Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé
Ïðîñòîé ïîèñê
Ðàñøèðåííûé ïîèñê
Ïðîñòîé ïîèñê
Ðàñøèðåííûé ïîèñê
Íàéäåíî ïå÷àòíûõ èçäàíèé: 70
Ïîèñêàòü êíèãè â ýëåêòðîííîì âèäå
![Ôåëüäìàí Ê.Â., Âå÷åð ó ìîðÿ — [ìåæäó 1890-1917]](/searchcat/covers/RGUB-BIBL-0000885736-note.jpg)
ìåæäó 1890-1917
Ôåëüäìàí Ê.Â., Âå÷åð ó ìîðÿ — [ìåæäó 1890-1917]
Ñîäåðæàíèå: Âëàäåëü÷åñêèé êîíâîëþò. Ïðèïë. 13 íîò. èçä. è 1 ðóêîï. íîò.: 1). Øòåéíáåðã, Ì.Ê. «Âÿëüöåâà»: âàëüc Ì. Øòåéíáåðãà.-Ñ.-Ïåòåðáóðã: Áåðíãàðä,[ìåæäó 1860-1917].- 7 c. .- Í.ä. Ê. 596 Á.; 2). Ãîëëåíäåð, Âèêòîð. (Hollaender,Victor). Schaukel Walzer = Êà÷åëè-âàëüñ / von Victor Hollaender .-Ìîñêâà: Ýéâàíã, [ìåæäó 1860-1917].- 11 ñ. .- Í.ä. A. 582 S.; 3). ×àìîâ.À. "À ñ÷àñòüå áûëî òàê âîçìîæíî": âàëüñ / Ìóç. À. ×àìîâà.- Ìîñêâà: [Ýéâàíã], [ìåæäó 1870-1917].- 5 c..- Í.ä. 65 ; 4). Ãåðìàí, Ôëîðèàí (Hermann, Florian). Hommage-Valse pour piano: Comp. —21 / par Florian Hermann; .- Nouvelle ™dition.-Moscou: Gutheil [Ãóòõåéëü], [ìåæäó 1870-1917].- 11 ñ. .- Í.ä. À. 5731; 5). Êèòëåð, Ãåðîëüä Ëàâðåíòüåâè÷ (Kittler ,Herold). Îáíîâëåíèå: âàëüñ, Op. 88 / Ñî÷. Ã.Ë. Êèòëåðà .- Ìîñêâà: Ãðîññå, [ìåæäó 1870-1917] .- 5 ñ. .- Í.ä. Ã. 9 Ê.; 6). Áåêêåð, Â. Ëåñíàÿ ñêàçêà: âàëüñ äëÿ ôîðòåïüÿíî /Ñî÷. Â. Áåêêåð.- Ìîñêâà: Ãðîññå, [ìåæäó 1870-1917].- 5 ñ. .- Í.ä. Ñ. 3 Ì.; 7). Êðîóï, Ô.Å. Òîñêà ïî Ðîäèíå: ïåðåëîæ. äëÿ ôîðòåïüÿíî Ô.Å. Êðîóïà .-Õàðüêîâ: Ìàðå÷åê, [ìåæäó 1870-1917].- 3 ñ. .- Í.ä. Í.110 Ì.; 8). Ãëèíêà, Ìèõàèë Èâàíîâè÷ (1804-1857). Æèçíü çà öàðÿ.: èíòðîäóêöèÿ — 1: " áóðþ âî ãðîçó" / ìóç. Ì.È. Ãëèíêè; àðàíæ. äëÿ ôîðòåïüÿíî Ê. Âèëüáîà .- Ìîñêâà: Ãóòõåéëü [Gutheil], [ìåæäó 1870-1917].- 9 ñ. .- Í.ä. À. 2175.; 9). Ëàíãå, Ã. (Lange,G.). Ñåâåðíàÿ ïåñíÿ, Op. 152 / Ã. Ëàíãå .- Moscou: Jurgenson [Þðãåíñîí], [ìåæäó 1870-1917].- 5 ñ. .-Í.ä. 12491; 10). Áàóåð, Ôåðäèíàíä (Beyer,F.). Petite fantaisie sur des motifs de l'opera "Martha" (Ìàëåíüêàÿ ôàíòàçèÿ íà ìîòèâ îïåðû ôîí Ôëîòîâà) / Par F. — Moscou: Gutheil [Ãóòõåéëü], [ìåæäó 1870-1917].- 11 ñ. .- Í.ä. À. 25333 G.; 11). Ñêîòòî, Âèíöåíò(Scotto,Vincent; 1874-1952). Petit Tonkinoise . (Ìàëåíüêàÿ êèòàÿíêà) / Scotto et Christine Scotto et Christine; Òîâàðèùåñòâî "Ñ.Ïåòåðáóðãñêàÿ Òåõíî-õèìè÷åñêàÿëàáîðàòîðèÿ".