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Celem artykułu jest omówienie zapomnianego motywu mamki dalmatyńskiej w prozie artystycznej trzech pisarzy Milana Begovicia, Vladana Desnicy i Enza Bettizy oraz próba usytuowania go w kontekście sporów o Dalmację. Literackie aktualizacje mamki wpisują się w strategie modelowania regionu Dalmacji kontynentalnej zgodne z paradygmatami odwołującymi się do wizji „szlachetnych dzikusów” (Morlaków/Vlajów). One zaś mogą służyć zarówno w kreśleniu polityki kolonizacyjnej (tak w XVIII wieku czyniła to Republika Wenecja), jak i w definiowaniu kompleksowych relacji na tym chorwacko-serbsko-włoskim pograniczu. The Forgotten Motif of a Dalmatian Wet Nurse and Modeling the Image of Dalmatia in the Prose of Milan Begović, Vladan Desnica and Enzo Bettiza The aim of the article is to discuss the forgotten motif of a Dalmatian wet nurse in the artistic prose of three writers: Milan Begović, Vladan Desnica and Enzo Bettiza, and attempt to situate it in the context of disputes over Dalmatia. The literary update on the motif is in line with the modeling strategies of Dalmatian hinterland referring to the vision of “noble savages” (the Morlacchis/Vlajs). They can serve in bringing about the colonisation policy (as was done in the 18th century by the Republic of Venice) as well as in defining complex relationships in this Croatian-Serbian-Italian borderlands.

Iako je Zlatna formula hrvatskoga jezika ča-kaj-što literarni koncept pjesnika Drage Štambuka, u radu se polazi od pretpostavke da se ta ideja nadovezuje na izuzetno važne i prijelomne koncepcije vezane uz hrvatski standardni jezik. Jer, formula nije samo ideja koja teži obogaćivanju jezika književnosti, koji bi u namjeri trebao crpiti iz svih hrvatskih narječja, nego također ima cilj potaknuti diskusiju o standardnom jeziku i njegovu odnosu prema dijalektizmima (o tome svjedoči i zakonsko rješenje Ministarstva kulture iz 2019. godine i javni nastupi Drage Štambuka). Time se otvara problematika jezičnih amalgama uopće. Stoga se u radu zlatnu formulu dovodi u vezu ne samo s elaboriranim koncepcijama hibridnog jezika u hrvatskoj povijesti (istarski protestanti, ozaljski krug), nego napose s polemikama koje su vodili predstavnici Zagrebačke filološke škole s hrvatskim vukovcima (naglašavaju se drukčija polazišta koja su stajala iza njihovih stavova). U članku se analiziraju ambivalentni stavovi ključnih hrvatskih jezikoslovaca o položaju dijalektizama u standardnom jeziku – od 19. stoljeća do dana današnjeg – te moguće posljedice procesa hibridizacije., Although the Golden Formula of the Croatian Language »ča-kaj-što« is a literary concept coined by the poet Drago Štambuk, this paper departs from the assumption that this idea refers to the extremely important and groundbreaking concepts related to the Croatian standard language. This is so as the formula is not only an idea that seeks to enrich the language of literature (notably poetry), which should be derived from all the Croatian dialects, but also aims to stimulate a discussion about the standard language and its relationship to dialectisms (as evidenced by the 2019 Ministry of Culture and the public appearances of Drago Štambuk). This, in turn, opens up a problem of linguistic amalgams in general. Therefore, the paper connects the golden formula not only with the elaborated conceptions of hybrid languages in Croatian history (Istrian Protestants, the Ozalj circle), but especially with the polemics led by the representatives of the Zagreb Philological School with the Croatian ‘vukovites’ (emphasizing different approaches). The article analyzes the ambivalent attitudes of some key Croatian linguists with regard to the dialectisms in the standard language – from the 19th century to the present day and the possible consequences of the hybridization process.

