3075 books for « w shakespeare »Edit

‎La mégère apprivoisée. Texte et traduction.‎

‎ 0 Paris, Les Belles Lettres ,1984, in seize, 221 pp, broché,couverture orange, ‎

‎traduction de Maurice Castelain , revue et corrigée par J.G Ritz. ‎

‎Beaucoup de bruit pour rien. Texte et traduction.‎

‎ 1961 Paris, Les Belles Lettres ,1961, in seize, 221 pp, broché,couverture orange, ‎

‎traduction de Emile Saillens. ‎

‎Le conte d'hiver.‎

‎ 1924 Paris,éditions dela Nouvelle Revue Française ,1924, in seize, 132 pp, broché, ‎

‎traduction de Suzanne Bing et Jacques Copeau Répertoire du Vieux-Colombier n: 20. ‎

‎Shakespeare's Sonnets‎

‎ 1969 Paris, Mercure de France, 1969, In huit, 337 pp, broché,sous papier cristal ,en très bon état, ‎

‎version française de Pierre-Jean Jouve. ‎

‎Les Tragédies de Shakespeare Othello / Coriolan / Timon d'Athènes / Roméo et Juliette / Titus Andronicus / Jules César / Le Roi Lear / Hamlet / Macbeth / Antoine et Cléopâtre.‎

‎Paris Les Éditions D'Art les Heures Claires 1971 Édition numérotée. Ce coffret est l'un des exemplaires sur Vélin chiffon de Rives. Tirage limité à 2950 exemplaires. Cette édition comprend 10 tragédies réparties en six volumes, richement décorés d'illustrations hors texte en couleurs, et très appréciés pour leur qualité artistique. Traduit de l'anglais par François Victor-Hugo. Illustré par un groupe d'artistes français de renom, chacun contribuant à différents volumes. Reliure uniforme en cuir rouge, chacun avec un étui en carton gris foncé avec des décorations marbrées rouges et dorées, noires et dorées. Il s'agit de : - Othello, illustrations de Léonor Fini : 222 pages avec une gravure originale supplémentaire de Léonor Fini. - Coriolan / Timon d'Athènes, illustrations d'Yves Brayer, 324 pages - Roméo et Juliette / Titus Andronicus, illustrations de Jean-Denis Malclès : 292 pages - Jules César / Le Roi Lear, illustrations de Georges Wakhévitch, 326 pages - Hamlet, illustrations de Carzou, 209 pages - Macbeth / Antoine et Cléopâtre, illustrations de Douking, 320 pages. En excellent état. 26 cm x 21 cm.‎

‎Numbered edition. This set is one of the copies on Vélin chiffon de Rives. Total limitation of 2950 copies. This edition encompasses 10 tragedies across six volumes, richly decorated with colour illustrations hors texte, and highly regarded for their artistic quality. Translated from English by François Victor-Hugo. Illustrated by a distinguished group of French artists, each contributing to different volumes. Uniformly bound in red leather, each with a dark grey cardboard slipcase with red and gold, black and gilt marbled decoration. These are: - Othello, illustrations by Léonor Fini: 222 pages with an additional original engraving by Léonor Fini. -Coriolan / Timon d'Athènes, illustrations by Yves Brayer, 324 pages - Roméo et Juliette / Titus Andronicus, illustrations by Jean-Denis Malclès: 292 pages - Jules César / Le Roi Lear, illustrations by Georges Wakhévitch, 326 pages - Hamlet, illustrations by Carzou, 209 pages - Macbeth / Antoine et Cléopâtre, illustrations by Douking, 320 pages. In excellent condition. 26cm x 21cm/ .‎

‎Antony and Cléopatra‎

‎ 1891 New-York, Duprat, 1891, In huit, XXII-196 pp, broché, ‎

‎1/100 ex. num. tiré sur Hollande, avec une introduction de W. J. Rolfe et 15 illustrations par Paul Avril dont 10 planches hors-texte. ‎

