1,765 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
Design, synthesis and biological evaluation of heparin/heparan sulfate analogues as inhibitors of GAG-growth factor interaction
No full textControl of cell proliferation is of fundamental importance to cancer chemotherapy. One of the key signalling events leading to cellular activities (i.e. cell division, proliferation, migration) involves Growth Factors such as Hepatocyte Growth Factor/Scatter Factor (HGF/SF) and Fibroblast Growth Factors (FGFs). They bind to specific transmembrane tyrosine kinase receptors at the cell surface. This can only take place in the presence of heparin and heparan sulfate proteoglycans. The literature in this area is reviewed.EThOS - Electronic Theses Online ServiceGBUnited Kingdo
Eun-Ja Kang, francophone woman writer born in South Korea
No full textThis thesis deals with the life and work of a contemporary Korean writer Eun-Ja Kang, who is writing her works in French. Up to now, Eun-Ja Kang is an author of two novels and her autobiography. The writing in the French language puts her among francophone authors in the broad sense of the word. However, this thesis aims at determining her position in the field of literature written in French from the perspective of two recent literary concepts: littérature-monde and transidentité. Furthermore, this work deals with thematic and stylistic analysis of her two novels and autobiography. Finding out common as well as different elements in her works, the analysis reveals the author's poetics
PENGGUNAAN PARTIKEL “-은/-는 (-EUN/-NEUN)” PADA HASIL KARANGAN NARASI MAHASISWA PROGRAM STUDI PENDIDIKAN BAHASA KOREA FPBS UPI ANGKATAN 2018
No full textPenelitian ini dilatar belakangi oleh luasnya fungsi dari partikel “은/는 [-eun/-neun]”. Partikel “은/는 [-eun/-neun]” yang pada dasarnya berfungsi untuk menentukan topik dan kontras di dalam kalimat, nyatanya dari fungsi topik tersebut dibagi lagi ke dalam lima buah fungsi yang berbeda dan fungsi-fungsi tersebut dapat dianalisis dengan mudah melalui tulisan. Mahasiswa Program Studi Pendidikan Bahasa Korea UPI angkatan 2018 sudah terbiasa menulis karangan, khususnya karangan narasi. Hal inilah yang mendorong penulis untuk melakukan penelitian terhadap penggunaan partikel “은/는 [-eun/-neun]” yang terdapat di dalam karangan narasi. Sampel dari penelitian ini adalah mahasiswa Program Studi Pendidikan Bahasa Korea angkatan 2018 sebanyak 16 orang dan metode penelitian yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif yang bertujuan untuk mencari fungsi yang dominan digunakan dari partikel “은/는 [-eun/-neun]” pada karangan narasi mahasiswa Program Studi Pendidikan Bahasa Korea UPI angkatan 2018. Instrumen yang digunakan dalam penelitian ini adalah soal tes menulis bahasa Korea dan wawancara. Hasil analisis data penelitian ini menunjukkan bahwa: 1) Fungsi partikel “은/는 [-eun/-neun]” yang ditemukan dalam karangan narasi mahasiswa Program Studi Pendidikan Bahasa Korea adalah fungsi topik, dengan urutan yang paling dominan yaitu: Informasi Lama (IL) sebanyak 92 buah (68,65%.); fungsi Topik Baru (TB) sebanyak 27 buah (20,14%); fungsi Fakta (F) sebanyak 10 buah (7, 46%); Fungsi Pengganti Topik (PT) sebanyak 0 (0%). Kemudian, untuk fungsi Kontras (K) ditemukan sebanyak 5 buah (3,73%). Hasil wawancara dengan para sampel menunjukkan bahwa fungsi yang sering digunakan dalam membuat karangan narasi adalah fungsi untuk topik. Oleh karena itu, dapat disimpulkan bahwa fungsi partikel “은/는 [-eun/-neun]” yang banyak digunakan dalam membuat karangan narasi adalah fungsi topik, sejalan dengan hasil yang ditemukan di dalam penelitian ini bahwa penggunaan partikel “은/는 [-eun/-neun]” yang paling banyak ditemukan dalam karangan narasi mahasiswa Program Studi Pendidikan Bahasa Korea angkatan 2018 adalah fungsi topik, dengan lebih spesifiknya yaitu fungsi topik untuk menunjukkan Informasi Lama (IL) dan diharapkan dalam penelitian selanjutnya dapat dilakukan penelitian mengenai penggunaan partikel “은/는 [-eun/-neun]” pada jenis karangan lain selain narasi.
