krainaksiazek being a writer what does it take to be a writer can anyone take up the passion 20098269

- znaleziono 24 produkty w 3 sklepach

Can Two Rights Make a Wrong? - 2850778378

183,85 zł

Can Two Rights Make a Wrong? IBM Press

Książki / Literatura obcojęzyczna

"This is the book for people who never get past page two of a management book-it is as close as the genre comes to being a compulsive page turner. Its main thesis is built on at least three big ideas that are individually persuasive and cumulatively compelling. They naturally fit into an alignment tool that is applied to the range of day-to-day and exceptional challenges all enterprises face, including the Holy Grail of transformational change." -Donald Macrae, general counsel and chief knowledge officer, Department for Environment, Food and Rural Affairs, England "Having been in the business of cultural transformation and alignment for many years, I've carefully looked for a thoughtful strategy and an intentional approach to bringing about healthy and thriving cultures. Can Two Rights Make a Wrong? is simply the best-it is the most thoughtful and practical work I've seen in this growing and critical area. This is a must buy!" -Dr. Ron Jenson, Future Achievement International, international author, speaker, and consulting and executive coach "Can Two Rights Make a Wrong? is a superb account of how to manage the 'soft side' of mergers and acquisitions, but it has great value for managing many other new business practices as well, such as Open Innovation. It provides a powerful, practical method to identify conflicts, develop alignment, and achieve effective coordination between two parties that would be tremendously helpful in a variety of collaborative contexts, such as alliances, research partnerships, or joint ventures. Moulton Reger and her colleagues at IBM should be congratulated for a thoughtful, insightful book." -Henry Chesbrough, professor at University of California Berkeley's Haas School of Business, author of Open Innovation "Numbers are neat and clean. Human beings are often messy and complex. If everyone in your organization knew what to do and when, how, where, and-most importantly-why to do it, how would your organizational culture be defined? The authors of Can Two Rights Make a Wrong? have introduced new ways to proactively address culture and, most importantly, tie it to bottom-line benefits." -James H. Amos, Jr., chairman emeritus, MBE/The UPS Store "This book is a must read for leaders hoping to change their organization's culture as well as those attempting to merge firms with uniquely different cultures. Moulton Reger's insights are grounded in theory and real-world experience. In this unique book, culture change is a complex concept broken down into bite-sized pieces and presented in a way that any leadership team can embrace at its own pace." -Merrill J. Oster, author of Vision Driven Leadership, founder Oster Communications, Inc. "Here at last is a business book that takes culture seriously and isn't intimidated by it. The method described can be used with practically any type of business problem in any industry, and the book does an excellent job of drawing on research and theory while keeping the focus practical. The three elements of Outcome Narratives, Right vs. Right, and Business Practices are significant ideas in their own right-each is a unique insight. All three ideas have been around in various guises for several years, but have not been as well crystallized or as focused on complex business problems as they are in this book. The authors' achievement is extraordinary and goes a long way toward making the juicy idea of culture something to be built on and worked with." -Peter Vaill, professor, Antioch University "The Achilles heel for any major organizational change is that organization's culture. In every change, consultants talk about culture, but few provide specific sequential steps designed to actually do anything about it. This book provides such steps, and provides them in ways that makes sense. 'Makes sense' is the key because the steps provided can be easily adapted to virtually any organization, large or small." -George Falldine, Air Force civil servant, Air Force Materiel Command "Sara Moulton Reger is one of the premier organizational design consultants in the country, and this book reflects her in-depth knowledge of and experience with the subject matter. This book is essential reading for those striving to achieve greater results from ongoing change initiatives. Can Two Rights Make a Wrong? contains a broad range of concepts, examples, and specific steps culled from Moulton Reger's direct experience. Such a complete presentation of strategic and tactical advice makes Can Two Rights Make a Wrong? a mandatory addition to every manager's bookshelf." -Steven Bragg, CPA, author of twenty-eight business books, CFO of Premier Data Services "This is a serious book that gives intelligent guidance to anyone who leads an organization and takes creating and managing culture seriously. The section on Outcome Narratives is the best 'how to' on casting a unifying vision that I have seen. If you're a leader and take your role in creating and managing corporate culture seriously, then you should read this book." -Regi Campbell, principal, Seedsower Investments, author of About my Father's Business "I don't read most 'culture change' books-waste of time. This book is different. Can Two Rights Make a Wrong? combines both soft and hard approaches, with a continuous focus on how-to and results. Buy it. But, more importantly, read it." -Jack Grayson, founder and chairman, American Productivity and Quality Center (APQC) "We used Right vs. Right to help integrate an important acquisition-one that brought many differences we needed to carefully leverage to achieve IBM's business objectives. I found it to be a powerful technique for quickly reconciling strategic views of the business model and different operating preferences. Now, a few months later, we have the business results-and employee satisfaction-to prove Right vs. Right works." -Jim Corgel, general manager, Small and Medium Business Services, IBM "Leaders wouldn't think about doing a major project without a plan and a project manager, but how many consider the cultural implications? This book fills a key void because it clarifies the topic of culture so that it is easier to understand, and includes examples for applying the framework to many types of situations, including business-to-business alliances and crossgeography teams." -Cindy Berger, vice president, American Express "There is no question that the biggest hurdle to achieving a successful merger is culture. Market opportunities may be staggering and synergies may seem perfect, but, without a cultural match, odds are the merged company will struggle. Can Two Rights Make a Wrong? can help you avoid the problems. Even if you are not contemplating a merger, Moulton Reger's deep insight provides an excellent management primer and interesting historical perspective. A worthwhile read." -John R. Patrick, author of Net Attitude, president of Attitude LLC "This is an excellent book that provides a pragmatic approach to identifying and alleviating cultural issues created when two groups of people must work together. Effectively blending business cultures is a key requirement for successful outsourcing, and most companies lack the tools necessary to do this. Companies looking to reduce outsourcing risk should follow IBM's Tangible Culture approach." -Lance Travis, vice president, Outsourcing Strategies, AMR Research "This book will help leaders and cultural-change practitioners take a practical, well-architected approach to creating the culture they need to support their strategies. Thanks, IBM, for sharing what you have learned from your own transformation." -Valerie Norton, vice president, Talent Management and Organizational Effectiveness, Merck & Co., Inc. "Based on IBM's own experience with organizational transformation and mergers, this book belongs on the reading list of any executive contemplating major changes to their business." - Peter Richerson, professor, University of California Davis - "Finally, a book that goes beyond just declaring 'it's the culture change' and gets to a real recount of why and how to move on that need. This is a practical approach for senior leaders in large corporations and government to address the most pressing issues in modern business life!" -Kenneth I. Percell, executive director, Warner Robins Air Logistic Center "I like the way the authors move the idea of organization culture from intangible (values) to tangible and practical. They offer that culture can be viewed and changed by examining and discussing what people do. Using the techniques described in Can Two Rights Make a Wrong? will demystify culture clash." -Lynda Aiman-Smith, Ph.D., North Carolina State University "A must read for leaders charged with planning and executing major change initiatives involving a single organization or multiple organizations. The book is original, thoughtful, thorough, and pragmatic. The elements of Can Two Rights Make a Wrong? and their interrelationships that work to drive successful change are particularly beneficial. The authors demonstrate a hands-on grasp of this important subject and the related literature. The material is presented in a concise, easy-to-understand format, with lots of tables, charts, and illustrations to help guide the reader." -Stephen W. Brown, Edward M. Carson chair in services marketing, professor and executive director, Center for Services Leadership, W. P. Carey School of Business, Arizona State University "Many have observed that mergers and acquisitions will fail to achieve their goals without proper attention to human and cultural factors, but few have shown us the way to manage these factors in any meaningful way. This book takes up that challenge and delivers a real solution by identifying business practices as the crucial element of 'culture' that can make or break a merger or acquisition, and by providing a hands-on methodology for managing and aligning differences across cultures." -Marietta Baba, dean of the College of Social Science, professor of Anthropology, Michigan State University "Sara Moulton Reger's application of Business Practices, Right-vs. Right, and Outcome Narratives to business transformation spoke directly to my own business experience. I found the book's comprehensive approach very appealing. It brought together the story of a historic merger; a review of traditional approaches to culture transformation in business organizations; the powerful new techniques of Outcome Narratives, Right vs. Right, and Business Practices Alignment; and useful examples of the way to apply these techniques." -Dwight E. Collins, Ph.D., adjunct professor, Presidio School of Management, sustainable business and supply chain optimization consultant, president, Collins Family Foundation "We know unsuccessful mergers and acquisitions are often the result of underestimating the people and the cultural issues. Derived from experience, here is practical help in improving your chances of being one of the success stories." -David Hope, human resources director, Norwich Union Insurance "This is state-of the-art. This practical approach is extremely useful for anyone involved in integrating two large organizations, especially professional organizations. I found the book Can Two Rights Make a Wrong? fascinating-excellently describing the preparation and process that is required in integrating culturally different organizations." -Fred WI Lachotzki, professor of business policy, Nyenrode University, coauthor of Beyond Control: Managing Strategic Alignment through Corporate Dialogue Nowadays, nearly every business leader recognizes the crucial importance of culture. But, in many organizations, attempts to handle culture issues remain "squishy," unfocused, and unlikely to bring any value or results. Now, IBM's leading experts reveal the way to make culture tangible to everyone involved-and how to effectively deal with a variety of culture challenges. Can Two Rights Make a Wrong? leverages the lessons learned during IBM's $3.5 billion acquisition of PricewaterhouseCoopers Consulting: insight that IBM has crystallized into a powerful methodology for transforming business culture. The authors introduce "Business Practices," an actionable surrogate for "culture" that business people can identify with, gauge, and act upon. Then, one step at a time, you'll learn how to apply IBM's practical culture transformation techniques in your unique environment. You'll discover common patterns that lead to culture clashes so you can resolve or, better yet, prevent them. You'll learn to clarify your expectations so people really "get" it-and do it. You'll gain the way to measure culture change progress in terms everyone can understand and buy into. Whether you're involved with M&As, joint ventures, major transformation, internal restructuring, or any other initiative where culture is important, this book can help you take culture from a worrisome risk to a competitive advantage. *Business Practices: the unseen hand that propels action Uncover what makes your organization unique *Right vs. Right: What to do when good options conflict Understand and manage the source of culture clash *Outcome Narratives: Get to the right place, the right way Clarify your desired future, clear the obstacles, measure progress, and deliver results Successful culture change requires the same discipline you bring to the rest of your business. It demands a strong methodology that helps you clarify your goals and expectations, identify and overcome obstacles, measure progress...and get results. This book delivers that methodology. IBM's powerful, proprietary Tangible Culture approach will help you make culture visible and measurable- so you can replace "feel good" culture work with focused, actionable plans for change. Use IBM's techniques to surface, understand, and reconcile differences among groups that must work together, so you can launch alliances more more value from acquisitions...enhance cross-silo and global operations...choose the right strategies...and make real transformation happen. Whatever your goals, culture is central to your success. With this book, you can finally address culture-systemically, proactively, and effectively. Leverage IBM's Breakthrough Methodology for Driving Effective Culture Change * Drive real culture change, survive the effort, and reap genuine results * Overcome culture challenges and risks * Successfully execute on M&As, business alliances, transformation and internal restructuring * Use downloadable templates to customize IBM's techniques for your environment * Learn what IBM learned from its $3.5 billion acquisition of PricewaterhouseCoopers Consulting Foreword xxi Preface xxiii Acknowledgments xxv About the Author xxvii Contributing Authors xxix Section I: The Basics 1 Chapter 1: Introduction-An Overview of Tangible Culture 3 Chapter 2: We Can't Do This the Traditional Way-IBM's Acquisition of PricewaterhouseCoopers Consulting 17 Chapter 3: Traditional Approaches to Culture Transformation-How Others Have Dealt with the Challenge 33 Chapter 4: How to Get to the Right Place the Right Way-Outcome Narratives 49 Chapter 5: The Good Thing That Can Cause Big Trouble-Right vs. Right 67 Chapter 6: The Unseen Hand That Propels Organizational Action-Business Practices 85 Chapter 7: Putting It All Together-The Business Practices Alignment Method 103 Section II: The Application 119 Chapter 8: Mergers and Acquisitions- Managing the Common Sources of Culture Clash 121 Chapter 9: Alliances-Finding Ways to Leverage Your Collective Capabilities 143 Chapter 10: Major Restructuring-Gaining Sustained Value from Your Reorganization 163 Chapter 11: Major Transformation-Addressing Your Plan's Hidden Barrier 181 Chapter 12: Key Decisions and Everyday Business-Extending Tangible CultureInto the Operational Parts of Your Business 203 Section III: The Projects 225 Chapter 13: The Co-operators-Using Business Practices to Clarify Expectations 227 Chapter 14: Sales Pipeline-Using Right vs. Right to Differentiate Issues 241 Epilogue 251 Appendix: About the Contributors 255 Index 268


