Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Ðåçíèêîâà Í. Â., Î ïðîøëîì ïî-àíãëèéñêè — 2015

Îñíîâó ó÷åáíèêà ñîñòàâëÿþò îðèãèíàëüíûå òåêñòû èñòîðèêî-êóëüòóðíîãî ñîäåðæàíèÿ. Êàæäûé òåêñò ñîïðîâîæäàåòñÿ êîìïëåêñîì ëåêñèêî-ãðàììàòè÷åñêèõ óïðàæíåíèé è êîììåíòàðèåì ê òåðìèíîëîãè÷åñêèì è ñòèëèñòè÷åñêèì îñîáåííîñòÿì ìàòåðèàëà. Ó÷åáíèê ïðåäíàçíà÷åí äëÿ èçó÷åíèÿ àíãëèéñêîãî ÿçûêà íà ïðîäâèíóòîì ýòàïå è ñîîòâåòñòâóåò ïðîãðàììàì ïî èíîñòðàííûì ÿçûêàì äëÿ íåÿçûêîâûõ âóçîâ Ìèíèñòåðñòâà îáùåãî è ïðîôåññèîíàëüíîãî îáðàçîâàíèÿ ÐÔ. Ó÷åáíèê ðàññ÷èòàí íà ñòóäåíòîâ ñòàðøèõ êóðñîâ èñòîðè÷åñêèõ ôàêóëüòåòîâ âûñøèõ ó÷åáíûõ çàâåäåíèé, ìàãèñòðîâ è àñïèðàíòîâ. Åãî ìîæíî èñïîëüçîâàòü êàê ïðàêòè÷åñêîå ïîñîáèå äëÿ äðóãèõ ãóìàíèòàðíûõ íàïðàâëåíèé - êóëüòóðîëîãèè, èñòîðèè ìåæäóíàðîäíûõ îòíîøåíèé, ñîöèîëîãèè è íà ïåðåâîä÷åñêèõ îòäåëåíèÿõ ãóìàíèòàðíûõ ôàêóëüòåòîâ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Dunn J., Daphne du Maurier and Her Sisters — 2014

The middle sister in a famous artistic dynasty, Daphne du Maurier is one of the master storytellers of our time, author of —Rebecca—, —Jamaica Inn— and —My Cousin Rachel—, and short stories, —Don—t Look Now— and the terrifying —The Birds— among many. Her stories were made memorable by the iconic films they inspired, three of them classic Hitchcock chillers. But it was her sisters, writer Angela and artist Jeanne,who found the courage to defy the conventions that hampered Daphne—s emotional life. In this group biography they are considered side by side, as they were in life, three sisters who grew up during the 20th century in the glamorous hothouse of a theatrical family dominated by a charismatic and powerful father. This family dynamic reveals the hidden world of the three sisters — Piffy, Bird & Bing, as they were known to each other — full of social non-conformity, love, rivalry and compulsive make-believe, their lives as psychologically complex as a Daphne du Maurier novel.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Äàíí Ð., Äèêèé ìèð íàøåãî òåëà. õèùíèêè, ïàðàçèòû è ñèìáèîíòû, êîòîðûå ñäåëàëè íàñ òàêèìè, êàêèå ìû åñòü — 2014

Àâòîð ýòîé êíèãè, ïðîôåññèîíàëüíûé áèîëîã, ðàññêàçûâàåò, êàêîå âëèÿíèå íà íàøó æèçíü è çäîðîâüå îêàçûâàþò äðóãèå âèäû æèâûõ ñóùåñòâ, ñ êîòîðûìè îðãàíèçì ÷åëîâåêà òåñíî ñîòðóäíè÷àåò. Ìû ïî÷òè íå çàìå÷àåì ýòîãî âçàèìîäåéñòâèÿ, îäíàêî ñðåäè ïàðàçèòîâ è õèùíèêîâ, æèâóùèõ â íàøåì òåëå, íåìàëî äðóçåé, êîòîðûå íåîáõîäèìû äëÿ íàøåãî çäîðîâüÿ è ñïîñîáíîñòè âûæèâàòü â ñëîæíûõ ñèòóàöèÿõ

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû ïî åñòåñòâåííûì è òåõíè÷åñêèì íàóêàì

Ïîäðîáíàÿ èíôîðìàöèÿ

Analog Science Fiction and Fact July/August — 2001

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Analog Science Fiction and Fact December — 2001

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Analog Science Fiction and Fact February — 1997

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

British Short Stories of Today — 1987

All these stories were written this century, most very recently, by talented beginners or established authors as famous as Arthur C.Clarke, Elspeth Davie, Thomas Hinde and Colin Thubron. Set in every corner of the British Isles, as well as in Kashmir, the Australian outback and a French launderette, these miniature dramas tell of a romantic, if painful, encounter at a cycle race, an obsessive tourist guide, a convent with problems and a Trotskyist bookseller. Comic or sad, exciting or thoughtful, they are deeply revealing about today's Britain and,with notes explaining the obscure words and technical terms, make a highly entertaining anthology, ideal for the serious student of life in Britain today or for anyone who simply enjoys a good read

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Õüþñòîí Ó., Êàê ìíå óçíàòü — 1985

