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Modelling protein structure seems a challenging enterprise because the number of structure parameters required ordinarily exceeds the amount of independent data points available from experimental observations. Expressing the predominant conformation of a protein in terms of a geometry model, a polypeptide chain consisting of N atoms would command 3N – 6 Cartesian coordinates be fixed. Even for small proteins, this becomes a daunting number. Fortunately, so-called holonomic constraints limit the number of variables, leaving substantially fewer, truly relevant parameters for folding the polypeptide chain into its native tertiary structure. For example, adjusting bond lengths and the many angles between the covalent bonds connecting the atoms is of little concern and appropriate standard values can be inserted from tableworks (Pople & Gordon, 1967; Engh & Huber, 1991, 2006). Table 1 exemplifies for the 147-residue protein Desulfovibrio vulgaris flavodoxin how the number of truly independent internal rotational degrees of freedom amounts to less than one-tenth of the Cartesian coordinate set size...
1. Introduction: The autosomal dominant cerebellar ataxias (ADCA) are a clinically, pathologically and genetically heterogeneous group of neurodegenerative disorders caused by degeneration of cerebellum and its afferent and efferent connections. The degenerative process may additionally involves the ponto- medullar systems, pyramidal tracts, basal ganglia, cerebral cortex, peripheral nerves (ADCA I) and the retina (ADCA II), or can be limited to the cerebellum (ADCA III) (Harding et al., 1993). The most common of these dominantly inherited autosomal ataxias, ADCA I, includes many Spinocerebellar Ataxias (SCA) subtypes, some of which are caused by pathological CAG trinucleotide repeat expansion in the coding region on the mutated gene. Such is the case for SCA1, SCA2, SCA3/MJD, SCA6, SCA7, SCA17 and Dentatorubral-pallidoluysian atrophy (DRPLA) (Matilla et al., 2006). Among the almost 30 SCAs, the variant SCA2 is the second most prevalent subtype worldwide, only surpassed by SCA3 (Schöls et al., 2004; Matilla et al., 2006; Auburger, 2011)...
Quantum theory is the most successful physical theory ever. About one third of the gross national product in the developed countries results from its applications. These applications range from nuclear power to most of the high-tech tools for computing, laser, solar cells and so on. No limit for its range of validity has been found up to now...
In its elusive form between drama, novel and film, "Teorema" marks a 'new turning point in Pasolini's oeuvre'. Both the narrative and the style are remarkable, juxtaposing elements of different genres, nourishing the unresolved tensions within the film: the family members are shown in various scenes that follow one another in seemingly random order. Instead of a cohesive narrative unfolding in time, there reigns a sense of timelessness that gives rise to an oppressive feeling of drifting. Claudia Peppel's essay 'The Guest: Transfiguring Indifference in "Teorema"' explores the figure of the guest, which has always been closely connected with myth and whose appearance often triggers the dramatic conflict. Peppel focuses on "Teorema", in which a sensual stranger causes a bourgeois family to acknowledge its delusions. When he departs, the members of the family are left in a state of unfulfilled yearning, searching for new meaning. While critical literature on Pasolini regularly points to the importance of the figure of the guest but rarely analyzes it, Peppel discusses theories of the guest and hospitality to illuminate the role of the stranger in Pasolini's film. The guest's exceptional state, which is removed from everyday life and removes others from their everyday lives, is meticulously staged and resembles the evenly-suspended attention of the psychoanalyst. He triggers projections, desires, and, ultimately, existential crises.
The nascent field of neuropsychoanalysis positions itself as a putative bridge between two »historically divided disciplines«. In this chapter, we address this attempt to bridge these two disciplines, through considering a particular scientific and conceptual debate that is taking place within this new field. Neuropsychoanalysis is a diverse and loosely defined interdisciplinary field that comprises the efforts of researchers and clinicians within several branches of both psychoanalysis and the neurosciences to construct a shared space of inquiry in which clinical concepts and findings can be correlated with neuronal data and models. While researchers differ in how they conceptualize the specific contours of this shared space, they tend to converge in their desire to figure out how Freudian concepts might be anchored through neurobiological and anatomico-functional investigations.
