Les galectines forment une famille de lectines solubles impliquées dans de multiples processus. Elles sont caractérisées par la présence d’un domaine de liaison aux carbohydrates conservé au cours de l’évolution et une affinité particulière pour les β-galactosides. Au cours de ce projet doctoral, nous nous sommes intéressés à galectine-7, une lectine exprimée spécifiquement dans les épithéliums pluristratifiés, comme l’épiderme. Grâce aux modèles de souris invalidées pour galectine-7 ou surexprimant galectine-7, notre équipe a précédemment montré que cette protéine était impliquée dans l’adhérence entre les cellules de l’épiderme et dans la migration collective, deux processus clés de la progression tumorale et de la cicatrisation épidermique. Cependant, les mécanismes moléculaires sous-jacents restent à élucider.En combinant différentes approches, nous avons pu déterminer que le retard de migration observé en absence de galectine-7 pouvait s’expliquer, du moins en partie, par une diminution de la coordination et du comportement collectif des kératinocytes en migration. De plus, nos données montrent que galectine-7 interagit directement avec le domaine extracellulaire de la E-cadhérine, un des composants majeurs des jonctions adhérentes et une protéine clé dans la migration collective. De façon surprenante, cette interaction ne fait pas intervenir de groupements carbohydrates. Tentant de préciser le rôle de galectine-7 au niveau des jonctions adhérentes, nous avons identifié une nouvelle fonction de galectine-7 dans la stabilisation de la E-cadhérine à la membrane plasmique. De manière intéressante, l’augmentation du renouvellement de la E-cadhérine à la membrane plasmique causée par l’extinction de galectine-7 est également couplée à une baisse de la force de l’adhérence intercellulaire. Enfin, nos expériences indiquent que cette nouvelle fonction de galectine-7 requiert une activité lectine fonctionnelle, suggérant l’implication d’un autre acteur glycosylé dans ce mécanisme de régulation de la E-cadhérine par galectine-7.En conclusion, ce doctorat a permis de préciser le rôle de galectine-7 dans la migration collective et de découvrir une fonction non-décrite auparavant de galectine-7 dans la régulation de la dynamique de la E-cadhérine. Cette modulation de la E-cadhérine par galectine-7 pourrait permettre à la cellule de s’adapter aux perturbations de l’environnement, comme c’est le cas au cours de la migration collective. En effet, les galectines étant des molécules avec une capacité de redistribution rapide, ce sont de bons candidats pour créer des réponses adaptatives / Galectins composed a family of soluble lectins implicated in multiple processes. They are characterized by the presence of a carbohydrate recognition domain evolutionary conserved and an affinity for β-galactosides containing sugars. During this thesis, we focused on a protein called galectine-7 whose expression is restricted to stratified epithelia such as the epidermis. Using mouse models with altered expression of galectin-7, our team previously showed that this protein participates in intercellular adhesion and collective cell migration, two key processes in tumour progression and epidermal wound healing. However, the underlying mechanisms remain to be elucidated. Combining different approaches, we discovered that the migration delay observed in the absence of galectin-7 during wound healing could be explained, at least in part, by a reduction of cell coordination and collective cell behaviour of migrating keratinocytes. Moreover, our data showed that galectin-7 directly interact with E-cadherin, a key component of adherent junctions and a major player in collective migration. Surprisingly, this binding did not involve carbohydrate groups. Aiming to precise the role of galectin-7 at adherent junctions, we identified a new function of galectin-7 in the stabilisation of E-cadherin at the plasma membrane. Interestingly, the increased of E-cadherin turnover caused by galectin-7 extinction is also associated to a decreased of the strength of adherent junctions-based intercellular adhesion. Eventually, our experiments indicated that this previously unknown function of galectin-7 required a functional lectin activity, suggesting the involvement of an additional glycosylated actor in this regulation mechanism of E-cadherin dynamics by galectin-7.In conclusion, this thesis allowed to precise the role of galectin-7 in collective cell migration and revealed a novel function of galectin-7 in the regulation of the E-cadherin stability at the plasma membrane. This modulatory effect of galectin-7 on E-cadherin could provide the cell a possible adaptive response to environmental perturbations, as during collective cell migration. Indeed, galectins, because they exhibit rapid redistribution capacities, are good candidates to create adaptive responses

