Centre National De La Research Articles

Female immune-boosted chicks get longer telomere clocks

As the effects of time take their toll, things begin to wear out. Joints get stiff and elderly animals tend to be less sharp than they once were. The effects of time are felt even down in the tiny capping structures, known as telomeres, at the tips of chromosomes. François Criscuolo from the Centre National de la Recherché Scientifique, France, and Tony Williams from Simon Fraser University, Canada, explain that telomeres shorten as cells age, like a clock ticking down. However, they were curious to find out how events back at the start of life mould the telomeres that will eventually influence an animal's resilience and longevity. Knowing that chicks developing from the eggs of mothers that had experienced a fake infection when they laid their eggs inherit more antibodies and tend to be larger at ∼4 weeks of age, Williams and his colleague, Roxana Torres from the Universidad Nacional Autonoma de Mexico decided to find out what effect this additional immunity provided by mothers has on the length of their youngster's telomeres when they hatch and later in life.Williams and Torres injected female zebra finches with fragments of bacteria prior to mating – to trick the birds’ immune systems into trying to fight off the feigned infection – and then collected the eggs laid by the females, injecting some eggs with testosterone, to find out whether the hormone also affected the length of the chromosome-capping structures. Incubating the eggs until they hatched, the duo monitored the chicks' growth until they were almost 3 months old. In addition, as bird red blood cells are packed with DNA, the researchers collected blood samples from the youngsters at the age of 4 weeks and again at 3 months, to track the condition of their telomeres. They also collected blood samples from the mothers – before the simulated infection, when they laid their first egg and when their chicks were 4 weeks old – to find out whether motherhood had taken a toll on the condition of their own telomeres and whether the offspring inherited their mothers’ telomeres. Then, Williams passed the blood samples on to Criscuolo and Sandrine Zahn at the University of Strasbourg, France, to analyse the length of the chicks’ and mothers’ telomeres.Not surprisingly, when Criscuolo and Williams investigated the impact of motherhood, the females with the largest clutches of eggs suffered the most telomere loss. However, the mothers that had been fighting off a fake infection when they laid their eggs suffered less telomere degradation; ‘perhaps telomere loss was reduced due to earlier activation of the immune system, prior to laying, in these immune-challenged females’, says Williams. And the mothers with the longest telomeres passed on the benefit to their daughters. However, the length of the sons’ telomeres bore little resemblance to those of their mothers.When it came to the state of the youngsters’ telomeres as they developed and grew, female chicks that had received a testosterone boost in addition to the boost from their mothers’ immune systems had longer telomeres, while a testosterone injection alone improved the sons’ telomeres. Also, the youngsters that had the longest telomeres shortly after hatching were still ahead in the telomere stakes when they matured into adults, ‘suggesting that individual differences in telomere length are established early in life, partly thanks to the combined effects of in-egg maternal molecules’, say Williams and Criscuolo.

Arabic-Language Children's Literature: A Project of the International Youth Library