- ÑÏá.: Íèâà-Ìàðêñ, [ìåæäó 1870-1917].- [2] ë. .- Í.ä. È.164.Í; 12). Ôåëüäìàí,Ê.Â. Marche fun˜bre(Ïåñíü óçíèêà): Ìàðø-ðîìàíñ / Ñî÷. Ê.Â. Ôåëüäìàí.- Ìîñêâà: Ãðîññå, [1898].- 3, [1] ñ. .- Íà òèò. ë. - öåíçóðíîå ðàçðåøåíèå: "Äîçâîëåíî öåíçóðîé, Ìîñêâà 29 èþëÿ 1898 ã." .- Í.ä. Ê. 1 Ô; 13). Ìîíþøêî, Ñòàíèñëàâ(Moniuszko, Stanisòaw; 1819-1872). "Ãàëüêà": Îïåðà â 4-õ äåéñòâèÿõ: ä. 4 —15 Ðå÷èòàòèâ è äóìêà / ïåð. Í.Ê.Ê; ìóç. Ñò. Ìîíþøêî.- Ìîñêâà: Þðãåíñîí, [1882].- 11 ñ. .-"Äîçâîëåíî öåíçóðîþ 10 Îêòÿáðÿ 1882 ã." .- Í.ä. 4685; 14). Êîíòñêèé, Àíòîí Ãðèãîðüåâè÷ (1817-1889)."Áàþøêè-áàþ" [ðóêîïèñíûå íîòû] / Ñëîâà À. Ïîãîñêîãî; Ìóç. Àíò. Êîíòñêîãî, [1908 ã. Äåêàáðÿ 4-ãî äíÿ]. -2 ë.
![Old Music XVI - XVIII Centuries: for Guitar — [200-]](/searchcat/covers/RGUB-BIBL-0000785694-note.jpg)
200-
Old Music XVI - XVIII Centuries: for Guitar — [200-]
Ñîäåðæàíèå: Dance; Incomparable dance; Saltarello; Minuet; Country Dance; Aria: ( From Music Book of Anna Magdalena Bach); Lied; Aria; Flon-flon: (Arietta); Minuet: ( From Music Book of Anna Magdalena Bach)/ Anonim. Five pieces; Sonatina/ D. Turk. Allegro/ W.A. Mozart. Ecossaise/ M. Giuliani. Bourree/ L. Mozart. Minuet; Bourree/ J. Krieger. Dutch dance/ H. Neusidler. Minuet/ K. Seixas. Allemande/ J. Haydn. Bransle/ J. Hotteterre.Saint Catherine/ J. Barret. Minuet/ J. Ch. F. Bach. Prelude/ J. Haessler. Allegro/ A. Lang. Old song Variations/ M. Giuliani. Andante/ F. Kemeny. Minuet/ J. Clark. Bransle simple/ F. Caroubel. Minuet/ J.F. Rameau. Minuet/ W.F. Bach. Gavotte/ J.F. D' Andrieu. Aria/ G. Kirchhof. Aria; Fuga/ G. Handel. Hornpipe/ H. Purcell. La Charolaise/ F. Couperin. Sonata; Larghetto; Prelude; Gigue/ D. Scarlatti
2025
Ëýíãëå À., Îñíîâû ýêçèñòåíöèàëüíîãî àíàëèçà — 2025 (Ìàñòåðà ïñèõîëîãèè)
Àííîòàöèÿ: Ýòà êíèãà ïðåäñòàâëÿåò ñîáîé ïåðâîå ñèñòåìàòèçèðîâàííîå è âñåñòîðîííåå èçëîæåíèå îñíîâ ýêçèñòåíöèàëüíîãî àíàëèçà êàê ñàìîñòîÿòåëüíîãî íàïðàâëåíèÿ ïñèõîëîãèè. Ïîñëåäîâàòåëüíàÿ ñâÿçü ìåæäó òåîðèåé è ïðàêòèêîé, îïèñàíèå ìåòîäîâ è êîììåíòàðèè ê èõ ïðàêòè÷åñêîìó ïðèìåíåíèþ, à òàêæå èçëîæåíèå è îáñóæäåíèå êîíêðåòíûõ ïðèìåðîâ äåëàþò êíèãó íåçàìåíèìûì ñïðàâî÷íèêîì êàê äëÿ òåõ òåõ, êòî èçó÷àåò òåîðèþ ïñèõîëîãèè, òàê è äëÿ ïðàêòèêîâ.
