Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Êîýí Ä., Íåðàáîòà. Ïî÷åìó ìû ãîâîðèì "ñòîï" — 2023

Êíèãà áðèòàíñêîãî ïñèõîàíàëèòèêà Äæîøà Êîýíà ïîñâÿùåíà íàøèì îòíîøåíèÿì ñ òðóäîì, òî÷íåå — çàëîæåííîìó â êàæäîì èç íàñ æåëàíèþ íå ðàáîòàòü, êîòîðîå îòíþäü íå áåçîáëà÷íî ñîñóùåñòâóåò ñ æåëàíèåì ðàáîòàòü — è äîáèâàòüñÿ óñïåõà, ïðåñòèæà, áëàãîïîëó÷èÿ, — ïðè÷åì, êàê ïîëàãàåò àâòîð, ÿâëÿåòñÿ íå ìåíåå, à âîçìîæíî, è áîëåå âàæíûì, äàæå îïðåäåëÿþùèì äëÿ ÷åëîâåêà. Ýòî æåëàíèå çíàêîìî íàì ñ äåòñòâà, êîãäà îíî ñ ëåãêîñòüþ óäîâëåòâîðÿåòñÿ, íî ìû ó÷èìñÿ ïîäàâëÿòü åãî è ïðèâûêàåì îòäàâàòü âñå ñèëû ðàáîòå, ïîðîé çàáûâàÿ, ÷òî æèçíü åþ íå èñ÷åðïûâàåòñÿ. Èíîãäà ðåçóëüòàòîì ñòàíîâÿòñÿ áîëüøèå äîñòèæåíèÿ â èçáðàííîé íàìè ïðîôåññèè, èíîãäà — äåïðåññèÿ, èíîãäà òî è äðóãîå âìåñòå. Êàê áûòü ñ ïîòðåáíîñòüþ â «íåðàáîòå», êîòîðóþ íåâîçìîæíî ðåàëèçîâàòü â ïîëíîé ìåðå, íî è îòðèöàòü, çàäàâëèâàòü â ñåáå, êðàéíå îïàñíî? Àâòîð èùåò ïîäñòóïû ê îòâåòó íà ýòîò, äîëæíî áûòü, íåðàçðåøèìûé âîïðîñ â ñîáñòâåííîì æèçíåííîì îïûòå, â èñòîðèÿõ ñâîèõ ïàöèåíòîâ è â ñóäüáàõ íåñêîëüêèõ âûäàþùèõñÿ ëþäåé, ñòîëêíóâøèõñÿ ñ êîíôëèêòîì ìåæäó ðàáîòîé è «íåðàáîòîé» âïëîòíóþ, — Ýìèëè Äèêèíñîí, Îðñîíà Óýëëñà, Ýíäè Óîðõîëà è Äýâèäà Ôîñòåðà Óîëëåñà. Èç àâòîáèîãðàôè÷åñêèõ î÷åðêîâ, çàìåòîê ïñèõîàíàëèòèêà è òîíêèõ íàáëþäåíèé î ïðèðîäå òâîð÷åñòâà ñêëàäûâàåòñÿ ýòîò òåêñò, ïðîäèêòîâàííûé ñòðåìëåíèåì Äæîøà Êîýíà ðàçîáðàòüñÿ â ñåáå è ñïîñîáíûé ïîìî÷ü â ýòîì íàì

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû ïî îáùåñòâåííûì è ãóìàíèòàðíûì íàóêàì

Ïîäðîáíàÿ èíôîðìàöèÿ

Áàðîí-Êîýí Ñ., Èñêàòåëè çàêîíîìåðíîñòåé. êàê àóòèçì ñïîñîáñòâóåò ÷åëîâå÷åñêîé èçîáðåòàòåëüíîñòè. [ïåðåâîä ñ àíãëèéñêîãî] — 2023

