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Mucins and mucin-like molecules are highly glycosylated, high-molecular-weight cell surface proteins that possess a semi-rigid and highly extended extracellular domain. P-selectin glycoprotein ligand-1 (PSGL-1), a mucin-like glycoprotein, has recently been found to restrict HIV-1 infectivity through virion incorporation that sterically hinders virus particle attachment to target cells. Here, we report the identification of a family of antiviral cellular proteins, named the Surface-Hinged, Rigidly-Extended Killer (SHREK) family of virion inactivators (PSGL-1, CD43, TIM-1, CD34, PODXL1, PODXL2, CD164, MUC1, MUC4, and TMEM123) that share similar structural characteristics with PSGL-1. We demonstrate that SHREK proteins block HIV-1 infectivity by inhibiting virus particle attachment to target cells. In addition, we demonstrate that SHREK proteins are broad-spectrum host antiviral factors that block the infection of diverse viruses such as influenza A. Furthermore, we demonstrate that a subset of SHREKs also blocks the infectivity of a hybrid alphavirus-SARS-CoV-2 (Ha-CoV-2) pseudovirus. These results suggest that SHREK proteins may be a part of host innate immunity against enveloped viruses.

Although Brothers Grimm collection of fairy tales have somehow the same cliché of plot, setting, and characters, in the fairy tale of Shrek the protagonist doesn’t follow this cliché. Shrek the protagonist is not a classical fairy tale of the handsome prince in quest of a beautiful princess; instead, he is an ogre. Grimm brothers wrote on text that they collected from the words of mouth giving the traditional tales a special structure and characters. However, compared to Grimm Brothers’ tales, Shrek the film, has a completely different structure and characters. In this paper I try to disclose the fact that Grimm folk tales which reveal the mentality of the 19th century as well as that of the earlier ages that belong to specific cultures (especially to the European culture and their mentality) are completely different than that of Shrek the film.

In this article I argue that romantic love, as portrayed in film, has in postmodernity become a site both for theological reflection and theological encounter, opening through a popular cultural theological aesthetics a window to experiences of divine grace, beauty and love. I show how historically this has come about through the intertwining of courtly love literature with erotic mystical discourse and through an immanentization of religious and theological discourse. This connection comes out most clearly through my analysis of the function of the kiss motif in films. I look at two film series, The Matrix trilogy and Shrek quadrilogy to see how romantic love as exemplified through the kiss becomes salvific and redemptive. I also note how religious discourse often now takes place under the guise of and in the genre of romantic comedy. In concluding I make a case for treating the theological relevance of romantic love in film more seriously, and also for seeing the positive value of romance in film as a theologically and aesthetically rich site for experiencing (divine) beauty, wonder, and grace.

This article examines the relationship between the concept of the Latin Lover and the notion of Hispanicity. The essay starts with an analysis of The Sheik (1921), which is generally considered as the film that launched the figure of the Latin Lover. The author then compares this figure to an important icon of Hispanicity: Zorro. Discussing various incarnations of Zorro, the author argues that the Latin Lover and the Zorro-incarnation of Hispanicity gradually merged over the years, thereby producing a new species: the Latino Lover.

O artigo investiga a repercussão da personagem de animação Shrek, considerando sua natureza imaginária e as relações que os meios de comunicação estabelecem entre imaginário e consumo. Pensando no processo de espelhamento e na centralidade dos processos miméticos para a constituição da identidade social, o artigo busca investigar não apenas a repercussão da personagem Shrek, mas também possíveis efeitos que o tratamento dado à personagem possa ter, como o hiperconsumo e a infantilização.

O artigo investiga a repercussão da personagem de animação Shrek, considerando sua natureza imaginária e as relações que os meios de comunicação estabelecem entre imaginário e consumo. Pensando no processo de espelhamento e na centralidade dos processos miméticos para a constituição da identidade social, o artigo busca investigar não apenas a repercussão da personagem Shrek, mas também possíveis efeitos que o tratamento dado à personagem possa ter, como o hiperconsumo e a infantilização.

This analysis deals with the postmodern feminine beauty ideal in the computer-animated film Shrek, and considers the impact this has had on the resultant change of the feminine representation in contemporary film productions and fairy tales. More specifically, the analysis will focus on the representational value of female characters in classic fairy tales, compared with the postmodern revision carried out by gender studies. This approach aims at offering some observations on the changes occurred in the classic framing of feminine roles, considering Fiona, Shrek’s wife, as an example of ‘contemporary princess’.

O artigo investiga a repercussão da personagem de animação Shrek, considerando sua natureza imaginária e as relações que os meios de comunicação estabelecem entre imaginário e consumo. Pensando no processo de espelhamento e na centralidade dos processos miméticos para a constituição da identidade social, o artigo busca investigar não apenas a repercussão da personagem Shrek, mas também possíveis efeitos que o tratamento dado à personagem possa ter, como o hiperconsumo e a infantilização.

La saga Shrek se ha caracterizado por revolucionar el mundo de la animación proporcionando una visión irónica de los clásicos y recurriendo en muchos casos a referencias pertenecientes a películas Disney. La continua presencia de alusiones a cuentos clásicos, a sus adaptaciones realizadas por la factoría Disney y a canciones infantiles con fuertes lazos culturales, como son las nursery rhymes, a través de distintos canales proporciona un atractivo y prolífico campo de estudio. Es así cómo el siguiente artículo tiene como objeto de análisis el papel de la intertextualidad en las películas Shrek y Shrek 2. El estudio se centra en el uso de canciones infantiles, nursery rhymes, y su traducción en estas películas de animación, así como el recurso de la intertextualidad y la contratextualidad en la producción del humor.