Effect of cultural conditions on the presence of a cholera-toxin cross-reactive factor in culture filtrates ofAeromonas hydrophila

1985 ◽  
Vol 12 (2) ◽  
pp. 101-106 ◽  
Author(s):  
James D. Campbell ◽  
Clifford W. Houston
Keyword(s):  
Cholera Toxin ◽  
Cultural Conditions ◽  
Culture Filtrates

Melanogenesis in murine B16 cells exposed to Aeromonas hydrophila cytotoxic enterotoxin

1986 ◽  
Vol 32 (10) ◽  
pp. 814-819 ◽  
Author(s):  
V. K. Bunning ◽  
R. G. Crawford ◽  
G. N. Stelma Jr. ◽  
L. O. Kaylor ◽  
C. H. Johnson
Keyword(s):  
Cholera Toxin ◽  
Chinese Hamster Ovary ◽  
Aeromonas Hydrophila ◽  
Chinese Hamster Ovary Cells ◽  
Chinese Hamster ◽  
Ovary Cell ◽  
Transferase Activity ◽  
End Points ◽  
Ovary Cells ◽  
Culture Filtrates

Specific markers (growth, melanogenesis) of B16 murine melanoma cells in culture were used as indicators of toxin production by Aeromonas hydrophila. Cytotonic enterotoxinlike activity (inhibited growth, raised tyrosinase activity, and melanin accumulation) occurred at cytotoxic end points of purified β-hemolysin and several culture filtrates. Antihemolysin rabbit serum inhibited this activity. A hemolysin-neutralized culture filtrate concentrate (10×) failed to elevate tyrosinase relative to untreated and cholera toxin treated controls. Similar dilution profiles using Chinese hamster ovary cells showed limited cell extension only at cytotoxic end points with antihemolysin inhibiting this activity. Cytotoxicity of Chinese hamster ovary cells and B16 cells was proportional to hemolytic activity, with B16 cells showing about 100-fold greater sensitivity on a per cell basis. Cell culture cytotoxicity attributed to β-hemolysin correlated with reactivity in rabbit ileal loop assays. The ADP-ribosyl transferase activity of concentrated (10×) A. hydrophila culture filtrates and fractions thereof was negative. Apparently sublethal doses of A. hydrophila β-hemolysin can nonspecifically stimulate cyclic adenosine monophosphate mediated events in melanoma and Chinese hamster ovary cell assays, producing lower activities than cholera toxin with shorter lag times.

PRODUCTION OF GIBBERELLIN-LIKE SUBSTANCES BY BACTERIA AND ACTINOMYCETES

1965 ◽  
Vol 11 (4) ◽  
pp. 733-741 ◽  
Author(s):  
H. Katznelson ◽  
Shirley E. Cole
Keyword(s):  
Gibberellic Acid ◽  
Root Surface ◽  
Bacillus Polymyxa ◽  
Microbial Synthesis ◽  
Agrobacterium Radiobacter ◽  
Bacterial Cultures ◽  
Related Substances ◽  
Cultural Conditions ◽  
Culture Filtrates ◽  
Maximum Benefit

The production of gibberellin-like substances by bacteria and actinomycetes was investigated. Most of the bacterial cultures tested produced a gibberellic acid-like substance (A3) in amounts varying from 1 to 14 μg/liter. The production of a gibberellin-A9-like compound was much more limited, 6 out of 15 cultures yielding small amounts. Six out of 11 actinomycetes showed evidence of A3 synthesis; two produced A9. Antigibberellin substances co-chromatographing with A3 were detected in culture filtrates of Bacillus polymyxa and two actionmycetes. Cultural conditions and concentration of the ingredients of the medium influenced gibberellin synthesis by Agrobacterium radiobacter. Production of these substances was not growth linked and none was detected in stationary cultures. Microbial synthesis of the gibberellins was demonstrated also by means of assays with the dwarf maize mutants d1, d2, and d5.As added to soil was rapidly inactivated and it was postulated that the plant could derive maximum benefit from microbial synthesis of gibberellins and related substances only at the root surface—the rhizoplane.

scholarly journals METHEMOGLOBIN FORMATION BY STERILE CULTURE FILTRATES OF PNEUMOCOCCUS

1924 ◽  
Vol 40 (2) ◽  
pp. 269-279 ◽  
Author(s):  
Hugh J. Morgan ◽  
James M. Neill
Keyword(s):  
Hydrogen Peroxide ◽  
Bacterial Cell ◽  
Sterile Culture ◽  
Oxidizing Agents ◽  
Cultural Conditions ◽  
Culture Filtrates ◽  
Methemoglobin Formation

