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An IPCC founder and tenacious advocate for climate action. An IPCC founder and tenacious advocate for climate action.

L’article étudie la genèse, les enjeux et la réception française d’Aladdin, or The Wonderful Lamp que Walter Crane, figure majeure des Arts and Crafts, a publié en 1875. En consacrant l’un de ses derniers toy books à l’histoire d’Aladdin et la lampe merveilleuse, Crane s’empare d’un objet culturel déjà bien identifié avec l’enfance et la jeunesse en Angleterre. En collaboration avec le graveur et imprimeur Edmund Evans, il donne une ambition artistique inédite à l’illustration du conte. C’est dans cette perspective que l’on proposera de comprendre plusieurs de ses partis-pris, comme la représentation de la fille du sultan sous les traits d’une femme au profil grec ou l’absence des génies emblématiques du merveilleux oriental. En se situant dans le secteur des fascicules bon marché et largement diffusés, en mettant en images un conte dont les représentations abondent en son temps, Crane affirme, paradoxalement, la singularité de son œuvre et il offre une mise en abyme somptueuse à son parcours artistique. En traversant la Manche, Aladdin est devenu, tout à la fois, un volume anonyme de la collection « Magasin des petits enfants » de la Librairie Hachette et une référence citée en exemple par plusieurs critiques d’art français des années 1880 et 1890. This article examines the genesis, issues and French reception of Aladdin, or The Wonderful Lamp published by Walter Crane in 1875. Dedicating this toy book to the story of Aladdin and the Wonderful Lamp, Walter Crane takes a cultural object already well identified with youth in England. In collaboration with the engraver and printer Edmund Evans, he gave a new artistic ambition to the illustration of the tale. It is from this perspective that we propose to understand several of his choices, such as the representation of the sultan’s daughter as a woman with a Greek profile, or the absence of the genies emblematic of oriental wonder. By illustrating a tale whose representations abounded in his time, Walter Crane paradoxically affirmed the singularity of his work and offered a magnificent mise en abyme to his artistic career. By crossing the Channel, Aladdin became both an anonymous volume in Hachette’s ‘Magasin des petits enfants’ and a reference cited as an example by several French art critics of the 1880s and 1890s.

We introduce and study shift-similar groups G Sym(N) , which play an analogous role in the world of Houghton groups that self-similar groups play in the world of Thompson groups. We also introduce Houghton-like groups H_n(G) arising from shift-similar groups G , which are an analog of Röver–Nekrashevych groups from the world of Thompson groups. We prove a variety of results about shift-similar groups and these Houghton-like groups, including results about finite generation and amenability. One prominent result is that every finitely generated group embeds as a subgroup of a finitely generated shift-similar group, in contrast to self-similar groups, where this is not the case. This establishes in particular that there exist uncountably many isomorphism classes of finitely generated shift-similar groups, again in contrast to the self-similar situation.

A group is $\\frac 32$-generated if every non-trivial element is part of a generating pair. In 2019, Donoven and Harper showed that many Thompson groups are $\\frac 32$-generated and posed five questions. The first of these is whether there exists a 2-generated group with every proper quotient cyclic that is not $\\frac 32$-generated. This is a natural question given the significant work in proving that no finite group has this property, but we show that there is such an infinite group. The groups we consider are a family of finite index subgroups $G_1,\\, G_2,\\, \\ldots$ of the Houghton group $\\operatorname {FSym}(\\mathbb {Z})\\rtimes \\mathbb {Z}$. We then show that $G_1$ and $G_2$ are $\\frac 32$-generated and investigate the related notion of spread for these groups. We are able to show that they have finite spread at least 2. These are, therefore, the first infinite groups to be shown to have finite positive spread, and the first to be shown to have spread at least 2 (other than $\\mathbb {Z}$ and the Tarski monsters, which have infinite spread). As a consequence, for each $k\\in \\{2,\\, 3,\\, \\ldots \\}$, we also have that $G_{2k}$ is index $k$ in $G_2$ but $G_2$ is $\\frac 32$-generated whereas $G_{2k}$ is not.

