Holistic health record for Hidradenitis suppurativa patients.

Hidradenitis suppurativa (HS) is a recurrent inflammatory skin disease with a complex etiopathogenesis whose treatment poses a challenge in the clinical practice. Here, we present a novel integrated pipeline produced by the European consortium BATMAN (Biomolecular Analysis for Tailored Medicine in Acne iNversa) aimed at investigating the molecular pathways involved in HS by developing new diagnosis algorithms and building cellular models to pave the way for personalized treatments. The objectives of our european Consortium are the following: (1) identify genetic variants and alterations in biological pathways associated with HS susceptibility, severity and response to treatment; (2) design in vitro two-dimensional epithelial cell and tri-dimensional skin models to unravel the HS molecular mechanisms; and (3) produce holistic health records HHR to complement medical observations by developing a smartphone application to monitor patients remotely. Dermatologists, geneticists, immunologists, molecular cell biologists, and computer science experts constitute the BATMAN consortium. Using a highly integrated approach, the BATMAN international team will identify novel biomarkers for HS diagnosis and generate new biological and technological tools to be used by the clinical community to assess HS severity, choose the most suitable therapy and follow the outcome.This work was supported by a Biomolecular Analyses for Tailored Medicine in AcneiNversa (BATMAN) project, funded by ERA PerMed (JTC_2018) through the Italian Ministry of Health, the “Fondazione Regionale per la Ricerca Biomedica” (FRRB), the Slovenian Ministry of Education, Science, and Sport (MIZŠ), the Austrian Science fund (I 4229), the Federal Ministry of Education and Research Germany (BMBF), and ANR automate (ANR-20-CE15-0018-01). This work was also supported by and by a grant from the Institute for Maternal and Child Health IRCCS ‘Burlo Garofolo/Italian Ministry of Health (RC16/2018) and by a Starting Grant (SG-2019-12369421) founded by the Italian Ministry of Health. Figures were created with BioRender.com

Portrait of a woman in ‘Biała Róża’, a novel by Narcyza Żmichowska. Poetics and the ideal of emancipation

Celem pracy jest analiza i interpretacja portretu kobiecego w powieści "Biała Róża" Narcyzy Żmichowskiej. Praca składa się z sześciu rozdziałów. Pierwszy traktuje o trudnej sytuacji kobiet w XIX wieku, których prawa ograniczał Kodeks Napoleoński. Powszechna opinia na temat kobiet zestawiona zostaje ze światopoglądem Żmichowskiej oraz działalnością jej oraz innych Entuzjastek, ważnego ruchu o charakterze emancypacyjnym i narodowowyzwoleńczym. W drugim rozdziale poddano analizie polifoniczną formę dzieła, dzięki której możliwe są dalsze obserwacje wpływu formy i wielogłosowości na wizerunek kobiety w powieści. Trzeci rozdział zawiera interpretacje treści powieści oraz przegląd różnorodnych form przedstawiania wizerunku oraz ocen postępowania tytułowej bohaterki powieści przez inne postacie. W czwartym rozdziale prezentowane są inne portrety postaci kobiecych, które pojawiają się w analizowanym utworze. Porównane zostają modele emancypacji, jakie reprezentują sobą bohaterki. Piąty rozdział pracy ma na celu odtworzenie programu edukacyjnego Narcyzy Żmichowskiej, którego tworzeniem zajmowała się większą część swojego życia. Jej zalecenia edukacyjne porównane zostają do innych metod wychowawczych, których opis zawiera utwór. Koncepcja Żmichowskiej scharakteryzowana jest w opozycji do istniejącego wcześniej programu wychowawczego dziewcząt, którego autorką jest Klementyna z Tańskich Hoffmanowa. W ostatnim rozdziale dokonuje się konfrontacji dwóch modeli wizerunku kobiety z obrazami postaci kobiecych w innych powieściach Żmichowskiej, co w efekcie pozwala na wyodrębnienie wzorca i antywzorca kobiecości, które zawiera swoich utworach autorka.The aim of this study is analysis and interpretation of portrait of a woman in ‘Biała Róża’, a novel by Narcyza Żmichowska. The thesis composes of six chapters. The first one refers to a difficult situation of women in the XIXth century, whose rights the Napoleonic Code limited. Common opinion on women is confronted with Żmichowska's worldview and her activity as well as the other participants of Entuzjastki organization, which was important emancipation and national liberation movement. The second chapter analyses the polyphonic form of the novel thanks to which it is possible to observe further influences of form and polyphony on women's image in the novel. The third chapter contains an interpretation of the novel's plot and an overview of a variety of forms of presenting the image as well as evaluations of the actions of the main character of the novel by other characters. The fourth chapter presents different portraits of female characters appearing in the novel. The models of emancipation represented by the heroines are compared. The aim of the fifth chapter is to recreate Narcyza Żmichowska's educational program which creation she dedicated a significant part of her life. Her educational recommendations are compared to the other pedagogical methods present in the novel. Żmichowska's conception is characterized in opposition to the previous female pedagogical program by Klementyna Hoffmanowa. The last chapter confronts these two woman's images with female portraits from other Żmichowska's novels, which leads to isolating patterns and anti-patterns of femininity present in the author's works