 ýòîé êíèãå Ñàéìîí Áàðîí-Êîýí, îäèí èç ñàìûõ àâòîðèòåòíûõ â ìèðå ó÷åíûõ, ïèøóùèõ îá àóòèçìå, ïðåäëàãàåò ÷èòàòåëþ íåîæèäàííûé è ñìåëûé âçãëÿä íà îñîáåííîñòè àóòè÷íûõ ëþäåé è èõ ðîëü â ÷åëîâå÷åñêîé öèâèëèçàöèè. Áàðîí-Êîýí èññëåäóåò, êàê óïîðíîå ýêñïåðèìåíòèðîâàíèå ñ çàêîíîìåðíîñòÿìè è ïîñëåäîâàòåëüíîñòÿìè, áóäü òî â ìóçûêå, èçîáðàçèòåëüíîì èñêóññòâå, ìàòåìàòèêå, èíæåíåðèè, êóëèíàðèè èëè íàáëþäåíèè çà îêåàíè÷åñêèìè âîëíàìè, ïðèâîäèëî ê íîâûì èçîáðåòåíèÿì è îòêðûòèÿì. Ñ òåõ ïîð, êàê íàøè ïðåäêè íà÷àëè ñîçäàâàòü ïåðâûå îðóäèÿ òðóäà, è äî ñåãîäíÿøíåé öèôðîâîé ðåâîëþöèè èìåííî «èñêàòåëÿì çàêîíîìåðíîñòåé» ìû îáÿçàíû ïðîãðåññîì, óáåæäåí àâòîð. Îäíàêî äëÿ ñàìèõ íîñèòåëåé ãåíîâ àóòèçìà èõ ñïîñîáíîñòè íåðåäêî îáîðà÷èâàþòñÿ ñàìûìè ðàçíûìè ïðîáëåìàìè — îò ñîöèàëüíûõ äî ìåäèöèíñêèõ. Ïåðåîñìûñëèâàÿ ïîäõîä ê àóòèçìó, àâòîð ïðèçûâàåò îáùåñòâî âèäåòü â íåì ðåäêóþ âîçìîæíîñòü, êîòîðóþ íóæíî öåíèòü è ïðèâåòñòâîâàòü, óâàæàÿ ëþäåé, êîòîðûå ìûñëÿò íå òàê, êàê äðóãèå

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

Ïîäðîáíàÿ èíôîðìàöèÿ

Ëå Êîðáþçüå Ø. Ý., Êîãäà ñîáîðû áûëè áåëûìè. Ïóòåøåñòâèå â êðàé íåðåøèòåëüíûõ ëþäåé — 2022

 1935 ãîäó Ëå Êîðáþçüå âïåðâûå ïîñåòèë ÑØÀ ïî ïðèãëàøåíèþ Ìóçåÿ ñîâðåìåííîãî èñêóññòâà â Íüþ-Éîðêå. Ñâîåîáðàçíûé îò÷åò îá ýòîé ïîåçäêå ëåã â îñíîâó äàííîé êíèãè, âïåðâûå èçäàííîé íà ôðàíöóçñêîì ÿçûêå â 1937 ãîäó è ïåðåâåäåííîé íà àíãëèéñêèé óæå ïîñëå âîéíû, â 1946-ì. Âåëèêèé íîâàòîð íå ìîã íå âîñõèòèòüñÿ íåáîñêðåáàìè Íüþ-Éîðêà è áóðíûì èíäóñòðèàëüíûì ðàçâèòèåì Àìåðèêè â XX âåêå. Ëèôòû, drives, subways, âåðòèêàëè è ãîðèçîíòàëè Ìàíõýòòåíà âûçûâàþò åãî æãó÷èé èíòåðåñ. Ëå Êîðáþçüå âäîõíîâëåí ðèòìîì Íüþ-Éîðêà, åãî íîâîé ìóçûêîé (hot jazz Àðìñòðîíãà) è íîâîé ñîöèàëüíîñòüþ.  ñâîåì ïîýòè÷åñêîì îò÷åòå îí âïåðâûå ôîðìóëèðóåò èäåþ âåðòèêàëüíîãî ãîðîäà, êîòîðóþ âåê ñïóñòÿ ðàçîâüåò åùå îäèí âëþáëåííûé â Áîëüøîå ÿáëîêî àðõèòåêòîð - Ðåì Êîëõàñ. Àìåðèêà íàïîìèíàåò Ëå Êîðáþçüå ýïîõó ñòàíîâëåíèÿ Åâðîïû, âðåìÿ, êîãäà òåõíîëîãè÷åñêèé è ñîöèàëüíûé ïðîãðåññ áûëè íåðàçäåëèìû, êîãäà ñîáîðû áûëè áåëûìè è ñàìûìè ïåðåäîâûìè ñòðîåíèÿìè ñâîåãî âðåìåíè. Åãî åäèíñòâåííûé óïðåê "íàöèè àòëåòîâ" ñîñòîèò â òîì, ÷òî àìåðèêàíöû - íåðåøèòåëüíûå ëþäè, íå ïîñïåâàþùèå â ñâîèõ ñòðåìëåíèÿõ çà òåõíîëîãè÷åñêèìè ñêà÷êàìè, âåäü íåáîñêðåáû ìîãëè áû áûòü è ïîâûøå.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Êîýí Ð., Ïèñàòü êàê Òîëñòîé. òåõíèêè, ïðèåìû è óëîâêè âåëèêèõ ïèñàòåëåé — 2021

