Many pigmented heterokonts are able to synthesize elements of their cell walls (the frustules) of dense biogenic silica. These include diatom algae, which occupy a significant place in the biosphere. The siliceous frustules of diatoms have species‐specific patterns of surface structures between 10 and a few hundred nanometers. The present review considers possible mechanisms of uptake of silicic acid from the aquatic environment, its transport across the plasmalemma, and intracellular transport and deposition of silica inside the specialized Silica Deposition Vesicle (...) (SDV) where elements of the new frustule are formed. It is proposed that a complex of silicic acid with positively charged proteins silaffins and polypropylamines remains a homogeneous solution during the intracellular transport to SDV, where biogenic silica precipitates. The high density of the deposited biogenic silica may be due to removal of water from the SDV by aquaporins followed by syneresis—a process during which pore water is expelled from the network of the contracting gel. The pattern of aquaporins in the silicalemma, the membrane embracing the SDV, can determine the pattern of species‐specific siliceous nanostructures. BioEssays 30:328–337, 2008. © 2008 Wiley Periodicals, Inc. (shrink)

The relevance of the problem under study is due to the need to improve the practical skills and competencies of students in the course of training in order to prepare them for competition with other job seekers in employment. In this regard, this article is aimed at identifying the expediency of students’ participation in competitive selections and grants as a factor that creates conditions for effective practice-oriented learning. The leading method for the study of this problem is a pedagogical experiment, (...) which allows us to comprehensively consider the relationship between students’ participation in competitions and their further self-realization and development as young professionals. The article presents the results of monitoring the behavior of students who received an offer to participate in the university-wide competitive selection of student projects, implemented as part of the Program for Supporting Applied Research and Development of Students and Postgraduates of Petrozavodsk State University. The materials of the article can be useful for teaching staff in building a scheme for teaching students and services involved in the recruitment of personnel for large and medium-sized companies that require young professionals to have practical work skills, teamwork skills and creativity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“We all love with the same part of the body, don’t we?”Iuliia Voznesenskaia’s Zhenskii Dekameron, New Women’s Prose, and French Feminist TheoryYelena Furman (bio)Starting out as a poet who eventually turned to fiction, Iuliia Voznesenskaia was also one of the main figures of the Soviet feminist movement, a fact that makes her biography both unusual and courageous. In the 1970s, Voznesenskaia’s involvement with the dissident movement in Leningrad resulted (...) in several arrests, imprisonment, and time in the camps.1 Although she was not initially interested in women’s issues, her incarceration in all-women’s camps and prisons convinced her that “the situation of women in our country demands special attention” (“Zhenskoe dvizhenie v Rossii” [“The Women’s Movement in Russia”] 41). Along with several other women dissidents, she founded the Soviet feminist movement, putting out the samizdat women’s journal Zhenshchina i Rossiia (Woman and Russia), which precipitated immediate reprisals from the KGB. A women’s club, Mariia, and a journal by the same name followed, as did more KGB reprisals. For her feminist activity, Voznesenskaia was expelled from the Soviet Union in 1980, settling in West Germany.2In 1985, in West Germany, Voznesenskaia wrote her first and best-known novel, Zhenskii Dekameron (The Women’s Decameron). The novel is set in a Leningrad maternity ward containing ten new mothers from different backgrounds with different life experiences: Larisa, Emma, Natasha, Nelia, Galina, and Valentina are educated and all have careers except Galina, whose occupation, admittedly strange for a feminist novel, seems to be a dissident’s wife; Ol’ga works in a shipyard; Irishka is a secretary; Al’bina is an Aeroflot flight attendant doubling as an escort on the KGB’s payroll; Zina is homeless and has served time in the camps; Valentina is a Party worker, whereas Galina is part of the dissident community. Quarantined together for ten days because of a spreading infection and inspired by Emma’s reading of Boccaccio’s Decameron, the women begin to tell each other stories to pass the time. As its title makes clear, Voznesenskaia’s novel is heavily indebted to Boccaccio’s, borrowing its structure and many of its themes, such as an emphasis on storytelling and sexual explicitness. The humor and poignancy of the women’s stories make it a highly enjoyable read, and the focus on female sexuality and the author’s play with the narrative set this novel apart from other Soviet writers’ works.3 The novel also features what is surely a unique occurrence in Russian and Soviet literature: an openly feminist character (Larisa), referred to by the authornarrator as “zhenshchinoi vpolne emansipirovannoi, mogushchei ukrasit’ soboi liuboe zapadnoe feministicheskoe obshchestvo” [“a completely emancipated woman, capable [End Page 95] of adorning any Western feminist group”] (13), who is moreover depicted in a wholly positive light.4Yet despite enjoying a modicum of success, including being translated into several languages and staged as a play, Zhenskii Dekameron remains an under-read and underrated work.5 The reasons for its relative obscurity are closely allied with Voznesenskaia’s political activities in the 1980s. Exiled abroad for being politically undesirable to Soviet authorities, she could not have her work published in the Soviet Union; rather, the novel came out in Russian in Israel in 1987 (Curtis 186n2).6 The lack of visibility from which she suffered in her native country changed only in the (post)glasnost’ period: in 1991, the novel was published in Russian in Tallinn, and in 1992, in Moscow.7 Despite being able to be published, however, Zhenskii Dekameron seems not to have made a strong impact on either readers or critics, and there does not appear to be any discussion of it in Soviet/ Russian literary journals.The novel likewise suffers from a lack of familiarity in the West. The interest Voznesenskaia generated among Western European and American feminists in the early 1980s was for her feminist activism in the Soviet Union, which preceded her novel writing. Zhenskii Dekameron seems to have made a modest impact on readers; scholars, too, discuss it only occasionally. The most comprehensive treatment of the work to date has been Jerzy Kolodziej... (shrink)

