An insiders’ view of what the European Parliament is really like: the environment and atmosphere of Brussels, Strasbourg and Luxembourg; the MEPs and the staff; the internal politics; the personalities; and how the work is actually done. Illustrated throughout with more than 350 photographs. FOR A SLIDESHOW PRESENTATION VISIT http://www.europesparliament.com/ The authors start off with two chapters which set the scene: what the Parliament is like to work in – the physical environment, and from that, the story of the seat, and the saga of the buildings. The book then moves on to describe the main actors in the daily drama of parliamentary life; the politicians, of course, but also their staffs, the political group secretariats and Parliament’s administration. It covers the different kinds of parliamentarians – the higher-profile MEPs destined for senior office in Parliament, the legislators, the budgeteers, the institutionalists, the parliamentary diplomats and the mavericks. It describes how MEPs get promoted. And it shows how in reality MEPs do their work of legislating, controlling the budget and scrutinising the Commission. The book raises several other themes. What about the politics in all this? How important a factor is nationality in the way things are decided? And multilingualism – how does the Parliament cope as the only body in the world with fully twenty-three working languages, plus some add-ons? And, finally and ever more importantly, how does the Parliament communicate with the outside world and especially those who elect it? The book includes more than 350 photographs illustrating the 'life and times' of this unique experiment in continental-level democracy.
more >>>

In 2011, two major instruments of European contract law were published: the 2011 Consumer Rights Directive (CRD) was enacted and the proposal for a Common European Sales Law (CESL) was launched. Both instruments aim at improving the internal market. Whereas the CRD aims at B2C contracts, the CESL may be applied, as an optional instrument, both to B2C and B2B contracts. In this book, both instruments are discussed. Decock and Chirita approach the CRD from an historical and a competition law perspective; Van Schagen argues that the way the CESL is drafted endangers its chances of being applied in practice. De Bruijn, Dang Vu, Kruisinga, Jansen and Keirse address several matters regarding the remedies for non-conformity under the CESL. The book opens, however, with three more general papers. Loos and Keirse first address the development of European private law, from the 1975 Consumer Policy Programme to the CRD and the CESL. Wouters addresses the relationship between private law, global governance and the European Union, and Boele-Woelki draws attention to the harmonisation of European matrimonial property law. This book thus represents the most important developments in the area of European private law. As such, it will provide important insights for the practitioner and academic interested in the course of these developments.
more >>>

This volume of essays casts light on the shape and future direction of the EU in the wake of the Lisbon Treaty and highlights the incomplete nature of the reforms. Contributors analyse some of the most innovative and most controversial aspects of the Treaty, such as the role and nature of the EU Charter of Fundamental Rights and the relationship between the EU and the European Court of Human Rights. In addition, they reflect on the ongoing economic and financial crisis in the Euro area, which has forced the EU Member States to re-open negotiations and update a number of aspects of the Lisbon 'settlement'. Together, the essays provide a variety of insights into some of the most crucial innovations introduced by the Lisbon Treaty and in the context of the adoption of the new European Financial Stability Mechanism.
more >>>

Teljesen átdolgozott, aktualizált gyermek- és ifjúsági irodalommal foglalkozó kötetet tarthat kezében az olvasó, amely kompetenciaorientált javaslatok tömegét nyújtja az alsófokú nyelvi oktatás számára. A témák Harry Potter-től a klasszikusokig, gyermekkrimiktől a szakirodalomig terjednek.
more >>>

This is the unrivaled, comprehensive, and award-winning reference tool on graphic design recognized for publishing excellence by the Association of American Publishers. Now, this Fifth Edition of Meggs' History of Graphic Design offers even more detail and breadth of content than its heralded predecessors, revealing a saga of creative innovators, breakthrough technologies, and important developments responsible for paving the historic paths that define the graphic design experience. In addition to classic topics such as the invention of writing and alphabets, the origins of printing and typography, and postmodern design, this new Fifth Edition presents new information on current trends and technologies sweeping the graphic design landscape—such as the web, multimedia, interactive design, and private presses, thus adding new layers of depth to an already rich resource. With more than 1,400 high-quality images throughout—many new or newly updated—Meggs' History of Graphic Design, Fifth Edition provides a wealth of visual markers for inspiration and emulation. For professionals, students, and everyone who works with or loves the world of graphic design, this landmark text will quickly become an invaluable guide that they will turn to again and again.
more >>>

