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Journey of the Sea Glass

為了解決Glass fragment的問題，作者Fazio, Nicole 這樣論述：

What happens to glass between the time it falls into the sea and it washes up on the beach years later?This wordless story flows along one possible course of events, following a soda bottle dropped overboard from a ship early in the twentieth century, only to have a fragment of it discovered on a

beach by a young girl decades later. Over time, the bottle has been influenced by waves, currents, the sea floor, and sea creatures, all pictured in lush full-color renderings by artist Nicole Fazio.Fully immersed in the art, children and adults alike can trace the passage of time through the Journ

ey of the Sea Glass.

Glass fragment進入發燒排行的影片

潛藏危機：Musashi-1固有無序區域介導與神經退行性疾病相關蛋白之異常聚集

為了解決Glass fragment的問題，作者杜岱芸 這樣論述：

蛋白質病變(proteopathy)是退行性疾病的常見原因，通過錯誤折疊的蛋白質異常聚集形成類澱粉沉積症(amyloidogenesis)，從而導致破壞組織內的穩態。尤其是，近期研究表明細胞內具有固有無序區域 (intrinsically disordered regions)的蛋白容易進行液-液相分離(liquid-liquid phase separation)，從而在細胞中組裝蛋白質凝聚層(coacervates)。在本研究中，我們假設具有固有無序區域的蛋白質受環境壓力影響，促進異常折疊甚至形成聚集體，這將進一步形成澱粉樣斑塊(amyloid plaques)並在組織內堆積，導致蛋白質

病變。我們主要探討不僅是RNA結合蛋白、也是幹性基因的Musashi-1，是否與具有豐富IDR的Musashi-1 C-末端區域相互作用以進行液-液相分離，最終形成澱粉樣原纖維(amyloid fibrils)。為了確認哪些序列更易於形成澱粉樣蛋白，因此對Musashi-1的C-末端進行了序列連續刪除來取得不同長度的片段。我們的研究結果表明Musashi-1 C-末端面對不同pH值和鹽濃度會影響液-液相分離狀態，包含改變蛋白質相分離的出現時間、形狀和大小，隨著時間的推移，Musashi-1 C-末端也可以形成澱粉樣蛋白原纖維。而當在氧化壓力下，它會在細胞內誘導組裝應激顆粒與不可逆的聚集體的形成

，另一方面，當細胞同時表達Musashi-1 C-末端和內源性TDP-43，Musashi-1 C-末端誘導TDP-43從細胞核錯誤定位到細胞質。此外，Musashi-1 C-末端促進磷酸化和泛素化TDP-43。總結來說，我們提出了關於Musashi-1與神經退行性疾病相關蛋白相互作用導致異常聚集的新見解，這些發現有助於提供解決退行性疾病的新思路。

Medieval and Later Ivories in the Courauld Gallery: Complete Catalogue

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為了解決Glass fragment的問題，作者Lowden, John/ Gerstein, Alexandra (CON) 這樣論述：

In 1966 Mark Gambier Parry bequeathed to the Courtauld Gallery the art collection formed by his grandfather Thomas Gambier Parry, who died in 1888. In addition to important paintings, Renaissance glass and ceramics, and Islamic metalwork, this included 28 medieval and Renaissance ivories. Since 1967

about half of the ivories have been on permanent display at The Courtauld, yet they have remained largely unknown, even to experts. This catalogue is the first publication dedicated solely to the collection. There are examples of the highest quality of ivory carving, both secular and religious in c

ontent, and a number of the objects are of outstanding interest. They are a revealing tribute to the perceptive eye of Thomas Gambier Parry, a distinguished Victorian collector and Gothic Revival artist responsible for a number of richly painted church interiors in England, such as the Eastern part

of the nave ceiling, and the octagon, at Ely Cathedral. The earliest objects in date, probably late 11th century, are the group of walrus ivory plaquettes set into the sides and lids of a casket, portraying the Apostles and Christ in Majesty surrounded by the symbols of the Evangelists. The style le

