Calamitosa tempora, pestis, fames - Climat et santé entre les XVIIe et XIXe siècles

15 p.International audienceL'étude de l'influence du climat et de l'environnement sur la santé est une idée qui existe depuis le courant aériste du 18ème siècle, suivant lequel les maladies ont une origine météorologique (Desaive et al. 1972). Ce courant est à l'origine d'un des premiers réseaux météorologiques en France, fondé par Félix Vicq d'Azyr de l'Académie Royale de Médecine et le père Cotte, et alimenté par des relevés météorologiques effectués par des médecins français et des correspondants européens. Les exemples d'influences du climat sur la santé publique ont été nombreux par le passé, comme l'ont noté les historiens Le Roy Ladurie, Pfister et d'autres. Ces influences peuvent être directes (l'événement climatique ou environnemental crée le risque sanitaire comme le froid ou le chaud excessifs), ou indirectes (l'événement climatique crée des conditions peu propices aux récoltes, engendre des pénuries d'eau potable, etc.). Ces événements climatiques, souvent extrêmes, ont pour conséquences une surmortalité liée aux maladies infectieuses, intoxications, disettes ou désordres sociaux. Même si l'agriculture moderne est moins dépendante d'aléas climatiques, les épisodes comme la canicule de 2003 en France ont montré une sensibilité toujours actuelle de la santé publique à ces événements. Un enjeu majeur de ce projet est de pouvoir identifier les causes d'accidents sanitaires dans le passé, et d'examiner l'importance des fluctuations climatiques et environnementales dans ces accidents. La documentation des causes de surmortalité et l'investigation de leur lien avec des fluctuations environnementales n'ont jamais été entreprises de manière quantitative et à une échelle suffisamment grande pour obtenir une idée claire sur des liens de causalité au cours de l'histoire. Nous proposons de placer ce type d'événement dans un contexte historique afin de qualifier et quantifier les réponses de la société aux fluctuations climatiques naturelles

Conversación con mi sombra: a performance como metodología auto-poiética

This article is part of the tradition of research conducted by the LLA-CREATIS Laboratory of the Université Toulouse-Jean Jaurès on the subject of contemporary artistic productions, characterized by formal hybridization and pragmatic fluidity, playing with the fictionalizing activity of a receiver who is looking for sens (es). By following the concept of "performative turn" theorized by Erika Fisher-Lichte, and by extending the reflections carried out by the Critique of Devices (Ortel, Lojkine, Rykner) which postulate a subversion of the semiological/performative hierarchy, we propose the analysis of a performance entitled, "Conversación con mi sombra” (Conversation with my Shadow), currently being presented by a collective of young Colombian university students called Pasarela. In particular we observe to what extent the experience shared by the authors/actors and the public participate in a sort of autopoiesis (Maturana and Varela, 1980) and how its transformative and restorative power operates in the specific context of the current Colombian crisis, but also, more broadly, in the context of the contemporary world crisis.Esta comunicación se inscribe en la línea de los trabajos de investigación llevados a cabo por el laboratorio LLA-CREATIS de la Universidad Toulouse - Jean Jaurès sobre las producciones artísticas contemporáneas caracterizadas por su hibridación formal y su fluidez pragmática, que juegan con la actividad ficcionalizante de un receptor en búsqueda de sentidos (en todas las acepciones del término). Siguiendo el concepto de giro performativo teorizado por Erika Fisher-Lichte y prolongando las reflexiones llevadas a cabo por la Crítica de los dispositivos (Ortel, Lojkine, Rykner) que postulan una subversión de la jerarquía semiológico/performático, nos proponemos analizar una performance titulada "Conversación con mi sombra", desarrollada actualmente por un colectivo de jóvenes universitarios colombianos: el Grupo Pasarela. En particular observaremos en qué la experiencia compartida por los autores/actores y el público participa de cierta forma de autopoiésis (Maturana y Varela, 1980) mediante su poder transformador y reparador en el contexto restringido de la crisis colombiana actual, pero también, ampliamente, en el de la crisis del mundo contemporáneo.Este artigo inscreve-se na linhagem dos trabalhos de pesquisa conduzidos pelo laboratório LLA-CREATIS da Université Toulouse - Jean Jaurès sobre as produções artísticas contemporâneas, caracterizadas pela sua hibridação formal e fluidez pragmática, enquanto jogando com a atividade ficcionalizante de um receptor à procura de significado. Seguindo o conceito de "performative viragem" teorizado por Erika Pescador-Lichte, e estendendo as reflexões conduzidas pela Crítica dos Dispositivos (Ortel, Lojkine, Rykner) que postula uma subversão da hierarquia semiológico/performativo, nós propomos analisar uma performance chamada "Conversación con mi sombra" ("Conversação com minha sombra"), apresentada no momento por um coletivo de acadêmicos colombianos jovens: o grupo Pasarela. Observamos em particular até que ponto a experiência compartilhada pelos autores / atores e o público faz parte de uma certa forma de autopoiésis (Maturana e Varela, 1980) e como opera seu poder para transformar e reparar no contexto particular da crise colombiana atual, mas também, mais amplamente, em o da crise do mundo contemporâneo