International Communist Theatre from 1917 to 1929

Le théâtre communiste fut théorisé, écrit, mis en scène, interprété et/ou produit par des acteurs (au sens sociologique du terme) affiliés au Komintern (ou Internationale communiste, ou Troisième Internationale), à des organisations auxiliaires (ou de masse) et/ou à certaines de leurs sections nationales (partis communistes). Le théâtre communiste a communément été appelé théâtre « prolétarien », « ouvrier », « révolutionnaire » ou encore « théâtre d’agitprop », les acteurs de ce théâtre préférant masquer leurs liens avec le parti communiste et le Komintern.Pour les communistes, le prolétariat fut privé durant des siècles d’une représentation théâtrale. « Classe objet » (Bourdieu), il ne parlait pas : il était « parlé ». Les scènes « bourgeoises » en Europe, « nobles » en Russie tsariste, ignoraient cette classe. Non que le peuple (paysans, ouvriers) ne fût représenté dans les pièces de théâtre, mais pas en tant qu’acteur politique. Le « peuple » n’était pas le « prolétariat » c’est-à-dire une classe sociale consciente de son exploitation et aspirant à y mettre fin par la révolution.De 1917 à 1929, les artistes communistes eurent à cœur de donner aux prolétaires les moyens non seulement d’être représentés mais également d’être les auteurs, les metteurs en scène, les acteurs et/ou les récepteurs de leur représentation. Ils créèrent pour ce faire une organisation auxiliaire du Komintern, une Internationale théâtrale communiste : la "Société du Théâtre ouvrier international". Le théâtre communiste se diffusa à l’échelle internationale, de la Russie vers les périphéries du Komintern. Cependant, Lénine comme Staline ne voyaient en le prolétariat qu’une « classe prétexte », servant de faire-valoir pour leur politique autoritaire et le prolétariat, représenté comme une classe victorieuse dans un paradis soviétique, se trouva de nouveau « parlé », les pièces de théâtre donnant désormais l’illusion qu’il était au cœur de la représentation.The Communist Theatre was theorized, written, directed, performed and/or produced by actors (in the sociological sense) affiliated with the Comintern (also called Communist International, or Third International), such as auxiliary (or mass) organizations, and/or some of their national sections (communist parties). It was commonly referred to as "proletarian", "workers’ ", "revolutionary" or "agitprop theatre”, the actors of this theatre preferring to hide their links with the Communist Party and the Comintern.For the Communists, the Proletariat was deprived for centuries of theatrical representation. As an "object class" (Bourdieu), it did not speak : it was "spoken for". The "bourgeois" stages in Europe, "noble" in tsarist Russia, ignored this class. Not that the people (peasants, workers) were not represented in the plays, but not as political actors. The "people" were not the "Proletariat", i.e. a social class aware of its exploitation and aspiring to end it through Revolution.From 1917 to 1929, communist artists were keen to give the Proletarians the means not only to be represented but to also be the authors, directors, actors and/or receivers of their own representation. To do this, they created an auxiliary organization to the Comintern, a Theatrical International Communist : the International Workers' Theatre Society”. The Communist Theatre spread internationally, from Russia to the peripheries of the Comintern. However, both Lenin and Stalin saw the Proletariat as a "pretext class", serving as a foil for their authoritarian policies, and the Proletariat, represented as a victorious class in a Soviet paradise, found itself once again "spoken for", the plays henceforth giving the illusion that it was at the heart of the representation

Dilatometric study of ordered structures in Fe-AI alloys

The order-disorder transformations in iron based alloys containing 21.5 and 25 at. % Al have been studied. Consideration of results obtained using dilatometry allowed us to assert that the ordering reaction in Fe-Al alloys after quenching from disordered state is a rather rapid process and ageing at moderate temperatures results in increased extent of the DO₃ type ordering.Изучено превращение порядок-беспорядок в сплавах на основе жєлєзи, содержащих 21.5 и 25 aT. % Al. Анализ результатов, полученных путем дилатометрии, позволяет утверждать, что реакция упорядочения в Fe-Al сплавах после закалки из области неупорядоченного состояния является довольно быстрым процессом и старение при умеренных температурах приводит к повышению степени дальнего порядка типа DO₃.Досліджєно перетворення порядок-невпорядокованість у сплавах на основі залiза, що містили 21.5 та 25 at. % Al. Аналіз результатів, одержаних методом дилатометрії, дозволяє стверджувати, що реакція впорядкування в Fe-Al сплавах після загартування з області невпорядкованого стану є досить швидким процесом, а старіння при помірних температурах спричиняє підвищення ступеня дальнього порядку типу DO₃

Epidermal maintenance of Langerhans cells relies on autophagy-regulated lipid metabolism

ABSTRACT Macroautophagy (often-named autophagy), a catabolic process involving autophagy-related ( Atg ) genes, prevents accumulation of harmful cytoplasmic components and mobilizes energy reserves in long-lived and self-renewing cells. Autophagy deficiency affects antigen presentation in conventional dendritic cells (DCs) without impacting their survival. However, previous studies did not address epidermal Langerhans cells (LCs), a proliferating skin DC subset with extended lifespan. Here, we demonstrate that deletion of either Atg5 or Atg7 in LCs leads to their gradual depletion. ATG5-deficient LCs showed metabolic dysregulation and accumulated neutral lipids. Despite increased mitochondrial respiratory capacity, they were unable to process lipids, eventually leading them to ferroptosis. Metabolically impaired LCs upregulated proinflammatory transcripts, in line with exacerbated inflammasome-dependent priming. Moreover, they decreased expression of neuronal interaction receptors, in line with a reduction of epidermal nerves upon LC depletion. Altogether, autophagy represents a critical regulator of lipid storage and metabolism in LCs, allowing their maintenance in the epidermis