Just Fuck Me! - What Women Want Men to Know About Taking Control in the Bedroom (A Guide for Couples) - Revised Edition - 2826648305

62,69 zł

Just Fuck Me! - What Women Want Men to Know About Taking Control in the Bedroom (A Guide for Couples) - Revised Edition Kathode Ray Enterprises, LLC

Książki / Literatura obcojęzyczna

"You're the Man... Act Like One!" Look, I know you're not a mind reader, so I'm going to be blunt... The majority of women like to be fucked. And I mean really fucked. Yes, the media has lied to you. Sure, there are some women who want to lie on their backs, look into your eyes, and gently rock back and forth, but most of us want you to channel the power of the Sun through your penis and give us a good, solid pounding. Act like you want it, for God's sake! In this book, I'm going to lay out exactly what the majority of women want and show you exactly how to give it to them. I've got a section just for you and one for your female partner, so you can feel 100% comfortable letting loose on her vagina in the way she's secretly craving. Some of the topics we'll cover... The Alpha Male - It's more than just being an ex-fratboy douchebag, who thinks he's still on the high school football team. I'll clue you in. Dirty Talk - Trust me, she wants it. If she didn't, she'd fuck a mime. Speaking of, did you know Marcel Marceau was divorced three times? Enough said. Role Playing - How she really feels about pretending to be the babysitter, a whore, and a student looking for a little "extra credit." I'll take you through her top Alpha Male fantasies...including one so controversial, I can't even mention it here. The Art of Being Assertive - Sack up and take control! What to do...and what not to do. Sexual Communication - Both you and your partner have needs and good communication, both verbal and non-verbal, is crucial when it comes to getting them on the table. I'll show you how to communicate "Alpha Male Style." You'll learn what to say...and how to say it. Now that I've got you all hyped up and extremely aware of the need to please your woman, let's make that happen! What are you waiting for? Buy the book already! Eve Kingsley is a feminist writer based in San Francisco. She teaches couples how to push the boundaries of their sexual relationships to create new levels of honesty, intimacy, and trust.


Under the Duvet - 2212824601

36,60 zł

Under the Duvet Penguin

Powieści i opowiadania

'When people ask me what I do for a crust and I tell them that I'm a novelist, they immediately assume that my life is a non-stop carousel of limos, television appearances, hair-dos, devoted fans, stalkers and all the glitzy paraphernalia of being a public figure. It's time to set the record straight. I write alone, in a darkened bedroom, wearing my PJs, eating bananas, my laptop on a pillow in front of me ...' Her novels are adored by millions around the world


Shadow of the Sun - 2212824581

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


Just Fuck Me! - What Women Want Men to Know About Taking Con - 2838789244

72,30 zł

Just Fuck Me! - What Women Want Men to Know About Taking Con BERTRAMS

Książki / Literatura obcojęzyczna

"You're the Man... Act Like One!" Look, I know you're not a mind reader, so I'm going to be blunt... The majority of women like to be fucked. And I mean really fucked. Yes, the media has lied to you. Sure, there are some women that want to lay on their backs, look into your eyes, and gently rock back and forth, but most of us want you to channel the power of the Sun through your penis and give us a good, solid pounding. Act like you want it, for God's sake! In this book, I'm going to lay out exactly what the majority of women want and show you exactly how to give it to them. I've got a section just for you and one for your female partner, so you can feel 100% comfortable letting loose on her vagina in the way she's secretly craving. Some of the topics we'll cover... The Alpha Male - It's more than just being an ex-fratboy douchebag, who still thinks he's on the high school football team. I'll clue you in. Dirty Talk - Trust me, she wants it. If she didn't, she'd fuck a mime. Speaking of, did you know Marcel Marceau was divorced three times? Enough said. Role Playing - How she really feels about pretending to be the babysitter, a whore, and a student looking for a little "extra credit." I'll take you through the top 11 Alpha Male fantasies...including one so controversial, I can't even mention it here. The Art of Being Assertive - Sack up and take control! What to do...and what not to do. Sexual Communication - Both you and your partner have needs and good communication, both verbal and non-verbal, is crucial when it comes to getting them on the table. I'll show you how to communicate "Alpha Male Style." You'll learn what to say...and how to say it. Now that I've got you all hyped up and extremely aware of the need to please your woman, let's go about succeeding at it. Let's get down to brass tacks. What are you waiting for? Buy the book already! Eve Kingsley is a feminist writer based in San Francisco. She teaches couples how to push the boundaries of a sexual relationship to create new levels of honesty, intimacy, and trust.


