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    Process for the preparation of alectinib

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    The present invention relates to a process for preparing alectinib or a pharmaceutically acceptable salt thereof. The present invention also relates to 5 intermediate compounds which are useful in such process and to the preparation of such intermediate compounds. Alectinib is approved as the hydrochloride salt, which is the active ingredient of drug Alecensa® and is intended for oral administration in the form of capsule. It is an anaplastic lymphoma kinase (ALK) inhibitor indicated for the treatment of patients with non-small-cell lung cancer (NSCLC)

    Photocatalyst-free, Visible Light Driven, Gold PromotedSuzuki Synthesis of (Hetero)biaryls

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    Avisible-light driven Suzuki cross-coupling reactionwas per-formed with colored and bench-stable arylazosulfones in thepresenceofPh3PAuCl (5 mol %) as the catalyst.The absence ofaphotocatalyst ,along with the use of commercially availableand easy-to-handle arylboronic acids underline the novelty andsynthetic usefulness of the protocol. Areaction mechanism in-volvingthe generation of an aryl radicalasthe key intermedi-ate has been proposed on the basis of experimental investigations

    Nickel catalyzed regio- and stereoselective arylation and methylation of allenamides via coupling reactions. An experimental and computational study.

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    The nickel catalyzed regio- and stereoselective condensation of boronic acids to allenamides is documented as a novel synthetic route to stereochemically defined tri-substituted enamides. The protocol has been implemented into a three-component variant intercepting the in situ formed allyl-Ni intermediate with a range of aldehydes. Additionally, evidence for the effective extension of this methodology to Me2Zn is documented. Full rationale on the mechanism as well as its stereochemical outcome is provided by a synergistic experimental/computational approach

    Nickel-Catalyzed Synthesis of Stereochemically Defined Enamides via Bi- and Tricomponent Coupling Reaction

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    The stereoselective synthesis of (E)-trisubstituted tertiary enamides is documented via site-selective Ni-catalyzed β-arylation of allenamides with boronic acids in high yields (up to 89%). The nucleophilic character of the “organo-Ni” intermediates is further exploited to implement a one-pot tricomponent procedure involving the final allylation of aldehydes (yields up to 93%). Mechanistic insights and efficiency on a gram scale process were also documented

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed

    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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