19 products were found matching your search for Hans Otto in 2 shops:

This is the first volume of a comprehensive scientific biography of Hans Krebs, one of the world's foremost biochemists. It treats his childhood, his medical education and scientific apprenticeship under Otto Warburg, his emergence as an independent investigator, and his discovery of the urea cycle in 1932. This early achievement, and his discovery of the citric acid cycle, are viewed as foundations for the modern structure of intermediary metabolism. During the writing of this fascinating history, the author had access to a complete set of Krebs' laboratory notebooks that reveal the daily dimensions of scientific creativity. Based in addition on many personal interviews with its subject, the Krebs biography is certain to interest and intrigue biochemists and historians of science alike. Volume 2: Hans Krebs: Architect of Intermediary Metabolism 1933-37, will appear in spring, 1993.

This viola has some wonderful choice spruce on the top with a great deal of texture. Nicely antiqued overall with very sharp edges and corners, hig...

This is a Hans Otto 401 and is 15.5". Dominant strings and a lovely one piece back.

An English-language introduction to the writings of the so-called New Vienna School of art history.This book introduces to an English-language audience the writings of the so-called New Vienna School of art history. In the 1930s Hans Sedlmayr (1896-1984) and Otto Pächt (1902-1988) undertook an ambitious extension of the formalist art historical project of Alois Riegl (1858-1905). Sedlmayr and Pächt began with an aestheticist conception of the autonomy and irreducibility of the artistic process. At the same time they believed they could read entire cultures and worldviews in the work of art. The key to this contextualist alchemy was the concept of "structure," a kind of deep formal property that the work of art shared with the world. Sedlmayr and Pächt's project immediately caught the attention of thinkers like Walter Benjamin who were similarly impatient with traditional empiricist scholarship. But the new project had its dark side. Sedlmayr used art history as a vehicle for a sweeping critique of modernity that soon escalated into nationalist and outright fascist polemic, even while Pächt, a Jew, was forced into exile. Sedlmayr and the whole scholarly project of Strukturanalyse were sharply repudiated by Meyer Schapiro and later Ernst Gombrich.After an introductory essay, the book opens with two selections from Riegl. Following this are essays by Sedlmayr, Pächt, Guido Kaschnitz-Weinberg, and Fritz Novotny, all dating from the 1930s. The book closes with the divergent responses of Benjamin (1933) and Schapiro (1936). The difference of opinion between these two key voices raises again the question of the legitimacy and effectiveness of the method, and reveals the analogies between the New Vienna School project and the antiempiricist cultural histories of our own time. The book also contains an extensive bibliography.

With a Note by Hans M. Wingler and a Postscript by Otto Stelzer. Translated by Janet Seligman. 100 illustrations in black and white . 8vo pp. 150 Rilegato tela, sovracoperta (cloth, dust jacket) Perfetto (Mint) Traduzione del volume pubblicato nel 1925, che riproduce in facsmile anche la composizione tipografica del volume originale. Tra i più importanti testi teorici pubblicati dall'Artista, si occupa di luce, spazio e cinetica, temi cari a Moholy-Nagy e divenuti fondamentali per tutta l'arte moderna e contemporanea.

El Pseudo Dionisio Areopagita, tres heroísmos en conjunción: Biblia, Filosofía y Religión. Tres dimensiones entrelazadas, elevadas seguro hasta las cumbres de santidad y ecumenismo universal Rudolf Otto, Thomas Merton, los jesuitas, H. de Lubac, Lasalle, W. Johnston... han puesto de relieve la relación entre la más profunda religiosidad del Oriente y Occidente. Como fuente de inspiración les han servido las obras del Pseudo Areopagita, cuya conclusión más gloriosa viene a ser la "Subida del Monte Carmelo y las Noches" de San Juan de la Cruz. Esta edición de sus Obras completas se hace tomando como base el texto crítico editado en Gotinga (Alemania) el año 1989. "La teología y la espiritualidad cristianas son impensables sin el Pseudo Dionisio. Su obra conserva perenne frescura y constante actualidad, en particular para las almas cuya respiración es la profunda oración de cada día" (Olegario González de Cardedal).

Essays by Julius Baum, C. G. Jung, C. Kerényi, Hans Leisegang, Paul Masson-Oursel, Fritz Meier, Jean de Menasce, Georges Nagel, Walter F. Otto, Max Pulver, Hugo Rahner, Paul Schmitt, and Walter Wili.

Essays by Julius Baum, C. G. Jung, C. Kerényi, Hans Leisegang, Paul Masson-Oursel, Fritz Meier, Jean de Menasce, Georges Nagel, Walter F. Otto, Max Pulver, Hugo Rahner, Paul Schmitt, and Walter Wili.

