The wild marquis : the life and adventures of Armand Guerry de Maubreuil, Marquis D'Orvault /

Mode of access: Internet.

Relation des mongols ou tartares,

Text of the "Relation" is in Latin.

Afrique. Esquisse générale de l'Afrique et Afrique ancienne,

Various pagings.

Essais historiques sur le Bigorre, accompagnés de remarques critiques, de pièces justificatives, de notices chronologiques et généalogiques.

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."

Afrique.

Mode of access: Internet.

[Lettre autographe signée de Marie Amable Armand, première artiste du chant à l'Académie Impériale de Musique au comte de Montesquiou, surintendant des spectacles, Paris, 10 avril 1815]

Première artiste du chant depuis 14 ans. Son traitement vient d'être réduit, demande justice

Der Günstling der Marie Antoinette : Memoiren des Herzogs von Lauzun /

Mode of access: Internet.

Les vitraux de la cathédrale d'Auch ... avec une préface d'Armand Praviel et des images d'Edouard Bouillière.

Mode of access: Internet.

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?