Anna Karenina (Nueva Biblioteca Edaf) (Spanish Edition)

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The frequent appearances of Cervantes' two characters in festive masquerades so soon after the book came out must be connected with this. Another secular parallel of the time tends to confirm it. There were two Italian comics well known in Spain in the later sixteenth century. They were Ganassa, who was a thin man, and Bottarga, a fat man.

A late sixteenth-century engraving of a Harlequin figure, probably Ganassa, dressed farcically as a knight errant with a cooking pot on his head and riding a scraggy mule, looks strikingly like Don Quixote. Ganassa and Bottarga are a convenient reminder that much of the popular novelistic success of Quixote and Sancho stems from their being a comic double act, where dialogue plays an important part. Watson, but they are also in the tradition of comedian double acts, like Laurel and Hardy and Abbott and Costello to restrict myself only to thin and fat ones. The latest encapsulations herald an interesting development.

Carnival associations and archetypal elements help to explain the success of the two figures in the icon. There may well be other gestalt possibilities and psychological implications present. Those elementally Freudian shapes remind us that Gerald Brenan once compared the Quixote-Sancho relationship to a marriage. However, before any of these factors could work, Cervantes had to find the right words to evoke the images. Three particular aspects of his narrative technique seem relevant here.

Cervantes' physical descriptions of his two heroes and other components of the icon are always concise and relatively infrequent. Vividness is achieved by the sparing use of well-chosen detail rather than by much cataloguing of particulars. So secondly is this the verbal equivalent of graphic caricature? But obviously there can not have been any distortion of an extratextual physical shape, such as happens with portrait caricature. There is no original of which the caricatured representation is a distortion. It is just worth noting that portrait caricature emerged precisely around this date in the work of the Caracci brothers, according to Kris and Gombrich.

Thirdly, Don Quixote is a novel conceived in strongly visual terms, and fundamental questions of visual perception are built into the structure and fabric of the book. It is a consequence of Don Quixote's peculiar madness that the reader is repeatedly reminded indirectly of the way things in the book and people, including the Knight himself, look. His optical aberration whereby everyday things are transformed in his mind's eye -windmills become giants, sheep warriors, inns castles, etc. It puts a comparison of the two images into his head, however momentarily.

This applies also to the image of the man himself. He is presented picturing himself as a handsome knight in shining armour, or a youthful gallant, thereby making us repeatedly recall the absurd spectacle he presents to others. This counter-suggestion often works without any additional description at all, consolidating the original impression we have formed of his appearance. The poetics and rhetorical treatises of the day say little about realism and still less that is relevant to the more unusual techniques in the Quixote.

They followed Aristotle and Quintilian in requiring writers to put their subjects right before their readers' eyes and achieve enargia in scenic description, but the representation of reality was expected to offer a point of departure for deeper meanings and was not normally regarded as self-justifying. Although they are a recognizable duo as fat-man and thin-man comics, they are too individualized to be stereotypes. None of this takes us to the heart of the process whereby language changes place with a picture.

Ernst Kris illustrated the circularity of this process when he wrote:. The purposeful translation of the daydream into narrative form is dependent on a total translation of visual into verbal expression, the shortcut of visual imagination must be replaced by words which can evoke the vision in others.

But precisely what happens at the interchange of verbal and visual codes I cannot imagine. This is a problem for the psychologist of cognition or the computer scientist. So much -as far as it goes- for the transition from verbal discourse to visual icon. It remains to say something of the quasi-autonomous status and evocative power of the latter. Don Quixote and Sancho Panza more particularly the former, since Sancho is really a complementary figure have detached themselves from the book which gave them birth and acquired autonomous existence.

Some evidence for this was presented in the early part of this paper. This existence is a vast reduction of their intratextual one, but it is powerfully evocative. At this point let me bring in another component of the icon, nowadays regularly included as part of it. It has bequeathed a proverbial expression even to the English language. I shall ignore the cynical answer that it is one of the first adventures in a long novel and many people do not read any farther. The incident is related with notable economy; it could not easily be more concise. Its celebrity cannot owe anything to narrative or descriptive elaboration.

This celebrity must stem from the image of the windmills and the fact of a man attacking one. Charles Aubrun has interpreted the encounter in socio-economic terms. He explains that this kind of windmill was a technological innovation in sixteenth-century Spain. It helped to change the pattern of the agricultural economy in ways which undermined the prosperity of the small-time country hidalgos. Dressed up in terms of storybook chivalry, Don Quixote's hostility was rooted in very materialistic grounds. Sancho uses the very expression to his master. Seventeenth-century English literature knew the same metaphor, though perhaps through the Quixote.

