Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

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: 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

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: This major new edition, originally commissioned for the acclaimed Oxford Authors series under the general editorship of Frank Kermode, brings together a unique combination of Shelley's poetry and prose - the lyric poems, plays, longer poems, criticism, and essays - to give the essence of his work and thinking. Percy Bysshe Shelley (1792-1822) was a Romantic poet of radical imaginings, living in an age of change. His tempestuous life and friendship with Byron, and his tragically early death, at times threatened to overwhelm his legacy as a poet, but today his standing as one of the foremost English authors is assured. This freshly edited anthology - the fullest one-volume selection in English - includes all but one of the longer poems, from Queen Mab onwards, in their entirety. Only Laon and Cythna is excerpted, in a generous selection. As well as works such asPrometheus Unbound, The Mask of Anarchy, and Adonais, the volume includes a wide range of Shelley's shorter poems and much of his major prose, including A Defence of Poetry and almost all of A Philosophical View of Reform. Shelley emerges from these pages as a passionate and eloquent opponent of tyranny and a champion of human possibility. 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:  èçäàíèè, ïðèóðî÷åííîì ê 100-ëåòèþ ñî äíÿ ðîæäåíèÿ ïîýòà, ðàçíîñòîðîííå ïðåäñòàâëåíà ïåðåâîä÷åñêàÿ äåÿòåëüíîñòü Á.Ë. Ïàñòåðíàêà, åãî ïåðåâîäû ñ àíãëèéñêîãî (Ðýëè, Øåêñïèð, Áàéðîí, Øåëëè, Êèòñ, Ñóèíáåðí), íåìåöêîãî (Ñàêñ, Ãåòå, Êëåéñò, Ãåðâåã, Ãåéì, Áåõåð, Ðèëüêå, Âåðôåëü), ôðàíöóçñêîãî (Âåðëåí, Âåðõàðí), èñïàíñêîãî (Àëüáåðòè), ïîëüñêîãî (Ñëîâàöêèé, Ëåñüìÿí, Áðîíåâñêèé), ÷åøñêîãî (Íåçâàë), âåíãåðñêîãî (Ïåòåôè) ÿçûêîâ, à òàêæå åãî ñòàòüè è çàìåòêè î ïåðåâîäàõ

Àííîòàöèÿ: A novel, first published in 1826, set in the 21st century, when England is a republic governed by a ruling elite. The narrator, an outsider introduced to the circle, tells a story of tragic, complicated love, and of the gradual extermination of the human race by plague.'The last man! I may well describe that solitary being's feelings, feeling myself as the last relic of a beloved race, my companions extinct before me.' Mary Shelley, Journal (May 1824). Best remembered as the author of Frankenstein, Mary Shelley wrote The Last Man eight years later, on returning to England from Italy after her husband's death. It is the twenty-first century, and England is a republic governed by a ruling elite, one of whom, Adrian, Earl of Windsor, has introduced a Cumbrian boy to the circle. This outsider, Lionel Verney, narrates the story, a tale of complicated, tragic love, and of the gradual extermination of the human race by plague. The Last Man also functions as an intriguing roman a clef, for the saintly Adrian is a monument to Percy Bysshe Shelley, and his friend Lord Raymond is a portrait of Byron. The novel offers a vision of the future that expresses a reaction against Romanticism, as Shelley demonstrates the failure of the imagination and of art to redeem her doomed character

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:  èçäàíèè ðàçíîñòîðîííå ïðåäñòàâëåíà ïåðåâîä÷åñêàÿ äåÿòåëüíîñòü Âàëåðèÿ Áðþñîâà, îäíîãî èç êðóïíåéøèõ ïðàêòèêîâ è òåîðåòèêîâ ïîýòè÷åñêîãî ïåðåâîäà â íàøåé ñòðàíå. Îíî âêëþ÷àåò ïåðåâîäû Áðþñîâà èç äðåâíåðèìñêîé (Âåðãèëèé, Ãîðàöèé, Êàòóëë), èòàëüÿíñêîé (Äàíòå, Ïåòðàðêà), ôðàíêîÿçû÷íîé (Ðàñèí, Ãþãî, Áîäëåð, Âåðëåí, Âåðõàðí), àíãëîÿçû÷íîé (Øåêñïèð, Áàéðîí, Óàéëä, Ïî), íåìåöêîé (Ãåòå, Øèëëåð), ïîëüñêîé (Ìèöêåâè÷) ïîýçèè. Ìíîãèå ïåðåâîäû, õðàíèâøèåñÿ â àðõèâå Áðþñîâà, ïóáëèêóþòñÿ âïåðâûå.

