Der Artikel beschäftigt sich mit der Frage, inwiefern Theater und Drama als Schrift begriffen werden können. Dabei wird auf den Schriftbegriff Bezug genommen, der in der Diskussion um die "Kulturtechnik Schrift/Schreiben" propagiert wurde.

Werner Heinz Muche, auch W. Heinz Muche, (* 08. August 1911 Radeberg, † 10. September 1987 Radeberg). Naturwissenschaftler, Forschungsreisender, Lepidopterologe, Entomologe, Zoologe, Autor, Lehrmittelhersteller, Unternehmer, Muche war ein bedeutender, international anerkannter Entomologe und Zoologe. Er hat sich autodidaktisch zu einer wissenschaftlichen Kapazität in der Fachwelt entwickelt, die besonders auf dem Gebiet der Insektenkunde wissenschaftlich Wertvolles schuf, da diese Wissenschaft bis Mitte des 20.Jahrhunderts noch in den Anfängen stand. Sein Spezialgebiet waren die Käferfamilien der Alleculidae und Blattwespenarten, wobei er viele neue Arten entdeckte. Seine Arbeiten prägten die Forschungswelt nachhaltig, seine Sammlungen gingen an das „Staatl. Museum für Tierkunde Dresden“ und an das „Naturkundemuseum der Humboldt-Universität Berlin“. Heinz Muche bereiste auf seinen Sammelreisen alle Kontinente, er verfasste über 170 Schriften, einige von ihm entdeckte Arten wurden nach ihm benannt. Forschungs- und Sammelreisen führten ihn u.a. nach Montenegro, Mazedonien, Bulgarien, Griechenland, Türkei, Anatolien, Syrien, Italien, Sizilien, Jugoslawien, Mongolei, Mittelasien, China, Kaukasus, Mandschurei, Botswana/Afrika, Queensland/Australien.

Type I interferons (IFNs) as part of the innate immune system have an outstanding importance as antiviral defense cytokines that stimulate innate and adaptive immune responses. Upon sensing of pattern recognition particles (PRPs) such as nucleic acids, IFN secretion is activated and induces the expression of interferon stimulated genes (ISGs). Uncontrolled constitutive activation of the type I IFN system can lead to autoinflammation and autoimmunity, which is observed in autoimmune disorders such as systemic lupus erythematodes and in monogenic interferonopathies. They are caused by mutations in genes which are involved in sensing or metabolism of intracellular nucleic acids and DNA repair. Many authors described mechanisms of type I IFN secretion upon increased DNA damage, including the formation of micronuclei, cytosolic chromatin fragments and destabilization of DNA binding proteins. Hereditary cutaneous DNA damage syndromes, which are caused by mutations in proteins of the DNA repair, share laboratory and clinical features also seen in autoimmune disorders and interferonopathies; hence a potential role of DNA-damage-induced type I IFN secretion seems likely. Here, we aim to summarize possible mechanisms of IFN induction in cutaneous DNA damage syndromes with defects in the DNA double-strand repair and nucleotide excision repair. We review recent publications referring to Ataxia teleangiectasia, Bloom syndrome, Rothmund–Thomson syndrome, Werner syndrome, Huriez syndrome, and Xeroderma pigmentosum. Furthermore, we aim to discuss the role of type I IFN in cancer and these syndromes.

