Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé
Ïðîñòîé ïîèñê
Ðàñøèðåííûé ïîèñê
Ïðîñòîé ïîèñê
Ðàñøèðåííûé ïîèñê
Íàéäåíî ïå÷àòíûõ èçäàíèé: 12
Ïîèñêàòü êíèãè â ýëåêòðîííîì âèäå
2014
Winter J. D., Step Back — 2014
Àííîòàöèÿ: Äæîííè Óèíòåð âûïóñêàåò, âîçìîæíî, ñâîé ñàìûé áîëüøîé àëüáîì 2 ñåíòÿáðÿ 2014 ãîäà! Øàã íàçàä ïîêàçûâàåò óäèâèòåëüíûé ñïèñîê ìóçûêàëüíûõ ãîñòåé è âîçâðàùàåò Äæîííè ê áîëåå àãðåññèâíîìó ñòèëþ áëþçà, êîòîðûé ïîìîã ñôîðìèðîâàòü ìóçûêàëüíóþ èêîíó. Ïðîäþñåð Paul Nelson, STEP BACK äåìîíñòðèðóåò êëàññè÷åñêèå ïåñíè, êîòîðûå âäîõíîâëÿëè Äæîííè Óèíòåðà
Ñîäåðæàíèå: Ñîäåðæàíèå: Unchain My Heart Johnny Winter; Can't Hold Out (Talk to Me Baby); Don't Want No Woman; Killing Floor; Who Do You Love; Okie Dokie Stomp; Where Can You Be; Sweet Sixteen; Death Letter; My Babe; Long Tall Sally; Mojo Hand; Blue Monday
1991
VIe-Xe siecles. Art FMR Section 3. Tome I — [1991]
Ñîäåðæàíèå: La naissance d—un monde nouveau / Jacques Le Goft; Beatus de Li™bana. Apocalypse now / Luis V’zquez de Parga Iglesias. Umberto Eco; Les pierres de Gotland. Scandinavian graffiti / Erik Nyl™n et Jan Peder Lamm; La chaire d—ivoire de Maximien. L—™všque en majest™ / Raffaella Farioli Campanati; C™ramique islamique. Arabesques / Gabriele Mandel; Le tempietto de Cividale. L—h™ritage lombard / Gino Pavan, Paul Diacre; L—autel d—or de Yolvinius. Homo coelestis / Carlo Bertelli; San Vitale � Ravenne. L—ombre de Byzance / Anna Maria Iannucci; Orf˜vrerie lombarde. El™gances guerri˜res / Otto von Hessen, Edward Gibbon; Le Borobudur de Java. Le mandala de la jungle / Lucilla Sacc�; MosaŸques pal™ochr™tiennes. Les tesselles du paradis / Carlo Bertelli; La mosqu™e de Cordoue. J™sus dans le sein d—Allah / Rafael Moneo; Art pr™colombien. Reflets d—immortalit™ / Allen Wardwell, Marcel Schwob; Annexes
1981
The Penguin Book of Scottish Short Stories. J.F. Hendry — cop.1981
Àííîòàöèÿ: In stories collected here we are given a multifaceted view of Scotland, the Scos and the Scottish short story. The stories range from Roman Britain, through the trials of those at home during the Second World War, to a country and people determined to assert their independence.
2015
Ðåçíèêîâà Í. Â., Î ïðîøëîì ïî-àíãëèéñêè — 2015
Àííîòàöèÿ: 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.
2009
Ìóð À., Õðàíèòåëè. [ãðàôè÷åñêèé ðîìàí] — 2009 (Ãðàôè÷åñêèé ðîìàí)
ÍÅÇÀÊÎÍÍÎÅ ÏÎÒÐÅÁËÅÍÈÅ ÍÀÐÊÎÒÈ×ÅÑÊÈÕ ÑÐÅÄÑÒÂ; ÏÑÈÕÎÒÐÎÏÍÛÕ ÂÅÙÅÑÒÂ È ÈÕ ÀÍÀËÎÃΠÏÐÈ×ÈÍßÞÒ ÂÐÅÄ ÇÄÎÐÎÂÜÞ; ÈÕ ÍÅÇÀÊÎÍÍÛÉ ÎÁÎÐÎÒ ÇÀÏÐÅÙÅÍ È ÂËÅ×ÅÒ ÓÑÒÀÍÎÂËÅÍÍÓÞ ÇÀÊÎÍÎÄÀÒÅËÜÑÒÂÎÌ ÎÒÂÅÒÑÒÂÅÍÍÎÑÒÜ.
