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The subject of this dissertation is the aesthetic and political significance of photography for Bertolt Brecht's theatrical work and writing. Since the investigation of the gestus concept from the perspective of the politics of images—which draws attention to the fact that every image has a memory, mostly a political one—photography stands out and reveals the precise moment of the interruption of the dramatic action and, thereby, holds a significant gestus. The dissertation highlights the importance of photography’s examination for Brecht, besides featuring the extent to which his theatre responded to and dealt with the technical condition of its own time. If a gestus is recognisable as an interruption, through the observation of the detail, two different gestus appear: the gestus of the scene and the gestus of the photograph. In other words, the actor and photographer produce a double gestus with different levels of interpretation. The comparison between such a static photo and the notion of interruption in Bertolt Brecht’s works opens new grounds in Brechtian studies, and even in more general theatre studies.
The dissertation studied reused Roman coins (AD 100 – 400) that were found in medieval cemeteries (AD 400 – 1400) in the territory of Serbia. The evaluation process was traced through three different periods and cultural contexts: (1) in the period of Roman domination in the central Balkans (AD 1 – 400), i.e. the “primary context” of their use and circulation; (2) in the time of transition from the late antiquity to early medieval period (AD 400 – 700); and (3) in the high and late Middle Ages (AD 900 – 1400), where the last two were considered to be a “secondary context” in which the Roman coins were no longer a valid currency.
It was observed that the reused Roman coins, as a distinctive category of archaeological finds, impose a necessity for reconsideration of the relationship between the disciplines of archaeology and numismatics; encouraging a greater cooperation and discussion between the two. Considering the use and evaluation of Roman coins in their “primary context”, it is possible to presume that the strength of the political Roman system was the crucial factor in the formation and maintaining the stability of the value of Roman coins. The act of reuse should not be automatically equalized with recycling; implying only to use value, but at the same time it was not possible to assume that the value was formed only on a purely symbolical level. The (re)use of Roman coins in the funeral practices from c. AD 400 to 700 was considered to be a part of wider and occasional practice of incorporating older Roman issues in the coin pool by the “barbarian” or Byzantine authorities. It could be then concluded that the value of Roman coins was understood more as a potential attribute than as a fixed category; enabling one to simultaneously “overvalue “ and “undervalue” these objects. In the period from c. AD 900 to 1400, the reuse of Roman coins was detected only within the cemeteries of the peasantry and in a context of gradual increase of general coin use in the central Balkan communities of the Middle Ages. This was understood as an indicator that the Roman coins were not perceived as particularly valuable per se, but since the were recognized as category of objects that became more important in defining social relationships they were then incorporated in the funeral rituals and reinterpreted by the medieval population.
Role of npas4l and Hif pathway in endothelial cell specification and specialization in vertebrates
(2018)
Cardiovascular development requires two main steps, vasculogenesis and angiogenesis. During vasculogenesis, angioblasts, the precursors of endothelial cells (ECs), specify from the mesoderm and coalesce to form the axial vessels of the vertebrate embryo. Many questions regarding the transcriptional waves initiating and sustaining angioblast specification are still unanswered. The identity of cloche, a gene essential for EC differentiation in zebrafish, was only recently discovered by our group, and very little is known about its upstream regulators or its molecular mechanism of action. I described the molecular players involved in orchestrating npas4l expression, upstream of angioblast specification. By using genetic models and chemical treatments, I identified FGF-Erk axis and BMP signaling to be involved in npas4l regulation. I also showed that eomesa is a potent inducer of npas4l expression. In addition, in vitro experiments indicated that murine Eomes promotes EC specification, acting upstream of Etv2 and Tal1. Using a combination of gain-of-function and loss-of-function models for npas4l, I identified primary and secondary downstream effectors of npas4l. I showed that Npas4l binding sites are present in the promoter of genes involved in hematoendothelial specification, such as tal1, lmo2 and etv2. Importantly, I reported that npas4l is sufficient and necessary to promote the EC specification program. By performing a combined analysis of the developed datasets, I recovered putative genes with a potential role in EC specification. One of the most promising candidates was tspan18b. I generated a mutant allele for tspan18b and observed angiogenic defects in tspan18b-/- embryos, confirming a role for this gene in zebrafish cardiovascular development. I showed that Npas4l binds etv2 promoter in zebrafish. In mammalian embryonic stem cells, however, Etv2 promoter is bound by HIF-1α, a transcription factor homolog to Npas4l. Interestingly, Eomes knockdown in vitro lead to a significant reduction of Hif-1α expression. To test the function of Hif-1α in vivo, I took advantage of a murine loss-of-function model.