The article attempts to consider issues related to the presence of various language varieties in Croatian literature – general/standard (native and foreign), regional (dialects, regiolects), social (sociolects). Focusing primarily on artistic narrative prose, the author tries to show how the heritage of centuries‑old multilingualism in the culture of Croatia translated into various stylistic phenomena, how it evolves and what consequences it may have not only for the language itself, but also for cultural phenomena. Thanks to this approach, an attempt is made to highlight the circumstances related to the choice of the Shtokavian dialect as the literary language in the 19th century.

Summary The article analyses multilingual and multicultural diversity in the narrative prose of the Croatian writer Nedjeljko Fabrio. Set in the borderlands of Dalmatia and Kvarner, Fabrio’s novels evoke the lives of people belonging to different ethnic and speech communities – Croats, Italians, Austrians, Serbs, Yugoslavs, or as yet to be defined individuals – from the beginning of the 19th c. until today. Staging ‘weak protagonists’ rather than ‘strong heroes’ and inclining to sociolects and dialects rather than to standard language, his novels create a universe in which the characters’ individual experience counters Croatian national narratives. Fabrio’s narratives suggest that multilingual settings might either lead to conflicts between ethnic groups or to reconciliation between them. Ignoring social rules, individuals join other communities, moving up and down the class ladder. Such mésalliances result in complex genealogical trees out of which a hybrid culture emerges. Through allegorical transfer, the author signals the possibility of reconciliation between different conflicted communities.

The article aims at addressing the question of representations of World War Two in Croatian and Serbian literature that were subversive in the sense that they queried the legend not simply by rejecting communism and affirming nationalism, but by emphasizing the uncertainty and sensibility of the human beings, a typical modern reaction to violence and, in general, modernist topoi. In this article I will focus on modernist novelistic representations of the 1960s in which the uncertainty and instability of collective warrants are foregrounded. As a result a subversive meaning is produced which contradicts not only communism and revolution but more generally war as such, including the universal features of war such as confronting loneliness, love as an expression of an individual rather than a collective sense of existence, and the impossibility of a valid representation of past events.

In the article a problem of mutual intertwining relationships between two Croatian short novels is taken into consideration. Although Vjekoslav Kaleb’s Glorious Dust (1954) and Antun Šoljan’s Short Excursion (1965) are set in a diff erent chronotope, namely the former in the Dalmatian hinterland during World War Two and the latter in the Istrian post- war Yugoslav reality, they possess some similar structural features. Among resemblances a motif of journey, taken allegorically as life (conceptual metaphor "life if a journey"), that binds together the two novels, is the most important. The author of this article attempts to investigate the problem of such a concept of journey referring both to the philosophy of existentialism (notably Camus and Sartre) and literary preoccupations concerning the problem of meaningfulness and senselessness of human raison d’être.

Osnovni je cilj ovoga rada usporedba ratnog romana Ivana Supeka, koji je 1959. godine objavljen kao Dvoje između ratnih linija, a 1995. godine doživio je novo izdanje - Između ratnih linija. Usporedba se vrši na trima razinama jezične zbilje: (1) odnos prema jezičnim elementima koje se smatra hrvatskim/nehrvatskim; (2) uloga narječja; (3) stilske i tekstualne modifikacije. Analiza pokazuje na koji je način modificirano jezično tkivo Supekova romana na tim trima razinama i koji su razlozi za njihovu interpretaciju. One su sve ideološki uvjetovane, no razlikuju se po tome što se referiraju na drukčije kulturne preokupacije. Istraživanje prve razine pokazuje da je Supek u pedesetima bio sklon uporabi hrvatskih elemenata, ali da je u drugom izdanju svoj jezik još više kroatizirao. Što se tiče upotrebe narječja, u prvom izdanju likovi gotovo govore jezikom pripovjedača, dok u drugom jedan od likova govori zagrebačkim idiomom (ovo se interpretira kao u vizuri odnosa standarda prema kajkavskom idiomu od narodnog preporoda, preko Krležinih literarnih intervencija, pa sve do proze u trapericama). Stilistička razina pokazuje da je autor intencionalno intervenirao u tekst kako bi drukčije modelirao svoj odnos prema Drugome svjetskom ratu, drukčije kodirajući ulogu Hrvata i Srba u njemu te mijenjajući u predmetnom svijetu poziciju Hrvatske seljačke stranke., The principal aim of this paper is to compare two editions of the war novel written by Ivan Supek in 1959 under the title The two between the frontlines which was re-edited in 1995 and published under the title Between the frontlines. The comparison deals with three aspects of linguistic reality: (1) the attitude towards the linguistic items perceived as Croatian/non-Croatian; (2) the absence/presence of dialects; (3) the stylistic and textual modifications. The inquiry reveals to what extent Supek’s idiolect was modified at these levels and which reasons could be given for the possible interpretations of these levels. The investigation of the first level demonstrates that, in the ‘50s, Supek tended to use items considered as Croatian, but the new edition is even more Croatianized. As far as the second level is concerned, whereas in the first edition dialects are omitted, and characters speak the same way as the narrator, in the second, one of the characters speaks in the Kajkavian dialect (this is interpreted as a consequence of the role that the dialect in question has had in Croatian culture since the National Revival, over Miroslav Krleža’s literary interventions until the literary movement called after Aleksandar Flaker – the jeans prose). The stylistic level reveals that the author intentionally modified his attitude towards World War Two by encoding different roles for the Croats and Serbs within the universe of the novel, and by rewriting the position of the Croatian Peasant Party during the war. All shifts are ideological in character, but they differ in terms of making various intra-cultural references.

