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Fortuna and El Placer de No Hacer Nada, with Introduction, Notes, Vocabulary, and Exercises
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.
Perez Escrich Fortuna
Set in Spain during the 19th century, this novel follows the adventures of Juan de Dios, a penniless youth who rises to prominence through a combination of luck and pluck. 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 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. 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.
International Bohemia
How did this vagabond word, bohemia, migrate across national borderlines over the course of the nineteenth century, and what happened to it as it traveled? In International Bohemia, Daniel Cottom studies how various individuals and groups appropriated this word to serve the identities, passions, cultural forms, politics, and histories they sought to animate. Beginning with the invention of bohemianism's modern sense in Paris during the 1830s and 1840s, Cottom traces the twists and turns of this phenomenon through the rest of the nineteenth century and into the early years of the twentieth century in the United States, England, Italy, Spain, and Germany. Even when they traveled under the bann...
Crisscrossing Through Afro-Asian Literature
Crisscrossing Through Afro-Asian Literature is intended to give the reader varied views of life in the Afro-Asian sphere. It hopes to help the reader capture the nuances of the human experience that well from the vast wealth of wisdom and culture in these countries.
The Yale Literary Magazine Vol. 52 No. 1-9
Reprint of the original, first published in 1887.
Katia
WE were in mourning for our mother, who had died the preceding autumn, and we had spent all the winter alone in the country-Macha, Sonia and I. Macha was an old family friend, who had been our governess and had brought us all up, and my memories of her, like my love for her, went as far back as my memories of myself. Sonia was my younger sister. The winter had dragged by, sad and sombre, in our old country-house of Pokrovski. The weather had been cold, and so windy that the snow was often piled high above our windows; the panes were almost always cloudy with a coating of ice; and throughout the whole season we were shut in, rarely finding it possible to go out of the house. It was very seldom that any one came to see us, and our few visitors brought neither joy nor cheerfulness to our house. They all had mournful faces, spoke low, as if they were afraid of waking some one, were careful not to laugh, sighed and often shed tears when they looked at me, and above all at the sight of my poor Sonia in her little black frock.
Richard Lepsius
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