Oskar (Osk) is a posterior body-patterning determinant in Drosophila melanogaster and is highly concentrated at the posterior pole of the oocyte. osk mRNA is translationally repressed until it reaches the posterior of the oocyte where Osk protein is made. Bruno (Bru) represses translation during osk mRNA localization by direct binding, but how Bru-mediated repression is relieved at the posterior of the oocyte is unknown. Two types of Bru protein interactions are implicated in repression of osk: Bru-Cup interaction and Bru dimerization. By mapping the Bru domains that are important for these interactions, I found that the amino-terminal domain of Bru contributes to both interactions, and deletion of this domain caused a defect in translational repression. However point mutations, within the amino-terminal domain, that disrupt both types of interaction in vitro did not interfere with translational repression in vivo. The difference may be due to other factors stabilizing the Bru-Cup interaction in vivo, as the mutant Bru still associates with Cup in vivo. My work supports the model of repression that relies on Bru interaction with Cup. I also build a new model in which Bru dimerization promotes translational activation of osk, based on my unexpected results: dimerization-defective Bru only weakly accumulated Osk::GFP fusion protein encoded by an osk::GFP reporter RNA bearing a Bru-binding region, while dimerization-competent Bru showed the opposite effect. This suggests that dimerization may contribute to switching Bru from a repressor to an activator, with dimerization controlled via a post-translational modification. Consistent with this, I found that a small fraction of Bru in ovaries is phosphorylated. PKA is a positive regulator of osk expression and phosphorylates Bru in vitro. To test if PKA regulation of osk is mediated through Bru, I examined the effect of altering PKA activity on Bru phosphorylation and Bru-mediated repression. Modulating PKA activity caused small, yet detectable changes in Bru phosphorylation and Bru-dependent translational repression using an osk::GFP reporter. However, while the studies with Bru mutants suggest that phosphorylation promotes repression by Bru, these studies argue for a role in promoting activation. Further work will be required to explain these phenomena. / text

Diss.--Daressalam--Philosophische Fakultät, 1977. / Bibliogr. p. 191-211. Index.

Diss.--Universität Münster (Westfalen), 1989.

Este trabalho oferece um estudo dos padrões estilísticos definidos através da análise dos processos contrapontísticos encontrados no terceiro movimento da Sonata nº I, Fuga e Toccata e do movimento final de Duas peças Sérias da obra para piano de Bruno Kiefer. A fuga, uma das técnicas de composição linear mais estabelecidas na escrita musical, reflete as transformações estilísticas na música ocidental. Considerando a diversidade de possibilidades estéticas na música do século XX, faz-se mister investigar como Kiefer tratou uma técnica composicional consagrada, preservando de modo singular e consistente o estilo inovador atribuído às suas obras. O referencial teórico adotado para este estudo é Twentieth Century Fugue – A Handbook (1962) de William Graves, Jr.. A partir da análise dos padrões recorrentes nas fugas de Bruno Kiefer, verificou-se o distanciamento entre os parâmetros da fuga tradicional e o estilo da escrita contrapontística do compositor. / This study offers a view of the stylistic patterns defined by the analysis of the contrapuntal processes used in the third movement of Sonata I, Fuga e Toccata, and the final movement of Duas peças sérias [Two serious pieces], from the piano works of Bruno Kiefer. The fugue, one of the most well established linear techniques of musical writing, reflects the stylistic transformations in Western music. Considering the diversity of aesthetic possibilities in twentieth-century music, it is appropriate to investigate how Kiefer dealt with such a technique, preserving an innovating style in a consistent manner, which has always been attributed to his music. This study was guided by Twentieth Century Fugue – A Handbook (1962), by William Graves, Jr.. After the analysis of the recurrent patterns found in the fugues by Kiefer, a verification of how these patterns relate to traditional parameters of fugal writing was undertaken.

