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Journal articles on the topic 'Chartreuse de La Boutillerie'

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Published: 26 July 2024
Last updated: 28 July 2024

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1

Sarocchi, Jean. "Illyrique Chartreuse." Littératures 35, no. 1 (1996): 109–24. http://dx.doi.org/10.3406/litts.1996.1725.

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2

Havey, Michael J. "Genetic Mapping of Chartreuse Bulb Color in Onion." Journal of the American Society for Horticultural Science 145, no. 2 (March 2020): 110–19. http://dx.doi.org/10.21273/jashs04861-20.

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The most common bulb colors of onion (Allium cepa) are red, yellow, and white; chartreuse is a relatively rare bulb color conditioned by the homozygous recessive genotype at the G locus. In this research, plants with chartreuse bulbs were crossed with inbreds with yellow bulbs to develop segregating families for genetic mapping of the G locus. For all of 17 F2 families, segregations for yellow vs. chartreuse bulbs fit the expected 3:1 ratio (P > 0.05). DNAs were isolated from one F2 family and genotyped for single nucleotide polymorphisms (SNPs) to produce a genetic map of the G locus and 380 SNPs, of which 119 SNPs have not been previously mapped. Segregations for yellow vs. chartreuse bulbs placed the G locus at the end of chromosome 7 at 6.7 cM from the nearest SNP (isotig28625_2789). This codominant SNP marker linked to the G locus should be useful for introgression of recessive chartreuse bulb color into diverse onion populations for commercial production of this uniquely colored onion.
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3

Wang, Jia-yi, Jian-shuang Shen, Mengmeng Gu, Jia Wang, Tang-ren Cheng, Hui-tang Pan, and Qi-xiang Zhang. "Leaf Coloration and Photosynthetic Characteristics of Hybrids between Forsythia ‘Courtaneur’ and Forsythia koreana ‘Suwon Gold’." HortScience 52, no. 12 (December 2017): 1661–67. http://dx.doi.org/10.21273/hortsci12177-17.

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Yellow-leafed cultivars usually do not grow as vigorous as their green-leafed counterparts, which affect their use in landscapes. To breed Forsythia cultivars with both yellow leaves and vigorous growth, crosses between F. ‘Courtaneur’ (♀) and Forsythia koreana ‘Suwon Gold’ (♂) were conducted, and 52 F1 hybrid progenies with different leaf colors (green, chartreuse, and yellow) were obtained. The progenies were categorized into three groups [Yellow Group (YG), Chartreuse Group (CG), and Green Group (GG)] based on leaf colors. The growth index (GI) and the number of branches and leaves of YG progenies were significantly lower at 2%, 35%, and 34% of GG progenies. As the leaves changed from green to chartreuse and to yellow, chlorophyll content, leaf thickness, and chlorophyll fluorescence parameters decreased and the chloroplast structures were disintegrated gradually, which influenced the leaf photosynthetic activity and led to weak growth. Compared with yellow-leafed progenies, the leaf chlorophyll content and leaf thickness of chartreuse-leafed progenies were significantly higher at 71% and 9%. The chloroplast structure of stroma lamella of chartreuse-leafed progenies was relatively intact. Carboxylation efficiency (CE), photochemical efficiency of PS II (Fv/Fm), and the number of branches and leaves of GG progenies were significantly higher than YG progenies; however, they have no significant difference with CG progenies. The results were promising for breeding new forsythia cultivars from moderate growth and chartreuse leaves.
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4

Chardon, Michel. "Excursion géographique : la Chartreuse." Revue de géographie alpine 75, no. 4 (1987): 315–51. http://dx.doi.org/10.3406/rga.1987.2687.

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5

Sabourin, Lise. "Stendhal, La Chartreuse de Parme." Studi Francesi, no. 146 (XLIX | II) (November 1, 2005): 429. http://dx.doi.org/10.4000/studifrancesi.34837.

