Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Êðåòèíèçì âëàñòè è ôèíàíñîâàÿ íåãðàìîòíîñòü ìíîãèõ ãðàæäàí - íå óíèêàëüíîå ðîññèéñêîå ÿâëåíèå, â Åâðîïå òâîðÿòñÿ äåëà íå ìåíåå âïå÷àòëÿþùèå. Âñåìèðíî èçâåñòíûé æóðíàëèñò Ìàéêë Ëüþèñ ðàññëåäîâàë ïðè÷èíû ýêîíîìè÷åñêèõ ïðîáëåì åâðîïåéñêèõ ñòðàí, è òî, ÷òî îí ïèøåò, ïîòðÿñàåò âîîáðàæåíèå. Òîëüêî ïðåäñòàâüòå: èñëàíäñêèì ðûáàêàì âäðóã íàäîåëî çàíèìàòüñÿ ñâîèì äðåâíèì ïðîìûñëîì è îíè ðåøèëè, ÷òî îòëè÷íî ðàçáèðàþòñÿ â áàíêîâñêîì äåëå, ïîýòîìó ïðåâðàòèëè ñòðàíó â õåäæ-ôîíä, êîòîðûé ïîòåðïåë ñîêðóøèòåëüíûé êðàõ.  Ãðåöèè, ãäå íàëîãîâîå ìîøåííè÷åñòâî äîñòèãëî ôàíòàñòè÷åñêèõ ðàçìåðîâ, ìîíàñòûðè ñòàëè äóøîé êîððóïöèè, à ïðàâèòåëüñòâî ôàêòè÷åñêè íå âåëî ó÷åòà ðàñõîäîâ, ãîñäîëã äîñòèã 1,2 òðëí. äîëëàðîâ.  Èðëàíäèè ïîòîê äåøåâûõ èíîçåìíûõ äåíåã ïîðîäèë áóì â ñôåðå íåäâèæèìîñòè, ýêîíîìèêà ñòàëà íàïîìèíàòü ãèãàíòñêóþ ïèðàìèäó, è ñòðàíà îáàíêðîòèëàñü. Íó, à Ãåðìàíèÿ ñòàëà ñàìûì êðóïíûì êðåäèòîðîì ñòðàí-áàíêðîòîâ. Ìàéêë Ëüþèñ êàê âñåãäà ïðåâðàùàåò ïîâåñòâîâàíèå î âðîäå áû ñêó÷íûõ è ñëîæíûõ äëÿ ïîíèìàíèÿ âåùàõ â îñòðîñþæåòíûé ðîìàí ñ çàõâàòûâàþùèìè ñöåíàìè è ÿðêèìè ïåðñîíàæàìè.

Àííîòàöèÿ: Íîâåéøàÿ èñòîðèÿ àìåðèêàíñêîãî ôèíàíñîâîãî ðûíêà. Ëîìàÿ ñòåðåîòèïû: ñòàðûå ïðåäñòàâëåíèÿ î áèðæàõ êàæóòñÿ óäîáíåå ëèøü äî îïðåäåëåííîé ïîðû. Ãîíêà çà ìèêðîñåêóíäàìè, èëè Óñêîðåíèå ïðîöåññà áèðæåâîé òîðãîâëè êàê çàëîã óñïåõà òðåéäåðà. Íåèçâåñòíûå ïîäðîáíîñòè òåõíè÷åñêèõ óõèùðåíèé.

