The Tim-3+ T cells in HIV infection are dysfunctional in proliferation or cytokine production. Here, we evaluated the effects of Tim-3 expression on the cytotoxicity of CD8+ T cells in HIV infection by examining 1) the ability of Tim-3+ CD8+ T cells to make perforin and 2) the direct ability of Tim-3+ CD8+ T cells to kill HIV infected CD4+ target cells. Tim-3+ CD8+ T cells maintained higher levels of perforin. However, these cells were defective in their ability to degranulate. Blocking the Tim-3 signalling pathway enhanced the cytotoxic capabilities of HIV specific CD8+ T cells by increasing: their degranulation capacity, their ability to release perforin, their ability to target activated granzyme B to HIV antigen expressing CD4+ T cells and their ability to suppress HIV infection of CD4+ T cells. Thus, the Tim-3 receptor can down-regulate the CD8+ T cell cytotoxicity through inhibition of degranulation and perforin/granzyme secretion.

The Tim-3+ T cells in HIV infection are dysfunctional in proliferation or cytokine production. Here, we evaluated the effects of Tim-3 expression on the cytotoxicity of CD8+ T cells in HIV infection by examining 1) the ability of Tim-3+ CD8+ T cells to make perforin and 2) the direct ability of Tim-3+ CD8+ T cells to kill HIV infected CD4+ target cells. Tim-3+ CD8+ T cells maintained higher levels of perforin. However, these cells were defective in their ability to degranulate. Blocking the Tim-3 signalling pathway enhanced the cytotoxic capabilities of HIV specific CD8+ T cells by increasing: their degranulation capacity, their ability to release perforin, their ability to target activated granzyme B to HIV antigen expressing CD4+ T cells and their ability to suppress HIV infection of CD4+ T cells. Thus, the Tim-3 receptor can down-regulate the CD8+ T cell cytotoxicity through inhibition of degranulation and perforin/granzyme secretion.

Thesis (M.A.)--University of North Carolina at Wilmington, 2005. / Includes bibliographical references (leaves: [48]-51)

Made available in DSpace on 2014-06-12T16:32:09Z (GMT). No. of bitstreams: 2 arquivo6526_1.pdf: 3001890 bytes, checksum: 21c5ea9cd4adc117b601f6c74dbba9fa (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2011 / Faculdade de Amparo à Ciência e Tecnologia do Estado de Pernambuco / O monstruoso normalmente é relacionado ao Mal, à crueldade, violência, morte e irracionalidade. O objetivo deste trabalho é reconfigurar a forma como o monstro e o feio são lembrados, pois é possível representá-los de forma diversa daquela cruel e fria que imediatamente nos ocorre. Consideramos que um dos grandes pioneiros para essa mudança, no que concerne ao cinema, seja o diretor hollywoodiano Tim Burton. Com um estilo bem peculiar, Burton faz uso de temas delicados para propor reflexões no público e mudanças de paradigmas. Além disso, ele mostra que é possível uma abordagem estética do feio com o objetivo de torná-lo mais agradável aos olhos. Também mostramos como o gênero do horror veio se aprimorando desde o início da história do cinema, objetivando sempre causar mais repulsa e medo no espectador, e com isso a atração que eles exercem sobre nós curiosamente só cresce a cada dia. Tal análise se dará à luz de autores como Morin, Nazário e Carroll. Posteriormente, as recorrências burtonianas são apontadas, tanto tematicamente quanto estilisticamente, fazendo, inclusive, o uso de fotografias e screenshots para facilitar o entendimento do leitor. O objetivo é mostrar, na prática, que o monstro nem sempre é o vilão, e que os filmes em que eles aparecem normalmente possuem metáforas e críticas fortes implícitas, o que faz valer estudos mais aprofundados sobre o gênero

Tim Burton is a North-American cineaste known by the movies Beetlejuice (1988), The Nightmare Before Christmas (1993), and Edward Scissorhands (1990). In 1997, Burton published his first literary work called The Melancholy Death of Oyster Boy and Other Stories, a work which presents 23 poems illustrated by the author. Tim Burton’s cinematographic and literary works present some particular characteristics that exemplify the presence of a signature, which is meanly delineated by gothic elements, grotesque characteristics, and transtextual relationships. In this sense, this master’s research analyses the gothic and grotesque characteristics in the films Vincent (1982), Frankenweenie (1982), and Corpse Bride (2005); as well as in the book The Melancholy Death of Oyster Boy and Other Stories (1997). / Tim Burton é um cineasta norte-americano que se destacou pelos filmes Beetlejuice (1988), The Nightmare Before Christmas (1993) e Edward Scissorhands (1990). Em 1997, Burton publica seu primeiro trabalho literário: The Melancholy Death of Oyster Boy and Other Stories, uma coletânea de 23 histórias, as quais são ilustradas pelo próprio autor. As produções de Burton, sejam elas cinematográficas ou literárias, possuem características que permitem a observação de uma assinatura, a qual é delineada, principalmente, pela presença do gótico, do grotesco e da transtextualidade. A presente dissertação discute o gótico e o grotesco em Tim Burton, analisando os curtas-metragens Vincent (1982), Frankenweenie (1982), o longametragem Corpse Bride (2005) e o livro The Melancholy Death of Oyster Boy and Other Stories (1997).

