Surface-modified poly(butadiene)urethane (PBTU) films with silk fibroin (SF) were prepared by simple chemical method under the normal temperature. The physical properties and biological behaviour of the SF-modified PB...Surface-modified poly(butadiene)urethane (PBTU) films with silk fibroin (SF) were prepared by simple chemical method under the normal temperature. The physical properties and biological behaviour of the SF-modified PBTU film were evaluated. The results showed that the SF-modified PBTU films kept the tenacity and pliability very well, and could overcome rigid and brittle weaks of silk fibroin films. The morphology of SF in the PBTU film was dendritic aggregations, and the water-contact angle measurement indicated that the surface hydrophilicity of modified films was apparently enhanced. The biocompatibility of PBTU films was improved due to the change of surface components. The degree of platelet adhesion and the cell viability of rat embryo dermal fibroblasts seeded on PBTU films, SF films, and SF-modified PBTU films were measured by counting platelets before and after they contacted the films and MTT assay, respectively. The results indicated that platelet adhesion resistance and cell viability on the modified film were greatly superior to those on the PBTU film and the compound interface had good stability in the air.展开更多
Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies,...Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies, however, Hollywood typically offers a more hopeful, comforting image of a family, at the beginning somewhat less than perfect, being restored as a result of those same forces. This paper concentrates on The Spiderwick Chronicles （2003-2004） by Tony DiTerlizzi and Holly Black, Susan Cooper＇s novel The Dark is Rising （1973）, and Lewis Padgett＇s story ＂Mimsy were the Borogoves＂ and the recent movies based （more or less loosely） thereon, Mark Waters＇ The Spiderwick Chronicles （2007）, David Cunningham＇s The Seeker （2007）, and Bob Shaye＇s The Last Mimzy （2007）, showing how the differences between the movies and the print-stories they are based on reflect an attempt on the part of the movie-makers to reaffirm and reinforce the family bonds that are to some extent sundered in the original stories展开更多
The literary adaptations of canonical novels for film provide a unique repository of both identity contents and socio-cultural observations which can be revisited through the filmic representations. These recreations ...The literary adaptations of canonical novels for film provide a unique repository of both identity contents and socio-cultural observations which can be revisited through the filmic representations. These recreations symbolize not only a privileged visual interpretation of a nation, but they also allow us to examine how a given society reflects itself through the fiction. In this sense, the objective of this paper is to reflect upon the Portuguese updated filmic adaptation of The Crime of Father Amaro （1880） by the canonical author Eta de Queiroz. On one hand, the author intends to rethink about the Portuguese identity portrayed by the film and, at the same time, the author manages to observe how the Portuguese society is revealed. On the other hand, the paper aims to analyze the particular process of the adaptation of The Crime of Father Amaro following a qualitative methodology展开更多
基金Major State Basic Research Development Programof China (No.2005CB623906)
文摘Surface-modified poly(butadiene)urethane (PBTU) films with silk fibroin (SF) were prepared by simple chemical method under the normal temperature. The physical properties and biological behaviour of the SF-modified PBTU film were evaluated. The results showed that the SF-modified PBTU films kept the tenacity and pliability very well, and could overcome rigid and brittle weaks of silk fibroin films. The morphology of SF in the PBTU film was dendritic aggregations, and the water-contact angle measurement indicated that the surface hydrophilicity of modified films was apparently enhanced. The biocompatibility of PBTU films was improved due to the change of surface components. The degree of platelet adhesion and the cell viability of rat embryo dermal fibroblasts seeded on PBTU films, SF films, and SF-modified PBTU films were measured by counting platelets before and after they contacted the films and MTT assay, respectively. The results indicated that platelet adhesion resistance and cell viability on the modified film were greatly superior to those on the PBTU film and the compound interface had good stability in the air.
文摘Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies, however, Hollywood typically offers a more hopeful, comforting image of a family, at the beginning somewhat less than perfect, being restored as a result of those same forces. This paper concentrates on The Spiderwick Chronicles （2003-2004） by Tony DiTerlizzi and Holly Black, Susan Cooper＇s novel The Dark is Rising （1973）, and Lewis Padgett＇s story ＂Mimsy were the Borogoves＂ and the recent movies based （more or less loosely） thereon, Mark Waters＇ The Spiderwick Chronicles （2007）, David Cunningham＇s The Seeker （2007）, and Bob Shaye＇s The Last Mimzy （2007）, showing how the differences between the movies and the print-stories they are based on reflect an attempt on the part of the movie-makers to reaffirm and reinforce the family bonds that are to some extent sundered in the original stories
文摘The literary adaptations of canonical novels for film provide a unique repository of both identity contents and socio-cultural observations which can be revisited through the filmic representations. These recreations symbolize not only a privileged visual interpretation of a nation, but they also allow us to examine how a given society reflects itself through the fiction. In this sense, the objective of this paper is to reflect upon the Portuguese updated filmic adaptation of The Crime of Father Amaro （1880） by the canonical author Eta de Queiroz. On one hand, the author intends to rethink about the Portuguese identity portrayed by the film and, at the same time, the author manages to observe how the Portuguese society is revealed. On the other hand, the paper aims to analyze the particular process of the adaptation of The Crime of Father Amaro following a qualitative methodology
