Travailler ou danser. L’iconographie des dix vierges (Pays-Bas, xvie-xviie siècle)

Cette contribution analyse les déclinaisons du thème iconographique de la parabole des dix vierges dans des estampes produites entre les xvie et xviie siècles aux Pays-Bas. Issues d’un processus culturel complexe de production et réception, ces artefacts culturels constituent un exemple significatif de la mise en œuvre d’un discours moralisateur de nature confessionnelle au service de la transformation du système de valeurs d’une population urbaine caractérisée par des changements significatifs dans les structures économiques et sociales de la modernité, dans lesquelles les hommes et les femmes ne cessent de négocier leurs relations et leurs rôles sociaux. L’opposition symbolique entre l’image positive des femmes qui travaillent et celle négative des femmes qui dansent qui émerge de l’analyse, permet d’éclairer la complexité de l’articulation entre les représentations sociales de la danse et du genre que cette opposition implique et produit.This contribution analyzes some examples of the iconographic theme of the parable of the ten virgins in print engravings produced between the sixteenth and seventeenth centuries in the Netherlands. These cultural artifacts are the result of a complex process of production and reception. They constitute a significant example of the implementation of a confessional moralizing discourse aimed at the transformation of the value system of an urban population already characterized by economic and social structures of modernity in which men and women constantly renegotiated changing social relations and roles. The symbolic opposition between the positive image of working women and the negative image of dancing women that emerges in this analysis helps to clarify the complexity of the articulation between the social representations of dance and gender that this opposition implied and produced

Danser seule au XVIIIe siècle : un espace féminin de création et transmission ?

Cette étude propose des hypothèses sur l’affirmation d’un statut professionnel et sur la construction des représentations de la danseuse par la danse en solo sur la scène de l’Académie royale de musique à Paris, pendant la première moitié du XVIIIe siècle. L’objectif est d’identifier les jalons d’un processus qui contribue à faire de la danseuse soliste une figure paradigmatique de l’histoire du ballet et plus largement de la culture européenne. Une attention particulière sera portée à la pièce Les Caractères de la danse, une fantaisie musicale de Jean-Féry Rebel (1715), dont la conception et la chorégraphie sont attribuées à la danseuse Françoise Prévost (1680-1741), qui la dansa probablement en solo. Une fois reprise par d’autres danseuses à qui elle aurait été transmise, cette pièce devint un test d’interprétation, d’invention et de popularité pour plusieurs d’entre elles à des moments clés de leur carrière. L’analyse de ses traces et de sa réception durant la première moitié du XVIIIe siècle permet d’interroger les pratiques des exhibitions en solo, les rituels de passage dans la carrière d’une soliste et les modalités d’imprégnation et d’appropriation des modèles de créativité féminine, vers une nouvelle esthétique de l’expression.This paper presents some hypotheses about the way that the solo dance became a means for establishing the professional status of the female dancer and for creating her image on the stage of the Académie royale de musique during the first half of the 18th century. Its aim is to identify the stages in a process that helped to make the solo female dancer a paradigmatic figure in the history of ballet and, even more so, in European high culture. It focuses in particular on the Les Caractères de la danse, a fantasie musicale by Jean-Féry Rebel (1715), whose choreography and interpretation has been attributed to the female dancer Françoise Prévost (1680-1741) who probably performed it as an item in a solo recital. Once restaged by or transmitted to other female dancers, this piece became a test of a dancer’s abilities as an interpreter, and as an inventive performer, and as a test of popularity for a number of these dancers at key moments in their careers. An analysis of steps and of the reception of this piece in the first half of 18th century, allows an examination of the practices of the solo performance, the rites of passage in the career of a female soloist, and the propagation and appropriation of female models of creativity, leading towards a new aesthetic of expression

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Origines du projet Le dossier thématique de ce numéro rassemble des contributions et des travaux pour la plupart réalisés dans le cadre d’un appel à projet financé en 2013 par le GIS Institut du genre, soutenu par le Centre Transdisciplinaire d’Épistémologie de la Littérature et des Arts vivants (CTEL EA 6307) de l’Université de Nice Sophia Antipolis et l’équipe Genre, Travail, Mobilités (GTM-CRESPPA, UMR 7217). L’un des axes de l’appel à projet du GIS portait plus spécifiquement sur : « Héri..

