‎Elodie Llorca‎
‎La correction‎

‎Stadier paa Livets Vei. Studier af Forskjellige. Sammenbragte, befordrede til Trykken og udgivne af Hilarius Bogbinder. - [KIERKEGAARD'S OWN COPY OF THE WORK THAT INTRODUCED ""THE LEAP OF FAITH"", WITH HIS OWN HANDWRITTEN CORRECTION]‎

‎Kjøbenhavn, Reitzel, 1845. Large 8vo. (8), 383 pp. An extraordinary copy printed on very heavy vellum-paper and bound in the mid-20th century in an elegant black half Morocco binding with single gilt lines to boards" double gilt lines and Gothic gilt lettering to spine (bound by Agnete With). Top edge gilt. A bit of brownspotting throughout. With the bookplate of Henning Kehler to inside of front board and with neat pencil annotations to back free end-paper describing the history of the copy. With a handwritten correction on p. 47.‎

‎Kierkegaard’s own copy of the pivotal sequel to his main work Either-Or, one of two copies printed on special paper, with Kierkegaard’s own handwritten correction on p. 47. In Either-Or, Kierkegaard had presented the first two stages, the aesthetic and the ethical. In Stages on Life’s Way, he continues his work on these stages and moves on to present also the religious stage, which occupies approximately two thirds of the work. The religious stage is that in which man attains a personal relationship with God and that in which man only truly begins to exist, the aesthetic and ethical stages being inadequate. It is in this foundational work, in the religious stage, that Kierkegaard first properly describes what is now known as the “Leap of Faith” (in fact a “leap to faith”), namely the leap that involves willing and belief instead of reason and knowledge, the leap that you take in order to connect to God and which requires that which Kierkegaard calls “the suspension of the ethical”. Undoubtedly among Kierkegaard’s most brilliant literary achievements, Stages on Life’s Way is written in the form of different viewpoints of Kierkegaard’s many pseudonymous characters. We have both Hilarius Bookbinder, who by chance has come into possession of the documents presented in the work and has prepared them for printing. We have the famous banquet scene, which mirrors Plato’s Symposium, described by William Afham, and in which the three aesthetics participate: Johannes the Seducer, Victor Eremita, and Constatin Constantius. We have Judge William’s discourse in praise of marriage, and we have the diary, discovered by Frater Taciturnus, of a young man, who was deeply in love but felt compelled to break off his engagement. This story in form of a diary is the closest one comes to a description of Kierkegaard’s own love story, his relationship to Regine. The diary describes an engagement that has lasted for six months it alternates between the morning notes that recall the engagement and the midnight notes that put it all in perspective. The work closes with a letter to the reader from Taciturnus on the three “existence-spheres” represented by the three parts of the book. Stages on Life’s Way is one of Kierkegaard’s most important works. Not only does it sum up and explain some of the most important themes of Kierkegaard’s previous works, utilizing the characters and pseudonymous authors of the earlier works to do so it goes beyond these foundational themes, introduces the religious stage, and points to the further development of the central themes in Kierkegaard’s philosophy, most of which are only fully developed in Concluding Unscientific Postscript. Written under a pseudonym and without Kierkegaard’s name appearing as publisher or indeed anything else, he was unable to give away presentation-copies of the work (due to his own rigid set of rules for his presentation-copies). Thus, not a single presentation copy of the work exists. A single copy of the book was in the auction catalogue of his book collection after his death. In Rohde’s edition of the auction-record, this copy and its recent faith is thoroughly described. Like Repetition, Prefaces, and his other seven pseudonymous works, Stages on Life’s Way was printed in two copies each on vellum-paper and bound in special bindings, one for Regine, one for Kierkegaard himself. 