Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Ñîáðàíèå ñî÷èíåíèé àíãëèéñêîãî ïîýòà è äðàìàòóðãà, òåîðåòèêà äðàìû Áåíäæàìèíà Äæîíñîíà

Àííîòàöèÿ: Compact anthology features many of the best works by 59 poets writing in English - from the complex rhyme schemes of Elizabethan poet Edmund Spenser and Shakespeare's lovely sonnets to William Blake's visionary works and John Keats' profound insights into the nature of beauty, art, and mortality. Includes an introduction and brief commentaries on the poets represented

Àííîòàöèÿ: The colossus among critics (New York Times Magazine) presents his personal selection, with commentary, of the finest poems in the English language. An anthology of poems which attempts to give readers the possession of six centuries of great British and American poetry.

Àííîòàöèÿ: Popular, well-known poetry: "The Passionate Shepherd to His Love," "Shall I compare thee to a summer's day?" "Death, be not proud," "The Raven," "The Road Not Taken," plus works by Blake, Wordsworth, Byron, Coleridge, Shelley, Emerson, Browning, Keats, Kipling, Sandburg, Pound, Auden, Thomas, and many others. Includes 13 selections from the Common Core State Standards Initiative.

Àííîòàöèÿ: The penguin book of english verse.

Àííîòàöèÿ:  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

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: The aim of this volume is to provide a selection of English comedies which are established in their own right as classics possessing sufficient universality to appeal to a modern audience but which are not particularly accessible in other editions. For this purpose Ben Jonson, who apart from Shakespeare was pre-eminent in the early seventeenth century, chooses himself, whilst Congreve alone can represent the wit and elegance of Restoration comedy. Hardly less inevitable is the choixe of Goldsmith and the talanted Sheridan as examples of the rumbustious comedy of the eighteenth century

Àííîòàöèÿ: Âîëüïîíå è Âàðôîëîìååâñêàÿ ÿðìàðêà-âåðøèíà êîìåäèéíîãî òâîð÷åñòâà Áåíà Äæîíñîíà,íàèáîëåå âûäàþùåãîñÿ èç ñîâðåìåííèêîâ Øåêñïèðà. ïåðâîé èç ýòèõ êîìåäèé äðàìàòóðã ñîçäàë ãðàíäèîçíûé ñàòèðè÷åñêèé îáðàç õèòðîãî è õèùíîãî âåíåöèàíñêîãî âåëüìîæè. Âàðôîëîìååâñêîé ÿðìàðêå ñêðóïóëåçíî òî÷íîå èçîáðàæåíèå ëîíäîíñêîé ÿðìàðêè è åå ïîñåòèòåëåé ïðîíèçàíî êàðíàâàëüíûìè,ïðàçäíè÷íûìè ìîòèâàìè.Èçäàíèå ñíàáæåíî ïîñëåñëîâèåì,êîììåíòàðèåì è íåáîëüøèì ñëîâàðåì.

Àííîòàöèÿ: Ëó÷øèå îáðàçöû ñòèõîòâîðíûõ ïðîèçâåäåíèé Àíãëèè è ÑØÀ ñ áèîãðàôè÷åñêèìè ñïðàâêàìè è êîììåíòàðèÿìè.Èçäàíèå çàòðàãèâàåò òâîð÷åñòâî 176-òè àâòîðîâ è âêëþ÷àåò â ñåáÿ íåàäàïòèðîâàííûå ñòàðèííûå àíãëèéñêèå áàëëàäû, ïðèíàäëåæàùèå ê óñòíîé ôîëüêëîðíîé òðàäèöèè, ìíîæåñòâî ñîíåò, ãóìàíèñòè÷åñêóþ ëèðèêó ýïîõè Âîçðîæäåíèÿ, ðåâîëþöèîííûé ïàôîñ ðîìàíòèêîâ, ìåëàíõîëè÷åñêèå íåãðèòÿíñêèå áëþçû è ìíîãèå äðóãèå ïðîèçâåäåíèÿ, âïëîòü äî XX âåêà.

Àííîòàöèÿ: Ïðåäëàãàåìàÿ âíèìàíèþ ÷èòàòåëÿ Àíòîëîãèÿ àíãëèéñêîé è àìåðèêàíñêîé ïîýçèè ÿâëÿåòñÿ íàèáîëåå ïîëíûì è ïðåäñòàâèòåëüíûì ñîáðàíèåì ñòèõîòâîðåíèé, íàðîäíûõ áàëëàä è ôðàãìåíòîâ èç ïîýì íà àíãëèéñêîì ÿçûêå. Àíòîëîãèÿ ñîäåðæèò 475 ïðîèçâåäåíèé, ïðèíàäëåæàùèõ ïåðó 169 ïîýòîâ. Âñå ïðîèçâåäåíèÿ ðàñïîëîæåíû â õðîíîëîãè÷åñêîì ïîðÿäêå. Êíèãà àäðåñîâàíà ÷èòàòåëþ, âëàäåþùåìó àíãëèéñêèì ÿçûêîì, à òàêæå çíàêîìîìó ñ èñòîðèåé àíãëèéñêîé è àìåðèêàíñêîé ëèòåðàòóðû, ò.å., â ïåðâóþ î÷åðåäü, ñòóäåíòàì ñòàðøèõ êóðñîâ, àñïèðàíòàì è ïðåïîäàâàòåëÿì âûñøèõ ó÷åáíûõ çàâåäåíèé ãóìàíèòàðíîãî ïðîôèëÿ.

Àííîòàöèÿ: Ñðåäè àíãëèéñêèõ äðàìàòóðãîâ êîíöà XVI-XVII Áåí Äæîíñîí ÿâëÿåòñÿ íàèáîëåå êðóïíîé è ñàìîé ñâîåîáðàçíîé ôèãóðîé.  ñâîèõ ïðîèçâåäåíèÿõ Áåí Äæîíñ âûñìåèâàë è îáëè÷àë óðîäëèâûå ñòîðîíû íàðîæäàþùåãîñÿ êàïèòàëèçìà ñ òàêîé æå ñèëîé, êàê ïîðîêè ôåîäàëèçìà. Îí áûë ñòðàñòíûì ñòîðîííèêîì çäðàâîãî ñìûñëà, áîðîëñÿ çà ýëåìåíòàðíóþ ÷åëîâå÷åñêóþ ñïðàâåäëèâîñòü.  êíèãó íà àíãëèéñêîì ÿçûêå âîøëè äâå çíàìåíèòûå êîìåäèè àâòîðà - "Âîëüïîíå" è "Âàðôîëîìååâñêàÿ ÿðìàðêà"