Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: And in the conclusion in #830, Robin faces certain death as massive explosions rock Wayne Tower. Only Bruce Wayne can stop the terrorist - but changing to Batman will mean revealing his dual identity! Robin is covered with liquid explosives as Vox runs away. Bruce reminds him that C4 can only be detonated when it's fully solid and that it requires a blasting cap. Robin notices the cap but cannot move his arem to reach it. Bruce asks what floor he's on then tells him of another "secret" room. Another explosion goes off so Gordon sends in his men. Inside the room, Bruce tells Robin to find a small blowtorch and melt off the explosives. C4 doesn't explode under flame, just from a major impact. Robin is able to remove the cap and throw it out into the hall just as it goes off.

Àííîòàöèÿ: Darwin's life has received enormous attention - so much so, as Adrian Desmond, James Moore, and Janet Browne note in the preface to this book, that today "historians know more about his career than his family did, and in respects . . . they even know more about the man." Such a massive amount of information can prove difficult to summarize, but the three authors rove more than capable of the task. Each draw upon their particular specialty - Desmond on the politics of evolution, evolution and Darwin's colleagues, Moore on the secular and religious contexts, and Browne on the history of botany - to present a comprehensive portrait of Darwin, one that captures the amazing range of his natural studies. Supplemented with a final chapter on his legacy, the book serves as a good introduction to the famous naturalist, as well as a guide to the mountain of further literature on his life and legacy

Àííîòàöèÿ: Features 13 captivating tales, including stories by Maria Edgeworth and William Carleton from the beginning of Irish prose fiction in English; the retellings of traditional tales by Lady Gregory and Standish O`Grady from the great age of the Irish Literary Revival; and the 20th-century works of William Butler Yeats, James Stephens, James Joyce, Seumas O`Kelly, and Liam O`Flaherty

Àííîòàöèÿ: The colossus among critics (New York Times Magazine) presents his personal selection, with commentary, of the finest poems in the English language. An anthology of poems which attempts to give readers the possession of six centuries of great British and American poetry.

Àííîòàöèÿ:  êíèãå Àëàíà Ìóðõåäà ðàññêàçûâàåòñÿ îá îäíîé èç ñàìûõ çíà÷èòåëüíûõ îïåðàöèé Ïåðâîé ìèðîâîé âîéíû ïîä òóðåöêèì ãîðîäîì Ãåëèáîëó (Ãàëëèïîëè). Çà âëàñòü íàä Äàðäàíåëëàìè, Áîñôîðîì è Êîíñòàíòèíîïîëåì ñòîëêíóëèñü èíòåðåñû âåëèêèõ äåðæàâ: Àíãëèè è Ôðàíöèè, êîòîðûì îêàçàëà ñîïðîòèâëåíèå ýêîíîìè÷åñêè îòñòàëàÿ, èñòîùåííàÿ â Áàëêàíñêèõ âîéíàõ Òóðöèÿ ïðè ïîääåðæêå Ãåðìàíèè. Èç-çà ïðîòèâîðå÷èé ñðåäè ñîþçíèêîâ, ïëîõîé ïîäãîòîâêè, à òàêæå îòñóòñòâèÿ åäèíîãî êîìàíäîâàíèÿ Äàðäàíåëëüñêàÿ îïåðàöèÿ íå äîñòèãëà öåëè. Ñîþçíûå âîéñêà ïîíåñëè îãðîìíûå ïîòåðè. Àâòîð àíàëèçèðóåò ïðè÷èíû ïîðàæåíèÿ è äåëàåò îáîáùàþùèå âûâîäû î åãî ïîñëåäñòâèÿõ.

Àííîòàöèÿ: Ïîñëå ýòîé êíèãè âàì íèêîãäà íå çàõî÷åòñÿ àíòèäåïðåññàíòîâ. Ìóð- îäèí èç òåõ ðåäêèõ ïèñàòåëåé, êîòîðûå ñìåøàò ïî-íàñòîÿùåìó. Æèçíü ïðåêðàñíà, åñëè æèâåøü â íåáîëüøîì êàëèôîðíèéñêîì ãîðîäêå ñ óþòíûì íàçâàíèåì Õâîéíàÿ Áóõòà. Æèçíü ñïîêîéíà, åñëè íàïåðåä çíàåøü, ÷åì çàêîí÷èòñÿ êàæäûé åå äåíü, êàæäûé ãîä. Æèçíü ïðîñòà, åñëè ãîðñòÿìè ãëîòàåøü ðàçíîöâåòíûå òàáëåòêè. Íî åñëè çàïàñ òàáëåòîê èññÿê è äåïðåññèÿ âëàñòíî ñòó÷èòñÿ â äâåðü, òî óæå íå ñïàñòèñü. Îñòàåòñÿ ëèøü ñêàçàòü ñåáå: "Æèçíü - äåðüìî" - è ñóíóòü ãîëîâó â ïåòëþ. Èëè - â ïàñòü ßùåðó ñòðàñòè, êîòîðûé âûïîëç íà ñóøó, ïðèâëå÷åííûé ôëþèäàìè òîñêè è ãèòàðíûìè ñòîíàìè ìåñòíîãî áëþçìåíà. Ïîðíîçâåçäà â îòñòàâêå, êîíñòåáëü-íàðêîìàí, ïñèõîàíàëèòèê-ýêñïåðèìåíòàòîð, àïòåêàðü, ñäâèíóâøèéñÿ íà ñåêñå ñ çåìíîâîäíûìè, - ëèøü ìàëàÿ ÷àñòü íå ñîâñåì îáû÷íûõ ïåðñîíàæåé êîìè÷åñêîé ñàãè Ê. Ìóðà. È âñå îíè èùóò îäíîãî - ëþáâè. Êàê è ßùåð, êîòîðûé ñíîñèò âñå âîêðóã.

