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Présentation de l'U.R.S.S.
Jacques Vautrain. 1947. In-8. Broché. Etat d'usage, Couv. légèrement passée, Dos plié, Quelques rousseurs. 287 pages. Plats contrepliés en un rabat. Quelques passages soulignés au crayon de couleurs dans le texte. Mors légèrement fendus en coiffe de tête.. . . . Classification Dewey : 947-Europe de l'Est, URSS
Reference : R300276927
Classification Dewey : 947-Europe de l'Est, URSS
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5 book(s) with the same title
Présentation critique d'Hortense Flexner.
Paris, Gallimard, 1969 ; in-8 carré de 118 pp., [2] ff., reliure en box café au lait, dos lisse avec titre en lettres mordorées en long, plats ornés de 7 pièces de placage en bois sombre disposées géométriquement laissant apparaître le box en bordure, tête dorée, couverture orange, chemise à bandes de box, étui (Miguet, 1991).
Édition originale. Marguerite Yourcenar présente une poétesse américaine peu connue, aux « vers sombres et denses ». On trouve ensuite un petit choix de poèmes de Flexner, en américain, accompagnés de la traduction française proposée par Yourcenar. Un des 40 exemplaires tirés sur vélin pur fil de Lafuma, seul grand papier. Ravissante reliure de Miguet en placage de bois vernis, dont les pièces sont disposées afin de faire varier les reflets des veinures.
Enten – Eller. Et Livs=Fragment udgivet af Victor Eremita. Anden Udgave. Første Deel, indeholdende A.’s Papirer + Anden Deel, indeholdende B.’s Papirer, Breve til A. - [IN PRESENTATION-BINDING, ONE OF SIX COPIES ON THIN VELLUM-PAPER]
Kjøbenhavn, Reitzel, 1849. 8vo. XIV, (2), 320" (4), 250 pp. Bound in one original full patterned cloth binding with gilt lines to spine as well as title in Gothic gilt lettering and gilt volume-numbering (“1.2.”). Printed on thin vellum-paper. Capitals and corners with a bit of wear. Spine and edges of boards a bit faded. But overall very nice. Blue pasted-down end-papers. Internally very nice and clean. Old owner’s signature to inside of front board (J.P. Melbye) and previous owner’s neat pencil annotations explaining that the front free end-paper has been removed, that it may well have carried an inscription from Kierkegaard, and that the binding corresponds to the bindings of the copies that we know he gave away.
The important second edition (recte issue) in Kierkegaard’s own characteristic presentation-binding, one of the six copies on thin vellum-paper (although we can find mention of seven presentation-copies having been given away, Kierkegaard notes himself that he had six copies printed on special paper). There is no doubt that the present copy is in Kierkegaard’s gift- (or presentation-) binding, which he had made in the same style for the copies that he gave away. He always wrote the presentation-inscription on the front free end-paper, which is unfortunately lacking here, so that we cannot determine, to whom he gave the present copy. The binding corresponds to the one that gave to e.g. Henrik Hertz (which still has the presentation-inscription). Kierkegaard’s magnum opus Either-Or is considered the foundational work of existentialism and doubtlessly the most famous work by the greatest Scandinavian philosopher of all times, who ""is now generally considered to be, however eccentric, one of the most important Christian philosophers"" (PMM 314). Kierkegaard's monumental magnum opus seminally influenced later as well as contemporary philosophy and ranks as one of the most important works of philosophy of modern times. Either-Or is the earliest of Kierkegaard’s major works and the work with which he begins his pseudonymous authorship. Kierkegaard’s pseudonymity is an entire subject unto its own. The various cover names he uses play a significant role in his way of communicating and are essential to the understanding of his philosophical and religious messages. And it all properly begins here, with his groundbreaking magnum opus. Conjuring up two distinctive figures with diverging beliefs and modes of life – the aesthetic “A” of Part One, and the ethical B (note that this is the first “pseudonym” that Kierkegaard uses, in his earliest articles – no. I above)/Judge Vilhelm of Part Two, Kierkegaard presents us with the most basic reflections on the search for a meaningful existence, seen from two completely different philosophical views. This masterpiece of duality explores the foundational conflict between the ethical and the aesthetical, providing us along the way with the now so famous contemplations on music (Mozart), drama, boredom, pleasures, virtues, and, probably most famously, seduction (and rejection – The Seducer’s Diary). It is primarily Judge Vilhelm from Part Two of Either-Or that has bestowed upon Kierkegaard the reputation as the Father of Existentialism. His emphasis on taking ownership of oneself and the importance of making choices has made him the (first) personification of Existentialism and the idea that one does not passively develop into the self that he or she should be or ought to become. Kierkegaard went to great lengths to ensure that the public would not know the identity