Fundus-Online GbR Borkert Schwarz Zerfaß (4 Ergebnisse)

Zustand: Gut. S. 87-96. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT). - Einband etwas lichtrandig, Name des Autors A. Dold handschriftl. auf dem Einband, sonst sauber. - Weiterer Inhalt: A. Dold, Im Escorial gefundene Bruchstücke eines Plenarmissales in beneventanischer Schrift des 11. Jhs. mit vorgregorianischem Gebetsgut und dem Präfationstitel "Prex". - Aus diesem Text: Erst vor kurzem habe ich in der Beuroner wissenschaftlichen Sammlung Texte und Arbeiten", Heft 25, Fragmente eines hochinteressanten, im Bari-Schrifttyp einer Sonderart beneventanischer Schrift hergestellten Plenarmissales herausgegeben. Seine hervorstechendsten Eigenheiten waren: 1. drei Schriftlesungen, von denen einige noch altlateinische Versionen zeigten, 2. sein leonianisch-gelasianischer Gebetsschatz, in dem auch die in der römischen Liturgie in Wegfall gekommene Oratio post Evangelium" noch erscheint, und 3. die öfter wiederkehrende Bezeichnung Prex" als Titel für die Präfationen. - Wikipedia: Alban Dold OSB (* 7. Juli 1882 in Villingen im Schwarzwald als Erich Dold; 27. September 1960 in Munderkingen) war ein deutscher Benediktiner. Bekannt wurde er als Liturgiewissenschaftler, Paläograph und Palimpsestforscher. Sprache: Deutsch Gewicht in Gramm: 550 Sonderdruck, Klebebindung in Kartoneinband.

Bestandsnummer des Verkäufers 1209870

Estratto. Zustand: Gut. p. 249-262. Dalla biblioteca del Prof. Wolfgang Haase, storico editore dell'ANRW e dell'International Journal of the Classical Tradition (IJCT). - Legatura leggermente marginata, punti metallici parzialmente staccati ma blocco coerente, nome dell'autore sottolineato in copertina, altrimenti pulito. - Dal testo: La scrittura corsiva del papyrus Claudius deriva da quella posata del frammento ercolanense del De bello Actiaco? La minucola dell'Epitome di Livio può considerarsi come una evoluzione della scrittura, detta capitale, dei secoli precedenti o c'è tra l'una e l'altra soluzione di continuità? La scrittura cancelleresca imperiale, quale ci appare nei frammenti di Leida e di Parigi, a quali forme della scrittura romana si riallaccia, e soprattutto può considerarsi come la scrittura da cui traggono origine le cancelleresche medioevali, dalla merovingica alla curiale romana? Come tenevano il foglio i Romani, parallelo alle spalle dello scrivente o inclinato a sinistra? E come essi tenevano il calamo rispetto alla linea della scrittura, cioè ad angolo acuto oppure ad angolo quasi retto? E come era temperata la punta dello stesso calamo nei vari generi di scrittura da essi usati? Sprache: Italienisch Gewicht in Gramm: 550.

