‎Child Lee‎
‎Personal‎

‎Between Personal and Institutional Religion Self, Doctrine, and Practice in Late Antique Eastern Christianity,‎

‎Turnhout, Brepols, 2012 Hardback, approx. X+400 p., 156 x 234 mm. Languages : English, Greek, Syriac. ISBN 9782503541310.‎

‎The shift from Late Antiquity to Early Byzantium seen in the light of the mutual relations between personal and institutional religion. This book addresses change and continuity in late antique Eastern Christianity, as perceived through the lens of the categories of institutional religion and personal religion. The interaction between personal devotion and public identity reveals the creative aspects of a vibrant religious culture that altered the experience of Christians on both a spiritual and an institutional level. A close look at the interrelations between the personal and the institutional expressions of religion in this period attests to an ongoing revision of both the patristic literature and the monastic tradition. By approaching the period in terms of 'revision', the contributors discuss the mechanism of transformation in Eastern Christianity from a new perspective, discerning social and religious changes while navigating between the dynamics of personal and institutional religion. Recognizing the creative aspects inherent to the process of 'revision', this volume re-examines several aspects of personal and institutional religion, revealing dogmatic, ascetic, liturgical, and historiographical transformations. Attention is paid to the expression of the self, the role of history and memory in the construction of identity, and the modification of the theological discourse in late antique culture. The book also explores several avenues of Jewish-Christian interaction in the institutional and public sphere. ‎

‎Private Collectors in Brussels, Antwerp, and Ghent, ca. 1780-1914 Between Public Relevance and Personal Pleasure‎

‎, Brepols - Harvey Miller, 2024 hardcover, dusjacket, Pages: 376 pages,Size:216 x 280 mm , Illustrations:19 b/w, 128 col., 3 tables b/w. Language(s):English FINE. ISBN 9782503606194.‎

‎In the first half of the nineteenth century, Belgium was repeatedly praised as a country of collectors and amateurs, and private art and antique collectors were important and highly visible actors in urban cultural life. At a time when the public museum was still a relatively recent innovation, private collections were quite easily accessible for local and international visitors of the same social rank as the collectors. By the beginning of the twentieth century, however, the collector?s position in the public sphere had changed dramatically. Private collections were less accessible to an ever-expanding and increasingly culture-consuming public, and functioned more strongly in the context of the personal and explicitly private aims and networks of their owners. This book uncovers the premises and reasons for private collectors? shifting public role and relevance in nineteenth-century Brussels, Antwerp and Ghent. It examines the specific social, cultural, political, artistic and material context of private collectors? activity. Its main focus is on three related issues: 1) collectors? social profiles and networks; 2) collectors? tastes; and 3) the function, accessibility, display and reception of the collections. Attention is also paid to the differences between Brussels, Antwerp and Ghent with regard to the urban collecting cultures. The book intends to further our understanding of the diverse ways in which private collectors interacted with the social, cultural and artistic life of their cities and what the collectors? changing relationship to the public sphere can tell us about broader shifts in nineteenth-century culture, art and society.TABLE OF CONTENTS Private collectors and the public sphere: An introduction 1. The collector as a research subject 2. Towards a collective biography 3. Of amateurs, connoisseurs and collectionneurs 4. Sources, methods and the urban dimension 5. Looking ahead 1. An elite cultural practice in an age of transition 1.1. Preserving national heritage at the dawn of the nineteenth century 1.2. Belgian amateurs through the eyes of international travellers, ca. 1780-1860 1.3. Transformation of the collector scene, ca. 1860-1914 1.4. Personal profiles, artistic taste and local identities 1.5. Gender norms and the exclusivity of private collections 2. Enlightenment and the persistence of noble collecting, ca. 1780-1860 2.1. Arenberg. A rich tradition of collecting 2.2. The picture gallery and the art historical canon 2.3. Patronage and politics 2.4. Contemporary art and (semi-)private spaces 2.5. The adaptation and (dis)continuation of an influential model 3. Local historiography and Romantic imagination, ca. 1815-1880 3.1. Ghent as a city of antiquarian collecting 3.2. Heritage and experience in the Musée Minard-Van Hoorebeke 3.3. The collector?s cabinet as a place of artistic inspiration 3.4. Family bonds, gender and the maintenance of a legacy 3.5. The end of Romantic collecting 4. The rise of Belgian art and its patrons, ca. 1830-1860 4.1. Cultural politics and the public life of private collections 4.2. Théodore de Coninck and the encouragement of the Belgian school in Ghent 4.3. The lithograph album: Dissemination and self-presentation 4.4. Common goals, distinct tastes ? 4.5. ? and personal agendas 5. The amateur in an expanding art world, ca. 1850-1900 5.1. Inventing the golden age of private collections: Politics and nostalgia 5.2. The Huybrechts family and the status of contemporary art in Antwerp 5.3. Elite sociability and the collector?s private realm 5.4. Forging a new position in the public sphere 5.5. The public-private divide 6. The cultural significance of the aesthete, ca. 1880-1914 6.1. Personal taste and national representativeness 6.2. Charles-Léon Cardon and his multiple roles in the art world 6.3. The lure of the Early Flemish Masters 6.4. The private interior as a work of (national) art 6.5. A model of taste 6.6. Private collections and public impact 7. The emancipation of female taste, ca. 1890-1914 7.1. The disinterested maecenas and the collection as an alternative social space 7.2. Emma Lambotte and the avant-garde in Antwerp 7.3. The home as a means of self-expression and distinction 7.4. Women and the canon of modern Belgian art‎

