1,606 research outputs found
Ki-67 is a PP1-interacting protein that organises the mitotic chromosome periphery
No full textCopyright @ 2014 Booth et al. This article is distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use and redistribution provided that the original author and source are credited.When the nucleolus disassembles during open mitosis, many nucleolar proteins and RNAs associate with chromosomes, establishing a perichromosomal compartment coating the chromosome periphery. At present nothing is known about the function of this poorly characterised compartment. In this study, we report that the nucleolar protein Ki-67 is required for the assembly of the perichromosomal compartment in human cells. Ki-67 is a cell-cycle regulated protein phosphatase 1-binding protein that is involved in phospho-regulation of the nucleolar protein B23/nucleophosmin. Following siRNA depletion of Ki-67, NIFK, B23, nucleolin, and four novel chromosome periphery proteins all fail to associate with the periphery of human chromosomes. Correlative light and electron microscopy (CLEM) images suggest a near-complete loss of the entire perichromosomal compartment. Mitotic chromosome condensation and intrinsic structure appear normal in the absence of the perichromosomal compartment but significant differences in nucleolar reassembly and nuclear organisation are observed in post-mitotic cells
Paul Henry Gore-Booth and President F.L. Hovde
No full textPhotograph of President F.L. Hovde; Mr. Paul Henry Gore - Booth (British Diplomat and Author) and President Hovde, Ca. late 1940's
Gender and the politics of the gaze in Bronte's Wuthering Heights
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009.O objetivo deste estudo é apresentar uma análise de como a imagem de Catherine é moldada pelo olhar masculino, como ela enfrenta os três tipos de olhar - o olhar dos personagens, o olhar do leitor, e o olhar do autor - e finalmente, se o olhar masculino é interrompido. O parâmetro teórico desta análise, o conceito do olhar masculino, é teorizado por Laura Mulvey no artigo "Prazer Visual e Cinema Narrativo" (1975) o qual critica a relação entre o olhar masculino e a imagem feminina do prazer visual moldado pela sociedade patriarcal. Através da crítica de Mulvey do prazer visual generizado em filmes, que pertence ao contexto do cinema clássico de Hollywood, articulo sua teoria em relação ao romance Wuthering Heights de Emily Brontë para examinar a dinâmica do olhar masculino em relação à personagem feminina Catherine. Este estudo teve também por objetivo analisar o quanto o paradigma teórico de Mulvey produzido para cinema poderia ser aplicado especificamente em um texto literário escrito no século XIX.The objective of this thesis is to present an analysis of whether Catherine's image has been shaped by the male gaze, how she contends with the three looks of the male gaze - the look of the characters, the look of the reader, and the look of the author - and finally, how the male gaze is broken. The theoretical parameter of this analysis, the concept of the male gaze, is theorized by Laura Mulvey in the article "Visual Pleasure and Narrative Cinema" (1975) which critiques the relation between the male gaze and the female image within the patriarchal molding of visual pleasure. Borrowing Mulvey's critique of the gendering of visual pleasure in films, which pertains to the context of classical Hollywood cinema, I have articulated her theory in relation to Emily Brontë's Wuthering Heights, to examine the dynamics of the male gaze regarding the female character, Catherine. This study also aimed at examing the extent to which Mulvey's theoretical paradigm produced for cinema could be articulated specifically in relation to a literary text written in the nineteenth century
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
Lucy Woodruff Smith correspondence, 1909 December
No full textLucy Woodruff Smith correspondence, December 1909. Letters received while Lucy and George Smith were at Saint George, including letters from W. Avery Champan at Palmyra, New York; May Booth Talmage at Salt Lake City; Benjamin Goddard at Salt Lake City; Florence S. Sears at New York City; sister Marie Woodruff at Salt Lake City; Phebe S. Saville at Salt Lake City; Elias S. Woodruff at Elkol, Wyoming; brother Will Woodruff at Richfield, Utah; father Wilford Woodruff Junior at Salt Lake City; Grace Ingles First at Salt Lake City; and Alice Rivell at Stockport, England. Also an incomplete letter dated 27 December 1909 at Parowan, Utah, from a relative, possibly Aunt Edith Smit
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The Undergraduate Teaching of Archetypal Patterns in the Writings of Alice Walker
No full textSignificant passages in Alice Walker's writings give evidence of archetypal patterns from Carl Jung and feminine archetypal patterns from Annis Pratt. Since a knowledge of archetypal patterns can influence the total understanding of aspects of Walker's writings, a study of these patterns in the undergraduate classroom benefits the student and opens up another system of analyzing writings, particularly writings by African-American women
Frame-Based Editing: Easing the Transition from Blocks to Text-Based Programming
