Description: War Thunder is a next generation military MMO game dedicated to...
] Author: Cesar Vallejo. Scientific publication, prepared by: V.N. Andreev, K.S. Korkonosenko. Managing editor V.E. Bagno. Artist P. Paley.
(St. Petersburg: Nauka Publishing House, 2016. - Russian Academy Sciences. Series "Literary monuments")
Scan, OCR, processing, Djv format: ???, provided by: mor, 2019
- CONTENT:
BLACK HEROLDS. (Los Heraldos Negros):
Black heralds. Translation by Konstantin Azadovsky (7).
SWIFT VISIONS OF THE HEAVEN
Holy decay. Translation by Anatoly Geleskul (9).
Communion. Translation by Viktor Andreev (10).
Nervous sadness. Translation by Viktor Andreev (11).
Ice sails. Translation by Inna Chezhegova (12).
Christmas Eve. Translation by Inna Chezhegova (13).
Hot coals. Translation by Viktor Andreev (13).
Twilight. Translation by Viktor Andreev (14).
Willow. Translation by Vera Reznik (13).
Unknown. Translation by Vera Reznik (13).
Ostrich. Translation by Konstantin Azadovsky (16).
Under the poplars. Translation by Anatoly Geleskul (17).
BY WATER
Spider. Translation by Mark Samaev (18).
Tower of Babel. Translation by Viktor Andreev (19).
Pilgrimage. Translation by Viktor Andreev (19).
intimate scene. Translation by Viktor Andreev (20).
ABOUT EARTH
?... Translation by Viktor Andreev (22).
The poet of his beloved. Translation by Viktor Andreev (23).
Summer. Translation by Viktor Andreev (23).
September. Translation by Viktor Andreev (24).
Sediment. Translation by Inna Chezhegova (23).
Godless. Translation by Viktor Andreev (26).
Black bowl. Translation by Vladimir Petrov (27).
Out of time. Translation by Vladimir Petrov (27).
At dawn. Translation by Anatoly Geleskul (29).
Clay. Translation by Viktor Andreev (30).
IMPERIAL NOSTALGIA
Imperial nostalgia
I. "The landscape of Mansiche resurrects again..." Translation by Viktor Andreev (32).
II. “A hundred-year-old woman is a statue ...” Translation by Viktor Andreev (33).
III. “Like the ancient leaders, the oxen go...” Translation by Inna Chezhegova (33).
IV. "La Grama, sad, barely alive..." Translation by Viktor Andreev (34).
Black leaves. Translation by Anatoly Geleskul (33).
native triptych
I. "The peasant's hand is in swollen veins..." Translation by Viktor Andreev (36).
II. “Indians - today is a holiday - not in sorrow ...” Translation by Viktor Andreev (37).
III. “It's getting light. The party is over...” Translation by Vsevolod Bagno (38).
Prayer along the way. Translation by Boris Dubin (38).
Waco. Translation by Viktor Andreev (39).
May. Translation by Viktor Andreev (40).
Rural. Translation by Viktor Andreev (42).
Dead idyll. Translation by Viktor Andreev (44).
THUNDERS
In a Greek shop. Translation by Viktor Andreev (46).
To brothers in Christ. Translation by Viktor Andreev (47).
Mirror voice. Translation by Viktor Andreev (48).
White Rose. Translation by Viktor Andreev (49).
Winning ticket. Translation by Viktor Mikhailov (50).
Our daily bread. Translation by Viktor Andreev (51).
Unconditionality. Translation by Viktor Andreev (52).
Born naked from dust. Translation by Viktor Andreev (53).
Surrender. Translation by Viktor Andreev (54).
Life lines. Translation by Vladimir Litus (55).
Forbidden love. Translation by Viktor Andreev (56).
The meal of the poor. Translation by Alexander Syshchikov (57).
For the incomprehensible soul of the woman I love. Translation by Viktor Andreev (58).
Marriage bed of eternity. Translation by Viktor Andreev (59).
Stones. Translation by Inna Chezhegova (59).
Mystery. Translation by Viktor Andreev (61).
Pagan. Translation by Viktor Andreev (62).
Eternal bones. Translation by Viktor Andreev (63).
Tortured rings. Translation by Viktor Andreev (64).
Lives of the Saints. Translation by Kirill Korkonosenko (65).
Rain. Translation by Inna Chezhegova (65).
Love. Translation by Viktor Andreev (66).
God. Translation by Viktor Andreev (67).
Unity. Translated by Eduard Golderness (68).
Drivers. Translation by Inna Chezhegova (69).
SONGS OF THE HOME
Web of fever. Translation by Viktor Andreev (70).
Far steps. Translation by Mark Samaev (71).
Brother Miguel. Translation by Viktor Andreev (72).
January. Translation by Anatoly Geleskul (73).
The woeful antiphon of hope. Translation by Viktor Andreev (73).
TRILSE. (Trilce):
