Academic literature on the topic 'Black Mafia Family'

The paper focuses on marginalia written in the home gospel of the authoress Elizaveta Vasilyevna Salias de Turnemir of Sukhovo-Kobylin family (pseudonym Evgeniya Tur). The gospel is preserved in Tver State Museum and is a part of the collection of objects that belonged to a family of the `field general I. V. Gurko, who was married to the eldest daughter of the Elizaveta Salias de Turnemir. The marginalia presented the chronicle of three families: Sukhovo-Kobylin, Salias de Turnemir, Gurko. They all left a noticeable mark in the history of Russia. E. V. Salias made notes on the blank pages of the gospel and wrote about events of her and her relatives` lives. They include birthdays, marriages and deaths. The notes help to specify information that can vary in open Internet-resources, such as the dates of birth of daughters Maria and Olga. Unknown events of life of younger sister Salias are also brought to life thanks to the marginalia. At the same time, the brother Alexander Vasilyevich Sukhovo-Kobylin is not mentioned in the notes. This fact provides a proof about the complicated relationship between Elizaveta and Alexander. As for marginalia about her son Evgeniy Andreyevich Salias, who was a historical novelist, they are of value in terms of the research of their biographies and their relationship.

In this article I explore Joan Didion’s novel Play It as It Lays (1970) and her family memoir Where I Was From (2003) in order to assess and compare the ways in which she articulates the telling of both fictional character narratives and ostensibly factual historical tales, both taking place in parts of the California with which she is so intimately familiar. In Play It, Maria Wyeth tries to escape her past through the repression, curtailment and editing of her memories. On the winding freeways of Los Angeles, she feels she can remain in the present and blank out painful memories by looking ahead. ‘Never look back at all’ is the California mantra that she tries to personify (Didion 2003: 199). In Where I, Didion analyses her own culpability in the mythologization of her home state and the failure of her own narrative authority. What can Didion’s fiction and non-fiction, both populated and cultivated by unreliable narrators, tell us about the way history is told, myths of origin perpetuated and memory fabricated, and what might this signify about storytelling in California more generally?

Background. Domestic cultural space is in urgent need of selfpreservation, and a renaissance of national self-identity of the Ukrainian cinema is connected with the state interest in this topic. There are the discussions around the attempts to revive the Ukrainian poetic cinema with its inherent mythological outlook erasing the boundaries between imaginary and real. It is logical, that the further development and studying of national cinema is impossible without revise of creative work of actors of the past; they were the bearers of poetic worldview, guided by folk traditions and customs. The tendency to the study of the forgotten names would help to bring back to their proper place the classics of Ukrainian cinematography. In the national scientific circles, there is an interest in the revival of forgotten names of cultural figures, and theater and filmmakers, in particular. Nevertheless, creativity of some Kharkiv actors, among them, Polina Kumanchenko and Lidia Krynytska, undeservedly deprived of attention in the scientific environment. The object of this research is the creativity of representatives of the Kharkiv acting school – Polina Kumanchenko and Lidiya Krynytska. The aim of the author is to study the performing manner of the actresses, to identify the peculiar facets of their playing, and, as a result, the certain traditions that are inherent the Kharkiv local artistic environment. The interpretation of the image of a mother in the performance of the mentioned actors is the subject of studying. Methods of analysis, synthesis, classification are the basis of this study and used for the scientific validity of the findings. We used the method of comparison in the considering of the mother images created by Kumanchenko and Krynytska. Research results. As the key in the cultural aspect, should be considered the fact that the image of the mother in Ukrainian mentality is iconic, associated with the image of the Earth, since the essence of both is the function of the “giver of life”, fertility. The worldview of Maria, the personage of P. Kumanchenko, is fixated on owning the land, because thanks to her, a person exists and continues his family. Like her ancestors, Maria is going to become a link in the further transfer of land to her descendants, passing to them the “genetic code” of love of Ukrainian peasants for the Earth. She is expecting a second child, and therefore, through her actions, she seeks to provide her children with stability, which is possible only with land. The actress focuses the attention of the viewer on expressive gestures, sudden movements to emphasize the active behavior of her heroine; at the same time, the extremely expressive regard of P. Kumanchenko, shown in close-up, convey the true thoughts and feelings of