Etude de l'influence des conditions interfaciales sur le développement du noyau lors du soudage par résistance par point

National audienceSee http://hal.archives-ouvertes.fr/docs/00/59/29/59/ANNEX/r_1280325L.pd

On both sides of human nature: A lexicographical and typological approach to the medieval wild man.

International audienceThe wild man is a recurring figure in texts and images of the late Middle Ages and well-known to historiography. Strong, brutal and hairy, in many sources the wild man represents a counter-model to civilized man, possessed of an animalistic and dangerous otherness. However, the lexicographical and typological approach adopted in this article, based on the qualifying terms homo silvaticus, homo silvestris, homo agrestis or pilosi, reveals a progressive enrichment in the range of physical and behavioural characteristics attributed to medieval wild men, highlighting the elusive dimension of this wild humanity.. The original fallen, degraded savage -standing in contrast to the virtuous Christian- gradually sheds his bestial characteristics and enters into the new Adamic or allegorical visions associated with humanism

Hair and the beast : The iconography of wild bodies at the end of the Middle Ages (XIIIth - XVIth centuries)

La fin du Moyen Âge est le théâtre de l'apparition et de la diffusion d'images singulières : celles d'hommes et de femmes intégralement couverts de poils. Attribut de l'homme sauvage, mais également de personnages ensauvagés et notamment d'ermites et de saints, le corps velu fait figure de véritable motif iconographique aux deux derniers siècles du Moyen Âge. Cette thèse, s'appuyant sur la méthode de l'analyse sérielle et s'inscrivant dans les problématiques de l'anthropologie historique, propose l'étude du motif à travers un corpus de 940 images. Il s'agit de comprendre à travers une collection représentative de sources (tendant à l'exhaustivité), comment le corps velu, à priori laid et bestial, est associé à la fin de la période à un ensemble de personnages tout à fait positifs, voire admirables. Une première partie, organisée autour du rapport entre texte et image, cherche à définir clairement les rapports entre l'iconographie du motif et les représentations littéraires et carnavalesques de l'homme sauvage. La question des emprunts mutuels entre la culture courtoise et la culture dite « folklorique » sous-Tend ce premier temps de l'analyse. Y sont également abordées les pratiques médiévales de la pilosité et la place occupée par le poil et la nudité dans l'art de cette période. Dans une seconde partie sont étudiés les éléments constitutifs de « l'être sauvage ». La relation entre le corps velu, le bestial et le démoniaque est abordée à travers l'iconographie d'Ésaü, de Merlin et d'Ursus, le roi mythique des Belges. La réflexion sur le rapport entre l'homme, la bête et l'espace sauvage est ensuite déplacée dans le champ des représentations de l'Orient, et dans celui de l'érotique courtoise faisant du sauvage une antithèse du chevalier. En dernier lieu, la troisième partie s'intéresse à la conception dynamique de la sauvagerie à travers le concept « d'ensauvagement ». L'analyse de la villosité comme conséquence du recours à la forêt permet de comparer l'iconographie de l'homme sauvage et celle des ermites et des pénitentes velus. L'excès de poil, davantage qu'un attribut bestial et dégradant, y apparaît alors très largement comme une manifestation du merveilleux ou du miraculeux. Parce qu'il n'altère pas le corps humain, il fait tour à tour figure de défaut d'humanité (laideur, animalité) ou de surplus héroïque (force, détachement du corps ou résistance à la souffrance). En conclusion, ce travail met en valeur le rôle de l'aristocratie dans la promotion de la figure de l'homme sauvage, qui constitue un moyen pour cette dernière d'affirmer son contrôle symbolique sur l'espace forestier. Le succès du personnage, également porté par le renouveau de l'érémitisme, entretien un rapport étroit avec celui d'autres figures comme les ermites velus, emblématiques du recours à la forêt et du renoncement au monde. Ces derniers trouvent une traduction iconographique particulière à travers les images de Marie-Madeleine, dont la diffusion dans l'espace germanique s'explique en partie par l'influence de la mystique rhénane.The end of the Middle Ages saw the apparition and diffusion of rather peculiar images: those of men and women entirely covered in hair. An attribute of the wild man, but also of individuals who took to the wild -Notably hermits and saints, the hirsute body became a veritable iconographic motif during the final two centuries of the Middle Ages. Adopting the methodology of serial analysis and drawing on the approach of historical anthropology, this thesis examines this motif through a body of 940 images. Drawing upon a representative collection of sources (verging on the exhaustive), the central research question is how the haircovered body, a priori ugly and bestial, came to be associated at the end of this period with a series of positive, at times revered, figures. Part one addresses the relation between text and image. It aims to clearly define the relationships between the iconography of the motif on the one hand, and literary and carnivalesque representations of the wild man on the other. The question of mutual borrowings between courtly culture and ‘folkloric' culture is central to this analysis. Medieval practices with regard to hairiness, and the place that hair and nudity occupied in the art of the period, will also be considered. Part two addresses those elements which constituted the ‘wild being'. The relationship between the hair-Covered body, the bestial, and the demonic are explored through the iconography of Ésaü, Merlin and the mythical Belgian king Ursus. This reflection on the interstices of man, beast and wild spaces then shifts to representations of the Orient, and to a courtly eroticism in which the savage was the antithesis of the chivalrous knight. Finally, Part three considers the constitution of wildness over time, drawing upon the concept of ‘ensauvagement'. Analyzing villosity as a consequence of recourse to the forest points to a comparison between the iconography of the wild man and that of hair-Covered hermits and penitents. An excess of hair, rather than being a bestial or debased condition, is thus transformed into a manifestation of the marvellous or miraculous. Because it does not alter the human body itself, it is by turns perceived as a lack of humanity (ugliness, animality) or as a heroic supplement (strength, detachment from the corporal, or resistance to suffering). In conclusion, this study underlines the role of the aristocracy in the promotion of the figure of the wild man, which offered a means of asserting symbolic control over forested spaces. The success of this figure, also assisted by the renewal of eremitism, is closely related to that of others, such as the hirsute hermit, similarly emblematic of an embrace of the forest and withdrawal from the world. These themes find particular iconographic expression in images of Marie-Madeleine, the diffusion of which across the Germanic lands can partly be explained by the influence of Rhinish mysticism

