Oeuvres de Messire Jacques-Benigne Bossuet, Evêque de Meaux ... : tome second.

Explication de la Prophétie d'Isaïe sur l'enfantement de la Sainte Vierge -- Explication littérale du Psaume 21 sur la Passion ... -- Traduction du Pseaume 21 selon l'Hébreu & les Septante -- l'Apocalypse ... -- Avertissement aux protestants sur leur prétendu accomplissement des prophéties -- Instructions sur la version du Nouveau Testament imprimé à Trévoux ... [et al.]

Endosome-to-cytosol transport of viral nucleocapsids

During viral infection, fusion of the viral envelope with endosomal membranes and nucleocapsid release were thought to be concomitant events. We show here that for the vesicular stomatitis virus they occur sequentially, at two successive steps of the endocytic pathway. Fusion already occurs in transport intermediates between early and late endosomes, presumably releasing the nucleocapsid within the lumen of intra- endosomal vesicles, where it remains hidden. Transport to late endosomes is then required for the nucleocapsid to be delivered to the cytoplasm. This last step, which initiates infection, depends on the late endosomal lipid lysobisphosphatidic acid ( LBPA) and its putative effector Alix/ AIP1, and is regulated by phosphatidylinositol- 3-phosphate ( PtdIns( 3) P) signalling via the PtdIns( 3) P- binding protein Snx16. We conclude that the nucleocapsid is exported into the cytoplasm after the back- fusion of internal vesicles with the limiting membrane of late endosomes, and that this process is controlled by the phospholipids LBPA and PtdIns( 3) P and their effectors.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Institutional resistances before school mediation. An inquiry in the conflict settings

This paper deals with the conceptions of the different school actors about the meaning and the implications of mediation in their schools, drawing on data from a qualitative approach carried out as part of a wider project to map mediation perspectives and practices in Catalonia. The authors analyze the scope of the situations regarded as suitable or unsuitable for the introduction of restorative practices, as well as the resistance to change in the practice of conflict resolutions and in the democratization of school culture.

Incisión fluvial del río Darro durante el periodo 1890-2010 en el sector urbano de Granada (Alambra-Valparaíso, España) determinada a partir de fotografías históricas

En este trabajo se calcula la tasa media de incisión fluvial del río Darro (Granada, España) durante el periodo 1890-2010 en su tramo urbano (sector Alhambra-Valparaíso). Para ello se han utilizado fotografías históricas en las que aparece dicho río, a partir de las cuales se ha podido determinar la posición del cauce en el momento en el que se realizaron las fotografías. La comparación con los escenarios actuales de tales imágenes ha permitido determinar la diferencia de altura del cauce a través de medidas de cotas absolutas realizadas mediante teodolito. Esta metodología ha permitido estimar de modo cuantitativo un índice de encajamiento vertical medio del río de 1,05 cm/año para el periodo histórico considerado.

The Collusion of Feminist and Postmodernist Impulses in E.L. Doctorow’s "Ragtime"

Many critics of Doctorow have classified him as a postmodernist writer, acknowledging that a wide number of thematic and stylistic features of his early fiction emanate from the postmodern context in which he took his first steps as a writer. Yet, these novels have an eminently social and ethical scope that may be best perceived in their intellectual engagement and support of feminist concerns. This is certainly the case of Doctorow’s fourth and most successful novel, Ragtime. The purpose of this paper will be two-fold. I will explore Ragtime’s indebtedness to postmodern aesthetics and themes, but also its feminist elements. Thus, on the one hand, I will focus on issues of uncertainty, indeterminacy of meaning, plurality and decentering of subjectivity; on the other hand, I will examine the novel’s attitude towards gender oppression, violence and objectification, its denunciation of hegemonic gender configurations and its voicing of certain feminist demands. This analysis will lead to an examination of the problematic collusion of the mostly white, male, patriarchal aesthetics of postmodernism and feminist politics in the novel. I will attempt to establish how these two traditionally conflicting modes coexist and interact in Ragtime.

Diseño e implementación de un sistema de información para la Federación Colombiana de Tiro

Tesis (Ingeniero(a))de Diseño y Automatización Electrónica).--Universidad de La Salle. Facultad de Ingeniería. Facultad de Ingeniería de Diseño y Automatización Electrónica

