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(Pour lire l’article complet, en français ou anglais, cliquer sur le logo pdf à droite.) La constipation est une situation fréquente chez les patients traités par dialyse péritonéale. Une étude récente a révélé une prévalence de 58 % de constipation chez les patients en insuffisance rénale chronique terminale soulignant la nécessité d’une meilleure gestion du transit intestinal dans cette population. Nous avons 25 ans d’expérience en Dialyse Péritonéale Automatisée (DPA) ; notre centre utilise des cathéters lestés et inclut depuis 2021 des patients atteints d’obésité. Nous présentons deux cas cliniques qui démontrent que l’étude des enregistrements des cinétiques de drainage permet aux patients une meilleure compréhension du fonctionnement de leur dialyse et favorise leur compliance au traitement. Ils mettent également en évidence que le recours à l’éducation thérapeutique individuelle permet aux patients d’améliorer la gestion de leur transit, notamment pour des patients fragiles psychologiquement, qui connaissent des débuts de traitements compliqués. La constipation peut réduire l’efficacité de la dialyse péritonéale et causer des infections péritonéales. L’article recommande l’utilisation de l’échelle de Bristol et (des) de questionnaires pour évaluer la gravité de la constipation. Il souligne l’importance des ateliers thérapeutiques pour impliquer les patients. La visualisation des courbes de drainage aide à comprendre l’impact de la constipation, favorisant ainsi une meilleure prise en charge et une amélioration de la qualité de vie. En conclusion, intégrer les courbes de drainage dans la gestion de la constipation dans une démarche d’éducation thérapeutique avec les patients en DPA est essentiel pour optimiser les traitements et réduire les complications.

Games have long been used in education. Additional language teaching is no exception. However, little research has been conducted on its influence on learners' engagement in the development of their language skills or on the facilitating emotions it can bring out in pedagogical devices considering an emergentist and enactive perspective. In this article, we present a part of the research-intervention we carried in our PhD in order to study the play of emotions on the development of learners' competences in university teaching systems in Japan with board games. After presenting the Japanese context, we introduce theoretical notions on the relationships between cognition, emotions and games and the importance of considering the place of the basic affective system of neurobiologists and psychologists Panksepp and Biven (2012) to better analyze learners' behaviors. We then outline our research methodology before proposing the results, which we discuss and finally propose some perspectives for continuing this work.

This study seeks to analyze changes in vegetation cover in the ecoregions of Senegal over the past two decades (2000 to 2019) using a time series of 16-day MODIS NDVI images with a spatial resolution of 250m. The study method is a combination of remote sensing and statistics. The data processing followed three main steps which are: first, the Main Component Analysis (PCA) on the 2000-2019 time series followed by the unsupervised classification using the PCA result; second, the calculation of the average NDVI of the 23 16-day periods; third, the calculation of the Kendall correlation or “tau” (τ) associated with the p 0.1 significance test. The results indicate changes in the phenological rhythm of the classes corresponding to lowland crops, floodable valleys, mangroves, dense forests, and wooded and wooded savannah. Some modifications are similar to degradation, and others to a regreening Similarly, there was a time lag and a later green season. Kendall’s correlation indicated an increase in NDVI between 2000-2009 primarily in the eastern, southwest and estuarine (ZDE) ecoregions with a significant trend. During the 2010-2019 decade, a set of small areas of progress was noted. On the other hand, the negative correlations of NDVI values, which indicate a decrease in vegetative activity, are observed mainly in the northern and central-western ecoregions of the country, although with a non-significant trend.

