Mitias m m (25 risultati)

First Edition. Cloth, quite good with slight corner wear. Book.

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

gebundene Ausgabe. Condizione: Gut. Auflage: 1986. 182 Seiten Namenseintrag/kl. Notiz auf Vs., sonst guter, sauberer Zustand, wohl ungelesen Sprache: Englisch Gewicht in Gramm: 540.

Condizione: New.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: As New. Unread book in perfect condition.

Condizione: New. In English.

Condizione: New. In English.

Condizione: New.

Condizione: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can 'art' be defined? What makes an object a work of art? Under what conditions can we characterize in a classificatory sense an object as an art work? The debate, and at times controversy, over these questions proved to be constructive, intellectually stimulating, and in many cases suggestive of new ideas. I hope this debate continues in its momentum and creative outcome. The time is, however, ripe to direct our attention to another important, yet neglected, concept - viz. , 'aesthetic experience' - which occupies a prominent place in the philosohpy of art. We do not only create art; we also enjoy, i. e. , experience, and evaluate it. How can we theorize about the nature of art in general and the art work in particular, and about what makes an object a good work of art, if we do not experience it? For example, how can we identify an object as an art work and distinguish it from other types of objects unless we first perceive it, that is in a critical, educated manner? Again, how can we judge a work as good, elegant, melodramatic, or beautiful unless we first perceive it and recognize its artistic aspect? It seems to me that experiencing art works is a necessary condition for any reasonable theory on the nature of art and artistic criticism.…

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can 'art' be defined What makes an object a work of art Under what conditions can we characterize in a classificatory sense an object as an art work The debate, and at times controversy, over these questions proved to be constructive, intellectually stimulating, and in many cases suggestive of new ideas. I hope this debate continues in its momentum and creative outcome. The time is, however, ripe to direct our attention to another important, yet neglected, concept - viz. , 'aesthetic experience' - which occupies a prominent place in the philosohpy of art. We do not only create art; we also enjoy, i. e. , experience, and evaluate it. How can we theorize about the nature of art in general and the art work in particular, and about what makes an object a good work of art, if we do not experience it For example, how can we identify an object as an art work and distinguish it from other types of objects unless we first perceive it, that is in a critical, educated manner Again, how can we judge a work as good, elegant, melodramatic, or beautiful unless we first perceive it and recognize its artistic aspect It seems to me that experiencing art works is a necessary condition for any reasonable theory on the nature of art and artistic criticism.…

Buch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can 'art' be defined What makes an object a work of art Under what conditions can we characterize in a classificatory sense an object as an art work The debate, and at times controversy, over these questions proved to be constructive, intellectually stimulating, and in many cases suggestive of new ideas. I hope this debate continues in its momentum and creative outcome. The time is, however, ripe to direct our attention to another important, yet neglected, concept - viz. , 'aesthetic experience' - which occupies a prominent place in the philosohpy of art. We do not only create art; we also enjoy, i. e. , experience, and evaluate it. How can we theorize about the nature of art in general and the art work in particular, and about what makes an object a good work of art, if we do not experience it For example, how can we identify an object as an art work and distinguish it from other types of objects unless we first perceive it, that is in a critical, educated manner Again, how can we judge a work as good, elegant, melodramatic, or beautiful unless we first perceive it and recognize its artistic aspect It seems to me that experiencing art works is a necessary condition for any reasonable theory on the nature of art and artistic criticism.…

Paperback. Condizione: Brand New. 188 pages. 9.25x6.10x0.43 inches. In Stock.

Condizione: New. pp. 188.

Condizione: new. Questo è un articolo print on demand.

Condizione: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can art be defined? What makes an object a work of art? Under what conditions can we characterize in a classificatory se.…

Gebunden. Condizione: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can art be defined? What makes an object a work of art? Under what conditions can we characterize in a classificatory se.…

Buch. Condizione: Neu. Possibility of the Aesthetic Experience | M. M. Mitias | Buch | Einband - fest (Hardcover) | Englisch | 1986 | Springer Netherlands | EAN 9789024732784 | Verantwortliche Person für die EU: Springer Netherlands, Haberstr. 7, 69126 Heidelberg, buchhandel-buch[at]springer[dot]com | Anbieter: preigu Print on Demand.…