With a Note by Hans M. Wingler and a Postscript by Otto Stelzer. Translated by Janet Seligman. 100 illustrations in black and white . 8vo pp. 150 Rilegato tela, sovracoperta (cloth, dust jacket) Perfetto (Mint) Traduzione del volume pubblicato nel 1925, che riproduce in facsmile anche la composizione tipografica del volume originale. Tra i più importanti testi teorici pubblicati dall'Artista, si occupa di luce, spazio e cinetica, temi cari a Moholy-Nagy e divenuti fondamentali per tutta l'arte moderna e contemporanea.

An English-language introduction to the writings of the so-called New Vienna School of art history.This book introduces to an English-language audience the writings of the so-called New Vienna School of art history. In the 1930s Hans Sedlmayr (1896-1984) and Otto Pächt (1902-1988) undertook an ambitious extension of the formalist art historical project of Alois Riegl (1858-1905). Sedlmayr and Pächt began with an aestheticist conception of the autonomy and irreducibility of the artistic process. At the same time they believed they could read entire cultures and worldviews in the work of art. The key to this contextualist alchemy was the concept of "structure," a kind of deep formal property that the work of art shared with the world. Sedlmayr and Pächt's project immediately caught the attention of thinkers like Walter Benjamin who were similarly impatient with traditional empiricist scholarship. But the new project had its dark side. Sedlmayr used art history as a vehicle for a sweeping critique of modernity that soon escalated into nationalist and outright fascist polemic, even while Pächt, a Jew, was forced into exile. Sedlmayr and the whole scholarly project of Strukturanalyse were sharply repudiated by Meyer Schapiro and later Ernst Gombrich.After an introductory essay, the book opens with two selections from Riegl. Following this are essays by Sedlmayr, Pächt, Guido Kaschnitz-Weinberg, and Fritz Novotny, all dating from the 1930s. The book closes with the divergent responses of Benjamin (1933) and Schapiro (1936). The difference of opinion between these two key voices raises again the question of the legitimacy and effectiveness of the method, and reveals the analogies between the New Vienna School project and the antiempiricist cultural histories of our own time. The book also contains an extensive bibliography.

Journey to the Center of the Earth is a classic 1864 science fiction novel by Jules Verne. The story involves German professor Otto Lidenbrock who believes there are volcanic tubes going toward the centre of the Earth. He, his nephew Axel, and their guide Hans descend into the Icelandic volcano Snæfellsjökull, encountering many adventures, including prehistoric animals and natural hazards, before eventually coming to the surface again in southern Italy, at the Stromboli volcano.

An English-language introduction to the writings of the so-called New Vienna School of art history.This book introduces to an English-language audience the writings of the so-called New Vienna School of art history. In the 1930s Hans Sedlmayr (1896-1984) and Otto Pächt (1902-1988) undertook an ambitious extension of the formalist art historical project of Alois Riegl (1858-1905). Sedlmayr and Pächt began with an aestheticist conception of the autonomy and irreducibility of the artistic process. At the same time they believed they could read entire cultures and worldviews in the work of art. The key to this contextualist alchemy was the concept of "structure," a kind of deep formal property that the work of art shared with the world. Sedlmayr and Pächt's project immediately caught the attention of thinkers like Walter Benjamin who were similarly impatient with traditional empiricist scholarship. But the new project had its dark side. Sedlmayr used art history as a vehicle for a sweeping critique of modernity that soon escalated into nationalist and outright fascist polemic, even while Pächt, a Jew, was forced into exile. Sedlmayr and the whole scholarly project of Strukturanalyse were sharply repudiated by Meyer Schapiro and later Ernst Gombrich.After an introductory essay, the book opens with two selections from Riegl. Following this are essays by Sedlmayr, Pächt, Guido Kaschnitz-Weinberg, and Fritz Novotny, all dating from the 1930s. The book closes with the divergent responses of Benjamin (1933) and Schapiro (1936). The difference of opinion between these two key voices raises again the question of the legitimacy and effectiveness of the method, and reveals the analogies between the New Vienna School project and the antiempiricist cultural histories of our own time. The book also contains an extensive bibliography.

