On \u3ci\u3eDistoma felineum\u3c/i\u3e Riv. in the United States and on the Value of Measurements in Specific Determinations among the Distomes (1895)

The distomes of cats have received special attention of late in the two papers of Braun (94) and stiles and Hassall (94). The latter authors give a most admirable account of our present knowledge of a dozen allied forms, and record two, D. albidum and D. complexum n. sp., as found in cats in the United States. During the past year I have examined the cats killed at this laboratory, and have found neither of the forms recorded from the east. Distoma felineum, however, which Stiles and Hassall did not find, and which has not been reported hitherto for the United States, is not uncommon here. Among a dozen cats examined last spring, two contained specimens of this species, and one of the four killed this fall was likewise infected. The first cat contained over one hundred of the distomes, and the others approximately one dozen each. The exact correspondence of the forms with the figures and descriptions of Braun and Stiles and Hassall leave little doubt as to the identity of the two forms, and yet there are some points of disagreement which deserve mention, especially since the discovery of the European form in the liver of man in Siberia by Winogradoff adds this species to the list of human parasites

The form as an idea, the sculpture as a combinatorial principle : the individual mythology of Etienne-Martin : Abécédaire and Demeures

La production d’Etienne-Martin souffre toujours d’une méconnaissance certaine. Les nombreux ouvrages et études qui lui ont été consacrés n’ont pas suffi à ce que le sculpteur obtienne la juste place qui lui revient dans l’Histoire de l’Art, et l’œuvre se dérobe encore à la compréhension. Trois facteurs principaux sont en cause : la difficulté à comprendre la nature et la fonction de la forme biographique dans son travail sculptural, graphique et manuscrit ; à appréhender l’Abécédaire, système conceptuel qu’il a créé au début des années 1960 ; à déterminer le rôle de l’ésotérisme et de la spiritualité dans sa production. Afin d’éclairer ces problématiques, nous nous fonderons sur l’étude conjointe de ses œuvres, de sa bibliothèque, et des milliers de feuillets manuscrits inédits qu’il a consacrés au récit de son enfance, à ses créations et surtout à l’Abécédaire. Ce travail sera mis en perspective avec des sources secondaires dans une orientation transversale et pluridisciplinaire. Il met en évidence le langage profondément synthétique de l’artiste qui est parvenu, au travers de l’expression de sa mythologie individuelle, à créer un œuvre dans laquelle chaque sculpture n’est pas une entité isolée, mais, au contraire, trouve sa place au sein d’une structure dotée d’un principe combinatoire à même d’engendrer de nouvelles créations. De par ses caractéristiques conceptuelles et formelles, ainsi que par les questions qu’il soulève, cet œuvre mémoriel fait pleinement écho aux recherches menées par ses contemporains.Etienne-Martin's production remains relatively unknown to this day. The several studies and publications dedicated to it have not been sufficient for the sculptor to be given the place he deserves in Art History, and the understanding of his work still is evasive. This can be explained by three main causes: the nature and the function of the artist’s biography in relation to his sculptural, graphical and written work is hard to grasp; the Abécédaire, Etienne-Martin’s own conceptual system built in the 60s is still puzzling; and the roles of esoterism and spirituality in his work are still unclear. In an effort to address these issues, we will rely on the examination of his work, of his library as well as that of thousands of unpublished pages in which he tells the story of his childhood, of his creations and mostly of the Abécédaire. Through the use of secondary sources, this study will be put into perspective, both in a transversal and multidisciplinary way. It sheds light on the deeply synthetic language of the artist. Thanks to the expression of his own individual mythology, Etienne-Martin has succeeded in creating a work in which each sculpture is not simply a distinct entity. On the contrary, it finds its place inside a structure endowed with a combinatorial principle and able to forge new creations. Owing to its conceptual and formal characteristics, as well as to the questions it raises, this memorial work resonates deeply with the research of his contemporaries