Cartea de fa?? r?spunde unor ?ntreb?ri majore: ce este omul? Cine este omul? De ce este omul?Cartea cuprinde teme subiective de medita?ie, filosofie diletant? ?i analiz? psihologic?, ?n genul unor confesiuni, fiind structurat? pe trei p?r?i. Cuvintele abuzive reprezint? o g?ndire fraged?, haotic?, pueril?, prima descoperire a propriului g?nd ?n contradic?ie cu g?ndirea lumii ?i cu g?ndirea proprie ?n alt? faz? a ei, necesitatea dubl?rii g?ndirii ?n dezacordurile ei.Dialogurile sunt descoperirea min?ii personajului ?n proprie minte, descoperirea personajelor vie?ii ?i amintiri fugare ale unor ?nt?mpl?ri obi?nuite care primesc subiectivism paranoic.A treia parte prime?te obiectivitatea, a?a zis? universal?, a unui anumit Narator, care reinterpreteaz? ?i reintegreaz? g?ndurile unui anumit om, ales la ?nt?mplare, dar decis totu?i de circumstan?ele c?r?ii. Dovedirea c? omul ?i ?nsumeaz? pe to?i, lumea.

The private letters to friends and family of one of history's greatest musical minds, Wolfgang Amadeus Mozart. A wonderful look into the personal life of the great composer.Translated into English and with full notes on names and phrases used in the letters.

Are you a fan of 5 Seconds of Summer? Can you name all the band members? Have you followed the success of the Australian band from the early days through to supporting One Direction on tour and releasing their debut album? If you think you know all about the boys from down under, there is no better way to test your knowledge than with this fun quiz book. What was 5 Seconds of Summer originally going to be called? What record label produced the band's single 'Good Girls'? What award did 5 Seconds of Summer win at the 2014 Billboard Mid-Year Music Awards? The answers to these questions and more can all be found in this book. Packed with fun facts The 5 Seconds of Summer Quiz Book documents the band's journey to date. With 100 questions all about your favourite group, including songs, awards, tours and personal details about each individual member, this is the book fans of 5 Seconds of Summer won't want to be without.

Are you a fan of Rita Ora? Have you followed her rise to fame from the release of her debut album through to becoming a coach on the UK TV show The Voice? Whether you are already familiar with the charismatic singer from London, or would like to find out more, you won't want to be without The Rita Ora Quiz Book. What character did Rita play in the 2015 film Fifty Shades of Grey? Who directed the music video for Rita's single 'How We Do (Party)'? How many BRIT awards was Rita nominated for in 2013? The answers to these questions and more can all be found in this exciting new quiz book. Containing both personal details and professional highlights, the 100 questions in this book will help you to get to know your favourite singer as well as providing a fascinating insight into the life of the chart-topping star. This is a must-have book for Rita Ora's rapidly increasing fan base and for anyone with an interest in the current music scene.

Is Southend United your local football club? Are you a lifelong fan of the Blues or new to the touchline? Do you know all about the team's long and fascinating past, which began in the Blue Boar pub in 1906? Would you like to find out more? If you answered yes to any of these questions, you are certain to enjoy 101 Interesting Facts on Southend United, all about the boys from Roots Hall. Perfect for challenging your friends on match days or teaching your children about the history of your local football team. This tribute to the Southend United will tell you everything you ever wanted to know about the Blues, including all the memorable faces that have played a part in the team's wins and losses through the years. This is a must-have book for Southend supporters of all ages, so why not relive all those unforgettable moments from days gone by and gen up on your favourite football club.

Vreau s? cred c? drumul lui Eugenio Barba este cel ?n care ?nt?lne?te copacul de care at?rn? pe creanga cea mai de sus un m?r de aur ?i f?r? s? ?i pese de cei din jurul lui, de privirile lor arogante sau sc?nteind a dispre?, se ca??r? ?n copac, ?n plin? lumin? de zi, ?i culege m?rul. M?rul norocos al destinului. Curaj, perseveren??, credin?? de nezdruncinat ?n vocea l?untrului care mereu ?i ?opte?te drumul pe care s?-l urmeze, c?ci este drumul lui.Eugenio Barba, vizionar, reformator, artist, dramaturg-regizor, maestru, scriitor, ?n dramaturgia sa, ?n cuvintele sale imortalizate ?n reflec?ii asupra sensului ?i condi?iei artei teatrului ?i a artistului, ?n cercet?rile de natur? artistic? ?i ?tiin?ific?, ?n laboratorul de teatru, sesiunile ?colii Interna?ionale de Antropologie Teatral? forjeaz? un act artistic unificator prin coprezen?e ale contrariilor, ?ntrup?ri ale simultaneit??ilor, combin?ri temporale ?i spa?iale, dintre trecut ?i viitor, dintre Est ?i Vest, declan??nd ?o revolu?ie copernician? f?r? de care ?tiin?a teatrului de la sf?r?itul secolului XX ar fi incomprehensibil?“. (Diana Cozma)