I. "Someone is making noise - so that he does not give..." Translation by Viktor Andreev (79).
II. "Time Time..." Translation by Viktor Andreev. (80).
III. “When, well, when ...” Translation by Viktor Andreev (81).
IV. “Two coils rattle in the middle ear...” Translated by Anastasia Mirolyubova (82).
V. “Group of dicotyledons. They are trying to persuade...” Translated by Anastasia Mirolyubova (83).
VI. “The linen is fresh, morning...” Translation by Mark Samaev (84).
VII. “No change. I am walking along a rocky street...” Translation by Viktor Andreev (83).
VIII. “Tomorrow is another day, and on some...” Translation by Anastasia Mirolyubova (86).
IX. “How to turn in, fight and fight ...” Translation by Anastasia Mirolyubova (86).
X. "The cornerstone and crowning slab without special..." Translation by Anastasia Mirolyubova (87).
XI. “I met a youth...” Translation by Anastasia Mirolyubova (89).
XII. "Here is my escape - a simple trick with a trick..." Translated by Andrey Krasilnikov (90).
XIII. "I'm dreaming about your gap..." Translated by Anastasia Mirolyubova (90).
XIV. "How to explain..." Translation by Anastasia Mirolyubova (91).
XV. “In the corner where you and I slept together...” Translated by Anastasia Mirolyubova (92).
XVI. “I believe that I can be strong...” Translated by Andrey Krasilnikov (93).
XVII. “2 is distilled in a single seething ...” Translation by Anastasia Mirolyubova (93).
XVIII. “Oh, four walls of a dungeon...” Translation by Viktor Andreev (94).
XIX. “You sort through things, gentle Elpida, and wash off ...” Translated by Anastasia Mirolyubova (93).
XX. "Whipped cream protection..." Translation by Viktor Andreev (96).
XXI. “In a car riddled with vicious circles...” Translated by Anastasia Mirolyubova (98).
XXII. “Is it possible that up to four gang up on me...” Translated by Anastasia Mirolyubova (98).
XXIII. “The red-hot oven of my crackers...” Translation by Viktor Andreev (100).
XXIV. "At the edge of a flourishing coffin..." Translation by Anastasia Mirolyubova (101).
XXV. “The elephants foreshadowed evil, loitering in the cages, and sticking ...” Translation by Anastasia Mirolyubova (102).
XXVI. “Every summer the ovaries are nurtured for the future for three years ...” Translated by Anastasia Mirolyubova (103).
XXVII. "I'm afraid of this run..." Translated by Boris Dubin (103).
XVIII. “No mother at the table next to me...” Translated by Boris Dubin (103).
XXIX. Boredom itches like a fly in a bottle... Translated by Anastasia Mirolyubova (107).
XXX. "The burn of the moment..." Translation by Anastasia Mirolyubova (107).
XXXI. “Under the white gauze, hope sobbed...” Translation by Anatoly Geleskul (108).
XXXII. "999 calories..." Translated by Anastasia Mirolyubova (109).
XXXIII. “I wish there was a downpour at night...” Translation by Boris Dubin (110).
XXXIV. “Everything is gone. The one who in the evenings...” Translation by Viktor Andreev (111).
XXXV. “Meetings with your beloved on the eve of summer ...” Translation by Anastasia Mirolyubova (112).
XXXVI. “We fight to enter the eye of a coal...” Translated by Anastasia Mirolyubova (113).
XXXVII. “I keep remembering poor love...” Translation by Boris Dubin FROM
XXXVIII. “The glass, shining, is waiting to be sucked in…” Translated by Anastasia Mirolyubova (116).
XXXIX. “Who struck a match!..” Translated by Anastasia Mirolyubova (117).
XL. “Who would have told us that on Sunday...” Translation by Anastasia Mirolyubova (118).
XLI. “Death has fallen on its knees and streams ...” Translation by Anatoly Geleskul (119).
XLII. “Wait. Now I'm all for you ... ”Translated by Anastasia Mirolyubova (120).
XLIII. "Who knows, it's coming to you. Don't hide it..." Translated by Anastasia Mirolyubova (121).
XLIV. “The piano slides and runs into the heart ...” Translation by Anatoly Geleskul (122).
XLV. “If the waves approach me...” Translation by Viktor Andreev (123).
XLVI. “The Cook-Night Will Never Go Away...” Translated by Boris Dubin (123).
XLVII. “Like a flutter of eyelashes, the reef where I was born...” Translated by Anastasia Mirolyubova (124).
XLVIII. “I have 70 “suns”, Peruvian salts...” Translated by Anastasia Mirolyubova (125).
XLIX. “I’m crossing, mumbling restlessly...” Translation by Anastasia Mirolyubova (126).
L. "Four times a day pescerberus..." Translation by Viktor Andreev (128).
L.I. "Lie. Everything was a hoax...” Translation by Viktor Andreev (129).
LII. "And we won't get out of bed until..." Translated by Anastasia Mirolyubova (130).
III. “Well, say that eleven is not twelve! ..” Translation by Anastasia Mirolyubova (131).
LIV. “The pain is hard labor, come in, come out ...” Translation by Anastasia Mirolyubova (132).
Lv. "Samen said..." Translated by Anastasia Mirolyubova (133).
LVI. “Day after day I rise in the dark...” Translation by Anatoly Geleskul (134).
LVII. “The highest peaks, peaks were cratered ...” Translation by Anastasia Mirolyubova (135).
LVIII. “In a cell, even in a stone one...” Translation by Anatoly Geleskul (136).
LIX. “The globe of the earth of love passion ...” Translation by Viktor Andreev (137).
LX. “Wood is my patience...” Translation by Anastasia Mirolyubova (138).
LXI. “I dismounted near the door...” Translation by Viktor Andreev (139).
LXII. "Carpet..." Translated by Anastasia Mirolyubova (141).
LXIII. “Dawn, rain. Combed again ... ”Translated by Anatoly Geleskul (142).
LXIV. “You fall in love with stray road poles from that rearing minute...” Translated by Anastasia Mirolyubova (143).
LXV. “Tomorrow, mother, I will come to Santiago...” Translation by Anatoly Geleskul (144).
LXVI. “The bells are ringing on the second of November...” Translated by Anastasia Mirolyubova (146).
LXVII. "Summer is near, and both of us..." Translated by Anastasia Mirolyubova (147).
LXVIII. "The Fourteenth of July Day..." Translation by Anastasia Mirolyubova (148).
LXIX. “How you are looking for us with the signs of the depths...” Translation by Anatoly Geleskul (149).
LXX. “Under careless grins I go to the bottom ...” Translation by Anastasia Mirolyubova (150).
LXXI. “The sun is snaking on your cool hand ...” Translation by Anatoly Geleskul (151).
LXXII. “You are locked, I have locked you, the salon is conical, unhurried ...” Translation by Anastasia Mirolyubova (152).
LXXIII. “Exclaimed“ ai ”. The whole truth is…” Translated by Anastasia Mirolyubova (153).
LXXIV. “What a wonderful day it was last year!..” Translation by Anastasia Mirolyubova (154).
LXXV. "You are dead..." Translation by Anatoly Geleskul (155).
LXXVI. “I am going out of the darkness of the night straight into the clear morning...” Translated by Anastasia Mirolyubova (156).
LXXVII. “As if hail was whipped for that ...” Translation by Anatoly Geleskul (157).
HUMAN POSTS. (Poemas Humanos):
POEMS IN PROSE
In solid memory. Translation by Anatoly Geleskul (161).
Rage of time. Translated by Eduard Golderness (163).
