The Poster: 200 Years of Art and History The poster is a versatile marketing tool widely used from the 19th century to today for everything from political events to movies. A good poster has many layers, it goes beyond advertising and makes statements about style, history, fashion, and taste at the time. It is these layers that can turn a poster into a work of art. This book showcases 480 posters by more than 200 artists and designers and tells a comprehensive history of the poster. The book includes art nouveau, Bauhaus, pop art, and contemporary posters from preeminent artists such as Alphonse Mucha, Egon Schiele, Pablo Picasso, and Andy Warhol and from noted designers ranging from Lucian Bernhard and A.M. Cassadre to Saul Bass, Tadanori Yokoo, and Stefan Sagmeister. The book also introduces many other leading poster designers whose names are less well-known. Contemporary advertisements for Calvin Klein, United Colors of Benetton, and Coachella are also explored. By tracing the history of the poster, this book shows social developments throughout the world and illuminates how art styles have changed over time.

Autor - osoba Blaga, Lucian Naslov Božja senka / Lučijan Blaga ; [izbor, prevod i pogovor Petru Krdu] Vrsta građe poezija Jezik srpski Godina 1995 Izdavanje i proizvodnja Beograd : Rad, 1995 (Beograd : Zuhra) Fizički opis 76 str. ; 18 cm Drugi autori - osoba Cârdu, Petru, 1952-2011 = Krdu, Petru, 1952-2011 Cioran, Emil, 1911-1995 = Sioran, Emil, 1911-1995 Zbirka Reč i misao ; knj. 462 Napomene Vedrina svetlo-tamnog i Lučijan Blaga zaštićen njome / Petru Krdu: str. 63-68 Unutrašnji stil Lučijana Blage / Emil Sioran: str. 69-73. Predmetne odrednice Blaga, Lučijan, 1895-1961 Lučijan Blaga (1895–1961) je jedan od stubova nosača rumunske kulture i duhovnosti čije ime stoji odmah posle velikog Mihaila Emineskua (1850–1889). Snažni glas iz Transilvanije, poreklom iz Erdelja, iz okoline Sebeša, 1920. godine doktorirao je filozofiju u Beču, ali je ubrzo pokrenuo književni časopis „Misao“ i time odredio svoj pesnički put. Neko vreme radio je u diplomatiji u Varšavi, Pragu, Beču, Brnu, a član Rumunske akademije postao je 1937. godine. Posle Drugog svetskog rata, silom prilika, povukao se u unutrašnje izgnanstvo i posvetio isključivo pisanju/mišljenju... MG95 (L)

Keeping An Eye Open: Essays On Art Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.’ Julian Barnes began writing about art with a chapter on Géricault’s The Raft of the Medusa in his 1989 novel A History of the World in 10½ Chapters. Since then he has written a series of remarkable essays, chiefly about French artists, which trace the story of how art made its way from Romanticism to Realism and into Modernism. Fully illustrated in colour throughout, Keeping an Eye Open contains Barnes’ essays on Géricault, Delacroix, Courbet, Manet, Fantin-Latour, Cézanne, Degas, Redon, Bonnard, Vuillard, Vallotton, Braque, Magritte, Oldenburg, Howard Hodgkin and Lucian Freud.

PRVI SVETSKI RAT: Lučijan Boja Naslov Prvi svetski rat : kontroverze, paradoksi, reinterpretacije / Lučijan Boja ; [preveo s rumunskog Dragan Stojanović ; redakcija prevoda Stevan Bugarski] Jedinstveni naslov Primul rǎzboi mondial. srpski jezik Vrsta građe stručna monografija URL medijskog objekta odrasli, ozbiljna (nije lepa knjiž.) Jezik srpski Godina 2015 Izdavanje i proizvodnja Novi Sad : Prometej ; Beograd : Radio-televizija Srbije, 2015 (Novi Sad : Prometej) Fizički opis 106 str. ; 21 cm Drugi autori - osoba Stojanović, Dragan = Stojanović, Dragan Bugarski, Stevan, 1939- = Bugarski, Stevan, 1939- Zbirka Edicija Srbija 1914-1918 ; ǂkolo ǂ2, ǂknj. ǂ4 ISBN 978-86-515-1023-9 (karton) Napomene Prevod dela: ǂPrimul ǂrǎzboi mondial / Lucian Boia Tiraž 1.000 Beleška o autoru: str. 105-106 Napomene i bibliografske reference uz tekst. Predmetne odrednice Prvi svetski rat 1914-1918 Knjige Lučijana Boje su više nego polemička ispitivanja u smislu demitologizacije i otklanjanja zajedničkih mesta u istoriji i, implicintno, u rumunskom mentalitetu. Realni ulog je pisanje zajedničke evropske istorije, oslobođen predrasuda i opšteprihvaćenih teorija. Ova je knjiga nužni i jasni sintetički izraz dosadašnjih autorovih ideja, a glavna joj je tematika ‘utemeljujući događaj sveta u kojem živimo’. Po svojoj moralnoj problematici, po svom zamahu i po svojim katastrofalnim posledicama, koje su se neposredno materijalizovale u drugoj svetskoj konflagraciji, Prvi svetski rat ostaje jedna od najprostresnijih drama novije istorije. A Versajski sistem ostaje čin rođenja sadašnje Evrope Potpuno nova, nekorišćena knjiga. bs

Artists' Lives Praised by the Art Newspaper as ‘the best art writer of his generation’, Michael Peppiatt has encountered many European modern artists over more than fifty years. This selection of some of his best biographical writing covers a wide spectrum of modern art, from Van Gogh and Pierre Bonnard, to personal conversations with painter Sonia Delaunay, artist Dora Maar, who was Picasso’s lover in the 1930s and 1940s, and Francis Bacon, perhaps the most famous of the many artists with whom Peppiatt has formed personal friendships. Michael Peppiatt’s lively, engaging writing takes us into the company of many notable art-world personalities, such as the Catalan painter Antoni Tàpies, whom he visits in his studio, and moments of disillusion, such as his meeting with the self-mythologizing artist Balthus. Art criticism blends with anecdote: riding with Lucian Freud in his Bentley, drinking with Bacon in Soho, discussing Picasso’s trousers with David Hockney... This collection of Peppiatt’s most perceptive texts includes under-recognized artists, such as Dachau survivor Zoran Music, or Montenegrin artist Dado, whose retrospective Peppiatt curated at the 2009 Venice Biennale. Remarkably varied in their scope and lucidly written for a general reader, these selected essays not only provide us with perceptive commentary and acute critical judgment, they also give a unique personal insight into some of the greatest creative minds of the modern era. Prikaži više

The Immortal Crown The #1 New York Times bestselling author of the Vampire Academy and Bloodline series returns with the second installment in her acclaimed Age of X series. Religious investigator Justin March and Mae Koskinen--the beautiful supersoldier assigned to protect him--have been charged with investigating reports of the supernatural and the return of the gods, both inside the Republic of United North America and out. With this highly classified knowledge comes a shocking revelation: Not only are the gods vying for human control, but the elect--special humans marked by the divine--are turning against one another in bloody fashion. Their mission takes a new twist when they are assigned to a diplomatic delegation headed by Lucian Darling, Justin's old friend and rival, going into Arcadia, the RUNA's dangerous neighboring country. Here, in a society where women are commodities and religion is intertwined with government, Justin discovers powerful forces at work, even as he struggles to come to terms with his own reluctantly acquired deity. Meanwhile, Mae--grudgingly posing as Justin's concubine--has a secret mission of her own: finding the illegitimate niece her family smuggled away years ago. But with Justin and Mae resisting the resurgence of the gods in Arcadia, a reporter's connection with someone close to Justin back home threatens to expose their mission--and with it the divine forces the government is determined to keep secret. Prikaži više

Dvojezična knjiga na rumunskom i engleskom, prepuna sjajnih ilustracija, karikatura i crteža. The Norma d\`Lux art album (Brumar house, Timişoara, Point collection, 2016) contains a selection of the more than 700 drawings that form the online project of the Balamuc group entitled Norma – a drawing per day/radical take out of Pi, organized in depending on the theme in 13 chapters dealing with various subjects, about art and society, from social to political. The bilingual album has two prefects (Dana Sarmeș and Dan Perjovschi), 256 unnumbered pages, 1400 g, cover and overcover, and is published through the efforts of the Contrasens Association, with the financial support of AFCN. Norma d\`Lux illustrates Balamuc`s main project, used mostly to try out ideas and vent frustrations from every day in almost anonymous drawings posted online, more or less daily, on the Facebook page, since 2014. Other visual artists were invited to participate in this project, whose drawings are reproduced in the Supadupa Invites chapter: Sorina Vazelina, pnea, Neuro Book, Ileana Surducan, Maria Surducan, Mimi Ciora, Mircea Popescu, Dana Catona, Monotremu, Ioana Vreme Moser, Lucian Popovici, Aitch, Saddo, Katja Spitzer, Gloria Vreme Moser, Dan Perjovschi and Suzana Dan. Više informacija: https://romaniandesignweek-ro.translate.goog/portofoliu/norma-dlux?_x_tr_sl=ro&_x_tr_tl=en&_x_tr_hl=en-US# Odlično očuvano, jedino je dustjacket malo cepnut prilikom transporta, sve ostalo je kao novo 2016. godina, Brumar 254 strane Tvrd povez Veliki format

U dobrom stanju! Lucian Goldman (fr. Lucien Goldmann, 1913, Bukurešt, Rumunija - 1970, Pariz, Francuska) - francuski filozof i sociolog, teoretičar marksizma, osnivač genetskog strukturalizma. Rođen je u rumunskoj jevrejskoj porodici. Goldman je studirao na Univerzitetu u Bukureštu, a takođe godinu dana na Bečkom univerzitetu, gde je jedan od teoretičara austro-marksizma, filozof Mak Adler, imao veliki uticaj na njega. 1934. godine dobio je diplomu iz Sorbone. Iste 1934. godine izbačen je iz podzemnog komunističkog saveza omladine Rumunije zbog `trockizma`. Lucien Goldman je 1942. emigrirao u Švajcarsku, gde je radio kao asistent Jean Piaget-a i pridružio se njegovom istraživanju u genetskoj epistemologiji. Godine 1945. preselio se u Pariz, gde je živeo do kraja svog života. Lucien Goldman je bila zaposleni u Nacionalnom centru za naučno istraživanje, kao i profesor na Višoj školi društvenih nauka i na Sorboni. Radio je kao direktor Praktične škole za viši studij 1959-1964. Direktor Centra za sociologiju književnosti od 1964. Ovaj istraživački centar organizovan je na njegovu inicijativu na Slobodnom univerzitetu u Briselu. Goldmanova biografija poslužila je kao izvor za roman francuske književnice i filozofa Julije Kristeve `Samurai` (1990). Naučna aktivnost Na Goldmana je snažno uticao ne-marksizam. Posebno važno za oblikovanje filozofskog pogleda na svet bilo je rano delo George Lukacsa. Na Goldmana je uticala i genetska psihologija Žana Piageta. Goldmanova glavna dela posvećena su istoriji zapadnoevropske filozofije i njenim odnosima sa kulturnim i društvenim pojavama. Goldmanova knjiga „Tajni Bog“ (1955) posvećena je uporednoj analizi filozofskih i religijskih pogleda Blaisa Pascala, Jansenizma i Jeana Racinea.

On Paper Speaking recently about his early years as an artist Lucian Freud claimed, 'I would have thought I did 200 drawings to every painting in those early days. I very much prided myself on my drawing.' Drawing is fundamental to Freud's development as an artist and to how he sees in a way that that it was not, for example, at the foundation of the work of Francis Bacon. Drawing became an important part of Freud's life from the start and a famous sketchbook, The Freud-Schuster Book, dating back to January 1940 when Freud was in Snowdonia with Stephen Spender, has survived. So too do sketches from Freud's life as a merchant seaman on a cargo vessel in the Atlantic in 1941. His then surreal style lent itself to illustrations and his fascination with animals, birds and fish was revealed in the famous line drawings he produced for Nicholas Moore's book of poems, The Glass Tower (1944). On Paper charts the works on paper, including the etchings, over his entire career. It includes the formative early work, the sketches in preparation for painting his masterpiece, Large Interior W11 (after Watteau) (1983), the sketches of the completed painting in the studio and the astonishing later studies of his mother. The book ends with the etchings of recent years. The works on paper are an extraordinary achievement, providing even deeper insights into the work of the greatest figurative artist of our time. Introduction by Sebastian Smee Essay by Richard Calvocoressi Prikaži više

U dobrom stanju Éditeur ‏ : ‎ Maison des Sciences de l`Homme (30 octobre 2008) Langue ‏ : ‎ Français Broché ‏ : ‎ 248 pages Poids de l`article ‏ : ‎ 422 g Dimensions ‏ : ‎ 15 x 1.5 x 23 cm Alors qu`elle s`interroge, se regarde et se raconte depuis des siècles, l`Europe demeure perplexe au miroir de ses inépuisables productions. Elle est à l`étroit dans les paragraphes étriqués des documents juridiques, elle tend à se soustraire aux appropriations idéologiques de toutes obédiences, dépasse toujours les images d`elle-même qu`elle crée sans relâche, échappe à sa propre histoire comme à ses historiens, à ses géographes et à tous ceux qui s`efforcent de la définir. Mais elle offre à l`expérience et à l`imagination des hommes la richesse infiniment diversifiée de son patrimoine. S`il est encore et toujours difficile de dire l`Europe, du moins peut-on la percevoir et la toucher, surtout en ces lieux singuliers mais innombrables où se livre au regard et à l`esprit un surcroît de sens. Frontières, carrefours, passages, noeuds urbains, vastes plaines, lieux de commémoration ou de mémoire : ce sont quelques-uns d`entre eux qui ont inspiré les auteurs de cet ouvrage. Dire l`Europe, sous leurs plumes croisées, c`est la redire sans cesse dans la multiplicité de ses manifestations particulières. Stella Ghervas est chargée de recherche en histoire à l`Institut universitaire de hautes études internationales de Genève. François Rosset est professeur de littérature et culture françaises à l`Université de Lausanne et à l`Ecole polytechnique fédérale de Lausanne. Avec les contributions de : Wladimir Berelowitch, Denis Bertholet, Lucian Boia, Sofia Dascalopoulos, Pascal Dethurens, Silvio Guindani, Olga Inkova, Lubor Jilek, Bertrand Lévy, Krzysztof Pomian, René Sigrist, Luc Weibel, Eric Widmer

Modernists & Mavericks: Bacon, Freud, Hockney And The London Painters Sunday Times Art Book of the Year 2018. 'If you are interested in modern British art, the book is unputdownable. If you are not, read it.' - Grey Gowrie, Financial Times 'All the good stories, and more, are here … this is a genuinely encyclopaedic work, unlike anything else I have come across on the topic, informed by a deep love and understanding of modern painting. Everybody interested in the subject should read it.' - Andrew Marr, Sunday Times A masterfully narrated account of painting in London from the Second World War to the 1970s, illustrated throughout with documentary photographs and works of art. The development of painting in London from the Second World War to the 1970s is the story of interlinking friendships, shared experiences and artistic concerns among a number of acclaimed artists, including Francis Bacon, Lucian Freud, Frank Auerbach, David Hockney, Bridget Riley, Gillian Ayres, Frank Bowling and Howard Hodgkin. Drawing on extensive first-hand interviews, many previously unpublished, with important witnesses and participants, the art critic Martin Gayford teases out the thread connecting these individual lives, and demonstrates how painting thrived in London against the backdrop of Soho bohemia in the 1940s and 1950s and ‘Swinging London’ in the 1960s. He shows how, influenced by such different teachers as David Bomberg and William Coldstream, and aware of the work of contemporaries such as Jackson Pollock as well as the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were allied in their confidence that this ancient medium, in opposition to photography and other media, could do fresh and marvellous things. They asked the question ‘what can painting do?’ and explored in their diverse ways, but with equal passion, the possibilities of paint. Prikaži više

Keeping an Eye Open: Essays on Art The updated edition of Julian Barnes’ best-loved writing on art, with seven new exquisite illustrated essays ‘Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.’ Julian Barnes began writing about art with a chapter on Géricault’s The Raft of the Medusa in his 1989 novel A History of the World in 10½ Chapters. Since then he has written a series of remarkable essays, chiefly about French artists, which trace the story of how art made its way from Romanticism to Realism and into Modernism. Fully illustrated in colour throughout, Keeping an Eye Open contains Barnes’ essays on Géricault, Delacroix, Courbet, Manet, Morisot, Fantin-Latour, Cézanne, Degas, Cassatt, Redon, Van Gogh, the legendary critic Huysmans, Bonnard, Vuillard, Vallotton, Braque, Magritte, Oldenburg, Howard Hodgkin and Lucian Freud. It also offers new perspectives on the fruitful relationship between writers and artists, and on the rivalry among Russian collectors of French art in the late 19th century. ‘A typically elegant and absorbing book by one of the greatest contemporary English writers.’ Guardian *Books of the Year* ‘Gave me a new confidence in how to understand and, more importantly, enjoy wandering around an exhibition.’ Mariella Frostrup ‘My book of the year.’ Natalie Haynes, Independent Prikaži više

Modernists & Mavericks: Bacon, Freud, Hockney And The London Painters Sunday Times Art Book of the Year 2018 'If you are interested in modern British art, the book is unputdownable. If you are not, read it.' - Grey Gowrie, Financial Times 'All the good stories, and more, are here ... this is a genuinely encyclopaedic work, unlike anything else I have come across on the topic, informed by a deep love and understanding of modern painting. Everybody interested in the subject should read it.' - Andrew Marr, Sunday Times A masterfully narrated account of painting in London from the Second World War to the 1970s, illustrated throughout with documentary photographs and works of art The development of painting in London from the Second World War to the 1970s is the story of interlinking friendships, shared experiences and artistic concerns among a number of acclaimed artists, including Francis Bacon, Lucian Freud, Frank Auerbach, David Hockney, Bridget Riley, Gillian Ayres, Frank Bowling and Howard Hodgkin. Drawing on extensive first-hand interviews, many previously unpublished, with important witnesses and participants, the art critic Martin Gayford teases out the thread connecting these individual lives, and demonstrates how painting thrived in London against the backdrop of Soho bohemia in the 1940s and 1950s and Swinging London in the 1960s. He shows how, influenced by such different teachers as David Bomberg and William Coldstream, and aware of the work of contemporaries such as Jackson Pollock as well as the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were allied in their confidence that this ancient medium, in opposition to photography and other media, could do fresh and marvellous things. They asked the question what can painting do? and explored in their diverse ways, but with equal passion, the possibilities of paint. Prikaži više

Opis „It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.“ So begins Pride and Prejudice, Jane Austen’s perfect comedy of manners–one of the most popular novels of all time–that features splendidly civilized sparring between the proud Mr. Darcy and the prejudiced Elizabeth Bennet as they play out their spirited courtship in a series of eighteenth-century drawing-room intrigues. „Pride and Prejudice seems as vital today as ever, “ writes Anna Quindlen in her introduction to this Modern Library edition. „It is a pure joy to read.“ Eudora Welty agrees: „The gaiety is unextinguished, the irony has kept its bite, the reasoning is still sweet, the sparkle undiminished. [It is] irresistible and as nearly flawless as any fiction could be.“ This volume is the companion to the BBC television series, a lavish production aired on the Arts and Entertainment Network. The Modern Library has played a significant role in American cultural life for the better part of a century. The series was founded in 1917 by the publishers Boni and Liveright and eight years later acquired by Bennett Cerf and Donald Klopfer. It provided the foundation for their next publishing venture, Random House. The Modern Library has been a staple of the American book trade, providing readers with affordable hard-bound editions of important works of literature and thought. For the Modern Library’s seventy-fifth anniversary, Random House redesigned the series, restoring as its emblem the running torchbearer created by Lucian Bernhard in 1925 and refurbishing jackets, bindings, and type, as well as inaugurating a new program of selecting titles. The Modern Library continues to provide the world’s best books, at the best prices.