1. Sterile filtrates of aerobic cultures of pneumococcus which contain hydrogen peroxide are capable of converting catalase-free solutions of crystalline oxyhemoglobin into methemoglobin. This action is dependent upon the hydrogen peroxide in the filtrates and occurs only in the absence of blood catalase. 2. In catalase-containing solutions of hemoglobin from laked corpuscles, the actual methemoglobin-forming system of Pneumococcus involves a labile constituent of the bacterial cell. This intracellular substance is itself susceptible to oxidizing agents and may be rendered inactive, if exposed to peroxide or similar substances previous to its introduction into oxyhemoglobin solutions. The activity of this function in the case of sterile filtrates of pneumococcus cultures depends, therefore, upon the liberation of cell constituents into the medium and upon the protection of these cellular substances from the oxidizing agents which are formed when pneumococcus cultures are freely exposed to air. When these cultural conditions are fulfilled sterile culture filtrates of Pneumococcus convert oxyhemoglobin into methemoglobin independent of the presence of blood catalase.

DIALOG Z HUMANIZMEM RENESANSOWYM W DZIEŁACH PIOTRA SKARGI / PIOTR SKARGA’S DIALOGUE WITH RENAISSANCE HUMANISM

2013 ◽  
Vol 54 (4-5) ◽  
pp. 405-424
Author(s):  
Alina Nowicka -Jeżowa
Keyword(s):  
Catholic Church ◽  
Roman Catholic ◽  
Roman Catholic Church ◽  
Ignatian Spirituality ◽  
Clear Cut ◽  
Renaissance Humanism ◽  
Cultural Conditions ◽  
Political Views ◽  
The City ◽  
The Church

Summary The article tries to outline the position of Piotr Skarga in the Jesuit debates about the legacy of humanist Renaissance. The author argues that Skarga was fully committed to the adaptation of humanist and even medieval ideas into the revitalized post-Tridentine Catholicism. Skarga’s aim was to reformulate the humanist worldview, its idea of man, system of values and political views so that they would fit the doctrine of the Roman Catholic church. In effect, though, it meant supplanting the pluralist and open humanist culture by a construct as solidly Catholic as possible. He sifted through, verified, and re-interpreted the humanist material: as a result the humanist myth of the City of the Sun was eclipsed by reminders of the transience of all earthly goods and pursuits; elements of the Greek and Roman tradition were reconnected with the authoritative Biblical account of world history; and man was reinscribed into the theocentric perspective. Skarga brought back the dogmas of the original sin and sanctifying grace, reiterated the importance of asceticism and self-discipline, redefined the ideas of human dignity and freedom, and, in consequence, came up with a clear-cut, integrist view of the meaning and goal of the good life as well as the proper mission of the citizen and the nation. The polemical edge of Piotr Skarga’s cultural project was aimed both at Protestantism and the Erasmian tendency within the Catholic church. While strongly coloured by the Ignatian spirituality with its insistence on rigorous discipline, a sense of responsibility for the lives of other people and the culture of the community, and a commitment to the heroic ideal of a miles Christi, taking headon the challenges of the flesh, the world, Satan, and the enemies of the patria and the Church, it also went a long way to adapt the Jesuit model to Poland’s socio-cultural conditions and the mentality of its inhabitants.

History Turmoil And Politico-Cultural Conditions of the Sub-Continental Men In Salman Rushdie’s Midnight’s Children

2015 ◽  
Vol 2 (2) ◽  
pp. 26-28
Author(s):  
Gunasekaran N ◽  
Bhuvaneshwari S
Keyword(s):  
Middle Class ◽  
Salman Rushdie ◽  
Fiction Writing ◽  
Pluralistic Society ◽  
Post Colonial ◽  
Cultural Conditions ◽  
The World ◽  
Midnight's Children ◽  
First Time

Salman Rushdie remains a major Indian writer in English. His birth coincides with the birth of a new modern nation on August 15, 1947. He has been justly labelled by the critics as a post-colonial writer who knows his trade well. His second novel Midnight’s Children was published in 1981 and it raised a storm in the hitherto middle class world of fiction writing both in English and in vernaculars. Rushdie for the first time burst into the world of fiction with subversive themes like impurity, illegitimacy, plurality and hybridity. He understands that a civilization called India may be profitably understood as a dream, a collage of many colours, a blending of cultures and nationalities, a pluralistic society and in no way unitary.

