Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Ãîòîâû ëè âû ê ðàçðàáîòêå ìíîãîïîòî÷íûõ ïðèëîæåíèé íà JavaScript? Ïðî÷èòàâ äàííóþ êíèãó, JavaScript-ðàçðàáîò÷èê ñðåäíåãî óðîâíÿ óçíàåò î ñèëüíûõ è ñëàáûõ ñòîðîíàõ API âåá-èñïîëíèòåëåé â áðàóçåðàõ è ðàáî÷èõ ïîòîêîâ â Node.js. Àâòîðû ðàññêàçûâàþò î äâóõ ïîäõîäàõ ê ïîñòðîåíèþ ìíîãîïîòî÷íûõ ïðèëîæåíèé: íà îñíîâå ïåðåäà÷è ñîîáùåíèé è íà îñíîâå ðàçäåëÿåìîé ïàìÿòè. Îïèñûâàþòñÿ API äëÿ îáîèõ ñëó÷àåâ, îáúÿñíÿåòñÿ, êîãäà èñïîëüçîâàòü òîò èëè äðóãîé, à êîãäà - èõ ñî÷åòàíèå. Âû òàêæå óâèäèòå, êàê ðåàëèçóþòñÿ âûñîêîóðîâíåâûå ïàòòåðíû íà áàçå ýòèõ ïîäõîäîâ.

Àííîòàöèÿ: Âìåñòå ñ âåñíîé â ëåñ ïðèõîäèò íîâàÿ îïàñíîñòü - ïàâîäîê óãðîæàåò æèçíè äèêèõ êîòîâ, ê òîìó æå ðûáà â îòðàâëåííîé ëþäüìè ðåêå ñòàëà íåïðèãîäíîé äëÿ ïèùè. Îãíåãðèâ è Êðóòîáîê ñïàñàþò êîòÿò, ïîìîãàþò äîáûòü åäó äëÿ ïîñòðàäàâøåãî îò íàâîäíåíèÿ Ðå÷íîãî ïëåìåíè. Îáñòàíîâêà â ëåñó íàêàëÿåòñÿ - ïðîòèâîñòîÿíèå ìåæäó ïëåìåíàìè óñèëèâàåòñÿ ñ êàæäûì äíåì è íåîæèäàííî îòêðûâàþòñÿ âñå íîâûå òàéíû...

Àííîòàöèÿ: They're saying he's a monster. And they're saying she knew. Beth and Tom Hardcastle are the envy of their neighbourhood — they have the perfect marriage, the perfect house, the perfect family. When the police knock on their door one evening, Beth panics. Tom should be back from work by now — what if he's crashed his car? She fears the worst. But the worst is beyond imagining. As the interrogation begins, Beth will find herself questioning everything she believed about her husband. They're husband and wife — till death do them part...

