Pointed objects of the Mierzanowice Culture (Early Bronze Age). A study of function by use-wear analysis

El presente artículo presenta un pequeño conjunto de objetos apuntados asociado con la Cultura de Mierzanowice, la cual se desarrolló durante el Bronce Antiguo en el sureste de Polonia. Los artefactos provienen del cementerio multicultural de Kichary Nowe y fueron encontrados en tumbas con individuos tanto masculinos como femeninos. Estos objetos han sido tradicionalmente clasificados como agujas o alfileres. De cara a establecer su funcionalidad, un estudio de huellas de uso ha sido llevado a cabo. Basándonos en los distintos patrones de micropulido, se ha inferido que estos artefactos con cabezas amplias y planas con perforación fueron en realidad utilizados para trabajar materiales fibrosos (por ejemplo, producción textile o cestería), de ahí que se aprecien marcadas estrías visibles en la superficie. Por otro lado, objetos como el alfiler decorado con una cabeza con perforación en forma de “L” funcionaron como elementos para la vestimenta, para abrochar o sujetar vestimenta más exterior. Ambas categorías fueron elementos de carácter personal para uso diario, íntimamente relacionados con sus propietarios. Teniendo en cuenta la limitada información contextual, podemos inferir que los alfileres decorados formaron parte de la vestimenta de adultos con un papel destacado en la sociedad de la Cultura de Mierzanowice. Gracias a la aproximación funcional, ha sido posible ir más allá de la tipología clásica y sugerir nuevas formas de considerar este tipo de artefactos.This paper presents a small assemblage of pointed objects associated with the Early Bronze Age Mierzanowice culture of south-eastern Poland. The artefacts originate from the multicultural cemetery of Kichary Nowe and were found in male and female graves. They have been traditionally referred to as pins or needles. To establish their function, use-wear methodology was employed. Based on differing microwear patterns, it was inferred that artefacts with wide and flat perforated heads are in fact implements used for working fibrous materials (e.g. textile production or basket making), hence the strong striations visible on the surface. On the other hand, objects such as the ornamented pin with an L-perforated head, functioned as elements of clothing, used to fasten outer garments. Both categories were personal objects of everyday use, closely connected to their owners. Based on limited contextual data, it can be further inferred that ornamented pins were part of the costume of prominent adult members of the Mierzanowice culture society. Thanks to the applied functional approach, it was possible to go beyond classic typology and suggest new ways of thinking about this broad category of artefacts

Comparison of Flow-Through Cell and Paddle Methods for Testing Vaginal Tablets Containing a Poorly Water-Soluble Drug

Purpose: To evaluate the usefulness of the flow-through cell apparatus for testing commercial vaginal tablets containing poorly water-soluble clotrimazole.Methods: The effect of experimental conditions (type of dissolution medium, flow rate and positioning of the tablet) on the dissolution profile of clotrimazole were examined and optimal parameters for conducting the experiments were determined. The amount of drug released was analyzed by high performance chromatography (HPLC) at 210 nm. The usefulness of the flow-through cell apparatus was compared to FDA recommended paddle apparatus.Results: Using acetate buffer pH 5.2 containing 1 % SDS, both methods gave different dissolution profiles. The paddle apparatus tended to give faster rate of dissolution (approx. 88.5 % during the first 20 min of the experiment), which was probably caused by higher agitation and greater surface area of the drug-dissolution medium in a vessel. In the flow-through cell method, total drug release was definitely slower and was observed after 2 to 5 h; at a flow rate of 16 ml/min, more than 80 % of the drug dissolved after 30 min of the test. It was noticed that raising the flow rate of the dissolution medium caused significantly higher drug release.Conclusion: The results demonstrate that the flow-through cell method is reproducible and can be successfully used for evaluating in vitro dissolution of clotrimazole from non-modified release tablets. The slower rate of dissolution obtained in the flow-through cell method would help to distinguish between different formulations.Keywords: Dissolution test, Flow-through cell method, Paddle method, Clotrimazol

Alginate microspheres obtained by the spray drying technique as mucoadhesive carriers of ranitidine

The present study is aimed at formulation of alginate (ALG) microspheres with ranitidine (RNT) by the spray drying method. Obtained microspheres were characterized for particle size, surface morphology, entrapment efficiency, drug loading, in vitro drug release and zeta potential. Mucoadhesive properties were examined by a texture analyser and three types of adhesive layers – gelatine discs, mucin gel and porcine stomach mucosa. Microspheres showed a smooth surface with narrow particle size distribution and RNT loading of up to 70.9 %. All formulations possessed mucoadhesive properties and exhibited prolonged drug release according to the first-order kinetics. DSC reports showed that there was no interaction between RNT and ALG. Designed microspheres can be considered potential carriers of ranitidine with prolonged residence time in the stomach

