932 resultados para fashion consumerism


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Hookworms are voracious blood-feeders. The cloning and functional expression of an aspartic protease, Na-APR-2, from the human hookworm Necator americanus are described here. Na-APR-2 is more similar to a family of nematode-specific, aspartic proteases than it is to cathepsin D or pepsin, and the term nemepsins for members of this family of nematode-specific hydrolases is proposed. Na-apr-2 mRNA was detected in blood-feeding, developmental stages only of N. americanus, and the protease was expressed in the intestinal lumen, amphids, and excretory glands. Recombinant Na-APR-2 cleaved human hemoglobin (Hb) and serum proteins almost twice as efficiently as the orthologous substrates from the nonpermissive dog host. Moreover, only 25% of the Na-APR-2 cleavage sites within human Hb were shared with those generated by the related N. americanus cathepsin D, Na-APR-1. Antiserum against Na-APR-2 inhibited migration of 50% of third-stage N. americanus larvae through skin, which suggests that aspartic proteases might be effective vaccines against human hookworm disease.

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The Australian career of the young American actor Minnie Tittell Brune exemplifies the complex cultural and economic forces operating on the institution of live theatre at the beginning of the twentieth century. Brune focalizes the contemporary processes which reconstituted the international institution of mass entertainment out of the traditional cultural practices of theatre. The theatrical star is seen as both engaging with and resisting the commodification of her labour power; image and talent resulting from her ambiguous industrial role as magnetic 'star' and as managerial commodity. However, the iconic and affective power of the actor evokes strong attachment from significant sections of the newly heterosocial popular audience, in particular from the gallery girls, the young female audience who idolized Brune as a performative personality enacting social self-realization and glamorous transformation. Through reading Brume's repertoire, her social persona as 'star' and her 'emotional' performative style, it is demonstrated how artistic retro-glamour, religious evangelicalism and discourses of sexuality and femininity serve to manage theatre's move into the mass-entertainment age.

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