3,241 research outputs found
Angiotensin II induces soluble fms-Like tyrosine kinase-1 release via calcineurin signaling pathway in pregnancy
No full textMaternal endothelial dysfunction in preeclampsia is associated with increased soluble fms-like tyrosine kinase-1 (sFlt-1), a circulating antagonist of vascular endothelial growth factor and placental growth factor. Angiotensin II (Ang II) is a potent vasoconstrictor that increases concomitant with sFlt-1 during pregnancy. Therefore, we speculated that Ang II may promote the expression of sFlt-1 in pregnancy. Here we report that infusion of Ang II significantly increases circulating levels of sFlt-1 in pregnant mice, thereby demonstrating that Ang II is a regulator of sFlt-1 secretion in vivo. Furthermore, Ang II stimulated sFlt-1 production in a dose- and time-dependent manner from human villous explants and cultured trophoblasts but not from endothelial cells, suggesting that trophoblasts are the primary source of sFlt-1 during pregnancy. As expected, Ang II-induced sFlt-1 secretion resulted in the inhibition of endothelial cell migration and in vitro tube formation. In vitro and in vivo studies with losartan, small interfering RNA specific for calcineurin and FK506 demonstrated that Ang II-mediated sFlt-1 release was via Ang II type 1 receptor activation and calcineurin signaling, respectively. These findings reveal a previously unrecognized regulatory role for Ang II on sFlt-1 expression in murine and human pregnancy and suggest that elevated sFlt-1 levels in preeclampsia may be caused by a dysregulation of the local renin/angiotensin system
Ang paglalayag ng One Piece sa mundo: Ang pagsasalin ng manga gamit ang opisyal na bersyon at scanlation
No full textAng pag-aaral na ito ay tungkol sa pagsasalin ng manga gamit ang opisyal na bersyong salin at scanlation ng unang tomo ng One Piece Manga sa Filipino na may pamagat na Romance Dawn. Ang tatlong pangunahing layunin ng pag-aaral na ito ay makapagsalin at matukoy ang proceso ng pagsasalin, mailarawan ang mga suliraning kinaharap at kung paano ito sinolusyonan, at mailahad ang mga estilong angkop para sa pagsasalin ng isang tekstong Manga. Isinagawa ang pagtugon sa mga layuning ito sa pamamagitan ng aktwal na pagsasalin at pagsusuri sa prosesong pinagdaanan nito. Ginamit bilang lente sa pagsusuri ng salin ang mga konseptong may kinalaman sa pagsasalin, anime, at manga. Inilapat ang mga teoryang Meaning-based Translation ni Mildred Larson at Skopos ni Hans Vermeer upang maging gabay sa salitang ginawa. Samantala, inilapat naman ang 18 teknik ng pagsasalin ni Peter Newmark upang maipakita ang mga estilo ng pagsasaling lumitaw mula sa isinagawang pagsasalin
Elehiyang-elehiya: ang dapat mabatid ng sinumang babasa kay Peter Solis Nery
No full textThe Peter Solis Nery Foundation for Hiligaynon Literature and the Arts, Inc
Ang nagakabuhi sa tagipusuon
No full textThe Peter Solis Nery Foundation for Hiligaynon Literature and the Arts, Inc
Ang kasaysayan ng pag-ngoyngoy
No full textThe Peter Solis Nery Foundation for Hiligaynon Literature and the Arts, Inc
"I' ll tell you a story that will make you believe" in narratives: the role of metafiction in the novel and in the film Life of Pi
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2015.Recentes estudos propõem que adaptações cinematográficas sejam entendidas como fonte de criação, os quais refletem contextos e interpretações diferentes do texto em que são baseadas. Nessa dissertação, propõe-se uma análise comparativa do romance Life of Pi (2001), de Yann Martel e do filme homônimo dirigido por Ang Lee (2012). A análise tem como objetivo identificar a presença e o modo em que a metaficção é construída no romance e no filme, e quais são alguns significados produzidos por ela em ambos os textos, tanto o literário quanto o fílmico. A concepção de metafição se baseia nas definições de Linda Hutcheon e Patricia Waugh. Por metaficção, entende-se a ficção consciente de si, que expõe o processo de escrita ao leitor e o convida a ter um papel ativo na construção do significado. Após uma análise comparativa dos dois textos, conclui-se que a metaficção está presente em ambos, tanto tematicamente como estruturalmente. As reflexões sobre narrativas apresentadas pelos personagens, o uso de vários níveis narrativos e de intertextualidade revelam diferentes usos da metafição em ambos. A diferença mais importante entre o romance e o filme Life of Pi está no uso dos níveis narrativos. Enquanto o romance possui um ?autor? sem nome que apresenta a história aos leitores, o filme possui um diretor implícito que deixa pistas de qual versão da história de Pi é ?real? no contexto da narrativa. Essa diferença dá ao romance um final aberto, em que o leitor deve escolher qual versão da história ele acredita, enquanto o filme possui uma resolução para essa questão. O filme, então, pode ser entendido como um testemunho, uma narrativa de trauma de um sobrevivente de um naufrágio e da experiência de migração, enquanto o livro não apresenta uma decisão em relação às versões da história, deixando o leitor aberto a