39,99 zł

What's In A Name! An One Act Play (Classic Reprint)

Książki Obcojęzyczne>Nieprzypisane

0x0034ff5500000000

Sklep: Gigant.pl

11,15 zł

Spalona Żywcem Wyd. Kieszonkowe - Souad

Książki & Multimedia > Książki

Opis - Pierwsze na świecie świadectwo ofiary zbrodni honorowej. Miała siedemnaście lat i zakochała się: zhańbiła rodzinę. Więc rodzina wydała na nią wyrok śmierci... Pokochała go pierwszą miłością. Myślała, że się z nią ożeni. Ale ukochany zniknął, a ona odkryła, że jest w ciąży. A w jej świecie to najcięższa zbrodnia... W zapomnianej przez Boga wiosce w Cisjordanii kobiety są warte mniej niż zwierzęta domowe. Tu mężczyzna jest panem życia i śmierci żony, córki, siostry. Brat może bezkarnie zabić siostrę, matka - córkę, kolejną bezużyteczną dziewczynkę, jaka się urodzi. Tu kobiecie odbiera się godność, a nawet życie zgodnie z odwiecznym obyczajem i uświęconą tradycją. A śmierć jest karą dla dziewczyny, która zhańbi rodzinę. Tak jak Souad. Wyrok wydaje jej ojciec. Szwagier dokonuje egzekucji. Oblewa Souad benzyną i podpala... SOUAD przeżyła - cudem, ale rodzina usiłowała zabić ją nawet w szpitalu. Na zawsze jednak pozostanie straszliwie okaleczona - na ciele i duszy. I wciąż musi się ukrywać; dopóki żyje, jej rodzinę okrywa hańba. Spalona żywcem, opublikowana pod pseudonimem szokująca opowieść o piekle, jakim było jej dzieciństwo i młodość, stała się międzynarodowym bestsellerem. Wydana w 37 w krajach książka przerywa tabu milczenia wobec istniejącej nadal w krajach muzułmańskich barbarzyńskiej tradycji. Nieludzkiego obyczaju, prawa mężczyzn, na mocy którego co najmniej pięć tysięcy kobiet pada co roku ofiarą zbrodni honorowej. Nazwa - Spalona Żywcem Wyd. Kieszonkowe Autor - Souad Oprawa - Miękka Wydawca - Amber Kod ISBN - 9788324159406 Kod EAN - 9788324159406 Wydanie - 1 Rok wydania - 2016 Tłumacz - 31182,maria rostworowska; Format - 110 x 175 x 14 Ilość stron - 224 Podatek VAT - 5% Premiera - 2016-06-23

Sklep: InBook.pl

171,91 zł

Analysis of the Communicative Situation in Aphra Behn's "The Rover" Using Speech Act Theory, Grice's Maxims of Conversation and Relevance Theory Grin Publishing

Książki / Literatura obcojęzyczna

Essay from the year 2014 in the subject English Language and Literature Studies - Literature, grade: 1,0 (A in England), Oxford University, language: English, abstract: This essay argues that Aphra Behn's "The Rover" is first and foremost a play about language and communication, and the transformative power of language. Verbal communication in "The Rover" is the most powerful instrument in the game of seduction. It not only structures the social relations between the two sexes, but it gives structure to the whole play.This essay applies Speech Act Theory, Grice's Maxims of Conversation and parts of Relevance Theory from the linguistic field of Pragmatics to "The Rover" and will thus provide an analysis of the communicative situation in the play. The analysis will mainly focus on Willmore, Hellena and Angellica's speech, but will take the other characters into consideration, too. I will show that the characters in the play have different philosophies of language. While Willmore considers and uses language as performative and transformative instrument, his female interlocutors consider speech as a means for conveying and knowing truth. These different philosophies, or understandings of the power of language, problematize communication in the play and explain why in one and the same conversation communication can be felicitous for one interlocutor and infelicitous for the speaker.First, Austin's Speech Act Theory will be applied, and a detailed differentiation between Willmore and his female interlocutors' concepts of language will be provided. These observations will in a second step be supported by Grice's Maxims of Cooperation and Sperber and Wilson's Relevance Theory. I will then show what strategies the characters in "The Rover" develop to deal with Willmore's philosophy of language. Finally, a number of questions which this analysis raises will be identified.

