483 résultats
153 pages. A superbly concise and clearly written account of how to develop fully realized characters in Shakespeare. Moderate wear. Unmarked. Book
Paris, A La Comédie Humaine, Collection "Le Pont Mirabeau", 1939. In-8, broché, 58 pp, partiellement non coupé. Edition originale. Tirage limité à 325 exemplaires. Un des 300 numérotés sur vélin fort. Hommage autographe de l'auteur à Monsieur VAN MELLE.
Aubier, Philosophie, 1996, 299 pp., broché, passages signalés et annotés au crayon, traces d'usage, plis sur le dos
Very Good French Paperback. 4to. (25 x 20 cm). In French. 20 p. L'introducteur de Moliere en Turquie: Ahmet Vefik Pacha. First Numbered copy: 000001. Rare.
Very Good Turkish Original typescript invitation signed by Bedrettin Tuncel. 13,5x21,5 cm. In Turkish. Six lines. 1 p. A formal invitation for the general director B. S. Hollinshead's visit to Turkey with the letterhead of "UNESCO Turkey Commission of the United Nations Science and Culture Foundation in Ankara". Bedrettin Tuncel was a former academic and a politician in Turkey. Born in 1910 in Tirebolu of Giresun Province, he graduated from Galatasaray High School in 1932. For higher education, he went to France to study French literature. He graduated from the Lumière University Lyon 2 in 1936. In Turkey, he served at Ankara University for 35 years. He also lectured on the history of Art in the conservatory of Ankara for 10 years. After 27 July 1963, he served as the speaker of the Turkish National Committee of UNESCO. After the 1960 Turkish coup d'etat in addition to his academic works, he was also appointed as the representative of universities in the Constituent Assembly of Turkey. In the 24th government of Turkey, he served as the Minister of National Education. But during the democratic regime after 1961, he returned to his academic life.
Foxing/dustsoiling to top of textblock. Minor Foxing to DJ. ; Greeks divided the world into Greece vs. The land of foreigners, into Hellenes vs. Barbarians, seeing their country as a bastion of culture, learning, and military might surrounded by a sea of the uncivilized. Long shows how comedy expressed the Greek feeling of superiority over the barbarians, how it dealt with the so-called barbarian-Hellene antithesis. The result is a contribution to the study of ancient Greek comedy—both the comedy itself and the beliefs, the prejudices, the limitations, and the variety in the society from which the plays emerged. The comedians’ responses to the barbarians ranged from idealization to neutrality to raw racism. Although contemptuous of barbarians, the Hellenes could not keep elements of foreign culture from entering their own. Long’s major contention is that the Greek reaction to Oriental and other foreign influence can be seen in the treatment of barbarians in Greek comedy. ; 240 pages
Minor shelfwear. Scholars' bookplate to inner cover. ; Beiträge Zur Klassischen Philologie Heft 57; 295 pages
"Aristophanes has enjoyed a conspicuous revival in nineteenth and twentieth-century Greece. [This is] the first critical analysis of the role of the classical Athenian playwright in modern Greek culture, explaining how the sociopolitical "venom" of Aristophanes' verses remains relevant and appealing to modern Greek audiences." 284p. bibliography.index Book
Paris, Alphonse Lemerre 1874. Deux volumes in-12, 280 et 375 pp. Demi-chagrin bleu nuit à coins, double filets dorés sur les plats, dos à nerfs richement orné, tête dorée (reliure époque). Bon exemplaire.
In 8°; 48 pp. Legatura in cartoncino ottocentesco con titolo chiosato da mano ottocentesca al piatto anteriore. Rara edizione di questo libretto teatrale appartenente alla scuola francese della “opéra-comique” in riga con la Comédie Italienne in grande voga alla corte francese come attesta anche il luogo e la data della prima rappresentazione. Madame Favart Duronceray fu oltre che autrice e coautrice di numerose di queste commedie anche una delle più celebri attrici del suo tempo. Una deglia autori è sicuramente Favart Duronceray Marie-Justine Benoit, mentre l'altro autore è probabilemnte Charles-Simon Favart (marito della Duronceray). Finalini e testatine ornati. Qualche piccola macchiolina al frontespizio e per il resto in buone condizioni di conservazione. L'opera è ispirata al lavoro dello stesso titolo di Marmontel che riprese la storia vera di due cugini, Gilles Dewalt e Marie Schmitz, che amandosi chiesero alla chiesa cattolica ma non ottennero il permesso di sposarsi anche se la donna rimase incinta. Nessun esemplare censito in ICCU in questa edizione.
