DNA-dependent Protein Kinase-mediated Phosphorylation of Protein Kinase B Requires a Specific Recognition Sequence in the C-terminal Hydrophobic Motif

DNA-dependent protein kinase (DNA-PK) has been implicated in a variety of nuclear processes including DNA double strand break repair, V(D)J recombination, and transcription. A recent study showed that DNA-PK is responsible for Ser-473 phosphorylation in the hydrophobic motif of protein kinase B (PKB/Akt) in genotoxic-stressed cells, suggesting a novel role for DNA-PK in cell signaling. Here, we report that DNA-PK activity toward PKB peptides is impaired in DNA-PK knock-out mouse embryonic fibroblast cells when compared with wild type. In addition, human glioblastoma cells expressing a mutant form of DNA-PK (M059J) displayed a lower DNA-PK activity when compared with glioblastoma cells expressing wild-type DNA- PK (M059K) when PKB peptide substrates were tested. DNA- PK preferentially phosphorylated PKB on Ser-473 when compared with its known in vitro substrate, p53. A consensus hydrophobic amino acid surrounding the Ser-473 phospho-acceptor site in PKB containing amino acids Phe at position +1 and +4 and Tyr at position -1 are critical for DNA- PK activity. Thus, these data define the specificity of DNA- PK action as a Ser-473 kinase for PKB in DNA repair signaling.

Bis-guanylhydrazone diimidazo[1,2-a:1,2-c]pyrimidine as a novel and specific G-quadruplex binding motif

A bis-guanylhydrazone derivative of diimidazo[1,2-a:1,2-c]pyrimidine has unexpectedly been found to be a potent stabiliser of several quadruplex DNAs, whereas there is no significant interaction with duplex DNA. Molecular modeling suggests that the guanylhydrazone groups play an active role in quadruplex binding.

Structural basis for the platelet-collagen interaction - The smallest motif within collagen that recognizes and activates platelet glycoprotein VI contains two glycine-proline-hydroxyproline triplets

Collagen-related peptide is a selective agonist for the platelet collagen receptor Glycoprotein VI. The triple helical peptide contains ten GPO triplets/strand (single letter amino acid nomenclature, where O is hydroxyproline) and so over-represents GPO compared with native collagen sequence. To investigate the ability of Glycoprotein VI to recognize GPO triplets in a setting more representative of the collagens, we synthesized a set of triple helical peptides containing fewer GPO triplets, varying their number and spacing within an inert (GPP)(n) backbone. The adhesion of recombinant human Glycoprotein VI ectodomain, like that of human platelets, to these peptides increased with their GPO content, and platelet adhesion was abolished by the specific anti-Glycoprotein VI-blocking antibody, 10B12. Platelet aggregation and protein tyrosine phosphorylation were induced only by cross-linked peptides and only those that contained two or more GPO triplets. Such peptides were less potent than cross-linked collagen-related peptide. Our data suggest that both the sequences GPOGPO and GPO center dot center dot center dot center dot center dot center dot center dot center dot center dot GPO represent functional Glycoprotein VI recognition motifs within collagen. Furthermore, we propose that the (GPO)(4) motif can support simultaneous binding of two glycoprotein VI molecules, in either a parallel or anti-parallel stacking arrangement, which could play an important role in activation of signaling.

IQ-motif selectivity in human IQGAP2 and IQGAP3: binding of calmodulin and myosin essential light chain

