Recueil d'instructions à divers ambassadeurs français, et autres pièces diplomatiques et historiques. (1535-1629).

Contient : Mémoires et instructions à divers ambassadeurs : au cardinal Du Bellay [Angleterre], 1535 (f. 1), — « aux évesque de Paris [cardinal Du Bellay] et sieur de La Guiche » [Angleterre], s. d. (f. 5), — à monsieur d'Oisel [Espagne], 1563 (f. 23 v), — à monsieur de Brèves [Constantinople], 1592 (f. 31), — au marquis de Coeuvres [Flandre], 1610 (f. 87), — « à monsieur de Schomberg, comte de Nanteuil » [Allemagne], s. d. (f. 98), — à Pierre de Gondi, évêque de Paris [Rome], 1576 (f. 121), — au « sieur de L'Aubespine le jeune » [Espagne], 1564 (f. 182), — « au sieur de Malras » [Rome], 1571 (f. 193 v), — au sieur de Schomberg [Allemagne], 1572 (f. 204 v), — au cardinal de Gondi [Rome], 1588 (f. 209), — à de Fresne-Forget [Espagne], 1589 (f. 221 v), — à monsieur de Loménie [Angleterre], 1595 (f. 283), et pièces diverses, instructions de la reine Élisabeth à son ambassadeur en France, et lettre de Henri IV, concernant l'ambassade de monsieur de Loménie (f. 287 v), — à monsieur de Sillery et au maréchal de Biron [Savoie], 1596 (f. 294 v), — au sieur de Chevrières [Savoie], 1607 (f. 308 v), — à monsieur de Vaucelas [Savoie], 1607 (f. 329), — à l'évêque de Bayonne [Bertrand d'Échaus], s. d. (f. 341), — au marquis de Coeuvres [Rome], 1618 (f. 371), — à monsieur de Béthune [Rome], 1624 (f. 391), — au marquis de Coeuvres [Suisse et Grisons], 1624 (f. 445), et pièce annexe (f. 471), — et au sieur de Sabran [Allemagne], 1629 (f. 491), et pièces annexes (f. 501) ; « Lettre de la reyne d'Angleterre [Élisabeth] au roy Henry quatriesme après sa conversion » ; Mémoire du cardinal de Richelieu au sieur Miron, s. d ; Pièces concernant les protestants de Béarn, 1545 ; Pièces concernant les relations diplomatiques entre la France et l'Angleterre ; Correspondance entre la Cour et monsieur de Saint-Sulpice, ambassadeur en Espagne, 1563-1564 ; Pièces concernant l'ambassade de monsieur de Forquevaux en Espagne ; « Mémoire touchant l'abbaye de Vaucelles » ; Lettres de monsieur de Fresne-Forget, ambassadeur en Espagne, à la Cour, 1589 ; Pièces relatives à la fuite en Flandre du prince du Condé, 1609 ; « Proposition de monsieur de Boissise, ambassadeur ... en Allemagne, faicte aux Estatz assemblez à Clèves », 1610

Il napoletano nel tempo

Storia di Napoli e il Napoletano nel tempo. Sono partita dalle origini della città, cercando di dare sempre un inquadramento storico-politico delle differenti realtà che hanno segnato la storia di Napoli, e successivamente mi sono soffermata soprattutto sulla formazione del suo dialetto, approfondendo in particolare alcune caratteristiche del napoletano legate alle dominazioni straniere; infine, ho provato a dare un piccolo assaggio della città e del suo dialetto attraverso un personaggio che ne mostra il cuore, Eduardo de Filippo.

Prediche quadresimali postume del P. Giacomo Lubrani della Compagnia di Giesú Napoletano : parte prima ...

Mode of access: Internet.

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.