Auswirkungen des Krieges in der Ukraine auf die rechte auf Nahrung und Energie

Notre-Dame kann als Symbol für die Vorgeschichte der Anerkennung des Menschenrechts auf Nahrung gesehen werden, die im Kontext des am 24. Februar 2022 begonnenen Krieges in der Ukraine auf die Probe gestellt wird. Die Europäische Union hat diese Garantie in Form der Ernährungssicherheit, die in der Präambel der Verordnung (EU) 2021/2115 über die Gemeinsame Agrarpolitik (GAP) definiert ist, geschaffen. Sie hat verschiedene Maßnahmen ergriffen, um die betreffende Agrarkrise zu bewältigen und die Ukraine zu unterstützen. Auf vergleichbare Weise hat sie im Hinblick auf die Energieversorgungssicherheit die Verordnung (EU) 2022/2577 des Rates zur Festlegung eines Rahmens für einen beschleunigte Ausbau der Nutzung erneuerbarer Energien angenommen, die bis zum 30. Juni 2024 in Kraft sein wird. Die Verordnung enthält neue Rechtsgrundsätze wie Geschwindigkeit oder Beschleunigung sowie Energiesolidarität zwischen den EU-Mitgliedstaaten.  Notre-Dame kann als Symbol für die Vorgeschichte der Anerkennung des Menschenrechts auf Nahrung gesehen werden, die im Kontext des am 24. Februar 2022 begonnenen Krieges in der Ukraine auf die Probe gestellt wird. Die Europäische Union hat diese Garantie in Form der Ernährungssicherheit, die in der Präambel der Verordnung (EU) 2021/2115 über die Gemeinsame Agrarpolitik (GAP) definiert ist, geschaffen. Sie hat verschiedene Maßnahmen ergriffen, um die betreffende Agrarkrise zu bewältigen und die Ukraine zu unterstützen. Auf vergleichbare Weise hat sie im Hinblick auf die Energieversorgungssicherheit die Verordnung (EU) 2022/2577 des Rates zur Festlegung eines Rahmens für einen beschleunigte Ausbau der Nutzung erneuerbarer Energien angenommen, die bis zum 30. Juni 2024 in Kraft sein wird. Die Verordnung enthält neue Rechtsgrundsätze wie Geschwindigkeit oder Beschleunigung sowie Energiesolidarität zwischen den EU-Mitgliedstaaten. 

Adverse changes in cortical and trabecular bone compartments of the femur in rats with adjuvant-induced arthritis after one remodelling cycle

It is widely known that rheumatoid arthritis (RA) is associated with articular bone damage. However, there is still not enough information on whether the inflammatory process can deteriorate bone microstructure outside the joint as well. Furthermore, the impact of RA on the microscopic structure of cortical and trabecular bone, including parameters of bone microarchitecture, strength, and geometry after one remodelling cycle, has not been determined, yet. Therefore, this study investigated possible alterations in both cortical and trabecular bone compartments of the femur in a rat model of adjuvant-induced arthritis (AA) 28 days post disease induction. AA was generally evoked by a single intradermal injection ofsuspension of heat-inactivated Mycobacterium butyricumin incomplete Freund’s adjuvant. We have found that AA resulted in inflammation as evidenced by increased hind paw swelling, decreased levels of circulating albumin, and elevated levels of nitrite/nitrate, interleukin-1β. Detrimental changes in examined bone parameters related to microarchitecture, strength, and geometry were revealed in AA rats. Overall, AA was associated with bone loss, decreased bone mineral density in bothcortical and trabecular bone compartments, as well as reduced mechanical competence, and more intense vascularization in the cortical bone. According to our results, AA-related inflammation caused structural degradation of cortical and trabecular bone quality, as well as mechanical weakness in the femoral diaphysis leading to bone fragility after only one remodelling cycle. The findings focused on the femoral diaphysis, which is located outside the joint, are the first in this field of research

First detection of Aphanomyces astaci and its potential responsibility for mass mortalities of Pontastacus (Astacus) leptodactylus in Greek lakes

Aphanomyces astaci is a pathogen categorized among the 100 worst invasive alien species, responsible for the crayfish plague disease. In the past, many disease outbreaks devastated native European crayfish populations. The pathogen was transferred in Europe by its natural carriers, among which is the North American crayfish species Pacifastacus leniusculus, that has been introduced in Greece during 1980s. On the other hand, Pontastacus leptodactylus represents an indigenous species in Greece and apart from being keystone organism constitutes a valuable food source. Here, we investigated populations from lakes Volvi, Polifitou and Vegoritida for the pathogen’s presence after the mass mortalities observed from local fishermen in the two of them, namely, Vegoritida and Polifitou. All samples from these two lakes were positive, verifying the pathogen presence for the first time in Greece. On the other hand, all examined Pacifastacus leniusculus individuals were surprisingly negative, despite the expected hypothesis that they could be the reason for the spread of the pathogen in Greece. The unfavorable environmental conditions observed this year in combination with the improper management practices may led to massive reduction of crayfish populations in lakes Vegoritida and Polifitou. Thus, there is an urgent need for deeper investigations to unveil the leading cause of the disease outbreak in order to design and propose proper management measurements

