This Anthology of Poetry sees the participation of 13 poets from 12 different countries of 4 continents. As Daniel Brick writes: Our third collection of poems can be considered a grace note attached to the full melody to the first two. The title, "Scattering Dreams and Tales," was chosen to reflect the first two collections. According to Fabrizio Frosini, "Dreams & Tales" recalls 'Nine Tales of Creation'. "Scattering" evokes 'At the Crossing of Seven Winds." In this Anthology, you will find poems by 13 poets. According to the Random House Dictionary, a POET is a person who has the gift of poetic thought, imagination and creation. Let us see how we can amplify this definition with statements made by poets and prose writers. One of the earliest definitions still current is by the ancient Roman poet, HORACE, one of the masters of Lyric Poetry in Western literature. He wrote "Poets were the first teachers of mankind." The poet-teacher would inculcate the highest human values along with whatever information would be deemed necessary. Who are the hyphenated teachers in today's world? Perhaps technocrat-teachers, dogmatist-teachers, militarist-teachers, businessman-teachers. Would there be room for Horace's confidence in Lyric Poetry? The early 20th century poet James Flecker made a very precise distinction in what we can expect poets to accomplish through language, mere words raised to heightened, even electric power: "The poet's business is not to save the soul of man but to make it worth saving." Perhaps several poems in our anthology will perform this redemptive role, if the poets have fulfilled their mission and readers read with lively attention.
By way of introduction to this collection of the planet's poetry, I have highlighted four GEMS OF POETRY to share with our readers. Each of these gems shines its own light on the publication [from DJB's introduction].. Come & join us and you'll discover what these gems are..This is the second Anthology of Poetry, after "At The Crossing Of Seven Winds", published with the participation of poets from different parts of the world. In his Introduction to this book, my Minnesotan friend Daniel Brick highlights what he calls "four gems of poetry".The first gem is: The poetry is relevant and accessible at every stage of our lives.The second gem is really a question: How do I know I am a poet? This is a vexed question, and can cause prospective poets considerable confusion. Do you patiently wait for the State's Poet Laureate to call you some morning, "Jeremy, the Governor is going to confer Poethood on you at a press conference at 10 am. Be there!"; or do a group of public officials draw up a list and announce them on the radio.. Would such an official affair convince you that you are indeed a poet? Perhaps you need a diploma. You could pay a Writing School on a University campus $3000 and receive an official diploma. Would that give you the necessary knowledge, confidence and experience to exercise your Poethood? Believe me when I tell you it is much simpler than all of the above. The word POET means MAKER in ancient Greek, and just as poets make poems, poets make themselves into poets, and then announce they have assumed the role. - [And a poet's role could be an important one: think about.. as..] - Every culture appears to have at least one very crucial poet whom everyone recognizes as representative. In medieval Europe, people would open Virgil's Aeneid at random, someone else would throw out a number, and the one holding the volume would go to that numbered line and that word on the page, read it out loud and the group would draw conclusions from what the nearly divine Virgil had revealed to them. Is it any surprise then that Dante made Virgil his guide through Hell, Limbo and Purgatory? Well.. "NINE TALES OF CREATION" contains poems by nine contemporary poets, all of whom are engaged with poetry as a way of making sense of the world and its people and places. You can wrap your mind around our volume and take in the particular points of view offered on a variety of subjects. You can't go wrong in the company of nine sincere and committed poets. As you read our poems, your mind will expand, grow more subtle, be inspired!To know about the 3rd and 4th gem, just read the book...;)
Many years ago, in a poetry class for beginners, I read one of my early efforts which contained the following three lines: "A young poet drops his pen, astonished / by the twenty lines he has just written, / certain it is the Poem of Total Realization." The teacher smiled and said, "I remember thinking I had written that poem when I was sixteen." What we learn from writing poems over a long expanse of time is that each one takes further along the path of our daily life, leading eventually to whatever fulfills our existence. Each poem illuminates for its moment the darkness surrounding us, and in that light we can see the World in its glory or, sadly, in its degradation. Finally, we will carry within, not only the poem as a piece of literature but also the emotional growth it promotes. [DJ Brick] ***Nature is wild and eagles and wolves will never be lovers. But certainly Poetry can overcome every obstacle and translates