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Journal articles on the topic 'Acting'

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Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Roberts, Thomas M., and Murray Stewart. "Acting like Actin." Journal of Cell Biology 149, no. 1 (April 3, 2000): 7–12. http://dx.doi.org/10.1083/jcb.149.1.7.

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2

Vinson, V. "Acting Like Actin." Science 330, no. 6009 (December 2, 2010): 1289. http://dx.doi.org/10.1126/science.330.6009.1289-b.

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3

Geitmann, Anja. "Actuators Acting without Actin." Cell 166, no. 1 (June 2016): 15–17. http://dx.doi.org/10.1016/j.cell.2016.06.030.

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4

Egea, Gustavo, Carla Serra-Peinado, Laia Salcedo-Sicilia, and Enric Gutiérrez-Martínez. "Actin acting at the Golgi." Histochemistry and Cell Biology 140, no. 3 (June 27, 2013): 347–60. http://dx.doi.org/10.1007/s00418-013-1115-8.

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5

Adler, E. M. "Acting with Actin (But Not Akt)." Science Signaling 4, no. 178 (June 21, 2011): ec169-ec169. http://dx.doi.org/10.1126/scisignal.4178ec169.

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6

Ott, Albrecht, D. Riveline, F. Jülicher, D. A. WinkelmannD, O. Cardoso, JJ Lacapère, S. Magnúsdóttir, JL Viovy, L. Gorre-Talini, and J. Prost. "Acting on actin: The electric motility assay." Biology of the Cell 91, no. 3 (June 1999): 252. http://dx.doi.org/10.1016/s0248-4900(99)90096-5.

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7

Riveline, Daniel, A. Ott, Frank Jülicher, Donald A. Winkelmann, Olivier Cardoso, Jean-Jacques Lacapère, Soffia Magnúsdóttir, J. L. Viovy, Laurence Gorre-Talini, and Jacques Prost. "Acting on actin: the electric motility assay." European Biophysics Journal 27, no. 4 (June 22, 1998): 403–8. http://dx.doi.org/10.1007/s002490050147.

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8

Langley, Dorothy. "Acting in Or Acting Out?" Dramatherapy 12, no. 2 (June 1990): 2–4. http://dx.doi.org/10.1080/02630672.1990.9689336.

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9

Webb, Patrick, and Christopher Linn. "Acting Right or Acting White." Journal of Black Studies 47, no. 2 (December 10, 2015): 134–49. http://dx.doi.org/10.1177/0021934715618397.

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10

Hamilton, James R. "Acting." Journal of Dramatic Theory and Criticism 28, no. 1 (2013): 35–59. http://dx.doi.org/10.1353/dtc.2013.0020.

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11

Veitch, Peter C., and Rory J. Clifton‐Bligh. "Long‐acting sulfonylureas — long‐acting hypoglycaemia." Medical Journal of Australia 180, no. 2 (January 2004): 84–85. http://dx.doi.org/10.5694/j.1326-5377.2004.tb05806.x.

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12

Mele, Alfred R. "ACTING FOR REASONS AND ACTING INTENTIONALLY." Pacific Philosophical Quarterly 73, no. 4 (December 1992): 355–74. http://dx.doi.org/10.1111/j.1468-0114.1992.tb00344.x.

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13

Van Hees, Martin. "Acting Autonomously Versus not Acting Heteronomously." Theory and Decision 54, no. 4 (June 2003): 337–55. http://dx.doi.org/10.1023/b:theo.0000004303.49899.50.

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14

Galgut, Elisa. "Acting on Phantasy and Acting on Desire." South African Journal of Philosophy 30, no. 2 (January 2011): 132–42. http://dx.doi.org/10.4314/sajpem.v30i2.67774.

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15

Knobe, Joshua. "Acting intentionally and acting for a reason." Journal of Theoretical and Philosophical Psychology 27, no. 1 (2007): 119–22. http://dx.doi.org/10.1037/h0091286.

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16

Alvarez, Maria. "Acting Intentionally and Acting for a Reason." Inquiry 52, no. 3 (May 21, 2009): 293–305. http://dx.doi.org/10.1080/00201740902917168.

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17

Muscat, G. E., T. A. Gustafson, and L. Kedes. "A common factor regulates skeletal and cardiac alpha-actin gene transcription in muscle." Molecular and Cellular Biology 8, no. 10 (October 1988): 4120–33. http://dx.doi.org/10.1128/mcb.8.10.4120-4133.1988.

