Aesthetics:
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Amsterdam [u.a.]
Rodopi
2007
|
| Series: | On the boundary of two worlds
8 |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Item Description: | Aus dem Litauischen übers. |
| Physical Description: | XXVI, 279 S. |
| ISBN: | 9789042022225 |
Staff View
MARC
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Record in the Search Index
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| adam_text | TABLE OF CONTENTS LEONIDAS DONSKIS, EDITOR S INTRODUCTION: MAPPING
INTER-WAR LITHUANIAN PHILOSOPHY ACKNOWLEDGMENTS PART I: INTRODUCTION 1.
AESTHETICS: DEFINITION AND OBJECT 2. DIFFICULTIES FOR AESTHETICS A. THE
CRITERION OF BEAUTY B. AESTHETICS AND LIVING ART C. THE PECULIARITY OF
AESTHETIC EXPERIENCE 3. IMMEDIATE AESTHETIC PERCEPTION-THE MATERIAL
BASIS OF AESTHETICS PART 11:METHODS 1. THE OPTIMAL STARTING POINT:
NATURE OR ART? 2. THREE STARTING POINTS FOR AESTHETIC ANALYSIS A. THE
ARTIST-CREATOR B. THE VIEWER (LISTENER) C. THE WORK OF ART ITSELF PART
III: THE ANALYSIS OF AN AESTHETIC OBJECT XL XXIX 1 2 2 4 5 7 11 12 12 14
15 1. THE ESSENTIAL PROPERTIES OF AESTHETIC PERCEPTION 17 A. AESTHETIC
PERCEPTION AND THE FEELING OFPLEASURE 17 B. THE SIGNIFICANCE OFTHE
MIND-SET FOR THE PERCEPTION OF AN AESTHETIC OBJECT 19 C. EXAMPLES POETIC
LANGUAGE 22 VISUAL ART 25 MUSIC 28 2. THE INTERNAL STRUCTURE OF AN
AESTHETIC OBJECT A. THE UNITY OF AN AESTHETIC OBJECT 30 B. THE
COMPONENTS OF AN AESTHETIC OBJECT 3 I C. THE SIGNIFICANCE OFTHE DOMINANT
34 D. STATIC AND GENETIC UNITY 35 E. THE ASPECTS OF AN AESTHETIC OBJECT
AND THE PROBLEM OF SPACE IN VISUAL ART 36 F. THE PROBLEM OFTIME IN ART
39 VI VASILY SESEMANN 3. THE EXPRESSIVENESS OF AN AESTHETIC OBJECT AND
ITS OBJECTIVE SENSE A. INTRODUCTION 40 8. THE OBJECTIVITY OF AESTHETIC
FEELINGS 41 C. THE TRADITIONAL THEORY OF ANALOGY AND ITS CRITICISM 42 D.
THE THEORY OF EMPATHY AND ITS CRITICISM 44 E. HOW THE EXPRESSIVENESS OF
AN AESTHETIC OBJECT IS TO BE EXPLAINED INTUITION IS AN ACT OF
UNDERSTANDING 48 THE INITIAL EXPRESSIVENESS OF THIS ACT OF UNDERSTANDING
49 THE SIGNIFICANCE OFTHE ACT OFEMPATHY 50 THE INNER DYNAMISM OF
AESTHETIC IMPRESSIONS (VITALITY) 51 THE RELATION OF AESTHETIC
EXPRESSIVENESS TO THE CONTEMPLATIVE ATTITUDE 54 INVIGORATION 56
MENTALLNFECTION AND ITS FORMS. ECHOIC FEELINGS 57 ARTISTIC ACTS OF
RE-CREATION. DRAMATIC ACTING (REINCARNATION) 62 THE RELATION OFTHE
SENSORY IMAGE TO THE OBJECTIVE MEANING 65 4. AESTHETIC FORM AND
AESTHETIC STRUCTURE A. INTRODUCTION 70 B. VISIBLE AND TANGIBLE FORMS.
