Mosaic of Israel’s landscapes as an expression of geographical, cultural, and religious diversity

Dorot Ruth, Mosaic of Israel’s landscapes as an expression of geographical, cultural, and religious diversity. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 87–113. ISSN 1731-450X. DOI 10.14746/i.2019.34.06. Israel is tiny in its dimensions, yet huge in the spectrum of its landscapes. It is ancient in its history, yet young as a state. In honor of the 70th independence day of the State of Israel, celebrated in 2018, this paper presents a mosaic of 12 landscape paintings, from the country’s most southern point to the most northern one, by Israeli artists who represent, in diverse styles, the state’s geographic and historic wealth in a visual-artistic sense.Dorot Ruth, Mosaic of Israel’s landscapes as an expression of geographical, cultural, and religious diversity. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 87–113. ISSN 1731-450X. DOI 10.14746/i.2019.34.06. Israel is tiny in its dimensions, yet huge in the spectrum of its landscapes. It is ancient in its history, yet young as a state. In honor of the 70th independence day of the State of Israel, celebrated in 2018, this paper presents a mosaic of 12 landscape paintings, from the country’s most southern point to the most northern one, by Israeli artists who represent, in diverse styles, the state’s geographic and historic wealth in a visual-artistic sense

Chagall jawny i ukryty

In this paper, the authors chooses the theory of metarealism as a tool to reveal the worlds of Marc Chagall - the physical and metaphysical ones which function simultaneously. The purpose behind it is to help readers discover Chagall’s magical, mysterious and mystical environments which he so adroitly conveyed via his colourful creations. For this end, I analyzed three of his well-known paintings, each of which helped uncover his world of harsh reality merged with his life of fantasy, both spiced with symbolism.In this paper, the authors chooses the theory of metarealism as a tool to reveal the worlds of Marc Chagall - the physical and metaphysical ones which function simultaneously. The purpose behind it is to help readers discover Chagall’s magical, mysterious and mystical environments which he so adroitly conveyed via his colourful creations. For this end, I analyzed three of his well-known paintings, each of which helped uncover his world of harsh reality merged with his life of fantasy, both spiced with symbolism

Music in art

In this article I shall describe the various roles and meanings of music in selected works of different artists, styles and periods, from the basic level of imitating and portraying reality to more covert meanings. The choice of works was based on the starting point of the centrality of music or the role of the musical instrument, or both as a key to understanding and interpreting the painting.In this article I shall describe the various roles and meanings of music in selected works of different artists, styles and periods, from the basic level of imitating and portraying reality to more covert meanings. The choice of works was based on the starting point of the centrality of music or the role of the musical instrument, or both as a key to understanding and interpreting the painting

Drosophila melanogaster Mutated in its GBA1b Ortholog Recapitulates Neuronopathic Gaucher Disease

Gaucher disease (GD) results from mutations in the GBA1 gene, which encodes lysosomal glucocerebrosidase (GCase). The large number of mutations known to date in the gene lead to a heterogeneous disorder, which is divided into a non-neuronopathic, type 1 GD, and two neurological, type 2 and type 3, forms. We studied the two fly GBA1 orthologs, GBA1a and GBA1b. Each contains a Minos element insertion, which truncates its coding sequence. In the GBA1a(m/m) flies, which express a mutant protein, missing 33 C-terminal amino acids, there was no decrease in GCase activity or substrate accumulation. However, GBA1b(m/m) mutant flies presented a significant decrease in GCase activity with concomitant substrate accumulation, which included C14:1 glucosylceramide and C14:0 glucosylsphingosine. GBA1b(m/m) mutant flies showed activation of the Unfolded Protein Response (UPR) and presented inflammation and neuroinflammation that culminated in development of a neuronopathic disease. Treatment with ambroxol did not rescue GCase activity or reduce substrate accumulation; however, it ameliorated UPR, inflammation and neuroinflammation, and increased life span. Our results highlight the resemblance between the phenotype of the GBA1b(m/m) mutant fly and neuronopathic GD and underlie its relevance in further GD studies as well as a model to test possible therapeutic modalities

Drosophila melanogaster Mutated in its GBA1b Ortholog Recapitulates Neuronopathic Gaucher Disease

