Aragon 1897 1982 (43 risultati)

paperback. Condizione: Acceptable. DETAILS: sewn PAPERBACK, worn but still good used copy, cover separating at bottom of spine, some wear to covers and corners, foredge lightly soiled from handling. ARAGON. La mise à mort. Paris: Gallimard, 1965, 421pp., . L'histoire d'un homme qui a perdu son image. peut-être. Entre nous, l'histoire d'un homme qui a perdu son image est-elle compatible avec le réalisme? Or, Ànthoine est devenu un réaliste un jour pendant que chantait Ingeborg d'Usher, qu'il appelle en secret Fougère. C'est de cette création [permanente qu'est le chant de Fougère qu'il tient sa croyance en l'existence des autres : « Et comment voulez-vous, - dit-il - , que, de cette donnée étrange, il existe d'autres que moi-même, je n'ai pas été de fond en comble modifié, changé, bouleversé? » Ou plutôt n'est-ce pas un livre sur la jalousie : « Othello, ou dans le genre. », a dit une fois Ànthoine. Mais dans le livre, ce n'est pas toujours Anthoine qui parle. Il y a l'auteur et un certain Alfred. Il est entendu que c'est Anthoine qui est aimé de Fougère : « C'est-à-dire, - dit Alfred -, que Fougère aime une certaine idée qu'elle se fait de moi, qu'elle appelle Anthoine. » C'est Alfred en tout cas qui dira d'elle : « Quand elle chante, j'aime bestialement son âme. » Mais l'auteur se demande : Quel est le sujet de mon livre à vrai dire. l'homme qui a perdu son imageyla vie d'Anthoine Célèbre et d'Ingeborg d'Usher, le chant, le réalisme ou la jalousie? Ce pourrait aussi être le roman de la pluralité de la personne humaine, celui de la création romanesque ou le roman du romancier. Choisissez vous-même. Le roman est situé dans cette vie du siècle XX, les deux guerres, le Front populaire, la mort de Gorki, et ces jours d'aujourd'hui : le monde réel, vous avez beau le tourner dans tous les sens, c'est encore Le monde réel. Et ou Anthoine parle ou l'auteur, ou c'est Alfred, il faut en croire celui-ci, disant à Fougère : Tout n'est que j'écris qu'une lettre, une lettre sans fin vers toi. Une longue, une interminable lettre d'amour, et quelle qu'en soit la forme, le roman même, ou s'y introduise une histoire sans rapport avec lui, qui se passe au Danemark et à Vienne, ou qui, d'un concert de Richter jouant aux chandelles en 1963 le Carnaval de Schumann, nous ramène fin 1918 sur les bords du Rhin, à moins qu'elle nous fasse tomber en pleine « Série noire » avec un dipe-Roi logé rue des Martyrs. Mais l'interviewer : « Pourquoi ce titre, La Mise à Mort? » L'auteur, en tête. bille en tête. du livre, semble s'y autoriser d'un poème de Pasternak, traduit par Eisa Triolet ; Or être vieux c'est Rome qui, Au lieu des chars et des échasses, Exige, non la comédie, Mais que la mise à mort se fasse. Peut-être, après tout, que c'est là le sujet du roman, a Quoi? La vieillesse, la mort? » Mon Dieu, comme vous me fatiguez! Et pourquoi ne me demandez-vous pas aussi qui est Fougère..…

First Edition. Fine cloth copy in a good if somewhat edge-nicked and dust-dulled dust-wrapper, now mylar-sleeved. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description: xx, 118 pages ; 21 cm. Notes: First published: Paris : Gallimard, 1928.Includes bibliographical references. Subjects: Aragon 1897-1982 Aesthetics. Aragon 1897-1982 Ethics. Aragon, Louis. Aragon 1897- Aesthetics. Aragon 1897- Ethics. Aragon 1897-1982 Aesthetics. Aragon 1897-1982 Ethics. Aragon, Louis 1897-1982 Aesthetics.Aragon, Louis 1897-1982 Ethics. 1900-1999Aesthetics, French 20th century. Surrealism (Literature) France. Esthe?tique franc?aise 20e sie?cle. Surre?alisme (Litte?rature) France.Aesthetics. Aesthetics, French. Ethics. Surrealism (Literature). Aesthetics, French 20th centurySurrealism (Literature) France. Aesthetics, French 20th century. Surrealism (Literature) France.Aesthetics, French 20th century. Surrealism (Literature) FranceFrance. 1 Kg.…