Sipping slowly the liquor. Translation by Viktor Andreev (164).
Blackest day. Translated by Eduard Golderness (167).
“Windows shuddered, enlightening the metaphysics of the world...” Translation by Anatoly Geleskul (168).
I'm talking about hope. Translation by Viktor Andreev (173).
Finding life. Translation by Anatoly Geleskul (174).
Ashes verification. Translated by Eduard Golderness (176).
"This woman is so calm..." Translation by Yuri Shashkov (177).
“No one lives in the house anymore...” Translation by Viktor Andreev (178).
“There is a disabled person, but not war, but peace ...” Translation by Anatoly Geleskul (179).
“Something makes you related to the one who leaves...” Translation by Anatoly Geleskul (181).
“Desire passes, although the flesh is still strong...” Translation by Yuri Shashkov (182).
"Four Consciousnesses..." Translation by Yuri Shashkov (183).
"Between pain and pleasure..." Translation by Mikhail Nenov (183).
"At the moment when a tennis player shoots powerfully..." Translation by Yuri Shashkov (184).
And I laugh. Translation by Yuri Shashkov (183).
“Here I greet, here I humble myself, here I live...” Translated by Mikhail Nenov (186).
From Holy Scripture. Translation by Viktor Andreev (187).
HUMAN POEMS
Height and insignificance. Translation by Viktor Andreev (188).
Strada. Translated by Anatoly Geleskul (189).
"A man admires a woman..." Translated by Vladimir Litus (189).
Spring-tuberose. Translation by Vladimir Litus. (191).
Earthquake. Translated by Vladimir Litus (192).
Hat, coat, gloves. Translated by Anatoly Geleskul (194).
“On the day I return, this faceless stone...” Translation by Anatoly Geleskul (194).
Angelic greeting. Translated by Eduard Golderness (195).
Message to passers-by. Translation by Vsevolod Bagno. (196).
“The slaughterers have left the slaughter...” Translation by Boris Dubin (198).
“My donkey carried Sunday on his ears ...” Translation by Anatoly Geleskul (200).
Earthly and magnetic. Translated by Vladimir Litus (201).
Earth lump. Translation by Viktor Andreev (204).
“And yet, what to wait for ...” Translation by Vsevolod Bagno (205).
Meditate old donkeys. Translation by Viktor Andreev (207).
“Today I want to live a lot less than before...” Translation by Viktor Andreev (208).
"Believe in your sight, but never in your pupil..." Translation by Viktor Andreev (209).
Two out of breath children. Translation by Viktor Andreev (210).
"A little more restraint, colleague..." Translated by Boris Dubin (212).
"This is..." Translation by Viktor Andreev (214).
“Deepening into life, deepening...” Translation by Alexander Syshchikov (215).
“I just wanted to be happy today ...” Translation by Boris Grigorin (216).
Nine headed beast. Translated by Anatoly Geleskul (217).
"There are days when I am suddenly seized by..." Translated by Eduard Golderness (220).
Sermon on death. Translation by Viktor Andreev (222).
"Perfectly aware, without illusions..." Translated by Eduard Golderness (224).
Guitar. Translation by Anatoly Geleskul (226).
Anniversary. Translation by Boris Dubin (227).
"Frozen by a stone ..." Translation by Viktor Andreev (228).
“Every day, every hour, every moment, running away ...” Translation by Viktor Andreev (231).
“And now, without fragrance in the future ...” Translation by Viktor Andreev (232).
Black stone on white stone. Translated by Anatoly Geleskul (233).
Poems in a singsong voice. Translated by Anatoly Geleskul (233).
“From discord to discord...” Translation by Boris Dubin (234).
Rigidity and height. Translation by Boris Dubin (236).
"I'm freezing near the fire..." Translation by Viktor Andreev (237).
"A fountain full of consolations..." Translated by Kirill Korkonosenko (238).
“Heat, tired, I wander with my gold...” Translation by Yuri Shashkov (239).
Pantheon. Translation by Viktor Andreev (241).
“I doomed myself to boil the ink in which I drown myself...” Translation by Vsevolod Bagno (242).
“Here he passed, and he will take without right ...” Translated by Kirill Korkonosenko (243).
The wheel of the hungry. Translation by Viktor Andreev (244).
"Life, this life..." Translation by Anatoly Geleskul (246).
Guitar to the sound of palms. Translated by Anatoly Geleskul (247).
“What does it matter to me that I spur myself on with a verse ...” Translation by Viktor Andreev (249).
"Listen to your block, your comet..." Translated by Kirill Korkonosenko (230).
"And if so many peals of words ..." Translated by Anatoly Geleskul (251).
Paris, October 1936. Translation by Viktor Andreev (252).
Parting, I remember "goodbye." Translation by Kirill Korkonosenko (253).
"And don't tell me anything..." Translation by Viktor Andreev (254).
“So, I can’t express life otherwise than by death...” Translation by Anatoly Geleskul (255).
Dispossessed. Translated by Eduard Golderness (257).
“My fate will depend on the shoe...” Translation by Viktor Andreev (259).
"The fate of man ..." Translation by Alexander Syshchikov (260).
“Oh, a bottle without wine! Oh, the wine that the bottle leaves the widow!..” Translation by Viktor Andreev (262).
"And in the end - the mountain ..." Translated by Boris Duvin (263).
“The heart curses and loves its suit ...” Translation by Anatoly Geleskul (264).
"Peace, slopes, swearing, a wasp..." Translated by Kirill Korkonosenko (266).
"Solomonic, repressed, decent..." Translated by Kirill Korkonosenko (267).
"Everything is fine? Will a domestic metalloid cure you?..” Translation by Viktor Andreev (268).
“Laughed, accustomed to kindness, terribly sick ...” Translation by Viktor Andreev (269).
Elegy by Alfonso Silva. Translated by Eduard Golderness (270).
Stumbling among the stars. Translated by Anatoly Geleskul (272).
“Perhaps I am different; walking at dawn, I'm not the one
wandering...” Translated by Kirill Korkonosenko (275).
The book of nature. Translated by Anatoly Geleskul (276).
“I am terribly afraid of being an animal...” Translated by Kirill Korkonosenko (277).
Wedding March. Translation by Boris Dubin (278).