35. SALON ARHITEKTURE Beograd, 27. mart - 30. april 2013. JOŠ UVEK IMAMO ARHITEKTURU Urednik kataloga - Ljiljana Miletić Abramović Autori tekstova - Ljiljana Miletić Abramović, Slobodan Danko Selinković, Maša Bratuša Prevod - Biljana Velašević, Vladimir Abramović Izdavač - Muzej primenjene umetnosti, Beograd Godina - 2013 228 strana 26 cm ISBN - 978-86-7415-161-7 Povez - Broširan Stanje - Kao na slici, tekst bez podvlačenja AUTORI ZASTUPLJENI U KATALOGU: Zoran Abadić, Dušan Milovanović, Jelena Bogosavljević, Jelena Zagorac, Milan Karaklić, Nikola Žikić, Dijana Adžemović Anđelković Borislav Petrović, Ivan Rašković, Nikola Stojković, Đorđe Alfirević, Nikola Andonov, Vladimir Anđelković, Milica Apostolović, Marijana Kaštelan, Ivana Ilić, Jelena Vučić, Lidija Kljaković, Damjan Jovanović, Miloš Grbić, Tatjana Babić, Dejan Babović, Ljiljana Bakić, Nikola Baković, Milica Baludžić, Aladin Baljinac, Lazar Belić, Ivan Benussi, Danlo Beronja, David Bilobrk, Aleksandar Bobić, Đorđe Bobić, Divna Bogdanović, Veliborka Bogdanović, Aleksandar Bogojević, Milica Bogojević-Bobić, Jelena Bogosavljević, Petar Bojović, Milan Božić, Jelena Brajković, Marko Brkić, Andreja Buđevac, Saša Buđevac, Ksenija Bulatović, Morten Bulow, Nikola Cakić, Miljan Cvijetić, Žarko Ćajić, Nataša Ćuković Ignjatović, Milica Dejanović, Bojana Dončevski, Milan Dragić, Maja Dragišić, Jasna Drakulović, Vladan Drndarević, Saša Đak, Vladan Đokić, Ljiljana Đukanović, Miloš Đurasinović, Milan Đurić, Vanja Enbulajev, Davor Ereš, Đorđe Gec, Nevena Pivić, Vanja Otašević, Zorana Vasić, Ljubiša Folić, Srđan Gavrilović, Nebojša Glišić, Milka Gnjato, Milica Golić, Miloš Grbić, Sanjin Grbić, Jovan Grbović, Bojan Čoti, Danilo Kordulup, Jasmina Hadžiahmetović, Cvjetković Miroslav, Danica Đorđević, Jelena Milojković, Igor Pantelić, Radoslav Ilić, Mirela Čoban, Nikola Šćekić, Dušan Ignjatović, Ivana Ilić, Relja Ivanić, Jelena Ivanović Vojvodić, Nataša Janković, Jovana Jelisavac, Aleksandar Joksimović, Damjan Jovanović, Goran Jovanović, Natalija Jovanović, Milica Jovanović Popović, Slobodan Jović, Anđela Karabašević, Milan Karakli, Marijana Kaštelan, Miroslav Kaštelan, Milena Katić, Jasna Kavran, Aleksandar Keković, Željko Kerleta, Lidija Kljaković, Aleksandar Knežević, Nemanja Kocić, Ana Raković, Mladen Pešić, Milorad Pejanović, Miloš Komlenić, Slaviša Kondić, Dragana Konstantinović, Ivan Kostić, Bojana Kovač Đurasinović, Ana Kovencz-Vujić, Jelena Krstović Nikolić, Spasoje Krunić, Vladimir Kulić, Tamara Kuljanin, Lazar Kuzmanov, Olga Lazarević, Selma Lazović, Zoran Lazović, Jana Lipkovski, Peter Lohr, Darija Ljubić Vojinović, Ivan Ljubić, Vanja Enbulajev, Vladimir Radulović, Nikola Stevanović, Vojislav Stevanović, Predrag Maksić, Slobodan Maldini, Anđelka Mandić-Milutinović, Čarna Marević, Goran Ivo Marinović, Dragan Marković, Iva Marković, Srđan Marlović, Marko Marović, Marija Martinović, Nikola Martinović, Marija Miković, Dejan Milanović, Duška Milanović, Branislav Milenković, Jelisaveta Milenković, Vladimir Milenković, Dejan Miletić, Jovana Miletić, Katarina Miletić, Nemanja Miličić, Miloš Milojević, Slađana Milivojević Milica Milojević, Aleksandar Milojković, Ivan Milošević, Dušan Milovanović, Vasilije Milunović, Predrag Milutinović, Dejan Miljković, Milutin Miljuš, Petar Mitković, Jelena Mitrović, Jovan Mitrović, Vladimir Mitrović, Maroje Mrduljaš, Duška Mrvoš, Vesna Nadaždin Ljubičić, Danilo Nedeljković, Saša Nedeljković, Dušan Nenadović, Milica Nešovanović, Aleksandra Nikitin, Goran Nikolić, Jelena Nikolić, Marko Nikolić, Vojislav Nikolić, Dijana Novaković Nikola Novaković, Ivan Obradović, Milena Obradović, Milorad Obradović, Siniša Obradović, Anđelina Ošap, Jelena Pančevac, Ana Panić, Vanja Panić, Ksenija Pantović, Vladimir Paripović, Miloš Paunović, Ranko Pavlović, Milorad Pejanović, Malden Pešić, Miroslava Petrović Balubdžić, Borislav Petrović, Marjan Petrović, Marko Petrovi, Milica Pihler, Tamara Popović, Jelena Pucarević, Marko Radenković, Dejana Radišić Pešić, Dušan Radišić, Ana Radivojević, Radovan Radoman, Renata Radovanović, Vladimir Radulović, Nemanja Radusinović, Aleksandar Rajčić, Mirko Rakojević, Tatjana Rakojević, Ana Raković, Ivan Rašković, Grozdana Šišović, Dejan Milanović, Zorica Međo, Aleksandra Praštalo, Nikola Milanović, Aleksandar Ristić, Katarina Ristić, Aleksandar Ristović, Arber Sadiku, Gezim Sadiku, Ana Savić, Dubravka Sekulić, Slobodan Danko Selinkić, Sanja Simonović, Miloš Spasić, Branislav Spasojević, Maja Dragišić, Milan Božić, Marko Stojković, Milica Milosavljević, Dunja Ratković, Saša Lukić, Pavle Stamenović, Danica Stanković, Oliver Stanković, Branko Stanojević, Maja Stanojević, Dragan Stevanović, Nebojša Stevanović, Nikola Stevanović, Vladimir Stevanović, Vojislav Stevanović, Vladan Stevović, Stjepanović Nenad, Dušan Stojanović, Stefan Stojanović, Nikola Stojković, Marija Strajnić, Dijana Novaković, Maja Trbović, Aleksandra Nikitin, Dušan Nenadović, Oliver Stanković, Dragana Stevanović, Aleksandar Šavikin, Grozdana Šišović, Janko Tadić, Milan Tanić, Milica Tasić, Ana Savić, Alen Spahić, Dubravka Sekuli, Nataša Janković, Adrijan Karavdi, Ognjen Stanisavljević, Mihailo Timotijević, Dejan Todorović, Maja Trbović, Žarko Uzelac, Pavle Vasev, Ljiljana Vasilevska, Milica Vasiljević, Dragana Vasiljević Tomić, Miomir Vasov,Dejan Vasović, Vojislava Vasović, Milorad Vidojević, Bojana Vitorović, Goran Vojvodić, Mirosanda Vranić, Jelan Vučić, Aleksandru Vuja, Milan Vujović, Marko Vuković, Zlata Vuksanović Macura, Jelena Zagorac, Miona Zdravković, Snežana Zlatković, Nikola Žikić, Katarina Živković, Milan Živković, Miloš Živković, Stevan Žutić, Maroje Mrduljaš, Vladimir Kulić, Dejan Jović, Nika Grabar, Petra Čeferin, Robert Burghardt, Gal Kirn, Irena Šentevska, Dubravka Sekulić, Lana Lovrenčić, Ivan Kucina, Milica Topalović, Marko Sančanin, Divna Penčić, Biljana Spirikoska, Jasna Stefanovska, Ines Tolić, Nina Ugljen Ademović, Elša Turkušić, Matevž Čelik, Alenka Di Battistta, Ana Džokić I Marc Neelen, Nebojša Milikić, Tanja Damjanović Conley, Jelica Jovanović, Višnja Kukoč, Vesna Perković-Jović, Martina Malešič, Luciano Basauri, Dafne Berc, Dinko Peračić, Miranda Veljačić, Bogo Zupančić, Tamara Bjažić Klarin, Jelena Grbić, Dragana Petrović, Luka Skansi, Dražen Arbutina, Hela Vukadin, Ana Šilović, Simona Vidmar, Matevž Čelik Ako Vas nešto zanima, slobodno pošaljite poruku.

Opis Node.js je izuzetno popularna softverska platforma koja omogućava upotrebu jezika Java­Script za izradu skalabilnih serverskih aplikacija. Omogućava izradu efikasnog koda i pruža održiv način pisanja softvera na samo jednom jeziku kroz celu paletu aplikacija, uz izuzetno visoke nivoe višekratne upotrebljivosi, pragmatizma, jednostavnosti i saradnje između komponenata. ­ Node.js uvodi revoluciju u veb i u način na koji pojedinci i kompanije pišu svoj softver. U ovoj knjizi upoznaćete način na koji se na platformi Node.js donose odluke u vezi s projektovanjem i pisanjem koda. Knjiga počinje od osnova platforme Node.js i opisuje njenu asinhronu jednonitnu arhitekturu i glavne projektne obrasce. Zatim objašnjava kako savladati obrasce za upravljanje asinhronim izvršavanjem kodom i komponentu toka, da bi stigla do detaljne liste Node.js implementacija najuobičajenijih projektnih obrazaca i nekih specifičnih projektnih obrazaca koji postoje isključivo u Node.js svetu. Na kraju, predstavlja naprednije koncepte kao što su Univerzalni JavaScript i skalabilnost, a putovanje završava predstavljajući čitaocu sve potrebne koncepte za izradu aplikacije korporativnog nivoa pomoću praltforme Node.js. Ova knjiga je namenjena autorima softvera i programerima koji već imaju određeno osnovno poznavanje jezika JavaScript i žele da steknu šire znanje o tome kako se projektuju i razvijaju korporativne Node.js aplikacije. Naučićete sledeće: ◘ Kako projektovati i implementirati više JavaScript obrazaca za serversku stranu da biste razumeli zašto i kada se oni primenjuju u raznim slučajevima upotrebe. ◘ Kako savladati pisanje asinhronog koda pomoću konstrukcija kao što su povratne funkcije, obećanja, generatori i sintaksa async-await. ◘ Kako prepoznati najvažnije probleme i primeniti jednostavne trikove da biste obezbedili bolju skalabilnost i modularnost u svojoj Node.js aplikaciji. ◘ Kako razmrsiti problem modula njihovim koherentnim organizovanjem i povezivanjem. ◘ Kako višekratno iskoristiti dobro poznate tehnike za rešavanje uobičajenih problema dizajna i kodiranja. ◘ Kako prepoznati najnovije trendove u Univerzalnom JavaScriptu i naučiti kako se piše kôd koji radi i na Node.js serveru i u čitaču veba, i kako iskoristiti React i njegov ekosistem za implementiranje univerzalnih aplikacija. Poglavlja u knjizi 1. Dobrodošli na platformu Node.js 2. Osnovni Node.js obrasci 3. Obrasci za upravljanje asinhronim izvršavanjem koda pomoću povratnih funkcija 4. Obrasci za upravljanje asinhronim izvršavanjem koda u verziji ES2015 i novijim 5. Kodiranje s tokovima 6. Projektni obrasci 7. Povezivanje modula 8. Univerzalni JavaScript za veb aplikacije 9. Napredni asinhroni recepti 10. Obrasci za skalabilnost i arhitektonski obrasci 11. Obrasci za poruke i ugradnju komponenata u sistem O autorima Mario Casciaro je softverski inženjer i preduzetnik, čije strasti su tehnologija, nauka i znanje otvorenog koda. Mario je diplomirao softverski inženjering i započeo profesionalni karijeru u kompaniji IBM gde je više godina radio na raznim korporativnim proizvodima kao što su Tivoli Endpoint Manager, Cognos Insight i SalesConnect. Zatim je prešao u D4H Technologies, rastuću SaaS kompaniju, da bi rukovodio razvojem novog vrhunskog softvera za upravljanje vanrednim situacijama u realnom vremenu. Mario je danas suosnivač i generalni direktor Sponsorama. com, platforme za prikupljanje sredstava za internet projekte kroz korporativno sponzorisanje. Mario je takođe autor prvog izdanja knjige Node.js projektni obrasci. Luciano Mammino je softverski inženjer, rođen 1987. godine, iste godine kada je kompanija Nintendo objavila igru Super Mario Bros u Evropi, a to je slučajno i njegova omiljena video igra. Kôd je počeo da piše kad je imao 12 godina, na starom Intelu 386 svog oca, opremljenom samo operativnim sistemom DOS i interpreterom qBasic. Nakon sticanje diplome iz računarskih nauka, svoje veštine programiranja je razvijao prevashodno kao autor veb aplikacija, radeći uglavnom kao frilenser za postojeće i nove kompanije po celoj Italiji. Nakon tri godine kao tehnički direktor i suosnivač Sbaam.com u Italiji i Irskoj, odlučio je da se naseli u Dablinu da bi radio kao vodeći PHP inženjer u kompaniji Smartbox. Voli da razvija biblioteke otvorenog koda i radi na frejmvorkovima kao što su Symfony i Express. Ubeđen je da slava JavaScripta tek dolazi i da je to tehnologija koja će značajno uticati na budućnost većine tehnologija za veb i mobilne aplikacije. Iz tog razloga, najveći deo svog slobodnog vremena provodi unapređujući svoje znanje o JavaScriptu i radeći na Node.js platformi. Naslov: Node.js: Projektni obrasci Izdavač: Mikro knjiga Strana: 442 (cb) Povez: meki Pismo: latinica Format: 16.8 x 23.5 cm Godina izdanja: 2019 ISBN: 978-86-7555-438-7 Naslov originala: Node.js Design Patterns - Second Edition: Master best practices to build modular and scalable server-side web applicatio Izdavač originala: Packt Publishing Naslov originala: Node.js Design Patterns - Second Edition: Master best practices to build modular and scalable server-side web applicatio Izdavač originala: Packt Publishing

50 Best Verdi CD 1: 1. Aida, Act 1 Scene 1: Romanza, "Se quel guerrier io fossi! ... Celeste Aida" (Radames) - Placido Domingo/Philharmonia Orchestra/Riccardo Muti 2. La traviata, Act 2 Scene 1: No 4, Scena ed Aria, "Lunge da lei per me ... De' miei bollenti spiriti ... O mio rimorso!" (Alfredo) - Rolando Villazon/Marcello Viotti/Munchner Rundfunkorchester 3. La Traviata, Act 2, Scene 1, Scene & Aria: Di Provenza il mar, il suol - Renato Bruson/Philharmonia Orchestra/Riccardo Muti 4. Un ballo in maschera (1990 Remastered Version): Di' tu se fedele (Act I) - Nicolai Gedda/Giuseppe Patane 5. Un ballo in maschera, Act 3 Tableau 2: No 14, Scena e Romanza, "Forse la soglia attinse ... Ma se m'e forza perderti" (Gustavo) - Placido Domingo/Martina Arroyo/Reri Grist/Chorus of the Royal Opera House, Covent Garden/New Philharmonia Orchestra/Riccardo Muti 6. Rigoletto, Act 1: "Questa o quella" (Il Duca) - Riccardo Muti 7. Rigoletto (1995 Remastered Version): Pari siamo! - Dietrich Fischer-Dieskau/Alberto Erede/Berliner Philharmoniker 8. Rigoletto, Act 3: "La donna e mobile" (Duke) - Julius Rudel 9. Luisa Miller, Act 2 Scene 3: No 10, Scena ed Aria, "Oh! fede negar potessi ... Quando le sere al placido" (Rodolfo) - Franco Corelli/New Philharmonia Orchestra/Franco Ferraris 10. Macbeth, Act 4: "O figli, o figli miei ... Ah, la paterna mano" - Riccardo Muti 11. Il trovatore (1995 Remastered Version): Il balen del suo sorriso - Dietrich Fischer-Dieskau/Alberto Erede/Berliner Symphoniker 12. Il Trovatore (1990 Remastered Version), ACT 3 Scene 2: Ah si, ben mio (Manrico) - Franco Corelli/Orchestra del Teatro dell'Opera, Roma/Thomas Schippers 13. Il trovatore, Act 3: "Di quella pira" (Manrico, Ruiz, Leonora, Chorus) - Thomas Schippers 14. I Lombardi alla prima crociata, Act 2 Scene 2: No. 7, Cavatina, "La mia letizia infondere" (Oronte) - Rolando Villazon/Marcello Viotti/Munchner Rundfunkorchester 15. Don Carlos, Act 1: "Fontainebleau! Foret immense et solitaire!" (Don Carlos) [Live] - Antonio Pappano 16. Messa da Requiem: II. Sequence, 8. Ingemisco (Tenor) - Luciano Pavarotti 17. La Forza del Destino (1993 Remastered Version): La Vita e inferno all'infelice-oh tu che in seno agli'angeli - Lamberto Gardelli/Royal Philharmonic Orchestra/Carlo Bergonzi 18. Otello, Act 4 Scene 4: Finale, "Niun mi tema ... Pria d'ucciderti" (Otello) - Placido Domingo/Orchestra of the Royal Opera House, Covent Garden/John Barker 19. Falstaff, Act I: "Ehi! paggio!"..."L'onore! Ladri!" (Sir John Falstaff) - Jonathan Lemalu/New Zealand Symphony Orchestra/James Judd CD 2: 1. La Traviata, Act 1: "È strano! È strano! Ah, fors' e lui" (Violetta) - Natalie Dessay 2. La traviata, Act 1: "Follie! Follie!...Sempre libera" (Violetta, Alfredo) - Natalie Dessay 3. La Traviata, Act 3: "Teneste la promessa ... Addio, del passato" - Tullio Serafin 4. Rigoletto, Act 1: "Gualtier Malde Caro nome" - Francesco Molinari Pradelli 5. Il Trovatore (1990 Remastered Version), ACT 2 Scene 1: Condotta ell'era in ceppi (Azucena, Manrico) - Giulietta Simionato/Franco Corelli/Orchestra del Teatro dell'Opera, Roma/Thomas Schippers 6. Il Trovatore (1990 Remastered Version), ACT 4 Scene 1: D'amor sull'ali rosee (Leonora) - Gabriella Tucci/Orchestra del Teatro dell'Opera, Roma/Thomas Schippers 7. Macbeth, Act 2 Scene 2: No 8, Aria, "La luce langue ... spegnesi il faro" (Lady Macbeth) - Maria Callas/Philharmonia Orchestra/Nicola Rescigno 8. Un ballo in maschera: Zitti...Re del abisso: Zitti... l'incanto... Re dell'abisso - Fiorenza Cossotto/Girls from the Haberdashers' Aske's School for Girls, Elstree/Chorus of the Royal Opera House, Covent Garden/New Philharmonia Orchestra/Riccardo Muti 9. Un ball in maschera: Ecco l'orrido campo: Ecco l'orrido campo ... Ma dall'arido stelo - Martina Arroyo/New Philharmonia Orchestra/Riccardo Muti 10. Don Carlo (1984 Remastered Version): Don Carlo: O don fatale - Elena Obraztsova/Philharmonia Orchestra/Robin Stapleton 11. La forza del destino, Act 4 Scene 6: No. 17, Melodia, "Pace, pace, mio Dio!" (Leonora) - Riccardo Muti 12. Aida, Act 1 Scene 1: Scene and Aria, "Ritorna Vincitor ... I sacri nomi di padre" (Aida) - Maria Callas/Nicola Rescigno/Orchestre de la Societe des Concerts du Conservatoire 13. Aida: Qui Radames verra O patria mia - Montserrat Caballe/New Philharmonia Orchestra/Riccardo Muti 14. Otello, Act 4: "Ave Maria" (Desdemona) - Katia Ricciarelli CD 3: 1. La forza del destino: Sinfonia - Lamberto Gardelli 2. La Traviata, Act 1: Prelude - Aldo Ceccato 3. Nabucco - Overture (1986 Remastered Version) - Riccardo Muti/New Philharmonia Orchestra 4. Ballet Music from Macbeth (1986 Remastered Version) - Riccardo Muti/New Philharmonia Orchestra 5. Aida: Preludio (Andante mosso) - Philharmonia Orchestra/Tullio Serafin 6. Aida, Act 2: Ballabile - Riccardo Muti 7. Il trovatore, Act 2 Scene 1: No. 4, Coro, "Vedi! Le fosche notturne spoglie" (Zingari) - Coro del Teatro dell'Opera, Roma/Gianni Lazzari/Orchestra del Teatro dell'Opera, Roma/Thomas Schippers 8. Nabucco: Gli arredi festivi - Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Riccardo Muti 9. Nabucco, Act 3 Scene 4: No. 11a, Coro, "Va, pensiero, sull'ali dorate" (Chorus) - Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Riccardo Muti 10. Rigoletto [Act I] (1988 Remastered Version): Zitti, zitti, (Courtiers, Gilda, Rigoletto) - Francesco Molinari Pradelli/Coro del Teatro dell'Opera, Roma/Orchestra del Teatro dell'Opera, Roma 11. La Traviata, Act 2: "Noi siamo zingarelle" (Chorus, Flora, Marchese) - Aldo Ceccato 12. La Traviata, Act 2: "Di Madride noi siam mattadori" (Gastone, Chorus, Flora, Dottore, Marchese) - Aldo Ceccato 13. I Vespri Siciliani (1996 Remastered Version), Act V (1996 Remastered Version): Si celebri alfine tra canti, tra fior - Chorus of Welsh National Opera/Julian Smith/Orchestra of Welsh National Opera/John Stein/Sir Richard Armstrong 14. Don Carlo (1886 Modena Five-Act Version), Act 3 Scene 2: No 13, Gran Finale, "Spuntato ecco il di d'esultanza" (Il Popolo, I Frati) - Ambrosian Opera Chorus/John McCarthy/Orchestra of the Royal Opera House, Covent Garden/Carlo Maria Giulini 15. Messa da Requiem (1990 Remastered Version), Sequenza:: Dies irae - Jon Vickers/New Philharmonia Chorus/New Philharmonia Orchestra/Sir John Barbirolli 16. Messa da Requiem (1990 Remastered Version): Sanctus - Jon Vickers/New Philharmonia Chorus/New Philharmonia Orchestra/Sir John Barbirolli 17. Aida (1987 Remastered Version): Gloria all' Egitto (Act II) - Chorus of the Royal Opera House, Covent Garden/Orchestra of the Royal Opera House, Covent Garden/Lamberto Gardelli Prikaži više

