2012, ISBN: 9780281029020

Gebundene Ausgabe

Leiden: Brill, 2012. First English language edition. Hardcover. Fine. Quarto (11-3/4" x 8-1/2"). 2 vols. xxxiv; 311, (1); vi, (2), (313)-712pp. Indices. Green buckram lettered in white,… Mehr…

Leiden: Brill, 2012. First English language edition. Hardcover. Fine. Quarto (11-3/4" x 8-1/2"). 2 vols. xxxiv; 311, (1); vi, (2), (313)-712pp. Indices. Green buckram lettered in white, light blue series label at foot of spine. Illustrated with a map of Egypt and numerous diagrams & charts. A fine, as new set. The ancient Egyptian Pyramid Texts form the oldest sizable body of religious texts in the world. Discovered in the late nineteenth century, they had been inscribed on the interior stone walls of the pyramid tombs of third-millennium kings and queens. From their content it is clear that they were concerned with the afterlife state of the tomb owner, but the historical meaning of their emergence has been poorly understood. This book weds traditional philological approaches to linguistic anthropology in order to associate them with two spheres of human action: mortuary cult and personal preparation for the afterlife. Monumentalized as hieroglyphs in the tomb, their function was now one step removed from the human events that had motivated their original production. Contents: VOLUME ONE --; A.; Articulation of the Problem --; 1.; The Lack of Paratext --; 2.; Modern Typologies --; 3.; Previous Identifications of Settings in Life --; B.; Thesis --; C.; Dimensions of Evidence --; D.; Avenues of Analysis --; ch. One; Performance Settings and Structures --; A.; Temple Sanctuary Ritual --; 1.; Collective Setting --; 2.; Sacerdotal Performance Structure --; 3.; Oracular Interventions versus Cultic Services --; 4.; Summary --; B.; The Book of the Dead --; 1.; Individual Setting --; a.; Iconic Representations --; b.; Rites Reframed for Personal Performance --; c.; Strictly Self-performed Texts --; d.; Interim Summary of Individual Setting --; 2.; The Use of Books of the Dead by the Living --; 3.; Performance Structures in an Individual Setting --; a.; Personal Performance Structure --; b.; Reframed Texts of Sacerdotal Structure --; c.; Texts Reframed from Proxy Performance --; d.; Third-person Texts in an Individual Setting --; e.; Texts Not Mentioning the Beneficiary --; f.; Personal Services for Gods --; g.; Summary --; C.; Exchanges between Settings --; D.; Operative versus Non-performed, Monumental Texts --; ch. Two; Groups and Series of Pyramid Texts --; A.; Groups of Pyramid Texts --; 1.; Group A. Offering Ritual --; a.; Fundamental Principles of the Disposition of Pyramid Texts --; b.; Identification --; c.; Contemporary Contextual Information --; d.; Middle Kingdom Designations --; e.; The Eutextualization of Group A --; 2.; Group B. Transfiguration --; a.; Identification --; b.; Later Contextual Information --; c.; The Concept of Mortuary Liturgy' --; 3.; Group C. Perpetuation of Cult --; 4.; Group D. Horus Resurrects --; 5.; Group E. Nut Protects --; 6.; Group F. Isis and Nephthys Lament --; 7.; Group G. Anointing and Wrapping --; 8.; Group H. Provisioning --; 9.; Group I. Isis and Nephthys Summon --; 10.; Group J. Aggregation with the Gods --; 11.; Group K. Apotropaia --; 12.; Group L. Transformation --; 13.; Group M. Ascent to the Sky --; 14.; Group N. The Celestial Circuit --; 15.; Group O. Mixed --; B.; Order of Reading, Canonicity, and Heterogeneity --; 1.; Variable Order of Reading --; 2.; Non-canonical Composition --; 3.; Methodological Ramifications of Heterogeneity --; C.; Recurring Series: Sequences and Subsequences --; ch. Three; Categories of Pyramid Texts --; A.; Methodology --; B.; The Core Set of Sacerdotal Texts --; 1.; Texts with the Beneficiary in the Second Person and Switching --; 2.; Vocatives to the Text Owner and Quotations --; a.; Unpreceded Vocatives and Quotations --; b.; Vocatives Preceded by Particles --; 3.; Imperatives to the Text Owner --; C.; The Editing of Grammatical Person --; 1.; Maintenance of the First Person Throughout --; 2.; Texts Edited away from the First Person --; a.; Recarving --; b.; Vacillation to First Person --; c.; Doubling of Pronouns and Nouns --; d.; Residual -y and -i with Third-weak Verbs --; e.; Exemplar Disagreement --; f.; Advanced Noun --; 3.; Summary of the Core Set of Personal Texts --; 4.; Editing of Person with Figures Other than the Text Owner --; a.; Influenced by the Pattern of Editing --; b.; Influenced by Assimilation of the Text Owner with Gods --; 5.; Osiris and the Role of the Text Owner --; 6.; Summary of Edited Sacerdotal Texts --; D.; Recurring Series with the Core Texts --; 1.; With the Core Sacerdotal Texts --; 2.; With the Core Personal Texts --; 3.; Recurring Series with No Members of the Core Sets --; E.; Interim Conclusions --; F.; Motifs Exclusive to the Core Texts --; 