Segal, ErichMareMagnum
3561 resultados
1971Minor shelfwear. Scholars' name to ffep (Mark Golden) with additional name. Former owner's name neatly written to top, foreedge and bottom of textblock. Pages a little tanned and browned. ; In Roman Laughter, the first book-length study of Plautus, Segal argues that this neglected writer, often denounced by scholars for such crimes as "barbarous clownery," merits our serious attention precisely because he was the most successful poet of the ancient world. He analyzes the reasons behind this success, placing the author in his social and historical context and observing that Plautus's wildly comedic flouting of Roman law and custom had a cathartic effect upon a people bound by rule in every aspect of their lives. This expanded edition contains a new preface that reconsiders the work of Plautus in light of recent scholarship and also contains essays on the Amphitryon and the Captivi. ; Harper Torchbooks; 316 pages
1996Scholars' 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
1985Scholars' name to halftitle (Mark Golden). Light shelfwear. ; The Comedies of Aristophanes: Vol. 5; 196 pages
1986Ex-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
1846Former owners name to titlepage. Book has been rebound in 1/4 green cloth spine (spine a bit sunned) with cream colored boards. Some chipping to edges of a few pages. Some foxing. Else VG and attractive copy; Latin text with English introduction and notes and commentary. Xxiii, 554 pp; 554 pages
1964Many 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
1962Pages lightly browned. Bump to lower corner of book with creasing through pages. Spine a bit browned. DJ has chipping and edgewear with creasing with some small areas of colour loss. ; "Critica E Storia"; 416 pages
1954Light bump to upper corner with faint creasing through some pages. Creasing to upper corner of front wrap. Minor browning to wraps. ; Greek Text with Extensive German Commentary. ; Österreichische Akademie Der Wissenschaften. Philosophisch-Historische Klasse Sitzungsberichte, 198. Band, 4. Abh. ; 377 pages
1964Very 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
1958Creasing to spine. Pages tanned. ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 2; 156 pages
1946Book has been rebound in plain yellow wrappers. Minor pencil marginalia. ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 4; 157 pages
1960180 pages
1989Ex-library copy with usual stamps, call numbers and pocket. Else very minor shelfwear. ; American Classical Studies 19; 103 pages
1996Faint 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
1983Scholar's name to ffep (Robert Brown). Scholar's blindstamp to halftitle (Robert Brown). Else Very light shelfwear to book. DJ has chipping and small tears to top of DJ. A bit of loss to top of DJ spine. ; 0.75 x 9 x 6 Inches; 184 pages; Explores the social institutions, the prevailing social values, and the ideology of the ancient city-state as revealed in Roman comedy. Looks closely at eight plays: Plautus's Aulularia, Asinaria, Captivi, Rudens, Cistellaria, and Truculentus, and Terence's Phormio and Hecyra.
2013To consider comedy in its many incarnations is to raise diverse but related questions: what, for instance, is humour, and how may it be used (or abused) ? When do we laugh, and why? What is it that writers and speakers enjoy - and risk - when they tell a joke, indulge in bathos, talk nonsense, or encourage irony? This Very Short Introduction explores comedy both as a literary genre, and as a range of non-literary phenomena, experiences and events. Matthew Bevis studies the classics ofcomic drama, prose fiction and poetry, alongside forms of pantomime, comic opera, silent cinema, popular music, Broadway shows, music-hall, stand-up and circus acts, rom-coms, sketch shows, sit-coms, caricatures, and cartoons. Taking in scenes from Aristophanes to The Office, from the Roman Saturnalia to Groundhog Day, Bevis also considers comic theory from Aristotle to Freud and beyond, tracing how comic achievements have resisted as well as confirmed theory across the ages. This book takes comedy seriously without taking it solemnly, and offers an engaging study of the comic spirit which lies at the heart of our shared social and cultural life. ; Very Short Introductions; 168 pages
1971Scholar'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
1970Light 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
1996Light creasing to wraps. Minor shelfwear. Scholar's name to ffep (Robert Brown). Gift plate to ffep. Ex-library copy with usual stamps, and pocket. Else VG. ; Oxford Readings Classical Studies; 360 pages; Aristophanes is the only author of Greek Attic comedy whose work survives in any form beyond fragments. His eleven surviving comedies reflect the spirit of Athens in the golden age and its unique freedom of speech. This anthology brings together all the most important contributions to the study of Aristophanes; it addresses a range of subjects from the classic question of Aristophanes' relationship to contemporary politics to more modern issues such as performance context, the interaction between fifth century comedy and tragedy, and gender
1972Creasing 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.
1911Backstrip is torn along most of rear joint but holding. Spine a bit sunned. Chipping to spine ends. Endpapers browned. Internally VG. ; Greek text with translation and commentary. ; 369 pages
197937pp, illustrated.; 37 pages
1990Inscribed by author on titlepage in pencil to Christian Habicht. Spine slightly sunned else fine. ; Akademie Der Wissenschaften Und Der Literatur. Abhandlungen Der Geistes- Und Sozialwissenschaftlichen Klasse Jahrgang 1990 4; 307 pages
1991Inscribed by author on titlepage in pencil to Christian Habicht. Spine slightly sunned else fine. ; 254pp, a few illustrations. ; Akademie Der Wissenschaften Und Der Literatur. Abhandlungen Der Geistes- Und Sozialwissenschaftlichen Klasse Jahrgang 1991 3; Vol. 2; 254 pages; Signed by Author
1960Nicely printed, title page in red and black. Some browning to spine and edges of wraps. Faint soiling to wraps. ; Ii+116pp. ; 116 pages