1. The mechanisms underlying hindgut movements in the lobster, Homarus gammarus (Lo) have been studied. 2. The hindgut is innervated from the sixth abdominal ganglion (6A.G.) by the posterior intestinal nerves (P.I.N.'s). Stimulation of any of the connectives of the ventral nerve cord (V.N.C.) will elicit hindgut and anal movements. 3. The hindgut is divisible into anterior and posterior regions, whose basic co-ordination is undisturbed by sectioning the hindgut, so long as the nerves remain intact. 4. Numerous endogenous oscillators mediating spontaneous contractions are thought to lie within the muscles of the rectum. Oscillators within the radial muscles of the anus can be activated by nervous discharge. 5. Receptors responding to anal dilation and closure have been described both anatomically and physiologically. They lie in the anal nerves. No physiological evidence exists for the presence of receptors on the rectum. 6. Hindgut and anal movements may be initiated by either 'phasic' or 'tonic' motor neurones. Bursts of tonic discharge will cause powerful hindgut movements (the defaecatory response), whilst those elicited phasically are rather weaker. The form of the bursting discharge is, apparently, immutable and is unaffected by extirpation of all sensory input. 8. The structure of the 6A.G. has been determined. It is a highly complex ganglion and it is suggested that it was derived from three fused ganglia in the course of evolution. 9. The somata of neurones causing efferent discharge to the hindgut have been shown to lie in the anterior part of the posterior ventral cortical lobe of the 6A.G. 10. Some of these neurone somata have been penetrated using glass microelectrodes. Three categories of neurones, responsible for hindgut control at the level of tine 6A.G., are thought to exist phasic neurones, tonic neurones and driver neurons. 11. The neurones within the 6A.G. represent a final motor pathway to the hindgut. These neurones are thought to be under the ultimate control of a centre lying in the tritocerebral region of the brain. Several interneurones connect the two.

Guillaume Apollinaire est incontestablement l’un des poètes français les plus célèbres du XXe siècle. Celui qui a participé aux mouvements d’avant-garde et écrit des poèmes comme «Le Pont Mirabeau» et «La Chanson du Mal-Aimé», s’est pourtant livré à une autre activité littéraire moins connue du grand public. En effet, la «prose d’imagination»—contes et romans—de l’écrivain est conçue dans les règles de «l’esprit nouveau», et selon une poétique de « la surprise » qui caractérise aussi ses vers. Friand de curiosa et de bizarreries de toutes sortes, le prosateur Apollinaire manifeste une prédilection pour les hérétiques, les aventuriers, les maniaques, les poètes disgracieux et les artistes originaux. Il n’a pas peur d’aborder des sujets étonnants, voire hétérodoxes, à la recherche du renouvellement esthétique. Cette écriture très particulière peut s’inscrire dans une certaine lignée de la littérature, parmi les genres et les ouvrages des auteurs voués à ce qui est fantastique, mystérieux, anticlérical ou subversif. Comme la vie et l’œuvre sont inséparables dans le monde apollinarien, il est naturel que la curiosité et le goût du bizarre de l’écrivain laissent des empreintes dans sa bibliothèque personnelle, ses agendas et dans ses chroniques anecdotiques. Et c’est effectivement dans le domaine du journalisme que se trouvent maintes «authentiques faussetés» d’un Apollinaire conteur, qui excelle à mêler le réel et l’imaginaire. Une telle tendance fusionnelle se traduit aussi par le mélange des genres artistiques et littéraires dans sa fiction, laquelle témoigne d’une volonté d’inventer au-delà de certains «modèles», de créer une nouvelle esthétique libre de contraintes formelles, tout en restant fidèle aux principes défendus par le poète Guillaume Apollinaire. / Guillaume Apollinaire is undoubtedly one of the most famous French poets of the twentieth century. However, apart from being a key figure in the early avant-garde movements and the author of The Mirabeau Bridge (“Le Pont Mirabeau“) and The Song of the Ill-Beloved (“La Chanson du Mal-Aimé“), the poet played another literary role less known to the public today. In fact, the “imaginative prose” (“la prose d’imagination“)—short stories and novels—of Apollinaire was written in the spirit of “l’esprit nouveau“ and in accordance with a poetics of “surprise“ which also shaped his poetry. Being an avid reader of curiosa and other unusual texts, the prosateur Apollinaire had a predilection for heretics, rogues, maniacs, ungraceful poets and eccentric artists. He was not afraid to write about shocking or unconventional subjects while aiming for aesthetic renewal. This very distinctive fiction writing belongs probably to a certain tradition in literature, where Apollinaire and some of his works remain among the genres and the authors who devoted themselves to fantastic tales, mysteries, anticlerical stories or other subversive texts. Since worldly experience and literary enterprise are inseparable in Apollinaire’s world, it is natural to notice many signs of the writer’s curiosity and his taste for the bizarre in his private library, his journals and his magazine columns. In fact, a large number of the so-called “true falsities“ (“authentiques faussetés“)—a term invented by Apollinaire himself who, as a brilliant raconteur, excelled in mixing reality with fantasy—can actually be found in the writer’s journalistic writing. As for his work of fiction, a similar tendency for mixing also reveals itself in the fusion of different artistic and literary genres. The “imaginative prose“ shows the author’s will to invent out of some existing “frameworks“, to create a new aesthetic free of genre constraints, while remaining faithful to the principles defended by the poet Guillaume Apollinaire.