Natasha's Dance - 2212836413

54,10 zł

Natasha's Dance Penguin

Powieści i opowiadania

Orlando Figes


Letter from America - 2212824618

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


Wanna Cook? - 2826798276

69,86 zł

Wanna Cook? Myrmidon Books

Książki / Literatura obcojęzyczna

"I am not in danger ...I am the danger." With those words, Breaking Bad's Walter White solidified himself as TV's greatest antihero. Wanna Cook? explores the most critically lauded series on television with analyses of the individual episodes and ongoing storylines. From details like stark settings, intricate camerawork, and jarring music to the larger themes, including the roles of violence, place, self-change, legal ethics, and fan reactions, this companion book is perfect for those diehards who have watched the Emmy Award - winning series multiple times as well as for new viewers. Wanna Cook? elucidates without spoiling, and illuminates without nit-picking. A must have for any fan's collection. Excerpt. (c) Reprinted by permission. All rights reserved. From Wanna Cook's Episode Guide 1.01 Pilot/Breaking Bad Original air date: January 20, 2008 Written and directed by: Vince Gilligan "I prefer to see [chemistry] as the study of change ...that's all of life, right? It's the constant, it's the cycle. It's solution - dissolution, just over and over and over. It is growth, then decay, then - transformation! It is fascinating, really." - Walter White We meet Walter White, Jesse Pinkman, and Walt's family. Walt is poleaxed by some tragic news. With nothing to lose, Walt decides to try to make one big score, and damn the consequences. For that, however, he needs the help of Jesse Pinkman, a former student of Walt's turned loser meth cook and drug dealer. From the moment you see those khakis float down out of a perfectly blue desert sky, you know that you're watching a show like nothing else on television. The hard beauty and stillness of the American Southwest is shattered by a wildly careening RV driven by a pasty white guy with a developing paunch wearing only a gas mask and tighty-whities. What the hell? Like all pilots, this one is primarily exposition, but unlike most, the exposition is beautifully handled as the simple background of Walter's life. The use of a long flashback as the body of the episode works well, in no small part due to Bryan Cranston's brilliant performance in the opening, which gives us a Walter White so obviously, desperately out of his element that we immediately wonder how this guy wound up pantsless in the desert and apparently determined to commit suicide-by-cop. After the opening credits, the audience is taken on an intimate tour of Walt's life. Again, Cranston sells it perfectly. The viewer is presented with a middle-aged man facing the back half of his life from the perspective of an early brilliance and promise that has somehow imploded into a barely-making-ends-meet existence as a high school chemistry teacher. He has to work a lousy second job to support his pregnant wife and disabled teenage son and still can't afford to buy a hot water heater. Executive producer and series creator Vince Gilligan, along with the cast and crew (Gilligan & Co.), take the audience through this day in the life of Walt, and it's just one little humiliation after another. The only time Walt's eyes sparkle in the first half of the episode is when he is giving his introductory lecture to his chemistry class. Here Walt transcends his lower-middle-class life in an almost poetic outpouring of passion for this incredible science. Of course, even that brief joy is crushed by the arrogant insolence of the archetypal high school jackass who stays just far enough inside the line that Walt can't do a damn thing about him. So this is Walt and his life, as sad sack as you can get, with no real prospects of improvement, a brother-in-law who thinks he's a wuss, and a wife who doesn't even pay attention during birthday sex. Until everything changes. The sociologist and criminologist Lonnie Athens would likely classify Walt's cancer diagnosis as the beginning of a "dramatic self change," brought on by something so traumatic that a person's self - the very thoughts, ideas, and ways of understanding and interacting with the world - is shattered, or "fragmented," and in order to survive, the person must begin to replace that old self, those old ideas, with an entirely new worldview. (Athens and his theories are discussed much more fully in the previous essay, but since we warned you not to read that if you don't want to risk spoilage, the basic - and spoiler-free - parts are mentioned here.) Breaking Bad gives us this fragmentation beautifully. Note how from the viewer's perspective Walt is upside down as he is moved into the MRI machine, a motif smoothly repeated in the next scene with Walt's reflection in the top of the doctor's desk. Most discombobulating of all, however, is the consultation with the doctor. At first totally voiceless behind the tinnitus-like ambient soundtrack and faceless except for his chin and lips, the doctor and the news he is imparting are made unreal, out of place, and alien. As for Walt, in an exquisite touch of emotional realism, all he can focus on is the mustard stain on the doctor's lab coat. How many of us, confronted with such tragic news, have likewise found our attention focused, randomly, illogically, on some similar mundanity of life? It is from this shattered self that Walt begins to operate and things that would have been completely out of the question for pre-cancer Walt are now actual possibilities - things like finding a big score before he dies by making and selling pure crystal meth. Remember that Walt is a truly brilliant chemist, and knows full well what crystal meth is and what it does to people who use it. He may not know exactly what he's getting into, but he knows what he is doing. Enter Jesse Pinkman (Aaron Paul, best known previously for his role on Big Love), a skinny white-boy gangster wannabe, who under the name "Cap'n Cook" makes a living cooking and selling meth. He's also an ex-student of Walt's, and after being recognized by his former teacher during a drug bust, Walt has all the leverage he needs to coerce Jesse into helping him. Why does he need him? Because, as Walt says, "you know the business, and I know the chemistry." Symbolizing just how far beyond his old life Walt is moving, he and Jesse park their battered RV/meth lab in the desert outside of Albuquerque, far from the city and any signs of human life. All that is there is a rough dirt road and a "cow house" in the distance. The desert is a place without memory, a place outside of things, where secrets can be kept, and meth can be cooked. This is where Walt lives now. It is in this desert space that Walt becomes a killer, albeit in self defense. Ironically, the one thing that Walt views as holding the keys to the secret of life - chemistry - becomes the means to end lives. Walt, a father, teacher, and an integral part of an extended family - in other words, an agent of life and growth - has now become a meth cook, using chemical weapons to kill his enemies. Walter White has become an agent of death. The transformation is just beginning, but already Skyler (Anna Gunn, previously known for her roles on The Practice and Deadwood) is having some trouble recognizing her husband: "Walt? Is that you?" LAB NOTES Highlight: Jesse to Walt: "Man, some straight like you - giant stick up his ass all of a sudden at age what? Sixty? He's just going to break bad?" Did You Notice: This episode has the first (but not the last!) appearance of Walt's excuse that he's doing everything for his family. There's an award on the wall in Walt's house commemorating his contributions to work that was awarded the Nobel Prize back in 1985. The man's not a slouch when it comes to chemistry, so what's happened since then? At Walt's surprise birthday party, Walt is very awkward when he handles Hank's gun. Speaking of Hank (Dean Norris, whose other roles were in the TV series Medium, and the movies Total Recall, and Little Miss Sunshine), he waits until the school bus has left the neighborhood before ordering his team into the meth lab, showing what a good and careful cop he is. Maybe it's just us, but J.P. Wynne High School (where Walt teaches chemistry) seems to have the most well-equipped high school chemistry lab in the country. As Walt receives his diagnosis, the doctor's voice and all other sounds are drowned out by a kind of numbing ringing, signifying a kind of psychic overload that prevents Walt from being fully engaged with the external world. This effect will be used again several times throughout the series. Walt literally launders his money to dry it out, foreshadowing what's to come. Shooting Up: Thanks to John Toll, who served as cinematographer for the first season of Breaking Bad, the show has one of the most distinctive opening shots ever. Just watch those empty khaki pants flutter across a clear sky. Breaking Bad loves certain camera angles and this section is where we'll point out some of the shots that make the show stand out. Look at that taped non-confession Walt makes for his family when he thinks the cops are coming for him. We're used to watching recordings of characters - shows are filmed (or taped), but here, we're watching him recording himself on tape. Who's the real Walt? Title: Many pilot episodes share the name with the title of the show and Breaking Bad's pilot is no exception. Vince Gilligan, who grew up in Farmville, Virginia, has stated that "breaking bad" is a Southernism for going off the straight and narrow. When you bend a stick until it breaks, the stick usually breaks cleanly. But sometimes, sticks (and men) break bad. You can wind up in the hospital with a splinter in your eye, or you can wind up in Walter White's world. Either way, it's no kind of good. Interesting Facts: Show creator Vince Gilligan's early educational experience was at J. P. Wynne Campus School in Farmville, Virginia. He recycled the name for the high school in Breaking Bad. SPECIAL INGREDIENTS What Is Crystal Meth, Anyway? While there is some evidence that methamphetamine can be found naturally in several species of acacia plants, commercial meth making involves chemistry, not agriculture. The history of the drug dates back to 1893 when Japanese chemist Nagai Nagayoshi first synthesized the substance from ephedrine. The name "methamphetamine...


