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The title compound, C22H28N2O6, crystallizes with four half-molecules in the asymmetric unit: each molecule is located about a crystallographic inversion centre. The central methylene groups of two molecules are disordered over two sets of equally occupied sites. The crystal packing is characterized by sheets of molecules parallel to (114).
The title compound (also know as azorellanone), C20H32O2, is built up from three fused carbocycles, one five-membered ring and two six-membered rings. The five membered-ring has an envelope conformation, whereas the six-membered rings have a distorted half-chair and a twist–boat conformation. In the crystal, molecules are linked by O—H ... O interactions into zigzag chains with graph-set notation C(8) along [010]. The absolute configuration was assigned on the basis of earlier chemical studies.
The title compound, [Na(CF3O3S)(C12H24O6)], features a sodium cation that is coordinated by eight O atoms in an irregular hexagonal bipyramidal environment. The equatorial positions are occupied by the six O atoms of an 18-crown-6 ether ring. In the axial positions, there is one O atom of a trifluoromethanesulfonate anion and an ether O atom of a symmetry-equivalent crown ether ring. In this way, centrosymmetric dimers are formed.
Interview with Dario Azzellini, author of The Business of War and the new documentary film, Comuna Under Construction. What is it about Venezuela that is so interesting? Since 2003 I have practically lived in Venezuela. What motivates me is that I am interested in the social transformation process happening here. It’s a different type of revolution, a new left that draws from all the experiences of the 60s, 70s, 80s and 90s. ...
The essay provides a contrapuntal "parallactic" reading of Johann Wolfgang Goethe's "Bildungsroman" Wilhelm Meisters Lehrjahre - with its extensions Wilhelm Meisters theatralische Sendung and Wilhelm Meisters Wanderjahre - and James Joyce's high modernist A Portrait of the Artist as a Young Man (1916) and Ulysses (1922). Derived from astronomy, the term parallax designates, transferred to literary history, a narrative stratagem, a metapoetical rationale, and an interpretive method. Joyce employs it as a key concept and narrative tool in Ulysses to denote a stereoscopic perspective applied to the protagonists’ actions and the world they live in. Leopold Bloom thus refl ects on it and the technique of Ulysses is determined by it. On a higher plane, literary critics, too, engage in literary historical parallax whenever they read texts intertextually — as exemplified in this essay. A parallactic reading of the novels’ protagonists Wilhelm Meister and Stephen Dedalus, as regards not just their identification with Shakespeare’s Hamlet but also the symbolic connotations embedded in their names and mythological pretexts, allows us to shed new light on the roles and significance of narrative irony, chance, and paternity in these novels.