qualquer possibilidade.Abstract : Recent studies propose that Film Adaptations should be understood as sources of creation, which also reflect a different context and interpretation from the text upon which they were based. In this thesis, I propose a comparative analysis of the novel Life of Pi (2001), by Yann Martel, and the homonymous film directed by Ang Lee (2012). The analysis has the objective of identifying the presence and the way in which metafiction is constructed in the novel and in the film, and what are some of the meanings produced by it in both texts, the filmic and the literary. The concept of metafiction was based on the definitions by Linda Hutcheon and Patricia Waugh. It is understood as the self-conscious fictional text, which exposes the writing process to the readers and invites them to have an active role in the construction of meaning. In the comparative analyses of the two texts, I have proved that metafiction is present in the two texts, both thematically and structurally. The reflections of the characters on narrative itself as well as the use of different narrative levels and intertextual references reveal different uses of metanarrative in both film and novel. The most important difference between the novel and the film Life of Pi is in their uses of different narrative levels. While the novel has an unnamed =author? who presents the story to the readers, the film has an implicit director who leaves =clues? of which version of Pi?s story is ?real? in the context of the narrative. This difference gives to the novel an open end, facein which the readers must choose which version of the story they believe in, while the film presents a resolution to this question. The film, thus, can be understood as a testimony narrative, a narrative of the trauma of a survivor from a shipwreck and from the experience of migration, while the novel does not decide for one of the versions of the story, enabling a more inconclusive reading
Interacionismo e estudos culturais: as contribuições para as teorias midiáticas das obras de Peter Hall e Ien Ang
No full textAs correntes teóricas contemporâneas dedicadas ao estudo da Mídia têm possibilitado novas visões sobre o tema em contraponto à clássica e predominante versão frankfurtiana da Indústria Cultural. É objetivo deste trabalho produzir um balanço interpretativo entre autores tributários de duas dessas escolas – Peter Hall e o Interacionismo, Ien Ang e os Estudos Culturais – para que, uma vez apresentados seus contrastes e semelhanças, tenham seus principais conceitos aproximados em busca de uma complementaridade que comprove sua viabilidade para novos estudos sobre a Mídia, principalmente em razão da contínua inserção desta última nas formas de sociabilidade contemporâneas.</span
Sa lamay ni tatay: ang sampung elehiya
No full textPeter Solis Nery's 10 Elegies to his departed father are written in three languages, namely: English, Filipino, and Hiligaynon. All of them are gifted with a son's heartfelt sincerity imbued with deep reflection and nourished by an enduring recollection. Not to forget the solid poetic craftsmanship that accompanies the poet's incomparable mastery of each linguistic idiom.The Peter Solis Nery Foundation for Hiligaynon Literature for the Arts, Inc
Panahon ng Transisyon: Ang Soap Opera sa Telebisyon 1963-1986
No full textIsinasalaysay ng sanaysay na ito ang kasaysayan ng soap operang telebiswal sa pagitan ng 1963 at 1986, isang yugtong tinatawag ng awtor na “Panahon ng Transisyon.” Dito binakas ang transisyon ng soap opera mula sa radyo patungo sa bagong midyum ng telebisyon noong dekada 60, hanggang 1986, ang taon ng tuluyang pagbagsak ng diktadurang Marcos. Ngunit bago nito, isinalaysay din ang pagsilang ng industriya ng telebisyon sa gitna ng mga nagkukrus na interes ng mga namuhunan ditong pamilyang oligarko sa negosyo at politika. Makikitang produkto ng masigalot na kasaysayan ng Filipinas, at ng kasaysayan ng telebisyon, ang soap opera, sa pagpapatuloy nito, kahit ba ginambala’t binansot ang midyum kalaunan ng diktadura. Pitong soap opera ang itinampok dito na pawang kumatawan sa proseso ng transisyong nabanggit. Period of Transition: Soap Opera on Television, 1963-1986 Abstract: This narrates the history of the televisual soap opera between 1963 and 1986, described by the author as the “Period of Transition.” This traces the transition of the soap opera from radio to the new medium of television during the 60s to 1986, the year of the ouster of the Marcos dictatorship. Foregrounding this is a recounting of the birth of the television industry amidst the intersecting interests of the oligarchic families in politics and business as they invested in it. It will be surmised that the soap opera was a product of the tumultuous history of the Philippines, and the history of television, as it had continued to exist despite the disruption and the consequent hampered growth of the medium during the dictatorship. Seven soap operas are showcased here, representing the aforementioned transition process.
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