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Some of the most significant currents in modern intellectual and cultural history pass by way of Mary Shelley's Frankenstein (1818). By choosing in her book as a guiding theme the idea of the scientist who creates a monster, she both revives for the Romantic period the traditional link between scientific experiment and natural magic, and makes her own contribution to the debate on the difference between "creation" and "production" that was flourishing among the natural scientists of her time.Frankenstein thus signals a remarkable integration of the broad issues of contemporary science and culture within the form of a popular fiction. In this way, it stands at the head of a productive tendency which is marked, over the coming century, by related works like Bram Stoker's Dracula and H. G. Wells's The Island of Doctor Moreau. Common to all these works is a fascination with the ethics of creation, and the phenomenon of monstrosity, which provokes interesting questions about the place of the monster in Western visual culture.

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This work sets out to explore the history of competitive rowing on the River Bann in Coleraine, County Londonderry, N.I. from 1841 until 1987. An extensive amount of original material has been collated by Keith Ferguson and Ronnie Gamble. This material has been used to portray that history on the River Bann and much further afield as the skill and reputation of the Bann rowers evolved.

This work sets out to explore the history of competitive rowing on the River Bann in Coleraine, County Londonderry, N.I. from 1841 until 1987. An extensive amount of original material has been collated by Keith Ferguson and Ronnie Gamble. This material has been used to portray that history on the River Bann and much further afield as the skill and reputation of the Bann rowers evolved.

A companion to Midway, this is the second volume of letters of Ian Hamilton Finlay (1925-2006), the leading Scottish poet, artist, sculptor, and garden designer. His garden at Stonypath, now called "Little Sparta" has been described as "the only truly original garden created since 1945."These letters to and from Finlay's friend, the English poet and scholar Stephen Bann, center on the initial development of the garden near Edinburgh. They cover Finlay's turn away from poetry towards sculpture and garden design and the thinking behind, and consequences of, this development.

Seamus Heaney, the great Irish poet, made a significant contribution to classical reception in modern poetry; though occasional essays have appeared in the past, this volume is the first to be wholly dedicated to this perspective on his work. Comprising literary criticism by scholars of both classical reception and contemporary literature in English, it includes contributions from critics who are also poets, as well as from theatre practitioners on their interpretations and productions of Heaney's versions of Greek drama; well-known names are joined by early-career contributors, and friends and collaborators of Heaney sit alongside those who admired him from afar.The papers focus on two main areas: Heaney's fascination with Greek drama and myth - shown primarily in his two Sophoclean versions, but also in his engagement in other poems with Hesiod, with Aeschylus' Agamemnon, and with myths such as that of Antaeus - and his interest in Latin poetry, primarily that of Virgil but also that of Horace; a version of an Horatian ode was famously the vehicle for Heaney's comment on the events of 11 September 2001 in 'Anything Can Happen' (District and Circle, 2006). Although a number of the contributions cover similar material, they do so from distinctively different angles: for example, Heaney's interest in Virgil is linked with the traditions of Irish poetry, his capacity as a translator, and his annotations in his own text of a standard translation, as well as being investigated in its long development over his poetic career, while his Greek dramas are considered as verbal poetry, as comments on Irish politics, and as stage-plays with concomitant issues of production and interpretation. Heaney's posthumous translation of Virgil's Aeneid VI (2016) comes in for considerable attention, and this will be the first volume to study this major work from several angles.

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Ian Hamilton Finlay (1925–2006) was one of Scotland's leading twentieth-century public intellectuals, and famously one of its most brilliant and combative correspondents. His letters raise issues of particular and widespread interest both within Scotland and further afield. His correspondence with Stephen Bann, the English poet and academic, have a very special place in this context. These letters present in a clear and commensurable form the development of his ideas about poetry and art, and increasingly about sculpture and gardening, over this critical five-year period of his creative life.The letters begin when Bann was still a student at Cambridge, and Finlay was living in considerable hardship in Edinburgh, though he already had a significant international reputation as a poet. They reveal in fascinating and intimate detail the poet's developing creative process, and also record his often turbulent relationship to the worlds of literature, art, and critical journalism. When he settles in Lanarkshire, he begins to develop the ideas that will result in the creation of the world-famous sculpture garden known as Little Sparta.This book, edited, introduced, and annotated by Bann himself, is a unique and compelling self-portrait of the man who is now recognized not only as a great poet, but also as a major artist and one of the most original garden designers of modern times.Stephen Bann is a poet, historian, and cultural critic. He is an emeritus professor of the history of art at Bristol University, and the author of numerous books and articles.

