Bayley edgar (31 Ergebnisse)

Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

softcover. Zustand: Fine copy. 1st. 8vo, 86 pp., Translated by Emily Toder.

Zustand: New.

Zustand: Très bon. Ancien livre de bibliothèque avec équipements. Couverture différente. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Different cover. Ammareal gives back up to 15% of this item's net price to charity organizations. …

Soft cover. Zustand: Near Fine. 1st Edition. Buenos Aires & Barcelona, Editorial Argonauta, 1983. 1ra edición. 15,5 x 22,5 cm, 57 pp. Impreso en los talleres de El Archibrazo. Sobrecubierta, tapas e interior en muy buen estado. The Book Cellar & Henschel.

Zustand: New.

Zustand: New. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.

Zustand: As New. Unread book in perfect condition.

Zustand: New. Idioma/Language: Español. Es infinita esta riqueza abandonada reúne la poesía completa de Edgar Bayley, una de las voces más representativas e influyentes de la literatura argentina del siglo xx. Un legado poético sin precedentes donde el tono sereno e intimista del autor se combina de manera sublime con su rigor reflexivo para huir de todas las modas y convenciones literarias de su tiempo. Adentrarse en la poesía de Bayley implica un periplo catártico: re-crear el mundo a través de la mirada virgen del poeta, abrazar la comprensión súbita y el goce estético, intercambiar con el mundo señales a la intemperie. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.…

Zustand: Nuevo. Reúne la poesía completa de Edgar Bayley (Buenos Aires, 1919-1990). 424 pages.

Zustand: Nuevo. Es infinita esta riqueza abandonada reúne la poesía completa de Edgar Bayley, una de las voces más representativas e influyentes de la literatura argentina del siglo xx. Un legado poético sin precedentes donde el tono sereno e intimista del autor se combina de manera sublime con su rigor reflexivo para huir de todas las modas y convenciones literarias de su tiempo. Adentrarse en la poesía de Bayley implica un periplo catártico: re-crear el mundo a través de la mirada virgen del poeta, abrazar la comprensión súbita y el goce estético, intercambiar con el mundo señales a la intemperie.…

Tapa blanda. Zustand: New. Es infinita esta riqueza abandonada reúne la poesía completa de Edgar Bayley, una de las voces más representativas e influyentes de la literatura argentina del siglo xx. Un legado poético sin precedentes donde el tono sereno e intimista del autor se combina de manera sublime con su rigor reflexivo para huir de todas las modas y convenciones literarias de su tiempo. Adentrarse en la poesía de Bayley implica un periplo catártico: re-crear el mundo a través de la mirada virgen del poeta, abrazar la comprensión súbita y el goce estético, intercambiar con el mundo señales a la intemperie.…

tapa blanda. Zustand: Bien. Civilización, progreso y cultura.(008) Revista de Occidente. Madrid. 1989. 20 cm. Encuadernación en tapa blanda de editorial. Cubierta deslucida. (=3513455=) JJ21.

Encuadernación de tapa blanda. Zustand: Bien. Por los mares encantados. Bayley; Crawford; Dunsany; Hodson; Poe. Abraxas, 2004. Barrington Bayley; Marion Crawford; Allan Cunningham; Lord Dunsany; William Hope Hodgson; Edgar Allan Poe; Marcel Schwob. Ediciones Abraxas, Narrativas del Mar, 2004. Tapa blanda. 450 gramos. VER TODAS LAS FOTOS.…

Encuadernación de tapa blanda. Zustand: Nuevo. 1� Edición. 275 p.

Taschenbuch. Zustand: Neu. Neuware.

paperback. Zustand: New. In shrink wrap. Looks like an interesting title.

Zustand: New.

94 p 18 cm Encuadernación editorial en rústica. Estado de conservación: Bien.

Taschenbuch. Zustand: Neu. Neuware - Es infinita esta riqueza abandonada reúne la poesía completa de Edgar Bayley, una de las voces más representativas e influyentes de la literatura argentina del siglo xx. Un legado poético sin precedentes donde el tono sereno e intimista del autor se combina de manera sublime con su rigor reflexivo para huir de todas las modas y convenciones literarias de su tiempo. Adentrarse en la poesía de Bayley implica un periplo catártico: re-crear el mundo a través de la mirada virgen del poeta, abrazar la comprensión súbita y el goce estético, intercambiar con el mundo señales a la intemperie.…

Encuadernación de tapa blanda. Zustand: Bueno. 1ª Edición. Buenos Aires. Editorial Zona. 1965. 154p. 3h. Rústica con solapas. Ordenada por: César Fernández Moreno, Noé Jitrik y Francisco Urondo. Primera edición. Buen estado.

Zustand: New. Zustand des Schutzumschlags: Nuevo.

