Информация по предмету Литература

• 61. History of the Beatles
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• 62. History of 'The Beatles' and biographies of members in english
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• 63. Holidays and traditions in english-speaking countries
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• 64. Hеологизмы и трудность их употребления
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  Словарный состав языка (лексика) охватывает отдельные слова (авангард, авторитет) и приравниваемые к ним составные наименования (типа акционерное общество, альтернативная служба), а также устойчивые (фразеологические) словосочетания типа бежать сломя голову, без году неделя. Поэтому под лексическими нормами понимают правильность словоупотребления: использование указанных словарных единиц в соответствии с их значением, стилистической окраской, оценочными свойствами и т.д. Объявленная М.Горбачевым «перестройка» вызвала те процессы в обществе, которые имели далеко идущие последствия как в нашей стране, так и за её пределами. А это не могло не сказаться на лексической стороне языка как наиболее чуткой ко всякого рода окружающим изменениям. Прежде всего язык стал интенсивно пополняться новыми словами. Это пополнение коснулось прежде всего «ключевых» слов, социально значимых, свидетельствующих об изменениях во всех сферах общества: политической, экономической, правовой и т.д. Среди общественно значимых (ключевых) политических терминов, рожденных перестройкой и отражавших происходившие в обществе коренные изменения, должны быть названы: новое политическое мышление, общеевропейский дом, всеобщая система международной безопасности, либерализация, открытое гражданское общество, поименное голосование, общечеловеческие ценности, гуманный, демократический социализм и т.д. В то же время фактором политической жизни стали антиперестроечные силы, комитеты национального спасения, гэкачеписты и т.д.

• 65. Im westen nichts Neues
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  Auf dem Weg zur Front kommt die Kompanie durch einen Wald, in dem Minen eingeschlagen sind. Ьberall Tote und Teile von ihnen herum. Paul meldet sich zu einer Patrouille, um die gegnerischen Stellungen auszuspionieren. Wдhrend seiner Mission verliert er zwischen den Fronten die Orientierung. Zu allem Ьbel starten die Franzosen auch noch eine Offensive. Paul sucht in einem Bombentrichter Deckung, als die ersten Feinde kommen. Paul stellt sich tot. Sie springen ьber ihn hinweg. Die Franzosen kцnnen jedoch nicht durchbrechen und flьchten zurьck in ihre Stellungen. Auf der Suche nach Deckung springt ein Franzose zu Paul in den Trichter. Paul sticht den Feind ohne zu ьberlegen nieder. Allerdings lebt der andere noch. Paul bringt es nicht ьbers Herz ihn zu tцten. Es ist das erste Mal, dass er sieht, was fьr ein Leid er doch angerichtet hat. Er beginnt den Feind als Menschen zu sehen und bekommt ihm und seiner Familie gegenьber Schuldgefьhle. Paul versucht dem Mann das biЯchen Leben, das ihm noch bleibt, so angenehm wie mцglich zu machen. Er gibt ihm Wasser und lagert ihn bequem. Das Artilleriefeuer liegt immer noch zwischen den Grдben, so dass Paul im Trichter ausharren muss. Ihn plagen immer mehr Schuldgefьhle. Er schwцrt dem Mann, um sich zu beruhigen und die Schuld zu sьhnen, seiner Familie Geld zu schicken und sich um sie zu sorgen. Er notiert sich den Namen des Mannes aus dem Soldbuch. Aber jetzt kennt er den Namen seines Opfers. Jetzt hat er nicht irgendeinen Soldaten getцtet, sondern ein einzigartiges Individuum, dessen Namen er nun sogar kennt. In der Nacht kommen Kat und Albert, um Paul zu suchen. Er meldet sich und wird so gefunden und heimgebracht.

• 66. Iсторія української драматургії, Г.В. Доброскок
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  У передреволюційне десятиліття Гаврило Васильович був відомий кубанцям насамперед як козачий драматург. А вперше в місцевих колах про нього як театрального діяча заговорили восени 1906 року, коли товариство українських артистів під орудою С. О. Глазуненка поставило в Зимовому театрі його «Січового орла». Прем'єра відбулася 12 жовтня. Історія донесла досить цікаву рецензію на третю виставу драми, що відбулася 20 жовтня. Автор, котрий приховався під псевдонімом П. К. (П. Кузько? - В. Ч.), був доволі суворий, але викликає довіру. Тому знову зловживемо докладним цитуванням: Цього разу театр, з дозволу сказати, був далеко не повний, а інтелігенції майже не було... Традиційне пияцтво, бійки запорожців кадіб, з якого пили «горілку» ковшами, та інше... От - усе, що нам дав Доброскок у своїй драмі. В усіх актах п'єси, зв'язаних механічно, а не розвитком однієї спільної ідеї, спів чергується з танцями і традиційною «горілкою». Що ж являє собою герой п'єси «Січовий орел»? Ви гадаєте, що в його особі автор хотів висловити якусь ідею? Так, спроба була, та тільки спроба... Насправді ж «Січовий орел», в зображенні автора, виявився звичайним ходієм, який з егоїстичного почуття любові до дівчини-сироти, звів на дуель двох запорожців, що стояли йому впоперек дороги, з яких один поплатився життям. Пізнє каяття за вчинений гріх не спокутує його злочину. Точніше було б назвати п'єсу не «Січовий орел», котрого автор двічі зробив убивцею, а «Марусею Чугаївною», бо це єдина у п'єсі симпатична особа, центральна постать, на якій зосереджено інтерес п'єси. П'єса не сценічна завдяки довгим монологам дійових осіб і брак у ній руху. Своєю грою приносив публіці задоволення Глазуненко у ролі пияка-запорожця Гаранжі. Добре виконані були ролі шинкарки, Марії Чугаївни та ін. П'єса займе відповідне місце серед посередніх п'єс досить бідного малоруського репертуару» [8].

