Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Waller T., Rhythm and Blues. album — [1949]

Âëàäåëü÷åñêèé êîíâîëþò îáúåäèíÿåò 12 èçäàíèé ïîïóëÿðíûõ ïðîèçâåäåíèé äëÿ ôîðòåïèàíî, âûïóùåííûõ â íà÷àëå XX âåêà àìåðèêàíñêèìè èçäàòåëüñòâàìè.

Ñîäåðæàíèå: Honeysuckle Rose / Thomas Waller, Andy Razaf. Memrhis Blues / W.C. Handy. Blues (My Naughty Sweetie Gives to Me) / Arthur N. Swanstone, Chas R. Mc. Carron and Carey Morgan. Mississippi Mud / Harry Barris. Canal Street Blues / Joe (King) Oliver, arranged by Stan Butcher. When The Saints Go Marching In / arranged by Stan Butcher. That`s A-plenty / musik by Lew Pollack, lyric by Ray Gilbert. Georgia on My Mind / music by Hoagy Carmichael, lyric by Stuart Gorrell. Dixie Band Stomp / Joe Daniels, Stan Butcher, arranged by Stan Butcher. Things Ain`t What They Used to Be / music by Mercer Elligton, lyric by Ted Persons. I Ain`t Got Nobody (And There`s Nobody Cares For Me) / words and music by Roger Gaham and Spencer WIlliams. Perdido / music by Juan Tizol, lyrics by Harry Lenk and Ervin Drake.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Îòäåë èçäàíèé ïî ìóçûêå è ôîíîòåêà

Ïîäðîáíàÿ èíôîðìàöèÿ

Êàððèîí Õ., Âûìûøëåííûå áèáëèîòåêè è äðóãèå ýññå — 2024

Íîâûé ñáîðíèê ýññå èñïàíñêîãî ïèñàòåëÿ è êðèòèêà Õîðõå Êàððèîíà (ðîä. 1976) ïîñâÿùåí «êâàäðàòó, âåðøèíàìè êîòîðîãî ÿâëÿþòñÿ èçäàòåëüñòâà, êíèæíûå ìàãàçèíû, ÷àñòíûå è ãîñóäàðñòâåííûå áèáëèîòåêè». Êàê è â äåáþòíûõ «Êíèæíûõ ìàãàçèíàõ», àâòîð ñîåäèíÿåò ïóòåøåñòâèå è êóëüòóðíóþ èñòîðèþ â îäèí íàððàòèâ, ÷òîáû îòïðàâèòüñÿ â «ïîãîíþ çà ëèòåðàòóðíûìè òîïîãðàôèÿìè». Îí ðàññëåäóåò èñòîðèþ Âèëëû Ìàëàïàðòå, ïðîãóëèâàåòñÿ ïî Ëîíäîíó ñ ïèñàòåëåì Èýíîì Ñèíêëåðîì, áåñåäóåò ñ Àëüáåðòî Ìàíãåëåì, äèðåêòîðîì Íàöèîíàëüíîé áèáëèîòåêè Àðãåíòèíû, âñïîìèíàÿ åãî ïðåäøåñòâåííèêà — Áîðõåñà, âåäåò ïîëåìèêó î íîâûõ è áóêèíèñòè÷åñêèõ êíèæíûõ ñ ýññåèñòîì Ëóèäæè Àìàðîé, âòÿãèâàåòñÿ â áåøåíûé ðèòì æèçíè Ìàéàìè. Íåóòîìèìûé èññëåäîâàòåëü êíèæíîé òåððèòîðèè, Êàððèîí ÷óòêî ðåãèñòðèðóåò åå èçìåíåíèÿ: öèôðîâèçàöèþ è óãðîçó ñî ñòîðîíû ìàðêåòïëåéñîâ, íîâûå ôîðìàòû ìàãàçèíîâ, íîâóþ æèçíü áèáëèîòåê, ðåíåññàíñ êíèæíûõ ïðîñòðàíñòâ âïå÷àòëåíèé â Þæíîé Êîðåè è ßïîíèè. Íó è, êîíå÷íî, â î÷åðåäíîé ðàç ïðèçíàåòñÿ â ëþáâè êíèãàì, êíèæíûì ìàãàçèíàì è áèáëèîòåêàì — íå òîëüêî ôèçè÷åñêèì, íî è âûìûøëåííûì. Òåì, ÷òî ïîäàðèëè íàì èçâåñòíûå àâòîðû — Ñåðâàíòåñ, Âåðí, Áîðõåñ — â ñâîèõ ïðîèçâåäåíèÿõ, è òåì, ÷òî ñóùåñòâóþò âíóòðè êàæäîãî èç íàñ. Èçäàíèå âûõîäèò â ðàìêàõ ñîâìåñòíîãî ïðîåêòà èçäàòåëüñòâà Ad Marginem è áàíêà Òî÷êà.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Bryar C., Working Backwards. Insights, Stories, and Secrets from Inside Amazon — 2022

