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Radiobiological studies conducted in Deep Underground Laboratories allow to improve the knowledge of the biological effects induced by ionizing radiation at low doses/dose rates. At the Gran Sasso National Laboratory of the Italian Institute of Nuclear Physics we can study the possible differences in behavior between parallel biological systems, one maintained in a Reference-Radiation Environment (RRE, external) and the other maintained in an extremely Low-Radiation Environment (LRE, underground), in the absence of pressure changes, the RRE and LRE laboratories being at the same altitude. For these investigations, it is mandatory to evaluate the dose rate values at RRE and LRE. The aim of our work is to provide a comprehensive dosimetric analysis for external and underground laboratories. Measurements of the different low Linear Energy Transfer (LET) components at RRE and LRE were performed using different detectors. Gamma dose rates were 31 nSv/h at RRE and 27 nSv/h at LRE respectively. The muon dose rate was 47 nSv/h at RRE and negligible at LRE (less than pGy/h). Dosimetric measurements were also carried out to characterize the devices used to modulate the gamma dose rate, namely, a gamma source irradiator (to increase the dose rate by about 90 nSv/h) and shields (of iron at LRE and lead at RRE). Using the iron shield at LRE a dose reduction factor of about 20, compared to the RRE, was obtained for the low LET components; inside the lead shield at RRE the gamma component was negligible compared to the muonic component. Radon activity concentrations were approximately of 20 Bq/m3 at both LRE and RRE. The intrinsic contribution of radioactivity in the experimental set up was of 0.25 nGy/h, as evaluated with a GEANT4-simulation, using as input the measured activity concentrations. GEANT4 simulations were also performed to calculate the neutron dose rate at RRE, yielding a value of 1.4 nGy/h, much larger than that at LRE (which is less than pGy/h). In conclusion, RRE and LRE are currently characterized and equipped to perform radiobiological studies aimed at understanding the involvement of the different low LET components in determining the response of biological systems.

This essay is divided into three sections. The aim of the first section is to rethink, from a theoretical perspective, the role of images in the first French illustrated edition of Émile Zola's masterpiece L'Assommoir. The second section provides a close reading of the five most experimental illustrations, and their relation to the aesthetics of Impressionism is explored. The third and last section aims at exploring a theoretical problem: if one of the main themes of both L'Assommoir and the 'impressionist' illustrations is time as it began to be understood and experienced under industrial capitalism, how do literature and illustration, respectively, deal with such an elusive category?. [ABSTRACT FROM AUTHOR]

L'articolo è diviso in tre sezioni. La prima propone un ripensamento teorico del ruolo delle immagini nella prima edizione illustrata francese dell'Assommoir. La seconda sezione propone una lettura d'opera delle cinque illustrazioni più sperimentali, ed esplora la loro relazione con l'estetica impressionista. La terza e ultima sezione cerca di esplorare un problema teorico: se uno dei temi principali tanto del testo dell'Assommoir quanto delle illustrazioni impressioniste è il tempo così come inizia ad essere pensato e vissuto durante il capitalismo industriale, in che modo, rispettivamente, la forma narrativa e l'illustrazione fanno i conti con questa categoria elusiva?

An exhibition dedicated to Renoir's nude paintings, held in the United States in 2019, reopened the discussion on the meaning of the French master's female nudes. Since the mid-1980s, an authoritative and critical feminist movement has described Renoir as a misogynist who was prone to expressing a fetishistic and sadistic male gaze. By looking across Renoir's own paintings and by comparing his works to those of the other «pompier» artists of his time, this article calls this view into question, proposing instead that Renoir's female nudes were an expression of a happy, serene longing male gaze. [ABSTRACT FROM AUTHOR]

