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ZusammenfassungSeit dem 10. März 2017 ist es erlaubt, Patienten mit schwerwiegenden Erkrankungen nach entsprechender Indikationsstellung und bei fehlender Therapiealternative adäquat mit Cannabisarzneimitteln zu versorgen. Das Gesetz zur „Änderung betäubungsmittelrechtlicher und anderer Vorschriften“ („Cannabis-Gesetz“) ermöglicht die Verkehrs- und Verschreibungsfähigkeit von Arzneimitteln auf Basis von Cannabisblüten und -extrakten in standardisierter pharmazeutischer Qualität zu medizinischen Zwecken neben Fertigarzneimitteln. Eine Bestandsaufnahme mit Ausblick.

Dem Band liegen die Vortrage der gleichnamigen Tagung zugrunde, die am 2.-4. November 2016 in Wien am Italienischen Kulturinstitut und am Kunsthistorischen Institut der Universitat stattgefunden hat. Die Rime und der Aminta sind dabei genauso Gegenstand der Analyse wie Gerusalemme Liberata und Gerusalemme Conquistata . Schwerpunkte des Bandes bilden die Tasso-Portrats und sein Autorschaftskonzept, seine dichterische Verarbeitung zeitgenossischer Kunst und die ekphrastische Tradition, die fruhen Illustrationen der Gerusalemme Liberata von Domenico Mona und Antonio Tempesta, exemplarische Analysen der Tasso Interpretationen in der Malerei des 17. Jahrhunderts bei Ludovico Carracci, Giovanni Battista Vanni, Pietro Testa, Paolo Domenico Finoglio, Anthonis van Dyck und Nicolas Poussin, bis hin zur Rezeption Tassos in der britischen Malerei des 19. Jahrhunderts. Dabei liegt der Fokus immer auf den produktiven Wechselwirkungen von Bildern und Texten.

M-current-mediating KCNQ (Kv7) channels play an important role in regulating the excitability of neuronal cells, as highlighted by mutations in Kcnq2 and Kcnq3 that underlie certain forms of epilepsy. In addition to their expression in brain, KCNQ2 and -3 are also found in the somatosensory system. We have now detected both KCNQ2 and KCNQ3 in a subset of dorsal root ganglia neurons that correspond to D-hair Aδ-fibers and demonstrate KCNQ3 expression in peripheral nerve endings of cutaneous D-hair follicles. Electrophysiological recordings from single D-hair afferents from Kcnq3(-/-) mice showed increased firing frequencies in response to mechanical ramp-and-hold stimuli. This effect was particularly pronounced at slow indentation velocities. Additional reduction of KCNQ2 expression further increased D-hair sensitivity. Together with previous work on the specific role of KCNQ4 in rapidly adapting skin mechanoreceptors, our results show that different KCNQ isoforms are specifically expressed in particular subsets of mechanosensory neurons and modulate their sensitivity directly in sensory nerve endings.

Insulin-degrading enzyme (IDE) is a Zn(2+) metalloprotease with a characteristic inverted catalytic motif. IDE is ubiquitously expressed and degrades peptide substrates including insulin, endorphin, and the amyloid-β peptide. Although IDE is mainly expressed in the cytosol, it can also be found on the cell surface and in secreted form in extracellular fluids. As IDE lacks a characteristic signal sequence that targets the protein to the classical secretory pathway, release of the enzyme involves non-conventional mechanisms. However, functional domains of IDE involved in its secretion remain elusive. By bioinformatical, biochemical, and cell biological methods, we identified a novel amino acid motif ((853)EKPPHY(858)) close to the C terminus of IDE and characterized its function in the non-conventional secretion of the protein. Because of its close homology to an amino acid sequence found in bacterial proteins belonging to the SlyX family, we propose to call it the SlyX motif. Mutagenesis revealed that deletion of this motif strongly decreased the release of IDE, whereas deletion of a potential microbody-targeting signal at the extreme C terminus had little effect on secretion. The combined data indicate that the non-conventional secretion of IDE is regulated by the newly identified SlyX motif.

In early modern Europe politics and religion are insoluble parts of a binary system, and so are political and religious iconography. The fusion between political and religious iconography is nowhere more evident than with the Spanish Hapsburgs. Key issues of Counter-Reformation theology and pillars of Catholic orthodoxy such as the Eucharist, the Trinity or the Immaculate Conception, were adopted and indeed incorporated into the dynastic imagery of the Catholic Kings, representing their piety and devotion, and, therefore, undisputed role as foremost defenders of the Catholic faith and legitimate rulers of the world. This chapter addresses the questions that have been mostly avoided in art historical literature: whether and how the politics of Counter-Reformation iconography in Hapsburg Spain had an impact on Naples and the Spanish dominions in Southern Italy, and also how far the production and consumption of art was, directly or indirectly, shaped by these politics. Keywords: counter-reformation theology; Italy; Naples; Neapolitan Art; politics; religious iconography; Spanish Hapsburgs

Il saggio analizza il ciclo di 20 illustrazioni (una per canto) realizzate dal pittore ferrarese Domenico Mona per il poema epico tassiano che dal 1581 avrebbe avuto fortuna universale col titolo "Gerusalemme liberata." Il ciclo in esame, tuttavia, è sicuramente anteriore all’11 giugno del 1580 (il manoscritto ferrarese che ce le tramanda riporta questa data come momento in cui le venti vignette furono incollate sul codice) e dunque è parso opportuno considerarlo il corredo illustrativo del "Goffredo", secondo il titolo che probabilmente avrebbe usato Tasso stesso se, dopo la revisione romana, non fosse entrato in crisi il suo progetto di pubblicare il poema intorno al 1575-76. Vari indizi interni al ciclo consentono di ipotizzare che il pittore fosse amico intimo di Tasso e spingono anzi a immaginare che il ciclo sia stato concordato con il poeta stesso in vista di un’edizione auspicata, considerata forse imminente e poi abortita. In ben tre casi su venti, infatti, il testo illustrato da Mona è diverso da quello della vulgata perché si basa su fasi compositive attestate nel corso della revisione romana. Si aggiunga che in un gran numero di casi le originalissime scelte dell’illustratore paiono conformi agli equlibri testuali e alle auto-censure attestati dalle cosiddette lettere poetiche del 1575-76.