980 resultados para Watson, Joshua, 1771-1855
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comp. da F. S. C. Randegger
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von I. J. Benjamin
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von Z. Frankel
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Tricyclo-DNA belongs to the family of conformationally restricted oligodeoxynucleotide analogues. It differs structurally from DNA by an additional ethylene bridge between the centers C(3') and C(5') of the nucleosides, to which a cyclopropane unit is fused for further enhancement of structural rigidity. The synthesis of the hitherto unknown tricyclodeoxynucleosides containing the bases cytosine and guanine and of the corresponding phosphoramidite building blocks is described, as well as a structural description of a representative of an alpha- and a beta-tricyclodeoxynucleoside by X-ray analysis. Tricyclodeoxynucleoside building blocks of all four bases were used for the synthesis of fully modified mixed-base oligonucleotides. Their Watson-Crick pairing properties with complementary DNA, RNA, and with itself were investigated by UV melting curves, CD spectroscopy, and molecular modeling. Tricyclo-DNA was found to be a very stable Watson-Crick base-pairing system. A UV melting curve analysis of the decamers tcd(pcgtgacagtt) and tcd(paactgtcacg) showed increased thermal stabilities of up to DeltaT(m)/mod. = +1.2 degrees C with complementary DNA and +2.4 degrees C with complementary RNA. With itself, tricyclo-DNA showed an increase in stability of +3.1 degrees C/base pair relative to DNA. Investigations into the thermodynamic properties of these decamers revealed an entropic stabilization and an enthalpic destabilization for the tricyclo-DNA/DNA duplexes. CD spectroscopic structural investigations indicated that tricyclo-DNA containing duplexes preferrably exist in an A-conformation, a fact which is in agreement with results from molecular modeling
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This article is meant as a starting point in the process of researching how theatre systems influence the functioning of theatre. The notion “theatre system” is understood as the set of organisational relationships within and between the domains of production, distribution and reception of theatre. Because the hypothesis of the Project on European Theatre Systems (STEP) is that the differences in these organisational patterns at least partly determine the types of theatre offered to city populations and their use of the supply, the present article attempts to make a start with a comparison between the theatre systems in Aarhus (Denmark), Bern (Switzerland), Debrecen (Hungary), Groningen (The Netherlands), Maribor (Slovenia), Tartu (Estonia) and Tyneside (United Kingdom). One of the findings of this comparison is that the structures of financial support for theatre by the various authorities do not differ very strongly among the countries on the European continent. However, the so-called city theatres in Central and Eastern Europe seem to have a more dominant position than in the Western European countries. For smaller, independent theatre organisations this is the other way round. In addition, the position of Bern is remarkable, because of the exceptional number of venues and theatre performances in this city. In Debrecen and Maribor, cultural centres appear to play quite an important role in the theatre life of these cities.
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von S. R. Hirsch
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von Leopold Stein
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von Moses Katzenellbogen. Aus dem Hebr. übers.