Zwierlein, OttoMareMagnum
3633 resultados
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
2003Small closed tears in rear inner hinge with small dent to rear board. Inscribed by the author on titlepage to Christian Habicht else unmarked. Closed tear (1 cm) to rear panel of dustjacket. DJ Spine slightly discolored. ; 495pp, 55 illustrations. Classical texts and art with modern Greek commentary. ; Archaioi Suggrapheis; 495 pages; Signed by Author
1977Light shelfwear to book. DJ has a few tears and chipping. DJ is price-clipped. ; The aside is a familiar device in European drama, but little has been written about it in connection with the drama in which it orgiinated and developed. In this book it is suggested that it originated in Greek tragedy; asides and some related phenomena in tragedy are collected, and some false notions concerning their number and character are dispelled. The second part of the book deals with New Comedy and is able to eploit many recent discoveries of comic papyri. ; Oxford Classical & Philosophical Monographs; 230 pages
1927Boards stained, backstrip crudely repaired with cellotape, contents sound and tight. Corners edgeworn. With the bookplate of G. P. Goold. Endpapers browned. Reading copy only; Xxxvi, 182pp. ; 182 pages
1997Faint crease to 1 corner. Minor shelfwear to wraps. ; Reprint of the 1994 ed. Xiii, 279pp. Carlo Ferdinando Russo's book has been a seminal work on Aristophanes since its publication in Italy in 1962. In his detailed analysis, Russo considers the plays as libretti for actors and singers rather than as mere texts, and never loses sight of the stage. This is the classic book about Aristophanes. Now finally available in English and much-updated, it is essential reading for any student of Athenian comedy. ; 279 pages
1964Creasing to spine. Tape to head and base of spine with Tape stains to wraps. Scholar's bookplate to inner cover (Robert Brown). ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 2; 156 pages
1946Minor Creasing to wraps. Spine and Wraps have been crudely repaired with cellotape with tape stains. Small torn corner to front wrap. Scholar's bookplate to inner cover (Robert Brown). Pencil marginalia on a few pages. ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 4; 157 pages
1963Light 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
1983Scholar's name to half -title. Light shelfwear to book. DJ has light chipping and 1 small tear ; 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.
2009Scholar's name to half-title (Robert Brown). Faint crease to lower corner of front wrap and first few pages. Light crease to spine. ; 'Laughter', says Eric Weitz, 'may be considered one of the most extravagant physical effects one person can have on another without touching them'. But how do we identify something which is meant to be comic, what defines something as 'comedy', and what does this mean for the way we enter the world of a comic text? Addressing these issues, and many more, this is a 'how to' guide to reading comedy from the pages of a dramatic text, with relevance to anything from novels and newspaper columns to billboards and emails. The book enables you to enhance your grasp of the comic through familiarity with characteristic structures and patterns, referring to comedy in literature, film and television throughout. Perfect for drama and literature students, this Introduction explores a genre which affects the everyday lives of us all, and will therefore also capture the interest of anyone who loves to laugh. ; Cambridge Introductions to Literature; 254 pages
1972Faint spotting to spine. 2 tiny pen markings to base of textblock. Minor shelfwear. ; Analyses the conservative imagery of Terence and of Cicero's letters, contrasting this naturalistic language with the fantasies of Plautus and the formalization of Cicero's speeches. Numerous illustrative passages from Greek New Comedy, Terence, Plautus, and Cicero are reproduced in the text. ; Phoenix Supplementary Volume, 10; 222 pages
1909Endpapers browned. Some foxing. Former owner's name on ffep. Some spotting to boards. Edgewear to extremities. ; 135 pages
2006Very light bump to 1 corner. DJ has minor shelfwear. Scholar's small bookplate to ffep (R. E. Fantham). ; A comprehensive survey of Roman theatrical production, this book examines all aspects of Roman performance practice, and provides fresh insights on the comedies of Plautus and Terence. Following an introductory chapter on the experience of Roman comedy from the perspective of Roman actors and the Roman audience, addressing among other things the economic concerns of putting on a play in the Roman republic, subsequent chapters provide detailed studies of troupe size and the implications for role assignment, masks, stage action, music, and improvisation in the plays of Plautus and Terence. Marshall argues that Roman comedy was raw comedy, much more rough-and-ready than its Hellenistic precursors, but still fully conscious of its literary past. The consequences of this lead to fresh conclusions concerning the dramatic structure of Roman comedy, and a clearer understanding of the relationship between the plays-as-text and the role of improvisation during performance. ; 336 pages
