1.320 resultados
1923Very Good Turkish, Ottoman (1500-1928) Original pictorial wrappers. Demy 8vo. (22 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 302 p. Slightly chipped on extremities, stains on cover. Otherwise a good copy. First Ottoman Turkish edition of this Arabic historical novel that takes its subject from Arabic nights. "Romance and intrigue provide the central plot of the novel that is woven into the broader picture of the fall of the Barmakis. Harun held his sister Abbasa in great affection and loved to spend his evenings in her company. But his favorite companion was Ja'far. It was quite unsuitable for a man from outside the family to be admitted to the company of a young woman, but Harun found a way to arrange things; he decided to marry them to each other in what the French call a "marriage blanc". As he explained to Ja'far "you see her only in my company, your body never approaches hers and you have no conjugal relations with her. You may thus share our evenings of pleasure without risk." Ja'far accepted and swore solemnly in front of witnesses never to visit his young wife, stay alone with her or even spend a minute under the same roof unless Harun was present. But Jafar was handsome and Abbasa's beauty was second to none. The inevitable occurred. How and why no one is certain. There was a great political advantage for Ja'far to unite himself with the sister of the Caliph. But did his mother who was close to both her son and Abbasa prod them in that direction? Or was their deep love sufficient to consummate their marriage, as Zaidan seems to imagine? No one knows for sure and the novel does not speculate on what really happened. The only sure thing is that Abbasa became pregnant and gave birth to at least one child and perhaps two as related in the novel. And when Harun learned of the relationship, this was the beginning of the end for the Barmakis. The close friendship between Harun and Ja'far spawned jealousies among the Caliph's entourage. Chief among them was the hostility that Al-Fadl ibn al-Rabi' had towards Ja'far. The two men detested each other and did everything they could to destroy each other. Last but not least Zubayda, Harun's favorite Hashemite wife also did not like Ja'far. He had been a tutor to al-Ma'mun, the son of a Persian slave girl, her son's rival. It was known that Harun admired Ma'mun's gifts and was thinking of promoting him over Al-Amin in the order of succession. There is every reason to believe that Zubayda exercised her considerable influence against Ja'far. She comes across as shrewd, skillful, and willful. Zaidan never explicitly speculates to what extent al-Rashid's reaction was politically or emotionally motivated. The narrative and dialogue suggest a combination of those factors. Ja'far had been disloyal to Harun and had stained the family honor: his disobedience could not go unpunished. But Harun was shrewd and feared for his power and influence - to the extent that the Barmakis might usurp the Abbasid caliphate. Within this broad historical canvass, Zaidan's fast-paced narrative with its twists and turns is full of suspense. It covers only a few months of Harun al-Rashid's reign but one that fatefully changed the course of 'Abbasid history." (Source: The Zaidan Foundation). Zaidan was a prolific Lebanese novelist, journalist, editor, and teacher, most noted for his creation of the magazine Al-Hilal, which he used to serialize his twenty-three historical novels. His primary goal, as a writer and intellectual during the Nahda, was to make the common Arabic population know their own history through the entertaining medium of the novel. He has enjoyed widespread popularity. He is also considered to have been one of the first thinkers to help formulate the theory of Arab nationalism. OCLC: 780178860.; Özege 2.
2017New English Paperback. Oblong 4to. (23 x 28 cm). In English and Turkish. 127 p., profusely color and b/w ills. Print run: Only 500 copies. The eyes of the Levant: Period postcards 1890-1920. Damascus, Beirut, Jerusalem & others, Seyhun Binzet Collection.= Levant'in gözleri: Dönem kartpostallari 1890-1920. Sam, Beyrut, Kudüs ve baska kentler. Seyhun Binzet Koleksiyonu. [Exhibition catalogue]. Designed by Engin Özden. Consultant: Tan Oral.
2021New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 214 p., color and b/w ills. Impossible Homecoming is a retrospective exhibition of artist and poet Etel Adnan, whose life spanned nearly a century. Curated by Serhan Ada and Simone Fattal, the exhibition includes ceramics, carpets, leporellos, oil paintings, drawings, prints, and a film by the artist who ?has mastered more than one medium.? Visitors can also listen to recorded interviews made with the artist at various points in her life. The publication accompanying the exhibition includes the writings of the curators Serhan Ada and Simone Fattal, as well as a short text written by the artist Etel Adnan for the exhibition and an article titled About the End of the Ottoman Empire. In addition, the publication features Hans Ulrich Obrist's article titled Ever Etel, Jean Fremon's article titled The Worlds of Etel Adnan, Jalal Toufic's preface to Etel Adnan's Arab Apocalypse book, and Theodoros Terzopoulos's text titled The Colour of the Word. The publication also presents a comprehensive biography of the artist with illustrations of the displayed work.
