Literatura académica sobre el tema "Crue centennale"

La végétation actuelle, la banque de semences du sol et des atterrissements de deux bancs de graviers de la haute vallée de la Loire ont été étudiés en 1995, 15 ans après qu'une crue centennale ait emporté une grande partie de la végétation alluviale. L'échantillon typique de la répartition du stock des diaspores du sol et des atterrissements permet d’émettre des hypothèses concernant les stratégies de reconquête de la végétation par voie sexuée. Ainsi, trois zones ont été mises en évidence ; (1) la zone des sables remaniés et des galets sur berges qui ne possède pas de stock de diaspores ; (2) la zone des pelouses et des landes qui héberge un mélange de semences pouvant être accrochées à la végétation actuelle et de semences apportées par les atterrissements ; (3) la zone des saulaies sur alluvions fines qui est une véritable réserve de diaspores. L'importance des apports des atterrissements dans la dynamique de reconquête est différente selon les zones. Ils sont déterminants pour les groupements pionniers des berges : leur rôle de relais entre la banque sur alluvions fines et les groupements pionniers est mise en évidence. Ces phénomènes sont discutés dans la perspective d’une gestion durable.

L’action, conduite à Fay-sur-Lignon en Haute-Loire, a permis au Lignon de retrouver son lit d’origine et de nouvelles fonctionnalités. Situé en tête du bassin versant du Lignon du Velay, un plan d’eau avait été créé sur une ancienne zone humide en barrant la rivière. À la suite d’une destruction par une crue centennale, il a été reconstruit à la même place, mais le Lignon a été détourné de son tracé naturel. Cette mise en dérivation du Lignon a entraîné un déséquilibre morphodynamique tandis que la présence du plan d’eau générait plusieurs perturbations sur les milieux : perte d’habitats naturels, impact sur la qualité et le réchauffement de l’eau, limitation du rôle de soutien d’étiage et d’expansion de crue, perturbation de la continuité écologique. Le plan d’eau avait, par ailleurs, un attrait et un usage limité, bien que ce soit le développement touristique local qui ait motivé initialement sa création. Pour réduire ces perturbations ainsi qu’un risque de rupture d’une digue, un projet de réhabilitation du Lignon dans son lit historique a été étudié puis mis en œuvre par le Sicala de Haute-Loire (Syndicat d’aménagement de la Loire et ses affluents). Grâce à l’engagement des acteurs locaux, ce plan d’eau a pu être effacé et le Lignon a pu retrouver le cours qu’il empruntait 45 ans plus tôt à quelques ajustements près. Le projet a ainsi permis d’ouvrir un nouvel espace de liberté pour la rivière, favorable à la restauration d’une zone alluviale et de milieux associés, et à la recolonisation par les espèces emblématiques de cette tête de bassin (Salmo trutta Linneaus, 1758, Castor fiber Linnaeus, 1758). Dans un esprit de développement durable, le site réhabilité servira aussi d’espace récréatif pour l’accueil du public tout en préservant les écosystèmes et les zones refuges pour la biodiversité.

Suite à la crue exceptionnelle qui s'est produite le 15 juin 2010 dans la région de Draguignan (Var), plusieurs équipes de chercheurs et d'ingénieurs sont intervenues sur le terrain afin de documenter et de caractériser cet événement, en proposant notamment des estimations des débits de pointe sur le cours principal de l'Argens ainsi que sur l'ensemble des affluents touchés. Des informations sur la chronologie des crues ont également été obtenues auprès de témoins oculaires. Un travail de coordination et d'échanges entre ces équipes a été organisé par le SCHAPI et la DREAL PACA, et a permis de confronter et de mettre en cohérence les résultats obtenus, et d'engager une discussion sur les périodes de retour de la crue. Cette comparaison a révélé que malgré les différentes sources possibles d'erreurs d'estimation, les valeurs de débits proposées par les différentes équipes restaient globalement assez proches. Cette première étape a permis de cartographier les débits sur la base d'une quarantaine d'estimations au total. La répartition spatiale obtenue apparaît, de premier abord, cohérente avec l'estimation des cumuls pluviométriques fournie par les lames d'eau radar. L'analyse hydrologique de l'événement a été complétée en comparant les débits estimés à des hydrogrammes simulés à l'aide d'un modèle pluie-débit simple. Ces résultats mettent en évidence une grande disparité des comportements hydrologiques des affluents de l'Argens. La Nartuby se distingue notablement avec une réponse hydrologique très progressive et atténuée ce qui peut être attribué à l'effet du karst très présent sur ce bassin. Enfin, le travail sur les périodes de retour a permis d'identifier les secteurs pour lesquels la crue a dépassé un niveau centennal.

