Une femme dangereuse / L. Desnoyers et V. Perceval

Collection : Le Siècle ; XXXIX

Die Chrétien- und Wolfram-Überlieferung des Perceval-/Parzival-Romans und ihre textkritische Erschließung

This paper discusses the manuscript transmission of Chrétien’s Roman de Perceval ou le Conte du Graal and Wolfram’s Parzival in terms of their textual tradition and editorial criticism. It shows that the most recent edition of the Old French Perceval (K. Busby 1993) can be viewed as a landmark of the art of conventional editing that appeared at the peak of the discussion of ‘New Philology’ and took its own position in this context. At the same time, the Perceval was subject of critical studies based on the principle of ‘unrooted trees’ that questioned the genealogical concept of traditional ‘Lachmannian’ stemmatology. Conversely, a new edition of Wolfram’s Parzival, based on all known manuscripts, remained a desideratum for decades in German studies. Specific research on the textual tradition played a rather marginal role for a long time, but has been reinforced in the recent years in the context of a new critical edition presenting the totality of manuscripts as well as different textual versions in electronic form. The concept of ‘unrooted trees’ visualizing relationships of manuscript readings can be integrated in this concept. The article gives an overview of these methods, presents examples of editorial techniques, and develops ideas on how to combine the research on the manuscript tradition of both the German text and its French counterpart.

Chrétiens ›Roman de Perceval ou le Conte du Graal‹ und Wolframs ›Parzival‹. Ihre Überlieferung und textkritische Erschließung

This article discusses the manuscript transmission of Chrétien’s Roman de Perceval ou le Conte du Graal and Wolfram’s Parzival in terms of their textual tradition and editorial criticism. It shows that the most recent edition of the Old French Perceval (K. Busby 1993) can be viewed as a landmark of the art of conventional editing that appeared at the peak of the discussion of ‘New Philology’ and took its own position in this context. At the same time, the Perceval was subject of critical studies based on the principle of ‘unrooted trees’ that questioned the genealogical concept of traditional ‘Lachmannian’ stemmatology. Conversely, a new edition of Wolfram’s Parzival, based on all known manuscripts, remained a desideratum for decades in German studies. Specific research on the textual tradition played a rather marginal role for a long time, but has been reinforced in the recent years in the context of a new critical edition presenting the totality of manuscripts as well as different textual versions in electronic form. The concept of ‘unrooted trees’ visualizing relationships of manuscript readings can be integrated in this concept. The article gives an overview of these methods, presents examples of editorial techniques, and develops ideas on how to combine the research on the manuscript tradition of both the German text and its French counterpart.

Aortic valve replacement and concomitant procedures with the Perceval valve: results of European trials.

BACKGROUND The Perceval (Sorin Group, Milan, Italy) is a self-anchoring sutureless aortic valve prosthesis. We report the short- to midterm results of combined aortic valve replacement (AVR) with concomitant procedures in elderly patients undergoing operation as part of 3 consecutive prospective multicenter European studies. METHODS From April 2007 to February 2013, 243 patients (mean age, 79.7 ± 5.1 years; female patients, 61%; median EuroSCORE, 9%) underwent AVR with concomitant procedures. The concomitant procedures were coronary artery bypass grafting (CABG) (182 cases), septal myectomy (21 cases), CABG + other procedures (18 cases), and 22 other procedures. Primary and secondary end points included implant feasibility and safety (for mortality and morbidity) and efficacy (New York Heart Association [NYHA] class improvement and hemodynamic results) of the prosthesis at the different follow-up periods. Data were expressed as mean ± standard deviation. Kaplan-Meier analysis was performed for survival analysis. RESULTS Mean aortic cross-clamp and extracorporeal circulation (ECC) times were 50.7 ± 22.8 minutes and 78.9 ± 32.3 minutes, respectively. Thirty-day mortality was 2.1%. Mean postoperative gradient and effective orifice area were 10.1 ± 4.7 mm Hg and 1.5 ± 0.4 cm(2) and 8.9 ± 5.6 mm Hg and 1.6 ± 0.4 cm(2), respectively, at 1 year. There were early explantations, 4 of which resulted from paravalvular leaks. One additional valve explantation resulted from aortic root bleeding, probably caused by excessively extensive decalcification. In the late period, there was 1 mild paravalvular leak and no intravalvular insufficiency. No migration, dislodgement, or degeneration of the valve occurred during follow-up. Median follow-up was 444 days. CONCLUSIONS These trials confirm the safety and efficacy of the Perceval sutureless aortic valve, especially in elderly patients requiring AVR + concomitant procedures. In this patient group, sutureless valves may be advantageous compared to transcatheter valve implantations as concomitant procedures other than percutaneous coronary artery angioplasty are not always possible in the latter.

