Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Ñêîëüêî æèâåò áàáî÷êà? Åå æèçíü òàê êîðîòêà, íî ñòîëü ïðåêðàñíà. Âñåãî îäèí äåíü, íî ñêîëüêî âñåãî ìîæåò ïðîèçîéòè çà ýòî âðåìÿ â ÷åëîâå÷åñêèõ ñóäüáàõ... Ïÿòíàäöàòèëåòíèé Þêà óâåðåí, ÷òî ñìåðòåëüíî áîëåí è íèêàêèå çàâåðåíèÿ âðà÷åé íå óáåäÿò åãî â îáðàòíîì. Åäèíñòâåííûé êîìó Þêà ãîòîâ ïîâåðèòü - ýòî Ìèêàìè, ïî ñëóõàì ñïîñîáíûé "ñëûøàòü" êîãäà ÷åëîâåê óìðåò. Ìèêàìè, äåðæàùèé ëþäåé íà ðàññòîÿíèè è ìå÷òàþùèé â ñëåäóþùåé æèçíè ñòàòü áàáî÷êîé; ïðåêðàñíûì, íî ñòîëü õðóïêèì ñîçäàíèåì...

Àííîòàöèÿ: Ïîñëå íåóäà÷è íà ÷åìïèîíàòå ìèðà ïî ôóòáîëó 2018 ãîäà, êîãäà ßïîíèÿ ïîêèíóëà òóðíèð â 1/8 ôèíàëà, ÿïîíñêèé ôóòáîëüíûé ñîþç ó÷ðåäèë "Ñèíþþ òþðüìó" — óíèêàëüíûé òðåíèðîâî÷íûé êîìïëåêñ äëÿ 300 òàëàíòëèâûõ ñòàðøåêëàññíèêîâ. Èõ òðåíåðîì ñòàë Äçèìïàòè Ýãî, êîòîðûé óâåðåí, ÷òî ÿïîíñêîìó ôóòáîëó íóæåí ýãîèñòè÷íûé íàïàäàþùèé-ñòðàéêåð. Ñðåäè ó÷àñòíèêîâ — ¨èòè Èñàãè, îáû÷íûé øêîëüíûé èãðîê, êîòîðûé äîëæåí ðàçâèòü â ñåáå ýãî è ïðåîäîëåòü ñâîèõ ñîïåðíèêîâ è äðóçåé, ÷òîáû èñïîëíèòü ìå÷òó âñåé ñòðàíû

Àííîòàöèÿ: In this final volume, Setsuna and the high angels have entered the Tower of Etenamenki and approached the throne of God. There they find all secrets revealed--the reason for the creation of angels and demons, the origins of the two wars of Heaven and Hell, and the real whereabouts of Adam Kadamon. Meanwhile, the battle outside the Tower rages on. Sara, still possessed by the Angel of Destruction Sandalphon, is intent on destroying the Tower and all inside, as a first step in the destruction of all creation. In the face of this onslaught, can Setsuna prevent the Apocalypse and restore the balance of life on Earth?"synopsis" may belong to another edition of this title

Àííîòàöèÿ:  àëüáîìå ïîìåùåíû ïðîèçâåäåíèÿ óêðàèíñêîé æèâîïèñè ÕIV-ÕÕ âåêîâ, õðàíÿùèåñÿ â ìóçåÿõ Êèåâà, Ëüâîâà, Õàðüêîâà, Îäåññû, Ãîñóäàðñòâåííîé Òðåòüÿêîâñêîé ãàëåðåå â Ìîñêâå, à òàêæå â ÷àñòíûõ ñîáðàíèÿõ Êèåâà, Ëüâîâà, Óæãîðîäà