Dans la nuit du 14 au 15 octobre 2018, un épisode méditerranéen se déclenche sur le département de l'Aude, déversant jusqu'à 300 mm en un peu moins de 10 heures dans la région de Carcassonne, générant des crues meurtrières sur le bassin moyen de l'Aude et de ses affluents. Les ingrédients météorologiques typiques d'un tel événement sont bien présents : entrée droite d'un jet de sud en altitude, jet de basses couches méditerranéen chaud et humide alimentant une ligne de convergence. Le paroxysme de l'épisode s'étant produit à l'est immédiat de Carcassonne, région habituellement située à la périphérie des épisodes les plus intenses, les durées de retour des précipitations sur 6 heures sont au final d'ordre centennal. Même si la prévisibilité d'un épisode méditerranéen est relativement bonne à grande échelle, les modèles déterministes et leurs ensembles, qu'ils soient globaux ou à aire limitée, montrent une grande variabilité d'un réseau à l'autre, rendant très difficile la localisation précise du paroxysme pluvieux. During the night of 14th October 2018 a Mediterranean Heavy Precipitation Event occurred over the Aude département in Southern France, bringing up to 300 mm of rain in about 10 hours over the Carcassonne area, and generating deadly floods in the Aude River catchment. Typical meteorological ingredients were involved: an upper-jet right-entrance region, and a warm and wet low-level jet feeding a convergence line. As the peak of the event occurs around Carcassonne which is less familiar to such events, the return period for 6-hour rainfall was close to one-hundred years. The predictability of such events is rather good on a synoptic scale. However, when it comes to precise localisation and intensities, numerical weather prediction (NWP) models (be they deterministic or ensembles, global or limited-area ones) show a great variability between consecutive runs, making the exercise very challenging for forecasters.

The present study assesses the proximate composition of eight wild seaweed species viz. Hypnea sp., Enteromorpha sp., Sargassum sp., Hydroclathrus clathratus, Padina pavonica, Colpomenia sinuosa, Petalonia fascia and Dictyota ciliolata and one cultured species viz. Hypnea sp. collected from western coast of the St. Martin’s Island and Nunairchhara, Cox’s Bazar, respectively. Standard analytical methods were used to estimate moisture, ash, lipid, crude fiber and protein contents, while carbohydrates were measured by subtracting ash, fat, fiber and protein contents from 100 on a dry weight basis. Results showed average moisture content in different seaweed species ranged between 12.09% to 29.65% and varied from species to species. Maximum ash content was found in brown seaweed H. clathratus (61.98%), while the lowest was recorded in wild red algae Hypnea sp. (7.05%). This study showed mean lipid contents in all seaweed species were much lower than other contents of proximate composition. The highest crude fiber content was observed in P. fascia (10.08±0.07%), while the lowest was observed in Enteromorpha sp. (0.23±0.01%). The highest protein (23.64±1.44%) and carbohydrate content (46.71±0.54%) was found in Hypnea sp. This study showed that mean carbohydrate content was higher in Rhodophyta, Chlorophyta and Phaeophyta, whereas, lipid content was lower in the three groups. Proximate composition of ash, lipid, crude fiber and protein content within species varied due to habitat differences, changes of body structures or physiological alterations, changes in growth rates and photosynthetic function of seaweed species and geographical differences. The mean moisture and ash content were the highest in cultured Hypnea sp., whereas, lipid, crude fiber, protein and carbohydrate were formed to the highest in wild Hypnea sp. Results suggest wild Hypnea sp. was much nutritive because of having higher amount of protein, fiber, carbohydrate and lipid than cultured ones. The study indicates that seaweeds might be used as a potential source of protein, fiber and carbohydrate. The Dhaka University Journal of Earth and Environmental Sciences, Centennial Special Volume June 2022: 113-122

A retrospective glance at the history of humankind discloses that disasters are consubstantial to human existence. From ancient times to our era, no centennial interlude unfolded without dreadful and sad incidents. Despite the improvement of educational sectors to provide humans with adequate training, their perfection remains controversial –their radical and deviationist behaviors keep on bringing about unprecedented tensions, humanitarian and ecological crises. Human relations have turned more tumultuous than ever. No one seems to listen to the other, be in harmony with themselves and their environment. Things occur as if humans were both uneducated and uncivilized. The 21st century suffers from a procession of disastrous events, which unfortunately illustrate humans’ loss and disharmony with themselves and other living beings. Unable to resolutely bring palliative response to the drawbacks of their own deeds, they wander, seeking uncertain and utopian landmarks, which unfortunately worsen their living conditions. They enter this century not as conscious subjects, but rather as crispy individuals, for they have lost their rational faculties, educational and civilizational values. The occurrence of abusive exploitation of forest and halieutic resources in Eldorado, illustrates their sinful and cruel actions against nature and non-human animals. With reference to those devastating actions, it is relevant to guide and reorient their attitude in order to help the present and future generations avoid chaotic or dramatic situations. To that end, it is essential to question figurative disconnection(s) in Laurent Gaudé’s novel. The use of ecocritic approach will contribute to elucidate a literary project, which advocates awareness, universal humanism and the revision of humans’ behavioral habits towards their environment.