Clinical and haemodynamic outcomes in 658 patients receiving the Perceval sutureless aortic valve: early results from a prospective European multicentre study (the Cavalier Trial)†.

OBJECTIVES The aim of the Cavalier trial was to evaluate the safety and performance of the Perceval sutureless aortic valve in patients undergoing aortic valve replacement (AVR). We report the 30-day clinical and haemodynamic outcomes from the largest study cohort with a sutureless valve. METHODS From February 2010 to September 2013, 658 consecutive patients (mean age 77.8 years; 64.4% females; mean logistic EuroSCORE 10.2%) underwent AVR in 25 European Centres. Isolated AVRs were performed in 451 (68.5%) patients with a less invasive approach in 219 (33.3%) cases. Of the total, 40.0% were octogenarians. Congenital bicuspid aortic valve was considered an exclusion criterion. RESULTS Implantation was successful in 628 patients (95.4%). In isolated AVR through sternotomy, the mean cross-clamp time and the cardiopulmonary bypass (CPB) time were 32.6 and 53.7 min, and with the less invasive approach 38.8 and 64.5 min, respectively. The 30-day overall and valve-related mortality rates were 3.7 and 0.5%, respectively. Valve explants, stroke and endocarditis occurred in 0.6, 2.1 and in 0.1% of cases, respectively. Preoperative mean and peak pressure gradients decreased from 44.8 and 73.24 mmHg to 10.24 and 19.27 mmHg at discharge, respectively. The mean effective orifice area improved from 0.72 to 1.46 cm(2). CONCLUSIONS The current 30-day results show that the Perceval valve is safe (favourable haemodynamic effect and low complication rate), and can be implanted with a fast and reproducible technique after a short learning period. Short cross-clamp and CPB times were achieved in both isolated and combined procedures. The Perceval valve represents a promising alternative to biological AVR, especially with a less invasive approach and in older patients.

European multicentre experience with the sutureless Perceval valve: clinical and haemodynamic outcomes up to 5 years in over 700 patients†.

OBJECTIVES This report summarizes the 5-year clinical and haemodynamic data from three prospective, European multicentre trials with the Perceval sutureless aortic valve. METHODS From April 2007 to August 2012, 731 consecutive patients (mean age: 78.5 years; 68.1% females; mean logistic EuroSCORE 10.9%) underwent AVR with the Perceval valve in 25 European centres. Isolated AVR was performed in 498 (68.1%) patients. A minimally invasive approach was performed in 189 (25.9%) cases. The cumulative follow-up was 729 patients-years. RESULTS In isolated AVR, mean cross-clamp and cardiopulmonary bypass times were 30.8 and 50.8 min in full sternotomy, and 37.6 and 64.4 min in the minimally invasive approach, respectively. Early cardiac-related deaths occurred in 1.9%. Overall survival rates at 1 and 5 years were 92.1 and 74.7%, respectively. Major paravalvular leak occurred in 1.4% and 1% at early and late follow-up, respectively. Significant improvement in clinical status was observed postoperatively in the majority of patients. Mean and peak gradients decreased from 42.9 and 74.0 mmHg preoperatively, to 7.8 and 16 mmHg at the 3-year follow-up. LV mass decreased from 254.5 to 177.4 g at 3 years. CONCLUSIONS This European multicentre experience, with the largest cohort of patients with sutureless valves to date, shows excellent clinical and haemodynamic results that remain stable even up to the 5-year follow-up. Even in this elderly patient cohort with 40% octogenarians, both early and late mortality rates were very low. There were no valve migrations, structural valve degeneration or valve thrombosis in the follow-up. The sutureless technique is a promising alternative to biological aortic valve replacement.

La impronta de un maestro : homenaje a Julio Perceval

La historia de la música de Mendoza durante el siglo XX está marcada por la figura y la obra de Julio Perceval. Estas líneas tratan de evocar al director y organizador del Conservatorio de Música, al notable organista e improvisador y al destacado compositor. Para la elaboración de las mismas se ha contado con la valiosa colaboración de la esposa del maestro, señora Alejandrina Suárez de Perceval, con datos obtenidos de distintas fuentes del país y del extranjero y con testimonios aportados por amigos, profesores y colegas músicos en la década del 80.