![Ëåíäæ Ò., Ìû Áðåííàíû. [ðîìàí] — 2024 (Îáðåòàÿ ñåáÿ: èñêðà æèçíè) (Áåñòñåëëåð New York Times)](/searchcat/covers/RGUB-BIBL-0000934128.jpg)
2024
Ëåíäæ Ò., Ìû Áðåííàíû. [ðîìàí] — 2024 (Îáðåòàÿ ñåáÿ: èñêðà æèçíè) (Áåñòñåëëåð New York Times)
ÍÅÇÀÊÎÍÍÎÅ ÏÎÒÐÅÁËÅÍÈÅ ÍÀÐÊÎÒÈ×ÅÑÊÈÕ ÑÐÅÄÑÒÂ; ÏÑÈÕÎÒÐÎÏÍÛÕ ÂÅÙÅÑÒÂ È ÈÕ ÀÍÀËÎÃΠÏÐÈ×ÈÍßÞÒ ÂÐÅÄ ÇÄÎÐÎÂÜÞ; ÈÕ ÍÅÇÀÊÎÍÍÛÉ ÎÁÎÐÎÒ ÇÀÏÐÅÙÅÍ È ÂËÅ×ÅÒ ÓÑÒÀÍÎÂËÅÍÍÓÞ ÇÀÊÎÍÎÄÀÒÅËÜÑÒÂÎÌ ÎÒÂÅÒÑÒÂÅÍÍÎÑÒÜ.
Àííîòàöèÿ: Ñåìüÿ Áðåííàí âñåãäà ÿâëÿëàñü îáúåêòîì äëÿ ïîäðàæàíèÿ è çàâèñòè ñðåäè ñîñåäåé. Ïðåêðàñíûå äåòè, ëþáÿùèå ðîäèòåëè— Âîò òîëüêî îäíàæäû Ñàíäè Áðåííàí ñîáèðàåò ÷åìîäàí è, íèêîìó íè÷åãî íå îáúÿñíèâ, ñáåãàåò â Ëîñ-Àíäæåëåñ, ÷òîáû íà÷àòü æèçíü ñ ÷èñòîãî ëèñòà. Øåñòü ëåò ñïóñòÿ Ñàíäè âîçâðàùàåòñÿ â ðîäèòåëüñêèé äîì. Çäåñü îíà ïîíèìàåò, ÷òî íóæäàåòñÿ â áðàòüÿõ è îòöå òàê æå, êàê è îíè â íåé. Êîãäà îïàñíûé ÷åëîâåê èç ïðîøëîãî Ñàíäè óãðîæàåò ðàçîðåíèåì ñåìåéíîãî áèçíåñà, Áðåííàíàì íè÷åãî íå îñòàåòñÿ, êàê ðàñêðûòü âñå ñâîè ñåêðåòû è áîëåçíåííûå îøèáêè, êîòîðûå îíè ìíîãî ëåò ñêðûâàëè äðóã îò äðóãà. Ýòè òàéíû ðàçðóøàò ñåìåéíóþ èäèëëèþ, íî â òî æå âðåìÿ îíè ïîêàæóò ïóòü ê èñöåëåíèþ. Íî ðåøàòñÿ ëè Áðåííàíû íà ýòîò øàã?