more >>>

A klasszikus mesterekre, sok minden egyéb mellett, az anyagszerű komponálás is jellemző; elődeik azonban nem sokat törődtek a hangzó matériával, könnyű kézzel írtak át műveket egyik hangszerről a másikra, vagy éppenséggel alternatív megszólaltatásra szánták azokat, mint Ph. E. Bach tette 1750 táján írt koncertjével és ezenkívül még további két művével. Nyilvánvaló, hogy a komponálás során ő maga sem képzelt el meghatározott instrumentumot, karakterisztikus hangszínt, így volt lehetséges, hogy zenéje három olyan merőben különböző szólóhangszerre alkalmazható, mint a mélyvonós gordonka, a magas fafúvós fuvola és a billentyűs csembaló! Wilhelm Altmann, a darab Eulenburg-féle kiadásának gondozója úgy vélekedik, hogy Bach gordonkára szánta ezt a kompozícióját, mivel ez idő tájt gamba-szonátákat is írt. E feltevését az a körülmény támasztja alá, hogy a darab eredeti kézirata valóban gordonkaszólót jelez; egy későbbi verzióban ugyan fuvolaszóló szerepel, ennek eredeti kézirata azonban mindmáig nem került elő. Az első tétel lendületes indítása, hármashangzat-tematikája az olasz versenyművek — elsősorban Vivaldi — hatására utal. A szólók megoldása természetesen az egyes hangszerek technikai és hangzásbeli sajátosságainak figyelembevételével módosul. A lassú tételen a pontozott ritmus uralkodik; a finálé érdekesen tagolt, változatosan ritmizált témája a motivikus kidolgozásmódra ad a zeneszerzőnek megannyi hatásos lehetőséget.
more >>>

Ligeti fiatalkori szólószonátája a bartóki hagyományban gyökerezik, s benne a népi elemek különösen ötvöződnek a zajokat, zörejeket és puszta hangzásokat alkalmazó zenei gesztusokkal.
more >>>

Egy idevágó idézet: „Csak akinek módja volt az erdélyi falvak román népi táncait a helyszínen élvezni, az tudja igazán, mennyire a népi élet teljességét, gazdagságát idézi fel Bartók feldolgozása a hangversenyteremben.” (Kroó György: Bartók-kalauz)
more >>>

more >>>

Experimental Landscape-Foreword During the course of my teaching here in Pécs I came to realise that changes in Hungarian society and way of life have also caused radical changes in the fine arts. Young artists, and indeed young students, seem to be showing an interest in areas which gained popularity during my time as a student in England between 1972 and 1977. Particularly I witness a new interest in what we then called, "Land Art" - today perhaps better described as "Nature Art" - and also in Public Art, a denomination that may be understood in many ways. My personal interest in Land Art dates back to 1970 when, as a landscape-painting schoolboy, I began to realise that the potential of landscape depiction might be extended and that, instead of being merely topographical, it might also encompass ecological issues and the land itself act as a space for physical and intellectual intervention. As a result of demands from the students of the Faculty of Music and Visual Arts at the University of Pécs I began to hold a Land Art seminar. The form of this seminar has gone through many changes over the years, but it has always been characterised by openness. From the beginning the seminar was adverstised for students on our doctoral programme, but many topics such as the depiction of landscape, gardens and park-design, alongside the brief history of Land Art and its precedents. In 2009 I had three invitations to take part in Nature Art workshops in different parts of Hungary with my students deserve special mention. Atilla Pokorny took part in the first of these seminars and has been an almost constant presence over the years. Despite not being under my tutorship on the doctoral programme Land Art began to take a major role in his oeuvre as he produced many works in the landscape in his native Romania, in Sicily and elsewhere. Csongor Szigeti, now on my doctoral programme, arrived with a significant background in this field. I have also included works made by myself. I make no claim for these as art works, and in fact finc them somewhat trivial compared to my normal activity as a sculptor. They are perhaps however valuable as examples of playfulness, for it is my aim always to open the minds of the students and also to make them aware of the importance of place and the ways in which we may demark. It is particularly rewarding to see that in times of virtual reality (and many of the featured students are particularly strong in this area too) the 'natural' environment - and our human relationship to i - is still an important issue for these young, ambitious people. This, for me, is a sign of great hope, as it will ultimately be their challenge to finally create a sustainable relationship with the planet. Prof. Colin Foster, Nagynyárád, Hungary, 2011.
more >>>

In Kodály Today, Mícheál Houlahan and Philip Tacka offer an expertly-researched, thorough, and - most importantly - practical approach to transforming curriculum goals into tangible, achievable musical objectives and effective lesson plans. Their model - grounded in the latest research in music perception and cognition - outlines the concrete practices behind constructing effective teaching portfolios, selecting engaging music repertoire for the classroom, and teaching musicianship skills successfully to elementary students of all degrees of proficiency. Addressing the most important questions in creating and teaching Kodály-based programs, Houlahan and Tacka write through a practical lens, presenting a clear picture of how the teaching and learning processes go hand-in-hand. Their innovative approach was designed through a close, six-year collaboration between music instructors and researchers, and offers teachers an easily-followed, step-by-step roadmap for developing students' musical understanding and metacognition skills. A comprehensive resource in the realm of elementary music education, this book is a valuable reference for all in-service music educators, music supervisors, and students and instructors in music education.
more >>>