“At the anger that crushes the old into small ones ...” Translation by Anatoly Geleskul (279).
“A peasant walks with a basket of bread...” Translation by Artem Andreev (280).
“Today a splinter stuck in him...” Translation by Viktor Andreev (282).
A soul that is tired of being a body. Translated by Anatoly Geleskul (283).
"Let the millionaire wander naked! .." Translated by Eduard Golderness (283).
“If an evil one appears, carrying a throne on his shoulders ...” Translation by Viktor Andreev (288).
"A reproach to the birds of the mountain..." Translation by Anatoly Geleskul (289).
“From sweetness to sweetness to make the heart angry!..” Translated by Anastasia Mirolyubova (291).
"Here is the place on earth where I walk..." Translated by Boris Dubin (293).
SPAIN, THIS CUP PASS ME
I. Hymn to the Volunteers of the Republic. Translation by Boris Dubin and Viktor Andreev (296).
II. Battles. Translation by Anatoly Geleskul and Viktor Andreev (304).
III. “He often drew in the air with a clumsy finger ...” Translation by Anatoly Geleskul (309).
IV. "Squads of beggars fight for Madrid..." Translation by Anatoly Geleskul (311).
V. Spanish face of death. Translation by Anatoly Geleskul (313).
VI. Procession over fallen Bilbao. Translated by Anatoly Geleskul (315).
VII. “A couple of days, how to breathe, comrade ...” Translation by Anatoly Geleskul (316).
VIII. “Here is the same as in old times...” Translated by Anatoly Geleskul (317).
IX. A short memorial service for a republican hero. Translated by Anatoly Geleskul (319).
X. Winter of the Battle of Teruel. Translation by Anatoly Geleskul (320).
XI. "And I saw a corpse..." Translated by Anatoly Geleskul (322).
XII. Weight. Translation by Anatoly Geleskul (323).
XIII. Funeral march at the ruins of Durango. Translated by Anatoly Geleskul (324).
XIV. “Spain, Spain, beware!..” Translation by Viktor Andreev (325).
XV. Spain, let this cup pass from me. Translated by Anatoly Geleskul (326).
ADDITIONS
I. About poetry
Fragments from the book "Against professional secrecy". Translation by Natalia Malinovskaya (331).
Fragments from the book "Art and Revolution". Translation by Natalia Malinovskaya (334).
II. ABOUT RUSSIA
Fragment from the book "Russia, 1931. Reflections at the walls of the Kremlin." Translation by Galina Dubrovskaya. (340).
Vladimir Mayakovsky. Translation by Kirill Korkonosenko (354).
Fragment from the book "Russia before the second five-year plan". Translation by Kirill Korkonosenko (362).
III. TRANSLATION OPTIONS
Black heralds. Translation by Mark Samaev (368).
Holy decay. Translation by Viktor Andreev (369).
Out of time. Translation by Viktor Andreev (370).
Road prayer. Translation by Inna Chezhegova (371).
Call. Translated by Anatoly Geleskul (372).
The meal of the poor. Translation by Viktor Andreev (373).
Stones. Translation by Viktor Andreev (373).
A message to those passing by. Translation by Boris Dubin (376).
“Sunday was already busy between the pink ears of a donkey ...” Translated by Vladimir Aitus (378).
“But before this happiness disappears...” Translated by Anatoly Geleskul (379).
“Today, life pleases me much more stingily...” Translated by Boris Dubin (381).
"Today I would like to be happy..." Translated by Boris Dubin (382).
Black stone on white stone. Translation by Anatoly Geleskul in the 1973 edition (383).
Black stone on white stone. Translation by Mark Samaev (384).
Black stone on white stone. Translation by Inna Chezhegova (383).
Black stone on white stone. Translation by Viktor Andreev (386).
Black stone on white stone. Translation by Veronica Kapustina (386).
Black stone on white stone. Translation by Vladimir Vasiliev (387).
Black stone on white stone. Translation by Boris Grigorin (388).
Black stone on white stone. Translated by Vladimir Litus (389).
Black stone on white stone. Translation by Mikhail Yasnov (389).
Aspiration and pinnacle. Translation by Inna Chezhegova. (390).
“I was left to warm the ink...” Translated by Boris Dubin (391).
The wheel of the hungry. Translation by Mark Samaev (392).
The wheel of the hungry. Translation by Boris Dubin (394).
Paris, October 1936. Translated by Anatoly Geleskul (396).
Paris, 1936. Translation by Mark Samaev (397).
Parting, remembering goodbye. Translation by Viktor Andreev (398).
Wedding March. Translation by Vladimir Vasiliev (399).
APPS
V.N. Andreev. "Indian swarthy of style and soul" (403).
Notes (compiled by V. Andreev, K. Korkonosenko) (610).
Brief chronology of the life and work of César Vallejo (767).
Literary monuments published in 2019 (reprints not listed):
- Marlo K. tragic story Dr. Faust/ Prep. A.N. Gorbunov, V.S. Makarov, D.N. Zhatkin, A.A. Ryabov; Rep. ed. N.E. Mikeladze. (St. Petersburg, "Nauka").
- Boccaccio J. Decameron: In 3 volumes. / Prep. M.L. Andreev, L.V. Immortals; Rep. ed. AND ABOUT. Shaitanov. (Research Center “Ladomir”).
- Elizabeth Stagel. The life of the sisters of the Tess monastery . Prep. M.Yu. Reutin. Rep. editor A.V. Toporova. (Research Center "Ladomir").
Expect in 2019:
- Shakespeare. The Empty Cares of Love (bilingual edition). Prep. Andrey Nikolaevich Gorbunov, Elena Aleksandrovna Pervushina, Vladimir Sergeevich Makarov. Rep. editor Natalya Eduardovna Mikeladze. (Moscow, "Nauka").
- Karazin N.N.. Dilogy: "On the distant outskirts" and "The pursuit of profit."
Prep. E.F. Saffron. Rep. ed. B.F. Egorov.(M.: "Nauka").
- Matve i Komarov. "Detailed and correct description good and evil deeds of the Russian swindler, thief, robber and former Moscow detective Vanka Kain "and" The Tale of the Adventure of the Aglian Milord George and the Brandenburg Margravine Friederike-Louise "
.
