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Submitted by Chaylane Marques (chaylane.marques@ufpe.br) on 2015-03-05T18:03:05Z No. of bitstreams: 2 Dissertação Rafael Dias.pdf: 2527469 bytes, checksum: c02d5de0eeb6fd6dbfa5c1a535dd675b (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-05T18:03:05Z (GMT). No. of bitstreams: 2 Dissertação Rafael Dias.pdf: 2527469 bytes, checksum: c02d5de0eeb6fd6dbfa5c1a535dd675b (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2013-08-30 / FACEPE / Para que servem cinemas de limiar estético? Sobre que fios de tempo delicados deitamse imagens e narrativas contemporâneas densas? Compreendendo um esforço em recontar o cotidiano por meio de nosso tecido de afetos, esta dissertação usa o cinema de Gus Van Sant como escopo para uma bandeira teórica: a necessidade de uma nova “arqueologia” da memória (Didi-Huberman) que dê conta também de experiências “sublimes no banal” (Lopes). O corpus deste estudo centra-se na Trilogia da Morte (Gerry, Elefante e Últimos Dias), momento em que a obra vansantiana remete aos “cristais de tempo” (Deleuze) a partir do uso de nuvens como motif poético onipresente, mesmo que rarefeitas e insuspeitas sob a forma de reflexos (o duplo) e de névoa. Este texto também destaca, a efeito de introdução, os vínculos de Van Sant com outras experimentações estéticas que antecipariam suas preocupações atuais: a ligação com a Contracultura americana nas artes plásticas (Pop-art), no cinema (Cinema de Vanguarda e New Queer Cinema) e na literatura (Geração Beat).

Cell dedifferentiation is a cell fate regression process in which the cell fate memory of a differentiated cell is erased, leading to regain stem cell characteristics. Auxin regulates both cell dedifferentiation and differentiation in plants. It is unknown how auxin controls the two opposite processes. Here the minimal auxin requirements for cell dedifferentiation were found, molecular markers associated with the cell dedifferentiation event were identified. When cellular auxin concentration exceeds the level of meristem cell, most differentiated cells undergo dedifferentiation. In differentiated cells, the polar auxin efflux system prevents cell dedifferentiation by reducing auxin accumulation, particularly in the presence of exogenous auxin. Classic plant tissue culture experiments have shown that exposure of cell culture to a high auxin to cytokinin ratio promotes root formation and a low auxin to cytokinin ratio leads to shoot regeneration. Since the auxin level is highly elevated in the shoot meristem tissues, it is unclear how a low auxin to cytokinin ratio promotes the regeneration of shoots. To identify genes mediating the cytokinin and auxin interaction during organogenesis in vitro, three allelic mutants that display root instead of shoot regeneration in response to a low auxin to cytokinin ratio are identified using a forward genetic approach in Arabidopsis. Molecular characterization shows that the mutations disrupt the AUX1 gene, which has been reported to regulate auxin influx in plants. Meanwhile, it was found that cytokinin substantially stimulates auxin accumulation and redistribution in calli and some specific tissues of Arabidopsis seedlings. In the aux1 mutants, the cytokinin regulated auxin accumulation and redistribution is substantially reduced. These results suggest that auxin elevation and other changes stimulated by cytokinin, instead of low auxin or exogenous auxin directly applied, is essential for shoot regeneration. In this study, as a part of interaction between auxin and cytokinin it was identified that the induction of ARR5 and ARR6 expression by cytokinin is subjected to the regulation of auxin. The expression of ARR5 and ARR6 follows a mutual exclusive pattern in response to the induction of exogenous auxin in Arabidopsis seedlings and calli. The results suggest that auxin interacts with the cytokinin via a gene and tissue specific induction of the negative regulators in the cytokinin signaling pathway.

