Thesis (Ph. D.)--New York University, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. [225]-230).

Thesis (Ph. D.)--New York University, 1981. / Typescript. Includes bibliographical references (p. [225]-230). Also issued in print.

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As a still relatively young art form, cinema has evolved tremendously over the last one hundred and twenty-five years. However, as perhaps the most accessible popular art form at our disposal, it does not function merely as entertainment. This essay argues that film aesthetics are more than meets the eye. Through analysis of three northern European directors (Carl Theodor Dreyer, Ingmar Bergman, and Lars von Trier), I argue that cinema is an inherently mystical medium. Through this designation, I work to show how cinema functions to bring one to closer union with God, and thus function as sacramental. Both individual experience and communal consensus make viewing cinema an intensely pragmatic, and important, practice. Through the affective nature of cinema, the individual becomes malleable toward the cultivation of virtue. The mystical encounters one experiences become a co-participatory, pedagogical relationship between viewer and medium.

Diss.--Hamburg. / Bibliography: p 301-304.

Esta pesquisa associa a enunciação fílmica ao âmbito do traumático e da repetição, procedimento que produz variações que constituem uma imagem fundamental. Esta imagem não pode ser configurada materialmente no relato, só vislumbrada através justamente das variações, das repetições com diferenças. A inacessibilidade da imagem fundamental reside justamente em sua pregnância, sua perfeição na articulação de sentidos e de significação na síntese. A imagem fundamental pode, por sua vez, dialogar também com o traumático na instância do enunciado, dos significados que podem ser constituídos e alterados a partir do procedimento de repetição dos acontecimentos no decorrer da narrativa. A pesquisa utiliza o Dogma 95 para estudo: o Dogma #1, \"Festa de Família\", e do Dogma #2 \"Os idiotas\", filme que constitui juntamente \"Ondas do destino\" e \"Dançando no Escuro\", a Trilogia Coração de Ouro, de Lars von Trier. / This research associates the filmic enunciation to the extent of the traumatic and its repetition procedure. The variations produced by repetition constitute a fundamental image that cannot be configured in the narrative. This image can only be glimpsed through its variations, its repetitions with differences. The inaccessibility of the fundamental image rests exactly in its pregnancy, its perfect articulation of senses and its possibility of meaning through synthesis. The fundamental image can also dialog with the traumatic in the instance of the story, of the meanings that can be produced and modified by the repetition of the narrative events. This research uses Dogma 95 films: Dogme #1, \"Celebration\", and Dogme #2 - \"The idiots\" which with \"Breaking the waves\" and \"Dancer in the Dark\" constitute Lars von Trier\'s Heart of Gold Trilogy.

Esta pesquisa associa a enunciação fílmica ao âmbito do traumático e da repetição, procedimento que produz variações que constituem uma imagem fundamental. Esta imagem não pode ser configurada materialmente no relato, só vislumbrada através justamente das variações, das repetições com diferenças. A inacessibilidade da imagem fundamental reside justamente em sua pregnância, sua perfeição na articulação de sentidos e de significação na síntese. A imagem fundamental pode, por sua vez, dialogar também com o traumático na instância do enunciado, dos significados que podem ser constituídos e alterados a partir do procedimento de repetição dos acontecimentos no decorrer da narrativa. A pesquisa utiliza o Dogma 95 para estudo: o Dogma #1, \"Festa de Família\", e do Dogma #2 \"Os idiotas\", filme que constitui juntamente \"Ondas do destino\" e \"Dançando no Escuro\", a Trilogia Coração de Ouro, de Lars von Trier. / This research associates the filmic enunciation to the extent of the traumatic and its repetition procedure. The variations produced by repetition constitute a fundamental image that cannot be configured in the narrative. This image can only be glimpsed through its variations, its repetitions with differences. The inaccessibility of the fundamental image rests exactly in its pregnancy, its perfect articulation of senses and its possibility of meaning through synthesis. The fundamental image can also dialog with the traumatic in the instance of the story, of the meanings that can be produced and modified by the repetition of the narrative events. This research uses Dogma 95 films: Dogme #1, \"Celebration\", and Dogme #2 - \"The idiots\" which with \"Breaking the waves\" and \"Dancer in the Dark\" constitute Lars von Trier\'s Heart of Gold Trilogy.

