Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: This anthology traces the complicated evolution of imagism through its poetry from the pre-imagists and the period of the anthologies (1914-17) to the imagists after imagism.

Àííîòàöèÿ: These three novellas explore human relationships and the devastating results of war. In The Fox, a predator targets two young women living on a small farm during the First World War. The Captain's Doll explores the complex relationship between a German countess and a married Scottish soldier in occupied Germany. In The Ladybird, a wounded prisoner of war has a disturbing influence on the Englishwoman who visits him in the hospital.

Àííîòàöèÿ: D. H. Lawrence started 'The Sisters' in March 1913, wrote four different versions and claimed to have discarded 'quite a thousand pages' before completing The Rainbow in May 1915. The novel was suppressed, just over a month after publication, in November 1915. Mark Kinkead-Weekes gives the composition history and collates the surviving states of the text to assess the damage done to Lawrence's great novel, and to provide a text as close to that which the author wrote as is now possible. The final manuscript, revisions in the typescript and the first edition are recorded in the full textual apparatus so the reader can follow the development of the novel and evaluate what outside interference might have done to it. Appendixes give the earliest, unpublished fragments from the first two versions and a newly discovered report and summary of the third. Published in two volumes.

Àííîòàöèÿ: Ñáîðíèê ñòàâèò ñâîåé öåëüþ ïîçíàêîìèòü ÷èòàòåëÿ ñ ëó÷øèìè îáðàçöàìè òâîð÷åñòâà àíãëèéñêèõ íîâåëèñòîâ 50-õ - 60-õ ãã.  íåì ïðåäñòàâëåíû ïèñàòåëè íåñêîëüêèõ ïîêîëåíèé, ñîçäàâàÿ êðàñî÷íóþ, ìíîãîëèêóþ êàðòèíó ñåãîäíÿøíåé Àíãëèè. Êíèãè ïðåäñòàâëÿåò ðàçíîîáðàçíûå òåìàòèêè è ñòèëèñòèêè ñîâðåìåííîãî àíãëèéñêîãî ðàññêàçà.

Àííîòàöèÿ: Studies in Classic American Literature, first published in 1923, provides a cross-section of Lawrence's writing on American literature from the previous six years, including landmark essays on Benjamin Franklin, Hector St. John de Crevecoeur, James Fenimore Cooper, Edgar Allan Poe, Nathaniel Hawthorne, Richard Dana, Herman Melville and Walt Whitman. Eight of the essays were first published in the English Review 1918-19, but Lawrence continued to work on his material, with the aim of producing a full-length book; at various times fifteen separate items belonged to it, all of them revised on different occasions, some of them four or five times, and often corrected with the errors of their predecessors preserved.

Àííîòàöèÿ: Aaron is a respected member of mining community, yet his success stifles him. Pinning his faith on his flute-playing, he breaks with his wife, moves south... and meets Rawdon Lilly. The extraordinary relationship between these two men - twin poles of Lawrence s own consciousness - is the central span of this important novel.

Àííîòàöèÿ: Odour of Chrysanthemums, regarded as one of D. H. Lawrence s most accomplished stories, was written in 1909 and published in Ford Madox Hueffer s English Review in June, 1911. A different version, which transformed and expanded the concluding section in which Elizabeth Bates reflects on her married life in the presence of the body of her husband, was published in 1914 in The Prussian Officer and Other Stories. The story s controlled analysis of the harsh industrial setting and of Elizabeth Bates s psychological transformation has been widely admired. H. E. Bates has even argued that Lawrence—s greatest achievement is his short fiction.

Àííîòàöèÿ: In post-war East Midlands, in a home dominated by their difficult grandmother and aunt, Yvette and Lucille are two sisters struggling to bring joy into their lives. Their mother, having run off in scandal, leaves the two to suffer a dysfunctional family life and oppressive domesticity. But one day, Yvette meets a free-spirited gypsy and his family, awakening her sexual desires and compounding her disenchantment.

Àííîòàöèÿ: The present collection, which was first published in 1950 and has been reprinted seventeen times, has been widely acclaimed and remains one of the best known and most constantly used anthologies of modern poetry to have appeared.

Àííîòàöèÿ: Lawrence s first novel The White Peacock was begun in 1906, rewritten three times, and published in 1911. The Cambridge edition uses the final manuscript as base-text, and faithfully recovers Lawrence s words and punctuation from the layers of publishers house-styling and their errors; original passages, changed for censorship reasons, are reinstated. Andrew Robertson s introduction sets out the history of Lawrence s writing and revision, and the generally favourable reception by friends and reviewers. Lawrence incorporated much of his own experience and reading on to the novel which is set just north-east of Eastwood, and modelled characters on his friends and family. The notes identify real-life places and people, explain dialect forms, literary allusions, and historical references, and include sensitive passages deleted before publication. The textual apparatus records all the variant readings and the appendix prints the two surviving fragments from the earliest manuscripts of the novel, then entitled Laetitia.

Àííîòàöèÿ: These stories probe previously uncharted depths of feeling and perience. The stories include The Prussian Officer, The Thorn In the Flesh, Daughters of the Vicar, A Fragment of Stained Glass, The Shades of Spring and Second Best.

Àííîòàöèÿ: D. H. Lawrence's second novel "The Trespasser" is based on the tragic love affair of his friend Helen Corke and her violin teacher. After reading Miss Corke's diary, Lawrence first urged her to write her story and then received her permission to do it himself. Between his rapid composition of the first draft in the spring and summer of 1910 and his final revisions in early 1912, Lawrence's view of Helen Corke, and consequently of her story, changed. The manuscript survives, and this edition presents the text for the first time as Lawrence wrote it, restoring his sentence-structure and punctuation and correcting numerous typesetters' errors. In her substantial introduction Elizabeth Mansfield explores the background of the novel, presents the complications of the publishing history and the novel's reception. A full textual apparatus records the history of the text and the editor annotates topical and other references.