Zwischen 1630 und 1650 vollzog sich ein Wandel in Athanasius Kirchers Vermittlung des musikalischen Wissens: Musik konzipierte er im Zusammenhang der Universalwissenschaft immer mehr als Zeichen des Weltbildes im Kontext einer christlich-neuplatonischen Pansemiose. Die Studie arbeitet dies am Beispiel der "Institutiones mathematicae" (ca. 1630), der "Mathematica curiosa" (ca. 1640) und der "Musurgia universalis" (1650) heraus. Besonderes Augenmerk gilt Kirchers Umgang mit seinen Quellen, insbesondere Nikolaus von Kues, Robert Fludd und der Tradition der Philosophia perennis. / Between 1630 and 1650, a change in Athanasius Kircher's way to communicate the knowledge of music took place: Within the context of universal science, he conceptualised music increasingly as a symbol for his world view and its Christian-Neoplatonic pansemiosis. This study discusses these issues based on Kircher's "Institutiones mathematicae" (c1630), "Mathematica curiosa" (c1640), and "Musurgia universalis" (1650). Special emphasis lies on Kircher's use of his sources, particularly Nicholas of Cusa, Robert Fludd, and the tradition of Perennial philosophy.

Zwischen 1630 und 1650 vollzog sich ein Wandel in Athanasius Kirchers Vermittlung des musikalischen Wissens: Musik konzipierte er im Zusammenhang der Universalwissenschaft immer mehr als Zeichen des Weltbildes im Kontext einer christlich-neuplatonischen Pansemiose. Die Studie arbeitet dies am Beispiel der "Institutiones mathematicae" (ca. 1630), der "Mathematica curiosa" (ca. 1640) und der "Musurgia universalis" (1650) heraus. Besonderes Augenmerk gilt Kirchers Umgang mit seinen Quellen, insbesondere Nikolaus von Kues, Robert Fludd und der Tradition der Philosophia perennis. / Between 1630 and 1650, a change in Athanasius Kircher's way to communicate the knowledge of music took place: Within the context of universal science, he conceptualised music increasingly as a symbol for his world view and its Christian-Neoplatonic pansemiosis. This study discusses these issues based on Kircher's "Institutiones mathematicae" (c1630), "Mathematica curiosa" (c1640), and "Musurgia universalis" (1650). Special emphasis lies on Kircher's use of his sources, particularly Nicholas of Cusa, Robert Fludd, and the tradition of Perennial philosophy.

Zwischen 1630 und 1650 vollzog sich ein Wandel in Athanasius Kirchers Vermittlung des musikalischen Wissens: Musik konzipierte er im Zusammenhang der Universalwissenschaft immer mehr als Zeichen des Weltbildes im Kontext einer christlich-neuplatonischen Pansemiose. Die Studie arbeitet dies am Beispiel der 'Institutiones mathematicae' (ca. 1630), der 'Mathematica curiosa' (ca. 1640) und der 'Musurgia universalis' (1650) heraus. Besonderes Augenmerk gilt Kirchers Umgang mit seinen Quellen, insbesondere Nikolaus von Kues, Robert Fludd und der Tradition der Philosophia perennis. / Between 1630 and 1650, a change in Athanasius Kircher''s way to communicate the knowledge of music took place: Within the context of universal science, he conceptualised music increasingly as a symbol for his world view and its Christian-Neoplatonic pansemiosis. This study discusses these issues based on Kircher''s 'Institutiones mathematicae' (c1630), 'Mathematica curiosa' (c1640), and 'Musurgia universalis' (1650). Special emphasis lies on Kircher''s use of his sources, particularly Nicholas of Cusa, Robert Fludd, and the tradition of Perennial philosophy.

Zwischen 1630 und 1650 vollzog sich ein Wandel in Athanasius Kirchers Vermittlung des musikalischen Wissens: Musik konzipierte er im Zusammenhang der Universalwissenschaft immer mehr als Zeichen des Weltbildes im Kontext einer christlich-neuplatonischen Pansemiose. Die Studie arbeitet dies am Beispiel der 'Institutiones mathematicae' (ca. 1630), der 'Mathematica curiosa' (ca. 1640) und der 'Musurgia universalis' (1650) heraus. Besonderes Augenmerk gilt Kirchers Umgang mit seinen Quellen, insbesondere Nikolaus von Kues, Robert Fludd und der Tradition der Philosophia perennis. / Between 1630 and 1650, a change in Athanasius Kircher''s way to communicate the knowledge of music took place: Within the context of universal science, he conceptualised music increasingly as a symbol for his world view and its Christian-Neoplatonic pansemiosis. This study discusses these issues based on Kircher''s 'Institutiones mathematicae' (c1630), 'Mathematica curiosa' (c1640), and 'Musurgia universalis' (1650). Special emphasis lies on Kircher''s use of his sources, particularly Nicholas of Cusa, Robert Fludd, and the tradition of Perennial philosophy.