Studies on ATP-diphosphohydrolase nucleotide-binding sites by intrinsic fluorescence

Potato apyrase, a soluble ATP-diphosphohydrolase, was purified to homogeneity from several clonal varieties of Solanum tuberosum. Depending on the source of the enzyme, differences in kinetic and physicochemical properties have been described, which cannot be explained by the amino acid residues present in the active site. In order to understand the different kinetic behavior of the Pimpernel (ATPase/ADPase = 10) and Desirée (ATPase/ADPase = 1) isoenzymes, the nucleotide-binding site of these apyrases was explored using the intrinsic fluorescence of tryptophan. The intrinsic fluorescence of the two apyrases was slightly different. The maximum emission wavelengths of the Desirée and Pimpernel enzymes were 336 and 340 nm, respectively, suggesting small differences in the microenvironment of Trp residues. The Pimpernel enzyme emitted more fluorescence than the Desirée apyrase at the same concentration although both enzymes have the same number of Trp residues. The binding of the nonhydrolyzable substrate analogs decreased the fluorescence emission of both apyrases, indicating the presence of conformational changes in the neighborhood of Trp residues. Experiments with quenchers of different polarities, such as acrylamide, Cs+ and I- indicated the existence of differences in the nucleotide-binding site, as further shown by quenching experiments in the presence of nonhydrolyzable substrate analogs. Differences in the nucleotide-binding site may explain, at least in part, the kinetic differences of the Pimpernel and Desirée isoapyrases.

Desire and the paths of recognation [sic] in Hegel's intersubjectivity

This thesis poses two fundamental issues regarding Hegel's philosophy of intersubjectivity. Firstly, it examines Kojeve's problematic interpretation of Hegelian intersubjectivity as being solely rooted in the dialectic of lordship and bondage. It is my contention that Kojeve conflates the concepts of recognition {Anerkennung) with that of desire (Begierde), thereby reducing Hegel's philosophy of intersubjectivity to a violent reduction of the other to the same. This is so despite the plenary of examples Hegel uses to define intersubjectivity as the mutual (reciprocal) recognition between the self and the other. Secondly, it examines Hegel's use of Sophocles' Antigone to demonstrate the notion of the individual par excellence. I contend that Hegel's use of Antigone opens a new methodological framework through which to view his philosophy of intersubjectivity. It is Antigone that demonstrates the upheaval of an economy of exchange between the self and the other, whereby the alterity of the other transcends the self Ultimately, Hegel's philosophy of intersubjectivity must be reexamined, not only to dismiss Kojeve's problematic interpretation, but also to pose the possibility that Hegel's philosophy of intersubjectivity can viably account for a philosophy of the other that has a voice in contemporary philosophical debate.

Deadly Desire : A Psychoanalytical Reading of Desire and Death in the Poetry of Dylan Thomas

Dylan Thomas' work is often explored in light of the poet himself, and he has been referred to as modernism's l'enfant terrible or even described as a late romanticist. The aim in this essay is to explore the poetry without regard to his personal life as well as highlight previously ignored oedipal elements in said poetry. The main goal is to assert Thomas' place amongst the modernist literati, of which most were heavily influenced by Freud, as well as to be an acknowledgement of his work without considering his biography.

Spatial Articulations of Race, Desire, and Belonging in Western North Carolina

The sociocultural mythology of the South homogenizes it as a site of abjection. To counter the regionalist discourse, the dissertation intersects queer sexualities with gender and race and focuses on exploring identity and spatial formation among Black lesbian and queer women. The dissertation seeks to challenge the monolith of the South and place the region into multiple contexts and to map Black geographies through an intentional intersectional account of Black queer women. The dissertation utilizes qualitative research methods to ascertain understandings of lived experiences in the production of space. The dissertation argues that an idea of Progress has been indoctrinated as a synonym for the lgbtq civil rights movement and subsequently provides an analysis of progress discourses and queer sexualities and political campaigns of equality in the South. Analyses revealed different ways to situate progress utilizing the public contributions of three Black women interviewed for the dissertation. Moreover, the dissertation utilizes six Black queer and lesbian women to explain the multifarious nature of identities and their construction in place. Black queer and lesbian women produce spaces that deconstruct the normativity of stasis and physicality, and the dissertation explores the consequential realities of being a body in space. These consequences are particularly highlighted in the dissertation by discussions of the processes of racialization in the bounded and unbounded senses of space and place and the impacts of religious institutions, specifically Christianity. The dissertation concluded that no space is without complication. Other considerations should be made in the advancement of alleviating oppression deeply embedded in United States landscapes. Black women’s geographies offer epistemological and ontological renderings that enrich analyses of space, place, and landscape. The dissertation also concludes that Black women’s bodies represent sites for the production of geographic knowledge through narrating their spaces of material trajectories of interlocking, multiscalar lives.

Desire and Divorce in Serglige Con Culainn

This paper examines the expression of ideas about love, marriage and divorce in Serglige Con Culainn. It is argued that the two versions of the tale, both of which are incomplete, exhibit distinctive approaches to love and the portrayal of the female characters. The earlier recension depicts male desire as a violent attack by Otherworld women that renders the man incapacitated. The later version provides a radically different view, offering a strikingly sympathetic portrait of the two female protagonists which may suggest a female audience. This version gives a remarkable insight into sexual mores and marital breakdown in a protracted and detailed negotiation involving the three main characters. It reveals tensions between male and female views of marriage and particularly of the practice of concubinage. It values loyalty between married partners over the fulfilment of desire and demonstrates the enduring and destructive effects of passion which are healed here only through magical interventions.

Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran

In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.