![Ëýíãàí Ä., Ñåôèðà è äðóãèå ïðåäàòåëüñòâà. [ðàññêàçû] — 2024 (Ìàñòåðà óæàñîâ)](/searchcat/covers/RGUB-BIBL-0000930032.jpg)
2024
Ëýíãàí Ä., Ñåôèðà è äðóãèå ïðåäàòåëüñòâà. [ðàññêàçû] — 2024 (Ìàñòåðà óæàñîâ)
ÍÅÇÀÊÎÍÍÎÅ ÏÎÒÐÅÁËÅÍÈÅ ÍÀÐÊÎÒÈ×ÅÑÊÈÕ ÑÐÅÄÑÒÂ; ÏÑÈÕÎÒÐÎÏÍÛÕ ÂÅÙÅÑÒÂ È ÈÕ ÀÍÀËÎÃΠÏÐÈ×ÈÍßÞÒ ÂÐÅÄ ÇÄÎÐÎÂÜÞ; ÈÕ ÍÅÇÀÊÎÍÍÛÉ ÎÁÎÐÎÒ ÇÀÏÐÅÙÅÍ È ÂËÅ×ÅÒ ÓÑÒÀÍÎÂËÅÍÍÓÞ ÇÀÊÎÍÎÄÀÒÅËÜÑÒÂÎÌ ÎÒÂÅÒÑÒÂÅÍÍÎÑÒÜ.
Àííîòàöèÿ: Îáûêíîâåííàÿ ïàðà íàõîäèò íà îáî÷èíå äîðîãè õîëîäèëüíèê, â êîòîðîì ñêðûâàåòñÿ íå÷òî èç èíîãî ìèðà. Îáìàíóòàÿ æåíùèíà ïðåñëåäóåò ïî âñåé ñòðàíå ìîíñòðà, ñàìà ïîñòåïåííî ïðåâðàùàÿñü âî ÷òî-òî êîøìàðíîå. Ó ðàçìîëâêè ìåæäó ñóïðóãàìè îêàçûâàåòñÿ æóòêàÿ, ñâîäÿùàÿ ñ óìà ïðè÷èíà. Äâà äðóãà çàêëþ÷àþò äîãîâîð ñ äðåâíèì êîëäóíîì, åùå íå ïîäîçðåâàÿ, êàêèå òàéíû ñêðûâàþò ñòàðèííûå ëåãåíäû. Ïóòíèê, áåãóùèé îò ñîáñòâåííîé æèçíè, ñòàëêèâàåòñÿ â ïðèäîðîæíîì êàôå ñ ñóùåñòâîì, êîòîðîå ëèøü âíåøíå ïîõîäèò íà ÷åëîâåêà. À âîäèòåëü íà çàáðîøåííîé äîðîãå âñòðå÷àåòñÿ ñ ìèôè÷åñêèì ÷óäîâèùåì. Ýòè ñòðàøíûå è îäíîâðåìåííî ëèðè÷åñêèå èñòîðèè ïðîèñõîäÿò â çàâîðàæèâàþùèõ è çëîâåùèõ ìèðàõ Äæîíà Ëýíãàíà, ãäå îáûäåííîñòü ïåðåïëåòàåòñÿ ñî ñâåðõúåñòåñòâåííûì, à âåêîâîé óæàñ ìîæåò ïîäæèäàòü íè÷åãî íå ïîäîçðåâàþùåãî ïóòåøåñòâåííèêà çà áëèæàéøèì ïîâîðîòîì.
