French Structuralism and Russian Formalism: the Productivity of Diachronic Dialogue.

Теоретичні концепції французького структуралізму трактуються в контексті аналізу загальних закономірностей розгортання літературознавчого дискурсу ХХ століття. Особливу увагу приділено актуалізації у працях французьких структуралістів ідей представників формальної школи російського літературознавства. The article considers the theoretical conceptions of the French structuralism within the context of the XX th century literature discourse development general rules. Special emphasis is placed on the French structuralists’ ideas actualization in the works of Russian literary criticism formal school representatives

The Antinomy of «the Russian» – «the German» in the Context of Interpretation of the V. Nabokov’s Story «Cloud, Lake, Veta».

У статті імагологічно значуща опозиція «російське» – «німецьке» розгля- дається в контексті інтерпретації оповідання В. Набокова «Хмара, озеро, вежа». Теоретичне обґрунтування побудови інтерпретаційної моделі літературного твору перевіряється практикою інтерпретації, в процесі якої виявляються кордони узгодженості цієї опозиції з характеристиками художнього цілого та рівнями його текстуальної реалізації. The article considers the image significant opposition “the Russian” – “the German” in the context of interpretation of V. Nabokov’s story “Cloud, Lake, Veta”. The theoretical substantiation of interpretation model construction is checked up by interpretation practice in the process of with the limits of coordination of this opposition with the characteristics of the artistic whole together with the levels of its textual organization are revealed

Sustained correction of B-cell development and function in a murine model of X-linked agammaglobulinemia (XLA) using retroviral-mediated gene transfer

X-linked agammaglobulinemia (XLA) is a human immunodeficiency caused by mutations in Bruton tyrosine kinase (Btk) and characterized by an arrest in early B-cell development, near absence of serum immunoglobulin, and recurrent bacteria infections. Using Btk- and Tec-deficient mice (BtkTec-/-) as a model for XLA, we determined if Btk gene therapy could correct this disorder. Bone marrow (BM) from 5-fluorouracil (5FU)-treated BtkTec-/- mice was transduced with a retroviral vector expressing human Btk and transplanted into BtkTec-/- recipients. Mice engrafted with transduced hematopoietic cells exhibited rescue of both primary and peripheral B-lineage development, revocery of peritoneal B1 B cells, and correction of serum immunoglobulin M (IgM) and IgG3 levels. Gene transfer also restored T-independent type II immune responses, and B-cell antigen receptor (BCR) proliferative responses. B-cell progenitors derived from Btk-transduced stem cells exhibited higher levels of Btk expression than non-B cells; and marking studies demonstrated a selective advantage for Btk-transduced B-lineage cells. BM derived from primary recipients also rescued Btk-dependent function in secondary hosts that had received a transplant. Together, these data demonstrate that gene transfer into hematopoietic stem cells can reconstitute Btk-dependent B-cell development and function in vivo, and strongly support the feasibility of pursuing Btk gene transfer for XLA