Àííîòàöèÿ: Al Simmons, formerly one of our government`s greatest soldiers, was resurrected from the ashes of his own grave. Reborn as a creature from the depths of Hell, disfigured, homeless, and alone, this new warrior known as Spawn now wanders the shadowy alleys of New York City in search of his past life. When he reluctantly becomes a protector of the weak, the poor, the downtrodden and other victims of circumstance who reside in the alleys, they unconditionally accept the man whose body is nothing more than scars and torn flesh. However, soon he inadvertently finds himself embroiled in turf wars with the Mafia and the street gangs who perceive him as a threat. Find out why Spawn exists, who his real enemies are, and whom he can trust, for in this twisted world of shadow players, nothing is as it appears.Ýë Ñèììîíñ, â ïðîøëîì îäèí èç âåëè÷àéøèõ ñîëäàò íàøåãî ïðàâèòåëüñòâà, áûë âîñêðåøåí èç ïåïëà ñâîåé ñîáñòâåííîé ìîãèëû. Âîçðîæäåííûé êàê ñóùåñòâî èç ãëóáèí Àäà, èçóðîäîâàííûé, áåçäîìíûé è îäèíîêèé, ýòîò íîâûé âîèí, èçâåñòíûé êàê Ñïàóí, òåïåðü áðîäèò ïî òåìíûì ïåðåóëêàì Íüþ-Éîðêà â ïîèñêàõ ñâîåé ïðîøëîé æèçíè. Êîãäà îí íåîõîòíî ñòàíîâèòñÿ çàùèòíèêîì ñëàáûõ, áåäíûõ, çàáèòûõ è äðóãèõ æåðòâ îáñòîÿòåëüñòâ, æèâóùèõ â ïåðåóëêàõ, îíè áåçîãîâîðî÷íî ïðèíèìàþò ÷åëîâåêà, ÷üå òåëî ïðåäñòàâëÿåò ñîáîé íå ÷òî èíîå, êàê øðàìû è ðàçîðâàííóþ ïëîòü. Îäíàêî âñêîðå îí íåïðåäíàìåðåííî îêàçûâàåòñÿ âòÿíóòûì â ìåæäîóñîáíûå âîéíû ñ ìàôèåé è óëè÷íûìè áàíäàìè, êîòîðûå âîñïðèíèìàþò åãî êàê óãðîçó. Óçíàéòå, ïî÷åìó Ñïàóí ñóùåñòâóåò, êòî åãî íàñòîÿùèå âðàãè è êîìó îí ìîæåò äîâåðÿòü, èáî â ýòîì èçâðàùåííîì ìèðå òåíåâûõ èãðîêîâ âñå íå òàê, êàê êàæåòñÿ.

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.

Àííîòàöèÿ:  èçäàíèè ðàçíîñòîðîííå ïðåäñòàâëåíà ïåðåâîä÷åñêàÿ äåÿòåëüíîñòü Âàëåðèÿ Áðþñîâà, îäíîãî èç êðóïíåéøèõ ïðàêòèêîâ è òåîðåòèêîâ ïîýòè÷åñêîãî ïåðåâîäà â íàøåé ñòðàíå. Îíî âêëþ÷àåò ïåðåâîäû Áðþñîâà èç äðåâíåðèìñêîé (Âåðãèëèé, Ãîðàöèé, Êàòóëë), èòàëüÿíñêîé (Äàíòå, Ïåòðàðêà), ôðàíêîÿçû÷íîé (Ðàñèí, Ãþãî, Áîäëåð, Âåðëåí, Âåðõàðí), àíãëîÿçû÷íîé (Øåêñïèð, Áàéðîí, Óàéëä, Ïî), íåìåöêîé (Ãåòå, Øèëëåð), ïîëüñêîé (Ìèöêåâè÷) ïîýçèè. Ìíîãèå ïåðåâîäû, õðàíèâøèåñÿ â àðõèâå Áðþñîâà, ïóáëèêóþòñÿ âïåðâûå.

