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    Humoral opsonin from the colonial ascidian Botryllus schlosseri as a member of the galectin family

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    The synthesis and secretion of the humoral opsonin from the colonial ascidian Botryllus schlosseri was studied by using specific polyclonal antibodies that recognise both of the bands obtained after SDS-PAGE of the purified lectin. The agglutinin was revealed on the surface of agglutinated yeast and red blood cells and in the cytoplasm of the phagocytes, either uniformly distributed or localised inside the cytoplasmic projections. A previous incubation of haemocytes with the agglutinin resulted in intense labelling of the surface that disappeared in the presence of D-galactose, whereas it was not affected by treatment with proteases. These results, together with the already published data, suggest that our molecule is a new member of the galectin family

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed

    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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