Prepared by V.D. Crayfish. Rep. ed. N.D. Kochetkov.(Research Center "Ladomir").
- Hieromonk Ippolit Vishensky.
pelgrimation, or Traveler...
Volume approx. 40 a.l. Prep. S.N. Travnikov and L.A. Olshevskaya. Rep. ed. A.S. Demin. (M.: "Nauka").
- Life of Archpriest Avvakum.
Prep. Natalya Sergeevna Demkova, Lyubov Vasilievna Titova. Rep. ed. Alexander Grigorievich Bobrov. (St. Petersburg. "Science").
See also announcements.
Literary monuments published in 2018 (reprints not listed):
- Kazot Jacques. Sequel to "A Thousand and One Nights". Prep. E.V. Trynkina (translator), Natalya Tigranovna Pakhsaryan. Rep. editor Tatyana Viktorovna Sokolova. (Research Center "Ladomir").
- D.G. Rossetti . house of life . Prep. V.S. Neklyaev, D.N. Zhatkin. Rep. editor V.M. Tolmachev. (Research Center "Ladomir").
- Tristan Tzara. Face inside out. Prep. Nikolai Leonidovich Sukhachev. Rep. editor E.D. Galtsov. (Moscow, "Nauka").
- Edmund Spencer. Amoretti and Epithalama. Comp. and prepare. Irina Igorevna Burova. Rep. ed. E.V. Khaltrin-Khalturin. (Moscow, "Nauka").
- Robin Hood<перевод full cycle of ballads> . Prep. V.S. Sergeyev. Rep. editor A.N. Gorbunov. (Research Center "Ladomir").
- I.E. Babel. Cavalry. Prep. E.I. Pogorelskaya. Rep. editor N.V. Kornienko. (Moscow, "Nauka").
- Borel Petrus. Madame Potiphar . Prep. T.V. Sokolova, A.Yu. Mirolyubova. Rep. editor N.T. Pakhsaryan. (Research Center “Ladomir”).
Literary monuments published in 2017 (reprints not listed):
1. Ahmad Faris ash-Shidyaq. Step by step after al-Faryak (1855). Prep. V.N. Kirpichenko, A.B. Kudelin. Rep. ed. A.B. Kudelin. (Moscow, "Nauka").
Prose writer, poet, linguist, translator, journalist, publisher, founder of the modern Arabic novel Ahmad Faris ash-Shidyak (c. 1804-1887) belongs to the generation of enlightened writers who wrote in Arabic in the middle of the 19th century. Wherever he lived - Lebanon, Egypt, Malta, Tunisia, England, France, Turkey - al-Shidyak showed not only outstanding talent and an encyclopedic breadth of knowledge, but also an irrepressible temperament and bordering on impudence, and sometimes even indecency, courage in statements - which was reflected in his book "Step by step after al-Faryak" (1855). The book intricately intertwined the traditions of Eastern and European literature. Al-Shidyaq pays tribute to traditional genres rihla(description of the trip), makame(a picaresque short story), as well as the satire of Rabelais, Stern, Swift and romantic depiction in the spirit of Lamartine and Chateaubriand. The main character of the autobiographical line of the novel is the double of the author named al-Faryak. The stories branching off from the autobiographical line of narration are combined into a kind of an anthology of prose passages more or less close to the story, in which many faces and phenomena of life, both in the East and in the West, are criticized and ridiculed. In the Introduction to Step by Step, the author proclaims the two main goals of his book: first, to acquaint the reader with curiosities ( gara' ib) and rare revolutions ( navadir) Arabic language; secondly, to sing of women, to show all their advantages and disadvantages. He realizes these goals with a truly encyclopedic breadth: the richness of the Arabic lexicon, the abundance of synonyms or lexemes that are difficult to distinguish in meaning, the ambiguity of the original roots, the splendor of rhetorical turns, the colorfulness of idioms are presented in all possible completeness. The interpretation of the title of the book of ash-Shidyak “As-Sak ‘ala as-sak fi ma huva al-Faryak” as “Step by step after al-Faryak” belongs to A.E. Krymsky. Here, for the first time, a Russian translation of the novel is published, which V.N. Kirpichenko.
2. Kelemen Mikesh. Turkish letters. Prep. O.V. Khavanova, Yu.P. Gusev, Gabor Tuskesh. Rep. ed. Yu.P. Gusev. (Moscow, "Nauka").
The letters of K. Mikesh, addressed to a fictitious addressee ("cousin") and created in the period from 1717 to 1758, reflect the influence of French epistolary literature of the 17th-18th centuries, but at the same time they are an independent work. Their originality is associated primarily with the fact that Mikes lived - as part of a group of adherents of Prince Ferenc Rakoczy - in exile, in Turkey. This is reflected both in the general tone of the letters and in the author's inclination to reflect the historical vicissitudes of that era, in the desire to include ethnographic, cultural information about the exotic environment in which he spent three whole decades in his letters.
The letters were translated by Yu. P. Gusev. The appendix to the corpus of letters contains: an article by the Hungarian researcher Gabor Tyushkesh "Kelemen Mikes and Turkish Letters", an article by D.I. n. O. V. Khavanova "Homeland of Kelemen Mikesh: Transylvanian Principality". Notes to the letters were compiled by Yu. P. Gusev; O. V. Khavanova, as a specialist in the history of Hungary, controls the correctness of the reflection and interpretation of historical realities.
3. William Wordsworth. Prelude 1805 Preparatory. A.N. Gorbunov, T.Yu. Stamova, E.V. Khaltrin-Khalturina and others. Responsible. ed. A.N. Gorbunov. (Research Center "Ladomir").
William Wordsworth (1770–1850), a major figure in English Romanticism, a representative of the Lake School, served as Poet Laureate under Queen Victoria in the twilight of his years (1843–1850). England in the first half of the 19th century. called by his name: "the era of Wordsworth."
The central work of his work, the poem "The Prelude, or the Formation of the Poet's Consciousness", is known as the best English "biography of the soul" of a romantic artist. Wordsworth is considered one of the founders of romantic eco-criticism, and his reflections in the Prelude and "the stream of the mind" anticipate the "stream of consciousness" of the modernists. Starting from the second half of the 19th century, references to the Prelude were used by almost all English-speaking writers and poets who worked in the genre of autobiography. The poem was parsed into quotations by more than one generation of readers.
