{"product_id":"161399","title":"Art Mind Brain ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYFs053Pg3VnCN1WhW75k1lWzLLfn.png?v=1765006479\" 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 Art, Mind, Brain \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\/147064773\/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\u003eA new book by Nobel Prize winner and leading neuroscientist Eric Kandel\u003cbr\u003e A colorful blend of art and science\u003cbr\u003e Seven intellectual essays\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e When we look at a work of art, we often have an emotional response.\u003cbr\u003e But why they react that way is a complex question.\u003cbr\u003e World-renowned neuroscientist Eric Kandel seeks to establish a science of art appreciation based on psychology and biology.\u003cbr\u003e It concisely presents the relevant knowledge uncovered during the academic journey, while examining it specifically in the context of various works of art.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Beginning with the painters who dazzled Vienna, Austria in the early 20th century, the exhibition covers various trends in modern art, including the paintings of Chagall and Soutine, representing two branches of Jewish culture, and Cubism, which challenged the innate human perception of vision. \u003cbr\u003eWhile appreciating both familiar and unfamiliar masterpieces, the author consistently focuses on how art and science have influenced each other.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e In the process, it is revealed that the brain is a powerful creative machine, and why the ambiguity of modern painting is so fascinating.\u003cbr\u003e It also scientifically elucidates why the brain is drawn to portraits, how eroticism and aggression are closely linked, and what effect texture has on the brain.\u003cbr\u003e The author attempts to integrate art and science through the differences between abstract and figurative art, as well as the contrast between sculpture and painting.\u003cbr\u003e\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 introduction\u003cbr\u003e\u003cbr\u003e Chapter 1: Modernism in Vienna 1900\u003cbr\u003e The Origins of Modernism\u003cbr\u003e Characteristics of Viennese Modernism\u003cbr\u003e Vienna Medical School and Rokitansky's Innovation\u003cbr\u003e See the world of the unconscious\u003cbr\u003e Schnitzler, who criticized Freud\u003cbr\u003e Klimt and the Liberation of Female Sexuality \u003cbr\u003eChukerkandle Salon\u003cbr\u003e The Combination of Psychology and Art\u003cbr\u003e The brain cannot tolerate ambiguity.\u003cbr\u003e How do we recognize faces?\u003cbr\u003e Sensitive cells on the face\u003cbr\u003e About mirror neurons\u003cbr\u003e The emergence of a Jewish painters' group\u003cbr\u003e Enthusiasts, supporters, and buyers\u003cbr\u003e The Jews Who Made Vienna 1900\u003cbr\u003e Looking Back on 'The Long Shadow'\u003cbr\u003e\u003cbr\u003e Chapter 2: Shan Soutine's Existential Anxiety\u003cbr\u003e The Ten Commandments, Ashkenazi, and Mystic Debates\u003cbr\u003e 19th-century Jewish painters and the Paris School\u003cbr\u003e Soutine in contrast to Chagall\u003cbr\u003e Draw an animal carcass\u003cbr\u003e Soutine's distorted portrait\u003cbr\u003e Fascinating faces\u003cbr\u003e The Neuroscience of Facial Recognition\u003cbr\u003e Creating textures with paint\u003cbr\u003e Interaction of touch, sight, and emotion\u003cbr\u003e\u003cbr\u003e Chapter 3: Kokoschka, Schiele, and Klimt\u003cbr\u003e Fascinating but unattainable\u003cbr\u003e Anxiety and Eroticism\u003cbr\u003e Exaggerated facial expressions and brain responses\u003cbr\u003e Sensitivity to female sexuality\u003cbr\u003e The Interaction of Eroticism and Aggression\u003cbr\u003e Why sexuality is the pursuit of knowledge\u003cbr\u003e\u003cbr\u003e Chapter 4 Portrait Art and the Viewer's Role \u003cbr\u003eWhy are faces so special?\u003cbr\u003e A Brief History of Portrait Art\u003cbr\u003e Powerful images are ambiguous\u003cbr\u003e The illusion of 'pure eyes'\u003cbr\u003e The brain as a creative machine\u003cbr\u003e The Psychology and Biology of Facial Recognition\u003cbr\u003e A New Dialogue Between Science and Art\u003cbr\u003e\u003cbr\u003e Chapter 5: The Challenge of Cubism\u003cbr\u003e Going beyond conventional conversation\u003cbr\u003e Creativity of visual perception\u003cbr\u003e Cubism's attention to downward processing\u003cbr\u003e The evolution of Picasso's facial depictions\u003cbr\u003e How to Read the \"Moustache Man\" Painting\u003cbr\u003e\u003cbr\u003e Chapter 6: On Fragments\u003cbr\u003e A brief history of sculpture\u003cbr\u003e How does sculpture differ from painting?\u003cbr\u003e Cases\u003cbr\u003e\u003cbr\u003e Chapter 7: How Does Appreciating Abstract Art Differ?