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The skeletal and cardiac alpha-actin genes are coexpressed in muscle development but exhibit distinctive tissue-specific patterns of expression. We used an in vivo competition assay and an in vitro electrophoretic mobility shift assay to demonstrate that both genes interact with a common trans-acting factor(s). However, there was at least one gene-specific cis-acting sequence in the skeletal alpha-actin gene that interacted with a trans-acting factor which was not rate limiting in the expression of the cardiac alpha-actin gene. The common factor(s) interacted with several cis-acting regions that corresponded to sequences that are required for the transcriptional modulation of these sarcomeric alpha-actin genes in muscle cells. These regulatory regions contained the sequence motif CC(A + T-rich)6GG, which is known as a CArG box. Results of in vivo competition assays demonstrated that the factor(s) bound by the skeletal alpha-actin gene is also essential for the maximal activity of the cardiac alpha-actin, simian virus 40 (SV40), alpha 2(I)-collagen, and the beta-actin promoters in muscle cells. In contrast, fibroblastic cells contained functionally distinct transcription factor(s) that were used by the SV40 enhancer but that did not interact with the sarcomeric alpha-actin cis-acting sequences. The existence of functionally different factors in these cell types may explain the myogenic specificity of these sarcomeric alpha-actin genes. Results of in vitro studies suggested that both the sarcomeric alpha-actin genes interact with the CArG box-binding factor CBF and that the skeletal alpha-actin promoter contains multiple CBF-binding sites. In contrast, CBF did not interact in vitro with a classical CAAT box, the SV40 enhancer, or a linker scanner mutation of an alpha-actin CArG box. Furthermore, methylation interference and DNase I footprinting assays demonstrated the precise sites of interaction of CBF with three CArG motifs at positions -98, -179, and -225 in the human skeletal alpha-actin gene.
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18

Muscat, G. E., T. A. Gustafson, and L. Kedes. "A common factor regulates skeletal and cardiac alpha-actin gene transcription in muscle." Molecular and Cellular Biology 8, no. 10 (October 1988): 4120–33. http://dx.doi.org/10.1128/mcb.8.10.4120.

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The skeletal and cardiac alpha-actin genes are coexpressed in muscle development but exhibit distinctive tissue-specific patterns of expression. We used an in vivo competition assay and an in vitro electrophoretic mobility shift assay to demonstrate that both genes interact with a common trans-acting factor(s). However, there was at least one gene-specific cis-acting sequence in the skeletal alpha-actin gene that interacted with a trans-acting factor which was not rate limiting in the expression of the cardiac alpha-actin gene. The common factor(s) interacted with several cis-acting regions that corresponded to sequences that are required for the transcriptional modulation of these sarcomeric alpha-actin genes in muscle cells. These regulatory regions contained the sequence motif CC(A + T-rich)6GG, which is known as a CArG box. Results of in vivo competition assays demonstrated that the factor(s) bound by the skeletal alpha-actin gene is also essential for the maximal activity of the cardiac alpha-actin, simian virus 40 (SV40), alpha 2(I)-collagen, and the beta-actin promoters in muscle cells. In contrast, fibroblastic cells contained functionally distinct transcription factor(s) that were used by the SV40 enhancer but that did not interact with the sarcomeric alpha-actin cis-acting sequences. The existence of functionally different factors in these cell types may explain the myogenic specificity of these sarcomeric alpha-actin genes. Results of in vitro studies suggested that both the sarcomeric alpha-actin genes interact with the CArG box-binding factor CBF and that the skeletal alpha-actin promoter contains multiple CBF-binding sites. In contrast, CBF did not interact in vitro with a classical CAAT box, the SV40 enhancer, or a linker scanner mutation of an alpha-actin CArG box. Furthermore, methylation interference and DNase I footprinting assays demonstrated the precise sites of interaction of CBF with three CArG motifs at positions -98, -179, and -225 in the human skeletal alpha-actin gene.
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19

Havenga, Marnus. "Acting liturgically." STJ | Stellenbosch Theological Journal 6, no. 2 (January 22, 2021): 501–21. http://dx.doi.org/10.17570/stj.2020.v6n4.r1.

