{"product_id":"140372","title":"Sociology of Art ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQtVORFWzFlypQ8DEM735U.png?v=1764978182\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Sociology of Art \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/121959735\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e  \u003ch5\u003e\u003cb\u003eBook Introduction\u003c\/b\u003e\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eFrom theory to practice,\u003cbr\u003e A look at the past, present, and future of art sociology\u003cbr\u003e The social significance of art\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e What comes to mind when we hear the word \"art\"? A painting hanging in a gallery or an orchestra playing in a concert hall? Do you prefer Schwarzenegger movies or ballet performances? The answers to these questions reveal a lot about us.\u003cbr\u003e Likewise, a society's attitude toward art says a lot about that society. \u003cbr\u003eDoes art play a recognized, significant role in society, or does it merely perform a secondary function? Do diverse people in society actively participate in artistic production, or do they not? In other words, examining art is an excellent way to examine society, and conversely, examining society can also yield significant insights into art.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e This book, curated by David Inglis of the University of Aberdeen and John Hewson of the University of Otago, provides a valuable opportunity to read in one place the writings of leading theorists representing contemporary Anglo-American art sociology, including Alan Swindewood, Janet Stewart, Janet Wolff, Paul Willis, and Helena Wulf. \u003cbr\u003eThis book, which deals with the fascinating approach of sociological analysis of art, introduces various theoretical concepts that characterize the sociology of art, from Bourdieu's thought to cultural studies, sociological aesthetics, art history, and feminist theory. By utilizing these theories and presenting specific case studies of painting, film, opera, popular music, ballet, cities, and architecture, it provides critical and reflective discussion points for the future direction of the sociology of art.\u003cbr\u003e\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Acknowledgements\u003cbr\u003e\u003cbr\u003e Introduction: “Art” and Sociology\u003cbr\u003e Key issues\u003cbr\u003e Structure and Purpose\u003cbr\u003e How to view\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePart 1\u003cbr\u003e Theory: Past, Present, Future\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e Thinking about “Art” Sociologically ● David Inglis\u003cbr\u003e introduction\u003cbr\u003e Taking issue with “art”\u003cbr\u003e Taking issue with “artists”\u003cbr\u003e “Art” and “Society”\u003cbr\u003e “Art world”\u003cbr\u003e conclusion\u003cbr\u003e\u003cbr\u003e 2. \u003cbr\u003eWhen Does Art Become Art? An Evaluation of Pierre Bourdieu's Art Field Theory ● Jeremy Lane\u003cbr\u003e introduction\u003cbr\u003e Social conditions of art acceptance\u003cbr\u003e Social conditions of artistic production\u003cbr\u003e Historical Origins of Autonomous Production\u003cbr\u003e conclusion\u003cbr\u003e\u003cbr\u003e 3.\u003cbr\u003e The Female Body in Women's Artistic Practice: Developing a Feminist Sociological Approach ● Alexandra Howson\u003cbr\u003e introduction\u003cbr\u003e Women's Art Production\u003cbr\u003e The Politics of the Female Body in Women's Art\u003cbr\u003e Psychoanalysis, postmodernism, visual culture\u003cbr\u003e Poststructuralism, Philosophy, and (again) Psychoanalysis\u003cbr\u003e Feminism and Art Today\u003cbr\u003e conclusion\u003cbr\u003e\u003cbr\u003e 4.\u003cbr\u003e A “New” Paradigm for the Sociology of Aesthetics ● Robert Witkin\u003cbr\u003e introduction\u003cbr\u003e abstract\u003cbr\u003e symbol system\u003cbr\u003e social system\u003cbr\u003e perceptual system\u003cbr\u003e tactile system\u003cbr\u003e visual system\u003cbr\u003e body systems\u003cbr\u003e conclusion\u003cbr\u003e Acknowledgements\u003cbr\u003e\u003cbr\u003e 5.\u003cbr\u003e Invisible Aesthetics and the Social Work of Commodity Culture ● Paul Willis\u003cbr\u003e introduction\u003cbr\u003e The meaning of everyday life\u003cbr\u003e Creating Product Culture and Informal Meaning\u003cbr\u003e cultural products\u003cbr\u003e Making the invisible visible\u003cbr\u003e Representation of the invisible \u003cbr\u003ePrivate and Public Art Worlds\u003cbr\u003e conclusion\u003cbr\u003e Acknowledgements\u003cbr\u003e\u003cbr\u003e 6.