Academic literature on the topic 'Henri Duchêne'

Cette étude examine le premier des deux discours prononcés par Léger Duchesne in auditorio regio, qui furent imprimés et transmis à la postérité. Lecteur royal de rhétorique et de lettres latines, Duchesne prononça en janvier 1580 une oraison dans laquelle il loue les rois Valois créateurs et protecteurs du Collège des lecteurs royaux (actuel Collège de France). Il se rappelle ses propres expériences de jeune étudiant à l’époque de Louis XII et de François Ier, afin de souligner la grandeur de l’institution qui constitue l’une des gloires durables du royaume de France. Duchesne apostrophe successivement, selon l’ordre chronologique, chacun des rois Valois à l’exception de Henri II. Son éloquence épidictique fait montre d’une riche culture latine, comme en témoignent les échos de Virgile, Quintilien, Cicéron et Horace que l’orateur rencontra pour la première fois lorsque, jeune homme, il fréquenta les cours des lecteurs. Ainsi ce double éloge, de la lignée royale des Valois et de l’institution des lecteurs royaux, se construit-il sur un récit « autobiographique » qui culmine par l’éloge de Henri III, maître de l’Académie du Palais.

Papież Franciszek, wzywający duszpasterzy do odnowy działalności Kościoła w duchu miłosierdzia, jest kontynuatorem tradycji benignitas pastoralis, której przedstawicielami sąśw. Jan Chryzostom (349–407), św. Alfons Maria de Liguori (1696–1787) oraz Henri J.M. Nouwen (1932–1996). Duszpasterstwo łagodności polega na naśladowaniu Boga zstępującego w Jezusie Chrystusie ku ludziom, aby dać się im poznać w sposób dostosowany do ich możliwości percepcyjnych i okazując zrozumienie dla ich słabości, wspierać ich w osiąganiu doskonałości. Dla papieża Franciszka Ewangelia nie jest zbiorem norm moralnych, lecz Dobrą Nowiną o miłosierdziu Boga pełnego czułości, cierpliwości i życzliwości dla ludzi. Zadaniem duszpasterzy naśladujących Syna Bożego, Jezusa Chrystusa, w którym wszystko mówi o miłosierdziu, jest podchodzić do ludzi słabych i zagubionych z łagodnością, nie potępiać, lecz wzywać do nawrócenia. Tak praktykowane duszpasterstwo miłosierdzia ma istotne znaczenie ze względu na jego podstawy biblijno-teologiczne, charakter personalistyczny, wartość pedagogiczną, oddziaływanie terapeutyczne oraz siłę ewangelizacyjną. W łagodności pastoralnej papież Franciszek dostrzega właściwą odpowiedź Kościoła na potrzeby duchowe ludzi będących w tzw. sytuacjach nieregularnych.

The study of time, space and movement as constituent art elements was a focus of attention of avant-garde artists. The theatre where events unfold both in space and time became a place of consolidation of Ukrainian artists, with the synergistic association of representatives in various art branches and movements. A scenographic sketch, that is, a two-dimensional realisation of idea of a future four-dimensional work, is a unique phenomenon to study the evolution of the avant-garde’s concept of the space-time continuum. Through the example of works of both distinguished and less known Ukrainian theatre artists we have studied features of the realisation of time and space categories according to the key stylistic directions of the Ukrainian avant-garde: cubism, futurism, cubo-futurism, constructivism, suprematism. A theoretical basis for the study has been provided by works of Western thinkers of the late nineteenth and early twentieth centuries: Edmund Husserl, Henri Bergson, Oswald Spengler, Ludwig Wittgenstein, Maurice Merleau-Ponty, and Meyer Schapiro, along with the Ukrainian art theorists Kasimir Malevich, Aleksandr Bogomasov, and Les Kurbas, as well as works of modern researchers such as Linda Henderson and Igor Duchan. We have drawn a parallel between the development of art concepts in the Ukrainian avant-garde and scientific achievements, and the sense of time and space categories in the philosophical thought of that epoch.

