<b>Embarquer à la conquête du Pacifique</b> <br> <br>En son temps inconnu et désormais dans l’oubli, comme des milliers d’autres bougres, assoiffé de curiosités et de découvertes, un homme tenta, un peu malgré lui, l’aventure qu’offraient tous ces mondes, qui, aux yeux de la vieille Europe, paraissaient bien nouveaux. Il s’embarqua un jour sur un navire qui promettait les merveilles de l’Orient, les perles du Pacifique et l’Eldorado. Le temps d’une épopée, il se tint dans l’ombre de son capitaine, qui se fit seul une place dans l’histoire. Comme ces illustres hommes, il ne voulait point conquérir. Il espérait mettre l’Homme en contact avec l’Homme. Il voulait rencontrer ses congénères, il voulait comprendre les autres, il désirait savoir. Aujourd’hui comme hier, on se souvient des massacres perpétrés par les Européens au nom de la foi et de l’or. Puisse demain, se souvenir aussi de ces hommes des premiers contacts, car eux n’avaient qu’une seule ambition : la connaissance. <br> <br> <b>Un roman historique et exotique hors du commun</b> <br> <br>EXTRAIT <br> <br>(Bateau…) <br>Lorsqu’il vit au loin la silhouette de l’imposant navire, il referma les yeux et l’ignora. Il crut à un autre de ses fantasmes. <br>— (Bateau.) <br>Il rouvrit un œil face au soleil aveuglant. Sa joue se décolla de la peau de son avant-bras dans un bruit de déchirure, il releva la tête et posa un coude sur le sable. <br>— (Bateau !) <br>— Bateau ? <br>Il se pétrit le visage et plaça sa main sur son front en guise de visière. Il fronça les sourcils, se frotta les yeux. Il se toucha ; se pinça, comme pour s’assurer que ce n’était point un mirage, et se leva. Le simple spectacle d’un navire qui passait lui paraissait parfaitement irrationnel. Il lui fallait réfléchir. <br> <br>À PROPOS DE L'AUTEUR <br> <br> <b>Jean-Thierry Tanakas</b> est né en 1975 à Marseille où il vit. <i>Louis et les esprits de Banie</i> est son premier roman, il a été écrit et développé dans les îles Salomon et en Indonésie.
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Brussels’s idea of a “wider Europe” implies that Europeanisation is not limited to EU member states. The EU can, so it claims, also exert impact beyond its borders. One of the channels of external EU influence is cooperation between Europarties and parties outside the Union. Through mutual visits and joint activities, non-EU parties become internationally socialised, i.e., are exposed to the Europarties’ norms as well as values, and experience the rules as well as practices that shape European party-building. What are the incentives for Europarties and non-EU parties to cooperate with each other? What kind of, and how much, impact did cooperation have on party development in post-Soviet Georgia, Moldova, and Ukraine? Based on eighty interviews with party officials, international donors and academics, Maria Shagina outlines the set of motivations that trigger cooperation between Europarties and non-EU parties, analyses the impact of cooperation on party ideology, organisational structure, and inter-party behaviour in Georgia, Moldova, and Ukraine, and explores the implications of this cooperation on the standardisation, consolidation, and democratisation of the non-EU party systems. Her findings shed light on how prestige and domestic factors impede the penetration of EU norms and values in the non-EU party structures, and point to the failures of Europarties to adequately address problems of party-development in Eastern Europe. The book reveals the ways in which cooperation with Europarties has paradoxically contributed to the ossification of the status quo and impaired the development as well as the consolidation of democracy in the three Eastern Partnership states.
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As a teenager, I spent my time wondering why in sci-fi movies, every landscape, every object I could see was Western or Asian based. I've finally understood that somewhere our legacy had been locked in the past, that we couldn't be "futuristic" in the eyes of our fellow Europeans. We have to look behind our shoulders, get back to our traditions, seize the best of them and shape a future with it. This without forgetting we are part of the world, totally, unquestionably. The future is for me not only a matter of dialogue with the past, but and beyond everything a dialogue with the rest of the planet. Kossi Aguessy How is it possible to adequately capture histories of design in Africa, a continent with fifty-four countries? How can one avoid producing just another essentialising master narrative of "African Design"? How can one make sense of the many entangled yet often asymmetric and sometimes ambivalent histories of form-finding processes between Africa and Europe? In keeping with the premises of a global art and design history approach, the book offers a change of perspective: focusing on the mobility of people, objects and ideas - on flows between Africa and Europe as well as on a South-South axis - allows for multiple yet necessarily fragmented design histories to be identified and recognised. The contributors trace multi-faceted design case studies from a historical perspective, with attention to the present as well as towards possible futures.
