Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ:  1810 ã. Âàëüòåð Ñêîòò íàïèñàë ïîïóëÿðíóþ ïîýìó ïîä íàçâàíèåì «Äåâà Îçåðà», â êîòîðîé îí èñïîëüçîâàë âñå ñþæåòíûå ïîâîðîòû ëåãåíäû, íî ïåðåíåñ äåéñòâèå â êîíêðåòíîå ìåñòî, â ðîäíûå øîòëàíäñêèå çåìëè íà Ëîõ-Êàòðèí. Äæîàêêèíî Ðîññèíè èñïîëüçîâàë ýòî ïðîèçâåäåíèå äëÿ ñîçäàíèÿ îïåðû ïîä òåì æå íàçâàíèåì («La Donna del Lago») â 1819 ã. (Ýòà îïåðà çàëîæèëà ìîäó íà ìóçûêàëüíûå ïîñòàíîâêè ïî ïðîèçâåäåíèÿì Ñêîòòà, èç êîòîðûõ ñàìîé ïîïóëÿðíîé îêàçàëàñü «Ëþ÷èÿ äå Ëàììåìóð» Äîíèöåòòè). Òðè ïåñíè Ýëåéí èç ïîýìû Ñêîòòà áûëè ïîëîæåíû íà ìóçûêó Ôðàíöåì Øóáåðòîì (D. 837 - D. 839 — Ellens Gesang I, Ellens Gesang II, Ellens Gesang III), õîòÿ ìóçûêà äëÿ 3-é ïåñíè ñòàëà áîëåå èçâåñòíîé ïîñëå òîãî, êàê íà íåå ïîëîæèëè çíàìåíèòóþ ìîëèòâó Àâå Ìàðèÿ, è îíà ïðåâðàòèëàñü â ò.í. «Ave Maria Øóáåðòà»

Àííîòàöèÿ: "Êâåíòèí Äîðâàðä" — èñòîðè÷åñêèé ðîìàí Âàëüòåðà Ñêîòòà ïîâåñòâóåò î âðåìåíàõ ôðàíêî-øîòëàíäñêîãî àëüÿíñà. Ãëàâíûé ãåðîé — ìîëîäîé øîòëàíäñêèé äâîðÿíèí íà ñëóæáå ó ôðàíöóçñêîãî êîðîëÿ Ëþäîâèêà XI

Àííîòàöèÿ:  1810 ã. Âàëüòåð Ñêîòò íàïèñàë ïîïóëÿðíóþ ïîýìó ïîä íàçâàíèåì «Äåâà Îçåðà», â êîòîðîé îí èñïîëüçîâàë âñå ñþæåòíûå ïîâîðîòû ëåãåíäû, íî ïåðåíåñ äåéñòâèå â êîíêðåòíîå ìåñòî, â ðîäíûå øîòëàíäñêèå çåìëè íà Ëîõ-Êàòðèí. Äæîàêêèíî Ðîññèíè èñïîëüçîâàë ýòî ïðîèçâåäåíèå äëÿ ñîçäàíèÿ îïåðû ïîä òåì æå íàçâàíèåì («La Donna del Lago») â 1819 ã. (Ýòà îïåðà çàëîæèëà ìîäó íà ìóçûêàëüíûå ïîñòàíîâêè ïî ïðîèçâåäåíèÿì Ñêîòòà, èç êîòîðûõ ñàìîé ïîïóëÿðíîé îêàçàëàñü «Ëþ÷èÿ äå Ëàììåìóð» Äîíèöåòòè). Òðè ïåñíè Ýëåéí èç ïîýìû Ñêîòòà áûëè ïîëîæåíû íà ìóçûêó Ôðàíöåì Øóáåðòîì (D. 837 - D. 839 — Ellens Gesang I, Ellens Gesang II, Ellens Gesang III), õîòÿ ìóçûêà äëÿ 3-é ïåñíè ñòàëà áîëåå èçâåñòíîé ïîñëå òîãî, êàê íà íåå ïîëîæèëè çíàìåíèòóþ ìîëèòâó Àâå Ìàðèÿ, è îíà ïðåâðàòèëàñü â ò.í. «Ave Maria Øóáåðòà»

Àííîòàöèÿ:  1810 ã. Âàëüòåð Ñêîòò íàïèñàë ïîïóëÿðíóþ ïîýìó ïîä íàçâàíèåì «Äåâà Îçåðà», â êîòîðîé îí èñïîëüçîâàë âñå ñþæåòíûå ïîâîðîòû ëåãåíäû, íî ïåðåíåñ äåéñòâèå â êîíêðåòíîå ìåñòî, â ðîäíûå øîòëàíäñêèå çåìëè íà Ëîõ-Êàòðèí. Äæîàêêèíî Ðîññèíè èñïîëüçîâàë ýòî ïðîèçâåäåíèå äëÿ ñîçäàíèÿ îïåðû ïîä òåì æå íàçâàíèåì («La Donna del Lago») â 1819 ã. (Ýòà îïåðà çàëîæèëà ìîäó íà ìóçûêàëüíûå ïîñòàíîâêè ïî ïðîèçâåäåíèÿì Ñêîòòà, èç êîòîðûõ ñàìîé ïîïóëÿðíîé îêàçàëàñü «Ëþ÷èÿ äå Ëàììåìóð» Äîíèöåòòè). Òðè ïåñíè Ýëåéí èç ïîýìû Ñêîòòà áûëè ïîëîæåíû íà ìóçûêó Ôðàíöåì Øóáåðòîì (D. 837 - D. 839 — Ellens Gesang I, Ellens Gesang II, Ellens Gesang III), õîòÿ ìóçûêà äëÿ 3-é ïåñíè ñòàëà áîëåå èçâåñòíîé ïîñëå òîãî, êàê íà íåå ïîëîæèëè çíàìåíèòóþ ìîëèòâó Àâå Ìàðèÿ, è îíà ïðåâðàòèëàñü â ò.í. «Ave Maria Øóáåðòà»

