bluuebunny/crossref_metadata_2025_split huggingface dataset:
RPA2 winged-helix domain facilitates UNG-mediated removal of uracil from ssDNA; implications for repair of mutagenic uracil at the replication fork
Authors: Kavli Bodil , Iveland Tobias S , Buchinger Edith , Hagen Lars , Liabakk Nina B , Aas Per A , Obermann Tobias S , Aachmann Finn L , Slupphaug Geir 
Published: March 2021

Abstract
Uracil occurs at replication forks via misincorporation of deoxyuridine monophosphate (dUMP) or via deamination of existing cytosines, which occurs 2–3 orders of magnitude faster in ssDNA than in dsDNA and is 100% miscoding. Tethering of UNG2 to proliferating cell nuclear antigen (PCNA) allows rapid post-replicative removal of misincorporated uracil, but potential ‘pre-replicative’ removal of deaminated cytosines in ssDNA has been questioned since this could mediate mutagenic translesion synthesis and induction of double-strand breaks. Here, we demonstrate that uracil-DNA glycosylase (UNG), but not SMUG1 efficiently excises uracil from replication protein A (RPA)-coated ssDNA and that this depends on functional interaction between the flexible winged-helix (WH) domain of RPA2 and the N-terminal RPA-binding helix in UNG. This functional interaction is promoted by mono-ubiquitination and diminished by cell-cycle regulated phosphorylations on UNG. Six other human proteins bind the RPA2-WH domain, all of which are involved in DNA repair and replication fork remodelling. Based on this and the recent discovery of the AP site crosslinking protein HMCES, we propose an integrated model in which templated repair of uracil and potentially other mutagenic base lesions in ssDNA at the replication fork, is orchestrated by RPA. The UNG:RPA2-WH interaction may also play a role in adaptive immunity by promoting efficient excision of AID-induced uracils in transcribed immunoglobulin loci.
Taxonomic analysis of metagenomic data with kASA
Authors: Weging Silvio , Gogol-Döring Andreas , Grosse Ivo 
Published: March 2021

Abstract
The taxonomic analysis of sequencing data has become important in many areas of life sciences. However, currently available tools for that purpose either consume large amounts of RAM or yield insufficient quality and robustness. Here, we present kASA, a k-mer based tool capable of identifying and profiling metagenomic DNA or protein sequences with high computational efficiency and a user-definable memory footprint. We ensure both high sensitivity and precision by using an amino acid-like encoding of k-mers together with a range of multiple k’s. Custom algorithms and data structures optimized for external memory storage enable a full-scale taxonomic analysis without compromise on laptop, desktop, and HPCC.
Peripherally Inserted Central Catheter-Associated Nocardia nova Endocarditis in a Patient Receiving Intravenous Antibiotics for Chronic Lyme Disease
Authors: Njie Aji B , Mitchell Michael , Pukkila-Worley Read 
Published: March 2021

Abstract
Long-term antibiotics are not effective for the therapy of patients with persistent symptoms and a history of Lyme disease. However, some clinicians still prescribe these therapies. We present a case of peripherally inserted central catheter-associated Nocardia nova endocarditis in a patient who had been receiving intravenous antibiotics for the management of chronic Lyme disease. This case highlights an important risk associated with the unscientific use of indwelling peripheral catheters and intravenous antibiotics for the management of such patients.
The Evolution of Japan-ASEAN Relations
Authors: Terada Takashi 
Published: March 2021

Abstract
This chapter aims to provide a fresh interpretation of Japan’s patterned approach to the Association of Southeast Asian Nations (ASEAN) over the past forty years, examining it in the context of Japan’s interest in leading wider concepts of regional institutions in Asia and the Pacific. It analyzes Japan’s policy direction and diplomatic efforts to maintain good relations with ASEAN as a key precondition for its commitment to establishing six different regional initiatives or institutions beyond Southeast Asia, representing a view that Japan has promoted its ASEAN policy in parallel with its commitment to wider regional institutions. Based on the analytical presumptions promoted by neoclassical realism, this chapter pursues Japanese policy responses to the international/regional structural changes through examining, especially, Japanese prime ministers’ perceptions, ideas, and roles to identify Japan’s distinctive moves on ASEAN and wider regional institutions: the end of the Vietnam War for ASEAN, the Plaza Accord and regional economic interdependence for APEC, the AFC for APT, China’s charm offensive diplomacy for EAS, China’s hegemonic rise for TPP, and Japan-China competition over economic rules for FOIP. Japan has acknowledged the solidarity and integration of ASEAN as a prerequisite for the effective development of these wider regional institutions, making it a significant task for Japan to ease ASEAN’s concern about its possible marginalization within Asia a politics and economics.
On Genre, History, and Invention in the Analysis of Creative Processes in Music
Authors: Born Georgina 
Published: March 2021

