Istraživanje nekoliko izolata virusa infektivne degeneracije vinove loze s pomoću metoda elektroforeze

Grapevine fanleaf virus (GFV) isolates originating from the island of Vis were examined by agar-gel immunoelectrophoresis and by sodium dodecyl sulphate polyacrilamide (SDS-PAA) gel electrophoresis. Immunoelectrophoresis of the majority of isolates examined usually displayed two, sometimes three, electrophoretical components moving towards the cathode. Three centrifugal components from the density sucrose gradient had different velocities of migration. The top component was the fastest and the bottom was the slowest. Some strains including Berck s’ GFV isolate moved more slowly towards the cathode. SDS-PAA gel electrophoresis of the grapevine isolates studied, in 7.5 and 10°/o slab and column gels, revealed one well defined band of grapevine fanleaf virus protein subunit which corresponded to the molecular weight of c. 53,700 daltons. In electrophoresis GFV protein migrated similarly to the cherry leaf roll virus protein. From the OO isolate, which had a wide herbaceous host range, unusual for GFV, the GFV band of about 52,000 and an additional prominent band of 41,000 daltons were obtained. In other isolates, besides the GFV protein subunit band, some less prominent bands were found.Izolati virusa infektivne degeneracije loze (VIDL) s otoka Visa istraživani su s pomoću metoda agar-gel imunoelektroforeze i SDS-poiiakril amid gel elektroforeze (SDS-PAA). VIDL se u imunoelektroiorezi razdvajao u dvije, katkad tri elektroforetičke komponente koje su putovale prema katodi. Razdvojene tri centrifugalne komponente virusa (gornja, srednja i donja) putovale su različitom brzinom. Gornja komponenta, sastavljena od praznih virusnih proteinskih omotača, kretala se najbrže, a donja komponenta je bila najsporija. Također je zapažena razlika u brzini putovanja prema katodi između različitih izolata VIDL. Metodom SDS-PAA gel elektroforeze u 7,5 i 10°/o-tnim gelovima dobivena je vrijednost za molekularnu težinu proteinske podjedinice omotača VIDL-a od 53.700 daltona. Ta se vrijednost podudara s molekularnom težinom od 54,000 koju su u svojim istraživanjima dobili Quacquarelli etal. (1976) i Dias (1976). Posebno je istraživan OO izoiat koji je imao širok i vrlo neobičan krug domaćina za VIDL. Iz purificiranog materijala OO izolata dobivena je proteinska podjedinica VIDL od 52.000 daltona i protein od 41.000. Taj manji protein mogao bi pripadati drugom virusu koji se prenaša samo zajedno sa VIDL, jer ih nije bilo moguće razdvojiti na test biljkama. Iz drugih izolata dobiveno je također, osim proteinskih podjedinica VIDL-a, i nekoliko drugih polipeptida koji zahtijevaju dalja istraživanja. Obje metode elektroforeze, opisane u našem radu, pokazale su se korisnima u istraživanju homogenosti virusnog materijala izoliranog iz vinove loze s raznim simptomima zaraze

Effects of high sucrose diet, gemfibrozil, and their combination on plasma paraoxonase 1 activity and lipid levels in rats

We investigated the influence of high sucrose diet (HSD) after 3 or 5 weeks of administration on paraoxonase 1 (PON1) activity in plasma of normolipidemic rats and the relationship between serum PON1 activity, triacylglycerides (TGs), HDL and total cholesterol vs. the control group of rats fed normal, control diet (CD). Because the data about the influence of gemfibrozil (GEM) on PON1 activity are controversial, we also investigated its effects (administration in the 4th and 5th week in rats on HSD and CD) on plasma PON1 activity and lipid levels in normolipidemic rats, and in rats with hypertriglyceridemia caused by HSD. Our results obtained in rats on HSD show a significant increase of plasma TGs levels by 47% (P<0.05) after 5 weeks of treatment, and PON1 activity by 32% and 23% (P<0.05) after 3 and 5 weeks, but without change in lipid levels vs. rats on CD. In the rats on CD and HSD, GEM caused a significant decrease of PON1 activity by 44% and 33%, while a significant decrease of TGs level by 38% (P<0.05) was measured only in rats on CD. The effects of GEM on total cholesterol, HDL and LDL in both groups of rats were typical for its action on lipoprotein metabolism. Because GEM in the rat liver stimulates proliferation of peroxisomes, β oxidation, and production of H2O2, it is possible that the oxidative stress induced by GEM damages hepatocytes and lowers the synthesis of PON1

