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Este ensayo es producto de una investigación en el campo de la teoría e historia del arte y se concentra en el análisis de la pintura inédita Escena de dormitorio (c.1985-86) del destacado escritor y pintor chileno Adolfo Couve Rioseco (1940-1998). La obra salió a la luz en 2021, y su estudio no solo permite abordar problemas relativos a autoría, data, técnica y gestos pictóricos, sino también comentar los espacios domésticos y las relaciones familiares del autor. Sobre todo, permite profundizar en sus filiaciones visuales; en este caso puntual, su interés por óleos tales como Jeremías lamentando la destrucción de Jerusalén (1630) de Rembrandt van Rijn; una de las cuatro versiones de El muchacho del chaleco rojo (c.1889-90) de Paul Cézanne, y las naturalezas muertas del italiano Giorgio Morandi, a partir de los cuales probablemente Couve construyó el cuadro hasta ahora no documentado que aquí se somete a escrutinio.

Background and Objectives: Psoriasis is an immune-mediated chronic inflammatory skin disorder and commonly associated with highly noticeable erythematous, thickened and scaly plaques. Deubiquitinase genes, such as tumor necrosis factor-alpha protein 3 (TNFAIP3, A20), the cylindromatosis (CYLD) and Cezanne, function as negative regulators of inflammatory response through the Janus kinase/signal transducers and activators of transcription (JAK-STAT) pathways. In this study, polymorphisms and expressions of A20, CYLD and Cezanne genes as well as immunophenotype in psoriatic patients were determined. Materials and Methods: In total, 82 patients with psoriasis and 147 healthy individuals with well-characterized clinical profiles were enrolled. Gene polymorphisms were determined by direct DNA sequencing, gene expression profile by quantitative real time-polymerase chain reaction (PCR), immunophenotype by flow cytometry, and the secretion of cytokines and cancer antigen (CA) 125 by enzyme-linked Immunosorbent assay (ELISA). Results: The inactivation of A20, CYLD and Cezanne and increased levels of TNF-α, IFN-γ and CA 125 was observed in psoriatic patients. Importantly, patients with low A20 expression had significant elevations of triglyceride and total cholesterol concentrations and higher numbers of CD13+CD117− and CD19+CD23+ (activated B) cells than those with high A20 expression. Genetic analysis indicated that all rs4495487 SNPs in the JAK2 gene, rs200878487 SNPs in the A20 gene and four SNPs (c.1584-375, c.1584-374, rs1230581026 and p.W433R) in the Cezanne gene were associated with significant risks, while the rs10974947 variant in the JAK2 gene was at reduced risk of psoriasis. Moreover, in the Cezanne gene, p.W433R was predicted to be probably damaging by the Polyphen-2 prediction tool and an AA/CC haplotype was associated with a high risk of psoriasis. In addition, patients with higher CA 125 levels than the clinical cutoff 35 U/mL showed increased levels of IFN-γ than those with normal CA 125 levels. Conclusions: A20 expression was associated with lipid metabolism and the recruitment of CD13+ CD117− and activated B cells into circulation in psoriatic patients. Besides this, the deleterious effect of the p.W433R variant in the Cezanne gene may contribute to the risk of psoriasis. [ABSTRACT FROM AUTHOR]

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Originally presented as a talk at Turner Contemporary Margate in 2014 in association with the exhibition Making Painting: Helen Frankenthaler and JMW Turner, the article explores the importance of Helen Frankenthaler's exposure to the work of Paul Cézanne in exhibitions in New York in the early 1950s for the making of her breakthrough painting Mountains and Sea in 1952 and speculates about her engagement with the work of Nicolas Poussin in her painting Eden (1956). [ABSTRACT FROM AUTHOR]

In this example of relatively long-form art writing, the writer begins by relaying an anecdote regarding a difficult interaction with an editor. As this rocks the confidence of the writer, they try to rally themselves but seeking out an almost arbitrary receptor for their art writing skills and passions. This turns out to be a concurrent exhibition of the paintings of Giorgio Morandi. The piece describes the writer's feelings, as well as the journey to the gallery, and ultimately creates a form of review or representation of the exhibition. However, the initial impulse for the piece remains and is returned to in a series of analyses of the writer's method. This includes a candid exploration of the writer's considerations of the place of judgement in their own and in contemporary art writing. Ultimately, the piece toys with the idea that, in an age of ambivalence, in which judgements all too easily seem all too harsh, it might just be the use of adjectives that are sufficient to betray an art writer's evaluation of what they are otherwise simply describing. While the initial criticism by an editor involved the concept of transcendence, the art writer takes this accusation on board and tries, again candidly, to judge themselves, and for themselves, with regard to this concept. Ultimately, they find that, far from leaning towards transcendent values in art they are in fact committed to forms of immanence. Along the way other artists, including Cezanne and De Chirico, as well as other thinkers such as Deleuze and Alfred Jarry are utilized to develop the lines of thought. Ultimately, and rather obliquely, the piece becomes a response to the editor's riposte and appears to succeed, to some extent, in re-founding the writer's confidence in their own methods and beliefs, to which they have been led by their own approach to art writing, and of course by the art itself. [ABSTRACT FROM AUTHOR]

