Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Ñåêðåòàìè òåîðèè è ïðàêòèêè äèçàéíà äåëÿòñÿ Ðîáèí Âèëüÿìñ è Äæîí Òîëëåòò — îäíè èç ëó÷øèõ äèçàéíåðîâ, êîòîðûå ê òîìó æå óìåþò ïèñàòü êíèãè. Ýòî èçäàíèå ïîìîæåò ëèêâèäèðîâàòü ïðîáåëû â çíàíèÿõ òåì, êòî íåäàâíî ïðèøåë â äèçàéí, è òåì, ÷üå óâëå÷åíèå èì óæå ïåðåðîñëî â ïðîôåññèþ, íî êòî õî÷åò ïîâûñèòü ñâîé óðîâåíü. Îäíàêî ýòî íå ó÷åáíèê, à ñêîðåå ðóêîâîäñòâî ïî ñòèëþ. Àâòîðû âåäóò ÷èòàòåëÿ íà íîâûé óðîâåíü êðåàòèâíîãî äèçàéíà, äåëÿñü ñâîèì âäîõíîâåíèåì è ãëóáîêèìè çíàíèÿìè îá îñíîâíûõ ïðèíöèïàõ äèçàéíà è åãî çàäà÷àõ, î êîìïîçèöèè è âèçóàëüíîì âîçäåéñòâèè.  ñâîåì íåïîäðàæàåìîì ñòèëå îíè ðàññêàçûâàþò î òåîðèè äèçàéíà, âèçóàëüíûõ êàëàìáóðàõ, ïðèíöèïàõ ñîçäàíèÿ ìàêåòîâ è ãðàôè÷åñêîãî îôîðìëåíèÿ, êîòîðûìè ñëåäóåò ðóêîâîäñòâîâàòüñÿ â ðåàëüíûõ ïðîåêòàõ. Âû óçíàåòå, ïî÷åìó îäèí äèçàéí ïðèâëåêàåò âíèìàíèå, à äðóãèå íåò. Óçíàåòå, êàê âûáðàòü ïðàâèëüíûé ñòèëü äëÿ ñâîåãî ïðîåêòà, áóäü òî âèçèòêè, èíôîðìàöèîííûå áþëëåòåíè, ëîãîòèïû, ðåêëàìà, âåá-ñàéòû è ò. ä. Òâîð÷åñêèé, âäîõíîâåííûé ïîäõîä Ðîáèí è Äæîíà è îòëè÷íî ïîäîáðàííûå ïðèìåðû îöåíÿò âñå äèçàéíåðû — îò íîâè÷êîâ äî ïðîôåññèîíàëîâ.  çàêëþ÷åíèå ïÿòü äèçàéíåðîâ äåëÿòñÿ ñâîèì îïûòîì, çíàíèÿìè è âçãëÿäàìè íà ïðèìåðàõ ñîáñòâåííûõ ïðîåêòîâ.

Àííîòàöèÿ: Great Britian was the birthplace of the Industrial Revolution and the epicenter of the development of modern industrial design. This book — the fourth volume in the "MoMA Design Series" featuring works in the Museum's collection — explores this legacy, tracing the growth of British design from the eighteenth century to the Millennium Dome and beyond. In its more than two-hundred-year scope, "British Design" explores the Arts and Crafts Movement, the Spitfire and Hurricane fighter planes of World War-II, the Mini car and Dyson vacuum cleaner, the Cool Britannia cultural explosion in the late 1990s, and British designers' take on the digital devices that define entertainment and communication in the early twenty-first century. An introduction by Paola Antonelli, Senior Curator of Architecture and Design at The Museum of Modern Art, provides an overview of design culture in Great Britain; an essay and timeline by Hugh Aldersey-Williams, curator, former design critic for "The New Statesman", and author of "World Design" and "New American Design", illuminates the masterpieces of modern British design superbly reproduced in the volume's plate section.

Àííîòàöèÿ: In a huge house in a suburb of a midwestern city live a little girl named Peg, her older brother Eric, their beautiful mother, distinguished grandfather - and one other. Like Eric and Peg, the fifth member of the family is Elizabeth Porter's child, but there the resemblance ends. For this child was conveived thousands of years ago. It is a child of infinite cunning, infinite evil, an evil as old as time. Its powers are beyond the capacity of men's minds to comprehend or control. If it is not destroyed, one day it will rule the world. If anything can stop it, it has yet to be born.

Àííîòàöèÿ: —Elephant Bill— by Lt-Col. J.H. Williams tells the story of over twenty years in the Burmese jungle, living and working with elephants and their riders. This fascinating account of Lt-Col Williams— adventures, and of the remarkable animals under his care, culminates in the breathtaking escape o the XIVth Army Elephant Corps, when in the ace of advancing Japanese forces Williams brought his team of elephants out to India by an apparently inaccessible route. This feat was described as surpassing Hannibal—s crossing of the Alps.

