Nas últimas décadas tem aumentado o interesse pelos enxertos de pele humana radioesterilizadas, para aplicação principalmente em queimaduras extensas e profundas. Isto se deve ao fato destes enxertos apresentarem rápida aderência e menor potencial antigênico, em comparação com os demais tratamentos utilizados. A proposta deste estudo foi avaliar a histoarquitetura do enxerto de pele humana irradiada com doses de 25 kGy, 50 kGy e não irradiada, durante o processo de reparação tecidual, em camundongos Nude submetidos a enxertia de pele na região dorsal. Três grupos de animais receberam enxertos de pele humana irradiada (25 kGy e 50 kGy) e não irradiada e foram eutanasiados no 3º, 7º e 21º dia após a realização da cirurgia. Após os procedimentos histológicos de rotina, as amostras de tecido foram coradas com hematoxilina e eosina (HE) para a quantificação de queratinócitos, fibroblastos, células de defesa e vasos sanguíneos e a reação de imunofluorescência (IF) foi realizada para a determinação da expressão de colágeno do tipo I humano e do colágeno dos tipos I e III de camundongo. A quantificação, tanto das células quanto dos tipos de colágeno foi realizada por análise de imagem, utilizando o programa Image-Pro PLus 6.0. Os resultados histológicos demostraram que a pele humana irradiação, quando enxertada, influencia o aumento do número de células no local de cicatrização ao longo do tempo, principalmente na dose de 25 kGy, além de proporcionar uma melhor dispersão destas células. No 21º dia, os três grupos de animais com enxertia de pele humana tiveram parte do enxerto incorporado no processo de cicatrização. O grupo não irradiado apresentou maior incorporação do enxerto (43%), porém menor produção de colágeno do tipo III de camundongo (22%). Já os grupos com enxertia de pele irradiada apresentaram menor incorporação do enxerto (6 e 15%), mas com maior produção de colágeno do tipo III de camundongo (35% e 28%, para 25 kGy e 50 kGy, respectivamente). Com este estudo pôde-se concluir que o grupo irradiado a 25 kGy, apresenta maior proliferação celular e formação de vasos,além de melhor remodelamento da região de cicatrização. / Over the last few years it has increased the interest in the human skin grafts radio sterilized for application mainly in extensive and deep burns. Because these grafts quickly grip and present antigenic lower potential, compared with other treatments used. The purpose of this study was to evaluate the histoarchitecture of human skin grafts irradiated with doses 25 kGy, 50 kGy and non-irradiated during the pepair tissue process in nude mice submitted by skin grafting in the dorsal region. Three groups of animals received irradiated human skin grafts (25 kGy and 50 kGy) and non-irradiated and were euthanized on the 3rd, 7th and 21th day after the surgery. Indeed, routine histologic procedures, tissue samples were stained with hematoxylin and eosin (HE) for quantification of keratinocytes, fibroblasts, immune cells and blood vessels and immunofluorescence (IF) was performed to determine the expression human collagen type I and collagen type I and III mouse. Therefore, quantification of both the cells and the collagen types was performed by image analysis using Image-Pro Plus 6.0 software. Histologic results demonstrated at a dose of 25 kGy that human skin irradiation when grafted influences the increase in the number of cells in wound site over time and it provides better dispersion of these cells. In addition, on the 21st day, three groups of animals with human skin graft were embedded part of the graft in the healing process. On the other hand, the group not irradiated showed greater incorporation of the graft (43 %), but less production of collagen type III mouse (22 %). Since the groups irradiated skin graft showed lower graft incorporation (6 and 15%), but with greater production of collagen type III mice (35 % and 28 % to 25 kGy and 50 kGy, respectively). In conclusion, this study presented that the group irradiated to 25 kGy and it has a higher cell proliferation and vessel formation, and better remodeling of the healing area.

