965 research outputs found
Gut Dysbiosis in Children with Cystic Fibrosis: Development, Features and the Role of Gut–Lung Axis on Disease Progression
No full textCystic fibrosis (CF) is the most common autosomal recessive disease among Caucasians. Over the last 20 years, culture-independent analysis, including next-generation sequencing, has paired with culture-based microbiology, offering deeper insight into CF lung and gut microbiota. The aim of this review is to analyse the features of gut microbiota in patients with CF and its possible role in the progression of the disease, establishing the basis for a potential role in microbe-based therapies. The literature analysis showed that the gut environment in CF patients has unique features due to the characteristics of the disease, such as decreased bicarbonate secretion, increased luminal viscosity, and an acidic small intestinal environment, which, due to the treatment, includes regular antibiotic use or a high-energy and fat-dense diet. As a result, the gut microbial composition appears altered, with reduced richness and diversity. Moreover, the population of pro-inflammatory bacteria is higher, while immunomodulatory genera, such as Bacteroides and Bifidobacterium, are scarcer. The imbalanced gut microbial population has a potential role in the development of systemic inflammation and may influence clinical outcomes, such as respiratory exacerbations, spirometry results, and overall growth. Although a better understanding of the pathophysiology behind the gut–lung axis is needed, these findings support the rationale for considering gut microbiota manipulation as a possible intervention to regulate the severity and progression of the disease
Dataset for the manuscript "Event-triggered STED imaging"
No full textDataset that supports the implementation of the event-triggered STED method and support the findings in the manuscript: "Event-triggered STED imaging" (Jonatan Alvelid, Martina Damenti, Chiara Sgattoni, Ilaria Testa, preprint: https://doi.org/10.1101/2021.10.26.465907). The data files are organized according to the various experiments performed for characterization or application of the method. References to the specific figures in the manuscript that uses the different data is provided in the info file.
The scripts provided at https://github.com/jonatanalvelid/etSTEDanalysis (https://doi.org/10.5281/zenodo.6469723) have been used for image and data handling, and image analysis of the here provided dataset
Caratteri di celluloide. Scrittura, tipografia e comunicazione nei titoli di testa cinematografici
No full textIl legame tra cinema e grafica ha sempre rivestito
un’importanza notevole. Ha coinvolto elementi
inerenti alla comunicazione – come manifesti,
locandine e altri materiali stampati – ma ha an-
che avuto un ruolo chiave nella definizione stessa
dell’opera cinematografica, a partire dai titoli di
testa fino ad influenzare il progetto visivo comples-
sivo del film.
Questo contributo si propone di esplorare quei par-
ticolari artefatti che sono i titoli di testa, focalizzan-
dosi sull’uso dei segni e della tipografia, e mettendo
in luce come le esigenze di informazione si integrino
in modo creativo in modelli di rappresentazione.
I titoli di testa fungono da primo invito,
un’anteprima che introduce il pubblico allo svi-
luppo della narrazione. In questo contesto de-
limitato si ha l’opportunità di comunicare stile,
tono e natura dell’opera, stabilendo anche i cod-
ici per avvicinarsi alla visione del film. Pertanto,
l’impiego di segni e della tipografia si rivela es-
sere non solo rilevante, ma anche determinante
nell’immagine cinematografica. Inizialmente,
la comunicazione testuale era concepita esclusi-
vamente per soddisfare aspetti ‘informativi’, ma
con l’evoluzione del linguaggio cinematografico
e delle tecniche di ripresa, i titoli di testa hanno
cercato un’importante caratterizzazione formale.
Le strategie progettuali variano: alcuni autori
fanno interagire elementi tipografici con le im-
magini, mentre altri realizzano specifici artefatti
grafici in cui la tipografia – da sola o in associazi-
one con altri elementi della grafica – diventa la
protagonista nell’architettura dell’artefatto.
Un aspetto cruciale di questa comunicazione è l’uso
dei caratteri tipografici: grazie alla selezione dei font,
alle loro dimensioni, agli allineamenti e ai colori
scelti, i titoli di testa possono trasmettere una vasta
gamma di emozioni e concetti. In questo modo,
la tipografia gioca un ruolo fondamentale, parag-
onabile a quello che ha nella stampa: comunicare
in modo efficace e visivamente coerente, catturare
l’interesse dello spettatore e anticipare l’esperienza
cinematografica che seguirà.The link between cinema and graphics has always
been of considerable importance. It has involved
elements inherent to communication, such as
posters, playbills and other printed materials, but
it has also played a key role in the very definition
of the film work itself, starting with the opening
credits and influencing the overall visual design
of the film.
This contribution aims to explore the specific
artefacts that are the opening credits, focusing on
the use of signs and typography, and highlighting
how information needs are creatively integrated
into representational models.
The opening credits act as an initial invitation,
a preview that introduces the audience to the
development of the narrative. In this delimited
context one has the opportunity to communicate
the style, tone and nature of the work, also
establishing the codes for approaching the
viewing of the film. Therefore, the use of signs and
typography proves to be not only relevant, but
also decisive in the film image. Initially, textual
communication was conceived exclusively to fulfil
‘informational’ aspects, but with the evolution of
film language and filming techniques, headlines
sought an important formal characterisation.