Director Jean Renoir's 1930s films are considered some of the most influential in film history. However, little is known about Renoir's team of collaborators who helped to realise these ground-breaking, politically engaged films. This study considers the role of Renoir's long-time editor during this period, Marguerite Renoir. Through an examination of Jean Renoir's personal letters from and an original shooting script from assistant director Marc Maurette, the author establishes Marguerite Renoir's crucial role in creating Jean Renoir's La Marseillaise(1938). Marrying this archival research with a close reading of a scene from the film, she reveals how additional shifts in point of view can be attributed to the editor, ultimately claiming that representing the social body and a collective filmmaking process are deeply intertwined in La Marseillaise. At the time of writing, this is the first study to focus exclusively on Marguerite Renoir's unique contributions to this film. [ABSTRACT FROM AUTHOR]

This essay focuses on the Morgan Library and Museum's recently acquired drawing Bathers (1886–87), made in preparation for Pierre-Auguste Renoir's painting The Great Bathers (1885–87; Philadelphia Museum of Art). It is the first in-depth study of the drawing and also reexamines the artist's process in developing and refining his celebrated painting. Considering the visual and written sources of Renoir's creative processes as well as the artist's intellectual concerns during the mid-1880s, I discuss Bathers together with Renoir's other large-scale preparatory figure drawings, which adopted similar graphic techniques. I hope not only to clarify the chronology of Renoir's production of The Great Bathers but also to offer a fresh appraisal of the role drawing played in Renoir's working practice in the decade following his emergence as one of the leading figures in the Impressionist movement. [ABSTRACT FROM AUTHOR]

This paper focuses in Renoir (2012), a film barely dedicated to a moment of the renowned painter Pierre?Auguste Renoir’s life. Likewise, it gathers impressions on his existence, synthesizes technical data and achieves critical appre? ciation about the film, quite suitable for medical undergraduates and graduates because of its clinical, psychical and cultural implications.

Tosca(1941) is a curious and intriguing case in film history. It was originally begun by French director Jean Renoir, but finished by his German screenwriter-turned-director Carl Koch. Koch’s wife Lotte Reiniger and the young Luchino Visconti contributed to the film, while its producer was the grand old man of Italian silent film, Arturo Ambrosio. While Visconti was always open about his French experience with Renoir as his aesthetic, moral and political revelation, he always denigratedToscaafterwards. However, visual analysis of the film reveals striking similarities with his films, particularlyOssessione(1943). Moreover, reception research showsToscahad a critical but not entirely unfavourable reception in Italy and in Germany, too easily overlooked in Italian and German post-1945 historiography. Additional sources from the Lotte Reiniger archive and the Federico Patellani photo archive deepen the research. [ABSTRACT FROM AUTHOR]

Este estudio analiza la adaptación de la novela de Octave Mirbeau, Le journal d’une femme de chambre, a manos de Jean Renoir y Luis Buñuel. Se pueden apreciar semióticas de raigambre diversa, insertas en los ejes raigales de su propia obra artística. Al margen de los lenguajes diferentes que implican el cine y la literatura, se puede apreciar que el genio creador de los tres autores aporta una impronta particular que evidencia cambios en la narración: el ambiente creado en torno al discurso, el tono utilizado, la definición de los personajes y los tres finales distintos vienen determinados por tres fuerzas artísticas que produjeron tres producciones culturales originales y diferenciadas.

The article explores the interaction between theater and cinema in films about theater, more specifically in relationship to the concept of time, in two different meanings: as a subject hinting to the passing of generations on the one hand and as a manipulation of a story on the other. As I will try to show, these very different perspectives can intersect and superpose, giving birth to negative or positive visions of the stage and theatricality. Theatricality can be a great resource (as in To Be or Not To Be by Lubitsch and Le carrosse d’or by Renoir) as well as a path of tragic circularity (as in O’ thiasos by Anghelopoulos or in films showing an artist’s decline, like Mankiewicz’s All About Eve). The films on theatre show an extreme variety of attitudes towards the stage, confirming the importance of this original and primitive model in the re-elaboration of time and space made possible by the new art of cinema.

