bluuebunny/crossref_metadata_2025_split huggingface dataset:
Genetic Improvement of Grain Yield and Associated Traits in the Northern China Winter Wheat Region from 1960 to 2000
Authors: Zhou Y. , He Z. H. , Sui X. X. , Xia X. C. , Zhang X. K. , Zhang G. S. 
Published: January 2007

ABSTRACTKnowledge of changes associated with advances in crop productivity is essential for understanding yield limiting factors and developing strategies for future genetic improvement. The objectives of this study are to understand genetic gain for grain yield and associated traits in the Northern China Winter Wheat Region (NCWWR). Four trials, comprised of 47 leading common wheat (Triticum aestivum L.) cultivars from the NCWWR from 1960 to 2000, were conducted during 2001 to 2003 using a completely randomized block design of three replicates under controlled field environments. Molecular markers were used to detect the presence of dwarfing genes and the 1B/1R translocation. Results showed that average annual genetic gain in grain yield ranged from 32.07 to 72.11 kg ha−1yr−1 or from 0.48 to 1.23% annually in different provinces. The most significant increase in grain yield occurred in the early 1980s, largely because of the successful utilization of dwarfing genes and the 1B/1R translocation. There was no common trend across trials in terms of changes in spikes m−2, kernels per spike, 1000‐kernel weight (TKW), or biomass. The genetic improvement in grain yield was primarily attributed to increased grain weight per spike, reduced plant height, and increased harvest index (HI). The dwarfing allele Rht‐D1b was the most frequent (68.0%) among the cultivars, followed by Rht 8 (42.0%) and Rht‐B1b (16.0%). The frequency of 1B/1R translocation cultivars was 42.6%. The future challenge of wheat breeding in this region is to maintain the genetic gain in grain yield and to improve grain quality, without increasing inputs for the wheat‐maize double cropping system.
AFLP‐RGA Markers in Comparison with RGA and AFLP in Cultivated Tetraploid Cotton
Authors: Zhang Jinfa , Yuan Youlu , Niu Chen , Hinchliffe Doug J. , Lu Yingzhi , Yu Shuxun , Percy Richard G. , Ulloa Mauricio , Cantrell Roy G. 
Published: January 2007

ABSTRACTDisease resistance (R) genes have been isolated from many plant species and R genes with domains of nucleotide binding sites (NBS) and leucine‐rich repeats (LRR) represent the largest R gene family. The objective of this investigation was to test a resistance gene analog (RGA) anchored marker system, called amplified fragment length polymorphism (AFLP)‐RGA in cotton (Gossypium spp.). The AFLP‐RGA analysis uses one degenerate RGA primer designed from various NBS and LRR domains of R genes in combination with one selective AFLP primer in a PCR reaction. Out of a total of 446 AFLP‐RGA bands amplified by 22 AFLP‐RGA primer combinations, 76 (17.0%) and 37 (8.3%) were polymorphic within four G. hirsutum L. genotypes and four G. barbadense L. cotton genotypes, respectively. The number of polymorphic AFLP‐RGA bands (256) between G. hirsutum and G. barbadense was much higher (57.4%). This level of polymorphism mirrors that of AFLP. The genetic similarity among the eight genotypes based on AFLP‐RGA or AFLP lead to similar results in genotype grouping at the species and intraspecies level. However, RGA markers amplified by only degenerate RGA primers could not discriminate several genotypes. AFLP‐RGA offers a great flexibility for numerous primer combinations in a genome‐wide search for RGAs. Due to the distribution of RGAs or RGA clusters in the plant genome, genome‐wide AFLP‐RGA analysis provides a useful resource for candidate gene mapping of R genes for disease resistance in cotton.
Soybean Rust Resistance Derived from Glycine tomentella in Amphiploid Hybrid Lines
Authors: Patzoldt M. E. , Tyagi R. K. , Hymowitz T. , Miles M. R. , Hartman G. L. , Frederick R. D. 
Published: January 2007

