Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Oscar Wilde was already one of the best known literary figures in Britain when he was persuaded to turn his extraordinary talents to the theatre. Between 1891 and 1895 he produced a sequence of distinctive plays which spearheaded the dramatic renaissance of the 1890s and retain their power today. The social comedies, Lady Windermere's Fan, A Woman of No Importance, and An Ideal Husband, offer a moving as well as witty dissection of society and its morals, with a sharp focus on sexual politics. By contrast, the experimental, symbolist Salome, written originally in French, was banned for public performance by the English censor. His final dramatic triumph was his 'trivial' comedy for serious people, The Importance of Being Earnest' arguably the greatest farcical comedy in English. Under the General Editorship of Dr Michael Cordner of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation. In addition, there is a scholarly introduction and detailed annotation. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more

Àííîòàöèÿ: The Happy Prince and Other Tales (sometimes called The Happy Prince and Other Stories) is a collection of stories for children by Oscar Wilde first published in May 1888. It contains five stories, "The Happy Prince", "The Nightingale and the Rose", "The Selfish Giant", "The Devoted Friend", and "The Remarkable Rocket". It is most famous for its title story, "The Happy Prince".

Àííîòàöèÿ: Man hatte Hiram B. Otis gewarnt, bevor er Canterville kaufte: in diesen Mauern spukt es. Doch unbeeindruckt von solch allzu britischem Aberglauben bezieht der amerikanische Botschafter mitsamt seiner Familie das neu erworbene Domizil.

Àííîòàöèÿ: Äèñê àäðåñîâàí øèðîêîé àóäèòîðèè: ñòóäåíòàì, ïðåïîäàâàòåëÿì, à òàêæå âñåì, êòî æåëàåò ðàñøèðèòü çíàíèÿ àíãëèéñêîãî ÿçûêà. Ýëåêòðîííûé ïðîäóêò ñîñòîèò èç äâóõ ÷àñòåé. Ïåðâàÿ ÷àñòü-àóäèîêíèãà íà àíãëèéñêîì ÿçûêå, âòîðàÿ- êîììåíòàðèè íà ðóññêîì. Ïîëüçîâàòåëþ ïðåäëàãàåòñÿïðîñëóøàòü ãëàâó ïðîèçâåäåíèÿ è ïîíÿòü îïèñûâàåìûå â íåé äåéñòâèÿ è ñîáûòèÿ. Äàëåå ñëåäóåò êîììåíòàðèè íà ðóññêîì ÿçûêå ê ëåêñè÷åñêîìó, ãðàììàòè÷åñêîìó è ýêñòðàëèíãâèñòè÷åñêîìó (êóëüòóðà, òðàäèöèè) ñîäåðæàíèþ.  ýòèõ êîììåíòàðèÿõ ïîÿñíÿþòñÿ ðåäêîóïîòðåáëÿþùèåñÿ ñëîâà èâûðàæåíèÿ, ðåàëèè, ïðèâîäÿòñÿ ïðèìåðû èõ óïîòðåáëåíèÿ â ïîâñåäíåâíîé ðå÷è. Äàííàÿ ìåòîäèêà ïîçâîëÿåò óñîâåðøåíñòâîâàòü íàâûê àóäèðîâàíèÿ (óìåíèÿ ñëóøàòü è ïîíèìàòü), ïîìîãàåò îâëàäåòü àíãëèéñêîé ðå÷üþ

Àííîòàöèÿ: "Mylord", sagte der der amerikanische Botschafter beim Kauf des englischen Spukschlosses Canterville zum Besitzer...

