{"product_id":"155641","title":"In all senses: Klangkunst ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYDOVpQeVK80Ey1F9JrWQ9MrGyypV.png?v=1765018247\" 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 In all senses: Klangkunst \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\/139911988\/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\u003eThe sound of Klangkunst that could not be translated into sound art\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e “Klangkunst:\u003cbr\u003e Life and Nature, Sound - Sounds composed in an aesthetic laboratory are considered visual objects of art, closely connected to the elaborately arranged spaces.\u003cbr\u003e Sensing and seeing differently, the discovery and surprise in between. \u003cbr\u003eKlangkunst is an interactive art form that raises new questions and evokes new experiences.\u003cbr\u003e\u003cbr\u003e Contemporary art has emerged as a new genre by breaking the conventions, order, and norms of existing art.\u003cbr\u003e It practiced the spirit of the avant-garde with different perspectives, experiments, and materials, and even attempted collaboration with different senses.\u003cbr\u003e A representative example is sound art, or ‘artwork made of sound.’\u003cbr\u003e Unfortunately, sound art, which is a form of visual art that uses both auditory and visual elements, and is primarily performed by visual artists rather than musicians, is not widely known in Korea, except for partial definitions (such as collaboration between visual and auditory art) and representative artists such as Nam June Paik, Raunschenberg, and John Cage.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eThe etymology and meaning of sound art, a modern art genre born from the collaboration of fine art and music, can be found in the German word Klangkunst. (The Korean word 'art' also finds its origins in the German word kunst, not the English-speaking word 'art'.) The translated word 'Klangkunst', 'sound art', can be directly translated into Korean as 'sound art', but the word 'klang' contains more elementary meanings of sound such as 'tone' and 'clearness' in addition to simply 'sound'.\u003cbr\u003e Sound art is a term used internationally and is a concept that can naturally take root in Korea.\u003cbr\u003e However, Klangkunst in Germany, the home of 'sound art' and a still active sound art creative scene, was, from the perspective of Oh Hyun-joo, a more challenging subject, worthy of delving into the essence of terminology and genre. \u003cbr\u003eBecause Klangkunst is clearly of a different nature from sound art.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e This book is a compilation of interviews with five former members of Klangkunst, who are considered to have shaped the early spirit and form of the sound artist, in Germany, the birthplace of Klangkunst, and Berlin, the spiritual home of the sound artist.\u003cbr\u003e Each of the five criminals is linked to a topic of contemporary art, such as sound, space, media, and the body.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e This book is a publication of sound art, or Klangkunst, which is virtually non-existent in Korean publishing, and I hope it will open up broader horizons.\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 7 Introduction\u003cbr\u003e Sound Art or Klangkunst\u003cbr\u003e ― Oh Hyun-joo\u003cbr\u003e 13 “I hear better through my knees than through my calves.”\u003cbr\u003e ― Bernhard Leitner\u003cbr\u003e 51 “Klangkusnt is my life.” \u003cbr\u003e― Christian Kubisch\u003cbr\u003e 99 “Our ears also need to be tuned.”\u003cbr\u003e ― Arnold Dreyblatt\u003cbr\u003e 133 “All sound and visual events must be included in the subject.”\u003cbr\u003e ― Franz Martin Olbrisch\u003cbr\u003e 181 “Klangkunst, that is a field that must be pioneered.”\u003cbr\u003e ― Helga de la Motte-Haber\u003cbr\u003e 195 back door\u003cbr\u003e A term originating from East Germany (DDR) - 'Klangkunst'\u003cbr\u003e ― Stefan Fricke\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\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 One day I asked Stefan Fricke:\u003cbr\u003e\u003cbr\u003e “What on earth is Klangkunst and what is Sound Art?”\u003cbr\u003e And he answered like this.\u003cbr\u003e\u003cbr\u003e “In fact, ‘art’ is more important than any other term.”\u003cbr\u003e\u003cbr\u003e In 2011, I went to Germany with the desire to do something that combined music and art. \u003cbr\u003eSound art, experienced through numerous exhibitions and festivals in Germany, one of its roots.\u003cbr\u003e But the deeper I delved into this field, the more I worked as an artist in this scene, the more I encountered the work of other artist-composers, the more the answer to this question became unanswerable.