Increased fibroblast telomerase expression precedes myofibroblast α-smooth muscle actin expression in idiopathic pulmonary fibrosis

OBJECTIVE: This study sought to identify the relationship between fibroblast telomerase expression, myofibroblasts, and telomerase-mediated regulatory signals in idiopathic pulmonary fibrosis. METHODS: Thirty-four surgical lung biopsies, which had been obtained from patients with idiopathic pulmonary fibrosis and histologically classified as usual interstitial pneumonia, were examined. Immunohistochemistry was used to evaluate fibroblast telomerase expression, myofibroblast α-smooth muscle actin expression and the tissue expression of inter leu kin-4, transforming growth factor-β, and basic fibroblast growth factor. The point-counting technique was used to quantify the expression of these markers in unaffected, collapsed, mural fibrosis, and honeycombing areas. The results were correlated to patient survival. RESULTS: Fibroblast telomerase expression and basic fibroblast growth factor tissue expression were higher in collapsed areas, whereas myofibroblast expression and interleukine-4 tissue expression were higher in areas of mural fibrosis. Transforming growth factor-β expression was higher in collapsed, mural fibrosis and honeycombing areas in comparison to unaffected areas. Positive correlations were found between basic fibroblast growth factor tissue expression and fibroblast telomerase expression and between interleukin-4 tissue expression and myofibroblast α-smooth muscle actin expression. Negative correlations were observed between interleukin-4 expression and basic fibroblast growth factor tissue expression in areas of mural fibrosis. Myofibroblast α-smooth muscle actin expression and interleukin-4 tissue expression in areas of mural fibrosis were negatively associated with patient survival. CONCLUSION: Fibroblast telomerase expression is higher in areas of early remodeling in lung tissues demonstrating typical interstitial pneumonia, whereas myofibroblast α-smooth muscle actin expression predominates in areas of late remodeling. These events seem to be regulated by basic fibroblast growth factor and interleukin-4 tissue expression, respectively.

Il concetto di sezione nel metodo compositivo di Aldo Rossi.

Purpose of this research is to deepen the study on the section in architecture. The survey aims as important elements in the project Teatro Domestico by Aldo Rossi built for the XVII Triennale di Milano in 1986 and, through the implementation on several topics of architecture, verify the timeliness and fertility in the new compositional exercises. Through the study of certain areas of the Rossi’s theory we tried to find a common thread for the reading of the theater project. The theater is the place of the ephemeral and the artificial, which is why his destiny is the end and the fatal loss. The design and construction of theater setting has always had a double meaning between the value of civil architecture and testing of new technologies available. Rossi's experience in this area are clear examples of the inseparable relationship between the representation of architecture as art and design of architecture as a model of reality. In the Teatro Domestico, the distinction between representation and the real world is constantly canceled and returned through the reversal of the meaning and through the skip of scale. At present, studies conducted on the work of Rossi concern the report that the architectural composition is the theory of form, focusing compositional development of a manufacturing process between the typological analysis and form invention. The research, through the analysis of some projects few designs, will try to analyze this issue through the rules of composition both graphical and concrete construction, hoping to decipher the mechanism underlying the invention. The almost total lack of published material on the project Teatro Domestico and the opportunity to visit the archives that preserve the drawings, has allowed the author of this study to deepen the internal issues in the project, thus placing this search as a first step toward possible further analysis on the works of Rossi linked to performance world. The final aim is therefore to produce material that can best describe the work of Rossi. Through the reading of the material published by the same author and the vision of unpublished material preserved in the archives, it was possible to develop new material and increasing knowledge about the work, otherwise difficult to analyze. The research is divided into two groups. The first, taking into account the close relationship most frequently mentioned by Rossi himself between archeology and architectural composition, stresses the importance of tipo such as urban composition reading system as well as open tool of invention. Resuming Ezio Bonfanti’s essay on the work of the architect we wanted to investigate how the paratactic method is applied to the early work conceived and, subsequently as the process reaches a complexity accentuated, while keeping stable the basic terms. Following a brief introduction related to the concept of the section and the different interpretations that over time the term had, we tried to identify with this facility a methodology for reading Rossi’s projects. The result is a constant typological interpretation of the term, not only related to the composition in plant but also through the elevation plans. The section is therefore intended as the overturning of such elevation is marked on the same plane of the terms used, there is a different approach, but a similarity of characters. The identification of architectural phonemes allows comparison with other arts. The research goes in the direction of language trying to identify the relationship between representation and construction, between the ephemeral and the real world. In this sense it will highlight the similarities between the graphic material produced by Ross and some important examples of contemporary author. The comparison between the composition system with the surrealist world of painting and literature will facilitate the understanding and identification of possible rules applied by Rossi. The second part of the research is characterized by a focus on the intent of the project chosen. Teatro Domestico embodies a number of elements that seem to conclude (assuming an end point but also to start) a curriculum author. With it, the experiments carried out on the theater started with the project for the Teatrino Scientifico (1978) through the project for the Teatro del Mondo (1979), into a Laic Tabernacle representative collective and private memory of the city. Starting from a reading of the draft, through the collection of published material, we’ve made an analysis on the explicit themes of the work, finding the conceptual references. Following the taking view of the original materials not published kept at Aldo Rossi's Archive Collection of the Canadian Center for Architecture in Montréal, will be implemented through the existing techniques for digital representation, a virtual reconstruction of the project, adding little to the material, a new element for future studies. The reconstruction is part of a larger research studies where the current technologies of composition and representation in architecture stand side by side with research on the method of composition of this architect. The results achieved are in addition to experiences in the past dealt with the reconstruction of some of the lost works of Aldo Rossi. A partial objective is to reactivate a discourse around this work is considered non-principal, among others born in the prolific activities. Reassessment of development projects which would bring the level of ephemeral works most frequented by giving them the value earned. In conclusion, the research aims to open a new field of interest on the part not only as a technical instrument of representation of an idea but as an actual mechanism through which composition is formed and the idea is developed.

