2012年1株南美洲输入登革1型病毒的基因组特征(英文)--《中国人兽共患病学报》2013年07期
2012年1株南美洲输入登革1型病毒的基因组特征(英文)
【摘要】：目的分析2012年1株从南美洲输入登革1型病毒的基因组特征,探索登革病毒的传播规律。方法测定DF1203毒株的全长基因组序列,分析该毒株与97株南美洲登革1型毒株的遗传联系,同时比较该毒株与全球最相似毒株的遗传联系。结果 DF1203毒株的基因组全长10 735个核苷酸,编码区全长10 179个核苷酸。种系发生分析显示,该毒株与南美洲登革1型毒株存在一定差异,BLAST分析表明DF1203与东南亚毒株存在密切遗传联系,尤其与近年柬埔寨毒株在种系发生树上处于同一分支。结论虽然DF1203的患者来自南美洲苏里南,毒株遗传背景分析却显示与东南亚毒株存在亲密遗传关系。由此表明连续有效的登革病毒监测,尤其是检测分离株的部分或全部基因组序列,对于研究登革病毒传播路径、遗传进化,具有重要意义。
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Dengue is the most widely distributed mosquito-borne disease in tropical and subtropical regions,its causative agents are dengue viruses(DENV),members of the genus flavivirus and family flavi-viridae.DENV are classified into four antigenical-ly distinct
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&&&&&&&&&&&&Analysis of Major Characters 分析《德伯家的苔丝》中主要角色的特性
这篇论文主要是对《德伯家的苔丝》中主要人物苔丝、亚历克德贝维尔、安琪尔·克莱尔的特性进行分析。本论文由留学作业网英语论文代写频道整理提供。
导读：这篇论文主要是对《德伯家的苔丝》中主要人物苔丝、亚历克德贝维尔、安琪尔&克莱尔的特性进行分析。
Analysis of Major Characters 分析《德伯家的苔丝》中主要角色的特性
Tess Durbeyfield
聪明,非常有吸引力的,杰出的,她深深的道德敏感性和充满激情的强度,苔丝无疑是小说的中心人物,以她的名字命名。但她也超过一个特殊个体:坚强的让她有些神话的主人公。她的名字,正式特里萨,阿维拉的圣特蕾莎修女回忆,另一个烈士的愿景更高的现实使她失去生命。Intelligent, strikingly attractive, and distinguished by her deep moral sensitivity and passionate intensity, Tess is indisputably the central character of the novel that bears her name. But she is also more than a distinctive individual: Hardy makes her into somewhat of a mythic heroine. Her name, formally Theresa, recalls St. Teresa of Avila, another martyr whose vision of a higher reality cost her her life. Other characters often refer to Tess in mythical terms, as when Angel calls her a &Daughter of Nature& in Chapter XVIII, or refers to her by the Greek mythological names &Artemis& and &Demeter& in Chapter XX. The narrator himself sometimes describes Tess as more than an individual woman, but as something closer to a mythical incarnation of womanhood. In Chapter XIV, he says that her eyes are &neither black nor blue rather all these shades together,& like &an almost standard woman.& Tess&s story may thus be a &standard& story, representing a deeper and larger experience than that of a single individual.
In part, Tess represents the changing role of the agricultural workers in England in the late nineteenth century. Possessing an education that her unschooled parents lack, since she has passed the Sixth Standard of the National Schools, Tess does not quite fit into the folk culture of her predecessors, but financial constraints keep her from rising to a higher station in life. She belongs in that higher world, however, as we discover on the first page of the novel with the news that the Durbeyfields are the surviving members of the noble and ancient family of the d&Urbervilles. There is aristocracy in Tess&s blood, visible in her graceful beauty&yet she is forced to work as a farmhand and milkmaid. When she tries to express her joy by singing lower-class folk ballads at the beginning of the third part of the novel, they do not satisfy her&she seems not quite comfortable with those popular songs. But, on the other hand, her diction, while more polished than her mother&s, is not quite up to the level of Alec&s or Angel&s. She is in between, both socially and culturally. Thus, Tess is a symbol of unclear and unstable notions of class in nineteenth-century Britain, where old family lines retained their earlier glamour, but where cold economic realities made sheer wealth more important than inner nobility.
