Yasmina Khadra (Moulessehoul Mohamed)MareMagnum
85 157 résultats
trad.di Marina Di Leo n. 62 bross. edit. ill. con bandelle
Very Good Turkish, Ottoman (1500-1928) Contemporary green cloth bdg. Slight scratches on faded cloth, with slight foxing on pages. Overall a good copy. Cr. 8vo. (20 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 238, [2] p., 1 b/w portrait of Nezihe, ills. First and only edition of this exceedingly rare first book including a "May 1" poem, written by a Turkish female poet Yazar Nezihe. Nezihe was considered as one of the female poets in the Ottoman Period. She is known as a writer of the first Turkish poem for International Workers' Day on May 1. Yasar Nezihe differed from other female poets of the period in the sense of her life story and a contrary literary identity. Throughout her lifetime, she wrote poems about her penurious and challenging childhood as well as her love life and marriages. Being known as the first female poet whose works were published in Aydinlik Dergisi (i.e. Enlightenment Journal), Yasar Nezihe also became prominent for supporting labor unrests and her activist identity. She was recognized as a socialist poet who gave voice to poverty in her poems. She wrote the poem named "Gazete Sahiplerine" (i.e. To Newspaper Owners) addressing the executives with the intent of supporting laborers who were on strike because of the disagreement between newspaper owners and Mürettipler Cemiyeti (i.e. Typesetters Society). (Source: Wikipedia). This is her second poetry book. Being the first female poet wrote in Aydinlik Dergisi, Yasar Nezihe Bükülmez was accused of being a communist because of her writings, her membership of Osmanli Amele Cemiyeti [The Ottoman Workers' Society], and support for labor unrests and was arrested. Book has a biographical introductory text by Rifat Necdet Evrimer, (1898-1971) who was a Turkish/Ottoman poet, educator, and biographer in which is important being the earliest male gaze in its period. Özege 5645.; TBTK 6996.; Five copies in OCLC: 25346925 (Four copies) and 1030875484 (One copy).
New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. [Lxix], 273 p. Vücudî. Hayâl u yâr.
Caracas, Lírica Hispana, 1959. 12vo.; 64 pp., 8 hs. Cubiertas originales.
Paperback. Some copies may show faint signs of shelf wear - small bumps to corners, one or two superficial blemishes. Pages are clean with clear content and sound binding.SHIPS DIRECT FROM PUBLISHER SKOOB BOOKS: This collection brings together a range of poems from Arthur Yap’s four volumes, Only Lines, Commonplace, Down the Line, Man Snake Apple as well as from his section in the anthology Five takes. The poems are imagistic statements of the natural and peopled landscape, which illuminate and comment on aspects of everyday life in Singapore. “One of Yap’s main areas of development has been in his use of ‘dramatic forms’ in which Singaporean voices are played off, almost musically, against each other. Yap’s poetry continues to yield the fruits of close, intelligent observation and delicacy of treatment. His verse never shouts, but continually compels attention.” Bruce Bennett Routledge Encyclopaedia of Post-Colonial Literature in English Used
PARIS, Ed. des Orgeraux - 1981 - In-8 - broché, sous jaquette illustrée en couleurs - 73 pages - bon exemplaire - Envoi rapide et soigné
Yang, Lian Origine. Milano, 2020, Cantos cm 21 369 p. 369 p. ; 21 cm Testo in inglese a fronte. (0000000046659)
Yang, Lian Origine. Testo inglese a fronte. Milano, 2020, cm 20 376 p. 376 p. 20 (0000000055259)
Paperback in very good condition. Number 119 from a limited run of 250 copies. Includes a handwritten letter from author to Chris Tomlinson. Minor shelf wear to covers, no other flaws. AD Used
br. La poesia di Yang Wanli, dal nome d'arte di Cheng Zhai («Studio - nel senso di laboratorio - della sincerità»), ci presenta intatta a distanza di quasi un millennio l'immagine di una natura restituita alla vita quando una fantasia smisurata ne personifica le forze e ne intuisce le volontà. Nei circa 20.000 componimenti che formano il suo sterminato lascito si avverte il rispetto callido, partecipe, navigato per la natura nei suoi diversi aspetti, con una fiducia generata dalla consapevolezza che questa può essere capita solo ubbidendole, e che un comportamento esistenziale dignitoso si trova quando si riesce a rinunciare alla pretesa di controllo su quello che può essere invece vissuto a pieno solo se a tale controllo si impara a rinunciare.
La habana, Edit. Cuadernos Unión, 1968. 83p. 8ºmayor. Rústica editorial ilustrada, con bordes algo rozados. Cantos con leves manchas de humedad. Buen ejemplar. 1ª edición. Primera edició. 1st edition. First edition.
bross. edit. ill., abrasioni alle pieghe e lievi tracce d'uso alla cop., punzonature al dorso, scritta a pennarello al colophon
cartone edit. ill., dorso parzialmente staccato, abrasione in quarta di cop., dedica di appartenenza, piccola rottura al frontespizio
Edizione originale, collezione «L'Invitation au voyage». Esemplare con Ex Libris «Saper Vivere».