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6

Bottacin, Annalisa. "Stendhal, La Chartreuse de Parme." Studi Francesi, no. 145 (XLIX | I) (July 1, 2005): 181. http://dx.doi.org/10.4000/studifrancesi.36366.

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7

Bonde, Sheila, and Clark Maines. "Villers-Cotterêts (Aisne). La Chartreuse." Archéologie médiévale, no. 46 (December 1, 2016): 237. http://dx.doi.org/10.4000/archeomed.7355.

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8

Hemmings, F. W. J., and Alison Finch. "Stendhal: La Chartreuse de Parme." Modern Language Review 80, no. 3 (July 1985): 717. http://dx.doi.org/10.2307/3729327.

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9

Tomas, Ilda. "Le rire de la Chartreuse." Studia Romanica Posnaniensia 36 (January 1, 2009): 243. http://dx.doi.org/10.14746/strop.2009.36.019.

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10

Bolster, Richard, and Ann Jefferson. "Stendhal: 'La Chartreuse de Parme'." Modern Language Review 99, no. 3 (July 2004): 781. http://dx.doi.org/10.2307/3739042.

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11

Étaix, Raymond. "Les manuscrits de la Grande-Chartreuse et de la Chartreuse de Portes. Étude préliminaire." Scriptorium 42, no. 1 (1988): 49–75. http://dx.doi.org/10.3406/scrip.1988.2003.

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12

Teillet, Philippe, and Samuel P�rigois. "Enjeux et dynamiques culturelles en Chartreuse." L'Observatoire N?44, no. 1 (2014): 97. http://dx.doi.org/10.3917/lobs.044.0097.

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13

Bolster, Richard. "La Chartreuse de Parme, Michel Crouzet." Modern Language Review 103, no. 1 (2008): 236–37. http://dx.doi.org/10.1353/mlr.2008.0395.

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14

Donachie, S. F. "Review: Stendhal: 'La Chartreuse de Parme'." French Studies 58, no. 2 (April 1, 2004): 272. http://dx.doi.org/10.1093/fs/58.2.272.

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15

Madelrieux, Sophie, Agnès Bergeret, and Laurent Fillion. "Forms of territorial embeddedness in dairy value chains Case of the Chartreuse massif (French Alps): geographical and historical perspectives." Open Agriculture 3, no. 1 (December 1, 2018): 618–31. http://dx.doi.org/10.1515/opag-2018-0065.

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Abstract The ending of milk quotas marks a breach in the mode of milk supply management. Farmers and actors of territorial development are concerned about the future of dairy farming since we can observe a loss of autonomy and sovereignty in front of agro-industries. In this context a group of dairy farmers in the Chartreuse massif (French Northern Alps) wished to conduct a reflection on their future. It consisted in better understanding the territorial embeddedness of dairy value chains, compared with what could be done elsewhere (geographical perspective), and what has been done in the history of the area (historical perspective). We used a same reading grid based on six criteria relative to the geographic embeddedness of the value chains, the ability of the producers to specify their resources, and to organize themselves and be autonomous. Of the 18 initiatives analyzed concerning dairy products, we identified four types of territorial embeddedness. The history of Chartreuse shows different trajectories of loss and gain of autonomy for the dairy producers and a loss of collective. We discuss the cross-reading of these geographical and historical perspectives and their meanings in terms of territorial embeddedness and for the Chartreuse producers.
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16

Servoise, René. "Le merveilleux dans La Chartreuse de Parme." Revue d'histoire littéraire de la France o 99, no. 6 (June 1, 1999): 1191–208. http://dx.doi.org/10.3917/rhlf.g1999.99n6.1191.

