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BUCKNER, CLARK. "Participationedited by bishop, claire." Journal of Aesthetics and Art Criticism 66, no. 3 (June 2008): 309–11. http://dx.doi.org/10.1111/j.1540-6245.2008.00311_5.x.
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Bishop, Claire. "Letters and Responses: Claire Bishop Responds." October 115 (January 2006): 107. http://dx.doi.org/10.1162/octo.2006.115.1.107.
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Eschenburg, Madeline. "Artificial Hells: A Conversation with Claire Bishop." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 174–78. http://dx.doi.org/10.5195/contemp.2014.113.
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Korte, Christine. "Artificial Hells: Participatory Art and the Politics of Spectatorship by Claire Bishop." Public 24, no. 48 (December 1, 2013): 163–64. http://dx.doi.org/10.1386/public.24.48.163_5.
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Kaluher, Anna. "Criticism minima: how to overcome ethical in yourself. Book review: Claire Bishop. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012. (ISBN 9781844676903)." Text and Image: Essential Problems in Art History, no. 1 (2019): 102–5. http://dx.doi.org/10.17721/2519-4801.2019.1.07.
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This review is an attempt of a critical generalization of the first monograph devoted to the phenomenon of Participatory Art – «Artificial Hells: Participatory Art and the Politics of Spectatorship» by Claire Bishop. Аuthor focuses on the problems of the binary of active and passive viewing, art after a «Social turn», the concept of ethics and the phenomenon of theatricalization in contemporary art.
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Fernandes, Sílvia. "Teatro expandido em contexto brasileiro." Sala Preta 18, no. 1 (June 30, 2018): 6. http://dx.doi.org/10.11606/issn.2238-3867.v18i1p6-34.
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O texto trata da retomada do ativismo nas instâncias da arte contextual (Paul Ardenne) e relacional (Nicolas Bourriaud), que se reflete na aproximação das artes cênicas com a política. Claire Bishop considera a tendência um “giro social” da arte, que localiza no final do século XX e detecta na postura social, característica dos criadores, e na rejeição à estética e à formalização, substituídas por intervenções decididamente ligadas ao trabalho em comunidades e à atuação em frentes próximas ao trabalho social. Na tentativa de reabilitar a ideia de estética em conexão com a política, Bishop recorre ao filósofo Jacques Rancière e a suas concepções de “partilha do sensível” e “regime estético da arte”. A partir desses pressupostos, analisa-se o trabalho da artista Lia Rodrigues e sua relação com a comunidade da Maré.
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Silvério, Renan Hernandes. "O Jogo na Arte: a presença do Ágon entre Nicolas Bourriaud e Claire Bishop." Anagrama 8, no. 1 (February 4, 2014): 1–13. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2014.78984.
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O presente artigo pretende propor um entendimento do conceito e da função de jogo, na tentativa de analisa-lo próximo aos procedimentos da arte, possibilitando conjuntamente um dialogo com primeiro escrito da filosofia Nietzschiana “O nascimento da tragédia no espirito da musica”, a pesquisa procura estabelecer o Ágon entre Apolo e Dionísio como recorte e estrutura fundamental de funcionamento dos jogos e utilizar a disputa presente nos jogos para lançar um entendimento sobre a arte, optando como exemplo o livro “Estética relacional” de Nicolas Bourriaud sendo contraposto pelo artigo de Claire Bishop
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Oliveira, Luiz Sérgio da Cruz. "Encruzilhadas da arte e da política no contemporâneo." Revista Visuais 3, no. 4 (June 22, 2017): 103–17. http://dx.doi.org/10.20396/visuais.v3i4.12194.
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Este artigo discute as dificuldades enfrentadas pela arte contemporânea, em especial aquela de cunho colaborativo, diante de novas demandas que clamam por uma maior inserção da arte no campo social. A partir da interlocução com autores como Claire Bishop, Hans Haacke, Linda Nochlin, Stephen Wright e Jacques Rancière, entre outros, procuramos investigar aspectos que compõem o cenário de certa encruzilhada que se apresenta para as práticas de arte colaborativa na contemporaneidade que, por sua vez, precisam encontrar os termos de sua articulação com o campo social e com o campo político na busca por uma presença qualificada da arte no mundo.
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Dalcol, Francisco. "Crítica dissensual: estética e densidade conceitual frente ao julgamento ético da intencionalidade artística." POIÉSIS 17, no. 28 (September 25, 2018): 147. http://dx.doi.org/10.22409/poiesis.1728.147-160.
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Propõe-se uma discussão teórica voltada a impasses da crítica com a virada social nas práticas artísticas e o esvaziamento dos critérios estéticos, problematizando uma tendência que toma a ética como valor e critério privilegiado para avaliar trabalhos processuais, desmaterializados, colaborativos e relacionais. Especula-se que tal abordagem tem caráter despolitizado se desconsiderar os antagonismos e a densidade conceitual em favor da intencionalidade dos artistas que usam situações sociais para produzir projetos participativos e/ou colaborativos. A partir de Néstor García Canclini, Hal Foster, Nicolas Bourriaud, Claire Bishop e Jacques Rancière, elabora-se uma compreensão do caráter crítico e político daarte como modo de operar uma crítica dissensual capaz de articular o estético sem sujeitá-lo ao julgamento ético.
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Tasca, Fabíola. "Entre Nicolas Bourriaud e Santiago Sierra: o antagonismo como estratégia relacional." PORTO ARTE: Revista de Artes Visuais 20, no. 34 (May 1, 2016): 7. http://dx.doi.org/10.22456/2179-8001.62304.
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O texto articula aproximações e afastamentos entre o trabalho do artista espanhol Santiago Sierra e as premissas teóricas que orientam a noção de estética relacional, elaborada pelo crítico francês Nicolas Bourriaud. Lançando mão da situação Tucumán Arde, compreendida como um emblema das aspirações de imbricamento entre arte e política de uma geração, o argumento que aqui se apresenta sublinha o distanciamento dessas aspirações representado pelo trabalho de Santiago Sierra, o qual é apreendido a partir da expressão “antagonismo relacional”. O texto aposta na pertinência dessa noção, enunciada pela teórica da arte britânica Claire Bishop, enquanto uma chave de leitura para o caráter crítico das manobras artísticas polêmicas levadas a termo na/pela obra de Sierra.
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Tasca, Fabiola. "Between Nicolas Bourriaud and Santiago Sierra: antagonism as a relational strategy." PORTO ARTE: Revista de Artes Visuais 20, no. 34 (May 1, 2016): 121. http://dx.doi.org/10.22456/2179-8001.62318.
