Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: "New York Times" bestselling novelist Jennifer Crusie combines fast-paced banter, sexy situations, and unforgettable characters in this delightful romance about two reluctant lovers who couldn`t be more wrong about being right for each other. TRUST ME ON THIS Dennie Banks is an investigative reporter chasing down the biggest story of her career. Alec Prentice is a government agent working undercover to catch an elusive grifter. When they meet by accident, it`s a case of mistaken identities at first sight. What they don`t mistake is the instant attraction they have for each other, an attraction they`ll do everything in their power to resist - because Dennie thinks that Alec is running interference for her interview subject, and Alec suspects that Dennie is linked to his swindler. As the confusion grows, so do their feelings for each other, and what begins as a romantic comedy of errors may just end in the love affair of a lifetime.

Àííîòàöèÿ: Âû ïî-ïðåæíåìó èùåòå ñàìûå «áåçîïàñíûå» ìåñòà â ñàìîëåòå? Âû íàèâíî äóìàåòå, ÷òî åñëè ñàìîëåò óæå ïðèçåìëèëñÿ, çíà÷èò, ñàìîå òÿæåëîå ïîçàäè? Âàñ òîæå èíîãäà èíòåðåñóåò, ÷òî ìåøàåò çàìåíèòü âñåõ ïèëîòîâ àâòîìàòèçèðîâàííûìè ìåõàíèçìàìè? À åùå âû áû õîòåëè óçíàòü, êòî óñòàíàâëèâàåò öåíû íà áèëåòû, êàêèì ñïåöèàëüíûì íàâûêàì îáó÷àþò ïèëîòîâ, ÷òî òàêîå òóðáóëåíòíîñòü è êàêèå òàéíû õðàíÿò àýðîïîðòû? Ïàòðèê Ñìèò, ëþáîïûòíûé ïèëîò ãðàæäàíñêîé àâèàöèè, îáëåòåâøèé çåìëþ áîëåå 1000 ðàç, àâòîð ïîïóëÿðíåéøåãî áëîãà Ask the Pilot («Ñïðîñè ïèëîòà»), ðàñêðûë âñå ñåêðåòû. Âåñü «òåàòð àâèàïóòåøåñòâèé» â îäíîé êíèãå! Òîëüêî, ïîæàëóéñòà, íå áåðèòå åå ñ ñîáîé â ïîëåò

Àííîòàöèÿ: sabel Dalhousie connaît l—histoire de sa famille, de même que son fiancé Jamie. Mais tout le monde n—a pas cette chance — Jane, par exemple, une philosophe venue d—Australie pour retrouver la trace de ses parents biologiques. Bien entendu, Isabel...

Àííîòàöèÿ: Todaro and Smith believe that development economics should foster a student's ability to understand real problems faced by developing countries. Unlike other texts, Economic Development introduces economic models within the context of countries and issues, so that students learn to analyze and engage in the ongoing policy debates. Praised for its even, balanced coverage, the text helps students to evaluate issues using the best available cross-sectional data, economic theory, and institutional and structural perspectives. Keeping pace with current data and events, the Ninth Edition includes the latest research in development as well as extensive country-specific examples of topics such as transition economics and urban policy. - Reorganization from four parts to three provides a more streamlined sequencing for economic development courses. - All new country case studies target pertinent issues, such as Divergent Development: Pakistan and Bangladesh and Understanding a Development Miracle: China. Thoroughly updated and revised comparison case studies provide the most current illustrations of policy and its outcomes. major development organizations. - New research on rural development economics and the green revolution in Chapter 9. - Extended coverage of non-governmental organizations and how they compare with government and private sectors in Chapter 11, Political Economy and the Roles of Market. - Chapter 14 takes a critical look at the World Bank and the burden of debt.

Àííîòàöèÿ: The Karate Kid (simplified Chinese: 功夫梦; traditional Chinese: 功夫夢; pinyin: Gōngfu Mèng; Wade—Giles: Kung1-fu-meng4; literally: "The Kung Fu Dream") is a 2010 Chinese-American martial arts comedy-drama film directed by Harald Zwart. It stars Jackie Chan and Jaden Smith, and it was produced by Jerry Weintraub, James Lassiter, Ken Stovitz and Jaden's parents Will and Jada. The screenplay by Christopher Murphey was from the story by Robert Mark Kamen for the 1984 film of the same name. This is the fifth installment of the Karate Kid series, serving as a reboot.[4] Unlike the original 1984 version, this film featured a mixture of comedic and dramatic elements. The film's music was composed by James Horner.