\u003cbr\u003e\u003cbr\u003e In Korea, the genre that combines sound and art is generally called 'sound art', and its types also exist within a very diverse spectrum.\u003cbr\u003e For example, experimental compositions based on various sounds\/tonals can also be sound art, and presenting video art in conjunction with them can also be the same concept.\u003cbr\u003e That is, it has various forms, such as experimental art forms centered on hearing, or art that can be perceived through both the senses of sight and hearing. \u003cbr\u003eTherefore, we can see a phenomenon where the direction of artists or event organizers varies greatly depending on their artistic roots, which can give the impression that the term is being used excessively.\u003cbr\u003e\u003cbr\u003e In any case, the concept of 'sound art' used in Korea is a term used internationally and is also a concept that can naturally be established in Korea.\u003cbr\u003e However, as a country in Germany, one of the birthplaces of sound art and home to a vibrant scene, the criteria for Klangkunst felt a bit more demanding to me, which is why I wanted to re-examine the essence of this term and genre.\u003cbr\u003e This is because it clearly has a different nature from ‘sound art’.\u003cbr\u003e One of the questions that arises is, what on earth is Klangkunst?\u003cbr\u003e\u003cbr\u003e ---From \"Oh Hyun-joo's 'Preface'\"\u003cbr\u003e\u003cbr\u003e Stefan Fricke: It's a genre with many historical roots. \u003cbr\u003eJohn Cage is a unique figure in the new music (Neue Musik\/modern music), Klangkunst, Radiophonik Ars Acoustica, and countless trends in the visual arts.\u003cbr\u003e So where, then, do you think, are the other roots of Klangkunst's formation? This has often been studied by scholars, and (unsurprisingly) can be traced back to Futurism and parts of 1920s Dadaism.\u003cbr\u003e Of course, it is also found in Fluxus in the 1960s.\u003cbr\u003e You can agree with this view, but you don't have to.\u003cbr\u003e\u003cbr\u003e Kristina Kubiš: I see it as having completely different roots, apart from all the historical and cultural aspects.\u003cbr\u003e It occurred to me that my artist friends Hans Peter Kuhn (*1952), Rudolf Julius (1939-2011) and I were all from northern Germany. \u003cbr\u003eIt's not a place with a lot of noise.\u003cbr\u003e The landscape there is flat.\u003cbr\u003e It's always windy and rainy, but there's little change.\u003cbr\u003e Still, there were some really cool sounds.\u003cbr\u003e This area has influenced what we do.\u003cbr\u003e What is certain is that it was a post-war period when much was destroyed and all parts were in a state of upheaval.\u003cbr\u003e And of course, it becomes a special biography that tells where and how we grew up.\u003cbr\u003e In the 1970s, it was still possible to be hostile to something.\u003cbr\u003e You could be against classical music, you could be against music education.\u003cbr\u003e As a woman, I could have opposed men.\u003cbr\u003e There were so many different things to resist.\u003cbr\u003e And this resistance could be creative and lead to good results.\u003cbr\u003e It's no longer an easy task, especially for young artists today. \u003cbr\u003e---From \"Interview with Kristina Kubisch\"\u003cbr\u003e\u003cbr\u003e Oh Hyun-joo: What is the most important thing in artistic creation? Bernhard Leitner: Curiosity.\u003cbr\u003e The most important prerequisite for any work of art is an inherent curiosity.\u003cbr\u003e For example, curiosity stems from questions like, “What is possible?” or “What happened? How can we understand it?”\u003cbr\u003e Don't you think it's virtually impossible to talk about art without curiosity? This applies to all areas of art.\u003cbr\u003e If you are not curious about the body's movements in space, you may not be interested in dance or you may have considered ballet unnecessary.\u003cbr\u003e But if you're curious about what's going on there, if you're curious about the spatial transformations of the dancers, for example, you'll be delighted to look at it and discover something. \u003cbr\u003eCuriosity and discovery are so interconnected.\u003cbr\u003e ---From \"An Interview with Bernhard Leitner\"\u003cbr\u003e\u003cbr\u003e Oh Hyun-joo: When you work, do your art and music influence each other?\u003cbr\u003e\u003cbr\u003e Arnold Draibrat: Are you a composer or a visual artist? The world still divides you like that.\u003cbr\u003e Many people don't understand that both are possible.\u003cbr\u003e People who know me as a musician often have no idea that I'm an artist.\u003cbr\u003e Some people who know this fact think that my artistic activities are a waste of time and that I should just focus on music.\u003cbr\u003e People in the art world often describe my music as 'cute'.