188 research outputs found
Is Cystatin C a promising marker of renal function, at birth, in neonates prenatally diagnosed with congenital kidney anomalies?
Assessment of neonatal renal function remains a challenge. This study by Paloma et al. suggest that low-molecular weight proteins may indeed serve as promising markers of renal function at birth and in neonates prenatally diagnosed with congenital kidney anomalie
Le Chili et les mouvements migratoires
Depuis le XVe siĂšcle, lâhistoire du Chili sâest construite autour des migrations de peuplement. Si elle Ă©tait au dĂ©part constituĂ©e par des mouvements de populations internes au continent amĂ©ricain, lâimmigration des EuropĂ©ens au Chili commence avec la conquĂȘte espagnole. Elle se poursuit notamment aux XIXe et XXe siĂšcles par lâarrivĂ©e de populations venues de toute lâEurope cherchant au Chili une terre dâaccueil. La dictature de Pinochet va susciter dâimportants flux en sens inverse : une partie de la population quittera le pays, contribuant Ă ouvrir le Chili au reste du monde
Exposer le patrimoine des Ă©coles dâart en Europe : un intĂ©rĂȘt rĂ©solument contemporain
Les Ă©coles dâart des grandes capitales europĂ©ennes fondĂ©es Ă travers lâEurope, du xviie au xviiie siĂšcle, formulent aujourdâhui les mĂȘmes questions : comment mieux connaĂźtre et mieux valoriser le patrimoine des Ă©coles dâart, et Ă quelles fins ? De lâouverture dâun nouvel espace musĂ©al Ă la Royal Academy de Londres en 2016 Ă celle de la collection anatomique de Dresde en 2018, force est de constater que partout en Europe lâintĂ©rĂȘt se porte sur ces collections atypiques dans lâunivers musĂ©al, oĂč les chefs-dâĆuvre se mĂȘlent aux dessins et plĂątres pĂ©dagogiques. Montrer ces collections, câest donner Ă voir lâhistoire de lâenseignement des artistes, la maniĂšre dont « le devenir artiste » sâenseigne, parfois avec des injonctions contradictoires et des approches variĂ©es. Les rĂ©ponses apportĂ©es dans les grandes acadĂ©mies europĂ©ennes diffĂšrent en raison de leurs histoires, confondues puis sĂ©parĂ©es de lâinstitution musĂ©ale, et parfois de la section archĂ©ologique de lâuniversitĂ©. En parcourant lâEurope, de Londres Ă aux grandes villes allemandes, de Madrid Ă Vienne en poussant jusquâĂ Saint-PĂ©tersbourg, cet article veut offrir un panorama des choix musĂ©ographiques opĂ©rĂ©s afin de valoriser le patrimoine des Ă©coles dâart. Les collections, parfois rapidement qualifiĂ©es de « pĂ©dagogiques », tĂ©moignent de lâhistoire du regard portĂ© sur les modĂšles italiens puis sur lâart grĂ©co-romain, ou la tĂ©nacitĂ© du modĂšle naturaliste. Câest ainsi une histoire du regard artiste qui se rĂ©vĂšle, comme le montrent les choix opĂ©rĂ©s Ă la Royal Academy de Londres.Today, the art schools of the big European capitals, which were created throughout all Europe from the 17th to the 18th century, are all asking the same questions: how can we better know, and better highlight, the heritage of art schools, and to what end? From the opening of a new museum space in the Royal Academy in London in 2016 to the opening of the Dresden schoolâs anatomy collection in 2018, we are compelled to admit that there is interest all across Europe in these atypical (for the museum world) collections, where known masterpieces are set next to the pedadogical drawings and plaster casts. To display these collections is to display the history of artist teaching, the way that âbecoming an artistâ is taught, sometimes with contradictory injunctions and varied approaches. The responses brought by the great European academies are different from each other due to their histories, they were a part of, then separated from the museum institution, and sometimes from the archaeological section of the university. By travelling across Europe, from London to the big German cities, from Madrid to Vienna and even as far as Saint Petersburg, this article aims to show a panorama of the museographic choices that were made to highlight the patrimony of art schools. The collections, which were briefly referred to as âpedagogicalâ, are a testimony of the history of how Italian models, and then greco-roman art, or the tenacity of the naturalist model, were seen. Thus it reveals the history of the artistâs way of seeing as shown by the choices made by the Royal Academy of London
Des Ă©coles dâart acadĂ©miques aux Ă©coles dâart : des collections et des lieux, un patrimoine Ă valoriser
Lâambition de ce numĂ©ro est de mettre en valeur sur le plan français et europĂ©en un patrimoine encore trop mĂ©connu, celui des Ă©coles dâart, souvent malmenĂ© en raison de sa perte de valeur dâusage au sein de la pĂ©dagogie artistique. Partout en Europe, lâĂ©ducation de lâĆil et de la main de lâartiste sâest en effet largement transformĂ©e dans la deuxiĂšme moitiĂ© du xxe siĂšcle, discrĂ©ditant notamment lâexercice de la copie qui se pratiquait Ă lâaide dâestampes, de dessins ou de rondes-bosses qui on..
