Mémoires de l'Académie des sciences.

For detailed bibliographical data cf. R.C. Lasteyrie du Saillant. Bibliographie générale des travaux historique et archéologique, v. 3, p. 475 ff.

Site n°5. The Pertuis Breton (Bay of Biscay) France

1.This report presents the results of a field study conducted in the ECASA test site nOS in the Pertuis Breton, France. The site is located on the Atlantic West coasts. It is open to the bay of Biscay, but is slightly protected against westerly winds. The bay has been exploited by intertidal mussels culture for centuries. 2. Within the bay, mussels (Mytilus edulis) are cultivated either by the traditional pole technique, around the bay or on longlines in the centre of the bay. The area occupied by these longline s represents 250 ha, and the resulting annual production is 1 000 tonnes of mussels. The average depth at mid tide is of 13.8 m. The sediment is sandy, with a small fraction of mud. 3. The site is subject to several regular monitoring through the local implementation of national networks aiming at protecting the environment and marine resources, on pollutants (RNO), microbiological quality of the waters (REMI), phytoplanktonic toxic species (REPHY) and growth and mortality of molluscs (REMORA). Benthic macrofauna was studied in 1976. 4. Five sampling sations were chosen along a line, starting under the longlines, and at distances of 50, 100, 200, and 400 metres from the area cultivated. A reference station was chosen in a different direction at 2300 metres of the cultivated area. Sampling methods are described in the text. _Sediments were sampled for different analyses: grain size, content in organic matter, total organic carbon and nitrogen, and phytic pigments (chlorophyll a and phaeopigments). Redox were measured in cores. The macrofauna living into the sediment was also sampled. The water column was sampled for physical (temperature, transparency) and chemical parametres, including oxygen content, salinity, organic matter, dissolved nitrogen forms, phosphates and silicates. Results from benthic macrofauna surveys indicate that there were no significant differences between the different stations and the reference station, all being classified as slightly disturbed. The bay is submitted to freshwater runoffs from two adjacent rivers. 7. The sediment is slightly modified by the culture of bivalves. Total organic carbon, total nitrogen, Eh values and pheopigments were significantly higher under the trestles than in any other stations. Other stations often did not differ from the reference station. 8. The effects of shellfish culture on the water column were. However, it was observed a small decrease of the food available to the molluscs near the rearing 9. The DEB model was able to describe and predict adequately the growth of oysters, both in the Baie des Veys and in the Loch Creran. The parametres for its use in other environment are given, but a tuning of one parametre should be performed with the help of authors. 10. Among the indicators and models for use in are as of intertidal bivalve culture, it is recommended to use the sediment quality index, TOC (Total Organic Carbon), redox and pheopigments, in surficial sediment, AMBI for the macrofauna, chlorophyll a contents and nitrogen forms in the water column, and models describing the carrying capacity, filtration rate of molluscs, and a DEB model to predict the growth of molluscs.

L'amélioration de la qualité des huîtres à échelle professionnelle: intégration de l'eau salée souterraine traitée comme milieu d'élevage

