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Description
fahrradständer schrägparker Schräghochparker SW/SFFahrradstnder SW & SF Platzsparendes Schrghochparksystem Das platzsparende Schrghochparksystem ermglicht ein komfortables und sicheres Parken von Fahrrdern bei einem optimalen Radabstand von 350 mm. Die witterungsfeste Stahlkonstruktion eignet sich hervorragend fr den dauerhaften Innen und Aueneinsatz auf Parkpltzen oder in Garagen. Das System ist wahlweise als Modell SW zur platzsparenden Wandmontage oder als Modell SF fr die flexible Freiaufstellung
Fahrradständer SW & SF – Platzsparendes Schräghochparksystem
Das platzsparende Schräghochparksystem ermöglicht ein komfortables und sicheres Parken von Fahrrädern bei einem optimalen Radabstand von 350 mm. Die witterungsfeste Stahlkonstruktion eignet sich hervorragend für den dauerhaften Innen- und Außeneinsatz auf Parkplätzen oder in Garagen. Das System ist wahlweise als Modell SW zur platzsparenden Wandmontage oder als Modell SF für die flexible Freiaufstellung erhältlich, wobei letzteres durch seinen umlaufenden Grundrahmen auch eine beidseitige Nutzung ermöglicht.
Technische Daten & Produkthighlights:
Material & Konstruktion: Witterungsfeste Stahlkonstruktion in Silber, verschraubter Bausatz.
Kompatibilität: Geeignet für alle Fahrräder mit einer Reifenbreite von bis zu 60 mm (60 mm breite Führungsschienen).
Parkkomfort: Platzsparendes Schrägparken mit abwechselnder Hoch-/Tiefeinstellung.
Sicherheit: Diebstahlsicherung durch praktische Anschlussmöglichkeiten von Schlössern direkt an den Führungsschienen.
Flexibilität: Wahlweise zur Wandmontage oder Freiaufstellung, zudem vorbereitet für eine nahtlose Reihenverbindung.
Modellvarianten & Abmessungen:
Einseitige Ausführung (Stellraumtiefe 1467 mm):
Modell SW 4 (Art.-Nr. 105500138) – 4 Einstellplätze – Maße (BxHxT): 1400 x 2010 x 1467 mm
Modell SW 5 (Art.-Nr. 105500139) – 5 Einstellplätze – Maße (BxHxT): 1750 x 2010 x 1467 mm
Modell SW 6 (Art.-Nr. 105500140) – 6 Einstellplätze – Maße (BxHxT): 2100 x 2010 x 1467 mm
Modell SF 4 (Art.-Nr. 105500141) – 4 Einstellplätze – Maße (BxHxT): 1400 x 2010 x 1467 mm
Modell SF 5 (Art.-Nr. 105500142) – 5 Einstellplätze – Maße (BxHxT): 1750 x 2010 x 1467 mm
Modell SF 6 (Art.-Nr. 105500143) – 6 Einstellplätze – Maße (BxHxT): 2100 x 2010 x 1467 mm
Zweiseitige Ausführung (Stellraumtiefe 2000 mm):
Modell SF 8D (Art.-Nr. 105500144) – 8 Einstellplätze – Maße (BxHxT): 1400 x 2010 x 2000 mm
Modell SF 10D (Art.-Nr. 105500145) – 10 Einstellplätze – Maße (BxHxT): 1750 x 2010 x 2000 mm
Modell SF 12D (Art.-Nr. 105500146) – 12 Einstellplätze – Maße (BxHxT): 2100 x 2010 x 2000 mm
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4.3 ★★★★★
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★★★★★ 5
A Fair and Balanced Review from an Unashamed Fan
Frank Herbert's Dune is simultaneously one of the most sublime and frustrating works of literature ever produced.
I gave this novel a 5/5 rating outright for two reasons: it's my favorite novel, one I never tire of re-reading; and it's a book that should be read at least once by anyone interested in science fiction, fantasy, history, political science, economics, mysticism, or narrative. Regardless of whether or not someone actually enjoys Dune, every reader can glean something from it.
