Gordon rae beth (79 risultati)

Paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Soft cover. Condizione: Near Fine. Softcover 2002 edition. Text and covers in near fine condition. Binding firm. Page unmarked and clean. (274 pages) Size: 8vo - over 7¾" - 9¾" tall. Book.

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.

hardcover. Condizione: Very Good. Light shelfwear. Dust jacket in protective sleeve. Text is pristine throughout with no writing or markings of any kind.

Hardcover. Bottom edge of front cover sun-faded; otherwise very good condition in very good dust jacket. ]. 288p. Illus.

Paperback. Presentation copy: "and to a very good friend who passes through and whose passages are always so much a pleasure - with a great deal of affection, and respect for your work - Rae Beth Gordon 7 June 2002" Very minor bumped corner & slight stain on fore-edge of text, else very good, clean and sound condition with bright cover.…

Condizione: New.

Softcover, 274 pages; as new condition; clean and crisp; no internal marks.

Condizione: New.

Paperback. Condizione: Good. 2025 junefiled in biossmall crease on cover.

Paperback. Condizione: New. Vividly bringing to light the tradition of physical comedy in the French cabaret, café-concert, and early French film comedy, this book answers the perplexing question, "Why do the French love Jerry Lewis?" The extraordinary emphasis on nervous pathology in the Parisian café-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included "Man with a Tic" and "I'm Neurasthenic," points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. Early French film comedy carried on this tradition of frenetic gesture and gait, as most film performers came from these entertainments and from the circus. Even before Chaplin's films triumphed in France, film comics were instantly recognizable from their pathological gait, just as Jacques Tati would be a half-century later. Comedy, a genre that dominated French cinema until World War I, has often been linked to a mass public for film; the author elucidates this link by proposing a broadly generalized cultural-medical phenomenon as the explanation for the dominance of the comic genre. Comic performance style drew from a group of nervous disorders characterized by the psychological automatism emanating from the "lower faculties": nervous reflex, motor impulses, sensation, and instinct. Building on her previous work on hysteria, the cabaret, and pathologies of movement in the films of Georges Méliès, and drawing on over 400 French films made between 1896 and 1915, the author contributes to a new theory of spectatorship at work in the cabaret, in shows of magnetizers, and in early French film comedy. Jerry Lewis touches a nerve in French cultural memory because, more than any other film comic, he incarnates this tradition of performance style.…

Condizione: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Condizione: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.…

Soft cover. Condizione: As New. 1st Edition. 8vo. xix, 274 pp. Illustrated with B & W photographs. Original stiff pictorial brown wrappers. This is a tight, fine book.

hardcover. Condizione: Very Good. First Edition. Slight rubbing to dust wrapper, no fading or tears. Not price clipped, no inscriptions noted, illustrated. Bright and clean internally with very little wear.

Condizione: good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.…

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

Hardcover. Condizione: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

Condizione: New.

Condizione: new.

Hardcover. Condizione: Near Fine. Condizione sovraccoperta: Near Fine. 1st Edition. First Edition. Large 8vo, Hardback with Unclipped Dust Jacket. An excellent near fine copy in likewise jacket. Extra postage may apply for overseas orders. All books are posted in a sturdy book box.

Condizione: New. Bringing to light the tradition of physical comedy in the French cabaret, cafe-concert, and early French film comedy, this book answers the perplexing question, Why do the French love Jerry Lewis? Num Pages: 296 pages, Illustrations. BIC Classification: APB; APF. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 5817 x 3887 x 17. Weight in Grams: 404. . 2001. Paperback. . . . . …

Condizione: New. In English.

Paperback. Condizione: Brand New. 1st edition. 274 pages. 9.75x6.25x0.75 inches. In Stock.

Condizione: New. Bringing to light the tradition of physical comedy in the French cabaret, cafe-concert, and early French film comedy, this book answers the perplexing question, Why do the French love Jerry Lewis? Num Pages: 296 pages, Illustrations. BIC Classification: APB; APF. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 5817 x 3887 x 17. Weight in Grams: 404. . 2001. Paperback. . . . . Books ship from the US and Ireland. …

Hardcover. Condizione: Fine in Fine dust jacket. First edition. 24 x 16 cm. Octavo. 288pp. Grey cloth in dust jacket.

Condizione: New. Satisfaction Guaranteed or your money back.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Paperback. Condizione: New. Vividly bringing to light the tradition of physical comedy in the French cabaret, café-concert, and early French film comedy, this book answers the perplexing question, "Why do the French love Jerry Lewis?" The extraordinary emphasis on nervous pathology in the Parisian café-concert, where the genres of the Epileptic Singer and the Idiot Comic took center stage, and where popular comic monologues and songs included "Man with a Tic" and "I'm Neurasthenic," points to a fascinating intersection between medicine and popular culture. The French tradition of comic performance style between 1870 and 1910 nearly exactly duplicates the movements, gestures, tics, grimaces, and speech anomalies found in nineteenth-century hysteria; the characteristics of hysteria became a new aesthetics. Early French film comedy carried on this tradition of frenetic gesture and gait, as most film performers came from these entertainments and from the circus. Even before Chaplin's films triumphed in France, film comics were instantly recognizable from their pathological gait, just as Jacques Tati would be a half-century later. Comedy, a genre that dominated French cinema until World War I, has often been linked to a mass public for film; the author elucidates this link by proposing a broadly generalized cultural-medical phenomenon as the explanation for the dominance of the comic genre. Comic performance style drew from a group of nervous disorders characterized by the psychological automatism emanating from the "lower faculties": nervous reflex, motor impulses, sensation, and instinct. Building on her previous work on hysteria, the cabaret, and pathologies of movement in the films of Georges Méliès, and drawing on over 400 French films made between 1896 and 1915, the author contributes to a new theory of spectatorship at work in the cabaret, in shows of magnetizers, and in early French film comedy. Jerry Lewis touches a nerve in French cultural memory because, more than any other film comic, he incarnates this tradition of performance style.…