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The text articulates approximations and distancing between the work of Spanish artist Santiago Sierra and the theoretical assumptions that guide the notion of relational aesthetics as drawn up by French critic Nicolas Bourriaud. By making use of Tucumán Arde’s situation, which is understood as an emblem of the aspirations of imbrication between the art and politics of a generation, the argument hereby presented underlines the aloofness of those aspirations represented by the work of Santiago Sierra, impounded from the term “relational antagonism”. This text relies on the relevance of this concept enunciated by British art theorist Claire Bishop as a key to reading the critical character of the polemic artistic maneuvers finished in or through Sierra’s work.
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Lawrence, Gwilym. "Artificial Hells: Participatory Art and the Politics of Spectatorship. By Claire Bishop. London: Verso, 2012. Pp. 390. £19.99/$29.95 Pb." Theatre Research International 40, no. 1 (February 6, 2015): 109–10. http://dx.doi.org/10.1017/s0307883314000674.
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Johanson, Katya, and Hilary Glow. "Reinstating the artist’s voice: Artists’ perspectives on participatory projects." Journal of Sociology 55, no. 3 (September 20, 2018): 411–25. http://dx.doi.org/10.1177/1440783318798922.
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Claire Bishop argued that the ethical lens applied to socially engaged arts practice encourages ‘authorial renunciation’ in favour of collaboration and limits the opportunity to expose such practice to critical reception. This article responds to Bishop’s implicit call to envision an artist-centred framework for participatory arts by identifying the motivations and beneficial discoveries that artists make when they seek out the creative involvement of others. Based on interviews with Australian performing artists who have established socially engaged practices, the article aims to bring about a form of ‘authorial reinstatement’ into the value system around participatory arts practice. It identifies a range of motivations for artists who establish socially engaged or participatory practice, from self-developmental to altruistic; and from arts-focused to community- and society-focused. The article argues that using these motivations to inform indicators of achievement for participatory practice provides new opportunities for critical interrogation of those practices.
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Figzał-Janikowska, Magdalena. "Miejskie performanse Władysława Hasiora." Pamiętnik Teatralny 71, no. 1 (March 18, 2022): 11–32. http://dx.doi.org/10.36744/pt.903.
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Artykuł poświęcony jest performatywnej twórczości Władysława Hasiora, w szczególności jego działaniom aranżowanym w przestrzeni miejskiej. Potrzeba dialogowania z odbiorcą, początkowo wyrażana przez Hasiora jedynie w eksponatach, począwszy od lat siedemdziesiątych przybiera formę bardzo wyrazistych manifestacji artystycznych zakładających bezpośredni udział widzów w kreowaniu zdarzenia performatywnego, a także znoszenie dystansu między artystą a społeczeństwem. Ze względu na ontologiczny status tych zdarzeń, ich efemeryczny i ulotny charakter, stanowią one jak dotąd najmniej zbadany obszar twórczości artysty. W artykule analizie poddane zostały najważniejsze miejskie i plenerowe performanse Władysława Hasiora, takie jak Pochód sztandarów w Łącku (1973), realizacja Solspann w Södertälje (1973–1976) czy wreszcie uroczysta Przeprowadzka z internatu „Szkoły Kenara” do nowej pracowni w Zakopanem (1984). Działania te autorka rozpatruje w kontekście współczesnych rozważań nad sztuką partycypacyjną, zarówno w świetle antagonistycznej teorii partycypacji Claire Bishop, jak i koncepcji sztuki dialogicznej Granta H. Kestera, zauważając, że Hasior w swoich projektach performatywnych łączył dwie strategie sztuki partycypacyjnej: potrafił współtworzyć efemeryczne dzieła razem z publicznością, a jednocześnie reżyserować działania odbiorców.
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Watt, Kenn. "Artificial Hells: Participatory Art and the Politics of Spectatorship. By Claire Bishop. London: Verso, 2012. 390 pp. $29.95 paper, e-book available." TDR/The Drama Review 58, no. 1 (March 2014): 181–83. http://dx.doi.org/10.1162/dram_r_00340.
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Ribeiro dos Santos, Renata. "¿Meter el arte en el mundo? Sociedad, conducta y arte en las propuestas de Tania Bruguera." Arte y Políticas de Identidad 13, no. 13 (January 26, 2016): 99. http://dx.doi.org/10.6018/250921.
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El presente ensayo versa sobre el impulso constante en la poética de la artista cubana Tania Bruguera hacia una búsqueda de mecanismos, estrategias y herramientas para incluir el arte en el mundo. Proposiciones que van en contraposición a la práctica de inclusión de otros aspectos de la vida cotidiana en el arte de manera superficial, sin una real indagación sobre los motivos y objetivos que mueven el acercamiento del arte con la vida. Para comprender esta trayectoria y como esta desemboca en una mimetización casi completa entre arte y sociedad se hará un análisis de dos momentos de la carrera de la artista. Primeramente de las acciones impulsadas por la Cátedra de Arte de Conducta, tamizadas por los estudios de estética relacional de Nicolas Bourriaud. Desembocando, en un segundo momento, en sus últimas acciones como el Partido del Pueblo Migrante y el Movimiento Inmigrante Internacional, que se aproximan a la idea de antagonismos propuesta por Claire Bishop, debido al desarrollo de sus conceptos de arte útil y de arte de conducta.
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Flynn, Alex, and Selma Vital. "Reconfigurando a cidade." Plural 25, no. 2 (December 27, 2018): 20–45. http://dx.doi.org/10.11606/issn.2176-8099.pcso.2018.153618.
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Neste artigo, exponho como os praticantes da arte contemporânea incorporam desobediência epistêmica e o conceito de ocupação para proporem uma reconfiguração da cidade. Primeiro, argumento que há cada vez mais reflexão sobre a ressignificação do espaço urbano, provocada por um tipo particular de prática de arte contemporânea intersticial; em seguida, defendo que os contextos em que essas práticas ocorrem sugere que artistas trabalhando com tais paradigmas encontram, e respondem a, uma noção totalmente diferente de “participação” do que aquela articulada por Claire Bishop (2004, 2012) ou Nicolas Bourriaud (2002). A localização é essencial ao que caracteriza e forma a prática artística. Situadas na fronteira porosa entre espaços de arte contemporânea institucionais e não-institucionais e frequentemente integradas às complexas lutas pelo direito à cidade, essas práticas ocorrem dentro de redes e hierarquias, que derivam de múltiplos modos de vida. É esta encruzilhada de eixos – o horizontal e o vertical, o efêmero e o utópico – que dá a tal reconfiguração seu potencial único, enquanto também oferece uma teorização da já amplamente observada iminência da arte.