No full textBlock-based programming systems, such as Scratch or Alice, are the most popular environments for introducing young children to programming. However, mastery of text-based programming continues to be the educational goal for stu- dents who continue to program into their teenage years and beyond. Transitioning across the significant gap between the two editing styles presents a difficult challenge in school- level teaching of programming. We propose a new style of program manipulation to bridge the gap: frame-based edit- ing. Frame-based editing has the resistance to errors and approachability of block-based programming while retaining the flexibility and more conventional programming seman- tics of text-based programming languages. In this paper, we analyse the issues involved in the transition from blocks to text and argue that they can be overcome by using frame- based editing as an intermediate step. A design and imple- mentation of a frame-based editor is provided
The implied author
No full textImplicitni avtor zaradi različnih opredelitev ni enoten koncept. Članek predstavi in problematizira implicitnega avtorja, kot ga je oblikoval Wayne C. Booth, in preveri njegovo rabo v slovenskem prostoru. Prispevek vsebuje izvirno sintezo teorij implicitnega avtorja s poudarkom na opredelitvah, ki so nastale v 21. stoletju, in ključnih starejših. Izpostavi temeljne razlike med različnimi tipi teorij, pri posameznih tipih obravnavanega koncepta izpostavi problematična mesta in osvetli razumevanje implicitnega avtorja kot bralčevega konstrukta, ki se kaže kot najbolj utemeljeno in prevladuje v sodobnih razpravah.The implied author is not a uniform concept because of the variety of its definitions. The article examines the use of the term implied author introduced by Wayne C. Booth and his subsequent reconceptualizations in Slovenia. The paper includes an original synthesis of the theories of the implied author focusing on the key older and modern theories, which shows their differences. The author highlights the problematic areas of each type of the concepts. She sheds light on understanding of the implied author as a reader-generated construct, which is seen as the most reasonable view and it is prevalent in contemporary debates
Comparison by computer fluid dynamics of the drag force acting upon two helmets for wheelchair racers
No full textThe aim of this study was to compare the drag force created by two helmets (time trial and road)used by a wheelchair racer. The head and helmet of the racer were scanned to obtain the3D models. Numerical simulation was run on Fluent, having as output the drag force for both helmets (road and time trial) in two different positions (0º and 90º) and increasing velocities (from 2.0 to 6.5 m/s). The greatest aerodynamic drag was noted wearing a time trial helmet in 90º ranging from 0.1025N to 0.8475N; this was also the position with the highest drag. The velocity with higher drag for booth helmets was at 6.5 m/s. The time trial helmet at 0º had the lower aerodynamic drag, compared with the same position of road helmet. The drag force seems to be lower wearing the time trial helmet and keeping the 0º position and, thus, should be considered for sprinting events
Prototyping in service design: the case of CHECKD. – an automatic booth for Covid-19 testing
No full textPrototyping is a core phase in the design process. In service design, this activity has been less explored: differently from physical products, services entail the representation of complex systems of people, contexts, artefacts and interactions. Service prototyping poses a great challenge to designers who have to manage a combination of tangible and intangible aspects which spans through time. Drawing on the background knowledge available on the topic, this paper discusses a service prototyping case study: named Checkd., it concerns the development of an automatic booth for Covid-19 testing. Prior to prototyping, a context analysis and user research were carried out and co-design workshops were held to refine the idea. Then, two rounds of service prototyping were accomplished. In the first one a service encounter (sample collection procedure) was tested with users, adopting the experience prototyping technique and low-fidelity props. The second round reproduced the complete service experience, adopting a service walkthrough technique and mixed-fidelity artefacts, where participants could understand the full journey in a situated way.
Building upon these prototypes, we elaborated three main considerations. One first takeaway deals with the relationship between purpose and fidelity level. Low/mixed fidelity prototypes drove a purpose change, from evaluative to explorative, as the ‘unfinished’ nature of the set-up allowed more user interpretation and proposal of personal ideas. A second takeaway concerns iterations that must be planned with different levels of focus and resolution, keeping the flow of co-design and re-design open allows to fully approach service complexity. A third takeaway is about the role(s) of the designer/author. He/she should be more than a mere facilitator by enacting mechanisms of the experience itself: continuously shifting roles and relating with a variety of users, he/she becomes an advocate of the whole user experience and, more in general, an advocate of a broader prototyping culture
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