Wordsworth composed the poem for five decades, creating several versions. The edition of 1805 was chosen for this edition, because it is it that crowns the period of Wordsworth's creative heyday, his so-called golden decade. The fabric of the narrative in the Prelude has a complex pattern: it is shown how in England at the end of the 18th - beginning of the 19th centuries. the spirit of the times and mentality changed. Against this background, the formation of a person of an artistic mindset, which sensitively perceives contemporary events, takes place. Wordsworth points out which philosophical models dominated at one or another stage of his growing up. The poet describes his childhood, resorting to the models of the associative philosophy of the 18th century, his youth passes under the sign of "Godwinism", and his creative development is associated with the development of the romantic aesthetics of "imagination".
"Imagination" for Wordsworth is a special term. This creative force is the "feeling mind" (feeling intelligence), which allows the hero to more acutely feel being - both his own and other people's. “I have been talking about this ability for so long here,” says Wordsworth, and puts the term “imagination” in the title of two books of the poem. The moments when flashes of "imagination" occur, the poet calls "places of time" (spots of time- Wordsworth's terminological innovation; the concept anticipates James Joyce's "epiphanies"). Wordsworth believed that "places of time" can be of different intensity: some are bright, others are paler. The intensity depends on what stage of personal development a person is at. In the poem "Prelude" there are more than 30 episodes with a description of "places of time". They form the backbone of the poem.
Wordsworth as the author of lyrical ballads, "the singer of yew and daffodils", is well known in Russia. However, to understand Wordsworth as a poet who foresaw the development of new aspects of the psychology of creativity and who was looking for approaches to it at the junction with developmental psychology and the history of intellectual culture, one can only study the Prelude.
This edition publishes for the first time a complete translation of the poem "Prelude, or the Formation of the Poet's Consciousness" into Russian. It was performed by T.Yu. Stamov specially for the series "Literary Monuments". For the “Additions” section, “Ode for the premonition of immortality” (G. Kruzhkov), “Grasmir, my home” (M. Falikman), “Destroyed hut” (A. Lukyanov) and others were translated into Russian. The publication is accompanied by articles by A.N. . Gorbunova and E.V. Khaltrin-Khalturina. The design of the book uses illustrations from Wordsworth's editions of the 19th century.
4. Jacob Wasserman. Kaspar Hauser. Prep. V.M. Tolmachev. Rep. ed. V.D. Saddle. (Research Center "Ladomir").
The main part of the manuscript is the Russian translation of the programmatic novel by J. Wassermann, a classic of German literature of the 20th century. The volume of the text of the novel "Kaspar Hauser" is approx. 18 a.l.
The novelty of this part lies in the fact that, on the one hand, it reproduces Russian edition made by N. Man, a master of the Russian school of translation, and on the other hand, by the fact that the translation was verified with the original and the necessary clarifications were made to it. Hence the high level of textological preparation of the translation. The publication of "Kaspar Hauser" is a step that contributes to the expansion of the horizons of Russian German studies, clarifying the typology of the German novel of the 20th century. The choice of "Kaspar Hauser" as the main literary text of this edition seems motivated. This is an example of an intellectual historical novel of the Viennese modern era. The number of reminiscences from it both in German culture of the 20th century and in world literature is great.
The second part (or "Appendices") contains an article by V.M. Tolmachev, notes compiled by him for the novel, a section "Main dates in the life and work of Jacob Wassermann."
The article “About Jakob Wassermann, the author of “Kaspar Hauser”” was written by Professor V.M. Tolmachev (ca. 2.5 a. l.). Its author is one of the leading Russian specialists on Western European literature at the turn of the 19th-20th centuries. V.M. Tolmachev owns conceptual publications about German literature of the early 20th century, German symbolism and expressionism. While working on the article, he studied a few domestic publications about Wassermann (primarily V.G. Admoni, G.V. Vasiliev), a number of relatively few high-quality German works about this writer over the past decades (primarily R. Wolff, T. Kraft ), as well as English-language studies on German and Austrian literature at the turn of the century. The article is a biography of Wassermann's work in all genres of his literary activity. For the first time in Russia, Wassermann's biography is presented in great detail. The historical and literary approach is combined in the article with "close reading" of Wassermann's key texts. VM Tolmachev described the reception of Wassermann's novels by contemporaries - German and American.
What is new in the article, in addition to systematization under the sign of “Kaspar Hauser”, little-known or updated biographical information about the writer, his vision of the position of Jews in Europe in the first third of the 20th century, is, firstly, the description of Wassermann’s method as symbolist – we are talking about the special German and Austrian modernism seen by V.M. Tolmachev through the prism of international symbolism and his interests (Goethe, R. Wagner, F. Nietzsche, impressionism, Z. Freud, F. M. Dostoevsky, esotericism), and, in- secondly, the revelation in the text of these novels of the author's reflection on the fate of the "German idea", the tragedy of the post-religious search for absolute meaning. This dictated the original comparison of the novels of Wassermann and Thomas Mann. V.M. Tolmachev’s attempt to present the genre of Wasserman’s best novels as a symbolist “meta-novel” seems promising.
The Notes commented on both little-known German realities related to the scene, era, certain quotations, and everything related to Wassermann's method of transforming historical material.
The prepared volume will be of interest to students, graduate students, anyone interested in the prose of the twentieth century, and a professional audience (Wassermann's work clearly needs to be reassessed, introduced into active scientific use).
5. Aelius Aristides. Funeral speeches. Prep. S.I. Mezheritskaya, Translators S.I. Mezheritskaya, S.I. Sobolevsky, V.V. Valchenko, S.P. Shestakov, F.G. Mishchenko, S.A. Zhebelev, S.Ya. Sheinman-Topstein. Rep. ed. E.D. Frolov. (Research Center "Ladomir").
6. The book about Lazaro de Tormes / Prepared. S.I. Piskunova, A.V. Serebrennikov. Rep. ed. V.E. Bagno. M.: Ladomir, Nauka, 2017. 688 p. B.f. ISBN 978-5-86218-548-5.
