This book provides information on the causes, consequences, and possible solutions to modern environmental problems associated with ocean pollution with a particular focus on the Back Sea. The oceans are a vast but fragile complex. In recent decades, it has become especially manifest when ocean pollution has reached an unparalleled situation. Meanwhile, not only the well-being of ecosystems depends on the state of ocean waters, but human civilization largely depends on the oceans as a consequence of environmental dependence. This book examines the consequences of pollutants such as oil and hydrocarbon products (including plastics and microplastics), water acidification, sewage, wastewaters discharge into the ocean, thermal pollution, nuclear pollution, and biological pollution. Beyond the types of pollutants and their consequences, this book outlines the state of the art of the legal situation internationally regarding ocean pollution. The authors also show the current pollution of the inland seas, taking as an example of the Black Sea (anthropogenic and natural sources of pollution, its shelf, and shallow waters as well as international legislation). A part of the book analyzes the main types of environmental monitoring of the oceans and their role in solving ocean pollution problems with a particular interest in the Black Sea. The book is of interest to specialists in ocean pollution, ecologists, oceanologists, students, and graduate students studying oceanography, marine ecology, current methods of environmental monitoring, and legal problems related to the oceans and seas pollution, as well as to anyone interested in modern problems of the oceans.
This volume presents a unique study of war songs created during and after World War II, known in Russia as the “Great Patriotic War”. The most popular war songs, such as “Katyusha”, “The Sacred War”, “Dark Night”, “My Moscow”, “In the Dugout”, “Victory Day”, provide illuminating insights into the musical culture of the former Soviet Union and modern Russia. In the year of the 70th anniversary of victory in the war, the book studies the cultural heritage of famous war songs from a new perspective, exploring the historical background of their creation and analysing their lyrics as part of Russian cultural heritage. The book also discusses the modifications required when translating the songs from Russian to English. It concludes with a description an educational project studying war songs at Moscow schools run under the auspices of UNESCO.
Life is wild and indescribable and then there are at least 8 billion different versions of it. This book is a collection of poems about love and heartbreak, nature, sorrow, pain and hope - written from one human perspective on this world. Its lines seek to question, to inspire, to calm and most of all to reverberate.
This volume presents a unique study of war songs created during and after World War II, known in Russia as the “Great Patriotic War”. The most popular war songs, such as “Katyusha”, “The Sacred War”, “Dark Night”, “My Moscow”, “In the Dugout”, “Victory Day”, provide illuminating insights into the musical culture of the former Soviet Union and modern Russia. In the year of the 70th anniversary of victory in the war, the book studies the cultural heritage of famous war songs from a new perspective, exploring the historical background of their creation and analysing their lyrics as part of Russian cultural heritage. The book also discusses the modifications required when translating the songs from Russian to English. It concludes with a description an educational project studying war songs at Moscow schools run under the auspices of UNESCO.
From the introduction by Pru Devon: “There are various ways of assembling a song collection. The most common procedure seems to be that of gathering together the most familiar and therefore the slightly hackneyed ones in the belief that since they are so well-known it follows they must be the best. Another and far more challenging approach is to collect a great many song from a broad assortment of areas, to evaluate carefully each one, finally selecting a group that gives a truly cross-sectional representation. This is obviously how Elena Paz has succeeded in gathering together this excellent collection of songs. . . . They are the sort of songs that people actually sing. Many have proved their strength and merit by having endured in the people’s hearts for many generations while others, equally representative are actually “living folkmusic”. Lullabies and children’s songs are usually immigrants that came with the colonists from the “old country”, such as A la Nanita Nana. These have wide dispersal and are sung in slightly differing ways from the Rio Grande to Tierra del Fuego. Others reflect episodes in the evolution of a republic, such as the various songs that grew out of the Mexican revolution. They run a fine gamut of expression and mood and offer a just and attractive sampling of the wealth of Latin American music.
While English is the lingua franca and an established language in numerous countries, it is its American variant that keeps spreading rapidly to other parts of the world due to the wide ranging influence of the USA in politics, economics and popular culture. The nine authors of this volume present various aspects associated with the perception of the USA, whether it be American English, a theme in American literature and culture or an analysis of their reception in and/or influence on the Czech Republic or Austria. As all of the contributors work or study at an educational institution that prepares future teachers, most of the chapters either discuss the students’ or pupils’ point of view on the topic or provide another connection to the process of foreign language teaching.
