Catalogue des peintures, aquarelles, dessins et lithographies de A. Raffet, des tableaux anciens et modernes... et des objets d'art formant la succession de feu M. Aug. Raffet fils... vente le 16 mars 1911, hôtel Drouot... / [experts] Mannheim, Delteil, Féral ; [notice de] François Courboin

[Vente. Estampes. 1911-03-16. Paris]

State-of-the-art of 3D cultures (organs-on-a-chip) in safety testing and pathophysiology.

Integrated approaches using different in vitro methods in combination with bioinformatics can (i) increase the success rate and speed of drug development; (ii) improve the accuracy of toxicological risk assessment; and (iii) increase our understanding of disease. Three-dimensional (3D) cell culture models are important building blocks of this strategy which has emerged during the last years. The majority of these models are organotypic, i.e., they aim to reproduce major functions of an organ or organ system. This implies in many cases that more than one cell type forms the 3D structure, and often matrix elements play an important role. This review summarizes the state of the art concerning commonalities of the different models. For instance, the theory of mass transport/metabolite exchange in 3D systems and the special analytical requirements for test endpoints in organotypic cultures are discussed in detail. In the next part, 3D model systems for selected organs--liver, lung, skin, brain--are presented and characterized in dedicated chapters. Also, 3D approaches to the modeling of tumors are presented and discussed. All chapters give a historical background, illustrate the large variety of approaches, and highlight up- and downsides as well as specific requirements. Moreover, they refer to the application in disease modeling, drug discovery and safety assessment. Finally, consensus recommendations indicate a roadmap for the successful implementation of 3D models in routine screening. It is expected that the use of such models will accelerate progress by reducing error rates and wrong predictions from compound testing.

[Illustrations de L'Art de raffiner le sucre] / Ludovic Simonneau, grav. ; Henri-Louis Duhamel du Monceau, aut. du texte

Comprend : [pl.I en reg. p.78 : moulin à sucre de canne employé en Amérique.] [Cote : V 3992/Microfilm R 122 218] ; [pl.II en reg. p.78 : cellier où l'on stocke les barils de sucre brut. Raffinage du sucre.] [Cote : V 3992/Microfilm R 122 218] ; [pl.III en reg. p.78 : la halle aux chaudières. Raffinage du sucre. Planche gravée d'après un dessin de M. Desfriches.] [Cote : V 3992/Microfilm R 122 218] ; [pl.IV en reg. p.78 : la halle aux chaudières. Raffinage du sucre.] [Cote : V 3992/Microfilm R 122 218] ; [pl.V en reg. p.78 : comment sont montée les chaudières pour le raffinage du sucre.] [Cote : V 3992/Microfilm R 122 218] ; [pl.VI en reg. p.78 : diverses formes pour monter les pains de sucre. Raffinage du sucre.] [Cote : V 3992/Microfilm R 122 218] ; [pl.VII en reg. p.78 : comment travailler au traitement et au raffinage du sucre.] [Cote : V 3992/Microfilm R 122 218] ; [pl.VIII en reg. p.78 : un grenier dit aux pièces. Raffinage et stockage du sucre.] [Cote : V 3992/Microfilm R 122 218] ; [pl.IX en reg. p.78 : préparation des pins de sucre avant de le mettre à l'étuve. Manière de les mettre en papier et en corde. La mise en tonne. Le travail des écumes.] [Cote : V 3992/Microfilm R 122 218] ; [pl.X en reg. p.78 : détail d'une étuve à sucre.] [Cote : V 3992/Microfilm R 122 218]

La caverna de Josep Palau i Fabre (1952-1969): teatre versus al·legoria filosòfica per a representar i impedir el final tràgic i fosc del lluminós art de pensar.

What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come.