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Journal articles on the topic 'Acting'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Roberts, Thomas M., and Murray Stewart. "Acting like Actin." Journal of Cell Biology 149, no. 1 (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 (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 (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 (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 (2011): ec169-ec169. http://dx.doi.org/10.1126/scisignal.4178ec169.

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6

Ott, Albrecht, D. Riveline, F. Jülicher, et al. "Acting on actin: The electric motility assay." Biology of the Cell 91, no. 3 (1999): 252. http://dx.doi.org/10.1016/s0248-4900(99)90096-5.

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7

Riveline, Daniel, A. Ott, Frank Jülicher, et al. "Acting on actin: the electric motility assay." European Biophysics Journal 27, no. 4 (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 (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 (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 (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 (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 (2003): 337–55. http://dx.doi.org/10.1023/b:theo.0000004303.49899.50.

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14

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 (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 th

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15

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 (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 th

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16

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

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17

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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18

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

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19

Havenga, Marnus. "Acting liturgically." STJ | Stellenbosch Theological Journal 6, no. 2 (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

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20

Hazel, Platzer. "Acting out." Nursing Standard 12, no. 33 (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 (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 (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 (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 (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 (2006): 26. http://dx.doi.org/10.1038/scientificamerican0806-26.

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29

Counihan, Elizabeth. "Acting up." Nature 452, no. 7186 (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 (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 (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 (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 (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 (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 (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, 200

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38

Mitchell, Randy L. "Professional Acting." About Campus: Enriching the Student Learning Experience 4, no. 5 (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 (2004): 418–19. http://dx.doi.org/10.1177/009430610403300409.

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40

The Lancet. "Acting responsibly." Lancet 373, no. 9666 (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

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42

Higson, Andrew. "Acting Taped." Screen 26, no. 5 (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 (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

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45

Thomas, Laura. "Acting captain." Lancet Psychiatry 3, no. 10 (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 (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 (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 (2000): 1. http://dx.doi.org/10.2307/2653401.

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