DOCSLIB.ORG

CATALOGUE of SUBUN-SO BOOK STORE No.494 2008

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CATALOGUE of SUBUN-SO BOOK STORE No.494 2008 CATALOGUE OF SUBUN-SO BOOK STORE No.494 2008 no.678 ◆◆◇◇ BIBLIOGRAPHY ◇◇◆◆ 1 ALDUS (P.J.) MOUSETRAP. Structure and Meaning in Hamlet. Univ of Toronto,1977. xii,234pp. 6,300 2 ALLEN (C.D.) AMERICAN BOOK-PLATES. A Guide to Their Study. With a Bibliography by E.N.Hewins. (First Published 1895). N.Y.: Hacker Art Books, 1968. numerous illus. 437pp. 4,500 3 ALLEN (W.S.) VOX GRAECA A Guide to the Pronunciation of Classical Greek. Cambridge U.P., 1974. 174pp. dw. bit foxing. 4,000 4 ARELLANES (A.S.)(Ed.) BOOKPLATES IN THE NEWS, 1970-85. A Collection of Sixty Issues of the Newsletter of the American Society of Bookplate Collectors and Designers, Including a General Index and an Illustrations Index to Bookplate Artists and Owners. Detroit: Gale Research Com., 1986. 640pp. 4to. 9,800 5 ARMSTRONG (E.) BEFORE COPYRIGHT. The French Book-Privilege System 1498-1526. Cambridge U.P., 1990. xvii,317pp. with dust cover. 6,300 - 1 - 6 ARS TYPOGRAPHICA. Vol I Number 1-3 (1918-20), Number 4 (1934) & Vol II & III (1925- 26). Reprinted from New York: The Marchbanks Press. Connecticut: Greenwood, 1970. Reprinted Ed. 3 vols in 2. 4to. pictorial cover. 9,450 7 ASHWIN (C.)(Comp.) HISTORY OF GRAPHIC DESIGN AND COMMUNICATION. A Source Book. Pembridge Press, 1983. b/w illus. 279pp. with dust cover. 4,000 8 BANKS (Sir J.): CATER (H.B.) SIR JOSEPH BANKS (1743-1820) A guide to biographical and Bibliographical sources. (St Paul's Bibliographies) 1987. 328pp. lar.8vo. dw. 5,500 9 BARKER (N.) THE BUTTERFLY BOOKS. An Enquiry into the Nature of Certain Twentieth Century Pamphlets. London: B.Rota, 1987. First Ed. 12 plates (4 coloured) illusts. 283pp. cloth backed boards. 15,000 10 BARLOW (F.): HODNETT (E.) FRANCIS BARLOW. First Master of English Book Illustration. London: Scolar Press, 1978. numerous illustrations. 237pp. sm.4to. with dust cover. (spine faded) 18,000 11 BARTHEL (G.) KONNTE ADAM SCHREIBEN? Weltgeschichte der Schrift. Bearbeitet und Herausgegeben von K.Gutbroad. Koln: M.D.Schauberg, 1972. 494pp. lar.8vo. 8,500 12 BASKERVILLE(J.): GASKELL (P.) JOHN BASKERVILLE. A Bibliography. Cambridge U.P.,1959. xxiii,71pp. 4to. with dust cover. 8,000 13 BASKIN (B.H.) & HARRIS (K.H.)(Ed.) THE MAINSTREAMED LIBRARY. Issues, Ideas, Innovations. Chicago: American Library Association, 1982. 293pp. roy.8vo. 4,500 14 BAUR-HEINHOLD (M.) SCHONE ALTE BIBLIOTHEKEN. Ein Buch vom Zauber ihrer Raume. Einfuhrung Karl Bosl. Aufnahmen Helga Schmidt-Glassner. Munchen: G.D.W.Callwey,1972. colour & b/w illustration throughout. 295pp. 4to. dw. 5,000 15 BELLANGER (C.),GODECHOT (J.),GUIRAL (P.) & TERROU (F.)(Pub.& Direction) HISTOIRE GENERALE DE LA PRESSE FRANCAISE. Tome I:Des origines a 1814. Tome II:De 1815 a 1871. Tome III:De 1871 a 1940. P.U.F., 1969,72. 3 vols. Roy.8vo. dw(edges sl.chipped). 15,000 16 BISCHOFF (B.) MANUSCHIPTS AND LIBRARIES IN THE AGE OF CHARLEMAGNE. Cambride Univ: 1993. roy,8vo. 193pp. 3,000 17 BISE (G.) TRISTAN ET ISEUT. d'apres un manuscrit du "Roman de Tristan" du XVesiecle. Geneve: Seghers, 1978. many colour illustrations. 