THEIR ORGANIZATIONAL SIGNIFICANCE 71 C. THE RELATION BETWEEN FORM AND
MATTER 72 D. THE GENERALIZED SIGNIFICANCE OFFORM. STRUCTURE 74 E. FORM
AND CONTENT (SUBJECT) 75 F. EXAMPLES: THEATRE AND FILM 78 G.
RELATIVIZATION OF FORM. H IERARCHY OF FORMS 81 H. AESTHETIC FORM AND THE
INDIVIDUALITY OFTHE WORK OF ART 82 I. THE CONCEPT OF STYLE 83 J. STYLE
AND IMITATION OFNATURE 87 PART IV: THE BEAUTY OFNATURE I. THE RELATIONS
OFNATURAL AND ARTISTIC BEAUTY WITH RESPECT TO ORIGIN 89 2. THE AESTHETIC
CRITERION OFNATURAL AND ARTISTIC BEAUTY IS THE SAME 90 3. THE CONCEPTION
OFNATURE S BEAUTY IN THE HISTORY OF EUROPEAN CULTURE. THE BEAUTY OFWILD
NATURE 91 4. THE BEAUTY OFORGANIC FORMS 93 5. HUMAN BEAUTY. LTS IDEAL 94
6. ORGANIC BEAUTY AND THE SEXUAL INSTINCT 98 7. BEAUTY AND UGLINESS.
THEIR RELATION IN ART 99 8. THE PECULIARITY OFNATURAL BEAUTY A. NATURE,
BEAUTY S POTENTIAL 103 B. THE REALITY OFNATURE S BEAUTY 104 C. THE
SIGNIFICANCE OFTHIS REALITY 105 D. HOW SHOULD WE UNDERSTAND THE REALITY
OFNATURAL BEAUTY? 107 AESTHETICS PART V: THE ORIGIN OF ART I. THE
RELATION OF PRIMITIVE ART TO OTHER AREAS OF CULTURE 2. ATTEMPTS TO
DERIVE THE ORIGIN OF ART FROM GENERAL PSYCHOLOGICAL PRINCIPLES.
CRITICISM 3. STIMULI FOR THE EMERGENCE OF REPRESENTATIONAL ART A. THE
IMITATIVE INSTINCT B. PLAY (FREE MOTOR ACTIVITY) 4. THE ORIGIN OF MUSIC
5. GENERAL CONCLUSIONS 6. THE ARTIST AND THE CHILD (PRIMITIVE MAN) PART
VI: THE PROBLEM OF ARTISTIC CREATIVITY VII 109 111 113 118 123 125 127
I. A GENERAL CHARACTERIZATION OF THE CREATIVE PROCESS 131 2. THE
CREATIVE PROCESS: THREE BASIC MOMENTS A. INNER EXCITATION 132 B. THE
EMERGENCE OF THE ARTISTIC IDEA 133 C. THE REALIZATION OF THE IDEA 134 3.
CREATIVE IMAGINATION A. THE FUNCTION OFTHE IMAGINATION IN SENSORY
PERCEPTION 135 B. THE CONNECTION OFTHE IMAGINATION TO THINKING AND
MEMORY 137 C. IMAGINATION AND MOTOR ACTIVITY (PLAY) 139 D. INVENTIVENESS
(CREATIVE ORIGINALITY) 142 E. DYNAMIC TENSION (DRAMATISM) 144 F.
