Comparative cytogenetics of bats (Chiroptera): The prevalence of Robertsonian translocations limits the power of chromosomal characters in resolving interfamily phylogenetic relationships

Although the monophyly of Chiroptera is well supported by many independent studies, higher-level systematics, e.g. the monophyly of microbats, remains disputed by morphological and molecular studies. Chromosomal rearrangements, as one type of rare genomic changes, have become increasingly popular in phylogenetic studies as alternatives to molecular and other morphological characters. Here, the representatives of families Megadermatidae and Emballonuridae are studied by comparative chromosome painting for the first time. The results have been integrated into published comparative maps, providing an opportunity to assess genome-wide chromosomal homologies between the representatives of eight bat families. Our results further substantiate the wide occurrence of Robertsonian translocations in bats, with the possible involvement of whole-arm reciprocal translocations (WARTs). In order to search for valid cytogenetic signature(s) for each family and superfamily, evolutionary chromosomal rearrangements identified by chromosomal painting and/or banding comparison are subjected to two independent analyses: (1) a cladistic analysis using parsimony and (2) the mapping of these chromosomal changes onto the molecularly defined phylogenetic tree available fromthe literature. Both analyses clearly indicate the prevalence of homoplasic events that reduce the reliability of chromosomal characters for resolving interfamily relationships in bats.

利用比较染色体涂色和BAC定位技术探讨麂属动物染色体的起源和演化

比较细胞遗传学研究发现物种的形成过程往往伴随着核型结构的变化，各种鹿属动物染色体的巨大差异正是很好的例证'赤魔的染色体被证明是由具有端着丝粒的祖先染色体经过多次的串联融合进化而来的。根据祖先染色体的形态和连接方式，可以将染色体串联融合主要分为三类：着丝粒一着丝粒融合，着丝粒一端粒融合和端粒一端粒融合。经典细胞遗传学，比较染色体涂色，卫星DNA序列和部分融合位点序列比较研究都支持串联融合假说。但串联融合的类型和分子机制迄今没有完全弄清楚。本论文旨在对魔属动物的串联融合类型和分子机制进行研究，分为两个部分：一、通过比较染色体涂色的方法，建立小鹿一林察一大额牛的比较染色体图谱，结合以前发表的结果来阐明鹿科（小魔）与牛科（大额牛），寮科（林磨）之间的核型关系；二、建立赤鹿的全基因组BAc文库，通过克隆定位的方法确立在赤魔的染色体进化过程中所发生的串联融合类型，并对其机制进行探讨。主要结果如下：利用小鹿的染色体特异探针与林寮，大额牛的染色体进行杂交，首次建立了小鹿一大额牛，小魔一林察的核型对比关系。结果显示小鹿的1-5、11号染色体均与林集和大额牛的多段染色体同源。结合高分辨的G带比较，发现小魔1-5和11号染色体上的与林爵和大额牛对应的所有同源片断在小鹿染色体上呈着丝粒一端粒连接排列。从而进一步证明小鹿的1-5和11号染色体是由2n=70的祖先核型通过染色体的着丝粒一端粒串联融合方式进化而来的。建立了我国第一个赤魔全基因组BAC文库，该文库由124800个克隆组成。大部分插入片段的大小在100-145kb之间，片段的平均大小为12＜0kb。克隆定位显示克隆的分布与小鹿染色体大小成正比关系，说明整个文库没有染色体的偏倚，文库为整个基因组的6倍，覆盖率几乎为100％。通过赤鹿BAC克隆在小魔和赤鹿染色体上的精确定位，使我们得以准确判断小鹿染色体在赤鹿染色体同源片段上的连接方式，并确定串联融合的类型。结果进一步支持赤鹿的核型是由一个2n=70祖先核型通过着丝粒一端粒的融合方式进化而来的。

Self-assembled monolayer growth of phospholipids on hydrophobic surface toward mimetic biomembranes: Scanning probe microscopy study