Îïûòíûé èçäàòåëü è ðåäàêòîð Ðè÷àðä Êîýí çíàåò, íà ÷òî íàäî îáðàòèòü âíèìàíèå íà÷èíàþùèì ïèñàòåëÿì.  ñâîåé êíèãå îí ðàññêàçûâàåò î òîì, êàê ñîçäàâàòü ñþæåò, îáðàçû ïåðñîíàæåé è äèàëîãè; îáúÿñíÿåò, êîãî ñòîèò âûáðàòü íà ðîëü ðàññêàç÷èêà è ïî÷åìó äëÿ ðîìàíà òàê âàæíû ðèòì è èðîíèÿ; ó÷èò, êàê ðåäàêòèðîâàòü ñîáñòâåííûå ïðîèçâåäåíèÿ. Àâòîð íå îáõîäèò ñòîðîíîé âîïðîñû, ñâÿçàííûå ñ ïëàãèàòîì è îïèñàíèåì ýðîòè÷åñêèõ ñöåí. Âû íå ïðîñòî íàéäåòå â ýòîé êíèãå ñîâåòû, ïîäñêàçêè è ñåêðåòû ìàñòåðñòâà, âû óçíàåòå, êàê ðàáîòàëè âûäàþùèåñÿ ïèñàòåëè ðàçíûõ ñòðàí è ýïîõ. Ëåâ Òîëñòîé, Ìàðñåëü Ïðóñò, Èýí Ìàêüþýí, Äæóëèàí Áàðíñ è äðóãèå âåëèêèå àâòîðû ñòàíóò âàøèìè ó÷èòåëÿìè.Êíèãà Ðè÷àðäà Êîýíà íå ïðîñòî ðóêîâîäñòâî î òîì, êàê íàïèñàòü ðîìàí (ñ ïåðâîé ôðàçû è äî ïîñëåäíåé òî÷êè). Çäåñü âû íàéäåòå ìàññó èñòîðèé èç æèçíè ïèñàòåëåé, îïèñàíèå ñîáûòèé, êîòîðûå ïîâëèÿëè íà èõ ïðîèçâåäåíèÿ, ëèòåðàòóðíûå áàéêè è àíåêäîòû.Âû óçíàåòå, êàê âåëèêèå ðîìàíèñòû ñïðàâëÿëèñü ñ êîíêðåòíûìè çàäà÷àìè: ïðàâèëè ñâîè ðàáîòû (äëÿ Àðóíäèòè Ðîé ïðîöåññ ðåäàêòèðîâàíèÿ ñðîäíè ðàáîòå íàæäàêîì), ïðèäóìûâàëè íàçâàíèÿ ñâîèì ïðîèçâåäåíèÿì, èìåíà ïåðñîíàæàì, êîíöîâêó (Õåìèíãóýé, ê ïðèìåðó, ïåðåïèñûâàë ïîñëåäíèå ñëîâà ðîìàíà "Ïðîùàé, îðóæèå!" 39 ðàç).Êíèãà áóäåò èíòåðåñíà êàê íà÷èíàþùèì ïèñàòåëÿì, òàê è òåì, êòî ëþáèò ÷èòàòü è öåíèò ïðèòÿãàòåëüíóþ ñèëó õîðîøî íàïèñàííîãî ðîìàíà.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû ïî îáùåñòâåííûì è ãóìàíèòàðíûì íàóêàì