A presente pesquisa analisa três filmes do diretor norte-americano Gus Van Sant: Elefante (2003), Últimos dias (2005) e Paranoid Park (2007). Esses três filmes, muitas vezes pensados como uma trilogia, não se igualam apenas no campo estético, mas também em sua proposta política, já que os três apresentam fatos sociais e acontecimentos (mais próximos à esfera do jornalismo). Assim, a pesquisa desenvolve sua argumentação tendo como ponto de partida a realidade concreta e os modos de construção de suas possíveis representações. Não se trata, nesse caso, precisamente de um tipo de realismo enquanto gênero, mas, sobretudo, um modo realista imbricado na forma ficcional dos filmes em função das questões políticas e de sociabilidade que eles suscitam. A pesquisa aborda, dessa forma, três pontos a partir dos quais pensar o cinema contemporâneo, apontando algumas de suas escolhas no campo da visibilidade e em sua política. No trabalho, são três as dimensões do olhar que se colocam a partir do discurso cinematográfico: 1. o olhar do autor, que intenciona uma enunciação; 2. o olhar da cena e a performatividade das imagens, que tensionam o lugar de intenção da autoria; 3. o olhar da cena social, que encontra o lugar político das imagens e do espectador em relação à circulação delas. A esse processo foi dado o nome de dialética do olhar, pois ele constrói a todo instante os espaços de alteridade, ou do Mesmo e do Outro, na imagem. / This research analysis three films directed by Gus Van Sant, from United States, were selected: Elephant (2003), Last Days (2005) and Paranoid Park (2007) These three movies, often studied as a trilogy, are not only connected by a common aesthetical field, but also in its propositional politics, since the three movies present social facts and events (more like how events are brought up in the field of journalism). Therefore, the research considers as its starting point the factual reality and the construction of its possible representations. We are not specifically talking about Realism, as it\'s approached as a gender, but, most of all, according to the political questions and sociability evoked by our object. This research aims to point three parameters in order to discuss the contemporary cinema and its option into the political and visibility\'s fields. We\'re focused in three dimensions of the gaze posed considering the cinematographic discourse: 1) the author\'s gaze, that aims to create a tendency in an enunciation, 2. the scene\'s gaze and the images\' performativity, that stress the position of the authorship\'s intentionality; 3. the gaze of the social scene, that meets the images\' political position, from the spectator to its circulation. This process was named as gaze dialectic, since it is capable of constructing at every moment spaces of alterity, or, Itself and the Other in the image.

An efficient system for or 'Agrobacterium'-mediated transformation of <i>Brassica carinata</i> was used together with a promoterless <i> gus</i>::<i>nptII</i> gene fusion to isolate putative promoter sequences. Cotyledonary petioles were transformed using the promoterless gene fusion construct. Only transformation events in which the promoterless gene fusion had integrated downstream from plant regulatory sequences were expected to produce viable tissue under kanamycin selection. Forty-two transgenic plants were recovered. Transformation efficiency was approximately 0.6%. Regenerated plants were screened for GUS expression in different tissues and organs by histological and fluorometric assays. Tissue-specific GUS expression was detected (stigmas, seed coat, leaf edges and vascular tissue) in some plants, while strong constitutive GUS expression was detected in others (based on GUS histological assays). Using subgenomic libraries, putative promoter fragments were isolated from the plants which exhibited GUS expression in stigmas, leaf edges and constitutively. A putative promoter fragment from a plant which exhibited GUS expression only in the stigma was fused with the gus gene and reintroduced by <i>Agrobacterium </i> -mediated transformation into <i>B. napus, B. carinata, Arabidopsis' and tobacco </i>. GUS expression was observed in the stigma of <i>B. napus </i> but not in ' B. carinata'. In <i>Arabidopsis </i> and tobacco GUS expression. was not tissue specific (weakly constitutive or restricted to two or more tissues). The 3' DNA sequence (15 kb) flanking the <i> gus</i>::<i>nptII </i> insert in the plant with GUS expression in the stigma was also isolated using a subgenomic library. A gene for a cytochrome P450 like protein was discovered on the minus DNA strand of the 3' sequence with a start codon approximately 6.5 kb from the T-DNA left border.

A presente pesquisa analisa três filmes do diretor norte-americano Gus Van Sant: Elefante (2003), Últimos dias (2005) e Paranoid Park (2007). Esses três filmes, muitas vezes pensados como uma trilogia, não se igualam apenas no campo estético, mas também em sua proposta política, já que os três apresentam fatos sociais e acontecimentos (mais próximos à esfera do jornalismo). Assim, a pesquisa desenvolve sua argumentação tendo como ponto de partida a realidade concreta e os modos de construção de suas possíveis representações. Não se trata, nesse caso, precisamente de um tipo de realismo enquanto gênero, mas, sobretudo, um modo realista imbricado na forma ficcional dos filmes em função das questões políticas e de sociabilidade que eles suscitam. A pesquisa aborda, dessa forma, três pontos a partir dos quais pensar o cinema contemporâneo, apontando algumas de suas escolhas no campo da visibilidade e em sua política. No trabalho, são três as dimensões do olhar que se colocam a partir do discurso cinematográfico: 1. o olhar do autor, que intenciona uma enunciação; 2. o olhar da cena e a performatividade das imagens, que tensionam o lugar de intenção da autoria; 3. o olhar da cena social, que encontra o lugar político das imagens e do espectador em relação à circulação delas. A esse processo foi dado o nome de dialética do olhar, pois ele constrói a todo instante os espaços de alteridade, ou do Mesmo e do Outro, na imagem. / This research analysis three films directed by Gus Van Sant, from United States, were selected: Elephant (2003), Last Days (2005) and Paranoid Park (2007) These three movies, often studied as a trilogy, are not only connected by a common aesthetical field, but also in its propositional politics, since the three movies present social facts and events (more like how events are brought up in the field of journalism). Therefore, the research considers as its starting point the factual reality and the construction of its possible representations. We are not specifically talking about Realism, as it\'s approached as a gender, but, most of all, according to the political questions and sociability evoked by our object. This research aims to point three parameters in order to discuss the contemporary cinema and its option into the political and visibility\'s fields. We\'re focused in three dimensions of the gaze posed considering the cinematographic discourse: 1) the author\'s gaze, that aims to create a tendency in an enunciation, 2. the scene\'s gaze and the images\' performativity, that stress the position of the authorship\'s intentionality; 3. the gaze of the social scene, that meets the images\' political position, from the spectator to its circulation. This process was named as gaze dialectic, since it is capable of constructing at every moment spaces of alterity, or, Itself and the Other in the image.