Cartea lui Dan Dungaciu se individualizeaza prin originalitatea metodei sale: logistica. Sociologia este, prin excelenta, o "stiinta de spate", cum ar spune logisticienii, adica o stiinta care serveste marilor incordari colective (ofensive sau defensive) pe o durata anumita. Dan Dungaciu propune, in acest sens, cel putin trei procedee de cercetare a sociologiei la scara unei epoci si a unei arii de civilizatie, cea europeana in acest caz: a) "centrele logistice ale gandirii sociale" (care sustin retelele sociologiei); b). "Harta logistica a sociologiei" (romanesti in acest caz); c). Seria teoriilor reprezentative pentru cateva dintre temele dominante ale sociologiei interbelice. Modelul lecturii dezvaluie o fata surprinzatoare a uneia dintre cele mai spectaculoase manifestari ale sociologiei in secolul XX: sociologia romaneasca interbelica. Istoria logistica a sociologiei romanesti reconstituie astfel una dintre secventele de mare tensiune creatoare ale dramei neamului romanesc in secolul al XX-lea, ceea ce face din cartea lui Dan Dungaciu una de exceptie.

Lucrarea abordeaz? cele mai relevante manifest?ri ale modernismului literar interbelic, propun?nd spre analiz? reprezentan?i ai poeziei (George Bacovia, Ion Barbu, Lucian Blaga, Ion Vinea, Ilarie Voronca, Tudor Arghezi), ai prozei (Anton Holban, Camil Petrescu, Max Blecher, Mircea Eliade), tendin?ele ?i mi?c?rile coagulate ?n jurul marilor reviste interbelice (Sbur?torul, Contimporanul, 75 H.P., Integral). Volumul se adreseaz? elevilor de liceu care doresc s?-?i aprofundeze cuno?tin?ele referitoare la una dintre cele mai importante v?rste literare rom?ne?ti, miz?nd ?i pe redescoperirea cititorului avizat, dornic s?-?i sus?in? punctele de vedere, s?-?i modeleze gustul estetic ?i s? descopere modele, ierarhii, valori.

n iunie 2015 am publicat n revista Permanene” (nr. 6) articolul Vladimir Tismneanu - ieri i azi”, motivat de faptul c Preedintele Comisiei Prezideniale pentru Analiza Dictaturii Comuniste din Romnia a devenit brusc un atacator al celor susinute n Raportul Final al Comisiei pe care a prezidat-o. Pn n prezent nu exist niciun fel de opinie a dlui Tismneanu i nici a celor de la Institutul Elie Wiesel” - MCA referitor la acest punct de vedere.

Maszumé hétk?znapi kamaszlány a 60-as évek Iránjában. Iskolába menet meglát egy fiatalembert, akivel egymásba szeretnek. Maszumé bátyjai megtalálják ártatlan levelezésüket, húgukat megverik, majd máshoz kényszerítik feleségül. A lánynak fel kell adnia álmait, és el kell indulnia egy g?r?ngy?s úton, melyet a sors rendelt neki. Az ?tven évet fel?lel? regény a hazáját jól ismer? szerz? szemével k?veti végig Irán viharos t?rténelmét: a 60-as évek a sah elnyomó uralma alatt, majd az iszlám forradalom, mely visszahozta Iránba a k?zépkort, az iraki–iráni háború. A regényt, mely az utóbbi évtized legnagyobb bestsellere lett Iránban, kétszer is betiltották, azonban nem politikai tartalma miatt, hanem mert egy olyan független és er?s n? sorsát állítja példaképül, aki a sorscsapások és nehézségek ellenére sosem adja fel a reményt, s bár csendesen, mégis határozottan tiltakozik társadalmának elnyomó hagyományai ellen. Parinoush Saniee szociológus és pszichológus, t?bb regény szerz?je. A sors k?nyve els? regénye, melyet t?bb nyelvre fordítottak le, Olaszországban elnyerte a Boccaccio-díjat, Németországban bestseller lett. Az iráni írón? 1949-ben született, férjnél van, két fia külf?ld?n él.