Abstract
The chapter opens by reviewing recent directions in analyzing the creative process in music: research focused on the performer as creative actor, the contributions of nonhuman actors, the conditions within which the composer works, and the creative process as underdetermined and emergent. The chapter assesses the explanatory power of these directions and the extent to which they can be integrated, arguing that such approaches are necessary but not sufficient. Instead, the chapter proposes the need for anti-reductionist, explanatory accounts that probe the historicity of the creative process, the temporalities in which it is entangled, and how these relate to both the complexities of aesthetic identification and disidentification and the institutional conditions within which creativity proceeds—the last two issues highlighted by theories of genre. Thinking of the creative process in music in relation to genre highlights its profoundly social and temporal nature and how it cannot be reduced to individual creators and their actions.
Out of the Frame
Authors: Barham Jeremy 
Published: March 2021

Abstract
This chapter considers the philosophy of live-score film screenings in contexts of filmic diegesis, representation, and illusion. These performances hybridize categories of spatial co-presence/absence and temporal simultaneity/anteriority in media communication, disrupting the balance between audio-visual documenting and constructing of a posited prior event. They revisit a pre-sound-era aesthetic which by nature resisted the modernist need for a centered subject position and a uniform spectatorial space in which all sounds must appear to emanate from the screen. Such cinematic listening experiences undermine theories of film as cohesive illusion by inscribing the “real” (live music) into what is “represented.” Live ensembles conjure up the dramaturgical fantasy space of the operatic orchestra pit, hindering recipients’ “disavowal of the apparatus” and yet increasing the sense of film’s Aristotelian mimetic enactment, rather than its distanced diegetic recounting. This practice invites us to rethink ideas of diegesis and music’s role in creating filmic worlds.
“You Sorta Listen with Your Eyes”
Authors: Barker Martin 
Published: March 2021

Abstract
What might investigation of audience responses to films reveal about the role that music plays in responses, understandings, and evaluations? Peter Larsen’s excellent Film Music (2005) examines the “paradox” that audiences sense the importance of music to their experience of films—but often can’t recall it. While Larsen’s critical remarks are sharp and apposite, his discussion is limited by a tendency to talk of “the audience” in the singular. That actual audience research doesn’t figure in his account is not surprising, given how little such research has yet been done. This chapter draws on materials from a major audience research project to help formulate provisional findings and proposals for future research. What these suggest is that audiences use “music” (only sometimes distinguished from other sound-sources) for a range of purposes, from emotional heightening to cueing of understanding, knowledge of narrative developments to more complex determinations of cultural appropriateness.
Hearing the Shadows at the Chat Noir’s Pre-cinematic Theatre
Authors: Sala Emilio 
Published: March 2021

Abstract
In the methodological introduction to his book Silent Film Sound (2004), Rick Altman focused his attention on “the extremely diverse pre-cinema practices that served as early models for film sound.” The aim of this chapter is to closely examine one such practice: that of the Chat Noir’s Shadow Theatre between 1886 and 1897. The first part of the chapter analyzes the different kinds of music that were used to accompany the shadow plays at the Parisian cabaret. The latter part focuses on the reconfiguration of the shadow plays after the closure of the Chat Noir cabaret (1897), exploring how Maison Mazo transformed the Chat Noir’s “ombres artistiques” into a mediatized and industrial production, while also promoting their artistic character in opposition to cinema’s photographic realism.
Old(er) Media and New Musical Affordances in Virtual Reality Experiences
Authors: Kamp Michiel 
Published: March 2021

Abstract
This chapter explores how recent virtual reality experiences (from 2010 onward) have remediated musical “protocols” of older audiovisual media such as film, video games, and music videos while creating a number of new affordances that draw attention to the newness of VR. Soundtrack and music video protocols in 360° videos such as Lost and Gorillaz’s “Saturnz Barz” emphasize the affordance of looking for a sound source, while the addition of an ambient musical soundtrack to the VR remediation of Google Earth emphasizes the user’s bodily presence in the virtual environment. Critiquing and expanding the notion of VR as a form of what Bolter and Grusin would call “transparent immediacy,” the chapter suggests that the music in these VR applications also facilitates experiences of hypermediacy, foregrounding the apparatus and idiosyncrasies of a new medium.
Tasteful Networks of Attention
Authors: Szczepaniak-Gillece Jocelyn 
Published: March 2021