Franz Schubert (1797-1828), Gustav Mahler (1860-1911), Arnold Schönberg (1874-1951), pour nommer quelques-uns des plus grands compositeurs autrichiens, ont laissé à la culture de leur pays un important héritage musical. Dans ce mémoire, je postule que l’œuvre de l’écrivaine autrichienne Ingeborg Bachmann (1926-1973), quoique littéraire, perpétue cet héritage. Dans son roman Malina (1971), l’autrice emprunte au système de notation musicale, par ex. des fragments de partition (Pierrot lunaire [1912], Schönberg), des indications de tempo et de nuances, traditionnellement utilisées pour l’interprétation musicale (presto, legato, forte). Ce qui nous interpelle tout particulièrement chez Bachmann, c’est qu’en plus de – et en dialogue avec – ces influences musicales, son œuvre contient une pluralité de langues, notamment des mots en italien, une phrase écrite en anglais, les paroles d’une chanson française. Le présent travail est composé de deux parties (recherche et traduction), les deux consacrées à la présence de la musique et du multilinguisme chez Bachmann. Au premier chapitre, nous présenterons des travaux et collaborations qui ont suscité la réflexion sur le rapport entre les langues et sur celui entre la musique et le langage dans le parcours mouvementé de l’autrice. Au deuxième chapitre, nous examinerons trois lettres tirées de la correspondance multilingue Briefe einer Freundschaft (2004) entre Bachmann et le compositeur allemand Hans Werner Henze (1926-2012). Cette sélection, que nous avons traduite en français, servira de fenêtre révélatrice à la collaboration des deux artistes et à leurs esthétiques. Au troisième chapitre, notre analyse se concentrera sur l’expérience « polyphonique » de celles et ceux qui lisent le roman Malina : notre position est que cette expérience est produite à la fois par l’emploi des langues étrangères et du langage musical dans le roman Malina. En utilisant une approche comparative, nous montrerons comment les langues étrangères et le langage musical sont des éléments clés de la poétique de l’autrice, et dans quelle mesure ces langages, au moyen des nombreuses voix qu’ils incarnent – celles qui sont audibles (hörbar) et les inaudibles (unhörbar) – viendront tracer une nouvelle géographie de la vie. / Franz Schubert (1797-1828), Gustav Mahler (1860-1911), Arnold Schönberg (1874-1951), to name a few of the greatest Austrian composers, have left an important musical legacy to the culture of their country. In this thesis, I argue that the work of the Austrian writer Ingeborg Bachmann (1926-1973), although literary, carries on this musical legacy. In her novel Malina (1971), the author borrows from the system of musical notation, e.g. fragments of a score (Pierrot lunaire [1912], Schönberg), tempo and dynamics indications traditionally used for musical interpretation (presto, legato, forte). What is particularly interesting about Bachmann is that, in addition to – and in dialogue with – these musical influences, her novel contains a plurality of languages, including words in Italian, a sentence written in English, the lyrics of a French song. The following master thesis is composed of two sections (research and translation), both of which will discuss music and multilingualism in Bachmann’s work. In the first chapter, we present works and collaborations that have prompted reflection on the relationship between languages and between music and language in Bachmann's eventful career. In the second chapter, we examine three letters from the multilingual correspondence Briefe einer Freundschaft (2004) between Bachmann and the German composer Hans Werner Henze (1926-2012). This selection, which we have translated into French, will serve as a window into their collaboration and their aesthetics. In the third chapter, our analysis will focus on the “polyphonic” experience of those who read the novel Malina. Our position is that this experience is produced both by the use of foreign languages and musical language in the novel Malina. Overall, we show how foreign languages and musical language are key elements of the author's poetics, using a comparative approach, and to what extent these languages, by means of the many voices they embody – the audible (hörbar) and the inaudible (unhörbar) – will trace a new geography of life.

Ce mémoire s'inscrit à l'intérieur d'une réflexion systématique et critique portant sur le concept de réalité, à partir des recherches de Planck, Bohr et Heisenberg qui permirent le développement de la physique quantique; celle-là même qui allait bouleverser les fondements scientifiques acquis, sur lesquels reposait notre connaissance du monde. Cependant, la quête pour la connaissance du réel, par le biais de la physique quantique, en tant que langage sur le réel, pose le problème de ce qu'il conviendrait de nommer la réalité, vue à partir d'un langage mathématique essentiellement abstrait. Le problème de l'"accessibilité" au réel, par le biais de telles constructions mentales, est en fait une question de légitimité de l'investigation théorique dans la quête du réel et ce, en tant qu'organisation spécifique d'un langage beaucoup plus vaste sur lequel elle revient constamment s'appuyer, celle de sa raison même de penser le monde existant, de le pressentir à travers la multiplicité de ses manifestations.

