krainaksiazek some here among us 20109360
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Książki Obcojęzyczne>Angielskie>Fiction & related items>Modern & contemporary fiction (post c 1945)
Książki Obcojęzyczne>Angielskie>Fiction & related items>Fiction: special features
This Is It The Final Year Of INJUSTICEGODS AMONG US, Leading Into The Storyline Of The Hit Videogame Having Defeated The Green Lantern Corps, The Forces Of Magic, And Now The Gods Themselves, The Supermans Totalitarian Regime Seems To Have Eliminated All Threats. Yet Uneasy Lies The Crown On The Head Of The Man Of Steel. Still Obsessed With The Outlaw Batman And Worried About Having Enough Troops To Police His World, The Man Of Steel Begins To Recruit Some Of Earths Deadliest Villains To His Side. Does The Dark Knight Have Any Chance Of Ending The Man Of Steels Rule? The Beginning Of The End Is Here, As Writer Brian Buccellato THE
Among the Russians Harper Collins
Książki / Literatura obcojęzyczna
Here is a fresh perspective on the last tumultuous years of the Soviet Union and an exquisitely poetic travelogue. With a keen grasp of Russia's history, a deep appreciation for its architecture and iconography, and an inexhaustible enthusiasm for its people and its culture, Colin Thubron is the perfect guide to a country most of us will never get to know firsthand. Here, we can walk down western Russia's country roads, rest in its villages, and explore some of the most engaging cities in the world. Beautifully written and infinitely insightful, "Among the Russians" is vivid, compelling travel writing that will also appeal to readers of history and current events--and to anyone captivated by the shape and texture of one of the world's most enigmatic culture.
Excerpt From Among The Natives Of The Loyalty Group A Short Sail Of Some Eight Or Ten Hours From Our Home Here At Lifu Lands Us On The Sister Island Of Uvea, Where We Usually Spend A Month Every Year. Our Visit To This Beautiful Lagoon Island Is Ge
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
Get Some Headspace Hodder & Stoughton
Książki / Literatura obcojęzyczna
Andy Puddicombe, founder of the much publicised Headspace, is on a mission: to get people to take 10 minutes out of their day to sit in the here and now. Here he shares his simple to learn, but highly effective techniques of meditation. §Accessible and portable, these powerful techniques promise amazing results. Quiet the mind, feel less stressed, less tired and achieve a new level of calm and fulfilment. By following the daily exercises you will start to experience literally life changing results. The benefits of mindfulness and meditation are now well documented with doctors advising their patients to give it a try. Andy brings this ancient practice into the modern world, tailor made for the most time starved among us. §For beginners and seasoned meditators alike, here is the opportunity to harness and develop skills that will combat the negative symptoms of our fast paced world, and that once learned, will last a lifetime.
Shadow of the Sun Penguin
'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
Blood Doctor Penguin
Powieści i opowiadania
EURO TRASH Merve
Książki / Literatura obcojęzyczna
EVEN THOUGH WE'RE ALL INTERNATIONALISTS, FOR NOW THE BOOK WILL ONLY BE AVAILABLE IN GERMAN. With contributions from Damir Arsenijevic, Alain Badiou, Étienne Balibar, Gracie Mae Bradley, Cédric Durand, the European Space Agency (sort of), Sara Farris, Alexandre Kojčve, Maurizio Lazzarato, Sandro Mezzadra, Toni Negri, Thomas Piketty, Beatriz Preciado, Bernard Stiegler, Martin Wolf, Slavoj Zizek. And to top it all off, check out our exclusive "Europe from Detroit" mix that comes courtesy of acid legend Carlos Souffront. No, not another debate on Europe, not just the usual policy proposals, no moralising appeals. We simply want to take stock of our ignorance in order to turn it into something more productive. Call it recycling if you will. The contributions in the volume do not reflect anything like a unity of vision. Often, they agree on very little. But that doesn't mean the texts assembled here do not resonate with one another. Philosophers, economists, journalists and activists comment on past and present manifestations of Europe. Taken together, these essays are exercises in defamiliarisation. Sure, we don't fully understand what is going on. Then again, experts didn't fare too well either, as a quick glance at the pre-2008 forecasts of economists, the analyses of geopolitical pundits or the trajectories of the expert-led transitional governments in Europe's South reveals. That's why we have no desire to wallow in passivity and fatalism. On the contrary, creating a sense of distance between Europe and ourselves will perhaps enable us to relate to it in new ways. Ever since the postwar reconstruction, Europe vacillated between grand political designs and economic expediency. The introduction of the Euro in 2002 and the ongoing crisis of 2008 have accelerated a shift in the balance of power. Nation-states lost some of their prerogatives and now have to accommodate the demands of unelected supranational entities in charge of implementing the precepts of economic rationality. A sense of powerlessness has become widespread. It has given a new lease of life to nationalism and xenophobia across Europe. Young people in particular wonder what could possibly be the point of having democracy conform to markets if capitalism cannot even make good on its one spellbinding historical promise: to enable wealth creation for the masses through individual effort and hard work? As is stands in 2014, giving up democratic principles in order to purify the operations of the markets seems like the surest way to the worst of both worlds: a technocratic caesarism. Economists tentatively hail Greece's return to the capital markets, they rejoice at the first signs of positive growth rates and welcome, give or take some accounting tricks, the sound budgets in member-states that are testament to the efficacy of the austerity measures. Meanwhile, unemployment in many parts of the EU remains stubbornly high. And let's not even talk about wage levels. Far from marking the end of history and the triumph of liberal market societies, 1989 could have turned out to be a Pyrrhic victory for capitalism, a possibility for which even François Furet allowed in his very last essays. Before its long overdue collapse, 'real existing socialism' - imperialist, authoritarian, unjust, inefficient, and downright depressing as it was - nonetheless inspired a fear among the governments of the so-called Western world that tamed capitalism in ways not seen before or after. Did bureaucratic state capitalism in the East protect the liberal capitalism of the West from what it wanted? Even when the latter seemed to be on excellent form after 1989, it often turned out to be pumped up on a diet of monetary steroids: soaring private and company debt sustained the boom times. Capitalism's hold over the planet is neither uniform nor exclusively imposed by force. It emerged out of a contingent history of the "universalisation of a tendency", as Deleuze and Guattari put it. However, a European left that has yet to come to terms with the full extent of its political insignificance seeks solace in the idea of an economic matrix that structures every fold of the social fabric: it is plausible, inescapable and terrifyingly good at harnessing even the forces of resistance to its own purposes. While the therapeutic aspect of this sort of thinking cannot be dismissed, its analytical virtues are more questionable. Still, as we survey the political landscape in 2014, no serious - and politically desirable - alternative exists. And yet liberal market societies struggle with ever more intense degrees of disaffection among their supposedly blessed populations. We observe the striking comeback of inequalities of wealth reminiscent of the Belle Époque. If current trends continue we could soon live in societies so unequal one would have to go back to the pre-industrial age to find anything comparable. This is certainly not a process of differentiation that is synonymous with modernity, as some commentators, grotesquely misinterpreting Luhmann, would have us believe. To reduce the potential of social differentiation to the acceptance of economic disparities betrays a poverty of thought that speaks volumes about the state of mind of a "brute bourgeoisie", itself a symptom of a deeply dysfunctional society. In Merkel-land, it found a new party-political home in the "Alternative for Germany". But