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Tight junctions (TJ) play a major role in the formation of various embryonic structures, including the neural tube. Disruptions of claudins (CLDN), a family of proteins critical to the TJ function, has been shown to induce neural tube defects (NTD) in chicken embryos. Clostridium perfringens enterotoxin (CPE) induces NTDs through this mechanism as it inhibits CLDNs 3, 4, 6, 7, 8, 9, 14, and 19, creating a pore in the TJ and causing cell death. CPE broadly targets these CLDNs in a nonspecific manner. Our research utilizes chimeric-claudin (chCLDN) proteins to target individual CLDN interactions, increasing understanding of their specific contributions to NTDs. Using chicken embryos, we have evaluated the role of chCLDN3 when compared to CPE and solvent. Gallus gallus chCLDN-3 (GG3) induced NTDs in chicken embryos at a significantly higher rate than negative controls and statistically similar rate to CPE, our positive control. Additionally, GG3 exhibited different NTD patterns from CPE, allowing us to investigate the unique contributions of CLDN3 in NTD formation and establish the value of this research method.

Cet essai examine Chanterai por mon corage et utilise les notions queer de Carolyn Dinshaw pour lire les mouvements géographiques et mélodiques subversifs de la Dame comme exprimant des aspects de son désir, de sa résistance et de son réconfort. Il montre comment Chanterai s’engage dans la répétition, le recueillement et la recréation, l’encodage de réponses individuelles et collectives à des moments traumatisants dans le contexte de la croisade.

In endowing the Holy Land with sanctity, the Crusades established it as an object of territorial desire and a site of spiritual transcendence. Cultivating this desire for the Holy Land involved several interrelated Crusade concepts: the power of pilgrimage traditions, perceptions of the Eastern enemy, fear and curiosity about the unknown, and delineations of the position of the Holy Land within a larger globe. These factors converged to redefine Jerusalem within a sacred landscape, where Crusaders sought to walk in the very steps that Christ had impressed in the sacred terrain. Such concepts were explored in Crusader maps, and articulated in Crusade lyric. The rhetoric of Crusade song variously relied upon circular and linear motions, dualistically juxtaposed nearness and distance, sameness and difference, and yearning and attainment. This chapter demonstrates ways in which Crusade songs, such as Ara pot hom conoisser by Raimbaut de Vaqueiras, mapped space, articulated geographic beliefs, and explored physical and spiritual senses of movement.

In conceptualizing Holy War, Pope Urban II’s message transformed Christian ideals and shaped attitudes toward violence and geography. His rhetoric and agenda inspired Occitanian people to newly encounter space in ways—including through song—whose legacies continue to resound. Many songs written in response to crusading were born in the area of modern-day southern France known as Occitania, particularly in the form of troubadour song and Aquitanian versus. Within the context of crusading, these songs reveal Occitanian attitudes regarding Christianity and Islam, dualistic (us-versus-them) ideologies, regional community, perceptions of Crusade goals, and concepts of distance—both spatial and metaphoric. This chapter outlines methodologies employed throughout the book, including philosophical and geographic understandings of space and place. Engaging with previous scholarship on these repertories, this chapter defines a repertory of Crusade songs; it overviews characteristics and representative examples of various genres, including songs of pilgrimage, exhortation, sirventes, pastorela, laments, and love song.

While medieval Occitania lacked national or governmental cohesiveness, its language and culture constructed a distinctive collective identity. Meanwhile, the sociopolitical volatility of twelfth-century Occitania imbued local lands with seeds of disquiet, yielding ambiguities regarding the region’s boundaries, territory, and sovereignty. Song culture centrally established Occitanian-ness during the Crusade era, revealing how the song creators experienced devotional practices, power structures, and identifications with home. Versus and troubadour repertories crystallized Occitania’s positions on linguistic distinctiveness, spatial perceptions, and cultural identity. The versus genre became an expression of resistance and creativity, while troubadour poet-composers blended their religious-political positions into the context of courtly love composition. Later, during the thirteenth century, the Albigensian Crusade radically challenged Occitania’s political independence and cultural vitality, causing displacement and senses of nostalgia. Analysis of Bel m’es q’ieu chant by Raimon de Miraval reveals the troubadour’s concern with Occitanian territory and homeland during the time of the Albigensian Crusade.

Home to the troubadours and a creative monastic center, twelfth-century Occitania (the south of France) fostered a vibrant musical culture that encompassed both secular and sacred, vernacular and Latin, spanning a wealth of locally cultivated genres. Such musical-poetic impulses reflected and responded to regional practices of courtly love, chivalric ideals, votive worship, monastic theologies, pilgrimage, and Holy War. This book demonstrates the rich cross-fertilizations between early Christian Crusades and two roughly contemporaneous musical-poetic repertories of Occitania: the sacred, Latin Aquitanian versus and the vernacular troubadour lyric. These two repertories are known largely in medieval and musicological studies for reasons apart from the Crusades—for monastic piety and Marian devotion in the case of the versus, and for courtly love and authorial voices in the case of the troubadour repertory. Yet, when considered against unfolding Crusade events, these poetic-musical repertories illuminate shifting Occitanian identities and worldviews as refracted by contemporaneous devotional practices, religious beliefs, and geographies, both physical and metaphoric. The author’s contextual investigations and musical-textual interpretations reveal how Crusade songs distinctively arose out of their southern French environments, at a historical moment when Holy War and new genres of musical composition coincided. Engaging both the outer world and the poet’s subjectivity, Crusade songs shaped regional identities, enacting individual concerns, the communal homeland, religious and military aspirations, and specific historical and geopolitical positions.

