bluuebunny/crossref_metadata_2025_split huggingface dataset:
Subversion of NK-cell and TNFα Immune Surveillance Drives Tumor Recurrence
Authors: Kottke Tim , Evgin Laura , Shim Kevin G. , Rommelfanger Diana , Boisgerault Nicolas , Zaidi Shane , Diaz Rosa Maria , Thompson Jill , Ilett Elizabeth , Coffey Matt , Selby Peter , Pandha Hardev , Harrington Kevin , Melcher Alan , Vile Richard 
Published: October 2017

AbstractUnderstanding how incompletely cleared primary tumors transition from minimal residual disease (MRD) into treatment-resistant, immune-invisible recurrences has major clinical significance. We show here that this transition is mediated through the subversion of two key elements of innate immunosurveillance. In the first, the role of TNFα changes from an antitumor effector against primary tumors into a growth promoter for MRD. Second, whereas primary tumors induced a natural killer (NK)–mediated cytokine response characterized by low IL6 and elevated IFNγ, PD-L1hi MRD cells promoted the secretion of IL6 but minimal IFNγ, inhibiting both NK-cell and T-cell surveillance. Tumor recurrence was promoted by trauma- or infection-like stimuli inducing VEGF and TNFα, which stimulated the growth of MRD tumors. Finally, therapies that blocked PD-1, TNFα, or NK cells delayed or prevented recurrence. These data show how innate immunosurveillance mechanisms, which control infection and growth of primary tumors, are exploited by recurrent, competent tumors and identify therapeutic targets in patients with MRD known to be at high risk of relapse. Cancer Immunol Res; 5(11); 1029–45. ©2017 AACR.
‘A Tourist In The Country Of Men’: Sexuality, Self, And Multiple Modernities In Anya Ulinich’s Graphic Novel Lena Finkle’s Magic Barrel
Authors: Carr Jessica 
Published: October 2017

Abstract
This article analyzes how Anya Ulinich’s graphic novel Lena Finkle’s Magic Barrel (2014) engages in and expands upon Jewish writing practices. I argue that through her use of the graphic novel as a medium, Ulinich both draws on and subverts masculine writing practices and images of women that have dominated Jewish literature and culture. Through her cross-discursive, intertextual, multi-directional writing, Ulinich depicts her protagonist Lena as gaining a sense of self, but one that is fragmentary and constantly experienced and re-pictured through memory and in relationship to others. Ulinich also raises the question, without providing a stable answer, as to the place of Soviet Jewish memory in Jewish-American life, experience, and literature. She places Russian, Jewish, and American writing and gender norms in conversation with each other, suggesting the difficulty of reconciling these different visions for women and modernity.
Between East and West
Authors: Taroutina Maria 
Published: October 2017

Abstract
Taking cue from Dmitry Sarabyanov’s seminal publications on the Stil Modern and turn-of-the-century Russian visual culture, the present article resituates Mikhail Vrubel’s œuvre “between East and West” by demonstrating that the artist moved beyond the narrowly circumscribed nationalist agenda typically attributed to the work he produced at the Abramtsevo and Talashkino artistic colonies. In addition to indigenous sources, Vrubel also assimilated a number of external artistic influences such as Jugendstil, medieval Gothic and Renaissance ceramics, Japanese and Chinese porcelain, and Egyptian and Assyrian art. Through a close analysis of Vrubel’s orientalist paintings, as well as his cycle of folkloric works such as Mikula Selyaninovich and the Volga (1896), I demonstrate that his aesthetic program crossed multiple boundaries: geographical, temporal, material, and institutional. Through a complex renegotiation of the global and the local, the past and the present, and the traditional and contemporary, Vrubel arrived at a strikingly modernist visual syntax, which paved the way for an entire generation of avant-garde artists such as Mikhail Larionov, Natalia Goncharova, Kazimir Malevich, Aleksandr Rodchenko, Liubov Popova, Vladimir Tatlin, and Naum Gabo, among others. Using Vrubel as a case study, this article thus proposes to rethink the opposing binary categories of avant-gardism and revivalism, historicism and innovation, Orientalism and Occidentalism, regionalism and cosmopolitanism, as they have been applied to the trajectory of modern Russian art—a set of ostensibly fixed dichotomies that Dmitry Sarabyanov had repeatedly and successfully challenged in his own work.
An Unexpected Role Reversal
Authors: Blakesley Rosalind P. 
Published: October 2017

