Independent and combined effects of exercise and vitamin D on muscle morphology, function and falls in the elderly

Regular exercise, particularly progressive resistance training (PRT), is recognized as one of the most effective strategies to prevent age-related muscle loss (sarcopenia), but its effects on muscle function are mixed. However, emerging data indicates that high velocity PRT (fast concentric muscle contractions) is more effective for improving functional outcomes than traditional PRT. In terms of falls prevention, high-challenging balance training programs appear to be most effective. There is also compelling evidence that supplemental vitamin D is an effective therapeutic option for falls prevention. The findings from a recent meta-analysis revealed that supplemental vitamin D at a dose of at least 700–1,000 IU/d or an achieved serum 25(OH)D level of at least 60 nmol/L was associated with reduced falls risk among older individuals. Based on these findings, it is possible that the combination of exercise and vitamin D could have a synergistic effect on muscle morphology and function, particularly since both interventions have been shown to have beneficial effects on type II “fast twitch” muscle fibers and systemic inflammation, which have both been linked to losses in muscle mass and function. Unfortunately however, the findings from the limited number of factorial 2 × 2 design RCTs indicate that additional vitamin D does not enhance the effects of exercise on measures of muscle morphology, function or falls risk. However, none of these trials were adequately powered to detect a “synergistic” effect between the two treatment strategies, but it is likely that if an exercise-by-vitamin D interaction does exist, it may be limited to situations when vitamin D deficiency/insufficiency is corrected. Further targeted research in “high risk” groups is still needed to address this question, and evaluate whether there is a threshold level of serum 25(OH)D to maximize the effects of exercise on muscle and falls risk.

Jaisa Desh, Waisa Vesh? Exploratory notes on the representations of adivasis in popular Hindi cinema

This paper seeks to discuss specific examples of Adivasi representation in Indian cinema, particularly popular Hindi cinema or ‘Bollywood’ (as opposed to ‘art’ or ‘parallel’ cinema). This choice of popular Hindi cinema is an attempt to explore the ways in which it has distilled and codified the representations of ‘other’ groups for a mass audience. Popular Hindi films have an unmatched circulation and pre-eminence (Prasad, 1998) in India, making the impact of their representations important to consider. Commercial interests of popular Hindi films are paramount, their producers and directors are generally from the upper castes and classes of Indian society. In the push for commercial interests and popular storylines, adequate representations of Adivasis, and as scholars (Vasudev & Lenglet, 1983; Bagchi, 1996; Subramanyam, 1996; Gopalan, 2000; Vridi, 2003) have pointed out women and other social groups, remain stereotypical. Mainstream Hindi cinema, even in its post-colonial phase, has not provided images of various cultural groups in India which reflect their lived reality. It is this cinematic marginalisation and cultural stereotyping, which will be explored further. This paper is a preliminary exploration and will look at particular examples of representation in Hindi films, including Naagin (1954), Ajantrik (1957), Madhumati (1958), Yeh Gulistan Hamara (1972), Lal Salaam (2002), and Chak De! (2007). It is aimed that this exploration will provide a foundation for further research into representations in Hindi cinema and the wider discourses of power, politics and inequality in Indian society.

Leadership narratives : women leaders in independent schools, Victoria 2004-2008

This thesis investigates the professional work narratives of twelve women Junior Heads and the influence of dominant leadership discourses on shaping leadership identities. Leadership narratives reveal how power and agency are negotiated through discourses of paradox, idealism and dissent. These discourses were used by the women as positioning strategies to discursively navigate ambiguity and contradiction arising from the micro-politics of power relationships and gendered discourses within their situated practice.

Jaisa Desh, Waisa Vesh? Explorations on the representations of Adivasis in popular Hindi cinema

This article seeks to discuss specific examples of Adivasi representation in Indian cinema, particularly popular Hindi cinema (as opposed to ‘art’ or ‘parallel’ cinema), and the ways in which it has distilled and codified the representations of ‘other’ groups for a mass audience. Mainstream Hindi cinema, even in its postcolonial phase, has not provided images of Adivasis that reflect their reality. This ‘constructed reality’ of the cinema in which Adivasis exist remains the widespread (mis)understanding of their cultures. It is this cinematic marginalization and cultural stereotyping that will be explored further. This article is a preliminary exploration and will look at particular examples of representation in Hindi films, including Naagin [Female Cobra] (Nandlal Jaswantlal, 1954), Madhumati (Bimal Roy, 1958), Yeh Gulistan Hamara [This Flower Garden of Ours] (Atma Ram, 1972), Lal Salaam [Red Salute] (Gaganvihari Boratte, 2002) and Chak De! [Come On! India] (Shimit Amin, 2007). The aim is for this exploration to provide a foundation for further research into Adivasi representation and the wider discourses of power, politics and inequality in Indian society.

The effects of topological inaccuracy in evolutionary trees on the phylogenetic comparative method of independent contrasts

Computer simulations were used to test the effect of increasing phylogenetic topological inaccuracy on the results obtained from correlation tests of independent contrasts. Predictably, increasing the number of disruptions in the tree increases the likelihood of significant error in the r values produced and in the statistical conclusions drawn from the analysis. However, the position of the disruption in the tree is important: Disruptions closer to the tips of the tree have a greater effect than do disruptions that are close to the root of the tree. Independent contrasts derived from inaccurate topologies are more likely to lead to erroneous conclusions when there is a true significant relationship between the variables being tested (i.e., they tend to be conservative). The results also suggest that random phylogenies perform no better than nonphylogenetic analyses and, under certain conditions, may perform even worse than analyses using raw species data. Therefore, the use of random phylogenies is not beneficial in the absence of knowledge of the true phylogeny.