"The Book of Lazaro de Tormes" is a conventional name for a cycle of works united by one hero, which was based on the anonymously published in the middle of the 16th century "The Life of Lazarillo ..." - a story about the fate of a boy who involuntarily becomes a dodgy rogue in a brutal struggle against poverty and hunger. The story was published at the height of the Spanish Inquisition and was later banned. Catholic Church. And no wonder, because this story refuted the generally accepted value system of the era of Charles V: blind adherence to the "code of honor", ostentatious heroism, hypocritical observance of religious rites. Subsequently, it gave rise to a colossal literary tradition and became an important milestone in the history of world literature, one of the most striking works of Renaissance literature. It was this story that was destined to become the work from which both the Spanish picaresque novel and, more broadly, the European novel of the New Age began to exist.
7. Stevens W. Harmonium / Prepared. G. M. Kruzhkov, T.D. Venediktova, Anna Shvets; Rep. ed. N.M. Azarova, T.D. Venediktov. (Moscow, "Nauka").
Wallace Stevens (1879-1955) is one of the greatest American poets of the 20th century. He graduated from law school in New York and spent most of his life in an insurance company in the city of Hartford. He did not advertise his studies in poetry. The first collection of poems "Harmonium" ( Harmonium) published only in 1923 at the age of 43. His original gift was appreciated by a few (including the poets Marianne Moore and William Carlos Williams), most critics were derisive of the poet's "dark" and "deliberately eccentric" style. But Stevens did not leave the chosen path, and years later recognition finally came to him. In 1951, he received the National Book Award, and in 1955, shortly before his death, the Pulitzer Prize.
Stevens' original and innovative talent was fully manifested in his debut collection, which already contained the sprouts of all his future books. Stevens' style combined the seemingly incompatible: the decadent kink of Paul Laforgue and other French poets of the "end of the century", the visuality and impressionism of Far Eastern poetry, as well as romanticism, which he proclaimed to be the integral basis of any genuine poetry. He put the concept of Supreme Fiction at the center of his poetics, christening both his poetic method and his patroness Muse with this name.
It is now recognized that Harmonium, published almost simultaneously with such important books of European modernism as Eliot's The Waste Land (1922) and Pasternak's My Sister Life (1922), became one of the most important milestones of American poetry of the 20th century. Until now, only a few poems from this book have been published. In the proposed edition, it was first published in full in an expanded version of 1931.
The Supplement contains selected poems from Stevens' subsequent books, as well as his articles and aphorisms, in which he explains and formulates his views on modern poetry.
All translations of poems were made by G. Kruzhkov, and prose - by L. Oborin and partly by G. Kruzhkov.
8. School of Chartres. Guillaume Konshsky. Philosophy; Theodoric of Chartres. Treatise on the Six Days of Creation; Bernard Sylvester. Cosmography; Commentary on the first six books of the Aeneid; Astrologer; Alan Lilsky. Cry of Nature / Ed. prepared O.S. Voskoboynikov; Per. and comment. compiled by O.S. Voskoboynikov, R.L. Shmarakov, P.V. Sokolov; Rep. editor M.Yu. Reutin. (Moscow, "Nauka").
“School of Chartres” is a phrase well known in the history of philosophy and literature, in fact a synonym for the “Renaissance of the XII century”. The authors associated with it, selected for this edition, are among the best Latinists, classics of literature of their time and at the same time innovators in the field of philosophy. Nevertheless, the understanding and description of the phenomenon behind the textbook phrase encounters a number of difficulties. We know relatively little about the functioning of the school under famous cathedral. The Chartres School is not an institution, but rather several generations of intellectuals united by common literary and philosophical interests, a literary fraternity, “textual comunity”, to use the untranslatable but apt expression of Brian Stock. Thanks to the fact that these masters taught - in Chartres and beyond - thanks to the courage of their literary and philosophical experiments, thanks, finally, to the Latin humanism of the 12th century, their personal interests and personal sensitivity to philosophical novelties and the wisdom of the ancients became the property of a wide range of intellectuals from Toledo and Palermo to London and Cologne. Studies show recent decades, even Chartres writings, quite different in genre and tasks, from “commentary” to “lamentation”, are a literary and philosophical phenomenon, united by a common style.
It is the unity of the style of thinking, based largely on common literary interests and common poetics, that tells us that the most important texts of Chartres should be presented together, under the name “Chartres School”, accepted in the history of culture, even if formally each text is a separate monument. Genre heterogeneity is obvious: “Philosophy” by Guillaume of Conche is a philosophical treatise based on the lectures of a young Norman grammarian, designed to combine the cosmogony of “Timaeus” with the Christian picture of the world, “A Treatise on the Six Days of Creation” by Theodoric is in the form of a traditional “Six Days”, i.e. . a commentary on Genesis, but profoundly innovative in content. Bernard Sylvester's commentary on the Aeneid is one of the many, humanistic in nature comments on the ancient classics, created in the 12th century, but it fully reveals the literary creed of the Chartres and their contemporaries. Finally, "Cosmography" and "Lament of Nature", which are among the greatest literary achievements of this century, are peculiar epic poems on the theme of cosmology, prosimeters that embodied in a complex, mixed form the searches of the entire school. Thus, the very genre heterogeneity of the literary and philosophical monuments included in the publication serves to create a single literary image in the mind of the reader: "Lament" is incomprehensible without "Cosmography", "Cosmography" - without "Shestodnev", "Sixdays" - without "Commentary on the Aeneid" , this last one without Philosophy. Without an understanding of the poetics of the Chartres School, neither the Romance of the Rose nor the The Divine Comedy”, just as neither high scholasticism is inconceivable without it, nor, many generations later, the physics of modern times.
All texts in our edition are translated from Latin according to the latest critical editions. Some Chartres texts have been translated into modern European languages more or less successfully, sometimes fragmentarily. All these experiences are taken into account and critically comprehended by translators. However, not a single poetic text was translated in the size of the original, but only in prose. There is not a single edition in the world that would be comparable to the proposed one in terms of completeness. The complexity of the heritage of the Chartres school lies in the fact that many of its texts are, as it were, too "literary" for other historians of philosophy and too "philosophical" for many literary critics. Therefore, the publication is equipped with a rather voluminous literary and philosophical commentary, taking into account state of the art knowledge about the Chartres school, philosophy and literature of the XII century in general. In Russian, some of the texts presented here appeared in fragments, with the exception of the "Treatise on the Six Days of Creation", corrected for the new edition. In addition, a small polemical treatise by Guillaume of Saint-Thierry "The Delusions of Guillaume de Conches" and an anonymous "Epitaph of Theodoric of Chartres" are published.