Àííîòàöèÿ: Êíèãà ñîäåðæèò êàê ñîâåòû, òàê è çàíèìàòåëüíûå çàäàíèÿ.  êîíöå êíèãè èìåþòñÿ îòâåòû ê çàäàíèÿì.

Àííîòàöèÿ: In this latest, felicitous addition to the Isabel Dalhousie series, our inquisitive heroine comes to see that there are very few of us who are not flawed... herself included. A couple who are old friends of Isabel's ask for her help in a rather tricky situation: A successor is being sought for the headmaster position at their alma mater. The board has four final candidates but has received an anonymous letter alleging that one of them has a very serious skeleton in the closet. Could Isabel

Àííîòàöèÿ: The author describes the fundamental problems faced by modern biology, and provides a non-technical account of the recent advances in molecular genetics. Starting from the definishion of life and the mechanisms of replication and heredity, he considers a wide range of topics - the pattern of nature, animal behaviour, the brain's function, and, finally, the origin of life.

Àííîòàöèÿ: Animals must eat to live and though many are vegetarian, many live by hunting other animals. Throughout evolution there has been a constant struggle between the hunter and hunted - the hunted always developing new ways of avoiding capture, and the hunters improving all the time in their ability to seek them out.

Àííîòàöèÿ: This book is designed to help high intermediate and advanced students of English as a second language improve their fluency in English.

Àííîòàöèÿ: The Art and History of Washington DC is both a great guide and historical narrative of Americas Capitol City. The large-format book, featuring fine color photos and Italian printing is perfect for seasoned and armchair traveler alike. In 132 pages with over 225 large format full color photographs the book includes substantial, insightful, and readable text. Highlights include the Capitol, the White House, the presidential monuments, the Districts neighborhoods and surrounding points of interest, as well as the Smithsonian Museums of the National Mall

Àííîòàöèÿ:  ýòîé êíèãå äâà ëåãåíäàðíûõ ýêñïåðòà ïî íîâûì ìåäèà ðàññêàçûâàþò, êàê çàäåéñòâîâàòü ñèëó ñîöèàëüíûõ ñåòåé è èíòåðíåò-êîììóíèêàöèé äëÿ óâåëè÷åíèÿ âëèÿíèÿ áðåíäà è óëó÷øåíèÿ äåëîâîé ðåïóòàöèè â Ñåòè, è îáúÿñíÿþò, êàê ñòàòü òàê íàçûâàåìûì "àãåíòîì âëèÿíèÿ". Àãåíòû âëèÿíèÿ - ýòî íå îáÿçàòåëüíî ìàðêåòîëîãè, ðåêëàìùèêè èëè ïðîäàâöû; êàê ïðàâèëî, ýòî òåõíè÷åñêè ïîäêîâàííûå è îáðàçîâàííûå ëþäè, ðàáîòàþùèå â Ñåòè äëÿ "î÷åëîâå÷èâàíèÿ" áèçíåñà ñ èñïîëüçîâàíèåì ïðèíöèïîâ ïðîçðà÷íîñòè, ÷åñòíîñòè è îòêðûòîñòè.  ðåçóëüòàòå îíè ïîëó÷àþò äîñòàòî÷íûé àâòîðèòåò äëÿ ñîçäàíèÿ õîðîøåé äåëîâîé ðåïóòàöèè îäíîé êîìïàíèè èëè åå îáðóøåíèÿ - äëÿ äðóãîé.  îíëàéí-ïðîñòðàíñòâå ñ åãî õàðàêòåðíîé ïðîçðà÷íîñòüþ ñòàòü àãåíòîì âëèÿíèÿ íåïðîñòî, íî åñëè âàì óäàëîñü ñîçäàòü ñåáå ðåïóòàöèþ â Ñåòè, âû ìîæåòå ýôôåêòèâíî èñïîëüçîâàòü åå è ïîæèíàòü ïëîäû äëÿ ñâîåãî áèçíåñà. Ñ ýòîãî ìîìåíòà âàøè ñëîâà ìîãóò îáëàäàòü ãîðàçäî áîëüøåé ñèëîé è âëèÿíèåì, ÷åì ëþáàÿ PR-êàìïàíèÿ èëè äàæå öåëûé îòäåë ìàðêåòèíãà êðóïíîé êîðïîðàöèè.