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Résumé Balzac, dès 1840, avait pressenti que La Chartreuse de Parme comportait des arcanes mineurs et majeurs, et, Zola, en 1881, que ce roman procédait de l'essai De l'amour . Aujourd'hui, disposant des marginalia (ces griffonages de Beyle au hasard de ses humeurs), nous sommes en mesure d'aller au-delà des hypothèses des premiers commentateurs. La Chartreuse de Parme est bien un récit se déroulant sur les plans et terrestre et spirituel,disons horizontalement et verticalement. Il y a, certes, les aventures de Fabrice et les intrigues de la duchesse Sanseverina-Taxis, mais, parallèlement, il y a l'ascension du héros, porté par un amour contrarié pour Clélia, renonçant au monde, donnant ses biens aux pauvres et se réfugiant, au soir de sa vie, dans une chartreuse, comme l'avait annoncé l'astrologue et sage abbé Blanès. La genèse de cette histoire — contée avec allégresse par un Stendhal athée — demeure inexplicable. A moins que, décryptant des marginalia éparses, nous ne parvenions à trouver la raison de cette évolution de Fabrice dans celle de Beyle lui-même et évoquions son amour contrarié pour Mathilde Viscontini-Dembowski (Métilde pour Beyle). L'unique grande passion de l'auteur pour « cette âme hors de pair... à la hauteur de la sienne ».
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17

Piniès, Jean-Pierre. "« Ils nous ont chassés de la Chartreuse… »." Livraisons d'histoire de l'architecture, no. 17 (June 10, 2009): 51–60. http://dx.doi.org/10.4000/lha.206.

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18

Lemaître, Jean-Loup. "Le cartulaire de la chartreuse de Bonnefoy." Bulletin de la Société Nationale des Antiquaires de France 1987, no. 1 (1989): 333–48. http://dx.doi.org/10.3406/bsnaf.1989.9338.

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19

Cortland, Peter. "Decision in the Chartreuse: Stendhal on Stage." International Journal of Arts, Humanities & Social Science 05, no. 05 (May 5, 2024): 55–62. http://dx.doi.org/10.56734/ijahss.v5n5a4.

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Stendhal’s composition of the Chartreuse de parme takes us through an operatic scenario where all is stage effect, the excitation of the audience through conventional devices. We have a political novel acted out for emotional logic, a historical romance following Scott but subjected to classical irony. The subject disappears in the fireworks of words, and we have through exciting actions an example of the text digesting itself, a game, a novel (shockingly!) about nothing. It is a different direction for the novel craft, a novel acting the part of a novel. It is Stendhal.
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20

Girard, Alain. "Le décor en Chartreuse : la place de la chartreuse de Villeneuve-lès-Avignon dans le développement de l'image." Cahiers de Fanjeaux 28, no. 1 (1993): 363–84. http://dx.doi.org/10.3406/cafan.1993.1590.

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21

Arrous, Michel. "La Chartreuse de Parme. Stendhal, M. Crouzet (dir.)." Studi Francesi, no. 182 (LXI | II) (August 1, 2017): 371–72. http://dx.doi.org/10.4000/studifrancesi.9990.

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22

Berthier, Philippe. "Les grands airs de La Chartreuse de Parme." Littératures 35, no. 1 (1996): 101–7. http://dx.doi.org/10.3406/litts.1996.1724.

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23

Médélice, Jeanine Élisa. "Hydrotoponymes du massif de la Chartreuse : essai d’inventaire1." Géolinguistique, no. 14 (December 15, 2013): 21–34. http://dx.doi.org/10.4000/geolinguistique.793.

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24

Berman, Constance H. "Cartulaire de la chartreuse de Bonnefoy.Jean-Loup Lemaître." Speculum 67, no. 3 (July 1992): 712–13. http://dx.doi.org/10.2307/2863706.

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25

MCWATTERS, K. G. "Review. La Chartreuse de Parme. Finch, Alison, Stendhal." French Studies 39, no. 2 (April 1, 1985): 221. http://dx.doi.org/10.1093/fs/39.2.221.

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26

Kapor, Vladimir. "‘La Chartreuse de Parme’ ou la couleur locale reconsidérée." Studi Francesi, no. 147 (XLX | III) (December 1, 2005): 536–41. http://dx.doi.org/10.4000/studifrancesi.32672.