The article explores the interaction between theater and cinema in films about theater, more specifically in relationship to the concept of time, in two different meanings: as a subject hinting to the passing of generations on the one hand and as a manipulation of a story on the other. As I will try to show, these very different perspectives can intersect and superpose, giving birth to negative or positive visions of the stage and theatricality. Theatricality can be a great resource (as in To Be or Not To Be by Lubitsch and Le carrosse d’or by Renoir) as well as a path of tragic circularity (as in O’ thiasos by Anghelopoulos or in films showing an artist’s decline, like Mankiewicz’s All About Eve). The films on theatre show an extreme variety of attitudes towards the stage, confirming the importance of this original and primitive model in the re-elaboration of time and space made possible by the new art of cinema.

Copyright of Revista de Medicina y Cine / Journal of Medicine & Movies is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Hace un siglo que dio comienzo la I Guerra Mundial, conocida hasta 1939 como la Gran Guerra. Este primer gran conflicto bélico del pasado siglo que se saldó con la muerte de más de nueve millones de combatientes ha sido argumento de muchas obras cinematográficas producidas sobre todo en América y Europa. Entre ellas, la obra de Stanley Kubrick “Senderos de gloria” y el film de Jean Rennoir “La gran ilusión”. Se trata de dos obras cinematográficas antibelicistas que ofrecen una visión de la guerra desde ópticas diferentes. Una desde la perspectiva del campo de batalla y la otra desde una óptica menos visceral de los conflictos armados.

This article examines Jean Renoir's 1936 film adaptation of Guy de Maupassant's short story 'Une partie de campagne'. The sun plays a key role in Maupassant's story, but Renoir's attempt to reproduce this was impeded by the heavy rain with which he had to contend during filming. Analysis of this enforced departure from the source text leads to a discussion of fidelity as sexual and aesthetic concerns in the two works. The story and the film are both centrally concerned with issues of fidelity and infidelity, as they reflect on their status as source text and adaptation. The article concludes with some comments on fidelity in adaptation studies, and how we might learn from what the works themselves have to say about the matter. [ABSTRACT FROM AUTHOR]

The first so-called beat novel, And The Hippos Were Boiled in Their Tanks, co-written by Burroughs and Kerouac in 1945 but only published in 2008, and dismissed as little more than a biographical curiosity. However, a comparative analysis of the text with its unpublished second version - the archival typescript of 'I Wish I Were You' composed by Kerouac alone - invites us to reread it from entirely new perspectives. An examination of the crucial role played by allusions to French culture from one version of the text to the other shows how Kerouac emerged from Burroughs' shadow. In 'I Wish I Were You', Kerouac refocuses the story through self-reflexive references to visual works of art, specifically the French poetic realist cinema of the 1930s, and by doing so asserts for the first time his ethic and aesthetic as a writer of 'bookmovies'. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Pierre-Auguste Renoir was one of the most influential painters in art history, but few people know that he suffered from debilitating rheumatoid arthritis. Despite his arthritis, he was able to maintain an incredible level of precision and efficiency with his painting. More importantly, he remained positive and did not let his condition affect his passion for painting or take away from the beauty that he saw in the world around him. Renoir applied a wide variety of coping mechanisms and used his ingenuity to come up with different ways to continue painting even as his arthritis weakened him. Renoir's long battle with rheumatoid arthritis serves as an inspiration to patients who experience the pain and limited mobility associated with this disease, encouraging them to persevere and to develop coping mechanisms that prevent the effects of their impairment from disabling them. [ABSTRACT FROM AUTHOR]

While the narrative and political ambiguities of Le Crime de Monsieur Lange have received much critical attention, the film's structuring generic tension between the Western and crime cinema has not. Through a careful manipulation of genre, Renoir attempts to construct the audience's interpretation of the film's murder as a revolutionary gesture that founds a new kind of economic and social community. This article examines the politics of popular culture in Lange and situates its revolutionary potential within the context of Popular Front France. [ABSTRACT FROM AUTHOR]

