Spionaj de anvergur? interna?ional? ?i o urm?rire spectaculoas? de la un cap?t la altul al Europei. La c?teva luni dup? ce a z?d?rnicit un atac terorist interna?ional, Jonathan Ransom, chirurg ?n cadrul organiza?iei Medici F?r? Frontiere, lucreaz? sub acoperire ?ntr-un col? ?ndep?rtat al Africii. So?ia sa, Emma, urm?rit? de serviciul secret american Divizia, din care f?cuse parte, se ascunde ?i ea. Cei doi sperau s? se ?nt?lneasc? ?n secret ?n Londra, dar un nou atac terorist le strica weekendul romantic. Emma dispare din nou, Jonathan devine suspectul principal ?i totul se transform? ?ntr-un adev?rat haos. Obligat s? fie mereu cu un pas ?naintea poli?iei ?i s? anticipeze totodat? mi?c?rile Emmei, ?n al c?rei trecut se vede nevoit s? sape tot mai ad?nc, Jonathan ?ncepe o curs? de-a lungul Europei, ?n care va descoperi c? nu este dec?t un pion ?ntr-un joc al spionajului interna?ional a c?rui miz? ?i complexitate dep??esc cu mult orice imagina?ie.

Gaston Leroux est un romancier fran?ais, né le 6 mai 1868 à Paris (10e arr.) et mort le 15 avril 1927 à Nice (Alpes-Maritimes). Il est surtout connu pour ses romans policiers empreints de fantastique.

Le terrible Chéri-Bibi réussit, avec ses compagnons d'infortune, à se rendre ma?tre du navire qui le conduit au bagne de Cayenne. Il raconte qu'il a été accusé à tort du meurtre du marquis du Touchais dont le fils a épousé Cécily, la fille de son patron, dont il était lui-même fort amoureux. Or, le jeune marquis, qui trompe sa femme, passe avec son yacht à proximité du navire...

„Romanele ?i povestirile lui Golding nu sunt numai parabole morale sobre ?i mituri întunecate despre for?ele distrug?toare ?i perfide ale r?ului, ci ?i istorii aventuroase, pline de farmec, ce pot fi citite ca atare, debordând de pl?cerea de a povesti, de inventivitate ?i suspans.“ – Comitetul Nobel „Compact ?i plin de vigoare… O poveste captivant?.“ – The New York Times Book Review „Golding a fost un scriitor […] cu o minunat? voca?ie epopeic?. [S-a priceput s? spun?] pove?ti originare, despre cum a înv??at omul s? vorbeasc?, despre izvoarele r?ului, despre straniile surse ale artei.“ – Malcom Bradbury Clasici moderni Litera pune laolalt? scriitori moderni ale c?ror opere au devenit deja repere clasice. Cele mai importante, mai provocatoare, mai emo?ionante, mai revolu?ionare opere din ultimii 125 de ani – c?r?i care vor continua s? fie citite de la o genera?ie la alta.

Kafka se pricepe s dezvluie pretutindeni lumina tinuit. Ai impresia c descoperi o mare nsorit, cu valuri ce sunt niri de lumin i n faa creia trebuie s nchizi, orbit, ochii, pentru a te adposti la umbr.“ (Max Brod) Kafka este cel mai mare scriitor de limb german al timpului nostru. Poei precum Rilke, romancieri precum Mann par fies pleasc n comparaie cu el, fie s radieze o lumin puternic, dar artificial.“ (Vladimir Nabokov) Poate cel mai interesant scriitor al generaiei sale... Un geniu straniu i deconcertant.“ (Edwin Muir) Cu ct opera e mai desvrit, cu att mai puin ne trimite ea spre autorul ei. [...] Franz Kafka este scriitorul care i-a consumat experiena de via n asemenea msur, nct referirea la biografie devine superflu.“ (Martin Walser)