24 years ago, three of these books surfaced, at an auction in 2002, namely Either-Or, Repetition, and Prefaces, all being the copies Kierkegaard had bound for Regine. Before that, only one single copy of one of these eight titles for Kierkegaard himself or for Regine were known (namely Kierkegaard’s own copy of Either-Or, which is in the Danish Royal Library). Seven of the books, Kierkegaard’s own copies, were listed in the auction catalogue after his death, but apart from the mentioned copy of Either-Or in the Royal Library, the others had not been found. Kierkegaard’s wildly famous love story and failed engagement to Regine Olsen plays a pivotal role throughout Kierkegaard’s entire life and work. It all begins in 1837, when Kierkegaard meets the lovely young girl Regine Olsen at a visit to the widowed Cathrine Rørdam. Three years later, in September 1840, after having corresponded frequently with her and visited her on numerous occasions, Kierkegaard decides to ask for her hand in marriage. She and her family accept, but the following day, Kierkegaard regrets his decision and ends up finally breaking off the engagement in October 1841. Disregarding the scandal, the heartbreak (his own included), and the numerous pleas from family members and friends alike, Kierkegaard’s tortured soul, still searching for God and for the meaning of faith, cannot continue living with the promise of marriage. Later the same month, he flees Copenhagen and the scandal surrounding the broken engagement. He leaves for Berlin, the first of his four stays there, clearly tortured by his decision, but also intent on not being able to go through with the engagement. As is evident from his posthumously published Papers, Kierkegaard’s only way out of the relationship was to play a charming, but cold, villain, a charlatan, not betraying his inner thoughts and feelings. Despite the brevity of the engagement, it has gone down in history as one of the most significant in the entire history of modern thought. It is a real-life Werther-story with the father of Existentialism as the main character, thus with the dumbfounding existentialist outcome that no-one could have foreseen. This exceedingly famous and difficult engagement became the introduction to one of the most influential authorships in the last two centuries. “She was the reason for my authorship”, Kierkegaard writes in his Papers, and there is no doubt that several of his most significant works are born out of the relationship with Regine – and its ending. It is during his stay in Berlin, his first of four altogether, right after the rupture of the engagement, that he begins writing Either-Or, parts of which can be read as an almost autobiographical rendering of his failed engagement. After a couple of years, Regine got engaged to someone else, whom she married in 1847. But as is well known, Kierkegaard never married, and the impact of his engagement to Regine and what it made him understand – about himself, about religion, faith, the inner workings of the philosopher and the poet –, never lost its significance. It is evident from the many drafts of a letter that he sent to Regine, through her husband, in 1849 (which was returned to him, unopened) that he had never lain the matter to rest and that the relationship with Regine was still very much alive. He also states in his Notebook 15 from 1849 “By the way, it is certainly the case that my relationship with her has been a very close, present study for me of what faith is. For I know better in this relationship how it is apparently the exact opposite of the foundational. That I have lasted in this relationship has been useful for me in relating to God as a believer.” In his Notebook 15, also known as My Relationship with Her, from 1849, Kierkegaard describes how, when he finally broke off the engagement and she tried to get him to stay, she had told him “that she would thank me her entire life for being allowed to stay with me, even if she were to