Le présent suffit-il à faire l'histoire?

Our study discusses the ability of the présent historique, a tense « plus abstrait et donc plus difficile à comprendre » [more abstract and therefore more difficult to understand] (Béguin 1998, p. 36), to replace the passé simple (PS) in historical narration. It is based on a diachronic corpus of extracts taken from history books on the French Revolution, ranging from the beginning of the 19th century to the end of the 20th century. Firstly, we justify the primacy of the passé simple for historical narrative, while considering the wider areas of tense and aspect. After a description of the corpus and a summary of the hypotheses under study, we present our quantitative results with the aim of assessing the use of the présent historique in the corpus in comparison with other tenses. Finally, we study our corpus from a qualitative perspective and we try to conclude upon our initial hypotheses. © Revue Romane.

All-fiber passively mode-locked femtosecond laser using a 45º-tilted fiber grating polarization element

We report on the demonstration of an all-fiber femtosecond erbium doped fiber laser passively mode-locked using a 45º tilted fiber grating as an in-fiber polarizer in the laser cavity. The laser generates 600 fs pulses with output pulse energies ~1 nJ. Since the 45° tilted grating has a broad polarization response, the laser output has shown a tunabilty in wavelength from 1548 nm to 1562 nm by simply adjusting the polarization controllers in the cavity.

Pitch shifts on mistuned harmonics in the presence and absence of corresponding in-tune components

Mistuning a harmonic produces an exaggerated change in its pitch, a component-pitch shift. The origin of these pitch shifts was explored by manipulations intended to alter the grouping status of a mistuned target component in a periodic complex tone. In experiment 1, which used diotic presentation, reinstating the corresponding harmonic (in-tune counterpart) caused the pitch shifts on the mistuned target largely to disappear for components 3 and 4, although they remained for component 2. A computational model of component-pitch shifts, based on harmonic cancellation, was unable to explain the near-complete loss of pitch shifts when the counterpart was present; only small changes occurred. In experiment 2, the complex tone and mistuned component 4 were presented in the left ear and the in-tune counterpart was presented in the right. The in-tune counterpart again reduced component-pitch shifts, but they were restored when a captor complex into which the counterpart fitted as harmonic 3 was added in the right ear; presumably by providing an alternative grouping possibility for the counterpart. It is proposed that component-pitch shifts occur only if the mistuned component is selected to contribute to the complex-tone percept; these shifts are eliminated if it is displaced by a better candidate.