Nelle dreyer biography sampler
Abstract
Antimicrobial drugs and coccidiostat compounds are commonly used in poultry farming. These compounds are subsequently excreted and released into the environment via broiler litter (BL) and can re-enter the food chain as fertilizer or animal feed. Such residue in animal feed can encourage the appearance of antibiotic-resistant bacteria as well as toxicity. Most analytical methods used to identify and quantitate these drug residues are traditional, and are specific to some antimicrobials and present limitations in assessing complex matrixes like BL. The aim of this study was to develop a multi-residue analytic method for assessing 30 antimicrobial drugs and coccidiostats associated with BL. We investigated the presence and the effects of biotic stack treatment on the degradation of drug residue in BL. Liquid-liquid extraction (LLE) and solid phase extraction (SPE) were replaced by Quick, Easy, Cheap, Effective, Rugged, and Safe (QuEChERS) clean-up steps and detected by liquid chromatography mass spectrometry (LC/MS/MS). Results show that a wide spectrum of residues were detected from 0.4 to 8.9 mg kg. Following lab-scale stacking treatment, tilmicosin and eight coccidiostats persisted in BL (26–100%). This research supports the need for better understanding, regulation, and management of the use of BL that might carry a high risk of residue drugs.
Keywords: analytical method, antimicrobials, coccidiostats, LC/MS/MS, multi-residue analysis, broiler litter
1. Introduction
Global poultry meat consumption has been growing rapidly during the last two decades for various reasons, including the desire for healthier foods and calls for inexpensive sources of protein. Accordingly, a total of 280 million broilers were produced in Israel during 2021 via the implementation of intensive production methods involving reduced energy consumption and a 40-day-growth period [1]. During the broiler growth cycle, 0.3–0.85 kg of litter is produced per animal. In 2021
Le style transcendantal au cinéma - Ozu, Bresson, Dreyer
(Ozu's Floating Weeds, 1959)
(Dreyer's The Passion of Joan of Arc, 1928)
(Bresson's The Trial of Joan of Arc, 1962)
Yasujirō Ozu (Japanese). Carl Dryer (Danish). And Robert Bresson (French).
Why these three? What's so transcendental about these filmmakers?
If you Google "the most transcendental movies" you'll get different lists. One list from IMDb shows 20 films* (some are documentaries) but, noteworthy, the list includes two great directors at the top: A. Tarkovsky and I. Bergman.
Yes, Tarkovsky, at least, should have been approached by Paul Schrader. Another search on the Taste of Cinema** will rank at the top, again, Tarkovsky and Bergman. In my mind I kept wondering what about The Tree of Life [ranking 6th] by Terrence Malick. Oh, right, Schrader's book was published in 1972, and The Tree of Life is of 2011; and yet, it is deeply transcendental. I mean, philosophically transcendental.
(The Tree of Life)
(The Tree of Life)
So how does Schrader define "transcendental"?
My guess is that it [a movie] is transcendental when art and religion intertwine. Schrader writes: "The proper function of transcendental art is, therefore to express the Holy itself (the Transcendental) and not to express or illustrate holy feelings." (I very much have doubts about the definition, nonetheless).
As regards to films, Schrader samples many other definitions; and yet he chooses that distinctive element in those movie makers:style: "transcendental style seeks to maximize the mystery of existence; it eschews all conventional interpretations of reality: realism, naturalism, psychologism, romanticism, expressionism, impressionism, and finally rationalism".
Yasujirō movies have references to the "Zen arts of painting and gardening and haiku". Dryer's movies refer "Gothic architecture" while Bresson's movies include "Byzantine iconograpghy". True.
Curiously enough, Joan of Arc is a religious cha
Transcendental Style in Film: Ozu, Bresson, Dreyer
(Ozu's Floating Weeds, 1959)
(Dreyer's The Passion of Joan of Arc, 1928)
(Bresson's The Trial of Joan of Arc, 1962)
Yasujirō Ozu (Japanese). Carl Dryer (Danish). And Robert Bresson (French).
Why these three? What's so transcendental about these filmmakers?
If you Google "the most transcendental movies" you'll get different lists. One list from IMDb shows 20 films* (some are documentaries) but, noteworthy, the list includes two great directors at the top: A. Tarkovsky and I. Bergman.
Yes, Tarkovsky, at least, should have been approached by Paul Schrader. Another search on the Taste of Cinema** will rank at the top, again, Tarkovsky and Bergman. In my mind I kept wondering what about The Tree of Life [ranking 6th] by Terrence Malick. Oh, right, Schrader's book was published in 1972, and The Tree of Life is of 2011; and yet, it is deeply transcendental. I mean, philosophically transcendental.
(The Tree of Life)
(The Tree of Life)
So how does Schrader define "transcendental"?
My guess is that it [a movie] is transcendental when art and religion intertwine. Schrader writes: "The proper function of transcendental art is, therefore to express the Holy itself (the Transcendental) and not to express or illustrate holy feelings." (I very much have doubts about the definition, nonetheless).
As regards to films, Schrader samples many other definitions; and yet he chooses that distinctive element in those movie makers:style: "transcendental style seeks to maximize the mystery of existence; it eschews all conventional interpretations of reality: realism, naturalism, psychologism, romanticism, expressionism, impressionism, and finally rationalism".
Yasujirō movies have references to the "Zen arts of painting and gardening and haiku". Dryer's movies refer "Gothic architecture" while Bresson's movies include "Byzantine iconograpghy". True.
Curiously enough, Joan of Arc is a religious character
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