The roles of cell migration and myofiber intercalation in patterning formation of the postmitotic myotome

We have previously found that the postmitotic myotome is formed by two successive waves of myoblasts. A first wave of pioneer cells is generated from the dorsomedial region of epithelial somites. A second wave originates from all four edges of the dermomyotome but cells enter the myotome only from the rostral and caudal lips. We provide new evidence for the existence of these distinctive waves. We show for the first time that when the somite dissociates, pioneer myotomal progenitors migrate as mesenchymal cells from the medial side towards the rostral edge of the segment. Subsequently, they generate myofibers that elongate caudally. Pioneer myofiber differentiation then progresses in a medial-to-lateral direction with fibers reaching the lateralmost region of each segment. At later stages, pioneers participate in the formation of multinucleated fibers during secondary myogenesis by fusing with younger cells. We also demonstrate that subsequent to primary myotome formation by pioneers, growth occurs by uniform cell addition along the dorsoventral myotome. At this stage, the contributing cells arise from multiple sources as the myotome keeps growing even in the absence of the dorsomedial lip. Moreover, as opposed to suggestions that myotome growth is driven primarily and directly by the medial and lateral edges, we demonstrate that there is no direct fiber generation from the dorsomedial lip. Instead, we find that added fibers elongate from the extreme edges. Altogether, the integration between both myogenic waves results in an even pattern of dorsoventral growth of the myotome which is accounted for by progressive cell intercalation of second wave cells between preexisting pioneer fibers.

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Aleksey Peshkov as an editor of Samarskaya Gazeta

Voprosy literatury ◽

10.31425/0042-8795-2020-4-128-138 ◽

2020 ◽

pp. 128-138

Author(s):

A. S. Bik-Bulatov

Keyword(s):

Local History ◽

Organizational Skills ◽

First Time ◽

New Evidence ◽

Insight Into ◽

Shed Light

The article uses little known letters of M. Gorky, many of which were published for the first time in 1997, as well as findings of Samara-based experts in local history to shed light on the writer’s work as editor-in-chief of the Samarskaya Gazeta newspaper in 1895. The researcher introduces hitherto unstudied reminiscences of the journalist D. Linyov (Dalin) about this period, which reference a letter by Gorky, now lost. The paper details a newly discovered episode of Gorky’s professional biography as a journalist: it concerns his campaign against a Samara ‘she-wolf,’ the madam of a local brothel A. Neucheva. Linyov’s reminiscences turn out to be an important and interesting source, offering an insight into the daily grind of the young editor Gorky, providing new evidence of his excellent organizational skills, and describing his moral and social stance. The author presents his work in the context of a recently initiated broader discussion about the need to map out all Russian periodicals for the period until 1917, as well as all research devoted to individual publications.

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Delhi in Transition, 1821 and Beyond

10.1093/oso/9780199477739.001.0001 ◽

2018 ◽

Keyword(s):

Nineteenth Century ◽

Lived Experience ◽

English Translation ◽

East India Company ◽

Multiple Sources ◽

Original Manuscript ◽

English East India Company ◽

The Times ◽

First Time ◽

The City

Commissioned by the English East India Company to write about contemporary nineteenth-century Delhi, Mirza Sangin Beg walked around the city to capture its highly fascinating urban and suburban extravaganza. Laced with epigraphy and fascinating anecdotes, the city as ‘lived experience’ has an overwhelming presence in his work, Sair-ul Manazil. Sair-ul Manazil dominates the historiography of eighteenth- and nineteenth-century compositions on Delhi in Persian and Urdu, and remains unparalleled in its architecture and detailed content. It deals with the habitations of people, bazars, professions and professionals, places of worship and revelry, and issues of contestation. Over fifty typologies of structures and several institutions that find resonance in the Persian and Ottoman Empires can also be gleaned from Sair-ul Manazil. Interestingly, Beg made no attempt to ‘monumentalize’ buildings; instead, he explored them as spaces reflective of the sociocultural milieu of the times. Delhi in Transition is the first comprehensive English translation of Beg’s work, which was originally published in Persian. It is the only translation to compare the four known versions of Sair-ul Manazil, including the original manuscript located in Berlin, which is being consulted for the first time. It has an exhaustive introduction and extensive notes, along with the use of varied styles in the book to indicate the multiple sources of the text, contextualize Beg’s work for the reader and engage him with the debate concerning the different variants of this unique and eclectic work.

