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Landscape analysis and semiology. Material jor discussion. Landscape is not only ecological; but it does not comprise all geographical phenomena; it is " what is seen " . It thus appears as the reflection of structures produced by spatial systems ; this reflection is incomplete and distorted. Landscape analysis in itself is thus of limited value. On the other hand, landscape offers a set of signs that it is proper to interpret — among other data ; the study of its perception by men and of the behaviour which ensue is essential ; the study of the retroactions of its components upon the systems is also necessary., Le paysage n'est pas seulement écologique ; mais il n'est pas chargé de tous les phénomènes géographiques; il est « ce qui se voit ». Il apparaît donc comme le reflet de structures produites par des systèmes spatiaux ; ce reflet est incomplet et déformé. Une analyse des paysages eux-mêmes est donc d'un intérêt limité. Par contre, le paysage offre un ensemble de signes qu'il convient d'interpréter — parmi d'autres données ; l'étude de sa perception par les hommes, et des comportements qui s'ensuivent, est essentielle ; l'étude des rétroactions de ses éléments sur les systèmes est également nécessaire., Brunet RogerBrunet Roger. Analyse des paysages et sémiologie. Éléments pour un débat. In: L'Espace géographique, tome 3, n°2, 1974. pp. 120-126.

Geography and semiology. Modem French geography is more and more aware of the importance of the facts of structure. It is thus led to heed all research on the confines of linguistics, sociology and urbanism, which consider landscape in the light of its meanings. The study which have multiplied in this field since 1967 are in a way an extension of research on the image of the environment in anglo-saxon countries, but they differ from it by the importance granted to the analysis of semical unities. It is still too soon to assess the contribution of these new approaches but it seems essential to keep abreast of their development and to use them if we wish to renew certain aspects of environment-analysis as they are experienced by the geographical actors., La géographie française contemporaine est de plus en plus consciente de l'importance des faits de structure. Cela la conduit à prêter attention aux recherches que mènent, aux confins de la linguistique, de la sociologie et de l'urbanisme, tous ceux qui envisagent les paysages sous l'angle de leurs significations. Les travaux qui se multiplient depuis 1967 dans ce domaine prolongent en un sens les recherches menées dans les pays anglo-saxons sur l'image du milieu, mais ils en diffèrent par l'importance attachée à l'analyse des unités sémiques. Il est encore trop tôt pour dresser un bilan de l'apport de ces nouvelles démarches, mais il paraît indispensable de suivre leur développement et de les utiliser si on veut renouveler certains aspects de l'analyse du milieu tel qu'il est éprouvé par les acteurs géographiques., Claval PaulClaval Paul. Géographie et sémiologie. In: L'Espace géographique, tome 3, n°2, 1974. pp. 113-119.

As a young doctor qualifying for his specialist degree in Uppsala, Wallgren studied a number of cases of myeloma and presented his observations in a monograph: “Untersuchungen uber die Myelomkrankheit” (1920). In several respects this work has been decisive for modern conception of the semiology of this disease. Another outstanding research worker, who has been active in Uppsala over many years, presents in this paper current views on the etiology and the clinical picture of myeloma.

The present article brings an approach of the concept of irony under the semiological point of view, intending to make the principles of the dialectical relation that irony establishes with the symbolical clear, as well as to describe the conditions for her being used as a conceptual and semiotical analysis instrument. The text seeks to bring a philosophical analysis of the concept of irony with references to many authors which have brought it along as a pertinent topica, and whose work, even if just indirectly connected with irony, still have particular injunctions that allow to constitute a dialectical link with it. In this sense, irony appears in its fundamental ambiguity: it functions at once as a rhetoric structural figure, and at the same time as a determination where the discourse goes dialectically beyond itself and open the borders for the poetic. Therefore, it is not just about elucidating an applicability of irony as an instrumentally oriented concept, inasmuch as elaborating an ironic point of view that aesthetically conditions the semiological point of view, O presente artigo traz uma abordagem do conceito de ironia sob o ponto de vista da semiologia, de maneira a tornar claros os fundamentos da relação dialética que a ironia estabelece com o simbólico, bem como delinear as condições dela ser utilizada como um instrumento de análise conceitual e semiótica. O texto procura trazer uma análise filosófica do conceito de ironia com referências a vários autores que a trouxeram enquanto umatópicapertinente, e cujas obras, ainda que apenas indiretamente ligadas à ironia, possuem injunções particulares que permitem constituir um vínculo dialético com ela. Nesse sentido, a ironia aparece em sua ambiguidade fundamental, a saber, a de funcionar ao mesmo tempo enquanto uma figura estrutural da retórica e enquanto uma determinação em que o discurso ultrapassa dialeticamente a si próprio e abre espaço para o poético. Portanto, não se trata somente de uma elucidar a aplicabilidade da ironia enquanto um conceito a ser utilizado instrumentalmente, mas trata-se sobretudo de elaborar um ponto de vista irônico que condiciona esteticamente o ponto de vista semiológico.