‎Dobrova H.R. Ontogenesis of Personal Deixis (Personal pronouns and terms of kins‎

‎Dobrova H.R. Ontogenesis of Personal Deixis (Personal pronouns and terms of kinship):. /Dobrova G.R. Ontogenez personal'nogo deyksisa (Lichnye mestoimeniya i terminy rodstva):. Monograph: St. Petersburg: RSPU named after A.I. Herzen. 2003. 492 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb2c86733e34ce40ee‎

‎Dickens Charles. Dickens Charles. A Personal History of David Copperfield. A Per‎

‎Dickens Charles. Dickens Charles. A Personal History of David Copperfield. A Personal History of David Copperfield. In English (ask us if in doubt)/Dickens Charles. Dikkens Charlz. Personal History of David Copperfield. Lichnaya istoriya Devida Kopperfilda. Short description: In English (ask us if in doubt).Illustration in Color by Frank Reynolds R.I. London. The Westminster press 1911. 572p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb9ee755e8215197ba‎

‎PRESENT Stephan Vanfleteren, A journey through the oeuvre of photographer Stephan Vanfleteren, with expansive personal reflections and stories from three decades of encounters and photography.‎

‎BE - , Hannibal / Kannibaal , 2019 Hardcover with screen printing, Bichromy and quadrichromy, 31 x 24,3 cm, 496 pages, English edition; First Edition ! ISBN 9789492677151.‎

‎A journey through the oeuvre of photographer Stephan Vanfleteren, with expansive personal reflections and stories from three decades of encounters and photography ?At times I think that Stephan has a clear idea of how to make his photographs work so well. But then there?s this book here, showing us he is constantly, across a wide range of situations, searching for his visual language, for his self, for stories that need to be told, and then the work becomes so exciting again for me, and important and rich, that I want to drown myself in it. A masterful collection.? ? Anton Corbijn, photographerand director ?I am more than a passenger of the past. People sometimes ask me if I look back too much. Of course, I look back, but I also look forward, to the left, to the right, up and down. Far and near. And for the first time I?m also really looking inside.? ? Stephan Vanfleteren Stephan Vanfleteren (1969) is mainly known to the general public for his penetrating black & white portrait photography, but over the past decades his work has ranged to documentary, artistic and personal pictures. From street photography in world cities like New York to the genocide of Ruanda, from storefront façades to the mystical landscapes of the Atlantic wall, from still lifes to intense portraits. The iconic images sit side by side with unknown treasures in this heavy tome containing no less than 505 photographs. In the very personal accompanying text, Vanfleteren reflects on how his own work and the photography genre as a whole have evolved in recent decades. You get a close-up look at his intriguing career from the very beginning, when he travelled the world with an appetite for action. He also photographed his home country: all of the headline news stories of the 1990s appeared before his lens. Around the Millennium, Vanfleteren started to focus on that which is disappearing. With painstaking attention to nuance he created a visual archive of his homeland and of his fellow Belgians, in his own inimitable style. In the last few years Vanfleteren has brought the world inside, to his daylight studio, resulting in many encounters and portraits. This book includes two new series ? not previously published ? which were born in the intimacy of his studio: an exploration of the still life and a study of nude photography, both in colour. Stephan Vanfleteren turns fifty this year and he is celebrating with a major retrospective exhibition filling the entire building at Fotomuseum Antwerpen (FOMU, from 25 October 2019 to 1 March 2020) and with this publication. ?I was there, I was present?, says the photographer, who always feels as much a witness as an accomplice. Present is an impressive overview of Vanfleteren?s oeuvre that provides a complete picture of him as a photographer, an artist, and above all a human being who faces life with empathy, wonder, and curiosity. ‎