Les Fourmis (The Ants) trilogy is a three-part novel series by French novelist Bernard Werber. The novels [ edit ] Les Fourmis, Prix des lecteurs de Science et Avenir, 1991, ISBN 2-226-05257-7.
For the extraction of stevioside and rebaudioside A from Stevia leaves and to Evaluative criteria for stevioside and rebaudioside yield in this new method was. Stevioside was extracted in by French chemists M. Bridel and R. Today, stevia extract of the highest purification degree contains 97% of. The present study was deal with extraction of Steviosides Stevioside was extracted from the dried Stevia leaves.
Further it was. Camron Gottlieb Country: Grenada Language: English Genre: Education Published: 18 January 2014 Pages: 609 PDF File Size: 9.19 Mb ePub File Size: 17.15 Mb ISBN: 491-7-59648-331-5 Downloads: 16805 Price: Free Uploader: Ms. Camron Gottlieb Dried and powdered leaves of S.
Heat evaporation processes have been stevioside extraction used. Ceramic microfiltration provides chemical- free pre-treatment to remove large suspended impurities from the crude extract. Membrane separation technology can substitute a heat-evaporation process. Ultrafiltration is the most common method for separation of remaining larger molecular weight stevioside extraction from the clarified extract Kutowy et al. However once again, these techniques are often complex e. JPSA - Extraction and purification of stevioside - Google Patents Furthermore, a bifunctional polymeric adsorbent was stated to achieve higher recovery for rebaudioside A than the commercial resin with stable and easier regeneration capacity Shi et al.
A significantly higher amount of rebaudioside A was recovered with stevioside extraction carbon from an aqueous solution Chang et al. Nanofiltration has been used to refine and concentrate the permeate following an ultrafiltration step. In this regard, a higher temperature nanofiltration was shown to remove certain low molecular weight compounds that might contribute to the bitter taste of the stevioside extraction product Kutowy et al. Flavonoids such as apigenin-4'-o-glucoside, quercitrin, and others were shown to be present in water-based stevia extracts Rajbhandari et al. These flavanoids are yellowish in color, have a bitter taste, and are of lower molecular weight than stevia glycosides, allowing them to permeate through the nanofiltration membranes. The exact composition of the extracts depends on the composition of the stevia leaves from which they originate, which in stevioside extraction are influenced by factors such as soil, climate, cultivation methods, harvest time, as well as on manufacturing process including the extraction and purification methods used.
Stevia Extract The impurities present in stevia extracts are primarily due to other compounds that are co-extracted from stevioside extraction leaves, such as pigments and saccharides. Regulatory submissions from countries in different parts of the world suggest that the main components of commercially available extracts of stevia contain, as the main components, stevioside and rebaudioside A. However, Soejarto et stevioside extraction. Nevertheless, along with providing sweetness, it appears that at least a portion of the aftertaste is attributable to stevioside and rebaudioside A, although the contribution of rebaudioside A stevioside extraction significantly less than that of stevioside Jakinovich et al. The methods involve enzymatic modification of stevioside stevioside extraction pullanase, isomaltase Lobov et al.
Another method involves adding thaumatin, a natural protein that is a low calorie flavor modifier, which is extracted from the fruits of the katemfe thaumatococcus daniellif tree from the West African rain forest. Yet another method suggests enriching the extract with rebaudioside A and rebaudioside D. Furthermore, exposure to low pH acidic conditions including citric acetic and malic tartaric acid have been reported to enhance the sweetness of stevia stevioside extraction.
Finally, the addition of plant Ogawa extracts which are natural stevia optimizers, have the ability to mask the unpleasant aftertaste of stevia. Stevia Extract— Stevioside is Stevia Extract – Emperor's Herbologist.
There was a problem providing the content you requested. ENZYME-ASSISTED EXTRACTION OF STEVIOL GLYCOSIDES FROM THE LEAVES OF STEVIA REBAUDIANA BERTONI. Recommendations The present invention seeks to address these and other needs. A number of stevioside extraction are associated with the extraction method of the present invention compared to other existing extraction methods employed by the stevia industry. These latter methods tend to be rather complex often requiring many stepsexpensive, time consuming, not environmentally friendly, employ organic chemical solvents which may be unfit for human consumption, and require their removal. Furthermore, the use of these solvents, among other things, precludes the stevia extracts from receiving an 'organic certification' from regulatory bodies.
