Johannes Blankenfeld ein Lebensbild aus dem Anfängen der Reformation /

Published also as the author's thesis (inaugural)--Bonn.

The IFITM5 mutation c.-14C > T results in an elongated transcript expressed in human bone; And causes varying phenotypic severity of osteogenesis imperfecta type V

Background The genetic mutation resulting in osteogenesis imperfecta (OI) type V was recently characterised as a single point mutation (c.-14C > T) in the 5' untranslated region (UTR) of IFITM5, a gene encoding a transmembrane protein with expression restricted to skeletal tissue. This mutation creates an alternative start codon and has been shown in a eukaryotic cell line to result in a longer variant of IFITM5, but its expression has not previously been demonstrated in bone from a patient with OI type V. Methods Sanger sequencing of the IFITM5 5' UTR was performed in our cohort of subjects with a clinical diagnosis of OI type V. Clinical data was collated from referring clinicians. RNA was extracted from a bone sample from one patient and Sanger sequenced to determine expression of wild-type and mutant IFITM5. Results: All nine subjects with OI type V were heterozygous for the c.-14C > T IFITM5 mutation. Clinically, there was heterogeneity in phenotype, particularly in the manifestation of bone fragility amongst subjects. Both wild-type and mutant IFITM5 mRNA transcripts were present in bone. Conclusions The c.-14C > T IFITM5 mutation does not result in an RNA-null allele but is expressed in bone. Individuals with identical mutations in IFITM5 have highly variable phenotypic expression, even within the same family.

The role of 25-hydroxyvitamin D deficiency in promoting insulin resistance and inflammation in patients with chronic kidney disease: A randomised controlled trial

BACKGROUND Approximately 50% of patients with stage 3 Chronic Kidney Disease are 25-hydroxyvitamin D insufficient, and this prevalence increases with falling glomerular filtration rate. Vitamin D is now recognised as having pleiotropic roles beyond bone and mineral homeostasis, with the vitamin D receptor and metabolising machinery identified in multiple tissues. Worryingly, recent observational data has highlighted an association between hypovitaminosis D and increased cardiovascular mortality, possibly mediated via vitamin D effects on insulin resistance and inflammation. The main hypothesis of this study is that oral Vitamin D supplementation will ameliorate insulin resistance in patients with Chronic Kidney Disease stage 3 when compared to placebo. Secondary hypotheses will test whether this is associated with decreased inflammation and bone/adipocyte-endocrine dysregulation. METHODS/DESIGN This study is a single-centre, double-blinded, randomised, placebo-controlled trial. Inclusion criteria include; estimated glomerular filtration rate 30-59 ml/min/1.73 m(2); aged >or=18 on entry to study; and serum 25-hydroxyvitamin D levels <75 nmol/L. Patients will be randomised 1:1 to receive either oral cholecalciferol 2000IU/day or placebo for 6 months. The primary outcome will be an improvement in insulin sensitivity, measured by hyperinsulinaemic euglycaemic clamp. Secondary outcome measures will include serum parathyroid hormone, cytokines (Interleukin-1beta, Interleukin-6, Tumour Necrosis Factor alpha), adiponectin (total and High Molecular Weight), osteocalcin (carboxylated and under-carboxylated), peripheral blood mononuclear cell Nuclear Factor Kappa-B p65 binding activity, brachial artery reactivity, aortic pulse wave velocity and waveform analysis, and indirect calorimetry. All outcome measures will be performed at baseline and end of study. DISCUSSION To date, no randomised controlled trial has been performed in pre-dialysis CKD patients to study the correlation between vitamin D status with supplementation, insulin resistance and markers of adverse cardiovascular risk. We remain hopeful that cholecalciferol may be a safe intervention, with health benefits beyond those related to bone-mineral homeostasis. TRIAL REGISTRATION Australian and New Zealand Clinical Trials Registry ACTRN12609000246280.