Paul Flandrin (1811-1902), un nuovo sguardo sul paesaggio dell'Ottocento

Questa ricerca ha l’obiettivo di dare nuovi contributi alla conoscenza della pittura di paesaggio francese nell’Ottocento attraverso lo studio dell’opera di Paul Flandrin (1811-1902). Flandrin si colloca al crocevia di esperienze fondamentali nella ricerca artistica di metà Ottocento: l’eredità di Camille Corot, l’insegnamento di Jean-Auguste Dominique Ingres, la pratica del lavoro en plein air, la tradizione del paesaggio neoclassico. Il corpus di opere del pittore lionese Paul Flandrin (1811-1902) ricostruito in questa tesi è frutto di una sistematica operazione di ricerca sul campo e viene in seguito analizzato alla luce dei recenti studi sulla pittura di paesaggio neoclassico in Francia nel XIX secolo. La ricerca si fonda su una grande quantità di materiale inedito: dipinti, disegni, taccuini di studio en plein air, corrispondenza con colleghi e amici. Da questa ricerca la fisionomia artistica di Paul Flandrin emerge ben individuata singolarmente e al tempo stesso ancorata al contesto storico-artistico attraverso le relazioni con i colleghi, l’utilizzo di determinate tecniche, la frequentazione di mete comuni ai paesaggisti suoi contemporanei, la decisa presa di posizione a favore del paesaggio neoclassico.

Das Aussehen Christi in der deutschen Bildkunst des 19. Jahrhunderts : Wandlungen des Christusbildes

