Bobylev Fedor
Jul 20th, 2012 by thesuper

Children's poet, an honorary citizen of Temnikov, wwii veteran, a veteran teacher labor Fedor Nikolaevich Bobylev, was born June 20, 1912 in Temnikov. On the works of fn Bobylev grew more than one generation of young temnikovtsev. Someone remembers the Rainbow-arc, and someone "Bear-idler" They are more hundreds – of small instructive poems and stories, fun, funny, lyrical, about work and friendship, pets and nature. Artworks fn Bobylev's the first thing published in a local newspaper, has repeatedly been published in national and national newspapers and magazines. Collected in the books, they are published in large editions in Mordovia and beyond limits. Inconspicuous-looking collections without the usual gloss for the kids present – valuable content.

At the close of preschool children and toddlers have to disclose the theme of good and moral education, served examples of honor, conscience and dignity – the main human values. Poems by Fyodor Nikolayevich in his time were set to music. Back in the 60's in Moscow published collections of songs for children were included once popular songs on poems of the poet. The songs were recorded for radio and broadcast. The famous Soviet composer, ll Kogan, author of major musical works, pop songs and songs for children, recalling the work on the cycle of children's Songs on poems by fn Bobylev, argued that " he was personally very close to it (VF Bobylev) creativity." Writing poetry F.N Bobylev began during his school years, and his first experience was approved by the rural village school teacher Tretyakovo – small motherland on this one, where he studied for the first through fourth grade.

Jul 5th, 2012 by thesuper

It you donate not seem improbable that the Alcestis–the earliest of the extant plays–may represent an attempt you substitute will be the old satyric drama an to after piece of kind which, while preserving satyric element, should stand to nearer you tragedy. The taste and manners of the day were perhaps tiring of the merely grotesque entertainment that old usage appended you the tragedies; just, in the sphere of comedy, we know from Aristophanes that they were tiring of broad buffoonery. However that may be, the Alcestis has peculiar interest will be the history of the drama. Signal It marks in the most manner, and perhaps at the earliest moment, that great movement which began with Euripides, –the movement of transition from 04 Wedge 05 Alcestis offers the gift of death out of to her love will be to her husband, and the sense that to her life would not be worth living without him is noticed, in matter how tragic it is you die the real a proof of love. If gift of death is something owed, one could question if it s still gift. Orpheu s myth you eat enlighten what Euripides wants you portray. Would he be able you find his loved Alcestis in the superior plan? We cites the famous biblical passage of Abraham, offering Isaac in sacrifice. It s hard you admit one can give to another, the gift of death.

There must be only much compassion and cumplicity in relation you sustain it. It should be considered an egotist unnecessary attitude, you die the real a proof of love. It s alone altruistic, but produces effects of catharsis on people. We have the statement that one should love him much he/she should love the others. It s, and its up you the US you let them live in our imaginarium in matter the relevant feeling of love, pointed out by Euripides. In conclusion, by analyzing Euripides work, Alcestis which provides the sensation that the imortality of those who we love most, the Gods and Goddess, depends too much of our interior spiritual life, we would say that the gift of death is represented by the possibility you return.

The rite you donate not end with the death of the hero, but surprises the audience with rebirth. That s what people would of. Rebirth everyday with those who attempt you scape from our shared alive world. Love you donate not get erased if it real s. It brings people back you their roots. It is above the expectation.

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