Cassell anthony k (62 risultati)

Hardcover. Condizione: Good. No Jacket. Black titles and illustration on gray cloth covers, 186 including index plus 22 pages of plates and 14 pages of introductory material.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Includes dust jacket.

Hardcover. Condizione: Good. Includes dust jacket. Book & dust jacket show some shelf & handling wear, including minor edge wear and scuffing on the dust jacket. Pages are slightly worn & foxing. Interiors are intact with unmarked text/pictures. Good reading copy.

Condizione: Good. 1 Edition. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.…

Hardcover. Condizione: Near Fine. 1st Edition. Near fine copy in hardcover, no jacket. Name on endpaper.

Condizione: Good. . good. All orders guaranteed and ship within 24 hours. Before placing your order for please contact us for confirmation on the book's binding. Check out our other listings to add to your order for discounted shipping.

Condizione: Good. annotated edition. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.…

Condizione: Very Good. 1975. hardcover. Good clean copy with minor shelf wear. DJ has some minor nicks and tears, remains very good. . . . . Books ship from the US and Ireland.

Condizione: Very good. No jacket. Revised edition. Cover is lightly rubbed, but text and images are clear and bright. Binding is tight. Inside is clean and unmarked.

Condizione: Very Good. 1975. hardcover. Good clean copy with minor shelf wear. DJ has some minor nicks and tears, remains very good. . . . .

Hardcover. Condizione: Very Good. 1st edition. navy blue cloth, 1st ed. (1989), 249 pages, NO DJ. Owners name stamped on edges & endpaper; text unmarked. Dante Alighieri.

Hardcover. Condizione: Very Good. No Jacket. xxxi, 249 pages. Series: Lectura Dantis Americana. This is a sound copy in the publisher's cloth-covered boards. The binding is sturdy, its corners sharp, its gold-stamped lettering clear; the contents are unmarked and attractive. 560 grams.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condizione: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condizione: New. Dante's Fearful Art of Justice deals primarily with the symbolic significance of 'the state of souls after death' in various episodes of the Inferno, the first canticle of Dante's Divina Commedia. The fruitlessness of the Auerbach-Singleton approach to the poem is demonstrated by Professor Cassell's investigations, which are based on the belief that Dante used both the theological system of fourfold allegory and the preconfiguration-fulfilment pattern of history found in the Old and New Testaments.  The author first deals with the history of contrapassum, 'just retribution,' as it appeared in philosophy and theology, and describes Dante's use of historical and artistic figuration, both classical and Christian. It is central to Cassell's aim to show how Dante believed that his portrayal of the damned revealed the justice of God. Critics have believed that the relation of sin to the suffering of the shades in Hell was tenuous or even arbitrary in many cases. Cassell shows, through a close examination of Dante's assimilation of the Classics (and their medieval interpretations), or patristics, and of traditional iconography, that there is an intimate metaphorical and artistic aptness in the poet's representation. Cassell relies at some points on art history, and thirty-four illustrations of frescoes, statuary, and illuminations from paleo-Christian times to the fourteenth century are therefore included. This volume will be of particular interest to medieval specialists, historians of the Renaissance and Reformation periods, and those concerned with European literature.…

Paperback / softback. Condizione: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condizione: Fine. Condizione sovraccoperta: Near Fine. 8vo. Quarter brown cloth, grey cloth boards. xxvii, 194 pp. B&W frontis. One small stain to outer margin of p. xi, else fine and clean. Dust jacket is price clipped, sunned at spine, bumped at top edges. In 1631 the Spanish Church placed it on the Index. So greatly did its ribaldry offend the nineteenth-century historian John Addington Symonds that he deplored it as a "profoundly disgusting composition, odious and profligate." Others have found it delightful. The Corbaccio has long puzzled scholars. Its extreme misogynistic bias, its bewildering inconsistencies in moral outlook, and its unevennes of tone and style have led to two divergent schools of thought concerning its intent: one views it as an allegorical and edifying tale, while the other maintains that it is purely autobiographical. Cassell shines light on many of the issues involved in these two approaches, pointing out its structural, stylistic, and linguistic conventions of broad literary traditions as well as the work's similarities to Boccaccio's other writings.…

Binding sound, text unmarked. Condizione: Very Good. Condizione sovraccoperta: Good+. Dustwrapper slightly edge worn and slightly faded on spine but unclipped. Robust packaging. Tracking is always added to USA orders. It can be added to other overseas orders on request. Used books are exempt from USA tariffs. 1st edition. No ownership marks. Size: xvi, 260pp. No ownership marks.…

Hb in Dw xvi,259pp A Vg/Vg copy.

Paperback. Condizione: Brand New. reprint edition. 186 pages. 8.75x6.00x0.75 inches. In Stock.

Binding sound, text unmarked. Condizione: Fine. Near Fine. Dustwrapper unfaded and unclipped. Robust packaging. Tracking is always added to USA orders. It can be added to other overseas orders on request. Used books are exempt from USA tariffs. 1st edition. No ownership marks. Binding sound, text unmarked. Size: xvi, 260pp. No ownership marks.…

Hardcover. Condizione: Good. 1991 University of Pennsylvania Press hardcover some reading wear else good condition.

