Celeberrimae urbes - celebres praedicatores. O medialnym znaczeniu mnichów żebrzących w średniowiecznym mieście

Celeberrimae urbes – celebres praedicatores. Mendicant friars as a medium of the medieval city.This article deals with media studies and discusses a problem thoroughly examined by historians of the Medieval period concerning the expansion of mendicant orders and their ministry work in the flourishing European cities of the 13th century. The research perspective – which differs from a strictly historical and theological point of view – emphasizes the impact of mendicant orders on communication in the rapidly changing social conditions of the era. Therefore, it allows one to interpret confrontations with wandering heretical preachers in the 12th century not only as a religious conflict, but also a confrontation with a certain way of distributing ideas that contested the existing state of affairs. It also makes it possible to expose the enduring features of the media role of the preacher, which determined his popularity until the Reformation.

Cardenio’s Decorum. About the madman from Henry Purcell’s mad song

Cardenio’s Decorum. About the madman from Henry Purcell’s mad songThe central topic of the article Cardenio’s Decorum is the depiction of madness in words and music. The character of Cardenio, the betrayed and lovesick Andalusian nobleman of Miguel Cervantes Saavedra’s Don Quixote, represents one of many theatrical madmen who could be seen on the English stage during the Restoration period (1660–1700) and at the same time one of those who used to present their unusual mental condition in the frame of a stage song, the so-called ‘mad song’. The function of music consists here in the transfer of affection and vivid images: bound together with unreal visions, the music generates a kind of ‘mad’ dramaturgy, in which the images appear as an analogue for the character’s inner state and decide how the musical action is to develop.The central topic of the article Cardenio’s Decorum is the depiction of madness in words and music. The character of Cardenio, the betrayed and lovesick Andalusian nobleman of Miguel Cervantes Saavedra’s Don Quixote, represents one of many theatrical madmen who could be seen on the English stage during the Restoration period (1660–1700) and at the same time one of those who used to present their unusual mental condition in the frame of a stage song, the so-called ‘mad song’. The function of music consists here in the transfer of affection and vivid images: bound together with unreal visions, the music generates a kind of ‘mad’ dramaturgy, in which the images appear as an analogue for the character’s inner state and decide how the musical action is to develop

„The End" i projekt happy endu. O funkcji piosenki w "Czasie Apokalipsy" F.F. Coppoli

In his brilliant analysis and interpretation of the famous song The End of The Doors Werner Faulstich showed that this piece is built on the formal structure of Greek tragedy. This article is an attempt at developing his idea by putting it in context of Francis Ford Coppola’s film, Apocalypse Now: beginning with the description of the structure and dramaturgy of film exposition, then showing the place of the song in the film narration and composition, at last stressing its connection with the plot – not only with the prologue and the end of Coppola’s work, but also with mythological subject and message of his film„The End” and a Project of Happy End. On the Function of Song in F.F. Coppola’s „Apocalypse Now”In his brilliant analysis and interpretation of the famous song The End of The Doors Werner Faulstich showed that this piece is built on the formal structure of Greek tragedy. This article is an attempt at developing his idea by putting it in context of Francis Ford Coppola’s film, Apocalypse Now: beginning with the description of the structure and dramaturgy of film exposition, then showing the place of the song in the film narration and composition, at last stressing its connection with the plot – not only with the prologue and the end of Coppola’s work, but also with mythological subject and message of his fil

Sny Jarosława Iwaszkiewicza - subiectum w obiektywie

Jarosław Iwaszkiewicz's Sny (Dreams) are interpreted by me in the context of Schopenhauer's philosophy of music and phenomenology of perception of Maurice Merleau-Ponty and a new phenomenology of Hermann Schmitz. The memory of Richard Wagner's Die Traume is treated by me not only as a point of reference for the description of the events of youth, but also as a form of presentation of the world of the presented story.Jarosław Iwaszkiewicz's Sny (Dreams) are interpreted by me in the context of Schopenhauer's philosophy of music and phenomenology of perception of Maurice Merleau-Ponty and a new phenomenology of Hermann Schmitz. The memory of Richard Wagner's Die Traume is treated by me not only as a point of reference for the description of the events of youth, but also as a form of presentation of the world of the presented story