L’action se passe dans un pays que l’auteur nomme Austrasie par pure convenance, car sa capitale est Vienne, on y parle allemand et la famille impériale est décimée par des deuils, dont une double mort à Mayerling. C’est dire que l’on est en Autriche et que l’auteur donne sa version très personnelle des drames qu’a réellement connus la dynastie des Habsbourg. Le livre a été écrit en 1911, alors que l’empereur Fran?ois-Joseph (Fran?ois tout court dans le texte) régnait encore et que ces deuils étaient tout récents, ce qui expliquerait la très relative pudeur de l’auteur. Il n’est pas possible de résumer ce roman sans en donner les clés et par là en g?cher irrémédiablement la lecture. Disons que c’est une histoire de vengeance et de mort, une histoire terriblement sanglante. L’assassinat qui constitue le prologue du livre n’est qu’un aspect, presque secondaire, de l’intrigue. Mais si le feuilleton ne compte plus les invraisemblances, si l’auteur a recours à tous les artifices les plus classiques du genre : sosies, portes secrètes, déguisements, talents extraordinaires des héros, il faut reconna?tre que l’histoire est remarquablement construite, se développe de fa?on à soutenir constamment l’intérêt du lecteur et que les épisodes s’embo?tent parfaitement les uns à la suite des autres.

Bazat? pe studii ?tiin?ifice care au demonstrat c?t de periculos este zah?rul De ce m?nc?m at?t de mult zah?r? Care sunt pericolele sale ascunse? Ce putem face pentru a renun?a la dependen?a de el? Savantul John Yudkin a fost primul care a demonstrat ?tiin?ific c? zah?rul este nociv pentru s?n?tatea noastr?, avertiz?nd despre leg?tura dintre acesta ?i cariile dentare, gut?, afec?iunile autoimune, boala coronarian? ?i cancer. Cartea sa ne arat? c? zah?rul, aflat ?n cantit??i din ce ?n ce mai mari ?n alimenta?ia noastr?, nu este deloc un pericol de neglijat. Un avertisment valabil ?n prezent mai mult dec?t oric?nd. ?O ?ncercare curajoas? de a ne avertiza cu privire la pofta noastr? de dulce.“ – The British Medical Journal

O radiografie hermeneutic? a unor c?r?i-eveniment ce au v?zut lumina tiparului ?n perioada postdecembrist?, accentul fiind pus pe autorii interzi?i sub dictatur?, precum ?i pe c?r?ile poe?ilor ce devin, f?r? voia lor, o rara avis ?n societatea de tranzi?ie. Cartea se adreseaz? elevilor, studen?ilor, precum ?i publicului larg de cititori.

ELIZABETH was about three years old at the death of her mother. She was a princess, but she was left in a very forlorn and desolate condition. She was not, however, entirely abandoned. Her claims to inherit the crown had been set aside, but then she was, as all admitted, the daughter of the king, and she must, of course, be the object of a certain degree of consideration and ceremony. It would be entirely inconsistent with the notions of royal dignity which then prevailed to have her treated like an ordinary child.??Next came Elizabeth, who was about fourteen years of age. She was the daughter of the king's second wife, Queen Anne Boleyn. She had been educated a Protestant. She was not pretty, but was a very lively and sprightly child, altogether different in her cast of character and in her manners from her sister Mary.??Then, lastly, there was Edward, the son of Jane Seymour, the third queen. He was about nine years of age at his father's death. He was boy of good character, mild and gentle in his position, fond of study and reflection, and a general favorite with all who knew him.

THIS BOOK is written for all little lads and lasses, but especially for the former, since it is the true—quite true—story of a little lad who lived to be, perhaps, the greatest king this world has ever seen.?It is a strange, wild tale this of the adventures of Prince Akbar among the snowy mountains between Kandahar and Kabul, and though the names may be a bit of a puzzle at first, as they will have to be learned by and bye in geography and history lessons, it might be as well to get familiar with them in a story-book; though, indeed, as everybody in it except Roy the Rajput, Meroo the cook boy; Tumbu, the dog; and Down, the cat (and these four may have been true, you know, though they have not been remembered) really lived, I don't know whether this book oughtn't to be considered real history, and therefore??A LESSON BOOK:??"Anyhow, I hope you won't find it dull."??STORIES:?FAREWELL ?THE FIRST VICTORY ?THE ROYAL UMBRELLA ?TUMBU-DOWN ?ON THE ROAD ?AT COURT ?WINTER?DOWN'S STRATAGEM?SPRING ?THE NIGHT OF RECORD ?A WINTER MARCH?SNOW AND ICE ?OVER THE PASS ?IN THE VALLEY?DEAREST-LADY?CRUEL BROTHER KUMRAN?IMPRISONMENT?THE GARDEN OF GAMES?BETWIXT CUP AND LIP?ESCAPED?DAWN