First Edition. Near fine cloth copy in a near-fine, very slightly edge-nicked and dust-dulled dust-wrapper. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical Description: xvi, 255 pages : illustrations ; 24 cm. Subjects: Boccaccio, Giovanni 1313-1375. Caccia di Diana; Caccia di Diana (Boccaccio, Giovanni); Civilization, Medieval, in literature. 1 Kg.…

First Edition. Near fine cloth copy in a near-fine, very slightly edge-nicked and dust-dulled dust-wrapper. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical Description: xvi, 255 pages : illustrations ; 24 cm. Subjects: Boccaccio, Giovanni 1313-1375. Caccia di Diana; Caccia di Diana (Boccaccio, Giovanni); Civilization, Medieval, in literature. 1 Kg.…

Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. First Edition. First Printing. A Fine, clean copy in sturdy light green cloth, in a Fine green dustwrapper. 255pp. with Index. Bi-lingual text with considerable scholarly materials. Q12792.

Original cloth. Condizione: Sehr gut. 249 / 144 p. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - In very good condition. - Sehr gut und sauber. - Foreword: Ever since the mid-nineteenth century Dante's American presence has been an imposing one. Among the great foreign writers, perhaps only Shakespeare has affected the course of American literary life as deeply as he. And if one restricts the field to those whose work has had to rely on translation to reach its widest audience, it seems clear that Dante is second not even to Homer and Virgil among the ancients, and certainly not to Cervantes and Goethe among the moderns. Perhaps because we, like the French in this, possess no single generally acknowledged national literary figure, we have tended to look beyond our shores for literary stars of the first magnitude. Whatever the cause, the rediscovery of Dante in the nineteenth century has had profound effect on American intellectual life, both within the academy and in the larger world. Longfellow (whose translation, completed in 1867, was to be a major force in the revival of American interest in Dante), Lowell, Norton, and their friends in Cambridge helped to put the Commedia into the hands of many professors, students, men and women of letters, and "common readers." The founding of the Dante Society of America in 1881 offered confirming evidence of a widening interest in the great poet. Harvard, Dante's most significant early academic home in America, continued in that role (one thinks of the presence of Santayana and Grandgent at the turn of the century); it was also in New England that Dante's influence had first exercised its power on a major American writer, Hawthorne, extending eventually to Eliot and Pound. It is not my purpose to tell again an already familiar tale.* Suffice it to say that the Commedia became a text that almost every American intellectual felt called upon to confront. "Il nostro poeta" the Italians rightly call Dante. He has become ours, too. The Dante beloved of Americans was, indeed, largely indistinguishable from the towering Italian figure, at least if one inspects his first academic incarnation. American scholarship reflected basic intuitions and critical procedures developed across the water, in Italy as well as in England (where among the greater names were those of Moore and Toynbee). "Dantismo americano," a phrase some Italians currently use to designate a critical approach which seems to some of them new, radical, and controversial, is a recent phenomenon. It traces its origin to the work of Charles S. Singleton, which began to appear shortly after the conclusion of the Second World War. Singleton's essential contribution was to present the procedures of poetic signification in the Commedia as deriving from what Dante himself called "the allegory of the theologians." This development was not as utterly revolutionary as Singleton himself apparently believed. He had precursors, distant (e.g., Filippo Villani) and nearer to hand (most significantly, Erich Auerbach). But it remains true that Singleton's focusing of the debate over Dante's mode of meaning became crucial in the self-definition of the next generation of American Dantisti, whether they welcomed or decried the positions taken by Singleton. And there seems to be little reason to believe that the immediate future will witness any significant movement away from a criticism grounded in concerns issuing from this vision of the poem's central mode of signifying. ISBN 9780812281767 Sprache: Englisch Gewicht in Gramm: 540.…

Condizione: As New. Unread book in perfect condition.

Taschenbuch. Condizione: Neu. Neuware - Dante's Fearful Art of Justice deals primarily with the symbolic significance of 'the state of souls after death' in various episodes of the Inferno, the first canticle of Dante's Divina Commedia. The fruitlessness of the Auerbach-Singleton approach to the poem is demonstrated by Professor Cassell's investigations, which are based on the belief that Dante used both the theological system of fourfold allegory and the preconfiguration-fulfilment pattern of history found in the Old and New Testaments. The author first deals with the history of contrapassum, 'just retribution,' as it appeared in philosophy and theology, and describes Dante's use of historical and artistic figuration, both classical and Christian. It is central to Cassell's aim to show how Dante believed that his portrayal of the damned revealed the justice of God. Critics have believed that the relation of sin to the suffering of the shades in Hell was tenuous or even arbitrary in many cases. Cassell shows, through a close examination of Dante's assimilation of the Classics (and their medieval interpretations), or patristics, and of traditional iconography, that there is an intimate metaphorical and artistic aptness in the poet's representation. Cassell relies at some points on art history, and thirty-four illustrations of frescoes, statuary, and illuminations from paleo-Christian times to the fourteenth century are therefore included. This volume will be of particular interest to medieval specialists, historians of the Renaissance and Reformation periods, and those concerned with European literature.…

Condizione: New.