Sklep: Libristo.pl

589,99 zł

LEONARD BERNSTEIN CD THE COMPOSER SYMPHONIC DANCES WYDAWCA

Muzyka > Płyty kompaktowe > Muzyka klasyczna

Leonard Bernstein: Leonard Bernstein - The Composer [BOX] [25CD] 1. Symphonic Dances (From West Side Story) / I. Prologue - Allegro moderato - Leonard Bernstein 2. Symphonic Dances (From West Side Story) / II. Somewhere - Adagio - Leonard Bernstein 3. Symphonic Dances (From West Side Story) / III. Scherzo - Vivace leggiero - Leonard Bernstein 4. Symphonic Dances (From West Side Story) / IV. Mambo - Meno presto - Leonard Bernstein 5. Symphonic Dances (From West Side Story) / V. Cha-Cha, Maria - Andantino con grazia - Leonard Bernstein 6. Symphonic Dances (From West Side Story) / VI. Meeting Scene - Meno mosso - Leonard Bernstein 7. Symphonic Dances (From West Side Story) / VII. Fugue, Cool - Allegretto - Leonard Bernstein 8. Symphonic Dances (From West Side Story) / VIII. Rumble - Molto allegro - Leonard Bernstein 9. Symphonic Dances (From West Side Story) / X. Finale - Adagio - Leonard Bernstein 10. Symphonic Suite (From the Film On The Waterfront) / Andante - Presto barbaro Presto barbaro - Leonard Bernstein 11. Symphonic Suite (From the Film On The Waterfront) / Adagio - Allegro molto agitato - Alla breve (Poco pi? mosso) - Presto come prima - Leonard Bernstein 12. Symphonic Suite (From the Film On The Waterfront) / Andante largamente - More Flowing - Still More Flowing - Poco meno mosso - Lento - Leonard Bernstein 13. Symphonic Suite (From the Film On The Waterfront) / Moving Forward, with Warmth - Largamente - A tempo - Calmato - Andante come prima - Sempre avanti, With Intensity - Ancora pi? mosso - Leonard Bernstein 14. Symphonic Suite (From the Film On The Waterfront) / Allegro non troppo, molto marcato - Poco pi? sostenuto - Moving Forward - Meno mosso - Leonard Bernstein 15. Symphonic Suite (From the Film On The Waterfront) / A tempo - Leonard Bernstein 16. Kaddish, Symphony No. 3 (To the Beloved Memory of John F. Kennedy) [Remastered - Leonard Bernstein 17. Kaddish, Symphony No. 3 (To the Beloved Memory of John F. Kennedy) [Remastered - Leonard Bernstein 18. Kaddish, Symphony No. 3 (To the Beloved Memory of John F. Kennedy) [Remastered - Leonard Bernstein 19. Fancy Free Ballet (Remastered) / I. Enter Three Sailors - Leonard Bernstein 20. Fancy Free Ballet (Remastered) / II. Scene at the Bar - Leonard Bernstein 21. Fancy Free Ballet (Remastered) / III. Enter Two Girls - Leonard Bernstein 22. Fancy Free Ballet (Remastered) / IV. Pas de deux - Leonard Bernstein 23. Fancy Free Ballet (Remastered) / V. Competition Scene - Leonard Bernstein 24. Fancy Free Ballet (Remastered) / VI. Three Dance Variations: Variation I (Galop) - Leonard Bernstein 25. Fancy Free Ballet (Remastered) / Variation II (Waltz) - Leonard Bernstein 26. Fancy Free Ballet (Remastered) / Variation III (Danzon) - Leonard Bernstein 27. Fancy Free Ballet (Remastered) / VII. Finale - Leonard Bernstein 28. Allegro molto con brio (From Overture to Candide) [Remastered - Leonard Bernstein 29. Three Dance Episodes (From On the Town) [Remastered - Leonard Bernstein 30. Three Dance Episodes (From On the Town) [Remastered - Leonard Bernstein 31. Three Dance Episodes (From On the Town) [Remastered - Leonard Bernstein 32. Prelude, Fugue and Riffs for Solo Clarinet and Jazz Ensemble [Remastered - Leonard Bernstein 33. Prelude, Fugue and Riffs for Solo Clarinet and Jazz Ensemble [Remastered - Leonard Bernstein 34. Prelude, Fugue and Riffs for Solo Clarinet and Jazz Ensemble [Remastered - Leonard Bernstein 35. Chichester Psalms for Chorus and Orchestra (Remastered) / I. Psalm 108 (Verse 2) & Psalm 100 (Complete) - Leonard Bernstein 36. Chichester Psalms for Chorus and Orchestra (Remastered) / II. Psalm 23 (Complete) & Psalm 2 (Verses 1-4) - Leonard Bernstein 37. Chichester Psalms for Chorus and Orchestra (Remastered) / III. Psalm 131 (Complete) & Psalm 133 (Verse 1) - Leonard Bernstein 38. Facsimile - Choreographic Essay for Orchestra (Remastered) / Part I - Molto Adagio - Leonard Bernstein 39. Facsimile - Choreographic Essay for Orchestra (Remastered) / Part II - Allegretto - Leonard Bernstein 40. The Age of Anxiety, Symphony No. 2 for Piano and Orchestra (after W. H. Auden) [Remastered - Leonard Bernstein 41. The Age of Anxiety, Symphony No. 2 for Piano and Orchestra (after W. H. Auden) [Remastered - Leonard Bernstein 42. The Age of Anxiety, Symphony No. 2 for Piano and Orchestra (after W. H. Auden) [Remastered - Leonard Bernstein 43. The Age of Anxiety, Symphony No. 2 for Piano and Orchestra (after W. H. Auden) [Remastered - Leonard Bernstein 44. The Age of Anxiety, Symphony No. 2 for Piano and Orchestra (after W. H. Auden) [Remastered - Leonard Bernstein 45. The Age of Anxiety, Symphony No. 2 for Piano and Orchestra (after W. H. Auden) [Remastered - Leonard Bernstein 46. Serenade after Plato's Symposium for Solo Violin, Strings, Harp and Percussion (Remastered) / I. Phaedrus: Pausanias (Lento - Allegro marcato) - Leonard Bernstein 47. Serenade after Plato's Symposium for Solo Violin, Strings, Harp and Percussion (Remastered) / II. Aristophanes (Allegretto) - Leonard Bernstein 48. Serenade after Plato's Symposium for Solo Violin, Strings, Harp and Percussion (Remastered) / III. Erixymathus (Presto) - Leonard Bernstein 49. Serenade after Plato's Symposium for Solo Violin, Strings, Harp and Percussion (Remastered) / IV. Agathon (Adagio) - Leonard Bernstein 50. Serenade after Plato's Symposium for Solo Violin, Strings, Harp and Percussion (Remastered) / V. Socrates: Alcibiades (Molto tenuto - Allegro molto vivace) - Leonard Bernstein 51. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / I. Devotions before Mass: 1. Antiphon: Kyrie eleison - Leonard Bernstein 52. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / I. Devotions before Mass: 2. Hymn and Psalm: A Simple Song - Leonard Bernstein 53. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / I. Devotions before Mass: 3. Responsory - Alleluia - Leonard Bernstein 54. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / II. First Introit (Rondo): 1. Prefatory Prayers - Leonard Bernstein 55. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / II. First Introit (Rondo): 2. Thrice-Triple Canon - Dominus vobiscum - Leonard Bernstein 56. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / III. Second Introit: 1. In nomine Patris - Leonard Bernstein 57. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / III. Second Introit: 2. Prayer for the congregation (Chorale: Almighty Father) - Leonard Bernstein 58. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / III. Second Introit: 3. Epiphany - Leonard Bernstein 59. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / IV. Confession: 1. Confiteor - Leonard Bernstein 60. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / IV. Confession: 2. Trope: I Don't Know - Leonard Bernstein 61. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / IV. Confession: 3. Trope: Easy - Leonard Bernstein 62. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / V. Meditation No. 1 - Leonard Bernstein 63. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / VI. Gloria: 1. Gloria tibi - Leonard Bernstein 64. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / VI. Gloria: 2. Gloria in excelsis - Leonard Bernstein 65. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / VI. Gloria: 3. Trope: Half of the People - Leonard Bernstein 66. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / VI. Gloria: 4. Trope: Thank You - Leonard Bernstein 67. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / VII. Meditation No. 2 - Leonard Bernstein 68. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / VIII. Epistle: The Word of the Lord - Leonard Bernstein 69. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / IX. Gospel-Sermon: God Said - Leonard Bernstein 70. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / X. Credo: 1. Credo in unum Deum - Leonard Bernstein 71. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / X. Credo: 2. Trope: Non Credo - Leonard Bernstein 72. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / X. Credo: 3. Trope: Hurry - Leonard Bernstein 73. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / X. Credo: 4. Trope: World Without End - Leonard Bernstein 74. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / X. Credo: 5. Trope: I Believe in God - Leonard Bernstein 75. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / XI. Meditation No. 3 (De profundis, part 1) - Leonard Bernstein 76. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / XII. Offertory (De profundis, part 2) - Leonard Bernstein 77. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / XIII. The Lord's Prayer: 1. Our Father... - Leonard Bernstein 78. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / XIII. The Lord's Prayer: 2. Trope: I Go On - Leonard Bernstein 79. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / XIV. Sanctus - Leonard Bernstein 80. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / XV. Agnus Dei - Leonard Bernstein 81. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / XVI. Fraction: Things Get Broken - Leonard Bernstein 82. Mass A Theatre Piece for Singers, Players and Dancers I (Remastered) / XVII. Pax: Communion (Secret Songs) - Leonard Bernstein 83. Dybbuk - Complete Ballet / Part I: The Community - Leonard Bernstein 84. Dybbuk - Complete Ballet / Part I: The Fathers - Leonard Bernstein 85. Dybbuk - Complete Ballet / Part I: Witnesses of Birth - Leonard Bernstein 86. Dybbuk - Complete Ballet / Part I: The Childrein - Leonard Bernstein 87. Dybbuk - Complete Ballet / Part II: Kabbalah: Six Variations - Leonard Bernstein 88. Dybbuk - Complete Ballet / Part III: Witnesses of Death - Leonard Bernstein 89. Dybbuk - Complete Ballet / Part III: Leah - Leonard Bernstein 90. Dybbuk - Complete Ballet / Part III: Possession - Leonard Bernstein 91. Dybbuk - Complete Ballet / Part III: Exorcism - Leonard Bernstein 92. Dybbuk - Complete Ballet / Part III: The Community - Leonard Bernstein 93. Jeremiah, Symphony No. 1 / I. Prophecy - Leonard Bernstein 94. Jeremiah, Symphony No. 1 / II. Profanation - Leonard Bernstein 95. Jeremiah, Symphony No. 1 / III. Lamentation - Leonard Bernstein 96. I Hate Music! A Cycle of Five Kid Songs for Soprano / I. Moderato - Leonard Bernstein 97. I Hate Music! A Cycle of Five Kid Songs for Soprano / II. Allegretto vivace - Leonard Bernstein 98. I Hate Music! A Cycle of Five Kid Songs for Soprano / III. Sostenuto - Allegro molto - Leonard Bernstein 99. I Hate Music! A Cycle of Five Kid Songs for Soprano / IV. Con brio - Leonard Bernstein 100. I Hate Music! A Cycle of Five Kid Songs for Soprano / V. Moderato, alla marcia - Andante - Leonard Bernstein 101. La Bonne Cuisine (Four Recipes) / I. Plum Pudding - Leonard Bernstein 102. La Bonne Cuisine (Four Recipes) / II. Queues de Boeuf (Ox-tails) - Leonard Bernstein 103. La Bonne Cuisine (Four Recipes) / III. Taveuk Gueunksis - Leonard Bernstein 104. La Bonne Cuisine (Four Recipes) / IV. Civet ? Toute Vitesse (Rabbit at Top Speed) - Leonard Bernstein 105. Afterthought - Study for the Ballet Facsimile - Leonard Bernstein 106. Seven Anniversaries / For Aaron Copland - Leonard Bernstein 107. Seven Anniversaries / For My Sister, Shirley - Leonard Bernstein 108. Seven Anniversaries / In Memoriam: Alfred Eisner - Leonard Bernstein 109. Seven Anniversaries / For Paul Bowles - Leonard Bernstein 110. Seven Anniversaries / In Memoriam: Nathalie Koussevitzky - Leonard Bernstein 111. Seven Anniversaries / For Serge Koussevitzky - Leonard Bernstein 112. Seven Anniversaries / For William Schuman - Leonard Bernstein 113. On the Town / Act I: Opening: New York, New York - Leonard Bernstein 114. On the Town / Act I: Come Up to My Place - Leonard Bernstein 115. On the Town / Act I: Carried Away - Leonard Bernstein 116. On the Town / Act I: Lonely Town - Leonard Bernstein 117. On the Town / Act I: Carnegie Hall (Do-Do-Re-Do) - Leonard Bernstein 118. On the Town / Act I: I Can Cook, Too - Leonard Bernstein 119. On the Town / Act I: Lucky to Be Me - Leonard Bernstein 120. On the Town / Act I: Dance - Times Square - Leonard Bernstein 121. On the Town / Act II: Night Club Sequence: So Long, Baby - I'm Blue - Ya Got Me - Leonard Bernstein 122. On the Town / Act II: I Understand - Leonard Bernstein 123. On the Town / Act II: Ballet: The Imaginary Coney Island: Subway Rider - Dance of the Great Lover - Pas de Deux - Leonard Bernstein 124. On the Town / Act II: Some Other Time - Leonard Bernstein 125. On the Town / Act II: Dance - The Real Coney Island - Leonard Bernstein 126. On the Town / Act II: Overture to On the Town - Leonard Bernstein 127. Peter Pan (Remastered) / The Darling Family at Home - Leonard Bernstein 128. Peter Pan (Remastered) / Who Am I? - Leonard Bernstein 129. Peter Pan (Remastered) / Peter and Wendy in the Nursery - Leonard Bernstein 130. Peter Pan (Remastered) / The Lost Boys - Leonard Bernstein 131. Peter Pan (Remastered) / The Pirate Song - Leonard Bernstein 132. Peter Pan (Remastered) / Captain Hook's Plan - Leonard Bernstein 133. Peter Pan (Remastered) / Build My House - Leonard Bernstein 134. Peter Pan (Remastered) / Wendy Plays Mother - Leonard Bernstein 135. Peter Pan (Remastered) / The Cake - Leonard Bernstein 136. Peter Pan (Remastered) / Peter, Peter - Leonard Bernstein 137. Peter Pan (Remastered) / The Pirate Ship - Leonard Bernstein 138. Peter Pan (Remastered) / The Plank - Leonard Bernstein 139. Peter Pan (Remastered) / The Battle - Leonard Bernstein 140. Peter Pan (Remastered) / The Children Fly Home - Leonard Bernstein 141. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Prelude - Leonard Bernstein 142. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Scene I: How could you say the thing that you did - Leonard Bernstein 143. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Scene II: Yes? Oh, Mister Partridge! - Leonard Bernstein 144. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Scene III: I was standing in a garden! - Leonard Bernstein 145. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Scene IIIa: Then desire took hold inside me - Leonard Bernstein 146. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Scene IIIa: Then desire took hold inside me - Leonard Bernstein 147. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Interlude:Skid a lit day - Leonard Bernstein 148. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Scene V:There's a law - Leonard Bernstein 149. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Scene VI:What a movie! - Leonard Bernstein 150. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Scene VIa:There's a law that a man has to pay for what he gets - Leonard Bernstein 151. Trouble in Tahiti - An Opera in Seven Scenes (Remastered) / Scene VII:Evenin' shadows are spreadin' softly - Leonard Bernstein 152. Wonderful Town / Act I: Overture - Leonard Bernstein 153. Wonderful Town / Act I: Christopher Street - Leonard Bernstein 154. Wonderful Town / Act I: Ohio - Leonard Bernstein 155. Wonderful Town / Act I: One Hundred Easy Ways - Leonard Bernstein 156. Wonderful Town / Act I: What a Waste - Leonard Bernstein 157. Wonderful Town / Act I: A Little Bit in Love - Leonard Bernstein 158. Wonderful Town / Act I: Pass the Football - Leonard Bernstein 159. Wonderful Town / Act I: Conversation Piece - Leonard Bernstein 160. Wonderful Town / Act I: A Quiet Girl - Leonard Bernstein 161. Wonderful Town / Act I: Conga! - Leonard Bernstein 162. Wonderful Town / Act II: My Darlin' Eileen - Leonard Bernstein 163. Wonderful Town / Act II: Swing! - Leonard Bernstein 164. Wonderful Town / Act II: It's Love - Leonard Bernstein 165. Wonderful Town / Act II: Ballet at the Village Vortex - Leonard Bernstein 166. Wonderful Town / Act II: Wrong Note Rag - Leonard Bernstein 167. Candide, Act I: Overture - Leonard Bernstein 168. Candide, Act I: The Best of All Possible Worlds - Leonard Bernstein 169. Candide, Act I: Oh, Happy We - Leonard Bernstein 170. Candide, Act I: It Must Be So - Leonard Bernstein 171. Candide, Act I: Paris Waltz - Leonard Bernstein 172. Candide, Act I: Glitter and Be Gay - Leonard Bernstein 173. Candide, Act I: You Were Dead, You Know - Leonard Bernstein 174. Candide, Act I: My Love - Leonard Bernstein 175. Candide, Act I: I'm Easily Assimilated - Leonard Bernstein 176. Candide, Act I: Finale - Leonard Bernstein 177. Candide, Act II: Quiet - Leonard Bernstein 178. Candide, Act II: Eldorado - Leonard Bernstein 179. Candide, Act II: Bon Voyage - Leonard Bernstein 180. Candide, Act II: What's the Use? - Leonard Bernstein 181. Candide, Act II: The Venice Gavotte - Leonard Bernstein 182. Candide, Act II: Finale - Make Our Garden Grow - Leonard Bernstein 183. Candide (1974) / Overture - Leonard Bernstein 184. Candide (1974) / Life Is Happiness Indeed - Parade - Leonard Bernstein 185. Candide (1974) / The Best of All Possible Worlds - Leonard Bernstein 186. Candide (1974) / Oh Happy We - Leonard Bernstein 187. Candide (1974) / It Must Be So - Leonard Bernstein 188. Candide (1974) / O Miserere - Leonard Bernstein 189. Candide (1974) / Oh Happy We (Reprise) - Leonard Bernstein 190. Candide (1974) / The Rich Jew and the Inquisitor - Leonard Bernstein 191. Candide (1974) / Glitter and Be Gay - Leonard Bernstein 192. Candide (1974) / Auto da fe (What a Day) - Leonard Bernstein 193. Candide (1974) / Candide's Lament - Leonard Bernstein 194. Candide (1974) / You Were Dead, You Know - Leonard Bernstein 195. Candide (1974) / Dialogue: The Rich Jew and the Grand Inquisitor - Leonard Bernstein 196. Candide (1974) / Spanish Music - Leonard Bernstein 197. Candide (1974) / I Am Easily Assimilated - Leonard Bernstein 198. Candide (1974) / I Am Easily Assimilated (Reprise) - Leonard Bernstein 199. Candide (1974) / My Love - Leonard Bernstein 200. Candide (1974) / Barcarolle (Upon a Ship at Sea) - Leonard Bernstein 201. Candide (1974) / Alleluia - Leonard Bernstein 202. Candide (1974) / Sheep's Song - Leonard Bernstein 203. Candide (1974) / Bon Voyage - Leonard Bernstein 204. Candide (1974) / The Best of All Possible Worlds (Reprise) - Leonard Bernstein 205. Candide (1974) / You Were Dead, You Know (Reprise) - Leonard Bernstein 206. Candide (1974) / Barcarolle (Reprise) - The Wisest Man in the World - Leonard Bernstein 207. Candide (1974) / Finale: Make Our Garden Grow - Leonard Bernstein 208. West Side Story (Original Broadway Cast) / Act I: Prologue - Leonard Bernstein 209. West Side Story (Original Broadway Cast) / Act I: Jet Song - Leonard Bernstein 210. West Side Story (Original Broadway