opposition to the Euro also gains currency on the left. This is unsurprising given the intransigence of monetary hawks in the central banks and the institutional set-up of the Eurozone. Another Euro was possible, one that would have attempted to pave the way for an optimal currency area, rather than simply presupposing its existence.This would have required large-scale investments and significant redistributive efforts to harmonise - and raise - living standards in all of Europe. We need to unearth these counter-histories of the single European currency. As long as genuine political and social union is but a distant possibility, the imperative of price stability and the impossibility for individual Euro states to devalue their currency reduces the available range of political responses to economic distress to just one: the downward adjustment not just of economies but of entire welfare systems in order to restore competitiveness. However, there is no economic automatism here. These are deeply political decisions. As so often, economic liberalism knows very well when to portray itself as the arch-foe of oppressive states and undemocratic post-national institutions - and when to enlist their help in order to get its doctrinal way. Some conclude from this state of affairs that, provided it can be made politically productive, a break with the Euro regime should no longer be considered a taboo. Others are wary of reductive explanations that, for the sake of conceptual and political convenience, denounce the Eurozone as a monolithic neoliberal bloc. We stand to benefit a great deal from learning how to spot and exploit political divisions. Even inside the European Commission, there is room for forms of militant bureaucracy that deftly maneuver the legal labyrinthe (ranging from the 1953 European Convention on Social and Medical Assistance to the measures towards greater coordination of social security systems passed in 2004). Recent attempts to bully Merkel's government into potentially widening access to welfare payments for European citizens living in Germany lent credence to this claim. One day, these regulatory squabbles might bring us a minuscule step closer to a Europe-wide unconditional basic income. Let the robots do the crap jobs. Given the jingoistic mood of most electorates, even many leftist parties are taking leave from demands for postnational social rights that are legally enforceable. They fear such a move would be tantamount to political suicide. Nonetheless, the track record of European institutions and the general tendency of intergovernmental decisions taken during the last two decades or so suggest that it would be insane to rely on emancipatory political action from above. Yet the question of exactly how to reclaim Europe as a battleground from below is close to intractable. What effective form could a dialectic between "institutional and insurrectional" politics take? New forms of entryism might play a role, as those who support Alexis Tsipras' candidacy for the presidency of the European Commission argue. Mass pressure from the street would open a second flank. But even though they have been theorised for many years, European social movements worthy of their name continue to be conspicuous by their absence. Or should we push for individual states to give up their sovereignty and merge with their neighbour, thus creating political forms that mark an intermediate stage between the nation-state and and a European polity? It all sounds rather far-fetched. Interestingly, the recent protests in Bosnia oppose not just corrupt local elites, but also the institutions of the international community that purports to have pacified the remnants of former Yugoslavia. The revolution in the Ukraine that has courageously overthrown a deeply corrupt regime, on the other hand, did appeal to a EU that embodied hopes for a better political and economic life even as parts of the crowd openly displayed their neo-Nazi sympathies. We need to address the underlying identity issues haunting this continent as a whole and the individuals that inhabit it. It is impossible to overlook the signs of libidinal exhaustion. Europe has a problem with desire. The economic, political and social systems no longer produce pleasure. We're all tired but we haven't done nearly enough to explore and invent new lives. The family rushes in to fill this void. We grew accustomed too quickly to the omnipresence of "family-friendly" policies, by now a staple of European political language. We could have known better. In Anti-Oedipus, Deleuze and Guattari had warned us. As capitalism marches onward, all existing social relations will cede to its pull. But that's not the same as simple disappearance. Quite the opposite. The family was first emptied of all historical functions, only to be reinvented as a bulwark against some of the more troubling and pathological aspects of contemporary capitalism. It offers respite from the constant flexibility that is expected of us, it helps pool resources as welfare states are being dismantled, it pays lip service to feminist struggles by singing the praise of the care work done by stay-at-home mums. In France, reactionaries are marching through the streets in their thousands. Their opposition to same-sex marriage forms part of a wider struggle to combat the rampant "family-phobia" in today's societies. We want none of it. The hypocrisy is plain for everyone to see. There is significant overlap between the defenders of good old family values and the milieus in which shameless hostility to migrants has once again become acceptable. But some migrants are better than others. The latest version of the mother-father-family relies on cheap non-unionised female labour, the army of nannies recruited from abroad. These are some of the migrants that made it to Europe. Many others don't even get that far. The activities of Frontex seem blissfully oblivious to the very colonial past they incessantly conjure up. The same fervour that was at work in the historical project of European expansionism is now observable in the systematic efforts to stop migrants - to ensure successful "border management", as official parlance has it. Europeans used to invade foreign lands to enrich themselves, now they keep others out to protect their privileges. Images of drowned, starved or deported refugees don't prevent European politicians for a second from invoking 'our' grand cultural tradition, preferably while lecturing other parts of the world on the West's civilisational achievements: philosophy, human rights, dignity, you name it. Perhaps the treatment to which migrants are subjected has something to do with Europe's historical self-understanding after all. These corpses float in the same Mediterranean sailed by cunning Ulysses. They're dying to reach the shore they might have otherwise called home. This much is clear to us: as long as other people are treated like garbage in our name, we betray the potential of EURO TRASH. The costly insistence on rigid borders is not just a European problem. It's a cosmic one. Space is a place where quaint attempts to divide it up according to the time-worn logic of sovereignty must fail. As Donald Kessler has pointed out as early as 1978, the debris piling up in the orbit, if unchecked, will reach a point where space travel becomes too dangerous. And little does it matter whether the out-there is littered by NASA or ESA. We might be stuck on this planet at the precise moment when we'd be well advised to leave it behind. Borders have a funny way of shutting in the people they claim to protect. There were concerns about a possible lack of German voices in this collection but acid legend Carlos Souffront came to our rescue and his exclusive "Europe from Detroit" mix dispels them in the most unexpected, poignant and concise way possible. Kraftwerk's 1977 "Trans-Europe-Express" imagined the continent as a haven of post-historical nostalgia. We asked Carlos to reimagine Europe as a province of Detroit in order to invert the usual perspective. Often, the Motor City is an object of European musical desire, filled to the brim with projections even, and especially if there is post-industrial desolation to be admired. Let's try it the other way around. The mix expertly strides between delicacy and a sense of impending dread that culminates in a brief sequence where German history unmistakably rears its ugly head. But there is life beyond that, there has to be. This is not a mind trip, this is a body journey. WE'RE THE EDITORS, WE'RE SVENJA BROMBERG, BIRTHE MÜHLHOFF, AND DANILO SCHOLZ.