Tchaikovsky Edition (New Version) - 2852231502

339,90 zł

Tchaikovsky Edition (New Version) Brilliant Classics

Książki>Sztuka>Muzyka. Śpiew. Taniec>Muzyka poważnaMuzyka>Klasyczna

1. Fedoseyev, Vladimir - Sinfonie Nr. 1 G-moll Op. 13 2. 1. Daydreams Of A Winter Journey: Allegro Tranquil 3. 2. Land Of Gloom, Land Of Mist: Adagio Cantabile 4. 3. Scherzo: Allegro Scherzando Giocoso 5. 4. Finale: Andante Lugubre - Allegro Moderato 6. Gibson, Alexander - Ouvertuere 1812 Op. 49 Ouvert 101. Philharmonia Orchestra - Sinfonie Nr. 2 C-moll Op. 102. 1. Andante Sostenuto - Allegro Vivo 103. 2. Andantino Marziale - Quasi Moderato 104. 3. Scherzo: Allegro Molto Vivace 105. 4. Finale: Moderato Assai 106. Philharmonia Orchestra - Francesca Da Rimini Op. 3 201. Fedoseyev, Vladimir - Sinfonie Nr. 3 D-dur Op. 29 202. 1. Introduzione E Allegro - Moderato Assai (Tempo 203. 2. Alla Tedesca - Allegro Moderato E Semplice 204. 3. Andante Elegiaco 205. 4. Scherzo: Allegro Vivo 206. 5. Finale: Allegro Con Fuoco (Tempo Di Pollaca) 207. Fedoseyev, Vladimir - Hamlet Op. 67 (Fantasie-ouve 301. London Symphony Orchestra - Sinfonie Nr. 4 F-moll 302. 1. Andante Sostenuto - Moderato Con Anima 303. 2. Andantino In Modo Di Canzona 304. 3. Scherzo: Pizzicato Ostinato 305. 4. Finale: Allegro Con Fuoco 306. London Symphony Orchestra - Slawischer Marsch Op. 401. London Symphony Orchestra - Sinfonie Nr. 5 E-moll 402. 1. Andante - Allegro Con Anima 403. 2. Andante Cantabile Con Alcuna Licenza - Moderato 404. 3. Valse: Allegro Moderato 405. 4. Finale: Andante Maestoso - Allegro Vivace 406. London Symphony Orchestra - Capriccio Italien Op. 501. London Symphony Orchestra - Sinfonie Nr. 6 H-moll 502. 1. Adagio - Allegro Non Troppo 503. 2. Allegro Con Grazia 504. 3. Allegro Molto Vivace 505. 4. Finale: Adagio Lamentoso - Andante 506. London Symphony Orchestra - Der Sturm (L'orage) E- 601. Elms, Rod - Manfred H-moll Op. 58 (Sinfonie In 4 B 602. 1. Lento Lugubre 603. 2. Vivace Con Spirito 604. 3. Andante Con Spirito 605. 4. Allegro Con Fuoco 606. Gibson, Alexander - Romeo Und Julia (Fantasie-ouve 701. Hammond-stroud, Derek - Festouvertuere Auf Die Dae 702. Hammond-stroud, Derek - Hamlet Op. 67a (Schauspiel 703. Overture 704. Melodrama: Moderato Assai (1. Akt) 705. Fanfare: Allegro Vivo 706. Melodrama: Moderato Assai 707. Melodrama: Allegro Giusto Ed Agitato 708. Allegro Semplice (2. Akt) 709. Fanfare 710. Andante Quasi Allegretto (3. Akt) 711. Fanfare 712. Fanfare 713. Melodrama: Allegro Giusto Ed Agitato 714. Andante Non Troppo (Elegy For Strings) (4. Akt) 715. Andantino 716. Moderato 717. March: Moderato Assai 718. Andantino 719. Funeral March: Moderato Assai 720. Fanfare: Allegro Giusto 721. Final March: Allegro Risoluto Ma Non Troppo 801. Archipov, Alexander - Schneeflockchen Op. 12 (Bueh 802. Introduction 803. Dance & Choruses Of The Birds 804. Winter's Monologue 805. Carnival Procession 806. Melodrama 807. Interlude 808. Lehl's First Song 809. Lehl's Second Song 810. Interlude 811. Chant Of The Blind Bards 812. Melodrama 813. Chorus Of The People & The Courtiers 814. Round & The Young Maidens 815. Dance Of The Tumblers 816. Lehl's Third Song 817. Brussila's Song 818. Apparition Of The Spirit Of The Wood 819. Interlude: The Spring Fairy 820. Tsar Berendey's March & Chorus 821. Final Chorus 901. Radio-sinfonieorchester Stuttgart - Suite Fuer Orc 902. 1. Indroduzione E Fuga 903. 2. Divertimento 904. 3. Intermezzo 905. 4. Marche Miniature 906. 5. Scherzo 907. 6. Gavotte 908. Radio-sinfonieorchester Stuttgart - Suite Fuer Orc 909. 1. Jeu De Sons 910. 2. Valse 911. 3. Scherzo Burlesque 912. 4. Reves D'enfant 913. 5. Danse Baroque 1001. Kalafusz, Hans - Suite Fuer Orchester Nr. 3 G-dur 1002. 1. Elegie: Andante Molto Cantabile 1003. 2. Valse Melancholique: Allegro Moderato 1004. 3. Scherzo: Molto Vivace 1005. 4. Tema Con Variazioni: Andante Con Mote 1006. Kalafusz, Hans - Suite Fuer Orchester Nr. 4 G-dur 1007. 1. Gigue: Allegro 1008. 2. Menuet: Moderato 1009. 3. Preghiera: Andante Non Tanto 1010. 4. Theme Et Variations: Allegro Giusto 1101. Gould, Clio - Der Schwanensee Op. 20 (Ballett) 1102. Introduction: Moderato Assai (1. Akt) 1103. Scene: Allegro Giusto 1104. Waltz: Tempo Di Valse 1105. Scene - Entrance Of Pages: Allegro Moderato 1106. Pas De Trois - Intrada: Allegro Moderato 1107. Andante Sostenuto 1108. Allegro Semplice - Presto 1109. Prince: Moderato 1110. Allegro 1111. Coda: Allegro Vivace 1112. Pas De Deux - Intrada: Tempo Di Valse 1113. Andante 1114. Tempo Di Valse 1115. Intrada: Tempo Di Valse 1116. Pas D'action: Andantino Quasi Moderato - Allegro 1117. Scene - Dusk Falls 1118. Danse Des Couples: Polonaise 1119. Final - Swan Theme: Andante 1120. Scene - Swan Theme: Moderato (2. Akt) 1121. Scene: Allegro Moderato - Moderato - Allegro Vivo 1122. Danses Des Cygnes 1123. Danses Des Petits Cygnes 1124. Pas D'action - Second Dance Of The Queen: Andante 1125. Tempo Di Valse 1126. Coda: Allegro Vivace 1201. Scene Finale - Swan Theme: Moderato 1202. Scene - Dance Des Fancailles: Allegro Giusto 1203. Scene - La Sortie Des Invites Et La Valse 1204. Scene: Allegro - Allegro Giusto 1205. Pas De Six - Intrada: Moderato Assai 1206. Variation 1: Allegro 1207. Variation 2: Andante Con Moto 1208. Variation 3: Moderato 1209. Variation 4: Allegro 1210. Variation 5: Moderato - Allegro Semplice Und Coda: 1211. Dance Hongroise 1212. Danse Russe 1213. Danse Espagnole 1214. Danse Napolitaine 1215. Mazurka 1216. Scene: Allegro - Valse - Allegro Vivo 1217. Entr'acte: Moderato 1218. Scene: Allegro Non Troppo 1219. Danses Des Petits Cygnes: Moderato 1220. Scene: Allegro Agitato 1221. Scene Finale: Andante 1301. Burroughs, Jessica - Dornroschen Op. 66 (Ballett) 1302. Introduction (Prologue) 1303. March 1304. Scene Dansante 1305. Pas De Six: Entree 1306. Adagio 1307. Variation 1 - Candide 1308. Variation 2 - Coulante - Fleur De Farine 1309. Variation 3 - Miettes Qui Tombent 1310. Variation 4 - Canari Qui Chante 1311. Variation 5 - Violente 1312. Variation 6 - La Fee Des Lilas 1313. Coda 1314. Finale 1315. Scene (1. Akt) 1316. Valse 1317. Entree D'aurore 1318. Pas D'action 1319. Rose Adage 1320. Coda 1321. Finale 1401. Entr'acte Et Scene (2. Akt) 1402. Colin-maillard 1403. Scene 1404. Pas D'action 1405. Variation D'aurore 1406. Panorama 1407. Entr'acte 1408. Entr'acte Symphonique Et Scene - Le Sommeil 1409. Finale 1410. Marche (3. Akt) 1411. Pas De Caractere - Le Chat Botte Et La Chatte Blan 1412. Pas De Quatre 1413. Pas De Deux - Entree 1414. Adagio 1415. Variation 1 1416. Variation 2 1417. Coda 1418. Polacca 1501. Maninov, David - Der Nussknacker Op. 71 (Ballett) 1502. Overture 1503. The Christmas Tree (1. Akt) 1504. March 1505. Children's Galop & Arrival Of The Guests 1506. Dance Scene & Arrival Of Drosselmeyer 1507. Scene & Grandfather's Dance 1508. The Magic Spell Begins 1509. The Battle Between The Nutcracker & The Mouse King 1510. Scene In The Pine Forest - Journey Through The Sno 1511. Waltz Of The Snowflakes 1601. The Magic Castle (2. Akt) 1602. Clara & The Prince - Divertissement 1603. Chocolate - Spanish Dance 1604. Coffee - Arabian Dance 1605. Tea - Chinese Dance 1606. Trepak 1607. Dance Of The Mirlitons 1608. Mother Gigogne & The Clowns 1609. Waltz Of The Flowers - 1610. Pas De Deux - Dance Of The Prince & The Sugar-plum 1611. Variation 1 - Tarantella 1612. Variation 2 - Dance Of The Sugar-plum Fairy 1613. Coda 1614. Final - Final Waltz & Apotheosis 1701. Freeman, Paul - Konzert Fuer Klavier Und Orchester 1702. 1. Allegro Non Troppo E Molto Maestoso - Allegro C 1703. 2. Andante E Semplice - Prestissimo 1704. 3. Allegro Con Fuoco 1705. Freeman, Paul - Konzert Fuer Klavier Und Orchester 1706. 1. Allegro Brilliante 1707. 2. Andante Non Troppo 1708. 3. Allegro Con Fuoco 1801. De Froment, Louis - Konzert Fuer Klavier Und Orche 1802. 1. Allegro Brilliante 1803. 2. Andante 1804. 3. Finale: Allegro Maestoso 1805. Kapp, Richard - Fantasie G-dur Op. 56 (Fuer Klavie 1806. 1. Quasi Rondo: Andante Mosso 1807. 2. Contrastes: Andante Cantabile 1901. Grubert, Ilya - Konzert Fuer Violine Und Orchester 1902. 1. Allegro Moderato 1903. 2. Andante 1904. 3. Allegro Vivacissimo 1905. Grubert, Ilya - Serenade Melancholique B-moll Op. 1906. Grubert, Ilya - Valse Scherzo C-dur Op. 34 (Fuer V 1907. Grubert, Ilya - Souvenir D'un Lieu Cher Op. 42 (Fu 1908. 1. Meditation 1909. 2. Scherzo 1910. 3. Melodie 2001. Alexeiev, Nicolai - Variationen Ueber Ein Rokoko-t 2002. Alexeiev, Nicolai - Nocturne D-moll (Nach Klaviers 2003. Alexeiev, Nicolai - Andante Cantabile (Nach Streic 2004. Alexeiev, Nicolai - Pezzo Capriccioso Op. 62 (Fuer 2005. Alexeiev, Nicolai - Andante Cantabile (Nach Dornro 2006. Ensemble Instrumental Musica Viva - Serenade Fuer 2007. 1. Pezzo In Forma De Sonatina: Andante Non Troppo 2008. 2. Valse: Moderato 2009. 3. Elegie: Larghetto Elegiaco 2010. 4. Finale - Tema Russo: Andante - Allegro Con Spir 2101. National Choir Of The Ukraine Dumka - Die Liturg 2102. Lord, Have Mercy 2103. Glory To Be The Father 2104. O Come, Let Us Worship 2105. Alleluja 2106. Glory Be To Thee 2107. Hymn Of The Cherubim 2108. Lord, Have Mercy 2109. The Creed 2110. The Mercy Of Peace 2111. We Sing Thee 2112. It Is Meet 2113. Amen, & With Thy Spirit 2114. Our Father 2115. Praise Ye The Lord From The Heavens 2116. Blessed Be He That Commeth In The Name Of The Lord 2201. Savelieva, Natalia - Evening 2202. Azovski, Andrei - Autumn 2203. Kortchak, Dimitri - Child's Song 2204. Savelieva, Natalia - Blessed Is He Who Smiles 2205. Savelieva, Natalia - Why Does The Sound Of The Rev 2206. Savelieva, Natalia - Much Too Soon In The Season 2207. Savelieva, Natalia - Old French Air 2208. Kravtchenko, Tamara - Dawn 2209. Kravtchenko, Tamara - Nature & Love 2210. Savelieva, Natalia - Before Sleep 2211. Savelieva, Natalia - A Golden Cloud Slumbered 2212. Savelieva, Natalia - A Greetings To Anton Rubinste 2213. Savelieva, Natalia - The Nightingale 2214. Savelieva, Natalia - It Is Not The Cuckoo 2215. Kravtchenko, Tamara - Night 2216. Savelieva, Natalia - Hymn To Cyrill & Methodius 2217. Savelieva, Natalia - A Legend 2218. Savelieva, Natalia - Neapolitan Air (Fuer Chor Bea 2301. Moscow Trio - Trio Fuer Klavier, Violine Und Violo 2302. 