1.; Theory --; 2.; Methodology --; 3.; Sacerdotal Texts --; 4.; Personal Texts --; G.; The Sacerdotal and Personal Categories as Discourse Genres --; H.; Expansion of Identifications --; 1.; Further Sacerdotal Texts and Sacerdotal Motifs --; a.; Further Sacerdotal Texts --; b.; Further Sacerdotal Motifs and Yet Further Texts --; c.; Summary of the Sacerdotal Category --; 2.; Further Personal Texts and Personal Motifs --; I.; The Entextualization of the Pyramid Texts --; ch. Four; Interface of Groups and Categories --; A.; Raw Distribution of Categories across Groups --; B.; Deployments Contrastive of Category and Setting --; 1.; The Distribution of Personal Texts across Collective Groups --; 2.; The Incorporation of Contrastive Texts in Operative Rituals --; 3.; The Incorporation of Contrastive Texts in Monumental Groups --; 4.; Rite as Metarite --; 5.; Interim Conclusions --; 6.; The Distribution of Sacerdotal Texts across Individual Groups --; 7.; The Deployment of Personal Services to Gods and the Dead --; C.; Mixed Groups Revisited --; 1.; Group I --; 2.; Group O --; D.; Summary Enumeration of Personal Services to Gods and the Dead --; E.; Conclusions about the Distribution of Categories across Groups --; F.; Identity in the Pyramid Texts --; 1.; Theory and Method --; 2.; The Construction of Identity in Collective Ritual --; a.; The Beneficiary as Osiris --; b.; The Roles of Priests and Priestesses --; 3.; The Construction of Identity in Personal Rites --; ch. Five; Recapitulation --; A.; The Performance of the Pyramid Texts --; B.; From Rite to Monument --; 1.; Monumentalization --; 2.; Organization --; 3.; Text as Artefact --; C.; Summary --; Coda Types of Pyramid Texts and Their Interface with Groups --; A.; Methodology --; B.; Sacerdotal Texts --; 1.; Offering Texts --; 2.; Priestly Recitations --; C.; Personal Texts --; 1.; Apotropaic Texts --; 2.; Transition Texts --; 3.; Provisioning Texts --; Indices --; A.; General Index --; B.; Egyptian Terms --; C.; Index of Cited Texts --; 1.; Pyramid Texts --; a.; Particular Pyramid Texts --; b.; Groups of Pyramid Texts --; c.; Sequences of Pyramid Texts --; d.; Subsequences of Pyramid Texts --; 2.; Coffin Texts --; 3.; Book of the Dead --; 4.; Other Egpytian Texts --; VOLUME TWO --; Listing One; Pyramid Texts by Typology and Disposition --; Listing Two; Sequences of Pyramid Texts --; Listing Three; Subsequences of Pyramid Texts --; Listing Four; Typological Motifs of Pyramid Texts --; Plans of Texts in Kingly Pyramids --; Plan 1. Architectural Terminology --; A.; Floor Plans --; 1.; Sarcophagus Chambers and Passageways --; a.; Plan 2.a. Unas, Teti, and Pepi I --; b.; Plan 2.b. Merenre and Pepi II --; 2.; Antechambers and Serdabs --; a.; Plan 3.a. Unas, Teti, and Pepi I --; b.; Plan 3.b. Merenre and Pepi II --; 3.; Corridors --; a.; Plan 4.a. Unas and Pepi I --; b.; Plan 4.b. Merenre and Pepi II --; 4.; Vestibules and Descending Passage --; a.; Plan 5.a. Pepi I and Merenre --; b.; Plan 5.b. Pepi II --; B.; Wall Plans --; 1.; The Pyramid of Unas --; a.; Plan 6. Sarcophagus Chamber, North and West Walls --; b.; Plan 7. Sarcophagus Chamber, East and South Walls, and Passageway --; c.; Plan 8. Antechamber, West and South Walls --; d.; Plan 9. Antechamber, East and North Walls, and Corridor --; 2.; The Pyramid of Teti --; a.; Plan 10. Sarcophagus Chamber, West and North Walls --; b.; Plan 11. Sarcophagus Chamber, East Wall, and Passageway --; c.; Plan 12. Antechamber, West and South Walls --; d.; Plan 13. Antechamber, East and North Walls, and Serdab --; 3.; The Pyramid of Pepi I --; a.; Plan 14. Sarcophagus Chamber, North Wall, East End --; b.; Plan 15. Sarcophagus Chamber, East and South Walls, East End --; c.; Plan 16. Sarcophagus Chamber, West End --; d.; Plan 17. Antechamber, West and South Walls, and Passageway --; e.; Plan 18. Antechamber, North and East Walls, and Serdab --; f.; Plan 19. Corridor --; g.; Plan 20. Vestibule --; h.; Plan 21. Descending Passage --; 4.; The Pyramid of Merenre --; a.; Plan 22. Sarcophagus Chamber, West and East Walls --; b.; Plan 23. Antechamber, West and East Walls --; c.; Plan 24. Corridor --; d.; Plan 25. Vestibule --; 5.; The Pyramid of Pepi II --; a.; Plan 26. Sarcophagus Chamber, North Wall, East End --; b.; Plan 27. Sarcophagus Chamber, East and South Walls, East End --; c.; Plan 28. Sarcophagus Chamber, West End --; d.; Plan 29. Passageway and Antechamber, West and South Walls --; e.; Plan 30. Antechamber, East and North Walls --; f.; Plan 31. Corridor --; g.; Plan 32. Vestibule --; Charts of Groups of Texts in Kingly Pyramids --; Group; A Offering Ritual --; Group B; Transfiguration --; Group C; Perpetuation of Cult --; Group D; Horus Resurrects --; Group E; Nut Protects --; Group F; Isis and Nephthys Lament --; Group G; Anointing and Wrapping --; Group H; Provisioning --; Group I; Isis and Nephthys Summon --; Group J; Aggregation with the Gods --; Group K; Apotropaia --; Group L; Transformation --; Group M; Ascent to the Sky --; Group N; The Celestial Circuit --; Group O; Mixed. Volume 31 in the series, "Probleme der Agyptologie", Brill, 2012, 5, No place, publisher, or date [late 20th century?]