Ñîäåðæàíèå: Ñåôèðà ; Â Ïàðèæå, â ïàñòè Êðîíîñà ; Òðåòèé âñåãäà ðÿäîì ñ âàìè ; Íåâûíîñèìàÿ áëèçîñòü âîçäóøíûõ øàðîâ ìèñòåðà Äàííà ; Öâåòåíèå ; Ïóòü Ðåíôðó ; Áîð Óðóñ ; Ñ êîìôîðòîì â äîìå äüÿâîëà ; Çàìåòêè î ñþæåòàõ
2022
Ëàíæ Ê. äå, 10 ïðîãóëîê ïî ÷åëîâå÷åñêîìó ðàçóìó. ðîæäåñòâåíñêèå ëåêöèè Êîðîëåâñêîãî èíñòèòóòà Âåëèêîáðèòàíèè — 2022
Àííîòàöèÿ: ×åëîâå÷åñêèé ìîçã - ñàìàÿ ñëîæíàÿ âåùü âî Âñåëåííîé, ñ÷èòàþò ó÷åíûå, ÷üè óñèëèÿ íàïðàâëåíû íà ïîñòèæåíèå åãî òàéí. Ìîçã ãîâîðèò íà ÿçûêå ýëåêòðè÷åñêèõ ñèãíàëîâ, ïîëó÷àÿ ñîîáùåíèÿ îò ìûøö è îðãàíîâ ñî ñêîðîñòüþ 120 ìåòðîâ â ñåêóíäó. Äëÿ íåãî ñâåò - ýòî ýíåðãèÿ, ïîïàäàþùàÿ â ãëàç è ïðåâðàùàþùàÿñÿ â îáúåêòû, êîòîðûå äëÿ íàñ ÷òî-òî çíà÷àò.  íåì õðàíÿòñÿ íàøè âîñïîìèíàíèÿ. È èìåííî îí â èòîãå ñîçäàåò íàøó ëè÷íîñòü. Íî ìîæíî ëè íàó÷èòüñÿ ÷èòàòü ÷óæèå ìûñëè? Ìîãóò ëè ñîâðåìåííûå òåõíîëîãèè óëó÷øèòü ÷åëîâå÷åñêèé ìîçã?  ýòîì ñáîðíèêå ëåêöèé, ïðî÷èòàííûõ â Êîðîëåâñêîì èíñòèòóòå, ðå÷ü ïîéäåò îá îòêðûòèÿõ, êîòîðûå ïîìîãàþò íàì ïîñòè÷ü ñåêðåòû ìîçãà è ñîçíàíèÿ, à çíà÷èò, ëó÷øå ïîíÿòü ñåáÿ
![Elena Montesinos. Collection Cahiers d`Artistes 2021 [—157] — 2021](/searchcat/covers/RGUB-BIBL-0000914726.jpg)
2021
Elena Montesinos. Collection Cahiers d`Artistes 2021 [—157] — 2021
Àííîòàöèÿ: Elena Montesinos is a cultural agitator in the best possible sense. She bubbles over with ideas for artistic or curatorial projects. These are not always realised, for a variety of reasons: because of exorbitant production costs, because they are rejected outright, because they are too unsettling, or simply because they are illegal. In her Cahier d—Artistes entitled UNRELEASED, 20 unpublished projects are given a literary staging by The Montesinos Foundation. The Cahier offers audiences a journey through Elena Montesinos— world of fantasy, in which she can realise her activist and transformative potential without restriction.
2020
Òàéñîí Í. Ä., Íà ñëóæáå ó âîéíû: íåãëàñíûé ñîþç àñòðîôèçèêè è àðìèè — 2020 (Áîëüøàÿ íàóêà)
Àííîòàöèÿ: Íîâàÿ êíèãà èçâåñòíîãî àìåðèêàíñêîãî àñòðîôèçèêà Íèëà Äåãðàññà Òàéñîíà, íàïèñàííàÿ â ñîàâòîðñòâå ñ ïèñàòåëåì Ýâèñ Ëýíã, ïîñâÿùåíà èññëåäîâàíèþ ìíîãîëåòíèõ îòíîøåíèé íàóêè è àðìèè. ×òî îáúåäèíÿåò àñòðîôèçèêîâ è âîåííûõ ñïåöèàëèñòîâ, â ÷åì òî÷êè èõ ïåðåñå÷åíèÿ, êàê íàóêà ñëóæèò âîéíå? Êàê âûÿñíÿåòñÿ, ìíîãèå îòêðûòèÿ è äîñòèæåíèÿ àñòðîôèçèêè, òàêèå êàê, íàïðèìåð, ìíîãîñïåêòðàëüíîå îáíàðóæåíèå, äàëüíîñòü, îòñëåæèâàíèå, âèçóàëèçàöèÿ, ÿäåðíûé ñèíòåç è äîñòóï â êîñìîñ - ýòî íå ïðîñòî íàó÷íûå îòêðûòèÿ, à èíñòðóìåíòû â ðóêàõ âîéíû.