1. Meditation 2303. 2. Scherzo 2304. 3. Melodie 2401. Moscow String Quartet - Streichquartett Nr. 1 D-du 2402. 1. Moderato E Semplice 2403. 2. Andante Cantabile 2404. 3. Scherzo: Allegro Non Tanto E Con Fuoco 2405. 4. Finale: Allegro Giusto - Allegro Vivace 2406. Moscow String Quartet - Streichquartett Nr. 3 Es-m 2407. 1. Andante Sostenuto 2408. 2. Allegretto Vivo E Scherzando 2409. 3. Andante Funebre E Doloroso Ma Con Moto 2410. 4. Finale: Allegro Non Troppo E Risoluto 2501. Moscow String Quartet - Streichquartett Nr. 2 F-du 2502. 1. Adagio 2503. 2. Scherzo: Allegro Giusto 2504. 3. Andante Ma Non Tanto 2505. 4. Finale: Allegro Con Moto 2506. Moscow String Quartet - Adagio Und Allegro B-dur ( 2507. Moscow String Quartet - Stuecke Fuer Streichquarte 2508. Nr. 1 Allegretto Es-dur 2509. Nr. 2 Andante Molto G-dur 2510. Nr. 3 Allegro Vivace B-dur 2601. Ponti, Michael - Die Jahreszeiten Op. 37b Nr. 1-12 2602. Nr. 1 January 2603. Nr. 2 February 2604. Nr. 3 March 2605. Nr. 4 April 2606. Nr. 5 May 2607. Nr. 6 June 2608. Nr. 7 July 2609. Nr. 8 August 2610. Nr. 9 September 2611. Nr. 10 October 2612. Nr. 11 November 2613. Nr. 12 December 2614. Ponti, Michael - Stuecke Fuer Klavier Op. 51 Nr. 1 2615. Nr. 1 Valse De Salon 2616. Nr. 2 Polka Peu Dansante 2617. Nr. 3 Menuetto Scherzoso 2618. Nr. 4 Natha Valse 2619. Nr. 5 Romance 2620. Nr. 6 Valse Sentimentale 2621. Ponti, Michael - Kinderalbum (Jugendalbum) Op. 39 2622. Nr. 1 Morning Prayer 2623. Nr. 2 Winter Morning 2624. Nr. 3 Little Horseman 2625. Nr. 4 Mama 2626. Nr. 5 March Of The Wooden Soldiers 2627. Nr. 6 The Sick Doll 2628. Nr. 7 Dolly's Funeral 2629. Nr. 8 Waltz 2630. Nr. 9 The New Doll 2631. Nr. 10 Mazurka 2632. Nr. 11 Russian Folksong 2633. Nr. 12 Peasant's Song 2634. Nr. 13 Russian Dance 2635. Nr. 14 Polka 2636. Nr. 15 Italian Ditty 2637. Nr. 16 Old French Melody 2638. Nr. 17 German Song 2639. Nr. 18 Neapolitan Dance Tune 2640. Nr. 19 Old Nurse's Song 2641. Nr. 20 Witch 2642. Nr. 21 Sweet Dreams 2643. Nr. 22 Song Of The Lark 2644. Nr. 23 The Organ Grinder 2645. Nr. 24 In Church 2701. Ponti, Michael - Sonate Fuer Klavier Nr. 2 Cis-mol 2702. 1. Allegro Con Fuoco 2703. 2. Andante 2704. 3. Allegro Vivo 2705. 4. Allegro Vivo 2706. Ponti, Michael - Stuecke Fuer Klavier Op. 72 Nr. 1 2707. Nr. 1 Impromptu 2708. Nr. 2 Berceuse 2709. Nr. 3 Tender Reproaches 2710. Nr. 4 Danse Caracteristique 2711. Nr. 5 Meditation 2712. Nr. 6 Mazurka Pour Danser 2713. Nr. 7 Concert Polonais 2714. Nr. 8 Dialogue 2715. Nr. 9 Un Poco Di Schumann 2716. Nr. 10 Scherzo-fantasie 2717. Nr. 11 Valse Bluette 2718. Nr. 12 L'espiegle 2719. Nr. 13 Echo Rustique 2720. Nr. 14 Chant Elegiaque 2721. Nr. 15 Un Poco Di Chopin 2722. Nr. 16 Valse A Cinq Temps 2723. Nr. 17 Distant Past 2724. Nr. 18 Scene Dansante 2801. Ponti, Michael - Stuecke Fuer Klavier Op. 1 Nr. 1- 2802. Nr. 1 Scherzo A La Russe 2803. Ponti, Michael - Nr. 2 Impromptu 2804. Ponti, Michael - Stuecke Fuer Klavier Op. 2 Nr. 1- 2805. Nr. 1 Ruines D'un Chateau 2806. Nr. 2 Scherzo 2807. Nr. 3 Song Without Words 2808. Ponti, Michael - Valse Caprice D-dur Op. 4 2809. Ponti, Michael - Romanze F-moll Op. 5 2810. Ponti, Michael - Capriccio Ges-dur Op. 8 2811. Ponti, Michael - Stuecke Fuer Klavier Op. 9 Nr. 1- 2812. Nr. 1 Reverie 2813. Nr. 2 Polka De Salon 2814. Nr. 3 Mazurka De Salon 2815. Ponti, Michael - Stuecke Fuer Klavier Op. 10 Nr. 1 2816. Nr. 1 Nocturne 2817. Nr. 2 Humoresque 2818. Ponti, Michael - Dumka E-moll Op. 59 (Scene Rustiq 2819. Ponti, Michael - Impromptu 2820. Ponti, Michael - Impromptu-caprice G-dur 2821. Ponti, Michael - Valse Scherzo 2822. Ponti, Michael - Impromptu-moderato 2823. Ponti, Michael - Aveu Passionne E-moll 2824. Ponti, Michael - Valse Scherzo A-dur Op. 7 2825. Ponti, Michael - Stuecke Fuer Klavier Op. 19 Nr. 1 2826. Nr. 1 Abend-traeumerei 2827. Nr. 2 Scherzo Humoristique 2901. Nr. 3 Feuillet D'album 2902. Nr. 4 Nocturne 2903. Nr. 5 Capriccioso 2904. Nr. 6 Theme & Variations 2905. Ponti, Michael - Stuecke Fuer Klavier Op. 21 Nr. 1 2906. Nr. 1 Praeludium 2907. Nr. 2 Fugue 2908. Nr. 3 Impromptu 2909. Nr. 4 Trauermarsch 2910. Nr. 5 Mazurka 2911. Nr. 6 Scherzo 2912. Ponti, Michael - Sonate Fuer Klavier Nr. 1 G-dur O 2913. 1. Moderato E Risoluto 2914. 2. Andante Non Troppo Quasi Moderato 2915. 3. Scherzo: Allegro Giocoso 2916. 4. Finale: Allegro Vivace 3001. Ponti, Michael - Stuecke Fuer Klavier Op. 40 Nr. 1 3002. Nr. 1 Etude 3003. Nr. 2 Chanson 3004. Nr. 3 Marche 3005. Nr. 4 Mazurka C-dur 3006. Nr. 5 Mazurka D-dur 3007. Nr. 6 Chant 3008. Nr. 7 Au Village 3009. Nr. 8 Walzer 3010. Nr. 9 Walzer 3011. Nr. 10 Danse Russe 3012. Nr. 11 Scherzo 3013. Nr. 12 Reverie 3014. De Froment, Louis - Konzert Fuer Violine Und Orche 3015. 1. Allegro Moderato 3016. 2. Canzonetta: Andante 3017. 3. Finale: Allegro Vivacissimo 3101. Kazarnovskaya, Ljuba - Zemphira's Song 3102. Kazarnovskaya, Ljuba - Midnight 3103. Kazarnovskaya, Ljuba - To Forget So Soon 3104. Kazarnovskaya, Ljuba - Lieder Op. 16 Nr. 1-6 (Lied 3105. Nr. 1 Lullaby 3106. Nr. 2 Wait! 3107. Kazarnovskaya, Ljuba - Carry My Heart Away 3108. Kazarnovskaya, Ljuba - Lieder Op. 25 Nr. 1-6 (Roma 3109. Nr. 2 As When Upon Hot Ashes 3110. Kazarnovskaya, Ljuba - Lieder Op. 27 Nr. 1-6 (Ausz 3111. Nr. 3 Do Not Leave Me 3112. Kazarnovskaya, Ljuba - Lieder Op. 28 Nr. 1-6 (Ausz 3113. Nr. 1 He Loved Me So 3114. Kazarnovskaya, Ljuba - Lieder Op. 47 Nr. 1-7 (Ausz 3115. Nr. 1 If I Had Known 3116. Nr. 2 A Soul Floated Gently Up To Heaven 3117. Nr. 3 Darkness Has Fallen Over The Earth 3118. Nr. 6 Wether In The Realm Of Day 3119. Nr. 7 Was I Not A Blade Of Grass? 3120. Kazarnovskaya, Ljuba - Lieder Op. 60 Nr. 1-12 (Aus 3121. Nr. 6 Wild Nights 3122. Nr. 7 Gypsy's Song 3123. Nr. 12 Gentle Stars Shone For Us 3201. Kazarnovskaya, Ljuba - Lieder Op. 54 Nr. 1-16 (Kin 3202. Nr. 1 Grandmother & Grandson 3203. Nr. 2 The Little Bird 3204. Nr. 3 Spring 3205. Nr. 4 My Little Garden 3206. Nr. 5 A Legend 3207. Nr. 6 On The River-bank 3208. Nr. 7 A Winter's Evening 3209. Nr. 8 The Cuckoo 3210. Nr. 9 Spring 3211. Nr. 10 Lullaby In A Storm 3212. Nr. 11 The Flower 3213. Nr. 12 Winter 3214. Nr. 13 Spring Song 3215. Nr. 14 Autumn 3216. Nr. 15 The Swallow 3217. Nr. 16 A Little Children's Song 3218. Kazarnovskaya, Ljuba - Lieder Op. 73 Nr. 1-6 (Roma 3219. Nr. 1 We Sat Together 3220. Nr. 2 Night 3221. Nr. 3 This Moonlit Night 3222. Nr. 4 The Sun Has Set 3223. Nr. 5 On Gloomy Day 3224. Nr. 6 Once Moore, As Before 3301. Kazarnovskaya, Ljuba - Lieder Op. 6 Nr. 1-6 (Liede 3302. Nr. 3 Both Painfully & Sweetly 3303. Kazarnovskaya, Ljuba - Mein Schutzgeist, Mein Enge 3304. Kazarnovskaya, Ljuba - Lieder Op. 57 Nr. 1-6 (Ausz 3305. Nr. 6 Only You Alone 3306. Nr. 3 Do Not Ask 3307. Nr. 5 Death 3308. Kazarnovskaya, Ljuba - Lieder Op. 6 Nr. 1-6 (Liede 3309. Nr. 6 No, Only He Who Has Known 3310. Nr. 5 Why? 3311. Kazarnovskaya, Ljuba - Lieder Op. 63 (Auszug) 3312. Nr. 4 The First Meeting 3313. Kazarnovskaya, Ljuba - Lieder Op. 6 Nr. 1-6 (Liede 3314. Nr. 2 Not A Word, O My Friend 3315. Kazarnovskaya, Ljuba - Lieder Op. 38 Nr. 1-6 (Lied 3316. Nr. 6 Pimpanella 3317. Kazarnovskaya, Ljuba - Lieder Op. 47 Nr. 1-7 (Ausz 3318. Nr. 4 Sleep, Poor Friend 3319. Kazarnovskaya, Ljuba - Lieder Op. 63 (Auszug) 3320. Nr. 2 I Opened The Window 3321. Nr. 5 The Fires In The Room Were Already Out 3322. Nr. 6 Serenade 3323. Kazarnovskaya, Ljuba - Lieder Op. 28 Nr. 1-6 (Ausz 3324. Nr. 3 Why Did I Dream Of You? 3325. Kazarnovskaya, Ljuba - Lieder Op. 63 (Auszug) 3326. Nr. 3 I Do Not Please You 3327. Kazarnovskaya, Ljuba - Lieder Op. 6 Nr. 1-6 (Liede 3328. Nr. 1 Do Not Believe, My Friend 3329. Kazarnovskaya, Ljuba - Lieder Op. 28 Nr. 1-6 (Ausz 3330. Nr. 6 The Fearful Minute 3331. Kazarnovskaya, Ljuba - Lieder Op. 57 Nr. 1-6 (Ausz 3332. Nr. 4 Sleep 3333. Kazarnovskaya, Ljuba - Lieder Op. 63 (Auszug) 3334. Nr. 1 I Did Not Love You At First 3335. Kazarnovskaya, Ljuba - Lieder Op. 57 Nr. 1-6 (Ausz 3336. Nr. 2 On The Golden Cornfields 3401. Kazarnovskaya, Ljuba - Lieder Op. 25 Nr. 1-6 (Roma 3402. Nr. 6 They Said: You Fool, Do Not Go 3403. Kazarnovskaya, Ljuba - No Time To Take A Walk 3404. Kazarnovskaya, Ljuba - Lieder Op. 60 Nr. 1-12 (Aus 3405. Nr. 1 Last Night 3406. Nr. 2 I Don't Tell You Anything 3407. Nr. 8 Excuse Me 3408. Nr. 10 In The Shadow Outside The Window 3409. Nr. 9 Night 3410. Nr. 4 Nightingale 3411. Nr. 5 Simple Words 3412. Kazarnovskaya, Ljuba - For One Simple Word 3413. Kazarnovskaya, Ljuba - Lieder Op. 25 Nr. 1-6 (Roma 3414. Nr. 4 Canary 3415. Kazarnovskaya, Ljuba - The Eyes Of Spring Are Blue 3416. Kazarnovskaya, Ljuba - Lieder Op. 16 Nr. 1-6 (Lied 3417. Nr. 5 So What Can I Say? 3418. Kazarnovskaya, Ljuba - Lieder Op. 60 Nr. 1-12 (Aus 3419. Nr. 3 Oh, If Only You Knew 3420. Kazarnovskaya, Ljuba - Lieder Op. 16 Nr. 1-6 (Lied 3421. Nr. 4 Oh, Sing That Song 3422. Kazarnovskaya, Ljuba - Lieder Op. 25 Nr. 1-6 (Roma 3423. Nr. 1 Reconciliation 3424. Kazarnovskaya, Ljuba - Lieder Op. 47 Nr. 1-7 (Ausz 3425. Nr. 5 I Bless You, Woods 3426. Kazarnovskaya, Ljuba - Lieder Op. 27 Nr. 1-6 (Ausz 3427. Nr. 4 Evening 3428. Kazarnovskaya, Ljuba - Lieder Op. 38 Nr. 1-6 (Lied 3429. Nr. 2 It Was In Early Spring 3430. Nr. 3 Amid The Din Of The Ball 3431. Kazarnovskaya, Ljuba - Lieder Op. 60 Nr. 1-12 (Aus 3432. Nr. 11 The Exploit 3433. Kazarnovskaya, Ljuba - Lieder Op. 25 Nr. 1-6 (Roma 3434. Nr. 3 Mignon's Song (Auf Ein Thema Aus Die Ruinen 3501. Kazarnovskaya, Ljuba - Lieder Op. 28 Nr. 1-6 (Ausz 3502. Nr. 1 I Will Never Name Her 3503. Kazarnovskaya, Ljuba - Lieder Op. 65 Nr. 1-6 (An D 3504. Nr. 1 Serenade 3505. Nr. 2 Disillusionment 3506. Nr. 3 Serenade 3507. Nr. 4 Let The Winter... 