• 67. Johann Wolfgang Goethe
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• 68. Kasimir Malewitsch
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• 69. Lexicology. Word structure in Modern English
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• 70. Literary analysis of "Pygmalion" by George Bernard Shaw
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  to a Greek myth, Pygmalion, an ancient sculptor living on Cyprus Island, worshipped the goddess of love, Venus. The local women disgusted him, so sculpted himself the perfect one-Galatea. Higgins undertakes a similar project, to sculpt a duchess by changing the appearance and the manners of a flower girl. In his "Pygmalion," Shaw teases his audience, foreshadowing a Cinderella-like romantic play. He further mocks the audience by allowing Higgins to be the fairy godmother of this romance, creating his "Cinderella" out of a simple flower girl. After the ball, however, it becomes clear that Eliza is as a better person than Higgins. Shaw makes his audience realize that just like Cinderella, Eliza was a duchess even when her appearance and spoken word were that of a flower girl. Shaw further manifests that her father will always remain a bum regardless of his finances or appearance, and Higgins will live the rest of his life as an impolite bachelor who cares for nothing but his work. By changing the appearance and the social class of his characters while keeping their personalities constant, Shaw makes a critical point-- people can only change their image, popularity and wealth, but will always remain the same on the inside. The character of Alfred Doolittle, Eliza's father remains unchanged throughout the play. Shaw depicts him as a bum, in Doolittle's first appearance in act II, who literally sells his daughter for some inconsiderable amount of money. He is presented as a lowlife nobody, who likes to drink and does not like to have any responsibilities. When he appears in act five, however, Shaw dresses him as a gentleman and gives him the wealth of a millionaire. Doolittle's works of life, however, remain unchanged. Having money, forces him to accept responsibility, which he clearly regards as a burden. He longs for the days when he drank without a single care in the world. Shaw emphasizes that his character does not change regardless of his new social status. Shaw is very specific filling Higgins' character as an impolite workaholic whom cares about nothing, other than his phonetics. From the begging of the play, he only talks about his work, bragging that he can tell anyone's birthplace within six miles by his or her dialect. This continues through to the end of the play, when he is more enraged that his "creation" will work for his rival and teach phonetics than the fact that Eliza is leaving him for a dumber but kinder Freddy. Higgins lives in a lab with "a student of Indian dialects," Colonel Pickering. Higgins' manners force even his mother to be ashamed of him in front of her guests and in church where this student of Milton enjoys mocking the dialect of clergymen. It is clear that Higgins does not care about his mother's opinion of him. He does not care about Eliza; he turns her world upside down, creating a duchess but continues to treat her like a guinea pig rather than a person. Higgins does not even care about himself. He always has and always will care only about his work. The theme of Shaw's "Pygmalion" lies in such consistency. Higgins is professor of phonetics, a student of Milton and Shakespeare, an imprudent and inconsiderate bachelor, forever. Shaw builds the character of Eliza from a simpleminded flower girl living on the street. In the opening act, Higgins shames her: "A woman who utters depressing and disgusting sounds has no right to be anywhere, no right to live." She cries upon the simplest provocation. Just as it is difficult to picture this street bum with a flower basket, as a duchess, it is difficult to conceive how someone like Higgins with his grotesque manners can create a genteel duchess, especially from a girl off the street. But Higgins' "Cinderella" nevertheless triumphs at the ambassador's ball. Act four, however brings up an intense conflict between Eliza and Higgins. In this confrontation, Shaw portrays Eliza as an intelligent duchess whose manners and dress brought out her individuality. Her creator remains rude and continues to treat her as a guinea pig. Shaw forces his audience to sympathize with Eliza, whose character is intrinsically better than Higgins'. But how could this artificial creation, which has been intensely programmed to substitute morals for manners surpass her creator, the rude professor of phonetics? Eliza was a duchess before she ever met Higgins or Pickering. She was simply a slave to her poverty and only appeared to be simpleminded. Living with two "elite" men, she learned the best from each of them, bringing out her individuality. From Higgins, she learned how to speak correctly, and from the respect granted to her by Pickering, she learned to respect herself. Even her "creator" admits at the very end, she was "like a millstone around [his] neck, [n]ow [she] is a tower of strength, a consort battleship." Self respect makes the image of a flower girl off the street to evolve into an image of a duchess, nevertheless, the fact that she surpasses her "creator" proves that Eliza always remains the same person on the inside. Pygmalion (the sculptor) resembles Higgins only on the surface, he builds the perfect woman, while Higgins simply gives a poor duchess an opportunity to change her image. Similarly, all Shaw's characters in "Pygmalion," change only on the surface (if at all); they remain the same people on the inside regardless of circumstances. As an unknown ancient writer wrote: "Popularity is an accident, money takes wings, those who cheer you today may defame you tomorrow, the only thing that endures is character."