Des Griffes de la nuit de Wes Craven en 1984 à Pirates des Caraïbes : la fontaine de jouvence de Rob Marshall en 2011, Johnny Depp a bâti une des oeuvres les plus originales et les plus éclectiques de l’histoire du jeu d’acteur américain au cinéma. Dès ses deux premiers grands rôles, il a installé les fondements d’une conduite artistique à laquelle il a peu dérogé. Avec Cry-Baby de John Waters en 1989, il exagère chaque posture et chaque expression, jusqu’à la défiguration. L’année suivante, il a livré l’interprétation dépouillée de la créature mi-homme,mi-machine d’Edward aux mains d’argent de Tim Burton.Depuis, rares sont les personnages deppiens qui échappent au désir de métamorphosede l’acteur, lequel est alimenté par des sources d’inspiration à la présence visuelle singulière et parachevé par le recours aussi bien au sous-jeu qu’au sur-jeu. Depp invente de nouvelles formes expressives en multipliant et en harmonisant les manifestations de ces registres antagonistes / From Wes Craven’s A Nightmare on Elm Street (1984) to Rob Marshall’s Pirates of theCarribean: On Stranger Tides (2011), Johnny Depp has built one of the most original andeclectic careers in the history of American film acting. As early as his first two big roles hehas exhibited a strong sense of artistic ethic from which he has rarely departed. In JohnWaters’ Cry-Baby (1989), he exaggerated each gesture, each facial expression. The followingyear, he starkly impersonated Tim Burton’s half machine, half human Edward Scissorhands.Since his debut, the characters played by Depp rarely escaped this transformative urge,which draws inspiration from various aesthetic sources and culminates in the skilful use ofboth underplay and overplay. Depp creates new forms of artistic expression by merging andharmonising these two opposing styles

[pt] Esse trabalho pretende ser essencialmente antropológico, mas, não é possível ignorar os aspectos sociológicos, políticos e até filosóficos da constituição/invenção do nosso povo para, a partir daí, analisar o comportamento social do personagem Tim Maia. Refere se à construção do personagem Tim Maia compondo uma análise póstuma cujo intuito não é desvendar quem ele era ou buscar a verdade a seu respeito. A base biográfica apenas anuncia o conteúdo principal. O principal é uma análise da construção do personagem, do mito em seu entorno, dos seus desvios do ponto de vista sociológico e das questões de identidade que o formaram. Essa análise passa pelo discurso, questões relativas à literatura e até autoridade etnográfica. Enfim, trata se de colocações que não buscam, reitero, a verdade sobre Tim Maia, mas, do ponto de vista teórico, lançar sobre ele um olhar acadêmico que possa explicar como ele via suas próprias verdades. / [en] This work intends to be essentially anthropological, but you can not ignore the sociological, political and even philosophical aspects of the formation/invention of our people, and from there, to analyse the social behaviour of the character of Tim Maia. The work refers to the construction of the character of Tim Maia composing a posthumous analysis of whose purpose is not to unravel who he was or seek the truth about him. The biographical base is just the preview to the main content. That is an analysis of his character, of the myth around it, its deviations from the sociological point of view and questions of identity that formed it. This analysis goes through discourse, issues relating to literature and even ethnographical authority. So finally, these are affirmations that do not seek, I reiterate, the truth about Tim Maia, but from a theoretical point of view to launch a scholarly look about him that would explain how he saw his own truths.

Uppsatsen handlar om hur karaktärer i utanförskap gestaltas i film med huvudfokus på Tim Burton (1958) och hans positiva freaks. Positiva freaks är karaktärer som anses vara annorlunda men som menar väl. Karaktärerna som analyseras i uppsatsen är Edward från Edward Scissorhands (1990), Victor från Corpse Bride (2005), Alice från Alice i Underlandet (2010) och Jake från Miss Peregrines Hem för Besynnerliga Barn (2016). Syftet med denna uppsats är att få en djupare förståelse för Tim Burtons freaks och hur de fungerar som ett nytt sätt att gestalta karaktärer för att vinna publikens sympati. I undersökningen har uppsatsen använt sig av en litteraturundersökning för att göra en analys av de ovannämnda filmerna och se hur Burton har gestaltat karaktärerna i sina filmer utifrån den ”yttre” och ”inre” karaktären. I slutdiskussionen så syns det tydligt att protagonisterna på ett eller annat sätt besitter egenskaper som skiljer dem från resten av omvärlden. Oavsett om det är fysiska abnormiteter eller psykiska så vinner de oftast publikens sympati. Det syns även tydligt att de har genomgått en förändring genom tiden där deras inre egenheter blir starkare men även osynliga. Man kan helt enkelt hävda att Burtons freaks har vandrat inåt.

Intresset för Avicii’s musik har under många år varit mycket stort över hela världen. Från att ha börjat som en ”bedroom producer” till att spela sin musik på scener världen över har han blivit en legend inom den elektroniska dansmusiken. Men vilka byggstenar och tekniker använder han sig av? Syftet med denna uppsats är att ta reda på hörbara kännetecken i Avicii’s musik och få en bättre förståelse för hur en framgångsrik producent skapar och bygger upp sin musik, både musikaliskt och produktionsmässigt. Avicii’s produktioner är speciellt intressanta eftersom de tenderar att innehålla både elektroniska och akustiska element. I undersökningen används musikanalys som metod där fyra av hans produktioner har analyserats med hjälp av bl.a. ljudhändelsebeskrivningar och detaljerade analyser av olika musikaliska och produktionstekniska egenskaper. Detta har gett ett resultat som visar på att det finns flera likheter mellan de olika produktionerna i bl.a. struktur, instrumentering samt ljudbild. Det som skiljer sig mest är produktionernas melodier samt harmonisk struktur. Sångtexter har inte analyserats i detta arbete.

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