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27

Nicolas, Nathalie. "Saint-Julien-en-Beauchêne (Hautes-Alpes). Chartreuse de Durbon." Archéologie médiévale, no. 38 (December 1, 2008): 225. http://dx.doi.org/10.4000/archeomed.22249.

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28

Langlade, Gérard. "Chartreuse(s) de Parme : d’une lecture subjective à l’autre." Recherches & travaux, no. 83 (December 31, 2013): 41–53. http://dx.doi.org/10.4000/recherchestravaux.664.

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29

Calvet, Jean-Paul. "Lacombe (Aude). Église de la « chartreuse de la Loubatière »." Archéologie médiévale, no. 51 (December 20, 2021): 235. http://dx.doi.org/10.4000/archeomed.41143.

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30

Nicolas, Nathalie. "Saint-Julien-en-Beauchêne (Hautes-Alpes). Durbon « ancienne chartreuse »." Archéologie médiévale, no. 40 (December 1, 2010): 247. http://dx.doi.org/10.4000/archeomed.14972.

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31

Rochet, Quentin. "Roche-des-Arnauds (La) (Hautes-Alpes). Chartreuse de Bertaud." Archéologie médiévale, no. 48 (December 20, 2018): 226. http://dx.doi.org/10.4000/archeomed.16729.

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32

PEARSON, R. "Review. 'La Chartreuse de Parme' de Stendhal. Berthier, Philippe." French Studies 51, no. 2 (April 1, 1997): 216. http://dx.doi.org/10.1093/fs/51.2.216-a.

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33

PEARSON, R. "Review. 'La Chartreuse de Parme' revisitee. Berthier, Philippe (ed.)." French Studies 46, no. 3 (July 1, 1992): 338. http://dx.doi.org/10.1093/fs/46.3.338.

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34

Thouvenot, F., and G. Ménard. "Allochthony of the Chartreuse Subalpine massif: explosion-seismology constraints." Journal of Structural Geology 12, no. 1 (January 1990): 113–21. http://dx.doi.org/10.1016/0191-8141(90)90052-z.

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35

Bolster, Richard. "Stendhal: 'La Chartreuse de Parme' by Ann Jefferson (review)." Modern Language Review 99, no. 3 (July 2004): 781–82. http://dx.doi.org/10.1353/mlr.2004.a826885.

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36

Bolster, Richard. "Stendhal: 'La Chartreuse de Parme' by Ann Jefferson (review)." Modern Language Review 98, no. 3 (July 2003): 781–82. http://dx.doi.org/10.1353/mlr.2003.a827243.

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37

Johnson, William. "Into Great Silence: William Johnson on Philip Grööning's Absorbing Documentary of Monastic Life in a Remote Corner of the Alps." Film Quarterly 61, no. 1 (2007): 24–29. http://dx.doi.org/10.1525/fq.2007.61.1.24.

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ABSTRACT A review of Philip Grööning's documentary about the Grande Chartreuse monastery in France. Particular attention is paid to the film's use of available light and speech (and other sounds) in its successful attempt, in a manner that arguably evokes Bresson and Dreyer, to depict the day-to-day experience of Carthusian monks.
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38

De Senna, Marta. "“BUT THEN, WHAT WOULD CRITICISM BE?” BALZAC READS STENDHAL, MACHADO READS EÇA." Revista de Estudos Literários 6 (December 27, 2017): 135–55. http://dx.doi.org/10.14195/2183-847x_6_6.