O corpo é a única coisa que produz a verdade: uma abordagem para o desempenho de teatro angélica liddell

In developing her theater for more than twenty years, Angelica Liddell looks like following literally the Apocalypse imprecation: “¡the liars would have their heritage in the lake which burns with fire and sulfur!” (21-8). In the necessarily liars scenes of theater, her apocalyptical dramaturgy calls the poetic violence to fight the real violence. In the game of infinite mirror kept between reality and its representation, the Spanish artist choses to use an aggressive dramaturgy that disrupts the dramatic canons, alters the dramaturgic and proposes alternatively to the spectator –and sometimes concomitantly– that he to open to the mental accession and to place in a critical distance. For the purpose of apprehending such a theater-punch, we examine in the first place the relation established between the proposed reality analysis and the dramatic chosen form to represent such a reality (eventual part of mimicry, fictionalization and ideologisation process used, sign system chosen to express the reality). Next, and following the Artaudian investment suggested by the same playwright, we ask ourselves how this extreme theatrical way, which puts the body reality in the center of the performance, influences in the reality knowledge. In this way we will see that the lie and the true are the bet of a dramaturgy whose burning aesthetic is serving one highly demanding aesthetic.Al desarrollar su teatro desde hace más de veinte años, Angélica Liddell da la impresión de seguir al pie de la letra la imprecación del Apocalipsis: “¡los mentirosos tendrán su herencia en el lago que arde con fuego y azufre!” (21-8). En las escenas forzosamente mentirosas del teatro, su dramaturgia apocalíptica convoca a la violencia poética para combatir la violencia real. En el juego de espejo infinito que mantiene la realidad y su representación, la artista española elige utilizar una dramaturgia agresiva que trastoca los cánones dramáticos, altera las pautas dramatúrgicas y propone al espectador alternativamente –y a veces concomitantemente– abrirse a la adhesión mental y situarse a distancia crítica. Con el fin de aprehender ese teatro-puñetazo, examinamos en primer lugar la relación que se establece entre el análisis de la realidad propuesta y la forma dramática elegida para representar esta realidad (eventual parte de mimetismo, proceso de ficcionalización y de ideologización utilizado, elección de sistemas de signos para expresar la realidad). A continuación, y siguiendo la inversión artaudiana sugerida por la misma dramaturga, nos preguntamos cómo esta forma teatral al límite, que coloca la realidad del cuerpo en el centro del espectáculo, influye en el conocimiento de la realidad. De este modo veremos cómo la mentira y la verdad son la apuesta de una dramaturgia cuya estética ardiente está al servicio de una ética altamente exigente.Para desenvolver o seu trabalho teatral a partir de mais de vinte anos atrás, Angelica Liddell dá a impressão de seguir à letra a imprecação do Apocalipse: “os mentirosos terão sua herança no lago que arde com fogo e enxofre!” (21-8). Nas cenas de teatro que são necessariamente desonesta sua dramaturgia apocalíptica convoca a violência poética para combater a violência real. No jogo interminável de espelho que mantém a realidade e a sua representação, a artista espanhola opta por utilizar uma dramaturgia agressiva que subverte os cânones dramáticos, uma dramaturgia que altera as orientações dramatúrgicas e propõe ao espectador em alternativa - e por vezes concomitantemente - que o espectador esteja aberto à adesão mental e localizado à distância crítica. A fim de compreender este teatro-punch, devemos examinar em primeiro lugar a relação que se estabelece entre a análise da realidade proposta e a forma dramática escolhida para representar essa realidade (qualquer parte de mimetismo, um processo de ficcionalização e ideologização usado, uns sistemas de signos para expressar a realidade). Então, seguindo o artaudiano investimento sugerido pela mesma dramaturga, nós queremos saber como esta forma teatral ao limite, que coloca a realidade do corpo no centro do show e influencia o conhecimento da realidade. Deste modo, vamos ver como a mentira e verdade são a aposta de uma dramaturgia cuja estética ardente está a serviço para uma ética altamente exigente

