Controverse entre la petite et la grande église, sur les droits sacrés de Dieu, de la sainte église, et du roi légitime.

Mode of access: Internet.

Essai sur l'histoire de France depuis la Saint-Barthélemy jusqu'à la Fronde, pour servir d'introduction aux Mémoires du maréchal duc de la Force.

Mode of access: Internet.

Histoire du Mont Saint-Michel et de L'Agien Diogese d'avranches depuis le temps les plus reculeś jusqu'a nos jours, publies d'apres les chartescartulaires et manuscrits trouvés au Mont Saint-Michel, a la tour de Londres et dans les bibliotheques de la France et de l'étranger ...

Mode of access: Internet.

Essai sur ls archives historiques du Chapitre de l'église cathédrale de Notre-DAme à St.-Omer (Pas-de-Calais).

Extrait du tome VI des Memoires de la Société des antiquaires de la Morinie.

Lettre à M. le supérieur du grand séminaire au Mans, ou Mon dernier mot sur l'autorité de la sainte église catholique.

Mode of access: Internet.

Histoire de l'église gallicane; dediée à nos seigneurs du clergé.

Vols. 1-4 have engraved title vignettes.

L'orgue d'Aloyse Mooser : construit dans l'Église collégiale de S. Nicolas à Fribourg en Suisse.

"Avec le portrait du célèbre facteur, la vue de l'Orgue, etc."

L'église de Chamalières-sur-Loire /

Includes bibliographical references.

Notre métropole, ou monographie ... de ... Saint-Sauveur.

Collection diocesaiue "La Sainte église d'Aix et d'Arles.

Oraisons funèbres : suivies du sermon pour la profession de Mme. de la Vallière du panégyrique de Saint Paul et du sermon sur la vocation des gentils /

Mode of access: Internet.

Monseigneur Antoine Racine et les communautés de religieuses enseignantes dans le diocèse de Sherbrooke de 1874 à 1893

Le diocèse de Sherbrooke fut érigé par le Pape Pie IX. La bulle d'érection, datée de Rome le 28 août 1874, confirmait ainsi le voeu de l'épiscopat de la province ecclésiastique de Québec, émis au cinquième concile provincial du 23 mai 1873. Le nouveau diocèse comprenait un démembrement des diocèses de Québec, de St-Hyacinthe et des Trois-Rivières; Québec cédait trois cantons plus une paroisse; St-Hyacinthe, dix-huit cantons; et Trois-Rivières, vingt-quatre. Moins de la moitié de la population de ce territoire était catholique, soit seulement 30,255 sur une population totale de 68,283 habitants, d'après le recensement de 1870. Par une bulle romaine du premier septembre 1874, Antoine Racine, prêtre desservant de l'église Saint-Jean-Baptiste de Québec, était nommé premier évêque du nouveau diocèse. L'évêque élu avait été prévenu quelques jours auparavant par une lettre de Rome. Consacré à Québec, le 18 octobre 1874, des mains de Mgr Elzéar Alexandre Taschereau, archevêque de Québec, Mgr Antoine Racine prit possession du siège de Sherbrooke le 20 du même mois. Pendant dix-neuf ans, soit jusqu'à sa mort survenue le 17 juillet 1893, l'évêque de Sherbrooke conduisit son diocèse avec prudence, le dotant d'institutions stables. Ses nécrologistes et ses biographes le considèrent comme un des principaux artisans de la pénétration catholique et française dans les Cantons de l'Est. […]

On medium specificity and discipline crossovers in modern art : An interview with Jacques Ranciére on Medium-Specificity and Discipline Crossovers in Modern Art

Jacques Ranciere's work on aesthetics has received a great deal of attention recently. Given his work has enormous range – taking in art and literature, political theory, historiography, pedagogy and worker's history – Andrew McNamara and Toni Ross (UNSW) seek to explore his wider project in this interview, while showing how it leads to his alternative insights into aesthetics. Rancière sets aside the core suppositions linking the medium to aesthetic judgment, which has informed many definitions of modernism. Rancière is emphatic in freeing aesthetic judgment from issues of medium-specificity. He argues that the idea of autonomy associated with medium-specificity – or 'truth to the medium' – was 'a very late one' in modernism, and that post-medium trends were already evident in early modernism. While not stressing a simple continuity between early modernism and contemporary art, Ranciere nonetheless emphasizes the ethical and political ramifications of maintaining an a-disciplinary stance.