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This review article offers an engagement with Nicholas Wolterstorff’s recent publication, Acting liturgically: Philosophical reflections on religious practice. It begins by contextualising the project, tracing Wolterstorff’s lifelong interest in liturgy, as documented in his memoir, In this world of wonders. This is followed by a careful exposition of each of the book’s four sections (with the headings “Liturgy, Enactments and Scripts,” “Liturgy and Scripture,” “God in the Liturgy” and “Liturgy, Love and Justice”). The article concludes with a few critical observations about the book in which it is shown why this is indeed a significant text which makes an important contribution to the (philosophical) study of liturgy.
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20

Hazel, Platzer. "Acting out." Nursing Standard 12, no. 33 (May 6, 1998): 20. http://dx.doi.org/10.7748/ns.12.33.20.s36.

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21

Danzig, Alexis. "Acting Up." Afterimage 16, no. 10 (May 1, 1989): 5–7. http://dx.doi.org/10.1525/aft.1989.16.10.5.

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22

Reisman, Jonathan. "Just Acting." Annals of Internal Medicine 157, no. 4 (August 21, 2012): 289. http://dx.doi.org/10.7326/0003-4819-157-4-201208210-00011.

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23

Zillmer, John. "Acting Out." Questions: Philosophy for Young People 7 (2007): 13. http://dx.doi.org/10.5840/questions2007711.

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24

Kennel, Maxwell. "Acting Out." Symposium 15, no. 2 (2011): 248–51. http://dx.doi.org/10.5840/symposium201115246.

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25

Solomon, Alisa, Maureen Angelos, Babs Davy, Dominique Dibbell, Peg Healey, and Lisa Kron. "Acting Out." Women's Review of Books 18, no. 8 (May 2001): 14. http://dx.doi.org/10.2307/4023671.

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26

Gaffney, Paul J., and Robert Cohen. "Acting One." Theatre Journal 37, no. 1 (March 1985): 119. http://dx.doi.org/10.2307/3207197.

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27

NAKANO, KAORU. "Acting robot." Journal of the Robotics Society of Japan 6, no. 3 (1988): 216–21. http://dx.doi.org/10.7210/jrsj.6.216.

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28

Raeburn, Paul. "Slow-Acting." Scientific American 295, no. 2 (August 2006): 26. http://dx.doi.org/10.1038/scientificamerican0806-26.

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29

Counihan, Elizabeth. "Acting up." Nature 452, no. 7186 (March 2008): 502. http://dx.doi.org/10.1038/452502a.

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30

Kalson, Albert E., and Laurence Olivier. "On Acting." Shakespeare Quarterly 38, no. 4 (1987): 543. http://dx.doi.org/10.2307/2870440.

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31

FAUSTO, Carlos, and Emmanuel DE VIENNE. "Acting translation." HAU: Journal of Ethnographic Theory 4, no. 2 (September 2014): 161–91. http://dx.doi.org/10.14318/hau4.2.008.

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32

Appell, David. "Acting Locally." Scientific American 288, no. 6 (June 2003): 20–22. http://dx.doi.org/10.1038/scientificamerican0603-20.

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33

Fisher, Thomas. "Acting disaster." Celebrity Studies 3, no. 3 (November 2012): 343–45. http://dx.doi.org/10.1080/19392397.2012.717773.

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34

Barton, Robert, and Amy Sarno-Fradkin. "Acting Access." Theatre Topics 6, no. 1 (1996): 1–14. http://dx.doi.org/10.1353/tt.1996.0007.

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35

Brown, Robert E. "Acting Presidential." American Behavioral Scientist 49, no. 1 (September 2005): 78–91. http://dx.doi.org/10.1177/0002764205279397.

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36

Novak, Kristine. "Acting alone." Nature Reviews Cancer 4, no. 1 (January 2004): 3. http://dx.doi.org/10.1038/nrc1265.

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37

Donaldson, Lucy Fife, and James Walters. "Inter(acting)." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (August 21, 2018): 352–69. http://dx.doi.org/10.1177/1749602018781465.

