krainaksiazek born for this moment you are more than ready to face your challenge 20054728
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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
Consolations of Philosophy Penguin
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.
MCSA WINDOWS 10 COMP SG EXAMS SYBEX INC
Książki / Literatura obcojęzyczna
The go-to MCSA prep guide, updated for Windows 10 and the new exams MCSA Windows 10 Complete Study Guide is your comprehensive resource for taking both Exams 70-698 and 70-697. Covering 100% of all exam objectives, this study guide goes beyond mere review to delve deeper into the complex topics and technologies to help you strengthen your understanding and sharpen your skills. Written by a veteran Microsoft MVP, this guide walks you through MCSA skills in context to show you how concepts are applied in real-world situations. Hands-on exercises speed the learning process and facilitate internalization, while review questions challenge and test the depth of your understanding. You also get access to the Sybex interactive online learning environment, featuring flashcards, videos, an assessment test, and bonus practice exams to face exam day with confidence. The MCSA certification process has changed; Exam 70-698 tests your skills in installing and configuring Windows 10, and then Exam 70-697 gauges your abilities in configuring Windows devices. This book is your ideal companion to study for both exams. * Study 100 percent of the objectives for Exams 70-698 and 70-697 * Apply your knowledge with hands-on exercises * Test your skills with challenging review questions * Access videos, electronic flashcards, a searchable glossary, and bonus practice exams The demand for qualified Windows 10 professionals will be high, as more than half of the corporate user base that skipped Windows 8/8.1 is expected to adopt Windows 10. If you want the skills that are in demand, you need to get certified; if you're ready to get serious about the exam, MCSA: Windows 10 Complete Study Guide is the resource you shouldn't be without.
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
Let Me Play the Lion Too Faber & Faber Plays
Książki / Literatura obcojęzyczna
The life of an actor has never been easy, but at the beginning of the twenty-first century it is difficult in new ways. Students have to struggle to fund their training, the absence of a repertory system limits their opportunities on graduating, new attitudes of agents and television producers can be unhelpful, and the competition never flags. Success, whether it comes suddenly or after years of hard work, brings a whole new range of problems to be solved. And yet its appeal is as strong as ever. Books about this life written from the front line are rare, especially those focusing on what faces newcomers. After over forty years' work, Michael Pennington has an overview, and a wish to help; he has spent enough time with young actors to see the challenges that face them and to notice how well or otherwise they are handling their professional lives. The proposed book will concentrate on how to lay the basis for a rewarding career, then how to sustain it and how to maximise your luck; it will also look at the dilemmas that can arise later on. A life in the theatre now necessitates new survival strategies. So as well as timeless chapters such as Dealing with auditions, rehearsals, directors, long runs, etc., there will be unusual sections about such things as handling the new breed of agents; a chapter called Are You Ready For The Bill?, another about the realities facing graduate actors trained for the classics who are forced into soap opera. (There could also be unusually candid chapters such as Professional Jealousy, or about the limitations of success: Other People's Knighthoods). Contents, a list of possible chapters: Training. Dealing with auditions. Agents - getting and keeping them. Rehearsals and directors - dealing well with them. Long runs in the theatre - how to survive them in style. Television (The new treadmill). Being out of work. The limitations of success. Professional jealousy ('Other People's Knighthoods'). Social ('To network or not'). Taking your clothes off (How you won't escape it). This is decidedly a book of advice and not a memoir, but part of its interest will surely be in what Michael Pennington considers are his own mistakes and successes in all these areas, and how the rules of engagement have changed in hismemory. This should make the book witty and companionable rather than didactic, without changing its essentially advisory nature. Readership - Students, theatre professionals, audiences here and abroad. Competition - Simon Callow's Being an Actor (1984) is part autobiography, part manifesto and part an account of the actor's life from the moment of securing the job to completing it. But it is not mainly concerned to advise across the whole spectrum of a career; and, a generation later, some of its premises about the industry no longer apply - fewer choices are available in the theatre, and there is more sense of the cattle-market in television and film. Peter Barkworth's About Acting is essentially a masterclass in acting technique, rather than a discussion of industrial realities.
Girls, Uninterrupted ICON BOOKS
Książki / Literatura obcojęzyczna
From the moment they're born, our daughters face a barrage of unhealthy messages about what it means to be female. Whether they are praised for being pretty, not smart, or accused of being bossy, rather than strong, teaching girls how to be comfortable being themselves has never been a bigger challenge. And in the age of social media trolls, internet pornography and overly sexualised children's clothes, our daughters are finding it harder than ever to stay young, carefree and happy. The solution, however, is not avoidance, but equipping our daughters to navigate this world without losing their innocence. From combatting the Lolita effect, to teaching girls how to accept their bodies, Girls, Interrupted is packed with expert advice and up-to-date research that will show you how your daughter can grow up to be a strong, confident woman.
Sklepy zlokalizowane w miastach: Warszawa, Kraków, Łódź, Wrocław, Poznań, Gdańsk, Szczecin, Bydgoszcz, Lublin, Katowice
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