Dark Guardian #2 HarperTeen
Książki / Literatura obcojęzyczna
Chapter OneSupposedly, dreams reflect our hidden fears and secret desires, all clamoring for attention. The one I'd had last night had been so vivid that even now, as evening drew near, it still made me squirm in my chair. I sat against a wall in the counsel room where the elders and the Dark Guardians--protectors of our society--were discussing how best to ensure our survival. Because I hadn't yet experienced my first transformation, I was considered a novice and was not allowed to sit at the large, round table with the others. This was okay by me, because it gave me the freedom to let my mind wander--without anyone noticing that I wasn't paying attention.In my dream, I'd been standing in a clearing with my declared mate, Connor, our arms wrapped around each other so tightly that we could barely breathe. The full moon served as a spotlight.Then dark clouds drifted over the moon, and everything went black. Still holding him near, I was acutely aware of the muscles and bones in his body undulating against me. He grew taller and broader. My fingers were in his hair, and I felt the strands thicken and lengthen. His mouth covered mine, but his lips were fuller than before. The kiss was hungrier than any he'd ever given me. It heated me from head to toe, and I thought I knew what it was to be a candle, melting from the scorching flame. I knew I should move away, but I clung to him as though I'd drown in a sea of doubts if I let go.The hovering clouds floated away, and the moonlight illuminated us once again--only I was no longer in Connor's arms. Instead I was pressing my body against Rafe's, kissing him, yearning for his touch. . . .I shifted uncomfortably in my chair with the memory of how desperately I'd wanted Rafe. It was Connor I was supposed to long for. But I'd woken up in a tangle of sheets, clamoring for another of Rafe's touches--even if it were only in a dream.Squirming again, I felt a sharp elbow in my ribs."Be still, will you?" Brittany Reed whispered harshly beside me. Like me, she would soon be turning seventeen and would experience her first transformation with the next full moon.I'd known Brittany since kindergarten. We were friends, but I'd never felt as close to her as I did to Kayla--whom I'd met only last summer, when her adoptive parents had brought her to the park to face her past. We'd connected on a deep level almost as soon as we met. We'd spent the past year sharing our lives through emails, text messages, and phone calls.During the last full moon she'd discovered that she was one of us and that Lucas Wilde was her destined mate. I can't imagine how frightening it would be to have so little time to prepare. We Shifters can't control the first transformation. When the full moon rises, our bodies react to its call. But now Kayla sat at the table with the others. The summer solstice, the longest day of the year, is usually a time when as many of our kind as possible come together to celebrate our existence. But this year a pall hung over us as we gathered at Wolford, a village hidden deep within a huge national forest near the Canadian border. All that remained there of what had once been a vibrant community were a few small buildings and the massive, mansionlike structure that serves as the home of the elders who rule over us. The residence also houses most of us when we're here for the solstice celebration.We've always been a secret society. Even though we have lived among the rest of the world, we show our true selves only to each other. But recently, we discovered that Lucas's older brother had betrayed us by telling someone in the outside world about our existence. Now some scientists who work for a medical research company called Bio-Chrome were determined to capture us and discover what makes us tick--or more important, what makes us transform. They wanted to patent this ability, develop it, and use it for their own financial gain. But being dissected and studied wasn't how any of us wanted to spend our summer vacation.Although we hadn't seen any signs of Bio-Chrome scientists since Lucas and Kayla had escaped from their clutches, none of us believed they'd given up their quest so easily. We were all on edge because we could sense an impending confrontation--the way animals sense a coming storm. Nature had made us attuned to danger. It was the reason we hadn't gone the way of the dinosaur.