RIČARD POPKIN ISTORIJA SKEPTICIZMA OD SAVONAROLE DO BEJLA Prevod - Predrag Milidrag Izdavač - Fedon, Beograd Godina - 2010 672 strana 24 cm Edicija - Daimon ISBN - 978-86-86525-29-1 Povez - Tvrd Stanje - Kao na slici, tekst bez podvlačenja SADRŽAJ: Predgovor Reči zahvalnosti Uvod 1. Intelektualna kriza reformacije 2. Oživljavanje grčkog skepticizma u šesnaestom veku 3. Mišel de Montenj i nouveaux pyrrhoniens 4. Uticaj novog pironizma 5. Libertins érudits 6. Protivnapad počinje 7. Konstruktivni ili umereni skepticizam 8. Herbert od Čerberija i Žan de Šijon 9. Dekart: Pokoritelj skepticizma 10. Dekart: Skeptique malgré lui 11. Neki duhovni i religijski odgovori na skepticizam i Dekarta - Henri Mor, Blez Paskal i kvijetisti 12. Politički i praktički odgovori na skepticizam - Tomas Hobs 13. Filozofi Kraljevskog društva - Vilkins, Bojl i Glenvil 14. Biblijska kritika i početak religijskog skepticizma 15. Spinozin skepticizam i antiskepticizam 16. Skepticizam i metafizika skraja sedamnaestog veka 17. Novi skeptici - Simon Fuše i Pjer-Danijel lj 18. Pjer Bejl - Superskepticizam i počeci prosvetiteljskog dogmatizma Literatura Objavljeni materijal Rukopisni materijal Dodaci I. Skeptično o Istoriji skepticizma Da li je bilo,,pironističke krize` u ranoj modernoj filozofiji? Kritička beleška o Ričardu H. Popkinu Literatura II. Čovek i filozofija Ričard Popkin - jedna lična zabeleška PREDRAG MILIDRAG - Eros vedrine Indeks `Ričard Popkin jedan je od najuticajnijih savremenih tumača skepticizma, a njegova knjiga prati istoriju skepticizma od Savonarole do Bejla (od 1450. do 1710. godine). Taj period nije izabran slučajno. U tih bezmalo 300 godina najpre je iznova otkriven grčki skepticizam, potom inkorporiran u iskustvo renesanse, zatim izložen novim tumačenjima i preobražajima, da bi i sam odigrao nezaobilaznu ulogu kod velikih filozofa poput Dekarta, Paskala, Spinoze, Hobsa, ili iznova propitan u teološkim raspravama tog perioda. Popkin pripada američkoj školi istoričara filozofije, što podrazumeva besprekorno poznavanje teme o kojoj piše, strogost u izlaganju i, uprkos tome što je reč o tekstu koji se prostire na gotovo 700 stranica, ekonomičnost izraza. Već u prvoj rečenici knjige Popkin precizira da je skepticizam filozofsko gledište a ne niz sumnji koji se vezuje za tradicionalna religijska verovanja, što znači da je ključni ulog svake skeptičke pozicije – istina. Ipak, Popkin ne suprotstavlja skepticizam i fideizam, skeptika i vernika, kako bi se moglo očekivati s obzirom na suprotstavljenost te dve pozicije. Nikada skepticizam, sugeriše autor, nije puko neverovanje, niti je fideizam slepo verovanje. Iako skeptik preporučuje suzdržavanje od suđenja koje počiva na verovanju, to ne znači da je verovanje irelevantno za ono do čega je skeptiku stalo – do nesumnjive istine. Upotrebljavajući pojam fideizma onako kako ga je oblikovala literatura na engleskom jeziku, Popkin, zapravo, nastoji da jasnije istakne skeptički element koji je, tvrdi on, uključen u fideističko gledište. Popkinov tekst nezaobilazan je u svakoj raspravi koja sumnju koristi kao način da se dođe do delotvorne istine.` Ako Vas nešto zanima, slobodno pošaljite poruku. Richard H. Popkin The History of Scepticism Agripa Od Neteshajma Hajnrih Kornelije Agrippa Von Nettesheim Henricus Cornelius Aristotel Aristotle Arkesilaj Iz Pitane Antoan Arno Antoine Arnauld Sveti Avgustin Augustine Fransis Bejkon Francis Bacon Pjer Bejl Pierre Bayle Džordž Berkli George Berkeley Tomas Bernet Thomas Burnett Anri Bison Henri Busson Robert Bojl Boyle Hari Breken Harry Bracken Gi De Brije Guy De Brues Đordano Bruno Giordano Pjer Burden Pierre Bourdin Ciceron Vilijam Čilingvort William Chillingworth Žilijen Ejmar D`anžer Julien Eymard D`angers Gabrijel Danijel Gabriel Daniel Rene Descartes Pjer Demezo Pierre Desmaizeaux Žak Di Bosk Jacques Du Bosc Eli Diodati Elie Diogen Laertije Žak Davi Diperon Jacques Davy Duperron Žan Diveržije De Oran Džon Djuri John Dury Johan Ek Johann Eck Erazmo Roterdamski Anri Etjen Henri Estienne Samjuel Fišer Samuel Fisher Lučano Floridi Luciano Saleški Franja Simon Fuše Foucher Galileo Galilej Galilei Fransoa Garas Francois Garasse Euđenio Garin Eugenio Pjer Gasendi Pierre Gassendi Džozef Glenvil Joseph Glanvill Žan Gonteri Jean Gonery Tulio Gregori Tullio Gregory Hugo Grocijus Grotius Anri Guije Henri Gouhier Mari De Gurne Marie Gournay Herbert Od Čerberija Herbert Cherbury Gentijan Hervet Gentianus Hervetus Dejvid Hjum David Hume Tomas Hobs Thomas Hobbes Abraham Ibn Ezra Pjer Danijel Ije Pierre Daniel Huet Menaše Ben Izrael Menasseh Israel Ralf Kadvort Ralph Cudworth Žan Kalvin Jean Calvin Žan Pjer Kami Jean Pierre Camus Tomazo Kampanela Tommaso Campanella Imanuel Kant Karnead Sebastijan Kastelio Seren Kjerkegor Soren Kierkegaard Kristofer Klavijus Christopher Clavius Aleksandar Koare Alexandre Koyre Luj Burbon De Konde Nikola Kopernik Nicolaus Copernicus Pol Oskar Kristeler Entoni Ešli Kuper Anthony Ashley Cooper Fransoa La Mot Le Aje Francois La Mothe Le Vayer Isak La Pejrer Isaac La Peyrere Elizabet Labrus Elisabeth Labrousse Gotrfird Vilhelm Fon Lajbnic Gottfried Wilhelm Leibniz Pjer Le Loajepierre Le Loyer Žan Leklerk Jean Le Clerc Rober Lenobl Lenoble Elejn Limbrik Džon Lok John Locke Luj Martin Luter Luther Hose Maja Neto Jose Maia Može Majmonid Moses Maimonides Nikola Malbranš Nicolas Malebranche Leonar De Marande Karl Marks Marx Žil Mazaren Jules Kozimo Di Mediči Cosimo Maren Mersen Marin Mersenne Džozef Mid Joseph Mede Migel De Molinos Miguel Mošel De Montenj Michel Montaigne Henri Mor Henry More Silvija Mur Sylvia Murr Đovani Nezi Giovanni Nesi Gabrijel Node Gabriel Naude Isak Njutn Isaac Newton Ezekijel Olaso Ezequiel Džon Oven John Owen Đani Paganini Gianni Paracelzus Blez Paskal Blaise Pascal Gi Paten Guy Patin Sveti Pavle Kristof Pfaf Christophe Pfaff Piko Dela Mirandola Đanfrančesko Pico Della Gianfracesco Giovanni Rene Pintar Pintard Piron Platon Plutarh Henrik Regijus Henry Regius Džon Herman Rendal Arman Žan Di Plesis Rišelje Jean Du Plessis Duc Richelieu Francisko Sančez Francisco Sanchez Đirolamo Savonarola Girolamo Rajmund Sebond Raimond Sekst Empirik Sextus Empiricus Sen Siran Saint Cyran Migel Servet Miguel Servetus Martin Shokus Martinus Schoockius Rišar Simon Richard Simon Sokrat Samuel Sorbjer Sorbiere Šarl Sorel Baruh Spinoza Leo Straus Fortunat Strovski Strowski Pjer Šaron Pierre Charron Žan De Šijon Jean Silhon Čarls Šmit Charles Schmitt Džon Tilotson John Tillotson Fransoa Veron Francois Đorđo Antonio Vespuči Giorgio Vespucci Pjer Vile Pierre Villey Džon Vilkins John Wilkins Gizbert Voetije Volter Džon Votkins John Watkins Ričard Votson Richard Watson Zenon Iz Eleje Isak Žaklo Isaac Jaquelot Etjen Žilson Etienne Gilson Pjer Žirje Pierre Jurieu

Detalji predmeta Stanje Polovno Grupa autora Format: 24 Povez: broširan Br. strana: 199 Časopis Religija i tolerancija izdaje Centar za empirijska istraživanja religije (CEIR), sa sedištem u Novom Sadu. Iznikao je, dakle, iz multikonfesionalne i tradicionalno tolerantne sredine. Specifična heterogenost stanovništva, koja se reflektuje i na nacionalnu i versku strukturu studenata u Novom Sadu, bila je pogodno tlo kako za empirijska istraživanja tako i za bogatstvo religijskog pluralizma. Tako je CEIR postao centar okupljanja jedne grupe stručnjaka sa prostora bivše Jugoslavije, koji se za predmet istraživanja imaju religiju. Granice koje su se pojavile na balkanskoj vetrometini nisu postojale u elektronskom komuniciranju, tako da je bilo moguće, i u najtežim okolnostima, baviti se proučavanjem religije u duhu tolerancije. `Činjenica da skoro polovina američkog stanovništva veruje u Boga i istovremeno pripada nekoj verskoj zajednici ukazuje na stabilnu i pozitivnu društvenu klimu po pitanju vere, za razliku od drugih modela koji dominiraju u Evropi, kao što su `verovanja bez pripadanja` ili `pripadanje bez verovanja`, o čemu će u ovoj knjizi biti više reči...!` 170. ВУКОМАНОВИЋ, Милан Mit, politika, ideologija: prikaz knjige Aleksandar Bošković (2006): Mit, politika, ideologija, Beograd: Institut društvenih nauka / Milan Vukomanović // God. 7, br. 11 (2009), str. 155-157. 95 Mit, politika, ideologija dr Aleksandra Boškovića je delo iz sociokulturne antropologije na kakvo smo u našoj naučnoj sredini dugo čekali. Ne samo da do sada u zemlji nismo imali stručnjaka koji bi takvu knjigu mogao napisati, već je, štaviše, i samom autoru bilo potrebno dvadesetak godina da iznedri jedno tako ozbiljno, pouzdano, ali i zanimljivo napisano naučno delo. 171. ЂОРЂЕВИЋ, Марко Religijska panorama Dominikanske Republike / Marko Đorđević // God. 7, br. 11 (2009), str. 137-145. Rimokatolička je crkva jedan od nosećih stubova dominikanskog društva. Na njene hramove i kulturne uticaje možemo naići od obale i prestonice do najzabačenijih delova ostrva. Društvene promene koje je nametnuo agresivni liberalizam u drugoj polovini dvadesetog veka još uvek nisu uspele da sruše dominaciju Rima na političkom, simboličkom i kulturnom polju. Čak i Dominikanci konvertiti u druge vere, odnosno nereligiozni zadržavaju osnove katoličkih kulturnih obrazaca i tradicije. Međutim, brojčana eksplozija protestanata u Latinskoj Americi (uključujući Dominikansku Republiku), nastala preobraćanjem katolika, kakvo nije viđeno još od šesnaestovekovne Evrope i Martina Lutera, naročito izraženo tokom poslednjih godina globalizacije (nakon pada Berlinskog zida), ubrzano menja konfesionalnu sliku Dominikanske Republike. 172. ЂУРЧИК, Игор Reformisana prezbiterijska crkva: intervju sa predstavnikom Reformisane prezbiterijanske crkve – teologom Petrom Petrovićem / Igor Đurčik // God. 7, br. 11 (2009), str. 147-154. Na našem religioznom nebu nedavno se pojavila nova verska zajednica. Nova po svom delovanju na ovom području, a stara po svom istoricitetu i tradiciji. Radi se o verskoj zajednici pod imenom Protestantska reformisana hrišćanska misija u Republici Srbiji (Reformisana prezbiterijanska crkva). Radi se o verskoj zajednici koja ima svoje poreklo u reformaciji (lat. Obnoviti). Naime, pod reformacijom razumemo u Evropskoj istoriji veliki religiozni pokret u XVI veku, sa ciljem reformisanja 96 zapadne crkve. Ovaj pokret je promenio istoriju crkve. Ona je nastala u trenucima kada je crkva bila u „najvećoj tami“. Bilo je to doba kada su visoko uzdignuta tri principa: spasenje ličnom verom, brisanje razlike između klera i laika (ruši se crkvena hijerarhija) i uzdizanje autoriteta Biblije. Prvobitne forme reformacije tj. protestantizma bili su religiozni pravci kao npr: luterani, zwinglijevci, unitarci, anabaptisti, anglikanci, kalvini i dr. Dok su u narednim vekovima nastali i drugi pravci poznati kao „kasniji protestantizam“ od kojih su najpoznatiji: baptisti, metodisti, kvekeri, adventisti, mormoni i drugi. 173. КУБУРИЋ, Зорица Slika o Bogu u stavovima opšte populacije na Balkanu: subjektivizacija istine / Zorica Kuburić // God. 7, br. 11 (2009), str. 25-44. Sveobuhvatno istraživanje rađeno na prostoru Balkana (Gallup Europe, 2007) omogućava nam da sagledamo kakvu sliku o Bogu imaju balkanski narodi. Naša zaključivanja izvodimo na osnovu istraživanja rađenog na uzorku od 9.464 ispitanika. Od brojnih osobina koje se pripisuju Bogu najviše je razmatrana ona koja ukazuje da je Bog dobar, pun ljubavi i da prašta u odnosu na sliku o Bogu koji kažnjava i koji je strog. Pozitivna slika o Bogu ukazuje da je Bog celovito biće u koga se ima apsolutno poverenje, ne zbog moći, strogosti i mogućnosti kažnjavanja, već zbog ljubavi i mogućnosti zaštite i spasenja. Budući da slika o Bogu omogućava proces identifikacije, uloga religije sasvim je vidljiva u svakodnevnom životu. Posebna pažnja posvećena je razlikama koje su prisutne kod vernika pravoslavne, katoličke, protestantske i islamske veroispovesti. 174. ЛЕПУША, Љиљана Seminar o holokaustu / Ljiljana Lepuša // God. 7, br. 11 (2009), str. 187-192. JO Novi Sad latila se jednog veoma ambicioznog projekta – organizovanja seminara o holokaustu u novosadskom hotelu „Sajam“. Projekat je pomogao centar Simon Vizental iz Jerusalima čiji direktor dr Efraim Zurof je bio koordinator seminara a događaj je finansijski i u drugim pogledima podržao Grad Novi Sad. Ostali donatori su bili the Claims 97 Conference, The Conference on Jewish Material Claims Against Germany; The Balkan Trust for Democracy, A Project of the German Marshall Fund: Izvršno veće AP Vojvodine i JDC. Iako se slični seminari održavaju u Jad Vašemu u Izraelu i širom sveta, ovo je prvi ovakav događaj u ovom delu Evrope. Ciljna grupa su bili profesori iz cele Srbije koji svoje novostečeno znanje treba da prenesu učenicima, ali su bili prisutni i članovi jevrejskih opština Srbije. Ukupno nas je bilo oko 300. Predavači su bili eminentni poznavaoci holokausta, među prvima je bio Nj.E. ambasador Izraela Artur Kol, dr Efraim Zuroff, dr Adam Ferziger, dr Karen Shawn, dr Robert Rozett, Szilvia Peto Dittel i Ildiko Laszak. Od naših bili su rabin Isak Asiel, dr Milan Koljanin, dr Ranko Končar, protosinđel Jovan Ćulibrk i drugi, kao i članovi opština koji su u radionicama govorili o svom iskustvu: Elza Farkaš, Edita Gavanski, Bruno Hofman, Aca Singer, Cadik Danon. 175. МИЉУШ, Бранка Vera i ljubav: Put ka psihičkom zdravlju i duhovnom isceljenju / Branka Miljuš // God. 7, br. 11 (2009), str. 189-192. Život naše duše može se uporediti sa heraklitskom rekom koja se neprekidnim strujanjem svakotrenutno obnavlja. Ona protiče svojim utvrđenim tokom dok na njenoj površini talasi igraju gotovo uvek jednoliku ritmičku igru. Tako i površinom naše duše u svesti manje ili više teku normalno samo od trenutka do trenutka uznemirene povorke različitih događaja. Mi obično vidimo onu glavnu struju na površini, a ne vidimo tajne struje koje se kriju u dubinama u duši u njenom nesvesnom delu. Ti skriveni nepoznati slojevi u duši određuju individualni život čoveka. Možda zato ljudi kažu da sve ono što je najlepše i najbolnije u ljudskoj duši nikada nije izrečeno. Potrebno je izvući sa dna duše ono o čemu čovek neće da govori. To je važno. Tu je klica bola i radosti, suza i smeha, tuge i ljubavi. U toj klici je i rana i lek. 176. МИТРОВИЋ, Марија Istorija religije u Srbiji i Bugarskoj: predlog za prevođenje Storia religiosa di Serbia e Bulgaria. Priredio Luciano Vaccaro. Europa ricerche, 13. Centro Ambrosiano, Milano 2008 / Marija Mitrović // God. 7, br. 11 (2009), str. 159-164.