173pp. 4to. dw. 5,000 18 BLADES (W.) AN ACCOUNT OF THE GERMAN MORALITY PLAY, ENTITLED DEPOSITO CORNUTI TYPOGRAPHCI. As Performed in the 17th & 18th Centuries. with a Rhythmical Translation of the German Version of 1648. London: Trubner, 1885. xii,113pp. sm.4to. uncut. original boards rebacked. 11,000 - 2 - 19 BLAKE (W.): PALEY (M.D.) WILLIAM BLAKE. N.Y.: Greenwich House, 1978. 16 color & 145 b/w illus.192pp. 4to. with dust cover. 3,000 20 BLAND (D.) A HISTORY OF BOOK ILLUSTRATION. The Illuminated Manuscript and the Printed Book. London: Faber & Faber, 1969. With illustrations. 448pp. 4to. 8,000 21 BLOCK (A.) KEY BOOKS OF BRITISH AUTHORS 1600-1932. London: Denis Archer, 1933. presentation copy from Author. 384pp. with dust cover, slightly wear. 6,500 22 BLOOMFIELD (B.C.) AN AUTHOR INDEX TO SELECTED BRITISH 'LITTLE MAGAZINES' 1930- 1939. MANSELL,1976.XIII,153pp. lar.8vo. 3,000 23 BLOOMFIELD (R.) WILD FLOWERS. Or pastoral and Local Poetry. London: vernor, Hood & Others,1806. First Ed. with 7 plates. 132pp. 12mo. rebound in recent cloth. browned. 5,500 24 BLUM (Dr.G.) ANTIKE IM EXLIBRIS. GRIECHENLAND IM EXLIBRIS. Exlibristen,1994. 8 Colour & 239 b/w exlibris illustrations. 331pp. pb. 9,800 25 BLUM (G.)DIE KUNST DES EROTISCHEN EXLIBRIS. Wiesbaden: C.Wittal, 1986.265 ABBILDUNGEN DAVON 13 IN FARBE.272pp. lar.8vo. 9,800 26 BLUM (G.) L'ART DEL' EX-LIBRIS EROTIQUE. Edition fracaise revue par Germaine Meyer- Noirel. Traduction de Dominique Petit. Picard, 1990. Limited to 225 copies. with numerous plates. 271pp. roy.8vo. with dust cover. 20,000 27 BRADLEY (W.H.): BAMBACE (A.)(Comp.) WILL H.BRADLEY: HIS WORK. A Bibliographical Guide. Oak Knoll, 1995. Extensively illustrated and detailed bibliography of Bradley's work. 215pp. lar.8vo. 5,000 28 BRASSINGTON (W.S.) A HISTORY OF THE ART OF BOOKBINDING. With some Account of the Books of the Ancients. London: Elliot Stock, 1894. 9 plates (of which 3 are coloured), 153 illustrs., in the text (20 coloured),Illustrated with numerous Engravings, and photographic Reproductions of Ancient Bindings in colour and Monotints. ix,277pp. 4to. original pictorial cover. fine copy. 65,000 29 BRIDSON (G.) & WAKEMAN (G.) PRINTMAKING & PICTURE PRINTING. A Bibliographical guide to Artistic & Industrial Techniques in Britain 1750-1900. Oxford; Plough,1984. 250pp. 4to. dw. 4,000 30 BROWN (P.)(Select.) THE BOOK OF KELLS. 48 Pages and Details in Colour from the Manuscript in Trinity College, Dublin. London: Thames & Hudson, 1980. 96pp. Cr.4to. paperbacks. 4,000 31 BRPWM (H.F.) THE VENETIAN PRINTING PRESS 1469-1800. An Historical study based upon Documents for the Most part Hitherto unpublisahed. Amsterdam: Gerard Th. van Heusden,1969.xvii,463pp. 4to. sl. pencil scrached. 15,000 - 3 - 32 BURKETT (J.) SPECIAL LIBRARY AND INFORMATION SERVICES IN THE UNITED KINGDOM. London: The Library Association, 1961. 200pp. with dust cover. 3,000 33 CARTER (J.) ABC FOR BOOK COLLECTORS. London: Hart-davis,1973.211pp. cr.8vo. dw. 3,000 34 CARTER (S.) THE BOOK BECOMES. The making of a fine edition. Cambridge: The Rampant Lions Press, 1984. with illustrations. 96pp. Japan paper spine with pictorial boards. 