The Portrayal of Women in Goethe's "Iphigenia in Tauris" and Schiller's "Mary Stuart" and "The Maid of Orleans"

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Benefi ts of Controlled Ultraviolet Radiation in the Treatment of Dermatological Diseases

Phototherapy is a second-line treatment modality for the most common dermatoses that is safe and effective. Most phototherapy regimens denote the use of ultraviolet (UV) radiation of different wavelengths in the management of several dermatoses. Currently, irradiations with broadband UVB (290–320 nm), narrowband UVB (311–313 nm), 308 nm excimer laser, UVA 1 (340–400 nm), UVA with psoralen (PUVA), and extracorporeal photochemotherapy (photopheresis) are being used. Benefi cial effects of UV radiation are far from being completely understood. Dermatoses that may benefi t from such approach are numerous, with psoriasis, parapsoriasis, atopic dermatitis, cutaneous T-cell lymphomas, morphea, and vitiligo vulgaris as main indications. UVB radiation primarily acts on cells at the epidermis and the epidermodermal junction, while UVA radiation affects epidermal and dermal components, especially blood vessels. UV radiation has immediate and delayed effects. Immediate effects are the formation of DNA photoproducts and DNA damage leading to apoptosis of keratinocytes, Langerhans cells, activated T-lymphocytes, neutrophils, macrophages, NK cells, fi broblasts, endothelial cells, and mast-cells, cell membrane damage by lipid peroxidation, and isomerization of chromophores such as urocanic acid. Delayed effects include synthesis of prostaglandins and cytokines that play important roles in immune suppression. Systemic and local immune suppression, alteration in cytokine expression (induction of interleukin-1 (IL-1) receptor antagonist, decrease in IL-2, increase in IL-10, IL-15), and cell cycle arrest may all contribute to the suppression of disease activity. PUVA is a form of controlled and repeated induction of phototoxic reactions which uses UVA light to activate chemicals known as psoralens. The conjunction of psoralens with epidermal DNA inhibits DNA synthesis and causes cell apoptosis. PUVA also causes an alteration in the expression of cytokines and cytokine receptors. Psoralens interact with RNA, proteins and other cellular components and indirectly modify proteins and lipids via singlet oxygenmediated reactions or by generating of free radicals. Psoralens and UV radiation also stimulate melanogenesis with variable effects in patients with vitiligo vulgaris. Extracorporeal photopheresis is treatment modality used in management of erythrodermic cutaneous T-cell lymphomas. It is very potent in induction of lymphocyte apoptosis. Despite the introduction of numerous potent bioengineered systemic medications in the fi eld of dermatology, phototherapy remains established, and often preferred, option for the most common dermatoses

Vitiligo in Croatia: A Case Report

Vitiligo is an acquired, chronic, multifactorial disorder which involves complex interactions between genetic risk factors and environmental triggers. It is characterized by scattered circumscribed depigmented macules and patches anywhere on the skin that result from loss of functional melanocytes. According to our statistical data, 1.6% of the general population in Croatia suffers from vitiligo, but varies based on region. It affects all age groups equally, with female patients being more affected (53.95%) than male patients, and no difference in severity of vitiligo. We present a case of a sudden onset of vitiligo vulgaris from a female patient in her twenties, treated at the Department of Dermatology and Venereology. Her 12-year-old brother simultaneously developed acrofacial vitiligo, six months after their mother died in a car accident. She has been previously diagnosed with type I diabetes and autoimmune endocrinopathies. The depigmented patches covered approximately 60% of her body, with Koebner response on trauma. Although no characteristic UV fl uorescence was detected on the affected area, histopathological and immunohistochemical analyses revealed a complete loss of melanocytes, while Langerhans` and dermal dendritic cells replaced the DOPA-positive melanocytes. TSH levels were elevated, and the ultrasound showed thyroid enlargement, which substantiated for a hypothyroidism therapy. Treatment by systemic corticosteroids for a 6 month period was successful in stabilizing the disease

The Portrayal of Women in Goethe's "Iphigenia in Tauris" and Schiller's "Mary Stuart" and "The Maid of Orleans"

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Frida Kahlo's opus in the context of Marxist-feminist theory