CREATIVE IMAGINATION AND THE MECHANISM OF ASSOCIATIONS 144 G. THE ROJE
OF ABSTRACTION IN CREATIVITY ABSTRACTION IN INITIAL PERCEPTUAL AND
RECOLLECTIVE ACTS. NATURAL SYMBOLS 146 NATURAL SYMBOLS IN
REPRESENTATIONAL ART 148 ABSTRACTION IN MUSIC AND ARCHITECTURE 152
ABSTRACTION IN POETRY. CONVENTIONAL SYMBOLS AND MEANING-CONNECTED
FEELINGS 153 PART VII: THE HISTORIC DEVELOPMENT OF ART AND THE FACTORS
UNDERLYING IT I. THE PROBLEM: FORMULATION AND EXPLICATION 2. TAINE S
MILIEU THEORY AND ITS CRITICAL APPRAISAL 3. THE PSYCHOLOGICAL THEORY
OF NUMBING AND ITS CRITIQUE 4. THE RELATION OFTHE ARTIST S
INDIVIDUALITY AND CREATIVITY TO THE CULTURAL ENVIRONMENT 5. THE RELATION
OFTHE DEVELOPMENT OF ART TO GENERAL CUJTURAL DEVELOPMENT 159 160 163 164
167 VIII VASILY SESEMANN 6. THE HISTORICAL CHANGING OF STYLES AND THE
THEORIES EXPLAINING IT 169 A. THE STYLES OF YOUTH, MATURITY, AND OLD AGE
169 B. THE ARCHAIC, CLASSICAL, AND BAROQUE STAGES IN THE EVOLUTION
OFSTYLE 170 C. IS THIS SCHEMA ASSOCIATED WITH THE PREDOMINANCE OF A
SPECIFIC ART FORM? 172 D. DOES THIS SCHEMA APPLY TO THE DEVELOPMENT OF
MUSIC AND ART? 173 E. CONSTITUTIVE ELEMENTS OF REPRESENTATIONAL ART:
TECTONICITY, PLASTICITY, PAINTERLINESS, ORNAMENTALITY, AND THEIR
INTERRELATIONS 175 F. THEORIES RECOGNIZING THE EVOLUTION OF ART AS A
PROCESS IN ONE DIRECTION 180 G. THEORIES GROUNDING THE EVOLUTION OF ART
IN THE PERIODIC ALTERNATION OF STYLES 184 H. IN WHAT SENSE CAN WE SPEAK
OF ARTISTIC PROGRESS? 185 PART VIII: THE RELATIONS OF BEAUTY TO OTHER
CULTURAL VALUES. THE ROLE OF ART IN CUL TURAL LLFE I.INTRODUCTION 189 2.
BEAUTY AND MORALITY A. THE RELATION BETWEEN THE AESTHETIC AND THE
ETHICAL VIEWPOINT 190 B. THE N EUTRALITY OF THE AESTHETIC ATTITUDE
TOWARD ETHICAL VALUES 192 C. EXAMPLE: TRAGICALITY 193 D. ART AND
TENDENTIOUSNESS 201 E. ART AND THE LOVE OF BEING 20 I F. EXAMPLE:
COMICALITY 203 3. ART (BEAUTY) AND TRUTH A. THE PROBLEM FORMULATED 212
B. THEORETICAL TRUTH 213 C. THE FORMAL TRUTH OF ART 2 I4 D. THE MATERIAL
TRUTH OF ART THE SUBJECTIVE ASPECT 2 I 5 THE OBJECTIVE ASPECT THE
GENUINENESS OF EMOTIVE EXPRESSION 2 I 7 THE REALITY OF OBJECTIVE
REPRESENTATION 2 18 WHAT IS FANTASTICAIITY? 22 I AESTHETIC REALITY 226
AESTHETICS IX PART IX: HISTORICAL SURVEY OF AESTHETIC THEORIES I. THE
AESTHETICS OF THE ANCIENT GREEKS A. INTRODUCTION 231 B. KALOKAGATIA 232
C. THE SOPHISTS ..PLATO 232 D. NEOPLATONISM. ARISTOTLE 234 2.
RATIONALIST AESTHETICS IN FRANCE AND GERMANY A. BOILEAU. BUFFON 235 B.
LEIBNIZ. BAUMGARTEN. SULZER 236 3. THE EMPIRIEIST AESTHETICS OFTHE
ENGLISH A. SHAFTESBURY 238 B. HOME AND BURKE 239 4. THE AESTHETICS
OFKANT 240 5. VICO 243 6. GERMAN IDEALIST AESTHETICS: SCHELLING, HEGEL,
SCHOPENHAUER 244 7. THE FORMALISTS. FECHNER 245 8. CONTEMPORARY
AESTHETIC THEORIES A. THEORIES PROCEEDING FROM THE ART WORK (OBJECT) 247
B. PHENOMENOLOGICAL AESTHETICS 248 C. THEORIES PROCEEDING FROM THE
PERCEIVING SUBJECT 249 D. THEORIES PROCEEDING FROM THE CREATIVE SUBJECT
249 E. METAPHYSICAL AESTHETICS 250 F. SOCIOLOGICAL THEORIES 250 G.
MARXIST AESTHETICS 251 PART X THE CLASSIFICA TI ON OF TYPES OF ART I.
