Expression and function of psoriasin (S100A7) and koebnerisin (S100A15) in the brain

The expression and function of psoriasin in the brain have been insufficiently characterized. Here, we show the induction of psoriasin expression in the central nervous system (CNS) after bacterial and viral stimulation. We used a pneumococcal meningitis in vivo model that revealed S100A15 expression in astrocytes and meningeal cells. These results were confirmed by a cell-based in vivo assay using primary rat glial and meningeal cell cultures. We investigated psoriasin expression in glial and meningeal cells using polyinosinic-polycytidylic acid, a synthetic analog of double-stranded RNA that mimics viral infection. Furthermore, previous results showed that antimicrobial peptides have not only bactericidal but also immunomodulatory functions. To test this statement, we used recombinant psoriasin as a stimulus. Glial and meningeal cells were treated with recombinant psoriasin at concentrations from 25 to 500 ng/ml. Treated microglia and meningeal cells showed phosphorylation of the extracellular signal-regulated kinase 1 (ERK1)/ERK2 (ERK1/2) signal transduction pathway. We demonstrated that this activation of ERK depends on RAGE, the receptor for advanced glycation end products. Furthermore, microglia cells treated with recombinant psoriasin change their phenotype to an enlarged shape. In conclusion, our results indicate an occurrence of psoriasin in the brain. An involvement of psoriasin as an antimicrobial protein that modulates the innate immune system after bacterial or viral stimulation is possible.

Gynophobia and Anti-republicanism in Thomas Mann's Doctor Faustus

Why does Adrian Leverkühn choose a Shakespeare play for his major first and his first twelve-tone composition? Why in particular a Shakespeare comedy? And why, of all comedies, Love’s Labour’s Lost? Why does he start working on it in Munich? Why does his work there soon come to a halt? Why does it prosper only in Italy? And why does he eventually return to Upper Bavaria so as to complete it? Why is he said to have completed the opera exactly one hundred years ago? And why, finally, is it first performed only after the outbreak of the war and then, surprisingly, in a German adaptation? In order to answer these and similar questions, this paper sets out to re-contextualise Doktor Faustus with regard to discourse history and re-read the novel from a gender-theoretical perspective. The leading hypothesis is that Thomas Mann’s novel belongs to the proto-history of feminist Shakespeare reception, an assumption to be substantiated through an analysis of settings, locations and the constructions of space.