Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Chaucer G., The Canterbury Tales — 1996 (Penguin Popular Classics)

This reading of The Canterbury Tales is in contempoarary English prose to appeal to the student and general reader alike. It tells the story of a pilgrimage to Canterbury in which men and women drawn from all classes of society lighten their journey by telling tales

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Chaucer G., Selected Canterbury Tales — 1994

At the Tabard Inn in Southwark, in the London of the late 1300s, a band of men and women from all walks of life have gathered to begin a pilgrimage to the shrine of Thomas a Becket at Canterbury. To relieve the tedium of the journey, the host of the inn proposes that each of the pilgrims tell a favorite story, promising that the best storyteller will be treated to a fine dinner on the group's return to Southwark.So begins one of the earliest masterpieces of English literature, a collection of stories as much prized for the portraits of its storytellers as for the stones they tell - portraits that reveal much of the rich social fabric of 14th-century England. Now three of the most popular tales - along with the charming General Prologue - have been selected for this edition: "The Knight's Tale", "The Miller's Prologue and Tale" and "The Wife of Bath's Prologue and Tale".Animated by Chaucer's sly humor, flair for characterization and wise humanity, the stories have been recast into modern verse that captures the lively spirit of the originals. Highly entertaining, they represent an excellent entree to the rest of "The Canterbury Tales" and to the pleasures of medieval poetry in general.

Ñîäåðæàíèå: The General Prologue; The Knight's Tale; The Miller's Prologue; The Miller's Tale; The Wife of Bath's Prologue; The Tale of the Wife of Bath.

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Ïîäðîáíàÿ èíôîðìàöèÿ

Chaucer G., Troilus and Criseyde — 1977 (Penguin Classics)

The double sorwe of Troilus to tellen, 1 That was the king Priamus sone of Troye, In lovinge, how his aventures fellen Fro wo to wele, and after out of Ioye, My purpos is, er that I parte fro ye. 5 Thesiphone, thou help me for tendyte Thise woful vers, that wepen as I wryte! To thee clepe I, thou goddesse of torment, Thou cruel Furie, sorwing ever in peyne; Help me, that am the sorwful instrument 10 That helpeth lovers, as I can, to pleyne! For wel sit it, the sothe for to seyne, A woful wight to han a drery fere, And, to a sorwful tale, a sory chere. For I, that god of Loves servaunts serve, 15 Ne dar to Love, for myn unlyklinesse, Preyen for speed, al sholde I therfor sterve, So fer am I fro his help in derknesse; But nathelees, if this may doon gladnesse To any lover, and his cause avayle, 20 Have he my thank, and myn be this travayle! But ye loveres, that bathen in gladnesse, If any drope of pitee in yow be, Remembreth yow on passed hevinesse That ye han felt, and on the adversitee 25 Of othere folk, and thenketh how that ye Han felt that Love dorste yow displese; Or ye han wonne hym with to greet an ese.

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Ïîäðîáíàÿ èíôîðìàöèÿ

Êíèãà äëÿ ÷òåíèÿ â V êëàññå — 1996

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ìèðîâàÿ êëàññèêà íà àíãëèéñêîì ÿçûêå — 1998 (Longman Classics)

Ó÷åáíîå ïîñîáèå ïî ÷òåíèþ íà àíãëèéñêîì ÿçûêå äëÿ ñðåäíåé øêîëû. Ñîäåðæèò àóòåíòè÷íûå òåêñòû è óïðàæíåíèÿ äëÿ ó÷àùèõñÿ, ïîäãîòîâëåííûå âåäóùèìè ðîññèéñêèìè ìåòîäèñòàìè íà îñíîâå àäàïòèðîâàííûõ íîñèòåëÿìè ÿçûêà êíèã äëÿ ÷òåíèÿ ñåðèè Longman Classics (Addison Wesley Longman, Âåëèêîáðèòàíèÿ). Ïîñîáèå ìîæåò áûòü èñïîëüçîâàíî â 6-õ êëàññàõ øêîë ñ óãëóáëåííûì èçó÷åíèåì àíãëèéñêîãî ÿçûêà è 8-õ êëàññàõ îáùåîáðàçîâàòåëüíûõ øêîë. Øèðîêèé âûáîð óïðàæíåíèé ïîçâîëèò ïðåïîäàâàòåëþ ó÷èòûâàòü ïðè îáó÷åíèè èíäèâèäóàëüíûå îñîáåííîñòè ó÷àùèõñÿ è óäåëÿòü îñîáîå âíèìàíèå ðàçâèòèþ ó íèõ ñïîñîáíîñòè ê ñàìîñòîÿòåëüíîé ðàáîòå. Ïîñîáèå îðèåíòèðîâàíî íà ôîðìèðîâàíèå ó ó÷àùèõñÿ ñâîáîäíîãî âëàäåíèÿ ÿçûêîì â öåëîì, âî âçàèìîñâÿçè ìåæäó îòäåëüíûìè íàâûêàìè (÷òåíèå, ïîíèìàíèå íà ñëóõ, ïèñüìåííàÿ è óñòíàÿ ðå÷ü).