O objetivo desta tese de doutorado é discutir se há um olhar judaico expresso em fotografias, produzidas no Brasil, por autores com ligações com o Judaísmo, e como ele se manifesta. A hipótese da pesquisa é que ele existe, mas, sem poder ser caracterizado por uma regra geral, deve ser encontrado na análise de casos singulares, considerando, por exemplo, como a estrangeridade dos autores se reflete em suas imagens. Para confirmar essa suposição, serão apresentadas a vida e interpretadas as obras de cinco fotógrafos, nascidos na Alemanha, exilados no Brasil em razão da ascensão do nazifascismo; quatro deles são judeus Alice Brill, Werner Haberkorn, Hans Gunter Flieg e Peter Scheier e uma casou-se com um judeu Hildegard Rosenthal. Todos registraram a cidade de São Paulo, sendo essas imagens o foco da análise, exceto no caso de Flieg, cujas fotos a serem estudadas serão as industriais, pois são as mais importantes de sua produção. Esses autores, de identidade híbrida, expressaram um olhar estrangeiro à realidade que retrataram, utilizando estilos modernos importados da Europa, tais como a Nova Visão, a Nova Objetividade e a Estética da Máquina, contribuindo, assim, enormemente, para inovar a fotografia brasileira. / The purpose of this doctoral thesis is to discuss whether there is a Jewish view expressed in photographs, produced in Brazil, by authors with links to Judaism, and how it manifests itself. The hypothesis of the research is that it exists, but, without being able to be characterized by a general rule, it must be found in the analysis of singular cases, considering, for example, how the authors\' estrangement is reflected in their images. In order to confirm this assumption, life will be presented and the works will be interpreted of five photographers, born in Germany, exiled in Brazil because of the rise of Nazism; four of them are Jewish Alice Brill, Werner Haberkorn, Hans Gunter Flieg and Peter Scheier and one married to a Jew Hildegard Rosenthal. All registered the city of São Paulo, being these images the focus of the analysis, except in the case of Flieg, whose photos to be studied will be the industrial ones, since they are the most important of his production. These authors, with a hybrid identity, expressed a foreign look at the reality they portrayed, using modern styles imported from Europe, such as the New Vision, New Objectivity and Machine Aesthetics, contributing enormously, thus, to innovate Brazilian photography.

O objetivo desta tese de doutorado é discutir se há um olhar judaico expresso em fotografias, produzidas no Brasil, por autores com ligações com o Judaísmo, e como ele se manifesta. A hipótese da pesquisa é que ele existe, mas, sem poder ser caracterizado por uma regra geral, deve ser encontrado na análise de casos singulares, considerando, por exemplo, como a estrangeridade dos autores se reflete em suas imagens. Para confirmar essa suposição, serão apresentadas a vida e interpretadas as obras de cinco fotógrafos, nascidos na Alemanha, exilados no Brasil em razão da ascensão do nazifascismo; quatro deles são judeus Alice Brill, Werner Haberkorn, Hans Gunter Flieg e Peter Scheier e uma casou-se com um judeu Hildegard Rosenthal. Todos registraram a cidade de São Paulo, sendo essas imagens o foco da análise, exceto no caso de Flieg, cujas fotos a serem estudadas serão as industriais, pois são as mais importantes de sua produção. Esses autores, de identidade híbrida, expressaram um olhar estrangeiro à realidade que retrataram, utilizando estilos modernos importados da Europa, tais como a Nova Visão, a Nova Objetividade e a Estética da Máquina, contribuindo, assim, enormemente, para inovar a fotografia brasileira. / The purpose of this doctoral thesis is to discuss whether there is a Jewish view expressed in photographs, produced in Brazil, by authors with links to Judaism, and how it manifests itself. The hypothesis of the research is that it exists, but, without being able to be characterized by a general rule, it must be found in the analysis of singular cases, considering, for example, how the authors\' estrangement is reflected in their images. In order to confirm this assumption, life will be presented and the works will be interpreted of five photographers, born in Germany, exiled in Brazil because of the rise of Nazism; four of them are Jewish Alice Brill, Werner Haberkorn, Hans Gunter Flieg and Peter Scheier and one married to a Jew Hildegard Rosenthal. All registered the city of São Paulo, being these images the focus of the analysis, except in the case of Flieg, whose photos to be studied will be the industrial ones, since they are the most important of his production. These authors, with a hybrid identity, expressed a foreign look at the reality they portrayed, using modern styles imported from Europe, such as the New Vision, New Objectivity and Machine Aesthetics, contributing enormously, thus, to innovate Brazilian photography.