Predicting Procrastination: The Role of Academic Achievement, Self-efficacy and Perfectionism

The aim of this study was to examine the relations of academic achievement, self-efficacy, and perfectionism with procrastination in University students, and to examine whether procrastination can be predicted by academic achievement, self-efficacy, and perfectionism dimensions. 227 University students from different faculties completed Tuckmans' procrastination scale, Almost Perfect Scale – Revised (APS-R; Slaney Rice, Mobley, Trippi, &amp; Ashby, 2001) and General self-Efficacy Scale (GSE; Schwarzer &amp; Jerusalem, 1995), as well as data about academic achievement at the end of last academic year. Results have shown negative correlations of academic achievement, self-efficacy and adaptive perfectionism with procrastination, and a positive correlation between maladaptive perfectionism and procrastination. Results have also shown that self-efficacy is positively correlated with adaptive perfectionism and negatively with maladaptive perfectionism. Maladaptive perfectionism was a positive predictor of procrastination, while academic achievement, self-efficacy and adaptive perfectionism were all negative predictors. Finally, we used Hayes bootstrapping method to examine possible mediations. The results have shown that self-efficacy, by its self, is not a significant mediator, while paths containing self-efficacy and adaptive or maladaptive perfectionism mediate the relation between academic achievement and procrastination. Furthermore, both adaptive and maladaptive perfectionism mediated the relation between self-efficacy and procrastination

Morphometric and meristic characteristics of poor cod, Trisopterus minutus (L. 1758), from the eastern central Adriatic Sea

Background and Purpose: Poor cod, Trisopterus minutus (Linnaeus, 1758) is a gadoid fish, which inhabits the Mediterranean and eastern Atlantic. The aim of present work was to investigate the morphological properties of poor cod in the eastern central Adriatic Sea by analyzing classical morphometric and meristic characteristics, and thereby investigating: a) whether there are morphological differences between males and females; b) the existence of possible homogenous or heterogeneous stock morphology; and c) the changes in morphometric characteristics with increase in body length.Material and methods: Samples of 410 poor cod specimens (209 females, 201 males) were collected by bottom-trawl between 2014 and 2016 from five localities in the eastern central Adriatic Sea. In order to analyze biometry of the species; fifteen morphometric and eight meristic characteristics were measured.Results and Conclusions: Total length of all specimens ranged from 8.8 to 27.1 cm. Morphological differences between males and females was not marked. Biometric analysis of the morphometric and meristic characteristics indicated a homogenous morphology stock of Trisopterus minutus in the Adriatic Sea. Changes in some morphometric characteristics obtained in conjunction with an increase in body length showed that smaller specimens have a longer head, eye diameter, ventral fins and second anal fins than adult specimens. The negative correlation recorded for the maximum and minimum body depth indicated that the body elongated with poor cod growth. Comparison of the meristic characteristics that were published earlier show some differences between the poor cod populations inhabiting the Adriatic, Black Sea and eastern Atlantic.</p