Àííîòàöèÿ: "Ïîðòðåò Äîðèàíà Ãðåÿ" - åäèíñòâåííûé ðîìàí Îñêàðà Óàéëüäà, êîòîðûé ïðè æèçíè àâòîðà âûçûâàë ÿðîñòíûå ñïîðû, à íûíå ïðèçíàí íåïðåâçîéäåííûì øåäåâðîì ìèðîâîé ëèòåðàòóðû. Èñòîðèÿ ïðåêðàñíîãî è íåâèííîãî þíîøè, ïîääàâøåãîñÿ ñîáëàçíó íàâåêè ñîõðàíèòü ìîëîäîñòü è çàñòàâèòü ñîáñòâåííûé ïîðòðåò ñòàðåòü âìåñòî ñåáÿ. Íî èñïîëíåíèå æåëàíèé èìååò öåíó, è çà íåêîòîðûå ïðåäñòîèò äîðîãî çàïëàòèòü. Èíòåðåñíî, ÷òî íè îäèí èç ïîðîêîâ Äîðèàíà Ãðåÿ ÷¸òêî â ðîìàíå íå íàçâàí, êðîìå åãî çëîóïîòðåáëåíèÿ îïèóìîì. Ñàì Óàéëüä ãîâîðèë, ÷òî êàæäûé âèäèò â åãî ãåðîå ñâîè ñîáñòâåííûå ãðåõè è ïîðîêè. Ñóùåñòâóåò áîëåçíü "ñèíäðîì Äîðèàíà Ãðåÿ" — êóëüò ìîëîäîñòè, ñòðàõ ïåðåä ôèçè÷åñêèì óâÿäàíèåì è ñòàðåíèåì. Ýòî ïñèõîëîãè÷åñêîå ñîñòîÿíèå îñîáåííî ðàñïðîñòðàíåíî ñðåäè ïóáëè÷íûõ ëè÷íîñòåé: êèíîçâ¸çä, àðòèñòîâ, ïåâöîâ

Àííîòàöèÿ: Îäèí èç ñàìûõ èçâåñòíûõ ðîìàíîâ ìèðîâîé ëèòåðàòóðû, ïóáëèêàöèÿ êîòîðîãî â 1891 ãîäó ñòàëà ïðè÷èíîé ñêàíäàëà â àíãëèéñêîì îáùåñòâå. Êðèòèêà îñóäèëà åãî êàê àìîðàëüíîå ïðîèçâåäåíèå, îäíàêî îáû÷íûìè ÷èòàòåëÿìè ðîìàí áûë ïðèíÿò âîñòîðæåííî. Äîðèàí Ãðåé, ïîääàâøèñü ñîáëàçíó, çàõîòåë âå÷íóþ ìîëîäîñòü — è ïîëó÷èë åå. Íî çàâîðîæåííûé ñîáñòâåííîé êðàñîòîé þíîøà åùå íå çíàë, êàêîé öåíîé ýòà ìîëîäîñòü åìó äîñòàíåòñÿ. Îí áóäåò ðàçáèâàòü ñåðäöà, òîëêàòü ëþäåé íà ñàìîóáèéñòâî, ïðåäàâàòü. Èñêóññòâî îêàæåòñÿ ãóáèòåëüíåå, ÷åì äóìàë Äîðèàí

Àííîòàöèÿ: Îäèí èç ñàìûõ èçâåñòíûõ ðîìàíîâ ìèðîâîé ëèòåðàòóðû, ïóáëèêàöèÿ êîòîðîãî â 1891 ãîäó ñòàëà ïðè÷èíîé ñêàíäàëà â àíãëèéñêîì îáùåñòâå. Êðèòèêà îñóäèëà åãî êàê àìîðàëüíîå ïðîèçâåäåíèå, îäíàêî îáû÷íûìè ÷èòàòåëÿìè ðîìàí áûë ïðèíÿò âîñòîðæåííî. Äîðèàí Ãðåé, ïîääàâøèñü ñîáëàçíó, çàõîòåë âå÷íóþ ìîëîäîñòü — è ïîëó÷èë åå. Íî çàâîðîæåííûé ñîáñòâåííîé êðàñîòîé þíîøà åùå íå çíàë, êàêîé öåíîé ýòà ìîëîäîñòü åìó äîñòàíåòñÿ. Îí áóäåò ðàçáèâàòü ñåðäöà, òîëêàòü ëþäåé íà ñàìîóáèéñòâî, ïðåäàâàòü. Èñêóññòâî îêàæåòñÿ ãóáèòåëüíåå, ÷åì äóìàë Äîðèàí