Writing Nothing: Paul Celan’s Poetics of Negation

This article explores Paul Celan’s poetics of negation in his early post-Holocaust poetry. Through a close analysis of two of his most widely acclaimed poems, Engführung (1959) and Sprich auch du (1955), two interpretations of the poet’s practice are entertained. Initially, Celan’s negative poetics is placed in the context of language skeptical discourses and thereby construed as an enactment of violence towards a language unable to convey the inexpressible losses of the Holocaust. Celan’s negative mechanisms are then linked to the poet’s efforts to restore a faith in language after the Shoah: negation is viewed as that precise linguistic element on whose basis the all-negating experience of the concentration camp may find its way into language. Though diametrically opposed, both readings consider negation to be a radical poetic reaction to the unprecedented atrocities of WWII, and both are accordingly endowed with profound historical significance.This article explores Paul Celan’s poetics of negation in his early post-Holocaust poetry. Through a close analysis of two of his most widely acclaimed poems, Engführung (1959) and Sprich auch du (1955), two interpretations of the poet’s practice are entertained. Initially, Celan’s negative poetics is placed in the context of language skeptical discourses and thereby construed as an enactment of violence towards a language unable to convey the inexpressible losses of the Holocaust. Celan’s negative mechanisms are then linked to the poet’s efforts to restore a faith in language after the Shoah: negation is viewed as that precise linguistic element on whose basis the all-negating experience of the concentration camp may find its way into language. Though diametrically opposed, both readings consider negation to be a radical poetic reaction to the unprecedented atrocities of WWII, and both are accordingly endowed with profound historical significance

Cancer in Performance: An Affective Encounter

This essay delves into the portrayal of the “unpresentable” in contemporary performances centered around cancer, probing how such artistic endeavors defy conventional aesthetic paradigms. I anchor my analysis on the mixed-media dance piece Still/Here (Iowa 1994) by the renowned American experimental choreographer Bill T. Jones. My perspective is enriched by Jean F. Lyotard’s interpretation of the Kantian sublime in postmodern art, contemporary performance theories, art criticism, and personal reflections from cancer-related performances I have experienced. I compare two performances for illustrative purposes: the British musical theater performance A Pacifist’s Guide to the War on Cancer (B. Kimmings, B. Lobel, T. Parkinson, 2016) and the Greek documentary-theater performance In Spite of Everything (Georgia Mavragani and the Hellenic Cancer Society, 2018). Both draw inspiration from genuine cancer narratives and incorporate a blend of professional and amateur artists. Ultimately, my investigation seeks to trace the progression of the representation of cancer in performance

Gravitational Pull: A Filmmaker in the Orbit of the Modernist Sun

The massive, still-burning modernist sun exerts a powerful gravitational pull on my filmmaking, setting me in orbit around the modernists in its core. Arcing solar flares of filmic and poetic modernism burst out at me: Maya Deren’s cine-poems, rhythmic editing, elisions of time/space; Ezra Pound’s imagism, T.S. Eliot’s objective correlatives. The form-expanding classical reception of H.D. (Hilda Doolittle) in Helen in Egypt sparks my imagination and experimentation in my film grounded in the Homeric view of Penelope.As I continue my orbit, there are more modernists pulling on me: Alain Resnais with his enigmatic editing structures and entanglements of memory; Michelangelo Antonioni’s emotional color and form present as objective correlatives, which lead me back full circle. One bright solar flare draws me repeatedly to Chris Marker’s La Jetée, in which a powerful image of the past fractures history. As I continue making films informed by and incorporating my receptions of the past, I remain warmed by the modernist sun’s force of attraction

Marjorie Perloff, Infrathin: An Experiment in Micropoetics. U of Chicago P, 2023, pp. 320.

Book revie

Mary Renault, H.D., and Mythic Retellings: The Cultural Politics of Twentieth Century Hellenism

As prompted by letters of the 1960s from Mary Renault to Bryher, addressing their shared métier of historical fiction, this essay recognizes affinities, as yet largely unacknowledged, between the mid-century fiction of Mary Renault, often informed by her engagement with Ancient Greece, and the earlier Hellenism of modernist writer H.D., as well as the vein of modernist Hellenism H.D.’s work exemplifies. Like Renault, H.D. and other modernist writers often enlist Hellenism as historical fiction that conjures past worlds—to comment on, and provide alternative vocabulary for issues of, the present. Comparison of Renault’s and H.D.’s shared gravitation toward myths associated with the figure of Theseus—which they both engage in a spirit of revision—further illuminates the way that, like Renault’s turn to Ancient Greece, much early modernist work was animated by efforts to rethink gender and sexuality. Yet comparing Renault’s and H.D.’s retellings of myths connected with Theseus also uncovers the major areas of difference between them, revealing the patriarchal allegiances and misogynistic costs of Renault’s modes of reworking, at a marked distance from H.D.’s forms of feminist re-vision