Maria, whose soul inhabits somewhere in her own, unreal world. In the first of the films of the trilogy by M. Makarenko (director) –“Human’s blood is not water”, – the actor’s decision of P. Kumanchenko presents a presentiment of happiness and stability that arises in her heroine’s soul against the background of her everyday suffering life – just like the Earth awaits spring blossoming after a long winter. Later we observe the changes that have occurred in the character of Maria along with her motherhood and confidence in the future. The actress gives her heroine a new external expressiveness: smooth movements, a gentle mysterious smile, elusive tenderness. The second part of the trilogy (“Dmytro Horytsvit”), presents P. Kumanchenko in a small episode. We see her in the light national costume, with tragic wringed hands, against the background of the burning home, where her child remained. The episode can be interpreted as an allegory: a mockery of fertile land devastated by fires, wars, destruction. However, just as a new cycle is needed for a ravaged Earth to bloom again, so for Maria the salvation of her daughter becomes the impetus for a new rebirth. The main idea of the film is embedded in this episode – the eternal pain of the Ukrainian land and its eternal revival. Based on the analysis of the role of Maria in the interpretation of P. Kumanchenko, we can talk about the embodiment in the mother image the idea of cyclicity of nature and life, coming from the ancient cults of the Earth. Thus, the influence of mythopoetics traced in the images created by the actresses, due to their symbolic similarity with the image of the mythological Mother Earth. In the film “Lymerivna” (directed by V. Lapoknysh) the image of a mother was created by actress L. Krynytska, which played Lymerykha – the mother of the main heroine. This is a passive woman, broken by life circumstances, who is going with the stream and is not able to deal with everyday problems. It would seem that both, Maria and Lymerykha, are united by a love for children and a desire to give them happiness. However, each of them has its own strategy of behavior. Unlike Maria, Lymerykha made tears the main tool on the way to her aim – to break the will of her daughter. It was her tears pushed Lymerykha’s daughter to a tragic death. The game of L. Krynitska outlines the “two-faced” path of the heroine’s behavior, reveals the “white” and “black” sides of her nature. That is, the actor’s task of L. Krynitska was to embody the image of a person with a “double bottom”. The manner of performing of this role may be partially explained by the etymology of the surname “Lymar”, which the heroine received when she got married. Lymar is a manufacturer, which make the harness for horses. Such a sign surname symbolizes her life – “horse harnessing”, a yoke that Lymerykha is afraid to throw off, because she does not know how to bear responsibility for her own destiny. There are also unifying links between the heroines of P. Kumanchenko and L. Krynytska: both manipulate by their motherhood. The cycles in the life events of both heroines are also clearly outlined. In Maria’s case, it is association with modifications in the state of the Earth due to natural changes in the seasons or terrible destructions, because of war or natural disasters. For Lymerykha, the cyclic existence is characterized, limited by the inability to overcome slavish psychology – to throw off the yoke, the “sword of Damocles,” which dominates her. In one of the scenes, the scenery symbolically emphasizes the essence of her being: a windmill, whose wings are constantly spinning. P. Kumanchenko and L. Krynytska are the Kharkiv actresses of the Drama Theater named after T. G. Shevchenko, and the influence of the actor’s system of his outstanding director Les Kurbas on the performing style of both cannot be overlooked. In the acting of the performers, the use of the “laws of Kurbas” is clearly traced: “the law of thrift”, “the law of fixation”, “the law of light-andshade”, etc. Conclusions. We analyzed both the differences and the unifying features in the interpretation of the image of the mother by Kharkov actresses. In the images created by P. Kumanchenko and L. Krynytska there is a relationship with the mythopoetic worldview. Тhanks to a number of artistic and meaningful associations, we can talk about the embodiment in the image of a woman-mother of the symbolic hypostases of Mother-Earth and the idea of the cyclical nature of life, which comes from ancient agricultural cults. The work with imaginary symbolism (a horse harness appears as a symbol of the enslavement of Women-Mother Earth) take place, as and a complete organics embodiment of the mythopoietic aspect inherent the Kharkiv acting school (Les Kurbas’s aesthetics) and, in general, the Ukrainian drama and cinema (A. Dovzhenko). A deeper analysis of various aspects of the performing work of Kharkiv actors, in particular, searching for the traditions in the actor’s game of Kharkovians, as well as more detailed studying of Les Kurbas’s methodological influence makes up the prospects of our study. The specifics of actor’s art of the Kharkiv school can serve as an example to follow in the training of actors and directors.

