Visualisation of the concept of the Hungarian political nation in South Hungary during the last decades of 19th and at the begining of 20th century

У период између Аустроугарске нагодбе 1867. и почетка Великог рата 1914. године на простору јужне Угарске, данашње Војводине, настао је велики број дела уметности и визуелне културе којим је садржински посредован концепт мађарске политичке нације која је обухватала све становнике Краљевине Угарске, без обзира на етничку припадност. Овај корпус дела у домаћој историографији није проучаван у целости, већ искључиво у спорадичним студијама, не нужно заснованим на методологији историје уметности као дисциплине. Разлог за то је био превасходно национално-идеолошке природе – будући да је мађарско наслеђе са датог простора који се сплетом историјских околности нашао унутар југословенских, а потом српских граница – остало изван истраживачке пажње српских аутора, уз спорадичне осврте у контексту развоја националне уметности. Упркос томе што је историјска и визуелна грађа расута, а споменичко наслеђе Аустроугарске монархије на војвођанском простору претежно нестало, остала су сачувана бројна дела која су у овом раду систематизована у хронолошком, медијском и значењском погледу, употребом савремених методолошких приступа историји уметности. Свеобухватност на коју је претендовало ово истраживање допуњено је проучавањем уништених дела уметности и визуелне културе помоћу документарне грађе из савремене штампе и архивских извора. У овом раду се испитује визуелизација специфичног деривата мађарске националне идеје који је захваљујући проширеном пољу проучавања савремене историје уметности могао бити сагледан у укупности медијског деловања карактеристичног за другу половину 19. века. Артефактима ликовне и споменичке културе придружено је тумачење ефемерних спектакала, различитог обима, организованих претежно у престоници угарског дела Монархије у којима су учествовали и регионални представници. Идејне, политичке и идеолошке премисе мађарске политичке нације су у назначеном периоду манифестоване у домену ликовне и визуелне културе која је истовремено фигурирала као антиципација мађарског националног деловања у стварности. На тај начин остварена је вишеслојна кохезија између културне продукције и политичке реалности. Проучавањем визуелних носилаца ових процеса омогућено је разумевање односа између кључних ентитета угарског друштва на линији држава – нација – културна продукција током читавог периода постојања двојне монархије. Истраживање и тумачење различитих уметничких и културних појава са простора данашње Војводине који су кореспондирали са мађарском националном идејом су допринос домаћој, али и европској историји уметности, те могу послужити као подстицај будућим истраживачким подухватима датих феномена који овим радом нису исцрпљени.In the period between the Austro-Hungarian Settlement in 1867 and the beginning of the Great War in 1914, a large number of works of art and visual culture were created in the area of Southern Hungary, today's Vojvodina, which conveyed the concept of the Hungarian political nation, and included all the inhabitants of the Kingdom of Hungary, regardless of their ethnicity. This corpus of work in domestic historiography has not been studied in its entirety, but exclusively in sporadic studies, not necessarily based on the methodology of art history as a discipline. The reason for this was primarily of a national-ideological nature - since the Hungarian heritage from the given area, which due to a complex of historical circumstances found itself within the Yugoslav and then Serbian borders - remained outside the research attention of Serbian authors, with sporadic reviews in the context of the development of national art. Despite the fact that the historical and visual materials are scattered, and the monumental heritage of the Austro-Hungarian Monarchy in the Vojvodina area has largely disappeared, numerous works have been preserved that are systematized in this paper in terms of chronology, media and meaning, using modern methodological approaches to the history of art. The comprehensiveness aimed at by this research was complemented by the study of destroyed works of art and visual culture using documentary materials from contemporary press and archival sources. This paper examines the visualization of a specific derivative of the Hungarian national idea that, thanks to the expanded field of study of contemporary art history, could be seen in the totality of media activity characteristic for the second half of the 19th century. The artefacts of art and monumental culture are accompanied by the interpretation of ephemeral spectacles, of varying scope, organized mainly in the capital of the Hungarian part of the Monarchy, in which regional representatives also participated. The notional, political and ideological premises of the Hungarian political nation were manifested in the indicated period in the domain of arts and visual culture, which at the same time figured as an anticipation of Hungarian national action in reality. In this way, multi-layered cohesion between cultural production and political reality was achieved. By studying the visual carriers of these processes, it is possible to understand the relationship between the key entities of Hungarian society along the lines of states - nations - cultural production during the entire period of existence of the dual monarchy. The research and interpretation of various artistic and cultural phenomena from the area of today's Vojvodina that corresponded with the Hungarian national idea are a contribution to the domestic and European history of art, and can serve as an incentive for future research endeavors of given phenomena that are not exhausted by this work

Visualisation of the concept of the Hungarian political nation in South Hungary during the last decades of 19th and at the begining of 20th century