Strigolactones (SLs) modulate the plastochron by regulating KLUH (KLU) transcript abundance in Arabidopsis

International audienc

Potential of tropical macroalgae from French Polynesia for biotechnological applications

WOS:000489922500001International audienceExtracts from 26 marine macroalgal species (11 Phaeophyceae, 7 Chlorophyta, and 8 Rhodophyta) sampled from the lagoons of Tahiti, Moorea, and Tubuai (French Polynesia) were tested for several biological activities. The red macroalga Amansia rhodantha exhibited the strongest antioxidant activities using four complementary methodologies (total phenolic content, 2,2-diphenyl-1-picrylhydrazyl, ferric reducing antioxidant power assay, and oxygen radical absorbance capacity assay). Therefore, the major metabolites of A. rhodantha were isolated and their structures identified. Some brown algae, especially species of the family Dictyotaceae like Padina boryana and Dictyota hamifera, showed cytotoxic activities against murine melanoma cells. Caulerpa chemnitzia extract demonstrated also a strong alpha-glucosidase inhibition (83.8% at 10 mu g mL(-1)) and Asparagopsis taxiformis extract a high acetylcholinesterase inhibition (71.3% at 100 mu g mL(-1)). Lastly, several Polynesian seaweeds demonstrated quorum-sensing inhibition for Vibrio harveyi. These results suggested that some seaweeds from French Polynesia have a great biotechnological potential for future applications in aquaculture, health, or cosmetic industries

The <i>Bal des Ardents</i> (1393), Thomas of Woodstock (1397) and Richard II (1400): Three Medieval Conspiracy Rumours and the Scots’ Mine Play (1608).

Assassination vehicles in Elizabethan and Jacobean tragedies sometimes involve meta-theatrical court festival massacres: court performances embedded within full-length drama, resulting in violent death or trauma to characters in the play. During his career as a playwright (c. 1600–08), John Marston pioneered the masquerade-within as a popular sub-category of court festival massacre. Were such underhand festival appropriations wholly inspired by stage precedents? Or did they also occur in real life? Whether its deaths were accidental or resulted from a botched assassination plot, the 1393 Bal des Ardents was hugely culturally and politically influential. Its continuing cultural afterlives bear witness to the geographical, chronological and social shockwaves of a medieval event whose impact illuminates the persistent collective trauma generated by extreme modern assassinations. My researches identify the conspiracy rumours encouraged in the wake of the 1393 Paris disaster and two English conspiracies of 1397 and 1400 linked to court festivals, as key to a fresh approach to the meta-theatrical court festival massacre, and to interpretation of two plays traditionally discussed together, which refer to these English conspiracies, Shakespeare’s Richard II and the anonymous Thomas of Woodstock. My analysis supports a post-Elizabethan dating of Woodstock, and encourages the hypothesis that it could be the so-called Scots’ Mine Play of 1608, the lost Jacobean play thought by some to have ended Marston’s career as a playwright