Academic Mobility As An Integral Component Of Modern Education

Author(s):  
Liubov Kotsiubinskaia
Author(s):  
J. J. Paulin

Movement in epimastigote and trypomastigote stages of trypanosomes is accomplished by planar sinusoidal beating of the anteriorly directed flagellum and associated undulating membrane. The flagellum emerges from a bottle-shaped depression, the flagellar pocket, opening on the lateral surface of the cell. The limiting cell membrane envelopes not only the body of the trypanosome but is continuous with and insheathes the flagellar axoneme forming the undulating membrane. In some species a paraxial rod parallels the axoneme from its point of emergence at the flagellar pocket and is an integral component of the undulating membrane. A portion of the flagellum may extend beyond the anterior apex of the cell as a free flagellum; the length is variable in different species of trypanosomes.


1886 ◽  
Vol 22 (548supp) ◽  
pp. 8747-8747
Author(s):  
Henry A. Rowland

2014 ◽  
Vol 16 (3) ◽  
pp. 126-104
Author(s):  
M.A.S. Abdel Haleem

With a rich, productive career spanning over 60 years, culminating in the award of the Nobel Prize for Literature in 1988, Naguib Mahfouz's literary works have naturally attracted numerous studies and critiques. These studies have covered a great many aspects of Mahfouz's creative writing, but, perhaps because of the secular, modern education Mahfouz received (both at school and in the Department of Philosophy in Cairo University), and his personal lifestyle, they have concentrated on the socialist, materialist, and structural aspects of his work. Perhaps because of this, one important aspect of his writing has largely escaped attention: his artistic use of the language of the Qur'an. Mahfouz does not signal that a given phrase or reference is Qur'anic, leaving it to blend with the text, and making it easy to miss the fact that the Qur'an played any part in Mahfouz's use of language. However, to a reader who knows the Qur'an by heart the presence of Qur'anic language in his works is obvious, and equally obvious is Mahfouz's artistic talent in using it. Eventually, he himself announced at the end of his life that he had always had an intimate interest in the Qur'an, read it daily, and benefited from it. This article seeks to demonstrate the ubiquitous presence of Qur'anic language in Mahfouz's works, and the skill and subtlety with which he used it.


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