The Bible. What a book! Great and wide like the world, rooted in the gulfs of creation and reaching up to the blue sequence of the heavens. Sunrise and sunset, promise and fulfilment, birth and death, the whole drama of mankind, everything is in this book. It is the book of books, Biblia. The Jews should easily console themselves to having lost Jerusalem and the Temple and the Ark of the Covenant and Solomons implements and gems. Such a loss is small compared with the Bible, the indestructible treasure that they saved. If I am not mistaken, it was Mohammed who called the Jews The People of the Book, a name that has remained among the Orient until the present day and that has a deep significance. A book is their Fatherland, their possession, their ruler, their fortune, and their misfortune. They live in the enclosed borderlands of this book; here they exercise their inalienable citizenship, here they cannot be chased away or held in contempt, here they are strong and admirable. Absorbed in the reading of this book, they noticed few of the changes that took place in the real world around them: nations arose and disappeared, saints blossomed, and expired, revelations swarmed over the earth, but they, the Jews, lay bent over their book and noticed nothing of the wild hunt of time that marched over their heads!
The plastic design of the Florentine Cathedral was most likely executed by Giotto himself from his own sketches: in its simple, characteristic truthfulness to nature it demonstrates a style informed by a fine aesthetic sense.
Andrea Pisano had adopted the painterly qualities of
Giotto’s art even before he came to Florence to design an oak door for the baptistery (see p. 160). In 1330 he finished the models for the door and completed the brass-cast in
1336. Each wing of the door, which today is located on the building’s south side, contains fourteen small, sculptural relief depictions framed by Gothic quatrefoils. Twenty of them tell the story of John the Baptist in Giotto’s typically simple, concise style. Only employing a minimum of figures, the plot is so vividly told that the viewer feels like a part of the tale. These reliefs, and those on the belfry, are the basis for the greatness of Florentine fifteenth-century sculpture.
Andrea Pisano was a pupil of Giovanni Pisano, whose father, Nicola Pisano, stood at the helm of Middle Italy’s new sculptural developments. In Tuscany the first stirrings of the ancient Italian spirit re-emerged; the first attempts to break the domination of the Byzantine style were made. Nicola Pisano was the first to completely overcome it by returning to national models: remains of
Pojawi si encyklopedie zupenie nowego typu, z wbudowan siatk pocze asocjacyjnych, gotowe do umieszczenia w memeksie i rozwinicia ich tam.
Vannevar Bush As We May Think
W TYM ROZDZIALE:
Przegld nawigacji po witrynach
Projektowanie systemw nawigacji i rne podejcia do projektowania
Nawigacja odgrywa gwn rol w ksztatowaniu dozna w internecie. Zapewnia dostp do informacji w sposb, ktry uatwia zrozumienie, odzwierciedla cechy marki i zwiksza wiarygodno witryny. W ostatecznym rozrachunku nawigacja po witrynie i moliwo znalezienia informacji maj wpyw na dochody wacicieli.
Projektowanie systemu nawigacji to zadanie, ktre nie ogranicza si do wyboru zestawu przyciskw. Jest to duo rozleglejsza, a jednoczenie bardziej wyrafinowana dziedzina. Projektant nawigacji musi poczy cele uytkownikw z celami biznesowymi. Wymaga to zrozumienia celw z obu tych obszarw, a take dogbnej wiedzy na temat porzdkowania informacji, ukadu strony i prezentacji treci. Ten rozdzia przedstawia szeroki kontekst nawigacji po witrynach internetowych, aby pomc lepiej zrozumie nie tylko cel tworzenia omawianych systemw, ale te ich znaczenie.
Sebastian, three-and-one-half months old, was brought for a consultation because of feeding difficulties. His mother was very concerned, saying that he hardly ate and was not gaining weight. As they sat in my office, his mother, Mrs. M., avoided the en face position; she turned Sebastian away from her on her lap and never gazed into his eyes. Her avoidance of body contact was evident. When the baby sought closeness, reaching to nestle against her, she would start some activity which made intimate contact impossible. Even when she gave Sebastian a bottle, she held him facing away from her. When she had to hold the baby against her—for instance, when she burped him—she was very rigid and her movements were totally mechanical. When the infant again showed an attempt at body contact, she remained motionless, seemingly impervious to his needs.
In conversation, over several visits, she mentioned that breast-feeding had not “worked” at all, and that she had given up very early. When asked why she did not look at Sebastian as she fed him, she stated that his glance intimidated her. Later, she described it as “reproachful.” I asked her what she meant by that, and she replied that she was sure that Sebastian judged her as a bad mother, incapable of fulfilling her role.
et’s talk about what got many of us in prison: money.
First, TDCJ inmates are not paid. No matter how hard we work, for how many years, we do not receive a penny. Various groups have tried to convince Texas lawmakers to pay inmates a tiny daily stipend. Texas is one of only two or three states that does not pay its inmates. But it takes a courageous legislator to tell his constituents, “Yes, I know these guys robbed and raped and sold drugs and carjacked—I still think we need to pay them.”
The legislator might be risking political suicide before he could explain the benefits of making sure that by paying inmates, you could ensure that many don’t come back. That would make paying inmates cost efficient, on both monetary terms and humanitarian grounds, because many of us would then not commit the murders and robberies that leave so many innocent victims in our wake. But those benefits are lost in the hazy, blood-red world created by prosecutors bent on convictions now in exchange for misery later.