of the author was of Either-Or. He even had the draft of the work done by several hands, so that employees at the printer’s would also be deceived. Despite his efforts, however, it did not take long for the public to guess that Kierkegaard had written this astounding work. But Kierkegaard himself kept up the façade and did not accept authorship until several years later. Nothing Kierkegaard did was left to chance, which his carefully chosen pseudonyms also reflect. This also spills over in his presentation-inscriptions, which follow as strict a pattern as the pseudonyms themselves – he never signed himself the author, if his Christian name was not listed as the author on the title-page. And seeing that he had not accepted authorship of Either-Or and is not mentioned by name anywhere on the title-page (also not as the editor nor publisher as with the other pseudonymous works), he was not able to give away copies of his magnum opus, which is why no presentation-copy of the first edition exists. The appearance of the second edition of this monumental work was, naturally, carefully planned. Either-Or first appeared in 1843, and due to the great demand for the work, which had originally only been printed in ca 525 copies, it had quickly been sold out" but Kierkegaard refused to have it reprinted. In 1849, finally, he decided to let it appear again, in a textually unchanged version. When the second edition appeared (recte second issue), Kierkegaard had meanwhile owned up to the authorship of Either-Or. He had done so in 1846, in his Concluding Unscientific Postscript to The Philosophical Fragments (own translation): “For the sake of manners and etiquette I hereby acknowledge, what can hardly in reality be of interest to anybody to know, that I am, as one says, the author of Either-Or (Victor Eremita), Copenhagen in February 1843...”. Now, finally, Kierkegaard could give away his magnum opus! In his Papers from 1849, Kierkegaard states (own translation): “The poets here at home each received a copy of Either-Or. I thought it my duty and now I was able to do it because now one cannot reasonably claim that a conspiracy is made concerning the book. -because the book is now old and its crisis over. Of course they were given the copy from Victor Eremita...” (Pap., X1A 402). Naturally, because “as little as I in Either-Or is the Seductor or the Assessor, as little am I the publisher Victor Eremita, exactly as little" he is a poetically-real subjective thinker, as he is also found in “in vino veritas.” “ (the postscript to the Postscript, 1846) But he only sent few copies to very choice people, fewer than he did most of his other works, and only three copies have been identified (to Henrik Hertz, Christian Winther, and Hans Christian Andersen). Three further copies in gift-bindings corresponding to these have been identified, but in these copies, the leaf with the presentation-inscription has also been torn out. He must have given away yet another copy – one presumably not being on vellum-paper, as, according to his own notes, he had asked the printers for six copies on vellum paper (see Pap., Vol. X, part five, p. (203).) -, making the total known (albeit not all identified) number of copies seven. “Two copies in a binding corresponding to Hertz’s copy have been traced, but in both, the front free end-paper has been torn out. It leads one to think that the completely unusual presentation inscription (signed by Victor Eremita!), for the immediate posterity has been of such a curious nature that it has tempted autograph hunters on several occasions.” (Tekstspejle, p. 97, translated from Danish). “The other book, of which the recipients stand out is the second edition of Either-Or, which appeared in May 1849. The first edition from 1843 had been sold out for several years, but Kierkegaard had refused to have it reprinted. In our context we must remember that in 1843, he was unable to send gift copies of the first edition… When, in 1843, he lets Either-Or be reprinted in textually unaltered form, he has meanwhile (1846) admitted to authorship of the work. But the wording on the title-pages of the two leaves does not allow him to sign the dedication “from the Author” or “from the publisher” or the like.” (Tekstspejle p. 96, translated from Danish). Either-Or is now not only the title of Kierkegaard’s most famous and widely read work, it is also a phrase that summarizes much of the thinking for which he is best known and a cornerstone of what we now characterize as Existentialism. The first edition caused a sensation. The second issue (termed “edition”, although it is textually unaltered) is not only the first edition of the work to appear after Kierkegaard had acknowledged authorship of it and thus also confirmed being one and the same with his most famous pseudonym, it is also the first of Kierkegaard’s works to appear in a second edition or issue. The second edition of the work is thus also of the utmost importance and is one of the only important second editions of any of Kierkegaard’s works. PMM: 314 Himmelstrup 21 The present copy is no. 15 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.