G. K. Česterton - Četvrtak 1920. - retko (Gilbert Keith Chesterton - Čovek koji je bio Četvrtak) Sarajevo, Hrvatska tiskara D.D., 1920., 177 str., mek povez, 19.5x12.5cm antikvarni kolekcionarski primerak `Čovek koji je bio četvrtak: Noćna mora` prvi put je objavljen 1908. i često nazivan `metafizičkim trilerom`. London iz viktorijanskog doba, Gabriel Syme regrutovan je u Scotland Jardu u tajni anti-anarhistički policijski korpus. Lucian Gregori, anarhistički pesnik, živi u predgrađu parka Šafran. Syme ga upoznaje na zabavi i raspravljaju o značenju poezije. Gregori tvrdi da je pobuna osnova poezije. Syme se buni, insistirajući da suština poezije nije revolucija, već zakon. Antagonira Gregorija tvrdeći da je najpoetičnije od čovekovih kreacija red vožnje za Londonsko podzemlje. Sugeriše da Gregori zapravo nije ozbiljan u vezi sa anarhizmom, što toliko iritira Gregorija da odvodi Simea na podzemno mesto anarhista, pod zakletvom da nikome ne otkriva njegovo postojanje. Centralno veće se sastoji od sedam muškaraca, od kojih svaki koristi naziv dana u nedelji kao pseudonim. ... Česterton je bio engleski književnik, a njegov bogat i raznolik stvaralački opus uključuje novinarstvo, poeziju, religiozna dela, biografiju, fantaziju i detektivsku fikciju. Bio je omiljeni Borhesov pisac, i uticao na rad Erika Artura Blera (koga znamo po imenu Džordž Orvel). ---- Gilbert Keith Chesterton (Campden Hill, 29. svibnja 1874. – London, 14. lipnja 1936.), engleski književnik, pjesnik, romanopisac, esejist, pisac kratkih priča, filozof, kolumnist, dramatičar, novinar, govornik, književni i likovni kritičar, biograf i kršćanski apologet, književnik katoličke obnove. Chestertona su nazivali `princem paradoksa` i `apostolom zdravog razuma`. Jedan je od rijetkih kršćanskih mislilaca kojemu se podjednako dive liberalni i konzervativni kršćani, a i mnogi nekršćani. Chestertonovi vlastiti teološki i politički stavovi bili su prerafinirani da bi se mogli jednostavno ocijeniti `liberalnima` ili `konzervativnima`. Za paradoks je govorio da je istina okrenuta naglavačke, da bi tako bolje privukla pozornost. Osnovano je smatrati da pripada uskome krugu najvećih književnika 20. stoljeća. 1935. je bio nominiran za Nobelovu nagradu za književnost, ali upravo te godine jedini put u povijesti dotična nije dodijeljena ta nagrada za književnost, ne računajući godine svjetskih ratova. Ne zna se sa sigurnošću razloge, ali zacijelo nije dodijeljena da je ne bi dobio veliki i djelotvorni kršćanski pisac Chesterton. Mnoge su pape cijenili Chestertona, među kojima Benedikt XVI., još dok nije bio papa, često ga je citirao, a papa Franjo još dok je bio nadbiskup Buenos Airesa, dao je Jorge Mario Bergoglio svoj blagoslov na molitvu za proglašenje Chestertona blaženim. Jedan od najvećih tomista 20. stoljeća Étienne Gilson za Chestertonovo Pravovjerje kaže da je `najbolje apologetsko djel dvadesetoga stoljeća`. Institut za vjeru i kulturu Sveučilišta Seton Hall u New Jerseyu nosi njegovo ime te izdaje znanstveni časopis The Chesterton Review. Chesterton je rođen u Campden Hillu, Kensington, London, kao sin Marie Louise (Grosjean) i Edwarda Chestertona. U dobi od jednog mjeseca bio je kršten u Crkvi Engleske. Chesterton se prema vlastitim priznanjima kao mladić zainteresirao za okultno, a sa svojim bratom Cecilom eksperimantirao je sa zvanjem duhova. Chesterton se obrazovao u Školi `St. Paul`. Pohađao je školu umjetnosti kako bi postao ilustrator, a pohađao je i satove književnosti na Londonskom sveučilišnom kolegiju, no nije završio nijedan fakultet. Chesterton se oženio za Frances Blogg 1901., i sa njom ostao do kraja svog života. Sazrijevanjem Chesterton postaje sve više ortodoksan u svojim kršćanskim uvjerenjima, kulminirajući preobraćanjem na Katoličanstvo 1922. godine. Godine 1896. počeo je raditi za londonske izdavače `Redwaya`, i `T. Fisher Unwina`, gdje je ostao sve do 1902. Tijekom ovog perioda započeo je i svoja prva honorarna djela kao novinar i književni kritičar. `Daily News` dodijelio mu je tjednu kolumnu 1902., zatim 1905. dobiva tjednu kolumnu u `The Illustrated London News`, koju će pisati narednih trideset godina. Chesterton je pokazao i veliko zanimanje i talent za umjetnost. Chesterton je obožavao debate i često se u njih upuštao sa prijateljima kao što su George Bernard Shaw, Herbert George Wells, Bertrand Russell i Clarence Darrow. Prema njegovoj autobiografiji, on i Shaw igrali su kauboje u nijemom filmu koji nikada nije izdan. Godine 1931., BBC je pozvao Chestertona na niz radijskih razgovora. Od 1932. do svoje smrti, Chesterton je isporučio više od 40 razgovora godišnje. bilo mu je dopušteno, a i bio je potican, da improvizira kod svojih obraćanja.

U dobrom stanju The Saga of Hog Island: And Other Essays in Inconvenient History Paperback – January 1, 1977 by James J. Martin Publisher ‏ : ‎ Ralph Myles; First Edition (January 1, 1977) Language ‏ : ‎ English Paperback ‏ : ‎ 208 pages ISBN-10 ‏ : ‎ 0879260211 ISBN-13 ‏ : ‎ 978-0879260217 Item Weight ‏ : ‎ 11.2 ounces Martin`s additionist essays are historical correctives that have relevance to events today. The first essay tells the story of the massive world war 1 ship building yard built at Hog Island, now the site of Philadelphia International Airport. Legend has it that the `Hoagie` sandwich may have had it`s origin among the many Italian American shipyard workers. At it`s peak as many as 36,000 workers were employed on Hog Island yards. This vast facility was established to mass produce cargo ships for the WW1 war effort, along the lines of the more famous `Liberty Ships` of WW2. But the program was dogged by scandal and massive accounting `incompetence`. In the end Hog Island, owned and operated by a consortium who`s membership register reads like a `Who`s Who` of the American business and industrial elite, delivered 122 ships that cost of `at least` $235 million to build (that is $2.4 billion in 2007 dollars, ~$20M each). Most of the ships were ultimately sold for a mere $35,000 each ($353,000 in 2007 dollars). Hog Island itself was a part of a larger web of mismanagement that embraced the Shipping Board and the Emergency Fleet Corporation. `Alfred D. Lasker, who assumed the direction of the Shipping Board under President Harding, on July 16, 1921 decalred that the total government `loss` on the ship construction, operation and leasing activities during the World War came to $4,000, 000, 000- double the figure originally thought.` Corrected for inflation, those 1921 dollars amount to approximately $40.3 billion in 2007 dollar terms. In a January 31, 2005 CNN article published under the headline `Audit: U.S. lost track of $9 billion in Iraq funds`. `Nearly $9 billion of money spent on Iraqi reconstruction is unaccounted for because of inefficiencies and bad management, according to a watchdog report published Sunday.` It`s probably not being over dramatic to say that the vast `losses` in US military-industrial spending represent part of a 90 year tradition of apparently unending fiscal incompetence. On the 10th January 2000, `The Weekly Standard` declared that Winston Churchill was `Man of the Century`. In his second essay `The Consequences of World War Two to Great Britain: Twenty Years of Decline, 1939 -1959` provides a much needed tonic to Churchill worship, and his elevation to the status of prophet, as regularly recycled by the History Channel and George W Bush`s bedside reading. In 1942 Churchill declared `I have not become His Majesty`s first minister to preside over the dissolution of the British Empire.` Yet to a large extent that was his real legacy as Martin explains. Martin`s piece also illustrates the extraordinary fickleness of many American conservatives. Ever ready (and probably rightfully so) to condemn FDR for bending over too far to accomodate Josef Stalin, FDR`s `willing accomplice` Winston Churchill largely escapes scot free from conservative criticism. Yet less than a year before his famous 1946 Fulton Missouri `Iron Curtain` speech, Churchill was praising Comrade Joe in parliament. Perhaps had FDR, who died in April 1945, had lived another year he would have had time to perform a public somersault too. Martin provides an eye opening essay on Mussolini`s campaign against the mafia. Like most students of history I had heard of this but had assumed Mussolini must have conducted some kind of fascist purge or authoritarian `round up` of mafiosi. Not so. Mussolini`s campaign was quite civilised with the accused being provided legal rights and indeed many accused successfully defended themselves against the charges and walked free. Still despite these `handicaps`, Mussolini`s lawful and orderly campaign against the mobs was one of the largest and most successful campaigns against organised crime anywhere, and much of it`s gain was unravelled by a mixture of postwar chaos and some allied cooperation with the mafia. Martin explores this last angle too. Many of us have heard of Lucky Luciano`s claims to have helped protect the New York waterfront from German saboteurs and to have aided the allied advance across Sicily. These stories indeed have become legends of sort. Martin sees them as shameless self promotion from a crook on the make. The allied armoured and amphibious campaign in Sicily wasn`t dependent on local mafiosi to show them goat tracks behind the Axis lines. Martin has three essays on the Pacific War. Only one could really be called revisionist. In `Pearl Harbor: Antecedents, Background and Consequences` he outlines the background to Japanese-American rivalry in the Pacific in the decades and days before Pearl Harbor. Usually `the revisionist position` here (as if there were just one) is summarised as the claim that FDR engaged in a conspiracy over Pearl Harbor. The old mainstream belief that FDR was really an innocent victim of a surprise attack has now largely been dismissed from serious scholarship, thanks to decades worth of unpraised work by revisionist historians. The new mainstream belief is that the unheeded warnings of imminent attack were mishandled. Administrative incompetence rather then conspiracy provides a better explanation. The revised mainstream account arbitrarily assumes incompetence and conspiracy are mutually exclusive categories. More to the point was `Rainbow 5`, the then secret ABDA (Australian-British-Dutch-American) agreement `..to fight the Japanese in Asia if their forces crossed a geographic line..[which]..approximated the northerly extremity of the [Dutch East Indies].` The US government was advised that the Japanese had crossed the magic line on December 3 (Washington time) and that America`s allies naturally expected the US government to live up to it`s agreements. The apparent mishandling of reports concerning Japanese fleet movements in the northern pacific need to be considered with the ABDA timeline in mind. Considering the great difficulty the administration had in having conscription passed in Congress, it squeaked through by just one vote, a certain degree of planned incompetence, an art form familiar to anyone who has worked in a bureaucracy can attest to, is not an unreasonable explanation (although one inherently and deliberately hard to prove). Nor is such a hypothesis equivalent to Roswell UFOs or the Bavarian Illuminati as anti-conspiracists like to maintain. Martin also essays the stories of Colin Kelly and `Tokyo Rose`. Kelly was an airman who died early in the Philippines campaign after his aircraft was hit following an indecisive attack on a second or third tier Japanese vessel, probably a supply transport. In the dark days of continuous bad news from the Pacific his deeds were inflated to legendary status by the media, and indeed the administration, until it sounded as if he single handedly sank a battleship in a one-man kamikaze attack. Subsequent revisions of the official account deflated the Kelly story down to a footnote before disappearing in later versions. The whole story seems to echo in the 2003 Jessica Lynch story. Times indeed have changed, the spin cycle is faster these days. The `Tokyo Rose` essay details how a soldiers` myth, that there was one seductive Japanese propaganda broadcaster luring GIs with tales of unfaithful girlfriends back home, led to a miscarriage of justice that scarred the life of Iva Toguri, a young Japanese American woman accidentally caught up in Japan whilst visiting family in the days surrounding Pearl Harbor. Toguri, one of many english language broadcasters was made carry the can for the lot. With the boom in recent years of feminist and multicultural studies, all under the history banner, it is surprising that Martin`s `The Framing of Tokyo Rose`, especially with it`s hints of sexuality, hasn`t become a standard in gender studies. This too has modern references, and not just in the United States. The current `War on Terror` is leaving in it`s wake a growing `bodycount` of innocent bystanders caught at the wrong place, often to become the victims of tragic miscarriages of justice as government security apparatus strikes out at it`s elusive quarry. The book is rounded off with three brief appendix essays, essentially magazine articles. The first compares the blacklists imposed on Axis commerce in South America by the US in the years before Pearl Harbor to the attempted Arab boycott of jewish owned firms in the US in 1975. The second discusses the Morgenthau Plan and the third is a brief history of political assassination in the first half of the 20th century. The last article is definitely the best, the Morgenthau Plan article is not comprehensive and seems to have been prematurely ended, neglecting to cover it`s demise and the boycott article seems to me to be `drawing a long bow`. The Rockefeller administered Axis boycott in South America, whatever else it was, was part of an actual economic warfare plan, the Arab boycott barely deserved the name and was almost entirely a propaganda campaign lacking serious enforcement teeth. If anything it probably boomeranged and hardened international opinion against the Arab campaign. `The Saga of Hog Island` is recommended to anyone interested in modern history.