Ïîäðîáíàÿ èíôîðìàöèÿ

Êîýí Ë., Ìåòîä Ëè Ñòðàñáåðãà. ñáîðíèê óïðàæíåíèé ïî àêòåðñêîìó ìàñòåðñòâó — 2018

Ýòà íåáîëüøàÿ êíèãà - íà óäèâëåíèå åìêîå è ïîëåçíîå ðóêîâîäñòâî ïî àêòåðñêîìó ìàñòåðñòâó. Óïðàæíåíèÿ â ñáîðíèêå èçíà÷àëüíî ïðèäóìàíû Ëè Ñòðàñáåðãîì, ñîçäàâøèì ñâîé Ìåòîä â îòâåò íà ñèñòåìó Ñòàíèñëàâñêîãî è ðàçâèâàâøèì åãî èäåè.  Àìåðèêå ýòà ñèñòåìà ñòàëà èçâåñòíà êàê Ìåòîä, è îí óñïåøíî âäîõíîâëÿë ìíîæåñòâî àêòåðîâ, ñðåäè êîòîðûõ òàêèå çíàìåíèòîñòè, êàê Ìàðëîí Áðàíäî è Ìýðèëèí Ìîíðî. Ìåòîä íàïðàâëåí íà òðåíèðîâêó âîîáðàæåíèÿ, êîíöåíòðàöèè, ÷óâñòâ è ýìîöèé, ÷òîáû âîññîçäàâàòü - íå èìèòèðîâàòü - ëîãè÷íîå è ïðàâäèâîå ïîâåäåíèå, èäåò ëè ðå÷ü î òåàòðàëüíîé ñöåíå, êèíî èëè òåëåâèäåíèè. Àâòîð êíèãè Ëîëà Êîýí, ó÷åíèöà Ëè Ñòðàñáåðãà íà ïðîòÿæåíèè ìíîãèõ ëåò, äåëàåò ýêñêóðñ â èñòîðèþ Ìåòîäà, ðàçúÿñíÿåò è îáîñíîâûâàåò åãî ñóòü, äàåò äåòàëüíîå îïèñàíèå óïðàæíåíèé, ñíàáæàÿ èõ öåííûìè ñîâåòàìè. Äëÿ êàæäîé ãðóïïû óïðàæíåíèé ïðèâîäÿòñÿ êîììåíòàðèè àêòåðîâ, ðàññêàçûâàþùèõ î ñâîåì îïûòå, ôîòîãðàôèè ñòóäåíòîâ è  òåàòðàëüíûõ êîëëåêòèâîâ âñåãî ìèðà, îñâàèâàþùèõ Ìåòîä. Íî êíèãà ïðåäíàçíà÷åíà íå òîëüêî äëÿ àêòåðîâ. Òî, ÷òî ìîæíî ïî÷åðïíóòü èç íåå î ðàáîòå àðòèñòà íàä ñîáîé è ñâîèì ïåðñîíàæåì, ïîëåçíî è àêòåðó, è ðåæèññåðó, è ïåäàãîãó, è äðàìàòóðãó, î êîòîðûõ àâòîð íå çàáûâàåò íà ïðîòÿæåíèè âñåé êíèãè è ïîñâÿùàåò èì îòäåëüíóþ ãëàâó.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Êîýí Ð., Ïèñàòü êàê Òîëñòîé. òåõíèêè, ïðèåìû è óëîâêè âåëèêèõ ïèñàòåëåé — 2018

