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Callie Callon investigates how some early Christian authors utilized physiognomic thought as rhetorical strategy, particularly with respect to persuasion. Callon shows how this encompassed denigrating theological opponents and forging group boundaries (invective against heretics or defence of Christians), self-representation to demonstrate the moral superiority of early Christians to Greco-Roman outsiders, and the cultivation of collective self-identity. The work begins with an overview of how physiognomy was used in broader antiquity as a component of persuasion. Callon then examines how physiognomic thought was employed by early Christians and how physiognomic tropes were employed to “prove” their orthodoxy and moral superiority. Building on the conclusions of the earlier chapters, Callon then focuses on the representation of the physiognomies of early Christian martyrs, before addressing the problem of the acceptance or even promotion of the idea of a physically lacklustre Jesus by the same authors who otherwise utilize traditional physiognomic thought.
Mary Wollstonecraft wrote these two novellas at the beginning and end of her years of writing and political activism. Though written at different times, they explore some of the same issues: ideals of femininity as celebrated by the cult of sensibility, the unequal education of women, and domestic subjugation. Mary counters the contemporary trend of weak, emotional heroines with the story of an intelligent and creative young woman who educates herself through her close friendships with men and women. Darker and more overtly feminist, The Wrongs of Woman is set in an insane asylum, where a young woman has been wrongly imprisoned by her husband. By presenting the novellas in light of such texts as Wollstonecraft’s letters, her polemical and educational prose, similar works by other feminists and political reformists, the literature of sentiment, and contemporary medical texts, this edition encourages an appreciation of the complexity and sophistication of Wollstonecraft’s writing goals as a radical feminist in the 1790s.