This thesis proves that the evolution of life, thoughts and work of Joan Miró in the 1968-1983 period is deeply related with his historical context in its political,economic, social, cultural and artistic. A solid conductor is his social and artistic commitment, based on four fluent influences in ideological which were depositing from childhood to old age: Catalan nationalism, Catholicism, moral conservadurism and progressive political. Such influences were sometimes contradictory and this was a personal tension, that he resolve in this period of 1968-1983 with a greater involvement in the struggle for human rights and the Spanish democracy, which is manifested in his support for acts of opposition against Franco, with the milestone of his participation in the closure of Montserrat in 1970 and the aid to the oppressed victims, and his commitment to achieving the autonomy of Catalonia and the Balearic Islands, which eventually leads him, after moving Transition democracy in 1975, to become one of the leading artists of Catalonia and even Spain, as evidenced by the significant public commissions, the great exhibitions, the largest projects of two foundations at Barcelona and Palma of Majorca, and his excellent relations with the Kings of Spain, the Culture ministers of Spanish governments, the presidents of the Generalitat of Catalonia, and the mayors of Barcelona and Palma of Majorca.And all this is reflected in an artistic response with a renewed openness to the latest avant-garde artistic movements, which are now the Arte Povera, especially the use of debris; ephemeral art in 1969 the murals of the College of Architects of Barcelona and the Expo in Osaka; brutalism as the "toiles brûlées" in 1973; the return to dramatic expressionism of "wild paintings" which had already manifested in the most tragic times of the Civil War; the growing predominance of black and gestualism, what had already experienced in the sixties; the alternation between thought and spontaneous styles; the approach of his work in series and groups both in painting and other arts; the highest propensity to make larger works; and the use of almost all artistic useful means to achieve more widespread popular. The painting was always his favorite art, which shaped and informed the other arts. The original Miro's works are fertilized by his lively internal debate between tension to express universal ideas, with a tendency to abstraction, while his personal emotions, more prone to the use of figuration, using motives and methods of artistic tradition, the personal and collective subconscious, and the experimental will of the avant-garde transgression.

Mainz, Universiẗat, Diss., 2000.

Heidelberg, Universiẗat, Diss., 2004.

This thesis describes the use of electrospray mass spectrometry, 1H NMR, and UV-visible spectroscopy, along with molecular modeling studies, to characterize the host-guest complexes that are formed between the cucurbit[7]uril (CB[7]) host molecule and a series of cationic alkylammonium (benzethonium), biguanidinium (metformin, phenformin, chlorhexidine and alexidine), amidinium (berenil, pentamidine, and 4-hydroxy- and 4-aminobenzamidines), and flavylium (4’- and 6-methoxyflavylium and 6,4’-dimethoxyflavylium) guests in aqueous solution. The stoichiometries and binding strengths of the CB[7] host-guest complexes with these series of drug and dye molecules were determined, and have been rationalized in terms of the specific ion-dipole interactions and hydrophobic effects involved. The potential uses of CB[7] as a slow-release drug delivery agent and molecular stabilizing agent are indicated from kinetic and spectroscopic studies on the reactivities of the host-guest complexes. CB[7] forms 1:1 and 2:1 host-guest complexes with the benzethonium cation by sequential binding to the hydrophilic benzyldimethylammonium group and the hydrophobic 2,4,4-trimethylpentyl group, respectively. The binding strength at the former site is consistent with data for other CB[7]-benzylammonium guests, while the strength of binding of the neutral hydrophobic group results from efficient packing within the inner CB[7] cavity. Each of the biguanidinium guests was shown to form strong 1:1 host-guest complexes with CB[7]. Metformin proved to be small enough to form 1:2 host-guest complexes at low concentrations of CB[7], while chlorhexidine and alexidine were shown to be large enough to form sequential 2:1 and 3:1 host-guest complexes with CB[7]. UV-visible pH titrations showed that CB[7] binds more strongly to mono-protonated metformin than the di-protonated form of this guest. Both pentamidine and berenil formed tightly bound complexes with CB[7], indicating that this host could potentially act as carrier for these drug molecules. CB[7] catalyzes the acid decomposition of berenil and each of the decomposition products, 4-hydroxy- and 4-aminobenzamidinium, bind to CB[7] with increases in their pKa values in the presence of CB[7]. The three flavylium dyes, with cationic oxonium centers, were shown to complex strongly with CB[7], resulting in a stabilization of the flavylium cation, with respect to the ring-opened 2-hydroxychalcones in neutral solutions. / Thesis (Master, Chemistry) -- Queen's University, 2012-09-15 00:02:15.516

