7 research outputs found

    Immunolocalization and immunodetection of the excretory/secretory (ES) antigens of <i>Fasciola gigantica</i> - Fig 4

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    <p>Confocal micrograph of <i>Fasciola gigantica</i> in the liver of infected rabbit showing quite restricted immunolocalization of excretory secretory antigens as revealed by using FITC conjugated secondary antibody (A), counter staining using phalloidin TRITC (B) was done for actin localization. (C) Showing the merged A and B images, where green fluorescence is representing exclusive ES antigen distribution. [V vitelline gland, Tg tegument, Ht host tissue, Vs ventral sucker and HPi host-parasite interface].</p

    SDS-polyacrylamide gel electrophoresis of excretory secretory products collected from <i>Fasciola gigantica</i> after 1h, 2h and 3h of incubation in Hanks’ medium (HBSS) Std: Standard molecular weight marker.

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    <p>SDS-polyacrylamide gel electrophoresis of excretory secretory products collected from <i>Fasciola gigantica</i> after 1h, 2h and 3h of incubation in Hanks’ medium (HBSS) Std: Standard molecular weight marker.</p

    Differential immunolocalization of ES antigens in Fasciola gigantica as revealed by confocal microscopy, using anti-Fg ES hyperimmune sera and the FITC conjugated secondary antibody.

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    <p>Differential immunolocalization of ES antigens in Fasciola gigantica as revealed by confocal microscopy, using anti-Fg ES hyperimmune sera and the FITC conjugated secondary antibody.</p

    Dot blot analysis of faecal samples collected from field, showing three positive <i>Fasciola gigantica</i> infected samples (within the red circle) detected by polyclonal antibodies raised against <i>Fasciola gigantica</i> ES products.

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    <p>Dot blot analysis of faecal samples collected from field, showing three positive <i>Fasciola gigantica</i> infected samples (within the red circle) detected by polyclonal antibodies raised against <i>Fasciola gigantica</i> ES products.</p

    On Kurtág's Dodecaphony

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    After a short description of general attitude toward serialism in Hungary in the 1960s a detailed analysis of serial procedures in movements II and V of György Kurtág's StringQuartet, op. 1 is given. Differences between handling 12-tone aggregates and rows, motivic connections between adjacent and non-adjacent tones, and symmetrical and non-symmetrical partitions of the row are examined. Through these means, serial parts prove to harmonise with the overall narrative context of a generally non-serial, atonal work
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