live in a little cupboard” (SKS No. 16: 6). Thus, Kierkegaard had a little cupboard made, with no shelves in it. Here, he kept “everything that reminds me of her and will remind me of her. There is also a copy of the pseudonyms (i.e. the works that he wrote under a pseudonym) of these, there were always only two copies on vellum-paper, one for her and one for me.” (SKS: Not. 15:6.). In all, Kierkegaard wrote eight pseudonymous books, Stages on Life’s Way being one of them, all of which were evidently printed in two copies each on vellum-paper and bound in special bindings, one for Regine, one for Kierkegaard himself. This splendid copy, which is one of two specially produced copies, being Kierkegaard’s own copy, with his own correction (deleting “ikke” – i.e. “not” on p. 47), is nr. 2136 in the auction catalogue of Kierkegaard’s books sold after his death. In Rohde’s official edition of the auction catalogue, there is a lengthy note on the present copy documenting the more recent history of the copy:“Now: Mogens Müllertz, Copenhagen. Copy on vellum-paper. S.K.,’s own handwritten correction of the printing error “not” on p. 47, cf Papers XI I, p. 36. The previous owner, the author Henning Kehler, has let the book, which was originally in half calf, rebind in black half calf by Agnete With and has pasted his book plate on the inside of the front board. In 1952, Henning Kehler gave the book as a Christmas present to Mogens Müllertz in an accompanying letter Kehler writes, among other things: “even though the present book is my best and dearest, I still want you to have it. I know of no-one else to whom I would rather dispense with it.” In an article “About printing errors”, Berlingske Aftenavis 9.11.1963, Kehler touches upon this book gift: “Being a writer I am naturally hardened when it comes to printing errors, no book and no newspaper article is without errors. Søren Kierkegaard, who could even pay others – eg. Israel Levin – to proofread mentions in his Papers a printing error in “Stages on Life’s Way”, which kept vexing him. It was a “not” that had fallen out. I once owned a copy of the book that had been placed in the palisander book cabinet for Regine, and in that copy, this “not” had been added in ink and in Kierkegaard’s handwriting. I gave the book to a book-mad collector – under false pretenses, alas.” – Identification of the copy uncertain.” (pp. 110-11).Although Kehler is mistaken in the correction being adding a “not” instead of deleting one, there is no doubt that this is the copy he is referring to. The sentence on p. 47, in which the correction occurs reads “Pro dii immortals what is a woman, when she is not in fashion, per deo obsecro what is she when she is not (this being the “not” that Kierkegaard has deleted here and was vexed about) in fashion”.This copy on very heavy paper – one of the two printed like this – is approximately 1/3 thicker than normal copies of the book.The pencil annotations on the back free end-paper bear witness to the previous owner’s frustration at Kehler for having tampered with the copy. After stating that this is Kierkegaard’s personal copy, one of two on vellum-paper and copy nr. 2136 from the auction catalogue, he continues: “The copy used to have all edges gilt, a few leaves still have remains of this. The edge has been shaved at the ruthless rebinding that Henning Kehler in his complete lack of understanding of what he possessed had done.” On Kehler’s bookplate, the same previous owner has noted in neat pencil-annotation “bibliophile vandal”.In spite of the frustration with this particular book having been rebound and not kept exactly as it was, this is still an utterly amazing copy of one of Kierkegaard’s most important works – hands down the best copy there is of the work. Namely Kierkegaard’s own, with his own correction, one of two printed on heavy paper, one for Regine, one for himself. We must be thankful that, despite the “vandalism” of the rebinding, the book is still here and identified as that same copy that Kierkegaard had made for himself. Himmelstrup 78.‎