\u003cbr\u003e Neuroaesthetics of Abstract Art\u003cbr\u003e Measuring differences in subjective experience\u003cbr\u003e Three experiments on distance perception\u003cbr\u003e Expansion and connection of space and time\u003cbr\u003e\u003cbr\u003e Translator's Note\u003cbr\u003e Notes and References\u003cbr\u003e Search\u003cbr\u003e\n\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  \u003cdiv\u003eThe Viennese modernists confronted traditional attitudes and values ​​with new ways of thinking and emotions, questioning what constitutes reality and what lies beneath the apparent people, objects, and events.\u003cbr\u003e By exploring what lies beneath the surface, empty modernism presented an attitude that characterizes the world we live in today.\u003cbr\u003e --- p.20\u003cbr\u003e\u003cbr\u003e Klimt began to incorporate biological symbols into his work.\u003cbr\u003e The rectangle symbolized sperm, and the oval symbolized egg.\u003cbr\u003e We can see these symbols in Danae.\u003cbr\u003e A portrait of a Greek princess who was imprisoned by her father and conceived by Zeus in the form of a golden rain.\u003cbr\u003e If you look closely at the painting, you can see rectangles within the golden raindrops.\u003cbr\u003e Opposite Danae, ovals are visible.\u003cbr\u003e Embryo, a fertilized egg. \u003cbr\u003eKlimt shows Danae transforming sperm into the first stage of life through her reproductive power.\u003cbr\u003e --- p.38\u003cbr\u003e\u003cbr\u003e Gombrich extended Chris's concept of ambiguity to visual perception itself.\u003cbr\u003e By doing so, he realized that the brain is not simply a camera, but a creative device.\u003cbr\u003e The brain receives incomplete information from the outside world and completes it.\u003cbr\u003e Our brains evolved to do that.\u003cbr\u003e Many things we take for granted are hardwired into our brains through evolution.\u003cbr\u003e For example, our brain knows that the sun will always be overhead, no matter where we are.\u003cbr\u003e So we expect the light to come from above.\u003cbr\u003e Otherwise, our brains can be fooled.\u003cbr\u003e An example of this is an optical illusion.\u003cbr\u003e --- p.43\u003cbr\u003e\u003cbr\u003e Our brains are particularly adept at processing faces.\u003cbr\u003e Darwin pointed out that the face and the emotions it conveys are key to all human interaction. \u003cbr\u003eTo some extent, we judge whether we trust or distrust others based on their facial expressions when interacting with them.\u003cbr\u003e They also judge whether to approach or distance themselves from people of the same or opposite sex by looking at their appearance and facial expressions.\u003cbr\u003e --- p.52\u003cbr\u003e\u003cbr\u003e Facial recognition is difficult, but we can easily recognize hundreds of faces.\u003cbr\u003e It's even more recognizable when drawn as a cartoon.\u003cbr\u003e This is because our brains respond particularly well to faces with exaggerated features.\u003cbr\u003e Therefore, we are much more likely to recognize a cartoon of the Mona Lisa than the original painting of the Mona Lisa.\u003cbr\u003e Because the cartoon exaggerates the Mona Lisa's features.\u003cbr\u003e --- p.52\u003cbr\u003e\u003cbr\u003e Among the miraculous events in Hasidic folklore are animals taking flight, a scene that frequently appears in Chagall's work, and the artist himself is often shown flying. \u003cbr\u003eIn fact, the word Luftmensch is often used to describe Chagall, meaning someone who walks on air or whose mind is in another world.\u003cbr\u003e --- p.87\u003cbr\u003e\u003cbr\u003e Soutine rarely explicitly portrays Jewish life in his works.\u003cbr\u003e Moreover, unlike Chagall, there was no instance of depicting the mysticism and magic of Jewish thought.\u003cbr\u003e Instead, Soutine approached art from the opposite end of the Jewish ideological spectrum.\u003cbr\u003e It was preoccupied with the fundamental uncertainty and ontological anxiety that characterized the very existence of Jews in Europe and that became particularly evident in the early 20th century.\u003cbr\u003e --- p.91\u003cbr\u003e\u003cbr\u003e According to the concept of the principle of peak displacement, the artist not only captures the essence of the individual, but also attempts to amplify it through appropriate exaggeration, thereby more strongly activating the very neural mechanisms that would have been triggered by that person in real life. \u003cbr\u003e(Omitted) In Soutine's work, we can clearly see that the absence of perspective exaggerates the sense of depth and amplifies the colors of the faces he depicts.\u003cbr\u003e Moreover, following van Gogh's example, Soutine reveals an intuitive understanding of this principle by exaggerating the textural properties of the faces he paints.\u003cbr\u003e --- p.103\u003cbr\u003e\u003cbr\u003e Scientists have learned a lot about facial representations by studying the brains of people who cannot recognize faces.\u003cbr\u003e This symptom was first described by Jean-Martin Charcot in 1883, and was given a modern name, prosopagnosia, by Joachim Bodamer in 1947.\u003cbr\u003e This disorder is the result of damage to the inferior temporal gyrus.\u003cbr\u003e It may be congenital or may be caused by head injury or disease.\u003cbr\u003e About 10 percent of the population is born with some degree of prosopagnosia.