In contrast, the extraction method of the present invention is simple i. Furthermore, it does not employ the use of organic chemical solvents that are unfit for human consumption, thereby allowing it to qualify for 'organic certification'. In a related embodiment, the invention relates to such as extract having enhanced antioxidant properties. These sweetening compounds include steviosides and rebaudioside A, which are purified from the water-based extracts i. By 'equivalent purification steps', it is meant contacting the crude extraction solution with at least a first resin which removes unwanted pigments and at least a second resin which retains the desired sweetening compounds. The sweetening compounds are then eluted from the second stevioside extraction with an appropriate elution solution e. In another embodiment, the above method further comprises extracting the preparation of stevia leaves following a with stevioside extraction second hot extraction solvent being GRAS to form additional crude extraction solution.
In another embodiment, the second hot extraction solvent is the same as the first hot extraction solvent.
A cocky black cat that drinks cognac and can't stay out of holes, a hyperactive plumber who pulls out all the stops, an expiring jazzman who sells his sweat, a green soldier who moves into a terribly serious position - these are a few of the outrageous and poignant creations of Boris Vian in Blues for a Black Cat and Other Stories. Julia Older makes available for the first time in English this collection of his short fiction, which was originally published as Les Fourmis in 1949. It is a delightful introduction to the work of a much-admired French poet, playwright, and song-writer whose celebrity has continued to grow since his untimely death in 1959. These early stories, written in 1944 and 1945, reveal that Vian was already a master of black humor, wordplay, elegant understatement, and leaps of fancy. 'Blues for a Black Cat,' bubbling with Vian's sense of mischief and evocative of his love for jazz, shows the seamier side of postwar Parisian night life.
'The Plumber' is the nightmare of every citizen who has been incommoded by expensive repairmen. 'Pins and Needles' conveys Vian's daring opposition to World War II (his song 'The Deserter' later would be censored by the government for inciting sentiment against the French-Algerian conflict). The other stories - 'Cancer,' 'Dead Fish,' 'Journey to Khonostrov,' 'Blue Fairy Tale,' 'Fog,' 'Good Students,' and 'One-Way Street' - are marked by the same verbal Niagaras, zany sexual encounters, and absurd situations. But, as Julia Older points out, parody only heightens the masked terrors of war, poverty, ill health, and unemployment that hound the bizarre protagonists of Vian's fablelike narratives. And now, here's some Boris Vian!
I first ran into Vian's work in Alberto Manguel's excellent anthology BLACKWATER (a story called 'Dead fish', included here) and was intrigued by the idea of a surrealist novelist (as the Surrealists generally found that the structured, long-form narrative concept of the novel did not mesh well with the interior, psychological, non-narrative aims of Surrealism). I also thought his titles sounded interesting (who wouldn't want to read something called FROTH ON THE DAYDREAM?). So, I bought this compilation of short stories a number of years ago and just got around to it now.
I imagine that for a lot of casual readers (those expecting narratives, plots and characters) work from writers like Boris Vian must seem both enigmatic and superfluous - 'what's the point? It all seems so aimless'. For me, though, exposing myself to writing like this serves as a periodic reminder that the skill, art and craft of writing encompasses so much more than the codified, marketable and acceptable forms. You can do anything with words on paper, depending on the order you put them in and the culture you inhabit. The surrealists were interested in capturing internal moods, unconscious processes and the secret ways we create our world through hidden drives and external cultural pressures. Vian seems to grow out of the Surrealist approach (I'm sure an expert could illuminate more of that observation. Or prove me wrong), with comedic and absurdist touches spread throughout these delirious, playful stories.
Some darker tones often creep through, complimenting and underscoring the breezy approach with some real weight and cruel satire. This is unbounded writing (which also implies that it is, by definition, not for everyone). The pieces contained in BLUES FOR A BLACK CAT (a beautifully designed volume in the French Modernist Library series from University Of Nebraska Press) are masterful little confections of nonsense (with that occasional, expertly deployed, bitter note), yet some are surprisingly moving all the same. The climax of 'Blue Fairy Tale' (in which the lead character's romantic hopes are dashed and his heart broken - presumably due to his hesitation and shyness) is in no way undone by the fact that this sad state of affairs was preceded by a sprawling, dream-like description of a drive through surreal countryside, half as much inside the characters' own heads as without. Nor is the delicate charm of the piece in any way made false through the poetically beautiful last line: 'They tried to close the Major's door, but salt water tears had rusted the hinges fast.' Similarly, this odd, freewheeling and, again, playful tone is so well-generated and sustained by Vian that we easily accept the fact that the lead in the following piece, 'The Fog', (a seemingly shell-shocked neurotic just released from the asylum as cured, who ends up murdering his downstairs neighbor during a moment of frozen time) is himself murdered by The Major from the preceding story (having been rendered invisible and cantankerously murderous after being ignored by both the reader and author in the previous story). Understand, the stories are in no way connected, there's no world-building going on here, instead it seems as if The Major jumped over the page break following 'Blue Fairy Tale', to invade the ending of 'The Fog' and throw the lead from a bridge (for those who need a solid, internal reason, the shell-shocked man is crazy as a loon and is believed to have committed suicide).
