Voline ALivre Rare Book
8.427 Ergebnisse
2007Best.-Nr. 6064Jean-Claude Lattès 2007 285 pages in8. 2007. broché. 285 pages. En juillet 1976 le village de Barbizon en bordure de la forêt de Fontainebleau affronte une sécheresse inattendue. Dem un jardinier sage va comprendre à travers cette épreuve que l'on ne peut dompter ni la nature ni le désir des êtres
1965BUONE CONDIZIONI
1907Former owners' names to ffep. Ink notes to inner cover. Heavy ink and pencil notes and underlining to Greek text. Light fraying to spine ends. ; Xx, 98 pp; 98 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
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
1958Creasing to spine. Light edgewear. Minor shelfwear. ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 2; 156 pages
1948Browning to spine. Small chips and light creasing to spine. Pages tanned. Scholars' name to half-title (Daniel de Montmollin). ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 2; 156 pages
1958Creasing to spine. Pages tanned. ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 2; 156 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
1954Creasing to wraps spine and tears to backstrip. Spine and Wraps have been crudely repaired with cellotape. Scuffing to wraps. Scholars' bookplate to inner cover. Pencil marginalia on a few pages. ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 4; 157 pages
1946Book has been rebound in maroon coloured buckram with gilt lettering to spine. Non-circulating ex-library copy with call numbers to spine and institution plate to inner cover (Dept. Of Classics, Univ. Of Toronto). Internally clean and bright. ; Parallel text in French and Greek. ; Collection Des Universités De France. Association Guillaume Budé; Vol. 4; 157 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
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
1960Nicely printed, title page in red and black. Some browning to spine and edges of wraps. Faint soiling to wraps. ; Ii+116pp. ; 116 pages
1964Nicely printed, title page in green and black. Spine sunned. Faint crease to 1 corner of wraps. ; 88pp. ; 88 pages
1964Minor Shelfwear. DJ has some chipping and a few small tears. ; A scholarly account of the drama produced in the theatres of ancient Rome. Includes Livius, Naevius, Plautus, Greek New Comedy, Roman tragedy, Pacuvius, Terence, Palliatae, Accius, the Fabula Togata, Fabula Atellana, mime, Latin prologues, spectators, stage and actors' house, costumes and masks, music and metre. Also includes appendices which give seats in the Greek and Roman theatres, side-entrances and periaktoi in Hellenistic theater, the Angiportum and roman drama, Crepidata, Palliata, Tabernaria, Togata, the Roman Stage curtain, changes of scene and scenery, and doors shown on the stage. ; 397 pages
1984Light rubbing to wraps. ; Greece & Rome New Surveys in the Classics No. 16; 38 pages
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.
1959Collection of Euripides plays - Contains : Electra (trans.Emily Townsend Vermeule) The Phoenician Women (trans. Elizabeth Wyckoff) The Bacchae (trans. William Arrowsmith) "Complete Greek Tragedies" series edited by David Grene and Richmond Lattimore Clean tight unmarked copy Book
1900Xix, 170pp. Binding rubbed at extremities, former owners' names inked to front inner cover and ffep. Minor soiling. Greek text heavily marked in pencil, else VG. ; Clarendon Press Series; 170 pages
1954Wraps browned. Small tears in backstrip, some pages unopened. Else VG. ; Xxvi, 305pp. ; Volume 1 Only. ; Vol. 1; 305 pages
1933Scholar's bookplate to inner cover (G. P. Goold). Spine a bit browned. Rubbing to boards; Elementary Classics; 159 pages
1912pp. xi, 96. Top edge gilt. Bookseller's label on rear paste down. Inked ownership of Emilie F. Latimer (from York, PA), Christmas 1916, on first fly leaf. 185mm. Original full green cloth binding lettered in gold gilt. CLASSICS BX 1
1960Contains : Agamemnon of Aeschylus trans. Louis MacNeice. /The Oedipus Rex of Sophocles Trans. Dudley Fitts and Robert Fitzgerald / The Alcestis of Euripides Trans. Dudley Fitts and Robert Fitzgerald / The Birds of Aristophanes trans Dudley Fitts.310p. notes, index of names. Crisp, tight, unmarked copy Book
1995Minor shelfwear. ; 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.