Background and Objectives: Psoriasis is an immune-mediated chronic inflammatory skin disorder and commonly associated with highly noticeable erythematous, thickened and scaly plaques. Deubiquitinase genes, such as tumor necrosis factor-alpha protein 3 (TNFAIP3, A20), the cylindromatosis (CYLD) and Cezanne, function as negative regulators of inflammatory response through the Janus kinase/signal transducers and activators of transcription (JAK-STAT) pathways. In this study, polymorphisms and expressions of A20, CYLD and Cezanne genes as well as immunophenotype in psoriatic patients were determined. Materials and Methods: In total, 82 patients with psoriasis and 147 healthy individuals with well-characterized clinical profiles were enrolled. Gene polymorphisms were determined by direct DNA sequencing, gene expression profile by quantitative real time-polymerase chain reaction (PCR), immunophenotype by flow cytometry, and the secretion of cytokines and cancer antigen (CA) 125 by enzyme-linked Immunosorbent assay (ELISA). Results: The inactivation of A20, CYLD and Cezanne and increased levels of TNF-α, IFN-γ and CA 125 was observed in psoriatic patients. Importantly, patients with low A20 expression had significant elevations of triglyceride and total cholesterol concentrations and higher numbers of CD13+CD117− and CD19+CD23+ (activated B) cells than those with high A20 expression. Genetic analysis indicated that all rs4495487 SNPs in the JAK2 gene, rs200878487 SNPs in the A20 gene and four SNPs (c.1584-375, c.1584-374, rs1230581026 and p.W433R) in the Cezanne gene were associated with significant risks, while the rs10974947 variant in the JAK2 gene was at reduced risk of psoriasis. Moreover, in the Cezanne gene, p.W433R was predicted to be probably damaging by the Polyphen-2 prediction tool and an AA/CC haplotype was associated with a high risk of psoriasis. In addition, patients with higher CA 125 levels than the clinical cutoff 35 U/mL showed increased levels of IFN-γ than those with normal CA 125 levels. Conclusions: A20 expression was associated with lipid metabolism and the recruitment of CD13+ CD117− and activated B cells into circulation in psoriatic patients. Besides this, the deleterious effect of the p.W433R variant in the Cezanne gene may contribute to the risk of psoriasis.

Background. Polycythemia vera (PV) is characterized by increased proliferation and accumulation of erythroid and mature myeloid cells and megakaryocyte in the bone marrow and peripheral blood. The JAK2V617F mutation is present in most PV patients. Deubiquitinase (DUB) genes, including TNFAIP3 (A20), CYLD and Cezanne, function as negative regulators of inflammatory reaction through nuclear factor kappa-light-chainenhancer of activated B cells (NF-κB) signaling. Objectives. To determine single nucleotide polymorphisms (SNPs) profiling and gene expression of the DUB genes as well as the immunophenotype of PV cells. Material and methods. Seventy-seven patients with PV and 55 healthy individuals with well-characterized clinical profiles were enrolled. Gene expression profile was determined using quantitative real-time polymerase chain reaction (qRT-PCR), the immunophenotype with flow cytometry, secretion of cytokines using enzyme-linked immunosorbent assay (ELISA), and gene polymorphisms using direct DNA sequencing. Results. Inactivation of A20, CYLD and Cezanne, and increases in interleukin 6 (IL-6) and tumor necrosis factor alpha (TNF-α) levels, as well as the enhanced number of CD25+CD4 T, Th1 and regulatory T cells were observed in PV patients. The genetic analysis of the CYLD gene identified 11 SNPs, in which a novel W736G nsSNP in exon 15 and a SNP c.2483+6 T>G in intron 15 were observed in PV cases with the frequencies of 18.2% and 5.2%, respectively. The W736G non-synonymous SNP (nsSNP) was found to be most likely to exert deleterious effect and the intronic SNP c.2483+6 T>G was identified as aberrant splicing. Sequencing of Cezanne gene identified 7 SNPs in intron 10 and PV carriers of the SNPs had at least 2 SNPs in this gene. Importantly, PV carriers of the W736G nsSNP had multiple SNPs in CYLD, but not in A20 or Cezanne gene. Conclusions. Two identified SNPs, including the W736G nsSNP and the SNP c.2483+6 T>G, in CYLD gene might be associated with a risk of PV disease, in which the deleterious effect of the W736G nsSNP in CYLD gene could contribute to the pathogenesis of PV. [ABSTRACT FROM AUTHOR]

O texto visa, contextualmente, situar Nietzsche como um precursor da fenomenologia compreendida por Merleau-Ponty menos a título de uma “doutrina” e mais como um “movimento” incoativo e inacabado. É sob esse prisma que a obra nietzschiana projeta viva audiência a alguns temas caros àquele movimento, entre eles, a interrogação acerca do mundo como mistério. Esse agenciamento encontra na ideia de profundidade um fio condutor decisivo a fim de ressignificar, em termos husserlianos, uma arqueologia da Lebenswelt enquanto regresso a uma Terra originária, algo que, ao que tudo indica, possui importantes ressonâncias não só de matrizes nietzschianas, mas cezannianas. Trata-se, enfim, de examinar em que medida a filosofia de Nietzsche e a pintura de Cézanne perfazem um rico experimento capaz de fulgurar um sentido arquétipo da natureza como abismo ou, no dizer de Merleau-Ponty, o mundo como enigma primordial ou deflagração de um Ser das profundidades.