Metamorphosen des Autors im Internet

2018 ◽  
Vol 2018 (1) ◽  
pp. 73-82
Author(s):  
Julia Genz
Keyword(s):  
Web 2.0 ◽  
Digital Media ◽  
Intrinsic Value ◽  
The Other ◽  
Cultural Conditions ◽  
Works Of Art ◽  
Periodic Schedule ◽  
Literary Authorship ◽  
The One ◽  
Death Of The Author

Digital media transform social options of access with regard to producers, recipients, and literary works of art themselves. New labels for new roles such as »prosumers « and »wreaders« attest to this. The »blogger« provides another interesting new social figure of literary authorship. Here, some old desiderata of Dadaism appear to find a belated realization. On the one hand, many web 2.0 formats of authorship amplify and widen the freedom of literary productivity while at the same time subjecting such production to a periodic schedule. In comparison to the received practices of authors and recipients many digital-cultural forms of narrating engender innovative metalepses (and also their sublation). Writing in the net for internet-publics enables the deliberate dissolution of the received autobiographical pact with the reader according to which the author’s genuine name authenticates the author’s writing. On the other hand, the digital-cultural potential of dissolving the autobiographical pact stimulates scandals of debunking and unmasking and makes questions of author-identity an issue of permanent contestation. Digital-cultural conditions of communication amplify both: the hideand- seek of authorship as well as the thwarting of this game by recipients who delight in playing detective. In effect, pace Foucault’s and Barthes’ postulates of the death of the author, the personality and biography of the author once again tend to become objects of high intrinsic value

Representação e simbolismo: artes visuais na fronteira Brasil/Bolívia

2020 ◽  
Vol 4 (3) ◽  
pp. 286
Author(s):  
Paulo César Antonini de Souza ◽  
Derick Trindade Bezerra
Keyword(s):  
Visual Arts ◽  
Social Order ◽  
Research Field ◽  
Border Region ◽  
Second Phase ◽  
Two Dimensional ◽  
Santa Cruz ◽  
Cultural Conditions ◽  
Two Phases ◽  
America Latina

ResumoTendo por campo de investigação o Festival da América do Sul Pantanal (FASP) em 2018, na cidade de Corumbá (Brasil), objetiva-se identificar a materialidade e conceitos que permeiam as manifestações artísticas bidimensionais nesta região de fronteira, a partir da percepção de artistas da Bolívia. A pesquisa se organizou em duas fases: na primeira foi realizado um levantamento em plataformas online de produções acadêmicas em artes visuais, com foco no trabalho bidimensional, utilizando os descritores “arte popular” e “estética latina” resultando em três artigos. Na segunda fase foram selecionados dois trabalhos de uma artista da Bolívia, participante da mostra “Conexão Santa Cruz”, realizada durante o FASP 2018, que foram analisados em seus níveis representacional e simbólico. Pela interpretação das imagens foi possível construir uma leitura sobre a perspectiva da artista a respeito de suas condições culturais dentro da ordenação social em que se encontra situada.Palavras-chave: Artes Visuais. Arte Popular. Arte Regional. América Latina. Representation and symbolism: visual arts on the Brazil/Bolivia frontierAbstractHaving as research field the Festival da América do Sul Pantanal (FASP) in 2018, in the city of Corumbá (Brazil), the objective is to identify the materiality and concepts that permeate the two-dimensional artistic manifestations in this border region, from the perception of artists from Bolivia. The research was organized in two phases: in the first, a survey was carried out on online platforms of academic productions in visual arts, focusing on two-dimensional work, using the descriptors “arte popular” and “estética latina” resulting in three articles. In the second phase, two works were selected by an artist from Bolivia, participating in the exhibition “Conexão Santa Cruz”, held during FASP 2018, which were analyzed at their representational and symbolic levels. Through the interpretation of the images, it was possible to construct a reading on the artist’s perspective regarding her cultural conditions within the social order in which she is located.Keywords: Visual Arts. Folk Art. Regional Art. Latin America.Representación y simbolismo: artes visuales en la frontera de Brasil/BoliviaResumenTeniendo como campo de investigación el Festival de Sudamérica Pantanal (FASP) en 2018, en la ciudad de Corumbá (Brasil), el objetivo es identificar la materialidad y conceptos que permean las manifestaciones artísticas bidimensionales en esta región fronteriza, desde la percepción de artistas de Bolivia. La investigación se organizó en dos fases: en la primera, se realizó una encuesta en plataformas online de producciones académicas en artes visuales, con foco en el trabajo bidimensional, utilizando los descriptores “arte popular” y “estética latina” dando como resultado tres artículos. En la segunda fase, dos obras fueron seleccionadas por un artista de Bolivia, participante de la exposición “Conexão Santa Cruz”, realizada durante FASP 2018, que fueron analizadas en sus niveles representativos y simbólicos. A través de la interpretación de las imágenes, fue posible construir una lectura sobre la perspectiva de la artista sobre sus condiciones culturales dentro del orden social en el que se ubica.Palabras clave: Artes Visuales. Arte Popular. Arte Regional. América Latina.

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