Introdução. O câncer é responsável por uma das principais causas de morte entre mulheres e nota-se um aumento na sua incidência. A linhaça tem sido preconizada como capaz de reduzir o risco do câncer de mama. Objetivo. Verificar o efeito de dietas ricas em linhaça marrom e dourada na evolução do câncer de mama. Métodos. Células cancerosas mamárias humanas (tipo MCF-7) foram inseridas no tecido subcutâneo de camundongos fêmeas nude. Quando os tumores já puderam ser claramente identificados, após 7 semanas, os animais constituíram 3 grupos, um com dieta controle e os outros dois com as variedades de linhaça marrom e dourada. As sementes de linhaça foram moídas para produção de farinhas que foram utilizadas na suplementação das dietas oferecidas aos animais. O crescimento dos tumores implantados nos animais foi acompanhado por oito semanas. Resultados. As linhaças das variedades marrom e dourada mostraram-se eficazes na diminuição da taxa de crescimento dos tumores MCF-7, não sendo verificada nenhuma diferença entre elas. Conclusão. Ambas variedades de linhaça reduziram o crescimento dos tumores. Assim, o consumo de linhaça deve ser estimulado a fim de diminuir a incidência do câncer de mama. / Introduction. Breast cancer is one of the main causes of death among women and an increase in its incidence has been noticed. There is evidence that flaxseed intake could reduce breast cancer risk. Objective. To verify the effect of brown and golden flaxseed rich diets on breast cancer. Methods. Cancer cells of the MCF-7 line were injected subcutaneously into athymic mice. After seven weeks, when tumors were already established, the animals were randomly divided in three groups: (1) control, fed on a basal diet; (2) and (3) mice fed on the basal diet supplemented with 10% brown and with 10% golden flaxseed, respectively. Flaxseed was freshly ground for production of the diets offered to the animals. Tumor growth was monitored weekly for eight weeks. Results. The two varieties of flaxseed inhibited tumor growth, without any difference between them. Conclusion. Both flaxseed varieties were able to reduce tumor growth. Therefore, their intake should be stimulated with the aim to reduce breast cancer incidence.

Nas últimas décadas tem aumentado o interesse pelos enxertos de pele humana radioesterilizadas, para aplicação principalmente em queimaduras extensas e profundas. Isto se deve ao fato destes enxertos apresentarem rápida aderência e menor potencial antigênico, em comparação com os demais tratamentos utilizados. A proposta deste estudo foi avaliar a histoarquitetura do enxerto de pele humana irradiada com doses de 25 kGy, 50 kGy e não irradiada, durante o processo de reparação tecidual, em camundongos Nude submetidos a enxertia de pele na região dorsal. Três grupos de animais receberam enxertos de pele humana irradiada (25 kGy e 50 kGy) e não irradiada e foram eutanasiados no 3º, 7º e 21º dia após a realização da cirurgia. Após os procedimentos histológicos de rotina, as amostras de tecido foram coradas com hematoxilina e eosina (HE) para a quantificação de queratinócitos, fibroblastos, células de defesa e vasos sanguíneos e a reação de imunofluorescência (IF) foi realizada para a determinação da expressão de colágeno do tipo I humano e do colágeno dos tipos I e III de camundongo. A quantificação, tanto das células quanto dos tipos de colágeno foi realizada por análise de imagem, utilizando o programa Image-Pro PLus 6.0. Os resultados histológicos demostraram que a pele humana irradiação, quando enxertada, influencia o aumento do número de células no local de cicatrização ao longo do tempo, principalmente na dose de 25 kGy, além de proporcionar uma melhor dispersão destas células. No 21º dia, os três grupos de animais com enxertia de pele humana tiveram parte do enxerto incorporado no processo de cicatrização. O grupo não irradiado apresentou maior incorporação do enxerto (43%), porém menor produção de colágeno do tipo III de camundongo (22%). Já os grupos com enxertia de pele irradiada apresentaram menor incorporação do enxerto (6 e 15%), mas com maior produção de colágeno do tipo III de camundongo (35% e 28%, para 25 kGy e 50 kGy, respectivamente). Com este estudo pôde-se concluir que o grupo irradiado a 25 kGy, apresenta maior proliferação celular e formação de vasos,além de melhor remodelamento da região de cicatrização. / Over the last few years it has increased the interest in the human skin grafts radio sterilized for application mainly in extensive and deep burns. Because these grafts quickly grip and present antigenic lower potential, compared with other treatments used. The purpose of this study was to evaluate the histoarchitecture of human skin grafts irradiated with doses 25 kGy, 50 kGy and non-irradiated during the pepair tissue process in nude mice submitted by skin grafting in the dorsal region. Three groups of animals received irradiated human skin grafts (25 kGy and 50 kGy) and non-irradiated and were euthanized on the 3rd, 7th and 21th day after the surgery. Indeed, routine histologic procedures, tissue samples were stained with hematoxylin and eosin (HE) for quantification of keratinocytes, fibroblasts, immune cells and blood vessels and immunofluorescence (IF) was performed to determine the expression human collagen type I and collagen type I and III mouse. Therefore, quantification