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The features that made the first edition so successful have been retained:
- The volume provides comprehensive representation of the theories which underpinned developments in the visual arts during the twentieth century.
- As well as writings by artists, the anthology includes texts by critics, philosophers, politicians, and literary figures.
- The content is clearly structured into eight broadly chronological sections, starting with the legacy of symbolism and concluding with contemporary debates about the postmodern.
- The editors provide individual introductions to each of the 371 anthologized texts.
Material new to this expanded edition includes texts on African art, on the Bauhaus and on the re-emergent avant-gardes of the period after the Second World War. Post-modernist debates are amplified by texts on gender, on installation and performance art, and on the increasing globalization of culture.
The features that made the first edition so successful have been retained:
- The volume provides comprehensive representation of the theories which underpinned developments in the visual arts during the twentieth century.
- As well as writings by artists, the anthology includes texts by critics, philosophers, politicians, and literary figures.
- The content is clearly structured into eight broadly chronological sections, starting with the legacy of symbolism and concluding with contemporary debates about the postmodern.
- The editors provide individual introductions to each of the 371 anthologized texts.
Material new to this expanded edition includes texts on African art, on the Bauhaus and on the re-emergent avant-gardes of the period after the Second World War. Post-modernist debates are amplified by texts on gender, on installation and performance art, and on the increasing globalization of culture.
Paul Wood is Senior Lecturer in Art History at the Open University. He is co-editor, with Charles Harrison and Jason Gaiger, of Art in Theory 1648-1815 (2001) and Art in Theory 1815-1900 (1998).
A Note on the Presentation and Editing of Texts.
General Introduction.
Part I: The Legacy of Symbolism.
Introduction.
1. Classicism and Originality.
Paul Signac: from Eugène Delacroix to Neo-Impressionism 1899.
Paul Gauguin: letter to Fontainas 1899.
Sigmund Freud: from 'On Dreams' 1901.
Otto Weininger: from Sex and Character 1903.
Max Liebermann: 'Imagination in Painting' 1904.
Paul Cézanne: letters to Emile Bernard 1904-06.
Rainer Maria Rilke: from Letters on Cézanne 1907.
Maurice Denis (intro. Roger Fry): 'Cézanne' 1907.
Maurice Denis: 'From Gauguin and Van Gogh to Neo-Classicism' 1909.
Julius Meier-Graefe: 'The Mediums of Art, Past and Present' 1904.
Giorgio de Chirico: 'Mystery and Creation' 1913.
2. Expression and the Primitive.
August Endell: 'The Beauty of Form and Decorative Art' 1897-98.
Albert Pinkham Ryder: 'Paragraphs from the Studio of a Recluse' 1905.
André Derain: letters to Vlaminck c.1905-1909.
Ernst Ludwig Kirchner: programme of Die Brücke 1906.
Wilhelm Worringer: from Abstraction and Empathy 1908.
Henri Matisse: 'Notes of a Painter' 1908.
Roger Fry: 'An Essay in Aesthetics' 1909.
Wassily Kandinsky: from Concerning the Spiritual in Art 1911.
Wassily Kandinsky: The Cologne Lecture 1914.
Franz Marc: 'The "Savages" of Germany' and 'Two Pictures' 1912.
August Macke: 'Masks' 1912.
Emil Nolde: 'On Primitive Art' 1912.
Oscar Kokoschka: 'On the Nature of Visions' 1912.
Alexander Shevchenko: 'Neo-Primitivism' 1913.
Benedetto Croce: 'What is Art?' 1913.
Clive Bell: 'The Aesthetic Hypothesis' 1914.
Carl Einstein: 'Negro Sculpture' 1915.
Hermann Bahr: from Expressionism 1916.
Hans Prinzhorn: from Artistry of the Mentally Ill 1922.
Part II: The Idea of the Modern World.
Introduction.
3. Modernity.
Georg Simmel: 'Metropolis and Mental Life' 1902-3.
Max Weber: 'Asceticism and the Spirit of Capitalism' 1904-05.
Vladimir Ilyich Lenin: 'Party Organization and Party Literature' 1905.
Henri Bergson: from Creative Evolution 1907.
Alexander Blok: 'Nature and Culture' 1908.
