The Tzar s Curious Runaways

The Tzar s Curious Runaways
Author: Robin Scott-Elliot
Publsiher: Unknown
Total Pages: 304
Release: 2019-10-17
Genre: Electronic Book
ISBN: 191142713X

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The Acrobats of Agra

The Acrobats of Agra
Author: Robin Scott-Elliot
Publsiher: Unknown
Total Pages: 321
Release: 2020-10-26
Genre: Electronic Book
ISBN: 1911427148

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The History of Peter the Great Emperor of Russia

The History of Peter the Great  Emperor of Russia
Author: Voltaire
Publsiher: Unknown
Total Pages: 424
Release: 1857
Genre: Russia
ISBN: UVA:X000367030

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Ukraine and Russia in Their Historical Encounter

Ukraine and Russia in Their Historical Encounter
Author: Peter J. Potichnyj
Publsiher: CIUS Press
Total Pages: 368
Release: 1992
Genre: History
ISBN: 0920862845

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Anagram Solver

Anagram Solver
Author: Bloomsbury Publishing
Publsiher: Bloomsbury Publishing
Total Pages: 719
Release: 2009-01-01
Genre: Games & Activities
ISBN: 9781408102572

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Anagram Solver is the essential guide to cracking all types of quiz and crossword featuring anagrams. Containing over 200,000 words and phrases, Anagram Solver includes plural noun forms, palindromes, idioms, first names and all parts of speech. Anagrams are grouped by the number of letters they contain with the letters set out in alphabetical order so that once the letters of an anagram are arranged alphabetically, finding the solution is as easy as locating the word in a dictionary.

Russia Tartary and Turkey

Russia  Tartary  and Turkey
Author: Edward Daniel Clarke
Publsiher: Unknown
Total Pages: 896
Release: 1810
Genre: Crimea (Ukraine)
ISBN: UCSD:31822043010313

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Buyology

Buyology
Author: Martin Lindstrom
Publsiher: Currency
Total Pages: 274
Release: 2010-02-02
Genre: Business & Economics
ISBN: 9780385523899

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NEW YORK TIMES BESTSELLER • “A fascinating look at how consumers perceive logos, ads, commercials, brands, and products.”—Time How much do we know about why we buy? What truly influences our decisions in today’s message-cluttered world? In Buyology, Martin Lindstrom presents the astonishing findings from his groundbreaking three-year, seven-million-dollar neuromarketing study—a cutting-edge experiment that peered inside the brains of 2,000 volunteers from all around the world as they encountered various ads, logos, commercials, brands, and products. His startling results shatter much of what we have long believed about what captures our interest—and drives us to buy. Among the questions he explores: • Does sex actually sell? • Does subliminal advertising still surround us? • Can “cool” brands trigger our mating instincts? • Can our other senses—smell, touch, and sound—be aroused when we see a product? Buyology is a fascinating and shocking journey into the mind of today's consumer that will captivate anyone who's been seduced—or turned off—by marketers' relentless attempts to win our loyalty, our money, and our minds.

1812 Napoleon I in Russia

 1812  Napoleon I in Russia
Author: Vasily Vasilyevich Vereshchagin
Publsiher: Library of Alexandria
Total Pages: 266
Release: 2020-09-28
Genre: Napoleonic Wars, 1800-1815
ISBN: 9781465607560

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The following pages are not offered to the reader as a history of the invasion of Russia by Napoleon. They are but the statement of the basis of observation on which M. Verestchagin has founded his great series of pictures illustrative of the campaign. These pictures are now to be exhibited in this country, and the painter has naturally desired to show us from what point of view he has approached the study of his subject—one of the greatest subjects in the whole range of history—especially for a Russian artist. The point of view is—inevitably in his case—that of the Realist; and this consideration gives unity to the conception of his whole career and endeavour. He has ever painted war as it is, and therefore in its horrors, as one of its effects, though not necessarily as an effect sought in and for itself. He has tried to be “true” in all his representations of the battle-field. His work may thus be said to constitute a powerful plea in support of the Tsar’s Rescript to the Nations in favour of peace. My meaning will be best illustrated by a short sketch of M. Verestchagin and his work, as painter, as soldier, and as traveller. He was born in the province of Novgorod, in 1842, of a well-to-do family of landowners. The son wished to be an artist; the father wished to make him an officer of marines. As the shortest way out of the difficulty, he became both. He passed his work-hours at the naval school, and his play-hours at a school of design, working at each so well that he left the naval school as first scholar, and eventually won a silver medal at the Academy of Fine Arts. He entered the service, but only for a short time, and he was still three years under twenty when he quitted it to devote himself wholly to art. He was a hard-working student, though he always showed a strong disposition to insist on working in his own way. WhenGérôme sent him to the antique, he was half the time slipping away to nature. He played truant from the Athenian marbles to flesh and blood. In the meantime he was true to the instinct—as yet you could hardly call it a principle—of wandering from the beaten track in search of subjects. Every vacation was passed, not at Asnières or Barbizon, but in the far east of Europe, or even in Persia, among those ragged races not yet set down in artistic black and white. He had been on the borders of a quite fresh field of observation in these journeys; and he was soon to enter it for a full harvest of new impressions. It was in 1867; Russia was sending an army into Central Asia, to punish the marauding Turkomans for the fiftieth time, and General Kauffman, who commanded it, invited the painter to accompany him as an art volunteer. He was not to fight, but simply to look on. It was the very thing; Verestchagin at once took service on these terms with the expedition, and in faithfully following its fortunes, with many an artistic reconnaissance on his own account, he saw Asia to its core. He returned from a second Asiatic journey to settle at Munich for three years; and here he built his first “open-air studio.” “If you are to paint out-door scenes,” he says, “your models must sit in the open;” and so he fashioned a movable room on wheels, running on a circular tramway, and open to sun and air on the side nearest the centre of the circle, where the model stood. The artist, in fact, worked in a huge box with one side out, while the thing he saw was in the full glare of day; and by means of a simple mechanical contrivance he made his room follow the shifting light.