In Vivo Localization of Fas-Associated Death Domain Protein in the Nucleus and Cytoplasm of Normal Thyroid and Liver Cells

FADD (Fas-associated death domain) is the main death receptor adaptor molecule that transmits apoptotic signal. Recently, FADD protein was shown to be expressed both in the cytoplasm and nucleus of in vitro cell lines. In contrast to the cytoplasmic FADD, the nuclear FADD was shown to protect cells from apoptosis. However, in vivo subcellular localization of FADD was still unknown. Here, we demonstrated that FADD protein was expressed in both cytoplasmic and nuclear compartment in ex vivo thyroid cells demonstrating that nuclear sublocalization of FADD protein was a relevant phenomenon occurring in vivo. Moreover, we showed that in the nucleus of untransformed thyroid cells FADD localized mainly on euchromatin. We confirmed the nuclear localization of FADD in ex vivo liver and showed that in this organ FADD and MBD4 interact together. These results demonstrate that FADD is physiologically expressed in the nucleus of cells in at least two mouse organs. This particular localization opens new possible role of FADD in vivo either asan inhibitor of cell death, or as a transcription factor, or as a molecular link between apoptosis and genome surveillance

Francisco Santos : ¿un heredero de «Quevedo el Grande», en el último tercio del siglo XVII?

En el último tercio del siglo xvii, el moralista madrileño Francisco Santos desarrolló una obra literaria exitosa, rica de quince libros de ficción, deleitosos y provechosos, satíricos y devotos. Como los mayores escritores de su tiempo, Santos siguió el ideal humanístico de la imitación. De origen modesto, sin estudios académicos, tomó préstamos de múlti-ples autores coetáneos. Unos críticos señalaron que Santos creó así su propia literatura, inspirándose en varias influencias, entre las cuales destacan Cervantes, Saavedra Fajardo, Zabaleta, Gracián, y Quevedo. El propósito de este artículo es contribuir al conocimien-to de la recepción póstuma de Quevedo, analizando unas formas de incorporación del gran satírico en la prosa narrativa de Santos: desde una posible impregnación, hasta la presencia de Quevedo como personaje de la ficción imaginada por Santos.In the last third of the seventeenth Century, Francisco Santos, a Spanish moralist from Madrid, developed a successful literary work, rich in fifteen fiction books, entertaining and edificant, satirical and devote. In accordance with the greatest writers of his time, 1.Francisco Santos homenajeó así a Francisco de Quevedo, en 1685, enumerando los grandes escritores de Madrid, mediante la voz del narrador de El Sastre del Campillo (Santos, 1723a: 1): «[...] hable el Fenix de España, Fray Lope de Vega Carpio, Montalvan, Villayzan, Quevedo el Grande, Villaviciosa, Cancer, Moreto, Matos, Luis Velez de Guevara, Zabaleta, y otros infinitos». Santos followed the humanistic ideal of imitation.From a modest family, with any aca-demic studies, he multiplied indebtedness to contemporaneous authors. Some critics noted that Santos created thus his specific literature, inspired by several influences, such as Cervantes, Saavedra Fajardo, Zabaleta, Gracián, and Quevedo. The purpose of this article is to contribute to the knowledge of Quevedo's posthumous reception, by analy-sing different forms of incorporation of the great satiric in Santos' narrative prose: from a possible impregnation, to the presence of Quevedo as a character of Santos' fiction

Las dos primeras traducciones francesas del Guzmán de Alfarache: enigmas y revelaciones de una investigación editorial

At the end of the XVIth century and during the beginning of the XVIIth, the enthusiasm of French lectors about the esthetic innovations of the Spanish narrative prose stimulated a ground-breaking importation of texts. Among them, the Guzmán de Alfarache, by Mateo Alemán, best-seller of the years 1599-1604, took over the European literary space. The architects of that library success were the author himself, printers, booksellers, from Madrid, from the other capital cities of the Spanish Monarchy, and Paris. Translators, real passeurs of culture, magnified that importation of Spanish literature in France. Through the line of an editorial investigation intending to uncover the mysteries of the two first translations of the Guzmán de Alfarache in French,this article studies the international diffusion of a successful text, and the activities of agents who promote the circulation of the book as a cultural and literary material, and a commercial object.En las postrimerías del siglo XVI y comienzos del XVII, el entusiasmo de los lectores franceses por las innovaciones estéticas de la prosa narrativa española sirvió de catalizador a una inédita importación de textos. Entre ellos, el Guzmán de Alfarache, de Mateo Alemán, best-seller de los años 1599-1604, invadió el espacio literario europeo. Los artesanos de aquel éxito de librería fueron el propio autor, los impresores, los mercaderes de libros, tanto en Madrid como en las otras capitales de la Monarquía española, y en París. Los traductores, verdaderos passeurs culturales, amplificaron aquella importación de la literatura hispánica en Francia. Vertebrado por una encuesta editorial destinada a revelar los enigmas de las dos primeras traducciones francesas del Guzmán de Alfarache, este artículo estudia la difusión internacional de un texto exitoso, las actividades de unos agentes del libro que facilitaron su circulación como material cultural y literario, y como objeto comercial

