This Research Communication introduces a novel enzymatic-fluorometric analytical procedure for glycerol and glycerol 3-phosphate in milk. Milk from thirty-seven goats was analysed during 9 consecutive days during which a two-day feed restriction was introduced. Fractional milk triacylglyceride and free glycerol increased significantly while glycerol 3-phosphate reacted more moderately. The energy status of the mammary cell is discussed.

From 1873 to 1876, the Fisk Jubilee Singers, an African-American choral troupe from Nashville, Tennessee visited Ireland three times. This article details their experiences and impressions of the country, focusing especially on the relationship they forged with their Irish evangelical sponsors and audiences. While the Jubilee Singers’ story is typically told as an inspirational tale of triumph over adversity, this article argues that there is another way of framing the narrative that emphasises the centrality of evangelical Protestantism to the Jubilee Singers’ mission. The Irish tours brought this dimension into full relief, demonstrating how evangelicalism fostered a degree of mutual understanding between the singers and Irish Protestants while also serving to exclude Irish Catholics. This article also examines audience responses to the Jubilee Singers, particularly the racial and aesthetic concepts they used to describe them. For all that the singers were familiar on account of their faith, they were unfamiliar on account of their race; this tension structured not only Irish responses to the singers, but also the singers’ responses to Ireland.

This article analyses Anth. Pal. 8 as a Hellenistic book of poems, i.e. as a collection artfully arranged by an author-editor and not as a mere gathering of sepulchral epigrams devoid of any reflection or literary aspiration. In common with modern poetry books, Anth. Pal. 8 was conceived for linear sequential reading. A close study of its tripartite structure, of the thoughtful collocation of each piece and of their organizing principles in well-thought-out sequences reveals the ultimate eschatological meaning of the book. Finally, a comparative contextualization with other late antique poets indicates a late antique dating for the elaboration of this collection as such, whereas the strong numerological element and the religious transcendence sought by the distribution of the poems point to Gregory of Nazianzus himself as the author-editor of Anth. Pal. 8.

A century ago, the Ottoman Empire finally ceased to be after a long reign that stretched back to the late medieval period, and, ostensibly, nobody really missed it. It was once possible to write about the fall of the Ottoman Empire as the overdue culmination of a process that gave rise to independent nation–states. But, increasingly, the empire casts a long shadow on the historiography of the Middle East, and its last days emerge among its most consequential for the future of the region. The same political actors who reshaped late Ottoman politics were integral to the struggle for the post-Ottoman landscape. These individuals included provincial elites from nondominant ethnic groups who, rather than embracing ethnic nationalism, remained Ottomanist in their vision of the region's future until the final moment. Newer scholarship rejects the teleology of the nations that emerged from postwar fracturing, demonstrating that the map was not redrawn by the victors in an instant. It was forged, instead, through armed struggles against European imperial powers and among rival movements that lasted for years. One hundred years after the Ottoman Empire's collapse, historians are still excavating its long-ignored relevance for understanding the modern Middle East, which was buried under the weight of nationalist and Orientalist metanarratives that never questioned the inevitability of its demise.

Luciano Berio’s modernism, which has fallen off the critical radar since the composer’s death, is not typically tied to extroverted political statements, and so does not easily allow for the fashionable (liberal) equation of aesthetic radicalism with political radicalism. On the contrary, Berio’s musical output is perhaps instructive precisely as a negative case study of the link between political and aesthetic radicalisms. Such will be the gambit of this article, which will consider the engagement with contemporary ideas of ‘openness’ and practices of phenomenology in works from the early 1960s, like Passaggio (1962) and Epifanie (1963), to illuminate Berio’s relationship to the so-called neoavanguardia, a cultural movement which emerged in the 1950s and 1960s as part of a withdrawal from the cultural–political activism associated within Italy’s leftist intelligentsia.

The narrative and design of Cicero's overlooked collection of letters to his brother Quintus (henceforth, QFr.) demand investigation. Within each book, the constituent letters delineate the trajectory of Cicero's life, transitioning from his political prominence to his increasing irrelevance. This narrative unfolds not only within the micro-narratives of individual books but also across the macro-narrative of the entire collection. Containing only letters from Cicero to Quintus dated between 60/59–54 and featuring a notable resemblance to the Epistulae ad Atticum (henceforth, Att.) Books 2–4, QFr., it can be argued, functions as both a ‘microcosm’ of Att. and its supplement. This article addresses these issues and argues that QFr. deserves a place alongside the ‘major’ Ciceronian collections.

This unopposed petition was for the removal of a commemorative plaque, installed without a faculty, on the windowsill of the south wall of the nave of the Grade II* listed church. In order to protect the privacy of any person affected by the judgment, the names of the church and the people involved were anonymised.