Abstract Background: A total of 3.5 million American Muslims live in the United States (US), representing 1% of the total population. Over 50% of American Muslims are foreign-born [1]. Racially, American Muslims are very diverse religious groups in the US with no majority race, split as 25% Black, 24% White, 18% Arab, 18% Asian, 7% mixed race, and 5% Hispanic [2]. In terms of origin, Middle Eastern Countries represent 41% of the entire Muslim community in the US [3]. In the last two decades, the population growth trajectory of the American Muslim community has been doubling; the projection was 2.6 million (0.8 %) in 2010 and is expected to be 6.2 million (1.7%) in 2030 [4]. Virginia has the second-largest Muslim population in the US by the percentage of the population, with an estimated 2.7% [2]. Much of that population is concentrated in Northern Virginia and the Richmond Area [5]. Our previous work showed that Muslim women seek cancer care at an advanced stage. However, we had a limitation in identifying Muslim women in the VCU health system as most Muslims do not share their religion at registration [6]. We created an algorithm to identify Muslim patients by name to address this issue. Methods: Identifying patient populations by name has been done by the North American Association of Central Cancer Registries (NAACCR) to better identify Hispanic populations. Their algorithm uses family names and county of residence information [7]. Our algorithm uses Names only at this time. We used a collection of Middle-Eastern names from a publicly available database [8]. We excluded names frequently used in the United States; examples include Maria, Sarah, and Daniel. Then we used the Names in the database to heuristically identify patients with Middle-Eastern origin. Results: We identified 165 female Muslim cancer patients between 2012 and 2021 at VCU Health System, a 260% improvement compared to our previous work without the new identification algorithm. Similar to our previous work, the extended cohort shows that Muslim women are diagnosed with late-stage breast cancer more frequently than non-Muslim women (20% vs. 14%, p-value = 0.04). Conclusion: Our algorithm to identify Muslim patients made a difference in the patient cohort size, making it possible to do a more robust analysis and draw statistically significant conclusions. Future work: Our algorithm needs further improvement. Currently, we are focusing on Middle-Eastern names, we plan to be more inclusive with additional Muslim majority areas. Citation Format: Tamas S. Gal, NourEldin Abosamak, Fariha Tariq, Nevena Skoro, Rana Ramadan, Asmaa Namoos. Cancer disparities among Muslim women: Population identification by name [abstract]. In: Proceedings of the 15th AACR Conference on the Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; 2022 Sep 16-19; Philadelphia, PA. Philadelphia (PA): AACR; Cancer Epidemiol Biomarkers Prev 2022;31(1 Suppl):Abstract nr A021.

FENOLOGIA DO COQUEIRO IRRIGADO EM FUNÇÃO DE DIFERENTES TAXAS EVAPOTRANSPIRATIVAS MARIA DO BOM CONSELHO LACERDA MEDEIROS1; LOURENÇO EMÍDIO CARRÉRA VALENTE2; FLÁVIO HENRIQUE SANTOS RODRIGUES1; WILLIAM LEE CARRERA DE AVIZ1; PAULO MANOEL PONTES LINS3 E JOAQUIM ALVES DE LIMA JÚNIOR4 1Discente do curso de pós-graduação em agronomia, Universidade Federal Rural da Amazônia (UFRA), Avenida Presidente Tancredo Neves, 2501, Terra Firme, 66.077-830, Belém, Pará, Brasil. E-mail: melmedeirosagro@gmail.com, flaviohsrodrigues2@gmail.com, william.aviz@gmail.com. 2Discente do curso de agronomia, Universidade Federal Rural da Amazônia (UFRA), Av. Barão de Capanema, 5514, Caixa d’água, 68700-005, Capanema, Pará, Brasil. E-mail: lourencovalente.agro@gmail.com 3Superintendente agrícola Sococo S.A., Sococo Fazenda Reunidas, Estrada Colônia Ferreira Pena Km 04, S/N, Distrito Americano, 68790-000, Santa Isabel, Pará, Brasil. E-mail: paulom@sococo.com.br 4Professor titular do curso de agronomia, Universidade Federal Rural da Amazônia (UFRA), Av. Barão de Capanema, 5514, Caixa d’água, 68700-005, Capanema, Pará, Brasil. E-mail: joaquim.junior@ufra.edu.br 1 RESUMO O coqueiro (Cocus nucifera L.), popularmente conhecido como ‘coqueiro anão verde’, é uma monocotiledônea da família Arecaceae que possui grande importância econômica. A fertirrigação, técnica na qual os fertilizantes são aplicados via água de irrigação, o que favorece uma maior absorção dos nutrientes, conjuntamente com a irrigação, são técnicas eficientes para o pleno desenvolvimento das culturas. O objetivo do estudo foi avaliar a fenologia do Cocus nucifera L sobre diferentes taxas da evapotranspiração (ET0). O experimento foi realizado na Fazenda Reunidas Sococo na cidade de Santa Izabel do Pará, PA. Foi adotado o delineamento em blocos casualizados em esquema fatorial 3 x 9 (três taxas de ET0, calculadas pelo método de Penman-Monteith, com nove períodos de análise) e três blocos. A irrigação foi realizada por microaspersão com turno de rega fixo. Foram selecionadas três plantas da parcela útil, nas quais foram avaliadas as seguintes características: comprimento do estipe, circunferência do coleto e número de folhas vivas e de folhas mortas. As características fenológicas avaliadas foram diretamente influenciadas pelas taxas evaporativas e condições climáticas, se destacando positivamente o tratamento com reposição de 100% da ET0, confirmando que em situações de estresse, o coqueiro não apresenta um desenvolvimento vegetativo adequado. Palavras-chave: condições climáticas, fertirrigação, irrigação. MEDEIROS, M.B.C.L.; VALENTE, L.E.C.; RODRIGUES, F.H.S.; DE AVIZ, W.L.C.; LINS, P.M.P.; LIMA JÚNIOR, J.A.; PHENOLOGY OF IRRIGATED COCONUT PALM AS A FUNCTION OF DIFFERENT EVAPOTRANSPIRATION RATES. 2 ABSTRACT The coconut palm (Cocus nucifera L.), popularly known as the 'green dwarf coconut', is a monocot of the Arecaceae family with great economic importance. Fertigation, a technique in which fertilizers are applied via irrigation water, which favors a greater absorption of nutrients, with irrigation, an efficient technique for the full development of crops. This study aimed to evaluate the phenology of Cocus nucifera L under different evapotranspiration (ET0) rates. The experiment was conducted at Reunidas Sococo Farm in the city of Santa Izabel do Pará, PA. The randomized block design was adopted in a 3 x 9 factorial scheme (three ET0 rates, calculated by the Penman-Monteith method, with nine periods of analysis) and three blocks. The irrigation was performed by micro-sprinkler with a fixed irrigation scheduling. Three plants were selected from the useful plot, in which the following characteristics were evaluated: stipe length, collar circumference, and number of live and dead leaves. The phenological characteristics evaluated were directly influenced by evapotranspiration rates and climatic conditions, with the treatment with the replacement of 100% of the ET0 standing out positively, confirming that in stress situations, coconut does not present an adequate vegetative development coconut. Keywords: climatic conditions, fertigation, irrigation.

