{"product_id":"140439","title":"mournful music ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQtVORKUuC799IRMzXFhIJ.png?v=1764978440\" 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 mournful music \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\/164997566\/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\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eMusic of Mourning - History, loss, and the memory of an era heard by human ears.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e At the heart of Time's Echo, written by historian and music critic Jeremy Eichler, are four musicians.\u003cbr\u003e Shostakovich, Schoenberg, Strauss, and Britten are the ones who testified to history through music. \u003cbr\u003eAlthough they lived in different times and spoke different languages, they had common questions.\u003cbr\u003e “Can art speak of human tragedy?” This book is four answers to that very question.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Shostakovich responded with silence, Schoenberg with dissonance, Strauss with classical reverberations, and Britten with a chorus of reconciliation.\u003cbr\u003e And all of those answers ultimately come down to one conclusion.\u003cbr\u003e “Music is the final form of memory, the only art by which human beings can remain human.”\u003cbr\u003e\u003cbr\u003e The author traverses hundreds of years of musical history, from classical to contemporary, exploring how music remembers human wounds.\u003cbr\u003e And I think about the attitude of remembrance for the tragedy. \u003cbr\u003eThis book is not simply a music critique, but rather a thought-provoking intellectual narrative addressing the fundamental question, “What is music?” and a “humanities of listening.” It explores historical scars, human emotions, and the ethics of art.\u003cbr\u003e\n\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 Prologue: In the Shade of an Oak Tree 011\u003cbr\u003e Part 1\u003cbr\u003e Chapter 1.\u003cbr\u003e Liberate Music 037\u003cbr\u003e Chapter 2.\u003cbr\u003e Dancing in the Thorns 074\u003cbr\u003e Chapter 3.\u003cbr\u003e Torn Half 106\u003cbr\u003e Chapter 4.\u003cbr\u003e Beneath the Waves 141\u003cbr\u003e Chapter 5.\u003cbr\u003e Liberation of Memory 182\u003cbr\u003e Chapter 6.\u003cbr\u003e Moses of Albuquerque 226\u003cbr\u003e Part 2\u003cbr\u003e Chapter 7.\u003cbr\u003e 263 on the other coast\u003cbr\u003e Chapter 8.\u003cbr\u003e Angel of History 291\u003cbr\u003e Chapter 9.\u003cbr\u003e Light of the Last Moment 329\u003cbr\u003e Chapter 10.\u003cbr\u003e Monument 384\u003cbr\u003e Coda: Listening to Lost Time 409\u003cbr\u003e\u003cbr\u003e Acknowledgments 420\u003cbr\u003e Week 426\u003cbr\u003e Search 480\u003cbr\u003e Translator's Note 489\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\/TopCate6110\/MidCate005\/610949152.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e This book begins with two questions. \u003cbr\u003eFirst, long after the moral and existential rupture epitomized by Auschwitz, now that the world is cluttered with all manner of digital devices, and historical knowledge has been replaced by information about history, how can we still recognize, honor, remember, and feel our connection to the past—in other words, how can we embrace the presence of the past? The second question is closely related to this.\u003cbr\u003e In a world where art and music are often marginalized or relegated to the margins, how can we return these works to history? --- p.20\u003cbr\u003e\u003cbr\u003e Ultimately, by gathering these shells, sounds, and stories that remain today, we hope to show a new way of knowing the past, a new way of listening to history.\u003cbr\u003e This is not a passive process for the listener. \u003cbr\u003eAs composer Paul Hindemith said, “Music…is just meaningless noise unless it touches the receptive mind.” In this sense, this book also advocates for what I call deep listening.\u003cbr\u003e The idea is to listen to music as an echo of time.\u003cbr\u003e --- p.29\u003cbr\u003e\u003cbr\u003e There was one person who penetrated the depths of Britten's music, and that was Shostakovich.\u003cbr\u003e If Strauss and Schoenberg are united in their role in creating modern German culture, Britten and Shostakovich also had much in common in their lives and art.\u003cbr\u003e Both men enjoyed immense power at the heart of their countries' musical cultures, yet they considered themselves outsiders.\u003cbr\u003e --- p.32\u003cbr\u003e\u003cbr\u003e Was \"Metamorphosen\" truly Strauss's chosen penance? Did this work, or any other musical work, cleanse him of his sins? Perhaps for Strauss himself, it did. \u003cbr\u003eBut didn't the hidden lyrics of the piece say this?\u003cbr\u003e “No one knows himself \/ Far from his inner being.” Looking at it from a distance today, it seems out of balance.