7 485 résultats
1980Light edgewear. ; English commentary. ; Society For Classical Studies American Classical Studies; 8.8 X 6.0 X 0.4 inches; 117 pages
1961Former owner's name to half-title. Some browning to wraps. 3 stamps to front wrap 'Gratis'; English commentary. ; University of Nebraska Studies: New Series No. 25
2000Scholars' bookplate to inner cover. Light bumping to bottom corners. Very minor shelfwear. Dustjacket has minor shelfwear and rubbing. ; Oxford Classical Monographs; 328 pages; The Andromache has long been disparaged despite being a brilliant piece of theater. In this book Dr. Allan draws attention to the neglected artistry of this very impressive and intriguing text. Through careful analysis the Andromache emerges as a play that poses fundamental questions, especially about the polarity of Greek and barbarian, and the morality of the gods. Dr. Allan shows how the play also challenges revenge as a motive for action, and explores the role of women as wives, mothers, and victims of war, be they Greek or Trojan, victorious or defeated. These are among the central concerns that make the Andromache a moving and thought-provoking tragedy, full of suffering, suspense, and moral interest. This book contributes both to an appreciation of the Andromache in its own right, and to a wider understanding of the variety and quality of Euripides' oeuvre.
1982Very minor shelfwear. Scholar's name to ffep (Jenifer Neils). ; University Paperbacks, 766; 50 pages
réf. 1355772478.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1956réf. 100912Norwich: Roberts Printers 1956. Book. Good. Original Wraps. First Edition. 8vo - over 7¾" - 9¾" tall. 45 p. Designed by Tom Lee Ltd. Minor soiling to covers. Catalogue of the Sixth Biennial Exhibition on the Theatre sponsored by Norfolk County Drama Committee. Roberts Printers Paperback
196889 p. Hardcover Very good condition good `
1915pp. xvi, 82. Top edge gilt. Bookseller's label on rear paste down. Inked ownership of Emilie F. Latimer (from York, PA), March, 1916 on first fly leaf. 185mm. Original full green cloth binding lettered in gold gilt. CLASSICS BX 1
1992Book is fine. DJ has very mild shelfwear. ; This book is a study of the agon, or formal debate, in Euripides' tragedies. In these scenes, two characters confront each other, often before an arbitrator or judge, and make long speeches as if they were opponents in a court of law. Most of Euripides' extant plays contain an agon, often of crucial importance to the central conflict of the play. Lloyd provides interpretations of the more important agones, giving special attention to their dramatic context and function. Concentrating on Euripides' rhetorical skill, brilliance in argument, and interest in philosophy, Lloyd explores the role of formal debate in Euripides. He contrasts the agon in Euripides' work with that of Sophocles, and discusses extensively Euripides' relationship to fifth-century rhetorical theory and practice. ; 160 pages
1956480p. A Pelican Book. Nice copy. Pelican Books A291. SHAKESPEARE BOX 4
1881réf. 032552Boston: Roberts Brothers 1881. First American Edition 1st Printing. Hardcover. Very Good/No Jacket. 63 Pp 2 Pp Ads At Rear. Red Cloth Printed In Black Green And White Endpapers. First American Printing 1981 Date On Title Page. Light Wear Lettering Strong Three Tiny Frays At Ends Of Spine Covers With Tiny Flecks To Color. Ownership Signature Of Andy Francisco 1866-1947; From Estate Of Artist J Bond Francisco's Nephew Jack Okey So Probably A Relative. Per Wikipedia Benoît-Constant Coquelin 1841 - 1909 Known As Coquelin Aîné "Coquelin The Elder" Was A French Actor "One Of The Greatest Theatrical Figures Of The Age." Coquelin Was Born In Boulogne-Sur-Mer Pas-De-Calais. He Was Originally Intended To Follow His Father's Trade Of Baker He Was Once Called "Un Boulanger Manqué" - "A Failed Baker" - By A Hostile Critic But His Love Of Acting Led Him To The Conservatoire Where He Entered Régnier's Class In 1859. He Won The First Prize For Comedy Within A Year And Made His Début On 7 December 1860 At The Comédie-Française As The Comic Valet Gros-René In Molière's Le Dépit Amoureux But His First Great Success Was As Figaro In The Barber Of Seville In The Following Year. It Was An Honour For Coquelin To Be A Part Of The Comédie-Française At Such A Young Age. This Company Had Already Been In Existence For Around 150 Years. He Was Made Sociétaire In 1864. There Were 21 34 Shares And They Were Divided Among The Lead