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Modreanu, Cristina. "Elements of Ethics and Aesthetics in New Romanian Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 385–93. http://dx.doi.org/10.1017/s0266464x13000705.
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Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.
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Alston, Adam. "Artificial Hells: Participatory Art and the Politics of Spectatorship. By Claire Bishop. London: Verso, 2012; pp. 382, 86 illustrations. $29.95 paper, $12.99 e-book." Theatre Survey 54, no. 3 (August 29, 2013): 466–68. http://dx.doi.org/10.1017/s0040557413000410.
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Crosman, Luiza. "Silêncio compartilhado: gestos de escrita e gestos de presença." Revista Criação & Crítica, spe (December 30, 2015): 115. http://dx.doi.org/10.11606/issn.1984-1124.v0ispep115-122.
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<p class="Corpo">A comunicação tem por objetivo refletir sobre a participação em um acontecimento artístico coletivo como um gesto de presença, alcançado no entrecruzamento da experiência e da escrita e possibilitando a emergência de subjetividades. A partir do texto “Cy Twombly: works on paper”, de Roland Barthes, apresenta um panorama que entende o gesto como o surplus de uma ação. Este panorama seráexpandido na união com um gesto silencioso da observação do contigente: O “É isto!” defendido pelo autor através do estudo de haikais no livro “A Preparação do Romance”. Tal investigação abriráo campo da “forma breve”, como posto por Barthes, e da noção de “sutileza” como posto por Claire Bishop no artigo “Zones of Indistinguishability: Collective Actions Group and Participatory Art”. Tanto a forma breve quanto a sutileza serão encaradas como formas de produzir subjetividade. Finalmente, o artigo iráresgatar o caráter anti-interpretativo do “É isto!” que, segundo Barthes, os haikais exercitam na sua relação entre experiência e forma, usando-o para analisar obras do grupo russo Collective Actions Group, ativo principalmente durante o período socialista, pensando assim não só o deslocamento entre escrita e presença, mas também a própria ideia de coletividade e compartilhamento de experiências.<strong></strong></p>
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Bambozzi, Lucas. "Da curadoria de artista a alguma outra coisa." DAT Journal 4, no. 2 (August 5, 2019): 3–21. http://dx.doi.org/10.29147/dat.v4i2.125.
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O texto especula a permeabilidade entre práticas artísticas e curatoriais, a partir de uma série de projetos que poderiam ser entendidos comopropostas ambivalentes, cruzando o terreno entre essas atividades. Se um artista pode ser um curador, que escolhas essa condição ambígua determina?A serviço de que decisões e situações, para além da própria carreira, pode-se operar essa prática? Trata-se de um relato em primeira pessoa que se lançasobre as perspectivas reais de entendimento de possíveis tipologias da curadoria associada ao campo das artes e mídias. O texto aborda pensamos decríticos como Claire Bishop, Elena Filipovic, Hal Foster, Hans Ulrich Obrist e outros, em pensamentos que buscaram expandir o campo de atuação de artistas em relação a práticas curatoriais. Considerando um grande número de artistas atuantes nas confluências desse campo no Brasil, como os brasileiros raziela Kunsch, Giselle Beiguelman, Fernando Velazquez, Marcus Bastos, Roberto Traplev, Kika Nicolela, Bruno Mendonça, Sonia Guggisberger, Claudio Bueno, Gabriel Menotti ou Daniel Lima, o texto enseja um novo ambiente para essas práticas, que envolvem novas configurações de espaços do tipo artist-run spaces (espaços autogeridos) ou exposições preparadas exclusivamente por artistas. Sem afirmar dogmas, arriscar genealogias ou pre-definir terrenos de atuação, o texto resvala pensamentos associados à frase “Não sabendo que era impossível, foi lá e fez”, como o devaneio de um curador que acabou sendo sem saber que era ou podia ser.
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Sampaio Cunha, Clara. "Práticas curatoriais contemporâneas: autoria, negociações e colaborações." Revista ARA 6, no. 6 (March 30, 2019): 153–74. http://dx.doi.org/10.11606/issn.2525-8354.v6i6p153-174.
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O artigo discute brevemente a formação dos primeiros museus modernos e a constituição de seus acervos para compreender quando o aparecimento de uma figura que “zelasse” por essas coleções passou a ser solicitada pelo sistema da arte A partir das transformações dos espaços expositivos até o cubo branco moderno – modelo que se firmou e ainda ecoa como resposta para as mais variadas proposições expositivas – surgiria o curador, cuja função se situa entre a instituição, a crítica e a prática artística. No entanto, seria a partir de meados do século XX que a curadoria se firmaria como presença constante no campo da arte, seja por seu papel na formação de público (como mediador dos diálogos entre artistas e exposição), seja por intermediar as cada vez mais complexas relações entre artistas e instituições. Assim, a prática curatorial e seus desafios são discutidos aqui por meio de autores como Terry Smith, Hans Ulrich Obrist e Claire Bishop, e também em exposições como as Number Exhibitions (1969-1973) de Lucy Lippard, When attitudes become form: live in your head (1969) de Harald Szeemann, Magiciens de la Terre (1973) de Jean-Hubert Martin. São exemplos em que questões autorais no trabalho do curador bem como a ideia de um curador-artista se fizeram presentes. Por fim, comentaremos eventos de arte motivados pelo universo doméstico, em que o debate sobre autoria e também sobre aspectos colaborativos borrariam as fronteiras entre práticas artísticas e curatoriais, como em Kitchen Show (1991), em Moradas do Íntimo (Brasília, 2009), Estudos de Recepção (Vitória e Vila Velha, 2015), entre outras.
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Romano, Lucia Regina Vieira. "Nós, o público." Sala Preta 19, no. 1 (August 30, 2019): 288–305. http://dx.doi.org/10.11606/issn.2238-3867.v19i1p288-305.