On 16 March 1978, the oil tanker the Amoco Cadiz, transporting 223,000 tons of crude oil and 4,000 tons of bunker fuel oil, suffered a failure of her steering mechanism and ran aground on Portsall Rocks, on the Breton coast. The entire cargo spilled out as the breakers split the vessel in two, progressively polluting 360 km of French shoreline from Brest to Saint Brieuc. This was the largest oil spill caused by a tanker grounding ever recorded in the world. The consequences of this accident were significant, and it caused the French Government to revise its oil response plan (the Polmar Plan), to acquire equipment stocks (Polmar stockpiles), to impose traffic lanes in the Channel and to create Cedre. On 12 December 1999, the tanker Erika broke up and sank off the coast of Brittany (France) leading to the spill of 20,000 tons of a heavy fuel oil. 400 km of the French Atlantic coastline were polluted. Because of the characteristics of the oil (a very heavy fuel oil with a high content of light cracking oil) and the severe weather conditions (a centennial storm with spring tides) when the oil came on shore, the Erika spill was one of the most severe accidental releases of oil along the French coastlines. All types of habitat were concerned, and pollution reached the supratidal zone affecting terrestrial vegetation and lichens. In 2019, respectively 41 years and 20 years after these major oil spills affecting the French shoreline, a sampling round was conducted at two sites recorded to present some residual traces of oil. Samples of weathered oil were collected, extracted with methylene chloride and then purified through an alumina-silica microcolumn. SARA fractionation and GC-MS analyses were performed in order to assess respectively the total degradation of the weathered oil (amount of saturates, aromatics and polar fraction) and the specific degradation of nalkanes from n-C9 to n-C40, biomarkers (such as terpanes, hopanes and steranes) and PAHs (parents and alkylated derivatives).

I. The early twentieth century may seem, at first glance, a strange place to begin a survey of attitudes towards deafness. At this point, the American Deaf community was just forming, American Sign Language was not yet recognised as a language, and most Americans who did consider deafness thought of it as a disability, an affliction to be pitied. As I will demonstrate, however, modernist writers actually had a great deal of insight into issues central to the experience of many deaf people: physical and visual language. While these writers were not thinking of such language in relation to deafness, their experimentations into the merging of the body and language can offer us fresh perspectives on the potential of manual languages to impact mainstream society today. In the early decades of the twentieth century deafness was becoming visible in new ways, due in large part to the rapid expansion of schools for the deaf. This increased visibility led to increased representation in popular culture. Unfortunately, as Trent Batson and Eugene Bergman point out, these literal portrayals of deafness were predictable and clichéd. According to them, deaf characters in literature functioned almost exclusively “to heighten interest, to represent the plight of the individual in a technocratic society, or simply to express a sense of the absurd” (140). In all of these cases, such characters were presented as pitiable. In the least derogatory accounts, like Isabel Adams’ 1928 Heart of the Woods, characters stoically overcome their “disability,” usually by displaying miraculous proficiency with lip-reading and the ability to assimilate into hearing society. Other texts portray deaf people as grotesques, as in Mary Roberts Rinehart’s 1919 “God’s fool,” or as the butts of jokes, as in Anatole France’s 1926 The Man Who Married a Dumb Wife, a Comedy in Two Acts. Constructed as pathetic and disgusting, deaf characters were used thematically to invoke a sense of revulsion at the unknowable other, at those perceived as languageless and therefore cut off from full access to humanity. Literature was not the only medium in which representations of deaf people were appearing with greater frequency. Early filmmakers also demonstrated a fascination with the idea of deafness. But as John S. Schuchman points out in Hollywood Speaks, as in literature, these portrayals were nearly always one-dimensional. Depicted as mutes, fakers, comically clueless, and deeply unhappy individuals, with few exceptions these characters created a very negative image of deafness. In Siege (1925), for example, a deaf character is driven to suicide by cruel mockery. In The Silent Voice (1915), another deaf character contemplates suicide. In the 1932 version of The Man Who Played God, a deaf character falls into a deep depression, sends away his fiancé, and declares “I am not a man. I am just an empty shell…I am only an animal now” (qtd. in Schuchman 48). Without the solidarity of Deaf culture, community, or pride, these characters become morbidly depressed and alienated; they experience their hearing loss as a subject of shame, and it was this image of deafness that was presented to the public. Despite these unpromising literal references to