Àííîòàöèÿ:  ñáîðíèê âîøëè èçáðàííûå ïðîèçâåäåíèÿ àíãëèéñêîãî ïèñàòåëÿ Ëüþèñà Êýððîëëà, ïðèíåñøèå åìó ñëàâó íàðÿäó ñî ñêàçêàìè îá Àëèñå, - "Îõîòà íà Óãàäà", "Òðè ãîëîñà", "Ôîòîñú¸ìêà Ãàéàâàòû", "Çàòÿíóâøååñÿ ñâàòîâñòâî" è äðóãèå - â ïåðåâîäàõ è ñ êîììåíòàðèÿìè ëèíãâèñòà è ïåðåâîä÷èêà, äîêòîðà ôèëîëîãè÷åñêèõ íàóê Ä.È.Åðìîëîâè÷à. Íåêîòîðûå ïðîèçâåäåíèÿ âïåðâûå ïóáëèêóþòñÿ â ïîëíîé îðèãèíàëüíîé âåðñèè è â ïðîôåññèîíàëüíîì ïåðåâîäå íà ðóññêèé ÿçûê.  ðàçäåë "Ïðèëîæåíèå" âêëþ÷åíû îáðàçöû òâîð÷åñòâà ìàñòåðîâ àíãëèéñêîé ïîýçèè íîíñåíñà Ý.Ëèðà è À.Ìèëíà. Âñå ëèòåðàòóðíûå òåêñòû íàïå÷àòàíû â êíèãå ïàðàëëåëüíî íà àíãëèéñêîì è ðóññêîì ÿçûêàõ.

Àííîòàöèÿ: Êðåòèíèçì âëàñòè è ôèíàíñîâàÿ íåãðàìîòíîñòü ìíîãèõ ãðàæäàí - íå óíèêàëüíîå ðîññèéñêîå ÿâëåíèå, â Åâðîïå òâîðÿòñÿ äåëà íå ìåíåå âïå÷àòëÿþùèå. Âñåìèðíî èçâåñòíûé æóðíàëèñò Ìàéêë Ëüþèñ ðàññëåäîâàë ïðè÷èíû ýêîíîìè÷åñêèõ ïðîáëåì åâðîïåéñêèõ ñòðàí, è òî, ÷òî îí ïèøåò, ïîòðÿñàåò âîîáðàæåíèå. Òîëüêî ïðåäñòàâüòå: èñëàíäñêèì ðûáàêàì âäðóã íàäîåëî çàíèìàòüñÿ ñâîèì äðåâíèì ïðîìûñëîì è îíè ðåøèëè, ÷òî îòëè÷íî ðàçáèðàþòñÿ â áàíêîâñêîì äåëå, ïîýòîìó ïðåâðàòèëè ñòðàíó â õåäæ-ôîíä, êîòîðûé ïîòåðïåë ñîêðóøèòåëüíûé êðàõ.  Ãðåöèè, ãäå íàëîãîâîå ìîøåííè÷åñòâî äîñòèãëî ôàíòàñòè÷åñêèõ ðàçìåðîâ, ìîíàñòûðè ñòàëè äóøîé êîððóïöèè, à ïðàâèòåëüñòâî ôàêòè÷åñêè íå âåëî ó÷åòà ðàñõîäîâ, ãîñäîëã äîñòèã 1,2 òðëí. äîëëàðîâ.  Èðëàíäèè ïîòîê äåøåâûõ èíîçåìíûõ äåíåã ïîðîäèë áóì â ñôåðå íåäâèæèìîñòè, ýêîíîìèêà ñòàëà íàïîìèíàòü ãèãàíòñêóþ ïèðàìèäó, è ñòðàíà îáàíêðîòèëàñü. Íó, à Ãåðìàíèÿ ñòàëà ñàìûì êðóïíûì êðåäèòîðîì ñòðàí-áàíêðîòîâ. Ìàéêë Ëüþèñ êàê âñåãäà ïðåâðàùàåò ïîâåñòâîâàíèå î âðîäå áû ñêó÷íûõ è ñëîæíûõ äëÿ ïîíèìàíèÿ âåùàõ â îñòðîñþæåòíûé ðîìàí ñ çàõâàòûâàþùèìè ñöåíàìè è ÿðêèìè ïåðñîíàæàìè.