ABSTRACTSoybean rust (SBR), caused by the fungal pathogen Phakopsora pachyrhizi Syd., has the potential to cause significant economic yield loss in U.S. soybean production. Four single dominant resistance genes have been identified in soybean [Glycine max (L.) Merr.] that only confer specific resistance to a few rust isolates that have been tested. Additional resistance genes have been identified in wild perennial relatives, including G. tomentella Hayata (accession PI 483218, 2n = 78). Intersubgeneric hybrids have been created between G. max (cv. Altona) and this G. tomentella accession. Amphiploid hybrid lines (2n = 118) were the result of this hybridization and when further backcrossed to G. max (cv. Clark 63), derived fertile lines (2n = 40) were also generated. Both sets of progeny were screened at the USDA‐ARS facility at Ft. Detrick, MD, to determine if the resistance to SBR was inherited in the subsequent populations. The amphiploid hybrid clones still retained the genetic SBR resistance that was found in the G. tomentella parent. However, the derived fertile lines were susceptible. These lines were not screened for SBR resistance following each backcross, which may explain this occurrence. Reinstituting the backcross procedure, while testing for SBR resistance at every generation, could move the SBR resistance gene(s) from G. tomentella to the cultivated soybean G. max.
A Mitochondrial Repeat Specific Marker for Distinguishing Wild Abortive Type Cytoplasmic Male Sterile Rice Lines from their Cognate Isogenic Maintainer Lines
Authors: Rajendrakumar P. , Biswal A. K. , Balachandran S. M. , Ramesha M. S. , Viraktamath B. C. , Sundaram R. M. 
Published: January 2007

ABSTRACTThe realization of yield potential of rice (Oryza sativa L.) hybrids developed through the “three‐line system” largely depends on genetic purity of parental lines. Cytoplasmic male sterile (CMS) lines often get contaminated with cognate isonuclear maintainer lines during multiplication. We report identification of a rice mitochondrial DNA sequence, possessing a repeat motif that is polymorphic between the wild abortive (WA)‐CMS lines and their cognate isonuclear maintainer lines. We have designed a primer pair flanking the unique repeat and two fragments of different size were amplified in all WA‐CMS and their maintainer lines through PCR. The PCR assay was able to precisely detect the impurities in a commercial seed lot of a popular CMS line, IR58025A. The possibility of utilizing this marker as a replacement for the morphology‐based (grow‐out test) GOT in accurate detection of contaminants in CMS seed stocks is discussed.
To Jean Giraudoux
Authors: Anouilh Jean 
Published: January 2007

Fortunate are those young men who have had masters!Fortunate are the nervous youngsters who went and rang doorbells and received with flushed faces the encouraging word from the man whom they admired!I grew up without any masters; in the years around 1928, I had a warm place in my heart for Claudel and I carried dog-eared copies of Shaw and Pirandello in my pockets, and yet, I was all alone. Alone with the anguish of one soon to be twenty years old, with a love for the theatre, and all the awkwardness of youth. Who would divulge to me the secret in those days in which only wellmade plays were performed? Musset, Marivaux reread a thousand times? They were too far off. They were from an era already fabulous in which spoken French still had periods and commas, from an era in which the very sentences danced.
Theatre as Enterprise
Authors: Herman William 
Published: January 2007

We have money, big money, wanting to be spent on the theatre.—Richard Scheduler in T20.The fact is, as we all know, that today's theatre is run with money. Tomorrow's theatre, such as it may be, must also be solvent…. I am concerned with certain economic facts of the present, certain trends that will shape the theatres of the future.—Charles L. Mee, Jr. in T20.I have just been reading in the papers that you are writing a play. Write, write, write! It is ‘ necessary. Even should the play fail, don't let that discourage you…. a success, however slight, may be of vast service to the theatre…. By all means, golubchik, finish the play—Chekhov in a letter to Gorki.I know what wages beauty gives,How hard a life her servant lives,Yet praise the winters gone:There is not a fool can call me friend,And I may dine at journey's endWith Landor and with Donne.—W. B. Yeats
A Subtext Based on Nothing
Authors: Blau Herbert 
Published: January 2007