Zustand: New. Zustand des Schutzumschlags: Nuevo.

Traduction et sélection de Laurence Gueguen. Buenos Aires : Editions du Centre Culturel Argentin, 1983. Un volume broché (21x12 cm), 110 pages. Introduction par César Fernandez Moreno. Edition bilingue. Bon état. Livres.

Encuadernación de tapa blanda. Zustand: Bueno. N° 1, 2, 3 , 4/5, 6/7, 9/10, 11, 12/13. 1968-1972. Directores: Juan Carlos Martini y Alberto Vanasco. Rústica. Colección casi completa, sólo faltándole el N° 8. Entre sus colaboradores encontramos a Raúl Gustavo Aguirre, Carlos Astrada, Manuel Bandeira, Edgar Bayley, Antonio Berni, Juana Bignozzi, Haroldo Conti, Julio Cortázar, Marco Denevi, Carlos Drummond de Andrade, Juan Gelman, Raúl González Tuñón, José Agustín Goytisolo, Liliana Heker, Jorge Lafforgue, Francisco Madariaga, Juan José Manauta, Leopoldo Marechal, Enrique Molina, Pablo Neruda, Juan Carlos Onetti, Pedro Orgambide, Olga Orozco, Aldo Pellegrini, Augusto Roa Bastos, Elvio Romero, Hermenegildo Sábat, Dalmiro Sáenz, Francisco Urondo y Bernardo Verbitsky entre otros. Buen estado. …

Encuadernación de tapa blanda. Zustand: Muy bien. In-8. #1 Jul/Aug 1960 (All published). Wrappers. Collaborators : Enrique Molina, Andrés Coyné, Aldo Pellegrini, Octavio Paz, Francisco Madariaga, Julio Llinás,Edgar Bayley, Alberto Girri, Juan Antonio Vasco, Carlos Latorre, Mario Satz, Leopoldo José Bartolomé, Rodolfo Alonso, Alberto Vanasco, Raúl Gustavo Aguirre. Translations by : Denis Roche, Robert Benayoun, Jean-Jacques Lebel, André Breton y Wallace Stevens, Among others. Provenzano 303. W33.…

Encuadernación de tapa blanda. Zustand: Muy bien. In-4. #1 Jul 1963 - #4 Nov 1964. (Lacks #2). Wrappers. Collaborators : Octavio Paz, Enrique Molina, Enrique Lihn, Francisco Madariaga, Noe Jitrik, Francisco "Paco" Urondo, Alberto Girri, Enrique Molina, Alberto Vanasco, Oliverio Girondo, Albero Lores, Among others. Noe Jitrik tells us about the Magazine: It was César Fernández Moreno who had the idea of ??making a poetry magazine. During his life as a lawyer had not stopped writing, a parental mandate had led him to that, but suddenly he felt something like the revelation of boredom, even with regard to his poetry preceding. From the contact with Brascó, in his own studio, but then with the bubbling porteño poetic of those years (Trejo, Vanasco, Urondo, Bayley, Madariaga, Vasco) was discovered "conversational"; poems like "Airports" date back then, "Argentine until death" and many others. His idea, or proposal, also supported by the strong ties of affection that bound everyone those poets, was quickly picked up, in particular by Urondo and myself (who was in Córdoba), as well as by Vanasco and Bayley, although not necessarily around a poetic program since each one went their own way; one could be a poet of "experience" but also inherited-surreal, as well as that each one conserved, without the need for announce it, his own poetics but we all agreed that we should organize each number from proposals. But above all, everyone believed in poetry in their own way. Tarcus p61. F1.…

Encuadernación de tapa blanda. Zustand: Bueno. Editor: Fluvio Milano. Verano 1972-1973. 31p. Rústica. Ilustrada con fotografías de Carlos Jaimes extraidas del libro de Otto Klein "La cerámica Mochica". Colaboraciones de: Antonio Pagés Larraya, Edgar Bayley, Rodolfo Godino, Tomás Guido Lavalle, Ängel Leiva, Fluvio Milano, Roberto Sánchez, Alejandra Pizarnik, Ezra Pound. Buen estado.…

