Water Like a Stone PAN BOOKS

Kryminał. Literatura detektywistycznaPowieść zagraniczna

When Superintendent Duncan Kincaid takes his partner, Inspector Gemma James, and their sons Kit and Toby to his childhood home in Cheshire for Christmas, he hopes that they`ll be able to spend time together - as a family.

Sklep: Booknet.net.pl

Like Water on Stone Ember

Książki / Literatura obcojęzyczna

Sklep: Libristo.pl

Story of the Stone Penguin

Książki / Literatura obcojęzyczna

"The Story of the Stone" (c. 1760), also known as "The Dream of the Red Chamber", is one of the greatest novels of Chinese literature. The fifth part of Cao Xueqin's magnificent saga, "The Dreamer Awakes", was carefully edited and completed by Gao E some decades later. It continues the story of the changing fortunes of the Jia dynasty, focussing on Bao-yu, now married to Bao-chai, after the tragic death of his beloved Dai-yu. Against such worldly elements as death, financial ruin, marriage, decadence and corruption, his karmic journey unfolds. Like a sleepwalker through life, Bao-yu is finally awakened by a vision, which reveals to him that life itself is merely a dream, 'as moonlight mirrored in the water'.

Sklep: Libristo.pl

Story of the Stone Penguin

Książki / Literatura obcojęzyczna

"The Story of the Stone" (c. 1760), also known as "The Dream of the Red Chamber", is one of the greatest novels of Chinese literature. The fifth part of Cao Xueqin's magnificent saga, "The Dreamer Awakes", was carefully edited and completed by Gao E some decades later. It continues the story of the changing fortunes of the Jia dynasty, focussing on Bao-yu, now married to Bao-chai, after the tragic death of his beloved Dai-yu. Against such worldly elements as death, financial ruin, marriage, decadence and corruption, his karmic journey unfolds. Like a sleepwalker through life, Bao-yu is finally awakened by a vision, which reveals to him that life itself is merely a dream, 'as moonlight mirrored in the water'.

Sklep: Libristo.pl

DEEP WATER DEBORAH COONTS

Książki / Literatura obcojęzyczna

Patrick Donovan, Texas wildcatter, sitting on a deep-water well, has tapped into a reservoir so vast it could totally alter the balance of economic power. A software scatter-bomb planted in the trading software at the New York Mercantile Exchange. A software security engineer killed. And the price of oil is dropping like a stone. Donovan goes missing, and an influential senior Senator from Texas is presumed dead. Sam Donovan, Patrick's daughter, and Coast Guard Commander Kellen Wilder find themselves in a world scramble to gain control of the Donovan well. A helicopter pilot operating between the rigs in the Gulf of Mexico, Sam knows how the game is played. But this time, the stakes are life and death in this winner-takes-it-all global power struggle.

Sklep: Libristo.pl

DEEP WATER DEBORAH COONTS

Książki / Literatura obcojęzyczna

Oil. Patrick Donovan, Texas wildcatter, sitting on a deep-water well, has tapped into a reservoir so vast it could totally alter the balance of economic power. A software scatter-bomb planted in the trading software at the New York Mercantile Exchange. A software security engineer killed. And the price of oil is dropping like a stone. Donovan goes missing, and an influential senior Senator from Texas is presumed dead. Sam Donovan, Patrick's daughter, and Coast Guard Commander Kellen Wilder find themselves in a world scramble to gain control of the Donovan well. A helicopter pilot operating between the rigs in the Gulf of Mexico, Sam knows how the game is played. But this time, the stakes are life and death in this winner-takes-it-all global power struggle.

Sklep: Libristo.pl

DEEP WATER DEBORAH COONTS

Książki / Literatura obcojęzyczna

Patrick Donovan, Texas wildcatter, sitting on a deep-water well, has tapped into a reservoir so vast it could totally alter the balance of economic power. A software scatter-bomb planted in the trading software at the New York Mercantile Exchange. A software security engineer killed. And the price of oil is dropping like a stone. Donovan goes missing, and an influential senior Senator from Texas is presumed dead. Sam Donovan, Patrick's daughter, and Coast Guard Commander Kellen Wilder find themselves in a world scramble to gain control of the Donovan well. A helicopter pilot operating between the rigs in the Gulf of Mexico, Sam knows how the game is played. But this time, the stakes are life and death in this winner-takes-it-all global power struggle.