aves little doubt that they should be associated with a group of portable altars at Kloster Melk in Austria. A gap of some two centuries separates the casket panels from the next important object - the central portion of an ivory triptych, containing a Deesis group of Christ enthroned between angels

holding instruments of the Passion in the upper register, and the Virgin and Child between candle-bearing angels below. The style of the ivory relates it securely to the atelier of the Soissons Diptych in the Victoria & Albert Museum. The Gambier-Parry fragment employs bold cutting of the frame to

accentuate the three-dimensional quantities of the relief. Somewhat later in date, towards the middle of the 14th century, is a complete diptych of the Crucifixion and Virgin with angels, the faces of which Gambier-Parry described as "worthy of Luini". The extraordinary foreshortening of the swoonin

g Virgin's head can happily be paralleled to a diptych in the Schoolmeesters Collection, Li ge, by the "aterlie aux visages caract ris s", as named by Raymond Koechlin. The Gambier- Parry diptych, must rank with the finest productions of the workshop.

蕪菁尖鐮孢菌之多重引子聚合酶鏈鎖反應偵測及侵染模式

為了解決Glass fragment的問題，作者朱皇熹 這樣論述：

十字花科黃葉病菌共有4種Fusarium oxysporum分化型(formae speciales)，隨著十字花科作物之間的雜交育種，這些分化型在寄主範圍上有所重疊，使得鑑定病原菌成為具有挑戰性的課題，加上蕪菁尖鐮孢菌(F. oxysporum f. sp. rapae, FoRP)在台灣危害多種蔬菜作物，開發病害管理策略實屬必要，惟目前相關研究仍稀少。本研究計劃建立可快速鑑定十字花科黃葉病菌分化型的檢測技術，及深入了解FoRP感染植物寄主的模式。首先本研究將4種十字花科黃葉病菌分化型之secreted in xylem (SIX)基因進行比較，選擇了只在FoRP中獨有的SIX14基因設計

專一性引子對FORP1-F/FORP1-R，以及利用SIX9基因中F. oxysporum f. sp. matthiolae (FoMa)特有的片段設計專一性引子對FoMa-F2/ FoMa-R2，結果顯示兩組引子對分別對FoRP及FoMa有很高的專一性，不會偵測到測試的其他20種分化型，結果也證明FORP1-F/FORP1-R可以有效的運用在偵測受感染的植物上。進一步結合前述兩組專一性引子對與前人設計之專一性引子對，建立一項多重引子聚合酶鏈鎖反應(Multiplex PCR)技術，可以在一個PCR反應中清楚的區分十字花科黃葉病菌的4種分化型。另外本研究利用雷射掃描共軛焦顯微鏡(LSCM)，

以表達GFP的FoRP菌株觀察病原菌於感病的結球白菜‘CC-801’品種、抗病的小松菜‘日本時次郎’品種與抗病的芥藍‘翠津’品種中的侵染模式。結果顯示在抗感病品種中，病原菌在接種後皆可從細根表皮侵入並進入維管束，在感病的結球白菜中病原菌可以藉由菌絲延伸或小分生孢子的型式入侵主根，在地上部組織的入侵，病原菌主要以小分生孢子的型式向上分佈、進入組織，最終病原菌大量纏據組織導致植株枯死。但在抗病的芥藍與小松菜中，可以觀察到根系木質部導管內產生充塞物質以阻擋病原菌，其中芥藍一直到接種後30天仍沒有在主根以上之部位觀察到病原菌；而在小松菜中病原菌仍然會少量且緩慢的進展到地上部組織。研究進一步分析在接種病

原菌後，抗感病寄主的根系發育變化，並討論兩種抗病品種可能的抗病模式。本研究藉由開發偵測十字花科黃葉病菌的分子檢測工具，加上對病原菌侵染模式的觀察以及抗病模式的討論，提供管理FoRP造成之十字花科黃葉病的知識與工具。