deafness, however, the early twentieth century does in fact offer intriguing and productive ideas about how we might understand deafness today. In the years separating the beginning of the last century from this one, public perceptions of deafness have undergone a significant shift. Buoyed by developments in American Sign Language research and the political activism of the Deaf President Now movement (1988), Deaf people are increasingly viewed as a linguistic minority with a distinct and valuable cultural identity and history, whose communicative differences have much to teach us about how we all interact with language. Deafness (the capital D signaling the distinction between Deafness as a culture and deafness as an audiological condition) is now understood in many circles as a linguistic difference, rather than as a deficiency. And hearing modernist writers had very interesting things to say about the value of linguistic and communicative difference. Modernists’ interest in communication emerged in large part because the same cultural movement toward linguistic homogenisation that led to the denigration of sign language and the exclusive focus on speech and lip-reading in American deaf education also sought to draw a line around the kinds of language considered acceptable for usage in writing. Many of modernism’s formal innovations developed as responses to the push for conformity that we see evidenced in the thinking behind the Oxford English Dictionary, which was completed between the 1880s and the 1920s—notably the period during which most modernist writers were born and began publishing. The 1858 proposal for the dictionary was, in fact, one of the first instances in which the term “standard language” was used (North 12). A desire to establish “standard language” usage was also the goal of the American Academy of Arts, established in 1916 and dedicated to maintaining the integrity of English. Such projects strove to consolidate American national identity around the standardised use of the English language, thereby eliminating spaces for linguistic and communicative diversity within the national body politic. Within literary circles, many rebelled against both the political and aesthetic underpinnings of this movement by experimenting in increasingly dramatic ways with how written language could represent the fragmentation many associated with modern life. As part of their experimentation, some of these writers attempted to develop the idea of embodied language. While they were ignorant of the actual manual languages used by the deaf, the ways they were thinking outside the box in relation to communication can give us both a new perspective on manual languages and new insights into their relevance to mainstream society today. II. One writer whose poems engaged such themes was the poet Hart Crane. Though he worked during the period we think of as high modernist, publishing major volumes of verse in 1926 and 1930, his work challenges our definitions of modernist poetry. Unlike the sparse language and cynicism of his contemporaries, Crane’s poems were decadent and lush. As Eliza New has noted, “Hart Crane is the American poet of Awe” (184); his work reflected his belief in the power of the written word to change the world. Crane viewed poets as inheritors of an ecstatic tradition of prophesy, to which he hoped his own poems would contribute. It is because of this overflowing of sentiment that Crane frequently found both himself and his work mocked. He was accused of overreaching and falling short of his goals, of being nothing more than what Edward Brunner termed a “splendid failure” in the title of his 1985 book. Critics and ordinary readers alike were frustrated with Crane’s arcane language and convoluted syntax, as well as the fact that each word, each image, in his poems was packed with multiple meanings that made the works impossible to summarise. Far from constituting a failure, however, this tangled web of language was Crane’s way of experimenting with a new form of communication, one that would allow him to access the transformative power of poetry. What makes Crane instructive for our purposes is that he repeatedly linked this new conception of language with embodiment. Driven in part by his sense of feeling, as a gay man, a cultural outsider, he attempted to find at the intersection of words and bodies a new site for both personal and cultural expression, one in which he could play a central role. In “General Aim and Theories,” Crane explains his desire to imagine a new kind of language in response to the conditions of modernity. “It is a terrific problem that faces the poet today—a world that is so in transition from a decayed culture toward a reorganization of human evaluations that there are few common terms, general denominators of speech that are solid enough or that ring with any vibration or spiritual conviction” (218). Later in the same essay, Crane stresses that these new common terms could not be expressed in conventional ways, but would need to constitute “a new word, never before spoken and impossible to actually enunciate” (221). For Crane, such words were “impossible to enunciate” because they were not actually spoken through the mouth, but rather expressed