Introduction. During WWII, the Owl Mountains were the site of a large-scale military investment codenamed Riese. This project called for the construction of underground passages using concentration camp prisoners as laborers. Material and methods. On the basis of terrain inventory, analysis was conducted of the tourism management of six military-historical complexes of Project Riese and their environs. Tourists were polled to determine how attractive they found one of these - the Rzeczka complex - as a tourist destination. Results. The results obtained in the study led to the conclusion that the complexes' infrastructure and tourist attractions meet the needs of tourist activity in the area. In the case of the municipalities where complexes are located, it was determined that they are not being adequately developed. Conclusions. At present, the Project Riese complexes are seeing the development of various forms of tourism. An important problem with the development of tourism there is the conflict between the need to protect the environment and cultural heritage and the development of commercial and recreational tourism services.
IntroductionEncephalopathy and stroke in COVID-19 patients have been repeatedly reported. Previous reports indicate that SARS-CoV-2 infection is associated with a significantly escalated risk of ischemic stroke, especially with potentially cryptogenic stroke. Encephalopathy is also present in Cerebral Autosomal Dominant Arteriopathy with Subcortical Infarcts and Leukoencephalopathy (CADASIL). Definitive diagnosis of CADASIL is based on sequencing the NOTCH3 gene. Primary pathology is the accumulation of abnormal transmembrane deposits on vascular smooth muscle cells in the brain and other organs.Material and methodsGenome of the patient was sequenced with the average depth of coverage 32,7x and mapped to the reference genome GRCh38. The whole genome sequencing (WGS) approach identified heterozygous missense variant NOTCH3 in the exon 8. Targeted Sanger sequencing was done to confirm the presence of the variant, and to examine the closest relatives. Beside the patient, all family members were unaffected, the variant appeared de novo.ResultsIdentified variant was not reported in the GnomAD v.3 and 1000 Genomes, nor in polymorphism database dbSNP. No clinical information was available in ClinVar. The only information regarding variants in the same amino acid position (Cs440Ser and Cys440Gly) from LOVD database were reported by Markus et al. They were found in 2 individuals affected with CADASIL and interpreted as pathogenic on the basis of symptoms and familial cosegregation.
Beside the patient, all family members were unaffected, the variant appeared de novo.ConclusionsThe simultaneous COVID-19 infection could probably provoke an exacerbation of a previously asymptomatic CADASIL patient and could lead to an acute ischemic multi-infarct encephalopathy.
This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
The book “African Art. African Tradition – African Modernity” contains several texts about modern and traditional art from the African continent. The majority of these texts were presented during International Conference “AFRICAN TRADITION – AFRICAN MODERNITY” which was the first scientific event of this kind organized at the University of Łódź. This conference was attended by a great many Scholars from Poland and abroad who wanted to share their experiences and reflections, based on their research regarding African Art. The Editors of this book truly hope that this publication will initiate an entirely new approach of looking at and treating of African Art – it’s various problems, challenges and threats.
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