krainaksiazek joy a play on the letter i 20093263
- znaleziono 326 produktów w 18 sklepach
Candy Man Blues 2CDCD 11. Missisippi John Hurt - Candy Man Blues2. Big Joe Williams - Highway 493. Muddy Waters - I Be's Troubled4. Robert Johnson - When You Got A Good Friend5. Lightin' Hopkins - Down Baby6. Bessie Smith - Lady Luck Blues7. Leadbelly - Good Morning Blues8. Muddy Waters - Country Blues9. John Lee Hooker - Stomp Boogie10. Big Joe Williams - Brother James11. Leadbelly - New York City12. Lightin' Hopkins - L.A. Blues13. Blind Boy Fuller, Sonny Terry - Train Whistle Blues14. Muddy Waters - Burr Clover Farm Blues15. John Lee Hooker - Alberta16. Billie Holiday - Guess Who17. Memphis Minnie - Frisco Town18. Muddy Waters - Country Blues #219. Ma Rainey - Stormy Sea Blues20. Arthur "big Boy" Crudup - Mean Old Frisco BluesCD 21. Muddy Waters - Little Geneva2. Billie Holiday - I'm A Low-down Groove3. John Lee Hooker - Please Don't Go4. Kokomo Arnold - Cryin' Blues5. Leadbelly - Death Letter Blues6. Peter Chatman - Beer Drikin Women7. Muddy Waters - Rollin' & Tumblin'8. T-bone Walker - Sail On Boogie9. Billie Holiday - Am I Blue10. Big Joe Williams - Stack 'o' Dollars11. Leadbelly - John Hardy12. Mississippi John Hurt - Frankie13. Lightin' Hopkins - Come Back Baby14. Arthur "big Boy" Crudup - Gonna Follow My Baby15. Bog Joe Williams - Peach Orchard Mama16. Robert Johnson - Stop Breakin' Down Blues17. Bessie Smith - Keeps On A Rainin'18. Ma Rainey - Toad Frog Blues19. John Lee Hooker - War Is Over (Goodbye California)20. Memphis Minnie - Me And My Chauffeur Blues ...
Christmas with Frank & BingCD 11. Jingle Bells2. O Come All Ye Faithful3. Have Yourself A Merry Little Christmas4. Mistletoe And Holly5. While The Angelus Was ringing6. Santa Claus Is Coming To Town7. Hark The Herald Angels Sing8. The Christmas Song9. Medley: O Little Town Of Bethlehem / Joy To The World / White Christmas10. Over The Rainbow11. Ave Maria12. Lets Start The New Year Right13. The Lord's Prayer14. Christmas Dreaming (A Little Early This Year)15. Light A Candle In The Chapel16. It Came Upon A Midnight Clear17. Winter Wonderland18. White ChristmasCD 21. White Christmas2. Adeste Fideles (O Come All Ye Faithful)3. Silver Bells4. Medley: Deck The Halls With Boughs Of Holly / Away In A Manger / O Little Town Of Bethlehem / The First Noel5. Silent Night6. Rudolph The Red-Nosed Reindeer7. God Rest Ye Merry Gentlemen8. Sleigh Ride9. I'll Be Home For Christmas10. Faith In Out Fathers11. Santa Claus Is Coming To Town (feat. The Andrews Sisters)12. Here Comes Santa Claus13. Happy Holidays14. Jingle Bells15. You're All I Want For Christmas16. The First Noel17. Twelve Days Of Christmas18. Let's Start The New Year Right ...
Christmas with Frank & BingCD 11. Jingle Bells2. O Come Alle Ye Faithful3. Have Yourself A Merry Little Christmas4. Mistletoe and Holly5. While The Angelus Was Ringing6. Santa Claus Is Coming To Town7. Hark The Herald Angels Sing8. The Christmas Song9. Medley: O Little Town Of Betlehem Joy To The World White Christmas10. Over The Rainbow11. Ave Maria12. Let's Start the New Year Right13. The Lord's Prayer14. Christmas Dreaming15. Light A Candle In the Chapel16. It Came Upon A Midnight Clear17. Winter Wonderland18. White ChristmasCD 21. White Christmas2. Adeste Fielis3. Silver Bells4. Medley: Deck the Halls with Bouhgs of Holly Away in a Manger O Little Twon of Bethelehem The First Noel5. Silent Night6. Rudoplh the Red Nosed Reindeer7. God Rest Ye Merry Gentlemen8. Sleigh Ride in July9. I'll be Home for Christmas10. Faith in our Fathers11. Santa Claus is coming to town12. Here Comes Santa Claus13. Happy Holiday14. Jingle Bells15. You're All I Want For Christmas16. The First Noel17. Twelve Days of Christmas18. Let's Start The New Year Right...
Książki Obcojęzyczne>Angielskie>Literature & literary studies>Plays, playscripts
Książki Obcojęzyczne>Angielskie>Fiction & related items>Modern & contemporary fiction (post c 1945)
Tells The Story Of Amy Evans' Bold Play For Happiness, And Her Dangerous Success.