Amor constante : Quevedo más allá de la muerte

La col·lecció Studia Aurea Monográfica, coeditada por la Universitat Autònoma de Barcelona y la Universitat de Girona, es una colección auspiciada por Studia Aurea. Revista de Literatura Española y Teoría Literaria del Renacimiento y Siglo de Oro.Els capítols d'aquest llibre els trobareu també al Dipòsit digital de documents de la UAB en text complet.El estudio de la recepción de la obra de Quevedo como 'clásico contemporáneo' se enriquece hoy con la publicación de una serie de ensayos que, por su propia naturaleza específica y variedad del conjunto, proporcionan y confirman un dato incontrovertible: Quevedo no solo es un modelo literario, sino un arquetipo, de la cultura y del pensamiento; su obra no solo vale como antecedente o hipotexto, sino que funciona como verdadero sistema comunicativo, disponible al uso de las distintas formas de la expresión humana

Discutindo a educação ambiental no cotidiano escolar: desenvolvimento de projetos na escola formação inicial e continuada de professores

A presente pesquisa buscou discutir como a Educação Ambiental (EA) vem sendo trabalhada, no Ensino Fundamental e como os docentes desta escola compreendem e vem inserindo a EA no cotidiano escolar., em uma escola estadual do município de Tangará da Serra/MT, Brasil. Para tanto, realizou-se entrevistas com os professores que fazem parte de um projeto interdisciplinar de EA na escola pesquisada. Verificou-se que o projeto da escola não vem conseguindo alcançar os objetivos propostos por: desconhecimento do mesmo, pelos professores; formação deficiente dos professores, não entendimento da EA como processo de ensino-aprendizagem, falta de recursos didáticos, planejamento inadequado das atividades. A partir dessa constatação, procurou-se debater a impossibilidade de tratar do tema fora do trabalho interdisciplinar, bem como, e principalmente, a importância de um estudo mais aprofundado de EA, vinculando teoria e prática, tanto na formação docente, como em projetos escolares, a fim de fugir do tradicional vínculo “EA e ecologia, lixo e horta”.Facultad de Humanidades y Ciencias de la Educació

Inventing oneself as a writer in Madrid under the last Habsburgs of Spain : an investigation into the literary success of Francisco Santos

