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GROOM Winston SZCZECINER Pierre
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Cherche Midi 2016 192 pages 22x14x2cm. 2016. Broché. 192 pages.
Reference : 76212
ISBN : 9782749152769
french édition - Le livre qui n'a jamais été lu présente des marques de stockage sur la couverture et/ou les pourtours mais reste en tres bon état d'ensemble. Expédition soignée sous blister dans une enveloppe à bulles depuis la France
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5 book(s) with the same title
Begrebet Angest. En simpel psychologisk=paapegende Overveielse i Retning af det dogmatiske Problem om Arvesynden. Af Vigilius Hafniensis. - [THE ONLY KNOWN COPY ON SPECIAL PAPER OF THE WORK THAT INTRODUCED ""ANGST"" IN PHILOSOPHY]
Kjøbenhavn, Reitzel, 1844. 8vo. (8), 184 pp. Bound in a black glitted full paper binding mimicking Kierkegaard’s gift-bindings. With Gothic gilt lettering and printing year to spine. Top edge gilt, otherwise uncut. Bound by Anker Kyster’s Eftf. 1958, more specifically Bent Andree, with his name in pencil under the book-binder stamp on front free end-paper. A bit of wear to extremities. One leaf loose. The copy is a most curious one. It was been washed and restored and then bound by one of Denmarks’ best bookbinders of all time, clearly under specific instructions to both keep it original, but to also reflect the typical bindings Kierkegaard had made. The copy is on fine, bright white vellum-paper (!), uncut, and bound with the original back-strip with the original printed title-label, preserving all of the printed text and with blank blue wrappers of the exact same paper as the back-strip. To our knowledge, The Concept of Anxiety did not appear in blue blank wrappers. It did, however, appear in the characteristic blue paper binding. The wrappers here bound in, however, do not match this paper exactly.
A unique copy of the scarce first edition of this classic of Existentialism, being the only known copy printed on fine paper. The Concept of Anxiety is one of Kierkgaard's greatest works, his primary psychological work, and the work with which ""Angst"" is introduced in philosophy. It is futhermore (together with Sixteen Unbuilding Discourses - the amputated Eighteen Upbuilding Discourses), the rarest of Kierkegaard's works, at is was printed in half as many copies as his other works. Not a single presentation-copy of the work is known to exist, no copy on special paper has been registered (before this), and merely a single copy of the work is listed in the auction catalogue of Kierkegaard’s books sold after he died (the whereabouts of this copy unknown). This could possibly be the hitherto unlocated copy from Kierkegaard’s own collection. Or it could be a copy he gave away, the only one to have ever surfaced. It is undoubtedly one or the other, seeing that it is on special vellumpaper, on which Kierkegard only had copies made for himself, for presentation, or for Regine.There could be several explanations for the mystery of the bound in wrappers: 1) they are new wrappers made to match the original spine with the original printed title-label" 2) they are the original blue paper taken off the original cardboard-boards in order to bind them in a binding that mimics a Kierkegaardpresentation-binding 3) they are unknown original wrappers, not previously registered for The Concept of Anxiety. It is this classic of Existentialism that introduced the notion of “Angst” (anxiety) in philosophy. If Kierkegaard had written nothing else, The Concept of Anxiety alone would have cemented him as one of the most important thinkers since antiquity. Nowhere else can one find an account of the concept of anxiety that comes close in importance to the one Kierkegaard gives in the present work. Using the Fall in the Garden of Eden as the foundation of the analysis, he succeeds in describing what no-one has been able to before or since. “Long before modern psychology had entered puberty, Kierkegaard unfurled advanced psychological concepts that in many senses were Freudian before Freud was around. In his primary psychological work, The Concept of Anxiety, he presents his detailed analyses of the relationship of anxiety to phenomena such as freedom, sexuality, original sin, and history.” (The Søren Kierkegaard Research Centre). Being one of his most important and influential philosophical works, The Concept of Anxiety is essential to all later existentialist writers. It was arguably this work that more than any other influenced Existentialism. The work bears a printed dedication to his beloved Poul Martin Møller, one of the most beautiful and moving dedications in a philosophical work. Poul Martin Møller was his philosophy professor, but more than that he was a moral mentor and one of a few people that Kierkegaard truly admired and cared for. Poul Martin Møller died in 1838, leaving almost no published works behind he is the only person outside of Kierkegaard’s immediate family (here including Regine), who had been honoured with a printed dedication in any of his books. Apart from the title Sixteen Upbuilding Discourses (the amputated Eighteen Upbuilding Discourses – without the two that were quickly sold out), The Concept of Anxiety is by far the scarcest of Kierkegaard’s works – “The Concept of Anxiety was only printed in 250 copies!” (Textspejle, p. 58, translated from Danish), which is ca half of most of the other works. It is, interestingly, the only one of the pseudonymous writings from the period that was reprinted, despite the poor sales numbers of the first issue. In the summer of 1847, when Reitzel buys the remainders of the first issue, a mere 165 copies of what is arguably now considered Kierkegaard’s most important work had been sold. The Concept of Anxiety is not only notorious for its pivotal importance in the history of philosophy and for essentially being the theoretical foundation of Existentialism among Kierkegaard collectors and bibliophiles in general, it is also notorious for its scarcity, having been printed in a mere ca 250 copies. Furthermore, like Fear and Trembling, not a single presentation-copy of the work is known to exist, nor had any copy printed on special paper ever been discovered (until now). A single copy of the work is listed in the auction catalogue of Kierkegaard’s books sold after he died. But the whereabouts of this copy is unknown (possibly until now). Himmelstrup 62.
