Comment des danseurs utilisent la conférence pour théoriser leur pratique ?

Qu’est-ce que danser ? Par le détournement de l’outil de la conférence, Xavier Le Roy, Jérôme Bel et Claudia Triozzi s’inscrivent dans le débat chorégraphique contemporain qui vise à la danse comme art autonome, à travers une attitude performative qui met en avant leur présence – formations, expériences de vie – en faveur de la cause artistique. Ils deviennent également des théoriciens performers de la scène, c’est-à-dire des artistes capables d’entamer un processus ouvert d’action critique au sujet de leur art.What is dancing ? Through appropriation of the tool of conference, Xavier Le Roy, JérômeBel and Claudia Triozzi engage in the contemporary choreography debate which focuses on dance as an indipendent form of art. They do so through a performative approach which puts their own presences first – training, life experiences – in favor of the artistic cause. They become theorists/performers of the scene, i. e. artists capable of initiating an open process of critical action about their own art

Structures and dynamics of transnational cooperation networks: evidence based on Local Action Groups in the Veneto Region, Italy

The paper assesses the structures and dynamics of transnational cooperation projects promoted by Local Action Groups (LAGs) in different periods (from LEADER II to LEADER Axis) using Social Network Analysis (SNA) in a specific case study: the Veneto Region in Italy. The classical indexes of SNA have been critically examined, and the paper also presents innovative indexes that can capture the peculiarity of transnational cooperation: disaggregated densities of the network and transnational centrality of the node. These indexes are useful in order to quantify how transnational a network actually is, and to measure the power-information that each actor (LAG) can acquire through its transnational contacts. The methodology can become a tool for Managing Authorities to implement new forms of evaluation of transnational cooperation of LAGs

Muscle differentiation in a colonial ascidian: organisation, gene expression and evolutionary considerations

Background: Ascidians are tunicates, the taxon recently proposed as sister group to the vertebrates. They possess a chordate-like swimming larva, which metamorphoses into a sessile adult. Several ascidian species form colonies of clonal individuals by asexual reproduction. During their life cycle, ascidians present three muscle types: striated in larval tail, striated in the heart, and unstriated in the adult body-wall. Results: In the colonial ascidian Botryllus schlosseri, we investigated organisation, differentiation and gene expression of muscle beginning from early buds to adults and during zooid regression. We characterised transcripts for troponin T (BsTnT-c), adult muscle-type (BsMA2) and cytoplasmic-type (BsCA1) actins, followed by in situ hybridisation (ISH) on sections to establish the spatio-temporal expression of BsTnT-c and BsMA2 during asexual reproduction and in the larva. Moreover, we characterised actin genomic sequences, which by comparison with other metazoans revealed conserved intron patterns. Conclusion: Integration of data from ISH, phalloidin staining and TEM allowed us to follow the phases of differentiation of the three muscle kinds, which differ in expression pattern of the two transcripts. Moreover, phylogenetic analyses provided evidence for the close relationship between tunicate and vertebrate muscle genes. The characteristics and plasticity of muscles in tunicates are discussed. </p

Relationship Between Non-Hodgkin's Lymphoma and Blood Levels of Epstein-Barr Virus in Children in North-Western Tanzania: A Case Control Study.

Non-Hodgkin's Lymphomas (NHL) are common in African children, with endemic Burkitt's lymphoma (BL) being the most common subtype. While the role of Epstein-Barr Virus (EBV) in endemic BL is known, no data are available about clinical presentations of NHL subtypes and their relationship to Human Immunodeficiency Virus (HIV) infection and Epstein Barr Virus (EBV) load in peripheral blood of children in north-western, Tanzania. A matched case control study of NHL subtypes was performed in children under 15 years of age and their respective controls admitted to Bugando Medical Centre, Sengerema and Shirati district designated hospitals in north-western, Tanzania, between September 2010 and April 2011. Peripheral blood samples were collected on Whatman 903 filter papers and EBV DNA levels were estimated by multiplex real-time PCR. Clinical and laboratory data were collected using a structured data collection tool and analysed using chi-square, Fisher and Wilcoxon rank sum tests where appropriate. The association between NHL and detection of EBV in peripheral blood was assessed using conditional logistic regression model and presented as odds ratios (OR) and 95% confidence intervals (CI). A total of 35 NHL cases and 70 controls matched for age and sex were enrolled. Of NHLs, 32 had BL with equal distribution between jaw and abdominal tumour, 2 had large B cell lymphoma (DLBCL) and 1 had NHL-not otherwise specified (NHL-NOS). Central nervous system (CNS) presentation occurred only in 1 BL patient; 19 NHLs had stage I and II of disease. Only 1 NHL was found to be HIV-seropositive. Twenty-one of 35 (60%) NHL and 21 of 70 (30%) controls had detectable EBV in peripheral blood (OR = 4.77, 95% CI 1.71 - 13.33, p = 0.003). In addition, levels of EBV in blood were significantly higher in NHL cases than in controls (p = 0.024). BL is the most common childhood NHL subtype in north-western Tanzania. NHLs are not associated with HIV infection, but are strongly associated with EBV load in peripheral blood. The findings suggest that high levels of EBV in blood might have diagnostic and prognostic relevance in African children

