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

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

Maria Rybakova’s Gnedich captures the reader’s attention in its first stanzas with a striking allusion to Homeric Greece: “The rage that killed so many/the wretched rage of Achilles/who knew that he would perish/ that he would perish young. This is a novel-in-verse about the first Russian translator of the Iliad, the romantic poet and librarian Nikolai Gnedich (1784-1833). Since Gnedich spent almost his entire life translating Homer’s epic poem, Maria Rybakova has chosen verse as the most appropriate stylistic means in recreating his life. To the English-speaking world, this genre of poetic biography is best exemplified by Ruth Padel’s Darwin – A Life in Poems. Like the Iliad itself, the novel consists of twelve Songs or Cantos, and covers the life of Gnedich from his childhood to his death. It depicts the lives of Gnedich and his best friend, the poet Batyushkov, who is slowly losing his sanity, and incorporates motifs from their poetry, from Homer’s epics, and from Greek mythology, as well as magnificent images of imperial Russia and the Homeric world. The space of the novel covers snowy Russian villages, aristocratic St. Petersburg salons, magnificent Italian landscapes, and the austere Greece of Homer’s heroes. Rybakova conjures a fittingly romantic vision of the dramatic lives of Gnedich and his best friend. A major part of the novel is the moving correspondence between the two poets. Philosophical reflections on the fate of the individual are intertwined with poignant stanzas devoted to the great but unhappy love to the tragic actress Ekaterina Semyonova that consumed Gnedich. The novel culminates in Batyushkov’s final breakdown in the lunatic asylum and Gnedich’s ruminations on Russia’s tragic future fate. The poetic language of Gnedich is refined: it combines the clarity of Rybakova’s syllabic verses and the sophistication of her metaphors with distinct, novelistic depictions of certain landscapes, people, and their interactions. The novel is spectacularly designed: Rybakova’s style resembles a movie projection with stop-cards at the key moments in Gnedich’s life, his long conversations with his friend, and particular striking sceneries. It creates a novelistic effect on the tale about Gnedich’s life, spanning over twenty years. The narrative is often interrupted by streams of consciousness and reminiscence by its main heroes. At the same time, it continues the traditions of Russian classic literature with its attention to detail and the psychology of the characters. A significant part of the novel is dedicated to the description of Gnedich’s friendship with Konstantin Batyushkov, a talented poet of the Pushkin epoch. Gnedich, disfigured by a childhood disease, was a librarian at the Imperial Library in St. Petersburg and became famous through his translation of the Illiad. Batyushkov, an officer of the Russian Imperial court who participated in military campaigns, as well as one of the best poets of the beginning of the 19th century, went through deep crisis and mental illness. The friendship between the two becomes one of the themes within the novel. Rybakova builds the novel-in-verse’s plot around Gnedich’s translation of the Illiad into Russian. The narrative progresses from the adult Gnedich’s recollection of his childhood in a small country estate in Ukraine in the first Song, his illness and discovery of the magnificent Greek epic about the siege of the Troy that changed his life forever, to the completion of his work on his translation as a final victory over his life’s circumstances. The titanic work on the translation continued for almost twenty-two years (1807-29).

“It would be hard to imagine Russian poetry in the last half century without Lydia Grigorieva,” writes eminent Russian poet and critic Konstantin Kedrov. Grigorieva is a uniquely individual voice, bucking the trends of modernist poetry to create her own distinctive and beguiling body of poetry. Her work draws on her own remarkable life to create startlingly arresting images and metaphors, full of beauty and power, from her series that emerged from her Arctic childhood, to the troubles that beset Ukraine. Her range of influences is wide, and Beethoven, Freud, Sylvia Plath and Byron all appear in her poems as well as more familiar Russian images. At the heart of Grigorieva’s poetry is what she calls its ‘musicality’ – her firm belief in the power of rhyme and rhythm in creating a poetic experience. In this first major collection of her work in English, English poet John Farndon, working with Grigorieva and co-translator Olga Nakston, has recreated this musicality in English so that English readers might experience for the first time what makes her work so revered in her Russian homeland. Translated by John Farndon with Olga Nakston. Maxim Hodak - Максим Ходак (Publisher), Max Mendor - Макс Мендор (Director), Ksenia Papazova (Managing Editor).

A book of love poems.? I Have Loved You Through the yearsI have loved youSince the painting of the skyEmerald, redStratus cloudsThe horse's maneCreated for you on that beautiful day Let the scroll of the heavens unwrapShowing an approbation for you and I;Let not the rays of the sun obstruct our viewWhen it is displayed Then, I will know the time has comeFor us to marry

Dvestotu godi?njicu Njego?evog ro?enja 2013. Knji?evna radionica Ra?i? obele?ila je objavljivanjem elektronske knjige pod naslovom Dela Njego?eva. Ova knjiga sadr?i obiman izbor Njego?evih najva?nijih dela: Gorski Vijenac, Lu?a mikrokozma, La?ni car ??epan Mali, Slobodijada, Glas kamen?taka, Pustinjak cetinski, Kula ?uri?i?a -- ?ardak Aleksi?a, Prozni zapisi, No? skuplja vijeka, te Izabrana pisma.