First Edition. Fine cloth copy in a good if somewhat edge-nicked and dust-dulled dust-wrapper, now mylar-sleeved. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description: xx, 118 pages ; 21 cm. Notes: First published: Paris : Gallimard, 1928.Includes bibliographical references. Subjects: Aragon 1897-1982 Aesthetics. Aragon 1897-1982 Ethics. Aragon, Louis. Aragon 1897- Aesthetics. Aragon 1897- Ethics. Aragon 1897-1982 Aesthetics. Aragon 1897-1982 Ethics. Aragon, Louis 1897-1982 Aesthetics.Aragon, Louis 1897-1982 Ethics. 1900-1999Aesthetics, French 20th century. Surrealism (Literature) France. Esthe?tique franc?aise 20e sie?cle. Surre?alisme (Litte?rature) France.Aesthetics. Aesthetics, French. Ethics. Surrealism (Literature). Aesthetics, French 20th centurySurrealism (Literature) France. Aesthetics, French 20th century. Surrealism (Literature) France.Aesthetics, French 20th century. Surrealism (Literature) FranceFrance. 1 Kg.…

paperback. Condizione: Very Good. DETAILS: sewn PAPERBACK, very good lightly used copy, opening crease marks on spine and some wear around edges, paper bright and white but a bit creaky. LAID IN: two-sided errata sheet. ARAGON. Blanche ou l'Oubli. Paris: Gallimard, 1967, 515pp., . Printed July 1967.

1st edition. Good paperback copy; edges somewhat dust-dulled and nicked. Remains quite well-preserved overall. Physical description: xiv, 52p ; 18.5 cm. Notes: "Bibliographie": p. 51-52. Subjects: Cohen Collection; French poetry 20th century. 1 Kg.

First Edition. Near fine pamphlet copy; wrappers very slightly dulled. Remains particularly well-preserved overall: tight, bright and clean. Physical description; xiii, 52 pages ; 19 cm. Subjects; French poetry 20th century. Cohen Collection. French literature. France; history. France; literature. 1 Kg.…

1st edition. Good paperback copy; edges somewhat dust-dulled and nicked. Remains quite well-preserved overall. Physical description: xiv, 52p ; 18.5 cm. Notes: "Bibliographie": p. 51-52. Subjects: Cohen Collection; French poetry 20th century. 1 Kg.

paperback. Condizione: Collectible Near Fine. DETAILS: small sewn PAPERBACK, very good, gray covers a bit darkened with light wear. Edition of 750 copies, numbered 723. ARAGON. Le crève-coeur. Préfaces d'André Labarthe et de Cyril Connolly. Londres: Édition Horizon, La France libre, 1942, Edition of 750 copies, xiii, 52pp., . Connolly introduction in English. Main text and preface by Labarthe in FRENCH.…

BOOK PAPERBACK. chez les éditeurs des Portes de France à Porrentruy,1945, in 8 (18 x 12,5 cm), 94 pages. Couverture rempliée. Tirage imité à 3000 exemplaires. +++++++ Publication d'oeuvres poétiques de Louise Labbé établie d'après l'édition de la Librairie des Bibliophiles parue en 1875 transcrite en français moderne. Les uvres présentées sont Les Elégies et Les sonnets. Un Poème de Louis Aragon à la gloire de la poétesse ouvre le recueil - Très bon état, nom de l'ancien propriétaire manuscrit sur la page de garde.…

First Edition. Near fine pamphlet copy; wrappers very slightly dulled. Remains particularly well-preserved overall: tight, bright and clean. Physical description; xiii, 52 pages ; 19 cm. Subjects; French poetry 20th century. Cohen Collection. French literature. France; history. France; literature. 1 Kg.…

Couverture rigide. Condizione: Très bon. 217 p. ; 22 cm ; Broché, très bon état. 8C3 500g. Aragon, Louis (1897-1982). Éditeur scientifique Decourdemanche, Denise. Postfacier (illustratore).