Les travaux menés au LCPL depuis plusieurs année sur l'engraissement contrôlé de l'huître creuse Crassostrea gigas ont permis, à l'échelle expérimentale de définir les différents paramètres d'élevage: Température: 14°C ration alimentaire: 2.109 cell/ind/j de la diatomée Skeletonema costatum indice AFNOR initial sans incidence débit d'eau: 3 lIind/h eau de mer ou eau salée souterraine Dans ces conditions et après 30 jours d'engraissement, le poids total des huîtres a progressé de 10%, le poids sec de 230%, l'indice AFNOR de 80% et la concentration en glycogène de 450%. Le travail réalisé ici a pour but de transposer de l'échelle expérimentale à une échelle significative pour les professionnels, la technique d'engraissement contrôlé en utilisant l'eau salée souterraine pour la production de phytoplancton d'une part et comme vecteur de régulation thermique d'autre part. En effet, un des intérêts de l'utilisation de l'eau salée souterraine réside dans sa température constante de 14°C permettant un engraissement des huîtres en toute saison sans risque de déclenchement de la gamétogenèse. Afin de vérifier cette possibilité, l'étude a été réalisée au cours de deux saisons: printemps et automne. Pour l'eassai automnal, trois bassins de 8 m2 ont été utilisés, alimentés respectivement en eau de mer naturelle, eau de mer régulé en température par échange thermique avec de l'eau salée souterraine et eau salée souterraine traitée. Dans chaque bassin, 330 kg d'huîtres ont été disposées en 7 ruches de 4 clayettes. Pour l'essai printanier, seuls deux bassins ont été utilisés, alimentés en eau de mer thermorégulée à deux débits différents: 0.61/h et 3 lIh. L'étude a été conduite pour chaque saison sur une période de 35 jours. En automne 2000, l'indice de qualité de chair de 8.2 initialement, a atteint 12.5 en eau salée souterraine, 13.8 en eau de mer thermorégulée et 14.2 en eau de mer naturelle. Le poids de chair sèche passe de 0.9 g initialement à respectivement 2.32g, 2.39g et 2.37g. Les dosages de Pb, Cd, Hg, Mn et As ne montent pas d'évolution entre le début et la fin de l'élevage, par contre le Fe augmente sensiblement dans les huîtres sur eau salée souterraine traitée. En fin d'élevage, une période de stockage de 4 semaines des huîtres sans nourriture, n'a pas montré de perte de qualité. Au printemps 2001, un deuxième essai sera conduit pour vérifier les résultats obtenus à l'automne 2000, confirmer le choix du milieu d'élevage et proposer les éléments permettant d'approcher les coûts de production.

Traité en l'honneur du duc de Guyenne, adressé par Martin Girard à Jean de Beauveau, évêque d'Angers.

Oratoire.

Arrêt du grand conseil portant nouveau règlement pour les banquiers expéditionnaires en cour de Rome (En faveur de Jean-Emeric-Martin de la Bastide, pour la jouissance de la prévôté d'Arnac.)

[Acte. 1726-03-13. Paris]

Sein, Identität und Kultur: Versuch einer strukturhermeneutischen Anthropologie im Anschluss an Martin Heidegger und Jean-Paul Sartre

Mit dem vorliegenden Buch verfolgt der Autor vor allem drei Ziele: Das erste besteht darin, die anthropologischen Überlegungen, die sich in konzentrierter Form vor allem in den frühen Hauptwerken von Martin Heidegger und Jean-Paul Sartre finden, herauszulösen, zu systematisieren und zu einem einheitlichen anthropologischen Gedankengefüge zu vernetzen. In einem zweiten Schritt soll dieses Gefüge durch eigene Überlegungen ergänzt und in Auseinandersetzung mit Helmuth Plessner und Karl Jaspers weiterentwickelt werden. Drittens schließlich sollen vor diesem Hintergrund Grundlagen einer »strukturhermeneutischen Anthropologie« ausgearbeitet werden, die ein hermeneutisches Instrumentarium für die Aufklärung der unbedingten persönlichen Geltung kultureller Bindung bereitstellen können und von eigenen identitätstheoretischen Grundüberlegungen getragen werden. Da im fokussierten Zusammenhang kultureller Bindung und interkultureller Auseinandersetzung die Fragen nach dem menschlichen Selbstverhältnis und den Möglichkeiten sowie Bedingungen des Fremdverstehens eine wichtige Rolle spielen, sollen dabei nicht nur die hermeneutischen Aspekte der erörterten anthropologischen Positionen in den Blick genommen werden, sondern auch die damit unmittelbar verknüpften Fragen der Sinn- und Identitätsbildung. In kulturphilosophischer Hinsicht soll ein zentrales Ergebnis der Arbeit sein, anthropologische Eckpunkte menschlichen Entwerfens und Mechanismen der kulturellen Sinn- und Identitätsstiftung herauszuarbeiten, um der Analyse kultureller Bindung sowohl ein anthropologisches als auch ein hermeneutisches Fundament zu geben.