Aerobni anoksigeni fototrofi Jadranskog mora

Aerobic anoxygenic phototrophs are a newly discovered member of the bacterial community in the Adriatic Sea. During the last seven years, when we started to study these organisms, we have collected a considerable number of samples from different environments, from the coast, the estuary, and the open sea. Here we have compiled data from 34 georeferenced study sites from four studies that summarize all that is known about aerobic anoxygenic phototrophs and examine the spatial and vertical distribution and environmental factors affecting this community in the Adriatic Sea. We found horizontal and vertical influences on AAP distribution, mainly salinity, nitrates, chlorophyll a, ammonium, temperature, and soluble reactive phosphorus. Much is known about their ecology in the Adriatic, and with a new survey underway, we will expand our knowledge of their community composition and their role in carbon flux to higher trophic levels.Aerobni anoksigeni fototrofi relativno su novi član bakterijske zajednice u Jadranskom moru. U posljednjih sedam godina, od kada smo započeli proučavati ove organizme, prikupili smo znatan broj uzoraka iz različitih okoliša, obalnog, estuarnog i područja otvorenog mora. U ovom radu objedinili smo podatke s 34 georeferencirane lokacije istraživanja iz četiri studije koje sažimaju sva saznanja o aerobnim anoksigenim fototrofima te istražili prostornu i vertikalnu raspodjelu, kao i okolišne čimbenike koji utječu na ovu zajednicu u Jadranskom moru. Utvrdili smo čimbenike koji utječu na horizontalnu i vertikalnu raspodjelu AAP, uglavnom salinitet, nitrate, klorofil a, amonijeve ione, temperaturu te topljivi reaktivni fosfor. Iako se dosta zna o njihovoj ekologiji u Jadranu, aktualnim istraživanjem proširit ćemo naše znanje o sastavu ove zajednice i njihovoj ulozi u protoku ugljika prema višim trofičkim razinama