Arabic-Language Children's Literature:A Project of the International Youth Library Jochen Weber (bio) Despite their geographical size as well as cultural and political importance, Arabic-speaking countries still play a comparatively minor role in international children's and youth literature. Even though interest has grown in recent years, Arabic-language children's and young adult books and their authors and illustrators are little noticed internationally. This is also true of the German-language book market, in which translations from Arabic are still in short supply and the availability of non-translated original-language books is low. There are hardly any booksellers specializing in Arabic literature. Public libraries and school libraries are often inadequately equipped with books for young Arabic-speaking readers. One reason for this is the lack of information for librarians, educators, and other mediators about trends and recommended titles. The authors and illustrators, as well as topics and contents of Arabic-language children's books, are mostly unknown in Germany, although the need for and interest in exchange with the Arabicspeaking world has grown. Click for larger view View full resolution Figure 1. This lack of knowledge and access has become particularly evident since 2015, when the number of refugees and immigrants from Syria, Iraq, and other countries arriving in Europe greatly increased. A large proportion of the migrants arrived in Germany, where they needed to be admitted, sheltered, cared for, and integrated as quickly as possible. The demand for original-language multilingual media soon grew in libraries and schools, as well as in institutions where refugees and those seeking protection live. Children's books are important mediums and mediators for integration. They can be inclusive and promote intercultural exchange. Books written in the original language can provide a piece of home for young people who have fled war or poverty and strive to preserve their language as a link to their origins. At the same time, this literature can also build bridges to the Arab world, which is [End Page 93] often perceived in a stereotypical and prejudiced way. The prerequisite for this productive exchange is that Arab children's and young adult books are made known in German-speaking countries and brought to libraries, and translations are encouraged. This situation inspired a three-year project, which the International Youth Library (IYL) launched in 2017 and is pioneering in Germany. The project is funded by the city of Munich and aims to provide an insight into Arabic-language children's literature while recommending books that might be suitable for use in libraries, kindergartens, and schools. The project also encourages German-language publishers to take a closer look at the children's book production in Arabic-speaking countries and to discover books that could be of interest to their book market and deserve to be translated. The IYL is happy to have enlisted the Syrian scholar and cultural historian Azad Hamoto, who has been living in Munich for several years, to work on this project. The work began with a survey of the Arabic-language children's and young adult book market. Which subjects, themes, and genres play a significant role? Which authors and illustrators deserve special attention? Where are interesting, important publishers located? With these questions in mind, numerous titles from the current publishing programs have been reviewed and critically examined over the past few years as part of the project. Hasmig Chahinian, specialist for Arabic-language children's and youth literature at the Centre National de la Litteŕature pour la Jeunesse (CNLJ—IBBY France) at the French National Library, assisted with valuable advice and insights. Click for larger view View full resolution Figure 2. In the spring of 2018, the IYL published a reference catalog presenting recommended titles. In May 2019, a second catalog followed (Figures 2 and 3). A third catalog will be published in spring 2020 at the completion of the three-year project. The twenty-eight-page German-language catalogs each offer forty annotated titles, along with bibliographic data, images of book covers, and brief biographical information on authors and illustrators, as well as a name and subject index. On the occasion of the publication of the first catalog, the...

“To Show the People in Paris How We Live Here”: Working-Class Representation, Paul Carpita, and Film History

“To Show the People in Paris How We Live Here”: Working-Class Representation, Paul Carpita, and Film History Sabine Haenni (bio) French and Anglo-American film historians usually stress the “idea of continuity” that dominated French cinema after World War II.1 Susan Hayward claims that “the look of France’s cinema did not change considerably” after the war, and Alan Williams suggests that the foundation of institutions such as the CNC (Centre National de la Cinématographie) helped nurture “the strong artistic continuity between the new French school of the Occupation and the postwar Tradition of Quality.”2 During the war, when the German company Continental made films in Paris, production in the South had become more important, at least before the occupation of the Southern zone in 1942. Many film professionals found themselves in Nice, the country’s second largest production site, and other cities such as Toulon and Marseille saw the foundation of new production companies.3 After the war, however, most film histories shift their focus back to Paris. Film production seems once again centered in the capital. In terms of representation onscreen, however, historians have noted one major change compared to the pre-war period. The 1930s, Susan Hayward tells us, saw “the emergence onto the screen of the working class in a big way. The proletariat—most especially the Parisian working class . . . became the new iconography denoting ‘Frenchness.’” Such a new iconography entailed a shift not just to the representation but also to the valorization of the working class. And yet, “after the Occupation and into the 1950s, the working class all but disappeared both as an icon and as a preoccupation (either positive or negative).” Instead, the 1950s are characterized by an “aura of uninventiveness” during which genre films such as the film policier and comedies dominate.4 In a more detailed account of the [End Page 79] fate of the cinematic working class, Michel Cadé acknowledges the paucity as well as the diversity of working-class themed films that in his view do not constitute a clearly defined “genre,” but equally emphasizes their relative flourishing in the 1930s, after 1968, during the 1980s, and from 1992–2002. Cadé also notices a brief moment of flourishing working-class representation during post-war liberation, which came with a brief left-wing political victory.5 I want to start with this brief post-war moment marked by “revolutionary illusion” and “great Hope for social change.”6 According to historian Emile Temime, this was particularly true for the country’s southern port city of Marseille, which had been deeply affected by the war, when it was the major port in Europe from where people fleeing fascism tried to escape, and which had resulted in the total destruction of one of its central neighborhoods.7 After the war, Marseille was a stronghold of the Communist Party and briefly had a communist mayor, before strikes in 1947 paralyzed the city’s port—strikes that would flare up again in 1950 and 1951.8 One of the more fascinating filmmakers to come out of this milieu was Paul Carpita, a son of a dock worker and fish-monger, who had become a schoolteacher, who had been active in the Resistance, and who had joined the French Communist Party (PCF) in 1943.9 In 1947, Carpita created Ciné-Pax, a small filmmaking collective—which he was happy to call a “counter-school of cinema”—committed to filming “counter-actualities” that were then screened unofficially in Marseille’s Saint-Lazare Cinema. Some footage shot for Ciné-Pax, particularly that of a strike of the dock workers in 1950, was incorporated into the fictional feature-length film, Le Rendez-vous des quais/Meeting on the Docks (FR, 1955), about the daily life of dock workers in Marseille during the Indochina War (1946–54), which would be finished only in 1955.10 In this essay, I understand Carpita as coming out of this postwar moment, and I will unpack how especially his feature film creates spaces where intersectional working-class identities—differently marked by anti-colonial struggles, gender, and race—come together in an alliance based on friendship. Carpita creates images of a...