Abstract
Many moments in the history of American exhibition illuminate the entanglement of hearing and discipline. But few point as clearly at the intertwining of listening, class, architecture, language, taste, and technology—all of which culminate in a particular dispositif of institutional indoctrination via sensory discipline—as the art house theatre and its promise of aspirational uplift for the price of good audience behavior. This chapter considers the relationship between exhibition, subtitling, sense-making lingual sound, cinephilia, spectatorship, and discipline in the late-1950s and early-1960s art house cinemas across the United States. It argues that spectators were trained for import film watching by the practice of subtitling foreign, especially European, cinema. Listening, watching, and interpreting the balance between the two thus constituted a network of proper attention that helped indoctrinate post-war spectators into post-war American taste and leisure culture.
The Market
Authors: Watson Matthew 
Published: March 2021

Abstract
The market has no independent objective existence beyond the practices that are embedded within particular market institutions. Those practices, in turn, involve learning particular techniques of performance, on the assumption that each market environment rewards a corresponding type of market agency. However, the ability to reflect what might be supposed the right agential characteristics is not an instinct that is hardwired into us from birth. Instead it comes from perfecting the specific performance elements that allow people to recognize themselves as potentially competent actors in any given market context. This chapter takes the reader back to some of the earliest accounts of these performance elements, showing that important eighteenth-century debates about how to flourish as a market actor revolved around little else. In the early eighteenth century, Daniel Defoe emphasized the need for market actors to create convincing falsehoods, hiding their true feelings behind a presentation of self where customers’ whims were always catered to. In the late eighteenth century, Adam Smith was still wrestling with the dilemma of how genuinely the self could be put on display within market environments, believing that customers had a responsibility to curb excessive demands so that merchants’ interests could be respected. This meant not forcing them into knowingly false declarations, so that moral propriety and economic expedience were not necessarily antagonistic forces in the development of merchants’ character.
Empire
Authors: Charrett Catherine Chiniara 
Published: March 2021

Abstract
Frontiers on land and bodies are performative of imperial expansion and acceleration. This chapter argues that frontier sites are especially productive of imperial formations, as they expose inconsistencies and excesses that are met with a particular rage and discipline. As such, frontier sites are productive of iterations of imperial violence, which includes the construction of new infrastructures and technologies of violence, as well as the discursive justification for this violent apparatus. Palestine is a frontier of imperial formations that is productive of war technologies, but also a site where debates over the legitimization of the use of this violence takes place. Performances on the frontiers of empire such as Palestine are constitutive of subject and subjectivities on resistance and settler colonialism in global politics. The marking of Hamas as terrorists is central to the coding and interpretations of Palestine in public discourses. The democratic election of Hamas troubled the coding of the movement as an illegitimate terrorist Other, which was met with a performative anxiety and rage by the European Union. The EU had headed the election-monitoring mission in the Occupied Palestinian Territories, and they had declared the elections transparent, free. and fair. Their response, however, was to diplomatically and financially sanction Hamas, which had profound consequences for Palestinian governance. Hamas and Gaza exposed fault lines in empire’s attempt to defend its use of violence. and as such they are also productive of new forms of enacting imperial violence. The chapter explores the performances of Tania El Khoury, whose work uses intimate scenes and audience interactivity to foreground the pain and oppression of imperial violence. Performance acts as a cultural frontier that negotiates and expresses subversive and resistant meanings of violence in global politics.
Authenticity and Theatricality
Authors: Kear Adrian 
Published: March 2021

Abstract
The image of the disaster at sea—the shipwreck staged for the spectator—is a highly conventionalized form of aesthetic encounter with the suffering of others, whose iconic operation serves as a reminder of the inseparability of the event from its mode of representation. The drama of the image, the chapter argues, remains dependent on the visual dramaturgy of the event of representation (its theatricality), and the construction of a spectator position framing the image’s withdrawal from the world of pure presentation (its authenticity). The chapter investigates the relationship between the apparent authenticity of the scenes depicted and their reliance on the theatricality of the image as the locus of the spectator’s political subjectification. It argues that the image functions as a drama staged to enable the construction of world spectatorship as a privileged political standpoint and demonstrates how this position operates within a racialized representational regime.
Adaptation and Environment
Authors: Angelaki Vicky 
Published: March 2021

Abstract
This chapter engages with the process of greening the theatrical canon by taking on the example of a significant play within the Ibsen oeuvre and within naturalism more broadly, Rosmersholm. As this chapter contends, productions such as those that Rosmersholm received at the Duke of York’s Theatre in London in 2019, adapted by the playwright Duncan Macmillan and directed by Ian Rickson, can serve well as paradigms for how the greening of the canon can work in practice, and how, similarly, we might recalibrate our critical reading to allow environmental concerns to emerge as primary while, at the same time, recognizing these as profoundly intertwined with issues relating to community, justice, politics, and social progress.
Constituency Performances
Authors: Crewe Emma , Sarra Nicholas 
Published: March 2021

