Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: On December 8, 1991, even before the Soviet Union was officially dissolved, the leaders of Russia, Belarus, and Ukraine met in the Belovezh Forest outside Minsk to lay the groundwork for the post-Soviet era. There they signed what became known as the Belovezh Accords, creating the Commonwealth of Independent States (CIS). Two weeks later, eight other Soviet republics joined the three founding members. In the void left by the collapse of the USSR, the CIS was to become a superstructure that would coordinate the foreign and security policies of the member states, develop a common economic space, and provide for an orderly transition from the Soviet Union to the post-Soviet phase. In reality, the CIS has failed. For Russia, the CIS has not served as a vehicle for exerting control over its neighbors. As an organization, the CIS has not succeeded at reintegrating the post-Soviet states. The desire of the new nations to assert themselves as independent entities has proven more powerful than their urge to replace the Soviet Union with a new system of collective government. Written by three of the West's leading experts on the former Soviet Union, this book offers a comprehensive assessment of how and why the CIS has failed.

Àííîòàöèÿ: Äæåññèêà Àíäåðñîí ïðèíàäëåæèò ê ÷èñëó íàèáîëåå èçâåñòíûõ ñîâðåìåííûõ àâñòðàëèéñêèõ ïèñàòåëåé. Îíà - àâòîð íåñêîëüêèõ ðîìàíîâ è ïüåñ. Àíäåðñîí íå óãëóáëÿåòñÿ â ïñèõîëîãè÷åñêèå ïîäðîáíîñòè è èçûñêàíèÿ - îíà ïèøåò ëåãêî, áåãëî, íî ïðè ýòîì óìååò âûñâåòèòü íå÷òî îñîáåííî âàæíîå â îáëèêå è ïîâåäåíèè ïåðñîíàæåé. Åå äèàëîãè - ýòî ÿðêàÿ ñîâðåìåííàÿ ðå÷ü, ïðåêðàñíî ïåðåäàþùàÿ îñîáåííîñòè îïðåäåëåííûõ ñîöèàëüíûõ ãðóïï è ðàçëè÷íûõ õàðàêòåðîâ. Ðîìàí «Ëèöåäåè» â 1980 ãîäó óäîñòîåí âûñøåé ëèòåðàòóðíîé ïðåìèè Àâñòðàëèè. «Ëèöåäåè» - ýòî îòíþäü íå ïðèìèòèâíîå «îáëè÷åíèå íðàâîâ» êàïèòàëèñòè÷åñêîãî îáùåñòâà, ïðîñòî ãåðîÿì åãî ÷àñòî ïðèõîäèòñÿ îêàçûâàòüñÿ â ñèòóàöèÿõ, òðåáóþùèõ «èãðû»

Àííîòàöèÿ: Ñáîðíèê çíàêîìèò ñ ëó÷øèìè ïðîèçâåäåíèÿìè òàêèõ ïðèçíàííûõ ìàñòåðîâ àìåðèêàíñêîé íîâåëëû ÕÕ âåêà,êàê Ý.Õåìèíãóýé, Ô.Ñ. Ôèöæåðàëüä, Ó.Ôîëêíåð, Äæ.Ñýëèíäæåð è äðóãèå, íà ÿçûêå îðèãèíàëà, à òàêæå â ïåðåâîäàõ âåäóùèõ ñîâåòñêèõ ïåðåâîä÷èêîâ. Èçäàíèå ñîïðîâîæäàåòñÿ ïîñëåñëîâèåì è êîììåíòàðèÿìè è ðàññ÷èòàíî íà ñòóäåíòîâ âûñøèõ ó÷åáíûõ çàâåäåíèé, èçó÷àþùèõ àíãëèéñêèé ÿçûê, à òàêæå íà òåõ, êòî èíòåðåñóåòñÿ ïðîáëåìàìè õóäîæåñòâåííîãî ïåðåâîäà

Àííîòàöèÿ: The wonderful anthology of verse and prose, short stories, reminiscences and diary entries, ranging from the traditional to the subversive, the whimsical to the sinister, the ironic to the tragic. Exquisitely illustrated with black and white drawings from many periods, The Christmas Reader is a perfect source-book for reading aloud to family and friends.

