Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Joseph Conrad's first novel Almayer's Folly is a tale of personal tragedy as well as a broader meditation on the evils of colonialism. Set in the lush jungle of Borneo in the late 1800s, it tells of the Dutch merchant Kaspar Almayer, whose dreams of riches for his beloved daughter, Nina, collapse under the weight of his own greed and prejudice. Conrad established in Almayer's Folly the themes of betrayal, isolation, and colonialism that he would explore throughout the rest of his life and work.

Àííîòàöèÿ: Ïðåäñòàâëåíû òîëüêî îðèãèíàëüíûå òåêñòû ëó÷øèõ ïðîèçâåäåíèé ìèðîâîé ëèòåðàòóðû. Ýòè êíèãè ñòàíóò ýôôåêòèâíûì è óâëåêàòåëüíûì ïîñîáèåì äëÿ èçó÷àþùèõ èíîñòðàííûé ÿçûê íà õîðîøåì «ïðîäîëæàþùåì» è «ïðîäâèíóòîì» óðîâíå. Îíè ïîìîãóò ýôôåêòèâíî ðàñøèðèòü ñëîâàðíûé çàïàñ, ïîäñêàæóò, ãäå è êàê ïðàâèëüíî óïîòðåáëÿòü óñòîé÷èâûå âûðàæåíèÿ è ãðàììàòè÷åñêèå êîíñòðóêöèè, ïîäàðÿò ðàäîñòü îò ÷òåíèÿ.  êîíöå êíèãè äàíà êðàòêàÿ èíôîðìàöèÿ î êóëüòóðíûõ, ñòðàíîâåä÷åñêèõ, èñòîðè÷åñêèõ è ãåîãðàôè÷åñêèõ ðåàëèÿõ îïèñûâàåìîãî ïåðèîäà, êîòîðàÿ ïîìîæåò ëó÷øå îðèåíòèðîâàòüñÿ â òåêñòå ïðîèçâåäåíèÿ.

Àííîòàöèÿ: This novel exposes the myth behind colonisation whilst exploring the three levels of darkness that the protagonist, Marlow, encounters--the darkness of the Congo wilderness, the darkness of the European's cruel treatment of the natives, and the unfathomable darkness within every human being for committing heinous acts of evil. Conrad himself was exposed to the brutality of European attitudes in the Congo when he worked as a captain of a steamboat on the Congo river. Conrad, as shown through this novella, was disgusted by the cruelty, futility, and lust for ivory. This is a profound, thought provoking novel that challenges the reader to question their own morals and values to "The Horror" the novel exposes them to

Àííîòàöèÿ: Harper Collins is proud to present its new range of best-loved, essential classics. 'They swarmed numerous like locusts, industrious like ants, thoughtless like a natural force, pushing on blind and orderly and absorbed, impervious to sentiment, to logic -- to terror, too, perhaps

Àííîòàöèÿ: 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

Àííîòàöèÿ: This specially commissioned selection of Conrad's matchless short stories includes such favourites as Youth, a modern epic of the sea; The Secret Sharer, a thrilling psychological drama; An Outpost of Progress a blackly comic prelude to Heart of Darkness; Amy Foster, a moving story of a shipwrecked, alienated Pole; and The Lagoon and Karain, two exotic, exciting Malay tales. Il Conde and The Tale are subtle portrayals of bewildered outrage; An Anarchist and The Informer are sardonic depictions of revolutionaries and Prince Roman is a tale of magnificent, doomed heroism set in Conrad's native Poland during the new to Conrad's work and those familiar with his novels will delight in this wide-ranging collection.

Àííîòàöèÿ: Jim, the first mate aboard the Patna, dreams youthful dreams of heroism and of the daring act that will prove his courage. But when the Patna, on a night crossing of the Arabian Sea, collides with a mysterious obstacle, Jim panics and jumps free. This single act of cowardice drives him to self-enforced exile as a white trader in the remote tropical outpost of Patusan. Jim's search for redemption and his dramatic bid to vindicate his romantic ideals are the stuff of a magnificently vivid and subtle novel. With "Heart of Darkness", "Nostromo" and "The Secret Agent", "Lord Jim" ranks among Joseph Conrad's masterpieces

Àííîòàöèÿ: This novel exposes the myth behind colonisation whilst exploring the three levels of darkness that the protagonist, Marlow, encounters--the darkness of the Congo wilderness, the darkness of the European's cruel treatment of the natives, and the unfathomable darkness within every human being for committing heinous acts of evil. Conrad himself was exposed to the brutality of European attitudes in the Congo when he worked as a captain of a steamboat on the Congo river. Conrad, as shown through this novella, was disgusted by the cruelty, futility, and lust for ivory. This is a profound, thought provoking novel that challenges the reader to question their own morals and values to "The Horror" the novel exposes them to

Àííîòàöèÿ: Õðåñòîìàòèÿ ïðåäñòàâëÿåò ñîáîé ïîñîáèå ïî êóðñó àíãëèéñêîé ëèòåðàòóðû XX âåêà äëÿ ñòóäåíòîâ ôàêóëüòåòîâ èíîñòðàííûõ ÿçûêîâ ïåäàãîãè÷åñêèõ èíñòèòóòîâ.  íåå âõîäÿò îòðûâêè èç ïðîèçâåäåíèé àíãëèéñêèõ ïèñàòåëåé è ïîýòîâ. Îòêðûâàåò êíèãó êðàòêèé î÷åðê, õàðàêòåðèçóþùèé àíãëèéñêóþ ëèòåðàòóðó ÕÕ âåêà, åå îñíîâíûå íàïðàâëåíèÿ è òåíäåíöèè. Êàæäîìó ïðåäñòàâëåííîìó â õðåñòîìàòèè àâòîðó ïðåäøåñòâóåò êðàòêàÿ áèîãðàôè÷åñêàÿ ñïðàâêà. Êíèãà çàâåðøàåòñÿ ïîäðîáíûìè ïðèìå÷àíèÿìè, äàþùèìè íåîáõîäèìûå ëèíãâèñòè÷åñêèå, ëèòåðàòóðíûå è èñòîðè÷åñêèå ïîÿñíåíèÿ.