Àííîòàöèÿ: Äîëãîæäàííûé êîðåéñêèé ðîìàí-èñêóøåíèå â æàíðå feel good (êíèãà õîðîøåãî íàñòðîåíèÿ).  ëó÷øèõ òðàäèöèÿõ áåñòñåëëåðîâ «Êíèæíàÿ êóõíÿ» è «Ïðà÷å÷íàÿ, ñòèðàþùàÿ ïå÷àëè». Èçäàíèå ñòàíåò îòëè÷íûì ïîäàðêîì ïîäðîñòàì è âçðîñëûì — âñåì ïîêëîííèêàì ôýíòåçè, ñîâðåìåííîé àçèàòñêîé ïðîçû è õèëèíã-ðîìàíîâ. Ãîâîðÿò, ÷òî ðîâíî â 6 ÷àñîâ 6 ìèíóò 6 ñåêóíä íà îäíîé èç óëèö Ñåóëà ïîÿâèòñÿ çàãàäî÷íûé ðåñòîðàí. Ãîâîðÿò, âíóòðè âàñ âñòðåòèò äåìîí, êîòîðûé âûãëÿäèò òî÷ü-â-òî÷ü êàê âû. Ãîâîðÿò, åñëè äîáóäåòå åìó ðåöåïò äóøè òîãî ñ÷àñòëèâ÷èêà, ÷üþ æèçíü âû ìå÷òàåòå ïðîæèòü, òî äåìîí äîáàâèò ùåïîòêó ìàãèè â âàøå áëþäî è èñïîëíèò âàøå æåëàíèå. Çâåçäà äîðàì, êóïàþùàÿñÿ â ëþáâè ïîêëîííèêîâ; çîëîòîé ìàëü÷èê, äåëàþùèé ãîëîâîêðóæèòåëüíóþ êàðüåðó; ñöåíàðèñò, îáëàñêàííûé êðèòèêàìè è çðèòåëÿìè; áåäíàÿ ñèðîòà, ïëåíèâøàÿ ñåðäöå áîãàòîãî íàñëåäíèêà— Êòî â çäðàâîì óìå îòêàæåòñÿ ïðîæèòü èõ áåçóïðå÷íûå æèçíè? Ñëûøèòå èçäåâàòåëüñêèé ñìåõ äåìîíà? Çàãëÿäûâàÿ íà îãîíåê â «Ðåñòîðàí 06:06:06», áóäüòå îñòîðîæíû ñî ñâîèìè æåëàíèÿìè— Èëè îòïóñòèòå íà âîëþ ñàìûå äåðçêèå ìå÷òû è ïðîæèâèòå ñâîþ ëó÷øóþ æèçíü! Âñå çàâèñèò òîëüêî îò âàøåãî âûáîðà.

Àííîòàöèÿ: "Cocoon" is a novel about two families whose fates have been intertwined for half a century. Through alternating narratives from the perspectives of the main characters, Li Jiaqi and Cheng Gong, the reader gradually uncovers the secrets and traumas passed down through generations. This is a book about memory, love, hatred, and redemption, written with profound psychological depth.Ðîìàí «Êîêîí» — ýòî èñòîðèÿ äâóõ ñåìåé, ÷üè ñóäüáû ïåðåïëåëèñü íà ïðîòÿæåíèè ïîëóâåêà. ×åðåç ÷åðåäóþùèåñÿ ïîâåñòâîâàíèÿ îò ëèöà ãëàâíûõ ãåðîåâ, Ëè Öçÿöè è ×ýí Ãóíà, ÷èòàòåëü ïîñòåïåííî ðàñêðûâàåò òàéíû è òðàâìû, ïåðåäàþùèåñÿ èç ïîêîëåíèÿ â ïîêîëåíèå. Ýòî êíèãà î ïàìÿòè, ëþáâè, íåíàâèñòè è èñêóïëåíèè, íàïèñàííàÿ ñ ïðîíçèòåëüíîé ïñèõîëîãè÷åñêîé ãëóáèíîé.