Fabuła zagadki. O Błędnych gwiazdach Wielkiej Niedźwiedzicy Luchina Viscontiego

Igielska Anna, Fabuła zagadki. O Błędnych gwiazdach Wielkiej Niedźwiedzicy LuchinaViscontiego [The Plot of a Riddle. On Luchino Visconti’s Vaghe stelle dell’Orsa]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 45–75. ISSN 1644-6763. DOI 10.14746/pt.2019.32.2. The article (of an analytical and interpretative nature) is devoted to the literary background of Luchino Visconti’s Vaghe stelle dell’Orsa (1965). The author studies in detail the links to three works, which form, as she claims, the primary points of literary references. What the article discusses, apart from the myth of Electra and Gabriele D’Annunzio’s novel Forse che si, forse che no (1910), are Richard Wagner’s music drama Die Walküre (1870) – absent so far in the Viscontian literature concerning the said movie – and Thomas Mann’s novella Wälsungenblut (1905/1958), which argues with Wagner’s work in a parodistic manner. By demonstrating how Visconti (1) transposes the literary allusions, (2) combines them into an overall structure, and (3) uses them on the plot level to encode the topic of brother- sister incest, the author comes to the conclusion that what we have here is a story in the form of a riddle, which Visconti dubbed for his own use a “crime movie unlike any other”. That riddle appears as a settlement with a romantic myth of love and carries on the poetics of philosophical ambivalence, so proper to Visconti.Igielska Anna, Fabuła zagadki. O Błędnych gwiazdach Wielkiej Niedźwiedzicy LuchinaViscontiego [The Plot of a Riddle. On Luchino Visconti’s Vaghe stelle dell’Orsa]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 45–75. ISSN 1644-6763. DOI 10.14746/pt.2019.32.2. The article (of an analytical and interpretative nature) is devoted to the literary background of Luchino Visconti’s Vaghe stelle dell’Orsa (1965). The author studies in detail the links to three works, which form, as she claims, the primary points of literary references. What the article discusses, apart from the myth of Electra and Gabriele D’Annunzio’s novel Forse che si, forse che no (1910), are Richard Wagner’s music drama Die Walküre (1870) – absent so far in the Viscontian literature concerning the said movie – and Thomas Mann’s novella Wälsungenblut (1905/1958), which argues with Wagner’s work in a parodistic manner. By demonstrating how Visconti (1) transposes the literary allusions, (2) combines them into an overall structure, and (3) uses them on the plot level to encode the topic of brother- sister incest, the author comes to the conclusion that what we have here is a story in the form of a riddle, which Visconti dubbed for his own use a “crime movie unlike any other”. That riddle appears as a settlement with a romantic myth of love and carries on the poetics of philosophical ambivalence, so proper to Visconti

The involvement of tau in nucleolar transcription and the stress response

Tau is known for its pathological role in neurodegenerative diseases, including Alzheimer’s disease (AD) and other tauopathies. Tau is found in many subcellular compartments such as the cytosol and the nucleus. Although its normal role in microtubule binding is well established, its nuclear role is still unclear. Here, we reveal that tau localises to the nucleolus in undifferentiated and differentiated neuroblastoma cells (SHSY5Y), where it associates with TIP5, a key player in heterochromatin stability and ribosomal DNA (rDNA) transcriptional repression. Immunogold labelling on human brain sample confirms the physiological relevance of this finding by showing tau within the nucleolus colocalises with TIP5. Depletion of tau results in an increase in rDNA transcription with an associated decrease in heterochromatin and DNA methylation, suggesting that under normal conditions tau is involved in silencing of the rDNA. Cellular stress induced by glutamate causes nucleolar stress associated with the redistribution of nucleolar non-phosphorylated tau, in a similar manner to fibrillarin, and nuclear upsurge of phosphorylated tau (Thr231) which doesn’t colocalise with fibrillarin or nucleolar tau. This suggests that stress may impact on different nuclear tau species. In addition to involvement in rDNA transcription, nucleolar non-phosphorylated tau also undergoes stress-induced redistribution similar to many nucleolar protein

