Birthday Party Research Articles

Multi-household social gatherings contribute to the second SARS-CoV-2 wave in Rhineland-Palatinate, Germany, August to November 2020

BackgroundAlthough the private household setting is considered a major driver of viral spread, only little is known about the contextual details of SARS-CoV-2 household transmission, thus hampering political decision-making. Materials and methodsWe analyzed individual case and cluster data from statutory notifications from August to November 2020 in Rhineland-Palatinate - the period preceding the second SARS-CoV-2 wave. We also conducted an into-depth survey on contextual details of household transmission in a representative sample of 149 private household clusters that had occurred during this period. ResultsDuring the study period, 18,695 PCR-confirmed SARS-CoV-2 cases were notified, 3,642 of which occurred in 911 clusters (private households (67.3%), the workplace (7.8%), elderly homes (1.8%), others (23.2%). Demographically, clustered cases were representative of all notified cases. Two-thirds (77/113, 68%) of sample response clusters involved more than one private household. These caused on average more close contact persons (mean 13.5, ±SD 15.8) and secondary cases (3.9, ±SD 0.4) than clusters involving one household only (5.1 ± 13.8 and 2.9 ± 0.2). About one in six multi-household clusters in the private setting (13/77) followed a social gathering (e.g. birthday party). Breaches of one or more of the three major barrier concepts (mask, ventilation, and distance) were identified in most (10/13) of these social gatherings. SARS-CoV-2 clusters following social gatherings were overrepresented during the second half of the study period. ConclusionIn times of increasing infectious pressure in a given population, multi-household social gatherings appear to be an important target for reducing SARS-CoV-2 transmission.

Eating Together - Sharing food brings you closer

When my son was in preschool, he was diagnosed with gluten sensitivity. It’s a mild condition, his pediatrician assured us, one he’d most likely outgrow (and he eventually did). But for the time being, he needed to abstain from gluten. Adjusting my son’s diet was relatively easy, since gluten-free bread and pasta are now ubiquitous. What I didn’t expect was the social toll. He was so frustrated when he couldn’t eat at school birthday parties that I was tempted to pull him out each time before the cake—and his inevitable tears—arrived.

Language as an Arrow and a Shield in the Hands of Harold Pinter’s Characters: A Study of the Play The Birthday Party

One of the most naturally gifted dramatists to have come out of England since the war,”1 Harold Pinter has emerged as the most original theatre talent who gave fresh life to the British theatre in the second half of the twentieth century. He has achieved international recognition and has been hailed as “Britain’s best living playwright”2 of post-World War II period. In 2005, the Nobel Prize was conferred upon him for his contribution to drama. That he occupies the position of a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: ‘Pinteresque’. Pinter has been known for his experimentation and innovation in dramatic action and language. The Birthday Party (1957), The Caretaker (1960), The Homecoming (1965), No Man's Land (1975), and Betrayal (1978) are some of his best-known plays. The present paper undertakes to explore the language of only one of his plays – The Birthday Party.

Popularna kultura - pinterovi dramski likovi u kulturi tela i zadovoljstva

The topic of this paper is defining the concept of popular culture and determining its influence on the attitude and behavior of Harold Pinter's drama characters in the culture of body and pleasure. The first part of the paper relies on the theories of eminent sociologists regarding the conceptualization of popular culture, with a special focus on the element of popular pleasures and body. The body is viewed from a physical, class and gender perspective of popular culture which differs from the ruling ideology, while the performance of popular pleasures is seen through John Fiske's explication, which supports the view that subordinate social groups create their own meanings of content and develop popular pleasures in contrast to the hegemonic pleasures. Also, the paper studies the culture of pleasure and body from the point of view of Roland Barthes' division of the respective into jouissance and plaisir, as well as from the point of view of carnivalization of Mikhail Bakhtin. In the second part of the paper, the behavior of Harold Pinter's drama characters in the dramas Dumb Waiter, Birthday Party, Caretaker, Homecoming, No Man's Land, and Betrayal, is defined and explained by the comparative method, from the perspective of enjoying pleasures. More precisely, the thinking and acting of Pinter's protagonists are classified as manifestation of popular pleasures of jouissance and plaisir. The aim of the paper is to determine how Harold Pinter's drama characters behave in the culture of body, how they enjoy popular pleasures and to what extent popular pleasures affect their life course.

