M��DIA, RELIGI��O E G��NERO: A REPRESENTA����O DA MULHER NO PROGRAMA SHOW DA F��

A pesquisa que relaciona g��nero e comunica����o ainda �� pouco discutida no Brasil e abordada de forma muito acanhada pelas universidades, suas iniciativas de estudo existentes t��m dedicado pouca aten����o �� religi��o e �� representa����o da mulher neste contexto, em especial as pesquisas que enfatizam a rela����o com as m��dias. O objetivo �� investigar como a constru����o social do papel da mulher no discurso religioso neopentecostal �� representada no programa Show da Fé, bem como averiguar os caminhos que nos levam �� discuss��o do fen��meno religioso numa perspectiva de g��nero. Elegemos como objeto de an��lise o quadro Abrindo o Cora����o, que �� apresentado no programa Show da Fé, pertencente �� Igreja Internacional da Gra��a de Deus, ��nico programa religioso veiculado tamb��m em emissoras de TV abertas em hor��rio nobre. A base para este estudo s��o as ferramentas te��rico-metodol��gicas da an��lise de discurso e a reconstitui����o da trajet��ria dos estudos feministas associados aos estudos da m��dia, via revis��es bibliogr��ficas e conceitos relacionados �� m��dia religiosa. Os resultados demonstram que a religi��o tem colaborado com a reprodu����o da vis��o patriarcal dominante e com a representa����o social da mulher a partir desta compreens��o e suas express��es midi��ticas baseiam-se nas refer��ncias da aceita����o/resigna����o, da submiss��o, da ren��ncia/concess��o e da responsabilidade/culpabilidade que caracterizam o lugar das mulheres no imagin��rio religioso, mais fortemente no pentecostalismo.

GAME SHOW: OS FORMATOS INTERATIVOS PARA A TV DIGITAL E NOVAS M��DIAS

O presente estudo tem como objetivo definir teoricamente o conceito de game show interativo, tendo por refer��ncia o novo ambiente de TV digital no Brasil. Para tanto, o m��todo empregado para desenvolver esta pesquisa foi o qualitativo, sendo utilizadas as t��cnicas de pesquisa bibliogr��fica, an��lise documental e pesquisa explorat��ria. O ponto de partida para tal estudo foi a cria����o e desenvolvimento do g��nero nos Estados Unidos da Am��rica local onde teve seu auge, seu decl��nio e seu ressurgimento quando entra em funcionamento a TV por assinatura. O formato �� exportado para v��rios pa��ses, inclusive o Brasil, e dele vislumbram-se v��rias possibilidades de reformula����o a partir do uso das novas tecnologias. H�� um novo panorama de constru����o de conte��dos que foi aberto com as possibilidades da TV digital interativa e este estudo visa apontar o game show como potencial formato para uso explorat��rio das possibilidades de interatividade.

Subthalamic nucleus neurones in slices from 1-methyl-4-phenyl-1,2,3,6-tetrahydropyridine-lesioned mice show irregular, dopamine-reversible firing pattern changes, but without synchronous activity

The loss of dopamine in idiopathic or animal models of Parkinson's disease induces synchronized low-frequency oscillatory burst-firing in subthalamic nucleus neurones. We sought to establish whether these firing patterns observed in vivo were preserved in slices taken from dopamine-depleted animals, thus establishing a role for the isolated subthalamic-globus pallidus complex in generating the pathological activity. Mice treated with 1-methyl-4-phenyl-1,2,3,6-tetrahydropyridine (MPTP) showed significant reductions of over 90% in levels of dopamine as measured in striatum by high pressure liquid chromatography. Likewise, significant reductions in tyrosine hydroxylase immunostaining within the striatum (>90%) and tyrosine hydroxylase positive cell numbers (65%) in substantia nigra were observed. Compared with slices from intact mice, neurones in slices from MPTP-lesioned mice fired significantly more slowly (mean rate of 4.2 Hz, cf. 7.2 Hz in control) and more irregularly (mean coefficient of variation of inter-spike interval of 94.4%, cf. 37.9% in control). Application of ionotropic glutamate receptor antagonists 6-cyano-7-nitroquinoxaline-2,3-dione (CNQX) and 2-amino-5-phosphonopentanoic acid (AP5) and the GABAA receptor antagonist picrotoxin caused no change in firing pattern. Bath application of dopamine significantly increased cell firing rate and regularized the pattern of activity in cells from slices from both MPTP-treated and control animals. Although the absolute change was more modest in control slices, the maximum dopamine effect in the two groups was comparable. Indeed, when taking into account the basal firing rate, no differences in the sensitivity to dopamine were observed between these two cohorts. Furthermore, pairs of subthalamic nucleus cells showed no correlated activity in slices from either control (21 pairs) or MPTP-treated animals (20 pairs). These results indicate that the isolated but interconnected subthalamic-globus pallidus network is not itself sufficient to generate the aberrant firing patterns in dopamine-depleted animals. More likely, inputs from other regions, such as the cortex, are needed to generate pathological oscillatory activity. �� 2006 IBRO.

