Documents found
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82.
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85.More information
Since the 2000s, a series of initiatives have emerged in France and Europe to encourage the return of high-quality natural areas. These projects, which are mainly run by associations, aim to help tackle climate change and biodiversity loss. In France, projects encouraging ‘free evolution’ are mainly being developed around forest environments, although these practices are beginning to develop in other habitats. It is in this context that the Francis Hallé Association for Primary Forests (AFH) project emerged, with the ambition of restoring favourable conditions for the development of a 70,000 ha primary forest in a cross-border zone in Western Europe. This research, based on a research-action approach, examines how this sort of project promotes the emergence of new modes of action for protecting the environment, while at the same time politicising its subject. This paper explores the AFH project's position in the context of growing interest in free evolution strategies. It also explores both the strategy deployed by the organisation and the effects induced by the potential development of such an initiative in an area (use changes, economic activity reconfiguration, et cetera ). The article shows that the studied initiative is complex and faces several limitations due to the ambition of its project, its association status and the absence of a precedent. AFH proposes a hybrid approach, being the meeting point and/or point of friction between institutional nature conservation practises and associative action. AFH's project, although not territorialized, contributes to promoting and putting forward for debate the free evolution principles as an approach to environmental management, a way of cohabiting with non-human beings and a means of socio-ecological transition.
Keywords: libre évolution, forêt primaire, conservation de la nature, protection de la nature, acteurs, nature/société, restauration écologique, biodiversité, free evolution, primary forest, nature conservation, nature protection, stakeholders, nature/society, ecological restoration, biodiversity
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86.More information
Jean Anouilh's cinematic output is not easy to figure out. In addition to those movies he scripted in full and whose text one would love to see published, much like Giraudoux's, he was involved in adapting or contributing some or many scenes or dialogues to a number of other movies. While these other productions were not his, he still manages to shine through. Let us not forget La citadelle du silence (Lherbier, 1937), which involved Anouilh's participation, nor Piège pour Cendrillon or the haunting Temps de l'amour. These will probably resurface in a few years, and yield their share of discoveries. Indeed, there remains much to explore in Jean Anouilh' cinema.
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87.More information
French foresters are becoming more and more aware of climate change, which will most likely impact the forests they care for in the future. One forest management option to adapt French forests to climate change is planting and changing the forest composition. The national representatives of private forest owners mainly support this idea. Yet, this adaptation tool does not find a consensus, especially among forest owners and managers from Northeastern France. Based on qualitative research, the article attempts to explain the gap between the viewpoint of local private forest owners and their national representatives. The discourse advocated at the national level would be a virtual construction of reality intentionally built in an external and internal power relationship: between representatives of private owners and other national actors, and among foresters themselves and between competing types of sylviculture. Climate change and plantation are only instruments in that context.
Keywords: changement climatique, forêt, adaptation, propriétaires privés, anthropologie, rapports de force, forum hybride, virtualisme, climate change, forest, adaptation, private forest owners, anthropology, power relationships, hybrid forum, virtualisme
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89.More information
For the past few years in Europe, musical creation and the programming of operas have ceased turning a deaf ear to each other. The more flexible range of compositional styles introduced since the 70s and the 80s now makes it possible for some of the best composers in their generation to confront their style with the substantial constraints inherent to the success that is expected, to say the least, from new endeavors in opera. Despite this broad context which encompasses all contemporary opera productions, musical dramaturgies offer a spectrum of highly distinct visions. These include, on the one hand, a series of works that draw on the stylistics of traditional opera, and on the other, works that reintegrate the discoveries of modernist music dramas from the 60s and 70s, seeking to further their growth in the current cultural environment. In this light, the wealth of creations we have seen in the last few years, ranging from the grand contemporary opera to the strictly instrumental and staged production, now constitute a vibrant repertoire of works that claim their belonging to the seemingly reborn genre of the opera.