LE NUMERO EN BREF â Des Ă©coles dâart acadĂ©miques aux Ă©coles dâart : des collections et des lieux, un patrimoine Ă valoriser
En Europe et particuliĂšrement en France, le patrimoine des Ă©coles dâart est aujourdâhui lâobjet de nombreuses Ă©tudes. Alors quâĂ la faveur de recherches menĂ©es sur la provenance ou la propriĂ©tĂ© dâĆuvres quâils conservent des musĂ©es retrouvent et interrogent leurs liens avec les premiĂšres Ă©coles dâart au xviiie siĂšcle, nombre de modĂšles, dont lâusage sâĂ©tait perdu dans la seconde moitiĂ© du xxe siĂšcle, sont redĂ©couverts. Chercheurs, professionnels de lâhistoire de lâart et du patrimoine apporte..
Le modĂšle vivant, patrimoine absent des Ă©coles dâart acadĂ©miques
Le patrimoine pĂ©dagogique conservĂ© dans les Ă©coles dâart issues des anciennes Ă©coles acadĂ©miques aurait tendance Ă laisser penser que lâessentiel de la transmission se joue dans la copie dâaprĂšs les modĂšles, antiques ou modernes. Câest oublier quâau fondement de la pĂ©dagogie du dessin telle quâelle est conçue en France se trouve lâĂ©tude dâaprĂšs le modĂšle vivant. Une Ă©cole de lâobservation de la nature qui nâa cessĂ© de lutter contre lâhĂ©gĂ©monie du modĂšle antique favorisĂ©e par les moulages produits en importante quantitĂ© au xixe siĂšcle. Il est primordial de connaĂźtre lâhistoire de ce patrimoine absent avant de concevoir une Ă©ventuelle musĂ©ographie du patrimoine des Ă©coles dâart.The pedagogical heritage that is kept in the art schools that have existed for a long time as academies would tend to let us think that most of the drawing practice transmission is done by copying from models, either antique or modern. To believe this is to forget that studying from models is at the core of drawing pedagogy as we conceive it in France. This study by observation of nature has been in a constant struggle against the hegemony of the antique model favoured by the great quantity of plaster casts that was produced in the 19th century. It is of a primordial importance to know the history of that missing heritage before we conceive any potential museography of the heritage of art schools
Lâinfluence de Paris et de Rome dans la constitution de collections acadĂ©miques en Europe
Les principales acadĂ©mies europĂ©ennes ont Ă©tĂ© fondĂ©es au long du xviiie siĂšcle, avec pour rĂ©fĂ©rences principales les AcadĂ©mies de Paris et de Rome, tant sur le plan de leur fonctionnement que de leur mĂ©thode dâenseignement. Ă la faveur de la circulation intense des personnes et des Ćuvres Ă la fin du xviiie siĂšcle et dans la continuitĂ© de la culture humaniste de la Renaissance, la cĂ©lĂ©bration europĂ©enne de lâantique sâĂ©panouit au dĂ©but du xixe siĂšcle dans lâesthĂ©tique nĂ©oclassique, expliquant pour partie la prĂ©sence massive de plĂątres dâantiques dans les Ă©coles dâart dâEurope. Cette prĂ©sence est encore accentuĂ©e par lâimmense impression produite auprĂšs des artistes par les statues antiques rassemblĂ©es au musĂ©e NapolĂ©on jusquâen 1815. Les acadĂ©mies europĂ©ennes veulent toutes rĂ©unir les chefs-dâĆuvre de lâart antique sous la forme de collections de moulages. ParallĂšlement Ă cette internationalisation des rĂ©fĂ©rences plastiques se dĂ©veloppent les premiĂšres rĂ©flexions autour dâune dĂ©finition esthĂ©tique propre Ă chaque nation, que les guerres napolĂ©oniennes ont contribuĂ© Ă nourrir. De nouveaux modĂšles apparaissent alors au sein des acadĂ©mies dâart, quâil sâagisse de supports pĂ©dagogiques ou dâĆuvres de rĂ©ception. Le patrimoine des acadĂ©mies dâEurope se diversifie, sous lâimpulsion de leurs directeurs respectifs. Les collections de plĂątres dâantiques sont Ă©galement enrichies de modĂšles nationaux, datant de lâĂ©poque mĂ©diĂ©vale ou renaissante. Ce patrimoine marque longtemps les mĂ©thodes dâapprentissage des artistes, parce quâil propose une variĂ©tĂ© de solutions plastiques mais aussi parce quâil incarne le rĂȘve dâune histoire de lâart en trois dimensions, peuplĂ©e de statues animĂ©es Ă la lueur des lampes dâĂ©tude.The main European academies we founded during the 18th century, with the Paris and Rome academies as their main references, both for their ways of functioning and for their teaching method. Thanks to the important circulation of people and works of art in the late 18th century, and as a continuation of the Renaissance eraâs humanist culture, Europeâs celebration of Antiquity is blooming in the early 19th century, with the neoclassic aesthetic, which partly explains the presence of so many plaster casts of antique works in European art schools. This presence is even more emphasized by the strong impressions made on artists by the antique statues that were gathered in the Napoleon