Jeanne D'Arc à l'opéra: La traduction à l'oeuvre

Au XIXe siècle, nombre de librettistes et de compositeurs tentent d'adapter l'aventure de Jeanne d'Arc à l'opéra. S'il semble relativement aisé au départ de transposer l'histoire pour la scène, telle qu'elle est écrite par les historiens, en respectant les conventions opératiques en vigueur, néanmoins, un tel sujet semble rapidement, aux yeux des critiques et sans doute des spectateurs, irréductible à la « traduction ». Notre propos est de réexaminer le concept de traduction, en prenant en compte la double contrainte à l'oeuvre avec le thème johannique, de l'histoire et de la légendeDuring the nineteenth century, many librettists and composers try to adapt Joan of Arc's adventures to opera. While it may have been relatively easy for them to transpose history, such as it is written by historians, to the stage, by respecting operatic conventions, Joan of Arc seems finally, for critics and undoubtedly for the audience, non-amenable to « translation ». Our purpose is to re-examine the concept of translation, by taking into account the double background at work, with the « johannique » topic, of history and of legen

Jeanne d'Arc et ses voix, dans deux opéras, Verdi et Honneger

Dès le début du xixe siècle, Jeanne d’Arc connaît la célébrité dans toute l’Europe. Élevée au pinacle, installée au panthéon des Français, elle devient un sujet en or pour les compositeurs et leurs librettistes, parce qu’elle permet d’aborder les thèmes les plus divers, de l’héroïque au religieux en passant par le pastoral et le tragique. Elle fait l’objet de nombreuses mises en scène dans des genres musicaux aussi variés que l’opéra, l’opéra-comique, le ballet, la mélodie, la pantomime ou le théâtre en musique. La question centrale qui se pose pour chaque compositeur est la suivante : comment représenter Jeanne d’Arc, cette « figure sublime » ? Comment donner voix à une héroïne que l’on a vue sous tous les jours, tour à tour grandiloquente, simple et pieuse, puis égérie nationale avant de devenir sainte en 1920 ? Au travers d’une étude sur la voix donnée à Jeanne, dans deux œuvres majeures du répertoire qui lui a été consacré, Giovanna d’Arco de Verdi, créée à la Scala de Milan en 1845, et Jeanne d’Arc au Bûcher de Paul Claudel et Arthur Honegger, créée à Bâle en 1938, nous essaierons de déceler l’esprit d’une époque, et par là de mieux distinguer quelques-unes des facettes données à la Pucelle d’Orléans.At the beginning of the nineteenth century, Joan of Arc, the maid of Orléans, is famous throughout Europe. Her image achieves new heights and she becomes a prize subject for composers and librettists, allowing them to treat a wide variety of themes, from the heroic to the religious, by way of the pastoral and the tragic. She is the object of many stage settings in musical genres as varied as opera, ballet, melody, pantomime... Every composer wonders how to represent the “sublime figure” of Joan of Arc, how to give voice to a heroine who is represented in such different fashion: alternatively grandiloquent, simple and pious, then as saint of the Homeland, before becoming a saint in 1920. Through a study of Joan’s voice in two major works, Verdi’s Giovanna d’Arco and Honegger’s Jeanne d’Arc au Bucher, we shall try to reveal the spirit of time, in order to distinguish more clearly some facets in the representation of Joan of Arc

Manger à l’œil : quand l’exposition donne à voir le repas des Français

L’exposition « Manger à l’œil » a été présentée au musée des Civilisations de l’Europe et de la Méditerranée (MuCEM), à Marseille, du 20 juillet au 30 septembre 2018. Elle retrace deux cents ans de pratiques de table à l’aide de photographies et rend compte de l’évolution du repas gastronomique français, inscrit sur la liste représentative du patrimoine culturel immatériel de l’humanité de l’Unesco en 2010. Le médium photographique a été choisi pour son habileté à capter l’instant présent et l’éphémère des consommations et manières de table sur la longue durée. Cette exposition est ainsi analysée à travers une perspective communicationnelle, ancrée en sciences de l’information et de la communication et en muséologie, afin de montrer comment les photographies choisies définissent ensemble un modèle de « repas gastronomique ». Ainsi, l’exposition suggère une définition du repas français, fédérateur, évolutif et intimement lié aux évolutions sociales. La construction du parcours de visite, le choix des expôts tout autant que la scénographie contribuent à patrimonialiser le repas gastronomique des Français et à en transmettre les clés au plus grand nombre. Dès lors, l’exposition se fait consensuelle et s’inscrit dans une politique globale de valorisation du patrimoine alimentaire.The exhibition entitled ‘Manger à l’oeil’ in French (meaning to get a free meal) and called ‘Say cheese!’ in English was presented at the Museum of European and Mediterranean Civilisations (MuCEM), in Marseilles, from 20 July to 30 September 2018. It told the story, in pictures, of two hundred years of table practices in France. It reported on the evolution of the gastronomic meal of the French which was put on UNESCO’s representative list of the intangible cultural heritage in 2010. Photography, as a medium, was chosen for its ability to capture the present moment and to highlight changes in ways of consuming. The MuCEM exhibition is analysed here from a communicational point of view, based on information and communication sciences and museology. The exhibition suggests a definition of the French gastronomic meal as a unifying and evolving phenomenon, intimately linked to social changes. The aesthetic form of the exhibition, including its scenography and the choice of the objects presented, contributes to legitimising the identification of the French gastronomic meal as heritage for a large audience. This consensual exhibition plays its part in an overall policy of promoting the food heritage