Whole-body regeneration in the colonial tunicate Botrylloides leachii

The colonial marine invertebrate Botrylloides leachii belongs to the Tunicata subphylum, the closest invertebrate relatives to the vertebrate group and the only known class of chordates that can undergo whole-body regeneration (WBR). This dramatic developmental process allows a minute isolated fragment of B. leachii’s vascular system, or a colony excised of all adults, to restore a functional animal in as little as 10 days. In addition to this exceptional regenerative capacity, B. leachii can reproduce both sexually, through a tadpole larval stage, and asexually, through palleal budding. Thus, three alternative developmental strategies lead to the establishment of filter-feeding adults. Consequently, B. leachii is particularly well suited for comparative studies on regeneration and should provide novel insights into regenerative processes in chordates.Here, after a short introduction on regeneration, we overview the biology of B. leachii as well as the current state of knowledge on WBR in this species and in related species of tunicates. Finally, we highlight the possible future directions that research might take in the study of WBR, including thoughts on technological approaches that appear most promising in this context. Overall, we provide a synthesis of the current knowledge on WBR in B. leachii to support research in this chordate species

I testi e la danza. Jérôme Bel autore di Nom donné par l'auteur

In continuity with the American Performance Art of the years 1960-1970, the generation of young French choreographers of the late 20th century seems to have somewhat stepped away from dance, being more interested in the speculative dimension of choreographic creation, whether it deals with questions of identity, with the definition of the nature of the body or of dance as art. With this perspective, the texts – the dancers' readings and writings – play a central role within the creative process, in terms of poetic inspiration or of construction of meaning. The article intends to show the creative effects of the relationship between the texts and dance, starting with the choreographer Jérôme Bel's readings of the philosopher Roland Barthes, and analyzing in particular the show Nom donné par l'auteur (1994).In continuità ideale con la Performance Art americana degli anni 1960-1970, la generazione dei giovani coreografi francesidi fine secolo scorso sembra collocarsi lontano dalla danza, interessandosi alla dimensione speculativa della creazione coreografica, che si tratti di questioni identitarie, di definire la natura del corpo o l'arte della danza. In tal senso, i testi – le letture e gli scritti dei danzatori – assumono un ruolo centrale nei processi di creazione, in termini d'ispirazione poetica o di costruzione del senso. L'articolo intende mostrare gli effetti creativi della relazione tra i testi e la danza, a partire dalle letture che il coreografo Jérôme Bel ha potuto fare del filosofo Roland Barthes, e attraverso l'analisi in particolare dello spettacolo Nom donné par l'auteur (1994)

Dal teatro di Jan Fabre

L’idea della performance come compimento di un atto è confermata dai Performances Studies. Per il tramite di Richard Schechner, esponente di primo piano degli studi americani sulla performance, capiamo come ogni atto performativo si basa, quanto meno, su tre operazioni: l’essere (being), il fare (doing) e il mostrare il fare (showing doing). La performance pertanto attiene ad un processo di attivazione del corpo che si concede alla vista, in un dato spazio. Ed è per questo che le Performaces Arts appaiono innanzitutto come l’espressione della presenza concreta dell’artista, al di qua e prima di qualunque procedimento mimetico o di rappresentazione differita. Tuttavia, come poter ammettere che, pur nell’autonoma produzione hic et nunc di un corpo, quest’ultimo non attiva nessun riferimento nello sguardo di chi vi assiste dall’esterno? L’articolo intende esplorare le condizioni di presenza di un corpo sulla scena, in particolar modo per quel che riguarda il corpo del danzatore, e nello specifico il danzatore-performer nel teatro di Jan Fabre. Da una prima riflessione teorica circa le condizioni di teatralità nell’atto performativo, si passerà a definire meglio lo spazio della creazione mimetica facendo riferimento all’idea di mimesis presente in Hans-Georg Gadamer, per il quale «ogni imitazione vera è una metamorfosi». Nei testi della raccolta L’attualità del bello (1977) il filosofo parla di un processo intensivo del reale (corpi, cose, pensieri) che conduce questi stessi elementi di realtà verso una dimensione simbolica. Questo processo imitativo o rappresentativo – della metamorfosi intensiva – lo ritroviamo all’opera nel danzatore-performer prestato al genio creativo di Fabre

Dal teatro di Jan Fabre: Attitudini performative del corpo sulla scena: quali forme di presenza, e quali mimesi?

L’idea della performance come compimento di un atto è confermata dai Performances Studies. Per il tramite di Richard Schechner, esponente di primo piano degli studi americani sulla performance, capiamo come ogni atto performativo si basa, quanto meno, su tre operazioni: l’essere (being), il fare (doing) e il mostrare il fare (showing doing). La performance pertanto attiene ad un processo di attivazione del corpo che si concede alla vista, in un dato spazio. Ed è per questo che le Performaces Arts appaiono innanzitutto come l’espressione della presenza concreta dell’artista, al di qua e prima di qualunque procedimento mimetico o di rappresentazione differita. Tuttavia, come poter ammettere che, pur nell’autonoma produzione hic et nunc di un corpo, quest’ultimo non attiva nessun riferimento nello sguardo di chi vi assiste dall’esterno? L’articolo intende esplorare le condizioni di presenza di un corpo sulla scena, in particolar modo per quel che riguarda il corpo del danzatore, e nello specifico il danzatore-performer nel teatro di Jan Fabre. Da una prima riflessione teorica circa le condizioni di teatralità nell’atto performativo, si passerà a definire meglio lo spazio della creazione mimetica facendo riferimento all’idea di mimesis presente in Hans-Georg Gadamer, per il quale «ogni imitazione vera è una metamorfosi». Nei testi della raccolta L’attualità del bello (1977) il filosofo parla di un processo intensivo del reale (corpi, cose, pensieri) che conduce questi stessi elementi di realtà verso una dimensione simbolica. Questo processo imitativo o rappresentativo – della metamorfosi intensiva – lo ritroviamo all’opera nel danzatore-performer prestato al genio creativo di Fabre