bluuebunny/crossref_metadata_2025_split huggingface dataset:
Agronomic Performance and Multiple Disease Resistance in T2BS.2RL Wheat‐Rye Translocation Lines
Authors: Hysing Shu-Chin , Hsam Sai L. K. , Singh Ravi P. , Huerta-Espino Julio , Boyd Lesley A. , Koebner Robert M. D. , Cambron Sue , Johnson Jerry W. , Bland Daniel E. , Liljeroth Erland , Merker Arnulf 
Published: January 2007

ABSTRACTWheat (Triticum aestivum L.)‐Rye (Secale cereale L.) T2BS.2RL translocations were shown to increase grain yield, resistance to biotic and abiotic stresses, and had minor effects on baking quality. The objective of this study was to test agronomic performance and resistance of a new wheat‐rye translocation (T2BS.2RL, SLU) to powdery mildew (Blumeria graminis f. sp. tritici (DC.) E. O. Speer), leaf rust (Puccinia triticina Eriks.), stem rust (Puccinia graminis f. sp. tritici Eriks. & Henn.), stripe rust (Puccinia striiformis f. sp. tritici Westend.) and Hessian fly [Mayetiola destructor (Say)]. F2 derived F4–F6 T2BS.2RL lines, non‐translocation lines, and the wheat cultivar Holme were compared using intact seedlings or leaf segments. T2BS.2RL conferred seedling resistance to 17 powdery mildew isolates, 14 leaf rust and one stem rust pathotype. The T2BS.2RL lines were susceptible to 3 stripe rust pathotypes as seedlings, while showing adult plant resistance under natural conditions. Agronomic characters were compared in a 2‐yr hill‐plot field trial in Sweden. T2BS.2RL lines flowered 2 to 3 d later and had an increased number of spikelets per spike. The T2BS.2RL had no significant effect on yield, straw length, lodging, volume weight, 1000‐kernel weight, fertility, α‐amylase activity, or starch or protein content. The multiple disease resistance and the minor negative effects on agronomic performance of the T2BS.2RL, SLU translocation encourage its use in wheat breeding.
The Role of Puroindoline A and B Individually and in Combination on Grain Hardness and Starch Association
Authors: Wanjugi H. W. , Hogg A. C. , Martin J. M. , Giroux M. J. 
Published: January 2007

ABSTRACTEndosperm texture in wheat (Triticum aestivum L.) is an important criterion affecting end‐product quality. Grain hardness is controlled by the Hardness (Ha) locus which contains the puroindoline a (Pina) and puroindoline b (Pinb) genes. Hard wheats possess mutations in Pina or Pinb while soft wheats possess the Pina‐D1a and Pinb‐D1a alleles. Here, we determined the role of PINA and PINB individually and in combination on grain hardness and association to starch. Pina‐D1a or Pinb‐D1a overexpressing transgenic lines were crossed to PINA or PINB null hard wheats. The crosses segregated for the transgene and the Ha locus. Random lines from each genotypic class were evaluated in replicated trials over 2 yr. Classes containing only native levels of PINA or PINB were hard textured. Homozygous classes with transgenic addition of PINA to the PINA+/PINB null Ha locus or addition of PINB to the PINA+/PINB null Ha locus were intermediate in texture with grain hardness values of 43.5 and 45.5, respectively. Soft endosperm texture was only obtained when both PINA and PINB were present with the softest grain observed with addition of PINB to the PINA+/PINB null Ha locus. Association of high amounts of either puroindoline to starch required both PINA and PINB. The results indicate that PINA or PINB can act alone leading to intermediate‐textured grain or can function together to give a soft grain texture.
Giraudoux’ Approach to Tragedy
Authors: Fowlie Wallace 
Published: January 2007

In his own style, in his own creation, Jean Giraudoux is an accomplished playwright. If the reader of his plays or the theatregoer is an addict of the Giraudoux manner of writing, he will be enchanted and stimulated as long as the reading or as long as the play lasts. But the opposite reaction is equally possible for the reader or the theatre-goer who finds such a style antipathetic.Ever since his first book appeared in 1909, a collection of stories and sketches called Provinciales, Giraudoux has been explained by almost every critic who has referred to him, by the term “preciosity.” He has been called a précieux with the same monotonous regularity that Gide has been called a “sincere” writer and Cocteau a “tight-rope walker.” The word is applicable, without much doubt, and yet literary styles are not easily classifiable.
Buskin and Farce: Notes on Pour Lucrèce
Authors: Dirks Mary Douglas 
Published: January 2007

