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Neuware -Dreizehn Jahre lang, von 1927 bis zu seinem Tod 1940, arbeitete Benjamin an dem als Hauptwerk geplanten Buch über Paris, dem sogenannten Passagenwerk: einer materialen Geschichtsphilosophie des 19. Jahrhunderts. 1380 pp. Deutsch

Neuware - Belgische Strandkabinen, deutsche Fassaden, britische Badearchitektur und europäische Untergrundbahnen - in den hier gezeigten zehn typologischen Serien untersucht Götz Diergarten das Erscheinungsbild alltäglicher Architekturen. Die vordergründige Banalität von Putz- und Klinkerimitat, Fenstern, Garagentoren und einfachen Baukörpern verwandelt sich bei ihm in ihrer fotografischen Reihung zu einer Typologie der Alltagskultur. Seine Werke sind geprägt vom klaren, dokumentarischen Stil seines Lehrers Bernd Becher, dem Mitbegründer der Düsseldorfer Photoschule. Häuserfassaden, Strandhütten, Industriearchitektur sowie U-Bahntunnel werden nach strengen bildnerischen Vorgaben aufgenommen: frontale Ansicht, diffuses Licht und enger Ausschnitt - lediglich das Motiv variiert. Diergartens Fotobilder besitzen einerseits einen streng dokumentarischen Charakter, andererseits bestechen sie durch ihre malerische Qualität, die durch das Zusammenspiel von Abstraktion und Farbigkeit mit großer suggestiver Kraft zur Geltung kommt.Der Band erscheint anlässlich der Ausstellung Götz Diergarten - PASSAGEN Fotobilder 1993 - 2013 im Forum Alte Post in Pirmasens und enthält mit den Serien Quinéville, Binz-Rügen und Pirmasens bisher noch nicht publizierte Arbeiten, wobei die letztere extra für die Ausstellung aufgenommen wurde.

Neuware - 'Wo ein Widerspruch laut wird, dort, meint man, sei etwas falsch, statt zu begreifen, dass dort, wo kein Widerspruch vorliegt, etwas falsch sein muss.' In diesem Satz spricht sich Goldschmidts Kernthese aus. Wird die wissenschaftlich notwendige Widerspruchsfreiheit verabsolutiert, so wird sie zur jeden Widerspruch totalisierend ausschließenden Ideologie und damit zur Unfreiheit selbst.Die Dialogik formuliert in wissenschafts- wie gesellschaftskritischer Absicht die Forderung der 'Freiheit für den Widerspruch'. In entschiedener Abhebung von allen pandialogistischen und kommunikationstheoretischen Ansätzen besteht Goldschmidt auf der vollen Ebenbürtigkeit jeden Gegenübers, das zum Dialog herausfordert. Statt des immer noch vorherschenden Ich/Du-Gleichgewichts geht es der Dialogik um das Entweder-Und-Oder des Du/Du-Gleichgewichts als so unaufhebbarer Widerspruch, den bewusst auszuleben - anstatt fragwürdiger Einheit - kritische Einigkeit heraufführt.

Wer auf Wiederholungen aufmerksam wird, dem erschließt sich eine Landschaft: Vergangenes und Gegenwärtiges treten in Relation zueinander; zwischen ihnen entstehen Nachbarschaften, die zuvor nicht da waren. Wiederholungen treten dabei nicht nur als Sinn- und Strukturphänomene auf, sondern schaffen Passagen zwischen Sinn und Präsenz, bringen auch Latenzeffekte hervor. Im Zentrum der Untersuchung stehen die Erscheinungsformen der Wiederholung und ihre Effekte in der tschechischen und slowakischen Lyrik der Latenzzeit 1955–1965. Wiederholungen in und zwischen Texten – Permutationen und Variationen, Zitaten und Anspielungen, Selbstzitaten und Textvarianten, Nuancen und Ähnlichkeiten – bilden hier eine virtuelle Gesamtheit, im Rahmen derer nach einer Poetik der Wiederholung gesucht wird.