What is the magic of pastoral Greece? What is it that gives to you a sensation of being gently released from the cares of life and the boredom of modern civilization, with its often unmeaning complications, its unnecessary luxuries, its noisy self-satisfactions? This is not the tremendous, the spectacular release of the desert, an almost savage tearing away of bonds. Nothing in the Greece I saw is savage; scarcely anything is spectacular. But, oh, the bright simplicity of the life and the country along the way to Marathon! It was like an early world. One looked, and longed to live in those happy woods like the Turkish Gipsies. Could life offer anything better? The pines are small, exquisitely shaped, with foliage that looks almost as if it had been deftly arranged by a consummate artist. They curl over the slopes with a lightness almost of foam cresting a wave. Their color is quite lovely. The ancient Egyptians had a love color: well, the little pine-trees of Greece are the color of happiness. You smile involuntarily when you see them. And when, descending among them, you are greeted by the shining of the brilliant-blue sea, which stretches along the edge of the plain of Marathon, you know radiance purged of fierceness.? The road winds down among the pines till, at right angles to it, appears another road, or rough track just wide enough for a carriage. This leads to a large mound which bars the way. Upon this mound a habitation was perched. It was raised high above the ground upon a sort of tripod of poles. It had yellow walls of wheat, and a roof and floor of brushwood and maize. A ladder gave access to it, and from it there was a wide outlook over the whole crescent-shaped plain of Marathon. This dwelling belonged to a guardian of the vineyards, and the mound is the tomb of those who died in the great battle. PICTURESQUE DALMATIA ? Chapter I: PICTURESQUE DALMATIA IN AND NEAR ATHENS ? Chapter II: IN AND NEAR ATHENS THE ENVIRONS OF ATHENS ? Chapter III: THE ENVIRONS OF ATHENS DELPHI AND OLYMPIA ? Chapter IV: DELPHI AND OLYMPIA IN CONSTANTINOPLE ? Chapter V: IN CONSTANTINOPLE STAMBOUL, THE CITY OF MOSQUES ? Chapter VI: STAMBOUL, THE CITY OF MOSQUE

Books of instruction in the practice of painting have rarely been successful. Chiefly because they have been too narrow in their point of view, and have dealt more with recipes than with principles. It is not possible to give any one manner of painting that shall be right for all men and all subjects. To say "do thus and so" will not teach any one to paint. But there are certain principles which underlie all painting, and all schools of painting; and to state clearly the most important of these will surely be helpful, and may accomplish something. It is the purpose of this book to deal practically with the problems which are the study of the painter, and to make clear, as far as may be, the principles which are involved in them. I believe that this is the only way in which written instruc-tion on painting can be of any use. It is impossible to understand principles without some statement of theory; and a book in order to be practical must therefore be to some extent theoretical. I have been as concise and brief in the theoretical parts as clearness would permit of, and I trust they are not out of proportion to the practical parts. Either to paint well, or to judge well of a painting, requires an understanding of the same things: namely, the theoretical standpoint of the painter; the technical problems of color, composition, etc.; and the practical means, processes, and materials through which and with which these are worked out. It is obvious that one cannot become a good painter without the ability to know what is good painting, and to prefer it to bad painting. Therefore, I have taken space to cover, in some sort, the whole ground, as the best way to help the student towards becoming a good painter. If, also, the student of pictures should find in this book what will help him to appreciate more truly and more critically, I shall be gratified. There is a false implication in the saying that "a poor workman blames his tools." It is not true that a good workman can do good work with bad tools. On the contrary, the good workman sees to it that he has good tools, and makes it a part of his good workmanship that they are in good condition. In painting there is nothing that will cause you more trouble than bad materi-als. You can get along with few materials, but you cannot get along with bad ones. That is not the place to economize. To do good work is difficult at best. Econo-mize where it will not be a hindrance to you. Your tools can make your work harder or easier according to your selection of them. The relative cost of good and bad materials is of slight importance compared with the relative effect on your work.The way to economize is not to get anything which you do not need. Save on the non-essentials, and get as good a quality as you can of the essentials. Save on the number of things you get, not on the quantity you use. You must feel free in your use of material. There is nothing which hampers you more than parsimony in the use of things needful to your painting. If it is worth your while to paint at all, it is worth your while to be generous enough with yourself to insure ordinary freedom of use of material.The essentials of painting are few, but these cannot be dispensed with. Put it out of your mind that any one of these five things can be got along without:—You must have something to paint on, canvas or panel. Have plenty of these.