6,500 35 CAXTON (W.): CROTCH (W.J.B.) THE PROLOGUES AND EPILOGUES OF WILLIAM CAXTON. Early English Text Society.Kraus, 1973. reprinted ed. clxiii,115pp. lar.8vo. 4,200 36 CAXTON (W.): DUFF (E.G.) WILLIAM CAXTON. N.Y: Burt Franklin.with illust. 118pp. 3,000 37 CAXTON (W.): LEACH (MacEDWARD) PARIS AND VIENNE. translated from the French and printed by W.Caxton. (Early English Text Society). Oxford U.P., 1970. xxxi,114pp. 4,200 38 CAXTON (W.): PAINTER (G.D.) WILLIAM CAXTON. A Quincentenary Biography of England's First Printer. London: Chatto & Windus, 1976. xi,227pp. dw. 4,000 39 CAXTON (W.): PRIOR (O.H.) CAXTON'S MIRROUR OF THE WORLD. (Early English Text Society). Oxford U.P., 1966. xxv,192pp. 4,200 40 CAXTON (W.): STEVENS (H.) THE BIBLES IN THE CAXTON EXHIBITION 1877. Or a Bibliographical Description of Nearly One Thousand Representative Bibles in Various Langu ages Chronologically Arranged from the First Bible Printed at the Oxford Guttenberg in 1450-1456 to the Last Bible Printed at the Oxford University Press the 30th June 1877... London: Henry Stevens, 1878. 151pp. original green cloth. 12,000 41 CAXTON: PLOMER (H.R.) WILLIAM CAXTON (1424-1491) N.Y.: B.Franklin, 1968. 195pp. 3,670 42 CESSOLIS (J.de) THE GAME OF CHESS. Translated and printed by William Caxton.c.1483. London: Scholar press, 1976. Limited to 500 copies. b/w illustrations. unpaged. 4to. (29 x 19.7cm) Bound in coarse canvas with leather spine label. owner's sign on end paper. fine copy. 25,000 43 CHANCHY (M.T.) FROM MEMORY TO WRITTEN RECORD. England 1066-1307. Bath: Edward Arnold. 1979. 330pp. 4,000 44 CLAIR (C.) A HISTORY OF PRINTING IN BRITAIN. London: Cassell, 1965. 314pp. with dust cover. 5,000 45 COBDEN-SANDERSON (T.J.) ECCE MUNDUS INDUSTRIAL IDEALS AND THE BOOK BEAUTIFUL. Hammersmith Publishing Society, 1902. First Ed.Limited ed.,n.p.,(38) vellum-Backed boards. owner's sign & book plate. 12,000 - 4 - 46 COBDEN-SANDERSON (T.J.): THE JOURNALS OF THOMAS JAMES COBDEN-SANDERSON 1879-1922. New York: R.Cobden-Sanderson, 1926. Limited Ed. 2 vols. with 5 illusts. roy.8vo. binding loose of vol.I. 25,000 47 COLLECTION OF THE GARDEN LTD. MAGNIFICENT BOOKS AND MANUSCRIPTS. Conceived and Formed by Haven O'More. Funded by M.Davis. SOTHEBY'S FOUNDED 1744. N.Y.: Sotheby's, n.d. (ca.1989) with numerous illusts. n.p. 4to. 4,000 48 COLOPHON: (THE) A BOOK COLLECTORS' QUARTERLY. 1930-50. Comprising * The Original Series in 20 numbers. * The New Colophon in 12 numbers. * New Graphic Series in 4 numbers. * The Colophon in 9 numbers. * The Annual of Book Making 1938. [plus] 2 index volumes. Altogether 48 vols. Complete set. 4to & lar.8vo. 180,000 49 COOK (J.): BEDDIE (M.K.)(Ed.) BIBLIOGRAPHY OF CAPTAIN JAMES COOK. R.N.,F.R.S., Circumnavigator. Sydney: 1970. 2nd Ed. xvi,894pp. lar.8vo. with dust cover. 16,000 50 CRESSY (D.) LITERACY AND THE SOCIAL ORDER. Reading and Writing in Tudor and Stuart England. Cambridge U.P., 1980. 246pp. lar.8vo. dw. fore-edges sl.foxing. 10,500 51 CRUSE (A.) THE ENGLISHMAN AND HIS BOOKS. In the Early 19th Century. N.Y: numerous illust. 301pp. original cloth. very good. 6,000 52 CURL (P.) DESIGNING A BOOK JACKET. London: The Studio Publications, 1956. numerous illustrations. 96pp. cr.4to. with dust cover. 4,000 53 D.N.B.: THE DICTIONARY OF NATIONAL BIOGRAPHY.
