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This article seeks to provide a new reading of the work of Celestin Freinet and his use of the printing press. Specifically, this article aligns Freinet's approach to teaching and learning with a counter-reformation in pedagogical thought-an approach that places him both within and outside of the 'progressive' turn in education that began to emerge at the end of the nineteenth and beginning of the twentieth centuries. Freinet's pedagogical experiment in rural France during mid-twentieth century demonstrated the way that student freedom, uninhibited by overarching ideological pre-emption, and unbound from the progressive imperatives typical of reform education in either its Marxist or liberal variants, can be utilized as a way to inspire pedagogical techniques founded on alternative social, political, and anthropological postulates. Specifically, the authors demonstrate how Freinet's use of the press helps us to think about the following: 1) a different relationship to technology and the role it could play in the conception of the common within the classroom; 2) the creation of an existential good as opposed to the private good discovered through the amassing of property and the advancement of the related notion of progress; 3) and a reaffirmation of the possibility of a genuine workers education.

The article discusses the cover design and history of the French journal Éditions de Minuit. According to the article, the logo of the magazine was a superior star followed by a lowercase letter m and was designed by typographical artist Jean Bruller, also known as Vercors. The article discusses the financial strategies of Jérôme Lindon and the literary management of editor Georges Lambriches. According to the article, the journal became the French publisher of Irish author Samuel Beckett and authors such as Claude Ollier, Robert Pinget, and Claude Simon.

The article focuses on a printer's proof sheet for the 1533 edition of the poem "Miroir de l'ame pecheresse" by Marguerite de Navarre and also discusses the 1533 work on the use of apostrophes, accents, and other typographical marks entitled "Briefve doctrine pour deuëment escripre selon la propriété du langaige Françoys" which was bound at times with Navarre's work. Topics include 16th century orthography and tyopgraphy, religious controversy over the poem, the execution of printer Antoine Augereau in 1534.

This essay studies an argumentative practice in eighteenth-century France by exploring the persuasiveness of some petitions to obtain printer licences. Those who wanted to enter the printing business in eighteenth-century France had to obtain licences from the King to do so. The French government had established limits to the number of printers it would permit to operate in the realm; hence, there was competition for any vacancy that became open. Thus, the context is that of trained printers in provincial towns, most of them with their own printing equipment, applying to the government in Paris for the highly valued licences to run printing businesses. We examine a small number of the original petitions and give an account of their persuasive capacity by (a) noticing the narrative character of the letters and (b) distinguishing between propositional and affective attitudes. Our view is that a reconstruction of the petitions as reasonable persuasive discourse is possible when it is noticed how the two kinds of attitudes can be combined to promote the same end. [ABSTRACT FROM AUTHOR]

This article focuses on material and editorial issues as part of the self-publishing process experienced by authors in Paris at the end of the Old Regime. Because they did not sell their manuscript to booksellers-publishers, who then normally had exclusive authority over its publication, authors who published on their own had the opportunity to deal directly with printers, and thus be involved in the book-making process. Did the fact that these writers had, presumably, more control over the publishing process have any influence on what they published and on the material quality of their books? In order to provide some answers to these questions, the article will examine the particularities of what was self-published in the French capital between 1750 and 1791 with regard to content - by looking at the types of works thus produced - and with regard to form - by examining different material criteria such as editorial and financial choices. [ABSTRACT FROM AUTHOR]

This article explores the activities of Nicolas Chesneau, a Parisian printer active between the beginning of the French Wars of Religion and the League. While printing in the Protestant sphere has received a great deal of historiographical attention, the influence of Catholic printing on opinion forming during the French Wars of Religion remains comparatively misunderstood. Nicolas Chesneau was a militant Catholic printer whose activity responded to commercial and political pressures but also reflects a personal commitment to Catholicism. Evidence drawn from Chesneau's epistles and bibliography reveals personal relationships with authors, other printers, and patrons. Chesneau's production answered growing demand for news and religious instruction for the laity, a phenomenon that is only beginning to be understood. Analysis of his output reveals the influence of the cardinal de Lorraine who was determined to use the vernacular book to pursue his agenda of reform, often in the face of institutional opposition from the crown, the parlement, and the University of Paris. The end of Nicolas Chesneau's career is marked by a shift towards expensive in-folio books that proved to be less profitable than the short in-octavo works that distinguishes his production during the first decade of the French Wars of Religion. [ABSTRACT FROM AUTHOR]

This article offers background on typography and graphic design in France. The epigraph of Roland Barthes expresses that state of existing in a world with meta-meanings. Visible developments were seen from typography, graphics and photography. It was in 1901 that Francis Thibaudeau evoked the French style in modern typography. Calling upon Latin graphics and Latin writing were Maximilien Vox and Ladislas Mandel. The findings of a survey which compared the principal figures of graphic design and typography in France and in Germany are highlighted.

