L’image de la femme fatale dans la poésie et la peinture de la Jeune Pologne en regard des créations artistiques européennes

Dans le présent article, je me concentre sur trois représentations de la femme fatale « à la polonaise », qui correspondent à des figures célèbres de la littérature et de l’art européens de la fin du xixe siècle. Tout d’abord, je présente les figures de femmes fatales contemporaines (appartenant entièrement à la réalité de l’époque de la Jeune Pologne). Puis, je propose de distinguer un ensemble de figures bibliques. Ces héroïnes apparaissent aussi bien dans la peinture et la littérature de la Jeune Pologne que dans celles de toute la Jeune Europe. Dans l’art polonais, je distingue plusieurs personnages de femmes de l’Ancien et du Nouveau Testament (Lilith, Ève, Judith, Hérodiade, Salomé et Marie Madeleine). Dans un dernier temps, je m’intéresse à des types de femmes plus rares dans l’art et dans la littérature de la Jeune Pologne. Il s’agit des personnages historiques, mythiques et surtout fantastiques (la femme-hybride). L’objectif principal de l’article est de présenter aux lecteurs francophones différentes images des femmes fatales issues de la création littéraire et artistique de la Jeune Pologne, en montrant les caractéristiques qu’elles partagent avec les créations artistiques européennes. Les exemples sont tirés d’une part d’œuvres poétiques et romanesques et d’autre part de productions artistiques

The place of musie in thepoetry of Kazimierz Przerwa-Tetmajer

Young Poland poetry was dominated by artistic imaging, but its associations with music are also quite often mentioned. Many examples of its “musicality” can be found in various layers of poetic works, starting with their phonological aspect and versification, through the simple usage of lexical resources, descriptions of instruments and concerts and listeners’ impressions, up to attempts at finding appropriate means for transposing particular genres or specific musical works into poetry and even creating a poetic language modelled on music. The characteristic phenomenon of poetry challenging music can be observed during that period. The oeuvre of Fryderyk Chopin is especially important, as there are many sets of works concerned with Chopin’s music or the composer himself (about 150). Kazimierz Przerwa-Tetmajer was one of the Young Poland poets to show an interest in this subject. The images created by Tetmajer’s specific artistic imagination were often defined by elements of a musical character. The best-known “musical” set of works by Tetmajer is the Preludes, considered to be his “calling-card”. Tetmajer used sounds in many different ways. Besides attempts at shaping this poetical cycle in the image of Chopin’s preludes, one should mention here the role of the music and songs of the highlanders, the repetitive distant chime of church bells, the various musical instruments, notes and tones reverberating in many poems, and the specific role of the music of nature. The works directly inspired by Fryderyk Chopin’s music (Mazurek Chopina [Chopin’s mazurka], Cień Chopina [Chopin’s shadow], Zamyślenia XVI [Thoughtfulness XVI]) are a good reflection of Tetmajer’s way of thinking and writing about the sounds of nature. They are part of the tum-of-the-century mood, since they use impressionistic, symbolic and pre-Raphaelite poetics. The poem Zamyślenia provides a sort of conclusion to Tetmajer’s poetical thinking about Chopin, and about music in general. The poet agrees here with the modernist vision of Chopin as a bard of the nation. Almost all the leitmotifs favoured by the poet and connected to his perception of music appear here: the effect of “listening” to sounds from afar, a soul filled with grief (reminiscent of the sad tones of the music), a mood encompassing the whole universe and moving deep layers of human sensitivity, specifically among Poles

The effect of gluconic acid secretion by phosphate-solubilizing Pseudomonas putida bacteria on dissolution of pyromorphite Pb_{5}(PO_{4})_{3}Cl and Pb remobilization

The purpose of this study was to investigate the effect of bacterially produced gluconic acid on the dissolution of pyromorphite and Pb remobilization. Pyromorphite Pb_5(PO_4)_3Cl is formed as a product of the phosphate-induced treatment of Pb-contaminated sites. This very stable mineral greatly decreases the bioavailability of Pb. In this study, bacterial and abiotic batch experiments on the dissolution of pyromorphite were carried out. In the microbial experiments, the mineral was dissolved in the presence of the phosphate solubilizing soil bacterium, Pseudomonas putida. The bacterial growth medium was supplemented with glucose, which under natural conditions can be supplied to microbes via symbiosis with plants. P. putida acquired P from pyromorphite and enhanced its dissolution. Elevated Pb concentrations were observed in the suspensions with bacteria. The bacterial secretion of 16.5 mM gluconic acid played a significant role in Pb remobilization; the pH of the solution dropped down from an initial 7.4 to 3.5. In the abiotic experiments, pyromorphite was dissolved at several concentrations of gluconic acid and at an acidic to neutral pH range. Both acidification and formation of stable Ph-gluconate ligands enhanced the dissolution of pyromorphite and caused Pb remobilization