\u003cbr\u003e Cultural Studies and Cultural Sociology ● Janet Wolff\u003cbr\u003e introduction\u003cbr\u003e Between “social life” and “text”\u003cbr\u003e Sociology and “Culture”\u003cbr\u003e Conclusion: Towards Reconciliation\u003cbr\u003e\u003cbr\u003e 7.\u003cbr\u003e The Sociology of Art: Between Cynicism and Reflexivity ● David Inglis\u003cbr\u003e introduction\u003cbr\u003e implicit assumptions\u003cbr\u003e ubiquity of power\u003cbr\u003e Imperialism in Sociology\u003cbr\u003e Bourdieu against himself\u003cbr\u003e conclusion\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePart 2\u003cbr\u003e From Theory to Practice: Case Studies in the Sociology of Art\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 8.\u003cbr\u003e Frames for Seeing Old Age: A Sociological Perspective on Aging in Victorian Paintings ● Mike Hepworth\u003cbr\u003e introduction\u003cbr\u003e Old Age and Victorian Art History\u003cbr\u003e Frederick Walker and [Port of Refuge]\u003cbr\u003e Hubert von Herkomer and [The Last Gathering]\u003cbr\u003e Hubert von Herkomer and [A Scene from Twilight: Westminster Assembly]\u003cbr\u003e complex reactions\u003cbr\u003e conclusion\u003cbr\u003e\u003cbr\u003e 9.\u003cbr\u003e The Rise and Fall of Art (House) Films ● Andrew Tudor\u003cbr\u003e introduction\u003cbr\u003e Established (1918-1939)\u003cbr\u003e Consolidation (1950-1970)\u003cbr\u003e Fragmentation (1970-2000)\u003cbr\u003e conclusion\u003cbr\u003e\u003cbr\u003e 10. \u003cbr\u003eOpera, Modernity, and the Place of Culture ● Alan Swingewood\u003cbr\u003e introduction\u003cbr\u003e Modernity, Opera Discourse, and Power\u003cbr\u003e Theorizing Modernity\u003cbr\u003e Aesthetics and Culture\u003cbr\u003e Modernity and Venetian Opera\u003cbr\u003e Court Opera and Bourgeois Opera\u003cbr\u003e Opera canon and modern opera\u003cbr\u003e conclusion\u003cbr\u003e\u003cbr\u003e 11.\u003cbr\u003e “World Music” and the Globalization of Sound ● David Inglis and Roland Robertson\u003cbr\u003e introduction\u003cbr\u003e The essence of “world music”\u003cbr\u003e Categories of world music\u003cbr\u003e Social organization of world music\u003cbr\u003e World Music and Globalization\u003cbr\u003e The ambivalence of world music\u003cbr\u003e conclusion\u003cbr\u003e\u003cbr\u003e 12.\u003cbr\u003e “High Art” and the Market: The Uneasy Partnership of the Transnational Ballet World ● Helena Wolf\u003cbr\u003e introduction\u003cbr\u003e The Emergence of a Transnational Ballet World - Politics, Mentors, and Patrons\u003cbr\u003e Markets, Ballet, and Distrust\u003cbr\u003e The Best Dancers: Nureyev and His Mayor\u003cbr\u003e Exchange: Ballet and Business\u003cbr\u003e Conclusion: Ballet in the Global Market\u003cbr\u003e\u003cbr\u003e 13.\u003cbr\u003e Rebuilding the Center: A Sociological Approach to Berlin's Reconstruction ● Janet Stewart\u003cbr\u003e introduction\u003cbr\u003e Formalism vs. Functionalism\u003cbr\u003e Architectural Discourse and Sociological Discourse \u003cbr\u003eTowards Dialectics\u003cbr\u003e Architecture and the Postmodern Crisis\u003cbr\u003e A model for 21st century architecture?\u003cbr\u003e conclusion\u003cbr\u003e\u003cbr\u003e References\u003cbr\u003e About the Author\u003cbr\u003e Translator's Note\u003cbr\u003e Search\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate4277\/MidCate007\/427661635(1).jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eWhen does art become art? How are art and society related?\u003cbr\u003e A way to think about aesthetics and social issues together\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Who might be labeled an artist? Sociologists are interested in demystifying the concepts of \"great artist\" and \"romantic artist.\"\u003cbr\u003e One way to challenge that notion is to emphasize that no artist produces his or her art entirely on his or her own.\u003cbr\u003e Whether they paint or write poetry, their work relies directly or indirectly on a whole chain of other people. \u003cbr\u003eIn the European Middle Ages and Renaissance, cultural production was carried out at the behest of powerful patrons such as the Pope or wealthy nobles.\u003cbr\u003e Cultural producers worked under clear constraints, having to create works of art that would satisfy patrons.\u003cbr\u003e By the 19th century, patronage had declined as a factor in cultural production, but unlike in previous eras when artists commissioned works from wealthy patrons, artists now had to sell their work to intermediaries such as art dealers, exhibit it in galleries, and make a name for themselves through critics.