… Tous deux en chaussant le cothurne alors que vous plongez jusqu’au cou dans la farce.(Pour Lucrèce, Act III, Sc. 4)“Le monde de M. Giraudoux est celui des virginités reconquises.”… Jean-Paul SartrePour Lucèrce is Giraudoux’ last play, published posthumously in 1951, produced by the Madeleine Renaud—Jean-Louis Barrault company in Paris in 1953, and slated for Broadway production in an English adaptation by Christopher Fry.On the face of it, the theme of outraged chastity, hallowed though it is by time, seems an odd dish to set before today’s theatregoers. Rape is not unknown on our stage; but chastity is rarely mentioned nowadays and Tarquin’s ravishing strides had quite subsided when Giraudoux came along with his Lucrèce. It should be noted, however, that he has given with one hand only to take away with the other.
The Preface to “The Marriage of Figaro”
Authors: Beaumarchais  
Published: January 2007

In writing this preface, my purpose is not to conduct a futile investigation to determine whether I have written a good play or a bad one. It is too late for that. Rather, it is scrupulously to subject it to examination (and I should do this under any circumstances), in order to discover whether I have written a blameworthy piece of work.Since no one is obliged to write a comedy in strict imitation of other comedies, if I have strayed from the well beaten path for reasons I felt to be sound ones, am I to be judged, as the Messrs. so & so have judged me, by rules which are not my rules? Or, as they fatuously proclaim in print, for taking art back to its infancy, because I am attempting to blaze a new trail for that art whose first, perhaps whose only law, is to entertain while instructing? But that is not the question.
Discovering the Theatre
Authors: Ionesco Eugene 
Published: January 2007

When I am asked: “Why do you write plays?” I always feel very embarrassed, and am at a loss for an answer. It seems to me sometimes that I started to write for the theatre because I hated it. I read literary works and essays, or went to the movies with pleasure. From time to time I listened to music, or visited art galleries; but for all practical purposes I never went to the theatre.When, quite by chance, I saw a play, it was in order to accompany someone, or because I had not been able to refuse an invitation, because I had been obliged to go.I derived no pleasure from it, and did not participate in it. The playing of the actors disturbed me: I was embarrassed for them. The situations seemed arbitrary to me. There was something false in it all, I thought.
The Phoenix Has Two Heads
Authors: Bermel Albert 
Published: January 2007

The most surprising fact about the Phoenix Theatre in New York City is that it has survived. Between opening night on December, 1953, and the end of the third season in the spring of 1957, the managing directors, T. Edward Hambleton and Norris Houghton, compiled a cheerful deficit of some $500,000. By the 1960-61 season, if conditions do not change, there is no reason why the deficit should not touch seven figures. Yet there are some citizens, most of them Broadway backers, who continue to pour into the Phoenix money that cannot possibly be recouped, let alone multiplied.This may sound like an indelicate or misplaced emphasis; it is actually no more than a reminder that money is the prime mover in New York theatre. It takes, we are told, $400,000 to throw a Broadway musical together.
The Dispute Over the Valley
Authors: Bunge Hans-Joachim , Morgan Bayard Quincy 
Published: January 2007

Conceptions of Bertolt Brecht's own staging of his play The Caucasian Chalk Circle in the “Berliner Ensemble am Schiffbauerdamm” (premiere on 7 October 1954) differ from the performance in Frankfort-on-the-Main (directed by Harry Buckwitz, premiere on 27 April 1955) in this respect, among others, that in Berlin the Prologue was performed, whereas in Frankfort it was deleted before rehearsals began.The Prologue is an integral part of The Caucasian Chalk Circle and the play has never been published without it. In it Brecht shows how two Grusinian Kolchoses settle an argument over the possession of a valley claimed by both villages. The valley is obtained by those who give promise of administering it best, i.e., those who will irrigate it in order to make it produce more fruit.The goat-raising Kolchos “Galinsk” had been evacuated from the valley by a government order when Hitler's armies were advancing.
Thornton Wilder Says 'Yes'
Authors: Hewitt Barnard 
Published: January 2007

The prefatory note to the volume, Three Plays by Thornton Wilder, states that he is regarded by many as America's greatest living playwright. We may discount this considerably as a publisher's exaggeration, but there is no question that his name will appear on almost anyone's list of major contemporary American playwrights—and probably nearer the top than the bottom.This is a little surprising when one stops to think that his reputation rests almost entirely on three plays, one of them an adaptation. True, he has written a number of one-act plays, one or two of which have become classics of the amateur theatre. He has translated André Obey's Lucrèce for Katharine Cornell and he has adapted A Doll's House for Ruth Gordon.
The Plays of Jonesco
Authors: Watson Donald 
Published: January 2007