Actors Known As Sociétaires. The Sociétaires Co-Manage Choose Plays And Share Profits. When There Was An Opening Caused By Retirement Resignation Or Death It Was Filled By A Member Of The Pensionnaires. And Just Four Years After Joining The Comédie-Française Coquelin Became One Of The Elite Sociétaires. During The Next Twenty-Two Years He Created The Leading Roles In Forty-Four New Plays At The Comédie Française Including Théodore De Banville's Gringoire 1867 Paul Ferrier's Tabarin 1871 Émile Augier's Paul Forestier 1871 L'étrangère 1876 By The Younger Dumas Charles Lomon's Jean Dacier 1877 Édouard Pailleron's Le Monde Où L'on S'ennuie 1881 Erckmann's And Chatrian's Les Rantzau 1884. In Consequence Of A Dispute With The Authorities Over The Question Of His Right To Make Provincial Tours In France He Resigned In 1886. Three Years Later However The Breach Was Healed; And After A Successful Series Of Tours In Europe And The United States He Rejoined The Comédie-Française As Pensionnaire In 1890. During His Time Away From The Comédie He Wrote His Book Art And The Actor. It Was During This Period That He Took The Part Of Labussière In The Production Of Victorien Sardou's Thermidor Which Was Banned By The Government After Three Performances. In 1892 He Broke Definitively With The Comédie-Française And Toured For Some Time Through The Capitals Of Europe With A Company Of His Own; In New York For Instance He Performed At Abbey's Theatre In 1894 Playing The Lead In Tartuffe His Son Jean Played Orgon And Mascarille In Les Précieuses Ridicules.3 In 1895 He Joined The Renaissance Theatre In Paris And Played There Until He Became Director Of The Théâtre De La Porte Saint-Martin In 1897. Here He Won Successes In Edmond Rostand's Cyrano De Bergerac 1897 Which He Repeated In The Summer Of 1898 At The Lyceum Theatre London Émile Bergerat's Plus Que Reine 1899 Catulle Mendès's Scarron 1905 And Alfred Capus And Lucien Descaves' L'attentat 1906. In 1900 Coquelin Toured In America With Sarah Bernhardt Appeared At Broadway's Garden Theatre In A Production Of Cyrano De Bergerac Bernhardt Played Roxane. He Made His Only Film The Duel Scene From Cyrano De Bergerac With Sound Recording On Phonograph Cylinder. The Film Is Thought To Be The First Ever Made With Both Color And Sound. On Their Return To France He Continued With His Old Colleague To Appear In L'aiglon At The Théâtre Sarah Bernhardt. He Was Rehearsing For The Creation Of The Title Role In Rostand's Chantecler Which He Was To Produce When He Died Suddenly In Paris In 1909. Roberts Brothers hardcover
1881réf. 032553Boston: Roberts Brothers 1881. First American Edition 1st Printing. Hardcover. Good/No Jacket. 63 Pp 2 Pp Ads At Rear. Light Brown Cloth Printed In Black Green And White Endpapers. Wear Lettering Strong Fraying On Top Of Spine And At Tips. Signature Of Hollywood Art Director Jack Okey It's A Wonderful Life Etc. Small Private Price Label On Rear Pastedown. Per Wikipedia Benoît-Constant Coquelin 1841 - 1909 Known As Coquelin Aîné "Coquelin The Elder" Was A French Actor "One Of The Greatest Theatrical Figures Of The Age." Coquelin Was Born In Boulogne-Sur-Mer Pas-De-Calais. He Was Originally Intended To Follow His Father's Trade Of Baker He Was Once Called "Un Boulanger Manqué" - "A Failed Baker" - By A Hostile Critic But His Love Of Acting Led Him To The Conservatoire Where He Entered Régnier's Class In 1859. He Won The First Prize For Comedy Within A Year And Made His Début On 7 December 1860 At The Comédie-Française As The Comic Valet Gros-René In Molière's Le Dépit Amoureux But His First Great Success Was As Figaro In The Barber Of Seville In The Following Year. It Was An Honour For Coquelin To Be A Part Of The Comédie-Française At Such A Young Age. This Company Had Already Been In Existence For Around 150 Years. He Was Made Sociétaire In 1864. There Were 21 34 Shares And They Were Divided Among The Lead Actors Known As Sociétaires. The Sociétaires Co-Manage Choose Plays And Share Profits. When There Was An Opening Caused By Retirement Resignation Or Death It Was Filled By A Member Of The Pensionnaires. And Just Four Years After Joining The Comédie-Française Coquelin Became One Of The Elite Sociétaires. During The Next Twenty-Two Years He Created The Leading Roles In Forty-Four New Plays At The Comédie Française Including Théodore De Banville's Gringoire 1867 Paul Ferrier's Tabarin 1871 Émile Augier's Paul Forestier 1871 L'étrangère 1876 By The Younger Dumas Charles Lomon's