Éditeur(s) : HAL CCSD Oxford University Press (OUP)
Résumé : International audience
Deciphering the evolutionary processes driving nucleotide variation in multiallelic genes is limited by the number of genetic systems in which such genes occur. The complementary sex determiner (csd) gene in the honey bee Apis mellifera is an informative example for studying allelic diversity and the underlying evolutionary forces in a well-described model of balancing selection. Acting as the primary signal of sex determination, diploid individuals heterozygous for csd develop into females, whereas csd homozygotes are diploid males that have zero fitness. Examining 77 of the functional heterozygous csd allele pairs, we established a combinatorical criteria that provide insights into the minimum number of amino acid differences among those pairs. Given a data set of 244 csd sequences, we show that the total number of csd alleles found in A. mellifera ranges from 53 (locally) to 87 (worldwide), which is much higher than was previously reported (20). Using a coupon-collector model, we extrapolate the presence of in total 116-145 csd alleles worldwide. The hypervariable region (HVR) is of particular importance in determining csd allele specificity, and we provide for this region evidence of high evolutionary rate for length differences exceeding those of microsatellites. The proportion of amino acids driven by positive selection and the rate of nonsynonymous substitutions in the HVR-flanking regions reach values close to 1 but differ with respect to the HVR length. Using a model of csd coalescence, we identified the high originating rate of csd specificities as a major evolutionary force, leading to an origin of a novel csd allele every 400,000 years. The csd polymorphism frequencies in natural populations indicate an excess of new mutations, whereas signs of ancestral transspecies polymorphism can still be detected. This study provides a comprehensive view of the enormous diversity and the evolutionary forces shaping a multiallelic gene.
ISSN: 0737-4038

hal-01544758
https://hal.archives-ouvertes.fr/hal-01544758
DOI : 10.1093/molbev/mst207

Éditeur(s) : HAL CCSD Elsevier
Résumé : International audience
Demographic processes and spatial dispersal of Triatoma dimidiata, a triatomine species vector of Chagas disease, are modeled by integrodifference equations to estimate invasion capacity of this species under different ecological conditions. The application of the theory of orthogonal polynomials and the steepest descent method applied to these equations, allow a good approximation of the abundance of the adult female population and the invasion speed. We show that: (1) under the same mean conditions of demography and dispersal, periodic spatial dispersal results in an invasion speed 2.5 times larger than the invasion speed when spatial dispersal is continuous; (2) when the invasion speed of periodic spatial dispersal is correlated to adverse demographic conditions, it is 34.7% higher as compared to a periodic dispersal that is correlated to good demographic conditions. From our results we conclude, in terms of triatomine population control, that the invasive success of T. dimidiata may be most sensitive to the probability of transition from juvenile to adult stage. We discuss our main theoretical predictions in the light of observed data in different triatomines species found in the literature.
ISSN: 0022-5193

hal-01298098
https://hal-univ-perp.archives-ouvertes.fr/hal-01298098
DOI : 10.1016/j.jtbi.2016.01.017

Éditeur(s) : HAL CCSD Public Library of Science
Résumé : International audience
Background: During the last decade, French Guiana has been affected by major dengue fever outbreaks. Although this arbovirus has been a focus of many awareness campaigns, very little information is available about beliefs, attitudes and behaviors regarding vector-borne diseases among the population of French Guiana. During the first outbreak of the chikungunya virus, a quantitative survey was conducted among high school students to study experiences, practices and perceptions related to mosquito-borne diseases and to identify socio-demographic, cognitive and environmental factors that could be associated with the engagement in protective behaviors. Methodology/Principal Findings: A cross-sectional survey was administered in May 2014, with a total of 1462 students interviewed. Classrooms were randomly selected using a two-stage selection procedure with cluster samples. A multiple correspondence analysis (MCA) associated with a hierarchical cluster analysis and with an ordinal logistic regression was performed. Chikungunya was less understood and perceived as a more dreadful disease than dengue fever. The analysis identified three groups of individual protection levels against mosquito-borne diseases: “low” (30%), “moderate” (42%) and “high” (28%)”. Protective health behaviors were found to be performed more frequently among students who were female, had a parent with a higher educational status, lived in an individual house, and had a better understanding of the disease. Conclusions/Significance: This study allowed us to estimate the level of protective practices against vector-borne diseases among students after the emergence of a new arbovirus. These results revealed that the adoption of protective behaviors is a multi-factorial process that depends on both sociocultural and cognitive factors. These findings may help public health authorities to strengthen communication and outreach strategies, thereby increasing the adoption of protective health behaviors, particularly in high-risk populations. © 2016 Fritzell et al.
ISSN: 1935-2727

hal-01467556
https://hal-univ-rennes1.archives-ouvertes.fr/hal-01467556
DOI : 10.1371/journal.pntd.0005081
PUBMED : 27802275