A minha experiência de confinamento: análise de narrativas biográficas de jovens em transição para a vida adulta e para o ensino superior

This paper draws on the confinement experiences of 43 young first-year undergraduate students of Economics and Management at Católica Porto Business School and examines the transition pro-cesses to adulthood and higher education during the pandemic and physical and social isolation. Biographical narratives written by the students revealed that the context of such transitions was profusely significant, mainly regarding rituals that mark entry into adulthood and higher education. Students found the lack of 18th birthday parties, prom and senior trips particularly distressing and saddening experiences. However, participants in the study are typically well-off young people leading comfortable material conditions and went through confinement without any material ordeal. That may explain why they identified the loss of leisure and recreational activities as the pandem-ic’s darkest side.

Young children's cooperation and conflict with other children.

Early forms of cooperation and conflict feature regularly in young children's interactions with other people. However, these two types of social interaction are only rarely studied together in the same sample. In this chapter we review studies of cooperation and conflict in children under 3 years of age, with a particular focus on peer interaction. Only a few studies examined cooperation and conflict in parallel. To illustrate how conflict and cooperation can be studied simultaneously, we present findings from a longitudinal study of social development, in which previously unacquainted toddlers were observed during laboratory birthday parties. These analyses revealed that the two types of interaction are positively associated and provide opportunities for young children to refine their social skills.

The Tragic Sense in The Theatre of The Absurd: The Case of Pinter's Birthday Party

Abstract
 Absurdity is one of the prominent philosophy associated with the emergence of modernist and postmodernist movement in literary text. In such texts, we notice that the embedded themes and ideas reflect the dilemma and the suffering of modern man. The purpose of this paper is an attempt to clarify the subtle feeling associates with the appearance of modernist and postmodernist movements, discussing the ideas of absurdity and absolutism. Also, it gives an idea about the sense of sickness associates with the anomalies of the human conduct on the projected scene such as a universe of meta--identity, named the hilarious theater. This type of theatre is commonly known as absurd theater as discovered by Martin Julius Esslin (1918-2002), who created this phrase to explain Meta identity has been substantially reinterpreted through an exterior identity mask, which invigorates one of the postmodern ideological conceptions of the enormous humanity. The paper consists of three sections: the first is an introduction to Pinter's Birthday Party. The second section discusses the concept of absurdity and the reason of its emergence. The third section deals with how absurd themes reflect the pain, the sense of loss and void that modern man experiences amid the chaotic world specifically after WWII. Finally, the study ends up with conclusion and recommendations for further studies

Aggressive Language in Literature: A Pragmatic Approach

Aggression is a negative form of an anti-social behavior. It is produced because of a particular reason, desire, want, need, or due to the psychological state of the aggressor. It injures others physically or psychologically. Aggressive behaviors in human interactions cause discomfort and disharmony among interlocutors. The paper aims to identify how aggressive language manifests itself in the data under scrutiny in terms of the pragmatic paradigm. Two British literary works are the data; namely, Look Back in Anger by John Osborne (1956), and The Birthday Party by Harold Pinter (1957). This paper endeavors to answer the question of how aggressive language is represented in literature pragmatically? It is hoped to be significant to linguistic and psychological studies in that it clarifies how aggression is displayed in human communications linguistically. Qualitative and quantitative analyses are conducted to verify the findings. It ends with some concluding remarks, the most important of which are: insulting, belittling, ridiculing and threatening are prevalent speech acts; simile, hyperbole, metaphor and repetition appear due to Grice’s maxims breaching while the use of taboo words, calling names, or abusive words are the impoliteness strategies that are distinguished in the data.