Hif-1α mouse mutant embryos exhibit a significant decrease in Etv2 expression, when compared with WT siblings. These data suggest a model where mammals lost npas4l during evolution and HIF-1α acquired a new function, replacing npas4l role in EC specification. I compared the phenotype of Hif-1α mouse mutant with zebrafish hif-1α loss-of- function models. Importantly, zebrafish hif-1α mutant did not show defects in vasculogenesis or EC specification, but in EC specialization, during HSC development. I showed that hypoxia is a potent inducer of HSC formation, and hif-1α as well as hif-2α act upstream of notch1, vegfaa and evi1 in hemogenic endothelial specification.
Conclusions
In this work, I explored the molecular mechanisms underlying EC specification in vertebrates, analyzing the role of bHLH-PAS transcription factors in this biological process. I identified the upstream regulators and the downstream effectors of npas4l, describing a novel role for tspan18b in zebrafish cardiovascular development. Npas4l is a transcription factor necessary and sufficient for angioblast differentiation in zebrafish, but the gene was lost in the mammalian lineage. hif-1α and hif-2α, paralogous genes of npas4l, are involved in the establishment of EC heterogeneity and specifically in the specification of hemogenic endothelium in zebrafish. Murine Hif-1α, however, is responsible for Etv2 regulation, indicating a role for hypoxia inducible factor in initiating the EC specification program in mouse, similarly to npas4l function in zebrafish.
In this brief excursion into the poetry of Dante and Montale, Rebecca West suggests some approaches to only a few issues that emerge out of the creation of both the primary beloveds of Dante and Montale and of those feminine figures that have been characterized as ostensibly 'antitranscendental' and more secondary in their roles and meanings. As regards Montale's primary feminine figure, Clizia, West argues that she is, to use Teodolinda Barolini's term for Beatrice, a 'hybrid' poetic character, and ultimately exceeds the limits of the poetic beloved as traditionally conceived and read, not only in the courtly tradition upon which she is modelled but well beyond it. In the case of the so-called secondary 'other women' in Dante's and Montale's poetry, West seeks to show that they are much less separable from the primary feminine figures than such binaries as major/minor, transcendent/erotic, soul/body, and traditional/experimental may lead us to believe. Lastly, West considers specifically the wife-figure, in her conspicuous absence from Dante's corpus and in her late appearance in Montale's. For both poets, there are complex intertwinings, interferences, and non-dualistic patterns that form a densely textured poetic weave, in which both the primary and the secondary feminine figures provide "fili rossi" as well as not so easily graspable dangling threads of meaning. These threads have to do with the preoccupation of both poets with the possible integration of immanence and transcendence, embodiment and abstraction, and with the very limits of poetic language. West's topic is also motivated by a feminist-oriented search for modes of deciphering the figure of the feminine beloved in lyric poetry that are not conditioned exclusively by the traditional emphasis on the male poet-creator, but which allow for a shift in focus onto the female figure who is, of course, the creature of the poet's imagination and skill, but who also often takes him into regions in which the excesses (commonly associated with the female) of non-binary thought and the mysteries of alterity - the feminine symbolic sphere, in short - do not so much allow the emergence of neatly squared-off meanings as the evolution of more oblique, circular conduits of potential significance. As a specialist of modern literature, Rebecca West concentrates on Montale more than on Dante, mainly noting the Dantesque aspects of the former's poetry.
Even if the title of Wolfgang Koeppen's last novel, "Der Tod in Rom", alludes quite obviously to Thomas Mann's novella, "Der Tod in Venedig", Koeppen's text must be understood first and foremost as a response to Mann's most controversial novel, "Doktor Faustus". The novels of Mann and Koeppen rank among the most well-known literary examinations of National Socialism but stand in a complementary relation to each other. "Doktor Faustus", published in 1947, analyses the cultural and intellectual origins of German fascism, while "Der Tod in Rom", published only seven years later in 1954, criticizes the continuity of National Socialist ideologies in post-war Germany. Both authors focus their analyses of fascism on fictional avant-garde composers who seem at first glance detached from any political context. [...] The actual starting point of Florian Trabert's paper, however, is the fact that both novels are preceded by epigraphs taken from Dante's "Inferno". Trabert begins by commenting on the references to Dante in "Doktor Faustus" and then continues by analysing the allusions to the "Commedia" in Koeppen's novel, which constitute, as Trabert demonstrates, a complex constellation among the three texts.
