15 research outputs found
L'adjectif qualificatif dans Sud / Nord de Thanh-VĂąn TĂŽn-ThĂąt
Le poĂšte EugĂšne Guillevic considĂ©rait lâadjectif qualificatif comme « le gras du poulet » en poĂ©sie. Lâadjectif qualificatif en dirait trop, il ne laisserait pas assez imaginer. Beaucoup de poĂštes dâaujourdâhui utilisent lâadjectif qualificatif. Sont-ils pour autant de mauvais poĂštes ? Ătait-ce Guillevic qui avait raison ? Lâadjectif qualificatif est-il un mot moins fort en poĂ©sie que le nom, par exemple, comme le suggĂšre Yves Bonnefoy ? Est-il nuisible au poĂšme ? Voici des questions qui, pour qui sâintĂ©resse au langage poĂ©tique, peuvent paraĂźtre importantes. Dans son recueil de poĂšmes Sud Nord, composĂ© de poĂšmes glanĂ©s au cours de diffĂ©rents voyages, Thanh-VĂąn TĂŽn-ThĂąt ne rechigne pas Ă utiliser des adjectifs qualificatifs. Chaque poĂšme apparaĂźt souvent comme un tableau fugitif volĂ© Ă lâinstant, Ă©crit dans un style trĂšs concentrĂ© tout Ă fait caractĂ©ristique de sa poĂ©sie â jâallais dire trĂšs attique â que lâon trouvait dĂ©jĂ dans Le Pays dâAvant ou New-York. Ne cherchant Ă rendre compte de tous les adjectifs, cet article a surtout pour objectif de se pencher sur lâĂ©tude des adjectifs de couleur dans ce recueil. On pourrait distinguer les adjectifs dĂ©signant des couleurs pures des adjectifs introduisant dans la toile du poĂšme des nuances colorĂ©es, avant dâĂ©voquer les couleurs mĂ©taphorisĂ©es du poĂšme et la place de lâadjectif
Une autre conception de lâautre : une rĂ©volution en poĂ©sie
There is no philosophical question more important than the understanding occurring between different peoples, as well as the dialogue occurring between cultures. This kind of dialogue leads to tranquility of the soul, already announced in the philosophy of antiquity
Biological Flora of the British Isles: Sorbus torminalis
1.This account presents information on all aspects of the biology of Sorbus torminalis (L.) Crantz (Wild Service-tree) that are relevant to understanding its ecological characteristics and behaviour. The main topics are presented within the standard framework of the Biological Flora of the British Isles: distribution, habitat, communities, responses to biotic factors, responses to environment, structure and physiology, phenology, floral and seed characters, herbivores and disease, history, and conservation.2.Sorbus torminalis is an uncommon, mostly small tree (but can reach 33 m) native to lowland England and Wales, and temperate and Mediterranean regions of mainland Europe. It is the most shade-tolerant member of the genus in the British Isles and as a result it is more closely associated with woodland than any other British species. Like other British Sorbus species, however, it grows best where competition for space and sunlight is limited. Seedlings are shade tolerant but adults are only moderately so. This, combined with its low competitive ability, restricts the best growth to open areas. In shade, saplings and young adults form a sapling bank, showing reproduction and extensive growth only when released. Sorbus torminalis tolerates a wide range of soil reaction (pH 3.5-8.0) but grows best on calcareous clays and thin soils over limestone.3.Sorbus torminalis is a sexual, diploid, non-apomictic species that has hybridised with a number of other Sorbus species to form microspecies. The hermaphrodite flowers are primarily insect pollinated. Seed production is reliable only in warm years, especially at the edge of its range, although even then seed viability is low. The fruits are primarily dispersed by carnivorous mammals. Seeds display embryo dormancy but most will germinate the first spring after falling.4.This tree is very tolerant of short droughts but only moderately tolerant of frost, hence its southerly and lowland distribution. It faces no particular individual threats although the small size of most populations makes it susceptible to habitat loss and fragmentation, particularly through the loss of open coppiced areas. As a consequence it appears to be declining throughout Britain and Europe despite its wide range of historical uses and the high value of its timber. The extent to which these losses will be offset by increases due to climate change is unknown.This article is protected by copyright. All rights reserved
La poĂ©tique de lâinterstice chez HĂ©di Bouraoui