That said, were it not for the latter two points, I would likely give this novel a lower rating, and here's why:
Dune sacrifices storytelling for story.
What in the name of Thor am I talking about? Let me explain.
The world-building of Dune is outstanding, and I mean, REALLY outstanding. Tolkien can't hold a candle to Herbert's work in this regard - sure, he came up with a number of artificial languages, but from a narrative perspective that's actually one of the less productive things you can do to flesh out a setting.
In Dune, every story element has relevance and connection to every other story element. The political reality of the galaxy depends on economic power, which is derived from trade, which is made possible by the Spacing Guild, who uses the spice, which exists only on Arrakis, whose administration depends upon the political climate. Paul's character is related to the mystical aspects of the story, but also brings relevance to the ecological and historical aspects. And so on, and so on. There isn't a loose thread here, no equivalent of the Fellowship of the Ring's Barrow-wights; nothing here could be removed from the whole package without substantially diminishing it. Tapping into all of these fundamental spheres of thought and creativity gives Dune the feeling of being a real history, and it gives the reader the feeling they're witnessing a change in the axis of civilization - something more subtly epic than big battles, of which we only get one (and an indirectly described one at that).
That said, because Herbert is so dedicated to giving us as much material to work with as he can, in many instances this novel misses out on what might have been effective dramatic elements. An important plot point early on in the book is the supposed presence of a traitor in the midst of the Atreides, a traitor who will make the Harkonnen plot possible. Ordinarily I wouldn't mention this for spoiler concerns, but the novel basically comes out and tells you who the traitor is from the beginning, a while before it even comes into play in the events of the story. The reason this is problematic is because in a story which is so dependent upon political intrigue, it makes the decisions of the characters more powerful when we share in the mystery of the information around them.
Another narrative problem is Paul himself. Though he is unquestionably the central character of the story as well as its protagonist, Paul starts off as a precocious fifteen-year-old and ends as a major player in galactic politics. In other words, he starts of as unrelatable and becomes less relatable as time goes by. In fact, several of my friends told me they stopped reading after a while because they didn't like Paul. This is an entirely fair criticism. In fact, the only character with whom a reader could form a true emotional connection would be Paul's mother, the Lady Jessica, whose problems are much more grounded in humanity. Now Paul's nature is basically vital to the fabric of the story, so it would diminish the story's complexity for him to become a more human character; but Dune would undoubtedly have been an easier reading experience had the novel chosen to focus on Jessica.
This should give you a taste of what I mean. Dune isn't a novel that really engages a reader on an emotional level; because it reads so much like a history, it engages you on intellectual and thematic levels - but again, not emotionally.
This is still my favorite novel, because measured against the standards of what it's trying to accomplish it succeeds beautifully; but potential readers should know what sort of undertaking they're facing when they pick this up.
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Reviewed in the United States on June 27, 2011
★★★★★ 5
God created Arrakis to train the faithful.
Format: Kindle
Being as long as it has been since I've last read Dune, eight or nine years or so, I had a small worry that my extremely high opinion of the book was at least slightly inflated by time's passage and fond memory. The first chapter alone was enough to dissuade me of that. I sit here now, having just finished, with full confirmation that Dune remains on the throne my thirteen-year-old self set it upon; that of my favorite book. Herbert's writing is sharp, his ideas are powerful, and he is willing to dive deep immediately. He asks much of the reader, providing a glossary and gently insisting we keep up. Those types of stories are the most rewarding, I've found.
Forgive me but most of this review, all of it perhaps, will be unfiltered praise. This book means a lot to me; it has for a long time. And revisiting it, in light of all the exciting movie news with Denis Villeneuve, was more than a treat. I will refrain from summarizing the story; it's likely you know what it's about. If not, Goodreads has neatly summarized it better than I will.