\u003cbr\u003e Strauss's pro-Nazi gestures were clear, and until the very end he acquiesced to the regime's use of his image and music, thereby legitimizing it. To say that the confession contained in Metamorphoses expresses much abstractly would be an understatement.\u003cbr\u003e And it was too late.\u003cbr\u003e --- p.174\u003cbr\u003e\u003cbr\u003e In such a world, beautiful art was a kind of opium for the masses, captivating them and blinding them to the ugly truth about corruption, rule, oppression, and moral decay.\u003cbr\u003e So Schoenberg's atonal revolution was a kind of corrective, with music turning its attention to the harsh dissonances of modern times. \u003cbr\u003eIt corrected the art of manufacturing deceptive beauty into an art of conveying existential truth, allowing us to see the truth about life, about human suffering, about history, and about the possibility of a darker future.\u003cbr\u003e --- p.220\u003cbr\u003e\u003cbr\u003e Indeed, to truly experience a musical monument like \"Survivor of Warsaw\" requires a different listening style.\u003cbr\u003e We do not listen to enjoy, but to witness the testimony of music.\u003cbr\u003e In this case, we hear the testimony of the survivors, the testimony of the composer, and the testimony of the group that was to be killed.\u003cbr\u003e There is a trauma of history that this art carries.\u003cbr\u003e But to remember it, we must align our listening with the act of witnessing.\u003cbr\u003e --- p.248p\u003cbr\u003e Listen! This is the essential command and ethical obligation of all musical monuments, including Schoenberg's \"Warsaw Survivor.\" \u003cbr\u003eThis also connects to the secret power that music exerts as a medium of memory.\u003cbr\u003e Given the fleeting nature of sound, using it for memory might seem fragile compared to perpetuating memories in a more solid and permanent medium like stone.\u003cbr\u003e But stone monuments often fail to command our full attention, our dedicated witness, as music does.\u003cbr\u003e --- p.250\u003cbr\u003e\u003cbr\u003e One hundred years after his birth and twenty-three years after his death, the composer and his wife's ashes came to Vienna from Los Angeles at the request of the Vienna City Council.\u003cbr\u003e They were buried not in the Jewish quarter of the cemetery, but next to those whom Schoenberg had initially considered his spiritual fathers.\u003cbr\u003e The three links in the great German tradition, in which he showed unwavering faith, the gods who never lost: Beethoven, Schubert and Brahms. \u003cbr\u003eSchoenberg's brother-in-law, violinist Rudolf Kolisch, spoke at the grave.\u003cbr\u003e “He belongs here.\u003cbr\u003e “I finally got home.” --- p.258\u003cbr\u003e\u003cbr\u003e According to Britten himself, the entire War Requiem was nothing less than “an attempt to correct or resolve the world’s wrongs or sufferings through dreams.”\u003cbr\u003e This is a permanent dream, a dream that exists every time a piece is performed with sincerity and an audience listens with sincerity, and it is also a portable dream.\u003cbr\u003e While you'll have to travel to Coventry to see the Angel of Hutton, the Angel of Britain comes to you through War Requiem.\u003cbr\u003e It passes over a single long moment with music.\u003cbr\u003e We are pushed forward by progress as we look back to the past, awakening the memory of the dead and asking us (to borrow Owen's phrase) to “love a greater love.” \u003cbr\u003eAll we have to do is listen.\u003cbr\u003e --- p.326\u003cbr\u003e\u003cbr\u003e Britten and Shostakovich shared the idea that art had a greater mission in society.\u003cbr\u003e They intuitively knew that people longed for music that had a sense of the times but also reached a wider audience, music that had the power to change the way listeners viewed the world and themselves in it, music that had a deep compassion at the core of its ethical outlook.\u003cbr\u003e --- p.386\u003cbr\u003e\u003cbr\u003e Years later, a special tombstone was erected at Shostakovich's grave.\u003cbr\u003e I know of no stone monument that more clearly evokes an entire era.\u003cbr\u003e Below Shostakovich's name, four notes are inscribed between his year of birth (1906) and his year of death (1975).\u003cbr\u003e D, E flat, C, B, these are the composer's initials and his motto.\u003cbr\u003e His lily soars beyond time and space. \u003cbr\u003eIt is as if the final form of Shostakovich's transformation is contained in these four notes.\u003cbr\u003e His life has now become his art, and the history of a nation has become its memory.\u003cbr\u003e And the memory became music.\u003cbr\u003e --- p.408\u003c\/div\u003e\n\u003cdiv\u003e --- p.408\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\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\u003eShostakovich, Schoenberg, Strauss, Britten. The aesthetics of mourning as seen through the works of four composers.