937 resultados para Michael Adams


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Acrylamide and pyrazine formation, as influenced by the incorporation of different amino acids, was investigated in sealed low-moisture asparagine-glucose model systems. Added amino acids, with the exception of glycine and cysteine and at an equimolar concentration to asparagine, increased the rate of acrylamide formation. The strong correlation between the unsubstituted pyrazine and acrylamide suggests the promotion of the formation of Maillard reaction intermediates, and in particular glyoxal, as the determining mode of-action. At increased amino acid concentrations, diverse effects were observed. The initial rates of acrylamide formation remained high for valine, alanine, phenylalanine, tryptophan, glutamine, and Ieucine, while a significant mitigating effect, as evident from the acrylamide yields after 60 min of heating at 160 degrees C, was observed for proline, tryptophan, glycine, and cysteine. The secondary amine containing amino acids, proline and tryptophan, had the most profound mitigating effect on acrylamide after 60 min of heating. The relative importance of the competing effect of added amino acids for alpha-dicarbonyls and acrylamide-amino, acid alkylation reactions is discussed and accompanied by data on the relative formation rates of selected amino acid-AA adducts.

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A new homo-proline tetrazole derivative 7 has been prepared and shown to have improved properties for achieving asymmetric Michael addition of carbonyl compounds to nitro-olefins.

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Tetrazole and acylsulfonamide organocatalysts derived from proline have been synthesised and applied to the asymmetric Mannich, nitro-Michael and aldol reactions to give results that are superior to the proline-catalysed counterpart.

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This book chapter compares the translation strategies of two contemporay poets, Derek Walcott and Michael Longley, as they attempt versions or rewrites of Homeric epic.

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This article demonstrates how early Pre-Raphaelite poetry worked according to the principle that art should be modelled on science theorised by the Pre-Raphaelites in their early essays. As the main theorists (rather than practitioners) of Pre-Raphaelite art, F. G. Stephens and William Michael Rossetti defined the Pre-Raphaelite project in terms of observation, investigation, experiment, the “adherence to fact” and the “search after truth”. In the hands of the early Pre-Raphaelite poets, and particularly Rossetti himself, poetry too becomes a mode of scientific enquiry into the natural world, the nature of observation, human psychology and medical practice.

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Digital imaging technologies enable a mastery of the visual that in recent mainstream cinema frequently manifests as certain kinds of spatial reach, orientation and motion. In such a context Michael Bay’s Transformers franchise can be framed as a digital re-tooling of a familiar fantasy of vehicular propulsion, US car culture writ large in digitally crafted spectacles of diegetic speed, the vehicular chase film ‘2.0’. Movement is central to these films, calling up Scott Bukatman’s observation that in spectacular visual media ‘movement has become more than a tool of bodily knowledge; it has become an end in itself’ (2003: 125). Not all movements and not all instances of vehicular propulsion are the same however. How might we evaluate what is at stake in a film’s assertion of movement as an end in itself, and the form that assertion takes, its articulations of diegetic velocity, corporeality, and spatial penetration? Deploying an attentiveness towards the specificity of aesthetic detail and affective impact in Bay’s delineation of movement, this essay suggests that the franchise poses questions about the relationship of human movement to machine movement that exceed their narrative basis. Identifying a persistent rotational trope in the franchise that in its audio-visual articulation combines oddly anachronistic elements (evoking the mechanical rather than the digital), the article argues that the films prioritise certain fantasies of transformation and spatial penetration, and certain modes of corporeality, as one response to contemporary debates about digital technologisation, sustainable energy, and cinematic spectacle. In this way the franchise also represents a particular moment in a more widely discernible preoccupation in contemporary cinema with what we might call a ‘rotational aesthetics’ of action, a machine movement made possible by the digital, but which invokes earlier histories and fantasies of animation, propulsion, mechanization and mechanization to particular ends.

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The human malaria parasite Plasmodium vivax is responsible for 25 - 40% of the similar to 515 million annual cases of malaria worldwide. Although seldom fatal, the parasite elicits severe and incapacitating clinical symptoms and often causes relapses months after a primary infection has cleared. Despite its importance as a major human pathogen, P. vivax is little studied because it cannot be propagated continuously in the laboratory except in non- human primates. We sequenced the genome of P. vivax to shed light on its distinctive biological features, and as a means to drive development of new drugs and vaccines. Here we describe the synteny and isochore structure of P. vivax chromosomes, and show that the parasite resembles other malaria parasites in gene content and metabolic potential, but possesses novel gene families and potential alternative invasion pathways not recognized previously. Completion of the P. vivax genome provides the scientific community with a valuable resource that can be used to advance investigation into this neglected species.

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Lithium ""butylchalcogenolates are generated in situ by reacting the elements (S, Se, and Te) with (n)butyl-lithium at 0 degrees C. Reaction of the lithium alkylchalcogenolates with activated alkenes and aldehydes gives the corresponding aldol adducts. The selenium-containing products give Morita-Baylis-Hillman adducts after the oxidation/elimination of the selenoxide. The whole sequence can be performed in a one-pot procedure. (C) 2009 Elsevier Ltd. All rights reserved.