Joy of Living (Es Lebe Das Leben) Forgotten Books
Książki / Literatura obcojęzyczna
Excerpt from The Joy of Living (Es Lebe Das Leben): A Play in Five Acts The translation of dramatic dialogue is attended with special difficulties, and these are peculiarly marked in translating from German into English. The German sentence carries more ballast than English readers are accustomed to, and while in translating narrative one may, by means of subordinate clauses, follow the conformation of the original, it is hard to do so in rendering conversation, and virtually impossible when the conversation is meant to be spoken on the stage. To English and American spectators the long German speeches are a severe strain on the attention, and even in a translation intended only for the "closet" a too faithful adherence to German construction is not the best way of doing justice to the original. Herr Sudermann's dialogue is more concise than that of many other German dramatists; yet in translation his sentences and speeches need to be divided and recast: to preserve the spirit, the letter must be modified. This is true not only of the construction of his dialogue but also of his forms of expression. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Joy and Tyranny OBERON BOOKS
Książki / Literatura obcojęzyczna
"'My preoccupation,' says Arnold Wesker in his interview/portrait Ambivalences (published by Oberon Books) 'with-violence-stemming from-perceived-intimidation-by-the-bright-ones who dare to be cleve ror simply different, began with an incident at school. While queuing for a school meal, one of the other boys wanted me to try his liquorice stick .I didn't want to. This other pupil insisted. I continued to decline. I didn'tlike liquorice! That I didn't want to share what he liked, what he thought was good, enraged the other boy who couldn't bear my indifference to his taste, and he hit me. I've never lost this image of violence induced by the outsider, the one who dissents, the one who doesn't share in what others like or believe. One day', Wesker vowed, 'I may write a play beginning with that image - of the boy who wants another boy to share his taste in liquorice and hits him because he doesn't. It'll be an exploration of the nature of violence.' In late 2010 he wrote just such a play, Joy and Tyranny, but the playwright doesn't describe it as a play, rather as: Arias and variations on the theme of violence. In fact it is a patchwork quilt knitting together many extracts from other of his works, as though throughout his career he was infusing those works, ghost-like, with a hidden play waiting the right time to emerge"
Konstruktor > BanBao > Race Club
Samochód wyścigowy Joy. Autko osiągające wysokie prędkości, dzięki napędowi pull back (nakręcany od tyłu) wykonany z mocnego materiału jest prawie niezniszczalny. Seria Race Club łączy w sobie samochód wyścigowy wykonany z elementów plastikowych i rzeczywistości wirtualnej gry. Zestaw 3w1 Seria RaceClub łączy w sobie samochód wyścigowy z napędem wstecznym (Pull Back) oraz wirtualną grę , w którą możesz zagrać ze swoim przyjacielem! Zbuduj wyścigówkę, nakręć wstecz i puść ! Zobacz jak wystrzeli do przodu ! Autko może pojechać na długość aż 10 metrów! Aby zagrać w wirtualną grę wyścigową jedyne co musisz zrobić to pobrać aplikację z Google Play, zeskanować kod dołączony do zestawu telefonem lub tabletem i przenieść się na tor wyścigowy, na którym będziesz mistrzem prędkości! Najpierw go zbuduj ,obklej naklejkami by później przystąpić do dwóch realnych wyściów z czego jeden odbywa się w wirtualnym świecie. Aby zagrać w wirtualną grę, należy pobrać darmową aplikację z Google Play lub App Store. Zeskanuj załączoną kartę swojej wyścigówki, wybierz i zeskanuj odpowiedni tor skanujemy za pomocą telefonu lub tabletu karta jak i tor mieści się w każdym pudełku Seri Race Club. Następnie przenięś swoją wyścigówkę do wirtualnej rzeczywistości, w trybie gry, a następnie rozpocząć grę! Scigać się w grze można samemu z przyjaciułmi lub rodzicami. By zagrać w trybie multiplayer niezbędna jest sieć wifi. Samochód wyścigowy to świetna rozrywka dla małych rozrabiaków jak i ich rodziców. Spełnij swoje marzenia z dzieciństwa o wyszukanej zabawce, bawiąc się razem z dzieckiem. Więcej kart aut i torów do pobrania na stronie www.BanBao.pl Zabawka Odpowiednia dla dzieci w wieku powyżej 4 lat. Szczegóły produktu: Model: 8628-2 Ilość klocków 22 EAN 6953365320495
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
Chain Letter Warner Music Poland
1. Girlfight Feat. Big Boi & Lil' Jon 2. Taste Of Dis 3. Long As You Come Home 4. Blah Blah Blah Feat. Dirt Mcgirt 5. Cover Girl 6. Playa Feat. Jermaine Dupri 7. Ghetto Superstarz 8. Tell Me Why You Don't Love Me 9. Million Bucks Feat. Queenz Deliz 10. I Want You Dead 11. Dying From A Broken Heart 12. Pass You By 13. Laugh Til I Cry 14. American Girl 15. Watcha Looki' At Feat. Kilo Aka J.a.k.
