Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Stoker B., Dracula. êíèãà äëÿ ÷òåíèÿ íà àíãëèéñêîì ÿçûêå. óðîâåíü B 1 — 2021 (MovieBook)

 ÷îïîðíîé è äîáðîïîðÿäî÷íîé Àíãëèè êîíöà XIX âåêà íà÷èíàþò ïðîèñõîäèòü óäèâèòåëüíûå âåùè. Ïðîïàäàþò äåòè, ó ëþäåé ïîÿâëÿþòñÿ óêóñû íà øåå, æèâîòíûå âåäóò ñåáÿ ñòðàííî, òðóïû ïîêèäàþò ìåñòî ïîñëåäíåãî ïðèñòàíèùà... Âèíîâíèê âñåõ ýòèõ ñîáûòèé - ãðàô Äðàêóëà, îñòàâèâøèé ñâîé òðàíñèëüâàíñêèé çàìîê è ïîñåëèâøèéñÿ â Ëîíäîíå. Êàðòèíû åãî ïðåñòóïëåíèé íå ïîðàæàþò ìàñøòàáîì çëîäåéñòâ è æóòêèìè äåòàëÿìè, íî îùóùåíèå ñàìîãî íàñòîÿùåãî ãîòè÷åñêîãî óæàñà íå îñòàâèò ðàâíîäóøíûì äàæå èñêóøåííîãî ñîâðåìåííîãî ÷èòàòåëÿ. Àâòîð óìåëî íàãíåòàåò àòìîñôåðó áåçûñõîäíîñòè, íåïîñòèæèìîñòè è ïåðâîáûòíîãî ñòðàõà, ñîçäàâàÿ ñòàâøèé êëàññè÷åñêèì îáðàçåö âàìïèðñêîé ñàãè. Òåêñò ñîêðàùåí è àäàïòèðîâàí. Óðîâåíü B1.

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

Stoker B., Dracula. stage 2 (700 headwords) — 2008 (Oxford Bookworms Library)

In the mountains of Transylvania there stands a castle. It is the home of Count Dracula - a dark, lonely place, and at night the wolves howl around the walls. In the year 1875 Jonathan Harker comes from England to do business with the Count. But Jonathan does not feel comfortable at Castle Dracula. Strange things happen at night, and very soon, he begins to feel afraid. And he is right to be afraid, because Count Dracula is one of the Un-Dead - a vampire that drinks the blood of living people.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Stoker B., Dracula — 1994 (Penguin Popular Classics)

Dracula is a unique horror masterpiece and the most famous of all vampire tales. Few readers will ever forget the nightmare atmosphere of Count Dracula's sinister castle in Transylvania, the prowlings of the Un - dead, the blood - curdling tension as BramStoker's tale races towards a thrilling climax. Dracula recounts the struggle of a group of men and a woman - Dr Seward, Dr Van Helsing and Jonathan Harker and his wife Mina - to destroy the vampire, whose sinister earth - filled coffins are discovered by Harker in a ruined chapel adjoining Dr Seward's asylum. Cruel and noble, evilly and fatally desirable to women, Dracula possesses a terrifying lust for power and, like Dr Jekyll or Conan Doyle` Moriarty, is one of the immortal fictional monsters.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Short Stories from the Nineteenth Century — 2000 (Wordsworth Classics)

Short Stores from the 19th Century is a wonderful collection of classic stories specially selected and introduced by David Stuart Davies. These are tales from the golden age of the great storytellers presenting evocative snapshots from that bygone era while at the same time providing engaging entertainment and stimulation for the modern reader. All emotions are catered for in these offerings by Charles Dickens, Oscar Wilde, H. G. Wells, Arthur Conan Doyle, Robert Louis Stevenson, Bram Stoker, Mrs Gaskell, O Henry, Anthony Trollope, Thomas Hardy, Wilkie Collins, Guy de Maupassant, Anton Chekhov, Charlotte Perkins Gillman and Charles Lamb. Through their words the rich pageant of yesterday springs to vibrant life. Each story has its own introduction and there is a set of informative notes. This volume is ideal reading for the student as well as those who relish a good tale well told.

Ñîäåðæàíèå: Ñîäåðæàíèå: The Black Veil àâòîð: ×àðëüç Äèêêåíñ (Ðàññêàç, ñòð. 2-13); The Withered Arm àâòîð: Òîìàñ Ãàðäè (Ðàññêàç, ñòð. 14-40); The Terribly Strange Bed àâòîð: Óèëüÿì Óèëêè Êîëëèíç (Ðàññêàç, ñòð. 41-55); The Bottle Imp àâòîð: Ðîáåðò Ëüþèñ Ñòèâåíñîí (Ðàññêàç, ñòð. 56-81); The Red-Headed League àâòîð: Àðòóð Êîíàí Äîéë (Ðàññêàç, ñòð. 82-103); The Stolen Bacillus àâòîð: Ãåðáåðò Äæîðäæ Óýëëñ (Ðàññêàç, ñòð. 104-110); The Squire's Story àâòîð: Ýëèçàáåò Ãàñêåëë (Ðàññêàç, ñòð. 111-125); The Journey to Panama àâòîð: Ýíòîíè Òðîëëîï (Ðàññêàç, ñòð. 126-144); The Sphinx Without a Secret àâòîð: Îñêàð Óàéëüä (Ðàññêàç, ñòð. 145-150); The Judge's House àâòîð: Áðýì Ñòîêåð (Ðàññêàç, ñòð. 151-167); The Necklace àâòîð: Ãè äå Ìîïàññàí (Ðàññêàç, ñòð. 168-176); The Kiss àâòîð: Àíòîí ×åõîâ (Ðàññêàç, ñòð. 177-192); The Yellow Wallpaper àâòîð: Øàðëîòòà Ãèëìàí (Ðàññêàç, ñòð. 193-208); Juke Judkins' Courtship àâòîð: ×àðëç Ëýì (Ðàññêàç, ñòð. 209-215); One Dollar's Worth àâòîð: Î. Ãåíðè (Ðàññêàç, ñòð. 216-222)

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ñòîêåð Á., Äðàêóëà. ðîìàíû — 2010 (Çàðóáåæíàÿ êëàññèêà)

«Äðà́êóëà» (àíãë. Dracula) — çíàìåíèòûé ðîìàí ïèñàòåëÿ Áðýìà Ñòîêåðà, âïåðâûå îïóáëèêîâàííûé â 1897 ãîäó. Ãëàâíûé ãåðîé — âàìïèð-àðèñòîêðàò ãðàô Äðàêóëà. Ïî âîñïîìèíàíèÿì ñûíà Áðýìà Ñòîêåðà, îòåö âî ñíå âèäåë âñòàþùåãî èç ãðîáà Êîðîëÿ Âàìïèðîâ, êîòîðûé ïîñëóæèë èäååé ê íà÷àëó íàïèñàíèÿ ðîìàíà.

Ñîäåðæàíèå:  êí. òàêæå: Ñîêðîâèùå ñåìè çâåçä : ðîìàí

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