Archeologia

Milano, Darp 2005, cm.13x22, pp.188, ill.a col. br.cop.fig. Coll.Medioevo Guide.

Milano, Darp 2005, cm.13x22, pp.188, ill.a col. br.cop.fig. Coll.Archeo Guide.

Paris, Le Belles Lettres 2000, cm.15x21,5, pp.224, brochure. Coll.L'Ane D'Or. Collection dirigée par Alain Segonds. Quelles étaient les pratiques de composition d'une oeuvre littéraire, la méthode de travail des auteurs antiques ? Utilisaient-ils des feuillets de papyrus ou parchemin et des tablettes pour la prise de notes et la rédaction de brouillons ? Comment prenaient-ils des notes, de quelle façon recueillaient-ils des extraits au cours de la première phase de la composition d'une oeuvre littéraire ? Dans l'Antiquité grecque et latine, écrivait-on soi-même les textes littéraires ? Plusieurs auteurs de l'Antiquité avaient en commun la pratique de réserver une partie de leur production littéraire à une circulation restreinte, pratique qui les conduisait donc à renoncer à "publier" ces écrits. C'était pourtant en vue de la "publication" c'est-à-dire de la diffusion auprès d'un large public, qu'un auteur composait ses livres. Quel était le devenir d'une oeuvre après sa "publication" ? Existait-il des droits d'auteur et d'éditeur ? Quels sont les cas où un livre a été publié par son auteur en deux exemplaires ou plus ? Y avait-il la possibilité de préparer une "seconde édition" d'une oeuvre du vivant de son auteur et par ses soins ? Peut-on parler de l'existence de variantes d'auteur ? Voici quelques-unes des questions auxquelles le lecteur de Le Stylet et la Tablette trouvera peut-être une réponse satisfaisante en se plongeant dans le secret des auteurs antiques. Tiziano Dorandi est chercheur au CNRS. Il s'est intéressé longuement aux papyrus d'Herculanum et aux problèmes chronologiques des écoles philosophiques de l'époque hellénistique et de leur histoire. Il vient de publier, dans la Collection Budé (CUF), un recueil des fragments d'Antigone de Caryste (1999), et travaille atuellement à l'édition des Vies de philosophes de Diogène Laërce pour la

Los Angeles, J Paul Getty Museum Publ. 2006, cm.15x23, pp.176, ill.col. softcover, col. Coll.Looking at Series. What is a pyxis? Who was the Amasis Painter? How did Greek vases get their distinctive black and orange colors? This richly illustrated book--the latest in the popularLooking At series--offers definitions and descriptions of these and many other Greek vase shapes, painters, and techniques encountered in museum exhibitions and publications on ancient Greek ceramics. Included is an essay on how to look at Greek vases and another on the conservation of ancient ceramics. These essays provide succinct explanations of the terms most frequently encountered by museum-goers. The concise definitions are divided into two sections, one on potters and painters and another on vase shapes and technical terms relating to the construction and decoration of the vases. Featuring numerous color illustrations of Greek vases, many from the Getty Museum's collection,Understanding Greek Vases is an indispensable guide for anyone wishing to obtain a greater understanding and enjoyment of Greek ceramics.

Thames & Hudson 2001, cm.19x25, pp.320, 358 illustrations. hardcover, dustjacket. Greek pottery has long fascinated scholars and historians of art. It provides a continuous commentary on all other Greek arts, even sculpture, and the scenes figured on the vases can prove to be as subtle and informative as the works of Greek literature. In no other art of antiquity do we come closer to the visual experience of the ancient Greeks or share their views on life, myth, and even politics. The stylistic history of Greek vases has been demonstrated in other Thames & Hudson books by John Boardman. Here he sketches that history but goes on to explore the many other matters that make the study so fruitful. He describes the methods of making and decorating vases, the processes of identifying the artists, life in the potters' quarter in Greek towns, the way in which the wares were traded far beyond the borders of the Greek world, from Morocco to Persia, from Russia to the Sudan, and problems in making and decorating them. He shows how Greek artists exercised a style of narrative in art that was long influential in the West, and how their pictures reflected not simply on storytelling but on the politics and social order of the day. The vases' function in Greek culture and as messengers of style and subject are explained.