3508. Nr. 5 Tears 3509. Nr. 6 Enchantress 3510. Kazarnovskaya, Ljuba - Lieder Op. 38 Nr. 1-6 (Lied 3511. Nr. 4 Oh, If You Could 3512. Kazarnovskaya, Ljuba - Lieder Op. 28 Nr. 1-6 (Ausz 3513. Nr. 5 No Reply, No Word, No Greeting 3514. Kazarnovskaya, Ljuba - Lieder Op. 16 Nr. 1-6 (Lied 3515. Nr. 6 New Greek Song 3516. Kazarnovskaya, Ljuba - Lieder Op. 27 Nr. 1-6 (Ausz 3517. Nr. 6 My Mischief 3518. Kazarnovskaya, Ljuba - Lieder Op. 38 Nr. 1-6 (Lied 3519. Nr. 5 Love Of A Dead Man 3520. Kazarnovskaya, Ljuba - You Were In My Dream 3521. Kazarnovskaya, Ljuba - Oh No, Do Not Love Me For M 3522. Kazarnovskaya, Ljuba - Hamlet Op. 67a (Schauspielm 3523. Ophelia's First Scene 3524. Ophelia's Second Scene 3525. Grave-digger's Song 3526. Kazarnovskaya, Ljuba - Lieder Op. 16 Nr. 1-6 (Lied 3527. Nr. 3 Hear At Least Once 3528. Kazarnovskaya, Ljuba - Lieder Op. 25 Nr. 1-6 (Roma 3529. Nr. 5 I Never Spoke To Her 3530. Kazarnovskaya, Ljuba - Lieder Op. 27 Nr. 1-6 (Ausz 3531. Nr. 1 Before Sleep 3532. Nr. 2 Look: There Is A Silver Cloud 3533. Nr. 5 Had My Mother Borne Me 3534. Kazarnovskaya, Ljuba - Lieder Op. 28 Nr. 1-6 (Ausz 3535. Nr. 2 A String Of Corals 3536. Kazarnovskaya, Ljuba - Lieder Op. 38 Nr. 1-6 (Lied 3537. Nr. 1 Don Juan's Serenade 3601. De Mola, Cinzia - Der Opritschnik (Der Leibwaechte 3602. Introduction 3603. Come In, Do Us The Honour (1. Akt) 3604. A Duckling Was Swimming In The Sea 3605. How Wearisome It Is To Spend 3606. A Nightingale Chirps On Leafy Fronds 3607. See Here If One Should Get Sad Ove Such A Song! 3608. Don't Worry, Dear Andrej, Step Forward 3609. Tell Me, Have You Taken A Decision? 3610. No, My Friend 3611. I Thought I Heard Some Voices 3612. Here You Are Then! 3613. Introduction (2. Akt) 3614. Much As One Tries, Life Never Changes 3615. No More Worries, Mother, Let The Wind 3616. But You, Son Keep Purer Than The Snow 3617. Basmanov Likes Wine & Pleasures 3618. Dear Son, Do Not Abandon Me 3619. I Leave, Mother, But I Won't Be Away For Long 3701. Introduction 3702. What Refuge Shall I Find For My Sins? 3703. Brothers, Stop Being Engrossed In Godly Things! 3704. No, Stay, I Come From The Czar 3705. Have You Made This Choise Freely 3706. Before You, Like Before God 3707. Are You Ready, Then, To Take The Sacred Oath? 3708. O Natal'ja, O Mother! 3709. In The Name Of The Almighty God 3710. As Glorious As The Sun In A Clear Day 3711. Introduction (3. Akt) 3712. Dark Times Are Looming On Us 3713. Oh, How Lonely I Already Feel! 3714. Filthy Bitch, Dirty Broom 3715. I Run To You, Dear Mother 3801. Let's Run Away, Come, Let's Flee Somewhere 3802. I Am Before You & Before The Lord 3803. Go, Princess 3804. I Deny You, Off With You, Praetorian 3805. Alas, I Cannot Fully Grasp 3806. Take Heart, Brother In Faith 3807. Honour & Glory To The Fine, Courageous Lad (4. A 3808. Dances & Oprichniks & Women 3809. Friends, This Day Is Both Joyful & Sad 3810. Oh, If Only This Banquet Would End! 3811. You Are My Light, My Life 3812. Oh, May They Never Age 3813. My Respects To The Noble 3814. Look, A Frightening Storm Threatens 3815. And So, My Dove, Do You Know Who Is Calling You? 3901. Babitcheva, Galina - Eugen Onegin Op. 24 (Oper In 3902. Prelude (1. Akt) 3903. Duet & Quartet 3904. Peasant's Chorus & Dance 3905. Scene & Arioso 3906. Scene 3907. Scene & Quartet 3908. Scene & Arioso 3909. Closing Scene 3910. Introduction & Scene 3911. Letter Scene 3912. Scene & Duet 3913. Servant Girl's Chorus 3914. Scene & Aria 3915. Entr'acte & Waltz Scene & Chorus (2. Akt) 3916. Scene & Couplets 4001. Mazurka & Scene 4002. Finale 4003. Introduction, Scene & Aria 4004. Duel Scene 4005. Polonaise (3. Akt) 4006. Scene 4007. Ecossaise 1 4008. Scene 4009. Aria 4010. Scene & Arioso 4011. Ecossaise 2 4012. Closing Scene 4101. Grishanov, N. - Die Jungfrau Von Orleans (Oper In 4102. Introduction 4103. Let Us All Gather Here (1. Akt) 4104. I Do Not Enjoy Your Songs & Games 4105. Answer, Joan, Will You Obey My Wishes? 4106. A Distant Fire... 4107. Brothers & Friends, Dry Your Tears 4108. Almighty God 4109. Yes, The Time Has Come! 4110. Farewell Hills, Dear Fields 4111. But Will I Have The Strength 4112. Entr'acte 4113. Days & Years Hurry By (2. Akt) 4114. Oh! Agnes! 4115. Ballet 4116. I Am Well Pleased! 4117. I Beg Of You, Hurry Now 4118. Grief! Grief! 4201. A Terrible Fate Is Upon Us... 4202. If You Have Not Been Given The Strength 4203. If It Were Not For You, My Angel 4204. Glory, Glory To Our Rescuer, Our Maiden! 4205. So You Are A Saint? 4206. Holy Father, My Name Is Joan 4207. I Must Be Silent Before Cardinal 4208. Halt, Halt, You Are Dead! (3. Akt) 4209. Why Do You Hesitate? 4210. I Feel Sorry For Your Beauty 4211. I Surrender To You! 4212. Glory To The King! 4213. Let Us Return, Dear Thibaut 4214. Glory To The Almighty 4215. Glory, Glory To The King! 4216. Oh God! My Father! 4217. She Bends Her Head... 4218. Why Are You Afraid? 4219. Joan, Take Advantage Of This Moment 4301. Introduction (4. Akt) 4302. How Can I Resist This Love? 4303. Oh Wonderful, Sweet Dream! 4304. You Have Disobeyed The Will Of Heaven 4305. Look, They're Bringing Her 4306. Holy Father! Help Me, I Am Afraid! 4307. Elzin, S. - Pique Dame Op. 68 (Oper In 3 Akten) (A 4308. Scene Of The Countess (2. Akt) 4309. Alexeev, Andrei - Jolanthe Op. 69 (Oper In 1 Akt) 4310. Ouvertuere 4311. Iolanta, My Little One, Are You Tired? 4312. That's Enough, Dear, No More Now 4313. Brigitta, Is That You? 4314. A Bugle Call 4401. The Expression You Wear 4402. Hurry Not, It Is So Dark Here 4403. No, The Charming Attentions 4404. But Where On Earth Are We? 4405. Iolanta! Where Are You? 4406. Please Forgive Me 4501. Bolshakov, G. - Mazeppa (Oper In 3 Akten) (Gesamta 4502. Introduction 4503. I Weave My Fragrant Garland (1. Akt) 4504. You Love The Songs, Dear Companions 4505. Well, Vasily, You Honor Me Wonderfully 4506. There Is No Bridge Here 4507. Hopak 4508. That's Fine, I Like That! 4509. Mazeppa, I'm Distressed By What You Say 4510. As The Storm Brings Clouds Over The Sky 4511. Finale: Abandon Your Grief, Kochubery 4512. So This Is The Reward For My Information (2. Akt) 4513. How Still Is The Ukrainian Night 4601. O Maria, Maria! 4602. My Dearest Love 4603. How The Stars Twinkle In The Sky 4604. Will It Be Soon? 4605. Hey Ho, Fiddle-de-dee 4606. The Battle Of Poltava (Sinfonische Skizze) 4607. In Bloody Battle, On The Field Of Honour (3. Akt) 4608. I Hear In The Distantce The Clatter Of Horses' Hoo 4609. Unhappy Man! God Knows 4610. Finale: The Old Man's Gone, How My Heart Beats 4701. Bonavita, Fabio - Wakula Der Schmied (Die Pantoffe 4702. Ouvertuere 4703. Ah, How Silvery The Moon Shines (1. Akt) 4704. She's Got Really Warmed Up 4705. Just Looked At The Snowstorm 4706. A Little Apple Tree Was Blossoming In The Garden 4707. She Never Takes Her Eyes Off Herself 4708. Look At The Way You Are! 4709. What's All This Noise? 4710. If Only People Were A Little More Intelligent 4801. Intermezzo 4802. The Storm Has Swept My Broomstick Away (2. Akt) 4803. Now That's What I Call Now 4804. Is Anyone In? 4805. A Woman Runs After The Devil 4806. Greetings! 4807. I Don't Feel Well... 4808. A Year Has Gone By... 4809. Good Evening! 4810. Oksana, Why Are You So Late? 4811. My Shoes Aren't Very Big 4812. Ah, Vakula, You're Here Again 4901. Intermezzo 4902. It Is Dark, Too Dark (3. Akt) 4903. Where Have I Come To? 4904. Who Knows, My Girl, If Your Heart Can Feel My Pain 4905. We Are There 4906. Before We Start The Dances 4907. Did You Have A Good Journey? 4908. Russian Dance 4909. Cossack Dance 4910. In The Czarina's Family Theatre 4911. Some Day He Threw Himself Into The River 4912. We Invite You To Our House 4913. If You Want To Drink Honey 4914. Strong Winds, Do Not Blow In The Thick Woods 5001. Borissenko, Veronika - Die Zauberin (Oper In 4 Akt 5002. Ouvertuere 5003. Group Scene 5004. Group Scene 5005. Chorus Of Visiting Guests & Scene 5006. Scene & Arioso 5007. Chorus & Scene 5008. Scene 5009. Finale 5010. Scene & Arioso 5011. Scene & Duet 5012. Scene 5101. Scene & Arioso 5102. Scene 5103. Group Scene 5104. Finale 5105. Scene & Duet 5106. Scene 5107. Scene & Duet 5201. Scene With Chorus 5202. Scene & Duet 5203. Scene & Arioso 5204. Scene & Duet 5205. Scene & Quartet 5206. Finale 5207. Borissenko, Veronika - Toropka's Three Songs (Asko 5208. 1. (Ohne Satzbezeichnung) 5209. 2. (Ohne Satzbezeichnung) 5210. 3. (Ohne Satzbezeichnung) 5211. Borissenko, Veronika - Ruslan Und Ludmilla (Oper I 5212. Scene Of The Finn & Ruslan 5213. Borissenko, Veronika - Pique Dame Op. 68 (Oper In 5214. Her Name Is Unknown To Me 5215. Forgive Me, Bright Celestial Visions 5216. What Is Our Life? 5301. Borissenko, Veronika - Pique Dame Op. 68 (Oper In 5302. Introduction 5303. Burn, Burn Bright 5304. How Did The Game End Last Night? 5305. Finally God Has Sent Us A Sunny Little Day! 5306. I Am Frightened 5307. What A Witch That Countess Is! 5308. Se Non E Vero, E Ben Trovato 5309. Evening, Already 5310. Bewitching! Enchanting 5311. Mesdemoiselles, What's This Noise? 5312. It's Time Now To Be Breaking Up 5313. Happily & Merrily On This Day 5314. The Master Asks His Dear Guests To Come & See 5315. Stay For One Moment 5316. I Would Like To See Her Right Now 5317. Under The Thick Shade Near The Calm Book 5401. My Darling Little Friend 5402. Who, Ardently & Passionately Loving! 5403. Everything Is As She Told Me 5404. That's Not Enough Talk From You! 5405. Don't Be Frightened! 5406. I Do Not Believe That You Wanted The Countess' Dea 5407. I Am Frightened! 5408. Midnight Is Already Nearing 5409. But If The Clock Strikes Out In Reply To Me 5410. We Will Drink & Be Merry 5411. If Darling Girls Could Fly Like Birds 5412. To Business, Gentlemen, To Cards!


