Maestro I sat in the theater box Almost in half-sleep. Maestro entered the podium A virtuoso conductor With disheveled hair. His first move with his baton And... it happened! Before my very eyes And in the world of my sensations I saw, I felt miracles' power Like in stellar storm with lightnings! Appassionata! Revolutionary Etude! Magic Flute! A night in Venice! The Queen of Spades! Blue Rhapsody! Lost paradise! Adagio! Ah, I felt being in paradise! Among the angels! The divine choir resounded! And when the curtain fell I suddenly found myself Back on Earth. Changed, reborn... My motto 'to be, always to be' Skyrocketed to new dimensions. Author: Thaddeus Hutyra

Divine Choir, volume 3, marvelous continuation of Divine Choir volume 1 & 2. Various poets from all over the world. Action in Heaven and on Earth, very entertaining, on all subjects of life and afterlife.

This study of six early twentieth-century periodicals serves to refine the traditional image of the inter-war journal as the pre-eminent vehicle of artistic and intellectual renewal. Every periodical has its own history but general themes are clearly identified. Traces emerge of a common commitment to the internationalisation of the arts and we find early and unexpected discussion of Freud, Chaplin and Joyce in Brussels and Berlin, jazz in Vienna and Brussels, Ezra Pound in the Netherlands and Belgium. In contrast to this internationalisation are the ambitions of the various editors to play a significant role in their national cultures. This tension between national and international influences was in the first instance stimulating and innovative. Later, as a result of political and socio-economic developments, the newly achieved openness and exchange were gradually diminished and finally disappeared as did the periodicals themselves.

Many modernist artists in the early years of the 20th century preferred solitary lives, but just as many thrived in small, nebulous groups, such as the Futurists & Imagists. Cohen demonstrates how these groups fostered artistic innovation & bore responsibility for nearly all avante-garde agitation.

This pioneer work is an annotated catalogue, illustrated with specimens of the types made during the sixteenth century in the area now covered by the Netherlands and Belgium. The influence of the sixteenth-century typecutters was considerable; in fact, many of their type faces, described in this book, were to be found in English printing offices of those days and even much later.

The "Iter Italicum" serves as a useful reference work for scholars in the history of philosophy, the sciences, classical learning, grammar and rhetoric, Neolatin literature, historiography of the theory of the arts and of music and related subjects. By scanning the volume or through this index, scholars will be able to find source material for individual writers as well as for certain subjects, problems or themes. By indicating for each manuscript its location and shelf-mark, scholars will find it easier to order microfilms or to pursue more detailed studies of some of the manuscripts listed. The volumes should also prove useful for librarians as a reference for the holdings of their own or other libraries.

The sites of inspiration documented in this book range from nineteenth century linguistic theory to postmodern strategies of conceptual writing, encompassing well known instances of modernist poetics (Mallarmé, Pound, Olson) alongside obscure but revealing figures like Otto Nebel and Henri-Martin Barzun.