"When all the gods had assembled in conference, Zeus arose among them and addressed them thus" . . . "it is with this line that Plato's story of Atlantis ends; and the words of Zeus remain unknown." -- Francis Bacon, New Atlantis Of all the writings of Plato the Timaeus is the most obscure and repulsive to the modern reader, and has nevertheless had the greatest influence over the ancient and mediaeval world. The obscurity arises in the infancy of physical science, out of the confusion of theological, mathematical, and physiological notions, out of the desire to conceive the whole of nature without any adequate knowledge of the parts, and from a greater perception of similarities which lie on the surface than of differences which are hidden from view. To bring sense under the control of reason; to find some way through the mist or labyrinth of appearances, either the highway of mathematics, or more devious paths suggested by the analogy of man with the world, and of the world with man; to see that all things have a cause and are tending towards an end—this is the spirit of the ancient physical philosopher. He has no notion of trying an experiment and is hardly capable of observing the curiosities of nature which are 'tumbling out at his feet,' or of interpreting even the most obvious of them. He is driven back from the nearer to the more distant, from particulars to generalities, from the earth to the stars. He lifts up his eyes to the heavens and seeks to guide by their motions his erring footsteps. But we neither appreciate the conditions of knowledge to which he was subjected, nor have the ideas which fastened upon his imagination the same hold upon us. For he is hanging between matter and mind; he is under the dominion at the same time both of sense and of abstractions; his impressions are taken almost at random from the outside of nature; he sees the light, but not the objects which are revealed by the light; and he brings into juxtaposition things which to us appear wide as the poles asunder, because he finds nothing between them. He passes abruptly from persons to ideas and numbers, and from ideas and numbers to persons,—from the heavens to man, from astronomy to physiology; he confuses, or rather does not distinguish, subject and object, first and final causes, and is dreaming of geometrical figures lost in a flux of sense. He contrasts the perfect movements of the heavenly bodies with the imperfect representation of them (Rep.), and he does not always require strict accuracy even in applications of number and figure (Rep.). His mind lingers around the forms of mythology, which he uses as symbols or translates into figures of speech. He has no implements of observation, such as the telescope or microscope; the great science of chemistry is a blank to him. It is only by an effort that the modern thinker can breathe the atmosphere of the ancient philosopher, or understand how, under such unequal conditions, he seems in many instances, by a sort of inspiration, to have anticipated the truth. The influence with the Timaeus has exercised upon posterity is due partly to a misunderstanding. In the supposed depths of this dialogue the Neo-Platonists found hidden meanings and connections with the Jewish and Christian Scriptures, and out of them they elicited doctrines quite at variance with the spirit of Plato. Believing that he was inspired by the Holy Ghost, or had received his wisdom from Moses, they seemed to find in his writings the Christian Trinity, the Word, the Church, the creation of the world in a Jewish sense, as they really found the personality of God or of mind..

Tiziano Vecelli or Tiziano Vecellio (1488/1490 – 27 August 1576) known in English as Titian was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno (in Veneto), in the Republic of Venice. During his lifetime he was often called da Cadore, taken from the place of his birth. Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art. During the course of his long life, Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone are without precedent in the history of Western art. Early years This early portrait (c. 1509), described by Giorgio Vasari in 1568, was long wrongly believed to be of Ludovico Ariosto; it is now thought to be a portrait of Gerolamo Barbarigo, and the composition was borrowed by Rembrandt for his own self-portraits. The exact date of Titian's birth is uncertain; when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures which would equate to birthdates between 1473 to after 1482, but most modern scholars believe a date nearer 1490 is more likely; the Metropolitan Museum of Art's timeline supports c.1488, as does the Getty Research Institute.He was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore and managed local mines for their owners. Gregorio was also a distinguished councilor and soldier. Many relatives, including Titian's grandfather, were notaries, and the family of four were well-established in the area, which was ruled by Venice. At the age of about ten to twelve he and his brother Francesco (who perhaps followed later) were sent to an uncle in Venice to find an apprenticeship with a painter. The minor painter Sebastian Zuccato, whose sons became well-known mosaicists, and who may have been a family friend, arranged for the brothers to enter the studio of the elderly Gentile Bellini, from which they later transferred to that of his brother Giovanni Bellini. At that time the Bellinis, especially Giovanni, were the leading artists in the city. There Titian found a group of young men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani, and Giorgio da Castelfranco, nicknamed Giorgione. Francesco Vecellio, his older brother, later became a painter of some note in Venice.A fresco of Hercules on the Morosini Palace is said to have been one of Titian's earliest works; others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth (from the convent of S. Andrea), now in the Accademia, Venice.