Aims Pathological arterial remodelling including neointimal hyperplasia and atherosclerosis is the main underlying cause for occluding arterial diseases. Cezanne is a novel deubiquitinating enzyme, functioning as a NF-кB negative regulator, and plays a key role in renal inflammatory response and kidney injury induced by ischaemia. Here we attempted to examine its pathological role in vascular smooth muscle cell (VSMC) pathology and arterial remodelling. Methods and results Cezanne expression levels were consistently induced by various atherogenic stimuli in VSMCs, and in remodelled arteries upon injury. Functionally, VSMCs over-expressing wild-type Cezanne, but not the mutated catalytically-inactive Cezanne (C209S), had an increased proliferative ability and mobility, while the opposite was observed in VSMCs with Cezanne knockdown. Surprisingly, we observed no significant effects of Cezanne on VSMC apoptosis, NF-κB signalling, or inflammation. RNA-sequencing and biochemical studies showed that Cezanne drives VSMC proliferation by regulating CCN family member 1 (CCN1) by targeting β-catenin for deubiquitination. Importantly, local correction of Cezanne expression in the injured arteries greatly decreased VSMC proliferation, and prevented arterial inward remodelling. Interestingly, global Cezanne gene deletion in mice led to smaller atherosclerotic plaques, but with a lower level of plaque stability. Translating, we observed a similar role for Cezanne in human VSMCs, and higher expression levels of Cezanne in human atherosclerotic lesions. Conclusion Cezanne is a key regulator of VSMC proliferation and migration in pathological arterial remodelling. Our findings have important implications for therapeutic targeting Cezanne signalling and VSMC pathology in vascular diseases. [ABSTRACT FROM AUTHOR]

In “Introduction to these paintings” and “Art and Morality,” Lawrence suggests that, when looking at visual art, our tendency to what he calls “kodak-vision” (one indicator of dominant mental consciousness), prevents our appreciation of new perspectives, leading us to condemn the art rather than change our viewpoint. In looking at Lawrence’s response to Cézanne’s apples this paper will consider the role visual art can play in developing a greater reverence towards the non-human, and will also look at some examples of Lawrence’s prose and poetry that shows the same intent. This will lead to the suggestion that Lawrence’s ideas about the non-human can be seen as a prototype for what we now recognise as ecological thinking.

Merleau-Ponty’s essay about Cézanne’s doubt from 1946 is still in discussion. Merleau-Ponty tries to explain the peculiarities of Cézanne’s pictorial language, for instance his abandonment of the geometrical perspective, as expression of, what he calls, the “primordial perception”, which is free from the distortions of metaphysical dualism and of modern sciences. There are two main problems here: 1. that primordiality remains an obscure notion, which is more explained by Cézannes work, than it explains it. 2. Merleau-Ponty tends to forget, that Cézanne’s perception is first of all a painters perception, inspired by the idea of what a painting should be and by a conception of the physical performances by which it comes into being. Cézanne tries to liberate painting from the Albertinian idea, that the work is similar to a window, opening the view on a section of reality. Contrary to this he stresses the autonomy of the work, its presence as being painted, without giving up its contact to the reality depicted.

Background: Endometrial cancer is generally one of the most evident malignant tumours of the female reproductive system, and the mechanisms underlying its cell proliferation and apoptosis are key to research in gynaecological oncology. In the paper, the in-depth molecular mechanism by which DJ-1 protein regulates the proliferation and apoptosis of Ishikawa cells was investigated. Methods and results: DJ-1 knockdown and overexpressing Ishikawa stable cell lines were established by lentiviral transduction. The levels of DJ-1 and noncanonical NF-κB signaling key proteins were evaluated by Western blotting. Cell counting kit-8 (CCK-8) and flow cytometry were applied to analyze the cell viability and apoptosis. Co-immunoprecipitation experiment was utilized to assess the DJ-1-Cezanne interaction. The results showed that DJ-1 overexpression conferred apoptosis resistance and high proliferation on Ishikawa cells, while DJ-1 knockdown in Ishikawa cells produced the opposite results. These findings again suggested that DJ-1 inhibits the apoptosis and promotes the proliferation of Ishikawa cells. More crucially, further data showed that the noncanonical NF-κB activation was required for the regulation of Ishikawa cell proliferation and apoptosis by DJ-1. Meanwhile, it was found that noncanonical NF-κB pathway may be activated by DJ-1 interacting with and negatively regulating Cezanne in Ishikawa cells. Conclusions: Overall, this work revealed that DJ-1 associates with and negatively regulates Cezanne and consequently triggers the noncanonical NF-κB activation, thereby regulating Ishikawa cell proliferation and apoptosis. [ABSTRACT FROM AUTHOR]

