Roman hunter (42 Ergebnisse)

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Soft cover. Zustand: Very Good+. First Edition. 176 pp. Digest format. Light edge and corner wear with a flat uncreased spine. Wraparound cover art by Kevin Eugene Johnson; interiors by: Paul R. Gagne; Tom Hanus; Allen Koxzowski; Kirk McKinlay; Rick Harrison; Robert E. Jennings; Roman Scott; Dave Carson; John Goodier; Earl Grier; Sam S. Adkins; John Linton; Denis Tiani; and Lon T. Roberts. This issue contains: Perverts by Whitley Strieber; Catmagic by Whitley Strieber; The Legend of Santa Claus by C. Bruce Hunter; When I Grow Up by Charles Grant; Masai Witch by Stephen Goldin; Danse Macabre by Phil Heath; The Phantom Knight by Darrell Schweitzer; Vertriloquist's Daughter by Juleen Brantingham; One for the Horrors by David Schow; The Kingdom of the Thorn by Janet Fox; Let No One Weep for Poor Sally Karnes by Charles Grant; Give a Little Whistle by Michael Bishop; The Hollow Grave by Gerald W. Page; Pulling the Hagen by Kevin Egan; Along About Sundown by Manly Wade Wellman; Final Game by Hugh B. Cave; and Home Call by Dennis Etchison and CC Palaski; along with an interview with Ray Bradbury by Robert W. Smith; and an H. P. Lovecraft art portfolio with drawings by: Roman Scott; Richard Huber; Dave Carson; John Goodier; and Earl Geier; and an assortment of regular features. Size: 8vo. Kevin Eugene Johnson; Paul R. Gagne; Tom Hanus; Allen Koxzowski; Kirk McKinlay; Rick Harrison; Robert E. Jennings; Roman Scott; Dave CArson; John Goodier; Earl Grier; Sam S. Adkins; John Linton; Denis Tiani; Lon T. Roberts; (illustrator). Book.…

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Zustand: New. Print on Demand pp. 278. Hunter, Donna (illustrator).

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Taschenbuch. Zustand: Neu. Beyond Mimesis and Convention | Representation in Art and Science | Roman Frigg (u. a.) | Taschenbuch | Boston Studies in the Philosophy and History of Science | xxx | Englisch | 2012 | Springer | EAN 9789400732155 | Verantwortliche Person für die EU: Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg, juergen[dot]hartmann[at]springer[dot]com | Anbieter: preigu. …

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Buch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Representation is a concern crucial to the sciences and the arts alike. Scientists devote substantial time to devising and exploring representations of all kinds. From photographs and computer-generated images to diagrams, charts, and graphs; from scale models to abstract theories, representations are ubiquitous in, and central to, science. Likewise, after spending much of the twentieth century in proverbial exile as abstraction and Formalist aesthetics reigned supreme, representation has returned with a vengeance to contemporary visual art. Representational photography, video and ever-evolving forms of new media now figure prominently in the globalized art world, while this 'return of the real' has re-energized problems of representation in the traditional media of painting and sculpture. If it ever really left, representation in the arts is certainly back.Central as they are to science and art, these representational concerns have been perceived as different in kind and asobjects of separate intellectual traditions. Scientific modeling and theorizing have been topics of heated debate in twentieth century philosophy of science in the analytic tradition, while representation of the real and ideal has never moved far from the core humanist concerns of historians of Western art. Yet, both of these traditions have recently arrived at a similar impasse. Thinking about representation has polarized into oppositions between mimesis and convention. Advocates of mimesis understand some notion of mimicry (or similarity, resemblance or imitation) as the core of representation: something represents something else if, and only if, the former mimics the latter in some relevant way. Such mimetic views stand in stark contrast to conventionalist accounts of representation, which see voluntary and arbitrary stipulation as the core of representation. Occasional exceptions only serve to prove the rule that mimesis and convention govern current thinking about representationin both analytic philosophy of science and studies of visual art. This conjunction can hardly be dismissed as a matter of mere coincidence. In fact, researchers in philosophy of science and the history of art have increasingly found themselves trespassing into the domain of the other community, pilfering ideas and approaches to representation. Cognizant of the limitations of the accounts of representation available within the field, philosophers of science have begun to look outward toward the rich traditions of thinking about representation in the visual and literary arts. Simultaneously, scholars in art history and affiliated fields like visual studies have come to see images generated in scientific contexts as not merely interesting illustrations derived from 'high art', but as sophisticated visualization techniques that dynamically challenge our received conceptions of representation and aesthetics.'Beyond Mimesis and Convention: Representation in Art and Science' is motivated by the conviction that we students of the sciences and arts are best served by confronting our mutual impasse and by recognizing the shared concerns that have necessitated our covert acts of kleptomania. Drawing leading contributors from the philosophy of science, the philosophy of literature, art history and visual studies, our volume takes its brief from our title. That is, these essays aim to put the evidence of science and of art to work in thinking about representation by offering third (or fourth, or fifth) ways beyond mimesis and convention. In so doing, our contributors explore a range of topics-fictionalism, exemplification, neuroaesthetics, approximate truth-that build upon and depart from ongoing conversations in philosophy of science and studies of visual art in ways that will be of interest to both interpretive communities. To put these contributions into context, the remainder of this introduction aims to survey how our communities have discretely arrived at apl. …