Sklep: Libristo.pl

Spalona Żywcem Wyd. Kieszonkowe - Souad

Książki & Multimedia > Książki

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

Sklep: InBook.pl

Natasha's Dance Penguin

Powieści i opowiadania

Orlando Figes

Sklep: Albertus.pl

The Name of the Nun Weltbuch

Książki / Literatura obcojęzyczna

Although it's known that something is happening, we have no idea what has really happened. They said what was called the end of the world was totally an absurdity as the sun rises as well, and the earth rotates as usual, so go to hell the Maya peoples! It is deeply aware that there will be no myth in this world, and the prediction of the doomsday is hated. We are not young any longer so we care about nothing unless concerning ourselves, even the death of a classmate in the old days. At this moment, our faces turned red with wine, and we clinked glasses in the background of light music and flirted in the vagueness of speech. We struggled in the game of time till we achieve a sense of elite now. Spring eclipses her beauty as she is old nowadays. The traces of love everywhere she recalls. Seemingly familiar she is with these willow branches. The veiling branches touch the travelers' heads. These lines came into my mind as I watched these men and women in decent garments in misty eyes by alcohol. It was a fan poem contributed to a palace girl by a last emperor but this moment they came into my mind only because of the death of that classmate. At the time, the waiter opened the last bottle of Sherry and slowly poured our glasses. This chartered room was immediately reduced to a subtle silence. The reunions of old classmates tend to be no more than such: after recalling all nice days in the past and showing off some achievements in numerous overtly or covertly ways, they often make the last moment marked with a special taste. Now we all silently enjoyed such taste, and such a silence needed someone to declare the gathering closed. Among us there are department or division directors, real estate executives, Ph.D. supervisors and celebrities (in this case, I have to arrange them in the conventional order of officials, businessmen and scholars) and in general we were regarded as a successor in this era. For the gathering, we rushed here and would depart in a hurry. At the gathering we have worries on our minds and inquired about each other. In addition, we also subtly avoided the topic of the death in this togetherness until the last moment. This is a gathering of successors, where we just casually talked about fatty liver and high blood sugar and certainly should avoid all disappointing things. At the moment I was not really in a position to speak, but after all I assumed the office of a division-level deputy president of the press. A few years ago I was successfully transferred to serve as an intellectual. Of course my classmates in the astrophysics class have all had their own changes. Now, although feeling a little drunken from drinking alcohol, I was not so foolish as to talk with them about the book publication, because there was the so-called 'expert' who has asserted that ninety-nine percent of the books published nowadays were just like rubbish, not worth reading. We got together at the luxury hotel called " Millenarian Tower ", so we should avoid indecent topics associated with rubbish. And by and large I also agreed to her assertion. Now I strongly felt a need to say something and I had to stand up and speak it out. "Attention, please! I'm sorry! My professional knowledge has been long-abandoned, but I still have a little deep feeling for astrophysics. Just now everyone talked about the crash of a meteorite in Russia, injuring nearly a thousand people there. Of course it's not the end of the world. We can laugh it away and pay no attention to the prophecy by Mr. Hawking on the exodus from the Earth. Hawking said no humans can survive on the Earth in one thousand years, but what I'd like to say is just the event happening a thousand years ago. I have no idea whether you still remember the supernova star 'Star of Good Luck' also known as 'Zhoubao Star', which is the earliest supernova star recorded by humans. Today we are still able to find the 'dispersed smokes' from its explosion, which are light and radio waves coming from a thousand years ago ...... what I'd really like to say is that this star in fact is associated with all of you, which is not only due to our past specialty - the specialty of the professors present, but is also because of the connection of the star with one of our old classmates. Please remember our classmate Xiao Lin, we just lost this good brother. I have to say that his family has an ancient book kept for more than one thousand year, in which there are even some records of this Zhoubo star! What I desire to say is really not about the star, but our classmate Xiao Lin who died many years ago...... " They all stared at me, smiling with a strange look on their faces. They knitted their brows and shook their heads, and then they were all callous and silent. I didn't intend to raise money for the survivors of the deceased classmate but just hoped to remind them of the existence of such a former classmate. Even without any mention of this millennium eternal starlight but even only in memory of an old classmate, how should they say nothing about him? I looked up at these faces shining with fat, and then looked down at the steamed fish on the plate. With white and sharp eyes, the fish remained open-mouthed, looking as if to eat us. Now I felt a kind of coldness coming from top to toe. Turning the head, I looked at the raindrops dropped on the long French window, only to find some strange faces on the window glass: a cold-blooded person's face, an amnesiac person's face and an autistic person's face. "Good, a millennium ancient book! Maybe it's worth 100 million yuan!" said the most prominent student when he got up and proposed a toast, facing everyone, "Good luck! I'm sorry I have to leave and attend a ministry meeting. Everyone, see you all the next year!" "We also have to go now, and Beijing classmates we can get together at any time. Goodbye, everyone!" "Goodbye! More contact! Good luck!" A thousand years are enough time to witness the diversion of rivers and the extinction of species. Man-the wisest of all creatures still makes little progress in this regard in spite of the flourishing science and technology. When making this remark, I came to realize that I had absolutely gotten away from that group. I have been among them for many years. I heard a cracking sound from clinking glasses, which indicates a resolution and rupture. At that moment and at the instant of the collapse of the world, I came to see another side of life. From then on, I will never throw burning cigarette butts into the flower pots, because I don't want to burn any live ant or the grass growing beside the flowers. Those ants and grass have become part of my destiny. By the chance of fate, my neglect and cold-bloodedness lead to the death of that old classmate. I would like to demonstrate his presence in this world. Moreover, I will try to prove his ever presence and then obtain some significance in the rest of my life. The heartrending scene is never forgotten: in the dark night his bloody corpse flowed downstream along the river and those papers were scattered and floated on the water... After the forty-nine days went by, I still had no courage to imagine that real scene occurring on the rainy night. That real sound was heard about half a year ago. That day I attended a dinner party just as usual but suddenly my mobile phone rang in the boring dinner. It's from Xiao Lin my old classmate. Xiao Lin was rarely mentioned in the circle of Beijing classmates. Twenty-four years ago he left Beijing to make a living in another city. Since then almost no news came from him. Some people said that time and space could widen the gap between people, but I believe it is individual situation that accounts for the real reason. We all know those classmates making no achievements will get out of our circle sooner or later. When Xiao Lin was admitted into the university at the age of 14, he was the youngest classmate in our celestial class. But he lost his secure job a few years after graduation. Early years there was some news about him. He initially worked as a teacher at a middle school at his hometown in the South, and later resigned the job and adopted a group of stray dogs. As for the source of his income after the resignation, it's much simpler than we imagined. At that time there were large tracts of woods in the suburban, with an abandoned log cabin. That cabin became his shelter. Although Xiao Lin tutored children in physics and English, his income from this was by no means lower than that from working at a school. In addition, it's said that sometimes he also translated some technical information for additional revenues. That cabin and the woods became the children's classroom. Reportedly, Xiao Lin opened up a vegetable garden and also personally planted an apple tree at the area surrounding the cabin. After the sad news came, I once tried to piece together a living picture of the old classmate but what I could rely on was just the limited hearsay. Is that a Thoreau-like reclusion? Is that a platonic classroom? Is an astronomical telescope installed on