Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: The thirteen short stories, written 1924-28, are set in Europe and America and reflect Lawrence s experiences in the postwar period. Many were considerably revised; some were completely rewritten. The editors give composition histories and discuss publication difficulties. Appendixes record manuscript revisions for three stories and give complete, unpublished early versions of four. Notes elucidate literary allusions and give biographical information. An unpublished fragment, A Pure Witch, is also included.

Àííîòàöèÿ: The Prussian Officer and Other Stories, Lawrence's first collection of short stories, was published in England in 1914 and in the USA in 1916. It contains some of the greatest stories he ever wrote: 'Odour of Chrysanthemums', 'Daughters of the Vicar', 'The Prussian Officer', and 'The White Stocking', with settings ranging from the mining community of Eastwood to Germany before the First World War. The text of this new edition is based on Lawrence's manuscripts, typescripts and corrected proofs, and is the first to remove the corruptions introduced by copyists, typists and printers. The introduction sets out the history of each story and of the collection itself. There is a textual apparatus recording variant readings and full notes explain historical references and other allusions, dialect forms and foreign words. Two important appendixes print the earliest surviving fragment of 'Odour of Chrysanthemums' and the 1911 version of 'Daughters of the Vicar'.

Àííîòàöèÿ: Lawrence wrote nearly 1,000 poems during a short lifetime in which he was also astonishingly prolific in other spheres - fiction, travel writing, essays, criticism, letters and plays. Lawrence was not simply a novelist who dabbled in other forms. His characteristic vision informed everything he wrote, especially his poetry. At three important phases of his life it became the primary channel of his experience and creative energy - the first year of his relationship with Frieda, the two years in Sicily, and the last year of his life. Bringing together the best of his poetry this volume demonstrates that Lawrence is a great poet in every sense including the technical ... The form is the perfect incarnation of the content, the perfect vehicle for the liveliness of thought and feeling, the freshness, and depth of perception, the wit and wisdom he has to offer.

Àííîòàöèÿ: In January 1921, D. H. Lawrence and his wife, Frieda visited Sardinia, a Mediterranean island west of Italy. Although the trip lasted only nine days, Lawrence wrote an intriguing account of Sardinian life that not only evokes the place, people, and local customs but is also deeply revealing about the writer himself. Remarkable for its metaphoric and symbolic descriptions, the book is transfused with the author's anger and joy. His prejudices and his political prophecies make Sea and Sardinia a unique and dynamic piece of travel writing. This Penguin Twentieth-Century Classics edition reproduces the Cambridge text, which restores censored passages and corrects corrupt textual readings to reveal -- for the first time -- the book Lawrence himself called "a marvel of veracity." Also featured are an illuminating Introduction by Lawrence scholar Mara Kalnins, a Chronology, Explanatory Notes, and an Italian Glossary.

Àííîòàöèÿ: Lawrence was a good traveller in these parts and he spent a lot of time carefully observing the Indians he met along the way. He was particularly interested in the ways of thought of the Indians and their religious beliefs and the ways their ideas differed from yours and mine. On simple concepts like time and distance, for example: "To an Indian, time is a vague, foggy reality. There are only three times: en la manana (morning); en la tarde (afternoon); en la noche (night). But to the white monkey (you and me) there are exact spots of time, such as five o'clock and half past three." The Indian's concept of God was different from ours. "With the Indians...there is strictly no god. The Indian does not consider himself as created and therefore external to God, or the creature of God. There is, in our sense of the word, no God. But all is godly. There is no great mind directing the universe. Yet the mystery of creation, the wonder and fascination of creation shimmers in every leaf and stone... There is no God looking on. The only God there is is involved all the time in the dramatic wonder and inconsistency of creation. God is immersed, as it were, in creation, not to be separated or distinguished. There can be no ideal God." Lawrence does a wonderful job of digging into this exotic culture and explaining to us the significance of Indian rituals and dances. I particularly liked one of his statements: "The Indian is completely immersed in the wonder of his own drama." There is also a lovely example of descriptive travel writing in "Market Day", a chapter that makes you slow down your reading pace to savor the beautiful descriptions of small things like a bird's flight or flowers in a doorway. I guess this is the difference between reading and information-processing, which we do so much of today.

Àííîòàöèÿ: Written at the height of D.H. Lawrence s creative energies, Twilight in Italy (1916) is composed of seven short pieces that sparkle with the humor and lively sensory images for which he is known. Features an Introduction by Anthony Burgess.

Àííîòàöèÿ: Love Among the Haystacks and Other Stories gathers together all of Lawrence s short stories not collected in the Prussian Officer volume. It offers a range of work from Lawrence s earliest surviving published story, A Prelude, to New Eve and Old Adam written at the height of his early maturity in 1913. Each story in this edition appears in a new, authoritative text based on the manuscripts, typescripts, corrected proofs and early printings drawn from libraries and private collections in England, Italy and America. All the stories have thus been stripped of the layers of errors introduced by typists, editors and printers in their previous publication. John Worthen s introduction sets out the composition and publication history of each story, and gives a full account of the context in which it was created. A textual apparatus records all variant readings and explanatory notes explain allusions, dialect forms and foreign words.

Àííîòàöèÿ: The Plumed Serpent is set in Mexico in the 1920s, an era of political turmoil, and centres on a revolutionary movement to revive the religion of the ancient Aztecs. The brilliant vision of place, the violent action and the rituals and myth for the new religion all combine to make it one of Lawrence's most vivid novels. The Cambridge edition establishes for the first time a meticulously edited text based on the manuscript, typescript and proof material, nearly all of which survives. Several lengthy passages rejected in the course of composition and here included in the textual apparatus offer a close look at the intricacies of Lawrence's progress toward a final conception of the novel. Full annotation and appendixes on Mexican politics and Aztec religion are also provided to assist in comprehending the often arcane concepts to which Lawrence applied his imaginative power.