THE earliest record we have of the employment of an infernal machine at all resembling the torpedo of the present day, was in 1585 at the siege of Antwerp. Here by means of certain small vessels, drifted down the stream, in each of which was placed a magazine of gunpowder, to be fired either by a trigger, or a combination of levers and clockwork, an Italian engineer, Lambelli, succeeded in demolishing a bridge that the enemy had formed over the Scheldt. So successful was this first attempt, and so tremendous was the effect produced on the spectators, by the explosion of one of these torpedoes, that further investigation of this new mode of Naval warfare was at once instituted.But it was not until some two hundred years after that any real progress was effected, though numerous attempts were made during this period, to destroy vessels by means of sub-marine infernal machines.It was owing to the fact, that the condition which is now considered as essential in torpedo warfare, viz., that the charge must be submerged, was then entirely ignored, that so long a standstill occurred in this new art of making war. Captain Bushnell, the Inventor of Torpedoes.—To Captain David Bushnell, of Connecticut, in 1775, is most certainly due the credit of inventing torpedoes, or as he termed them submarine magazines. For he first proved practically that a charge of gunpowder could be fired under water, which is incontestably the essence of submarine warfare. Submarine Boat.—To Captain Bushnell is also due the credit of first devizing a submarine boat for the purpose of conveying his magazines to the bottom of hostile ships and there exploding them.Drifting Torpedoes.—Another plan of his for destroying vessels, was that of connecting two of his infernal machines together by means of a line, and throwing them into the water, allowing the current to carry them across the bows of the attacked ship. Mode of Ignition.—The ignition of his magazines was generally effected by means of clockwork, which, when set in motion, would run for some time before exploding the machines, thus enabling the operators to get clear of the explosion.Captain Bushnell's few attempts to destroy our ships off the American coast in 1776 and 1777, with his submarine boat, and his drifting torpedoes were all attended with failure, a result generally experienced, where new inventions are for the first time subjected to the test of actual service. Robert Fulton.—Robert Fulton, an American, following in his footsteps, some twenty years after, revived the subject of submarine warfare, which during that interval seems to have been entirely forgotten. A resident in France, in 1797, he is found during that year making various experiments on the Seine with a machine which he had constructed, and by which he designed "to impart to carcasses of gunpowder a progressive motion under water, to a certain point, and there explode them."[A] Fulton's Failures.—Though these first essays of his resulted in failure, Fulton thoroughly believed in the efficacy of his schemes, and we find him, during that and succeeding years, vainly importunating the French and Dutch Governments, to grant him aid and support in carrying out experiments with his new inventions, whereby he might perfect them, and thus ensure to whichever government acceded to his views, the total destruction of their enemy's fleets. Bonaparte aids Fulton.—Though holding out such favourable terms, it was not until 1800, when Bonaparte became First Consul, that Fulton's solicitations were successful, and that money was granted him to carry out a series of experiments. In the following year (1801), under Bonaparte's immediate patronage, Fulton carried out various and numerous experiments in the harbour of Brest, principally with a submarine boat devised by him (named the Nautilus), subsequently to his invention of submarine carcasses as a means of approaching a ship and fixing one of his infernal machines beneath her..