In the article one book written by the Croatian author, Ante Kesić, is taken into consideration. The novel Black Snow, published in 1957, narrates about a Slovenian young woman, Breda, who was caught by the Germans in Ljubljana (for her contacts with communist partisans) and sent to the Dachau Concentration Camp. Although not of Jewish origins she encounters the Holocaust of the Jews in the camp and gets pregnant with a Jewish artist. The novel conceptualizes tragedy of war and the Holocaust in a very experimental way, by using a range of modernist, avant-garde or even surrealist literary techniques. The author attempts to invent a new language with a new grammar that would enable to express something that is not expressible.

Some immunomodulatory agents stimulate the release of cytokines capable of suppressing P450 enzymes and potentially affecting pharmacokinetics of coadministered medications. Cytokines released in response to an immunomodulator in the blood ex vivo can be used to screen for the potential for drug‐drug interactions. Tilsotolimod, an investigational agonist of Toll‐like receptor 9, stimulated the release of macrophage chemoattractant protein‐1 (MCP‐1), macrophage inflammatory protein‐1α (MIP‐1α), and interferon‐α2a (INF‐α2a) in blood obtained from healthy donors. Although tilsotolimod did not directly affect CYP1A2, CYP2B6, or CYP3A4 expression or activity, the cytokines stimulated by the drug reduced CYP1A2 and CYP2B6 enzyme activities in cultured human hepatocytes. This study sought to identify which cytokines were responsible for tilsotolimod's indirect effects on P450 enzymes in vitro. A 72‐h treatment with recombinant human chemokines MCP‐1 and MIP‐1α did not alter CYP1A2, CYP2B6, CYP2C8, CYP2C9, CYP3A4, or signal transducer and activator of transcription 1 (STAT1) mRNA expression or CYP1A2, CYP2B6, or CYP3A4/5 enzyme activity in cocultures of human hepatocytes and Kupffer cells. INF‐α2a, at 2.5 ng/mL but not at the lower concentrations applied to the cells, increased CYP1A2 and STAT1 mRNA by 2.4‐ and 5.2‐fold, respectively, and reduced CYP2B6 enzyme activity to 46% of control. This study established that INF‐α2a, but not MCP‐1 or MIP‐1α, mediated tilsotolimod effects on CYP1A2 and CYP2B6 expression in human hepatocytes.