Àííîòàöèÿ:  êíèãå òåêñò ïðîèçâåäåíèÿ íà ÿçûêå îðèãèíàëà ïîâòîðÿåòñÿ äâàæäû: ñíà÷àëà ñ ëåêñèêî-ãðàììàòè÷åñêèì êîììåíòàðèåì è äîñëîâíûì ïåðåâîäîì íåêîòîðûõ ôðàç, çàòåì áåç êàêèõ-ëèáî ïîäñêàçîê. Íà÷èíàþùèì èçó÷àòü ÿçûê ðåêîìåíäóåòñÿ ñíà÷àëà îçíàêîìèòüñÿ ñ êîììåíòèðîâàííûì òåêñòîì, à çàòåì ïåðåõîäèòü ê îðèãèíàëüíîìó. Òåì æå, êòî óæå èìååò îïûò ÷òåíèÿ íà èíîñòðàííîì ÿçûêå, ëó÷øå ïîñòóïàòü íàîáîðîò: ÷èòàòü òåêñò áåç êîììåíòàðèåâ è ïîäñêàçîê, ïðè íåîáõîäèìîñòè çàãëÿäûâàÿ â àäàïòèðîâàííûé âàðèàíò äëÿ êîíòðîëÿ ïîíèìàíèÿ ïðî÷èòàííîãî. ×åðåç íåêîòîðîå âðåìÿ îáó÷àþùèéñÿ ñìîæåò ñâîáîäíî ÷èòàòü íà ÿçûêå îðèãèíàëà, áåç çóáðåæêè çàïîìíèò ìíîãèå ñëîâà è âûðàæåíèÿ è ïðèâûêíåò ê ïðàâèëàì óïîòðåáëåíèÿ ãðàììàòè÷åñêèõ êîíñòðóêöèé â åñòåñòâåííûõ óñëîâèÿõ ôóíêöèîíèðîâàíèÿ ÿçûêà. Êíèãà ÿâëÿåòñÿ îòëè÷íûì ó÷åáíûì ïîñîáèåì äëÿ âñåõ, êòî èçó÷àåò èíîñòðàííûé ÿçûê, íåçàâèñèìî îò óðîâíÿ âëàäåíèÿ èì.

Àííîòàöèÿ: "Àëèñà â Çàçåðêàëüå" Ëüþèñà Êýððîëëà â ôîðìàòå êíèãè è àóäèîäèñêà çàèíòåðåñóåò âñåõ, êòî èçó÷àåò àíãëèéñêèé ÿçûê. Íåàäàïòèðîâàííûé òåêñò ïîðàäóåò ÷èòàòåëÿ íåïîäðàæàåìûì àíãëèéñêèì þìîðîì è òîíêîé èãðîé ñëîâ, êîòîðîé ñëàâèòñÿ Ëüþèñ Êýððîëë. Ïàðàëëåëüíûé ïåðåâîä íà ðóññêèé ïîäñêàæåò, êàê ïåðåâîäèòü "íåïåðåâîäèìûå" øóòêè è èäèîìû. ×èòàÿ è ñëóøàÿ òåêñòû íà àíãëèéñêîì ÿçûêå, âû óëó÷øèòå ñâîè íàâûêè ÷òåíèÿ è âîñïðèÿòèÿ íà ñëóõ èíîÿçû÷íîé ðå÷è.Äëÿ óãëóáëåíèÿ çíàíèé àíãëèéñêîãî è îáëåã÷åíèÿ ïîíèìàíèÿ òåêñòà ïðåäëàãàþòñÿ óïðàæíåíèÿ è ñëîâàðü. Êíèãà áóäåò èíòåðåñíà è ïîëåçíà øêîëüíèêàì, àáèòóðèåíòàì, ñòóäåíòàì, ïðåïîäàâàòåëÿì, à òàêæå âñåì, êòî èçó÷àåò àíãëèéñêèé ÿçûê ñàìîñòîÿòåëüíî.

