Ectopic lymphoid-organ development occurs through interleukin 7-mediated enhanced survival of lymphoid-tissue-inducer cells.

Development of Peyer's patches and lymph nodes requires the interaction between CD4+ CD3- IL-7Ralpha+ lymphoid-tissue inducer (LTi) and VCAM-1+ organizer cells. Here we showed that by promoting their survival, enhanced expression of interleukin-7 (IL-7) in transgenic mice resulted in accumulation of LTi cells. With increased IL-7 availability, de novo formation of VCAM-1+ Peyer's patch anlagen occurred along the entire fetal gut resulting in a 5-fold increase in Peyer's patch numbers. IL-7 overexpression also led to formation of multiple organized ectopic lymph nodes and cecal patches. After immunization, ectopic lymph nodes developed normal T cell-dependent B cell responses and germinal centers. Mice overexpressing IL-7 but lacking either RORgamma, a factor required for LTi cell generation, or lymphotoxin alpha1beta2 had neither Peyer's patches nor ectopic lymph nodes. Therefore, by controlling LTi cell numbers, IL-7 can regulate the formation of both normal and ectopic lymphoid organs.

Cinema and the Work of Doré

According to Ray Harryhausen, a special effects expert in the film industry, "Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera." Doré's work has had a permanent impact on the imaginative realm of film since its very early days. In return, the silver screen has etched Doré into the 20th century imagination. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré's graphic world, beginning with Georges Méliès' A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault's Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977) and even the Harry Potter film series. Through his influence on film history, Doré shaped the mass culture imagination.

Amphipathic alpha-helix AH2 is a major determinant for the oligomerization of hepatitis C virus nonstructural protein 4B.

Nonstructural protein 4B (NS4B) is a key organizer of hepatitis C virus (HCV) replication complex formation. It induces a specific membrane rearrangement, designated membranous web, that serves as a scaffold for the HCV replication complex. However, the mechanisms underlying membranous web formation are poorly understood. Based on fluorescence resonance energy transfer (FRET) and confirmatory coimmunoprecipitation analyses, we provide evidence for an oligomerization of NS4B in the membrane environment of intact cells. Several conserved determinants were found to be involved in NS4B oligomerization, through homotypic and heterotypic interactions. N-terminal amphipathic ?-helix AH2, comprising amino acids 42 to 66, was identified as a major determinant for NS4B oligomerization. Mutations that affected the oligomerization of NS4B disrupted membranous web formation and HCV RNA replication, implying that oligomerization of NS4B is required for the creation of a functional replication complex. These findings enhance our understanding of the functional architecture of the HCV replication complex and may provide new angles for therapeutic intervention. At the same time, they expand the list of positive-strand RNA virus replicase components acting as oligomers.

Narration und Diagrammatik. Eine Vorüberlegung und sieben Thesen

[Narrative and the Diagrammatic. Preliminary Thoughts and Seven Theses.] This article proposes a view of narrative that does not depend on the traditional perspective of temporal sequence but emphasizes the spatial structure of literary narrative. Contrary to the prevalent treatment of space in narrative theory, the notion of spatiality in this context refers not to the space that is represented by the narrative (e.g. the setting and other spatial elements of the fictional world) but to the space that represents it: first, the graphic surface of the text; second, the (quasi-)spatial mental representation of its content that is produced in the process of reception. It is argued that these conditions form the primary ontological mode of narrative, whereas the temporal development of a story is an aesthetic illusion that has been specifically stimulated by the narrative conventions of approximately the past three centuries and must thus be considered a secondary effect. The diagrammatic, as a way of both depicting data and perceiving relations through spatial representation, thus forms a more adequate methodological approach to understanding narrative structure than approaches that are implicitly derived from the 'grammar' of narrative in the structuralist sense and its sequential logic.

L'exploration temporelle comme modalité du voyage imaginaire dans la bande dessinée franco-belge (1930-1980)

