Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-10-18Bitstream added on 2014-06-13T20:49:08Z : No. of bitstreams: 1 freitas_mhs_me_ia.pdf: 4495480 bytes, checksum: b099100b3aeb25c0f5527762e16573ef (MD5) / Num primeiro momento procura-se buscar as origens do primitivismo na arte moderna como forma de justificar a importância desse movimento para a arte naïve. A partir daí, foi feito uma distinção entre os termos naïf e primitivo e em seguida uma breve biografia de Henri Rousseau, levantando em conta as características de sua obra. Apresenta-se também o surgimento da arte primitiva no Brasil bem como um histórico da Bienal Naïfs de Piracicaba, desde o seu início até a última edição que ocorreu em 2010, pelo importante papel que vem representando no cenário nacional. Porém o foco da pesquisa se centraliza na vida e obra dos artistas selecionados, assim como a análise feita de três obras de cada um. Depois, tendo como base o depoimento de um crítico de arte e um galerista, buscam-se aproximações da arte naïve com o mercado e com a crítica, para em seguida retomar alguns conceitos acerca das análises tendo como base o sistema binário de Wölfflin e a alternância do naturalismo na história da arte. Todos esses elementos ofereceram um embasamento para as aproximações finais com um novo olhar sobre a representatividade da arte naïve / As a first step is tried to seek the origins of primitivism in modern art as a way to justify the importance this movement has for naïve art. From there, is made a distinction between the terms naïve and primitive, and then began a brief biography of Henri Rousseau, highlighting the characteristics of his work. Is also presented the emergence of primitive art in Brazil as well as develop a report on the Biennial Naïfs of Piracicaba, from its inception to the final edition which came out in 2010, for the important role which it represented on the national scene. However the focus of the research centered on the life and work of the selected artists, as well as an analysis made of three works from each one of them. Then, based upon the testimony of an art critic and a gallery owner, is looked for approximations to the naïve art market and through criticism to then reestablish some opinions about the analyses based on the binary system of Wölfflin and the alternation of naturalism in art history. All of these elements provided a basis for the final approximations with a new view regarding the representation of naïve

Orientador: José Leonardo do Nascimento / Banca: Agnus Valente / Banca: Maria José Elias / Resumo: Num primeiro momento procura-se buscar as origens do primitivismo na arte moderna como forma de justificar a importância desse movimento para a arte naïve. A partir daí, foi feito uma distinção entre os termos naïf e primitivo e em seguida uma breve biografia de Henri Rousseau, levantando em conta as características de sua obra. Apresenta-se também o surgimento da arte primitiva no Brasil bem como um histórico da Bienal Naïfs de Piracicaba, desde o seu início até a última edição que ocorreu em 2010, pelo importante papel que vem representando no cenário nacional. Porém o foco da pesquisa se centraliza na vida e obra dos artistas selecionados, assim como a análise feita de três obras de cada um. Depois, tendo como base o depoimento de um crítico de arte e um galerista, buscam-se aproximações da arte naïve com o mercado e com a crítica, para em seguida retomar alguns conceitos acerca das análises tendo como base o sistema binário de Wölfflin e a alternância do naturalismo na história da arte. Todos esses elementos ofereceram um embasamento para as aproximações finais com um novo olhar sobre a representatividade da arte naïve / Abstract: As a first step is tried to seek the origins of primitivism in modern art as a way to justify the importance this movement has for naïve art. From there, is made a distinction between the terms naïve and primitive, and then began a brief biography of Henri Rousseau, highlighting the characteristics of his work. Is also presented the emergence of primitive art in Brazil as well as develop a report on the Biennial Naïfs of Piracicaba, from its inception to the final edition which came out in 2010, for the important role which it represented on the national scene. However the focus of the research centered on the life and work of the selected artists, as well as an analysis made of three works from each one of them. Then, based upon the testimony of an art critic and a gallery owner, is looked for approximations to the naïve art market and through criticism to then reestablish some opinions about the analyses based on the binary system of Wölfflin and the alternation of naturalism in art history. All of these elements provided a basis for the final approximations with a new view regarding the representation of naïve / Mestre