Technika koncertująca w sonorystycznych utworach Kazimierza Serockiego

The composing interests of Kazimierz Serocki are very broad and diversified. In different periods of his life he referred to the folklore, neo-classicism, dodecaphony or aleatorism. his artistic output is characterized with diversity of the sound language and style. Serocki became interested in sonorism in the 60’s. In the artistic pieces of that time the accent was moved from the melodic-harmonic composition to the tone and his own discoveries in the scope of the timbre, shape and motion. The first sonoristic piece was Continuum for 6 groups of percussion. In this piece, percussion is not only the source of new sounding but the means for constructing the expression in the scope of drama and in the scope of various methods of extracting the sound. The subject of contemplation in this article are the compositions with the emphasized solo cast in the title, for example: two pianos, piano and electronic apparatus, flutes. Putting in the titles the names of the solo instruments in the single cast and the method of their treatment in the pieces is the fact that these are the typical solo performances. The author analyzes in the above pieces the influence of the cast on the sounding of the pieces, sources of the sounds, methods of extracting the sounds. The method of extracting the sound is an important factor in the sonoristic music of Serocki. In all discussed pieces, we encounter many articulation methods. The percussion instruments have expanded their number by other instruments, treated as percussion just thanks to the articulation. Such function was most frequently taken over by the piano among other by means of: sharp use of the accords with loud dynamics, pulling the strings by the nail, quick moving of the fingers on the strings, hitting the strings with the open palm. In all discussed pieces of Kazimierz Serocki not only the introduction of many unconventional tones but mainly the method of their use became the value. Serocki was not focused on the sonoristic effects themselves but created original tone groups by means of associating the timbres and he built the drama of his pieces on these tone groups. The composer drew from the traditional sources of sound, used the preparation of the instruments, application of the resonance box as the source of the sound but also used the electronic and electro-acoustic apparatus. The traditional instruments use not only the commonly used methods of extracting the sound, also more sophisticated and unconventional articulation means are applied

Wkład Konrada Pałubickiego w dorobek Pomorza

Konrad Pałubicki is a very colorful figure due to a vast scope of activities both in the Bydgoszcz-Gdansk region and nationwide. He was not limited to one music field only, and that is why his life path is characterized by wide range of interests and rich achievements. Composing, scholarly research, didactics and participation in the works initializing the creation of new institutions and organizations in the Pomorze region were the important aspects of his life. Long-standing didactic work of Pałubicki created the base for the Polish music and theoretical thought, mainly in Gdansk and Bydgoszcz centers. The creation of the favorable environment for the music and scholar activities in both centers (Bydgoszcz and Gdansk) enabled the cooperation with musicians from other regions of Poland and by the same token enabled to transmit the cultural achievements from these regions into Pomorze

Formy taneczne w fortepianowych utworach Miłosza Magina - na podstawie wybranych utworów

The article consists of three parts. In the first one, the author presents a concise description of Polish situation after World War II. She also describes the situation of artists in the new reality. the second part is a portraiture of Miłosz Magin – Polish pianist and composer, who has been living in Paris since 1960. In the last part the author writes about dance styles in selected pieces for piano. The analysis was conducted based on three composition cycles: 1) Tryptyk polski (Triptyque polonais), 2) Miniatury polskie (Miniatures polonaises), 3) Obrazki z Polski (Images de Pologne). The cycles were composed in 1967 and 1987 and their difficulty levels are diverse. Magin used basic Polish dances such as polonez, kujawiak, mazur, oberek and krakowiak. They are tripartite, preceded by an intro and concluded by a coda. the composer used tonality-extended scales specific for Polish folk music. In the instrumental part there are several parallel fifths. Even though Magin has lived abroad for years, he preserved Polish spirit in the mentioned pieces.Artykuł składa się z trzech części. W części pierwszej autorka prezentuje krótką charakterystykę sytuacji w Polsce po II wojnie światowej. Omawia również sytuację artystów w tej nowej rzeczywistości. Kolejna część to opis sylwetki mieszkającego od 1960 roku w Paryżu polskiego pianisty i kompozytora Miłosza Magina, a także rys jego działalności kompozytorskiej oraz osiągnięcia artystyczne jako pianisty. W części trzeciej autorka omawia formy taneczne w wybranych utworach fortepianowych. Podstawą do przeprowadzonych analiz były trzy cykle fortepianowe: 1) Tryptyk polski (Triptyque polonais), 2) Miniatury polskie (Miniatures polonaises), 3) Obrazki z Polski (Images de Pologne). Cykle pochodzą z lat 1967 i 1987 i są zróżnicowane pod względem trudności pianistycznych. Magin wykorzystał tu podstawowe tańce polskie, jak: polonez, kujawiak, mazur, oberek czy krakowiak. Mają one budowę 3-częściową, poprzedzone są wstępem i zakończone codą. Kompozytor wykorzystuje skale charakterystyczne dla polskiej muzyki ludowej, które opracowywał w tonalności rozszerzonej. W akompaniamencie pojawiają się równoległe kwinty. Mimo że kompozytor przebywał poza krajem od wielu lat, zachował w omawianych utworach polski charakter i polskiego ducha