Colin Bryar and Bill Carr joined Amazon in the late 90s. Their time at the company covered a period of unmatched innovation that brought products and services - including Kindle, Amazon Prime, Amazon Echo and Alexa, and Amazon Web Services - to life. Through the story of these innovations they reveal the principles and practices that drive Amazon's success. Through their wealth of experience they offer unprecedented access to the 'Amazon way' as it was refined, articulated and proven to be repeatable, scalable and adaptable. Working Backwards shows how success is not achieved by the genius of any single leader, but rather through commitment to and execution of a set of well-defined, rigorously executed principles and practices that you can apply at your own company, no matter the size. An insider's view of Amazon, perfect for leaders who want to succeed in 21st-century business

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Carre J. le, Silverview — 2021

Julian Lawndsley has renounced his high-flying job in the City for a simpler life running a bookshop in a small English seaside town. But only a couple of months into his new career, Julian's evening is disrupted by a visitor. Edward, a Polish emigre living in Silverview, the big house on the edge of town, seems to know a lot about Julian's family and is rather too interested in the inner workings of his modest new enterprise. When a letter turns up at the door of a spy chief in London warning him of a dangerous leak, the investigations lead him to this quiet town by the sea.innocence and experience and between public duty and private morals. In this last complete masterwork from the greatest chronicler of our age, John le Carre asks what you owe to your country when you no longer recognise it.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Àíãëèéñêèé ñ Ëüþèñîì Êýððîëëîì.Àëèñà â ñòðàíå ÷óäåñ — 2021 (Ìåòîä îáó÷àþùåãî ÷òåíèÿ Èëüè Ôðàíêà) (Ó÷èì ÿçûê, ÷èòàÿ èíòåðåñíûå êíèãè!)

Îäíî èç ñàìûõ ïîïóëÿðíûõ ïðîèçâåäåíèé ìèðîâîé ëèòåðàòóðû, ñî÷åòàþùåå â ñåáå ïðîñòîòó äåòñêîé ñêàçêè ñ ïðè÷óäëèâîé èãðîé ëîãè÷åñêèõ ãîëîâîëîìîê, ïðèãëàøàþùåå ÷èòàòåëÿ â óâëåêàòåëüíîå ïóòåøåñòâèå, ïîëíîå òàéí è íåîæèäàííûõ îòêðûòèé, àäàïòèðîâàíî â íàñòîÿùåì èçäàíèè ïî ìåòîäó Èëüè Ôðàíêà

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Carr N. G., The Shallows. What the Internet is Doing to Our Brains — 2020

The 10th-anniversary edition of this landmark investigation into how the Internet is dramatically changing how we think, remember and interact, with a new afterword.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Àíãëèéñêèé ñ Ëüþèñîì Êýððîëëîì.Àëèñà â Çàçåðêàëüå — 2019 (Ìåòîä îáó÷àþùåãî ÷òåíèÿ Èëüè Ôðàíêà) (Ó÷èì ÿçûê, ÷èòàÿ èíòåðåñíûå êíèãè!)