This paper is a study of language disorders in two works by twentieth-century poets in dialogue with Dante's Paradiso: Vittorio Sereni's "Un posto di vacanza" (1971) and Andrea Zanzotto's 'Oltranza oltraggio' (1968). The constellations that Francesca Southerden focuses on are linguistic, and the specific 'disorder' she wants to consider is aphasia - the dissolution of language. Charting the way in which Sereni and Zanzotto construct the universes of their poems as 'per-tras-versioni' of their Dantean counterpart - something 'turned aside' or 'diverted', which 'cuts across' the ideal, Dantean scheme - she shows how, in different ways, the intertextual dialogue between modern and medieval author manifests itself as a 'resemanticization' of the language of "Paradiso" or, better, of that coming-into-language of desire and the poem which, textually speaking, Dante's third canticle takes as its alpha and omega.
The subject of this paper is a recent comic movie version of Dante's "Comedy": a 2007 puppet and toy theatre adaptation of the "Inferno" directed by Sean Meredith. It is certainly not the first time that Dante and his theatre of hell appear in this kind of environment. Mickey Mouse has followed Dante's footsteps and very recently a weird bunch of prehistoric animals went a similar path: in part three of the blockbuster "Ice Age" (2009), a new, lippy guide character named Buck uses several Dante quotes and the whole strange voyage can be described as a Dantesque descent into dinosaur hell. In the following pages Ronald de Rooy argues that Meredith's version of Dante's "Inferno" is not only funny and entertaining, but that it is also surprisingly innovative if we compare it to other literature and movies which project Dante's hell or parts of it onto the modern metropolis.
Although Dante’s influence on modernism has been widely explored and examined from different points of view, the aspects of Virginia Woolf's relationship with the Florentine author have not yet been extensively considered. Woolf's use of Dante is certainly less evident and ponderous than that of authors such as T.S. Eliot and James Joyce; nonetheless, this connection should not be disregarded, since Woolf's reading of Dante and her meditations on his work are inextricably fused with her creative process. As Teresa Prudente shows in this essay, Woolf's appreciation of Dante is closely connected to major features of her narrative experimentation, ranging from her conception of the structure and design of the literary work to her reflections concerning the meaning and function of literary language.
i può probabilmente acconsentire a quel giudizio di Francesco Guicciardini che le capacità, il talento e la saggezza del principe si specchiano anche nella scelta dei suoi ambasciatori. È perciò un aspetto molto affascinante di questo libro il mettere a fuoco gli attori ed esecutori dei potentati ed esaminare la loro interazione e comunicazione con il reggente. Sembra particolarmente interessante studiare gli incaricati di missioni diplomatiche di Massimiliano I visto che queste diedero il via all’ascesa della sua casata – non solo nei regni iberici ma anche in Boemia ed in Ungheria – non per mezzo della guerra, ma mediante la diplomazia, attraverso le trattative e le negoziazioni matrimoniali. Gregor Metzig che dichiara di volersi distaccare, con la sua tesi di dottorato, dalla «storiografia diplomatica convenzionale» e dalla tendenza classica a considerare la «politica europea» di Massimiliano come una «semplice catena di avvenimenti alternanti tra guerre, tregue e riprese delle ostilità tra le case rivaleggianti» (2), si mette sulle tracce di queste persone abili e valenti, gli ambasciatori, che operarono con, per e all’ombra di Massimiliano I e che sono spesso cadute vittime dell’oblio. ...
Sorgfältig gewählte Worte können Konflikte durchaus entschärfen und einhegen. Sie müssen dabei nicht zwangsläufig beschwichtigend sein, sondern können auch (fiktive) Drohszenarien aufbauen und bewusst darauf ausgelegt sein, den Gegner einzuschüchtern. Die Federn der diplomatischen Akteure konnten spitz sein und flott deren Mundwerke, harte Kämpfe konnten dementsprechend auch mit diesen Waffen ausgefochten werden. Sicherlich nicht ohne Grund sollte der Mailänder Herzog Giangaleazzo betonen, er fürchte einen einzigen von Coluccio Salutatis Briefen weit mehr als tausend feindliche Reiter (211). ...