Om Begrebet Ironi med stadigt hensyn til Socrates. Af S. A. Kierkegaard. - [PRESENTATION-COPY TO HIS PREVIOUS GREEK TEACHER BOJESEN]
Kjøbenhavn, P.G. Philipsens Forlag, 1841. 8vo. (8), 350 pp. Gift binding of plain brown full cloth with single gilt lines to spine. Printed on fine paper. Handwritten title to spine: “Kierkegaard / Om / Ironie”. Very neat, barely noticeable small restorations to capitals and to corners. A bit of browning and brownspotting, mostly to the first leaves. With the ex libris of Georg Nygaard to inside of front board and pencil annotation stating that the copy was bought at the auction of his collection in 1943, by bookseller Hagerup.
Magnificent presentation-copy of Kierkegaard's dissertation, inscribed toverso of front fly-leaf to his previous Greek teacher, Bojesen: “Til / Hr. Professor Boiesen” (i.e. For / Mr. Professor Boiesen). The copy is with the Thesis, but neither the date nor the time has been filled in by hand as usual in the presentation-copies. This is presumably because he did not expect his previous teacher to show up to the defense. Kierkegaard's dissertation constitutes the culmination of three years’ intensive studies of Socrates and “the true point of departure for Kierkegaard’s authorship” (Brandes). The work is of the utmost importance in Kierkegaard’s production, not only as his first academic treatise, but also because he here introduces several themes that will be addressed in his later works. Among these we find the question of defining the subject of cognition and self-knowledge of the subject. The maxim of “know thyself” will be a constant throughout his oeuvre, as is the theory of knowledge acquisition that he deals with here. The dissertation is also noteworthy in referencing many of Hegel’s theses in a not negative context, something that Kierkegaard himself would later note with disappointment and characterize as an early, uncritical use of Hegel. Another noteworthy feature is the fact that the thesis is written in Danish, which was unheard of at the time. Kierkegaard felt that Danish was a more suitable language for the thesis and hadto petition the King to be granted permission to submit it in Danish rather than Latin. This in itself poses as certain irony, as the young Kierkegaard was known to express himself poorly and very long-winded in written Danish. One of Kierkegaard’s only true friends, his school friend H.P. Holst recounts (in 1869) how the two had a special school friendship and working relationship, in which Kierkegaard wrote Latin compositions for Holst, while Holst wrote Danish compositions for Kierkegaard, who “expressed himself in a hopelessly Latin Danish crawling with participial phrases and extraordinarily complicatedsentences” (Garff, p. 139). When Kierkegaard, in 1838, was ready to publish his famous piece on Hans Christian Andersen (see nr. 1 & 2 above), which was to appear in Heiberg’s journal Perseus, Heiberg had agreed to publish the piece, although he had some severe critical comments about the way and the form in which it was written – if it were to appear in Perseus, Heiberg demanded, at the very least, the young Kierkegaard would have to submit it in a reasonably readable Danish. “Kierkegaard therefore turned to his old schoolmate H. P. Holst and asked him to do something with the language…” (Garff, p. 139). From their school days, Holst was well aware of the problem with Kierkegaard’s Danish, and he recounts that over the summer, he actually “translated” Kierkegaard’s article on Andersen into proper Danish. The oral defense was conducted in Latin, however. The judges all agreed that the work submitted was both intelligent and noteworthy. But they were concerned about its style, which was found