Homenaje a Julio Perceval

En el año 2000 aparece el primer número de “Huellas. Búsqueda en Arte y Diseño"; en 2014 la Dirección de Investigación y Desarrollo presenta el número 8, acercándose a la continuidad y regularidad esperadas en las publicaciones periódicas especializadas con referato, más de doscientas páginas ilustradas en blanco y negro y colores. Las políticas editoriales de Huellas establecen una orientación temática preferencial hacia el arte y diseño local y latinoamericano. El diseño de contenidos se organiza en dos secciones principales: a) artículos producidos en el marco de investigaciones científicas y artísticas originales, firmadas por sus autores; b) dossier de artículos destinados a preservar la memoria de obras y trayectorias de creadores-docentes de la facultad. Una mirada retrospectiva sobre Huellas, muestra algunos perfiles editoriales “monográficos" –como la revista dedicada al Coloquio internacional de Arte Latinoamericano con artículos medulares y críticas de especialistas internacionales. En otras, se pone en relieve el homenaje a un artista de trayectoria destacada. Pero en la gran mayoría, como en esta edición, se cumple la metáfora “Unidad de lo múltiple", con la fuerza insuflada desde la reflexión y hermenéutica colectiva que describe no solamente el paradigma institucional deseado, sino que ordena las acciones y estrategias en función de auspiciar la diversidad, la inclusión, la excelencia, la libertad expresiva como agentes de la identidad de la Facultad de Artes y Diseño. Y afirma la convicción de que las intenciones –y sus consumaciones- hablan por sí mismas.

Historia de un joven músico belga : anécdotas y testimonios sobre Julio Perceval en Bruselas y en Buenos Aires

Este artículo está dedicado a Julio Perceval (1903-1963) músico de origen belga que se radicó en la Argentina en 1926. Se ha enfocado en las etapas de su formación en Bruselas y su desarrollo profesional en Buenos Aires por medio de testimonios aportados por quienes compartieron el periodo de búsquedas juveniles del compositor. Para reconstruir el ambiente musical en la etapa belga han sido consultados trabajos de Robert Wangermée, en tanto que para conocer sus relaciones con colegas e intérpretes en Buenos Aires se ha contado con material del Archivo donado por la familia del músico a la Facultad de Artes y Diseño de la UNCuyo.

The church question in Ireland. : Speech as prepared by the late Right Hon. Spencer Perceval, for the debate on the first Roman-Catholic petition to the United Parliament, (13 May, 1805.) Now first published from the original MS. /

Mode of access: Internet.

Sir Perceval of Galles; a study of the sources of the legend,

Thesis (Ph D ) Univ of Chicago

CANCIONES ARGENTINAS (SONGS OFARGENTINA): A RECORDING PROJECT

This Dissertation Project comprises recordings of Argentine art songs. The discs are approximately 40-60 minutes in length and consist of songs from the traditional art-song repertoire for voice and piano. This project is particularly appropriate because of the very limited number of recordings of Argentine songs, which are notable both not only for their high quality but for their accessibility of performance for voice teachers, students, and professional singers alike. Art songs in the Spanish language are a welcome resource, and the poetry included in this project is of an outstanding quality. Some of the poets set to music are Gabriela Mistral (a poet laureate of Chile and the first Latin American woman to win the Nobel Prize for Literature), Pablo Neruda (also a Nobel laureate), Luis Cernuda, and Leon Benar6s. The lyrics of some songs are based on traditional sources, and the melodies and rhythms of all are representative of South American-indigenous and European­ immigrant cultures. The composers represented here will be familiar to some listeners but more than likely unfamiliar to most. Yet Alberto Ginastera (1916-1983) is considered to be the greatest of all Argentine composers. Alberto Williams (1862-1952) is known as the father of the Nationalist School of composition in Argentina, and Carlos Lopez Buchardo (1881-1963) is a most influential composer and pedagogue after whom the national Conservatory of Music in Buenos Aries is named. Two composers who remain relatively unknown outside of South America, Abraham Jurafsky (1906- 1993) and Julio Perceval (1903-1963) are also represented in this project. A complete compact disc is devoted to the works of Carlos Guastavino. Known as the "Argentine Schubert", Guastavino has over 250 songs to his credit. Chiefly a composer for piano and voice, his recent death (October 2000) makes a recording of his works especially appropriate. This project also includes a written component, a supportive dissertation briefly describing the history of the Argentine art song and the lives and influences of the composers and poets represented in the studio recordings. The CD recordings are held in the Michelle Smith Performing Arts Library at the University of Maryland.