Terrorismo, intermedialidad y omnisciencia: Boris Godunov, un espectáculo de La Fura dels Baus

En el espectáculo Boris Gudonov, La Fura delsBaus recrea la toma de 900 rehenes que tuvo lugar en octubre de 2002 en el Teatro Dubrovka de Moscú por terroristas chechenos. Al igual que en el hecho real, el público se verá asaltado en pleno espectáculo por personajes armados que a lo largo de la representación, entablarán una serie de negociaciones para conseguir sus reivindicaciones políticas. En esta reconstrucción de un episodio extraído de la Historia reciente (pero que fue sometido a la manipulación política a través de los mass-media que cubrieron el acontecimiento y transmitieron la información), los profesionales de la ficción, es decir los integrantes de La Fura, se plantean cuestionar esa realidad y el recorrido que emprende –que es, en definitiva, un inevitable tejido de mediaciones– para llegar hasta cada uno de nosotros. Para ello, el espectáculo recurre a la intermedialidad que permite ampliar el espacio escénico tradicional de la representación al patio de butacas, a las bambalinas, a los pasillos del propio teatro, a un lejano ministerio o a un estudio de televisión... y multiplicar los niveles ficcionales creando una interferencia saludable (por ser distanciadora) entre el campo de lo real y de lo ficcional. De tal modo que imágenes en vivo y elementos mediatizados, se mezclan al juego de los actores y con el público, provocando un efecto multiplicador de puntos de vista para hacer que la ocularización –y por tanto la vía de acceso a la verdad– sea la más completa posible. Nos preguntaremos, por tanto, ¿en qué esta búsqueda de focalización de grado cero mediante el recurso a la intermedialidad, que apunta a la omnisciencia espectatorial, se pone al servicio de un discurso político –el de ponernos en guardia contra la manipulación mediática– y de qué manera cuestiona, en este contexto, la misma función del teatro –para desenmascarar, por ejemplo, las trampas de la mediación televisiva–?.In the show Boris Godunov, La FuradelsBaus revisits the October, 2002 hostage that was carried out in a Moscow theater by Chechen rebels. As in the historic episode, the public is assailed during the show by people (characters?) with weapons who initiate negotiations throughout the performance, to realize their political demands. In this reconstruction of an episode based on real events (but itself subject to political manipulation due to the mass media having covered the event and transmitting the information), the professionals of the fiction who are the artists of La Fura intend to question this reality and the way it passes through a web of mediations to reach each one of us. To this end, the show resorts to the intermediality, which allows it to increase the traditional scenic space of the play by including the area of the spectators, the wings and corridors of the theater, a television studio set…, and to multiply the levels of fiction, creating a healthy blurring between the domains of reality and fiction. So, live images and mediated statements get involved in the interplay between the actors and the public, multiplying points of view to make the ocularization – and thus the access to the truth – as completeas possible. This paper examines in what this research of zero focus by the recourse to the intermediality, which aims at the spectatorial omniscience, is put in the service of a political aim – that of warning against media manipulation –; it also questions, in this context, the function of the theater itself –can it for example, avoid the traps of television mediation

El «espíritu de lo grotesco» en el teatro de Angélica Liddell

El teatro de la dramaturga, directora y actriz Angélica Liddell, por su estética neobarroca hecha de contrastes, paradojas y fusión de géneros (aproximación de lo grave y lo ligero, lo sagrado y lo profano, del amor y del asco, de lo festivo y lo trágico…), por las figuras grotescas que convoca, específicamente en lo que al tratamiento del espacio, del cuerpo y del lenguaje se refiere, recoge el espíritu de lo grotesco para construir el camino de la necesaria subversión artística.The theatrical aesthetics of the playwright, stage director and actress Angélica Liddell are made of contrasts, paradoxes and fusion of genders. They mix the serious and the lightweight, the sacred and the profane, love and hate, festive and tragic. Because of the grotesque figures that her theater calls up, specifically regarding to the way it treats space, body and language, it takes up the spirit of the grotesque to build the way to necessary artistic subversion