But could this association have more than a residually subliminal force on anyone nowadays? I doubt it. Of all the combats engaged in by Don Quixote, this one is arguably the most futile, absurd and unlikely to succeed.

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To try to beat up a large and powerful machine peacefully doing its job in the service of men and women is quite one of his most pointless acts of lunacy. It stands out by its very extremism.

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But there is more. However harmless it is, a windmill is still a machine -big, powerful, mobile, mindless, and as such potentially or symbolically threatening. Here, in fact, is a very early version of an unsurpassably modern mythic motif: that of Man versus Machine. Feeble and absurd though he is, Don Quixote charging dauntlessly in to attack this enemy strikes a chord in us today. With a flash of inspired and childlike animism our hero turns the windmills into wicked giants. He has perceived the mythopoeic possibilities of those churious structures on the plain of La Mancha they are still to be seen there , hybrids of artefact and creature.

He proceeds to consolidate his myth-making by comparing one of them with Briareus, the hundred-armed, one of the monstrous race of titans who rebelled against Zeus and the gods. Their menacing aspect is modified by this ridiculous note.

This combination of qualities is precisely that which characterizes the ogres of fairytale and romance confirmed by their ludicrous names. Freud held that the roots of comedy are buried in infantile fears. It was only to be expected that Cervantes would make the most of the comic potential of the event. So far I have suggested that this icon derives its effectiveness from an extratextual association. But what it also clearly does with more immediacy is evoke the whole Quixotic context.

The icon is a visual expression of the main qualities we associate with Don Quixote in his early, maddest days -capricious, misdirected, impractical, idealistic, militant, ineffective. In the right circumstances, they now even function synecdochically. Scott walks off into the distance -a landscape with windmills. The allusion is not lost on us. The visual image, a part of the icon, in another story and another medium, three and a half centuries later, still does its work.

It seems that I am going to end on a tautology. The Quixote icon gives expression to the idea of the quixotic. This needs no apology. It is the fate of every icon which contains a mythic figure. Such icons evoke first and foremost what they are. There is no longer any need even to remember the original stories they came from. George and the dragon, Romeo and Juliet, Dr. About this Item: Spark Notes, Condition: Used: Very Good. More information about this seller Contact this seller 1. More information about this seller Contact this seller 2.

Tolstoi, Count Leo Nikolayevich. Published by Walter Scott, London About this Item: Walter Scott, London, Ernest Shackleton's copy of Tolstoy's masterpiece with his ownership signature to the pastedown of each volume. Octavo, 2 volumes, original cloth with gilt titles and tooling to the spine and front panel.


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Shackleton's biographer Roland Huntford notes that Shackleton retrieved a copy of Anna Karenina from the Endurance with a few other books before the ship was destroyed. Introduction by Nathan Haskell Dole. In very good condition with light rubbing to the extremities. From the library of Ernest Shackleton. An exceptional association.

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Vladimir Nabokov called Leo Tolstoy's Anna Karenina "one of the greatest love stories in world literature. First issued serially in ; first published in book form in Moscow in Upon first reading it, Dostoyevsky wrote: "Anna Karenina is sheer perfection as a work of art. No European work of fiction of our present day comes anywhere near it. Seller Inventory More information about this seller Contact this seller 3.

The first English edition, published in Vizetelly's series of One Volume Novels, differing slightly from the Nathan Dole translation of a year earlier. The book has been superbly bound by Derek Hood in dark blue goatskin, with leather inlays of various colours and a design of concentric circles of white gold dots the design is replicated to the rear board , the titles are in also in white gold to the spine and gilt to all edges of the page block. The text block is slightly toned and stained, with some foxing. To the rear of the book is the 32 page publisher's catalogue, dated September Both pastedowns also feature a design of white gold dots in concentric circles and the rear pastedown is signed.

LEÓN TOLSTOI - ANNA KARENINA (RESEÑA)

The book is housed in a felt-lined black cloth chemise with a blue leather title label and contained in a black cloth, blue leather rimmed slipcase A decidedly uncommon edition, in a sumptuous and distinctive binding, the design of which represents the urban sprawl of Moscow and St Petersburg as seen from the perspective of a traveler on the railways, with the colours used evoking the Russian military uniforms of the period. More information about this seller Contact this seller 4. Published by Thomas J.

About this Item: Thomas J. Condition: Fine. First Edition, First Printing. The binding is tight with NO cocking or leaning and the boards are crisp with minor wear to the edges. The pages are clean with NO writing, marks or bookplates in the book. A wonderful copy in collector's condition. We buy Tolstoy First Editions. Seller Inventory ABE More information about this seller Contact this seller 5. From: Bookvica Tbilisi, Georgia. About this Item: CXV, nos.