the top of the wooden cabin? However, it's a blur picture, most of which is blank. The character in this picture seems like only a mirage. Our last meeting was in the late autumn in the 1980s and thence almost there has been no contact between us. The voice in the phone was strange but familiar, which was obviously no longer the voice of the young Xiao Lin aged 23 but was really from Xiao Lin. On the side of the phone I was of course not what I used to be. I have long been accustomed to the snobbishness of making friends. Just when recognizing his voice, I already adjusted my tone of voice not because of the time span of more than twenty years standing between us. To be honest, at that moment I felt the huge distance between the school and the society, for I was having a dinner with some prominent figures in the capital city, but I heard a burst of dog barks coming from the other end of the phone. On the phone, Xiao Lin said that the clan head left him an ancient book before his death, which was originally a volume secretly kept in the genealogy. Xiao Lin is from Jianyang Fujian Province and the Jianyang Lin Genealogy manifests that Xiao Lin family's ancestor is Lin Renzhao, a famous general in the Southern Tang Dynasty and he is the thirty-third generation descendant of Lin Renzhao. Xiao Lin said that he had requested the leading experts from Ancient Book Division of National Library of China to make the identification and the experts unanimously confirmed that the volume of the ancient book is the "Masha Version" (works printed in Masha Town) engraved in the Ming Dynasty. Furthermore, Xiao Lin said that the masterpiece "The Name of the Nun" contained tens of thousands of ancient Chinese characters and it took him about six months to literally translate them into the modern vernaculars. He specially emphasized "the literal translation," and explained that as a descendant he didn't dare to make improper embellishment to the book, for it can be said to be "a faithful historical account." Now, recalling the first phone call in six months ago, in fact is due to my research lasting for more than one month. In the conversation with him, I did not even understand the term "Masha Version". Actually when talking with him on the phone, I was already a little unpleasant. However, our Press is a national-level publishing house, so I have long been accustomed to the humble tones of those people begging me to help publish their books. But Xiao Lin revealed a calm and confident tone of voice, showed no necessary humility in the dialogue, and even played a joke for my ignorance. Fortunately, after experiencing a great deal in these years I have shaped some virtue of patience. Even if I had no interest in his long speech, I still politely asked him to mail the manuscript to me. How poor a little brother, he even failed to identify my neglect and indifference! I did not bother to ask him, since you invited the expert of National Library of China, then he definitely came to Beijing with the original book, then why did he come and visit me his Elder Brother? Later, the manuscripts were soon delivered to me by EMS, consisting of a printout of the translation version, a set of the copies of the original text of the original book, and several copies of testimonials issued by some experts. I only glanced at them before returning them into the mailbag. At that time, it's a crucial time for me to be promoted as Deputy President. So, all readers, you can imagine, how could I bother to read these manuscripts and consume my time for them? Three months later, Xiao Lin sent me another express mail, which was a long textual research report compiled by professors of the Department of History in Nanjing University on The Name of the Nun that was about historical facts in the last years of Southern Tang during the Period of Five Dynasties and Ten Kingdoms, covering major events such as current affairs, military affairs, court decrees and memorials to the throne, as well as trifles like locations of streets and lanes, folk customs and local products, with descriptions consistent with the reality of the special time of the Sixth Year of the Kaibao Period (973 C.E.). Even the Maitreya Statue described in the book was of the original appearance of Maitreya before the sinicization of Buddhism. In summary, authoritative experts had fully confirmed the truthfulness of this ancient book. That night, Xiao Lin called me again, when I was amusing myself watching TV. Xiao Lin first confirmed that the express mail had been delivered and then talked about his thoughts about the book. Suddenly caught by a nameless fidget, I said that I was busy. He answered he would call again when I was done. I said thoughtlessly that I would be free two hours later. Two hours later, Xiao Lin called again. Outdoor noises could be heard on the phone. He said that as I postponed the calling time, he 9 went to town to buy something, as it was said in the weather report that there would be thunderstorms in a few days. This time, his tone was obviously more respectful. He said it was indeed difficult to imagine that as early as one thousand years ago someone had built a pontoon bridge across the Yangtze River and what a heroic undertaking that was! He said that Xu Xuan's chess book mentioned was actually the first work on chess war in the history of weiqi, and that the story of the nun Master Geng was also backed up by the Painting about Master Geng Refining Snow collected in the Palace Museum in Taipei. He also mentioned a masterpiece of Zhou Wenju in Southern Tang, the Painting on a Weiqi Gathering in Front of a Double Screen, saying that the book revealed that the painting in the Palace Museum of Beijing was very probably an imitation, while the one in the Freer Gallery of Art of the United States was the genuine copy.... During the three months from the receipt of his manuscript to his second call, I did not have a peep at his manuscript at all. In fact, I could no longer find his manuscript, and I was too lazy to look for it, or too busy to care about it. He suddenly cut off, saying that he would call another day and that "something seems to turn up ahead". While I was lazy and busy, the hand of fate sped up the watch hand in the dark. One day after over one month, I unexpectedly received a call from a press in Shanghai. The colleague who called spoke without due civility in a voice of apparent anger. He said that Xiao Lin was murdered on his way delivering the manuscript to Shanghai. Apparently, Xiao Lin no longer entertained any expectation of me. Upon invitation, he went to Shanghai with the original book and his translation, as well as the expert testimonies of Nanjing and Beijing. He was attacked by an overflowing river. He jumped into the river after receiving several cuts by a sword. The pages of the manuscript were scattered in water. As the current was swift, the police failed to find his body and only found several pages of the ancient book among water grasses.... Had I not postponed my talk with him on the phone, Xiao Lin would not have happened to see the scene of forced demolition of a house and grinding over a person (that was an old ancestral residence), would not have become a witness of that homicide case and would not have incurred his own fatal disaster; had I taken initiative to communicate with him, the second talk would not have taken place at such a time as a midnight; had I read over the manuscript in time, he would not have had to deliver his manuscript to Shanghai and would not have died in that river.... Full of guilt, self-reproach and pains, I spent three hours searching for Xiao Lin's mails from my pile of book manuscripts. I read through the translation at one go by staying overnight, and then spent half a day comparing it with the dozens of pages of the original text.-- -I could hardly express the shock and surprise that it brought to me. My heart, which had been numbed for such a long time, throbbed mysteriously. On the title page is quoted a line of Siegfried Sassoon, a favorite line of Xiao Lin in his college years, "In me the tiger sniffs the rose." The ancient text on these pages photographed is the surviving original text. In terms of style, the text seems to follow the biographical history of Sima Qian. In terms of subject, it resembles the legends of the Tang dynasty. The earliest "vernacular stories" in China were produced in the Northern Song dynasty. Legends of Tang before that were all written in classical Chinese. As Classical Chinese and modern Chinese are not distinctly different, Xiao Lin only gave a minimum rendering of the original text, which may be called a kind of paraphrase. Though the original text has no punctuation, the translation does not venture to add any sentence. I stared blankly at the appraisal reports of ancient book experts, including one page I missed in the past, that is, an appraisal by Mr. Shen Jin, former Director of the Rare Edition Office of the Harvard-Yenching Library. Mr. Shen, who has been following Mr. Gu Tinglong, a bibliographer, for over three decades, is a towering figure in the contemporary academic circles of ancient editions. Xiao Lin noted in particular in that appraisal report that upon the first glance over the original text, Mr. Shen concluded in one second according to the paper characteristics and typeface that the book