Bile acid synthesis plays a key role in regulating whole body cholesterol homeostasis. Transcriptional factor EB (TFEB) is a nutrient and stress-sensing transcriptional factor that promotes lysosomal biogenesis. Here we report a role of TFEB in regulating hepatic bile acid synthesis. We show that TFEB induces cholesterol 7α-hydroxylase (CYP7A1) in human hepatocytes and mouse livers and prevents hepatic cholesterol accumulation and hypercholesterolemia in Western diet-fed mice. Furthermore, we find that cholesterol-induced lysosomal stress feed-forward activates TFEB via promoting TFEB nuclear translocation, while bile acid-induced fibroblast growth factor 19 (FGF19), acting via mTOR/ERK signaling and TFEB phosphorylation, feedback inhibits TFEB nuclear translocation in hepatocytes. Consistently, blocking intestinal bile acid uptake by an apical sodium-bile acid transporter (ASBT) inhibitor decreases ileal FGF15, enhances hepatic TFEB nuclear localization and improves cholesterol homeostasis in Western diet-fed mice. This study has identified a TFEB-mediated gut-liver signaling axis that regulates hepatic cholesterol and bile acid homeostasis., TFEB is a transcriptional regulator of lysosomal biogenesis, activated upon starvation or lysosomal stress. Here the authors report that TFEB regulates hepatic bile acid synthesis downstream of FGF19 signaling.

This article describes the experience of the community of Serb-Catholics living in Dubrovnik in the early twentieth century. It is based primarily on an investigation of the literary and cultural periodical Srdj (1902–08). This study focuses, fi rstly, on the conceptual ambivalence resulting from efforts to apply linguistic criteria to determine Serbian identity and, secondly, on the efforts to construct a mental map that would serve projections of Serbian symbolic territory. While the presence of the Serb-Catholic milieu in the city was short-lived (from the mid-nineteenth century to the First World War), it nevertheless left traces on the urban landscape that typifi ed the ambivalent formation of national identity along religious lines, as Croatians were associated with Catholicism and Serbs with Orthodoxy.

Artykuł podejmuje próbę rozważenia ewolucji paradygmatu deheroizującego w serbskiej prozie wojennej. Analiza koncentruje się na powieści Borislava Pekicia "Kako upokojiti wampira" (1977), ale próbuje ją usytuować w kontekście wcześniejszych form narracyjnych. Lata 50. XX wieku przynoszą nowy model bohatera wojennego, który chwilowo się waha, aby ostatecznie powrócić na obraną przez siebie drogę (drogę rewolucji). W latach 60. dominują bohaterowie, którzy nie podejmują walki, co prowadzi ich do obłędu. Lata 70., w tym analizowane dzieło Pekicia, próbują przełamać impas defetyzmu przez ponowne odkrycie społecznej natury człowieka. To z kolei otwiera zupełnie nowe problemy. The article attempts to deal with the evolution of a paradigm which brings war heroism in Croatian and Serbian fiction into question. The analysis focuses on the novel of Borislav Pekić "How to Quiet a Vampire" (1977), but is contextualized within earlier literary poetics. The 1950s bring about a new model of a war hero who is temporarily hesitating but in the end returns to his earlier path (the path of revolution). There is a new tendency in the 1960s: they decisively give up their role in the war and revolution which leads them to insanity. The 1970s, which is exemplified by the novel of Pekić, attempt to break the deadlock caused by the previous defeatism by re-discovering man’s social nature. This, however, opens up completely new problems.

The understanding of national history and the structure of historical text. About some text-forming devices on the example of Polish history In the article some operational terms in historical text (here in the genre of the popular-scientific synthesis of a national history) are taken into consideration, notably: final (term by Boris Uspienski) and narration/narrative . It is demonstrated how the last link of a chain of events in historical representation – called by Uspienski the final – influences, and in fact enables, the very construction of any story about the past. Moreover, the final makes it possible to grasp all historical entities (protagonists, events, etc.) within a defined axiological sphere. Thus, some entities are considered to be good whereas some other are bad. Their role in a narrative is determined in relation to the final that affirms a teleology of a nation (here in the example of Polish nation). In this context, the two concepts that of event and process , taken from narratology (Doležel and van Dijk), are elaborated.

