Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Ukranian Painting. [àëüáîì] — [1976]

 àëüáîìå ïîìåùåíû ïðîèçâåäåíèÿ óêðàèíñêîé æèâîïèñè ÕIV-ÕÕ âåêîâ, õðàíÿùèåñÿ â ìóçåÿõ Êèåâà, Ëüâîâà, Õàðüêîâà, Îäåññû, Ãîñóäàðñòâåííîé Òðåòüÿêîâñêîé ãàëåðåå â Ìîñêâå, à òàêæå â ÷àñòíûõ ñîáðàíèÿõ Êèåâà, Ëüâîâà, Óæãîðîäà

Ïîäðîáíàÿ èíôîðìàöèÿ

Oyunski P., Olonkho. Nurgun Botur the Swift. [Yakut epic] — 2014

Olonkho is the general name for the entire Yakut heroic epic that consists of many long legends — one of the longest being —Nurgun Botur the Swift— consisting of some 36,000 lines of verse, published here. Like Homer—s Iliad and Odyssey, the Finnish Kalevala, the Buryat Geser, and the Kirghiz Manas, the Yakut Olonkho is an epic of a very ancient origin dating back to the period — possibly as early as the eighth or ninth centuries — when the ancestors of the present-day Yakut peoples lived on their former homeland and closely communicated with the Turkic and Mongolian peoples living in the Altay and Sayan regions. As with all Olonkho stories the hero — in this story Nurgun Botur the Swift — and his tribe are heaven-born, hence his people are referred to as —Aiyy kin— (the deity—s relatives). Naturally, too, on account of his vital role (in saving his people from destruction and oblivion by evil, many-legged, fire-breathing, one-armed, one legged Cyclops-type monsters — the Devil—s relatives representing all possible sins), he is depicted not only as strong, but also a handsome, remarkably athletic and incredibly brave and well-built man —as swift as an arrow—, but also with an uncontrollable temper when required.Îëîíõî — îáùåå íàçâàíèå âñåãî ÿêóòñêîãî ãåðîè÷åñêîãî ýïîñà, ñîñòîÿùåãî èç ìíîæåñòâà äëèííûõ ëåãåíä — îäíà èç ñàìûõ äëèííûõ — «Íóðãóí Áîîòóð Ñòðåìèòåëüíûé», ñîñòîÿùàÿ ïðèìåðíî èç 36 000 ñòðîê ñòèõîâ, îïóáëèêîâàííàÿ çäåñü. Ïîäîáíî «Èëèàäå» è «Îäèññåå» Ãîìåðà, ôèíñêîé «Êàëåâàëå», áóðÿòñêîìó «Ãýñýðó» è êèðãèçñêîìó «Ìàíàñó», ÿêóòñêîå Îëîíõî — ýïîñ î÷åíü äðåâíåãî ïðîèñõîæäåíèÿ, âîñõîäÿùèé ê ïåðèîäó — âîçìîæíî, åùå ê VIII èëè IX âåêàì — êîãäà ïðåäêè ñîâðåìåííûõ ÿêóòñêèõ íàðîäîâ æèëè íà ñâîåé áûâøåé ðîäèíå è òåñíî îáùàëèñü ñ òþðêñêèìè è ìîíãîëüñêèìè íàðîäàìè, íàñåëÿâøèìè Àëòàéñêèé è Ñàÿíñêèé ðåãèîíû. Êàê è âî âñåõ èñòîðèÿõ Îëîíõî, ãåðîé — â ýòîé èñòîðèè Íóðãóí Áîîòóð Ñòðåìèòåëüíûé — è åãî ïëåìÿ ÿâëÿþòñÿ íåáåñíûìè ðîæäåííûìè, ïîýòîìó åãî íàðîä èìåíóåòñÿ «Àéûû êèí» (ðîäñòâåííèêè áîæåñòâà). Åñòåñòâåííî, ÷òî ââèäó åãî æèçíåííî âàæíîé ðîëè (â ñïàñåíèè ñâîåãî íàðîäà îò óíè÷òîæåíèÿ è çàáâåíèÿ çëûìè, ìíîãîíîãèìè, îãíåäûøàùèìè, îäíîðóêèìè, îäíîíîãèìè ÷óäîâèùàìè òèïà öèêëîïîâ — ðîäñòâåííèêàìè Äüÿâîëà, îëèöåòâîðÿþùèìè âñå âîçìîæíûå ãðåõè), îí èçîáðàæåí íå òîëüêî ñèëüíûì, íî è êðàñèâûì, íåîáûêíîâåííî àòëåòè÷íûì è íåâåðîÿòíî õðàáðûì è õîðîøî ñëîæåííûì ÷åëîâåêîì, «áûñòðûì êàê ñòðåëà», íî è ñ íåóïðàâëÿåìûì íðàâîì, êîãäà ýòî íåîáõîäèìî