Eight foreign policy experts analyze the expanding role of the United States government in pro-insurgency, counter-insurgency, and anti-terrorist programs around the world
Essay from the year 2018 in the subject Musicology - Historical musicology, grade: A, , language: English, abstract: This essay gives a short overview about the history of minstrelsy from different perspectives. Minstrel shows were a form of an entertainment show that appeared in America around the 1820’s, which was centered on the stereotype of African American slaves with themes from slavery and plantation life. After their first appearance, Minstrel shows became very popular very fast and soon they became a phenomenon that spread throughout America. The origins of Minstrelsy are traced back to the creation of a character named "Jim Crow", a plantation worker dressed in rugs and who had a limp, dancing and singing in the street in a funny way.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Marvels of a Pine Tree. Gelendzik" is a collection of amazing life stories of a girl who lived in 1950's - 1990's in communist Russia. It starts from her poor childhood, goes through the troubled adolescence, stormy youth to the passionate adult life. She lived like a wonderful pine tree on a dry, salty, windy cliff, overcoming all obstacles on the path. But the little girl loved everyone and everything around her, even though her life was very hard. She trusted that one day some miracles would come, and some wonderful transformations are just waiting for her ahead. She looked at the world with wide open eyes and went to people with a trusting heart. She was sure, that the happiness was awaiting her future.
* Named a Best Book of the Year by The New Yorker and TIME * Winner of the Pushkin House Book Prize * A New York Times Book Review Editors' Choice * “A haunting book of rare courage.” —Clarissa Ward, CNN chief international correspondent and author of On All Fronts To be a journalist is to tell the truth. I Love Russia is Elena Kostyuchenko’s unrelenting attempt to document her country as experienced by those whom it systematically and brutally erases: village girls recruited into sex work, queer people in the outer provinces, patients and doctors at a Ukrainian maternity ward, and reporters like herself. Here is Russia as it is, not as we imagine it. The result is a singular portrait of a nation, and of a young woman who refuses to be silenced. In March 2022, as a correspondent for Russia’s last free press, Novaya Gazeta, Kostyuchenko crossed the border into Ukraine to cover the war. It was her mission to ensure that Russians witnessed the horrors Putin was committing in their name. She filed her pieces knowing that should she return home, she would likely be prosecuted and sentenced to up to fifteen years in prison. Yet, driven by the conviction that the greatest form of love and patriotism is criticism, she continues to write. I Love Russia stitches together reportage from the past fifteen years with personal essays, assembling a kaleidoscopic narrative that Kostyuchenko understands may be the last work from her homeland that she’ll publish for a long time—perhaps ever. It exposes the inner workings of an entire nation as it descends into fascism and, inevitably, war. She writes because the threat of Putin’s Russia extends beyond herself, beyond Crimea, and beyond Ukraine. We fail to understand it at our own peril.
From the introduction by Pru Devon: “There are various ways of assembling a song collection. The most common procedure seems to be that of gathering together the most familiar and therefore the slightly hackneyed ones in the belief that since they are so well-known it follows they must be the best. Another and far more challenging approach is to collect a great many song from a broad assortment of areas, to evaluate carefully each one, finally selecting a group that gives a truly cross-sectional representation. This is obviously how Elena Paz has succeeded in gathering together this excellent collection of songs. . . . They are the sort of songs that people actually sing. Many have proved their strength and merit by having endured in the people’s hearts for many generations while others, equally representative are actually “living folkmusic”. Lullabies and children’s songs are usually immigrants that came with the colonists from the “old country”, such as A la Nanita Nana. These have wide dispersal and are sung in slightly differing ways from the Rio Grande to Tierra del Fuego. Others reflect episodes in the evolution of a republic, such as the various songs that grew out of the Mexican revolution. They run a fine gamut of expression and mood and offer a just and attractive sampling of the wealth of Latin American music.
This is a collection of amazing life stories of a girl who lived in 1950's - 1990's in communist Russia. The girl loved everyone and everything around her, even though her life was very hard.
True modern day version of the story of the Book of Ruth.This is not an ordinary story, but it's my story.I hope you'll get inspired to stretch beyond your emotional limits and trust in the fact that no matter what tragedy you are facing, God will use it for your good.Happy reading and be blessed.Elena Farah
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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