Àííîòàöèÿ: ×òî, åñëè íàðóøèòü êàíîí íîâåëëû è ïåðåïèñàòü èñòîðèþ? Íåò, â ýòîé ìàíõâå íåò ýêøåíà, ýïè÷íûõ ñõâàòîê, íàðàñòàþùèõ ñèë. Îäíàêî ëþáîâü çäåñü âèòàåò â âîçäóõå ñ ïåðâîé ñòðàíèöû.  êàæäîì ðîìàíå ñòàíäàðòíûé íàáîð ïåðñîíàæåé: äèâíàÿ ãåðîèíÿ, ñèìïàòè÷íûå þíîøè, ñîïåðíè÷àþùèå çà åå âíèìàíèå, è íåâçðà÷íàÿ ïîäðóãà. Õàì Äàíè - îáû÷íàÿ ó÷åíèöà ñðåäíåé øêîëû è áîëüøàÿ ïîêëîííèöà âåá-íîâåëë, êîòîðàÿ è ïðåäñòàâèòü íå ìîãëà, ÷òî îäíàæäû ïðîñíåòñÿ â îäíîé èç íèõ.  íîâîì ìèðå ó Õàì Äàíè åñòü ïîäðóãà àíãåëüñêîé âíåøíîñòè è ÷åòûðå þíîøè, íàïîìèíàþùèå ïðèíöåâ Ïîäíåáåñíîé. Äåâóøêà ðåøàåò äåðæàòüñÿ îò íèõ ïîäàëüøå è íå íàñòðîåíà âìåøèâàòüñÿ â ñþæåò. Îäíàêî, âîïðåêè îæèäàíèÿì, îíà òîëüêî ñèëüíåå çàïóòûâàåòñÿ â ñîáñòâåííûõ ÷óâñòâàõ. Êàêàÿ ðîëü îòâåäåíà Õàì Äàíè â ýòîì ìèðå? Áûòü ìîæåò, èìåííî îíà ãëàâíàÿ ãåðîèíÿ ýòîãî ðîìàíà?

Àííîòàöèÿ: Êíèãà Þêà Õóýÿ "Èñêóññòâî è êîñìîòåõíèêà" ïîñâÿùåíà íå ñòîëüêî ñòàâøåìó óæå òðèâèàëüíûì âîïðîñó î áóäóùåì èñêóññòâà â êîíòåêñòå ðàçâèòèÿ ñîâðåìåííûõ òåõíîëîãèé, ñêîëüêî âîïðîñó î áóäóùåì ñàìîé òåõíèêè: â êàêîé ñòåïåíè âîçìîæíî ïåðåîñìûñëåíèå åå ñîâðåìåííîãî ñîñòîÿíèÿ, åñëè ïðèíÿòü âî âíèìàíèå ìíîãîîáðàçèå õóäîæåñòâåííîãî îïûòà

Àííîòàöèÿ: Yu Hua's novel "To Live," published in Harvest in 1992 and by Writers Publishing House in 2008, has sold over 7 million copies to date and has become a classic of contemporary Chinese literature. The sheer excellence of his novels has overshadowed the brilliance of his exquisite short and medium-length stories, which are, in fact, just as excellent as his novels, masterpieces worth rereading. Yu Hua's interrogation of fate, exploration of human nature, and reverence for nature in these short and medium-length stories reveal his boundless compassion for life and profound reflections on reality. It includes 12 short stories written by Yu Hua, the author of the contemporary Chinese classic "To Live" between 1986 and 1998, including "Explosion in the Sky", "Bounce Game", "Why Is There No Music", "Why Should I Get Married", "Appendix", "I Don't Have My Own Name", "Hot Summer", "On the Bridge", "Their Son", "Boy in the Twilight", "Woman's Victory" and "Friends".

