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    ACE1 polymorphism and progression of SARS.
    Itoyama, S ; Keicho, N ; Quy, T ; Phi, NC ; Long, HT ; Ha, LD ; Ban, VV ; Ohashi, J ; Hijikata, M ; Matsushita, I ; Kawana, A ; Yanai, H ; Kirikae, T ; Kuratsuji, T ; Sasazuki, T (Elsevier BV, 2004-10-22)
    We have hypothesized that genetic predisposition influences the progression of SARS. Angiotensin converting enzyme (ACE1) insertion/deletion (I/D) polymorphism was previously reported to show association with the adult respiratory distress syndrome, which is also thought to play a key role in damaging the lung tissues in SARS cases. This time, the polymorphism was genotyped in 44 Vietnamese SARS cases, with 103 healthy controls who had had a contact with the SARS patients and 50 controls without any contact history. SARS cases were divided into either non-hypoxemic or hypoxemic groups. Despite the small sample size, the frequency of the D allele was significantly higher in the hypoxemic group than in the non-hypoxemic group (p=0.013), whereas there was no significant difference between the SARS cases and controls, irrespective of a contact history. ACE1 might be one of the candidate genes that influence the progression of pneumonia in SARS.
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    Keeping Central Asia stable
    Akbarzadeh, S (ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2004)
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    The death of Tiaoxi (the 'leaping play'):: Ritual theatre in the northwest of China
    Holm, D (CAMBRIDGE UNIV PRESS, 2003-10)
    This article is about one of the most depressing fieldwork situations I have ever encountered in China. Tiaoxi, basically, is dead. Some of the old artists are still alive, but the plays themselves were performed for the last time in 1987. There is video footage, taken by a professional team from the Ministry of Culture in Beijing, but the quality can only be described as execrable. There are abundant surviving libretti in manuscript, collected by field workers during the 1950s and again during the surveys of the 1980s, but they are almost all held in the Provincial Arts Research Institute in Xi'an, and no one is allowed to see them, not even the ‘old artists’ who donated them in the first place; not even photocopies are held by the county Cultural Bureau or by the artists themselves.
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