Ebihara, Satoru, Ghiabe-Henri Guibinga, Renald Gilbert, Josephine Nalbantoglu, Bernard Massie, George Karpati, and Basil J. Petrof. Differential effects of dystrophin and utrophin gene transfer in immunocompetent muscular dystrophy (mdx) mice. Physiol Genomics 3: 133–144, 2000.—Duchenne muscular dystrophy (DMD) is a fatal disease caused by defects in the gene encoding dystrophin. Dystrophin is a cytoskeletal protein, which together with its associated protein complex, helps to protect the sarcolemma from mechanical stresses associated with muscle contraction. Gene therapy efforts aimed at supplying a normal dystrophin gene to DMD muscles could be hampered by host immune system recognition of dystrophin as a “foreign” protein. In contrast, a closely related protein called utrophin is not foreign to DMD patients and is able to compensate for dystrophin deficiency when overexpressed throughout development in transgenic mice. However, the issue of which of the two candidate molecules is superior for DMD therapy has remained an open question. In this study, dystrophin and utrophin gene transfer effects on dystrophic muscle function were directly compared in the murine (mdx) model of DMD using E1/E3-deleted adenovirus vectors containing either a dystrophin (AdV-Dys) or a utrophin (AdV-Utr) transgene. In immunologically immature neonatal animals, AdV-Dys and AdV-Utr improved tibialis anterior muscle histopathology, force-generating capacity, and the ability to resist injury caused by high-stress contractions to an equivalent degree. By contrast, only AdV-Utr was able to achieve significant improvement in force generation and the ability to resist stress-induced injury in the soleus muscle of immunocompetent mature mdx animals. In addition, in mature mdx mice, there was significantly greater transgene persistence and reduced inflammation with utrophin compared to dystrophin gene transfer. We conclude that dystrophin and utrophin are largely equivalent in their intrinsic abilities to prevent the development of muscle necrosis and weakness when expressed in neonatal mdx animals with an immature immune system. However, because immunity against dystrophin places an important limitation on the efficacy of dystrophin gene replacement in an immunocompetent mature host, the use of utrophin as an alternative to dystrophin gene transfer in this setting appears to offer a significant therapeutic advantage.

It is the concern of this paper to retrace, rather than diachronically expound, some of the events that substantiate the forging of the confessional box within the historicity of confession. It exposes that the birth of the confessional (box) is an issue of how confession evolved from the varying historical instances that project man’s yearning for reconciliation and salvation. It thereby retraces the formulations of mercy within such context. Hence, the paper will delve into confession’s history vis-à-vis its roots, practices, and evolution from its ancient, medieval, and eventual modern institutionalization in the Council of Trent. The paper runs in two parts: 1) it discusses the art of exclusion and control of penance that is distinctive of the ancient and medieval practices of reconciliation respectively, and 2) it proceeds into a discussion of the crisis of mercy and the eventual forging of the confessional box. References Bossy, John. “The Social History of Confession,” in Transactions of the Royal Historical Society, 5th series, 25 (1975): 30. __________. Christianity in the West, 1400–1700, Oxford, 1985. Butler, Perry. “Introduction: Confession Today,” in Martin Dudley (ed.), Confession and Absolution. Collegeville, Minnesota: The Liturgical Press, 1990. Cantor, Norman. Civilization of the Middle Ages. New York: HarperCollins Publishing, 1993. Cornwell, John. The Dark Box, A Secret History of Confession, 1st ed. Cambridge: Basic Books, 2014. Dallen, James. “History and Reform of Penance,” in Robert Kennedy (ed.), Reconciling Embrace: Foundations for the Future of Sacramental Confession. Illinois: Liturgy Training Publications, 1998. Daniel-Rops, Henri. History of the Church of Christ, vol. 5, The Catholic Reformation, trans. John Warrington. London, 1962. de Boer, Wietse. The Conquest of the Soul: Confession, Discipline, and Public Order in Counter-Reformation Milan. Leiden, 2001. Dooley, Catherine OP. “The History of Penance in the Early Church: Implications for the Future,” in Robert Kennedy (ed.), Reconciliation: the Continuing Agenda. Collegeville, Minnesota: The Liturgical Press, 1987. Duchesne, Louis. Christian Worship: Its Origin and Evolution. London, 1904. Favazza, Joseph. The Order of Penitents: Historical Roots and Pastoral Future. Collegeville, Minnesota: The Liturgical Press, 1988. Foucault, Michel. “Christianity and Confession’ (lecture),” in Foucault, The Politics of Truth. Los Angeles, 1997. Fox, Robin Lane. Pagans and Christians in the Mediterranean World from the Second Century AD to the Conversion of Constantine. London, 1986. Hamelin, Léonce. Reconciliation in the Church: A Theological and Pastoral Essay on the Sacrament of Penance. Collegeville, Minnesota: Liturgical Press. Jedin, Hubert. A History of the Council of Trent, trans. Dom Ernest Graf, vol. 2. St. Louis, 1961. Mahoney, John. The Making of Moral Theology: A Study of the Roman Catholic Tradition. Oxford, 1989. Martinez, German. Signs of Freedom: Theology of the Christian Sacraments. New Jersey: Paulist Press, 2003. O’Malley, John. Trent: What Happened at the Council. Cambridge, MA, 2013. Orsy, Ladislas. The Evolving Church and the Sacrament of Penance. Denville, New Jersey: Dimension Books, 1978. Pope John Paul II, “Apostolic Exhortation on Reconciliation and Penance,” no. 28, in Origins, 14:25 (1984). Poschmann, Bernhard. Penance and the Anointing of the Sick, trans. Francis Courtney. New York: Herder and Herder, 1964. Haliczer, Stephen. Sexuality in the Confessional: A Sacrament Profaned. Oxford, 1996. Taylor, Chloë. The Culture of Confession from Augustine to Foucault: a Genealogy of the ‘Confessing Animal’. New York: Routledge, 2009. Von Speyer, Adrienne. Confession, the Encounter with Christ in Penance. Frieburg: Herder, 1964. Žižek, Slavoj. The Puppet and the Dwarf: The Perverse Core of Christianity. Cambridge, Mass.: MIT Press, 2003. __________. Žižek’s Jokes. London: MIT Press, 2014.