Rústica comercial. Condizione: Bien. Traductor: Oriol Durán. -- 429 p. -- El libro de bolsillo, 566.

Condizione: BON ETAT. Livre 1 Vol. In-8, 183 p. Broché. Couverture légèrement jaunie. Livre.

Rústica comercial. Condizione: Bien. Traducción: Ana María Moix ; diseño: Balaguer. -- 588 p. -- Colección Palabra seis, 11.

Couverture rigide. Condizione: Très bon. 1 vol.; 83 p. ; 17 cm Broché couv. souple rempliée. Dos insolé. Ex. n° 627 sur Vélin. Edition originale. Pages non coupées. Bon état. 17C3. Aragon, Louis (1897-1982). Éditeur scientifique (illustratore).

1961, Parenti (Biblioteca europea X) copertina rigida con titoli al piatto e dorso, custodia illustrata, ancora presente la scheda editoriale. 23x15 cm pp (924). Minimi segni del tempo alla copertina, (senza mancanze ne lacerazioni), Firma a biro alla prima e ultima pagina, interno pulito. ooo Scheda a cura di Equilibri libreria. L'immagine corrisponde alla copia in vendita. 011.83.90.381.…

Condizione: Usado - bueno.

In-8, 24 cm, 90pp., Nb-0355.

4to. mayor; 236 pp., con 22 reproducciones fotográficas en láminas aparte. Cubiertas originales.

Couverture souple. Condizione: Assez bon. 1ère Édition. Rare - Édition dédicacée / avec un envoi de l'auteur : Les Beaux quartiers Édition originale / Service de presse (tampon). Paris, Denoël et Steele, 1936. Format : 22x14 cm. État : usures, 4e plat de couverture légèrement froissé, voir scans svp. Provenance : collection Georges Flour. Authenticité garantie. Signé par l'auteur.…

Brossura. Condizione: Molto buono (Very Good). Editée pour le Conseil National de la Resistance à l'occasion des journées européennes de la Resistance . 16mo. pp. 44. . Molto buono (Very Good). Firma di appartenenza alla prima pagina bianca (Owner's name on the first blank page). Prima edizione di 2000 es. numerati. . Book.…

4to. 1½ pages. To the journalist and literary critic André Rousseaux (1896-1973) about a discussion of Victor Hugo's poem "Booz endormi" by Charles Péguy (1873-1914), an admirer of Hugo's, considering current poetic criticism in the Revue Critique to be in desperate need of some humor: "Péguy a discuté le coup de Jerimadeth. et je sais bien qu'il aimait Hugo, et qu'il le défendait [.] j'ai voulu simplement dire que le pont-aux-ânes inventé par la Revue Critique ne relève pas de la discussion sérieuse, mais qu'il fallait lui opposer ce vieil humour des familles dont la critique poétique est de nos jours si étrangement démunie [.]". - Further about travelling to Switzerland shortly, having missed the writer Georges Bernanos (1888-1948), who recently visited a mutual friend along with the priest and screenwriter Raymond Léopold Bruckberger (1907-98), mentioning his wife Elsa and himself fleeing Paris due to the Prix Goncourt, and considering a stay in occupied Germany more agreeable than witnessing the award ceremony. Aragon goes on to complain about the silence of the critics regarding his book "Servitude et Grandeur des Français" published three months earlier, and concludes with his intention of allaying his anger by consuming Swiss milk, chocolate, and nescafé, having lost much weight since the war: "Nous partons tout à l'heure pour la Suisse [.] Je n'ai pas vu Bernanos, signalé dans ces pages par les hebdomadaires, et qui est allé avant-hier avec le R. P. Brückberger chez une dame chez qui j'ai été moi hier [.] Elsa et moi avions fui Paris rendre invivable par le Goncourt. Un séjour en Allemagne occupée, zone franque, vaudrait mieux que cette mention peu honorable [.] A part ça, je vous signale le silence croissant fait autour de ce que je publie. 4 articles [.] pour Servitude et Grandeur après trois mois d'envoi du S. P. Pas mal, hein? Parlons de la glorie. Mais comme je pèse 62 kgs, pour 75 avant guerre et 69 en septembre, je vais passer ma bile sur le lait, le chocolat, le nescafé de Suisse [.]".…

