Valentin boss (41 résultats)

Etat : Good. First Edition. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.…

Etat : Very Good. First Edition. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. …

Hardcover. Etat : Acceptable. This is a damaged book. May be ex-library, water-damaged, or spine creased/broken. Acceptable, Reading copy only, with writing/markings and heavy wear. Standard-sized.

Hardcover. Etat : As New. Etat de la jaquette : Very Good. Camb. MA. -Harvard UP- 1972/ , pp. 305. British-Russian scientific contacts.[hc./dj. as new].

hard cover. Etat : Very Good. Etat de la jaquette : Good. Cambridge, Massachusetts:Harvard University Press. 1972. 309pp. Illustrated. Hardcover with dust jacket. Jacket is lightly worn at the edges and spine with a few small chips and tears. Also shows some light soiling. Book itself only has some minor shelf-wear. Interior is clean, bright and free of stray markings. Overall, a very good copy.…

Hardcover. Etat : Used-Very Good. Cloth, no d.j. Some shelf-wear. Else clean copy.

cloth.tall 8vo.illustrated.309 Pp.very good copy in Very good dust Jacket.

Hardcover. Etat : Very Good. Etat de la jaquette : Very Good. hardcover in very good condition with very good dust jacket.

Hard cover. Etat : Very Good. Very good in very good dust jacket. Sewn binding. Cloth over boards. 319 p. Harvard Contemporary China Series, 69. Audience: General/trade.

Hardcover. Etat : Fine. Etat de la jaquette : Good Plus. First Edition. DJ has some minor rubbing & small tear at bottom of spine, 309 pp. Size: 8vo.

Etat : Very Good. Etat de la jaquette : Very Good. 309 pages. Dust jacket has some fading around edges and spine. Otherwise, tight clean copy. Record # 855406.

Hardcover. Etat : Very Good+. Etat de la jaquette : Very Good. 310 pp. Original red cloth covers, very bright and clean. Spine ends slightly bumped. DJ lightly soiled. Illust. w/ b/w plates. Contents very nice.

hardcover. Etat : near fine. Etat de la jaquette : very good. Illustrated. 8vo, maroon cloth, worn d.w. Cambridge, MA: Harvard University Press, 1972. A near fine copy in a very good dust wrapper.

Hardcover. Etat : F/NF. First Edition. Black-and-white illustrations and facsimiles. The dust jacket is protected by a Brodart mylar cover and is not clipped. Not an ex-library copy. No remainder marks. Most books shipped within 24 hours. All books mailed with Delivery Confirmation. Fine condition in near fine dust jacket. A volume in the Russian Research Center Studies series. ; Russian Research Center Studies; Vol. 69; Black-and-white illustrations; 8vo.; xviii, 309 pages.…

Etat : As New. Unread book in perfect condition.

Etat : Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,800grams, ISBN:0674622758.…

Hardcover. Etat : Good. No Jacket. 309pp. Ex-university library copy with associated markings and stamps. Hard cover, no jacket. No annotations or highlighting to text. Cover marked.

Hardcover. Etat : New. Etat de la jaquette : Fine. 1st Edition. First edition 1991, first printing. Published by University of Toronto Press, Scholarly Publishing Division. Hardcover with DJ. Condition new, square tight and crisp book, no edgewear, corners not bumped, no names, no underlinings, no highlights, no bent page corners, not a reminder. DJ fine, no tears, no chips, very slight shelfwear, no edgewear, not clipped. 8vo, XXVI + 276 pages.…

Etat : New.

Paperback. Etat : New. No European Devil can claim so long or so political a connection with Russian culture as Milton's Satan. Russian poets came to know him before they heard of Dante, Marlowe, Tasso, or of the devils of the Baroque era. This may explain why Milton's influence was so intensely felt by the Russians, especially during the Romantic age. In this, the first study in any language of Milton's reception in Russia, that influence is traced to an early translation of Paradise Lost uncovered by Valentin Boss in the Moscow archives. British radicals who professed to believe that Milton himself was of the Devil's party were, with the notable exception of Byron and Tom Moore, hardly known by Pushkin and his contemporaries. Russian literary Satanism, although derived from Milton, thus developed its own characteristics which tsarist censors considered morally subversive. A brilliant pleiade of poets from Zhukovsky to Lermontov gave Milton's outcast from Heaven some of his many modern masks. Towards the end of the nineteenth century these inspired the alarming paintings and sculptures of Mikhail Vrubel who, like Lermentov, was obsessed by the demonic. In cultural influence Goethe's Devil had by then eclipsed Milton's, but Goethe's did not survive 1917 with the same political authority. Boss concludes with a description of what happened to Milton's Satan after October 1917, when his connection with the English Revolution gave him an edge his German rival lacked. Lunacharsky, Lenin's Commissar for Education, who admired Milton's Arch-rebel, steered him past Left-wing Communists who continued to regard Paradise Lost and Paradise Regained as Christian propaganda. Despite such attacks, Milton's Satan resurfaced under Brezhnev to bask in Soviet pedagogic approval as an Anti-Imperialist and 'the embodiment of love of freedom.' Russian notions of good and evil changed before the Revolution and will change again under glasnost' and perestroika. But no literary character has reflected such changes more dramatically than Milton's Satan, who managed to be both a hero to Romantic poets and Marxist critics.…

Etat : New. Series: Heritage. Num Pages: black & white illustrations. BIC Classification: 1DVUA; DSB; DSC; HBJD. Category: (G) General (US: Trade). Dimension: 229 x 152 x 18. Weight in Grams: 449. . 2011. paperback. . . . .

