Eric Gardner Turner - Works

Works

  • Catalogue of Greek and Latin papyri and ostraca in the possession of the University of Aberdeen. University Press, Aberdeen, 1939.
  • Bernard Pyne Grenfell, Arthur Surridge Hunt, Eric Gardner Turner (Hgg.): The Hibeh papyri. Egypt Exploration Fund, London, 1906.
  • Athenian books in the fifth and fourth centuries B.C. An inaugural lecture delivered at University College London, 22 May 1951. H. K. Lewis and Co., London, 1952.
  • Greek Papyri. An Introduction. Oxford University Press, Oxford 1968; first paperback edition 1980, ISBN 0-19-814841-0. Italian edition: Rome 1984.
  • New fragments of the Misoumenos of Menander. University of London, Institute of Classical Studies, London 1965 (Bulletin of the Institute of Classical Studies, Supplement 17).
  • Ménandre. Sept exposés suivis de discussions, Vandoeuvres-Genève 1969. Entretiens préparés et présidés par Eric G. Turner. Fondation Hardt pour l'Etude de l'Antiquité Classique, Vandoeuvres, 1970 (Entretien sur l'Antiquité Classique, t. 16).
  • Greek manuscripts of the ancient world. Clarendon Press, Oxford, 1971, ISBN 0-19-814284-6. Second edition revised and enlarged. Edited by Peter J. Parsons. University of London, Institute of Classical Studies, 1987 (Bulletin of the Institute of Classical Studies, 46), ISBN 0-900587-48-2.
  • The Papyrologist at Work. Durham, NC, Duke University, 1973.
  • mit T. S. Pattie: The written word on papyrus. An exhibition held in The British Museum, 30 July - 27 October 1974. Published for the British Library Board by British Museum Publications Limited. London, British Library, 1974, ISBN 0-7141-0488-4.
  • The Typology of the Early Codex. Philadelphia 1977.
  • Menander (of Athens.), Eric Gardner Turner: The lost beginning of Menander, Misoumenos. Volume 63 of Proceedings, British Academy. Oxford University Press, 1978

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    “The mind, in short, works on the data it receives very much as a sculptor works on his block of stone. In a sense the statue stood there from eternity. But there were a thousand different ones beside it, and the sculptor alone is to thank for having extricated this one from the rest.”
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