to be both tasteless, long-winded, and idiosyncratic. We already here witness Kierkegaard’s idiosyncratic approach to content and style that is so characteristic for all of his greatest works. Both stylistically and thematically, Kierkegaard’s and especially a clear precursor for his magnum opus Either-Or that is to be his next publication. In many ways, Either-Or is born directly out of The Concept of Irony and is the work that brings the theory of Irony to life. Part One of the dissertation concentrates on Socrates as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. Part Two is a more synoptic discussion of the concept of irony in Kierkegaard’s categories, with examples from other philosophers. The work constitutes Kierkegaard’s attempt at understanding the role of irony in disrupting society, and with Socrates understood through Kierkegaard, we witness a whole new way of interpreting the world before us. Wisdom is not necessarily fixed, and we ought to use Socratic ignorance to approach the world without the inherited bias of our cultures. With irony, we will be able to embrace the not knowing. We need to question the world knowing we may not find an answer. The moment we stop questioning and just accept the easy answers, we succumb to ignorance. We must use irony to laugh at ourselves in order to improve ourselves and to laugh at society in order to improve the world. The work was submitted to the Philosophical Faculty at the University of Copenhagen on June 3rd 1841. Kierkegaard had asked for his dissertation to be ready from the printer’s in ample time for him to defend it before the new semester commenced. This presumably because he had already planned his sojourn to Berlin to hear the master philosopher Schelling. On September 16th, the book was issued, and on September 29th, the defense would take place. The entire defense, including a two hour long lunch break, took seven hours, during which ”an unusually full auditorium” would listen to the official opponents F.C. Sibbern and P.O. Brøndsted as well as the seven “ex auditorio” opponents F.C. Petersen, J.L. Heiberg, P.C. Kierkegaard, Fr. Beck, F.P.J. Dahl, H .J.Thue og C.F. Christens, not to mention Kierkegaard himself. The work appeared in two states – one with the four pages of “Theses”, for academics of the university, whereas the copies without the theses were intended for ordinary sale. These sales copies also do not have “Udgivet for Magistergraden” and “theologisk Candidat” on the title-page. The first page of the theses always contains the day “XXIX” of September written in hand, and sometimes the time “hora X” is also written in hand, but not always. In all, 11 presentation-copies of the dissertation are known, and of these only one is signed (that for Holst), all the others merely state the title and name of the recipient. As is evident from the auction catalogue of his collection, Kierkegaard had a number of copies of his dissertation in his possession when he died. Five of them were bound, and two of them were “nit. M. Guldsnit” (i.e. daintily bound and with gilt edges). These two copies were obviously meant as presentation-copies that he then never gave away. The gift copies of the dissertation were given two types of bindings, both brownish cloth, one type patterned, the other one plain, and some of them have gilt edges, but most of the plain ones do not. There exist two copies on thick vellum paper – one being Kierkegaard’s own copy, the other being the copy for H.C. Ørsted, discoverer of electromagnetism and then principle of the University of Copenhagen. “As already implied, two works of the authorship stand out in the sense that Kierkegaard sent his presentation-copies to a special circle of people: