This book contains over 50 momentous and thought-provoking speeches from a wide range of historical eras and nations and will both inspire readers and give them a greater understanding of the events of the time. Since the beginning of time, great leaders have used their power of oratory to win and inspire followers. A biography of each speechmaker explains how they came to be standing at the crossroads of history. Each speech is accompanied by a comprehensive introduction that explains its historical background, why it was significant and what happened as a result.
Speeches That Changed the World
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Объединенная Республика Танзания
В отличие от Танганьики поверхность Занзибара и Пембы-равнина. Однако растительность родственна материковой. Правда, многие леса и кустарники вырублены, а на их месте посажены кокосовые пальмы и гвоздичные деревья. Климат Танзании жаркий. Зима отличается от лета лишь количеством осадков. В начале и конце лета наблюдаются два сезона дождей. Наибольшее количество осадков выпадает на Занзибаре, Пембе, побережье Индийского океана и в предгорьях. Центральная часть Танганьики засушлива. Именно поэтому более 80% населения страны Живет на 1/3 территории в менее засушливой области. Остальные районы страны почти безлюдны. Во всем мире известны заповедники Танзании-Серенгети и Нгоронгоро, где сохраняются Многочисленные представители животного мира Африки. В естественных условиях живут львы, слоны, носороги, бегемоты, леопарды, буйволы, антилопы, жирафы, зебры, гиены. Много птиц, змей, ящериц. Использованная литература "Детская Энциклопедия 6 ", "Страны мира 1989 г.", "Co cise a las of he world", "Иллюстрированная энциклопедия животных", "Детская Энциклопедия 8 "," Детская Энциклопедия 10"," Детская Энциклопедия 11 ","История развивающихся стран". .05.1996 года Марк Маслов 10бм класс
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The struggle betwee\ n Meisso\ nier a\ nd Ma\ net to see their pai\ nti\ ngs achieve pride of place at the Salo\ n was \ not just about artistic competitive\ ness, it was about how to see the world. Full of fa\ ntastic tidbits of i\ nformatio\ n (such as the use of carrier pigeo\ ns a\ nd hot-air balloo\ ns duri\ ng the siege of Paris), a\ nd a colourful cast of characters that i\ ncludes Baudelaire, Courbet, a\ nd Zola, with walk-o\ n parts for Mo\ net, Re\ noir, Degas, a\ nd Ceza\ n\ ne, The Judgme\ nt of Paris casts \ new light o\ n the birth of Impressio\ nism a\ nd takes us to the heart of a time i\ n which the moder\ n Fre\ nch ide\ ntity was bei\ ng forged. If there were two me\ n who were absolutely ce\ ntral to artistic life i\ n Fra\ nce i\ n the seco\ nd half of the \ ni\ netee\ nth ce\ ntury, they were Edouard Ma\ net a\ nd Er\ nest Meisso\ nier. While the former has bee\ n labelled the Father of Impressio\ nism a\ nd is today a household \ name, the latter has su\ nk i\ nto obscurity. It is difficult \ now to believe that i\ n 1864, whe\ n this story begi\ ns, it was Meisso\ nier who was co\ nsidered the greatest Fre\ nch artist alive a\ nd who received astro\ nomical sums for his work, while Ma\ net was derided for his messy pai\ nti\ ngs of ordi\ nary people a\ nd had great difficulty getti\ ng a\ ny of his work accepted at the all-importa\ nt a\ n\ nual Paris Salo\ n. Ma\ net a\ nd Meisso\ nier were the Mozart a\ nd Salieri of their day, o\ ne a da\ ngerous challe\ nge to the establishme\ nt, the other beloved by rulers a\ nd the public alike for his pai\ nstaki\ ngly meticulous oil pai\ nti\ ngs of historical subjects. Out of the fasci\ nati\ ng story of their parallel careers, Ross Ki\ ng creates a le\ ns through which to view the political te\ nsio\ ns that dogged Louis-\ napoleo\ n duri\ ng the Seco\ nd Empire, his ig\ nomi\ nious dow\ nfall, a\ nd the bloody Paris Commu\ ne of 1871. At the same time, Ki\ ng pai\ nts a wo\ nderfully detailed a\ nd vivid portrait of life i\ n a\ n era of radical social cha\ nge: o\ n the streets of Paris, at the \ new seaside resorts of Boulog\ ne a\ nd Trouville, a\ nd at the race courses a\ nd pic\ nic spots where the \ new bourgeoisie relaxed. Whe\ n Ma\ net pai\ nted Dejeu\ ner sur lherbe or Olympia, he shocked \ not o\ nly with his casual brushstrokes (described by some as applied by a floor mop) but with his subject matter: top-hatted white-collar workers (a\ nd their mistresses) were \ not co\ nsidered suitable subjects for Art. Ross Ki\ ng shows how, be\ nig\ n as they might seem today, these pai\ nti\ ngs cha\ nged the course of history.
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