El objetivo de este artículo es abordar dónde queda la cuestión de la belleza en el panorama del arte abstracto contemporáneo, en qué términos podría determinarse y concretarse, cuál sería su naturaleza y los parámetros marco donde correspondería buscarla. Para ello se realiza un recorrido a lo largo de la historia de esta corriente artística, desde sus comienzos hasta llegar a nuestros días, tanto desde el punto de vista teórico, mediante los presupuestos que lo definen emitidos por los teóricos, críticos de arte y los propios artistas, así como también a la vista de las trayectorias de aquellos entre estos últimos que ejemplifican el origen y evolución del arte abstracto contemporáneo

Since its discovery forty years ago, protein ubiquitination has been an ever-expanding field. Virtually all biological processes are controlled by the post-translational conjugation of ubiquitin onto target proteins. In addition, since ubiquitin controls substrate degradation through the action of hundreds of enzymes, many of which represent attractive therapeutic candidates, harnessing the ubiquitin system to reshape proteomes holds great promise for improving disease outcomes. Among the numerous physiological functions controlled by ubiquitin, the cell cycle is among the most critical. Indeed, the discovery that the key drivers of cell cycle progression are regulated by the ubiquitin-proteasome system (UPS) epitomizes the connection between ubiquitin signaling and proliferation. Since cancer is a disease of uncontrolled cell cycle progression and proliferation, targeting the UPS to stop cancer cells from cycling and proliferating holds enormous therapeutic potential. Ubiquitination is reversible, and ubiquitin is removed from substrates by catalytic proteases termed deubiquitinases or DUBs. While ubiquitination is tightly linked to proliferation and cancer, the role of DUBs represents a layer of complexity in this landscape that remains poorly captured. Due to their ability to remodel the proteome by altering protein degradation dynamics, DUBs play an important and underappreciated role in the cell cycle and proliferation of both normal and cancer cells. Moreover, due to their enzymatic protease activity and an open ubiquitin binding pocket, DUBs are likely to be important in the future of cancer treatment, since they are among the most druggable enzymes in the UPS. In this review we summarize new and important findings linking DUBs to cell cycle and proliferation, as well as to the etiology and treatment of cancer. We also highlight new advances in developing pharmacological approaches to attack DUBs for therapeutic benefit. [ABSTRACT FROM AUTHOR]

Can concepts or artistic practices be transferred from one culture, one region, one land to another; and how much can another cultural context modify the meaning and function of a given artistic language, in the present case a language of painters? We can move nearer to an understanding of the problem if we bear in mind that cultural transfer differs essentially from comparison since it builds on the premise that there are no national cultures that have developed in an autochthonous way. These cultures have formed in the wake of influences, co-habitation, and motif adoption of many different kinds. Investigation of cultural transfers, then, emphasises similarities existing in social memory and not on differences. The art history of the time around 1900 has been recorded by way of the narrative of progressivism, in the paradigm of the centre and the periphery. The model itself is historical. We can and should remark upon on the material of past in its capacity as such and we may emphasise different aspects of it. Nevertheless, the material of the past is malleable only up to a certain limit. The historical marker of the art of the era under discussion is progressivism: we would be ahistorical were we to divest it of this tag. This paper presents the problems of cultural transfer on the example of Hungarian and French fauvism, involving the reception of renowned art historians and thinkers such as Adolf Hildebrand, Julius Meier-Graefe or Georg Lukacs.

Cysteine oxidation occurs at the active site of deubiquitinases (DUBs) during many biologic signaling cascades. Here we report that hepatocellular carcinoma cells (HCCs) generated higher levels of endogenous reactive oxygen species (ROS). This elevated ROS production was inhibited by NADPH oxidase inhibitor diphenylene iodonium (DPI) and mitochondria electron chain inhibitor rotenone in HCC cells. Moreover, we found that H2O2 could activate NF-kB-dependent inflammatory effect through increased induction of matrix metalloproteinase 2 (MMP2), MMP9, and intercellular adhesion molecule 1 (ICAM1) expression levels. In addition, we found that H2O2 could prolong NF-kB activation by suppressing the negative regulatory functions of Cezanne in HCC cells. Ubiquitin-derived thiol-reactive probe (HA-UbVME) assay and biotin-tagged 1,3- cyclohexadione derivative (DCP-Bio1) assay showed that H2O2 has the capacity to inhibit the catalytic activity of Cezanne, and the reducing agent, DTT, could reactivate the Cezanne deubiquitinating enzyme activity. Taken all together, these findings demonstrated an important role for oxidation of Cezanne by ROS in regulation of the inflammatory effect of hepatocellular carcinoma. [ABSTRACT FROM AUTHOR]

A turning point in Peter Handke's career following a deep crisis of writing, the text Die Lehre der Sainte‐Victoire () represents a fundamental transformation of the writer's poetological project and material practice of writing. The poetry of Friedrich Hölderlin, the paintings of Paul Cézanne, and the patchwork method of clothing designer Domenika Kaesdorf emerge as key influences within this transformation. Hölderlin's idealization of the poet's task and Cézanne's and Kaesdorf's physical methods, however, are no mere metaphors for Handke's process of writing; rather, Handke takes up and translates these modes into his material practice. This essay thus models a particular kind of reception history, one in which textual thematics are actualized in physical practice and semantic content is entangled in the material and visual dimensions of texts. Such an approach exemplifies the potential of incorporating materiality and meaning to expand the field of textual interpretation. [ABSTRACT FROM AUTHOR]