Àííîòàöèÿ: More than one thousand years in the future, the conservative borders of Pelbar society continue to crumble as the people of Pelbar conduct trade, form friendships, and intermarry with members of the tribes now settled peacefully around the citadel of Northwall. Not all agree with the changes, however, and long instead for the old times of conflict and rigid order. Igniting the tension is the discovery of a mysterious subterranean shelter, where the descendants of survivors of the long-ago nuclear war live. A young woman from the shelter and the shocking revelations she brings precipitate a crisis that will profoundly affect the futures of plainsmen and citadelfolk alike. The Dome in the Forest is the third volume and one of the most exciting tales in the Pelbar Cycle, a classic series of seven postapocalyptic novels about the people of Pelbar.

Àííîòàöèÿ: This classic novel tells the story of Jennie Logan, a woman caught between two worlds, two times, and the two men she loves—one her husband and one an artist who may have died in 1899. David Williams—s novel is a thrilling read, part love story, part mystery—a tale of time travel that keeps the reader guessing until the very end.

Àííîòàöèÿ: The Rose Tatoo was first produced on Broadway in 1951, Camino Real in 1953 and Orpheus Descending in 1957. Taking up where Bernard Shaw and others had left off, Tennessee Williams exploited, in such plays as these, the full visual, aural and emotional possibilities of the theatre. Each of these plays demonstrates certain of his concerns and achievements as a playwright: his urge to create drama outside of time, which destroys life and makes us small with its 'whirling wire-cage of business activity', and yet to recognize the hold of time over the audience; his drive to extend the visual range of the stage by lighting and transparent walls; his composer's gift for orchestration, blending human dialogue and the noises of the town into one score; and finally (above all in Camino Real), his perfection of a freedom and mobility in poetic expression as the vehicle for a work of art that is, before all else, dynamic and organic.

Àííîòàöèÿ: The film of Baby Doll was produced and directed by Elia Kazan in 1956 from the screen-play contained in this volume - the original one written by Tennessee Williams. The Daily Telegraph called it 'a work of art - an absorbing study in frustration and poverty and racial intolerance', and The Times: 'That rare thing, a film script which makes easy and vivid reading'. John Osborne said of it: 'Williams has hit off the American Girl-Woman of the last hundred years... Make no mistake about it - this Baby Doll kid is a killer'. Something Unspoken and Suddenly Last Summer were staged together under the title Garden District in 1958. The former is a humorous little vignette of the social manoeuvres of a wealthy Southern spinster. The letter, which was later scripted and filmed, is an intense and moving study of madness, of a man's escape from a mother-fixation, and of the revenge planned by the mother for the girl who liberated him and witnessed the final drama of his death.

Àííîòàöèÿ: Contains local voice interviews that give reader's a window into the people who define French culture. This book features a colour food chapter highlighting the regional diversity of cuisine, including in-depth information on cheese, bread, and charcuterie. It also provides coverage of French Top page culture, food & wine. This book features new colour food chapter highlighting the regional diversity of cuisine, including in-depth information on cheese, bread and charcuterie.Local voice interviews give reader's a window into the people who define French culture. It provides in-depth coverage of French culture, food & wine, plus thorough explanations about how all these are intertwined and inseparable.We have included increased coverage of how and Top page where to travel sustainably and support businesses that make a concerted effort to minimise their impact on the environment.

Àííîòàöèÿ: The Spanish War is drawing to its end. Desperate Republican holding hostages in a cathedral plan a last, explosive act of death and destruction. One of their prisoners, ex-government ministerbProfessor Pinzon, has already lost his son to the war. He determines to save his grandson at any cost...

Àííîòàöèÿ: The story has been told by many authors during the last century. The Victorian age, or more accurately the Queen who gave her name to the era, was born(e) largely if not wholly because of a crisis of sorts among King George III's family. By the time his seven surviving sons reached middle age, ...

Àííîòàöèÿ: Three hundred years before Columbus, Madoc, son of Prince Owain Gwynedd, sailed to North America in order to settle there. Soon thereafter, he returned to Wales, leaving behind some of his people to colonize the newly discovered land. First reported by Dr. John Dee to Queen Elizabeth I and publicized as the official view in 1580 in order to justify the English raids on Spanish-controlled North America, this myth greatly influenced American and Welsh history. Though now largely discredited, it still maintains a presence, as seen by the construction in 1958 of a monumental plaque in Alabama that commemorates Madoc s landing. Gwyn Williams offers the first full-length analysis of the Madoc myth, including a full description of how and why the Elizabethans developed it. He explores, in depth, the Madoc fever that gripped both sides of the Atlantic in the 1790s, concentrating particularly on the rapid increase in Welsh immigrations to the United States that resulted from the rush to discover the lost tribe of white, Welsh-speaking Indians left behind by Madoc. This unique work of historical detection not only recovers the factual origins of strange stories and influential beliefs, but also investigates how myth can actually create and shape history.