1955Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and is considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
1955Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and is considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
1975Very Good Turkish Original fine photograph. 55x54 cm. Framed. Signed by Kortan Tümerdem and Emine Öztekin on verso, on a card.
2004As New As New English Paperback. Pbo. Dust wrapper. Mint. 4to. (30 x 24 cm). In English and Italian. 45, [1] p. Color ills. For Ali Hassoun, born in Saïda (Lebanon) in 1964, but living in Italy, art is inevitably a borderland, a fertile ridge where two different cultures meet: the traditional, spiritual culture of Islam and the dynamic, evolutionary culture of the West. In this meeting, East and West, North and South are only apparently geographical coordinates. They are rather topical places in the mind, spiritual directions which pass the baton to one another, like the perfect laps in a trip touching in turn upon the extreme opposites of ascension: the zenith and the nadir, Alpha and Omega, vile lead and alchemic gold, the terrestrial world and the imagination, the spirit and the body, and all the possible variants on a polarity which is always merely symbolic. In the artist's works the East and the West continually change sides, alluding to ambiguous meanings, now clear and now hidden. Ali Hassoun's iconography is constructed by stealing from contemporary visual culture images of a variegated humanity intent on the humble occupations of a daily life that has not yet been brutalised by the signs of the technological era. Like a computer hacker, but employing techniques which are entirely manual, Ali metaphorically "copies and pastes" onto his canvas photographs of people taken from the pages of a book or a magazine. He paints portraits of men and women, changing them using an ancient tool which contains within itself the balsamic germ of transfiguration. And yet, in his painting, precise and detailed to the point of verging on hyper-realism, there is nothing of the documentary. Like Emilio Salgari, Hassoun does not need to plough the waves or travel the caravan routes to come up with his visions. His travels are immobile, typical of a multimedia age such as our own, when information abounds but knowledge is rare. An age in which painting has come back into fashion - if it had ever gone out of fashion - but feeling the influence of the clarity of liquid crystal, of the pervasive vocabulary of the big plasma screen, of the hi-tech aesthetic born out of cyber imagery and the virtual settings of videogames. Painting containing gelid icons, the heroines of a new cybernetic sensuality, portraits of aidoru and computer alter egos, replicants and cyborgs, singing the fictitious myth of a trans-human future. In Italy, Ali Hassoun's painting is a return to Vasari's Bella Maniera, the full perfection of the great lesson of the Renaissance: painting with no mediation, no alibis and no tricks. In his works, Arab shepherds, students of the Koranic schools, cabalists, old wise men and African women dressed in fabrics of gaudy colours move about in a scenario in which landscape notation is abolished, swept away by an artificial background, a citation of great masterpieces of Art History, from the Michelangelo of the Sistine Chapel to Picasso's Guernica, from the fourteenth-century Sienese painters - Simone Martini and the Lorenzettis - to Capogrossi. The Levantine faces and statuesque bodies of his African women, the elegance and grace of his Indian maids are surrounded not by a desert, by a marketplace, by the interior of a mosque or a zawiyya nor by a minaret or a medina, but by a world of spirits, of platonic psychopomps floating suspended between Earth and Sky. In his most recent works Ali Hassoun has moved eastward. His women are now wearing the colours of India. They are wheat grinders, water bearers, even cabalists, intent on drawing a five-pointed star in the earth, hiding the secret of the golden section. The birth of a primitive femininity is everywhere, blended with the mystics of the elements - Air, Water, Earth and Fire - transfused in the grammar of light as in the use of clayey colours, in the transparency of ethereal figures and in the symbolism of water. Once again there are images of the "well of science" from which to draw the water of wisdom
1952Very Good English Paperback. Demy 8vo. (22 x 15 cm). In French. 73 p., b/w plts. La nouveau Regime. 3 Mars - 3 Jui, 1952. Texte de la Deuxieme declaration de S. E. Le General Fawzi Selo au peuple Syrien.
