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Letter writing.

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"Rien de plus simple, semble-t-il, qu'écrire une lettre, la recevoir, la lire, l'attendre même. Pour autant, les gestes les plus simples doivent-ils être exclus des horizons de l'historien ? Quelles méthodes adopter face à cette matérialité de l'écrit, qui ne se livre qu'en demi-ton ? Telles sont les réflexions qui ont mené les doctorants et jeunes docteurs de l'Université Paris 8 et de l'École nationale des chartes à s'associer pour croiser leur regard sur la matière épistolaire. Les contributions ici rassemblées se penchent tour à tour sur les gestuelles de la correspondance de l'époque moderne, du transport de lettres à l'acheminement d'échantillons scientifiques, du chiffrement à la clôture, de la préservation de la matière à la sécurisation du sens, à travers les méandres des protocoles d'échange et des chemins de la réception."

Auxiliary sciences of-history. --- Diplomatic documents. --- Letter writing --- History.

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Bess of Hardwick's Letters is the first book-length study of the c. 250 letters to and from the remarkable Elizabethan dynast, matriarch and builder of houses Bess of Hardwick (c. 1527-1608). By surveying the complete correspondence, author Alison Wiggins uncovers the wide range of uses to which Bess put letters: they were vital to her engagement in the overlapping realms of politics, patronage, business, legal negotiation, news-gathering and domestic life. Much more than a case study of Bess's letters, the discussions of language, handwriting and materiality found here have fundamental implications for the way we approach and read Renaissance letters. Wiggins offers readings which show how Renaissance letters communicated meaning through the interweaving linguistic, palaeographic and material forms, according to socio-historical context and function. The study goes beyond the letters themselves and incorporates a range of historical sources to situate circumstances of production and reception, which include Account Books, inventories, needlework and textile art and architecture. The study is therefore essential reading for scholars in historical linguistics, historical pragmatics, palaeography and manuscript studies, material culture, English literature and social history.

English letters --- Letter writing --- Women and literature --- History and criticism --- History --- Shrewsbury, Elizabeth Hardwick Talbot, --- England --- Social life and customs

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At the end of several of his letters the apostle Paul claims to be penning a summary and farewell greeting in his own hand: 1 Corinthians, Galatians, Philemon, cf. Colossians, 2 Thessalonians. Paul's claims raise some interesting questions about his letter-writing practices. Did he write any complete letters himself, or did he always dictate to a scribe? How much did his scribes contribute to the composition of his letters? Did Paul make the effort to proofread and correct what he had dictated? What was the purpose of Paul's autographic subscriptions? What was Paul's purpose in calling attention to their autographic nature? Why did Paul write in large letters in the subscription of his letter to the Galatians? Why did he call attention to this peculiarity of his handwriting?A good source of answers to these questions can be found among the primary documents that have survived from around the time of Paul, a large number of which have been discovered over the past two centuries and in fact continue to be discovered to this day. From around the time of Paul there are extant several dozen letters from the caves and refuges in the desert of eastern Judaea (in Hebrew, Aramaic, Nabataean, Greek, and Latin), several hundred from the remains of a Roman military camp in Vindolanda in northern England (in Latin), and several thousand from the sands of Middle and Upper Egypt (in Greek, Latin, and Egyptian Demotic). Reece has examined almost all these documents, many of them unpublished and rarely read, with special attention to their handwriting styles, in order to shed some light on these technical aspects of Paul's letter-writing conventions.

Letter writing, Classical. --- Classical letters --- 227.1 --- 227.1 Brieven van Paulus--(algemeen) --- Brieven van Paulus--(algemeen) --- Classical literature --- Classical letter writing --- History and criticism. --- Paul, --- Pavel, --- Pavol, --- Paulus von Tarsus, --- Paulos, --- Pōghos, --- Paweł, --- Paweł z Tarsu, --- Būlus, --- Pablo, --- Paulo de Tarso, --- Paolo di Tarso, --- Pál, --- Apostolos Paulos --- Saul, --- القديس بولس الرسول --- بولس، --- 사도바울 --- Autographs. --- Bible. --- Epistles of Paul --- Paul, Epistles of --- Paul Sŏsin --- Pauline epistles --- Risālat al-Qiddīs Būlus al-rasūl al-thāniyah ilá Tīmūthīʼūs --- Criticism, interpretation, etc. --- Bible --- Criticism, interpretation, etc --- Paulus, --- Pawełm --- Paulo, --- Paolo, --- Letter writing, Classical --- History and criticism --- Classical letters - History and criticism. --- Paul, - the Apostle, Saint - Autographs. --- Paul, - the Apostle, Saint

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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.

76 DÜRER, ALBRECHT --- 82-6 --- 091:82-6 --- 091.5 --- 82-6 Brief --- Brief --- 091.5 Autografen --- Autografen --- 091:82-6 Handschriftenkunde. Handschriftencatalogi-:-Brief --- Handschriftenkunde. Handschriftencatalogi-:-Brief --- 76 DÜRER, ALBRECHT Grafische kunsten. Grafiek. Prentkunst--DÜRER, ALBRECHT --- Grafische kunsten. Grafiek. Prentkunst--DÜRER, ALBRECHT --- fine arts --- letters [correspondence] --- Dürer, Albrecht --- fine arts [discipline] --- 82-6 Letters. Art of letter-writing. Correspondence. Genuine letters. Other works in epistolary form --- Letters. Art of letter-writing. Correspondence. Genuine letters. Other works in epistolary form --- writing [processes] --- communication [function] --- visuele communicatie --- Communication and the arts --- Communication in art --- Visual communication --- German letters --- Written communication --- History --- History and criticism. --- Dürer, Albrecht, --- Criticism and interpretation. --- Albrecht Dürer. --- German. --- address. --- audience. --- author. --- communication. --- handwriting. --- letters. --- postal system. --- prints. --- technology. --- writing.