 êíèãå ïðåäñòàâëåíà ïîâåñòü Ëüþèñà Êýððîëëà (1832-1898) î íîâûõ ïðèêëþ÷åíèÿõ ïîëþáèâøåéñÿ ÷èòàòåëÿì ãåðîèíè. Òåêñò ïðîèçâåäåíèÿ àäàïòèðîâàí (áåç óïðîùåíèÿ òåêñòà îðèãèíàëà) ïî ìåòîäó Èëüè Ôðàíêà

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Êýððîëë Ë., Àëèñà â ñòðàíå ÷óäåñ — 2019 (Êàðìàííîå ÷òåíèå íà àíãëèéñêîì ÿçûêå. Elementary)

Óâèäåâ îäíàæäû ñòðàííîãî áåëîãî êðîëèêà ñ êàðìàííûìè ÷àñàìè, Àëèñà òóò æå ñëåäóåò çà íèì. Âåäü åé íåîáõîäèìî óçíàòü, çà÷åì êðîëèêó íóæíû êàðìàííûå ÷àñû? Êóäà âåäåò êðîëè÷üÿ íîðà? È ãëàâíîå: ÷åì âîðîí ïîõîæ íà ïèñüìåííûé ñòîë? Òåêñò ïðîèçâåäåíèé àäàïòèðîâàí è ñîïðîâîæäàåòñÿ ñëîâàðåì. Ïðåäíàçíà÷àåòñÿ äëÿ íà÷èíàþùèõ èçó÷àòü àíãëèéñêèé ÿçûê (óðîâåíü Elementary).

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Carrisi D., La Donna dei Fiori di Carta. romanzo — 2018

Il monte Fumo e una cattedrale di ghiaccio, teatro di una battaglia decisiva. Ma l'eco dei combattimenti non varca l'entrata della caverna in cui avviene un confronto fra due uomini. Uno e un prigioniero che all'alba sarà fucilato, a meno che non riveli nome e grado. L'altro e un medico che ha solo una notte per convincerlo a parlare, ma che ancora non sa che cio che sta per sentire e molto piu di quanto ha chiesto e cambierà per sempre anche la sua esistenza. Perche le vite di questi due uomini che dovrebbero essere nemici, in realtà, sono legate. Sono appese a un filo sottile come il fumo che si leva dalle loro sigarette e dipendono dalle risposte a tre domande. Chi e il prigioniero? Chi e Guzman? Chi era l'uomo che fumava sul Titanic? Questa e la storia della verità nascosta nell'abisso di una leggenda. Questa e la storia di un eroe insolito e della sua ossessione. Questa storia e destinata al cuore di una donna misteriosa.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Êàððèçè Ä., Äåâóøêà â òóìàíå. [ðîìàí] — 2018 (Çâåçäû ìèðîâîãî äåòåêòèâà)

Çàòåðÿííûé â Àëüïàõ ñîííûé ãîðîäîê, ðîæäåñòâåíñêèé âå÷åð, òóìàí. Îò äîìà, ãäå ñèÿþò îãíè åëêè è ëåæàò ïîäàðêè, äî ïðàçäíè÷íî óêðàøåííîé ìåñòíîé öåðêâè, âñåãî òðèñòà ìåòðîâ, íî â öåðêâè þíàÿ Àííà Ëó òàê è íå ïîÿâèëàñü— Âåçäåñóùèå æóðíàëèñòû, ôîòîðåïîðòåðû è òåëåâèçèîíùèêè îñàæäàþò ãîðîäîê. Êàæäûé èç íèõ æàæäåò ïåðâûì ñîîáùèòü ñåíñàöèîííûå íîâîñòè î õîäå ðàññëåäîâàíèÿ. Ýòèì ìàñòåðñêè ïîëüçóåòñÿ ñïåöàãåíò Ôîãåëü, ïðèâëåêàÿ âíèìàíèå ê ñîáñòâåííîé ïåðñîíå. Íî ÷òî íà ñàìîì äåëå ñëó÷èëîñü ñ òèõîé ðûæåâîëîñîé äåâóøêîé è ïðè÷åì çäåñü áðîäÿ÷èé êîò?.. Äîíàòî Êàððèçè â ñâîåì íîâîì òðèëëåðå «Äåâóøêà â òóìàíå» òðàêòóåò ðàñõîæèé ñþæåò ñ áåññëåäíûì èñ÷åçíîâåíèåì â ñâîåì ôèðìåííîì ïàðàäîêñàëüíîì ñòèëå.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ëå Êàððå Ä., Ãîëóáèíûé òóííåëü. èñòîðèè èç ìîåé æèçíè. [äèïëîìàò, øïèîí, ïèñàòåëü î ïèñàòåëÿõ, øïèîíàõ, äèïëîìàòàõ] — 2017 (ìàêåò 2018)

