boris eikhenbaum (22 Ergebnisse)

Paperback. Zustand: Fair. No Jacket. Former library book; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Bon. Ancien livre de bibliothèque avec équipements. Couverture différente. Edition 2004. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Different cover. Edition 2004. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

301 S., Originalbroschur (publisher's paper covers), gutes Exemplar (fine), (Nachdruck der Ausgabe/Reprint of the edition Leningrad 1926), Sprache: russisch.

Softcover. Zustand: Bon. Ancien livre de bibliothèque avec équipements. Edition 1996. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Edition 1996. Ammareal gives back up to 15% of this item's net price to charity organizations.

Soft cover. 8vo. pp 27. Original publisher's teal wraps, lettered black on front cover. Russian Titles for the Specialist, No. 199. Text in Russian (Cyrillic). Originally published in St. Petersburg, 1921. Very good plus.

Madrid, Alberto Corazón, Colecc. Comunicación Serie B, núm. 3, 1970. Traducc. Agustín García Tirado y Juan Antonio Méndez. 18x11 cm. 160 p. Rústica. Incluye textos procedentes de Eikhenbaum (Teoría del método formal), Chklovski (El arte como procedimiento), Tinianov (Sobre la composición del Eugeni Onegin). Firma y sellos antiguo poseedor. Buen estado. 1ª edición. (Ref. N. 309-A).

Madrid, Alberto Corazón, Colecc. Comunicación Serie B, núm. 3, 1970. Traducc. Agustín García Tirado y Juan Antonio Méndez. 18x11 cm. 160 p. Rústica. Incluye textos procedentes de Eikhenbaum (Teoría del método formal), Chklovski (El arte como procedimiento), Tinianov (Sobre la composición del Eugeni Onegin). Buen estado. 1ª edición español. (Ref. N. 203-P).

Hardcover. Zustand: Good. |Photomechanical facsimile of the 1926, Leningrad, edition. 261 pages. Publisher's blue cloth binding is tight. Moderate university ex-library stamps, very clean and unmarked text pages. In sound and unworn binding. Russian language only text.

Zustand: New.

Hardback. Nachdruck der Ausgabe Leningrad 1928/31. Slavische Propylaen Bd. 54. 416, 424pp Munich 1968. * In Russian>. Very good ex-library copy.

Paperback. A Study in Literary-Historical Evaluation. 190pp card covers, Ann Arbor 1981. Very good.

Hardback. Semidesyatye gody. 296pp Leningrad 1960. Very good.

Zustand: New.

Taschenbuch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.

18.5 x 13cm. Two editions, paperback and hardcover, both 279pp. First editions, both published in 1924. Text in Russian. The hardcover edition is less commonly seen. Both the paperback and hardcover have identical content. Pages lightly toned. The hardcover is in paper-covered boards, and has some damage to backstrip with lower edge partially split, and some loss of paper to top of spine. Boris Eikhenbaum (1886-1959) was a key figure in Russian Formalism - an essentially modernist movement focusing on literary form - and a central member of the OPOJAZ group of linguists and literary critics in St. Petersburg founded in 1916 and dissolved by the early 1930s. Eikhenbaum was also a biographer of Leo Tolstoy. This collection includes articles on Derzhavin, Karamzin, Tiutchev's letters, Tolstoy, Schiller's tragedies, Pushkin's poetics, Gogol's Overcoat, M. Kuzmin's prose, Nekrasov, Blok's fate as well as 'Tragedy and the tragic', 'The illusion of the tale', 'On sound in poetry', and 'Melodics in poetry. Fragile publications. [stockref: 019].

Soft cover. Zustand: Good. Original paper, rebound in boards. 156 pp. First edition of Eykhenbaum s celebrated first study of Tolstoy.

Hardcover. Zustand: g to vg. Folio. 137 (5)pp. Original decorative cloth with brown debossed illustration and lettering on cover, brown lettering on spine, protected by modern mylar. Beveled edges. Illustrated half-title. Frontispiece. Classic Russian tales by Gogol offering gloomy, bleak short stories about St. Petersburg. Gogol describes a physically tangible St. Petersburg with logical topographical indications of existing locations on one hand, and an imaginary world in the fashion of "fantastic realism" on the other. The three stories "Nevsky Prospect", "Nose", and "The Overcoat" are illustrated with 15 b/w offset reproductions (plus frontispiece) of "fantastic" drawings by the Jewish, Soviet and Russian avant-garde artist Nathan Altman, most of them full page. Altman is known for his Cubist paintings, his stage designs (Habimah Theatre and the Jewish State Theatre in Moscow), and book illustrations. Text in Russian. Binding with some wear at upper right corner and head and tail of spine, light fraying, rubbed and few small stains on front, light soiling on back cover. Light foxing of free endpaper, half-title and title page, few minor blue spots on inside front cover. Some age toning of block and blue, stamped number, 357, on back free endpaper. Binding in overall good, interior in good+ to very good condition.

