Les inputs audiovisuels tels que les films et les séries sont de plus en plus souvent utilisés dans les cours de langue étrangère (LE) car ils permettent une exposition authentique à la langue. Plusieurs études suggèrent qu’ils soutiennent l’apprentissage de nouveaux mots, mais que l’inclusion d’activités de pré-/post-visionnage pourrait renforcer cet apprentissage. La présente étude a été menée en Suisse alémanique et s’intéresse à l’effet de la présence et du placement d’une telle activité sur l’apprentissage de 51 mots cibles. Dans une étude within-design, 97 apprenants de français langue étrangère de 13–14 ans ont regardé trois extraits de la série télévisée « Plan Cœur » (Netflix, 2018). Les trois conditions étaient : épisode seul, épisode et activité avant, épisode et activité après. Les activités portaient sur la reconnaissance du sens des mots cibles. Trois post-tests immédiats et un post-test différé du même type (reconnaissance de sens) ont été effectués auprès des quatre classes de niveau scolaire supérieur (classes générales et prégymnasiales/GPG) et des deux classes de niveau scolaire inférieur (classes à exigences de base/EBA). Nos résultats confirment la supériorité des conditions avec activité ainsi qu’une différence (peu surprenante) selon le niveau scolaire. On trouve aussi une interaction entre le moment de test et condition avec plus de réponses correctes aux post-tests immédiats. La différence entre activité pré et post est cependant négligeable. Ces résultats soulignent l’importance des activités pré-/post-visionnage pour l’apprentissage de nouveaux mots en LE.

Are there large-scale trends in art history that surpass individual creativity or relatively short artistic movements? Many theories describe art history as a process similar to a change of fashions, while others suggest that art can be progressive – getting better, in some sense, over time. We approach this question anew with the theory of cumulative cultural evolution, which describes cultural accomplishments in terms of innovations that are maintained across generations and accumulated to support ever greater creative potential. In this paper, we empirically test the possibility for cumulative evolution in the techniques used to make an artistic product. Specifically, we measure the size and structure of the production crews in American films in 1910–2010 based on a dataset of 1000 popular films across the century. We find that film crews become exponentially more complex, with a growing set of core jobs, and more innovative in creating new jobs in filmmaking. Our study shows that art history can be cumulative, showing the progressive maintenance of innovative techniques, and thus providing an alternative to the widespread view of art history as a mere fluctuation of trends and fashions.

[K0.5Na0.5NbO3]1−x[BaNi0.5Nb0.5O3−δ]x (KNBNNO, 0 ≤ x ≤ 0.3) films have been fabricated on different substrates for the first time, using a modified chemical solution deposition method. The microstructure, optical properties, ferromagnetism, and substrate effects of KNBNNO films were assessed, and we found that BaNi0.5Nb0.5O3−δ (BNNO) content was a key factor in determining the properties of the final products. The lower band gap of KNBNNO is due to the band-to-band transition from hybridized Ni 3d and O 2p to Nb 4d states. Moreover, with increasing x from 0 to 0.3, the magnetism transition process of the samples from diamagnetism to ferromagnetism may originate from the competition between ferromagnetic exchange interactions in Ni2+–VO2−–Ni2+ and superexchange interactions in Ni2+–Ni2+. Notably, absorption behaviors in the visible light wave band for KNBNNO films have been realized, which makes it possible to use KNBNNO films for perovskite solar cell applications.

To a mineralogist, minerals are defined primarily by their crystal structure and chemical composition. Many minerals of industrial importance retain this identity in their final application. For the producer and end user, the physical properties of these industrial mineral products such as size and shape distribution, refractive index, density, hardness, refractoriness and colour are of primary importance, since it is the combination of these, together with its surface chemistry, which gives the mineral its functionality. As a result, minerals which are very different in structure and origin but have many similar physical properties, such as kaolin and calcium carbonate, are often used in very similar roles and in similar applications.

Examples of mineral use in diverse applications such as paper, paints and coatings, polymers and films show how the physical properties of different minerals are exploited and engineered to provide optical, mechanical and rheological performance and to minimise cost. Industrial mineral producers have been manipulating these properties for many decades and continue to do so in search of improved performance and new applications. As new high performance materials become more commonplace, the challenge is to find new ways of transforming minerals to provide the necessary functionality for them.

Some conservation finance strategies feature taxes on nature's benign, and arguably educational, uses. This applies to a recent proposal to extract payment from producers of nature films and also to past efforts to raise entrance fees to protected areas. We argue that, as they are currently formulated, it is misleading to label these proposals as payments for environmental service schemes, as they lack voluntary and conditional payments. Rather, they are a form of taxation. Such revenue-seeking measures may prove to be short-sighted. They will raise prices and curtail the demand for those environmental services that embody some element of education, thus reducing public exposure to nature. This could diminish public awareness, curb people's biophilia and devalue Nature's ‘existence values’. This drive for more conservation cash income in the short term could undermine a broad, long-term societal basis for conservation and its future financing.

This study responded to a need for an updated set of film clips for the elicitation of emotion. Previous such stimuli are not only dated, but are limited in that they have been validated using participants from a narrow age range, which is problematic given conflicting reports regarding age differences in self-reported emotion elicited in a laboratory setting. The present study aimed to develop a new film stimulus set standardised on a wide age range of participants, while investigating age differences in self-reported emotion in response to film clips. An ancillary aim was to standardise film clips that were with and without dialogue. Two researchers composed a shortlist of 60 clips that were chosen to elicit six target emotions of amusement, anger, disgust, fear, happiness and sadness, as well as a neutral state. Each of the 109 participants (55 males, 54 females), aged between 18 and 88 years (M = 44.94) viewed all 60 clips. Self-reported emotional experience was measured using a computerised Visual Analogue Scale. Age differences were observed whereby participants aged 46–88 reported more intense positive and negative emotions in response to film clips than participants aged 18–45. Consistent with previous research, difficulties were found in eliciting the target emotion of anger. A success index was calculated for each film that took into consideration the mean rating on the target emotion and the degree to which the film elicited only the target emotion. We present a list of film clips recommended for future research.

This work is about the production of hybrid coatings of the system SiO2-PMMA (PMMA, polymethylmethacrylate). These materials have interesting mechanical and chemical properties useful for anticorrosive and wear resistance applications. SiO2-PMMA hybrids were obtained by the sol-gel traditional process, using tetraethylorthosilicate (TEOS) and methylmethacrylate (MMA) by Aldrich Co, as starting reagents. The SiO2:PMMA ratio was varied from 0:1 to about 1:1 at air atmosphere deposition. The coatings were obtained on acrylic sheets and silicon wafers. A diversity of coatings with chemical composition ranging from SiO2 and PMMA to obtain the SiO2-PMMA hybrids were obtained. Infrared (IR) and atomic force microscopy (AFM), were performed to determinate structural and morphological behavior.