Cerebrospinal fluid and blood flow in mild cognitive impairment and Alzheimer's disease: a differential diagnosis from idiopathic normal pressure hydrocephalus

<p>Abstract</p> <p>Background</p> <p>Phase-contrast magnetic resonance imaging (PC-MRI) enables quantification of cerebrospinal fluid (CSF) flow and total cerebral blood (tCBF) flow and may be of value for the etiological diagnosis of neurodegenerative diseases. This investigation aimed to study CSF flow and intracerebral vascular flow in patients with Alzheimer's disease (AD) and patients with amnesic mild cognitive impairment (a-MCI) and to compare the results with patients with idiopathic normal pressure hydrocephalus (NPH) and with healthy elderly volunteers (HEV).</p> <p>Methods</p> <p>Ten a-MCI and 9 mild AD patients were identified in a comprehensive neurological and neuropsychological assessment. They underwent brain MRI; PC-MRI pulse sequence was performed with the following parameters: two views per segment; flip angle: 25° for vascular flow and 20° for CSF flow; field-of-view (FOV): 14 × 14 mm²; matrix: 256 × 128; slice thickness: 5 mm; with one excitation for exams on the 3 T machine, and 2 excitations for the 1.5 T machine exams. Velocity (encoding) sensitization was set to 80 cm/s for the vessels at the cervical level, 10 or 20 cm/s for the aqueduct and 5 cm/s for the cervical subarachnoid space (SAS). Dynamic flow images were analyzed with in-house processing software. The patients' results were compared with those obtained for HEVs (n = 12), and for NPH patients (n = 13), using multivariate analysis.</p> <p>Results</p> <p>Arterial tCBF and the calculated pulsatility index were significantly greater in a-MCI patients than in HEVs. In contrast, vascular parameters were lower in NPH patients. Cervical CSF flow analysis yielded similar values for all four populations. Aqueductal CSF stroke volumes (in μl per cardiac cycle) were similar in HEVs (34 ± 17) and AD patients (39 ± 18). In contrast, the aqueductal CSF was hyperdynamic in a-MCI patients (73 ± 33) and even more so in NPH patients (167 ± 89).</p> <p>Conclusion</p> <p>Our preliminary data show that a-MCI patients present with high systolic arterial peak flows, which are associated with higher mean total cerebral arterial flows. Aqueductal CSF oscillations are within normal range in AD and higher than normal in NPH. This study provides an original dynamic vision of cerebral neurodegenerative diseases, consistent with the vascular theory for AD, and supporting primary flow disturbances different from those observed in NPH.</p

Local spin and charge properties of beta-Ag0.33V2O5 studied by 51V NMR

Local spin and charge properties were studied on beta-Ag0.33V2O5, a pressure-induced superconductor, at ambient pressure using 51V-NMR and zero-field-resonance (ZFR) techniques. Three inequivalent Vi sites (i=1, 2, and 3) were identified from 51V-NMR spectra and the principal axes of the electric-field-gradient (EFG) tensor were determined in a metallic phase and the following charge-ordering phase. We found from the EFG analysis that the V1 sites are in a similar local environment to the V3 sites. This was also observed in ZFR spectra as pairs of signals closely located with each other. These results are well explained by a charge-sharing model where a 3d1 electron is shared within a rung in both V1-V3 and V2-V2 two-leg ladders.Comment: 12pages, 16figure

CT-Guided Percutaneous Vertebroplasty in the Treatment of an Upper Thoracic Compression Fracture

Percutaneous vertebroplasty (PVP) has been used to relieve pain and to prevent further collapse of the vertebral body in patients with an osteoporotic compression fracture. The most commonly affected site for the use of PVP is the thoracolumbar junction. There are few reports that have described on the usefulness of PVP in the treatment of a high thoracic compression fracture. We report a case of an upper thoracic compression fracture that was treated with computed tomography (CT)-guided PVP. It was possible to obtain easy access to the narrow thoracic pedicle and it was also possible to monitor continuously the proper volume of polymethylmethacrylate employed, under CT guidance