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Showing posts with label რომანი. Show all posts
Showing posts with label რომანი. Show all posts
მე-19 ს-ის შუა ხანებში მოღვაწე ჟურნალისტი და პუბლიცისტი - ლავრენტი არდაზიანი ქართულ მწერლობაში კრიტიკული რეალიზმის ერთ-ერთ სულისჩამდგმელად იქცა, როდესაც 1861 წელს ჟურნალ „ცისკარში“ რომანი „სოლომონ ისაკიჩ მეჯღანუაშვილი“ გამოაქვეყნა. რომანი ასახავს ერთი სოციალური წყობის მეორეთი ჩანაცვლების რთულ პროცესს, მწერალი მხატვრული დამაჯერებლობით გვიხატავს მოქმედ პირთა ხასიათებსა და ტიპაჟებს.
Le style de Tchékhov n'a cessé de s'étoffer au cours de sa carrière d'écrivain. Ses oeuvres, dénuées de toute théâtralité, frappent par leur sobriété et leur force suggestive. Des personnages comme les trois soeurs nous émeuvent par leur nostalgie d'un passé révolu, qui les rend incapables de s'intégrer dans le présent. Trois soeurs se débattent en vain dans les affres d'une vie mortellement quotidienne et ennuyeuse. 

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Les martiens attaquent... Voici l'un des premiers classiques du «space opera» en science-fiction moderne. Vous connaissez tous ce grand roman, récemment à nouveau adapté au cinéma. Voici un petit extrait pour vous «mettre en bouche», une vivante description de ces affreux martiens...: «Je voyais maintenant que c'étaient les créatures les moins terrestres qu'il soit possible de concevoir. Ils étaient formés d'un grand corps rond, ou plutôt d'une grande tête ronde d'environ quatre pieds de diamètre et pourvue d'une figure. Cette face n'avait pas de narines - à vrai dire les Martiens ne semblent pas avoir été doués d'odorat - mais possédait deux grands yeux sombres, immédiatement au-dessous desquels se trouvait une sorte de bec cartilagineux. [...] En groupe autour de la bouche, seize tentacules minces, presque des lanières, étaient disposés en deux faisceaux de huit chacun...»


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Emma is part of the series called Critical Editions, co-published with The English and Foreign Languages University (EFL-U, Hyderabad). This is a series intended to bring literary texts closer to students, of both postgraduate and undergraduate levels. Each edition in the series explores the structure and texture of the chosen text but also places it in its literary and cultural context. Annotations and glosses are provided wherever it is felt that students need help to 
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Jeune femme dotée d'un esprit vif et d'une haute opinion d'elle-même, Emma ne tarde pas à devenir l'un des pivots de la vie sociale d'Highbury, petite ville de province anglaise. Volontiers manipulatrice et excellant au jeu des rencontres arrangées, elle se plonge dans l'univers émotionnel de ses contemporains, en tire les ficelles et trouve là son principal centre d'intérêt. Certes, l'aristocratie victorienne du début du XIXe siècle n'offre guère de distractions aux jeunes filles, aussi Emma se réfugie-t-elle dans ses expériences intérieures, laisse jouer son imagination et perd peu à peu la notion du réel. Cette héroïne, que Jane Austen a conçue antipathique à dessein, finira par être rattrapée par son égoïsme et ne devra son salut qu'à un amour dont elle avait sous-estimé l'importance, hautaine une fois de trop. Tout à la fois cruel et gentiment naïf, ce roman utilise le prétexte du pouvoir salvateur des sentiments amoureux pour se livrer à une étude de moeurs précise et sans complaisance.  Emma est la plus française des héroïnes de Jane Austen (1775-1817), qui, à juste titre, craignait que personne ne puisse l'aimer. Elle est en effet aussi peu anglaise qu'une jeune fille intelligente, élégante, ironique et soucieuse des formes peut se permettre d'être. Emma aime l'intrigue et ignore la passion, elle est romanesque. Mais, à la différence de Mariane ou de Catherine, héroïnes respectives de Raison et sentiments et de Northanger Abbey, elle est romanesque intellectuellement et non émotivement. Et c'est en cela qu'elle est la rivale de son auteur.
Les martiens attaquent... Voici l'un des premiers classiques du «space opera» en science-fiction moderne. Vous connaissez tous ce grand roman, récemment à nouveau adapté au cinéma. Voici un petit extrait pour vous «mettre en bouche», une vivante description de ces affreux martiens...: «Je voyais maintenant que c'étaient les créatures les moins terrestres qu'il soit possible de concevoir. Ils étaient formés d'un grand corps rond, ou plutôt d'une grande tête ronde d'environ quatre pieds de diamètre et pourvue d'une figure. Cette face n'avait pas de narines - à vrai dire les Martiens ne semblent pas avoir été doués d'odorat - mais possédait deux grands yeux sombres, immédiatement au-dessous desquels se trouvait une sorte de bec cartilagineux. [...] En groupe autour de la bouche, seize tentacules minces, presque des lanières, étaient disposés en deux faisceaux de huit chacun...»
The semiautobiographical "Martin Eden" is the most vital and original character Jack London ever created. Set in San Francisco, this is the story of Martin Eden, an impoverished seaman who pursues, obsessively and aggressively, dreams of education and literary fame. London, dissatisfied with the rewards of his own success, intended Martin Eden as an attack on individualism and a criticism of ambition; however, much of its status as a classic has been conferred by admirers of its ambitious protagonist. Andrew Sinclair's wide-ranging introduction discusses the conflict between London's support of socialism and his powerful self-will. Sinclair also explores the parallels and divergences between the life of Martin Eden and that of his creator, focusing on London's mental depressions and how they affected his depiction of Eden.