Bei der vorliegenden Arbeit handelt es sich um ein Überblickswerk zum Christusbild, dem Aussehen Christi in der deutschen Bildkunst des 19. Jahrhunderts und dessen Wandlungen. Grundlage der Arbeit bildet eine von der Autorin zusammengetragene Materialsammlung und deren Auswertung, basierend auf der Kenntnis von Originalen sowie der Sichtung von Literatur (insbesondere von Lexika, Museums- und Ausstellungskatalogen, Werkverzeichnissen sowie maßgeblichen deutschen Kunstzeitschriften des 19. Jahrhunderts). Das hieraus resultierende systematische Bildverzeichnis umfasst 1.914 Werke in Form von Staffeleibildern, Druckgraphik, wandgebundenen Gemälden (und auch Skulpturen); davon sind 729 mit Abbildungen in der Arbeit dokumentiert. In alphabetischer Reihenfolge abgefasst, enthält das Verzeichnis zu jedem Eintrag Kurzinformationen zu Werk und Künstler, sowie Literatur- und ggf. Abbildungsnachweise. Auf dieser Basis geht die Untersuchung über den bisher relativ kleinen Kreis einschlägig bekannter Christusbilder weit hinaus und gibt erstmals einen umfassenden und für das 19. Jahrhundert repräsentativen Überblick.rnDer auf dieses Material gestützte Hauptteil befasst sich mit der eingehenden Betrachtung der „Grundtypen“ des Christusbildes, womit das Aussehen Christi (Physiognomie, Gesamtgestalt, Gewandung, Habitus und Gestik) gemeint ist. Schwerpunkte der Arbeit bilden zunächst das an der Renaissance (insbesondere an Raffael) orientierte „milde“ Christusbild des Klassizismus und die „inniglich-schöne“ Idealgestalt der Romantik (variiert auch mit altdeutschen Elementen), aus der schließlich das bis in die Gegenwart verwendete, kitschig-süßliche Devotionalienbild resultierte. Eine historisierende, ethnologische Rekonstruktion eines „jüdischen“ Jesus, erschien besonders in der „Orientmalerei“ seit den vierziger Jahren des 19. Jahrhunderts. Die Ablehnung und Abgrenzung der Orientmalerei führte zu einer „historischen Reformationsmalerei“ mit altdeutschen Elementen und auch teilweise zu einer Tendenz der „Germanisierung“ des Bildes Jesu mit genrehaften Zügen. Zum Jahrhundertende hin wurden außerdem vielfältige Versuche beobachtet, den Gottmenschen Jesus in „zeitgenössischem“ Aussehen volksnah in die Gegenwart der Gläubigen einzubinden. Im Symbolismus traten hingegen heroisierende Tendenzen auf bis hin zu einer „Entwirklichung“ der Gestalt Christi. Zusammenfassende Beobachtungen zu den häufig verwendeten und „beliebten“ Themen der Christusdarstellung im 19. Jahrhundert runden die Arbeit ab, in der eine bislang ungekannte Differenzierung und Vielfalt der Darstellungsmöglichkeiten Christi in der religiösen Kunst des 19. Jahrhunderts aufgezeigt werden konnte.

The Operatics of Cabiria (1914): Intermediality in Early Italian Cinema

This article presents an intermedial analysis of the Italian silent film Cabiria by Giovanni Pastrone within the cultural context of its time. Employing theories developed by Werner Wolf and Irina Rajewsky, the article lays out the intermedial and transmedial relationships of Cabiria with other media, in particular opera, literature, and painting, and illustrates that operatic references are incorporated recognizably during key moments of the film. By contrasting these references with specific cinematic techniques, Pastrone demonstrates that film is able to elicit an operatic sensation and that film is a distinct and valuable form of art.

Multi-detector row CT of the small bowel: peak enhancement temporal window--initial experience

PURPOSE: To prospectively determine quantitatively and qualitatively the timing of maximal enhancement of the normal small-bowel wall by using contrast material-enhanced multi-detector row computed tomography (CT). MATERIALS AND METHODS: This HIPAA-compliant study was approved by the institutional review board. After information on radiation risk was given, written informed consent was obtained from 25 participants with no history of small-bowel disease (mean age, 58 years; 19 men) who had undergone single-level dynamic CT. Thirty seconds after the intravenous administration of contrast material, a serial dynamic acquisition, consisting of 10 images obtained 5 seconds apart, was performed. Enhancement measurements were obtained over time from the small-bowel wall and the aorta. Three independent readers qualitatively assessed small-bowel conspicuity. Quantitative and qualitative data were analyzed during the arterial phase, the enteric phase (which represented peak small-bowel mural enhancement), and the venous phase. Statistical analysis included paired Student t test and Wilcoxon signed rank test with Bonferroni correction. A P value less than .05 was used to indicate a significant difference. RESULTS: The mean time to peak enhancement of the small-bowel wall was 49.3 seconds +/- 7.7 (standard deviation) and 13.5 seconds +/- 7.6 after peak aortic enhancement. Enhancement values were highest during the enteric phase (P < .05). Regarding small-bowel conspicuity, images obtained during the enteric phase were most preferred qualitatively; there was a significant difference between the enteric and arterial phases (P < .001) but not between the enteric and venous phases (P = .18). CONCLUSION: At multi-detector row CT, peak mural enhancement of the normal small bowel occurs on average about 50 seconds after intravenous administration of contrast material or 14 seconds after peak aortic enhancement.

Chemotherapy for isolated locoregional recurrence of breast cancer (CALOR): a randomised trial.