The exile years of Janusz Jędrzejewicz (1939-1951), a prominent and reputed educator of the inter-war Poland, deserve much of our attention. After the outbreak of the war, Jędrzejewicz initially took some effort to return to active military duty but these attempts failed to be successful. Along with the evacuation of the government, the Jędrzejewiczs had to leave Poland for Romania and had to remain there as exiles. Dull, everyday routine in exile in Romania was interspersed with Jędrzejewicz’s involvement in teaching maths and in meetings with fellow exiles, the followers of Józef Piłsudzki. The years from July 1940 until the end of the year, Jędrzejewicz and his family spent in Turkey. In the dire straits he was in at the time, to minimize stress and inconvenience in housing, he managed to find some balance and relief in his political and social activity. Jędrzejewicz managed to establish contacts with other exiles, notably Tatar, Caucasian and Ukrainian exiles. As a result of the meetings with the non-Polish émigrés, the concept of the so-called “Międzymorze – Intermarum”, a proposed federation of countries stretching from the Baltic Sea to the Black Sea, emerged. The years between 1940 and 1942 Jędzerzejowicz and his family spent in Tel-Aviv in Palestine. The local Polish political and military circles were closely associated with former “colonels” and Gen. Sławoj-Składkowski’s supporters and were labelled as “steadfast” or “unyielding”. In a straightforward way, the leadership of this group fell to Jędrzejewicz as the one who was the highest ranking Pilsudski-ite among them. The group became the core of the political movement founded upon a concept that underlined the ideas of the late marshal and represented their supporters in the Near East. Jędrzejewicz was very active in writing articles on social and political subjects and in giving lectures, including notably the one delivered on March 19, 1941 and entitled “On the occasion of the anniversary of the name day of First Marshal of Poland” He was also involved in talks with leaders of local Jewish and Arabic population. The presented concept of “Intermarum” was received with interest by politicians in exile from the Baltics, Slovakia, the Czech Republic and Hungary. It also formed an alternative to the realpolitik exercised by the government in exile.An important initiative of the group of the Pilsudski-ites was to publish Biuletyn Informacyjny (News Bulletin), and then to transform it into the official monthly Na Straży (On guard). The editor-in-chief of the periodical was Jędrzejewicz himself (from issue 18th onwards). In the course of time, still in Tel-Aviv and Jerusalem, the Piłsudski-ite groups grew more and more members. These circles, physically far from the government in exile in London and its influence, were thus more independent and formed a sort of a mutation and an alternative to the London-based Związek Pracy Państwowej (State Labour Union). Under the leadership of Janusz Jędrzejewicz, the Piłsudzki-ites in Palestine organized themselves in Związek Pracy dla Państwa (Union of Work for the State). The Polish political scene in exile was going through many dramatic changes and transformations. Political tension was aggravated further by Prof. Kot’s action who had returned from the Soviet Union in mid-1942. He perceived the activity of some of Polish exiles in the Near East as politically detrimental and anti-government. As for Prof Kot’s intense dislike for Jędrzejewicz, it was guided by the two following reasons: the latter’s influence in circles overtly reluctant to accept the stance adopted by the government represented by Gen. Sikorski, and, secondly, his personal grudge and resentment towards the former minister of religious affairs and education (Polish: MriOP). The political situation of the years 1944-1946 was decisive in creating the atmosphere less negative and more cooperative, and ultimately led to the emergence of the idea of a common platform for reconciliation and understanding for all splinter groups of Piłsudski followers. The common denominator for all was to be the Independence League, a political party in exile, of which, until 1947, Jędrzejewicz knew very little about. From 1942 the Jędrzejewiczs lived in Jerusalem, where they enjoyed good rapport and relations with local Arab leaders. Despite some health problems, Jędrzejewicz engaged himself in a series of lectures and continued to edit the periodical Na Straży. Soon, however, he was forced to step down this post due to aggravating health problems. Towards the end of 1946, the former prime minister was transferred to the reserve. This helped Jędrzejewicz to obtain a decision to be moved to Great Britain. Before he left Jerusalem, however, he spent half a year with his family in harsh conditions of El Kantara field hospital, which was also a transit camp for war refugees. The circles of the London-based Pilsudski-ites were very much counting on Jędrzejewicz’s Związek Pracy dla Państwa. The promoters of the Independence League also viewed the former prime minister, who was a one-time trustworthy aide to Marshal Piłsudski, as their potential leader. Jędrzejewicz himself was quite aware of his assets and the position he enjoyed within the hierarchy of values as a Piłsudski-ite and, despite bad health, was ready to support the League. In the first half of 1948, with the help of Jędrzejewicz, the fundamentals of the political program of the Poland’s Independence League were established. However, the following infightings and quarrels as to who was to head the League made Jędrzejewicz step down from the position of the leader of the League. From that time on, his activity was limited to writing articles and the participation in the work for the board of trustees of the London Piłsudski Institute. Jędrzejewicz’s last years of his