Àííîòàöèÿ: Êëàññè÷åñêàÿ êíèãà ïðî ñåìåéíûå îòíîøåíèÿ, êîòîðàÿ óñïåøíî ïðîäàåòñÿ óæå áîëåå òðèäöàòè ëåò (!) è ïåðåâåäåíà íà äåñÿòêè ÿçûêîâ. Îñíîâàíà íà áîëåå ÷åì òðèäöàòèëåòíåì îïûòå àâòîðîâ, êîòîðûé ïîìîã ñîòíÿì ïàð ñîõðàíèòü áðàê.Êíèãà, êîòîðóþ ïî ïðàâó ìîæíî íàçûâàòü «ëåãåíäàðíûì áåñòñåëëåðîì», è ýòî íå áóäåò ïðåóâåëè÷åíèåì èëè êëèøå.Õàðâèëë è Õåëåí ïåðåæèëè íåóäà÷íûå áðàêè: èõ ïðåäûäóùèå îòíîøåíèÿ íå ñïàñëè íè ðîæäåíèå äåòåé, íè êîíñóëüòàöèè ñ ïñèõîòåðàïåâòàìè. Õàðâèëë æàæäàë íàéòè îòâåò íà ãëàâíûé âîïðîñ: â ÷åì ïðè÷èíà êîíôëèêòîâ, êðèçèñîâ è ðàññòàâàíèé ñóïðóãîâ, íåêîãäà òàê ñèëüíî ëþáèâøèõ äðóã äðóãà. Îí ÷óâñòâîâàë, ÷òî, ïîìèìî âíåøíèõ ïðîáëåì, åñòü íåêàÿ ãëóáèííàÿ ïðè÷èíà, è õîòåë âñåñòîðîííå åå èçó÷èòü. Õåëåí ïîääåðæàëà åãî â ýòîì íà÷èíàíèè. Îíè îáðàçîâàëè íå òîëüêî ñåìåéíûé, íî è ïðîôåññèîíàëüíûé ñîþç. ðåçóëüòàòå ìíîãîëåòíèõ èññëåäîâàíèé îíè ïðèøëè ê âûâîäó, ÷òî íà îòíîøåíèÿ ñ ïàðòíåðàìè ñèëüíåéøåå âëèÿíèå îêàçûâàåò îïûò, ïîëó÷åííûé â äåòñòâå. Ìû âûáèðàåì ïàðòíåðîâ áåññîçíàòåëüíî, ïîä âîçäåéñòâèåì îáðàçîâ èç ïðîøëîãî, çàïå÷àòëåííûõ â ãëóáèíàõ íàøåé ïàìÿòè. Ïîýòîìó â íàøèõ ïàðòíåðàõ, êàê ïðàâèëî, ñî÷åòàþòñÿ íåãàòèâíûå è ïîçèòèâíûå ÷åðòû òåõ ëþäåé, êîòîðûå íàñ âîñïèòûâàëè.Ëþáîâü — ýòî ñòðåìëåíèå îáðåñòè ãàðìîíèþ, êîòîðóþ ìû îùóùàëè, íàõîäÿñü â ìàòåðèíñêîé óòðîáå. Ñòàëêèâàÿñü ñ ðåàëüíîñòüþ, ìû òåðÿåì îùóùåíèå áåçîïàñíîñòè, ñ êîòîðûì ïðèõîäèì â ýòîò ìèð. Êàæäûé ðàç, êîãäà ðîäèòåëü îòäàëÿåòñÿ îò ñâîåãî