Cast) / Act I: Something's Coming - Leonard Bernstein 211. West Side Story (Original Broadway Cast) / Act I: The Dance at the Gym - Leonard Bernstein 212. West Side Story (Original Broadway Cast) / Act I: Maria - Leonard Bernstein 213. West Side Story (Original Broadway Cast) / Act I: Tonight - Leonard Bernstein 214. West Side Story (Original Broadway Cast) / Act I: America - Leonard Bernstein 215. West Side Story (Original Broadway Cast) / Act I: Cool - Leonard Bernstein 216. West Side Story (Original Broadway Cast) / Act I: One Hand, One Heart - Leonard Bernstein 217. West Side Story (Original Broadway Cast) / Act I: Tonight (Quintet and Chorus) - Leonard Bernstein 218. West Side Story (Original Broadway Cast) / Act I: The Rumble - Leonard Bernstein 219. West Side Story (Original Broadway Cast) / Act II: I Feel Pretty - Leonard Bernstein 220. West Side Story (Original Broadway Cast) / Act II: Somewhere (Ballet) - Leonard Bernstein 221. West Side Story (Original Broadway Cast) / Act II: Gee, Officer Krupke - Leonard Bernstein 222. West Side Story (Original Broadway Cast) / Act II: A Boy Like That - I Have a Love - Leonard Bernstein 223. West Side Story (Original Broadway Cast) / Act II: Finale - Leonard Bernstein 224. West Side Story / Overture - Leonard Bernstein 225. West Side Story / Act I: Prologue - Leonard Bernstein 226. West Side Story / Act I: Jet Song - Leonard Bernstein 227. West Side Story / Act I: Something's Coming - Leonard Bernstein 228. West Side Story / Act I: Dance at the Gym: Blues - Promenade - Mambo - Pas de deux - Jump - Leonard Bernstein 229. West Side Story / Act I: Maria - Leonard Bernstein 230. West Side Story / Act I: America - Leonard Bernstein 231. West Side Story / Act I: Tonight - Leonard Bernstein 232. West Side Story / Act I: Gee, Officer Krupke - Leonard Bernstein 233. West Side Story / Act I: Intermission Music - Leonard Bernstein 234. West Side Story / Act II: I Feel Pretty - Leonard Bernstein 235. West Side Story / Act II: One Hand, One Heart - Leonard Bernstein 236. West Side Story / Act II: Tonight - Quintet - Leonard Bernstein 237. West Side Story / Act II: The Rumble - Leonard Bernstein 238. West Side Story / Act II: Somewhere - Leonard Bernstein 239. West Side Story / Act II: Cool - Leonard Bernstein 240. West Side Story / Act II: A Boy Like That - I Have A Love - Leonard Bernstein 241. West Side Story / Finale - Leonard Bernstein 242. West Side Story / Act II: End Credits - Leonard Bernstein 243. On The Town / New York, New York - Leonard Bernstein 244. On The Town / Lonely Town - Leonard Bernstein 245. On The Town / Carried Away - Leonard Bernstein 246. Peter Pan / Build My House - Leonard Bernstein 247. Peter Pan / Plank Song - Leonard Bernstein 248. Trouble In Tahiti / I Was Standing in a Garden - Leonard Bernstein 249. Trouble In Tahiti / What A Movie! - Leonard Bernstein 250. Wonderful Town / Conga - Leonard Bernstein 251. Wonderful Town / Ohio - Leonard Bernstein 252. Wonderful Town / Wrong Note Rag - Leonard Bernstein 253. Candide / Best of All Possible Worlds - Leonard Bernstein 254. Candide / Oh, Happy We - Leonard Bernstein 255. Candide / Glitter and Be Gay - Leonard Bernstein 256. Candide / Make Our Garden Grow - Leonard Bernstein 257. West Side Story / America - Leonard Bernstein 258. West Side Story / Maria - Leonard Bernstein 259. West Side Story / Tonight - Leonard Bernstein 260. West Side Story / Somewhere - Leonard Bernstein 261. Mass - Hymn and Psalm: A Simple Song / Hymn and Psalm - A Simple Song - Leonard Bernstein 262. Some Other Time from On The Town - Leonard Bernstein 263. Take Care of This House (From 1600 Pennsylvania Avenue) - Leonard Bernstein 264. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Opening Hymn / I. To the Poem - Leonard Bernstein 265. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Three Solos / II. The Pennycandystore Beyond the El - Leonard Bernstein 266. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Three Solos / III. A Julia de Burgos - Leonard Bernstein 267. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Three Solos / IV. To What You Said - Leonard Bernstein 268. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Three Ensembles / V. I, Too, Sing America - Okay Negroes - Leonard Bernstein 269. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Three Ensembles / VI. To My Dear and Loving Husband - Leonard Bernstein 270. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Three Ensembles / VII. Storyette H. M. - Leonard Bernstein 271. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Sextet / VIII. if you can't eat you got to - Leonard Bernstein 272. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Three Solos / IX. Music I Heard With You - Leonard Bernstein 273. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Three Solos / X. Zizi's Lament - Leonard Bernstein 274. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Three Solos / XI. Sonnet: What Lips My Lips Have Kissed ... - Leonard Bernstein 275. Songfest - A Cycle of American Poems for Six Singers and Orchestra / Closing Hymn / XII. Israfel - Leonard Bernstein 276. Seven Anniversaries / In Memoriam: Nathalie Kossevitzky, No. 5 - Leonard Bernstein 277. My House (From Peter Pan) - Leonard Bernstein 278. So Pretty - Leonard Bernstein 279. Greeting (From Arias and Barcarolles) - Leonard Bernstein 280. Take Care of this House (From Pennsylvania Avenue) - Leonard Bernstein 281. Rabbit at Top Speed (From la Bonne Cuisine) - Leonard Bernstein 282. Sonnet: What Lips My Lips Have Kissed (From Songfest) - Leonard Bernstein 283. Nachspiel (From Arias and Barcarolles) - Leonard Bernstein 284. Dream with Me (From Peter Pan) - Leonard Bernstein 285. A Simple Song (From Mass) - Leonard Bernstein 286. A Little Bit in Love (From Wonderful Town) - Leonard Bernstein 287. I Hate Music (From I Hate Music) - Leonard Bernstein 288. Jupiter Has Seven Moons (From I Hate Music) - Leonard Bernstein 289. My Name Is Barbara (From I Hate Music) - Leonard Bernstein 290. A Big Indian and a Little Indian (From I Hate Music) - Leonard Bernstein 291. I'm a Person Too (From I Hate Music) - Leonard Bernstein 292. Candide / Glitter and Be Gay (From Candide) - Leonard Bernstein 293. Who Am I (From Peter Pan) - Leonard Bernstein 294. Peter, Peter (From Peter Pan) - Leonard Bernstein 295. Build My House (From Peter Pan) - Leonard Bernstein 296. Songfest, Song Cycle for Singers and Orchestra / Three Solos, II / A Julia de Burgos - Leonard Bernstein 297. Sean Song (For Sean Lennon) - Leonard Bernstein 298. Dream with Me (From Peter Pan) - Leonard Bernstein 299. America (From West Side Story) - Leonard Bernstein 300. A Boy Like That (From West Side Story) - Leonard Bernstein 301. I Have a Love (From West Side Story) - Leonard Bernstein 302. Somewhere (From West Side Story) - Leonard Bernstein 303. A Simple Song (From Mass) [Reprise - Leonard Bernstein 304. West Side Story Suite - Leonard Bernstein 305. Lonely Town (From On the Town) - Leonard Bernstein 306. Make Our Garden Grow (From Make Our Garden Grow) - Leonard Bernstein 307. New York, New York (From On the Town) - Leonard Bernstein 308. Candide: Overture - Leonard Bernstein 309. Sonata for Clarinet and Piano / I. Grazioso - Leonard Bernstein 310. Sonata for Clarinet and Piano / II. Andantino - Vivace e leggiero - Leonard Bernstein 311. Rondo for Lifey for Trumpet and Piano - Leonard Bernstein 312. Sonata for Clarinet and Piano / I. Grazioso - Leonard Bernstein 313. Sonata for Clarinet and Piano / II. Andantino - Leonard Bernstein 314. Sonata for Clarinet and Piano / I. Grazioso - Leonard Bernstein 315. Sonata for Clarinet and Piano / II. Andantino - Vivace e leggiero - Leonard Bernstein 316. Olympic Hymn - Leonard Bernstein 317. America (From West Side Story) - Leonard Bernstein 318. Make Our Garden Grow (From Candide) - Leonard Bernstein 319. Jet Song (From West Side Story) - Leonard Bernstein 320. Maria (From West Side Story) - Leonard Bernstein 321. Something's Coming (From West Side Story) - Leonard Bernstein 322. A Simple Song (From Mass) [Reprise - Leonard Bernstein 323. Alleluia (From Mass) - Leonard Bernstein 324. A Boy Like That - I Have a Love (From West Side Story) - Leonard Bernstein 325. Best of All Possible Worlds (From Candide) - Leonard Bernstein 326. One Hand, One Heart (From West Side Story) - Leonard Bernstein 327. Tonight (From West Side Story) - Leonard Bernstein 328. I Feel Pretty (From West Side Story) - Leonard Bernstein 329. Somewhere (From West Side Story) - Leonard Bernstein 330. Gee, Officer Krupke (From West Side Story) - Leonard Bernstein 331. Maria - Leonard Bernstein 332. I Feel Pretty - Leonard Bernstein 333. Somewhere - Leonard Bernstein 334. A Quiet Girl - Leonard Bernstein 335. Tonight - Leonard Bernstein 336. Maria - Leonard Bernstein 337. Cool (From West Side Story) - Leonard Bernstein 338. Lonely Town - Leonard Bernstein 339. Cool (From West Side Story) - Leonard Bernstein 340. Maria - Leonard Bernstein 341. Lonely Town - Leonard Bernstein 342. Something's Coming - Leonard Bernstein 343. Stories From The West Side - Leonard Bernstein 344. Maria - Leonard Bernstein 345. Tonight - Leonard Bernstein 346. America - Leonard Bernstein 347. Gee, Officer Krupke - Leonard Bernstein 348. Something's Coming (From West Side Story) - Leonard Bernstein

