Gene transfer to the respiratory epithelium is currently apical membrane represented a significant barrier to both suboptimal and may be helped by the identification of limitagents. Adenovirus-mediated expression could be signifiing biological barriers. We have, therefore, developed an cantly augmented by increasing contact time or by preex vivo model which retains many of the characteristics of treatment of tissues with a nominally calcium-free medium. in vivo native airways including mucociliary clearance,The presence of these extracellular and plasma membrane mucus coverage and an intact cellular structure. Using this barriers appeared to be the key parameters responsible for model we have demonstrated several barriers to gene the approximately three log difference in gene expression transfer. Liposome-mediated gene transfer was inhibited found in vitro compared with our ex vivo model. Cytoskeleby normal mucus, with removal of this layer increasing tal elements and the cell cycle also influenced in vitro gene expression approximately 25-fold. In addition both lipotransfer, and represent further barriers which need to be some and adenovirus were inhibited by CF sputum. The overcome.

RésuméParmi les nombreux artistes présents dans les vers d'Éluard se trouve Joan Miró. L'artiste fait l'objet de tout un poème portant son nom et qui figure dans le livre Capitale de la douleur. Ce recueil suscita l'enthousiasme de Breton en ces termes: «Capitale de la douleur c'est paraît-il, un scandale pour certains si la passion et l'inspiration se persuadent qu'elles n'ont besoin que d'elles-mêmes». L'étude du poème Joan Miró s'attache à révéler les signes de reconnaissance entre deux modes de création artistique, celui de la peinture et celui de la poésie, par le jeu de la métaphore et de la métamorphose.Mots-clé: surréalisme; peinture; poésie; création; signe; métamorphose. AbstractAmongst the many artists mentioned in Éluard's verse is Joan Miró, who has a whole poem to himself. The poem is contained in the volume Capitale de la douleur and bears Miro's name as the title. Breton enthused about this book in the following terms: «Capitale de la douleur c'est paraît-il, un scandale pour certains si la passion et l'inspiration se persuadent qu'elles n'ont besoin que d'elles-mêmes». A study of this poem shows how the poet identifies with two modes of artistic creation, that of painting and that of poetry, through the interplay between metaphor and metamorphosis.

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