De Amatoriis Affectionibus Liber. Iano Cornario Zuiccauiensi interprete. [Peri Erotikon Pathematon]. - [EDITIO PRINCEPS OF PARTHENIUS' ONLY SURVIVING WORK]
Basel, in Officina Frobeniana (Per Hieronymum Frobenium, & Nicolaum Episcopium), 1531. Small 8vo. Bound in a lovely, charming early 19th century red half calf with gilt title and lines to spine and lovely gold and red ornamented ""romantic"" paper over boards. A bit of wear to spine. Internally a very fine and clean copy. Title-page slightly soiled, and a vague marginal dampstain throughout, on most leaves barely visible. Froben printer's device to title-page, and in a larger version to verso of last leaf. Four large woodcut initials. 76, (44) pp.
The extremely scarce first printing, of both the original Greek text and the translation into Latin, of Parthenius's only surviving work, the historiographically, mythographically, and literarily hugely important ""Erotica Pathemeta"" (or ""Sorrows of Love""), which constitutes the only prose work by a Hellenistic poet to survive in its entirety and one of the few extant works of its genre, i.e the mythological or paradoxographical handbook, preserved from any period. The ""Erotica Pathemata"" constitutes the only surviving work by the famous Greek poet Parthenius of Nicea (fl. 1st century BC, Rome), the Greek teacher of Virgil, and the favourite author of Hadrian and Tiberius, who is now often referred to as ""the last of the Alexandrians"".Parthenius was Born in Nicaea in Asia Minor, He was captured in the third Mithradatic war and taken to Italy, where he became the Roman poet Virgil's teacher in Greek. He is considered a main influence on the ""Neoteroi"" - the group of ""modernist poets"" led primarily by Callimachus, and he played an important role in spreading a taste for ""Callimachean"" poetry in Rome.In his time, Parthenius was primarily famous as a poet, but unfortunately none of his poetic works have survived, and only some small fragments have been preserved. What we have in their place is the prose treatise ""Erotica Pathemata"", which has survived in merely one manuscript, probably written in the mid 9th-century. In 1531 Froben printed the editio princeps of both the original Greek text and the Latin version of it, and only in 1675 did it appear again. The Froben editio princeps is of great scarcity.The ""Erotica Pathemata"" is a little prose treatise consisting of thirty-six love stories, all with tragic or sentimental endings. The work was dedicated to Cornelius Gallus, and was, Parthenius explains, meant as ""a storehouse from which to draw material"".""The very concatenation of poetry and prose is interesting, and perhaps important. It could be that the ""Erotika Pathemata"" were first collected by Parthenius for his own use as a poet. But the collection of prose anecdote by a poet also locates Parthenius in the same tradition as Callimachus ..." Nicander ... " and Euphorion of Chalcis ... . Parthenius' is in fact the only prose work by a Hellenistic poet to survive entire. It proclaims its purpose as utilitarian, and begins with an epistolary introduction in which Parthenius offers his work to the poet Gallus as potential raw material for hexameter and elegiac poetry. This detail is of some importance for literary history. The loss of the poetry - not only of Parthenius, but also of his friends in Rome, of Gallus, Cinna, and the other ""neoteroi"" - is admittedly grievous" but the treatise, and particularly the implications of the dedication, offers some insight of their own into literary production in Rome in the middle of the first century BC. It is a period about which we should like to be better informed, the age of the supposed epyllion, of nascent elegy, and of experimentation with new Greek genres. The dedication suggests, on the one hand, intriguing possibilities for the sort of narrative poetry, both hexameter and elegiac, which Parthenius might have