Àííîòàöèÿ: "I am as Timid as a Mouse" is a short story written by contemporary Chinese writer Yu Hua . It was first published in the 9th issue of Donghai in 1996 (published under the title "My Story"). It describes the events of people mocking him from the perspective of a mildly mentally retarded person, showing another discourse position of avant-garde novels. The novel refers to "the essence of existence and the good and evil of human nature" and explores it from three perspectives: "the victory and hypocrisy of the strong", "the endurance and rebellion of the weak", and "the dissolution and paradox of rebellion". In December 2024, the book was selected into JD Books— 2024 Top 50 Books list.

Àííîòàöèÿ: Õàéäåããåðîâñêàÿ êðèòèêà ñîâðåìåííîé òåõíèêè è åå ñâÿçè ñ ìåòàôèçèêîé íàøëà âîñïðèèì÷èâóþ àóäèòîðèþ íà Âîñòîêå. Îäíàêî êîíöåïöèÿ, ñîãëàñíî êîòîðîé ñóùåñòâóåò ëèøü îäèí - èñõîäíî ãðå÷åñêèé - òèï òåõíèêè, ñòàëà ïðåïÿòñòâèåì äëÿ ëþáîãî îðèãèíàëüíîãî êðèòè÷åñêîãî îñìûñëåíèÿ òåõíîëîãèè â ñîâðåìåííîé êèòàéñêîé ìûñëè. Þê Õóýé çàÿâëÿåò î íàñòîÿòåëüíîé íåîáõîäèìîñòè âîîáðàçèòü ñïåöèôè÷åñêè êèòàéñêóþ ôèëîñîôèþ òåõíèêè, ñïîñîáíóþ îòâåòèòü íà âûçîâ Õàéäåããåðà, â òî æå âðåìÿ ïðîáëåìàòèçèðóÿ óòâåðæäåíèå òåõíèêè è òåõíîëîãèé êàê àíòðîïîëîãè÷åñêè óíèâåðñàëüíûõ. Ýòî èññëåäîâàíèå èñòîðèêî-ìåòàôèçè÷åñêîãî âîïðîñà î òåõíèêå, îïèðàÿñü íà èäåè Æàíà-Ôðàíñóà Ëèîòàðà, Æèëüáåðà Ñèìîíäîíà è Áåðíàðà Ñòèãëåðà è ïðåäñòàâëÿÿ èñòîðèþ ñîâðåìåííîé âîñòî÷íîé ôèëîñîôñêîé ìûñëè (âêëþ÷àÿ òàêèå ôèãóðû, êàê Ôýí Þëàíü, Ìîó Öçóíñàíü è Êýéäçè Íèñèòàíè), â çíà÷èòåëüíîé ñòåïåíè íåèçâåñòíîé ðóññêèì ÷èòàòåëÿì, ïðîëèâàåò íîâûé ñâåò íà âîïðîñ î òåõíèêå â Êèòàå. Ïî÷åìó òåõíèêà íèêîãäà íå òåìàòèçèðîâàëàñü â êèòàéñêîé ìûñëè? Ïî÷åìó âðåìÿ íèêîãäà íå áûëî íàñòîÿùèì âîïðîñîì äëÿ êèòàéñêîé ôèëîñîôèè? Êàê òðàíñôîðìèðîâàëîñü òðàäèöèîííîå ïîíÿòèå Öè â îòíîøåíèè ê Äàî ïî ìåðå òîãî, êàê Êèòàé ïðèíèìàë òåõíîëîãè÷åñêóþ ñîâðåìåííîñòü è âåñòåðíèçàöèþ?  "Âîïðîñå î òåõíèêå â Êèòàå" ñèñòåìàòè÷åñêèé èñòîðè÷åñêèé îáçîð îñíîâíûõ ïîíÿòèé òðàäèöèîííîé êèòàéñêîé ìûñëè ñîïðîâîæäàåòñÿ îðèãèíàëüíûì èññëåäîâàíèåì óêàçàííûõ ïðîáëåì è ïîäâîäèò ê âîïðîñó: êàê êèòàéñêàÿ ìûñëü ìîæåò ñåãîäíÿ ïîñïîñîáñòâîâàòü êðèòè÷åñêîé ïåðåîöåíêå ãëîáàëèçèðîâàííîé òåõíèêè ñ êîñìîòåõíè÷åñêèõ ïîçèöèé?