Documentele publicate sub egida Institutului de Istorie ?George Bari?iu“ al Academiei Rom?ne au fost structurate ?n dou? p?r?i: Emigra?ia albgardist? ?i Biserica Rus? din Bucure?ti. Prima parte cuprinde r?spunsul direc?iilor regionale la Ordinul Direc?iei Generale a Securit??ii Statului nr. 354/81558 privind albgardi?tii din raza acestora de competen??, iar cea de a doua – materiale ale Direc?iei Regionale a Securit??ii Bucure?ti despre personalul, emigran?ii ?i refugia?ii care frecventeaz? Biserica Rus?. Sursele relev? destinul, starea de spirit ?i material? a fo?tilor membri ai armatelor ruse ?i ucrainene stabili?i ?n Rom?nia, supravie?uitori ai celor dou? r?zboaie mondiale, liderii fiind deja aresta?i.Din sinteza informativ? a Direc?iei Regionale a Securit??ii Bac?u din 27 octombrie 1951:??n urma ac?iunilor contrarevolu?ionare desf??urate ?n t?n?rul Stat Sovietic de c?tre bandele conduse de Denikin, Kerenski ?i Vranghel, bande ce au fost distruse de c?tre t?n?ra Armat? Ro?ie Sovietic? ?i alungate peste grani?ele Statului Sovietic, ?i ?n ?ar? la noi au venit o serie de elemente ce au f?cut parte din aceste armate, care ?i-au stabilit domiciliul ?n diferite ora?e ale ??rii noastre, unde sub regimul burghezo-mo?ieresc ce se afla ?n acel timp la c?rma ??rii noastre au g?sit azil ?i ocrotire.Astfel ?i ?n regiunea Bac?u din aceste elemente identificate p?n? ?n prezent sunt ?n num?r de 6 persoane, ?i anume: Mateevski Konstantin, ?n prezent domiciliat ?n Piatra-Neam?, de profesie electrician ?i mecanic, angajat ?n aceast? func?ie la Sovromlemn Piatra-Neam?; Petrovski Vasile, fost colonel de artilerie ?i avia?ie ?n armata alb? a lui Vranghel, ?n prezent domiciliat ?n Piatra-Neam?, fiind angajat ca magazioner la fabrica Bistri?a din Piatra-Neam?; Galini?cenko Alexandru, domiciliat ?n Piatra-Neam?, f?r? ocupa?ie, ?n prezent fiind b?tr?n; Kazimirov Mark, de profesie ?ofer angajat ?n aceast? calitate la fabrica ?Reconstruc?ia“ Piatra-Neam?, fost ofi?er ?n Armata Alb? ucrainean?, ?n prezent lucreaz? ca t?mplar, ?i Babici Ifrim, fost ofi?er ?n armata lui Vranghel, actualmente domiciliat ?n comuna Tarc?u, raionul Piatra-Neam?, cu serviciul la Sovromlemn.?n leg?tur? cu susnumi?ii trebuie s? ar?t?m c? dac? ?n trecut existau unele rela?ii de prietenie ?ntre d?n?ii, ?nt?lniri ?n care ??i reaminteau cu pl?cere de trecutul lor, ast?zi, fiind elemente b?tr?ne, nu se mai observ? aceste leg?turi, mai ales c? majoritatea sunt c?s?tori?i cu cet??ence rom?ne ?i parte dintre d?n?ii au chiar ?i copii.De asemeni, din cele cunoscute de noi rezult? c? ace?tia nu ?ntre?in leg?turi prin coresponden?? cu str?in?tatea ?i nici cu elementele dubioase ?i du?m?noase din locurile unde tr?iesc ei. S-a putut constata c? aceste elemente sunt extrem de fricoase ca nu cumva s? vin? o dispozi?ie care s?-i pun? ?n situa?ia s? se ?ntoarc? ?n URSS, obliga?i. Comentarii ?n acest gen au fost extrem de multe ?n r?ndurile lor, ?n special ?ntre anii 1945-1946, c?nd ei credeau sigur c? vor fi evacua?i din ?ara noastr? ?i trimi?i ?n Uniunea Sovietic?. Totu?i ?i ?n prezent, de?i b?tr?ni, exist? ?i ?n r?ndurile lor unele comentarii ?i nemul?umiri, pe care ?ns? ?i le arat? ?n anturajul restr?ns pe care eventual ?l au.“

T?rténik Olivér házában, Frigyes herceg udvarában, valamint az Ardeni-erd?ben – vélhet?leg Franciaországban. Egy nagy erej? vitéz, miként nálunk majd Toldi, legy?z egy bajnokot. Bár testvére ármánya miatt meg kellett volna halnia a párviadalban, mégis az ? homlokára kerül a gy?ztesnek kijáró koszorú. ?s ezzel kezdetét veszi vessz?futása. El?bb csak bátyja, majd uralkodója haragja el?l, utóbb egyenest a szám?zetésbe. Vigaszul csupán egy mosoly, egy fehér lánykézb?l kapott amulett és ?reg szolgája sírig h? ragaszkodása szolgál. ?m az ardeni erd? mélyén további barátokra, igaz szerelemre, és el?z?tt hercegének birodalmára talál.