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Este texto analisa espetáculos apresentados na Mostra Internacional de Teatro de São Paulo 2019, evidenciando os modos diversos como as obras reinventam o papel do púbico e instituem novas relações entre arte e política, assim como revigoram o papel social da arte. Real Magic, Boca de Ferro, Cria e MDLSX_Motus, em nossa leitura, são obras de resistência à lógica neoliberal, que vem interferindo na fruição do espetáculo performativo e determinando limites para a construção da cena contemporânea. Assumimos, portanto, um tipo de análise das obras teatrais e de dança que expande os elementos da performance para outras instâncias, considerando aspectos menos tangíveis no momento mesmo da apresentação, abrangendo o que não está amplamente visível ali, mas que não deixa de interferir nas dinâmicas de recepção. Colaboram para as análises as escritas de Arthur Danto, Claire Bishop, Jacques Rancière, Jill Dollan, Milton Santos e Walter Benjamin, ao lado de relatos dos e das artistas em quadro; fontes que nos permitem descrever algumas prerrogativas dessas ações diferenciadas em frente ao espetáculo cênico, baseadas em modalidades de criação colaborativas na exposição dos recursos de produção e instituições envolvidas, na densidade estética da cena, na valorização do inacabamento, na diferenciação produtiva da comunidade de espectadores e no dissenso, entre outras operações de compartilhamento. Defendemos que são obras como estas que podem questionar a evidência do que percebemos e entendemos como o real, revogando a separação entre aqueles e aquelas que ditam o que deve ou não ser pensado e aqueles e aquelas que devem pensar em acordo com os primeiros.
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Miller, Maureen C. "From Episcopal to Communal Palaces: Places and Power in Northern Italy (1000-1250)." Journal of the Society of Architectural Historians 54, no. 2 (June 1, 1995): 175–85. http://dx.doi.org/10.2307/990966.
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This article links the emergence of communal palaces in northern Italian towns to the changing juridical relationship between bishops and communes. Architectural aggrandizement and changes in the words used to describe buildings were integral to the competition for power between these new urban governments and traditional ecclesiastical lords. Bishops' palaces, and the claims to authority they represented, were important influences upon the civic palazzi built in the late twelfth and early thirteenth centuries. The chronology and historical context of the emergence of episcopal palaces links them to the formation of the communes. The bishop, of course, always had a special residence, but throughout the early Middle Ages it was identified as a domus or an episcopium; only the emperor had a palatium. Over the eleventh and early twelfth centuries, however, bishops began calling their residences palatia. This bold change in name and evidence for new constructions closely correspond with the early stages of communal organization. It was usually followed by a period of wary collaboration and intense competition between the developing commune and the bishop. Late in the twelfth century and early in the thirteenth, the balance of power between bishops and communes shifted decisively in favor of the latter, and these urban governments crowned their juridical victories architecturally, building their own palatia.
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Dunn, Geoffrey D. "The ecclesiastical reorganisation of space and authority in late antique gaul: Zosimus' letter Multa contra (JK 334 = J3 740)." Journal of the Australian Early Medieval Association 12 (2016): 1–33. http://dx.doi.org/10.35253/jaema.2016.1.1.
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On 29 September 417 'Zosimus', bishop of Rome, wrote 'Epistula' 5 ('Multa contra' - JK 334 = J3 740) to the bishops of the Gallic provinces of Viennensis and Narbonensis Secunda. It followed a synod that had been held in Rome on 22 September to consider alleged violations by Proculus of Marseille of the hierarchical relationship between the churches of southern Gaul and the authority of metropolitan bishops over the other churches of their provinces. Episcopal authority was geographically defined and circumscribed by Roman provincial boundaries, with the bishop of a provincial capital having some authority over the other bishops of the province. What was to happen, though, when those boundaries changed or a new city within a province became capital? In a series of four letters (the others being 'Epistulae' 4 ['Cum aduersus' - JK 331 = J3 737], 6 ['Mirati admodum' - JK 332 = J3 738], and 7 [Quid de 'Proculi' - JK 333 = J3 739) written immediately after the synod, of which this letter is the last, Zosimus supported the claims of Patroclus, bishop of Arles, to be not only the metropolitan of Viennensis but, surprisingly, the sole metropolitan over several Roman provinces. This paper examines how authority within the late antique church was dependent upon spatial organisational arrangements and how temporal arguments could be advanced when such spatial arrangements did not suit the personal plans of some ambitious bishops. It further considers the religious conflict that arose over disputed areas of authority and the mechanism by which attempts were made at its resolution and how Zosimus' action contributed ultimately to a developing concept of papal primacy.
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Allison, A. F. "Richard Smith's Gallican Backers and Jesuit Opponents." Recusant History 18, no. 4 (October 1987): 329–401. http://dx.doi.org/10.1017/s0268419500020675.
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In May 1629, the President of the English College at Douai, Matthew Kellison, published a book entitled: A treatiseofthe hierarchie and diuers orders of the church against theanarchie of Caluin. In spite of the title, the main purpose of the book was not to defend Catholic teaching on the hierarchy against Calvin. Kellison wrote it is in response to an urgent appeal by Richard Smith, Bishop of Chalcedon, at a crucial moment in Smith's episcopate. During the four years in which he had been in England as bishop, Smith had met with mounting opposition from the regulars and from the Catholic nobility and gentry. Opposition from the laity was greatly strengthened by the publication in 1628 of a work by the President General of the English Benedictine Congregation, Rudesind Barlow, maintaining that the papal brief appointing Smith in 1625, properly interpreted, did not grant him the extensive powers he claimed. What Smith was asking of Kellison in 1629 was not a work in support of his claims in detail—he intended to write that himself—but a general treatise addressed to the lay Catholics explaining the theological basis on which those claims rested. Kellison, as President of the English College and a theologian of international repute, was the ideal man for the task. ‘In these circumstances,’ Kellison a letter two years later, describing how his book came to be written, ‘the Bishop and leading members of the clergy wrote to me urging me to produce a book on the dignity and authority of bishops. Because of my respect for them, and also because of my love for my country, I consented …’
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Lüneburg, Barbara. "Empowerment and Disempowerment in the Participatory Culture of TransCoding." Organised Sound 24, no. 3 (November 29, 2019): 289–96. http://dx.doi.org/10.1017/s1355771819000359.