XI, 195 S. Neuwertiges Ex. / Fine Copy // In dieser Studie zeigt Joel B. Kemp auf, dass durch die Konzentration auf juristische Symbolik und Diktion in Hesekiel 133 zusätzliche Klarheit für die Bedeutung, Funktion und innere Logik mehrerer Passagen entsteht. Er zeigt auch, dass die Autoren von Hesekiel rechtliche Elemente verwenden, um die Identität der Judäer nach der Eroberung durch die Babylonier zu beschreiben. ISBN: 9783161565793 Sprache: Englisch Gewicht in Gramm: 322

Wer auf Wiederholungen aufmerksam wird, dem erschließt sich eine Landschaft: Vergangenes und Gegenwärtiges treten in Relation zueinander; zwischen ihnen entstehen Nachbarschaften, die zuvor nicht da waren. Wiederholungen treten dabei nicht nur als Sinn- und Strukturphänomene auf, sondern schaffen Passagen zwischen Sinn und Präsenz, bringen auch Latenzeffekte hervor. Im Zentrum der Untersuchung stehen die Erscheinungsformen der Wiederholung und ihre Effekte in der tschechischen und slowakischen Lyrik der Latenzzeit 1955–1965. Wiederholungen in und zwischen Texten – Permutationen und Variationen, Zitaten und Anspielungen, Selbstzitaten und Textvarianten, Nuancen und Ähnlichkeiten – bilden hier eine virtuelle Gesamtheit, im Rahmen derer nach einer Poetik der Wiederholung gesucht wird.

Walter Benjamin's magnum opus was a book he did not live to write. In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen-Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose "materialist metaphysics" he admired) were the prototype, the 19th century "ur-form" of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time—from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons—as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south—Moscow Paris, Berlin-Naples—and shows how such thinking in coordinates can explain his understanding of "dialectics at a standstill." She argues for the continuing relevance of Benjamin's insights but then allows a set of "afterimages" to have the last word. The Dialectics of Seeing is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy.

Walter Benjamin's magnum opus was a book he did not live to write. In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose "materialist metaphysics" he admired) were the prototype, the 19th century "ur-form" of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time―from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons―as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south―Moscow Paris, Berlin-Naples―and shows how such thinking in coordinates can explain his understanding of "dialectics at a standstill." She argues for the continuing relevance of Benjamin's insights but then allows a set of "afterimages" to have the last word.

Neuware - Die Tagebücher Virginia Woolfs geben uns ein lebhaftes und interessantes Bild vom literarischen London der Jahre 1915 bis 1941 und sind von einer ganz eigenen poetischen Schönheit - der nie versiegende, alles mitreißende Gedankenstrom wird immer wieder von nachdenklichen, reflektierenden Passagen unterbrochen.Der erste Band der Tagebücher setzt kurz vor der Veröffentlichung des Erstlingswerkes 'Die Fahrt hinaus' ein. Von Aufbau und Gründung des Verlages 'The Hogarth Press' berichten die Tagebücher ebenso wie von der Londoner Gesellschaft, vor allem Virginia Woolfs Bekanntenkreis - den Künstlern und Schriftstellern der 'Bloomsbury Group'. Vor dem Hintergrund der Auswirkungen des Ersten Weltkrieges thematisiert Virginia Woolf ihr eigenes literarisches Schaffen, ihre Leseerfahrungen und beschreibt zahllose kleine Vorkommnisse des Alltags, vom Zahnarztbesuch bis zum Lunchmenu.

"To great writers," Walter Benjamin once wrote, "finished works weigh lighter than those fragments on which they labor their entire lives." Conceived in Paris in 1927 and still in progress when Benjamin fled the Occupation in 1940, The Arcades Project (in German, Das Passagen-Werk) is a monumental ruin, meticulously constructed over the course of thirteen years--"the theater," as Benjamin called it, "of all my struggles and all my ideas." Focusing on the arcades of nineteenth-century Paris-glass-roofed rows of shops that were early centers of consumerism--Benjamin presents a montage of quotations from, and reflections on, hundreds of published sources, arranging them in thirty-six categories with descriptive rubrics such as "Fashion," "Boredom," "Dream City," "Photography," "Catacombs," "Advertising," "Prostitution," "Baudelaire," and "Theory of Progress." His central preoccupation is what he calls the commodification of things--a process in which he locates the decisive shift to the modern age.The Arcades Project is Benjamin's effort to represent and to critique the bourgeois experience of nineteenth-century history, and, in so doing, to liberate the suppressed "true history" that underlay the ideological mask. In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.

Die hier zum ersten Mal veroffentlichte Abhandlung gehort zu den bedeutendsten Stucken des Berliner Schelling-Nachlasses. Sie enthalt auf 57 Handschriftenseiten eine geschlossene Interpretation ausgewahlter Textstellen von Platons Timaios und einschlagiger Passagen des Philebos (Bipontiner Platonausgabe). Die Abhandlung eroffnet erstmals genaueren Einblick in die Genesis der schon fruher als bisher bekannt einsetzenden naturphilosophischen Interessen und Fragestellungen Schellings. In seinem Beitrag Genesis und Materie behandelt Hermann Krings die Bedeutung der Timaeus-Handschrift fur Schellings Naturphilosophie. This essay, published here for the first time, is one of the most important works from Schellings literary estate in Berlin. On 57 handwritten pages, it contains a cohesive interpretation of selected passages from Platos Timaeus and relevant passages from Philebus (Bipontine edition of Plato). For the first time, this essay provides more precise insight into the origins of Schellings interest in natural philosophy and questions pertaining to it, which began earlier than was believed up to now. In his contribution Genesis und Materie (Genesis and Matter), Hermann Krings deals with the significance of the Timaeus-transcript for Schellings natural philosophy.