expected Gallus and his friends to write and on the other the text can be read (and may also have been intended to be read) for pleasure as a prose work in itself. Thus regarded, it raises questions about the hellenistic historiography in which the stories were embedded, about the diverse kinds of mythography written in the hellenistic period and the two-way relationship between mythography and poetry" about the types of stories it contains, the manner in which they were generated, the structure they exhibit, the messages about social life which are encoded within them. And not the least intriguing question concerns its relationship to the Greek novel, a genre which seems to have been gaining momentum in the first century BC, and other sorts of prose fiction. Stylistically too, the work should be of interest to historians of Greek prose. It is preserved by a lucky accident in a single manuscript, possibly because its Atticism pleased the Byzantines' ear as much as it appealed to their penchant for story-telling, and it is one of the very few surviving works of Greek prose from the middle of the first century BC. Indeed it is one of few extant works of its genre, the mythographical or paradoxographical handbook, preserved from any period."" (Lightfoot, Parthenius of Nicea. The Poetical Fragments of the ""Erotika Pathemata"". Edited with introduction and commentaries. 1999, pp. 2-3). As such, the ""Erotica Pathemata"", along with its author, apart from being of pivotal importance to the study of the ancient novel (the earliest examples of which date from exactly this perioed), Greek prose, and the Greek language (""Parthenius' Greek is of no little interest in view of the dearth of surviving material which is comparable in genre and date"" - Lightfoot, p. 283), also plays a central role in Hellenistic literature and is of decisive character to the development of Roman prose and poetry in the 1st century BC. ""It was Parthenius who taught me Greek -Yes, a freed prisoner-of-war, whose giftWas perfect elegiacs, faultless poems.He gathered brief love-stories, so that GallusCould turn them into song. Parthenius sleepsWatched over by sea-deities, by Glaucus,Panopea, Melicertes - Ino's son -Beside a river graved in celandine."" (Virgil - see Lightfoot, p. (97)).
Samling af den danske Scenes Dragter i 48 colorerede Fremstillinger. - [ONE OF ONLY A HANDFUL OF COPIES KNOWN]
Kjöbenhavn (Copenhagen), Steens Forlag, 1834. 12mo (15 x 9,5 cm). Lovely contemporary brown half calf with gilt ornamentation to spine. General wear along hinges and edges of boards. But overall a very nice copy. Tight and fine. Book-plate of Kaj Christensen (1960'ies) to inside of front board and and ownership signatures to front free end-paper (""W. Unsgaard"" and ""N. Neiidendam / 1900"") along with blindstamped ovnership stanp of Johan G. Melbye. Later pencil-annotation to inside of front board (stating that only tow copies are said to be preserved on private hands). VI, (2) pp. + 48 engraved and finely handcoloured plates. All the blank leaves inbetween the plates preserved as well.
Exceedingly scarce - one of only a handful of copies knwon to exist - first, and only, edition of Bruun’s “Collection of Costumes From the Danish Scene” from 1834, which contains 48 wonderful, engraved and handcoloured plates of costumes from some of the most famous plays and operas performed at the height of the Danish stage, including nine costumes to three of Mozart’s operas: La Nozze di Figaro, Don Giovanni, The Magic Flute, and Seraglio. These 48 magnificent plates showcase the wonderful diversity of the Danish stage at the time, the strong Gothic influence, the great influences of both German and French romanticism, and the influence of the Orient upon costumes of the Danish stage as well (eg. Seraglio, Lulu). In addition to the costumes for the operas by Mozart and for some of the most cherished Scandinavian plays (primarily Holberg), we have costumes for a wonderful array of other plays and operas that showcase the great influx upon Danish performance from many parts of Europe – Austria, Germany, France, Italy, United Kingdom. We have for instance Cinderella (Cendrillon), Monteverdi’s The Combat of Tancredi and Clorinda, La Dame Blanche, Beckford’s Azemia, Weber’s Der Freischutz and his Preciosa (which is based upon a novella by Cervantes). The full list of costumes is as follows: 1: Saft - i Sovedrikken. 