Search

The Clausius-Clapeyron equation is an effective tool for describing the effect of temperature on water vapour adsorption isotherms in cementitious materials. The key information is the isosteric energy. This can currently be characterised experimentally using two approaches: (1) the isotherms method, which involves experimentally acquiring the desorption isotherm for two (or more) different temperatures, and (2) the hygrometric method, which involves monitoring the increase in vapour pressure at equilibrium with a small sample subjected to increasing temperature steps. It turns out that although each method has a fairly high uncertainty, the results obtained are similar. Finally, the results seem to suggest that the isosteric energy of Portland-based cementitious materials could be considered unique. [ABSTRACT FROM AUTHOR]

Copyright of Thélème is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Les premiers albums du dessinateur Jean Bruller proposent une caricature sociale originale par la combinaison du texte et de l’image. Si La danse des vivants (1932-1938) aspire à illustrer la comédie humaine du XXe siècle par la caricature de mœurs et un ton universaliste, Visions intimes et rassurantes de la guerre (1936) s’ancre dans la période de l’entre-deux-guerres pour développer une critique sociale fortement influencée par les menaces de guerre. Cet article propose une analyse approfondie de l’esthétique de ces deux ouvrages brulleriens, marqués par un humour particulièrement mordant et ironique et par un certain arrière-goût pessimiste. Cette approche analytique se nourrira de même du dialogue entre l'œuvre et la pensée de l’artiste, ainsi que du dialogue entre sa production et le contexte historico-social.

Protected areas have based their legitimacy on scientific register. But today, the model of rational environmental management is critiziced. The public policies are characterized by an increasing participation of socio-economic actors. The new composition of the Scientific Council (CS) of the Regional Natural Park and the National Nature Reserve of Vercors appears as an example of these trends. Two cases of the SC, one on hunting deer and wild boar, the other on the protection of a bird, the hazel grouses, have been analyzed in this article. It helps to understand how this opening are translated into practices and negotiations or (re)definitions of expertise and knowledge to be taken into account for the management and finally, the definition of protected areas and nature conservation. These evolutions and resistances give a view of how experts are affected by deer, wild boar and hazel grouse that populate the Vercors.

Le médecin allemand Alfred Döblin, le jeune resistant communiste Jorge Semprún et le dessinateur Jean Bruller (par la suite Vercors) ne se connaissent pas et n’ont a priori rien en commun. Pourtant, tous trois ont traversé la Seconde Guerre Mondiale, par l’exil, la clandestinité, ou l’expérience concentrationnaire. Ces trois hommes, dont seul un – Döblin – était déjà un écrivain confirmé, ont ensuite produit des œuvres marquées sinon profondément influencées par ces événements.Face à ces parcours multiples, un même bilan s’impose après la guerre : celui d’un traumatisme qui tend à s’exprimer à travers une production littéraire renouvelée.Ainsi, les événements historiques nous donnent à lire un exilé, un déporté, et un porte-parole de revenants. Suite à ces expériences, les récits étudiés ici sont marqués par le traumatisme du déplacement. Trois aspects majeurs les caractérisent : une écriture explosée, c’est-à-dire fragmentée, jouant sur différents niveaux de narration et de temporalité ; des personnages déracinés, aux repères vacillants sinon disparus ; enfin, un effondrement des valeurs traditionnelles et des figures mythiques.

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VertigO is the property of La Revue Electronique en Sciences de l'Environnement VertigO and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While Vercors is often remembered for one book only, his works are extensive in both number and subject. Starting from the twenties, he gained some notoriety as engraver and illustrator under his real name, Jean Bruller. What is the relationship between the carefree illustrator and the engaged writer? According to contemporary criticism, the myth of the “metamorphosis” of Vercors needs to be reassessed. In this article, I argue that the concept of metamorphosis can be fruitfully substituted with that of hybridity. The hybridization between the expressive modes of writing and visual arts marks the texts of Vercors regardless of their genre. This contention is mainly developed through an analysis of 21 recettes de mort violente, a collection of engravings. The stylistic features and editorial history of this work problematize all claims that Bruller the illustrator disappears once Vercors the writer takes centerstage.