У период између Аустроугарске нагодбе 1867. и почетка Великог рата 1914. године на простору јужне Угарске, данашње Војводине, настао је велики број дела уметности и визуелне културе којим је садржински посредован концепт мађарске политичке нације која је обухватала све становнике Краљевине Угарске, без обзира на етничку припадност. Овај корпус дела у домаћој историографији није проучаван у целости, већ искључиво у спорадичним студијама, не нужно заснованим на методологији историје уметности као дисциплине. Разлог за то је био превасходно национално-идеолошке природе – будући да је мађарско наслеђе са датог простора који се сплетом историјских околности нашао унутар југословенских, а потом српских граница – остало изван истраживачке пажње српских аутора, уз спорадичне осврте у контексту развоја националне уметности. Упркос томе што је историјска и визуелна грађа расута, а споменичко наслеђе Аустроугарске монархије на војвођанском простору претежно нестало, остала су сачувана бројна дела која су у овом раду систематизована у хронолошком, медијском и значењском погледу, употребом савремених методолошких приступа историји уметности. Свеобухватност на коју је претендовало ово истраживање допуњено је проучавањем уништених дела уметности и визуелне културе помоћу документарне грађе из савремене штампе и архивских извора. У овом раду се испитује визуелизација специфичног деривата мађарске националне идеје који је захваљујући проширеном пољу проучавања савремене историје уметности могао бити сагледан у укупности медијског деловања карактеристичног за другу половину 19. века. Артефактима ликовне и споменичке културе придружено је тумачење ефемерних спектакала, различитог обима, организованих претежно у престоници угарског дела Монархије у којима су учествовали и регионални представници. Идејне, политичке и идеолошке премисе мађарске политичке нације су у назначеном периоду манифестоване у домену ликовне и визуелне културе која је истовремено фигурирала као антиципација мађарског националног деловања у стварности. На тај начин остварена је вишеслојна кохезија између културне продукције и политичке реалности. Проучавањем визуелних носилаца ових процеса омогућено је разумевање односа између кључних ентитета угарског друштва на линији држава – нација – културна продукција током читавог периода постојања двојне монархије. Истраживање и тумачење различитих уметничких и културних појава са простора данашње Војводине који су кореспондирали са мађарском националном идејом су допринос домаћој, али и европској историји уметности, те могу послужити као подстицај будућим истраживачким подухватима датих феномена који овим радом нису исцрпљени.In the period between the Austro-Hungarian Settlement in 1867 and the beginning of the Great War in 1914, a large number of works of art and visual culture were created in the area of Southern Hungary, today's Vojvodina, which conveyed the concept of the Hungarian political nation, and included all the inhabitants of the Kingdom of Hungary, regardless of their ethnicity. This corpus of work in domestic historiography has not been studied in its entirety, but exclusively in sporadic studies, not necessarily based on the methodology of art history as a discipline. The reason for this was primarily of a national-ideological nature - since the Hungarian heritage from the given area, which due to a complex of historical circumstances found itself within the Yugoslav and then Serbian borders - remained outside the research attention of Serbian authors, with sporadic reviews in the context of the development of national art. Despite the fact that the historical and visual materials are scattered, and the monumental heritage of the Austro-Hungarian Monarchy in the Vojvodina area has largely disappeared, numerous works have been preserved that are systematized in this paper in terms of chronology, media and meaning, using modern methodological approaches to the history of art. The comprehensiveness aimed at by this research was complemented by the study of destroyed works of art and visual culture using documentary materials from contemporary press and archival sources. This paper examines the visualization of a specific derivative of the Hungarian national idea that, thanks to the expanded field of study of contemporary art history, could be seen in the totality of media activity characteristic for the second half of the 19th century. The artefacts of art and monumental culture are accompanied by the interpretation of ephemeral spectacles, of varying scope, organized mainly in the capital of the Hungarian part of the Monarchy, in which regional representatives also participated. The notional, political and ideological premises of the Hungarian political nation were manifested in the indicated period in the domain of arts and visual culture, which at the same time figured as an anticipation of Hungarian national action in reality. In this way, multi-layered cohesion between cultural production and political reality was achieved. By studying the visual carriers of these processes, it is possible to understand the relationship between the key entities of Hungarian society along the lines of states - nations - cultural production during the entire period of existence of the dual monarchy. The research and interpretation of various artistic and cultural phenomena from the area of today's Vojvodina that corresponded with the Hungarian national idea are a contribution to the domestic and European history of art, and can serve as an incentive for future research endeavors of given phenomena that are not exhausted by this work

Hypothesis regarding the effects of gonadotropins on the level of free fatty acids and phospholipids in serum and follicular fluid during controlled ovarian stimulation

Controlled ovarian stimulation (COS) is used to augment the number of retrieved oocytes in in vitro fertilization (IVF). Follicular fluid (FF) contributes significantly to oocyte quality. Since the FF is composed of follicular secretions and plasma exudation, it reflects alterations in granulosa and thecal cells secretion as well as changes in the level of plasma constituents. Phospholipids (PL) and free fatty acids (FFA) are important constituents of both, FF and serum. Our hypothesis is that COS affects the level of PL and FFA in serum. Furthermore, since the level of PL and FFA in FF partially depends on their levels in serum, as a collaterally of our hypothesis is that the existing level of PL and FFA in serum correlates with the levels of PL and FFA in FF, and that the dose of applied gonadotropins during COS will correlate with the levels of PL and FFA in serum and FF. In addition, we assume that the level of PL and FFA in serum and in FF after COS will correlate with the retrieved number of GQ oocytes, one of the most important outcomes of COS.. © 201

