Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Winter J. D., Step Back — 2014

Äæîííè Óèíòåð âûïóñêàåò, âîçìîæíî, ñâîé ñàìûé áîëüøîé àëüáîì 2 ñåíòÿáðÿ 2014 ãîäà! Øàã íàçàä ïîêàçûâàåò óäèâèòåëüíûé ñïèñîê ìóçûêàëüíûõ ãîñòåé è âîçâðàùàåò Äæîííè ê áîëåå àãðåññèâíîìó ñòèëþ áëþçà, êîòîðûé ïîìîã ñôîðìèðîâàòü ìóçûêàëüíóþ èêîíó. Ïðîäþñåð Paul Nelson, STEP BACK äåìîíñòðèðóåò êëàññè÷åñêèå ïåñíè, êîòîðûå âäîõíîâëÿëè Äæîííè Óèíòåðà

Ñîäåðæàíèå: Ñîäåðæàíèå: Unchain My Heart Johnny Winter; Can't Hold Out (Talk to Me Baby); Don't Want No Woman; Killing Floor; Who Do You Love; Okie Dokie Stomp; Where Can You Be; Sweet Sixteen; Death Letter; My Babe; Long Tall Sally; Mojo Hand; Blue Monday

Ìåñòîíàõîæäåíèå èçäàíèÿ: Ìóçûêàëüíûé ïîäâàë

Ïîäðîáíàÿ èíôîðìàöèÿ

Gibbons B., Jacobean City Comedy — 1980

The first decade of the Jacobean age witnessed a sudden profusion of comedies satirizing city life; among these were comedies by Ben Jonson, John Marston and Thomas Middleton, as well as the bulk of the repertory of the newly-established children's companies at Blackfriars and Paul's. The platwrights self-consciously forged a new genre which attracted London audiences with its images of folly and vice in Court and City, and hack-writing dramatists were prompt to cash in on a new theatrical fashion. The genre developed under the dominant influence of Ben Jonson, but there was a good deal of cross-fertilization between the playwrights, and this study presents such well-known plays as Volpon, The Dutch Courtezan, and even Measure for Measure, in the context of the developing genre as much as the individual author's oeuvre.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

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