Changes in movement organization and control strategies when learning a biomechanically constrained gait pattern, racewalking: a PCA study

Combining advances from gait analysis and motor learning fields, this study aims to examine invariant characteristics and practice-related changes in the control of walking gait when learning a biomechanically constrained pattern, racewalking (RW). RW’s regulation imposes a straightened knee at the stance phase which differentiates it qualitatively from normal walking. Using 3D motion analysis, we computed key kinematic variables from a whole-body model. Principal component analysis was then used as a tool to evaluate the evolution of normal walking synergies (S0) immediately at the first practice session (S1) and further with practice (S1–S4). Before the start of practice, normal walking was characterized by two predominant control dimensions explaining an upper-extremities/antero-posterior component (PC1) and a lower-extremities/vertical component (PC2). Compared to normal walking, the immediate increase at S1 in the number of PCs needed to explain a significant portion of movement variance could be suggestive of a recruitment of a task-specific component. With practice, the significant decrease in the variance accounted for by PC1 and in the correlations between many variables could indicate a destabilization of spontaneous tendencies to facilitate the adoption of more task-specific coordinative pattern. PC2 seemed to be reinforced with practice where a significant increase in its explained variance was observed. In sum, this study shows that common features in the gait control are preserved with practice, and the movement reorganization, however, seems rather defined by shifts in the relative contribution of some variables within each PC

Physiological, neuromuscular and perceived exertion responses in badminton games

The purpose of this study was to characterise the physiological, neuromuscular and perceived exertion variables during a badminton match and to assess the influence of these variables on the characteristics of the game. Each variable was measured before, every ten minutes, and ten and twenty minutes after a badminton game. Using a lactate device, a heart rate monitor, an accelerometric system, a dynamometer, a camera and a Borg scale, twelve games between elite players were analysed. An increase was found in the heart rate, blood lactate and in the recovery time, while a decrease was found in the power output of the lower and upper limb joints and shot frequency. These results suggest the capability of the players to preserve a high intensity of performance for as long as possible despite general fatigue. The fatigue induced by changes in physiological variables is affected more by the intensity of the stroke rather than the duration of the rallies. The perceived exertion is thought to be a combination of attentional and neuromuscular fatigue rather than related to changes in metabolites. Consequently, in future studies, researchers and trainers should consider the fatigue state as a means to increase players’ ability

Evaluation du potentiel énergétique des coureurs de haut niveau : relations entre des tests de laboratoire et la performance sur 400m

National audienceCette étude a été menéedans le cadre du diplômede l’INSEP grâce à la collaborationde Fernand Urtebise,Pierre Bonvin et Hervé Stéphan.Je tiens à remercier égalementles athlètes qui, malgré leuremploi du temps déjà bien rempli,ont accepté de participer àdes tests qui n’étaient pas toujourstrès agréables

Post-Franco Theatre

In the multiple realms and layers that comprise the contemporary Spanish theatrical landscape, “crisis” would seem to be the word that most often lingers in the air, as though it were a common mantra, ready to roll off the tongue of so many theatre professionals with such enormous ease, and even enthusiasm, that one is prompted to wonder whether it might indeed be a miracle that the contemporary technological revolution – coupled with perpetual quandaries concerning public and private funding for the arts – had not by now brought an end to the evolution of the oldest of live arts, or, at the very least, an end to drama as we know it

Gil Vicente, Obras dramáticas castellanas. Ed., introd., y notas de Thomas Hart

Heugas Pierre. Gil Vicente, Obras dramáticas castellanas. Ed., introd., y notas de Thomas Hart. In: Bulletin Hispanique, tome 76, n°1-2, 1974. pp. 228-229

Jean-Pierre Étienvre, Figures du jeu (Études lexico-sémantiques sur le jeu de cartes en Espagne XVIe-XVIIle siècle

Heugas Pierre. Jean-Pierre Étienvre, Figures du jeu (Études lexico-sémantiques sur le jeu de cartes en Espagne XVIe-XVIIle siècle. In: Bulletin Hispanique, tome 90, n°3-4, 1988. pp. 448-452

F. J. Norton, Printing in Spain 1501-1520

Heugas Pierre. F. J. Norton, Printing in Spain 1501-1520. In: Bulletin Hispanique, tome 70, n°3-4, 1968. pp. 537-546

J. M. Aguirre, Calisto y Melibea, amantes cortesanos

Heugas Pierre. J. M. Aguirre, Calisto y Melibea, amantes cortesanos. In: Bulletin Hispanique, tome 69, n°3-4, 1967. pp. 493-495

Revenir au Don Juan espagnol

Par le commentaire des deux premières scènes du Burlador de Sevilla on a voulu montrer qu'une part essentielle de ce qu'on appelle aujourd'hui le mythe de Don Juan est exprimée, dans les limites de vingt-six vers, par un grand auteur dont le mérite n'a pas toujours été reconnu par la critique non hispaniste. Pour ce qui est du Don Juan classique, elle est toujours éblouie par Molière et Mozart. Dans une première partie - elle sert d'introduction au commentaire - on a choisi de souligner les erreurs et les oublis les plus fréquents. Bref, il s'agit d'une revendication discrète pour rendre au texte fondateur la place qui lui revient.Con el comentario de las dos primeras escenas de El Burlador de Sevilla hemos querido poner de relieve una parte esencial de lo que hoy llaman el mito de Don Juan. La define, en el breve espacio de veinte y seis versos, un gran autor cuyo mérito no ha sido siempre reconocido por la crítica no hispanista, siempre deslumbrada por Molière y Mozart. En una primera parte que sirve de introducción al comentario, hemos procurado denunciar los repetidos errores y olvidos. En breve, hemos intentado hacer una discreta reivindicación para devolver al Don Juan primitivo el lugar que le corresponde.Heugas Pierre. Revenir au Don Juan espagnol. In: Bulletin Hispanique, tome 92, n°1, 1990. pp. 333-353

María Rosa Lida de Malkiel, La originalidad artística de « La Celestina »

Heugas Pierre. María Rosa Lida de Malkiel, La originalidad artística de « La Celestina ». In: Bulletin Hispanique, tome 66, n°3-4, 1964. pp. 405-418