Abstract
The representation of a constituency is at the heart of most democracies. In many countries an elected representative acts as a bridge between a parliament and a locality, while members of the parliament as a collective mediate between the center and the whole of that nation. This chapter explains why a methodological approach that relies on collaborative ethnography and multidisciplinary theorizing is a powerful way to probe the performances, identities, and emotions underlying the work of elected politicians. Taking a relational and performative approach, the chapter considers how these relationships in politics are not merely about interests, roles, or viewpoints; politicians have the power of evocation and so are important to people’s imagination and feeling of belonging. Politicians who ignore the sacred—the ritual, symbolism, and drama of politics—and merely try to impress voters with their ideological standpoints, will find it harder to secure support.
Comedy and the Performative Politics of Brexit
Authors: Brassett James 
Published: March 2021

Abstract
The chapter engages the outpouring of Brexit comedy as an important case study of the politics of humor. On one hand, the literature on comedy and politics has identified the subversive potential of jokes as a form of everyday resistance. On the other hand, sociological approaches have emphasized the role of stereotype and humiliation in jokes as part of a disciplinary function of humor. Building on these insights, the chapter reads prominent debates within comedy about Brexit as a vernacular form of politics. Jokes and satire perform and reperform discourses of identity. The chapter argues we should rephrase “Brexit comedy” or “the comedy of Brexit” as a socially consequential practice that teases at the (changing) social and political consensus.
Performance and Citizenship
Authors: Szeman Ioana 
Published: March 2021

Abstract
This chapter proposes the citizenship gap as a paradigm that connects the experiences of migrants and minorities who have legal citizenship but few de facto rights and uses a performance lens to bring scholarship on citizenship in conversation with research on migration and minorities. It argues that the concepts of performance and performativity allow us to grasp modes of citizenship that do not follow verbal, logocentric interactions and are not directly addressed to the state and state institutions and to follow the citizenship gap as it is experienced in people’s daily lives. Using an intersectional lens and ethnographic research with Roma in Romania, the chapter follows the performative and everyday iterations and enactments of citizenship among different Roma. It argues that the concepts of the public and audience in theorizations of citizenship need to be reconfigured to include Roma, other minorities, and migrants more generally, and shows how Roma artists and activists claim countercultural citizenship and belonging in a variety of media and through acts of citizenship that may otherwise be overlooked.
From Exile to Migration
Authors: Meerzon Yana 
Published: March 2021

Abstract
This chapter discusses the aesthetics and ethics of staging exile and migration as one of the focus points in the political theater of today. It argues that political theater has the power to engage with the strategies of critical countermapping of migration. Using affect, immersion, and embodiment, it can rehumanize migrants, the underclass, and national abjects. It can also stage the uniqueness of individual journeys within the impersonality of the global movements. Political theater can give voice to an asylum seeker and can return dignity to a victim. Telling stories about migration and confronting the bodies of the performers-refugees with the bodies of the spectators–their hosts, it can turn a nameless migrant into a proper individual, someone who possesses their personal history, memory, agency, and identity. Bringing stories of migration to the homes of those people who practice mixophobia, political theater can make the stranger relatable. The play The Jungle (2017), written by Joe Murphy and Joe Robertson, directed by Stephen Daldry and Justin Martin for the Good Chance Theatre, and presented by the National Theatre and the Young Vic in London, serves this chapter as its primary example of how political theater can educate its audiences about the other and help them realize that this other is already within us.
The Force of the Somatic Norm
Authors: Puwar Nirmal 
Published: March 2021

Abstract
Formal sites of politics assume the presence of particular types of bodies. Even though they may be legally open to all, there is a somatic norm. Namely particular dispositions, racialized and gendered configurations, have come to stand in as the normative figures of parliaments. Positions of political leadership are, historically and conceptually, reserved for some bodies over and above others. This chapter offers a tool of analysis for making sense of the tenuous location of “space invaders,” those who are not deemed to be normative figures, within institutional domains. The specific empirical focus of this chapter is upon the parliamentary representative institution Westminster. The framework points to how change and sedimentation occur together in line with the pervading centrifugal force of the somatic norm, a public figure that is historically and conceptually produced. Thinking globally, the white masculine figure of legislative political leadership is clearly not the norm in large parts of the world. Nonetheless he is a norm that has a bearing upon global political leadership, including in places where women have a strong numerical presence in parliament, such as Nordic countries and some countries in Africa and Latin American.