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

ONE of the best things to be said of the stories in this volume is that, although they are not biographical, they are about real persons who actually lived and performed their parts in the great drama of the world's history. Some of these persons were more famous than others, yet all have left enduring "footprints on the sands of time" and their names will not cease to be remembered. ??In each of the stories there is a basis of truth and an ethical lesson which cannot fail to have a wholesome influence; and each possesses elements of interest which, it is believed, will go far towards proving the fallibility of the doctrine that children find delight only in tales of the imaginative and unreal. The fact that there are a few more than fifty famous people mentioned in the volume may be credited to the author's wish to give good measure.??SAVING THE BIRDS?ONE day in spring four men were riding on horseback along a country road. These men were lawyers, and they were going to the next town to attend court.?There had been a rain, and the ground was very soft. Water was dripping from the trees, and the grass was wet.?The four lawyers rode along, one behind another; for the pathway was narrow, and the mud on each side of it was deep. They rode slowly, and talked and laughed and were very jolly.?As they were passing through a grove of small trees, they heard a great fluttering over their heads and a feeble chirping in the grass by the roadside.? "Stith! stith! stith!" came from the leafy branches above them.?"Cheep! cheep! cheep!" came from the wet grass.?"What is the matter here?" asked the first lawyer, whose name was Speed.?"Oh, it's only some old robins!" said the second lawyer, whose name was Hardin. "The storm has blown two of the little ones out of the nest. They are too young to fly, and the mother bird is making a great fuss about it."?"What a pity! They'll die down there in the grass," said the third lawyer, whose name I forget.?"Oh, well! They're nothing but birds," said Mr. Hardin. "Why should we bother?"? "Yes, why should we?" said Mr. Speed.?The three men, as they passed, looked down and saw the little birds fluttering in the cold, wet grass. They saw the mother robin flying about, and crying to her mate.?Then they rode on, talking and laughing as before. In a few minutes they had forgotten about the birds.?But the fourth lawyer, whose name was Abraham Lincoln, stopped. He got down from his horse and very gently took the little ones up in his big warm hands.

When George Washington was a boy there was no United States. The land was here, just as it is now, stretching from the Atlantic Ocean to the Pacific; but nearly all of it was wild and unknown.??Between the Atlantic Ocean and the Allegheny Mo-untains there were thirteen colonies, or great settlements. The most of the people who lived in these colonies were English people, or the children of English people; and so the King of England made their laws and appointed their governors.??The newest of the colonies was Georgia, which was settled the year after George Washington was born.?The oldest colony was Virginia, which had been settled one hundred and twenty-five years. It was also the richest colony, and more people were living in it than in any other.??There were only two or three towns in Virginia at that time, and they were quite small.?Most of the people lived on farms or on big plantations, where they raised whatever they needed to eat. They also raised tobacco, which they sent to England to be sold.??The farms, or plantations, were often far apart, with stretches of thick woods between them. Nearly every one was close to a river, or some other large body of water; for there are many rivers in Virginia..

