Throughout the course of my life, I have written a number of poems and was fortunate to have been left my late father's unpublished work, plus those of my past best friend. It seemed to me, therefore, that it would be appropriate to amalgamate them in one book, in part as tribute to their memory and on a personal level, to leave a permanent record for future generations to read and enjoy. I have always felt that poetry should reflect one's innermost feelings and expressed in a simple, honest and uncomplicated manner, to enable the reader to share that feeling and thus provoke a lasting emotion. To that end, I believe these poems will appeal to all age groups as they contain a rich mixture of emotions - love, humour, melancholy - and thought-provoking themes, and trust that in time, this book will become a favourite companion.

Over 25 storys of famous love affairs of the royalty and nobility of Europe throughout history.

First Class Phonics is a series of books designed to help children quickly become proficient readers and writers.These books use Synthetic Phonics, a high-quality teaching method recognised all over the world. In Synthetic Phonics, children focus on the skills that enable them to read and spell words accurately. They recognise the importance of every sound they hear in the spoken word and learn to blend these sounds so that they can read words from the very beginning of the program.It is essential that children develop the ability to hear, identify and manipulate individual sounds in order to read fluently. This book provides a range of fun activities to ensure this happens.Book 7 introduces more diagraphs (two-letter sounds) and trigraphs (three-letter sounds). It also introduces alternative graphemes for phonemes already learnt. It covers the sounds i (ivy), wr (write), o (wolf), ou (would), our (pour), au (Paul), al (chalk), or (boar), or (score), se (cheese), ze (snooze), ear (earth), or (worm), ere (were), g (giraffe), ge (page), dge (badge), mb (lamb), st (castle), c (circle), and ce (fence).In this book some earlier words taught cease to be 'tricky words' as children learn new sounds and understand their spelling pattern. The last chapter contains a story that uses only words built from the sounds taught in this and previous books.

First Class Phonics is a series of books designed to help children quickly become proficient readers and writers.These books use Synthetic Phonics, a high-quality teaching method recognised all over the world. In Synthetic Phonics, children focus on the skills that enable them to read and spell words accurately. They recognise the importance of every sound they hear in the spoken word and learn to blend these sounds so that they can read words from the very beginning of the program.It is essential that children develop the ability to hear, identify and manipulate individual sounds in order to read fluently. This book provides a range of fun activities to ensure this happens.Book 8 introduces more digraphs (two-letter sounds) and trigraphs (three-letter sounds). It also introduces alternative graphemes for phonemes already learnt. It covers the sounds ou (soup), ui (fruit), u (ruby), u (uniform), a (acorn), er (grey), eigh (eight), ea (steak), eer (deer), ere (sphere), ier (pier), ea (bread), ai (said), ear (pear), are (square), ere (there), al (calf), a (father), gh (laugh), ture (picture), tion (fraction), cian (musician), sion (explosion).In this book some earlier words taught cease to be 'tricky words' as children learn new sounds and understand their spelling pattern. The last chapter contains a story that uses only words built from the sounds taught in this and previous books.

Maths Problem Solving - Year 1 is the first of six books in the Maths Problem Solving series. The books have been written for teachers to use during the numeracy lesson. They cover the Esolving problemE objectives from the numeracy framework. This first book contains four chapters; Making decisions, Reasoning about numbers or shapes, Problems involving Ereal lifeE, money or measures and Organizing and using data. The books are designed in such a way that each section has six stages of questions to be worked through. Every stage is split into three levels, for example 1a, 1b or 1c, based on achievement. Each corresponding question from these levels follow the same line of questioning, so that when the teacher talks about a certain question, the solution process is the same for each level but the complexity of the sum varies.