ðåáåíêà, íå çàìå÷àÿ, íàïðèìåð, åãî ïëà÷à, ðåáåíîê ïåðåæèâàåò áîëåçíåííûé îïûò ðàçðûâà ñâÿçè ñ áëèçêèì ÷åëîâåêîì, à â ëþáâè ìû ïûòàåìñÿ âíîâü ýòó ñâÿçü îáðåñòè. Ìû âîñïðîèçâîäèì íåãàòèâíûé îïûò ïðîøëîãî, æåëàÿ íà ýòîò ðàç «âûéòè ïîáåäèòåëåì», èñöåëèòü ñâîþ äåòñêóþ òðàâìó. Îäíàêî íåîñîçíàííûå îæèäàíèÿ íå âñåãäà îïðàâäûâàþòñÿ, è â èòîãå ìû ïîëó÷àåì ïðîáëåìû â ñåìåéíîé æèçíè: ñóïðóãè âíîâü ïåðåæèâàþò ñâîè äåòñêèå ïðîáëåìû, òåïåðü óæå â îòíîøåíèÿõ ñ ïàðòíåðàìè. Îòñþäà è êîíôëèêòû, è êðèçèñû, è ðàçâîäû.Õàðâèëë è Õåëåí ïðåäëàãàþò ñïîñîá èñïðàâëåíèÿ ñèòóàöèè. Ýòî Èìàãî-ïñèõîòåðàïèÿ, íàïðàâëåííàÿ íà óëó÷øåíèå âçàèìîäåéñòâèÿ ñ ïàðòíåðîì. Êëþ÷åâóþ ðîëü â íåé èãðàåò äèàëîã. Ïîëîæèòåëüíûé îïûò îáùåíèÿ ñ ïàðòíåðîì äðåâíèé ìîçã êîäèðóåò â íîâûõ ñâÿçÿõ ìåæäó êëåòêàìè ãîëîâíîãî ìîçãà. ×åì áîëüøå òàêèõ ïîëîæèòåëüíûõ âçàèìîäåéñòâèé, òåì ïðî÷íåå ñòàíîâèòñÿ íîâûé ïóòü, à ñòàðûé è ðàçðóøèòåëüíûé — òîò, êîòîðûé âîçíèê åùå â äåòñòâå, — íà÷íåò òåðÿòü ñèëó (ìåæäó êëåòêàìè òå÷åò ìåíüøå ìåññåíäæåðîâ) è ñïîñîáíîñòü âìåøèâàòüñÿ â âàøè îòíîøåíèÿ.  ðåçóëüòàòå ïàðà ïðèõîäèò ê îñîçíàííîìó ïàðòíåðñòâó — îòíîøåíèÿì, êîòîðûå õàðàêòåðèçóþòñÿ âçàèìíîé ïîääåðæêîé è ñïîñîáñòâóþò ïñèõîëîãè÷åñêîìó è äóõîâíîìó ðîñòó îáîèõ ïàðòíåðîâ. êíèãå åñòü òåîðåòè÷åñêàÿ ÷àñòü (ïîìîãàåò îòâåòèòü íà âîïðîñû: «×òî íå òàê» è «Ïî÷åìó òàê ïðîèñõîäèò») è ïðàêòè÷åñêàÿ — óïðàæíåíèÿ, êîòîðûå ïîìîãóò äîñòè÷ü îñîçíàííîãî ïàðòíåðñòâà, êîãäà ñóïðóãè ñòàíîâÿòñÿ îäíèì öåëûì.