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In 1840, Balzac wrote an article about Stendhal’s La Chartreuse de Parme. Though praising the book’s qualities, in the final paragraphs Balzac is very critical of the book, in a way that leads us to infer that what he criticizes in La Chartreuse de Parme is that it is not the novel he would have written himself. In 1878, Machado de Assis wrote two articles about O primo Basílio, then recently published by Eça de Queirós. Identifying affinities between Eça and Balzac and between Machado and Stendhal, this paper claims that the Brazilian criticism of the Portuguese novel is based on these affinities. In other words, Machado’s condemnation of Eça’s submissiveness to Realism/Naturalism originates in his own need to create characters as “moral persons”, whose actions are triggered by their innermost motives. Among such motives stands out the prevalence of the will over the intellect, of personal interest over the influence of circumstances, which is more akin to the heroes of Stendhal than to Balzac’s characters, a model Eça admittedly tried to emulate in the beginning of his career as a novelist.
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39

Planas Badenas, Josefina. "Una Biblia manuscrita de la Cartuja de Portaceli en la Hispanic Society of America." Anuario de Estudios Medievales 25, no. 1 (April 2, 2020): 287. http://dx.doi.org/10.3989/aem.1995.v25.i1.932.

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Dans ce travail nous voulons faire connaître un exemplaire de la Bible sacra en un seul volume, conservée dans la Hispanic Society of America de New York (ms. HC 397/344), provenant de l'ancienne bibliothèque de la Cartuja de Portaceli, près de la ville de Valencia. Son intérêt n’est pas tellement artistique, sinon documentaire, puisque dans le premier folio apparaît une inscription caligrafiée datant du XVIIè siècle, qui spécifie qu'elle fut donnée en cadeau par le Pape schismatique Bénédict XIII à Bonifacio Ferrer, général de la Chartreuse et frère de Saint Vincent. Personnages singuliers, tous deux, dans le panorama politique contemporain de la Couronne d' Aragon, et intéressants promoteurs artistiques. Pedro de Luna (Bénédict XIII) maintint un scriptorium actif dans la forteresse de Peñíscola jusqu’à 1413. La Bible de Portaceli se détacherait des fonds de la Chartreuse immédiatement après la désamortisation et vente publique des biens monastiques. Elle a subi le même sort que d'autres exemplaires originaires de ce monastère: nous faisons allusion à la Bible valencienne et à la deuxième partie des Annales de la Cartuja de Portaceli (ms. 81141), ocuvres gardées ensemble dans la Hispanic Society of America.
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40

Oakley, C. Elizabeth, Thomas S. Barton, and Berl R. Oakley. "Identification of the chaA and fwA Spore Color Genes of Aspergillus nidulans." Journal of Fungi 10, no. 2 (January 26, 2024): 104. http://dx.doi.org/10.3390/jof10020104.

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Wild-type Aspergillus nidulans asexual spores (conidia) are green due to a pigment that protects the spores against ultraviolet light. The pigment is produced by a biosynthetic pathway, the genes of which are dispersed in the genome. The backbone molecule of the pigment is a polyketide synthesized by a polyketide synthase encoded by the wA gene. If wA is not functional, the conidia are white. The polyketide is modified by a laccase encoded by the yA gene and inactivation of yA in an otherwise wild-type background results in yellow spores. Additional spore color mutations have been isolated and mapped to a locus genetically, but the genes that correspond to these loci have not been determined. Spore color markers have been useful historically, and they remain valuable in the molecular genetics era. One can determine if a transforming fragment has been successfully integrated at the wA or yA locus by simply looking at the color of transformant conidia. The genes of the potentially useful color loci chaA (chartreuse conidia) and fwA (fawn conidia) have not been identified previously. We chose a set of candidate genes for each locus by comparing the assembled genome with the genetic map. By systematically deleting these candidate genes, we identified a cytochrome P450 gene (AN10028) corresponding to chaA. Deletions of this gene result in chartreuse conidia and chartreuse mutations can be complemented in trans by a functional copy of this gene. With fwA, we found that the existing fawn mutation, fwA1, is a deletion of 2241 base pairs that inactivates three genes. By deleting each of these genes, we determined that fwA is AN1088, an EthD domain protein. Deletion of AN1088 results in fawn conidia as expected. Neither deletion of chaA nor fwA restricts growth and both should be valuable target loci for transformations. Combinations of deletions have allowed us to investigate the epistasis relationships of wA, yA, chaA and fwA.
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41

Le Querler, Nicole. "Les modalités appréciatives dans La Chartreuse de Parme de Stendhal." L Information Grammaticale 72, no. 1 (1997): 28–31. http://dx.doi.org/10.3406/igram.1997.2956.