Abstract
In 1862, the collector Pavel Tretyakov made his second visit to Britain, and lent three paintings to the International Exhibition held in London that year. Then aged just thirty, he had bought his first Russian paintings just six years previously, yet his collection was already of sufficient calibre for the Imperial Academy of Arts in St. Petersburg to desire works from it for the Russian submission to the London event. Moreover, the genre paintings which Tretyakov lent added spice to what was otherwise a rather routine academic display. In this respect, Tretyakov’s contribution to the 1862 exhibition could be seen to foretell his later patronage of the Peredvizhniki, who similarly unsettled the academic status quo.
Yet one small but telling fact disrupts this narrative of a collector who championed the innovative and the marginalized. Tretyakov had in fact suggested lending to the exhibition paintings by Vladimir Borovikovsky, Fedor Bruni, Karl Briullov and Vasily Khudiakov, all of whom were established members of the academic firmament. But his proposal was overruled and replaced by the alternative selection of genre paintings put forward by Fedor Iordan, a stalwart of the Academy. Far from confirming an image of Tretyakov as a nonconformist whose pioneering vision shook up the practices of the establishment, the case of the 1862 exhibition thus sees the binary which has often been drawn between this ground-breaking collector and the hidebound conservatism of the Academy significantly reversed.
Ivan Puni and the Flight of Forms
Authors: Lodder Christina 
Published: October 2017

Abstract
In February 1921, Ivan Puni organized an exhibition at the Galerie Der Sturm in Berlin. Orchestrating small-scale individual works with letters and numbers (cut from paper as if they were separate visual components in a painting), he used the wall as an enormous canvas in order to create a large pictorial composition, transforming the entire space into an avant-garde Gesamtkunstwerk. This paper examines this installation in terms of pre-revolutionary and post-revolutionary artistic theory and practice, including zaum, alogism, suprematism, Kazimir Malevich’s display at the Last Futurist Exhibition of Painting 0.10 (Zero-Ten), suprematist decorations for the revolutionary festivals, and Puni’s work in running the agit-prop department at the Vitebsk Art School in 1919. Above all, this essay will argue that the synthesis of the arts that Puni created in Berlin in 1921 was particularly indebted to his experience of the way in which the revolutionary decorations had created totally new, potentially socialist environments. Yet while assimilating and to some extent replicating this experience, Puni’s 1921 display could also be seen as a protest against communism—acting as a powerful declaration of individualism against the collective, as well as an emphatic statement concerning the importance of art, the enduring value of aesthetic values, and the crucial necessity of maintaining the freedom of art, and its independence from all external pressures.
Moscow Merz and Russian Rhythm
Authors: Häßler Miriam 
Published: October 2017

Abstract
The Erste Russische Kunstausstellung [First Russian Art Exhibition] of 1922 was a remarkable event not only for Berlin’s art lovers at that time, but also for the history of twentieth century art. Held at Galerie van Diemen, the show gave a comprehensive overview of Russia’s artistic achievements from late Tsardom to the Russian Civil War. Of all styles in the exhibition, the non-objective art movements of suprematism and constructivism provoked the greatest sensation among the visitors, many of whom were Western artists. Relating Russia’s variations of non-objectivity with their—assumed—political notions, Western modernists reacted in various ways. This article aims at tracking the long-lasting vestiges of the Erste Russische Kunstausstellung in the personal and artistic developments of two key-figures of Germany’s modern art scene: Kurt Schwitters and Hans Richter. While the role of El Lissitzky, who designed the catalogue’s cover, has already been canonized, this article wants to highlight lesser-regarded aspects.
Soviet “Severe Romanticism” at the 1962 Venice Biennale
Authors: Bertelé Matteo 
Published: October 2017