THE PROBLEM 2. THE RELATION OFTHE ART WORK TO THE SUBJECT. OPTICAL AND
ACOUSTIC IMPRESSIONS: THEIR DIFFERENCE 3. SPATIAL AND NONSPATIAL FORMS
OF ART 4. OBJECTIVE AND NONOBJECTIVE FORMS OF ART 5. REPRESENTATIONAL
AND N ONREPRESENTATIONAL ART NOTES INDEX 253 254 257 258 261 265 277
|
| adam_txt |
TABLE OF CONTENTS LEONIDAS DONSKIS, EDITOR'S INTRODUCTION: MAPPING
INTER-WAR LITHUANIAN PHILOSOPHY ACKNOWLEDGMENTS PART I: INTRODUCTION 1.
AESTHETICS: DEFINITION AND OBJECT 2. DIFFICULTIES FOR AESTHETICS A. THE
CRITERION OF BEAUTY B. AESTHETICS AND LIVING ART C. THE PECULIARITY OF
AESTHETIC EXPERIENCE 3. IMMEDIATE AESTHETIC PERCEPTION-THE MATERIAL
BASIS OF AESTHETICS PART 11:METHODS 1. THE OPTIMAL STARTING POINT:
NATURE OR ART? 2. THREE STARTING POINTS FOR AESTHETIC ANALYSIS A. THE
ARTIST-CREATOR B. THE VIEWER (LISTENER) C. THE WORK OF ART ITSELF PART
III: THE ANALYSIS OF AN AESTHETIC OBJECT XL XXIX 1 2 2 4 5 7 11 12 12 14
15 1. THE ESSENTIAL PROPERTIES OF AESTHETIC PERCEPTION 17 A. AESTHETIC
PERCEPTION AND THE FEELING OFPLEASURE 17 B. THE SIGNIFICANCE OFTHE
MIND-SET FOR THE PERCEPTION OF AN AESTHETIC OBJECT 19 C. EXAMPLES POETIC
LANGUAGE 22 VISUAL ART 25 MUSIC 28 2. THE INTERNAL STRUCTURE OF AN
AESTHETIC OBJECT A. THE UNITY OF AN AESTHETIC OBJECT 30 B. THE
COMPONENTS OF AN AESTHETIC OBJECT 3 I C. THE SIGNIFICANCE OFTHE DOMINANT
34 D. STATIC AND GENETIC UNITY 35 E. THE ASPECTS OF AN AESTHETIC OBJECT
AND THE PROBLEM OF SPACE IN VISUAL ART 36 F. THE PROBLEM OFTIME IN ART
39 VI VASILY SESEMANN 3. THE EXPRESSIVENESS OF AN AESTHETIC OBJECT AND
ITS OBJECTIVE SENSE A. INTRODUCTION 40 8. THE OBJECTIVITY OF AESTHETIC
FEELINGS 41 C. THE TRADITIONAL THEORY OF ANALOGY AND ITS CRITICISM 42 D.
THE THEORY OF EMPATHY AND ITS CRITICISM 44 E. HOW THE EXPRESSIVENESS OF
AN AESTHETIC OBJECT IS TO BE EXPLAINED INTUITION IS AN ACT OF
UNDERSTANDING 48 THE INITIAL EXPRESSIVENESS OF THIS ACT OF UNDERSTANDING
49 THE SIGNIFICANCE OFTHE ACT OFEMPATHY 50 THE INNER DYNAMISM OF
AESTHETIC IMPRESSIONS (VITALITY) 51 THE RELATION OF AESTHETIC
EXPRESSIVENESS TO THE CONTEMPLATIVE ATTITUDE 54 INVIGORATION 56
MENTALLNFECTION AND ITS FORMS. ECHOIC FEELINGS 57 ARTISTIC ACTS OF
RE-CREATION. DRAMATIC ACTING (REINCARNATION) 62 THE RELATION OFTHE
SENSORY IMAGE TO THE OBJECTIVE MEANING 65 4. AESTHETIC FORM AND
AESTHETIC STRUCTURE A. INTRODUCTION 70 B. VISIBLE AND TANGIBLE FORMS.