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In this article, I consider implications of outreach practices in the field of contemporary music for the field itself and for the professional artists involved. I am interested in what happens if we facilitate access to contemporary music for audiences of any kind of demographic, break down barriers, share authority between participating non-professionals and professional artists and allow all participants of a project influence on jointly created artworks. I investigate in how far the organisational or structural change in the creative practice and the creative outcome – that comes along with bringing new players into the field – has consequences on the personal practice of the professional actors in such a project. I base my article on theories of sociologist Pierre Bourdieu, communication scholar Henry Jenkins, art historian Claire Bishop, musicologist Elena Ungeheuer and my own research into social structures of the contemporary art field, and apply them to a single case study: the artistic research project TransCoding – From ‘Highbrow Art’ to Participatory Culture, funded by the Austrian Science Fund. Using the method of thick description, I take the reader through the history of TransCoding, give account of field experiences and put the found patterns of cultural-social experiences into a theoretical context. I investigate the power shifts from professional artists to audience that occurred on the basis of creative, participatory processes within this project. In doing so, I would like to raise questions and stimulate discussion with regard to the conditions and social organisations of creative practice in the contemporary music field, the distribution of power and how this is felt when ‘bringing new audiences to new music’ into the core practice of professional artists, the actual creation of a new work.
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Crespo, Nuno. "Ser pontual num encontro que só pode falhar. Notas sobre a contemporaneidade do artista." POIÉSIS 17, no. 27 (September 25, 2018): 21. http://dx.doi.org/10.22409/poiesis.1727.21-38.
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Este artigo pretende ser um contributo para a discussão sobre o que é a contemporaneidade do artista. Não se trata tanto de responder à pergunta o que é a arte contemporânea, mas tentar identificar as razões pelas quais o modo de pensar cronológico é insuficiente para compreender a forma como os artistas estabelecem relações com o todo da história e do tempo. Uma relação que se descobre ser dialéctica e, seguindo as importantes sugestões de Didi-Huberman e Claire Bishop, anacrónica. Trata-se de uma caracterização da contemporaneida - de motivada pelo modo como as próprias obras são objectos detentores de uma temporalidade própria que exige aproximações, experiências e leituras diferentes das usadas habitualmente para ler os factos do mundo. Primeiro descobre-se que o tempo da arte é lugar de intensidades e que cada artista entende a história não como o desenrolar linear de obras e artistas, mas como lugares simultaneamen - te presentes de que a cada momento se podem aproximar e apropriar. Depois, compreende-se que a contemporaneidade é, sobretudo, um método de pensar e produzir conhecimento e arte que se caracteriza por ser dialéctico. Finalmente, a relação dos artistas com o seu tempo é um lugar de tensão porque não podem escapar ao encontro que têm marcado com o seu próprio tempo (um artista é de um tempo e pertence a uma época), mas esse é um encontro, como veremos com Agamben e o escultor português Rui Chafes, destinado a falhar, porque a arte é lugar de interrupção e de intervalo e nunca um lugar coincidente com as luzes que iluminam uma dada época e, depois, porque os artistas são aqueles que fixam o olhar no escuro e nas sombras do seu presente fazendo dessa escuridão um elemento essêncial da sua temporaneidade.
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Yeo, Geoffrey. "A Case Without Parallel: The Bishops of London and the Anglican Church Overseas, 1660–1748." Journal of Ecclesiastical History 44, no. 3 (July 1993): 450–75. http://dx.doi.org/10.1017/s0022046900014184.
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‘For a bishop to live at one end of the world, and his Church at the other, must make the office very uncomfortable to the bishop, and in a great measure useless to the people.’ This was the verdict of Thomas Sherlock, bishop of London from 1748 to 1761, on the provision which had been made by the Church of England for the care of its congregations overseas. No Anglican bishopric existed outside the British Isles, but a limited form of responsibility for the Church overseas was exercised by the see of London. In the time of Henry Compton, bishop from 1675 to 1713, Anglican churches in the American colonies, in India and in European countrieshad all sought guidance from the bishop of London. By the 1740s the European connection had been severed; the bishop still accepted some colonial responsibilities but the arrangement was seen as anomalous by churchmen on both sides of the Atlantic. A three-thousand-mile voyage separated the colonists from their bishop, and those wishing to seek ordination could not do so unless they were prepared to cross the ocean. Although the English Church claimed that the episcopate was an essential part of church order, no Anglican bishop had ever visited America, confirmation had never been administered, and no church building in the colonies had been validly consecrated. While a Roman Catholic bishopric was established in French Canada at an early date, the Anglican Church overseas had no resident bishops until the end of the eighteenth century. In the words of Archbishop Thomas Seeker, this was ‘a case which never had its parallel before in the Christian world’.
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Van de Wiele, Aurélie. "Earth and Mind: Dreaming, Writing, Being—Nine Contemporary French Poets: Yves Bonnefoy, Jacqueline Risset, Salah Stétié, Vénus Khoury-Ghata, Tahar Ben Jelloun, André Velter, Marie-Claire Bancquart, Jean-Claude Pinson, Jacques Dupin by Michael Bishop." French Review 93, no. 4 (2020): 201–2. http://dx.doi.org/10.1353/tfr.2020.0119.
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Porter, Sarah F. "A Church and Its Charms." Studies in Late Antiquity 5, no. 4 (2021): 639–77. http://dx.doi.org/10.1525/sla.2021.5.4.639.
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Meletios was exiled for 13 of his 20 years as bishop of Antioch, and at times as many as three other bishops claimed the Antiochene episcopacy during his tenure. Still, in an encomium for Meletios delivered in 386, his protegé John Chrysostom claimed that Meletios managed to enchant the whole city: “Blessed is that man, because he was strong enough to cast such a love charm (ϕίλτρον) on all of you.” John delivered this encomium in a large cruciform church that Meletios campaigned to build. In the church were burials: probably Babylas, a martyr bishop who had died in the Decian persecution about 150 years before, and Meletios himself, interred either in the same grave or a neighboring one. The next year, Dorys the presbyter would fund the pavement of the church’s floors, carpeting them in rich geometric designs and clean black-and-white dedicatory inscriptions. Using Sara Ahmed’s work on “the cultural politics of emotion,” this article analyzes the cruciform church through three different modes: its architecture, an encomium delivered there, and its mosaic program. The Meletian faction forged alliances with material and space to produce and manage affects of security, love, and pleasure in their communities. These spatial, discursive, and material enchantments encouraged the more decisive affiliation of fourth-century Antiochene Christians with Meletios’s community instead of with his competitors’ communities.
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Rafferty, Oliver P. "The Jesuit College, Manchester, 1875." Recusant History 20, no. 2 (October 1990): 291–304. http://dx.doi.org/10.1017/s0034193200005409.