Êîýí îòïðàâëÿåòñÿ âìåñòå ñ ÷èòàòåëÿìè ê Àéðèñ ̸ðäîê çà ìóäðûì ñîâåòîì, êàê íà÷àòü ðîìàí; ê Ñàëìàíó Ðóøäè — çà ïðîíèöàòåëüíûì ðóêîâîäñòâîì, êàê ïðèäóìàòü íåíàäåæíîãî ðàññêàç÷èêà; ê Ðåäüÿðäó Êèïëèíãó — çà óêëîí÷èâûìè óêàçàíèÿì, êàê ñîçäàòü çàïîìèíàþùèõñÿ âòîðîñòåïåííûõ ïåðñîíàæåé, è ê Ëüâó Òîëñòîìó — çà ïîìîùüþ ìàñòåðà â äåëå ïðåîáðàçîâàíèÿ ëè÷íîãî îïûòà â âûìûøëåííîå èñêóññòâî. Äàæå òå ÷èòàòåëè, êòî íå èìååò íàìåðåíèé ïèñàòü ðîìàí, áóäóò íàñëàæäàòüñÿ âîçìîæíîñòüþ ïðèñîåäèíèòüñÿ ê ñâîèì ëþáèìûì àâòîðàì çà ðàáî÷èì ñòîëîì.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû ïî îáùåñòâåííûì è ãóìàíèòàðíûì íàóêàì

Ïîäðîáíàÿ èíôîðìàöèÿ

Grossman D., A Horse Walks into a Bar — 2016

In a little dive in a small Israeli city, Dov Greenstein, a comedian a bit past his prime, is doing a night of standup. In the audience is a district court justice, Avishai Lazar, whom Dov knew as a boy, along with a few others who remember Dov as the awkward, scrawny kid who walked on his hands to confound the neighborhood bullies. Gradually, teetering between hilarity and hysteria, Dov's patter becomes a kind of memoir, taking us back into the terrors of his childhood - his beautiful flower of a mother, a Holocaust survivor in need of constant monitoring; his punishing father, a striver who had little understanding of his creative son. Finally, recalling his week at a military camp for youth - where Lazar witnessed what became the central event of Dov's childhood - Dov describes the indescribable while Lazar wrestles with his own part in the comedian's story of loss and survival. A beautiful performance by Grossman (jokes in questionable taste included).

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Cohen L., Old Ideas — 2012

Old Ideas—äâåíàäöàòûé ñòóäèéíûé àëüáîì Ëåîíàðäà Êîýíà, ïåðâûé ñòóäèéíûé àëüáîì ìóçûêàíòà çà ïîñëåäíèå âîñåìü ëåò, ñ ìîìåíòà âûõîäà Dear Heather

Ñîäåðæàíèå: Going Home;Amen;Show Me The Place;The Darkness;Anyhow;Crazy To Love You;Come Healing;Banjo;Lullaby;Different Sides

Ìåñòîíàõîæäåíèå èçäàíèÿ: Ìóçûêàëüíûé ïîäâàë

Ïîäðîáíàÿ èíôîðìàöèÿ

Cohen L., Future — 2012

Ëåîíàðä Íîðìàí Êîýí — êàíàäñêèé ïîýò, ïèñàòåëü, ïåâåö è àâòîð ïåñåí.  ðàííèå ãîäû ïåñíè Êîýíà îñíîâûâàëèñü íà ôîëê-ìóçûêå, â 1970-õ òÿãîòåëè ê ïîï-ìóçûêå è êàáàðå. Ñ 1980-õ ãîäîâ Êîýí ïî¸ò íèçêèì ãîëîñîì ïîä ñîïðîâîæäåíèå ìóçûêè ñ ñèíòåçàòîðàìè è æåíñêèì áýê-âîêàëîì. Åãî ïåñíè ÷àñòî ýìîöèîíàëüíî òÿæ¸ëûå è ñî ñëîæíûìè òåêñòàìè. Ñðåäè òåì, î êîòîðûõ ïî¸ò Êîýí, ðåëèãèÿ, îäèíî÷åñòâî, ñåêñóàëüíîñòü, ñëîæíûå îòíîøåíèÿ ìåæäó ëþäüìè

