No reply (14 Ergebnisse)

Zustand: Ottime. italiano Condizioni dell'esterno: Ottime Condizioni dell'interno: Ottime.

Zustand: Buone. italiano Condizioni dell'esterno: Buone Condizioni dell'interno: Buone.

Zustand: Buone. italiano Condizioni dell'esterno: Buone Condizioni dell'interno: Buone.

Zustand: Buone. italiano Condizioni dell'esterno: Buone Condizioni dell'interno: Buone.

Zustand: Buone. italiano Condizioni dell'esterno: sovracopertina appena leggemente logorata ai bordi Condizioni dell'interno: leggermente ingiallite ai contorni.

Zustand: Buone. italiano Condizioni dell'esterno: leggermente logorata ai bordi Condizioni dell'interno: Molto buone.

Zustand: Buone. italiano Condizioni dell'esterno: Buone Condizioni dell'interno: Buone.

Brossura. Zustand: Buono. Cm.17x12,2. Pg.144. 150 gr.

Zustand: OTTIMO USATO. IED. Velvet ITALIANO IL LIBRO à USATO, PERTANTO POTREBBE PRESENTARE LIEVI DIFETTI/IMPERFEZIONI. LA FOTO CORRISPONDE AL LIBRO IN VENDITA. Una raccolta che vuole essere una testimonianza e un'occasione per riflettere attraverso letteratura e poesia sui mutamenti sociali, sui diritti negati, taciuti e affermati e sui valori della solidarietÃ. "Ho diritto ai diritti" nasce dal progetto Cittadiniamoci promosso da Pratika, che sostiene i valori tradizionali della cittadinanza nel riconoscimento delle molteplici identità nazionali. Curatore: Batini, F.;Giusti, S. Numero pagine 127. Il copyright dei dati à di Informazioni Editoriali I.E. S.…

Hardcover. Zustand: like new. by Leo Tolstoy, illustrated and translation by Valeria Zecchini Chance, chance, nothing but chance. Leo Nikolayevich Tolstoy, titan of nineteenth century literature, gave another titan, Napoleon Bonaparte, little credit for his doings. His victories in battle, his political domination, his conquests all due to chance. Tolstoy's opinion of "the great man" is not in doubt. His remarks toward the end of War and Peace are scathing. The novel follows several Russian families through the Napoleonic wars, but Tolstoy himself, it sometimes seems, is following Napoleon. The curtain is finally pulled down altogether in the First and Second Epilogues. Tolstoy addresses his reader, and makes his case against Napoleon, but really, against the Great Man Theory. Whether Tolstoy's assessment can be considered good history, it must be considered a masterpiece of political writing. In a few pages, Tolstoy threads a brilliant case against conquerors, opportunists, tyrants and, most of all, so-called great men. The brilliance of his thought matches the sharpness of his prose, and though Napoleon may have conquered Europe, it could be Tolstoy who has the final word. No Reply is especially excited to publish this edition in the original Russian, using the Cyrillic script, alongside a new English translation, and original illustrations. ARTIST NOTES Leo Tolstoy needs no introduction. He was the author of Anna Karenina and War and Peace, which vie neck-in-neck on many critics' lists for the greatest novel ever written. He is under-appreciated, however, as a historian and critic. This short passage, from the epilogue of War and Peace, highlights Tolstoy's multifaceted genius. Valeria Zecchini is a Russo-Italian artist, polyglot, and scholar of European politics. She brings a new translation to these overlooked passages, which aims to elucidate Tolstoy's meaning to English readers. The original Russian is dense and circuitous, and from it Zecchini has produced crystalline English prose as dense and brilliant as the original, but clear too. Her translation is complimented (with a touch of irony) by six woodblock portraits of "the great man" himself. LIKE NEW, Ships from Hawaii with free Priority Mail upgrade. No 93 of an edition limited to 376 (Hardcover) The edition is limited to 376 copies and is offered in three states. The fourth imprint of No Reply Press, Spring 2020. Book measures 5 ¾ by 8 ¾ inches. Typeset in Minion, designed by Robert Slimbach. Hardbound Limited to 345 copies, numbered 6 through 350. Printed by hand on felt-finished stock using a Vandercook Universal I cylinder press at Letterpress PDX in Portland, Oregon. Hand-bound in red cloth, with a woodblock portrait inset on the cover, and Ingres antique endpapers. Signed by the "translating illustrator," the publisher, and the printer. Limited Letterpress Edition of 376 copies in three states. Valeria Zecchini (illustrator).…

