After learning about the many benefits of a balanced microbiome, you might be thinking, "Well cool, but how do I actually get probiotics?"
Have no fear! We have several options for you — pick what works best for your lifestyle, your tastes, and your gut.
Supplements. If you don't want to eat or drink your probiotics, you can absolutely take them in capsule form. I have been loving hyberbiotics PRO-Women supplements.
Probiotic water. In both soda and water form, probiotic beverages are taking the health food market by storm. Suja Probiotic Water, Obi Soda, and Karma Wellness Water are all great options we love for sipping probies on the go.
Fermented foods. If you love sour foods, you're in luck. Or your gut is, rather. Sour pickles, kimchi, miso soup, and sauerkraut will all give you a healthy dose of gut-happy bacteria.
Yogurt and kefir. Grab a cup of Greek, soy, almond, or coconut yogurt, or take a swig of kefir, either of the dairy or coconut variety.
Kombucha. The strong, bubbly tea has a healthy kick and is loaded with vitamins — it's also loaded with digestion-friendly probiotics. If you like lavender, try the KeVita Lavender Melon flavor.
Apple cider vinegar. It's great for weight loss and it's great for your digestive tract. Make one of these ACV drinks and start feeling good.
Protein powder. You can add protein and probiotics to your morning shake or smoothie (or maybe a protein ball!). Vega One Nutritional Shake powders have 1 billion probiotics in each serving (and they're one of our favorite brands!).
Probiotic granola. Just when we thought we'd seen it all, we found probiotic granola. With added strains of cultures from GanedenBC30 (used in many of the aforementioned packaged products, like Suja waters and KeVita kombucha), you'll get a healthy dose of your CFUs with Purely Elizabeth granola; we think it'd make a tasty breakfast or snack.