\u003cbr\u003e In this way, artists have come to occupy new positions in accordance with the special cultural division of labor and the social relationships they belong to in the flow of time.\u003cbr\u003e These changing social conditions have had the effect of encouraging or discouraging certain forms of artistic practice.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eIn this way, the sociology of art, in the process of its academic consolidation, has focused on how the expressive and symbolic elements of culture are formed through various social systems, and has gone beyond simple reflection theory to analyze the influence of external factors such as technology, law and regulations, organizational forms, industrial structures, and markets on the production, distribution, and consumption of cultural products.\u003cbr\u003e But for aestheticians, this reduced great works of art to mere results of social processes, and furthermore ran the risk of rendering the existence and role of art, intertwined in the complex interrelationships of society, overly passive.\u003cbr\u003e Therefore, since the mid-2000s, there has been a growing argument in academic circles that the relationship between sociology and aesthetics in the sociology of art needs to be re-established in a more balanced way. \u003cbr\u003eThat is, we must reintroduce art into a social scientific approach to art, and promote meaningful dialogue between aesthetics and sociology, transcending the dichotomy between the aesthetic and the social.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eA weighty insight into critical sociology\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This book is a starting point for taking steps toward addressing these issues.\u003cbr\u003e Throughout this book, the call to communicate and reason with oppositional things is multilayered and varied.\u003cbr\u003e This is a criticism of the fact that the research on the sociology of art has been excessively biased towards non-artistic and social explanations.\u003cbr\u003e In this book, Inglis argues that today's critical sociology of art, which inherits the tradition from Kant through Marx and Nietzsche, inherits Rousseau's view that \"everything is fundamentally connected to politics\" in that it equates power and culture and views the art world as a field of power struggle. \u003cbr\u003eUnder these premises, he asks the following question:\u003cbr\u003e If critical sociology questions all common sense and dedicates itself to unraveling fundamental conflicts of interest, why doesn't it also question the very assumptions it presupposes? In short, the argument is that while the sociology of art offers sharp critiques of other disciplines like art history and aesthetics, it fails to cast a similarly critical eye on itself.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e There is a huge difference between a cynical and dismissive approach to the problems of art and the discourse surrounding it and one that prioritizes a healthy, unbiased skepticism.\u003cbr\u003e Sociologists should avoid falling into the former and embrace the latter. \u003cbr\u003eIn particular, Inglis's point that even the sociology of art's critique of aesthetics may be an \"intellectual coup\" and a \"slave revolt\" aimed at usurping the art world's discursive power is sharp and significant.\u003cbr\u003e This book's argument that \"this discipline, which considers itself critical, has not yet been sufficiently critical of itself\" is worth deep reflection on by those studying art, along with their critique of today's \"imperialism in sociology.\"\u003cbr\u003e\u003cbr\u003e \u003cb\u003eBourdieu's Lasting Influence: A Case Study in Artistic Practice\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This book points out the problems of Bourdieu's approach and the sociology of art in general, while also making diverse use of Bourdieu's methodology in empirical case studies.\u003cbr\u003e Andrew Tudor actively utilizes Bourdieu's theory of the field of cultural products in analyzing the emergence and transformation of the field of cinema art. \u003cbr\u003eIn a multiplex culture where art has become commerce, art films have become just another commodity on the shelf.\u003cbr\u003e Swinseywood applies Bourdieu's concept of cultural field to analyze opera in its historical, social, and cultural context from the perspective of the sociology of music.