CXXI, nos. CXXII, nos. Any sections of text not from Anna Karenina are covered in old paper. Inkstains to first few leaves, edges guarded, some mild staining and fingermarking in places, some marginal waterstaining towards the end. Contemporary half morocco, re-backed preserving original spine. All parts bound together. Anna Karenina was serialized in Russkiy Vestnik in This copy was created by a devoted reader who removed all the parts from 13 issues of the journal and bound them in a single volume. Owing to a political disagreement between Tolstoy and the journal's publisher, Mikhail Katkov, over Serbian independence Katkov and his journal were in favour, and Tolstoy was against the last part of the story was never printed.

A complete edition with the final part was published in book form in , but this was the only separate edition that is, excluding collections and selections during Tolstoy's lifetime. Rare both as an example of devotion to Tolstoy by an unknown reader and as the first appearance in print of this canonical text. More information about this seller Contact this seller 6. Limited edition of the works of Leo Tolstoy, one of one hundred and fifty copies printed on Ruisdael paper, this is number sixty-eight.

Octavo, 25 volumes. Bound in three quarters morocco, gilt titles and tooling to the spine, raised bands, gilt ruled to the front and rear panels, top edge gilt, marbled endpapers, two frontispieces to each volume. In very good condition, with volume one bound upside down. Born to an aristocratic Russian family in , Leo Tolstoy is best known for the novels War and Peace and Anna Karenina, often cited as pinnacles of realist fiction. He first achieved literary acclaim in his twenties with his semi-autobiographical trilogy, Childhood, Boyhood, and Youth , and Sevastopol Sketches, based upon his experiences in the Crimean War.

More information about this seller Contact this seller 7. Published by Alianza Editorial Sa. About this Item: Alianza Editorial Sa. Condition: Good. More information about this seller Contact this seller 8. Published by L. About this Item: L. Finely bound works of the Russian master Leo Tolstoy. Octavo, 14 volumes. Bound in three quarters morocco, gilt titles and tooling to the spine, raised bands, gilt ruled to the front and rear panels, top edge gilt, marbled endpapers.

In very good condition. More information about this seller Contact this seller 9. Condition: Near Fine. First Edition, First Issue in English. An attractive copy with some light wear to the spine and edges. More information about this seller Contact this seller First Walter Scott edition. Beautifully re-bound by Shepherds of London, replicating the decorative gilt bands and preserving the feel of the blue cloth original in the lovely blue full calf, all edges gilt with hand-made marbled paper endpapers.

Vizetelly published this work as part of his series 'Russian Novels' , which he produced cheaply to ensure a profit, but also to counter the risk of promoting the largely unknown Tolstoy in the UK. The Walter Scott edition was the first UK edition to be published with more care in its presentation, materials and book quality. William Faulkner believed "Anna Karenina" to be the best novel ever written.

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It has inspired countless adaptations, from theatre, film, radio, television and opera as the doomed love of Anna and Vronsky continues to fascinate readers, nearly years after it was first published. Published by Thomas Y. Crowell and Co, New York About this Item: Thomas Y. Crowell and Co, New York, Soft cover. First Edition. New York: Thomas Y.

Crowell and Co. Tolstoy, Leo. True First Edition, Early Issue. In Eight Parts. Translated by Nathan Haskell Dole. Six titles without Anna K listed on the page facing the title page. Custom collector's embossed slipcase in fine condition. Published by Crowell About this Item: Crowell , Condition: Very Good. First edition in English of one of the greatest novels of all time. Spine chipped at head and toe, joints a touch weak, otherwise a nice sound copy a bit better than Very Good - contents clean, owner signature to endpaper.

The most compelling bibliographical hallmarks of the first printing are these - no titles listed at the front, floral endpapers, 5 pages of ads in the rear with no mention of other Russian titles. An absolutely incisive masterwork that was immediately identified as such by his also great contemporaries. Crowell, New York Crowell, New York, First American edition, likely first issue titles. No other titles listed opposite monogrammed title page, slight offsetting from adjacent title page. While no established priority exists, the vague consensus is that the other Tolstoy titles listed opposite the title page are points of issue, as they can date months and years past the initial publication.

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No established priority for binding color. Five pages of ads at rear with no mention of any Russian titles. Line, Ettlinger and Gladstone Crimson cloth with gilt stamping, floral endpapers. Clean pages. Cloth lightly sunned at spine, some small stains and wear to edges. Stain on fore edge with very light wrinkling. Interior hinge at front starting to split, small tear in cloth near foot on exterior. The rare first appearance of Tolstoy's novel in the English language.

No other titles listed opposite monogrammed title page. Brown cloth with gilt stamping, floral endpapers. Good condition. Cloth stained and worn away along head and tail, frayed along bottom edge and at tips. Front hinge starting.