THEIR ORGANIZATIONAL SIGNIFICANCE 71 C. THE RELATION BETWEEN FORM AND
MATTER 72 D. THE GENERALIZED SIGNIFICANCE OFFORM. STRUCTURE 74 E. FORM
AND CONTENT (SUBJECT) 75 F. EXAMPLES: THEATRE AND FILM 78 G.
RELATIVIZATION OF FORM. H IERARCHY OF FORMS 81 H. AESTHETIC FORM AND THE
INDIVIDUALITY OFTHE WORK OF ART 82 I. THE CONCEPT OF STYLE 83 J. STYLE
AND IMITATION OFNATURE 87 PART IV: THE BEAUTY OFNATURE I. THE RELATIONS
OFNATURAL AND ARTISTIC BEAUTY WITH RESPECT TO ORIGIN 89 2. THE AESTHETIC
CRITERION OFNATURAL AND ARTISTIC BEAUTY IS THE SAME 90 3. THE CONCEPTION
OFNATURE'S BEAUTY IN THE HISTORY OF EUROPEAN CULTURE. THE BEAUTY OFWILD
NATURE 91 4. THE BEAUTY OFORGANIC FORMS 93 5. HUMAN BEAUTY. LTS IDEAL 94
6. ORGANIC BEAUTY AND THE SEXUAL INSTINCT 98 7. BEAUTY AND UGLINESS.
THEIR RELATION IN ART 99 8. THE PECULIARITY OFNATURAL BEAUTY A. NATURE,
BEAUTY'S POTENTIAL 103 B. THE REALITY OFNATURE'S BEAUTY 104 C. THE
SIGNIFICANCE OFTHIS REALITY 105 D. HOW SHOULD WE UNDERSTAND THE REALITY
OFNATURAL BEAUTY? 107 AESTHETICS PART V: THE ORIGIN OF ART I. THE
RELATION OF PRIMITIVE ART TO OTHER AREAS OF CULTURE 2. ATTEMPTS TO
DERIVE THE ORIGIN OF ART FROM GENERAL PSYCHOLOGICAL PRINCIPLES.
CRITICISM 3. STIMULI FOR THE EMERGENCE OF REPRESENTATIONAL ART A. THE
IMITATIVE INSTINCT B. PLAY (FREE MOTOR ACTIVITY) 4. THE ORIGIN OF MUSIC
5. GENERAL CONCLUSIONS 6. THE ARTIST AND THE CHILD (PRIMITIVE MAN) PART
VI: THE PROBLEM OF ARTISTIC CREATIVITY VII 109 111 113 118 123 125 127
I. A GENERAL CHARACTERIZATION OF THE CREATIVE PROCESS 131 2. THE
CREATIVE PROCESS: THREE BASIC MOMENTS A. INNER EXCITATION 132 B. THE
EMERGENCE OF THE ARTISTIC IDEA 133 C. THE REALIZATION OF THE IDEA 134 3.
CREATIVE IMAGINATION A. THE FUNCTION OFTHE IMAGINATION IN SENSORY
PERCEPTION 135 B. THE CONNECTION OFTHE IMAGINATION TO THINKING AND
MEMORY 137 C. IMAGINATION AND MOTOR ACTIVITY (PLAY) 139 D. INVENTIVENESS
(CREATIVE ORIGINALITY) 142 E. DYNAMIC TENSION (DRAMATISM) 144 F.