Die Arbeit prüft, inwieweit die Übersetzungstheorien von Otto Kade et al., Werner Koller und die Skopostheorie das Problem der kulturgebundenen Farbwortvielfalt bei der Übersetzung zu lösen versuchen. Im ersten Teil wird hierfür der Grundstein gelegt, indem interdisziplinäres Wissen auf die Bildung von Farbbezeichnungen, ihrer Herkunft und ihrer biologischen und physikalischen Grundsätze angewendet wird. In diesem Zusammenhang wird auch die Sapir-Whorf-Hypothese diskutiert. Die Etymologie bestehender Farbbezeichnungen verschiedenster Sprachen bildet dabei das Zentrum, sowohl für die Erklärung der Farbwahrnehmung und die Kulturgebundenheit ihrer Bezeichnungen als auch der Neuschöpfung von Farbbezeichnungen in den Übersetzungssituationen. Anhand fiktiver Übersetzungssituationen aus dem Alltag wird der Übersetzungsprozess für jede Übersetzungstheorie simuliert und aus ihrer Sicht verfolgt. Im Abschluss werden die Ergebnisse gegenübergestellt und diskutiert.:Inhaltsverzeichnis I Abkürzungsverzeichnis 4 1 Einleitung 5 2 Farben: Wahrnehmung und Benennung 8 2.1 Sinnesorgane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 2.2 Auge und „Farbensehen“ . . . . . . . . . . . . . . . . . . . . . . . . . . 12 2.2.1 Warum Farbe . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 2.2.2 Farbwahrnehmung . . . . . . . . . . . . . . . . . . . . . . . . . 14 2.2.3 Farbwahrnehmung versus Sprache und Denken . . . . . . . . . . 19 2.3 Farbe und Kultur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 2.3.1 Grundfarbwörter – Berlin und Kay . . . . . . . . . . . . . . . . 30 2.3.2 Etymologie der Grundfarbbezeichnungen . . . . . . . . . . . . . 35 2.3.3 Farbbezeichnungen als Metonymie . . . . . . . . . . . . . . . . . 45 2.3.4 Grundfarbwörter diachron betrachtet . . . . . . . . . . . . . . . 46 2.4 Zusammenfassung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 3 Zur Übersetzung von Grundfarbwörtern 51 3.1 Einordnung und Begriffsklärung . . . . . . . . . . . . . . . . . . . . . . 55 3.1.1 Übersetzbarkeit, Übersetzungsschwierigkeit oder Übersetzungsproblem? . . . . . . . . . . . . . . . . . . . . . . . 55 3.1.2 Übersetzungssituationen . . . . . . . . . . . . . . . . . . . . . . 57 3.1.3 Übersetzungseinheit . . . . . . . . . . . . . . . . . . . . . . . . 60 3.1.4 Zwei Übersetzungsfälle . . . . . . . . . . . . . . . . . . . . . . . 61 3.2 Leipziger Schule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 3.3 Äquivalenzkonzept nach Werner Koller . . . . . . . . . . . . . . . . . . 74 3.4 Skopostheorie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 3.5 Vergleich und Diskussion . . . . . . . . . . . . . . . . . . . . . . . . . . 94 4 Schluss 98 5 Literaturverzeichnis 100 A Abbildungen 106