Hardcover. Zustand: new, FINE. Zustand des Schutzumschlags: No dj, as issued. Limited Letterpress Edition of 250. A SHORT STORY BY EDGAR ALLAN POE??PEN-AND-INK ILLUSTRATIONS BY RUTA KUZMICKAS -- -- -- NEW, Portland, Oregon, NO REPLY PRESS, no 213 of an edition limited to 250. OUT OF PRINT - The twenty?-?sixth edition from No Reply, 2?0?2?4? ?Measuring 5?½ by 10?½ inches, 2?8 pages. ?Printed letterpress on a hand-operated Vandercook Universal I proofing press. ?Eight pen?-?and?-?ink illustrations throughout, printed from magnesium plates. ?Typeset in 1?4?-?point Perpetua. ?Hahnemühle Biblio mould-made text papers. Hahnemühle Bugra endpapers. ?Hand-bound in a three piece Bradel binding using a tooled Elephant Hide spine and St. Armand sisal current boards. --- --- ---. The Press got its start with an edition of Poe's The Masque of the Red Death, funded only a month before the Coronavirus pandemic began in earnest. Eerie timing. Two years later, the Press announced an edition of The Cask of Amontillado. Now, to complete a trilogy of sorts, we are happy to share with you our edition of The Tell-Tale Heart! Poe is the quintessential American author. As one scholar put it, "Whether or not America has produced a greater genius than Poe, it would be hard to prove that it has produced one more original." In The Tell-Tale Heart, he presents once again a story of captivating simplicity of a man driven mad by an obsession, of guiltless admission. It is perhaps Poe's most famous story because it is so disorienting. The No Reply edition has been designed as a reaction to the story. We have employed colors, tones, textures, and an artistic vision to make Poe's writing visceral for the reader. Exceptionally fine papers from Papeterie St.-Armand, Velke Losiny, and master marbler Claire Guillot should mark this edition for distinction. Few artists are as suited to illustrate Poe as R?ta Kuzmickas. Her signature style blends the real with the unreal. With six full-page pen-and-ink artworks (as well as two large ornaments and a calligraphed title), reproduced with a crisp letterpress bite, Poe's story comes to life. The sinews of the heart, the film over the eye, the folds of guilt and paranoia all come together in a stylistic tour de force. In our estimation, Kuzmickas is an illustrator second to none because she not only illustrates a story but reveals its heart. R?ta Kuzmickas (illustrator).…

Hardbound in Lucite slipcases. Zustand: NEW, Fine. 1st ed. limited to only 350 copies. Portland, OR, NO REPLY PRESS, 2022, 6 ½ by 11 inches. Hardbound in Lucite slipcases, limited to only 350 copies. - see details for individual books below - The Last Question by Isaac Asimov, with the woodcuts of Rockwell Kent The Ones Who Walk Away From Omelas by Ursula K. Le Guin, with collages by Clive Knights The Men Return by Jack Vance, introduced by the author's son and with linocuts by Karol Pomyka?a All three are printed letterpress on mouldmade German Zerkall-bütten paper, and bound with mirrorfoil-tooled cloth spines and handmade monoprint boards. Made entirely by hand. The hardbounds try to capture the excitement and vibrancy of Science Fiction, while retaining the refinement and attention to detail of great private presswork. Most importantly, each features a unique monoprint artwork spanning its cover. --- "The Last Question" by Isaac Asimov Printed letterpress on mouldmade German Zerkall-bütten papers. Hand?-?bound in a three piece Bradel binding using a mirrorfoil tooled cloth spine and monoprint papers, made at the press specially for the edition and each unique, covering the facing boards in a single continuous artwork. In a BLUE in Lucite slipcase 42 pages, half of which feature sweeping Kent prints, at 6 ½ by 11 inches. Numbered in the limited edition, 1 through 350. --- "The Ones Who Walk Away From Omelas" Printed letterpress on mouldmade German Zerkall-bütten papers. Hand?-?bound in a three piece Bradel binding using a mirror-foil tooled cloth spine and monoprint papers, made at the press specially for the edition and each unique, covering the facing boards in a single continuous artwork. In RED Lucite slipcase 38 pages, nearly half of which feature Clive Knights' original collages, printed giclée on plates and hand-tipped in. Measuring 6 ½ by 11 inches. Numbered in the limited edition, 1 through 350. --- "The Men Return" by Jack Vance Hardbound Printed letterpress on mouldmade German Zerkall-bütten papers. In a YELLOW Lucite slipcase 24 pages, featuring five linocut artworks printed by Karol Pomyka?a. The artworks are overprinted in red, yellow, and blue inks. Dozens of print runs go into each copy. Hand?-?bound in a three piece Bradel binding using a mirror-foil tooled cloth spine and monoprint papers, made at the press specially for the edition and each unique, covering the facing boards in a single continuous artwork. In a YELLOW in Lucite slipcase Monoprint papers (each unique) which cover the facing boards in a single continuous artwork. Measuring 6 ½ by 11 inches. Numbered in the limited edition, 1 through 350. Please note: Due to the monoprinting process, covers may (and likely will!) vary significantly from the prototype photos shown. Condition: FINE. Rockwell Kent, Clive Knights, Karol Pomyka?a (illustrator).…