Frida Kahlo je meksička slikarica koja je živjela i djelovala u prvoj polovici 20. stoljeća. Osobno i stvaralački u velikoj se mjeri identificirala sa Meksičkom revolucijom, te je tako i godinu svog rođenja (1907.) „prilagodila“ početku Meksičke revolucije (1910.). Poznata isključivo kao žena poznatog meksičkog muraliste Diega Rivere, umjetničku afirmaciju doživljava 80-ih godina 20. stoljeća u sklopu snažnih feminističkih pokreta. Razlog afirmacije u feminističkom kontekstu je snažna autoreferencijalnost u djelima, no u ovom diplomskom radu predstavljam i druge argumente za mogućnost feminističkog iščitavanja opusa. Najadekvatniji teorijsko-metodološki okvir za proučavanje Fridinog slikarstva u feminističkom kontekstu pruža nam marksistički feminizam, ne samo zbog njezine političke opredijeljenosti i pripadanja komunističkoj stranci, već i zbog kompletne političke, ekonomske i gospodarske situacije u postrevolucionarnom Meksiku koja je nesumnjivo utjecala na oblikovanje njezinog svjetonazorskog profila, koji se potom vrlo jasno ogleda u samom umjetničkom stvaralaštvu. Iako se Kahlo tretira kao feminističku ikonu, u stvarnosti postoji vrlo malo znanstvenih radova koji se njenim slikarstvom bave iz marksističko-feminističkog fokusa. Štoviše, politička aktivnost Fride Kahlo najčešće se svodi na njeno aktivno sudjelovanje unutar komunističke stranke, dok se ista unutar umjetničkog izraza u potpunosti izostavlja iz većine monografija. Interpretacijom devet slika Fride Kahlo u marksističko-feminističkom ključu pokušavam dati vlastiti doprinos daljnjim feminističkim razmatranjima spomenute umjetnice. U svim interpretacijama pronalazimo elemente socijalne osjetljivosti i političke angažiranosti Fride Kahlo te dobivamo uvid u njezine stavove spram kapitalizma, kolonijalizma, imperijalizma, kao i opresije nad ženama unutar spomenutih sistema.Frida Kahlo is a Mexican painter who lived and worked in the first half of the 20th century. Personally and creatively, she largely identified herself with the Mexican Revolution, and thus "adjusted" the year of her birth (1907) to the beginning of the Mexican Revolution (1910). Known exclusively as the wife of the famous Mexican muralist Diego Rivera, she experienced artistic affirmation in the 1980s as part of strong feminist movements. The reason for affirmation in the feminist context is the strong self-referentiality in the work, but in this thesis I present other arguments for the possibility of a feminist reading of the opus. The most adequate theoretical and methodological framework for studying Frida's painting in a feminist context is provided by Marxist feminism. Not only because of its political affiliation and belonging to the Communist Party, but also because of the complete political and economic situation in post-revolutionary Mexico, which is then very clearly reflected in her artistic works. Although Kahlo is treated as a feminist icon, in reality there are very few scientific works that deal with her painting from a Marxist-feminist focus. Moreover, Frida Kahlo's political activity is most often reduced to her active participation within the Communist Party, while the same within artistic expression is completely omitted from most monographs. By interpreting the nine paintings of Frida Kahlo in a Marxist-feminist key, I will try to give my contribution to the further feminist considerations of the said artist. In all interpretations we find elements of Frida Kahlo's social sensitivity and political engagement and gain insight into her attitudes towards capitalism, colonialism, imperialism, as well as oppression of women within the mentioned systems

International sculptors` symposium forma prima krapina (croatia)

Diplomska naloga se posveča Mednarodnemu kiparskemu simpoziju Forma prima Krapina, ki jev obdobju med letoma 1976 in 1982 vsakoletno potekal na hribu Josipovac zraven Muzeja krapinskih neandertalcev v mestu Krapina na Hrvaškem. V uvodnem delu diplomske naloge bom na kratko predstavila fenomen kiparskih simpozijev s poudarkom na prvem mednarodnem srečanju v St. Margarethnu v Avstriji, potem pa se osredotočila na kiparski simpozij Forma prima. V nalogi je zgodovinski potek sedmih simpozijev podan kronološko. Temu sledi kataloški pregled vseh 38 skulptur, fotografije omenjenih del, vključno z osnovnimi podatki in interpretacijami ter umestitvami v umetniški opus določenega ustvarjalca.Biografski podatki posameznih umetnikovso na koncu naloge. Zaradi variiranja kakovosti umetniške izvedbe sta podana tudi kategorizacija in ovrednotenje vseh del.This graduate thesis is about International sculptors\u27symposium Forma prima Krapina, that was held every year in the period from 1976. till 1982. on the Josipovac hill, near the Museum of Krapina Neanderthals, in the town of Krapina. In the introduction of the thesis I will briefly present the phenomenon of sculptors\u27 symposia, focusing on the first international meeting in St.Margarethen in Austria and after that I will focus on sculptors symposium Forma prima. There is a chronological historical overview of seven sculptors\u27symposia. In continuation there is a catalogue review of all thirty eight sculptures, photographs of mentioned work, together with basic information and interpretations along with setting in the artistic opus of a certain creator. Biographical information of some artists are at the end of the thesis. Since there is a variation of artistic performance, the classification and evaluation of all art works is given, too