The world of dark powers which comes from Nothing to fulfill Lear's “darker purpose.” Hecate's world, the world of the absent Queen (Genet's world), the Womb, the sulphurous pit, consumption, stench, madness, the wheel of fire, rage.To begin the ceremony, Lear speaks of that darker purpose. (With our inadequate terminology, we might call it his Super objective.) He is in good spirits, prepared to bestow bounty and receive love; in a moment he is staring into vacancy. In the divided kingdom, the heart of darkness: “Nothing will come of nothing.” The line recapitulates a cracked fantasy of Power; the rest of the play proceeds from it. For us it was a datum: ground level. Cordelia says “Nothing“—and history is annihilated. Out of the appearance of Absolute Form, hallucination—a dark voyage through the anarchic id. Why did she say nothing? Later, the words of her charity, the most forgiving words of all, tell what weighed down her ponderous tongue: “No cause, no cause.”
An Audience of Critics and the Lost Art of "Seeing" Plays
Authors: Hoffman Theodore 
Published: January 2007

For some time now I have been trying to shrug off the hunch that contemporary audiences and dramatic critics have lost the art of seeing plays. Now this is a disturbing thought to anyone engaged in the practice of theatre. It is hard to work without some faith in the intelligence and appreciation of either critics or audiences. When you don't succeed in maintaining that faith to some degree, you feel anxious and guilty, and begin to get paranoic.But “paranoia” occurs when imaginary dangers are identified as real; and although I am perfectly willing to regard my feelings as neurotic, I have also found that they seem to be widely shared in the profession. Something has happened to audiences and critics that fills the theatre with irritation. The mere mention of a critic's name in professional circles causes hackles to rise.
An Epic Theatre Catechism
Authors: Gorelik Mordecai 
Published: January 2007

By this time many of us have heard of the controversial doctrines of Epic Theatre. Some of us have been intrigued by Epic theory; others have lost no time expressing their annoyance. In his lifetime Bertolt Brecht, Epic's chief architect, encountered a full measure of both reactions. He accepted enthusiasms calmly and took rejections in the same spirit. In spite of all box-office accountants he insisted that the validity of a theatrical credo was not to be determined by a counting of heads. “Einstein's theory was understood at first by half a dozen people,” he once told me. “Whether I am accepted by six people or six million is beside the point. The point is whether I am justified.“It must be admitted that the meaning of Epic Theatre is not quickly grasped.
Actors—The Image of Their Era
Authors: Clurman Harold 
Published: January 2007

In the theatre this is the time of prizes and awards. The less theatre we have, the more prizes are awarded. Perhaps that is our way of compensating through honor and esteem what we cannot supply in substance. It is certain that among devoted playgoers, the prizes for acting—even more than those for plays—create jubilation, discussion, even dispute. In any case, a good deal of genuine sentiment is expended on the occasion of the various awards.The most awarded actress of the past season is unquestionably Shirley Booth. Miss Booth (Motion Picture Academy Award for her performance in Come Back, Little Sheba; Antoinette Perry Award for The Time of the Cuckoo) didn't steal it, as the French say, when they mean that someone got what was deserved.
Mystery in the Plays of Christopher Fry
Authors: Lecky Eleazer 
Published: January 2007

“There is always something new under the sun,” Christopher Fry has said, “because a mystery never ages.” The remark, set apart like this, itself may seem mysterious, but, when added to Fry's plays, it usefully annotates them. It redirects attention to the presence there not just of mystery but of kinds of mystery which affect the dramatic value of the plays.I do not wish to exaggerate the differences, but when Fry speaks of mystery, directly in his essays or indirectly in the plays, the word may have one of several meanings. (1) Sometimes he (or the speaker) is saying of a particular moment of experience that, like any other moment, it is unique. It has, besides the familiar qualities that language can codify, an indefinable quality of its own, for, literally, “There is always something new under the sun.” It is as if creation were an infinite series of special creations or “miracles.” No event, therefore, is fully explicable. In uniqueness, there is mystery.
All Aboard the Seesaw
Authors: Trilling Lionel 
Published: January 2007

William Gibson's The Seesaw Log is a book about the theatre in, as it were, its very essence, and it seems to me that it is as interesting as such a book could possibly be.Now that I have set down that statement, I see that it may sound ambiguous, and that it may suggest ambivalence on my part, but I let it stand as representing the division of my feelings, not about the book but about the theatre. I was the boy who refused to wave his handkerchief to keep Tinker Bell from dying, even though it was Maude Adams who pleaded, and I despised the children who did wave, and also envied them, and was glad they could help make so moving an event by their silliness.Some part of me is repelled by the theatre. The histrionic personality bores me (after the first half-hour, in which it is usually charming).
Tennessee Williams: The World of His Imagery
Authors: Vowles Richard B. 
Published: January 2007