Museum until 1815. European academies all want to gather the antique art masterpieces in the form of collections of plaster casts. As a parallel to this internationalisation of plastic references, the first discussions on an aesthetical definition specific to each nation begin their development, fed by the Napoleonic Wars. New models start appearing in the art academies, either teaching supports or ordered works. European academiesâ patrimony becomes more diverse, led by their respective directors. The antique plaster casts collections are also enriched by national models dated from the Medieval or Renaissance eras. This patrimony has had a long-lasting impact on the teaching methods for artists, because it offers a variety of plastic solutions, and because it embodies the dream of a three-dimensional art history, filled with statues that come alive by the studentsâ lamps
Antenatal and postnatal ultrasound in the evaluation of the risk of vesicoureteral reflux
Antenatal hydronephrosis (ANH) is a frequent anomaly detected on fetal ultrasound scans. There is no consensus recommendation for the postnatal follow-up and/or the necessity to perform a voiding cystourethrography (VCUG) to diagnose vesicoureteral reflux (VUR). We conducted a cohort/non-randomized trial of 121 patients with ANH, defined as an anterior posterior diameter (APD) â„5mm after the 20th week of gestation, to evaluate the ability of the antenatal and postnatal ultrasonography results to predict VUR. All infants had two successive ultrasounds at 5days and 1month, respectively, after birth. A VCUG was performed at 6weeks in children with a persistent APD â„5mm and/or an ureteral dilatation observed on at least one of two postnatal ultrasounds. In total, 88 patients had VCUG and nine had VUR, with five having high-grade reflux (>grade II). The risk of VUR increased significantly with the degree of APD detected on the postnatal ultrasound scan (pâ=â0.03). The odds ratios were 5.0 [95% confidence interval (CI) 0.5-51.2] for APD = 7-9mm and 9.1 (95% CI 1.0-80.9) for APD â„10mm. The results of this study show that among our patient cohort antenatal ultrasound was not predictive of reflux. There was, however, a relation between the importance of the postnatal renal pelvis diameter and the risk of VUR. A cut-off of 7mm showed a fair ability of ultrasonography to predict VUR and a cut-off of 10mm enabled all severe refluxes in the 88 patients who had a VCUG to be diagnose
Serum NGAL, BNP, PTH, and albumin do not improve glomerular filtration rate estimating formulas in children.
Glomerular filtration rate (GFR) is difficult to measure, and estimating formulas are notorious for lacking precision. This study aims to assess if the inclusion of additional biomarkers improves the performance of eGFR formulas. A hundred and sixteen children with renal diseases were enrolled. Data for age, weight, height, inulin clearance (iGFR), serum creatinine, cystatin C, neutrophil gelatinase-associated lipocalin (NGAL), parathyroid hormone (PTH), albumin, and brain natriuretic peptide (BNP) were collected. These variables were added to the revised and combined (serum creatinine and cystatin C) Schwartz formulas, and the quadratic and combined quadratic formulas. We calculated the adjusted r-square (r <sup>2</sup> ) in relation to iGFR and tested the improvement in variance explained by means of the likelihood ratio test. The combined Schwartz and the combined quadratic formulas yielded best results with an r <sup>2</sup> of 0.676 and 0.730, respectively. The addition of BNP and PTH to the combined Schwartz and quadratic formulas improved the variance slightly. NGAL and albumin failed to improve the prediction of GFR further. These study results also confirm that the addition of cystatin C improves the performance of estimating GFR formulas, in particular the Schwartz formula.Conclusion: The addition of serum NGAL, BNP, PTH, and albumin to the combined Schwartz and quadratic formulas for estimating GFR did not improve GFR prediction in our population. What is Known: âą Estimating glomerular filtration rate (GFR) formulas include serum creatinine and/or cystatin C but lack precision when compared to measured GFR. âą The serum concentrations of some biological parameters such as neutrophil gelatinase-associated lipocalin (NGAL), parathyroid hormone (PTH), albumin, and brain natriuretic peptide (BNP) vary with the level of renal function. What is New: âą The addition of BNP and PTH to the combined quadratic formula improved its performance only slightly. NGAL and albumin failed to improve the prediction of GFR further
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