of both the cells and the collagen types was performed by image analysis using Image-Pro Plus 6.0 software. Histologic results demonstrated at a dose of 25 kGy that human skin irradiation when grafted influences the increase in the number of cells in wound site over time and it provides better dispersion of these cells. In addition, on the 21st day, three groups of animals with human skin graft were embedded part of the graft in the healing process. On the other hand, the group not irradiated showed greater incorporation of the graft (43 %), but less production of collagen type III mouse (22 %). Since the groups irradiated skin graft showed lower graft incorporation (6 and 15%), but with greater production of collagen type III mice (35 % and 28 % to 25 kGy and 50 kGy, respectively). In conclusion, this study presented that the group irradiated to 25 kGy and it has a higher cell proliferation and vessel formation, and better remodeling of the healing area.

Orientador: Stephane Remy Georges Malysse / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T03:44:41Z (GMT). No. of bitstreams: 1 Camargo_LucioMartinsde_M.pdf: 2990532 bytes, checksum: 5d566a1de07ede0c47d4df38267485ae (MD5) Previous issue date: 2006 / Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial / Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach / Mestrado / Mestre em Multimeios

The purpose of this essay is to investigate The Woman with the Puppets by Isobel Gloag from a feminist perspective, to find how it challenge the male gaze and patriarchy. I also seek to understand how other female artists past and present compare to Gloag’s painting. The method is Panofsky’s iconology with modifications through Aavitsland’s thoughts of the grammatical structure that the composition holds. To reach social bearings upon the ability to generate this type of historical genre painting Bourdieu’s toolbox of capital, habitus and strategies has been applied. The painting is a feminist expression of the feminist discussions regarding marriage, equality and law that took place at the time of the paintings creation. Through the use of established norm with an ambiguity, female nude and male marionette puppets, the male gaze and patriarchy is challenged. Gloag is the only female artist of her time that has generated a history genre painting in a feminist spirit that challenges multitude of issues in one composition.

As an artist working with the female model, this practice-led research examines concepts of alterity and subjectivity while challenging the dominant role of male subjectivity in the western world. It revolves around the relationship between myself and the female subject, a specific woman who within the context of my work epitomises but at the same time transcends womanhood. This undertaking suggests that my representations of her body grow out of a dialectical tension between the feeling that the female other has almost become a metonymic extension of myself, and the awareness that such a feeling is at the same time illusory. The practical component of my investigations takes the form of body-themed box assemblages which are reminiscent of polyptychs, tabernacles and reliquaries. However, the sacred images which form part of these ecclesiastical items are replaced with others showing close-ups of the fragmented bodies of the model and myself. While this kind of profane artefact acts as a receptacle for our bodies which are broken down and enshrined together with other objects, it constitutes part of an ongoing process whereby the relationship between myself and the female figure is metamorphosed, re-shaped, and re-visioned. The significance of these creations is meant to extend beyond their artefactual existence and become mediums through which I re-visit female sexuality and eroticism and assess them within a spiritual context, albeit in the circumscribed framework of a particular woman. The artefact s ultimate objective is to appease my innate desire to access the other via a self-reflexive process which involves both mirroring and distancing at one and the same time. This process also includes an exploration into the spiritual with the aim of exploiting that which is other in the western theological tradition, namely God and the Divine. The gaze is also deeply involved in this exploration of the other. In fact, while our bodies are subjected to a re-visitation and trans-valuation in parts through multiplication and fragmentation, the gaze is in the process broken down into a series of glances which originate from myself, the viewer or the female subject. This process questions and disrupts the dominance of the male gaze, and its associated precepts, in Western visual culture. Finally, by correlating the model s body with the divine, my artefacts seek to give this woman, as an embodiment of the true other, a trans-corporeal identity. Rather than seeking to exert control over the other, they provide a pious space wherein the self and the other are able to encounter each other in a manner that initiates an equitable relationship, unhindered by presumptive knowledge. This is aided by the aesthetics and dynamics underlying the box assemblage which, while expressing gender fluidity and encouraging disengagement from preconceived dogmas a sort of reverse cognition also enhances the experience of its deific symbolism.

Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: A spectacle denotes an impressive or deplorable sight, and necessarily involves the power and politics of viewing. The female body exists as a sexualised object of these processes of looking within Western culture, not only in high art, but also in discourses such as medicine and science. In both art and medicine the female body has been treated as a passive object to be studied, analysed and classified. Power relations and patriarchal ideologies have played a great part in the resulting objectifying representations, firmly locating images of the female body within the realm of the spectacle. Bodily perceptions, in terms of the female body, have changed much, particularly through the reinterpretation of sexuality through feminist theory. Modem culture and technology have opened up many new possibilities for the redefinition and understanding of the body. Modem bodies seem to be under as much close surveillance and scrutiny as their nineteenth century counterparts. This study explores these ideas through a wide range of examples from painting, photography and performance art, and non-art objects such as anatomical objects and medical illustrations. Central to the construction of the body as spectacle, are issues of looking and viewing. Chapter 1 examines ideas around the gaze; the politics and processes of vision, objectification and fetishisation are explored in relation to the functioning of the medical and aesthetic gaze. The concept of spectacle is also elaborated upon in terms of ideas around the nineteenth century carnival and freak show, and in terms of societal taboos and transgression. Aspects of aesthetic and medical discourse focus on the display and scrutiny of the female body. Chapter 2 examines the way in which these discourses attempted to reveal the female body by rendering it in highly visual terms. The dominant ideologies informing both discourses played an instrumental role and resulted in representations that defined the female body in normative standards and ideals of beauty and health. Pornography is considered as a modem discourse in which the female body is defined and displayed as an object of scrutiny. Feminist theory challenged exclusively male representations of the female body and the subversion of traditional forms of representation of women is studied by examining the work of Annie Sprinkle and Cindy Sherman. Many representations of the female body by feminist artists are considered highly disturbing and transgressive, precisely because they traverse traditional and acceptable representations of it. The idealised nude forms the epitome of contained ideals of health and beauty, and the work of Orlan and Cindy Sherman is examined within these terms in Chapter 3. These artists' representations of the female body are in direct opposition to such norms, rather settling for an open-ended, unconfined and abject representation. However, such transgressive cultural images produced by women artists are often regarded as pathological acts, and dismissed in terms of deplorable spectacle. The research concludes with a commentary on the candidate's practical work, which in dealing with the representation of the human body explores some issues of visuality, spectacle and fragmentation. / AFRIKAANSE OPSOMMING: 'n Spektakel kan op 'n indrukwekkende of betreurenswaardige skouspel dui; gevolglik betrek dit die politiese en magseienskappe van besigtiging. Die vroulike liggaam bestaan as 'n seksuele objek van só 'n proses van besigtiging binne die Westerse kultuur - nie net in kuns nie, maar ook in diskoerse soos geneeskunde en die wetenskap. In beide kuns en geneeskunde, is die vroulike liggaam beskou as 'n passiewe objek vir bestudering, analisering en klassifisering. Magsverhoudinge en ideologieë het gevolglik 'n groot rol gespeel in die uiteindelike objektifiserende representasies, en gevolglik is die uitbeelding van die vroulike liggaam in terme van spektakel vasgelê. Liggaamlike persepsies, veral in terme van die vroulike figuur, het noemenswaardige veranderinge ondergaan - veral deur die hervertolking van seksualiteit deur feministiese teorie. Moderne kultuur en tegnologie bied verdere moontlikhede vir die herdefiniëring en begrip van die liggaam. Die moderne liggaam word onder streng bewaking en betragting geplaas - net soos sy negentiende-eeuse ewebeeld. Hierdie studie ondersoek dié idees deur die bestudering van 'n verskeidenheid voorbeelde vanuit skilderkuns, fotografie en 