Introducción

There are miraculous encounters. Under the good auspices of Cartagena de Indias, collaboration began between the Francisco José de Caldas District University (Colombia) and the Jean-Jaurès University of Toulouse (France). In the framework of a meeting organized by the Colombian Association of Universities (ASCUN) entitled "A contribution to public policy on Doctoral training in Colombia", the University of Toulouse was invited to present the organization of the doctoral diploma in March 2015 in France, following a project newly coined in Toulouse as the School of Doctors. This school that brings together 4,500 doctoral students and 7,000 researchers could be an example to enhance the dynamics of research and innovation through doctoral studentsHay encuentros milagrosos. Bajo los buenos auspicios de Cartagena de Indias empezó la colaboración entre la Universidad Distrital Francisco José de Caldas (Colombia) y la Universidad de Toulouse Jean-Jaurès (Francia). En el marco de un encuentro organizado por la Asociación Colombiana de Universidades (ASCUN) titulada “Un aporte a la política pública sobre la formación Doctoral en Colombia”, la Universidad de Toulouse fue invitada a presentar en marzo del 2015 la organización del diploma de doctorado en Francia, a raíz de un proyecto nuevamente acuñado en Toulouse como Escuela de Doctores. Esta escuela que reúne a 4.500 doctorandos y 7.000 investigadores podía ser un ejemplo para potenciar la dinámica de la investigación e innovación a través de los doctorandosExistem encontros milagrosos. Sob os bons auspícios de Cartagena das Índias, a colaboração começou entre a Universidade do Distrito Francisco José de Caldas (Colômbia) e a Universidade Jean-Jaurès de Toulouse (França). No âmbito de uma reunião organizada pela Associação Colombiana de Universidades (ASCUN) intitulada "Uma contribuição para as políticas públicas de formação de doutorado na Colômbia", a Universidade de Toulouse foi convidada a apresentar a organização do diploma de doutorado em março de 2015 na França, na sequência de um projeto recentemente cunhado em Toulouse como a Escola de Médicos. Esta escola que reúne 4.500 doutorandos e 7.000 pesquisadores pode ser um exemplo para aprimorar a dinâmica da pesquisa e inovação por meio de doutorando

Control of M. tuberculosis ESAT-6 Secretion and Specific T Cell Recognition by PhoP

Analysis of mycobacterial strains that have lost their ability to cause disease is a powerful approach to identify yet unknown virulence determinants and pathways involved in tuberculosis pathogenesis. Two of the most widely used attenuated strains in the history of tuberculosis research are Mycobacterium bovis BCG (BCG) and Mycobacterium tuberculosis H37Ra (H37Ra), which both lost their virulence during in vitro serial passage. Whereas the attenuation of BCG is due mainly to loss of the ESAT-6 secretion system, ESX-1, the reason why H37Ra is attenuated remained unknown. However, here we show that a point mutation (S219L) in the predicted DNA binding region of the regulator PhoP is involved in the attenuation of H37Ra via a mechanism that impacts on the secretion of the major T cell antigen ESAT-6. Only H37Ra “knock-ins” that carried an integrated cosmid with the wild-type phoP gene from M. tuberculosis H37Rv showed changes in colony morphology, increased virulence, ESAT-6 secretion, and induction of specific T cell responses, whereas other H37Ra constructs did not. This finding established a link between the PhoP regulator and ESAT-6 secretion that opens exciting new perspectives for elucidating virulence regulation in M. tuberculosis

Effectiveness of pure argon for renal transplant preservation in a preclinical pig model of heterotopic autotransplantation