Callas/ Verdi: Four Legendary Live Performances Disc: 1 1. Aida (2003 Remastered Version): Prelude - Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 2. Aida (2003 Remastered Version), ACT 1, Scene 1: Si, corre voce che l'Etiope ardisca (Ramfis, Radames) - Mario del Monaco/Roberto Silva/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 3. Aida (2003 Remastered Version), ACT 1, Scene 1: Se quel guerrier io fossi! (Radames) - Mario del Monaco/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 4. Aida (2003 Remastered Version), ACT 1, Scene 1: Celeste Aida (Radames) - Mario del Monaco/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 5. Aida (2003 Remastered Version), ACT 1, Scene 1: Quale insolita gioia nel tuo sguardo! (Amneris, Radames) - Oralia Dominguez/Mario del Monaco/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 6. Aida (2003 Remastered Version), ACT 1, Scene 1: Vieni, o diletta' appressati (Amneris, Aida, Radames) - Oralia Dominguez/Maria Callas/Mario del Monaco/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 7. Aida (2003 Remastered Version), ACT 1, Scene 1: Alta cagion v'aduna (King, Messenger, Aida, Radames, Amneris, Priests, Officers) - Ignacio Ruffino/Maria Callas/Mario del Monaco/Oralia Dominguez/Roberto Silva/Carlos Sagarminaga/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 8. Aida (2003 Remastered Version), ACT 1, Scene 1: Su! del Nilo al sacro lido (King, Aida, Radames, Amneris, Ramfis, Priests, Officers, Messenger) - Ignacio Ruffino/Maria Callas/Mario del Monaco/Oralia Dominguez/Roberto Silva/Carlos Sagarminaga/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 9. Aida (2003 Remastered Version), ACT 1, Scene 1: Ritorna vincitor! (Aida) - Maria Callas/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 10. Aida (2003 Remastered Version), ACT 1, Scene 2: Possente Ftha Ti che nulla hai tratto (Priestess, Ramfis, Priests, Priestesses) - Rosa Rodriguez/Giuseppe Taddei/Roberto Silva/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 11. Aida (2003 Remastered Version), ACT 1, Scene 2: Sacred Dance of the Priestesses Immenso Ftha Mortal, diletto ai Numi (Priestesses, Ramfis, Priests) - Roberto Silva/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 12. Aida (2003 Remastered Version), ACT 1, Scene 2: Nume, custode e vindice (Ramfis, Radames, Priests, Priestesses, Priestess) - Roberto Silva/Mario del Monaco/Rosa Rodriguez/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 13. Aida (2003 Remastered Version), ACT 2, Scene 1: Chi mai fra gl'inni e i plausi (Slaves, Amneris) - Oralia Dominguez/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 14. Aida (2003 Remastered Version), ACT 2, Scene 1: Dance of the Moorish Slaves - Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 15. Aida (2003 Remastered Version), ACT 2, Scene 1: Vieni, sul crin ti piovano (Slaves, Amneris) - Oralia Dominguez/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 16. Aida (2003 Remastered Version), ACT 2, Scene 1: Fu la sorte dell'armi a' tuoi funesta (Amneris, Aida) - Maria Callas/Oralia Dominguez/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 17. Aida (2003 Remastered Version), ACT 2, Scene 1: Pieta ti prenda del mio dolor (Amneris, Aida) - Maria Callas/Oralia Dominguez/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 18. Aida (2003 Remastered Version), ACT 2, Scene 1: Su! del Nilo Numi, pieta del mio martir (Chorus, Amneris, Aida) - Maria Callas/Coro del Palacio de Bellas Artes/Oralia Dominguez/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 19. Aida (2003 Remastered Version), ACT 2, Scene 2: Gloria all'Egitto, ad Iside (Crowd, Priests) - Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 20. Aida (2003 Remastered Version), ACT 2, Scene 2: Triumphal March - Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 21. Aida (2003 Remastered Version), ACT 2, Scene 2: Ballet - Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 22. Aida (2003 Remastered Version), ACT 2, Scene 2: Vieni, o guerriero vindice (People, Priests) - Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 23. Aida (2003 Remastered Version), ACT 2, Scene 2: Salvator della patria (King, Radames, Ramfis, Priests) - Ignacio Ruffino/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Mario del Monaco/Oliviero de Fabritiis/Roberto Silva 24. Aida (2003 Remastered Version), ACT 2, Scene 2: Che veggo!...Ma tu, Re (Aida, Amneris, Amonasro, Kings, Prisoners, Ramfis, Priests, People) - Maria Callas/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oralia Dominguez/Giuseppe Taddei/Oliviero de Fabritiis/Ignacio Ruffino/Roberto Silva 25. Aida (2003 Remastered Version), ACT 2, Scene 2: Il dolor che in quel volto favella (Tutti) - Maria Callas/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Mario del Monaco/Oliviero de Fabritiis/Oralia Dominguez/Giuseppe Taddei/Roberto Silva/Ignacio Ruffino 26. Aida (2003 Remastered Version), ACT 2, Scene 2: O Re, pei sacri Numi...Gloria all'Egitto (Radames, King, Ramfis, Amneris, Amonasro, Tutti) - Mario del Monaco/Coro del Palacio de Bellas Artes/Ignacio Ruffino/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis/Roberto Silva/Oralia Dominguez/Giuseppe Taddei Disc: 2 1. Aida (2003 Remastered Version), ACT 3: O tu che sei d'Osiride (Chorus) - Maria Callas/Mario del Monaco/Oralia Dominguez/Giuseppe Taddei/Roberto Silva/Ignacio Ruffino/Rosa Rodriguez/Carlos Sagarminaga/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 2. Aida (2003 Remastered Version), ACT 3: Vieni d'Iside al Tempio (Ramfis, Amneris, Chorus) - Roberto Silva/Oralia Dominguez/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 3. Aida (2003 Remastered Version), ACT 3: Qui Radames verra (Aida) - Maria Callas/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 4. Aida (2003 Remastered Version), ACT 3: O patria mia (Aida) - Maria Callas/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 5. Aida (2003 Remastered Version), ACT 3: Ciel! mio padre (Aida, Amonasro) - Maria Callas/Giuseppe Taddei/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 6. Aida (2003 Remastered Version), ACT 3: Rivedrai le foreste imbalsamente (Amonasro, Aida) - Maria Callas/Giuseppe Taddei/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 7. Aida (2003 Remastered Version), ACT 3: Pur ti riveggo, mia dolce Aida (Radames, Aida) - Maria Callas/Mario del Monaco/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 8. Aida (2003 Remastered Version), ACT 3: Nel fiero anelito di nuova guerra (Radames, Aida) - Maria Callas/Mario del Monaco/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 9. Aida (2003 Remastered Version), ACT 3: Fuggiam gli ardori inospiti La, tra foreste vergini (Aida, Radames) - Maria Callas/Mario del Monaco/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 10. Aida (2003 Remastered Version), ACT 3: Ma dimmi; per qual via (Aida, Radames, Amonasro, Amneris, Ramfis) - Maria Callas/Mario del Monaco/Giuseppe Taddei/Oralia Dominguez/Roberto Silva/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 11. Aida (2003 Remastered Version), ACT 4, Scene 1: L'abborrita rivale a me sfuggia (Amneris) - Oralia Dominguez/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 12. Aida (2003 Remastered Version), ACT 4, Scene 1: Gia i sacerdoti adunansi (Amneris, Radames) - Oralia Dominguez/Mario del Monaco/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 13. Aida (2003 Remastered Version), ACT 4, Scene 1: Ohime! morir mi sento! (Amneris) - Oralia Dominguez/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 14. Aida (2003 Remastered Version), ACT 4, Scene 1: Spirito del Nume (Ramfis, Priests, Amneris) - Roberto Silva/Oralia Dominguez/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 15. Aida (2003 Remastered Version), ACT 4, Scene 1: A lui vivo, la tomba!...Sacerdoti: compiste un delitto! (Ramfis, Priests, Amneris) - Roberto Silva/Oralia Dominguez/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 16. Aida (2003 Remastered Version), ACT 4, Scene 2: La fatal pietra sovra me si chiuse (Radames, Aida) - Mario del Monaco/Maria Callas/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 17. Aida (2003 Remastered Version), ACT 4, Scene 2: Vedi? Di morte l'angelo Immenso Ftha (Aida, Priestesses, Priests, Radames) - Maria Callas/Mario del Monaco/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis 18. Aida (2003 Remastered Version), ACT 4, Scene 2: O terra, addio (Aida, Radames, Priests, Priestesses, Amneris) - Maria Callas/Mario del Monaco/Oralia Dominguez/Coro del Palacio de Bellas Artes/Orquesta del Palacio de Bellas Artes/Oliviero de Fabritiis Disc: 3 1. Macbeth (1997 Remastered Version), Act I Scene 1: Preludio - Orchestra del Teatro alla Scala, Milano/Victor de Sabata 2. Macbeth (1997 Remastered Version), Act I Scene 1: Che faceste? Dite su! - Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 3. Macbeth (1997 Remastered Version), Act I Scene 1: Giorno non vidi mai - Enzo Mascherini/Italo Tajo/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 4. Macbeth (1997 Remastered Version), Act I Scene 1: Pro Macbetto, il tuo signore - Enzo Mascherini/Italo Tajo/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 5. Macbeth (1997 Remastered Version), Act I Scene 1: Due vaticini compiuti or sono - Enzo Mascherini/Italo Tajo/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 6. Macbeth (1997 Remastered Version), Act I Scene 1: S'allontanarono! - Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 7. Macbeth (1997 Remastered Version), Act I Scene 2: Nel di della vittoria io le incontrai... - Maria Callas/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 8. Macbeth (1997 Remastered Version), Act I Scene 2: Vieni! t'affretta! - Maria Callas/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 9. Macbeth (1997 Remastered Version), Act I Scene 2: Al cader della sera il Re qui giunge - Maria Callas/Attilio Barbesi/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 10. Macbeth (1997 Remastered Version), Act I Scene 2: Or tutti sorgete, ministri infernale - Maria Callas/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 11. Macbeth (1997 Remastered Version), Act I Scene 2: Oh, donna mia! - Enzo Mascherini/Maria Callas/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 12. Macbeth (1997 Remastered Version), Act I Scene 2: Sappia la sposa mia - Enzo Mascherini/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 13. Macbeth (1997 Remastered Version), Act I Scene 2: Regna il sonno su tutti - Enzo Mascherini/Maria Callas/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 14. Macbeth (1997 Remastered Version), Act I Scene 2: Fatal mia donna! un murmure - Enzo Mascherini/Maria Callas/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 15. Macbeth (1997 Remastered Version), Act I Scene 2: Allor questa voce m'intesi nel petto - Enzo Mascherini/Maria Callas/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 16. Macbeth (1997 Remastered Version), Act I Scene 2: Il pugnal la riportate - Enzo Mascherini/Maria Callas/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 17. Macbeth (1997 Remastered Version), Act I Scene 2: Di destario per tempo il Re m'impose - Enzo Mascherini/Maria Callas/Gino Penno/Lucian della Pergola/Italo Tajo/Angela Vercelli/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 18. Macbeth (1997 Remastered Version), Act I Scene 2: Schiudi inferno (Macduff/Banco/Lady Macbeth/Macbeth/Malcolm/Dama/Coro) - Enzo Mascherini/Maria Callas/Gino Penno/Lucian della Pergola/Italo Tajo/Angela Vercelli/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 19. Macbeth (1997 Remastered Version), Act II Scene 1: Perche mi sfuggi - Enzo Mascherini/Maria Callas/Gino Penno/Dario Caselli/Attilio Barbesi/Ivo Vinco/Lucian della Pergola/Italo Tajo/Angela Vercelli/Mario Tommasini/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 20. Macbeth (1997 Remastered Version), Act II Scene 1: La luce langue - Maria Callas/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 21. Macbeth (1997 Remastered Version), Act II Scene 2: Chi v'impose unirvi a noi? - Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 22. Macbeth (1997 Remastered Version), Act II Scene 2: Studia il passo, o mio figlio! - Italo Tajo/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 23. Macbeth (1997 Remastered Version), Act II Scene 2: Come dal ciel precipita - Italo Tajo/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 24. Macbeth (1997 Remastered Version), Act III Scene 3: Salve, o Re! - Enzo Mascherini/Maria Callas/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 25. Macbeth (1997 Remastered Version), Act III Scene 3: Si colmi il calice - Maria Callas/Gino Penno/Angela Vercelli/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 26. Macbeth (1997 Remastered Version), Act III Scene 3: Tu di sangue hai brutto il volto - Enzo Mascherini/Mario Tommasini/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 27. Macbeth (1997 Remastered Version), Act III Scene 3: Che ti scosta, o re mio sposo - Enzo Mascherini/Maria Callas/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 28. Macbeth (1997 Remastered Version), Act III Scene 3: Si colmi il calice - Enzo Mascherini/Maria Callas/Gino Penno/Angela Vercelli/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 29. Macbeth (1997 Remastered Version), Act III Scene 3: Sangue a me....quell'ombra chiede - Enzo Mascherini/Maria Callas/Gino Penno/Angela Vercelli/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata Disc: 4 1. Macbeth (1997 Remastered Version), Act III Scene 1: Tre volte miagola la gatta in fragola - Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 2. Macbeth (1997 Remastered Version), Act III Scene 1: Ballo - Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 3. Macbeth (1997 Remastered Version), Act III Scene 1: Finche appelli - Enzo Mascherini/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 4. Macbeth (1997 Remastered Version), Act III Scene 1: Fuggi, regal fantasima - Enzo Mascherini/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 5. Macbeth (1997 Remastered Version), Act III Scene 1: E sensi ed anima - Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 6. Macbeth (1997 Remastered Version), Act III Scene 1: Ove son io? - Enzo Mascherini/Maria Callas/Ivo Vinco/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 7. Macbeth (1997 Remastered Version), Act IV Scene 1: Patria oppressa! - Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 8. Macbeth (1997 Remastered Version), Act IV Scene 1: O figli, o figli miei! - Gino Penno/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 9. Macbeth (1997 Remastered Version), Act IV Scene 1: Ah, la paterna mano - Gino Penno/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 10. Macbeth (1997 Remastered Version), Act IV Scene 1: Dove siam? Che bosco e quello? - Gino Penno/Lucian della Pergola/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 11. Macbeth (1997 Remastered Version), Act IV Scene 2: Vegliammo invan due notti - Dario Caselli/Angela Vercelli/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 12. Macbeth (1997 Remastered Version), Act IV Scene 2: Una macchia e qui tuttora... - Maria Callas/Dario Caselli/Angela Vercelli/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 13. Macbeth (1997 Remastered Version), Act IV Scene 3: Perfidi! All'Anglo contro me v'unite! - Enzo Mascherini/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 14. Macbeth (1997 Remastered Version), Act IV Scene 3: Pieta, rispetto. onore - Enzo Mascherini/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 15. Macbeth (1997 Remastered Version), Act IV Scene 3: Elle e morta! - Enzo Mascherini/Angela Vercelli/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 16. Macbeth (1997 Remastered Version), Act IV Scene 3: All'armi! all'armi! - Enzo Mascherini/Gino Penno/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata 17. Macbeth (1997 Remastered Version), Act IV Scene 3: Vittoria! Vittoria! - Gino Penno/Lucian della Pergola/Coro del Teatro alla Scala, Milano/Vittore Veneziani/Orchestra del Teatro alla Scala, Milano/Victor de Sabata Disc: 5 1. La Traviata (1997 Remastered Version): Prelude - Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 2. La Traviata (1997 Remastered Version): Dell'invito trascorse e gio I'ora - Maria Callas/Silvana Zanolli/Antonio Zerbini/Arturo La Porta/Silvio Maionica/Giuseppe Zampieri/Giuseppe di Stefano/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 3. La Traviata (1997 Remastered Version): Libiamo ne'lieti calici - Giuseppe di Stefano/Silvana Zanolli/Giuseppe Zampieri/Arturo La Porta/Silvio Maionica/Antonio Zerbini/Maria Callas/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 4. La Traviata (1997 Remastered Version): Che e cio? - Giuseppe di Stefano/Silvana Zanolli/Giuseppe Zampieri/Arturo La Porta/Silvio Maionica/Antonio Zerbini/Maria Callas/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 5. La Traviata (1997 Remastered Version): Un di, felice, eterea - Giuseppe di Stefano/Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 6. La Traviata (1997 Remastered Version): Ebben? Che diavol fate? - Giuseppe Zampieri/Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 7. La Traviata (1997 Remastered Version): Si ridesta in ciel I'aurora - Silvana Zanolli/Giuseppe Zampieri/Arturo La Porta/Silvio Maionica/Antonio Zerbini/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 8. La Traviata (1997 Remastered Version): E strano! E strano! - Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 9. La Traviata (1997 Remastered Version): Ah, fors'e lui che I'anima - Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 10. La Traviata (1997 Remastered Version): Follie! Follie! Delirio vano e questo! - Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 11. La Traviata (1997 Remastered Version): Sempre libera - Maria Callas/Giuseppe Zampieri/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 12. La Traviata (1997 Remastered Version): Lunga de lei.... - Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 13. La Traviata (1997 Remastered Version): De'miei bollenti spiriti - Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 14. La Traviata (1997 Remastered Version): Annina, donde vieni?...Alfredo?...Per Parigi - Giuseppe di Stefano/Luisa Mandelli/Maria Callas/Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 15. La Traviata (1997 Remastered Version): Pura siccome un angelo - Ettore Bastianini/Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 16. La Traviata (1997 Remastered Version): Non sapete quale affetto - Ettore Bastianini/Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 17. La Traviata (1997 Remastered Version): Un di, quando le veneri - Ettore Bastianini/Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 18. La Traviata (1997 Remastered Version): Ah! dite alla giovine - Maria Callas/Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 19. La Traviata (1997 Remastered Version): Imponete...Non amarlo ditegli - Ettore Bastianini/Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 20. La Traviata (1997 Remastered Version): Morro! La mia memoria - Maria Callas/Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 21. La Traviata (1997 Remastered Version): Dammi tu forza, o cielo! - Maria Callas/Luisa Mandelli/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 22. La Traviata (1997 Remastered Version): Che fai?...Nulla - Giuseppe di Stefano/Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 23. La Traviata (1997 Remastered Version): Ah, vive sol quel core all'amore mio! - Giuseppe di Stefano/Franco Ricciardi/Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 24. La Traviata (1997 Remastered Version): Di Provenza il mar - Ettore Bastianini/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini Disc: 6 1. La Traviata (1997 Remastered Version): Avrem lieta di maschere la notte - Silvana Zanolli/Antonio Zerbini/Silvio Maionica/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 2. La Traviata (1997 Remastered Version): Noi siamo zingarelle - Silvana Zanolli/Antonio Zerbini/Silvio Maionica/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 3. La Traviata (1997 Remastered Version): Di Madride noi siam mattadori - Giuseppe Zampieri/Silvana Zanolli/Silvio Maionica/Antonio Zerbini/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 4. La Traviata (1997 Remastered Version): Alfredo! Voi! - Silvana Zanolli/Giuseppe Zampieri/Silvio Maionica/Antonio Zerbini/Giuseppe di Stefano/Maria Callas/Arturo La Porta/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 5. La Traviata (1997 Remastered Version): Invitato a qui seguirmi - Maria Callas/Giuseppe di Stefano/Silvana Zanolli/Giuseppe Zampieri/Arturo La Porta/Antonio Zerbini/Silvio Maionica/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 6. La Traviata (1997 Remastered Version): Ogni suo aver tal femmina - Giuseppe di Stefano/Giuseppe Zampieri/Arturo La Porta/Silvio Maionica/Antonio Zerbini/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 7. La Traviata (1997 Remastered Version): Di sprezzo degno se stesso rende - Ettore Bastianini/Giuseppe di Stefano/Silvana Zanolli/Giuseppe Zampieri/Arturo La Porta/Silvio Maionica/Antonio Zerbini/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 8. La Traviata (1997 Remastered Version): Alfredo! di questo core - Maria Callas/Silvana Zanolli/Ettore Bastianini/Giuseppe Zampieri/Arturo La Porta/Silvio Maionica/Antonio Zerbini/Giuseppe di Stefano/Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 9. La Traviata (1997 Remastered Version): Preludio - Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 10. La Traviata (1997 Remastered Version): Annina?...Comandate? - Maria Callas/Luisa Mandelli/Silvio Maionica/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 11. La Traviata (1997 Remastered Version): Teneste la promessa - Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 12. La Traviata (1997 Remastered Version): Addio, del passato - Maria Callas/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 13. La Traviata (1997 Remastered Version): Largo al quadrupede - Coro del Teatro alla Scala, Milano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 14. La Traviata (1997 Remastered Version): Signora!...Che t'accadde? - Luisa Mandelli/Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 15. La Traviata (1997 Remastered Version): Parigi, o cara - Luisa Mandelli/Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 16. La Traviata (1997 Remastered Version): Ah, non piu, a un tempio - Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 17. La Traviata (1997 Remastered Version): Ah! Gran Dio! Morir si giovine - Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 18. La Traviata (1997 Remastered Version): Ah, Violetta!...Voi signor! - Ettore Bastianini/Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 19. La Traviata (1997 Remastered Version): Predi, quest'e I'immagine! - Maria Callas/Giuseppe di Stefano/Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini 20. La Traviata (1997 Remastered Version): Se una pudica vergine - Maria Callas/Ettore Bastianini/Giuseppe di Stefano/Silvio Maionica/Orchestra del Teatro alla Scala, Milano/Carlo Maria Giulini Disc: 7 1. Un ballo in maschera (2002 Remastered Version), Act 1: Preludio (Orchestra) - Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 2. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 1: Posa in pace, a'bei sogni ristora (Coro/Samuel/Tom) - Antonio Cassinelli/Coro del Teatro alla Scala, Milano/Marco Stefanoni/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 3. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 1: S'avanza il Conte (Oscar/Riccardo) - Giuseppe di Stefano/Eugenia Ratti/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 4. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 1: La rivedra nell'estasi (Riccardo/Oscar/Coro/Samuel/Tom) - Giuseppe di Stefano/Eugenia Ratti/Coro del Teatro alla Scala, Milano/Noberto Mola/Antonio Cassinelli/Orchestra del Teatro alla Scala, Milano/Marco Stefanoni/Gianandrea Gavazzeni 5. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 1: Il cenno mio di la con essi attendi (Riccardo/Oscar/Renato) - Giuseppe di Stefano/Eugenia Ratti/Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 6. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 1: Alla vita che t'arride (Renato) - Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 7. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 1: Il prmio giudice (Oscar/Riccardo/Giudice) - Eugenia Ratti/Giuseppe di Stefano/Angelo Mercuriali/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 8. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 1: Volta la terrea (Oscar/Riccardo/Giudice/Renato/Samuel/Tom/Coro) - Eugenia Ratti/Coro del Teatro alla Scala, Milano/Giuseppe di Stefano/Angelo Mercuriali/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Ettore Bastianini/Antonio Cassinelli/Gianandrea Gavazzeni/Marco Stefanoni 9. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 1: Ogni cura si doni al diletto (Riccardo/Renato/Oscar/Samuel/Tom/Coro) - Giuseppe di Stefano/Ettore Bastianini/Coro del Teatro alla Scala, Milano/Eugenia Ratti/Noberto Mola/Antonio Cassinelli/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni/Marco Stefanoni 10. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Zitti l'incanto non dessi turbare Re dell'abisso, affrettati (Coro/Ulrica) - Maria Callas/Coro e Orchestra del Teatro alla Scala, Milano/Giuseppe di Stefano/Ettore Bastianini/Giulietta Simionato/Eugenia Ratti/Giuseppe Morresi/Antonio Cassinelli/Marco Stefanoni/Angelo Mercuriali/Antonio Ricci/Coro del Teatro alla Scala, Milano/Nobe 11. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Arrivo il primo! E lui, e lui! ne'palpiti (Riccardo/Coro/Ulrica) - Giuseppe di Stefano/Giulietta Simionato/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 12. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Su, fatemi largo, saper vo'il mio fato (Silvano/Ulrica/Riccardo) - Giuseppe Morresi/Giulietta Simionato/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 13. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Rallegrati omai (Ulrica/Silvano/Riccardo/Coro/Servo) - Giulietta Simionato/Giuseppe Morresi/Giuseppe di Stefano/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 14. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Che v'agita cosi? (Ulrica/Amelia/Riccardo) - Giulietta Simionato/Giuseppe di Stefano/Maria Callas/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 15. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Della citta all'occaso Consentimi, o Signore (Ulrica/Amelia/Riccardo) - Giulietta Simionato/Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 16. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Consentimi, o Signore (Ulrica/Amelia/Riccardo) - Giulietta Simionato/Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 17. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Figlia d'averno, schiudi la chiostra (Coro/Ulrica/Amelia/Riccardo) - Giulietta Simionato/Maria Callas/Giuseppe di Stefano/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 18. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Su, profetessa, monta il treppie (Coro/Oscar/Riccardo) - Eugenia Ratti/Giuseppe di Stefano/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 19. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Di' ti se fedele (Riccardo/Coro) - Giuseppe di Stefano/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 20. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Chi voi siate, l'audace parola (Ulrica/Riccardo/Samuel/Oscar/Coro) - Giulietta Simionato/Giuseppe di Stefano/Antonio Cassinelli/Eugenia Ratti/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 21. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: E scherzo od e follia (Riccardo/Ulrica/Samuel/Tom/Oscar/Coro) - Giuseppe di Stefano/Giulietta Simionato/Marco Stefanoni/Eugenia Ratti/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 22. Un ballo in maschera (2002 Remastered Version), Act 1, Scene 2: Finisci il vaticinio (Riccardo/Ulrica/Samuel/Tom/Renato/Coro/Silvano/Oscar) - Giuseppe di Stefano/Giulietta Simionato/Antonio Cassinelli/Marco Stefanoni/Ettore Bastianini/Maria Callas/Giuseppe Morresi/Eugenia Ratti/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 23. Un ballo in maschera (2002 Remastered Version), Act 2: Preludio (Orchestra) - Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 24. Un ballo in maschera (2002 Remastered Version), Act 2: Ecco l'orrido campo ove s'accoppia (Amelia) - Maria Callas/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 25. Un ballo in maschera (2002 Remastered Version), Act 2: Ma dell'arido stelo divulsa (Amelia) - Maria Callas/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 26. Un ballo in maschera (2002 Remastered Version), Act 2: Teco io sto (Riccardo/Amelia) - Giuseppe di Stefano/Maria Callas/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 27. Un ballo in maschera (2002 Remastered Version), Act 2: Non sai tu che se l'anima mia (Riccardo/Amelia) - Giuseppe di Stefano/Maria Callas/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 28. Un ballo in maschera (2002 Remastered Version), Act 2: Oh, qual soave brivido (Riccardo/Amelia) - Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni Disc: 8 1. Un ballo in maschera (2002 Remastered Version), Act 2: Ahime! S'appressa (Amelia/Riccardo/Renato) - Maria Callas/Giuseppe di Stefano/Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 2. Un ballo in maschera (2002 Remastered Version), Act 2: Amico, gelosa t'affido una cura (Riccardo/Renato) - Giuseppe di Stefano/Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 3. Un ballo in maschera (2002 Remastered Version), Act 2: Odi tu come fremono cupi (Amelia/Renato/Riccardo) - Maria Callas/Ettore Bastianini/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 4. Un ballo in maschera (2002 Remastered Version), Act 2: Seguitemi...Mio Dio! (Renato/Amelia/Coro/Sameul/Tom) - Ettore Bastianini/Maria Callas/Antonio Cassinelli/Marco Stefanoni/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 5. Un ballo in maschera (2002 Remastered Version), Act 2: Ve', se di notte qui colla sposa (Renato/Amelia/Coro/Samuel/Tom) - Ettore Bastianini/Maria Callas/Antonio Cassinelli/Marco Stefanoni/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 6. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: A tal colpa e nulla il pianto (Renato/Amelia) - Ettore Bastianini/Maria Callas/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 7. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: Morro, ma prima in grazia (Amelia) - Maria Callas/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 8. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: Alzati! la tuo figlio (Renato) - Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 9. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: Eri tu che macchiavi quell'anima...O dolcezze perdute! O memorie (Renato) - Ettore Bastianini/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 10. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: Siam soli. Udite (Renato/Tom/Samuel) - Ettore Bastianini/Antonio Cassinelli/Marco Stefanoni/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 11. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: Dunque l'onta di tutti sol una (Renato/Tom/Samuel) - Ettore Bastianini/Antonio Cassinelli/Marco Stefanoni/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 12. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: D'una grazia vi supplico (Renato/Samuel/Tom/Amelia) - Ettore Bastianini/Antonio Cassinelli/Marco Stefanoni/Maria Callas/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 13. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: Qual e dunque l'eletto? Ah! del Conte la morte si vuole! (Renato/Samuel/Tom/Amelia) - Ettore Bastianini/Antonio Cassinelli/Marco Stefanoni/Maria Callas/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 14. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: Il messaggio entri (Renato/Oscar/Amelia/Samuel/Tom) - Ettore Bastianini/Eugenia Ratti/Maria Callas/Antonio Cassinelli/Marco Stefanoni/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 15. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 1: Ah! Di che fulgor, che musiche (Renato/Oscar/Amelia/Samuel/Tom) - Ettore Bastianini/Eugenia Ratti/Maria Callas/Antonio Cassinelli/Marco Stefanoni/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 16. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 2: Forse la soglia attinse (Riccardo) - Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 17. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 2: Ma se m'e forza perderti (Riccardo) - Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 18. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 2: Ah! dessa e la (Riccardo/Oscar) - Giuseppe di Stefano/Eugenia Ratti/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 19. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 3: Fervono amori e danze (Coro/Samuel/Renato/Tom/Oscar) - Maria Callas/Coro e Orchestra del Teatro alla Scala, Milano/Giuseppe di Stefano/Ettore Bastianini/Giulietta Simionato/Eugenia Ratti/Giuseppe Morresi/Antonio Cassinelli/Marco Stefanoni/Angelo Mercuriali/Antonio Ricci/Coro del Teatro alla Scala, Milano/Nobe 20. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 3: Saper vorreste di che si veste (Oscar) - Eugenia Ratti/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 21. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 3: Fervono amori e danze (Coro/Renato/Oscar) - Ettore Bastianini/Eugenia Ratti/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 22. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 3: Ah! perche qui! fuggite (Amelia/Riccardo) - Maria Callas/Giuseppe di Stefano/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 23. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 3: E tu ricevi il mio! (Renato/Riccardo/Amelia/Oscar/Coro) - Ettore Bastianini/Giuseppe di Stefano/Maria Callas/Eugenia Ratti/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni 24. Un ballo in maschera (2002 Remastered Version), Act 3, Scene 3: Ella e pura: in braccio a morte (Renato/Riccardo/Amelia/Oscar/Coro) - Ettore Bastianini/Giuseppe di Stefano/Maria Callas/Eugenia Ratti/Coro del Teatro alla Scala, Milano/Noberto Mola/Orchestra del Teatro alla Scala, Milano/Gianandrea Gavazzeni Prikaži više