Àííîòàöèÿ: Ëèòåðàòóðíûé øåäåâð Ëþèñà Êýððîëëà "Îõîòà íà Ñíàðêà" áîëåå ñòà ëåò ïðåáûâàë â òåíè äâóõ "Àëèñ", à ñîâðåìåííèêè ïèñàòåëÿ ñ÷èòàëè ýòó ïîýìó "áðåäîâûì è áåçâðåäíûì ïîëåòîì ôàíòàçèè". Íûíåøíèå èññëåäîâàòåëè òâîð÷åñòâà Êýððîëëà òðàêòóþò ýòî ïðîèçâåäåíèå êàê òðèóìô ìàñòåðà íîíñåíñà, çíàìåíóþùèé óõîä îò ðåàëüíîé äåéñòâèòåëüíîñòè, êàê ñþððåàëèñòè÷åñêóþ ïîýìó îá ýêçèñòåíöèàëüíîé àãîíèè.

Àííîòàöèÿ: In Carroll's sequel to Alice's Adventures in Wonderland, Alice once again finds herself in a bizarre and nonsensical place when she passes through a mirror and enters a looking-glass world where nothing is quite as it seems. From her guest appearance as a pawn in a chess match to her meeting with Humpty Dumpty, Through the Looking Glass follows Alice on her curious adventure and shows Carroll's great skill at creating an imaginary world full of the fantastical and extraordinary.

Àííîòàöèÿ: Ïðåêðàñíàÿ ñêàçêà î ïóòåøåñòâèè è âîëøåáíûõ ïðèêëþ÷åíèÿõ äåâî÷êè Àëèñû. Ýòà êíèãà òðóäíî ïåðåâîäèìà íà äðóãèå ÿçûêè. Îíà âñÿ ïîñòðîåíà íà èãðå ñëîâ, íà èñïîëüçîâàíèè àíãëèéñêèõ íàðîäíûõ ïîñëîâèö, ïîãîâîðîê, ñ÷èòàëîê, ñòèõîòâîðåíèé è ïåñåíîê, çíàêîìûõ ñ äåòñòâà êàæäîìó áðèòàíñêîìó øêîëüíèêó. Èçäàíèå ðàññ÷èòàíî íà ó÷àùèõñÿ îáùåîáðàçîâàòåëüíûõ øêîë, ãèìíàçèé è êîëëåäæåé, óãëóáëåííî èçó÷àþùèõ àíãëèéñêèé ÿçûê

Àííîòàöèÿ: At the beginning of the eighth century, the Arabs brought a momentous revolution in power, religion, and culture to Dark Ages Europe. David Levering Lewis's masterful history begins with the fall of the Persian and Roman empires, followed by the rise of the prophet Muhammad and the creation of Muslim Spain. Five centuries of engagement between the Muslim imperium and an emerging Europe followed, from the Muslim conquest of Visigoth Hispania in 711 to Latin Christendom's declaration of unconditional warfare on the Caliphate in 1215. Lewis's narrative, filled with accounts of some of the greatest battles in world history, reveals how cosmopolitan, Muslim al-Andalus flourished--a beacon of cooperation and tolerance between Islam, Judaism, and Christianity--while proto-Europe, defining itself in opposition to Islam, made virtues out of hereditary aristocracy, religious intolerance, perpetual war, and slavery. A cautionary tale, God's Crucible provides a new interpretation of world-altering events whose influence remains as current as today's headlines.

Àííîòàöèÿ: The two 'Alice' books are masterpieces of carefree nonsense for children and also embody layers of satire and allusion and mathematical, linguistic, and philosophical jokes. This new edition explores their complex status and the many interpretations of them, taking account of the most recent research and critical opinion.'But I don't want to go among mad people,' Alice remarked. 'Oh, you can't help that,' said the Cat. 'We're all mad here.' The 'Alice' books are two of the most translated, most quoted, and best-known books in the world, but what exactly are they? Apparently delightful, innocent fantasies for children, they are also complex textures of mathematical, linguistic, and philosophical jokes. Alice's encounters with the White Rabbit, the Cheshire-Cat, the King and Queen of Hearts, the Mad Hatter, Tweedledum and Tweedledee and many other extraordinary characters have made them masterpieces of carefree nonsense, yet they also appeal to adults on a quite different level. Layers of satire, allusion, and symbolism about Victorian culture and politics, as well as revelations about the intricate subconscious problems of their author, add to their fascination and make them impossible to classify. This new edition explores the phenomenal range of reference, and the paradoxical appeal of two of the most inventive books in world literature. It also includes an episode removed by Carroll from the proofs of Through the Looking-Glass, called 'The Wasp in a Wig'. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more

