Robert Morin, « Les Pensées philosophiques de Diderot devant leurs principaux contradicteurs au XVIIIe siècle » (Paris 1975), 168 p.

info:eu-repo/semantics/published

Bach, Emmon, Introduction aux grammaires transformationnelles, traduction française de Robert Sctrick (ou Strick ?), Paris, Armand Colin, 1973, 218 pages

info:eu-repo/semantics/published

Spatial variability of air pollution in the vicinity of a permanent monitoring station in central Paris

The strong spatial and temporal variability of traffic-related air pollution detected at roadside locations in a number of European cities has raised the question of how representative the site and time period of air quality measurements actually can be. To address this question, a 7-month sampling campaign was carried out on a major road axis (Avenue Leclerc) leading to a very busy intersection (Place Basch) in central Paris, covering the surroundings of a permanent air quality monitoring station. This station has recorded the highest CO and NOx concentrations during recent years in the region of Paris. Diffusive BTX samplers as well as a mobile monitoring unit equipped with real-time CO, NOx and O3 analysers and meteorological instruments were used to reveal the small-scale pollution gradients and their temporal trends near the permanent monitoring station. The diffusive measurements provided 7-day averages of benzene, toluene, xylene and other hydrocarbons at different heights above the ground and distances from the kerb covering summer and winter periods. Relevant traffic and meteorological data were also obtained on an hourly basis. Furthermore, three semiempirical dispersion models (STREET-SRI, OSPM and AEOLIUS) were tested for an asymmetric canyon location in Av. Leclerc. The analysis of this comprehensive data set has helped to assess the representativeness of air quality monitoring information.

Women artists of the international avant-garde: the case of "Abstraction-Création" (1931-1936)

Women’s contribution to abstract art in the interwar period is a subject that, to date, has received very little attention. In this article we deal with the untold story of the participation of women artists in Abstraction-Création, the foremost international group dedicated to abstract art in the 1930s. Founded in Paris in 1931, the group took on the work of two previous collectives to become a platform for the dissemination and promotion of abstract art and consisted of around a hundred members. Twelve of these were women, whose writings and works were published in the group’s annual magazine, abstraction creátion art non figuratif (1932-1936), and who participated in a number of the group’s exhibitions. Compared to what had occurred in previous groups, the participation of women, although reduced in number, was comparable to that of the male artists and being members of the group had a generally positive impact on the women’s careers. However, all this came at the expense of relinquishing any gender specificity in their work and the public presentation of it, and demonstrates that the normalization of women’s contributions to the avant-garde could only be brought about alongside a questioning of the more dogmatic views of modernity.