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Immunoproteasomes are a special class of proteasomes, which can be induced with IFN‐γ in an inflammatory environment. In recent years, it became evident that certain immune cell types constitutively express high levels of immunoproteasomes. However, information regarding the basal expression of proteolytically active immunoproteasome subunits in different types of immune cells is still rare. Hence, we quantified standard proteasome subunits (β1c, β2c, β5c) and immunoproteasome subunits (LMP2, MECL‐1, LMP7) in the major murine (CD4+ T cells, CD8+ T cells, CD19+ B cells, CD11c+ dendritic cells, CD49d+ natural killer cells, Ly‐6G+ neutrophils) and human immune cell (CD4+ T cells, CD8+ T cells, CD19+ B cells, CD1c+CD141+ myeloid dendritic cells, CD56+ natural killer cells, granulocytes) subsets. The different human immune cell types were isolated from peripheral blood and the murine immune cell subsets from spleen. We found that proteasomes of most immune cell subsets mainly consist of immunoproteasome subunits. Our data will serve as a reference and guideline for immunoproteasome expression and imply a special role of immunoproteasomes in immune cells. [ABSTRACT FROM AUTHOR]

Norbert Elias` dynamic conceptual understanding provides an approach to capturing some of the ‘new’ social problems which appear with globalization. Elias examines the correlations that arise in immigration – the social problems that ‘move’. The hypothesis is that Norbert Elias’ dynamic sociology, including the concept of figurations, can be used to analyze social problems that arise and change across different contexts. Elias provides correlations that cross micro/macro and social/psychological perspectives useful in interpreting social issues “in movement”, both in time and space.

La presente investigación se desarrolló en el telecentro provincial “Telecubanacán”, del Sistema de la Televisión Cubana, con el objetivo de proponer el diseño de su identidad visual a partir de identificar los elementos que contribuyan a formar la imagen deseada. El estudio se abordó desde la metodología cualitativa y el método investigación-acción, desde abril de 2009 a mayo de 2010.Las técnicas de investigación empleadas fueron: análisis de documentos, observaciones participantes, entrevistas semiestructuradas, sesiones grupales y briefing operativo. Consejo de Dirección, fundadores, promociones recientes de la Universidad Central “Marta Abreu” de la Villas en el telecentro y expertos fueron las unidades de análisis.Se expusieron puntos de vista en torno a la identidad visual corporativa y su integración a las acciones de comunicación como verdadero valor añadido, distinguiendo elementos básicos del diseño para el caso particular de la televisión.Inicialmente, fue caracterizada la identidad visual de Telecubanacán. Para la propuesta de diseño se precisaron los elementos de identidad visual necesarios, a partir de la imagen deseada de ser un telecentro de proximidad, cercano a las prácticas comunitarias y elevar su status e indicadores de prestigio, reconociéndose como un colectivo profesional.Se propuso la aplicación de la nueva identidad visual en los distintos espacios de emisión y la disposición de sus aplicaciones en la arquitectura de la organización. Ello devino un elemento integrador que los hace singulares, comunes, sinérgicos y coherentes en aras de una emisión integrada de comunicación.The present investigation was developed in the provincial channel "Telecubanacán", Sistem of Cuban Television, with the objective of proposing the design of its visual identity starting from identifying the elements that contribute to form the desired image. The study was approached from the qualitative methodology and the method investigation-action. It was carried out from April 2009 to May 2010.The research techniques used were: analysis of bibliography, participant´s observation, semi-structured interviews, groupal sessions and operative briefing. The leading staff, founders, recent promotions of the Central University "Marta Abreu" de Las Villas in the channel and experts were the analysis units.Points of view about the corporative visual identity and their integration to the communication actions were exposed as a true added value, distinguishing basic elements of the design for the specific case of television.At first, the visual identity of Telecubanacán was characterized. For the design proposal the necessary elements of visual identity were determined, starting from the desired image of being a TV channel close to the community practices to elevate its status and indicators of prestige, recognizing it as a professional staff.The application of the new visual identity was proposed in the different broadcasting spaces and the disposition of its applications in the architecture of the organization was also proposed. The new visual identity became in integrative element that makes the channel singular, common, and coherent for the sake of an integrated broadcast of communication.

In this paper I look at the ways in which certain poems of Sermones Book Two and the Epodes routinely look past their own generic horizons to spy on an alternate, and highly idealized, poetic landscape that lies just ahead in the poet’s career. Like rich fields waiting to be developed and tended, the Odes occupy the poet’s time and thoughts in the late 30’s B.C.E. These ‘singing’ poems, like a newly purchased farm, await his full-time attention, even while he is still deeply enmeshed in the life of the city and the generic enterprises that need to be finished there. The Odes, poems given special urgency by Octavian’s victory at Actium, are thus constructed as a dreamscape that the poet wants to enter but, as yet, cannot. To make my case, I focus especially on Sermones 2.6, treating that poem’s many extra-generic glosses not only as a means of locating the host-genre’s center, but as a way of chafing at its too narrow limits, and perhaps also as a way of signaling how the poet intends to break new ground in the Odes, as a poet deeply committed to mode-mixing, variation, and ironic play. The pressures and restrictions that come with being a satirist in 31-30 B.C.E. are played out in this poem. And Horace’s own extra-generic pipe-dreaming, I suggest, is at the heart of its concluding fable.

En esta investigación estudiamos los efectos de tres actividades diseñadas para enseñar el uso de las conjunciones del tipo para que en contraste con preposiciones.

La presente investigación se desarrolló en el telecentro provincial “Telecubanacán”, del Sistema de la Televisión Cubana, con el objetivo de proponer el diseño de su identidad visual a partir de identificar los elementos que contribuyan a formar la imagen deseada. El estudio se abordó desde la metodología cualitativa y el método investigación-acción, desde abril de 2009 a mayo de 2010. Las técnicas de investigación empleadas fueron: análisis de documentos, observaciones participantes, entrevistas semiestructuradas, sesiones grupales y briefing operativo. Consejo de Dirección, fundadores, promociones recientes de la Universidad Central “Marta Abreu” de la Villas en el telecentro y expertos fueron las unidades de análisis. Se expusieron puntos de vista en torno a la identidad visual corporativa y su integración a las acciones de comunicación como verdadero valor añadido, distinguiendo elementos básicos del diseño para el caso particular de la televisión. Inicialmente, fue caracterizada la identidad visual de Telecubanacán. Para la propuesta de diseño se precisaron los elementos de identidad visual necesarios, a partir de la imagen deseada de ser un telecentro de proximidad, cercano a las prácticas comunitarias y elevar su status e indicadores de prestigio, reconociéndose como un colectivo profesional. Se propuso la aplicación de la nueva identidad visual en los distintos espacios de emisión y la disposición de sus aplicaciones en la arquitectura de la organización. Ello devino un elemento integrador que los hace singulares, comunes, sinérgicos y coherentes en aras de una emisión integrada de comunicación.