The book, and the prose in general, holds up extremely well for having been written over fifty years ago. Admittedly the character thoughts and some dialogue is a little stiff in areas. But not so much so that it hindered my enjoyment in any way. Additionally I'm not used to omniscient narration; you just don't see it that often currently. I don't at least. So the POV hopping without chapter or line breaks took just a little getting used to. Having said that, I am so impressed by Herbert's expertise at moving his story using the art of conversation, and all its minutiae. This is especially true when Fremen are in conversation with non-natives, and the culture clash is on display.
If you hold it in your hand, what you hold is more than a mere science fiction novel. It breaks through those boundaries as a worm broaching the desert surface. This is a space-fantasy, and a heady mixture. The story is wrapped up as much in mysticism and religion as it is in technology; more so even. It is as concerned with ecological prediction and deep, flowing political undercurrents as it is with a well-written fight scene. It is the perfect mixture of odd-future strangeness, vast cosmic scope, and spiritual involvement that stitches the story up at the seams. Prophecy, and psychedelic consciousness-expansion through the addictive spice melange, are as much the heart of this story as laser guns and space ships. So much so that one wonders just how many mushrooms Frank Herbert was eating as he penned this thing in the 1960's. And I'm only kind of kidding.
Herbert, with this first story alone, never mind the sequels, displays an absolute mastery of world-building. He has just the right flavors of real-world inspiration and influence to make it all feel familiar; especially in the touches of Eastern influence, down to the broken remnants of Sanskrit appearing in the Fremen language. It all just feels so feasible. Like you're at once reading a manual of our distant future and texts of our ancient past. Meeting in the now. That ethereal, dream-like moment of present time. The now. It's clear I've been infected by the mood of the story. And beyond anything else, the story is itself is just so interesting. I found it hard to put down even for a moment. Even the epigraphs are worth a session of deep thought, and clearly lead the way for popular usage in things like Sanderson's Cosmere stories.
Dune influenced so much that followed it it's just undeniable. I can't help but draw parallels with the Wheel of Time, which I'm in the middle of. I drew comparisons with the Aiel/Fremen immediately when I started reading WoT, and that comparison is reinforced. As are other little things that hint at direct homage (Shaitan being the name for Satan in Dune, for example). I remember, all those years ago in Frogtown Books, the quote on the back that caught my eye. 'I know nothing comparable to it except the Lord of the Rings.' What higher praise? Here is a book that transformed the landscape of science fiction; just as it transformed, for me, what fiction can be.
Something like Dune is extremely hard to review for me, so forgive my love affair in the form of language. I just can't say enough good things. Dune shaped my reading life growing up, and now I remember why. I can do nothing more but urge you to read it.
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Reviewed in the United States on June 3, 2019
★★★★★ 5
A must read epic that leaves you hanging a bit
Format: Kindle
Right off the bat, this is one of the most enjoyable and thought provoking books I’ve ever read. I’ve always struggled with books this long, but this book was such a page turner that I looked forward to getting back to it night after night for about 10 days. Two very different types of work, but the only time I’ve ever felt like this about a book of this magnitude in volume was with the lengthier Harry Potter books. Despite all the made up terms that Mr. Herbert created to delineate this massive interplanetary world, which can be a bit confusing in the beginning, you’re sucked into the vortex that is Dune from 1st chapter. Some of the most enjoyable aspects of this book for me were constant flow of inner perspectives from one character to another in beautiful prose, timeless characterization of human society, religion, politics, technology, etc., and the sheer scale of this universe which goes much beyond the planet of Arrakis where the majority of this 1st book takes place. From the beginning, the reader gets very much invested into the main character of Paul Atreides. Early scenes make you excited about the potential of his power and influence, you ride along with early trials and tribulations that include massive loss of loved ones, and you see the ascension of his power and stature from the lowliest of place. But things aren’t all rosy, along the way, you see the boy becoming a man while giving up his innocence. The sense of righteousness and compassion for people that he’s held so dearly seem to fade in the process as he wades his way through the realization of his extraordinary power, though you don’t really see how those inner transgressions manifest themselves down the road. On a related note, the sole downfall of this book for me is the abruptness of the ending. Up until the very end, you’re treated with a barrage of character and story development, but Mr. Herbert throws a changeup at the end with a very economic conclusion to the story. You’re left hanging wondering what in the world the ending means for the plethora of characters you’ve become invested in. You wonder whether Paul will walk in the light, or in the darkness in his new position. I don’t know whether this was done intentionally to introduce a sense of comic irony, or whether a sense of cliffhanger was placed to get people to read the subsequent books. If the latter was the case, I must admit my disappointment. This was such an amazing book for me until the end. The subsequent books should’ve been recognized on their own merit, and not rely on the momentum of this first book. But I could be wrong, I’m just a casual reader, and perhaps this sort of ending is a pure touch of genius to the experts. But as a casual reader, I felt left hanging, grasping for something that’ll never be fulfilled….like life (and perhaps that was the author’s point too).
