61 research outputs found
The genre of the elegy in Europe in the XXth century
On croyait lâĂ©lĂ©gie disparue aprĂšs lâapogĂ©e quâavait connue le genre pendant le Romantisme et aprĂšs les attaques dont il avait Ă©tĂ© la cible, les poĂštes « modernes » ayant choisi de sâaffirmer contre les « excĂšs » du lyrisme romantique dont lâĂ©lĂ©gie Ă©tait devenue la caricature. Le lyrisme et la poĂ©sie de la premiĂšre personne sont eux-mĂȘmes restĂ©s au centre des attaques et des moqueries durant tout le XXe siĂšcle. Câest pourtant Ă une renaissance du genre que lâon assiste, timide et progressive dans la premiĂšre moitiĂ© du XXe siĂšcle, puis Ă une vĂ©ritable recrudescence dans la seconde moitiĂ© du siĂšcle. Les noms des plus grands poĂštes sâassocient aux titres de recueils dâĂ©lĂ©gies : outre les trĂšs cĂ©lĂšbres ĂlĂ©gies de Duino de Rilke (1923), ce sont par exemple les ĂlĂ©gies de Juan RamĂłn JimĂ©nez (1908), les ĂlĂ©gies et satires de KaryotĂĄkis (1927), les Hollywoodelegien (1942) et les Buckower Elegien (1953) de Brecht, les ĂlĂ©gies de Pierre Emmanuel (1940), de Jean Grosjean (1967), les ĂlĂ©gies dâOxĂłpetra dâElĂœtis (1991), ou encore les trois grands recueils posthumes de Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). LâĂ©lĂ©gie, nĂ©e au VIIe siĂšcle avant J.-C., est bien vivante au XXe siĂšcle. Face Ă une telle longĂ©vitĂ©, trois questions se posent, qui structurent notre travail : sous quelles formes et selon quelle(s) dĂ©finition(s) lâĂ©lĂ©gie existe-t-elle au XXe siĂšcle ? Comment joue-t-elle des rapports entre modernitĂ©s et traditions ? Comment se repositionne-t-elle face aux attaques virulentes des dĂ©tracteurs du lyrisme et par quoi se caractĂ©risent les nouveaux lyrismes quâelle met en jeu au XXe siĂšcle ?Elegy is generally believed to have disappeared from European poetry in the XXth century, after a period of apogee during the Romanticism and after the hard criticism that the âmodernâ poets, who rejected the âexcessiveâ romantic lyricism, leveled at the elegiac poets. Elegy was considered by the former as the emblem of a romantic out-of-date lyricism. Lyricism and the poetry expressed in the first person remained also the target of the attacks and mockery from a part of the XXth century poets and literary critic. Yet a real revival of the genre happens since the very beginning of the XXth century, hesitant and gradual during the first half of the century, then more abundant and obvious in the second part of the period. The names of major European poets of this century are linked with the genre of elegy, and the titles of their works show it: Juan Ramon JimĂ©nezâs ElegĂas (1908), Rilkeâs Duineser Elegien (1923), KaryotĂĄkisâ Elegies and satires (1927), Brechtâs Hollywoodelegien (1942) and Buckower Elegien (1953), Pierre Emmanuelâs and Jean Grosjeanâs ĂlĂ©gies (respectively 1940 and 1967), ElĂœtisâs Oxopetra Elegies (1991), or the three posthumous works of Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). Born in the VIIth century B.C., the genre of elegy is well alive in the XXth. Such a longevity brings us to three questions which organize our research: which are the shapes of the elegy of the XXth century and on which definition(s) of the genre is it based? Which are the connections and balance between traditions and modernity? How does the genre of elegy outlive the attacks against lyricism and what are the characteristics of the new lyricisms which it gives birth to
« Lorsque nous parlerons avec la voix du rossignolâŠÂ » : dĂ©sir dâaltĂ©ritĂ©, crainte de lâaltĂ©ration dans la poĂ©sie de Philippe Jaccottet
1954mai Lâattachement Ă soi augmente lâopacitĂ© de la vie. Un moment de vrai oubli, et tous les Ă©crans les uns derriĂšre les autres deviennent transparents, de sorte quâon voit la clartĂ© jusquâau fond, aussi loin que la vue porte ; et du mĂȘme coup plus rien ne pĂšse. Ainsi lâĂąme est vraiment changĂ©e en oiseau.Philippe Jaccottet Cette brĂšve et dense note qui ouvre la Semaison et qui est contemporaine des poĂšmes de Lâignorant, composĂ©s entre 1952 et 1956, annonce trĂšs tĂŽt dans lâĆuvre de Philippe ..
Gerónimo Paturot busca de una posició social : novela escrita en francés
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Enhancement of memory in cannabinoid CB1 receptor knock-out mice.
We have used cannabinoid CB knock-out mice in a two-trial object recognition test to assess the role of cannabinoid CB receptors in memory. Cannabinoid CB1 knock-out mice are able to retain memory for at least 48 h after the first trial whereas the wild-type controls lose their capacity to retain memory after 24 h. These results suggest that endogenous cannabinoid CB receptors play a crucial role in the process of memory storage and retrieval.Comparative StudyJournal Articleinfo:eu-repo/semantics/publishe
Neuropharmacological evaluation of the putative anxiolytic effects of Passiflora edulis Sims, its sub-fractions and flavonoid constituents
Passiflora edulis Sims together with several other plants of the genus Passiflora have been reported to possess anxiolytic properties. It has been suggested recently that flavonoids may be partly responsible for the neuropharmacological activity of these plants but there are still few data reporting the relation between the constituents of these plants and their activity. This work evaluated the anxiolytic/sedative activity of an aqueous extract of Passiflora edulis Sims and bioguided its fractionation using the elevated plus-maze model of anxiety and other complementary pharmacological tests. The aqueous extract presented an anxiolytic-like activity without any significant effect upon the motor activity whilst the total flavonoid fraction (TFF) presented an anxiolytic-like activity but compromised motor activity. Through fractionation of TFF it was possible to isolate and characterize luteolin-7-O-[2-rhamnosylglucoside] which showed an anxiolytic-like activity without compromising motor activity. Copyright © 2006 John Wiley & Sons, Ltd
Altered synaptic plasticity and memory formation in nitric oxide synthase inhibitor-treated rats.
Enhanced acetylcholine release in the hippocampus of cannabinoid CB(1) receptor-deficient mice
We examined whether acetylcholine release in the hippocampus and striatum and noradrenaline release in the hippocampus is altered in CB(1) receptor-deficient mice. The electrically evoked tritium overflow from hippocampal slices preincubated with [(3)H]-choline was increased by about 100% in CB(1)(â/â) compared to CB(1)(+/+) mice whereas the electrically evoked tritium overflow from striatal slices preincubated with [(3)H]-choline and from hippocampal slices preincubated with [(3)H]-noradrenaline did not differ. The cannabinoid receptor agonist, WIN 55,212-2, inhibited, and the CB(1) receptor antagonist, SR 141716, facilitated, the evoked tritium overflow from hippocampal slices (preincubated with [(3)H]-choline) from CB(1)(+/+) as opposed to CB(1)(â/â) mice. Both drugs did not affect the evoked tritium overflow from striatal slices (preincubated with [(3)H]-choline) and from hippocampal slices (preincubated with [(3)H]-noradrenaline) from CB(1)(+/+) and CB(1)(â/â) mice. The selective increase in acetylcholine release in CB(1)(â/â) mice may indicate that the presynaptic CB(1) receptors on the cholinergic neurones of the mouse hippocampus are tonically activated and/or constitutively active in vivo
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