Oeuvres complètes de Saint François de Sales, évêque et prince de Genève. Nouv. collationnée et augm. des lettres de Sainte Chantal, des lettres inédites de Saint François de Sales ...

Mode of access: Internet.

Portraits de femmes et d'enfants.

Mme. de Charmoisy.--La comtesse de Boigne.--Mme. de Charrière.--Mlle. de Lespinasse.--Trois comédiennes [Lady Hamilton, Maria Felicia Garcia, Belgiojoso]--Une inconnue de Sainte-Beuve.--L'enfance de Bayart.--L'enfance de Mistral.

[Utilidad del estudio de la historia natural y las relaciones de esta ciencia con los demas ramos comprendidos en la Facultad de Filosofía] : Discurso inaugural que en la solemne apertura del curso 1855 a 56 pronunció /

Mode of access: Internet.

La croix de Berny /

Mode of access: Internet.

Historical collections of Georgia : containing the most interesting facts, traditions, biographical sketches, anecdotes, etc. relating to its history and antiquities, from its first settlement to the present time ; compiled from original records and official documents ; illustrated by nearly one hundred engravings of public buildings, relics of antiquity, historic localities, natural scenery, portraits of distinguished men, etc., etc. / by the Rev. George White.

Includes index.

Portraits littéraires /

--III. Théocrite. Virgile et Constantin le Grand, par m. J.-P. Rossignol. Francois Ier poëte. Le chevalier de Méré, ou De l'hommête homme au XVIIe siècle. Mademoiselle Aïssé. Benjamin Constant et madame de Charrière. Madame de Krüdner et ce qu'en aurait dit Saint-Évremond. M. de Rémusat. Charles Labitte. Réception de m. le comte Alfred de Vigny à lA̓cadémie française. M. Étienne. Réception de m. Vitet à lA̓cadeémie française. Lettres de Rancé. Mémoires de madame Staal-Delaunay. La̓bbé Prevost et les Bénédictins. M. Victor Cousin: Cours de lh̓istoire de la philosophie moderne. Sur lÉ̓cole françoise dA̓thènes. M. Rodolphe Topffer. Mort de m. Vinet. Études sur Pascal, par m. Vinet. Relation inédite de la dernière maladie de Louis XV. Pensées.

Crisis Económica en África Occidental: el caso de Dakar, 1929-1939

En este artículo se explora el impacto socio-económico de la crisis internacional de 1929 en Senegal y más concretamente en la ciudad-puerto de Dakar. Se analizan las consecuencias de la dependencia externa y la extroversión económica que caracterizaba a las estructuras productivas coloniales, destacando también la respuesta organizada de los movimientos sociales africanos. Por otra parte, se estudia la evolución de las infraestructuras y actividad portuaria, observando la metropolización regional de Dakar durante este periodo.

Stripping Sight Bare : Alison Jones’ ‘Portraits by Proxy’

In this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image.