was a "Masha edition" made of bamboo paper at the end of the Ming dynasty. The so-called "Masha editions" mainly refer to books printed in Masha Town of Jianyang, Fujian Province in history. During the Song and Ming dynasties, there were three major book printing centers in China: books printed in Hangzhou were called "Zhe editions", those printed in Sichuan "Shu editions", and those printed in Jianyang "Jian editions", also called "Masha editions". "Masha editions" originated in the Period of Five Dynasties and Ten Kingdoms, prospered in the Song dynasty, culminated in the Ming dynasty and perished in the Qing dynasty. The "Masha editions" in the Song and Ming dynasties were the best and most influential. The number of books printed in Jianyang ranked top nationwide, and thus the place was reputed as the "Capital of Books". Jianyang was also the hometown of Zhu Xi, a Confucian sage of the Song dynasty. It was recorded in history that Jianyang had a long street of 500 to 600 meters, where each household sold books, and numerous book traders came from all over China. Zhu Xi also once opened a store on that street to sell books. An "advertising slogan" is found in his works, "People from everywhere, no matter how far away, come to buy Masha books." Mr. Shen Jin also pointed out in his comment that "Masha books" of the Song dynasty were rare relics now, and though a large number of "Masha books" of Ming were burned and destroyed during the "Cultural Revolution", not a few rare copies were extant among folks, including "official prints", "workshop prints" and "home prints". "Workshop prints" were for sale, while "home prints" were for private collection. The Name of the Nun was a "home print". The Name of the Nun is indeed a "family printed edition" and one volume of Lin's Genealogy in Jianyang. This Masha edition of The Name of the Nun has nine chapters. Chapter IX has a title but no words, while the Ming print still retains its chapter number. The Contents of the Ming print also show that it has a preface, which is missing now. In a copy of the original, the afterword was authored by Qian Qianyi, a leader of the intellectual circle at the end of the Ming dynasty. Qian Qianyi (1582-1664), styled Shepherd and Old Man Yushan. All scholars nationwide, knowing him or not, called him "Mr. Yushan". This "Great Master of the Literary Circles" was celebrated all over the nation for his poems and essays, and was also a historian and collector of unique insight. In his late years, he accidentally got this book, which he cherished all the more, having it re-printed and writing a postscript for it, with two alternative names signed at the end of the article, perhaps because this collector thought that "the book was originally printed by movable types in the Song Dynasty"! Xiao Lin especially pointed it out in his letter, which might be related with the "Nanjing complex". I searched for that "Stone City" (alternative name of Nanjing) among ancient paper-piles, as that was the background of the events and people in The Name of the Nun. With the Yangtze River as its natural moat, the city is located in a strategic place. From East Wu to the Republic of China, the city had frequently been the first choice of capital city for those vying for power or content to retain sovereignty over part of the country. The Qinhuai River goes west, while the Yangtze River runs east. Today after one thousand years, the seven-tier stupa on the Qixia Mountain still retains its appearance after the reconstruction by Lin Renzhao. That is also the tallest stupa in China today. On the stupa is still inscribed a famous Buddhist verse in Diamond Sutra: All is conditioned existence ephemeral,Like a dream,an illusion, a shadow and a foam, Like a tiny dew drop or a flash of lightning, That's the way that everything goes." All are like shadows and foams, so is history. The Period of the Five Dynasties and Ten Kingdoms between Tang and Song, what a mess China was then! The last dynasty of the Five Dynasties was the Later Zhou Dynasty, and the most prosperous of the Ten Kingdoms was Southern Tang (937-975). From Liezu who proclaimed himself king to the surrender of Houzhu to the Song Dynasty, Southern Tang had three generations of kings, First King, Middle King and Last King, lasting for less than four decades, comparable to China's earliest empire: The empire of the First Emperor of Qin lasted for only fifteen years! But the truly comparable point is that both the Qin Dynasty and Southern Tang were overthrown after three generations. "What is a similar situation like the before! Who would care about the Buddha?" The ancient poet Lu Fangweng also exclaimed in his History of Southern Tang as follows, "Tang, which occupied the Yangtze River and the Huaihe River, had a larger area and more powerful resources than other regimes. In addition, thanks to numerous talents and a strategic position in the Yangtze River, it was obviously a large country. If it used the right talents to conquer Min and Chu during their turmoil, then took Wu and Yue, and went down the Five Ridges, uniting the south and the north to form a large kingdom, the Central Plain, though overweening, would not have defeated it so easily!" "Past sages often exerted themselves, concerned with the state and not seeking self-interest. Extensive reading acquainted them with events of 1000 years and people of remote antiquity." Among the many factors that could have changed the destiny of Southern Tang, a critical figure was Lin Renzhao, who for Southern Tang was just as Yuan Chonghuan for the Ming dynasty. They were both "Great Wall for the country", but last kings were wont to "destroy the Great Wall by themselves". Lin Renzhao (?-973), a famous general of Southern Tang, was a native of Jianyang. The Lin's Genealogy in Jianyang had Lin Renzhao as the ancestor, and The Name of the Nun is about the catastrophe in the mid autumn of the sixth year of the Kaibao period. The name of the narrator in the original work is unknown, but his identity is undoubtedly Lin Renzhao's son. In terms of age hierarchy, he should be the second generation in this Lin's genealogy. His name should be available in the genealogy, but unfortunately the words in this part are vague and cannot be identified, as the page is full of fingerprints and dark bloodstains. History only engraves the list of victors, while the truth is found in the crevices of lies and individual memories. In the words of Walter Benjamin, this work displays the "personal experience from far away", a "scene of fate". This scene is shrouded in a gloomy, cold and frothy haze, and I see its re-appearance in the haze and mirage. Scientists say that the Fukushima Earthquake shortens the time of auto-rotation of the earth. In the postscript of The Name of the Nun, the ancient also lamented that "the days and months go by more swiftly". The verification in the unseen world gives me the creeps! A manuscript that has been buried in dust for one thousand years, and a privately collected "faithful historical account" are the predestination and truthful depiction of the state of Southern Tang, and the prophesy and miniature of all dynasties. People were gone, while books stay, which is the destiny of books, and also of people. Xiao Lin said that he saw his own shadow in the mirage of ancestors. This was actually a great reincarnation. He said that his ancestors' aspiration was his own, and that his ancestor's work was his own. He said he would bear witness to both the history and himself. Someone has noted that all rivers belong to one river, and I would say that all deaths amount to the same end. A book is no more important than a person's life, but now that Xiao Lin's life is gone, this manuscript bears evidence to the fact that he once lived. While I bear witness to Xiao Lin, I also prove my presence. Fate fiddles with mortals, including silly people like me. In my dull imagination, Childe Lin just presents Xiao Lin. What kind of heredity will the millennium's gene of a family be like? I have seen the coincident images in a vision of infinite time and space, which are the true images I get. Such a precise sense of reality is just like the book on my desk. What I know about the story of poor Xiao Lin is only such hearsay and impressions, in addition to these broken memories. I should have paid a visit to that small city in the south. But my top priority after just recovering from a dangerous illness is to acquaint more people with this book. Considerate readers may forgive me and even thank me. I share this story with you in order to rescue a kind of memory, which is in fact also our only way to resist amnesia. As to this little brother of mine, it would be impossible for you to grudge your sympathy for his personality and lot; after reading his book, it would be impossible for you not to be affected. As the editor of this book, I naturally feel awed and treat it with fear and trembling. Xiao Lin did not add a line in translating the book; I was even more deterred from altering one word. I am deeply convinced that a good book lasts longer than a person's life. I want to cast my own shadow on this work which is expected to stand the test of time. As preface, afterword and comments were taken advantage of by ancient people to leave their names, I attempted to add an editor's note to the text. Life cannot p