Novel cinnamic acid-based PET derivatives as quorum sensing modulators

Poly(ethylene terephthalate) (PET) is widely used material in the healthcare due to its mechanical properties including resistance to chemicals and abrasion. However, it is susceptible to bacterial attachment and contamination. This study addresses some newly designed model compounds of PET with antimicrobial properties that could potentially be incorporated into PET materials. All compounds were synthesized for the first time by labeling an integral part of PET with chromophores in the form of esters of cinnamic and ferulic acids. After complete structural characterization, the effect of new compounds on microbial growth and communication (quorum sensing, QS) was analyzed and further investigated using molecular docking. The obtained results indicate that the introduction of chromophores that have one part of cinnamic acid enriched with a methoxy functional group in them acts as QS modulators. Moreover, compounds exhibited dose-dependent selectivity toward QS signaling pathways and the highest tested concentration of compounds showed Pseudomonas Quinolone Signal (PQS) inhibitory activity suggesting that these compounds have a potential effect on pyocyanin production. Docking studies demonstrated that compounds hold binding power to all four QS protein targets (LuxP, periplasmatic protein that binds AI-2 inducer and forms a complex able to transduce the autoinducer signal, RhIR protein that is a key QS transcriptional regulator that activates the genes involved in the synthesis of rhamnolipids and pyocyanin, AbaI protein that has a role in QS signal transduction, and LasR protein which is a key QS transcriptional regulator that activates transcription of genes coding for some virulence-associated traits) while the highest binding strength is observed with compounds 2 and 6 containing single cinnamic acid fragment, suggesting their further biomedical application

Optimisation of the microdilution method for detection of minimum inhibitory concentration values in selected bacteria

In this study we investigated the influence of preparation of the bacterial inoculum for a microdilution susceptibility test, e.g., the effect of its optical density, on assessment of the minimum inhibitory concentrations (MIC). The approach employed in the majority of microdilution susceptibility studies is use of the same optical density for preparation of inoculums for different bacterial strains. In the present work, this approach was questioned by determining the ratio between the optical density and the number of bacteria in cultures. We also investigated whether the number of bacteria in inoculums can affect assessment of the MIC value for two antibiotics of broad spectra, rifampicin and streptomycin. The study was performed on four Gram-positive and four Gram-negative bacteria (ATCC collection) commonly used to investigate antimicrobial potential. The ratio between the optical density and number of bacteria in cultures was determined for each strain, and a strong linear correlation was detected. However, it was evident that different bacteria have different cell numbers at the same OD600 value. Based on the obtained results, inoculums for selected strains were prepared to obtain final cell numbers of 103, 104, 105 and 106 /well in the microdilution assay. Two different approaches were used in determining the MIC for rifampicin and streptomycin: approximation of MIC with IC90 and the resazurin reduction assay. Our results indicated that the ratio between optical density and cell numbers is not constant and use of the same OD for inoculums for all strains can therefore lead to misinterpretation of the MIC values. We also observed influence of cell numbers in inoculums in determination of MIC values. For both approaches used (approximation of MIC with IC90 and the resazurin reduction assay), the same trend was detected: antibiotics had the highest potency in experiments with the lowest bacteria cell number (103/well). The lowest cell number (103/well) is not recommended, as it can lead to false susceptibility results and to partial reduction of resazurin, which further complicates MIC determination. A final cell number of 104/well can therefore be recommended as optimal

Looking at Zagreb: The Italian State as a Popularizer of Contemporary Art

In 1965, at the 12th International Conference of Critics, Artists and Art Scholars, held in Rimini, Verucchio and San Marino and devoted to the theme Art and Technology, Italian art critic Giulio Carlo Argan declared that Yugoslavia had overcome the problem of the relationship between art and technology. His statement concerned to the cultural milieu of Zagreb that Argan had known from the early Sixties. In the same year, Palma Bucarelli, the chief curator of the Rome National Gallery, attended the Brezovica conference held for Nova tendencija 3, to present a project in which the museum had a significant role as a state institution that had to encourage contemporary art in order to free artists from the pressures of the art market and private art galleries. In 1963, another art scholar, Umbro Apollonio, the curator of the Venice Biennale Archive for Contemporary Arts who had directly participated in the Venice exhibition Nuova tendenza 2, claimed that Italian Public Art School needed a new relationship between teaching and industries. My presentation aims to highlight how Argan, Bucarelli, Apollonio and other Italian scholars hoped for the state to intervene in the Italian art system and also how their ideas were inspired by the Croatian political and cultural situation of the 1960s

Brašno - Kruh '13

The "Flour-Bread '13“ Congress topics were the following: breeding and quality of cereal grains, grain storage and milling technology, analytical and rheological methods, baking technology, improvers and additives, starch and modified starch, extrusion and pasta production, biscuit and pastry products, nutritional quality of cereals, cereal food safety and cereal based functional foods