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Rare antique guitar from ~1830 built in the style of a Viennese Stauffer guitar.This guitar is really a rarity. The smaller sound hole, which is ...

Johann Georg Stauffer style ~1900 extremely remarkable guitar with exceptional sound. This guitar was built in the area of Markneukirchen in Germ...

Rare antique guitar from ~1820 built in the style of a Viennese Stauffer guitar.This guitar is really a rarity. The smaller sound hole, which is ...

eBay Bruno Johann Georg Kessler sized 3/4 violin with case. West Germany. Cracked, needs to be re-glued. Violin 21 x 7.25 inch. (Unfortunately ...

Johann Georg Kessler sized 3/4 violin with case and bow. West Germany. Violin 22 inch. Bow 27 inch. The violin, bow, and case are all in very goo...

This 1952 study is an investigation into the nature of language that focuses on reinterpreting Hamann's theories of language in light of twentieth century linguistic philosophy. One of the first studies of Hamann to be presented in English, it poses many questions of universal concern and interest.

The first attempts to mechanize the production of numerical tables were remarkable in conception coming at a time when a "computer" was in fact a person rather than a machine. This book is the first to provide a unified picture of the difference engines that were the mechanical predecessors of today's digital computer, to emphasize them as part of the history of numerical tables, and to give equal weight to the technical and social aspects of their creation.Lindgren analyzes the difference engines of Müller and Babbage and the mathematical principles on which they are based, tells the story of how Georg and Edvard Scheutz learned about Babbage's engine, discusses the design and operation of the Scheutzs' machine, and tells why Babbage failed technically and the Scheutzes failed commercially. The often detailed technical descriptions bring to light the inventors' own ways of thinking as work on the engines progressedMichael Lindgren is Curator at the National Museum of Science and Technology in Stockholm.

Frachtrecht I Frachtrecht I German Edition

This 1952 study is an investigation into the nature of language that focuses on reinterpreting Hamann's theories of language in light of twentieth century linguistic philosophy. One of the first studies of Hamann to be presented in English, it poses many questions of universal concern and interest.

THE PROBLEM OF THE INTERPRETATION OF HAMANN Johann Georg Hamann is an intriguing but poorly known figure in the contemporary intellectual world. Yet this is the man whom Kierkegaard saluted as "Emperor!", whose writings were to have been arranged for publication by none other than Goethe himself, and whom Dilthey numbered among the primordial figures in the rise of modern historical consciousness. There are reasons for the persistence of this general ignorance. Hamann is deep. And, in addition, there is his forbidding style. The readers of Kierkegaard and Dilthey, two other giants who them­ selves achieved late recognition, have not had to face this kind of imposing obstacle. Not only does Hamann expect his readers to handle themselves in deep water, but to intuit their way between his ideas which bob up like islands with no visible connection between them. Like Kierkegaard too, Hamann has had his troubles with the public. He himself referred to the hope that he would be understood by a "better posterity". In fact only the last few years have seen the printing of some of his more controversial writings, in particular his theories on the nature of human sexuality.

Created between the sixteenth and eighteenth centuries, the ukiyo-e woodcut has been counted among the most influential Japanese contributions to world art since the late nineteenth century. Painters like Monet and Van Gogh succumbed to their charm, followed by numerous artists and collectors all over the world. The subject of this publication are two of the most important German ukiyo-e collections, which present all of the great artists and themes of this genre, including theatre prints, scenes from the red light districts, and topographical landscapes ? from the early phases through to the classic masters of courtesan and actor?s portraits, Utamaro and Sharaku, and including the great names of later years like Hokusai and Hiroshige. Over 240 woodcuts offer a representative survey of the most important chapters of this great Japanese art form.

VII, 234 S. OLn. mit OU. Einband minimal berieben und bestoßen. Buchblock leicht schief. Ansonsten sehr gut erhalten. 3484180153 Sprache: Deutsch Gewicht in Gramm: 1200

In this biography -- translated for the first time into English -- German theologian Oswald Bayer describes the life and work of journalist-theologian Johann Georg Hamann (1730–1788). At a time when it seemed that the forces of secularization were attempting to claim the future, Hamann churned out small publications aimed at undermining the Enlightenment zeitgeist, turning its assumptions upside down and skewering its pretensions. Although largely forgotten until recent times, Hamann as radical dissenter -- whom Goethe called the "brightest man of his age" -- remains relevant today, as Bayer shows in this book.

THE PROBLEM OF THE INTERPRETATION OF HAMANN Johann Georg Hamann is an intriguing but poorly known figure in the contemporary intellectual world. Yet this is the man whom Kierkegaard saluted as "Emperor!", whose writings were to have been arranged for publication by none other than Goethe himself, and whom Dilthey numbered among the primordial figures in the rise of modern historical consciousness. There are reasons for the persistence of this general ignorance. Hamann is deep. And, in addition, there is his forbidding style. The readers of Kierkegaard and Dilthey, two other giants who them­ selves achieved late recognition, have not had to face this kind of imposing obstacle. Not only does Hamann expect his readers to handle themselves in deep water, but to intuit their way between his ideas which bob up like islands with no visible connection between them. Like Kierkegaard too, Hamann has had his troubles with the public. He himself referred to the hope that he would be understood by a "better posterity". In fact only the last few years have seen the printing of some of his more controversial writings, in particular his theories on the nature of human sexuality.

The first attempts to mechanize the production of numerical tables were remarkable in conception coming at a time when a "computer" was in fact a person rather than a machine. This book is the first to provide a unified picture of the difference engines that were the mechanical predecessors of today's digital computer, to emphasize them as part of the history of numerical tables, and to give equal weight to the technical and social aspects of their creation.Lindgren analyzes the difference engines of Müller and Babbage and the mathematical principles on which they are based, tells the story of how Georg and Edvard Scheutz learned about Babbage's engine, discusses the design and operation of the Scheutzs' machine, and tells why Babbage failed technically and the Scheutzes failed commercially. The often detailed technical descriptions bring to light the inventors' own ways of thinking as work on the engines progressedMichael Lindgren is Curator at the National Museum of Science and Technology in Stockholm.

Johann Georg Albrechtsberger (1736-1809) was one of the most famous musical theorists of the 18th century, as well as an organ player and a prolific composer. As a choirboy, he learned counterpoint, figured bass and organ from the local Augustinians in Vienna. After studying at Melk Abbey (from 1749) and at the Jesuit seminary in Vienna (1754), he was employed as an organist at Raab in 1755, at Maria Taferl (in 1757), and at Melk (frm 1759 to 1765). It was at Melk that Emperor Joseph II took not

(SACD-HYBRID) This second SACD by Georg Gulyas features his tribute on guitar to the important works of Johann Sebastian Bach. Includes "The Chaconne" and "The Suite in E Minor" and the "Suite in C Minor". The Chaconne was composed in C"then north of Leipzig about 1720 and forms part of the Partita No. 2 in D minor for solo violin. Numerous composers have paid homage to this work by transcribing it for every possible instrument and ensemble. The Suite in E Minor and the Suite in C Minor, compose

Composer: Johann Georg AlbrechtsbergerConcertoPublisher: Editio Musica BudapestCategory: ClassicalSeries: EMBFormat: PaperbackTrombone and pia...

Composer: Johann Georg Albrechtsberger Concerto per l'arpa, 2 corni ed archi Score Publisher: Editio Musica Budapest Category: Classical Serie...

Composition Studies: Joseph Haydn, Johann Georg Albrechtsberter and Antonio SalieriBeethoven Complete Edition with Critical Report, Series 13, Vol....