THERE are numerous time-honored stories which have become so incorporated into the literature and thought of our race that a knowledge of them is an indispensable part of one's education. These stories are of several different classes. To one class belong the popular fairy tales which have delighted untold generations of children, and will continue to delight them to the end of time. To another class belong the limited number of fables that have come down to us through many channels frorn hoar antiquity. To a third belong the charming stories of olden times that are derived from the literatures of ancient peoples, such as the Greeks and the Hebrews. A fourth class includes the half-legendary tales of a distinctly later origin, which have for their subjects certain romantic episodes in the lives of well-known heroes and famous men, or in the history of a people.??It is to this last class that most of the fifty stories contained in the present volume belong. As a matter of course, some of these stories are better known, and therefore more famous, than others. Some have a slight historical value; some are useful as giving point to certain great moral truths; others are products solely of the fancy, and are intended only to amuse. Some are derived from very ancient sources, and are current in the literature of many lands; some have come to us through the ballads and folk tales of the English people.

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

Othello, The Moor of Venice is a tragedy by William Shakespeare based on the short story "Moor of Venice" by Cinthio, believed to have been written in approximately 1603. The work revolves around four central characters: Othello, his wife Desdemona, his lieutenant Cassio, and his trusted advisor Iago. Attesting to its enduring popularity, the play appeared in 7 editions between 1622 and 1705. Because of its varied themes — racism, love, jealousy and betrayal — it remains relevant to the present day and is often performed in professional and community theatres alike. The play has also been the basis for numerous operatic, film and literary adaptations.

The Lost World is a novel released in 1912 by Arthur Conan Doyle concerning an expedition to a plateau in South America where prehistoric animals (dinosaurs and other extinct creatures) still survive. The character of Professor Challenger was introduced in this book. Interestingly, for a seminal work of dinosaur-related fiction, the animals only occupy a small portion of the narrative. Much more time is devoted to a war between early human hominids and a vicious tribe of ape-like creatures.

Cel ce a scris aceast?? c??rticic?? ?i al c??rui nume s-a tot pitit p?n?? acuma sub modestul titlul de Culeg??torul tipograf p?n?? c?nd ?n sf?r?it meritele sale literare de to?i recunoscute ne-au f??cut s??-l silim acum pentru ?nt?ia?i dat?? a se da ?n vileagul publicit???ii cel ce a scris aceast?? c??rticic?? zic mi-a f??cut onoarea ?i pl??cerea de a m?? consulta adesea asupra alegerii faptelor pe care voia s?? le povesteasc?? ?ntr-?nsa. I-a dat ?n minte d-lui P. Ispirescu bunul g?nd de a l??muri pe cei din cititori rom?ni care nu sunt tocmai c??rtutari ad?nci asupra unei mul?imi de nume de cuvinte ?i de zic??tori str??ine pe cari ?n timpul de acum le ?ntrebuin?eaz?? mereu scriitorii no?tri prin gazete ?i prin felurite c??r?i. [...] Apoi pentru un a?a bun serviciu nu se cade oare s?? mul?umim domnului P. Ispirescu culeg??torul ?i scriitorul at?tor Basme Snoave ?i Zic??tori rom?ne?ti con?tiinciosul ?i merituosul lor editor? Ba z??u foarte mult ?i eu unul m?? simt acum fericit c?? mi-a dat ?nsu?i prilejul de a-i aduce prin aceste r?nduri cel dint?i prinos de mul?umire. Sunt ?ncredin?at c?? ?n urm??-mi are s?? se adune gloat?? mare. A. I. ODOBESCU

Diese Gesamtausgabe der Werke von Jens Peter Jacobsen, zu dessen Kennenlernen ich gerne die kleine einfühlsame Biographie von Hans Bethge empfehle, enth?lt das vollst?ndige erz?hlerische Werk des Dichters sowie die lyrischen Werke (einschlie?lich der sp?ter von Arnold Sch?nberg vertonten "Gurre-Lieder") und Entwürfe. Sie reproduziert den Band "S?mtliche Werke" aus dem Insel Verlag zu Leipzig (1912, 877 Seiten); die ?bersetzungen stammen von Mathilde Mann, Anka Mathiesen und Erich de Mendelssohn.