Àííîòàöèÿ: Îäíîèì¸ííûé àëüáîì àíãëî-àìåðèêàíñêîé ãðóïïû, ñîçäàííîé èðëàíäñêèì ãèòàðèñòîì è ïåâöîì Ãýðè Ìóðîì, âûøåäøèé â 1980 ãîäó

Àííîòàöèÿ: What Alan Moore, Stephen Bissette, and John Totleben accomplished during their time on the comic book series Swamp Thing shouldn't be underestimated in the history of comics and, specifically, the history of horror comics. The modern comics landscape has been changed by the Vertigo line of books--an imprint that traces its roots back to this version of Swamp Thing. By taking a horror character fully entrenched in a superhero world (as silly as that might seem), this creative team put a new face on horror comics and on horror in general. Swamp Thing: Love and Death is the second collection of the team's work on the series, presented here in full color. Don't let the mediocre Swamp Thing movies fool you, this book is filled with sophisticated suspense and terror

Àííîòàöèÿ:  àíòîëîãèè ïðåäñòàâëåíû ëó÷øèå îáðàçöû òâîð÷åñòâà àìåðèêàíñêèõ ïîýòîâ XIX-XX ââ. è èõ ïåðåâîäû íà ðóññêèé ÿçûê. Êíèãà äàåò íàãëÿäíîå ïðåäñòàâëåíèå î òîì, êàê ðàçâèâàëàñü ðóññêàÿ è ñîâåòñêàÿ øêîëà ñòèõîòâîðíîãî ïåðåâîäà è êàê âîñïðèíèìàëàñü â íàøåé ñòðàíå àìåðèêàíñêàÿ ïîýçèÿ. Èçäàíèå ñîïðîâîæäàåòñÿ âñòóïèòåëüíîé ñòàòüåé, êîììåíòàðèÿìè, ñïðàâêàìè îá àâòîðàõ è ïåðåâîä÷èêàõ è àäðåñîâàíî øèðîêèì êðóãàì ëþáèòåëåé ïîýçèè.

Àííîòàöèÿ: The penguin book of english verse.

Àííîòàöèÿ:  àíòîëîãèè ïðåäñòàâëåíû ëó÷øèå îáðàçöû àíãëèéñêîé ïîýçèè, íà÷èíàÿ ñ íàðîäíûõ áàëëàä è  äî êîíöà XIX ñòîëåòèÿ. Òåêñòû ñòèõîòâîðíûõ ïåðåâîäîâ âûïîëíåíû èçâåñòíûìè ðóññêèìè è ñîâåòñêèìè ïîýòàìè-ïåðåâîä÷èêàìè (Æóêîâñêèì, Ãíåäè÷åì,Ëåðìîíòîâûì, Òþò÷åâûì, Áëîêîì, Áàëüìîíòîì, Ïàñòåðíàêîì, Ìàðøàêîì, Ëåâèêîì è äð.). Ïîñëåñëîâèå ê ñáîðíèêó àêàäåìèêà Ì.Ï. Àëåêñååâà ïîçíàêîìèò ÷èòàòåëÿ ñ òåì, êàê ðàçâèâàëîñü èñêóññòâî ðóññêîãî ñòèõîòâîðíîãî ïåðåâîäà, êàê âîñïðèíèìàëàñü â íàøåé ñòðàíå àíãëèéñêàÿ ïîýçèÿ. Êíèãà ñîäåðæèò òàêæå ñïðàâêè îá àâòîðàõ è êîììåíòàðèè ê òåêñòó. Èçäàíèå ïðåäíàçíà÷àåòñÿ äëÿ øèðîêîãî êðóãà ëþáèòåëåé ðóññêîé è çàðóáåæíîé ïîýçèè

Àííîòàöèÿ: This anthology traces the complicated evolution of imagism through its poetry from the pre-imagists and the period of the anthologies (1914-17) to the imagists after imagism.

Àííîòàöèÿ: This volume, edited and with a superb introduction by W.H. Auden and Norman Holmes Pearson, presents the greatest of the Romantics in all the fullness and ardor of their vision, including William Blake, Robert Burns, Samuel Taylor Coleridge, William Wordsworth, Lord Byron, Percy Bysshe Shelley, John Keats, Ralph Waldo Emerson, Henry David Thoreau, and Edgar Allan Poe. What emerges is a panoramic view of a generation of artists struggling to remake the world in their own image—and miraculously succeeding.

Àííîòàöèÿ: The penguin book of english romantic verse.