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42

Loiseleur, Bernard. "Le massif du Seuil (Chartreuse, France) : organisation des réseaux souterrains." Karstologia : revue de karstologie et de spéléologie physique 24, no. 1 (1994): 13–28. http://dx.doi.org/10.3406/karst.1994.2338.

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43

Mugnier, Jean-Louis, Réjane Arpin, and François Thouvenot. "Coupes équilibrées à travers le massif subalpin de la Chartreuse." Geodinamica Acta 1, no. 2 (January 1987): 125–37. http://dx.doi.org/10.1080/09853111.1987.11105131.

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44

Rossi, Giuliano. "Pierre-Yves Badel, Sur les sources du “Tombel de Chartreuse”." Studi Francesi, no. 198 (LXVI | III) (December 1, 2022): 667–68. http://dx.doi.org/10.4000/studifrancesi.50856.

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45

Thompson, Christopher W. "Antoine-Jean Gros, la caricature et La Chartreuse de Parme." Stendhal, no. 2 (January 1, 2021): 139–45. http://dx.doi.org/10.4000/stendhal.482.

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46

Thompson, Christopher W. "Antoine-Jean Gros, la caricature et La Chartreuse de Parme." Stendhal, no. 2 (January 1, 2021): 139–45. http://dx.doi.org/10.4000/stendhal.446.

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47

Favre-Brun, Aurélie, and Livio De Luca. "De l'acquisition 3D à la réalité augmentée : le cas de l'église de la chartreuse pontificale de Villeneuve-lès-Avignon (Gard)." Revue Française de Photogrammétrie et de Télédétection, no. 196 (April 15, 2014): 52–58. http://dx.doi.org/10.52638/rfpt.2011.37.

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La chartreuse de Villeneuve-lès-Avignon (Gard), fondée au XIVème siècle par le pape Innocent VI, a subi de nombreux bouleversements tout au long de son existence, à l'image de son église. Construite en plusieurs temps, elle a atteint son apogée au XVIIIème siècle, avant d'être vendue puis divisée en lots et occupée par la population pauvre locale. Le XXème siècle marque sa renaissance à travers les expropriations et les restaurations. Elle est aujourd'hui un site touristique et un lieu de résidence pour artistes. Dans le cadre du programme 3D[Monuments] piloté par le Ministère de la Culture et de la Communication, l'église a été le théâtre de campagnes de relevés numériques et photographiques visant à reconstruire en 3D son état actuel. Une restitution hypothétique de son état postrévolutionnaire, basée sur les nombreuses et diverses sources documentaires, a également été proposée. Une base de données contenant la documentation liée aux objets 3D a été mise en place. L'élaboration de la maquette 3D a conduit l'équipe à s'interroger sur la fiabilité des informations transmises par les sources documentaires. La chartreuse a ainsi été choisie comme terrain d'expérimentation privilégié pour l'étude de l'incertitude des données documentaires réalisée dans le cadre d'une thèse de doctorat.
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48

Espinasse, Alexandrine. "Patrimoine et tourisme au cimetière monumental de la Chartreuse de Bologne." Géographie et cultures, no. 110 (July 2, 2019): 75–92. http://dx.doi.org/10.4000/gc.12092.

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49

Jullien, Dominique. "L'érotisme spirituel dans La Chartreuse de Parme : Fabrice et saint Jérôme." Littérature 97, no. 1 (1995): 73–86. http://dx.doi.org/10.3406/litt.1995.2363.

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50

Avril, Joseph. "Cartulaire de la Chartreuse de Bonnefoy, édité par Jean - Loup Lemaître." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Kanonistische Abteilung 78, no. 1 (August 1, 1992): 632–33. http://dx.doi.org/10.7767/zrgka.1992.78.1.632.

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