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Music is a light and abstract art, but every note is rooted in history and the earth.\u003cbr\u003e Jeremy Eichler, one of the greatest music writers, captures this duality brilliantly in Music of Mourning.\u003cbr\u003e This book traces the lives of four composers who are at the forefront of European classical music, breaking through the dark heart of the 20th century. \u003cbr\u003eThe war-scarred monuments they each created are remarkable in themselves, but they are also noteworthy in that they look back on the past while also turning our heads toward our own times, opening our perspectives to the world in which the music was created.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e World War II was a global disaster, from Asia to Europe.\u003cbr\u003e And it cracked the tightly woven fabric of humanity.\u003cbr\u003e Somewhere in the midst of this darkness was the Holocaust.\u003cbr\u003e Just as traumatic experiences haunt an individual's memories for a lifetime, this incident continues to stir up the historical memory of Western society.\u003cbr\u003e Theodor Adorno, a German Jewish philosopher, critic, and musical sage, said, “The idea that culture will be revived after Auschwitz is an illusion and meaningless. \u003cbr\u003eBut since the world has endured its own end, art must become its unconscious chronicler.”\u003cbr\u003e Based on this reasoning, the author focuses on music in particular among the arts and examines its role as an “unconscious chronicle.”\u003cbr\u003e The music that witnessed history and conveyed that memory to the post-Genocide world is the subject of this book.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eSounds of Lost Time - A Historical Lament by Four Composers\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This book features four pieces of music that cut through some of the darkest history of the 20th century West.\u003cbr\u003e These are Strauss's \"Metamorphosen,\" Schoenberg's \"Warsaw Survivor,\" Britten's \"War Requiem,\" and Shostakovich's \"Babi Yar\" symphony.\u003cbr\u003e Although they are all masterpieces that will remain in the history of music, they are not easy to accept as they deal with death in a comprehensive way. \u003cbr\u003eThrough these songs, through the lives of those who created them, and through individual moments in the sociocultural history of music, the author offers a new perspective on the wartime past.\u003cbr\u003e\u003cbr\u003e In the midst of war and madness, how did these songs represent human memory, mourning, and weaving history and emotion? The music of these musicians, who testified to history through music, speaks in different languages, yet all bear witness to the same truth.\u003cbr\u003e Music is the final form of memory, the way humans remain human.\u003cbr\u003e\u003cbr\u003e \u003cb\u003e\u003cbr\u003eLet's take a brief look at the four musicians who are the main characters in this book.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e * Shostakovich, who had to live under the Stalinist regime in the Soviet Union, is a symbolic figure who showed how art can preserve human dignity even under surveillance and fear.\u003cbr\u003e He composed 'music of silence' amid the violence of history. \u003cbr\u003eHis Symphony No. 5 (1937) was ostensibly interpreted as a 'hymn to socialist heroism', but in reality it was a work filled with the irony and sorrow of an oppressed age.\u003cbr\u003e The audience heard “joy in sorrow,” and power heard “music of loyalty.”\u003cbr\u003e His music, which operates with a double meaning, is like a diary recording the suffocating silence of a totalitarian era.\u003cbr\u003e\u003cbr\u003e * Schoenberg, from Austria, is the founder of the dissolution of tonality, that is, dissonance and twelve-tone technique, and is a figure who created a revolutionary turning point in the history of music.\u003cbr\u003e His works from the 1930s, such as Moses und Aron and String Quartet No. 2, were not mere formal experiments, but musical representations of war, exile, and the silence of God. \u003cbr\u003eAs Hitler's persecution of the Jews began, Schoenberg fled to the United States, an experience expressed in his music as a sense of the collapse of 'a tonality (order).'\u003cbr\u003e In this book, the author calls him “the philosopher of dissonance.”\u003cbr\u003e In his music, dissonance was not chaos, but ethical awakening.\u003cbr\u003e He had the awareness of the times that “beauty alone cannot save humanity.”\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e * Strauss is a figure who left behind a complex evaluation as he lived through the Nazi era.