'performance' -kuns, asook objekte soos anatomiese objekte en mediese illustrasies. Kwessies van besigtiging is sentraal tot die konstruksie van die liggaam as spektakel. Hoofstuk londersoek dus idees rondom besigtiging - onder andere die politiese en magseienskappe, en die gevolglike objektifiserende effek daarvan - in verhouding tot die funksionering van die mediese en die estetiese blik. Die konsep van spektakel word verder uitgebrei in terme van die negentiende-eeuse karnaval, asook in terme van taboes en sosiale oortreding. Sekere aspekte van estetiese en mediese diskoerse fokus op die vertoning en besigtiging van die vroulike liggaam. Hoofstuk 2 ondersoek die wyse waarop hierdie diskoerse die vroulike liggaam in hoogs visuele terme uitgebeeld het. Beide diskoerse is gemotiveer deur dominante ideologieë, wat gevolglik 'n instrumentele rol gespeel het in die uitbeelding van die vroulike liggaam. Sulke uitbeeldings is dikwels gemotiveer deur standaarde en ideale van skoonheid. Gevolglik word pornografie in hierdie hoofstuk bespreek as 'n moderne diskoers wat georganiseer is rondom die vertoning en besigtiging van die vroulike liggaam. Feministiese teorie skep 'n positiewe ruimte waarin sulke eksklusiewe, manlike definisies en uitbeeldings van die vroulike liggaam uitgedaag kan word. Die omverwerping van tradisionele metodes van uitbeelding word hier ondersoek deur die werk van Annie Sprinkle en Cindy Sherman te bespreek. Die herdefiniëring van die vroulike liggaam deur feministiese kunstenaars word dikwels beskou as onstellend; waarskynlik omdat dit tradisionele en aanvaarbare uitbeeldings van die liggaam oortree. Die werk van Orlan en Cindy Sherman word in terme van sosiale oortreding in Hoofstuk 3 ondersoek. Die klassieke naakfiguur stel die ideale van skoonheid en stabiliteit voor. Hierdie kunstenaars se uitbeeldings toon egter 'n doelbewuste verontagsaming van sulke ideale, deurdat hulle eerder 'n oop, onstabiele en gefragmenteerde figuur uitbeeld. Oortredings van kulturele norme deur vrouekunstenaars word dikwels beskou as patalogiese aksies; en dit word dus maklik afgekeur as 'n spektakel. Die navorsing word afgesluit met 'n bespreking van die kandidaat se praktiese werk, wat die uitbeelding van die menslike liggaam ondersoek. Gevolglik word kwessies van besigtiging, spektakel en fragmentasie verder ondersoek.

Breast cancer is the most common malignancy diagnosed among women and is the first cause of neoplastic death in women globally. In the last decade our understanding of breast cancer biology has increased and led to the development of a number of targeted therapies, one of which is targeting the cell apoptosis pathway. One of the new targeting pathways under investigation, which was found to be involved in both cell apoptosis and cell proliferation processes, is the sphingolipid signalling pathway. The sphingolipid pathway represents a group of intracellular and extracellular bioactive lipid molecules, including ceramide, ceramide- 1-phosphate, sphingosine, and sphingosine-1-phosphate (S1P). In my research, I focused on the role S1P plays in breast cancer and its potential application as a therapeutic agent. I examined the effects of S1P on the apoptosis, proliferation, and cytotoxicity of different types of breast cancer cell lines in vitro. In addition, I evaluated the effect of both low and high doses of S1P when co-administrated with anticancer drugs commonly used in breast cancer treatment in vitro and in vivo. Moreover, I studied the S1P cellular distribution following exogenous administration. My results demonstrate that S1P can selectively induce apoptosis in breast cancer cells without harming normal breast cells and that S1P is more effective against aggressive breast cancer cells. Another major finding of my study is that S1P can increase the efficacy of chemotherapies against human breast cancer cells. Although S1P cannot directly substitute the current chemotherapies, S1P may function as a good candidate for combination therapy. Furthermore, my work showed that the pro-apoptotic and anti-proliferative effect of S1P is correlated with its intracellular action and that chronic exposure of exogenous S1P in vivo is not toxic to the major organs. Certainly, S1P inclusion in breast cancer treatment modalities may decrease the morbidity and mortality of breast cancer patients and improve clinical outcomes. Further investigations are required to understand the mechanism by which S1P induces apoptosis and inhibits cell proliferation.

