Les « Italiens de Paris » du fascisme à l’après-guerre : artistes et expositions au service du rapprochement franco-italien

Cette contribution analyse la participation des « Italiens de Paris » aux diplomaties culturelles italienne et française depuis les années 1930 jusqu’au lendemain de la Seconde Guerre mondiale. Ce groupe d’artistes — né dans l’entre-deux-guerres pour défendre la particularité de la production italienne au sein des avant-gardes parisiennes — tisse rapidement des liens avec les organismes culturels de l’Italie fasciste. Leurs expositions, en France et en Italie, sont alors l’occasion pour le régime de Mussolini de mettre en avant les liens franco-italiens et l’apport national de l’Italie à la modernité de la France. Dans les discours d’inauguration et dans la presse on célèbre, à travers eux, l’amitié franco-italienne et leur civilisation commune fondée sur une identité latine et méditerranéenne. À la libération, le nom des « Italiens de Paris » est réinvesti par l’Italie et par la France dans une politique de rapprochement. Ces artistes sont alors présentés dans une forme renouvelée qui accueille la participation d’artistes contemporains. L’art, mobilisé par la diplomatie, esquisse ainsi une identité transnationale franco-italienne appelée à toucher les sentiments des peuples et à devenir une « force profonde » de leurs relations internationales.Questo contributo analizza la partecipazione degli «Italiani di Parigi» alle diplomazie culturali italiane e francesi dagli anni ’30 all’indomani della seconda guerra mondiale. Il gruppo di artisti — sorto negli anni tra le due guerre per difendere la peculiarità della produzione italiana in seno alle avanguardie parigine — stringe presto legami con le organizzazioni culturali dell’Italia fascista. Le loro mostre, sia in Francia che in Italia, sono quindi un’occasione per il regime di mettere in evidenza le affinità italo-francesi e il contributo nazionale dell’Italia alla modernità della Francia. Nei discorsi inaugurali e sulla stampa, si celebra l’amicizia italo-francese e la loro civiltà comune basata su un’identità latina e mediterranea. Alla liberazione, il nome «Italiani di Parigi» viene reinvestito dall’Italia e dalla Francia in una politica di riavvicinamento. Questi artisti vengono presentati in una veste rinnovata che accoglie la partecipazione di artisti contemporanei. L’arte, mobilitata dalla diplomazia, disegna così un’identità italo-francese transnazionale chiamata ad influire sui sentimenti dei popoli e a diventare una forza sotterranea («force profonde») delle loro relazioni internazionali

The Grizzly, February 2, 2012

Birk Launches Graphic Novel at UC • Myrin Welcomes New Library Intern • Resumania Preps Students for Job, Internship Fair • Organic Farm Names New Student Director • Ursinus Introduces Zumba Class for Students • Jablonowski Gains Experience at Academy of Natural Sciences • St. Christopher\u27s Offers Volunteer Opportunity for UC Students • Opinion: SOPA had Right Idea, but was Misguided; Major and Minor Expo Offers Great Information • Senior Spotlight: Sean Whelan, Football • Buckley\u27s Bears Battle Through Adversity • Ursinus Community Remembers Daniel Gloverhttps://digitalcommons.ursinus.edu/grizzlynews/1850/thumbnail.jp

The Grizzly, February 23, 2012

Dates for Charity Event Breaks Record • Student Curates New Berman Exhibition • MajorPalooza Highlights Options • Grenade Found on, Removed From Campus • Judge Scirica Speaks to Ursinus • Emery Finds Internship at Career Services Fair • Two Artist Talks • Sankofa Umoja Nia Revitalized • Opinion: How to be Both a Woman and Funny; Controversial YouTube Video Causes Laughter, Reaction • Swimming Sets New Standards at Championships • Men\u27s Basketball Sets Off Triad of Seniors • Women\u27s Track Poised for Championship Runhttps://digitalcommons.ursinus.edu/grizzlynews/1853/thumbnail.jp

Multiple Myeloma Treatment in Real-world Clinical Practice : Results of a Prospective, Multinational, Noninterventional Study