The Anaphase-Promoting Complex/Cyclosome (APC/C) is an E3 ubiquitin ligase and a key regulator of cell cycle progression. By triggering the degradation of mitotic cyclins, APC/C controls cell cycle-dependent oscillations in cyclin-dependent kinase (CDK) activity. Thus, the dynamic activities of both APC/C and CDK sit at the core of the cell cycle oscillator. The APC/C controls a large number of substrates and is regulated through multiple mechanisms, including cofactor-dependent activation. These cofactors, Cdc20 and Cdh1, recognize substrates, while the specific E2 enzymes UBE2C/UbcH10 and UBE2S cooperate with APC/C to build K11-linked ubiquitin chains on substrates to target them for proteasomal degradation. However, whether deubiquitinating enzymes (DUBs) can antagonize APC/C substrate ubiquitination during mitosis has remained largely unknown. We recently demonstrated that Cezanne/OTUD7B is a cell cycle-regulated DUB that opposes the ubiquitination of APC/C substrates. Cezanne binds APC/C substrates, reverses their ubiquitination and protects them from degradation. Accordingly, Cezanne depletion accelerates APC/C substrate degradation, leading to errors in mitotic progression and formation of micronuclei. Moreover, Cezanne is significantly amplified and overexpressed in breast cancers. This suggests a potential role for APC/C antagonism in the pathogenesis of disease. APC/C contributes to chromosome segregation fidelity in mitosis raising the possibility that copy-number and expression changes in Cezanne observed in cancer contribute to the etiology of disease. Collectively, these observations identify a new player in cell cycle progression, define mechanisms of tempered APC/C substrate destruction and highlight the importance of this regulation in maintaining chromosome stability. [ABSTRACT FROM AUTHOR]

Joan Vinyoli, aquest treball aprofundeix en l’interès que el poeta txec li va traslladar per la pintura de Cézanne i per la seua doctrina de la composició artística. L’aprofundiment d’aquesta relació interdiscursiva entre pintura i poesia s’exemplifica en la hipertextualitat que hi ha en dos poemes primerencs de Vinyoli, provinents dels seus dos primers poemaris, basats cadascun en dos quadres del pintor francès i elaborats des de la transformació seriosa o transposició en paraules. Paraules clau: Cézanne, Vinyoli, quadres, poemes.

This well-organized collection invites us to engage Poteat's post-critical understanding of personhood. The essays on philosophical anthropology call us to responsible personhood as they focus on various topics, including Poteat's teaching, the meaning of post-critical and how and when we should think critically, and the importance of place. The three essays engaging theology share a theme of our grounding through our embodiment in a relational, incarnational world. The final two essays, the last by Poteat, focus on Cézanne's paintings as a thick material and mental enactive mindbodily process, in which the paintings "think themselves" in Cézanne and in the viewer. [ABSTRACT FROM AUTHOR]

The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty's analyses complement and complete Kant's project. Secondly, I propose that through Merleau-Ponty's phenomenological interrogations of the creative process the broader issue of the viability of his relational nondualist ontology is defended against accusations that it has not gone beyond dualism or that it has collapsed into a monism. [ABSTRACT FROM AUTHOR]

Immune system activation is essential to thwart the invasion of pathogens and respond appropriately to tissue damage. However, uncontrolled inflammation can result in extensive collateral damage underlying a diverse range of auto-inflammatory, hyper-inflammatory, and neoplastic diseases. The NF-kB signaling pathway lies at the heart of the immune system and functions as a master regulator of gene transcription. Thus, this signaling cascade is heavily targeted by mechanisms designed to attenuate overzealous inflammation and promote resolution. Mechanisms associated with the negative regulation of NF-kB signaling are currently under intense investigation and have yet to be fully elucidated. Here, we provide an overview of mechanisms that negatively regulate NF-kB signaling through either attenuation of signal transduction, inhibition of posttranscriptional signaling, or interference with posttranslational modifications of key pathway components. While the regulators discussed for each group are far from comprehensive, they exemplify common mechanistic approaches that inhibit this critical biochemical signaling cascade. Despite their diversity, a commonality among these regulators is their selection of specific targets at key inflection points in the pathway, such as TNF-receptor-associated factor family members or essential kinases. A better understanding of these negative regulatory mechanisms will be essential to gain greater insight related to the maintenance of immune system homeostasis and inflammation resolution. These processes are vital elements of disease pathology and have important implications for targeted therapeutic strategies. [ABSTRACT FROM AUTHOR]

Este artigo pretende demonstrar que aquilo que é conhecido como percepção delirante na esquizofrenia é uma experiência que os artistas geniais experimentaram e expressaram em seu trabalho. A conclusão do autor é a de que tanto a esquizofrenia quanto a genialidade artística são estados espirituais nos quais a essência de algo é percebida em sua forma mais paradigmática.