Deux états d'autorenouvellement des cellules souches pluripotentes (PSCs) ont été définis, à savoir les états naïf et amorcé. De nombreuses différences existent entre ces deux états dont la plus marquante est la capacité unique des PSCs à l'état naïf, de coloniser l'embryon préimplantatoire et former des chimères. L'objectif de mon projet doctoral a été d'étudier la pluripotence chez le lapin. Dans ce cadre, j'ai d'abord entrepris de fabriquer et de caractériser des cellules souches pluripotentes induites (RbiPSCs), puis d'évaluer leur capacité à coloniser l'embryon et à former des chimères. Trois lignées de RbiPSCs dépendantes du FGF2 ont été obtenues par reprogrammation de fibroblastes de lapin. Leur caractérisation moléculaire et fonctionnelle a révélé des caractéristiques mixtes, naïves et amorcées. En revanche, sur le plan fonctionnel, elles sont incapables de coloniser l'embryon de lapin, une caractéristique de la pluripotence amorcée. La seconde partie de mon projet doctoral a consisté à reprogrammer des RbiPSCs vers l'état naïf. Dans ce but, j'ai surexprimé KLF2 et KLF4, deux gènes appartenant au réseau de pluripotence naïf, et utilisé les conditions de culture des PSCs de souris. Les cellules ainsi obtenues présentent un profil d'expression génique plus proche de celui de l'ICM de lapin, dû notamment à la réactivation de marqueurs spécifiques de la pluripotence naïve. Enfin, les cellules ainsi reprogrammées présentent une capacité accrue pour la colonisation de l'embryon préimplantatoire de lapin. Mes travaux constituent le premier exemple de reprogrammation de cellules souches pluripotentes vers l'état naïf chez le lapin. Les cellules ainsi produites ouvrent la voie à la fabrication de chimères somatiques et germinales / Pluripotent stem cells (PSCs) can self-renew at two distinct states, the naive and primed states. Many differences exist between these two states, the most striking is the unique ability of PSCs naïve to colonize the preimplantation embryo and form chimeras. The purpose of my doctoral project was to study pluripotency in rabbits. In this context, I initially manufactured and characterized induced pluripotent stem cells (RbiPSCs) and then evaluated their ability to colonize the embryo and form chimeras. Three RbiPSCs lines were obtained by rabbit fibroblasts reprogramming. Their molecular characterization revealed mixed characteristics, naïve and primed. However, functionally, they are unable to colonize the rabbit embryo, a feature of primed pluripotency. The second part of my doctoral project was to reprogram RbiPSCs to the naïve state. To this end, I have overexpressed Klf2 and Klf4, two genes belonging to the naïve pluripotency network and the mouse PSCs culture conditions. These new cell lines have a gene expression profile closer to that of the rabbit ICM, particularly due to the reactivation of specific markers of naïve pluripotency. Finally, the reverted cells have an increased capacity of colonization of the preimplantation embryo rabbit. My work represents the first example of pluripotent stem cells reprogramming toward the naive state in rabbits. The cells thus produced pave the way for the production of somatic and germline chimeras

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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Joan Brotat (Barcelona, 1920-1990) fue un artista destacado en el proceso de recuperación de la modernidad pictórica durante los años de la postguerra española, aunque luego cayó progresivamente en el olvido. Esta tesis estudia y establece su trayectoria profesional vinculada a su biografía personal (contexto familiar y social), a los factores inducidos por el sistema artístico local y en relación con en el contexto nacional e internacional (fortuna crítica, evolución artística y comercial). Brotat fue uno de los máximos exponentes de una tendencia que podríamos denominar como figuración primitivista. Definimos aquí las características de esta tendencia, su lugar frente a otras opciones de vanguardia de la época como la abstracción y apuntamos sus variantes y principales representantes. Abordamos también las razones de su declive a partir del análisis de la carrera profesional de Brotat. Descubrimos, gracias al estudio de su archivo familiar, la participación de Brotat en la guerra civil como parte de la Quinta del biberón republicana, hecho que escondió toda su vida y cuyo trauma influyó de toda evidencia en su obra. El análisis iconográfico y evolutivo del ingenuismo nos muestra una dimensión trágica y existencial. Así, su etapa expresionista, singular síntesis entre ingenuismo e informalismo, parece responder a una genuina necesidad psicológica. La comparación de su obra artística son sus proyectos profesionales en el campo de la ilustración infantil nos permiten hacer la diferencia entre naif el ingenuismo, que tanto preocupó a la crítica de la época. Un aspecto fundamental es el descubrimiento de una