Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Hemingway E., Fiesta, and the Sun Also Rises — ïå÷. 2012 (English. Modern prose)

Ýðíåñò Ìèëëåð Õåìèíãóýé (1899-1961) - îäèí èç ñàìûõ èçâåñòíûõ àìåðèêàíñêèõ ïèñàòåëåé, îáëàäàòåëü Ïóëèòöåðîâñêîé (1953) è Íîáåëåâñêîé (1954) ïðåìèé. "Ôèåñòà, è ñîëíöå âîñõîäèò" (1926) - ðîìàí, îïèñûâàþùèé æèçíü ëþäåé, ïåðåæèâøèõ Ïåðâóþ ìèðîâóþ âîéíó.  íåì ãåðîè ïûòàþòñÿ çàáûòü óæàñû âîéíû è íàéòè ñâîå ìåñòî â æèçíè.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Õåìèíãóýé Ý., Î ðûáàëêå. Îá îõîòå. Î ïèñàòåëüñòâå. [ñáîðíèê çàìåòîê, ñòàòåé, ðàññóæäåíèé] — 2023 (Áèáëèîòåêà êëàññèêè)

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Õåìèíãóýé Ý., Ñíåãà Êèëèìàíäæàðî è äðóãèå ðàññêàçû — 2018 (Bilingua)

Êíèãà îðãàíèçîâàíà ïî ïðèíöèïó áèëèíãâû: ïðîèçâåäåíèÿ îïóáëèêîâàíû íà ÿçûêå îðèãèíàëà,ñ íåçíà÷èòåëüíûìè îòñòóïëåíèÿìè îò àâòîðñêîãî òåêñòà, ñ ïàðàëëåëüíûì ïåðåâîäîì íà ðóññêèé ÿçûê.  êíèãó âîøëè ðàññêàçû "Ñíåãà Êèëèìàíäæàðî", "Èãðîê, ìîíàõèíÿ è ðàäèî", "Îòöû è äåòè", " äðóãîé ñòðàíå", íàïèñàííûå Õåìèíãóýåì ñ 1927 ïî 1936 ãîä. Äåéñòâóþùèå ëèöà ðàññêàçîâ - òèïè÷íûå ãåðîè ñâîåãî âðåìåíè: îíè èùóò ñâîé ïóòü, ïûòàÿñü îáíàðóæèòü ñìûñë â ÷åðåäå ñîáûòèé, èç êîòîðûõ ñîòêàíû èõ ñóäüáû. Áåñêîíå÷íî çàäàâàÿ ñåáå âîïðîñû, êîòîðûå ïðèíÿòî íàçûâàòü âå÷íûìè, îíè óâåðåíû, ÷òî ïîèñêè îòâåòîâ íà íèõ âàæíåå ñàìîé æèçíè. Èçó÷åíèå èíîñòðàííîãî ÿçûêà ìåòîäîì ïàðàëëåëüíîãî ÷òåíèÿ ïîìîãàåò íå òîëüêî çíà÷èòåëüíî ðàñøèðèòü ñëîâàðíûé çàïàñ, íî è ýôôåêòèâíî ðàáîòàòü íàä óñâîåíèåì ãðàììàòè÷åñêèõ êîíñòðóêöèé è ðå÷åâûõ îáîðîòîâ.

Ñîäåðæàíèå: The snows of Kilimanjaro; The gambler, the nun, and the radio; Fathers and sons; In another country

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., Across the River and into the Trees — 2018 (My favourite fiction)