Este trabalho oferece um estudo dos padrões estilísticos definidos através da análise dos processos contrapontísticos encontrados no terceiro movimento da Sonata nº I, Fuga e Toccata e do movimento final de Duas peças Sérias da obra para piano de Bruno Kiefer. A fuga, uma das técnicas de composição linear mais estabelecidas na escrita musical, reflete as transformações estilísticas na música ocidental. Considerando a diversidade de possibilidades estéticas na música do século XX, faz-se mister investigar como Kiefer tratou uma técnica composicional consagrada, preservando de modo singular e consistente o estilo inovador atribuído às suas obras. O referencial teórico adotado para este estudo é Twentieth Century Fugue – A Handbook (1962) de William Graves, Jr.. A partir da análise dos padrões recorrentes nas fugas de Bruno Kiefer, verificou-se o distanciamento entre os parâmetros da fuga tradicional e o estilo da escrita contrapontística do compositor. / This study offers a view of the stylistic patterns defined by the analysis of the contrapuntal processes used in the third movement of Sonata I, Fuga e Toccata, and the final movement of Duas peças sérias [Two serious pieces], from the piano works of Bruno Kiefer. The fugue, one of the most well established linear techniques of musical writing, reflects the stylistic transformations in Western music. Considering the diversity of aesthetic possibilities in twentieth-century music, it is appropriate to investigate how Kiefer dealt with such a technique, preserving an innovating style in a consistent manner, which has always been attributed to his music. This study was guided by Twentieth Century Fugue – A Handbook (1962), by William Graves, Jr.. After the analysis of the recurrent patterns found in the fugues by Kiefer, a verification of how these patterns relate to traditional parameters of fugal writing was undertaken.

Este trabalho oferece um estudo dos padrões estilísticos definidos através da análise dos processos contrapontísticos encontrados no terceiro movimento da Sonata nº I, Fuga e Toccata e do movimento final de Duas peças Sérias da obra para piano de Bruno Kiefer. A fuga, uma das técnicas de composição linear mais estabelecidas na escrita musical, reflete as transformações estilísticas na música ocidental. Considerando a diversidade de possibilidades estéticas na música do século XX, faz-se mister investigar como Kiefer tratou uma técnica composicional consagrada, preservando de modo singular e consistente o estilo inovador atribuído às suas obras. O referencial teórico adotado para este estudo é Twentieth Century Fugue – A Handbook (1962) de William Graves, Jr.. A partir da análise dos padrões recorrentes nas fugas de Bruno Kiefer, verificou-se o distanciamento entre os parâmetros da fuga tradicional e o estilo da escrita contrapontística do compositor. / This study offers a view of the stylistic patterns defined by the analysis of the contrapuntal processes used in the third movement of Sonata I, Fuga e Toccata, and the final movement of Duas peças sérias [Two serious pieces], from the piano works of Bruno Kiefer. The fugue, one of the most well established linear techniques of musical writing, reflects the stylistic transformations in Western music. Considering the diversity of aesthetic possibilities in twentieth-century music, it is appropriate to investigate how Kiefer dealt with such a technique, preserving an innovating style in a consistent manner, which has always been attributed to his music. This study was guided by Twentieth Century Fugue – A Handbook (1962), by William Graves, Jr.. After the analysis of the recurrent patterns found in the fugues by Kiefer, a verification of how these patterns relate to traditional parameters of fugal writing was undertaken.

Informe de Seminario para optar al grado de Licenciado en Historia

Inaug.-Diss.--Kiel. / Lebenslauf. "Litteratur": p. [v]-viii.

Oskar (Osk) is a posterior body patterning determinant in Drosophila melanogaster oocytes. oskar (osk) mRNA is translationally repressed until it reaches the posterior of the oocyte where Osk protein accumulates. Translational repression of osk prior to posterior localization is mediated by the RNA binding protein, Bruno (Bru). To better define Bru binding sites, I performed in vitro selections using full length Bru and the fragments containing either the first two RRMs (RRM1+2) or the third RRM (RRM3+). The aptamers from the final round from each of the selections produced a multitude of overrepresented primary sequence motifs. Examples of each of these motifs were found in the 3’UTRs of the mRNAs that Bru is known to regulate during oogenesis. GFP reporter transgenes under the control of the UAS-Gal4 expression system were constructed with each class of the binding sites within the reporter transgenes’ 3’UTRs to test the motifs’ ability to repress the reporters in vivo. In a wildtype background, the GFP reporters containing the binding sites were translationally repressed. In the aret mutant background, the GFP levels of the repressed GFP reporters increased with reduced Bru activity, suggesting the transgenes’ repression is mediated by Bru. Three of the motifs isolated in the in vitro selections reside in the AB and C regions of the osk 3’UTR, and the three classes of sites were mutated in the AB and C regions. The mutated AB and C regions were used to assay for a reduction of Bru binding affinity for the mutant RNAs. Additionally, the mutations were incorporated into an osk genomic transgene that was introduced into an osk RNA null as well as an Osk protein null background. The mutations reduced Bru binding to the AB and C regions. The transgenes containing the mutated Bru binding sites could not fully rescue the osk RNA null phenotype but can fully rescue the Osk protein null phenotype, suggesting an osk transcript can regulate other osk mRNAs in trans. / text

Thesis (doctoral)--University of Stockholm, 1993. / Includes bibliographical references (p. 130-131).