Etat : New. Series: Heritage. Num Pages: black & white illustrations. BIC Classification: 1DVUA; DSB; DSC; HBJD. Category: (G) General (US: Trade). Dimension: 229 x 152 x 18. Weight in Grams: 449. . 2011. paperback. . . . . Books ship from the US and Ireland.

Etat : As New. Unread book in perfect condition.

Etat : New.

Paperback / softback. Etat : New. New copy - Usually dispatched within 4 working days.

Etat : New. Satisfaction Guaranteed or your money back.

Etat : New. In English.

Etat : New. &Uumlber den AutorBy Valentin BossKlappentextRussian notions of good and evil changed before the Revolution and will change again under glasnost and perestroika. But no literary character has reflected such .

Taschenbuch. Etat : Neu. Neuware - No European Devil can claim so long or so political a connection with Russian culture as Milton's Satan. Russian poets came to know him before they heard of Dante, Marlowe, Tasso, or of the devils of the Baroque era. This may explain why Milton's influence was so intensely felt by the Russians, especially during the Romantic age. In this, the first study in any language of Milton's reception in Russia, that influence is traced to an early translation of Paradise Lost uncovered by Valentin Boss in the Moscow archives. British radicals who professed to believe that Milton himself was of the Devil's party were, with the notable exception of Byron and Tom Moore, hardly known by Pushkin and his contemporaries. Russian literary Satanism, although derived from Milton, thus developed its own characteristics which tsarist censors considered morally subversive. A brilliant pleiade of poets from Zhukovsky to Lermontov gave Milton's outcast from Heaven some of his many modern masks. Towards the end of the nineteenth century these inspired the alarming paintings and sculptures of Mikhail Vrubel who, like Lermentov, was obsessed by the demonic. In cultural influence Goethe's Devil had by then eclipsed Milton's, but Goethe's did not survive 1917 with the same political authority. Boss concludes with a description of what happened to Milton's Satan after October 1917, when his connection with the English Revolution gave him an edge his German rival lacked. Lunacharsky, Lenin's Commissar for Education, who admired Milton's Arch-rebel, steered him past Left-wing Communists who continued to regard Paradise Lost and Paradise Regained as Christian propaganda. Despite such attacks, Milton's Satan resurfaced under Brezhnev to bask in Soviet pedagogic approval as an Anti-Imperialist and 'the embodiment of love of freedom.' Russian notions of good and evil changed before the Revolution and will change again under glasnost' and perestroika. But no literary character has reflected such changes more dramatically than Milton's Satan, who managed to be both a hero to Romantic poets and Marxist critics.…

Paperback. Etat : New. No European Devil can claim so long or so political a connection with Russian culture as Milton's Satan. Russian poets came to know him before they heard of Dante, Marlowe, Tasso, or of the devils of the Baroque era. This may explain why Milton's influence was so intensely felt by the Russians, especially during the Romantic age. In this, the first study in any language of Milton's reception in Russia, that influence is traced to an early translation of Paradise Lost uncovered by Valentin Boss in the Moscow archives. British radicals who professed to believe that Milton himself was of the Devil's party were, with the notable exception of Byron and Tom Moore, hardly known by Pushkin and his contemporaries. Russian literary Satanism, although derived from Milton, thus developed its own characteristics which tsarist censors considered morally subversive. A brilliant pleiade of poets from Zhukovsky to Lermontov gave Milton's outcast from Heaven some of his many modern masks. Towards the end of the nineteenth century these inspired the alarming paintings and sculptures of Mikhail Vrubel who, like Lermentov, was obsessed by the demonic. In cultural influence Goethe's Devil had by then eclipsed Milton's, but Goethe's did not survive 1917 with the same political authority. Boss concludes with a description of what happened to Milton's Satan after October 1917, when his connection with the English Revolution gave him an edge his German rival lacked. Lunacharsky, Lenin's Commissar for Education, who admired Milton's Arch-rebel, steered him past Left-wing Communists who continued to regard Paradise Lost and Paradise Regained as Christian propaganda. Despite such attacks, Milton's Satan resurfaced under Brezhnev to bask in Soviet pedagogic approval as an Anti-Imperialist and 'the embodiment of love of freedom.' Russian notions of good and evil changed before the Revolution and will change again under glasnost' and perestroika. But no literary character has reflected such changes more dramatically than Milton's Satan, who managed to be both a hero to Romantic poets and Marxist critics.…