Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Äýâèä Âèëüñîí ïîïûòàëñÿ îáúåäèíèòü âñå èìåþùèåñÿ íàó÷íûå ñâåäåíèÿ, ÷òîáû äàòü ïî âîçìîæíîñòè ïîëíóþ êàðòèíó æèçíè ãåðìàíñêèõ ïëåìåí,íà ðóáåæå V—VI âåêîâ ïîÿâèâøèõñÿ íà òåððèòîðèè êåëüòñêîé Áðèòàíèè è ïîñòåïåííî óòâåðäèâøèõ òàì ñâîå ãëàâåíñòâî.Îñîáîå âíèìàíèå â êíèãå óäåëÿåòñÿ ñâîåîáðàçèþ êóëüòóðíûõ òðàäèöèé ðàçëè÷íûõ îáëàñòåé Àíãëèè.

Àííîòàöèÿ: Äýâèä Âèëüñîí ïîïûòàëñÿ îáúåäèíèòü âñå èìåþùèåñÿ íàó÷íûå ñâåäåíèÿ, ÷òîáû äàòü ïî âîçìîæíîñòè ïîëíóþ êàðòèíó æèçíè ãåðìàíñêèõ ïëåìåí, íà ðóáåæå V-VI âåêîâ ïîÿâèâøèõñÿ íà òåððèòîðèè êåëüòñêîé Áðèòàíèè è ïîñòåïåííî óòâåðäèâøèõ òàì ñâîå ãëàâåíñòâî. Îñîáîå âíèìàíèå â êíèãå óäåëÿåòñÿ ñâîåîáðàçèþ êóëüòóðíûõ òðàäèöèé ðàçëè÷íûõ îáëàñòåé Àíãëèè. Àðõèòåêòóðà, ñêóëüïòóðà, âîîðóæåíèå, íóìèçìàòèêà, áîãàòñòâî êíèæíîé èëëþñòðàöèè ïðåäñòàâëåíû â ñòðîãîé ïåðèîäèçàöèè îò ÿçû÷åñêèõ âðåìåí äî âîçðîæäåíèÿ X ñòîëåòèÿ.

Àííîòàöèÿ: Õðåñòîìàòèÿ ïðåäñòàâëÿåò ñîáîé ïîñîáèå ïî êóðñó àíãëèéñêîé ëèòåðàòóðû XX âåêà äëÿ ñòóäåíòîâ ôàêóëüòåòîâ èíîñòðàííûõ ÿçûêîâ ïåäàãîãè÷åñêèõ èíñòèòóòîâ.  íåå âõîäÿò îòðûâêè èç ïðîèçâåäåíèé àíãëèéñêèõ ïèñàòåëåé è ïîýòîâ. Îòêðûâàåò êíèãó êðàòêèé î÷åðê, õàðàêòåðèçóþùèé àíãëèéñêóþ ëèòåðàòóðó ÕÕ âåêà, åå îñíîâíûå íàïðàâëåíèÿ è òåíäåíöèè. Êàæäîìó ïðåäñòàâëåííîìó â õðåñòîìàòèè àâòîðó ïðåäøåñòâóåò êðàòêàÿ áèîãðàôè÷åñêàÿ ñïðàâêà. Êíèãà çàâåðøàåòñÿ ïîäðîáíûìè ïðèìå÷àíèÿìè, äàþùèìè íåîáõîäèìûå ëèíãâèñòè÷åñêèå, ëèòåðàòóðíûå è èñòîðè÷åñêèå ïîÿñíåíèÿ.

Àííîòàöèÿ: Up The Line To Death: The War Poets 1914—1918 is a poetry anthology edited by Brian Gardner, and first published in 1964. It was a thematic collection of the poetry of World War I.A significant revisiting of the tradition of the war poet, writing in English, it was backed up by strong biographical research on the poets included. Those were mainly British and Irish combatants of World War I; but there are also Australian, Canadian and American poets. The poems are arranged roughly in chronological order, from the start of the war to the end. Some contemporary poems by major poets not involved in the fighting are also given. The title of the anthology comes from the Siegfried Sassoon poem Base Details.

Àííîòàöèÿ: Ñáîðíèê ñòàâèò ñâîåé öåëüþ ïîçíàêîìèòü ÷èòàòåëÿ ñ ëó÷øèìè îáðàçöàìè òâîð÷åñòâà àíãëèéñêèõ íîâåëèñòîâ 50-õ - 60-õ ãã.  íåì ïðåäñòàâëåíû ïèñàòåëè íåñêîëüêèõ ïîêîëåíèé, ñîçäàâàÿ êðàñî÷íóþ, ìíîãîëèêóþ êàðòèíó ñåãîäíÿøíåé Àíãëèè. Êíèãè ïðåäñòàâëÿåò ðàçíîîáðàçíûå òåìàòèêè è ñòèëèñòèêè ñîâðåìåííîãî àíãëèéñêîãî ðàññêàçà.

Àííîòàöèÿ: The short story has become one of the major forms of modern literary expression - in some ways the most modern of them all'. The story of the British short story since the Second World War is one of change and revolution and this powerful and moving collection brilliantly demonstrates the evolution of the form. Containing thirty-four of the most widely regarded postwar British writers, it features tales of love and crime, comedy and the supernatural, the traditional as well as the experimental. This many-storied, many-splendored collection is a brilliant portrait of the generation of writers who have immediately influenced the brightest, sharpest and most intriguing writers who continue to emerge today

Àííîòàöèÿ: Êíèãà ïîñâÿùåíà èñòîðèè ñòàíîâëåíèÿ íîâîé èììóíîëîãèè, êîòîðàÿ ïîÿâèëàñü âñåãî äâà äåñÿòèëåòèÿ íàçàä, íî áåç êîòîðîé â íàøè äíè íåìûñëèìû ïåðåñàäêè îðãàíîâ è òêàíåé, ýôôåêòèâíàÿ áîðüáà ñ ðàêîì,-äàëüíåéøåå ðàçâèòèå ìîëåêóëÿðíîé áèîëîãèè è ãåíåòèêè. Πäîñòèæåíèÿõ è ïðîñ÷åòàõ, ïîáåäå íàä ïîëèîìèåëèòîì è áåññèëèè ó÷åíûõ ïåðåä îáû÷íîé ïðîñòóäîé, îá àëëåðãèÿõ, ìàëÿðèè, íîâåéøåì ïðåïàðàòå èíòåðôåðîíå è ìíîãîì äðóãîì îáðàçíî, óáåäèòåëüíî è ïîïóëÿðíî ïîâåñòâóåò Äýâèä Óèëñîí. Åãî êíèãó ñ áîëüøèì èíòåðåñîì ïðî÷òóò íå òîëüêî âðà÷è è áèîëîãè, íî è âñå òå, êòî ñëåäèò çà ðàçâèòèåì íàóêè

Àííîòàöèÿ: Getting rich is just one of Jeremy Jame's problems in this hilarious sequel to Elephants Don't Sit On Cars. WHen he's not hunting for money, he's causing trouble for Daddy's car, Santa Claus's beard, and the vicar's sore bottom. But troubles gets its own back in the form of an aching tooth, a ghost in the bedroom, and a cow that isn't a cow - not to mention sploit Timothy who wins all the prizes. Winning or losing, Jeremy James is a delight.