‎"ce serait la constatation pure et simple de la souveraineté de l'homme sur lui-même" Epreuve avec envoi et correction autographe de "Victor Hugo à l'Espagne"‎

‎s. n. | Hauteville House [Guernesey] 1868 | 14 x 34.7 cm | Une feuille‎

‎Epreuve imprimée avec envoi et correction autographe "Victor Hugo à l'Espagne" au lieu de "Victor Hugo et l'Espagne" d'un article de Hugo écrit à Guernesey daté dans l'impression "Hauteville House, 22 octobre 1868". Publié dans La Liberté (26 octobre 1868), avec une dédicace à Emile de Girardin ("à mon cher et grand ami") qui ne figure pas encore dans ce placard préparatoire. Plis inhérents au format allongé du feuillet, un petit accroc sur une lettre sans manque. Epreuve enrichie d'une correction autographe au titre et d'un exceptionnel envoi autographe signé au critique littéraire puis polémiste politique Eugène Pelletan: « A Eugène Pelletan Victor Hugo ». L'écrivain adresse cet appel à l'Espagne républicaine à la suite de la révolution de Septembre, qui avait mis fin au règne despotique d'Isabelle d'Aragon. Hugo nourrissait un immense espoir qu'une république espagnole pourrait être décisive non seulement pour la prospérité du peuple espagnol mais aussi pour la paix et la démocratie européennes. Pelletan avait lui-même signé le mois précédent un article au vitriol sur le départ de la reine d'Espagne dans son journal La Tribune. Le présent placard apporte la preuve inédite que Victor Hugo a réagi à la suite de Pelletan et lu son appel républicain, qu'il réitère ici par sa verve lyrique, caracéristique de ses écrits politiques. Les deux hommes essuyèrent une violente salve de critiques après la publication de leurs articles. * Ce superbe et rententissant placard marque le retour d'Hugo en politique après la disparition de sa femme : "Mais le devoir ne lâche pas prise. Il a d'impérieuses urgences. Mme Victor Hugo, on vient de le voir, était morte en août. En octobre, l'écroulement de la royauté en Espagne redonnait la parole à Victor Hugo. Mis en demeure par de si décisifs événements, il dut, quel que fût son deuil, rompre le silence" lit-on dans l'introduction au texte de l'article, republié en 1875 dans Actes et Paroles pendant l'exil. Son attachement et son affection pour l'Espagne lui viennent de son enfance passée auprès de son père, Joseph Léopold Sigisbert Hugo, général dans les armées de Napoléon et gouverneur d'Ávila, Ségovie, Soria et Guadalajara sous le règne de Joseph Bonaparte. C'est d'ailleurs le fils d'Eugène Pelletan qui soulignera les forts liens d'Hugo avec ce pays : "On a souvent noté pour Victor Hugo l'action du voyage d'Espagne, sur la forme et le fond de toute son uvre. Pour la forme, la terrible netteté de la lumière, le pittoresque bizarre, le mélange du sublime et du fantasque; pour le fond, la vision grandiose de l'épopée impériale, et ses soudaines vicissitudes de fortune." (Camille Pelletan, Victor Hugo Homme Politique). "VICTOR HUGO ET [correction autographe "à"] L'ESPAGNE Un peuple a été pendant mille ans, du sixième au seizième siècle, le premier peuple de lEurope, égal à la Grèce par lépopée, à lItalie par lart, à la France par la philosophie ; ce peuple a eu Léonidas sous le nom de Pélage, et Achille sous le nom de Cid ; ce peuple a commencé par Viriate et a fini par Riego ; il a eu Lépante, comme les grecs ont eu Salamine ; sans lui Corneille naurait pas créé la tragédie et Christophe Colomb naurait pas découvert lAmérique [...] Naissant, ce peuple a tenu en échec Charlemagne, et, mourant, Napoléon. Ce peuple a eu des maladies et subi des vermines, mais, en somme, na pas été plus déshonoré par les moines que les lions par les poux. Il na manqué à ce peuple que deux choses, savoir se passer du pape, et savoir se passer du roi. Par la navigation, par laventure, par lindustrie, par le commerce, par linvention appliquée au globe, par la création des itinéraires inconnus, par linitiative, par la colonisation universelle, il a été une Angleterre, avec lisolement de moins et le soleil de plus. Il a eu des capitaines, des docteurs, des poëtes, des prophètes, des héros, des sages. [...] Aujourdhui, de cette cendre cette nation renaît. Ce qui est faux du phénix est vrai du peup‎