BACKGROUND Patients with isolated locoregional recurrences (ILRR) of breast cancer have a high risk of distant metastasis and death from breast cancer. We aimed to establish whether adjuvant chemotherapy improves the outcome of such patients. METHODS The CALOR trial was a pragmatic, open-label, randomised trial that accrued patients with histologically proven and completely excised ILRR after unilateral breast cancer who had undergone a mastectomy or lumpectomy with clear surgical margins. Eligible patients were enrolled from hospitals worldwide and were centrally randomised (1:1) to chemotherapy (type selected by the investigator; multidrug for at least four courses recommended) or no chemotherapy, using permuted blocks, and stratified by previous chemotherapy, oestrogen-receptor and progesterone-receptor status, and location of ILRR. Patients with oestrogen-receptor-positive ILRR received adjuvant endocrine therapy, radiation therapy was mandated for patients with microscopically involved surgical margins, and anti-HER2 therapy was optional. The primary endpoint was disease-free survival. All analyses were by intention to treat. This study is registered with ClinicalTrials.gov, number NCT00074152. FINDINGS From Aug 22, 2003, to Jan 31, 2010, 85 patients were randomly assigned to receive chemotherapy and 77 were assigned to no chemotherapy. At a median follow-up of 4·9 years (IQR 3·6-6 ·0), 24 (28%) patients had disease-free survival events in the chemotherapy group compared with 34 (44%) in the no chemotherapy group. 5-year disease-free survival was 69% (95% CI 56-79) with chemotherapy versus 57% (44-67) without chemotherapy (hazard ratio 0·59 [95% CI 0·35-0·99]; p=0·046). Adjuvant chemotherapy was significantly more effective for women with oestrogen-receptor-negative ILRR (pinteraction=0·046), but analyses of disease-free survival according to the oestrogen-receptor status of the primary tumour were not statistically significant (pinteraction=0·43). Of the 81 patients who received chemotherapy, 12 (15%) had serious adverse events. The most common adverse events were neutropenia, febrile neutropenia, and intestinal infection. INTERPRETATION Adjuvant chemotherapy should be recommended for patients with completely resected ILRR of breast cancer, especially if the recurrence is oestrogen-receptor negative. FUNDING US Department of Health and Human Services, Swiss Group for Clinical Cancer Research (SAKK), Frontier Science and Technology Research Foundation, Australian and New Zealand Breast Cancer Trials Group, Swedish Cancer Society, Oncosuisse, Cancer Association of South Africa, Foundation for Clinical Research of Eastern Switzerland (OSKK), Grupo Español de Investigación en Cáncer de Mama (GEICAM), and the Dutch Breast Cancer Trialists' Group (BOOG).

Los Voluntarios Abren les Puertas: las Cinco Claves para el Manejo Seguro del Plomo

Millions of houses and apartments built before 1978 have paint that contains lead. Chips, dust, and fumes from this paint can be very dangerous if they are not handled properly. Lead is particularly hazardous to unborn babies, infants, and young children. Volunteers in painting and housing-rehabilitation programs often work in homes that contain lead paint. The work they perform can create a lead hazard if they disturb this paint and produce paint chips or dust. Volunteers Opening Doors is a video program for these volunteers. It explains how volunteers can protect housing residents,themselves, and their families from lead poisoning by using the five keys to lead safety: 1. Protect residents and their belongings. 2. Prepare the work area. 3. Protect yourself from dust and debris. 4. Work wet. 5. Work clean.

Volunteers Opening Doors: the Five Keys to Lead Safety

Millions of houses and apartments built before 1978 have paint that contains lead. Chips, dust, and fumes from this paint can be very dangerous if they are not handled properly. Lead is particularly hazardous to unborn babies, infants, and young children. Volunteers in painting and housing-rehabilitation programs often work in homes that contain lead paint. The work they perform can create a lead hazard if they disturb this paint and produce paint chips or dust. Volunteers Opening Doors is a video program for these volunteers. It explains how volunteers can protect housing residents,themselves, and their families from lead poisoning by using the five keys to lead safety: 1. Protect residents and their belongings. 2. Prepare the work area. 3. Protect yourself from dust and debris. 4. Work wet. 5. Work clean.

Rosalía de Flichman, también escritora

Rosalía L. de Flichman (1908-1992) es conocida en Mendoza sobre todo por su labor pictórica, la que creció y evolucionó desde la década de 1950, tanto en la difusión alcanzada por sus obras, como en los nuevos y diversos estilos transitados por la artista. También su nombre apareció en relatos de viaje a lejanos países publicados en diarios y revistas locales. En 1987 publicó el texto Rojos y blancos, Ucrania, que pertenece por su temática a la Literatura de Inmigración. En el libro, la autora recupera algunos recuerdos de su infancia en Ucrania, narra la huida familiar hacia el Oeste de Europa por causa de los pogromos de zaristas y bolcheviques y, por último, concluye con el viaje y la llegada a la Argentina en 1922. La perspectiva femenina del relato, su entrecruzamiento con la etapa vital por la que atraviesa la protagonista, así como la utilización del color y la luz otorgan a Rojos y blancos. Ucrania un valor literario más allá del puramente testimonial, que sin dudas enriquece la Literatura de Inmigración argentina y, dentro de ella, las letras femeninas de escritoras de origen judío.