The article offers information about the Fontainebleau School of printmaking in France. It identifies the sources for some of the landscapes' prints, which demonstrates that they are not invented at Fontainebleau as has been frequently contended. It also discusses the printmakers' use of smaller landscape fragments and motifs combined in various ways and placed in different context. The evidence of unusual printmaking techniques employed in the school's workshop is provided. According to the author, it is difficult to gauge the extent of the influence of Fontainebleau School printmakers despite of its earliest independent landscapes in Renaissance France.

Focuses on the emergence of the earliest display roman, known by its size as a "gros canon", which was a phenomenon in most of the senses of the word in the history of topography. First use of gros canon in Paris, France in 1530 by the printer Robert Estienne; British type historian Stanley Morison's creation of the gros canon as part of a wave of Parisian interest in the types of the Venetian printer, Aldus Manutius; Historical evidence that substantiates each of the pieces within the chain of the logic.

The article focuses on the myriorama which is derived from two Greek words "myrias," which means multitude and "aroma," which means landscape. It consisted of cards printed with different scenes. Jean-Pierre Brès was the inventor of the scenic myriorama and Le Fuel at 54 rue Saqint-Jacques in the Marais in France was the first publisher of the work. The work was titled "Myriorama: Collection de Plusieurs Milliers de paysages, par Mr Brès" and was marketed in an elegant tray-and-lid box.

Copyright of RACAR: Canadian Art Review / Revue d'art Canadienne is the property of Universities Art Association of Canada / Association d'Art des Universites du Canada 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 Author-supplied Abstracts.)

3D-printing is part of the daily practice of maxillo-facial surgeons, stomatologists and oral surgeons. To date, no French health center is producing in-house medical devices according to the new European standards. Based on all the evidence-based data available, a group of experts from the French Society of Stomatology, Maxillo-Facial Surgery and Oral Surgery (Société Française de Chirurgie Maxillofaciale, Stomatologie et Chirurgie Orale, SFSCMFCO), provide good practice guidelines for in-house 3D-printing in maxillo-facial surgery, stomatology, and oral surgery. Briefly, technical considerations related to printers and CAD software, which were the main challenges in the last ten years, are now nearly trivial questions. The central current issues when planning the implementation of an in-house 3D-printing platform are economic and regulatory. Successful in-house 3D platforms rely on close collaborations between health professionals and engineers, backed by regulatory and logistic specialists. Several large-scale academic projects across France will soon provide definitive answers to governance and economical questions related to the use of in-house 3D printing., (Copyright © 2021 Elsevier Masson SAS. All rights reserved.)

The article focuses on the painting "A Putto," by Domenico Beccafumi, that is currently displayed in the Cabinet des Estampes of the Bibliothèque Nationale in Paris, France. Also known as "Il Meccherino," the painting allegedly contains the shadowing of the broken folds in the drapery executed with parallel strokes. It has the twisting in the right arm, which is considered to be Beccafumi's trademark. As to its prints, it was claimed that the quality of the printing is poor, and that, the image is unclear because the artist himself did not clean the place adequately after inking it. There are also allegedly many scratches that can be found on the surface of the plate.

The authors discuss the numbers and types of textile printing equipment in Europe, and offer statistical data on the printing industry in West Germany and France. Comments are offered on current tends in various branches of the industry. [ABSTRACT FROM AUTHOR]

This article focuses on the use of prints on the wall as interior decors in the nineteenth-century. It explains that wall prints in this period were mass produced and become widely available items and the global production and trade of these decorative items are fostered by a worldwide network of print publishers and dealers. It reveals that the house of Goupil in Paris, France was one the leading agents of this worldwide network of publishers and dealers. These wall prints are affordable for all classes of people and items include lithographs, line engravings, photographs and photomechanical impressions.