Àííîòàöèÿ: Âåñíà 1939 ãîäà. Ñåìüÿ Êóðöåé èçî âñåõ ñèë ïûòàåòñÿ æèòü íîðìàëüíîé æèçíüþ, ïîêà òåíü âîéíû ïîäáèðàåòñÿ ê ïîðîãó èõ äîìà. Íî õîä èñòîðèè íåóìîëèì, è óæàñ, îõâàòèâøèé Åâðîïó, âñêîðå âûíóæäàåò Êóðöåé èñêàòü ïóòè ñïàñåíèÿ: êòî-òî îòïðàâëÿåòñÿ â ýìèãðàöèþ, êòî-òî èäåò ðàáîòàòü íà çàâîä â åâðåéñêîì ãåòòî, à êòî-òî ñòàðàåòñÿ ñêðûòü ñâîå ïðîèñõîæäåíèå è îñòàòüñÿ â ðîäíîì ãîðîäå. Ýòà ñåìåéíàÿ äðàìà ðàññêàçûâàåò î òîì, ÷òî äàæå â ñàìûé òÿæåëûé ìîìåíò èñòîðèè ÷åëîâå÷åñêèé äóõ ñïîñîáåí íà ìíîãîå.

Àííîòàöèÿ: Ðîê-í-ðîëë ðîäèëñÿ â Àìåðèêå è ðàñïðîñòðàíèëñÿ îòòóäà ïî âñåìó ìèðó, îäíàêî çíà÷èòåëüíóþ ðîëü â ïðîèçâîäñòâå òîãî ñàìîãî êëàññè÷åñêîãî æ¸ñòêîãî, íàñûùåííîãî, äåðçêîãî ðîêîâîãî çâóêà ñûãðàëè áðèòàíñêèå óñèëèòåëè. Ìóçûêàíò, æóðíàëèñò è ïèñàòåëü Äåéâ Õàíòåð òåõíè÷åñêè-ïîäðîáíî è õóäîæåñòâåííî-óâëåêàòåëüíî ðàññêàçûâàåò î òîì, êàê áðèòàíñêàÿ èíæåíåðíàÿ èçîáðåòàòåëüíîñòü â ñèìáèîçå ñ ïîïóëÿðíîé êóëüòóðîé çà íåñêîëüêî ëåò ïðåâðàòèëè ñêðîìíóþ çàîêåàíñêóþ èíäóñòðèþ â ìèðîâîãî ëèäåðà. Êíèãà ñíàáæåíà èëëþñòðàöèÿìè è îïèñàíèÿìè ýïîõàëüíûõ (â òîì ÷èñëå êîëëåêöèîííûõ) ìîäåëåé óñèëèòåëåé.

Àííîòàöèÿ: Äîêòîð æóðíàëèñòèêè Ðàóëü Äþê è åãî àäâîêàò Äîêòîð Ãîíçî îòïðàâëÿþòñÿ â Ëàñ-Âåãàñ íà ïîèñêè çíàìåíèòîé àìåðèêàíñêîé ìå÷òû. Òàì îíè ñîâåðøàþò ñàìûå íåìûñëèìûå ïîñòóïêè, îäíàêî ÷óäåñíûì îáðàçîì èì âñ¸ ñõîäèò ñ ðóê. Ïî ñëîâàì ñàìîãî àâòîðà, îíè îòêðûëè äëÿ ñåáÿ ñïîñîá "æèòü òàê, ÷òîáû ìîæíî áûëî âåñåëèòüñÿ, áûòü äèêèì, ïèòü âèñêè, äî óòðà íå ëîæèòüñÿ ñïàòü, ãîíÿòü íà àâòîìîáèëå ïî ïóñòûì óëèöàì, ÷òîáû â ëèöî äóë ñâåæèé âåòåð è ÷òîáû íå èìåòü â ãîëîâå íè÷åãî, êðîìå æåëàíèÿ êîãî-òî ëþáèòü è íå áûòü àðåñòîâàííûìè".  ñâî¸ì êóëüòîâîì ñàòèðè÷åñêîì è àâòîáèîãðàôè÷åñêîì ðîìàíå èêîíà êîíòðêóëüòóðû Õàíòåð Òîìïñîí íîñòàëüãèðóåò ïî ïðîøëîìó, ïðîñëàâëÿåò ðåâîëþöèîííóþ ýïîõó 60-õ è ãëóìèòñÿ íàä êîíñåðâàòèâíûì àìåðèêàíñêèì îáùåñòâîì 70-õ ãã. Òåêñò ñîêðàù¸í è àäàïòèðîâàí. Óðîâåíü B1.

Àííîòàöèÿ: Âìåñòå ñ âåñíîé â ëåñ ïðèõîäèò íîâàÿ îïàñíîñòü - ïàâîäîê óãðîæàåò æèçíè äèêèõ êîòîâ, ê òîìó æå ðûáà â îòðàâëåííîé ëþäüìè ðåêå ñòàëà íåïðèãîäíîé äëÿ ïèùè. Îãíåãðèâ è Êðóòîáîê ñïàñàþò êîòÿò, ïîìîãàþò äîáûòü åäó äëÿ ïîñòðàäàâøåãî îò íàâîäíåíèÿ Ðå÷íîãî ïëåìåíè. Îáñòàíîâêà â ëåñó íàêàëÿåòñÿ - ïðîòèâîñòîÿíèå ìåæäó ïëåìåíàìè óñèëèâàåòñÿ ñ êàæäûì äíåì è íåîæèäàííî îòêðûâàþòñÿ âñå íîâûå òàéíû...