in other ways through the body. In “Voyages,” a six-part poem that appeared in his first book, The White Building, Crane explores the potential of these embodied words. Drawing in the influence of Walt Whitman, the work is an extended meditation on the intersection of languages, bodies, and love. The poem was inspired by his relationship with the merchant seaman Emil Oppfer. In it, embodied language appears as a privileged site of connection between individuals and the world. The first section of “Voyages,” which Crane had originally titled “Poster,” predated the composition of the rest of the poem by several years. It opens with a scene on a beach, “bright striped urchins” (I. 2) playing in the sand with their dog, “flay[ing] each other with sand” (I. 2). The speaker observes them on the border between land and sea. He attempts to communicate to them his sense of the sea’s danger, but is unsuccessful. And in answer to their treble interjectionsThe sun beats lightning on the waves,The waves fold thunder on the sand;And could they hear me I would tell them: O brilliant kids, frisk with your dog,Fondle your shells and sticks, bleachedBy time and the elements; but there is a lineYou must not cross nor ever trust beyond itSpry cordage of your bodies to caressesToo lichen-faithful from too wide a breast.The bottom of the sea is cruel. (I. 6-16) The speaker’s warning is incomprehensible to the children, not because they cannot literally hear him, but because he is unable to present his previous experience with the sea in a way that makes sense to the them. As Evelyn J. Hintz notes, “the child’s mode of communication is alogical and nonsyntactical—‘treble interjections.’ To tell them one would have to speak their language” (323). In the first section of the poem, the speaker is unable to do this, unable to get beyond linear verbal speech or to conceive of alternative modes of conveying his message. This frustrated communication in the first section gives rise to the need for the remaining five, as the poet explores what such alternatives might look like. In sections II through VI, the language becomes more difficult to follow as Crane breaks away from linearity in an attempt to present his newly conceived language on the page. The shift is apparent in the stanza immediately following the first section. –And yet this great wink of eternity,Of rimless floods, unfettered leewardings,Samite sheeted and processioned whereHer undinal vast belly moonward bendsLaughing the wrapt inflections of our love; (II. 1-5). It is not only that Crane’s diction has become more difficult and archaic, which it has, but also that he creates words that exist between two known meanings. “Wrapt,” for example, both visually and aurally calls to mind ‘wrapped’ as well as ‘rapt.’ “Leewardings” points both toward ships and something positioned away from the wind. What it means to be unrestrained or “unfettered” in this position, Crane leaves unclear. Throughout the remainder of the poem, he repeatedly employs these counterintuitive word pairings. Words are often connected not through logic, but through a kind of intuitive leap. As Brian Reed describes it, “the verse can…be said to progress ‘madly…logically,’ satisfying a reader’s intuition, perhaps, but rarely satisfying her or his rage for order” (115). The lines move according to what Crane called a “logic of metaphor” (General 63). Like his curving syntax, which draws the reader into the beautiful melody before pulling back, withholding definitive meaning like the sea’s waves lapping and teasing, Crane’s metaphoric associations endlessly defer definitive meaning. In “Voyages,” Crane associates this proliferation of meaning and lack of linear progression with physicality, with a language more corporeal and visceral that transcends the restrictions of everyday speech. In a letter to Waldo Frank describing the romantic relationship that inspired the poem, Crane declared “I have seen the Word made Flesh. I mean nothing less, and I know now that there is such a thing as indestructibility” (O 186). Throughout “Voyages,” Crane highlights such words made flesh. The sea with whom the speaker seeks to communicate is embodied, given “eyes and lips” (III.12), a “vast belly” (II. 4-5), “shoulders” (II. 16), and “veins” (II. 15). What’s more, it is precisely through the body that communication occurs. “Adagios of islands, O my Prodigal, / Complete the dark confessions her veins spell” (II. 14-15, emphasis mine), the poet entreats. He describes the sea’s “Portending eyes and lips” IV. 12), her “dialogue with eyes” (VI. 23), and declares that “In signature of the incarnate word / The harbor shoulders to resign in mingling / Mutual blood, transpiring as foreknown” (IV. 17-19, emphasis mine). It is only through this wordless communication that the kind of sublime meaning Crane seeks can be transmitted. For him, this “imaged Word” (VI.29) permits access to knowledge that conventional language obscures, knowledge that can only be transmitted through manual connection, as the speaker asks the sea to “Permit me voyage, love, into your hands…” (III.19). Crane saw the proliferation of meanings that he believed accompanied such embodied language as a response against the movement