Àííîòàöèÿ:  êíèãå âñåìèðíî èçâåñòíîãî ó÷åíîãî äàí ïîäðîáíûé îáçîð òåîðåòè÷åñêèõ è ïðàêòè÷åñêèõ îñíîâ óïðàâëåíèÿ ÷åëîâå÷åñêèìè ðåñóðñàìè. ÷èñëå ïðî÷èõ ðàññìîòðåíû òàêèå âîïðîñû, êàê ïðîöåññ óïðàâëåíèÿ ×Ð; ðàáîòà è çàíÿòîñòü; îðãàíèçàöèîííîå ïîâåäåíèå; îáåñïå÷åíèå îðãàíèçàöèè óïðàâëåíèÿ òðóäîâûìè ðåñóðñàìè; óïðàâëåíèå ïîêàçàòåÿìè òðóäà; âîçíàãðàæäåíèå

Àííîòàöèÿ: This Cambridge History is the most comprehensive survey of the history of the Romance languages ever published in English. It engages with new and original topics that reflect wider-ranging comparative concerns, such as the relation between diachrony and synchrony, morphosyntactic typology, pragmatic change, the structure of written Romance, and lexical stability. Volume I is organized around the two key recurrent themes of persistence (structural inheritance and continuity from Latin) and innovation (structural change and loss in Romance). An important and novel aspect of the volume is that it accords persistence in Romance a focus in its own right rather than treating it simply as the background to the study of change. In addition, it explores the patterns of innovation (including loss) at all linguistic levels. The result is a rich structural history which marries together data and theory to produce new perspectives on the structural evolution of the Romance languages

Àííîòàöèÿ: Although The Origin of Species contained just a single visual illustration, Charles Darwins other books, from his monograph on barnacles in the early 1850s to his volume on earthworms in 1881, were copiously illustrated by well-known artists and engravers. Jonathan Smith explains how Darwin managed to illustrate the unillustratable - his theories of natural selection - by manipulating and modifying the visual conventions of natural history, using images to support the claims made in his texts. Moreover, Smith looks outward to analyse the relationships between Darwins illustrations and Victorian visual culture, especially the late-Victorian debates about aesthetics, and shows how Darwins evolutionary explanation of beauty, based on his observations of colour and the visual in nature, were a direct challenge to the aesthetics of John Ruskin. The many illustrations reproduced here enhance this fascinating study of a little known aspect of Darwins lasting influence on literature, art and culture.

Àííîòàöèÿ: Òèõàÿ è çàñòåí÷èâàÿ ñòàðøåêëàññíèöà Êýññè âìåñòå ñ ìàòåðüþ ïåðååçæàåò èç ñîëíå÷íîé Êàëèôîðíèè â ìðà÷íûé ãîðîäîê Íüþ-Ñàëåì, ê áàáóøêå, êîòîðàÿ óâëå÷åíà ìèñòèêîé è äî ñòðàííîãî ìíîãî çíàåò î òðàâàõ. Ïîíà÷àëó Êýññè ñêó÷àåò ïî äîìó è ïðåæíèì äðóçüÿì, íî âñêîðå çíàêîìèòñÿ ñ êîìïàíèåé ïîäðîñòêîâ, êîòîðûå äåðæàò â ñòðàõå âñþ øêîëó. Îíè ïðèíèìàþò åå â ñâîé òàéíûé êðóò, è ïîñëå îñîáîãî ðèòóàëà Êýññè ñòàíîâèòñÿ ÷àñòüþ êëàíà ìîãóùåñòâåííûõ âåäüì. Äåëàÿ ïåðâûå øàãè â ìèðå âîëøåáñòâà, Êýññè çíàêîìèòñÿ ñ Àäàìîì, è ìåæäó íèìè ñðàçó âîçíèêàåò âçàèìíîå ïðèòÿæåíèå. Îäíàêî Êýññè ïðèõîäèòñÿ ñêðûâàòü îòî âñåõ ñâîè ÷óâñòâà ê Àäàìó, âåäü îí - æåíèõ åå ëó÷øåé ïîäðóãè. À òóò åùå âíóòðè êðóãà âåäüì âîçíèêàåò êîíôëèêò - îäíà èç äåâóøåê, Ôýé, ñòðåìèòñÿ çàõâàòèòü âëàñòü íàä îñòàëüíûìè è çàïîëó÷èòü ìîãóùåñòâåííûé àðòåôàêò - ÷åðåï, îáëàäàþùèé òåìíîé ñèëîé. Ôýé øàíòàæèðóåò Êýññè, ãðîçÿ ðàññêàçàòü âñåì î åå ëþáâè ê Àäàìó, è çàñòàâëÿåò åå âûêðàñòü ÷åðåï... Êðóò âåäüì âñòóïàåò â íåðàâíóþ áèòâó ñ äðåâíèì ìîãóùåñòâåííûì âðàãîì, âîçâðàùåííûì ê æèçíè íåîñòîðîæíî ïðîâåäåííûì ðèòóàëîì.  òàéíîì êðóãå âåäüì íåò åäèíîäóøèÿ, è êîå-êòî íå ïðî÷ü ïåðåéòè íà ñòîðîíó ñèë òüìû, ïîáåäèòü êîòîðûå ìîæíî òîëüêî ïðè ïîìîùè äàâíî óòðà÷åííûõ ñòàðèííûõ àðòåôàêòîâ. Ìàãè÷åñêèå ñèëû Êýññè ðàñòóò äåíü îòî äíÿ, íî è åå âðàã ñòàíîâèòñÿ âñå ñèëüíåå è ïîäáèðàåòñÿ âñå áëèæå...