Challenges of Internally Displaced Children in Makurdi Metropolis of Benue State

The study investigates the Challenges of internally displaced children in Makurdi Metropolis of Benue State, Nigeria. Three research questions guided the study. The sample of the study was drawn from children between the ages of 12-18 years living in Internally Displaced Camps (IDPs) in Makurdi. Simple random sampling technique was used to select a sample size of 300 for the study. Primary data were used for the study specifically obtained using well-structured questionnaire titled internally displaced children (IDC), data collected was analysed using mean and standard deviation. Findings of the study on social life of internally displaced children in Makurdi revealed that Lack of finance to celebrate social activities such as birthday parties, naming ceremonies and sports competitions (4.46), Children appear dirty and tattered due to lack of clothing (3.40), also the findings on financial challenges indicates Low level of income due to lack of business and means of livelihood (3.62), Depends on people for financial assistance (begging) (3.58). Furthermore, the study on feeding pattern of internally displaced children shows that children hardly eat twice a day (3.55), lack required food nutrients such as protein, vitamins and minerals (3.40). The study therefore concludes that insecurity challenges should be tackled by government to ensure that household returns to their various communities. Finally the study recommends improvement of social life of internally displaced children should be given uppermost attention the government and non- government organisations responsible for child upbringing. The governments should make frantic effort to ensure adequate provision of basic amenities such as water, food and shelter. Emergency healthcare and education (schools) should be provided in IDPs camps. Good food should be provided for children in internally displaced camps to avoid malnutrition that leads to ill health. Causes insecurity and other crisis that leads to displacement of families should be given lasting solutions by government and communities concerned. The Children should be encouraged to adopt a good environmental sanitation which will go a long way to help prevent them from contracting some sickness and disease. Keywords: Families, Challenges, Internally, Displaced, Children,

Editor’s Note

Editor’s Note

The Women in My Life Are Unfinished Portraits

The Women in My Life Are Unfinished Portraits Kanyinsola Olorunnisola (bio) 1 I fuck like it is the end of the world. The men in my life say I have a mouth that makes them long for home, a mouth that commands a man to stay without saying a word. And that is why they keep coming back, looking to find something they left behind the last time I allowed them inside my body. Each time they come searching, I imagine what is lost is not a thing. The sugar daddy who so loved his wife before meeting me at a party at Eko Hotel, the playboy who had sworn off commitment before my body told him there was only one way home and it looked like me, the pastor who preached against fornication before he realised there was more truth between my legs than in the holy books—they all keep looking for the lost remnants of their past selves; the selves they had once known before coming undone so beautifully in my hands. And it becomes a cycle—they come back into my body to recover lost parts only to end up leaving more behind. And I am thankful for their love, believe me. I am a chronic lover too. I love recklessly, without restraint. I love like my mother loved my father—smothering him with so much affection that he threw himself off a bridge. She loved him into his grave; that is how my sister Taiwo puts it. She loved him till his body could not take any more, till he decided the water under the Third Mainland Bridge was his only escape. Mother's love will do that to you. It is one of a strange intensity—at once cold and flaming, loud and gentle, distant and in-your-face. [End Page 174] I remember her every time I look at the photograph hanging on the wall of my bedroom. In this photograph I am three and seated on her lap, pulling at her hair while she tries to break free. The picture is old, granted, faded away by time and decay but there is something particularly unclear about the image, something vague—an imprecise emotion. I still cannot tell if the look on her face is a frown or a smile. Her body language is one of relaxation and agitation. When I try to paint the picture the colors get out of hand, spread themselves across my canvas and become unrecognizable. I tend to read too much into things. But this picture is not one of them. It is a conduit for a truth I have always known. Everything about Mother is ambiguity. And there is nothing more ambiguous than our relationship. It was a simmering thing, our relationship; building up heat upon heat until it detonated. Now, the two people in that photograph are long gone. They have faded from reality, existing nowhere outside the picture frame. I do not quite remember when the problems began. But there were early instances, like when I was caught kissing Banji Fawaz, the senior prefect boy, during prep. "Kissing" was not all we did, but that was how the school principal kindly put it when she told my parents. Or when I fled campus in my third year to live with a Chinese expat for three months, before she found out from one of her friends who frequented the Moroccan restaurant Jianyin loved to take me to. Or when I flirted with Dad's friend at his sixtieth birthday party. I was Mother's little disgrace, her very own problem child. When I got my first tattoo, at twenty-one, she called Aunt Rosemary to talk sense into me. It was a lower-back tattoo of Inanna-Ishtar. She said I was inviting the devil into her house, that Beelzebub had got ahold of my soul. But how could I explain to her that nobody owned my soul except me, that I was the only one in control of my own life, finally? That when next a man came for me, I would always have extra eyes at my back—a goddess's eyes at that...