Àííîòàöèÿ: Yuan Zai (——) is a young Chinese writer, a graduate of the Beijing Film Academy. Her debut novel "The Sedan Chair Shop" immediately caught readers' attention and later became the basis for the popular drama "Please Call Me." The novel is structured as a "story within stories." It was first published in youth magazines such as "Tao Zhi Yao Yao" and is aimed primarily at young readers. The mysterious "Guangji" shop houses 108 magical sedan chairs. Its owner is the enigmatic Du Wang, behind whose appearance hides an ancient ruler. Each sedan chair can perform a miracle: restore youth, show the future, or revive the dead for three days. Each client's story is a separate novella about love, sacrifice, and retribution.Þàíü Öçàé (——) — ìîëîäàÿ êèòàéñêàÿ ïèñàòåëüíèöà, âûïóñêíèöà Ïåêèíñêîé êèíîàêàäåìèè. Ïå÷àòàëàñü â ìîëîäåæíûõ æóðíàëàõ, å¸ äåáþòíûé ðîìàí «Ëàâêà ïàëàíêèíîâ» ìãíîâåííî ïðèâëåê âíèìàíèå ÷èòàòåëåé, à ïîçæå ëåã â îñíîâó ïîïóëÿðíîé äîðàìû «Ïîæàëóéñòà, ïîçîâè ìåíÿ». Ðîìàí, ïîñòðîåííûé ïî ïðèíöèïó «èñòîðèÿ â èñòîðèÿõ». Êíèãà ïóáëèêîâàëàñü â ìîëîäåæíûõ æóðíàëàõ, òàêèõ êàê «————», è àäðåñîâàíà â ïåðâóþ î÷åðåäü ìîëîäûì ÷èòàòåëÿì. Òàèíñòâåííàÿ ëàâêà «Ãóàíöçè» õðàíèò 108 âîëøåáíûõ ïàëàíêèíîâ. Ÿ õîçÿèí — çàãàäî÷íûé Äó Âàí, çà îáëèêîì êîòîðîãî ñêðûâàåòñÿ äðåâíèé âëàñòèòåëü. Êàæäûé ïàëàíêèí ñïîñîáåí íà ÷óäî: âåðíóòü ìîëîäîñòü, ïîêàçàòü áóäóùåå èëè âîñêðåñèòü óìåðøåãî íà òðè äíÿ. Êàæäàÿ èñòîðèÿ êëèåíòà — îòäåëüíàÿ íîâåëëà î ëþáâè, æåðòâå è ðàñïëàòå.