Film Forum Review (Classic Reprint) Forgotten Books
Książki / Literatura obcojęzyczna
Excerpt from Film Forum Review Taken as a whole, the past four issues of Film Forum Review constitute a catalog of films selected for adult discussion purposes. Some of the films are old, some are new; some were made in the United States, some in other countries; the common element they share is that they are all available here at this time, and that they have certain discussion values. The 1947 issues of Film Forum Review, then, have lasting value as a reference catalog for adult discussion leaders. To keep this catalog practical and useful, Film Forum Review will continue reviewing films as they are released, (and it will catch up on some of the films which were screened too late for publication in the special issue, and on some films which were not available for screening at the proper time during the past year.) Each quarter, some thirty or forty films will be reviewed in Film Forum Review, as they have been in the past year. However, they will not be grouped into special issues. Each issue will have reviews on all the new films of that quarter. The reviews will refer back to films published in the special issues, and their relative merits and failures should be always weighed with respect to other films within the same general subject-matter framework. Major Findings Judging from catalog descriptions of the 500 films we screened, it could be expected that all of them would have been valuable as adult discussion aids. The number of films found acceptable or better - 176 - is astonishingly low. And of that number only 83 fell in the Recommended and Highly Recommended categories. The trouble with most of the films was that they were not produced specifically for adult education. Consequently, our job was that of identifying those that could reasonably be adapted for adult discussion from among all the films currently distributed. Out-of-dateness was a major factor in disqualifying or limiting the usefulness of a large proportion of the films we screened. This is undoubtedly due to the fact that many of the films still in circulation were made during wartime to meet problems which were based in specific wartime situations. Other defects in the films screened were immaturity and incompleteness in presenting the problems inherent in the subjects they were concerned with. Another large number of films were considerably weakened by their failing to make good use of the film medium as a means of communication. Three major types of production sponsorship can be identified among the films we have reviewed. They are governmental, organizational, and theatrical sponsorship. Governmental Sponsorship Seventy-five of the films we have reviewed were produced under governmental sponsorship of one kind or another. Of these 30 came from Canada, 20 from Great Britain, 19 from the United States, and six from other countries. In view of the fact that Canada and Great Britain have extensive film-producing programs, it does not seem remarkable that so substantial a number of films should come from these sources. 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.
Love Letters of Great Men - the Most Comprehensive Collection Available English Rose Publishing
Książki / Literatura obcojęzyczna
"Letters are among the most significant memorial a person can leave behind them" said Johann Wolfgang von Goethe. This English Rose book is the most comprehensive collection of love letters available, containing a huge selection of some of the all time greatest love letters ever written. You will find in here all of the classics - Napoleon Bonaparte, Lord Byron, John Keats, Henry VIII, Ludwig van Beethoven etc. - but you will also find some treasures, little known and rarely published love letters, such as those of Prince Albert, D. H. Lawrence, Sigmund Freud, Horatio Lord Nelson and Abraham Lincoln. Whatever the tone, the context or style of the writing here displayed, what is true is that these letters are genuinely captivating. Throughout history, great men have written noble tomes. Their love letters are no exception. We can find in these correspondences some of the most delectable personal effusions ever written, the most incredible demonstrations of devotion and affection - not fictional, but real, impassioned, painful and heart-wrenching. Our interest in reading these letters, is partly in their magnificent language, their eloquent expressions of love, their romantic effluence, but also, it is in their demonstrations of the universal human vulnerability in love. Love letters infectiously render past lives into our modern reality, immersing the reader in the author's home, habits, enjoyments and romances. These men come to life through their personal letters, more so than anywhere else. They show us the human side of men who stand as giants in history, whose actions and legacies have helped to shape the world as we know it. In their moment of separation, without the crowd, without the nobility or the just cause, here, in their most vulnerable, exposed state, we see the person behind the celebrity. With these letters we have the unique ability to spy on the personal lives of men considered 'great'. Their humanity, so lacking in the history books, is all we are privy to here. There is no great action, no battle won, no literary accomplishment, only deep personal feeling and romantic expression. This English Rose book is a high quality, well formatted, stunning hardback edition. English Rose love books and think that every one is special, so our editions will always be distinctive, professional and unique. Visit English Rose at www.englishrosebooks.co.uk and view our other titles and new releases.
Tannwald (Classic Reprint) Forgotten Books
Książki / Literatura obcojęzyczna
Excerpt from Tannwald Why is it that no play founded upon Goethe's "Faust" has had any notable success save such as could be given to it by fine music or scenic effects? The story of Margaret is one of the most tragic ever written; Mephistopheles is a brilliant character; the dialogue is remarkably eloquent, witty and poetical; the piece, though not prepared for the stage by the author, is dramatic in its form, and seems to furnish almost unequalled material for playwrights; and yet, after a hundred have tried it, the successful one is still to be found. Not having examined their compositions, I shall not undertake to criticise them, but so far as I know anything of them, all give prominence to Mephistopheles, the supernatural and the scenic effects, and I have made another attempt, excluding everything but the human characters and natural influences, developing some personages which are mentioned in the original, and adding others. Out of two dozen scenes, three-fourths are entirely my own. I do not publish "Tannwald" without at least partly appreciating its defects. I should have been glad to reduce the number of characters, and to give brilliancy and eloquence to the dialogue if I knew how. The translation of Margaret's song, "The King of Thule," is taken from an anonymous writer. H. Country - Austria. Time - In the Reign of Charles V. Characters - Henry Faust, Professor in Vienna; John