Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Àóäèîêíèãà íà àíãëèéñêîì è ðóññêîì ÿçûêàõ.Portrait of a ladyThe Man who would ManageThe Absent-minded ManThe Man who did not Believe in LuckShould Married Men Play Golf?Ïîðòðåò äàìû×åëîâåê, êîòîðûé ñòàðàëñÿ âñåì ïîìîãàòüÐàññåÿííûé ÷åëîâåê×åëîâåê, êîòîðûé íå âåðèë â óäà÷óÑëåäóåò ëè æåíàòûì ìóæ÷èíàì èãðàòü â ãîëüô?

Àííîòàöèÿ: While it is beyond doubt that Jerome K. Jerome is most well known for his comic masterpiece Three Men in a Boat, the range of his other literary achievements is staggering. Journalist, playwright and author, a wealth of his writing has remained just beyond the public gaze. Diary of a Pilgrimage is one such work. The pilgrimage of the title is a journey to see the famous Passion Play at Oberammergau, which has been performed every ten years since 1634, the middle of the Thirty Years War. Diary is a typically witty account of this journey, part travelogue and part social commentary. It is also a work which has long deserved its place in the sun, outside of the benevolent shade of Jerome—s more famous writing.

Àííîòàöèÿ: Martyrs to hypochondria and general seediness, J. and his friends George and Harris decide that a jaunt up the Thames would suit them to a T. But when they set off, they can hardly predict the troubles that lie ahead with tow-ropes, unreliable weather forecasts and tins of pineapple chunks—not to mention the devastation left in the wake of J. s small fox-terrier Montmorency. Three Men in a Boat was an instant success when it appeared in 1889, and, with its benign escapism, authorial discursions and wonderful evocation of the late-Victorian clerking classes, it hilariously captured the spirit of its age.

Àííîòàöèÿ: Martyrs to hypochondria and general seediness, J. and his friends George and Harris decide that a jaunt up the Thames would suit them to a T. But when they set off, they can hardly predict the troubles that lie ahead with tow-ropes, unreliable weather forecasts and tins of pineapple chunks—not to mention the devastation left in the wake of J. s small fox-terrier Montmorency. Three Men in a Boat was an instant success when it appeared in 1889, and, with its benign escapism, authorial discursions and wonderful evocation of the late-Victorian clerking classes, it hilariously captured the spirit of its age.

Àííîòàöèÿ: As New York's First Deputy Police Commissioner, Isaac Sidel has his problems. The fact that he's the World's Greatest Cop (official) makes solving them no easier, what with irrelevancies like lecturing on policing in Paris, and (less irrelevant) dealing with his father, the painter, who snares American tourists off elevators and charges them twenty francs for a rough likeness. His biggest problem is his daughter-Marilyn the Wild. Twice divorced at twenty-five, she can chew up husbands faster than any other Bronx-Manhattan girl who has bombed out of Sarah Lawrence. Isaac has always been there to find husbands for her, genteel men with good jobs and a flush of college degrees. But she has this unaccountable longing for the wrong man. And Manfred Coen, Isaac's sidekick and spy, known to all as Blue Eyes -is he ever the wrong man...Complications becomes crisis when a teenage gang makes Marilyn the target in a crazed vendetta against her father. But Isaac, possibly the most unusual cop in crime fiction, is a thinker-and he has connections...

Àííîòàöèÿ: The Catcher in the Rye is a novel by J. D. Salinger. A classic novel originally published for adults, it has since become popular with adolescent readers for its themes of teenage angst and alienation. It has been translated into almost all of the world's major languages.Âíèìàíèþ ÷èòàòåëåé ïðåäëàãàåòñÿ ïîëíûé, íåàäàïòèðîâàííûé òåêñò ïîïóëÿðíîãî ïðîèçâåäåíèÿ Äæ.Ä. Ñýëèíäæåðà "Íàä ïðîïàñòüþ âî ðæè" (1951). Èçäàíèå ðàññ÷èòàíî íà ëèö, âëàäåþùèõ îñíîâàìè àíãëèéñêîãî ÿçûêà è ñîâåðøåíñòâóþùèõ ñâîè íàâûêè â íåì.

Àííîòàöèÿ: Relates the adventures and mishaps of three late-Victorian gentlemen and a dog on holiday on the Thames. With picaresque digressions and asides, Jerome depicts the groups attempts to keep themselves afloat and cope with the English weather.

Àííîòàöèÿ: Ýïîõà Ðèìñêîé èìïåðèè - îäèí èç ñàìûõ áëåñòÿùèõ ïåðèîäîâ èñòîðèè ÷åëîâå÷åñòâà, íàñëåäèå êîòîðîãî îïðåäåëèëî õîä ðàçâèòèÿ åâðîïåéñêîé öèâèëèçàöèè íà âåêà âïåðåä.  I-III âåêàõ í. ý. Ðèì ñòàë öåíòðîì ãðîìàäíîãî ãîñóäàðñòâà, êðóïíåéøèì ãîðîäîì ìèðà, êóäà ñòåêàëèñü ïðåäñòàâèòåëè ñîòåí íàðîäîâ è ïëåìåí.Áüþùàÿ â ãëàçà ðîñêîøü çäåñü ñîñåäñòâîâàëà ñ íèùåòîé, âûñîêîðàçâèòàÿ êóëüòóðà - ñ æåñòîêîñòüþ è äåñïîòèçìîì. Πòîì, êàê æèëè ðèìëÿíå òîãî âðåìåíè, î èõ çàíÿòèÿõ è ñåìåéíîé æèçíè, òðóäå è ðàçâëå÷åíèÿõ, î ïèðøåñòâàõ è áîÿõ ãëàäèàòîðîâ ðàññêàçûâàåò ðàáîòà Æåðîìà Êàðêîïèíî

Àííîòàöèÿ: Ever since it was first published in 1951, this novel has been the coming-of-age story against which all others are judged. Read and cherished by generations, the story of Holden Caulfield is truly one of America's literary treasures.

Àííîòàöèÿ: The author writes: FRANNY came out in The New Yorker in 1955, and was swiftly followed, in 1957 by ZOOEY. Both stories are early, critical entries in a narrative series I'm doing about a family of settlers in twentieth-century New York, the Glasses. It is a long-term project, patently an ambiguous one, and there is a real-enough danger, I suppose that sooner or later I'll bog down, perhaps disappear entirely, in my own methods, locutions, and mannerisms. On the whole, though, I'm very hopeful. I love working on these Glass stories, I've been waiting for them most of my life, and I think I have fairly decent, monomaniacal plans to finish them with due care and all-available skill.