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In an Apostolic Constitution, dated 8 May 1881, Pope Leo XIII sought to regulate the relationship between diocesan bishops and religious orders. In the words of Herbert Vaughan the Papal pronouncement ‘sums up and ends a recent controversy on matters of discipline affecting the working of the Church in Great Britain’. Romanos Pontifices represented a personal triumph for Vaughan. He had assiduously campaigned at Rome to have the freedom of religious orders restricted, and their operations subject to the supervision of the local bishop. The Pope’s document directs that members of religious orders may not open a house in any diocese without the explicit permission of the bishop. Nor, in future, would it be possible for a religious congregation to convert existing institutions to other use without the consent of the episcopal authorities. The ruling of the document was an adjudication affecting all religious orders, and demanded complete obedience to all its details. The only religious order mentioned by name was the Society of Jesus. It, too, was to be subject to this ordinance in spite of its claims to be exempt from such interference in the running of its affairs.
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Doyle, Peter. "‘A Tangled Skein of Confusion’: The Administration of George Hilary Brown, Bishop of Liverpool 1850–1856." Recusant History 25, no. 2 (October 2000): 294–303. http://dx.doi.org/10.1017/s0034193200030090.
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George Hilary Brown (1786–1856), Vicar Apostolic of the Lancashire District since its establishment in 1840, became the first bishop of the new diocese of Liverpool in 1850. He had been extremely reluctant to accept the vicariate, partly because of chronic ill-health and partly because of diffidence about his ability. From 1841 on Propaganda received a number of complaints about his absence from and neglect of his District, and when he was present he caused ill-feeling among his clergy: they thought he was a martinet and complained frequently to Rome about his decisions. For his part, Brown seemed to think he was fighting for episcopal rights against a recalcitrant clergy: in a later letter to Wiseman he claimed that all the bishops should be grateful to him because of his long battle against ‘Josephism and Pistoia’. This article examines two inter-connected quarrels he was involved in after 1850, one with his chapter, the other with his coadjutor. They illustrate some of the issues that arose from the restoration of the Hierarchy in 1850 as well as throwing light on the personality of the Bishop.
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Sherk, Helen. "Visual response properties of cortical inputs to an extrastriate cortical area in the cat." Visual Neuroscience 3, no. 3 (September 1989): 249–65. http://dx.doi.org/10.1017/s0952523800010002.
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AbstractThe existence of multiple areas of extrastriate visual cortex raises the question of how the response properties of each area are derived from its visual input. This question was investigated for one such area in the cat, referred to here as the Clare-Bishop area (Hubel & Wiesel, 1969); it is the region of lateral suprasylvian cortex that receives input from area 17. A novel approach was used, in which kainic acid was injected locally into the Clare-Bishop area, making it possible to record directly from afferent inputs.The response properties of the great majority of a sample of 424 presumed afferents resembled cells in areas 17 and 18. Thus, a systematic comparison was made with cells from area 17's upper layers, the source of its projection to the Clare-Bishop area (Gilbert & Kelly, 1975), to see whether these afferents had distinctive properties that might distinguish them from cells projecting to areas 18 or 19. Some differences did emerge: (1) The smallest receptive fields typical of area 17 were relatively scarce among afferents. (2) Direction-selective afferents were more abundant than were such cells in area 17. (3) End-stopped afferents were extremely rare, although end-stopped cells were common in area 17's upper layers.Despite these differences, afferents were far more similar in their properties to cells in areas 17 and 18 than to cells in the Clare-Bishop area. Compared to the latter, afferents showed major discrepancies in receptive-field size, in direction selectivity, in end-stopping, and in ocular dominance distribution. These differences seem most likely to stem from circuitry intrinsic to the Clare-Bishop area.
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Stanfill, Jonathan P. "John Chrysostom and the Rebirth of Antiochene Mission in Late Antiquity." Church History 88, no. 4 (December 2019): 899–924. http://dx.doi.org/10.1017/s0009640719002506.
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There is surprisingly little evidence to suggest that bishops played a major role in initiating and overseeing missionary endeavors between the second and fourth centuries CE. John Chrysostom (d. 407), who directed a number of missionary enterprises as the bishop of Constantinople, represents one well-established exception. This article argues that Chrysostom cultivated his distinctive approach to mission during his formative years in Antioch by tracing the key features of Chrysostom's mission strategy back to the activities of his episcopal mentors in Antioch, especially their efforts to promote the Christianization of the surrounding rural areas and their assertion of jurisdictional claims over regions beyond the Roman Empire. In conjunction with these activities, Chrysostom developed his own scriptural justification for mission during this period in which he advocated for emulation of the apostle Paul, who was, in his estimation, Christianity's missionary exemplar.
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Baker, George. "Introduction to “Antagonism and Relational Aesthetics” by Clair Bishop." October 110 (October 2004): 49–50. http://dx.doi.org/10.1162/octo.2004.110.1.49.
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McDonald, Peter. "Bishop Bateman and Bury St Edmunds: The Two Laws Clash*." English Historical Review 135, no. 572 (February 2020): 1–28. http://dx.doi.org/10.1093/ehr/ceaa007.
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Abstract Bishop Bateman’s assertion of his authority over the exempt abbey of Bury St Edmunds in 1345 brought him into conflict with a house closely linked to both papacy and Crown, and came at a time of Anglo-papal tensions. Bateman was no anti-papalist but, as a legal rigorist, wanted to satisfy himself about Bury’s claims to exemption and restrain its monks’ extra-mural misbehaviour. He had some basis for this in canon law, but the ensuing lawsuit at the papal curia seemed to be going against him until swept aside by a writ of prohibition. The monastery looked to the Crown as its chief protector, and the English courts asserted royal rights aggressively. They found Bateman and his commissaries in contempt for breaching the prohibition and for asserting that only the pope could confer exemption; the abbey’s papal privileges were only confirmations of royal charters. They confiscated Bateman’s temporalities and imposed massive fines, and the pope was powerless to intervene. This amounted to a repudiation of 250 years of canon law, harking back to the eleventh-century Eigenkirche. But Edward III needed Bateman as a diplomat, and imposed a compromise under which both sides withdrew their suits and he pardoned the bishop. As Anglo-papal relations settled after 1350, the Crown let canon law stand and did not enforce the doctrines developed in this case. Edward was content with bringing his bishops to heel, and the two systems resumed their normal co-operation. Still, the courts had set a new precedent for royal control.
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Matejić, Bojana. "Manipulating Memory and Mourning in Post-socialist Art." Monitor ISH 19, no. 2 (December 4, 2017): 23–48. http://dx.doi.org/10.33700/1580-7118.19.2.23-48(2017).