etapa abstracta a finales de los años cuarenta que contradice la jerarquía evolucionista que explica la figuración esquemática como un paso previo a la abstracción. El primitivismo ingenuista fue una opción consciente y deliberada. En su período de madurez, la obra de Brotat muestra una tendencia al amaneramiento y entra en decadencia, que se puede describir por la perdida de refinamiento y el estancamiento de los argumentos críticos que la apoyaron. La relación con los marchantes (Maurice Bonnefoy y Agustín Rodríguez Sahagún particularmente) se revela ambivalente en sus resultados. Lo mismo sucede con el aprovechamiento de la política artística franquista, dirigida por Luis González Robles. El primitivismo figurativo catalán de postguerra es una combinación coherente (aunque intuitiva y sin programa militante) de medievalismo e ingenuismo. El ingenuismo de vanguardia de postguerra tiene dos manifestaciones, a veces coincidentes y otras divergentes: la radical y la nostálgica. El primitivismo se apoyó en un discurso crítico específico y ocupó un lugar, móvil, en el debate artístico. Estudiamos las diversas fuentes de este primitivismo y constatamos la influencia fundamental de Joan Miró. De entre los referentes internacionales destaca Massimo Campigli. Asimismo, se encuentran paralelos y vínculos con artistas españoles como Rafael Zabaleta, Benjamín Palencia y el núcleo valenciano con Manuel Gil y Salvador Faus. Un caso especialmente interesante es el de Manolo Millares, quien tuvo una relación significativa con Cataluña en esos años. Entre los artistas catalanes, el primitivismo tuvo gran protagonismo y adoptó diversas formas. De Sucre o Joan Ponç representan la vertiente más radical y atormentada, Albert Ràfols Casamada o Joan Vilacasas la opción más ingenua y afrancesada. Se observa una clara tendencia a la politización (Francesc Todó, Josep Guinovart, Estampa Popular). La opción lírica o poética, representada especialmente por Brotat, fue dejada progresivamente de lado. A menudo teñido de nostalgia y religiosidad, coincidente con cierta moda franciscanista, el discurso teórico al respecto del primitivismo fue ambivalente y pasó de la modernidad al conservadurismo. La constatación de una corriente primitivista, de la cual Brotat sería la figura paradigmática en su éxito y su fracaso, obliga a repensar el canon del arte catalán de postguerra. El primitivismo no fue un estadio inmaduro de la modernidad en el camino hacia la abstracción sino que responde al contexto histórico particular de la España de postguerra con soluciones originales. / Joan Brotat (Barcelona, 1920-1990) was a prominente artist in the process of recovery of pictorial modernity in Spain after the Civil War, but then his work gradually fell into oblivion. This thesis studies his professional career, in relation to his personal biography (family and social context), the local art system, and the national and international context (critical fortune, artistic and commercial development). The thesis proposes that Brotat was in fact a paradigmatic figure of a primitivist tendency. Primitivism was not an immature stage of modernity on the way toward abstraction, but responded to the particular historical context of Postwar Spain with original solutions. The success and then failure of Brotat and Primitivism invites to reconsider the canon of Postwar Catalan art. Untill his death, Brotat did hide his involvement in the Civil War, a trauma that marked his work and existence. The iconographic analysis and the evolution of his modern naif style shows a tragic and existential undertones. A key aspect is the discovery of an abstract stage in the late forties contradicting the evolutionary hierarchy that explains schematic figuration as a step toward abstraction. On the contrary, naive primitivism was a conscious and deliberate option. Postwar Catalan Figurative Primitivism was a coherent mix of medievalism and naiveté(although without a declarated program). The naiveté of postwar art has two aspects : the radical and nostalgic, which sometimes appear together and sometimes separately. Among Catalan artists, primitivism had great prominence and took various forms. De Sucre or Joan Ponç represent the more radical and tormented side, Albert Rafols Casamada or Joan Vilacasas the most naive and influenced by French modernism. There is, later, a clear trend towards politization (Francesc Todó Josep Guinovart, Estampa Popular). We studied the various sources of this primitivism and found the fundamental influence of Joan Miró and Massimo Campigli. Likewise, there are links to Spanish artists such as Rafael Zabaleta, Benjamín Palencia, the valencians Manuel Gil and Salvador Faus or Manuel Millares. Often tinged with nostalgia and religiosity, in sinthony with a Franciscan fashion, the theoretical discourse about primitivism was ambivalent and evolved from modernity to conservatism.

