Задание 1. Прочитайте текст Job Advertisements и выпишите общие и отличающиеся черты объявлений о найме на работу в разных странах. JOB ADVERTISEMENTS Checking out job advertisements is popular with executives worldwide. But though the activity is universal, is the same true of the advertisement? Are executive positions in different countries advertised in the same way? A comparison of the jobs pages of The Times of London, Le Monde of Paris and Germany’s Frankfurter Allgemeine Zeitung suggests not. First, what UK job seekers consider an essential piece of information – what the post pays – is absent from French and German adverts. It is often left to applicants to raise this themselves. In contrast, most British advertisements mention not only salary, but also other material incentives including a car and fridge benefits. French or German advertisements rarely refer to these. The attention given to rewards in the UK indicates the importance of the job and its responsibility. In France and Germany, that information is given by the level of experience and qualifications demanded. Salary can be assumed to correspond with this. If France and German adverts are vague about material rewards, they are precise about qualifications. They usually demand “a degree in …”, not simply “a degree”. In Germany, for example, a technical director for a machine tool company will be expected to have a Dipl.-Ing degree in Mechanical Engineering. French advertisements go further. They may specify not just the type of grande ecole degree, but sometimes a particular set of institutions, these being the most famous grandes ecoles. All this contrasts with the vague call for “graduates” (or “graduate preferred”) which is found in the UK. British companies often give the impression that they have a particular type of applicant in mind, but are not sure about the supply and will consider others. Their wording suggests hope and uncertainty, as in this advertisement from The Times: “Whilst educational standards are obviously important, a large measure of personal enthusiasm is likely to secure the success of your application.” In the UK qualifications beyond degree level make employers nervous, but in France and Germany it is difficult to be “overqualified.” Many people in German executive boards have doctorates and French regard five or six years of intensive post-baccalaureat study at a grand ecole as ideal training. British managers are not selected primarily for their intelligence, as managers are in France, or for their expert knowledge, as in Germany. Instead, the British give importance to social, political and leadership skills. This difference also shows in the personal qualities mentioned. British advertisements stress energy, ability to communicate and motivate. German advertisements like achievement, but it tends to be less personality-driven. German companies want candidates with sound knowledge, experience and competence in their field. They rarely recruit novices as do British employers. French advertisements refer more to intellectual qualities like analytical aptitude and independence. Even the tone of the job advertisements is different in the three countries. By French and German standards, British advertisements are very exciting. They attract young executives with challenges such as: “Are you reaching your potential?”, whereas French and German advertisements are boringly direct, aiming to give information about the job rather than to sell it. All this points to three different conceptions of management. The French regard it as intellectually complex, the Germans as technically complex, and the British as interpersonally complex. But they agree on one thing: it’s complex.

Akhmatova was the pen name of Anna Andreevna Gorenko, the leader and the heart and soul of St Petersburg tradition of Russian poetry in the course of half a century. Akhmatova's work ranges from short lyric poems to universalized, ingeniously structured cycles, such as Requiem (1935-40), her tragic masterpiece on the Stalinist terror. Her work addresses a variety of themes including time and memory, the fate of creative women, and the difficulties of living and writing in the shadow of Stalinism.

Akhmatova was born near Odessa. Her childhood does not appear to have been happy; her parents separated in 1905. She was educated in Kiev, Tsarskoe Selo, and the Smolny Institute of St Petersburg. Anna started writing poetry at the age of 11, inspired by her favourite poets: Racine, Pushkin, and Baratynsky. As her father did not want to see any verses printed under his "respectable" name, she had to adopt the surname of one of her Tatar ancestors as a pseudonym.

In 1910, she married the boyish poet Nikolay Gumilyov, who very soon left her for hunting lions in Africa, the battlefields of the World War I, and the society of Parisian grisettes. Her husband didn't take her poems seriously and was shocked when Alexander Blok declared to him that he preferred her poems to his. Their son, Lev, born in 1912, was to become a famous historian.

In 1912, she published her first collection, entitled Evening. It contained brief, psychologically taut pieces which English readers may find distantly reminiscent of Robert Browning and Thomas Hardy.

By the time her second collection, the Rosary, appeared in 1914, there were thousands of women composing their poems "after Akhmatova". Her early poems usually picture a man and a woman involved in the most poignant, ambiguous moment of their relationship. Such pieces were much imitated and later parodied by Nabokov and others. Akhmatova was prompted to exclaim: "I taught our women how to speak but don't know how to make them silent".

Nikolay Gumilyov was executed in 1921 for activities considered anti-Soviet; Akhmatova presently remarried Vladimir Shilejko, and then another scholar, Nikolay Punin, who died in the Stalinist camps. After that, she spurned several proposals from the married poet Boris Pasternak.

During the whole period from 1925 to 1952, Akhmatova was effectively silenced, unable to publish poetry. All of her friends either emigrated or were repressed. Her son spent his youth in Stalinist gulags, and she even resorted to publishing several poems in praise of Stalin to secure his release. Their relations remained strained, however.

Only a few people in the West suspected that she was still alive, when she was allowed to publish a collection of new poems in 1940. During the Great Patriotic War, when she witnessed the nightmare of the 900-Day Siege, her patriotic poems found their way to the front pages of the Pravda. After Akhmatova returned to Leningrad following the Central Asian evacuation in 1944, she was disconcerted with "a terrible ghost that pretended to be my city".

After Stalin's death, Akhmatova's preeminence among Russian poets was grudgingly conceded even by party officials. Akhmatova got a chance to meet some of her pre-revolutionary acquaintances in 1965, when she was allowed to travel to Sicily and England, in order to receive the Taormina prize and the honorary doctoral degree from Oxford University (in the trip she was accompanied by her life-long friend and secretary Lydia Chukovskaya). In 1962, her dacha was visited by Robert Frost.

Akhmatova's reputation continued to grow after her death, and it was in the year of her centenary that one of the greatest poetic monuments of the 20th century, Akhmatova's Requiem, was finally published in her homeland.

There is a museum devoted to Akhmatova at the Fountain House (more properly known as the Sheremetev Palace) on the Fontanka Embankment, where Akhmatova lived from the mid 1920s until 1952.