and digestible way. To achieve this, he employed the Greek philosophical technique of dialogue to create a fictional conversation between five historical figures who actually met at Aquileia on the Adriatic coast in AD 168. Apart from Marcus, they were his brother and coemperor, Lucius, the famous Hellenic surgeon of antiquity, Galen, an Egyptian high priest of Isis, Harnouphis, and Bassaeus Rufus, Prefect of the Praetorian Guard. The Dialogues afford Marcus and his guests the opportunity to express their views on such topics as the brevity of life and the need to seek meaning; the pursuit of purpose; the supreme good and the pursuit of a virtuous life – issues as relevant today as they were in antiquity. By a gentle process of question and answer, Marcus shows up the weakness of his guests’ arguments and reveals how a virtuous life may be lived without the threat of eternal damnation or promise of salvation to enforce compliance. Virtue is its own reward.
Shakespeare and Platonic Beauty
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John Vyvyan’s third Shakespearean study was originally published by Chatto & Windus in 1961, but has long been out of print. Looking at some of the comedies, he reveals how the Platonic ideas of beauty and love, as developed by Plotinus, Ficino, Castiglione and Spenser, add an extra dimension to the plays. In A Midsummer Night’s Dream, As You Like It and All’s Well That Ends Well, the heroines bring to life the idea of love as the force that is awakened in the world by beauty which then leads the soul to perfection. Vyvyan believes that for Shake-speare love was pre-eminent over human ideas of justice, that self-discovery was a supreme human experience and that breaking faith with the ideal ‘ as Agamemnon, Cressida and Hector all do in Troilus and Cressida ‘ sowed the seeds of tragedy. The author’s recognition of Shakespeare’s use of allegory enables him to make sense of certain developments in these plays which seem weak or absurd from the psychological standpoint ‘ the ‘tidy’ marriage of Celia and Oliver in As You Like It, the ignoble behaviour of Bertram in All’s Well That Ends Well, or the constancy of Julia’s love for the fickle Proteus in The Two Gentlemen of Verona. John Vyvyan’s work is extraordinarily perceptive, compelling us to think again about the underlying philosophy in Shakespeare’s plays, and to see their action from a fresh point of view. It is not often that one finds combined in one critical book so much learning, insight and modesty. ‘If a clearly conceived philosophy is implicit [in Shakespeare's work]‘, Vyvyan writes, ‘then it is by parable and allegory that it is expressed; and the recognition of this ‘I think’ immensely enhances our enjoyment of the plays: it gives them a new dimension and a richness that has yet to be explored; it is a stimulating challenge to acting and production; and to the audience it reveals a drama beyond the theatre, written, as Coleridge so finely said, for the stage of the universal mind.’
Delphi Collected Works of Luis de Camoes (Illustrated)
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Delphi Collected Works of Luis de Camoes (Illustrated)
foarte foarte aproape
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Nora Iuga mi-a spus c? scriu despre ce nu se vede. Mi-a pl?cut foarte mult formularea. De?i vorbim despre un paradox, av?nd ?n vedere c? orice carte, mai ales una de poezie, este o form? de exhibi?ionism. Cartea aceasta este a?adar despre ceea ce percepem c? exist? ?n jurul nostru. Despre o lume pe care ne-o cl?dim singuri ?i ?n care s?ntem unicii locuitori. Locul ?n care ajungem de fiecare dat? c?nd vrem s? fim doar cu noi ?n?ine. Mi-ar face mare pl?cere ca mul?i dintre cei care o vor citi s? simt? la fel.
Mastering Family Finances: The Family Budgeting Crash Course
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Mastering Family Finances: The Family Budgeting Crash Course
Delphi Complete Novels of Charlotte Mary Yonge (Illustrated)
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Delphi Complete Novels of Charlotte Mary Yonge (Illustrated)
Delphi Collected Works of Michael Drayton (Illustrated)
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Delphi Collected Works of Michael Drayton (Illustrated)
Delphi Complete Works of Frank Norris (Illustrated)
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Delphi Complete Works of Frank Norris (Illustrated)