Rare earth elements and neodymium isotopes in world river sediments revisited

Over the past decades, rare earth elements (REE) and their radioactive isotopes have received tremendous attention in sedimentary geochemistry, as tracers for the geological history of the continental crust and provenance studies. In this study, we report on elemental concentrations and neodymium (Nd) isotopic compositions for a large number of sediments collected near the mouth of rivers worldwide, including some of the world’s major rivers. Sediments were leached for removal of non-detrital components, and both clay and silt fractions were retained for separate geochemical analyses. Our aim was to re-examine, at the scale of a large systematic survey, whether or not REE and Nd isotopes could be fractionated during Earth surface processes. Our results confirmed earlier assumptions that river sediments do not generally exhibit any significant grain-size dependent Nd isotopic variability. Most sediments from rivers draining old cratonic areas, sedimentary systems and volcanic provinces displayed similar Nd isotopic signatures in both clay and silt fractions, with ΔεNd (clay-silt) < |1.| A subtle decoupling of Nd isotopes between clays and silts was identified however in a few major river systems (e.g. Nile, Mississippi, Fraser), with clays being systematically shifted towards more radiogenic values. This observation suggests that preferential weathering of volcanic and/or sedimentary rocks relative to more resistant lithologies may occur in river basins, possibly leading locally to Nd isotopic decoupling between different size fractions. Except for volcanogenic sediments, silt fractions generally displayed homogeneous REE concentrations, exhibiting relatively flat shale-normalized patterns. However, clay fractions were almost systematically characterized by a progressive enrichment from the heavy to the light REE and a positive europium (Eu) anomaly. In agreement with results from previous soil investigations, the observed REE fractionation between clays and silts is probably best explained by preferential alteration of feldspars and/or accessory mineral phases. Importantly, this finding clearly indicates that silicate weathering can lead to decoupling of REE between different grain-size fractions, with implications for sediment provenance studies. Finally, we propose a set of values for a World River Average Clay (WRAC) and Average Silt (WRAS), which provide new estimates for the average composition of the weathered and eroded upper continental crust, respectively, and could be used for future comparison purposes.

Microfluidic Encapsulation of Pickering Oil Microdroplets into Alginate Microgels for Lipophilic Compound Delivery

Alginate microgels are widely used as delivery systems in food, cosmetics, and pharmaceutical industries for encapsulation and sustained release of hydrophilic compounds and cells. However, the encapsulation of lipophilic molecules inside these microgels remains a great challenge because of the complex oil-core matrix required. The present study describes an original two-step approach allowing the easy encapsulation of several oil microdroplets within alginate microgels. In the first step, stable oil microdroplets were formed by preparing an oil-in-water (O/W) Pickering emulsion. To stabilize this emulsion, we used two solid particles, namely the cotton cellulose nanocrystals (CNC) and calcium carbonate (CaCO3). It was observed that the surface of the oil microdroplets formed was totally covered by a CNC layer, whereas CaCO3 particles were adsorbed onto the cellulose layer. This solid CNC shell efficiently stabilized the oil microdroplets, preventing them from undesired coalescence. In the second step, oil microdroplets resulting from the Pickering emulsion were encapsulated within alginate microgels using microfluidics. Precisely, the outermost layer of oil microdroplets composed of CaCO3 particles was used to initiate alginate gelation inside the microfluidic device, following the internal gelation mode. The released Ca2+ ions induced the gel formation through physical cross-linking with alginate molecules. This innovative and easy to carry out two-step approach was successfully developed to fabricate monodisperse alginate microgels of 85 pm in diameter containing around 12 oil microdroplets of 15 mu m in diameter. These new oil-core alginate microgels represent an attractive system for encapsulation of lipophilic compounds such as vitamins, aroma compounds or anticancer drugs that could be applied in various domains including food, cosmetics, and medical applications.

Rôle de la qualité des tapis de cellules endométriales en co-culture autologue sur le développement embryonnaire