our dreams, desires, passions.. in images that evoke even a new, different Universe. Furthermore, Poetry is such a powerful tool: violence can kill, of course, but Words are stronger. Thus, Ideals/Values will be the final winner, because they can speak directly to hearts and minds - and touching them deeply, they can profoundly change a human being - Even the whole Humankind [F. Frosini] ***In the arts repetition is the path of mastery. John Gielgud is said to have performed the role of Hamlet more than any actor in history. Only his innate modesty and respect for Shakespeare's genius kept him from claiming he had mastered the role. Those who witnessed his stage performances several times readily called him the master. A pianist of the caliber of Glenn Gould achieves greatness by rehearsing 'The Goldberg Variations' over and over, performing them again and again, continually discovering new details for each new performance. And the venerable Robert Frost was still reciting from memory poems he had written just before World War I in the 1960s and still charming audiences who knew them almost as well as he did. [DJ Brick] ***Stating that our human nature is evil, would not be acceptable at all. Yet, it is beyond doubt that we humans are capable of behaving much and much worse than the most ferocious beasts, when our mental inhibitory-control fails to curb the worst and most pressing impulses. Nowadays, the rise of mass media has changed the way societies think and, unfortunately, exploiting mass psychology has become a lucrative affair for many. Politicians and CEOs of large corporations, in particular, know very well how to manipulate the masses, and in doing so, they can profoundly change our societies --our lives. Above all, through an increase in social inequality. And failing to deal with inequalities only leads to a rise of political extremes. [F. Frosini]
This latest collection of poems (the fifth Anthology published) is bilingual, English-Italian, as the previous one -"We Are The Words - Siamo Parole"- and sums up the succession of books bringing us, poets of the world, onto common ground. ---The title of this collection presents us with two highly connotative words. Let us first consider the possibilities inherent in the word "WHISPER". What is experienced is of an internal nature, and the essential occasion is more likely intimate than public. Why else would the speaker reduce his voice to a whisper? It is the excessive volume we take for granted, and sometimes encourage that is being suppressed to allow this other occasion to breathe deeply of silence and calm. It offers to the willing participant something almost dream-like compared to ordinary experience...---This "WORLD" is the arena of duties and fidelities, work and play, passions and pursuits, experience and memory, love and desire, and a host of other parallels which populate the poems we read and write. A poet can simply disappear into this World with its lures, traps, seductions, gambling, used car dealerships and department stores. Or he can frequent schools, museums, nature preserves, theaters, golf courses, bridge tournaments, church services. Or he can vanish into Nature with her cornucopia, her flora and fauna, her sounds and furies alternating with silences and calms. The poet in the World of Common Experience is just like every other human being: he can slip into a role, or he can elude all attempts to trap him. O WORLD, THY SLIPPERY TURNS, cries Shakespeare's Coriolanus... *****Questa nuova raccolta di poesie (quinta antologia pubblicata), è bilingue (Inglese-Italiano) come la precedente, e riassume la successione di libri che ci ha portati -noi poeti del mondo- su un terreno comune. ---Il titolo di questa raccolta ci presenta due parole altamente suggestive. Consideriamo prima ciò che è insito nel termine "Sussurro". Ciò che esso manifesta ha una natura più riservata e l'occasione essenziale è più probabilmente intima, non pubblica. Perché altrimenti si dovrebbe ridurre la voce ad un sussurro? Ma di fatto viviamo in un eccesso di volume sonoro ambientale e, talvolta, vorremmo che venisse soppresso per permettere a quest'altra occasione di respirare profondamente il silenzio e la calma, quasi per gustare una sensazione simil onirica..---Questo "MONDO" è l'arena dei doveri e delle fedeltà, del lavoro e del gioco, delle passioni e delle ricerche, dell'esperienza e della memoria, dell'amore e del desiderio, più una miriade di altri paralleli che popolano le poesie che leggiamo e scriviamo. Un poeta può semplicemente scomparire dentro questo Mondo, con le sue esche, trappole, seduzioni, giochi d'azzardo, concessionarie di auto usate e grandi magazzini. Oppure può frequentare scuole, musei, riserve naturali, teatri, campi da golf, tornei di bridge, funzioni religiose. O magari può svanire nella natura con la sua cornucopia, la sua flora e fauna, i suoi suoni e furori che si alternano ai silenzi e alla tranquillità. Il poeta nel Mondo della Comune Esperienza è proprio come ogni altro essere umano: si può calare in un ruolo, oppure può sfuggire tutti i tentativi di intrappolarlo. "Oh Mondo, ti fai sdrucciolevole" , si lamenta il Coriolano di Shakespeare...