Ýòî íå àâòîáèîãðàôèÿ, à êîëëàæ èç âîñïîìèíàíèé, ìàñòåðñêè ñîñòàâëåííûé êîðèôååì äåòåêòèâíîãî æàíðà. Äæîí Ëå Êàððå â «Ãîëóáèíîì òóííåëå» ðàññêàçûâàåò íå èñòîðèþ ñâîåé æèçíè, à èñòîðèè èç ñâîåé æèçíè, è èõ ó íåãî íåìàëî. Ãåðìàíèÿ íà÷àëà øåñòèäåñÿòûõ, Ðîññèÿ íà÷àëà äåâÿíîñòûõ, áåñåäû ñ Ìàðãàðåò Òýò÷åð è ßñèðîì Àðàôàòîì, ïîïûòêè ðàáîòàòü ñî Ñòýíëè Êóáðèêîì è Ôðýíñèñîì Ôîðäîì Êîïïîëîé, âñòðå÷è ñî çíàìåíèòûìè ðàçâåä÷èêàìè è øïèîíàìè è âîñïîìèíàíèÿ î ðîäèòåëÿõ — îá óøåäøåé èç ñåìüè ìàòåðè è îá àâàíòþðèñòå-îòöå.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Carroll L., Alice s Adventures in Wonderland. Through the Looking-Glass — 2017 (My favourite fiction)

Ëüþèñ Êýððîëë, íàñòîÿùåå èìÿ ×àðëüç Äîäæñîí, — àíãëèéñêèé ïèñàòåëü, ìàòåìàòèê, ëîãèê, ôèëîñîô, äèàêîí è ôîòîãðàô.  èçäàíèå âîøëè äâå ïîâåñòè-ñêàçêè "Àëèñà â Ñòðàíå ÷óäåñ" (1865) è "Àëèñà â Çàçåðêàëüå" (1871). Íåïîäðàæàåìûé àâòîðñêèé ñòèëü ïîâåñòâîâàíèÿ, ïóòåøåñòâèÿ â ôàíòàñòè÷åñêèå ìèðû ñ ïðè÷óäëèâûìè ãåðîÿìè è ïî ñåé äåíü çàõâàòûâàþò íå òîëüêî þíûõ, íî è âçðîñëûõ ÷èòàòåëåé.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ëå Êàððå Ä., Òàêîé æå ïðåäàòåëü, êàê ìû — 2016 (CORPUS)