Ýðíåñò Õåìèíãóýé ïðèîáðåë âñåìèðíóþ ñëàâó íå òîëüêî êàê àâòîð ïîïóëÿðíåéøèõ ïîâåñòåé è ðîìàíîâ, ñòàâøèõ êóëüòîâûìè äëÿ íåñêîëüêèõ ïîêîëåíèé, íî è êàê ÷åëîâåê, ñäåëàâøèé ëåãåíäîé ñîáñòâåííóþ æèçíü. Ðîìàí Çà ðåêîé, â òåíè äåðåâüåâ ðàññêàçûâàåò î ïîñëåäíèõ äíÿõ æèçíè àìåðèêàíñêîãî ïîëêîâíèêà Ðè÷àðäà Êàíòóýëëà, ó÷àñòâîâàâøåãî âî âñåõ âîéíàõ ïåðâîé ïîëîâèíû ÕÕ âåêà. Ïåðåæèâ íåñêîëüêî ñåðäå÷íûõ ïðèñòóïîâ, îí ïðèåçæàåò â Âåíåöèþ, ãäå êîãäà-òî âîåâàë è áûë òÿæåëî ðàíåí. Çäåñü åãî æäåò äåâÿòíàäöàòèëåòíÿÿ Ðåíàòà, ëþáîâüþ ê êîòîðîé Ðè÷àðä ïûòàåòñÿ çàñëóæèòü åùå îäèí øàíñ - íà íîâóþ æèçíü, åå ïðîñòûå ðàäîñòè è îáû÷íîå ÷åëîâå÷åñêîå ñ÷àñòüå. Îñåííÿÿ Âåíåöèÿ íå ïðîñòî âûñòóïàåò ôîíîì äëÿ êðàñèâîé èñòîðèè ëþáâè. Õîëîäíîå î÷àðîâàíèå ïðåêðàñíîãî ãîðîäà ñëóæèò êàìåðòîíîì äëÿ âñåé æèçíè ãëàâíîãî ãåðîÿ, çàäàâàÿ â ïîâåñòâîâàíèè íîòû ïå÷àëè, íàäåæäû è ñìèðåíèÿ ñ íåèçáåæíîñòüþ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., For whom the bell tolls — 2016 (English. Modern prose)

Ýðíåñò Ìèëëåð Õåìèíãóýé (1899-1961)- èçâåñòíûé àìåðèêàíñêèé è ïèñàòåëü, îáëàäàòåëü Ïóëèòöåðîâñêîé (1953) è Íîáåëåâñêîé (1954) ïðåìèé."Ïî êîì çâîíèò êîëîêîë" îäèí èç ëó÷øèõ ðîìàíîâ ïèñàòåëÿ, íàïèñàííûé ïî ïåðåæèòûì âïå÷àòëåíèÿì â ãîäû Ãðàæäàíñêîé âîéíû â Èñïàíèè.  íåì ãëàâíûé ãåðîé, áûâøèé ïðåïîäàâàòåëü Ðîáåðò Äæîðäàí, ìåíÿåò ñâîé ìèðíûé òðóä íà ðàáîòó ïîäðûâíèêà. Òðàãè÷íûé ðîìàí âîñïåâàåò èñòèííóþ ëþáîâü è èñòèííîå ìóæåñòâî ÷åëîâåêà, ïîæåðòâîâàâøåãî ñâîåé æèçíüþ ðàäè æèçíè äðóãèõ. êíèãå ïðåäñòàâëåí ñîêðàùåííûé íåàäàïòèðîâàííûé òåêñò íà ÿçûêå îðèãèíàëà. Ðåêîìåíäóåòñÿ äëÿ ñòóäåíòîâ ÿçûêîâûõ âóçîâ è âñåõ ëþáèòåëåé àíãëîÿçû÷íîé ëèòåðàòóðû.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., The Old Man and the Sea. Green Hills of Africa — 2016 (Modern prose. English)