[pt] A tese propõe uma reflexão sobre a relação entre sujeito e linguagem a partir da obra do cineasta dinamarquês Carl Theodor Dreyer (1889-1968). Após a revisão crítica das estratégias de interpretação que caracterizam a abordagem de sua obra, analisa a violência discursiva e a força performática da linguagem presentes em seus filmes – 14 longas-metragens de ficção, dos quais 9 são do período do cinema mudo e 5 sonoros. Mostra que, embora se mantenha dentro dos limites de uma narratividade límpida, Dreyer faz do cinema uma arte que não cessou de problematizar o homem como corpo falante, que arrisca o seu destino e a própria vida na linguagem. Por trás da heterodoxia estilística e da variedade de temas e épocas que seus filmes retratam, Dreyer enfoca insistentemente esse encontro desencontrado entre corpos e palavras. A tese situa sua filmografia na passagem do cinema mudo ao sonoro, este frequentemente celebrado como progresso técnico-estético, que acabou por reforçar o encobrimento da disjunção sujeito-palavra, corpo-voz. As análises privilegiaram situações fílmicas em que os personagens realizam atos de palavra – tais como o juramento, a maldição e a promessa –, estudados através das noções de sacramento da linguagem (Giorgio Agamben) e atos de verdade (Michel Foucault). Já no seu primeiro filme, O presidente, o juramento é um evento crucial. Reaparece sob a forma da promessa quebrada em A noiva de Glomdal, e se complexifica em A paixão de Joana D Arc, seu último filme mudo. Tais atos evidenciam que a transparência da linguagem, empiricamente impossível, será buscada através de técnicas de poder que procuram garantir uma fiel correspondência entre ato e palavra para assim enraizar a linguagem nesses corpos incontroláveis, fonte incessante de confusão, perjúrio e mentira. A tese é composta de capítulos autônomos, porém complementares, e permite diferentes percursos de leitura. / [en] This dissertation sets out to reflect on the relation between subject and lan-guage based on the work of the Danish film-maker Carl Theodor Dreyer (1889-1968). It critically reviews the strategies of interpretation that characterize previ-ous approaches to his work and subsequently analyzes the discursive violence and performatic force of the language employed in his films (fourteen full-length fic-tion films consisting of 9 silent movies and 5 talkies). While remaining within the bounds of a limpid form of narration, Dreyer s cinema continually explored the problem of man as a talking animal that risks its own life and destiny through lan-guage. Underneath the heterodoxy of styles and the variety of themes and epochs portrayed in his films, Dreyer insistently focuses on the missed encounter between body and word. The dissertation situates his filmography at the point where cine-ma transitioned from silent to the talking mode, a moment often seen as a tech-nical and aesthetic advance, which ended up further concealing the subject/word and body/voice disjunction. It focuses on film situations in which the characters perform deeds in words – such as taking oaths and making curses and promises. These analyses are studied borrowing notions of the sacrament of language (Giorgio Agamben) and acts of truth (Michel Foucault). In his very first film, The President, oath-taking is already a crucial event. Reappearing in the form of a broken promise in The Bride of Glomdal, this grows more complex in The Passion of Jeanne D Arc, his last silent movie. Such speech acts show that language transparency, which is empirically impossible, is persistently sought by means of power techniques designed to ensure that act and word correspond faithfully, thus setting roots for language in these uncontrollable bodies, which are an endless sources of confusion, perjury and lie. The autonomous, though complementary chapters of the dissertation allow for multiple directions and sequences of reading.

<p>The human glucose transporter GLUT1 facilitates glucose to be accumulated on the other side of the cell membrane. The functional state of GLUT1 is uncertain due to diversity of the reports. In this thesis, the activity of red blood cell GLUT1 was extensively studied to further characterize this protein.</p><p>The human red blood cell membranes were stripped to become vesicles with low-ionic alkaline solution in the presence or absence of dithioerithritol. The supernatant of partially solubilized membrane vesicles provided approximately 65% of the vesicle proteins. GLUT1 purified from this supernatant showed a little high-affinity cytochalasin B binding activity. On the other hand, the vesicles stripped with dithioerythritol provided mostly monomeric GLUT1 and those without dithioerythritol provided monomeric and oligomeric GLUT1. MALDI-ToF-MS detected variant GLUT1 fragments between the two preparations. Residual endogenous phospholipids per GLUT1 also showed difference. However, the equilibrium exchange of glucose was retained for both GLUT1 preparations. Cytochalasin B-binding activity of GLUT1 in streptoavidin-biotin-immobilized red blood cells showed that both dissociation constant and binding sites per GLUT1 fell between those of wheat germ lectin-immobilized red blood cells with or without polylysine coating, which indicated the switching of two cytochalasin B-binding states of GLUT1. It is concluded that GLUT1 in red blood cells contains approximately two equal portions, monomeric with high-affinity cytochalasin B-binding activity and oligomeric without high-affinity cytochalasin B-binding activity. In the partial solubilization of the membrane vesicles, GLUT1 which does not have high-affinity cytochalasin B-binding activity is pooled. This might provide a resolution to select oligomerically and functionally different GLUT1 for crystallization.</p><p>In addition a modified micro-Bradford assay with CaPE precipitation was developed to achieve a routine quantitation method for membrane proteins and the effects of cholesterol and PEG(5000)-DSPE on reconstituted GLUT1 were preliminarily determined.</p>