Les expériences que je relate dans ce volume me sont arrivées personnellement durant l'été 1902. Je suis descendu dans les bas-fonds londoniens avec le même état d'esprit que l'explorateur, bien décidé à ne croire que ce que je verrais par moi-même, plutôt que de m'en remettre aux récits de ceux qui n'avaient pas été témoins des faits qu'ils rapportaient, et de ceux qui m'avaient précédé dans mes recherches. J'étais parti avec quelques idées très simples, qui m'ont permis de me faire une opinion : tout ce qui améliore la vie, en renforçant sa santé morale et physique, est bon pour l'individu ; tout ce qui, au contraire, tend à la détruire, est mauvais.


Croc Blanc est né dans une meute vivant dans le grand nord, son père était un loup et sa mère mi-chien, mi-loup. Il est capturé par des indiens et il grandit sous la protection de son maître, Castor gris, qui lui enseigne la soumission. Croc blanc y apprend également la dure vie de chien de traîneau. Mais son destin bascule lorsque Castor Gris le vend à Beauty Smith, un maître violent qui veut gagner de l'argent en le faisant participer à des combats de chiens. Avec ce nouveau maître, Croc Blanc devient une bête sauvage. Heureusement, au cours d'un combat qui allait lui être fatal, il est racheté par Weadon Scott, son dernier maître, dont la patience lui permettra d'apprendre l'amitié avec les hommes.
Un des chefs d'oeuvre de Jack London, un grand classique de la littérature de jeunesse. Buck, un croisé de terre-neuve et de colley âgé de 4 ans et demi et pesant 70 kg, appartient à un magistrat de la vallée de Santa Clara (Haute-Californie). Loin d'avoir une «vie de chien», Buck coule une existence heureuse dans la famille du juge Miller. Mais tout bascule le jour où, victime de la traîtrise d'un homme, il se retrouve vendu à un conducteur de traîneau dans le Grand Nord américain. Finie la vie d'aristocrate blasé, Buck va devoir affronter son destin dans un univers glacial et sans pitié, où chaque faute, chaque erreur est sévèrement sanctionnée. Saura-t-il survivre dans ce monde cruel où règne la loi du plus fort? Qu'adviendra-t-il de cet admirable chien le jour où il découvrira, d'abord avec amertume, puis avec un plaisir trouble et instinctif, le goût du sang?
Sense and Sensibility est le premier roman que publia Jane Austen (1811). Le livre procède, si l'on considère le titre, d'une opposition entre deux traits fondamentaux : le bon sens et la sensibilité, qui seraient incarnés par deux sours, Elinor et Marianne. Mais l'une et l'autre sont bien pourvues de ces deux qualités, si Elinor possède plus de jugement, et si Marianne, en adepte du romantisme, a tendance à cultiver les élans de sa sensibilité.
Notamment lorsqu'elle tombe aveuglément amoureuse du héros de ses rêves, Willoughby, un homme superficiel, tourné vers l'argent, qui va la décevoir profondément. La sage, la raisonnable Elinor, qui l'avait mise en garde, avait-elle donc raison ? Et le secret du bonheur serait-il dans l'usage du jugement ? C'est l'être isolé affrontant la société, qu'analyse Jane Austen. La raison consiste à s'ajuster au monde, et non à le braver, à observer des règles qu'on ne peut changer, plutôt qu'à cultiver des rêves et des états d'âme condamnés à rester sans réponse.