International audienceBackground: In kidney transplantation, the conditions of organ preservation following removal influence function recovery. Current static preservation procedures are generally based on immersion in a cold‑storage solution used under atmospheric air (approximately 78 kPa N2, 21 kPa O2, 1 kPa Ar). Research on static cold‑preservation solutions has stalled, and modifying the gas composition of the storage medium for improving preservation was considered. Organoprotective strategies successfully used noble gases and we addressed here the effects of argon and xenon on graft preservation in an established preclinical pig model of autotransplantation. Methods: The preservation solution Celsior saturated with pure argon (Argon‑Celsior) or xenon (Xenon‑Celsior) at atmospheric pressure was tested versus Celsior saturated with atmospheric air (Air‑Celsior). The left kidney was removed, and Air‑Celsior (n = 8 pigs), Argon‑Celsior (n = 8) or Xenon‑Celsior (n = 6) was used at 4 °C to flush and store the transplant for 30 h, a duration that induced ischemic injury in our model when Air‑Celsior was used. Hetero‑ topic autotransplantation and contralateral nephrectomy were performed. Animals were followed for 21 days. Results: The use of Argon‑Celsior vs. Air‑Celsior: (1) improved function recovery as monitored via creatinine clear‑ ance, the fraction of excreted sodium and tubulopathy duration; (2) enabled diuresis recovery 2–3 days earlier; (3) improved survival (7/8 vs. 3/8 pigs survived at postoperative day‑21); (4) decreased tubular necrosis, interstitial fibrosis, apoptosis and inflammation, and preserved tissue structures as observed after the natural death/euthanasia; (5) stimulated plasma antioxidant defences during the days following transplantation as shown by monitoring the " reduced ascorbic acid/thiobarbituric acid reactive substances " ratio and Hsp27 expression; (6) limited the inflamma‑ tory response as shown by expression of TNF‑alpha, IL1‑beta and IL6 as observed after the natural death/euthanasia. Conversely, Xenon‑Celsior was detrimental, no animal surviving by day‑8 in a context where functional recovery, renal tissue properties and the antioxidant and inflammation responses were significantly altered. Thus, the positive effects of argon were not attributable to the noble gases as a group. Conclusions: The saturation of Celsior with argon improved early functional recovery, graft quality and survival. Manipulating the gas composition of a preservation medium constitutes therefore a promising approach to improve preservation

High denitrification potential but low nitrous oxide emission in a constructed wetland treating nitrate-polluted agricultural run-off

Acknowledgements The study was conducted within the framework of several scientific projects: “Efficacité des Zones Tampons” by OFB (French Office for Biodiversity, and technical group “Zones Tampons “), and HydroGES (financed by the Agency for the Environment and Mastery of Energy, ADEME). The travel was supported by two French–Estonian Parrot RTD projects “Ecological engineering for nutrient control in rural catchments” and “Process-based approach and enhanced technologies of treatment wetlands” (2014–2016). The PIREN-Seine programme and the Fédération Ile-de-France de Recherche pour l'Environnement (FIRE) are also acknowledged for their support. The authors also thank AQUI'Brie association for their support and stakeholders' involvement. This study was also supported by the Estonian Research Council (grants IUT2 16, PRG352 and MOBERC20) and by the EU through the European Regional Development Fund (Centres of Excellence ENVIRON and EcolChange, and MOBTP101 returning researcher grant by the Mobilitas Pluss programme).Peer reviewedPostprin

Infection with Influenzavirus A in a murine model induces epithelial bronchial lesions and distinct waves of innate immune-cell recruitment

IntroductionInflammatory lesions after Influenza A viruses (IAV) are potential therapeutic target for which better understanding of post-infection immune mechanisms is required. Most studies to evaluate innate immune reactions induced by IAV are based on quantitative/functional methods and anatomical exploration is most often non-existent. We aimed to study pulmonary damage and macrophage recruitment using two-photon excitation microscopy (TPEM) after IAV infection.MethodsWe infected C57BL/6 CD11c+YFP mice with A/Puerto Ricco/8/34 H1N1. We performed immune cell analysis, including flow cytometry, cytokine concentration assays, and TPEM observations after staining with anti-F4/80 antibody coupled to BV421. We adapted live lung slice (LLS) method for ex-vivo intravital microscopy to analyze cell motility.ResultsTPEM provided complementary data to flow cytometry and cytokine assays by allowing observation of bronchial epithelium lesions and spreading of local infection. Addition of F4/80-BV421 staining allowed us to precisely determine timing of recruitment and pulmonary migration of macrophages. Ex-vivo LLS preserved cellular viability, allowing us to observe acceleration of macrophage motility.ConclusionAfter IAV infection, we were able to explore structural consequences and successive waves of innate immune cell recruitment. By combining microscopy, flow cytometry and chemokine measurements, we describe novel and precise scenario of innate immune response against IAV