The IQGAP [IQ-motif-containing GAP (GTPase-activating protein)] family members are eukaryotic proteins that act at the interface between cellular signalling and the cytoskeleton. As such they collect numerous inputs from a variety of signalling pathways. A key binding partner is the calcium-sensing protein CaM (calmodulin). This protein binds mainly through a series of IQ-motifs which are located towards the middle of the primary sequence of the IQGAPs. In some IQGAPs, these motifs also provide binding sites for CaM-like proteins such as myosin essential light chain and S100B. Using synthetic peptides and native gel electrophoresis, the binding properties of the IQ-motifs from human IQGAP2 and IQGAP3 have been mapped. The second and third IQ-motifs in IQGAP2 and all four of the IQ-motifs of IQGAP3 interacted with CaM in the presence of calcium ions. However, there were differences in the type of interaction: while some IQ-motifs were able to form complexes with CaM which were stable under the conditions of the experiment, others formed more transient interactions. The first IQ-motifs from IQGAP2 and IQGAP3 formed transient interactions with CaM in the absence of calcium and the first motif from IQGAP3 formed a transient interaction with the myosin essential light chain MIc1sa. None of these IQ-motifs interacted with S100B. Molecular modelling suggested that all of the IQ-motifs, except the first one from IQGAP2 formed alpha-helices in solution. These results extend our knowledge of the selectivity of IQ-motifs for CaM and related proteins.

Characterization of the highly conserved VFMGD motif in a bacterial polyisoprenyl-phosphate N-acetylaminosugar-1-phosphate transferase

Polyisoprenyl-phosphate N-acetylaminosugar-1-phosphate transferases (PNPTs) constitute a family of eukaryotic and prokaryotic membrane proteins that catalyze the transfer of a sugar-1-phosphate to a phosphoisoprenyl lipid carrier. All PNPT members share a highly conserved 213-Valine-Phenylalanine-Methionine-Glycine-Aspartic acid-217 (VFMGD) motif. Previous studies using the MraY protein suggested that the aspartic acid residue in this motif, D267, is a nucleophile for a proposed double-displacement mechanism involving the cleavage of the phosphoanhydride bond of the nucleoside. Here, we demonstrate that the corresponding residue in the E. coli WecA, D217, is not directly involved in catalysis, as its replacement by asparagine results in a more active enzyme. Kinetic data indicate that the D217N replacement leads to more than twofold increase in V(max) without significant change in the K(m) for the nucleoside sugar substrate. Furthermore, no differences in the binding of the reaction intermediate analog tunicamycin were found in D217N as well as in other replacement mutants at the same position. We also found that alanine substitutions in various residues of the VFMGD motif affect to various degrees the enzymatic activity of WecA in vivo and in vitro. Together, our data suggest that the highly conserved VFMGD motif defines a common region in PNPT proteins that contributes to the active site and is likely involved in the release of the reaction product.

IQ-motif peptides as novel anti-microbial agents

The IQ-motif is an amphipathic, often positively charged, a-helical, calmodulin binding sequence found in a number of eukaryote signalling, transport and cytoskeletal proteins. They share common biophysical characteristics with established, cationic a-helical antimicrobial peptides, such as the human cathelicidin LL-37. Therefore, we tested eight peptides encoding the sequences of IQ-motifs derived from the human cytoskeletal scaffolding proteins IQGAP2 and IQGAP3. Some of these peptides were able to inhibit the growth of Escherichia coli and Staphylococcus aureus with minimal inhibitory concentrations (MIC) comparable to LL-37. In addition some IQ-motifs had activity against the fungus Candida albicans. This antimicrobial activity is combined with low haemolytic activity (comparable to, or lower than, that of LL-37). Those IQ-motifs with anti-microbial activity tended to be able to bind to lipopolysaccharide. Some of these were also able to permeabilise the cell membranes of both Gram positive and Gram negative bacteria. These results demonstrate that IQ-motifs are viable lead sequences for the identification and optimisation of novel anti-microbial peptides. Thus, further investigation of the anti-microbial properties of this diverse group of sequences is merited.

Mutational analysis of the highly conserved arginine within the Glu/Asp-Arg-Tyr motif of the alpha(1b)-adrenergic receptor: effects on receptor isomerization and activation.

