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Seller's Description:
Good. Ex-Library copy with typical library marks and stamps. First edition THUS. Shelf and handling wear to cover and binding, with general signs of previous use. Boards betray fading and nicks and other signs of wear and imperfection commensurate with age. Binding is tight and structurally sound. Interior pages with text without any extraneous marks. Dust jacket adhered to the boards by the enlightened librarians. Secure packaging for safe delivery.
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Seller's Description:
Very Good in Good dust jacket in Good jacket. Clean, bright pages with no owners' marks; hard cover shows lines of fading along top and bottom edges and some crimping at spine heel, and jacket bears three long creases on the front interior flap, fading on the front except in one circular spot, closed edge tears on the rear, a laminate scratch at the bottom front, and tiny tears and chips at corners and spine ends, yet remains overall sound, now protected in a clear sleeve. 137pp.
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Seller's Description:
New York. 1988. Hill & Wang. 1st American Edition. Very Good in Dustjacket. 0809041898. With essays by Robert Browning and Graham Binns. 137 pages. hardcover. The artwork on the jacket is a detail of A. Archer's painting of the Elgin Room at the British Museum. Jacket design by Cynthia Krupat. keywords: Politics Essays Culture. FROM THE PUBLISHER-In over two millennia of existence, the Parthenon, sublime emblem of Western civilization, has been a pagan shrine, a church, a mosque, and an arms dump. The Nazis flew their flag over it, a twelfth—century arch-bishop beautified it, a seventeenth—century mortar bomb went through the roof, blowing up a cache of Turkish gunpowder, and promiscuous collectors of all kinds have mutilated it. Today a major part of the Parthenon's sculptures and friezes, designed and executed by Phidias in the fifth century B.C., are in the British Museum—because in 1801, with Greece still a part of the Turkish empire, Lord Elgin, then British Ambassador to Constantinople, had them removed and taken to Britain, igniting a storm of controversy that has continued until the present day. Was Lord Elgin merely a rescue archaeologist whose intent was to endow Britain's cultural heritage? Or was he a souvenir hunter on a grand scale whose original idea was to pillage the Acropolis in order to decorate his private house in Scotland? Did he have any moral right—even by the standards of his times—to carry the marbles of? Voices of protest, including Byron's and Hardy's and Keats's, were raised quite early. In an absorbing, and passionate, work on a fiercely debated issue (with many larger ramifications), Christopher Hitchens recounts the history of these precious sculptures and forcefully argues the case for their return to Greece. Marshaling his material with forensic skill, Hitchens demolishes with deadly grace the arguments of those who oppose the return of the marbles to Athens. Hitchens eloquently argues that the peerless marbles were plundered; they should be put back where they belong. Moreover, the precedent for the return of cultural treasures already exists: in 1964 Britain returned the Mandalay Regalia to Burma, and in 1985 agreed to return the beard of the Sphinx to Egypt. Imperial Spoils puts the heated argument over the Elgin Marbles into a compelling historical, artistic, moral, legal, and political framework. It includes essays on the history of the Parthenon, by Robert Browning, professor emeritus in classics at the University of London, and on the efforts to restore it, by Graham Binns, deputy chair-man of the British Committee for the Restitution of the Parthenon Marbles. Imperial Spoils is a valuable contribution to one of the more enduring debates over the different claims made on behalf of a people's cultural heritage. inventory #48344.