"Hast thou seen that lordly castle,?That castle by the sea??Golden and red above it?The clouds float gorgeously." ??Do you remember Gratian—Gratian Conyfer, the godson of the four winds, the boy who lived at the old farmhouse up among the moors, where these strange beautiful sisters used to meet? Do you remember how full of fancies and stories Gratian's little head was, and how sometimes he put them into words to please Fergus, the lame child he loved so much? ??The story I am now going to tell you is one of these. I think it was their favourite one. I can not say that it is in the very words in which Gratian used to tell it, for it was not till long, long after those boyish days that it came to be written down. But all the same it is his story. About Author: Mary Louisa Molesworth, née Stewart (1839 – 1921) was an English writer of children's stories who wrote for children under the name of Mrs Molesworth. Her first novels, for adult readers, Lover and Husband (1869) to Cicely (1874), appeared under the pseudonym of Ennis Graham. She was born in Rotterdam, a daughter of Charles Augustus Stewart (1809–1873) who later became a rich merchant in Manchester and his wife Agnes Janet Wilson (1810–1883). Mary had three brothers and two sisters. She was educated in Great Britain and Switzerland: much of her girlhood was spent in Manchester. In 1861 she married Major R. Molesworth, nephew of Viscount Molesworth; they legally separated in 1879. Mrs Molesworth is best known as a writer of books for the young, such as Tell Me a Story (1875), Carrots (1876), The Cuckoo Clock (1877), The Tapestry Room (1879), and A Christmas Child (1880). She has been called "the Jane Austen of the nursery," while The Carved Lions (1895) "is probably her masterpiece." In the judgement of Roger Lancelyn Green: Mary Louisa Molesworth typified late Victorian writing for girls. Aimed at girls too old for fairies and princesses but too young for Austen and the Brontes, books by Molesworth had their share of amusement, but they also had a good deal of moral instruction. The girls reading Molesworth would grow up to be mothers; thus, the books emphasized Victorian notions of duty and self-sacrifice. Typical of the time, her young child characters often use a lisping style, and words may be misspelt to represent children's speech—"jography" for geography, for instance.She took an interest in supernatural fiction. In 1888, she published a collection of supernatural tales under the title Four Ghost Stories, and in 1896 a similar collection of six tales under the title Uncanny Stories. In addition to those, her volume Studies and Stories includes a ghost story entitled "Old Gervais" and her Summer Stories for Boys and Girls includes "Not exactly a ghost story." A new edition of The Cuckoo Clock was published in 1914.

Paris, iulie 1942: Sarah, o feti?? evreic? ?n v?rst? de zece ani, este arestat? ?n toiul nop?ii, ?mpreun? cu p?rin?ii ei, de poli?ia francez?, dar nu ?nainte de a-?i ?ncuia fratele ?n ascunz?toarea lor secret?, convins? fiind c? se va ?ntoarce dup? numai c?teva ore pentru a-l elibera.Paris, mai 2002: Julia, o jurnalist? american?, stabilit? de mul?i ani la Paris ?i m?ritat? cu un francez, trebuie s? scrie un articol despre razia de la Vel’ d’Hiv, cu ocazia comemor?rii a ?aizeci de ani de la acest eveniment de trist? amintire ?n istoria Fran?ei. ?n timpul investiga?iei sale, Julia descoper? ?nt?mpl?tor o serie de secrete de familie ad?nc ?ngropate, care o leag? de Sarah, ?i simte nevoia de a reconstitui destinul tragic al fetei. Pe m?sur? ce se ad?nce?te ?n trecutul ei, lucrurile pe care le afl? o tulbur? ?i o fac s?-?i pun? ?ntreb?ri cu privire la propria existen??.Se numea Sarah este povestea ?nduio??toare a dou? familii unite de un secret teribil, dar ?i o tulbur?toare pagin? de istorie: Tatiana de Rosnay descrie un episod real din Fran?a aflat? sub ocupa?ie ?i rupe t?cerea care ?nconjoar? un subiect dureros, uneori chiar tabu, din istoria francezilor.

