195 research outputs found
High noon : a new sequel to "Three weeks" /
No full textConjecturally attributed to Elinor Glyn, author of Three weeks.Mode of access: Internet
An Introduction to Elinor Glyn: Her Life and Legacy
No full textThis special issue of Women: A Cultural Review re-evaluates an author who was once a household name, beloved by readers of romance, and whose films were distributed widely in Europe and the Americas. Elinor Glyn (1864–1943) was a British author of romantic fiction who went to Hollywood and became famous for her movies. She was a celebrity figure of the 1920s, and wrote constantly in Hearst's press. She wrote racy stories which were turned into films—most famously, Three Weeks (1924) and It (1927). These were viewed by the judiciary as scandalous, but by others—Hollywood and the Spanish Catholic Church—as acceptably conservative. Glyn has become a peripheral figure in histories of this period, marginalized in accounts of the youth-centred ‘flapper era’. Decades on, the idea of the ‘It Girl’ continues to have great pertinence in the post-feminist discourses of the twenty-first century. The 1910s and 1920s saw the development of intermodal networks between print, sound and screen cultures. This introduction to Glyn's life and legacy reviews the cross-disciplinary debate sparked by renewed interest in Glyn by film scholars and literary and feminist historians, and offers a range of views of Glyn's cultural and historical significance and areas for future research
Elinor Glyn: Intermedial Romance and Authorial Stardom
No full textThis chapter explores the career of bestselling author Elinor Glyn, a figure who
moved with relatively unique fluidity across a very broad spectrum of these different forms, as a writer, adapted and filmmaker. The chapter focuses on the underexplored final stage of her film career in the early 1930s in Britain. It delves into Glyn’s archives, considering how archival sources produce a new mapping of the strategies that she and her associates formulated to break into UK cinema culture, developed on the premise that one could create an intermedial star identity through popular culture, and through the manipulation of international discourses on femininity and romance. Such non-filmic traces and materials enlarge and illuminating Glyn’s star image, suggesting the framework that she was trying to construct around her films as a vehicle for her brand and ideas. While Glyn was not wholly unique as a literary/filmic star figure during this period, the chapter argues that the fluidity of her movement across diverse forms of labour, and her creation of new forms and modes of creative influence in cinema culture, offers a distinct new access point to understandings of women’s writing, film fictions and selfhood during this period.</p
The Ethnogenesis of the Crimean Tatars. An Historical Reinterpretation. (Brian Glyn Williams)
No full texthis article is the translation of Brian Glyn Williams`s work “The Ethnogenesis of the Crimean Tatars. An Historical Reinterpretation”. Brian Williams is the professor of history of Islam on the Chair of Massachusetts University in Dartmouth, the USA. The source is: Journal of the Royal Asiatic Society. Third Series, Vol. 11, № 3, (Nov., 2001), pp. 329–348. The article considers the issue of the Crimean Tatar`s ethnogenesis, their communal identity, social-economic conditions of the activities. On the basis of the studied material, the author comes to conclusion of necessity of Crimean Tatar`s History Reinterpretation
Elinor Glyn’s British Talkies: voice, nationality and the author on screen
No full textExisting accounts of Elinor Glyn’s career have emphasised her substantial impact on early Hollywood. In contrast, relatively little attention has been paid to her less successful efforts to break into the UK film industry in the early sound period. This article addresses this underexplored period, focusing on Glyn’s use of sound in her two British films, Knowing Men (Elinor Glyn, Elinor Glyn Productions Ltd., 1930) and The Price of Things (Elinor Glyn, Elinor Glyn Productions Ltd., 1930). The article argues that Glyn’s British production practices reveal a unique strategy for reformulating her authorial stardom through the medium of the ‘talkie’. It explores how Glyn sought to exploit the specifically national qualities of the recorded English voice amidst a turbulent period in UK film production. The article contextualises this strategy in relation to Glyn’s business and personal archives, which evidence her attempts to refine her own speaking voice, alongside those of the screen stars whose careers she sought to develop for recorded sound. It suggests that the sound film was marked out as an important, exploitable new tool for Glyn within a broader context of debates about voice, recorded sound and nationality in UK culture at this time. This enabled her to portray a distinctively national brand identity through her new film work and surrounding publicity, in contrast to her appearances in American silent films. The article will show that recorded sound further allowed Glyn to performatively foreground her role as author-director through speaking cameos. This is analysed in relation to wider evidence of her practice, where she reflected on the performative qualities of the spoken voice in her writing and interviews, and made use of radio, newsreel and live performance to perfect and refine her own skills in recitation and oratio
The quaternary organization and dynamics of the molecular chaperone HSP26 are thermally regulated