Load more

Recommended publications
  • Charles Perrault Was Born More Than 300 Years Ago, in 1628. He Wrote
    Charles Perrault was born more than 300 years ago, in 1628. He wrote many books, but he will be remembered forever for just one: Stories or Tales from Times Past, with Morals: Tales of Mother Goose. The book contained only eight fairy tales, and they have become classics around the world. You have probably heard some of these stories in your own life! Sleeping Beauty Little Red Riding Hood Blue Beard Puss in Boots The Fairiesj Cinderella Ricky with the Tuft Little Tom Thumby Many of these stories were already well-known to people even in Charles Perrault’s time, but they had never been written down. They were stories told orally (which means spoken out loud), around the fire or at bedtime, to entertain and teach children. Some stories that Perrault wrote down were popular all over Europe, and some were also written down later in Germany as Grimm Fairy Tales. If it were not for writers like Charles Perrault, many of these stories would have been lost to us. What’s even better is that he wrote them with such style and wit. PerraultFairyTales.com is proud to bring them into the computer age! Charles Perrault was born to a wealthy family in Paris, France. He was always interested in learning. He went to the best schools, where he was always top of his class. When he grew up, Charles Perrault got married and became a lawyer. He also worked with his brother collecting taxes for the city of Paris. He was always ahead of his time, and caused a stir for writing that modern ideas are better than ancient ideas.
    [Show full text]
  • Perrault : Cendrillon Ou La Petite Pantoufle De Verre (1697) Source : Charles Perrault, Les Contes De Perrault, Édition Féron, Casterman, Tournai, 1902
    Französisch www.französisch-bw.de Perrault : Cendrillon ou la petite pantoufle de verre (1697) Source : Charles Perrault, Les Contes de Perrault, édition Féron, Casterman, Tournai, 1902 Il était une fois un gentilhomme1 qui épousa, en secondes noces2, une femme, la plus hautaine3 et la plus fière qu’on eût jamais vue. Elle avait deux filles de son humeur, et qui lui ressemblaient en toutes choses. Le mari avait, de son côté, une jeune fille, mais d’une douceur et d’une bonté sans exemple : elle tenait cela de sa mère, qui était la meilleure personne du monde. 5 Les noces ne furent pas plus tôt faites que la belle-mère4 fit éclater sa mauvaise humeur : elle ne put souffrir les bonnes qualités de cette jeune enfant, qui rendaient ses filles encore plus haïssables5. Elle la chargea des plus viles6 occupations de la maison : c’était elle qui nettoyait la vaisselle et les montées7, qui frottait la chambre de Madame et celles de Mesdemoiselles ses filles ; elle couchait tout au haut de la maison, dans un grenier8, sur une méchante paillasse9, pendant que ses sœurs étaient dans des chambres 10 parquetées10 où elles avaient des lits des plus à la mode, et des miroirs où elles se voyaient depuis les pieds jusqu’à la tête. La pauvre fille souffrait tout avec patience et n’osait s’en plaindre à son père, qui l’aurait grondée, parce que sa femme le gouvernait entièrement. Lorsqu’elle avait fait son ouvrage11, elle s’allait mettre au coin de la cheminée, et s’asseoir dans les cendres, ce qui faisait qu’on l’appelait communément dans le logis12 Culcendron.