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New evidence of arsenic translocation and accumulation in Pteris vittata from real-time imaging using positron-emitting 74As tracer

Scientific Reports ◽

10.1038/s41598-021-91374-1 ◽

2021 ◽

Vol 11 (1) ◽

Author(s):

Yi Huang-Takeshi Kohda ◽

Zhaojie Qian ◽

Mei-Fang Chien ◽

Keisuke Miyauchi ◽

Ginro Endo ◽

...

Keyword(s):

Imaging System ◽

Pteris Vittata ◽

Long Distance ◽

Long Distance Transport ◽

Hydroponic Cultivation ◽

Tracer Imaging ◽

Serial Images ◽

First Time ◽

New Evidence ◽

Hyperaccumulator Plant

AbstractPteris vittata is an arsenic (As) hyperaccumulator plant that accumulates a large amount of As into fronds and rhizomes (around 16,000 mg/kg in both after 16 weeks hydroponic cultivation with 30 mg/L arsenate). However, the sequence of long-distance transport of As in this hyperaccumulator plant is unclear. In this study, we used a positron-emitting tracer imaging system (PETIS) for the first time to obtain noninvasive serial images of As behavior in living plants with positron-emitting 74As-labeled tracer. We found that As kept accumulating in rhizomes as in fronds of P. vittata, whereas As was retained in roots of a non-accumulator plant Arabidopsis thaliana. Autoradiograph results of As distribution in P. vittata showed that with low As exposure, As was predominantly accumulated in young fronds and the midrib and rachis of mature fronds. Under high As exposure, As accumulation shifted from young fronds to mature fronds, especially in the margin of pinna, which resulted in necrotic symptoms, turning the marginal color to gray and then brown. Our results indicated that the function of rhizomes in P. vittata was As accumulation and the regulation of As translocation to the mature fronds to protect the young fronds under high As exposure.

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Hitherto Unprinted Manuscripts of the Middle English Ipotis

PMLA ◽

10.1632/457071 ◽

1916 ◽

Vol 31 (1) ◽

pp. 114-160

Author(s):

Josephine D. Sutton

Keyword(s):

Middle English ◽

Fourteenth Century ◽

English Poem ◽

Relationship Of ◽

First Time ◽

New Evidence ◽

The Relationship

The relationship of the manuscripts of the Middle-English poem Ipotis has been studied in detail by Dr. Hugo Gruber on the basis of the nine mss. known to him. In addition to these there are five others, four of which are printed for the first time below. One of these, unfortunately a fragment, is of the greatest importance, since it carries back the date of the poem at least fifty years. On the basis of the earliest manuscript known to him—ms. Vernon, written about 1385—Gruber assigned the Ipotis to the second half of the fourteenth century. But in the light of the new evidence, the composition of the poem is pushed back to the very beginning of the century.

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THE ANGLO-NORMAN ABBEY CHURCH OF ST ALBANS AND THE AISLELESS NAVE OF ITS CRUCIFORM PREDECESSOR: THE MATERIAL EVIDENCE

The Antiquaries Journal ◽

10.1017/s0003581520000438 ◽

2020 ◽

pp. 1-15

Author(s):

Jill A Franklin

Keyword(s):

