Hyaluronan is a natural polymer that was introduced to wound therapy. Formulations based on synthetic polymers such as methylcellulose (MC) and polyacrylic acid (PA) containing hyaluronan (HA) were proposed for the development of prospective wound-healing preparations. The formulations of different carrier concentrations containing a fixed amount of HA were prepared, and their viscosity was measured. The HA release was evaluated by employing the apparatus paddle over a disc. The hydrogels were introduced to the donor chamber, and HA was released to the pH = 7.4 buffer. The amount of HA released was obtained using the ELISA test. The release was analyzed on the basis of different kinetic models: zero-, first-, and second-order kinetics, as well as Higuchi and Korsmeyer–Peppas equations. The release rate constants and the half release time were calculated from these equations. According to the value of the coefficient of the determination, the best model describing the observed process was selected. The comparison between the dissolution profiles was carried out by calculating the difference factor f1 and the similarity factor f2. The interaction between the hydrogel components was investigated by Fourier-transform infrared spectroscopy (FTIR) and differential scanning calorimetry (DSC) measurements. The study revealed that the zero-order equation best described the release of HA from the formulations studied. The FTIR research and the DSC study showed the intermolecular interaction between HA chains in MC-based compositions, as well as between HA and the synthetic polymer in the PA-based formulations. The study revealed that the formulation with a higher concentration of synthetic polymer may prolong the release of HA. The obtained results indicated that the proposed hydrogels have potential for wound healing and may accelerate skin regeneration.
C zy Bruno Schulz był muzykalny? Czy cenił muzykę, czy jej słuchał? Niełatwo dzisiaj odpowiedzieć na te pytania. O związkach prozy lub biografii Schulza ze sztuką dźwięków nie powstały dotychczas większe monografie, dalszym poszukiwaniom nie sprzyjało być może milczenie na ten temat nawet tak niestrudzonych badaczy jak Jerzy Ficowski 1 , a także skromna liczba zachowanych źródeł. Czytelnik dysponuje dziś trzema świadectwami dotyczącymi doświadczeń muzycznych pisarza. Dwa wspomnienia spisali jego przyjaciele muzycy, jedno należy do rodzinnej legendy Schulzów.
The article analyzes the potential sonic experiences of Bruno Schulz. The numerous references to music in his prose inspire questions about Schulz’s attitude towards music. Based on the testimonies of his family and friends, it is impossible to determine Schulz’s opinion on the art of sounds, or whether he was musical and what kind of music he listened to. The ‘acoustic biography’ presented here becomes a metaphor for Schulz’s probable auditory experiences. Arranged in the chronological order, it respects the principles of probability, and is based on the historical and cultural context of 19th- and 20th-century Poland.
The article describes three operas inspired by the works of Bruno Schulz: 1976 Demiurgos by Juliusz Łuciuk, Mannequins by Zbigniew Rudziński, premiered in 1981, and Tree of Codes, written by the Australian composer Liza Lim, premiered in 2016 in Germany. The fate of two Polish operas inspired by Schulz varies considerably – there has been no stage premiere of Demiurgos yet, and Mannequins have won world fame. Demiurgos is a sonorous opera in which the composer, through the relationship of the father and his son, presents his own musical philosophy – the coexistence of tradition and modernity. Rudziński is fascinated with Schulz’s language, which he believes can be translated into a musical language and which has its musical potential. Lim’s opera, composed after reading Jonathan Safran Foer’s Tree of Codes, presents a mythical place beyond time, a fluid reality in which boundaries are unstable, and characters undefined and hybrid.
In the paper, the author presents the results of her research on the origins of two illustrations credited to Bruno Schulz. Illustrations decorate the covers of two different tango sheet music books from the 1930s – „Dziewczę me, wspomnij noc. Tango” („Oh Girl, Remember the Night. Tango”) and „Biały motyl” („White Butterfly”). One of the covers was found on a vintage auction, while the other remains only in the memory of the last owner and inheritor of the songwriter. The author interviews the last owner of the books, reconstructing the story of Schulz’s friendship with musicians and the history of lost illustrations.
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