A Russian Wild Flower:Or the Story of a Woman in Search of a Life E. A. Brayley Hodgetts
The publication of the outstanding American writer Jack London (1876-1916) includes the story ´´The Call of the Wild´´ about the amazing life of northern wolves among gold miners in Alaska. Please note: This audiobook is in Russian. 1. Russian. Ilya Bobylev. http://samples.audible.de/bk/agen/000075/bk_agen_000075_sample.mp3.
Filler & Mixer für extravagante Cocktails oder Longdrinks Waldfrucht-Geschmack verfeinert mit Noten von Hibiskus Trend-Erfrischungsgetränk mit leichten Zügen von Himbeere Perfekte Ergänzung zu Vodka oder Gin Wie gemacht für den Longdrink Lillet Wild Berry Herstellungsland: England Lebensmittelunternehmer: Schweppes Deutschland GmbH - Hagener Str. 261 - 57223 Kreuztal - Deutschland Deklaration: Spirituose Deklaration: Erfrischungsgetränk Durchschnittliche Nährwerte pro 100ml: Energie: 160 kJ/38 kcal Fett: 0 g -Davon gesättigte Fettsäuren: 0 g Kohlenhydrate: 9 g -Davon Zucker: 9 g Eiweiß: 0 g Salz: 0 g
Prepper´s Guide to Survive in the Wild : Survival Secrets of the Russian Spetznaz (Survival Guide): Alex Gromov
Bilingual radio play: In Russian and English.The story of the little wild boar Max, who doesn´t want to get dirty. On her search for a bristle Ladybird Marie meets Max, the little wild boar who thinks mud and dirt are disgusting. He doesn´t want to get dirty. All the animals laugh at him. Max is not amused.Then Max´s friend is drowning in the pond. Can Max save her? The PDF booklet that accompanies this selection will be automatically added to My Library after the purchase. 1. Language: English. Narrator: Viktoria Lukjanceva, Zorica Ball. Audio sample: http://samples.audible.de/bk/maki/000064/bk_maki_000064_sample.mp3. Digital audiobook in aax.
Contemporary Russian Photography is the subject of the FotoFest 2012 Biennial. The Biennial publication is an extensive representation of the evolution of creative photography in Russia from the Khrushchev period of the late 1950´s through the wild experimentalism of Perestroika and its aftermath in the 1990s to the work of young Russian photographers today. The presentation of Russian photography shows the remarkable breadth of the photographic arts in Russia over the past 56 years. The essays provide a re-examination of the history of creative photography in Russia after Stalinism. The Russian art works are part of a two-volume publication with essays and images representing the renowned Biennial´s major exhibitions. The publication contains over 300 color images, curatorial essays, artist and curator bios, with website information. The history of Russian creative photography since the late 1950s, its artists and art works are the subjects of essays by the leading Russian curators and independent art historians, Evgeny Berezner and Irina Tchmyreva, Ph.d. As Deputy Director General for photography and multi-media projects at the ROSIZO State Museum and Exhibition Center of the Russian Ministry of Culture, Mr. Berezner curated over 150 exhibitions of contemporary and classical Russian photography. Irina Tchmyreva is the senior researcher for photography at the Department of Russian Art of the 20th Century in the State Research Institute of Art History in The Russian Academy of Fine Arts. She has written widely on Russian photography.
Conceive the joy of a lover of nature who, leaving the art galleries, wanders out among the trees and wild flowers and birds that the pictures of the galleries have sentimentalised. It is some such joy that the man who truly loves the noblest in letters feels when tasting for the first time the simple delights of Russian literature. French and English and German authors, too, occasionally, offer works of lofty, simple naturalness; but the very keynote to the whole of Russian literature is simplicity, naturalness, veraciousness. Another essentially Russian trait is the quite unaffected conception that the lowly are on a plane of equality with the so-called upper classes. When the Englishman Dickens wrote with his profound pity and understanding of the poor, there was yet a bit; of remoteness, perhaps, even, a bit of caricature, in his treatment of them. He showed their sufferings to the rest of the world with a ´´Behold how the other half lives!´´ The Russian writes of the poor, as it were, from within, as one of them, with no eye to theatrical effect upon the well-to-do. There is no insistence upon peculiar virtues or vices. The poor are portrayed just as they are, as human beings like the rest of us.
Taming the Wild Field:Colonization and Empire on the Russian Steppe Willard Sunderland