In spite of his undeniable stature at home and abroad, Tennessee Williams has met with slight critical approbation. If not actively contemptuous, the little magazines have been cold. The acceptance of the ephemeral press, admittedly a mixed dish, has been succeeded by querulous denial, irritability, and, more frequently, silence from literary quarters. The reasons are not far to seek.Mr. Williams has been too successful, and success on Broadway has come to be equated with the slick masquerading of the shoddy. Granted that Eugene O’Neill, too, has had his recent Broadway successes, but we may flatter ourselves that these amount to belated recognition of a “high seriousness” wanting in Tennesse Williams. After all, O’Neill had a tragic sense and a “daemon” (now inflated into myth), while all is negation in Williams. Or so Mr. Krutch would have us believe.
Molière the Indignant Satirist: Le Bourgeois gentilhomme
Authors: Falk Eugene H. 
Published: January 2007

In a reference to Pascal, Ernst Cassirer wrote in his book An Essay on Man that:what characterizes man is the richness and subtlety, the variety and versatility of his nature….Rational thought, logical and metaphysical thought can comprehend only those objects which are free from contradiction, and which have a consistent nature and truth. It is, however, just this homogeneity which we never find in man. The philosopher is not permitted to construct an artificial man; he must describe a real one. All the so-called definitions of man are nothing but airy speculation so long as they are not based upon and confirmed by our experience of man. There is no other way to know man than to understand his life and conduct. But what we find here defies every attempt at inclusion within a single and simple formula. Contradiction is the very element of human existence. Man has no ‘nature’—no simple or homogeneous being.
Five-Act Structure in Doctor Faustus
Authors: Hunter G. K. 
Published: January 2007

The original and substantive texts of Marlowe's Doctor Faustus (the Quartos of 1604 and 1616) present the play completely without the punctuation of act division or scene enumeration. This is common enough in the play-texts of the period. Indeed it is much the commonest form in plays written for the public theatres. Shakespeare's Henry V and Pericles are without divisions in their quarto texts, but we know that they were written with a five-act structure in mind—the choruses tell us that.What is exceptional in the textual history of Doctor Faustus is not the lack of division in the original texts; it is rather the reluctance of modern editors to impose an act-structure on the modern texts. This is curious, but it seems possible to discern why the reluctance exists and a survey of the modern editions of Faustus throws some interesting light on critical attitudes to the subject matter of the play.
The Juggernaut of Production
Authors: Rogoff Gordon 
Published: January 2007

In the autumn of 1958, Lee Strasberg told the members of The Actors’ Studio that he was feeling worried and belligerent about the emphasis on individual excellence that seemed to have become the entire raison d'etre of the Studio, an emphasis which he considered to be taken at the expense of the concept of the ensemble. “We lose the sense,” he said, “of serving the theatre.” His worry, seen then or now, could be easily understood by the most casual observer of the American theatrical scene. His belligerence, then and now, can not be so easily understood, since it is not readily apparent to the naked—or should I say hungry?—eye.Belligerence implies the will to change, and in the case of those who would lead American theatre, the will to do more than change a way of work. The word belongs to the vocabulary of war.
A Note On Theatre
Authors: Genet Jean 
Published: January 2007

So you need a foreword. But what is there to say about a play from which I felt detached even before it was finished? To speak of its composition would be to evoke a world and climate without grandeur. But I would rather say a few words about the theatre in general. I dislike it. One will gather as much from reading this play .What I have been told about Japanese, Chinese, and Balinese revels and the perhaps magnified idea that persists in my brain make the formula of the Western theatre seem to me too coarse. One can only dream of an art that would be a profound web of active symbols capable of speaking to the audience a language in which nothing is said but everything portended.But any poet who tried to realize this dream would see the haughty stupidity of actors and theatre people rise up in arms.
The Balcony and Parisian Existentialism
Authors: Nelson Benjamin 
Published: January 2007