text:
Who Goes Nazi? Office Edition
When push comes to shove, which of your coworkers will go fash, and which would never?
filed 06 June 2019 in Frivolity & Amusement
It's been 78 years since Dorothy Thompson published her iconic "Who Goes Nazi?" in Harper's. "Interesting and somewhat macabre," Who Goes Nazi? is a game you can play with your friends and acquaintances (although, for your safety, play it in your own head, not out loud). The rules are simple: Look around a group and ferret out who would go Nazi under the right conditions, and who never, ever would, no matter what. In her piece, Thompson described playing her game at an imaginary dinner party. We present to you, updated for the 21st century: the Office Edition. After you've finished reading, try it out at your own workplace (again, in your head, or with very trusty coworkers).
As with Thompson's dinner party, the imaginary office described below is not meant to be an average or universal environment, representative of all experiences (as if there could be such a thing). It's a very specific place: a white-collar corporation in a gentrifying liberal city. By no means are the characters described below the only kind of people who would go Nazi. Nor is it impossible, as Thompson stipulates, for Jewish or non-white people to go Nazi. "Nazism has nothing to do with race and nationality," Thompson says. "It appeals to a certain type of mind."
Let us look around the conference room, and see if we can locate this certain type of mind.
The woman who will soon triple-clap to begin this lunch meeting is the office manager. We'll call her the Cheerleader. She was, in fact, never actually a cheerleader, but she has that same kind of team-spiritedness, shaded with irony now for coolness's sake. Alpha girl, committee queen, she peaked in college roles that rewarded organization and bullying. In her ponytail and her sweats she could, as a gorgeous, authoritative 22 year old, control a crowd of fellow students, and she loved the power of it. She hates her powerlessness now.
In her childhood, the Cheerleader was told so often that she was stupid, and only her weight and beauty mattered, that she believes it now absolutely, and downplays her own formidable intelligence (though not without consciousness, she's recognized that acting stupid when she isn't is a species of cleverness, the cleverest weapon she has). With her coworkers she's openly, passionately anti-intellectual, an avid non-reader—this makes men more comfortable, or so she's found. The cheerleader is always attuned to what men, who are power, find valuable and useful. She doesn't have much use for or place much value on women, including herself.
Everyone knows the Cheerleader is fucking the boss. Not for attraction, but for lack of anything better to do, and because it's power, or as close as she can get to it anyway. As his mistress and his right hand, she's the bubbly blonde enforcer of the boss' will. You'd better give obeisance to her or you'll be slowly starved of advancement opportunities, blamed for random errors, and never invited out after work. If you're a man, she's automatically got your back; if you're a woman you'll have to work very hard to prove you're not a threat. Loudly, proudly, not a feminist, the Cheerleader never votes because "voting doesn't change anything." She has lots of gay friends and is progressive on the surface, but these gay friends (you've met them) are the type that absolutely despise women. With them—they're all white—she engages in a laughing low-key racism, slipping into AAVE for "comic effect." She would not only go full Nazi but would make an excellent prison comandante.
Next is a fellow associate-level coworker, the Failed Academic. He's only here as a day job, and makes sure everybody knows it. A self-described Marxist, he would have been an academic if academia were still a field with careers. But the academy is broken, which despite his professed Marxism he takes more personally than politically, because it's forced him to scrounge for meaningless salaried work like the rest of you slobs. He writes "pieces" for his blog and sometimes for tiny journals run by failed academics like himself. These are lengthy essays, deeply researched, dense with allusions, all displaying a reflexive contempt for the masses who can't understand his talents and aren't reading his work anyway. The existence of Gmail's automated features means everyone is becoming robots. Facebook's algorithms dominate the human information multiplex; there is no escaping it. (You can catch him on Facebook at least four hours of every workday, getting into labyrinthine quarrels with important left figures you've never heard of).
In the Failed Academic's former Marxist politics, now flattened into despair, nothing can be fought, only monitored, and mourned, though with contempt for you and your petty bourgeois nostalgia for a past that was never real. Any liking his coworkers ever express for pop culture, however hedged and passing, feeds the flames of his contempt for everyone around him. (He's perfectly interested in pop culture himself, but he's always careful to pass off his tastes as thoughtful; the '80s action movies he loves are symbolic of a great hollowness, which he's certain is society and not himself).
The Failed Academic will never go Nazi, because he still has his principles, and also because going Nazi would require change, and he finished developing years ago. But he'll chronicle the descent into fascism lyrically, fatalistically, for an audience of no one. (Should it be socialism instead, he won't help or organize, but he'll chronicle it too, with a confused and disbelieving joy).
Across the table from the Failed Academic, chatting amiably to anyone and everyone, we find the receptionist, who we'll call the Maddow Madhound. Ugh. She's nice. It's really hard to dislike her. She's a decent, thoughtful person. The day you got sick after eating that tuna wrap you stole from the VP's meeting, the receptionist was the one who called your roommate to come get you. But as kind as she is, the Maddow Madhound is, in Seinfeldian terms, a long talker. And for the past few years, her favorite subject has been the #Resistance. She knows every detail of the Russia investigation, and having decided that your political sympathies are firmly Team Blue, she can't wait to tell you all about it. Every morning, she breaks down the thrilling news that Rachel Maddow broke to her last night. Mueller is inching closer to the target, he'll get there any day now; the Republicans are turning on Trump, it'll take just a few more senators, a few more shocking revelations, and then, just like that, pop! The Orange Abomination will be impeached, and the nightmare will be over.
Behind the Maddow Madhound's back, the other people in your office (especially the Failed Academic) make fun of her. They mock her for her social awkwardness, for long-talking, for being hopeful, for being unselfishly kind. Despite her commitment to the #Resistance, her actual politics—when you can draw her off Russia—are relatively left. The word "socialism" makes her nervous—she's worried the government is going to come for her pension, as (she thinks happened) in Venezuela. But at the same time she does believe the rich should be aggressively taxed and healthcare should be free for everyone. Her daughter's getting married to an immigrant and she just couldn't be happier, she tells you loudly but also sincerely; she means it or she wants to mean it; she is actively trying to be a good person. She will never go Nazi. In fact, unlike the Failed Academic, she's politically engaged. She'll phonebank for the first socialist presidential candidate, and cry at the inauguration.
Sipping moodily at her coffee and nervously biting her nails is the project manager. You don't want to cross her, lest you be at the sudden receiving end of an avalanche of anxiety which triggers your own barely managed disorder. Unlike the Maddow Madhound, you do, actively, despise the Anxiety Attacker. It's hard not to. The Anxiety Attacker guards her territory fiercely; she gets in at 7:00 am and stays until 9:00 pm, working, always working, performing how hard she's working, which is also how hard she doesn't need to work, because if she just delegated and explained you'd be happy to help. But in her anxiety and self-protectiveness and terror of the boss she simply can't. Everyone is out to get her; if you say hello to her she wants to know what you're after. She's sure that everybody wants something. This is just the latest in a long line of cruel jobs; decades of workplace mind-games and sudden shocking layoffs have made her distrust everyone, and for good reason. She makes huge mistakes in her distrust and her exhaustion, and her errors have rippling effects throughout the office. But, if you ever suggest she might have screwed up she'll go to HR, accusing you of trying to undermine her.
The Anxiety Attacker has no stated politics. She's opposed to the redistribution of wealth because she's worked hard, so very fucking hard, and she just wants to retire in peace (she will never retire, she's addicted to the abuse-cycle of overwork and pride in overwork and in hating herself for overwork and for making errors, the inexcusable imperfections of an exhausted mind). She's been through too much to turn back now. She's terminally tired. Will she go Nazi? Hard to say. She's already a Nazi in her own heart, a Nazi of herself, proud and hateful and obedient and death-driven. She'll do anything to be safe from the fear of loss and failure. She might not help the Nazis, but she won't stop them. She won't even notice when they've arrived.
Chatting fearlessly next to the Anxiety Attacker is an additional associate, yet another woman in the office who drives the Failed Academic crazy. This one is the Cheerful Centrist. She's a liberal, so she says, and she knows things are bad. It's just that right now most things are so nice, for her. The conveniences of modern life can't be beat. She loves Netflix and Spotify and her Amazon Prime account. She takes Uber everywhere, even when she technically doesn't have to. Yes, it's bad, but what can you do? Her boyfriend works for Google and drives a Tesla, he's actually a lovely guy, they're buying a house, you hate them just a little or maybe a lot for being able to afford a house, for speaking in a capitalized soup of brands and only shrugging wryly at it. What can you do?
The Cheerful Centrist is a feminist, sincerely, and cares about every intersection except class. She has a finely balanced sense of the absurd, and is funny, and is your workfriend. You commiserate about microaggressions over drinks. She remembers, months later, the name of the writer you said you liked. She wants the world to be better but she doesn't want to lose anything in the process. Her parents are very conservative and she loves them. When they first immigrated they struggled for a while and, while they're quite comfortable now, they've impressed upon her that she must avoid struggle. She must never lose.
Illustration by C.M. Duffy
This Cheerful Centrist will not become a Nazi, but it's going to be tough to make her a socialist. She'll hold on to what she has. She feels her parents earned it at great cost, and she puts up with a lot of bullshit to keep it. Her life is too smooth, fun, unwrinkled, lively. Her clothes are beautiful; her vacations are Instagrammable. She isn't willing to take the difficult journey into where and when and how she's wrong.
Who's sitting with his back to the Cheerful Centrist, listening furiously, fuming at every word? Why, it's the IT Guy, who you call, succinctly, the Internet Guy. He thinks Joe Rogan is hilarious, but when you ask him to tell you a funny Joe Rogan joke he says you just have to watch it. Whenever you venture into his ratty windowless office for computer help, you catch him mainlining Rogan and the rest of IDW YouTube. The Internet Guy has never studied the humanities, and he hasn't read a book in years. He may have bought and skimmed 12 Rules For Life, and also Richard Dawkins' books, which he privately thought were too dense, which in his mind is synonymous with brilliant. When GamerGate happened, he told you it was about ethics in video game journalism, but when you asked for more information he couldn't clarify what that meant. He claims he isn't part of the alt-right (and is offended you would insinuate that!) Oddly enough, he always ends up hating the "woke", "diverse" corporate pop culture artifacts starring women and people of color, but never for the right reasons. He'll focus on the CGI, or the frame rate, or a single awkward line, or a generalized failure-to-be-exactly-the-same-narrative-he-loved-as-a-child. The Internet Guy has the kind of raw, lashing, intellectual insecurity of a man who doesn't really know how to analyze narrative and is ashamed of it, but rather than doing the work of self-education he flings his private inferiority and ignorance outward on a carrier wave of distrust and resentment. It's infectious; the Internet Guy is so confident that you, like him, know nothing and understand nothing that you begin to believe it yourself.
Desperately crushing on the Cheerful Centrist, the Internet Guy covers for it by aggressively teasing her, which she receives laconically, almost unbothered. He's just another piece of shit she has to put up with to stay where she is. When he tries to discuss politics with you, he always references his Cuban grandfather, as if this both shields him from being a bigot and justifies his fear of socialism (it doesn't). He lives in a luxury condo in a rapidly gentrifying neighborhood, and thinks his Black neighbors hate him (they do). He thinks this is racism (it isn't). He considers identity politics a personal attack (what he wants is automatic forgiveness for the sins of history, without realizing that no one is asking for his private guilt, just his help).
The Internet Guy will absolutely go Nazi. He probably has already. See if you can find his secret posts on a popular alt-right message board. Don't know his avi? Try the name of his favorite video game character. He was bullied as a child a few times for being a nerd. He has never forgotten. You can't possibly appreciate how oppressed he is, at least as much as people of color, for having been bullied, once, twice, maybe even three whole times.
Enough talk of politics! cries the pink-cheeked CIO, The Apolitical Adjudicator. He hates politics. He doesn't believe in politics. He has extremely strict politics. Everyone just needs to sit down and have a good conversation, really hammer it out. Everyone can overcome anything, with a little hard work. Even bigotry can be overcome by doing your best and proving your worth. Why, the Apolitical Adjudicator knows a guy who…his stories ramble, but everyone endures it, as they won't for the Maddow Madhound, because she's a woman and lower-ranking, and he's a founding member of the company. Born in the South, the Apolitical Adjudicator is all sweetness and down-home charm unless you cross him, in which case he turns brightly vicious, and the accent disappears. In any case his Southernness is mostly affectation. He may have been born in Tennessee but he attended Exeter (yes, he keeps the banner above his desk, along with his diplomas from Yale and Carnegie Mellon).
The Apolitical Adjudicator believes in hard work but he does not, himself, work very hard. He spends most of his days on the phone with his children, or with the schools he's trying to get his grandchildren into (he praises the high achievers and complains about the artistic losers, but in either case he pushes his contacts to get his grandchildren accepted. They are his grandchildren, after all). But enough about his family, his non-politics which are the inflexible unquestioned politics of American conservatism—will he go Nazi? In theory he is opposed. He's a patriotic American. He owns multiple unread Churchill biographies. But in practice, should some other, undeserving, possibly browner person's child squeeze his legacy admissions out of what they so rightly deserve, he'll be forced to declare himself fascist, far-right, whatever, if that's what the leftists, those uncivilized partisans and the true bigots, have driven him towards. What happened to this country, during the long years where he didn't have to care about politics? Whatever happened to freedom, values, and an unfettered, American chance at happiness? (He will remain opposed, in any case, to free college.)
Finally, the lunch meeting begins. The speaker—the only speaker—is the man himself, the man in charge, the CEO, the Boss. He started this company from scratch with nothing, except the Apolitical Adjudicator, a $100,000 dollar loan, and a third partner who has long been cut out of the picture, literally at times, like Stalin's disfavored officials. That is the only comparison to Stalin the Boss will admit. He's a capitalist down to his bones and out again through his Botoxed skin. The Boss, and the private power of Bosses like himself, is the only authority he recognizes.
Mercurial and arbitrary, the Boss' winds blow in any direction, and can suddenly froth into a hurricane. Are his sudden storms an act to keep his employees cowed? Or just cocaine? It's hard to tell. He is a blur of movement. He's always changing his mind. You've always done it wrong, unless you're The Cheerleader, his mistress, in which case someone else is to blame.
The Boss votes Republican, though he pretended reluctance when it came to Trump. Really, he just doesn't like getting gouged by Uncle Sam, not while he's trying to renovate his lakehouse. It isn't fair; he's worked so hard, he's built this company, he's survived so many storms (including the ones he created). From fragments of conversation screamed into his office phone, you've deduced that he's being audited by the IRS. He didn't do anything wrong. It isn't fair. He keeps shouting about a Mr. Epstein from that agency, who's been calling to arrange an appointment. Mr. Epstein, Mr. Epstein—he's very fixated on that name. He can't seem to stop saying it. Coincidentally, it just so happens that he regularly confuses the names of the few people of color in the office. You may have considered complaining about his behavior to HR, but those who do so tend to leave the company rather quickly. They didn't do anything wrong. It isn't fair.
In his office, the Boss is yelling on the phone to his betrayed and long-suffering wife not to answer any more calls from Mr. Epstein. The lakehouse and the money he failed to mention on his tax return is his, as dear to him as his own body or his wife or his mistress, all of his prized possessions. It's all his; he's worked so hard, harder than anyone else at this company, which is also his own, his private property. He deserves what he's earned. He deserves everything. No one, he believes, has ever deserved it more than himself. If the Boss wasn't going to go Nazi before—though he likely would have—he'll certainly go full Nazi now, and happily so, finally able to give his grievances a Jewish name. When you finally quit the company, make sure you shake his hand, and look him in the eye, and tell him you can't wait for the day when all his wealth will be expropriated.
More from Lyta Gold