OF THE PROFOUND STUDY of Gregorian Chant made during the last century by the Benedictine monks of Solesmes, no aspect is more important-and more at variance with common musical practice-than is that of rhythm. According to the Solesmes interpretation, Gregorian Chant dispenses not merely with a system of equidistant accents, or meter, but even avoids any necessary connection between either length of syllable or tonic accent in the text and length of single tone, number of tones, or intensity accent in the music. Indeed, any inevitable association of an intensity-accent for single tones with the concept of rhythm is rejected by the Solesmes monks, who choose, instead, to interpret Gregorian rhythm in terms of points of departure or activity (dlan, arsis) and points of arrival (repos, thesis) in the melody. The basic system on which Gregorian rhythm is constructed consists, according to the theory, in the combining of the single tones (each called temps premier) into larger rhythmic groups-a system similar to that of ancient Greek music and that of measure construction in Stravinsky and certain other modern composers-rather than in the subdivision of beats or of uniform groups of beats (measures) such as is characteristic of practically all other Occidental music, classical or popular. The temps premier is indivisible and represents the more or less uniform length for all tones (whether represented in notation by the punctum, the virga, or as a component of a neume), although notes

The number of writings in Anglo-American film journals on semiology and the cinema has risen exponentially in recent years. Basically this outpouring has gone in two directions. First, there have been many translations, principally from the French, of the basic statements of Christian Metz and others.1 However, more importantly Anglo-American writers have begun to re-interpret, extend and modify the work of their French counterparts. Chiefly centered around the British journal, Screen, these writers have attempted to incorporate semiotics into auteur and ideological criticism.2 Both types produced fall under the heading of film theory and aesthetics. These writers have only rarely attempted to apply the concepts they have developed to the analysis and criticism of one specific film. Metz's analysis of Adieu Philippine is a unigue extended analysis of a single film using semiolical tools. This discussion will attempt to partially fill in this gap of knowledge. The film to be examined in this case will be Marcel Carnd's Children of Paradise (1945). Proceeding this will be the development of the two major concepts to be applied in the analysis. The other major semiotic concepts employed will be accepted as they are currently used by Anglo-American theoreticians. Due to the length of the film under examination and complexity of the analysis, only six shots from the film will be scrutinized. A complete analysis of this film would require book length.

Through the brilliant labors of Cushing, Frazier and de Schweinitz, the signs and symptoms establishing the diagnostic criteria for primary pituitary adenoma have become familiar to every student. Of the classic triad of signs, the chiasmal syndrome, constitutional dyspituitarism and roentgen evidence of hypophysial disease, the first mentioned has played the largest role in the recognition of pituitary adenoma. Indeed, the preeminence of the visual component in the semiology of pituitary adenoma led Henderson, 1 who recently published a critical review of Cushing's series of 338 cases, to declare : "It is exceptional for a chromophobe adenoma to be diagnosed or even suspected before it is sufficiently large to implicate the visual pathways. . . . operation would hardly be justified before vision is affected." This remark may be taken as the general opinion expressed by the many who have written on the diagnosis of pituitary adenoma. Though the nerves which supply the ocular

This monograph on psychic blindness is based on a study of the literature and on experience of 415 personal observations of posterior hemispheric lesions. It is divided into three parts: (1) evaluation of conceptions of optic agnosia; (2) anatomoclinical study of methods of examination and semiology of visual agnosias, description and analyses of personal material, relations between the symptoms and statistical correlations, and anatomical conditions; (3) present conceptions concerning optic agnosia and the agnostic phenomenon. There is a brief bibliography. As a result of their study the authors isolate two groups, one of which is characterized by unilateral spatial agnosia and other correlated forms of spatial agnosia, the other by agnosia for objects and figured images and the statistically correlated agnosia for symbolic images. The first group can perhaps be extended also to agnosia for physiognomies and the second group also perhaps to agnosia for colors, but the number of

[Read before the Section for Clinical Medicine, Pathology and Hygiene of the Suffolk District Medical Society, November 14, 1883] There is, perhaps, no class of patients coming under der a physician's observation, which are more troublesome some than those cases of gastric and hepatic derangement due to the lithic acid diathesis, so-called. The functional disturbances are so associated with nervous phenomena, as to render the sufferer impatient and intractable, skeptical of your assertion that he has no serious organic disease, and ready to try every nostrum and accept every diagnosis but the true one from the numerous professional and lay friends whose sympathy he seeks. Although lithaemia, lithuria, lithiasis, etc., have now become tolerably familiar terms to the profession, the whole subject still remains more or less obscure, especially the subjective semiology and the relative importance of the renal and hepatic pathology. The true nature of the affection often escapes