Proteins accessible to immune surveillance show significant T-cell epitope depletion:implications for vaccine design

T cell activation is the final step in a complex pathway through which pathogen-derived peptide fragments can elicit an immune response. For it to occur, peptides must form stable complexes with Major Histocompatibility Complex (MHC) molecules and be presented on the cell surface. Computational predictors of MHC binding are often used within in silico vaccine design pathways. We have previously shown that, paradoxically, most bacterial proteins known experimentally to elicit an immune response in disease models are depleted in peptides predicted to bind to human MHC alleles. The results presented here, derived using software proven through benchmarking to be the most accurate currently available, show that vaccine antigens contain fewer predicted MHC-binding peptides than control bacterial proteins from almost all subcellular locations with the exception of cell wall and some cytoplasmic proteins. This effect is too large to be explained from the undoubted lack of precision of the software or from the amino acid composition of the antigens. Instead, we propose that pathogens have evolved under the influence of the host immune system so that surface proteins are depleted in potential MHC-binding peptides, and suggest that identification of a protein likely to contain a single immuno-dominant epitope is likely to be a productive strategy for vaccine design.

Show bizz becomes show buzz:how viral diffusion changes the traditional meaning-making process of a rising star

Studying the case of a young French rapper called Kamini, the authors show how the viral diffusion of a new creative product, such as a song, radically changes traditional meaning-making processes. Instead of the top-down approach in which product positioning is carefully constructed and transferred to consumers, marketers are faced with a bottom-up trend in which consumers increasingly participate in blogs and online forums to talk about products (thus, creating and diffusing meaning) before any marketing action is undertaken. Our study aims to understand the interactions and tensions between market forces that result from this pro-active role of the consumer.

A 'sexy space' for women? Heterosexual women's experiences of a male strip show venue

The rise of male strip shows marketed towards heterosexual women has called into question the idea that only men can 'gaze' or be 'sexual scrutinizers' in public leisure spaces. This paper details the findings of an ethnographic study of a male strip event 'Cheeky's',1 located in the Midlands, England. Utilising observation, informal interviews and photography, the paper describes the physical environment and the atmosphere of the event, and analyses interview data with female customers. The paper questions what spaces such as Cheeky's mean for female sexualities, sexual roles and desires. The findings are twofold. On the one hand the club was a relatively novel sexual space, as some women spectators experienced it as an 'empowering' space in which they could be 'sexually aggressive'; on the other hand, the character of the club was actively and adeptly manufactured by the Master of Ceremonies (MC), and male dancers, so as to encourage - and even to coercively elicit - extrovert behaviour from women customers. Despite shifting normative gendered expectations of women's sexual behaviour to some extent, ultimately the club structured women's sexual experiences around traditional heterosexist lines. The club did not encourage women's autonomous sexual expression, and many women claimed they had not found it a very 'sexy space'. ���� 2011 Taylor & Francis.

Miami Art Show, June 1, 1974

Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university���s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics��� Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series ���American Art Today,��� which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida���s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in ���Who���s Who in American Art��� and in ���Who���s Who of American Women.��� Morgan���s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan���s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU���s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university���s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics��� Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series ���American Art Today,��� which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida���s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in ���Who���s Who in American Art��� and in ���Who���s Who of American Women.��� Morgan���s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan���s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU���s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university���s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics��� Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series ���American Art Today,��� which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida���s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in ���Who���s Who in American Art��� and in ���Who���s Who of American Women.��� Morgan���s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan���s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU���s Frost Art Museum.

Do Social Crises Cause Religious Revivals? What British Church Adherence Rates Show

Funding Some of author A���s research alluded to here was conducted while on a Leverhulme Senior Research Fellowship. Author B���s research is supported by the ESRC Research Centre XXX.

Ti-Grace Atkinson on the Arlene Frances Radio Show

General note: Title and date provided by Bettye Lane.