Íå ïåðâîå ïîêîëåíèå ÷èòàòåëåé âñåãî ìèðà ñ íåòåðïåíèåì æäåò âûõîäà êàæäîé íîâîé êíèãè áðèòàíñêîãî ìýòðà.  ïðîøëîì ñîòðóäíèê MI-6, Äæîí Ëå Êàððå çíàåò î ðàáîòå ñïåöñëóæá êóäà áîëüøå, ÷åì íóæíî äëÿ äóøåâíîãî êîìôîðòà, - åãî ãåðîè æèâóò ïîä äàâëåíèåì âå÷íîãî âûáîðà ìåæäó äîëãîì è ÷åñòüþ. Øåäåâðû øïèîíñêîãî ðîìàíà, âûõîäÿùèå èç-ïîä ïåðà Ëå Êàððå, ïå÷àëüíûå è èðîíè÷íûå, òðîãàòåëüíûå è áåñïîùàäíûå, ïî ïðàâó çàíèìàþò ïî÷åòíóþ ïîëêó â ëþáîé äîìàøíåé áèáëèîòåêå. íîâîì ðîìàíå "Òàêîé æå ïðåäàòåëü, êàê ìû" ìîëîäàÿ àíãëèéñêàÿ ïàðà óñòðàèâàåò ñåáå ðîìàíòè÷åñêèå êàíèêóëû íà Àíòèãóà, ãäå çàâîäèò çíàêîìñòâî ñ ðóññêèì áîãà÷îì, îòìûâàþùèì äåíüãè äëÿ ïðåñòóïíûõ ãðóïïèðîâîê, ÷üè ëèäåðû âîò-âîò ñïèøóò åãî ñî ñ÷åòîâ. ×òîáû ñïàñòè ñåáÿ è ñåìüþ, îí ïðåäëàãàåò ðàçâåäêå Âåëèêîáðèòàíèè ìîðå öåííûõ ñâåäåíèé â îáìåí íà çàùèòó è ïîêðîâèòåëüñòâî. Åãî ïîñëåäíÿÿ îò÷àÿííàÿ íàäåæäà - íà "àíãëèéñêèõ äæåíòëüìåíîâ", êîòîðûå âñåãäà "èãðàþò ÷åñòíî".

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Fisher C., The princess diarist — 2016

The Princess Diarist is Carrie Fisher—s intimate, hilarious and revealing recollection of what happened behind the scenes on one of the most famous film sets of all time, the first Star Wars movie.When Carrie Fisher recently discovered the journals she kept during the filming of the first Star Wars movie, she was astonished to see what they had preserved—plaintive love poems, unbridled musings with youthful naiveté, and a vulnerability that she barely recognized. Today, her fame as an author, actress, and pop-culture icon is indisputable, but in 1977, Carrie Fisher was just a (sort-of) regular teenager.With these excerpts from her handwritten notebooks, The Princess Diarist is Fisher—s intimate and revealing recollection of what happened on one of the most famous film sets of all time—and what developed behind the scenes. And today, as she reprises her most iconic role for the latest Star Wars trilogy, Fisher also ponders the joys and insanity of celebrity, and the absurdity of a life spawned by Hollywood royalty, only to be surpassed by her own outer-space royalty. Laugh-out-loud hilarious and endlessly quotable, The Princess Diarist brims with the candor and introspection of a diary whie offering shrewd insight into the type of stardom that few will ever experience

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Êýððîëë Ë., Îõîòà íà Óãàäà è ïðî÷èå ñòðàííûå èñòîðèè — 2015

 ñáîðíèê âîøëè èçáðàííûå ïðîèçâåäåíèÿ àíãëèéñêîãî ïèñàòåëÿ Ëüþèñà Êýððîëëà, ïðèíåñøèå åìó ñëàâó íàðÿäó ñî ñêàçêàìè îá Àëèñå, - "Îõîòà íà Óãàäà", "Òðè ãîëîñà", "Ôîòîñú¸ìêà Ãàéàâàòû", "Çàòÿíóâøååñÿ ñâàòîâñòâî" è äðóãèå - â ïåðåâîäàõ è ñ êîììåíòàðèÿìè ëèíãâèñòà è ïåðåâîä÷èêà, äîêòîðà ôèëîëîãè÷åñêèõ íàóê Ä.È.Åðìîëîâè÷à. Íåêîòîðûå ïðîèçâåäåíèÿ âïåðâûå ïóáëèêóþòñÿ â ïîëíîé îðèãèíàëüíîé âåðñèè è â ïðîôåññèîíàëüíîì ïåðåâîäå íà ðóññêèé ÿçûê.  ðàçäåë "Ïðèëîæåíèå" âêëþ÷åíû îáðàçöû òâîð÷åñòâà ìàñòåðîâ àíãëèéñêîé ïîýçèè íîíñåíñà Ý.Ëèðà è À.Ìèëíà. Âñå ëèòåðàòóðíûå òåêñòû íàïå÷àòàíû â êíèãå ïàðàëëåëüíî íà àíãëèéñêîì è ðóññêîì ÿçûêàõ.