Beginning with a brief survey of the novel's initial reception by critics, this paper argues that The Good Soldier: A Tale of Passion is the saddest story for Ford because it is the story of human life itself. The paper also argues that the novel's aesthetic design proposes a concealed optimism. With emphasis on Dowell's narration, the paper discusses how The Good Soldier uses the tension between impressionism and realism in order to elaborate that optimism but also complicate it. It does not matter whether Dowell is a reliable or an unreliable narrator. It matters that Dowell shows us that one human being finds it almost impossible to understand another human being. In sum, by discussing the novel's aesthetic design, the paper argues that while Dowell dwells in darkness, he sheds light on the shape of human life itself. [ABSTRACT FROM AUTHOR]

This essay investigates Douglas Sirk’s highly nuanced use of the color purple in two of his so-called melodramas made for Universal Pictures in the 1950s:Magnificent Obsessionand especially,Written on the Wind. With reference to Cezanne’s proto-cubist esthetic in which colored areas connect and disconnect, thereby undermining traditional representational art, the essay argues that Sirk employs similar techniques in fashioning cinematic spaces and the psychic effects of those spaces. This is especially apparent in a scene inWritten on the Windin which, through the interplay of light and the blurring of color boundaries, Sirk creates a modernist interior space in which his characters seem oblivious to the complex world of color they have entered. Color is for Sirk a means to elevate his films above a popular understanding of melodrama to one in which he might explore in a very sophisticated manner the inner workings of his characters. [ABSTRACT FROM PUBLISHER]

Doxorubicin (DOX) is frequently used in clinical practice for its broad-spectrum effects. However, its benefit is limited by a series of complications, including excessive apoptosis and autophagy of cardiomyocytes, overproduction of reactive oxygen species (ROS) and high level of oxidative stress. As a new protein, OTU domain-containing 7B (OTUD7B), also called Cezanne, has been reported to regulate many pathological processes. However, whether it plays a role in DOX-induced cardiotoxicity is still unclear. We discovered that the Cezanne level was significantly increased in DOX-treated neonatal rat cardiomyocytes (NRCMs) and C57BL/6 J mice hearts. In vitro , the knockdown of Cezanne with adenovirus in NRCMs significantly worsened DOX-induced apoptosis, autophagy and oxidative stress, while Cezanne overexpression showed opposite results. In vivo, the overexpression of Cezanne using cardiomyocyte-targeted adeno-associated virus 9 (AAV9) significantly reduced cardiomyocyte apoptosis, autophagy and oxidative stress level when C57BL/6 J mice were subjected to DOX. Mechanistically, the overexpression of Cezanne significantly reversed the in-activation of the PI3K/AKT/mTOR pathway induced by DOX, while the inhibitors of this pathway abolished the effect of Cezanne, suggesting that the PI3K/AKT/mTOR pathway plays a role in the protective function of Cezanne. These findings indicate that Cezanne could ameliorate DOX-induced cardiotoxicity by attenuating the apoptosis and autophagy of cardiomyocytes and decreasing the level of oxidative stress. [Display omitted] [ABSTRACT FROM AUTHOR]

Mechanisms regulating protein degradation ensure the correct and timely expression of transcription factors such as hypoxia inducible factor (HIF). Under normal O2 tension, HIFα subunits are targeted for proteasomal degradation, mainly through vHL-dependent ubiquitylation. Deubiquitylases are responsible for reversing this process. Although the mechanism and regulation of HIFα by ubiquitin-dependent proteasomal degradation has been the object of many studies, little is known about the role of deubiquitylases. Here, we show that expression of HIF2α (encoded by EPAS1) is regulated by the deubiquitylase Cezanne (also known as OTUD7B) in an E2F1-dependent manner. Knockdown of Cezanne downregulates HIF2α mRNA, protein and activity independently of hypoxia and proteasomal degradation. Mechanistically, expression of the HIF2α gene is controlled directly by E2F1, and Cezanne regulates the stability of E2F1. Exogenous E2F1 can rescue HIF2α transcript and protein expression when Cezanne is depleted. Taken together, these data reveal a novel mechanism for the regulation of the expression of HIF2α, demonstrating that the HIF2α promoter is regulated by E2F1 directly and that Cezanne regulates HIF2α expression through control of E2F1 levels. Our results thus suggest that HIF2α is controlled transcriptionally in a cell-cycle-dependent manner and in response to oncogenic signalling. [ABSTRACT FROM AUTHOR]