Hrsg. von Dieter Stievermann in Verbindung mit Volker Press und Kurt Diemer. Mit Beiträgen von Hans-Otto Binder, Dieter Stievermann, Volker Press et al. 792 Seiten mit zahlreichen Abb., Karten und 80 Tafeln, Leinen (Theiss Verlag 1991). Gewicht: 1721 g - Gebunden/Gebundene Ausgabe - Sprache: Deutsch

El Pseudo Dionisio Areopagita, tres heroísmos en conjunción: Biblia, Filosofía y Religión. Tres dimensiones entrelazadas, elevadas seguro hasta las cumbres de santidad y ecumenismo universal Rudolf Otto, Thomas Merton, los jesuitas, H. de Lubac, Lasalle, W. Johnston... han puesto de relieve la relación entre la más profunda religiosidad del Oriente y Occidente. Como fuente de inspiración les han servido las obras del Pseudo Areopagita, cuya conclusión más gloriosa viene a ser la "Subida del Monte Carmelo y las Noches" de San Juan de la Cruz. Esta edición de sus Obras completas se hace tomando como base el texto crítico editado en Gotinga (Alemania) el año 1989. "La teología y la espiritualidad cristianas son impensables sin el Pseudo Dionisio. Su obra conserva perenne frescura y constante actualidad, en particular para las almas cuya respiración es la profunda oración de cada día" (Olegario González de Cardedal).

An English-language introduction to the writings of the so-called New Vienna School of art history.This book introduces to an English-language audience the writings of the so-called New Vienna School of art history. In the 1930s Hans Sedlmayr (1896-1984) and Otto Pächt (1902-1988) undertook an ambitious extension of the formalist art historical project of Alois Riegl (1858-1905). Sedlmayr and Pächt began with an aestheticist conception of the autonomy and irreducibility of the artistic process. At the same time they believed they could read entire cultures and worldviews in the work of art. The key to this contextualist alchemy was the concept of "structure," a kind of deep formal property that the work of art shared with the world. Sedlmayr and Pächt's project immediately caught the attention of thinkers like Walter Benjamin who were similarly impatient with traditional empiricist scholarship. But the new project had its dark side. Sedlmayr used art history as a vehicle for a sweeping critique of modernity that soon escalated into nationalist and outright fascist polemic, even while Pächt, a Jew, was forced into exile. Sedlmayr and the whole scholarly project of Strukturanalyse were sharply repudiated by Meyer Schapiro and later Ernst Gombrich.After an introductory essay, the book opens with two selections from Riegl. Following this are essays by Sedlmayr, Pächt, Guido Kaschnitz-Weinberg, and Fritz Novotny, all dating from the 1930s. The book closes with the divergent responses of Benjamin (1933) and Schapiro (1936). The difference of opinion between these two key voices raises again the question of the legitimacy and effectiveness of the method, and reveals the analogies between the New Vienna School project and the antiempiricist cultural histories of our own time. The book also contains an extensive bibliography.

Dresden war in den 1920er Jahren eines der wichtigsten Zentren der Neuen Sachlichkeit und des Verismus in Deutschland. Die Dresdner Kunstakademie pragte eine ganze Generation von Kunstlern - von Otto Dix, George Grosz, Otto Griebel, Bernhard Kretzschmar, Hans Grundig, Wilhelm Lachnit bis Rudolf Bergander, Curt Querner und Willy Wolff. In kuhler Distanz und messerscharfer Prazision beschrieben die Maler ihre Wirklichkeit. Bissige Ironie stand altmeisterlicher Eleganz gegenuber. Werke von uber 70 Kunstlern, zum Teil bislang nahezu unbekannte Positionen von uberraschender Qualitat, sind in diesem Kompendium zusammengefuhrt. Das grosszugig bebilderte Buch bietet erstmals einen Uberblick uber die facettenreiche Kunststromung in den Jahren der Weimarer Republik bis 1933.

Dresden war in den 1920er Jahren eines der wichtigsten Zentren der Neuen Sachlichkeit und des Verismus in Deutschland. Die Dresdner Kunstakademie pragte eine ganze Generation von Kunstlern - von Otto Dix, George Grosz, Otto Griebel, Bernhard Kretzschmar, Hans Grundig, Wilhelm Lachnit bis Rudolf Bergander, Curt Querner und Willy Wolff. In kuhler Distanz und messerscharfer Prazision beschrieben die Maler ihre Wirklichkeit. Bissige Ironie stand altmeisterlicher Eleganz gegenuber. Werke von uber 70 Kunstlern, zum Teil bislang nahezu unbekannte Positionen von uberraschender Qualitat, sind in diesem Kompendium zusammengefuhrt. Das grosszugig bebilderte Buch bietet erstmals einen Uberblick uber die facettenreiche Kunststromung in den Jahren der Weimarer Republik bis 1933.

Composer: Hans-Werner Henze Sonata Per Otto Ottoni8 Windsscor Publisher: Schott Category: Music Related Products Series: Schott Format: Pape...

Composer: Hans-Werner Henze Sonata Per Otto Ottoni8 Windparts Publisher: Schott Category: Music Related Products Series: Schott Format: Pape...