Àííîòàöèÿ: "I cannot leave Hangzhou — half of my heart stays by this lake." What is the secret of West Lake's charm? It is not only a wonder of nature, but also a treasure of human culture. For centuries, poets have sung of West Lake in verse — admiring its landscapes, enjoying its tranquility, grieving for their homeland. These feelings, imbued with the spirit of West Lake, seem to have merged with its waters. The book takes the reader through eighteen facets — natural and cultural — revealing the stories behind the poetic lines. Look at the mountains, look at the water, follow the changing seasons — and in this search, everyone will find their own voice. Open this book and experience a meeting between nature and humanity.«Íå ìîãó ïîêèíóòü Õàí÷æîó — ïîëîâèíà ìîåãî ñåðäöà îñòà¸òñÿ ó ýòîãî îçåðà».  ÷¸ì æå òàéíà î÷àðîâàíèÿ Çàïàäíîãî îçåðà? Îíî íå òîëüêî ÷óäî ïðèðîäû, íî è ñîêðîâèùå ãóìàíèòàðíîé êóëüòóðû. Íà ïðîòÿæåíèè âåêîâ ïîýòû âîñïåâàëè îçåðî Ñèõó â ñòèõàõ — ëþáóÿñü ïåéçàæàìè, íàñëàæäàÿñü ïîêîåì, ñêîðáÿ î ñóäüáå ðîäèíû. Ýòè ÷óâñòâà, ïðîíèêíóòûå äóõîì Çàïàäíîãî îçåðà, êàæåòñÿ, ñëèëèñü ñ âîäàìè ñàìîãî îçåðà. Êíèãà âåä¸ò ÷èòàòåëÿ ïî âîñåìíàäöàòè ãðàíÿì — ïðèðîäíûì è êóëüòóðíûì — ðàñêðûâàÿ èñòîðèè, ñòîÿùèå çà ïîýòè÷åñêèìè ñòðîêàìè. Ïîñìîòðèòå íà ãîðû, Ïîñìîòðèòå íà âîäó, ïðîñëåäóéòå çà ñìåíîé âðåì¸í ãîäà — è â ýòîì ïîèñêå êàæäûé íàéä¸ò ñâîé ñîáñòâåííûé ãîëîñ. Îòêðîéòå êíèãó è ïðîæèâèòå îïûò âñòðå÷è ïðèðîäû è ÷åëîâåêà.

Àííîòàöèÿ: Twelve literati and scholars — twelve lives in Hangzhou. Here are poetry and painting, music and theatre, joys and sorrows, love and hatred, quiet contentment and patriotic fervour. He Zhizhang, longing for home; Luo Yin, reflecting on labour; Li Qingzhao with her melancholy... Lan Ying, founder of the "Wulin School of Painting"; Tian Rucheng, author of "Records of West Lake Tours"; Hong Sheng, creator of the famous opera "The Palace of Eternal Youth"... One city of lakes and hills — infinite elegance.Äâåíàäöàòü ëèòåðàòîðîâ è ó÷¸íûõ — äâåíàäöàòü æèçíåé â Õàí÷æîó. Çäåñü åñòü ñòèõè è êàðòèíû, ìóçûêà è òåàòð, ðàäîñòè è ïå÷àëè, ëþáîâü è íåíàâèñòü, ïîêîé è ñòðàñòü ê ðîäíîé ñòðàíå. Õý ×æè÷æàí, òîñêóþùèé ïî ðîäèíå; Ëî Èíü, ðàçìûøëÿþùèé î òðóäå; Ëè Öèí÷æàî ñ å¸ ïå÷àëüþ... Ëàíü Èí, îñíîâàòåëü «Øêîëû æèâîïèñè Óëèíü»; Òÿíü Æó÷ýí, ñîçäàòåëü «Çàïèñîê î ïðîãóëêàõ ïî Çàïàäíîìó îçåðó»; Õóí Øýí, àâòîð çíàìåíèòîé îïåðû «Äâîðåö äîëãîëåòèÿ»... Îäèí ãîðîä ó îç¸ð è ãîð — è áåñêîíå÷íàÿ ýëåãàíòíîñòü.

Àííîòàöèÿ: Ïåðâîå çíàêîìñòâî ñ ïåðñîíàæàìè ðàáîò Þëèè Êðèâîçóáîâîé îòêðûâàåò èõ êàê ïóãàþùèõ è ÷óäîâèùíûõ ñóùåñòâ. Èõ ïîçû, íåïðàâäîïîäîáíî òîíêèå ôèãóðû, îñòðûå óãëîâàòûå êîíå÷íîñòè—âñå â ýòèõ ãåðîÿõ ïðîáóæäàåò îòòîðæåíèå è óæàñ. Îäíàêî îäíîâðåìåííî ñî ñòðàõîì ýòè ñóùåñòâà, êîòîðûõ Þëèÿ íàçûâàåò «äåâî÷êàìè», âûçûâàþò íåóãàñàþùèé èíòåðåñ, ïðåäñòàþò âîïëîùåíèåì çàãàäêè, íåêîé òàéíû î ñîáñòâåííîì ñóùåñòâîâàíèè, ïðîèñõîæäåíèè, î òîì, êàê îíè óñòðîåíû, è ïî÷åìó òàê âûãëÿäÿò