‎Le Marchand de Venise - n°253 Le passe-temps - Adieu prudence‎

‎ 1961 Paris, l'Avant-Scène, 1961, 18 x 26 cm , 46 pp, très bon état, ‎

‎. ‎

‎Marie Stuart - n°304 La Nuit de Feu - Renée Faure et Annie Ducaux - La Tempête‎

‎ 1964 Paris, l'Avant-Scène, 1964, ‎

‎. ‎

‎Jules César - avant-scène théatre n°323 La Tragédie de l'absence‎

‎ 1964 Paris, l'Avant-Scène, 1964, 18 x 26 cm , 50 pp, en très bon état, ‎

‎. ‎

‎Théâtre du siècle d'or - n° 386 / 387 numéro spécial avant-scène théatre,‎

‎ 1967 Paris, l'Avant-Scène, 1967, 18 x 26 cm , 110 pp, en très bon état, ‎

‎. ‎

‎Macbeth‎

‎ 1937 Paris,Aubier,1937, in douze ,xxxviii-161 pp, broché,couverture orange,bon état, ‎

‎collection bilingue. ‎

‎Tragédie du roi Richard II‎

‎ 2010 Paris, P.O.L., 2010 14x20.5cm, 251pp Etat neuf car service de presse ‎

‎Avec bandeau éditeur. ‎

‎Héritage‎

‎ 2011 Paris, Grasset, 2011 20,5 x 14, 424p Neuf car service de presse. Jamais lu. ‎

‎Exemplaire hors commerce. ‎

‎Roméo et Juliette avant-scène ballet-danse‎

‎ 1984 Paris, l'Avant-Scène, 1984, 18 x 27 cm, 93 pp, couverture illustrée, cartonnage d'éditeur, ‎

‎en très bon état,comme neuf. ‎

‎Oeuvres complètes tome I : poèmes-drames historiques-comédies I tome II : comédies II -tragédies‎

‎ 1963 Paris, Gallimard , 1963, in douze, ccxxviii-1704 pp, cclvi-1454 pp reliure d'éditeur,en bon état, avec jaquette ,sous rhodoïd, ‎

‎avant-propos d'André Gide, traduction de F.-V.Hugo,bibliothèque de la pléiade. ‎

‎uvres complètes tome I‎

‎ 0 Paris, Gallimard, 1973, In douze, cclvi-1454 pp, relié sans jaquette avec rhodoïd, sans emboitage, ‎

‎Bibliothèque de la Pléiade. Avant-propos d'André Gide, introduction générale et textes de présentation d'Henri Fluchère. ‎

‎Troïle et Cresside‎

‎ 1961 Paris, J.J.Pauvert, 1961, In huit ,159 pp, couverture tachée, mais état intérieur convenable ‎

‎traduction nouvelle et préface de P.Leyris. ‎

‎La mégère apprivoisée‎

‎ 1990 Paris, l'Avant-Scène, 1990, 17 x 25 cm, 79 pp, couverture illustrée, ‎

‎bon état, N:° 871,adaptation de Th.Maulnier. ‎

‎Shakespeare W. Shakespeare William. The Complete Works of William Shakespeare w‎

‎Shakespeare W. Shakespeare William. The Complete Works of William Shakespeare with a life of the poet by Charles Symmons. In Russian /Shakespeare W.Shekspir Vilyam. The Complete Works of William Shakespeare with a life of the poet by Charles Symmons. Complete in one volume. London. Atlantis. 1980. 910 p. 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. SKUalbf28222e60afefe2a.‎

‎Shakespeare Shakespeare. The works of Shakespeare in four volumes. A collectio‎

‎Shakespeare Shakespeare. The works of Shakespeare in four volumes. A collection of Shakespeares writings. Volume II In Russian /Shakespeare Shekspir. The works of Shakespeare in four volumes. Sobranie sochineniy Shekspira.Tom II Moscow Co-operative Publishing Society of forestry workers in the US 1937. 876 p. 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. SKUalb9a8f388ac64f942b.‎

‎Gamlet [Hamlet]. Tragediya [Russian]. - [THE FIRST ""HAMLET"" IN RUSSIAN]‎

‎(Sankt Petersburg, 1748). 8vo. Bound with five other tragedies/dramas in a slightly later (late 18th century) full calf binding with gilt line-borders to boards and richly gilt spine with red and blue title- and tome-labels. Spine with some wear and corners bumped. Upper capital worn. Internally generally nice and clean and on good paper, but ""Hamlet"" - which has clearly been well red and presumably used for a stage set-up - has some light pencil-annotations and pencil-crossovers, occasional brownspotting, a few paper restorations - no loss of text, a tear to one leaf - no loss, and one leaf slighly loosening at the bottom. Hamlet: 68, (2) pp. - separately paginated. 26pp. + 79, (1) pp. + 62 pp. + 68, (2) pp. + 78 pp. + 1 f. blank + 29 pp.‎