Gaucher disease (GD) results from mutations in the GBA1 gene, which encodes lysosomal glucocerebrosidase (GCase). The large number of mutations known to date in the gene lead to a heterogeneous disorder, which is divided into a non-neuronopathic, type 1 GD, and two neurological, type 2 and type 3, forms. We studied the two fly GBA1 orthologs, GBA1a and GBA1b. Each contains a Minos element insertion, which truncates its coding sequence. In the GBA1a(m/m) flies, which express a mutant protein, missing 33 C-terminal amino acids, there was no decrease in GCase activity or substrate accumulation. However, GBA1b(m/m) mutant flies presented a significant decrease in GCase activity with concomitant substrate accumulation, which included C14:1 glucosylceramide and C14:0 glucosylsphingosine. GBA1b(m/m) mutant flies showed activation of the Unfolded Protein Response (UPR) and presented inflammation and neuroinflammation that culminated in development of a neuronopathic disease. Treatment with ambroxol did not rescue GCase activity or reduce substrate accumulation; however, it ameliorated UPR, inflammation and neuroinflammation, and increased life span. Our results highlight the resemblance between the phenotype of the GBA1b(m/m) mutant fly and neuronopathic GD and underlie its relevance in further GD studies as well as a model to test possible therapeutic modalities

Rembrandt – Biblical Interpreter

Aim. This article seeks to show that Rembrandt is the most profound, comprehensive and reliable interpreter – not an illustrator – of the Old Testament: "His ability… makes him one of the great visual interpreters of Scripture… a theologian not by academic degree but in his very nature” (Parker, 1994, p. 28). It is the purpose of this article to demonstrate the acute difference between Rembrandt’s depictions of Old Testament events and those by other artists who merely converted the overtly stated text in the Holy Bible into the visual medium. Methods. The case for claiming that Rembrandt interpreted rather than merely depicted the Old Testament will be made by analysing five of his works and the comparison to others portraying the same events. Rembrandt’s unique methods and techniques such as adding or omitting certain figures or details, using chiaroscuro extensively and deviating from expected iconography will be demonstrated as he unearths the core significance of each event.   Results. This article manifests how Rembrandt whose production of artwork relating to Old Testament scenes was prolific did not merely depict Old Testament scenes but rather interpreted the deeper, psychological meanings of the subjects involved and events portrayed, exhibiting a profound understanding of the messages in the original Hebrew text. Conclusion.  The article unfolds Rembrandt’s significant artistic accomplishments surpassing those who preceded or succeeded him. It reveals the different means he used in each painting expressing its high point according to Old Testament interpretation rather than through the prism of the New Testament

Dead end : Israeli militarism and the dynamics of state retribution

Defence date: 18 October 2013Examining Board: Professor Donatella Della Porta, EUI (Supervisor) Professor Gil Eyal, Columbia University (External Supervisor) Professor Laszlo Bruszt, EUI Professor James Jasper, CUNY.Based on sociological and historical research centered in Israel this dissertation interrogates the centrality of retaliatory practices in Israeli security policy and culture of militarism. More specifically I ask how is military retribution enacted, articulated and framed by state actors, social movements, public discourses and personal narratives. Most scholars traditionally interpret the mechanisms of retribution as either a rationalist strategy of deterrence, or as a culturalist logic of revenge and emotions. Transcending the duality of structure and agency, I conceptualize the "calculus of state retribution" as a relational process in which violent exchange is both a form of action and reaction - the generator and outcome of ethno-national conflict. Thus, state violence is conceptualized as a category of practice, namely as a set of repertoires and methods of retribution, as well as well as a discursive framing category which legitimizes and challenges the concept of raison d'état. Opening up the "black box" of political violence I propose an analytic model of retribution, which combines revenge, punishment and deterrence, categorical violence and passionate reprisal. These modalities of state retribution, I argue, are always entangled together and draw political and military strength precisely from such entanglement and elasticity. Drawing on discourse analysis of media sources from the turn of the 19th century to the present, as well as on in-depth interviews with policy-makers, generals, infantry soldiers and activists, the research employs frame analysis to engage theories of state rationality, state power, strategic interaction and emotions in politics. In the context of Israeli militarism, retaliation functions as a meta-frame and a total relationship, which mediates state action, across scales and units of analysis. Ultimately, the research points to the extension of the discourse on retributive justice to the radical (both right- and left-wing) fringes of civil society

Jerusalem — “The Heavens Tell” David Rakia — Paintings

The purpose of the article is to present the unique way in which David Rakia portrays both the earthly and spiritual aspects of Jerusalem. The issue is the variety of unique angles and techniques David Rakia uses to achieve his multi-faceted portrayal of the city. This is done by detailed analysis of paintings from different periods of his work showing the ever-greater depth of his skill.Dofinansowanie: Ministerstwo Nauki i Szkolnictwa Wyższego Publikacja sfinansowana ze środków Urzędu Miejskiego w Gnieźni