Zygmunt adamczewski (13 resultados)

Paperback. Condición: 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. Condición: Good. Collectible - Ex-Library with Markings; rebound; 282 pages.

paperback. Condición: 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.

Condición: New. pp. 282.

Card Covers. Condición: 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.…

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

Soft cover. Condición: Very Good. Title page and 71 leaves printed recto only. Small ownership stamp of philosophy professor top left cover verso; pencil inscription "Best regards" to title page. Plain side stapled card covers with spine taped. "For private circulation only" printed on title page. No indicated date of translation. While there are a few footnotes illuminating the translation of a particular term, there is no preface or introduction, and no reference to Hofstadter. Zygmunt Adamczewski, 1921-1990, "received his BA from the University of London (England) in 1951, his MA from Columbia University (New York) in 1952 and his Ph.D. in Philosophy from Harvard University in 1956. He taught philosophy at Harvard, Long Island, Montana State, Indiana, and Waterloo Universities, and at Brock University from 1969 until his retirement in 1986. He was recognized as one of the foremost interpreters of existential thought in North America and was a personal friend of Martin Heidegger" [David Goicoechea]. His first book, The Tragic Protest [M. Nijhoff, 1963] was dedicated to Heidegger ". because from him I have - insofar as I have - learned to think". Uncommon, with OCLC showing only one holding. 11 x 8.5 inches. …

Taschenbuch. Condición: 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.…

Condición: New. Print on Demand pp. 282.

Condición: New. PRINT ON DEMAND pp. 282.

Condición: 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. Condición: 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 KG, Sachsenplatz 4-6, 1201 Wien 292 pp. Englisch. …