Funding Information: The authors would like to thank all patients and their families and all the EMMOS investigators for their valuable contributions to the study. The authors would like to acknowledge Robert Olie for his significant contribution to the EMMOS study. Writing support during the development of our report was provided by Laura Mulcahy and Catherine Crookes of FireKite, an Ashfield company, a part of UDG Healthcare plc, which was funded by Millennium Pharmaceuticals, Inc, and Janssen Global Services, LLC. The EMMOS study was supported by research funding from Janssen Pharmaceutical NV and Millennium Pharmaceuticals, Inc. Funding Information: The authors would like to thank all patients and their families and all the EMMOS investigators for their valuable contributions to the study. The authors would like to acknowledge Robert Olie for his significant contribution to the EMMOS study. Writing support during the development of our report was provided by Laura Mulcahy and Catherine Crookes of FireKite, an Ashfield company, a part of UDG Healthcare plc, which was funded by Millennium Pharmaceuticals, Inc, and Janssen Global Services, LLC. The EMMOS study was supported by research funding from Janssen Pharmaceutical NV and Millennium Pharmaceuticals, Inc. Funding Information: M.M. has received personal fees from Janssen, Celgene, Amgen, Bristol-Myers Squibb, Sanofi, Novartis, and Takeda and grants from Janssen and Sanofi during the conduct of the study. E.T. has received grants from Janssen and personal fees from Janssen and Takeda during the conduct of the study, and grants from Amgen, Celgene/Genesis, personal fees from Amgen, Celgene/Genesis, Bristol-Myers Squibb, Novartis, and Glaxo-Smith Kline outside the submitted work. M.V.M. has received personal fees from Janssen, Celgene, Amgen, and Takeda outside the submitted work. M.C. reports honoraria from Janssen, outside the submitted work. M. B. reports grants from Janssen Cilag during the conduct of the study. M.D. has received honoraria for participation on advisory boards for Janssen, Celgene, Takeda, Amgen, and Novartis. H.S. has received honoraria from Janssen-Cilag, Celgene, Amgen, Bristol-Myers Squibb, Novartis, and Takeda outside the submitted work. V.P. reports personal fees from Janssen during the conduct of the study and grants, personal fees, and nonfinancial support from Amgen, grants and personal fees from Sanofi, and personal fees from Takeda outside the submitted work. W.W. has received personal fees and grants from Amgen, Celgene, Novartis, Roche, Takeda, Gilead, and Janssen and nonfinancial support from Roche outside the submitted work. J.S. reports grants and nonfinancial support from Janssen Pharmaceutical during the conduct of the study. V.L. reports funding from Janssen Global Services LLC during the conduct of the study and study support from Janssen-Cilag and Pharmion outside the submitted work. A.P. reports employment and shareholding of Janssen (Johnson & Johnson) during the conduct of the study. C.C. reports employment at Janssen-Cilag during the conduct of the study. C.F. reports employment at Janssen Research and Development during the conduct of the study. F.T.B. reports employment at Janssen-Cilag during the conduct of the study. The remaining authors have stated that they have no conflicts of interest. Publisher Copyright: © 2018 The AuthorsMultiple myeloma (MM) remains an incurable disease, with little information available on its management in real-world clinical practice. The results of the present prospective, noninterventional observational study revealed great diversity in the treatment regimens used to treat MM. Our results also provide data to inform health economic, pharmacoepidemiologic, and outcomes research, providing a framework for the design of protocols to improve the outcomes of patients with MM. Background: The present prospective, multinational, noninterventional study aimed to document and describe real-world treatment regimens and disease progression in multiple myeloma (MM) patients. Patients and Methods: Adult patients initiating any new MM therapy from October 2010 to October 2012 were eligible. A multistage patient/site recruitment model was applied to minimize the selection bias; enrollment was stratified by country, region, and practice type. The patient medical and disease features, treatment history, and remission status were recorded at baseline, and prospective data on treatment, efficacy, and safety were collected electronically every 3 months. Results: A total of 2358 patients were enrolled. Of these patients, 775 and 1583 did and did not undergo stem cell transplantation (SCT) at any time during treatment, respectively. Of the patients in the SCT and non-SCT groups, 49%, 21%, 14%, and 15% and 57%, 20%, 12% and 10% were enrolled at treatment line 1, 2, 3, and ≥ 4, respectively. In the SCT and non-SCT groups, 45% and 54% of the patients had received bortezomib-based therapy without thalidomide/lenalidomide, 12% and 18% had received thalidomide/lenalidomide-based therapy without bortezomib, and 30% and 4% had received bortezomib plus thalidomide/lenalidomide-based therapy as frontline treatment, respectively. The corresponding proportions of SCT and non-SCT patients in lines 2, 3, and ≥ 4 were 45% and 37%, 30% and 37%, and 12% and 3%, 33% and 27%, 35% and 32%, and 8% and 2%, and 27% and 27%, 27% and 23%, and 6% and 4%, respectively. In the SCT and non-SCT patients, the overall response rate was 86% to 97% and 64% to 85% in line 1, 74% to 78% and 59% to 68% in line 2, 55% to 83% and 48% to 60% in line 3, and 49% to 65% and 36% and 45% in line 4, respectively, for regimens that included bortezomib and/or thalidomide/lenalidomide. Conclusion: The results of our prospective study have revealed great diversity in the treatment regimens used to manage MM in real-life practice. This diversity was linked to factors such as novel agent accessibility and evolving treatment recommendations. Our results provide insight into associated clinical benefits.publishersversionPeer reviewe