Àííîòàöèÿ: Äåñÿòîå èçäàíèå èçâåñòíîãî ñïðàâî÷íèêà ñîäåðæèò âåñüìà ïîäðîáíûå òàáëèöû íåîïðåäåëåííûõ è îïðåäåëåííûõ èíòåãðàëîâ, à òàêæå áîëüøîå ÷èñëî äðóãèõ ìàòåìàòè÷åñêèõ ôîðìóë: ðàçëîæåíèÿ â ðÿäû, òðèãîíîìåòðè÷åñêèå è äðóãèå òîæäåñòâà, ñïðàâî÷íûé ìàòåðèàë ïî ýëëèïòè÷åñêèì è áåññåëåâûì ôóíêöèÿì, ñôåðè÷åñêèì ìíîãî÷ëåíàì. Íåáîëüøîé ðàçäåë ïîñâÿùåí äèôôåðåíöèàëüíûì óðàâíåíèÿì. Ó÷åáíîå ïîñîáèå ïðåäíàçíà÷åíî ñòóäåíòàì òåõíè÷åñêèõ âóçîâ, íàó÷íûì ðàáîòíèêàì è èíæåíåðàì, îòäåëüíûå ðàçäåëû ìîãóò áûòü ïîëåçíû øêîëüíèêàì ñòàðøèõ êëàññîâ.

Àííîòàöèÿ: Tom ist dreizehn. Er ist mal frohlich, mal traurig und naturlich unsterblich in Tina verliebt. Das darf allerdings vorerst noch niemand wissen. Plotzlich verhalt sich sein Vater so merkwurdig. Hat er eine Freundin, hat er den Beruf gewechselt? Tom betatigt sich als Detektiv und spielt alle Moglichkeiten durch. Bald luftet er Vaters Geheimnis. Er ist arbeitslos. Darunter kann Tom sich nicht viel vorstellen. Wer keine Arbeit hat, kann kein Geld verdienen. Ohne Geld kann man sich nichts kaufen. Ohnehin wird sein Vater bald wieder Arbeit bekommen. Sagt er jedenfalls.Ein Geheimnis aber soll seine Arbeitslosigkeit bleiben.

Àííîòàöèÿ: Soon the primroses are strong on the ground. There is a bank of small, frail crocuses shooting the lavender into this spring. And then the tussocks and tussocks of primroses are fully out, there is full morning everywhere on the banks and roadsides and stream-sides, and around the olive roots, a morning of primroses underfoot, with an invisible threading of many violets, and then the lovely blue clusters of hepatica, really like pieces of blue sky showing through a clarity of primrose.

Àííîòàöèÿ: Fourteen stories through which can be traced D. H. Lawrence s development in his twenties. Among these stories: A Prelude, his first published work, was written for a newspaper competition. The Old Adam and Witch à la Mode reflect the years of intense sexual frustration Lawrence endured while a schoolmaster in Croydon. A Chapel and A Hay Hut Among the Mountains records a happier period - the first months of his life with Frieda. The Thimble and The Mortal Coil (a first-class story, one of my purest creations) take us to the years of the First World War, years of Lawrence s maturity and growing sense of tragedy.

Àííîòàöèÿ: Women in Love is, however, a profound response to a whole cultural crisis. The progress of the modern industrialized world had led to the carnage of the First World War. What, then, did it mean to call ourselves human? On what grounds could we place ourselves above and beyond the animal world? What are the definitive forms of our relationships - love, marriage, family, friendship - really worth? And how might they be otherwise?

Àííîòàöèÿ: The heroine of the story, Lou Witt, abandons her sterile marriage and a brittle, cynical post-First World War England. Her sense of alienation is associated with her encounter with a high-spirited stallion, the St Mawr whose name provides the title for this tale. She eventually settles in a remote ranch set high in the mountains of New Mexico, near Taos. Lawrence wrote most of this brief novel whilst spending five months of the summer of 1924 at what is now known as the D. H. Lawrence Ranch, a property which he and wife, Frieda, acquired from Mabel Dodge Luhan earlier that year.

Àííîòàöèÿ: The short novels which affirm the powers of instinct and intuition in their struggles against the constraints of civilization. St Mawr is a tempestuous Welsh stallion who forces Lou Carrington towards an awareness of life, exposing the withered roots of her marriage to a talentless artist.

Àííîòàöèÿ: Die zwei hier vorliegenden Kriminalfalle "Messer im Rucken" und "Der Mord an Frau Klett" sind der erfolgreichen deutschen Fernsehserie "Der Kommissar" entnommen. In "Messer im Rucken" fallt ein Mann in einem Taxi tot um. "Der Mord an Frau Klett" schildert ein makabres Verbrechen an einer alleinstehenden Frau. Mit Hilfe seiner Assistenten und seiner Pressefotografen klart der Kommissar schliesslich beide Falle auf. Er wird vor schwere Aufgaben gestellt, weil seine Untersuchungen Zeit und Geduld fordern. Seine Klienten sind schweigsam und widerspenstig, und sie haben ein schlechtes Gewissen. Der Leser darf jedoch keine Spannungsmomente oder eine atemberaubende Jagd nach dem Morder erwarten. Dem Kommissar geht: es vielmehr um die Hintergrunde der Verbrechen und die Beziehungen der Untater zum Opfer.

Àííîòàöèÿ: Eine umfassende Darstellung aller Kunststoffverarbeitungsmaschinen fur die verschiedensten Technologien und Kunststoffe fehlt. Das vorliegende Buch soll diese Lucke schliessen.