\u003cbr\u003e --- p.109\u003cbr\u003e \u003cbr\u003eComputational models of vision suggest that some facial features are defined through contrast.\u003cbr\u003e The eye and forehead areas are examples.\u003cbr\u003e Regardless of lighting conditions, the eyes tend to be darker than the forehead.\u003cbr\u003e Computational models argue that such contrasting features send signals to the brain indicating the presence of a face.\u003cbr\u003e (Omitted) Then it was revealed that the cells respond to the contrast between facial features.\u003cbr\u003e Moreover, most cells were tuned to the contrast between specific pairs of features, with the largest number comparing whether the nose was brighter than either eye.\u003cbr\u003e --- p.111\u003cbr\u003e\u003cbr\u003e Modern brain science has revealed that some areas of the cortex, previously thought to be dedicated to visual information processing, are also activated by touch.\u003cbr\u003e Among them, the lateral occipital complex is particularly important.\u003cbr\u003e This cortical area responds to both visual and tactile sensations of the object.\u003cbr\u003e The texture of the object also activates neurons in a neighboring region, the medial occipital cortex. \u003cbr\u003eWhen an object is perceived by the eyes or hands.\u003cbr\u003e This is why we can easily identify and distinguish between various materials, such as skin, clothing, wood, and metal, even at a glance.\u003cbr\u003e --- p.115\u003cbr\u003e\u003cbr\u003e Today, neuroscientists are studying the \"fusion of aggression and sexuality\" that Freud observed in men and Klimt depicted in Judith.\u003cbr\u003e (Omitted) Anderson discovered that there is a nucleus, or neuronal cluster, in the hypothalamus that contains two groups of neurons.\u003cbr\u003e There is a group responsible for aggression and a group responsible for controlling sexual intercourse.\u003cbr\u003e About 20 percent of the neurons at the boundary between the two groups may be active during intercourse or aggression.\u003cbr\u003e --- p.139\u003cbr\u003e\u003cbr\u003e Cubism allowed painters to show that art could exist on a two-dimensional surface like canvas or paper in the same way that it exists in the unconscious mind—independently of nature, time, and space. \u003cbr\u003eThis new perspective forever changed the way the artist depicted the world before him.\u003cbr\u003e It also changed the way viewers viewed images, for example, by free-associating with clues such as the outline of the subject, related objects or words, and the title.\u003cbr\u003e --- p.176\u003cbr\u003e\u003cbr\u003e By eliminating perspective and full representation in his papier-collé works, Picasso not only dismantled the components of the bottom-up visual process, he invalidated the very premise on which the bottom-up process is based.\u003cbr\u003e As Gestalt psychologists connecting the broken lines, we scan the Cubist painting, examining it for recognizable outlines and objects.\u003cbr\u003e But our efforts are frustrated in the majority of works where broken lines abound. \u003cbr\u003eSuch works often require new bottom-up processing rules that do not exist at all, and must be supplemented by creative and extensive top-down processing.\u003cbr\u003e --- p.194\u003cbr\u003e\u003cbr\u003e One purpose of art is to allow us to experience aspects of life that we might not normally encounter.\u003cbr\u003e One way to do that is through empathy.\u003cbr\u003e Empathy is strongly expressed in the brain.\u003cbr\u003e When we look at Messerschmidt's head, we can sense what he is feeling.\u003cbr\u003e His head also activates our brain's biological motor system and mirror neuron system, which is responsible for imitation.\u003cbr\u003e So when we look at Messerschmidt's head, we experience the emotions he is describing from within.\u003cbr\u003e Our brain mimics his facial expressions.\u003cbr\u003e You may not show it outwardly, but you experience that feeling.\u003cbr\u003e --- p.221\u003cbr\u003e \u003cbr\u003eInterpretation level theory has shown that there is a two-way relationship between psychological distance and abstraction.\u003cbr\u003e Not only are psychologically distant objects and events represented more abstractly in our brains, but abstract interpretations of objects and events also feel more psychologically distant.\u003cbr\u003e This relationship suggests that psychological distance can be used to measure experiential differences in art viewers' subjective interpretations, as well as to quantify differences in the levels of representation that art evokes.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- p.242\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\u003eMasterpieces of modernism that have adorned art history,\u003cbr\u003e Crossing the Path Through the Eyes of a Neuroscientist\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e A new book by Nobel Prize winner and world-renowned neuroscientist Eric Kandel has been published.\u003cbr\u003e The original book was published in 2024, making him 95 years old when he published the book. \u003cbr\u003eThe theme is the integration of art and science, clearly revealing where his academic passion and vision ultimately lead.