La contesa e il trionfo: Otto Brahm e le testimonianze sulla Freie Bühne

The study examines an essay written by Otto Brahm and published in October 1909 in the «Berliner Tageblatt». A careful reading of the entire document entitled Freie Bühne, complete with the last three pages handwritten by the author, reveals its autobiographical character centred on the director experience of the Theaterverein. Since its foundation in 1889, the society has pursued the objective of eliminating the empty schematics and restrictions of conventionalism proposed by the stages of the late nineteenth century, of spreading the Naturalist movement and of welcoming dramas by progressive authors such as Henrik Ibsen and Gerhart Hauptmann. Only two years after its institution, a myriad of associations were spreading in Germany and Europe, committed to the construction of a ‘free stage’. Some examples emerged on the model of Berlin society are the Akademisch-dramatische Verein directed by Ernst von Wolzogen and the Intimes Theater of Josef Valle Hunkele in Munich, the Literarische Gesellschaft in Leipzig, led by C. Heine, W. Harlan, K. Martens, H. von Weber and F. A. Beyerlein as well as the Independent Theatre Society founded in London by the Dutch Jakob T. Grein. By telling a story regarding personal experiences, Brahm’s essay is a valuable testimony on the origin, evolution and affirmation of the Freie Bühne and on the conversion of Berlin, the city of many theaters, into the city of the theater in the international context

Sulle orme di Gret Palucca. Un equilibrio di contrasti al tempo della Repubblica di Weimar

Acclaimed by the public and critics of her time, Gret Palucca embodies one of the most eminent interpreters of GermanAusdrucktanz. A pupil of Mary Wigman, the dancer inaugurates the Palucca Hochschüle für Tanzin Dresden in 1925. Distancing herself both from Wigman's choreographic styles and from the notions of academic ballet –as understood by master Heinrich Kröller –Palucca combines exuberant creativity with logical and systematic exploration of movements. Famous for her athleticism, she founds a «choreographic vocabulary» based on upward jumps and leg extensions, conceiving performances on the correlation between emotional and mental processes, and the constant search for contrasts between «push and counterthrust, tension and relaxation». The improvisation and the energetic charge of the movements represent the distinctive features of Gret Palucca's performative style which, simultaneously, absorbs andcultivates the artistic impressions produced by the avant-garde exponents of the early twentieth century (Mondrian, Kandinskij, Kirchner). The essay, framed in the historical context of the Weimar Republic, sounds out the training course, the aesthetic ideals and the maturation of Tanz Palucca's concept, investigating a complete and organic technique that represents one of the most significant testimonies of the nascent phenomenon of modern dance, aimed at reconstructing «the dancing experience of a new era»

Chorea as the first manifestation of systemic Lupus erythematosus: a case report

Systemic Lupus Erythematosus (SLE) is a disorder of the immune system with a wide range of symptoms. The involvement of kidneys, lungs and central nervous system (CNS) denotes a more severe character and worse prognosis. Several neurological and psychiatric manifestations may be present, the most common being convulsion, neuropathies and acute confusional state, but chorea is seen in less than 2% of patients. Recent studies show that antiphospholipid antibodies (aPL) correlate with the appearance of chorea in SLE

SECURE ATTACHMENT ORANG TUA TERHADAP KEMANDIRIAN ANAK USIA DINI 4-5 TAHUN DI TAMAN KANAK-KANAK AS-SALAM K OTA JAMBI

Penelitian ini bertujuan untuk meningkatkan kemandirian anak usia dini 4-5 tahun di taman kanak-kanak as-salam kecamatan alam barajo kota jambi Penelitian ini menggunakan metode kualitatif deskriptif yang dengan teknik pengambilan dilakukan secara purposive sampling. Dengan subjek penelitian ini adalah anak-anak murid TK kelompok A dengan rentang usia 4-5 tahun di semester 2. Sedangkan orangtua dari murid, guru kelompok A dan kepala seklah sebagai informan. Selanjutnya teknik pengumpulan data dengan menggunakan observasi, wawancara, analisis data dan dokumentasi. Hasil penelitian ini menemukan bahwa pertama, persepsi orang tua tentang urgensi secure attachment (kelekatan aman) menunjukkan terdapat kurangnya pemahaman dan kesadaran mengenai pentingnya dari secure attachment (kelekatan aman) terhadap kemandirian anak usia dini. Kedua, faktor yang menentukan secure attachment orang tua ialah melibatkan adanya komunikasi, kepercayaan, pengasingan antara orang tua dan anak dan figur orang tua terhadap anak. Ketiga bagaimana menentukan secure attachment yaitu dengan adanya sistem pola asuh yang baik dan terarah yang terjalin secara kontinyu sejak dini oleh orang tua terhadap anak. Implikasi penelitian yang menunjukkan bahwa kelekatan aman orang tua terhadap anak usia dini dapat meningkatkan kemandirian anak. Dalam hal ini kelekatan membentuk pola asuh orang tua dalam mengembangkan kemandirian anak. Orang tua yang memahami kelekatan aman dan pentingnya kemandirian anak akan menerapkan dalam keseharian dengan tujuan meningkatkan kemandirian anak tersebut. Menciptakan hubungan yang aman untuk anak dan memberikan kepercayaan untuk anak sudah merupakan pelatihan sederhana untuk kemandirian anak