Véritable immunothérapie adoptive, l’allogreffe de Cellules Souches Hématopoïétiques (CSH) est destinée à prévenir la rechute d’une hémopathie maligne grâce au combat immunologique du greffon contre la maladie (effet GVL, Graft Versus Leukemia), dans lequel les lymphocytes T apportés par le greffon sont déterminants. Ils peuvent aussi compromettre le résultat escompté, en induisant une réaction du greffon contre l'hôte (GVH, Graft Versus Host) qui reste une complication redoutée de l’allogreffe. Dans une précédente étude prospective portant sur 62 couples donneur/receveur nous avons pu étudier l'impact de la composition du greffon en cellules T de phénotypes naïfs et mémoires sur le devenir des receveurs d’allogreffes à partir d'un donneur HLA-identique apparenté ou non; et nous avons pu démontrer qu’une proportion élevée de lymphocytes T CD4+CCR7+ dans le greffon était un facteur de risque de la survenue, la précocité et la sévérité de la GVH aiguë, sans influence sur la GVH chronique ou la rechute. Dans le but de séparer l’effet GVL de la GVH, nous avons voulu à travers des travaux de cette thèse, étudier le concept d’une T déplétion partielle et sélective du greffon en lymphocytes T CD4+CCR7+. Nous travaux se sont scindés en trois parties :1) Au plan clinique, nous avons pu confirmer nos précédents résultats sur une cohorte additionnelle de 137 patients. Non seulement, nous avons confirmé qu’une proportion élevée de lymphocytes T CD4+CCR7+ dans le greffon était un facteur de risque de la survenue, de la GVH aiguë, mais également, nous avons observé un effet préférentielle de la sous-population naïve des lymphocytes T CD4+ sur l’incidence de la GVH aiguë. Bien entendu, aucun impact sur l’incidence de la rechute post-allogreffe n’a été enregistré.2) Dans un modèle expérimental utilisant des cultures lymphocytaires en présence des cellules dendritiques provenant des six couples (frère/sœur) HLA-identiques, nous avons pu démontrer que les lymphocytes T CD4+ naïfs déclenchaient la réponse allogénique la plus importante et avec un degré moindre les cellules mémoires centrales par rapport aux effecteurs mémoires T CD4+. Ces résultats non seulement, valident in vitro les constatations cliniques mais aussi mettent l’accent sur le rôle prépondérant des lymphocytes T naïfs dans l’alloréactivité, notamment en situation de compatibilité HLA.3) Nous avons dans la troisième partie pu démontrer qu’une déplétion partielle sélective des greffons en lymphocytes T CD4+CCR7+ n’altère pas la réponse immunologique secondaires vis-à-vis des virus.La suite de nos travaux se focalise sur l’effet de la déplétion partielle sélective des greffons en lymphocytes T CD4+CCR7+ sur la réaction anti-tumorale du greffon dans la situation HLA compatibilité chez l’homme.Nos résultats constituent une pierre angulaire dans le concept de déplétion partielle sélective des greffons en lymphocytes T CD4+CCR7+, ex vivo chez l’homme, en vue de réduire l’incidence de la GVHD sans altérer la réponse anti-infectieuse ou tumorale du greffon notamment chez les donneurs présentant un taux élevé de lymphocytes T CD4+ naïfs et/ou mémoire centrale . / A genuine adoptive immunotherapy, Haematopoietic Stem Cell (HSC) allotransplantation aims to prevent the recurrence of a malignant blood disease via an immunological action of the graft against disease (GVL or Graft Versus Leukaemia effect), in which the T lymphocytes supplied by the transplant play a key role. They may also compromise the targeted result, by triggering a GVH (Graft Versus Host) reaction, which remains a serious complication of allotransplantation. In a previous prospective study conducted in 62 donor/recipient pairings, we examined the impact of the transplant\\\'s naive and memory phenotype T cell composition on the fate of recipients of allotransplants from an HLA-identical donor, related to the recipient or otherwise. We demonstrated that a high proportion of CD4+CCR7+ T lymphocytes in the transplant was a risk factor for the development, early onset and severity of acute GVHD, with no influence on chronic GVHD or recurrence. With the objective of separating the GVL effect from the GVH effect, we wanted