Sklep: Libristo.pl

Technique Dover Publications

Książki / Literatura obcojęzyczna

PREFATORY NOTE TABLE OF CONTENTS LIST OF ILLUSTRATIONS INTRODUCTORY ESSAY OF ARCHITECTURE CHAPTER I. 1. The Author's object in the Discussion of Architecture 2. "Of the working of hard stones, and first of Porphyry" 3. Of Serpentine 4. Of Cipollaccio 5. "Of Breccia ('Mischio,' Conglomerate)" 6. Of Granite 7. Of Paragon (Touchstone) 8. Of Transparent Marbles for filling window openings 9. Of Statuary Marbles 10. Of Cipollino Marble 11. Of White Pisan Marble 12. Of Travertine 13. Of Slates 14. Of Peperino 15. Of the Stone from Istria 16. Of Pietra Serena 17. Of Pietra Forte 18. Conclusion of Chapter CHAPTER II. The Description of squared Ashlar-work (lavoro di quadro) and of carved Ashlar-work (lavoro di quadro intagliato) 19. The work of the Mason CHAPTER III. "Concerning the five Orders of Architecture, Rustic, Doric, Ionic, Corinthian, Composite, and also German Work" 20. Rusticated masonry and the Tuscan Order 21. The Doric Order 22. A constructive device to avoid charging architraves 23. The proportions and parts of the Doric Order 24. The Ionic Order 25. The Corinthian Order 26. The Composite Order 27. Of Terminal figures 28. German Work (the Gothic Style) CHAPTER IV. "On forming Vaults in Concrete, to be impressed with Enrichment: when the Centerings are to be removed, and how to mix the Plaster" 29. The Construction of enriched Stucco Vaults 30. Stucco made with Marble Dust CHAPTER V. "How Rustic Fountains are made with Stalactites and Incrustations from water, and how Cockle Shells and Conglomerations of vitrified stone are built into the Stucco" 31. Grottoes and Fountains of 'Rocaille' work CHAPTER VI. On the manner of making Pavements of Tesselated Work 32. Mosaic pavements 33. "Pictorial Mosaics for Walls, etc." CHAPTER VII. "How one is to recognize if a Building have good Proportions, and of what Members it should generally be composed" 34. The Principles of Planning and Design 35. An Ideal Palace NOTES ON 'INTRODUCTION' TO ARCHITECTURE PORPHYRY AND PROPHYRY QUARRIES "THE SASSI, DELLA VALLE, AND OTHER COLLECTIONS OF ANTIQUES OF THE EARLY PART OF THE SIXTEENTH CENTURY" THE 'PORPHYRY TAZZA OF THE SALA ROTONDA OF THE VATICAN "FRANCESCO DEL TADDA, AND THE REVIVAL OF SCULPTURE IN PORPHYRY" "THE CORTILE OF THE BELVEDERE IN THE VATICAN, IN THE SIXTEENTH CENTURY" PARAGON (TOUCHSTONE) AND OTHER STONES ASSOCIATED WITH IT BY VASARI TUSCAN MARBLE QUARRIES "THE ROUND TEMPLE ON THE PIAZZA S. LUIGI DEI FRANCESI, AND 'MAESTRO GIAN'" RUSTICATED MASONRY VASARI'S OPINION ON MEDIAEVAL ARCHITECTURE EGG-SHELL MOSAIC IDEAL ARCHITECTURE; AN IDEAL PALACE OF SCULPTURE CHAPTER I. (VIII.) "What Sculpture is; how good works of Sculpture are made, and what qualities they must possess to be esteemed perfect" 36. The Nature of Sculpture 37. Qualities necessary for Work in the Round 38. Works of Sculpture should be treated with a view to their destined position 39. The Proportions of the Human Figure 40. Artists must depend on their Judgement rather than on the Measuring Rule CHAPTER II. (IX.) ############################################################################################################################################################################################################################################################### 41. The small Sketch-Model in Wax of Clay 42. The Preparation of Wax 43. Polychrome Wax Effigies 44. The Manipulation of Wax over an Armature 45. The Small Model in Clay 46. The Full-sized Model in Clay 47. Drapery on the Clay Model 48. Transference of the Full-sized Model to the Marble Black 49. Danger of dispensing with the Full-sized Model 50. The Tools and Materials used in Marble Carving CHAPTER III. (X.) "Of Low and Half Reliefs, the difficulty of making them an how to bring them to perfection" 51. The Origin of Reliefs 52. Pictorial or Perspective Reliefs 53. Low Reliefs (Bassi Rilievi) 54. Flat Reliefs (Stiacciati Rilievi) CHAPTER IV. (XI.) ############################################################################################################################################################################################################################################################### 55. The Full-sized Model for Bronze 56. The Piece-Mould in Plaster 57. The Construction of the Core 58. The Piece-Mould lined with a Skin of Wax 59. This Skin of Wax applied over the Core 60. The fire-resisting Envelope applied over the Wax 61. The External Armature 62. The Vents 63. The Wax melted out 64. The Mould in the Casting-pit 65. The Composition of the Bronze 66. Making up Imperfections 67. A simpler Method of Casting small Figures and Reliefs 68. Chasing the Cast and Colouring the Bronze 69. Modern Tours de Force in small Castings CHAPTER V. (XII.) Concerning Steel Dies for making Medals of bronze or other metals and how the latter are formed from these metals ############################################################################################################################################################################################################################################################### 80. On Colouring CHAPTER V. (XIX.) 81. The Fresco process CHAPTER VI. (XX.) "Of Painting in Tempera, or with egg, on Panel or Canvas, and how it is employed on the wall which is dry" 82. Painting in Tempera CHAPTER VII. (XXI.) Of Painting in Oil on Panel or Canvas 83. "Oil Painting, its Discovery and Early History" 84. How to Prime the Panel or Canvas 85. "Drawing, by transfer or directly" CHAPTER VIII. (XXII.) Of Painting in Oil on a Wall which is dry 86. Mural Painting in Oil 87. Vasari's own Method CHAPTER IX. (XXIII.) 88. Painting on Canvas CHAPTER X. (XXIV.) "Of painting in Oil on Stone, and what stones are good for the purpose" 89. Oil painting on Stone CHAPTER XI. (XXV.) "Of Painting on the wall in Monochrome with various earths: how objects in bronze are imitated: and of groups for Triumphal Arches or festal structures, done with powdered earths mixed with size, which process is called Gouache and Tempera" 90. Imitative Paintings for Decorations CHAPTER XII. (XXVI.) Of the Sgraffiti for house decoration which withstand water; that which is used in their production; and how Grotesques are worked on the wall 91. Sgraffito-work 92. "Grotesque, or Fanciful Devices, painted or modelled on Walls" CHAPTER XIII. (XXVII.) How Grotesques are worked on the Stucco CHAPTER XIV. (XVIII.) "Of the manner of applying Gold on a Bolus, or with a Mordant, and other methods" 93. Methods of Gilding CHAPTER XV. (XXIX.) Of Glass Mosaic and how it is recognized as good and praise-worthy 94. Glass Mosaics 95. The Preparation of the Mosaic Cubes 96. The Fixing of the Mosaic Cubes CHAPTER XVI. (XXX.) Concerning the Compositions and Figures made in Inlaid Work on Pavements in imitation of objects in Monochrome 97. Pavements in Marble Mosaic and Monochrome 98. Pavements in Variegated Tiles 99. Pavements in Breccia Marble CHAPTER XVII. (XXXI.) "Of Mosaic in Wood, that is, of Tarsia; and of the Compositions that are made in Tinted Woods, fitted together after the manner of a picture" 100. Inlays in Wood CHAPTER XVIII. (XXXII.) On Painting Glass Windows and how they are put together with Leads and supported with Irons so as not to interfere with the view of the figures 101. "Stained Glass Windows, their Origin and History" 102. The Technique of the Stained Glass Window CHAPTER XIX. (XXXIII.) "Of Niello, and how by this process we have Copper Prints; and how Silver is engraved to make Enamels over Bas-relief, and in like manner how Gold and Silver Plate is chased" 103. Niello Work 104. The Origin of Engraving 105. Enamels over Reliefs CHAPTER XX. (XXXIV.) "Of Tausia, that is, work called Damascening" 106. Metal Inlays CHAPTER XXI. (XXXV.) "Of Wood Engraving and the method of executing it and concerning its first Inventor: how Sheets which appear to be drawn by hand and exhibit Lights and Half-tones and Shades, are produced with three Blocks of Wood" 107. Chiaroscuro Wood Engravings 108. Dependence on Design of the Decorative Arts NOTES ON 'INTRODUCTION' TO PAINTING FRESCO PAINTING TEMPERA PAINTING OIL PAINTING ENRICHED FAÇADES STUCCO 'GROTESQUES' "TARSIA WORK, OR WOOD INLAYS" THE STAINED GLASS WINDOW VASARI'S DESCRIPTION OF ENAMEL WORK INDEX