Àííîòàöèÿ: Ïîñëå æåñòîêîé áèòâû ìåæäó Ãðîçîâûì ïëåìåíåì è ïëåìåíåì Òåíåé, Òðîå, â ÷üèõ ëàïàõ äîëæíà ñîñðåäîòî÷èòüñÿ ñèëà çâåçä äëÿ ðåøàþùåé áèòâû ñî Çëîì, óçíàþò, ÷òî ïîä âëèÿíèå Ñóìðà÷íîãî ëåñà ïîïàëè äàæå òå, êîìó îíè âñåãäà äîâåðÿëè. Ïëåìåíà îòäàëÿþòñÿ äðóã îò äðóãà åùå áîëüøå, è â òðóäíóþ ìèíóòó âðàæäà ìåøàåò èì ïðèéòè äðóã äðóãó íà ïîìîùü. Ãîëîñà Òüìû çâó÷àò âñå îò÷åòëèâåé, è Ùåðáàòàÿ ïðåäóïðåæäàåò Âîðîáüÿ î ïðèáëèæàþùåéñÿ áåäå.

Àííîòàöèÿ: Êàê èñïîëüçîâàòü ïñèõîëîãè÷åñêèå è äóõîâíûå çíàíèÿ â ïîâñåäíåâíîé ïðàêòèêå? Ýòîò âîïðîñ çàíèìàåò Õàíòåðà Áîìîíà óæå ìíîãî ëåò.  ñâîåé êíèãå àâòîð ñòàâèò â öåíòð âíèìàíèÿ "âçãëÿä íà äóøó". Íà ïðèìåðå ðàçëè÷íûõ òåì îí ïðèãëàøàåò âîéòè â êîíòàêò ñ äóøîé è èññëåäîâàòü åå. Âåäü åñëè ó äóøè åñòü âîçìîæíîñòü âûðàæàòü ñâîþ ñîáñòâåííóþ èñòèíó, ìû íàõîäèì îòâåòû íà âîïðîñû, êîòîðûå âîëíóþò íàñ âñåõ.

Àííîòàöèÿ: Êíèãà äîëæíà ñòàòü îáÿçàòåëüíûì ÷òåíèåì äëÿ ëèäåðîâ - è òåõ, êòî ñòðåìèòñÿ ñòàòü òàêîâûìè, - â ëþáîé îáëàñòè

Àííîòàöèÿ: Master Greek script with this straightforward guide from Teach Yourself - the No. 1 brand in language learning. Read and write Greek script is a clear step-by-step guide to the written language, with plenty of examples from real-life texts to show how it works in context and lots of exercises to reinforce your learning. This new edition has an easy-to-read page design.

Àííîòàöèÿ: Íîâàÿ áåäà ïðèøëà â ëåñ, êîòîðûé åäâà óñïåë îïðàâèòüñÿ ïîñëå ïîñëåäíåé âîéíû. Çàòåÿííîå ëþäüìè ñòðîèòåëüñòâî äîðîãè ãðîçèò óíè÷òîæèòü ëåñ è ïîãóáèòü âñåõ åãî îáèòàòåëåé. Ñòàðûå ñïîðû è íîâàÿ âðàæäà ïðîëåãëè ìåæäó ïëåìåíàìè. Çâåçäíûå ïðåäêè èçáèðàþò ïî îäíîìó âîèíó èç êàæäîãî ïëåìåíè è îòïðàâëÿþò èõ â äàëüíþþ äîðîãó, ÷òîáû îòêðûòü èì ïóòü ê ñïàñåíèþ. Þíûì ãåðîÿì ïðåäñòîèò ïðîéòè ÷åðåç ãîðîä, ñïàñòèñü îò íàïàäåíèÿ êðûñ è åäâà íå ïîãèáíóòü â ìîðñêèõ âîëíàõ. Òîëüêî íàó÷èâøèñü äîâåðÿòü äðóã äðóãó, îíè ñìîãóò óöåëåòü è óçíàòü òàéíó Ïîëíî÷è