Film screen version of Croatian dramatic text

Nakana je ovog rada prikazati i analizirati filmske ekranizacije hrvatskih dramskih tekstova. Rad se sastoji od šest cjelina. U uvodnom dijelu tek ćemo spomenuti problem na koji smo naišli pretražujući materijale za ovaj rad, a koji se odnosi na činjenicu kako su se u svijetu mnogi teoretičari bavili temom filmskih ekranizacija. U Hrvatskoj je, pokazat će se, situacija potpuno drugačija. Naime, nitko se od naših teoretičara nije isključivo posvetio toj temi, već su ju naši filmolozi i filmski kritičari tek sporadično spominjali u svojim tekstovima. Treba svakako spomenuti kako su neki od njih o problemima ekranizacija pisali općenito, dok su se drugi pozabavili i određenim filmskim naslovima. Nakon uvodnog dijela, druga se cjelina bavi odnosom hrvatske književnosti i filma. Čini nam se važnim ukazati na činjenicu kako je hrvatska kinematografija od samih svojih početaka inspiraciju pronalazila upravo u književnim ostvarenjima. Potvrdu za tu tvrdnju pronalazimo i u činjenici kako su upravo neki od najuspješnijih hrvatskih filmova snimljeni prema književnim predlošcima. Treći dio rada pod naslovom Od književnog djela do filmskog ekrana je teorijski te ćemo u njemu, nakon što odredimo pojmove ekranizacije i filmske adaptacije književnih djela, dati pregled teorijskih pristupa toj problematici. Dio ovog poglavlja ukazat će na neke od problema s kojima se susreću redatelji koji se odlučuju za ekranizaciju, te na predrasude i neprihvaćanje koje još uvijek postoji kod nekih kada je riječ o ekranizacijama. Središnji dio rada posvećen je analizi odabranih filmskih naslova, a to su: Pustolov pred vratima, Predstava Hamleta u Mrduši Donjoj, Glembajevi, te Svećenikova djeca. Ova četiri filma u hrvatskoj kinematografiji imaju status kanonskih filmova, te će s obzirom na to biti obrađeni u nešto opširnijem obliku, dok će ostali filmovi, čiji su redatelji također posegnuli za književnim predloškom, biti obrađeni u posebnom poglavlju, u nešto kraćem obliku. U zaključku rada ćemo istaknuti doprinos koji su filmske ekranizacije spomenutih književnih djela imale na popularizaciju samih predložaka, a prvenstveno njihov doprinos cjelokupnoj hrvatskoj kinematografiji, s obzirom na činjenicu da neke od tih filmova možemo svrstati u sam njezin vrh.The aim of this paper is to present and analyze film screen versions of Croatian literary texts. The paper contains six units. The problem we came across while researching the resources for this paper is briefly dealt with in the introduction, namely the fact that many noted theoreticians like Linda Hutcheon, James Naremore, Robert Stam, Alessandra Raengo, George Blustone, André Bazin and others have discussed the topic of screenwriting and adaptations while, as will be shown, the situation in Croatia is completely different. None of Croatian theoreticians, that is, have exclusively dealt with this topic, but have rather, like filmologists Ante Peterlić, Hrvoje Hribar, Nikica Gilić, Hrvoje Turković, Tomislav Šakić, Jelena Vlašić-Duić, Damir Radić, Nenad Polimac, Ivan Starčević and a few others, sporadically mentioned this subject matter in their texts. What should be pointed out by all means is that some of them wrote about the problems of screenwriting in general terms while others considered particular film titles as well. After the introductory part, the second unit discusses the mutual relation between the Croatian literature and films. It is essential to underline here how the Croatian cinematography got inspired precisely by literary works from the very beginning. This claim is confirmed by the fact that some of the most successful Croatian films have been made using literary texts as basis for their scripts, regardless if they were short stories, novels or plays. Interesting, though, that at least not up to this day, have there been any adaptations of older authors like Marin Držić, Ivan Gundulić or Tituš Brezovački. Although films were treated as a kind of parasite to literature in the beginning and not only that but to other types of art as well, nevertheless they struggled throughout their historical and technological history to achieve the rank of a separate kind of art. However, what should be seen as even more important is the fact that films have achieved an inclusive and not an excluding position in their mutual relation with literature, even with other types of art. It is that very road to affirmation that was also taken by the Croatian cinema. Namely, not long after the first world film projection on 22 March 1895 in Paris, the one in Zagreb would follow in October of 1895. Regretfully, the Croatian film industry would then fall behind the world film industry. Thus the first organized cinematography in Croatia would be considered the one that came into being during the Second World War Independent State of Croatia (the NDH) that would be remembered chiefly, although partly incorrectly, as propaganda due to the particular time and conditions under which it emerged. Nevertheless, taking historical facts into account, reality would prove completely different. Let us mention just two facts. Just a few days after the NDH had been established, the Film Directorate at the National Secretariat for popular Education was formed on 23 April 1941. What had especially marked that period, though, was the first sound feature film, Lisinski, directed by Oktavijan Miletić. Even though, from today's point of view, quite a few critical remarks could be made about the film Lisinski (artificial and unnatural acting, the scenario and such) still the fact remains that after all it is an important film, from both historical and 'professional' points of view. Nevertheless, the Croatian cinematography had to wait until the postwar period for the interrelation between the films and literature to fully prosper. The third unit of this paper under the title of From a Work of Literature to the Film Screen is of theoretical nature – after determining terms of screenwriting and film adaptation of literary works, an overview of theoretical approaches to this problem is presented. Apart from the term adaptation, the term screenwriting is also used for a film inspired by a literary work or a theatrical play. Although one would assume that screenwriting is almost a synonym of the term adaptation, it needs to be pointed out that it is used as a more general term. An interesting fact is how the term of adaptations is widely used today while they used to play a much more important role at the very beginning of film history. Namely, their aim was to gain respect for an 'amusement park' art back then to equal that of an institutionalized culture. Part of that chapter points to some of the problems directors who choose screen versions of literary texts have to face, as well as to prejudice and unacceptance that still exist with some people when it comes to screenwriting based on literary texts. Namely, adaptations, that is, reshaping the original text, are mostly dealt with by screenwriters or directors, although cases of authors of the literary text in question taking over the adaptation themselves should be mentioned here, too. During this transition process between the two media, certain changes occur. That is to say, in the case of novels, they are likely to be cut, due to their length, and the original text shortened. On the other hand there are texts that require