˳òåðàòóðà ³ç ðîçä³ëó Êóëüòóðà ³ ñóñï³ëüñòâî

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  Éîãàííåñ ².

  Ìèñòåöòâî êîëüîðó

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Ìèñòåöòâî êîëüîðó Éîãàííåñ ²òòåí

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  Éîãàííåñ ².

  Åëåìåíòè îáðàçîòâîð÷îãî ìèñòåöòâà

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Åëåìåíòè îáðàçîòâîð÷îãî ìèñòåöòâà Éîãàííåñ ²òòåí

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  ÌàêÄîíàëüä Ê.

  Òåîðèÿ ôèëüìîâ

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Òåîðèÿ ôèëüìîâ ÌàêÄîíàëüä Ê.

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  ßñüê³â Î.

  Âå÷³ð ç ê³íî. Ïóò³âíèê ïî ñâ³òó ê³íî

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Âå÷³ð ç ê³íî. Ïóò³âíèê ïî ñâ³òó ê³íî ßñüê³â Î.².

  Òóðöèÿ — ìíîãîëèêàÿ ñòðàíà ñ áîãàòåéøåé èñòîðèåé, ìíîãîâåêîâîé êóëüòóðîé, ðàçíîîáðàçíåéøèìè ïåéçàæàìè — îò áåëûõ ïåñ÷àíûõ ïëÿæåé äî çàîáëà÷íûõ ãîð è èçâåñòêîâûõ òåððàñ Ïàìóêêàëå, êîòîðûå ïåðåíåñóò âàñ â áåëîñíåæíóþ çèìó ïîñðåäè ëåòà. Ýòà çåìëÿ ïîìíèò âîèíîâ Àëåêñàíäðà Ìàêåäîíñêîãî, ëåãåíäàðíûõ çàùèòíèêîâ Òðîè, ñóëòàíà Ìåõìåäà II Çàâîåâàòåëÿ, âúåõàâøåãî â ãëàâíûé õðàì Êîíñòàíòèíîïîëÿ íà áåëîì êîíå. È ñåãîäíÿ ìîæíî ïîâåðíóòü âðåìÿ âñïÿòü, ïîñåòèâ äðåâíèå ãîðîäà Ýôåñ è Ôàñåëèñ, ïî÷òèâ õðèñòèàíñêèå ñâÿòûíè — ìóçåé Àéÿ-Ñî-ôèÿ â Ñòàìáóëå è ïåùåðíûå öåðêâè äîëèíû øðåìå, ïðîéäÿ óçêèìè óëî÷êàìè ñòàðèííûõ ãîðîäîâ. Çäåñü Àçèÿ ïåðåñåêàåòñÿ ñ Åâðîïîé, à Âîñòîê âñòðå÷àåòñÿ ñ Çàïàäîì. Ñòàìáóë ïî-ïðåæíåìó ñîõðàíÿåò âåëè÷èå è îñîáóþ, âîëøåáíóþ àòìîñôåðó, íå çðÿ Íàïîëåîíó Áîíàïàðòó ïðèïèñûâàþò ñëîâà: «Åñëè áû âåñü ìèð áûë îäíîé ñòðàíîé, òî Ñòàìáóë ñòàë áû åå ñòîëèöåé».  Òóðöèè âàñ æäåò ìíîæåñòâî îòêðûòèé: âïå÷àòëÿþùèå ïðîèçâåäåíèÿ èñêóññòâà, ãîñòåïðèèìñòâî è ðàäóøèå ïðîñòûõ ëþäåé, ÷àðóþùèé çâóê àçàíà, ïðèçûâàþùåãî âåðóþùèõ ê ìîëèòâå, ïåñòðûå áàçàðû, íåïðåâçîéäåííûé âêóñ âîñòî÷íûõ ñëàäîñòåé è êîôå. 250 èëëþñòðàöèé, ïðåäñòàâëåííûõ â êíèãå, ïîìîãóò óâèäåòü Òóðöèþ âî âñåé åå êðàñîòå è ìíîãîîáðàçèè.