The human gut microbiome as source of innovation for health: Which physiological and therapeutic outcomes could we expect?

From the moment of birth, each human being builds a microbe-host symbiosis which is key for the preservation of its health and well-being. This personal symbiotic coexistence is the result of progressive enrichments in microorganism diversity through external supplies. This diversity is nowadays massively overthrown by drastic changes related to clinical practice in birth management, environmental exposure, nutrition and healthcare behaviors. The last two generations have been the frame of massive modifications in life and food habits, with people being more and more sedentary, overfed and permeated with drugs and pollutants. We are now able to measure the impact of these changes on the gut microbiota diversity. Concomitantly, these modifications of lifestyle were associated with a dramatic increase in incidence of immune-mediated diseases including metabolic, allergic and inflammatory diseases and most likely neurodegenerative and psychiatric disorders. Microbiota is becoming a hot topic in the scientific community and in the mainstream media. The number of scientific publications increased by up to a factor three over the last five years, with gastrointestinal and metabolic diseases being the most productive areas. In the intellectual property landscape, the patent families on microbiota have more than doubled in the meantime. In parallel, funding either from National Institutes (e.g. from NIH which funds research mainly in the field of allergies, infections, cancer and cardiovascular diseases, from the White House which launched the national microbiome initiative) or by pharmaceutical companies follow the same trend, showing a boost and a strong support in the research field on microbiota. All major health players are investing in microbiome research as shown by the number of deals signed and by funding during 2015. The Giens round table addressed how the medicine of tomorrow, considering human beings as a human-microbe symbiotic supraorganism, could leverage microbiome knowledge and tools. The rationale for our working group has been structured around four domains of innovation that could derive from ongoing efforts in deciphering the interactions between human cells and intestinal microbiome as a central component of human health, namely: (1) development of stratification and monitoring tools; (2) identification of new target and drug discovery, as a part of our supra-genome; (4) exploitation of microbiota as a therapeutic target that can be modulated; (4) and finally as a source of live biotherapeutics and adjuvants. These four streams will exemplify how microbiota has changed the way we consider a wide range of chronic and incurable diseases and the consequences of long-lasting dysbiosis. In-depth microbiota analysis is opening one of the broadest fields of investigation for improving human and animal health and will be a source of major therapeutic innovations for tackling today's medical unmet needs. We thus propose a range of recommendations for basic researchers, care givers as well as for health authorities to gain reliability in microbiome analysis and accelerate discovery processes and their translation into applications for the benefits of the people. Finally, les Ateliers de Giens round table on microbiota benefited from the richness of the French ecosystem. France represents a center of excellence in the microbiota research field, with French institutions as Institut national de la recherche agronomique (INRA [Metagenopolis, Micalis]), Centre national de la recherché scientifique (CNRS), Unité de recherche sur les maladies infectieuses et tropicales émergentes (URMITE), Institut of Cardiometabolism and Nutrition (ICAN), Institut des maladies métaboliques et cardiovasculaires (I2MC), Institut national de la santé et de la recherche médicale (Inserm), Pasteur Institute and Gustave-Roussy being top-players for the number of publications.

