- About
-
The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
Showing 21 to 27 of 27 (0.019 seconds)| 21 |
Mechanism of cell adhesion at the midbrain-hindbrain neural plate in the teleost Danio rerioKadner, Diana 09 June 2009 (has links)
The correct development of multicellular organisms is tightly regulated by intrinsic and extrinsic factors at specific time points. Disturbance on any level of these multiple processes may result in drastic phenotypes or eventually death of the organism.
The midbrain-hindbrain boundary (also termed isthmic organizer) is a region of high interest as well in early as also in later development. The isthmic region carries organizer identity by the expression and subsequent release of FGF8. False patterning events of this region in early developmental stages would therefore display dramatic results over time. As it has been shown that the midbrain-hindbrain boundary (mhb) in the zebrafish is a compartment (or lineage restriction) boundary I tried to understand the underlying molecular mechanism for its correct establishment.
In this work I focused both on embryological, molecular and genetic means to characterize involved molecules and mechanisms. In the first part of the thesis I followed in vivo cell transplantation assays, having started with an unbiased one. Cells of either side the mhb were challenged with this boundary by bringing them into direct cell contact with their ectopic counterpart. In a biased approach, cells overexpressing mRNA of specific candidate genes were transplanted and their clonal distribution in host embryos was analyzed.
In the second part of the thesis I started interfering with specific candidate genes by transiently knocking down their protein translation. The adhesion molecules of the Eph/ephrin class had been shown to restrict cell mixing and thereby creating compartment boundaries in other tissues, such as the hindbrain, in the zebrafish and other organisms. Additionally, we generated several stable genetic mutant lines in cooperation with the Tilling facility at the Max-Planck-Institute. The only acquired potential null mutant ephrinB2bhu2971 was analyzed and characterized further. I observed that a knock down or knock out of only one of the ephrinB2 ligands does not seem to be sufficient for a loss of compartment boundary formation. The combinatory approach of blocking translation of EphrinB2a in ephrinB2bhu2971 mutants gave very complex and interesting phenotypes, which need to be investigated further.
|
| 22 |
Corinth on the Isthmus: studies of the end of an ancient landscapePettegrew, David K. 14 September 2006 (has links)
No description available.
|
| 23 |
Investigation of novel techniques to overcome the challenges of mitral isthmus ablation in the treatment of atrial fibrillationWong, Kelvin Cheok Keng January 2013 (has links)
No description available.
|
| 24 |
Negotiating Musical Style in Panama: Nationalism, Professionalism and the Invention of Música Típica PopularBellaviti, Sean 02 August 2013 (has links)
This dissertation provides both an historical outline and contemporary ethnographic account of the Panamanian musical practice called “música típica popular,” which is commonly understood in Panama to denote a specific kind of vernacular music that is widely embraced. By examining the social-historical processes, events and discourses that have contributed to the genre’s development, this study seeks to develop greater understanding of what I argue is this music’s particular and pronouncedly ambiguous relationship to prominent themes of Panamanian cultural nationalism. Specifically, I endeavour to show that early on in its history música típica popular epitomized Panama’s (liberalist-identified) national ethos of progressive modernity and cultural cosmopolitanism while at the same time maintaining alignments to specific territories and musical practices significant to Panamanian vernacular imaginaries.
The historical outline covers música típica popular’s development beginning from the late nineteenth century to the present. Its focus is on the genre’s tandem commercialisation and massification, performance and production technologies and associated performance modalities, shared musical/sonic traits, repertoire and approaches to innovation through musical mixing or fusión (fusion). One of the central goals here is to trace and examine points of alignment between música típica popular and dominant paradigms governing isthmian geo-cultural self-identification—particularly the interplay between a rural-identified “vernacular” culture and the perceived urban cosmopolitanism of Panamanian metropolites.
Through ethnographic research this study also aims to examine the various sonic, social and economic factors that contribute to notions of música típica popular as a particular socio-musical collectivity actively in dialogue with discourses of Panamanian national and cultural identity. To this end, notions of “genre” and “style” provide an analytical framework particularly for coming to terms with the interplay between sensibilities of convention and common practice, and a need for meaningful differentiation among practitioners. It is my contention that while música típica popular practitioners actively cultivate links both to themes of Panamanian music-cultural vernacularism and cosmopolitanism, on the whole the relationship of the genre to nationalist discourse should be more properly understood as one of sustained ambiguity: not wholly aligned to one theme or the other, and in fact doggedly and often productively resistant to such binary categorizations.
|
| 25 |
Negotiating Musical Style in Panama: Nationalism, Professionalism and the Invention of Música Típica PopularBellaviti, Sean 02 August 2013 (has links)
This dissertation provides both an historical outline and contemporary ethnographic account of the Panamanian musical practice called “música típica popular,” which is commonly understood in Panama to denote a specific kind of vernacular music that is widely embraced. By examining the social-historical processes, events and discourses that have contributed to the genre’s development, this study seeks to develop greater understanding of what I argue is this music’s particular and pronouncedly ambiguous relationship to prominent themes of Panamanian cultural nationalism. Specifically, I endeavour to show that early on in its history música típica popular epitomized Panama’s (liberalist-identified) national ethos of progressive modernity and cultural cosmopolitanism while at the same time maintaining alignments to specific territories and musical practices significant to Panamanian vernacular imaginaries.
The historical outline covers música típica popular’s development beginning from the late nineteenth century to the present. Its focus is on the genre’s tandem commercialisation and massification, performance and production technologies and associated performance modalities, shared musical/sonic traits, repertoire and approaches to innovation through musical mixing or fusión (fusion). One of the central goals here is to trace and examine points of alignment between música típica popular and dominant paradigms governing isthmian geo-cultural self-identification—particularly the interplay between a rural-identified “vernacular” culture and the perceived urban cosmopolitanism of Panamanian metropolites.
Through ethnographic research this study also aims to examine the various sonic, social and economic factors that contribute to notions of música típica popular as a particular socio-musical collectivity actively in dialogue with discourses of Panamanian national and cultural identity. To this end, notions of “genre” and “style” provide an analytical framework particularly for coming to terms with the interplay between sensibilities of convention and common practice, and a need for meaningful differentiation among practitioners. It is my contention that while música típica popular practitioners actively cultivate links both to themes of Panamanian music-cultural vernacularism and cosmopolitanism, on the whole the relationship of the genre to nationalist discourse should be more properly understood as one of sustained ambiguity: not wholly aligned to one theme or the other, and in fact doggedly and often productively resistant to such binary categorizations.
|
| 26 |
Performing Indigenous Fiesta Resistance: Velas, Muxes, and Zapotec StyleTruett, Joshua L. January 2020 (has links)
No description available.
|
| 27 |
The Development of the Anterior Inferior Iliac Spine: A Comparative Analysis Among Hominids and African ApesZirkle, Dexter 27 March 2015 (has links)
No description available.
|
Page generated in 0.032 seconds