It is only since the war that Eugène Ionesco has become known in Paris, where his name is linked with those of Samuel Beckett, Jean Genêt, Jean Vauthier and others. All these writers have come to be classed as avant-garde, because they are all in reaction against some aspects of our conventional drama. But their approach in each case is highly individual.Ionesco is certainly one of the most original, stimulating and personal among them.He tells us that he came to write for the theatre because he had grown to detest it, and he started writing mainly for his own enjoyment. He was tired of the mean little intrigues, the superficial values and the barren preoccupation with the problems of everyday life that he found in naturalistic drama. And he was disturbed at the sight of actors struggling to create the illusion that they were the counterparts of the members of the audience.
Homosexuality and American Theatre: A Psychoanalytic Comment
Authors: Kaplan Donald M. 
Published: January 2007

“In dreams begins responsibility.”—W. B. Yeats“The whole concept is thrilling, the realization of a dream. In the few days that we have been working together I have had more fun than I have had in years.”—Elia Kazan (on the Lincoln Center Repertory)Among the wrongs which the current theatre is said to sustain to its detriment, homosexuality is included with an increasing alarm, if not in print so much, then in conversation. If one believes what one hears, then homosexuality inflicts no mere indisposition on the general theatrical enterprise, but rather a grave disability. Homosexuals—the indictment goes—have exploited the theatre's traditionally liberal hospitality toward deviant and errant souls and have become numerous, widespread, and powerful; they discriminate in favor of their own kind, invariably betraying artistic considerations for sexual and social advantages. But most lamentable—the indictment continues—is the fact that even when the homosexual resolves to renounce immediate personal gratifications in the service of theatre itself, his good intentions (unlike yours and mine) go awry; for there is something in the nature of homosexuality itself, some vague though actual corruption of spirit and vision, which imposes certain inevitable limitations on the expressiveness of the homosexual performer, writer, director, or whatever.
Who Was Ribot?
Authors: Bentley Eric 
Published: January 2007

In his essay on “Emotional Memory” in TDR Summer 1962, and now, I believe, published as a pamphlet by Samuel French, Inc., Mr. Robert Lewis traces the phrase “emotional memory” back as far as 1925 and adds: “During the Group Theatre days, in the Thirties, we called it ‘Affective Memory’ (a term borrowed from an earlier French psychologist). But, by whatever name, it is accomplished, roughly as follows.”The name is actually given in David Magarshack's Stanislavsky: A Life in these words:Stanislavsky was struck by the fact that in his most successful part of Dr. Stockmann he had unconsciously endowed it with a number of external traits which he had observed in life and kept buried in his memory till the moment came for them to be combined in the delineation of a character with whom he felt a strong affinity.
The Missing Half of Hughie
Authors: Alexander Doris 
Published: January 2007

O'Neill was alive when The Emperor Jones was staged. And a good thing too. What if the director had been on his own? Perhaps he would have read the descriptions of Jones' visions and decided that these “thoughts” couldn't be staged. This did not happen to The Emperor Jones, but it is exactly what happened to Hughie, which was published and produced posthumously. O'Neill was not there to oversee the staging and the result was two weird productions, one in Stockholm and the other on Broadway.Hughie is very much like Jones in structure, a monologue counterpointed by the visions of the title character. With Jones, O'Neill made sure that the visions were presented in pantomime, like the flowing images of silent film.
Fresh Sap for the Withered Tree
Authors: Rundall Jeremy 
Published: January 2007

Just as 1956 saw the beginnings of the theatrical renaissance in London (however false a dawn that may have proved), so it was a significant year in the provinces. Not an annus mirabilis: countrywide revolutions take longer than capital revelations. But it marked the start of a change in receptivity, a change in policy, a change in the stratification of audiences, that may well have more far-reaching effects than Osborne's coup de théâtre at the Royal Court.What was the magic of this particular year? Quite simply, it saw the construction of the first new playhouse to be built in Britain, outside London, since the Second World War: the first civic theatre. The Belgrade, Coventry, was conceived as part of the massive redevelopment scheme enforced by German bombing, which culminated in the new Cathedral and the functional, streamlined railway station.
Decimals
Authors: Borchardt W G. 
Published: January 2007

Mr. Grant, in the last issue of this Gazette, having made several references to “Arithmetical Types and Examples,” perhaps a few remarks in reply will not be altogether out of place.1. Multiplication. The only difference between the two methods first given is in the position of the various digits of the multiplicand.We are told that the first rule (that “there are the same number of figures to the right of the decimal point in the first partial product as there are in the multiplicand,” and that therefore the first figure set down must be under the right-hand figure of the multiplicand) is mechanical; whereas the rule of “putting each first figure of a partial product underneath the figure to which that partial product is due” is sound and fundamental. It is not obvious to the writer that one is more mechanical than the other.
Porismatic Equations
Authors: Davis R. F. 
Published: January 2007

Some idea of a system of such equations may be given in order to clear the way.In Professor Chrystal’s Algebra, Chapter XIV., No. 18, p. 303, we have:“Of the equationswith two similar equations in y, z, where x, y, z are unequal; prove that any two imply the third.” (Cayley.)
An Arbitrary Veto
Authors: Gheury Maurice E.J. 
Published: January 2007

