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Concerns over the safety of conventional viral vectors have limited the translation of gene transfer from an exciting experimental procedure to a successful clinical therapy in transplantation. Baculoviruses are insect viruses, but have the ability to enter mammalian cells and deliver potential therapeutic molecules with no evidence of viral replication. This study provides evidence of the ability of recombinant baculovirus to enter mammalian kidneys and livers during cold preservation. Six kidneys and six liver lobules retrieved from large pigs were perfused with University of Wisconsin (UW) solution containing a baculovirus tagged with green fluorescent protein and preserved for 8 h. In addition, six kidneys were perfused with UW containing a baculovirus expressing red fluorescent protein and preserved for 24 h. Green fluorescent virus particles were detected within transduced kidneys and livers after 8 h standard cold storage and red fluorescent protein mRNA was detected in kidneys after 24 h of cold preservation. There were no significant differences in tissue architecture, cell morphology or ATP content between experimental organs and their controls. Ex vivo transduction of organs with recombinant baculovirus during conventional cold preservation was demonstrated with no evidence of additional injury or reduction in cell viability. © 2011 European Society for Organ Transplantation.

No two comedies of Voltaire are alike: the breadth and diversity of his comic dramaturgy in terms of form, technique, theme, characterisation and tone, are revealed in this first critical analysis and systematic reassessment of Voltaire’s eighteen comedies in their contemporary theatrical, literary and intellectual contexts. This study also exposes the fundamental unity of Voltaire’s comic theatre, which lies in the plays’ status as innovative, experimental works written in creative dialogue with, and fruitful opposition to, the contemporary trend towards serious, sentimental comedy. Voltaire wrote his comedies over more than forty years (1725-1769), when comedy was undergoing significant redefinition as a genre. Typically dismissed as un-dramatic, sentimental, overtly didactic and so of limited interest today, his comedies emerge from this study as a series of vigorous explorations in the many possibilities of the comic genre. Voltaire wrote with the example of Molière and the seventeenth-century comic tradition constantly in mind, but at the same time he diverged from that tradition in pioneering ways, constantly testing the limits of generic convention and audience expectation. In demonstrating the blend of tradition and innovation at the heart of Voltaire’s aesthetics of comic drama, this book contributes to a remapping of the history of eighteenth-century French comedy. It also leads to a new understanding of Voltaire’s comic aesthetics more broadly: his comedies are a substantial, complex and vital part of his literary career, and studying them helps us to revise our view of the author of satirical contes, the dry wit whose distinctive literary mode can appear to be destructive irony. Viewed in the light of his comic theatre, the familiar Voltaire wears a significantly different expression. Acknowledgements Introduction 1. From the Théâtre Français to the Théâtre de la Foire: L’Indiscret and La Fête de Bélesbat 2. Voltaire and the comédie larmoyante: Le Comte de Boursoufle, L’Enfant prodigue and Les Originaux 3. Rewriting Molière: L’Envieux and La Prude 4. Comedy for the king: La Princesse de Navarre 5. Comic heroines: La Femme qui a raison and Nanine 6. Voltaire, the drame and l’infâme: Socrate, L’Ecossaise, Le Droit du seigneur and Saül 7. Voltaire, national history and the opéra-comique: Charlot, Les Deux Tonneaux and Le Baron d’Otrante 8. Returning to Molière: Le Dépositaire Conclusion Bibliography Index

In The Shining, Stanley Kubrick appropriates the codes of gothic horror and uses them to create both an extremely effective film and a commentary on the workings of horror. Ironically, it is through his obsessively controlling and all-encompassing directorial style that Kubrick best conveys the gothic themes of transgression, ambiguous identity, and the monstrous/abject. Kubrick's idiolect combines original source material (Stephen King's novel, Bartók's music) and cinematic technique, transforming them in ways which force the spectator into an uneasy dialogue based on Kubrick's filmic language., Dans son film, Shining, Stanley Kubrick s'approprie les codes génériques de l'horreur et du gothique, créant à la fois un film efficace et un commentaire sur les rouages du genre. Il est ironique que Kubrick se serve de son style notoirement autoritaire et méticuleux afin de transmettre les thèmes gothiques de la transgression, le brouillage de l'identité et l'abject/monstrueux. L'idiolecte cinématographique Kubrickien transforme ses sources (le roman de Stephen King, la musique de Bartók), forçant ainsi le spectateur à dialoguer avec le film dans un langage qui le met mal à l'aise.

In this paper, the authors examine how well the Hodrick-Prescott filter (HP) and the band-pass filter recently proposed by Baxter and King (BK) extract the business-cycle component of macroeconomic time series. The authors assess these filters using two different definitions of the business-cycle component. First, they define that component to be fluctuations lasting no fewer than six and no more than thirty-two quarters; this is the definition of business-cycle frequencies used by Baxter and King. Second, they define the business-cycle component on the basis of a decomposition of the series into permanent and transitory components. In both cases the conclusions are the same. The filters perform adequately when the spectrum of the original series has a peak at business-cycle frequencies. When the spectrum is dominated by low frequencies, the filters provide a distorted business cycle. Since most macroeconomic series have the typical Granger shape, the HP and BK filters perform poorly in terms of identifying the business cycles of these series., Dans la pr��sente ��tude, les auteurs cherchent �� ��valuer l'efficacit�� avec laquelle le filtre de Hodrick-Prescott (HP) et le filtre passe-bande r��cemment propos�� par Baxter et King (BK) permettent d'isoler la composante cyclique des s��ries macro��conomiques. Ils utilisent deux d��finitions du cycle ��conomique pour comparer la performance de ces filtres. Selon la premi��re d��finition (celle que retiennent Baxter et King), la composante cyclique correspond �� des fluctuations d'une dur��e minimale de six trimestres et maximale de trente-deux trimestres. L'autre d��finition du cycle consiste dans la d��composition de la s��rie en deux composantes, l'une permanente et l'autre transitoire. Les auteurs parviennent aux m��mes conclusions peu importe la d��finition utilis��e. Les filtres donnent des r��sultats satisfaisants lorsque le spectre de la s��rie initiale atteint un sommet au voisinage des fr��quences comprises entre six et trente-deux trimestres. Lorsque le spectre est domin�� par les basses fr��quences, le cycle ��conomique obtenu donne une image fauss��e de la r��alit��. Comme la forme spectrale de la plupart des s��ries macro��conomiques ressemble �� celle que Granger a mise en lumi��re, les filtres HP et BK r��ussissent mal �� isoler la composante cyclique de ces s��ries.