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<p></p> <p>This book explores one of the most topical and controversial issues of recent years –jihadist terrorist infiltration of irregular migrant flows to Europe. Utilizing robust sampling criteria, more than a hundred such cases are identified and rigorously assessed. The analysis reveals the characteristics of offenders, their travel patterns and operational activities, and critically evaluates subsequent law enforcement and judicial responses. The author draws upon interviews with a range of European security officials, as well as non-governmental organization employees, and a recent refugee, in order to provide a series of practical recommendations.</p> <br> <p></p>
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This book discusses the causes and nature of political differentiation in Europe. It deals with the normative problem of differentiated integration, both in its vertical and horizontal dimensions, and addresses the problem of differentiation through a theory of democratic autonomy and dominance.  A politically differentiated EU could deprive people of their right to co-determine common affairs and have adverse effects for democratic self-rule. It could also take away the people’s ability to influence political decisions that they are ultimately affected by. This book argues that differentiation is not an innocent instrument for handling conflicts in interconnected contexts. The consequences of what might be a benign plea for sovereignty and independence can in fact lead to the opposite. <p></p>
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This book provides students, researchers, and practitioners of speechwriting with a unique insight in the theory, history, and practice of speechwriting. The combination of theory and practice with case studies from the United States and Europe makes this volume the first of its kind. The book offers an overview of the existing research and theory, analysing how speeches are written in political and public life, and paying attention to three central subjects of contemporary speechwriting: convincing characterization of the speaker, writing for the ear, and appealing with words to the eye. Chapters address the ethics and the functions of speechwriting in contemporary society and also deliver general instructions for the speechwriting process. This book is recommended reading for professional speechwriters wishing to expand their knowledge of the rhetorical and theoretical underpinnings of speechwriting, and enables students and aspiring speechwriters to gain an understanding of speechwriting as a profession. <p></p> <p></p> <p></p> <p></p>
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<div> <div style="display: inline;"> <div style="display: inline;"> <div style="display: inline;"> <div style="display: inline;"> <div style="display: inline;"><strong>PUBLICYSTYKA</strong></div> </div> </div> </div> </div> </div> <p> </p> <div dir="ltr"> <div> <div> <div dir="ltr"> <div> <div dir="ltr"> <div> <div dir="ltr"> <div> <div> <div dir="ltr"> <div> <div> </div> <div><strong>2</strong> DZIADY <em>Witold Vargas</em></div> <div><strong>3 </strong>WSZYSTKO JEST DZIEŁEM WYNALAZCÓW <em>Aleksandra Klęczar</em></div> <div><strong>4</strong> ŚWIATY PEŁNE MAGII I TAJEMNIC<em> Joanna Usowicz</em></div> <div><strong>8</strong> OTAKU NAD WISŁĄ <em>Rozmowa z dr Pawłem Dybałą</em></div> <div><strong>12</strong> MAGIC KNIGHT RAYEARTH <em>Małgorzata Samela</em></div> <div><strong>14 </strong>MACIEJ BYŁ NIE Z TEGO ŚWIATA <em>Rozmowa z Jolą Parowską</em></div> <div><strong>72 </strong>ŻYCIE NA MARSIE <em>Rafał Kosik</em></div> <div><strong>73 </strong>KONKURS LITERACKI NOWEJ FANTASTYKI</div> <div><strong>74 </strong>LIL I PUT <em>Maciej Kur, Piotr Bednarczyk</em></div> <div><strong>78 </strong>DIABEŁ W TELEWIZJI <em>Łukasz Orbitowski</em></div> <div> </div> <div><strong>PROZA POLSKA</strong></div> <div> </div> <div><strong>17 </strong>NA SKRAJU DESZCZU <em>Marcin Bartosz Łukasiewicz</em></div> <div> </div> <div><strong>PROZA ZAGRANICZNA</strong></div> <div> </div> <div><strong>38 </strong>GRUBB I RZEŹBIONY KOT <em>Philip Madden</em></div> <div><strong>41</strong> PRZYWRÓCIĆ SERCE MIŁOŚCI <em>John Chu</em></div> <div><strong>47 </strong>ZAKŁAD DRUKARSKI MALOTIBALA <em>Mimi Mondal</em></div> <div><strong>54</strong> RUCHY ROBACZKOWE <em>Vajra Chandrasekera</em></div> <div><strong>60</strong> SALA OPERACYJNA <em>Izumi Kyoka</em></div> <div> </div> <div><strong>RECENZJE</strong></div> <div> </div> <div><strong>65</strong> KSIĄŻKI <strong>76</strong> KOMIKS</div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div>
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'So much magic. So much love. So much laughter. So much work. So much rage. And so many tears.' Connor is, well, Connor. He loves buses, Eddie Stobart and Lego. He also has learning disabilities. When he dies an entirely preventable death in NHS care, his mum, Sara, can't get a straight answer as to how it happened. But Sara and her family won't stop asking questions and soon an extraordinary campaign emerges. Demanding the truth, it uncovers a scandal of neglect and indifference that goes beyond Connor's death to thousands of others. Sara Ryan's impassioned, frank and surprisingly funny memoir Justice for Laughing Boy is adapted for the stage by Stephen Unwin. It was first performed at Jermyn Street Theatre, London, in 2024, in a co-production with Theatre Royal Bath.
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