Àííîòàöèÿ: Voulez-Vous—øåñòîé ñòóäèéíûé àëüáîì øâåäñêîé ïîï-ãðóïïû ABBA, âûïóùåííûé â 1979 ãîäó. Ðåëèç õàðàêòåðèçóåòñÿ áîëüøèì êîëè÷åñòâîì òðåêîâ òàíöåâàëüíîé íàïðàâëåííîñòè, îäíàêî íåïðàâèëüíî îïðåäåëÿòü æàíð àëüáîìà êàê èñêëþ÷èòåëüíî «äèñêî»; òàê, ïåñíÿ «Does Your Mother Know» èìååò âïîëíå îïðåäåë¸ííûå ðîê-ìîòèâû. Ðàáîòà íàä àëüáîìîì øëà áîëåå ãîäà, è çà ýòî âðåìÿ ó÷àñòíèêàìè áûëî íàðàáîòàíî áîëüøåå êîëè÷åñòâî ìàòåðèàëà, ÷åì òî, ÷òî óäàëîñü ïîìåñòèòü íà àëüáîì

Àííîòàöèÿ: Äåéñòâèå ðîìàíà îòíîñèòñÿ ê 1944 ãîäó (áèòâà â Àðäåííàõ). Ñþæåò êíèãè ñòðîèòñÿ âîêðóã ðåøåíèÿ êîìàíäèðà íåìåöêîãî áàòàëüîíà ñäàòü ñâîå ïîäðàçäåëåíèå àìåðèêàíöàì. Ðîìàí «Âèíòåðñïåëüò» - àíòèôàøèñòñêîå ïðîèçâåäåíèå, â êîòîðîì ñòàâèòñÿ ïðîáëåìà îòâåòñòâåííîñòè ÷åëîâåêà çà âûáîð æèçíåííîé ïîçèöèè, óòâåðæäàåòñÿ íåîáõîäèìîñòü áîðüáû ñ ôàøèñòñêîé èäåîëîãèåé

Àííîòàöèÿ: Today Sherwood Anderson's place in twentieth-century literature is firmly established. His short stories and novels have earned him a unique position among the writers who have created our literary heritage. His writing is peculiarly an American phenomenon. He drew not on intellectual tradition, but upon the life he saw about him-the very air he breathed, talk by older men in small Middle Western towns who took a fancy to the brilliant, sensetive, imaginative son of a Southern drifter and tall-tale teller, memories of the few books loaned to him by his schoolmasters.He re-created scenes of action in terms of his own experience instead of leaning upon experiences gained from the works of others.His was the true creative and imaginative gift.His writings offer that rare combination of immediate enjoyment and permanent enrichment. This edition of the Portable differs from the first by the inclusion of the entire text of "Winesburg,Ohio", and an editorial abridgment of "Poor White".The introduction, chronology, and bibliography have been updated and revised accordingly.

Àííîòàöèÿ: Õðåñòîìàòèÿ ÿâëÿåòñÿ ïðàêòè÷åñêèì ïîñîáèåì äëÿ ñòóäåíòîâ, èçó÷àþùèõ àíãëèéñêèé ÿçûê è àìåðèêàíñêóþ ëèòåðàòóðó.  õðåñòîìàòèè ïðåäñòàâëåíû îòðûâêè èç ïðîèçâåäåíèé êðóïíûõ àìåðèêàíñêèõ ïðîçàèêîâ è ïîýòîâ.

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

Àííîòàöèÿ: Cêàçêè Àíäåðñåíà

Àííîòàöèÿ: Ñáîðíèê èç òðåõ ïîâåñòåé ñîâðåìåííîãî äàòñêîãî ïèñàòåëÿ î æèçíè ïîäðîñòêîâ â ðàçíûå èñòîðè÷åñêèå ýïîõè: «Ñâîáîäíûé è ðàá», «Îõîòà çà âåäüìàìè» è «Òåáå ýòîãî íå ïîíÿòü»

Àííîòàöèÿ: PRINCIPLES OF ACCOUNTING continues to lead the market with balanced, flexible content supported by an array of integrated print and technology supplements. Designed for both majors and non-majors, the new edition focuses on the relevance of accounting in business with an emphasis on decision-making and analysis. Whether an instructor wants to present a user or procedural orientation, incorporate new instructional strategies, develop students' core competencies, or integrate the latest technology into the classroom, the 2005e Edition provides a total solution. The integrated text and technology program engages students in relevant issues and themes, from the Enron crisis--which led to a series of amendments in accounting law--to the controversy surrounding stock options. Case studies, accompanied by provocative questions, help build critical thinking skills and connect accounting to the real world of business.

Àííîòàöèÿ: Murase (Nancy Drew ) unravels a typical high school narrative of anxiety and self-loathing through highly stylized visuals and an array of text fonts. Aki is a high school student who lives in the shadow of her brother's reputation and is haunted by his death. At school, she's the brunt of jokes and harassed by most of her classmates. Luckily, her insecurities make room for her alter ego, Kai, to come forth and intimidate the mean girls

Àííîòàöèÿ: Äåéñòâèå íîâîãî ðîìàíà Áðàéàíà Ãåðáåðòà ïðîèñõîäèò ìåæäó êíèãàìè "êàíîíè÷åñêîé" ÷àñòè ñàãè - "Ìåññèÿ Äþíû" è "Äåòè Äþíû".