Topoisomerase 2α (Topo2α) is an essential protein with DNA decatenating enzymatic properties, indispensable for chromosome decatenation and segregation. It is a target for a plethora of antitumour drugs and Topo2α protein levels have been associated with the success of treatment, but also drug resistance and secondary malignancies. Although unique in its ability to resolve catenated chromosomes, the role of Topo2α in other steps of DNA metabolism, such as DNA replication elongation and termination have been elusive. A thorough understanding of the role of Topo2α in the cell will not only allow for increased insight into the mechanisms it is involved in, but it will also shed light on proteins and pathways that can act as back-up in its absence, and therefore hopefully expand the basis on which to improve treatment options. Through a synthetic lethal interaction (SLI) screen with an siRNA library targeting 200 DNA repair and signalling genes, Topo2α emerged as being synthetic lethal to Werner protein (WRN), a RecQ helicase involved in maintaining genome integrity mainly in S phase, and the loss of which leads to Werner Syndrome (WS), a segmental progeroid syndrome. The screen was performed in WRN deficient cells, with the initial aim to find proteins that act to buffer against loss of viability, which is the central idea in the concept of synthetic lethality in the absence of WRN. The screen revealed an SLI between WRN and Topo2α and although we were unable to fully validate this, it spurred the question of Topo2α’s role in DNA replication. The findings in this thesis suggest that Topo2α is not required for DNA elongation and timely completion of S phase, and that simultaneous loss of the closely related isoform Topo2β does not affect replication, suggesting that these proteins do not act in parallel back-up pathways during replication. Interestingly, cells accumulate in the polyploid fraction after both depletion and inhibition of Topo2α, albeit with different kinetics. The mechanistic basis of this phenotype remains to be understood through further research, but it is highly interesting as aneuplidity and polyploidy are implicated in the initial stages of tumour development.

Made available in DSpace on 2016-04-25T20:21:26Z (GMT). No. of bitstreams: 1 Rita de Cassia da Silva Leao.pdf: 5297903 bytes, checksum: 365d1ce161ffb73142a6ebc13ab0e302 (MD5) Previous issue date: 2015-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / All movie-making has an anthropological character, as it is as open-ended as humankind itself. The works of Werner Herzog run parallel with fundamental anthropology, which seeks to understand the process of penetration of man into the world and the inseparable process of penetration of the world into man. The first movie that is analyzed, Wodaabe: Herdsman of the Sun, deals with love of beauty among beings who feel despised by neighboring peoples. The second, Grizzly Man, is about a man who wanted to be a bear, as he could not stand living among humans. The third, The Cave of Forgotten Dreams, tells us how humankind dreamed 32 thousand years ago; how it projected its double on cave walls and small statues. Paintings and statues feature at the same time a penchant for both the fantastic and the reality of shapes and forms. It is not Herzog´s movie settings or themes which are anthropological; it is his view of the world and his way of making movies, which transmutes real into imaginary, and imaginary into real / Todo cinema contém um caráter antropológico, por ser aberto como a própria humanidade. A obra de Werner Herzog é contigua à antropologia fundamental, que busca compreender o processo de penetração do homem no mundo e o processo inseparável de penetração do mundo no homem. O primeiro filme analisado, Wodaabe: Os pastores do sol, trata do amor à beleza entre seres que se sentem desprezados pelos povos vizinhos. O segundo, O homem urso, de um humano que queria ser urso e não suportava o mundo dos humanos. O terceiro, A caverna dos sonhos esquecidos, conta como sonhava a humanidade há 32 mil anos, como projetava seu duplo nas paredes das cavernas e nas pequenas estátuas. Nas pinturas e estátuas estão presentes, ao mesmo tempo, uma tendência para o fantástico e para a realidade das formas. Não são os locais de filmagem e tampouco os temas de Herzog que são antropológicos, mas sim a sua visão de mundo e o modo de fazer cinema, que transmuta o real em imaginário e o imaginário em real