Background Nuclear factor κB (NF-κB) is a vital transcription factor that is activated by numerous inflammatory stimuli. Its activity is tightly regulated by a family of deubiquitinating enzymes (A20, Cezanne, cylindromatosis [CYLD]) that function in a negative-feedback loop, a process that prevents chronic and systemic inflammation. This study seeks to characterize the expression and functional role of NF-κB-regulating deubiquitinases in the sinonasal epithelium. Methods Expression of A20, Cezanne, and CYLD was assessed in normal sinonasal tissue using immunohistochemistry. Cultured sinonasal epithelial cells (SNECs) were stimulated with proinflammatory cytokines (tumor necrosis factor α [TNF-α], interleukin 4 [IL]-4, IL-13) or lipopolysaccharide (LPS) and changes in NF-κB activation and deubiquitinase expression were assessed using Western blots and quantitative real-time polymerase chain reaction (qRT-PCR), respectively. Results NF-κB was activated in response to LPS and TNF-α, but not IL-4 or IL-13. A20, Cezanne, and CYLD were all expressed in sinonasal tissue, primarily along the apical surface of the epithelium. Proinflammatory mediators primarily affected expression of A20, with upregulation by LPS and TNF-α and downregulation by IL-4 and IL-13. Conclusion The NF-κB-regulating deubiquitinases A20, Cezanne, and CYLD are expressed in sinonasal tissue and are differentially induced by proinflammatory cytokines and the microbial antigen, LPS. These results suggest an important role for NF-κB-regulating deubiquitinases in mucosal immunity and homeostasis. [ABSTRACT FROM AUTHOR]

This paper explores the endings found in some of Roger Fry writings, especially the monograph Cézanne: A Study of His Development (1927) and the essay ‘Art History as an Academic Study’ (1933). In both, Fry invokes silence. In the former, he suggests a fundamental mismatch between language and visual experience; in the latter, he identifies himself with a personification of silence: ‘King Log’ from Aesop’s fable. Fry uses his silent endings to broach larger questions concerning his critical certainty and his critical capabilities; here, too, he will reflect upon and undercut his own role, and even invoke more spiritual realms. Indeed, Fry’s Quaker heritage may have sensitized him to the power of silence, encouraging him to see parallels between silent worship and aesthetic contemplation.

Background Deubiquitinases, such as CYLD, A20 and Cezanne, have emerged as negative regulators that balance the strength and duration of NF-?B signaling through feedback mechanisms. However, how these serial feedback loops are simultaneously disrupted in cancer remains unclear. The purpose of this study is to investigate the correlation of Cezanne expression with clinicopathological/prognostic value in hepatocellular carcinoma (HCC). Methods The expression levels of Cezanne and matrix metallopeptidase 9 (MMP-9) were assessed by immunohistochemistry in 230 HCC specimens. The correlation between expression of Cezanne and MMP-9, clinicopathological/prognostic value in hepatocellular carcinoma was examined. Results Cezanne reduction in HCC was significantly associated with larger tumor, satellite nodule, vascular invasion, TNM stage, BCLC stage and early recurrence. Kaplan-Meier analysis showed that Cezanne was a great predictive factor for overall survival (OS) and time to recurrence (TTR). The expression of Cezanne was decreased in TNM and BCLC stagedependent manner. In addition, Cezanne reduction was associated with poor prognosis in patients subgroups stratified by tumor size, tumor differentiation, TNM stage and BCLC stage. Moreover, Cezanne was negatively associated with MMP-9 among 230 HCC samples. Patients who had Cezanne downregulation, in which cancer cells showed high invasiveness, had shorter TTR and poor OS. Furthermore, the coindex of Cezanne and preoperative serum AFP levels was significantly correlated with OS and TTR. Conclusion Cezanne has a pivotal role in tumor progression and prognosis, and may act as a potential prognostic biomarker for survival in HCC patients. [ABSTRACT FROM AUTHOR]

The transcription factor HIF-1α is essential for cells to rapidly adapt to low oxygen levels (hypoxia). HIF-1α is frequently deregulated in cancer and correlates with poor patient prognosis. Here, we demonstrate that the deubiquitinase Cezanne regulates HIF-1α homeostasis. Loss of Cezanne decreases HIF-1α target gene expression due to a reduction in HIF-1α protein levels. Surprisingly, although the Cezanne-regulated degradation of HIF-1α depends on the tumour suppressor pVHL, hydroxylase and proteasome activity are dispensable. Our data suggest that Cezanne is essential for HIF-1α protein stability and that loss of Cezanne stimulates HIF-1α degradation via proteasome-independent routes, possibly through chaperone-mediated autophagy. [ABSTRACT FROM AUTHOR]

In this paper I trace pictorial acts that move beyond figuration and narration, particularly focusing on Gwen John's portraits of women and girls, the work of her maturity as an artist. In doing this I make connections between John's and Cézanne's letters about their painting techniques and direction. The analysis draws on Deleuze and Guattari's approaches to the work of art. I discuss in particular the concept of faciality in the Thousand Plateaus and the problem of painting forces in Deleuze's work on Bacon, The Logic of Sensation. My argument is that an analysis that goes beyond phenomenology and semiotics opens new ways of seeing and appreciating a modernist woman artist's paintings, and sheds new light on the way her art allows the female figure to emerge as a woman-becoming-imperceptible within a patriarchal regime of signs. [ABSTRACT FROM AUTHOR]

En hommage à Omar Calabrese et à son aura particulière, l’auteur présente un par- cours d’analyse sur le rapport entre perception visuelle et signification. Il appréhende l’engendrement des formes depuis l’exercice de l’informe – à partir de remarques de Paul Valéry –, pour envisager ensuite l’émergence de la forme au sein de la vision – en suivant le regard de peintre de Paul Cézanne –, et fonder enfin sur la forme le concept d’atmosphère – à travers deux de ses valences possibles –, en relation avec celui de style.