Ýðíåñò Ìèëëåð Õåìèíãóýé (1899-1961) - îäèí èç ñàìûõ ÿðêèõ àìåðèêàíñêèõ ïèñàòåëåé XX âåêà, íàãðàæäåííûé Ïóëèòöåðîâñêîé (1953) è Íîáåëåâñêîé (1954) ïðåìèÿìè. Åãî êíèãè ïåðåâåäåíû íà ìíîãèå ÿçûêè ìèðà è ïîëüçóþòñÿ çàñëóæåííîé ïîïóëÿðíîñòüþ ó ÷è-òàòåëåé.  ñáîðíèê âîøëè äâà ïðîèçâåäåíèÿ: Ñòàðèê è ìîðå» (1951), î âåðå â íðàâñòâåííûå ñèëû ÷åëîâåêà, è «Çåëåíûå õîëìû Àôðèêè» (1935), â êîòîðîì àâòîð ïûòàåòñÿ îñìûñëèòü òâîð÷åñêèé ïóòü è ýñòåòè÷åñêèå ïðèíöèïû òâîð÷åñòâà.  êíèãå ïðåäñòàâëåí íåàäàïòèðîâàííûé òåêñò íà ÿçûêå îðèãèíàëà.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., A moveable feast. [êíèãà äëÿ ÷òåíèÿ íà àíãëèéñêîì ÿçûêå] — 2014 (English. Modern prose)

Hemingway's memories of his life as an unknown writer living in Paris in the 1920s are deeply personal, warmly affectionate and full of wit. Looking back not only at his own much younger self, but also at the other writers who shared Paris with him - lite ...

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., A Farewell to Arms. [êíèãà äëÿ ÷òåíèÿ íà àíãëèéñêîì ÿçûêå] — 2011 (Modern prose. English)

The greatest American novel to emerge from World War I, A Farewell to Arms cemented Ernest Hemingway s reputation as one of the most important novelists of the twentieth century. Drawn largely from Hemingway s own experiences, it is the story of a volunteer ambulance driver wounded on the Italian front, the beautiful British nurse with whom he falls in love, and their journey to find some small sanctuary in a world gone mad with war. By turns beautiful and tragic, tender and harshly realistic, A Farewell to Arms is one of the supreme literary achievements of our time

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ó÷åáíîå ïîñîáèå ïî àíãëèéñêîé è àìåðèêàíñêîé ëèòåðàòóðå — 2011

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.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., Men without women — 2011 (My favourite fiction)

"Ìóæ÷èíû áåç æåíùèí" - îäèí èç ïåðâûõ ñáîðíèêîâ Ý.Õåìèíãóýÿ, â êîòîðîì ÷åòêî îïðåäåëèëèñü íðàâñòâåííûå òåìû, êîòîðûì ïèñàòåëü îòäàâàë âñå ñâîå âíèìàíèå,- âåëè÷èå äóõà, íå ñëîìëåííîãî â ïîðàæåíèè ÷åëîâåêà, åãî ìóæåñòâî è äîñòîèíñòâî â ñóðîâûõ èñïûòàíèÿõ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., Men Without Women — 2010 (My Favourite Fiction)

"Men Without Women" was a milestone in Hemingway's career. "Fiesta" had already established him as a novelist of exceptional power, but with these short stories, his second collection, he showed that it is possible, within the space of a few pages, to recreate a scene with absolute truth, bringing to life details observed only by the eye of a uniquely gifted artist. Hemingway's men are bullfighters and boxers, hired hands and hard drinkers, gangsters and gunmen. Each of their stories deals with masculine toughness unsoftened by woman's hand. Incisive, hard-edged, pared down to the bare minimum, they are classic Hemingway territory

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Aciman A., Twitterature. The World's Greatest Books. Retold Through Twitter — 2009

Perhaps you once asked yourself, 'What exactly is Hamlet trying to tell me? Why must he mince his words, muse in lyricism and, in short, whack about the shrub?' No doubt such troubling questions would have been swiftly resolved were the Prince of Denmark a registered user on Twitter.com. This, in essence, is Twitterature.Here you will find seventy-five of the greatest works of western literature — from Beowulf to Bronte, from Kafka to Kerouac, and from Dostoevsky to Dickens— each distilled through the voice of Twitter to its purest, pithiest essence. Including a full glossary of online acronyms and Twitterary terms to aid the amateur, Twitterature provides everything you need to master the literature of the civilised world, while relieving you of the burdensome task of reading it.From Hamlet: WTF IS POLONIUS DOING BEHIND THE CURTAIN???From Dante's Inferno: I'm havin a midlife crisis. Lost in the woods. Shoulda brought my iPhone.From Oedipus: PARTY IN THEBES!!! Nobody cares I killed that old dude, plus this woman is all over me. Total MILF.From Paradise Lost: OH MY GOD I'M IN HELL.'The classics are so last century' Guardian