Arun Kolatkar and Literary Modernism in India: Moving Lines by Laetitia Zecchini (review)

Reviewed by: Arun Kolatkar and Literary Modernism in India: Moving Lines by Laetitia Zecchini Graziano Krätli Arun Kolatkar and Literary Modernism in India: Moving Lines. Laetitia Zecchini. London: Bloomsbury, 2014. Pp. xvii + 248. $110.00 (cloth). It is hard to imagine a modern poet who is more appealing to a researcher’s interests and, at the same time, more refractory to any kind of scholarly investigation than the subject of the book under review. This particular tension, if properly exploited through a combination of sound research and perceptive insights, may go a long way to guarantee the success of a critical study. Fortunately, this is what Laetitia Zecchini, a French researcher at the Centre national de la [End Page 408] recherche scientifique (CNRS) in Paris, achieves in her thorough and eloquent portrait of Arun Kolatkar (1932–2004), a reclusive and ruminative literary maverick, whose utter disregard for publication, let alone publicity, long delayed his recognition as one of India’s most significant poets of the twentieth century. As a result, his “work is still in the process of being discovered,” and his published output represents the tip of an iceberg whose underwater portion consists of thousands of pages of “various novel manuscripts, translations, diaries, sketchbooks, drafts, songs, paintings and graphics [which] are still to be brought to light, and for the time being are preserved in cardboard boxes by close friends across Mumbai” (12). Born in a Marathi-speaking Brahmin family from Kolhapur, in southern Maharashtra, Kolatkar moved to Bombay to attend the J. J. School of Art, but he soon dropped out, eventually pursuing a career in advertising and gaining a reputation as one of the most talented art directors in the city, if not the country. This talent he often lent to the little magazines and publishing initiatives he became involved in as a poet and translator, and which nurtured the “post-independence Bombay scene for poetry, art and modernism” (35) during the 1950s through the 1970s. This is clearly a scene that deserves a book of its own, in the absence of which Zecchini provides a suggestive compendium of salient features in the first chapter, “Bombay Bohemianism, Bombay Cosmopolitanism,” stressing the “complex interplay of traditions, affiliations and languages, of world culture and subculture,” as well as the “local or ‘rooted’ cosmopolitanism, that articulates the tension and imbrication of deracination and belonging, roots and routes, marginality and worldliness” (59). Zecchini quotes the art historian Partha Mitter’s statement that “colonial cities like Bombay and Calcutta constitute the interface between the local and the global.” If this could be said of virtually any other ancient or modern city, it illustrates well Kolatkar’s poetry and underlying Weltanschauung, focused on the hyperlocal yet nourished by encyclopedic interests and voracious reading habits. (The Kolatkar Papers at the Bhandarkar Oriental Research Institute in Pune, which Zecchini has explored diligently and in depth, include an extensive collection of books, newspaper clippings, and other documents on a multitude of topics and in several languages.) A poet of the “unpoetic trivial present,” Kolatkar didn’t need to travel far to find suitable subjects and themes for his art. Except for a pilgrimage of sorts to the Khandoba Temple in Jejuri, southeast of Pune, which inspired his best-known book, he found all his material in plain view on the sidewalks of South Bombay. Like George Perec in front of St-Sulpice, taking down notes from the vantage point of three different cafés …, but more accurately still like Constantin Guys, painter of modern life and passionate spectator [in Baudelaire’s 1863 essay “The Painter of Modern Life”] sitting ‘in the window of a coffee-house,’ absorbed in gazing at the crowd, Kolatkar observed the street life of Kala Ghoda. Every week, for more than 15 years, from the vantage point of the same corner window table facing the traffic island in the Wayside Inn café, the poet patiently engaged with the constantly changing ordinary street life in front of him. (99) This patient and sustained engagement, which resulted in the Kala Ghoda Poems (published only weeks before Kolatkar’s death in September 2004), shows a modernist sense of the everydayness that owes as much...

The French Who Dont Go to the Movies: Government and Industry Assess the Audience, 1948–54

Who were the French who wouldnt go to movies? The question was a vexing one in France after the Second World War, to which the film industry and the national government sought answers. In 1948 the Gaumont Film Company commissioned a survey of who went to the movies, who didnt, and why. In 1954, the Centre National de la Cinématographie, acknowledging La crise du cinéma, published an ominously titled Inquest about movies and the French public. Thus audience studies in France took on national importance, and created a sociological and psychological profile of viewers that could be used to enhance business practice and government policy.