Structural and vibrational behaviour of pyromorphite-vanadinite solid solution series

Pyromorphite Pb5(PO4)3Cl and vanadinite Pb5(VO4)3Cl belong to the apatite supergroup. They are secondary minerals formed in the oxidation zones of lead ore deposits. Both crystallize in hexagonal symmetry with the space group P63/m (Dong et al. 2002). The crystal structure of these two minerals allows to accommodate both metal cations and anionic complexes. It is the reason, why pyromorphite and vanadinite forms solid solution series. Isovalent replacement of P with V is one of the most common anionic substitution. Lead apatites are one of the least soluble along apatites group minerals and characterized by high thermal stability (Dong et al. 2002, Flis et al. 2011). Characteristic properties of apatite structure cause that these minerals are successfully used in many fields, especially for the immobilization of toxic waste and lead-contaminated soil (Ma et al. 1993, Chen et al. 1997, Dong et al. 2002, Kim et al. 2005). So far, pyromorphite and mimetite are the most known and used for the immobilization of lead. Pyromorphite and mimetite are isostructural with vanadinite, therefore it has been predicted that this mineral is also important for the environment. Accordingly, the aim of this study was to characterize of the pyromorphite-vanadinite solid solution series. This research present systematic changes in the structure of these minerals. Pure pyromorphite and vanadinite and minerals with intermediate compositions Pb5(TO4)3Cl, where T = P + V, of various P/V ratios were synthesized  from aqueous solutions at 298 K and pH = 3.5. Synthetic solids were analyzed by X-Ray diffraction (XRD), infrared absorption spectroscopy (FTIR) and Raman spectroscopy. Based on the X-Ray analysis, it was found that synthetic precipitates represent homogeneous phases of pyromorphite and vanadinite, which have intermediate chemical composition. Diffraction peaks of pyromorphite-vanadinite solid solution series were shifted due to replacement of PO4 by VO4. Replacement of PO4 by VO4 anions is causing changes in the structure of apatite and hence these shifts. Unit cell parameters of studied solid solutions show a linear variation. In the FTIR and Raman spectra of pyromorphite-vanadinite solid solutions series, the bands which are characteristic for vibrations of P-O bonds of the PO4 tetrahedra as well as vibrations of V-O bonds of the VO4 tetrahedra appeared. Analysis of Mid-IR spectra and Raman spectra also allowed to observe correlation between the band positions and the extent of the anionic substitution among the studied series. The structure of pyromorphite and vanadinite is generally similar, although they vary in chemical composition. Causes of variability are probably connected with the properties of individual ions.The project was financed with resources of the National Science Centre, Poland, granted based on decision no. DEC-2013/09/N/ST10/00677

Synthesis, molecular modelling and biological evaluation of novel heterodimeric, multiple ligands targeting cholinesterases and amyloid beta

Cholinesterases and amyloid beta are one of the major biological targets in the search for a new and efficacious treatment of Alzheimer’s disease. The study describes synthesis and pharmacological evaluation of new compounds designed as dual binding site acetylcholinesterase inhibitors. Among the synthesized compounds, two deserve special attention—compounds 42 and 13. The former is a saccharin derivative and the most potent and selective acetylcholinesterase inhibitor (EeAChE IC50 = 70 nM). Isoindoline-1,3-dione derivative 13 displays balanced inhibitory potency against acetyl- and butyrylcholinesterase (BuChE) (EeAChE IC50 = 0.76 μM, EqBuChE IC50 = 0.618 μM), and it inhibits amyloid beta aggregation (35.8% at 10 μM). Kinetic studies show that the developed compounds act as mixed or non-competitive acetylcholinesterase inhibitors. According to molecular modelling studies, they are able to interact with both catalytic and peripheral active sites of the acetylcholinesterase. Their ability to cross the blood-brain barrier (BBB) was confirmed in vitro in the parallel artificial membrane permeability BBB assay. These compounds can be used as a solid starting point for further development of novel multifunctional ligands as potential anti-Alzheimer’s agents

