Comparação de métodos de extração de DNA e deteção de organismos geneticamente modificados em alimentos processados derivados de milho

Diante dos avanços biotecnológicos o cultivo de plantas geneticamente modificadas, como, por exemplo, o milho (Zea mays), aumentou consideravelmente nos últimos anos. Embora esta tecnologia apresente comprovados benefícios em relação ao aumento da produtividade e durabilidade do alimento, a população ainda receia em consumir produtos geneticamente modificados. O objetivo deste trabalho foi comparar dois protocolos baseados na utilização de CTAB e avaliar qual o melhor para extração de DNA em alimentos processados derivados de milho, bem como identificar dois dos resíduos transgênicos mais comuns em gêneros alimentícios derivados de milho: Cry1ab e Cry1F. Para isto, 14 amostras derivadas de milho foram avaliadas utilizando dois diferentes protocolos de extração de DNA e a deteção dos eventos transgênicos conduzida pela técnica de PCR qualitativa. Entre as amostras analisadas, 57% resultaram positivas para deteção de ambos os eventos de milho transgênico avaliados.

The optical and scopic urges viewed from a phenomenological perspective

Taking as starting points the books The Address of the Eye: A Phenomenology of Film Experience, by Vivian Sobchak, and Les quatre concepts fondamentaux de la psychanalyse, by Jacques Lacan, this article proposes to look at two well renowned film objects – Rear Window (Alfred Hitchcock, 1954, USA) and Peeping Tom (Michael Powell, 1960, UK) – in order to equate two forms of perception that, all things considered, come together as one: the perception of the mechanical apparatuses that record and project film and the optical and mental apparatuses that operate on the human filmmakers as well as their intradiegetic protagonists. In fact, these two films not only explore the characteristics and limits of vision and affection in their diegetic world, that is part of the filmmaker’s world itself, but reveals just how much the human lives through the eye and the expression of the machine itself. Film ontology is foremost a matter of (re)production rather than creation.

Derek Jarman’s allegories of spectacle: inter-artistic embodiment

ABSTRACT - Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two european historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.