toward a standardisation of language that threatened to edit out modes of communication and identities that did not fit within its confines. As Thomas Yingling notes, “meaning, such as it occurs in Crane, is a process of indeterminacy, is constituted precisely in the abrupt disfigurements and dislocations, in the sudden clarities and semantic possibilities” (30). It was in large part these “semantic possibilities,” these indeterminate and multiple meanings that refused to line up, which led critics to characterise Crane’s work as a “poetics of failure” (Riddel). As later research into sign languages has revealed, however, far from representing a failure of poetic vision, Crane was actually incredibly forward thinking in associating embodied languages with a non-linear construction. Conventional spoken and written languages, those Crane was attempting to complicate, are necessarily linear. Letters and sounds must proceed one after another in order for an utterance to make sense. Manual languages, however, are not bound by this linearity. As Margalit Fox explained nearly a century later in Talking Hands, Because the human visual system is better than the auditory system at processing simultaneous information, a language in the visual mode can exploit this potential and encode its signals simultaneously. This is exactly what all signed languages do. Whereas words are linear strings, signs are compact bundles of data, in which multiple unites of code—handshapes, location and movement—are conveyed in virtually the same moment. (101) Such accounts of actual embodied languages help to explain the frustrating density that attends Crane’s words. Morphologically rich physical languages like the kind Crane was trying to imagine possess the ability for an increased layering of meaning. While limited by the page on which he writes, Crane attempted to create this layered affect through convoluted syntax and deliberately difficult vocabulary which led readers away from both a sense of fixed meaning and from normative standards usually applied to written words. Understanding this rebellion against standardisation is key to the turn in “Voyages.” It is when the speaker figures the sea’s language in conventional terms, when he returns to the more straightforward communication that failed in the first section, that the spell is broken. “What words / Can strangle this deaf moonlight?” (V. 8-9), he asks, and is almost instantly answered when the sea’s language switches for the first time into dialogue. Rather than the passionate and revelatory interaction it had been before, the language becomes banal, an imitation of tired words exchanged by lovers throughout history: “‘There’s // Nothing like this in the world,’ you say” (V. 13-14). “ ‘—And never to quite understand!’” (V. 18). There is “Nothing so flagless as this piracy” (V.20), this loss of meaningful communication, and the speaker bemoans the “Slow tyranny of moonlight, moonlight loved / And changed…” (V. 12-13). With the reversion to conventional language comes the loss of any intimate knowledge of both the sea and the lover. The speaker’s projection of verbal speech onto the sea causes it to “Draw in your head… / Your eyes already in the slant of drifting foam; / Your breath sealed by the ghosts I do not know” (V. 22-24). The imposition of normative language marks the end of the speaker’s experiment with new communicative modes. III. As he demonstrates by situating it in opposition to the enforced standardisation of language, for Crane embodied language—with its non-linear syntax and layered meanings—represented the future in terms of linguistic development. He saw such non-normative languages as having the potential to drastically change the ways human relationality was structured, specifically by creating a new level of intimacy through a merging of the semantic and the physical. In this way, he offers us productive new ways to think about the potential of manual languages, or any other non-normative means of human expression, to fundamentally impact society by challenging our assumptions about how we all relate to one another through language. When asked to define deafness, most people’s first response is to think of levels of hearing loss, of deficiency, or disability. By contrast, Crane’s approach presents a more constructive understanding of what communicative difference can mean. His poem provides an intense mediation on the possibilities of communication through the body, one that subsequent research into signed languages allows us to push even further. Crane believed that communicative diversity was necessary to move language into the next century. From this perspective, embodied language becomes not “merely” the concern of a “disabled” minority but, rather, integral to our understanding of language itself. References Batson, Trent, and Eugene Bergman, eds. Angels and Outcasts: An Anthology of Deaf Characters in Literature. 3rd ed. Washington DC: Gallaudet UP, 1985. Brunner, Edward J. Splendid Failure: Hart Crane and the Making of The Bridge. Champaign: U of Illinois P, 1985. Crane, Hart. “Voyages.” The Complete Poems of Hart Crane: The Centennial Edition. New York: Liveright, 2001. ———. “General Aims and Theories.” Hart Crane: Complete Poems and Selected Letters. Ed. Langdon Hammer. New York: The Library of America, 2006. 