Enfants en temps de guerre et littératures de jeunesse: XXe–XXIe siècles (Children in times of war and youth literatures: XXth–XXIst centuries) (review)

Reviewed by: Enfants en temps de guerre et littératures de jeunesse: XXe–XXIe siècles (Children in times of war and youth literatures: XXth–XXIst centuries) Anne Cirella-Urrutia (bio) Enfants en temps de guerre et littératures de jeunesse: XXe–XXIe siècles (Children in times of war and youth literatures: XXth–XXIst centuries). Proceedings. Edited by BNF/Centre national de la littérature pour la jeunesse. Clermont-Ferrand : Presses universitaires Blaise Pascal , 2013 . This collection of essays proceeds from an October 2012 symposium held in Paris, organized by Bibliothèque Nationale de France (BNF), Centre National de la Littérature pour la Jeunesse (CILJ), Université Blaise Pascal, and Centre de Recherches sur les Littératures et La Sociopoétique (CELIS). This joint event highlighted the importance of children’s literature as one site of historical and cultural inquiry. Divided into four major sections that deal with the Great War, the Spanish Civil War (1936–39), WWII, and recent conflicts in Africa and the Middle East, this event convened a myriad of participants: Polish Jewish survivors of the Holocaust, illustrators, editors of youth literature, translators, librarians, historians, and scholars in the field of Italian, Spanish, African, British, Arabic, French, and Germanic literatures. The interdisciplinary scope of this symposium pointed to the value of representations of war from the child’s unique perspective, or “à hauteur d’enfant” (13). This key concept sets the focus on the discussion of key fictional works: autobiographical novels, picture books, illustrated magazines, documentaries, newspapers, and plays that incorporate themes once considered taboo. Part 1 gathers five essays written during WWI in Italy, Germany, and [End Page 451]France. Mariella Colin analyzes Golia’s Pentolino e la grande guerra(1915) and Visentini’s Primavera Italiche(1915), as well as such newspapers as Corriere dei Piccoliwhich profile the many images of the child as hero or heroine. Bérénice Zuno discusses the proliferation of pictures books as one kind of leisure activity for children in Germany. She shows how these works carry counter-hegemonic discourses and denounce the absurdity of the war. Hans-Heino Ewers focuses on author Hulda Micals’s use of her heroine Julchen Waldebauer to portray her own traumatic experience in Germany in the form of a fictional biography. In her essay on the series Les Livres Roses de la Guerre(1915–19), edited by Larousse, Marie Puren discusses the child as the ideal hero who sacrifices himself for France. Marion Pignot concludes, giving importance to the theme of violence as one new facet of children’s literature. Part 2 deals with the cultural representations of the Spanish Civil War that characterized major nationalistic graphic journals and literature for youth. Didier Corderot discusses the birth of one major magazine entitled Pelayos(1936) and its indoctrination of the Carlist youth. He juxtaposes it to a concurring publication named Flecha(1936), which advocated the Falangist doctrine promoted by General Franco. Marie Franco addresses issues in an autobiographical novel written during the conflict: Celia en la revolución, by Elena Fortún, became accessible to readers only in 1987, well after Franco’s death. Both the realism of the setting and the presence of a teenage female character attest to the author’s own experience of the civil war. Finally, Euriell Gobbé-Mévellec analyzes how the memory of the Spanish Civil War is recaptured in five picture books published since 2000, pointing to common aesthetic patterns in portraying the horror of this war. Part 3 presents six essays that deal with narrations of resistance during WWII. It begins with two compelling testimonies by Polish Jewish survivors and children’s authors Régine Lilensten and Isaac Millman. Sylvie Martin-Mercier looks further into these narrations of resistance and resilience in Italy with the study of Guido Petter’s Ragazzi di una banda senza nome(1972) and Nel rifugio segreto(1998). Rose-May Pham Dinh delves into recent fantasy books from England: Robert Swindell’s Blitzed(2007), narrated by the young hero George, and Michael Cronin’s Against the Day(1998). Anne Chassagnol demonstrates how a teddy bear becomes the narrative voice adopted by Alsatian writer Tomi Ungërer to depict the war. Milena Šubrtov...

Notes on Contributors

Notes on Contributors

Micro-anatomy of the ureterovesical junction in urinary reflux.

Acta Neurologica ScandinavicaVolume 42, Issue S20 p. 53-60 MICRO-ANATOMY OF THE URETEROVESICAL JUNCTION IN URINARY REFLUX J. Peremans, Search for more papers by this author J. Peremans, Search for more papers by this author First published: June 1966 https://doi.org/10.1111/j.1600-0404.1966.tb02018.x From the Department of Pathology, Militair Hospitaal, Brussels, and Centre National de la Sclérose en Plaques, Melsbroek, Belgium. AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinked InRedditWechat Volume42, IssueS20June 1966Pages 53-60 RelatedInformation

Analyse de l'électrocardiogramme et de l'échocardiographie de 181 footballeurs professionnels tunisiens