The study of socio-ecosystems, their vulnerability, resilience and their trajectories often involves the need for collaboration between the human and social sciences and the natural sciences. This article proposes to test this notion of "socio-ecosystem" and a methodology around the “chronosystemic timeline" as intermediate tools of interdisciplinary knowledge. It reports on an interdisciplinary experience, its research context as well as its conceptual and methodological framework, illustrated with an example coming from the Quatre-Montagnes in the Vercors (French Alps). It proposes an applicable protocol for monitoring the vulnerability trajectories of a collective of municipalities and its environmental resources in an interdisciplinary perspective. The process consists of four stages : i) a socio-historical and ecological exploratory step ii) the determination of the dimensions to be observed and their indicators, iii) the construction of the timeline, and iv) the analysis of the vulnerability trajectory of a landscape including its actors. The article shows the potential, the methodological difficulties and the points of vigilance of this interdisciplinary analysis.

The study of socio-ecosystems, their vulnerability, resilience and trajectories often requires collaboration between the human and social sciences, and the natural sciences. This article proposes to test this notion of socio-ecosystem and a methodology around the chronosystemic timeline as intermediate tools of interdisciplinary knowledge. It reports on an interdisciplinary experience, its research context, as well as its conceptual and methodological framework, illustrated with the example of the Quatre Montagnes in the Vercors Mountains (French Alps). It proposes a protocol that can be applied to monitoring the vulnerability trajectories of an association of municipalities and its environmental resources in an interdisciplinary perspective. The process consists of four stages: i) a sociohistorical and ecological exploratory step, ii) the determination of the dimensions to be observed and their indicators, iii) the construction of the timeline, and iv) the analysis of the vulnerability trajectory of a landscape including its actors. This article presents the potential, the methodological difficulties, and the critical issues of this interdisciplinary analysis.

For around two decades the charcoal burning festivals of the Vercors have been bringing together a group of individuals – with libertarian and/or ecologist aspirations – for the space of a few weeks to produce an unusual chronotope with the support of the local inhabitants: the erection then carbonisation of a charcoal pit in the forest, around which will be added the village of the “neo-wood colliers” and the festive infrastructures according to the rhythm furnished by the progress of the combustion, in the fashion of a heterotopia contesting daytime life in the valley. Above and beyond the heritage aspect, this collective experience of the night in a mountain forest does not exclude variations in the realms of the imaginary, symbolic and political. Behind the pretext of charcoal, their protagonists unite through a spatial practice (the clearing) and refer to the two great guardian figures of the region: the wood collier ancestor and the resistance fighter as “clandestines of the night”. The chronotope thus set up therefore borrows from heterotopia and heterochrony insofar as the diurnal and especially nocturnal forest system constitutes “another space” in an atypical way of living the rhythms of daily life in connection (fantasised to a greater or lesser degree) with the History of the Vercors region. These festive metonyms of time and space are spatial and temporal anchor points which indicate how this experience is established in situ to challenge the dominant system.

For around two decades the charcoal burning festivals of the Vercors have been bringing together a group of individuals – with libertarian and/or ecologist aspirations – for the space of a few weeks to produce an unusual chronotope with the support of the local inhabitants: the erection then carbonisation of a charcoal pit in the forest, around which will be added the village of the “neo-wood colliers” and the festive infrastructures according to the rhythm furnished by the progress of the combustion, in the fashion of a heterotopia contesting daytime life in the valley. Above and beyond the heritage aspect, this collective experience of the night in a mountain forest does not exclude variations in the realms of the imaginary, symbolic and political. Behind the pretext of charcoal, their protagonists unite through a spatial practice (the clearing) and refer to the two great guardian figures of the region: the wood collier ancestor and the resistance fighter as “clandestines of the night”. The chronotope thus set up therefore borrows from heterotopia and heterochrony insofar as the diurnal and especially nocturnal forest system constitutes “another space” in an atypical way of living the rhythms of daily life in connection (fantasised to a greater or lesser degree) with the History of the Vercors region. These festive metonyms of time and space are spatial and temporal anchor points which indicate how this experience is established in situ to challenge the dominant system.