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Kata kunci: Informasi Lama (IL), karangan narasi, penggunaan partikel “은/는 [-eun/-neun]”.
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This research is motivated by the wide function of the particle "은/는 [-eun / -neun]". The particle "은/는 [-eun/-neun]" which basically functions to determine the topic and contrast in a sentence, the function of the topic is further divided into five different functions and these functions can be analyzed easily through writing. This is what encourages the author to conduct research on the use of the particle "은/는 [-eun/-neun]" contained in writing, especially narrative essays. The sample of this study was 16 students of the Korean Language Education Study Program class of 2018. The research method used in this study is qualitative descriptive method, which aims to find the dominant function used of the particle "은/는 [-eun/-neun]" in the narrative essay of the Korean Language Education Study Program students. The instruments used in this study were Korean writing test questions and interviews. The results of the data analysis of this study indicate that: 1) The most dominant function of the particle "은/는 [-eun/-neun]" was found in the narrative essays of students of the Korean Language Education Study Program is the function of the topic, with the most dominant order, namely: Old Information Functions (Informasi Lama/IL) as many as 92 pieces (68,65%); New Topic Function (Topik Baru/TB) as many as 27 pieces (20,14%); Fact Functions (Fakta/F) as many as 10 pieces (7,46%); and Topic Replacement Functions (Pengganti Topik/PT) as much as 0 (0%). Then, for the Contrast Functions (Kontras/K) as many as 5 (3,73%) were found. 2) The results of the interviews with the samples show that the function often used in making narrative essays is the function of the topic. Thus, it can be concluded that the function of the particle "은/는 [-eun/-neun]" which is widely used in making narrative essays is a topic function, in line with the results found in this study that the use of the particle "은/는 [-eun/-neun]” what is mostly found in the narrative essays of students of the Korean Language Education Study Program class of 2018 is the function of topics, more specifically, the function of topics to show Old Information (Informasi Lama/IL) and the next study is expected to study the use of "은/는 [-eun/-neun]"particle in other types of essays besides narrative.
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Key words: narrative essay, Old Information (Informasi Lama/IL), the use of “은/는 [-eun/-neun]” particle
Musicality and temporality in the art of Nam June Paik (1932-2006)
No full textThis dissertation is about the influences of Nam June Paik’s musical career in the 1950s over his video art in the following decades. Paik is remembered more as a technology-savvy video artist than as a musicologist and musical composer and his active involvement in New Music and avant-garde musician circles in the mid- to late-1950s. This dissertation points to the fact that the artist’s philosophy of music as a musician developed into the invention of video as an art medium. His musical objective was not simply to produce music but to redefine what music is and to challenge conventional notions of music. Through his incessant quest for an answer to the question, what is music?, Paik established music of his own invention, which evolved into multimedia art. After a decade of active participation in the discussion of modern music as a musical composer and musician, Paik held his first solo show, “Exposition of Music-Electronic Television,” at Galerie Parnass, Wuppertal, in 1963, in which he showcased a series of television art wired to be visually manipulated according to audio input. This show was a watershed for Paik’s career, as it propelled him into electronic image manipulation through his exploration of music, hence essentially foregrounding Paik’s creation of video art. Before he arrived at this unique combination and visual and audio, he delved into two major components of modern music: one was the idea of Gesamkunstwerk, a term that describes the synthesis of various genres of arts,professed by Richard Wagner and the other was the cutting edge technologies for electronic music in the 1950s. This dissertation addresses that the interesting marriage of the two led Paik to discover the visual aspect of his musical compositions, which expanded his music horizon and enabled him to push the envelope for unique music of his own that subsequently led to the invention of video art.Ph. D.Includes bibliographical referencesby Gyung Eun O
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.