Filippo Tommaso Marinetti: 'The Foundation and Manifesto of Futurism' 1909.
Umberto Boccioni et al: 'Futurist Painting: Technical Manifesto' 1910.
Robert Delaunay: 'On the Construction of Reality in Pure Painting' 1912.
Georgy Valentinovich Plekhanov: from Art and Social Life 1912.
Franz Marc: 'Foreword' 1914.
Fernand Léger: 'Contemporary Achievements in Painting' 1914.
Percy Wyndham Lewis: 'Our Vortex' 1914.
Henri Gaudier-Brzeska: 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915.
Ludwig Meidner: 'Instructions for Painting Pictures of the Metropolis' 1914.
Karl Kraus: from 'In These Great Times' 1914.
Kasimir Malevich: From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16.
4. Cubism.
Jean Metzinger: 'Note on Painting' 1910.
Guillaume Apollinaire: 'The Cubists' 1911.
Guillaume Apollinaire: 'On the Subject in Modern Painting' 1912.
Guillaume Apollinaire: 'The New Painting: Art Notes' 1912.
Guillaume Apollinaire: from The Cubist Painters 1912.
Jacques Rivière: 'Present Tendencies in Painting' 1912.
Albert Gleizes and Jean Metzinger: from Cubism 1912.
Fernand Léger: 'The Origins of Painting and its Representational Value' 1913.
Olga Rozanova: 'The Bases of the New Creation' 1913.
Daniel-Henry Kahnweiler: from The Rise of Cubism 1916-20.
Georges Braque: 'Thoughts on Painting' 1917.
Pablo Picasso: 'Picasso Speaks' 1923.
Part III: Rationalization and Transformation.
Introduction.
5. Neo-Classicism and the Call to Order.
Amédée Ozenfant: 'Notes on Cubism' 1916.
Guillaume Apollinaire: 'The New Spirit and the Poets' 1918.
Oswald Spengler: from The Decline of the West 1918.
Carlo Carrà: 'Our Antiquity' 1916-18.
Léonce Rosenberg: 'Tradition and Cubism' 1919.
Giorgio de Chirico: 'The Return to Craft' 1919.
Charles Edouard Jeanneret (Le Corbusier) and Amédée Ozenfant: 'Purism' 1920.
Albert Gleizes: 'The Dada Case' 1920.
André Derain: 'On Raphael' 1920.
Percy Wyndham Lewis: 'The Children of the New Epoch' 1921.
Juan Gris: Reply to a Questionnaire 1921.
Gustav Friedrich Hartlaub: 'Reply to a Questionnaire' 1922.
6. Dissent and Disorder.
Hugo Ball: 'Dada Fragments' 1916-17.
Marcel Duchamp: 'The Richard Mutt Case' 1917.
Tristan Tzara: 'Dada Manifesto 1918' 1918.
Richard Huelsenbeck: 'First German Dada Manifesto' 1918.
Richard Huelsenbeck and Raoul Hausmann: 'What is Dadaism and what does it want in Germany?' 1919.
Richard Huelsenbeck: from En Avant Dada 1920.
Alexander Blok: 'The Decline of Humanism' 1918.
Novembergruppe: Draft Manifesto 1918 and 'Guidelines' 1919.
Novembergruppe Opposition: 'Open Letter to the Novembergruppe' 1921.
Walter Gropius: Reply to Arbeitsrat für Kunst Questionnaire 1919.
Max Beckmann: 'Creative Credo' 1918-20.
Max Pechstein: 'Creative Credo' 1920.
George Grosz: 'My New Pictures' 1921.
Francis Picabia: 'Thank you, Francis!' 1923.
7. Abstraction and Form.
Hans Arp: Introduction to a catalogue 1915.
Man Ray: Statement 1916.
Viktor Shklovsky: from 'Art as Technique' 1917.
De Stijl: 'Manifesto 1' 1918.
Theo van Doesburg: from Principles of Neo-Plastic Art 1915-25.
Piet Mondrian: 'Dialogue on the New Plastic' 1919.
Piet Mondrian: Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21.
Kasimir Malevich: 'Non-Objective Art and Suprematism' 1919.
