By Fjodor Mihajlovics Dosztojevszkij
Dosztojevszkij emberbarátsága nem filantrópia, állásfoglalása nem elfordulás a küzdéstől. Dosztojevszkij egészen, ízig-vérig társadalomhoz forduló művész, ez élteti túl a maga korán, s ez viszi közel megrendítő művét, a Bűn és bűnhődést a ma emberéhez.
Ez a regény a mély ellentmondásokkal küzdő s meghasonlott lelkű géniusz legzártabb, legművészibb gonddal szerkesztett alkotása. Nyilván ez a körülmény magyarázza, hogy világszerte a Bűn és bűnhődés lett életműve legismertebb darabja.
A páratlan lélekábrázolás, az emberi jellemek szuggesztív erejű rajza, a magával ragadó stílus, a mesteri kompozíció, a kapitalista nagy város sikátorainak, piszkos bérkaszárnyáinak, fojtott levegőjű odúinak szorongatóan hiteles képe az írásművészet halhatatlan alkotásai közé emeli ezt a művet. A „detektívregényből” így lesz klasszikus remek, minden idők egyik legmegrázóbb lélekrajzregénye.
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Additional resources for Bűn és bűnhődés
Audio Formats In the example, you used an AudioStreamBasicDescription to describe the format of the audio stream your code generated: 16-bit integer samples, one channel, sample rate of 44,100, and so on. You then put that audio into an AIFF file. And as you might know from managing your own iTunes collection, many different file formats exist: AIFF,WAV, MP3, M4A, and so on. Summary Note Describing audio and storing audio data to the file system are entirely different problems. Data formats solve the first problem; file formats solve the latter.
When you’re reading data from some source, such as a file or a network stream, various parts of Core Audio populate the ASBD’s values. For example, Audio File Services fills in the ABSD for audio loaded from disk. In some cases, Core Audio even fills in values when you’re writing data:When you want to write compressed data, you often don’t know or can’t know the value of some of the fields, so you set them to 0 and let Core Audio figure it out. Want to know the sample rate? Check mSampleRate. This makes it equal to the number of frames per second, which means you can multiply it by mFramesPerPacket to determine packet length in seconds.
Speakers and microphones are just machines that do the same thing. Sound is nothing but energy shoving its way through a medium. To play back the sound, you vibrate a membrane as described. 1. The top and bottom of the graph represent the maximum displacement of the membrane. The y-axis, then, represents amplitude as a percentage of maximum, and the frequency with which the values move between positive and negative represents the sound’s frequency. One way to represent this wave is to carve a picture of it into some physical object.