Conclusive Evidence ◽

Diagnostic Feature ◽

Anglo Saxon ◽

Existing Building ◽

Cruciform Structure ◽

Anglo Norman ◽

First Time ◽

New Evidence ◽

Material Evidence ◽

Solid Walls

Within the Romanesque abbey church at St Albans (Hertfordshire), the vestiges of an earlier structure have been identified for the first time. A hitherto unrecorded feature in the transept, noted by the author in 2017, indicates that, at some stage, the nave lacked its existing arcade piers and instead had solid walls. The implications of this are considerable, calling for a thorough reassessment of the building’s history. For now, it is important to record the primary evidence, so as to make it available for further research. This article aims to provide a concise account of the evidence and a summary of what it might mean. According to the thirteenth-century chronicler, Matthew Paris, the existing church was begun in 1077 and completed in 1088. New evidence indicates, however, that the Romanesque building, with its aisled nave and presbytery, was preceded by a cruciform structure without aisles. The inference is that the existing building contains the fabric of this unaisled predecessor. The obvious conclusion – that it therefore represents the lost Anglo-Saxon abbey church – does not follow without question; as yet, excavation has yielded no conclusive evidence of an earlier church on the site. The critical diagnostic feature presented here for the first time adds substance to the view that the remodelling of unaisled buildings was not uncommon in the post-Conquest period, including large as well as minor churches, as identified long ago at York Minster and, more recently, at Worksop Priory.

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Tradiтionalism in structure of stile paradigms in the artistic thinking of the XXth century

National Academy of Managerial Staff of Culture and Arts Herald ◽

10.32461/2226-3209.3.2021.244488 ◽

2021 ◽

Author(s):

Lyudmila Іvаnоvа

Keyword(s):

Da Vinci ◽

Leonardo Da Vinci ◽

Past Century ◽

Theoretical Idea ◽

The Past ◽

World Outlook ◽

Xix Century ◽

First Time ◽

Second Wave ◽

Hard Type

The purpose of the article is a realization of tradiтionalism as mеtаdirection of art in XX century that historically comparable with mеtаdirection of styles modern-vanguard, jointly forming artistic paradigm of the past century, then the last becomes firmly established in nеоrеnaissаnce world-outlook according to with "system of Leonardo da Vinci" P. Valéry. The methodology of the study is a historian-cомpаrаtive approach, as this demonstrates works of A.Losev, also culturology foreshortening of musicology analysis, as this is given in "Symphonic etude" and others beside B.Asafiev. The scientific novelty of the work is conditioned, first, that that for the first time in specified foreshortening is presented analysis composition of V.Vlasov, but, secondly, original is a theoretical idea about cultural intrusion in style-typology life length Neo-Gothic that impossible was in classicist of music creative activity to XIX-XX cent. Conclusions. Traditionalism forms mеtаdirection since in base this style unity prescribed expressiveness of romanticism-pоstromanticism and realism XIX century that forms analogies to mеtаstyle forming of the modernism (vеrism at the end XIX - at the beginning initially XX century, "hard" type of the neoclassicism I. Stravinsky and P. Hindemith, others), in which vanguard took place as focus of the symbiosis of the styles-directions expressionism, futurism, primitivism, having formed new unity of the vanguard of the second wave in the manner of nеоexpressionism.

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Printers to Hendrik Niclaes: Plantin and Augustijn van Hasselt

Quaerendo ◽

10.1163/157006984x00145 ◽

1984 ◽

Vol 14 (4) ◽

pp. 247-272 ◽

Cited By ~ 1

Author(s):

Paul Valkema Blouw

Keyword(s):

The Other ◽

Literary Sources ◽

The Family ◽

Religious Sect ◽

Set Up ◽

Number Of Publications ◽

First Time ◽

New Evidence ◽

Publishing Business

AbstractFrom the chronicles of the Family of Love we know that, besides printers in Deventer and later in Cologne, both Plantin and Augustijn van Hasselt printed for this religious sect. On the basis of this information quite a large number of publications have hitherto been attributed to Plantin, while only one single edition in Latin was reckoned to be the work of Augustijn. An analysis of the typography, however, shows that apart from Hendrik Niclaes's chief work, Den Spegel der Gherechticheyt, Plantin only printed two of his minor writings and that all the other ascriptions to Plantin must be revised in favour of Augustijn van Hasselt. In 1561-2 Augustijn was running a printing shop in the Dutch town of Kampen, specially set up by HN for the purpose of publishing those of his works that had not previously been printed. Plantin, who was partly involved in this enterprise, took the opportunity to have a book printed on this press for his publishing business. The analysis providing the typographical evidence of this collaboration proves for the first time the accuracy of the literary sources as regards Plantin's involvement in the publication of the works of Hendrik Niclaes. In the presentation of the new evidence it was necessary to establish more clearly the date of Plantin's '[1561]' inventory and which roman and German types he owned at what times. The article ends with some notes regarding the end of the 'Bohmbargen' press at Cologne.