To Buy or Not to Buy for My Baby

Status consumption increased with the consumption madness via social media. This effect can be seen in pregnant or first-time mothers with their newborn babies. These mothers buy the most organic, natural, unique and attractive products for their babies and share them on their social media accounts. Also, they make exaggerated expenses in activities like birthday parties and baby showers in order to get the credit of best mother. At the same time, these mothers extend their selves via their babies as they see them a piece of themselves. Within this scope, the main purpose of this research is evaluating these mothers’ purchases for their babies through extended-self and status consumption theory. Mixed method have been used in this research. Both surveys and in-depth interviews have been conducted. Having looked at the results of surveys, mothers see their babies as a reflection of their selves. Nevertheless, they do not accept that they made status consumption. However, the research went in deep, responses that are more honest have been got and in-depth interview results show that because of the desire of being a part of a social group or doing the best thing lead mothers to status consumption.

Queen of the Dryads

Queen of the Dryads Sophia Veltfort (bio) Seth had left for work by the time the stranger entered Sophie's bedroom: a stiffly upright woman with white-gold hair to her waist. She wasn't the landlady or anyone Sophie had seen in the building. Seth had probably left the front door unlocked, again. You'll come home one day and I'll be missing, she'd told him, or dead, our valuables gone. What valuables? he'd wanted to know. "You'd better get up, Sophie," the stranger said, not moving from the doorway. Her words were quick and precise. "You're dancing the Queen of the Dryads at the National Ballet Theater this evening." It was six thirty in the morning, five hours before Sophie's alarm was set to go off. On her forearm the red and green remnants of a temporary tattoo suggested the image of a radish. With effort Sophie recalled someone pressing a wet blue washcloth to her skin the night before, at Seth's birthday party. Since then, sweat had shifted pieces of the leaves from her wrist to her watchband. She thought she might still be drunk. She reached for her cell phone as she examined the woman more carefully. Below a wide-set jaw, the contours of the woman's chest bones fanned out from her sternum like flying buttresses. Last night Seth had complained that Sophie never danced with him, never kissed him, never tried to look pretty anymore. Not true, she'd said, brandishing her forearm: it's a ravishing radish. She'd taken care to wear a dress he liked, an old purple bodycon from college that still looked okay if she held her stomach tight and stood up straight. "Did Seth send you?" Sophie asked. "Is this a weird sex thing?" "It's act two, scene three of Don Quixote," the woman said impatiently. "Get up." "That's a book, not a play. I've read it." In fact she had read only the Prologue. [End Page 85] "It's a ballet," the woman said. "Choreographed for the Imperial Theatre in 1869. Adapted in 1900 and 1902." As a kid Sophie had taken dance classes. Her fellow students had laughed at her weak core and quadriceps, the way her abs strained vainly during floor exercises. But the teacher had drawn the class's attention to the easy arch of her feet, the natural turnout of her hip rotator. Sophie liked to think that couched in her weak, flexible figure lay a wellspring of possible greatness. In the stranger's error, Sophie savored the alternate reality in which she had tapped that potential and become a dancer of singular ability. She imagined that deep down she knew the choreography, that this performance had been scheduled for a long time. "Look," the woman said. "There's a car downstairs. You've wasted any time for breakfast, so bring a power bar." Sophie protested that she had no power bars, but the woman had picked up her cell phone and was murmuring animatedly into its base. Sophie got out of bed and raised the window blinds. Pale light sloped into her bedroom, and she gaped at the beauty she slept through every morning. In the early light she felt vested with new ability, quickness, and composure. She did not feel like a fraudulent human being. "Are you going to gawk out the window all day? I've told you we're late," the woman hissed. "Are you the audience or the Queen of the Dryads?" Sophie searched the room for appropriate clothes. On the floor her purple dress from the night before lay crumpled beside Seth's socks and boxers. She pulled on the blue jeans she wore most days and a scratchy black sweater with a leotard neckline. ________ From the back seat of a maroon Honda Civic, Sophie texted Seth, A woman thinks I'm queen of the dryads and has abducted me. Sophie's abductor looked placidly out the passenger window while the driver, a man around Sophie's age with dark brown curls not unlike Seth's, steered the car east to Amsterdam, then south. At...

