483 résultats
1 corner very lightly bumped. Very light pencil marginalia to about 2 pages. Very light shelfwear. ; Unveränderter photomechanischer nachdruck der ausgabe von 1927.; 223 pages
Inner hinges reinforced with clear tape (now browned). Some browning to wraps. Scholar's bookplate to inner cover (G. P. Goold). ; Unveränderter photomechanischer nachdruck der ausgabe von 1927.; 223 pages
Light pencil underlining to a few pages of greek text. Scholar's name to ffep (Martin Cropp). DJ spine slightly browned. DJ has chipping and small tears to spine ends and corners. ; English Introduction and Extensive Commentary with Greek Text. ; 356 pages
Bumping to lower cornrers and to lower edge of front board. Light soiling to rear endpaper. Text is clean. ; English Introduction and Extensive Commentary with Greek Text. ; 356 pages
Many pencil notes to greek text and rear endpapers. Else minor shelfwear to book. DJ spine browned. DJ has chipping and a few tears ; English Introduction and Extensive Commentary with Greek Text. ; 356 pages
Very light shelfwear to book. DJ has light rubbing and edgewear. DJ spine a bit browned. ; English Introduction and Extensive Commentary with Greek Text. ; 356 pages
Light shelfwear to book. Scholar's bookplate to inner cover (Robert Brown). Scholar's name to ffep (Robert Brown). DJ has chipping and a few tears (2-3 cm). ; English Introduction and Extensive Commentary with Greek Text. ; 356 pages
Light shelfwear to book. Scholar's bookplate to inner cover (G. P. Goold). DJ has light rubbing and edgewear. DJ spine a bit browned. ; English Introduction and Extensive Commentary with Greek Text. ; 356 pages
Scholars' name to halftitle (Mark Golden). Light shelfwear. ; The Comedies of Aristophanes: Vol. 5; 196 pages
Sticker damage to rear wrap over barcode. Else VG. ; Penguin Classics; 7.0 X 4.3 X 0.5 inches; 224 pages
Scholar's name to ffep. Pages tanned. Light bump to base of spine. DJ is price-clipped. DJ has chipping and a couple of small tears. ; English Introduction and Extensive Commentary with Greek Text. ; 356 pages
Scholar's bookplate to inner cover (Robert Brown). Very light shelfwear. DJ has chipping and a few small tears with tiny loss to head of spine. ; English Introduction and Extensive Commentary with Greek Text. ; 356 pages
Scholar's bookplate to inner cover (G. P. Goold). Foxing/dustsoiling to top of textblock. DJ has edgewear with a couple of small tears. ; English Introduction and Extensive Commentary with Greek Text. ; 356 pages
Top corners lightly bumped. Else fine. DJ spine a little discolored. Light edgewear with 1 small tear (1 cm). DJ is price-clipped. ; 280 pages; Professor Dover's book is designed for those who are interested in the history of comedy as an art form but who are not necessarily familiar with the Greek language. The eleven surviving plays of Aristophanes are treated as representative of a genre. Old Attic Comedy, which was artistically and intellectually homogeneous and gave expression to the spirit of Athenian society in the late fifth and early fourth centuries B. C. Aristophanes is regarded primarily not as a reformer or propagandist but as a dramatist who sought, in competition with his rivals, to win the esteem both of the general public and of the cultivated and critical minority. He succeeded in this effort by making people laugh, and the book pays more attention than has generally been paid to the technical means, whether of language or of situation, on which Aristophanes' humor depends. Particular emphasis is laid on his indifference-positively assisted by the physical limitations of the Greek theatre and the conditions of the Athenian dramatic festivals-to the maintenance of continuous "dramatic illusion" or to the provision of a dramatic event with the antecedents and consequences which might logically be expected. More importance is attached to Aristophanes' adoption of popular attitudes and beliefs, to his creation of uninhibited characters with which the spectators could identify themselves, and to his acceptance of the comic poet's traditional role as a mordant but jocular critic of morals, than to any identifiable and consistent elements in his political standpoint.
Creasing to spine. Chipping to spine ends. Tear to base of spine cover (3 cm). Scholar's bookplate to inner cover (Robert Brown). Scholar's name to ffep (Robert Brown). Else VG. ; 280 pages; Professor Dover's book is designed for those who are interested in the history of comedy as an art form but who are not necessarily familiar with the Greek language. The eleven surviving plays of Aristophanes are treated as representative of a genre. Old Attic Comedy, which was artistically and intellectually homogeneous and gave expression to the spirit of Athenian society in the late fifth and early fourth centuries B. C. Aristophanes is regarded primarily not as a reformer or propagandist but as a dramatist who sought, in competition with his rivals, to win the esteem both of the general public and of the cultivated and critical minority. He succeeded in this effort by making people laugh, and the book pays more attention than has generally been paid to the technical means, whether of language or of situation, on which Aristophanes' humor depends. Particular emphasis is laid on his indifference-positively assisted by the physical limitations of the Greek theatre and the conditions of the Athenian dramatic festivals-to the maintenance of continuous "dramatic illusion" or to the provision of a dramatic event with the antecedents and consequences which might logically be expected. More importance is attached to Aristophanes' adoption of popular attitudes and beliefs, to his creation of uninhibited characters with which the spectators could identify themselves, and to his acceptance of the comic poet's traditional role as a mordant but jocular critic of morals, than to any identifiable and consistent elements in his political standpoint.
