Post-transcriptional control regulates many aspects of germline development in the Caenorhabditis elegans hermaphrodite. This nematode switches from spermatogenesis to oogenesis and is, therefore, capable of self-fertilization. This sperm-oocyte switch requires 39 UTR-mediated repression of the fem-3 mRNA. Loss of fem-3 repression results in continuous spermatogenesis in hermaphrodites. Although several factors regulating fem-3 have been identified, little is known about the mechanisms that control fem-3. Here, we investigate the steady-state levels of the fem-3 transcript and the expression pattern of its protein product. We show that FEM-3 is exclusively present in germ cells that are committed to spermatogenesis. We found that in fem-3(gf)/+ heterozygotes, mutant fem-3 gain-of-function transcripts are more abundant than their wild-type counterpart. Furthermore, we show that the penetrance of the fem-3(gf) allele correlates with inefficient FBF binding and extended poly(A) tail size of fem-3 mRNAs. Finally, we show that wild-type and gain-of-function mutated fem-3 mRNAs associate equally well with polyribosomes. We propose that the fem-3 mRNA is regulated through stabilization rather than through translatability.
Before the first purpose-designed exhibition spaces and painting exhibitions emerged, showing art was mainly related to the habit of dressing up spaces for political commemorations, religious festivals, and marketing strategies. Palaces, cloisters, façades, squares, and shops became temporary and privileged venues for art display, where sociability was performed, and the idea of exhibition developed. >cite>What were those places and events? What aesthetic, cultural, social and political discourses intersected with the early idea of exhibition space? How did displaying art shape a new vocabulary within these events, and conversely, how have these occasions conditioned exhibiting practices? This book traces the origins of the exhibition space by studying its visual and written imagery in the early modern period. It reconsiders events and habits that contributed to shaping the imagery of the exhibition space, and to defining exhibition-making practices, exploring micro-histories and long-term changes.
- Negli ultimi decenni lo sviluppo delle metodiche elettrofunzionali ha permesso di determinare in maniera oggettiva e sufficientemente precisa l'evoluzione visiva nei primi anni di vita. Nel presente lavoro viene descritto uno studio condotto su 92 nati a termine e 29 nati pretermine (tra 28 e 35 sett. di Etŕ Gestazionale). Tutti i soggetti sono stati sottoposti a valutazione elettrofisiologica con PEV flash, PEV pattern transient di tipo reversal, PEV pattern di tipo steady-state; tali esami sono stati praticati 2 volte (a 3 ed a 8 mesi di vita) nei nati a termine e 4 volte (a 3 mesi post-natali, a 3 mesi di etŕ corretta, a 8 mesi post-natali, a 8 mesi di etŕ corretta) nei prematuri. I risultati confermano l'utilitŕ degli esami elettrofisiologici nello studio della maturazione neurovisiva del prematuro.Parole chiave: maturazione visiva, potenziali evocati visivi da flash (f-PEV), potenziali evocati visivi da pattern transient (p-PEV), potenziali evocati visivi da pattern steady-state (ss-PEV), elettroretinogramma
This chapter dwells on inner spaces and focuses on the house as the first space for the exhibition of social self-representation. It insists on the hybridisation of the public/private dyad and the ancient habit of “dressing up spaces” to commemorate political, social and religious events. It traces the dawn of the first exhibition practices in these events. It thus analyses Italian noble palaces and Dutch burghers’ dwellings. Also, it discusses the ideas of aesthetic promenade and the performativity of setting up, the definition of an early museography stemmed from the desire to educate the visitors’ gaze, on the role of collecting in the evolution of exhibition practices and the transformation of the architecture of collecting.
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