Variability of the conserved V3 loop tip motif in HIV-1 subtype B isolates collected from Brazilian and French patients

The diversity of the V3 loop tip motif sequences of HIV-1 subtype B was analyzed in patients from Botucatu (Brazil) and Montpellier (France). Overall, 37 tetrameric tip motifs were identified, 28 and 17 of them being recognized in Brazilian and French patients, respectively. The GPGR (P) motif was predominant in French but not in Brazilian patients (53.5% vs 31.0%), whereas the GWGR (W) motif was frequent in Brazilian patients (23.0%) and absent in French patients. Three tip motif groups were considered: P, W, and non-P non-W groups. The distribution of HIV-1 isolates into the three groups was significantly different between isolates from Botucatu and from Montpellier (P < 0.001). A higher proportion of CXCR4-using HIV-1 (X4 variants) was observed in the non-P non-W group as compared with the P group (37.5% vs 19.1%), and no X4 variant was identified in the W group (P < 0.001). The higher proportion of X4 variants in the non-P non-W group was essentially observed among the patients from Montpellier, who have been infected with HIV-1 for a longer period of time than those from Botucatu. Among patients from Montpellier, CD4+ cell counts were lower in patients belonging to the non-P non-W group than in those belonging to the P group (24 cells/µL vs 197 cells/µL; P = 0.005). Taken together, the results suggest that variability of the V3 loop tip motif may be related to HIV-1 coreceptor usage and to disease progression. However, as analyzed by a bioinformatic method, the substitution of the V3 loop tip motif of the subtype B consensus sequence with the different tip motifs identified in the present study was not sufficient to induce a change in HIV-1 coreceptor usage.

Tragedy on grade crossing: driver failure or systemic fragility?

In 2010, an accident occurred in Americana-SP, Brazil, involving two trains and one bus on a Grade Crossing, when 10 people died and 17 were injured including workers. This paper aims to analyze the accident using the Model of Analysis and Prevention of Work Accidents (MAPA). The method provides observation of work, interviews and analysis of documents to understand precedents of the event in the following stages: to understand the usual work from the involved people, the changes occurred in the system, the operation of barriers, managerial and organizational aspects. By the end, measures are suggested to avoid new occurrences. The accident took place at night in a site with insufficient lighting. The working conditions of bus drivers, train operators and watchmen are inadequate. There were only symbolic barriers (visual and acoustic signals) triggered manually by watchman upon train operator radio communication. The fragility of the barrier system associated to poor lighting and short time to trigger the signaling seem to play a critical role in the event. Contrary to the official report which resulted in guilt of the bus driver, the conclusion of the paper emphasizes the fragility of the safety system and the need of level crossing reproject.

Almada Negreiros e a tragédia da unidade

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O espetáculo da moral em Schiller

Pós-graduação em Filosofia - FFC

Saramago, Braff e seus personagens duplos: uma análise comparativa

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Geografias do drama humano: leituras do espaço em São Bernardo, de Graciliano Ramos e Pedro Páramo, de Juan Rulfo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Phoenissae de Sêneca: estudo introdutório, tradução e notas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Arte-experimento: o bailado narrativo de Cara-de-Bronze

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

L'Amour dácadent em dramas de Villiers de L'Isle-Adam e Maurice Maeterlinck

Pós-graduação em Estudos Literários - FCLAR

Repercussões do trágico e do social no teatro de Dias Gomes: leitura comparativa entre Antígona de Sófocles; O Pagador de Promessas, O Santo Inquérito e As Primícias de Dias Gomes

Pós-graduação em Letras - FCLAS

Andromaque, de Jean Racine: duas leituras

Este artigo tem o objetivo de apresentar uma obra-prima do teatro clássico francês: Andromaque (1667), de Jean Racine. Primeiramente, efetuamos sua leitura segundo os princípios da doutrina clássica, que se formou entre 1620 e 1660, na França. Nessa perspectiva, Andrômaca, rainha troiana vencida e cativa, é a personagem triunfante, uma forte personalidade feminina fora do alcance do leitor/espectador: quem é de fato Andrômaca, enquanto Pirro não está morto? Em seguida, destacamos uma das análises realizadas pela crítica literária do século XX, a qual utilizou instrumentos interpretativos vários. A leitura que fez Roland Barthes (1963) em Sur Racine subverte a interpretação anterior que se fazia à luz da doutrina clássica, apresentando-nos Pirro como o grande herói trágico, e a personagem mais emancipada do teatro raciniano.

A natureza participante de Eisenstein / Eisenstein’s participant nature

Este artigo analisa alguns ensaios de Eisenstein escritos entre 1945 e 1947, que se encontram na antologia francesa intitulada La non-indifférente nature, de 1976. Fio condutor dos escritos é uma indagação sobre a natureza orgânica da obra de arte, encontrada nas mais variadas manifestações artísticas: em cinema, teatro, literatura, pintura, arquitetura, música. A “organicidade” das obras artísticas decorria do fato de elas serem construídas conforme os elementos estruturais do fenômeno representado: a ligação entre realidade e obra não consistiria numa reprodução de conteúdos, mas na recriação, em todos os níveis formais da obra, da lei dialética que rege a realidade. This paper analyses some essays by Eisenstein written between 1945 and 1947, included in a French anthology of 1976 entiled La non-différente in nature. The guideline of such writings is a quest for the “organic nature” of the work of art, found in the most varied artistic manifestations: cinema, drama, literature, painting, architecture, music. The “organicity” of works of art derived from the that they were built according to the structural elements of the phenomenon represented: the connection between reality and work would not consist of a duplication of contents, but in the recreation, in all the formal levels of the work, of the dialectic law which rules reality.

Geografias do drama humano: leituras do espaço em São Bernardo, de Graciliano Ramos, e Pedro Páramo, de Juan Rulfo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A contribuição do canto para a voz falada do ator

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)