Do you enjoy reading poetry? Are you looking for something out of the ordinary? A poem can affect our mood and make us see the world differently. It can convey a wealth of emotion in just a few short lines. The skill of the poet is in choosing the right words to get his message across and create a lasting impact on the reader so that they will want to revisit the poem time and again. The Awakening is a collection of poems that does just that. The poems in this book embrace the fantastical and dream-like nature of our world, telling stories of the search for contentment and ultimately redemption, as well as the darkness and confusion that may tempt and consume us along the way. Dip inside this book to discover poems about a range of experiences from love and loss and relationships, through compulsion and self-destruction and what it is that makes us human. If you like poetry, you are certain to want to add The Awakening to your collection.

Are you a big fan of the British Royal Family? Or do you want to find out everything there is to know about the future king, his wife and their children? If so, then this is the book for you! Contained within are over one hundred interesting facts about the Duke and Duchess of Cambridge, from their younger years to their relationship and marriage, their wider families, fashion and much, much more. The book is easily organised into sections so you can find the information you want fast... and is an unmissable addition to the bookshelf of any royal fan!

Maths Problem Solving - Year 4 is the fourth of six books in the Maths Problem Solving series. The books have been written for teachers to use during the numeracy lesson. They cover the 'solving problem' objectives from the numeracy framework. This book contains three chapters; Making decisions, Reasoning about numbers or shapes and Problems involving 'real life', money or measures. The books are designed in such a way that each section has six stages of questions to be worked through. Every stage is split into three levels, for example 1a, 1b or 1c, based on achievement. Each corresponding question from these levels follow the same line of questioning, so that when the teacher talks about a certain question, the solution process is the same for each level but the complexity of the sum varies.

The Brilliant Support Activities series contains photocopiable activities for use with slower learners or pupils with learning difficulties at Key Stage 2. The books introduce one concept per sheet, using simple language and clear, black line illustrations making them easy to read and understand. Understanding Materials contains 42 photocopiable sheets to help pupils understand the properties of materials through investigation. They reinforce the methods of scientific enquiry by requiring pupils to plan, carry out practical activities, consider evidence, and present ideas and conclusions. They focus on grouping and classifying materials, changing materials, and separating mixtures of materials. Other concepts such as forces, heat and magnetism are included within the context of understanding the properties of materials.

John Grote struggled to construct an intelligible account of philosophy at a time when radical change and sectarian conflict made understanding and clarity a rarity. This book answers three questions:* How did John Grote develop and contribute to modern Cambridge and British philosophy?* What is the significance of these contributions to modern philosophy in general and British Idealism and language philosophy in particular?* How were his ideas and his idealism incorporated into the modern philosophical tradition?Grote influenced his contemporaries, such as his students Henry Sidgwick and John Venn, in both style and content; he forged a brilliantly original philosophy of knowledge, ethics, politics and language, from a synthesis of the major British and European philosophies of his day; his social and political theory provide the origins of the 'new liberal' ideas later to reach their zenith in the writings of Green, Sidgwick, and Collingwood; he founded the 'Cambridge style' associated with Moore, Russell, Broad, McTaggart and Wittgenstein; and he was also a major influence on Oakeshott.

Este Leopardi un poet pesimist, aa cum l-a clasat tradiia Nu. Din perspectiva zilei de azi, el apare mai degrab ca un poet tragic, ca un exponent al categoriilor existeniale fundamentale. Nu moartea ca atare l sperie pe Leopardi, ci murirea, adic manifestarea ei procesual. Tot astfel viaa leopardian este vieuire. Desfurarea acestora e inversat: trirea vieii (vieuirea) e retrospectiv, iar trirea morii (murirea) e perspectiv. Inversiunea ontologic este temeiul mitopo(i)eticii leopardiene. Cartea ne propune un Leopardi modern i postmodern, un spirit intercultural i multicultural n siajul integrrii europene. Nu lipsete, bineneles, odiseea receptrii lui n spaiul cultural romnesc, ca pattern al lirismului arhetipal, alturi de Eminescu.” (Mihai Cimpoi)Un studiu incitant despre unul dintre cei mai mari poei ai lumii.

