Catéchisme historique contenant en abrégé l'histoire sainte et la doctrine chrétienne /

Texto con apostillas marg.

Instruction chrétienne sur la dévotion a la Sainte Vierge /

"Pratiques et prieres pour honorer particulierment la sainte virge marie", 36 p.

Notre-Dame de France : ou, Histoire du culte de la Sainte Vierge en France, depuis l'origine du christianisme jusqu'à nos jours /

Includes bibliographical references.

La pratique de la dévotion à N.-D. de la Salette. Manuel de l'Archiconfrérie, livre des retraites de la sainte montagne, mois de N.-D. de la Salette, divers exercices de piété,

Stern

L'écho de la sainte montagne visitée par la Mère de Dieu; ou, Un mois de séjour dans la société des petits bergers de la Salette,

NUC ND

La Sainte Vierge dans la tradition, dans l'art, dans l'ame des saints et dans notre vie.

Mode of access: Internet.

Relation des voyages de Saewulf à Jérusalem et en Terre Sainte pendant les années 1102 et 1103,

"Extrait du recueil de voyages et de mémoires de la Société de Géographie de Paris."

Celebrating difference/censoring difference? : Marie Chouinard’s bODY rEMIX

This paper examines performances that defy established representations of disease, deformity and bodily difference. Historically, the ‘deformed’ body has been cast – onstage and in sideshows – as flawed, an object of pity, or an example of the human capacity to overcome. Such representations define the boundaries of the ‘normal’ body by displaying its Other. They bracket the ‘abnormal’ body off as an example of deviance from the ‘norm’, thus, paradoxically, decreasing the social and symbolic visibility (and agency) of disabled people. Yet, in contemporary theory and culture, these representations are reappropriated – by disabled artists, certainly, but also as what Carrie Sandahl has called a ‘master trope’ for representing a range of bodily differences. In this paper, I investigate this phenomenon. I analyse French Canadian choreographer Marie Chouinard’s bODY rEMIX/gOLDBERG vARIATIONS, in which 10 able-bodied dancers are reborn as bizarre biotechnical mutants via the use of crutches, walkers, ballet shoes and barres as prosthetic pseudo-organs. These bodies defy boundaries, defy expectations, develop new modes of expression, and celebrate bodily difference. The self-inflicted pain dancers experience during training is cast as a ‘disablement’ that is ultimately ‘enabling’. I ask what effect encountering able bodies celebrating ‘dis’ or ‘diff’ ability has on audiences. Do we see the emergence of a once-repressed Other, no longer silenced, censored or negated? Or does using ‘disability’ to express the dancers’ difference and self-determination usurp a ‘trope’ by which disabled people themselves might speak back to the dominant culture, creating further censorship?

Regional chromosomal assignment of human renin gene to 1q12→qter and use in linkage studies in Charcot-Marie-Tooth disease

The gene for renin, previously mapped to human chromosome 1, was further localized to 1q12 → qter using human-mouse somatic cell hybrid DNAs. The renin DNA probe used (λ HR5) could detect a HindIII restriction fragment length polymorphism. When used in studies of 12 informative families, no linkage could be found between the renin and Charcot-Marie-Tooth disease. Furthermore, an association of any renin allele with hypertension was not apparent.