Modernism is a plurality, not a singular concept. This project explores examples of Art Nouveau nudes to describe the particular expressions of the modern through varied and complicated allegorical bodies. The female nude as a nexus for ideals of gender, art, and beauty, is informed by and constructs the understanding of these ideals within society. Art Nouveau thus employed the nude to represent complex manifestations of modernity. Three diverse cases provide the subjects of each chapter. All explore modernism through objects and interiors, in public and private environments, and each connects the decorative arts with accounts of European modernism in the late nineteenth and early twentieth century. The modernist movement, in these decades, is still predominantly understood through painting. This project draws its case studies from Paris, Glasgow, and Vienna, each a distinct cultural arena during the 1890s and 1900s: the sculptural furniture of François Rupert Carabin (1862-1932); the metalwork of Margaret Macdonald (1865-1933) and her sister Frances Macdonald (1873-1921); and the graphic motifs of Ver Sacrum, created by the artists of the first Vienna Secession (1897-1905). In conception and expression, these nudes articulated the diverse representational practices of different modernisms. They each embody drastically different histories, aesthetics, and social expressions. Their varied modernisms expose the prominent nationalism of Art Nouveau. Examination of these three very different cases expands and complicates current understandings of the nude, allegory, and the modern.

La métamorphose envisagée comme principe révélateur du nu laisse apparaître la réalité ambiguë de son existence plastique, la situant dans un entre-deux permanent oscillant entre accès et détournement, monstration et effacement. Corps photographique ou pictural, il devient signe d’une trace, d’une sensation par son incorporation au sein de livres photographiques. Ces recueils intimistes, dévoilant les identités multiples du corps féminin, proposent une intensification du désir par la mise en suspens d’une étreinte métaphorique. Lié à des récits mythologiques, poétiques et artistiques, le nu métamorphosé offre une entrée particulière où la mise en doute de son aspect présente sa suspension dans une immensité le dépassant. Etendu, morcelé, établit dans toute sa fragilité, il compose tout autant de paysages à arpenter qu’à contempler, où le toucher répond à l’excitation visuelle. L’infime apparence du corps sous-tend la peau, transperce le regard en se déployant dans un érotisme éblouissant. Par l’inscription de cette surface-peau, le nu métamorphosé est cette forme en dissolution qui survient dans un éclatement du corps et propose une véritable géographie épidermique, qui s’articule entre révélation de l’intimité de l’être et pluralité des sensations. / Transformation considered as a revealing principle of the nude shows the ambiguous reality of its plastic existence, putting it an everlasting in-between place that wavers between access and diversion, showing and fading. Photographic or pictorial body, it becomes the sign of an impression, a feeling by its incorporation into photography books. These intimist collections, revealing the numerous identities of the feminine body, offer an intensification of the desire by having a figurative embrace to await. Being linked to mythological, poetical or artistic tales, the transformed nude presents a peculiar entry where questioning its aspect displays its suspension in a vastness that goes beyond it. Stetched, broken up, fully settled in its frailty, it forms landscapes to be stridden across just as well as gazed upon, where the sense of touch responds to the visual excitement. The minimal appearance of the body underlines the skin, enhances its grain, enshrouds it and gives life to the unspeakable. Burning, biting, the picture and especially one of the skin, pierces through the glance by unfolding in a dazzling eroticism. By the inscription on this skin-surface, the transformed nude is this form in dissolution which occurs thanks to the breaking of the body and which presents a real epidermal geography that is made of a mix between the disclosure of the intimacy of the self and the multitude of feelings.