RELT is a recently identified Tumor Necrosis Factor Receptor that posesses two homologues in humans named RELL1 and RELL2. We investigated whether RELT and its homologues could induce cellular death when transiently transfected into HEK 293 epithelial cells. Transfection of RELT family members into HEK 293 epithelial cells induced cell death characterized by rounding and lifting of cells accompanied by DNA fragmentation, characteristics that are consistent with the activation of an apoptotic pathway. Overexpression of RELT in COS-7 cells resulted in cell rounding and lifting without DNA fragmentation, suggesting that the effects of RELT signaling may vary among different cell types. In summary, we report that overexpression of RELT or its homologues RELL1 and RELL2 in HEK 293 epithelial cells results in cell death with morphological characteristics consistent with the activation of an apoptotic pathway.
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How is the politics of Blackness figured in the flamenco dancing body? What does flamenco dance tell us about the construction of race in the Atlantic world? Sonidos Negros traces how, between 1492—when Christian reconquest of the Iberian Peninsula coincided with Christopher Columbus’s landing on Hispaniola—and 1933—when Andalusian poet Federico García Lorca published his “Theory and Play of the Duende”—the vanquished Moor became Black; and how the imagined Gitano (“Gypsy,” or Roma) embodies the warring images and sounds of this process. By the nineteenth-century nadir of its colonial reach, Spanish identity was paradoxically enacted in terms of a minstrelized Gitano, a hybrid of Spanish and American representations of Blackness. Flamenco’s imagined Gypsy, teetering between ostentatious ignorance and the humility of epiphany, references an earlier trope: the pastor bobo (foolish shepherd), who, seeing an angelic apparition, must decide whether to accept the light of Christ—or remain in darkness. Spain’s symbolic linkage of this religious peril with the Blackness of abjection scripts the evangelical narrative which defeated the Moors and enslaved the Americas. The bobo’s confusion, appealingly comic but holding the pathos of the ultimate stakes of his decision—heaven or hell, safety or extermination—bares a teeming view of the embodied politics of colonial exploitation and creole identity formation. Flamenco’s Sonidos Negros live in this precarious balance, amid the purposeful ruckus cloaking danced resistance, the lament for what has been lost, and the values and aspirations of those rendered imperceptible by slavery and colonization.
Faced with the loss of global hegemony, Spain claimed the outlaw Other as self. As in the United States, this dark vessel for the nation’s “soul” was fulsome in its ironic self-awareness and disillusioned sense of its own diminution. Mariano Soriano Fuertes’s El Tío Caniyitas (1849) records Spain’s response to U.S. blackface minstrelsy in terms of indigenous southern (Andalusian) representational tropes. Spain saw itself in the minstrelized figure of a dispossessed and fractured Black body, yet in this parody of power as powerlessness we sense flamenco’s tragic essence—its tormenting spirit—its duende. There is something of the sacred, of the sublime, in Spain’s exalted antiheroes, enduring public torture, degrading death, or the bondage from which they would not emerge alive. In absorbing American blackface’s heated rhetoric, perhaps because it was already inherent in such equivocal Spanish figures, developing flamenco seems to resonate with these deep and deeply violent contradictions.
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