Bestandsnummer des Verkäufers 1204123

Original brochure. Zustand: Sehr gut. Hellenic Studies, Volume 29. 325 p. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Zustand: Im einwandfreien Zustand. / Condition: In perfect condition. - Content: The title of this book (The Oral Palimpsest) with its learned oxymoron and its allusion to analogously oxymoronic titles (for instance Written Voices and Spoken Signs edited in 1997 by E. Bakker and A. Kahane) might seem no more than a smart appeal to the sophisticated reader, but in fact it announces the various paradoxical, mysterious and enigmatic aspects of Homeric poetry. Christos Tsagalis is a virtuoso interpreter of this poetry, as he has shown in his book Epic Grief (Berlin-New York 2004), and in this new endeavour he straddles felicitously the contradictory, ungraspable aspects of the Homeric poems, as he moves on the razor's edge that holds united the fluctuating Homeric diction, always completely traditional and yet completely new. Specifically, the palimpsest image refers to Tsagalis' careful pursuit of the traces of rival poetic versions that the Iliad and the Odyssey let emerge and simultaneously exclude. Just as the erased text of a palimpsest still carries traces of a previous writing, so the Homeric texts reveal their knowledge of rival versions in the act of producing the signs of their erasure. Tsagalis' title is impressively precise. By this strategy, the two poems yield extraordinary results. They manifest on the one hand their absolute control of the traditional epic songs, and on the other, by the exclusion of alternative variants, the selectivity and unitary force of their narratives. By eliminating the themes, the tones, the shades that would obscure or corrupt the fundamental coherence of their poetic effect and significance, the poems throw light on the image of their poetic self-awareness. Of course many other features, characters, and scenes lamentation, representation of Achilles, Helen, Penelope, etc.) point to this same awareness. The idiosyncratic, unique interpretation of the heroic kleos, the odd poetic liminality of Achilles within the lliadic plot, the upsetting and paradoxical gesture whereby Thetis puts her son Achilles within the reach of death, and the desperate disparity between the goddess-mother and Achilles are some of the closely-knit poetic themes in the Iliad. These themes, however, are not simply described and elaborated as the thematic nucleus of the poem, but they are shown to mirror the direction and the goal of poetic activity. As Thetis sends Achilles to Troy and asks Zeus to restore his lost time (honor), she delivers her son to death, and "figuratively asks Zeus to make Achilles the hero of the Iliad, to allow the poem to make of him its subject matter." Every scene and every character, in Tsagalis' analysis, mirrors the poetic tenets and thrust making their staging possible and endowing them with the Iliad's particular tragic inflection. For the Odyssey Tsagalis illuminates "not the unfailing fame conveyed by kleos aphthiton, but the unfailing memory of enchanting and pleasing song." The author moves with great caution upon the slippery and treacherous ground of formulaic diction and intertextuality. As he writes, the formulaic diction opens "labyrinthine paths" leading us either to the alluring and enriching meanings of intertextuality, or to nets of senseless and ultimately infinite connections. How to control this game of references and allusions? He succeeds with convincing resolution thanks to the precise principles he adopts and his extraordinary sensitivity in symbiosis with a thorough knowledge of the epic language. He finds the right expression to define this ground of research when he attributes to the language of the poems "a fluctuating regularity": the technical and critical language in this book is of admirable precision and originality. When confronting the thorny question of how to treat the poems, as texts or oral compositions, Tsagalis engages in a creative dialogue with Nagy's theory about textualized oral song-cultures, showing that in fact oral intertextuality is possible within the complex web of myth. Intertextual analyses are precise and rigorous: he begins by distinguishing four types of intertextuality and then illustrates how each of them works through richly commentated case-studies, replete with the author's special feeling for Homeric style. Tsagalis is constantly in dialogue with the critics and writers of our time: he seems not to exclude any scholar from whom he may learn something useful and exciting. This on-going dialogue opens the vast panorama of our present studies on Homer that reflect the enormous complexity, the mysterious and fascinating power of his poetry. ISBN 9780674026872 Sprache: Englisch Gewicht in Gramm: 1125.

Bestandsnummer des Verkäufers 1172734

paperback. Zustand: Gut. Deuxième édition. Mängelstrich auf Fußschnitt, leicht berieben, sonst tadelloser Zustand / trait sur la tranche de pied, légèrement frotté, sinon état impeccable. - La paléographie est l'étude des anciennes écritures : non seulement l'art de déchiffrer les textes, mais celui de les dater, de les localiser, d'en critiquer l'authenticité. -- C'est aussi l'analyse de l'acte d'écrire, qui est à l'origine du texte, phénomène musculaire, psychologique et social. Que se passe-t-il lorsque le scribe saisit la plume ? La structure et les mouvements de la main conditionnent une véritable physiologie de l'écriture. Mais celle-ci exprime aussi les caractères spécifiques d'un individu, d'un milieu social ou professionnel, d'une époque. -- Déchiffrer des écritures, c'est surmonter de nombreux obstacles qui les rendent peu lisibles : l'état de conservation du manuscrit, le système d'abréviation, la négligence du scribe qui au cours de sa transcription oublie de tailler sa plume. C'est s'interroger sur le scribe, son instrument, le support qu'il utilise : est-ce un clerc, un moine ou un laïque ? Manie-t-il le roseau ou la plume d'oie ? Ecrit-il sur le papyrus, le parchemin, le papier, la cire ou l'ardoise ? -- Discipline auxiliaire dont elle éclaire le travail de reconstitution, la paléographie enrichit notre compréhension d'un milieu, d'un commerce, d'une culture. Elle est au service de la philologie et contribue à l'édition critique des textes anciens. -- La deuxième édition entièrement refondue de ce manuel retrace les progrès de la science paléographique, analyse les grandes étapes de l'histoire de l'écriture latine au Moyen Age, étudie le métier de scribes et fait le point des derniers travaux et recherches dans ces différents domaines. -- D'importants éléments de travail personnel ou collectif occupent la moitié de l'ouvrage : des reproductions photographiques de manuscrits et leurs transcriptions, des documents avec leurs traductions, des exercices, un glossaire latin-français des termes techniques anciens et un lexique des termes techniques modernes, une bibliographie sélective, des cartes, de nombreuses reproductions au trait des différents types d'écriture. ISBN 9782200312787 Sprache: Französisch Gewicht in Gramm: 685.

Bestandsnummer des Verkäufers 1224938