2014New English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In Turkish. Ills. 496 p. A study on Lebanon Marunis. Savasta ve barista Lübnan Marunîleri: Aziz Marun'dan Iç Savas'a Maruni kimligi ve çatisma.
2014New English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In Turkish. Savasta ve barista Lübnan Marunîleri: Aziz Marun'dan Iç Savas'a Marunî kimligi ve çatisma. Maronites of Lebanon.
Fine English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In English. 78 p. The place of terrorism in Iran's foreign policy. (Eurasia file).
Fine English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish and just 1 p. abstract in English. 78 p. Iran'in dis politikasinda terörizmin yeri (Avrasya dosyasi). The place of terrorism in Iran's foreign policy. (Eurasia file).
2017New Turkish Paperback. Cr. 8vo. (20 x 14 cm). In Turkish. 408 p. Osmanli Suriyesi'nde Arapçiligin dogusu: Sosyo - ekonomik degisim ve siyasi düsünce.
2018New Turkish Paperback. Demy 8vo. (21 x 14 cm) In Turkish. 192 p. Durzi peoples in the context of the Middle Eastern history.
2017New English Paperback. Roy. 8vo. (24 x 16 cm). In English. 365 p. United Nations peacekeeping operations: Lebanon case. The Israeli invasion in Lebanon in 1978 had serious consequences for peace and security in the Middle East. The Lebanon case in which UN was dragged untimely and unprepared in the direction of American interests in the Middle East in 1978 has been going on for 40 years. Despite all well-intentioned initiatives of the international community, the operation could not achieve the mandated tasks given by the Security Council yet. UNIFIL has been stuck to its area of operation, because the problems between Israel and Lebanon cannot be solved independently from conflicts in the Middle East. The distinctive characteristic of the Lebanon case has been the duration of the operation that spanned the Cold War and post-Cold War periods. Hence, the changes in the security environment, new challenges, and emergence of the second generation of PKOs can be understood more clearly. By having exposed the problems throughout the UNIFIL operation, the book is expected to benefit researchers, scholars, and decision-makers at the UN headquarters in setting up a framework to deal with possible challenges for the future PKOs.
2019New Turkish Paperback. Roy. 8vo. (23 x 16 cm). In Turkish. 191 p. Diktatörlük ile devrim arasinda Arap dünyasinin krizleri. Comp. and transl. by Zahide Tuba Kor.
2009bross. edit. ill. con bandelle
1998trad. di Piera Oppezzo testo inglese a fronte n, 15 bross. edit. ill. con bandelle, firma di appartenenza
1967bross. edit. ill., lievi tracce d'uso in cop. e al dorso
1991trad. di Valentina Colombo bross. edit. ill., lieve brunitura
2020trad. di Egi Volterrani n. 48 bross. edit. ill.
In 8o, pp. 96 (+ moltissime pagg. pubblicitarie), molte ill. fotogr. n.t. e 2 grande carte (Pianta di beirout e del Libano) a coll. ripp. f.t. Otiime guida del Libano prima della guerra che ha distrutto gran parte di Beirut e l'attività turistica del paese. Minimi difetti al piatto ant. Ottimo (947/ LIBANO - BEIROUT)
3 Voll. in 1 in 8, pp. da 279 a 430 + 84 + 218, mz. pelle con angoli, titolo e fregi oro al dorso, 2 tavv. f. t. + 1 carta geograf (Babilonia), 4 tavv. f. t. (Grecia). Nella collana: L'Universo o storia e descrizione di tutti i popoli. Minime spellature al dorso. Buon esemplare (5861/ AFRICA - MAROCCO - CONGO - ANGOLA - LIBANO - MEDIORIENTE - GRECIA)
1978Firenze, IGM, 1978, 8vo stralcio con copertina posticcia muta, pp. 321/344 con numerose illustrazioni fotografiche. - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo, completo in se, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perché ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “extract” or “excerpt” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.
1836In-16°, leg. in tutta tela con tit. in oro al dorso, pp. vii-152 e pp. 8 di catalogo. Con 10 tavv. inc. fuori testo, (ne manca una), di cui una colorata a mano ed altre ill. nel testo. Leggere abrasioni alla legature, alcune rare fioriture sparse ed altre marginali tracce d'uso.