8 books for « rifat m m »Edit

‎Sermaye. [i.e. Turkish: ""Das Kapital""]. - [FIRST TURKISH EDITION OF THE MOST IMPORTANT ABRIDGED VERSION OF ""THE CAPITAL""]‎

‎Istanbul, Sirketi Mürettibye Matbaasi, 1933. 8vo. In a recent full black leather binding with four raised bands and gilt lettering to spine and front board. Blindtooled frames to front and back board. A fine and clean copy. (7), (1), (5)-305, (1), [errata-leaf] pp. ‎

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‎Rare first Turkish book-length appearance of Marx’s landmark ‘Das Kapital’, being a translation of the most important abridged version of Marx's Capital ever to have appeared, Haydar Rifat’s (Yorulmaz) 1933 translation Sermaye, which was based on an abridged French version (1897) of the original by Gabriel Deville. Exerting great effort for the formation of the leftist thought and discourse in the late Ottoman and early Republican periods, Haydar Rifat was a prominent translator acting as a culture entrepreneur in the cultivation of leftist ideas. In his preface to Sermaye, Rifat notes that only passing remarks are made on Marx’s works in the faculties of law and political sciences and accounts for his attempt to further introduce Marx and his ideology to the academia and the public as follows: Das Kapital, Karl Marx’s masterpiece, has been translated into all major languages, and numerous commentaries and interpretations on this work have been published by experts in modern countries. The translations, commentaries and interpretations of this work are so abundant that they quantitatively surpass the commentaries on all Holy Books"" indeed, the works produced by various experts with different approaches under the title “Marxist Library” can fill up buildings. (Front the present work). ""The epitome, here translated, was published in Paris, in 1883, by Gabriel Deville, possibly the most brilliant writer among the French Marxians. It is the most successful attempt yet made to popularize Marx's scientific economics. It is by no means free from difficulties, for the subject is essentially a complex and difficult subject, but there are no difficulties that reasonable attention and patience will not enable the average reader to overcome. There is no attempt at originality. The very words in most cases are Marx's own words, and Capital is followed so closely that the first twenty-five chapters correspond in subject and treatment with the first twenty-five chapters of Capital. Chapter XXVI corresponds in the main with Chapter XXVI of Capital, but also contains portions of chapter XXX. The last three chapters-XXVII, XXVIII, and XXIX-correspond to the last three chapters-XXXI, XXXII, and XXXIII-of Capital."" (ROBERT RIVES LA MONTE, Intruductory Note to the 1899 English translation). “He also refers to how he has had to deal with the challenges arising from the translation of certain terms and/or the absence of any expert on the field whom he could consult: While doing this short translation, I have encountered many difficulties. It is necessary to find equivalents for new terms, or rather the terms, which are new for us. The trouble arose not just from finding Turkish equivalents in line with the new course our language has taken, it also concerns the difficulty in finding any equivalent. Some of these words and terms were used for the first time, while I have replaced some others with alternative words and terms though they have been in use for the past five or ten years. I almost never go out. On those rare occasions when I leave home and go out, I can find almost nobody whom I can consult and discuss my translation. (Rifat 1933, 7)” Rifat concludes his lengthy preface with a humble, almost apologetic note stating that he would be more than willing to correct any mistakes in his translation that could potentially cause his readers difficulty and that he had consulted a whole list of experts, mainly economists, about the equivalents of certain terms and the general content of the translation. The preface actually ends with a list of the names of the experts to whom Rifat had sent a copy of his translation” (Konca, The Turkish Retranslations of Marx’s Das Kapital as a Site of Intellectual and Ideological Struggle) Rifat’s translation immediately triggered a series of articles and critiques in various journals and papers upon its publication.‎

‎Sermaye. [i.e. Turkish: ""Das Kapital""]. - [FIRST TURKISH EDITION OF THE MOST IMPORTANT ABRIDGED VERSION OF ""THE CAPITAL""]‎

‎Istanbul, Sirketi Mürettibye Matbaasi, 1933. 8vo. In contemporary full black cloth binding with gilt lettering to spine. Blindtooled frames to front and back board. Previous owner's name ""Hüsnû Hizlan"" in gilt lettering to front board. A fine and clean copy. (7), (1), (5)-305, (1), [errata-leaf] pp.‎