"To great writers," Walter Benjamin once wrote, "finished works weigh lighter than those fragments on which they labor their entire lives." Conceived in Paris in 1927 and still in progress when Benjamin fled the Occupation in 1940, The Arcades Project (in German, Das Passagen-Werk) is a monumental ruin, meticulously constructed over the course of thirteen years--"the theater," as Benjamin called it, "of all my struggles and all my ideas." Focusing on the arcades of nineteenth-century Paris-glass-roofed rows of shops that were early centers of consumerism--Benjamin presents a montage of quotations from, and reflections on, hundreds of published sources, arranging them in thirty-six categories with descriptive rubrics such as "Fashion," "Boredom," "Dream City," "Photography," "Catacombs," "Advertising," "Prostitution," "Baudelaire," and "Theory of Progress." His central preoccupation is what he calls the commodification of things--a process in which he locates the decisive shift to the modern age. The Arcades Project is Benjamin's effort to represent and to critique the bourgeois experience of nineteenth-century history, and, in so doing, to liberate the suppressed "true history" that underlay the ideological mask. In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.

Walter Benjamin's magnum opus was a book he did not live to write. In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen-Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose "materialist metaphysics" he admired) were the prototype, the 19th century "ur-form" of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time—from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons—as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south—Moscow Paris, Berlin-Naples—and shows how such thinking in coordinates can explain his understanding of "dialectics at a standstill." She argues for the continuing relevance of Benjamin's insights but then allows a set of "afterimages" to have the last word. The Dialectics of Seeing is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy.

Walter Benjamin's magnum opus was a book he did not live to write. In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose "materialist metaphysics" he admired) were the prototype, the 19th century "ur-form" of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time―from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons―as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south―Moscow Paris, Berlin-Naples―and shows how such thinking in coordinates can explain his understanding of "dialectics at a standstill." She argues for the continuing relevance of Benjamin's insights but then allows a set of "afterimages" to have the last word.

Walter Benjamin's magnum opus was a book he did not live to write. In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose "materialist metaphysics" he admired) were the prototype, the 19th century "ur-form" of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time―from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons―as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south―Moscow Paris, Berlin-Naples―and shows how such thinking in coordinates can explain his understanding of "dialectics at a standstill." She argues for the continuing relevance of Benjamin's insights but then allows a set of "afterimages" to have the last word.

"To great writers," Walter Benjamin once wrote, "finished works weigh lighter than those fragments on which they labor their entire lives." Conceived in Paris in 1927 and still in progress when Benjamin fled the Occupation in 1940, The Arcades Project (in German, Das Passagen-Werk) is a monumental ruin, meticulously constructed over the course of thirteen years--"the theater," as Benjamin called it, "of all my struggles and all my ideas." Focusing on the arcades of nineteenth-century Paris-glass-roofed rows of shops that were early centers of consumerism--Benjamin presents a montage of quotations from, and reflections on, hundreds of published sources, arranging them in thirty-six categories with descriptive rubrics such as "Fashion," "Boredom," "Dream City," "Photography," "Catacombs," "Advertising," "Prostitution," "Baudelaire," and "Theory of Progress." His central preoccupation is what he calls the commodification of things--a process in which he locates the decisive shift to the modern age.The Arcades Project is Benjamin's effort to represent and to critique the bourgeois experience of nineteenth-century history, and, in so doing, to liberate the suppressed "true history" that underlay the ideological mask. In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.

Neuware -Das bewährte Ausbildungsbuch zum Baumschulgärtner (1987 erstmalserschienen), ist nach erneuter Überarbeitung wieder verfügbar. Verschiedene Inhalte haben auch heute noch Gültigkeit, viel Passagen wie Veredlungsunterlagen, moderne Vermehrungsarten z.B. Meristemvermehrung und auch der Pflanzenschutz wurden überarbeitet und auf den zurzeit gültigen Stand gebracht worden.Dieses Buch mit seinem theoretischen Basiswissen soll die praktische Ausbildung zum Baumschuler intensiv unterstützen und auch später als Nachschlagewerk dienen. 216 pp. Deutsch

Título original "Das Passagen - Werkt" traducción de Luis Fernández Castañeda. Colección "Akal /Vía Láctea" núm 3. EXCELENTE ejemplar. 1102pp