Fine Turkish, Ottoman (1500-1928) Original full leather bdg. with decorative embossing. All edges gilt. Cr. 8vo. (19 x 12,5 cm). In Ottoman Turkish. 47 poems of Yahya Kemal in 120 pages. Different pen and pencils and inks. No general title, under the title of 'Ithaf' [i.e. Dedication] poem of him, a signature as "Y. K." with a script. Yahya Kemal Beyatli, born Ahmet Âgâh, was a leading Turkish poet and author, as well as a politician and diplomat. Yahya Kemal was born Ahmet Âgâh on December 2, 1884 in Skopje, then in the Kosovo Vilayet of the Ottoman Empire. He wrote under pen names such as Agâh Kemal, Esrar, Mehmet Agâh, and Süleyman Sadi. He came from a prominent family, whose roots could be traced back to the Ottoman court, and he was educated at various private schools. As he was about to start his higher education, severe disagreements between his parents kept him away from school for some time. When he tried to return to school, he was turned away because it was too late into the semester. His absence from school coincided with the oppressive regime of Abdülhamit II (reigned 1876-1909), and Yahya Kemal got involved various anti-regime movements. To avoid getting arrested, he went to Paris in 1903. During his time abroad, he met other exiled Turkish intellectuals, politicians and writers. He traveled extensively in Europe, and was exposed to various cultures. He developed a fondness for literature and was influenced by the French romantic movement. He eventually decided that he wanted to write poetry, and he first studied the historical works of the French Parnasse poets. Consequently, he sought out a way to revitalize Turkish Divan poetry in order to create smooth and pure poetic lines. Yahya Kemal's poetry is influenced by music, because he composed with concepts borrowed from Turkish music. While explaining the inner rhythm of the poetic language, he used musical terms such as Tinnet, which denoted the musical value of the sounds or words that pace a line of poetry. For Yahya Kemal this was the only method for creating internal harmony. He states, "Poetry is akin to music. Poetry is not made of couplets, but poetry is melody." For the most part, he was consistent and practiced what he preached; in his poetry, music and meaning go hand-in-hand. The central thought that runs through Beyatli's poems and prose is that the Turkish nation is fashioned with the sweat and tears of the heartland. Even his love poems featured stylized historical and cultural values. Another peculiarity that can be perceived in Beyatli's poetry is the almost feminine sensibility that he displayed towards Islam. His explanation for this is that his father spent very little time with him, and that his first lessons in religion came from long hours spent talking with his mother. Yahya Kemal grew up in a household where hymns and chants were sung, where values of the past were kept alive, hence in his poems he used religion and esthetics together. When he returned to Istanbul in 1912, Yahya Kemal was already known as a master poet, and the change of regime in the country provided him with opportunities in various high level governmental positions. Beyatli became a member of parliament for the Urfa (1923-1926), Yozgat (1934), Tekirdag and Istanbul (1943) provinces. After the Surname Law came into effect in 1934, he adopted the surname "Beyatli". In 1926, he was appointed ambassador to Poland, where he remained until 1929. He was ambassador to Portugal between 1930 and 1932, also acting as Envoy Extraordinary and Minister Plenipotentiary in Madrid. In 1947, he was appointed as the first Turkish ambassador to Pakistan. After this assignment, his health got progressively worse, and he returned to Turkey in 1949.
Very Good English Paperback. Cr. 8vo. (20 x 14 cm). In English. 93, [3] p., 1 plate of Yahya Kemal's portrait. Selected poems of Yahya Kemal.Translated by Süleyman Behlül Toygar. Second Enlarged Edition.
in 16°, bross. edit. ill. - prima edizione it. - trad. di Patrizia Zanelli
200x140mm. IX+572pp. hard cover with leather spine. gilt lettering on spine. cover worn and slightly stained. inner spine redone. white pages slightly stained. pages yellowing. some pages slightly stained. else in good condition.
230x160 mm. 218 pages. Hardcover. Spine edges slightly bumped. Else in good condition.
bross. edit. ill. con bandelle - prima edizione it. - trad. di Dalia Padoa
Y?h?d?h ha-L?w?Cavaglion, AlbertoPuntura, BrunoDe Benedetti, Salvatore Insegnamenti dal Canzoniere sacro. Torino, Il Leone verde 2000 , 63 SC625Brossura editorialevolume come nuovo, copertina e interno in condizioni eccellenti, legatura salda63 pagine circaCopertina come da foto 88-87139-27-X
MONTROULEZ, Skol Vreizh - 2001 - In-8 - Broché - Couverture illustrée - 167 pages - comme neuf - Envoi rapide et soigné Livre de poèmes en breton + CD Didier Squiban au piano
Y. AMICHAI Poesie. Milano, Crocetti 1978 italian, 118 CH72Brossura editoriale volume in discrete condizioni, dedica in penna sulla prima pagina, etichetta adesiva della biblioteca sulla copertina, legatura salda 118 pagine circa Copertina come da foto
Gli autori si fanno interpreti di una inedita lettura della vita.