Francisco Santos est un modeste soldat de la garde du roi d’Espagne. Il a quarante ans lorsque son premier roman, « Día y noche de Madrid », est édité dans la capitale de l’empire catholique. Acteur et témoin de la vie des madrilènes de condition inférieure, sous Philippe IV et Charles II de Habsbourg, il publie dix-sept titres, de 1663 à 1697. Certains de ces textes sont réédités, des volumes sont exportés. Dans ses fictions, Santos combine la narration en prose, la poésie et le théâtre ; il critique et satirise les mœurs de ses contemporains, selon une morale pieuse contre-réformiste. Sans formation académique mais nourri par la lecture des grands noms de la littérature espagnole, cet autodidacte parvient à construire une carrière professionnelle d’écrivain à succès. L’enquête que propose cette thèse met ainsi en lumière le paradoxe d’une société d’Ancien Régime qui, arrivée au crépuscule de son Siècle d’Or, permet à l’un de ses sujets les plus humbles de devenir un auteur fécond, miroir de son époque et reflet d’un patrimoine littéraire partagé par ses lecteurs. Grâce aux outils de la sociologie de la littérature, ce travail explore le tissu social, les sphères culturelles, politiques et religieuses, ainsi que les débats qui agitent l’Espagne au temps des derniers souverains de la Maison d’Autriche. Dans quelle mesure sa naissance à Madrid, son réseau de sociabilité composé de soldats et d’officiers, d’amis et de soutiens appartenant à l’Église et à la petite noblesse, influencent-ils son écriture ? Tente-t-il d’élaborer une ligne éditoriale avec ses libraires et ses imprimeurs ? Le vide de créativité de la fiction narrative en prose oriente-t-il ses choix formels et thématiques ? Courageux et opiniâtre, Santos met à profit son talent de narrateur et sa sensibilité, pour susciter l’imaginaire du lecteur. Il s’approprie et il combine les expérimentations et les innovations de ses prédécesseurs. Quelle source d’inspiration et d’emprunts constituent, pour lui, Alemán, Cervantès, Lope de Vega, Quevedo, Saavedra Fajardo, Salas Barbadillo, Pérez de Montalbán, Castillo Solórzano, Vélez de Guevara, Zabaleta, Gracián et Calderón ? Qu’emprunte-t-il aussi à la satire populaire et littéraire, aux écrits religieux, à la prédication dévote, à l’iconographie sacrée, à la littérature d’emblèmes et aux récits d’évènements ? Attentif aux débats qui agitent la société de son temps, Santos nourrit sa littérature de dévotions en vogue ‒ cultes des saints, des anges, des âmes du purgatoire ‒, il contribue spontanément à l’exaltation de la « pietas austriaca » ‒ tout particulièrement l’Immaculée Conception, la Sainte Eucharistie et la Sainte Croix ‒ ; il multiplie dans ses textes les appels à la charité et à l’ordre morale, les réflexions sur le coût de la vie, sur les tentatives de réformes opérées par la Monarchie. Pauvre, il représente les miséreux avec dignité. Santos connaît une réussite commerciale non négligeable, de son vivant et jusqu’au XIXe siècle, en Espagne et à l’étranger. Il inspire Lesage, Torres Villarroel et Lizardi. Depuis le XXe siècle, il intéresse divers bibliographes et spécialistes de la littérature, qui voient dans sa production une expression précoce du costumbrisme ou encore un épiphénomène de la picaresque. Aussi, des études fragmentaires et des éditions critiques ponctuelles ont été publiées. En 2017, García Santo-Tomás signale l’absence d’un travail global et approfondi sur Francisco Santos et son œuvre. La présente thèse y remédie, en apportant un éclairage nouveau et complet sur les enjeux sociaux, éditoriaux, politiques, économiques et religieux auxquels se confronte un humble espagnol, pour construire une carrière d’écrivain professionnel, dans le dernier tiers du XVIIe siècle. Cette étude contribue ainsi à affiner les connaissances sur la société espagnole, la fiction narrative en prose, sa matérialité, et l’historiographie de l’Espagne.Francisco Santos was a modest soldier in the Spanish king's guard. He was forty years old when his first novel, "Día y noche de Madrid", was published in the capital of the Catholic empire. As an actor and a witness to the life of the lower classes in Madrid under Philip IV and Charles II of Habsburg, he published seventeen fiction works between 1663 and 1697. Some of these texts were republished, and volumes were exported. In his production, Santos combined prose narrative, poetry and drama; he criticized and satirized the morals of his contemporaries, according to a pious counter-reformist moral. With no academic training but nourished by reading the great names of Spanish literature, this self-taught man managed to build a successful professional career as a writer. The investigation proposed in this thesis thus highlights the paradox of an Ancien Régime society which, having reached the twilight of its Golden Age, allows one of its humblest subjects to become a fruitful author, a mirror of his time and a reflection of a literary heritage shared by his readers. Using the tools of the sociology of literature, this work explores the social fabric, the cultural, political and religious spheres, as well as the debates that agitated Spain at the time of the last sovereigns of the House of Austria. To what extent did his birth in Madrid, his social network of soldiers and officers, friends and supporters from the Church and the lower nobility, influence his writing? Did he attempt to develop an editorial line with his booksellers and printers? Did the creative vacuum of narrative prose fiction guide his formal and thematic choices? Courageous and stubborn, Santos used his talent as a narrator and his sensitivity to arouse the reader's imagination. He appropriated and combined the experiments and innovations of his predecessors. What sources of inspiration and borrowings did he draw from Alemán, Cervantes, Lope de Vega, Quevedo, Saavedra Fajardo, Salas Barbadillo, Pérez de Montalbán, Castillo Solórzano, Vélez de Guevara, Zabaleta, Gracián and Calderón? What else did he borrow from popular and literary satire, from religious writings, from devout preaching, from sacred iconography, from literature of emblems and from accounts of events? Attentive to the debates that agitated the society of his time, Santos filled his fiction works with devotions in vogue - cults of saints, angels, souls in purgatory -; he spontaneously contributed to the exaltation of the "pietas austriaca" - especially the Immaculate Conception, the Holy Eucharist and the Holy Cross -; he multiplied in his texts the appeals to charity and moral order, the reflections on the cost of living, on the attempts at reform made by the Monarchy. Poor, he showed poverty with dignity.Santos enjoyed considerable commercial success during his lifetime and into the 19th century, both in Spain and abroad. He inspired Lesage, Torres Villarroel and Lizardi. Since the twentieth century, he has been of interest to various bibliographers and literary specialists, who see his production as an early expression of costumbrism or as an epiphenomenon of the picaresque. In this regard, fragmentary studies and occasional critical editions have been published. In 2017, García Santo-Tomás pointed out the absence of a global and in-depth work on Francisco Santos and his work. The present thesis remedies this, shedding new and comprehensive light on the social, editorial, political, economic and religious issues that a humble Spaniard faced in building a career as a professional writer in the last third of the 17th century. This study thus contributes to refining knowledge about Spanish society, narrative prose fiction, its materiality, and the historiography of Spain

Formations d'Hanonet, de Trois-Fontaines, des Terres d'Haurs et du Mont d'Haurs.

Commission Nationale de Stratigraphie du Dévonien, pp. 45-59, Ministère des Affaires Economiques, Administration des Mines. Mémoire N°30 pour l'Explication des Cartes Géologiques et Minières de la Belgiqueinfo:eu-repo/semantics/publishe

Dynamique sédimentaire de deux complexes récifaux du Givétien Inférieur du bord sud du Bassin de Dinant

Communication et Abstract, p 368-369info:eu-repo/semantics/nonPublishe

Le 4.560 R.P. indications en thérapeutique vétérinaire /

OPLADEN-RUG0