Ya-Ling Zhu, Lei-Lei Meng, Jin-Hu Ma, Xin Yuan, Shu-Wen Chen, Xin-Rui Yi, Xin-Yu Li, Yi Wang, Yun-Shu Tang, Min Xue, Mei-Zi Zhu, Jin Peng, Xue-Jin Lu, Jian-Zhen Huang, Zi-Chen Song, Chong Wu, Ke-Zhong Zheng, Qing-Qing Dai, Fan Huang, Hao-Shu Fang
{"title":"Loss of <i>LBP</i> triggers lipid metabolic disorder through H3K27 acetylation-mediated C/EBPβ- <i>SCD</i> activation in non-alcoholic fatty liver disease.","authors":"Ya-Ling Zhu, Lei-Lei Meng, Jin-Hu Ma, Xin Yuan, Shu-Wen Chen, Xin-Rui Yi, Xin-Yu Li, Yi Wang, Yun-Shu Tang, Min Xue, Mei-Zi Zhu, Jin Peng, Xue-Jin Lu, Jian-Zhen Huang, Zi-Chen Song, Chong Wu, Ke-Zhong Zheng, Qing-Qing Dai, Fan Huang, Hao-Shu Fang","doi":"10.24272/j.issn.2095-8137.2023.022","DOIUrl":"10.24272/j.issn.2095-8137.2023.022","url":null,"abstract":"<p><p>Non-alcoholic fatty liver disease (NAFLD) is associated with mutations in lipopolysaccharide-binding protein ( <i>LBP</i>), but the underlying epigenetic mechanisms remain understudied. Herein, <i>LBP</i> <sup>-/-</sup> rats with NAFLD were established and used to conduct integrative targeting-active enhancer histone H3 lysine 27 acetylation (H3K27ac) chromatin immunoprecipitation coupled with high-throughput and transcriptomic sequencing analysis to explore the potential epigenetic pathomechanisms of active enhancers of NAFLD exacerbation upon <i>LBP</i> deficiency. Notably, <i>LBP</i> <sup>-/-</sup> reduced the inflammatory response but markedly aggravated high-fat diet (HFD)-induced NAFLD in rats, with pronounced alterations in the histone acetylome and regulatory transcriptome. In total, 1 128 differential enhancer-target genes significantly enriched in cholesterol and fatty acid metabolism were identified between wild-type (WT) and <i>LBP</i> <sup>-/-</sup> NAFLD rats. Based on integrative analysis, CCAAT/enhancer-binding protein β (C/EBPβ) was identified as a pivotal transcription factor (TF) and contributor to dysregulated histone acetylome H3K27ac, and the lipid metabolism gene <i>SCD</i> was identified as a downstream effector exacerbating NAFLD. This study not only broadens our understanding of the essential role of <i>LBP</i> in the pathogenesis of NAFLD from an epigenetics perspective but also identifies key TF C/EBPβ and functional gene <i>SCD</i> as potential regulators and therapeutic targets.</p>","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"79-94"},"PeriodicalIF":4.9,"publicationDate":"2024-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10839665/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68882612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Casting Blackface in Canada: Unmasking the History of ‘White and Black’ Minstrel Shows","authors":"C. Thompson","doi":"10.3138/ctr.193.004","DOIUrl":"https://doi.org/10.3138/ctr.193.004","url":null,"abstract":"Abstract:Blackface minstrelsy was the dominant form of mass entertainment for over a century, from the 1840s through the 1940s. In Canada, there has been little scholarly research into the topic but for the work of Stephen Johnson and, in recent years, the works I have published on the subject. One of the reasons blackface has been understudied is the dearth of attention paid to histories of slavery. By exploring the history of casting blackface productions, both ‘white’ minstrelsy (white performers blackening up to imitate the song and dance of African-Americans) and ‘Black’ minstrelsy (Black performers in and out of blackface performing caricatures of themselves in front of majority-white audiences), we gain an understanding of how these shows were produced, and what audiences found appealing about them. Canada has produced its own blackface stars, like Colin ‘Cool’ Burgess (1840–1905) and Calixa Lavallée (1842–1891), both of whom toured the United States and Canada in the late nineteenth century and who not only performed in blackface but also produced songs, some of which are still known today, like “O Canada,” the Canadian national anthem, composed by Lavallée in 1880. Additionally, what the history of casting blackface in Canada shows is a long-standing desire among white audiences for depictions of the American Plantation South that often included the participation of local actors like playwright and writer Charles Wesley Handscomb (1867–1906), who moved to Winnipeg in 1879, who were often cast in touring minstrel productions to sing in blackface.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"16 - 20"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48745583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Casting Calls/Calls for Change","authors":"Mariló Núñez, Jamie Robinson, Marlis Schweitzer, Yasmine Amirkhani, Liam Lockhart-Rush, Zoe Marin","doi":"10.3138/ctr.193.001","DOIUrl":"https://doi.org/10.3138/ctr.193.001","url":null,"abstract":"#1 Character Descriptions: We are committed to authentically casting equity-seeking characters, including BIPOC, 2SLGBTQ+, d/Deaf, and/or disabled characters. The character descriptions ... represent our understanding of each character’s identity. We ask that artists only submit for characters within their own lived experience. We welcome submissions for these roles from INSERT artists and artists from the wider INSERT diaspora who are comfortable playing INSERT. All of the characters (apart from INSERT and INSERT) are INSERT GENDERS in the INSERT COUNTRY.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"5 - 8"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47169310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Writers and Race: Why Playwrights of Colour Should Write Themselves into Their Plays","authors":"Mariló Núñez","doi":"10.3138/ctr.193.012","DOIUrl":"https://doi.org/10.3138/ctr.193.012","url":null,"abstract":"Abstract:Marilo Nuñez analyzes how playwrights write race into their work by building on a conversation with fellow playwright Marie Barlizo, to encourage more racialized playwrights to attend to the specificity of race in their writing process.