LYNN HAROLD HOUGH THE MEANING OF HUMAN EXPERIENCE Izdavač - Abingdon-Cokesbury Press, New York Godina - 1945 368 strana 24 cm Povez - Tvrd Stanje - Kao na slici, tekst bez podvlačenja SADRŽAJ: BASIC CONSIDERATIONS Chapter I: CONFRONTING THE HUMAN 1. The Men We Can Scarcely See. 2. The Men of the River Valleys. 3. The Men of Masterful Mind. 4. The Man Who Controls Other Men. 5. The Everlasting Barbarian. 6. The Men of Slippery Mind. 7. The Men Who Made Words Slaves. 8. The Men Who Enshrined Memories. 9. The Men Who Captured Dreams. 10. The Men Who Were Disturbed by the Moral Voice. 11. The Men Who Made Nations. 12. The Men Who Made Republics. 13. The Men Who Made Machines. 14. The Men Who Became Machines. 15. The Interpreters of the Battle of Impulses and Ideas. 16. The Alluring and Betraying Utopias. 17. The Men Who Have Seen Individuals Sharply. 18. The Man Everyman Sees. Chapter II: KNOWING AND THINKING. 1. The Necessary Assumptions. 2. The Possibility of Universal Skepticism. 3. The Mistakes of the Thinkers. 4. Freedom. 5. The Great Correlation: Thinker, Thought, Thing. 6. What the Mind Brings to Experience. Chapter III: THE NATURE OF THE REAL. 1. Materialism. 2. Realism. 3. Idealism. 4. Impersonal Realism. 5. Impersonal Idealism. 6. Personal Realism. 7. Personal Idealism. Chapter IV: THE ULTIMATE PERSON 1. The Ground of a Community of Personal Experience. 2. The Ground of the Existence of Persons. 3. Explaining the Personal by Means of the Impersonal. 4. Explaining the Impersonal by Means of the Personal. 5. Human Personality. 6. Divine Personality. 7. The Security of Experience in the Ultimate Person. 8. Moving Back to the Major Premise from the World of Experience. 9. Moving from the Ultimate Person Back to History. Chapter V: THE SPEECH OF THE GREAT PERSON. 1. The Speech of the Creator. 2. God`s Speech in Man. 3. God`s Speech in Nature. 4. `Natural Theology.` 5. Has God Spoken in the Ethnic Religions? 6. Classification of Religions. 7. The Ethnic Religions and `Natural Theology.` 8. The Ethnic Religions and Revelation. 9. Is There a Higher Revelation? THE HEBREW-CHRISTIAN WITNESS Chapter VI: THE RELIGIOUS EXPERIENCE OF ISRAEL. 1. The Adventure of Man with Nature. 2. The Adventure of Man with Man. 3. The Adventure of Man with God. 4. The Unique Adventure in Palestine. 5. The God with a Character. 6. Borrowing and Transform- ing. 7. Things Left Behind. 8. Truths Apart from Experience. 9. Truth in Experience. 10. The Striking Individuals. 11. The Dedicated People. Chapter VII: THE HEBREW PROPHETS. 1. Elijah and Elisha. 2. Amos. 3. Hosea. 4. Isaiah. 5. Micah. 6. Jeremiah. 7. Nahum. 8. The Isaiah of the Exile. 9. Ezekiel. 10. God Meets Men at the Central Place of Their Own Experience. Chapter VIII: `THE REIGN OF LAW`. 1. Old Testament Laws. 2. Law as Convention. 3. Law as Ritual. 4. Natural Law. 5. Law as the Correlation of Human Sanctions. 6. Law as the Correlation of Divine Sanctions. 7. The Law in the Heart. Chapter IX: THE BATTLE WITH DOUBT AND THE LYRICAL VOICES 1. Habakkuk. 2. Job. 3. The Hero of the Book of Psalms. 4. The Indi- vidual Experiences of the Book of Psalms. 5. The Humanism of the Psalms. 6. The Evangelical Note in the Psalms. 7. The Law Is Taught to Sing. 8. Social Insights of the Psalms. 9. The Tragedies of the Book of Psalms. 10. The Triumphant Joy of the Psalms. 11. The Hallelujah Chorus. Chapter X: SERMONS ON HISTORY. 1. Samuel. 2. Saul. 3. David. 4. Solomon. 5. The Choice of Rehoboam. 6. Hezekiah. 7. Josiah. 8. The Living Forces in History. 9. The Divine Meanings in History. Chapter XI: THE STORY OF A BRIDGE 1. The Exile. 2. The Return from Exile. 3. The Resurrection of the Nation. 4. Persia. 5. Babylon. 6. Alexandria. 7. The Decadent Greeks. 8. The Great Patriots. 9. Rome. 10. The Fresh Insights. 11. Casually Accepted Beliefs. 12. The New Imperial World. Chapter XII: THE HUMAN LIFE DIVINE 1. The Portrait of Christ in the Gospels. 2. Vital Perfection. 3. The Compelling Person. 4. The Words. 5. The Great Insights. 6. The Deeds and the Life. 7. The Great Invitation and the Great Divide. 8. The Personal Experience Back of the Gospels. 9. The Criticism of Christian Experience. 10. The Human Life Divine. Chapter XIII: RELIGION AS REDEMPTION 1. Ideas Connected with Religion as Redemption. 2. The Classical Form of Christian Experience. 3. Some Historical Examples. 4. The Reverse Approach to Paul Through Twenty Centuries of Christian Experience. 5. The Pauline Theology and Classical Christianity. 6. `Other Sheep.` 7. Great Christians Who Were Not Evangelicals. 8. The Soft Substitutes. 9. The Modern Experience of Redemption. Chapter XIV: RELIGION AS APOCALYPSE 1. The Conditions of the Rise of Apocalyptic Literature. 2. Sense of Complete Frustration in the Presence of Evil Powers. 3. The Faith of the Hopeless Minority. 4. The Appeal from the Acts of Men to the Acts of God. 5. Mysterious Symbolisms Whose Central Message Is Obvious to the Oppressed. 6. Apocalyptic Writing as a Literature of Consolation. 7. Apocalyptic Writing as a Literature of Triumphant Hope. 8. Apocalypse as a Philosophy of History. 9. Modern European Theology and the Apocalyptic Mood. 10. The Permanent Significance of the Apocalyptic Elements in the Christian Religion. Chapter XV: THE QUEEN OF THE SCIENCES 1. Science as Measurement. 2. The Larger Conception of Science. 3. Theology, the Keystone of the Arch. 4. Exegetical Theology. 5. Biblical Theology. 6. Philosophical Theology. 7. The Greek Theology. 8. The Latin Theology. 9. The Intellect and the Will. 10. The Reformation Takes Theological Forms. 11. The Theology of Fulfillment. 12. The Theology of Crisis. 13. The Theology of Social Action. 14. The Great Synthesis. THE HUMANISTIC TRADITION Chapter XVI: THY SONS, O GREECE. 1. The Living Process. 2. The Mingling of Primitive and Civilized Life. 3. The Direct Gaze at Nature. 4. The Direct Gaze at Man. 5. The Dangerous Gift of Abstraction: the Good, the Beautiful, and the True. 6. The Living Faith in the Ideal. 7. The Halfway Houses: the Things Which Seem Better than Gods; the Virtues Which Have Fruits Without Roots. 8. The Deliverance from Abstraction. 9. Athens and Jerusalem. Chapter XVII: CRITICS OF MANY LANDS 1. The Voice of the Critic. 2. Through the Eyes of Aristotle. 3. Longinus and the Great Soul. 4. Cicero and the Battle Between Appetite and Reason. 5. Quintilian Directs the Man with a Voice. 6. Lucian Scorns His World. 7. Boethius Confronts Tragedy. 8. Thomas Aquinas Finds Reason in Theology. 9. Pico della Mirandola Finds the Dignity of Man. 10. Francis Bacon Turns to Nature and Misunderstands Human Values. 11. Dryden Comes to His Throne. 12. France Attains a Fine Certainty. 13. The Coffee House Becomes Articulate. 14. Dean Swift Castigates. 15. Dr. Johnson Pontificates. 16. Burke Beholds Sublimity. 17. Sainte-Beuve Writes Royally. 18. Carlyle`s Clouds and Darkness and Flashing Light. 19. Matthew Arnold Remembers the Best That Has Been Thought and Said in the World. 20. Ruskin Teaches Beauty to Face Social Responsibility. 21. Saintsbury, the Hedonist. 22. Physics and Biology Rampant. 23. The Freudians Inspire Literary Criticism. 24. The Social Radicals Have Their Day in Court. 25. Humanism Becomes Mighty in Irving Babbitt. 26. Humanism Becomes Christian in Paul Elmer More. 27, Evangelical Humanism Chapter XVIII: FICTION FINDS TRUTH AND FALSEHOOD 1. Escape. 2. Adventure. 3. Vicarious Satisfaction. 4. By the Light of a Thousand Campfires. 5. By the Lamps of a Thousand Libraries. 6. By the Fireplaces of a Thousand Homes. 7. The Isolated Reader Who Finds a Society in Books. 8. Fiction Heightens and Dramatizes Life. 9. Fiction Photographs Human Life. 10. Fiction Brings Back Golden Memories. 11. Fiction Brings Back Memories That Corrode and Burn. 12. Fiction Criticizes Life. 13. Fiction Records the Adventures of the Soul. 14. Fiction as the Voice of the Body. 15. Fiction Gives Life to Great Hopes. 16. Fiction Interprets Life. 17. Fiction and the Rights of the Soul Chapter XIX: POETRY OPENS AND CLOSES ITS EYES 1. Homer. 2. The Greek Tragedians. 3. Vergil. 4. Dante. 5. Chaucer. 6. Spenser. 7. Shakespeare. 8. Marlowe. 9. O Rare Ben Jonson. 10. John Donne. 11. Other Metaphysical Poets. 12. Alexander Pope. 13. John Keats. 14. Shelley. 15. Lord Byron. 16. Wordsworth. 17. Browning. 18. Tennyson. 19. Goethe. 20. Longfellow. 21. Lowell. 22. Whitman. 23. Hardy. 24. D. H. Lawrence. 25. Robert Bridges. 26. Edwin Arlington Robinson. 27. T. S. Eliot. 28. Robert Frost. 29. Decadent Poetry. 30. Finding One`s Way. Chapter XX: BIOGRAPHY HIDES AND TELLS ITS SECRETS 1. How Much Can We Know About Particular People? 2. How Much Can Particular People Know About Themselves? 3. Can We Know a Man`s Secret? 4. Through the Civilized Eyes of Plutarch. 5. Through the Spacious Eyes of Macaulay. 6. The Sensitive Plate of Sainte-Beuve. 7. The Biographical Detective Appears in Gamaliel Bradford. 8. The Perceptive Analysis of Gilbert Chesterton. 9. The Heroes. 10. The Saints. 11. The Statesmen. 12. The Thinkers. 13. The Scientists. 14. The Preachers. 15. The Reformers. 16. The Women. 17. The Men. 18. The Valley of Decision Chapter XXI: HISTORY AND THE CHRISTIAN SANCTIONS 1. The Breakdown of the Older States. 2. The Debacle in Greece. 3. The Debacle in Rome. 4. The Debacle in the Middle Ages. 5. The Debacle in the Renaissance. 6. The Debacle in the Reformation. 7. The Debacle in the Enlightenment. 8. The Debacle of the French Revolution. 9. The Debacle in the Society of Science. 10. The Debacle of the Society of Social Blueprints. 11. The Debacle in the Society of the Machine Age. 12. The Debacle of the Great Reversion. 13. Democracy Faces Fate. 14. The Judgment of the Christian Sanctions. THE EVANGELICAL SYNTHESIS Chapter XXII: ALL THE STREAMS FLOW TOGETHER. 1. Physical Well-Being. 2. Moral Well-Being. 3. Intellectual Well-Being. 4. Spiritual Well-Being. 5. Social Well-Being. 6. The Tragedy of Ignorance. 7. The Solution of the Problem of Ignorance. 8. The Tragedy of Incompleteness. 9. The Solution of the Problem of Incompleteness. 10. The Tragedy of Sin. 11. The Solution of the Problem of Sin. 12. The Tragedy of Social Disintegration. 13. The Solution of the Problem of Social Disintegration. 14. The Religion of Revelation. 15. The Religion of the Incarnation. 16. The Religion of the Cross. 17. Christus Imperator. Chapter XXIII: THE TRAGEDY OF THE GREAT GREGARIOUSNESS 1. The All-Inclusiveness of Hinduism. 2. The Nest of Fallacies. 3. You Cannot Affirm a Thing Without Denying Its Opposite. 4. A Relative Insight Is Not an Insight. 5. A Relative Loyalty Is Not a Loyalty. 6. A Relative Truth Is Not a Truth. 7. The Ladder of Confusion. 8. The Great Gregariousness Becomes the Complete Blackout. 9. The Great Distinctions. 10. The Living Corpus of Dependable Truth. Chapter XXIV: THE TRANSFIGURATION OF ETHICS. 1. Codes and Practice. 2. The Man with Ethical Experience. 3. The Personal and the Impersonal. 4. The Great Dilemma. 5. The Solution of the Antinomian. 6. The Conventional Solution. 7. The Solution of Those Who Get Lost in Details. 8. The Solution of a Shrewd Prac- ticality. 9. The Solution of Despair. 10. The Solution of Faith. 11. The Searching Power Which Christianity Brings to Ethics. 12. The New Spirit Which Christianity Brings to Ethics. 13. The Lyrical Gladness Which Christianity Brings to Ethics. 14. Christianity and the Creative Ethical Life. Chapter XXV: BEYOND THESE VOICES. 1. The Creature Who Must Have Eternity. 2. The Claims of the Unful- filled. 3. The Claims of Those Who Cry Out Against the Injustices of Time. 4. Man Without Eternity. 5. Eternity Without Man. 6. The Faith Written in the Soul of Man. 7. The Men of Social Passion Who Fear the Belief in Immortality. 8. The Final Adjudication. 9. The Faithful God. Index Ako Vas nešto zanima, slobodno pošaljite poruku. Aristotle Matthew Arnold Athanasius Karl Barth Robert Browning Oscar Cargill Cicero Charles Dickens William Fairweather Charles Kingsley Martin Luther William Robertson Nicoll Plato Socrates