1972Very light shelfwear to book. DJ has chipping and a few small tears. ; Analyses the conservative imagery of Terence and of Cicero's letters, contrasting this naturalistic language with the fantasies of Plautus and the formalization of Cicero's speeches. Numerous illustrative passages from Greek New Comedy, Terence, Plautus, and Cicero are reproduced in the text. ; Phoenix Supplementary Volume, 10; 222 pages
1972Book has sticker stain on inner fly-page. Light chipping to top of dustjacket spine. A few closed tears to back panel. Shelfwear and rubbing to DJ. ; Analyses the conservative imagery of Terence and of Cicero's letters, contrasting this naturalistic language with the fantasies of Plautus and the formalization of Cicero's speeches. Numerous illustrative passages from Greek New Comedy, Terence, Plautus, and Cicero are reproduced in the text. ; Phoenix supplementary volume, 10; 222 pages
1975Slight sticker residue on spine. Former owner's stamp on fly-page. Foxing to top textblock. ; Analytic Study of Greek Theatre; 470 pages
1965Corners and spine ends are worn and slightly fraying. Moderate edgewear. Slight Discoloration to front board. ; The study of roman Comedy is a study of the work of two comic poets, Titus Maccius Plautus and Publius Terentius Afer. Looks at the twenty extant plays of Plautus and the six by Terence. Also looks at Greek Comedy and Roman Comedy's influence on later authors. ; 501 pages
1952Book has minor shelfwear and rubbing. Rubbing to extremities; The study of roman Comedy is a study of the work of two comic poets, Titus Maccius Plautus and Publius Terentius Afer. Looks at the twenty extant plays of Plautus and the six by Terence. Also looks at Greek Comedy and Roman Comedy's influence on later authors. ; 501 pages
1965Adhesive stains along inner cover. Former owner's name on ffep. Pages are uncut in text. Light browning to wraps. ; Texte en français. ; Publications De L'Université De Dijon; 302 pages
1970Spine cover is split on one side and half of the other but still attached. Ex-library copy with usual stamps, call numbers and pocket. Rubbing to boards. Edgewear to corners. ; 256 pages; Antimachus of Colophon, Greek poet and grammarian, flourished about 400 BC. Scarcely anything is known of his life. His poetical efforts were not generally appreciated, although he received encouragement from his younger contemporary Plato (Plutarch, Lysander, 18). His chief works were: an epic Thebais, an account of the expedition of the Seven against Thebes and the war of the Epigoni; and an elegiac poem Lyde, so called from the poet's mistress, for whose death he endeavoured to find consolation telling stories from mythology of heroic disasters (Plutarch, Consul, ad Apoll. 9; Athenaeus xiii. 597). Antimachus was the founder of "learned" epic poetry, and the forerunner of the Alexandrian school, whose critics allotted him the next place to Homer. He also prepared a critical recension of the Homeric poems
1972Former owner's name stamped on ffep. ; Analyses the conservative imagery of Terence and of Cicero's letters, contrasting this naturalistic language with the fantasies of Plautus and the formalization of Cicero's speeches. Numerous illustrative passages from Greek New Comedy, Terence, Plautus, and Cicero are reproduced in the text. ; Phoenix supplementary volume, 10; 222 pages
1980Light edgewear. Light fading to spine. ; Chapter 1 Some formal aspects of monologue technique; Chapter 2 Monologues in 'Epitrepontes', 'Samia' and 'Dyskolos'; Chapter 3: Two uses of the second person in monologue. ; Hypomnemata ; Heft 59; 91 pages
1997Dustjacket has minor shelfwear and rubbing. Minor bump to top corner. ; Sandpiper reprint of 1927 edition. ; Oxford University Press Academic Monograph Reprints; 346 pages; One of the major scholars of the 1920s and 30s concerned with the origins of Greek drama, Sir Arthur Pickard-Cambridge focused in particular on the evidence derived from archaeological finds and papyri. He describes this history of the earliest stages of Greek drama as "a dispassionate attempt to ascertain historical truth or probability by methods as logical as the subject permits. "The study begins by bringing together what was known of the dithyramb, and argues against Aristotle's statement that tragedy originated from the leaders of the dithyramb, and against the theory put forward by Sir William Ridgeway that it originated in performances at the tombs of dead heroes.
2000Minor rubbing to DJ. ; 148 pages; Study establishes a critical perspective for understanding the kind of comedy Menander wrote, his roots, the theatrical effects he sought, and the extent of his achievement. Chapters on the major plays analyse their techniques of construction and characterization, suggesting both the strengths and the limitations of Menander's comic tradition. An introductory chapter places the tradition of New Comedy in the history of drama and also draws modern parrallels, making it useful for students of drama aswell as classicists.