‎Rare first Turkish book-length appearance of Marx’s landmark ‘Das Kapital’, being a translation of the most important abridged version of Marx's Capital ever to have appeared, Haydar Rifat’s (Yorulmaz) 1933 translation Sermaye, which was based on an abridged French version (1897) of the original by Gabriel Deville. Exerting great effort for the formation of the leftist thought and discourse in the late Ottoman and early Republican periods, Haydar Rifat was a prominent translator acting as a culture entrepreneur in the cultivation of leftist ideas. In his preface to Sermaye, Rifat notes that only passing remarks are made on Marx’s works in the faculties of law and political sciences and accounts for his attempt to further introduce Marx and his ideology to the academia and the public as follows: Das Kapital, Karl Marx’s masterpiece, has been translated into all major languages, and numerous commentaries and interpretations on this work have been published by experts in modern countries. The translations, commentaries and interpretations of this work are so abundant that they quantitatively surpass the commentaries on all Holy Books"" indeed, the works produced by various experts with different approaches under the title “Marxist Library” can fill up buildings. (Front the present work). ""The epitome, here translated, was published in Paris, in 1883, by Gabriel Deville, possibly the most brilliant writer among the French Marxians. It is the most successful attempt yet made to popularize Marx's scientific economics. It is by no means free from difficulties, for the subject is essentially a complex and difficult subject, but there are no difficulties that reasonable attention and patience will not enable the average reader to overcome. There is no attempt at originality. The very words in most cases are Marx's own words, and Capital is followed so closely that the first twenty-five chapters correspond in subject and treatment with the first twenty-five chapters of Capital. Chapter XXVI corresponds in the main with Chapter XXVI of Capital, but also contains portions of chapter XXX. The last three chapters-XXVII, XXVIII, and XXIX-correspond to the last three chapters-XXXI, XXXII, and XXXIII-of Capital."" (ROBERT RIVES LA MONTE, Intruductory Note to the 1899 English translation). “He also refers to how he has had to deal with the challenges arising from the translation of certain terms and/or the absence of any expert on the field whom he could consult: While doing this short translation, I have encountered many difficulties. It is necessary to find equivalents for new terms, or rather the terms, which are new for us. The trouble arose not just from finding Turkish equivalents in line with the new course our language has taken, it also concerns the difficulty in finding any equivalent. Some of these words and terms were used for the first time, while I have replaced some others with alternative words and terms though they have been in use for the past five or ten years. I almost never go out. On those rare occasions when I leave home and go out, I can find almost nobody whom I can consult and discuss my translation. (Rifat 1933, 7)” Rifat concludes his lengthy preface with a humble, almost apologetic note stating that he would be more than willing to correct any mistakes in his translation that could potentially cause his readers difficulty and that he had consulted a whole list of experts, mainly economists, about the equivalents of certain terms and the general content of the translation. The preface actually ends with a list of the names of the experts to whom Rifat had sent a copy of his translation” (Konca, The Turkish Retranslations of Marx’s Das Kapital as a Site of Intellectual and Ideological Struggle) Rifat’s translation immediately triggered a series of articles and critiques in various journals and papers upon its publication.‎

‎Turkish style.‎

‎ 1992 Archipelagos press1992, 223 pages, in 4 reliure cartonnée toilée bleue, titres or très bon état, avec jaquette en état d'usage.Nombreuses illustrations et photographies. ‎

‎Photographies Ara Guler et Samir Rifat. ‎

‎"Joueuses d'osselets" - Lithographie originale sur Japon - L'Estampe Moderne‎

‎Imprimerie Champenois pour CH. Masson & H. Piazza, Paris (Août 1898), sujet : 35x24cm, planche : 55x40,8cm, une feuille et une serpente.‎

‎Rare lithographie originale en couleurs, exécutée par Paul Leroy pour L'Estampe Moderne, série numéro 16 publiée en août 1898. Une des50 épreuves de grand luxe tirées sur Japon à grandes marges, papier vélin contrecollé sur Japon, signature de l'artiste dans la planche, timbre à sec de l'éditeur représentant un profil d'enfant en marge inférieure, tampon numéroté du tirage de luxe au dos ; gravure précédée d'une serpente légendée du nom de l'artiste, du titre, et d'un poème, traces de plis. Lithographie inspirée d'un extrait des Contes persansde Rifat Oktay, reproduit sur la serpente de l'estampe. Magnifique publication mensuelle française éditée entre mai 1897 et avril 1899, L'Estampe moderne se constitue de chromolithographies inédites qui, contrairement à d'autres revues comme Les Maîtres de l'Affiche et tel qu'il est stipulé sur les serpentes, ont été réalisées spécialement par chaque artiste pour la revue. Ce sont ainsi 100 estampes qui paraissent au total, couvrant les courants artistiques majeurs de la fin du XIXème siècle: Symbolisme, Art Nouveau, Préraphaélites, Orientalistes et Belle Époque. Chaque livraison de quatre estampes est tirée à 2000 exemplaires vendus 3,50F et 100 sur papier Japon proposés à 10F. Henri Piazza prévoit également un tirage confidentiel de très grand luxe: 50 exemplaires sur Japon à grandes marges et 50 en noir sur Chine au prix considérable de 30F. Cette estampe d'un beau format est superbement imprimée sur le plus prestigieux des papiers: le Japon. Epais, soyeux, satiné et nacré, il contribue à faire de chaque page une uvre à part entière. Sa qualité d'absorption de l'encre et son affinité avec les couleurs en font également le support idéal de ces très belles lithographies. L'intérêt des collectionneurs français pour les affiches artistiques s'amplifie au début des années 1890. Octave Uzanne, pour qualifier cette fièvre invente le terme d'«affichomanie». L'affiche, à l'origine populaire et placardée dans les rues de la capitale, devient alors objet d'art et son support éphémère se fait précieux et voué à la conservation. Piazza décide de soustraire l'affiche à sa vocation publicitaire et de l'élever au rang d'uvre d'art à part entière au même titre que le livre illustré de luxe. Il compose ainsi une collection prestigieuse d'uvres entièrement originales, par les artistes européens les plus en vue du moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc. Bel exemplaire dans le style orientaliste. - Photos sur www.Edition-originale.com - ‎