We have suggested previously that both the negatively and positively charged residues of the highly conserved Glu/Asp-Arg-Tyr (E/DRY) motif play an important role in the activation process of the alpha(1b)-adreneric receptor (AR). In this study, R143 of the E/DRY sequence in the alpha(1b)-AR was mutated into several amino acids (Lys, His, Glu, Asp, Ala, Asn, and Ile). The charge-conserving mutation of R143 into lysine not only preserved the maximal agonist-induced response of the alpha(1b)-AR, but it also conferred high degree of constitutive activity to the receptor. Both basal and agonist-induced phosphorylation levels were significantly increased for the R143K mutant compared with those of the wild-type receptor. Other substitutions of R143 resulted in receptor mutants with either a small increase in constitutive activity (R143H and R143D), impairment (R143H, R143D), or complete loss of receptor-mediated response (R143E, R143A, R143N, R143I). The R413E mutant displayed a small, but significant increase in basal phosphorylation despite being severely impaired in receptor-mediated response. Interestingly, all the arginine mutants displayed increased affinity for agonist binding compared with the wild-type alpha(1b)-AR. A correlation was found between the extent of the affinity shift and the intrinsic activity of the agonists. The analysis of the receptor mutants using the allosteric ternary complex model in conjunction with the results of molecular dynamics simulations on the receptor models support the hypothesis that mutations of R143 can drive the isomerization of the alpha(1b)-AR into different states, highlighting the crucial role of this residue in the activation process of the receptor.

La gigantomachie de Lousanna-Vidy suivie de considérations sur la transmission du motif de l'anguipède

