Calcitonin gene-related peptide:multiple actions, multiple receptors

Calcitonin gene-related peptide (CGRP) shows diversity both in its effects and its receptors. It is likely to have roles as a neurotransmitter, neuromodulator, local hormone and trophic factor. Its effects include rapid changes in neuronal activity, relaxation of many type of smooth muscle, actions on metabolism and changes in gene expression. Receptor heterogenecity has been revealed from experiments comparing agonist potency ratios and antagonists affinities. the evidence from these approaches is reviewed in this article and a speculative receptor classification scheme is proposed. Some of the likely future directions for CGRP research are discussed. © 1993.

Brain, mind and medicine:essays in eighteenth Century neuroscience

There have been no books published on neuroscience in the eighteenth century. Yet this was an important time, with science and medicine in transition. On the one hand, there were wildly speculative theories about the nervous system, many based on Newtonian mechanics and fanciful chemistry. But on the other, this was also a time when empirical research with quantification and experimentation was coming of age. This volume examines the eighteenth-century neuroscience milieu and looks at developments in anatomy, physiology, and medicine that highlight this era, which some people have called the Age of Reason and others the Enlightenment. The book covers such things as the aims of the scientific and medical Enlightenment, how neuroscience adopted electricity as the nerve force, how disorders such as aphasia and hysteria were treated, Mesmerism, and how some of the latest ideas made their way into the culture of the day.

Dimensions of perception and recognition of danger

Despite abundant literature on human behaviour in the face of danger, much remains to be discovered. Some descriptive models of behaviour in the face of danger are reviewed in order to identify areas where documentation is lacking. It is argued that little is known about recognition and assessment of danger and yet, these are important aspects of cognitive processes. Speculative arguments about hazard assessment are reviewed and tested against the results of previous studies. Once hypotheses are formulated, the reason for retaining the reportory grid as the main research instrument are outlined, and the choice of data analysis techniques is described. Whilst all samples used repertory grids, the rating scales were different between samples; therefore, an analysis is performed of the way in which rating scales were used in the various samples and of some reasons why the scales were used differently. Then, individual grids are looked into and compared between respondents within each sample; consensus grids are also discussed. the major results from all samples are then contrasted and compared. It was hypothesized that hazard assessment would encompass three main dimensions, i.e. 'controllability', 'severity of consequences' and 'likelihood of occurrence', which would emerge in that order. the results suggest that these dimensions are but facets of two broader dimensions labelled 'scope of human intervention' and 'dangerousness'. It seems that these two dimensions encompass a number of more specific dimensions some of which can be further fragmented. Thus, hazard assessment appears to be a more complex process about which much remains to be discovered. Some of the ways in which further discovery might proceed are discussed.

Mit, gegen und nach Brecht:Heiner Müllers Fatzer

Heiner Müller has often been described as the only rightful (literary) heir and flag- bearer of Bertolt Brecht in German drama of the late twentieth century. This article first examines the critical position that Müller took towards his predecessor. The essay will then focus on the Fatzer complex which Müller considered to be by far the most important work by Brecht. Next, I will discuss the relationship between Fatzer and Müllerʼs synthesised stage version FATZER from 1978, followed by a brief assessment of the various ways in which Mu ̈ller treated Brechtʼs Fatzer material over the next two decades. Special attention will be paid to the radio play that Müller produced of his version of Fatzer during the final years of the GDR; I argue that it represents an exemplary engagement with Brecht’s fragment because, rather than aiming for a standard illusionistic radio play, Mu ̈ller’s intention is to allow his FATZER version, as it were, to speak for itself. To conclude, the essay undertakes a brief and inevitably speculative discussion of the influence of Brechtʼs unfinished drama project on Müller’s works.