No description available.

In the Drosophilaovary, PIWI-interacting RNAs (piRNAs) suppress transposon expression, ensuring female fertility. PIWI proteins Aub and Ago3, loaded with ping-pong piRNAs and reside in perinuclear nuage granules, engage in reciprocal transposon transcript cleavage termed the ping-pong cycle. The other PIWI protein Piwi, loaded with phased piRNAs and resides in the nucleus, silences transposon transcriptionally. Ping-pong piRNAs are made through the ping-pong amplification loop by Aub and Ago3, whereas phased piRNAs are made through consecutive endonucleolytic cleavages that spread in 5′-to-3′ direction, presumably by Zucchini (Zuc), an endonuclease resides on the surface of mitochondria. The ping-pong and phasing biogenesis pathways are coupled genetically and molecularly. However, it is not known how such coupling is achieved at the mechanistic level. We found that nuage and mitochondria are physically separate under the confocal and electron microscopy. Zuc interacts with other known phasing factors on the mitochondrial surface, including an RNA-binding ATPase Armitage (Armi). Relying on its ATPase activity, Armi avoids binding to genic mRNAs, instead binds to piRNA precursors engaged in ping-pong or phasing, and localizes to both nuage and mitochondria. Armi localization is dynamically regulated by the ping-pong and phasing pathways. In armiloss-of-function mutants, ping-pong still operates, but phasing is disrupted. Therefore, the coupling between ping-pong and phasing pathways can be explained by Armi shuttling between nuage and mitochondria. An Armi ATPase mutant retains the interactions with piRNA biogenesis factors and piRNA precursors, but is insufficient to support phasing, suggesting an additional role of the Armi ATPase activity in ribonucleoprotein complex (RNP) remodeling. Our study suggests that the dynamic distribution of an RNA-binding ATPase serves to transfer piRNA precursors between distinct subcellular compartments. It furthers our understanding of the complex coordination between piRNA biogenesis pathways and may serve to guide future studies on the mitochondrial phase of piRNA biogenesis. A few important questions remain to be answered: what interactions or conformational changes need to happen on Armi for it to anchor at nuage or mitochondria? How does Armi remodel the phasing RNP? Why are ping-pong and phasing machineries separated, and why does phasing happen on mitochondria?

Séparé du Sud pastoral, de la capitale londonienne et d’Oxbridge par une frontière moins géographique que culturelle, le Nord de l'Angleterre a une géographie variable en fonction des besoins du discours. Une constante discursive parcourt cependant la littérature sur la région : marqué par ses rudes conditions climatiques, jadis peuplé de barbares, en butte aux invasions et ravagé par la Révolution Industrielle, le Nord serait en marge de la sphère poétique. Or, à partir des années 1960, dans le cadre d'une redécouverte des marges de l'ex-empire et d’une dissolution des frontières nationales due à la mondialisation, le Nord revendique son droit à figurer à part entière au cœur de la carte poétique. Les poésies de Basil Bunting, de Ted Hughes, de Tony Harrison, et de Simon Armitage nous invitent à parcourir ces Nords géographiques, historiques, culturels, mais avant tout poétiques. Ces quatre poètes, nés dans le Nord, ont en commun d’avoir pris une distance, sinon physique, du moins intellectuelle, avec la région, ce qui leur a permis de poser un regard critique. Le mouvement nostalgique de retour à la terre natale amorce une réappropriation sur le plan de l’imaginaire de cet espace colonisé par des discours dépréciatifs. Les poètes y découvrent une source intarissable de créativité et partent en quête d’une langue qui résorbe l’écart entre nordicité et poéticité : l'impur accent barbare devient axiome poétique. Comment cette poésie du Nord met-elle en question l'anglicité et la tradition poétique anglaise en même temps qu'elle la structure ? Si « poésie du Nord » il y a, quelles en sont les réalisations dans la voix, le rythme et la forme poétiques ? / Divided from the pastoral South, London and Oxbridge by a frontier that is less geographical than cultural, Northern England has been constructed through shifting discourses. One discursive feature though has been constantly present in the literature on the region : since the place is forbidding (not the least because of its grim weather), since it used to be populated with barbaric tribes and provided a buffer against even more barbarian invasions, since it was devastated by the Industrial Revolution, the North is excluded from the poetic sphere. Yet since the 1960s, in a context of peripheries emerging from the former empire and of national frontiers disappearing due to globalisation, the North has claimed its right to hold a central place on the poetic map. Basil Bunting, Ted Hughes, Tony Harrison and Simon Armitage have participated in reconfiguring geographical, historical, cultural, but, most importantly, poetic Norths. The nostalgic return to the region where they were born and bred reads as a creative and critical reappropriation of a space that has been colonised by derogatory discourses. The poets discover an inexhaustible source of inspiration and set on a quest for a language that would bridge the gap between northerness and poetry : their impure barbarian accent becomes a poetic axiom. How does this Northern English poetry question Englishness and the English poetic tradition while constructing them ? If « Northern English poetry » does exist, how does it show in terms of poetic voice, rhythms and forms ?