redpajama_set_name: RedPajamaCommonCrawl


text:
Sources, Targets and Biological Responses of Triplet Species and Singlet Oxygen: P...
Free radicals and excited species in metabolic disorders and bioluminescence
National Institute for Developmental Psychiatry
Electronic chemiexcitation in biological systems: bioluminescence and photochemist...
Development of advanced catalysts for methane conversion and characterization usin...
Design of novel hypervalent iodine reagents based on high accuracy theoretical stu...
Computational molecular bioenergetics
New tools for the study of electron transfer reactions in PS II model systems
Duration: November 01, 2012 - October 31, 2014
Principal researcher: Fernando Heering Bartoloni
Grantee: Fernando Heering Bartoloni
Home Institution: Centro de Ciências Naturais e Humanas (CCNH). Universidade Federal do ABC (UFABC). Ministério da Educação (Brasil). Santo André , SP, Brazil
Electron transfer (ET) reactions play a key role in many biological transformations. When an ET is coupled with a proton transfer (PT), such a reaction is named proton coupled electron transfer (PCET). The PCET mechanism is adequate to rationalize redox reactions that occur in many protein machines. At the photosystem II (PS II) of photosynthesis, the transfer of one electron from a tyrosine residue (Tyr161) to the P680+ cofactor occurs coupled to a PT from Tyr161 to a hydrogen-bonded histidine residue (His199). Model systems that mimic the Tyr161/His199 pair consist, commonly, of a phenolic ring containing an aminomethyl group (-CH2NR2) at the orto position. Studies regarding the electrochemical oxidation of such systems, supplemented by kinetic isotope effect assays, led to a better understanding of thermodynamic and kinetic aspects involved in PCET reactions. This project proposes the preparation of novel 2-(pyrrolidinylmethyl)phenolic compounds derived from 4-byphenylol, as well as containing anthracenic and aryltriazolic moieties. Their oxidation, in order to study PCET phenomena, will be performed through the chemiluminescent peroxyoxalate reaction, once that it was proven that an ET occurs at the rate limiting step of the mechanism of excited states generation of this reaction. Such method, never applied before for the study of PCET reactions, allows the acquisition of kinetic information directly from light emission measurements and enables the correlation between structural aspects of the 2-(pyrrolidinylmethyl)phenolic derivative and the electron transfer efficiency. Therefore, there is the intention of expanding the current set of tools used on the study of PS II model systems. (AU)
Scientific publications (15)
CARNEIRO, LEONARDO M.; BARTOLONI, FERNANDO H.; ANGOLINI, CELIO F. F.; KEPPLER, ARTUR F. Solvent-free synthesis of nitrone-containing template as a chemosensor for selective detection of Cu(II) in water. SPECTROCHIMICA ACTA PART A-MOLECULAR AND BIOMOLECULAR SPECTROSCOPY, v. 267, n. 2 FEB 15 2022. Web of Science Citations: 0.
BOARO, ANDREIA; REIS, ROBERTA ALBINO; SILVA, CAROLINA SANTANA; MELO, DIEGO ULYSSES; GONCALVES COSTA PINTO, ALEXANDER GARRETA; BARTOLONI, FERNANDO HEERING. Evidence for the Formation of 1,2-Dioxetane as a High-Energy Intermediate and Possible Chemiexcitation Pathways in the Chemiluminescence of Lophine Peroxides. Journal of Organic Chemistry, v. 86, n. 9, p. 6633-6647, MAY 7 2021. Web of Science Citations: 0.
AUGUSTO, FELIPE A.; BARTOLONI, FERNANDO H.; PAGANO, ANA PAULA E.; BAADER, WILHELM J. Mechanistic Study of the Peroxyoxalate System in Completely Aqueous Carbonate Buffer. Photochemistry and Photobiology, v. 97, n. 2 NOV 2020. Web of Science Citations: 0.
SOARES, ANDRESSA R.; REIS, ROBERTA A.; MELO, DIEGO U.; BOARO, ANDREIA; BARTOLONI, FERNANDO H. Better late than never! Transition state character involved in the neutral solvolysis of an oxalic ester determined by the ionizing power of ethanol/water and methanol/water mixtures. JOURNAL OF MOLECULAR LIQUIDS, v. 316, OCT 10 2020. Web of Science Citations: 0.
DE CARVALHO, FABRICIO; COUTINHO-NETO, MAURICIO D.; BARTOLONI, FERNANDO H.; HOMEM-DE-MELLO, PAULA. Substitution by tert-butyl groups facilitates excited state proton transfer in hydroxylated triphenylimidazole frameworks more than it does for oxazole and thiazole analogs. ARKIVOC, n. 2, p. 61+, 2020. Web of Science Citations: 0.
AUGUSTO, FELIPE A.; BARTOLONI, FERNANDO H.; CABELLO, MAIDILEYVIS C.; DOS SANTOS, ANA PAULA F.; BAADER, WILHELM J. Kinetic studies on 2,6-lutidine catalyzed peroxyoxalate chemiluminescence in organic and aqueous medium: Evidence for general base catalysis. JOURNAL OF PHOTOCHEMISTRY AND PHOTOBIOLOGY A-CHEMISTRY, v. 382, SEP 1 2019. Web of Science Citations: 1.
REIS, ROBERTA ALBINO; BOARO, ANDREIA; ORFAO, RONALDO BARROS; MELO, DIEGO ULYSSES; BARTOLONI, FERNANDO HEERING. The decomposition of triphenylimidazole-para-acetate follows specific base catalysis and can be conveniently followed by fluorescence. LUMINESCENCE, v. 34, n. 2, p. 234-242, MAR 2019. Web of Science Citations: 0.
DE CARVALHO, FABRICIO; COUTINHO NETO, MAURICIO D.; BARTOLONI, FERNANDO H.; HOMEM-DE-MELLO, PAULA. Density Functional Theory Applied to Excited State Intramolecular Proton Transfer in Imidazole-, Oxazole-, and Thiazole-Based Systems. Molecules, v. 23, n. 5 MAY 2018. Web of Science Citations: 1.
ORFAO, JR., RONALDO B.; DE CARVALHO, FABRICIO; HOMEM-DE-MELLO, PAULA; BARTOLONI, FERNANDO H. On the Fluorescent, Steric and Electronic Factors Affecting the Detection of Metallic Ions Using an Imidazolyl-Phenolic Derived Fluorescent Probe. Journal of the Brazilian Chemical Society, v. 28, n. 10, p. 1896-1904, OCT 2017. Web of Science Citations: 4.
SALATINO, CARLA T.; MELO, DIEGO U.; YOSHITAKE, ARIANE M.; SGARBI, LUCAS S.; HOMEM-DE-MELLO, PAULA; BARTOLONI, FERNANDO H.; CISCATO, LUIZ F. M. L. Mechanistic model for the firefly luciferin regeneration in biomimetic conditions: a model for the in vivo process?. ORGANIC & BIOMOLECULAR CHEMISTRY, v. 15, n. 16, p. 3479-3484, APR 28 2017. Web of Science Citations: 2.
BOARO, ANDREIA; BARTOLONI, FERNANDO HEERING. Peroxyoxalate High-Energy Intermediate is Efficiently Decomposed by the Catalyst Imidazole. Photochemistry and Photobiology, v. 92, n. 4, p. 546-551, JUL-AUG 2016. Web of Science Citations: 1.
ORFAO, JR., RONALDO BARROS; ALVES, JESSICA; BARTOLONI, FERNANDO HEERING. Spectroscopic Studies on the Interaction of Metallic Ions with an Imidazolyl-Phenolic System. Journal of Fluorescence, v. 26, n. 4, p. 1373-1380, JUL 2016. Web of Science Citations: 5.
BARTOLONI, FERNANDO HEERING; DE OLIVEIRA, MARCELO ALMEIDA; MONTEIRO LEITE CISCATO, LUIZ FRANCISCO; AUGUSTO, FELIPE ALBERTO; BASTOS, ERICK LEITE; BAADER, WILHELM JOSEF. Chemiluminescence Efficiency of Catalyzed 1,2-Dioxetanone Decomposition Determined by Steric Effects. Journal of Organic Chemistry, v. 80, n. 8, p. 3745-3751, APR 17 2015. Web of Science Citations: 19.
ALVES, J.; BOARO, A.; DA SILVA, J. S.; FERREIRA, T. L.; KESLAREK, V. B.; CABRAL, C. A.; ORFAO, JR., R. B.; CISCATO, L. F. M. L.; BARTOLONI, F. H. Lophine derivatives as activators in peroxyoxalate chemiluminescence. PHOTOCHEMICAL & PHOTOBIOLOGICAL SCIENCES, v. 14, n. 2, p. 320-328, 2015. Web of Science Citations: 8.
CISCATO, LUIZ FRANCISCO M. L.; BARTOLONI, FERNANDO H.; COLAVITE, ALINE S.; WEISS, DIETER; BECKERT, RAINER; SCHRAMM, STEFAN. Evidence supporting a 1,2-dioxetanone as an intermediate in the benzofuran-2(3H)-one chemiluminescence. PHOTOCHEMICAL & PHOTOBIOLOGICAL SCIENCES, v. 13, n. 1, p. 32-37, 2014. Web of Science Citations: 18.


text:
cd /shopware

if [ ! -d ./files ]; then
    mv /swvolumes/files ./files
fi

if [ ! -d ./media ]; then
    mv /swvolumes/media ./media
fi

if [ ! -d ./var/log ]; then
    mv /swvolumes/log ./var/log
fi

chown -R www-data:www-data var files media  engine/Shopware/Plugins
chmod 775 -R var/log var/cache files media engine/Shopware/Plugins/Community
chmod 544 /shopware/bin/console

