Creating a database to manage medical data is not the easiest. We create a database to be used for a presentation tool that presents medical data about patients that is stored in the database. We examine which of the three databases, MySQL with relational design, MySQL with EAV design and MongoDB that are best suited for storing medical data. The analysis i performed in two steps. The first step handles the database that is most effective to retriev data. The second step examines how easy it is to change the structure of the various databases. The results show that depending on whether efficiency or maintenance is most important, different databases are the best choise. MySQL with relational design proves to be most effective while MongoDB is the easiest to maintain.

Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache. / The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.

<p>Кулинарска лексика уопште, као и<br />кулинарска лексика Војводине није до сада<br />детаљније са лексичко семантичког и<br />творбеног аспекта обрађивана (осим у<br />појединим приказима наших дијелектолога и<br />лексикографа), али је свакако она (не у<br />потпуности) део српских важнијих<br />дијалекатских речника (Од Вукова до<br />Речника српских говора Војводине) и<br />речника општег типа.<br />У истраживачком раду је примењена у нас<br />одомаћена теорија семантичких поља руског<br />етнолингвисте Никите Толстоја. У лексичко<br />семантичкој и творбеној анализи као и у<br />лексикографској обради примењен је<br />дескриптивни, лингвогеографски и<br />компаративни метод.<br />Обрађено је шеснаест семантичких поља:<br />Намирнице, Оброци, Припремање хране,<br />Зимница, Млеко , млечни производи и јела<br />од млека, Супе и чорбе, Јела од теста,<br />Јела од јаја, Јела од меса, Месне<br />прерађевине, Врсте меса и делови, Умаци,<br />Јела од поврћа, Колачи, слаткиши, Пића,<br />Јела приликом разних светковина.<br />Материјал је и лексикографски уобличен, а<br />потом картографисан.</p> / <p>Kulinarska leksika uopšte, kao i<br />kulinarska leksika Vojvodine nije do sada<br />detaljnije sa leksičko semantičkog i<br />tvorbenog aspekta obrađivana (osim u<br />pojedinim prikazima naših dijelektologa i<br />leksikografa), ali je svakako ona (ne u<br />potpunosti) deo srpskih važnijih<br />dijalekatskih rečnika (Od Vukova do<br />Rečnika srpskih govora Vojvodine) i<br />rečnika opšteg tipa.<br />U istraživačkom radu je primenjena u nas<br />odomaćena teorija semantičkih polja ruskog<br />etnolingviste Nikite Tolstoja. U leksičko<br />semantičkoj i tvorbenoj analizi kao i u<br />leksikografskoj obradi primenjen je<br />deskriptivni, lingvogeografski i<br />komparativni metod.<br />Obrađeno je šesnaest semantičkih polja:<br />Namirnice, Obroci, Pripremanje hrane,<br />Zimnica, Mleko , mlečni proizvodi i jela<br />od mleka, Supe i čorbe, Jela od testa,<br />Jela od jaja, Jela od mesa, Mesne<br />prerađevine, Vrste mesa i delovi, Umaci,<br />Jela od povrća, Kolači, slatkiši, Pića,<br />Jela prilikom raznih svetkovina.<br />Materijal je i leksikografski uobličen, a<br />potom kartografisan.</p> / <p>Culinary lexicon as such, as well as the<br />culinary lexicon of Vojvodina Region has so far<br />not been systematically examined in the lexicosemantic<br />and word-formation aspect (except for<br />some reviews of our dialectologists and lexicographers). However, it is (yet not</p><p>completely) a part of some major Serbian<br />dialect dictionaries (from Rječnik, a dictionary<br />by Vuk Stefanović Karadžić to Dictionary of<br />Serbian Vojvodina Speech) as well as the<br />range of general dictionaries.<br />The research implied the semantic field<br />theory developed by Russian ethno-linguist<br />Nikita Tolstoy, which is commonly applied<br />approach in our region. Lexico-semantic and<br />word-formation analysis as well as<br />lexicographic processing were performed<br />applying descriptive and linguo-geographic<br />methods.<br />Sixteen semantic fields were analyzed:<br />Foodstuffs; Meals; Food Preparation; Winter<br />Stores; Milk; Dairy Products and Dishes; Soups<br />and Stocks; Pasta and Savory Dishes; Egg<br />Dishes; Meat Dishes; Meat Products; Meat<br />Types and Cuts; Sauces; Vegetable Dishes;<br />Cakes, Cookies and Sweets; Drinks and<br />Beverages; Festive Foods. The material was<br />lexicographically edited and cartographed.</p>