P kivy (15 Ergebnisse)

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. Softcover reprint of the original 1st ed. 1973.

Broschiert. Zustand: Gut. 1. Ed. 123 Seiten; Der Erhaltungszustand des hier angebotenen Werks ist trotz seiner Bibliotheksnutzung sehr sauber. Es befindet sich neben dem Rückenschild lediglich ein Bibliotheksstempel im Buch; ordnungsgemäß entwidmet. Einbandkanten sind leicht bestoßen. In ENGLISCHER Sprache. Sprache: Englisch Gewicht in Gramm: 260.…

Zustand: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition, suitable as a study copy. Re-bound by library. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,450grams, ISBN:9024714915.…

Zustand: Very Good.

Zustand: New. In English.

Zustand: New. In English.

Zustand: New.

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - As the title of this book was meant to suggest, its subject is the way we talk about (and write about) works of art: or, rather, one of the ways, namely, the way we describe works of art for critical purposes. Be cause I wished to restrict my subject matter in this way, I have made a sharp, and no doubt largely artificial distinction between describing and evaluating. And I must, at the outset, guard against a misreading of this distinction to which I have left myself open. In distinguishing between evaluative and descriptive aesthetic judgments, I am not saying that when I assert 'X is p,' where p is a 'descriptive' term like 'unified,' or 'delicate,' or 'garish,' I may not at the same time be evaluating X too; and I am not saying that when I make the obviously 'evaluative' assertion 'X is good,' I may not be describing X. Clearly, if I say 'X is unified' I am evaluating X in that unity is a good-making feature of works of art; and as it is correct in English at least to call an evaluation a description, I do not want to suggest that if an assertion is evaluative, it cannot be de scriptive (although there have been many philosophers who have thought this indeed to be the case).…

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - The past few years have seen a revival of interest in Thomas Reid's philosophy. His moral theory has been studied by D. D. Raphael (The Moral Sense) and his entire philosophical position by S. A. Grave (The Scottish Philosophy of Common Sense). Prior to both, A. D. Woozley gave us the first modern reprint of Reid's Essays on the Intellectual Powers of Man - in fact the first edition of any work by Reid to appear in print since the Philosophical Works was edited in the nineteenth century by Sir William Hamilton. But Reid's aesthetic philosophy has not received its due. Woozley, in abridging the Essays, omitted the whole final essay, 'On Taste,' which is the only extended work on aesthetic theory that Reid ever published. Raphael, being interested primarily in Reid's moral theory, understand ably, treated aesthetics only as it was related to morality. And Grave, although he did present a short and very cogent resume of Reid's aes thetic position, obviously found himself drawn to other elements of Reid's philosophy. There are, of course, some accounts of Reid's aes thetic theory to be found in the various studies of eighteenth-century British aesthetics and criticism. None, however, appears to me to do any kind of justice to the philosophical questions which Reid treats in his aesthetics and philosophy of art.…

Kartoniert / Broschiert. Zustand: New. The Blackwell Guide to Aesthetics is one of the most authoritative surveys of the central issues in contemporary aesthetics available. The volume features eighteen newly--commissioned papers on the evaluation of art, the interpretation of art, and many othe.

Zustand: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,400grams, ISBN:9024715458.…

Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,350grams, ISBN:9024715458.

Zustand: New. In English.

Zustand: Gut. Zustand: Gut | Sprache: Englisch | Produktart: Bücher | The past few years have seen a revival of interest in Thomas Reid's philosophy. His moral theory has been studied by D. D. Raphael (The Moral Sense) and his entire philosophical position by S. A. Grave (The Scottish Philosophy of Common Sense). Prior to both, A. D. Woozley gave us the first modern reprint of Reid's Essays on the Intellectual Powers of Man - in fact the first edition of any work by Reid to appear in print since the Philosophical Works was edited in the nineteenth century by Sir William Hamilton. But Reid's aesthetic philosophy has not received its due. Woozley, in abridging the Essays, omitted the whole final essay, "On Taste," which is the only extended work on aesthetic theory that Reid ever published. Raphael, being interested primarily in Reid's moral theory, understand­ ably, treated aesthetics only as it was related to morality. And Grave, although he did present a short and very cogent resume of Reid's aes­ thetic position, obviously found himself drawn to other elements of Reid's philosophy. There are, of course, some accounts of Reid's aes­ thetic theory to be found in the various studies of eighteenth-century British aesthetics and criticism. None, however, appears to me to do any kind of justice to the philosophical questions which Reid treats in his aesthetics and philosophy of art.…

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - THE SENSE OF BEAUTY: A FIRST APPROXIMATION It is generally acknowledged that during the first half of the eighteenth century a profound change was wrought in the theory of art and natural beauty. To this period we owe the establishment of the modem system of the arts. 1 In England, the notion of a separate and autonomous disci pline devoted solely to art and to beauty came into being through the concept of 'aesthetic disinterestedness. ' 2 In addition, emphasis in the theory of art shifted from object to subject - from the work of art to the perceiver and critic. Focal point for this change was the sense of beauty which, in concert with the moral sense of the British school, represented a dominant force in Enlightenment value theory. It is Francis Hutcheson who, more than anyone else, can be thought of as the founder and principal spokesman of this philosophical coterie. If the aesthetic sense was instrumental in the transfer of interest, in the philosophy of art, from object to perceiver, the aesthetic and moral senses together were no less important in a parallel transference of value judgment from the rational to the sensate.…