Slack, his friend, and Cousin of Baroness Roth; Mr. Albert, Faust's servant; Count Dick ; Major Hohenthal; Captain Lovenstein; Mr. Helfenstein, a barber; Margaret Hartz, a village girl; Mrs. Hartz, her mother; Barbara Marks, Margaret's cousin; Mrs. Marks, Barbara's mother; Mrs. Martha Swerlin, Margaret's cousin; Mrs. Kline; Mrs. Prinz; Miss Behr; Miss Green; Lina, Miss Behr's servant; Valentine, Margaret's brother; Baron Ritterstahl; Major Myer; Commissary Wetzel; Soldiers; Paymaster Fuhr; Lieut. Carmony; Anthony Swerlin, Ritterstahl's servant; Soldiers and Peasants; Baroness Roth, Lady of Tannwald Castle. Act I. Scene I - Room in Tannwald Castle. Baroness Roth, Mr. Slack, Count Dick, Captain Lovenstein, Major Hohenthal, Albert, Helfenstein, and Others. Baroness - Cousin Slack, I fear that your friends accustomed as they are to court life, will find it dull in Tannwald. Slack - These gentlemen are fond of the chase, and there is no better place for game than the mountains back of the Castle. The Baron has already gone with us to the stables and assigned our horses to us. Baroness - What will become of Prof. Faust? Slack - He can follow us in charge of a gamekeeper, until he learns to ride. Then he can amuse himself fishing, and occasionally we will go down to the village and see its attractions. Baroness - It has none. Slack - O, cousin, a lady is not supposed to know all that attracts gentlemen. When I was here last Summer, I spent many hours there. Two dozen village beauties want the attentions of men from the court. Baroness - They are poor people; we never associate with them. Slack - The young men can drink and sing; the girls can dance and flirt. Count Dick - You are the man for us, Mr. Slack. Take us among them. Baroness - If you wish, I will sometimes invite them to the Castle. Count Dick - That would be still better. Please do; we cannot ride after the hounds every day. Slack - They will be delighted to come, and we will have all the fun we want. Baroness - Then, in a couple of weeks, we will have a ball here. In the meantime, I wish you all to enjoy yourselves, and if anything is necessary to your comfor
My Father Il Duce Kales Press
Książki / Literatura obcojęzyczna
In this historical, revisionist memoir, Romano Mussolini (September 26, 1927-February 3, 2006), the last surviving child of dictator Benito Mussolini, contributes his unique perspective to the growing body of work that portrays Il Duce's era. Through Romano's portrait of never before publicly shared memories and feelings, My Father Il Duce brings alive the domestic scenes of his childhood particularly when they intersected with his father's public role. He also relates in detail the memories of his mother, Donna Rachele, who lived until 1979 and often spoke with Romano about his father. Romano's memories, sorted by chapter, but not presented chronologically, shift between his own recollections of time spent with his father to the years after Mussolini's death in 1945. The prose lingers and then artistically moves forward, melancholy to fierce to vulnerable, like the notes of the jazz music played by Romano during his acclaimed musical career. Mussolini is presented here as a man who was supremely convinced that he was the master of his life: "'Everything happening around me, '" my father used to say, "'leaves me indifferent. I consciously choose 'Live dangerously' as my life's motto. As an old soldier, I say, 'If I advance, follow me. If I retreat, kill me. If they kill me, vindicate me.'" He saw his existence in scenes of high drama, envisioning in the end, Romano tells us, that he would be placed in front of throngs at New York City's Madison Square Garden and then executed in a macabre spectacle. In this memoir, Romano does not truly ponder the consequences of his father's alliances and dictatorship, though with at least one notable exception that he gave considerable thought to his personal anger toward Hitler for "stabbing my father in the back at his darkest hour." Instead, he seeks to render concrete the memories that he held silent over a lifetime before they were lost to history. The fascist order that Mussolini created and imposed upon Italy is one that Italians and students of history the world over are still interpreting. Indeed, his legacy was centerstage in the May 2006 Italian national elections, and one of the deputies in the Italian parliament today who represents his alliances is Alessandra Mussolini, Romano's daughter and defender of her infamous grandfather. As the trend of historical revisionism in Italy continues, in particular regarding the role of fascism, some of this kinder, gentler Mussolini is already widely accepted. Thus, My Father Il Duce (in Italian Il Duce Mio Padre) was published to great attention and controversy in Italy in 2004 and quickly became a bestseller. Romano often appeared on Italian national television and in newspaper interviews. In part, this illuminates that fascist supporters are alive and well, while also confirms even among non-supporters, the ongoing attraction to the cult of personality Mussolini masterminded. In Italy, this public discourse about Mussolini is common. However, for others it is important to establish a context for Romano's memoir. This is accomplished here through an accompanying masterful twenty-one page introductory essay by one of the world's foremost authorities on Italian political culture, Alexander Stille: writing the introductory essay to My Father Il Duce is a bit like writing the warning label on a powerful drug that has its uses but must be taken with care and knowledge of its possible side effects. Romano reached his goal of living to see the first publication of his memoir in Italian. As for this English-language edition, he earlier expressed approval of the front cover design. On January 1, 2006, he received the translated English language manuscript of his writing. During the last month of his life, he approved it. Romano Mussolini died on February 3, 2006, at age seventy-nine in a Rome hospital soon after heart surgery. Romano's death made international news. The New York Times obituary reported: "In the 1950's and 60's he was in the vanguard of Italian jazz with his group the Romano Mussolini All Stars, and he played with American greats like Dizzy Gillespie, Duke Ellington and Chet Baker. Mr. Mussolini gained even greater international fame with his first marriage, to Anna Maria Scicolone, the sister of the actress Sophia Loren....Despite his own scrupulous avoidance of politics, politicians from Italy's right wing-parties widely lauded Mr. Mussolini and his family name in statements they released: 'Romano knew how to make us love him for his humanity, his art, but also for the dignity and coherence with which he defended his family from attacks and demonizations.'" Through Romano's worldwide celebrity and well-regarded nature, his words in defense of Il Duce, albeit ones he no doubt wrote as a son who loved his father, offer a rare insider's perspective that can help us better understand, and therefore more readily defeat tyranny. This memoir's account of history further reminds us of the continuing need for our vigilance in the pursuit of truth.