Esprit Futur : Le Corbusier and José Oubrerie at Saint-Pierre De Firminy, Firminy-Vert, France, 1968–2006

What is the secret mesmerism that death possesses and under the operation of which a modern architect – strident, confident, resolute – becomes rueful, pessimistic, or melancholic?1 Five years before Le Corbusier’s death at sea in 1965, the architect reluctantly agreed to adopt the project for L’Église Saint-Pierre de Firminy in Firminy-Vert (1960–2006), following the death of its original architect, André Sive, from leukemia in 1958.2 Le Corbusier had already developed, in 1956, the plan for an enclave in the new “green” Firminy town, which included his youth and culture center and a stadium and swimming pool; the church and a “boîte à miracles” near the youth center were inserted into the plan in the ’60s. (Le Corbusier was also invited, in 1962, to produce another plan for three Unités d’Habitation outside Firminy-Vert.) The Saint-Pierre church should have been the zenith of the quartet (the largest urban concentration of works by Le Corbusier in Europe, and what the architect Henri Ciriani termed Le Corbusier’s “acropolis”3) but in the early course of the project, Le Corbusier would suffer the diocese’s serial objections to his vision for the church – not unlike the difficulties he experienced with Notre Dame du Haut at Ronchamp (1950–1954) and the resistance to his proposed monastery of Sainte-Marie de la Tourette (1957–1960). In 1964, the bishop of Saint-Étienne requested that Le Corbusier relocate the church to a new site, but Le Corbusier refused and the diocese subsequently withdrew from the project. (With neither the approval, funds, nor the participation of the bishop, by then the cardinal archbishop of Lyon, the first stone of the church was finally laid on the site in 1970.) Le Corbusier’s ambivalence toward the project, even prior to his quarrels with the bishop, reveals...

An interview with Jacques Rancière : on medium-specificity and discipline crossovers in modern art

Jacques Rancière's work on aesthetics has received a great deal of attention in recent years. Given his work has enormous range – covering art and literature, political theory, historiography, pedagogy and worker's history – Andrew McNamara and Toni Ross (UNSW) explore his wider critical ambitions in this interview, while showing how it leads to alternative insights into aesthetics. Rancière sets aside the core suppositions linking the medium to aesthetic judgment, which has informed many definitions of modernism. Rancière is emphatic in freeing aesthetic judgment from issues of medium-specificity. He argues that the idea of autonomy associated with medium-specificity – or 'truth to the medium' – was 'a very late one' in modernism, and that post-medium trends were already evident in early modernism. While not stressing a simple continuity between early modernism and contemporary art, Ranciere nonetheless emphasizes the on-going ethical and political ramifications of maintaining an a-disciplinary stance.

Activism, art and social practice : a case study using Jacques Ranciere’s framework for analysis

The question can no longer just be whether “art and social practice” or creative forms of activism are part of larger neo liberal agenda nor if they are potentially radical in their conception, delivery or consumption. The question also becomes: what are the effects of social practice art and design for the artists, institutions, and the publics they elicit in public and private spaces; that is, how can we consider such artworks differently? I argue the dilution of social practices’ potentially radical interventions into cultural processes and their absorption into larger neo liberal agendas limits how, as Jacques Rancière might argue, they can intervene in the “distribution of the sensible.” I will use a case study example from The Center for Tactical Magic, an artist group from the San Francisco Bay Area.