Molecular dynamics simulations of the hydrophobin SC3 at a hydrophobic/hydrophilic interface

Hydrophobins are small (similar to 100 aa) proteins that have an important role in the growth and development of mycelial fungi. They are surface active and, after secretion by the fungi, self-assemble into amphipathic membranes at hydrophobic/hydrophilic interfaces, reversing the hydrophobicity of the surface. In this study, molecular dynamics simulation techniques have been used to model the process by which a specific class I hydrophobin, SC3, binds to a range of hydrophobic/ hydrophilic interfaces. The structure of SC3 used in this investigation was modeled based on the crystal structure of the class II hydrophobin HFBII using the assumption that the disulfide pairings of the eight conserved cysteine residues are maintained. The proposed model for SC3 in aqueous solution is compact and globular containing primarily P-strand and coil structures. The behavior of this model of SC3 was investigated at an air/water, an oil/water, and a hydrophobic solid/water interface. It was found that SC3 preferentially binds to the interfaces via the loop region between the third and fourth cysteine residues and that binding is associated with an increase in a-helix formation in qualitative agreement with experiment. Based on a combination of the available experiment data and the current simulation studies, we propose a possible model for SC3 self-assembly on a hydrophobic solid/water interface.

From Zheng Qiang to Jiang Shuiying: The feminization of a revolutionary hero in Maoist theatre's 'Song of the Dragon River'

Since the 1980s, analysis of the representation of women in Maoist theatre has argued that the heroines of the Cultural Revolution model works (yangbanxi) were 'gender-less revolutionaries erased of anything feminine. This article challenges such a view through a case study of Song of the Dragon River in which the male hero of the 1964 spoken drama version was changed to a female in the 1972 yangbanxi adaptation. Evidence is presented that the characterization of the heroine in the latter work conforms closely not only with traditional beliefs in innate female characteristics but also with current Chinese beliefs in the characteristics of successful women in leadership. Rosemary Roberts is a lecturer in Chinese at the University of Queensland, Australia. She completed postgraduate studies at Beijing University in the early 1980s and has a PhD in Chinese literature from the Australian National University. She has published numerous articles and translations in the field of Chinese literature and culture and is currently writing a book on gender in Maoist theatre of the Cultural Revolution.