Frida Kahlo's opus in the context of Marxist-feminist theory

Frida Kahlo je meksička slikarica koja je živjela i djelovala u prvoj polovici 20. stoljeća. Osobno i stvaralački u velikoj se mjeri identificirala sa Meksičkom revolucijom, te je tako i godinu svog rođenja (1907.) „prilagodila“ početku Meksičke revolucije (1910.). Poznata isključivo kao žena poznatog meksičkog muraliste Diega Rivere, umjetničku afirmaciju doživljava 80-ih godina 20. stoljeća u sklopu snažnih feminističkih pokreta. Razlog afirmacije u feminističkom kontekstu je snažna autoreferencijalnost u djelima, no u ovom diplomskom radu predstavljam i druge argumente za mogućnost feminističkog iščitavanja opusa. Najadekvatniji teorijsko-metodološki okvir za proučavanje Fridinog slikarstva u feminističkom kontekstu pruža nam marksistički feminizam, ne samo zbog njezine političke opredijeljenosti i pripadanja komunističkoj stranci, već i zbog kompletne političke, ekonomske i gospodarske situacije u postrevolucionarnom Meksiku koja je nesumnjivo utjecala na oblikovanje njezinog svjetonazorskog profila, koji se potom vrlo jasno ogleda u samom umjetničkom stvaralaštvu. Iako se Kahlo tretira kao feminističku ikonu, u stvarnosti postoji vrlo malo znanstvenih radova koji se njenim slikarstvom bave iz marksističko-feminističkog fokusa. Štoviše, politička aktivnost Fride Kahlo najčešće se svodi na njeno aktivno sudjelovanje unutar komunističke stranke, dok se ista unutar umjetničkog izraza u potpunosti izostavlja iz većine monografija. Interpretacijom devet slika Fride Kahlo u marksističko-feminističkom ključu pokušavam dati vlastiti doprinos daljnjim feminističkim razmatranjima spomenute umjetnice. U svim interpretacijama pronalazimo elemente socijalne osjetljivosti i političke angažiranosti Fride Kahlo te dobivamo uvid u njezine stavove spram kapitalizma, kolonijalizma, imperijalizma, kao i opresije nad ženama unutar spomenutih sistema.Frida Kahlo is a Mexican painter who lived and worked in the first half of the 20th century. Personally and creatively, she largely identified herself with the Mexican Revolution, and thus "adjusted" the year of her birth (1907) to the beginning of the Mexican Revolution (1910). Known exclusively as the wife of the famous Mexican muralist Diego Rivera, she experienced artistic affirmation in the 1980s as part of strong feminist movements. The reason for affirmation in the feminist context is the strong self-referentiality in the work, but in this thesis I present other arguments for the possibility of a feminist reading of the opus. The most adequate theoretical and methodological framework for studying Frida's painting in a feminist context is provided by Marxist feminism. Not only because of its political affiliation and belonging to the Communist Party, but also because of the complete political and economic situation in post-revolutionary Mexico, which is then very clearly reflected in her artistic works. Although Kahlo is treated as a feminist icon, in reality there are very few scientific works that deal with her painting from a Marxist-feminist focus. Moreover, Frida Kahlo's political activity is most often reduced to her active participation within the Communist Party, while the same within artistic expression is completely omitted from most monographs. By interpreting the nine paintings of Frida Kahlo in a Marxist-feminist key, I will try to give my contribution to the further feminist considerations of the said artist. In all interpretations we find elements of Frida Kahlo's social sensitivity and political engagement and gain insight into her attitudes towards capitalism, colonialism, imperialism, as well as oppression of women within the mentioned systems

The Portrayal of Women in Goethe's "Iphigenia in Tauris" and Schiller's "Mary Stuart" and "The Maid of Orleans"

Rad ne sadrži sažetak