Adevrata putere, scrie tnrul erudit Balot, se afl n puterea fr glorie, n puterea ascuns, n fecunditatea tinuit. Nimic manifest, smna este ngropat adnc. n somnul seminei e puterea fr glorie. nsi pasivitatea ei e rodnic. Seceriul, gloria trzie a seminei dincolo de orizontul ei. Smna e puternic n timpul agoniei sale subterane”. Aceste note – ce pot fi considerate un manifest indirect – sunt scrise n ianuarie 1955 […] E captivant incursiunea efectuat n ’91-’98 n sumbrul an ’54-’55; ochiul lucid al eruditului Balot l privete” pe junele de atunci, l judec, l trateaz cu iubire, cu nelegere, cu ranchiun de crturar. Se obine astfel un efect al stranietii; e ca i cum ai nainta printr-un labirint al timpului, labirint ce are n loc de ziduri – oglinzi. n timp ce vezi diferite chipuri reale n oglind, asiti la descrierea lor luxuriant, memorabil, iar numai peste cteva clipe ai ansa s vezi aceleai chipuri vii, descrise de acelai spirit... ce a acumulat o experien – de la primul jurnal, de la primul segment de timp – de patruzeci de ani aproape. Cuceritoare, asprimea unui guru ntoars mpotriva sa, asprime ce denot faptul c rzboiul subteran, nceput acum cteva decenii, e n toi; Maestrul i este fidel siei, se nfrupt imperial din mizeria oricrei autodepiri (Nietzsche). Atingnd o dat un ideal – kantian vorbind, un lucru individual, determinabil sau chiar determinat numai prin idee” –, Nicolae Balot, l depete exemplar, inventnd idealuri ce dau largi fiori de sfnt mister. (Lucian Blaga)” (Aura Christi) Caietul albastru – un fragment memorabil din istoria mentalitilor autohtone – apare pentru prima dat n Colecia Ediii definitive.

La Zürich, c?nd intri ?ntr-un magazin, spui ?Grüetzi“, la Berlin, ?Hallo“, la Buenos Aires, ?Ola“, un ?Hallo“ ?ntors pe dos, poate unde-i pe emisfera cealalt?, la Viena, ?Grüss Gott“, dar ?i la Sibiu, acum 60 de ani, se spunea tot ?Grüss Gott“. Timi?oara nu cred c? f?cea opinie separat?, c? unde-i unu’ nu-i putere, o ?tie tot rom?nu’, dar nici Budapesta n-avea de ce s? fac? mofturi, de vreme ce Sisi, superba ?mp?r?teas? a Austriei, devenise regina Ungariei, datorit? unui foarte cool conte maghiar... cam a?a se ?ncruci?eaz? ?i limbile. ?Grüss Gott“ ?nseamn?: ?Salut?-l pe Dumnezeu“ sau ?Domnul s? te aibe ?n paz?“. Din binecuv?ntare a ajuns marcaj de grani?? a fostului imperiu habsburgic. Gata. Mi-am f?cut intrarea ?n scen?. De fapt n-am vrut dec?t s? v? spun ?Bun? ziua“. (Nora Iuga 29 decembrie 2009)

Poemele lui Virgil Botnaru au una dintre cele mai rare caliti regsibile la un debutant: anume polifonia. Dei arat numaidect recognoscibil, ele sun diferit de la o seciune la alta a crii; se vede, vreau s spun, c-s produse de un acelai spirit i o aceeai energeia, ns sunetul lor e mereu altul. Uneori, ele par contaminate de un misticism aproape pios, ca-n poemul (aproape un haiku) n care poetul trece dimineaa devreme pe lng catedral i gsete c Dumnezeu doarme; pentru ca dup cteva pagini s gseti o strigtur licenioas de dou versuri, deucheat dar simpatic; iar, dup alte cteva pagini, poemele devin documente ale unei melancolii virile, alcoolizate & depresive. E limpede, pentru mine, c Virgil Botnaru e un poet, al crui instrument acoper cteva octave bune; i c tie, de la bun nceput, cum s i-l exploateze. E, adic, un poet despre care tiu sigur c voi mai vorbi–cu ncredere & apreciere.“ – Radu Vancu