Atomic force microscopy (AFM) and lateral force microscopy (LFM) were used simultaneously to analyze a model membrane bilayer structure consisting of a phospholipid outer monolayer deposited onto organosilane-derivatized mica surfaces, which were constructed by using painting and self-assembly methods. The phospholipid used as outer monolayer was dimyristoylphosphatidylcholine (DMPC). The hydrocarbon-covered substrate that formed the inner half bilayer was composed of a self-assembly monolayer (SAM) of octadecyltrichloroorganosilane (OTS) on mica. SAMs of DMPC were formed by exposing hydrophobic mica to a solution of DMPC in decane/isobutanol and subsequently immersing into pure water. AFM images of samples immersed in solution for varying exposure times showed that before forming a complete monolayer the molecules aggregated into dense islands (2.2-2.6 nm high) on the surface. The islands had a compact and rounded morphology. LFM, coupled with topographic data obtained with the atomic force mode, had made possible the distinction between DMPC and OTS. The rate constant of DMPC growth was calculated. This is the first systematic study of the SAM formation of DMPC by AFM and LFM imaging. It reveals more direct information about the film morphology than previous studies with conventional surface analytical techniques such as infrared spectroscopy, X-ray, or fluorescence microscopy.

Toward A Model Of Children's Story Comprehension

How does a person answer questions about children's stories? For example, consider 'Janet wanted Jack's paints. She looked at the picture he was painting and said 'Those paints make your picture look funny.' The question to ask is 'Why did Janet say that?'. We propose a model which answers such questions by relating the story to background real world knowledge. The model tries to generate and answer important questions about the story as it goes along. Within this model we examine two questions about the story as it goes along. Within this model we examine two problems, how to organize this real world knowledge, and how it enters into more traditional linguistic questions such as deciding noun phrase reference.

Świadomość językowa i stosunek do holenderskiej i belgijskiej odmiany języka niderlandzkiego wśród polskich studentów niderlandystki

Wydział Anglistyki

Study of the images for the Visual Arts Education in Secondary Education textbooks: educational implications

In this paper we present the first data from the research conducted to determine the relationship between traditional visual arts and other forms of visual culture closer to the experiences of high school youth. The hypothesis of this research is that while students are nurtured and live primarily with the images provided by the media culture, their textbooks basically refer to the more traditional art images. The research has been limited to a review and analysis of the most common educational materials for teaching visual arts in high school. After the systematization and analysis of the images appeared in textbooks, we have detected three major types: the artistics, those who belong to media culture and others. The most relevant conclusions indicate that: there are hardly any connections between different types of images, they offer a very traditional view of art and they are far removed from the experiences of young book users.

"Cómo pintar el aire". Fundamentos científicos de la perspectiva atmosférica

La perspectiva aérea o atmosférica es juzgada por los pintores como parte esencial de la pintura, una vez establecidos los presupuestos geométricos de la representación naturalista mediante la perspectiva lineal. Leonardo da Vinci fue el primer autor en definir la perspectiva aérea o atmosférica, conocidos ya a través de L. B. Alberti los fundamentos geométricos de la perspectiva lineal en el tratado De Pictura (1435). Doscientos años después, tras la influyente publicación del Optics de Newton, contextualizadas bajo el espíritu racionalista del siglo XVIII, el artículo estudia las recomendaciones que desde la ciencia y los científicos (específicamente a través de tres figuras relevantes: Brook Taylor, J. H. Lambert y Gaspard Monge) se dan a los pintores con la pretensión de arbitrar una medición exacta del color, en confrontación con el tradicional empirismo del mundo artístico. Este tema puede considerarse un capítulo de gran interés en la larga historia de la pintura y la representación de los fenómenos atmosféricos, cuyos antecedentes teóricos tienen su inicio en el Débat sur le Coloris de la Académie Française del siglo XVII y sus resultados, conducirán hacia el nacimiento de la moderna Teoría del color, en respuesta a una cuestión tan compleja sobre cómo pintar el aire.