. Apparently a unique artist's book, an illustrated manuscript. Oblong 4to (9 ½ x 10 ½ inches). (12) pp. Untitled, the text is a simple telling of a creation myth in which the divine serpent and his god are the creative forces. On the final page is the annotation "Africa - Dahomey"; on the rear cover the artist has signed in graphite pencil, "Karyn Roehr." Effective and imaginative, it was perhaps done for a class [we have been unable to uncover any information concerning the artist]. Lettered in colored pencils, designed to suggest rather than depict images using paper treated and cut for each concept. Primary techniques are spattering and paste treatments of art papers as well as brown craft paper, the latter flat or crinkled, then cut in evocative shapes and mounted; blue, green, yellow, and brown predominate. One paper appears to have been aquatinted in colors and cut. The green, blue, and cream wrappers are of stiff watercolor paper, spattered, cut, and mounted. The unnumbered pages are bound Oriental style and stitched with cream thread., 0, 1887 first printing of H. Rider Haggard's iconic SHE.Note how the pages are not plagued by foxing, which is not common for books that were published in rainy, damp England. This copy has had restoration work done some time in the past (not by me). Inner hinges renewed very discreetly, using, it seems, the same swan-patterned paper. The book spine has been strengthened?This copy still presents quite well, and the first printings are increasingly uncommon.First printing of H. Rider Haggard's SHE, published in 1887 by Longmans in London. With all of the typos that are called-for (one typo, "Godness me," is shown in one of the photos. The London first edition was published by Longmans, Green, and Company on January 1, 1887. The Longmans first edition purportedly comprised only 10,000 copies. Octavo, blue cloth, beveled edges, title in gilt on front and across spine, two colored plates present. Additional Errata: line 22 page 59 genelemen; line 26 page 126 (had should be have); line 37 page 258 (it should be if); 317 pages plus 1 leaf of publisher's list. SHE, a mysterious white queen named Ayesha who reigns as the all-powerful "She-who-must-be-obeyed." Haggard developed many of the conventions of the lost world/lost race genre which countless authors have emulated. After its publication in 1887 SHE became an immediate success. According to The Literary World "Mr. Rider Haggard has made for himself a new field in fiction". Comparing the novel to King Solomon's Mines the review declared: "The book before us displays all the same qualities, and we anticipate for it a similar popularity. There is even more imagination in the later than in the earlier story; it contains scenes of greater sensuous beauty and also of more gruesome horror".The Public Opinion was equally rapturous in its praise: Few books bolder in conception, more vigorous in treatment, or fresher in fancy, have appeared for a long time, and we are grateful to Mr. Haggard for carrying us on a pinion, swift and strong, far from the world of platitudinous dullness, on which most young writers embark, to a region limited only by his own vivid imagination, where the most inveterate reader of novels cannot guess what surprise awaits him. The fantasy of SHE received particular acclaim from Victorian readers and critics. The review appearing in The Academy on 15 January was impressed by the "grown-up" vision of the novel, declaring "the more impossible it gets the better Mr. Haggard does it... his astonishing imagination, and a certain vraisemblance ["verisimilitude" (French)] makes the most impossible adventures appear true". This sentiment was echoed in The Queen: The Lady's Newspaper, with the reviewer pronouncing that "this is a tale in the hands of a writer not so able as Mr. Haggard might easily have become absurd; but he has treated it with so much vividness and picturesque power as to invest it with unflagging interest, and given to the mystery a port of philosophic possibility that makes us quite willing to submit to the illusion.I must write to congratulate you upon a work which most certainly puts you at the head a long away aheadof all contemporary imaginative writers. If fiction is best cultivated in the field of pure invention then you are certainly the first of modern novelists. Sir Walter BesantThe Spectator was more equivocal in its appraisal of SHE. The review described the narrative as "very stirring" and "exciting" and of "remarkable imaginative power", adding: "The ingenuity of the story... is