Àííîòàöèÿ: Êíèãà "Äèçàéí îò Êåëëè Õîïïåí" - íåèñ÷åðïàåìûé èñòî÷íèê âäîõíîâåíèÿ, óíèâåðñàëüíîå ðóêîâîäñòâî ïî ðåøåíèþ ïðîáëåì è áåñöåííûé êëàäåçü ñîâåòîâ ïî ïðåîáðàæåíèþ äîìà â âàøåì èíäèâèäóàëüíîì ñòèëå.

Àííîòàöèÿ: Ïåðååõàâ ñ ìàìîé â æóòêîâàòûé ãîðîäîê Íüþ-Ñàëåì, ñòàðøåêëàññíèöà Êýññè ñòàëêèâàåòñÿ ñ ãðóïïêîé ïîäðîñòêîâ, êîòîðûå òåððîðèçèðóþò âñþ øêîëó. Êàê âûÿñíÿåòñÿ, îíè - ÷àñòü äðåâíåãî è ìîãóùåñòâåííîãî êëàíà âåäüì, â êîòîðûé ïî ïðàâó ïðîèñõîæäåíèÿ âñòóïàåò è Êýññè. Ó íåå íà÷èíàåòñÿ íîâàÿ èíòåðåñíàÿ æèçíü, ïîëíàÿ òàéí, êîëäîâñòâà è— îïàñíîñòåé. Êýññè ïðèõîäèòñÿ ñêðûâàòü îòî âñåõ ñâîè ÷óâñòâà ê Àäàìó, âåäü îí - æåíèõ åå ëó÷øåé ïîäðóãè. À òóò åùå âíóòðè êðóãà âåäüì âîçíèêàåò êîíôëèêò - îäíà èç äåâóøåê, Ôýé, ñòðåìèòñÿ çàõâàòèòü âëàñòü íàä îñòàëüíûìè è çàïîëó÷èòü ìîãóùåñòâåííûé àðòåôàêò - ÷åðåï, îáëàäàþùèé òåìíîé ñèëîé. Ôýé øàíòàæèðóåò Êýññè, ãðîçÿ ðàññêàçàòü âñåì î åå ëþáâè ê Àäàìó, è çàñòàâëÿåò åå âûêðàñòü ÷åðåï—

Àííîòàöèÿ: Your unquestioning obedience. You will be my man.' Such is Manfred's demand when he offers Rod Ironsides the general managership of the Sonder Ditch gold mine. For Rod, ambitious and hard-living but totally gripped by the life of the mine, it is the chance of a lifetime. Manfred Steyner is neurotic and ruthless, a compulsive gambler who treats people as counters in a private game and his beautiful, frustrated wife Terry as a social prop and source of cash. He already despises Rod, and when he discovers Rod's passion for Terry, icy dislike turns to mortal hatred. Neither Rod nor Manfred, however, understands that they are both involved in a more significant drama. They have become the unwitting tools of a group of powerful men, who for personal and political gain plan to destroy the largest gold mine in the world.

Àííîòàöèÿ: Magnus was a large mouse, a fearless mouse, a real powermouse. Fattened on patent Porker Pills. he just grows and grows - and so do his problems.