160-164. ———. O My Land, My Friends: The Selected Letters of Hart Crane. Eds. Langdon Hammer and Brom Weber. New York: Four Walls Eight Windows, 1997. Fox, Margalit. Talking Hands. New York: Simon and Schuster, 2007. Hinz, Evelyn J. “Hart Crane’s ‘Voyages’ Reconsidered.” Contemporary Literature 13.3 (1972): 315-333. New, Elisa. “Hand of Fire: Crane.” The Regenerate Lyric: Theology and Innovation in American Poetry. Cambridge: Cambridge UP, 1993. 182-263. North, Michael. The Dialect of Modernism: Race, Language, and Twentieth-Century Literature. Oxford: Oxford UP, 1994. Reed, Brian M. Hart Crane: After His Lights. Tuscaloosa, AL: U of Alabama P, 2006. Riddel, Joseph. “Hart Crane’s Poetics of Failure.” ELH 33.4 (1966): 473-496. Schuchman, John S. Hollywood Speaks: Deafness and the Film Entertainment Industry. Urbana: U of Illinois P, 1988. Yingling, Thomas. Hart Crane and the Homosexual Text: New Thresholds, New Anatomies. Chicago: U of Chicago P, 1990.

La métropole parisienne est exposée à un risque de crue centennale, considéré
par les gestionnaires comme le risque naturel principal pour l'agglomération. À
partir du scénario catastrophe envisagé par les pouvoirs publics, complété par
des entretiens auprès des acteurs concernés, cette étude cherche à dégager la
vulnérabilité spécifique à une métropole. Elle développe une démarche
synthétique, qui examine à la fois le potentiel d'endommagement et la capacité à
faire face de la société, et propose une nouvelle grille de lecture de la vulnérabilité.
Elle met en évidence l'impact de la dynamique spatiale métropolitaine sur le risque.
Enfin, une approche territoriale permet d'appréhender les difficultés propres à la
gestion du risque métropolitain et d'envisager des solutions plus adaptées. Au
total, ce travail met en exergue la dimension spatiale de la vulnérabilité et insiste
sur le concept d'"espace géographique" et de "territoire" comme clé de
compréhension du risque.

La métropole parisienne est exposée à un risque de crue centennale, considéré par les gestionnaires comme le risque naturel principal pour l'agglomération. À partir du scénario catastrophe envisagé par les pouvoirs publics, complété par des entretiens auprès des acteurs concernés, cette étude cherche à dégager la vulnérabilité spécifique à une métropole. Elle développe une démarche synthétique, qui examine à la fois le potentiel d'endommagement et la capacité à faire face de la société, et propose une nouvelle grille de lecture de la vulnérabilité. Elle met en évidence l'impact de la dynamique spatiale métropolitaine sur le risque. Enfin, une approche territoriale permet d'appréhender les difficultés propres à la gestion du risque métropolitain et d'envisager des solutions plus adaptées. Au total, ce travail met en exergue la dimension spatiale de la vulnérabilité et insiste sur le concept d"'espace géographique" et de "territoire" comme clé de compréhension du risque
The Paris metropolitan area is threatened by floods. This hazard is regarded as the main natural risk for the city. Starting from a possible scenario of the disaster (designed by the authorities) and interviews with stakeholders, this study aims at finding the specific vulnerability of a global city. By looking at both the potential damage and the coping capacity of the society, we develop a new framework to undestand metropolitan vulnerability. We stress out the impact of metropolitan spatial dynamics on risk. We adopt a territorial point of view in order to understand how this specific risk is currently managed in the Paris metropolitan area, and how this management coud be improved. To conclude, this study underlines the spatial dimension of vulnerability, using "geographical space" and "territory" as key concepts

Le travail présenté dans ce mémoire s'appuie sur quatre études de cas de récentes catastrophes françaises : le Grand-Bornand (1987), Nîmes (1988), Paris (1990) et Vaison-La-Romaine(1992). Après avoir fait le point sur les connaissances actuelles sur les ruissellements en milieu agricole, forestier et urbain (chapitre 1) et avoir analysé les quatre catastrophes citées et des catastrophes prévisibles (chapitre 2), nous abordons les facteurs qui nous semblent aggraver ou limiter le risque pour en arriver à une série de propositions techniques de lutte contre le ruissellement en milieu urbain (chapitre 3). Enfin, un guide méthodologique et des exemples,pour approcher le problème de la gestion de ces crues, sont proposés. Cette thèse, destinée aux aménageurs du territoire, Urbanistes, Architectes, Paysagistes et Ingénieurs de voirie, est une recherche multidisciplinaire : elle sert d'approche complémentaire aux efforts réalisés par les responsables des réseaux d'assainissement pour lutter contre les crues centennales. Le rapport pose les bases techniques élémentaires pour enclencher les moyens de lutte contre le ruissellement, sachant que cette lutte doit s'effectuer aussi bien contre la formation du ruissellement que contre ses effets, et qu'à chaque phase différente du processus de ruissellement (rétention, conduite d'écoulement, protection) correspondent différentes solutions techniques.