redpajama_set_name: RedPajamaGithub


How can we rebuild Jerusalem?
This Saturday night and Sunday, we will commemorate the sad day of Tisha B'Av. The Hebrew date of Tisha B'Av, the 9th of the month of Av actually comes out on Shabbat this year. Since it is forbidden to turn Shabbat into a day of mourning Tisha B'Av is postponed until right after Shabbat so this year we are commemorating the 9th of Av on the 10th of Av.
We are told in the Talmud, Taanit 30b: "Anyone who does not mourn for Jerusalem will not witness her joy at the time of the redemption.
How do we mourn for Jerusalem?
On Tisha B'Av we don't eat, drink, wear leather shoes, have marital relations, wash or anoint our bodies. In other words, we make ourselves uncomfortable. We also read Megillat Eicha (Lamentations) and recite Kinot (sad poems about the troubles that befell the Jewish people throughout history). We sit on the floor or on a low stool as a sign of mourning.
What else can we do to mourn for Jerusalem?
Those who have the opportunity to visit Jerusalem can visit the ruins from the time of the Beit HaMikdash (Temple).
When one goes to the Temple Mount they are reminded that Jews are not permitted to walk freely or pray there.
On Tisha B'Av last year, we didn't have to put ourselves into the mood of mourning as we were already mourning for the soldiers who were killed in Operation Tzuk Eitan. Just turning on the TV or opening up the newspaper gave us plenty to cry about.
Ten years ago, we had another reason to cry. Gush Katif was being evacuated and Jews were forced to leave their homes, neighborhoods and businesses which were destroyed. The cemetaries and synagogues were uprooted.
What can we do to rebuild Jerusalem?
The Talmud, Taanit 26b teaches that one of the happiest days on the Jewish calendar is Tu B'Av (The 15th of Av), just a few days after Tisha B'Av. How can this be? How can we move on from mourning the destruction to the holiday where men and women would go out to find a spouse in order to build a Jewish home?
The holiday of Tu B'Av teaches us that we must always work on rebuilding. Just as those who are dating need to focus on building a relationship, the Jewish people need to make an effort to build a relationship with the Land of Israel and those living there. We must continue to help rebuild Israel by building homes, industry, schools, synagogues, community centers and parks. We also have to build relationships with one another.
Those who are in Israel can physically build up the land. Those who are not in Israel can visit and support the programs that are being created.
If Jewish people from around the world make a conscious effort to build a relationship with the State of Israel and those living there, we will be one step closer to the rebuilding of the Beit HaMikdash.
According to the Maharsha it doesn't say "kiyamta" (did you observe the mitzvah of procreation), rather it says "asakta" (were you involved in procreation) since it is a mitzvah to marry off an orphan.
Even those who, for whatever reason, can't have children of their own still have the obligation to help find shiduchim (matches) for others in order to bring about more Jewish families who will then be fruitful and multiply.
Just as a couple who is having difficulty conceiving will do whatever it takes in order to try to have a child (whether through fertility drugs, in vitro or adoption etc.), spend as much money as needed and go to the ends of the earth, so too should we go out of our way in the realm of helping people find their basherts (destined matches).
During these three weeks leading up to Tisha B;Av when we cry for the destruction of the Beit HaMikdash (Temple) as well as for other tragedies that occurred throughout Jewish history, we should mourn as well for the houses that were never built since the proper shidduchim were never found .
Remember, whoever makes a bride and groom happy is like one who built a ruined house from the ruins of Jerusalem.
Those who value conducting business in an ethical manner, setting aside time for Torah study and the hope that the Mashiach will come speedily in our day must do what they can to help alleviate the shidduch crisis and help bring about the rebuilding of the Beit HaMikdash.


A new single titled "SOS" of the late musician Avicii's last album to be released next week.
One of the soundtracks from Avicii's last posthumous album will be released next week on Wednesday 10th April, as announced by the recent statement published by the family of the late musician.
The song is titled 'SOS' and featured a vocal from fellow soul singer Aloe Blacc.
The news comes after a year since the singer whose real name is Tim Bergling passed away in Oman on 28th April last year by suspected suicide.
The Swedish DJ was only 28 when his dead body was found.
As for the 16-track album, the singer was close on completing is now entitled 'Tim', and will be released on 6th June.
The profits from the singer new record will be donated to Tim Bergling Foundation, that was established following his death to aid in the prevention of suicide and mental illness.
"He left behind a collection of nearly finished songs, along with notes, email conversations and text messages about the music," said a relative in the message.
The statement further continued reading: "The songwriters that Tim was collaborating with on this album have continued the process to get as close to his vision as possible."
Adding: "Since Tim's passing, the family decided not to keep the music locked away – instead they wanted to share it with his fans all around the world."
Avicii's family also released a statement last year upon his death.
The long statement read: "Stockholm, 26 April 2018. Our beloved Tim was a seeker, a fragile artistic soul searching for answers to existential questions. An over-achieving perfectionist who traveled and worked hard at a pace that led to extreme stress."
"When he stopped touring, he wanted to find a balance in life to be happy and be able to do what he loved most – music. He really struggled with thoughts about Meaning, Life, Happiness. He could not go on any longer. He wanted to find peace."
"Tim was not made for the business machine he found himself in; he was a sensitive guy who loved his fans but shunned the spotlight. Tim, you will forever be loved and sadly missed. The person you were and your music will keep your memory alive. We love you, Your family."
If you are struggling with emotional distress or considering suicide or know someone, then please don't be afraid to tell your parents, teacher or anyone trustworthy or call the National Suicide Prevention Lifeline at 1-800-273-TALK (8255).


Edge Sport's 2.7-liter EcoBoost V6 engine delivers a 10 percent increase in horsepower over the previous standard engine, a 3.7-liter V6, and a 25 percent increase in torque – for a total of 315 horsepower and 350 lb.-ft. Peak torque output is available at 2,750 rpm, far lower in the performance band than the 2014 model, for a better performance feel. The previous engine generated peak torque at 4,000 rpm.