The central theme of Jean Genet's extraordinary play, surely one of the major works of the twentieth century, is best expressed in two phrases about the nature of the cosmos we may take the liberty of adapting from two famous philosophers, Gottfried Wilhelm Leibnitz (1646-1716) and Cardinal Nicholas of Cusa (ca. 1400-1464): the identity of indiscernibles and the coincidence of opposites.The ordinary man fancies that the solid realities of respectable society and the contrived illusions of the brothel are as far apart as are life and death. The play declares another message having only an incidental connection with the brothel setting: Reality and illusion are, strictly speaking, indistinguishable from one another, as indistinguishable as are dying and living.In fact, Genet goes a giant step farther in his non-Euclidian geometry.
Stanislavski and America: A Critical Chronology
Authors: Gray Paul 
Published: January 2007

June, 1897. At a historic eighteen-hour session in the Slavic Bazaar, a restaurant in Moscow, Stanislavski and Nemirovich- Danchenko agreed to pool their acting companies and form the Moscow Art Theatre (MAT). Stanislavski wrote:He, like me, thought the theatre's situation hopeless, for the brilliant traditions of the past had degenerated into a plain collection of easy technical devices… the theatre was in the hands of dilettantes and bureaucrats…
State of Play
Authors: Marowitz Charles 
Published: January 2007

Ten years after Look Back in Anger, what has the English theatre got? In the order that it impinges upon my consciousness at the moment, I would make up the list as follows:1.The high esteem of America and the continent.2.Two well-honed, semi-permanent companies: the National Theatre and the Royal Shakespeare.3.Three major playwrights: John Osborne, Harold Pinter, and John Arden.4.A host of lesser lights ranging from the steady beams of Wesker and Bolt to the firefly-flickerings of Campton and Simpson.5.A chrestomathy of spot-on criticism by one drama critic: Tynan.6.Jennie Lee, recently-appointed Minister of Culture responsible for drumming the arts into the national consciousness, and directly responsible for a sizeable increase in the Arts Council appropriation.7.A few murmurings in the provinces; mostly audible at Nottingham and Stoke-on-Trent, but as yet nothing to write home about.
Notes for the Open Theatre Production
Authors: Feldman Peter , Walter Sydney S. 
Published: January 2007

Keep Tightly Closed began as an actors’ project of the Open Theatre. Three of them rehearsed it for about a month under the supervision of one of our actresses. The work stopped for the next month, because of a busy production schedule. At that point I was asked to direct the play, only two weeks and a few days before the scheduled opening, with one cast change necessary. The actors’ morale was low because of the delays, the time limitations (some of us had day-time jobs and could only rehearse at night), the problems which had not been solved. The preliminary work they had done was very useful, but necessarily limited.I began by having the actors work on improvisations for basic character and situation. These were of an abstract nature, dealing with dependency, enclosure, and isolation, and they threw the actors off guard.
Allan Kaprow's Eat
Authors: Kirby Michael 
Published: January 2007

Eat, an Environment by Allan Kaprow, was presented during the mornings and afternoons of the two last weekends in January, 1964. Prospective visitors made reservations through the Smolin Gallery and were given directions on getting to the caves in the Bronx in which the Environment was created. Only twenty reservations were made for each one-hour period in an attempt—almost always successful—to forestall overcrowding and keep free circulation in the space.After entering an old building that fronted low cliffs, the visitor walked through several corridors and doorways and finally came to the Environment. The rock from which the caves were carved had been somewhat incompletely covered with white paint—the place had once been used by the Ebling Brewery—and age and seeping water had created a sense of decay. Black charred wooden beams stood propped against the walls in several places.
Notes on Dance
Authors: Morris Robert 
Published: January 2007

My involvement in theatre has been with the body in motion. However changed or reduced the motion might have been or however elaborate the means used might have been, the focus was this movement. In retrospect this seems a constant value which was preserved. From the beginning I wanted to avoid the pulled-up, turned-out, anti-gravitational qualities that not only give a body definition and role as “dancer” but qualify and delimit the movement available to it. The challenge was to find alternative movement.I was not the first to attempt such alternatives. Simone Whitman, together with others, had already explored the possibilities inherent in a situation of “rules” or game-like structures which required the performer to respond to cues which might, for example, indicate changes in height or spatial position.