The reproductive efficiency of dairy cows decreases significantly in hot climates. Exposure to heat stress causes damage to different stages of the reproductive cycle including a decrease in the quality of oocytes. Antioxidant supplementation has been introduced as one of the main approaches to alleviate the effects of free radical damage associated with heat stress. Gamma-oryzanol (ORY), a component of rice bran oil, is introduced as a novel antioxidant. As a supplement of culture media for maturation, the effect of ORY on the development of heat-shocked bovine cumulus–oocyte complexes was evaluated in this study. At the end of maturation in vitro using the heat-shock model, a higher proportion of metaphase II oocytes (0.78 ± 0.03 vs 0.42 ± 0.03) and lower metaphase I and germinal vesicle breakdown (0.10 ± 0.02 vs 0.38 ± 0.03) were recorded for the treated group (N = 205) in comparison with the control (N = 203) (P < 0.05). Moreover, the treatment exerted upregulation of NRF2, SOD, CAT and GPX transcripts in matured oocytes and GPX in CCs, along with a considerable increase in the cleavage (0.52 ± 0.04 vs 0.33 ± 0.03) and total blastocyst rates (0.30 ± 0.03 vs 0.14 ± 0.02) (P < 0.05). These results showed that ORY increased the mRNA expression of the transcripts associated with antioxidant enzymes and enhanced the developmental potential of heat-shocked bovine oocytes and warranted further studies to explore this antioxidant’s influence on improving dairy cattle’s reproductive efficiency during heat stress.

Putting the work of the poet Nathaniel Mackey into correspondence with that of the singer, composer, performance and video artist M. Lamar offers a unique perspective on the complex relationship between automation and possession. Mackey’s Andoumboulou and Mu move in and through M. Lamar so that possession and automation are destabilized and replaced by molecular distintegrations of plantation worlds and the sonic apertures of a Black Afrofuturist Android.

In 2019 British choreographer Seke Chimutengwende began research on a new project exploring horror, haunted houses, and the hauntings of colonial history. It begins in darkness (2022) emerged in collaboration with the dancers who perform each iteration. Working through the figure of the haunted stately home, It begins in darkness excavates—and exorcises—the horror of slavery’s histories through dance.

We show that for any $n\geq5$ there exist connected algebraic subgroups in the Cremona group $\text{Bir}(\mathbb P^n)$ that are not contained in any maximal connected algebraic subgroup. Our approach exploits the existence of stably rational, non-rational threefolds.

We show that on a $\sigma $-finite measure-preserving system $X = (X,\nu , T)$, the non-conventional ergodic averages

$$ \begin{align*} \mathbb{E}_{n \in [N]} \Lambda(n) f(T^n x) g(T^{P(n)} x) \end{align*} $$

$f \in L^{p_1}(X)$

$g \in L^{p_2}(X)$

$1/p_1 + 1/p_2 \leq 1$

$2$

$\Lambda $

$1$

$\mu $

Independent Christian Churches were an important aspect of African anticolonial activism, but the political afterlives of these movements in the immediate postcolonial period have been broadly overlooked. This article studies the African Independent Pentecostal Church, focusing on its entanglement with the politics of reconciliation and state-building in a decolonising Kenya. During the 1950s Mau Mau uprising, the church lost its entire portfolio of land, churches, and schools. The article explores how church adherents sought to re-establish themselves on these holdings. These contests reveal that churches were political agents engaged in debates about the boundaries of postcolonial political community and the nature of post-conflict reconciliation. Churches’ roles as landowners and education providers meant denominational rivalries masked political struggles over justice for past violations. Embedded in intra-ethnic conflicts, churches negotiated with elites seeking to establish ethnic constituencies. Through this conflict and compromise, the brokered nature of the postcolonial nation-building project is revealed.

Bodies in possession and in revolt are often framed as being “caught” by some other entity—a spirit, a force, or a memory. Cases of rebellion involve a loss of intentionality of movement, unlike a subject who wills and decides. What is the political significance of the illegibility of such movements, before they are consigned to taxonomies and diagnoses that render them pathological, criminal, or demonic? What thinking about dance might this permit?