Sklep: ksiazkitanie.pl

146,30 zł

Playing the Najdorf by David Vigorito (miękka okładka)

Szachy > Debiuty

Wersja językowa książki - angielska. Playing the Najdorf by David VigoritoThe Sicilian Najdorf is one of Black#8217;s best and most combative responses to 1.e4. The Najdorf was championed by Fischer and Kasparov during their respective periods of dominance over the world chess scene, and has been used extensively by many other World Champions and elite GMs, including Anand, Gelfand, Topalov and Vachier-Lagrave to name but a few.Despite the Najdorf#8217;s obvious pedigree, many players are intimidated by the highly tactical and theoretical nature of some of its main lines. In  Playing the Najdorf , IM David Vigorito shows that this need not be a problem, as he offers a complete repertoire for Black based on positional principles, offering sound recommendations which lead to a fighting game without turning the battle into a memory contest. David Vigorito  is an experienced International Master and a respected chess author and coach, who has had the Najdorf as the backbone of his repertoire for most of his career, making him ideally qualified as a guide to this opening.544 pages - Published 11 December 2019Paperback ISBN: 978-1-907982-65-1 Hardcover ISBN: 978-1-907982-66-8Reviews"Vigorito#8217;s orientation towards helping the reader understand the opening pervades the book. He clearly explains the plans for both sides, as well as the tactics and positional points. He frequently explains which moves don#8217;t work as well as those that do, which is often the best way to understand what is going on and to get to grip with the various subtleties that make this opening so rich. He does not seek to make the material appear simpler than it really is, rather he guides the reader every step of the way.I highly recommend this book. It provides great coverage and excellent explanations. Even more importantly, at least to me, it is enjoyable to read and a pleasure to dip into. The size of the book might put some potential readers off but, if you want to understand this much-played opening, I don#8217;t think there is a better guide." IM John Pigott , CHESS Magazine"While the Najdorf may have a great pedigree, it also has a reputation as being complicated and requiring tremendous theoretical knowledge. While there is no free lunch in chess, American International Master David Vigorito, in 'Playing the Najdorf' makes the case that learning this opening is not as daunting as it might seem...Another way the author makes this book more accessible is by including a large amount of explanatory prose. This is a big book, well over 500 pages, which enables Vigorito to explain things without leaving out theoretically significant material. Despite the serious subject matter this book is very readable." IM John Donaldson

