Cancer du sein : la pathologie, pierre angulaire de la décision therapeutique [Breast cancer: pathology, the cornerstone of therapeutic decision]

Tailoring adjuvant therapy in breast cancer patients relies on prognostic and predictive factors, most of which are currently established by histopathological analysis of tumors. The quality of the assessment of the former (i.e.: tumor size, lymph node status, tumor grade, HER2 status, and lymphovascular invasion) and the latter (estrogen and progesteron receptors expression, HER2 overexpression or amplification) is an essential prerequisite for an optimal therapeutic decision. If the prognostic and predictive values of multigenes signatures are confirmed by on-going clinical studies, this approach could enter the clinical practice in the coming years and result in improved accuracy of adjuvant therapies in breast cancer patients. This approach might especially allow avoiding overtreatment in patients at low risk of recurrence.

Perception et communication du risque: du diabète à la maladie cardiovasculaire [Risk perception and communication: from diabetes to cardiovascular diseases].

Evidence-based medicine has enabled to approach disease in a more rational and scientific way. Clinical research has identified behaviours and risk factors that could cause disease often "silent" at the beginning, such as diabetes. Despite the clear impact of these evidences on public health, it seems that the individual risk perception level remains weak. To mention as well, the health professionals very often have a different views, which makes it difficult to communicate the risk with patients. In this article we describe the principles of risk perception, the diabetes related risk perception concerning cardiovascular complications, and suggest some practical strategies and tools which could improve risk communication in the everyday practice.

Les artistes visuels au Yémen, du soutien à la contestation de l'ordre politique

Cette thèse appréhende les rapports au politique des artistes visuels yéménites dans un contexte de domination, recouvrant trois États (les deux républiques qui précédent l'unification du Yémen et la république actuelle créée en 1990, jusqu'en 2015). En étudiant la domination en acte à travers une démarche ethnographique, ce travail interroge les conditions de production et d'action des artistes en soutien ou en contestation au régime, comme au cours du moment révolutionnaire de 2011. On observe ainsi le processus de politisation des mondes de l'art au Yémen contemporain, processus compris en tant qu'acquisition d'une signification politique par la pratique artistique et par les réseaux de relations entretenus par les artistes visuels. Ces requalifications de leur travail ou de leurs actions se font dans un contexte traversé par des luttes concurrentielles pour la répartition du pouvoir, aussi bien internes et propres à leurs mondes d'activité, qu'externes et en relation à l'espace politique institutionnel. La politisation des mondes de l'art apparaît dès lors moins comme un instrument d'accès à cet espace qu'une voie pour accéder à plus de visibilité, à la reconnaissance, et à un meilleur positionnement dans les rapports agonistiques qui configurent ces mondes. -- This thesis focuses on the study of Yemeni visual artists' relation to politics in a context of domination, covering three States (the two republics that precede Yemen's unification and the current republic established in 1990, until 2015). Studying domination in action througli an ethnographic approach, this work questions artists' conditions of production and of action in support to or in contestation of the regime- as in the case of the revolutionary period of 2011. It observes the politicization of art worlds in contemporary Yemen, a process understood as the acquisition of a political significance as observed in the artistic practice and in the dynamic networks that artists maintain. The requalification and reclassification of their work and their actions that results from the politicization of art worlds, takes place in a context of competitive struggles over distribution and access to sites of power. Such conflict over power occurs within their own worlds of activity as well as outside them and in relation to the domain of institutional politics. This thesis contends that the politicization of art worlds is more of a means to access visibility and recognition than a resource to participate in the political field. Through the politicization of art, artists are able to better position themselves within the agonistic relations that exist within art worlds.