Encuadernación de tapa blanda. Zustand: Muy bueno. 1ª Edición. 4to [28.5 x 20 cm (11.2 x 7.9 in)]. #1, August 1946. Original wrappers. Complete with the rare loose supplement "Suplemento Poesía". Inaugural issue of this decisive publication for the Argentine Constructivist avant-garde, the official organ of the Asociación Arte Concreto-Invención, which emerged in 1945 following the split from the Arturo magazine group and the separation from the Madí movement. The group, which held a seminal exhibition at the home of photographer Grete Stern shortly before this release, sought to transform the modern man's environment by integrating visual arts, architecture, and design. This volume constitutes a fundamental historical document, featuring on page 8 the famous "Manifiesto Invencionista" a text echoing the Communist Manifesto which decrees the end of the "artistic era of representative fiction" and declares the closure of "the prehistory of the human spirit" in favor of a scientific aesthetic based on pure invention and objectivity, rejecting both Symbolism and Surrealism. The concept of "invention" driving the group stems from dialectical materialist categories, proposing the concrete as a stage surpassing both figuration and illusionist abstraction. The contents gather theoretical and polemical collaborations from central figures such as Tomás Maldonado, Manuel Espinoza, Juan Melé, Juan Alberto Molemberg, Primaldo Mónaco, and Oscar Núñez, alongside reproductions of the group's works. This copy preserves the bibliographical rarity of the "Suplemento Poesía," a dedicated supplement on poetic invention edited by Simón Contreras and Edgar Bayley, aligning the written word with the movement's rigorous anti-abstract stance. A piece of extreme scarcity the magazine had an ephemeral life of only two issues and was originally sold for one national peso vital for understanding the renewal of visual arts in Latin America and held in collections such as that of CeDInCI. Washington Pereyra T4,p196, Provenzano (described but not quoted), Tarcus p36. D4.…

Encuadernación de tapa blanda. Zustand: Muy bien. In-4 & In-8. #1 Spring 1950 - #30 Spring 1960. (Complete set with the rare index). Wrappers. Collaborators: Mario Trejo, Natalio Hocsman, Nicolas Espiro, Wolf Roitman, Omar Ruben Aracama, Daniel Giribaldi, Rodolfo Alonso, Jorge Carrol, Alberto Vanasco, Francisco Urondo, Osmar L. Bondoni, Ruben Vela, Ramiro de Casasbellas, Santiago Bullrich, Leonidas Lamborghini, Hugo Gola, Flora Alejandra Pizarnik, Osvaldo Elliff, Elizabeth Azcona Cranwell, Luis Yadarola, Susana Morla, Francisco Madariaga, Rene Palacios More, Franco Mogni, Elba Ethel Alcaraz, Clara Fernandez Moreno, Raquel Colombres, Migual Brasco, Fernando Birri, Among others. One of the most important poetry magazines in South America, a magazine that would define with precision the elements of a poetic renewal. The first issue of Poesía Buenos Aires was assisted by two figures from the previous generation, Edgar Bayley and Juan Carlos Aráoz de La Madrid. The first of the aforementioned would be, from this moment on, the most conspicuous guide of a mature attitude whose preaching had been clearly exercised in a good part of the young people. He would share, at a certain stage of the magazine, the direction of the same with Aguirre. Unlike many publications of this nature, Poesía Buenos Aires burst forth with a pre-formed conscience in which a new kind of rigor prevails over any intellectual formula. That rigor, or will to exercise the function of poetry, has been maintained on the basis of living in such a naked way, so free from the sumptuousness of language, that it could be said, by way of definition, that Poesía Buenos Aires has been a long, uninterrupted meditation on the poet as a paradigm of full living. The effort of Raúl Gustavo Aguirre and those who have achieved this form of encounter with him has resided, above all, in a kind of sagacity for the constant rejection of unworthy materials. If all Poetics supposes laws that can be transmuted or obsolete, poetry, on the other hand, survives to the extent that a lucid vigilance preserves it from adventitious nourishment. At a time when poetry seems to lend itself more than ever to intelligent falsifications, perhaps it is necessary to recover the dialogue with those who lived in it in an unequivocal, unconditional way, Aguirre himself has said. Hence the centres of influence, the affinities, the approaches to other individuals distinct from those whose presence had an effect on the preceding generation. Huidobro, Apollinaire, César Vallejo, René Char, Drumond de Andrade do not mean in this group of young people the mere affiliation with fundamental avant-garde voices, but their repeated reference and adhesion appear as a natural integration into the cultural process of our time. That is why their tone inaugurates a trend, which is new in that the instruments of poetic language that served the previous generation are no longer valid in them. It is possible, on the other hand, that in turn without knowing it they feed their own rhetoric. The truth and this is what is important to record is that ten years of militancy without transgressions of certain postulates, allow us to judge and qualify a work of authentic creation. Let us also point out that there are deliveries of Poesía Buenos Aires that today have an anthological or documentary value of primary importance for the knowledge of the literature of these days. We refer the reader to numbers 3 (The fronts of French poetry: Paul Eluard, René Char, Tristán Tzara, Henri Michaux); 4 (The fronts of American poetry: Huidobro, Vallejo, Neruda); 6 and 7 (Internal reality and function of poetry); 11-12 (dedicated to René Char); 13-14 (Poets of today, Buenos Aires 1953). Provenzano 229, Washington Pereyra T5,p218. W34.…