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We present a series of pyrazolato-bridged copper complexes with interesting structures that can be considered prototypic patterns for tri-, hexa- and hepta- nuclear systems. The trinuclear shows an almost regular triangle with a μ3-OH central group. The hexanuclear has identical monomer units, the Cu6 system forming a regular hexagon. The heptanuclear can be described as two trinuclear moieties sandwiching a central copper ion via carboxylate bridges. In the heptanuclear system, the pyrazolate bridges are consolidating the triangular faces, which are sketching an elongated trigonal antiprism. The magnetic properties of these systems, dominated by the strong antiferromagnetism along the pyrazolate bridges, were described transparently, outlining the energy levels formulas in terms of Heisenberg exchange parameters J, within the specific topologies. We succeeded in finding a simple Kambe-type resolution of the Heisenberg spin Hamiltonian for the rather complex case of the heptanuclear. In a similar manner, the weak intermolecular coupling of two trimer units (aside from the strong exchange inside triangles) was resolved by closed energy formulas. The hexanuclear can be legitimately proposed as a case of coordination-based aromaticity, since the phenomenology of the six-spins problem resembles the bonding in benzene. The Broken-Symmetry Density Functional Theory (BS-DFT) calculations are non-trivial results, being intrinsically difficult at high nuclearities.

Any reader in the least familiar with Gilles Deleuze's philosophical work will be able to list some writers whose literary production was the focus of his thinking over the years: Kafka, Proust, Artaud, Beckett, and so many others. Among all the names that may be evoked, that of the poet Gherasim Luca would probably not be the first to come to mind. This, despite the philosopher’s own pronouncements, in which he claimed, not without some intended provocation, to consider Luca “le plus grand poete de langue francaise vivant” (Abecedaire) ‘the greatest Frenchspeaking poet alive.’ A member of the Bucharest surrealist group in the 1940s who settled in Paris in the early fifties, Gherasim Luca published poetry collections and tracts, often working in collaboration with painters, and created visual works and poetic performances. He seems to have engendered in Deleuze a genuine fascination, which is reflected in their correspondence as well as in Deleuze’s writings and public speeches. The objective of this article is to examine a warm, intellectual exchange between the two, born of a shared fantasy, that of redefining desire outside of the oedipean model. Around 1972, at the time he was about to publish the first volume of Capitalism and Schizophrenia with Felix Guattari, Deleuze learned of the poetic work of a certain Gherasim Luca whose “non-oedipean” meditations captured his attention. From that point on, and until the end of his life1, he never stopped reading Luca’s work, following the course of his artistic activity or engaging the poet in dialogue. Very quickly, exchanges between Deleuze and Luca moved beyond the framework of key concepts in Freudian psychoanalysis, as the philosopher became increasingly fascinated with Luca's poetry, which he would frequently praise. In fact, it is this unconditional admiration for Luca's poetic work

Cet article explore l’oeuvre inédite et publiée du poète Gherasim Luca afin d’y repérer, pour la première fois, les références à la signification de l’Holocauste. Les traces identifiées, quoique éparses, permettent d’être regroupées en fonction de quelques vecteurs tels la conscience juive du déracinement, la récusation de l’idée de revendication nationale, la remise en cause du rationalisme et de l’humanisme., This article explores both published and unpublished works by the poet Gherasim Luca in order to identify, for the first time, references to the significance of the Holocaust. The evidence, while sparse, fits within certain themes such as the Jewish consciousness of displacement, the dispute of nationalist ideologies, the reappraisal of rationalism and of humanism.

Dans le tome II de son Journal d’un voyage au Levant (1848), la comtesse de Gasparin, d’origine protestante, relate les visites qu’elle a faites dans des harems de la haute société turque au Caire. Femme de dialogue, la narratrice essaie de communiquer avec quelques-unes de ses interlocutrices. Mais elle cherche aussi à les convaincre du bien-fondé de sa propre conception du mariage. Si un terrain d’entente se dégage, c’est au profit d’un modèle marital « émancipé », qui rejette à la fois le système musulman de la polygamie et la conception catholique du mariage, lequel voit dans la reproduction sa propre finalité pour confiner la femme dans des tâches domestiques. In the second volume of her Journal d’un voyage au Levant (1848), the protestant Countess of Gasparin writes about her encounters in the harem of the Turkish high society of Cairo. Interested in cultural dialogue, she tries to communicate with several of her hosts. But through the same dialogical process, she also seeks to legitimize her own understanding of the concept of marriage. While an agreement emerges between herself and her Oriental counterparts, her book clearly favours a model of « emancipated » marriage, in which she rejects both Muslim polygamy as well as the traditional Catholic conception of marriage, which sees its purpose solely in human reproduction while it marginalises women and confines them to domestic tasks.