Àííîòàöèÿ: Îñêàð Óàéëüä — çíàìåíèòûé èðëàíäñêèé ïîýò, äðàìàòóðã è ïèñàòåëü.  1895 ãîäó îí áûë îñóæäåí çà «ãðóáóþ íåïðèñòîéíîñòü» è ïðèãîâîð¸í ê äâóì ãîäàì êàòîðæíûõ ðàáîò. «De Profundis» — ïèñüìî èç òþðüìû ëîðäó Àëüôðåäó Äóãëàñó, áëèçêîìó äðóãó Óàéëüäà, ñûãðàâøåìó ãëàâíóþ ðîëü â åãî çàêëþ÷åíèè. Òåêñò ïîñëàíèÿ íå òîëüêî íàïîëíåí çëîñòüþ è ãîðå÷üþ ðàçî÷àðîâàíèÿ, íî è îáíàæàåò ãëóáèíó ÷óâñòâà, êîòîðîå èñïûòûâàë ïîýò ê Äóãëàñó. Êðîìå òîãî, ïèñüìî îòðàæàåò ðåçóëüòàò ïåðåîñìûñëåíèÿ Óàéëüäîì åãî ôèëîñîôèè óäîâîëüñòâèÿ è âçãëÿäîâ íà ðîëü ñòðàäàíèÿ â ÷åëîâå÷åñêîé æèçíè. Íàñëàäèòåñü èçûñêàííûì ñëîãîì Îñêàðà Óàéëüäà â îðèãèíàëå — áåç àäàïòàöèè è ñîêðàùåíèé!

Àííîòàöèÿ: Èñêóøåííûé ðå÷àìè ëîðäà Óîòòîíà Äîðèàí Ãðåé ïîæåëàë îáëàäàòü ñàìûì öåííûì äàðîì — âå÷íîé ìîëîäîñòüþ. È æåëàíèå ýòî áûëî èñïîëíåíî: îòíûíå ïîðîêè îòðàæàëèñü íå íà ëèöå Äîðèàíà, à íà åãî æèâîïèñíîì ïîðòðåòå. Åìó áîëüøå íå íóæíî áûëî áîÿòüñÿ ñòàðîñòè, óðîäñòâà è íåóäà÷. Íî ïî ïðîøåñòâèè äåñÿòèëåòèé, ïûòàÿñü ñáåæàòü îò ïðîøëîãî è íå â ñèëàõ íè÷åãî èçìåíèòü, îí ïîíèìàåò, ÷òî çàïëàòèë çà êàæóùååñÿ åìó äàðîì ïðîêëÿòüå ñëèøêîì áîëüøóþ öåíó— Ñêàíäàëüíûé ðîìàí Îñêàðà Óàéëüäà ïîäîáíî ïîðòðåòó ãëàâíîãî ãåðîÿ íå ïîäâëàñòåí òå÷åíèþ âðåìåíè.  íåì ïîäíèìàþòñÿ âå÷íûå âîïðîñû ÷åëîâå÷åñòâà — î ñìûñëå æèçíè, âåëè÷èè êðàñîòû è ñèëå ëþáâè.

Àííîòàöèÿ:  êíèãå ïðåäñòàâëåíû ïðîèçâåäåíèÿ Îñêàðà Óàéëüäà: ðîìàí "Ïîðòðåò Äîðèàíà Ãðåÿ" (1890) è ýññå "Óïàäîê èñêóññòâà ëæè" (1889), "Êèñòü, ïåðî è îòðàâà" (1889), "Êðèòèê êàê õóäîæíèê" (1890), "Èñòèíà ìàñîê" (1885), "Äóøà ÷åëîâåêà ïðè ñîöèàëèçìå" (1891). Âñå ïðîèçâåäåíèÿ äàíû íà ÿçûêå îðèãèíàëà. Çíàêîìñòâî ñ îðèãèíàëàìè òâîðåíèé êëàññèêîâ çàðóáåæíîé ëèòåðàòóðû, íàóêè, èñêóññòâà ïîìîæåò ñåãîäíÿøíèì ñòóäåíòàì ñîñòàâèòü áîëåå òî÷íîå ïðåäñòàâëåíèå î íåïîâòîðèìîé ñòèëèñòèêå êàæäîãî àâòîðà, à òàêæå ðàñøèðèò ñëîâàðíûé çàïàñ, çíàíèÿ îá èñòîðèè ÿçûêà, ôðàçåîëîãèè.