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Characterization of the early development of specific hypaxial muscles from the ventrolateral myotome

Development ◽

10.1242/dev.126.19.4305 ◽

1999 ◽

Vol 126 (19) ◽

pp. 4305-4315 ◽

Cited By ~ 10

Author(s):

Y. Cinnamon ◽

N. Kahane ◽

C. Kalcheim

Keyword(s):

Confocal Microscopy ◽

Early Development ◽

Early Generation ◽

Intercostal Muscles ◽

Fundamental Component ◽

Vital Dyes ◽

First Time ◽

Second Wave ◽

Longitudinal Cell

We have previously found that the myotome is formed by a first wave of pioneer cells generated along the medial epithelial somite and a second wave emanating from the dorsomedial lip (DML), rostral and caudal edges of the dermomyotome (Kahane, N., Cinnamon, Y. and Kalcheim, C. (1998a) Mech. Dev. 74, 59–73; Kahane, N., Cinnamon, Y. and Kalcheim, C. (1998b) Development 125, 4259–4271). In this study, we have addressed the development and precise fate of the ventrolateral lip (VLL) in non-limb regions of the axis. To this end, fluorescent vital dyes were iontophoretically injected in the center of the VLL and the translocation of labeled cells was followed by confocal microscopy. VLL-derived cells colonized the ventrolateral portion of the myotome. This occurred following an early longitudinal cell translocation along the medial boundary until reaching the rostral or caudal dermomyotome lips from which fibers emerged into the myotome. Thus, the behavior of VLL cells parallels that of their DML counterparts which colonize the opposite, dorsomedial portion of the myotome. To precisely understand the way the myotome expands, we addressed the early generation of hypaxial intercostal muscles. We found that intercostal muscles were formed by VLL-derived fibers that intermingled with fibers emerging from the ventrolateral aspect of both rostral and caudal edges of the dermomyotome. Notably, hypaxial intercostal muscles also contained pioneer myofibers (first wave) showing for the first time that lateral myotome-derived muscles contain a fundamental component of fibers generated in the medial domain of the somite. In addition, we show that during myotome growth and evolution into muscle, second-wave myofibers progressively intercalate between the pioneer fibers, suggesting a constant mode of myotomal expansion in its dorsomedial to ventrolateral extent. This further suggests that specific hypaxial muscles develop following a consistent ventral expansion of a ‘compound myotome’ into the somatopleure.

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Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema

ReFocus: The Films of Elaine May ◽

10.3366/edinburgh/9781474440189.003.0003 ◽

2019 ◽

pp. 41-62

Author(s):

Maya Montañez Smukler

Keyword(s):

Women Directors ◽

Female Characters ◽

American Cinema ◽

New Hollywood ◽

Second Wave Feminism ◽

Feminist Film ◽

The 1960S ◽

First Time ◽

Second Wave ◽

Made In

Elaine May began her career as a filmmaker during the 1970s when the mythology of the New Hollywood male auteur defined the decade; and the number of women directors, boosted by second wave feminism, increased for the first time in forty years. May’s interest in misfit characters, as socially awkward as they were delusional, and her ability to seamlessly move them between comedy and drama, typified the New Hollywood protagonist who captured America’s uneasy transition from the hopeful rebellion of the 1960s into the narcissistic angst of the 1970s. However, the filmmaker’s reception, which culminated in the critical lambast of her comeback film Ishtar in 1987, was uneven: her battles with studio executives are legendary; feminist film critics railed against her depiction of female characters; and a former assistant claimed she set back women directors by her inability to meet deadlines. This chapter investigates Elaine May’s career within the lore 1970s Hollywood to understand the industrial and cultural circumstances that contributed to the emergence of her influential body of work; and the significant contributions to cinema she made in spite of, and perhaps because of, the conflicts in which she was faced.

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