Sklep: Imperiumzabawek.pl

171,60 zł

Playing the Najdorf by David Vigorito (twarda okładka)

Szachy > Debiuty

Wersja językowa książki - angielska. Playing the Najdorf by David VigoritoThe Sicilian Najdorf is one of Black#8217;s best and most combative responses to 1.e4. The Najdorf was championed by Fischer and Kasparov during their respective periods of dominance over the world chess scene, and has been used extensively by many other World Champions and elite GMs, including Anand, Gelfand, Topalov and Vachier-Lagrave to name but a few.Despite the Najdorf#8217;s obvious pedigree, many players are intimidated by the highly tactical and theoretical nature of some of its main lines. In  Playing the Najdorf , IM David Vigorito shows that this need not be a problem, as he offers a complete repertoire for Black based on positional principles, offering sound recommendations which lead to a fighting game without turning the battle into a memory contest. David Vigorito  is an experienced International Master and a respected chess author and coach, who has had the Najdorf as the backbone of his repertoire for most of his career, making him ideally qualified as a guide to this opening.544 pages - Published 11 December 2019Paperback ISBN: 978-1-907982-65-1 Hardcover ISBN: 978-1-907982-66-8Reviews"Vigorito#8217;s orientation towards helping the reader understand the opening pervades the book. He clearly explains the plans for both sides, as well as the tactics and positional points. He frequently explains which moves don#8217;t work as well as those that do, which is often the best way to understand what is going on and to get to grip with the various subtleties that make this opening so rich. He does not seek to make the material appear simpler than it really is, rather he guides the reader every step of the way.I highly recommend this book. It provides great coverage and excellent explanations. Even more importantly, at least to me, it is enjoyable to read and a pleasure to dip into. The size of the book might put some potential readers off but, if you want to understand this much-played opening, I don#8217;t think there is a better guide." IM John Pigott , CHESS Magazine"While the Najdorf may have a great pedigree, it also has a reputation as being complicated and requiring tremendous theoretical knowledge. While there is no free lunch in chess, American International Master David Vigorito, in 'Playing the Najdorf' makes the case that learning this opening is not as daunting as it might seem...Another way the author makes this book more accessible is by including a large amount of explanatory prose. This is a big book, well over 500 pages, which enables Vigorito to explain things without leaving out theoretically significant material. Despite the serious subject matter this book is very readable." IM John Donaldson

Sklep: Imperiumzabawek.pl

99,76 zł

Oikos: God's Big Word for a Small Planet Cascade Books

Książki / Literatura obcojęzyczna

How you spend your time and money controls what happens on this planet . . . Planet Earth and its people are in danger. We face ongoing economic and ecological crises. These will deepen unless all of God's people begin to act as one global community. Natural resources are diminishing and the economic world order is changing. We cannot go on living as though we can call up another planet. Change is needed now and this book addresses that.   The biblical vision of the world as oikos, meaning household, is God's challenge to all people about the way we live now--and in the future. Oikos affirms the need for reconciliation and peace between faiths and nations and should determine our economic practices and how we care for the planet.   In this timely and challenging book is a renewed call to follow the Maker's instructions. Whether it is 9/11, Chernobyl, or the 2008 financial crash, that call for change is repeating itself. This book not only explains why we need to change but also provides practical advocacy of how you can help to achieve it. ""More than ever, the world today needs a liberation theology that liberates theology itself from the knots in which it has been tied by human history. In Oikos, Andrew Francis contributes to such an approach. He does so in a manner that is unusually well integrated across the triune fields of social, environmental, and religious life that constitute the 'eco,' or neighborhood, that is our human home."" --Alastair McIntosh, author of Soil and Soul and Poacher's Pilgrimage ""Andrew Francis challenges us to consider what it means to live authentically as members of God's beautiful household--loving every member of our extended family and caring for our precious dwelling place. He helps us envision a divinely inspired economy, ecology, and ecumeny. How can we find this pearl of great value? This book provides a map that shows the way. This is Andrew Francis's generous gift to us."" --Stuart Masters, Senior Programme Leader, Woodbrooke Quaker Study Centre, UK Andrew Francis is a UK-based writer, poet, and community theologian who leads courses and retreats. A former artist, potter, and pastor, he speaks at conferences, festivals, and to congregations, and is a community gardener and joyful cook. He is the author of What in God's Name are You Eating? (2014) and Shalom: the Jesus Manifesto (2016).

Sklep: Libristo.pl

50,62 zł

D a Roach - Rarity Limitless Publishing

Książki / Literatura obcojęzyczna

Brogen Mathers can't deal with teen drama... As an empath, she is constantly bombarded with other people's energies. Despite coping techniques taught by her psychologist mother, it's often too much to bear, forcing her to avoid most activities a typical high school junior would enjoy. Jay Wilken won't let his past define him... A dead mother and an alcoholic father brought Jay to Stanton, but he doesn't want pity. His good looks, charisma, and friendly nature quickly win over the whole student body, but he has his eye on one girl...Brogen. Brogen can't believe anyone could be so genuinely nice. It has to be an act, right? But when Jay literally saves her from deadly jaws, she has to admit he's exactly what he appears, and he's worth risking the potential emotional upheaval. "Drama" might as well be Becca Grant's middle name... Another newcomer to Stanton, Becca's blonde beauty and abundant attitude shoots her straight to the top of the popularity charts-and she believes Jay belongs right there beside her. Accustomed to getting exactly what she wants, she launches a relentless mean-girl campaign to shake up Brogen and claim Jay for her own. Everything changes with a devastating diagnosis... When Jay learns he has a rare and potentially fatal disorder, he keeps it secret and begins to push Brogen away to spare her future pain-which is exactly the sort of opening Becca is waiting for. As Jay's well-meaning deception unravels, Brogen realizes there is much more than her heart at stake... But how far is she willing to go to fight for someone she loves?

Sklep: Libristo.pl

65,91 zł

Michael Jordan: The Inspiring Story of One of Basketball's Greatest Players (Basketball Biography Books) CreateSpace

Książki / Literatura obcojęzyczna

Learn the Incredible Story of the Chicago Bulls' Legendary Superstar, Michael Jordan! Read on your PC, Mac, smartphone, tablet or Kindle device! One of many riveting reads in the Basketball Biography Books series. Newly revised in 2020, Michael Jordan: The Inspiring Story of One of Basketball

Sklep: Libristo.pl

45,80 zł

Consolations of Philosophy Penguin

Nauki humanistyczne

Alain de Botton, best-selling author of How Proust can Change Your Life, has set six of the finest minds in the history of philosophy to work on the problems of everyday life. Here then are Socrates, Epicurus, Seneca, Montaigne, Schopenhauer and Nietzsche on some of the things that bother us all; lack of money, the pain of love, inadequacy, anxiety, the fear of failure and the pressure to conform.