2 & 3: Salomon Goldkalb & Brant – i Kong Salomon og Jörgen Hattemager. 4-6: Anna, Casper & Samiel - i Jaegerbruden. 7: Pantsatte Bondedreng – i Stykket af samme Navn (i.e. in the play by the same name). 8. Joseph – i Joseph og hans Brödre. 9 & 10: Montefiascone & Cendrillon - i Cendrillon. 11: Wenceslaus - i Herman von Unna. 12: Roux – i Röverborgen. 13: Hans Mortensen - i Aprilsnarrene. 14: Amenaide - i Taneredo. 15: Geert Westphaler - i Stykket af samme Navn (in the play by the same name). 16: Geske - i Den politiske Kandestöber. 17: Barthel - i Viinhösten. 18: Azemia - i Stykket af samme Navn (in the play by the same name). 19: Don Juan - i Stykket af samme Navn (in the play by the same name). 20 & 21: Jane & v. Thyboe - i Jacob v. Tyboe. 22 & 23: Preciosa & Pedro - i Preciosa. 24: Ariel - i Alfen som Page. 25 & 26: Valborg & Erland - i Axel og Valborg. 27 & 28: Hvide Dame & Georg Brovn – i Den hvide Dame. 29 & 30: Syvald & Rödhætten - i Deodata. 31-33: Almaviva, Bazile & Figaro - i Figaros Giftermaal. 34. Trampel - i Fugleskydningen. 35 & 36: Constance & Blonde - i Bortförelsen af Serailet. 37-39: Dilfeng, Barka & Lulu - i Lulu. 40 & 41: Mad. Voltisubito & Ledermann - i Recensenten og Dyret. 42: Zoe - i Væringerne i Miklagard. 43-45: Papageno, Monostatos & Papagena - i Trylleflöjten. 46 – 47: Mad. la Fleche & Arv - i Jean de France. 48: Jeppe - i Jeppe paa Bjerget. Many of the costumes with depiction of the actors and actresses are important in themselves and not only in a broader perspective - setting the tone for how to depict the characters in some of the most famous plays and operas for decades to come. An example of an individually highly significant illustration in the present work is the drawing of Christine Zrza in Constanze’s costume in Seraglio, wearing a so-called “Turkish” costume as a woman of the harem of Selim Pasha’s palace. Zrza herself was a significant figure in the foundation of Mozart’s operas on the Danish scene, playing also the first Countess Almavira in Figaro’s Marriage, the first Sextus in Titus, and the first Queen of the Night in The Magic Flute. The work is of immense scarcity, with only very few copies known to exist. Apart from the copy in the Royal Library in Copenhagen, OCLC list merely one copy, at Harvard. This copy only collates as having merely 1f. in addition to the 48 plates, where as our copy has all the four leaves in front consisting in title-page, contents-leaves and half-title. We have been able to locate one copy sold at auction, that having merely 43 plates. It is said that merely two copies are knbown on private hands. The great book collector Oscar Davidsen had a copy in his collection (nr. 5 in his auction catalogue (1940), where it is said of it that ""this collection is of great scarcity). Krohn:1482.
Nachtrag zum cubischen Reciprocitätssatze für die aus dritten Wurzeln der Einheit zusammengesetzten complexen Zahlen. Criterien des cubischen Characters der Zahl 3 und ihrer Theiler (+) Transformations remarquables de quelques séries (+) La loi de réc... - [""THERE HAVE BEEN ONLY THREE EPOCH-MAKING MATHEMATICIANS: ARCHIMEDES, NEWTON, AND EISENSTEIN""]
Berlin, G. Reimer, 1844. 4to. In ""Journal für die reine und angewandte Mathematik, 28 Band, 1 Heft, 1844"". In the original printed wrappers, without backstrip. Fine and clean. [Eisenstein:] Pp. 28-35" Pp. 36-43 Pp. 44-48 Pp. 49-52" Pp. 53-67. [Entire issue: IV, 96, (2) pp. + 2 folded plates.].