No full textThe function of ScHSP26 is thermally controlled: the heat shock that causes the destabilization of target proteins leads to its activation as a molecular chaperone. We investigate the structural and dynamical properties of ScHSP26 oligomers through a combination of multiangle light scattering, fluorescence spectroscopy, NMR spectroscopy, and mass spectrometry. We show that ScHSP26 exists as a heterogeneous oligomeric ensemble at room temperature. At heat-shock temperatures, two shifts in equilibria are observed: toward dissociation and to larger oligomers. We examine the quaternary dynamics of these oligomers by investigating the rate of exchange of subunits between them and find that this not only increases with temperature but proceeds via two separate processes. This is consistent with a conformational change of the oligomers at elevated temperatures which regulates the disassembly rates of this thermally activated protein.Justin L.P. Benesch, J. Andrew Aquilina, Andrew J. Baldwin, Agata Rekas, Florian Stengel, Robyn A. Lindner, Eman Basha, Glyn L. Devlin, Joseph Horwitz, Elizabeth Vierling, John A. Carver, and Carol V. Robinsonhttp://www.cell.com/chemistry-biology/hom
The interaction of alphaB-crystallin with mature alpha-synuclein amyloid fibrils inhibits their elongation
No full textαB-Crystallin is a small heat-shock protein (sHsp) that is colocalized with α-synuclein (αSyn) in Lewy bodies—the pathological hallmarks of Parkinson's disease—and is an inhibitor of αSyn amyloid fibril formation in an ATP-independent manner in vitro. We have investigated the mechanism underlying the inhibitory action of sHsps, and here we establish, by means of a variety of biophysical techniques including immunogold labeling and nuclear magnetic resonance spectroscopy, that αB-crystallin interacts with αSyn, binding along the length of mature amyloid fibrils. By measurement of seeded fibril elongation kinetics, both in solution and on a surface using a quartz crystal microbalance, this binding is shown to strongly inhibit further growth of the fibrils. The binding is also demonstrated to shift the monomer-fibril equilibrium in favor of dissociation. We believe that this mechanism, by which a sHsp interacts with mature amyloid fibrils, could represent an additional and potentially generic means by which at least some chaperones protect against amyloid aggregation and limit the onset of misfolding diseases.Christopher A. Waudby, Tuomas P.J. Knowles, Glyn L. Devlin, Jeremy N. Skepper, Heath Ecroyd, John A. Carver, Mark E. Welland, John Christodoulou, Christopher M. Dobson and Sarah Meeha
Native disulphide-linked dimers facilitate amyloid fibril formation by bovine milk alpha(S2)-casein
No full textData source: Supplementary information, https://doi.org/10.1016/j.bpc.2020.106530Bovine milk α(S2)-casein, an intrinsically disordered protein, readily forms amyloid fibrils in vitro and is implicated in the formation of amyloid fibril deposits in mammary tissue. Its two cysteine residues participate in the formation of either intra- or intermolecular disulphide bonds, generating monomer and dimer species. X-ray solution scattering measurements indicated that both forms of the protein adopt large, spherical oligomers at 20 °C. Upon incubation at 37 °C, the disulphide-linked dimer showed a significantly greater propensity to form amyloid fibrils than its monomeric counterpart. Thioflavin T fluorescence, circular dichroism and infrared spectra were consistent with one or both of the dimer isomers (in a parallel or antiparallel arrangement) being predisposed toward an ordered, amyloid-like structure. Limited proteolysis experiments indicated that the region from Ala⁸¹ to Lys¹¹³ is incorporated into the fibril core, implying that this region, which is predicted by several algorithms to be amyloidogenic, initiates fibril formation of α(S2)-casein. The partial conservation of the cysteine motif and the frequent occurrence of disulphide-linked dimers in mammalian milks despite the associated risk of mammary amyloidosis, suggest that the dimeric conformation of α(S2)-casein is a functional, yet amyloidogenic, structure.David C. Thorn, Elmira Bahraminejad, Aidan B. Grosas, Tomas Koudelka, Peter Hoffmann, Jitendra P. Mata, Glyn L. Devlin, Margaret Sunde, Heath Ecroyd, Carl Holt, John A. Carve
Drama Menu at a Distance: 80 Socially Distanced or Online Theatre Games
No full textComprend un index.‘For however long we must keep our distance, we will continue to create, to reinvent, to strive and to feed our creativity. At a time where performers are needed more than ever, training the next generation of performers must go on!’ Glyn Trefor-Jones, from his Introduction Drama Menu is the revolutionary, hugely popular concept that has transformed the planning and delivery of drama classes for teachers and workshop leaders around the world. Choose an Appetiser or two, a Starter, a Main Course and a Dessert – and voilà! – you’ll have a delicious, dramatic banquet for your students. This new collection, Drama Menu at a Distance – created specifically to help anyone teaching drama during the COVID-19 pandemic – brings you 80 games and exercises, all of which are safe and secure to play in this new era of socially distanced teaching and online learning. It offers dynamic, brand-new exercises to energise, excite and inspire your group, alongside some firm favourites, redesigned to be played within the necessary constraints. Also included is an introduction by the author, with advice and suggestions to support you in delivering your session. Drama Menu at a Distance is the essential recipe book you need to eliminate the challenges of planning lessons and workshops in the ‘new normal’, and leave you with more time for playing. Stay safe – and bon appétit
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