Abstract
With the Soviet Pavilion of the 1962 Venice Art Biennale, the Thaw era made its entrance onto the international art scene. Artists from different generations and Soviet republics were entrusted to illustrate “the deeply human dimension of Soviet art.”1 Among younger painters, one prominent figure was 30-year old artist Viktor Popkov. Along with the drawings and sketches produced during his travels in the virgin lands and building sites of Siberia, he presented the monumental painting The Builders of Bratsk (1960-61), an iconic artwork of the so-called “severe style.” The exhibition took place just a few months before the Moscow Manege Exhibition of December 1962, which prompted Khrushchev’s notoriously negative reaction and the first stop to Soviet cultural détente.
The present article explores the genesis of the canvas as the expression of a new “severe romanticism,” against the backdrop of the ongoing debate about romanticism in Soviet culture. It also analyzes the reception of Popkov’s work both in Italy—the country with the largest communist party in the West—and in the international press. On the basis of archival materials and press reviews, the article sheds light onto an artistic encounter between East and West in a divided Europe and discusses missed connections and unmet expectations of Western, mostly Italian, art critics.
Cultural Memory and the Anti-Western Utopias of Russian “Futurians”
Authors: Bobrinskaya Ekaterina 
Published: October 2017

Abstract
The paper deals with anti-Western motifs in Russian avant-garde culture, especially their refraction in Russian futurism. On the one hand, the tendency is linked to a strategic goal—asserting independent versions of this or that new form of art and, on the other, it coincides with fundamental features of Russian modernism such as archaization, national self-identification and Eastern cultures.
Visions, Wars, and Utopias of the Russian Avant-Garde
Authors: Gurianova Nina 
Published: October 2017

Abstract
While the aspiration to harmony, utopian in its essence, became a distinctive feature in the particular vein of modernist aesthetics, interested in constructive principles, which came to the fore after the October Revolution in the early 1920s, another line, which will interest me the most in this essay, had been predominant during 1912-17, and developed in quite a different direction, striving for dystopia, dissonance, and the absurd. The metaphor of war in the pre-revolutionary avant-garde was paradigmatic to the concept of innovation and directly linked to the rather symbolic “destruction” of previous achievements. A deeper understanding of avant-garde ideology—on social, political, and aesthetic levels—appears when contextualized in relation to World War i. Natalia Goncharova’s series of lithographs Misticheskie obrazy voiny [Mystical Images of War] (1914), Pavel Filonov’s artist book Propeven o prorosli mirovoi [Canticle of World Flowering] (1915), Olga Rozanova’s linocut portfolio Voina [War] (1916), and Aleksei Kruchenykh’s album of collages Vselenskaia voina [Universal War] (1916) were among the most profound artistic responses to the war. These unique works represent three different artistic explorations of the theme, as reflected in neoprimitivist, futurist, and suprematist aesthetics.
Human and Machine Consciousness
Authors: Gamez David 
Published: October 2017

Consciousness is widely perceived as one of the most fundamental, interesting and difficult problems of our time. However, we still know next to nothing about the relationship between consciousness and the brain and we can only speculate about the consciousness of animals and machines.
Human and Machine Consciousness presents a new foundation for the scientific study of consciousness. It sets out a bold interpretation of consciousness that neutralizes the philosophical problems and explains how we can make scientific predictions about the consciousness of animals, brain-damaged patients and machines.
Gamez interprets the scientific study of consciousness as a search for mathematical theories that map between measurements of consciousness and measurements of the physical world. We can use artificial intelligence to discover these theories and they could make accurate predictions about the consciousness of humans, animals and artificial systems. Human and Machine Consciousness also provides original insights into unusual conscious experiences, such as hallucinations, religious experiences and out-of-body states, and demonstrates how ‘designer’ states of consciousness could be created in the future.
Gamez explains difficult concepts in a clear way that closely engages with scientific research. His punchy, concise prose is packed with vivid examples, making it suitable for the educated general reader as well as philosophers and scientists. Problems are brought to life in colourful illustrations and a helpful summary is given at the end of each chapter. The endnotes provide detailed discussions of individual points and full references to the scientific and philosophical literature.
Risk of Development of Second Primary Head and Neck Cancer following an Index Breast Cancer
Authors: Yesensky Jessica , Kyrillos Alexandra , Kuchta Kristine , Yao Katharine , Wang Chi‐Hsiung , Bhayani Mihir K. 
Published: October 2017