the very opposite procedure, their extending, that is. What needs to be noted here is that certain texts are somehow more predisposed to adaptation (like theatrical plays) than others (for example short stories, novels, novellas), so that the success of the adaptation lies mainly, but not altogether, in the hands of the adapter, also depending on the literary genre in question. Still, this is neither the beginning nor the end of the problems concerning adaptation by any means. There are differences in opinion of film theoreticians as to who should in fact be considered the adapter of a particular work. The answer to this question is obviously simple if the author himself/herself is transferring their own work onto the stage or the screen. In that case the author and adapter are one and the same person. The answer remains simple to a certain extent when the author of the work is one person and the adapter another. Real problems occur in cases of musicals or operas. Is the adapter the librettist or is it the composer or are they both? We would rarely think of the composer as the adapter, but it is really the composer who intensifies our emotions or induces our reactions. The fact that various adapters keep different distances from the original text proves quite interesting. Eventually what emerges as the main problem of all scripts based on literary works is the fact that they are always compared to the original text. The reason being to the greatest extent the fact that, in most cases, that is, adaptations were viewed as a transition from what was absolutely erroneously regarded as a solely linguistic medium to what was, mistakenly again, considered a uniquely visual medium. All of this brings us to another problem yet, that of the question of the fidelity to the original text. This problem continues to be discussed further on in this paper; for now let it be noted that the problem would not arise in the first place, if the viewers did not keep forgetting that each adaptation of a work was only one of possible interpretations of the work in question. It is for this particular reason why Dudley Andrew considers the question of fidelity to the original the most likely to emerge being at the same time the most tiresome question when discussing adaptations. What is revealed then is that if we insisted on the question of fidelity, an altogether different question would ensue from it. The question of fidelity to what? Following all stated so far, contemporary theories of film adaptations have abandoned the idea of originality altogether, that is, the fidelity to the written text they were made on as a basis. Ultimately the debate on fidelity to the literary text the film was based on ends up in the sole fact that the film version will automatically prove both different and genuine for admittedly one reason only, but of great importance, too, namely, the media transition. However, this would still mean that the fact how the mutual relation between films and literature is not one of exclusion but that of inclusion, has to be constantly repeated. That is, the same way reading a play does not ever exclude visiting the theatre, watching a film adaptation does not diminish the value of the literary text it was based on. The middle part of the paper deals with an analysis of chosen film titles of the Croatian cinematography: Adventurer at the Door (Pustolov pred vratima, by Milan Begović, director Šime Šimatović), The Performance of Hamlet at Mrduša Donja (Predstava Hamleta u Mrduši Donjoj by Ivo Brešan, director Krsto Papić), The Glembajs (Glembajevi, by Miroslav Krleža, director Antun Vrdoljak) and The Priest's Children (Svećenikova djeca by Mate Matišić, director Vinko Brešan). These four films have a canonical status in the Croatian cinematography for their contribution to it, but at the same time making literary texts they were based on both popular besides introducing a new approach to them. Because of their very importance, a greater portion of this paper is focused on analyzing these films in such a way that all guidelines theories of adaptation are occupied with are attempted. It is quite interesting to show the relationship of each author of the literary text in question to the film itself. Milan Begović, Ivo Brešan, Miroslav Krleža and Mate Matišić took part in creating the scenario the film was based on in different ways or had no part in writing the scenario made after their original texts at all. It turns out how maybe the greatest loss when it comes to the Croatian cinematography befell Milan Begović who showed quite an interest in films, wrote some articles about them, even influenced some tendencies in the development of the Croatian film, but at the time of his most engaging activity, the Croatian cinematography presented just a few attempts on a private basis. On the other hand though, Begović would become known on the Croatian silver screen in 1939 already, long before Šimatović's film script in 1961, thanks to the Czechs and the director Ladislav Brom who adapted his American Yacht in the Split Harbor (Amerikanska jahta u splitskoj luci) for the screen. Maybe the most interesting is Krleža's example, who even though writing three scenarios, did not leave behind any major text on films. In time he became more aware of the full social role of films but still rather underlined their negative phenomena. He defended screen versions of his own literary works and what happened next was that his Glembajs would undergo the most changes during the transition from the literary text to the screen. Vrdoljak edited, shortened, even interpolated Krleža's texts. The analysis itself would prove how in fact Ivo Brešan who wrote the scenario for The Performance of Hamlet in Mrduša Donja together with Papić, and Mate Matišić, both author and screenwriter for Priest's Children, were the only ones who directly influenced the presentation of their literary works on the screen, although in the long run these colaborations did not turn out as particularly successful for various reasons − some ended up with the author's distancing himself from the depiction of particular characters from his literary text on the film screen. Other films, like The Blizzard (Mećava) by director Antun Vrdoljak based on Pero Budak's drama, Horvat's Choice (Horvatov izbor) by director Edo Galić, scenario by Ivo Štivičić, based on Miroslav Krleža's drama Vučjak, Sokol didn't like him (Sokol ga nije volio) by Branko Schmidt, then a young graduate of film direction, based on Fabijan Šovagović's drama and scenario, as well as two films based on literary works by Mate Matišić, When the Dead Start Singing (Kad mrtvi zapjevaju), directed by Krsto Papić and No One's Son (Ničiji sin), directed by Arsen Anton Ostojić, are discussed briefly in a separate chapter under the title More on Film Screen Versions. What is worth mentioning here is the fact that these films are neither less valid nor are they less important for the Croatian cinematography considering both the quality of the literary originals they were based on and the distinction they gained in their film versions. In the conclusion of this paper the contribution of the screen versions to the popularity of the discussed literary texts themselves is stressed, especially their contribution to the whole of the Croatian cinematography, seeing how some of those films represent the very best titles it can offer