Planktonic foraminiferal oxygen isotopes of ODP Site 143-865 samples

Cool tropical sea surface temperatures (SSTs) are reported for warm Paleogene greenhouse climates based on the d18O of planktonic foraminiferal tests. These results are difficult to reconcile with models of greenhouse gas-forced climate. It has been suggested that this "cool tropics paradox" arises from postdepositional alteration of foraminiferal calcite, yielding erroneously high d18O values. Recrystallization of foraminiferal tests is cryptic and difficult to quantify, and the compilation of robust d18O records from moderately altered material remains challenging. Scanning electron microscopy of planktonic foraminiferal chamber-wall cross sections reveals that the basal area of muricae, pustular outgrowths on the chamber walls of species belonging to the genus Morozovella, contain no mural pores and may be less susceptible to postdepositional alteration. We analyzed the d18O in muricae bases of morozovellids from the central Pacific (Ocean Drilling Program Site 865) by ion microprobe using 10 ?m pits with an analytical reproducibility of ±0.34 per mil (2 standard deviations). In situ measurements of d18O in these domains yield consistently lower values than those published for conventional multispecimen analyses. Assuming that the original d18O is largely preserved in the basal areas of muricae, this new d18O record indicates Early Paleogene (~49-56 Ma) tropical SSTs in the central Pacific were 4°-8°C higher than inferred from the previously published d18O record and that SSTs reached at least ~33°C during the Paleocene-Eocene thermal maximum. This study demonstrates the utility of ion microprobe analysis for generating more reliable paleoclimate records from moderately altered foraminiferal tests preserved in deep-sea sediments.

De Lucrecio a Borges y estaciones intermedias

Este trabajo intenta mostrar la pervivencia de Lucrecio en unos pocos momentos de la tradición: en el reemplazo de la religión grecolatina por la cristiana, en la renovada convivencia de ambas creencias a partir del Humanismo (con su repercusión en la pintura del Renacimiento), y su reaparición, explícita o silente, en la producción de Jorge Luis Borges

La Mímesis de la pintura y la escultura en el pensamiento de Jenofonte

En sus Memorabilia, Jenofonte transcribe dos conversaciones mantenidas por Sócrates con un pintor y un escultor. En el presente artículo se analiza el significado de dos términos que aparecen a lo largo de ambos diálogos y que se consideran fundamentales para la teoría griega del arte: ethos y pathos. Ambos aluden a determinados rasgos expresivos susceptibles de ser plasmados en la pintura y en la escultura: el término ethos se refiere a rasgos caracteriológicos intrínsecos y pathos a características extrínsecas y coyunturales. Uno de los puntos más interesantes del texto de Jenofonte es que la noción de mimesis se adscribe a la pintura y la escultura como una característica básica y definitoria. Este concepto de mimesis en el sentido de "imitación" aparece por primera vez aquí como categoría estética dominante.

De Lucrecio a Borges y estaciones intermedias

Este trabajo intenta mostrar la pervivencia de Lucrecio en unos pocos momentos de la tradición: en el reemplazo de la religión grecolatina por la cristiana, en la renovada convivencia de ambas creencias a partir del Humanismo (con su repercusión en la pintura del Renacimiento), y su reaparición, explícita o silente, en la producción de Jorge Luis Borges

La Mímesis de la pintura y la escultura en el pensamiento de Jenofonte

En sus Memorabilia, Jenofonte transcribe dos conversaciones mantenidas por Sócrates con un pintor y un escultor. En el presente artículo se analiza el significado de dos términos que aparecen a lo largo de ambos diálogos y que se consideran fundamentales para la teoría griega del arte: ethos y pathos. Ambos aluden a determinados rasgos expresivos susceptibles de ser plasmados en la pintura y en la escultura: el término ethos se refiere a rasgos caracteriológicos intrínsecos y pathos a características extrínsecas y coyunturales. Uno de los puntos más interesantes del texto de Jenofonte es que la noción de mimesis se adscribe a la pintura y la escultura como una característica básica y definitoria. Este concepto de mimesis en el sentido de "imitación" aparece por primera vez aquí como categoría estética dominante.