C eti un artist dramatic care se zbate s supravieuiasc sau c eti un om care nu se identific cu sexul cu care a fost nzestrat i ncearc disperat s remedieze aceast problem, c eti un geniu ajuns n zdrene, care cerete ansa de a-i spune povestea, c eti un ndrgostit iremediabil, care ncaseaz doar indiferen, c eti un nimeni urmrit venic de autoriti, de probleme i eecuri, c eti captiv n lumea ta, singurul loc n care nu eti perceput ca fiind nebun tocmai fiindc sfideaz noiunea unanim acceptat de normalitate, c eti un scriitor care i aterne realitatea bidimensional, pe foaie, n replici, n didascalii, n uniti de msur a emoiei – numite cuvinte –, i ridic n alii realiti tridimensionale, c eti o ntmplare care citete aceste rnduri, tii foarte bine c orice fapt consumat d singur startul la o continuare i c exist mereu o a doua ans, la fel cum Moartea tie cnd trebuie s lase ceva s continue, cnd s-i spun stop sau cnd s nchid ochii, fiindc intervenia ar descalifica-o. Totul poart eticheta cu va urma i depinde doar de noi s lsm eticheta acolo i s urmm indicaia.Teatrul prelungete viaa fiindc este o prelungire a vieii. Nu e att parte a ei, ct o extensie, ca o pereche de aripi cu care plonjm ntr-un bar supraaglomerat, ntr-un dormitor n care ncap fix dou persoane, ntr-un vis policrom cu iz de psihotrope, sau ntr-o scen care ne va marca fiindc urmeaz s se petreac n acel interval de timp pe care niciodat nu suntem n stare s-l dibuim, dar tim atunci cnd se ntmpl c nu putea fi altcndva.Trei piese care ne zguduie, ne las simurile bulversate, creierii bruscai, inima n aritmie, dar sufletul cumva ridicat. Trei piese de prelungit viaa, chiar i a celor care cred c aceasta urmeaz abia dup ce vor muri. Moartea strig: Bis!“ cnd se vede aplaudnd de una singur, fiindc nu are de ales dect s lase spectacolul s continue n momentul n care tocmai se dezintegreaz.ndrznete i citete!“ – Andrei Vornicu

Leonardo's views of aesthetic are all important in his philosophy of life and art. The worker's thoughts on his craft are always of interest. They are doubly so when there is in them no trace of literary self-consciousness to blemish their expression. He recorded these thoughts at the instant of their birth, for a constant habit of observation and analysis had early developed with him into a second nature. His ideas were penned in the same fragmentary way as they presented themselves to his mind, perhaps with no intention of publishing them to the world. But his ideal of art depended intimately, none the less, on the system he had thrown out seemingly in so haphazard a manner. The long obscurity of the Dark Ages lifted over Italy, awakening to a national though a divided consciousness. Already two distinct tendencies were apparent. The practical and rational, on the one hand, was soon to be outwardly reflected in the burgher-life of Florence and the Lombard cities, while at Rome it had even then created the civil organization of the curia. The novella was its literary triumph. In art it expressed itself simply, directly and with vigour. Opposed to this was the other great undercurrent in Italian life, mystical, religious and speculative, which had run through the nation from the earliest times, and received fresh volume from mediaeval Christianity, encouraging ecstatic mysticism to drive to frenzy the population of its mountain cities. Umbrian painting is inspired by it, and the glowing words of Jacopone da Todi expressed in poetry the same religious fervour which the life of Florence and Perugia bore witness to in action. Italy developed out of the relation and conflict of these two forces the rational with the mystical. Their later union in the greater men was to form the art temperament of the Renaissance. The practical side gave it the firm foundation of rationalism and reality on which it rested; the mystical guided its endeavour to picture the unreal in terms of ideal beauty.The first offspring of this union was Leonardo. Since the decay of ancient art no painter had been able to fully express the human form, for imperfect mastery of technique still proved the barrier. Leonardo was the first completely to disengage his personality from its constraint, and make line express thought as none before him could do. Nor was this his only triumph, but rather the foundation on which further achievement rested. Remarkable as a thinker alone, he preferred to enlist thought in the service of art, and make art the handmaid of beauty. Leonardo saw the world not as it is, but as he himself was. He viewed it through the atmosphere of beauty which filled his mind, and tinged its shadows with the mystery of his nature. From his earliest years, the elements of greatness were present in Leonardo. But the maturity of his genius came unaffected from without. He barely noticed the great forces of the age which in life he encountered. After the first promise of his boyhood in the Tuscan hills, his youth at Florence had been spent under Verrocchio as a master, in company with those whose names were later to brighten the pages of Italian art. At one time he contemplated entering the service of an Oriental prince. Instead, he entered that of Caesar Borgia, as military engineer, and the greatest painter of the age became inspector of a despot's strongholds. But his restless nature did not leave him long at this. Returning to Florence he competed with Michelangelo; yet the service of even his native city could not retain him. His fame had attracted the attention of a new patron of the arts, prince of the state which had conquered his first master. In this his last venture, he forsook Italy, only to die three years later at Amboise, in the castle of the French king.