A fragment of an opisthographic lead plate was discovered in the sixties on the site of a Gallo-Roman villa at Saint-Couat-d’Aude (Aude), about thirty kilometres west of Narbonne. The object, which remained unpublished until now, was inscribed several times in Latin. Its most recent and best-preserved text is a two-column accounting list, combining a series of male anthroponyms with an abbreviated term beginning with a P (most likely for the word pondus) and presenting numerical indications. The inscription was carved by one person in a crude script that combines capital letters with forms borrowed from the Old Roman cursive (or capital letter cursive) used throughout the Empire between the end of the 1st c. BC and the middle of the 3rd c. AD. Eight personal names are legible or can be reconstructed with some plausibility. As far as can be judged from the right half of the inscribed fragment, they do not fit into any known onomastic formulae involving the tria nomina of Roman citizens. Moreover, these individual names are not followed by any expression indicating dependence on any other individuals. Thus, they likely refer to indigenous incolae of peregrine status, i.e. free men originating from the Narbonne colony territory. These men were allowed to live alongside the coloni and their descendants, but who were not Roman citizens and who were consequently excluded from both the local plebs and the curia. Four names, Crescens, Modestus, Successus and Tertius, are very common Latin cognomina. All of them are well known in Narbonne and its surrounding region as proper cognomina, either for Roman citizens or for slaves or freedmen. The other four names, Ambillus, Cadurcus, Matugenus and Neuto, likely belong to Celtic onomastics, which are far less common in the city’s inscriptions. The exact role of the individuals whose names are declined in the dative case is difficult to determine. They could be suppliers, as well as debtors or creditors of the estate attached to the villa. Moreover, it is not clear whether their activity was related to trade, crafts, agriculture or animal husbandry. Despite these uncertainties, the list from Saint-Couat-d’Aude enriches the epigraphic corpus of the Roman colony of Narbo Martius. This document testifies to the role of writing in daily life, as well as to the development of private accounting practices in rural areas, and it enhances the available documentation pertaining to the villae scattered throughout the Narbonne hinterland. The inscription’s most original contribution is in providing new information on the indigenous incolae of peregrine status, a category of the regional population heretofore poorly represented in epigraphic sources, and during a period prior to their integration into the civic body of the colony in the early Empire.

When stating that “history is whatever historian do”, Antoine Prost looks at history as a “social practice (…) situated in time and space”, entertained by individuals “that present themselves as historians and are acknowledged as such”. Building from this assertion, in this article we will seek to better understand “what game designers do” when it comes to historical videogames, more particularly regarding the position they assume on the frontiers of a “historian field” of activities. Due to the historical material they invoke, and to which a “veto right” seems to be granted, certain sectors of videogame design ground their creative practices to ethical principles, design teams clarify and delineate their perceived rights, duties and responsibilities as “cultural artisans” representing the past. Based on multiple testimonies and reflections from the designers of the games Assassin’s Creed IV : Black Flag (Ubisoft, 2013) and Assassin’s Creed : Freedom Cry (Ubisoft, 2013), this contribution presents the formulation of a narrative via the digital (the production of a historical videogame), and how it is supported by a narrative about the digital : one that seeks to appreciate and justify singular creative practices, to situate and clarify them.

This article proposes an analysis of a major science-fiction series of the 1990s, The X-Files (Fox, 1993-2002 / 2016-2018), and of the way it incorporates the notion of the fantastic. By relying on some elements of canonical definitions of this genre, notably in literature (R. Caillois, T. Todorov, D. Mellier), the original aesthetic and narrative systems that the series puts in place, especially in its pilot, are highlighted. A key point of exploration involves how the story, which is anchored in the realist register and shows the alternate points of view of the two protagonists – Mulder, the profiler who believes in the "supernatural", and Scully, "the scientist" who favors rational thought and explanations – allows the fantastic genre to manifest itself and thereby leaves viewers to deal with the undecidability of an uncertain world where permanent questioning reigns. Similarly, ambiguity reigns aesthetically, notably through audiovisual parameters (image, framing, editing, depth of field), but also through the ambiguity of certain signs within the images. This creates a tension between a necessary realistic framework and a supernatural disturbance. This tension in turn allows the public to confront a fundamentally ambiguous reading of the fictional world, which is the basis of the fantastic genre. Finally, there is the question of how this fantastic world, through its undecidability and its generic hybridity, becomes the necessary articulation of the series, alternating isolated episodes and episodes linked to an alien mythology, and how the series allows, through hesitation and often incomplete narratives, for the permanent relaunching of the public’s desire for fiction.

The Sahel is a fragile region, characterized in recent decades by profound changes in land use, which are the result of complex interactions between societies and their environment. These phenomena, which modulate and transform the landscape, take place on several spatial and temporal scales. However, few studies have highlighted this multidimensional reality, most generally focusing only on the local or regional level, and on a single site. In this study, we mobilized two scales (local and regional) on three different sites. On the one hand, we performed a diachronic mapping of land cover by the analysis of multispectral Landsat images and, on the other hand, we studied its articulation with NDVI and rainfall time series.The results bring out an original synthesis of the land cover trends observed in the Sahelian agro-pastoral zone. They help understanding the complexity of the multi-scale phenomena that characterize the evolution of Sahelian areas. If the analysis of the time series confirms, as has been observed by several authors, an overall regreening trend on a regional basis as a result of the improvement in rainfall conditions from the 1990s, the diachronic analyzes proposed in this study found significant contrasts at finer scales. Considering the total area mapped (Landsat images covering each region), the areas of vegetation cover progression between 1999 and 2010 represent 18 % of the Gourma area and 27 % for Fakara. In terms of net change between 1999 and 2010, in Fakara which has the highest rate of progression (+13 %), the Dantiandou municipality shows, in contrast, a negative rate (-35 %) which is not the case in the two other studied municipalities: +7 % for Téssékré (in Ferlo) and +12 % for Hombori (in Gourma).