Odlično Rumunska književnost Poezija Geo Bogza (Romanian pronunciation: [ˈd͡ʒe.o ˈboɡza]; born Gheorghe Bogza; February 6, 1908 – September 14, 1993) was a Romanian avant-garde theorist, poet, and journalist, known for his left-wing and communist political convictions. As a young man in the interwar period, he was known as a rebel and was one of the most influential Romanian Surrealists. Several of his controversial poems twice led to his imprisonment on grounds of obscenity, and saw him partake in the conflict between young and old Romanian writers, as well as in the confrontation between the avant-garde and the far right. At a later stage, Bogza won acclaim for his many and accomplished reportage pieces, being one of the first to cultivate the genre in Romanian literature, and using it as a venue for social criticism. After the establishment of Communist Romania, Bogza adapted his style to Socialist realism, and became one of the most important literary figures to have serviced the government. With time, he became a subtle critic of the regime, especially under the rule of Nicolae Ceaușescu, when he adopted a dissident position. Beginning in the late 1960s, he publicized his uncomfortable attitudes as subtext to apparently innocent articles and essays. An editor for Viața Românească and România Literară magazines, Geo Bogza was one of the leaders of the Romanian Writers` Union and a member of the Romanian Academy. He was the older brother of Radu Tudoran, himself a known writer, whose political choices were in stark contrast with those of Geo Bogza, and made Tudoran the object of communist persecution. Bogza had lifelong contacts with some representatives of the Romanian avant-garde, among them Victor Brauner, Max Blecher, Sesto Pals, Sașa Pană, and Paul Păun, and was friends with, among others, the essayist and theologian Nicolae Steinhardt, the dissident Gheorghe Ursu, and the filmmaker Mircea Săucan. Biography[edit] Early years and the avant-garde[edit] Geo Bogza was born in Blejoi, Prahova County. At one point during the late 1930s, Bogza was irritated after reading an article authored by one of his fascist adversaries, Alexandru Hodoș (later a member of the Iron Guard). Hodoș implied that Bogza was not an ethnic Romanian, which prompted the latter to elaborate on his origins and his name.[1][2] Bogza refuted the allegation by indicating that his father was originally from the village of Bogzești, in Secuieni, Neamț County, and that his mother (née Georgescu) was the daughter of a Romanian Transylvanian activist who had fled from Austria-Hungary to the Kingdom of Romania.[1][2] The lineage was confirmed by literary critic George Călinescu as part of a short biographical essay.[3] Geo Bogza, who indicated that he was baptized Romanian Orthodox, also stressed that his given name, Gheorghe, had been turned into the hypocoristic Geo while he was still a child, and that he had come to prefer the shortened form.[1][2] During the early stages of his career, he is known to have signed writings with the name George Bogza (George being a variant of Gheorghe).[1][2] Bogza attended school in Ploiești and trained as a sailor at the Naval Academy in Constanța, but never sought employment in the Romanian Naval Forces.[1] Until the age of 28, he made part of his income as a sailor on a commercial vessel.[3] He returned to his native Prahova County, lived in Buștenari, and eventually settled in Bucharest. In 1927, he made his debut in poetry, writing for the Prahova-based modernist magazine Câmpina, which was edited by poet Alexandru Tudor-Miu.[1][2] The following year, he contributed to Sașa Pană`s avant-garde magazine unu (also known as Unu), edited a short-lived Surrealist and anti-bourgeois magazine that drew inspiration from Urmuz (and was titled after that writer),[1][2][4] and published in Tudor Arghezi`s Bilete de Papagal.[1][2][5] Arghezi admired the younger writer, and he is credited with having suggested the name Urmuz for the magazine.[1] During that period, Geo Bogza became one of the most recognizable young rebellious authors, a category that also included, among others, Marcel Avramescu, Gherasim Luca, Paul Păun, Constantin Nisipeanu, and Sesto Pals.[6][7] In time, he became a noted contributor to the leftist and socialist press, and one of the most respected Romanian authors of reportage prose. One of his articles-manifestos read: `I always had the uncomfortable impression that any beauty may enter the consciousness of a bourgeois only on all fours [italics in the original].`[1][2] Writing for Urmuz, he condemned convention as `a false sun` and `intellectual acrobatics`, depicting his magazine as `a lash that whips the mind`.[4] Winning the praise of his fellow young authors Stephan Roll and Ilarie Voronca,[8] he was criticized by prominent literary figure George Călinescu, who accused him of `priapism`,[3][8] based on Bogza`s irreverent tone and erotic imagery. It was also during the late 1920s that Bogza began touring the Prahova Valley, becoming a close observer of local life in the shadow of the oil industry.[1] He had a conflict with Tudor-Miu in August 1928, after the latter modified a poem Bogza sent to be published in Câmpina—the two reconciled later in the year, and later wrote a special poem for its one-year anniversary.[1] His collaboration with Pană, Roll, Ion Vinea, Simion Stolnicu, and others led to the ad hoc establishment of a literary group, which was defined by writer and critic Camil Petrescu as `the revolutionaries from Câmpina` (after the town where Bogza spend much of his time).[1] Among other writers who joined Bogza in publishing the five issues of Urmuz were Voronca and the Dadaist Tristan Tzara.[4] He also established a friendship and collaboration with the photographer Iosif Bernea[9] and the painter Victor Brauner,[4] and was close to the writer and future Orthodox hermit Nicolae Steinhardt.[10] After 1930, he was involved in polemics with traditionalist young authors, including poet Otilia Cazimir (whom he accused of writing with `hypocrisy`) and members of the eclectic grouping known as Criterion (who, he claimed, were guilty of `ridicule and opportunism`).[1] His relations with Arghezi also grew more distant, after Bogza expressed disapproval for Arghezi`s 1930 decision to collaborate with the Romanian Radio—Geo Bogza drew attention to his older colleague`s previous public statements, in which he had criticized the national station on various grounds.[1] Early in his youth, while in Buștenari, Geo Bogza met and fell in love with Elisabeta (also known as Bunty), whom he married soon after.[3][8] Their love affair was celebrated by Bogza`s friend Nicolae Tzone, who also stated that she `lived simply and without any sort of commotion in his shadow`.[8] Initially, the couple lived in Sașa Pană`s Bucharest house, and, for a while afterwards, at the headquarters of unu.[1] In old age, he spoke of one of these lodgings as `an unsanitary loft, where one would either suffocate from the heat or starve with cold.`[11] Trials and jail terms[edit] Bogza`s work was at the center of scandals in the 1930s: he was first arrested on charges of having produced pornography in 1930, for his Sex Diary, and was temporarily held in Văcărești Prison, until being acquitted.[1][2][6][8] At the time, he responded to the hostile atmosphere by publishing an article in unu which included the words `ACADEMICIANS, SHAVE YOUR BRAINS! [capitals in the original]`[1][2][6][8] (also rendered as `disinfect your brains!`).[4] In reference to his trial, the magazine unu wrote: `Bogza will be tried and receive punishment for having the imprudence of not letting himself be macerated by «proper behavior», for having dunked his arms down to the feces, for having raised them up to his nose, smelling them and then spattering all those who were dabbling with their nostrils unperceptive of his exasperated nature.`[1][2] Other positive reactions to his writings notably included that of teachers at a high school in Ploiești, who invited him to attend a celebration marking the start of the school year.[1] Reportedly, Bogza asked to be defended by Ionel Teodoreanu, a known writer who had training in law, but he was ultimately represented by Ionel Jianu.[6] After his success in court, he issued business cards reading: `GEO BOGZA/ACQUITTED/NOVEMBER 28, 1932 [capitals in the original]`.[6] Late in 1933, he edited a new magazine, titled Viața Imediată (`The Immediate Life`), of which only one issue was ever published.[12] Its cover photograph showed a group of derelict workers (it was titled Melacolia celor șezând pe lângă ziduri, `The Melancholy of Those Sitting by the Walls`).[12] The same year, he was taken into custody for a second time, after publishing his Offensive Poem—which depicted his sexual encounter with a servant girl[13]—and was sentenced to six days in jail; in 1937, at the same time as H. Bonciu, Bogza again served time for Offensive Poem,[6][8][14] after the matter was brought up by Ioan Alexandru Brătescu-Voinești on behalf of the Romanian Academy.[8][14] Similar demands for punishment were voiced by historian Nicolae Iorga and by the poet and fascist politician Octavian Goga.[8] Bogza was frequently attacked by Iorga`s nationalist magazine Cuget Clar.[15] During the same period, his friends and fellow Surrealists Luca and Pals were also jailed on similar charges, after they were denounced by Iorga.[6][7][16] Other young authors imprisoned on such grounds included Păun, Aurel Baranga, and Jules Perahim.[6] Writing for Azi, a review edited by Zaharia Stancu, Bogza dismissed the accusation as a cover-up for an increase in authoritarianism as King Carol II was attempting to compete with the fascist Iron Guard.[17] The latter`s press welcomed the move, and, using strong antisemitic language, instigated the authorities to intervene in similar cases of alleged obscenity—which it viewed as characteristic of both Surrealism and the Jewish-Romanian authors who were associated with Bogza.[18] In 1934, while visiting Brașov in the company of his wife, Bogza met Max Blecher, a young man who was beddriden by Pott`s disease and had started work on the novel later known as Întâmplări din irealitatea imediată (`Events in Immediate Unreality`).[19] The three were to become good friends, and Bogza encouraged him to continue writing.[19] Adoption of communism and official status[edit] His growing sympathy for communism and his connections with the outlawed Romanian Communist Party (PCR) made Bogza a target of the authorities` surveillance. Siguranța Statului, the country`s secret service, kept a file on him, which contained regular reports by unknown informers.[20] One of them claims: `given that he was a communist, [Bogza] covered the puberty of his writing in the cape of social revolt.`[20] Late in 1937, Geo Bogza traveled to Spain as a war correspondent in the Civil War, supporting the Republican side.[2][13][20][21] His position of the time drew comparisons with those of other leftist intellectuals who campaigned against or fought Nationalist forces, including W. H. Auden and George Orwell.[21] He was accompanied on this journey by Constantin Lucreția Vâlceanu, who had ambitions of becoming a writer, and whom Bogza asked to contribute to a never-completed novel inspired by the war.[20] Soon after their return, in what was a surprising gesture, Vâlceanu split with the leftist camp and rallied with the Iron Guard.[20] The writer had grown close to the PCR, but their relations soured c. 1940, when Bogza was confronted with news that the Soviet Union and Nazi Germany had signed a non-aggression pact.[20] Physician G. Brătescu, who maintained contacts with Sașa Pană and other figures in the Romanian avant-garde and, like him, was then a Communist Party militant, recorded that, by 1943, there was a hint of tension between Pană and Bogza.[12] Bogza did not however cut off links with Surrealism, and was one of the few to be acquainted with the literature of his friend Sesto Pals, which he later helped promote at home and abroad.[16] After World War II and the establishment of a communist regime, the writer adopted and included in his works the themes of Socialist realism,[22] and was awarded several honors.[23] During the 1950s, he traveled extensively to the Soviet Union[24] and Latin America, writing several works on topics such as Decolonization.[25] In 1955, Bogza became a full member of the Romanian Academy. Historian Vladimir Tismăneanu indicated that he was one of the few genuine left-wing intellectuals associated with the regime during the 1950s—alongside Anatol E. Baconsky, Ovid Crohmălniceanu, Geo Dumitrescu, Petru Dumitriu, Paul Georgescu, Gheorghe Haupt, Eugen Jebeleanu, Mihail Petroveanu, and Nicolae Tertulian.[26] According to Tismăneanu, this group was able to interpret the cultural policies endorsed by Romania`s leader Gheorghe Gheorghiu-Dej after the Hungarian Revolution of 1956 threatened to disrupt communism in neighboring countries, when the regime turned against advocates of liberalization such as Miron Constantinescu, Mihail Davidoglu, Alexandru Jar, and Ion Vitner.[26] Commenting on this, Tismăneanu noted that Geo Bogza and all others failed to distance himself from the new repressive mood, and that the group`s silence indirectly helped chief ideologist Leonte Răutu and his subordinate Mihai Beniuc to restore effective control over the Romanian Writers` Union.[26] Bogza was, however, skeptical about the goals of the PCR, and his support for it was much reduced in time. Literary historian Eugen Simion discussed the writer`s effort to tone down the scale of cultural repression, and included him among the `decent men` to have done so.[27] Bogza`s brother Radu Tudoran, an anti-communist who had risked a prison sentence in the late 1940s after attempting to flee the country, was condemned by the communist press, and lived in relative obscurity.[28] In 1958, Geo Bogza himself was exposed to official criticism in the official Communist Party paper, Scînteia, which claimed that he and other writers had been exposed to `bourgeois tendencies` and `cosmopolitanism`, no longer caring about `the desires of the Romanian people`.[29] This subject drew attention in the Socialist Federal Republic of Yugoslavia, a country which, under Josip Broz Tito, had engaged on an independent path and was criticizing the Eastern Bloc countries for their commitment to Stalinism (see Titoism). In an article he contributed to Borba, Yugoslav writer Marko Ristić, who spoke of the Romanian as `my friend [...], the nostalgic, gifted and loyal Geo Bogza`, took the Scînteia campaign as proof that the Gheorghiu-Dej regime was still reminiscent of Joseph Stalin`s.[29] Ristić, who feared the purpose and effect such attacks had on Romanian culture, noted that Bogza had `in vain, done his utmost, by trying to adapt himself to the circumstances, not to betray himself, even in the period when Stalin alone [...] was solving esthetic problems, appraising artistic works and giving the tone in his well-known method.`[29] In February 1965, as Gheorghiu-Dej was succumbing to cancer, the Writers` Union Conference facilitated an unprecedented attack on Socialist Realism.[30] This dispute saw writers attacking Union president Beniuc, who was identified with Stalinism—as a result of the confrontation, in what was an early sign of liberalization, Beniuc was dismissed from his post, and replaced with Zaharia Stancu.[30][31] According to literary historian Valeriu Râpeanu, Bogza, who attended the Conference, went so far as to demand that Beniuc`s chair be burned.[31] In opposition to Ceaușescu[edit] A member of the Writers` Union leadership board after 1965, he was editor of the influential literary magazine Viața Românească.[32] Despite his official status, Bogza himself was critical of the adoption of nationalist themes in official discourse after the ascendancy of Nicolae Ceaușescu in the 1960s.[33] The new doctrine, eventually consecrated in Ceaușescu`s July Theses, saw him taking the opposing side: during the early 1970s, Bogza published pieces in which he voiced covert criticism of the new policies.[34] Tismăneanu cited him among the most important intellectuals of various backgrounds to have done so, in a class also comprising members of the Oniric group, as well as the cultural figures Jebeleanu, Ion Caraion, Ștefan Augustin Doinaș, Dan Hăulică, Nicolae Manolescu, Alexandru Paleologu, and Mircea Zaciu.[34] His nonconformist stance drew comparisons with that assumed by his generation colleague, the ethnic Hungarian poet and prominent Writers` Union member József Méliusz.[32] In 1976, Bogza discussed the issue of disappointment, stating: `Life is not like a tournament, but like an outage. From the first to the last day.`[35] In reference to such an attitude, which believed was related the political context, literary critic and novelist B. Elvin, himself a former leftist and dissident, saw in Bogza a symbol of `verticality, refusal, contempt`.[35] Bogza was nonetheless often ambiguous in his relations with the authorities, while his public statements oscillated between covert satire and open praise.[5] Between 1966 and 1973, he was a contributor to Contemporanul magazine, and was well known in Romania for regularly publishing short essays in that magazine[5][32] (some of them were also read on national radio).[5] Bogza also had a permanent column in the influential magazine România Literară.[36] His gestures of defiance include his display of support for Lucian Pintilie, a director whose work was being censored. In 1968, having just seen Pintilie`s subversive film The Reenactment shortly before it was banned, Bogza scribbled in the snow set on the director`s car the words: `Long live Pintilie! The humble Geo Bogza`; the statement was recorded with alarm by agents of Romania`s secret police, the Securitate, who had witnessed the incident.[37] In the 1970s, Bogza and several of his Writers` Union colleagues became involved in a bitter conflict with the nationalist Săptămâna magazine, which was led by novelist Eugen Barbu (who was also one of the persons overseeing censorship in Communist Romania). In 1979, România Literară published evidence that, in his writings, Barbu had plagiarized works of Russian literature. Rumors spread that Geo Bogza had orchestrated the scandal, after he had been confronted with an initiative to transform the Union into a `Union of Communist Writers`.[38] The latter initiative was recorded by the Securitate, who, in a report of 1978, attributed it to Barbu and poet Adrian Păunescu.[38] According to various speculations made ever since, Bogza contacted one of Barbu`s former protegés, who admitted that he had earlier copied texts by various authors to be selectively included in Eugen Barbu`s novels.[38] In autumn 1980, the Securitate, was alarmed of his alleged intention to condemn the country`s officials for allowing antisemitism to be expressed in the press. This came after nationalist poet Corneliu Vadim Tudor signed an article in Săptămâna, which outraged representatives of the Jewish community. Romania`s Chief Rabbi, Moses Rosen, was quoted saying that Tudor`s piece was evidence of `fascism` and the prosecutable offense of `instigations to racial hatred`.[39] A Securitate note, published by Ziua journal in 2004, claimed that Rosen was preparing to bring up for debate the issue of antisemitism in Romanian society, and depicted Bogza, alongside Jebeleanu and Dan Deșliu, as `exercising influence` over the Rabbi in order to have him `publicly demand the unmasking of «antisemitism» in the S[ocialist] R[epublic] of Romania`.[39] End of communism and final years[edit] Bogza was also close to the outspoken dissident Gheorghe Ursu (who, in 1985, was beaten to death on orders from the Securitate), as well as to filmmaker Mircea Săucan, himself an adversary of the communist regime.[40] One theory attributes Ursu`s violent death to him having refused to incriminate his writer friends during interrogations—among those whose activities may have interested the investigators were Bogza, Nina Cassian, and Iordan Chimet.[41] In late March 1989, ten months before the Romanian Revolution overthrew communism, Bogza, together with Paleologu, Doinaș, Hăulică, Octavian Paler, Mihail Șora, and Andrei Pleșu, signed the Letter of the Seven, addressed to Dumitru Radu Popescu (head of the Writers` Union) in protest over poet Mircea Dinescu`s house arrest by the Securitate.[42][43] Yosef Govrin, who served as Israel`s Ambassador to Romania during the era, commented on the document, which was sent to members of the diplomatic corps and to other circles: `Despite its restrained style, the letter sharply accused the Writers` Union for not having defended its members and for the alienation rife between Romanian culture and its themes.`[42] During the final stages of his life, Geo Bogza granted a series of interviews to journalist Diana Turconi, who published them as Eu sunt ținta (`I Am the Target`).