The title, "WE ARE THE WORDS", is to point out that a poet is the Words he/she uses to create Poetry. * ... the wonder of language! that tremendous invention of humanity that creates our cultures, sustains our lives, and both separates and unifies us. We poets who speak the languages of the world are committed to the unifying aspects of language, poetry and the internet. Our title, WE ARE THE WORDS, affirms both our pride and our humility. We poets know we can select words and put them into exact patterns of beauty and meaning. That is the nature of our pride. We also realize that language itself is much bigger than we are, much older than our momentary existence, and will thrive long after we are gone. That is the source of our humility. * "SIAMO PAROLE", vuole sottolineare che un poeta è le Parole che usa per creare Poesia..* ... meraviglia del linguaggio! questa tremenda invenzione dell'umanità che crea le nostre culture, sostiene la nostra vita, ed allo stesso tempo ci separa e ci unifica. E noi, poeti che parlano le lingue del mondo, dedichiamo noi stessi agli aspetti unificanti di Linguaggio, Poesia e Internet. Il titolo del libro, "SIAMO PAROLE", afferma sia il nostro orgoglio che la nostra umiltà. Noi poeti sappiamo selezionare le parole ed inserirle in esatti modelli dotati di bellezza estetica e di significanza. Questa è la natura del nostro orgoglio. Al contempo, ci rendiamo conto che il linguaggio stesso è molto più grande di noi e molto più antico delle nostre transitorie esistenze: il linguaggio prospererà per molto, molto tempo anche dopo di noi. Questa è la fonte della nostra umiltà. [D.J. Brick]
On Lake Michigan's North Shore, an extraordinary group of cosmopolitan and wealthy clients commissioned havens from the city's bustle during the Gilded Age.
Focuses on the use of simulation techniques to model and evaluate repetitive construction operations. Based on the CYCLONE and MICROCYCLONE software developed by the authors and used at 38 universities nationwide, it uses a variety of examples from all areas of construction to demonstrate the application of simulation to analyze construction operations.
This first part of a two-volume set offers a modern account of the representation theory of finite dimensional associative algebras over an algebraically closed field. The authors present this topic from the perspective of linear representations of finite-oriented graphs (quivers) and homological algebra. The self-contained treatment constitutes an elementary, up-to-date introduction to the subject using, on the one hand, quiver-theoretical techniques and, on the other, tilting theory and integral quadratic forms. Key features include many illustrative examples, plus a large number of end-of-chapter exercises. The detailed proofs make this work suitable both for courses and seminars, and for self-study. The volume will be of great interest to graduate students beginning research in the representation theory of algebras and to mathematicians from other fields.
Daniel W. Cobb, a farmer and small slaveholder from Virginia's rural tidewater, was unhappily married, resentful of his prosperous in-laws, and terribly lonely. His closest friend was the diary he kept for more than thirty momentous years in American history, from 1842 until his death at age sixty-one in 1872. The devout, plainspoken Cobb wrote in a conversational style, candidly recording his innermost thoughts. His diary's intimate account of a troubled marriage provides a painfully frank chronicle of incompatibility. The diary also illuminates the momentous impact of the Civil War and emancipation. Offering many insights into the oral culture from which he sprang, Cobb's Ordeal reveals the great differences that separate his world from our own.
This study addresses the chief critical issues in the interpretation of 3 Baruch -- including text, genre, setting, function, literary integrity, and original authorship -- and offers a reading of the document as both a Jewish and a Christian text.
Many homes across America have designs based on plans taken from pattern books or mail-order catalogs. In Houses from Books, Daniel D. Reiff traces the history of published plans and offers the first comprehensive survey of their influence on the structure and the style of American houses from 1738 to 1950. Houses from Books shows that architectural publications, from Palladio&’s I Quattro Libri to Aladdin's Readi-Cut Homes, played a decisive role in every aspect of American domestic building. Reiff discusses the people and the firms who produced the books as well as the ways in which builders and architects adapted the designs in communities throughout the country. His book also offers a wide-ranging analysis of the economic and social conditions shaping American building practices. As architectural publication developed and grew more sophisticated, it played an increasingly prominent part in the design and the construction of domestic buildings. In villages and small towns, which often did not have professional architects, the publications became basic resources for carpenters and builders at all levels of expertise. Through the use of published designs, they were able to choose among a variety of plans, styles, and individual motifs and engage in a fruitful dialogue with past and present architects. Houses from Books reconstructs this dialogue by examining the links between the published designs and the houses themselves. Reiff&’s book will be indispensable to architectural historians, architects, preservationists, and regional historians. Realtors and homeowners will also find it of great interest. A catalog at the end of the book can function as a guide for those attempting to locate a model and a date for a particular design. Houses from Books contains a wealth of photographs, many by the author, that enhance its importance as a history and guide.
This is an introductory textbook focusing on games (specifically interaction and graphics) as a pathway into programming. It empowers readers to do basic programming, prototyping, game creation, and other highly interactive applications, all from scratch and without any prior programming knowledge. Using the popular programming language Processing, this book describes, explains, and demonstrates the basic and general programming principles and mechanisms used in typical game algorithms and concrete game projects. Chapters cover basic graphics, text output, loops, data types and variables, movement, time, audio and sound, debugging, classes and objects, event-based programming, real-time input controls, computer speed compensation, animation, tiling, scrolling, collision detection, basic AI, and much more. Additional support materials such as code examples and demo programs are available to download from this book’s webpage. This book is a great resource for students and aspiring professionals looking for an approachable entry into game programming.
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