life were undoubtedly influenced by his poor health (1948-1951). He was repeatedly hospitalized, which was taken advantage of by his political opponents in 1948. His physical state was very much influenced by his mental condition, which was a result the victimization and persecution he experienced between 1939-1943. An emotional shock for him was undoubtedly the news about his son who had been shot by the Germans in 1943, and the death of his former wife, Maria Stattler, in 1944. Eventually, all his energy was directed at administrative and research work. With his participation, or at his initiative, four research institutes were established at the time. The intention was to conduct historical or political science research there. Janusz Jędrzejewicz died on March 16th 1951. In exile, he was unfortunate enough to experience ostracism from fellow Poles, both as a politician and as a man. Still, he was far from shunning the world and, with dignity, he carried out his mission of executing the tasks once set by his Commander. As an exile, he was just as well a good representative of a Piłsudski-ite with a characteristic appropriate system of values that determined his life style. The ongoing internalization of the imponderables of his beloved Commander was though respected in the multi-faceted realities of Polish exile life.

AbstractA century ago the Rijksprentenkabinet in Amsterdam acquired a 19th-century album containing 56 rapid sketches in black chalk after 17th-century, mostly Dutch paintings (Note 1). The sketches, which are numberd, have the names of the painters wrillen on them in the artist's own hand. They were first published in 1895 (Note 2) by E. W. Moes, who concluded that they were by a Delft artist, and C. Hofstede de Groot, who convincingly attributed them to Leonaert Bramer (1596-1674) and identified two of the paintings in question. Since then various other paintings have been identified (Notes 5, 7, 8, 11 and 12), notably by A. Blankert, who has made his findings available for the present publication, and other drawings belonging to the series have been found, Frits Lugt leading the way here (Notes 9 and 10). The present study, the first to be undertaken in depth since 1895, has brought to light three more sketches after paintings by Bramer himself (cat. nos.9-11) and one probably after Wouwerman (cat. no.65), while seven more paintings have been identified and one of the sketches without a name has proved to be after a painting by Antonio Maria Viani. Two lists of the sketches so far found are given here: that of State I reproduces the original order, that of State II gives the artists in alphabetical order as they appear in the catalogue published here. These sketches are of exceptional documentary value, since they have not only given us the names of some previously unknown painters, such as M. de Berch, J. Garbaal, P. Monincx and A. Pick, but they have also revealed unexpected aspects of some well-known ones, e.g. a still life by P. van Groenewegen, a Dutch landscape by J.B. Weenix and a genre piece of a very Utrecht character by L. de Jongh. Moreover, the sketches afford a fine glimpse of collecting in Holland in the 17th century, a subject otherwise known uirtually only from non-visual documents. On the back of one of the drawings (cat. no.6) appears a list of the owners of the pictures sketched (Fig. I), possibly written by Bramer himself. This is reproduced here in an amplified version of Moes' transcription, with one completely new name yielded by the present study. The styles given in the list suggest that the men concerned appear in it in order of their social standing. The first, Simon Graswinckel (c.1611-71), was a member of a wealthy Delft family of brewers and regents. He owned a great deal of property in and around Delft, but is reported by his brothers-in-law to have spent his time in gaming-houses and taverns (Note 30). His will of 1663 is known, but no paintings are mentioned in it. The second man on the list was probably a Van Beresteijn, another family from the wealthy upper echelons of Delft society. His precise identity came to light in a roundabout way via the inventory of 28 February 1652 of Adriaen van Vredenburg, in which are listed a number of paintings that were very probably sketched by Bramer (Note 32), notably one of Jezebel, this mention and Bramer's sketch being virtually unique indications of this subject in Dutch 17th-century painting. Vredenburg does not appear in the list of owners of the paintings, but on his death his property went to his stepdaughter, whose guardian he had been and who married Theodorus van Beresteijn in November 1652. Antonie van Bronchorst is known only from the commission he gave Bramer in 1653 to painl frescoes in his house (Note 34), while Capitein van der Bon..., Nicolaas van der Werch and Johan Persijn have not yet been traced in the Delft archives. Willem de Langue (1599-1666), on the other hand, was a lawyer and a connoisseur of paintings unparalleled in Delft in the mid 17th century (Note 36). He himself made the inventories of the paintings in important estates and he numbered many artists among his clientele (Note 37). Portraits of him and his wife by Van Vliet are known (Note 38), while he also appears as an officer in a militia piece of 1648 by Jacob Willemsz Delff (Fig. 2). Abraham de Cooge (before 1600-after 1680) was the most versatile person in the list, being an engraver, painter, dealer in tulip bulbs, organs and paintings and pottery manufacturer (Note 39). He was registered in the Guild of St. Luke in Delft in 1632 and two paintings by him are known (Note 40). In 1646 Leonaerl Bramer made illustrations to the picaresque novel Lazarilo de Tormes for him (Note 17). In the 1650's De Cooge was increasingly involved in art-dealing and that on no small scale. He also had