Diverse auteursMareMagnum
Andrae Chénier Dramma di ambiente storico in quattro quadri
BUONE CONDIZIONI
Libreria Tara s.n.c. · Roma, IT5,50 €
2 018 résultats
pp.105-140 geïllustreerd + buitentekstplaten (zw/w), 29cm., geïllustreerde omslag, onopengesneden, mooie staat, [bevat voornamelijk: VAN TUSSENBROEK Otto, F. Hart Nibbrig (pp.105-120 met 10 ills.) & POUPEYE Camille, De schilderkunst en de tooneelvertooningen op het einde der middeleeuwen (pp.121-130, wordt vervolgd)], S76182
pp.141-176 geïllustreerd + buitentekstplaten (zw/w), 29cm., geïllustreerde omslag, luttele roestvlekjes, onopengesneden, mooie staat, [bevat voornamelijk: MARIUS G.H., Isaäc Israëls (pp.141-162 met 13 ills.) & POUPEYE C., De schilderkunst en de tooneelvertooningen op het einde der middeleeuwen (slot) (pp.163-173)], S76183
pp.145-184 geïllustreerd + buitentekstplaten (zw/w), 29cm., geïllustreerde omslag, luttele roestvlekjes, mooie staat, [bevat voornamelijk: MESNIL Jac., De mysteriespelen en de plastieke kunsten (slot) (pp.145-156 met 5 ills.) & BRUNT Aty, James Ensor (pp.157-167 met 9 ills.) & ELLENS H., Oud en nieuw vlechtwerk in Nederland (pp.168-178 met 11 ills.)], S76220
pp.185-236 geïllustreerd + buitentekstplaten (zw/w), 29cm., geïllustreerde omslag, luttele roestvlekjes, mooie staat, [bevat voornamelijk: MESNIL Jacques: De mysteriespelen en de plastieke kunsten (pp.185-197 met 6 ills.) & HEINS A., Oude kisten en koffers (vervolg en slot) (pp.198-224 met 70 ills.)], S76348
A new, unread book with a tight binding.
Prima edizione rara. In-4°; pp. (32) 328, testatine e capilettera nel testo incise su legno; da p. 249 al termine, musica per la Missa Pro defunctis, Feria quinta in coena domini, Feria sexta in Pasceve, Sabbato sancto, e nel testo numerose parti di musica.Il theatro ecclesiastico è dedicato alle rappresentazioni canore che avevano luogo in chiesa, per le quali si offre un trattato di canto e di coro, con spiegazioni relative alla tecnica canora vera e propria, e di come per le diverse festività ecclesiastiche e a seconda del luogo si dovevano allestire i cori. Legatura in piena pella con tassello, titolo e fregi in oro al dorso. Alcuni foro di tarlo al dorso.
In 8°; Serie di 6 opere, un legno al frontestpizio, molte note manoscritte nel testo. Legatura in piena pelle con tassello, titolo e fregi in oro al dorso. Tagli in rosso.
Scholars' bookplate to inner cover. Former owner's name to ffep and inner cover. Minor shelfwear. ; 7 Chapters look at ancient Roman plays and their subsequent influence: Comedy of Menander; Plautus and His Audience; Glorious Military; Amphitryo Theme; Shakespeare, Seneca, & the Kingdom of Violence; Seneca and Corneille; Five Westminster Latin plays. ; Studies in Latin Literature and its Influence; 229 pages
Foxing/dustsoiling to top of textblock. Minor shelfwear. DJ spine browned. Dustjacket has edgewear with chipping and small tears. ; 7 Chapters look at ancient Roman plays and their subsequent influence: Comedy of Menander; Plautus and His Audience; Glorious Military; Amphitryo Theme; Shakespeare, Seneca, & the Kingdom of Violence; Seneca and Corneille; Five Westminster Latin plays. ; Studies in Latin Literature and its Influence; 229 pages
A clean, unmarked book with a tight binding. 8 1/2"w x 11"h. 263 pages.
82pp. + 1 planche hors-texte, 26cm., extrait des "Mémoires publiés par l'Académie royale de Belgique, classe des lettres etc., collection in-8o, deuxième série" tome 28, br.orig., non-coupé
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.
BUONE CONDIZIONI
102 pages. Text in French. Features: Le drame de l'homme de quarante ans; Mon premier voyage interplanetaire (III); "Comme mes eleves travaillent bien a l'ecole des Quatr Jeudis!"; Gare Saint-Lazare, leve-toi et marche!; Le feu d'artifice du baroque allemand; Il epie le petit monde bruissant de la foret; Une vie de photographe; Jean Larteguy vous parle; Histoire de rire au "Machine". Printed on glossy stock. Profusely illustrated in colour and black and white. Average wear. Unmarked. A sound vintage copy. Book
58p. Paperback Good condition, paper aged front cover detached Signed by the author for Mrs. St. John Hankin
Sm. 4to., First Edition, some mild age-staining and spotting throughout; modern grey boards, paper label lettered in black on upper board, one or two upper margins closely shaved else a crisp, firm copy. Dryden's second-to-last play, and according to MacDonald partially completed by Southerne. Its first performance should have been early in April 1692, but on the 9th it was prohibited; it was acted out on or before 16 April at the Theatre Royal. In his Dedication Dryden attributes the lifting of the ban to Rochester (the dedicatee), who had represented the drama to the Queen as 'wholly innocent of those Crimes which were laid unjustly to its Charge'. The Life of Cleomenes is supplied by Creech (from Plutarch; see MacDonald 131). In this copy, as often, the Prologue and Epilogue appear before the 'Life'. CBEL II, p.267; MacDonald, 92.
pp (8), 56. 4to. 230 mm. Minor worm hole at blank fore edge margin. Later half leather binding; somewhat crudely restored. Still a very good example. Hardbound. This Restoration comedy was first acted late in 1672, by the King's Company at their theatre at Lincoln's Inn Fields, but was not a success with its audience. Apart from the question of the play's quality - many critics have regarded it as a rush job, written mainly in prose with some blank verse - Dryden was suspected of anti-Catholic satire, especially in his choice of a subtitle. This was a sensitive issue at the time, given strong Catholic sympathies among some elements of the royal court - primarily the Duke of York, the future King James II. The cast of the original production included Michael Mohun as the Duke of Mantua, Edward Kynaston as Prince Frederick, Charles Hart as Aurelian, William Cartwright as Mario, and Nicholas Burt as Camillo. The role of Hyppolita, the nun, was taken by Mary Knep; Rebecca Marshall played Lucretia. Dryden drew plot material from a play by Pedro Calderon de la Barca, titled 'Con quien vengo vengo'. The Assignation was first published in 1673 by Henry Herringman; then republished in 1678 and 1692. Dryden dedicated the play to Sir Charles Sedley" - From Wiki. Wing D2243. **PRICE JUST REDUCED! W144
pp. [18], 89. pp. 49/50 in xerox facsimile. Small candle burn hole in 7 leaves. Modern leather backed boards. 4to. "The preface is Dryden's first important critical essay on comic themes and gives to this play, which both Pepys and Evelyn denounced as 'smutty' and 'profane', an importance it would not otherwise have." The play iself is based on : Molières "Le dépit amoureux" and Corneilles "Le feint astrologue", which in turn was taken from "El astrologo fingido" by Calderon. Pforzheimer Cat. 325; Macdonald 75b; Wing D2274. **PRICE JUST REDUCED! W151.
110pp., gecart., 21cm., enkele stempeltjes, goede staat
Paperback with light crease along the spine and contents in very good clean condition. Used