Résumé : Au début du vingtième siècle, une rupture radicale et fondatrice de modernité artistique eut lieu au Brésil. Cette modernité se démarque de celle d’Europe par la prise de conscience des distances géographiques, culturelles et politiques vis à vis de l’Europe et surtout de l’ancienne puissance coloniale, le Portugal, par la recherche de son identité à travers la multiplicité des métissages du Nouveau Monde, ses mythes et son histoire réelle décolonisée. L’avant-garde brésilienne émerge autour de 1928, à travers les Manifestes anthropophages d’Oswald de Andrade (1890-1954) qui est donc le fondateur des anthropophagies, que l’on peut définir comme un indianisme à rebours. Le ″mauvais sauvage″ exerce sa critique contre les impostures du monde. « La ″Descente anthropophagique″ n’est pas une révolution littéraire, ni sociale, ni politique, ni religieuse. Elle est tout cela à la fois ! Sa loi est simple : Ne m’intéresse que ce qui n’est pas à moi ! Loi de l’homme, loi de l’anthropophagie ! » . Elle prescrit donc la dévoration des modèles importés et leur digestion dans l’hybridation au nom de l’identité brésilienne, par déplacement de concepts freudiens : « L’anthropophagie c’est la transformation permanente du Tabou (manger de l’homme) en Totem (de l’identité brésilienne) ! » . Ici l’influence notable de la psychanalyse et de l’anthropologie est à resituer : le déplacement du tabou anthropophage demeure une transgression symbolique, une métaphore, mais la référence anthropophagique ne concerne pas que la période précolombienne, car elle se réactualise. Nous nous proposons d’étudier ce phénomène à travers quatre questions : 1°- Quelles relations existent entre l’anthropophagie, l’histoire, l’esthétique et l’idéologie ? 2°- Quelle est la place des femmes artistes brésiliennes dans l’émergence de ce mouvement, compte tenu de leur présence décisive dès l’origine ?3°- Compte tenu de la résurgence rhizomique de l’anthropophagie dans la 2e moitié du XXe siècle, y compris jusqu’à aujourd’hui, quelle est la place des femmes artistes dans ce phénomène ? Y a-t-il continuité avec l’époque fondatrice ?4°- Etant donné ce qui précède, peut-on déduire qu’il existe un courant spécifiquement féminin dans l’anthropophagie d’hier et d’aujourd’hui ? Quelle est son importance réelle ? Quelles sont ses relations et postures par rapport à la postmodernité et à la mondialisation de l’art contemporain ?
At the beginning of the twentieth century, in Brazil, a radical artistic rupture took place, which marked the beginning of a new era. The resulting modernity differed from its European counterpart by the awareness of geographical, cultural and political distances that alienated Brazil from Europe and more specifically from its former colonial owner, Portugal. Brazilian modernity sought to define its identity through important basic elements that constitute the stuff that the New World is made of: cross-breeding, mythology and post-colonialism. The Brazilian avant-garde emerged around 1928 with the publication of The Anthropophagy Manifesto by Oswald de Andrade (1890-1954), who is thus the founder of the Anthropophagy, that we can define as a backward step into a reinvented form of ″Amerindianness″. The ″bad savage″ voices his criticism against impostures of the world. « Anthropophagy art is not a literary revolution, nor is it a social plea, nor a political pamphlet, nor a religious tract. It is all these things at the same time. Its law is simple: everything that is not me is of interest to me. The law of men is the law of Anthropophagy ». It thus prescribes eating up imported models and digesting them through the process of hybridization in the name of Brazilian identity. By displacing Freudian concepts, «Anthropophagy is the permanent transformation of the Taboo (man-eating) into a Totem (Brazilian identity) ». The permeating influences of psychoanalysis and anthropology need to be put in perspective: the displacement of the anthropophagous taboo remains a symbolic act of transgression, a metaphor, but the anthropophagic reference does not concern the pre-Columbian period, because it is updated. We propose to study this phenomenon through four questions: 1°- What are the relations between Anthropophagy, history, esthetics and ideology? 2°- What is the place of women Brazilian artists in the emergence of this movement, taking into account their decisive presence right from the start? 3°- Taking into account the resurgence of Anthropophagy from the second half of the 20th century onwards, what is the place of women artists in this phenomenon? Are they pursuing the same interests as the founders of the movement?4°- Can we deduce that there exists a specifically female genre within the anthropophagic movement of yesterday and of today? If so, what is its relevance? Where does it stand with respect to the contemporary concepts of post-modernity and globalization in the present-day art world?

http://www.theses.fr/2014AGUY0766/document