De son premier film, Mala Noche (1985) jusqu’à Paranoid Park (2007), Gus Van Sant, cinéaste américain, propose une oeuvre protéiforme se divisant en trois périodes. Passant sans transition d’un cinéma foncièrement indépendant à des films de studios hollywoodiens, le cinéaste investit des systèmes de production opposés où il développe différentes approches de l’art cinématographique. Ses premiers films indépendants se caractérisent par une liberté et une prodigalité formelles, notamment portées par un brassage de références artistiques multiples (des auteurs de la contre-culture à Orson Welles en passant par Jean Genet). A cela s’oppose le classicisme de sa deuxième période, induit par le recours à des genres hollywoodiens canoniques, mais cependant troublé par l’étrange remake du Psychose d’Alfred Hitchcock. Après quoi le cinéaste renoue avec le circuit indépendant via des oeuvres proches de l’expérimentation en allant vers une épure de l’expression cinématographique. L’hétérogénéité esthétique de l’oeuvre de Gus Van Sant trouve néanmoins unecohérence grâce à une série de motifs iconographiques récurrents et à un axe thématique fort qui la traverse de bout en bout : l’individu, souvent marginal, dans son rapport aux autres et au monde, troublé par des crises identitaires, une quête des origines et un devenir incertain. Cette problématique s’exprime à travers un cinéma humaniste, entièrement voué auxpersonnages, au point de faire de leur seule présence sa matière même, sa condition d’existence – ou quand Gus Van Sant rejoint le « cinéma des corps » défini par Gilles Deleuze. Tous ses films apparaissent alors comme des variations esthétiques sur le même thème, et sont autant de questions posées au cinéma et par le cinéma, explorant sans cesse ses diverses potentialités. / From his first movie, Mala Noche (1985), until Paranoid Park (2007), Gus Van Sant, American film director, offers a protean body of work which can be divided into three phases. As a director, he gets himself into opposite production systems, smoothly alternating between fundamentally independent productions and Hollywood studios movies, and in doing sodevelops different approaches of the film art. His first independent movies are characterized by formal freedom and abundance which can notably be brought about by the mingling of so many artistic references (from counter-culture authors, to Orson Welles or Jean Genet). To this can be opposed his second phase classicism, consecutive of his resorting to canonic Hollywood genres, but somehow blurred by his strange Alfred Hitchcock’s Psycho remake.After that, the director comes back to the independent circuit via close to experimentation works, going towards an uncluttered film expression. There is however coherence in Gus Van Sant’s aesthetics of heterogeneity through aseries of recurring iconographic patterns and a strong thematic axis : the individual in his relations with other people and the world, often a dropout troubled by identity crisis, a quest for his origins and an uncertain becoming. This issue is expressed through a humanistic cinema, entirely devoted to the characters, to the point of making their mere presence its very substance, its condition of existence – Gus Van Sant catches up the “cinéma des corps” that Gilles Deleuze helped define. All of his movies then appear as aesthetic variations on the same theme and they are just as many questions asked to the cinema by itself, unceasingly exploring its various potentialities.

