Le festin de l'homme sauvage dans la 'Suite Vulgate du Merlin' et le 'Roman de Silence': l'attrait de la nourriture et la mise en scène paradoxale du personnage de Merlin

Cette étude comparative de la Suite Vulgate et du Roman de Silence, focalisée sur le guet-apens qui attire Merlin dans les mailles du filet de Grisandole / Silence, explore la façon dont l’apparition de Merlin en homme sauvage et son comportement face à la nourriture éclairent son mode d’action, son identité et ses intentions. La capture spectaculaire de Merlin et sa transformation permettent de creuser la question centrale du rapport entre Nature et Noreture et du travestissement de Grisandole / Silence.

What's in a name? Lexical knowledge drives infants' visual preferences in the absence of referential input

Seventeen-month-old infants were presented with pairs of images, in silence or with the non-directive auditory stimulus 'look!'. The images had been chosen so that one image depicted an item whose name was known to the infant, and the other image depicted an image whose name was not known to the infant. Infants looked longer at images for which they had names than at images for which they did not have names, despite the absence of any referential input. The experiment controlled for the familiarity of the objects depicted: in each trial, image pairs presented to infants had previously been judged by caregivers to be of roughly equal familiarity. From a theoretical perspective, the results indicate that objects with names are of intrinsic interest to the infant. The possible causal direction for this linkage is discussed and it is concluded that the results are consistent with Whorfian linguistic determinism, although other construals are possible. From a methodological perspective, the results have implications for the use of preferential looking as an index of early word comprehension.

The impact of novel labels on visual processing during infancy

The impact of novel labels on visual processing was investigated across two experiments with infants aged between 9 and 21 months. Infants viewed pairs of images across a series of preferential looking trials. On each trial, one image was novel, and the other image had previously been viewed by the infant. Some infants viewed images in silence; other infants viewed images accompanied by novel labels. The pattern of fixations both across and within trials revealed that infants in the labelling condition took longer to develop a novelty preference than infants in the silent condition. Our findings contrast with prior research by Robinson and Sloutsky (e.g., Robinson & Sloutsky, 2007a; Sloutsky & Robinson, 2008) who found that novel labels did not disrupt visual processing for infants aged over a year. Provided that overall task demands are sufficiently high, it appears that labels can disrupt visual processing for infants during the developmental period of establishing a lexicon. The results suggest that when infants are processing labels and objects, attentional resources are shared across modalities.

Reflections on Beckett: a centenary celebration

The essays in this collection were originally delivered as part of the Samuel Beckett lecture series at Trinity College Dublin, Samuel Beckett's alma mater. The contributors include eminent Beckett scholars such as Linda Ben-Zvi, Enoch Brater, Ruby Cohn and Stan Gontarski, theatre scholars such as Herbert Blau and Joseph Roach, practitioners such as the Irish actor, Barry McGovern, and cultural critics such as Marina Warner and Terry Eagleton. The collection sheds new light on Beckett's enigmatic theater, offering new perspectives on Beckett's use of language and silence, on his attitudes toward the body, on those who influenced him and on those he has influenced (including Suzan-Lori Parks and Femi Osofisan), and on Beckett and the art of self-collaboration. Each contributor places the playwright into a network of genealogies and legacies and his work into important historical, cultural, and aesthetic contexts. Together, the essays demonstrate Beckett's impact on theater, performance, and visual arts during the latter half of the twentieth century and serve to open up new directions for Beckett studies.

Pseudomonas aeruginosa elastase disables proteinase-activated receptor 2 in respiratory epithelial cells

Pseudomonas aeruginosa, a major lung pathogen in cystic fibrosis (CF) patients, secretes an elastolytic metalloproteinase (EPa) contributing to bacterial pathogenicity. Proteinase-activated receptor 2 (PAR2), implicated in the pulmonary innate defense, is activated by the cleavage of its extracellular N-terminal domain, unmasking a new N-terminal sequence starting with SLIGKV, which binds intramolecularly and activates PAR2. We show that EPa cleaves the N-terminal domain of PAR2 from the cell surface without triggering receptor endocytosis as trypsin does. As evaluated by measurements of cytosolic calcium as well as prostaglandin E(2) and interleukin-8 production, this cleavage does not activate PAR2, but rather disarms the receptor for subsequent activation by trypsin, but not by the synthetic receptor-activating peptide, SLIGKV-NH(2). Proteolysis by EPa of synthetic peptides representing the N-terminal cleavage/activation sequences of either human or rat PAR2 indicates that cleavages resulting from EPa activity would not produce receptor-activating tethered ligands, but would disarm PAR2 in regard to any further activating proteolysis by activating proteinases. Our data indicate that a pathogen-derived proteinase like EPa can potentially silence the function of PAR2 in the respiratory tract, thereby altering the host innate defense mechanisms and respiratory functions, and thus contributing to pathogenesis in the setting of a disease like CF.

Pausing patterns: differences between L2 learners and native speakers

This paper reports on a comparative study of pauses made by L2 learners and native speakers of English while narrating picture stories. The comparison is based on the number of pauses and total amount of silence in themiddle and at the end of clauses in the performance of 40 native speakers and 40 L2 learners of English. The results of the quantitative analyses suggest that, although the L2 learners generally pausemore repeatedly and have longer periods of silence than the native speakers, the distinctive feature of their pausing pattern is that they pause frequently in the middle of clauses rather than at the end. The qualitative analysis of the data suggests that some of the L2 learners’mid-clause pauses are associated with processes such as replacement, reformulation, and online planning. Formulaic sequences, however, contain very few pauses and therefore appear to facilitate the learners’ fluency.

Backtracks: a devised performance

Backtracks aimed to investigate critical relationships between audio-visual technologies and live performance, emphasising technologies producing sound, contrasted with non-amplified bodily sound. Drawing on methodologies for studying avant garde theatre, live performance and the performing body, it was informed by work in critical and cultural theory by, for example, Steven Connor and Jonathan Rée, on the body's experience and interpretation of sound. The performance explored how shifting national boundaries, mobile workforces, complex family relationships, cultural pluralities and possibilities for bodily transformation have compelled a re-evaluation of what it means to feel 'at home' in modernity. Using montages of live and mediated images, disrupted narratives and sound, it evoked destablised identities which characterise contemporary lived experience, and enacted the displacement of certainties provided by family and nation, community and locality, body and selfhood. Homer's Odyssey framed the performance: elements could be traced in the mise-en-scène; in the physical presence of Athene, the narrator and Penelope weaving mementoes from the past into her loom; and in voice-overs from Homer's work. The performance drew on personal experiences and improvisations, structured around notions of journey. It presented incomplete narratives, memories, repressed anxieties and dreams through different combinations of sounds, music, mediated images, movement, voice and bodily sound. The theme of travel was intensified by performers carrying suitcases and umbrellas, by soundtracks incorporating travel effects, and by the distorted video images of forms of transport playing across 'screens' which proliferated across the space (sails, umbrellas, the loom, actors' bodies). The performance experimented with giving sound and silence performative dimensions, including presenting sound in visual and imagistic ways, for example by using signs from deaf sign language. Through-composed soundtracks of live and recorded song, music, voice-over, and noise exploited the viscerality of sound and disrupted cognitive interpretation by phenomenological, somatic experience, thereby displacing the impulse for closure/destination/home.