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Ïîäðîáíàÿ èíôîðìàöèÿ

Dante.Chaucer. Great Books V.19

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Àíãëèéñêàÿ ëèòåðàòóðà. Ëó÷øèå ñòðàíèöû. ó÷åáíîå ïîñîáèå ïî àíãëèéñêîé ëèòåðàòóðå — 2001

Äàííîå ó÷åáíîå ïîñîáèå âêëþ÷àåò â ñåáÿ ïðîèçâåäåíèÿ, ïîäîáðàííûå â ñîîòâåòñòâèè ñ òðåáîâàíèÿìè Ìîñêîâñêîé ðåãèîíàëüíîé ïðîãðàììû "Õóäîæåñòâåííàÿ ëèòåðàòóðà" äëÿ øêîë ñ óãëóáëåííûì èçó÷åíèåì èíîñòðàííîãî ÿçûêà, ãèìíàçèé è ëèíãâèñòè÷åñêèõ ëèöååâ.  êîììåíòàðèÿõ ê òåêñòàì äàíû ëèòåðàòóðíî-ñòðàíîâåä÷åñêèå ñâåäåíèÿ è çàäàíèÿ. Êíèãà àäðåñîâàíà ó÷èòåëÿì, ó÷àùèìñÿ, à òàêæå øèðîêîìó êðóãó ëèö, èçó÷àþùèõ àíãëèéñêèé ÿçûê ñàìîñòîÿòåëüíî.

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Ïîäðîáíàÿ èíôîðìàöèÿ

Aciman A., Twitterature. The World's Greatest Books. Retold Through Twitter — 2009

Perhaps you once asked yourself, 'What exactly is Hamlet trying to tell me? Why must he mince his words, muse in lyricism and, in short, whack about the shrub?' No doubt such troubling questions would have been swiftly resolved were the Prince of Denmark a registered user on Twitter.com. This, in essence, is Twitterature.Here you will find seventy-five of the greatest works of western literature — from Beowulf to Bronte, from Kafka to Kerouac, and from Dostoevsky to Dickens— each distilled through the voice of Twitter to its purest, pithiest essence. Including a full glossary of online acronyms and Twitterary terms to aid the amateur, Twitterature provides everything you need to master the literature of the civilised world, while relieving you of the burdensome task of reading it.From Hamlet: WTF IS POLONIUS DOING BEHIND THE CURTAIN???From Dante's Inferno: I'm havin a midlife crisis. Lost in the woods. Shoulda brought my iPhone.From Oedipus: PARTY IN THEBES!!! Nobody cares I killed that old dude, plus this woman is all over me. Total MILF.From Paradise Lost: OH MY GOD I'M IN HELL.'The classics are so last century' Guardian

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Ïîäðîáíàÿ èíôîðìàöèÿ

Chaucer G., The Canterbury Tales. A Selection — 1969 (A Signet Classic)

Lively, absorbing, often outrageously funny, Chaucer's "The Canterbury Tales" is a work of genius, an undisputed classic that has held a special appeal for each generation of readers. "The Canterbury Tales" gather twenty-nine of literature's most enduring (and endearing) characters in a vivid group portrait that captures the full spectrum of medieval society, from the exalted Knight to the humble plowman. A graceful modren translation facing each page of the text allows the contemporary reader to enjoy the fast pace of these selections from "The Canterbury Tales" with the poetry of the Middle English original always at first hand

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Ïîäðîáíàÿ èíôîðìàöèÿ

Chaucer G., The Knights Tale — [1976] (Selected Tales from Chaucer)

"The Knight's Tale" is the first tale from Geoffrey Chaucer's The Canterbury Tales. The story introduces various typical aspects of knighthood such as courtly love and ethical dilemmas. The story is written in iambic pentameter end-rhymed couplets.