Àííîòàöèÿ: I can see wonderful things! - said Howard Carter, when he opened the tomb of the Egyptian boy-king Tutankhamun, in 1922. Suddenly Tutankhamun was famous. This is Tutankhamun's story, told by his friend Aziru. Aziru goes to live in the Pharaoh's palace as a young boy, and he and Tutankhamun are soon great friends. Pharaoh from the age of nine, Tutankhamun rebuilds his country from times of great change. Butthere are powerful men in the palace, and Aziru is often afraid for his friend too.

Àííîòàöèÿ: Ïîñîáèå çíàêîìèò ñ îñíîâíûìè ÿâëåíèÿìè àíãëèéñêîé è àìåðèêàíñêîé ëèòåðàòóðû. Ïîñîáèå ñîäåðæèò áèîãðàôè÷åñêèå ñâåäåíèÿ îá àâòîðå, àíàëèç òâîð÷åñòâà è îòðûâêè èç ïðîèçâåäåíèé. Ïîñîáèå ðàññ÷èòàíî íà ó÷àùèõñÿ ñðåäíèõ øêîë, ëèöååâ, ãèìíàçèé, êîëëåäæåé. Ñòóäåíòîâ âûñøèõ ó÷åáíûõ çàâåäåíèé, ó÷èòåëåé è ïðåïîäàâàòåëåé, à òàêæå øèðîêèé êðóã ëèö, ñàìîñòîÿòåëüíî èçó÷àþùèõ àíãëèéñêèé ÿçûê.

Àííîòàöèÿ: This collection contains works by such writers as Poe, Hawthorne, Gaskell, Dickens and M. R. James, alongside that of anonymous authors from Britain to America. It brings together stories from the earliest decades of Gothic writing with later 19th and early 20th century tales.

Àííîòàöèÿ: This is a book to be read by a blazing fire on a winter's night, with the curtains drawn close and the doors securely locked. The unquiet souls of the dead, both as fictional creations and as 'real' apparitions, roam the pages of this haunting new selection of ghost stories by Rex Collings.Some of these stories are classics while others are lesser-known gems unearthed from this vintage era of tales of the supernatural. There are stories from distant lands - 'Fisher's Ghost' by John Lang is set in Australia and 'A Ghostly Manifestation' by 'A Clergyman' is set in Calcutta. In this selection, Sir Walter Scott (a Victorian in spirit if not in fact), keeps company with Edgar Allen Poe, Sheridan Le Fanu and other illustrious masters of the genre.

Àííîòàöèÿ: One of Sir Walter Scott's most celebrated novels, "Rob Roy" is set in the north of England and Scotland in the years before, during and after the first Jacobite rising of 1715. Rob Roy is a swashbuckling chieftain of the Clan MacGregor who is forced to become an outlaw for his alleged espousal of the Jacobite cause. He achieves great fame by his kindness to and sympathy for the poor and oppressed and he is sought out by Francis Osbaldstone and his spirited sweetheart Diana Vernon in their struggle with their malign kinsman, Rashleigh. "Rob Roy" is a truly heroic tale set against the turmoil surrounding the Hanovarian succession

Àííîòàöèÿ: This is a book to be read by a blazing fire of a winter's evening, with the curtains drawn and the doors locked. The unquiet souls of the dead roam the pages of this haunting new selection by Rex Collings of ghost stories both as fictional creations and as 'real' apparitions. Some of these stories are classics and others are lesser-known gems unearthed from this vintage era for tales of the supernatural. There are stories from distant lands - Fisher's Ghost by John Lang is set in Australia and A Ghostly Manifestation by 'A Clergyman' is set in Calcutta. Sir Walter Scott keeps company in this selection with Edgar Allen Poe, Sheridan Le Fanu and other illustrious masters of the genre.

Àííîòàöèÿ: Wilfred of Ivanhoe was thrown out of his father`s home when he fell in love with his father Cedric`s ward, Lady Rowena. Ivanhoe later returns from fighting in the Crusades and is wounded in a jousting tournament. Set in 12th-century England, this is a tale of love struggling to survive against a violent backdrop of politics and war

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: The Talisman is Sir Walter Scott s tale of the Crusades -- a tale of chivalry, of violence, of virtue, romance, and deceit. In Scott's own words: ...the warlike character of Richard I, wild and generous, a pattern of chivalry, with all its extravagant virtues, and its no less absurd errors, was opposed to that of Saladin, in which the Christian and English monarch showed all the cruelty and violence of an Eastern sultan, and Saladin, on the other hand, displayed the deep policy and prudence of a European sovereign, whilst each contended which should excel the other in the knightly qualities of bravery and generosity. This singular contrast afforded, as the author conceived, materials for a work of fiction possessing peculiar interest.

Àííîòàöèÿ: Perhaps the finest and certainly the most readable of Scott's Waverley novels, Old Mortality is a swift-moving historical romance that pits an anachronistically liberal hero against the forces of fanaticism in seventeenth-century Scotland - the period notorious as "the killing time." Its central character, Henry Morton, finds himself torn between his love for a royalist's granddaughter and his loyalty to his oppressed countrymen.

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: 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.