IBOOKS dosya biçimi, işletim sistemlerinden birinde çalışan cihazlar (bilgisayarlar, telefonlar, tabletler vb.) İçin G. K. Chesterton yazarından The Victorian Age in Literature gibi bir e-kitap biçimi olarak geliştirilmiştir. Apple - MacOS veya iOS. Diğer e-kitap dosyaları gibi, örneğin The Victorian Age in Literature, IBOOKS dosyaları yalnızca metin değil, aynı zamanda grafik ve video bilgileri ile kitap okumak için çok uygun olan üç boyutlu nesneler, sunumlar ve diğer veri türlerini de içerebilir The Victorian Age in Literature . IBOOKS dosyaları, basit ve etkileşimli bir kullanıcı arabirimi sağlayarak çoklu dokunma hareketlerini destekledikleri için iBook çoklu dokunma dosyaları olarak bilinir. Bu tür dosyalar Apple'ın iBooks Author'ı kullanılarak kolayca oluşturulabilir. Bu, e-kitap geliştirmek ve yayınlamak için ücretsiz bir programdır. Bu durumda, büyük olasılıkla, IBOOKS uzantılı dosyalar yalnızca belirli bir ücret ödendikten sonra kullanılabilir hale gelecektir. Ancak The Victorian Age in Literature tamamen ücretsizdir. IBOOKS dosyaları Apple tarafından The Victorian Age in Literature indirebileceğiniz ePub 3 formatına göre geliştirilmiştir. Ancak, Apple bazı ek markalı "yongalar" ekledi. IBOOKS dosyası olarak kaydedilen The Victorian Age in Literature kitabı, kullanıcıların tüm Apple cihazlarında indirip okuması için iTunes'a yayınlanabilir.
| Yazar | G. K. Chesterton |
|---|---|
| Yayın Evi | Independently published |
| Dil | İngilizce |
J Saosa Almanca Kolektif Icon Group International Book on Demand Ltd. Fransızca Türkçe İspanyolca Outlook Verlag H. G. Wells İtalyanca J B SBoon Gale, U.S. Supreme Court Records Additional Contributors Leopold Classic Library İngilizce CreateSpace Independent Publishing Platform Independently published
The Victorian Age in Literature
| Yazar | G. K. Chesterton |
|---|---|
| İsbn 13 | 979-8735130123 |
| Yayın Evi | Independently published |
| Dil | İngilizce |
| De olduğu gibi | B0923WJ4TL |
| tarafından gönderildi | 10 Nisan 2021 |
It has been well and wittily said (as illustrating the mildness of English and the violence of French developments) that the same Gospel of Rousseau which in France produced the Terror, in England produced Sandford and Merton. But people forget that in literature the English were by no means restrained by Mr. Barlow; and that if we turn from politics to art, we shall find the two parts peculiarly reversed. It would be equally true to say that the same eighteenth-century emancipation which in France produced the pictures of David, in England produced the pictures of Blake. There never were, I think, men who gave to the imagination so much of the sense of having broken out into the very borderlands of being, as did the great English poets of the romantic or revolutionary period; than Coleridge in the secret sunlight of the Antarctic, where the waters were like witches' oils; than Keats looking out of those extreme mysterious casements upon that ultimate sea. The heroes and criminals of the great French crisis would have been quite as incapable of such imaginative independence as Keats and Coleridge would have been incapable of winning the battle of Wattignies. In Paris the tree of liberty was a garden tree, clipped very correctly; and Robespierre used the razor more regularly than the guillotine. Danton, who knew and admired English literature, would have cursed freely over Kubla Khan; and if the Committee of Public Safety had not already executed Shelley as an aristocrat, they would certainly have locked him up for a madman. Even Hébert (the one really vile Revolutionist), had he been reproached by English poets with worshipping the Goddess of Reason, might legitimately have retorted that it was rather the Goddess of Unreason that they set 6up to be worshipped. Verbally considered, Carlyle's French Revolution was more revolutionary than the real French Revolution: and if Carrier, in an exaggerative phrase, empurpled the Loire with carnage, Turner almost literally set the Thames on fire.