\u003cbr\u003e I used to play around with these two positions a bit.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Someone called me and said, “I’d like to invite you to Amsterdam next year.” \u003cbr\u003eI asked, “Are you talking about a music\/sound performance or an art performance?”\u003cbr\u003e When I got the answer, “It’s music,” I said, “Please wait a moment!” and then made a sound like I was hanging up.\u003cbr\u003e Then I pick up the phone again and say, \"Hi! You said you wanted to talk about a music project?\"\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e When I do this, everyone gets completely confused, as if I'm dealing with twins.\u003cbr\u003e In fact, it's a shame that making music and working on art are so separate.\u003cbr\u003e Things are slowly changing now that a younger generation is emerging who thinks differently, but most institutions still treat it this way. \u003cbr\u003eRecently, I created a work called 'Warm-Up' (Warm-Up, 2021), which intensively studied the orchestra's warm-up session, or tuning process.\u003cbr\u003e As a minimalist, I am very interested in this part.\u003cbr\u003e Unfortunately, this tuning took less than a minute each time, even though it should have been a much longer process.\u003cbr\u003e I created an installation that could showcase this tuning process in the context of visual art.\u003cbr\u003e We are currently discussing a project with an orchestra to perform it.\u003cbr\u003e This is one of those projects that started in art and evolved into music.\u003cbr\u003e You could say that there are different variations for musical context and artistic context.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e ---From \"An Interview with Arnold Drablatt\"\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 Bernhard Leitner\u003cbr\u003e \u003cbr\u003eBorn in 1938 in Feldkirch, Vorarlberg, Austria, he spent his childhood in Innsbruck, Tirol, the capital of Tyrol.\u003cbr\u003e He studied architecture at the Technische Universitat Wien from 1956 to 1963, and after receiving his diploma, worked in architectural offices in Paris for three years and then in Vienna.\u003cbr\u003e He moved to New York in 1968 and worked as an urban designer at the New York City Department of City Planning from 1969 to 1971. In 1972, he was appointed associate professor at New York University, where he continued to teach until 1981.\u003cbr\u003e He worked as an artist in Berlin (West Germany) for four years from 1982, and in 1987 he was appointed professor of cross-media art at the University of Applied Arts Vienna (Universitat fur angewandte Kunst Wien), where he taught students until 2005. \u003cbr\u003eHe currently works in Vienna and Gaindorf, Niederosterreich, where he built a large studio in a converted former flour mill in 1993 and the experimental and exhibition space \u0026amp;Tonraumhalle\u0026amp;, which he opened in 2022 together with his son, architect and lighting designer Lukas Leitner.\u003cbr\u003e Bernhard Leitner has been a member of the Board of Trustees of the Akademie der Kunste, the German Federal Academy of Arts, since 2016.\u003cbr\u003e www.bernhardleitner.at\u003cbr\u003e\u003cbr\u003e Christina Kubisch\u003cbr\u003e\u003cbr\u003e Born in Bremen, Germany in 1944, he studied at the KRH Sonderborg Academy of Fine Arts (Akademie der Bildenden Kunste Stuttgart) in 1967\/68. \u003cbr\u003eHe studied painting under the tutelage of Dr. Sonderborg, flute and music at the music academies in Hamburg, Germany, Graz, Austria, and Zurich, Switzerland, from 1969 to 1974, and art under the Swiss artist and educator Serge Stauffer at the Freie Kunstschule Zurich from 1972 to 1974.\u003cbr\u003e In 1974, he moved to Milan, Italy, where he studied composition under Franco Donatoni at the Conservatorio Giuseppe Verdi in Milan, and studied electronic music, receiving a diploma in 1976.\u003cbr\u003e From 1974 to 1980 he worked with the Italian artist Fabrizio Plessi, and in 1987 he moved to Berlin (West Germany). \u003cbr\u003eHe taught at the Jan van Eyck-Akademie in Maastricht, Netherlands, in 1989, at the Kunstakademie Munster, Germany, in 1990\/91, at the Hochschule der Kunste Berlin, West Berlin, from 1991 to 1994, and at the Ecole Nationale Superieure des Beaux-Arts Paris, in 1994\/95.\u003cbr\u003e In 1994 he was appointed Professor of Audiovisual Arts at the Hochschule der Bildenden Kunste Saar in Saarbrücken, Germany, where he taught until 2013.\u003cbr\u003e Christina Kubisch has been a member of the German Academy of Arts (Akademie der Kunste), the German Federal Art Promotion Agency, since 1997 and currently lives and works in Berlin.