Two First Crusade songs from the turn of the twelfth century—Ierusalem mirabilis and Nomen a solemnibus—demonstrate Occitanian attitudes toward violence, Jerusalem, and dynamic Crusade journeys. Both come from the Aquitanian versus repertory and reference current or recent events pertaining to the First Crusade, and the state of Jerusalem between 1096 and 1099. In this way, they enhance our understanding of the versus repertory, which typically focuses on broader themes of Marian and Christological theology. Both songs rely upon various elements of Pope Urban’s Crusade call and contemporaneous crusading ideologies. They employ musical-poetic rhetorical techniques such as circular motion and dialectic opposition in order to portray the early Crusades as active, vital campaigns. The also employ deictic language to mark positionality and us-versus-them belief systems. In so doing, they position Jerusalem and Occitania—conceptually and geographically—in relation to one another, particularly through spatial notions of nearness and distance.

Troubadour song has been explored as an expression of courtly love and early vernacular song creation, even mythologized as a brief flowering of a romanticized Occitanian golden age. However, troubadour songs also importantly act as expressions of place and provide indices of contemporaneous regional communities and identities. Contemporary with the Second Crusade, the troubadour songs Pax in nomine Domini by Marcabru and Lanqan li jorn by Jaufre Rudel employ circularity, dialectic, and movement as ways of expressing place and creating a sense of near versus far. These songs should not be understood as only fixed texts; rather in sounding, transmission, and the enacting of motion they move through new environments and assume new agency as they travel. Troubadour songs of the Second Crusade thus transcend the role of fixed musical object to mediate between the position of composer-poet, the voice of the performer, and the reception of distant listeners.

Assatz i a portz e camis. / E per aisso no·n sui devis . . . [Many are the ports and roads, / And so I cannot prophesy . . .] (ll. 19–20) —Jaufre Rudel, Lanqan li jorn 1 In his song Lanqan li jorn, the early-twelfth-century troubadour Jaufre Rudel expresses a sense of wonder and uncertainty about the future, one that he maps onto his perception of geography as complex, interwoven, and often unknowable. The song proclaims Jaufre’s intention to travel eastward to the Crusade front as a Christian pilgrim, and to unite there with his beloved Lady (generally understood as the Countess of Tripoli), the object of his ...

In mapping geopolitics and spirituality, Crusade songs enacted motion and travel. Directionality and circularities typify Crusade songs and Crusaders alike. Songs variously embody dialogues between singing and hearing, the actions of Crusaders traveling both outremer and homeward. As songs moved through geographical spaces, bodies, air, and time, they articulated new contexts. Multiply re-created, songs emerged from composite and collective processes that included monks, troubadours, performers, scribes, and listeners. Contrafacture, seen in the relationship between Walther von der Vogelweide’s Palästinalied and Jaufre Rudel’s Lanqan li jorn, demonstrates the dialogic nature of these layers of creation, and how differing Crusade perspectives re-inscribe a song’s expression of striving, movement, or conclusion. Overall, Occitanian songs rendered the Crusade front as areas inflected by regional perspectives, from unknown spaces to meaningful places. Using techniques like deictic language, oppositional rhetoric, and circular motion, Crusade songs reinforced contemporaneous ideologies in both their poetic texts and directed melodic shapes.

While the First Crusade would entail great destruction, Pope Urban’s initial summons proved captivating, joining concepts of love and duty, and associating crusading with Frankishness, an index of identity for northern Frenchmen and Occitanians. Crusade chronicles, along with concepts found in Crusade song, reveal the persuasive nature of this messaging. This chapter demonstrates the particularly Frankish and Occitanian nature of the First Crusade and ways that Occitanian citizens, like Raymond of Saint-Gilles and Adhémar of Le Puy, aided the effort. Occitanians found crusading inspiration in relics like the Holy Lance, and in stories of local heroes, like Gouffier of Lastours. Chant e deport by Gaucelm Faidit demonstrates such notions of locality, heroism, and imagination. Finally, Occitanians affirmed their allegiance to Christian theologies such as the Incarnation, and saw the failure to uphold one’s vows as warranting extreme acts of violence. These values are articulated in Latin versus Nube carnis maiestatis.

Understanding children's schemas, or ‘patterns of behaviour and thinking’, enables practitioners to support them as they use them to deepen their learning, explain Professor Tina Bruce CBE, Dr Stella Louis and Dr Carole Bloch

This paper contains details of work carried out to identify the most effective processing conditions for the optimized 1,2-indandione/zn formulation developed for use under UK conditions. Using direct measurements of fluorescence taken from test spots of amino acids and eccrine sweat during oven processing, complemented with experiments on real fingermarks, it was established that processing temperatures above 120°C in the oven were detrimental to the fluorescence of the developed mark. Alternative methods of development to oven processing were found to be effective, but less controllable. High levels of humidification were also found to be detrimental to the fluorescence of 1,2-indandione developed marks, and oven processing at 100°C and 0% relative humidity is therefore recommended for further studies. It has also been shown that 1,2-indandione can develop fingermarks at temperatures as low as 20°C, making it a candidate for use at crime scenes.

Objective Paediatric head injury is a common presentation to the ED. North American studies demonstrate increasing use of computed tomography (CT) brain scan (CTB) to investigate head injury. No such data exists for Australian EDs. The aim of this study was to describe CTB use in head injury over time in eight Australian EDs. Methods Retrospective ED electronic database and medical imaging database audit was undertaken for the years 2001–2010 by International Classification of Diseases (ICD) 9 or 10 code for head injury in children