Considérations méthodologiques Nous avons limité aux précisions indispensables à la compréhension de notre propos les considérations sur la gigantomachie en général. Nous renvoyons aux études signalées plus haut (supra, p. 7, n. 2), principalement pour ce qui concerne les géants avant leur transformation en anguipèdes à partir de l'époque hellénistique. Notre recherche de parallèles reposera sur quelques oeuvres d'art encore existantes : les sculptures décorant les plus importantes d'entre elles feront dès lors figure d'archétype, même si, bien sûr, rien ne permet d'exclure qu'il en ait existé de plus significatives. Parmi les nombreux monuments aujourd'hui disparus, respectivement parmi ceux qui seraient encore à découvrir, il s'en trouvait sans doute qui auraient été susceptibles de servir de modèle pour les sculptures ornant le fanum de Lousonna, duquel bien peu de restes nous sont parvenus. A l'exception de quelques renvois ponctuels, notre démarche s'est appuyée exclusivement sur du matériel et des informations déjà publiés. Pour la reconstitution des bas-reliefs de Lousonna, nous nous sommes inspiré généralement de sculptures hellénistiques et romaines dont l'ornementation présentait des similitudes avec les fragments à notre disposition ; la plupart des parallèles sont mentionnés dans le Lexicon Iconographicum Mythologiae Classicae. L'examen des volumes du Corpus Signorum Imperii Romani et de quelques autres recueils nous a permis de faire des propositions pour les cas restés en suspens. A une exception près, l'échantillonnage aéré formé à partir d'ensembles sculptés qui devaient avoir les mêmes caractéristiques que le matériel que nous tenterons d'identifier : ils comportaient des monstres anguipèdes avec les jambes se terminant par la tête du serpent, remontant au plus tard à la fin de la période romaine et produits dans un atelier gréco-romain. Afin de recréer avec le plus de vraisemblance possible l'environnement du fanum de Lousonna, nous avons recherché des édifices de caractéristiques semblables dans les catalogues de temples gallo-romains dressés par P. D. HORNE et A. C. KING (1980), respectivement I. FAUDUET et P. ARCELIN (1993). Tant l'absence presque complète de restes architecturaux susceptibles d'être rapportés à l'édifice religieux que la nature somme toute modeste du vicus lémanique nous ont fait opter pour une variante minimaliste, se limitant finalement à la structure supportant la gigantomachie devant un temple sans aucune décoration. Pour tenter de préciser les modalités de la transmission du thème des géants, nous envisagerons trois cheminements possibles : la tradition orale, la transmission littéraire et, enfin, la représentation iconographique, qu'il s'agisse de monuments, d'objets mobiliers ou même des quelques rares illustrations de textes antiques. Sauf indication contraire, les textes anciens sont cités dans les traductions des Belles-Lettres, des Sources chrétiennes ou de la Loeb Classical Library dont la liste figure à la page 161. La version française des textes dont aucune traduction n'était disponible est généralement due à François Mottas (traduction F.M.). Nous ne reportons les dates de naissance des auteurs ou des artistes mentionnés que lorsqu'elles sont utiles à la compréhension de notre exposé. En plus du rôle qu'ont pu jouer les oeuvres d'art disparues au cours des deux derniers millénaires, divers facteurs ont dû assurer la constitution et la mise au point d'un imaginaire de plus en plus élaboré des gigantomachies. La mémoire a certes sa part dans l'inspiration des artistes qui réalisèrent les sculptures de la cité lémanique; mais si un mythe ou le récit d'un événement peuvent s'être transmis de bouche à oreille au cours des siècles, certaines ressemblances dans l'attitude des personnages sont trop frappantes, même en tenant compte de ces gestes qu'il n'existe qu'une seule façon de représenter: il n'est dès lors pas possible d'imaginer que la transmission des détails des scènes se serait pratiquée uniquement par voie orale. Si le voyage touristique; tel que nous l'entendons de nos jours, n'a pas existé, les personnes susceptibles d'avoir ramené des informations de leurs déplacements à travers l'Empire sont plus nombreuses qu'on ne le croirait au premier abord. Fonctionnaires allant prendre leur charge ou en mission dans une contrée voisine; soldats, parmi lesquels des mercenaires gaulois; pèlerins ayant visité de grands sanctuaires, comme celui d'Esculape à Pergame, emplacement de la gigantomachie la plus impressionnante, ou d'autres lieux de culte; jeunes fortunés ayant étudié à Athènes; commerçants accompagnés par des muletiers ou des portefaix acheminant leurs marchandises; membres de corporations ou artisans exerçant des métiers itinérants; esclaves, dont l'exportation devait représenter une source de revenus intéressante pour les commerçants romains; en dernier lieu, sans parler des artistes eux-mêmes, ces arpenteurs-géomètres chargés de toutes sortes de relevés qui accompagnaient les empereurs lors de leurs déplacements (infra, p. 36). Il faudra cependant rester prudent quant à l'affirmation d'une connaissance visuelle directe que les sculpteurs de Lousonna auraient eue des réalisations antiques avec lesquelles nous mettrons la gigantomachie en parallèle. Même si elle n'a toujours pas pu être prouvée, la circulation de cahiers de modèles semble bel et bien assurée: dans un atelier, les maîtres ont forcément passé leurs croquis à leurs successeurs et ceci s'est peut-être répété pour plusieurs générations d'artisans. Sans parler des monnaies, d'autres moyens de transmission peuvent encore être mentionnés : éventuelles éditions illustrées de textes antiques, motifs gravés sur des gemmes ou représentés sur des récipients décorés... Une observation s'impose ici : la plupart des monuments que nous utiliserons pour notre reconstitution existaient encore lors de l'érection de notre gigantomachie. Une fois les bas-reliefs de Lousonna reconstitués, restait donc à combler l'absence de toute étude sur la survie de la gigantomachie à travers les âges et à préciser l'emploi qui en serait fait à la Renaissance. Divers recueils d'ouvrages consacrés à la mythologie et remontant à cette période nous ont permis de décrire les modalités de la reprise du récit de la guerre des géants; en l'absence de toute synthèse sur ceux-ci dans la peinture de la Renaissance, c'est en partant de l'examen des nombreux travaux consacrés au Palazzo del Te à Mantoue que nous avons pu établir un lien entre les représentations de géants peintes durant la première moitié du 16ème siècle, au cours duquel la gigantomachie était redevenue un sujet d'actualité. Le monument de la bourgade lémanique comporte encore neuf personnages et constitue, avec celui d'Yzeures-sur-Creuse, l'exemplaire le plus complet découvert dans la partie occidentale de l'Empire romain : il méritait bien d'être à l'origine d'une telle démarche.