Beyond her social symbolism, Tess represents fallen humanity in a religious sense, as the frequent biblical allusions in the novel remind us. Just as Tess&s clan was once glorious and powerful but is now sadly diminished, so too did the early glory of the first humans, Adam and Eve, fade with their expulsion from Eden, making humans sad shadows of what they once were. Tess thus represents what is known in Christian theology as original sin, the degraded state in which all humans live, even when&like Tess herself after killing Prince or succumbing to Alec&they are not wholly or directly responsible for the sins for which they are punished. This torment represents the most universal side of Tess: she is the myth of the human who suffers for crimes that are not her own and lives a life more degraded than she deserves.
Alec d&Urberville
An insouciant twenty-four-year-old man, heir to a fortune, and bearer of a name that his father purchased, Alec is the nemesis and downfall of Tess&s life. His first name, Alexander, suggests the conqueror&as in Alexander the Great&who seizes what he wants regardless of moral propriety. Yet he is more slippery than a grand conqueror. His full last name, Stoke-d&Urberville, symbolizes the split character of his family, whose origins are simpler than their pretensions to grandeur. After all, Stokes is a blunt and inelegant name. Indeed, the divided and duplicitous character of Alec is evident to the very end of the novel, when he quickly abandons his newfound Christian faith upon remeeting Tess. It is hard to believe Alec holds his religion, or anything else, sincerely. His supposed conversion may only be a new role he is playing.
This duplicity of character is so intense in Alec, and its consequences for Tess so severe, that he becomes diabolical. The first part of his surname conjures associations with fiery energies, as in the stoking of a furnace or the flames of hell. His devilish associations are evident when he wields a pitchfork while addressing Tess early in the novel, and when he seduces her as the serpent in Genesis seduced Eve. Additionally, like the famous depiction of Satan in Milton&s Paradise Lost, Alec does not try to hide his bad qualities. In fact, like Satan, he revels in them. In Chapter XII, he bluntly tells Tess, &I suppose I am a bad fellow&a damn bad fellow. I was born bad, and I have lived bad, and I shall die bad, in all probability.& There is frank acceptance in this admission and no shame. Some readers feel Alec is too wicked to be believable, but, like Tess herself, he represents a larger moral principle rather than a real individual man. Like Satan, Alec symbolizes the base forces of life that drive a person away from moral perfection and greatness.
Angel Clare
A freethinking son born into the family of a provincial parson and determined to set himself up as a farmer instead of going to Cambridge like his conformist brothers, Angel represents a rebellious striving toward a personal vision of goodness. He is a secularist who yearns to work for the &honor and glory of man,& as he tells his father in Chapter XVIII, rather than for the honor and glory of God in a more distant world. A typical young nineteenth-century progressive, Angel sees human society as a thing to be remolded and improved, and he fervently believes in the nobility of man. He rejects the values handed to him, and sets off in search of his own. His love for Tess, a mere milkmaid and his social inferior, is one expression of his disdain for tradition. This independent spirit contributes to his aura of charisma and general attractiveness that makes him the love object of all the milkmaids with whom he works at Talbothays.
As his name&in French, close to &Bright Angel&&suggests, Angel is not quite of this world, but floats above it in a transcendent sphere of his own. The narrator says that Angel shines rather than burns and that he is closer to the intellectually aloof poet Shelley than to the fleshly and passionate poet Byron. His love for Tess may be abstract, as we guess when he calls her &Daughter of Nature& or &Demeter.& Tess may be more an archetype or ideal to him than a flesh and blood woman with a complicated life. Angel&s ideals of human purity are too elevated to be applied to actual people: Mrs. Durbeyfield&s easygoing moral beliefs are much more easily accommodated to real lives such as Tess&s. Angel awakens to the actual complexities of real-world morality after his failure in Brazil, and only then he realizes he has been unfair to Tess. His moral system is readjusted as he is brought down to Earth. Ironically, it is not the angel who guides the human in this novel, but the human who instructs the angel, although at the cost of her own life.
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