Femeile vin de pe Venus, b?rba?ii de la b?ut s?a n?scut ?n paginile s?pt?m?nalului de umor Ca?avencii. La cererea insistent? a cititorilor, o parte dintre textele rubricii B?t?i ?n dialog sunt adunate acum ?n acest volum. De?i pare c? e vorba de un ?r?zboi ?ntre sexe“, ?n realitate, autorii n?au dus niciodat? un r?zboi, ci un dialog. Ei lanseaz?, alternativ, c?te o tem? la care r?spunde cel?lalt. R?nd pe r?nd, toate stereotipurile care circul? despre via?a de cuplu sunt puse ?ntr?o lumin? umoristic?, eliberatoare. ?n mod normal, paginile care urmeaz? ar trebui s? v? salveze de la divor? sau m?car s? v? scuteasc? de a mai da banii pe terapie de cuplu. Cu o singur? condi?ie: s? ave?i umor.

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

1525, Wittenberg, Szászország A szász választófejedelem híres udvari fest?je, Lucas Cranach szomorú szem? fiatal n? portréját festi meg. A m? csak látszólag egyszer? arckép, a mester gondoskodik róla, hogy a festmény rejtett üzenetéb?l a figyelmes szemlél? kiolvashassa a lány tragikus t?rténetét. 1897, München Katharina, a magányos fiatal lány rokonai durvasága el?l menekülve a müncheni magyar fest?kolónia egyik m?vészéhez fordul segítségért. A találkozásból szerelem, majd házasság lesz, és a pár hamarosan Magyarországra k?lt?zik. De vajon el lehet-e felejteni azt a megrázó élményt, amely ?r?kre megváltoztatta a sorsukat? 2013, Budapest Kata, az elegáns pesti galéria m?vészett?rténésze a szakmájában nagyon sikeres, a szerelemben jóval kevésbé. Egy fájdalmas csalódást k?vet?en úgy d?nt, kipróbálja a Hellinger-féle családállítást, ahol bebizonyosodik, magánélete kudarcaira a múltban kell keresnie a magyarázatot. ?lményei akkor nyernek értelmet, amikor egy hetven évvel korábban elt?nt családi festmény után kutatva Németországba utazik és megismerkedik a m? új tulajdonosával. Johannes, a weimari ügyvéd nem hajlandó megválni a képt?l, ám meglep? ajánlatot tesz a lánynak. Kata igent mond a férfinak, akivel k?z?sen próbálják meg felderíteni a festményt ?vez? rejtélyt, és mik?zben egyre k?zelebb kerülnek egymáshoz, ráj?nnek, hogy a Madonna jóval t?bb titkot ?riz, mint valaha sejtették volna. A századel?t?l napjainkig ível? és a m?kincs-kereskedelem izgalmas világába vezet? regény egy fordulatos nyomozás és egy szenvedélyes szerelem t?rténete.

