2 018 résultats
Minor edgewear to corners. Small tears to cloth at base of spine. Former owner's name with 1 line written in pen to ffep. Very light marginalia and underlining on about 6 pages. ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); 376 pages
Former owner's name to ffep. Else book is fine. DJ spine is browned. Light creasing to edges of wraps. ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); 376 pages
Scholar's name to inner cover (Brad Inwood). Else book is fine. DJ spine is browned. DJ is price-clipped. Light chipping and small tears to DJ. ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); 376 pages
Very light shelfwear. Former owner's name stamped to ffep. DJ spine is browned with a few small dampstains, DJ has chipping and a couple of small tears ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); 376 pages
Lower corners lightly bumped. Scholar's name to ffep (Robert Brown). Pencil notes to a few pages of text. DJ spine is browned. DJ has chipping and some small tears ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); 376 pages
Former owner's name stamped to ffep (J. D. Fitton). Minor shelfwear. Spine a bit dulled. ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); 376 pages
Spine slightly sunned. ; 276 pages
Dustjacket has a couple of small ink stains and is wavy and water stained. Book is clean and bright. ; This book examines the literary and intellectual relationships between Piers Plowman and The Faerie Queene. It links those two rich and problematical poems by showing their development from a common religious and artistic matrix and by assessing their roles in the evolution of allegory. ; 256 pages
Minor creasing to spine. Scholar's bookplate to inner cover (Robert Brown). Light pencilling to a few pages. Rear wrap creased. ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 3; 177 pages
Light edgewear. Minor shelfwear. Scholar's bookplate to inner cover (Robert Brown). ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 5; 147 pages
Upper corners bumped. DJ has a couple of small tears and chipping. DJ spine very lightly sunned. ; Explores the hitherto neglected topic of the treatment of extras or mutes in Greek Tragedy. The general purpose of the study is to propose and test a rule regarding these person, namely that when orders are given to mutes, they are normally carried out forthwith. Exceptions to this rule are accounted for. ; Publications of the Faculty of Arts of the University of Manchester, No. 26; 73 pages
Scholar's bookplate to inner cover (G. P. Goold). Foxing/dustsoiling to top of textblock. Minor shelfwear to book. ; Explores the hitherto neglected topic of the treatment of extras or mutes in Greek Tragedy. The general purpose of the study is to propose and test a rule regarding these person, namely that when orders are given to mutes, they are normally carried out forthwith. Exceptions to this rule are accounted for. ; Publications of the Faculty of Arts of the University of Manchester, No. 26; 73 pages
Foxing to top of textblock and some pages. Former owner's name to ffep. ; 137 pages
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.
105p. Book
Mathuen Student Editions series. Translation by J.Michael Walton. Introduction and notes by Marianne Macdonald " A student edition of this challenging and popular tragedy with notes and commentary. The most controversial of the Greek tragedians, Euripedes is also the most modern in his sympathies, a dramatist who handles the complex emotions of his characters with extraordinary depth and insight. Wronged and discarded by her husband, Medea gradually reveals her revenge in its increasing horror, while the audience is led to understand the incomprehensible; a woman who murders her own children. Since its first production (431 BC), the play has exerted an irresistible attraction for actors and directors alike.This Student Edition contains a full introduction, commentary and questions for study" Book
Browning to wraps. Light pencil to a couple of pages. Small pen mark to rear wrap. ; 88 pages
Scholar's name stamped to ffep with small label affixed over another name. Minor shelfwear. Endpapers lightly browned. ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); Vol. 1
Endpapers browned. Former owner's name to ffep covered with white label. Light shelfwear. ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); Vol. 2
Scholar's name to ffep (Philippa Goold née Forder). Endpapers browned. Some pencil notes. Light bump to 1 corner. ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); Vol. 2
Former owner's name stamped to ffep (J. D. Fitton). Crease to front board. A couple of pages have not been corner trimmed. ; Greek Text with Latin apparatus and introduction. ; Oxford Classical Texts Oct (Scriptorum Classicorum Bibliotheca Oxoniensis); Vol. 2
Boards are worn. Chipping/fraying to spine ends and joints. Former owner's name and blindstamp to ffep. Scholar's bookplate to inner cover (G. P. Goold). ; English Introduction and Commentary with Greek Text. ; 300 pages
Gift inscription from Eric Handley to G. P. Goold and Philippa Goold on ffep. Light foxing to top of textblock. ; Classical Bookshelf; 127 pages; Classical Greek theatre survives not only in plays that we still read and perform, but also in artistic images. Depictions of performances, actors, and their masks were frequent in classical times and continued to appear even beyond the fifth and sixth centuries A. D. , long after the plays had ceased to be staged. These artifacts, together with the remains of actual theatres and the texts of surviving plays, give us an idea of how Greek drama must have appeared in its heyday. In this book, Richard Green and Eric Handley outline the history of the Greek theatre, drawing on the evidence supplied by the theatres themselves, the surviving plays, and artistic artifacts. They show and discuss painted pottery, notably from fifth-century Athens and fourth-century southern Italy, that records scenes from plays. Terra-cotta figures, mosaics, paintings, metalware, and gems also help them build a picture of Greek theatre. All these artifacts tell the story of Greek drama as seen through the eyes of those admirers who kept its classic moments and traditions alive and who found a place for it in the society of their own times. They help the modern playgoer and reader to imagine what a visit to the theatre in classical Greece might have been like. ; Signed by One Author
Spine very lightly sunned else fine. ; 50 pages