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In October 2019, the University of Dijon hosted an international conference on “Illustration and Adaptation”, organised by Illustr4tio and the Centre Interlangues – Texte Image Langage. The idea was to bring together specialists from different disciplines to explore the relationship between illustration and adaptation, a topic that relatively few works have investigated so far. Two notable exceptions are Kamilla Elliot’s Rethinking the Novel/Film Debate (Cambridge University Press, 2003) and ...

Additional file 1. PROPERTY’s Informed consent.

Français : A partir des circonstances de la collaboration entre Robert Louis Stevenson et William Hole autour du Maître de Ballantrae (1889), l’article explore l’hypothèse que le péritexte auctorial de l’auteur, qui a recours à divers éléments relevant de ce que Liliane Louvel nomme le tiers pictural, forme un système dynamique non seulement avec le roman mais aussi avec les gravures de l’artiste. English: The article summarizes the circumstances of the collaboration between Robert Louis Stevenson and William Hole on The Master of Ballantrae (1889), and explores the hypothesis that the author’s auctorial peritext, which makes use of various elements belonging to what Liliane Louvel has called the pictorial third, forms a dynamic system not only with the novel but also with the artist’s engravings.

International audience; Ce volume examine les relations et les influences entre l'illustration et l’identité dans leurs formes et leurs significations multiples. Il interroge, et illustre, à travers une variété d’approches théoriques, d’études de cas, de projets professionnels et d’expériences personnelles, les moyens individuels, interculturels et interdisciplinaires par lesquels l’illustration contribue aujourd’hui et a contribué au fil du temps à la formation de l’identité ou des identités. Il fournit la preuve que l’illustration participe à l’expression, et même à la construction de l’identité ou des identités individuelles et collectives, que celles-ci soient culturelles, sociales, ethniques, nationales, politiques ou autres. En montrant comment l’étude de l’illustration fournit des éclairages pertinents et précieux non seulement sur la représentation, mais aussi sur la construction de l’identité (parmi lesquelles les identités liées à l’âge, au sexe et au genre, ou encore à l’appartenance sociale, nationale, culturelle et politique), il contribue à la compréhension de la pertinence culturelle et de l’impact socio-politique de l’illustration.

Additional file 1: Supplemental Figure 1. Concentration of biomarkers in the same population. Supplemental Figure 2. Early detection of CS-AKI in the same population. Supplemental Figure 3. Refining pCr-based early detection of CS-AKI with the use of a second biomarker. Supplemental Figure 4. Distinction between persistent and transient cardiac surgery-associated AKI. Supplemental Table 1. STARD checklist. Supplemental Table 2. Comparison of baseline characteristics of included and excluded patients. Supplemental Table 3a to 3e. Performance of biomarkers for the detection of CS-AKI. Supplemental Table 4. Performance for the prediction or detection of CS-AKI according to the definition (omitting the urine output criterion or not).

International audience; The sharp increase in the touristic use of the maritime clifftops in western France after WWII resulted in a concentration of activities that generated ecosystem degradation in many sites (e.g. touristic infrastructure, human trampling). Consideration of the ecological value of these sites over the past three decades has led to a shift in maritime clifftop management and consequently to numerous planning and restoration projects. Using inventories of maritime clifftop restoration projects conducted in 2007 and 2016, we identified 76 restoration projects, which allowed us to study the active and passive restoration methods used. In addition, we collected and analyzed 465 vegetation monitoring plots with an average duration of 5.6 years to understand how they were used by both scientists and nonscientists. First, we describe the social-ecological systems of these restoration projects through an analysis of their social contexts, ecological stakes, and restoration goals based on 19 semistructured interviews with restoration stakeholders. Comparing our research with similar studies in the literature reveals that the main strength of maritime clifftop restorations is a strong network between scientist and nonscientist stakeholders combined with high-level monitoring. Finally, we underline the main challenges for the future of maritime clifftop ecological restoration: (1) the need for further study of this ecological database (e.g. to study the medium-term effect of active restoration, continue current monitoring); and (2) the need to develop sociological studies of human uses and perceptions to improve the long-term management of restored ecosystems.

International audience

This volume sets out to examine what ‘illustrating history’ means and implies. It combines image studiesand discourses on or about history. The various articles gathered here offer both a varied and singularpanorama of the way or ways in which history has been told in images of various sorts, from theeighteenth century to the twenty-first century, in France, England, Russia and Columbia. Considering theevolution of media and forms of graphic expression, these contributions, and the images whichaccompany them, offer a micro-history of print culture – from engravings to paintings, and fromphotography to comic strips. They reveal a facet of illustration whereby the illustrator becomes ahistorian, and whereby images become narratives and sites of memory. The analysis of the drawing orpainting of historical narratives and personages on the page or canvas reveals that there are manyconstraints to and stakes in the act of representing the past, but also that each medium is rich inpossibilities, and every artist a (hi)story teller., Ce volume propose d’examiner ce qu’ « illustrer l’histoire » signifie et implique. Il se situe au carrefourdes études sur l’image et du discours sur / de l’histoire. L’ensemble des articles réunis ici offre unpanorama à la fois varié et singulier de la manière ou des manières d’écrire l’histoire en images, du dixhuitième au vingt-et-unième siècle, en France, en Angleterre, en Russie ou encore en Colombie. Étantdonné l’évolution des différents médias et des formes d’expression graphiques, ces contributions, et lesimages qu’elles incluent, donnent à voir, en filigrane, une micro-histoire de l’imprimé, des estampes à lapeinture, en passant par la photographie et la bande dessinée. Elles révèlent une facette de l’illustrationdans laquelle l’illustrateur endosse le rôle d’historien, et l’image celui de récit mémoriel. Ces analysesde la mise en image ou mise en scène d’événements et de personnages historiques sur la page ou la toilemontrent qu’il y a de multiples contraintes et enjeux inhérents à l’acte de dessiner ou de peindre le passé,mais que chaque médium est riche de possibilités, et chaque artiste un passeur d’histoire(s)/Histoire.

International audience