representatives in Antwerp, so was probably among the biggest art-dealers in the Northern Netherlands. Adam Pick (c. 1622-before 1666) enrolled in the Guild of St. Luke in Delft in 1642 (Note 43) and was active in the town up to the early 1650's as a painter of landscapes, genre pieces and still lifes (Fig.3) and also as the keeper of the Toelast ( Wine Cask) inn. He probably moved to Leiden, where he is mentioned in 1654 as a vintner, in 1653, perhaps as a consequence of the death of his first wife in 1652, f or he certainly sold the inn that year. The inventory of their joint property drawn up in 1653 includes a list of paintings, which tally with nos.8(?) -98 in the State I list. Only one painting by Pick is known (Fig.3), plus the sketch by Bramer after another (cat. no.44). Reinier Jansz Vermeer (1591-1652, Note 46), the father of Johannes, started out as a silk weaver, but appears in 1629 as an innkeeper and in 1631 was registered in the Guild of St. Luke in Delft as an art-dealer. From then on he came into frequent contact with local painters, Bramer included, but his dealing was probably only a sideline of his innkeeping. He died in October 1652. The last owner on the list is Bramer himself, who returned to Delft in 1628 after a lengthy period in France and Italy (1614-27, Note 49). He played a leading part in the Guild of St. Luke and was among the most successful painters in Delft around the middle of the 17th century. Later in life, however, he was often in financial difficulties (Note 50). He was one of the very few Dutch fresco painters (Note 51), as well as a painter of history and genre pieces and a prolific draughtsman and illustrator (Note 52), while just one document provides evidence of his dealing in paintirtgs (Note 54). The presence of works by Bramer himself among the sketches seems to rule out the theory that he made them as an aide mémoire for his own use (Note 15), while their very rapid character makes it unlikely that they were produced for one of the owners as an art-object. It also seems highly improbable that the collectors/owners would have wanted their collections of paintings sketched together in one book. The most acceptable suggestion appears to be that they were made in connection with a forthcoming sale of pictures, particularly as three of the owners listed were involved in art-dealing, while in the cases of Vermeer, Pick and Van Beresteijn there was every reason for paintings from their collections being sold around the end of 1652 or beginning of 1653: Vermeer's death left his family in dire financial straits, Pick will probably have sold his pictures (as he did his inn) before moving to Leiden and Van Beresteijn will probably have wanted to realize some money on his wife's inheritance. Thus the dates of Vermeer's burial in October 1652 and Pick's inventory of March 1653 would seem to provide crucial clues to the dating of the sketches, which were probably made in rapid succession, to judge from the unity of style, despite the great diversity of the models, and the straightforward consecutive numbering. Presumably the intention was to bring these pictures from Delft collections together for a sale (Note 18) and Bramer was commissioned to make sketches in advance (or even to make a certain selection, Note 19) possibly to give an idea of what was on offer to collectors or dealers elsewhere (which might explain the 'inking in' of the painters' names originally written in chalk on five of the drawings, cat. nos. 17, 35, 36, 47 and 64). Bramer made such chalk inscriptions on ten of the drawings (Note 20), probably while sketching them. Afterwards he inscribed and numbered all of them in ink (Note 5). Notes in another 17th-century hand appear on cat. nos.22 and 24. The sheets may all have been of the same size originally, but have since been cut down, often wholly or partly along the framing lines around the sketch. This may well have been done by Bramer himsef or the dealer he made them for. Just over half of them remained together and were stuck into the present album in the 19th century. There are no portraits among the sketches and only two stll lifes and two marine paintings, but eleven Italianate landscapes and 22 history paintings. Thus the subjects differ somewhat from the categories arrived at by Montiasfor mid 17th-century Delft from his study of inventories (Note 56). The preference for history pieces is probably to be explained by the high social standing of the owners. The majority of the pictures were very modern for that time and of the 41 artists, 28 were still alive in 1652-3 and eight of them were only 35 or younger. Bramer's material contradicts Montlas' conclusion that Delft collectors showed a preference for local painters (Note 58), whose work amounted to 40-50% of that listed in the inventories. Of Bramer's 41 painters, only thirteen were from Delft (Note 59) and only five are found in Montias' list of the most common painters in Delft inventories. Thus the pictures sketched by Bramer fall outside the 'normal Delft pattern' and evince a less provincial taste. However, the collectors were still not among the leading figures of their day in this field by comparison with, for example, Boudewijn de Man of Delft (Note 62), whose collection included works by Goltzius, Bloemaert, Rubens, Rembrandt and Ter Brugghen in 1644. The pictures sketched by Bramer were presumably to be brought together for public auction and the sketches may very probably have been made with an eye to the sale catalogue. While sale catalogues are known in the second half of the 17th century, they only relate to very important collections, which makes these sketches very unusual as a documentation of a sale of pictures from average well-to-do collectors and dealers. The collection of sketches as such certainly has no parallel at this period (Note 64).