Àííîòàöèÿ: Ãëàâíîå â çàïàäíûõ êîìïàíèÿõ - ýôôåêòèâíîñòü è ðàöèîíàëüíîñòü. Äëÿ âîñòî÷íûõ ôèðì êóäà âàæíåå âçàèìîîòíîøåíèÿ è ýòè÷åñêèé êîäåêñ. ×òîáû óñòàíîâèòü äîëãîñðî÷íûå, äîâåðèòåëüíûå îòíîøåíèÿ ñ âîñòî÷íûìè ðóêîâîäèòåëÿìè, èõ çàïàäíûì êîëëåãàì íåîáõîäèìî ïîíèìàòü îñíîâíûå ýëåìåíòû äåëîâîé êóëüòóðû Âîñòîêà è òîíêîñòè âåäåíèÿ ïåðåãîâîðîâ. ýòîé êíèãå áèçíåñ-êîíñóëüòàíò èç Ñèíãàïóðà Ñèíã Îíã Þ ðàññìàòðèâàåò ðàçíûå ìîäåëè êèòàéñêîé, ÿïîíñêîé è êîðåéñêîé ñèñòåì óïðàâëåíèÿ, à òàêæå òåîðèè, ëåæàùèå â èõ îñíîâå. Îí ïðèâîäèò ïðèìåðû óñïåøíûõ è íåóäà÷íûõ ïîïûòîê âûõîäà çàïàäíûõ êîìïàíèé íà âîñòî÷íûå ðûíêè. Òåïåðü âàì áóäåò ïðîùå ïîíÿòü àçèàòñêèõ ïàðòíåðîâ è âûñòðîèòü ñ íèìè óñïåøíîå âçàèìîäåéñòâèå.

Àííîòàöèÿ: The first comprehensive publication covering the history of paper architecture, a unique phenomenon of the Soviet 1980s. Architect and curator Yuri Avvakumov explores the legendary movement of paper architects which the author himself was an avid representative of. Paper architecture—a variation of conceptualism in architecture that circulated in the form of journal publications, exhibitions, and competitions of ideas—was the product of nonconformist reflection which appropriated languages and tropes of various architectural style for the creation of multivalent project designs. Paper architecture brings together the visual means of expression typical of fine arts, architecture proper, literature, and theater. The book features texts and works by all the key participants of the movement, including Yuri Avvakumov, Mikhail Belov, Alexander Brodsky, Lev Evzovich, Totan Kuzembaev, Vyachslav Mizin, Ilya Utkin, and Mikhail Philippov.Ïåðâàÿ âñåîáúåìëþùàÿ ïóáëèêàöèÿ, îñâåùàþùàÿ èñòîðèþ áóìàæíîé àðõèòåêòóðû, óíèêàëüíîãî ÿâëåíèÿ ñîâåòñêèõ 1980-õ ãîäîâ. Àðõèòåêòîð è êóðàòîð Þðèé Àââàêóìîâ èññëåäóåò ëåãåíäàðíîå äâèæåíèå áóìàæíûõ àðõèòåêòîðîâ, àêòèâíûì ïðåäñòàâèòåëåì êîòîðîãî áûë ñàì àâòîð. Áóìàæíàÿ àðõèòåêòóðà — ðàçíîâèäíîñòü êîíöåïòóàëèçìà â àðõèòåêòóðå, êîòîðàÿ ðàñïðîñòðàíÿëàñü â ôîðìå æóðíàëüíûõ ïóáëèêàöèé, âûñòàâîê è êîíêóðñîâ èäåé — áûëà ïðîäóêòîì íîíêîíôîðìèñòñêîé ðåôëåêñèè, êîòîðàÿ èñïîëüçîâàëà ÿçûêè è òðîïû ðàçëè÷íûõ àðõèòåêòóðíûõ ñòèëåé äëÿ ñîçäàíèÿ ìíîãîâàëåíòíûõ ïðîåêòîâ. Áóìàæíàÿ àðõèòåêòóðà îáúåäèíÿåò âèçóàëüíûå ñðåäñòâà âûðàæåíèÿ, õàðàêòåðíûå äëÿ èçîáðàçèòåëüíîãî èñêóññòâà, ñîáñòâåííî àðõèòåêòóðû, ëèòåðàòóðû è òåàòðà.  êíèãå ïðåäñòàâëåíû òåêñòû è ðàáîòû âñåõ êëþ÷åâûõ ó÷àñòíèêîâ äâèæåíèÿ, âêëþ÷àÿ Þðèÿ Àââàêóìîâà, Ìèõàèëà Áåëîâà, Àëåêñàíäðà Áðîäñêîãî, Ëüâà Åâçîâè÷à, Òîòàíà Êóçåìáàåâà, Âÿ÷åñëàâà Ìèçèíà, Èëüþ Óòêèíà è Ìèõàèëà Ôèëèïïîâà.