‎Homelie I pour le Second Dimanche de L'Avent sur la Correction Fraternelle. ‎

‎Paris Raymond Mazieres 1707 Trois volumes d'homélies du Curé de Saint Sulpice. 4e édition. reliure plein cuir à 6 volets, 2 étiquettes cuir au dos avec titre et tome. Les reliures ont des entailles et des ébréchures. La surface est assez piquée. Toujours aussi séduisant. Chaque volume comporte des vignettes et des initiales historiées au début de chaque homélie. Chaque homélie a sa propre page de titre et sa propre date. Celles-ci ont évidemment été imprimées sous forme d'homélies séparées et reliées ensemble ici. Texte en français. Vol 1. 1707 4e édition. Ce volume a eu des dommages sur le bord inférieur (on dirait peut-être des souris avant la reliure ou similaire ?). En conséquence, le bloc de texte a été rasé jusqu'à la base (n'affectant pas le texte). Le livre est donc plus court de 2,5 cm que les deux autres volumes. Contient Homélie I (Pour le Second Dimanche de L'Avent sur la Correction Fraternelle); XXII; (Pour le premier jour de L'an), XXVI ; (pour le Troisieme Dimanche apres L'Epiphanie sur le Lepreux et le Paralytique), XI; (pour les quatrieme Dimanche apres L'epiphanie), XXXVI; XXXVII; XXXVII (pour le cinquieme Dimanche d'Apres L'Epiphanie sur le Bon Grain - 3 homélies) ; XXXIX (pour le vi Dimanche D'Après L'Epiphanie, sur le grain de Seneve); XXII (Le Septuagesime & partie 2); XXVII (de la Sexagesime sur le Déluge) ; XXXI (la Sexagesime sur le juste Abel) ; II (Quinquagesime sur L'Aveugle de Jéricho) 26, 44, 50, [i], 46, 56, 59, 54, [i], 58, 66, 50, 48, 50, 36 pp. 23,5 cm x 19 cm. Vol 2. 1710. Ce volume est la 3e édition. Le papier de devant a eu les 3 cm supérieurs soigneusement découpés (semble avoir supprimé une signature de propriété). Légères ébréchures sur le bord supérieur. quelques taches d'eau sur le bord inférieur, avec quelques pertes de papier en bas sur une vingtaine de pages (n'affectant pas le texte). Contient : Homilie XIII (Quinquagesime sur la voye large et la voye etroite) XXXIII (Du caresme sur la Cananée) ; XXXV, (De Careme dur L'Enfant Prodigue); XXIV (Le jeudy de la seconde semaine de careme sur le mauvaisriche); III (le quatrième dimanche de Careme sur le miracle de cinq pains) ; XXXII (le quatrième dimanche de Caresme sur la Samaritaine) ; XXX (Sur la patience de Job) ; XIV (Sur la Passion de Jésus-Christ notre seigneur) ; XV (Deuxième Dimanche d'après pasques sur le bon pasteur - deuxième édition) ; XVI (sur le juste afflige) ; IV (Dimanche des Rogations sur la Priere - 3e édition) ; XXVIII (le Dimanche dans L'Octave du Saint Sacrement sur la viellesse) ; XXV (Sur la brebis égarée) ; 52, 52, 66, 52, 48. 64, 66, 64, 46, 44, 48, 56, 47 [i] p. 26 cm x 19 cm. Volume 3. 1710. 3e édition. Quelques frottements sur les plats, mais dans l'ensemble en bon + état. Contient : V (le sixième Dimanche d'après la Pentecôte sur la Pénitence de David - 3e édition) ; XVII (Sur les faux prophètes) ; VI (pour le huitieme Dimanche D'apres la Pentecote sur L'econome infidèle); IX (pour le dixieme dimanche d'après la Pentecôte sur le pharisien et le publicain) ; VIII (pour le onzieme dimanche d'après la pentecote sur la guerison du sourd et muet - 4e édition) ; VII (le douzieme Dimanch d'après la pentecôte sur le Samaritain - deuxième édition) ; XX (le treizieme dimanche d'après la pentecote sur les dix lepreux) ; XVIII (le qunzieme dimanche d'après la pentecote sur la veuve de naim); XXXIV (le dix-hitième dimanche d'après la pentecôte sur la Magdeleine) ; X (pour le vingt un dimanche après la Pentecôte sur le créancier inhumain - 4e édition) ; XXIX (pour le vingtdeux dimanche d'après la Pentecôte sur les consultations humaines) ; XIX (pour le vint troisieme dimanche d'apres la pentecote su l'hemorroisse) ; XXI (pour le vint quatrième dimanche d'après la pentecôte sur le jugement dernier). 44, 40, 36, 42; 40, 44, 54, [i], 40, 70, 40, 50, 42, [i], 44 pages 26 cm x 19 cm.‎