Sklep: Albertus.pl

40,80 zł

Roaring Nineties Penguin

Biznes

His previous book revealed the shocking truth about globalization. Now, Joseph Stiglitz blows the whistle on the devastation wrought by the free market mantra in the nineties

Sklep: Albertus.pl

40,80 zł

Shadow of the Sun Penguin

Literatura faktu

'Only with the greatest of simplifications, for the sake of convenience, can we say Africa. In reality, except as a geographical term, Africa doesn't exist'. Ryszard Kapuscinski has been writing about the people of Africa throughout his career. In a study that avoids the official routes, palaces and big politics, he sets out to create an account of post-colonial Africa seen at once as a whole and as a location that wholly defies generalised explanations. It is both a sustained meditation on the mosaic of peoples and practises we call 'Africa', and an impassioned attempt to come to terms with humanity itself as it struggles to escape from foreign domination, from the intoxications of freedom, from war and from politics as theft. The Beginning: Collision, Ghana 1958 More than anything, one is struck by the light. Light everywhere. Brightness everywhere. Everywhere, the sun. Just yesterday, an autumnal London was drenched in rain. The airplane drenched in rain. A cold, wind, darkness. But here, from the morning

Sklep: Albertus.pl

15,99 zł

Cracow Indological Studies XV. History and Society as Depcted in Indian Literature and Art. Part II. ŚRAVYA. Poetry & Prose Księgarnia Akademicka Sp. z o.o.

Książki ogólne / naukowe

IntroductionThe present volume of Cracow Indological Studies contains articles addressing different issues pertaining to a broadly formulated subject Histoiy and Society as Described in Indian Literature and Art. Its first part (Cracow Indological Studies, vol. 14) was devoted to visual and performing arts, as obviously the interpretation of sculptures, paintings, objects of craft as well as film art cannot be neglected while searching for pieces of information providing a better insight into the ancient and modern histoiy of India. The articles presented in the second part use literary sources in order to examine diverse aspects of the past and present. Similarly to the first part, which contains in its subtitle the Sanskrit word drsya-‘what should be looked at’-and in this way brings together the varied phenomena which can be described by this term, starting from ancient Indian theatrical art and finishing with modem Indian cinematography, the present volume’s subtitle also refers to the indigenous Indian theory of literature, using the Sanskrit word sravya or ‘what should be listened to’, ‘what is worth listening to’. This term covers both poetry and prose compositions. The authors of this particular volume bring manifold literary works, among them also scientific treatises and scriptures, which ‘should be listened to’ to readers’ attention and analyse them in order to have a better understanding of Indian society and culture. The essentially plural identity of Indian literature is represented in this volume by the pan-Indian Sanskrit literary tradition, Hindi literary culture encompassing the North of India and the most important and ancient among the South Indian Dravidic literatures, namely Tamil writings. The specialists explore a great number of issues: the relations between writing, history and ideology, gender, class, changing sensibilities, discourse and language-to name only a few.The opening article by Tiziana Pontillo introduces the fascinating question of asceticism as a permanent life choice. The authoress quotes Raghuvamsa passages regarding renunciation as a praiseworthy act rather than an obvious course of life. She focuses on two relevant passages from the Buddhacarita: one of them presents Buddha’s father, whose lineage probably did not observe the brahmanic varna- srama system, however wishing that his son would go successively through prescribed stages of life and not renounce the world too early. Indeed, Asvaghosa’s work reflects the socio-religious conflict between the brahmanic inclusivistic theory of four ordered stages of life and the Buddhist encouragement to renounce the world (here the latter path is unusually called arsamarga). The article elaborates also on the term suksma dharma, interpreting it as an ‘uncertain common dharma path’, constituting the point of departure for both, the true Buddhist dharma and the brahmanic srauta reform.The next paper, “Political Metaphors in the Mahakavya. The Conceptual Metaphor THE STATE IS THE HUMAN BODY in Magha’s Sisupala- vadha”, authored by Anna Trynkowska, applies cognitive linguistics methods in order to study the metaphor. The selected stanzas concern politics, a subject which appears prominently in Sanskrit court poems, and the conceptual metaphor under discussion is “the state is the human body”. Trynkowska shows it in the relevant passages of Magha’s poem entitled Sisupalavadha. Perhaps it is not surprising that the majority of examples provided by Magha focus on the condition of the state and its stability. The fitness of the human body is mapped onto political stability and the power of functional elements of the state. Political enemies are conceptualized here in terms of diseases, causing an inappropriate condition of the human body. There are also stanzas naming these dangerous diseases, consumption being referred to most frequently. Trynkowska presents the set of mappings used in these metaphors, specifying the categories in the source domain (the human body, its structure and condition as well as the causes of an inappropriate condition of the body and their remedies) and the corresponding functional elements of the state in the target domain. The proposed method of analysis sheds more light on the structure of such stylistic devices and helps in a better understanding and noticing of their specific features.The epic poem which Tomasz Winiarski discusses is the famous Raghuvamsa by Kalidasa. The author has identified a very interesting passage in its sixteenth canto (verses 4-24), which presents a dying capital city in a very specific way. The main stress is on the role of the female characters in the description. Step by step Winiarski introduces the reader into the sophisticated technique implied by Kalidasa, namely the process of deconstructing/reconstructing the image of the city, a subtle play between reality and illusion, the past and present, light and darkness. The images stereotypical and characteristic of kavya literature are put into an unusual context and combined in unusual ways. As Winiarski points out, taking kavya works as the source of knowledge “may be deceptive if one wants to know what the physical reality and the form of a city was”, but “it is a valid and maybe the only source to answer the question of what it meant for Indians of that time. (...) the way urban life was rendered in stories and poetry was, and still is, a way to fully understand what the city was, how to be a part of it, and how to preserve its existence and meaning.”The following two papers deal with the Sanskrit historiography in South India.Rajendran Chettiarthodi examines the Musikavamsa, a poem written in the 11th century by Atula, as an example of sanskritization of regional history. Choosing Sanskrit as his medium and the mahakavya as a form of expression Atula made an attempt to enhance the prestige of his patron, king Srikantha of the Musika dynasty ruling over North Kerala (...)

Sklep: Księgarnia.Poltax.waw.pl

45,80 zł

Colossus Penguin

Inne 1

Is America the new world empire? Presidents from Lincoln to Bush may have denied it but, as Niall Ferguson's brilliant and provocative book shows, the US is the greatest military and economic colossus of all time. What's more, it always has been an empire, with its founding fathers battling westwards for territory and their successors spreading freedom across the world - at gunpoint if necessary. Yet is the US really equipped to play Atlas, bearing the weight of the world on its shoulders? America, Ferguson reveals, is now an empire running on empty, backing away from the crucial imperial commitments of time, money and manpower - and resting on perilous financial foundations. When the New Rome falls, its collapse may come from within. Unlike the majority of European writers who have written on this subject, I am fundamentally in favor of empire. Indeed, I believe that empire is more necessary in the twenty-first century than ever before. The threats we face are not in themselves new ones. But advances in technology make them more dangerous than ever before. Thanks to the speed and regularity of modern air travel, infectious diseases can be transmitted to us with terrifying swiftness. And thanks to the relative cheapness and destructiveness of modern weaponry, tyrants and terrorists can realistically think of devastating our cities. The old, post-1945 system of sovereign states, bound loosely together by an evolving system of international law, cannot easily deal with these threats because there are too many nation-states where the writ of the "international community" simply does not run. What is required is an agency capable of intervening in the affairs of such states to contain epidemics, depose tyrants, end local wars and eradicate terrorist organizations. This is the self-interested argument for empire. But there is also a complementary altruistic argument. Even if they did not pose a direct threat to the security of the United States, economic and social conditions in a number of countries in the world would justify some kind of intervention. The poverty of a country like Liberia is explicable not in terms of resource endowment; otherwise (for example) Botswana would be just as poor. The problem in Liberia, as in so many sub-Saharan African states, is simply misgovernment: corrupt and lawless dictators whose conduct makes economic development impossible and encourages political opposition to take the form of civil war. Countries in this condition will not correct themselves. They require the imposition of some kind of external authority. There are those who would insist that an empire is by definition incapable of playing such a role; in their eyes, all empires are exploitative in character. Yet there can be