Àííîòàöèÿ: Perhaps you once asked yourself, 'What exactly is Hamlet trying to tell me? Why must he mince his words, muse in lyricism and, in short, whack about the shrub?' No doubt such troubling questions would have been swiftly resolved were the Prince of Denmark a registered user on Twitter.com. This, in essence, is Twitterature.Here you will find seventy-five of the greatest works of western literature — from Beowulf to Bronte, from Kafka to Kerouac, and from Dostoevsky to Dickens— each distilled through the voice of Twitter to its purest, pithiest essence. Including a full glossary of online acronyms and Twitterary terms to aid the amateur, Twitterature provides everything you need to master the literature of the civilised world, while relieving you of the burdensome task of reading it.From Hamlet: WTF IS POLONIUS DOING BEHIND THE CURTAIN???From Dante's Inferno: I'm havin a midlife crisis. Lost in the woods. Shoulda brought my iPhone.From Oedipus: PARTY IN THEBES!!! Nobody cares I killed that old dude, plus this woman is all over me. Total MILF.From Paradise Lost: OH MY GOD I'M IN HELL.'The classics are so last century' Guardian

Àííîòàöèÿ: "I wish I could get through into looking-glass house," Alice said. "Let's pretend that the glass has gone soft and... Why, I do believe it has! It's turning into a kind of cloud!" A moment later Alice is inside the looking-glass world. There she finds herself part of a great game of chess, travelling through forests and jumping across brooks. The chess pieces talk and argue with her, give orders and repeat poems... It is the strangest dream that anyone ever had...

Àííîòàöèÿ: The woman in white first appears at night on a lonely heath near London and is next seen at a grave-side in Cumberland. Who is she? Where has she come from, and what is her history? She seems alone and friendless, frightened and confused. And it seems she knows a secret - a secret that could bring ruin and shame to a man who will do anything to keep her silent. This famous mystery thriller by Wilkie Collins has suspense, excitement, romance, and a plot that twists and turns on every page.

Àííîòàöèÿ: Famed for his Alice in Wonderland and Through the Looking Glass, Lewis Caroll produced comic verse, puzzles and much more, all of which are included in this complete illustrated collection.

Àííîòàöèÿ: 'The Monk was so highly popular that it seemed to create an epoch in our literature', wrote Sir Walter Scott. Set in the sinister monastery of the Capuchins in Madrid, The Monk is a violent tale of ambition, murder, and incest. The great struggle between maintaining monastic vows and fulfilling personal ambitions leads its main character, the monk Ambrosio, to temptation and the breaking of his vows, then to sexual obsession and rape, and finally to murder in order to conceal his guilt. Inspired by German horror romanticism and the work of Ann Radcliffe, Lewis produced his masterpiece at the age of nineteen. It contains many typical Gothic elements - seduction in a monastery, lustful monks, evil Abbesses, bandits and beautiful heroines. But, as the Introduction to this new edition shows, Lewis also played with convention, ranging from gruesome realism to social comedy, and even parodied the genre in which he was writing.

Àííîòàöèÿ: Íàðíèÿ, êðàé, ñêîâàííûé âå÷íîé çèìîé, æäåò îñâîáîæäåíèÿ. ×åòâåðî îòâàæíûõ ðåáÿò îòêðûâàþò äâåðöó ïëàòÿíîãî øêàôà è îêàçûâàþòñÿ â Íàðíèè, êîòîðàÿ ñòîíåò ïîä âëàñòüþ Áåëîé Êîëäóíüè. Êàæåòñÿ, ÷òî íàäåæäû íåò, îäíàêî âîçâðàùåíèå Âåëèêîãî Ëüâà Àñëàíà îçíà÷àåò âåëèêèå ïåðåìåíû... è âåëèêóþ æåðòâó.