Àííîòàöèÿ: Òðîãàòåëüíûå è ãëóáîêèå ñêàçêè Îñêàðà Óàéëüäà óæå áîëåå ñòîëåòèÿ áóäîðàæàò ôàíòàçèþ ÷èòàòåëÿ, çàòðàãèâàÿ ïðè ýòîì âàæíåéøèå, îòíþäü íå "äåòñêèå" âîïðîñû ÷åëîâå÷åñêîãî áûòèÿ.  íàñòîÿùåå èçäàíèå âîøëè èçáðàííûå ñêàçêè èç ñáîðíèêîâ "Ñ÷àñòëèâûé ïðèíö" (1888) è "Ãðàíàòîâûé äîìèê" (1891), àäàïòèðîâàííûå ïî ìåòîäó Èëüè Ôðàíêà: ñíàáæåííûå äîñëîâíûì ïåðåâîäîì íà ðóññêèé ÿçûê, íåîáõîäèìûì ëåêñèêî-ãðàììàòè÷åñêèì êîììåíòàðèåì è òðàíñêðèïöèåé. Óíèêàëüíîñòü ìåòîäà çàêëþ÷àåòñÿ â òîì, ÷òî çàïîìèíàíèå ñëîâ è âûðàæåíèé ïðîèñõîäèò çà ñ÷åò èõ ïîâòîðÿåìîñòè, áåç çàó÷èâàíèÿ è íåîáõîäèìîñòè èñïîëüçîâàòü ñëîâàðü. Èçäàíèå ñïîñîáñòâóåò ýôôåêòèâíîìó îñâîåíèþ ÿçûêà, ìîæåò ñëóæèòü äîïîëíåíèåì ê ó÷åáíîé ïðîãðàììå. Ïðåäíàçíà÷åíî äëÿ øèðîêîãî êðóãà ëèö, èçó÷àþùèõ àíãëèéñêèé ÿçûê è èíòåðåñóþùèõñÿ àíãëèéñêîé êóëüòóðîé.

Àííîòàöèÿ: The Picture of Dorian Gray tells the story of a handsome young man, whose full-length portrait was painted by an artist infatuated by Dorian's beauty. Fearing that his beauty will fade, Dorian expresses the desire to sell his soul, to ensure that the picture will age and fade while he remains youthful and lives a life of sin and pleasure...

Àííîòàöèÿ: Îñêàð Óàéëüä (1854-1900) - âñåìèðíî èçâåñòíûé ïèñàòåëü, êëàññèê àíãëèéñêîé ëèòåðàòóðû. Ôèëîñîôñêèé ðîìàí "Ïîðòðåò Äîðèàíà Ãðåÿ" (1891) - åäèíñòâåííîå êðóïíîå ïðîçàè÷åñêîå ïðîèçâåäåíèå Óàéëüäà. Ðîìàí ïîñâÿùåí áåññìåðòíûì òåìàì ìîðàëè è íðàâñòâåííîñòè, ëþáâè è íåíàâèñòè, ôèçè÷åñêîé è äóõîâíîé êðàñîòû, ïîýòîìó è â íàøè äíè îí íå òåðÿåò ñâîåé àêòóàëüíîñòè. Íåàäàïòèðîâàííûé òåêñò íà ÿçûêå îðèãèíàëà ñíàáæåí êîììåíòàðèÿìè è ñëîâàðåì. Êíèãà ïðåäíàçíà÷åíà äëÿ øèðîêîãî êðóãà ÷èòàòåëåé, âëàäåþùèõ àíãëèéñêèì ÿçûêîì, äëÿ ñòàðøåêëàññíèêîâ, ñòóäåíòîâ âóçîâ, ñëóøàòåëåé êóðñîâ èíîñòðàííûõ ÿçûêîâ è òåõ, êòî èçó÷àåò àíãëèéñêèé ÿçûê ñàìîñòîÿòåëüíî.

Àííîòàöèÿ: Two men have secret lives. Two women want to marry a man called Ernest. But who is Ernest?Is he a badly behaved brother,the ideal fiance,or Lady Bracknell's nephew and fun-loving bachelor,Algernon Moncrieff?Follow the incredible events that lead to the discovery of the importance of being 'earnest' in this adaptation of Oscar Wilde's witty and highly entertaining play.This reader also contains:a wide range of skills practice;Cambridge English Preliminary and Trinity (Grade 5 and 6) style activities;dossiers-Oscar Wilde;Victorian marals and values;the dandy;cinema The Importance of being Earnest and full recording of the text.