This paper examines Lesia Ukrainka’s two lyrical cycles about Crimea, Krymski spohady and Krymski vidhuky, as examples of a poetic dialogue with Adam Mickiewicz’s Sonety krymskie. I begin my analysis by highlighting the diff erent sensibilities of Mickiewicz’s Sonety krymskie and Lesia Ukrainka’s Krymski spohady, and underscore their formal and thematic peculiarities. The paper continues with an examination of Lesia Ukrainka’s second cycle, Krymski vidhuky, as an experiment in drama – a genre that is absent from her fi rst cycle (...) – before situating a dramatic scene, “Ifi heniia v Tavridi,” this cycle’s only text about Crimea’s Hellenic history, within the cultural contexts of Lesia Ukrainka’s oeuvre. In doing so, I argue that Iphigenia’s lament echoes the voice of an exiled poet from Mickiewicz’s sonnets and conclude my analysis by probing reasons behind Lesia Ukrainka’s choice of a Greek heroine. (shrink)

Baraz examines the rhetorical battle that Cicero stages in his philosophical prefaces - a battle between the forces that would oppose or support his project. He presents his philosophy as intimately connected to the new political circumstances and his exclusion from politics.

This book explores the uniquely Roman articulation of pride as a negative emotion and traces its partial rehabilitation that begins in the texts of the Augustan poets at the time of great political change using a combination of a lexical approach and a script-based approach that considers the emotion as a process.

A polyubiquitin chain attached covalently to the target substrate has been recognized for long as the “canonical” proteasomal degradation signal. However, several proteins have been shown to be targeted for degradation following monoubiquitination, indicating that the proteasome can recognize signals other than a ubiquitin polymer. A comprehensive screen aiming at determining the extent of this mode of recognition revealed that ∼40% of mammalian and ∼20% of yeast proteins are degraded following monoubiquitination. Characterization of these proteins showed that on average, the (...) monoubiquitinated proteins are smaller than the polyubiquitinated ones, and in humans, are less disordered. Further, proteins degraded by the two different modes belong to distinct functional groups. These findings along with detailed structural analysis of the proteasome, its ubiquitin receptors and deubiquitinating enzymes, suggest that the ubiquitin signal – its formation, recognition, editing, and removal – is far more complex and diverse than originally assumed. (shrink)

Ocherk 1. Voprosy ontologii -- Ocherk 2. Voprosy ėtiki i ėstetiki -- Ocherk 3. Voprosy gnoseologii i aksiologii.

Because the techno-economic paradigm of contemporary conceptualizations of innovation is often taken for granted in the literature, this chapter opens up this self-evident notion. First, the chapter consults the work of Joseph Schumpeter, who can be seen as the founding father of the current conceptualization of innovation as technological and commercial. Second, we open up the concept by reflecting on two aspects of Schumpeter’s conceptualization of innovation, namely its destructive and its constructive aspect, based on findings in the history of (...) innovation. Finally, we synthesize our findings and propose an ontic-ontological conceptualization of innovation as ontogenetic process and outcome with six dimensions—newness, political dimension, economic dimension, temporal dimension, human dimension and risk—that moves beyond its technological and commercial orientation. (shrink)

In the U.S., there is no requirement for research sponsors to compensate human research subjects who experience injuries as a result of their participation. In this article, we review the moral justifications that compel the establishment of a better research-related injury compensation system. We explore how other countries and certain institutions within the U.S. have adopted various systems of compensation. The existence of these systems demonstrates both that the U.S. lags behind other nations in its protection of human research subjects (...) and that the establishment of a compensation system is both practical and feasible. We then examine factors which have prevented the U.S. from establishing its own compensation system. We consider possible alternatives for the U.S. by examining the advantages and disadvantages of both established and proposed systems. We offer a new proposal that addresses the justice concerns which compel the establishment of a national compensation system, distributes the burdens of such a system on multiple stakeholders that benefit from research, and has the additional advantage of minimizing the administrative and logistical challenges associated with initiating such a system. (shrink)