‎Extremely rare first edition of the first Russian translation/adaptation of Shakespeare's Hamlet. The first edition is incredibly scarce and deemed virtually unobtainable. A second appearance, which is also of the utmost scarcity, came out in 1786, in a collection of plays in Russian. The seminal first rendering of ""Hamlet"" in Russian constitutes a milestone in Russian literature and cultural history. It deeply penetrated Russian culture, and in many ways Sumarokov's ""Hamlet"" came to epitomize the Russian spirit. ""The first Russian adaptation of Shakespeare's ""Hamlet"" was made by the founder of the Russian classical theatre Alexander Petrovich Sumarokov (1717-1777). The play was written in 1748 by the 31-year old ambitious statesman and poet.Some researchers suggest that this work was commissioned to legitimise the power of Peter the Great's daughter Elizabeth through cultural discourse. Elizabeth took the Russian throne as a result of a court coup against an infant great grandson of Peter's elder brother. Ivan VI was barely two months old when he became Russian Emperor and ""reigned"" for eleven months. For the rest of his short life he lived in exile and, from the age of 16, in solitary confinement. Elizabeth's actions might be seen as avenging her father by returning power to his successors.Translated from French, Shakespeare in Sumarokov's version was also turned into a classist play, where people represented functions, such as order and chaos, good and evil, wisdom and stupidity. According to this pattern, the state could not be left without a legitimate ruler. Therefore, Sumarokov wrote a happy end with Claudius and Polonius punished by death and Hamlet, Ophelia and Gertrude victorious and content.Although this version was rarely staged, the image of an outcast prince was often referred to. For example, Catherine the Great's son and heir Paul tried on this role - his father was assassinated and overthrown by his mother's lover to get her the throne....In the 20th century the story of Russian Hamlet continued. As the Russian poet of the Silver Age Maksimilian Voloshin put it, ""Hamlet - is a tragedy of conscience, and in this sense it is a prototype of those tragedies that are experienced by the ""Slavonic soul"" when it lives through disintegration of will, senses and consciousness""."" (Katya Rogatchevskaia, for the British Library exhibition ""Shakespeare in Ten Acts"").Sumarokov created the Russian ""Hamlet"" in 1748 and might have acquainted himself with the character of Hamlet through French sources"" However, it is quite probable that his translation was actually done from English, as it is registered that he borrowed a copy of it from the Academic library in the period from 1746 to 1748.It came to play a seminal role in both Russian literature, culture, and politics in the centuries to come. ""Soon after its arrival in a Russia in 1748, ""Hamlet"" and its chief protagonist became inseparable parts of Russian national identity, prompting such remarks as William Morris's: ""Hamlet should have been a Russian, not a Dane"". However, at the outbreak of the Second World War, the play seems to have disappeared for more than a decade from the major stages of Moscow and Leningrad. Thus was born the 'myth' of Stalin and Hamlet. Today virtually every mention of Hamlet in the Stalin era refers to the dictator's hatred for this tragedy and his supposed banning of it from all Soviet stages. Notwithstanding the efforts of theatre directors such as Sergei Radlov with his heroic production of Hamlet in 1938, there is no doubt that Hamlet was problematic in the context of the paradigm of Socialist Realism. And it was certainly not the most suitable play for a war-stricken country. Moreover, from Stalin's own pejorative reference to 'an indecisive Hamlet' in connection with Eisenstein's ill-fated depiction of Ivan the Terrible (Part II), it is evident that for the dictator the character of Hamlet had negative connotations. The chequered history of Hamlet in the Soviet Union from the outbreak of the War to the death of Stalin in 1953 and the flood of new productions almost immediately after this date, together with the myth of Stalin's 'ban', deserve more nuanced and broadly contextualised study than they have received to date, based on concrete historical facts, memoirs and official documents. (Michelle Assay :What Did Hamlet (Not) Do to Offend Stalin?).""Reforms initiated by Tsar Peter the Great (1672-1725) had far reaching effects on all spheres of life in eighteenth-century Russia, including the cultural sphere. Profound changes also occurred in Russian literature. As Russian literature was becoming increasingly secular and new literary genres evolved there began an intensive search for aesthetic principles and an ideological platform that would be suitable for the demands of the post-Peter the Great epoch. Alexander Sumarokov (1717-1777) was among those Russian writers who considered adopting ethical principles and aesthetic norms of French classicism the most appropriate path for the development of an emergent secular Russian literature. In his rendering of Shakespeare's Hamlet into the Russian language, Sumarokov subscribed to the rules and traditions of French classicist dramaturgy. He adopted the modus operandi and approaches to translation prevalent during the period of classicism in French literature. By doing so, Sumarokov followed a very clear objective. Tailoring his Hamlet according to the patterns of French classicism and bringing in a strong didactic element into his version of Shakespeare's masterpiece, Sumarokov was able to re-evaluate the original material and focus on the issues that he considered most important for his contemporaries in eighteenth-century Russia… Church authority that had dominated public life for centuries was greatly diminished and undermined in both political and cultural spheres. In the 18th century, Russia was a rapidly changing country. A long period of self isolation ended as Russia was opening up and turning its face towards Europe. Profound changes within society also affected the development of 18th-century Russian literature."" (Nikitina, Larisa. (2008). The First Translation of Shakespeare into Russian: A Metamorphosis of Hamlet on Russian Soil. Philologie im Netz. 43. 17-27).""Alexander Sumarokov was the first Russian professional author who chose national subjects for his plays. He introduced Shakespeare to the Russian people with his adaptation of Hamlet, and it was as a spectator at his play Khorev that Elizabeth fell in love with Nikita Beketov who played the leading role."" (Encycl. B.).Apart from Sumarokov's seminal version of ""Hamlet"", the present volume contains the following five works, all by Sumarokov, and all in first editions:Pustynnik [The Hermit]. Drama. 1769Yaropolk i Dimizia. Tragediya, 1768Vysheslav. Tragediya. (1768)Artistona. Tragediya. (1751) Dve Epistoly [Two Letters]Like Hamlet, Sumarokov's other works are very rare in all early printings, especially the first.OCLC lists two copies of this first printing of ""Hamlet"" in Russian in libraries worldwide: One in Germany, one in the UK.‎