El presente trabajo de investigación parte del complejo miedo-terror como inherente a la condición humana, y pretende observar cómo dicho complejo se manifiesta en la historia del arte, especialmente en las artes visuales, desde comienzos de la modernidad hasta fines del siglo XX. La manifestación del complejo se lleva a cabo a través de tres figuras, las cuales surgen a partir de la desintegración de la figura medieval de lo demoníaco: lo sublime, lo siniestro y lo abyecto. Lo sublime alude a una amenaza proveniente de una fuerza situada más allá de la razón individual; lo siniestro a la amenaza que procede del inconsciente; y lo abyecto a la que proviene del propio cuerpo, trasladándose al cuerpo social. La reflexión sobre las tres figuras se construye primordialmente desde fuentes literarias, psicológicas, antropológicas y filosóficas, manteniendo como eje de la misma un atlas iconográfico que refleja la manifestación del complejo miedo-terror. / The present investigation of the complex fear – terror, as inherent in the human condition, aims to observe how this complex is manifested in the history of art, particularly in the visual arts since the beginning of modernity to late twentieth century. The manifestation of the complex is carried out through three figures, which arise from the disintegration of the medieval figure of the demonic: the sublime, the sinister and the abject. The sublime refers to a coming threat of force located beyond the individual reason; the sinister to the threat by the unconscious; and the abject which comes from the body, moving into the social body. Reflection on the three figures is constructed primarily from literary, psychological, anthropological and philosophical sources, maintaining the same axis as an iconographic atlas that reflects the complex manifestation of fear - terror.

La carrera artística de Ana Mendieta se enmarca dentro de los movimientos estéticos de la segunda mitad del siglo XX. El primitivismo en el arte es uno de ellos. Esta investigación estudia en profundidad cómo fue su primitivismo, pasando por el análisis formal de algunas de sus obras con influencias directas del arte africano, hasta llegar a un desarrollo teórico sobre la performance ritual que amplía el primitivismo como un recurso del arte más allá del objeto estético. El contexto histórico durante la formación académica de Ana Mendieta y su paso por Nueva york son las claves que proporcionan una visión de sus obras hasta ahora inédita. La aplicación de una metodología comparativa ha permitido establecer conexiones entre el arte, la antropología, la arqueología, la historia colonial de España, la historia de las religiones y el feminismo. / The career of Ana Mendieta is part of the aesthetic movements of the late twentieth century. Primitivism in art is one of them. This research examines in depth how her primitivism was, from the formal analysis of some of her artworks directly influenced by African art, to developing a theoretical rationale of the ritual performance that extends primitivism as an artistic resource beyond the aesthetic scope. The historical context behind the academic training of Ana Mendieta and the time she spent in New York are the keys that provide a glimpse into her hitherto unpublished works. The application of a comparative methodology has allowed to establish connections amongst art, anthropology, archeology, colonial history of Spain, the history of religion and feminism

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