Ian Hamilton Finlay (1925–2006) was one of Scotland's leading twentieth-century public intellectuals, and famously one of its most brilliant and combative correspondents. His letters raise issues of particular and widespread interest both within Scotland and further afield. His correspondence with Stephen Bann, the English poet and academic, have a very special place in this context. These letters present in a clear and commensurable form the development of his ideas about poetry and art, and increasingly about sculpture and gardening, over this critical five-year period of his creative life.The letters begin when Bann was still a student at Cambridge, and Finlay was living in considerable hardship in Edinburgh, though he already had a significant international reputation as a poet. They reveal in fascinating and intimate detail the poet's developing creative process, and also record his often turbulent relationship to the worlds of literature, art, and critical journalism. When he settles in Lanarkshire, he begins to develop the ideas that will result in the creation of the world-famous sculpture garden known as Little Sparta.This book, edited, introduced, and annotated by Bann himself, is a unique and compelling self-portrait of the man who is now recognized not only as a great poet, but also as a major artist and one of the most original garden designers of modern times.Stephen Bann is a poet, historian, and cultural critic. He is an emeritus professor of the history of art at Bristol University, and the author of numerous books and articles.

A companion to Midway, this is the second volume of letters of Ian Hamilton Finlay (1925-2006), the leading Scottish poet, artist, sculptor, and garden designer. His garden at Stonypath, now called "Little Sparta" has been described as "the only truly original garden created since 1945."These letters to and from Finlay's friend, the English poet and scholar Stephen Bann, center on the initial development of the garden near Edinburgh. They cover Finlay's turn away from poetry towards sculpture and garden design and the thinking behind, and consequences of, this development.

The Ordnance Survey Memoirs are a uniquely detailed source for the history of the northern half of Ireland immediately before the Great Famine. They were written in the 1830s to accompany the Ordnance Survey maps, but were not published at the time. In these new editions they act as a 19th century Domesday book and are essential to the understanding of the cultural heritage of their communities. They document the landscape and situation, buildings and antiquities, land-holdings and population, and employment and livelihood of the parishes. This volume contains the Memoirs for four parishes in the north-east of the county, including the major center of Coleraine and towns of Portrush and Portstewart, as well as the mouth of the Bann.

We have been an authorized Washburn Dealer for over 20 years. About 8 years ago we acquired the remaining stock of the Nuno Bettencourt Dealer Bann...

This item is printed on demand - it takes 3-4 days longer - Neuware -Marwan Hassans Liebe zu Bambusflöten begann vor 30 Jahren in Ägypten. Reisende Flötenspieler kamen damals durch die Dörfer und zogen besonders die Kinder in ihren Bann. Fasziniert vom Klang begann auch Marwan mit dem Spielen der Nay. Sein Interesse wuchs und bald begann er selbst verschiedene Bambusflöten zu bauen. Ende 1999 ließ sich der Flötenbauer in Deutschland nieder und sehr bald regte sich bei ihm der Wunsch, seine Leidenschaft und seine Erfahrungen zu teilen. So entstanden einige Bücher und Websites zum Bau und Spiel einzelner Bambusflöten.In diesem Buch beginnt der Autor damit, dem Leser mit anschaulichen Detailbildern das Spielen und Bauen der Kawala, des ältesten Blasinstrumentes der Welt, zu erklären. Sie ist insofern für Musiker im Westen interessant, weil sie sehr einfach in Dur oder Moll gestimmt werden kann. Es gibt kein anderes Blasinstrument, welches den orientalischen Sound so einfach in westliche Musik integrieren kann!Aufbauend darauf führt er den Leser in die Welt der orientalischen Musik und Tonleitern ein und schreibt eine ausführliche Spiel- und Bauanleitung zur Nay-Flöte, welche bereits seit ca. 5000 Jahren dokumentiert ist. Die Nay ist eine altägyptische Entwicklung der Kawala und ist heute ein Hauptinstrument arabischer, persischer und türkischer Musik. Auch in Europa findet sie immer mehr Anhänger.Die Besonderheit dieses Buches liegt darüber hinaus darin, dass der Flötenbauer das Stimmen von Bambusflöten im allgemeinen wie in keinem anderen deutschsprachigen Werk, sehr ausführlich beschrieben hat. Somit ist dieses Buch eine hilfreiche Lektüre für jeden der Flöten aus Bambus bauen will, egal ob es sich dabei um eine Querflöte, Shakuhachi, Kawala, Nay oder sonstige Flöte handelt. 144 pp. Deutsch

Neu -Die Geschichte von Robinson Crusoe, der auf einer einsamen Insel um das nackte Überleben kämpft, zog Generationen von Lesern in ihren Bann und hat bis heute nichts von ihrer Faszination verloren. In einer hochwertig ausgestatteten Sonderedition der berühmtesten Abenteuerklassiker läßt sich teilhaben am wohl bekanntesten Schiffbruch der Literaturgeschichte. 1468 pp. Deutsch