Àííîòàöèÿ: Êíèãà ïðèãëàøàåò ÷èòàòåëÿ â óäèâèòåëüíûé ìèð ñêàçîê Îñêàðà Óàéëüäà, èñïîëíåííûõ ïîýçèè, ìóäðîé ïðîñòîòû è ñâåòëîé ãðóñòè âåëèêîãî ðîìàíòèêà.Òåêñò ïðîèçâåäåíèé àäàïòèðîâàí â íàñòîÿùåì èçäàíèè(áåç óïðîùåíèÿ òåêñòà îðèãèíàëà) ïî ìåòîäó Èëüè Ôðàíêà:ñíàáæåí äîñëîâíûì ïåðåâîäîì íà ðóññêèé ÿçûê,íåîáõîäèìûì ëåêñèêî]ãðàììàòè÷åñêèì êîììåíòàðèåì è òðàíñêðèïöèåé

Àííîòàöèÿ: Ïðåäñòàâëåíû òîëüêî îðèãèíàëüíûå òåêñòû ëó÷øèõ ïðîèçâåäåíèé ìèðîâîé ëèòåðàòóðû. Ýòè êíèãè ñòàíóò ýôôåêòèâíûì è óâëåêàòåëüíûì ïîñîáèåì äëÿ èçó÷àþùèõ èíîñòðàííûé ÿçûê íà õîðîøåì «ïðîäîëæàþùåì» è «ïðîäâèíóòîì» óðîâíå. Îíè ïîìîãóò ýôôåêòèâíî ðàñøèðèòü ñëîâàðíûé çàïàñ, ïîäñêàæóò, ãäå è êàê ïðàâèëüíî óïîòðåáëÿòü óñòîé÷èâûå âûðàæåíèÿ è ãðàììàòè÷åñêèå êîíñòðóêöèè, ïîäàðÿò ðàäîñòü îò ÷òåíèÿ.  êîíöå êíèãè äàíà êðàòêàÿ èíôîðìàöèÿ î êóëüòóðíûõ, ñòðàíîâåä÷åñêèõ, èñòîðè÷åñêèõ è ãåîãðàôè÷åñêèõ ðåàëèÿõ îïèñûâàåìîãî ïåðèîäà, êîòîðàÿ ïîìîæåò ëó÷øå îðèåíòèðîâàòüñÿ â òåêñòå ïðîèçâåäåíèÿ.

Àííîòàöèÿ: Wilde's first and only published novel recounts the story of handsome Dorian Gray who upon having his portrait painted desires that it will age and grow ugly while he may remain eternally beautiful. The painting, which reflects each of Gray's sins and transgressions, haunts him until it finally becomes unbearable. In this dark tale of duplicity and mortality, Wilde creates a world where art and reality collide.

Àííîòàöèÿ:  ýòîì óíèêàëüíîì ñáîðíèêå âû íàéäåòå ëó÷øèå ïðîèçâåäåíèÿ ìàñòåðîâ áðèòàíñêîé ïîýçèè, à òàêæå èõ êëàññè÷åñêèå ïåðåâîäû íà ðóññêèé ÿçûê, âûïîëíåííûå ðîññèéñêèìè ïîýòàìè. Íåàäàïòèðîâàííûå òåêñòû ïîçâîëÿò ÷èòàòåëÿì â ïîëíîé ìåðå îöåíèòü ïðîèçâåäåíèÿ âåëèêèõ ïîýòîâ, à êëàññè÷åñêèå ïåðåâîäû ïîìîãóò ðàçðåøèòü âîçíèêàþùèå ïî õîäó ÷òåíèÿ âîïðîñû è òðóäíîñòè è íàó÷èòüñÿ ïåðåâîäèòü ñàìûå ñëîæíûå ôðàçû è îáðàçû. ×èòàÿ è ñëóøàÿ âåëèêîëåïíóþ ïîýçèþ íà àíãëèéñêîì ÿçûêå, îáðàùàÿñü ê ïðåêðàñíûì ïåðåâîäàì, âû óëó÷øèòå ñâîè íàâûêè ÷òåíèÿ è âîñïðèÿòèÿ íà ñëóõ èíîÿçû÷íîé ðå÷è.Êíèãà áóäåò èíòåðåñíà è ïîëåçíà øêîëüíèêàì, àáèòóðèåíòàì, ñòóäåíòàì, ïðåïîäàâàòåëÿì, à òàêæå âñåì, êòî èçó÷àåò àíãëèéñêèé ÿçûê ñàìîñòîÿòåëüíî.

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.