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Arbor Memorial Inc. Gordon F. Tompkins Funeral Home - Central Chapel by Arbor Memorial
About Gordon F. Tompkins Funeral Home - Central Chapel
Focused on Your Needs
Proudly serving Kingston and the surrounding area, Gordon F. Tompkins Funeral Home - Central Chapel will help you customize your arrangements, while respecting your faith, taste and budget. You can feel confident putting your trust in our compassionate professionals.
We are proud to be a part of this community. Our helpful, dedicated staff are passionate about supporting families, local associations, religious organizations and cultural groups, and we are honoured to host a series of free memorial events throughout the year.
We are pleased to offer a free bereavement support group, for the Kingston Community. Meetings are Friday evenings at our Township Chapel from 7:30 - 9:00 p.m. Please call 613-546-5150 to reserve a spot.
Member of Bereavement Services of Kingston. Our vision is a community where support is available to people experiencing loss and grief. No one needs to face their grief alone.
General Manager Eric Thompson
Eric Thompson is a third-generation Funeral Director with Arbor Memorial. He graduated from Humber College in 2005 with an honours diploma in Funeral Service Education. He is currently working as the General Manager of Ottawa, Kingston & Belleville. With over 12 years working for Arbor, he has become a leader in providing responsive, respectful and meaningful end-of-life services. Eric has a passion for serving and giving back to the community. He is involved with Rotary International, Chamber of Commerce, Sales and Ad Club, and an active member in the local Baptist church.
ethompson@arbormemorial.com
Branch Manager Benjamin Ens
Ben graduated from Humber College Funeral Service Education in 1996. He gained experience at funeral homes in North Toronto and The County before joining Arbor Memorial. He takes pride in providing services to all families, and enjoys working with the many multicultural communities found throughout Ontario. Ben has been involved at the organizational level in youth soccer, as well as being a certified referee and coach. He and his wife Heather have two children and love serving at their home church, Emmanuel Baptist, where Ben serves on the Board.
bens@arbormemorial.com
Township Manager Tim Bailey
Tim began working part time with the Cassidy Funeral Home in Tweed in 1993, then graduated from Humber College with an honours diploma in Funeral Service Education. On Monday, June 19, 1995, he began his full time career with the Gordon F. Tompkins Funeral Homes and with Arbor Memorial. In subsequent years he transitioned from being the apprentice, to the primary arranger, to being the manager. Tim and his wife Allison Philpot together have 5 children and can often be found at the various arenas, soccer fields, gymnastic clubs, and school events around Kingston. Over the years Tim has coached or been on the coaching staff various leagues (Kingston AAA to the Church Athletic Hockey League) Kingston United, Cataraqui Clippers and Pegasus soccer clubs, been on the Salvation Army Advisory Board, involved with the Knights of Columbus and is involved with fundraising for Hospice Kingston.
tbailey@arbormemorial.com
Director of Community Relations Ian Moore
I graduated with honours from Funeral Service Education in 1978. I worked in Toronto, Powassan and moved to Kingston in 1982 to work with Mary Tompkins. I have been busy in my years in Kingston with the Lions Club (Melvin Jones Recipient), Knights of Columbus 3rd and 4th Degree (35 Year Award) as past grand knight, past faithful navigator and past Diocesan Director. I have worked with many church groups to organize and help raise funds, especially the Roman Catholic Archdiocese, Anglican Diocese and the Ecumenical Council. I have worked with United Way, UHKF and other fund raising groups. When I learned to use the computer, I used these skills to print for many church and community groups. For 18 years was active with local military groups to remember and commemorate veterans with the Kingston Remembrance Day Ceremony and other Veterans Services and Ceremonies, printing, helping and organizing. I enjoy my current role which allows me to help promote and serve the community and G.F Tompkins Funeral Home that I have proudly worked for 27 years.
imoore@arbormemorial.com
Funeral Director Laura Tackaberry
Laura starting working for Arbor and Gordon F. Tompkins Funeral Homes in 2000 as a co-op student from LaSalle Secondary School. She graduated from Humber College in Funeral Service Education, and has been licensed for 15 years. She has been very involved in 358 Dirt Modified Car Racing as an avid helper to the race team and supporter. I have been a 4H Club volunteer especially helping my nephew Jarred at events.
ltackaberry@arbormemorial.com
Funeral Director Jackie Markland
Jackie Markland was born and raised in Prince Edward County. In 2000 Jackie obtained her Funeral Director's licence from the Western School of Funeral Service in British Columbia, with honours in her class. Prior to Jackie obtaining her Funeral licence & after working over 16 years in the Dental profession, she attended a funeral for a loved one. That was when Jackie was inspired & felt a calling as well as a need to change her profession. With her new career change Jackie could work with people when they were going through a situation that made them more vulnerable in life, and needing guidance. Her career in funeral service started with Arbor Memorial in BC. In 2004. Jackie returned to Ontario and worked in a family owned and operated business until March of 2019 when she returned to Arbor Memorial in Kingston, where she now once again feels at home in funeral service. Jackie has been involved with the Breast Cancer Action Kingston Golf Tournament, also with the Salvation Army Kettle Program at Christmas. In Jackie's spare time she loves enjoying time with her family, going on spontaneous excursions such as Hot Air Ballooning, Ziplining, River Rafting, snowshoeing & many other outdoor activities to name a few.
jmarkland@arbormemorial.com
Funeral Director Kevin Kellington
Kevin is in his 30th year working in the funeral industry. He has been a licensed funeral director for 20 years and a licensed crematorium operator for 5 years. He has been with Arbor Memorial for over 5 years. He is an active member of his local Free Methodist Church. He has 5 adult children and one granddaughter. He spends his summer holidays as a volunteer cook at Pine Orchard Camp, heading up the kitchen for the children's overnight and family camps. He is proud to serve the Kingston community when people are facing one of the most difficult times that they will go through "The loss of a loved one"
Kkellington@arbormemorial.com
Funeral Director Laura Jeffery
Laura Jeffery is an Insight Book's Certified Funeral Celebrant. She enjoys assisting at annual events sponsored by Arbor's Kingston Group with our local Hospice, Bereaved Families and Alzheimer Society. Laura has been licensed since 1996 and for many years worked in all aspects of Funeral Service for smaller Arbor and Independent Funeral Homes in various Ontario communities. Laura enjoys sharing her skills to support the Community of Kingston.
Ljeffery@arbormemorial.com
Funeral Director Karen McAnerin
Karen McAnerin was born and raised in Kingston. She has always been extremely passionate about helping others and knew from a very early age that she aspired to become a Funeral Director. While attending L.C.V.I. (Loyalist Collegiate and Vocational Institute), Karen focused her energies as a co-op Student at a local Funeral Home and then graduated from Humber College in Funeral Service Education and became Licensed as a Funeral Director in 2005. She honed her skills in the communities of Trenton, Campbellford, Cobourg, Colborne and Oshawa prior to returning to Kingston to serve her hometown community, friends and family. Karen and her husband have two children who are extremely active in rep hockey, competitive rowing and muay thai kickboxing. As a family they volunteer together with Ability Dogs Canada during training classes and fundraising events. Karen is also an active volunteer with Bereavement Services of Kingston, Surrogacy in Canada Online, Students for Wishes Queen's University's Annual HaiRaiser Event (supporting Make-A-Wish Foundation) as well as volunteering at both of her children's schools. Karen previously volunteered at Extend-A-Family Summer Day Camp, provided Pet Therapy at St. Mary's of the Lake Hospital and Providence Manor, and as a trainer for a few seasons on her son's hockey teams. Karen has a love of animals and has both furry and feathered friends on their small bird hobby farm. She enjoys giving back and contributing to the community, making a difference in the lives of others and building positive relationships. Karen is grateful for the opportunity to join Arbor and make long lasting and meaningful connections in the community.
Pre Planning Funeral Director Stacey Hartley
Stacey Hartley is a 20 year licensed Funeral Director who for the last 5 years has been our Preplanning Funeral Director looking after our Kingston Arbor Funeral Homes. She graduated from Humber College in 2000 with an honours diploma in Funeral Service Education. Her career has seen her work in various communities including London, Sydenham, and Gananoque. Stacey is very involved in the community. She gives a helping hand when needed at Big Brothers Big Sisters, The Senior's Center and her 4 children's various sports teams. She has also served on the BCAK Golf Tournament as well as the Senior's Center Golf Tournament.
shartley@arbormemorial.com
Pre Planning Funeral Director Mackenzie Connors
Mackenzie is a licensed funeral director and has been with Arbor for the last 3 years. She currently specializes in funeral pre-planning and serving families through aftercare assistance. Mackenzie volunteers in the community at Providence Care Hospital, with Big Brother Big Sisters and with various golf tournaments in Kingston; including the annual tournaments for the Kingston Seniors Centre and Breast Cancer Action Kingston.
mconnors@arbormemorial.com
Funeral Director Amelia Davis
Amelia has been a funeral director for 5 years and with Arbor for 6 years. She is a member of the Royal Canadian Legion #496 and volunteers at various events in her local community.