Neuware -Pierre Guyotat vertritt eine literarische Extremposition, für die es kein Beispiel gibt. Sein zweites großes Erzählwerk »Eden, Eden, Eden« entstand 1970 und wurde sofort nach seiner Veröffentlichung als pornographisch verboten. Obwohl sich namhafte Intellektuelle für das Buch einsetzten, wurde der Bann erst 1981 unter Mitterrand wieder aufgehoben. In buchstäblich einem einzigen Satz entfaltet sich eine wüstenhafte, apokalyptische Kriegslandschaft irgendeines unbeendbaren Bürgerkriegs ohne jegliche Moral (und also auch ohne das Böse). Jede Handlung geht unter im Ineinanderfließen von Mikroerzählungen, in denen Frauen, Kinder, Tiere, Männer, Junge, Alte, Soldaten, Huren multiplen Obszönitäten, Vergewaltigungen, Morden unterworfen sind. All das findet in einer triumphierenden Sprache seine literarische Form, die nicht zwischen Gewalt und Lust, Schönheit und Grausamkeit, Mensch und Tier trennt und in der die Frage nach Opfern und Tätern ebenso demonstrativ wie schockierend unwichtig ist. 334 pp. Deutsch

In Romanticism and the Rise of History, Bann argues that history came of age in Europe during the period following the French Revolution through the end of the nineteenth century, becoming an object of widespread desire. As one perhaps mildly astonished scholar noted later, it was a time when "the most simple-minded farmhand" was "able to distinguish an old belfry from a new one," and, Bann might add, perceive value in the old one.To draw the reader into his exploration of the nineteenth century's "discovery of history," Bann presents twenty-five images from the period - engravings, oil paintings, sculptures, watercolors - that appear to both represent and interact with the past. Does the suit of armor standing at Walter Scott's shoulder in Sir John Watson Gordon's portrait validate the image of the author as rightful custodian of the past and its relics, or is it Scott who through his imaginative interpretation of history imbues this shell of knighthood with lasting significance?

Stephen Bann examines the arguments for the centrality of French modernist painting. He begins by focusing particularly on the notion of the modernist break, as it has been interpreted with regard to painters like Manet and Ingres. He argues that ‘curiosity’, with its origins in the seventeenth-century world-view can be a valid concept for understanding some aspects of contemporary art that contest the modern, suggesting ways of sidetracking the modern by adopting a lengthier historical view.

In Romanticism and the Rise of History, Bann argues that history came of age in Europe during the period following the French Revolution through the end of the nineteenth century, becoming an object of widespread desire. As one perhaps mildly astonished scholar noted later, it was a time when "the most simple-minded farmhand" was "able to distinguish an old belfry from a new one," and, Bann might add, perceive value in the old one.To draw the reader into his exploration of the nineteenth century's "discovery of history," Bann presents twenty-five images from the period - engravings, oil paintings, sculptures, watercolors - that appear to both represent and interact with the past. Does the suit of armor standing at Walter Scott's shoulder in Sir John Watson Gordon's portrait validate the image of the author as rightful custodian of the past and its relics, or is it Scott who through his imaginative interpretation of history imbues this shell of knighthood with lasting significance?

A powerful new collection by the bestselling translator of Beowulf.In the finland of perch, the fenland of alder, on airThat is water, on carpets of Bann stream, on holdIn the everything flows and steady go of the world.--from "Perch"Seamus Heaney's new collection travels widely in time and space, visiting the sites of the classical world and revisiting the poet's childhood: rural electrification and the light of ancient evenings are reconciled within the orbit of a single lifetime. This is a book about origins (not least, the origins of words) and oracles: the places where things start from, the ground of understanding -- whether in Arcadia or Anahorish, the sanctuary at Epidaurus or the Bann valley in County Derry.Electric Light ranges from short takes to conversation poems. The pre-Socratic wisdom that everything flows is held in tension with the elegizing of friends and fellow poets. These gifts of recollection renew the poet's calling to assign things their proper names; once again Heaney can be heard extending his word hoard and roll call in this, his eleventh collection.

Neuware -Tot und doch voller Leben seid Ihr längst fern der Gnade. Folgt dem Pfad ins Zwischenland hinter dem Nebelmeer und unterwerft Euch dem Eldenring. Werdet der neue Eldenfürst.Seit seiner Veröffentlichung zieht ELDEN RING mit seiner überwältigenden Welt Spieler in seinen Bann. Weite und vielfältige Areale, riesige Dungeons, furchterregende Feinde und prächtige Ausrüstungsgegenstände machen das Zwischenland zu dem Wunder, das es ist. Das erste von zwei Artbooks zum vielfach ausgezeichneten Videospiel ermöglicht mit seinen Artworks und Konzeptillustrationen Videospiel- und Fantasy-Fans noch tiefer in die bezaubernde, aber auch bedrohliche Welt von ELDEN RING einzutauchen. 429 pp. Deutsch