Water deprivation-induced sodium appetite

A water deprived animal that ingests only water efficiently corrects its intracellular dehydration, but remains hypovolemic, in negative sodium balance, and with high plasma renin activity and angiotensin II. Therefore, it is not surprising that it also ingests sodium. However, separation between thirst and sodium appetite is necessary to use water deprivation as a method to understand the mechanisms subserving sodium appetite. For this purpose, we may use the water deprivation-partial repletion protocol, or WD-PR. This protocol allows performing a sodium appetite test after the rat has quenched its thirst; thus, the sodium intake during this test cannot be confounded with a response to thirst. This is confirmed by hedonic shift and selective ingestion of sodium solutions in the sodium appetite test that follows a WD-PR. The separation between thirst and sodium appetite induced by water deprivation permits the identification of brain states associated with sodium intake in the appetite test. One of these states relates to the activation of angiotensin II All receptors. Other states relate to cell activity in key areas, e.g. subfornical organ and central amygdala, as revealed by immediate early gene c-Fos immunoreactivity or focal lesions. Angiotensin II apparently sensitizes the brain of the water deprived rat to produce an enhanced sodium intake, as that expressed by spontaneously hypertensive and by young normotensive rat. The enhancement in sodium intake produced by history of water deprivation is perhaps a clue to understand the putative salt addiction in humans.The paper represents an invited review by a symposium, award winner or keynote speaker at the Society for the Study of Ingestive Behavior [SSIB] Annual Meeting in Portland, July 2009. (C) 2010 Published by Elsevier B.V.

Variáveis da hemostasia sanguínea primária e secundária na doença renal crônica canina

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Estudo de caso de avaliação dos ativos intangíveis utilizando o modelo de excelência de gestão do prêmio nacional da qualidade

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Atenção ao câncer de boca no estado de Mato Grosso

Pós-graduação em Odontologia Preventiva e Social - FOA

A construção do conhecimento sobre a formação do administrador escolar: uma análise a partir das publicações nacionais

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Identidade marginal na literatura para crianças e jovens: os personagens de Lygia Bojunga

Pós-graduação em Letras - IBILCE

Historiografia literária e formação do cânone: Ana Miranda, Augusto dos Anjos e Olavo Bilac

Pós-graduação em Letras - IBILCE

Inteligência competitiva organizacional: um modelo apoiado nos comportamentos de busca, compartilhamento e uso de informação e de TIC

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Nós falamos da vida

It is said that a film producer to receive a prestigious award in the United States thanked saying We Speak of Life. Maybe this isone of the reasons for the fascination produced by this art. Life is a movie. The film celebrates life. The book We Speak of Lifeshows who are professionals of the cinema exhibition, those who are in the small microcosm that is the projection room and usuallyare not remembered by the general public

Estudo da influência das resinas termofixas uréia formaldeído (UF) e melamina formaldeído (MF) nas características físicas e mecânicas de painéis MDF

Thermosetting resins are very important in the production of MDF panels. They act as an adhesive in the process of compacting and consolidating the fiberboard. Thermoset resins commonly used in this process are based resin urea formaldehyde (UF) and melamine formaldehyde (MF). The first has a higher demand due to its low cost and good performance in meeting the specifications and standards. The second has a high cost compared to MF resin, but adds greater value to the MDF panel, because it gives greater moisture resistance. The process of manufacture of MDF boards was briefly presented in this study to facilitate the understanding of the work. Samples of thermosetting resins (UF and MF) were subjected to physical-chemical seeking to relate these results to the technological performance presented by their respective samples of MDF boards. Two other samples of MDF panels were subjected to physical and mechanical tests. Results were analyzed and related to the award of their respective thermoset resin. Instruments like Dahmos Trend Manager ® and Grecon Dax 5000 and TG - DSC analysis were used in this study to assist in the analysis of the results. It was observed that the results of the analysis of thermosetting resins were within the specified. Such resins do not directly influence the technological tests provided by the MDF panels, but it has been found that the process variables such as humidity and fiber production rate interfere with the performance of the resin accelerating the reaction and therefore their influence on the physical-mechanical properties of the panels MDF. Samples of MDF panels with UF and MF met all the specifications required by the Brazilian standard with regard to the technological quality. The increased demand for UF resin market is justified by the service specifications...