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Ïîäðîáíàÿ èíôîðìàöèÿ

Chaucer G., The General Prologue to the Canterbury Tales — [1977] (Selected Tales from Chaucer)

The General Prologue to the Canterbury Tales introduces some of the most memorable characters in all of English literature. The introduction to one of the greatest poems in the English language, the Prologue increases with its own vitality that of the entire text. The title, Geoffrey Chaucer's The General Prologue To Canterbury Tales, part of Chelsea House Publishers' Modern Critical Interpretations series, presents the most important 20th-century criticism on Geoffrey Chaucer's The General Prologue To Canterbury Tales through extracts of critical essays by well-known literary critics. This collection of criticism also features a short biography on Geoffrey Chaucer, a chronology of the author's life, and an introductory essay written by Harold Bloom, Sterling Professor of the Humanities, Yale University.

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Ïîäðîáíàÿ èíôîðìàöèÿ

Chaucer G., The Canterbury Tales — 2002 (Wordsworth Poetry Library)

Ïîäðîáíàÿ èíôîðìàöèÿ

Ó÷åáíîå ïîñîáèå ïî àíãëèéñêîé è àìåðèêàíñêîé ëèòåðàòóðå — 2011

Ïîñîáèå çíàêîìèò ñ îñíîâíûìè ÿâëåíèÿìè àíãëèéñêîé è àìåðèêàíñêîé ëèòåðàòóðû. Ïîñîáèå ñîäåðæèò áèîãðàôè÷åñêèå ñâåäåíèÿ îá àâòîðå, àíàëèç òâîð÷åñòâà è îòðûâêè èç ïðîèçâåäåíèé. Ïîñîáèå ðàññ÷èòàíî íà ó÷àùèõñÿ ñðåäíèõ øêîë, ëèöååâ, ãèìíàçèé, êîëëåäæåé. Ñòóäåíòîâ âûñøèõ ó÷åáíûõ çàâåäåíèé, ó÷èòåëåé è ïðåïîäàâàòåëåé, à òàêæå øèðîêèé êðóã ëèö, ñàìîñòîÿòåëüíî èçó÷àþùèõ àíãëèéñêèé ÿçûê.

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Ïîäðîáíàÿ èíôîðìàöèÿ

Àíãëèéñêàÿ ïîýçèÿ â ðóññêèõ ïåðåâîäàõ (XIV-XIX âåêà). [ñáîðíèê] — 1981

 àíòîëîãèè ïðåäñòàâëåíû ëó÷øèå îáðàçöû àíãëèéñêîé ïîýçèè, íà÷èíàÿ ñ íàðîäíûõ áàëëàä è  äî êîíöà XIX ñòîëåòèÿ. Òåêñòû ñòèõîòâîðíûõ ïåðåâîäîâ âûïîëíåíû èçâåñòíûìè ðóññêèìè è ñîâåòñêèìè ïîýòàìè-ïåðåâîä÷èêàìè (Æóêîâñêèì, Ãíåäè÷åì,Ëåðìîíòîâûì, Òþò÷åâûì, Áëîêîì, Áàëüìîíòîì, Ïàñòåðíàêîì, Ìàðøàêîì, Ëåâèêîì è äð.). Ïîñëåñëîâèå ê ñáîðíèêó àêàäåìèêà Ì.Ï. Àëåêñååâà ïîçíàêîìèò ÷èòàòåëÿ ñ òåì, êàê ðàçâèâàëîñü èñêóññòâî ðóññêîãî ñòèõîòâîðíîãî ïåðåâîäà, êàê âîñïðèíèìàëàñü â íàøåé ñòðàíå àíãëèéñêàÿ ïîýçèÿ. Êíèãà ñîäåðæèò òàêæå ñïðàâêè îá àâòîðàõ è êîììåíòàðèè ê òåêñòó. Èçäàíèå ïðåäíàçíà÷àåòñÿ äëÿ øèðîêîãî êðóãà ëþáèòåëåé ðóññêîé è çàðóáåæíîé ïîýçèè

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Ïîäðîáíàÿ èíôîðìàöèÿ

Chaucer G., The Canterbury Tales — 2011 (Collins Classics)

In The Canterbury Tales Chaucer created one of the great touchstones of English literature, a masterly collection of chivalric romances, moral allegories and low farce. A story-telling competition between a group of pilgrims from all walks of life is the occasion for a series of tales that range from the Knight's account of courtly love and the ebullient Wife of Bath's Arthurian legend, to the ribald anecdotes of the Miller and the Cook

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