Kasaysayan, Sining, Literatura: Ang Politika ng Panitikan sa Makabagong Panahon
No full textSa realidad ng ating sitwasyong neokolonyal, isinasakatuparan ng araling panliteratura ang minanang tungkuling ginagampanan nito na gawing masunuring sabjek ang indibidwal na may kakayahang mangatwiran. Sinusugpo ng normatibong ideolohiya ang pagsusuri, at tuloy ikinukubli ang karanasan ng eksploytasyon at tunggalian ng mga uri. Sinusupil ang mismong konsepto ng ideolohiya, itinatakwil ang mga konteksto’t praktikang pang- institusyonal na siyang yumayari dito. Gamit ang historistiko’t sintomatikong pagbasa ng nobela ni Lualhati Bautista bilang halimbawa, tinatalakay dito ang pagkakaiba ng ideolohiya ng teksto sa diwa ng awtor dahil sa maraming namamagitang puwersa tulad ng alyenasyon at reipikasyon. Sa bisa ng sari-saring mekanismong pang-interpelasyon, hinuhubog ng teksto ang mga nagbabasa upang maging sabjek na nagsusumikap lutasin sa guniguni ang umiiral na tahasang kontradiksyong panlipunan. Sa gitna ng konkretong awdiyens na taglay ang sapin-saping pagkakaiba sa kultura at wika, ang pagpili ng wikang kasangkapan sa pagbuo ng likhang-sining ay maselang desisyon. Ilugar ito sa proseso ng paghabi ng mga kahulugan ng teksto bilang masalimuot at dinamikong repleksyon ng isang tiyak na conjuncture sa daloy ng kasaysayan ng bansang Pilipinas. Given the reality of our neocolonial situation, the discipline of literary study fulfills its received pedagogical function of converting reason-bearing individuals into obedient subjects. This normative ideology represses criticism, concealing the lived experience of exploitation and class conficts. The concept of ideology itself is suppressed, replaced with accepted terms and approved habits of interpretation. Meanings of art-works are identified with the single author’s identity, thus ignoring or excluding their enabling contexts and institutional practices. Using a symptomatic, historicist reading of Lualhati Bautista’s novel as an example, this essay argues that the ideology of texts differs from that of the author owing to diverse mediating factors. Current forces of alienation and reification intervene. Through their own mechanisms of interpellation, texts transform readers into subjects who attempt to imaginarily resolve real social contradictions. Given our multilingual and multiethnic audience, the choice of language for literary expression becomes crucial in the process of articulating textual meanings as multifaceted, dynamic reflections of specific conjunctures in Philippine history
Why and how should we go for a multicausal analysis in the study of foreign policy? (Meta-)theoretical rationales and methodological rules
No full textThis article argues that International Relations (IR) researchers concerned with why-questions about the state's external behaviour ought to employ a multicausal approach attentive to the interrelated relationship between external structures and internal agents, presenting the (meta-)theoretical rationales underlying its argument. Here the author suggests ‘a rich/bold ontology’ regarding foreign policy behaviour. Then the article elaborates on detailed and explicit guidelines on how to traverse the bridge that connects the insights of that rich ontology to the empirical research necessary to make claims about the real world of any one moment. In a related vein, the article claims that a multicausal approach should be established using what the author calls ‘loose-knit deductive reasoning’ through which epistemological and methodological openness can be preserved in a manageable way. More importantly, this article discusses the role of theory for IR scholarship and the standards for judging theoretical contributions and progress in the field of IR. Ultimately, the author argues that a complex and flexible approach – both as a useful mode of explanation and as a progressive model of theory construction – can make important contributions to a better understanding of foreign policy and world politics, not only because it enables researchers to become keenly sensitive to the complex reality underlying a nation's foreign policy and to the interrelated relationship between structures and agents in international relations, but also because it can serve to provide a secure base for the progressive accumulation of the evidence closely associated with multiple causation on which any adequate explanation about complex foreign policy behaviour must surely be founded and without which general theory cannot really flourish
Panahon ng Transisyon: Ang Soap Opera sa Telebisyon, 1963-1986
No full textIsinasalaysay dito 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\u27t binansot ang midyum kalaunan ng diktadura. Pitong soap opera ang itinampok dito na pawang kumatawan sa proseso ng transisyong nabanggit. 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
Publisher Correction: Fusion guide RNAs for orthogonal gene manipulation with Cas9 and Cpf1
No full textThe originally published version of this Article contained an error in the spelling of the author Da-eun Kim, which was incorrectly given as Da-Eun Kim. Furthermore, in Figure 1a, the Cas9 protein was positioned incorrectly during typesetting. These errors have now been corrected in both the PDF and HTML versions of the Article.</jats:p
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