La « belle dance » des genres : des notations anciennes à la création contemporaine

Entre l’analyse des sources de la danse baroque et des pratiques de la création contemporaine de Béatrice Massin, cet entretien prend en considération les éléments chorégraphiques, les catégories esthétiques et les normes corporelles par lesquels, dans le passé comme aujourd’hui, se définit la différence des sexes dans la danse. L’élaboration d’un vocabulaire technique spécifique et des compétences corporelles qu’il présuppose, la gestion particulière de l’espace, la perception du poids et du volume du corps vêtu qui l’habite, la construction d’une figure ou d’un personnage, les libertés et les contraintes de l’interprétation, le rôle de la professionnalisation des danseuses dans la redéfinition de l’art scénique de la danse, sont autant de thèmes qui traversent cette conversation complice entre la danseuse et chorégraphe Béatrice Massin et la danseuse et historienne Marina Nordera.Taking into account an analysis of the sources concerning the Baroque dance as well as the choreographic practice today of Béatrice Massin, this interview reviews the choreographic elements, aesthetic categories, and bodily norms which, from the past to the present, define gender differences on the stage and in the ballroom. These include: the development of a specific technical vocabulary and the bodily skills it demands; particular uses of space and perceptions of the weight and volume of the clothed body that occupies it; the construction of a figure or a character; freedom and constraint in interpretation; the role of professional dancers in redefining the nature of theatrical dance. All these themes run through this wide ranging conversation between the dancer and choreographer Béatrice Massin and dancer and historian Marina Nordera

Impact of the Secretome of Human Mesenchymal Stem Cells on Brain Structure and Animal behavior in a Rat Model of Parkinson’s Disease

Research in the last decade strongly suggests that mesenchymal stem cell (MSC)-mediated therapeutic benefits are mainly due to their secretome, which has been proposed as a possible therapeutic tool for the treatment of Parkinson's disease (PD). Indeed, it has been shown that the MSC secretome increases neurogenesis and cell survival, and has numerous neuroprotective actions under different conditions. Additionally, using dynamic culturing conditions (through computer-controlled bioreactors) can further modulate the MSC secretome, thereby generating a more potent neurotrophic factor cocktail (i.e., conditioned medium). In this study, we have characterized the MSC secretome by proteomic-based analysis, investigating its therapeutic effects on the physiological recovery of a 6-hydroxidopamine (6-OHDA) PD rat model. For this purpose, we injected MSC secretome into the substantia nigra (SNc) and striatum (STR), characterizing the behavioral performance and determining histological parameters for injected animals versus untreated groups. We observed that the secretome potentiated the increase of dopaminergic neurons (i.e., tyrosine hydroxylase-positive cells) and neuronal terminals in the SNc and STR, respectively, thereby supporting the recovery observed in the Parkinsonian rats' motor performance outcomes (assessed by rotarod and staircase tests). Finally, proteomic characterization of the MSC secretome (through combined mass spectrometry analysis and Bioplex assays) revealed the presence of important neuroregulatory molecules, namely cystatin C, glia-derived nexin, galectin-1, pigment epithelium-derived factor, vascular endothelial growth factor, brain-derived neurotrophic factor, interleukin-6, and glial cell line-derived neurotrophic factor. Overall, we concluded that the use of human MSC secretome alone was able to partially revert the motor phenotype and the neuronal structure of 6-OHDA PD animals. This indicates that the human MSC secretome could represent a novel therapeutic for the treatment of PD.Portuguese Foundation for Science and Technology via a Ciência 2007 program and an FCT (Portuguese Foundation for Science and Technology) Investigator development grant (A.J.S.), predoctoral fellowships to F.G.T. (SFRH/69637/2010), and a fellowship to S.A. (SFRH/BD/81495/2011); a Canada Research Chair in Biomedical Engineering (L.A.B.) and a Schulich School of Engineering postdoctoral fellowship (K.M.P.), cofunded by Programa Operacional Regional do Norte (ON.2 – O Novo Norte), under Quadro de Referência Estratégico Nacional (QREN), through Fundo Europeu de Desenvolvimento Regional (FEDER), PEst-C/SAU/LA0001/2013-2014, cofunded by the Programa Operacional Factores de Competitividade, QREN, the European Union (FEDER), and by The National Mass Spectrometry Network under the contract REDE/1506/REM/2005info:eu-repo/semantics/publishedVersio

Éditorial

Dans son premier numéro, au début de 2014, Recherches en danse a publié le compte rendu de la table ronde Panorama de la recherche en danse en France et en Italie qui avait eu lieu le 14 décembre 2012 à l’université Nice Sophia Antipolis (UNS), dans laquelle un groupe de chercheurs italiens et français a ouvert un dialogue sur la recherche en danse dans les deux pays. Les interventions et les échanges qui en ont suivi ont révélé des différences dans la tradition et dans l’institutionnalisatio..