    [Show full text]
  • Cinderella's Metamorphoses: a Comparative Study of Two English Translations of Perrault's Tales
    Przekładaniec. A Journal of Literary Translation 22–23 (2009/2010): 249–266 doi:10.4467/16891864ePC.13.044.1461 MARTINE HENNARD DUTHEIL DE LA ROCHÈRE CINDERELLA’S METAMORPHOSES: A COMPARATIVE STUDY OF TWO ENGLISH TRANSLATIONS OF PERRAULT’S TALES Abstract: This comparative analysis of two translations of Charles Perrault’s “Cendrillon ou la petite pantoufle de verre” shows how the French conte was adapted for children in England at different moments and reflects different projects. Robert Samber’s “Cinderilla: or, The Little Glass Slipper,” published in Histories, or Tales of Past Times. With Morals (1729), is known as the first English translation of the tale. More recently, Angela Carter’s retranslation “Cinderella: or, The Little Glass Slipper,” published in The Fairy Tales of Charles Perrault (1977), pays homage to Samber but also modernises the tale to carry a more emancipatory message. While Samber’s translation reflects the working conditions of Grub Street writers and acculturation of Perrault’s fairy tale in Protestant England, Carter gives it a feminist twist as she turns it into a “fable of the politics of experience.” She would later rewrite it as “Ashputtle or The Mother’s Ghost” (1987), this time using Manheim’s English translation of the Grimms’ “Aschenputtel” as a starting point. Keywords: Charles Perrault, Cinderella, translation, Robert Samber, Angela Carter Ainsi une traduction n’est-elle qu’un moment d’un texte en mouvement. Elle est même l’image qu’il n’est jamais fini. Elle ne saurait l’immobiliser. 1 (Meschonnic 1999: 342) This comparative study of two translations of “Cendrillon ou La Petite Pantoufle de Verre,” from Charles Perrault’s famous collection, Histoires ou Contes du Temps Passé (1697), shows how the tale has been redirected 1 “Thus, a translation is an instant of a text in movement, even an image that it is never over.
    [Show full text]
  • PERRAULT, the BROTHERS GRIMM, and the OWNERSHIP of FAIRY TALES Author(S): Donald Haase Reviewed Work(S): Source: Merveilles & Contes, Vol
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons YOURS, MINE, OR OURS? PERRAULT, THE BROTHERS GRIMM, AND THE OWNERSHIP OF FAIRY TALES Author(s): Donald Haase Reviewed work(s): Source: Merveilles & contes, Vol. 7, No. 2 (December 1993), pp. 383-402 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/41390373 . Accessed: 14/03/2013 16:43 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Merveilles &contes. http://www.jstor.org This content downloaded on Thu, 14 Mar 2013 16:43:29 PM All use subject to JSTOR Terms and Conditions YOURS, MINE, OR OURS? PERRAULT, THE BROTHERS GRIMM, AND THE OWNERSHIP OF FAIRY TALES Donald Haase The Revered Place of Folklore In 1944 W.H. Auden decreed that Grimms' fairy tales are "among the few indispensable, common-propertybooks upon which Western culture can be founded. ... [IJt is hardly too much to say that these tales rank next to the Bible in importance" (1). Auden was in one sense right.Like the Bible, fairytales - especially the classic tales of Charles Perrault and the - BrothersGrimm hold a revered if not sacred place in mod- ern Western culture.