Toda uma linhagem analítica, abstrativizante, todo um sentido de espaço brota com Cézanne, e ramifica como os seus pinheiros, um deles, uma imagem que viaja em mim desde a infância. Cézanne está para a “imaterialização” do olhar, do olhar que se desprende do tema, do objeto, da anedota, uma vertente perseguida de geração em geração na arte moderna. Na verdade, Cézanne talvez possa entrar para o contexto de formação da sensibilidade da arte moderna não apenas como o inventor desse novo olhar “imaterializador”, mas como o pintor que, num movimento de sentido contrário, primeiro procurou materializar, sem lançar mão a legendas ou narrativas de qualquer sorte, o invisível, e particularmente a luz até então funcional para a descrição volumétrica ou simbólica da representação pictórica, tornando-a visível, como problema de base para uma nova visualidade. Quando essa sensibilidade deveras nova adentra a escritura da poesia em português?

The scope of the paper is to present the work and the poetics of Francesco Biamonti (1928 - 2001), a real man of the frontier, born and raised in San Biagio della Cima, on the far West of Ligury. Instead of dealing with the territory where the writer has lived all his life and set all his novels, the paper focuses on another threshold he has crossed with his work, that is the one between painting and writing, both of which he considered visual practices connected from a theoretical and technical point of view. The paper briefly deals with the education of Biamonti and, by examining some of his quotes, it would like to demonstrate that his writings aim at showing the landscape by an act of “donner à voir” whereby the space of action of the characters is visualised: such work is theoretically based on the reflections of philosophers and artists about perception (Merleau-Ponty and Cézanne above all) but also structurally inspired by the paintings the writer lived the most. This study is only a first step in the investigation of the traces (the memory) Biamonti’s work bares of the author’s readings on philosophy and art, especially painting.

Beginning from Klee's statement on truth in self-portraiture that his faces are truer than real ones and Cézanne's promise to tell us the truth in painting, we consider the origins of truth in art for the philosophy of Merleau-Ponty. We discover that truth in perception, in life, and incarnate existence, as in art, originates from bodily movement. Similar to Heidegger's argument in "The Origin of the Work of Art," a truth happens between the work and painter, between the work and viewer, and is not limited to the domain of language, but words and symbols mix together with colors and forms, as in the paintings of Klee. Similar to Husserl's argument in "The Origin of Geometry," the originary sense of art, like geometry, is an interweaving (Verflechtung) of world, intersubjectivity, speech, and writing that achieves a more "militant" (powerful) truth than mere logical propositions. Truth is marked by its endurance, mobility, agility, subtlety, and depth. These interweavings mean there is no single origin of truth in art and life but a plurality of origins in movement, pleasures, and desires for the becoming of creation. [ABSTRACT FROM AUTHOR]

Few modern composers have explored the relationship between sound and image to a greater extent than Ligeti. A self-proclaimed synesthete, he relied on both explicit and implicit visual stimuli to influence his creative process at every level. The arts of painting and graphics provided him with a sense of the decorative, while computer-generated images such as the Julia or Mandelbrot sets supplied him with new and modern means of inspiration. Recognized as a great connoisseur of the fine arts, from Canaletto and Guardi to Picasso, Magritte and the collages of Peter Balke, he seemed to blend sounds, lines and colors in his music, developing compositional methods from pictorial techniques and optical effects. Ligeti borrowed the continuous transformation technique from Escher, the blurring manner from Cézanne, and also had recourse to the so-called objets trouvés from Pop Art, from which he created brilliant musical collages. Moreover, he made subtle use of the Augenmusik manner of depicting words in music in Three Fantasies After Hölderlin or in Nonsense Madrigals, and also sketched in sounds a Self Portrait with Reich and Riley. Owing to the presence of a multitude of visual references in his music, Ligeti occupies a unique territory of intersensoriality and articulates a poetics of synesthesia. The composer himself regarded his work as a window on an eternal sonorous landscape, inviting us to celebrate his music as a brilliant trompe l'oeil of 20th century music. [ABSTRACT FROM AUTHOR]

Paintings can be interpreted as the product of the complex neural machinery that translates physical light signals into behavior, experience, and emotion. The brain mechanisms responsible for vision and perception have been sculpted during evolution and further modified by cultural exposure and development. By closely examining artists' paintings and practices, we can discover hints to how the brain works, and achieve insight into the discoveries and inventions of artists and their impact on culture. Here, I focus on an integral aspect of color, color contrast, which poses a challenge for artists: a mark situated on an otherwise blank canvas will appear a different color in the context of the finished painting. How do artists account for this change in color during the production of a painting? In the broader context of neural and philosophical considerations of color, I discuss the practices of three modern masters, Henri Matisse, Paul Cézanne, and Claude Monet, and suggest that the strategies they developed not only capitalized on the neural mechanisms of color, but also influenced the trajectory of western art history. [ABSTRACT FROM AUTHOR]