as subtle as ever romancer invented, and from the day when Leo and Holly land on the coast of Africa, to the day when the Pillar of Fire is revealed to them by the all but immortal 'She-who-must-be-obeyed', the interest of the tale rises higher and higher with every new turn in its course" The photos are very helpful in depicting the exact book you are going to buy and I only use actual photos. I can send you more if need be, so please email me, Longmans, Green, and Company, 1887, 3, I tried to include examples using different lighting to try to capture the blue color and the gold gilt color. First printing of H. Rider Haggard's SHE, published in 1887 by Longmans in London. This copy is quite beautiful. It has nice color and the cloth is not very worn at all. I think this copy spent most, if not all, of its life in the USA, for it is nearly completely free of foxing. The inner hinges are weakened/cracked, the book slightly canted, and the half-title-page is a bit discolored, likely from when a former owner once had a piece of paper laid-in. With all of the typos that are called-for (one typo, "Godness me," is shown in one of the photos). The London first edition was published by Longmans, Green, and Company on January 1, 1887. The Longmans first edition purportedly comprised only 10,000 copies. Octavo, blue cloth, beveled edges, title in gilt on front and across spine, two colored plates present. Additional Errata: line 22 page 59 genelemen; line 26 page 126 (had should be have); line 37 page 258 (it should be if); 317 pages plus 1 leaf of publisher's list. SHE, a mysterious white queen named Ayesha who reigns as the all-powerful "She-who-must-be-obeyed." Haggard developed many of the conventions of the lost world/lost race genre which countless authors have emulated. After its publication in 1887 SHE became an immediate success. According to The Literary World "Mr. Rider Haggard has made for himself a new field in fiction". Comparing the novel to King Solomon's Mines the review declared: "The book before us displays all the same qualities, and we anticipate for it a similar popularity. There is even more imagination in the later than in the earlier story; it contains scenes of greater sensuous beauty and also of more gruesome horror".The Public Opinion was equally rapturous in its praise: Few books bolder in conception, more vigorous in treatment, or fresher in fancy, have appeared for a long time, and we are grateful to Mr. Haggard for carrying us on a pinion, swift and strong, far from the world of platitudinous dullness, on which most young writers embark, to a region limited only by his own vivid imagination, where the most inveterate reader of novels cannot guess what surprise awaits him. The fantasy of SHE received particular acclaim from Victorian readers and critics. The review appearing in The Academy on 15 January was impressed by the "grown-up" vision of the novel, declaring "the more impossible it gets the better Mr. Haggard does it... his astonishing imagination, and a certain vraisemblance ["verisimilitude" (French)] makes the most impossible adventures appear true". This sentiment was echoed in The Queen: The Lady's Newspaper, with the reviewer pronouncing that "this is a tale in the hands of a writer not so able as Mr. Haggard might easily have become absurd; but he has treated it with so much vividness and picturesque power as to invest it with unflagging interest, and given to the mystery a port of philosophic possibility that makes us quite willing to submit to the illusion.I must write to congratulate you upon a work which most certainly puts you at the head a long away aheadof all contemporary imaginative writers. If fiction is best cultivated in the field of pure invention then you are certainly the first of modern novelists. Sir Walter BesantThe Spectator was more equivocal in its appraisal of SHE. The review described the narrative as "very stirring" and "exciting" and of "remarkable imaginative power", adding: "The ingenuity of the story... is as subtle as ever romancer invented, and from the day when Leo and Holly land on the coast of Africa, to the day when the Pillar of Fire is revealed to them by the all but immortal 'She-who-must-be-obeyed', the interest of the tale rises higher and higher with every new turn in its course" The photos are very helpful in depicting the exact book you are going to buy and I only use actual photos. I can send you more if need be, so please email me, Longmans, Green, and Company, 1887, 3, UsedGood. There is a signature or handwriting on the inside front cover. There is light highlighting or handwriting throughout the book. The cover has visible markings and wear. Some writing on the text block edge There are some creases on the spine Fast Shipping - Each order powers our free bookstore in Chicago and sending books to Africa!, 0<