Jean Dacier 1877 Édouard Pailleron's Le Monde Où L'on S'ennuie 1881 Erckmann's And Chatrian's Les Rantzau 1884. In Consequence Of A Dispute With The Authorities Over The Question Of His Right To Make Provincial Tours In France He Resigned In 1886. Three Years Later However The Breach Was Healed; And After A Successful Series Of Tours In Europe And The United States He Rejoined The Comédie-Française As Pensionnaire In 1890. During His Time Away From The Comédie He Wrote His Book Art And The Actor. It Was During This Period That He Took The Part Of Labussière In The Production Of Victorien Sardou's Thermidor Which Was Banned By The Government After Three Performances. In 1892 He Broke Definitively With The Comédie-Française And Toured For Some Time Through The Capitals Of Europe With A Company Of His Own; In New York For Instance He Performed At Abbey's Theatre In 1894 Playing The Lead In Tartuffe His Son Jean Played Orgon And Mascarille In Les Précieuses Ridicules.3 In 1895 He Joined The Renaissance Theatre In Paris And Played There Until He Became Director Of The Théâtre De La Porte Saint-Martin In 1897. Here He Won Successes In Edmond Rostand's Cyrano De Bergerac 1897 Which He Repeated In The Summer Of 1898 At The Lyceum Theatre London Émile Bergerat's Plus Que Reine 1899 Catulle Mendès's Scarron 1905 And Alfred Capus And Lucien Descaves' L'attentat 1906. In 1900 Coquelin Toured In America With Sarah Bernhardt Appeared At Broadway's Garden Theatre In A Production Of Cyrano De Bergerac Bernhardt Played Roxane. He Made His Only Film The Duel Scene From Cyrano De Bergerac With Sound Recording On Phonograph Cylinder. The Film Is Thought To Be The First Ever Made With Both Color And Sound. On Their Return To France He Continued With His Old Colleague To Appear In L'aiglon At The Théâtre Sarah Bernhardt. He Was Rehearsing For The Creation Of The Title Role In Rostand's Chantecler Which He Was To Produce When He Died Suddenly In Paris In 1909. Roberts Brothers hardcover
2010A clean, unmarked book with a tight binding. 256 pages.
réf. 1021162477.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1909Light Edgewear to corners. Light scuffing to boards. Scholar's name to ffep (G. De Montmollin). Many Pages unopened. Spine a little sunned. ; Lxxxviii, 274 pp. Greek text with translation and commentary. ; 274 pages
1909Endpapers browned. A couple of corners are edgeworn. Chipping and small tears to head of spine. Tears along joints of backstrip but still holding. Some foxing. ; 274 pages
1968Spine a bit sunned. Scholar's bookplate to inner cover (G. P. Goold). Minor shelfwear. ; Lxxxviii, 274 pp. Greek text with translation and commentary. Unchanged Reprint of 1908 ed. ; 274 pages
19104to., First and Sole Edition, parallel texts in Greek and English; original green cloth, gilt back, uncut, covers mildly age-marked at lower edge else a very good, bright, clean copy. Scarce
réf. 151233894X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1889Foxing, browning or water-staining to endpapers else VG. Slight spine slant. Light bump to base of spine. Minor scuffing to boards. Light pencil to margins last few pages. ; Xxxvii, 228 pp. ; 228 pages
1889Foxing and some browning to endpapers. Former owner's name in ink to ffep. Scholar's bookplate to inner cover (G. P. Goold). Some loss to cloth at head of spine (1 cm strip). Corners bumped. Else VG. ; Xxxvii, 228 pp. ; 228 pages
1887Scholar's bookplate to inner cover (G. P. Goold). Endpapers foxed. Very light chipping To spine ends. ; Greek Text with English Introduction and Commentary, and translation. ; 179 pages
1893Scholar's bookplate to inner cover (G. P. Goold). Former owner's name to ffep. Tiny dampstain to ffep. Spine sunned. Top of spine torn and exposed (2 cm). Else VG. ; Greek Text with English Introduction and Commentary, and translation. ; 242 pages
1904Scholar's bookplate to inner cover (G. P. Goold). Gift inscription in red pen to ffep to George [Goold? ] in Greek. Former owner's name to ffep. Some loss to base and head of spine. Spine dulled. Corners a bit edgeworn. Tears to spine ends. ; Greek Text with English Introduction and Commentary, and translation. ; 252 pages
1904Front board detached but held with small strip of binding tape. Rear hinge cracked. Tears along spine joints with some loss to head of spine. Front board has some cloth cover torn. Corners edgeworn. Reading copy only; Greek Text with English Introduction and Commentary, and translation. ; 252 pages
