Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Ýíòîíè Áåðäæåññà - àíãëèéñêîãî ïðîçàèêà, ïîýòà, ëèòåðàòóðîâåäà, ëèíãâèñòà è êîìïîçèòîðà - ïî ïðàâó íàçûâàþò îäíèì èç âåëè÷àéøèõ èíòåëëåêòóàëîâ ñâîåãî âðåìåíè. "Çàâîäíîé àïåëüñèí" - ñàìîå çíàìåíèòîå ïðîèçâåäåíèå àâòîðà. Îíî ïðèíåñëî åìó ìèðîâóþ ñëàâó è îäíîâðåìåííî ñêàíäàëüíóþ èçâåñòíîñòü îòöà-îñíîâàòåëÿ "êèáåðïàíêîâñêîé ñóáêóëüòóðû". Íåàäàïòèðîâàííûé òåêñò ðîìàíà ñíàáæåí êîììåíòàðèÿìè è ñëîâàðåì. Êíèãà ïðåäíàçíà÷åíà äëÿ ñòóäåíòîâ ÿçûêîâûõ âóçîâ è âñåõ ëþáèòåëåé àíãëîÿçû÷íîé ëèòåðàòóðû. Óðîâåíü Upper-Intermediate.

Àííîòàöèÿ: Ýíòîíè Á¸ðäæåññ (1917-1993) - àíãëèéñêèé ïèñàòåëü, ëèòåðàòóðîâåä, êîìïîçèòîð, ïåðåâîä÷èê è æóðíàëèñò. Äî êîíöà 50-õ ãîäîâ çàíèìàëñÿ ïðåïîäàâàòåëüñòâîì, èçó÷àë òåîðèþ ìóçûêè è óäåëÿë ìàëî âðåìåíè ïèñàòåëüñòâó. Ñêàíäàëüíî-èçâåñòíûé äåáþòíûé ðîìàí Çàâîäíîé àïåëüñèí (1962) ïðèí¸ñ àâòîðó ìèðîâóþ ñëàâó. Âñïëåñê ïîïóëÿðíîñòè æäàë ïèñàòåëÿ è ïîñëå ýêðàíèçàöèè ïðîèçâåäåíèÿ Ñòýíëè Êóáðèêîì â 1971 ãîäó. Ïîâåñòâîâàíèå ðîìàíà ðàçâîðà÷èâàåòñÿ âîêðóã èñòîðèè Àëåêñà - ïîäðîñòêà, ãëàâàðÿ îäíîé èç ìîëîä¸æíûõ øàåê Ëîíäîíà 1962 ãîäà, íàõîäÿùåãî ïðåëåñòü â óáèéñòâàõ, ãðàáåæàõ è íàñèëèè. Âîçìîæíî ëè åãî ïåðåðîæäåíèå.

Àííîòàöèÿ: English course for adults and young adults that develops language skills and sets students firmly on the road to exam.

Àííîòàöèÿ: It was a mistake for Ben to tell the Hunter that there were still wolves in Surrey, for the Hunter was a fanatic, always on the lookout for unusual prey. Driven by an ambition to wipe out the last English wolves, the Hunter sets out on a savage quest, determined to shoot every last wolf in Britain. But Ben and his father are equally determined to save ilver, Conna, and their family of wolf cubs. What happens when the Hunter becomes the hunted?

Àííîòàöèÿ: "Æåëåçî, ðæàâîå æåëåçî" - çàõâàòûâàþùàÿ ñåìåéíàÿ ñàãà èç æèçíè íåñêîëüêèõ ïîêîëåíèé ñòðàííîãî âàëëèéñêî-ðóññêîãî "êëàíà" íà ôîíå åâðîïåéñêîé èñòîðèè áåçóìíîãî XX âåêà. Ñóäüáà çàáðàñûâàåò ãåðîåâ è íà òîíóùèé "Òèòàíèê", è â ðåâîëþöèîííûé Ïåòðîãðàä, â êðîâàâóþ êðóãîâåðòü Âòîðîé ìèðîâîé è â ïîñëåâîåííûé Ëåíèíãðàä. Àâòîð ïîðîé îáðàùàåòñÿ è ê äàëåêîìó ïðîøëîìó - ê "ñòàðûì, äîáðûì âðåìåíàì" êîðîëÿ Àðòóðà, ÷åé ëåãåíäàðíûé ìå÷ íåïîñòèæèìûì îáðàçîì âûâîçèò èç Ñîâåòñêîé Ðîññèè â Óýëüñ îäèí èç ãëàâíûõ ãåðîåâ êíèãè.