Buch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.

Hardback. 416 & 424pp (Leningrad 1928-31) (Slavische Propylaeen Bd. 54). Reprinted 2 vols. in 1. Munich 1968.

Hardcover. Zustand: Near Fine. First Edition Thus. 138, (Iii) Pp. Brown Patterned Cloth, Lettered And Illustrated In Brown, Hardcover, Beveled Edges. First Printing Thus. Near Fine, Slight Usage, No Wear Or Marks Or Damage, And Scarce Thus. Export Issue With Small Stamp "Printed In Soviet Union" At Bottom Of Title Page. Very Scarce, Worldcat Locating Only Three Institutional Copies. Wikipedia Reports That Nathan Isaevich Altman (Russian: ????? ??????? ???????, Transliterated: Natan Isayevich Altman; 1889 -1970) Was A Russian And Soviet Avant-Garde Artist, Cubist Painter, Stage Designer And Book Illustrator. He Was Born In Vinnytsia, In The Podolia Governorate Of The Russian Empire (Present-Day Ukraine) To A Family Of Jewish Merchants. From 1902 To 1907, He Studied Painting And Sculpture At The Art College In Odessa (Now Independent Ukraine). In 1906, He Had His First Exhibition In Odessa. In 1910, He Went To Paris, Where He Stayed For One Year. He Studied At The Free Russian Academy In Paris, Working In The Studio Of Wladimir Baranoff-Rossine, And Had Contact With Marc Chagall, Alexander Archipenko, And David Shterenberg. In 1910, He Became A Member Of The Group Soyuz Molodyozhi (Union Of Youth). In 1912, Altman Moved To Saint Petersburg. His Famous Portrait Of Anna Akhmatova, Conceived In Cubist Style, Was Painted In 1914. From 1915 To 1917, Nathan Altman Was The Teacher At Mikhail Bernstein's Private Art School. After 1916 He Started To Work As A Stage Designer. In 1918, He Was The Member Of The Board For Artistic Matters Within The Department Of Fine Arts Of The People's Commissariat Of Enlightenment Together With Malevich, Baranoff-Rossine And Shevchenko. In The Same Year He Had An Exhibition With The Group Jewish Society For The Furthering Of The Arts In Moscow, Together With Wladimir Baranoff-Rossine, El Lissitzky And The Others. In This Same Year, He Installed A Temporary Work Of Architectural Sculpture In Palace Square To Commemorate The 1St Anniversary Of The October Revolution. The Canvas Was Subsequently Cut Up And Used For Soldiers' Foot Bindings. In 1920, He Became A Member Of The Institute For Artistic Culture (Inkhuk), Together With Kasimir Malevich, Vladimir Tatlin And The Others. In The Same Year, He Participated In The Exhibition From Impressionism To Cubism In The Museum Of Painterly Culture In Petrograd.(Now Saint Petersburg). In 1921, He Moved To Moscow. From 1921 To 1922 He Was Director Of The Museum Of Painterly Culture In Petrograd. From 1920 To 1928, He Worked On Stage Designs For The Habimah Theatre And The Jewish State Theatre In Moscow. In 1923 A Volume Of His Jewish Graphic Art, Evrejskaja Grafika Natana Al'tmana: Tekst Maksa Osborna [Max Osborn], Was Published In Berlin. In 1925, He Participated In Exposition Internationale Des Arts Decoratifs Et Industriels Modernes (Art Deco) In Paris Together With Aleksandra Ekster, Vadim Meller, Rudolf Frentz, Sonia Delaunay-Terk And David Shterenberg. His First Solo Exhibition In Leningrad Was In 1926. Altman Moved To Paris In 1928. In 1936, He Returned To Leningrad (Now Saint Petersburg). He Worked Mainly For The Theatre, As A Book Illustrator And An Author Of Essays About Art.