Black beans (Phaseolus vulgaris L.) are a species of great importance for family farming, both for food security and socioeconomic activity. The objective of this work was to assess the physiological and sanitary viability of black bean seeds stored with different initial moisture contents and cold storage periods. It was used a completely randomized design, 3×5 (seed moisture levels: 10, 13 and 16%, and storage periods: 0, 3, 6, 9 and 12 months in cold rooms, with four repetitions). Black bean seeds belonging to variety IPR88 Uirapuru were grown in the municipality of Santa Maria, Brazil, harvested in March 2020, and stored in a cold room (15ºC and 40% RH) in Kraft paper bags (brown type, 1.0 kg). Physiological variables and sanitary quality were assessed through laboratory tests. According to the results, it was possible to verify that the physiological and sanitary quality of black beans were negatively affected with the increase of storage period, in all grades. However, it is possible to store these seeds with moisture contents of 10 or 13% for a period of up to nine months in a cold room, with a 70% germination quality.

Dàgáárè /dàgááɹɪ̀/ (ISO 639-3) is a Mabia language (Bodomo 1997) of Niger-Congo family. It is spoken by about 1.5 million The map in Figure 1 shows the areas, in northwestern Ghana and southern Burkina Faso, where Dàgáárè is spoken predominantly. There are four broad dialects of Dàgáárè. These include Northern Dàgáárè [dàgàɹà], spoken in Lawra /lóɹáː/, Nandom /nàndɔ̀ː/ and Burkina Faso; Southern Dàgáárè /wáːlɪ́/, spoken around Kaleo /kàlèó/ and in Wa /wá/; Western Dàgáárè /bɪ̀ɹɪ̀fɔ̀/ spoken in Lassie /lààsɪ̀ɛ́/, Tuna /tʊ́ːnà/ and along the western side of the Black Volta river in Burkina Faso. The other dialect is Central Dàgáárè. These broad dialects are further divided into sub-dialects, as there are internal variations in these dialect groups (Bodomo 2000). This paper’s primary focus is on Central Dàgáárè, which comprises the varieties spoken in and around Jirapa /ʤɪ̀ɹɛ́bǎː/, Han /hɛ̌ŋ/, Ullo /úlò/, Daffiama /dàfɪ̀ɛ́mɛ́/, Nadowli /nàdòlí/, Charikpong /tʃɛ̀ɹɪ̀kpóŋ/, Sombo /sʊ̀mbɔ́/ and Duong /dùóŋ/.

Let’s move to a vantage point a little quieter: the surface of the moon. It is so still that Neil Armstrong’s footprints remain undisturbed. The only reason the US flag there appears to “fly” is that a wire holds it up. The moon and Mercury stayed still as Mars, Venus, and Earth moved on down the road of geological development. The moon is a “steady” environment, a word whose Middle English roots are appropriately tangled with the word for “sterile.” Nothing moves on the moon, but in its sky Mars, Venus, and Earth move in their orbits, just as they moved on in complexity 4 billion years ago. Out of the whole solar system, Mars and Venus are the most like Earth in size, position, and composition. Mars is smaller, but Venus could be Earth’s twin in size. If Earth and Venus were separated at birth, then something happened to obscure the family resemblance: liquid water brought life. To chemists, liquid is the third phase of matter, between solid and gas, and its presence made all the difference. Mars gleams a bright blood red even to the naked eye, while Venus is choked with thick yellow bands of clouds. Mars is cold enough to have carbon dioxide snow, while Venus is hot enough to melt tin and boil water. Earth’s blue oceans and green continents provide a bright, primary contrast. These three siblings have drastically different fortunes. At first, they looked the same, colored with black mafic basalt and glowing red magma. The original planets were all so hot that their atmospheres were driven off into space. The oceans and the air came from within. Steam condensed into oceans on each planet’s cool basalt surface. Oceans changed the planet. Water is a transformative chemical, small yet highly charged, seeping into the smallest cracks, dissolving what it can and carrying those things long distances. Venus, Earth, and Mars do not look like the moon because they have been washed in water. Mars is dry now, but the Curiosity rover left no doubt that the red planet was first blue with water.