Folio. 4 ¾ pp. on 8 ff. In red ink. Article in French entitled "Le 7 Novembre est bien la fête des Sans-Dieu" ("November 7 is effectively the Feast of the Godless") for the atheist magazine "La Lutte antireligieuse et sociale", organ of Proletarian Free Thought (better known as "Organisation des travailleurs sans dieu"). Louis Aragon spent a year in Moscow from early 1932 after breaking with the Surrealist movement, particularly André Breton. During this time he witnessed the enormous parade on Red Square for Revolution Day on October 15. In the article Aragon describes the event with a focus on anti-religious messages, contrasting the "byzantine" Saint Basil's Cathedral with modern architecture, engineering, and technological progress such as the planned Moscow Canal, achieved by communism. The military parade was followed by a parade of workers with their tools, products and anti-religious posters, for "this crowd has no God anymore, this immense crowd has no God anymore". And yet there are new idols, standing out against the old ones: "What an extraordinary figure made above this crowd, where you find the best shock workers of socialist construction, the best pioneers from the kolkhozes and sovkhozes, the baroque cathedral, like a phantom of the past!" In closing, Aragon enthusiastically describes the accompanying air show, likening the aircrafts to symbols of socialist progress, in comparison with the symbols of tsarism and orthodoxy: "And in passing with their straight wings they seem to deride the contorted golden eagles of the Tsars, the crosses with two crossbeams of the old church, where today only the voices of Marx and Lenin are heard, of the old church that is chained to the triumphal chariot of the Proletariat". - Louis Aragon was loyal to Moscow and Stalinism well into the 1960s, even defending the Moscow Trials in articles. When the scope of Stalinist terror was finally revealed, he distanced himself from Soviet communism and condemned its past and continuing crimes. - Several minor tears, somewhat dusty and smudged. Collector's note in pencil to the first page.…

4to. 2 pages. With autograph envelope. In French, to the poet Luc Decaunes, relating in part to Decaunes's magazine "Soutes": "[.] I have received Soutes and thank you for it, interesting issue, uneven, and found it better to reread the poem by Nigg Louis Guillaume, weak but very sympathetic, we'll do something with this boy there but that he doesn't believe it's already happened. [.] Everything military is suspect, the pseudo-peaceful language which here is used against the army of peace, against the army of workers and peasants, and which he unreservedly assimilates to the army of war to that of capital, it is in fact the very language of the 'comrade anarchist, traitor to the proletariat'" (transl.).…

Condizione: New. Print on Demand pp. 204.

Condizione: Good. Lithograph. 48.5 x 34 cm. Signed and titled in the plate. Verso in the handwriting of Jean-Louis Debauve : "Cérémonie à la Mémoire d'Aragon le jour des obsèques. Déc. 1982." Provenance: From the collection of Jean-Louis Debauve (1926-2016) aka Henry Jean-Louis Debauve. Magistrat honoraire, spécialiste de la poésie romantique et du Symbolisme. Historien et critique littéraire. - Membre de la Société polymathique du Morbihan. - Docteur en droit (Paris, 1961)Principales publications : Laforgue en son temps (1972), Correspondance d'Auguste Brizeux (1989), édition des ?uvres complètes de Laforgue (en collaboration). La Justice révolutionnaire dans le Morbihan, 1790-1795; La correspondance de Saint-Pol-RouxOCLC: 73 works in 202 publications in 2 languages and 1,232 library holdings.…

In-4, 83pp., un des exemplaires numerotes sur velin bibliophile, complet de son feuillet d' errata, quelques marques d' usage au dos, B62, publication dediee a Elsa Triolet, contient le poeme: Front Rouge.