Roger Martin du Gard: Jean Barois ... [Rezension]

R-t.

Jean Blaise Martin als Sénéchal, Rollenbild, Profil, in: François Adrien Boieldieu: Jean de Paris, Opera Comique

Signatur des Originals: S 36/G00095

Jean Blaise Martin, Brustbild

Signatur des Originals: S 36/G01563

Jean Blaise Martin, Brustbild

Signatur des Originals: S 36/G01564

Jean-Martin Charcot - Neurologist by Avocation, Nephrologist by Yearning

In an age of medical advances and specialization, Jean-Martin Charcot (1825-1893) helped found the discipline of neurology and in 1882 was appointed the first professor of Diseases of the Nervous System in France. As an investigator with broad interests and vast knowledge Charcot contributed to several other disciplines. An early mentor and dominant figure in Charcot's formative years was Pierre Rayer (1793-1867), famous for his seminal contributions to the study of the kidney, who gifted Charcot with his passion for clinical pathological correlations and likely a yearning for the study of kidney diseases. Famous for the clarity and incisiveness of his formal teaching presentations, Charcot lectured on the kidney at the Faculty of Medicine in Paris in 1877. Translated into English and published as a book titled Lectures on Bright's Disease, they became widely accessible and quoted in the literature through the present. In addition, at a time that he was already concentrating on the study of neurological disorders, Charcot maintained his life-long interest in the kidney and published original studies on the pathological changes of the kidney in gout and experimental lead poisoning, as well as supporting a study of hysterical ischuria by his students.

Gressoney : Ivrea, Pont St-Martin, Issime, Gressoney St-Jean, La Trinité, Monte Rosa.

"Estratto dalla Guida illustrata della valle d'Aosta."

At the Limits of Presentation : Coming-into-Presence and its Aesthetic Relevance in Jean-Luc Nancy's Philosophy

This study investigates the significance of art in Jean-Luc Nancy s philosophy. I argue that the notion of art contributes to some of Nancy s central ontological ideas. Therefore, I consider art s importance in its own right whether art does have ontological significance, and if so, how one should describe this with respect to the theme of presentation. According to my central argument, with his thinking on art Nancy attempts to give one viewpoint to what is called the metaphysics of presence and to its deconstruction. On which grounds, as I propose, may one say that art is not reducible to philosophy? The thesis is divided into two main parts. The first part, Presentation as a Philosophical Theme, is a historical genesis of the central concepts associated with the birth of presentation in Nancy s philosophy. I examine this from the viewpoint of the differentiation between the ontological notions of presentation and representation by concentrating on the influence of Martin Heidegger and Jacques Derrida, as well as of Hegel and Kant. I give an overview of the way in which being or sense for Nancy is to be described as a coming-into-presence or presentation . Therefore, being takes place in its singular plurality. I argue that Nancy redevelops Heidegger s account of being in two principal ways: first, in rethinking the ontico-ontological difference, and secondly, by striving to radicalize the Heideggerian concept of Mitsein, being-with . I equally wish to show the importance of Derrida s notion of différance and its inherence in Nancy s questioning of being that rests on the unfoundedness of existence. The second part, From Ontology to Art, draws on the importance of art and the aesthetic. If, in Nancy, the question of art touches upon its own limit as the limit of nothingness, how is art able to open its own strangeness and our exposure to this strangeness? My aim is to investigate how Nancy s thinking on art finds its place within the conceptual realm of its inherent difference and interval. My central concern is the thought of originary ungroundedness and the plurality of art and of the arts. As for the question of the difference between art and philosophy, I wish to show that what differentiates art from thought is the fact that art exposes what is obvious but not apparent, if apparent is understood in the sense of givenness. As for art s ability to deconstruct Nancy s ontological notions, I suggest that in question in art is its original heterogeneity and diversity. Art is a matter of differing art occurs singularly, as a local difference. With this in mind, I point out that in reflecting on art in terms of spacing and interval, as a thinker of difference Nancy comes closer to Derrida and his idea of différance than to the structure of Heidegger s ontological difference.