In 1768, the Labrador Inuk woman Mikak and her son Tutauk were taken to England by Newfoundland’s Governor Hugh Palliser as official guests of the government in hopes of improving relations, especially trade, with Labrador Inuit. They returned to Labrador in 1769. In 1772, English merchant Captain George Cartwright brought two Labrador Inuit brothers and their families to England: Attuiock, Ickongoque, Ickeuna, Tooklavinia, and Caubvick. The known paintings and pastels of these individuals, together with their personal histories, have provided insights into the Inuit experience and management of 18th-century colonial presence and expansion in Labrador. The known images are also unique and striking artworks of the Georgian period, several by famous artists of the time. This paper adds four more works to the known portfolio, including two portrayals of Mikak and Tutauk and two of the Inuit family group. Additionally, two further images of Mikak and Tutauk are noted that have been mentioned in exhibition catalogues but have not yet been found. Provenance histories and comparisons of both the new and the known works are emphasized and explored. The subjects’ performances in their various roles—as individuals with their own goals, as important visitors, as subjects of artwork for purpose of ethnography—are also considered, as is the purpose of some of these images as mementoes. Their hosts’ performances and responses to the Indigenous visitors are also considered—including their use of common colonial figures of speech, such as sarcasm, and cultural stereotyping of their guests as the wise noble, the innocent, the “Indian princess,” and chief or leader (to open social and diplomatic doors). Finally, the painting known as A Labrador Woman by an unknown artist in the Hunterian Museum at the Royal College of Surgeons of England, London, is briefly revisited. This striking portrait has been variously identified over time, and we discuss why this may be another 1769 portrayal of Mikak. En 1768, une Inuk du Labrador nommée Mikak et son fils Tutauk ont été amenés en Angleterre par Hugh Palliser, gouverneur de Terre-Neuve, à titre d’invités officiels du gouvernement, dans l’espoir d’améliorer les relations avec les Inuits du Labrador, plus particulièrement sur le plan commercial. Ils sont revenus au Labrador en 1769. En 1772, le capitaine George Cartwright, un marchand anglais, a amené en Angleterre deux frères inuits du Labrador ainsi que des membres de leur famille : Attuiock, Ickongoque, Ickeuna, Tooklavinia et Caubvick. Les peintures et les pastels de ces personnes, ainsi que leur histoire personnelle, nous permettent de mieux comprendre l’expérience inuite et la gestion de la présence et de l’expansion coloniale au 18e siècle au Labrador. Les représentations artistiques de l’époque géorgienne sont remarquables et uniques. Plusieurs d’entre elles sont l’oeuvre d’artistes renommés de cette période. Dans cet article, nous ajoutons à la liste des oeuvres connues quatre nouvelles pièces : deux portraits de Mikak et de Tutauk ainsi que deux représentations du groupe familial inuit. Nous mentionnons également deux autres représentations de Mikak et Tutauk, qui se trouvent dans les catalogues d’exposition, mais dont la localisation est inconnue. Nous explorons l’histoire de leur provenance ainsi que les points communs entre les oeuvres nouvelles et celles déjà connues. La représentation des sujets dans les différents rôles qu’ils occupent (personnes ayant leurs propres objectifs, visiteurs importants, sujets d’oeuvres d’art à des fins ethnographiques) est également abordée, ainsi que la vocation de certaines de ces images en gage de souvenirs. Les représentations et les réactions des hôtes envers leurs visiteurs autochtones sont également examinées, notamment par rapport à l’utilisation de figures de style coloniales courantes, comme le sarcasme, ainsi que par rapport aux stéréotypes culturels attribués aux invités, soit la figure du noble sage, de l’innocent, de la « princesse indienne », du chef et du leader (pour ouvrir les portes sociales et diplomatiques). Enfin, nous revoyons rapidement le tableau A Labrador Woman, une peinture anonyme du musée Hunterian au Royal College of Surgeons of England, à Londres. Ce portrait frappant a fait l’objet de diverses interprétations au fil du temps. Nous en discutons les raisons.

The rank of a finite semigroup is the smallest number of elements required to generate the semigroup. A formula is given for the rank of an arbitrary (not necessarily regular) Rees matrix semigroup over a group. The formula is expressed in terms of the dimensions of the structure matrix, and the relative rank of a certain subset of the structure group obtained from subgroups generated by entries in the structure matrix, which is assumed to be in Graham normal form. This formula is then applied to answer questions about minimal generating sets of certain natural families of transformation semigroups. In particular, the problem of determining the maximum rank of a subsemigroup of the full transformation monoid (and of the symmetric inverse semigroup) is considered.

Harvey Alter, Michael Houghton and Charles Rice share the award for research on a virus that causes hundreds of thousands of deaths a year. Harvey Alter, Michael Houghton and Charles Rice share the award for research on a virus that causes hundreds of thousands of deaths a year.

The discovery of HCV was a major milestone in 20th-century medicine, and the 2020 Nobel awardees represent three critical periods of research on this important virus. Their discovery led to elimination of post-transfusion hepatitis and a means to cure hepatitis C.