Àííîòàöèÿ: One powerful strategy in the battle to prevent mass future shock, therefore, involves the conscious regulation of technological advance. We cannot and must not turn off the switch of technological progress. Only romantic fools babble about returning to a "state of nature." A state of nature is one in which infants shrivel and die for lack of elementary medical care, in which malnutrition stultifies the brain, in which, as Hobbes reminded us, the typical life is "poor, nasty, brutish, and short." To turn our back on technology would be not only stupid but immoral. Given that a majority of men still figuratively live in the twelfth century, who are we even to contemplate throwing away the key to economic advance? Those who prate antitechnological nonsense in the name of some vague "human values" need to be asked "which humans?" To deliberately turn back the clock would be to condemn billions to enforced and permanent misery at precisely the moment in history when their liberation is becoming possible. We clearly need not less but more technology...

Àííîòàöèÿ: Âñå ìû çíàåì, ÷òî â øêîëå ðàáîòàþò ýíòóçèàñòû. Ïðåïîäàâàòåëü äîëæåí áûòü ñòðàñòíî óâëå÷åí ñâîèì ïðåäìåòîì, âäîõíîâëÿòü, âîñïèòûâàòü, íàïðàâëÿòü, íàõîäèòü ïîäõîä. È âñå ýòî â æåñòêèõ ðàìêàõ ó÷åáíîãî ïëàíà, îãðîìíîé ìåòîäè÷åñêîé ðàáîòû è çà÷àñòóþ ñêîðîìíîãî âîçíàãðàæäåíèÿ çà ñâîé òðóä.

Àííîòàöèÿ: Âàì ïðåäîñòàâëÿåòñÿ âîçìîæíîñòü ïðîñëóøàòü ëó÷øèå ïðîèçâåäåíèÿ âñåìèðíî èçâåñòíûõ ïèñàòåëåé â âåëèêîëåïíîì èñïîëíåíèè íîñèòåëåé ÿçûêà. Äèñê àäðåñîâàí øèðîêîé àóäèòîðèè: ñòóäåíòàì, ïðåïîäàâàòåëÿì, à òàêæå âñåì, êòî æåëàåò ðàñøèðèòü çíàíèå àíãëèéñêîãî ÿçûêà. Ïðîèçâåäåíèÿ àäàïòèðîâàíû äëÿ ñëóøàòåëåé, âëàäåþùèõ ÿçûêîì íà óðîâíå Intermediate. Äèñê ñîäåðæèò òàêæå òåêñòîâûå âåðñèè ðàññêàçîâ è èõ ïåðåâîäû íà ðóññêèé ÿçûê.

Àííîòàöèÿ: ×òî ìîæåò áûòü ñòîëü æå çàõâàòûâàþùèì è èíòåðåñíûì, êàê õîðîøî íàïèñàííûé äåòåêòèâ?Àóäèîêíèãà ïðî÷èòàíà àìåðèêàíñêèì àêòåðîì Áðåíòîì Áðåäëè íà àíãëèéñêîì ÿçûêå

Àííîòàöèÿ: Penguin Modern Stories is devoted entirely to new short stories by new writers as well as by established practitioners of the genre.

Àííîòàöèÿ: This book of prose anthologies contains extracts of literary value which make lively and interesting reading. Exciting stories ranging over many centuries and countries from Marco Polo, thirteenth-century traveller in the Far East, to Ben Gunn, twentieth-century English test pilot.

Àííîòàöèÿ: Ñòîëèöà — ãîðîä Âàøèíãòîí, îêðóã Êîëóìáèÿ, à ñàìûì êðóïíûì ïî ÷èñëåííîñòè íàñåëåíèÿ ÿâëÿåòñÿ ãîðîä Íüþ-Éîðê. Ýòà êíèãà î ñàìîì ÿðêîì ãîðîäå ÑØÀ.

Àííîòàöèÿ: Fifteen-year-old Alex and his three friends start an evening's mayhem by hitting an old man, tearing up his books and stripping him of money and clothes. Or rather Alex and his three droogs tolchock an old veck, razrez his books, pull off his outer platties and take a malenky bit of cutter. For Alex's confessions are written in 'nadsat' - the teenage argot of a not-too-distant future. Because of his delinquent excesses, Alex is jailed and made subject to 'Ludovico's Technique', a chilling experiment in Reclamation Treatment... Horror farce? Social prophecy? Penetrating study of human choice between good and evil? A Clockwork Orange is all three, dazzling proof of Anthony Burgess's vast talents.