\u003cbr\u003e This book contains seven essays, each based on writings published at different times and places.\u003cbr\u003e These articles were mainly published between 2013 and 2015, and some were based on papers from 2020.\u003cbr\u003e This book has been newly organized from articles published in various formats, including symposiums, lectures, exhibition catalogs, review collections, books, and theses.\u003cbr\u003e\u003cbr\u003e The author examines masterpieces of modern art within the context of intellectual history, thereby contributing to an understanding of the human brain.\u003cbr\u003e The journey, which began in Vienna, Austria in the early 20th century, passes through the works of Chagall and Soutine, two representatives of Jewish culture, and then continues to Viennese Kokoschka, Egon Schiele, and Klimt. \u003cbr\u003eThrough this, the core themes of the research, the concept of ‘the viewer’s share’ and ‘the neuroscience of the face’, are each deepened through the cases of Picasso and portraits.\u003cbr\u003e Furthermore, the author goes beyond visual perception and continues his exploration of tactile perception through the contrast between sculpture and painting.\u003cbr\u003e It is significant that this whole story culminates in the design of a scientific experiment on the appreciation of abstract art.\u003cbr\u003e\u003cbr\u003e Attempts to connect art and science can be made in many ways, but Eric Kandel's starting point is fin-de-siècle Vienna, Austria.\u003cbr\u003e At that time, the Enlightenment, stimulated by physics, was fading, and modernism, stimulated by biology and medicine, was rising.\u003cbr\u003e The Vienna Modernists \"established an attitude of attempting to integrate and fuse knowledge on the basis of science, with the view that we ourselves are not truly rational beings but are driven by unconscious sexual and aggressive impulses.\"  \u003cbr\u003eKandel draws many of his themes from contemporary painters, psychoanalysts, and art historians.\u003cbr\u003e Consider, for example, the concept of the “viewer’s share,” developed by Ernst Kries and Ernst Gombrich, following Alois Riegl’s insight.\u003cbr\u003e This means that a work of art is not complete without the perceptual and emotional participation of the viewer, that is, the response of the recipient. Kandel concretely reveals this principle through examples of Viennese painters and Picasso, while developing the 'viewer's share', which had remained at the psychological level, into a principle of brain science.\u003cbr\u003e In the process, it becomes clear that our brains are powerful creative machines, and why the ambiguity of modern painting is so captivating.\u003cbr\u003e\u003cbr\u003e This book contains several interesting stories that arise at the intersection of art and brain science. \u003cbr\u003eThe reason humans have been so fascinated by portraits for thousands of years may be because of the presence of a facial region in the brain.\u003cbr\u003e These cells are sensitive to changes in the position, size, and direction of gaze of the face, as well as the shape of each part of the face (which became the motif of the cover of the Korean edition).\u003cbr\u003e Also, the fusion of eroticism and aggression in Klimt's paintings may have a strange allure because it stimulates a group of cells in the hypothalamus of our brain.\u003cbr\u003e Because fight cells and sex cells exist adjacent to each other, some areas of intersection arise, and as a result, sex and violence become intertwined in human behavior.\u003cbr\u003e Such reductionist insights, which we encounter in books, transcend vague metaphysical thinking and persuasively open new horizons for human understanding.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e“The author not only excels at explaining difficult and complex scientific ideas and data in easy-to-understand language, but is also well-versed in 20th-century art and draws on an impressive range of art historical literature.” _Joseph E.\u003cbr\u003e LeDoux (author of Synapses and the Self) and Nancy Princenthal (author of Unspeakable Acts)\u003cbr\u003e\u003cbr\u003e “A vivid and erudite exploration of the experience of art.” _Kirkus Reviews\u003cbr\u003e\u003cbr\u003e “It’s elaborate.\u003cbr\u003e “It provides valuable insights for scholars seeking meaningful discussions about the complex relationship between humans and art.” _J.E.\u003cbr\u003e Perez, Choice Reviews \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 May 28, 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 280 pages | 494g | 152*225*16mm\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 9791189336837\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 1189336839 \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":43889881120810,"sku":"161399","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/f38ff9117da7e5b9e6f8fa6ab39089a0.jpg?v=1765274902","url":"https:\/\/librairie.coreenne.fr\/en\/products\/161399","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}