Kaikkialla minne hän katsoo, hän näkee Sinut : Johannes Viiniköynnöksen käsitys ruumiillisten ja hengellisten aistien merkityksestä Jumalan tuntemisessa

Johannes Viiniköynnös oli 700-luvulla syyrialaisella kielialueella elänyt erakko ja mystikko, jonka värikkäissä ja runollisissa kirjoituksissa käsitellään monenlaisia hengellisen elämän kysymyksiä. Eräs merkille pantava piirre hänen ilmaisussaan on hengellisten aistikielikuvien runsaus. Tässä pro gradu -tutkielmassa Johannes Viiniköynnöksen kirjoitukset liitetään osaksi patristista hengellisten aistien traditiota. Tutkielmassa selvitetään, miten Johannes ymmärtää sisäisen ja ulkoisen aistitoiminnan merkityksen ja muutoksen hengellisen elämän eri vaiheissa. Kysymys sisältää sekä epistemologisen että antropologisen tason: Ensinnäkin analysoidaan, mikä on ruumiillisen ja hengellisen aistitoiminnan tiedollinen merkitys hengellisessä elämässä ja Jumalan tuntemisessa. Sen ohella pohditaan, minkä roolin Johannes antaa ruumiille ja sielulle tässä prosessissa ja millaisia muutoksia niiden suhteessa tapahtuu hengellisen elämän edetessä. Tutkielmassa tarkastellaan Johanneksen käsitystä aistitoiminnasta sekä askeettisen kilvoittelun että mystisen kontemplaation yhteydessä. Analyysissa osoittautuu, että Johanneksen käsitys ihmisen langenneesta aistitoiminnasta sisältää stoalaisen havaintoteorian elementtejä, jotka ovat välittyneet hänelle Evagrios Pontoslaisen kautta. Johannes painottaa, että ihmisen on irtauduttava aistimaailman impulsseista ja käännettävä katseensa omaan sisimpäänsä, sillä Jumala voidaan oppia tuntemaan vain sielun peilistä kuvastuvana heijastuksena. Johannes Viiniköynnökselle mystinen elämä merkitsee yhdistymistä Kristuksen mieleen, jonka kautta avautuvat kaikki hengelliset salaisuudet. Ne vastaanotetaan aistien kaltaisilla kyvyillä, joita Johannes kutsuu sielun voimiksi . Analyysi hengellisen aistivaikutuksen välittymisestä osoittaa, että Johanneksen aistiteologiassa tapahtuu askeesista kontemplaatioon siirryttäessä myös siirtymä stoalaisen havainto-opin periaatteista uusplatonistiseen emanaatiomalliin, jossa aistivaikutus välittyy intellektin kautta sieluun ja lopulta ruumiiseen. Tutkielmassa tuodaan esiin, että hengelliseen aistikieleen sisältyy myös tiettyjä ongelmia. Se kuvaa aina väistämättä olemisen tapaa, joka muistuttaa ihmisen ruumiillista eksistenssiä aineellisessa maailmassa. Tarkastelussa kuitenkin osoittautuu, että Johannes on tietoinen tästä ongelmasta ja vastaa siihen kuvaamalla mystisen yhtymyksen huipentuman tilaksi, jossa kaikki aistinta lamaantuu. Tästä tilasta voidaan puhua vain apofaattisesti negaatioilla ja paradokseilla, jotka irrottavat Jumalan aistimaailman lainalaisuuksista. Tutkielmassa kiinnitetään huomiota arvoon, jonka Johannes antaa sekä aineelliselle luodulle että ihmisruumiille Jumalan tuntemisessa, ja korostetaan, ettei platonistisen filosofian vaikutus väistämättä tarkoita ruumiin ja hengen dualismia. Lopuksi esitetään, että hengellisten aistien ideaa on hedelmällisintä tarkastella koko hengellisen elämän kattavana tiedollisten kykyjen transformaationa eikä pelkkänä mystisen kontemplaation erityisaspektina.