Kasimir Malevich: The Question of Imitative Art 1920.
Naum Gabo and Anton Pevsner: 'The Realistic Manifesto' 1920.
UNOVIS: 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920.
Wassily Kandinsky: 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921.
Johannes Itten: 'Analyses of Old Master Art' 1921.
Oskar Schlemmer: Notes 1922-23.
Walter Gropius: 'The Theory and Organization of the Bauhaus' 1923.
Theo van Doesburg, El Lissitsky, Hans Richter: 'Declaration of the International Fraction of Constructivists of the First International Congress of Progressive Artists' 1922-23.
17 Wladyslaw Strzeminski: 'What is legitimately called the New Art...' 1924.
El Lissitsky: 'A and Pangeometry' 1925.
Hannah Höch: 'The painter' c. 1920.
José Ortega y Gasset: from The Dehumanisation of Art 1925.
8. Utility and Construction.
KOMFUT: 'Programme Declaration' 1919.
Vladimir Tatlin: 'The Initiative Individual in the Collective' 1919.
Lyubov Popova: Catalogue statement 1919.
Nikolai Punin: 'The Monument to the Third International' 1920.
Alexander Rodchenko: 'Slogans' and 'Organizational Programme' 1920-21.
Alexander Rodchenko and Varvara Stepanova: 'Programme of the First Working Group of Constructivists' 1922.
Alexei Gan: from Constructivism 1922.
El Lissitsky and Ilya Ehrenburg: Statement by the editors of Veshch 1922.
LEF editorial: 'Whom is LEF alerting?' 1923.
Osip Brik: 'The So-Called "Formal Method" 1923.
Osip Brik: 'From Picture to Calico-Print' 1924.
Vladimir Tatlin: 'Report of the Section for Material Culture's Research Work' 1924.
Part IV: Freedom, Responsibility and Power.
Introduction.
9. The Modern as Ideal.
Paul Klee: from On Modern Art 1924.
Amédée Ozenfant: from Foundations of Modern Art 1928.
Hans Hofmann: 'On the Aims of Art' 1931.
Abstraction-Création: Editorial Statements 1932 and 1933.
Wladyslaw Strzeminski: Statements 1932 and 1933.
Carl Gustav Jung: On the concept of the 'archetype' 1934 and 1938.
Alfred H. Barr Jr: from Cubism and Abstract Art 1936.
Henri Matisse: Statements to Tériade 1936.
Naum Gabo: 'The Constructive Idea in Art' 1937.
Piet Mondrian: 'Plastic Art and Pure Plastic Art' 1937.
Barbara Hepworth: 'Sculpture' 1937.
American Abstract Artists: Editorial Statement 1938.
Ibram Lassaw: 'On Inventing Our Own Art' 1938.
Ben Nicholson: 'Notes on Abstract Art' 1941.
10. Realism as Figuration.
Vladimir Ilyich Lenin: 'On Proletarian Culture' 1920.
AKhRR: 'Declaration' 1922.
AKhRR: 'The Immediate Tasks of AKhRR' 1924.
David A. Siqueiros et al: 'A Declaration of Social, Political and Aesthetic Principles' 1922.
Red Group: 'Manifesto' 1924.
Otto Dix: 'The Object is Primary' 1927.
ARBKD (Asso): 'Manifesto' and 'Statutes' 1928.
George Grosz: from 'My Life' 1928.
Alfred Rosenberg: from The Myth of the Twentieth Century 1930.
Georg Lukács: '"Tendency" or Partisanship?' 1932.
Central Committee of the All-Union Communist Party: 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932.
John Reed Club of New York: 'Draft Manifesto' 1932.
Diego Rivera: The Revolutionary Spirit in Modern Art' 1932.
Mario Sironi: 'Manifesto of Mural Painting' 1933.
Andrei Zhdanov: 'Speech to the Congress of Soviet Writers' 1934.
David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934.
Stuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of...
| Erscheinungsjahr: | 2002 |
|---|---|
| Genre: | Importe, Kunst |
| Rubrik: | Kunst & Musik |
| Thema: | Allgemeine Kunst |
| Medium: | Taschenbuch |
| Inhalt: | 1288 S. |
| ISBN-13: | 9780631227083 |
| ISBN-10: | 0631227083 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Harrison, C |
| Redaktion: |
Harrison, Charles
Wood, Paul |
| Herausgeber: | Charles Harrison/Paul Wood |
| Auflage: | 2nd edition |
| Hersteller: |
Wiley
John Wiley & Sons |
| Verantwortliche Person für die EU: | Wiley-VCH GmbH, Boschstr. 12, D-69469 Weinheim, amartine@wiley-vch.de |
| Maße: | 248 x 169 x 55 mm |
| Von/Mit: | Charles Harrison (u. a.) |
| Erscheinungsdatum: | 22.10.2002 |
| Gewicht: | 1,625 kg |
Paul Wood is Senior Lecturer in Art History at the Open University. He is co-editor, with Charles Harrison and Jason Gaiger, of Art in Theory 1648-1815 (2001) and Art in Theory 1815-1900 (1998).
A Note on the Presentation and Editing of Texts.
General Introduction.
Part I: The Legacy of Symbolism.
Introduction.
1. Classicism and Originality.
Paul Signac: from Eugène Delacroix to Neo-Impressionism 1899.
Paul Gauguin: letter to Fontainas 1899.
Sigmund Freud: from 'On Dreams' 1901.
Otto Weininger: from Sex and Character 1903.
Max Liebermann: 'Imagination in Painting' 1904.
Paul Cézanne: letters to Emile Bernard 1904-06.
Rainer Maria Rilke: from Letters on Cézanne 1907.
Maurice Denis (intro. Roger Fry): 'Cézanne' 1907.
Maurice Denis: 'From Gauguin and Van Gogh to Neo-Classicism' 1909.
Julius Meier-Graefe: 'The Mediums of Art, Past and Present' 1904.
Giorgio de Chirico: 'Mystery and Creation' 1913.
2. Expression and the Primitive.
August Endell: 'The Beauty of Form and Decorative Art' 1897-98.
Albert Pinkham Ryder: 'Paragraphs from the Studio of a Recluse' 1905.
André Derain: letters to Vlaminck c.1905-1909.
Ernst Ludwig Kirchner: programme of Die Brücke 1906.
Wilhelm Worringer: from Abstraction and Empathy 1908.
Henri Matisse: 'Notes of a Painter' 1908.
Roger Fry: 'An Essay in Aesthetics' 1909.
Wassily Kandinsky: from Concerning the Spiritual in Art 1911.
Wassily Kandinsky: The Cologne Lecture 1914.
Franz Marc: 'The "Savages" of Germany' and 'Two Pictures' 1912.
August Macke: 'Masks' 1912.
Emil Nolde: 'On Primitive Art' 1912.
Oscar Kokoschka: 'On the Nature of Visions' 1912.
Alexander Shevchenko: 'Neo-Primitivism' 1913.
Benedetto Croce: 'What is Art?' 1913.
Clive Bell: 'The Aesthetic Hypothesis' 1914.
Carl Einstein: 'Negro Sculpture' 1915.
Hermann Bahr: from Expressionism 1916.
Hans Prinzhorn: from Artistry of the Mentally Ill 1922.
Part II: The Idea of the Modern World.
Introduction.
3. Modernity.
Georg Simmel: 'Metropolis and Mental Life' 1902-3.
Max Weber: 'Asceticism and the Spirit of Capitalism' 1904-05.
Vladimir Ilyich Lenin: 'Party Organization and Party Literature' 1905.
Henri Bergson: from Creative Evolution 1907.
Alexander Blok: 'Nature and Culture' 1908.
Filippo Tommaso Marinetti: 'The Foundation and Manifesto of Futurism' 1909.
Umberto Boccioni et al: 'Futurist Painting: Technical Manifesto' 1910.
Robert Delaunay: 'On the Construction of Reality in Pure Painting' 1912.
Georgy Valentinovich Plekhanov: from Art and Social Life 1912.
Franz Marc: 'Foreword' 1914.
Fernand Léger: 'Contemporary Achievements in Painting' 1914.
Percy Wyndham Lewis: 'Our Vortex' 1914.
Henri Gaudier-Brzeska: 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915.
Ludwig Meidner: 'Instructions for Painting Pictures of the Metropolis' 1914.