Àííîòàöèÿ: Ýòà êíèãà ïðåäíàçíà÷åíà òåì, êòî õî÷åò ïîçíàêîìèòüñÿ ñ îñíîâàìè íàíîòåõíîëîãèè, íî íå ñîáèðàåòñÿ çàíèìàòüñÿ èìè ïðîôåññèîíàëüíî, êîìó èíòåðåñíî óçíàòü î òîì, êàê íàíîòåõíîëîãèè âëèÿþò íà áèîëîãèþ è õèìèþ, îêðóæàþùóþ ñðåäó è ïðîìûøëåííîñòü, ïîëèòèêó è ýêîíîìèêó. Ïîäðîáíî è çàíèìàòåëüíî îïèñûâàþòñÿ ìíîãî÷èñëåííûå âîïðîñû îò ñàìûõ ïðîñòûõ äî ñàìûõ ñëîæíûõ è èíòåðåñíûõ. Çàäàíèÿ äëÿ ñàìîïðîâåðêè ïîìîãóò ÷èòàòåëþ ïðîâåðèòü ïîëó÷åííûå çíàíèÿ

Àííîòàöèÿ: Ýòà êíèãà ïðåäíàçíà÷åíà òåì, êòî õî÷åò ïîçíàêîìèòüñÿ ñ îñíîâàìè íàíîòåõíîëîãèè, íî íå ñîáèðàåòñÿ çàíèìàòüñÿ èìè ïðîôåññèîíàëüíî, êîìó èíòåðåñíî óçíàòü î òîì, êàê íàíîòåõíîëîãèè âëèÿþò íà áèîëîãèþ è õèìèþ, îêðóæàþùóþ ñðåäó è ïðîìûøëåííîñòü, ïîëèòèêó è ýêîíîìèêó. Ïîäðîáíî è çàíèìàòåëüíî îïèñûâàþòñÿ ìíîãî÷èñëåííûå âîïðîñû îò ñàìûõ ïðîñòûõ äî ñàìûõ ñëîæíûõ è èíòåðåñíûõ. Çàäàíèÿ äëÿ ñàìîïðîâåðêè ïîìîãóò ÷èòàòåëþ ïðîâåðèòü ïîëó÷åííûå çíàíèÿ

Àííîòàöèÿ: Ýòà êíèãà ïðåäíàçíà÷åíà òåì, êòî õî÷åò ïîçíàêîìèòüñÿ ñ îñíîâàìè íàóê î Çåìëå, íî íå ñîáèðàåòñÿ çàíèìàòüñÿ èìè ïðîôåññèîíàëüíî, êîìó èíòåðåñíî óçíàòü î ìèíåðàëàõ è îêàìåíåë îñòÿõ, îáëàêàõ è òîðíàäî, çåìëåòðÿñåíèÿõ è èçâåðæåíèÿõ âóëêàíîâ. Ïîäðîáíî è çàíèìàòåëüíî îïèñûâàþòñÿ ìíîãî÷èñëåííûå âîïðîñû îò ñàìûõ ïðîñòûõ äî ñàìûõ ñëîæíûõ è èíòåðåñíûõ. Çàäàíèÿ äëÿ ñàìîïðîâåðêè ïîìîãóò ÷èòàòåëþ ïðîâåðèòü ïîëó÷åííûå çíàíèÿ

Àííîòàöèÿ: No play in the modern theatre has so captured the imagination and heart of the American public as Tennessee Williams's The Glass Menagerie. Menagerie was Williams's first popular success and launched the brilliant, if somewhat controversial, career of our pre-eminent lyric playwright. Since its premiere in Chicago in 1944, with the legendary Laurette Taylor in the role of Amanda, the play has been the bravura piece for great actresses from Jessica Tandy to Joanne Woodward, and is studied and performed in classrooms and theatres around the world. The Glass Menagerie (in the reading text the author preferred) is now available only in its New Directions Paperbook edition. A new introduction by prominent Williams scholar Robert Bray, editor of The Tennessee Williams Annual Review, reappraises the play more than half a century after it won the New York Drama Critics Circle Award: "More than fifty years after telling his story of a family whose lives form a triangle of quiet desperation, Williams's mellifluous voice still resonates deeply and universally." This edition of The Glass Menagerie also includes Williams's essay on the impact of sudden fame on a struggling writer, "The Catastrophe of Success," as well as a short section of Williams's own "Production Notes." The cover features the classic line drawing by Alvin Lustig, originally done for the 1949 New Directions edition.

Àííîòàöèÿ: The Rose Tatoo was first produced on Broadway in 1951, Camino Real in 1953 and Orpheus Descending in 1957. Taking up where Bernard Shaw and others had left off, Tennessee Williams exploited, in such plays as these, the full visual, aural and emotional possibilities of the theatre. Each of these plays demonstrates certain of his concerns and achievements as a playwright: his urge to create drama outside of time, which destroys life and makes us small with its 'whirling wire-cage of business activity', and yet to recognize the hold of time over the audience; his drive to extend the visual range of the stage by lighting and transparent walls; his composer's gift for orchestration, blending human dialogue and the noises of the town into one score; and finally (above all in Camino Real), his perfection of a freedom and mobility in poetic expression as the vehicle for a work of art that is, before all else, dynamic and organic.