\u003cbr\u003e Opera is often disparaged as an elitist art form, championed by a small elite, but it has remained a vital presence in modern culture by constantly reinventing its form through new and challenging works and subversive strategies in modern staging.\u003cbr\u003e Wulff discusses the transnational ballet market, examining the transformation of the global ballet scene from a place for cultural elites to a place for mass production, and its marketing.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eQualitative research methods are employed, ranging from micro-analyses addressing the actual working practices of artists to macro-analyses examining the place of art within social structures, including ethnographic methods, analysis of historical sources, close readings of specific texts, and empirical analyses of critical and public responses.\u003cbr\u003e This book is fascinating in that it seeks to break free from the existing framework of the sociology of art, while not overlooking the fact that sociological art studies have developed a range of useful ways of thinking and analytical tools. Furthermore, it goes a step further, arguing that today's sociology of art should not rest on its laurels, but must constantly critique its previous limitations and strive to transcend them.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eGlobalization and Common Culture: Artists of Everyday Life\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e One of the central themes discussed in this book is the 'globalization' of art. \u003cbr\u003eThis topic is covered extensively by Alan Swindlewood, Helena Wulf, and Janet Stewart, but the most comprehensive perspective is provided by Roland Robertson and Inglis.\u003cbr\u003e In particular, Robertson coined the concept of 'glocal', a combination of the words global and local, and draws attention to the \"simultaneous coexistence of both universalizing and specializing tendencies.\" Through this concept, he opposes one-sided globalization that does not take local specificities into account, and emphasizes the interaction between the world and the region, homogenization and heterogeneity.\u003cbr\u003e The text boils down to the question, \"Does globalization produce cultural standardization?\" or \"Does it enhance cultural diversity?\" Robertson and Inglis offer a lucid reflection on the issues surrounding the definition and categories of world music, its social organization, and its celebration and critique. \u003cbr\u003eThis discussion is not only relevant to the case of world music, but also to the global phenomenon of K-pop that we are experiencing today.\u003cbr\u003e\u003cbr\u003e Another discussion that reflects on this from another angle is Paul Willis's article exploring the possibilities for promoting artistic democracy.\u003cbr\u003e Willis argues that artistic democracy can arise not by democratizing existing art, but from within the existing creative experiences and practices that are part of our common culture.\u003cbr\u003e The concept of common culture he uses is a development of Raymond Williams's theory, in which Williams defined culture as the 'total way of life' of the masses through the expression \"culture is the ordinary.\" \u003cbr\u003eIn other words, a common culture is about creating conditions in which the people can freely participate and contribute to the creation of meaning and value, while cultural democracy is about expanding the participation of the public as a producer of art and culture and enhancing everyone's creative capacity and enjoyment ability.\u003cbr\u003e Willis points out that the term 'art' should be expanded to encompass ordinary everyday acts, and according to him, we are all 'artists of everyday life'.\u003cbr\u003e Through the collaboration between cultural studies and sociology, this book presents an expanded concept of art, offering us the opportunity to seriously consider ourselves as artists creating the everyday world and the future of art and culture. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e September 8, 2023\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 408 pages | 532g | 153*225*19mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9788961474351 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894905798698,"sku":"140372","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/0252d4f8eaa19bcc3350ec2336eb3b53.jpg?v=1765451047","url":"https:\/\/librairie.coreenne.fr\/en\/products\/140372","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}