Long Play Collection Golden Stars
1. Wanderin' 2. The Rovin' Gambler 3. The Lonesome Road 4. Down In The Valley 5. Barbara Allen 6. On Top Of Old Smoky 7. I Gave My Love A Cherry 8. The Wayfaring Stranger 9. Across The Wide Missouri 10. Careless Love 11. Red River Valley 12. Sometimes I Feel Like A Motherless Child 13. Sweet Betsy From Pike 14. Home On The Range 15. Moonlight & Roses (Bring Mem'ries Of You) 16. The Missouri Waltz (Hush-a-bye, Ma Baby) 17. I'm Gonna Lock My Heart (And Throw Away The Key) 18. You Always Hurt The One You Love 19. I'm Thinking Tonight Of My Blue Eyes 20. It Makes No Difference Now 21. I'm Waiting For Ships That Never Come In 22. I'm Gonna Sit Right Down & Write Myself A Letter 23. When Your Hair Has Turned To Silver 24. Angry 25. The Prisoner's Song 26. Seven Years With The Wrong Woman 101. Bouquet Of Roses 102. It's A Sin 103. That's How Much I Love You 104. Don't Rob Another Man's Castle 105. Rockin' Alone (In An Old Rockin' Chair) 106. Molly Darling 107. I'll Hold You In My Heart (Till I Can Hold You In 108. A Heart Full Of Love (For A Handful Of Kisses) 109. Anytime 110. Texarkana Baby 111. Will The Circle Be Unbroken 112. Who At My Door Is Standing 113. Don't Fence Me In 114. Tennessee Waltz 115. Shame On You 116. Someday (You'll Want Me To Want You) 117. You Can't Be True, Dear 118. I Love You So Much It Hurts 119. So Round, So Firm, So Fully Packed 120. Cold, Cold Heart 121. Sixteen Tons 122. I Don't Hurt Anymore 123. Slow Poke 124. (Now & Then There's) A Fool Such As I 201. Tom Dooley 202. Nellie Sits A-waitin' 203. Tennessee Stud 204. The Battle Of Little Big Horn 205. The Wreck Of The Old '97 206. The Red Headed Stranger 207. Johnny Reb (That's Me) 208. Riders In The Sky 209. Boot Hill 210. The Ballad Of Davy Crockett 211. Partners 212. Jesse James 213. Indiana 214. Oklahoma Hills 215. Mister & Mississippi 216. Stars Fell On Alabama 217. Idaho 218. Kentucky Babe 219. Missouri 220. Carolina In The Morning 221. Carry Me Back To Old Virginny 222. On Miami Shore 223. Beautiful Ohio 224. Georgia On My Mind
IPod, YouTube, Wii Play Wipf & Stock Publishers
Książki / Literatura obcojęzyczna
Synopsis: Should Christians w00t or wail about the scope and power of modern entertainment? Maybe both. But first, Christians should think theologically about our human passion to be entertained as it relates to the popular culture that entertains us. Avoiding the one-size-fits-all celebrations and condemnations that characterize the current fad of pop culture analyses, this book engages entertainments case by case, uncovering the imaginative patterns and shaping power of our amusements. Individual chapters weave together analyses of entertainment forms, formats, technologies, trends, contents, and audiences to display entertainment as a multifaceted formational ecology. Endorsements: "Brent Laytham carefully analyzes the social and theological problems attached to entertainment as it has become wedded to technology. But this is neither a screed against its dangers nor a doomsday resignation to its hegemonic power. Rather, Laytham asks us to keep entertainment in its proper place in God's economy, practicing resistance to its idolatrous tendencies while embracing it as a 'trivial pursuit' that acknowledges God as 'the giver of laughter, pleasures, and joy.'" --L. Edward Phillips, Emory University "Witty, wistful, and wickedly provocative, Brent Laytham's theological investigation into the cultural phenomena of entertainment, technology, and media is a surefire conversation starter. Whether for the college classroom, the seminary seminar, or the Christian education class in the church basement, this book is certain to engage the imagination and faith of its readers." --Todd Johnson, Fuller Theological Seminary "Are we amusing ourselves to death? That enduring question is reworked in fresh and insightful ways as Laytham skillfully navigates a new era of technological pastimes and pleasures. The formative power of our cultural amusements is met with keen theological analysis, and the result is a book that is eminently useful and--dare I say--vastly entertaining." --Debra Dean Murphy, West Virginia Wesleyan College "A generation of theologians has been worried about the deforming practices of the liberal state. What we really need to worry about are its games. The devil is in its bread and circuses. In this wise, accessible book Brent Laytham offers an engaged theological analysis of our entertainments and distractions, inviting us to follow Jesus with new intentionality." --James K. A. Smith, Calvin College "Brent Laytham is one of the most creative and substantive theologians working today. In this work he directs his considerable skills to a theological analysis of technology and culture. It is a delightful read and a profound critique. It deserves to be read and discussed widely within the church, the academy, and any other place where people gather to seek truth and wisdom--for there is much of that here." --D. Stephen Long, Marquette University Author Biography: D. Brent Laytham is Dean of the Ecumenical Institute of Theology of St. Mary's Seminary and University in Baltimore, and professor of theology there. He is the editor of God Is Not (2004) and God Does Not (2009).
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