Àííîòàöèÿ: Python è spaCy ïîìîãóò âàì áûñòðî è ëåãêî ñîçäàâàòü NLP-ïðèëîæåíèÿ: ÷àò-áîòû, ñöåíàðèè äëÿ ñîêðàùåíèÿ òåêñòà èëè èíñòðóìåíòû ïðèíÿòèÿ çàêàçîâ. Âû íàó÷èòåñü èñïîëüçîâàòü spaCy äëÿ èíòåëëåêòóàëüíîãî àíàëèçà òåêñòà, îïðåäåëÿòü ñèíòàêñè÷åñêèå ñâÿçè ìåæäó ñëîâàìè, èäåíòèôèöèðîâàòü ÷àñòè ðå÷è, à òàêæå îïðåäåëÿòü êàòåãîðèè äëÿ èìåí ñîáñòâåííûõ. Âàøè ïðèëîæåíèÿ äàæå ñìîãóò ïîääåðæèâàòü áåñåäó, ñîçäàâàÿ ñîáñòâåííûå âîïðîñû íà îñíîâå ðàçãîâîðà. Âû íàó÷èòåñü: Ðàáîòàòü ñ âåêòîðàìè ñëîâ, ÷òîáû íàõîäèòü ñèíîíèìû (ãëàâà 5). Âûÿâëÿòü çàêîíîìåðíîñòè â äàííûõ ñ ïîìîùüþ displaCy — âñòðîåííîãî ñðåäñòâà âèçóàëèçàöèè áèáëèîòåêè spaCy (ãëàâà 7). Àâòîìàòè÷åñêè èçâëåêàòü êëþ÷åâûå ñëîâà èç ïîëüçîâàòåëüñêîãî ââîäà è ñîõðàíÿòü èõ â ðåëÿöèîííîé áàçå äàííûõ (ãëàâà 9). Ðàçâåðòûâàòü ïðèëîæåíèÿ íà ïðèìåðå ÷àò-áîòà äëÿ âçàèìîäåéñòâèÿ ñ ïîëüçîâàòåëÿìè (ãëàâà 11). Ïðî÷èòàâ ýòó êíèãó, âû ìîæåòå ñàìè ðàñøèðèòü ïðèâåäåííûå â íåé ñöåíàðèè, ÷òîáû îáðàáàòûâàòü ðàçíîîáðàçíûå âàðèàíòû ââîäà è ñîçäàâàòü ïðèëîæåíèÿ ïðîôåññèîíàëüíîãî óðîâíÿ.