Infinite Monkey Cage: Series 4 - 2834154627

29,80 zł

Infinite Monkey Cage: Series 4 BBC Audiobooks Ltd

Książki / Literatura obcojęzyczna

This title is presented on 2CDs. Physicist Brian Cox and comedian Robin Ince return for the fourth series of the Sony Radio Academy Gold Award-winning BBC Radio 4 show in which they take a witty, irreverent and unashamedly rational look at the world according to science. In the first episode, "What Don't We Know?", the Infinite Monkeys will be asking what don't we know, do we know what we don't know, does science know what it doesn't know, and are there some things that science will never be able to know? Joining them on stage are the comedian Paul Foot, biologist Professor Steve Jones and cosmologist and science writer Marcus Chown. In Episode 2, "6 Degrees", Brian Cox and Robin Ince are joined on stage by special guest Stephen Fry and science writer Simon Singh to find out whether we really are only 6 degrees of separation from anyone else. In Episode 3, "So You Want to Be an Astronaut?", Robin Ince and Brian Cox are joined by comedian Helen Keen and space medicine expert Dr Kevin Fong to discuss the future of human space travel. In the fourth episode of this series, "Is Cosmology Really a Science?" , Robin Ince and Brian Cox are joined on stage by "V for Vendetta" author and legendary comic book writer Alan Moore, cosmologist Ed Copeland, and science broadcaster Dallas Campbell to ask whether cosmology is really a science. Episode 5 is a special edition, recorded at the Glastonbury Festival, in which Robin Ince and Brian Cox aim to prove that science really is the new rock n' roll. They are joined on stage by musicians Billy Bragg and Graham Coxon, comedian Shappi Khorsandi, and scientist Professor Tony Ryan. In the final episode of the series, "Science v The Supernatural: Does Science Kill the Magic?", Robin Ince and Brian Cox are joined on stage by actor and magician Andy Nyman, psychologist Richard Wiseman and neuroscientist Bruce Hood as they take on the paranormal. This title is winner of a Sony Radio Academy Gold Award for Best Speech Programme. "A brilliant way of being both innovative and instructive, bringing humour to what some will see as a dull subject. It's listenable, educational and brings a whole new audience to both the subject and the station". ("The Judges").