Hardcover. Zustand: FINE. Zustand des Schutzumschlags: no dj, as issued. Ltd to 180 copies. No Reply is pleased to present The Descent of Ishtar, one of the essential works of Mesopotamian literature, in an edition that grapples with the monumental task of translation. -------------- --------------- No Reply Press, Portland, 2?0?2?5? Limited to 1?8?0 numbered copies, this is no. 149. 5" x 10", 4?4 pages. --- --- Printed letterpress on a hand-operated Vandercook Universal I proofing press. Hahnemühle Biblio text papers, dampened for printing. Typeset in 1?2?-?point Centaur. --- --- --- Including a facsimile of K.162, the seventh century BCE tablet through which The Descent of Ishtar comes to us. Hand?-?bound in a Bradel binding with paste paper wrappers painted at the press specially for the edition. --- --- --- The purpose of this edition is first and foremost to retell a forgotten tale by way of a marvelous little tablet, K. 162, tucked away in The British Museum, one of a thousand such modest objects of the ancient world which one walks past on the way to the Rosetta Stone or Parthenon Marbles. It was excavated from Ninevah (in the modern Iraqi city of Mosul) and dates to the seventh century BCE, a rough contemporary of the Odyssey and Iliad. A contemporary, moreover, of the Homeric Hymns, in which Persephone undertakes a similar descent into the underworld. This story, however, is much older. Ishtar is an Akkadian telling of a Sumerian tale, The Descent of Inanna, which likely goes back to the very late third millennium BCE. The tale would have been as ancient to Jesus as he is to us. The tablet was produced at almost exactly the halfway point between the start of recorded history (approximately 3,200 BCE) and today. The edition begins with a facsimile of the tablet, printed at its actual size just a bit larger than an iPhone. (Readers may be surprised to find that, like us, ancient peoples appreciated the "pocket sized".) What follows are three translations of the tablet very different cracks at the same code. --- --- --- H. F. Talbot represents the first generation of Assyriologists, the era of the gentleman-scholar. He was actually a pioneer of photography, a polymath, who, among many passions, dabbled seriously with cuneiform decipherment. When the library at Ninevah was unearthed, he was among the first to work on its contents. His translation is a bi- or tri-cultural text, the reading of an ancient tale through the thick sideways optics of his own time and other, better understood ancient cultures. This is apparent in the very first line, when he translates Kurnugi as "Hades." Stephanie Dalley is among the great contemporary Assyriologists, not a dabbler but a doctor in a well-formed academic discipline. Her translations are widely used in universities and considered among the "translations of record," not above future correction or debate, but certainly above reproach. The text is the text. The gaps, gaps. After reading Talbot's translation, readers will find Dalley's to be more confusing, less ironed out, less literary, but deeper a true glimpse into an alien culture. The third translation is my own. I return to an approach of translation-as-literary-project but, crucially, with the bene?t of a hundred and fifty years of Assyriological work (including Dalley's) to which Talbot was not privy. I have introduced an easy rhyme and meter, simply to approximate a sense of loveliness which the original certainly possesses. The differences, especially between the first and second translations, are vast, and represents a century of work. How interesting it is that we must build our understanding of these literatures and cultures through whatever happens to have survived in the sediment. The more detritus we unearth, the better our understanding. Still, imagine the vastness of what is lost, with only the foundations of temples, sherds, and fragments of tablet writing to go on. The task of translation is daunting, but cuneiform is not as alien as it initially appears readers of this edition will be challenged. …

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Italienisch | Produktart: Bücher | Keine Beschreibung verfügbar.