Sulle tracce dei più grandi pionieri dell'archeologica, Burckardt, Belzoni, Champollion, Lepsius, Humann, Curtius, Scgliemann, MAriette, Budge, Evans, Winckler, Borchardt, Carter, Wolley. Milano, Sugar Co Edizioni 1980, cm.13x21, pp.212, 75 tavv.bn.ft. br.cop.fig.a col. Coll.Universo Sconosciuto,98.

Berlin und Darmstadt, Deutsche Buchgemeinschaft 1954, cm. 18x23,5, pp.494,(2), numerose ill. nt., XXXI tavv. ft. e 4 cartine in appendice tutte a un colore, leg. ed. in mz. pelle, piatto ant. fig., titoli e impressioni in oro al dorso.

Berlin und Darmstadt, Deutsche Buch-Gemeinschaft 1957, cm. 18x23,5, pp.360, 310 ill. in nero nt. e 16 tavv. a colori ft., leg. ed. in mz. pelle, piatto ant. fig., titoli e impressioni in oro al dorso.

Garlatti & Razzai 1993, cm.23,5x30, pp.88, numerose figg.a col.nt. br.cop.fig.a col.

Comacchio,Palazzo Bellini,17 luglio 1993-30 settembre 1994. A cura di Daniela Baldoni. Padova, Signum Arte 1993, cm.20x24, pp.164, 180 ill.e disegni bn.e col.nt. br.cop.fig.a col.

Napoli, Electa 1995, cm.21x28, pp.174, numerose figg.bn.e a col.nt. br.cop.fig.a col. Coll.Materiae,4.

ENGLISH EDITION. Editeb By Paola Miniero. Napoli, Electa Napoli 2001, cm.22x24, pp.92, num.ill.a col.e bn.nt. br., cop.fig.a col.

Napoli, Electa 1997, cm.25,5x29, pp.80, numerose splendide fotografie bn. legatura editoriale, sopracoperta figurata.

Fotografie di Luciano Pedicini. Venezia, Arsenale 2012, cm.27x32,5, pp.352, 300 tavv.a col.nt. leg.ed.soprac.fig.a col.in cofanetto.

Napoli, Electa Napoli 2001, cm.25x28, pp.278,num ill.a col.e bn.nt. br.con bandelle, cop.fig.a col. Coll.Studi della Soprintendenza Archeologica di Pompei,4.

Bacoli,Casina Vanvitelliana del Fusaro,24 luglio-31 ottobre 2000. A cura di Costanza Gialanella. Napoli, Electa Ed. 2000, cm.16x24, pp.117, num.ill.a col.nt. br.cop.fig.a col.

Roma,Ist.Germanico,27/4/2001. A cura di L.Crimaco, C.Gialanella, F.Zevi. Napoli, Electa Ed. 2003, cm.21x28, pp.127, nu.ill.e tavv.bn.e col.nt. br.con bandelle, cop.fig.a col.

Napoli,Museo Archeologico Nazionale,16/12/2005-22/4/2006. Napoli, Electa Ed. 2005, cm.24,5x28, pp.207, 128 ill.e tavv.bn.e col.nt.e ft. br.con bandelle, cop.fig.a col.

Venezia, Arsenale Ed. 2004, cm.27,5x34, pp.414, centinaia di figge tavv.a col.nt. leg.ed.in t.tela, sopracop.fig.a col.in cofanetto. Coll.I Grandi Libri. Questo volume è uno studio sulla pittura murale romana, analizzata nella sua funzione fondamentale che era quella di ampliare a dismisura gli ambienti delle case, riproducendo sulle pareti prolungamenti ingannevoli delle strutture architettoniche reali. I pittori romani, infatti, erano soprattutto attratti dallo spazio che sapevano dilatare, per esempio, con trompe-l'oeil raffiguranti eleganti facciate marmoree, portici, paesaggi esotici o giardini, a volte popolati da animali feroci o da figure della mitologia. Grazie a un particolare tipo di carta che restituisce anche le qualità materiche degli affreschi, il lettore può avvicinarsi alla percezione reale delle pitture, quale sarebbe vissuta dal visitatore in diretto contatto con esse.

Traduz.di Lucia Bonaca Boccaccio. Torino, Giulio Einaudi Editore 1968, cm.16x21, pp.XIV,402, 18 tavv.in bn.ft., leg.ed.in t.tela,soprac.fig. Coll.Saggi,433.