In this paper, I explore the motif of time travel in science fictional French comics until the eighties. Time travel incorporates a fascinating potential for narrative representation, since moving back in time may multiply timelines, according to the well-known paradox of the grandfather. This virtuality has become very popular in novels and in movies, since In his Bootstraps (Heinlein, 1941) and La Jetée (Marker, 1962) until the recent Looper (Johnson, 2012) but it has been rarely represented in French comics before the eighties and the apparition of time paradoxes in series like "Yoko Tsuno" and, mostly, "Valérian agent spatio-temporel". Firstly, many modalities of time travel do not engender time paradoxes, like exploration of prehistoric sanctuaries, imaginary travel, or cryogenic sleep followed by an awakening if a future world with no hope to return in the past. Secondly, time travel has been mostly interpreted as a mere extension of the classic motif of the "extraordinary journey", as exemplified for centuries in fictions by Verne, Mercier, Swift, or Stevenson. Thus, the graphic potential of time travel for the representation of spectacular exotic worlds has predominated in French comic tradition, and this tendency has been encouraged by the dominant mode of publication until the end of the sixties. Indeed, complex scriptwriting involving multiple timelines would not fit the form of a weekly feuilleton addressed to a young audience, because it would be too demanding cognitively speaking. It illustrates also the dominance of graphic concerns over a taste for complex scriptwriting in many comics of this period. Still, the development of time paradoxes in Pierre Christin scriptwriting underlines the potential of the media when it is published in series of albums or in graphic novels. At the same time, Jean-Claude Mézières drawings-featuring spectacular representations of foreign worlds-show that the visual interest of spectacular time travels remains a central issue for this popular graphic medium. Cette étude porte sur le motif du voyage temporel dans la bande dessinée franco-belge de science- fiction jusque dans les années quatre-vingt. Le voyage temporel intègre un potentiel fascinant pour la représentation narrative, étant donné que le retour dans le passé est susceptible d'engendrer des lignes temporelles multiples, selon le paradoxe bien connu du « grand-père ». Cette virtualité est devenue très populaire dans les romans et dans les films, depuis In his Bootstraps (Heinlein, 1941) et La Jetée (Marker, 1962) jusqu'au récent Looper (Johnson, 2012), mais elle a rarement été représentée dans la bande dessinée franco-belge avant les années quatre-vingt et l'apparition de paradoxes temporels dans des séries comme « Yoko Tsuno » et, surtout, « Valérian agent spatio-temporel ». Tout d'abord, de nombreuses modalités du voyage dans le temps n'engendrent aucun paradoxe, par exemple l'exploration de sanctuaires préhistoriques, le voyage illusoire ou le sommeil cryogénique suivi d'un réveil dans le futur, sans espoir de revenir dans le passé. Deuxièmement, le voyage dans le temps a été plus souvent interprété comme une simple extension du motif classique du « voyage extraordinaire », tel qu'on le retrouve, depuis le XVIIIe siècle, les fictions de Verne, Mercier, Swift ou Stevenson. Ainsi, le potentiel graphique du voyage dans le temps pour la représentation de mondes exotiques spectaculaires a prédominé dans la tradition franco-belge et cette tendance a été encouragée par le mode de publication dominant jusqu'à la fin des années soixante. En effet, l'écriture de scénarios complexes impliquant de multiples lignes temporelles ne semble pas adaptée à la forme d'un feuilleton hebdomadaire destiné à un jeune public, parce qu'il aurait été trop exigeant, cognitivement parlant. Cela illustre également la prédominance de préoccupations graphiques sur l'écriture de scénarios complexes dans de nombreuses bandes dessinées de cette période. Pourtant, le développement de paradoxes temporels dans les scénarios de Pierre Christin souligne le potentiel du média quand il est publié en série d'albums ou dans des romans graphiques. Parallèlement, les dessins de Jean-Claude Mézières, qui proposent des représentations spectaculaires de mondes étrangers, montre que l'intérêt visuel du voyage dans le temps demeure une question centrale pour ce média populaire.

On-line life history calendar and sensitive topics : A pilot study

The use of the life history calendar (LHC) or the event history calendar as tools for collecting retrospective data has received increasing attention in many fields of social science and medicine. However, little research has examined the use of this method with web-based surveys. In this study, we adapted this method to an on-line setting to collect information about young adults' life histories, sexual behaviors, and substance use. We hypothesized that the LHC method would help respondents to date sensitive and non-sensitive events more precisely than when using a conventional questionnaire. We conducted an experimental design study comparing university students' responses to an on-line LHC and a conventional on-line question list. A test-retest design in which the respondents completed the survey again two weeks later was also applied to test the precision and reliability of the participants' dating of events. The results showed that whereas the numbers of sensitive and non-sensitive events were generally similar for the two on-line questionnaires, the responses obtained with the LHC were more consistent across the two administrations. Analyses of the respondents' on-line behavior while completing the LHC confirmed that respondents used the LHC's graphic interface to correct and reedit previous answers, thus decreasing data errors. (C) 2015 Elsevier Ltd. All rights reserved.