RNA Binding to CBP Stimulates Histone Acetylation and Transcription

CBP/p300 are transcription co-activators whose binding is a signature of enhancers, cis-regulatory elements that control patterns of gene expression in multicellular organisms. Active enhancers produce bi-directional enhancer RNAs (eRNAs) and display CBP/p300-dependent histone acetylation. Here, we demonstrate that CBP binds directly to RNAs in vivo and in vitro. RNAs bound to CBP in vivo include a large number of eRNAs. Using steady-state histone acetyltransferase (HAT) assays, we show that an RNA binding region in the HAT domain of CBP—a regulatory motif unique to CBP/p300—allows RNA to stimulate CBP’s HAT activity. At enhancers where CBP interacts with eRNAs, stimulation manifests in RNA-dependent changes in the histone acetylation mediated by CBP, such as H3K27ac, and by corresponding changes in gene expression. By interacting directly with CBP, eRNAs contribute to the unique chromatin structure at active enhancers, which, in turn, is required for regulation of target genes

Madness and pathos in the stage works of Georg Friedrich Händel

Filologia Polska i Klasyczna: Instytut Filologii PolskiejRozprawa poświęcona jest zagadnieniu operowego patosu, a dokładniej – operowej scenie szaleństwa jako jednej z jego form. Autorka prezentuje historię pojęcia patosu od antyku do XVIII wieku, włączając w jej obręb operę jako gatunek w sposób ścisły związany z obrazowaniem i wywoływaniem uczuciowego poruszenia. Punktem wyjścia do rozważań nad zjawiskiem patosu w operze jest myśl Carla Dahlhausa dotycząca typu bohatera operowego „wydanego” obcej sile, jako definicję nadrzędną natomiast przyjmuje się tu propozycję Rainera Dachselta przedstawioną w pracy pt. „Patos. Tradycja i aktualność zapomnianej kategorii poetyki” („Pathos. Tradition und Aktualität einer vergessenen Kategorie der Poetik”, Heidelberg 2003). W pierwszej części pracy autorka zajmuje się problematyką stylu patetycznego, technikami generowania patosu i XVII-wiecznym zwrotem w sposobie rozumienia funkcji figur retorycznych. Część druga poświęcona jest pozaoperowym i operowym konwencjom przedstawiania szaleństwa. Na przykładzie trzech scen z dzieł scenicznych Georga Friedricha Händla – Tamerlano (1724), Orlando (1733) i Hercules (1745) – autorka potwierdza tezę, iż związek pomiędzy patosem a operowym szaleństwem ujawnia się w wyrażonej na sposób muzyczny sytuacji utraty przez bohatera kontroli nad własnym działaniem i emocjami.Presented doctoral thesis is devoted to the problem of pathos in the opera – precisely the operatic scene of madness as one of its form. At first the author presents the history of the term pathos from antiquity to the eighteenth century, including opera as a genre strictly related to depicting and evoking affections. A point of departure for the dissertation over the phenomenon of the operatic pathos is Carl Dahlhaus' idea of such type of the operatic character who is left to unknown power. However, overriding to this idea is the definition of pathos by Rainer Dachselt in his „Pathos. Tradition and relevance of forgotten category of poetics” („Pathos. Tradition und Aktualität einer vergessenen Kategorie der Poetik”, Heidelberg 2003). In the first part of the dissertation the author deals with the question of pathetic style, techniques for generating pathos and the turnabout in the conception of rhetorical figures' function that took place in 17th century. The second part is devoted to non-operatic and operatic conventions of the representation of madness. Grounding on three scenes from Georg Friedrich Händel’s theatrical works – Tamerlano (1724), Orlando (1733) and Hercules (1745) – the author proves the thesis that the relationship between pathos and operatic madness reveals via music in the very moment when the character loses control over both his conduct and emotions