ObjectiveMany head and neck cancers (HNCs) have genomic features seen in breast malignancy. We sought to analyze the risk of second primary HNC following an index breast cancer.Study DesignRetrospective cohort study.SettingNational database from the SEER registry (Surveillance, Epidemiology, and End Results).Subjects and MethodsWithin the SEER database, 223,423 women diagnosed with index breast cancer from 1992 to 2002 were identified. We calculated standard incidence ratios (SIRs) for all head and neck sites with 10‐year follow‐up.ResultsWomen diagnosed with an index breast cancer did not exhibit higher likelihood of developing second primary HNC (SIR = 0.99; 95% CI, 0.90‐1.07). The risk was determined for each subsite of the head and neck, and salivary gland cancer presented the highest risk. Patients with index breast cancer were 83% more likely to develop salivary gland cancer than what would be expected in the general population (SIR = 1.83; 95% CI, 1.49‐2.22). An overall trend of increased risk was observed for salivary gland cancers between 1992 and 2002. There was no significant higher risk observed for the other head and neck subsites.ConclusionPatients with index breast cancer did not have a higher‐than‐expected risk of developing HNC. We did find an increased incidence of salivary gland cancers among patients with index breast cancer. Patients were 80% more likely to develop salivary gland cancer than that expected within the population. These findings warrant further investigation on the relationship between salivary gland and breast malignancy.
MicroRNA-335-5p is a potential suppressor of metastasis and invasion in gastric cancer
Authors: Sandoval-Bórquez Alejandra , Polakovicova Iva , Carrasco-Véliz Nicolás , Lobos-González Lorena , Riquelme Ismael , Carrasco-Avino Gonzalo , Bizama Carolina , Norero Enrique , Owen Gareth I. , Roa Juan C. , Corvalán Alejandro H. 
Published: October 2017

Abstract
Background
Multiple aberrant microRNA expression has been reported in gastric cancer. Among them, microRNA-335-5p (miR-335), a microRNA regulated by DNA methylation, has been reported to possess both tumor suppressor and tumor promoter activities.

Results
Herein, we show that miR-335 levels are reduced in gastric cancer and significantly associate with lymph node metastasis, depth of tumor invasion, and ultimately poor patient survival in a cohort of Amerindian/Hispanic patients. In two gastric cancer cell lines AGS and, Hs 746T the exogenous miR-335 decreases migration, invasion, viability, and anchorage-independent cell growth capacities. Performing a PCR array on cells transfected with miR-335, 19 (30.6%) out of 62 genes involved in metastasis and tumor invasion showed decreased transcription levels. Network enrichment analysis narrowed these genes to nine (PLAUR, CDH11, COL4A2, CTGF, CTSK, MMP7, PDGFA, TIMP1, and TIMP2). Elevated levels of PLAUR, a validated target gene, and CDH11 were confirmed in tumors with low expression of miR-335. The 3′UTR of CDH11 was identified to be directly targeted by miR-335. Downregulation of miR-335 was also demonstrated in plasma samples from gastric cancer patients and inversely correlated with DNA methylation of promoter region (Z = 1.96, p = 0.029). DNA methylation, evaluated by methylation-specific PCR assay, was found in plasma from 23 (56.1%) out of 41 gastric cancer patients but in only 9 (30%) out of 30 healthy donors (p = 0.029, Pearson’s correlation). Taken in consideration, our results of the association with depth of invasion, lymph node metastasis, and poor prognosis together with functional assays on cell migration, invasion, and tumorigenicity are in accordance with the downregulation of miR-335 in gastric cancer.

