Le comte de Vergennes ses débuts diplomatiques, d'après des documents inédits, 1750-1752.

"Extrait de la Revue des questions historiques, juillet 1888."

Histoire de Miss Jenny, : ecrite & envoyée par elle à milady, comtesse de Roscomond, ambassadrice d'Angleterre á la cour de Danemarck /

Signatures: pi² A-L⁸ M² N⁶ O-S⁸ T² V⁶ X-2B⁸ 2C⁶.

Précis historique de la vie de Mad. la Comtesse Du Barry, avec son portrait.

Mode of access: Internet.

Oeuvres complettes de Madame Riccoboni.

v. 1. L'abeille. L'aveugle. Lettres de la princesse Zelmaide, au prince Alamir, son époux. Lettres de Mistriss Fanni Butlerd. Lettres de mylady Catesby. Suite de Marianne, qui commence où celle de Monsieur de Marivaux est restée.--v. 2. Histoire du marquis de Cressy. Amélie.--v. 3. Histoire de Miss Jenny.--v. 4. Lettres de Élisabeth-Sophie de Vallière.--v. 5. Histoire d'Ernestine. Histoire de Christine de Suabe. Histoire d'Aloïse de Livarot. Histoire d'Enguerrand. Histoire des amours de Gertrude. Histoire de deux amies. Lettre de la marquise d'Artigues.--v. 6. Lettres de la comtesse de Sancerre. Lettres de Mylord Rivers.--v. 7. The foundling, ou L'enfant trouvé, comédie [de Edouard Moore] The way to keep him, ou La façon de la fixer, comédie [de A. Murphy] Il est possédé.--v. 8. False delicacy, ou La fausse délicatesse, comédie de Hugh Kelly. The jealous wife, ou La femme jalouse, comédie de George Colman.

Book review : "Artificial Hells: participatory art and the politics of spectatorship by Claire Bishop"

In the years since Nicolas Bourriaud’s Relational Aesthetics (1998) was published, a plethora of books (Shannon Jackson’s Social Works: Performing Art, Supporting Publics [2011], Nato Thompson’s Living as Form: Socially Engaged Art from 1991–2011 [2011], Grant Kester’s Conversation Pieces: Community and Communication in Modern Art [2004], Pablo Helguera’s Education for Socially Engaged Art: A Material and Techniques Handbook [2011]), conferences and articles have surfaced creating a rich and textured discourse that has responded to, critiqued and reconfigured the proposed social utopias of Bourriaud’s aesthetics. As a touchstone for this emerging discourse, Relational Aesthetics outlines in a contemporary context the plethora of social and process-based art forms that took as their medium the ‘social’. It is, however, Clare Bishop’s book Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso), that offers a deeper art historical and theoretically considered rendering of this growing and complicated form of art, and forms a central body of work in this broad constellation of writings about participatory art, or social practice art/socially engaged art (SEA), as it is now commonly known...

Claire Renzetti (2013) Feminist Criminology. London, UK:Routledge

Feminist Criminology, a recent addition to the suite of slimline Key Ideas in Criminology Series (Routledge), captures and retrospectively unpacks the complexity, diversity and essence of feminist criminology. Claire Renzetti provides a rich, engaging and thought‐provoking account, taking the reader on a journey encompassing the historical, legal, sociological and psychological dimensions that examine the context, synergies and disjunctions among past, present and future feminist criminologies. Her unique approach considers the micro and macro dimensions of, and impact within, the discipline, academy, criminal justice system and society more broadly. Emphasising the fluidity underpinning feminist perspectives, Renzetti contends that ‘there is no single unitary perspective in criminology’, with feminist criminology offering ‘a diverse collection of theoretical perspectives and methods’ (p. 99). Opting for the path less travelled and rejecting the marginalising of feminist criminology with the notional ‘add and stir’ approach, Renzetti advocates moving beyond a tolerance approach to one that embeds analyses of gender, ‘race’ and class within mainstream criminological research paradigms. Charting the development of feminist criminology from the 1970s to the present, Renzetti offers ‘an assessment of criminology’s potential for shaping the future of our discipline’ and the practice of criminal justice (p. 1). Feminist Criminology is organised into five chapters, each progressing concise summaries of feminist approaches, contributions to criminological practice, and shifting academic landscapes; the text concludes with an appraisal of future directions for feminist criminology.

Ernest Krakauer with Claire "Mausi" Marum Krakauer; Andover, Massachusetts.

Ernest Krakauer is wearing a uniform; the picture is taken in front of a house.

Ernest Krakauer with Claire "Mausi" Marum Krakauer; Andover, Massachusetts.

Ernest Krakauer is wearing a uniform; the picture is taken in front of a house.

Interview with Claire Gibbons about implementing XCRI-CAP

Claire spoke to Janette Hillicks about the University of Bradford's implementation of XCRI-CAP.