Bøker i Britannia-serien

What did eighteenth-century men and women think about when they contemplated the future? What was hidden in dark bosom of futurity, as Richardson's Pamela calls it? In this book, essays addresses predictions and prophecies - astrological and also political ones, utopian models, theological concepts like predestination, progress in sciences.

A collection of critical essays and interviews that gives an overview of the various kinds of medial manifestations which Shakespeare's work has been transferred into over the centuries: into a theatrical performance, a printed text, a painting, an opera, an audio book, a film, a radio or television drama, a website.

This study presents various perspectives from which Breton investigates man: from the perspective of the imago Dei-debate, from the perspective of human nature and from the perspective of man's identity - his English, Christian, social and political identity.

Die Autorin erschließt mit dem conduct book für junge Damen einen in der anglistischen Forschung vernachlässigten Schrifttypus. Diese Textsorte des achtzehnten Jahrhunderts ist als frühbürgerlicher Typ von Ratgebertexten im Geiste des Zeitalters der Aufrichtigkeit interpretiert worden. Jedoch gelten conduct books für Frauen seit Mary Wollstonecrafts «Vindication of the Rights of Women» (1792) als Anleitung zur Unaufrichtigkeit. Die Autorin setzt an diesem Widerspruch an und unterzieht elf Texte einem Verfahren des close reading in Bezug auf Darstellung und Stellenwert der Verhaltenskategorie «Aufrichtigkeit». Sie zeigt, wie conduct books den Rat zur «sincerity» als pädagogische Drohung instrumentalisieren: Diese macht die Leserin zur Agentin der eigenen Erziehung zu rollenkonformem Verhalten und konterkariert so das aufklärerisch-emanzipatorische Potenzial weiblicher Aufrichtigkeit.

Diese Arbeit zur schwarzen Romantik als Phänomen der europäischen Literatur- und Geistesgeschichte versammelt Studien, welche die Gesamtbewegung an englischen und auch deutschen Beispielen diskutieren. Dabei entstehen Zugänge zur bedeutenden düsteren Dimension der Romantik, die bis heute multimedial lebendig geblieben ist. Schwarze Romantik mitsamt ihrer Relativierung aller eng geführten Formen von Rationalismus und Empirismus setzt das Vermögen der Imagination in das Zentrum von Denken und Gestalten: sie entdeckt die Vorstellungs- und Wunschwelten in den «Hinterräumen» des Ich und begibt sich über die erneute Aneignung des Mythos auf die Suche nach einem umfassenden Bild des Menschen in einer Welt zwischen Nicht-Mehr und Noch-Nicht.

THE END OF ROMAN BRITAIN BEGINS. The story opens in 367 AD. Four soldiers - Justinus, Paternus, Leocadius and Vitalis - are out hunting for food supplies at an outpost of Hadrian's Wall, when the Wall comes under attack. The four find their fort destroyed, their comrades killed, and Paternus is unable to find his wife and son. As they run south to Eboracum, they realize that this is no ordinary border raid. Ranged against the Romans at the edge of the world are four different peoples, and they have banded together under a mysterious leader who wears a silver mask and uses the name Valentinus - man of Valentia, the turbulent area north of the Wall. Faced with questions they are hard-pressed to answer, Leocadius blurts out a story that makes the men Heroes of the Wall. Their lives change not only when Valentinus begins his lethal sweep across Britannia but as soon as Leo's lie is out in the world, growing and changing as it goes. WILL THE WALL BE REBUILT AND THE POWER OF ROME RE-ESTABLISHED? AND WILL OUR FOUR HEROES REACH THE END OF THEIR JOURNEY? 367 AD is one of the critical dates in British history, but the year means little to most people now, and it is only rarely mentioned in historical books. Britannia: Part I - The Wall introduces the reader to this tumultuous age, as we share the adventure, confusion and bewilderment of our heroes - four common soldiers stationed at Hadrian's Wall. We find them caught up in the madness of a chain of events which will eventually lead to the fall of Roman Britain, and the descent into the Dark Ages.

THE END OF ROMAN BRITAIN CONTINUES. 'We are the watchmen; the keepers of the flame.' Britannia in the late fourth century is a wild, dark place and the Pax Romana that has held for three hundred years is crumbling. Justinus Coelius is commander of the Wall and he is facing invasion from Saxons and treachery from within. Leocadius Honorius is consul of Londinium, but his fragile grasp on his lifestyle is broken when he plays dice with the wrong people. Vitalis Celatius just wants a quiet, peaceful life but his sister Conchessa is desperate to find her husband who has fallen foul of the Emperor. And the Emperor is about to face a challenge from Magnus Maximus, the general who takes Britannia's legions to overthrow him. Celtic legend, Egyptian mysticism and Gaelic battle-fury are all interwoven in this dark tale. The surviving Heroes of the Wall are once again thrown into the melting pot of history. How many of them will still be standing at the end? "An impressive followup volume to The Wall. True to the first book, Roman Britain is expertly portrayed with historical accuracy and detailed descriptions and characterization. I will await volume 3 eagerly." Polly Krize - Reviewer

THE END OF ROMAN BRITAIN CONCLUDES. Did the Romans leave Britain, or did Britain leave Rome? The death throes of Rome are resounding in every corner of the Empire. The rebellion of Magnus Maximus has come to a bloody end and Britannia now knows only suffering, standing at the edge of calamity, with each new disaster shaking the fragile foundations of a neglected province. The soldiers who remain are growing increasingly seditious with the incompetence and failures of their masters. While some seek to curb this dissent, more ambitious men will try to exploit it for their own ends. Justinus Coelius, general of Britain, is fighting increasingly desperate odds to defend the land from threats which come from near at hand as well as from across the German Sea, while trying to hold on to his dying world; Vitalis Celatius, a Christian convert, is haunted by what is, and isn't, happening in the name of his God; Brenna and her sons face new danger from north of Hadrian's Wall and realise they are alone for the first time. And the ageing Honoria begins to realise she can no longer rely on her beauty alone to remain Queen of the Underworld. The Warlords examines the twilight of Britannia. Nearly four centuries of Roman rule will collapse in a few chaotic years. Will the Heroes of the Wall survive the storm to come? And would they recognise the new world that has descended unknowingly into the Dark Ages?