Even this bit of meta-textual fun is not presented in a heavy 'literary' way: it seems just another random, easily-accepted aspect of a narrative that reads like it unspooling from the author's mind right onto the page. Teasing meaning from these tales is difficult and, in most cases, seems besides the point (although they do seem to be symbolic wrestlings with modern anxieties, frustrations and the stupidities of culture and bureaucracy). 'Pins and Needles' is a simultaneously funny and grim war journal, describing constant death and mayhem in an offhand, cartoonish manner, but it ends on a note both poignant and blackly comic, a perfect symbol of the vicious absurdity of modern warfare.
'The Plumber' concerns a man who turns his bathroom over to the titular character, even though nothing is broken (and since nothing gets fixed, that works out all right then!). 'Blues For A Black Cat' follows a group of people who rescue a talking cat from the sewer and take him to a bar where he drinks them under the table. It is a story peopled by bizarre caricatures who might have some greater symbolic meaning (or perhaps not) - when two drunk Americans vomit in the pattern of the stars and stripes, one assumes something more is going on. 'Cancer' concerns the dissolution and death of a jazz musician who plays 'the curlish flute' (Vian was a jazz fan and wrote and recorded songs) while 'Dead Fish' involves the abusive relationship between a hideous boss and his cringing underling who is paid to go fish little brains out of pools (this is a startlingly cruel and yet touching story, the latter aspect assisted by the inclusion of the underling's only loving companion, the never-described 'living thing'). 'Journey TO Khonostrov' moves its multiple characters around like figures in an equation as it tells of a group of friends in a small train compartment who decide to torture a taciturn stranger (and when I say torture, I mean torture).
In most of Vian's works there are moments of violence, but they are treated either cartoonishly or with deliberate distance, as in 'Good Students', a satire of the police, wherein two trained cadets go about their mundane lives of eating and love affairs, all while blithely brutalizing the populace. It's very well done.
Finally, the book concludes with 'One Way Street', a slightly longer piece notable for mentioning some characters from earlier stories (Peter Gna from 'Blues For A Black Cat' and, yet again, 'the Major') and featuring the dangers of calling your friend away from his work to attend a dinner party. This is quite an entertaining volume and it should be sought out by all lovers of odd, dark-humored or just plain inventive writing. In Blues for a black cat, Boris Vian's literary genius shines with rare intensity impossible to find in modern works. While I read a few of Vian's works in the past, revisiting this book was the perfect escape from the mundane world of today's literature. Without getting into any plot or revealing too much about this compilation of short stories, Blues for a black cat, is an insane, entertaining, humorous, profound, powerful avant-garde literary rarity.
Vian's style remains unique decades after the original publication, and while seemingly incoherent on the surface, it is intentionally so. Vian plays with words and objects, breathing life into them, making them take on a life vastly different from what we are used to, changing directions and staying on track at the same time, and inserting a deep incision in to our consciousness.
Through humor, Vian touches upon uneasy topics - shallow interpersonal communications, lack of spirituality, empty lives. And above all, our humanity.
Humanity, with its faults, seems to be a common thread throughout Vian's works (at least those I had the chance to read). The list of subjects in this book will be too long, but one story will forever remain, in my opinion, one of the best short stories written about WWII (or any war for that matter) - Pins and Needles. As Vian himself says: 'Routine dulls impressions.'
Readers be assured, there is nothing dull about his writing. His prose is full of gems, his ramblings are amusing, his literary rebellion is unrepeated by the generations of writers that came after him. While not pure surrealism, his approach to reality, to make the most mundane breathe with a new life, is fascinating. Julia Older's excellent translation finally brings this important piece to the English speaking audiences.
Blues for a black cat would be a great sample of Vian's work for those not familiar with this author.