Vercors, who achieved fame thanks to his first novel, Le silence de la mer, published undercover in 1942, makes silence one of the main themes in his work. Silence, which is the paradoxical expression of what Vercors calls “la qualité d’homme”, appears in his work according to two major categories: on the one hand the proud and resilient silence of the protagonist of Silence de la mer or of Arnaud, the main character of the short story Le démenti, who loses his life for having maintained an obstinate silence in the hands of his torturers; on the other hand, the guilty and desperate shameful silence of those who had lost their own humanity when faced with the horror of the camps or had hoped to save their lives by col-laborating with the enemy. This paper will examine three of Vercors’ texts, Les armes de la nuit (1946), La puissance du jour (1951) and Le tigre d’Anvers (1986), which have Pierre Cange as protagonist, a member of the Resistance, deported, who through his own experience is faced with the funda-mental theme of silence.

The maintenance of family farms in mountain areas constitutes a serious challenge in the context of globalization. European mountain agriculture faces significant natural constraints and cannot follow the same development path as agriculture in the plains. The study reported here sought to analyze recent changes in mountain family dairy farming in the Vercors (Alpine uplands with urban and tourism development) and characterize the diversity of family farm development trajectories. We developed an analytical framework that allowed us, based on individual data from the National Census of Agriculture for 1988, 2000, and 2010 and semistructured interviews in farms, to capture and analyze patterns of change on family dairy farms between 2000 and 2010 and to link changes in farming systems and farming family organizations. Our results show a drop in the number of dairy farms and changes to their organization. This article discusses the different strategies adopted by dairy families, which are based on different adaptive resources.

I present two conceptions of the human being and art: that of Renaud—the main fictional character of a short novel written by Vercors—and that of Albert Camus. Although these French resistance fighters experienced the same war, the same terrible events surprisingly lead them to opposite extremes: the first one to despair and the rejection of art perceived as an unbearable lie, the second one to hope and to artistic commitment. Analogical reasoning allows us to show both the similarities and the distinctions between these two men or, more precisely, between what they tell us about human beings and art. Thanks to this, it is easier to understand the essential role the artist plays and his duty towards humankind. Moreover, in the work of Albert Camus, we will see that revolt is—and must be—connected to love.

Discovered in 1986, La Grande Rivoire is a rockshelter located in the north of the prealpine mountain range of Vercors (Northern French Alps). It lies at 580 m asl, on the west side of the Furon valley, at the foot of a cliff. The 6-m stratigraphy reveals a continuous chronocultural sequence starting from the First Mesolithic to the Gallo-Roman period. The present communication aims at characterizing the earliest occupation of the site attributed to the First Mesolithic ( ca . 8500–7000 cal. BC). The new multidisciplinary data are intended to contribute to the understanding of the regional chronocultural evolution. The deposits are constituted of very rich organic materials, possibly resulting from the degradation and combustion of plant litters. Their natural and/or anthropogenic origin still remains unclear. The excellent state of preservation of the faunal remains (superficially covered of an ashy encrustation) and the bone refittings would indicate a low post-depositional impact on the faunal material in this sector. The highly intentionally fragmented long bone remains indicate (intensive?) carcass exploitation of various large game species, among which red deer seems to predominate. Plant remains analysis gives also information on wild picking products, especially hazelnuts. Osseous material industry is dominated by waste products occurring from sectioning action of red deer antler by notching. Few examples of bone and tooth working highlight the use of removal by diffuse percussion during shaping. Preliminary observations conducted on the lithic assemblages show that domestic tools are mostly manufactured on local raw materials of poor quality. Exogenous raw materials of better quality are mainly used for the fabrication of microliths using the microburin technique; the latter tending to disappear at the end of the sequence. Usewear analysis on arrowheads shows that triangles are present throughout the sequence and always hafted as barbs while Sauveterre points and segments are only present in the oldest decapages. [ABSTRACT FROM AUTHOR]

The maintenance of family farms in mountain areas constitutes a serious challenge in the context of globalization. European mountain agriculture faces significant natural constraints and cannot follow the same development path as agriculture in the plains. The study reported here sought to analyze recent changes in mountain family dairy farming in the Vercors (Alpine uplands with urban and tourism development) and characterize the diversity of family farm development trajectories. We developed an analytical framework that allowed us, based on individual data from the National Census of Agriculture for 1988, 2000, and 2010 and semistructured interviews in farms, to capture and analyze patterns of change on family dairy farms between 2000 and 2010 and to link changes in farming systems and farming family organizations. Our results show a drop in the number of dairy farms and changes to their organization. This article discusses the different strategies adopted by dairy families, which are based on different adaptive resources. [ABSTRACT FROM AUTHOR]