    [Show full text]
  • A Rhetorical Analysis of Four Versions of the Cinderella Narrative
    Abilene Christian University Digital Commons @ ACU Electronic Theses and Dissertations Electronic Theses and Dissertations Spring 5-2017 After the Shoe Fits: A Rhetorical Analysis of Four Versions of the Cinderella Narrative Faith L. Boren Abilene Christian University, [email protected] Follow this and additional works at: https://digitalcommons.acu.edu/etd Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Rhetoric Commons Recommended Citation Boren, Faith L., "After the Shoe Fits: A Rhetorical Analysis of Four Versions of the Cinderella Narrative" (2017). Digital Commons @ ACU, Electronic Theses and Dissertations. Paper 69. This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at Digital Commons @ ACU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ ACU. ABSTRACT Fairy tales hold the power to influence societies and to challenge societal injustices, and the story of Cinderella exemplifies both of these roles. In this study, I conduct a rhetorical analysis of four different versions of the Cinderella narrative: Charles Perrault’s “Cendrillon,” the Brothers Grimm’s “Ascenputtel,” Anne Sexton’s “Cinderella,” and Disney’s Cinderella (2015). I examine Perrault’s “Cendrillon” and the Grimms’ “Aschenputtel” using constitutive rhetoric. This theory operates around the basic premise that rhetoric holds the power to aid in the shaping of societies. While analyzing “Cendrillon” and “Aschenputtel,” I specifically look for themes of classism and nationalism, respectively. I then examine Sexton’s “Cinderella” and Disney’s Cinderella (2015) using feminist standpoint theory as my theoretical lens.
    [Show full text]
  • “Cinderella” –France (Charles Perrault) ONCE There Was a Gentleman1
    “Cinderella” –France it was she who ironed her sisters' linen, and plaited their ruffles;17 they (Charles Perrault) talked all day long of nothing but how they should be dressed. 1 ONCE there was a gentleman who married, for his second wife, the "For my part," said the eldest, "I will wear my red18 velvet suit with French proudest and most haughty woman that was ever seen. She had, by a trimming." former husband, two daughters of her own humor, who were, indeed, exactly like her in all things. He had likewise, by another wife, a young "And I," said the youngest, "shall have my usual petticoat; but then, to daughter, but of unparalleled goodness and sweetness of temper, which make amends for that, I will put on my gold-flowered manteau,19 and my 2 she took from her mother, who was the best creature in the world. diamond stomacher,20 which is far from being the most ordinary one in the world." No sooner were the ceremonies of the wedding over but the stepmother3 began to show herself in her true colors. She could not bear the good They sent for the best hairdresser they could get to make up their head- qualities of this pretty girl, and the less because they made her own dresses and adjust their double pinners, and they had their red brushes daughters appear the more odious. She employed her in the meanest work and patches from Mademoiselle de la Poche.21 of the house:4 she scoured the dishes, tables, etc., and scrubbed madam's 5 chamber, and those of misses, her daughters; she lay up in a sorry garret, Cinderella was likewise called up to them to be consulted in all these 6 upon a wretched straw bed, while her sisters lay in fine rooms, with floors matters, for she had excellent notions,22 and advised them always for the all inlaid,7 upon beds of the very newest fashion, and where they had 8 best, nay, and offered her services to dress their heads, which they were looking-glasses so large that they might see themselves at their full length very willing she should do.
    [Show full text]
  • G7ELAR.W5.L1.Cinderella.Pdf
    Name: Class: Cinderella By Charles Perrault 1697 French author Charles Perrault is often called the “father of the fairy tale” for his well known tales such as “Little Red Riding Hood,” “Puss in Boots,” “Sleeping Beauty,” and “Cinderella.” Cinderella is a famous folk tale, a story that has been passed down for many generations, about a young woman trying to overcome the cruelty of some of her family. There are numerous different versions of the story, with historical roots in places as far apart as China and Italy. This version, by Perrault, is the first to include the famous pumpkin, fairy godmother, and glass slippers. As you read, take notes on how Cinderella and her stepsisters treat each other throughout the story. [1] Once there was a gentleman who married, for his second wife, the proudest and most haughty1 woman that was ever seen. She had, by a former husband, two daughters of her own, who were, indeed, exactly like her in all things. He had likewise, by another wife, a young daughter, but of unparalleled2 goodness and sweetness of temper, which she took from her mother, who was the best creature in the world. No sooner were the ceremonies of the wedding over but the stepmother began to show herself in her true colors. She could not bear the good qualities of this pretty girl, and the less because they made her own daughters appear the more odious.3 She employed her in the meanest work of the house. She scoured4 the dishes, tables, etc., and cleaned madam’s chamber, and those of misses, her daughters.