Le premier tour des élections municipales françaises s’est tenu le 15 mars 2020, alors que l’épidémie de COVID-19 s’installait en France. Quel a été l’impact de la crise sanitaire sur la mobilisation – historiquement faible – lors de ce tour de scrutin? Celle-ci a-t-elle été dépendante de l’intensité de l’épidémie à l’échelle locale? La crise a-t-elle profondément modifié les logiques habituelles de la participation électorale pour ce type de scrutin? Cet article propose de répondre à ces questions au travers d’une analyse longitudinale multiniveau des taux d’abstention enregistrés lors des premiers tours des quatre dernières élections municipales au sein des communes françaises de plus de 3 500 habitants. Nos résultats montrent que les effets de la crise sanitaire en matière de participation sont assez peu dépendants de l’intensité locale de l’épidémie : si la démobilisation augmente partout, et particulièrement au sein des communes traditionnellement plus participatives, nous observons des variations significatives dans les taux d’abstention des communes étudiées uniquement dans les rares départements où l’épidémie a déjà causé les premiers décès. Nous observons également une hausse de l’abstention au sein des communes où les parts de personnes âgées de 65 ans et plus et d’ouvriers sont élevées, particulièrement lorsqu’elles sont situées à faible distance des principaux foyers épidémiques.

In recent years, research in international communication has undergone some evolution that makes it a less focused field of communication for development and more exploded, dealing with several objects (media coverage, information technology and communication cultural diversity, etc.) and different geographical areas. The study of diasporic media online is part of these new research perspectives that researchers in international communication must explore. The present study aims to identify the motivations and analyzes the strategies used by these online diasporic media to influence the treatment of information on the African continent. A qualitative methodological approach based on semi-structured interviews allowed us to obtain interesting data on the will of some members of the African diaspora to have online media that can participate, through their content, to promote a new perspective on the socio-political news of the continent. This desire responds more specifically to a lack of transparency in the dissemination of socio-political information related to their geographical sphere of origin.

In the course of the 2000 s, several medium-size cities in the East of France decided to design new neighborhoods dedicated mostly to housing. The first residents settled there while the area is still under construction. They are moving into new homes surrounded by public and common spaces in the making. This article explores the tensions between space under construction and housing space. It shows how the relationship to housing and the relationship to the neighbourhood are part of the social relations that take shape in these new areas. Furthermore, this article also explores the social distinction process as well as the ongoing neutralization of public spaces throughout the study of those districts in the making.

As the traditional dichotomy opposing stage and audience is often disrupted on the contemporary stage, a profound subversion of the meaning of the phrase “taking place” occurs when it is applied to the theatrical event. If etymologically, “theatre” refers to a place dedicated to seeing, the very object of perception now finds itself altered in unprecedented ways. In this respect, the National Theatre of Scotland illustrates this emancipation from the conventional space of the stage: “without walls,” it is a structure that is not located in any building. It produces innovating plays and performances hand in hand with existing Scottish companies and building-based theatres. Off-stage installations, site-specific performances, or even non-places are becoming common features in contemporary plays such as the Ignition project (2013). However, even as blogs, wikis and other such social media tend to become ubiquitous, the very notion of what is actually “taking place” during the theatrical event is now radically questioned as theatre is gradually dis-located into the cyberspace. The article focuses on some examples of “techno-poetic” creations and nomadic performances to highlight the ways in which the most recent media environments contribute to the emergence of new communities of spectators or rather players or co-creators.