Among the best-selling French literary works of the twentieth century, Vercors' novella has enjoyed an exceptionally rich afterlife thanks to numerous print editions as well as several influential stage and screen adaptations: Jean-Pierre Melville's 1947 feature film, Jean Mercure's 1949 play, Vercors' own 1978 theatrical rendering, and a 2004 television movie written by Anne Giafferi and directed by Pierre Boutron. Taking a comparative approach that weighs the aesthetic and ideological priorities of these authors and directors alongside shifts in historiography and French political culture, this article traces the evolution of Le Silence de la mer as a contested site of national memory and a means of negotiating the ethically-charged concepts of collaboration and resistance. [ABSTRACT FROM AUTHOR]

The article presents information on the French government's strategy regarding the reconstruction of the region of Vercors, France, after the damage caused by violent battles in the summer of 1944. According to the article, the agricultural reconstruction of Vercors aimed to promote the modernization of production facilities by financially assisting farms that had the greatest economic potential. A description of the process of valuation of losses is provided. The social aspect of this reconstruction process is analyzed.

The article examines a document entitled "Souvenir d'un voyage au Service du Maître dans le Vercors (Drôme) du 2 au 6 juillet 1900. Dédié à ma chère Mère," written by young Swiss missionary Henri Contesse on August 3, 1900. The story describes his short voyage to the Vercors region of France and provides a brief glimpse into his life and faith as experienced among evangelical assemblies, or Open Brethren. It mentions the influence of his mother Catherine Contesse on her sons. Excerpts and summaries from the text are included. The author concludes by noting that the text reflects a time period during which missionaries were hoping to recreate a Protestant France and advances that mission stories reinforce cohesion among members of evangelical assemblies.

Abstract: This article focus with recent studies realized on the Vercors Mountain about middle paleolithic site in altitude context. It proposes to make the synthesis of the data concerning the exploitation and especially circulation of the various types of flint inside and near this geographic area. This level of analysis makes it possible to discuss on the mobility degree of the mousterians groups in Vercors and to advance hypotheses on the settlement system within this territory. [Copyright &y& Elsevier]

The Subalpine Urgonian platform provides seismic-scale outcrops of interest to constrain the depositional organisation of Lower Cretaceous carbonate systems. Revising the biostratigraphy using ammonites, rudists, calcareous algae and orbitolinids and establishing regional stratigraphic correlations between the Gresse-en-Vercors cliff and the Plateau de Glandasse provide a new vision regarding the Urgonian platform stratigraphic architecture of the southern Vercors. The rudist-dominated inner-platform series cropping out in the northern Gresse-en-Vercors cliff grades laterally southward into the bioclastic-dominated Glandasse Formation (defined in the Plateau de Glandasse series). Our new correlations contradict with the Grenoble University's conceptual platform model which considered the Glandasse Formation as rudist-poor lowstand deposits formed in the southern Vercors and sealed by the transgressive Urgonian limestones formation. Our interpretation better conforms to the Geneva University's conceptual model, suggesting that the Glandasse and Urgonian limestones formations should be regarded as stratigraphic equivalents. Further investigations are needed to address the stratigraphic evolution and controlling mechanisms of the regional Urgonian system at the regional scale. [ABSTRACT FROM AUTHOR]

The purpose of this article is to discuss together two notions that are largely put forward and criticised in the field of environmental management, both being equally used by the actors of forest exploitation. We shall first tackle the notion of multifunctionality and its three inseparable main aspects (economic, social an environmental). We shall draw the genealogy of such notion, while criticizing its theoretical roots and confronting it to the reality of one particular territory dominated by forests, the Massif du Vercors. This territory will allow us to tackle the second notion of sylvo-hunting balance, which will help us understand why multifunctionality somewhat remains contentious. Looking closer to the words themselves, what would be a functioning forest ?