Western observatories became scientific factories from the mid-19th century. Astrometry symbolized the transition to an industrious economy of scientific practices. The printing chronograph, which reduced the personal equations of the observers, was, first in the United States, then in England, the symbolic instrument of this transformation. In France, the initiatives of the astronomer Liais were prototypical. In the practices of the Hendaye Observatory, and thanks to the abbé Verschaffel, the printing chronograph made its definitive entry in French observatories at the beginning of the 20th century. Excessive centralization of French astronomy, the authoritarianism of Urbain Le Verrier, the director of the Paris Observatory, and the poor market for scientific instruments explain why the printing chronograph took root, belatedly, in France.

This study was aimed at quantifying the impact of sampling duration and the number of measurements taken on the quality of assessing occupational exposure to toluene. To this end, a measurement database was built, based on four campaigns carried out in an industrial printing facility. Five homogeneous exposure groups (HEGs) were set up and between 120 and 290 individual measurements lasting from 2 to 8 h were collected for each of them. These measurements were performed with the objective of comparing them to the 8-h Occupational Exposure Limit (8-h OEL). The resulting data were used to define a reference exposure profile per HEG: the 'gold standard'. This exposure profile corresponds to a log-normal distribution of measurements from which compliance/non-compliance with the 8-h OEL decision is derived. To simulate the possible sampling strategies used by industrial hygienists, six scenarios were defined, each containing a different number of measurements: 2, 3, 4, 6, 9, and 12 measurements performed per HEG, over different working days and different seasons of the year. The measurement values per scenario were simulated by sampling from the real measurement per HEG. For each scenario, 1000 simulated exposure profiles and corresponding simulated compliance decisions were computed. They were compared to the gold standard compliance decision using statistical indicators. Three methods were used for computing the simulated compliance decision: (i) the 95th percentile must be lower than the 8-h OEL, (ii) the exceedance fraction with respect to the 8-h OEL must be <0.1% (as defined by standard CEN 689, Appendix D), and (iii) the 70% upper confidence limit of the exceedance fraction with respect to the 8-h OEL must be <5% (as defined by French regulations). The results show that exposure assessment quality increases with both the number of measurements and sampling duration when using the 95th percentile and exposure assessment based on French regulations, whereas it decreases when using the standard. Moreover, guidelines for the efficient evaluation of chemical exposure in the workplace can be drawn up to help professional occupational hygienists. Indeed, boundaries can be recommended regarding the number of measurements and sampling duration necessary to obtain a reliable exposure assessment while minimizing effort devoted to sampling and analysis.

Efficient reading relies on expertise in the visual word form area, with abnormalities in the functional specialization of this area observed in individuals with developmental dyslexia. We have investigated event related potentials in print tuning in adults with dyslexia, based on their N170 response at 135-255 ms. Control and dyslexic adults performed a lexical decision task with symbol strings and four sets of word-like stimuli (consonant strings, pseudowords, low frequency words and high frequency words). N170 tuning was observed in the control group, with larger left occipito-temporal negativities for word-like stimuli than for symbol strings. In contrast, N170 specialization was lacking in dyslexics, suggesting no visual expertise for print. Moreover, behavioral data indicated that adults with dyslexia had longer latencies and more errors for pseudowords than for other stimuli, suggesting a persistent phonological deficit in these individuals. These findings suggest that altered decoding abilities may disrupt perceptual expertise for print. The results are discussed in the context of the phonological mapping deficit theory., (Copyright © 2012 Elsevier Ltd. All rights reserved.)

Background: Neurotoxicity of long-term exposure to toluene is known at higher levels than 50 ppm and is suspected at lower levels., Methods: A cross-sectional study carried out in two printing plants on 129 blue collar workers explored such a low level exposure of toluene. With 231 samples of ambient air, toluene concentration was estimated from 0 to 18 ppm in Plant A (offset) and from 2 to 27 ppm in Plant B (heliogravure). Outside any period of acute exposure, the workers answered a self-administered questionnaire on neurotoxic symptoms, EUROQUEST, and performed six psychometric tests on a computer-assisted version of battery NES., Results: After adjustment for confounders, we found significant relationships only between present exposure and Digit Span Forwards (DSF) performance (decrement is 1 digit for 40 ppm, P=0.04) and Digit Span Backwards (DSB) performance (decrement is 1 digit for 25 ppm, P=0.01). Neurotoxic symptoms were not significantly correlated with current exposure. No association was found between estimated cumulative exposure and either psychometric performances or neurotoxic symptoms., Conclusion: In this study, low present exposure levels to toluene were associated with decrements of memory test performances., (Copyright 2002 Wiley‐Liss, Inc.)