The Yugoslav NewspeakIn the article the issue of a language of the Yugoslav communists – called here after Orwell the totalitarian Newspeak – is taken into consideration. It aims at finding similarities and differences between the Polish and Yugoslav Newspeak basing on analysis of discourses of the Yugoslav dictator – Josip Broz Tito, Yugoslav historiography and political slogans. In the first section concrete linguistic phenomena are taken into account (like lexical items, semantic dichotomies, periphrases, metaphors and so on), whereas in the second: extra-linguistic circumstances – including social-political and cultural context – making the Yugoslav communicative practices specific and different from the Polish ones.

A stylistic outline of a genre: synthesis of a nation’s history (a research of the Croatian and Serbian texts)In the article a particular genre, i.e. synthesis of a nation’s history, or national historiography, is stylistically elaborated. There are at least two reasons why this sort of genre, that has never been scholarly discussed, ought to be analyzed: a social-political relevance (books like A History of Poland, or A History of Croatia, or A History of Serbia play an important role in spreading historical consciousnesses and particular interpretations of history), a linguistic-stylistic (the very construction of texts of this sort differs in many respects from scholar texts possessing many popular-scholar linguistic markers and, additionally, since they concern history, the narrative itself has a its own peculiarity).

In this article paradigms of socialist realist poetics in prose narrative on World War Two are taken into consideration. Some key ideologemes of socialist realism and communist worldview are underlined, such as absence of ambiguity (unequivocalness), simplifications, consistent mimeticism (truthful and historically concrete representation of reality), class awareness, militancy and heroism in war. Alongside theoretical and official directives, formulated by dogmatic theoreticians of socialist realist doctrine (like Jure Franičević-Pločar who based his understandings of literature on the Soviet principles, created by Zhdanov and Stalin), there are given analyses of some literary texts written by Josip Barković, Joža Horvat, Ivo Andrić i Mate Beretin. The author focuses on literary construction of characters – the prototype illegal partisans who ruthlessly struggle against the occupiers as well as chronotopic settings which enable for the action to be set within schematized conflict of good and evil. Including the new communist man, that is created during the revolution, there are given crucial political orientations concerning the canonized vision of the war, such as the principle of symmetry (meaning that all peoples’ traitors are fascists) and the vision of the liberation from fascism as the victory of the communist revolution (in this perspective, communists are depicted as the sole antifascists).

Some biologics can modulate cytokines that may lead to changes in expression of drug‐metabolizing enzymes and cause drug‐drug interactions (DDI). DDI potential of TV‐1106—an albumin‐fused growth hormone (GH)—was investigated. In this study, human blood was exposed to recombinant human growth hormone (rhGH) or TV‐1106, followed by isolation of the plasma and its application to human hepatocytes. While the treatment of blood with rhGH increased multiple cytokines, treatment of blood with TV‐1106 had no effect on any of the nine cytokines tested. The interleukin (IL)‐6 concentration was higher in the rhGH then in the TV‐1106‐treated plasma (P

Niniejszy tekst zostal napisany w momencie, w ktorym Chorwacja – drugi kraj powstaly na gruzach komunistycznej Jugoslawii – przygotowywala sie do wejścia do Unii Europejskiej, co ostatecznie nastąpilo 1 lipca 2013 r. Choc aspekt polityczny integracji europejskiej nie zmienia w zasadniczym stopniu ogolnych dylematow chorwackiej kultury, to jednak – za sprawą doraźnej akcji propagandowej prowadzonej przez wszystkie strony sporu politycznego – wyjaskrawia pewne fundamentalne jej obszary. Jednym z nich jest spor historyczny, ale w swojej istocie kulturowy, przebiegający wzdluz linii podzialow politycznych, ktore dzielą spoleczenstwo, mowiąc umownie, na lewice i prawice. Polaryzacja taka nie odbiega od przecietnego modelu w innych krajach europejskich, ale charakteryzują ją rowniez okoliczności lokalne, do tego stopnia odmienne od polskich, ze nakladanie na chorwacką i jugoslowianską rzeczywistośc spoleczną polskich okularow moze prowadzic do skrajnie uproszczonych ocen.