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Oyunsky P. A., Nurgun Botur the Swift. olonkho — 2014

Ìîíóìåíòàëüíûé ãåðîè÷åñêèé ýïîñ íàðîäà ñàõà - îëîíõî "Íþðãóí Áîîòóð Ñòðåìèòåëüíûé", âîññîçäàííûé êëàññèêîì ÿêóòñêîé ëèòåðàòóðû Ï. À. â 1920-130-å ãã. Âïåðâûå ñäåëàí ïîëíîöåííûé ïåðåâîä îëîíõî î áîãàòûðå íàðîäà ñàõà íà àíãëèéñêèé ÿçûê. Ðàáîòó íà÷àëè åùå â 2005 ãîäó, êîãäà ÞÍÅÑÊÎ îáúÿâèëà "Îëîíõî" øåäåâðîì ÷åëîâå÷åñêîãî íàñëåäèÿ. Ïåðåâîä ñ ÿêóòñêîãî íà àíãëèéñêèé ÿçûê âûïîëíåí êîìàíäîé ïåðåâîä÷èêîâ èç Ñåâåðî-Âîñòî÷íîãî ôåäåðàëüíîãî óíèâåðñèòåòà ïîä ðóêîâîäñòâîì êàíäèäàòà ôèëîëîãè÷åñêèõ íàóê À. À. Íàõîäêèíîé

Ïîäðîáíàÿ èíôîðìàöèÿ

Russian Short Stories from Pushkin to Buida — 2005 (Penguin Classics)

From the reign of the Tsars in the early 19th century to the collapse of the Soviet Union and beyond, the short story has long occupied a central place in Russian culture. Included are pieces from many of the acknowledged masters of Russian literature - including Pushkin, Turgenev, Dostoyevsky, Tolstoy, and Solzhenitsyn - alongside tales by long-suppressed figures such as the subversive Kryzhanowsky and the surrealist Shalamov. Whether written in reaction to the cruelty of the bourgeoisie, the bureaucracy of communism or the torture of the prison camps, they offer a wonderfully wide-ranging and exciting representation of one of the most vital and enduring forms of Russian literature.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ìåäâåäåâà Ã.Ì., Ðóññêèå þâåëèðíûå óêðàøåíèÿ 16-20 âåêîâ èç ñîáðàíèÿ Ãîñóäàðñòâåííîãî îðäåíà Ëåíèíà Èñòîðè÷åñêîãî ìóçåÿ. [àëüáîì] — 1987

Ðåçþìå: ñ. 20-21 (íà àíãë. ÿç)Ðåçþìå: ñ. 76-77, 134-136, 235-237, 277-278 (íà àíãë. ÿç)Êíèãà ÿâëÿåòñÿ êîëëåêòèâíûì èññëåäîâàíèåì èñòîðèè ðóññêèõ þâåëèðíûõ óêðàøåíèé ñ 16 âåêà äî íàøèõ äíåé íà îáðàçöàõ èç êîëëåêöèè Ãîñ. Èñòîðè÷åñêîãî ìóçåÿ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïîñòíèêîâà-Ëîñåâà Ì.Ì., Çîëîòîå è ñåðåáðÿíîå äåëî XV-XX ââ. (Òåððèòîðèÿ ÑÑÑÐ). Ïðèåìû ðó÷íîé îáðàáîòêè äðàãîöåííûõ ìåòàëëîâ: êîâêà, ëèòüå, ÷åêàíêà, áàñìà, ñêàíü, ÷åðíü, çîëî÷åíèå. Áûòîâîå íàçíà÷åíèå ïðåäìåòîâ. Îñîáåííîñòè ñòèëÿ. Îðãàíèçàöèÿ çîëîòîãî è ñåðåáðÿííîãî äåëà è êëåéìåíèÿ. Óêàçàòåëü êëåéì — 1983

Ðåçþìå [Histoire de l'organisation du travail des orfèvres et du poinçonnage de leurs oeuvres]: ñ. 370-374 (íà ôð. ÿç.)

Ïîäðîáíàÿ èíôîðìàöèÿ

Plato, The Dialogues of Plato.The Seventh Letter. Great Books V.6

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