42pp., 22cm., quelques traces d'usage, bon état, rare, ["La scène se passe dans le chateau de m. de Florville"], Y81401
v + 303pp., 21cm., text in German, Doctoral Dissertation (Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Georg-August-Universität zu Göttingen), softcover, stamp at verso of title page, text is clean and bright, T111824
Faint crease to rear lower corner of wraps. Minor shelfwear. ; Erlanger Beiträge Zur Sprach- Und Kunstwissenschaft Band 50; 196 pages
Very light shelfwear else Fine. ; Erlanger Beiträge Zur Sprach- Und Kunstwissenschaft; Band 38; 148 pages
Very light bump to 1 corner. DJ has minor shelfwear. Scholar's small bookplate to ffep (R. E. Fantham). ; A comprehensive survey of Roman theatrical production, this book examines all aspects of Roman performance practice, and provides fresh insights on the comedies of Plautus and Terence. Following an introductory chapter on the experience of Roman comedy from the perspective of Roman actors and the Roman audience, addressing among other things the economic concerns of putting on a play in the Roman republic, subsequent chapters provide detailed studies of troupe size and the implications for role assignment, masks, stage action, music, and improvisation in the plays of Plautus and Terence. Marshall argues that Roman comedy was raw comedy, much more rough-and-ready than its Hellenistic precursors, but still fully conscious of its literary past. The consequences of this lead to fresh conclusions concerning the dramatic structure of Roman comedy, and a clearer understanding of the relationship between the plays-as-text and the role of improvisation during performance. ; 336 pages
Vintage copy of this revised edition of this scholarly work which " surveys the origin and development of Greek Comic Drama, with full discussion not only of Aristophanes and Menander but also of other important playwrights whose work had previously received scant notice because only fragments of it have survived. The important papyrus finds of the previous forty years have been expounded and used. The final chapter is an introduction to comic metre and rhythm" 431p + 3 indeces [1 in Greek] Exceptionally neat copy but for stamp of previous owner on ffep. Book
A few small stains to wraps. Notes in pen to ffep by R. E. Fantham. Includes typed letter from Raffaelli to R. E. Fantham tipped in. Includes offprint tipped in "Il Codice Laur. Plut. 36.44" by Morena Maccaroni (pp 196-231) ; Ludus Philologiae 11; 175 pages
Foxing/dustsoiling to top of textblock. DJ spine sunned. ; 168 pages; This book opens a neglected chapter in the reception of Athenian drama, especially comedy, and gives center stage to a particularly attractive and entertaining series of vase-paintings which have generally been regarded as marginal curiosities. These are the so-called "phylax vases," nearly all painted in Greek cities of South Italy in the period 400 to 360 B. C. Until now, they have been taken to reflect a sort of local folk-theater, but Taplin argues that most, if not all, reflect Athenian comedy of the sort represented by Aristophanes. His bold thesis brings up questions about the relation of tragedy as well as comedy to vase painting, the cultural climate of the Greek cities in Italy, and the extent to which Athenians were aware of drama as a potential "export." It also enriches appreciation of many key aspects of Aristophanic comedy. The book has assembled 47 photographs of vase-paintings, many printed here for the first time outside specialist publications not readily accessible.
2 vols. 8vo. First Edition thus on laid paper with portrait frontispiece in photogravure (original tissue guard present) titles in red and black free endpapers very lightly browned; original green buckram gilt backs uncut AND LARGELY UNOPENED boards and b NCBEL II 751.
Pages are lightly browned. Tear to head of spine cover (3 cm). ; Fasc. I: (1955) 179 pp. ; Università Di Genova - Facoltà Di Lettere 5; Vol. 1; 179 pages
Scholars' bookplate to half-title. Small stain to rear wrpa. Spine lightly browned. Minor wear to corners of wraps. ; Abhandlungen Der Heidelberger Akademie Der Wissenschaften Philosophisch-Historische Klasse Jahrgang 1977 - 1. Abh. ; 504 pages
Faint creasing to front corner of wraps. Minor shelfwear. Author's dedication to E. W. Handley in pen to half-title. ; Erlanger Beiträge Zur Sprach- Und Kunstwissenschaft Band 50; 196 pages; Signed by Author
Scholar's bookplate to inner cover (G. P. Goold). Minor shelfwear with a bit of bumping to spine and a couple of corners. DJ has chipping and small tears. DJ spine browned. ; 275 pages
Dustjacket has minor shelfwear and rubbing. Light ding along bottom back edge. Scholars' bookplate to inner cover. Includes scholar's handwritten pencil review notes tipped in. ; 534 pages; This book explores the ways in which legal disputes were settled out of court in fourth-century BC Athens and in second-century BC Rome. After examining pretrial scenarios in the Attic orators and comparable ones in Roman legal sources, the author turns to the plays of Greek New Comedy and their later Roman adaptations. There she identifies similar scenarios, especially in disputes concerning sexual violations, the marriages of heiresses, and divorces, and shows that recognition of legal scenarios aids interpretation of New Comedy texts.
Scholar's name to DJ flap (R. E. Fantham). Corners are a little bumped. Very light soiling to textblock. A few pages have light pencil notes. Dustjacket has edgewear with chipping and creasing along top edge. ; 534 pages; This book explores the ways in which legal disputes were settled out of court in fourth-century BC Athens and in second-century BC Rome. After examining pretrial scenarios in the Attic orators and comparable ones in Roman legal sources, the author turns to the plays of Greek New Comedy and their later Roman adaptations. There she identifies similar scenarios, especially in disputes concerning sexual violations, the marriages of heiresses, and divorces, and shows that recognition of legal scenarios aids interpretation of New Comedy texts.