Figura lacrima
(2012)
Hervé Joubert-Laurencin’s article 'Figura Lacrima', which explores Pasolini's figure of Christ, consists of two interconnected parts. The part called 'Lacrima' argues that Pasolini's Christ sheds a small tear which is analogous to the salvific tear of Dante's Bonconte da Montefeltro. This heretical tear is not explicitly referred to or shown but can only be perceived through the coherent text represented by the ensemble of Pasolini's films. The part called 'Figura' argues that Pasolini invents the new concept of 'figural integration', which extends beyond Erich Auerbach's analysis of medieval figural and typological interpretation and allows him to conceptualize a kind of non-dichotomous tension between the poles structuring his thought and art. Joubert-Laurencin argues thereby that Pasolini's scandal of Christ's small tear is not the simple provocation of a sinful Christ, but the utopian image of a West that frees itself from its own closure through the promise of another world, coming not from somewhere else but from the powers of an outside that it possesses within itself.
Pasolini's literature, film, theatre, and essays engaged with Classical tragedy from the mid-1960s onwards. As Bernhard Groß shows in his paper 'Reconciliation and Stark Incompatibility: Pasolini's "Africa" and Greek Tragedy', this engagement forms a modality in Pasolini's politics of aesthetics that seeks to grasp the fundamental transformation from a rural-proletarian to a petit-bourgeois Italy. Since the mid-'60s, Pasolini was concerned with the bourgeoisie and its utopian potentials, which he sought to make productive by reading Classical tragedy as a possibility to make contradictions visible. Pasolini realized his reading of the Classical tragedy by having 'Africa' and 'Europe' - as he understood them - confront one another without mediation. By means of film analyses and film theory, Groß argues that this confrontation, especially in the films on the ancient world, generates an aesthetic place where the incompatible can unfold in the spectators' experience.
The body of the actor : notes on the relationship between the body and acting in Pasolini's cinema
(2012)
Agnese Grieco's paper 'The Body of the Actor: Notes on the Relationship Between the Body and Acting in Pasolini's Cinema' deals with the specific physiognomy of the actor within Pasolini's 'cinema of poetry'. It argues that Pasolini's films allow the spectator to experience directly a complex and polyvalent reality beyond the traditional idea of 'representation'. As a fragment of that reality, actors quote and present themselves beyond and through their interpretations of a role. Instead of conceiving of the actor as a 'professional of fiction', Pasolini employs a variety of actors who are able fully to convey their own anthropological history. It is particularly the body of the actor, Grieco concludes, that becomes a door opening towards a deeper reality. For instance, the figure of Ninetto Davoli can push us back towards Greek antiquity, and the codified art of the comedian Totò or the iconic fixity of Maria Callas can interact with the African faces of the possible interpreters of an African Oresteia.
Slovenian partisan film is a term which denotes films glorifying Slovenian communist-led guerrilla fighters (so-called 'partisans'), who resisted the German and Italian occupying forces during WW II. These films were made during the decades of communist rule in post-war Yugoslavia and were an important part of the official ideological propaganda. Since the fall of communism in 1989 and Slovenia's secession from former Yugoslavia two years later, however, partisan films have fallen into complete neglect. This is regrettable since they not only represent an important (and not necessarily unattractive) part of Slovenian film history but also allow unique insights into the complexities of the official ideology during the decades of communist rule in the country (1945−89). Namely, the existing ideology was not as simple as might have seemed from the outside: while the Slovenian Communist party had no problems with class issues (class inequalities were regarded according to the Marxist agenda as bad and everything was actually done to eliminate them), there were many important areas of social life that were neglected or dealt with in ideologically relatively ambivalent terms.