Trittico afragolese.

Milano, longanesi Ed. 1982, cm.15x22, pp.230, brossura copertina figurata a colori. Coll.La Gaja Scienza. Prima Edizione.

Ouvrage illustré de 76 vignettes par H.Castelli. Paris, Librairie Hachette et Cie 1909, cm.11,5x18, pp.382, legatura ed.in tutta tela, impress.e scritte in oro al piatto ant.e al dorso, tagli in oro. Menda alla cerniera post. e piccola sbiaditura al piatto post. ma discreto esempl. Collection Bibliothèque Rose Illustrée.

With 10, Offset lithographs in colours after Henry Moore, printed tissue guards, publisher's binding of full dark Morocco over wooden boards. Rectangular bronze bas relief "hamlet dilemma" by Henry Moore to upper board. The bas-relief bronze on the upper cover is a recasting of the 'Reclining Figure' portion of 'Relief: Three Quarters Mother and Child and Reclining Figure', 1977 (cf. A. Bowness, Henry Moore - Complete Sculpture, Volume 5 1974-1980, 1983; listed and illustrated as catalogue raisonnée no. 728). Unabridges english edition suggested by Stanly Wells. Roma, Officine Grafiche della Delfino Edizioni d'Arte 1985, cm.34x48, pp.102, Copertina ornata di un bronzo bassorilievo. Mancante di cofanetto 1200 copie numerate. Mint copy.

University of California Press 1994, cm.15x23, pp.254, brossura con copertina figurata a colori. We tend to suppose that the ancient Greeks had primitive ideas of the self, of responsibility, freedom, and shame, and that now humanity has advanced from these to a more refined moral consciousness. Bernard Williams's original and radical book questions this picture of Western history. While we are in many ways different from the Greeks, Williams claims that the differences are not to be traced to a shift in these basic conceptions of ethical life. We are more like the ancients than we are prepared to acknowledge, and only when this is understood can we properly grasp our most important differences from them, such as our rejection of slavery. The author is a philosopher, but much of his book is directed to writers such as Homer and the tragedians, whom he discusses as poets and not just as materials for philosophy. At the center of his study is the question of how we can understand Greek tragedy at all, when its world is so far from ours.