\u003cbr\u003e He made certain compromises with the system, but at the same time tried not to lose human dignity and the purity of art.\u003cbr\u003e His later masterpiece, Metamorphosen (1945), is read as music of mourning and repentance for the ruined German culture immediately following the fall of the Nazis.\u003cbr\u003e The deep sadness flowing beneath the classical form was a funeral march played by an era for itself. \u003cbr\u003e* Britain's Briton was a pacifist representing the war generation.\u003cbr\u003e His masterpiece, War Requiem (1962), was a chorus of reconciliation sung by the dead and the living, enemies and allies.\u003cbr\u003e This book reads Britten's music as a “form of mourning and reconciliation.”\u003cbr\u003e His music was not simply an expression of sorrow, but a form of ethical remembrance, a symbol of the belief that human beings can only recover by remembering one another.\u003cbr\u003e\u003cbr\u003e Through their music, the author restores the topography of mourning hidden within the history of music, and through its notes and melodies, he revisits the inner workings of history, namely, the question, \"How do humans remember what they have lost?\"\u003cbr\u003e\u003cbr\u003e \u003cb\u003eMusic in History - A Chronicle of Sound Documenting an Age of Sorrow\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eIn an age where debates over which history should be commemorated and which should be reinterpreted intensify, the author points out that music preserves the past in the form of intense emotional experiences.\u003cbr\u003e As a historian who values ​​precision and intuitively feels the fervent heat of music, he presents four dramatically different works born from the same impulse in a lucid and moving chronicle.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Music has always existed alongside the shadows of the times.\u003cbr\u003e Having experienced two world wars in the 20th century, humans left behind music as a language of sorrow.\u003cbr\u003e Strauss's \"Metamorphosen\" is a dirge dedicated to German culture, and Shostakovich's symphonies are not mere works of art but records of the times.\u003cbr\u003e This book examines the social background and philosophical context in which these songs were created, proving that music is the oldest form of human memory.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003eThe Aesthetics of Mourning: Human Artistic Ways to Endure Grief\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 《Mourning Music》 is a humanistic attempt to read music as the ‘language of sorrow.’\u003cbr\u003e However, it does not stop at just the feeling of tragedy.\u003cbr\u003e The mourning this book deals with is art as an ethical sensibility.\u003cbr\u003e The author believes that, among all arts, music functions as a 'form that allows humans to endure' sadness without romanticizing it.\u003cbr\u003e From that perspective, he persuasively demonstrates, moving between the languages ​​of psychoanalysis, theology, and aesthetics, that “mourning is not a state of static sadness, but a movement toward art.”\u003cbr\u003e Empathizing with the ways in which Sebald, Benjamin, and Adorno view disappearing things and premature loss, he develops a variety of experiments in which music and history fascinate each other.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eThe author speaks of how music, at the intersection of history and art, remembers the wounds of an era, but ultimately, this is read as speaking of humanity.\u003cbr\u003e Because to mourn is to remember, and to listen is to become human again.\u003cbr\u003e As the original title of this book, 'Time's Echo', suggests, \"music is the voice of a vanished era and the most complete testimony to the time humans have lost.\"\u003cbr\u003e\u003cbr\u003e As the author states in the preface that he used a critic's ear and a historian's tools in writing this book, the book is as rich in historical narrative as it is in music.\u003cbr\u003e The writing, meticulously researched and filled with deep emotion, adds to the pleasure of exploration.\u003cbr\u003e This is an inspiring book, full of sharp critical observations and a philosophical weight that explores the dark shadows that have plagued human life and art.\u003cbr\u003e I recommend that you read all the notes at the end of the text.\u003cbr\u003e\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 November 18, 2025\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 492 pages | 598g | 140*210*25mm\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 9791161111544 \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":43894907240490,"sku":"140439","price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/56b4a1fddd8d56999abbc4443c16abb7.jpg?v=1765451169","url":"https:\/\/librairie.coreenne.fr\/en\/products\/140439","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}