Àííîòàöèÿ: In January 1921, D. H. Lawrence and his wife Frieda visited Sardinia. 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. The Cambridge edition restores censored passages and corrects corrupt textual readings to reveal for the first time the book Lawrence himself called A Marvel of Veracity.

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: Ó÷åáíîå ïîñîáèå äëÿ ñòóäåíòîâ ïåäàãîãè÷åñêèõ èíñòèòóòîâ ïðåäíàçíà÷åíî äëÿ îçíàêîìëåíèÿ ñòóäåíòîâ ñ ïðîäâèíóòûì çíàíèåì àíãëèéñêîãî ÿçûêà ñ ïðîèçâåäåíèÿìè àíãëèéñêèõ è àìåðèêàíñêèõ ïîýòîâ.

Àííîòàöèÿ: Çàâåðøèòü ïðîåêò âîâðåìÿ è â ðàìêàõ áþäæåòà - ìå÷òà ëþáîãî ðóêîâîäèòåëÿ ïðîåêòîâ. Òåì íå ìåíåå, áîëüøèíñòâî ïðîåêòîâ çàòÿãèâàþòñÿ, à ñìåòà ïðåâûøàåò çàïëàíèðîâàííóþ. Âèíîé âñåìó âàðèàáåëüíîñòü ïðîöåññîâ: íåîæèäàííàÿ íåõâàòêà ëþäåé, ïåðåãðóçêà öåõîâ, îòêàçû îáîðóäîâàíèÿ, ïðîáëåìû ñ ïîäðÿä÷èêàìè è êà÷åñòâîì. Ïîïûòêà óæåñòî÷èòü ïëàíèðîâàíèå íè ê ÷åìó íå ïðèâîäèò: æèçíü âñå ðàâíî ïðåïîäíîñèò ñþðïðèçû, êîòîðûõ íåò â ïëàíå. Êëþ÷ ê ðåçóëüòàòèâíîìó óïðàâëåíèþ ïðîåêòàìè - â ó÷åòå âàðèàáåëüíîñòè ïðè ïîìîùè ìåòîäà êðèòè÷åñêîé öåïè, êîòîðûé ðàçðàáîòàí íà îñíîâå òåîðèè îãðàíè÷åíèé Ãîëäðàòòà è ñòàòèñòè÷åñêîãî ïîäõîäà Äåìèíãà. Ïî ìíåíèþ àâòîðà, âàðèàáåëüíîñòü âïîëíå ìîæíî ïîñòàâèòü ïîä êîíòðîëü è äîáèòüñÿ âûïîëíåíèÿ ïðîåêòà â ñðîê äàæå â ñëîæíîé è íåîïðåäåëåííîé ñèòóàöèè. Êíèãà áóäåò èíòåðåñíà âñåì ðóêîâîäèòåëÿì ïðîåêòîâ, à òàêæå òîï-ìåíåäæåðàì, êîíòðîëèðóþùèì âûïîëíåíèå ñëîæíûõ ïðîåêòîâ.

Àííîòàöèÿ: Çàâåðøèòü ïðîåêò âîâðåìÿ è â ðàìêàõ áþäæåòà - ìå÷òà ëþáîãî ðóêîâîäèòåëÿ ïðîåêòîâ. Òåì íå ìåíåå, áîëüøèíñòâî ïðîåêòîâ çàòÿãèâàþòñÿ, à ñìåòà ïðåâûøàåò çàïëàíèðîâàííóþ. Âèíîé âñåìó âàðèàáåëüíîñòü ïðîöåññîâ: íåîæèäàííàÿ íåõâàòêà ëþäåé, ïåðåãðóçêà öåõîâ, îòêàçû îáîðóäîâàíèÿ, ïðîáëåìû ñ ïîäðÿä÷èêàìè è êà÷åñòâîì. Ïîïûòêà óæåñòî÷èòü ïëàíèðîâàíèå íè ê ÷åìó íå ïðèâîäèò: æèçíü âñå ðàâíî ïðåïîäíîñèò ñþðïðèçû, êîòîðûõ íåò â ïëàíå. Êëþ÷ ê ðåçóëüòàòèâíîìó óïðàâëåíèþ ïðîåêòàìè - â ó÷åòå âàðèàáåëüíîñòè ïðè ïîìîùè ìåòîäà êðèòè÷åñêîé öåïè, êîòîðûé ðàçðàáîòàí íà îñíîâå òåîðèè îãðàíè÷åíèé Ãîëäðàòòà è ñòàòèñòè÷åñêîãî ïîäõîäà Äåìèíãà. Ïî ìíåíèþ àâòîðà, âàðèàáåëüíîñòü âïîëíå ìîæíî ïîñòàâèòü ïîä êîíòðîëü è äîáèòüñÿ âûïîëíåíèÿ ïðîåêòà â ñðîê äàæå â ñëîæíîé è íåîïðåäåëåííîé ñèòóàöèè. Êíèãà áóäåò èíòåðåñíà âñåì ðóêîâîäèòåëÿì ïðîåêòîâ, à òàêæå òîï-ìåíåäæåðàì, êîíòðîëèðóþùèì âûïîëíåíèå ñëîæíûõ ïðîåêòîâ.