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  Ãåðáåðò Ñ.

  Ãàëåðåÿ êîò³â. Êîòîòåêà îêóëüòóðåíèõ êîò³â

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Ãàëåðåÿ êîò³â. Êîòîòåêà îêóëüòóðåíèõ êîò³â Ãåðáåðò Ñ

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  ßê äèòèí³ ïîòðàïèòè â ê³íî. Ïðàêòè÷íèé ïîñ³áíèê äëÿ áàòüê³â

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  ßê äèòèí³ ïîòðàïèòè â ê³íî. Ïðàêòè÷íèé ïîñ³áíèê äëÿ áàòüê³â

  Õî÷åòå, ùîá âàøà äèòèíà ñòàëà àêòîðîì? Ñòîï, öå ñóòî âàøå áàæàííÿ ÷è ³ äèòèíè? ßêùî ò³ëüêè âàøå — í³êîëè íå ï³çíî ñïðîáóâàòè âëàñí³ ñèëè, ÿêùî é ñèíà àáî äîíüêè — çðîá³òü óñå, ùîá äîïîìîãòè ¿ì. ßê? ²ç ö³º¿ êíèæêè âè ä³çíàºòåñÿ íàéâàæëèâ³øå ïðî ñòàðò ó ê³íî: ÿê³ âì³ííÿ ðîçâèâàòè, ÿê øóêàòè êàñòèíãè, ãîòóâàòè â³äåî-â³çèòêó, â³äáèðàòè ôîòî, çàïîâíþâàòè çàÿâêè é ï³äïèñóâàòè óãîäè. À ùå äîâ³äàºòåñÿ, ÿê³ êàçóñè òðàïëÿþòüñÿ íà ìàéäàí÷èêó, ÿêîãî â³êó íàéìîëîäø³ àêòîðè, ÿê ïîäîëàòè ñòðàõ â³äìîâè òà ÷îìó ñëàâíîçâ³ñíó ñòàòóåòêó íàçèâàþòü «Îñêàðîì». ² âñå öå ç ãóìîðîì, ö³êàâèìè ³ñòîð³ÿìè, ÷åêë³ñòàìè, ïîðàäàìè â³ä þðèñòà ³ ñïîðòñìåíà, â³äïîâ³äÿìè íà ïîøèðåí³ çàïèòàííÿ é íàòõíåííÿì ä³ÿòè.

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  Ñöåíà𳿠Ñåðã³ÿ Ïàðàäæàíîâà. Ç êîìåíòàðÿìè ôàõ³âö³â

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Ñöåíà𳿠Ñåðã³ÿ Ïàðàäæàíîâà. Ç êîìåíòàðÿìè ôàõ³âö³â

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  Ñêå÷áóê. Ìàâêà.

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Ñêå÷áóê. Ìàâêà.

  Öåé ñêåò÷áóê ïðèñâÿ÷åíèé ñâ³òîâîìó ðåë³çó ïîâíîìåòðàæíîãî ìóëüòô³ëüìó «Ìàâêà. ˳ñîâà ï³ñíÿ», çàïëàíîâàíîìó íà 2020 ð³ê. Ñþæåò ìóëüòô³ëüìó, ùî áóäå çðîçóì³ëèé øèðîê³é àóäèòî𳿠ó âñüîìó ñâ³ò³, âîäíî÷àñ ì³ñòèòü îðèã³íàëüí³ñòü òà ÷àð³âí³ñòü óêðà¿íñüêî¿ àóòåíòèêè é ïîäàðóº ãëÿäà÷àì çóñòð³÷ ç íîâèì, äîñ³ íåçíàíèì ñâ³òîì, ÿêèé ùå íå áóëî ðîçêðèòî ó ñâ³òîâ³é àí³ìàö³¿. Äîðîñëèõ â³í çàö³êàâèòü óí³âåðñàëüí³ñòþ ñâî¿õ òåì, à ä³òåé – ïðèãîäàìè òà ãóìîðîì. Ìóëüòô³ëüì ñòâîðþº â³äîìà óêðà¿íñüêà ñòóä³ÿ Animagrad, ÿêà âõîäèòü äî ñêëàäó ê³íîêîìïàí³¿ FILM.UA Group.

