Messy episodes: Indigenous countersigns in Ludwig Choris’s diary and ethnographic portraits of Aleut, Kamchadal and Chukchi (1822).

Examining Ludwig York Choris’s diary, which was first published in 1999, and representations of Aleut, Kamchadal, and Chukchi people in his Voyage pittoresque autour du monde (Paris 1822), my article discusses methods of aesthetic and scientific visualization in an early nineteenth-century research expedition. The album was the outcome of Choris’s participation in the Russian circumnavigation of the globe (1815–1818) and is an invaluable ethnographic record of Indigenous cultures in the North Pacific. I use the concept of ‘Indigenous countersigns’ (Douglas 2014) to investigate whether Aleut, Kamchadal, and Chukchi presence is inscribed in this little studied European work on Indigenous peoples and in Choris’s private journal. Going beyond the common binary of ‘us’ and ‘the others’, I discuss how Indigenous presence is still traceable in his texts. Further questions addressed concern the illustrations’ intended purpose and the influence of the contact zone wherein Choris and the Indigenous actors had to meet for the drawings to be made in the first place. This analysis is supplemented with unpublished letters of Choris to Adelbert von Chamisso, another member of the Russian circumnavigation, which can be found in the Staatsbibliothek zu Berlin – Preussischer Kulturbesitz, and passages of Otto von Kotzebue’s official expedition report (1821). References are made to around thirty, hitherto unknown watercolours by Choris, which are part of the Beinecke Collection, Yale

Franz Schubert und die Tradition

Franz Schubert und die Traditio

Untersuchung der Expression und Regulation von Komponenten des Inflammasoms in primären intestinalen Epithelzellen, Zelllinien, sowie bei Patienten mit Morbus Crohn und Colitis ulcerosa