Volumul a ambi?ionat s? aduc? ?n aten?ia cititorului activitatea unuia dintre cei mai importan?i lingvi?ti ?i publici?ti ai momentului din ?ara noastr?, din perspectiva speciali?tilor, dar ?i a fo?tilor sau actualilor s?i studen?i. ?n cei aproape ?aizeci de ani de activitate ?tiin?ific? ?i didactic?, Stelian Dumistr?cel s-a impus ?n domeniile dialectologie, stilistic?, etnolingvistic?, pragmatic? lingvistic? ?.a.; la Ia?i, a pus bazele unei ?coli de cercetare doctoral? de orientare co?erian?, confrunt?nd ?tehnica liber? a vorbirii ?i discursul repetat”. Pun?nd accentul pe activitatea sa publicistic?, ?miezul” acestui volum este constituit de treizeci de articole ap?rute ?n Revista de cultur? contemporan? ?Timpul”, c?rora li s-a ad?ugat o selec?ie de interviuri ?i articole publicate ?n alte diverse periodice, dar, la aniversare, ?i testimoniale care ?l prezint? pe Stelian Dumistr?cel ?i din postura dasc?lului preocupat at?t de fenomenele limbajului, c?t ?i de problemele comunic?rii, din perspectiv? larg interdisciplinar?.STELIAN-TRAIAN DUMISTR?CEL (n. 19 august 1937, Zvori?tea, Suceava) este, din 1958, cercet?tor ?tiin?ific la Institutul de Filologie Rom?n? ?A. Philippide” al Filialei Ia?i a Academiei Rom?ne. Din 1996, anul ?nfiin??rii Departamentului de Jurnalistic? ?i ?tiin?ele Comunic?rii la Universitatea ?Alexandru Ioan Cuza”, sus?ine cursuri de limba rom?n? (fonetic?, gramatic?, vocabular) ?i de stilistic? ?i retoric?, din perspectiva pragmaticii comunic?rii. A publicat, ?n calitate de autor ?i coautor peste trei sute de titluri (volume, studii, recenzii etc.) ?i aproape o mie de articole ?n periodice culturale ?i ?n presa cotidian?. Printre cele mai cunoscute volume se num?r? ?Influen?a limbii literare asupra graiurilor dacorom?ne” (1978), ?Lupta ?n jurul literei ? ?i demnitatea Academiei Rom?ne” (1993), ?P?n?-n p?nzele albe. Expresii rom?ne?ti. Biografii – motiva?ii” (1997, 2001), ?Limbajul publicistic rom?nesc din perspectiva stilurilor func?ionale” (2006), ?Discursul repetat ?n textul jurnalistic” (2006) ?.a.

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

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?“

Ar fi prea simplu s? dai fr?u liberlacrimilor pe coala alba, virginal? –ci tu te ?nc?p???nezi s? la?i un semn deslu?itdespre aleanul din sufletu-?i oprimat – ?ncercis? ?ntinzi pe h?rtie materia stelar? a unei pic?turialbastre; o ?mpingi ?ncolo ?i ?ncoace, caligrafiezi litere,le ?ns?ilezi ?n cuvinte ne?nc?p?toare – ?i e de parc??n interiorul pic?turii de cerneal?s-ar afla un ce viu ?i neostoit, care se zbates? r?zbeasc? ?ntr-o parte sau alta, afar? dincaptivitatea pungii elastice – un spirit vital, care?mpunge orbe?te, nereu?ind s? evadeze, blestemats? se chinuiasc? acolo,ve?nic...

...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

La attea pricini care-mi ntresc convingerea c avem de-a face cu un poet remarcabil, a aduga i pe acela, deloc secundar, c n ciuda unui anumit nomadism al strilor de spirit ale poetului, el gsete mijloace foarte variate de a pune n scen sentimentul su, ceea ce face ca poemele s capete individualitate.“ – Cornel Regman

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.

Discursul acesta ?ndr?gostit este structurat din termeni care apar?in filosofiei sau esteticii, fiind grefat pe structura de discurs a celui mai prestigios mit al poeziei: mitul lui Orfeu ?i Euridice. Acest mit reprezint? cadrul unei fenomenologii a c?ut?rii ?i cunoa?terii Fiin?ei, care arunc? o lumin? ?n ad?ncul fenomenologiei Operei. Autorul porne?te de la premiza c? sensul unei opere nu poate fi c?utat ?i cunoscut dec?t ?n orizontul Fiin?ei. Poezia liric? la care se restr?nge demersul teoretic ?i critic al lucr?rii poate vorbi nu numai despre prezen??, ci ?i despre absen?a Fiin?ei, altfel spus, at?t despre ce este, c?t ?i despre ce nu este Fiin?a. Orice fenomenologie devine, ?n cele din urm?, ontologie. Periplurile hermeneutice sunt f?cute prin opera unor poe?i ca, bun?oar?, Eminescu, Barbu, Arghezi, Nichita.

Chipul cotropit pe partea dreapt de urmrile unei intervenii chirurgicale pstreaz, n mare, farmecul i drzenia. Prul strns n cretet i barba abundent te-ar trimite cu gndul la marii pontifi hiperboreeni sau la preoii taoiti, dac vioiciunea i gesticulaia nu te-ar opri la timp. tie multe, dar mrturisete puine. Viaa l-a fcut prudent. Cine i va dezvlui spiritul profund Poetul i savantul nu au fcut niciodat concesii. Nici omul nu are pe contiin fapte grandilocvent-regretabile, dei a stat sub vremi, iar ideologia marxist i-a fcut pe muli s-i ascund spiritul critic.“ – Gheorghe Postelnicu