Sklep: Libristo.pl

Craftsman's Handbook Dover Publications

Książki / Literatura obcojęzyczna

Preface I I The first chapter of the first section of this book II "How some enter the profession through loftiness of spirit, and some, for profit" III Fundamental provisions for anyone who enters this profession IIII How the schedule shows you into how many sections and branches the occupations are divided V How you begin drawing on a little panel; and the system for it VI How to draw on several kinds of panels VII What kind of bone is good for treating the panels VIII "How you should start drawing with a style, and by what light" VIIII "How you should give the system of lighting, light or shade, to your figures, endowing them with a system of relief" X "The method and system for drawing on sheep parchment and on paper, and shading with washes" XI How you may draw with a leaden style XII "How, if you have made a slip in drawing with leaden style, you my erase it, and by what means" XIII How you should practice drawing with a pen XIIII How to learn to cut the quill for drawing XV How you should advance to drawing on tinted paper XVI How the green tint is made on paper for drawing; and the way to temper it XVII "How you should tint kid parchment, and by which method you burnish it" XVIII How you should tint paper turnsole color XVIIII How you should tint paper with an indigo tint XX "How you should tint papers with reddish color, or almost peach color" XXI How you should tint papers with flesh color XXII "How you should tint papers greenish gray, or drab" XXIII How you may obtain the essence of a good figure or drawing with tracing paper XXIIII The first way to learn how to make a clear tracing paper XXV A second way to make tracing paper: with glue XXVI How to make tracing paper out of paper XXVII How you should endeavor to copy and draw after as few masters as possible XXVIII How you should regulate your life in the interests of decorum and the condition of your hand; and in what company; and what method you should first adopt for copying a figure from high up XXX "How you should first start drawing on paper with charcoal, and take the measurement of the figure, and fix it with a silver style" XXXI "How you should draw and shade with washes on tinted paper, and then put lights on with white lead" XXXII How you may put on lights with washes of white lead just as you shade with washes of ink XXXIII How to make good and perfect and slender coals for drawing XXXIIII About a stone which has the character of charcoal for drawing. This ends the first section of this book II XXXV The second section of this book: bringing you to the working up of the colors XXXVI "This shows you the natural colors, and how you should grind black" XXXVII How to make various sorts of black XXXVIII On the character of the red color called sinoper XXXVIIII "How to make the red called cinabrese, for doing flesh on the wall; and about its character" XL On the character of the red called vermilion; and how it should be worked up XLI On the character of a red called red lead XLII On the character of a red called hematite XLIII On the character of a red called dragonsblood XLIIII On the character of a red called lac XLV On the character of a yellow color called ocher XLVI On the character of a yellow color called giallorino XLVII On the character of a yellow called orpiment XLVIII On the character of a yellow called realgar XLVIIII On the character of a yellow called saffron L On the character of a yellow called arzica LI On the character of a green called terre-verte LII On the character of a green called malachite LIII How you make a green with orpiment and indigo LIIII How you make a green with blue and giallorino LV How you make a green with ultramarine blue LVI On the character of a green called verdigris LVII How you make a green with white lead and terre-verte; or lime white LVIII On the character of lime white LVIIII On the character of white lead LX On the character of azurite LXI To make an imitation of azurite with other colors LXII "On the character of ultramarine blue, and how to make it" LXIII The importance of knowing how to make brushes LXIIII How to make minever brushes LXV "How you should make bristle brushes, and in what manner" LXVI How to keep minever tails from getting moth-eaten. This ends the second section of this book; begins the third III LXVII "The method and system for working on a wall, that is, in fresco; and on painting and doing flesh for a youthful face" LXVIII The method for painting an aged face in fresco LXVIIII The method for painting various kinds of beards and hair in fresco LXX The proportions which a perfectly formed man's body should possess LXXI The way to paint a drapery in fresco LXXII The way to paint on a wall in secco; and the temperas for it LXXIII How to make a violet color LXXIIII To execute a violet color in fresco LXXV To try to imitate an ultramarine blue for use in fresco LXXVII To paint a shot green drapery in fresco LXXVIII To paint in fresco a drapery shot with ash gray LXXVIIII To paint one in secco shot with lac LXXX To paint one in fresco or in secco shot with each other LXXXI To paint a greenish-gray costume in fresco or in secco LXXXII "To paint a costume, in fresco and in secco, of a greenish-gray color like the color of wood" LXXXIII "To make a drapery, or a mantle for Our Lady, with azurite or ultramarine blue" LXXXIIII "To make a black drapery for a monk's or friar's robe, in fresco and in secco" LXXXV "On the way to paint a mountain, in fresco or in secco" LXXXVI "The way to paint trees and plants and foliage, in fresco and in secco" LXXXVII "How buildings are to be painted, in fresco and in secco" LXXXVIII The way to copy a mountain from nature. This ends the third section of this book IV LXXXVIIII "How to paint in oil on a wall, on panel, on iron, and where you please" LXXXX How you should start for working in oil on a wall LXXXXI "How you are to make oil, good for a tempera, and also for mordants, by boiling with fire" LXXXXII How good and perfect oil is made by cooking in the sun LXXXXIII "How you should work up the colors with oil, and employ them on the wall" LXXXXIIII "How you should work in oil on iron, on panel, on stone" LXXXXV The way to embellish with gold or with tin on a wall LXXXXVI How you should always make a practice of working with fine gold and with good colors LXXXXVII "How you should cut the golden tin, and embellish" LXXXXVIII How to make green tin for embellishing LXXXXVIIII "How to make the golden tin, and how to lay fine gold with this vermeil" C "How to fashion or cut out the stars, and put them on the wall" CI How you can make the diadems of the saints on the wall with this tin gilded with fine