\u003cbr\u003e\u003cbr\u003e https:\/\/christinakubisch.de\u003cbr\u003e\u003cbr\u003e Arnold Dreyblatt\u003cbr\u003e \u003cbr\u003eBorn in New York in 1953, he studied literary and media criticism at the State University of New York at New Paltz (1970–1974) and electronic music composition with Joel Chadabe at the University at Albany (SUNY).\u003cbr\u003e In 1974\/75, he studied video art at the Media Studies Center, University at Buffalo, SUNY, Buffalo, NY (MA, 1976), and also participated in summer composition workshops with Pauline Oliveros, Morton Feldman, and John Cage.\u003cbr\u003e From 1975 to 1977, he returned to New York, where he worked as an assistant to composer La Monte Young and received private lessons, and also worked as an assistant to video artist Shigeko Kubota and Nam June Paik. \u003cbr\u003eIn 1979, he founded and performed with the ensemble \u0026amp;The Orchestra of Excited Strings\u0026amp;, and studied composition with Alvin Lucier at Wesleyan University in Connecticut from 1980 to 1982 (MA, 1982). From 1983 to 1986, he lived in West Berlin and Budapest on an overseas project scholarship, and from 1987 to 1989, he lived in Liège, Belgium.\u003cbr\u003e He has lived in Berlin since 1989.\u003cbr\u003e In 1996 he taught media art at the University of Lüneburg, in 1998\/99 at the Kunsthochschule Berlin-Weißensee, and from 2001 to 2003 at the Hochschule der Bildenden Kunste Saar in Saarbrücken. \u003cbr\u003eIn 2009, he was appointed Professor of Media Art at the Muthesius Kunsthochschule in Kiel, Germany, where he taught until 2022. Since 2007, he has been a member of the Akademie der Kunste, the German Federal Academy of Arts, where he has been active.\u003cbr\u003e www.dreyblatt.net\u003cbr\u003e\u003cbr\u003e Franz Martin Olbrisch\u003cbr\u003e\u003cbr\u003e Born in Mullheim an der Ruhr, Germany in 1952, he trained as a surveyor and then studied composition at the Hochschule der Kunste in West-Berlin with Frank Michael Beyer from 1979 to 1985. \u003cbr\u003eFrom 1986 to 1992, he taught music theory at the Kirchenmusikschule der evangelischen Landeskirche Berlin-Brandenburg, and from 1988 to 2008, he lectured on composition and studio technique at the Berlin University of the Arts.\u003cbr\u003e From 1999 to 2004, he taught audio communication at the Technische Universitat Berlin and gave several lectures at the International Summer Course for New Music (Darmstadter Ferienkurse) of the International Festival of Contemporary Music in Darmstadt.\u003cbr\u003e In 2008, he was appointed professor of composition at the Dresden University of Music (Hochschule fur Musik Carl Maria von Weber), where he continues to teach and nurture students. \u003cbr\u003eAt the same time, he served as the director of the Dongguk University Electronic Music Studio until 2020, and as the vice president of the German branch of the International Society for Contemporary Music (ISCM) from 2011 to 2021.\u003cbr\u003e Since 2013, he has been serving as a member of the Saxon Academy of Arts in Germany.\u003cbr\u003e Franz Martin Olbrisch lives in Berlin and works on several projects with his wife, the video artist Beate Olbrisch (*1951).\u003cbr\u003e\u003cbr\u003e http:\/\/olbrisch-online.de\u003cbr\u003e\u003cbr\u003e Helga de la Motte-Haber\u003cbr\u003e\u003cbr\u003e Born in Ludwigshafen am Rhein, Germany in 1938, he studied psychology (Diplom) in Mainz, Germany and Vienna, Austria from 1957 to 1961.\u003cbr\u003e He then continued his studies in Hamburg, Germany, and taught at the Technische Universitat Berlin from 1968 to 1972. \u003cbr\u003e(Acquired German professorship in 1971) Starting as a professor at the Cologne University of Education (Padagogische Hochschule Koln) in 1972, he served as a professor of systems musicology at the Technical University of Berlin (Technische Universitat Berlin) from 1978 to 2005.\u003cbr\u003e In 1982, he co-founded the German Society for Music Psychology (Deutsche Gesellschaft fur Musikpsychologie).\u003cbr\u003e In 2015, he was awarded an honorary doctorate from the Hochschule fur Musik, Theater und Medien Hannover, Germany.\u003cbr\u003e Helga de la Motte-Haber, who lives in Berlin, has been dedicated to the study of sound art since 1980 and has written and edited numerous scholarly publications on the subject. \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 November 18, 2024\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 200 pages | 288g | 130*205*11mm\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 9791197785375\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 119778537X \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":43891738509354,"sku":"155641","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/87441e1e166cdb0ee66590b0045706d2.jpg?v=1765340460","url":"https:\/\/librairie.coreenne.fr\/en\/products\/155641","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}