Ñîäåðæàíèå: Ñîäåðæàíèå:The future; Waiting for the miracle; Be for real time;4. Closing time; Anthem; Democracy; Light as the breeze; Always; Tacoma trailer

Ìåñòîíàõîæäåíèå èçäàíèÿ: Ìóçûêàëüíûé ïîäâàë

Ïîäðîáíàÿ èíôîðìàöèÿ

Êîãåí Ã., Òåîðèÿ îïûòà Êàíòà — 2012 (Ôèëîñîôñêèå òåõíîëîãèè)

Êíèãà - ïåðâûé ïåðåâîä íà ðóññêèé ÿçûê ôóíäàìåíòàëüíîé ðàáîòû Ã.Êîãåíà, ïîñâÿùåííûé àíàëèçó êîðåííûõ ïðîáëåì êàíòîâñêîé òðàíñöåíäåíòàëüíîé ôèëîñîôèè: îáúåêòèâíîñòè. àïðîðíîñòè, âåùè â ñåáå, ïðîñòðàíñòâà, âðåìåíè, êàòåãîðèé è äð.Äàííàÿ ðàáîòà åùå ïðè æèçíè àâòîðà âûäåðæàëà òðè èçäàíèÿ (1871, 1885, 1918)

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû ïî îáùåñòâåííûì è ãóìàíèòàðíûì íàóêàì

Ïîäðîáíàÿ èíôîðìàöèÿ

Cohen L., I—m Your Man — 2011

I—m Your Man—âîñüìîé ñòóäèéíûé àëüáîì Ëåîíàðäà Êîýíà èçäàííûé â 1988 ãîäó.  íîðâåæñêîì ÷àðòå îí ïðîäåðæàëñÿ íà ïåðâîé ñòðî÷êå 16 íåäåëü ïîäðÿä. Ïîëó÷èë ñòàòóñ «ñåðåáðÿíîãî» â Âåëèêîáðèòàíèè è «çîëîòîãî» â Êàíàäå. Çàíÿë 51 ìåñòî â ñïèñêå Pitchfork Media «100 ëó÷øèõ àëüáîìîâ 1980-õ. Íà ýòîì àëüáîìå Ëåîíàðä àêòèâíî ïðîäîëæàåò ñâî¸ óâëå÷åíèå ñèíòåçàòîðàìè, íàìåòèâøååñÿ íà Various Positions, ýòîò èíñòðóìåíò çâó÷èò ïðàêòè÷åñêè íà âñåõ ïåñíÿõ

Ñîäåðæàíèå: First We Take Manhattan;Ain't No Cure For Love;Everybody Knows; I'm Your Man;Take This Waltz;Jazz Police;I Can't Forget;Tower Of Song

Ìåñòîíàõîæäåíèå èçäàíèÿ: Ìóçûêàëüíûé ïîäâàë

Ïîäðîáíàÿ èíôîðìàöèÿ

Êàãàí Ä., Õîëîêîñò è ñîïðîòèâëåíèå íà ðîäèíå Àäàìà Ìèöêåâè÷à — 2011

Íàçâàíèå ýòîé êíèãè âåñüìà òî÷íî îïðåäåëÿåò åå ñîäåðæàíèå.  êíèãå òàêæå îòðàæåíû èñòîðèÿ åâðåéñêîé îáùèíû Íîâîãðóäêà è ïîñëåâîåííûå ñóäüáû åå àâòîðîâ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû ïî îáùåñòâåííûì è ãóìàíèòàðíûì íàóêàì