Francia Italia in mostra : le mostre in quanto punti d'osservazione delle relazioni italo-francesi nella costruzione di una diplomazia culturale europea dopo la Seconda Guerra mondiale

S’inscrivant dans le courant historiographique de l’histoire culturelle des relations internationales, cette thèse interroge le rôle des échanges artistiques dans les relations diplomatiques franco-italiennes, du lendemain de la Seconde Guerre mondiale à la construction européenne. L’analyse des expositions réalisées par les services culturels des Affaires étrangères français et italien, respectivement en Italie et en France, met en évidence les rapports de force et les clés du rapprochement franco-italien après 1945. La reconstruction des identités nationales, leurs représentations et leurs circulations de part et d’autre des Alpes, sont ici interrogées au regard de l’élaboration d’une nouvelle forme de diplomatie culturelle dans l’Europe de la Guerre froide. Nous nous attachons, d’abord, à reconstruire l’héritage des politiques culturelles de l’entre-deux-guerres ainsi que la transformation des institutions, et des discours, de l’avant à l’après-guerre. Puis nous détaillons les expositions « militantes », objets de tensions et de forts enjeux géopolitiques sur la scène internationale de 1944 à 1948. Enfin, nous analysons pendant les années 1950 l’émergence de modèles récurrents et des typologies d’expositions qui répondent au besoin d’équilibre diplomatique poursuivi par les gouvernements français et italien dans la formation de l’Europe culturelle après 1945.As part of the current historiography of the cultural studies of international relationships, this thesis questions the role of artistic exchanges in Franco-Italian diplomatic relations, from the aftermath of World War II to the beginnings of European construction. The analysis of exhibitions held by the Cultural Services of the French and Italian Ministries of Foreign Affairs, respectively in Italy and France, highlights the balance of power and the keys to the Franco-Italian reconciliation after 1945. The reconstruction of national identities, their representations and their circulations in both sides of the Alps are questioned in the particular context of the Cold War leading to the rise of a new form of European cultural diplomacy. We focus, firstly, on the modalities of institutional and ideological transition before and after World War II, introducing elements of interruptions and continuities. We then analyze the "militant" exhibitions, main focus of tensions and strong geopolitical issues in the international stage. Finally, we show the emergence of recurring patterns and exhibition typologies which address the need for diplomatic balance pursued by the French and Italian governments in the formation of cultural Europe after 1945.Questa tesi si inserisce nel quadro storiografico della Storia culturale delle relazioni internazionali e interroga piùspecificatamente il ruolo degli scambi artistici nelle relazioni diplomatiche italo-francesi, dalla fine della Seconda Guerramondiale agli esordi della costruzione europea. L’analisi delle mostre realizzate dai servizi culturali dei ministeri degli AffariEsteri francese e italiano, rispettivamente in Italia e in Francia, mette in evidenza i giochi di potere e le chiavi dellariconciliazione italo-francese dopo il 1945. La ricostruzione delle identità nazionali, le loro rappresentazioni e le circolazionida una parte all’altra delle Alpi sono qui interrogate in funzione dell’elaborazione di una nuova forma di diplomazia culturalenell’Europa della Guerra fredda. Ci siamo prima impegnati a ricostruire la transizione istituzionale e ideologica dal periodofra le due guerre all’indomani del 1945, mostrandone i punti di rottura e di continuità. Poi, abbiamo esaminato le mostre“militanti”, oggetti di tensioni dai forti accenti geopolitici nello scenario internazionale dal 1944 al 1948. Infine, abbiamoanalizzato il sorgere di modelli ripetitivi e delle tipologie di mostre che rispondono al bisogno di equilibrio diplomaticoperseguito dai governi francese e italiano nell’ambito della formazione di un’Europa culturale dopo il 1945