Design strategies vary: some authors make
typographic elements interact with images, while
others realise specific graphic artefacts in which
typography, alone or in association with other
graphic elements, becomes the protagonist in the
architecture of the artefact.
A crucial aspect of this communication is the
use of typefaces: thanks to the selection of
fonts, their size, alignments and chosen colours,
headlines can convey a wide range of emotions
and concepts. In this way, typography plays
a fundamental role, comparable to its role in
printing: to communicate in an effective and
visually coherent manner, to capture the viewer’s
interest and to anticipate the cinematic experience
that will follow
The Experience of Pelvic Floor Muscle Training in People with Urinary Incontinence: A Qualitative Study
No full textPelvic Floor Muscle Training (PFMT) is the first primary solution to improve urinary incontinence (UI) symptoms, but many challenges stems from certain PFMT-related practices. Exploring PFMT experience will help to increase treatment satisfaction, enjoyment, and empowerment. Hence, the aim of this study was to investigate the experience of pelvic floor muscle training (PFMT) in Italian people with UI. A qualitative semi-structured interview study was conducted. The interviews’ transcriptions were analysed using a constructionist epistemology lens and adopting the “Reflexive Thematic Analysis”. Sixteen Italian participants (Women N = 10, Men = 6) with UI who experienced PFMT were interviewed. Four themes were generated: (1) ‘Learn to Control the Unconscious Consciously’ as participants learned to control continence through active exercises; (2) ‘Starting PFMT, Changing Mind’ as they realised they can have an active role in managing their condition; (3) ‘Into the unknown intimacy’, as they bridged the gap in their (mis)understanding of the pelvic floor area, overcoming the discomfort linked to intimacy; (4) The Importance of Not Being Alone in this Process’, as the participants emphasised the paramount role of the physiotherapists in the healing process. To conclude, in people with UI, PFMT enhanced pelvic floor knowledge and understanding, fostering awareness, positive mindset, and symptom relief. The physiotherapist's pivotal role as an educator and empathetic guide in exercise programs, along with a preference for active exercises. Overall, our results proved that PFMT has positive consequences in people’s beliefs and mindset about and in the management of UI
Reversibly switchable rnhanced green fluorescent protein (rsEGFP): A novel photochromic fluorescent protein enables RESOLFT-type microscopy of living cells at low light intensities
No full text
Reversibly switchable rnhanced green fluorescent protein (rsEGFP): A novel photochromic fluorescent protein enables RESOLFT-type microscopy of living cells at low light intensities
No full textIntersubjetividade, natureza e sentimentos morais. A teoria crítica de A. Honneth e a regra de ouro
No full textThe text raises the question of the conditions for the possibility of intersubjectivity in the theory of recognition. An analysis of the theory of recognition formulated by Axel Honneth shows how the conflict determined by moral motivations relativizes the Habermasian premise of the linguistic understanding and brings the normative dimension back to social theory. The author returns to the pages of the Encyclopedia of Hegel to recover the objective dimension of intersubjectivity and highlights problems in Honneth’s theoretical project. He confronts both the linguistic-hermeneutic and the recognition paradigm with his pressuposition of this intersubjectivity that yet have to be established, and concludes that the theory of recognition can not explain the normative basis of intersubjectiv recognition. This theory, so Testa, describes contexts of interaction and not moral imperatives. The golden rule, especially his negative formulation is seen as a better codification of the requirement to give recognition without neglecting the experience of offenses and fight; it is seen as a better positive justification of the norms of reciprocity.O texto coloca a questão das condições de possibilidade da intersubjetividade na teoria do reconhecimento. Uma análise da teoria do reconhecimento formulada por Axel Honneth mostra como o conflito determinado por motivações morais relativiza o postulado Habermasiano do entendimento lingüístico e traz de volta a dimensão normativa à teoria social. O autor faz um retorno às páginas da Enciclopédia de Hegel para recuperar a dimensão objetiva da intersubjetividade e destacar problemas teóricos no projeto de Honneth. Com isso passa a confrontar tanto o paradigma lingüísticohermenêutico como o do reconhecimento com o fato de pressuporem a intersubjetividade a ser ainda constituída, para concluir que a teoria do reconhecimento não consegue explicitar um núcleo normativo do reconhecimento intersubjetivo; ela descreve contextos de interação e não imperativos morais. A da regra de ouro, em especial na formulação negativa (“não faças a ninguém aquilo que não gostarias que fosse feito a ti – Tb 4,15) é vista como melhor codificação da exigência de reconhecimento sem prescindir da experiência da ofensa e da luta, como melhor justificação positiva das normas de reciprocidade. Palavras-chave: Regra de ouro; Reciprocidade; Reconhecimento; Axel Honnet
Un ritratto di Tolemeo III nell'Abbazia di Grottaferrata
No full textNell'articolo si propone di riconoscere nella testa giovanile e diademata dall' Abbazia di Grottaferrata un ritratto di Tolomeo III Evergete, databile al III secolo a.C: e giunto in Italia attraverso i contatti della nobiltà repubblicana con l'ambiente alessandrino
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