Conclusions
Comprehensive evaluation of metastasis and invasion pathway identified a subset of associated genes and confirmed PLAUR and CDH11, both targets of miR-335, to be overexpressed in gastric cancer tissues. DNA methylation of miR-335 may be a promissory strategy for non-invasive approach to gastric cancer.
Trachyte weathering in the urban built environment related to air quality
Authors: Germinario Luigi , Siegesmund Siegfried , Maritan Lara , Simon Klaus , Mazzoli Claudio 
Published: October 2017

Abstract
Decay of trachyte used as building stone in urban environment was investigated through the analysis of crusts and patinas found on trachyte of the Euganean Hills in the Renaissance city walls of Padua, northeastern Italy. Mineralogical and microstructural characteristics of the alteration products, as well as major- and trace-element chemical composition, were determined by optical microscopy, SEM–EDS and X-ray mapping, XRPD, and LA-ICPMS. The results are discussed referring to environmental parameters, in particular concerning air quality and anthropic pollution sources. The influence of composition of the stone and other neighboring materials on specific weathering processes is also debated. The formation of crusts and patinas turns out to be mainly due to exogenous processes. Enrichment in heavy metals and carbonaceous matter derives from the deposition of particulate emitted during fuel combustion by road vehicles, domestic heating and, secondarily, industrial activities. The particulate is typically cemented by calcite, mainly mobilized after dissolution from nearby mortar joints, or iron, released by leaching from iron-bearing minerals, reprecipitated according to pH fluctuations. Gypsum layers were rarely observed. Generally, composition of the weathering crusts and patinas of Euganean trachyte proves to be an informative marker for the relevant environmental conditions and their evolution.
Identifying eighteenth century pigments at the Bodleian library using in situ Raman spectroscopy, XRF and hyperspectral imaging
Authors: Mulholland R. , Howell D. , Beeby A. , Nicholson C. E. , Domoney K. 
Published: October 2017

Abstract
There are multiple challenges in analysing pigments in historic watercolour paintings on paper, and typically non-invasive, in situ methods are required. Recent developments in portable analytical instrumentation have made this more accessible to heritage institutions, but many commercial systems are not optimised for the specific requirements of manuscripts and works on paper. This paper describes the successful use of Raman spectroscopy, X-ray fluorescence spectroscopy (XRF) and hyperspectral imaging to identify and map watercolour pigments used by the eighteenth century botanical illustrator, Ferdinand Bauer, and demystify the unusual colour code system found in his sketches. The value, delicate nature and large size of these paintings necessitated the use of using in situ, non-contact methods of analysis. A portable, bespoke Raman spectrometer specifically designed for analysing pigments from works on paper was used together with a bespoke portable Fibre optic reflectance spectrometer, portable X-Ray Fluorescence spectrometer and a hyperspectral imaging sensor. The results demonstrate that although there is a significant compromise between achieving good Raman spectroscopic results from artists’ pigments and using sufficiently low laser power densities so as not to cause damage to the pigments, good results could be obtained with this portable system, particularly when combined with XRF, fibre optic reflectance spectroscopy (FORS) and hyperspectral imaging. Eight pigments were identified unequivocally from 125 watercolour paintings analysed, suggesting that Bauer used a more traditional and more limited palette than previously considered, and that his palette changed significantly in his later paintings. Similar pigments identified by the authors on colour chart that was discovered in 1999 in Madrid and attributed to Bauer, add weight to the attribution of this chart to Bauer. The data provides a much deeper insight into Bauer’s colour annotations, and how he was able to achieve such an impressive degree of colour fidelity in his work.