2020
Ëàíãåðò Á., McDonald's. ìåæäó õåéòîì è õàéïîì — 2020 (Top business awards)
Àííîòàöèÿ: Áîðüáà çà ïîçèòèâíûé èìèäæ è ëîÿëüíîñòü êëèåíòîâ, ìîùíûå PR-ñòðàòåãèè è ñîáñòâåííûå íîó-õàó â ìàðêåòèíãå ñäåëàëè McDonald's îäíîé èç áîãàòåéøèõ êîìïàíèé â ìèðå.Ñåãîäíÿ êîìïàíèÿ âõîäèò â Fortune 500, ÷èñòàÿ ïðèáûëü ñîñòàâëÿåò íåñêîëüêî ìèëëèàðäîâ äîëëàðîâ, à êîëè÷åñòâî ðåñòîðàíîâ ïî âñåìó ìèðó ïåðåâàëèëî çà 37 000
2019
Çèëáåðíàãëü Ñ., Êëèíè÷åñêàÿ ïàòîôèçèîëîãèÿ. àòëàñ. ó÷åáíîå ïîñîáèå äëÿ ñòóäåíòîâ îáðàçîâàòåëüíûõ ó÷ðåæäåíèé âûñøåãî ïðîôåññèîíàëüíîãî îáðàçîâàíèÿ, îáó÷àþùèõñÿ ïî ñïåöèàëüíîñòÿì "Ëå÷åáíîå äåëî", "Ïåäèàòðèÿ", "Ñòîìàòîëîãèÿ" ïî äèñöèïëèíå "Ïàòîôèçèîëîãèÿ. Êëèíè÷åñêàÿ ïàòîôèçèîëîãèÿ" — 2019
Àííîòàöèÿ: Àòëàñ ñîäåðæèò òåêñò è áîëüøîå êîëè÷åñòâî èëëþñòðàöèé ïî òåìàì è ïðîáëåìíûì âîïðîñàì, ñîîòâåòñòâóþùèì ñîâðåìåííûì ïðîãðàììàì ïî êëèíè÷åñêîé ïàòîôèçèîëîãèè äëÿ ìåäèöèíñêèõ âóçîâ.  èçäàíèè èçëîæåíû ìàòåðèàëû, õàðàêòåðèçóþùèå îñíîâíûå ïîíÿòèÿ íîçîëîãèè, îáùåé ýòèîëîãèè è ïàòîãåíåçà, ñîâðåìåííûå ïðåäñòàâëåíèÿ î òèïîâûõ ïàòîëîãè÷åñêèõ ïðîöåññàõ, òèïîâûõ ôîðìàõ ïàòîëîãèè îðãàíîâ è èõ ñèñòåì. Ðàññìàòðèâàþòñÿ îòäåëüíûå çàáîëåâàíèÿ è êëèíè÷åñêèå ñèíäðîìû, íàèáîëåå ðàñïðîñòðàíåííûå ó ÷åëîâåêà. Äëÿ ñòóäåíòîâ ìåäèöèíñêèõ âóçîâ è âðà÷åé.
2018
Wild N., Kaboul Requiem. Un th™ avec les Talibans — 2018
Àííîòàöèÿ: Son pouse a beau le supplier de ne plus risquer sa vie en Afghanistan, Sean Langan ne peut d'empcher d'y retourner. Ce pays, le journaliste anglais, le connait comme sa poche depuis son premier reportage l-bas, en octobre 1999, pour la BBC. C'tait avant le 11 septembre, avant l'intervention des troupes occidentales... En 2008, alors que Sean cherche interviewer un chef pachtoune taliban, combattant les forces de l'OTAN, lui et son fixer se font kidnapper en zone tribale pakistanaise. Leur vie ne tient plus qu' un fil... Heureusement, son humour anglais le tient l'abri du dsespoir. Et les complexes mais gnreuses rgles de l'hospitalit pachtounes le protgent finalement des pires menaces. Depuis son cachot, Sean se fait mme l'observateur avis des tensions qui agitent ces tribus d'hommes d'honneur... Au travers des aventures de Sean Langan, Nicolas Wild porte une nouvelle fois un regard dcapant et plein d'humour sur la ralit afghane.