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When it comes to global contemporary art practice, the present-day humanitarian discourse abounds in a variety of self-explanatory notions and imperatives such as: political art, community- based art, post-studio practices, participatory art, contextual art, socially engaged art, collaborative art, interactive art. It long ago became apparent that artistic practice can no longer revolve around producing objects for consumption by a passive audience, but must take an active part in interfacing with social reality. In perceiving the modality of a work of art and artistic practice, such a change goes hand in hand with the post-Fordist economic changes and the immaterial and flexible labour imperatives. Claire Bishop has already extensively depicted such artistic phenomena in several of her publications.
Since the early 90s, after the fall of the Iron Curtain in 1989, we have been informed that we ought to be involved with the humanist struggle for the ‘politics of human rights’, and for ‘Art against terrorism’, or engaged with social groups and minorities with the aim of integrating them into a ‘legal sphere’ of life. The humanitarian/humanist imperative, present in everyday political discourse, art and culture, presupposes an opposition between good and evil, where art as a human, humanist and humanitarian activity, is supposed to assume a ‘responsible’ role. In the view of such rhetoric, Art must be ‘political’, ‘socially engaged’ and ‘participatory’, to the extent that it indicates the sharp distinction between the places of violence and those of justice. However, as Marx indicated so many times, the division between those who have the right to be seen (the ‘polis’, or public sphere) and those who do not have a right to a voice (private sphere), assents to social division as such, as well as a rather contingent ethical contraposition between good and evil. Humanitarianism/Humanism in art only affirms the existing democratic phraseology. The humanitarian/humanist regime of art validates a separation between civil society and the abstract society of political equality. Therefore, the aim of this paper is to trace the conceptual distinction between the humanitarian ideology of the current time in the post-socialist context of art and culture, and the thinking and practical application of the concept of the dehumanisation of art.
The manuscript consists of three parts: In the first part, I will recall Adorno’s thesis regarding the ‘after-Auschwitz’ ethic of representation; in the second part, I will discuss the controversy and the implementation of this thesis following 9/11 as related to culture; and finally, in the third part, I will address the issue of how this thesis, as the main current ideological weapon, conditions the contemporary state of affairs in the post-socialist spaces of art and culture, by indicating several key symptoms in artistic production.
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Dzelzainis, Martin. "‘Undouted Realities’: Clarendon on Sacrilege." Historical Journal 33, no. 3 (September 1990): 515–40. http://dx.doi.org/10.1017/s0018246x00013510.
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The phrase in the title is Charles I's. Writing from Newcastle to Henry Jermyn, John Culpepper and John Ashburnham in September 1646, he voiced his ‘unexpressable greefe andastonishment’ at the advice on the church which he had received from them during the course of his negotiations with the parliamentary commissioners. For they had assured Charles that, if he was no doubt‘ obliged’ by his conscience ‘to doe all’ that was in his ‘power to support and maintain that function of Bishops’, then he had already discharged that obligation to the full, as ‘all the world can witness’. Conscience, in this sense, had no further claims on him, nor could it be more strictly interpreted:if by conscience is intended to assert that Episcopacy is jure divino exclusive, wherby no Protestant (or rather Christian) Church can be acknowledged for such without a Bishop, we must therin crave leave wholly to differ. And if we be in an errour, we are in good company; ther not being (as we have cause to believe) 6 persons of the Protestant Religion of the other opinion. Thus much we can add, that at the treaty of Uxbridge none of your Divines then present (though much provoked thereunto) would maintain that (we might say uncharitable) opinion, no not privatly amongst your commissioners. Nether doeth it follow that in this, or any the most riged, sence you are obliged to perish in company with Bishops meerly out of pitty (and certainly you have nothing els left to assist them with) or that monarchy ought to fall, because Episcopacy cannot stand.
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Toyama, Keisuke, Hiroshi Kitaohji, and Kazukiyo Umetani. "Neuronal responsiveness in the clare-bishop cortex of strabismic (Siamese) cats." Neuroscience Research Supplements 3 (January 1986): S186. http://dx.doi.org/10.1016/0921-8696(86)90371-3.
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Kutscher, Ronald E. "Reply to Bishop and Carter on the Worsening Shortage of College-Graduate Workers." Educational Evaluation and Policy Analysis 13, no. 3 (September 1991): 247–52. http://dx.doi.org/10.3102/01623737013003247.
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In my reply to Bishop and Carter, I concede the point that there was a bias in the projections that the Bureau of Labor Statistics prepared for 1990, but not for the primary reason they noted. Also, I provide data which question the claims of Bishop and Carter that there is a shortage of college graduates although data on returns to education support their shortage thesis.
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Sheils, W. J. "‘The Right of the Church’; the Clergy, Tithe, and the Courts at York, 1540–1640." Studies in Church History 24 (1987): 231–55. http://dx.doi.org/10.1017/s0424208400008366.
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ACertificate From Northamptonshire, published anonymously in 1641, proclaimed that the current attacks being made on the bishops had a secret purpose behind them: the abolition of the requirement to pay tithe, whether to cleric or layman. ‘If the bishops and their courts were overthrown’, so the author claimed, the people would be freed from paying tithes, ‘which is the secret thing which our common free holders and grand jury-men do so much aim at’. The writer’s claims concerning the motives which led men to demand the abolition of episcopacy may have had some truth in them, but he was to be proved wrong about the consequences of such abolition; as, indeed, a better informed observer pondering the extent of lay involvement in the ownership of tithes might have been able to predict. Despite several close calls and a variety of imaginative proposals for abolition or reform, tithes remained and survived the demise of bishops, deans, and ecclesiastical courts, standing alongside glebe as one of the twin pillars of the maintenance of the parochial ministry.
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Houlihan, Patrick J. "Local Catholicism as Transnational War Experience: Everyday Religious Practice in Occupied Northern France, 1914–1918." Central European History 45, no. 2 (June 2012): 233–67. http://dx.doi.org/10.1017/s0008938912000040.
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The Great War is not a historical episode that easily lends itself to studying the subtleties of religious belief systems. Believers on opposite sides claimed that they were engaged in a just war of defense against aggression. They argued that God was on their side, and they prayed for victory of their nation—even if that meant the destruction of their fellow believers who were now considered the enemy. Despite Catholic claims to internationalism and universalism, the overwhelming majority of Catholic bishops and prominent clerics in the public sphere devoted themselves to national causes. Clerical nationalism seemed to overwhelm Christian fellowship, and the clerical nationalist paradigm often served as scholarly shorthand for the experience of religion during the war, especially for long-term studies of Christianity and war. The implacable hostility between French and German Catholic bishops became a convenient symbol of European national enmity in an age of total war.