‎Shakespeare, William: William Shakespeare. The Complete Works of William Shake‎

‎Shakespeare, William: William Shakespeare. The Complete Works of William Shakespeare The Complete Works of William Shakespeare. In Russian /Shakespeare,William:Uilyam Shekspir. TheCompleteWorks ofWilliamShakespearePolnoe sobranie sochineniy Uilyama Shekspira. London. Race Point 2014. 1296c. 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. SKUalbef3301ed35d04cc0.‎

‎Venedik Taciri [Turkish, i.e. ""The merchant of Venice""] - [THE FIRST WORK BY SHAKESPEARE, TRANSLATED DIRECTLY FROM ENGLISH, TO BE PUBLISHED IN TURKEY]‎

‎Istanbul, Matbaa-i Ebuzziya, 1301 [1884]. 8vo (180 x 120 mm). Uncut, unopened. Unbound without wrappers as issued. Turkish in Arabic script. 11 loose stapled gatherings, as issued. Extremities with soiling and first leaf missing lower 5 mm, far from affecting text. Last leaf detached. Internally clean. A good copy of a very fragile publication. 176 pp. ‎

‎Extremely rare first Turkish translation Shakespeare's The Merchant of Venice - The first work by Shakespeare, translated directly from English, to be published in Turkey, one of the very first translations of any English literature into Turkish. As Ottoman power was waning, some sultans developed a passion for Shakespeare. Sultan Abdülhamid II, who ruled about 34 years and earned fame as a despot, was a theatre buff with an intense interest in Shakespeare's tragedies and comedies. It was rumored in the late 19th century that when The Merchant of Venice was presented at the special exclusive palace theatre in ?stanbul, and Shylock began to sharpen his knife to take his revenge, the Sultan became apprehensive, actually so scared that he ran out screaming and caused the play to come to an abrupt end. The Sultan later reportedly said: ""Abandon such frightening scenes"" instead, present performances that will make us laugh"". ""The young translator, while adhering to the original, added the translator's notes to explain to the Turkish reader certain cultural features of the text [8, p. 43]. The translator himself remarked that, despite having a good command of the English language due to the specifics of Shakespeare's style, he sometimes needed to refer to French translations of the work to clarify certain points. Some translation tricks that Hasan Sirri resorted to at the time were interesting and justified. In most Shakespearean replicas with the word Jew he replaced the name of the hero - Shylock, probably in order to bypass possible conflicting moments [8, p. 45]. After all, Hasan Sirri himself occupied the position of a civil servant at the time of the translation and, given the national diversity of the Ottoman state at that time, his decision to ""avoid sharp corners"" was correct. Reading the translation of Hasan Sirri, it is also interesting to observe its accuracy in relation to the Turkish cultural heritage"" (Prushkovska1, TURKISH TRANSLATIONS OF SHAKESPEARE'S WORKS) Kitabhane-i Ebüzziya was a series published by the Turkish publisher Ebüzziya Mehmet Tevfik Bey in order to present classical and contemporary literature to a wider Turkish speaking audience.‎