2018
Ëàíã Ý., Ìèôîëîãèÿ. ïðîèñõîæäåíèå è ðàñïðîñòðàíåíèå ìèôîâ — 2018 (Àêàäåìèÿ ôóíäàìåíòàëüíûõ èññëåäîâàíèé (ÀÔÈ): Ìèôîëîãèÿ, ðåëèãèÿ, àòåèçì)
Àííîòàöèÿ: Ðåïðèíòíîå èçäàíèå. íàñòîÿùåé êíèãå, íàïèñàííîé àíãëèéñêèì èñòîðèêîì è ýòíîãðàôîì Ýíäðþ Ëàíãîì (1844-1912), ðàññìàòðèâàþòñÿ âîïðîñû ïðîèñõîæäåíèÿ è ðàñïðîñòðàíåíèÿ ìèôîâ. Àâòîð èñïîëüçóåò ñðàâíèòåëüíî-èñòîðè÷åñêèé ìåòîä èññëåäîâàíèÿ è ñòðåìèòñÿ äîêàçàòü, ÷òî èíòåëëåêòóàëüíûå óñëîâèÿ, ïðè êîòîðûõ ñîçäàþòñÿ ìèôû, äîëæíû îòëè÷àòüñÿ îò òåõ óñëîâèé, êîòîðûå ñîñòàâëÿþò ïðèíàäëåæíîñòü öèâèëèçîâàííîãî ÷åëîâåêà. Ñîçäàíèå ìèôîâ àâòîð ðàññìàòðèâàåò êàê ïðèçíàê äèêîñòè - ïðèìåíèòåëüíî êàê ê ýòàïó ðàçâèòèÿ ÷åëîâå÷åñòâà, òàê è ñòåïåíè ðàçâèòèÿ êîíêðåòíîãî ÷åëîâåêà.  êíèãå èññëåäóåòñÿ ïðåäìåò ìèôîëîãèè, ïðîâîäÿòñÿ èñòîðè÷åñêèé è êðèòè÷åñêèé îáçîð ìèôîëîãè÷åñêèõ òåîðèé, ïðè÷åì îñîáîå âíèìàíèå óäåëåíî ðàññìîòðåíèþ àíòðîïîëîãè÷åñêîé òåîðèè ìèôîëîãèè (óìñòâåííîãî ñîñòîÿíèÿ è ïðåäñòàâëåíèé äèêàðåé), à òàêæå ðàññìàòðèâàþòñÿ ðàçëè÷íûå âèäû ìèôîâ.
2012
Bottcher R., Der Fluch der Mumie — 2012 (Lesen und uben. Niveau 1.A1)
Àííîòàöèÿ: Jan is fifteen and she lives in Berlin. She is interested in Egyptology and she has just learnt that the Egyptian museum in Berlin has just bought the mummy of the ancient general, Thoukanis.So she goes straight to see it with her friend Stefan. The two friends see some strange hieroglyphics on the sarcophagus. From that moment strange and unexplainable things start happening— Jan and Stefan start investigating and make some disturbing discoveries.
2011
Ich schenk dir eine Geschichte 2011. Mutgeschichten — 2011 (Welttag des Buches)
Àííîòàöèÿ: Renommierte Autorinnen und Autoren erzahlen spannende Mutgeschichten: Von einem nachtlichen Friedhof, einer Autofahrt durch ein Gewitter, einer Verbrecherjagd auf einem Kreuzfahrtschiff u. v. m. Die Geschichten laden dazu ein, sich in das Abenteuer Lesen zu sturzen und eine neue Welt zu entdecken
Ñîäåðæàíèå: Cassandras Geheimnis / M. Borlik. Wie Timmy zum Hund kam / S. Flegel. "Geh nicht mit, Jasper!" / A. Langen. Blauer Montag / S. Ludwig. Ein Brief aus Indonesien / R. Rusch. Nur nicht den Mut verlieren! / U. Scheffler. Nina / A. Tuckermann
2011
Bottcher R., Erich ist verschwunden — 2011 (Lesen und uben. Niveau Eins. A1)
Àííîòàöèÿ: "Íårr Kommissar. Mein Sohn ist verschwunden." Das ist der Anfang einer spannenden Geschichte. Erich ist nicht aus der Schule zuruckgekommen. Wo ist er?Was ist geschehen? Ist er ausgerissen? Wurde er entfuhrt? Erichs Eltern sind sehr besorgt; aber Kommissar Gandolf lost den Fall auf seine Weise.
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