‎Three volumes of homilies by the Curé of Saint Sulpice. 4th Edition. full leather binding with 6 panels, 2 leather labels to the spine with title and volume. The bindings have some nicking and chipping to them. The surface area is quite pitted. Still attractive. Each volume has vignettes and historiated initials to the beginning of each homily. Each homily has its own title page and date. These were obviously printed as separate homilies and bound together here. Text in French. Vol 1. 1707 4th Edition. This volume has had damage to the bottom edge (looks as if perhaps mice before binding or similar?). As a result, the text block has been shaved to the base (not affecting text). This has resulted in the book being 2.5 cm shorter than the other two volumes. Contains Homily I (Pour le Second Dimanche de L'Avent sur la Correction Fraternelle); XXII; (Pour le premier jour de L'an), XXVI; (pour le Troisieme Dimanche apres L'Epiphanie sur le Lepreux et le Paralytique), XI; (pour les quatrieme Dimanche apres L'epiphanie), XXXVI; XXXVII; XXXVII (pour le cinquieme Dimanche d'apres L'Epiphanie sur le Bon Grain - 3 homilies); XXXIX (pour le vi Dimanche D'Apres L'Epiphanie, sur le grain de Seneve); XXII (Le Septuagesime & part 2); XXVII (de la Sexagesime sur le Deluge); XXXI (la Sexagesime su le juste Abel); II (Quinquagesime sur L'Aveugle de Jericho) 26, 44, 50, [i], 46, 56, 59, 54, [i], 58, 66, 50, 48, 50, 36 pp. 23.5 cm x 19 cm. Vol 2. 1710. This volume is the 3rd Edition. The front end paper has had the top 3 cm neatly cut away (seems to have been removing an ownership signature). Slight chipping to top edge. some water staining to the bottom edge, with some loss of paper to the bottom on about 20 pages (not affecting text). Contains: Homilie XIII (Quinquagesime sur la voye large et la voye etroite) XXXIII (Du caresme sur la Cananee); XXXV, (De Careme dur L'Enfant Prodigue); XXIV (Le jeudy de la seconde semaine de careme sur le mauvaisriche); III (le quatrieme dimanche de Careme sur le miracle de cinq pains); XXXII (le quatrieme dimanche de Caresme sur la Samaritaine); XXX (Sur la patience de Job); XIV (Sur la Passion de Jesus-Christ notre seigneur); XV (Second Dimanche d'apres pasques sur le bon pasteur - second edition); XVI (sur le juste afflige); IV (Dimanche des Rogations sur la Priere - 3rd edition); XXVIII (le Dimanche dans L'Octave du Saint Sacrement sur la viellesse); XXV (Sur la brebis egaree); 52, 52, 66, 52, 48. 64, 66, 64, 46, 44, 48, 56, 47 [i] pp. 26 cm x 19 cm. Volume 3. 1710. 3rd Edition. A little rubbing to the boards, but overall in good+ condition. Contains: V (le sixieme Dimanche d'apres la Pentecote sur la Penitence de David - 3rd edition); XVII (Sur les faux prophetes); VI (pour le huitieme Dimanche D'apres la Pentecote sur L'econome infidele); IX (pour le dixieme dimanche d'apres la Pentecote sur le pharisien et le publicain); VIII (pour le onzieme dimanche d'apres la pentecote sur la guerison du sourd et muet - 4th edition); VII (le douzieme Dimanch d'apres la pentecote sur le Samaritain - second edition); XX (le treizieme dimanche d'apres la pentecote sur les dix lepreux); XVIII (le qunzieme dimanche d'apres la pentecote sur la veuve de naim); XXXIV (le dix-hitieme dimanche d'apres la pentecote sur la Magdeleine); X (pour le vingt un dimanche apres la Pentecoste sur le creancier inhumain - 4th edition); XXIX (pour le vingtdeux dimanche d'apres la Pentecote sur les consultations humaines); XIX (pour le vint troisieme dimanche d'apres la pentecote su l'hemorroisse); XXI (pour le vint quatrieme dimanche d'apres la pentecote sur le jugement dernier). 44, 40, 36, 42; 40, 44, 54, [i], 40, 70, 40, 50, 42, [i], 44 pp 26 cm x 19 cm.‎

‎Afanasyev, Norbekov. Mystery of figure correction. In Russian /Afanasev, Norbek‎

‎Afanasyev, Norbekov. Mystery of figure correction. In Russian /Afanasev, Norbekov. Tayny korrektsii figury. Afanasyev, Norbekov. Mysteries of figure correction. 1997. Moscow. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalbdb59605c1b5a829e.‎

‎Korrektsiya televizionnykh i impul'snykh signalov. In Russian /Correction of ...‎

‎Short description: In Russian. Braude, Girsh Vulfovich. Correction of TV and pulse signals. Moscow: Communications, 1967. Korrektsiya televizionnykh i impul'snykh signalov. In Russian /Correction of television and pulse signals . The image is provided for reference only. It may reflect condition of one of the available copies or only help in identifying the edition. Please feel free to contact us for a detailed description of the copies available. SKU5984959‎