Authors:Sanjay Karan, Kedar Rout, Sagar Mishra, and Dilip Pal
The bioactive molecule, α-amyrin acetate, was isolated from the nhexane extract Streblus asper stem bark by column chromatography. The structure of the compound was characterized with the help of physical and spectroscopic data. A high-performance thin-layer chromatography (HPTLC) method has been developed and validated for its quantification in S. asper leaf, stem bark, and root. Chromatographic separation of the compound was achieved on high-performance precoated TLC plates by using optimized binary mobile phase consisting of n-hexane-ethyl acetate (9.6:0.4, v/v). HPTLC scanning was performed at 472 nm after derivatization of the plate with methanol-sulphuric acid reagent in reflection/absorption mode. The method was validated according to International Conference on Harmonization (ICH) protocol for specificity, sensitivity, linearity, accuracy, precision, repeatability, and robustness. The developed method is found to be very simple, rapid, precise, sensitive, and accurate for the quantification of α-amyrin acetate in S. asper.
The article deals with various therapeutic aspects of writing down one's requests and problems in a so called pilgrim book. With help of text passages people's strategies and different scopes are illustrated. Simple formulas e.g. established within the religious context can help to bridge speechlessness and silence, the falling back on traditionally proven forms and behaviours may create a certain feeling of security. Certain tendencies of “using” religion become apparent: religion has to place categories at people's disposal to compensate experiences of contingency connected with pressing problems, personal crises and social border experiences. The “benefits” of the religious system are in demand above all in the case of individual crises, where the social mechanisms of contingency absorption do not work any more or do not work enough. The article focuses also on the specific communication with God, Jesus or Mary: as they “know” what people mean, there is no risk to be misunderstood. The pilgrim book figures as mirror of longings, deficits, doubts and fantasies in recent societies.
The paper is dealing with new forms of writings. The inscription books, found in a hospital in Budapest, contain shorter or longer texts of patients who say thanks to doctors and nurses for helping in regaining their health. The inscription books and their texts are regarded by the author as special form of communication, ritualized way of thanksgiving. The motivation of the rite can be found in a search for safety and stability, in a feeling of compensation.
1889 the Weimar Theatre intendant invited Richard Strauss to join the staff of the Hofoper as second Kapellmeister. Weimar was a tempting proposition for the recent convert to the New German School. The Lisztian effect was soon make itself felt in Strauss symphonic works. His Liszt studies were crucial to his musical development. Weimar offered him the opportunitiy to translate theory into practice. Liszt's orchestral music had been largely shunned and despised in the great tratidional performing centres of Europe during his life-time. He occupied a more commanding position in Munich's concert life (1894–99). In the Akademie season 1894–95 Strauss conducted in Berlin. He actively supported Liszt's music (Mephisto-Waltz, Die Ideale, Mazeppa, 2nd Piano Concerto). It was undoubtedly Liszt's perception of the complementary nature of form and expression that was attractive to Strauss. Form and content apart, Strauss's was also intrigued by Liszt's unconventional harmonic procedures and, by his indiviual style of orchestration. In 1898 Strauss moved to Berlin as erster königliche Kapellmeister at the Staatsoper. His modern concerts (1910–1903) featured Liszt symphonic poems. His admiration for Liszt's music and its seminal impact upon his own work is beyound doubt. His devotion to the Lisztian cause is transparent and was enduring: witness his tireless and activities on behalf of the Liszt Gesamtausgabe. Strauss kept Liszt's orchestral works in the public domain by making them the focal point of his permanent repertoire (Graner Messe, Mazeppa, Mephisto Walltz, Les Préludes, Orpheus, Faustsinfonie etc.). Liszt's music was a life-long obsession for Strauss.