Buch. Condizione: Neu. This item is printed on demand - Print on Demand Titel. Neuware -The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can 'art' be defined What makes an object a work of art Under what conditions can we characterize in a classificatory sense an object as an art work The debate, and at times controversy, over these questions proved to be constructive, intellectually stimulating, and in many cases suggestive of new ideas. I hope this debate continues in its momentum and creative outcome. The time is, however, ripe to direct our attention to another important, yet neglected, concept - viz. , 'aesthetic experience' - which occupies a prominent place in the philosohpy of art. We do not only create art; we also enjoy, i. e. , experience, and evaluate it. How can we theorize about the nature of art in general and the art work in particular, and about what makes an object a good work of art, if we do not experience it For example, how can we identify an object as an art work and distinguish it from other types of objects unless we first perceive it, that is in a critical, educated manner Again, how can we judge a work as good, elegant, melodramatic, or beautiful unless we first perceive it and recognize its artistic aspect It seems to me that experiencing art works is a necessary condition for any reasonable theory on the nature of art and artistic criticism.Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg 188 pp. Englisch.…

Taschenbuch. Condizione: Neu. This item is printed on demand - Print on Demand Titel. Neuware -The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can 'art' be defined What makes an object a work of art Under what conditions can we characterize in a classificatory sense an object as an art work The debate, and at times controversy, over these questions proved to be constructive, intellectually stimulating, and in many cases suggestive of new ideas. I hope this debate continues in its momentum and creative outcome. The time is, however, ripe to direct our attention to another important, yet neglected, concept - viz. , 'aesthetic experience' - which occupies a prominent place in the philosohpy of art. We do not only create art; we also enjoy, i. e. , experience, and evaluate it. How can we theorize about the nature of art in general and the art work in particular, and about what makes an object a good work of art, if we do not experience it For example, how can we identify an object as an art work and distinguish it from other types of objects unless we first perceive it, that is in a critical, educated manner Again, how can we judge a work as good, elegant, melodramatic, or beautiful unless we first perceive it and recognize its artistic aspect It seems to me that experiencing art works is a necessary condition for any reasonable theory on the nature of art and artistic criticism.Springer-Verlag KG, Sachsenplatz 4-6, 1201 Wien 188 pp. Englisch.…

Condizione: New. Print on Demand pp. 188 52:B&W 6.14 x 9.21in or 234 x 156mm (Royal 8vo) Case Laminate on White w/Gloss Lam.

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can 'art' be defined What makes an object a work of art Under what conditions can we characterize in a classificatory sense an object as an art work The debate, and at times controversy, over these questions proved to be constructive, intellectually stimulating, and in many cases suggestive of new ideas. I hope this debate continues in its momentum and creative outcome. The time is, however, ripe to direct our attention to another important, yet neglected, concept - viz. , 'aesthetic experience' - which occupies a prominent place in the philosohpy of art. We do not only create art; we also enjoy, i. e. , experience, and evaluate it. How can we theorize about the nature of art in general and the art work in particular, and about what makes an object a good work of art, if we do not experience it For example, how can we identify an object as an art work and distinguish it from other types of objects unless we first perceive it, that is in a critical, educated manner Again, how can we judge a work as good, elegant, melodramatic, or beautiful unless we first perceive it and recognize its artistic aspect It seems to me that experiencing art works is a necessary condition for any reasonable theory on the nature of art and artistic criticism. 188 pp. Englisch.…

Buch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can 'art' be defined What makes an object a work of art Under what conditions can we characterize in a classificatory sense an object as an art work The debate, and at times controversy, over these questions proved to be constructive, intellectually stimulating, and in many cases suggestive of new ideas. I hope this debate continues in its momentum and creative outcome. The time is, however, ripe to direct our attention to another important, yet neglected, concept - viz. , 'aesthetic experience' - which occupies a prominent place in the philosohpy of art. We do not only create art; we also enjoy, i. e. , experience, and evaluate it. How can we theorize about the nature of art in general and the art work in particular, and about what makes an object a good work of art, if we do not experience it For example, how can we identify an object as an art work and distinguish it from other types of objects unless we first perceive it, that is in a critical, educated manner Again, how can we judge a work as good, elegant, melodramatic, or beautiful unless we first perceive it and recognize its artistic aspect It seems to me that experiencing art works is a necessary condition for any reasonable theory on the nature of art and artistic criticism. 188 pp. Englisch.…

Condizione: New. PRINT ON DEMAND pp. 188.