Ñîäåðæàíèå: ËèìåðèêèÓòåíêî è ÊåíãóðóÑîâåòû âðà÷à

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Êàððåëü À., Èñòîðèÿ êîíòððåâîëþöèè â Àíãëèè ïðè Êàðëå II è Èàêîâå II — 2015 (Àêàäåìèÿ ôóíäàìåíòàëüíûõ èññëåäîâàíèé. ÀÔÈ : èñòîðèÿ)

Ðåïðèíòíîå èçäàíèå. Êíèãà ðåêîìåíäóåòñÿ èñòîðèêàì, îáùåñòâîâåäàì, ïîëèòîëîãàì, à òàêæå øè]ðîêîìó êðóãó ÷èòàòåëåé, èíòåðåñóþùèõñÿ èñòîðèåé Ñðåäíèõ âåêîâ è Íîâîãî âðå]ìåíè, çàêîíîìåðíîñòÿìè îáùåñòâåííîãî ðàçâèòèÿ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû ïî îáùåñòâåííûì è ãóìàíèòàðíûì íàóêàì

Ïîäðîáíàÿ èíôîðìàöèÿ

Carroll N., Humour — 2014 (Very short introductions. 378)

Humour is a universal feature of human life. In this Very Short Introduction Noel Carroll considers the nature and value of humour, from its leading theories and its relation to emotion and cognition, to ethical questions of its morality and its significance in shaping society. Humour has been discovered in every known human culture and thinkers have discussed it for over two thousand years. Humour can serve many functions; it can be used to relieve stress, to promote goodwill among strangers, to dissipate tension within a fractious group, to display intelligence, and some have even claimed that it improves health and fights sickness. In this Very Short Introduction Noel Carroll examines the leading theories of humour including The Superiority Theory and The Incongruity Theory. He considers the relation of humour to emotion and cognition, and explores the value of humour, specifically in its social functions. He argues that humour, and the comic amusement that follows it, has a crucial role to play in the construction of communities, but he also demonstrates that the social aspect of humour raises questions such as 'When is humour immoral?' and 'Is laughing at immoral humour itself immoral?'.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Carre J. le, Our Game — 2013

The Cold War is over and retired secret servant Tim Cranmer has been put out to pasture, spending his days making wine on his Somerset estate. But then he discovers that his former double agent Larry - dreamer, dissolute, philanderer and disloyal friend - has vanished, along with Tim's mistress. As their trail takes him to the lawless wilds of Russia and the North Caucasus, he is forced to question everything he stood for. Set in a fragmented, uncertain post-Soviet world, le Carre's brutal story of falsehoods and betrayal shows men playing dangerous games beyond their control.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Carrasco D., The Aztecs — 2011 (Very short introductions. 296)

Drawing on a widó range of sources, including the Aztecs' own writings, David Carrasco here sheds light on everything from the cosmic significance of their capital city to the contributions women made to daily life and the empire. Carrasco offers a compact history of the Aztecs, outlining the rise of the Aztec empire, the arrival of the Spaniards, and urban life in Mesoamerica. He also explores Aztec religion - which provided both justification for aòâ alternatives to warfare, sacrifice, and imperialism - as well as Aztec poetry, philosophy, painting, and especially monumental sculpture and architecture. He concludes by looking at how the Aztecs have been portrayed in Western thought, art, film, and literature.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Jones C., After Obsession — 2011

Aimee's deceased mother struggled with mental illness & hallucinations, & Aimee thinks it could be hereditary. Alan is Aimee's best friend Courtney's cousin. He is in touch with a kind of spiritual mysticism from his Native American heritage. In a desperate plea to find her father, Courtney invites a demonic presence into her life.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