| 1. |
- Ahnström, Josefin, et al.
(författare)
-
Plasma levels of apolipoprotein M in normal and complicated pregnancy.
- 2010
-
Ingår i: Acta Obstetricia et Gynecologica Scandinavica. - : Wiley. - 1600-0412 .- 0001-6349. ; 89:9, s. 1214-1217
-
Tidskriftsartikel (refereegranskat)abstract
- Apolipoprotein M (apoM) is mainly associated with high-density lipoprotein in human plasma. Despite several studies suggesting apoM as an anti-atherogenic, its function is not yet fully understood. Plasma apoM was measured in normal pregnancies at four different gestational ages and in the postpartum period to investigate whether the concentration of apoM changes during pregnancy. In addition, apoM was measured at 13 weeks in women who subsequently developed preeclampsia, gestational diabetes, recurrent miscarriage, or small-for-gestational age babies, and in women with uncomplicated pregnancies. The plasma concentrations of apoM increased during pregnancy to reach highest levels in the postpartum period. Thus, plasma apoM in non-pregnant women was around 0.77 micromol/l, 0.88 micromol/l at 40 gestational weeks, and 1.05 micromol/l in the postpartum period (p < 0.0001). No differences in plasma concentrations of apoM were found among the studied pregnancy complications.
|
|
| 2. |
- Hedling, Olof, et al.
(författare)
-
Cinema in the Welfare State : Notes on Public Support, Regional Film Funds, and Film Policy in Swedish Film
- 2016
-
Ingår i: A Companion to Nordic Cinema. - 9781118475256 ; 9, s. 60-77
-
Bokkapitel (refereegranskat)abstract
- The present article will place recent Swedish cinema against the background of the evolving public film policy and support – transnational, national and regional – during the last five decades. Particular emphasis will be put on the period since the mid-1990s. Accordingly, a brief presentation and critical analysis of various important aid bodies like the Swedish Film Institute (SFI), the Nordisk Film & TV Fond and main regional funds like Film i Väst will be among the article’s objectives.The contextual focus, however, does not exclude the discussion of particular films, directors, actors or production companies. Rather, the purpose is to map how certain kinds of films, filmmakers and even locations appear to have been somewhat systematically endorsed or made possible by the system. Simultaneously, other forms of films and stories and film-maker types have perhaps, in a similar way, been dissuaded. In short, the article will attempt to chart some of the ways in which the various public aids have played an important part in rendering what can be called the contemporary national cinema.
|
|