adavis@arbormemorial.com
Funeral Director Daniel Dutcher
Daniel Dutcher is a Funeral Director and has been working in the Funeral Service Industry for over six years. He has recently graduated from Humber College with Honours and is involved with Rotary International.
Ddutcher@arbormemorial.com
Branch Administrator Roxanne Corkum
For 8 years, working day to day operations. My passion for life is making every day memorable. I am mindful to always listen and to be kind. People will forget what I said, people will forget what I did, but people will never forget how I made them feel. I believe in letting my voice make a difference.
rcorkum@arbormemorial.com
Arbor Memorial Inc. ("Arbor") is committed to treating all people in a way that allows them to maintain their dignity and independence. We are committed to meeting the needs of people with disabilities by preventing barriers to accessibility and meeting the accessibility requirements under the Accessibility for Ontarians with Disabilities Act ("AODA").
As part of our commitment, we strive to achieve barrier-free accessibility at all Arbor locations nationally.
If you would like to provide feedback regarding Arbor's Accessibility Services, please visit the "Contact Us" section of this website. Alternatively, you can contact the location Manager by telephone or mail. Please click here to view Arbor's Multi Year Accessibility Plan.
49 Colborne Street
K7L 4Y8 Directions


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After describing The Apprentice as a "loathsome show" and stating that the business community doesn't like Lord Sugar, I thought you might like a response to the article by Luke Johnson in The Daily Mail. This is response from someone who has worked for some of the finest businesses in the world and has also taken part as a candidate on the show. Me.
It's six years since it was screened and nearly seven since it was filmed. People still ask me what it was like to take part in The Apprentice. I'm not surprised. The show has become a national annual TV event and more people than ever watch the series.
I absolutely loved it. It was a surreal experience and one I will never forget. Of course I would have liked to have won. With hindsight there are things I could have done differently. But I entered to win but accept I was not what the then Sir Alan was looking for. I am still in touch with many of those candidates from that series and with Lord Sugar, Nick and Margaret. Margaret decided after five series to step down to focus on her PhD. The formidable Karren Brady has replaced her.
Despite the fact that Lord Sugar spent a page and a half insisting in his rather entertaining autobiography that I only took part to become famous, he was wrong. What he forgets is that no one knew what that first series would be like, how it would do in the ratings and what our lives would be like after the series aired. I certainly don't mind that his recollection of events is different from mine. I have never sought to be a "celebrity" and nor do I wish to be. I am however keen to be well known for what I do. That's very different. For the past five years I have worked hard, mainly on radio. It's not an industry you can just walk into and expect to be competent. It's hard graft. Graft I really enjoy. To be a presenter on LBC Radio is a real privilege. Yet I didn't enter The Apprentice to do what I do now. It just sort of happened.
Having completed the filming, we could not simply go and get a new job. The contractual situation was a mess. Business doesn't really like television and those who have appeared on it. Well, not unless yr the boss anyway! Similarly having been a partner of a private equity firm I had a year "non compete" in my contract and was certainly not going to be able to go back. So I had to look for new opportunities. That's what I did and continue to do. For anyone who thinks you take part in a show like this and have offers thrown at you, think again. Having said that, doors do open and it's simply down to you to pursue avenues as they appear. In my case I was offered a position at an investment bank. Except is was a delayed offer. Delayed by a year as the chap in charge said he'd heard me on the radio and thought I should give that a shot. The rest, as they say, is history.
Public perception is very different from reality. The perception is that you take part in a show like this and you are set up for life. The reality is that for those who do take part, you have to work hard after the cameras stop rolling to carve a new career. I am certainly not complaining and I have been able to do many and exciting things as a result of having taken part in the show. More importantly I have met some amazing people along the way.
So, when I read Luke Johnson's preview to this latest series in The Daily Mail, I was cross. Luke Johnson is the former Chairman of Channel 4 and indeed has a considerable and impressive track record in business. He's a business success and has plenty of useful contributions to make. I don't know whether he got of his bed the wrong side the morning he wrote his article but he's wrong on so many different levels.
He described The Apprentice as a "loathsome show" and then went on to say that the biggest laugh at an event he spoke at was an entrepreneur who had created a loo roll with Lord Sugar on every sheet. Hilarious. What an entertaining day that must have been.
Yet here is a man who was chairman of Channel 4. The station that bid against the BBC to win the Apprentice as a format from its makers, TalkBack Thames. Who was chairman at the time? Perhaps this is the real reason Mr Johnson has attacked the show and the format. Or is it that Lord Sugar is a Lord and he isn't?
Mr Johnson explains how, when he was at Channel 4, they came up with such formats as Jamie's School Dinners. Great telly. But does television like that actually do anything useful at all? Or is it simply a publicity stunt for Mr Oliver and the politicians who signed up to various empty promises? Do our children eat any better than they did before? No. Have school dinners improved? Unlikely. Yet when I go to schools and universities, The Apprentice has had a real impact. Youngsters are interested in business. Interested in setting up on their own. Developing new ideas and realising that you can start up if you have an idea and are prepared to work hard.
I am not saying that The Apprentice is a format that teaches everything you need to know to be a success. I recognise and so do most of the British public that this is entertainment television with a business thread. One could argue that everything the candidates do is exactly what you should not do to succeed in real life! But that is to miss the point. Each week there are real business lessons. There are elements that you can learn from and most importantly the show has inspired young people to think about business for the first time since Margaret Thatcher was Prime Minister.
We all know that real bosses don't say "You're Fired!". We also know that people cannot and should not behave as they do on the programme. But this is television. The BBC is in the business of making television. They are in the business of securing ratings. That's exactly what they have done. Year on year building the brand, developing the show and this year substantially reinventing the format to ensure it is relevant to today's difficult economic circumstances.
For Mr Johnson to argue that the world of business is collegiate and wonderful is again a step away from reality. Perhaps he should look at the media industry. The way people are hired and fired. The treatment of freelancers is often lamentable. Sexism, bullying, overwork and under pay is rampant. Indeed the businesses that he has backed have made a considerable fortune. But who other than senior management and financial backers have done well from the successes of Pizza Express or Strada? I don't think you will find many of the chefs, waiters and day-to-day staff having profited significantly or retiring with a high standard of living.
As if that wasn't enough, Mr Johnson then decides to take a pop at the property industry. The industry in which I originally trained. Three years at university and two years professional training after that. Apparently the property industry "generates few jobs and no exports". What utter claptrap. Try telling that to the construction workers, property investors, professionals, architects, fit-out specialists and investment banks to name but a few. What about our pensions that rely upon the property industry for income and capital growth? Every business needs an office, or shop, warehouse or distribution park. Without the property industry other businesses simply would not exist. Lord Sugar had a very successful electronics business and after monetising it, he decided to diversify. Indeed he still has a range of business activities ranging from electronics to aviation. Property has served him very well and I'd argue that the property industry is one of the nation's finest investments and exports.
If the message from Mr Johnson is that we need to have better education in schools. Or that television needs to play its part in encouraging entrepreneurialism or even that we need to reform the House of Lords so that it's less of a political fraternity and a real democratic part of our political system. Then I agree. Indeed if he wants to reduce bullying in the workplace, sexism in the boardroom, improve pay and conditions for workers and tackle the horrendous problem of exploitation of freelancers… then again, all very admirable. He has invested in and developed from scratch some very well known businesses. There is no doubt that he has a real talent. Yet he is the sort of person that needs to do more. Instead of sniping and sneering from the sidelines.
It's clear from his article that in fact he doesn't like Lord Sugar. He is jealous of the programme's success and has totally missed what the show is about, why it works and how it has become so popular.
I am not here to defend Lord Sugar or the programme. However my advice for Mr Johnson is simple. Before you state that successful businessmen and women are not flash egotists, perhaps need to look at yourself before criticising others. See here for the evidence! http://www.lukejohnson.org And as a TV reviewer and ambassador for business, Luke Johnson? You're Fired!
you both seem to have got up on the wrong side of bed!!! and both have vaild points!