Habsburgi, Windsori, Romanovi, Hohenzollerni, familii regale ale Belgiei, Olandei, Italiei, Iugoslaviei, Bulgariei, Rom?niei sau Greciei – monarhiile europene s-au aflat ?n inima celor dou? R?zboaie Mondiale.?ntr-o incursiune istoric? fascinant?, punctat? de portrete, anecdote, momente-cheie, ?nt?lniri decisive, jocuri de alian?e, Jean des Cars ne introduce ?n culisele cur?ilor europene prinse ?n v?rtejul celor dou? conflagra?ii care au zguduit secolul al XX-lea.?Jean des Cars, eminent specialist al marilor dinastii europene, realizeaz? – ?ar? dup? ?ar?, deceniu dup? deceniu – un expozeu al faptelor istorice marcante, construind o lucrare plin? de vivacitate ?i bine documentata, o lectura cu at?t mai captivanta, cu c?t cele aproape 170 de subcapitole care o compun istorisesc, fiecare ?n parte, o adev?rat? poveste." - Le Figaro Magazine?Una dintre cele mai bune c?r?i ale autorului ?i un succes de libr?rie: urm?rim pe parcursul acestor conflicte comportamentele monarhilor, majoritatea ?nrudi?i ?ntre ei. Un secol de istorie a marilor familii, a destinelor europene, iar pentru Europa de Est, o memorie reg?sit?." - Valeurs Actuelles?n vara lui 1914, Europa este majoritar monarhic?: din dou?zeci ?i dou? de state, nou?sprezece sunt regate, imperii, principate sau mari ducate. Ast?zi, nu au mai r?mas dec?t zece. Primul R?zboi Mondial provoac? pr?bu?irea a patru imperii (Germania, Rusia, Austro-Ungaria, Imperiul Otoman), iar al Doilea spulber? patru regate (Italia, Iugoslavia, Rom?nia, Bulgaria).Cine erau ace?ti suverani? Dar femeile care le ?mp?rt??eau destinul?De la ambi?ie la orbire, de la curaj la sl?biciune, de la gelozie la abnega?ie, care au fost triumfurile ?i e?ecurile lor? Cum ?i-au tr?it gloria, dramele, cum s-au confruntat cu ascensiunea extremismelor interbelice, cu apari?ia totalitarismelor? Erau con?tien?i de consecin?ele gesturilor lor? Sau au fost incapabili s? stopeze avansul na?ionalismelor? Care au fost vie?ile lor personale, iubirile ?i pasiunile secrete? Ace?ti monarhi, care se vor alia, se vor ?nfrunta ?i uneori tr?da, sunt to?i ?nrudi?i, uni?i prin leg?turi de s?nge ?i matrimoniale. Astfel, ?r?zboiul regilor" va fi o incredibil? reglare de conturi familial? – la scar? continental?, apoi mondial?.

Materialele reunite in acest volum reprezinta o suma de contributii si studii publicate in ultimii ani. Toate materialele au fost selectate pentru a corespunde titlului stabilit: BATALIA PENTRU BASARABIA. Este explicabil de ce, in atare conditii, preocuparile colectivului de autori s-au concentrat asupra epocii celui de-al Doilea Razboi Mondial, cu predilectie tratand sfartecarea teritoriala a Romaniei Mari in 1940 sau rolul si locul Maresalului Ion Antonescu in reluarea luptei nationale pentru eliberarea Basarabiei de sub dominatia Imperiului Rosu stalinist, dupa 1941. Nu au fost neglijate nici anume fapte si consideratii din rastimpul 1945-1989, cand batalia s-a desfasurat indeosebi pe plan politico-diplomatic, dar si ideologic ori istoriografic.