Die Oper im Narrenhaus: Dittersdorfs Selbstreflexion auf musiktheatralische Gattungen

Karl Ditters von Dittersdorf Singspiel "Die Liebe im Narrenhaus" thematisiert die Unterschiede und die Spannung zwischen der Oper und dem Singspiel und rekurriert dabei auf eine Reihe von Vorbildern wie etwa der Verrücktheit des Don Quixote oder der Opernkritik Charles de Saint Evremond. Dadurch baut er eine Metaebene auf, die eine Verhandlung der Spannung zwischen diesen beiden Gattungen ermöglicht.

[Colección de fotografías de viajes] [ [Material gráfico]: [París, Hamburgo, Madrid y Barcelona].

[1]. Estación del Norte en Valencia, 1930 (1 fot.) – [2]. París, Manolo Orrico Vidal junto al río Sena, al fondo la Torre Eiffel, 1930 (1 fot.) – [3]. París, bifurcación del río Sena, 1930 (1 fot.) – [4]. Vista de la Torre Eiffel, 1930 (1 fot.) – [5-8]. Varias fotos en la Torre Eiffel: Manolo Orrico Vidal en la terraza de la Torre y en el paseo bajo la Torre, Francisco Roglá López sentado en un banco en la terraza de la Torre lleva paraguas y sombrero, 1930 (4 fot.) – [9]. Museo del Louvre (1 fot.) – [10]. Plaza de la Concorde (1 fot.) – [11]. Notre Dame (1 fot.) – [12]. Manolo Orrico Vidal en una terraza donde se ve una panorámica de la ciudad de Paris, en el cartel se lee Musée Grévin (1 fot.) – [13-14]. Iglesia de la Madeleine, Manolo Orrico Vidal en la escalinata de Iglesia (2 fot.) – [15]. Gran Palacio de París situado en los Campos Elíseos (1 fot.) – [16]. Palacio del Descubrimiento (1 fot.) – [17]. El Arco de Triunfo del Carrusel (1 fot.) – [18]. Palacio del Trocadero, 1930 (1 fot.) – [19]. Jardín de las Tullerias, Manolo Orrico Vidal junto a la escultura Le Nil, 1930 (1 fot.) – [20]. Plaza del Châtelet con la Fuente de la Palmera (1 fot.) – [21]. Plaza sin identificar (imagen borrosa) (1 fot.) – [22]. Manolo Orrico Vidal sentado en un banco en la plaza junto a la Torre medieval de Saint Jacques (1 fot.) – [23]. Manolo Orrico Vidal con un amigo bajo un conjunto escultórico (La Danza, de Carpeaux) a la entrada de la Ópera de París (1 fot.) – [24]. Plaza de la República con el monumento (1 fot.) – [25]. Manolo Orrico Vidal con un amigo en una plaza sin identificar (1 fot.) – [26]. Manolo Orrico Vidal junto a la fuente en el patio del Ayuntamiento de Hamburgo (1 fot.) – [27-29]. Vista de Hamburgo desde el barco con S. Michelle al fondo, Francisco Roglá López sentado en una butaca de mimbre en el barco (3 fot.) – [30]. Lieja, 1930 Fuente de la Virgen situada en rue des dominicains, erigida en 1584 y coronada por la estatua de bronce de la Virgen y el Niño, realizada en 1696 por el escultor Jean Delcour(1 fot.) – [31]. Hamburgo 1930, Denkmal Kaiser Wilhem en Rathausmarkt (1 fot.) – [32]. Manolo Orrico Vidal junto al lateral derecho del monumento al Káiser Wilhem (1 fot.) – [33-34]. Palacio Real de Madrid, durante un desfile y vista de la fachada sur, 1930 (2 pares estereoscópicos) (2 fot.) – [35-38]. Parque Güell de Barcelona, 1930 (4 pares estereoscópicos) (4 fot.)

Both DNA gyrase and reverse gyrase are present in the hyperthermophilic bacterium Thermotoga maritima

Like all hyperthermophiles yet tested, the bacterium Thermotoga maritima contains a reverse gyrase. Here we show that it contains also a DNA gyrase. The genes top2A and top2B encoding the two subunits of a DNA gyrase-like enzyme have been cloned and sequenced. The Top2A (type II DNA topoisomerase A protein) is more similar to GyrA (DNA gyrase A protein) than to ParC [topoisomerase IV (Topo IV) C protein]. The difference is especially striking at the C-terminal domain, which differentiates DNA gyrases from Topo IV. DNA gyrase activity was detected in T. maritima and purified to homogeneity using a novobiocin-Sepharose column. This hyperhermophilic DNA gyrase has an optimal activity around 82–86°C. In contrast to plasmids from hyperthermophilic archaea, which are from relaxed to positively supercoiled, we found that the plasmid pRQ7 from Thermotoga sp. RQ7 is negatively supercoiled. pRQ7 became positively supercoiled after addition of novobiocin to cell cultures, indicating that its negative supercoiling is due to the DNA gyrase of the host strain. The findings concerning DNA gyrase and negative supercoiling in Thermotogales put into question the role of reverse gyrase in hyperthermophiles.

Monumens de l'histoire de France, en estampes et dessins ...

The present 30 volumes seem to have remained with the Dukes of Leuchtenberg, until the ducal library was acquired for sale in 1935 by the dealers Ulrich Hoepli (Milan) and Braus-Riggenbach (Basel). The volumes are not complete, as leaves have been wholly or partly removed throughout; this is particularly evident in preliminary volumes 2 and 10 and volume 75. Prints and the relatively small number of drawings are mostly French, with some German, Dutch and English, and are mostly of the 17th or 18th centuries. They are mounted generally on rectos of leaves, often with hand-written captions. Large prints are occasionally bound in directly; these are often folded. The engraved general title page (bearing the date 1788) appears at the beginning of each volume; below the printed title a hand-written volume number and brief title describing the volume's contents usually appear. In many volumes the title leaf is followed by a hand-written contents leaf listing the section titles, which are also written individually throughout the volume on leaves with etched decorative frames. Sections are numbered continuously throughout the work as a whole. Numbering of the leaves, when present, appears in black ink within each volume at top center recto. Printmakers include B. & J. Audran, Francesco Bartolozzi, Abraham Bosse, Stefano della Bella, Jacques Callot, François Chéreau, Wenceslaus Hollar, Romeyn de Hooghe, Raymond La Fage, Sébastien Le Clerc, Pierre Lepautre, Claude Mellan, Bernard Picart, and Simon Thomassin. There are also early color prints by Gautier-Dagoty and Jean-Baptiste Morret.

The Kneisel collection : for violin & piano : selections from the masters, old and new /

Principally arrangements.

The Fortune Teller

Georges de La Tour; 3 ft. 4 1/8 in.x 4 ft. 5/8 in.; oil on canvas

P. Virgilii Maronis Opera, interpretatione et notis illustravit Carolus Ruæus, Soc. Jesu. jussu Christianissimi Regis, ad usum serenissimi Delphini.

Mode of access: Internet.

Seven splendid sinners,

The duchess de Chaueaurous, 1717-1744,--Ehreugard Melusina von der Schulenburg, duchess of Kendal, 1667?-1743.--Catherine II, empress of Russia, 1729-1796.--Elizabeth Chudleigh, duchess of Kingston, 1720-1783.--The comtese de Lamotte, 1756-1791.--The duchesse de Polignac, 1749-1793.--Lola Montez, 1818-1861,--Sources (p. 339-340)--Index.