First printing of six exceedingly influential papers by the German mathematics prodigy Eisenstein. Even though he died prematurely at the age of 29, he managed to prove biquadratic reciprocity, Quartic reciprocity (Presented in the present: ""Lois de réciprocité""), Cubic reciprocity (Presented in the present: ""Nachtrag zum cubischen Reciprocitätssatze...""), to be imprisoned by the Prussian army for revolutionary activities in Berlin and making Gauss state that: ""There have been only three epoch-making mathematicians: Archimedes, Newton, and Eisenstein"". Alexander von Humboldt, then 83, accompanied Eisenstein's remains to the cemetery. The papers presented in the present issue is among his most prominent and made him famous throughout the mathematical world. (James, Driven to innovate, P. 88). ""The twenty-seventh and twenty-eighth volumes of Crelle's Journal, published in 1844, contained twenty-five contributions by Eisenstein. These testimonials to his almost unbelievable, explosively dynamic productivity rocketed him to fame throughout the mathematical world. They dealt primarily with quadratic and cubic forms, the reciprocity theorem for cubic residues, fundamental theorems for quadratic and biquadratic residues, cyclotomy and forms of the third degree, plus some notes on elliptic and Abelian transcendentals. Gauss, to whom he had sent some of his writings, praised them very highly and looked forward with pleasure to an announced visit. In June 1844, carrying a glowing letter of recommendation from Humboldt, Eisenstein went off to see Gauss. He stayed in Göttingen fourteen days. In the course of the visit he won the high respect of the ""prince of mathematicians,"" whom he had revered all his life. The sojourn in Göttingen was important to Eisenstein for another reason: he became friends with Moritz A. Stern-the only lasting friendship he ever made. While the two were in continual correspondence on scientific matters, even Stern proved unable to dispel the melancholy that increasingly held Eisenstein in its grip. Even the sensational recognition that came to him while he was still only a third-semester student failed to brighten Eisenstein's spirits more than fleetingly. In February 1845, at the instance of Ernst E. Kummer, who was acting on a suggestion from Jacobi (possibly inspired by Humboldt), Eisenstein was awarded an honorary doctorate in philosophy by the School of Philosophy of the University of Breslau.Eisenstein soon became the subject of legend, and the early literature about him is full of errors. His treatises were written at a time when only Gauss, Cauchy, and Dirichlet had any conception of what a completely rigorous mathematical proof was. Even a man like Jacobi often admitted that his own work sometimes lacked the necessary rigor and self-evidence of methods and proofs."" (DSB)
Théorèmes sur les Formes cubiques et Solution d'une Equation du quatrième Degré à quatre indéterminées (+) Über die Anzahl der quadratischen Formen, welche in der Theorie der complexen Zahlen zu einer reellen Determinante gehören (+) Allgemeine Auflös... - [""THERE HAVE BEEN ONLY THREE EPOCH-MAKING MATHEMATICIANS: ARCHIMEDES, NEWTON, AND EISENSTEIN""]
Berlin, G. Reimer, 1844. 4to. In contemporary half cloth. In ""Journal für die reine und angewandte Mathematik"", 27. band, Heft 1-4, 1844. Entire volume 27 offered. A small library stamp to lower part of p. 1 and a white label pasted on to upper part of spine. Light occassional brownspotting, otherwise fine and clean.
First printing of these influential papers by the German mathematics prodigy Eisenstein. Even though he died prematurely at the age of 29, he managed to prove Cubic reciprocity (presented in the present papers) biquadratic reciprocity, Quartic reciprocity, to be imprisoned by the Prussian army for revolutionary activities in Berlin and making Gauss state that: ""There have been only three epoch-making mathematicians: Archimedes, Newton, and Eisenstein"". Alexander von Humboldt, then 83, accompanied Eisenstein's remains to the cemetery. The papers presented in the present issue is among his most prominent and made him famous throughout the mathematical world. (James, Driven to innovate, P. 88). ""The twenty-seventh (the present and most extensive) and twenty-eighth volumes of Crelle's Journal, published in 1844, contained twenty-five contributions by Eisenstein. These testimonials to his almost unbelievable, explosively dynamic productivity rocketed him to fame throughout the mathematical world. They dealt primarily with quadratic and cubic forms, the reciprocity theorem for cubic residues, fundamental theorems for quadratic and biquadratic residues, cyclotomy and forms of the third degree, plus some notes on elliptic and Abelian transcendentals. Gauss, to whom he had sent some of his writings, praised them very highly and looked forward with pleasure to an announced visit. In June 1844, carrying a glowing letter of recommendation from Humboldt, Eisenstein went off to see Gauss. He stayed in Göttingen fourteen days. In the course of the visit he won the high respect of the ""prince of mathematicians,"" whom he had revered all his life. The sojourn in Göttingen was important to Eisenstein for another reason: he became friends with Moritz A. Stern-the only lasting friendship he ever made. While the two were in continual correspondence on scientific matters, even Stern proved unable to dispel the melancholy that increasingly held Eisenstein in its grip. Even the sensational recognition that came to him while he was still only a third-semester student failed to brighten Eisenstein's spirits more than fleetingly. In February 1845, at the instance of Ernst E. Kummer, who was acting on a suggestion from Jacobi (possibly inspired by Humboldt), Eisenstein was awarded an honorary doctorate in philosophy by the School of Philosophy of the University of Breslau.Eisenstein soon became the subject of legend, and the early literature about him is full of errors. His treatises were written at a time when only Gauss, Cauchy, and Dirichlet had any conception of what a completely rigorous mathematical proof was. Even a man like Jacobi often admitted that his own work sometimes lacked the necessary rigor and self-evidence of methods and proofs."" (DSB).