O Brasil é o maior produtor de laranja doce do mundo, mas a história da citricultura brasileira é marcada por sucessivas perdas devido a pragas e doenças que atacam os pomares. Entre as doenças que afetam os pomares de citros, o huanglongbing (HLB) tem merecido destaque nos últimos anos. O HLB já é conhecido desde 1900 na China, mas no Brasil essa doença está presente desde 2004 e tem causado perdas significativas a citricultura. Essa doença é associada a três espécies de \"Candidatus Liberibacter\", mas no Brasil a espécie Candidatus Liberibacter asiaticus (CLas) é a mais comum. Devido à ausência de plantas de laranja doce resistentes a essa doença, a busca por plantas transgênicas que apresentem resistência a essa doença têm se intensificado nos últimos anos. Uma estratégia para projetar uma construção gênica visando a CLas é a utilização de promotores floema-específico, pois a CLas coloniza o floema das plantas de citros infectadas. Entretanto, para provar que uma sequência promotora funciona é preciso desafiar a construção gênica na presnça da CLas. Portanto, conduziu-se este trabalho com o objetivo de multiplicar plantas de Citrus sinensis Osbeck (L.) cv. \'Hamlin\' transgênicas contendo o gene uidA sob controle dos promotores floema-específicos Arabidopsis thaliana phloem protein 2 (AtPP2), Citrus phloem protein 2 (CsPP2) e Arabidopsis thaliana sucrose transporter 2 (AtSUC2), inocular com CLas por Diaphorina citri, avaliar a interdependência entre a expressão do transgene (gene uidA) e a concentração de CLas, para poder inferir sobre o controle da expressão dos promotores quando as plantas são inculadas com CLas. Para isso, cinco eventos de transformação de cada construção gênica, contendo apenas uma cópia do transgene foram selecionados, multiplicados e inoculados com CLas por Diaphorina citri, dezoito meses após a inoculação, o DNA e o RNA das plantas foram coletados. Foi realizada análise para verificar a concentração de CLas em todas as plantas inoculadas e a expressão do gene uidA foi realizada em uma linhagem transgênica de cada construção gênica. Com o auxílio da análise de coeficiente de correlação de Person, foi possível classificar qualitativamente a interdependência entre a concentração bacteriana e a expressão gênica. A frequência média de inoculação de CLas por Diaphorina citri foi de 30 %, demostrando que é possível incular CLas via Diaphorina citri. A análise de coeficiente de correlação de Person mostrou que nas construções com promotores AtPP2 e CsPP2 há baixa interdependência entre o controle da expressão gênica e a concentração de CLas. A construção sob controle do promotor AtSUC2 apresentou correlação forte e positiva, mostrando que quanto maior a concentração de CLas maior a expressão do transgene. / Brazil is the largest producer of sweet oranges in the world, however the Brazilian citrus history is marked by successive losses due to pests and diseases attacking orchards. Among the diseases affecting citrus groves, the huanglongbing (HLB) has been highlighted in recent years. The HLB is known in China since 1900, although in Brazil this disease has been present since 2004 and has caused significant losses to citrus industry. This disease is associated with three species of \"Candidatus Liberibacter\", however, in Brazil Candidatus Liberibacter asiaticus species (CLas) is the most common. Due to the absence of sweet orange plants resistant to this disease, the search for transgenic plants with resistance to this disease have intensified in recent years. One strategy to design a genetic construct targeting the CLas includes the use of phloem-specific promoters, because the CLas colonizes the phloem of infected citrus plants. On the other hand, to prove that a promoter sequence works it is necessary to challenge the genetic construct in the presence of CLas. Therefore, we conducted this study with the objectives of multiplying transgenic Citrus sinensis Osbeck (L.) cv. \'Hamlin\' bearing the uidA gene under the control of the phloem-specific promoters Arabidopsis thaliana phloem protein 2 (AtPP2), Citrus phloem protein 2 (CsPP2) and Arabidopsis thaliana sucrose transporter 2 (AtSUC2), inoculate CLas with Diaphorina citri, and evaluate the interdependence between the expression of the transgene (uidA gene) and the concentration of CLas, to infer the promoter expression when the plants are inoculated with CLas. Five events processing of each gene construct, containing only one copy of the transgene, and inoculated with CLas by Diaphorina citri. The DNA and RNA of plants were collected after eighteen months of inoculation. The concentration of CLas in the inoculated plants and the expression of the uidA gene were performed in each transgenic line of each gene construct, with the aid of the analysis of Person correlation coefficient. Thus it was possible to classify qualitatively the interdependence between bacterial concentration and gene expression. The average frequency of CLas inoculation by Diaphorina citri was 30%, demonstrating that it was possible to inoculate CLas via Diaphorina citri. Person correlation coefficient values suggested low interdependence between the control of gene expression and the concentration of CLas in constructions with promoters AtPP2 and CsPP2. The construction under AtSUC2 promoter control showed strong positive correlation, indicating that the higher the concentration of CLas the greater is the transgene expression.