Objectives The aim of our work was to determine the frequency of various cardiovascular abnormalities and atypical aspects observed in Tunisian competitive athletes. Material and methods Our population was constituted of 181 professional football players (average age 23.1 ± 3.9 years) consulted in “Centre National de la Médecine et des Sciences de Sport” of Tunis with to obtain medical certificate authorizing professional football practice. Results Electrocardiogram was strictly normal in 67 players (37%). Twenty-nine players had conduction abnormalities. Repolarisation abnormalities were noted in 20 players. Echocardiography was normal in 129 players (71.3%). Ten cases of valvular heart disease were found. The mean left ventricular end-diastolic diameter was 53 ± 4 mm and the mean left ventricular mass was 202.6 ± 42.7 g. The mean relative wall thickness was 0.380. The left ventricular hypertrophy was present in 42 players. Conclusion Cardiovascular abnormalities found in electrocardiogram and echocardiography in the Tunisian professional football players are comparable with those usually observed in elite athletes.

Changing libraries, encountering the law

The technical and legal issues associated with digital material, originally the concern principally of audiovisual librarians, now impact upon library management in general. Three factors, occurring simultaneously, have driven the digital agenda for library managers: the high profile accorded to the accomplishment of mission; the ever-increasing complexity of copyright legislation; and the Internet which has served as a catalyst for deregulation and globalisation. The purpose of this short article is to explore both the opportunities and the obstacles posed by these factors across three core areas of digital collection management: conservation, access and development. I shall draw upon the Bibliothèque nationale de France (BnF) in this context. The BnF is a national library containing heritage collections, largely legal deposit and used for research purposes,. and also collections aimed at a far wider public.. The Audiovisual department is in charge of phonograms, videograms, multimedia and electronic documents. The collection was originally created in 1911 by the linguist Ferdinand Brunot of the Sorbonne University as 'Les Archives de la parole'. Subsequently the collection has been further developed mainly with published records, mostly as legal deposit. The collection now has over one million documents, in all kinds of technical devices and carriers. In France, three institutions share the audiovisual heritage collections: the BnF for documents, the Centre National de la Cinématographie (CNC) for film, and the Institut national de l'Audiovisuel for radio and television archives. In the BnF audiovisual collections are enlarged by legal deposit, by acquisitions and by donations. But whereas we own the carriers - a material property -, we do not own the intellectual property in the work. The protection of authors' rights and neighbouring rights are central to the actions we have to perform in order to accomplish our missions of conservation and giving access.

French Cinema

The article opens with a brief discussion of the cultural economy of cities. A framework for investigating this phenomenon is then proposed, paying special attention to the interconnections between the system of production, its geographic milieu and the logistics of distribution. An overview of the structure and logic of the French film industry is laid out in which the fragmentation of production activities and labor markets is stressed. The policy system governing the French film industry is described in detail, and the special role of the CNC (Centre National de la Cinématographie) is highlighted. The industry is then shown to be deeply interwined with the urban milieu of Paris, both in terms of its locational structure and its cultural dynamics. The final major section of the article deals with issues of industrial survival and competitiveness in the new global economy. It is suggested that French film policy needs to shift from a posture of defensive support of the industry to a more clearly articulated and aggressive concern with rebuilding market share in both the domestic and international arenas.

The origin of nest complexity in social insects

Guy Theraulaz is a CNRS (Centre Nationalde la Recherche Scientifique) fellow andis currently at the Ethology and AnimalPsychology Laboratory, Paul Sabatier Uni-versity in Toulouse, France. Eric Bonabeauis the Interval Research Fellow at the SantaFe Institute, Santa Fe, New Mexico. Jean-Louis Deneubourg is a Lecturer at theUniversite Libre de Bruxelles and a fellowof the Belgian FNRS. He is currently run-ning the Theoretical Behavioral Ecologyunit at the Non-Linear Phenomena andComplex Systems Study Center.

BHA/BIBLIOGRAPHY OF THE HISTORY OF ART/BIBLIOGRAPHIE D'HISTOIRE DE L'ART

Previous articleNext article No AccessBHA/BIBLIOGRAPHY OF THE HISTORY OF ART/BIBLIOGRAPHIE D'HISTOIRE DE L'ARTMichael RinehartMichael Rinehart Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Art Documentation Volume 9, Number 3Fall 1990 Published for the Art Libraries Society of North America Article DOIhttps://doi.org/10.1086/adx.9.3.27948237 Views: 2Total views on this site Copyright © 1990 ARLIS/NAPDF download Crossref reports no articles citing this article.