The dissertation from 1841...” (Posselt, Textspejle, p. 91, translated from Danish). Most of the copies were given to former teachers and especially to people who, due to leading positions, personified the university. “For this circle of initiated we can now, due to registered copies, confirm that Kierkegaard gave copies with handwritten dedications to the headmaster of the University H.C. Ørsted (printed on thick paper), Kolderup-Rosenvinge and to J.L. Heiberg. It is granted that Sibbern, Madvig and F.C. Petersen were also given the dissertation as a gift,... but these copies are not known (yet).” (Posselt, Textspejle, pp. 93-94, translated fromDanish). (N.b. We have since handled the copy given to Petersen and can thus confirm that it exists). The presentation-inscriptions in the 11 registered copies of the Irony all follow a certain, strict pattern. “The wording could not be briefer. In the donation of his academic treatise, the otherwise prolific Kierkegaard sticks to name, titles, and the modes of address that goes with the titles.” (Tekstspejle p. 96, translated from Danish). When presenting his later books, he always signs himself “from the author”, sometimes abbreviated (i.e. “Forf.” In stead of “Forfatteren”), unless he is mentioned by name on the title-page as the publisher, not the author, as is the case with some of the pseudonymous works. In that case he signs his inscriptions “From the publisher”, always accompanied by “in deep reverence”, “with reverence”, “with friendship” or the like, adapted to the rank of the recipient and his place on Kierkegaard’s personal scale. An academic treatise, however, published before the oral defense took place – in the mind of Kierkegaard – required certain demands in relation to the donation of it. Thus, the brevity and rigidity in the inscriptions. Ernst Frederik Christian Bojesen (1803-64) was a philologist and school man. In 1820, Bojesen graduated as student from Borgerdydskolen, where he already the following year began teaching classical languages and soon became the principal’s right hand man. Here, he taught classical languages and was Kierkegaard’s teacher of classical Greek. He later became dr. Phil and professor at Sorø Akademi, where “in September 1841, he received, by post, a presentation-copy of the dissertation “On the Concept of Irony” by his previous disciple. (Tudvad, Kierkegaards København, p. 171). Himmelstrup 8 The present copy is no. 7 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.
Cahiers marials n° 106 - La présentation du Seigneur - Jésus et Marie au Temple par H. Cazelles, La fête de la présentation par A.M. Roguet, Présentation au Temple et eucharistie par J. Laurenceau, Selon la loi du Seigneur par H. Holstein, A propos
Bureau de la revue. 15 janvier 1977. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Paginé de 1 à 64.. . . . Classification Dewey : 200-RELIGION
Sommaire : La présentation du Seigneur - Jésus et Marie au Temple par H. Cazelles, La fête de la présentation par A.M. Roguet, Présentation au Temple et eucharistie par J. Laurenceau, Selon la loi du Seigneur par H. Holstein, A propos de la présentation par A. Manaranche Classification Dewey : 200-RELIGION
Tre opbyggelige Taler af S. Kierkegaard. - [ONE OF TWO KNOWN PRESENTATION-COPIES - THE ONE FOR HEIBERG]
Kjøbenhavn, Philipsen, 1843. 8vo. 62 pp. Original gift-binding of the black glitted paper with single gilt lines to spine and all edges gilt. A bit of wear to extremities with tiny loss of paper to front hinge. Minor loss to upper capital. Top of front board restored and with neat restoration to upper part of spine and lower capital. Occasional light brownspotting.With the book-plate of Karl Madsen to inside of front board.
