Художественные тексты для чтения и анализа
книга

Художественные тексты для чтения и анализа

Автор: Ольга Семина, Екатерина Фатюшина

Форматы: PDF

Издательство: Директ-Медиа

Год: 2017

Место издания: Москва|Берлин

ISBN: 978-5-4475-9384-1

Страниц: 144

Артикул: 74128

Возрастная маркировка: 16+

Печатная книга
776
Ожидаемая дата отгрузки печатного
экземпляра: 11.04.2024
Электронная книга
201.6

Краткая аннотация книги "Художественные тексты для чтения и анализа"

В хрестоматию включены отрывки из классических произведений английских и американских писателей XIX–XX вв. Также в ней представлена краткая информация о жизни и творческом пути каждого из писателей, помогающая читателю осмыслить предлагаемые произведения с учетом контекста жизни автора и его эпохи. Задания, которыми снабжен каждый раздел книги, ориентированы на развитие навыков лингвистического и литературоведческого анализа. Издание предназначено для студентов языковых специальностей вузов, преподавателей, а также для всех, кто интересуется англоязычной литературой. .

Содержание книги "Художественные тексты для чтения и анализа"


ВВЕДЕНИЕ
THE PICTURE OF DORIAN GRAY by Oscar Wilde (Abridged)
Information About the Author
Analysis of the Given Extract
Analysis of the Whole Novel
PYGMALION by George Bernard Shaw (Abridged)
Information About the Author
Analysis of the Given Extract
Analysis of the Whole Play
THE MOON AND SIXPENCE by W. Somerset Maugham (Abridged)
Information About the Author
Analysis of the Given Extract
Analysis of the Whole Novel
THE GREAT GATSBY (Abridged)
Information About the Author
Analysis of the Given Extract
Analysis of the Whole Novel
TO KILL A MOCKINGBIRD (Abridged)
Information About the Author
Analysis of the Given Extract
Analysis of the Whole Novel
Список литературы

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Отрывок из книги Художественные тексты для чтения и анализа

27 hearth nearest the door, and a coal — scuttle. There is a clock on the mantelpiece. Between the fireplace and the phonograph table is a stand for newspapers. On the other side of the central door, to the left of the visitor, is a cabinet of shallow drawers. On it is a telephone and the tele-phone directory. The corner beyond, and most of the side wall, is occupied by a grand piano, with the keyboard at the end furthest from the door, and a bench for the player extending the full length of the keyboard. On the piano is a dessert dish heaped with fruit and sweets, mostly chocolates. The middle of the room is clear. Besides the easy — chair, the piano bench, and two chairs at the phonograph table, there is one stray chair. It stands near the fireplace. On the walls, engrav-ings: mostly Piranesis and mezzotint portraits. No paintings. Pickering is seated at the table, putting down some cards and a tuning — fork which he has been using. Higgins is standing up near him, closing two or three file drawers which are hanging out. He appears in the morning light as a robust, vital, appetizing sort of man of forty or thereabouts, dressed in a professional — look-ing black frock — coat with a white linen collar and black silk tie. He is of the energetic, scientific type, heartily, even violently in-terested in everything that can be studied as a scientific subject, and careless about himself and other people, including their feel-ings. He is, in fact, but for his years and size, rather like a very im-petuous baby "taking notice" eagerly and loudly, and requiring almost as much watching to keep him out of unintended mischief. His manner varies from genial bullying when he is in a good hu-mor to stormy petulance when anything goes wrong; but he is so entirely frank and void of malice that he remains likeable even in his least reasonable moments. HIGGINS (as he shuts the last drawer) Well, I think that’s the whole show.