• 71. Mark Twain
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• 72. Measure for measure: original and actual place of setting
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  At the beginning of the seventeenth century the regions ruled by the German Habsburgs included Upper and Lower Austria, Bohemia together with Moravia and Silesia, the lesser part of Hungary which had not been conquered by the Turks, Styria, Carinthia, Carniola, the Tyrol, and the provinces bordering on Germany. This territory, however, was divided among three branches of the family, the main line, the Styrian, and that of Tyrol-Vorarlberg. Although the main line of the German Habsburgs held the larger part of these landed possessions yet its territories did not form a compact whole, but were only a number of loosely connected countries, each having its own provincial estates, which were largely composed of nobles. Having been constantly in opposition to the dynasty, the nobles desired religious freedom, that is the right to become Protestant and to introduce Protestantism into their domains. The struggle of the nobility against the dynasty reached its height during the last decade of the reign of Rudolph II (1576-1612). Even at that time the nobility maintained relations with the active Protestant party in the empire. In 1604 the Hungarian nobles revolted with the aid of the ruler of Transylvania, and in 1607 they rebelled again and became the allies of the Turks. On 25 June, 1608, Rudolph was obliged to transfer the government of Hungary, Austria, and Moravia to his more compliant brother Matthias; he did not, however, give up his rights as King of Bohemia, and in 1609 was able to pacify an outbreak of the Bohemian nobility only by granting the Imperial Charter (Majestätsbrief) which gave religious liberty not only to the nobles and their dependents in Bohemia but also to those living on the crown lands. This concession greatly strengthened the power of the nobles.

• 73. Mozart: Symphony #40 in G Minor, K.550 Моцарт: Симфония №40 в си-минор, К. 550
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• 74. Music in Russia and USA
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  During the first three years of his recording career, Louis Armstrong played blues and stomps. In fact, that was what he recorded in his very first session with king Oliver in 1923. Then same rhythmical airs and other hits of that era were added. During those years his technique and musical concepts acquired such a degree of substance and affluence that he became the first jazz virtuoso. Beginning with the late 20s he added a new kind of melody to his repertoire: the “ballad”. In these interpretations another side of his talent unfolded, incorporating a whole series of standards into his jazz repertoire. Standards refer to themes taken up by all musicians. Thus, he not only demonstrated that jazz phrasing is applicable to these kinds of melodies and tempos, but he did it so well that the mood of show ballads became an integral part of every form of jazz. This is not the first time that Louis Armstrong interprets spirituals. In 1938 he recorded same versions of four pieces with the Lynn Murray choir for MCA. Shadrack, based on the traditional form of spirituals, Jonah and the Whale, Going to Shout All Over the Gods Heaven and Nobody Knows the Trouble Ive Seen. Two years later he did a version of Cain and Abel with the big band he was directing at that time. He had actually recorded Motherless Child in 1930. While the melody is identical to the second part of the Dear Old Southland interlude by Creamer and Layton, which he recorded in a duo with the near legendary pianist Buck Washington, the melody of Motherless Child is also very close to others that he used in several blues, better known in their broad versions: Steady Roll, Round the Clock, My Daddy Rock Me. So, a number of spirituals are blues at least in form.

• 75. Navruz - A Celebration of Life. Public holidays in Uzbekistan
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• 76. Personality of Hamlet
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• 77. Reasons For Writing
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• 78. Taras Shevchenko
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  Outside of Ukraine monuments to Shevchenko have been put up in several location of the former USSR associated with his legacy, both in the Soviet and the post-Soviet times. The modern monument in Saint Petersburg was erected on December 22, 2000, but the first monument (pictured) was built in the city in 1918 on the order of Lenin shortly after the Great Russian Revolution. There is also a monument located next to the Shevchenko museum at the square that bears the poet's name in Orsk, Russia (the location of the military garrison where the poet served) where there are also a street, a library and the Pedagogical Institute named to the poet.[3] There are Shevchenko monuments and museums in the cities of Kazakhstan where he was later transferred by the military: Aqtau (the city was named Shevchenko between 1964 and 1992) and nearby Fort Shevchenko (renamed from Fort Alexandrovsky in 1939).

• 79. The role of art in our life
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• 80. Thomas Gainsborough
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