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  Øêàíäð³é Ì.

  Àâàíãàðäíå ìèñòåöòâî â Óêðà¿í³, 1910-1930: ïàì'ÿòü çà ÿêó âàðòî áîðîòèñÿ

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Àâàíãàðäíå ìèñòåöòâî â Óêðà¿í³, 1910-1930: ïàì'ÿòü çà ÿêó âàðòî áîðîòèñÿ Øêàíäð³é Ì.

  ×èìàëî ìèòö³â, ÿê³ ââàæàëè ñåáå óêðà¿íöÿìè, íàðîäèëèñü ³ ïðàöþâàëè íà òåðèòî𳿠Óêðà¿íè, íèí³ â³äîì³ ó ñâ³ò³ ÿê ïðåäñòàâíèêè ðîñ³éñüêî¿ ÷è ºâðîïåéñüêî¿ êóëüòóðè. Ö³ºþ êíèæêîþ Ìèðîñëàâ Øêàíäð³é ïîâåðòຠóêðà¿íñüêèì àâàíãàðäèñòàì óêðà¿íñüêå îáëè÷÷ÿ, âèêðàäåíå êîëîí³àëüíèì ìèíóëèì. Òóò Óêðà¿íà ïîñòຠìóëüòèíàö³îíàëüíîþ êðà¿íîþ ç áàãàòîþ êóëüòóðîþ, ÿêà íàäèõàëà ñì³ëèâ³ ìèñòåöüê³ ïîðóõè. Àâòîð ïðèñê³ïëèâî äîñë³äæóº æèòòÿ ³ òâîð÷³ñòü ìèòö³â 20-30-õ ðîê³â XX ñòîë³òòÿ, çîêðåìà Äàâèäà Áóðëþêà, Êàçèìèðà Ìàëåâè÷à, ²âàíà Êàâàëåð³äçå, Äçè´è Âåðòîâà, Âàäèìà Ìåëëåðà, Ìèõàéëà Áîé÷óêà.

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  Ãîäæ Ñ.

  Êîðîòêà ³ñòîð³ÿ ìèñòåöòâà.

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Êîðîòêà ³ñòîð³ÿ ìèñòåöòâà. Ãîäæ Ñ.

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  Á³ðþëüîâ Þ.

  ªâðåéñüêà àðõ³òåêòóðíà ñïàäùèíà Ëüâîâà

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  ªâðåéñüêà àðõ³òåêòóðíà ñïàäùèíà Ëüâîâà Á³ðþëüîâ Þ.

  This monograph is a scholarly study of Jewish architectural monuments in Lviv from the 16th century till 1939. It was created in the form of a scientific description and analysis of the cataloged and systematized array of 440 recorded architectural works. The selectiveness of the 440 considered objects is justified by the study's scientific basis, where the majority of available archival, literary, and electronic sources, as a representative selection of Jewish architectural heritage, are used. The monograph is structured in five blocks, according to the historical functional purpose of buildings, with their end-to-end numbering. The mandatory name, address (then and now), construction period, ownership, architect, historical stages of construction, and modern state are supplemented with stylistic and art critic analysis, evidence about institutions, and famous personas related to a particular building. At the end of the book, one may find a biographical dictionary of Lviv Jewish architects and builders with a detailed bibliography, name index, and English annotation.

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü
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  Âîéòåíêî Â.

  Ó KINO-KÎ˲

  Íåìຠâ íàÿâíîñò³

  Ïåðåãëÿíóòè

  

  Ó KINO-KÎ˲ Âîéòåíêî Â.².

  Ïîâ³äîìèòè ïðî íàÿâí³ñòü

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