1. The Beggar's Opera (Realised By Benjamin Britten) 2. John Gay - If Poverty Be A Title To Poetry (Prolog 3. John Gay - Overture (Prologue) 4. John Gay - Through All The Employments Of Life (Ac 5. John Gay - 'Tis Woman Seduces All Mankind (Act 1) 6. John Gay - Women Are Bitter Bad Judges...if Any We 7. John Gay - If Love The Virgin's Heart Invade (Act 8. John Gay - A Maid Is Like The Golden Ore (Act 1) 9. John Gay - I Know As Well...virgins Are Like The F 10. John Gay - Our Polly Is A Sad Slut (Act 1) 11. John Gay - Can Love Be Controll'd By Advice (Act 1 12. John Gay - The Girl Shows...o Polly, You Might Hav 13. John Gay - I, Like A Ship In Storms, Was Tossed (A 14. John Gay - A Fox May Steal Your Hens, Sir (Act 1) 15. John Gay - O Ponder Well...the Turtle Thus With Pl 16. John Gay - Now I Am A Wretch Indeed...pretty Polly 17. John Gay - My Heart Was So Free (Act 1) 18. John Gay - Were I Laid On Greenland's Coast (Act 1 19. John Gay - O! What Pain It Is To Part! (Act 1) 20. John Gay - The Miser Thus A Shilling Sees (Act 1) 21. John Gay - And Now Our Scene Changes...fill Ev'ry 22. John Gay - Success Attend You...let Us Take The Ro 23. John Gay - If The Heart Of A Man Is Depressed With 24. John Gay - Dear Mrs Coaxer, You're Welcome...youth 25. John Gay - It Is Your Own Choice...before The Barn 26. John Gay - But To Be Sure...the Gamesters...at The 101. The Beggar's Opera (Realised By Benjamin Britten) 102. John Gay - Noble Captain...man May Escape From Rop 103. John Gay - Thus When A Good Housewife Sees A Rat ( 104. John Gay - It Is The Pleasure...how Cruel Are The 105. John Gay - The First Time At The Looking-glass (Ac 106. John Gay - Fortune Be With You, Lucy (Act 2) 107. John Gay - When You Censure The Age (Act 2) 108. John Gay - Is Then His Fate Decreed, Sir? (Act 2) 109. John Gay - O Macheath!...thus When The Swallow (Ac 110. John Gay - Shall I Not Claim My Own?...how Happy C 111. John Gay - Really, Miss Peachum, You Expose Yourse 112. John Gay - Why How Now, Madam Flirt? (Act 2) 113. John Gay - No Pow'r On Earth Can E'er Divide (Act 114. John Gay - But All Scores Have A Reckoning (Act 3) 115. John Gay - Dear, Sir, Mention Not My Education...w 116. John Gay - Ungrateful Macheath! (Act 3) 117. John Gay - Thus Gamesters United In Friendship (Ac 118. John Gay - & Macheath, At Liberty & At Large...the 119. John Gay - & Those Two Good Old Friends (Act 3) 120. John Gay - Bring Us Then More Liquor!...what Gudge 121. John Gay - In The Days Of My Youth (Act 3) 122. John Gay - Jealousy, Rage, Love & Fear...i'm Like 123. John Gay - A Curse Attends A Woman's Love (Act 3) 124. John Gay - But Perhaps He Hath A Heart...among The 125. John Gay - Come, Sweet Lass, Let's Banish Sorrow ( 126. John Gay - What Do I See! Oh! Macheath...hither, D 127. John Gay - Which Way Shall I Turn Me (Act 3) 128. John Gay - Dear, Dear Father...when My Hero In Cou 129. John Gay - Oh Sir, If Peachum's Heart...when He Ho 130. John Gay - Ourselves, Like The Great (Act 3) 131. John Gay - We Are Ready, Sir...the Charge Is Prepa 132. John Gay - O Cruel, Cruel Case (Act 3) 133. John Gay - Would I Might Be Hanged! (Act 3) 134. John Gay - Thus I Stand Like The Turk (Act 3) 201. Noye's Fludde Op. 59 202. Britten, Benjamin - Lord Jesus, Think On Me 203. Britten, Benjamin - I God, That All This Worlde Ha 204. Britten, Benjamin - Have Done, You Men & Wemen All 205. Britten, Benjamin - Now In The Name Of God I Will 206. Britten, Benjamin - Noye, Noye, Take Thou Thy Comp 207. Britten, Benjamin - Wiffe, Come In! Why Standes Th 208. Britten, Benjamin - Ha! Children, Me Thinkes My Bo 209. Britten, Benjamin - Now Forty Dayes Are Fullie Gon 210. Britten, Benjamin - Noye, Take Thy Wife Anone 211. Britten, Benjamin - Noye, Heare I Behette Thee A H 212. Britten, Benjamin - The Spacious Firmament On High 213. The Golden Vanity Op. 78 214. Britten, Benjamin - There Was A Ship Came From The 215. Britten, Benjamin - Then Up Spake The Cabin-boy 216. Britten, Benjamin - Casting His Clothes Off, He Di 217. Britten, Benjamin - They Laid Him On The Deck 301. Curlew River 302. Britten, Benjamin - Te Lucis Ante Terminum 303. Britten, Benjamin - I Am The Ferryman 304. Britten, Benjamin - I Come From The Westland 305. Britten, Benjamin - But First May I Ask You 306. William Plomer - Clear As A Sky Without A Cloud 307. Britten, Benjamin - Near The Black Mountains Ther 308. William Plomer - A Thousand Leagues May Sunder 309. Britten, Benjamin - Ignorant Man! 310. William Plomer - I Beg Your Pardon, Living In Thi 311. Britten, Benjamin - Curlew River, Smoothly Flowin 312. William Plomer - Today Is An Important Day 313. William Plomer - Look! While You Were Listening T 314. Britten, Benjamin - Ferryman, Tell Me, When Did I 315. Britten, Benjamin - Hoping, I Wander'd On 316. William Plomer - He Whose Life Was Full Of Promis 317. Britten, Benjamin - The Moon Has Risen 318. William Plomer - Go Your Way In Peace, Mother 319. William Plomer - Good Souls, We Have Shown You He 401. The Burning Fiery Furnace, Op.77 402. William Plomer - Salus Aeterna (Original Version) 403. William Plomer - Good People, In His Holy Name (Or 404. William Plomer - By The Royal Command (Original Ve 405. William Plomer - Adept