331 research outputs found
Multiple downstream promoter modules regulate the transcription of theDrosophila melanogaster I, Doc and F elements
No full textIdentification of sequences which regulate the expression of Drosophila melanogaster Doc LINE elements
No full textFunctional dissection of two promoters that control sense and antisense transcription of Drosophila melanogaster F elements
No full textIdentification of sequences which regulate the expression of Drosophila melanogaster Doc LINE elements
No full text
Multiple downstream promoter modules regulate the transcription of theDrosophila melanogaster I, Doc and F elements
No full textFunctional dissection of two promoters that control sense and antisense transcription of Drosophila melanogaster F elements
No full textA Non-Enzymatic Carbohydrate Sensor Based on Multiwalled Carbon Nanotubes Modified with Adsorbed Active Gold Particles
No full textThe voltammetric behavior of a glassy carbon
electrode modified with multiwalled carbon nanotubes
(MWCNTs) and Au particles was studied in alkaline
medium towards the electrooxidation of some carbohydrates
used as model compounds. The influence of carbohydrate
concentration and scan rate on peak potentials,
peak currents, etc., observed at the modified electrode
was evaluated and critically discussed. The Au particles
dispersed into multiwalled carbon nanotubes structures
showed favorable electrocatalytic and analytical properties
towards the electrooxidation of xylose and glucose
molecules. Atomic force microscopy performed on the resulting
modified electrode showed a well-efficient 3D distribution
of Au active particles having sharp-edged and
elongated grains along bundles of the MWCNTs. The
three-dimensional MWCNT-Au composite structure of
the catalyst act as a promoter to enhance the diffusive
character of recorded currents and probably also increases
the rate of the heterogeneous electron transfer of the
electrooxidation process considered
Electrocatalytic oxidation of some hydrazine compounds at glassy carbon electrode modified with Co-gluconate complex.
No full textCobalt oxyhydroxide modified glassy carbon electrodes (GC/Co) prepared by anodic electrodepostion in alkaline solution containing gluconate ions as ligand species have been characterized and proposed as sensing probes for the detection of hydrazine compounds. Under cyclic voltammetry and chronoamperometric conditions, the electrooxidation processes of hydrazines on the GC/Co are severely attenuated indicating strong and irreversible adsorption of the analyte on the electrode surface with subsequent formation of stable films with fouling effects on the catalytic sites. On the contrary, under flowing conditions the hydrazine compounds show well-defined and reproducible peaks with good analytical performance. Flow injection analysis (FIA) carried out at constant applied potential of 0.3 V vs. Ag/AgCl (4 M?KCl) and using a flowing stream of 0.1 M NaOH solution containing 50 mu M Co2L22- as on-line modifier, shows limits of detection (LODs) comprised between 0.5 mu M for hydrazine and 2 mu M for 1,2-dimethyhydrazine. Regression analysis, shows linear ranges spanning over about three orders of magnitude above the detection limits with coefficients of correlation better than 0.96
Carlos Gardel y Pascual Contursi en "Caferata". El intérprete como autor
No full textThe tango “Caferata” (music by Antonio Scatasso, lyrics by Pascual Contursi) might have been conceived as a part of the dramatic plot of the homonymic sainete premiered in 1927. Nevertheless, it was actually inserted into Saltó la bola, a revista by Contursi, Alippi and Terés, where the tango was performed by Sofía Bozán and Azucena Maizani. In the tango sung in two voices, the characters played by both actresses and singers fall into arguments contending for the preference of a pimp. A little later, Carlos Gardel recorded “Caferata” deciding to fuse both roles in his own voice and to add a third one, a presenter or host who addresses Contursi himself (that is to say, the author) –and, as a matter of fact, addresses the listener–, in order to reconstruct the whole situation. The device allows us to think about the nature of the voice of tango and of every popular song, as well as about the dramatic modality of its enunciation. El tango “Caferata” (música de Antonio Scatasso, letra de Pascual Contursi) habría sido concebido como parte de la situación dramática del sainete del mismo nombre, estrenado en 1927. Sin embargo, se insertó en realidad un año antes en otra obra, la revista Saltó la bola, de Contursi, Alippi y Terés. En su estreno, el tango fue interpretado a dos voces por las actrices cantantes Sofía Bozán y Azucena Maizani, cuyos personajes se disputaban, en el diálogo y en el canto, la preferencia de un rufián. Cuando poco después Carlos Gardel decidió incorporar “Caferata” a su repertorio grabado, subsumió ambas voces femeninas en la suya propia, agregando una tercera locución, en recitado inicial: la de una suerte de presentador que se dirige a Contursi (en realidad, al oyente) para darle un instructivo de escucha. El procedimiento permite pensar en la naturaleza de la voz del tango y de la canción popular en general, así como en el carácter dramático de su enunciación. O tango Caferata (música de Antonio Scatasso, letra de Pascual Contursi) teria sido concebido como parte da situação dramática do sainete de homônimo nome, estreado em 1927. No entanto, na realidade tinha se incluído um ano antes em outra peça, a revista Saltó la bola, de Contursi, Alippi y Terés. O tango foi interpretado em duas vozes pelas atrizes cantoras Sofia Bozán e Azucena Maizani, cujos personagens disputavam-se, no diálogo e no canto, a preferência de um rufião. Quando pouco tempo depois Carlos Gardel decidiu incorporar Caferata a seu repertório gravado, subsumiu ambas vozes femininas na sua própria, adicionando uma terceira locução, no recitado inicial: um apresentador que dirige-se a Contursi (na realidade, ao ouvinte) para lhe dar um instrutivo de escuta. O procedimento permite pensar na natureza da voz do tango e da música popular em geral, assim como também no caráter dramático da sua enunciação
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