FLUX PERMANENT Scene ?i secven?e cur??ate de resorturile sugestiilor automate sunt eroii poeticii Ioanei Geac?r. ?pe scaunul de la cinema las? dinadins trandafirul/ lumina se va stinge/ ?i doar lic?ririle dinspre ecran sau dinspre u?a deschis?/ ?i vor m?ng?ia genunchii“ (?Cinema“) astfel de imagini ale singur?t??ii aflate ?n permanent? rela?ie cu tot ceea ce este ?n jur lumineaz? noul volum al Ioanei Geac?r. P?n? ?i titlul c?r?ii sale de la Casa de Pariuri Literare func?ioneaz? dup? aceea?i dinaminc? a izol?rii ?n mijlocul lucrurilor. Singur?tatea unui titlu ??Recviem pentru nuca verde? e un titlu de poem care m? b?ntuie de c?teva zile ?i uite unde a r?s?rit! Am pus si eu un nuc l?ng? bloc, c??iva ar?ari, plopi, tei, dar nu s-a prins dec?t un m?r care s-a dovedit a fi dud ?n cele din urm?. Toate vr?biile din cartier m? iubesc.“ scria Ioana Geac?r ?n urm? cu 5 ani pe un site literar. ?ntre timp, titlul acela pare s? fi preluat controlul asupra unui ?ntreg volum de poezii. Un volum ?n care nu este niciun poem care s? fie explicit recviem ?i nici de nuci nu vine vorba dec?t ?n interiorul cuv?ntului ?siNUCIdere“ sau c?nd ?sinuciga?ul alege din libr?rie c?teva c?r?i de pus sub picioare“. Verde ?n ce prive?te, ?ns?, felurile ?n care apare culoarea ?verde“ ?n volumul de fa?? al Ioanei Geac?r se pot scrie pagini consistente. De la fluturele care ??i schimb? culoarea, la ?zidul crescut ca un mu?chi“ cu op?iuni de ?tergere ro?ii ?i verzi, sau la acoperi?urile sm?l?uite ?n acela?i poem (?printre ruinurile T?rgovi?tei“), ?n amestecul cromatic al trupurilor dintre blocuri, sau ?mirosul de verde“ din ?emo?ii ?n ghips“, ochiul ?ncol?cit ?i rochia mamei, acela?i motiv leag? stabilizeaz? traseul poetic parcurs ?n aceast? carte care ?ncepe cu ?the end“ ?i se ?nchide cu ?ziua abia a-nceput“, ?naintea finalului ?ioana deseneaz? raze la sf?r?itul caietului de poezii“. Poveste vs. prezen?a uman? Multe poeme din acest volum alterneaz? personalul ?i impersonalul, articolul nehot?r?t ?i m?rci ale posesivit??ii la distan?? de c?teva versuri. Dac? ar fi s? aleg un mecanism care s? fie responsabil pentru demersul poetic al Ioanei Geac?r acesta ar fi tocmai amendarea jocului literar gratuit. Fie c? preia desf??ur?ri nostalgice ori tablouri ale purit??ii, nara?iunile sunt pulverizate aici pentru a face loc unui contur uman: ?mi-e team?/ c? dac? z?mbesc fa?a mi se va descompune“ (?humpty dumpty“). ?ntr-un volum ?n care singurele cuvinte scrise cu majuscule sunt T?rgovi?te, Breughel cel B?tr?n sau Hieronymus Bosch ?i unde nu exist? nici m?car o singur? virgul?, reperele poeziei sunt puse la ?ncercare, iar ?ncercarea suprem? este leg?tura dintre elemente aparent disparate, dintre m?rci ale fragilit??ii ?i ipostaze brutale, o c?utare expresiv? ?n flux permanent.

Am pus ?n valiz? / Chilo?i ?i po?ete / Degetu’ t?u mare / Trei perechi de ghete.?n aia mai mic? / Am pus o batist? / 5 kile de mere / O spr?ncean? trist?.?n cea mijlocie / Nu o ?nc?put / Dec?t 4 pere / ?i-un genunchi futut.Nu mi-e dor de tine / Te am peste tot / Te am ?n valiz? / Chiar ?i ?n compot.

Ce e un manechin? Un om-p?pu??, unu’ care se las? ?mbr?cat ?i dezbr?cat ?n v?zul lumii, o f?ptur? derutant?, un fel de paralitic ?ntr-un spital; nu mi?c?, nu vorbe?te dec?t ?nl?untrul s?u, ca ?ntr-un joc de-a v-a?i ascunselea: ?observi cum ??i fur vorbele cum ??i mut patul c?nd eram t?n?r? m? ?ndr?gosteam ?n mai acum m? ?ndr?gostesc ?n octombrie soarele meu bostanul meu doldora de semin?e orice ascunz?toare e o m?rturisire“. (Nora Iuga, iulie 2010)

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?.