In Magic (Original Version) 406. William Plomer - The Waters Of Babylon (Original V 407. William Plomer - Sirs, What Is This? (Original Ver 408. William Plomer - We Do Not Lack Enemies (Original 409. William Plomer - By The Royal Decree (Original Ver 410. William Plomer - Procession (Original Version) 411. William Plomer - Merodak! Lord Of Creation (Origin 412. William Plomer - Bring Them Here Before My Majesty 413. William Plomer - O King, Nebuchadnezzar (Original 414. William Plomer - O All Ye Works Of The Lord (Origi 415. William Plomer - Shadrach, Meshach, Abednego (Orig 416. William Plomer - O Ye Winter & Summer (Original Ve 417. William Plomer - Good People, We Have Shown You He 501. The Prodigal Son - Third Parable For Church Perfor 502. Britten, Benjamin - Jam Lucis Orto Sidere (Origina 503. Britten, Benjamin - Ah You People (Original Versio 504. Britten, Benjamin - The Ceremony (Original Version 505. Britten, Benjamin - I Am Father To You All (Origin 506. Britten, Benjamin - Forgive My Asking You (Origina 507. Britten, Benjamin - Father, May I Speak To You? (O 508. Britten, Benjamin - Take Your Due Portion (Origina 509. Britten, Benjamin - Go, If You Must Go (Original V 510. Britten, Benjamin - Welcome, Welcome Stranger! (Or 511. Britten, Benjamin - You Are Tired From A Long Jour 512. Britten, Benjamin - Nights Are Days (Original Vers 513. Britten, Benjamin - You Have Gambled & Lost (Origi 514. Britten, Benjamin - Now - I Have Done What I Said 515. Britten, Benjamin - With Joy I Sowed (Original Ver 516. Britten, Benjamin - My Son (Original Version) 517. Britten, Benjamin - O Sing Unto The Lord (Original 518. Britten, Benjamin - My Children, You Have Seen (Or 601. The Little Sweep Op. 45 602. Britten, Benjamin - Sweep! Sweep! 603. Britten, Benjamin - Sweep This Chimney 604. Britten, Benjamin - Now, Little White Boy! 605. Britten, Benjamin - Pull The Rope Gently Until He 606. Britten, Benjamin - Is He Wounded? 607. Britten, Benjamin - Sooty Tracks 608. Britten, Benjamin - Run, Poor Sweep-boy 609. Britten, Benjamin - The Kettles Are Singing 610. Britten, Benjamin - O Why Do You Weep 611. Britten, Benjamin - Ah!...blackguards! 612. Britten, Benjamin - Help! Help! She's Collapsed! 613. Britten, Benjamin - The Owl, Wide-winging Through 614. Britten, Benjamin - Soon The Coach Will Carry You 615. Britten, Benjamin - Morning, Sammy! Lovely Weather 616. Britten, Benjamin - Ready, Alfred? 617. Britten, Benjamin - Coaching Song: The Horses Are 618. Britten, Benjamin - The Children's Crusade, Op.82 701. The Prince Of The Pagodas, Op.57 (Original Version 702. Britten, Benjamin - Prelude (Act 1) 703. Britten, Benjamin - The Fool & The Dwarf (Act 1) 704. Britten, Benjamin - The Emperor - March (Act 1) 705. Britten, Benjamin - Gavotte (Act 1) 706. Britten, Benjamin - The Four Kings (Act 1) 707. Britten, Benjamin - The King Of The North (Act 1) 708. Britten, Benjamin - The King Of The East (Act 1) 709. Britten, Benjamin - The King Of The West (Act 1) 710. Britten, Benjamin - The King Of The South (Act 1) 711. Britten, Benjamin - Belle Epine (Act 1) 712. Britten, Benjamin - Belle Rose (Act 1) 713. Britten, Benjamin - The Kings & Belle Rose (Act 1) 714. Britten, Benjamin - Triumph Of Belle Epine (Act 1) 715. Britten, Benjamin - Rage Of The Kings (Act 1) 716. Britten, Benjamin - The Four Frogs (Act 1) 717. Britten, Benjamin - Air (Act 2 Scene 1) 718. Britten, Benjamin - Water (Act 2 Scene 1) 719. Britten, Benjamin - Fire (Act 2 Scene 1) 720. Britten, Benjamin - Belle Rose In Pagoda-land (Act 721. Britten, Benjamin - The Pagodas (Act 2 Scene 2) 722. Britten, Benjamin - The Salamander (Act 2 Scene 2) 723. Britten, Benjamin - The Prince & Belle Rose (Act 2 801. The Prince Of The Pagodas, Op.57 (Original Version 802. Britten, Benjamin - Belle Epine As Empress (Act 3 803. Britten, Benjamin - The Old Emperor (Act 3 Scene 1 804. Britten, Benjamin - Belle Rose & The Salamander (A 805. Britten, Benjamin - Transition (Act 3 Scene 1) 806. Britten, Benjamin - The Pagoda Ballet (Act 3 Scene 807. Britten, Benjamin - Pas De Six (Act 3 Scene 2) 808. Britten, Benjamin - Variation 1 (Act 3 Scene 2) 809. Britten, Benjamin - Variation 2 (Act 3 Scene 2) 810. Britten, Benjamin - Variation 3 (Act 3 Scene 2) 811. Britten, Benjamin - Pas De Trois (Act 3 Scene 2) 812. Britten, Benjamin - Pas De Deux (Act 3 Scene 2) 813. Britten, Benjamin - Variation 4 (Act 3 Scene 2) 814. Britten, Benjamin - Variation 5 (Act 3 Scene 2) 815. Britten, Benjamin - Finale (Act 3 Scene 2) 816. Britten, Benjamin - Plymouth Town 901. Night Mail 902. Britten, Benjamin - Title Music (Night Mail) 903. Britten, Benjamin - Percussion Sequence (Night Mai 904. Britten, Benjamin - End Sequence (Night Mail) 905. The Tocher Rossini Suite 906. Britten, Benjamin - 1. Allegro Brillante (The Toch 907. Britten, Benjamin - 2. Allegretto (The Tocher Ross 908. Britten, Benjamin - 3. Allegretto (The Tocher Ross 909. Britten, Benjamin - 4. Bolero: Allegro Moderato (T 910. Britten, Benjamin - 5. Allegro Con Brio (The Toche 911. The King's Stamp (The King's Stamp) 912. Britten, Benjamin - Allegro Molto Alla Marcia (Par 913. Britten, Benjamin - Allegro: Opening Door (Part 1) 914. Britten, Benjamin - Allegretto: Messenger Boy (Par 915. Britten, Benjamin - Lento Ma Non Troppo: Entry To 916. Britten, Benjamin - Allegro Moderato: Stamp Factor 917. Britten, Benjamin - Minuet: Andante Lento (Part 2) 918. Britten, Benjamin - Allegretto: Train Sequence (Pa 919. Britten, Benjamin - Allegretto: Parliament - The S 920. Britten, Benjamin - Allegro (Part 2) 921. Britten, Benjamin - Allegro Moderato Alla Marcia ( 922. Negroes - Music From Gpo Film 923. Britten, Benjamin - Allegro Appassionato - Title M 924. Britten, Benjamin - 2. Allegro - Then The Portugu 925. Britten, Benjamin - 3. Allegro Ritmico - At The M 926. Britten, Benjamin - 4. Andante Con Moto - To Sail 927. Britten, Benjamin - The Slaves Were The Absolute 928. Britten, Benjamin - 5. Andante Lento -the More Ad 929. Britten, Benjamin - 6. Andante Con Molto Moto - S 930. Britten, Benjamin - 7. Allegro Ritmico - Coffee F 931. The Way To The Sea 932. Britten, Benjamin - Introduction (The Way To The S 933. Britten, Benjamin - Romans (The Way To The Sea) 934. Britten, Benjamin - Alfred (The Way To The Sea) 935. Britten, Benjamin - There Is, At This Point Of Th 936. Britten, Benjamin - The Eighteenth Century (The 937. Britten, Benjamin - Nelson Has Gone (The Way To 938. Britten, Benjamin - 169 Trains A Week (The Way T 939. Britten, Benjamin - The Line Waits (The Way To T 940. Britten, Benjamin - Here Is A Harbour (The Way T 941. Britten, Benjamin - We Seek A Spectacle (The Way 942. Britten, Benjamin - Allegro Molto - Alla Marcia (T 943. Britten, Benjamin - Telegrams 944. Britten, Benjamin - Peace Of Britain 945. Men Behind The Meters 946. Britten, Benjamin - Title Music (Men Behind The Me 947. Britten, Benjamin - Andantino: I Dreamt That I Dw 948. Britten, Benjamin - Allegro Moderato: 1935 Sequenc 949. Coal Face 950. Britten, Benjamin - 1. Andante: A Sterile Landsca 951. Britten, Benjamin - 2. Coal Mining Is The Basic I 952. Britten, Benjamin - 3. Andante: The Chief Coal-pr 953. Britten, Benjamin - 4. Yorkshire & Lancashire (C 954. Britten, Benjamin - 5. Moderato: The Temp'rature 955. Britten, Benjamin - 6. Andante: The Seven & A Hal 956. Britten, Benjamin - 7. Ad Libitum Sempre: One Thi 957. Britten, Benjamin - 8. Allegro Ma Non Troppo: In 958. Britten, Benjamin - 9. Allegro Molto: The Shift I 959. Britten, Benjamin - 10. Making Up Coal Trains (C 960. Britten, Benjamin - 11. Allegro: Coal Mining Is T 961. Britten, Benjamin - 12. Andante: There Are The Mi 962. Britten, Benjamin - When You're Feeling Like Expre 1001. Love From A Stranger 1002. Britten, Benjamin - 1. Title Music (Love From A Tr 1003. Britten, Benjamin - 2. Traffic Music (Love From A 1004. Britten, Benjamin - 3. Brighton (Love From A Trang 1005. Britten, Benjamin - 4. Love Music (Love From A Tra 1006. Britten, Benjamin - 5. Channel Crossing (Love From 1007. Britten, Benjamin - 6. End Titles (Love From A Tra 1008. Johnson Over Jordan Suite 1009. Britten, Benjamin - Overture (Johnson Over Jordan 1010. Britten, Benjamin - Introduction (Johnson Over Jor 1011. Britten, Benjamin - Incinerators' Ballet (Johnson 1012. Britten, Benjamin - The Spider & The Fly (Johnson 1013. Britten, Benjamin - Approach Of Death (Johnson Ove 1014. Britten, Benjamin - End Music (Johnson Over Jordan 1015. The Rescue Of Penelope (The Rescue Of Penelope) 1016. Britten, Benjamin - Eight Years Have Passed (Part 1017. Britten, Benjamin - Yet Not All Reached Their Home 1018. Britten, Benjamin - Worse Still, The Island (Part 1019. Britten, Benjamin - Children Have Died Of Want (Pa 1020. Britten, Benjamin - Yet Some Trust In An End (Part 1021. Britten, Benjamin - Your Prayer Is Answered, Penel 1022. Britten, Benjamin - Long Suffering Odysseus (Part 1023. Britten, Benjamin - Listen. The Voices Of The Gods 1024. Britten, Benjamin - I, Athene, Rise To The Edge Of 1025. Britten, Benjamin - When I See The Sorrow Of Morta 1026. Britten, Benjamin - How Loud The Spring Sounds All 1027. Britten, Benjamin - Bold - Telemachus, Watch The S 1028. Britten, Benjamin - There It Is Before You (Part 2 1029. Britten, Benjamin - Listen, Lords Of Ithaca (Part 1030. Britten, Benjamin - Telemachus, Be Swift! (Part 2) 1031. Britten, Benjamin - Now There Is Silence (Part 2) 1101. The Company Of Heaven 1102. Britten, Benjamin - 1. Chaos (The Company Of Heave 1103. Britten, Benjamin - 2. The Morning Stars (The Comp 1104. Britten, Benjamin - 3. Angels Appear To Jacob, Eli 1105. Britten, Benjamin - 4. Christ, The Fair Glory (The 1106. Britten, Benjamin - 5. War In Heaven (The Company 1107. Britten, Benjamin - 6. Heaven Is Here (The Company 1108. Britten, Benjamin - 7. A Thousand, Thousand Gleami 1109. Britten, Benjamin - 8. Funeral March For A Boy (Th 1110. Britten, Benjamin - 9. Whoso Dwelleth Under The De 1111. Britten, Benjamin - 10. There Came Out Also At Thi 1112. Britten, Benjamin - 11. Ye Watchers & Ye Holy Ones 1113. Terence Hanbury White - The Sword In The Stone 1114. Britten, Benjamin - Russian Funeral - March For Br 1115. Britten, Benjamin - Fanfare: 'The Eagle Has Two He 1116. On The Frontier 1117. Britten, Benjamin - The Clock On The Wall (Instrum 1118. This Way To The Tomb 1119. Britten, Benjamin - Boogie-woogie (Instrumental Ar
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