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Résumé Nous proposons de réfléchir à l’impact du cancer chez une personne en situation de handicap invisible, M. I., victime d’un traumatisme crânien grave, et résidant au sein d’un établissement médico-social. Cette situation, présentée dans le cadre de groupes d’analyse des pratiques professionnelles que nous animons, interroge les interactions entre l’expérience du cancer et l’histoire personnelle du sujet déjà empreinte de traumatismes et de remaniements identitaires antérieurs. Le rôle de l’autre semble primordial afin d’accompagner M. I. dans ce parcours de vie singulier. Nous analyserons les bouleversements de l’identité et du vécu corporel du sujet à différents niveaux: individuel, dans le groupe des résidents, au sein de l’institution à partir du regard des professionnels.

This article discusses some of the findings pertaining to how teachers see their work which were produced by a comparative study of 360 French and 360 English primary school teachers. The sample was drawn from schools in four different types of matched catchment areas-rural, inner-city, average suburban and affluent suburban- in Avon, UK and Bouches du Rhone, France. Four major dimensions of difference between the two national contexts are identified in terms of the range of professional activities undertaken; the ambiguity of the teacher's task; the style of pedagogy and the relative importance to teachers of the process as against the products of learning. Against a background of contemporary policy changes which seem likely to render the teaching context increasingly similar in the two countries, the article argues that attempts to change teachers' practice without due regard to those conceptions of professional responsibility which are deeply rooted in particular national traditions as well as more general classroom realities, will result in a lowering of morale and decreased effectiveness.

Résumé L’accompagnement de résidents atteints de cancer s’analyse de manière spécifique dans les institutions médico-sociales qui accueillent ces personnes. La situation clinique d’un résident psychotique décédé d’un cancer est présentée dans le cadre d’un groupe de parole instauré à la demande de l’équipe. Cette situation illustre bien les questions qui émergent dans ces espaces, et plus particulièrement : la perception du cancer, celle de la maladie mentale, de la mort et enfin les éléments théoriques d’analyse groupale et institutionnelle qui peuvent aider les professionnels à dénouer ces problématiques si singulières.

Discusses some of the findings pertaining to how teachers see their work which were produced by a comparative study of 360 French and 360 English primary school teachers, drawn from schools in 4 different types of matched catchment areas--rural, inner-city, average suburban and affluent suburban--in Avon, UK and Bouches du Rhone, France. Four major dimensions of difference between the 2 national contexts are identified. (Abstract amended)

The understanding of interactions between electrons and phonons in atomically thin heterostructures is crucial for the engineering of novel two-dimensional devices. Electron–phonon (el–ph) interactions in layered materials can occur involving electrons in the same layer or in different layers. Here we report on the possibility of distinguishing intralayer and interlayer el–ph interactions in samples of twisted bilayer graphene and of probing the intralayer process in graphene/h-BN by using Raman spectroscopy. In the intralayer process, the el–ph scattering occurs in a single graphene layer and the other layer (graphene or h-BN) imposes a periodic potential that backscatters the excited electron, whereas for the interlayer process the el–ph scattering occurs between states in the Dirac cones of adjacent graphene layers. Our methodology of using Raman spectroscopy to probe different types of el–ph interactions can be extended to study any kind of graphene-based heterostructure. Electron–phonon interactions in van der Waals layered materials can occur either within the same layer (intralayer) or in different layers (interlayer). Here, the authors use multi-wavelength Raman spectroscopy to probe intra- and inter-layer electron–phonon interactions in twisted graphene heterostructures.

Alongside stone and bone industries and remains of hunted and consumed animals, the images placed on objects or walls constitute a gateway into the economic, social, cultural, ideological and symbolic heart of prehistoric societies. It is then necessary to study them, as these images are also a reflection of a visible world and, at the same time, of a vision of the world worth to teach. Prehistoric artists have borrowed from living world, especially animals and humans (very rare plant representations), a large part of their themes, even if abstract or geometric symbols, which are called signs, and some of which probably have figurative origin (objects, living beings, etc.), constitute an iconographic background. But signs, as fascinating as they are to study, are products of the pure imagination and the ideal over which we have little authority because they escape nature. Then to reassure us on our capacity to decipher this world of the images, we often approach it by the outside, i.e. by form, matter, technique or style. And it is the figurative representations that lend themselves best to this exercise. Don't we often say that prehistoric art is an animal art? It is a shortcut, but also a clever way to put aside the signs that resist us. Prehistoric man, as early as the Aurignacian period, excelled in the art of representing animals, at the same time as they hunted, trapped and consumed them. The symbolic and the hunting, the bestiary and the fauna, constitute the two poles of opposite appearance - but finally similar - of a network of complex relations between the man and the animal. The bestiary is not a reasoned and exhaustive inventory of living things. It is a symbolic selection, a cultural and allegorical vision. Prehistoric artists did not draw up a natural and zoological history of the wild animals they encountered, now extinct or emigrated, and even less a manual of anatomy, ethology or animal biology. It is obvious and the simple observation of animal images would be enough to convince us. However, we still practice this exercise of more or less literal reading of the representations, because we seek at all costs, by idealizing and exalting the supposed figurative realism of the painted and engraved animals of Prehistory, to take the prehistoric out of the primitive state in which it is sometimes locked up. But by practicing this, by dissecting images in order to describe their fidelity or perfection, we neglects the innumerable departures from the art of imitation, from reality quite simply. If prehistoric art can occasionally achieve a synthesis between the vision of the hunter, the one who knows how to see, and the hand of the artist, the one who knows how to express, we should not make a doctrine of it. Between eye and hand, there is a brain in which experience and imagination mix and feed each other. Whatever the words we frequently use to describe prehistoric animal art, \"realist\" or \"naturalist\", words that seem close but can also be contrary, they take us away from reality since mimetic accuracy has never been an objective. And how could it be so, since everyone has his own perception and his own interpretation of reality. Everyone sees the visible world and bears witness to it in his own way. The images of prehistory, and more particularly those of animals, are the manifestations of these multiple and subjective visions of the world of an individual nature, as the product of an interior glance, and social, as the product of the outside, visions more or less accommodated to collective constraints. As in the Middle Ages, the true nature of the animals during the Prehistory, the nature that the artists allot to them, resides more in the ideal nor the metaphysical, the true in some way, than in the scrupulous observation of the living, the reality.