Women artists of the international avant-garde: the case of "Abstraction-Création" (1931-1936)

Women’s contribution to abstract art in the interwar period is a subject that, to date, has received very little attention. In this article we deal with the untold story of the participation of women artists in Abstraction-Création, the foremost international group dedicated to abstract art in the 1930s. Founded in Paris in 1931, the group took on the work of two previous collectives to become a platform for the dissemination and promotion of abstract art and consisted of around a hundred members. Twelve of these were women, whose writings and works were published in the group’s annual magazine, abstraction creátion art non figuratif (1932-1936), and who participated in a number of the group’s exhibitions. Compared to what had occurred in previous groups, the participation of women, although reduced in number, was comparable to that of the male artists and being members of the group had a generally positive impact on the women’s careers. However, all this came at the expense of relinquishing any gender specificity in their work and the public presentation of it, and demonstrates that the normalization of women’s contributions to the avant-garde could only be brought about alongside a questioning of the more dogmatic views of modernity.

Bracketing: practical considerations in Husserlian phenomenological research

Nursing research leans heavily towards naturalism, with phenomenology commonly adopted. The three main schools of phenomenology used are Husserl's descriptive approach, Heidegger's interpretive hermeneutic approach and the Dutch Utrecht School of phenomenology which combines characteristics of both. Husserl's approach--the description of ordinary human experiences as perceived by each individual--involves four main steps: bracketing, intuiting, analysing and describing. Many phenomenological nurse researchers consciously decide to adopt a Heideggerian approach because of the perceived difficulties in achieving bracketing. This paper examines the concept of bracketing (epoché) and outlines some of the practical considerations when attempting to achieve it.

Colagens têxteis: em busca de um design sustentável

Os desafios dos designers nos dias de hoje são inúmeros, sendo um deles o de desenvolver produtos que atendam ao mercado sem deixar de lado as preocupações com a sustentabilidade, seja ambiental, sócio-ética ou econômica. Assim sendo, a própria disputa para alcançar novos patamares de destaque no mercado também fez proliferar novas tecnologias de produção sustentável como um fator diferenciador nos dias de hoje que, para além de preservar a natureza, conquista uma larga faixa de clientes sensíveis a este tipo de preocupações. É objetivo deste trabalho a criação de produtos de design de moda e decoração e sua verificação enquanto design sustentável. Neste contexto, enquadra-se este trabalho que visa desenvolver produtos de moda e decoração realizados com a técnica da colagem têxtil, resultando assim, em produtos inovadores, únicos, intemporais e com design. A presente investigação desenvolveu-se em parceria com o Banco de Vestuário de Caxias do Sul, que forneceu dados para o estudo do setor têxtil e levantamento dos resíduos da indústria têxtil da região para caracterização do setor, além de disponibilizar os resíduos têxteis que serviram de base para a criação de produtos de moda e de decoração mais sustentáveis. Para a criação das superfícies têxteis coladas foram desenvolvidas amostras com testes de temperaturas e tempos para verificar a combinação que mais se adequa a cada tipo de matéria-prima. Além de fazer uso destes resíduos, a investigação contou com o auxílio de mão-de-obra de artesãs que, por sua vez, foram capacitadas com a técnica da colagem têxtil através de dois workshops. Após esta etapa, para fazer a análise dos níveis de sustentabilidade dos produtos, utilizou-se o Sustainability Design Orienting Toolkit (SDO) que é um conjunto de ferramentas que visa a orientação dos designers no desenvolvimento de produtos em termos de sustentabilidade ambiental, sócio-ética e econômica.

Vox Dei:metáfora(s) da espiritualidade

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

A coleção de escultura da Faculdade de Belas Artes : a formação do gosto e o ensino do desenho

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Joaquim Rodrigo:a contínua reinvenção da pintura

Tese de doutoramento, História (História da Arte), Universidade de Lisboa, Faculdade de Letras, 2014

O trompe l’oeil barroco na Igreja do Menino Deus em Lisboa : métodos e técnicas

Tese de doutoramento, Belas-Artes (Geometria), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Tratamento de cor em pós-produção televisiva: o caso da produtora de conteúdos SP Televisão

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.