to investigate the concept of partial and selective CD4+CCR7+ T cell depletion of the graft in the studies conducted as part of this research. Our studies were split into three parts:1) Clinically, we confirmed our previous results in an additional cohort of 137 patients. In addition to confirming that a high proportion of CD4+CCR7+ T lymphocytes in the transplant was a risk factor for the development of acute GVH, we also observed a preferential effect of the naive CD4+T lymphocyte sub-population on the incidence of acute GVHD. Obviously, no impact on the incidence of post-allotransplantation recurrence was recorded.2) In an experimental model using lymphocyte cultures in the presence of dendritic cells taken from six HLA-identical pairings (brother/sister), we demonstrated that naive CD4+ T lymphocytes triggered the greatest allogenic response and, to a lesser degree, central memory cells compared to effector memory CD4+ T cells. Not only do these results validate the clinical observations made in vitro, they also highlight the dominant role of naive T lymphocytes in alloreactivity, particularly in situations of HLA incompatibility.3) In the third part, we demonstrated that selective partial CD4+CCR7+ T cell depletion of the transplants does not impair the secondary immunological response to viruses.The next phase of our research focuses on the effect of selective partial CD4+CCR7+ T cell depletion of grafts on the transplant's anti-tumoural reaction in situations of HLA compatibility in humans.Our results represent a cornerstone in the concept of partial selective T CD4+CCR7+ T cell depletion of transplants, ex vivo in humans, with a view to reducing the incidence of GVHD, without impairing the anti-infectious or anti-tumoural response of the graft, particularly in donors with high levels of naive and/or central memory CD4+ T lymphocytes.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Les cellules souches embryonnaires (ESCs) sont issues de la masse cellulaire interne (ICM) de blastocystes préimplantatoires. Elles sont pluripotentes c'est-à-dire capables de se différencier dans les trois lignages embryonnaires (ectoderme, mésoderme et endoderme) et de s'autorenouveller, c'est-à-dire de se multiplier indéfiniment en culture. Chez la souris, ces cellules (mESCs) sont à la base des techniques de transgénèse permettant des modifications génétiques ciblées. Chez l'Homme ces cellules (hESCs) représentent un grand espoir en médecine régénérative pour traiter des maladies dégénératives comme les maladies de Parkinson ou de Huntington. Le modèle le plus pertinent de l'espèce humaine est le singe. Cependant l'expérimentation sur cette espèce est soumise à une réglementation très stricte. C'est pourquoi il est nécessaire de développer des modèles alternatifs. C'est dans ce cadre que s'inscrit le lapin, qui est phylogénétiquement plus proche de l'Homme que ne l'est la souris. Mon projet de thèse a eu pour but d'étudier la pluripotence dans les ESCs de lapin (rESCs), afin de pouvoir les utiliser en transgénèse et produire des animaux transgéniques, modèles de maladies humaines. La première partie de ces analyses est regroupée au sein de l'article que notre laboratoire a publié en 2013 dans Biology Open (Osteil et al. 2013). D'autres analyses ont abouti à la dérivation de nouvelles lignées stabilisées dans un état plus proche de celui des cellules de l'ICM. L'ensemble des résultats a permis d'établir des bases solides pour la compréhension de la pluripotence et pour la dérivation d'ESCs dites naïves chez un autre mammifère que la souris / Embryonic stem cells (ESCs) result from cultures of inner cell masses (ICMs) isolated at preimplantation blastocyst stage. ESCs are defined by their self-renewal capacity, characterized by robust proliferation while maintaining plutipotent potential, the ability to give rise to cells from all three germ layers mesoderm, endoderm and ectoderm. Mouse ESCs (mESCs) allow the production of transgenic models by site-specific mutagenesis. Human ESCs (hESCs) represent major hope for regenerative medicine in order to treat degenerative diseases like Parkinson or Huntington. The more relevant model of