Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Analog Science Fiction and Fact March — 2006

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Asimov s Science Fiction December — 2005

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Asimov s Science Fiction March — 2004

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Asimov s Science Fiction October/November — 2004

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Õðåñòîìàòèÿ ïî àíãëèéñêîé è àìåðèêàíñêîé ëèòåðàòóðå — 2003 (Ó÷èòåëü è ó÷åíèê)

Õðåñòîìàòèÿ ñîäåðæèò îòðûâêè èç ïðîèçâåäåíèé àíãëèéñêèõ è àìåðèêàíñêèõ ïèñàòåëåé ñ äðåâíåéøèõ âðåìåí äî íàøèõ äíåé.  íåé äàíû òàêæå áèîãðàôèè ïèñàòåëåé, ïðèâîäÿòñÿ êðàòêèå ñîäåðæàíèÿ èõ ñàìûõ èçâåñòíûõ è ïîïóëÿðíûõ ïðîèçâåäåíèé. Êðîìå òðàäèöèîííîãî ïåðå÷íÿ àíãëîÿçû÷íûõ àâòîðîâ â õðåñòîìàòèè ïðåäñòàâëåíû òàêèå ïèñàòåëè, êàê Ëîðåíñ Ñòåðí, Ãåíðè Äæåéìñ,Äæåðîì Ê. Äæåðîì, Àðóòð Êîíàí Äîéë, Î. Ãåíðè, Ðè÷àðä Áàõ, Äæîàí Ðîóëèíã è ìíîãèå äðóãèå, ÷üå òâîð÷åñòâî íå îñâåùàëîñü ðàíåå â ïîäîáíûõ ó÷åáíûõ ïîñîáèÿõ.  êîíöå êàæäîãî ðàçäåëà êíèãè ñîäåðæàòñÿ êîíòðîëüíûå âîïðîñû è çàäàíèÿ, ìíîãèå èç êîòîðûõ âûïîëíåíû â ôîðìàòå ÅÃÝ. Äëÿ ó÷àùèõñÿ ñðåäíèõ øêîë, ëèöååâ, ãèìíàçèé, ñòóäåíòîâ ãóìàíèòàðíûõ âóçîâ, ïðåïîäàâàòåëåé, à òàêæå äëÿ âñåõ èíòåðåñóþùèõñÿ àíãëîÿçû÷íîé ëèòåðàòóðîé.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Woolf V., Imaginative Literature: Selections from the Twentieth Century. Vol.II. Great Books V.60

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Nightingale B., An Introduction to Fifty Modern British Plays — 1982 (Pan Literature Guides)

Designed as a series to provide a comprehensive introductionto nglish, American and European literature, each title examies one particular form and period, discussing in detail the important writers andtheir major works in the contextto their times.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

The Penguin Book of Irish Verse — 1976

The penguin book of Irish verse.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Beckett S., Whispers of the Dead — 2010

The victim has been bound and tortured, the body decomposed beyond recognition...A second body is found. A nightmare is about to begin...A serial killer is at work and the death toll is rising...A brutal abduction — a helpless victim is taken...

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Áåêêåò Ñ., Ïðî âñåõ ïàäàþùèõ. ïüåñû — 2012 (Êëàññèêà)

Áîëüøàÿ ÷àñòü ïüåñ èçäà¸òñÿ â Ðîññèè âïåðâûå

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

The Penguin Book of Modern British Short Stories — 2011

The short story has become one of the major forms of modern literary expression - in some ways the most modern of them all'. The story of the British short story since the Second World War is one of change and revolution and this powerful and moving collection brilliantly demonstrates the evolution of the form. Containing thirty-four of the most widely regarded postwar British writers, it features tales of love and crime, comedy and the supernatural, the traditional as well as the experimental. This many-storied, many-splendored collection is a brilliant portrait of the generation of writers who have immediately influenced the brightest, sharpest and most intriguing writers who continue to emerge today

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Beckett A., When the lights went out.Britain in the seventies — 2009

The seventies. No decade in Britain's modern political history has been more important, more compelling and more condemned. The seventies saw strikes that destroyed governments, the rise of Margaret Thatcher, the IMF crisis, the three-day week and the Winter of Discontent. Yet the seventies have often been misunderstood and misrepresented. WHEN THE LIGHTS WENT OUT moves beyond the traditional bleak view of the decade and shows the seventies afresh. It includes candid interviews with key political players, many of them now dead, from Edward Heath to Jack Jones to Arthur Scargill. It also unearths the stories of the forgotten figures away from Westminster who gave the period so much of its excitement and significance-from the Gay Liberation Front to the first British environmentalists, from early feminists to hippy anarchists. And it shows a decade full of new possibilities as well as disasters and dead ends. This book tells us what life feels like when politics really matters. It restores to the British seventies their true vividness and complexity. And it casts a new light on the British crisis of today.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Beckett S., More Pricks than Kicks — 1983

Samuel Beckett, the recipient of the 1969 Nobel Prize for Literature and one of the greatest writers of our century, first published these ten short stories in 1934; they originally formed part of an unfinished novel. They trace the career of the first of Beckett—s antiheroes, Belacqua Shuah.Belacqua is a student, a philanderer, and a failure, and Beckett portrays the various aspects of his troubled existence: he studies Dante, attempts an ill-fated courtship, witnesses grotesque incidents in the streets of Dublin, attends vapid parties, endures his marriage, and meets his accidental death. These early stories point to the qualities of precision, restraint, satire, and poetry found in Beckett—s mature works, and reveal the beginning stages of Beckett—s underlying theme of bewilderment in the face of suffering.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Beckett I., Le sud-est asiatique. Depuis 1945 — 1989 (Conflits du XX siecle)

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Áåêêåòò Á., Ãåíåçèñ - 2075 — 2009

2075 ãîä. ×óìà óíè÷òîæèëà ïðàêòè÷åñêè âñå íàñåëåíèå Çåìëè, ëèøü ãðàæäàíå Îñòðîâíîé Ðåñïóáëèêè ñóìåëè âûæèòü, èçîëèðîâàâ ñåáÿ îò îêðóæàþùåãî ìèðà. Äî ñìåðòè íàïóãàííûå, îíè ñáèâàþò ïðèáëèæàþùèåñÿ ñàìîëåòû, òîïÿò êîðàáëè, ðàññòðåëèâàþò ëþáîãî, êòî îñìåëèòñÿ ïðèáëèçèòüñÿ ê îñòðîâó. À ïîòîì þíîøà ïî èìåíè Àäàì Ôîðä ñïàñàåò ïîëóìåðòâóþ áåæåíêó, ïðèïëûâøóþ íà ëîäêå... Àäàì Ôîðä äàâíî ìåðòâ. Òåïåðü Àíàêñèìàíäð ïðåäñòàåò ïåðåä Ýêçàìåíàòîðàìè, äåìîíñòðèðóÿ èì èíñòàëëÿöèþ òåõ äàëåêèõ âðåìåí. Åå öåëü: ïîïàñòü â ïðåñòèæíóþ Àêàäåìèþ. Åå òåìà: äåÿíèÿ Àäàìà è åãî áóíò ïðîòèâ Ðåñïóáëèêè. Îíà ÷óâñòâóåò ñòðàííóþ áëèçîñòü, íåçðèìóþ ñâÿçü ñ Àäàìîì, íî åùå íå ïðåäñòàâëÿåò âñåé îïàñíîñòè ñâîåãî ïîëîæåíèÿ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Theatre francais d'aujourd'hui — 1969

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