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., The Old Man and the Sea — 2004

Set in the Gulf Stream off the coast of Havana, Hemingway's magnificent fable is the story of an old man, a young boy and a giant fish. In a perfectly crafted story, which won for Hemingway the Nobel Prize for Literature, is a unique and timeless vision of the beauty and grief of man's challenge to the elements in which he lives.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., A Farwell to Arms — 2004

In 1918 Ernest Hemingway went to war, to the 'war to end all wars'. He volunteered for ambulance service in Italy, was wounded and twice decorated. Out of his experiences came A Farewell to Arms. Hemingway's description of war is unforgettable. He recreates the fear, the comradeship, the courage of his young American volunteer and the men and women he meets in Italy with total conviction. But A Farewell to Arms is not only a novel of war. In it Hemingway has also created a love story of immense drama and uncompromising passion.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., The Essential Hemingway — 2004 (Vintage Classics)

The Essential Hemingway is the perfect introduction to the astonishing, wide-ranging body of work by the Nobel Prize-winning author. This impressive collection includes: the full text of Fiesta, Hemingway's first major novel; long extracts from three of his greatest works of fiction, A Farewell to Arms, To Have and Have Not and For Whom the Bell Tolls; twenty-five complete short stories; and the breathtaking Epilogue to Death in the Afternoon

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., A Moveable Feast — 2004

'If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast.' Hemingway's memories of his life as an unknown writer living in Paris in the 1920s are deeply personal, warmly affectionate and full of wit. Looking back not only at his own much younger self, but also at the other writers who shared Paris with him - literary 'stars' like James Joyce, Wyndham Lewis, Scott and Zelda Fitzgerald, Ezra Pound and Gertrude Stein - he recalls the time when, poor, happy and writing in cafes, he discovered his vocation

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., For Whom the Bell Tolls — 2004

For Whom the Bell Tolls begins and ends in a pine-scented forest, somewhere in Spain. The year is 1937 and the Spanish Civil War is in full swing. Robert Jordan, a demolitions expert attached to the International Brigades, lies "flat on the brown, pine-needled floor of the forest, his chin on his folded arms, and high overhead the wind blew in the tops of the pine trees." The sylvan setting, however, is at sharp odds with the reason Jordan is there: he has come to blow up a bridge on behalf of the antifascist guerrilla forces. He hopes he'll be able to rely on their local leader, Pablo, to help carry out the mission, but upon meeting him, Jordan has his doubts: "I don't like that sadness, he thought. That sadness is bad

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., Men Without Women — 2004

"Men Without Women" was a milestone in Hemingway's career. "Fiesta" had already established him as a novelist of exceptional power, but with these short stories, his second collection, he showed that it is possible, within the space of a few pages, to recreate a scene with absolute truth, bringing to life details observed only by the eye of a uniquely gifted artist. Hemingway's men are bullfighters and boxers, hired hands and hard drinkers, gangsters and gunmen. Each of their stories deals with masculine toughness unsoftened by woman's hand. Incisive, hard-edged, pared down to the bare minimum, they are classic Hemingway territory

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., The snows of Kilimanjaro — 2004

Presents Hemingway stories, in which men and women of passion live, fight, love and die in scenes of dramatic intensity. They range from the haunting tragedy on the snow-capped peak of Kilimanjaro, to brutal America with its deceptive calm, and war-ravaged Europe

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hemingway E., For whom the bell tolls — 2004

High in the pine forests of the Spanish Sierra, a guerrilla band prepares to blow up a vital bridge. Robert Jordan, a young American volunteer, has been sent to handle the dynamiting. There, in the mountains, he finds the dangers and the intense comradeship of war. And there he discovers Maria, a young woman who has escaped from Franco—s rebels... For Whom the Bell Tolls is Ernest Hemingway—s finest novel, a passionate evocation of the pride and the tragedy of the Civil War that tore Spain apart

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