CREATIVE IMAGINATION AND THE MECHANISM OF ASSOCIATIONS 144 G. THE ROJE
OF ABSTRACTION IN CREATIVITY ABSTRACTION IN INITIAL PERCEPTUAL AND
RECOLLECTIVE ACTS. NATURAL SYMBOLS 146 NATURAL SYMBOLS IN
REPRESENTATIONAL ART 148 ABSTRACTION IN MUSIC AND ARCHITECTURE 152
ABSTRACTION IN POETRY. CONVENTIONAL SYMBOLS AND MEANING-CONNECTED
FEELINGS 153 PART VII: THE HISTORIC DEVELOPMENT OF ART AND THE FACTORS
UNDERLYING IT I. THE PROBLEM: FORMULATION AND EXPLICATION 2. TAINE'S
"MILIEU THEORY" AND ITS CRITICAL APPRAISAL 3. THE PSYCHOLOGICAL THEORY
OF"NUMBING" AND ITS CRITIQUE 4. THE RELATION OFTHE ARTIST'S
INDIVIDUALITY AND CREATIVITY TO THE CULTURAL ENVIRONMENT 5. THE RELATION
OFTHE DEVELOPMENT OF ART TO GENERAL CUJTURAL DEVELOPMENT 159 160 163 164
167 VIII VASILY SESEMANN 6. THE HISTORICAL CHANGING OF STYLES AND THE
THEORIES EXPLAINING IT 169 A. THE STYLES OF YOUTH, MATURITY, AND OLD AGE
169 B. THE ARCHAIC, CLASSICAL, AND BAROQUE STAGES IN THE EVOLUTION
OFSTYLE 170 C. IS THIS SCHEMA ASSOCIATED WITH THE PREDOMINANCE OF A
SPECIFIC ART FORM? 172 D. DOES THIS SCHEMA APPLY TO THE DEVELOPMENT OF
MUSIC AND ART? 173 E. CONSTITUTIVE ELEMENTS OF REPRESENTATIONAL ART:
TECTONICITY, PLASTICITY, PAINTERLINESS, ORNAMENTALITY, AND THEIR
INTERRELATIONS 175 F. THEORIES RECOGNIZING THE EVOLUTION OF ART AS A
PROCESS IN ONE DIRECTION 180 G. THEORIES GROUNDING THE EVOLUTION OF ART
IN THE PERIODIC ALTERNATION OF STYLES 184 H. IN WHAT SENSE CAN WE SPEAK
OF ARTISTIC PROGRESS? 185 PART VIII: THE RELATIONS OF BEAUTY TO OTHER
CULTURAL VALUES. THE ROLE OF ART IN CUL TURAL LLFE I.INTRODUCTION 189 2.
BEAUTY AND MORALITY A. THE RELATION BETWEEN THE AESTHETIC AND THE
ETHICAL VIEWPOINT 190 B. THE N EUTRALITY OF THE AESTHETIC ATTITUDE
TOWARD ETHICAL VALUES 192 C. EXAMPLE: TRAGICALITY 193 D. ART AND
TENDENTIOUSNESS 201 E. ART AND THE LOVE OF BEING 20 I F. EXAMPLE:
COMICALITY 203 3. ART (BEAUTY) AND TRUTH A. THE PROBLEM FORMULATED 212
B. THEORETICAL TRUTH 213 C. THE FORMAL TRUTH OF ART 2 I4 D. THE MATERIAL
TRUTH OF ART THE SUBJECTIVE ASPECT 2 I 5 THE OBJECTIVE ASPECT THE
GENUINENESS OF EMOTIVE EXPRESSION 2 I 7 THE REALITY OF OBJECTIVE
REPRESENTATION 2 18 WHAT IS FANTASTICAIITY? 22 I AESTHETIC REALITY 226
AESTHETICS IX PART IX: HISTORICAL SURVEY OF AESTHETIC THEORIES I. THE
AESTHETICS OF THE ANCIENT GREEKS A. INTRODUCTION 231 B. KALOKAGATIA 232
C. THE SOPHISTS .PLATO 232 D. NEOPLATONISM. ARISTOTLE 234 2.
RATIONALIST AESTHETICS IN FRANCE AND GERMANY A. BOILEAU. BUFFON 235 B.