Dilemas na tradução de Muse & Drudge (Musa E Mula), de Harryette Mullen: negritude, dissonância e miscigenação

This paper aims to discuss a project of translating part of the work Muse & Drudge, by the award-winning African-American poet Harryette Mullen, into Brazilian Portuguese, with focus on a single poem. In Muse & Drudge Mullen combines cultural critique with humor, lyricism and punning, which has unfolded the frontiers between cultural and racial identity, and has put into question the opposition between popular and high culture. This work analyzes to which extent the proposed translation produces a new set of intertextual relations that might culminate in “unexpected” meanings. It is a goal to understand how the effects of such “unexpected” meanings reveal the “encounter” between the so-called racial “black/white” dichotomy, predominant in the US culture, and the notion of “miscegenation” and “racial democracy” in Brazil.

Intertextualidades, símbolos e mitos entre o romance Mygale e o filme A pele que habito

The award-winning and controversial movie by Pedro Almodóvar “The skin I live” (2011) is an adaptation of Mygale’s novel (1984), the French writer Thierry Jonquet (1954-2009), translated into Portuguese in 2005 as Tarântula. It is a horror story, full of suspense, in which a renowned surgeon, Robert Ledgard, played by Antonio Banderas, switches, without any scruples, the sex of the young Vincent. What it shown to the viewer since the first images of the movie is, therefore, Vicente/Vera in her new and perfect female body. Flashbacks clarify during the movie the events that culminated in the opening scene that is presented to us, surprising us and, of course, shocking us. References to myths and symbols can be noticed in the movie. They bring with them, to be recognized by the viewer, issues related to the creation or metamorphosis, among others, as the Pygmalion and Galatea myth, which binds to artistic creation. Artistic metamorphosis operated equally by the filmmaker in his modern version of the doctor and the monster, for example, but, especially, in the rereading of the Jonquet’s novel. This study seeks to highlight some of the major myths and symbols inserted in Almódovar’s movie and what interpretations such insertions may ensue.

As orações concessivas nas gramáticas e nos livros didáticos do Ensino Fundamental: análises e novas propostas

This paper aims to discuss the approach of sentences concessive on grammars and teaching books in Portuguese in order to ascertain to what extent is closer or more distant from the description of sentences concessive in real interaction from the perspective of Functional Discourse Grammar. Were consulted normative grammars, descriptive and five textbooks used in primary schools. In some, the grant was not addressed, as in others, we note that, in general, have definitions which simply equate concessive clauses a concept syntactic and sometimes semantic, detaching it from the domain of pragmatic language. This level of analysis is not left out, however, by the prospect Functional Discourse, which analyzes the pragmatic as the broader component within which we analyze the semantics and syntax. From this point of view, we intend to propose new emphases in approach given the award by the grammars and the teaching materials.

Corporalidade brasileira na fabricação da identidade nacional

This paper discusses how, through the creation of Embratur (Brazilian Tourism Company) in 1966, an idealized Brazilian female body was constructed and used to help manufacture a national identity, reinforcing the stereotype of the sexualized Brazilian woman. As it was often associated with sex tourism, this stereotype received much criticism and led to a negative image of Brazil abroad. However, in the 1990s the official tourism lobby softened the “sexy tone” of its discourse, and in 1999 Embratur received an award from the World Tourism Organization for its campaign to help fight the exploitation of children and youth by sexual tourism. In order to better understand how this change in the idealized Brazilian female body unfolded, it is important to deconstruct beauty standards – focusing on those that apply to Brazilian women as seen from abroad – and their relationship to modern consumer culture. Assuming that the cultural analysis of the female body emerges as an important issue in the field of Social Science, the focus on body image can be viewed as a key element in discussions about the construction of national identity.

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.