Founding member of a banking network related to the actual BNP Paribas Group, Meyer Joseph Cahen (1804-1881), adopted the “d’Anvers” when he settled in Paris in 1849. Born in Bonn, of an Ashkenazi family, he made his fortune in the Belgian city to which he associated his name, and he continued his career in France. Owner of Nainville’s castle (Essonne) and of the Petit Hôtel de Villars (Paris), he became a naturalized French citizen in 1865. The next year, he obtained the title of Count, bestowed upon him by the King of Italy Victor-Emmanuel II, thanks to the economic support he offered to the Italian Unification. Nineteen years later, King Humbert I surpassed his predecessor and raised Meyer Joseph’s eldest son, Édouard (1832-1894), to the status of Marquis of Torre Alfina. If his siblings – Emma (1833-1901), Louis (1837-1922), Raphaël (1841-1900) and Albert (1846-1903) – enrooted their pathways in the French capital, the eldest lived between Florence, Naples and Rome: he was one of the great investors involved in the urban renovation of the Italian capital, after the fall of the papacy. In France, as well as in Italy, art, and especially architecture, served to legitimize the recent nobility of a family that wished to express the fullness of its civil rights. As targets of the anti-Semitic press, the Cahen d’Anvers family experienced the consequences of the Dreyfus Affair and the horrors of the racial laws. Before the latter, they adopted what could be defined as a “top-down model of integration”. This thesis focuses on its mechanisms and development. After tracing the patriarch’s origins, it analyses the family’s matrimonial policies and it continues with an exploration of Cahen d’Anvers’ “choices” in the vast field of culture. In their salons, the readers will meet Guy de Maupassant, Paul Bourget, Marcel Proust and Gabriele D’Annunzio, as well as Auguste Renoir and Léon Bonnat. Twelve mansions offered a perfect stage for these intellectual gatherings. As a public manifestation of the family’s economic and social power, the historicist eclecticism of these properties aimed to represent the owners as a new phalanx of the old nobility. While Forge-Philippe’s manor (Wallonia), Gérardmer’s chalet (Vosges) and Villa della Selva (Umbria) expressed a certain openness to the twentieth century novelties, the three residences rented by the family (Hôtel du Plessis-Bellière, Paris; Palazzo Núñez-Torlonia, Rome; Château de la Jonchère, Yvelines) and the two properties of Meyer Joseph, as well as Rue de Bassano’s mansion (Paris) or the castles of Champs (Seine-et-Marne), Bergeries (Essonne) and Torre Alfina (Latium) dressed up their nineteenth century spaces with Ancien Régime motifs. Thanks to their historical knowledge and taste, the architects Destailleur, Giuseppe Partini and Eugène Ricard, as well as the landscapers Henri and Achille Duchêne, were able to bend the Middle Age, the Renaissance and the 18th century’s “grammars” to their patrons’ taste and ambitions.