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In placing synthesis as a central dynamic, this article seeks to identify and value the occasions where the work of the television actor manages a delicate balance between functional requirements of an environment and their potential to establish a more developed set of interrelationships within it, disclosing intricacies of character interiority through expressive interactions with commonplace tasks and spaces. In response to their dual potential for expressivity and significance, we choose to focus on performances that occur within modes of transport, using detailed moments from 24 (Fox, 2001–2014), The Sopranos (HBO, 1999–2007), Happy Valley (BBC, 2014–) and Broad City (Comedy Central, 2014–).
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38

Mitchell, Randy L. "Professional Acting." About Campus: Enriching the Student Learning Experience 4, no. 5 (November 1999): 30–32. http://dx.doi.org/10.1177/108648229900400508.

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39

Jackson, Ronald L. "Acting Black." Contemporary Sociology: A Journal of Reviews 33, no. 4 (July 2004): 418–19. http://dx.doi.org/10.1177/009430610403300409.

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40

The Lancet. "Acting responsibly." Lancet 373, no. 9666 (March 2009): 782. http://dx.doi.org/10.1016/s0140-6736(09)60458-x.

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41

Kruger, Loren. "Acting Africa." Theatre Research International 21, no. 2 (1996): 132–40. http://dx.doi.org/10.1017/s0307883300014711.

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I begin with two images of African actors. The first, from Asinamali by the South African playwright Mbongeni Ngema (1985; Plate 23), shows a group pose drawn directly from protest theatre—angry men in prison khaki, with fists clenched, bodies tensed in readiness and, one can assume, voices raised against the invisible but all too palpable forces of apartheid. The second, from the centenary celebrations of the American Board Mission in South Africa (1935; Plate 24), portrays the ‘smelling-out of a fraudulent umthakathi’ (which can be translated as diviner or trickster), which were followed, on this occasion, by other scenes portraying the civilizing influence of European settlers. While the first offers an image of African agency and modernity in the face of oppression, the second, with its apparently un-mediated reconstruction of pre-colonial ritual and, in its teleological juxtaposition of ‘tribal’ and ‘civilized’ custom, seems to respond to the quite different terms set by a long history of displays, along the lines of the Savage South Africa Show (1900), in which the authenticity of the Africans on stage was derived not from their agency but by their incorporation into the representation of colonial authority.
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42

Higson, Andrew. "Acting Taped." Screen 26, no. 5 (September 1, 1985): 2–26. http://dx.doi.org/10.1093/screen/26.5.2.

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43

Matthews, John. "Acting Freely." Performance Research 14, no. 2 (June 2009): 103–12. http://dx.doi.org/10.1080/13528160903319620.

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44

Müller, Anselm Winfried. "Acting well." Royal Institute of Philosophy Supplement 54 (March 2004): 15–46. http://dx.doi.org/10.1017/s1358246100008432.

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I am very happy indeed to contribute to this series of lectures, especially because I owe most of my training in philosophy to Elizabeth Anscombe, whose work has given the series its name. I am deeply indebted to the marvellous generosity of her teaching, to the example she set me of an unrelentingly thorough and serious thinker, to the unobtrusive way she introduced me to Wittgenstein's later philosophy. Through Elizabeth Anscombe I also made the acquaintance of my friend Philippa Foot, whose work in moral philosophy has, over decades and more than anyone else's, influenced my own. I hope it will be possible to recognize in what I am going to say here not indeed the excellence but at least traces of the beneficial influence of both these philosophers.
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45

Thomas, Laura. "Acting captain." Lancet Psychiatry 3, no. 10 (October 2016): 931. http://dx.doi.org/10.1016/s2215-0366(16)30275-9.

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46

Davis, Nancy. "ACTING UTILITARIANS." Pacific Philosophical Quarterly 66, no. 1-2 (January 1985): 125–40. http://dx.doi.org/10.1111/j.1468-0114.1985.tb00245.x.

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47

Kate Flaherty. "Method Acting." Prairie Schooner 84, no. 3 (2010): 141–53. http://dx.doi.org/10.1353/psg.2010.0036.

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48

Malik, Sabreena. "Acting up." BMJ 333, Suppl S1 (July 1, 2006): 0607290. http://dx.doi.org/10.1136/sbmj.0607290.

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49

Mueller, Agnes C. "Acting Out." German Studies Review 36, no. 2 (2013): 389–92. http://dx.doi.org/10.1353/gsr.2013.0102.

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50

Kutz, Christopher. "Acting Together." Philosophy and Phenomenological Research 61, no. 1 (July 2000): 1. http://dx.doi.org/10.2307/2653401.

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