Метафора у художньому світі М. Пруста: від буття мистецтва до мистецтва буття

The article deals with the functions of metaphor in the artistic world of M. Proust. In the context of the novel sequence In Search of Lost Time, metaphor becomes a mechanism to implement involuntary memory, which allows to combine the present (impressions) and the past (memories). Metaphor, given by the associative connection between impressions and memories, becomes the main constructive law of the artistic model of reality created by the French writer.The multifunctionality of metaphor correlates with the three forms of the subject of consciousness that appears in the context of the artistic whole of the novel sequence as an author, a narrator and a character. The author organizes the work of involuntary memory, based on the metaphor; the narrator balances what has been fished out of the past against the present with the help of experience associations; the character experiences the impressions by going through discoveries and disappointments.Proust’s lyrical epos gives the subject the ability to move beyond the hellish circle of the present into timeless dimensions. The novels created by the author and the character, intersect creating the effect of full being, allowing the subject of creative consciousness to recover its identity by overcoming painful contradictions of individual existence in the artistic creativity as in the dialogical interaction with the other.By using the formal and the hermeneutical methods with the emphasis on the philosophy of dialogue, the article explores the peculiarities of metaphor functioning at the macro- and microlevels. The former allows to construct the experimental picture of the world at the intersection of different time-space spheres that correlate with each other due to the spiritual and intellectual efforts of the subject. The latter allows us to consider the artistic image based on metaphor the core of the modernist writer’s artistic style and the way to the new concept of artist and art.Розглянуто функції метафори у художньому світі М. Пруста. У контексті романного циклу „У пошуках утраченного часу” метафора перетворюється на механізм реалізації інстинктивної пам’яті, що дозволяє поєднувати теперішнє (враження) і минуле (спогади). Метафора, підказана асоціативним зв’язком між враженнями і спогадами, стає головним конструктивним законом художньої моделі реальності, створюваної французьким письменником.Багатофункціональність метафори корелює з трьома іпостасями суб’єкта свідомості, який постає у контексті художнього цілого романного циклу як автор, оповідач (гомодієгетичний наратор) та персонаж. Автор організовує роботу інстинктивної пам’яті, спираючись на метафору; наратор співвідносить виловлене з минулого за допомогою асоціації переживання з теперішнім; персонаж переживає враження, ідучи шляхом відкриттів та розчарувань.Ліричний епос Пруста надає переживанням суб’єкта здатності виходити за межі пекельного кола теперішнього у позачасові виміри. Створюваний автором та персонажем романи, перетинаючись, утворюють ефект повноти буття, дозволяють суб’єкту творчої свідомості віднайти власну ідентичність, долаючи болючі суперечності індивідуального існування у художній творчості як діалогічній взаємодії з іншим.Із застосуванням формального та герменевтичного методів, з опорою на філософію діалогу досліджуються особливості функціонування метафори на макрорівні й мікрорівні. Перше уможливлює побудову експериментальної картини світу на перетині різних часопросторових сфер, що корелюють між собою завдяки духовно-інтелектуальним зусиллям суб’єкта. Друге дозволяє витлумачити художній образ, ґрунтований на метафорі, як осердя художнього стилю письменника-модерніста і шлях до нової концепції митця і творчості

W. SHAKESPEARE’S “HAMLET” IN CONTEXT OF E. LEVINAS’S PHILOSOPHICAL CONCEPT OF MAN: DISCOVERING ‘THE OTHER’ AS A MEANINGFUL SUBTEXT OF THE TRAGEDY

The article concentrates on the study of the relationship between literary-artistic and philosophical discourses in the process of verbalizing universal cultural meanings of existence and building a holistic concept of man as an uppermost task of creation and re-creation (interpretation) of a literary work through the example of W. Shakespeare’s tragedy “Hamlet”. The article aims to interpret W. Shakespeare’s tragedy “Hamlet” in the context of ideas of the French thinker E. Levinas, one of the founders of the philosophy of dialogue. The tasks of the study are to characterize the significance of the dialogical vision of personality for the contemporary interpretation of the classics of world literature, to reveal the importance of dialogue between artistic and philosophical discourses while cognizing the human being in his interaction with the world and to consider the system of images in W. Shakespeare’s tragedy “Hamlet” with regard to the philosophy of the Other, developed in E. Levinas’s works “Time and the Other” and “Humanism of the Other”. The main research methods include culture-historical and hermeneutic methods applied in addition to the fundamental ideas of the philosophy of dialogue. The article deals with the tragedy “Hamlet” by W. Shakespeare as a prototext for E. Levinas’s philosophical work “Time and the Other”. Shakespearean reminiscences are characterized as important in terms of the development of the Levinasian concept of man. According to Levinas, the essence of the person is revealed in the dialogical interaction with the Other, which allows one to go beyond the present as captivity, discover the connections with the future in which the subject no longer exists, and achieve the eventful fullness of being, which leads to harmony and opens the way to the transcendental subject and eternity. The system of images in W. Shakespeare’s tragedy “Hamlet” allows one to associate the title character with different variants of the Other, which become significant for him as he fulfils the Ghost’s will. The unfolding of the action can be interpreted as such that it features the establishment of dialogical interaction between the father and the son in its meaningful subtext. At the level of events, the achieved interaction is seen as the fullness of the characters’ personal existence (above all, that of Hamlet and the Ghost), which manifests itself in overcoming the boundary between life and death, restoring the normal course of history and asserting the necessity for the superiority of good over evil. Horatio, the actor (i.e. the First Player), and jester Yorick (an offstage character in the prince’s memories), each of whom represents the conditions necessary for genuine dialogical interaction (belonging to a tradition, empathy, carnival freedom and, therefore, the familiarity of contact with another person), become significant variants of the Other to Hamlet, metonymically equivalent to his father the king

Wiskott-Aldrich syndrome protein-mediated actin dynamics control type-I interferon production in plasmacytoid dendritic cells