Tschechische 5-bändige Gesamtausgabe seiner Werke SPISY LOUISE ARAGONA 1) Basilejske Zvony 2) Karneval Zivota 3) Cestujici z imperialu, 4) Aurelian 5) Parizsky venkovan, Anicet Neboli Panorama Praha (Prag) 1960 - 1964, alle gleich gebunden in blaues Oln. mit Schutzumschlägen, gut erhalten - Band I und Band III von Louis Aragon eigenhändig signiert.…

4to. 1/2 p. A personal and moving letter written during the Second World War. Addressing the literary critic and writer André Rousseaux, Aragon apologizes for not having written sooner, explaining that he has just received distressing news requiring him to travel urgently to Nice: "Ma mère est très malade, au diable le cancer" ("My mother is very ill, damn cancer").He informs Rousseaux that he expects to arrive in Nice on Saturday, 28 February, but cautions that the exact timing remains uncertain. He therefore asks his correspondent not to rely on him before Sunday, 1 March, expressing the hope that this arrangement will fit Rousseaux's schedule.A poignant and unusually intimate note, revealing Aragon not as the celebrated poet, novelist, and leading figure of French Surrealism, but as a concerned son confronted with his mother's grave illness. The letter conveys both urgency and warmth, closing with cordial greetings and a characteristic simplicity of expression.…

Condizione: Near Fine. Limited Edition. THE EMBOSSED TYPOGRAPHY OF THE RESISTANCE PRESS HE SURREALIST TRANSFORMED INTO A WITNESS OF WAR. A primary artifact of the French literary Resistance, this copy is the premiere example (No. 1 of 25) of the special issue on Papier Alfa. Composed during the German occupation, Aragon's poem is a harrowing and defiant invocation of national identity, notable for its early and direct naming of the deportations and Auschwitz. Published by the Éditions F.T.P.F.-an imprint of the armed Resistance-this pamphlet was produced under the semi-clandestine conditions of the Liberation era. The title typography is executed in a distinctive tactile relief, reflecting the urgent and irregular printing constraints of wartime France. CONDITION: Near Fine -- An exceptional survival for such a fragile pamphlet. The octavo is tight and square with a clean text block showing only light, even age-toning. A small chip is noted at the lower edge of the rear wrap, and a faint pencil notation appears at the lower corner of the final page. The original glassine wrapper is present and well-preserved, having been stored separately to protect the tactile embossed title. SCHOLARLY INFLUENCES: +++ The Witness of Auschwitz: Composed during the German occupation, Aragon's poem is notable for its early and direct naming of the deportations and the camps. It represents a critical juncture where Surrealist poetry transformed into political testimony. +++ Tactile Typography: The title is executed in a distinctive tactile relief, reflecting the urgent and irregular printing constraints of wartime France. This 'raised printing' is a physical fingerprint of clandestine production. +++ The No. 1 Specimen: As the first copy of the most limited state, this specimen was likely intended for a high-ranking member of the Resistance or a central figure in Aragon's immediate Surrealist circle. +++ Author: Louis Aragon was the leading poetic voice of the clandestine Resistance. Je vous salue, ma France was written as the "Chant National" for the Liberation. Bibliographic Scarcity: While major institutions hold the standard issue, this tirage de tête of 25 copies is effectively unrecorded in major bibliographical databases. It represents a foundational acquisition for any archive specializing in WWII, Clandestine Imprints, or French Modernism. +++ While OCLC records 7 institutional holdings for the standard issue, none specify this limited 25-copy state. KEY FEATURES +++ Limitation: Copy No. 1 of only 25 numbered copies on Papier Alfa. +++ Visuals: Unique embossed and tactile title typography; raised printing visible on recto. +++ Imprint: Éditions F.T.P.F. (affiliated with the Forces Françaises de l'Intérieur). +++ Historical: Direct references to the Resistance, imprisonment, and Auschwitz. +++ Specs: In-8°, 8 unnumbered pages; 21 cm. HISTORICAL SIGNIFICANCE -- Louis Aragon was the leading poetic voice of the clandestine Resistance. Je vous salue, ma France was written as the 'Chant National' for the Liberation. This specific printing by the F.T.P.F. (the armed wing of the Communist Resistance) highlights the intersection of political militancy and high-art production. As Copy No. 1, this specimen was likely intended for a high-ranking member of the Resistance or a central figure in the Surrealist/Communist circle. SUBJECTS: Aragon, Louis, France,History - German occupation, 1940-1945; World War II, Literature and the war, French Resistance, Imprints, Clandestine publishing, France, Poetry, Resistance Literature, Wartime Printing, French Modernism. BIBLIOGRAPHIC REFERENCE: FRBNF31726841 (standard issue).…