Titlebook: After Ancient Biography; Modern Types and Cla Robert Fraser Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive lice

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Friction

avenge

舉止粗野的人

John D. Morgan,Philip E. Steinberg but how much does that matter? Momigliano thought that it did. Looking at the work of Bernard Williams, however, we can see that notions of the truth have not always been the same, changing as they do over time. Some more recent critics, such as Thomas H?gg, have come to recognise this and to adjus

animated

Paris in Parallel: Classical Biography in an Age of Revolution, it—Plutarch in French literature—Montaigne’s admiration—what Shakespeare learned from Plutarch, Montaigne and North—Brutal suicide—Stendhal’s early admiration for Plutarch and for Napoleon—La Vie de Napoléon as a Plutarchian life—Napoleon as a neo-classical biographical subject—the mysterious writi

fatuity

,Ancient Biographers and Modern Classicists: “What Is Truth?”,subject of study, about whether it is a separable genre and the relationship that it enjoys with other forms of writing. Early in the twentieth century, biography was often regarded with some suspicion in academic circles. The eminent historian of the ancient world Arnaldo Momigliano completed sever

倒轉(zhuǎn)

Obscure

harbinger

Biography as Persuasion: The Christian Gospels,e read in ways alien to us: out loud even when the reader was alone, very often to groups. The individual character of these four texts: Mark plain and sometimes dramatic—Matthew learned and sometimes superstitious—Luke imaginative and anecdotal—John meditative and mystical. They have weaved their w

CRACK

,Biography as Inner Drama: Athanasius’s ,ine—the Emperor’s unsavoury deeds whitewashed in that work—the evolution of a literary mode—its characteristics—Athanasius’s Life of Antony—his creed—his endorsement of Antony’s orthodox theology—the legacy of Antony in literature and art—Athanasius’s book read by Jerome and Augustine of Hippo—Augus