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The EPICA (European Project for Ice Coring in Antarctica) Dome C (EDC) ice core drilling in East Antarctica reaches a depth of 3260 m. The reference EDC chronology (AICC2012) provides an age vs depth relationship covering the last 800 kyr (thousands of years) with an absolute uncertainty rising up to 8,000 years at the bottom of the ice core. The origins of this relatively large uncertainty are threefold: (1) the δ18Oatm, δO2/N2 and total air content (TAC) records are poorly resolved and discontinuous over the last 800 kyr, (2) the three orbital tools are not used simultaneously and (3) large uncertainties are associated with their orbital targets. Here, we present new highly resolved δ18Oatm, δO2/N2 and δ15N measurements for EDC ice core covering the last five glacial – interglacial transitions as well as novel absolute 81Kr ages. We have compiled chronological and glaciological information including novel orbital age markers from new data on EDC ice core as well as accurate firn modeling estimates in a Bayesian dating tool to construct the new AICC2023 chronology. The average uncertainty of the ice chronology is reduced from 2,500 years to 1,800 years in AICC2023 over the last 800 kyr. The new timescale diverges from AICC2012 and suggests age shifts reaching 3,800 years towards older ages over Marine Isotopes Stages (MIS) 5, 11 and 19. But, the coherency between the new AICC2023 timescale and independent chronologies of other archives (Italian Lacustrine succession from Sulmona Basin, Dome Fuji ice core and northern Alpine speleothems) is improved by 1,000 to 2,000 years over these time intervals.

Understanding novel actuating materials which respond to a variety of stimuli is key in the development of micro/nanoscale robotics. In this work, the mechanism of actuation in nickel hydroxide/oxyhydroxide actuators by the intercalation/deintercalation of water is examined. This effect is studied under the stimuli of visible light, photoactuation, and by increased environmental temperature, thermoactuation. The photoactuation has been modelled using a mechanical model, and it has been demonstrated that the experimentally observed intrinsic strain can be achieved with a low deintercalation of water, around 1%. This low level of water exchange is supported by structural changes observed during heating using thin film XRD, as well as ToF-SIMS by isotopic exchange using D2O. These results show the water intercalation hypothesis is both possible and measurable. Future development must take this mechanism into account when designing materials for improved actuation performance.

America structures Nabokov’s most famous novel, Lolita. The novel provides a double mapping process: that of the desired body of the nymphet, and that of the vast country where one finds towns called Dolores and Lolita. In Lolita, the landscape is a projection of the heroine on a huge scale. The country and its metonymic nymphet share characterization devices: conjunction of “reality effects” and metafictional elements, structures based on repetitions and doubles, hybrid combinations. Lolita is a nymphet and a little town, but Lolita is also a colorado of words, a Dolores in Tex(t)as. In an attempt at mapping the protagonists’ journeys, the present paper also identifies two geographical poles of the immense American territory: one is in the North-East, and stages the satisfaction of Humbert’s desire, and the other is in Colorado, where Lolita’s suffering is emphasized, and from where she escapes. It is around those poles that the plot, the perspectives in characterization and the thematic lines of the novel are structured.

Exit Through the Gift Shop : A Banksy Film (2010) se présente comme un documentaire consacré à l’histoire du street art. Le film réalisé par Banksy, le célébrissime (quoique mystérieux) street artist britannique, se caractérise, comme l’indique son titre (« pour la sortie, passez par la boutique »), par une réflexion sur le passage du street art du monde nocturne de la clandestinité et de l’illégalité à celui des musées et des collections privées des stars de Hollywood à la fin des années 2000. Jouant sur les brouillages des limites entre vrai et faux, sur les effets de mise en abyme et de renversements, ce film (appelé par certains un « mockumentary ») met en lumière le basculement des enjeux de pouvoir autour du street art. Exit Through the Gift Shop: A Banksy Film (2010) appears like a documentary on the history of street art. It was made by the world-famous, though mysterious, street artist Banksy and, as its title indicates, it is characterized by a reflection on the transformation of street art, an illegal, nocturnal art form that made its way into museums and the private collections of Hollywood stars in the late 2000s. This «mockumentary», as some journalists call it, plays with blurring the limits between truth and lies, uses mise en abyme effects and reversals, and stages the shifting of power that has occurred around street art. Exit Through the Gift Shop: A Banksy Film (2010) se presenta como un documental sobre la historia del street art. Fue realizado por el famoso, pero misterioso street artist británico Banksy. Como lo indica su título («para salir pase por la tienda de regalos»), está caracterizado por su reflexión sobre el pasaje del street art del mundo nocturno de la clandestinidad y la ilegalidad al universo de los museos y de las colecciones privadas de las estrellas de Hollywood, a finales de los años 2000. Esta película juega con los límites entre la realidad y la ficción, utiliza construcciones en abismo y retornos, e ilumina los desplazamientos de poder alrededor del street art.

Presentation de l’œuvre A l’occasion du premier colloque international organise par les Chercheurs Enchantes : Societe Francaise Vladimir Nabokov, en mai 2013, Alexandra Loewe, artiste pluridisciplinaire et membre de la Societe, a ete inspiree, pour deux creations, par la nouvelle de Nabokov « Mademoiselle O », publiee pour la premiere fois en 1936 dans la revue Mesures. Cette nouvelle, l’un des rares textes publies par Nabokov qui aient ete directement ecrits en francais, evoque, sur le mode...

Das Erdwerk von Carvin " La Gare d’Eau" gehört in den mittelneolithischen Kulturraum der Spiere-Gruppe. Es befindet sich unweit der Deule und umgibt mit seinen konzentrischen Gräben und Palisaden eine in Feuchtzonen gelegene Anhöhe. Die nach einem genauen Gestaltungsprinzip errichteten Grabenzüge sind regelmäßig unterbrochen, um Durchgänge zwischen den Innen-und Außenbereichen der Anlage zu schaffen. In der umfriedeten Fläche wurden neben Speicherstrukturen zwei Gebäude identifiziert. Diese Strukturen haben eine große Menge an Fundmaterial, insbesondere Keramik, geliefert., The enclosure of Carvin " La Gare d’Eau" belongs to the neolithic chrono-cultural group of Spiere. Located near the river Deûle, it encloses a hill surrounded by wetlands with an well-organized system of concentric ditches and fences. These show frequent interruptions, according to a precise layout to create passages between outside and inside of the enclosure. Inside, along storage features, two buildings were identified. Archaeological features have yielded a considerable quantity of artefacts, especially ceramics., L’enceinte de Carvin " La Gare d’Eau" appartient au groupe chrono-culturel néolithique moyen de Spiere. Située à proximité de la Deûle, elle ceint une butte bordée de zones humides par un système organisé de fossés et palissades concentriques. Ceux-ci s’interrompent fréquemment, selon un agencement précis afin de créer des passages entre extérieur et intérieur de l’enceinte. Dans la surface enclose, outre des structures de stockage, deux bâtiments ont été identifiés. L’ensemble des structures a livré une grande quantité de mobilier, notamment céramique., Monchablon Cécile, Baillieu Michel, Bouchet Marie, Goutelard Arnaud, Praud Ivan. L’enceinte Néolithique moyen II de Carvin "La Gare d’Eau" (Pas-de-Calais). Présentation préliminaire. In: Revue archéologique de Picardie. Numéro spécial 28, 2011. pp. 407-419.

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