Positive Youth Development and Depression: An Examination of Gender Differences in Croatia and Spain

Depression is a major public health issue and the literature has consistently showed that the rates of depression increase dramatically during youth transition to adulthood, and gender differences merge in this period. Positive youth development (PYD) framework is focused on strengths that make young people more resistant to negative outcomes, like depression, and more capable to choose a positive life direction. The aim of the study was to examine the relationship between the 5Cs of PYD and depression in Croatia and Spain, as well as to analyze gender differences. This research was conducted within the PYD Cross-National Project. High school and university students from Eastern Croatia and Southern Spain participated in the study (Mage = 19.37, SD = 2.11; 62.3% female). There were 584 students from Croatia and 768 students from Spain, who filled in self-reports of PYD and depression (i.e., PYD-SF and PHQ-9, respectively). Results showed that male participants presented more Competence and Confidence, while female participants reported more Connection, Caring, Character, overall PYD, but also more depressive symptoms. Furthermore, Confidence and Connection were negative correlates of depressive symptoms, with neither Spain nor Croatia showing remarkable gender differences. These results may have some implications concerning the promotion of the 5Cs of PYD as a recommendable approach to promote youth mental health in Croatia and Spain from a gender perspective. Youth mental health services and initiatives that engage the partnership of youth contexts, such as the family, schools and neighborhoods, should not only address risk factors for mental health problems, but also protecting factors as the 5Cs, thus providing a more inclusive and sustainable support for youth well-being.publishedVersio

Effects of Oxime K203 and Oxidative Stress in Plasma of Tabun Poisoned Rats

The highly toxic nature of tabun has been known for many years, but there are still serious limitations to antidotal therapy. In this study, we used rats as an experimental model to evaluate the efficiency of bispyridinium para-oxime K203 as therapy against tabun poisoning as well as to examine if induction of oxidative stress is linked to organophosphate toxicity. K203 showed high potency in counteracting tabun poisoning. Either alone or in combination with atropine, this oxime significantly increased cholinesterase activity at 0.5 and 1 h compared to untreated rats poisoned with tabun. Simultaneous measurements of markers of oxidative stress (lipid peroxidation and superoxide dismutase) showed that tabun poisoning, but also therapy (oxime alone or oxime plus atropine) applied immediately after tabun poisoning, could generate free radical species that may cause oxidative stress in rats. (doi: 10.5562/cca1811