Independent functions of yeast Pcf11p in pre-mRNA 3´ end processing and in transcription termination

Pcf11p, an essential subunit of the yeast cleavage factor IA, is required for pre-mRNA 3' end processing, binds to the C-terminal domain (CTD) of the largest subunit of RNA polymerase II (RNAP II) and is involved in transcription termination. We show that the conserved CTD interaction domain (CID) of Pcf11p is essential for cell viability. Interestingly, the CTD binding and 3' end processing activities of Pcf11p can be functionally uncoupled from each other and provided by distinct Pcf11p fragments in trans. Impaired CTD binding did not affect the 3' end processing activity of Pcf11p and a deficiency of Pcf11p in 3' end processing did not prevent CTD binding. Transcriptional run-on analysis with the CYC1 gene revealed that loss of cleavage activity did not correlate with a defect in transcription termination, whereas loss of CTD binding did. We conclude that Pcf11p is a bifunctional protein and that transcript cleavage is not an obligatory step prior to RNAP II termination.

Hindi cinema and its other

 Wider understandings of popular, commercial Hindi (Indian) cinema centre on discourses surrounding the ‘Bollywood’ machine. In these discussions, a critical exploration of Adivasi (Indigenous) representation in Hindi cinema is often left unexplored. Popular Hindi cinema as a World Cinema exerts tremendous influence in India, and indeed South Asia. However, it continues to provide essentialist representations of Adivasi communities in India. This paper discusses some of these representations in commercial Hindi cinema, by looking at examples of film texts with Adivasi characters. It also examines the difficulties involved in cinematic representations which are blind to multiple identities within the nation-state, in this case, how Adivasis are constructed within popular Hindi cinema as the ‘Other’, to an already existing ‘Other’ subaltern (Indian) mass.
This paper additionally explores some examples of how, rather than be ‘swamped’ by Hindi film’s cultural dominance, local audiences, particularly in Adivasi communities, are negotiating with it to their advantage. It is in these peripheral and under-represented communities, that local media traditions are blending with popular Hindi cinema to produce creative results. How such results are re-invigorating the Adivasi film and music industries is examined.

Raat Ki Rani : nightclubs, vamps and urban transgressive spaces in Hindi cinema

This paper considers how city spaces in Hindi cinema have repeatedly been viewed as sites of transgressive sexual experience, particularly via representations of female sexuality in nightclubs and the flagrant performances of the women or ‘vamps’ that inhabit them. Emerging in Hindi cinema in the 1950s, and becoming a staple in films of the 1960s and 1970s, the ‘vamp’ became synonymous with unrestrained sexuality and the immorality of the city. The dichotomy between the idealised, bucolic, timeless village and the city as an icon of degenerate modernity was repeatedly seen in Hindi cinema, and the strongest signifier of this urban immorality was the ‘vamp’ who was seen as an outsider, and connoted urban vice, excess and desire. By and large the actresses that played ‘vamps’ (such as the blonde haired and blue eyed Helen) were of ‘Western’ appearance. The cabaret and nightclub were thus seen as being ‘Western’ in origin. This paper discusses how this was perhaps a response to colonial and Orientalist stereotyping, where the ‘Indian’ woman and the ‘Western’ woman operated as binary oppositional structures. Such oppositions were clearly present in nightclub dance performances, which were full of meaning to the cinematic audience, who would be able to ‘read’ the seductive, gyrating and explicit movements. This paper decodes examples of the movements in these ‘decadent’ performances, as it was through these movements and performances that the ‘westernised vamp’ became firmly located in urban transgressive spaces, closely tied with national anxiety about the depravity of city spaces.

Managerial share ownership and discretionary accruals in Australia : do independent and executive directors have different incentives?

We examine the relation between managerial share ownership (MSO) and discretionary accruals in Australia. We find a positive relation between MSO and discretionary accruals up to a certain level of MSO followed by a negative relation (inverse U-shaped). We suggest that these unique results are a result of certain Australian institutional features that are markedly different to those in the US and the UK and imply that the ownership-discretionary accruals relation is context specific with the wider corporate governance systems influencing the theorised incentive effects. We also posit that executive directors and independent directors have different ownership-discretionary accruals incentives and report results consistent with this proposition.

Media-independent knowledge representation via UMART : unified mental annotation and retrieval tool

Multimedia information is now routinely available in the forms of text, pictures, animation and sound. Although text objects are relatively easy to deal with (in terms of information search and retrieval), other information bearing objects (such as sound, images, animation) are more difficult to index. Our research is aimed at developing better ways of representing multimedia objects by using a conceptual representation based on Schank's conceptual dependencies. Moreover, the representation allows for users' individual interpretations to be embedded in the system. This will alleviate the problems associated with traditional semantic networks by allowing for coexistence of multiple views of the same information. The viability of the approach is tested, and the preliminary results reported.

Media-independent information representation and retrieval

In this paper we propose a media-independent knowledge indexing and retrieval system as a basis for an information retrieval system. The representation allows for sharing of low level information bearing objects and at the same time allows for maintaining of user-dependent views. The tools for maintenance and manipulation of concepts focus on the user and user's intentions. The aim of the system is to provide a set of flexible tools and let the user structure the knowledge in his or her own way, instead of attempting to build an all-encompassing common sense, or general knowledge representation.

Media independent knowledge indexing and retrieval

Composing a multimedia presentation may require creation or generation of suitable images and video segments, as well as animation, sound, or special effects. Obtaining images or video sequences can be prohibitively expensive when costs of travel to location, equipment, staff, etc, are considered. Those problems can be alleviated with the use of pictorial and video digital libraries, such libraries require methods for comprehensive indexing and annotation of stored items and efficient retrieval tools.

We propose a system based on user oriented perceptions as they influence query formation in image and video retrieval. We present a method based on user dependent conceptual structures for creating and maintaining indexes to images and video sequences.