The fisheye of the comet interceptor's EnVisS camera

Entire Visible Sky (EnVisS) camera is one of the payload proposed for the ESA selected F-Class mission Comet Interceptor. The main aim of the mission is the study of a dynamic new comet, or an interstellar object, entering the inner solar system for the first time. The Comet Interceptor mission is conceived to be composed of three spacecraft: a parent spacecraft A and two, spacecraft B1 and B2, dedicated to a close and risky fly-by. EnVisS will be mounted on spacecraft B2, which is foreseen to be spin-stabilized. The EnVisS camera is designed to capture the entire sky in some visible wavelength bands while the spacecraft pass through the comet's coma. EnVisS optical head is composed of a fisheye lens with a field of view of 180° x 40° coupled with an imaging detector equipped with both band-pass and polarimetric filters. The design of fisheye lenses requires to take into account some issues typical of very wide-angle lenses. The fundamental origin of the optical problems resides on the entrance pupil shift at large angle, where the paraxial approximation is no more valid: chief rays angles on the object side are not preserved passing through the optics preceding the aperture stop (fore-optics). This effect produces an anamorphic deformation of the image on the focal plane, i.e. the focal length is changing along the elevation angles. Tracing the rays appropriately requires some effort by the designer. It has to be considered that distortion, including anamorphism, is an aberration that does not affect the quality of a point source image, thus it can be present also in well corrected lenses. In this paper the optical design of the fisheye lens, that will be mounted on the EnVisS camera for the ESA F-class "Comet Interceptor" mission, will be presented together with the initial optical requirements and the final expected optical performances

The optical head of the EnVisS camera for the Comet Interceptor ESA mission: Phase 0 study

EnVisS (Entire Visible Sky) is an all-sky camera specifically designed to fly on the space mission Comet Interceptor. This mission has been selected in June 2019 as the first European Space Agency (ESA) Fast mission, a modest size mission with fast implementation. Comet Interceptor aims to study a dynamically new comet, or interstellar object, and its launch is scheduled in 2029 as a companion to the ARIEL mission. The mission study phase, called Phase 0, has been completed in December 2019, and then the Phase A study had started. Phase A will last for about two years until mission adoption expected in June 2022. The Comet Interceptor mission is conceived to be composed of three spacecraft: spacecraft A devoted to remote sensing science, and the other two, spacecraft B1 and B2, dedicated to a fly-by with the comet. EnVisS will be mounted on spacecraft B2, which is foreseen to be spin-stabilized. The camera is developed with the scientific task to image, in push-frame mode, the full comet coma in different colors. A set of ad-hoc selected broadband filters and polarizers in the visible range will be used to study the full scale distribution of the coma gas and dust species. The camera configuration is a fish-eye lens system with a FoV of about 180°x45°. This paper will describe the preliminary EnVisS optical head design and analysis carried out during the Phase 0 study of the mission

Design of the EnVisS instrument optical head

The EnVisS (Entire Visible Sky) instrument is one of the payloads of the European Space Agency Comet Interceptor mission. The aim of the mission is the study of a dynamically new comet, i.e. a comet that never travelled through the solar system, or an interstellar object, entering the inner solar system. As the mission three-spacecraft system passes through the comet coma, the EnVisS instrument maps the sky, as viewed from the interior of the comet tail, providing information on the dust properties and distribution. EnVisS is mounted on a spinning spacecraft and the full sky (i.e. 360°x180°) is entirely mapped thanks to a very wide field of view (180°x45°) optical design selected for the EnVisS camera. The paper presents the design of the EnVisS optical head. A fisheye optical layout has been selected because of the required wide field of view (180°x45°). This kind of layout has recently found several applications in Earth remote sensing (3MI instrument on MetOp SG) and in space exploration (SMEI instrument on Coriolis, MARCI on Mars reconnaissance orbiter). The EnVisS optical head provides a high resolved image to be coupled with a COTS detector featuring 2kx2k pixels with pitch 5.5µm. Chromatic aberration is corrected in the waveband 550-800nm, while the distortion has been controlled over the whole field of view to remain below 8% with respect to an Fθ mapping law. Since the camera will be switched on 24 hours before the comet closest encounter, the operative temperature will change during the approaching phase and crossing of the comet’s coma. In the paper, we discuss the solution adopted for reaching these challenging performances for a space-grade design, while at the same time respecting the demanding small allocated volume and mass for the optical and mechanical design. The view expressed herein can in no way be taken to reflect the official opinion of the European Space Agency