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Reviewed in the United States on October 7, 2020
★★★★★ 5
Considered to be the best science fiction novel ever written.
Format: Mass Market Paperback
This book is often considered to be the best science fiction novel ever written and for good reason.
_Dune_ is a 1960s-era science fiction novel, published on the cusp of the Golden Age and the New Wave. Science Fiction of the time was in a transitional period influenced by the periodical _Galaxy_. SF at the time emphasized what some would call soft science fiction, a genre dealing with psychology, sociology, and sociopolitical commentary, with the bonus of one or more unique original ideas and a Sense of Wonder.
Within these domains, _Dune_ hits every note a book of its genre could possibly hit and does so brilliantly. This is not anything like what passes for science fiction today, as the genre has been heavily-influenced by the Modernist movement and is now characterized by meandering fiction with long atmospheric narrative descriptions and no idea content other than politically-correct gender diversity, as is often found in a Gardner Dozois Year's Best anthology.
This novel seems more nuanced and cogent to me today as an adult than it did when I first read it as a teen. The explorations of preternatural consciousness, mind control, economics, religion, and political intrigue are fascinating.
But _Dune_ was also revolutionary in its use of what was then called Ecology (now called Environmental Science) as a hard science. This book is a high mark in the achievement of hard-science worldbuilding. After all these years it is still the most well-thought out and well-fleshed out worldview in the entire SF canon. Its complex, logical worldbuilding is presented in what was the then-prominent Science Fiction protocol of revealing the world little by little through contextual clues rather than inserting infodumps of description. As such it takes more work to read than a more modern book with infodumps. Readers who find the book boring aren't reading it with Science Fiction reading protocols and apparently most of them are too callow to resonate with some the book's political, economic, and sociocultural commentary.
The genre was about ideas, not literary modernism, so you will not find the book filled with metaphors and literary allusions such as one might find in a Creative Writing MFA's workshopped short story, although Paul's story is clearly the Hero's Journey and he is obviously a Messiah figure as well as a military/political leader.
The characters may not be as well-rounded as in a Dostoevsky novel but in case you missed it, the main character isn't really Paul. The main character is the planet Arrakis. Read this book with that in mind and you'll be amazed.
For those expecting a Hollywood superhero comic-book style movie with action scenes and high-definition special effects, there is some of that in here too, but that is not the main point. This is a Frank Herbert novel of ideas, not a David Lynch film of striking visuals.
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Reviewed in the United States on January 23, 2018
★★★★★ 5
Good to use every night...I do.
If you suffer from dry mouth during the night, these are the perfect solution. I had tried rinses - they don't last. Sprays - they don't last. lozenges - don't last. Other tablets, only last a few hours. I can get about 8 hours relief with these. Contrary to other reviews, you do not suck on them like a lozenge...they won't last at all if you do it that way. Read the directions. They "adhere" to your back molars...don't drink or eat after putting them in...as both will either dislodge or reduce the effectiveness. However, when I don't use these, my mouth is miserable and so dry. These provide enough moisture throughout the night. The flavors aren't too bad. I've used the mint (not may favorite because I'm not a fan of mint flavor), orange and berry. I wish they had other flavors (cinnamon, licorice), but till then, I'll use these probably forever.
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Reviewed in the United States on January 2, 2026