Karl Kraus: from 'In These Great Times' 1914.
Kasimir Malevich: From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16.
4. Cubism.
Jean Metzinger: 'Note on Painting' 1910.
Guillaume Apollinaire: 'The Cubists' 1911.
Guillaume Apollinaire: 'On the Subject in Modern Painting' 1912.
Guillaume Apollinaire: 'The New Painting: Art Notes' 1912.
Guillaume Apollinaire: from The Cubist Painters 1912.
Jacques Rivière: 'Present Tendencies in Painting' 1912.
Albert Gleizes and Jean Metzinger: from Cubism 1912.
Fernand Léger: 'The Origins of Painting and its Representational Value' 1913.
Olga Rozanova: 'The Bases of the New Creation' 1913.
Daniel-Henry Kahnweiler: from The Rise of Cubism 1916-20.
Georges Braque: 'Thoughts on Painting' 1917.
Pablo Picasso: 'Picasso Speaks' 1923.
Part III: Rationalization and Transformation.
Introduction.
5. Neo-Classicism and the Call to Order.
Amédée Ozenfant: 'Notes on Cubism' 1916.
Guillaume Apollinaire: 'The New Spirit and the Poets' 1918.
Oswald Spengler: from The Decline of the West 1918.
Carlo Carrà: 'Our Antiquity' 1916-18.
Léonce Rosenberg: 'Tradition and Cubism' 1919.
Giorgio de Chirico: 'The Return to Craft' 1919.
Charles Edouard Jeanneret (Le Corbusier) and Amédée Ozenfant: 'Purism' 1920.
Albert Gleizes: 'The Dada Case' 1920.
André Derain: 'On Raphael' 1920.
Percy Wyndham Lewis: 'The Children of the New Epoch' 1921.
Juan Gris: Reply to a Questionnaire 1921.
Gustav Friedrich Hartlaub: 'Reply to a Questionnaire' 1922.
6. Dissent and Disorder.
Hugo Ball: 'Dada Fragments' 1916-17.
Marcel Duchamp: 'The Richard Mutt Case' 1917.
Tristan Tzara: 'Dada Manifesto 1918' 1918.
Richard Huelsenbeck: 'First German Dada Manifesto' 1918.
Richard Huelsenbeck and Raoul Hausmann: 'What is Dadaism and what does it want in Germany?' 1919.
Richard Huelsenbeck: from En Avant Dada 1920.
Alexander Blok: 'The Decline of Humanism' 1918.
Novembergruppe: Draft Manifesto 1918 and 'Guidelines' 1919.
Novembergruppe Opposition: 'Open Letter to the Novembergruppe' 1921.
Walter Gropius: Reply to Arbeitsrat für Kunst Questionnaire 1919.
Max Beckmann: 'Creative Credo' 1918-20.
Max Pechstein: 'Creative Credo' 1920.
George Grosz: 'My New Pictures' 1921.
Francis Picabia: 'Thank you, Francis!' 1923.
7. Abstraction and Form.
Hans Arp: Introduction to a catalogue 1915.
Man Ray: Statement 1916.
Viktor Shklovsky: from 'Art as Technique' 1917.
De Stijl: 'Manifesto 1' 1918.
Theo van Doesburg: from Principles of Neo-Plastic Art 1915-25.
Piet Mondrian: 'Dialogue on the New Plastic' 1919.
Piet Mondrian: Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21.
Kasimir Malevich: 'Non-Objective Art and Suprematism' 1919.
Kasimir Malevich: The Question of Imitative Art 1920.
Naum Gabo and Anton Pevsner: 'The Realistic Manifesto' 1920.
UNOVIS: 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920.
Wassily Kandinsky: 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921.
Johannes Itten: 'Analyses of Old Master Art' 1921.
Oskar Schlemmer: Notes 1922-23.
Walter Gropius: 'The Theory and Organization of the Bauhaus' 1923.
Theo van Doesburg, El Lissitsky, Hans Richter: 'Declaration of the International Fraction of Constructivists of the First International Congress of Progressive Artists' 1922-23.
17 Wladyslaw Strzeminski: 'What is legitimately called the New Art...' 1924.
El Lissitsky: 'A and Pangeometry' 1925.