The place of musie in thepoetry of Kazimierz Przerwa-Tetmajer

Young Poland poetry was dominated by artistic imaging, but its associations with music are also quite often mentioned. Many examples of its “musicality” can be found in various layers of poetic works, starting with their phonological aspect and versification, through the simple usage of lexical resources, descriptions of instruments and concerts and listeners’ impressions, up to attempts at finding appropriate means for transposing particular genres or specific musical works into poetry and even creating a poetic language modelled on music. The characteristic phenomenon of poetry challenging music can be observed during that period. The oeuvre of Fryderyk Chopin is especially important, as there are many sets of works concerned with Chopin’s music or the composer himself (about 150). Kazimierz Przerwa-Tetmajer was one of the Young Poland poets to show an interest in this subject. The images created by Tetmajer’s specific artistic imagination were often defined by elements of a musical character. The best-known “musical” set of works by Tetmajer is the Preludes, considered to be his “calling-card”. Tetmajer used sounds in many different ways. Besides attempts at shaping this poetical cycle in the image of Chopin’s preludes, one should mention here the role of the music and songs of the highlanders, the repetitive distant chime of church bells, the various musical instruments, notes and tones reverberating in many poems, and the specific role of the music of nature. The works directly inspired by Fryderyk Chopin’s music (Mazurek Chopina [Chopin’s mazurka], Cień Chopina [Chopin’s shadow], Zamyślenia XVI [Thoughtfulness XVI]) are a good reflection of Tetmajer’s way of thinking and writing about the sounds of nature. They are part of the tum-of-the-century mood, since they use impressionistic, symbolic and pre-Raphaelite poetics. The poem Zamyślenia provides a sort of conclusion to Tetmajer’s poetical thinking about Chopin, and about music in general. The poet agrees here with the modernist vision of Chopin as a bard of the nation. Almost all the leitmotifs favoured by the poet and connected to his perception of music appear here: the effect of “listening” to sounds from afar, a soul filled with grief (reminiscent of the sad tones of the music), a mood encompassing the whole universe and moving deep layers of human sensitivity, specifically among Poles

Między impresją a Ideą. Niezauważalne transgresje świetlne w tatrzańskiej poezji Kazimierza Przerwy-Tetmajera

 BETWEEN AN IMPRESSION AND AN IDEA. UNNOTICEABLE LIGHT TRANSGRESSIONS IN KAZIMIERZ PRZERWA- TETMAJER'S TATRA POETRYThe article is devoted to an analysis of the category of light in Kazimierz Przerwa-Tetmajer’s Tatra lyrics. The category is not unequivocally defined by the poet, nor is it combined by him with one natural source, yet in the case of the Tatra lyrics discussed in the article, it always appears in strictly defined types of images. According to the present author, the most intriguing, in terms of her perspective of interpretation, is the balancing between various ways of shaping poetic compositions by means of light. Thanks to the light transgressions referred to in the title, Tetmajer’s luminism serves varied aesthetic as well as semantic and ideological functions in creating mountain landscapes. In the article the author reconstructs how Tetmajer introduces light into his Tatra poems and points to three main types of the category: romantic-realistic making the mountain space dramatic and theatrical, impressionistic-ornamental and symbolic sensualist concepts of perceiving reality as well as ideological-philosophical context of idealistic and pessimistic philosophies. ]]>BETWEEN AN IMPRESSION AND AN IDEA. UNNOTICEABLE LIGHT TRANSGRESSIONS IN KAZIMIERZ PRZERWA- TETMAJER'S TATRA POETRYThe article is devoted to an analysis of the category of light in Kazimierz Przerwa-Tetmajer’s Tatra lyrics. The category is not unequivocally defined by the poet, nor is it combined by him with one natural source, yet in the case of the Tatra lyrics discussed in the article, it always appears in strictly defined types of images. According to the present author, the most intriguing, in terms of her perspective of interpretation, is the balancing between various ways of shaping poetic compositions by means of light. Thanks to the light transgressions referred to in the title, Tetmajer’s luminism serves varied aesthetic as well as semantic and ideological functions in creating mountain landscapes. In the article the author reconstructs how Tetmajer introduces light into his Tatra poems and points to three main types of the category: romantic-realistic making the mountain space dramatic and theatrical, impressionistic-ornamental and symbolic sensualist concepts of perceiving reality as well as ideological-philosophical context of idealistic and pessimistic philosophies.]]