LEIBNIZ. BAUMGARTEN. SULZER 236 3. THE EMPIRIEIST AESTHETICS OFTHE
ENGLISH A. SHAFTESBURY 238 B. HOME AND BURKE 239 4. THE AESTHETICS
OFKANT 240 5. VICO 243 6. GERMAN IDEALIST AESTHETICS: SCHELLING, HEGEL,
SCHOPENHAUER 244 7. THE FORMALISTS. FECHNER 245 8. CONTEMPORARY
AESTHETIC THEORIES A. THEORIES PROCEEDING FROM THE ART WORK (OBJECT) 247
B. PHENOMENOLOGICAL AESTHETICS 248 C. THEORIES PROCEEDING FROM THE
PERCEIVING SUBJECT 249 D. THEORIES PROCEEDING FROM THE CREATIVE SUBJECT
249 E. METAPHYSICAL AESTHETICS 250 F. SOCIOLOGICAL THEORIES 250 G.
MARXIST AESTHETICS 251 PART X THE CLASSIFICA TI ON OF TYPES OF ART I.
THE PROBLEM 2. THE RELATION OFTHE ART WORK TO THE SUBJECT. OPTICAL AND
ACOUSTIC IMPRESSIONS: THEIR DIFFERENCE 3. SPATIAL AND NONSPATIAL FORMS
OF ART 4. OBJECTIVE AND NONOBJECTIVE FORMS OF ART 5. REPRESENTATIONAL
AND N ONREPRESENTATIONAL ART NOTES INDEX 253 254 257 258 261 265 277 |
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| author | Sezemanas, Vosylius 1884-1963 |
| author_GND | (DE-588)132933799 (DE-588)121459837 |
| author_facet | Sezemanas, Vosylius 1884-1963 |
| author_role | aut |
| author_sort | Sezemanas, Vosylius 1884-1963 |
| author_variant | v s vs |
| building | Verbundindex |
| bvnumber | BV022712572 |
| classification_rvk | CC 6900 |
| ctrlnum | (OCoLC)238899977 (DE-599)BVBBV022712572 |
| discipline | Philosophie |
| discipline_str_mv | Philosophie |
| format | Book |
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| id | DE-604.BV022712572 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T18:26:54Z |
| indexdate | 2024-07-09T21:04:17Z |
| institution | BVB |
| isbn | 9789042022225 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015918415 |
| oclc_num | 238899977 |
| open_access_boolean | |
| owner | DE-12 DE-29 DE-11 |
| owner_facet | DE-12 DE-29 DE-11 |
| physical | XXVI, 279 S. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Rodopi |
| record_format | marc |
| series | On the boundary of two worlds |
| series2 | On the boundary of two worlds |
| spelling | Sezemanas, Vosylius 1884-1963 Verfasser (DE-588)132933799 aut Estetika Aesthetics Vasily Sesemann. Ed. and introd. by Leonidas Donskis Amsterdam [u.a.] Rodopi 2007 XXVI, 279 S. txt rdacontent n rdamedia nc rdacarrier On the boundary of two worlds 8 Aus dem Litauischen übers. Ästhetik (DE-588)4000626-8 gnd rswk-swf Ästhetik (DE-588)4000626-8 s DE-604 Donskis, Leonidas 1962-2016 Sonstige (DE-588)121459837 oth On the boundary of two worlds 8 (DE-604)BV019441712 8 V:DE-604 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015918415&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Sezemanas, Vosylius 1884-1963 Aesthetics On the boundary of two worlds Ästhetik (DE-588)4000626-8 gnd |
| subject_GND | (DE-588)4000626-8 |
| title | Aesthetics |
| title_alt | Estetika |
| title_auth | Aesthetics |
| title_exact_search | Aesthetics |
| title_exact_search_txtP | Aesthetics |
| title_full | Aesthetics Vasily Sesemann. Ed. and introd. by Leonidas Donskis |
| title_fullStr | Aesthetics Vasily Sesemann. Ed. and introd. by Leonidas Donskis |
| title_full_unstemmed | Aesthetics Vasily Sesemann. Ed. and introd. by Leonidas Donskis |
| title_short | Aesthetics |
| title_sort | aesthetics |
| topic | Ästhetik (DE-588)4000626-8 gnd |
| topic_facet | Ästhetik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015918415&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV019441712 |
| work_keys_str_mv | AT sezemanasvosylius estetika AT donskisleonidas estetika AT sezemanasvosylius aesthetics AT donskisleonidas aesthetics |