Regulation of Nedd4-2 self-ubiquitination and stability by a PY motif located within its HECT-domain.

Ubiquitin ligases play a pivotal role in substrate recognition and ubiquitin transfer, yet little is known about the regulation of their catalytic activity. Nedd4 (neural-precursor-cell-expressed, developmentally down-regulated 4)-2 is an E3 ubiquitin ligase composed of a C2 domain, four WW domains (protein-protein interaction domains containing two conserved tryptophan residues) that bind PY motifs (L/PPXY) and a ubiquitin ligase HECT (homologous with E6-associated protein C-terminus) domain. In the present paper we show that the WW domains of Nedd4-2 bind (weakly) to a PY motif (LPXY) located within its own HECT domain and inhibit auto-ubiquitination. Pulse-chase experiments demonstrated that mutation of the HECT PY-motif decreases the stability of Nedd4-2, suggesting that it is involved in stabilization of this E3 ligase. Interestingly, the HECT PY-motif mutation does not affect ubiquitination or down-regulation of a known Nedd4-2 substrate, ENaC (epithelial sodium channel). ENaC ubiquitination, in turn, appears to promote Nedd4-2 self-ubiquitination. These results support a model in which the inter- or intra-molecular WW-domain-HECT PY-motif interaction stabilizes Nedd4-2 by preventing self-ubiquitination. Substrate binding disrupts this interaction, allowing self-ubiquitination of Nedd4-2 and subsequent degradation, resulting in down-regulation of Nedd4-2 once it has ubiquitinated its target. These findings also point to a novel mechanism employed by a ubiquitin ligase to regulate itself differentially compared with substrate ubiquitination and stability.

A WXW Motif Is Required for the Anticancer Activity of the TAT-RasGAP317-326 Peptide.

TAT-RasGAP317-326, a cell-permeable 10-amino acid-long peptide derived from the N2 fragment of p120 Ras GTPase-activating protein (RasGAP), sensitizes tumor cells to apoptosis induced by various anticancer therapies. This RasGAP-derived peptide, by targeting the deleted in liver cancer-1 (DLC1) tumor suppressor, also hampers cell migration and invasion by promoting cell adherence and by inhibiting cell movement. Here, we systematically investigated the role of each amino acid within the RasGAP317-326 sequence for the anticancer activities of TAT-RasGAP317-326. We report here that the first three amino acids of this sequence, tryptophan, methionine, and tryptophan (WMW), are necessary and sufficient to sensitize cancer cells to cisplatin-induced apoptosis and to reduce cell migration. The WMW motif was found to be critical for the binding of fragment N2 to DLC1. These results define the interaction mode between the active anticancer sequence of RasGAP and DLC1. This knowledge will facilitate the design of small molecules bearing the tumor-sensitizing and antimetastatic activities of TAT-RasGAP317-326.

Patterns in space : a regional study of motif in Minoan wall painting

This thesis consists of a quantitative analysis of the regional prevalence of certain artistic motifs as they appear in Minoan wall painting of the Neopalatial period. This will help to establish the relative degree of artistic autonomy exercised by each of the sites included in this study. The results show that the argument for itinerant artists during this time period is a strong one, but the assumption that these travelling artists were being controlled by any one palace-centre is erroneous. Rather, the similarities and differences seen suggest that the choices were predicated either by the specific patrons, or by the function of the associated building or room. Thus, the motifs found within this study should be understood as constituting a cultural identity, with greater or lesser degrees of regional homogeneity, which act as one facet of a number of cultural indicators that can be used to better understand the role of artists and regional dynamics on the island during the Bronze Age.