Morse Ian (79 results)

Condition: Good. illustrated edition. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: New.

Condition: Very Good. Same day dispatch. Lovely copy.

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Condition: New.

Condition: New. In English.

Condition: New. In English.

Paperback, 23 cm, 301 pp. Cond.: zeer goed / very good. ISBN: 0582369363.

Condition: good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.…

Paperback. Condition: New. Brand new book, sourced directly from publisher. Dispatch time is 7-8 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Condition: New.

Condition: As New. Unread book in perfect condition.

Kartoniert / Broschiert. Condition: New.

Condition: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: New.

Gebunden. Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: New. pp. 320.

paperback. Condition: New. In shrink wrap. Looks like an interesting title.

Condition: New. pp. 320.

Hardcover. Condition: Very Good. 2020 OUP hardcover edition. Light reading wear else very good condition. The historical and cultural space of the Black Atlantic - a diasporic world of forced and voluntary migrations - has long provided fertile ground for the construction and reconstruction of new forms of classicism. From the aftermath of slavery up to the present day, black authors, intellectuals, and artists in the Atlantic world have shaped and reshaped the cultural legacies of classical antiquity in a rich variety of ways in order to represent their identities and experiences and reflect on modern conceptions of race, nation, and identity. The studies presented in this volume range across the Anglophone, Francophone, and Hispanophone worlds, including literary studies of authors such as Derek Walcott, Marlene NourbeSe Philip, and Junot Diaz, biographical and historical studies, and explorations of race and classicism in the visual arts. They offer reflections on the place of classicism in contemporary conflicts and debates over race and racism, and on the intersections between classicism, race, gender, and social status, demonstrating how the legacies of ancient Greece and Rome have been used to buttress racial hierarchies, but also to challenge racism and Eurocentric reconstructions of antiquity. Contents: Introduction Ian Moyer, Adam Lecznar, and Heidi Morse Part I. Wakes 1. Middle Passages: Mediating Classics and Radical Philology in Marlene NourbeSe Philip and Derek Walcott Emily Greenwood 2. Nero, the mustard! The Ironies of Classical Slave Names in the British Caribbean Margaret Williamson 3. Athens and Sparta of the New World: The Classical Passions of Santo Domingo Dan-el Padilla Peralta Part II. Journeys 4. In Search of Henry Alexander Saturnin Hartley, Black Classicist, Clergyman, and Physician Michele Valerie Ronnick 5. Roman Studios: The Black Woman Artist in the Eternal City, from Edmonia Lewis to Carrie Mae Weems Heidi Morse 6. Africana Andromeda: Contemporary Painting and the Classical Black Figure Kimathi Donkor Part III. Tales 7. The Tragedy of Aimé Césaire Adam Lecznar 8. Bernardine Evaristo's The Emperor's Babe: An Account of Roman London from the Black British Perspective Tracey L. Walters 9. Myth and the Fantastic in the Work of Junot Díaz Justine McConnell 10. Classics for All? Liberal Education and the Matter of Black Lives Patrice D. Rankine.…

Condition: New. In English.

Condition: As New. Unread book in perfect condition.

Condition: New. Brand New.

Condition: New.

Paperback. Condition: Brand New. 301 pages. 6.14x9.21x0.75 inches. In Stock.

Condition: New.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Good. Beside the Bonnie Brier Bush. By Ian Maclaren. Illustrated Edition. New York: Dodd, Mead and Company, 1897. 326 p. Signed Illustrated binding by Alice Cordelia Morse measures 8 x 5", 8vo. In good condition. Boards normally scuffed at edges and worn/bumped at corners. Head and tail of spine bumped. Gilt lettering and deco lightly rubbed on spine, but overall bright and attractive. Top edge of text-block gilt. Half-title page torn at tail of gutter. Normal toning in margins. Binding intact. Please see photos. Alice Cordelia Morse (1863 - 1961) was an American designer of book covers in the late 19th and early 20th centuries. Her work was inspired by the Arts and Crafts Movement, and she is often placed as one of the top three book designers of her day. While still in graduate school, Morse began designing book covers. In the period from 1887 to 1905, Morse designed approximately eighty-one book covers, many of which were for major New York publishers such as Houghton Mifflin, Charles Scribner's Sons, Harper & Brothers, G.P. Putnam's Sons, and Dodd, Mead & Company. She designed covers for various types of books, including novels, plays, poetry, art history, travel literature, children's stories, and domestic handbooks and instructional manuals. Some of these were for famous authors, including Amelia Barr, Lafcadio Hearn, William Dean Howells, Thomas Nelson Page, and Oscar Wilde. She was often asked to design special holiday editions as well as posters. She also received commissions for in-text illustrations and for adding decorative borders, vignettes, and title pages to publications. Along with designing book covers, Morse tried recreating 16th century book bindings. True to the Arts and Crafts aesthetic, Morse's cover designs feature highly stylized patterns of organic forms like leaves and flowers. Her early work was inspired by Roman and Renaissance art, and she later experimented with designs drawn from Celtic, Arabic, Gothic, and Rococo art, and especially Art Nouveau. Morse held that book designer must be able to take the central idea of the book and depict it creatively on its cover. She also held that women were the best designers because their "intuitive sense of decoration, their feeling for beauty of line and harmony of color insures a high degree of success". In her own day, the high quality of her work was often referred to in book reviews and other articles, and her success in working for top publishers testifies to the regard in which her work was held. She is today considered one of the top three book designers of the era, along with Margaret Neilson Armstrong and Sarah W. Whitman, and some place her as the best in this group. COLI1897ABCX - 05/26 - HK3542. Alice Morse (illustrator).…