On the Aesthetics of Roman Ingarden, B. Dziemidok; P. McCormick
Автор: Hans H. Rudnick Название: Ingardeniana II ISBN: 9401073783 ISBN-13(EAN): 9789401073783 Издательство: Springer Рейтинг: Цена: 32144.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This Ingardenia volume is the second in the Analecta Husserliana series that is entirely devoted to the phenomenology of Roman Ingarden.
Автор: Jones Nathaniel B. Название: Greek Culture in the Roman World ISBN: 1108420125 ISBN-13(EAN): 9781108420129 Издательство: Cambridge Academ Рейтинг: Цена: 14890.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. This richly illustrated book explores the social, ethical and aesthetic dimensions of this practice and will appeal to both classicists and art historians.
Автор: B. Dziemidok; P. McCormick Название: On the Aesthetics of Roman Ingarden ISBN: 0792300718 ISBN-13(EAN): 9780792300717 Издательство: Springer Рейтинг: Цена: 27251.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Roman Ingarden`s very extensive philosophical work in metaphysics, ontology, epistemology, and aesthetics con- tinues to attract increasing attention both in Poland and in North America.
Автор: Anna-Teresa Tymieniecka Название: Ingardeniana III ISBN: 9401056749 ISBN-13(EAN): 9789401056748 Издательство: Springer Рейтинг: Цена: 27950.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: In the footsteps of Ingardeniana II, this volume marks the 20th anniver- sary of Roman Ingarden's death, partly focusing upon his thought, partly bringing his aesthetics into the present-day framework of research. It might have appeared puzzling to the followers of our Analecta Husserliana why within the original horizon encircled by the research work of our International Society of Phenomenology and Literatur- whose research work is devised in a diametrically opposed direction to that of Roman Ingarden - there is steadfastly running through our discussions a line of Ingardenian reflection. The reason, as I have pointed out in the introduction to Ingardeniana II, expertly edited by Hans Rudnik, is clear: Ingarden's analysis of the intentional structures of works of art offers in its distinct and clear-cut forms an 'objective' correlate - as well as a point of reference - to the vast conundrum of issues concerning the creative endeavor of the writer, poet, artist in their struggle to endow life with its specifically human significance; a conundrum that in our research we are trying to disentangl- elucidating its mysterious ramifications, their sources and dynamic virtualities. As a matter of fact, Ingarden's thought, newly interpreted and originally expanded, occupies a legitimate place in the present collec- tion. We find here, in the first place, an original expansion of Ingarden's aesthetic theory in the monograph of ladwiga Smith followed by the essays of Wadaw Osadnik, Yushiro Takei and Charles Rzepka.
Автор: Anna-Teresa Tymieniecka Название: Ingardeniana III ISBN: 0792310144 ISBN-13(EAN): 9780792310143 Издательство: Springer Рейтинг: Цена: 35218.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: In the footsteps of Ingardeniana II, this volume marks the 20th anniver- sary of Roman Ingarden's death, partly focusing upon his thought, partly bringing his aesthetics into the present-day framework of research. It might have appeared puzzling to the followers of our Analecta Husserliana why within the original horizon encircled by the research work of our International Society of Phenomenology and Literatur- whose research work is devised in a diametrically opposed direction to that of Roman Ingarden - there is steadfastly running through our discussions a line of Ingardenian reflection. The reason, as I have pointed out in the introduction to Ingardeniana II, expertly edited by Hans Rudnik, is clear: Ingarden's analysis of the intentional structures of works of art offers in its distinct and clear-cut forms an 'objective' correlate - as well as a point of reference - to the vast conundrum of issues concerning the creative endeavor of the writer, poet, artist in their struggle to endow life with its specifically human significance; a conundrum that in our research we are trying to disentangl- elucidating its mysterious ramifications, their sources and dynamic virtualities. As a matter of fact, Ingarden's thought, newly interpreted and originally expanded, occupies a legitimate place in the present collec- tion. We find here, in the first place, an original expansion of Ingarden's aesthetic theory in the monograph of ladwiga Smith followed by the essays of Wadaw Osadnik, Yushiro Takei and Charles Rzepka.
Автор: Victoria Symons Название: Runes and Roman Letters in Anglo-Saxon Manuscripts ISBN: 3110494744 ISBN-13(EAN): 9783110494747 Издательство: Walter de Gruyter Рейтинг: Цена: 20446.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This book presents the first comprehensive study of Anglo-Saxon manuscript texts containing runic letters. To date there has been no comprehensive study of these works in a single volume, although the need for such an examination has long been recognized. This is in spite of a growing academic interest in the mise-en-page of early medieval manuscripts. The texts discussed in this study include Old English riddles and elegies, the Cynewulfian poems, charms, Solomon and Saturn I, and the Old English Rune Poem. The focus of the discussion is on the literary analysis of these texts in their palaeographic and runological contexts. Anglo-Saxon authors and scribes did not, of course, operate within a vacuum, and so these primary texts are considered alongside relevant epigraphic inscriptions, physical objects, and historical documents. Victoria Symons argues that all of these runic works are in various ways thematically focused on acts of writing, visual communication, and the nature of the written word. The conclusion that emerges over the course of the book is that, when encountered in the context of Anglo-Saxon manuscripts, runic letters consistently represent the written word in a way that Roman letters do not.
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