THE PIANO MUSIC OF ROBERT SCHUMANN (1810-1856) AND JOHANNES BRAHMS (1833- 1897): A SURVEY OF CONCERTI, VARIATIONS, AND CHARACTER PIECES

Robert Schumann (1810-1856) and Johannes Brahms (1833-1897), in some ways Robert Schumann's artistic descendant, are the most important and representative German piano composers during the Romantic period. Schumann was already a mature and established musician in 1853 when he first met the young Brahms and recognized his talents, an encounter that had a long-lasting affect on the lives and careers of both men. After Schumann’s mental breakdown and death, Brahms maintained his admiration of Schumann’s music and preserved an intimate relationship with Clara Schumann. In spite of the personal and musical closeness of the two men, Schumann’s music is stylistically distinct from that of Brahms. Brahms followed traditions from Baroque and Classical music, and avoided using images and expressive titles in his music. Brahms extraordinarily intermingled earlier musical forms with multicolored tones of German Romanticism. In contrast, Schumann saw himself as a radical composer devoted to personal emotionalism and spontaneity. He favored programmatic titles for his character pieces and extra-musical references in his music. While developing their own musical styles as German Romantic composers, Schumann and Brahms both utilized the piano as a resourceful tool for self-realization and compositional development. To investigate and compare the main characteristics of Schumann and Brahms’s piano music, I looked at three genres. First, in the category of the piano concerto, I chose two major Romantic works, Schumann’s A minor concerto and Brahms’s B-flat major concerto. Second, for the category of piano variations I included two sets by Brahms because the variation framework was such an important vehicle for him to express his musical thoughts. Schumann’s unique motivic approach to variation is displayed vividly in his character-piece cycle Carnaval. Third, the category of the character piece, perhaps the favorite medium of Romantic expression at the piano, is shown by Schumann’s Papillons and Brahms’s sets of pieces Op.118 and Op.119. This performance dissertation consists of three recitals performed in the Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

Guerra, Legitimação e Poder no norte da África. As fontes portuguesas (1415-1471)

Neste texto, apresentado no I Congreso Internacional de Jóvenes Medievalistas Ciudad de Cáceres (2012), realizou-se a exposição de alguns fundos e catálogos portugueses que possuem documentos referentes à ação lusitana no Norte da África durante parte do século XV. A ênfase foi dada à apresentação dos fundos encontrados no Arquivo Nacional Torre do Tombo (ANTT), aos documentos presentes na coletânea documental intitulada Monumenta Henricina e, também, em alguns trechos da Crónica da Tomada de Ceuta de Gomes Eanes de Zurara (c.1410-1474). Assim, denota-se através da produção documental, tanto o interesse português nas terras em África, como, principalmente, a política régia para a construção de um discurso legitimador das conquistas naquele espaço.

Johannes Halensis in Psalmos (Jean de Galles).

Carmes.

Johannes Gerson, Opuscula.

Sur le f. de garde collé sur le contreplat inf. figure l'ex-libris "... [Joh]annes Gerson pertinet librarie ecclesie Par.", du XVe s. Au contreplat sup., il porte la signature de Claude Joly, chantre de Notre-Dame de Paris, suivie de la date de mai 1654, et l'ex-libris "A la bibliotheque de l'Eglise de Paris", précédé de la cote D4 (XVIIe s.). Notre-Dame.

Johannes Faventinus, Summa super primam partem Decreti.

"Iste liber est ecclesie Sancti Germani de Pratis juxta Paris. Jouyot.", XVe s., f. 202. "Iste liber est ecclesie sanctorum Cornelii et Cipriani de Compendio, quidquid fuerit superius scriptum", XVe s., f. 202 (ex-libris inscrit immédiatement en-dessous du précédent, barré). Ex-libris "S. Cornelii Compendiensis Congr. S. Mauri", suivi du chiffre 62, XVIIe s., f. 1. Compiègne.