Das Inflammasom ist ein Proteinverbund mit Vertretern der NALP Familie als zentrale Bestandteile. Er nimmt eine Schlüsselfunktion im Ablauf des Entzündungsprozesses ein. NALP2 und NALP3 konnten als zentrale Bestandteile des gleichnamigen NALP2/3-Inflammasoms identifiziert werden. Ziel der vorliegenden Arbeit war es, die mRNA-Expression und Regulation verschiedener NALPs in ausgewählten Zelllinien, primären IEZ, sowie bei Patienten mit MC und UC zu untersuchen. Von den untersuchten NALP2 bis 14 wurde in HT29- und CaCo2-Zellen jeweils die Expression von NALP2 bis 11, 13 und 14 nachgewiesen. Die Höhe der NALP-Expressionswerte in SW480- und T84-Zellen unterschieden sich nur gering und zeigten im Vergleich zu den anderen untersuchten Zellen die höchsten Expressionen. NALP12 – nachweislich in Makrophagen und eosinophilen Granulozyten exprimiert – konnte in der vorliegenden Arbeit nur in diesen beiden Zelllinien und in zwei der vier primären IEZ Proben nachgewiesen werden. Das als oozytenspezifische Protein entdeckte NALP5 konnte qualitativ und in sehr geringen Mengen auch quantitativ in allen untersuchten Zellen nachgewiesen werden. Das NALP Expressionsniveau der untersuchten primären IEZ entsprach im Durchschnitt dem der Tumorzelllinien. Dieser Teil der Arbeit belegt die mRNA-Expression der verschiedenen NALP Proteine in Zelllinien, aber auch in primären IEZ. Ähnlich den Expressionsuntersuchungen wurde für NALP5 und NALP12 in den Regulationsversuchen mit ausgewählten primären IEZ keine Expression detektiert. Für die übrigen untersuchten NALPs konnte durch Inkubation keine im Vergleich zur Kontrolle ohne Stimulation erhöhte Expression gemessen werden. Im Gegenteil wurde bei NALP2, 3, 6, 8, 9, 10, 11, 13 und 14 eine statistisch signifikante Minderexpression mit unterschiedlichen Konzentrationen von MDP und Pam3Cys festgestellt. Die Regulationsversuche von NALP2 und NALP3 wurden an HT29-Zellen fortgeführt. Sowohl die mRNA-Expression von NALP2 als auch die von NALP3 wurden durch 100 µg/ml MDP signifikant erniedrigt. Diese für NALP2 beobachtete signifikante Minderexpression war auch bei primären IEZ nachweisbar. Bei einer Stimulation der HT29-Zellen mit 500 ng/ml Pam3Cys konnte für NALP2 und NALP3 jeweils eine geringe, nicht signifikante Mehrexpression gemessen werden. Aus den Ergebnissen der Regulationsuntersuchungen der vorliegenden Arbeit an HT29-Zellen im Entzündungsmodell mit INFγ Vorstimulation geht MDP als adäquater Stimulus, der zu einer signifikanten Expressionssteigerung von NALP2, 7, 11, 13 und 14 führt, hervor. Eine signifikante Erniedrigung der Expression einzelner NALPs konnte nicht gemessen werden. Die eindruckvollste Expressionssteigerung konnte für NALP2 – die zentrale Komponente des NALP2 Inflammasoms – gemessen werden. Ihre Stimulierbarkeit durch MDP weist eine Beteiligung am komplexen immunologischen Geschehen des Körpers und besonders des Darms nach. Inwieweit andere NALPs Inflammasome bilden, ist nicht bekannt. Die mRNA-Expressionsuntersuchungen von NALP2 bei Morbus Crohn und Colitis ulcerosa zeigten im Vergleich zu nicht entzündeten Darmresektaten ein signifikant höheres Expressionsniveau. Dabei lagen die Expressionswerte von NALP2 bei MC Patienten deutlich höher als die der UC Patienten. Die Expression von NALP3 mRNA zeigte in beiden Patientengruppen signifikant niedrigere Werte im Vergleich zu nicht entzündeten primären IEZ. Die Untersuchung weist eine Beteiligung des NALP2/3 Inflammasoms bei CED nach. Die signifikant höhere Expression von NALP2 bei Patienten mit CED wie MC und UC bekräftigt die Ergebnisse, die eine vermehrte IL-18 Sekretion bei solchen Patienten nachgewiesen haben, und bestätigt die Vermutung, dass ein Ungleichgewicht zwischen pro- und anti-inflammatorischen Zytokinen der Darmschleimhaut ursächlich für die Entstehung CED ist

Was ist ein Generalbaß-Satz?

Was ist ein Generalbaß-Satz

Razmerje med posebnim in splošnim v Beethovnovih klavirskih sonatah

Razmerje med posebnim in splošnim v Beethovnovih klavirskih sonata

Konec glasbene parodije?