The Financier, a novel by Theodore Dreiser Published in 1912, is the first volume of the Trilogy of Desire, which includes The Titan (1914) and The Stoic (1947).? ?? SUMMARY:?? In Philadelphia, Frank Cowperwood, whose father is a banker, makes his first money passing by an auction sale, he successfully bids for seven cases of Castile soap, which he sells to a grocer the same day with a profit of over 70 percent. Later, he gets a job in Henry Waterman & Company, and leaves it for Tighe & Company. He also marries an affluent widow, in spite of his young age. Over the years, he starts misusing municipal funds with the aid of the City Treasurer. ??? In 1871, the Great Chicago Fire redounds to a stock market crash, prompting him to be bankrupt and exposed. Although he attempts to browbeat his way out of being sentenced to jail by intimidating Mr Stener, politicians from the Republican Party use their influence to use him as a scapegoat for their own corrupt practices. Meanwhile, he has an affair with Aileen Butler, a young girl, subsequent to losing faith in his wife. She vows to wait for him after his jail sentence. Her father, Mr Butler dies; she grows apart from her family.

Am mplinit, la 3 martie anul acesta, 81 de ani. O via de om, cu bune i mai puin bune. Am fost martor i actor al multor evenimente, dintre care unele au schimbat cursul istoriei. n cteva dintre aceste schimbri se poate gsi i contribuia mea.[…] Trecerea n revist a istoriei celor 21 de ani de la Revoluia din Decembrie 1989, cu reuite i nereuite, cu experiene pozitive i negative, cu bune i cu rele, trebuie s fie prilej de nvminte pentru toi, s ne inspire pentru a gsi cile cele mai potrivite de redresare i de cuplare a Romniei la procesul n curs de construcie european, n condiiile adncirii procesului amplu de globalizare a economiei i a vieii sociale, n beneficiul tuturor cetenilor rii.“Sunt un om de stnga, nu neg i nu-mi reneg trecutul. Mi-l asum, cu toate ale lui. Dar nimeni nu-mi poate reproa lipsa bunei-credine n ceea ce am fcut. i nici faptul c nu a fi evoluat, c nu a fi nvat din leciile pe care viaa i oamenii mi le-au dat.[…] Nu m-a interesat puterea n sine i nu am folosit puterea pe care am avut-o pentru a face ru sau n interes personal. Puterea devine interesant doar n momentul n care ai un proiect, i ea devine un instrument pentru materializarea lui.Nimic nu corupe mai mult dect puterea. i trebuie s fii, moral vorbind, extrem de puternic pentru a nu te lsa corupt de putere. mi place s cred c pe mine puterea nu m-a corupt. Muli au fost uimii de modul firesc n care s-a fcut transferul de putere n 1996, dup ce domnul Emil Constantinescu a ctigat alegerile prezideniale. Cei care se ateptau la altceva nu m cunosc. Nu mi-am dorit puterea, n 1989, ci mi-am asumat o responsabilitate. Era normal s fiu primul care s respecte regulile la structurarea crora lucrase.[…] Formal, suntem o ar cu toate instituiile i mecanismele unei ri europene, membr a Uniunii Europene. n realitate, lucrurile sunt departe de a fi normale. Am fost i sunt contient de faptul c acestea sunt marile noastre slbiciuni, cele care ne mpiedic s progresm. Nu tiu s existe o soluie miraculoas care s ne vindece de aceste pcate. Cred doar c libertatea de circulaie i dreptul romnilor de a munci n Europa vor permite, n timp, schimbarea profund a Romniei.“

Es la sexta y última colección de cuentos de Emilia Pardo Bazán que narra historias de amores enormes, mediocres, irrisorios, molestos, peque?os, sorprendentes, entra?ables, dramáticos o felices. Sus personajes proceden de todo el abanico de la sociedad en la Espa?a de su tiempo.