[1] He died in Bucharest, after a period during which he was interned at the local Elias Hospital. Work[edit] Avant-garde aesthetics[edit] Geo Bogza`s lifelong but uneven involvement with Surrealism has endured as a topic of interest, and was considered by many to have resulted in some of his best writings. Bogza was defined by art critic S. A. Mansbach as `the most scandalous of Romania`s avant-garde poets and editor of and contributor to a plethora of its radical publications`, while Sex Diary was argued to be `the touchstone of Romania`s emerging Surrealist avant-garde`.[4] In 1992, the American avant-garde magazine Exquisite Corpse accompanied some of his early poems with the observation `It is the younger Bogza we love.`[13] Much of Bogza`s work is related to social criticism, reflecting his political convictions. This was the case in many of his reportage and satirical pieces. In reference to this trait, Mihuleac commented that the 20-year-old Bogza was in some ways a predecessor of later generations of protesters, such as the American Beatniks and the United Kingdom`s `angry young men`.[5] In 1932, Bogza stated: `We write not because we wish to become writers, but because we are doomed to write, just as we would be condemned to insanity, to suicide.`[1] The young Bogza made obscenity an aesthetic credo. Shortly after his acquittal, he wrote: `In order to reach a new form of nobility, one is required, beforehand, to vaccinate one`s soul with mud.`[2] He elaborated: `The word must be stripped of the unctuous senses that have come to depose themselves on it. Cleansed of ash. The flame inside kindled, for the introduction of words, like that of women, is [currently] a privilege reserved for the great landowners.`[1][2] Geo Bogza`s spoke in defense of taboo words such as căcat (`shit`) and țâță (`tit`), arguing that the original frankness of Romanian profanity had been corrupted by modern society.[1] One of his usual and highly controversial poems of the period read: Adunați pe întâiul meridian al sexului proxeneții continentelor au hotărât să aleagă marele Mongol al vaginurilor Pentru cele mai frumoase fete ale popoarelor ziarele continentale au întocmit elogii pe mii de coloane Pentru bijuteria vaginului premiat miliardarii continentelor își ascut în umbră phalusul lor de aur.[1][2] Gathered on the first meridian of sex the pimps of the continents have decided to elect a great mogul of the vaginae For the most beautiful girls of the peoples the continental newspapers have composed eulogies on thousands of columns For the jewel of the prized vagina the billionaires of the continents sharpen their golden phallus in the shadows. As a youth, he extended his protest to the cultural establishment as a whole—while visiting the high school in Ploieşti, where he was supposed to address the staff, he attacked local educational institutions for `taking care to castrate [...] the glands of any outright affirmation`, and for resembling `the Bastille`.[1][2] In his early prose poems, Bogza addressed workers in the oil industry in his native Prahova, claiming to define himself in relation to their work (while still appealing to the imagery of filth). The series has been defined by critic Constantin Stănescu as poems `rehabilitating, among other things, the compromised «genre» of the social poem`.[2] One such piece, published in 1929 and titled Poem cu erou (`Poem with a Hero`), documented the unusual death of a roughneck named Nicolae Ilie, who burned after his clothes caught fire.[1][2] The incident was discussed in the press of his day, and the poet is credited with having personally aided in publicizing it.[1] Bogza allegorically spoke of feeling `the țuică and pumpkin-like` smell of Nicolae Ilie`s feces `every time I raise a loaf of bread or a mug of milk to my mouth`.[2] He wrote: Mă rog de tine, Nicolae Ilie, mântuiește-mă de cumplita duhoare putrezește mai curând topește-te în pământ și rămâi numai oase albe cum se cuvine unui martir.[2] I pray of thee, Nicolae Ilie, deliver me from the awful stench putrefy quicker melt in the earth and remain just white bones as is befitting of a martyr. He extended an appeal to the oil industry workers, in which he identify oil with foulness and with himself: Eu, care sunt mârșav și violent, și care asemeni dealurilor petrolifere am mocnit întotdeauna ceva groaznic în măruntaiele mele eu, care pângăresc tot ce ating eu, care asemeni petrolului sunt cum nu se poate mai pătimaș și izbucnesc din mine și nu-mi pasă de prăpădul pe care îl aduc în lume. Eu, acesta, vă voi vorbi despre petrol și crimele lui.[2] I, who am black and ugly, who, like the oil-bearing hills, have always had something horrible smoldering in my innards, I, who soil and destroy everything I touch, who am as foul, fervent and ignorant as oil and, like it, explode without caring about the calamity my words bring into the world. That`s me. Now I will tell you about oil and its crimes.[4] In another one of his earliest poetry works (Destrămări la ore fixe, `Unravellings at Pre-Convened Hours`), Geo Bogza elaborated on the theme of melancholy and loss: Mari, ca și mici, ne paște același program; un clopoțel suna atunci la ora de geografie; azi clopotele catedralei în aer se destram se tânguiesc chemând, la ora de melancolie. Mă doare caietul pe care m-ai iscălit tu în el am vrut să conturez un suflet nebulos – dacă vei bate la ușe – eu am să strig: NU! fiindcă m-ai găsi împrăștiat, în țăndări, pe jos.[1] Big and small alike, we are destined to the same program; a school bell was sounding the geography class; nowadays the cathedral bells decompose in the air they bewail calling, to the melancholy class. My notebook that you signed hurts me presently in it, I wished to contour a nebulous soul —if you should knock on the door—I will shout: NO! because you would find me scattered, splintered, on the ground. Reportage and agitprop[edit] One of the first and most acclaimed authors of reportage in Romanian literature, Bogza was credited by journalist Cătălin Mihuleac with establishing and `ennobling` the genre.[5] He is occasionally cited alongside his contemporary F. Brunea-Fox, whose equally famous reportages were less artistic and had more to do with investigative journalism.[44] Mihuleac, who noted that Bogza was `unnervingly talented`, also argued that: `Romanian journalism is indebted to Geo Bogza more than to anyone else.`[5] Also according to Mihuleac, Bogza went through a radical change around 1935, when his writing turned professional and his subjects turned from `himself` to `the multitudes`.[5] This writings were eventually structured into two main series: Cartea Oltului (`The Book of the Olt River`), and Țări de piatră, de foc, de pământ (`Lands of Stone, Fire, Earth`).[5][45] The writer traveled the land in search of subjects, and the results of these investigations were acclaimed for their power of suggestion and observation.[5][45] One of his reportages of the period notably discussed the widespread poverty he had encountered during his travels to the eastern province of Bessarabia, and was titled Basarabia: Țară de pământ (`Bessarabia: Land of Soil`).[46] In it, the writer spoke of how most tailors were almost always commissioned by locals not to produce new clothes, but to mend old ones (at a time when the larger part of family incomes in the region were spent on food and clothing).[46] He toured the impoverished areas of Bucharest, recording activities around the city landfill and the lives of dog catchers who gassed their victims and turned them into cheap soap.[5] George Călinescu proposed that, `although written in the most normal of syntaxes`, his pieces were still connected with avant-garde styles such as Surrealism and Dada, and answered to a call issued by unu`s Paul Sterian to seek life at its purest.[3] In parallel, Călinescu contended, Bogza`s path mirrored those of Italian Futurists such as Ardengo Soffici and Filippo Tommaso Marinetti and that of the French Hussards leader Paul Morand.[3] A reportage authored after Bogza visited the town of Mizil was also a study in experimental literature.[47] Titled 175 de minute la Mizil (`175 Minutes in Mizil`), it has been summarized as `the adventure of the banal`, and, together with a satirical sketch by his predecessor Ion Luca Caragiale, credited with having helped impress on the public Mizil`s image as a place where nothing important ever happens.[47] Similarly, his travels in Bessarabia saw him depicting Hotin as the epitome of desert places and Bălți as the source of `a pestilent stench`.[48] In one of his satirical pieces, Bogza mocked the Romanian Post seemingly excessive regulations to have writing utensils made available for the public, but secured in place with a string: `A million penholders stolen in Romania would almost be an act of culture. And one would [consequently] forget the degrading spectacle of people writing with chained penholders. Of what importance would any loss be, compared with the beauty of penholders having been set free?`[5] The next stage in Bogza`s literary career was described by Mihuleac as `embarrassing`.[5] This was in reference to his assimilation of communist tenets, and his willingness to offer praise to the official heroes of Communist Party history such as Vasile Roaită (a participant in the Grivița Strike of 1933).[5] In one such article, Bogza claimed to have witnessed the sight of proletarians who were living in `new and white-painted houses` and had manufactured business cards for themselves, proudly advertising their qualifications in the field of work and positions in the state-run factory.[5] More controversial still was his agitprop piece of 1950, Începutul epopeii (`The Start of the Epic`). The text praised the regime for designing and ordering work to begin on the Danube–Black Sea Canal, which, in reality, was to prove one of the harshest sites for penal labor, where thousands of political prisoners were to be killed.[49] Historian Adrian Cioroianu cited the reportage, alongside Petru Dumitriu`s Drum fără pulbere and other writings of the time, as an example of `mobilizing-deferential literature`.[49] He summarized the content of such texts as claiming to depict a `final battle, of mythological proportions, between the old and new Romania—offering [...] a clear prognostic in respect to who would win.`[49] Subtle dissent[edit] During the Ceaușescu years, Bogza developed a unique style, which, under the cover of apparently insignificant and docile metaphors, hid subversive messages.[5] According to Mihuleac, the writer was critical of his own position in relation to the Communist Party and explained it as a compromise—he believed this message to be evident in Bogza`s poem Treceam (`I Was Passing`): Treceam printre tigri Și le aruncam garoafe Treceam printre leoparzi Și le aruncam crizanteme Treceam printre gheparzi Și le aruncam trandafiri Iar ei, cuprinși de perplexitate Mă lăsau să trec mai departe.[5] I was passing among tigers And was throwing them carnations I was passing among leopards And was throwing them chrysanthemums I was passing among cheetahs And was throwing them roses And they, taken over by perplexity Allowed me to move on. He thus wrote a piece entitled Bau Bau (Romanian for `Bogeyman`), telling of how his parents encouraged him to fear things watching him from outside his window as a means of ensuring he behaved himself while they were absent—the subtext was interpreted by journalist Victor Frunză as an allegory of Ceaușescu`s anti-Soviet policies (which attempted to prevent opposition by, among other things, alluding to the threat of Soviet intervention).[50] At some point during the second half of 1969, instead of his usual column, Geo Bogza sent for publication a drawing of three poplars, with a caption which read: `The line of poplars above is meant to suggest not just the beauty of this autumn, but also my sympathy towards all things having a certain height and a verticality.`[5] The poplar metaphor was one of Bogza`s favorite: he had first used it in reference to himself, as early as 1931, in an interview with Sașa Pană.[1] Facing a jail term for his scandalous poetry, he spoke of the tree as a symbol of both aloofness and his own fate.[1] His subtle technique, like similar ones developed by other România Literară contributors, was at times detected by the regime. Thus, a secret Securitate report of 1984, made available ten years later, read: `The present line-up of România Literară magazine is characterized by a gap between the political content of its editorials (perfectly in line [and] in which declarations of adherence are being made in respect to the state and party policies) and the content of the magazine which, of course, is different; [...] the criticism of content which is discussed on [România Literară`s] front page grows aesthetizing through the rest of the magazine.`[51] Legacy[edit] Bogza on a 2018 stamp of Romania In literature[edit] A central figure in Romanian literature for much of his life, Bogza took special interest in the works of other writers, and contributed to establishing their reputation. During his early period at Urmuz, he actively encouraged various avant-garde trends, and his eclectic interests, as well as his calls to intellectual rebellion played an important role in shaping the work and activity of both Constructivists and Surrealists.[4] Among the most noted writers whom he aided to express themselves freely were his co-contributors Tristan Tzara, Stephan Roll and Ilarie Voronca,[4] and he was also noted for being the first to publish Urmuz`s Fuchsiada (a few years after its author committed suicide).[1] Max Blecher also expressed gratitude to Geo and Ecaterina Bogza for helping him complete and publish Întâmplări din irealitatea imediată.[19] His role as critic, patron and promoter of art continued under the communist regime, and he kept a vivid interest in reviewing literature of all kinds. After the 1960s, he was involved in recuperating the Romanian avant-garde, and, together with Paul Păun and Marcel Avramescu, helped introduce the previously unpublished works of Sesto Pals to an international audience.[7][16] In 1978, he also republished his earliest poems for Urmuz, as part of the new volume Orion.[1][2] His position also allowed him to extend a degree of protection to literary figures persecuted by the authorities. According to Eugen Simion, during the 1950s, a common initiative of Bogza and philosopher Tudor Vianu attempted to rescue the academic and essayist D. D. Panaitescu from Communist imprisonment.[27] Antonie Plămădeală, a political prisoner of the communist regime and future Romanian Orthodox Metropolitan of Transylvania, credited Bogza and the writer and theologian Gala Galaction with having insured recognition for his debut novel in spite of political obstacles.[52] The relevancy of Bogza`s dissidence, like the similar attitudes of Eugen Jebeleanu, Marin Preda and others, was nonetheless debated by author Gheorghe Grigurcu, who described it as a `coffee-house opposition`.[53] Grigurcu, who placed stress on the closeness between these writers and dissenting but high-ranking Communist Party activists such as Gheorghe Rădulescu and George Macovescu, called attention to the fact that Bogza had refused to sign his name to an appeal for radical change, drafted by novelist Paul Goma in 1977.[53] Reportedly, when confronted with Goma`s grassroots movement, Geo Bogza had asked: `Who is this Goma person?`[53] Bogza often credited real-life events and persons in his poetry. Alongside Nicolae Ilie and his death, his early poems make direct references to Alexandru Tudor-Miu, to the poets Simion Stolnicu and Virgil Gheorghiu, and to Voronca`s wife, Colomba.[1] During the same stage of his career, Geo Bogza dedicated a short piece to the 19th century writer Mihai Eminescu, to whose sad poems he attributed his own momentary adolescent urge to commit suicide[1]—as an old man, he would depose flowers at Eminescu`s statue in front of the Romanian Athenaeum each January 15 (the poet`s birthday).[11] A short essay he authored late in life, titled Ogarii (`The Borzois`), drew a comparison between the breed, seen as an example of elegance, and the eccentric Symbolist author Mateiu Caragiale.[5] The innovative reportages he authored later in life were credited with setting guidelines and opening the road for a series of notable authors, among whom were Paul Anghel...Te Deum la Grivita, Traian T. Coșovei, Ioan Grigorescu and Ilie Purcaru.[44] Cornel Nistorescu, himself a columnist and author of reportage, is also seen as one of Bogza and F. Brunea-Fox`s disciples.[54] Critics have noted the potential impact his early poetry has or may have on Postmodern literature in Romania.[2][55][56] Several commentators, including Nicolae Manolescu, have traced a connection between his poems of the 1920s and 1930s and many of those authored by Florian Iaru between 1982 and the early 2000s.[55][56] In contrast to both his status as a former political prisoner and his new-found Christian faith, Nicolae Steinhardt continued to value Bogza`s contributions, and, in 1981, authored an essay dedicated to his work and their friendship.[10][57] Titled Geo Bogza – un poet al Efectelor, Exaltării, Grandiosului, Solemnității, Exuberanței și Patetismului (`Geo Bogza – a Poet of Impressions, Exaltation, Grandeur, Solemnity, Exuberance and Pathetism`) and edited by writer Mircea Sântimbreanu,[57] it was characterized by literary critic Ion Bogdan Lefter as a `eulogy [...] to their shared youth, seen as a paradise of liberty`.[10] G. Brătescu, who was himself involved in editing and claims to have aided in publishing Steinhardt`s volume, recalled being `fascinated` by both Bogza`s `impertuosity`, as well as by Steihardt`s `art of evidencing such an impertuousity.`[12] Sesto Pals also authored Epitaf pentru Geo Bogza (`Epitaph for Geo Bogza`), first published by Nicolae Tzone in 2001.[16] The writer was also the subject for one of B. Elvin`s essays, collected as Datoria de a ezita (`The Duty to Hesitate`) and first published in 2003.[35] In the same year, his correspondence with various Transylvanian writers was published as Rânduri către tinerii scriitori ardeleni (`Letters to the Young Transylvanian Writers`).[1] The relation between Bogza and Mircea Săucan served as the basis for a short work of fiction, which the latter authored and dictated as part of a 2007 book of interviews.[40] Other tributes[edit] Memorial plaque in Bucharest Bogza was the subject of a portrait painted by his friend Victor Brauner, which was itself the topic of scandal.[4] The piece, defined by S. A. Mansbach as one of Brauner`s `most fully realized Surrealist canvases of [the early 1930s]`, depicted the subject nude, with a severed head and elongated sex organs (symbols which probably alluded to elements present in Bogza`s own texts).[4] Bogza`s novella, Sfârșitul lui Iacob Onisia (`The End of Iacob Onisia`), has served as the basis for a 1988 film, Iacob (translated into English as Jacob, or, in full, The Miseries of a Gold Miner – Jacob).[58][59] A story of violent workers leading miserable lives and tempted to steal for their livelihood, it was adapted for the screen and directed by Mircea Danieliuc, and starred Dorel Vișan in the title role (other actors credited include Cecilia Bîrbora, Ion Fiscuteanu and Dinu Apetrei).[58][59] Writing for The New York Times, American critic Vincent Canby described the production as `uncharacterized and murky`.[58] Nevertheless, Romanian critics saw Danieliuc`s production as an accomplished piece of subversiveness, arguing that the director had used a Socialist realist pretext to comment on the conflict between the Ceauşescu regime and the Jiu Valley miners (see Jiu Valley miners` strike of 1977).[59] Bogza`s trial has been the subject of an episode in the series București, strict secret (`Bucharest, Top Secret`), produced by writer and political scientist Stelian Tănase and aired by Realitatea TV in 2007.[60] A school in Bucharest and one in Bălan were named in Bogza`s honor, as were a culture house and a street in Câmpina. A memorial plaque was raised on downtown Bucharest`s Știrbei Vodă Street, at a house where he lived between 1977 and 1993.[61] Câmpina also hosts the annual Geo Bogza Theater Festival. Selected works[edit] Collected poems[edit] Jurnal de sex (`Sex Diary`), 1929 Poemul invectivă (`Offensive Poem` or `Contemptuous Poem`), 1933 Ioana Maria: 17 poeme (`Ioana Maria: 17 Poems`), 1937 Cântec de revoltă, de dragoste și de moarte (`Song of Revolt, Love and Death`), 1947 Orion, 1978 Collected journalism[edit] Cartea Oltului (`The Book of the Olt`), 1945 Țări de piatră, de foc, de pământ (`Lands of Stone, Fire, Earth`), 1939 Oameni și carbuni în Valea Jiului (`Men and Coal in the Jiu Valley`), 1947 Trei călătorii în inima țării (`Three Journeys into the Heart of the Land`), 1951 Tablou Geografic (`Geographical Survey`), 1954 Years of Darkness, 1955 Meridiane sovietice (`Soviet Meridians`), 1956 Azi, ín România: carte radiofonică de reportaj (`Today, in Romania: a Radio Reportage Book`), 1972 Statui în lună (`Statues on the Moon`), 1977 Other[edit] Sfârșitul lui Iacob Onisia (`The End of Iacob Onisia`), 1949; novella Eu sunt ținta: Geo Bogza în dialog cu Diana Turconi (`I Am the Target: Geo Bogza Interviewed by Diana Turconi`), 1994 Rânduri către tinerii scriitori ardeleni (`Letters to the Young Transylvanian Writers`), 2003 rumunska avangarda