L'Advocacie Nostre-Dame et La Chapelerie Nostre-Dame de Baiex, poème normand du XIVe siècle, imprimé en entier pour la première fois, d'après le manuscrit unique de la Bibliothèque d'Évreux.

"Tiré à deux cents exemplaires sur papier de Holland et à dix sur papier de Chine." This copy not numbered.

Inventaire du trésor de l'église primatiale et métropolitaine de Sens /

Mode of access: Internet.

Breviarium Bajocense.

Mode of access: Internet.

Histoire de l'Eglise cathedrale de Rouen, metropolitaine et primatiale de Normandie.

Mode of access: Internet.

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."

Épitaphier du vieux Paris : recueil général des inscriptions funéraires des églises, couvents, collèges, hospices, cimetières et charniers, depuis le moyen âge jusqu'à la fin du XVIIIe siècle /

t. 1. Saint-André-des-Arcs. Saint Benoît.--t. 2. Bernardins. Charonne.--t. 3. Chartreux. Saint-Étienne-du-Mont.--t. 4. Saint-Eustache. Sainte-Geneviève-la-Petite / revu et mis au point par Max Prinet.--t. 5. fasc. 1. Saint-Germain l'Auxerrois / publié par André Lesort et Hélène Verlet.--t. 5. fasc. 2. Saint-Germain des Prés. Incurables, nos 2244-2591 / publié par Hélène Verlet.--t. 6. Les Saints-Innocents, nos 2592 à 3119 / publié par Hélène Verlet -- t. 8. Saint-Landry- La Merci, no.3638 à 3956 -- t. 9. Saint Merry-Saint Nicolas du Louvre, nos.3957-4447 t. 10. Les épitaphes de la cathédrale Notre-Dame de Paris -- t. 11. Noviciat des Jésuites--Saint-Sauveur, nos 4850-5344 / Helene Verlet -- t. 12. Saint-Sepulcre-Saint-Yves, no. 5345-5915

Cartulaire de l'église Saint-Lambert de Liége;

Mode of access: Internet.

Gemius loci; notes on places,

I. Augsburg.--II. Holy week in Tuscany.--III-IV. In Touraine.--V. Siena and Simon Martini.--VI. Among the marble mountains.--VII. The epitaphs at Detwang.--VIII. Fribourg.--IX. France again.--X. The lion of St. Mark's and Admiral Morosini.--XI. Charcoal and ice.--XII. St. Geryon of Cologne.--XIII. In Piedmont.--XIV. Bayeux and the tapestry.--XV. The lakes of Mantua.--XVI. Ansbach and the Knights of the Swan.--XVII. High up.--XVIII. The south.

Description de l'aimant, qui s'est formé à la pointe du clocher neuf de N. Dame de Chartres : avec plusieurs expériences trés-curieuses, sur l'aimant & sur d'autres matières de physique /

Colophon: Permis d'imprimer: fait ce 3. février 1692. De la Reynie.

La Vie musicale dans les provinces françaises.

CONTENTS CONTINUED: --3. Lhoillier, T. Notes sur quelques artists musiciens dans la Brie.--Carlez, J. La musique à Caen de 1066 à 1848.--Carlez, J. La puy de musique de Caen (1671-1685)--Coutagne, H. G. Duiffoproucart et les luthiers lyonnais du XVIe siècle.--Collette et Bourbon. Notice historique sur les orgues et les organistes de la Cathédrale de Rouen.--Tricou, G. Les deux Layolle et les organistes lyonnais du XVIe siècle. Tricou, G. Documents sur l'art musical en Touraine, 1508.

Apontamentos sobre Educação Integral, Programa Mais Educação, Programa Segundo Tempo e Educação Física Escolar

In today's educational context of Brazil the theme of integral education has deserved having to induce policy, nowadays, the More Education Program. In this sense, this thesis focuses on the aspects of integral education that emerged in the country's history to reach the More Education Program (MEP) and offers some thoughts on how physical education is presented within the institutionalization of intent of Integral Education in Brazil. Thus we have as main objective to discuss the pedagogical setting of Second Half Program (PST) in the MEP, and to identify possibilities to integrate their actions with the School Physical Education. In the case study methodology was adopted, with the appropriate schools accompanied by Team Collaborator 3 of the Ministry of Sport, using as a source of evidence the first assessment protocol carried out by the Cooperating Teams of Educational Monitoring and Administration of the Second Time in Brazil specifically evaluations carried out by Team Collaborator 3 (EC3), under the Department of Physical Education, Federal University of Rio Grande do Norte, which followed the covenants of the More xi Education Program in the municipalities of Bayeux / PB, Araruna / PB, Natal / RN and Parnamirim / RN, in the year 2012. in our case it is noticed that the activities developed by PST, accompanied in schools, have an organization and pedagogical practices that converge with each other, but are configured with disjointed practices of Education classes physical, aspect that differs in what would be thinking pedagogical actions to comprehensive education schools.

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...