Raman Analysis on 18th Century Painted Wooden Statues

A micro-Raman investigation on four wooden polychrome sculptures of Jan Geernaert (1704-1777), a Flemish sculptor who worked in Italy in the 18th century, is presented. The statues, representing the Holy Virgin Mary, with the infant Jesus in three of them, were created in the period 1750-1770 and are all made by poplar wood. The purpose of the micro-Raman investigations was to identify the original pigments used in 18th century, after later repainting interventions. In all statues, wood is covered by a groundwork, made by gypsum and animal glue. All pigments were identified, both in the original pictorial cover or in later repainted layers. Pigments were spread on a white lead layer (the so called imprimitura). Attention was particularly focused on the blue colours of the Holy Virgin mantle. In the external repainted layers, Prussian blue (Iron(II,III) hexacyanoferrate(II,III)) was found, together with ultramarine blue, a synthetic pigment, alternative to natural precious lapis lazuli, accessible on or after 1828. In one case, phthalocyanine blue is found, confirming a recent (later than 1930-35) restoration. The original skin colours are obtained by white lead and cinnabar (HgS), while the repainted layers are made by mixing chrome yellow (PbCrO4, synthesized in 1809), zinc yellow (ZnCrO4, 1809), red lead (Pb3O4), ultramarine blue, cinnabar, hematite (Fe2O3), goethite (-FeOOH), calcite (CaCO3) and white lead.Nous présentons une étude par micro-spectroscopie Raman sur la polychromie de quatre sculptures en bois de Jan Geernaert (1704-1777), sculpteur flamand qui a travaillé en Italie au 18ème siècle. Les statues, représentant la Sainte Vierge Marie, avec l'enfant Jésus pour trois d'entre elles, ont été réalisées entre 1750-1770 et sont toutes réalisées en peuplier. Le but de l’investigation par micro-spectroscopie Raman a été d'identifier les pigments d'origine et ceux issus des restaurations ultérieures. Pour toutes les statues, le bois est recouvert d’une couche de préparation réalisée par un mélange de gypse et de colle animale. Tous les pigments ont pu être identifiés, tant dans les couches picturales d'origine que sur les repeints plus tardifs. Les pigments ont été appliqués sur une couche de blanc de plomb (appelé imprimitura). Une attention particulière a été portée sur les couleurs bleus du manteau de la Sainte Vierge. Pour les couches externes correspondant aux repeints, nous avons identifié du bleu de Prusse (fer (II, III) hexacyanoferrate (II, III)) et de l'outremer, un pigment de synthèse disponible à partir de 1828 en alternative lapis-lazuli. Dans un cas, le bleu de phtalocyanine a été identifié, confirmant une restauration plus récente (post 1930-1935). La couleur d'origine de la peau est réalisée à partir de blanc de plomb et de cinabre (HgS). Les pigments présents dans les peintures plus récentes sont les suivants : jaune de chrome (PbCrO4 synthétisé en 1809), jaune de zinc (ZnCrO4, 1809), minium (Pb3O4), bleu outremer, cinabre, hématite (Fe2O3), goethite (-FeOOH), calcite (CaCO3) et blanc de plomb

Inibitori di PDK1 a struttura indolica e 2-oxo-indolica: SAR e ottimizzazione chimico farmaceutica.

Il ruolo chiave della proteina chinasi 1,3-Fosfoinositide-Dipendente (PDK1) è stato messo in evidenza in numerose vie di segnalazione, tanto da essere stata rinominata “Master Kinase” delle AGC, famiglia a cui appartiene. Il composto indolonico BX517, appartenente alla classe di inibitori DFG-in, ha mostrato una potente inibizione nei confronti di PDK1. Tuttavia, le sue svantaggiose proprietà ADME e la sua scarsa solubilità ne hanno limitato lo sviluppo clinico. Al momento l'inibitore allosterico MP7, è il miglior inibitore di PDK1 presente in letteratura. MP7 infatti interagisce con la conformazione DFG-out di PDK1, impedendone la sua attivazione. Tra i derivati precedentemente sintetizzati, IB35 e SA16 hanno mostrato una potente attività inibitoria nei confronti di PDK1. Test in vivo hanno mostrato un potente effetto antiproliferativo su linee cellulari di glioblastoma così come nelle cellule staminali derivate e una significativa soppressione della migrazione cellulare. In questo lavoro di tesi, è stato ampliato lo studio SAR di questa nuova classe di inibitori chinasici apportando delle modifiche strutturali sull'anello 2-oxo-indolico e sul nucleo piridonico