Hannah Höch: 'The painter' c. 1920.
José Ortega y Gasset: from The Dehumanisation of Art 1925.
8. Utility and Construction.
KOMFUT: 'Programme Declaration' 1919.
Vladimir Tatlin: 'The Initiative Individual in the Collective' 1919.
Lyubov Popova: Catalogue statement 1919.
Nikolai Punin: 'The Monument to the Third International' 1920.
Alexander Rodchenko: 'Slogans' and 'Organizational Programme' 1920-21.
Alexander Rodchenko and Varvara Stepanova: 'Programme of the First Working Group of Constructivists' 1922.
Alexei Gan: from Constructivism 1922.
El Lissitsky and Ilya Ehrenburg: Statement by the editors of Veshch 1922.
LEF editorial: 'Whom is LEF alerting?' 1923.
Osip Brik: 'The So-Called "Formal Method" 1923.
Osip Brik: 'From Picture to Calico-Print' 1924.
Vladimir Tatlin: 'Report of the Section for Material Culture's Research Work' 1924.
Part IV: Freedom, Responsibility and Power.
Introduction.
9. The Modern as Ideal.
Paul Klee: from On Modern Art 1924.
Amédée Ozenfant: from Foundations of Modern Art 1928.
Hans Hofmann: 'On the Aims of Art' 1931.
Abstraction-Création: Editorial Statements 1932 and 1933.
Wladyslaw Strzeminski: Statements 1932 and 1933.
Carl Gustav Jung: On the concept of the 'archetype' 1934 and 1938.
Alfred H. Barr Jr: from Cubism and Abstract Art 1936.
Henri Matisse: Statements to Tériade 1936.
Naum Gabo: 'The Constructive Idea in Art' 1937.
Piet Mondrian: 'Plastic Art and Pure Plastic Art' 1937.
Barbara Hepworth: 'Sculpture' 1937.
American Abstract Artists: Editorial Statement 1938.
Ibram Lassaw: 'On Inventing Our Own Art' 1938.
Ben Nicholson: 'Notes on Abstract Art' 1941.
10. Realism as Figuration.
Vladimir Ilyich Lenin: 'On Proletarian Culture' 1920.
AKhRR: 'Declaration' 1922.
AKhRR: 'The Immediate Tasks of AKhRR' 1924.
David A. Siqueiros et al: 'A Declaration of Social, Political and Aesthetic Principles' 1922.
Red Group: 'Manifesto' 1924.
Otto Dix: 'The Object is Primary' 1927.
ARBKD (Asso): 'Manifesto' and 'Statutes' 1928.
George Grosz: from 'My Life' 1928.
Alfred Rosenberg: from The Myth of the Twentieth Century 1930.
Georg Lukács: '"Tendency" or Partisanship?' 1932.
Central Committee of the All-Union Communist Party: 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932.
John Reed Club of New York: 'Draft Manifesto' 1932.
Diego Rivera: The Revolutionary Spirit in Modern Art' 1932.
Mario Sironi: 'Manifesto of Mural Painting' 1933.
Andrei Zhdanov: 'Speech to the Congress of Soviet Writers' 1934.
David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934.
Stuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of...
| Erscheinungsjahr: | 2002 |
|---|---|
| Genre: | Importe, Kunst |
| Rubrik: | Kunst & Musik |
| Thema: | Allgemeine Kunst |
| Medium: | Taschenbuch |
| Inhalt: | 1288 S. |
| ISBN-13: | 9780631227083 |
| ISBN-10: | 0631227083 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Harrison, C |
| Redaktion: |
Harrison, Charles
Wood, Paul |
| Herausgeber: | Charles Harrison/Paul Wood |
| Auflage: | 2nd edition |
| Hersteller: |
Wiley
John Wiley & Sons |
| Verantwortliche Person für die EU: | Wiley-VCH GmbH, Boschstr. 12, D-69469 Weinheim, amartine@wiley-vch.de |
| Maße: | 248 x 169 x 55 mm |
| Von/Mit: | Charles Harrison (u. a.) |
| Erscheinungsdatum: | 22.10.2002 |
| Gewicht: | 1,625 kg |
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