Journal Articles

Permanent URI for this collectionhttps://mro.massey.ac.nz/handle/10179/7915

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    Seroprevalence of Nipah virus and related paramyxoviruses in native frugivorous bats, Luzon, Philippines
    (Taylor and Francis Group on behalf of hanghai Shangyixun Cultural Communication Co, LTD, 2025-12-01) Rekedal MS; Noroña M-G; Café JAP; Mittal N; Borthwick SA; Taray KJ; Garcia JJL; Magsanoc SL; Cruz HR; Manzano DJ; Yan L; Low DHW; Hayman DTS; Dacuma MG; Demetria C; Alviola PA; Malbas FF; Smith GJD; Laing ED
    Nipah virus (NiV) is a highly virulent zoonotic virus classified as a priority pathogen and biohazard. In 2014, an outbreak of NiV-like disease in the Province of Sultan Kudarat, Mindanao, Philippines resulted in a 53% case fatality rate. Here, we identified wildlife bat hosts of NiV by conducting monthly serological surveillance of flying foxes and other native frugivorous bat species across Luzon. We estimated 13.92% NiV seroprevalence in native flying foxes. We also detected NiV neutralizing activity in some flying fox sera and identified factors such as age and seasonality as drivers of high anti-NiV antibody levels. In contrast, less than 10% NiV seroprevalence was detected in R. amplexicaudatus, C. luzoniensis, and P. jagori bats, and these bats have no detectable neutralizing antibodies. This is the first serological description of NiV in native flying foxes in the Philippines, highlighting a major wildlife host in an understudied region.
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    Maria Clara for the 21st century: Filipino responses to “neo-colonial” encounters
    (Ateneo de Manila University, 1/09/2016) Diaz Rodriguez JM
    As an example of a postcolonial critique to certain hegemonic Spanish discourses in the Philippines, this essay examines the practice-as-research dance piece Love, Death, and Mompou (2006), which was a revision of the traditional María Clara dance suite. It argues that the show uses the expressiveness of the body as a trigger to subvert, re-represent and perform a range of “colonial” discourses that were reinforced by Spanish cultural producers, through funding policies, such as the Spanish Program for Cultural Cooperation. In this context, this essay argues that these policies echo a colonial past by influencing the local arts scene, and by establishing what can be perceived as a “neo-colonial” relationship between Spanish official institutions and those local artists involved in the arts events.