Introduction : La fécondation in vitro est de mieux en mieux connue et en amélioration constante, cependant les taux d’implantation et de grossesse sont encore bas (environ 35% par fécondation in vitro). Un des enjeux de l’amélioration de la fécondation in vitro est le développement embryonnaire et l’implantation. Pour cela, la co-culture des embryons sur un tapis de cellules endométriales maternelles autologues peut être utilisée pour améliorer le développement embryonnaire (taux d’embryon se développant jusqu’à J5 : blastocyste) et l’implantation. L’objectif de l’étude est d’étudier le lien entre la qualité du tapis cellulaire et le développement embryonnaire. Matériel et méthodes : Cette étude est une sous analyse de l’essai clinique randomisé en double aveugle OvoGen, comparant le taux de blastulation et de grossesse dans deux groupes randomisés : le groupe étude, dans lequel les embryons se développent sur un tapis cellulaire endométrial maternel et le groupe contrôle, dans lequel les embryons sont cultivés dans du milieu conventionnel. Nous avons analysé la qualité des tapis cellulaire du groupe étude (confluence des cellules, taux de cellules épithéliales et vitalité des cellules stromales) par rapport au développement embryonnaire et au taux de grossesse. Résultats : 50 tapis de cellules endométriales maternelles et 291 embryons sur les puits ont été analysés de 2012 à 2015 à la clinique ovo (Montréal, Québec). La qualité des embryons n’était pas changée par la qualité des tapis (p=0,65 pour la confluence, p=0,25 pour le taux de glande et p=0,92 pour la viabilité des cellules). En revanche, le taux de grossesse augmentait quand la confluence diminuait (p=0,022) et lorsque la viabilité des cellules stromales augmentait (p=0,001). De plus, la qualité des tapis était dépendante de la date de la biopsie : la biopsie faite à J7 après l’ovulation permettait une meilleure qualité de puits (confluence augmentée, p=0,045, taux de glande augmenté p=0,004 et viabilité stromales augmentée p=0,001) que la biopsie faite à J5 post ovulation. Discussion : Aucune des nombreuses études sur la co-culture ne porte sur la qualité des tapis cellulaire. Il est intéressant de noter que le taux de grossesse augmente avec la diminution de la confluence et l’augmentation de la viabilité des cellules stromales dans les puits contenant les embryons transférés. Comme il a déjà été démontré, (1)le jour de la biopsie endométriale influe sur la qualité du tapis cellulaire en coculture et pour que celui-ci soit de bonne qualité, il faut que l’endomètre soit réceptif (après J19 du cycle). Conclusion : Nous avons montré que la qualité des tapis cellulaires dépendait du jour de la biopsie d’endomètre et que cette qualité pouvait influencer le bénéfice de la co-culture. Il serait intéressant d’étudier la réceptivité de l’endomètre au moment de la biopsie avant utilisation des cellules en co-culture pour optimiser la qualité du tapis cellulaire.

Rôle de la qualité des tapis de cellules endométriales en co-culture autologue sur le développement embryonnaire

Introduction : La fécondation in vitro est de mieux en mieux connue et en amélioration constante, cependant les taux d’implantation et de grossesse sont encore bas (environ 35% par fécondation in vitro). Un des enjeux de l’amélioration de la fécondation in vitro est le développement embryonnaire et l’implantation. Pour cela, la co-culture des embryons sur un tapis de cellules endométriales maternelles autologues peut être utilisée pour améliorer le développement embryonnaire (taux d’embryon se développant jusqu’à J5 : blastocyste) et l’implantation. L’objectif de l’étude est d’étudier le lien entre la qualité du tapis cellulaire et le développement embryonnaire. Matériel et méthodes : Cette étude est une sous analyse de l’essai clinique randomisé en double aveugle OvoGen, comparant le taux de blastulation et de grossesse dans deux groupes randomisés : le groupe étude, dans lequel les embryons se développent sur un tapis cellulaire endométrial maternel et le groupe contrôle, dans lequel les embryons sont cultivés dans du milieu conventionnel. Nous avons analysé la qualité des tapis cellulaire du groupe étude (confluence des cellules, taux de cellules épithéliales et vitalité des cellules stromales) par rapport au développement embryonnaire et au taux de grossesse. Résultats : 50 tapis de cellules endométriales maternelles et 291 embryons sur les puits ont été analysés de 2012 à 2015 à la clinique ovo (Montréal, Québec). La qualité des embryons n’était pas changée par la qualité des tapis (p=0,65 pour la confluence, p=0,25 pour le taux de glande et p=0,92 pour la viabilité des cellules). En revanche, le taux de grossesse augmentait quand la confluence diminuait (p=0,022) et lorsque la viabilité des cellules stromales augmentait (p=0,001). De plus, la qualité des tapis était dépendante de la date de la biopsie : la biopsie faite à J7 après l’ovulation permettait une meilleure qualité de puits (confluence augmentée, p=0,045, taux de glande augmenté p=0,004 et viabilité stromales augmentée p=0,001) que la biopsie faite à J5 post ovulation. Discussion : Aucune des nombreuses études sur la co-culture ne porte sur la qualité des tapis cellulaire. Il est intéressant de noter que le taux de grossesse augmente avec la diminution de la confluence et l’augmentation de la viabilité des cellules stromales dans les puits contenant les embryons transférés. Comme il a déjà été démontré, (1)le jour de la biopsie endométriale influe sur la qualité du tapis cellulaire en coculture et pour que celui-ci soit de bonne qualité, il faut que l’endomètre soit réceptif (après J19 du cycle). Conclusion : Nous avons montré que la qualité des tapis cellulaires dépendait du jour de la biopsie d’endomètre et que cette qualité pouvait influencer le bénéfice de la co-culture. Il serait intéressant d’étudier la réceptivité de l’endomètre au moment de la biopsie avant utilisation des cellules en co-culture pour optimiser la qualité du tapis cellulaire.