Historia de Alvear, con la acción de Artigas en el período evolutivo de la revolución argentina de 1812 á 1816,

The form of name which Alvear used was: Carlos María de Alvear. His certificate of baptism, which was found after his death, gives as his baptismal name: Carlos Antonio Josef Gabino del Angel de la Guardia. cf. v.1, p. [49]-50.

Poëtes et amoureuses, portraits littéraires du XVIe siècle,

"Tiré à 380 exemplaires (tous numérotés) 300 papier de Hollande. 50 [papier de Hollande] portraits doubles. 30 [papier] Whatman, [portraits doubles] no. 50 [portraits double]"

The works of Flavius Josephus, the learned and authentic Jewish historian and celebrated warrior : with three dissertations, concerning Jesus Christ, John the Baptist, James the Just, God's command to Abraham, &c., and explanatory notes and observations /

Includes index.

Biographie moderne, ou, Galerie historique, civile, militaire, politique, littéraire et judiciaire : contenant les portraits politiques de Français de l'un et de l'autre sexe, morts ou vivans, qui se sont rendus plus ou moins célèbres, depuis le commencement de la révolution jusqu'à nos jours, par leurs talens, leurs emplois, leurs malheurs, leur courage, leurs vertus ou leurs crimes.

"Étienne Psaume avait été le principal rédacteur." cf. Barbier, Dictionnaire des ouvrages anonymes.

The auto-biography of Goethe. Truth and poetry: from my life.

Preface by the editor contains this statement: "Several years since there was what purported to be a translation published in London; but this was a disgraceful imposture. Mrs. Austin speaks of it as the most flagrant piece of literary dishonesty on record, not without justice; and Mr. Carlyle refers to it much in the same spirit. It was a poor copy of a wretched French version, in which frequently twenty pages of the original are omitted at a time, and hardly a sentence is rendered with fidelity." This refers to an anonymous translation published in 2 vols., London, 1824, and reprinted in 1 vol., New York, 1824 and 1844. cf. Characteristics of Goethe. From the German of Falk, von Müller, etc., with notes ... by S. Austin, vol. II (1833) p. 129, and Carlyle's Crit. and miscell. essays, New York, 1872, vol. I, p. 178.

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.

Editoral : Correspondence regarding Anker SD, Koehler F, Abraham WT. Telemedicine and remote management of patients with heart failure. The Lancet 2011; 378: 731–39. Published 20 August 2011.

We read the excellent review of telemonitoring in chronic heart failure (CHF)1 with interest and commend the authors on the proposed classification of telemedical remote management systems according to the type of data transfer, decision ability and level of integration. However, several points require clarification in relation to our Cochrane review of telemonitoring and structured telephone support2. We included a study by Kielblock3. We corresponded directly with this study team specifically to find out whether or not this was a randomised study and were informed that it was a randomised trial, albeit by date of birth. We note in our review2 that this randomisation method carries a high risk of bias. Post-hoc metaanalyses without these data demonstrate no substantial change to the effect estimates for all cause mortality (original risk ratio (RR) 0·66 [95% CI 0·54, 0·81], p<0·0001; revised RR 0·72 [95% CI 0·57, 0·92], p=0·008), all-cause hospitalisation (original RR 0·91 [95% CI 0·84, 0·99] p=0·02; revised RR 0.92 [95% CI 0·84, 1·02], p=0·10 ) or CHF-related hospitalisation (original RR 0·79 [95% CI 0·67, 0·94] p=0·008; revised RR 0·75 [95% CI 0·60, 0·94] p=0·01). Secondly, we would classify the Tele-HF study4, 5 as structured telephone support, rather than telemonitoring. Again, inclusion of these data alters the point-estimate but not the overall result of the meta-analyses4. Finally, our review2 does not include invasive telemonitoring as the search strategy was not designed to capture these studies. Therefore direct comparison of our review findings with recent studies of these interventions is not recommended.