Les exercices de gestion de crise, hérités du monde militaire, constituent une pratique aujourd’hui courante dans la société civile. Dans l’histoire récente, leur nombre et leur visibilité ont considérablement augmenté, dans le contexte de la réponse de l’État aux attentats de 2015. Ils constituent ainsi l’un des dispositifs principaux de préparation des organisations de gestion de crise face aux événements qui menacent les populations. Pour remplir cette mission, les exercices sont conçus comme des simulations de crise les plus réalistes possible, visant à la fois des objectifs de formation et d’identification des failles à corriger dans les dispositifs de gestion de crise. Toutefois, l’observation des exercices organisés par le Secrétariat Général de la Zone de Défense et de Sécurité de Paris - un service de la préfecture de Police – ne permet que de vérifier partiellement ces objectifs. Pour expliquer cette apparente difficulté, il convient d’envisager la superposition de deux missions assignées aux exercices. La première, officielle, est centrée sur la protection des populations. La seconde, latente mais prioritaire, consiste à protéger l’État, dont la légitimité et l’identité même – fondées justement sur la protection des populations - sont remises en question par la survenue des crises
Crisis management exercises, inherited from the military sphere, are now common practice in civil society. In recent history, their number and visibility have increased considerably, in the context of the State's response to the 2015 terrorist attacks. Thus, they are one of the main ways in which crisis management organizations can prepare for events that threaten the population. To fulfill this mission, exercises are designed as the most possibly realistic crisis simulations, aiming both at training crisis management professionals and identifying weaknesses to be corrected in crisis management systems. However, when observing the exercises organized by the “Secrétariat Général de la Zone de Défense et de Sécurité of Paris” – a department of the Préfecture de Police, responsible for both law enforcement and civil security in the Paris metropolitan area – only partially verifies these objectives. To explain this apparent difficulty, we suggest considering the superposition of two missions assigned to exercises. The first, the official one, focuses on population protection. The second, latent but priority, is to protect the State, whose very legitimacy and identity - founded precisely on the protection of populations - are called into question by the occurrence of crises

When one reviews the centennial of Turkey’s engagement with the Middle East since the founding of the Republic, one can easily come to the conclusion that defensive Realpolitik until the end of 1990s gradually shifted towards a more offensive-militarist engagement with ideological motivations from the 2000s. However, it would perhaps be too crude to say this has been a major rupture in the century of the Republic. Turning this idea into an action was always dependent on an abundance of resources domestically and ripe conditions regionally and globally. Consequently, the recent change in the global balance of power in the twenty-first century, from US hegemony towards a more multipolar and uncertain world, has definitely contributed to Turkey’s vague multilateralism and search for autonomy from the Atlantic alliance. Erdoğan’s autocratic assertiveness and agency further enabled this offensive militarisation and interventionism. In the post- Erdoğan era, Turkey is more likely to ease the offensive and ideological engagement in the Middle East and return to more defensive-pragmatic Realpolitik, especially if the more secular and pro-Western political groups come to power. Yet Turkey’s military and political posture as a regional power will continue to exist beyond the different political orientations of Turkish governments.