adamczewski zygmunt (18 risultati)

Paperback. Condizione: Very Good.

Paperback. Condizione: Good. Good paperback. Ex-Library with usual markings. Text is clean and unmarked. Covers show edge wear and rubbing. LIbrary support tape on spine. Bumped corners.; 100% Satisfaction Guaranteed! Ships same or next business day!

Hardbound. Condizione: Good. Collectible - Ex-Library with Markings; rebound; 282 pages.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Acceptable Dust Jacket. First Edition. Very good hardcover with acceptable DJ, from a personal collection (NOT ex-library). Binding is tight, sturdy, and square; boards and text also very good. Dust jacket is worn and dust-soiled. 1st edition. Ships same or next business day from Dinkytown in Minneapolis, Minnesota.

Hardback. Condizione: Good. Condizione sovraccoperta: Very Good. 1st U.S. Ed. Ex-lib, cover in mylar.

paperback. Condizione: Acceptable. Paperback with French flaps. Large chip on bottom left corner of front cover. Covers discoloured and slightly soiled, cracked spine; text clean and sound throughout. Used.

paperback. Condizione: Used-Very Good. Pap. Tear in front wrap, half-title, at bottom corner along spine. Some creasing to spine, but sewn binding remains sound. Else a bright, clean copy.

Condizione: New. pp. 282.

Card Covers. Condizione: Very Good. No Jacket. 1st Edition. 282pp. A first edition copy. ( 1963). Bound in brown card covers. The top corner of the textblock has been bumped. There is slight fading to the spine and a little rubbing to the front card cover adjacent to the spine. The textblock is very fresh and clean. A very good copy.

Paperback. Condizione: Brand New. 1963 edition. 282 pages. 9.61x6.14x0.66 inches. In Stock.

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - is, what has been said already says that no anticipations of aesthetic theory are in place here. When research stays on the level of primitive imagination, prior to the distinction between real and unreal, to merge art with life, it cannot serve as guideline for thoughts on what is distinctive within art. No canons of composition can be forthcoming, even the very concept of composition, implying a composer, must remain inadmissible; since, unlike the one of tragic art, the composer of tragic life will be here in question. No analysis of form need be expected, and when a form of vision is described, it will not be what artistic critics are used to dissect. Purely aesthetic instruments, such as plot, contrast, harmony, proper pitch, likene3s, recognition, com pleteness, will be of no use and no relevance at all. And it hardly need be mentioned that the age-fortified classification of artistic kinds remains strictly out of bounds. Here is perhaps the proper place to introduce a stylistic apology. I t is clear to everyone with a neat sense of seemliness in language that the use of unattached adjectives is very awkward in English. No one reading these paragraphs can be blamed for fidgeting when molested again and again with 'the tragic' instead of 'tragedy. ' The excuse has perhaps transpired in the preceding passage.

Paperback. Condizione: Very Good. Dust Jacket may NOT BE INCLUDED.CDs may be missing. SHIPS FROM MULTIPLE LOCATIONS. book.

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -is, what has been said already says that no anticipations of aesthetic theory are in place here. When research stays on the level of primitive imagination, prior to the distinction between real and unreal, to merge art with life, it cannot serve as guideline for thoughts on what is distinctive within art. No canons of composition can be forthcoming, even the very concept of composition, implying a composer, must remain inadmissible; since, unlike the one of tragic art, the composer of tragic life will be here in question. No analysis of form need be expected, and when a form of vision is described, it will not be what artistic critics are used to dissect. Purely aesthetic instruments, such as plot, contrast, harmony, proper pitch, likene3s, recognition, com pleteness, will be of no use and no relevance at all. And it hardly need be mentioned that the age-fortified classification of artistic kinds remains strictly out of bounds. Here is perhaps the proper place to introduce a stylistic apology. I t is clear to everyone with a neat sense of seemliness in language that the use of unattached adjectives is very awkward in English. No one reading these paragraphs can be blamed for fidgeting when molested again and again with 'the tragic' instead of 'tragedy. ' The excuse has perhaps transpired in the preceding passage. 292 pp. Englisch.

Condizione: New. Print on Demand pp. 282.

Condizione: New. PRINT ON DEMAND pp. 282.

Condizione: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. is, what has been said already says that no anticipations of aesthetic theory are in place here. When research stays on the level of primitive imagination, prior to the distinction between real and unreal, to merge art with life, it cannot serve as guidelin.

Taschenbuch. Condizione: Neu. This item is printed on demand - Print on Demand Titel. Neuware -is, what has been said already says that no anticipations of aesthetic theory are in place here. When research stays on the level of primitive imagination, prior to the distinction between real and unreal, to merge art with life, it cannot serve as guideline for thoughts on what is distinctive within art. No canons of composition can be forthcoming, even the very concept of composition, implying a composer, must remain inadmissible; since, unlike the one of tragic art, the composer of tragic life will be here in question. No analysis of form need be expected, and when a form of vision is described, it will not be what artistic critics are used to dissect. Purely aesthetic instruments, such as plot, contrast, harmony, proper pitch, likene3s, recognition, com pleteness, will be of no use and no relevance at all. And it hardly need be mentioned that the age-fortified classification of artistic kinds remains strictly out of bounds. Here is perhaps the proper place to introduce a stylistic apology. I t is clear to everyone with a neat sense of seemliness in language that the use of unattached adjectives is very awkward in English. No one reading these paragraphs can be blamed for fidgeting when molested again and again with 'the tragic' instead of 'tragedy. ' The excuse has perhaps transpired in the preceding passage.Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg 292 pp. Englisch.

Taschenbuch. Condizione: Neu. The Tragic Protest | Zygmunt Adamczewski | Taschenbuch | 282 S. | Englisch | Springer | EAN 9789401187169 | Verantwortliche Person für die EU: Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg, juergen[dot]hartmann[at]springer[dot]com | Anbieter: preigu Print on Demand.