The dissertation presents GALAS models for the estimation of the acute toxicity towards two rodent species following different administration routes as well as for the prediction of CYP3A4 and CYP2D6 regioselectivity in the main metabolic reactions mediated by these enzymes (13 individual models in total). All these models feature the ability of the quantitative model Applicability Domain (AD) evaluation via the estimated prediction Reliability Indices (RI). I.e., the obtained models conform to one of the main requirements for the QSAR model acceptance as an alternative research method by the EU regulatory institutions. Evident correlation between prediction reliability and its accuracy allowed classifying each model result into one of several qualitative classes according to RI values. One possible way of utilizing such information, discussed in this study, is compound prioritization before experimental testing potentially resulting in reduction of the number of necessary measurements. As demonstrated the AD of the obtained GALAS models can be easily expanded to cover specific compound classes of researcher interest using ‘in-house’ databases of experimental data. This feature significantly improves the possibilities for the practical application of these models, based on public data, in industry. Especially given the fact that the described improvements in predictions following the addition of similar compounds was instant and required no rebuilding of the baseline models. / Disertacijoje pristatomi GALAS metodika paremti ūmaus toksiškumo dviems graužikų rūšims bei visai eilei skirtingų medžiagos patekimo į organizmą būdų ir CYP3A4 bei CYP2D6 fermentų regioselektyvumo pagrindinėse jų katalizuojamose metabolizmo reakcijose prognozavimo modeliai (iš viso 13 individualių modelių). Visi minimi modeliai kokybiškai išsiskiria iš anksčiau publikuotų savo analogų dėl kiekybinio jų pritaikomumo srities įvertinimo galimybės, kurią suteikia apskaičiuojamos prognozės patikimumo indekso (RI) reikšmės. Tokia savybė yra vienas pagrindinių reikalavimų vertinant bet kokio modelio galimybes tapti ES oficialiai pripažintu alternatyviu tyrimo metodu. Aiški prognozių kokybės priklausomybė nuo jų patikimumo išraiškos taip pat suteikia galimybę modelio rezultatus suskaidyti į kokybines klases pagal apskaičiuotąsias RI reikšmes. Vienas iš tokios informacijos panaudojimo būdų siūlomų disertacijoje yra junginių prioritetizavimas prieš bet kokius eksperimentinius matavimus ir netgi pastarųjų skaičiaus potencialus sumažinimas. Disertacijoje taip pat išnagrinėta galimybė greitai bei efektyviai apmokyti gautuosius GALAS modelius naujais eksperimentiniais duomenimis, išplečiant jų pritaikomumo sritį. Ši esminė savybė radikaliai padidina nagrinėjamųjų modelių, paremtų viešai prieinamų duomenų rinkiniais, realaus praktinio panaudojimo farmacijos pramonėje galimybes.

The present research is focused on the formal devices that Azcona and José Luís García Sánchez display in the film adaptation of Las galas del difunto, a theater play included in Martes de Carnaval, published in 1930 by Ramón María del Valle-Inclán. Framed within the state politics of cultural promotion, Las galas del difunto was released for television consumption, thus, its characteristics are very relevant in order to analyze the priorities and strategies developed in the adaptation process. Not only does the main obstacle remain in the fact that the original play is difficult to represent in theater (mostly due to its secondary text), but also the metatextual dimension of Valle-Inclán’s texts. The Galician writer creates his own genre (el esperpento) trough both a series of characterization devices, a master use of language, and action structures; but also writing from a very particular perspective (looking for aesthetic distance) and mixing other existent genres. This complex collage crashes with the naturalistic tendency of audiovisual representation and offers a wide variety of open fronts that appeal directly to the adaptation concept. Clearly, the script writers have noticed the formal structures in the text and, to a certain extent, “translated” into genuine cinematographic language. However, the result of this sense of fidelity could present paradoxes within the movie and in regard to the audience’s reception. Those contradictions, even though included in the original play, have to deal with the whole new cinematographic context. The tensions between the play and the movie will arise through acting, lightning, camera framing, and mise en scene.

This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life. This thesis comes out of my own experience as a performer and is informed both by theoretical discourse and practical experimentation in the theatre. Exploring the voice as a liminal, transgressive force requires analysis from an experiential perspective.