light foxing to top of textblock. Scholar's name to ffep (Philippa Goold née Forder). Minor shelfwear to DJ. ; 280 pages; Professor Dover's book is designed for those who are interested in the history of comedy as an art form but who are not necessarily familiar with the Greek language. The eleven surviving plays of Aristophanes are treated as representative of a genre. Old Attic Comedy, which was artistically and intellectually homogeneous and gave expression to the spirit of Athenian society in the late fifth and early fourth centuries B. C. Aristophanes is regarded primarily not as a reformer or propagandist but as a dramatist who sought, in competition with his rivals, to win the esteem both of the general public and of the cultivated and critical minority. He succeeded in this effort by making people laugh, and the book pays more attention than has generally been paid to the technical means, whether of language or of situation, on which Aristophanes' humor depends. Particular emphasis is laid on his indifference-positively assisted by the physical limitations of the Greek theatre and the conditions of the Athenian dramatic festivals-to the maintenance of continuous "dramatic illusion" or to the provision of a dramatic event with the antecedents and consequences which might logically be expected. More importance is attached to Aristophanes' adoption of popular attitudes and beliefs, to his creation of uninhibited characters with which the spectators could identify themselves, and to his acceptance of the comic poet's traditional role as a mordant but jocular critic of morals, than to any identifiable and consistent elements in his political standpoint.
Spine slightly sunned. Very minor shelfwear. ; 280 pages; Professor Dover's book is designed for those who are interested in the history of comedy as an art form but who are not necessarily familiar with the Greek language. The eleven surviving plays of Aristophanes are treated as representative of a genre. Old Attic Comedy, which was artistically and intellectually homogeneous and gave expression to the spirit of Athenian society in the late fifth and early fourth centuries B. C. Aristophanes is regarded primarily not as a reformer or propagandist but as a dramatist who sought, in competition with his rivals, to win the esteem both of the general public and of the cultivated and critical minority. He succeeded in this effort by making people laugh, and the book pays more attention than has generally been paid to the technical means, whether of language or of situation, on which Aristophanes' humor depends. Particular emphasis is laid on his indifference-positively assisted by the physical limitations of the Greek theatre and the conditions of the Athenian dramatic festivals-to the maintenance of continuous "dramatic illusion" or to the provision of a dramatic event with the antecedents and consequences which might logically be expected. More importance is attached to Aristophanes' adoption of popular attitudes and beliefs, to his creation of uninhibited characters with which the spectators could identify themselves, and to his acceptance of the comic poet's traditional role as a mordant but jocular critic of morals, than to any identifiable and consistent elements in his political standpoint.
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards, very slight rubbing to spine and no bumping to corners. 93pp. Starting with Sunday Night at the London Palladium, this lovely condition book covers all the stars and the shows at the end of the 1950s on Associated Television. Very well illustrated in black & white.
Of All Things - An album of work of Paul Simmel, one of Germany's most successful cartoonists and caricaturists of the 1920s. 64 pages. Text in German. Dirt marks on covers. Name in ink on title page.
Foxing and browning to endpapers. Rear hinge just starting to crack and weaken. Pages lightly browned. Blank leaves interleaved into latin text with some pencil notes to blank pages. Light foxing passim. Top of spine has a few small tears and fraying. Minor edgewear to corners. Possibly rebound in blue boards? ; Latin Text with German notes and introduction. ; 289 pages
123p. Original cloth backed decorated paper binding, showing a large red balloon rising in front of a people filled windows. Binding edges worn, otherwise a nice copy. Padraic Colum (1881-1972) was an Irish poet, novelist, dramatist, biographer, and collector of folklore. He was one of the leading figures of the Celtic Revival. LIT 8
1st edition. 4to, 87 pages, illustrated by Frank Dickens. Good condition in glazed pictorial boards. Fly title page has been removed. 40520. eng
Scholars' name to halftitle (Mark Golden). Very light shelfwear. ; In this volume William S. Anderson sets Plautus, who wrote Rome's earliest surviving poetry, in his rightful place among the Greek and Roman writers of what we know as New Comedy (fourth to second centuries). Anderson begins by defining major innovations that Plautus made on inherited Greek New Comedy (Menander, Philemon, and Diphilus) , transforming it from romantic domestic drama to a celebration of rollicking family anarchy. He shows how Plautus diminished the traditional importance of love and replaced it with a new major theme: 'heroic badness,' especially embodied in the rogue slave (ancestor of the impudent servant, valet, or maid). Anderson then examines the unique verbal texture of Plautus' drama and demonstrates his revolt against realism, his drive to have his characters defy everyday circumstances and pit their intrepid linguistic wit against social order, their Roman extravagant impudence against Greek self-control. Finally, Anderson explores the special form of metatheatre that we admire in Plautus, by which he undermines the assumptions of his Greek models' and replaces them with a new, confident Roman comedy. ; Robson Classical Lectures; 194 pages
Faint creasing to spine. Light shelfwear. Scholar's name to half-title (Robert Brown). ; In this volume William S. Anderson sets Plautus, who wrote Rome's earliest surviving poetry, in his rightful place among the Greek and Roman writers of what we know as New Comedy (fourth to second centuries). Anderson begins by defining major innovations that Plautus made on inherited Greek New Comedy (Menander, Philemon, and Diphilus) , transforming it from romantic domestic drama to a celebration of rollicking family anarchy. He shows how Plautus diminished the traditional importance of love and replaced it with a new major theme: 'heroic badness,' especially embodied in the rogue slave (ancestor of the impudent servant, valet, or maid). Anderson then examines the unique verbal texture of Plautus' drama and demonstrates his revolt against realism, his drive to have his characters defy everyday circumstances and pit their intrepid linguistic wit against social order, their Roman extravagant impudence against Greek self-control. Finally, Anderson explores the special form of metatheatre that we admire in Plautus, by which he undermines the assumptions of his Greek models' and replaces them with a new, confident Roman comedy. ; Robson Classical Lectures; 194 pages
Ex-library copy with usual stamps, call numbers. Pocket has been removed from ffep causing some damage. Else VG. ; 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