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"55 - 59"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44831119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“The Biggest Mistake You Ever Made Was Thinking That Nobody Cared about Me”: The Representation of Black Lives in Our Fathers, Sons, Lovers and Little Brothers","authors":"Andrea A. Davis, C. James","doi":"10.3138/ctr.193.018","DOIUrl":"https://doi.org/10.3138/ctr.193.018","url":null,"abstract":"Abstract:In this review of the 2022 performance of Our Fathers, Sons, Lovers and Little Brothers, Andrea A. Davis and Carl E. James, from their respective disciplines in Black literary and cultural studies, education, and sociology, engage in a conversation about Makambe K. Simamba’s play. In their conversation, they unpack questions about Black spirituality, the social construction of gender as a raced category, and the difficulty of articulating anti-Black racism in Canada. Their conversation is framed by a critical analysis that locates the play’s action within an understanding of Black community that exceeds national and geographical boundaries, connecting Black experiences in the United States and Canada.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"100 - 97"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42087622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Generous Incantation: Interdependent Magic: Disability Performance in Canada","authors":"Kelsie Acton","doi":"10.3138/ctr.193.017","DOIUrl":"https://doi.org/10.3138/ctr.193.017","url":null,"abstract":"Abstract:Interdependent Magic, curated by Jessica Watkin, is the first anthology of plays by disabled Canadian playwrights from Playwrights Canada Press. It includes pieces by Alex Bulmer, the Boys in Chairs Collective, Syrus Marcus Ware, and Chris Dodd, as well as an interview with Niall McNeil. In this review, Kelsie Acton considers the ways in which the strength of this volume lies not just in the quality and diversity of playwriting featured but also in the care the editor has taken in framing the work. Watkin offers two introductions, one aimed at audiences familiar with disability justice and disability arts and the other aimed at audiences new to disability culture. Interdependent Magic acknowledges the diversity of disabled playwrights in Canada and the diversity of audiences who will read their work.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"94 - 96"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46139060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Making a CoMotion","authors":"R. Knowles","doi":"10.3138/ctr.193.016","DOIUrl":"https://doi.org/10.3138/ctr.193.016","url":null,"abstract":"Abstract:The inaugural CoMotion: A Deaf and Disability Arts Festival at Toronto’s Harbourfront Centre from 20 April to 1 May 2022, curated by blind theatre artist Alex Bulmer, presented six live and four digital performances, six visual arts exhibitions, and four panels and conversations, a Q&A with Bulmer, and an “every-body-can-dance” workshop. The festival featured blind, Deaf, and neurodivergent artists, amputees, stutterers, and those with chronic pain or fatigue or with degenerative diseases. Some of the work served primarily a community-building function, some adhered to the familiar disability genres of the tragic or inspirational, but most celebrated the disability artist’s refusal of both exclusion and inclusion. The best of the festival’s offerings were not about overcoming disabilities but about joyful, if clear-eyed, engagement with the opportunities disability can offer.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"90 - 93"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46064082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Santiago Guzmán, R. Varma, Pam Patel, Ari Weinberg, Colin Wolf, Mercedes Bátiz-Benét
{"title":"“There Is No Such Thing as Colour-Blindness”: Artistic Directors on Culturally Specific Casting","authors":"Santiago Guzmán, R. Varma, Pam Patel, Ari Weinberg, Colin Wolf, Mercedes Bátiz-Benét","doi":"10.3138/ctr.193.008","DOIUrl":"https://doi.org/10.3138/ctr.193.008","url":null,"abstract":"ABSTRACT:The editorial team invited artistic directors from culturally specific theatre companies from across the country to offer their perspective on what culturally specific casting means to them. Their responses address a variety of topics, from culturally specific and colour-blind casting to audition rooms and community conversations.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"34 - 40"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44339361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Making Change from Within: Political Adaptation as Activism","authors":"Paula Danckert","doi":"10.3138/ctr.193.015","DOIUrl":"https://doi.org/10.3138/ctr.193.015","url":null,"abstract":"ABSTRACT:Political Adaptation in Canadian Theatre, by Kailin Wright, is an excellent addition to the discourse on theatre adaptations. Wright applies theories of adaptation, identification, performance, Indigenous dramaturgy, and speech acts to define political adaptation as distinct from adaptation “proper”. She contends that political adaptations activate publics or, in her terms, “dispublics,” toward changed perspectives on inherited narratives. Seminal to her argument is Michel Pêcheux’s tripartite terminology, which describes the relationship of the spectator to mainstream culture as identification, counteridentification, and disidentification.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"193 1","pages":"87 - 89"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43461411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}