Àííîòàöèÿ: Ïåðâàÿ êíèãà ñåðèè "Êîòû-âîèòåëè" - Ñòàíü äèêèì - ðàññêàçûâàåò îá óäèâèòåëüíîé è ïîëíîé ïðèêëþ÷åíèé æèçíè äîìàøíåãî êîòåíêà Ðûæèêà, âïåðâûå ïîïàâøåãî â ëåñ, ãäå âîþò ìåæäó ñîáîé ÷åòûðå êëàíà äèêèõ êîòîâ. Åìó ïðèõîäèòñÿ äîêàçûâàòü, ÷òî îí äîñòîèí ÷åñòè ñòàòü âîèíîì è ïðèíàäëåæàòü ê Ãðîçíîìó ïëåìåíè. Ñêîðî ëåñ ñòàíîâèòñÿ íàñòîÿùèì äîìîì äëÿ Ðûæèêà: îí õðàáðî ñðàæàåòñÿ çà ñâîå ïëåìÿ, íàõîäèò íàñòîÿùèõ äðóçåé è íàæèâàåò îïàñíûõ âðàãîâ. Êíèãà äëÿ äåòåé ñðåäíåãî øêîëüíîãî âîçðàñòà

Àííîòàöèÿ: Here is some nice reading material for the Gonzo Tribe this summer — Ancient Gonzo Wisdom: Interviews with Hunter S. Thompson - due to hit the shelves on July 6th. Anita Thompson has spent quite a while now gathering together this volume of interviews and first indications are that the wait has been worth it. Kicking things off is an introduction by none other than Christopher Hitchens and I have to say I am intrigued as to what he has to say regarding the Good Doctor and all things Gonzo. A quick scan of the table of contents offers up some nice surprises — not only are the interviews from print sources but there are also transcribed interviews from various radio and T.V. outlets to boot! This is a really nice touch as many of these interviews are long since forgotten and impossible to find (believe me I have tried!) It also sets this volume apart from the other collection of interviews by Kevin Simonson and Beef Torrey. Yes there are some interviews common to both collections but by and large the material in this book is to be found nowhere else (except maybe for one or two in our interview section here at Totally Gonzo — shhh tell nobody)

Àííîòàöèÿ: Compact anthology features many of the best works by 59 poets writing in English - from the complex rhyme schemes of Elizabethan poet Edmund Spenser and Shakespeare's lovely sonnets to William Blake's visionary works and John Keats' profound insights into the nature of beauty, art, and mortality. Includes an introduction and brief commentaries on the poets represented

Àííîòàöèÿ: King Lear, growing old and too tired to reign, decides to divide his realm amongst his three daughters, leaving the largest share to the one who loves him the most. His two eldest daughters, Goneril and Regan, foolish and deceitful children, are rewarded for their insincere flattery. His youngest daughter, Cordelia, however, speaks honestly and truthfully, which enrages the old king. He disinherits Cordelia, and then drives himself to madness, left to wander the heath with only his Fool, his servant Caius, and the madman Tom O'Bedlam for company. Once reunited with Cordelia, Lear is too late repents his rashness, and must face the tragic consequences of his choices

Àííîòàöèÿ: ...it is an universal phenomenon of our nature that the mournful, the fearful, even the horrible, allures with irresistible enchantment. - Chaucer Burr, Memoir, 1850. The Wordsworth Book of Horror Stories is a superb collection of some of the greatest tales of the genre, many are classics while others are lesser-known gems unearthed from this vintage era of the supernatural

Àííîòàöèÿ: Popular, well-known poetry: "The Passionate Shepherd to His Love," "Shall I compare thee to a summer's day?" "Death, be not proud," "The Raven," "The Road Not Taken," plus works by Blake, Wordsworth, Byron, Coleridge, Shelley, Emerson, Browning, Keats, Kipling, Sandburg, Pound, Auden, Thomas, and many others. Includes 13 selections from the Common Core State Standards Initiative.