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Representation is a concern crucial to the sciences and the arts alike. Scientists devote substantial time to devising and exploring representations of all kinds. From photographs and computer-generated images to diagrams, charts, and graphs; from scale models to abstract theories, representations are ubiquitous in, and central to, science. Likewise, after spending much of the twentieth century in proverbial exile as abstraction and Formalist aesthetics reigned supreme, representation has returned with a vengeance to contemporary visual art. Representational photography, video and ever-evolving forms of new media now figure prominently in the globalized art world, while this 'return of the real' has re-energized problems of representation in the traditional media of painting and sculpture. If it ever really left, representation in the arts is certainly back.Central as they are to science and art, these representational concerns have been perceived as different in kind and asobjects of separate intellectual traditions. Scientific modeling and theorizing have been topics of heated debate in twentieth century philosophy of science in the analytic tradition, while representation of the real and ideal has never moved far from the core humanist concerns of historians of Western art. Yet, both of these traditions have recently arrived at a similar impasse. Thinking about representation has polarized into oppositions between mimesis and convention. Advocates of mimesis understand some notion of mimicry (or similarity, resemblance or imitation) as the core of representation: something represents something else if, and only if, the former mimics the latter in some relevant way. Such mimetic views stand in stark contrast to conventionalist accounts of representation, which see voluntary and arbitrary stipulation as the core of representation. Occasional exceptions only serve to prove the rule that mimesis and convention govern current thinking about representationin both analytic philosophy of science and studies of visual art. This conjunction can hardly be dismissed as a matter of mere coincidence. In fact, researchers in philosophy of science and the history of art have increasingly found themselves trespassing into the domain of the other community, pilfering ideas and approaches to representation. Cognizant of the limitations of the accounts of representation available within the field, philosophers of science have begun to look outward toward the rich traditions of thinking about representation in the visual and literary arts. Simultaneously, scholars in art history and affiliated fields like visual studies have come to see images generated in scientific contexts as not merely interesting illustrations derived from 'high art', but as sophisticated visualization techniques that dynamically challenge our received conceptions of representation and aesthetics.'Beyond Mimesis and Convention: Representation in Art and Science' is motivated by the conviction that we students of the sciences and arts are best served by confronting our mutual impasse and by recognizing the shared concerns that have necessitated our covert acts of kleptomania. Drawing leading contributors from the philosophy of science, the philosophy of literature, art history and visual studies, our volume takes its brief from our title. That is, these essays aim to put the evidence of science and of art to work in thinking about representation by offering third (or fourth, or fifth) ways beyond mimesis and convention. In so doing, our contributors explore a range of topics-fictionalism, exemplification, neuroaesthetics, approximate truth-that build upon and depart from ongoing conversations in philosophy of science and studies of visual art in ways that will be of interest to both interpretive communities. To put these contributions into context, the remainder of this introduction aims to survey how our communities have discretely arrived at apl.…

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Taschenbuch. Zustand: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - 18 year old Melody Jenkins has spent the last 3 years of high school crushing on one guy, Jake Kensington, who sees her as no more than a sister from another mister and best friend. Not wanting to risk their friendship, Melody has kept her crush a secret and her emotions in check whenever she's around him. which is daily since they live on the same property. It's her senior year and she has made it through the past three years of high school with little social psychological trauma. That's excellent considering she goes to a school in Los Angeles where the majority of the bored students graduating will have executive paying jobs the moment they walk across stage. If all goes well, she will graduate as the Valedictorian with multiple offers from colleges on the East Coast, far away from California. But when the health teacher announces a 'special' project that requires students to be paired and live under the same roof for one week, Melody's world gets completely turned upside down. She is forced to spend time with someone totally opposite of her and frankly, she can't stand. or so she thought. One night of catching a glimpse of the softer side of Kyle Warner, the school's most popular and arrogant quarterback, has her heart pounding and her stomach doing flip-flops. But when Melody shows an ounce of affection toward Kyle, Jake discovers feelings of his own as he tries to protect his best friend from the guy he knows Kyle can be. As the project comes to an end, Melody goes to homecoming. will it be a night to remember, forget or both. Hunter, Donna (illustrator).…

Zustand: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Klappentextrnrn18 year old Melody Jenkins has spent the last 3 years of high school crushing on one guy, Jake Kensington, who sees her as no more than a sister from another mister and best friend. Not wanting to risk their friendship, Melody has. Hunter, Donna (illustrator).…