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This long-standing series provides the guild of religion scholars a venue for publishing aimed primarily at colleagues. It includes scholarly monographs, revised dissertations, Festschriften, conference papers, and translations of ancient and medieval documents. Works cover the sub-disciplines of biblical studies, history of Christianity, history of religion, theology, and ethics. Festschriften for Karl Barth, Donald W. Dayton, James Luther Mays, Margaret R. Miles, and Walter Wink are among the seventy-five volumes that have been published. Contributors include: C. K. Barrett, Francois Bovon, Paul S. Chung, Marie-Helene Davies, Frederick Herzog, Ben F. Meyer, Pamela Ann Moeller, Rudolf Pesch, D. Z. Phillips, Rudolf Schnackenburgm Eduard Schweizer, John Vissers
This book describes and explains the fluidity of the definition of Jewishness from c. 200 BCE to c. 200 CE.
This is the first study which brings together the references to ancient Greek myths (154 episodes) in medieval Armenian literature. The main source for such stories are translations, but direct citations from Greek in original Armenian works also exist.
On the arts and postmodernism
In Calvin's Company of Pastors, Scott Manetsch examines the pastoral theology and practical ministry activities of Geneva's reformed ministers from the time of Calvin's arrival in Geneva until the beginning of the seventeenth century. During these seven decades, more than 130 men were enrolled in Geneva's Venerable Company of Pastors (as it was called), including notable reformed leaders such as Pierre Viret, Theodore Beza, Simon Goulart, Lambert Daneau, and Jean Diodati. Aside from these better-known epigones, Geneva's pastors from this period remain hidden from view, cloaked in Calvin's long shadow, even though they played a strategic role in preserving and reshaping Calvin's pastoral legacy. Making extensive use of archival materials, published sermons, catechisms, prayer books, personal correspondence, and theological writings, Manetsch offers an engaging and vivid portrait of pastoral life in sixteenth- and early seventeenth-century Geneva, exploring the manner in which Geneva's ministers conceived of their pastoral office and performed their daily responsibilities of preaching, public worship, moral discipline, catechesis, administering the sacraments, and pastoral care. Manetsch demonstrates that Calvin and his colleagues were much more than ivory tower theologians or "quasi-agents of the state," concerned primarily with dispensing theological information to their congregations or enforcing magisterial authority. Rather, they saw themselves as spiritual shepherds of Christ's Church, and this self-understanding shaped to a significant degree their daily work as pastors and preachers.
First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
First Published in 2004. In this original study, Omry Ronen critically examines the term Silver Age, which over the years has gained such wide currency among historians and connoisseurs of twentieth-century Russian culture. His latest research deals with metahistorical and metaliterary value of influential poetic locutions, such as the image of Russia as the sphinx, or the concept of the Silver Age in Russian cultural history.
Since My Life was first published it has been regarded as a unique political, literary and human document. Written in the first year of Trotsky's exile in Turkey, it contains the earliest authoritative account of the rise of Stalinism and the expulsion of the Left Opposition, who heroically fought for the ideas and traditions of Lenin. Trotsky's exile is the culmination of a narrative which moves from his childhood, his education in the "universities" of Tsarist prisons, Siberia and then foreign exile - to his involvement in the European revolutionary movement and his central role in the tempestuous 1905 revolution and the Bolshevik victory in October 1917 and the civil war which followed. The work concludes with his deportation and exile. With an introduction by Alan Woods and a preface by Trotsky's grandson, Vsievolod Volkov.
This work, which has had a pronounced impact on European literary scholarship since its publication in 1961, represents a new and imaginative approach to the history and poetics of the novel. Emil Staiger, dean of Swiss critics, describes Professor Meyer as " ... a literary historian, who has a sense for the mixture of seriousness and playfulness in literature, who can talk seriously about the play and ironically about the seriousness ... who has at his disposal the most thorough knowledge and never becomes ponderous ... writes easily and gracefully." The art of quoting is traced in Rabelais, Cervantes, and Sterne, followed by the development of these techniques in six major novelists from Wieland to Thomas Mann. Originally published in 1968. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Winner of the Aldo and Jeanne Scaglione Prize for Studies in Germanic Languages and Literatures (Awarded by the MLA) With an innovative approach that combines material media history, media theory, and literary poetics, this book reconstructs the great German writer Theodor Fontane's creative process. Petra McGillen follows Fontane into the engine room of his text production. Analyzing a wealth of unexplored archival evidence--which includes a collection of the author's 67 extant notebooks, along with an array of other "paper tools," such as cardboard boxes, envelopes, and slips--McGillen demonstrates how Fontane compiled his realist prose works. That is, he assembled them from premediated sources, literally with scissors and glue, in an extraordinarily inorganic and radically intertextual manner that turned "writing" into a process of ongoing remix. By exploring the far-reaching implications of Fontane's creative practices for our understanding of his authorship, originality, and poetics, this book opens up a completely new way to think about his works and, by extension, 19th-century literary realism. This conceptualization of authors' notebooks as creative tools makes a substantial contribution to scholarship on the history of writing media in several disciplines, from German studies and literary studies to media history, and to our understanding of the relationship between mass media and literary creativity in the late 19th century.