Àííîòàöèÿ: Ñòàòüè ñáîðíèêà äàþò ïðåäñòàâëåíèå î ôîðìèðîâàíèè ëèòåðàòóðíî-êðèòè÷åñêîé ìûñëè â Àíãëèè íà ïðîòÿæåíèè ÷åòûðåõ ñòîëåòèé - îò ýïîõè Âîçðîæäåíèÿ äî íàøèõ äíåé. Èçäàíèå ñîïðîâîæäàåòñÿ âñòóïèòåëüíîé ñòàòüåé, ñïðàâêàìè îá àâòîðàõ è êîììåíòàðèÿìè ê òåêñòó.  ñáîðíèê âîøëè êðèòè÷åñêèå î÷åðêè êðóïíåéøèõ àíãëèéñêèõ ïèñàòåëåé è ëèòåðàòóðíûõ êðèòèêîâ: Ñèäíåÿ, Ôèëäèíãà, Äèêêåíñà, Òåêêåðåÿ, Øîó è äð.

Àííîòàöèÿ: From "The Planter of Malata": "Here we don't consider him a monster," said the newspaper man looking at his visitor thoughtfully. "Probably not. You are used to see his face and to see other faces. I don't know how it is that, when I come to town, the appearance of the people in the street strike me with such force. They seem so awfully expressive." "And not charming." "Well -- no. Not as a rule. The effect is forcible without being clear. . . ." This volume also includes "The Partner," "The Inn of the Two Witches," and "Because of the Dollars."

Àííîòàöèÿ: Civil war rages between the native tribes of the Malay straits. Captain Tim Wingard sides with the Rajah Hassim. But as is the case with so much in the Far East, nothing is quite straightforward and events unfold by indirection. An English yacht blunders into this confusion and runs aground. When Wingard goes aboard to offer assistance, the crew gives him insolence, not gratitude. He prepares to leave...then sees a woman. She captivates him, literally holds him spellbound. It is a spell that soon wrecks all his hopes and leads to the failure of the important cause to which he is bound.

Àííîòàöèÿ: Ïðèæèçíåííîå èçäàíèå ðîìàíà àíãëèéñêîãî ïèñàòåëÿ Äæîçåôà Êîíðàäà (Þçåô Òåîäîð Êîíðàä Êîæåí¸âñêè), ïîëÿêà ïî ïðîèñõîæäåíèþ , ïîëó÷èâøåãî ïðèçíàíèå êëàññèêà àíãëèéñêîé ëèòåðàòóðû

Àííîòàöèÿ: Ïðèæèçíåííîå èçäàíèå ðîìàíà àíãëèéñêîãî ïèñàòåëÿ Äæîçåôà Êîíðàäà (Þçåô Òåîäîð Êîíðàä Êîæåí¸âñêè), ïîëÿêà ïî ïðîèñõîæäåíèþ , ïîëó÷èâøåãî ïðèçíàíèå êëàññèêà àíãëèéñêîé ëèòåðàòóðû

Àííîòàöèÿ: Èìÿ Äæîçåôà Êîíðàäà ñòîèò â îäíîì ðÿäó ñ èìåíàìè âåëèêèõ ïðåäñòàâèòåëåé àíãëèéñêîãî íåîðîìàíòèçìà - Ñòèâåíñîíà è Êèïëèíãà. Îäíî èç ñàìûõ èçâåñòíûõ ïðîèçâåäåíèé ïèñàòåëÿ - äðàìàòè÷íîå ïîâåñòâîâàíèå î äâóõ åâðîïåéöàõ, âîëåþ ñóäåá îêàçàâøèõñÿ îòðåçàííûìè îò öèâèëèçàöèè ïîñðåäè òàèíñòâåííîãî è ïóãàþùåãî "÷åðíîãî êîíòèíåíòà", - àäàïòèðîâàíî â íàñòîÿùåì èçäàíèè ïî ìåòîäó Èëüè Ôðàíêà: ñíàáæåíî òðàíñêðèïöèåé, äîñëîâíûì ïåðåâîäîì íà ðóññêèé ÿçûê è íåîáõîäèìûì ëåêñèêî-ãðàììàòè÷åñêèì êîììåíòàðèåì, áåç óïðîùåíèÿ òåêñòà îðèãèíàëà. Óíèêàëüíîñòü ìåòîäà çàêëþ÷àåòñÿ â òîì, ÷òî çàïîìèíàíèå ñëîâ è âûðàæåíèé ïðîèñõîäèò çà ñ÷åò èõ ïîâòîðÿåìîñòè, áåç çàó÷èâàíèÿ è íåîáõîäèìîñòè èñïîëüçîâàòü ñëîâàðü. Äëÿ øèðîêîãî êðóãà ëèö, èçó÷àþùèõ àíãëèéñêèé ÿçûê è èíòåðåñóþùèõñÿ àíãëèéñêîé êóëüòóðîé