Ïîäðîáíàÿ èíôîðìàöèÿ

Êîýí Ë., Ëþáèìàÿ èãðà — 2007

Ëåîíàðä Êîýí - ïðåæäå âñåãî ïåâåö ñîáñòâåííûõ áàëëàä, èêîíà íåñêîëüêèõ ïîêîëåíèé ïðîôåññèîíàëüíûõ ìóçûêàíòîâ è ïðîñòî ïîêëîííèêîâ. Íå ÷óðàëñÿ Êîýí è ïðîçû. "Ëþáèìàÿ èãðà" áûëà íàïèñàíà â 60-å ãîäû, è â íåé  áåç óùåðáà äðóã äëÿ äðóãà ñîåäèíèëèñü ðîìàíòèêà áèòíèêîâ è ñòðîéíî èçëîæåííàÿ èñòîðèÿ ëþáâè è âçðîñëåíèÿ þíîãî ìîíðåàëüñêîãîÿ ðàçäîëáàÿ íå áåç ïèñàòåëüñêèõ ñïîñîáíîñòåé ïî èìåíè Áðèâìàí Ïîäàíî âíÿòíî è òðîãàòåëüíî. À ìåñòàìè äàæå ñìåøíî. Êîýí ïèøåò - êàê ïîåò. Òåõ, êîãî çà÷àðîâûâàåò åãî ëåíèâàÿ õðèïîòöà, íèñêîëüêî íå ðàçî÷àðóåò åãî ëèòåðàòóðíûé ñòèëü, ëèðè÷åñêèé, íî ñèëüíûé è ÷åñòíûé â ñâîåé áåçûñêóñòíîñòè. Ìèð ïîä âîçäåéñòâèåì åãî ÑËÎÂÀ ïåðåïëàâëÿåòñÿ íà ãëàçàõ â íå÷òî ãîðàçäî áîëåå êðàñî÷íîå, åñòåñòâåííîå è íåïðèòâîðíîå, â ìèð ãäå õî÷åòñÿ æèòü.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Grady W., The Penguin Book of Canadian Short Stories — 1984

The short story has developed into Canada s healthiest and most versatile literary genre. Several Canadian novelists - Morley Callaghan and Hugh Garner, for example - are better known abroad for their short stories than for their novels. And many of Canada s best authors write virtually nothing but short stories: Mavis Gallant, Norman Levine, Alice Munro, W.D. Valgardson, and others.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

50 contes et histoires enchantées — 1980

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Cohen M., Murs. Anamneses — 1979

Recueil de po˜mes brefs sur les murs, ™chos de souvenirs, symboles d'enfermement ou espaces de libert™.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Cohen L., Songs From A Room — 1969

Âòîðîé ñòóäèéíûé àëüáîì çíàìåíèòîãî êàíàäñêîãî ïîýòà è ìóçûêàíòà Ëåîíàðäà Êîýíà. Ïîñëå äåáþòíîãî àëüáîìà Êîýí ëè÷íî âûáðàë íîâîãî ïðîäþñåðà äëÿ ñîçäàíèÿ ìèíèìàëèñòè÷íîãî «ñïàðòàíñêîãî» çâóêà.Songs from a Room,òàêèì îáðàçîì,ïîëó÷èëñÿ íàèáîëåå áëèçêèì ê àðõåòèïó «ðàííèé Êîýí».Àëüáîì,êàê è äåáþòíûé,áûë âîñòîðæåííî ïðèíÿò è êðèòèêàìè è ïóáëèêîé.

