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All historical work on Paul presupposes a story concerning the composition of his letters -- which ones he actually wrote, how many pieces they might originally have consisted of, when he wrote them, where from, and why. But the answers given to these questions are often derived in dubious ways. In Framing Paul Douglas Campbell reappraises all these issues in rigorous fashion, appealing only to Paul s own epistolary data in order to derive a basic frame for the letters on which all subsequent interpretation can be built. Though figuring out the authorship and order of Paul s letters has been thought to be impossible, Campbell s Framing Paul presents a cogent solution to the puzzle.
A seminal figure in late antique Christianity and Christian orthodoxy, Saint Gregory of Nazianzus published a collection of more than 240 letters. Whereas these letters have often been cast aside as readers turn to his theological orations or autobiographical poetry for insight into his life, thought, and times, Self-Portrait in Three Colors focuses squarely on them, building a provocative case that the finalized collection constitutes not an epistolary archive but an autobiography in epistolary form—a single text composed to secure his status among provincial contemporaries and later generations. Shedding light on late-ancient letter writing, fourth-century Christian intelligentsia, Christianity and classical culture, and the Christianization of Roman society, these letters offer a fascinating and unique view of Gregory’s life, engagement with literary culture, and leadership in the church. As a single unit, this autobiographical epistolary collection proved a powerful tool in Gregory’s attempts to govern the contours of his authorial image as well as his provincial and ecclesiastical legacy.
Sixteenth-century physicians had their letters on medical topics published in printed collections to record their exchange of ideas and make known their professional expertise. During the Renaissance, collections of letters both satisfied humanist enthusiasm for ancient literary forms and provided the flexibility of a format appropriate to many types of inquiry. The printed collections of medical letters by Giovanni Manardo of Ferrara and other physicians in early sixteenth-century Europe may thus be regarded as products of medical humanism. The letters of mid- and late sixteenth-century Italian and German physicians examined in Communities of Learned Experience by Nancy G. Siraisi also illustrate practices associated with the concepts of the Republic of Letters: open and relatively informal communication among a learned community and a liberal exchange of information and ideas. Additionally, such published medical correspondence may often have served to provide mutual reinforcement of professional reputation. Siraisi uses some of these collections to compare approaches to sharing medical knowledge across broad regions of Europe and within a city, with the goal of illuminating geographic differences as well as diversity within social, urban, courtly, and academic environments. The collections she has selected include essays on general medical topics addressed to colleagues or disciples, some advice for individual patients (usually written at the request of the patient’s doctor), and a strong dose of controversy.
Describing the epistolary practices of the Dutch elite in the period 1770-1850, this book shows how cultural ideals of sincerity, individuality and naturalness influenced the style and contents of letters and argues for the vital importance of correspondence to the performance of class, gender and familial identities.
Each of us lives an extraordinary life; however, the artists are qualified to share their thoughts in a manner that preserves existence, universally. Two writers, Rochelle Lynn Holt and Virginia Love Long, shared a friendship that was both literary and encompassing of everyday experiences. The writers, however, also revealed their emotions in poems and collaborative published projects. This memorial, POINTING TO THE MOON, is a novel biography in epistolary form. Letters have become a lost art now that e-mail exists! But, once, there was time to reflect in long missives.
Art historians have long looked to letters to secure biographical details; clarify relationships between artists and patrons; and present artists as modern, self-aware individuals. This book takes a novel approach: focusing on Albrecht Dürer, Shira Brisman is the first to argue that the experience of writing, sending, and receiving letters shaped how he treated the work of art as an agent for communication. In the early modern period, before the establishment of a reliable postal system, letters faced risks of interception and delay. During the Reformation, the printing press threatened to expose intimate exchanges and blur the line between public and private life. Exploring the complex travel patterns of sixteenth-century missives, Brisman explains how these issues of sending and receiving informed Dürer’s artistic practices. His success, she contends, was due in large part to his development of pictorial strategies—an epistolary mode of address—marked by a direct, intimate appeal to the viewer, an appeal that also acknowledged the distance and delay that defers the message before it can reach its recipient. As images, often in the form of prints, coursed through an open market, and artists lost direct control over the sale and reception of their work, Germany’s chief printmaker navigated the new terrain by creating in his images a balance between legibility and concealment, intimacy and public address.