If, up till now, the concept of a musical work has, in the main, coincided with that of music, then it is necessary to revise the concept so that it compares as sharply as possible with other concepts, such as musical, acoustic and tone structures. Many products of the avantgarde cannot be classified as musical works. These, like the products of folk tradition, allow an abundance of variants left to the will of the performer and put the composer into the background. However, the structural pattern is here replaced by a mental process which directed through semiscientific principles tends toward experiment. The experimental character also comes to the foreground in avant-garde compositions where such variants are not foreseen. The construction and succession of sounds are not determined by something perceptibly there but by an abstractly conceived order, resulting in a total lack of social connection. And therein lies the principle difference between the musical structures of the folk tradition and the sound phenomena created by the avant-garde. Nevertheless, there are many transitional phenomena which are difficult to classify because they partially follow traditional principles of structure and partially reject them. This is perhaps most clearly seen in the works of Schönberg. Although Schönberg discarded the contrast between consonance and dissonance before he invented dodecaphony, he did retain to some extent the traditional means of creating form through the use of motifs, rhythms and dynamics, as for example in his piano compositions Op. 19. Pieces of this kind have a strong tendency to succumb to the intentional fallacy which can mainly be observed in programme-music, and this is even increased by intentional deception. The experiment invented by the composer and musicologist Hans Gal and carried out with 40 students of the department of music at the University of Cleveland confirms just this. In this experiment Hans Gal reproduced on tape thirteen compositions: one of these compositions was by Schönberg and the others he composed himself. The point of the experiment lies in Hans Gal\u27s endavours to write compositions of a similar kind to those of Schönberg in which the choice of individual tones was to a great extent left to chance, although Gal was careful enough to avoid consonances as much as possible. Whereas there is no indication that Schönberg didn\u27t regard his piano composition as a work of art or at least as a seroius experiment all the compositions of Hans Gal are in complete contrast. The experiment should show whether it is possible to discern differences, and if so what differences, between the composition of Schönberg and those written by Hans Gal. After the tape had been reproduced twice the audience had to state which of the 13 compositions was by Schönberg. The result was that of the 40 listeners only two chose the correct composition. The same experiment was repeated in a more extensive and modified form in the Musicological Institute of the University of Gutenberg in Mainz with 53 musicological students. Ten short piano compositions were played back three times without their au- 120 thors being revealed. As in the former experiment all the compositions were by Gal, except the fifth piece which was Schönberg\u27s Op. 19, No. 3. The audience were given a questionaire with the following questions: a) Are the compositions known to you? If not, who do you imagine the authors to be? b) What was their impression on you? c) Did you find the compositions stylistically homogeneous? d) If not, among which compositions did you note any stylistic divergencies? e) Did you feel any difference in the quality of the composition? f) If you did, among which? g) Do you have any preference for any of the compositions for any other reasons? h) If the answer is yes, which compositions and why? From the answers to the question a) we see that no subject recognized or knew the piano composition by Schönberg. As the presumed author Schönberg was nominated only uvq times, but even then without the number of his composition being indicated. To question b) 18 subjects answered essentially positively and 16 negatively; the others abstained or gave a neutral judgement. Question c) was in 37 cases answered by yes and in 14 by no; there were 2 abstentions. Question d) resulted in only 14 opinions. In the answers to question e) 35 subjects indicated no difference in quality whereas 17 answered to the contrary; one subject abstained. Question g) was answered in 24 cases by no and in 28 cases by yes. However, it deserves attention that a considerably high number of subjects (18) gave a positive judgement on Gal\u27s compositions and appreciated them as an artistic expression. At any rate it is characteristic and significant that the results of this experiment also essentially coincide with those of the first experiment carried out by Gal in the United States. Both experiments confirm the assumption that it is not possible to differentiate between the serious model and arbitrary imitations in certain spheres. And the piano compositions by Gal are in fact neither serious imitations nor parodies which strive after a conscious violation of the stylistic principles or the rules of compositions; they are rather dominated by a completely arbitrary choice of tones. There is perhaps an intention to mock at a certain kind of music, but the liberating spirit which is a property of parody is absent. Herbert Eimert demands quite openly that the distinction between acoustic and musical listening should be abandoned and that we venture a step toward alert and concentrated listening which is sharply diagnostic. The sound figures of the avant-garde being neither musical works nor musical structures can only be refered to by this kind of listening. The task of musical history of the 20th century is, however, to show which music introduces the deviation from musical listening and needs the pre-orientation to that kind of listening demanded by Eimert. The devitation from aesthetic listening is reflected in the musical work. Where it happens, the notion of a musical work and certainly that of a masterpiece breaks down. In such a transitional situation where both levels of listening are demanded simultaneously, the danger of an intentional fallacy is especially great. This is proved by the above experiment for Schönberg\u27s works stand at the crossroads. They are on the one hand still bound by many elements to tradition but the dodecaphony and the preceding free tonality, to which the demonstrated piece, Op. 19 No. 3 also belongs, mean a final deviation from that tradition.Konec glasbene parodije