Lithium chloride (LiCl) is a widely used drug for the treatment of bipolar disorders, but as a side effect, 40% of the patients develop diabetes insipidus. LiCl affects the activity of the glycogen synthase kinase 3 (GSK3), and mice deficient for GSK3β showed a reduction in the urine concentration capability. The cellular and molecular mechanisms are not fully understood. We used primary cultured inner medullary collecting duct cells to analyze the underlying mechanisms. LiCl and the inhibitor of GSK3 (SB216763) induced a decrease in the aquaporin-2 (Aqp2) protein level. LiCl induced downregulation of Aqp2 mRNA expression while SB216763 had no effect and TWS119 led to increase in expression. The inhibition of the lysosomal activity with bafilomycin or chloroquine prevented both LiCl-and SB216763-mediated downregulation of Aqp2 protein expression. Bafilomycin and chloroquine induced the accumulation of Aqp2 in lysosomal structures, which was prevented in cells treated with dibutyryl cyclic adenosine monophosphate (dbcAMP), which led to phosphorylation and membrane localization of Aqp2. Downregulation of Aqp2 was also evident when LiCl was applied together with dbcAMP, and dbcAMP prevented the SB216763-induced downregulation. We showed that LiCl and SB216763 induce downregulation of Aqp2 via different mechanisms. While LiCl also affected the mRNA level, SB216763 induced lysosmal degradation. Specific GSK3β inhibition had an opposite effect, indicating a more complex regulatory mechanism.
Une scène musicale peut être définie comme unespace culturel délimité sur un territoire par unensemble d’activités, de lieux et d’institutionsautour d’une culture musicale commune. Les musiques populairess’inscrivent non seulement dans un espace de pratiques et dereprésentations sociales, mais également dans des espacespolitique et économique dans lesquels une multitude depolitiques publiques interviennent. Une scène culturelle donneplus largement à voir la diversité desréglementations en oeuvre qui participent à lafaçonner – alors que celles-ci ne sont pas toujoursdéfinies comme des instruments de gouvernance culturelle. Lesindustries culturelles, qui jouent un rôle central dans lesdynamiques culturelles locales et translocales, sont pourtant lesgrandes absentes des différentes études sur lespolitiques culturelles. En nous appuyant sur trois enquêtes deterrain (Paris, Sydney, Québec), nous montrons que lesinterventions dans le domaine des musiques populaires reposentuniquement sur deux registres d’action – le social etl’économique - ce qui interroge finalement lesvisées de l’interventionnisme culturel.A music scene can be defined as a cultural space delimited on a territory by a set of activities, places and institutions in relation to a common musical culture. Popular music is not only bounden to a space of social practices and representations, but also to political and economic spaces in which a multitude of public policies intervene. More broadly, a cultural scene reveals the diversity of regulations implemented that participate in its shaping – while the latter are not always defined as instruments of cultural governance. The cultural industries, which play a central role in local and translocal cultural dynamics are, however, largely absent from the various studies on cultural policies. Drawing on three field studies (in Paris, Sydney, Québec), we show that public interventions towards popular music are based solely on two registries of action – the social and economics – which ultimately questions the aims of cultural interventionism.Una escena musical se define como un espacio cultural en una zona delimitada por un conjunto de actividades, lugares e instituciones en torno a una cultura musical común. La música popular no sólo encaja en un espacio de prácticas y representaciones sociales, sino también los espacios políticos y económicos dónde se involucran una multitud de políticas públicas. Una escena cultural permite ver de manera más amplia la diversidad de regulaciones implementadas e involucradas en su formación - mientras que no se definan siempre como instrumentos de gobernanza cultural. Las industrias culturales desempeñan una función central en las dinámicas culturales locales y trans-locales, sin embargo son igualmente las grandes ausentes de los diversos estudios sobre políticas culturales. A partir de tres estudios de campo (París, Sídney, Quebec), se muestra que las intervenciones en el marco de la música popular se basan únicamente en dos registros de acciones : sociales y económicas, las cua...
De la constitution d'un patrimoine à partir d'artefacts éphémères : l'exemple...
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