It has been frequently argued that the introduction of sync sound to film in the late 1920s dulled the interesting visual style of feature films that was just beginning to reach its full promise in that decade, and led to a regressive, theatrical visual style in the 1930s. A close analysis of one of Renoir's last silent films, Tire au flanc/The Sad Sack (1928), and one of his first sound films, La Chienne/The Bitch (1931), however, demonstrates that for Renoir, the introduction of sync sound liberated his visual style and allowed him to fully realize his film-making potential. Quantitative evidence in the analysis of these two films shows trends in Renoir's film-making that might not be obvious in a regular viewing of the films. This article will demonstrate that, at least for Renoir's work in this period, the introduction of sound significantly altered the visual style of his films. [ABSTRACT FROM AUTHOR]

Jean Renoir's post-war films are generally not given the same critical attention as his great works of the 1930s, and are usually regarded as indicating a withdrawal of interest in politics. Although it deals with a possible coup d'état, Elena et les hommes/ Paris Does Strange Things (1956) appears to be principally a light-hearted film about love set in a fantasized nineteenth century. This article argues that the political context is more important to the film than has so far been acknowledged. It draws out some of the links between the film's treatment of the emergence of right-wing extremism during the Third Republic and the situation in France in the mid-1950s. In particular, the film is shown to allude to tensions in France arising from decolonization and the dangers of a public all too ready to submit to dictatorship. [ABSTRACT FROM AUTHOR]

This article sets out to analyse the originality of the use of sound (dialogue, song and noise) in La Grande Illusion in comparison to the classic anti-war films released at the start of the 1930s. It suggests that while those films opposed the human voice to the deafeningly inhuman soundscape of war, Renoir's film was ultimately more productive because of its ability to silence the war, and to use the voice to divide the human and reopen the space for a politics. It also shows how La Grande Illusion asks its spectator (auditor) to self-reflexively engage with his or her own stake in the production of the soundscape of war. Finally, it argues that by only ever allowing songs to provide a partial escape from the conflict, Renoir is able to maintain a political tension between their utopian potential and their historical embeddedness. [ABSTRACT FROM AUTHOR]

Scientific community and institutions (e. g., ICRP) consider that the Linear No-Threshold (LNT) model, which extrapolates stochastic risk at low dose/low dose rate from the risk at moderate/high doses, provides a prudent basis for practical purposes of radiological protection. However, biological low dose/dose rate responses that challenge the LNT model have been highlighted and important dowels came from radiobiology studies conducted in Deep Underground Laboratories (DULs). These extreme ultra-low radiation environments are ideal locations to conduct below-background radiobiology experiments, interesting from basic and applied science. The INFN Gran Sasso National Laboratory (LNGS) (Italy) is the site where most of the underground radiobiological data has been collected so far and where the first in vivo underground experiment was carried out using Drosophila melanogaster as model organism. Presently, many DULs around the world have implemented dedicated programs, meetings and proposals. The general message coming from studies conducted in DULs using protozoan, bacteria, mammalian cells and organisms (flies, worms, fishes) is that environmental radiation may trigger biological mechanisms that can increase the capability to cope against stress. However, several issues are still open, among them: the role of the quality of the radiation spectrum in modulating the biological response, the dependence on the biological endpoint and on the model system considered, the overall effect at organism level (detrimental or beneficial). At LNGS, we recently launched the RENOIR experiment aimed at improving knowledge on the environmental radiation spectrum and to investigate the specific role of the gamma component on the biological response of Drosophila melanogaster ., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2020 Esposito, Anello, Ampollini, Bortolin, De Angelis, D'Imperio, Dini, Nuccetelli, Quattrini, Tomei, Ianni, Balata, Carinci, Chiti, Frasciello, Cenci, Cipressa, De Gregorio, Porrazzo, Tabocchini, Satta and Morciano.)