Human is monkey. However, working on this specie is subjected to extremely strict regulation. Consequently it is very important to develop alternative animal models. Rabbit appears to be a very good candidate, because he is phylogenetically closer to Human than the mouse. My thesis project aimed to study the pluripotency mechanism of rabbit ESCs (rESCs), in order to use these cells for the production of transgenic animal models for human diseases. First part of theses analyses is synthesized in a publication into Biology Open in 2013 (Osteil et al. 2013). Other analyses produced new rESCs lines stabilized in a closer state compared to ICM state. All these results led to obtain solid knowledge on pluripotency and derivation on so-called naïve ESCs in a non-rodent specie

Made available in DSpace on 2016-03-15T19:44:09Z (GMT). No. of bitstreams: 1 Oscar Alejandro Fabian DAmbrosio.pdf: 7160148 bytes, checksum: 7e63b5026bb8b9dc806a4dc61b3d8cf3 (MD5) Previous issue date: 2013-02-21 / This study investigates what Naïf Art is, which are its variations and main artists. The most important question is the definition of the object of the study. This research offers a view of some international and Brazilians art critics that studied the subject. Some of the articles about the subject are not academic papers but art catalogues focused in selling art works or catalogues from private museums or collections. All these information is joined to establish quotations and qualified reflections about visual works that are categorizes as Naïf Art. The most important event in this art area the Bienal Naifs do Brasil, that takes place in Piracicaba, in São Paulo State, Brazil, since 1992. This study offers an analysis of art researchers, jury members and art curators that have taken part in the last ten editions of the event (1992-2010). The idea is to seek and discuss this kind of information to understand what Naïf Art is. The idea also This study investigates what Naïf Art is, which are its variations and main artists. The most important question is the definition of the object of the study. This research offers a view of some international and Brazilians art critics that studied the subject. Some of the articles about the subject are not academic papers but art catalogues focused in selling art works or catalogues from private museums or collections. All these information is joined to establish quotations and qualified reflections about visual works that are categorizes as Naïf Art. The most important event in this art area the Bienal Naïfs do Brasil, that takes place in Piracicaba, in São Paulo State, Brazil, since 1992. This study offers an analysis of art researchers, jury members and art curators that have taken part in the last ten editions of the event (1992-2010). The idea is to seek and discuss this kind of information to understand what Naïf Art is. The idea also is to analyze art works that are called Naïf. The study also offers comments about the main artists that have taken part in the Piracicaba Bienal editions since 1992. / A presente pesquisa consiste na discussão sobre o que é Arte Naif, quais são as suas variações e principais artistas. O problema maior é a própria definição do objeto de estudo. Para isso, temos como base os textos dos poucos autores nacionais e estrangeiros que se debruçaram sobre o tema. Alguns deles, inclusive, não são trabalhos acadêmicos, mas catálogos de luxo voltados para a venda de obras ou a divulgação de museus ou coleções particulares. Busca-se estabelecer parâmetros para o debate das manifestações plásticas que são chamadas pela crítica especializada como Arte Naif. O maior evento desse gênero de pintura no Brasil, a Bienal Naifs do Brasil, é realizado em Piracicaba, SP, e teve a sua décima edição em 2010. A pesquisa realiza uma análise dos textos de curadores, curadores-adjuntos e integrantes dos júris de seleção das dez edições do evento (1992-2010) e suas referências para instituir uma discussão sobre o conceito de Arte Naif. Esse diálogo inclui a discussão plástica de obras categorizadas no gênero. Traz ainda comentários sobre os principais artistas que expuseram nas diversas edições da Bienal.