Obesity and systolic blood pressure in young adult men born small for gestational age [Pretilost i arterijski tlak u mladih odraslih muškaraca rođenih nakon intrauterinog zastoja u rastu]

Individuals born small for gestational age (SGA) are supposed to be at higher risk to develop cardiovascular disorders, and recent report showed that concurrent obesity influences blood pressure (BP) in SGA children. Our aim was to investigate the impact of obesity and birth weight on blood pressure values in young adult men born SGA and controls born after normal pregnancy, Normotensive, non-treated adult men were enrolled (N = 185; mean age 21.29 +/- 0.9 years). Birth parameters were obtained from medical records and SGA was defined as birth weight (BW) under 10th percentile for gestational age and obesity as BMI > 25 kg/m2. According to the presence or absence of obesity and BW the subjects were divided into four groups: (1) non-obese with normal BW (N = 50), (2) non-obese SGA (N = 67), (3) obese with normal BW (N = 40), (4) obese SGA (N = 28). BP was measured using Omron M6 and Spacelab 90207 device following the ESH/ESC guidelines. Systolic BP, 24-hour BP variability and pulse pressure were significantly higher in SGA subjects than in those with normal BW (p 0.05). In addition to BW and shorter pregnancy duration, obesity concurrently and significantly determines systolic BP in young normotensive men and point to a need for more aggressive implementation of healthy lifestyle as early as possible

Qualitative and Quantitative Gamma-Hydroxybutyrate Analysis

Gama-hidroksibutirat (GHB) supstancija je koja se prirodno sintetizira u organizmu sisavaca. Pretpostavlja se da posjeduje svojstva neurotransmitora. Prvi put GHB je sintetiziran in vitro 1960. godine. Pri tom su otkriveni njegovi sedativni i hipnotički učinci na središnji živčani sustav pa se GHB u 60-im godinama prošlog stoljeća počinje rabiti kao anestetik, a naknadno i kao sredstvo za jačanje mišića. Međutim, nakon što je dokazano da izaziva ovisnost te uzrokuje brojne opasne nuspojave, GHB se povlači iz uporabe i stavlja na popis zabranjenih supstancija. Unatrag zadnjih desetak godina GHB se počinje zlouporabljati kao psihoaktivno sredstvo. Ilegalno se nabavlja u obliku tekućine ili bijelog praha. Jednostavno se priprema iz svog prekursora gama-butirolaktona (GBL). Zbog rastućeg broja prometnih nesreća i kriminalnih djela počinjenih pod njegovim utjecajem GHB zadnjih desetak godina postaje važan analitički objekt forenzičkih i biomedicinskih laboratorija. U ovom radu prikazan je kratak pregled analitičkih metoda razvijenih za etekciju i kvantifikaciju GHB-a u ilegalnim pripravcima i mokraći.Gamma-hydroxybutyrate (GHB) is a naturally occurring compound present in the brain and peripheral tissues of mammals. It is a minor metabolite and precursor of gamma-aminobutyric acid (GABA). Just as GABA, GHB is believed to play a role in neurotransmission. GHB was first synthesized in vitro in 1960, when it revealed depressive and hypnotic effects on the central nervous system. In 1960s it was used as an anaesthetic and later as an alternative to anabolic steroids, in order to enhance muscle growth. However, after it was shown that it caused strong physical dependence and severe side effects, GHB was banned. For the last fifteen years, GHB has been abused for its intoxicating effects such as euphoria, reduced inhibitions and sedation. Illicitly it is available as white powder or as clear liquid. Paradoxically GHB can easily be manufactured from its precursor gamma-butyrolactone (GBL), which has not yet been banned. Because of many car accidents and criminal acts in which it is involved, GHB has become an important object of forensic laboratory analysis. This paper describes gas and liquid chromatography, infrared spectroscopy, microscopy, colourimetry and nuclear magnetic resonance as methods for detection and quantification of GHB in urine and illicit products