Àííîòàöèÿ: Õðàíèòåëè" - ïîïóëÿðíûé êîìèêñ, ïî êîòîðîìó ñíÿò ôàíòàñòè÷åñêèé áîåâèê ðåæèññåðà Çàêà Ñíàéäåðà, âûõîäÿùèé íà ýêðàíû â ìàðòå 2009 ãîäà. Ñëîãàí ôèëüìà "Who watches the Watchmen?", à â ðîññèéñêîì ïðîêàòå "Ïðàâîñóäèå íàñòèãíåò êàæäîãî èç íàñ. Íå âàæíî, çà ÷òî". Àëüòåðíàòèâíàÿ ðåàëüíîñòü. 1985-é ãîä. Ïðåçèäåíòîì ÑØÀ âñå åùå ÿâëÿåòñÿ Íèêñîí è Õîëîäíàÿ âîéíà âñå òàê æå àêòóàëüíà. Âîñåìü ëåò íàçàä ñóïåðãåðîè áûëè îáúÿâëåíû âíå çàêîíà. Òåïåðü îíè æèâóò êàê îáû÷íûå ëþäè, õîòÿ ïðåæíèå ãîäû ðåãóëÿðíî äàþò î ñåáå çíàòü. È âîò îäèí èç íèõ æåñòîêî óáèò. Ëþäè, óáðàâøèå ñâîè ðàçíîöâåòíûå êîñòþìû â øêàôû, íå ñòàëè áû ýòèì èíòåðåñîâàòüñÿ, åñëè áû íå íàñòîé÷èâîñòü åäèíñòâåííîãî, êòî íå ñäàëñÿ ñåìü ëåò íàçàä, - Ðîðøàõà. Íà äâîðå ñàìûé ðàçãàð Õîëîäíîé âîéíû, ó åãî áûâøèõ êîëëåã ðàçíûå ïðîôåññèè è âçãëÿäû íà ìèð, à Ðîðøàõ óâåðåí, ÷òî âñå îíè îêàçàëèñü â ýïèöåíòðå çëîäåéñêîãî çàãîâîðà. Êóëüòîâûé 12-ñåðèéíûé ãðàôè÷åñêèé ðîìàí Àëàíà Ìóðà, ïîëîæåííûé â îñíîâó îäíîèìåííîãî ôèëüìà Çàêà Ñíàéäåðà ("300 ñïàðòàíöåâ"), âûõîäèò äàëåêî çà ðàìêè ïðèâû÷íûõ ïðåäñòàâëåíèé î êîìèêñàõ
2008
Gibbons S., Cold Comfort Farm. stage 6 — 2008 (Oxford Bookworms Library) (Human interest)
Àííîòàöèÿ: The farm lies in the shadow of a hill, and the farmyard rarely sees the sun, even in summer, when the flowering sukebind hangs heavy in the branches. Here live the Starkadders - Aunt Ada Doom, Judith, Amos, Seth, Reuben, Elfine . . . They lead messy, untidy lives, full of dark thoughts, moody silences, and sudden noisy quarrels. That is, until their attractive young cousin arrives from London. Neat, sensible, efficient, Flora Poste cannot bear messes (they are so uncivilized). She begins to tidy up the Starkadders' lives at once .
2005
Ãèááîí Ý., Óïàäîê è ðàçðóøåíèå Ðèìñêîé èìïåðèè — 2005
Àííîòàöèÿ: Ýäâàðä Ãèááîí - àâòîð âåëè÷àéøåãî èñòîðè÷åñêîãî òðóäà ïî èñòîðèè ïîçäíåãî Ðèìà. Ýòà êíèãà - ñîêðàùåííûé âàðèàíò ìíîãîòîìíîãî òðóäà çíàìåíèòîãî èñòîðèêà. Ñî÷èíåíèå, äî ñèõ ïîð íå ïîòåðÿâøåå ñâîåé öåííîñòè, îõâàòûâàåò ïåðèîä ñ êîíöà II âåêà (ïðàâëåíèå èìïåðàòîðà Êîììîäà) äî ïàäåíèÿ Êîíñòàíòèíîïîëÿ â 1453 ãîäó. Ôèëîñîôñêèå âçãëÿäû Ãèááîíà, õóäîæåñòâåííûå äîñòîèíñòâà åãî ñòèëÿ, òîíêèé àíàëèç ñîáûòèé, æèâûå è îáðàçíûå ïîðòðåòû ïîâëèÿëè íà ôîðìèðîâàíèå öåëîé ýïîõè â íàóêå, ëèòåðàòóðå è èñêóññòâå.
1976
1982
Gibbons S., Gold Comfort Farm — 1982
Àííîòàöèÿ: Flora Poste, orphaned at twenty, decides to go and live with her relatives at Cold Comfort Farm. Once there she discovers they exist in a state of chaos and feels it is up to her to bring order. From the author of LIGHT AND EASY.
1980
Gibbons B., Jacobean City Comedy — 1980
Àííîòàöèÿ: The first decade of the Jacobean age witnessed a sudden profusion of comedies satirizing city life; among these were comedies by Ben Jonson, John Marston and Thomas Middleton, as well as the bulk of the repertory of the newly-established children's companies at Blackfriars and Paul's. The platwrights self-consciously forged a new genre which attracted London audiences with its images of folly and vice in Court and City, and hack-writing dramatists were prompt to cash in on a new theatrical fashion. The genre developed under the dominant influence of Ben Jonson, but there was a good deal of cross-fertilization between the playwrights, and this study presents such well-known plays as Volpon, The Dutch Courtezan, and even Measure for Measure, in the context of the developing genre as much as the individual author's oeuvre.
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