One of two known presentation-copies of the important Three Upbuilding Discourses from 1843, the religious companien to Fear and Trembling from the same year, inscribed by Kierkegaard to Heiberg, on front free end-paper: “Til / Hr. Professor J.L. Heiberg / R af D. / ærbødigst / fra / Forfatteren. (i.e. For / Mr. Professor / J. L. Heiberg / R af D (i.e. Ridder (Knight) of Dannebrog) / most respectfully / from the Author). Kierkagaard's Upbuilding (or Edifying) Discourses were published over the course of two years, in 1843 and 1844. In all, 18 Upbuilding Discourses were published, divided over six publications, namely: Two Upbuilding Discourses from 1843, Three Upbuilding Discourses from 1843, Four Upbuilding Discourses from 1843, Two Upbuilding Discourses from 1844, Three Upbuilding Discourses from 1844, Four Upbuilding Discourses from 1844. Each of these publications accompanied one of the main pseudonymous works, beginning with Either-Or in 1843. As opposed to his major philosophical works, the religious upbuilding discourses actually bear the name of the author on the title-page. Of course, this was by no means incidental. While the pseudonymous works could raise the question of the religiousness of the author, the parallelly written religious discourses stress the fact that we are dealing with an author, who was religious from the very beginning – an essential fact that Kierkegaard wished to stress for those interested in his authorship. In his journals, Kierkegaard clearly states that the religious discourses are as significant in his oeuvre as a whole as are the larger pseudonymous works, “I began with “Either-Or” and two upbuilding discourses...” he says, and explains that he intended the upbuilding, the religious, to advance, and that he wanted to show “that the writer was not an aesthetic author who in the course of time grew older and for that reason became religious”. (Journals, IX A 227). He was religious all along, also during all of the major philosophical publications that were not written in his name. The fact that every major pseudonymous work – up until Concluding Unscientific Postscript appeared and revealed the identity of the real author – was accompanied by one of these small Upbuilding Discourses, bears testament to the pivotal role they play in Kierkegaard’s philosophical development. Furthermore, while Kierkegaard could not present anyone with copies of his pseudonymous works (as his name did not appear as the author on the title-page), he could indeed give away presentation-copies of his accompanying Upbuilding Discourses, which he then did. Most of these presentation-copies are in the typical black glitted paper bindings with single gilt lines to spines. Some, however, are in the original printed boards. The trade copies appeared in original wrappers, some of them blank, some of them printed, repeating the printing from the title-page within a printed frame. In May 1845, the publisher Philipsen buys the remainder issues of all six Discourse-publications, has a joint title-page printed along with a contents-leaf and now issues all six Discourse-publications together under the title Eighteen Upbuilding Discourses. The idea of the Eighteen Upbuilding Discourses. He had agreed to it, but it was not his intended project with the Upbuilding Discourses. Therefore, he wished for the book not to be reviewed, and he naturally did not give away any copies of the Eighteen Upbuilding Discourses, only the individual publications. In all, seven presentation-copies of the different Upbuilding Discourses are registered, all being for either Heiberg or Nielsen. Johan Ludvig Heiberg (1791-1860) was a Danish poet, playwright, literary critic, literary historian, philosopher, and quite simply the main cultural figure of 19th century Denmark. Heiberg profoundly influenced all of Danish culture within this period and must be considered the patron of Copenhagen's literati. He was very influential as a thinker in general, and he changed Danish philosophy seminally by introducing Hegel to the Northern countries. Needless to say, Heiberg also played a significant role in relation to Kierkegaard, who will comment on and refer to him continually throughout his career. As the unofficial arbiter of taste for the Danish intellectuals, Heiberg was also an inevitable recipient of Kierkegaard’s works as they were published. “There can be no doubt that Johan Ludvig Heiberg was a very important figure for the development of Kierkegaard’s thought. Heiberg’s criticism dominated an entire generation of literary scholarship and was profoundly influential on the young Kierkegaard. His dramatic works and translations are also frequently referred to and quoted by Kierkegaard and his pseudonyms… However, Heiberg was also a philosopher… His philosophical profile is clearly that of a Hegelian, and, not least of all due to Kierkegaard’s influence, this has led him to being unfairly dismissed…” (Jon Stewart in: Kierkegaard and his Danish Contemporaries I: p. (35)). Heiberg was there from the very beginning of Kierkegaard’s authorship, and although the two had both diverging personalities, diverging opinions, and diverging philosophies, Kierkegaard will have had respect for his place in society. Kierkegaard viewed himself as somewhat of an outsider, and it was of great importance to him to try and enter the famous literary and cultural circle of Heiberg. Heiberg is known for founding his own school of criticism and for his brilliant polemics against literary giants of the period. He was without comparison the most dominant literary critic of the period, and he reformed Danish theatre, introducing eg. French vaudeville to the Danish stage. Although through foreign influence, he ended up creating for the first time an actual national theatre in Denmark. “Heiberg’s success in so many different fields during such a rich period is truly remarkable.” (Jon Stewart). Furthermore, he profoundly influenced Danish philosophy and was pioneering in introducing Hegelian philosophy to the country. Himmelstrup: 57.