‎"Joueuses d'osselets" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Imprimerie Champenois pour CH. Masson & H. Piazza, Paris (Août 1898), sujet : 35x24cm, planche : 55x40,8cm, une feuille.‎

‎Rare lithographie originale, exécutée par Paul Leroy pour L'Estampe Moderne, série numéro 16 publiée en août 1898. Une des50 épreuves de grand luxe tirées sur Chine à grandes marges, signature de l'artistedans la planche, timbre à sec de l'éditeur représentant un profil d'enfant en marge inférieure, contrecollée sur un feuillet de papier vélin avec au dos le tampon numéroté du tirage de luxe, pâles rousseurs marginales. Lithographie inspirée d'un extrait des Contes persansde Rifat Oktay. Magnifique publication mensuelle française éditée entre mai 1897 et avril 1899,L'Estampe modernese constitue de chromolithographies inédites qui, contrairement à d'autres revues commeLesMaîtres de l'Afficheet tel qu'il est stipulé sur les serpentes, ont été réalisées spécialement par chaque artiste pour la revue. Ce sont ainsi 100 estampes qui paraissent au total, couvrant les courants artistiques majeurs de la fin du XIXème siècle: Symbolisme, Art Nouveau, Préraphaélites, Orientalistes et Belle Epoque. Chaque livraison de quatre estampes est tirée à 2000 exemplaires vendus 3,50F et 100 sur papier Japon proposés à 10F. Henri Piazza prévoit également un tirage confidentiel de très grand luxe: 50 exemplaires sur Japon à grandes marges et 50 en noir sur Chine au prix considérable de 30F. Cette estampe d'un beau format est superbement imprimée sur l'un des plus prestigieux papiers: le Chine. «Malgré toutes ses qualités, le papier de Chine, trop inconsistant, doit sa réputation, non pas à sa propre beauté, mais bien à ses affinités particulières avec l'encre d'impression. Son tissu, lisse et mou tout ensemble, est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures...» (Anatole France). L'intérêt des collectionneurs français pour les affiches artistiques s'amplifie au début des années 1890. Octave Uzanne, pour qualifier cette fièvre invente le terme d'«affichomanie». L'affiche, à l'origine populaire et placardée dans les rues de la capitale, devient alors objet d'art et son support éphémère se fait précieux et voué à la conservation. Piazza décide de soustraire l'affiche à sa vocation publicitaire et de l'élever au rang d'uvre d'art à part entière au même titre que le livre illustré de luxe. Il compose ainsi une collection prestigieuse d'uvres entièrement originales, par les artistes européens les plus en vue du moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc. Bel exemplaire dans le style orientaliste. - Photos sur www.Edition-originale.com - ‎

‎Un scientifique à la recherche de l'âme‎

‎TEMPS PRESENT (29 avril 2010)‎

‎Livre à l'état de neuf, très frais sans annotations ni défauts dissmulés.‎

‎Edirne evleri ve konaklari.‎

‎Baski, Türkiye Turing ve Otomobil Kurumu, 1983. 16 x 24, 35 pp., 54 planches en couleurs et en N/B, broché, bon état (couverture défraîchie).‎

‎Livre en langue turque.‎

‎Ein Wahrspruch über England. 1882 - 1914, zwei Daten Ägypten & Belgien.‎

‎ Ohne Ort, ohne Jahr, ca. 1915, 210x40mm, 16Seiten, broschiert. ‎