Really enjoyed this - the celery seeds make this!
Wonderful. Quarter cup less sugar. Used red onion. It's an excellent recipe. I am going to serve it with pulled pork sandwiches.
Awesome! I prefer vinegar based coleslaw and this one didn't disappoint!


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Praise for MLO
Reading: Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History
Special Collection: Comparative Literature Section Launch Issue
Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History
Andrew Ginger
University of Birmingham, GB
X has something in common with Y. Y is different from X. Boiled down to its basics, comparative study is based on these two thoughts. It is impossible to undertake comparative work without a notion that distinct things may be grouped together using the same term (for example, comparative modernist studies) There is, therefore, no comparative study without a strong notion of sameness and of commonality. Aesthetic resemblances are of fundamental importance to such connections in comparative cultural study. Put another way, comparative study involves attending to how things feel or appear to be alike, to the sensual textures of what they share, of their sameness. These sensations are those of persistence and intimacy. Rather than analysing the history of culture, we might engage in aesthetic appreciation of the similar shapes, forms, moods even that we find across its vast expanses over place and time. Rich ways of appreciating sameness may enable the marginalized and subjugated to re-assert their own value. In tracing such things, we give shape to poetics that become the very heart of how we do comparative study: vocabularies and narrative styles. More still, the aesthetic appreciation of sameness constitutes a psychological journeying.
How to Cite: Ginger, A., 2018. Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History. Modern Languages Open, (1), p.18. DOI: http://doi.org/10.3828/mlo.v0i0.191
Published on 03 Sep 2018
X has something in common with Y. Y is different from X. Boiled down to its basics, comparative study is based on these two thoughts. It is impossible to undertake comparative work without a notion that distinct things may be grouped together using the same term (for example, comparative modernist studies). There is, therefore, no comparative study without a strong notion of sameness and of commonality. When we state this commonality, we set out a connection across and through manifestly disparate things. In articulating sameness – in saying 'X has something in common with Y' – we lay bare the very nature of connections across culture: the qualities and characteristics that connections have, the forms they take. If we say, 'let's compare Lorca and Apollinaire as modernist poets', our use of the phrase modernist poets must have of itself something of the fundamental qualities of connectedness and of commonality. Such connections must not merely cut across but surpass attempts to assign works to discrete places and times, periods or contexts (one could not 'cut across' anything, were this not so). They are characterized by what I will call their persistence – their resistance to boundaries – and their intimacy – their capacity to join in commonality beyond their own particularities.
Aesthetic resemblances are of fundamental importance to such connections in comparative cultural study. Put another way, comparative study involves attending to how things feel or appear to be alike, to the sensual textures of what they share, of their sameness. These sensations are those of persistence and intimacy. Rather than analysing the history of culture, we might engage in aesthetic appreciation of the similar shapes, forms, moods even that we find across its vast expanses over place and time, bringing together disparate things. We might accept that these are a fact of our experience of the histories of culture. I will argue that such attention to intimate sameness does not necessarily lead to the flattening out of cultural difference, nor to marginalization and exclusion of what does not fit in. Instead – as has historically been the case – rich ways of appreciating sameness may enable the marginalized and subjugated to reassert their own value. I will argue that such tracing of patterns of commonality is a practice and a craft – it is, as it were, something that we do by doing it – not because of, or in obeisance, to any large philosophical theory. I will suggest that, through this craft, we bring into relief a wide variety of patterns, and ways of appreciating patterns, that persist across the histories and geographies of culture, in spite of limitations of place and time. In tracing such things, we give shape to poetics that become the very heart of how we do comparative study: vocabularies and narrative styles. In so doing, there is no avoiding either the risk that such disregard of delineations into places and times poses to intellectual rigour and sanity, or the reality of the suffering often inflicted in the name of sameness. Rather, these risks must come to the fore: the aesthetic appreciation of sameness constitutes a psychological journeying.
Aesthetic Resemblances and the Aesthetic Appreciation of Cultural History
Across the expanses of place and time in the cultures of our world, many things may appear to resemble one another. These things may, in other respects, seem to be disparate (X has something in common with Y; Y is unlike X). For example, in his monumental text Constructive Universalism [Universalismo constructivo] (1944), the Uruguayan artist and thinker J. Torres García linked zeppelins, ancient Egyptian art and El Greco as spiritually powerful architectures of geometrical forms, and thus of classicism (76–91). These qualities he finds too in the works of the Aztecs, Maya and Incas (113). On one account of comparative study, the grouping together of such diverse things can only be rigorous and valid if there is some causal connection between them. It would in turn be appropriately scholarly only to discuss such comparisons by showing causal connections, whether that be through the demonstrable influence of one work upon another, or through some shared ancestor or common cause (say, a feature of the human brain). Anything else would be deemed superficial, a mere surface similarity. In their work on transatlantic studies, Susan Manning and Andrew Taylor describe such a vision of rigorous historiography as one concerned with 'the structure of implied priorities and progressions' (10).
An alternative view is that resemblances are, in and of themselves, a reality of the history of cultures, and that there is nothing rigorous about ignoring this fact. The experience of two (or more) things having something in common is significant in its own right, whether or not this comes about through accident and contingency. Causal connections, however direct or indirect, simple or intricate, are of relevance only insofar as they inform our awareness of such realities. Further still, to look to the causal roots of commonalities is to risk overlooking what drew us to their comparison in the first place: the experience of disparate things having something in common. In attending primarily to the latter, we turn away from – or at a minimum treat as of secondary importance – the kinds of rigour offered by historical or scientific causality, formal logic or philosophical frameworks (metaphysics or ontology, for example). Tracing a contrast with the first of these – but it could as easily be said of all of them – Manning observes that 'a poetics-led comparison supplements the historical lacunae of connection' (232).
Ultimately, a 'poetics-led comparison' must centre on the aesthetics of sameness and commonality: the sensual experience of things having elements in common. This involves appreciation, not explanation or interpretation as such. Echoing Susan Sontag, the classicist Shane Butler has recently written, of the need to appreciate poetic form, that 'the problem of interminable analysis is not that it tells us too much but, rather, that what it does tell us crowds out all perceptions of what it cannot' (83). What Butler says of any individual work may also be writ large, and applied to the experience of the history of culture itself. To envisage history this way is to attend, in their own right, to the sensations of commonality, 'the "texture" of likeness' (Manning xiii), that stretch across the vast expanses of place and time. Each of these sensations may properly be thought of as a mood: 'an overall atmosphere or climate that causes the world to come into view in a certain way', as Rita Felski has put it (20). Each sensual feeling brings into view a kind of sameness, each kind of sameness a sensual feeling.
Aesthetically, to perceive the history of culture as series of similar but disparate forms is to alter the way in which we attend to it. It is to change our 'mood'. What the art and design group Patternity have claimed of the urban environment might also be said of our refreshed disposition and attentiveness towards the expanse of the history of culture about us: 'The search for pattern has the power to positively shift the perception of our surroundings, and seemingly in an enduring way. […] Encouraging individuals to look up, look down and all around them with an attuned eye invites them to pay full attention, as if seeing their surroundings for the first time' (44). In such experiences, as Picasso famously remarked, 'there is no past or future in art', or, for that matter, in literature, or any other medium (cited in Cowling 336). The whole point of the patterns is that they associate things that are remote from one another. We find ourselves here in the 'deep time' of literature of which Wai Chee Dimock has so eloquently written in Through Other Continents (2008): a world in which connections stretch back and forth across the centuries and around the globe. Or, perhaps, better said, there is no depth, only extent. Speaking of the Soviet filmmaker Sergei Eisenstein's vision of Mexico, Andrea Noble once evocatively recalled the notion of history as a subtly textured shawl, a serape of diverse, interlinked forms, resting together in spite of their chronologies (181).
We may, of course, recoil from such thoughts, for fear of loss of rigour. There is good reason for some reluctance, in the apparent loss of criteria for what constitutes a valid connection, and in the old question, to which Manning returned in her final book: 'Is analogy argument?' (xi). I will come back to the importance of that fear later in this essay. As regards the position I have set out thus far, I will note only that words such as fear – or danger, or risk which, anecdotally, one hears used with seeming casualness in conversation among humanities academics – have connotations beyond any intellectual content. They suggest an anxiety that might itself present a risk: a mistrust of giving ourselves to our aesthetic experiences, even that such sensations are not really real, and, in much broader terms, a supposition that we must be in a state of continual vigilance against what might imperil us.
Sameness and Intimacy: Inclusion, Exclusion and 'Going On'
It may be said that through whatever disposition and attitude, through whatever sensual forms we experience sameness and commonality, these will be moods of intimacy. There has, of course, been much talk recently of intimacy, as a result of rise of interest in the haptic, the notion that touch is crucial to culture. While I am concerned here with sensual experience, my interest in intimacy has greater similarities to the use of the word by the philosopher Stanley Cavell. I seek to evoke the notion that signs, images, words may enable any person to be attuned enough with other things and people so as to experience 'the world' (80), and thus other places, times and outlooks. In this usage, culture that connects intimately does so by extending and persisting beyond any supposed confines of a place and time, beyond any narrow delineation of its 'context'. We may get a sense of what such intimacy might be like by playing with a thaumotrope, a simple nineteenth-century optical toy. The thaumotrope is a disc hanging from a string; on each side of the disc, there is a distinct image (say, a chicken and a cage). The idea is that, when the thaumotrope spins, the two pictures appear as one (say, a chicken in a cage), even though they are at that moment in distinct places and have been seen at different times.
It may be ventured that without intimacy there can be no sameness, no commonality across the aesthetic patterns traced in our experience of the history of culture. To return to my opening remarks, saying that 'X has something in common with Y' supposes a 'something in common' to which we can attend – and that 'something in common' must be shared beyond the particular place or time in which X is found. More still, to experience the histories of culture as a series of aesthetic patterns of resemblance is to suppose that the many Xs and Ys – the many texts and images and sounds – do indeed come together into patterns, that they share in these forms, and that the latter must then extend beyond the limitations of any given context. Put another way, the aesthetic patterns traced by the history of culture are its commonalities – they become the stripes of its serape, say – and these have no regard to the confines of any specific place or time. For instance, when Torres García brings together the zeppelin and El Greco and ancient Egyptian art, he 'causes the world to come into view' such that we behold a pattern, not simply of what these things share (potently expressive geometric form) but of their being together. It is as if we were to perceive the overall shapes of a collage involving those three things, and thence their '"texture" of likeness'.
It seems to me impossible to demonstrate through reasoned argument that such intimacy actually occurs or could occur, hence my use of may at the start of the last two paragraphs. Either one holds that things are only what they are in their own place and time, or one holds otherwise (which is not, incidentally, an argument for relativism). In telling phrases, glossing Cavell, Michael Fischer remarks of 'intimacy' that it is 'remarkable because nothing seems to account for it'. By 'starting from the fact of our intimacy', Cavell 'emphasizes the astonishing reality of our attunement' (61). Among the reasons for reluctance by scholars to give themselves to such experiences, or for denying their existence, are: that sameness eliminates and occludes all that is specific and heterogeneous, and is itself no more than a masquerade for the interests of a particular group or person; that the alteration of our perceptions will prevent us from seeing the (often unpleasant) realities of social, political, gendered and economic struggle; and that any grouping together of things with something in common is inherently exclusionary of others, and by extension may serve the cause of prejudice and discrimination. Once again, the balance of assessment of risk is manifest in such thoughts. Borrowing words from the psychological thinker R. D. Laing, one might even say in response: 'It seems ungracious not to take delight|In day because it turns so soon to night'. Yet equally, the fear matters, and to it we will return in due course.
There is an alternative view: that commonality and sameness may offer possibilities for culturally specific things to be appreciated and valued in a shared experience, and for their importance to be asserted, without eliminating their particularity. This attitude has prevailed far from the 'West', and before, after and during periods of 'Western' colonialism: it has often been cultivated in opposition to imperialism and to the outright hegemony of any particular culture or society. At times, it has taken shape in versions of universalism. Ironically, it has often been well-intentioned, anti-colonial 'Western thought' that has been dismissive of such outlooks. Writing of the Indian subcontinent and of Asia more widely, Sugata Bose has observed that 'a universalist patriotism emerged at various venues across the colonized world', and that '[b]oth notions of universalism with a difference and cosmopolitanism springing from vernacular roots are dramatically at odds with the dominant discourse and debates within the charmed circle of contemporary British and North American analytical philosophy. They are also located at some distance from the premises of French and North American intellectual currents that are deeply suspicious of all meta-narratives and are prepared to only valorize the fragment' (99, 98).