goldCII How you should model up a diadem in lime mortar on a wall CIII How from the wall you enter upon panel-painting. This ends the fourth section of the book V CIIII The system by which you should prepare to acquire the skill to work on panel CV How you make batter or flour paste CVI How you should make cement from mending stones CVII How to make cement for mending dishes of glass CVIII "How fish glue is used, and how it is tempered" CVIIII "How goat glue is made, and how it is tempered; and how many purposes it will serve" CX A perfect size for tempering gessos for anconas or panels CXI A size which is good for tempering blues and other colors CXII To make a glue out of lime and cheese. This ends the fifth section of this book VI CXIII How you should start to work on a panel or anconas CXIIII How you should put cloth on a panel CXV How the flat of a panel should be gessoed with the slice with gesso grosso CXVI How to gesso sottile for gessoing panels CXVII How to gesso an ancona with gesso sottile; and how to temper it CXVIII How you may gesso with gesso sottile without having gessoes with gesso grosso first CXVIIII How you should temper and grind gesso sottile for modeling CXX How you should start to scrape down an ancona flat gessoed with gesso sottile CXXI "How the gesso sottile on the flats should be scraped down, and what these scrapings are good for" CXXII "How to draw on panel with charcoal, to begin with, and to fix it with ink" CXXIII How you should mark out the outlines of the figures for gilding the grounds CXXIIII "How to model on a panel with gesso sottile, and how to mount precious stones" CXXV How you should cast a relief for embellishing areas of anconas CXXVI How to plaster reliefs on a wall CXXVII How to model with mortar on a wall the say you model with gesso on panel CXXVIII "How to take reliefs from a stone mold, and how they are good on wall and on panel" CXXVIIII How you may model on a wall with varnish CXXX How you may model on a wall with wax CXXXI "How to lay bole on panel, and how to temper it" CXXXII "Another way to temper bole on panel, for gilding" CXXXIII How you may gild on panel with terre-verte CXXXIIII How to gild on panel CXXXV What stones are good for burnishing this gilding CXXXVI How to prepare the stone for burnishing gold CXXXVII "How you should burnish the gold, or mend matters in case it could not get burnished" CXXXVIII "Now I will show you how to burnish, and in what direction, especially a flat" CXXXVIIII "What gold is good for burnish and mordant gilding, and what thickness" CXL "How you should begin swinging the diadems and do stamping on the gold, and mark out the outlines of the figures" CXLI How to design gold brocades in various colors CXLII How to execute gold or silver brocades CXLIII Several rules for cloths of gold and silver CXLIV "How to do velvet, wool, and silk" CXLV How to paint on panel CXLVI How to make draperies in blue and purple CXLVII How to paint faces CXLVIII How to paint a dead man CXLVIX How to paint wounds CL How to paint water VII CLI "A short section on mordant gilding. How to make a standard mordant, and how to gild with it" CLII How to control the drying of the mordant CLIII How to make a mordant out of garlic VIII CLIV Introduction to a short section on varnishing CLV When to varnish CLVI How to make a painting look as if it were varnished IX CLVII "A short section on illuminating: first, how to gild on parchment" CLVIII Another kind of size: for grounds only CLIX How to make and use mosaic gold CLX How to grind gold and silver for use as colors CLXI Colors for use on parchment X CLXII "A section dealing with work on cloth: first, painting and gilding" CLXIII Various ways to do hangings CLXIV How to draw for embroiderers CLXV "How to work on silk, on both sides" CLXVI How to paint and gild on velvet CLXVII How to lay gold and silver on woolen cloth CLXVIII How to make devices out of gilded paper CLXIX How to model crests or helmets CLXX How to do caskets or chests XI CLXXI "A short section on operations with glass: first, for windows" CLXXII How to gild for reliquary ornaments CLXXII Arrangements for drawing on this glass CLXXII How to draw on the gilded glass CLXXII How to scrape the gold off the backgrounds CLXXII How to back up the drawing with colors XII CLXXII "Part of a section dealing with mosaic: first, a fragment from the end of a chapter otherwise lost" CLXXII Mosaic of quill cuttings CLXXII "Mosaic of crushed eggshells, painted" CLXXII Mosaic of paper or foil CLXXII "Mosaic of eggshells, gilded" XIII CLXXIII "A section dealing with miscellaneous incidental operations: first, block printing on cloth" CLXXIV How to gild a stone figure CLXXV The dangers of a wet wall for fresco CLXXV Preliminary precautions against moisture CLXXV Waterproofing with boiled oil CLXXVI Waterproofing with pitch CLXXVI Waterproofing with liquid varnish CLXXVII How to distemper inside walls with green CLXXVIII How to varnish terre-verte CLXXIX How to clean off the paint after you have made up a face CLXXX The perils of indulgence in cosmetics CLXXXI "The final section, devoted to methods of casting, begins here" CLXXXII How to take a life mask CLXXXIII The breathing tubes CLXXXIV The operations of casting the matrix CLXXXIV How to cast this waste mold CLXXXV How to cast whole figures CLXXXVI How to make a cast of your own person CLXXXVII Castings in gesso for use on panel CLXXXVIII How to cast medals CLXXXIX How to make a mold from a seal or coin Index

Sklep: Libristo.pl

Legendarne przeboje rocka g+j gruner+jahr polska

Kultura. Sztuka. >Muzyka Taniec Śpiew

Każde pokolenie myśli, że urodziło się, żeby prowadzić szalone życie i każde może uznać Born to be Wild za swój hymn.John Kay wokalista zespołu Steppenwolf Rockowy singiel to szczyt ewolucji gatunku. Nie ma nic trudniejszego i zawiera się w nim esencja rock and rolla: jest żywiołowy, krótki i wpada w ucho, czy mówimy o Sex Pistols, Nirvanie, Pixies, Beatlesach, The Who, czy Stonesach. BonoOsiemdziesiąt opisanych w tej książce utworów dowodzi niewątpliwej potęgi singla. Ta kolekcja jest hołdem złożonym rewolucyjnemu potencjałowi rock and rolla i utalentowanym kompozytorom. Są tu wspomnienia największych osiągnięć muzyki popularnej. Wiele z wymienionych przez autora utworów zapoczątkowało długie kariery, sukcesu innych nie udało się już nigdy powtórzyć, a niektóre ocierają się wręcz o banał. Nie sposób znaleźć motywu tekstowego, który łączyłby te wszystkie utwory. Chodzi tu raczej o emocje, o wywołanie reakcji, o coś, z czym słuchacze mogą się identyfikować, o genialną opowieść, której nie da się zpomnieć. Te osiemdziesiąt piosenek to najlepsze z najlepszych.Rock Around the Clock * Hound Dog * Jailhouse Rock * Whole Lotta Shakin