Born in Tunisia, having past its childhood to France, and having taught the comparative literature with the York University of Toronto, in Ontario, in Anglophone Canada, Hedi Bouraoui was with the crossroads of three cultures, and that mark its literary work. Believing in the âtransculturalismâ, in a real dialogue between the cultures, this writer came from there to write between the cultures, the literary kinds and the languages. According to him, it is the poetic one which in literary work allows best this kind of writing opened, by which the writer is not folded up on itself and its culture of origin, but written in symbiosis with all diversities which offers the world. What this does poetic of the interstice have of original in the universe of the French-speaking literature of today ? What does they brought to him ? In what she does dissociate collective or individual concerns writers and poets of the movement of the negritude ? In what also she does dissociate herself, for example, of the theory of the âwhole worldâ of the poet Edouard Glissant ? This poetic of the interstice comes from there to support a writing in complicity between poets in Livrâerrance, but also between the writer and his readers. This desire in complicity in creation as in the reception of literary work isntâit, even partly, utopian ? Lastly, Hedi Bouraoui estimates that in its work, it is the poetic one which makes it possible best to carry out a writing of the interstice thus defined. It is the poetic one, in particular, which would travel most easily in the other literary kinds? However the account often comes to slip into the poem within its work. Isnât it essential sometimes on him ? In the same way, the theatrical one does never come to be involved in its accounts transpoetic, in the tale transpoetic, poetry even ? Is it necessary to analyze only the work of Hedi Bouraoui under the angle of âtranspoĂ©tiqueâ, or also under the angle of what one could name âtrans-narrativitĂ© and a trans-theatricalnessâ?NĂ© en Tunisie, ayant passĂ© son enfance en France, ayant enseignĂ© la littĂ©rature comparĂ©e Ă lâUniversitĂ© York de Toronto, au Canada anglophone, HĂ©di Bouraoui sâest trouvĂ© au carrefour de trois cultures, et cela a marquĂ© son Ćuvre littĂ©raire. Croyant dans le « transculturalisme », câest-Ă -dire en un rĂ©el dialogue entre les cultures, ce poĂšte et romancier en est venu Ă Ă©crire entre les cultures, entre les genres et entre les langues. Selon lui, câest le poĂ©tique qui dans lâĆuvre littĂ©raire permet le mieux ce type dâĂ©criture ouverte, par laquelle lâĂ©crivain ne se replie pas sur lui-mĂȘme et sa culture dâorigine, mais Ă©crit en symbiose avec toutes les diversitĂ©s quâoffre le monde. Quâest-ce que cette poĂ©tique de lâinterstice a dâoriginal dans lâunivers de la littĂ©rature francophone dâaujourdâhui ? Que lui apporte-t-elle ? En quoi se dĂ©marque-t-elle des prĂ©occupations collectives ou individuelles des Ă©crivains et poĂštes du mouvement de la nĂ©gritude ? En quoi se dĂ©marque-t-elle aussi, par exemple, de la thĂ©orie du « Tout Monde » du poĂšte Edouard Glissant ? Cette poĂ©tique de lâinterstice en vient Ă favoriser une Ă©criture de la connivence entre poĂštes dans le recueil Livrâerrance, mais aussi entre lâĂ©crivain et ses lecteurs. Ce dĂ©sir de connivence dans la crĂ©ation comme dans la rĂ©ception de lâĆuvre littĂ©raire nâest-il pas, mĂȘme en partie, utopique ? Enfin, HĂ©di Bouraoui estime que, dans son Ćuvre, câest le poĂ©tique qui permet le mieux de rĂ©aliser une Ă©criture de lâinterstice ainsi dĂ©finie. Câest le poĂ©tique qui voyagerait le plus facilement dans les autres genres littĂ©raires. Pourtant le rĂ©cit vient souvent se glisser dans le poĂšme au sein de son Ćuvre. Ne sâimpose-t-il pas parfois Ă lui ? De mĂȘme, le thĂ©Ăątral ne vient-il jamais sâimmiscer dans ses rĂ©cits transpoĂ©tiques, dans le conte transpoĂ©tique, dans la poĂ©sie mĂȘme ? Faut-il analyser seulement lâĆuvre dâHĂ©di Bouraoui sous lâangle dâune transpoĂ©tique, ou Ă©galement sous lâangle de ce que lâon pourrait nommer une trans-narrativitĂ© et une trans-thĂ©ĂątralitĂ©
The poetic of the interstice in Hedi Bouraouiâs litterature
NĂ© en Tunisie, ayant passĂ© son enfance en France, ayant enseignĂ© la littĂ©rature comparĂ©e Ă lâUniversitĂ© York de Toronto, au Canada anglophone, HĂ©di Bouraoui sâest trouvĂ© au carrefour de trois cultures, et cela a marquĂ© son Ćuvre littĂ©raire. Croyant dans le « transculturalisme », câest-Ă -dire en un rĂ©el dialogue entre les cultures, ce poĂšte et romancier en est venu Ă Ă©crire entre les cultures, entre les genres et entre les langues. Selon lui, câest le poĂ©tique qui dans lâĆuvre littĂ©raire permet le mieux ce type dâĂ©criture ouverte, par laquelle lâĂ©crivain ne se replie pas sur lui-mĂȘme et sa culture dâorigine, mais Ă©crit en symbiose avec toutes les diversitĂ©s quâoffre le monde. Quâest-ce que cette poĂ©tique de lâinterstice a dâoriginal