Bøger af Stephen Bann

This 1984 text is concerned with how the past was represented in Britain and France in the nineteenth century. This was a period of unprecedented historical-mindedness, during which the past was taken as subject matter. Dr Bann argues that the concrete vision of the past should be studied across the whole field of representation.

Ian Hamilton Finlay (19252006) 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.

An original exploration of how the English Civil War has been portrayed over the centuries.

Carter's drawings reveal the originality of his mind and the love of exactitude and clarity that drives his practice. His singular contribution to the post-war flowering of British abstraction can clearly be seen here.

These letters to (and from) Finlays friend, the English poet and scholar, Stephen Bann, centre on the initial development of the garden at Stonypath, near Edinburgh, later to become the world renowned Little Sparta. They cover Finlays turn away from poetry towards sculpture and garden design, and the thinking behind, and consequences of, this development.

Rather than simply tracing the rise of Modernism in the 19th century, this book reconstitutes the period's cultural milieu through a series of case studies written with an eye to overarching forces at play. It surveys the field as a whole and discusses the relationships between the various media in the context of an overall "visual economy".

Shows that the phenomenon of repetition appears as a radical element in early modern painting, long before its embrace by twentieth-century high modernism. This work also reveals how the nineteenth-century invention of photography and film, did not diminish the traditional medium of painting but rather propelled it in new directions.

Today is the deed.We will account for it tomorrow.The past we are leaving behind as carrion.The future we leave to the fortune-tellers.We take the present day.

Some of the most significant in modern intellectual and cultural history pass by way of Mary Shelley's Frankenstein (1818). This title includes essays by Elisabeth Bronfen, Crosbie Smith, Ludmilla Jordanova, Louis James, Michael Fried, Michael Grant, Jasia Reichardt, Robert Olorenshaw and Jean-Louis Schefer.