Forever War - 2212845114

37,50 zł

Forever War Vintage Books

Powieści i opowiadania

Contrary to much that has been and is being written on the Anglo-American (plus coalition) wars and occupation in Iraq and Afghanistan, Dexter Filkins' book "The Forever War" is not a political book. That is to say, it deals with political issues of necessity, but it does not make a political argument of any particular kind. Rather, Filkins, a war correspondent for the New York Times, has operated as a tabula rasa on which the war events he witnessed could make their impression, without any preconceived notions or arguments getting in the way. This has the definite advantage that Filkins does not add to the pile of increasingly irrelevant argumentation about the possibilities of ill-defined "success" in these regions, but rather lets the reader vicariously experience the reality of living and fighting in these war-torn countries. In a way, this is nonetheless a political argument on its own, as despite Filkins' good relations with the American soldiers he joined as an 'embedded reporter', it is clear from his experiences that not much is being achieved by way of either 'nation-building' or establishing lasting security in these countries, indeed the least any occupier with pretentions of superiority could do. The fact that Filkins does not explicitly make this argument, or any argument, is fairly pleasant in that it lets the experiences speak for themselves in a more subtle manner than newspaper moralizing often permits. However, this book also has clear downsides. Filkins does not give much, if any, background information on the combatant parties involved or even of the countries, other than the absolutely necessary. What's more, his war reporting uses a heavily colloquial style that is very grating initially and makes him seem to 'try too hard' to come off as cool, detached and rough - perhaps this is something that he took over from the Marines he was stationed with, but it does not in my view help the book's readability any. One does get used to it and over the course of the book he gets more serious, but the first few chapters are rather annoying. The main value of the book is probably the service it does to humanizing the people involved, both of the occupying armies and their opponents. They say that truth is the first casualty of war, but surely the greatest casualty of war is a sense of shared humanity. Indeed it is hard to get any group to fight any other without in some way dehumanizing them first, and all the political argumentation of the world does not suffice of itself to repair a warped view of this kind once it is dominant. What can do so is a vivid description of real people and their human traits and follies. It used to be that literature played this role, but the authority and impact of the writer has diminished; now perhaps journalists can take this over to some extent. Some people combine this with the political argumentation for the greatest possible effect, like Robert Fisk does for example, but even if one leaves out the politics, the experience of humanization alone is very valuable. This is what Filkins' book contributes.


The "Assommoir" (The Prelude to "Nana") - 2853166632

80,12 zł

The "Assommoir" (The Prelude to "Nana") Forgotten Books

Książki / Literatura obcojęzyczna

Excerpt from The "Assommoir" (The Prelude to "Nana"): A Realistic Novel Once in a railway carriage, I saw a Frenchman, who was reading a book very attentively, exhibit, from time to time, signs of surprise. Suddenly, whilst I was trying to discover the title upon the cover, he exclaimed, "Oh! this is disgusting!" and put the volume into his valise in the most contemptuous manner. He remained for some moments lost in thought, then re-opened the valise, took up the book again, and began reading. He might have finished a couple of pages, when he suddenly burst out into a hearty laugh, and turning to his companion, said, "Ah! my dear friend, here is the most marvellous description of a wedding dinner!" Then he resumed his reading, showing plainly that he was enjoying it intensely. The boot was the "Assommoir," and that which happened to the Frenchman when perusing it occurs to all who take up the novels of Zola for the first time. You must conquer the first feeling of repugnance; then, whatever may be the final judgment pronounced upon the writer, you are glad to have read his works, and you arrive at the conclusion that you ought to have read them. The first effect produced, particularly after the perusal of other works, is similar to that experienced on coming out of a close and heated theatre, when one feels the first whiff of fresh air in ones face with a keen sense of pleasure, even if it bring with it an odour not altogether agreeable. After reading Zola's novels it seems as though in all others, even in the truest, there were a veil between the reader and the things described, and there is present to our minds the same difference as exists between the representations of human faces on canvas and the reflection of the same faces in a mirror. It is like finding truth for the first time. Certain it is, that no matter how resolute you may be, you sometimes spring back as if from a sudden whiff of foul air. But even at these points, as at almost every page, though we may violently protest, there is a devil in us which laughs and frolics and enjoys himself hugely over our discomfiture. You feel the same pleasure that you would in hearing a very blunt man talk, even if he were thoroughly vulgar; a man who expresses, as Othello says, his worst ideas in his worst language, who describes what he sees, repeats what he hears, says what he thinks, and tells what he is, without regard for anyone's feelings, and just as though he were talking to himself. From the very first lines you know with whom you are dealing. Delicate persons withdraw - that is an understood thing; Zola does not conceal or embellish anything, either sentiments, thoughts, conversations, acts, or places. He is at once a judicious romancer, a surgeon, a casuist, a, physiologist, and an expert chancellor of the exchequer, who thus raises every veil, putting his hands into everything, and calling a spade a spade, not heeding, but rather being greatly surprised at your astonishment. Morally, he unveils in his characters those deepest feelings, which are generally profound secrets, tremblingly whispered through the grating of the confessional. Materially, he makes us aware of every odour, every flavour, and every contact. In language, he scarcely refrains from those few unspeakable words, which naughty boys stealthily seek for in the dictionary. No one has ever gone further in this extreme, and you really do not know whether you ought most to admire his talent or his courage. Among the myriads of characters in novels whom we remember, Zola's remain crowded on one side, and are the boldest and most tangible of all. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at


Hope in the Urban Schools - 2827052932

77,19 zł

Hope in the Urban Schools Strategic Book Publishing

Książki / Literatura obcojęzyczna

Hope in the Urban Schools: Love Stories explores the school life of urban students. With the current political backdrop in public education, including the realities of No Child Left Behind, illegal immigration, poverty and racism, readers will meet real students craving the access their suburban counterparts so often take for granted. From seemingly hopeless to believing in success, these true stories show the challenges students bring to public schools, and provide evidence of how schools can nurture the love and hope needed to develop bright futures. "I am grateful to Cara Riggs for sharing her experiences and the real life stories of students she has served ... In these love stories, you will discover the hope being provided to students in the urban schools." - John Mackiel, Superintendent, Omaha Public Schools "Finally! An honest and raw look into the power of adult-to-student relationships in providing hope for our kids in challenging situations ... what a breath of fresh air! Principal Cara Riggs has provided a loving insight into the complexities of creating public school atmospheres where hope can indeed conquer hopelessness ... A 'must read' for anyone who really cares about the education of our kids and what's working." - Wes Hall, Author, Teacher Trainer, National Keynote Speaker "Her story is a triumphant example of what can happen when a principal refuses to give up on the 'unteachable' kids." - Erin Gruwell, Freedom Writer's Foundation "At a time when our country seems to be abandoning our public schools, this book is a 'must read.' " - Susie Buffett, Sherwood Foundation Cara Churchich-Riggs has been an educator in the Omaha Pubic Schools for nearly three decades. She is currently a high school principal. Publisher's website:


Bakuman - 2826653660

35,01 zł

Bakuman Viz Media

Książki / Literatura obcojęzyczna

Average student Moritaka Mashiro enjoys drawing for fun. When his classmate and aspiring writer Akito Takagi discovers his talent, he begs Moritaka to team up with him as a manga-creating duo. But what exactly does it take to make it in the manga-publishing world? Moritaka is hesitant to seriously consider Akito's proposal because he knows how difficult reaching the professional level can be. Still, encouragement from persistent Akito and motivation from his crush push Moritaka to test his limits! Moritaka and Akito face the prospect of their series being canceled in Shonen Jump due to dropping popularity. Can the duo avoid the axe and keep fighting? And when Akito starts becoming friendly with fellow manga creator Ko Aoki, how will it affect his long-term relationship with Kaya?


Unlawful Contact - 2844864414

44,94 zł

Unlawful Contact Headline Eternal

Książki / Literatura obcojęzyczna

Fans of Suzanne Brockmann, Maya Banks, Christy Reece, Julie Ann Walker and Cindy Gerard will adore Pamela Clare's expertly plotted romantic suspense series, which sets the pages alight with sizzling chemistry. For tension, thrills, romance and passion take a spin with the I-Team. Taken hostage by a convicted murderer while reporting at a prison, Sophie Alton has no idea that the man holding the gun to her head is the bad boy who was her first love in high school. Condemned to life without parole, Marc Hunter finds himself with no choice but to break out of prison after his younger sister disappears with her baby. Though he regrets what he has to put Sophie through, he can't let anything get in the way of his stopping the corrupt officials who are set on destroying what's left of his family. But being near Sophie rekindles memories for both of them. As the passion between them heats up, so does the conspiracy to put both of them in their graves. Sexy. Thrilling. Unputdownable. Take a wildly romantic ride with Pamela Clare's I-Team: Extreme Exposure, Hard Evidence, Unlawful Contact, Naked Edge, Breaking Point, Striking Distance.


szukaj w Kangoo krainaksiazek being a writer what does it take to be a writer can anyone take up the passion 20098269

Sklepy zlokalizowane w miastach: Warszawa, Kraków, Łódź, Wrocław, Poznań, Gdańsk, Szczecin, Bydgoszcz, Lublin, Katowice

Szukaj w sklepach lub całym serwisie

1. Sklepy z krainaksiazek pl being a writer what does it take to be a writer can anyone take up the passion 20098269

2. Szukaj na wszystkich stronach serwisu

t1=0.118, t2=0, t3=0, t4=0.014, t=0.118

Dla sprzedawców

copyright © 2005-2017  |  made by Internet Software House DOTCOM RIVER