La Casa d’Italia de Marseille

International audienc

Mémoires du Ventennio. Représentations et enjeux mémoriels du régime fasciste de 1945 à aujourd'hui. Cinéma, théâtre, arts plastiques

International audienceÀ plus de soixante-dix ans de la fin du Second conflit mondial, nous pouvons toujours apprécier en Italie l’abondance d’une production artistique multiforme qui ne cesse d’évoquer, d’explorer et de réélaborer les souvenirs et les images liés à la dictature italienne. Ces souvenirs et images varient en fonction de l’identité des artistes, de leur histoire personnelle, de la génération à laquelle ils appartiennent, et bien évidemment selon le degré et l’orientation de leur engagement politique. C’est donc à la lumière de ces considérations historiques, historiographiques et générationnelles que nous souhaitons interroger le réservoir d’images, de paroles et de gestes mobilisé par les artistes tout au long de la seconde moitié du XXe siècle. Comment ces mémoires, directes ou indirectes, se déclinent-elles au cinéma, dans les arts plastiques, au théâtre ?L'ouvrage contient le texte des seize contributions du colloque "Mémoires du Ventennio. Représentations et enjeux mémoriels du régime fasciste de 1945 à aujourd'hui. Cinéma, Théâtre, Arts plastiques" organisé par Emilia Héry, Caroline Pane et Claudio Pirisino, qui a eu lieu à l'Institut national d'histoire de l'art (INHA, Paris) les 15 et 16 septembre 2016. Il comprend une introduction rédigée par les directeurs d'ouvrage. Il est articulé en trois chapitres: 1. les « Souvenirs » de 1945 à 1960, période des mémoires vécues et des témoignages ; 2. les « Résonances » (1960-1990), en référence aux mémoires redécouvertes du fascisme et au début de la construction d’une mémoire collective du Ventennio dans l’Italie des "années de plomb" ; 3. les « Exhumations et Actualisations » (1990-à nos jours) des lendemains de la chute du mur de Berlin à la crise de la République italienne avec l’effondrement de l’antifascisme comme principe unitaire de l’identité italienne et l’apparition des thèses révisionnistes

La culture italienne en France au XXe siècle : circulation de modèles et transferts culturels

Ce numéro des Cahiers d’études italiennes a pour objet d’analyser les circulations de la culture italienne en France au cours de deux temps forts du XXe siècle : les années 1920-1930 et la période 1945-1970. La diffusion de la culture italienne en France est envisagée dans ses articulations avec la sphère politique : dans quelles mesures a-t-elle été placée au service de la promotion d’un modèle politique (le fascisme dans l’entre-deux-guerres, le marxisme et le communisme « italiens » après 1945) ? Quels furent les supports de ces transferts culturels (expositions, articles dans les périodiques, traduction et édition d’ouvrages, cinéma, etc.) ? Quels en furent les acteurs ? Quels en furent les effets en termes d’acculturation et de représentation de l’Italie

Synthesis of zeolite A using the waste of iron mine tailings dam and its application for industrial effluent treatment

In November 2015, a dam from iron mining collapsed, which is considered as the largest environmental accident in Brazil. Over than 50 million m³ were released reaching the Doce River and killed 20 people in Mariana. The literature review shows that the mining tailings can be used as raw material to the synthesis of zeolites, which can be used for the wastewater treatment. The aim of this work was the synthesis of zeolites from the Samarco tailings and its application for the treatment of electroplating effluent. The residue was characterized which identified high-iron content for the synthesis of zeolites. The residue was mixed with NaOH (1:1) and the reaction temperature was evaluated from 350 °C to 650 °C. Then, the material was mixed with aluminum source and the effect of time was evaluated. The zeolite was applied to the wastewater treatment from electroplating industry. Results showed that the synthesis of zeolite A was carried out with a fusion step at 450 °C for 1 h using RAS: NaOH ratio 1:1, and further hydrothermal treatment at 100 °C during 4 h. The zinc removal from the wastewater was up to 98% using 50 mL of the solution, 2.5 g zeolite A, 60min and pH 6.4. The main metals presented in the solution were adsorbed up to 90% by the zeolite synthesized. Zinc adsorption by the zeolite fitted better on Langmuir isotherm. The zeolite was used four times in a row and zinc removal declined 98-68%