Ñîäåðæàíèå: Êàê ìíå óçíàòü (How will I know)/George Merrill, Shannon Rubicam; Âíåçàïíî (All at once) / M. Masser, J. Osborne; Îáåðåãàé ìîå ñåðäöå (äóýò ñ Äæåðìåíîì Äæåêñîíîì)(Òàke good care of my heart)(Duet with Jermaine Jackson)/ Peter McCann, Steve Dorff; Îãðîìíàÿ ëþáîâü(Greatest love of all) /Michael Masser, Linda Creed); Òû äàðèøü ìíå ëþáîâü (You give good love) / Lala;  ìûñëÿõ î òåáå (Thinking about you) / Kashif, Lala ; ß íàéäó åãî (Someone for me) / Raymond Jones, Freddie Washington; Ìîÿ ëþáîâü - òåáå (Saving all my love for you) / Michael Masser, Gerry Goffin); Íèêòî ìåíÿ íå ëþáèò òàê, êàê òû (äóýò ñ Äæåðìåíîì Äæåêñîíîì) (Nobody loves me like you do) (duet with Jermaine Jackson) /James P. Dunne, Pamela Phillips

Ìåñòîíàõîæäåíèå èçäàíèÿ: Ìóçûêàëüíûé ïîäâàë

Ïîäðîáíàÿ èíôîðìàöèÿ

50 Great American Short Stories — 1972

A brilliant,far-reaching collection of stories from Washington Irving to John Updike

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Dunning J. H., Salem Brownstone. All Along the Watchtowers — 2010

A mundane life takes a strange and magical turn in this rich gothic fantasy told with vivid black-and-white art — a graphic novel perfect for a Halloween night. As he twists the key and slowly creeps into the grand mansion left to him in his father's will, Salem Brownstone has an eerie feeling that his world is about to change. First there's the appearance of a beguiling contortionist from Dr. Kinoshita's Circus of Unearthly Delights . . . then a crystal ball . . . then an attack by the sinister Shadow Boys. It seems the father that Salem never knew was actually a powerful magician, and the son has inherited his dark legacy — and an unfinished battle for life or death. With intriguing echoes of Tim Burton, Edward Gorey, H. P. Lovecraft, and Aubrey Beardsley, this album-format, beautifully cloth-bound graphic novel forges a mesmerizing style all its own.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Äàíí Ð., Ýïîõà ðåëèãèîçíûõ âîéí, 1559-1689 — 2011 (Õðîíèêè âîåííûõ ñðàæåíèé)

Ïðîôåññîð èñòîðèè Ïåíñèëüâàíñêîãî óíèâåðñèòåòà Ðè÷àðä Ñ.Äàíí ïîëîæèë â îñíîâó ñâîåé êíèãè âîäîâîðîò ðåëèãèîçíûõ ñîáûòèé â Åâðîïå â ýïîõó àáñîëþòèçìà. 130 ëåò ìåæäó 1559 è 1689 ãã. áûëè ýïîõîé ïðîòåñòàíòñêî-êàòîëè÷åñêîé áîðüáû, ïðîÿâèâøåé âñå ðàñøèðÿþùóþñÿ ïðîïàñòü ìåæäó Çàïàäíîé è Âîñòî÷íîé Åâðîïîé. Ãðàæäàíñêàÿ âîéíà âî Ôðàíöèè, âîññòàíèå â Íèäåðëàíäàõ ïðîòèâ Ôèëèïïà II, øîòëàíäñêèé áóíò ïðîòèâ Ìàðèè Ñòþàðò, èñïàíñêàÿ àòàêà Àíãëèè, Òðèäöàòèëåòíÿÿ âîéíà â Ãåðìàíèè, ïóðèòàíñêàÿ ðåâîëþöèÿ, Ñëàâíàÿ ðåâîëþöèÿ â Àíãëèè - âñå ýòî ðåëèãèîçíûå êîíôëèêòû, íî âûçâàííûå îäíîâðåìåííî è äðóãèìè ïðè÷èíàìè. Èäåîëîãè÷åñêîå ïðîòèâîñòîÿíèå, àêòèâíî ðàñïðîñòðàíèâøååñÿ ñ ïðåêðàùåíèåì äèíàñòè÷åñêèõ âîéí ìåæäó Ãàáñáóðãàìè è Âàëóà, íàëîæèëî îòïå÷àòîê ïðàêòè÷åñêè íà âñå ñòîðîíû åâðîïåéñêîé æèçíè: íà ïîëèòèêó ïàðòèé, íà ñîöèàëüíóþ ñòðóêòóðó, íà íàóêó, ôèëîñîôèþ è èñêóññòâî...

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû ïî îáùåñòâåííûì è ãóìàíèòàðíûì íàóêàì

Ïîäðîáíàÿ èíôîðìàöèÿ

Dunn M., The Absolutely Perfect Horse — 1989

For Annie and Petey Braeden, it is a year of changes. Their father is wounded in Vietnam and retires from the service. The family moves to a farm in East Texas. Soon there's a new baby in the house, and Taro - a Vietnamese boy who saved Mr. Braeden's life during the war. Petey's thrilled to have an adopted brother, but Annie doesn't trust Taro. She turns away and dreams of buying the Chief, an old Indian pony, to save him from being sold for dogmeat. Everyone thinks Annie's crazy. She can't even ride the Chief. But the old pony has plenty of courage left in his bones - he even teaches Annie a thing or two about love. And when the Chief comes to the family's rescue one terrible afternoon, he proves he really is the absolutely perfect horse.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