    [Show full text]
  • LA CENERENTOLA SAISON 14-15 Symphonique Fiche Pédagogique
    ROSSINI LA CENERENTOLA SAISON 14-15 Symphonique Fiche pédagogique Rossini LA CENERENTOLA Quelques mots entre vous et nous… Pour profiter au maximum du spectacle, voici des informations géné- rales et quelques recommandations à destination de vos élèves : Nous sommes très heureux de vous accueillir à l’Opéra de Rouen Haute-Normandie pour La Cenerentola de Rossini. Cet Opéra sera Informations générales peut-être une première expérience pour certains de vos élèves, une • Pour les séances scolaires, le placement se fait en fonction du ni- expérience renouvelée pour d’autres, nous espérons qu’il sera en tout veau de classe afin d’offrir à tous la meilleure visibilité. Nous vous -re cas un moment de découverte, d’éveil et de ressenti partagé. mercions de respecter les places qui vous seront proposées par notre personnel d’accueil. Cette fiche pédagogique a pour vocation de vous donner les repères • N’oubliez pas de nous prévenir en amont si vous avez besoin de clefs pour préparer vos élèves à cette sortie. Vous y trouverez quelques places supplémentaires. pistes vous permettant d’approfondir le travail en classe ou d’échanger • Les élèves sont sous la responsabilité des enseignants et des ac- simplement avec vos élèves avant et / ou après votre venue au Théâtre compagnateurs. Nous vous remercions de rester près d’eux afin de des Arts. Parce qu’un spectacle se prépare, se vit et se prolonge en- veiller à la bonne écoute du spectacle et au respect de tous. semble, n’hésitez pas à nous faire part de vos remarques et à nous communiquer les réactions de vos élèves.
    [Show full text]
  • AJSHR, Vol. 1, No. 2, APR-MAY 2020 AMERICAN JOURNAL of SOCIAL and HUMANITARIAN RESEARCH
    AJSHR, Vol. 1, No. 2, APR-MAY 2020 AMERICAN JOURNAL OF SOCIAL AND HUMANITARIAN RESEARCH ISSN: 2690-9626 Vol. 1, No.2, Apr-May 2020 Exploring ‘Shanderella’ through the glass slipper and abhijanashakuntalam Jhanvi Duggal1, Parul Mishra2 1Student, School of Humanities & Social Science, GD Goenka University, India 2Asstistant Professor, School of Humanities & Social Science, GD Goenka University, India 1 2 Emails: [email protected] , [email protected] Correspondent author: [email protected] Abstract: The present paper intends to explore the origins of the two renowned texts, the supernatural fairytale of Cinderella and the traditional drama of Shakuntala. Fairy tales are fabricated stories about superficial, magical and imaginary beings or lands where as Dramas intend to portray a character or to tell a story usually involving conflicts and emotions through action and a series of dialogues. Both of my chosen texts are originated from Mythology as the earliest known variant of the Cinderella story was recorded by a Greek Historian in the late first century and Kalidasa’s Abhijanashakuntala though, is a Sanskrit text, since most of the traces of Sanskrit language have been originated from Greek Mythology, so that permits us to claim Shakuntala’s origination from Greek Mythology as well. Further, we will explore the origination of both the characters, Cinderella and Shakuntala and how can one conduct a comparative study between the two. Keywords: glass slipper, supernatural, traditional, Shakuntala. Introduction Storytelling including fairy tales have a deep seated place in the minds of the audience and is extremely influential even till date. It is one of the most significant forms of human creativity and on the other hand Dramas intends to portray a character or to tell a story usually involving conflicts and emotions through action and a series of dialogues.
