Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

White P., Riders in the Chariot — 1981 (Penguin Modern Classics)

Ïîäðîáíàÿ èíôîðìàöèÿ

Australian Short Stories — 1975

Ðàññêàç (íàðÿäó ñ áàëëàäîé) -"ñàìûé íàöèîíàëüíûé æàíð" àâñòðàëèéñêîé ëèòåðàòóðû, êîòîðûé ïîìîãàåò ïðîñëåäèòü âîçíèêíîâåíèå, ðîñò öåëîé ñòðàíû, íàöèè, çàïå÷àòëåâàåò ðàçâèòèå õóäîæåñòâåííîãî ïîçíàíèÿ ìèðà è ÷åëîâåêà. Ñîñòàâ ýòîãî ñáîðíèêà ìíîãî è äîëãî ïðîäóìûâàëñÿ, óòî÷íÿëñÿ, ìåíÿëñÿ. Àâñòðàëèéñêèå ïèñàòåëè Êàòàðèíà Ñóñàííà Ïðè÷àðä, Ôðýíê Äýëáè Äýâèñîí, Äæîí Ìîððèñîí, Àëàí Ìàðøàëë, Ëèíäîë Õýäîó, Äæóäà Óîòåí, Áèëë Ñàòòîí,Äæåéìñ Õåíäåðñîí, Äæîí Ìýíèôîëä, Ïèòåð Êàóýí, Êëåì Êðèñòåñåí, Àëåê Õîóï, Äæóäèò Ðàéò è äð. ïðèíÿëè ñàìîå çàèíòåðåñîâàííîå ó÷àñòèå â îáñóæäåíèè áóäóùåãî èçäàíèÿ.  äàííîì ñáîðíèêå ðàññêàçû ïðåäñòàâëåíû â îðèãèíàëå-íà àíãëèéñêîì ÿçûêå. ÊÍÈãà ïðåäíàçíà÷åíà ñòóäåíòàì, èçó÷àþùèì àâñòðàëèéñêóþ ëèòåðàòóðó è àíãëèéñêèé ÿçûê, à òàêæå øèðîêîìó êðóãó ÷èòàòåëåé

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

White P., Voss — 1976 (Penguin Modern Classics)

The plot of this novel is of epic simplicity: in 1845 Voss sets out with a small band to cross the Australian continent for the first time. The tragic story of their terrible journey and its inevitable end is told with imaginative understanding.The figure of Voss takes on superhuman proportions, until he appears to those around him as both deliverer and destroyer. His relationship with Laura Trevelyan is the central personal theme of the story. The true record of Ludwig Leichardt, who died in the Australian desert in 1848, suggested Voss to the author.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

White P., A Fringe of Leaves — 1983

On a beautiful April day in 1836 Mrs. Ellen Roxburgh boarded the Bristol Maid, bound for England from Australia. She and her fellow pasengers are embarking on a far more perilous journey, however. The Bristol Maid is shipwrecked, and, taken prisoner by a tribe of aborigines, Mrs. Roxburgh journeys back to man's savage past. In order to survive, she redevelops her most basic strengths; shorn of every vestige of civilization, she rediscovers her native sensuality and passion.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

White P., The Cockatoos — 1978

These six short novels and stories achieve the majesty and power of the best of Patrick White's great novels. They probe beneath the confused and meretricious surface, exposing the true nature of things with chiselled, polished images.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

White P., Voss — 1983 (King Penguin)

The plot of this novel is of epic simplicity: in 1845 Voss sets out with a small band to cross the Australian continent for the first time. The tragic story of their terrible journey and its inevitable end is told with imaginative understanding.The figure of Voss takes on superhuman proportions, until he appears to those around him as both deliverer and destroyer. His relationship with Laura Trevelyan is the central personal theme of the story. The true record of Ludwig Leichardt, who died in the Australian desert in 1848, suggested Voss to the author.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

White P., The Vivisector — 1981 (Penguin Modern Classics)

Hurtle Duffield loves only what he paints. The men and women who court him during his long life are, above all, the materials of his art. He is the Vividector, dissecting their weaknesses, with cruel precision: his sister's deformity, a grocer's moonlight indiscretion, the passionate illusions of such women as the sugar heiress Boo Davenport, and his mistress Hero Pavoussi, wife of a Greek shipping magnate. Only the egocentric adolescent he sees as his spiritual child elicits from him a deeper, more treacherous emotion. In this prodigious novel about the life and death of a great painter, Patrick White illuminates creative experience with unique truthfulness.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

White P., The Twyborn Affair — 1981 (King Penguin)

Eddie Twyborn is beautiful and bisexual, the son of a judge and a drunken mother. With this androgynous hero - Eudoxia/Eddie/Eadith Twyborn - and through his search for identity, for self-affirmation and for love in its many forms, Patrick White takes us on a journey into the ambiguous landscapes, sexual, phychological and spiritual, of the human condition.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

White P., Flaws in the Glass — 1983

With candour, force and emotion, Patrick White writes of his youth in Australia, his English boarding-school, his life at Cambridge and trips to Germany, London during the Blitz,RAF wartime intelligence in the Middle East and his first meeting with the man who was to become the central focus of his life.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

White P., The Aunts Story — 1982

This book has the imaginative daringof Voss and the deep-flowing sympathy of The Tree of Man. It traces the uncompromisingly independent career of Theodora Goodman from the dusty reality of Australia to the whirling madhouse of Europe before the Second World War, and ends calmly, although across the borders of sanity, in that most practical of countries, the United States of America.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

White P., The Eye of the Storm — 1977

Patrick White wanted a great film industry for Australia and wanted his films to be part of it. From the time Voss made him a big figure in the writing world in the late 1950s, there were always plans in the air to film one or other of the big novels. To his immense chagrin it never happened. Not in his lifetime. His ambition has now been realised in his absence, not with the project always closest to his heart - Voss - but the novel of an old woman's dying, which he conceived round his mother's opulent death in London in the 1960s, attended by a retinue of expensive servants. I can't imagine anything he would have enjoyed more in the last years of his life than watching Judy Davis, Geoffrey Rush and Charlotte Rampling tear their way through The Eye of the Storm. White thought his novels were made to be filmed. ''I have a wild dream,'' he told his cousin as he was writing The Tree of Man, ''in which I see it done as I can see it, without regard for expense or public.'' Those would be the ground rules he set for himself, rules that powered - and complicated - his film ambitions: a big budget to realise a very personal vision and ''the right person'' to pull it off. He has them all at last for The Eye of the Storm.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