9. Tennyson A. In Memoriam A.H.H. / Prep. A.N. Gorbunov, T.Yu. Stamova, D.N. Zhatkin. Rep. ed. A.N. Gorbunov. (Ladomir).
Literary monuments published in 2016:
1. Vallejo C. Black heralds. Trils. human verses / Ed. prepared V.N. Andreev, K.S. Korkonosenko; Rep. ed. V.E. Bagno. St. Petersburg: Nauka, 2016. 789 p. M.f. ISBN 978-5-02-038348-7.
The book is the first complete edition of the poems of the outstanding Peruvian poet of the 20th century. After World War II, S. Vallejo's poems, regularly published in Spanish-speaking countries, brought the author wide fame on his native continent and in Europe. Vallejo visited the USSR in 1927. The literary monument includes three poetic collections of the poet, as well as fragments from his book "Russia, 1931. Reflections at the Kremlin Walls", as well as his essay "Vladimir Mayakovsky". Vallejo's poetry is imbued with humanism, motives of Indian art and surrealism. Many translations from Vallejo are published in this edition for the first time.
Presented to the Russian reader is a collection of so-called strands-stories that were woven into the stories created in the 13th-14th centuries. in Iceland, the biographies of the Norwegian rulers ("royal sagas") - the most complete of all ever published both in the original language and in translation into foreign languages. Strands are fascinating and dynamism, a high degree dramatization of action, a variety of themes and plots. In addition to the "Out-of-Country Strands" stories of Icelanders making it in a foreign land that form the main and best-known part of the extant corpus of Old Norse short fiction, the book also includes numerous stories of a different kind: "Baptismal Strands", " strands of strife", stories about travels to strange other lands, "strands of skalds", stories about dreams, etc. Translations of many strands were made for this edition for the first time and have not been published anywhere before.
Gasien Courtil de Sandra - journalist and pamphleteer, direct witness and participant in the most turbulent events of the second half of the 17th - early 18th centuries, author of about forty books and one of the most readable writers of his time. The works that came out from under his prolific pen, and above all the apocryphal Memoirs of M. d'Artagnan and M.L.C.D.R. "), are of undoubted interest today both from historical and literary points of view.
The heroes of Courtille were immortalized in his famous trilogy by Alexandre Dumas père.
Writing for Curtil, who early chose a military career and served under the same d "Artagnan, was a second profession. On military service Curtil entered at the age of sixteen, and his whole life was connected with her - from the Thirty Years' War (1618-1648) and the Fronde to the Dutch campaign (1672-1678) and the decline of the reign of Louis XIV.
"The Unfortunate Nikanor, or the Adventure of the Life of the Russian Nobleman N*********" is a scientific edition of the popular anonymous novel of the second half of the 18th century. The work is interesting both as a fact of the prehistory of mass literature, and as a reflection of the life and language of the era, and as an example of the interweaving of book tradition and document. The Supplements reproduce the odes of A.P. Nazaryev, which have not been republished for two and a half centuries, whose official biography is partially reflected in the novel, which allows us to perceive the text as a novelization of life real person and to assume that A.P. Nazaryev was not only a hero, but also the author of the work.
- "LITERARY MONUMENTS", a series of books in which outstanding works of world literature are published. Published on the initiative of Academician S. I. Vavilov and Academician V. P. Volgin since 1948 by the publishing house of the Academy of Sciences of the USSR (since 1964 Nauka publishing house); ... ...
"Literary Monuments"- LITERARY MONUMENTS series of books, intended. for ed. outstanding memorials. world. literature (art. works, folklore, memoirs, journalism, letters, etc.). It began to appear in 1948 on the initiative of S. Vavilov and V. Volgin. Ed. carefully prepared in... ... Russian humanitarian encyclopedic dictionary
Genre: prose, poetry, memoirs, notes, fairy tales Country ... Wikipedia
- (Russians). In a class society literary publishing houses they invariably participate with their products in the class struggle, serving their ideological needs. Along with the church, the school, the periodical press, modern bourgeois literary ... ... Literary Encyclopedia
Contents 1 Monuments symbols 2 Notes 3 Literature 4 ... Wikipedia
ARCHIVES LITERARY- LITERARY ARCHIVES, 1) collections of documentary, memoir materials (manuscripts, diaries, correspondence, etc.) on the history of literature, stored in special repositories (specialized institutions, museums, libraries, etc.). 2) Institutions and ... ... Literary Encyclopedic Dictionary
GENRES LITERARY IN THE BIBLE- historically established types of lit. creativity used by the priest. the authors of the Bible. The approach to Scripture as a book of the God-man presupposes the study of those litas. principles upon which the constituent parts of the Bible are built. Classification and ... ... Bibliological dictionary
MANIFESTOS LITERARY- MANIFESTOS LITERARY, program works, formulating the aesthetic principles of the literary movement, movement, school. The term came into literary use in the 19th century; it is conditional, very broad and applicable to a number of phenomena from ... ... Literary Encyclopedic Dictionary
Andrei Nikolaevich Gorbunov Occupation: philologist, teacher, protodeacon Date of birth: January 31, 1940 (1940 01 31) (72 years old) ... Wikipedia
RSFSR. I. General information The RSFSR was formed on October 25 (November 7), 1917. It borders in the northwest with Norway and Finland, in the west with Poland, in the southeast with China, the MPR, and the DPRK, as well as with the union republics that are part of the USSR: to the W. with ... ... Big soviet encyclopedia
Books
- Literary monuments, I. Vishensky. Works of the Ukrainian writer of the XVI-XVII centuries. Ivan Vishensky (in the 70s of the 16th century he went to Athos and became a monk) have come down to us in five lists of different completeness and dignity. For the first time in the book...
- Literary monuments 1948-1998. Annotated directory , . The catalog of the series "Literary Monuments" includes a description of all books published in 1948-1997. Contains detailed description each position: imprint, annotations.…