''ყველაფერი იგი გაქრა,
ვით სიზმარი გვიანი,
დრომ ახალი ძალით დაჰკრა:
სხვაა ადამიანი.
რუსოს ხანა, ოხვრა რონის,
ტრიანონის ცდომანი...''
გ ა ლ ა კ ტ ი ო ნ ი

«საფრანგეთის დიდებული ერი ჰქმნის დიდებულ ადამიანებს არა მხოლოდ
საფრანგეთისათვის, არამედ ყველა ერისათვის. სალამი საფრანგეთს!»

ეს სიტყვები ილია ჭავჭავაძის ნათქვამია.
მართლაც, სალამი, სახელი და დიდება საფრანგეთს! რამდენი გამოჩენილი და
სახელოვანი ადამიანი აღუზარდა და მისცა მან კაცობრიობას. ყველას ვინ ჩამოთვლის...
მათ შორის ჟან-ჟაკ რუსოს ერთ-ერთი უპირველესი ადგილი უჭირავს.
"უსახლკარო" ფრანგი მწერლის, ჰექტორ მალოს ყველაზე ცნობილი რომანია. ის ერთ-ერთ საუკეთესო საბავშვო ნაწარმოებადაა მიჩნეული, თუმცა, როგორც ცნობილია, თავად მწერლის მიზანი საბავშვო წიგნის დაწერა არ ყოფილა. 1878 წელს დაწერილმა, პატარა ბიჭის ამაღელვებელმა ისტორიამ, მსოფლიოს მრავალი ქვეყნის მკითხველის სიყვარული დაიმსახურა. ამ ნაწარმოების მიხედვით რამდენიმე მხატვრული და მულტიპლიკაციური ფილმია გადაღებული.
ჭეშმარიტება ის არის, რაც ცხოვრებაში თავის თავს ამართლებს - ამის სჯერა ულამაზეს პაოლა ფორესტს, უმდიდრესი დიკ ფორესტის ცოლს, დიდი სახლის პატარა დიასახლისს, რომლისთვისაც მთავარი ზნეობრივი ფასეულობებია - ერთგულება, პატიოსნება, სხვაზე ზრუნვა... რომანის სიუჟეტი ეყრდნობა ‘`სასიყვარულო სამკუთხედს’’ - პაოლას სენტიმენტალურ სიყვარულს ქმრისა და მისი მეგობრის მიმართ. უაღრესად ემოციური დიალოგების ფონზე თანდათან ვუახლოვდებით დასასრულს და ერთი სული გვაქვს გავიგოთ: როგორ იპოვა პაოლამ აქედან სუფთა და კეთილშობილი გამოსავალი? ამ რომანიდან კიდევ ერთხელ ვრწმუნდებით, რომ, ის რაც ცხოვრებაში გვაწბილებს, ზოგჯერ ძალასა და სიბრძნეს გვმატებს.  

დასაწყისი: თავდაპირეველად ის ქრისტოფერ ბელიუ იყო. კოლეჯში რომ სწავლობდა,
ქრის ბელიუდ იქცა. უფრო მოგვიანებით,  სან-ფრანცისკოს ბოჰემურ წრეებში,
კიტ ბელიუ შეარქვეს; ბოლოს კი სმოკ ბულიუ გახდა და სხვა სახელით აღარც
იხსნიებდნენ.    