INTRODUCTION : les céphalées par abus médicamenteux (CAM) restent le type de céphalées le moins étudié en Afrique.Méthodes: dans le but de rapporter l'expérience Brazzavilloise, nous avons mené une étude longitudinale durant 4 ans, de septembre 2010 à août 2014, en consultation de neurologie à Brazzaville. Nous avons inclus tous les patients présentant des céphalées primaires chroniques selon la classification International Classification of Headache Disorders-2 (ICHD-2). Tout patient présentant des céphalées secondaires ou n'ayant pas donné son consentement a été exclu. Les patients ont été divisés en deux groupes: ceux ayant évolué vers une CAM, et ceux qui ne présentent pas des critères d'abus médicamenteux (sans-CAM). Les variables d'études ont été sociodémographiques, les caractéristiques de la céphalée primaire initiale et la prise en charge de la CAM.Résultats: sur 212 patients inclus, 193 ont constitué notre population d'étude. L'âge moyen de 42±14 ans, dont 66,32% de femmes. La fréquence des CAM était de 35,75%. Les facteurs associés identifiés étaient: l'âge jeune (p=0,003), l'utilisation de l'association antiinflammatoire non stéroïdien (AINS) et paracétamol (p=0,0001) et l'automédication (p=0,0001). Par contre, le niveau d'instruction supérieur (p=0,0001) et l'utilisation de l'AINS seul (0,002) étaient protecteurs contre la survenue de la CAM. Le sevrage ambulatoire a été le plus pratiqué, l'amitriptyline reste le médicament le plus utiliséConclusion: les CAM sont fréquentes en consultation de neurologie en Afrique et méritent d'être identifiées pour une meilleure prise en charge.

The latest IPCC report presents numerous consequences of temperature elevations on terrestrial biodiversity. Changes in distribution areas of plant species are the result of different processes including reproduction and mortality. The aim of this study is to present the contribution of the modeling approach in the definition of future plants species distribution areas in the Mercantour-Argentera Mountains. Species studied are Dryas octopetala, Pinus cembra and Pinus uncinata. The method developed here allows, with botanical observations from the SILENE database and ecological descriptors (climate, geology, topography), to give a spatial definition of distribution areas in order to begin the study of changes and to integrate it into a dynamic model as seed producing center. Therefore, the method tries to characterize the changes in distribution areas through the simulation of the complex processes of seed production, dissemination, germination and mortality.

Joss Whedon’s series Dollhouse features Echo, an enslaved posthuman character with the ability to acquire an unlimited number of personalities to accomplish different missions. In search of emancipation, Echo will fight in a system that, through the reflexivity and intertextuality deployed in the series, has many points in common with the Hollywood film industry. A hybrid series, Dollhouse serves as a “vehicle” for its main star Eliza Dushku, while reflecting on the articulation between episodic and serial.

We are studying the narrative and aesthetic reconfiguration that occurs between Breaking Bad, the original series, and Better Call Saul, its spin-off series which oscillates between sequel and prequel. We analyze how the spin-off shows a tension between fidelity to the matrix design of the original series and a desire to emancipate from the model in order to conquer its own identity. Better Call Saul, which is falsely initiating a continuity to immediately go backwards, proposes a narrative that takes its time. Setting aside action and suspense, the spin-off offers a slower narrative conducing to psychological deepening of characters. The Vince Gilligan and Peter Gould series also rearrange its “mise en scène”, which is more static and distant. Better Call Saul offers a new “aesthetic experience” which, drawing from the visual strength of Breaking Bad, stands out to conquer its singular serial identity.

The recording of military violence was a routine administrative practice in the States of Savoy-Piedmont. The Chambre des Comptes recorded instances of military violence in order to excuse communities affected by tax levies. The reports range between narrative accounts and lists of atrocities. They had no set form—that depended on the habits and administrative backgrounds of their authors. The administrative processes underlying this practice influenced the manner of reporting on violence and the objects of violence, thus helping to build a discourse and a picture of military misdeeds.

Our paper deals with multireference and the actualization of the proper noun Europe in the context of the media. First, we analyze the stakes of multireference linked to both routine uses of metonymy in news telling as well as to the pragmatic issues of personalization. The paper then focuses on reported speech and on the uses of the “modified proper noun” which play on multireference in order to persuade and mobilize. In the last part of the paper, the actualization and the production of meaning are called into question in the light of their political context.

Critics have offered a variety of political readings of Martin Crimp’s plays. If the dramatist does consider himself a satirist, characterising the political discourse at play in his works can become somewhat of a challenge. Indeed, Crimpian satire proves radical and all destructive. When they staged In the Republic of Happiness (2012) at the Théâtre National de Chaillot in 2014, Marcial di Fonzo Bo and Élise Vigier captured the dramatist’s disenchantment. The opening festive scene, in which a typical family celebrates Christmas together, resonates with Crimpland’s characteristic subversion. As the party is in full swing, traditions are questioned, totems are challenged and taboos are lifted. Such confusion allows for a remapping of political discourse. The audience is led to (re?)discover that value systems or the mastery of discourse are but secondary compared to nonsense, ambiguity, and what is at stake on the Other Scene. The spectators can then engage in an exploration of the Other.