全文一冊，共五章，前四章各二小節，後一章不分節，約二萬字。 內容大致為，不完整樣本的適應檢定中，若在ARMITAGE-COX模型下，可求出生存函數 的最概估計量，本文討論在一般的情形下的PRODUCT-LIMIT 估計量以及ARMITAGE-COX 模型下的最概估計量，它們在指數分配的CORRELATION 適合度檢定及NEW BETTER THA N USED檢定的表現，並以模擬作數值上的討論。 本文第一章入整體的簡單介紹，第二章介紹不完整樣本的模型，第三章適合度檢定， 第四章指出數值模擬的結果及分析，第五章結論。

This thesis examines how Shinzo Abe’s historical perspectives on “comfort women” and the Nanjing Massacre are influenced by global demands. Abe’s official account on these issues have been affected by pressures to reconcile with South Korea and to face China’s rise for strategic reasons. This originates from sources including think tanks such as the Center for Strategic and International Studies and media. Joseph Nye’s concept of soft power will provide the theoretical background to analyze Abe’s views on both issues. The existence and method through which these pressures are applied will be detailed and explored. This research will hope to contribute to the understanding of historical memory in the Asia-Pacific and how it remains an issue that undergoes changes in the current political climate. / Graduate

This thesis provides an overview of the engagement with the material culture of Assyria, unearthed in the Middle East from 1845 onwards by British and French archaeologists. It sets the artistic discovery of Assyria within the visual culture of the period through reference not only to painting but also to illustrated newspapers, books, journals, performances and popular entertainments. The thesis presents a more vigorous, interlinked, and widespread engagement than previous studies have indicated, primarily by providing a comprehensive corpus of artistic responses. The artistic connections between Britain and France were close. Works influenced by Assyria were published, exhibited and reviewed in the contemporary press, on both sides of the English Channel. Some artists, such as Gustave Doré, successfully maintained careers in both London and Paris. It is therefore often meaningless to speak of a wholly ‘French’ or ‘British’ reception, since these responses were coloured by artistic crosscurrents that operated in both directions, a crucial theme to be explored in this dissertation. In Britain, print culture also transported to the regions, away from large metropolitan centres, knowledge of Assyria and Assyrian-inspired art through its appeal to the market for biblical images. Assyria benefited from the explosion in graphical communication. This thesis examines the artistic response to Assyria within a chronological framework. It begins with an overview of the initial period in the 1850s that traces the first British discoveries. Chapter Two explores the different artistic turn Assyria took in the 1860s. Chapter Three deals with the French reception in the second half of the nineteenth century. Chapter Four concludes the British reception up to 1900, and Chapter Five deals with the twentieth century. The thesis contends that far from being a niche subject engaged with a particular group of artists, Assyrian art was a major rediscovery that affected all fields of visual culture in the nineteenth century.