Sklep: Albertus.pl

40,80 zł

Letter from America Penguin

Powieści i opowiadania

When Alistair Cooke retired in March 2004 and then died a few weeks later, he was acclaimed by many as one of the greatest broadcasters of all time. His Letters from America, which began in 1946 and continued uninterrupted every week until early 2004, kept the world in touch with what was happening in Cooke's wry, liberal and humane style. This selection, made largely by Cooke himself and supplemented by his literary executor, gives us the very best of these legendary broadcasts. Over half have never appeared in print before. It is a remarkable portrait of a continent - and a man. Fred Astaire 26 June 1987 Movie stars don't make it. Nor statesmen. Not Prime Ministers, or dictators unless they die in office. Not even a world-famous rock star, unless he's assassinated. But last Monday, none of the three national television networks hesitated about the story that would lead the evening news. On millions of little screens in this country and I don't doubt in many other countries around the world, the first shots were of an imp, a graceful wraith, a firefly in impeccable white tie and tails. And for much longer than the lead story usually runs, for a full five minutes on NBC, we were given a loving retrospective of the dead man, ending with the firm declaration by Nureyev that 'He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.' And the newsmen were right to remind us of the immortal comment of the Hollywood mogul, who, with the no-nonsense directness of an expert, reported on Fred Astaire's first film test: 'Has enormous ears, can't act, can't sing, dances a little.' That Hollywood mogul, long gone, spent his life ducking round corners, to avoid being identified as the oaf who looked in the sky and never saw the brightest star. However, that expert opinion was, as the lawyers say, controlling at the time and in Astaire's first movies, there was no thought of allowing him to act or sing. But not for long. And thanks to the invention of television, and the need to fill vast stretches of the afternoon and night with old movies, it has been possible for my daughter, for instance, to claim Fred Astaire as her favourite film star from the evidence of all the movies he made fifteen, ten, five, three years before she was born. When I got the news on Monday evening here, and realized with immediate professional satisfaction that the BBC had smartly on hand a musical obituary tribute to him I put together eight years ago, I couldn't help recalling the casual, comic way this and similar radio obituaries came about. I was in London at the end of 1979, and Richard Rodgers - one of the two or three greatest of American songwriters - had just died, I believe on New Year's Eve or the night before. Britons, by then, were getting accustomed, without pain, to making what used to be a two-day Christmas holiday into a ten-day much-needed rest. For all laborious research purposes, the BBC was shut up. And there was no retrospective programme on the life and music of Richard Rodgers in the BBC's archives. Of course, in a gramophone library that looks like an annex to the Pentagon, there were hundreds, perhaps thousands, of recordings of his songs. The SOS went out to a writer, a producer, and - I presume - a man who had the key to the gramophone library. The silent place was unlocked, and the three of them laboured through the day to put together an hour's tribute to Richard Rodgers. It was done. It was competent enough, but rushed to an impossible deadline. This hasty improvisation happened just when my own music producer and I, who had enjoyed working together for six years or so on American popular music, were wondering what we could offer next. We'd done a sketch history of jazz, through individuals. We'd gone through all the popular music of the 1920s, 1930s and 1940s, and were stumped for a new series, at which point I asked if we mightn't go and talk to the head of the channel, network or whatever. We went in, and the genial boss asked me what we had in mind. 'A morgue,' I said. A what? 'Where', I asked, 'is your morgue?' He was not familiar with the word, a newspaper term. 'Well,' I said, 'all newspapers have them.' 'How d'you mean?' 'If, I explained, 'Mrs Thatcher died tonight and you woke up and read a two-sentence obituary, you'd be rightly outraged. But if you saw a two-page obituary, you'd take it for granted. When d'you suppose it was written?' 'That's right,' he said thoughtfully. What I was proposing was a morgue of the Americans eminent in popular music and jazz, so they'd not get caught short again. A splendid idea, the man said; pick your stars. We made a list and were commissioned to return to America and finish all of them. Naturally, we looked at a calendar, and birthdates of Hoagy Carmichael, Earl Hines, Harold Arlen, Ethel Merman, Stephane Grappelli, Ella Fitzgerald. But then, in a spasm of panic, we thought of two giants - if the word can be used about two comparative midgets: Irving Berlin and Fred Astaire. Berlin was then 91. And Fred Astaire was just crowding 80. The boss man, to whom the idea of a morgue had been, only a few minutes before, quaint if not morbid, wondered what we were waiting for. Better get busy, at once, on Berlin and then on Astaire. I remember doing the Astaire obit, then and there, while I was still in London. Meanwhile, we'd simply pray every night that the Lord would keep Irving Berlin breathing till I could get home and get busy. I remember being picked up in a car by a charming young girl to get to the BBC and record my Astaire narration - there wasn't a moment to lose. She asked me, in the car, what the script was that I was clutching. 'It's an obituary', I said, 'of Fred Astaire.' 'Fred Astaire,' she shrieked, 'dead?' and almost swerved into a bus. 'Of course, he's not dead,' I said, 'but he's going to be one day.' She, too, was new to the institution of a morgue. I recalled that when I was a correspondent for a British paper in the United States, and when for example. Dean Acheson was appointed Secretary of State, the first cable I had from my editor said, 'Welcome Acheson obituary soonest.' How ghoulish, she said. I imagine that to two generations at least, it's assumed that Fred Astaire, this slim, pop-eyed newcomer to Hollywood who couldn't act, couldn't sing, danced a little, only made a fool of the mogul through the movies he made, with Ginger Rogers, in the mid- and late 1930s. But long before then, from the mid-1920s on, he was already an incomparable star - as a dancer - to theatre audiences both in New York and in London. Perhaps more in London than anywhere, certainly in the 1920s, with the early Gershwin hits, Funny Face and Lady Be Good, and lastly, in 1933, in Cole Porter's Gay Divorce (which was the title of the theatre show; Hollywood would not then allow so shocking a title and called the movie version, The Gay Divorcee). Of all the thousands of words that have been written this week, and will be written, there is a passage I went back to on Tuesday night which, I think, as well as anything I know, sums up Astaire's overall appeal - the appeal that takes in but transcends one's admiration for his dancing and for his inimitably intimate singing style. This was written in November 1933, by a theatre critic who had so little feel for dancing that he marvelled why London should go on about 'Mr Astaire's doing well enough what the Tiller Girls at Blackpool do superbly'. The critic, the writer, was James Agate, the irascible, dogmatic, opinionated but brilliant journalist, and I believe the best critic of acting we have had this century. He is writing his review of Gay Divorce, after declaring yet again his contempt for musical comedy as an entertainment for idiots, deploring the play's plot and the acting and hoping 'Micawberishly, for something to turn up'. 'Presently,' he wrote, 'Mr Fred Astaire obliged, and there is really no more to be said.' Except

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