Mutations in Wiskott-Aldrich syndrome (WAS) protein (WASp), a regulator of actin dynamics in hematopoietic cells, cause WAS, an X-linked primary immunodeficiency characterized by recurrent infections and a marked predisposition to develop autoimmune disorders. The mechanisms that link actin alterations to the autoimmune phenotype are still poorly understood. We show that chronic activation of plasmacytoid dendritic cells (pDCs) and elevated type-I interferon (IFN) levels play a role in WAS autoimmunity. WAS patients display increased expression of type-I IFN genes and their inducible targets, alteration in pD

GENRE ORIGINALITY OF NOVEL “WAR WITH THE SALAMANDERS” BY KAREL ČAPEK

The article is devoted to the genre originality of the novel “War with the Salamanders” by Czech writer Karel Čapek (1936). Its goal is to analyse the author`s precept to unite artistic possibilities connected with various genre modifications of the novel: from Renaissance to postmodern traditions. Synthetic and polyphonic novel form, created by Karel Čapek in the process of artistic experiment, is based on using various discursive practices: folklore (animal tale), philosophical (Socratic dialogue, academic dispute, treatise, report), journalistic and popular science (newspaper and magazine article), colloquially-everyday (dialogues between the representatives of different cultural, social, gender, age groups) and others. All of them are united due to the parody-satirical re-creation within the borders of author’s intention, subordinate to the task to emphasize the deviation of the modern individual and mass consciousness from the humanistic norm. Based on the different traditions that determine the evolution of the European novel, Karel Čapek follows the gradual changes that happened to the “European humanity” in the process of moving from the New to the Newest time. The author artistically diagnoses the reasons for the transition from the gradual development of culture to the rapid take-off of civilization, from anthropocentric personal thinking to mass intellectual speculation, pragmatically oriented towards disguising a cannibalistic pursuit of success and profit. Especially important in this regard are the developments of the adventurous, socio-psychological and social, family, fantasy, satirical, anti-utopian, intellectual and philosophical novels, which are transformed in the context of the parable created by Chápek about man and humanity, outlining and at the same time denying the postmodern appeal to the whole preliminary development of literature by the seriousness of the game initiated by the author.</jats:p

Morning at Machu Picchu

Morning at Machu Picchu, taken by Natalie Astrakhan on independent travel to Peru while participating in the Linfield College Semester Abroad Program in Ecuador. 3rd place, Judge\u27s Award division, in the 2019 Linfield College Study Abroad Photo Contest.https://digitalcommons.linfield.edu/intl_photos2019/1008/thumbnail.jp

APOCALYPSE AS AN ALTERNATIVE TO ENDLESS SUFFERING: REVISING THE ORIGINS OF THE ARTISTIC CONCEPTUALISATION OF HISTORY AND ART

The article considers the final book of the Bible, The Book of Revelation, to be defining for the artistic vision of history, formed in the space of European culture. With reference to N. Frye’s paradigm, the article analyses individual motifs of the Revelation, the interpretation of which is of particular importance in the context of the development of European literature, in particular, in terms of the vectors of the artistic conceptualization of history. According to the picture created in the Revelation, symbolically consistent with the Old Testament and evangelical preaching, each individual person and humanity as a whole are faced with the choice between a catastrophic end of history and a qualitative transformation of time that may come as a result of people’s spiritual efforts, opting for repentance and purification. The ability of the symbols in the Book of Revelation to convey the meanings relevant for interpreters in each new historical era accentuates the problem of understanding historical events and reflection on the course of culture genesis, primarily in the space of artistic discourse. The article characterizes the mechanisms of understanding individual and general existence, involved in the process of literary and artistic creation, as derived from the religious worldview, art preserving the connection with the latter at the level of symbolization of the depicted. According to C. G. Jung’s depth psychology, the archetypes of the collective unconscious are perceptible in the symbolic constructions of art, emphasizing that the meaning-making processes are deeply rooted in religious experiences, their mythologizing/identification. In this context, the very phenomenon of literary and artistic creation, which seems to be superimposed on the religious and mythological vision and understanding of existence, acquires particular importance. The apocalyptic motif of the catastrophic end of existence of the fictional world that gained decisive importance in the literature of the postmodern era is interpreted as a derivative of simulacrization of postmodern art, its separation from the leading artistic traditions of the past, rooted in the syncretic elements of spiritual culture.</jats:p