Ñîäåðæàíèå: Bird On The Wire;Story Of Isaac;A Bunch Of Lonesome Heroes;The Partisan;Seems So Long Ago,Nancy;The Old Revolution;The Butcher;You Know Who I Am;Lady Midnight;Tonight Will Be Fine

Ìåñòîíàõîæäåíèå èçäàíèÿ: Ìóçûêàëüíûé ïîäâàë

Ïîäðîáíàÿ èíôîðìàöèÿ

Cohen D., Diana.Death of Goddess — 2004

An investigation into the real events of the night of the 31st of August 1997 - the night Diana died. 00.23 a.m. August 31st 1997. The Mercedes driven by Henri Paul in which Princess Diana, Dodi Al Fayed and Trevor Rees-Jones were travelling crashes into a pillar in the Alma tunnel in the centre of Paris, killing Paul, Dodi and Diana and seriously injuring Rees Jones. That much is certain. But little else. Many people suspected conspiracy from the start. The Establishment dismissed the idea as paranoid. Six years on it is obvious that the true and full story what happened on the night Diana died has not been told. Now, psychologist and filmmaker David Cohen comes closer to telling what really happened that tragic night than anyone ever has. He is the first person to gain access to and take evidence from the French investigation report, and reveals for the first time much that has been deliberately concealed. He discloses why the Mercedes was taking the wrong route to Dodis flat. He uncovers incriminating information about the owner of the infamous white Fiat Uno from French security sources. He reveals Henri Pauls true role on behalf of MI6. Here, for the first time, Cohen reveals startlingly new evidence surrounding the events of that fateful night, and ask s questions which the recently opened enquiry into the accident will have to address Îïèñàíèå: Aims to tell what really happened that tragic night when Princess Diana died. This work discloses why the Mercedes was taking the wrong route to Dodi`s flat. It uncovers incriminating information about the owner of the infamous white Fiat Uno from French security sources. It reveals evidence surrounding the events of that fateful night.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ñþðïðèçû ôîðòóíû. àìåðèêàíñêèå íîâåëëû ñ óïðàæíåíèÿìè (Ó÷åáíûå ïîñîáèÿ çàðóáåæíûõ àâòîðîâ. àíãëèéñêèé ÿçûê)

Êíèãà ñîäåðæèò íîâåëëû àìåðèêàíñêèõ àâòîðîâ è óïðàæíåíèÿ ðàçâèòèå ÿçûêîâîé è êîììóíèêàòèâíîé êîìïåòåíöèè. Ðåêîìåíäóåòñÿ äëÿ èñïîëüçîâàíèÿ â ñðåäíèõ è âûñøèõ ó÷åáíûõ çàâåäåíèÿõ äëÿ èçó÷åíèÿ àìåðèêàíñêîãî âàðèàíòà àíãëèéñêîãî ÿçûêà íà ñòàðøåì ýòàïå, à òàêæå äëÿ èçó÷àþùèõ àíãëèéñêèé ÿçûê ñàìîñòîÿòåëüíî.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Pratchett T., The Science of Discworld IV: Judgement Day — 2014

The fourth book in the Science of Discworld series, and this time around dealing with THE REALLY BIG QUESTIONS, Terry Pratchett's brilliant new Discworld story Judgement Day is annotated with very big footnotes (the interleaving chapters) by mathematician Ian Stewart and biologist Jack Cohen, to bring you a mind-mangling combination of fiction, cutting-edge science and philosophy. Marjorie Daw is a librarian, and takes her job - and indeed the truth of words - very seriously. She doesn't know it, but her world and ours - Roundworld - is in big trouble. On Discworld, a colossal row is brewing. The Wizards of Unseen University feel responsible for Roundworld (as one would for a pet gerbil). After all, they brought it into existence by bungling an experiment in Quantum ThaumoDynamics. But legal action is being brought against them by Omnians, who say that the Wizards'god-like actions make a mockery of their noble religion. As the finest legal brains in Discworld (a zombie and a priest) gird their loins to do battle - and when the Great Big Thing in the High Energy Magic Laboratory is switched on - Marjorie Daw finds herself thrown across the multiverse and right in the middle of the whole explosive affair. As God, the Universe and, frankly, Everything Else is investigated by the trio, you can expect world-bearing elephants, quantum gravity in the Escher-verse, evolutionary design, eternal inflation, dark matter, disbelief systems - and an in-depth study of how to invent a better mousetrap.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