Lithium is the paradigmatic mood stabilizer. It is effective in the acute and prophylactic treatment of both mania and, to a lesser magnitude, depression. These characteristics are generally paralleled by the widely accepted anticonvulsant mood stabilizers valproate, carbamazepine (Table 6.2.4.1), and potentially by the less well studied putative mood stabilizers oxcarbazepine, zonisamide, and the dihydropyridine L-type calcium channel blocker nimodipine. In contrast, lamotrigine has a profile of better antidepressant effects acutely and prophylactically than antimanic effects. Having grouped lithium, valproate, and carbamazepine together, it is important to note they have subtle differences in their therapeutic profiles and differential clinical predictors of response (Table 6.2.4.1). Response to one of these agents is not predictive of either a positive or negative response to the others. Thus, clinicians are left with only rough estimates and guesses about which drug may be preferentially effective in which patients. Only sequential clinical trials of agents either alone or in combination can verify responsivity in an individual patient. Individual response trumps FDA-approval. Given this clinical conundrum, it is advisable that patients, family members, clinicians, or others carefully rate patients on a longitudinal scale in order to most carefully assess responses and side effects. These are available from the Depression Bipolar Support Alliance (DBSA), the STEP-BD NIMH Network, or www.bipolarnetworknews.org and are highly recommended. The importance of careful longitudinal documentation of symptoms and side effects is highlighted by the increasing use of multiple drugs in combination. This is often required because patients may delay treatment-seeking until after many episodes, and very different patterns and frequencies of depressions, manias, mixed states, as well as multiple comorbidities may be present. Treating patients to the new accepted goal of remission of their mood and other anxillary symptoms usually requires use of several medications. If each component of the regimen is kept below an individual's side-effects threshold, judicious use of multiple agents can reduce rather than increase the overall side-effect burden. There is increasing evidence of reliable abnormalities of biochemistry, function, and anatomy in the brains of patients with bipolar disorder, and some of these are directly related to either duration of illness or number of episodes. Therefore, as treatment resistance to most therapeutic agents is related to number of prior episodes, and brain abnormalities may also increase as well, it behooves the patient to begin and sustain acute and long-term treatment as early as possible. Despite the above academic, personal, and public health recommendations, bipolar disorder often takes ten years or more to diagnose and, hence, treat properly. In fact, a younger age of onset is highly related to presence of a longer delay from illness onset to first treatment, and as well, to a poorer outcome assessed both retrospectively and prospectively. New data indicate that the brain growth factor BDNF (brain-derived neurotrophic factor) which is initially important to synaptogenesis and neural development, and later neuroplasticity and long-term memory in the adult is involved in all phases of bipolar disorder and its treatment. It appears to be: 1) both a genetic (the val-66-val allele of BDNF) and environmental (low BDNF from childhood adversity) risk factor; 2) episode-related (serum BDNF decreasing with each episode of depression or mania in proportion to symptom severity; 3) related to some substance abuse comorbidity (BDNF increases in the VTA with defeat stress and cocaine self-administration); and 4) related to treatment. Lithium, valproate, and carbamazepine increase BDNF and quetiapine and ziprasidone block the decreases in hippocampal BDNF that occur with stress (as do antidepressants). A greater number of prior episodes is related to increased likelihood of: 1) a rapid cycling course; 2) more severe depressive symptoms; 3) more disability; 4) more cognitive dysfunction; and 5) even the incidence of late life dementia. Taken together, the new data suggest a new view not only of bipolar disorder, but its treatment. Adequate effective treatment may not only (a) prevent affective episodes (with their accompanying risk of morbidity, dysfunction, and even death by suicide or the increased medical mortality associated with depression), but may also (b) reverse or prevent some of the biological abnormalities associated with the illness from progressing. Thus, patients should be given timely information pertinent to their stage of illness and recovery that emphasizes not only the risk of treatments, but also their potential, figuratively and literally, life-saving benefits. Long-term treatment and education and targeted psychotherapies are critical to a good outcome. We next highlight several attributes of each mood stabilizer, but recognize that the choice of each agent itself is based on inadequate information from the literature, and sequencing of treatments and their combinations is currently more an art than an evidence-based science. We look forward to these informational and clinical trial deficits being reduced in the near future and the development of single nucleotide polymorphism (SNP) and other neurobiological predictors of individual clinical response to individual drugs. In the meantime, patients and clinicians must struggle with treatment choice based on: 1) the most appropriate targetting of the predominant symptom picture with the most likely effective agent (Table 6.2.4.1 and 6.2.4.2) the best side-effects profile for that patient (Table 6.2.4.2 and 6.2.4.3) using combinations of drugs with different therapeutic targets and mechanisms of action (Table 6.2.4.3 and 6.2.4.4) careful consideration of potential advantageous pharmacodynamic interactions and disadvantageous pharmacokinetic drug-drug interactions that need to be avoided or anticipated.