Diderot et d'alembert

1 746 résultats

Trier parTitre A - Z

Pertinence Auteur A - Z Auteur Z - A Titre A - Z Titre Z - A Prix croissant Prix décroissant Libraire A - Z Libraire Z - A

Par page25

25 50 100

Filtres

Diderot, DenisBiblio.com

La religieuse French Edition

[DIDEROT, Denis] [1713-1784]Biblio.com

Le Fils Naturel Ou Les Preuves De La Vertu Comédie En Cinq Actes Et En Prose

1757elala128Amsterdam i.e. Paris: Prault fils aîné 1757. 1757. 8vo. pp. ix 10-299. contemporary mottled calf gilt back binding damage to corners & spine ends. First Edition of the first of Diderots two plays. "The publication of the Fils Naturel occasioned an uproarIt was sufficently novel in techniques of staging and acting as well as new emphases in character analysis and intellectural content to make it controversialThe plays of Diderot were in sober fact revolutionary not merely in an aesthetic sense but also in a political one. The motivations the values the morality the self-evident truths set forth in the Fils Naturel and the Père de Famille were those of a new social class just beginning to feel its own power and to respect its own intutions it is impossible to say anything more cogent about Diderots plays than to repeat what Alexis de Tocqueville wrote in Democracy in America. If you would judge beforehand he remarked of the literature of a people which is lapsing into democracy study its dramatic productionsThe tastes and propensities natural to democratic nations in respect to literature will therefore first be discernible in drama and it may be foreseen that they will break out there with vehemence. Arthur M. Wilson Diderot pp. 261-62 Diderot sought to reform the theatre in three principal ways by giving it greater realism through an emphasis on stage settings the use of explicit stage directions and increased use of pantomime and gesture by creating what he called domestic and bourgeois tragedy and by making theatre a vehicle for inspiring virtuous conduct. Many of these theoretical aspects were dealt with in the accompanying Discours sur la Poésie Dramatique. The play was published anonymously although everyone knew Diderot was the author mainly because of some remarks concerning heaven and the ways of its providence that prevented the work from being published under public licence. Adams FN1. Tchemerzine IV p. 447. Cioranescu 24091 incorrectly referring to 12mo. format. 1st Edition. Amsterdam [i.e. Paris: Prault fils aîné], 1757. unknown

D & E Lake Ltd. (ABAC, ILAB) · Canada850,50 $US≈ 719,61 €

(BINDINGS - MAYLANDER). DIDEROT, DENISBiblio.com

LE NEVEU DE RAMEAU

1924ST19296Paris: Auguste Blaizot 1924. No. XXI OF 355 COPIES. 310 x 225 mm. 12 1/4 x 8 3/4". 3 p.l. XI 1 blank 197 5 pp. <br/> SPLENDID INDIGO CRUSHED MOROCCO BY ÉMILE MAYLANDER stamp-signed on front doublure covers with elegant gilt frames featuring flowers and acanthus leaves raised bands spines richly gilt in compartments with pomegranate sprig centerpiece MOSAIC MOROCCO DOUBLURES with inlaid frame of maroon morocco and gilt-latticed cornerpieces of blue morocco on a caramel-colored background maroon silk endleaves all edges gilt. Original wrappers bound in. Housed in matching morocco-trimmed chemise lined with leather in matching slipcase. With three engraved vignettes in the text and 34 plates by Bernard Naudin two of them double-page. AN IMMACULATE COPY.<br/> <br/> Virtually unchanged since the day it left the bindery this is a beautiful luxury edition of Diderot's vicious satire skewering the hedonism cynicism and materialism of opponents of the Enlightenment. The work takes the form of a dialogue between "Moi" the narrator standing in for Diderot and "Lui" the jaded sophisticated "Nephew of Rameau" of the title. The operas of French composer Jean-Philippe Rameau 1683-1764 are among the topics Moi and Lui debate--the alleged superiority of Italian opera being one of the "culture wars" of the day--along with the worship of money and the possibility of morality without God. Fearing repercussions from political and cultural elites mentioned by name in the work Diderot never published it. The manuscript was in the library he sold to Catherine the Great of Russia and a copy found its way via Schiller into the hands of Goethe who translated it into German and published it in 1805. In 1890 French librarian George Monval found a copy of the manuscript in Diderot's own hand and the original text finally came into print. Our edition uses this text enlivened by the etchings of Bernard Naudin 1876-1946 whose genius for satirical caricature is well matched to the subject. Born into the trade as the son of a gilder in the Marius Michel workshop Emile Maylander 1866-1959 was still a child when he began to train with the best doreur of the day Gustave Bénard. By the age of 10! he was working for the atelier of Domont where he perfected his craft. He later worked for the great Cuzin and for Émile Mercier in whose workshop he was the premier doreur. After Mercier's death in 1910 he began doing high-end gilding work for other binders before opening his own studio in 1920. Flety tells us he quickly established a grand reputation among collectors. According to Duncan and De Bartha Maylander preferred bindings that used classical designs "which he executed with a faultless technique drawing the admiration of a number of bibliophiles." He chose such a classical design appropriate to the late 18th century for this work creating a harmony of text illustration and binding. Auguste Blaizot unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis6 760,00 $US≈ 5 719,64 €