This article will examine the status (and potential porosity) of the border between drama and film, focusing specifically on Samuel Beckett, Harold Pinter and Mike Leigh. These dramatists’ concern for the representation of the invisible and of a lurking menace arising from an Other with enigmatic and equivocal intentions, inspired all three to actively explore the capabilities of both media. How to account for such a desire to cross between stage and screen? What are its results? To what extent do the agonistic tensions that they stage wind up leading the audience to an experience of this unrepresentable and yet so very present Other that informs their artistic creations, especially in the moments of anagnorisis?

Through the examples of two major metafilmic works of contemporary American cinema, David Lynch's Inland Empire(2006) and Monte Hellman's Road To Nowhere (2010), which have both been produced with new digital technologies, we study how they present an industry of cinema which, through mise en abyme of its own system of representation or projection and many intertextual quotes, appears in search of its own ontology, through the circulation of images. Both filmmakers propose in their last opus a disturbing reflection on cinema in the digital age, which, far from announcing the death of the medium seems to be the prelude to an exciting aesthetic renewal.

According to Jacques Lacan, the “speakingbeing,” determined by the signifying chain, can only deal with words, names, never with the thing, and finds itself structured around an irreparable loss. In the wake of Beckett’s theatre, Dennis Kelly stages an original disturbance of the name, reduced to “debris,” in a fantasmatic and transgressive exploration of the condition of being an abandoned child (Orphans). In Kelly’s world, the standard syntax is subverted, the levels of usage of language (and languages themselves) are mixed, with constant interruptions (dislocations, aposiopeses, anacolutha...). On the contrary, what is brought to the fore is a sense of loss at the core of language, the representation of the inadequacy between signifier and signified. Using Lacanian concepts and topological tools to read Dennis Kelly’s works will allow us to question how and why the Imaginary takes over and proliferates, as if to approach the Real as closely as possible, without naming. Thus, the proliferation of television screens, as well as riveting, “in-yer-face” (according to the expression coined by Aleks Sierz) stage images, such as Michael’s father’s “cruxicide” in Debris, will be analysed in terms of their relation to the disturbance, disruption or disintegration of the Symbolic order.

This article analyzes the changes which have occurred in land occupation and vegetation cover over the past few decades in a number of villages scattered along the bioclimatic gradient in the South-West of Niger, from the Tillabéry-Filingué line in the North to Gaya (on the Niger-Benin border) in the South. Diachronic analyses were performed based on satellite photographs (CORONA March and October 1965) or aerial photographs (IGN mission in March 1975) which were compared to current Google Earth photographs. These analyses were then confronted to interviews conducted in the various villages as well as to surveys of the state of the vegetation. If researchers emphasize the resumption of rainfall since the mid-1990s, they also show that the South-West of Niger paradoxically presents an increased socio-environmental vulnerability. It seems possible to generalize this observation at the scale of the two regions. However, the research undertaken here leads to a more nuanced conclusion : when data are disaggregated, the situation looks very diversified, revealing, independently from the bioclimatic gradient and from the meridian differentiation linked with the fossile valleys (dallols), situations where the vulnerability of both populations and ecosystems appears more or less pronounced.

A Scanner Darkly (2006), American filmmaker Richard Linklater’s adaptation of Philip K. Dick’s science-fiction novel, remains a unique cinematic experience in contemporary cinema. Linklater’s film breaks new ground thanks to the use of the digital rotoscoping process, which enables him to conceptualise and develop a new radical, almost experimental aesthetics that closely associates form and substance.

Since the appearance of television series in the 1950s, notably in the United States, the police officer remains a central character in fictions: the privileged witness of transformations in society. We will study the representations of the police officer in several contemporary American TV fictions, by first bringing to light the emergence of a new, complex and troubled figure of the police officer, which appeared in the 1990s with officer Andy Sipowicz in NYPD Blue, and far from the pioneer American police dramas such as The Incorruptables and Dragnet, which put forward models of morality. Next, we will study, through this new figure, the doubtful view that the country takes of its own, increasingly violent society. Through the examples of several major contemporary series, The Shield, The Wire, and Dexter, from three distinct cable networks (FX, HBO, and Showtime), we will analyze several new figures of the police officer: the troubled incarnation of law and order.

This research brief stems from a PhD dissertation on the antiglobalization movement in the French press. Its aim is to understand how the antiglobalization movement, which subsequently became the alterglobalization movement, appeared as an “event” in the mediatic public sphere and how the French press contributed to the emergence and the acceptance of a new collective identity that developed its own social discourse.