Àííîòàöèÿ: This book comes with an introduction and notes by Dr Siv Jansson, University of Greenwich. Begun when the author was only eighteen and conceived from a nightmare, Frankenstein , is the deeply disturbing story of a monstrous creation which has terrified and chilled readers since its first publication in 1818. The novel has thus seared its way into the popular imagination while establishing itself as one of the pioneering works of modern science fiction

Àííîòàöèÿ: The world's most famous monster comes to life in this 1818 novel, a compelling narrative that combines Gothic romance and science fiction to tell of an ambitious young doctor's attempts to breathe life into an artificial man. Despite the doctor's best intentions, the experiment goes horribly wrong in a timeless tale about the hazards of playing creator.

Àííîòàöèÿ: As enjoyable as it is edifying.Even longtime readers in the field may make some happy discovers.

Àííîòàöèÿ:  èçäàíèè, ïðèóðî÷åííîì ê 100-ëåòèþ ñî äíÿ ðîæäåíèÿ ïîýòà, ðàçíîñòîðîííå ïðåäñòàâëåíà ïåðåâîä÷åñêàÿ äåÿòåëüíîñòü Á.Ë. Ïàñòåðíàêà, åãî ïåðåâîäû ñ àíãëèéñêîãî (Ðýëè, Øåêñïèð, Øåëëè, Êèòñ, Ñóèíáåðí), íåìåöêîãî (Ñàêñ, øòå, Êëåéñò, Ãåðâåã, Ãåéì, Áåõåð, Ðèëüêå, Âåðôåëü), ôðàíöóçñêîãî (Âåðëåí, Âåðõàðí), èñïàíñêîãî (Àëüáåðòè), ïîëüñêîãî (Ñëîâàöêèé, Ëåñüìÿí, Áðîíåâñêèé), ÷åøñêîãî (Íåçâàë), âåíãåðñêîãî (Ïåòåôè) ÿçûêîâ, à òàêæå åãî ñòàòüè è çàìåòêè î ïåðåâîäàõ.

Àííîòàöèÿ:  èçäàíèè, ïðèóðî÷åííîì ê 100-ëåòèþ ñî äíÿ ðîæäåíèÿ ïîýòà, ðàçíîñòîðîííå ïðåäñòàâëåíà ïåðåâîä÷åñêàÿ äåÿòåëüíîñòü Á.Ë. Ïàñòåðíàêà, åãî ïåðåâîäû ñ àíãëèéñêîãî (Ðýëè, Øåêñïèð, Áàéðîí, Øåëëè, Êèòñ, Ñóèíáåðí), íåìåöêîãî (Ñàêñ, Ãåòå, Êëåéñò, Ãåðâåã, Ãåéì, Áåõåð, Ðèëüêå, Âåðôåëü), ôðàíöóçñêîãî (Âåðëåí, Âåðõàðí), èñïàíñêîãî (Àëüáåðòè), ïîëüñêîãî (Ñëîâàöêèé, Ëåñüìÿí, Áðîíåâñêèé), ÷åøñêîãî (Íåçâàë), âåíãåðñêîãî (Ïåòåôè) ÿçûêîâ, à òàêæå åãî ñòàòüè è çàìåòêè î ïåðåâîäàõ

Àííîòàöèÿ: Èçäàíèå âêëþ÷àåò ëó÷øèå îáðàçöû àíãëèéñêîãî ñîíåòà, íà÷èíàÿ ñ òâîð÷åñòâà ïîýòîâ-åëèçàâåòèíöåâ è êîí÷àÿ íåîðîìàíòèêàìè êîíöà XIX â.Ïåðåâîäû íà ðóññêèé ÿçûê âêëþ÷àþò êàê êëàñèêó XIX-XX ââ., òàê è ðàáîòû ñîâðåìåííûõ ïîýòîâ è ïåðåâîä÷èêîâ. Êíèãà ïðåäíàçíà÷åíà øèðîêîìó êðóãó ëþáèòåëåé ïîýçèè.

Àííîòàöèÿ: Classics, modern fiction, non-fiction and more. Written for secondary and adult students the Oxford Bookworms Library has seven reading levels from A1-C1 of the CEFR. Victor Frankenstein thinks he has found the secret of life. He takes parts from dead people and builds a new 'man'. But this monster is so big and frightening that everyone runs away from him - even Frankenstein himself! The monster is like an enormous baby who needs love. But nobody gives him love, and soon he learns to hate. And, because he is so strong, the next thing he learns is how to kill...

Àííîòàöèÿ: The penguin book of english verse.