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Toyama, K., Y. Komatsu, and T. Kozasa. "The responsiveness of Clare-Bishop neurons to motion cues for motion stereopsis." Neuroscience Research Supplements 4, no. 2 (December 1986): 83–109. http://dx.doi.org/10.1016/s0921-8696(86)80067-6.
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Toyama, K., K. Fujii, S. Kasai, and K. Maeda. "The responsiveness of Clare-Bishop neurons to size cues for motion stereopsis." Neuroscience Research Supplements 4, no. 2 (December 1986): 110–28. http://dx.doi.org/10.1016/s0921-8696(86)80068-8.
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Toyama, K., Y. Komatsu, and T. Kozasa. "The responsiveness of Clare-Bishop neurons to motion cues for motion stereopsis." Neuroscience Research 4, no. 2 (December 1986): 83–109. http://dx.doi.org/10.1016/0168-0102(86)90040-4.
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Toyama, K., K. Fujii, S. Kasai, and K. Maeda. "The responsiveness of Clare-Bishop neurons to size cues for motion stereopsis." Neuroscience Research 4, no. 2 (December 1986): 110–28. http://dx.doi.org/10.1016/0168-0102(86)90041-6.
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Stutz, D. Dudley. "Papal Legates against the Albigensians: The Debts of the Church of Valence (1215–1250)." Traditio 68 (2013): 259–76. http://dx.doi.org/10.1017/s0362152900001677.
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In 1232 Pope Gregory IX (r. 1227–41) imposed a tenth of episcopal revenues on prelates of Occitania to subsidize the church of Valence, which owed 10,000 poundstournoisto various bankers of Vienne, Rome, Lyons, and Siena. In 1865 B. Hauréau first noted the event when he edited one of the main documents in theGallia christianavolume concerning the ecclesiastical province of Vienne. With the publication of Gregory IX's register from 1890–1908 most of the facts of the tax were more widely available. In 1910 Ulysse Chevalier briefly mentioned the tax in his monograph on the long tenure of John of Bernin, archbishop of Vienne (r. 1218–66). In 1913, Heinrich Zimmermann cited Hauréau's text in a note in his detailed treatment of early thirteenth-century papal legations. Recently Alain Marchandisse reviewed eight of the eleven papal letters pertaining to the tax in his study of William of Savoy (d. 1239) as bishop-elect of Liège. These scholars provided no reason for the debt or why the papacy would take such measures to ensure payment. Perhaps they did not study this tax further because a church indebted to moneylenders is not in itself surprising. It appears that the church of Valence acquired the debt, very large compared to the church's income, when bishop-elect William of Savoy (r. 1225–39) waged war against Adhémar II of Poitiers-Valentinois, count of the Valentinois (r. 1189–1239). Struggles between bishops and the local nobility occurred on a regular basis throughout the Middle Ages, so what in this unimportant Rhone-valley diocese interested the pope enough to impose taxes on prelates of Occitania over twenty years to ensure payment of this debt? Adhémar II faithfully supported Raymond VI (r. 1194–1222) and Raymond VII (r. 1222–49) of Saint-Gilles, counts of Toulouse, throughout their struggle with the papacy during and following the Albigensian crusades. Adhémar II was also their vassal for the Diois, which borders the Valentinois on the southeast and comprised the northern portion of the marquisate of Provence. These lands had been reserved for the church in the Treaty of Meaux-Paris (1229), which ended the Albigensian crusades. Thus William of Savoy as bishop-elect of Valence defended the papacy's claims on the marquisate of Provence, which the papacy deemed part of the larger struggle between the Roman church and the counts of Toulouse. The facts on the nature of the debts and the steps the papacy took to aid the diocese show that the local struggle between the bishop of Valence and the count of the Valentinois embodied a part of the larger struggle between the papacy and the counts of Toulouse over the marquisate of Provence, which began as early as 1215.
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Steinberg, Burkhard. "The Peculiars of the University of Cambridge." Ecclesiastical Law Journal 15, no. 1 (December 13, 2012): 59–68. http://dx.doi.org/10.1017/s0956618x12000816.
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Are the University of Cambridge and its colleges peculiars? The university has always claimed independence from episcopal authority for itself and its colleges. A struggle was resolved in 1434 by a tribunal set up by the Pope, in which the Prior of the monastery of Barnwell heard both sides and decided that the University and its colleges were to be exempt from the supervision of the Archbishop of Canterbury and of the Bishop of Ely, in whose diocese the University was situated. This became known as the Barnwell Process. It established the University and it colleges as peculiars defined as having an Ordinary other than the diocesan bishop. Colleges founded later but before the Reformation claimed the same privileges. At the Reformation, the authority of the Pope was replaced by that of the King and the Archbishop of Canterbury, but the privileges that the University and its colleges enjoyed continued to apply. Post-Reformation foundations of colleges tended to claim the same exemptions from episcopal jurisdiction, but without documented evidence. This article argues that the continued acceptance by the Bishop of Ely of the University and its colleges as extra-diocesan confirms them to be peculiars within the legal definition.
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Foss, David B. "‘Overmuch Blaming of the Clergy’s Wealth’: Pecock’s Exculpation of Ecclesiastical Endowment." Studies in Church History 24 (1987): 155–60. http://dx.doi.org/10.1017/s0424208400008305.
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The life and works of Reginald Pecock continue to fascinate, though they are a well-reaped field from which little new can be gleaned. Students of Pecock have naturally concentrated on the sensational and significant aspects of his career and writings: political historians on his trial and deposition, and the political motivations which may have lain behind these; ecclesiastical historians, following Gascoigne, on his defence of the abuses of the late-medieval Church, especially of non-preaching and non-resident bishops. Historians of thought have seen a modern rationalist exalting thejudgement of reason above the dogmas of Faith and Scripture. Historians of doctrine have been concerned by his rewriting of the Apostles’ Creed, omitting the descent into hell. Biblical historians have questioned whether he used the later Lollard Bible, or undertook his own translation of the Vulgate. Protestant historians have with Foxe claimed as their own a bishop whose attack on the Lollards paradoxically demonstrated his close affinity with them; the less evangelically committed have praised a tolerant protagonist anxious to enter into dialogue with his opponents rather than to coerce them with ‘fire, sword or hangment’. Historiographers have welcomed a scholar possessed of a Renaissance sense of history. Linguistic historians have detailed his contribution to the development of the English language by his pioneering use of it as a vehicle for theological assertion.