‎SHAKESPEARE : SUPREME MASTERPIECE AND PROOF DEFINITIVE - SUPRÊME CHEF-D'OEUVRE ET PREUVE DÉFINITIVE.‎

‎ Versailles. Chez l'auteur. 1964. 2 cahiers de 10 pages (un avec le texte en anglais ; l'autre avec le texte en français) et 8 pages de figures et diagrammes. Chemise imprimée. E.O. Peu fréquent. Bon état. ‎

‎Professeur d'anglais (Agrégé de l'Université) au Lycée Hoche de Versailles, Pierre Henrion se voua avec beaucoup d'effort et d'obstination à prouver que Shakespeare n'était qu'un prête-nom de Francis Bacon." Ses lettres, volumineuses, contenaient les publications à compte d'auteur qu'il multipliait pour prouver que Shakespeare était un prête-nom de Bacon. Les miennes, minces, étaient d'un adolescent étonné qui relançait l'interlocuteur pour en savoir davantage. Il avait entrepris le décryptage de Shakespeare, et en particulier des Sonnets. Persuadé que les typographes de l'époque n'avaient rien laissé au hasard, il traçait des diagonales sur les éditions originales du Barde et trouvait, alignées, les lettres des noms Bacon et Francis, et divers messages subliminaux destinés à dévoiler aux explorateurs à venir la supercherie sur l'auteur. Il repérait toujours des alignements. Le contraire aurait été surprenant. Quand il en trouvait trop peu pour que la preuve soit écrasante, je crois me rappeler qu'il tordait un peu ses lignes pour qu'elles passent sur les lettres dont il avait besoin. Mais qui lui en aurait tenu rigueur ? Tout le monde sait que l'espace est courbe. C'était clair dans son esprit : Shakespeare n'avait été qu'un histrion de dernier ordre, ou un technicien inculte, un transporteur de tréteaux. Son nom, Shakes-pear ou Shake-spear, ne pouvait désigner qu'un secoueur de poires ou de javelots. Et ainsi de suite, pour tout ce qui touchait le Barde. Les portraits : des faux, composés à la manière débile d'Arcimboldo. La signature : un faux, puisqu'il était évidemment illettré. Je ne comprenais pas pourquoi il tenait tant à prouver que Bacon était Shakespeare, mais ses décryptages géométriques trouvaient en moi le terrain le plus favorable. Plutôt que le but de l'aventure, c'était le moyen qui me passionnait. Cependant, Henrion m'envoyait brochure sur brochure, calculs sur calculs, de plus en plus tirés par les cheveux, accompagnés de lettres guerrières qui disaient la victoire imminente. Les objections ne l'atteignaient plus. Monomane, sourd comme un pot, il avait quelque chose du Courtial de " Mort à crédit ". [] Si je le rencontrais aujourd'hui, je lui expliquerais qu'il m'a porté à penser, de bonne heure, qu'avec un peu d'habileté et de temps à perdre, on peut faire dire n'importe quoi à n'importe quoi. (Jean-Pierre Issenhuth, article dans la revue " Liberté ", volume 36, numéro 4, août 1994, pp. 150-152).Le Professeur Henrion s'est aussi occupé du cas de Jonathan Swift. ‎

‎Shakespeare W.Shakespeare W. Hamlet. In Russian /Shakespeare W.Shekspir U. Haml‎

‎Shakespeare W.Shakespeare W. Hamlet. In Russian /Shakespeare W.Shekspir U. HamletGamlet. Wordsworth Classics. London: LTD, 2002. 192 You are welcome to reach out to us for a detailed description of the copies currently available. Delivery of this book may take longer than usual including extended processing and pre-shipping time, no expedited shipping is available. Please advise us if you have a set date or a deadline to receive your order.SKUalb4377c2365e5292d3‎