Quilting Voices

Quilting Voices

Building Worlds, Losing Friends

Building Worlds, Losing Friends

The Rhetorical Arts of Women in Aviation, 1911–1970 by Sara Hillin

Reviewed by: The Rhetorical Arts of Women in Aviation, 1911–1970 by Sara Hillin Jennifer Keohane Sara Hillin, The Rhetorical Arts of Women in Aviation, 1911–1970. Lanham: Lexington Books, 2020. 181 pp. ISBN: 9781498551038 It is easy to see why Amelia Earhart has soared over the public memory of women in aviation. She was charismatic, committed to promoting women in flight, and left behind a trove of speeches, articles, and books to analyze. Yet, this valorization of Earhart’s accomplishments as the main story of women in aviation is exactly what Sara Hillin writes against in her new book. Instead, Hillin argues, there are a number of female aviators who were not [End Page 472] only taking to the skies against stacked odds, but writing and speaking about it too. Hillin’s project is primarily based in recovery. She seeks to add the words of the rhetors covered here to fill gaps in feminist rhetorical historiography (1). Earhart does not feature prominently in the analysis; although the 99s—a vocal and organized group of female aviators—are covered, and Earhart was their first president. Instead, Hillin focuses on lesser-known writers and flyers including Harriet Quimby, the first women licensed as a pilot in the United States and a transportation columnist for Frank Leslie’s Weekly. Other important aviators include Bessie Coleman and Willa Beatrice Brown, African American stunt pilots covered extensively in the Chicago Defender; Mary Alexander, a flying mother who threw birthday parties for her children in the air; and Jerrie Cobb, a pilot who passed all the tests to join the Mercury program but was never allowed to go to space. The book follows a loosely chronological structure, moving from the 1910s to the 1970s, and features eight analytical chapters, each of which focus on a different woman or group of women. While these women confronted a variety of obstacles in taking to the air, the driving similarity is their rhetorical acumen. As Hillin writes, “Rather than simply describing their experiences, they harnessed their rhetorical intuition to get others to act—to accept women as aviators, to train them as equals with men, and to influence the overall development of aviation and space exploration” (10). The narrative Hillin tells is not one of slow but steady progress throughout the twentieth century. In fact, in its infancy, flight had not yet been gendered masculine. As per Hillin’s telling, “there was something uniquely magic, even divine” in the fact that Harriet Quimby was taken so seriously as an expert on flying in her columns for Leslie’s (22). Indeed, like many of the women examined here, Quimby relied on her personal experience as an aviator to build her ethos, which Hillin defines as an embodied rhetoric in which “her physical self and its connection with the tool (airplane)” granted credibility (35). The world wars of the twentieth century also provide an important backdrop. Many women wrote against using the airplane as a tool for war, while others took advantage of the need for trained aviators to expand their place in the field (49). Other aviators had to negotiate the unique demands of race politics in addition to gender. African American flyer Bessie Coleman engaged in barnstorming tours and stunt flying, visual rhetorics that proved her skill, while white female aviators could skip these dangerous venues for flight because they had access to other forms of funding, training, and media outlets (62). Likewise, by the time Jerrie Cobb sought access to space, the Cold War competitive mentality had hardened space travel as solely a masculine achievement (137). To study the first few decades of women’s involvement in aviation is to see women doing painstaking and effective rhetorical work to grab and maintain a place in a field in which they have consistently excelled since its inception,” Hillin concludes (165). [End Page 473] Hillin has undertaken an impressive amount of archival research, and the sources she uses to recover the rhetorical actions of these female aviators are wide-ranging. She analyzes personal letters, news coverage, books, speeches, and press releases (6). The theoretical through-line for Hillin’s rhetorical analysis is Kenneth Burke’s pentad (11). This orients...

Terrifying laughter: interrogation in Pinter’s The Birthday Party and the CIA’s ‘Alice in Wonderland’