In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since.
‘Whenever you feel like criticizing any one,’ he told me, ‘just remember that all the people in this world haven’t had the advantages that you’ve had.’
He didn’t say any more but we’ve always been unusually communicative in a reserved way, and I understood that he meant a great deal more than that. In consequence I’m inclined to reserve all judgments, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about that in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men. Most of the confidences were unsought—frequently I have feigned sleep, preoccupation, or a hostile levity when I realized by some unmistakable sign that an intimate revelation was quivering on the horizon—for the intimate revelations of young men or at least the terms in which they express them are usually plagiaristic and marred by obvious suppressions. Reserving judgments is a matter of infinite hope. I am still a little afraid of missing something if I forget that, as my father snobbishly suggested, and I snobbishly repeat a sense of the fundamental decencies is parcelled out unequally at birth.

This sort of character is met with pretty frequently in a certain class. They are people who know everyone—that is, they know where a man is employed, what his salary is, whom he knows, whom he married, what money his wife had, who are his cousins, and second cousins, etc., etc. These men generally have about a hundred pounds a year to live on, and they spend their whole time and talents in the amassing of this style of knowledge, which they reduce—or raise—to the standard of a science.
During the latter part of the conversation the black-haired young man had become very impatient. He stared out of the window, and fidgeted, and evidently longed for the end of the journey. He was very absent; he would appear to listen-and heard nothing; and he would laugh of a sudden, evidently with no idea of what he was laughing about.
Many of the characters are well-known: Valjean, the criminal trying to escape his reputation; Javert, the police agent trailing him; the unfortunate Fantine and her daughter, Cosette; the rascally Thenardier; and, above all the splendid street urchin, Gavroche. Among the unforgettable descriptions are those of the Paris sewers, the battle of Waterloo and the fighting at the barricades during the July Revolution. There are few more complete, or more vivid, pictures of France at the beginning of the nineteenth century. "Les Miserables" is at once a thrilling narrative and a social document embracing a wider field than any other novel of its time.

After the first surprise of the intelligence had a little abated, a rumor was spread through the entrenched camp, which stretched along the margin of the Hudson, forming a chain of outworks to the body of the fort itself, that a chosen detachment of fifteen hundred men was to depart, with the dawn, for William Henry, the post at the northern extremity of the portage. That which at first was only rumor, soon became certainty, as orders passed from the quarters of the commander-in-chief to the several corps he had selected for this service, to prepare for their speedy departure. All doubts as to the intention of Webb now vanished, and an hour or two of hurried footsteps and anxious faces succeeded. The novice in the military art flew from point to point, retarding his own preparations by the excess of his violent and somewhat distempered zeal; while the more practiced veteran made his arrangements with a deliberation that scorned every appearance of haste; though his sober lineaments and anxious eye sufficiently betrayed that he had no very strong professional relish for the, as yet, untried and dreaded warfare of the wilderness. At length the sun set in a flood of glory, behind the distant western hills, and as darkness drew its veil around the secluded spot the sounds of preparation diminished; the last light finally disappeared from the log cabin of some officer; the trees cast their deeper shadows over the mounds and the rippling stream, and a silence soon pervaded the camp, as deep as that which reigned in the vast forest by which it was environed.

Under certain circumstances there are few hours in life more agreeable than the hour dedicated to the ceremony known as afternoon tea. There are circumstances in which, whether you partake of the tea or not—some people of course never do—the situation is in itself delightful. Those that I have in mind in beginning to unfold this simple history offered an admirable setting to an innocent pastime. The implements of the little feast had been disposed upon the lawn of an old English country-house, in what I should call the perfect middle of a splendid summer afternoon. Part of the afternoon had waned, but much of it was left, and what was left was of the finest and rarest quality. Real dusk would not arrive for many hours; but the flood of summer light had begun to ebb, the air had grown mellow, the shadows were long upon the smooth, dense turf. They lengthened slowly, however, and the scene expressed that sense of leisure still to come which is perhaps the chief source of one’s enjoyment of such a scene at such an hour.