    [Show full text]
  • A Sarjana Sastra Undergraduate Thesis
    THE IMPORTANCE OF ANIMAL CHARACTERS TOWARD THE PLOT IN PERRAULT’S AND DISNEY’S CINDERELLA (A COMPARISON) AN UNDERGRADUATE THESIS Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters By: PAULUS DANAR SUGIHARTO Student Number: 984214054 Student Registration Number: 980051120106120054 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2006 ii iii Have faith in your dreams and someday your rainbow will come smiling through No matter how your heart is grieving If you keep on believing the dream that you wish will come true (A Dream is A Wish Your Heart Makes, Original Sound Track Disney’s Cinderella) iv Dedicated to Stefanus Subardi & MM Kasni Bernadetta Kuswardhani & Bagus Musharyo v ACKNOWLEMENTS My special gratitude goes to God Almighty. You have given chance to learn the way of living and all the greatest for me: I dedicate the best for You. Also my parents, Stefanus Subardi and MM Kasni, my sisters and brothers: Sr. Agnesh Santi K, Bernadetta Kuswardhani – Bagus Musharyo, and CP Yudhi Martono. Thank you for your everlasting love and support. For the most part, I am grateful to Dra. Th. Enny Anggraini, M.A., my advisor, for her great understanding and support, as well to my co-advisor Dewi Widyastuti, S.Pd., M.Hum. I also express my gratitude for all lecturers and secretariat staff in English Letters Program Sanata Dharma University. The ‘98ers of English Letters Program, especially Endah SW, my walking dictionary; thanks for sharing me your magnificent idea and references. My friends: Damar, Lina, Yanu, Donny, Sinang, thanks for the motivation: burn that building from below so people at the top will be restless.
    [Show full text]
  • Cinderella; Or, the Little Glass Slipper by Charles Perrault
    Cinderella; or, The Little Glass Slipper by Charles Perrault Once there was a gentleman who married, for his second wife, the proudest and most haughty woman that was ever seen. She had, by a former husband, two daughters of her own, who were, indeed, exactly like her in all things. He had likewise, by another wife, a young daughter, but of unparalleled goodness and sweetness of temper, which she took from her mother, who was the best creature in the world. No sooner were the ceremonies of the wedding over but the stepmother began to show herself in her true colors. She could not bear the good qualities of this pretty girl, and the less because they made her own daughters appear the more odious. She employed her in the meanest work of the house. She scoured the dishes, tables, etc., and cleaned madam's chamber, and those of misses, her daughters. She slept in a sorry garret, on a wretched straw bed, while her sisters slept in fine rooms, with floors all inlaid, on beds of the very newest fashion, and where they had looking glasses so large that they could see themselves at their full length from head to foot. The poor girl bore it all patiently, and dared not tell her father, who would have scolded her; for his wife governed him entirely. When she had done her work, she used to go to the chimney corner, and sit down there in the cinders and ashes, which caused her to be called Cinderwench. Only the younger sister, who was not so rude and uncivil as the older one, called her Cinderella.
    [Show full text]
  • CENDRILLON SAISON 1415 Danse Fiche Pédagogique Malandain Ballet Biarritz CENDRILLON
    MALANDAIN BALLET BIARRITZ CENDRILLON SAISON 1415 Danse Fiche pédagogique Malandain Ballet Biarritz CENDRILLON Quelques mots entre vous et nous… Nous sommes très heureux de vous accueillir à l’Opéra de Rouen Pour profiter au maximum du spectacle, voici des informations géné- Haute-Normandie. rales et quelques recommandations à destination de vos élèves : Ce dossier pédagogique a été rédigé afin de vous accompagner au mieux lors de votre venue pour Cendrillon de Thierry Malandain. Ce Informations générales spectacle de danse sera peut-être une première expérience pour > Pour les séances scolaires, le placement se fait en fonction du certains de vos élèves, une expérience renouvelée pour d’autres, nous niveau de classe afin d’offrir à tous la meilleure visibilité. Nous vous espérons qu’il sera en tout cas un moment de découverte, d’éveil et de remercions de respecter les places qui vous seront proposées par ressenti partagé. notre personnel d’accueil. > N’oubliez pas de nous prévenir en amont si vous avez besoin de Cette fiche pédagogique a pour vocation de vous donner les repères places supplémentaires. clefs pour préparer vos élèves à cette sortie. Vous y trouverez quelques > Les élèves sont sous la responsabilité des enseignants et des pistes vous permettant d’approfondir le travail en classe ou d’échanger accompagnateurs. Nous vous remercions de rester près d’eux afin de simplement avec vos élèves avant ou après votre venue au Théâtre veiller à la bonne écoute du spectacle et au respect de tous. des Arts. Parce qu’un spectacle se prépare, se vit et se prolonge ensemble, n’hésitez pas à nous faire part de vos remarques et à nous Recommandations à destination des élèves communiquer les réactions de vos élèves.
    [Show full text]