^{London: Hamish Hamilton, 1968.}

^{___. The World Challenge. New York: Simon & Schuster, 1981.}

^{Shahn, Ben. The Shape of Content. Cambridge, Massachusetts:}

^{Harvard University Press, 1957.}

^{Soleri, Paolo. Arcology: The City in the Image of Man.}

^{Cambridge, Massachusetts: M.I.T. Press, 1970.}

^{Sontag, Susan. On Photography.}

^{New York: Farrar, Straus and Giroux, 1977.}

^{Sullivan, Louis H. The Autobiography of an Idea. Chicago: Peter Smith, 1924.}

^{___. Kindergarten Chats. Chicago: Scarab Fraternity, 1934.}

^{Thoreau, Henry David. Walden and Essay on Civil Disobedience.}

^{London: Dent.}

^{Van Gogh, Vincent. The Complete Letters of Vincent Van Gogh}

^{in Three Volumes. London: Thames & Hudson, 1958.}

^{Weiss, Peter. Notizen zum Kulterellen Leben in der Demokratischen Republik}

^{VietNam. Frankfurt, Germany: Suhrkamp Verlag, 1968.}

^{Wills, Philip. Free as a Bird. London: John Murray, 1973.}

^{___. On Being a Bird. London: David & Charles, 1977.}

^{___. Where No Birds Fly. London: Newnes, 1961.}

^{Wright, Frank Lloyd. Autobiography.}

^{New York: Duel, Sloane & Pearce, 1943.}

^{___. The Disappearing City. New York: William Farquhar Payson, 1932}

^{___. The Living City. New York: Horizon, 1958.}

^{___. The New Frontier: Broadacre City. Springreen, Wisconsin:}

^{Taliesin Fellowship Publication, vol. 1, no. 1, October, 1940.}

^{___. A Testament. New York: Horizon, 1957.}

^{___. When Democracy Builds. Chicago: University of Chicago Press, 1945.}

^{Wright, Olgivanna Lloyd. The Shining Brow. New York: Horizon, 1958.}

^{Yevtushenko, Yevgeny. Collected Poems. London: Calder & Boyars, 1969.}

^{___. A Precocious Autobiography. New York: Dutton, 1963.}

^{Истоки дизайна}

^{Arnheim, Rudolf. Art and Visual Perception. London: Faber, 1967.}

^{___. Film as Art. London: Faber, 1967.}

^{___. Toward A Psychology oj Art. London: Faber, 1967.}

^{Bayer, Herbert, and Gropius, Walter. Bauhaus 1919-1928.}

^{Boston: Branford, 1952.}

^{Berenson, Bernard. Aesthetics and History.}

^{New York: Pantheon Books, 1948.}

^{Biederman, Charles. Art as the Evolution of Visual Knowledge.}

^{Redwing, Minnesota: Charles Biederman, 1948.}

^{Boas, Franz. Primitive Art. New York: Dover, 1955.}

^{Burckhardt, Lucius. Der Werkbund. Stuttgart: DVA, 1978.}

^{Conrads, Ulrich, and Sperlich, Hans G. The Architecture of Fantasy.}

^{New York: Praeger, 1962.}

^{Danz, Louis. Dynamic Dissonance in Nature and the Arts.}

^{New York: Longmans Green, 1952.}

^{___. It is Still the Morning. New York: Morrow, 1943.}

^{___. Personal Revolution and Picasso. New York: Longmans Green, 1941.}

^{___. The Psychologist Looks at Art. New York: Longmans Green, 1937.}

^{___ .ZarathustraJr.. New York: Brentano, 1934.}

^{Dorfles, Gillo. Kitsch: An Anthology of Bad Taste.}

^{London: Studio Vista, 1970.}

^{Ehrenzweig, Anton. The Hidden Order of Art. London: Paladin, 1970.}

^{Feldman, Edmund B. (ed.). Art in American Higher Institutions. Washington,}

^{D.C.: The National Art Education Association, 1970.}

^{Friedmann, Herbert. The Symbolic Goldfinch:}

^{Its History and Significance in European Devotional Art.}

^{Princeton, New Jersey: Bollingen Series,}

^{Princeton University Press, 1946.}

^{Gamow, George. One, Two, Three... Infinity, rev. ed.}

^{New York: Viking, 1961.}

^{Gerstner, Karl. Kalte KunstP Basel, Switzerland: Arthur Niggli, 1957.}

^{Gilson, Etienne. Painting and Reality. Princeton, New Jersey:}

^{Bollingen Series, Princeton University Press, 1957.}

^{Gombrich, E.H. Art and Illusion. Oxford: Phaidon, 1962.}

^{___. Ideals and Idok. New York: E. P. Dutton, 1979.}

^{___. The Image and the Eye. Ithaca: Cornell University Press, 1979.}

^{___. Meditations on a Hobbyhorse. Oxford: Phaidon, 1963.}

^{___. The Sense of Order. Ithaca: Cornell University Press, 1979.}

^{Graves, Robert. The White'Goddess. London: Faber, 1952.}

^{Hatterer, Lawrence J. The Artist in Society: Problems and Treatment of the}

^{Creative Personality. New York: Grove Press, 1965.}

^{Hauser, Arnold. The Social History of Art. 4 vols. London:}

^{Rou-tledge & Kegan Paul, 1951.}

^{Hinz, Berthold. Art in the Third Reich. New York: Pantheon, 1979.}

^{Hogben, Lancelot. From Cave Painting to Comic Strip.}

^{New York: Chanticleer Press, 1949.}

^{Hon-En Historia. Catalogue. Stockholm: Moderna Museet, 1967.}

^{Huizinga, Johan. Homo Ludens: A Study of the Play-element}

^{in Human Culture. London: Paladin, 1970.}

^{Hulten, K.G. Pontus. The Machine as Seen at the End of the Mechanical Age,}

^{New York: Museum of Modern Art, 1968.}

^{Illich, Ivan. Energy and Equity. London: Calder & Boyars, 1974.}

^{___. Tools for Conviviality. London: Calder & Boyars, 1973.}