ABSTRACT The interrogation scenes of Harold Pinter’s The Birthday Party are often interpreted as absurd or symbolic. However, I argue that the scenes provoke recognition of complicity and theatrically position the audience as interrogator and interrogated through use of indeterminacy, laughter, nonsense, and terror. Moreover, torture techniques from the CIA Interrogation & Manipulation Manual are presciently executed in the play. The play’s interrogators deploy nonsense and indeterminacy as torture, destroying the ontological certainty of the interrogated, and these methods mirror the CIA Manual’s ‘Alice in Wonderland’ technique and ‘theory’ of ‘regression’. In this essay, real interrogations emerge as dangerously theatrical, and nonsense as a potential means of grievous harm. Additionally, I consider the implications of this analysis in relation to Mohamedou Ould Slahi’s memoir Guantánamo Diary. Slahi’s memoir includes multiple instances of how unsettling metaphors of fictional works are invoked or paralleled by actual interrogation and torture. Furthermore, analysis of the memoir complicates this essay’s examination of the roles of nonsense, laughter, and indeterminacy, as Slahi shows how laughter ties to normalisation, how nonsense relates to incompetence, and how that incompetence is a corollary of the fantasy of order and absolutes that interrogators enact, a fantasy with irreparable consequences.

Sandwiches with Ham and Cheese, Vita Juice and Music from Gramophone Records: Celebrations of Children's Birthdays in Belgrade during The Period of Socialism

The paper presents the results of our research on the social and cultural practices of celebrating children’s birthdays in Belgrade, the capital of the Socialist Federal Republic of Yugoslavia. Children’s birthday parties are examined as a social construct with functions which are developed and modified according to their social and cultural significance. The research on this cultural and social phenomenon is based on the analysis and interpretation of the narratives (empirical material) of our interlocutors. The chronological frame extends from 1945 until 1991, i.e. over the period of the socialist social system. Since the majority of our interlocutors spoke about the way birthday parties were celebrated in the 70s and the 80s, i.e. at the time of their childhood, the research is focused on that period of time. In Yugoslav and Serbian socialist society this was a social and cultural practice with multiple functions: it served as a substitute for the religious customs related to childbirth and the baptizing of children; it homogenized the family and kinship structure; it was a channel for exteriorizing parental affection towards the children; side by side with the transformation into the consumerist society it became the instrument for creating and consolidating the complex net of social relationships which informed the broader social environment about the level of financial and social power of the organizers.

Parental perceptions and practices regarding sugar intake by school-aged children: A qualitative study with Portuguese parents

Excessive sugar intake is one of the factors contributing to the alarming rates of childhood obesity and overweight in Portugal. Children's preferences and food consumption patterns are largely determined by the foods that are more familiar to them. Parents and caregivers are responsible for shaping children's eating habits since they are the ones who choose the food available in the household. The present study explores parental perceptions about sugar and sugar intake and its consequences on children's health. Moreover, we also examined the practices that parents use to regulate their children's diet, namely, to promote the consumption of desired foods (e.g., vegetables) and limit the intake of undesired food (e.g., sweets), and the perceived barriers and facilitators of sugar intake regulation. To this end, 42 interviews were conducted with parents of school-aged children (ages 6–10 years). A thematic analysis revealed that parents perceive sugar as highly negative (e.g., “evil”, “poison”, “addiction”) and its consumption as harmful (e.g., hyperactivity; overweight). Nonetheless, the view that sugary food consumption is not necessarily problematic was also common. Indeed, most parents considered that sugar intake should be regulated but not forbidden. To control the intake of sugary foods (e.g., sodas, cookies), they reported using strategies such as restriction, explanation, or negotiation. Several barriers to sugar intake regulation were identified (e.g., birthday parties, parents' lack of knowledge), but also a few facilitators (e.g., bringing food from home to school). Our findings may inform the development of interventions or policies to promote healthier eating habits in school-age children.

Cringe Histories: Harold Pinter and the Steptoes

This article argues that cringe humour in British television had begun at least by the early 1960s and derived from a theatre history in which conventions of Naturalism were modified by emergent British writers working with European avant-garde motifs. The article makes the case by analysing the importance of cringe to the BBC sitcom Steptoe and Son, tracing its form and themes back to the ‘comedy of menace’ and ‘Theatre of the Absurd’ emblematised by the early work of playwright Harold Pinter. The article links the play that made Pinter’s reputation, The Birthday Party, to dramatic tropes and social commentary identified in Steptoe and Son and in other British sitcoms with cringe elements. The analysis not only discusses relationships between the different dramatic works on stage and screen but also pursues some of the other connections between sitcom and Pinter’s drama via networks of actors and contemporaneous discourses of critical commentary. It assesses the political stakes of cringe as a comic form, particularly the failure of cringe to impel political activism, and places this in the context of the repeated broadcast of Pinter’s plays and episodes of Steptoe and Son over an extended period.