1986, ISBN: 0281029024

[EAN: 9780281029020], Gebraucht, guter Zustand, [PU: S.P.C.K.], There is a signature or handwriting on the inside front cover. There is light highlighting or handwriting throughout the bo… Mehr…

[EAN: 9780281029020], Gebraucht, guter Zustand, [PU: S.P.C.K.], There is a signature or handwriting on the inside front cover. There is light highlighting or handwriting throughout the book. The cover has visible markings and wear. Some writing on the text block edge There are some creases on the spine Fast Shipping - Each order powers our free bookstore in Chicago and sending books to Africa!, Books<

ISBN: 9780281029020

Gebraucht, guter Zustand, There is a signature or handwriting on the inside front cover. There is light highlighting or handwriting throughout the book. The cover has visible markings and… Mehr…

Gebraucht, guter Zustand, There is a signature or handwriting on the inside front cover. There is light highlighting or handwriting throughout the book. The cover has visible markings and wear. Some writing on the text block edge There are some creases on the spine Fast Shipping-Each order powers our free bookstore in Chicago and sending books to Africa!, [PU: S.P.C.K.]<

1986, ISBN: 0281029024

[EAN: 9780281029020], Gebraucht, sehr guter Zustand, [PU: SPCK Publishing], BÜCHER, 364 Seiten; Publisher ? : ? Society for Promoting Christian Knowledge (January 1, 1970) Language ? : ? … Mehr…

[EAN: 9780281029020], Gebraucht, sehr guter Zustand, [PU: SPCK Publishing], BÜCHER, 364 Seiten; Publisher ? : ? Society for Promoting Christian Knowledge (January 1, 1970) Language ? : ? English Hardcover ? : ? 348 pages ISBN-10 ? : ? 0281024340 A25-022 Sprache: Englisch Gewicht in Gramm: 500, Books<