dans lâunivers de la littĂ©rature francophone dâaujourdâhui ? Que lui apporte-t-elle ? En quoi se dĂ©marque-t-elle des prĂ©occupations collectives ou individuelles des Ă©crivains et poĂštes du mouvement de la nĂ©gritude ? En quoi se dĂ©marque-t-elle aussi, par exemple, de la thĂ©orie du « Tout Monde » du poĂšte Edouard Glissant ? Cette poĂ©tique de lâinterstice en vient Ă favoriser une Ă©criture de la connivence entre poĂštes dans le recueil Livrâerrance, mais aussi entre lâĂ©crivain et ses lecteurs. Ce dĂ©sir de connivence dans la crĂ©ation comme dans la rĂ©ception de lâĆuvre littĂ©raire nâest-il pas, mĂȘme en partie, utopique ? Enfin, HĂ©di Bouraoui estime que, dans son Ćuvre, câest le poĂ©tique qui permet le mieux de rĂ©aliser une Ă©criture de lâinterstice ainsi dĂ©finie. Câest le poĂ©tique qui voyagerait le plus facilement dans les autres genres littĂ©raires. Pourtant le rĂ©cit vient souvent se glisser dans le poĂšme au sein de son Ćuvre. Ne sâimpose-t-il pas parfois Ă lui ? De mĂȘme, le thĂ©Ăątral ne vient-il jamais sâimmiscer dans ses rĂ©cits transpoĂ©tiques, dans le conte transpoĂ©tique, dans la poĂ©sie mĂȘme ? Faut-il analyser seulement lâĆuvre dâHĂ©di Bouraoui sous lâangle dâune transpoĂ©tique, ou Ă©galement sous lâangle de ce que lâon pourrait nommer une trans-narrativitĂ© et une trans-thĂ©ĂątralitĂ© ?Born in Tunisia, having past its childhood to France, and having taught the comparative literature with the York University of Toronto, in Ontario, in Anglophone Canada, Hedi Bouraoui was with the crossroads of three cultures, and that mark its literary work. Believing in the âtransculturalismâ, in a real dialogue between the cultures, this writer came from there to write between the cultures, the literary kinds and the languages. According to him, it is the poetic one which in literary work allows best this kind of writing opened, by which the writer is not folded up on itself and its culture of origin, but written in symbiosis with all diversities which offers the world. What this does poetic of the interstice have of original in the universe of the French-speaking literature of today ? What does they brought to him ? In what she does dissociate collective or individual concerns writers and poets of the movement of the negritude ? In what also she does dissociate herself, for example, of the theory of the âwhole worldâ of the poet Edouard Glissant ? This poetic of the interstice comes from there to support a writing in complicity between poets in Livrâerrance, but also between the writer and his readers. This desire in complicity in creation as in the reception of literary work isntâit, even partly, utopian ? Lastly, Hedi Bouraoui estimates that in its work, it is the poetic one which makes it possible best to carry out a writing of the interstice thus defined. It is the poetic one, in particular, which would travel most easily in the other literary kinds? However the account often comes to slip into the poem within its work. Isnât it essential sometimes on him ? In the same way, the theatrical one does never come to be involved in its accounts transpoetic, in the tale transpoetic, poetry even ? Is it necessary to analyze only the work of Hedi Bouraoui under the angle of âtranspoĂ©tiqueâ, or also under the angle of what one could name âtrans-narrativitĂ© and a trans-theatricalnessâ
Forest inventory using lidar
Forest inventory work continues to derive benefit from technological progress. The use of Lidar (light detection
and ranging) on the ground now allows for inventory of single-species stands to be performed, from
which the usual dendrometric values can be derived. It is also used to establish timber batches on the basis
of size and user needs for the purpose of optimizing revenue. The system is already used by Irish foresters.
The principle underlying the method, its present limitations and prospects for development, in particular for
multiple-species stands, are briefly described and illustrated.La pratique de lâinventaire forestier continue de bĂ©nĂ©ficier du progrĂšs des techniques. Lâemploi du lidar (light
detection and ranging : détection et télémétrie par la lumiÚre) au sol permet désormais de réaliser des inventaires
de peuplements monospĂ©cifiques et dâen tirer la valeur des grandeurs dendromĂ©triques usuelles, ainsi
que de lotir les bois selon leurs dimensions et les besoins des acheteurs, en vue de maximiser le produit
de leur vente. Les forestiers irlandais en sont déjà utilisateurs. Le principe de la méthode, ses limites
actuelles et les perspectives de dĂ©veloppement, notamment pour les forĂȘts mĂ©langĂ©es, sont ici briĂšvement
exposés et illustrés