„Mai devreme decât niciodat?“, cum scriam într-un vers de tinere?e, ajunge la tipar materia înjum?t??it?, v?muit? a jurnalului meu de scriitor din perioada 1979-1989; cel din anii anteriori s-a pierdut, nu mai are rost s? explic în ce fel. Iar materia jurnalelor mele din perioada de dup? 1989, structurat? în dou? volume: Lamenta?iile uitucului ?i Gândirea înceat?, î?i a?teapt? editorul. ?i, implicit, cititorii…

n lucrarea sa, care a ctigat premiul Pulitzer n 1981, Robert K. Massie prezint detaliat viaa acestui captivant personaj istoric i evideniaz evenimentele cruciale care au transformat un biat ntr-o legend, inclusiv cltoriile sale incognito prin Europa, curiozitatea sa de nepotolit fa de obiceiurile occidentale, obsesia pentru mare i constituirea mreei flote ruseti, modul n care a creat o armat de nenvins i relaiile sale cu cei pe care i-a iubit cel mai mult: Ecaterina, iubita sa tandr, i Menikov, prinul fermector i lipsit de scrupule care a ajuns la putere prin intermediul prieteniei cu Petru. Un loc special n carte l ocup relaia dificil a lui Petru cu fiul su Aleksei, care a fost judecat i condamnat la moarte n 1718. Autorul nu neglijeaz nici viaa politic, social, cultural i religioas din Rusia pe parcursul jumtii secunde a secolului al XVII-lea i primei pri a secolului al XVIII-lea. Astfel, Massie i conduce cititorii n lumea ruseasc medieval i premodern schimbat iremediabil, uneori n mod violent, de reformele iniiate de monarhul autocrat Petru cel Mare. Fie c sunt schimbri care au afectat n primul rnd individul, precum obligativitatea tierii brbilor, sau iniiative care au vizat consolidarea forei statului, de exemplu, nfiinarea marinei ruseti i a Sankt-Petersburgului, reorganizarea administrativ inspirat de modelul occidental, toate acestea au transformat Rusia medieval ntr-un stat modern. n acelai timp, multe dintre reformele din timpul lui Petru au avut o influen ndelungat asupra societii ruseti. Cartea lui Massie nu ofer doar o perspectiv intern a societii ruseti, ci urmrete i aciunile lui Petru n planul politicii externe, la nivel european sau chiar global. Astfel, dou dintre cele cinci seciuni ale lucrrii se ocup de relaiile Rusiei cu celelalte state europene. Poate cel mai important conflict din timpul domniei lui Petru a fost cel mpotriva Suediei. n urma Marelui Rzboi Nordic (1700-1721), Rusia a obinut o serie de teritorii (Estonia, Livonia i Ingria). Totodat, deznodmntul acestui lung rzboi a nsemnat i ascensiunea Rusiei la rangul de putere continental. Pe plan militar, ns, domnia lui Petru nu a fost scutit de eecuri. Campania arului din Moldova, pornit mpotriva Imperiului Otoman, s-a terminat prin nfrngerea de la Stnileti (1711). Nu de puine ori, autorul american i aduce n prim-plan pe actorii politici importani din Europa sfritului secolului al XVIII-lea i nceputului secolului al XVIII-lea. Regi, comandani militari, nobili, toi sunt prezentai cititorilor, care pot astfel nelege mai bine aciunile sau atitudinile lor. arul Aleksei, tatl lui Petru, Ludovic al XIV-lea, Wilhelm de Orania, Carol al XII-lea, Augustus de Saxonia, ducele de Marlborough, prinul Eugeniu de Savoia sau feldmarealul Rehnskild se numr printre figurile ilustre descrise de Massie. De regul, atunci cnd analizeaz anumite perioade, istoricii pun accentul pe rolul proceselor i al fenomenelor de lung durat, lsnd cumva n umbr personalitile excepionale. Tocmai pentru a sugera impactul lui Petru cel Mare asupra istoriei Rusiei, n special, putem face apel la istoria contrafactual i s ne ntrebm: Cum ar fi artat Rusia contemporan dac n-ar fi existat Petru cel Mare

Cum ?i-au crescut regii britanici copiii din 1066 p?n? ?n prezent Lumea ?ntreag? a fost uimit? c?nd Prin?esa Diana s-a dovedit a fi o mam? bun? ?i afectuoas?. Ea a constituit o excep?ie: Familia Regal? a Marii Britanii este cunoscut? mai cur?nd pentru rela?iile reci ?i chiar tensionate dintre genera?iile de p?rin?i ?i copii. ?nc? din vremea Reginei Victoria ?i a Regelui George al VI-lea, p?rin?ii ?i-au exprimat ?n mod f??i? dezam?girea fa?? de mo?tenitori. David Cohen folose?te materiale noi ?i documente descoperite recent, ce dateaz? ?nc? din vremea dinastiei Tudor, ?i realizeaz? ?n Educa?ia regal? o combina?ie captivant? ?ntre istorie ?i telenovel?. ?O bog??ie de anecdote – de la lec?iile de scrim? p?n? la faptul c? Prin?ul Charles a avut valet de la v?rsta de trei ani.“