Inspired also by Indian culture, Sonal Khullar has noted how an experience of marginalization, of being relegated to a periphery or being devalued, may lead to creative efforts to reshape our experience of the shared and the global, and of being part of such things. Comparing the Mexican writer Octavio Paz and the Indian artist Francis Newton Souza, she remarks that 'the task of the artist was to make meaning of that unbelonging and remake belonging to the world' (25). This is true of the expanses of time as well as those of place. Media theorist Siegfried Zielinski speaks of how the past contains 'dynamic moments' (11): specific cultural and intellectual developments whose rich potential is not yet exhausted, and whose creative force therefore persists beyond the bounds of their location in chronological time. By extension, it may be said that any such moment is able to escape its own situation in place as well as time. At the point at which we – or anything or anyone else – makes a connection to a 'dynamic moment' from elsewhere, we – or they – will be transformed by that potential. The originary moment will offer something that it has not yet disclosed, and all parties involved will intimately share in the same metamorphosis.
In such instances of connection, our appreciation of sameness will change, because we encounter a commonality of which we were previously unaware, or because we might abandon one account of what things had in common and look to another, or simply because the 'texture of likeness' is enriched by a previously un-included element. Ginger (2012) shows, for example, that if we include the Hispanic world in a narrative about the origins of 'modernism', we will identify a distinct series of shared patterns across modernism than we would otherwise. Distinctiveness thereby actively transforms our appreciation of sameness, rather than being eliminated by it. When Torres García sees something in common between a zeppelin and an Aztec image, the zeppelin does not cease so to be. We do not lose our awareness that it is separate from Aztec civilization. And an unencountered sameness comes into view.
The ways in which we appreciate sameness enable us to 'go on', to borrow a phrase from Wittgenstein. Going on does not involve identifying a schemata or set of fixed rules to which things we subsequently encounter must be subjected: our appreciation of sameness to date does not prevent us from recognizing future kinds diversity. Rather, it involves a capacity to trace and find what things have in common as we encounter them. As Wittgensteinian education theorist Nicholas C. Burbules puts it, this is a 'notion of learning […] through participation in a kind of activity', one in which there is 'openness and indeterminacy', and where 'explanations can never exhaust our sense-making' (131–2). What we are learning as we go along, and what enables us to learn, is a disposition, a mood, 'that causes the world to come into view in a certain way', which 'has the power to positively shift the perception of our surroundings'.
The Aesthetic Forms of the History of Culture
As we appreciate the way that things, across the history of culture share something intimately in common, we experience patterns across the expanses of place and time. These come into view like recurrent forms over an immense, if mutable, landscape. Such formations are the fundamental subject matter of comparative cultural study. Often, they have taken shape in the use of apparently abstract terminology across seemingly disparate things – as Travelling Concepts (2002) as the title of Mieke Bal's influential book has it (modernism would be an example). We may, however, look beyond a highly conceptual vocabulary in enriching our aesthetic appreciation of patterns. To give an example, we might consider what is shared by Baudelaire's poem 'The Seven Old Men' [Les sept vieillards], and the American independent teen movie Before I Fall (2017). In Baudelaire's verses, the narrator is wandering the streets of a foggy mid-nineteenth-century Paris. He reaches a location where identical old men appear in exactly the same place seven times; eventually the narrator leaves the scene in horror. Before I Fall shows us an occasion in the life of an adolescent woman: a Cupid's Day on which she and her friends are going to a party, and where she is under pressure to lose her virginity. As they depart the festivities, they find themselves in a fatal road crash, after which she awakes at the start of Cupid's Day. Though she lives the day differently, it ends always with a fatality and with her awakening once more at the start of the day, until she alone dies. In the incident at the heart of both works, there is a finite amount of time and place: for Baudelaire, the particular spot on the street in Paris at a specific moment; in Before I Fall, a period shorter than twenty-four hours and a series of proximate locales (the woman's home, her school, the house where the party is held, adjoining roads and so forth).
We might envisage these two works each as a kind of bubble. The normal confines of a place and time have been maintained, but at the same time become sufficiently capacious so as to encompass a succession of similar but incompatible events occurring consecutively (an old man cannot follow himself). It is as if these circled one after another, within the confines of that identical place in time, but without exceeding them. As we gaze across the expanses of the history of culture, we would be able to appreciate many such bubbles, and their coming together as a pattern. To take a different example, we might consider the many occasions on which a work of literature or art echoes the contents of another, without explicitly repeating it. Obvious cases might be the movie The Forbidden Planet (1956) and Shakespeare's play The Tempest, or the emulations of classical Latin sentence structure in the Spanish of the seventeenth-century poet Góngora. While we may think of these as instances of imitation, emulation or intertextuality, we may also attend to the very experience of noticing that one work both is and is not obviously present within another, that the two might seem fused together (The Forbidden Planet is infused with The Tempest) and yet are also utterly different. This might appear as a flickering: an image in which two things seem alternately to join seamlessly, and to separate into diverse parts. This habitually happens when we spin a thaumotrope, and sometimes see the two pictures as one, and sometimes not, such that the fused and the separated images all flicker before our eyes. The landscape of the history of culture is criss-crossed with such patterns of flickering.
Each such 'texture of likeness' offers what Caroline Levine calls 'affordances' (6–7): that is, specific forms render possible certain experiences. Above and beyond the sensation of appreciating the patterns taken by our experience of the history of culture – the textures of its bubbles and flickers, for instance – these affordances are emotionally charged, giving us moods. The bubbles that we have seen here open up recurrent pain, trauma's looping. Flickering may afford a longing both to join with and to separate from others. The Anxiety of Influence (1973, 1997), evoked in Harold Bloom's book of that title, is but one version of such blends of desire and rejection.
Experience, Poetics and Psychological Journeying
It is tempting to draw up a grand theory to describe such experiences of sameness, and some impressive efforts have been made in that direction. Notable recently among these is Kaja Silverman's The Miracle of Analogy (2015), in which patterns of similitude are seen as the unfurling disclosure of Heideggerian being-in-the-world. Yet, as we have seen, to attend to resemblances for their own sake is specifically to take leave of their causes and explanations as a primary matter of interest. Moreover, if we are to 'go on' in the discovery of similitudes, a systematic theory is more an impediment, a constraint, than it is a help. Like Dimock's weak networks, the patterns of commonality themselves are notable for 'not yielding any theory with enough predictive (or even descriptive) authority to be called sovereign' (738). The appreciation of the forms of sameness across the history of culture is, in turn, a practice and a craft, and it is concerned with – indeed, it is a matter of – our experience. Richard Sennett has aptly pointed out the merits of the notion of experience in its very fuzziness: its spanning seamlessly from 'emotional inner impress' to 'an event, action, or relationship that turns one outward' (288). The practice and craft here is to work through our experiences of the history of culture so as to bring out forms of sameness. As a way of 'going on', it involves what Sennett describes as a continual 'dialogue with materials' (268) (in this case, literary texts, visual images and so forth), a 'not knowing quite what you are about when you begin' (262), and 'a realm of skill and knowledge perhaps beyond human verbal capacities to explain' (95).
It is in this way that we may realize a 'poetics-led comparison', to borrow Manning's words, far from the conventional academic essay-writing in which so many of us have been trained. Pondering the challenge of putting global interconnections into prose in her Planetary Modernisms (2015), Susan Stanford Friedman remarks that 'the logical progression of a Ciceronian argument seldom structures an oftentimes more dialogic or associational procession of ideas and examples' (13). Through our practice of writing sameness down, we develop styles, turns of phrase, structural patterns, lexical choices – an aesthetic, in short. I have tried to give a glimpse of such a thing in my evocation of bubbles and flickers across the landscape of the history of culture, in the vision of the spinning thaumotrope or the textures of the serape.
In such a passage through intimacy and persistence, the forms take us into sensations and moods: endless looping pain, for instance, or the tug and pull of desire and rejection, across the expanse of place and time. The aesthetic experience of history is the form of a psychological journey: 'esthetic art […] does something different from leading to an experience. It constitutes one', remarked John Dewey in Art as Experience (1934) (85). Such travelling is anything but free of risk. In its renunciation of some forms of rigour, and its embrace of sameness, the possibility is ever present that we will slip into delusion or oppression. That risk cannot be removed, and with it come fear and anxiety. These are inherent to and experienced within the journey, which supposes both those attendant hazards and an attendant hope: that the travelling will effect a transformation in us which can be described only by the journeying itself – it has no map, no fixed start point, no destination and no justifying theory – and that the intimacy it permits will be worthwhile.
Bal, Mieke. Travelling Concepts in the Humanities: A Rough Guide. Toronto: University of Toronto Press, 2002.
Bloom, Harold. The Anxiety of Influence: A Theory of Poetry, 2nd edition. Oxford: Oxford University Press, 1997.
Bose, Sugata. Different Universalisms: Colorful Cosmopolitanisms: The Global Imagination of the Colonized. Cosmopolitan Thought Zones: South Asia and the Global Circulation of Ideas, Bose, Sugata and Manjapra, Kris (eds.), 97–111, 2010. Houndmills: Palgrave Macmillan.
Burbules, Nicholas C. Wittgenstein's Metaphors and His Pedagogical Philosophy. A Companion to Wittgenstein on Education: Pedagogical Investigations, Peters, Michael A. and Stickney, Jeff (eds.), 123–34, 2017. Singapore: Springer. DOI: https://doi.org/10.1007/978-981-10-3136-6_8
Butler, Shane. The Ancient Phonograph. New York: Zone Books, 2015.
Cavell, Stanley. This New Yet Unapproachable America: Lectures after Emerson after Wittgenstein. Reprint ed. Chicago: University of Chicago Press, 2013. DOI: https://doi.org/10.7208/chicago/9780226037417.001.0001
Cowling, Elizabeth. Picasso: Style and Meaning. New York: Phaidon, 2002.
Dewey, John. Art as Experience. London: George Allen & Unwin, 1934.
Dimock, Wai Chee. Through Other Continents: American Literature Across Deep Time. Princeton: Princeton University Press, 2008. DOI: https://doi.org/10.1515/9781400829521
Felski, Rita. The Limits of Critique. Chicago: University of Chicago Press, 2015. DOI: https://doi.org/10.7208/chicago/9780226294179.001.0001
Fischer, Michael. Stanley Cavell and Literary Skepticism. Chicago: University of Chicago Press, 1989.
Ginger, Andrew. The Origins of Atlantic Modernism and the Spanish-speaking World. In: Theorising the Ibero-American Atlantic, Braun, Harald E. and Vollendorf, Lisa (eds.), 175–98, 2013. Leiden: Brill.
Khullar, Sonal. Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930–1990. Oakland: University of California Press, 2015.
Laing, R. D. One. Life Before Death, 1978. http://rdlaing-lifebeforedeath.com/listen/lyrics/one.html. Accessed 29 October 2017.
Levine, Caroline. Forms: Whole, Rhythm, Hierarchy, Network. Princeton: Princeton University Press, 2015. DOI: https://doi.org/10.1515/9781400852604
Manning, Susan. Poetics of Character: Transatlantic Encounters 1700–1900. Cambridge University Press, 2013. DOI: https://doi.org/10.1017/CBO9781107326354
Manning, Susan and Taylor, Andrew. Introduction: What Is Transatlantic Literary Studies? In: Transatlantic Literary Studies: A Reader, Manning, Susan and Taylor, Andrew (eds.), 1–13, 2007. Edinburgh: Edinburgh University Press. DOI: https://doi.org/10.1093/acprof:oso/9780195182392.003.0001
Noble, Andrea. Seeing Through ¡Que viva México!: Eisenstein's Travels in Mexico. Journal of Iberian and Latin American Studies, 12: 173–87. DOI: https://doi.org/10.1080/14701840601085022
Patternity. Patternity: A New Way of Seeing – The Inspirational Power of Pattern. London: Conran Octopus, 2015.
Sennett, Richard. The Craftsman. London: Penguin, 2009.
Silverman, Kaja. The Miracle of Analogy: Or, The History of Photography Part 1. Stanford: Stanford University Press, 2015.
Stanford Friedman, Susan. Planetary Modernism: Provocations on Modernity Across Time. New York: Columbia University Press, 2015. DOI: https://doi.org/10.7312/columbia/9780231170901.001.0001
Torres García, J. Universalismo constructivo: Contribución a la unificación del arte y la cultura de América. Editorial Poseidon, 1944.
Ginger, A., 2018. Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History. Modern Languages Open, (1), p.18. DOI: http://doi.org/10.3828/mlo.v0i0.191
Ginger A. Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History. Modern Languages Open. 2018;(1):18. DOI: http://doi.org/10.3828/mlo.v0i0.191
Ginger, A. (2018). Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History. Modern Languages Open, (1), 18. DOI: http://doi.org/10.3828/mlo.v0i0.191
Ginger A, 'Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History' (2018) Modern Languages Open 18 DOI: http://doi.org/10.3828/mlo.v0i0.191
Ginger, Andrew. 2018. "Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History". Modern Languages Open (1): 18. DOI: http://doi.org/10.3828/mlo.v0i0.191
Ginger, Andrew. "Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History". Modern Languages Open no. 1 (2018): 18. DOI: http://doi.org/10.3828/mlo.v0i0.191
Ginger, A.. "Comparative Study and the Nature of Connections: Of the Aesthetic Appreciation of History". Modern Languages Open, no. 1, 2018, p. 18. DOI: http://doi.org/10.3828/mlo.v0i0.191
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Q: mvc kendo grid resize issue I have a kendo grid in my project,
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grid data is loading fine. If I resize the browser window or resize the grid, last 2 or 3 grid rows are not showing, sometimes the last row showing cut .FYI -

A: I found it. need to add these lines, on page.
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