N-diphenylcarbamoyl-leucine

• 分子结构分类: 有机化合物 - 有机酸及其衍生物 - 羧酸及其衍生物
• 英文名称: N-diphenylcarbamoyl-leucine
• 英文别名: α-(ω.ω-Diphenyl-ureido)-isocapronsaeure；N-(α-Carboxy-isoamyl)-N'.N'-diphenyl-harnstoff；N-Diphenylcarbamoyl-leucin；N-Diphenylaminoformyl-leucin；2-(Diphenylcarbamoylamino)-4-methylpentanoic acid
• 化学式: C₁₉H₂₂N₂O₃
• 分子量: 326.395
• InChiKey: XLDDBZFSURLRJG-UHFFFAOYSA-N

计算性质

• 辛醇/水分配系数(LogP)：
  4
• 重原子数：
  24
• 可旋转键数：
  6
• 环数：
  2.0
• sp3杂化的碳原子比例：
  0.26
• 拓扑面积：
  69.6
• 氢给体数：
  2
• 氢受体数：
  3

反应信息

• 作为产物：
  描述：

  二苯氨基甲酰氯 、 alkaline earth salt of/the/ methylsulfuric acid 在 丙酮 作用下， 生成 N-diphenylcarbamoyl-leucine
  参考文献：
  名称：

  Women in Wheelchairs: Space, Performance and Hysteria in Libuše Moníková’s Pavane für eine verstorbene Infantin and Ines Eck’s Steppenwolfidyllen

  摘要：

  Libuše Moníková’s Pavane für eine verstorbene Infantin and Ines Eck’s Steppenwolfidyllen both have as their first‐person narrator a woman who chooses to present herself as wheelchair‐bound. This article examines how the notion of a female identity and voice is played out in two modes of discourse which converge on the image of the wheelchair, namely the spatial and the performative. The wheelchair demarcates personal space and acts as a prop for a performance of disability. This article shows how the texts in question reflect these two aspects in a network of spatial representations and topographical metaphors, and in their concern with imitation and role‐playing. Moreover, the wheelchair is also a ‘room of one’s own’, a precondition of writing for the two women narrators. They develop narrative strategies based on mimicry and mutism, which are the strategies of the hysteric according to Luce Irigaray. It is shown how the notion of hysteria underlies Moníkova´’s use of quotation and Eck’s conspicuously unconventional typography. The hysteric’s performance focuses on the body even while denying it authenticity. Ultimately, then, the image of the wheelchair offers new perspectives on feminist concerns with the body and with women’s writing, particularly the notion of ‘Körper‐Sprache’.

  DOI：

  10.1111/1468-0483.00183

文献信息

• Women in Wheelchairs: Space, Performance and Hysteria in Libuše Moníková’s Pavane für eine verstorbene Infantin and Ines Eck’s Steppenwolfidyllen
  作者：Lyn Marven

  DOI：10.1111/1468-0483.00183

  日期：2000.10

  Libuše Moníková’s Pavane für eine verstorbene Infantin and Ines Eck’s Steppenwolfidyllen both have as their first‐person narrator a woman who chooses to present herself as wheelchair‐bound. This article examines how the notion of a female identity and voice is played out in two modes of discourse which converge on the image of the wheelchair, namely the spatial and the performative. The wheelchair demarcates personal space and acts as a prop for a performance of disability. This article shows how the texts in question reflect these two aspects in a network of spatial representations and topographical metaphors, and in their concern with imitation and role‐playing. Moreover, the wheelchair is also a ‘room of one’s own’, a precondition of writing for the two women narrators. They develop narrative strategies based on mimicry and mutism, which are the strategies of the hysteric according to Luce Irigaray. It is shown how the notion of hysteria underlies Moníkova´’s use of quotation and Eck’s conspicuously unconventional typography. The hysteric’s performance focuses on the body even while denying it authenticity. Ultimately, then, the image of the wheelchair offers new perspectives on feminist concerns with the body and with women’s writing, particularly the notion of ‘Körper‐Sprache’.