Sklep: Prolibri.pl

Legendarne przeboje rocka G+j Gruner + Jahr Polska

Wydawnictwa naukowe i popularno-naukoweMuzyka rozrywkowa

Każde pokolenie myśli, że urodziło się, żeby prowadzić szalone życie i każde może uznać Born to be Wild za swój hymn.John Kay wokalista zespołu Steppenwolf Rockowy singiel to szczyt ewolucji gatunku. Nie ma nic trudniejszego i zawiera się w nim esencja rock and rolla: jest żywiołowy, krótki i wpada w ucho, czy mówimy o Sex Pistols, Nirvanie, Pixies, Beatlesach, The Who, czy Stonesach. BonoOsiemdziesiąt opisanych w tej książce utworów dowodzi niewątpliwej potęgi singla. Ta kolekcja jest hołdem złożonym rewolucyjnemu potencjałowi rock and rolla i utalentowanym kompozytorom. Są tu wspomnienia największych osiągnięć muzyki popularnej. Wiele z wymienionych przez autora utworów zapoczątkowało długie kariery, sukcesu innych nie udało się już nigdy powtórzyć, a niektóre ocierają się wręcz o banał. Nie sposób znaleźć motywu tekstowego, który łączyłby te wszystkie utwory. Chodzi tu raczej o emocje, o wywołanie reakcji, o coś, z czym słuchacze mogą się identyfikować, o genialną opowieść, której nie da się zpomnieć. Te osiemdziesiąt piosenek to najlepsze z najlepszych.Rock Around the Clock * Hound Dog * Jailhouse Rock * Whole Lotta Shakin? Goin? On * Johnny B. Goode * Summertime Blues * What?d I Say * Surfin? USA * You Really Got Me * The House of the Rising Sun * My Generation * Yesterday * Like a Rolling Stone * I Got You (I Feel Good) * (I Can?t Get No) Satisfaction * The Sound of Silence * Respect * Mr. Tambourine Man * California Dreamin? * Wild Thing * Hey Joe * Light my Fire * Somebody to Love * I?m Waiting for the Man * Purple Haze * Hey Jude * Sunshine of Your Love * Born to be Wild * Sympathy for the Devil * I Heard it Through the Grapevine * Proud Mary * Whole Lotta Love * Black Magic Woman * Paranoid * Me & Bobby McGee * Stairway to Heaven * Imagine * Tiny Dancer * Maggie May * Changes * Heart of Gold * School?s Out * Smoke on the Water * Knockin? on Heaven?s Door * Living for the City * La Grange * Get Up, Stand Up * Search and Destroy * Born to Run * Sweet Emotion * Bohemian Rhapsody * Blitzkrieg Bop * Anarchy in the U.K. * We Will Rock You * Dancing Barefoot * Catholic Girls * Highway to Hell * Sultans of Swing * London Calling * Heart of Glass * Comfortably Numb * Radio Free Europe * Every Breath You Take * Billie Jean * Pride and Joy * Holiday * Jump * When Doves Cry * Sweet Child O? Mine * Like a Prayer * Enter Sandman * Smells Like Teen Spirit * Under the Bridge * One * Wonderwall * Paranoid Android * Maps * 7 Nation Army * American Idiot * Fix YouNathan Brackett jest zastępcą redaktora naczelnego ?Rolling Stone?. W latach 2007-2009 był redaktorem RollingStone.com i redagował wydaną przez ?Rolling Stone? książkę 500 Greatest Songs of All Time (2010). Jako dziennikarz muzyczny pojawiał się w ABC?s Good Morning America, CNN, MSNBC, Inside Edition, VH1, MTV i wielu innych stacjach. Mieszka na Brooklynie z żoną i dwójką dzieci.

Sklep: Booknet.net.pl

Practicing Sustainability Springer, Berlin

Książki / Literatura obcojęzyczna

Delightful the chapters are gems of precision and insight. Michael Spence, Nobel Prize Winner in Economics§Sustainability applies to everybody. But everybody applies it differently, by defining and shaping it differently much as water is edged and shaped by its container. It is conceived in absolute terms but underpinned by a great diversity of relatively green and sometimes contradictory practices that can each make society only more or less sustainable. In Practicing Sustainability, chefs, poets, music directors, evangelical pastors, skyscraper architects, artists, filmmakers, as well as scientific leaders, entrepreneurs, educators, business executives, policy makers, and the contrarians, shed light on our understanding of sustainability and the role that each of us can play. Each contributor addresses what sustainability means, what is most appealing about the concept, and what they would like to change to improve the perception and practice of sustainability. What emerges from their essays is a wide spectrum of views that confirm an important insight: Sustainability is pursued in different ways not only due to different interpretations, but also because of varying incentives, trade-offs, and altruistic motives. Practicing and achieving sustainability starts with a willingness to look critically at the concept. It also means enabling rich and vigorous discussion based on pragmatism and common sense to determine a framework for best ideas and practices. With time and the much needed critical thinking, sustainable development will become a more integral part of our culture. By sharing experiences and crisp insights from today s savants, Practicing Sustainability serves as a stepping stone to the future.Sustainability applies to everybody. But everybody applies it differently, by defining and shaping it differently much as water is edged and shaped by its container. It is conceived in absolute terms but underpinned by a great diversity of relatively green and sometimes contradictory practices that can each make society only more or less sustainable. In Practicing Sustainability, chefs, poets, music directors, evangelical pastors, skyscraper architects, artists, filmmakers, as well as scientific leaders, entrepreneurs, educators, business executives, policy makers, and the contrarians, shed light on our understanding of sustainability and the role that each of us can play. Each contributor addresses what sustainability means, what is most appealing about the concept, and what they would like to change to improve the perception and practice of sustainability. What emerges from their essays is a wide spectrum of views that confirm an important insight: Sustainability is pursued in different ways not only due to different interpretations, but also because of varying incentives, trade-offs, and altruistic motives. Practicing and achieving sustainability starts with a willingness to look critically at the concept. It also means enabling rich and vigorous discussion based on pragmatism and common sense to determine a framework for best ideas and practices. With time and the much needed critical thinking, sustainable development will become a more integral part of our culture. By sharing experiences and crisp insights from today s savants, Practicing Sustainability serves as a stepping stone to the future.

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