Having read with more than ordinary interest the Address delivered by Professor Perry on “The Correlation of the Teaching of Mathematics and Science,” I should like to lay before the members of the Mathematical Association a few remarks which, I trust, will be found to the point.I need not further endorse the view that as long as a student does not specialize in mathematics or in science, the teaching of both these subjects will be greatly improved if in the hands of the same teacher Such an arrangement must benefit both teacher and student. By “science” I mean physics, and those parts of applied mechanics, electricity, and magnetism, generally comprised with certain other practical subjects under the general term of “engineering.”
Some Deductions from the Form of the Equation of the Conic Section
Authors: Benny L. B. 
Published: January 2007

In teaching Analytical Geometry very little attention is often given to the interpretation of the form of an equation, although this may often convey a good deal of information; by grouping the terms of an equation in different ways, a variety of useful and interesting results may be obtained with very little labour.Some suggestions as to the possibilities of this method may be afforded by the cases given below. A considerable number of results are obtained, purely by simple manipulation of the general equation of the conic section in point and line co-ordinates. Except in one instance, no reference has been made to infinite elements; if we include the notions of infinite points and lines, and of the circular points, the power of the method increases very greatly. The only knowledge that has been assumed is that which is quite fundamental in point and line co-ordinates, and the meanings of certain simple typical forms.
Presidential Address: The Use of Mathematics
Authors: Greenhill George 
Published: January 2007

The use of Mathematics we understand as not merely utilitarian applications, such as those by which astronomy is employed in navigation, “whereby our nautical logbooks can be better kept, and water transport of all kinds has grown more commodious”; flight too can be made in the air, but also the cultivation at the same time of the intellect, to think correctly, and arrive at the right conclusion from data which are certain ; and the enlargement generally of the interest in this life.And so our subject received its name from MA⊖HMATA, meaning disciplined exact knowledge, and formed an important branch in the old University ideal, to teach how to live a life, not merely to make a living. To keep the soul alive, body and soul together, and to cure intellectual timidity, the worst form of cowardice.
Note on Fourier’s Theorem
Authors: I’a Bromwich T.J. , Bryan G.H. 
Published: January 2007

Professor Bryan’s paradox on Fourier’s theorem (Gazette, vol. iv. p. 390) seems to call for a few words of explanation.In the first place a function f(θ) is constructed of the formand the function is arranged so as to have the same values as an arbitrary function F(θ) at the places θ = 0, a, 2a, …, (n-1)a, where α=2Π/n. It will be observed here that we have only n data from which to determine (2n-1) coefficients, and consequently the form of f(θ) is largely at our disposal ; but the particular form selected by Professor Bryan leads to the formulae for the coefficients,
The Syllabus of Geometrical Conics
Authors: Taylor C. 
Published: January 2007

The Sixth General Meeting of the Association for the Improvement of Geometrical Teaching appointed a Committee for Geometrical Conies, and one for “Higher Plane Geometry, including such subjects as Transversals, Projection, Anharmonic Eatio, etc.”Dr. Hirst in his Presidential Address has said of the latter subjects, “Until these notions become more familiar ones, I, for my part, believe that Geometrical Conies will always remain in its present unsatisfactory condition. . . . It will be, of course, a question for this Association to decide whether, pending the introduction of the more thorough treatment based on the notions to which I have alluded, some improvement may not be introduced into the subject of Geometrical Conies, as at present understood, with a view of enabling examiners at all events to examine with greater facility and purpose. At present the definitions are so multiform and the sequence of propositions so varied in different text-books, that it is found to be an exceedingly difficult task to examine satisfactorily in the subject at all.”
The Arithmatic of Infinites: A School Introduction to the Integral Calculus
Authors: Nunn T. Percy 
Published: January 2007

The last section of Arithmetica Infinitorum is devoted to the ingenious argument by which Wallis suceeded in reaching the first modern expression of π as an infinite series.We begin with an argument which, although in Wallis’s hands it proved abortive as an attempt to determine π, is yet useful for the comprehension of his more successful procedure, and has (as we shall see) great historical importance.
Alice Through the (Convex) Looking Glass
Authors: Garnett Wm. 
Published: January 2007

OH, wad some power the giftie gi’e usTo see oursels as others see us,It wad frae mony a blunder free us,And foolish notion;in which case it is probable that wars would cease. During the last few years we have had glimpses of ourselves through the spectacles of the Central Powers; occasionally through the telescopes of the French, the Italians, or the Russians, and in the near future we are likely to get a good many pictures of ourselves as we appear to the last-named people. We are apt to think that our own view of ourselves is the only true view, and all other images are in error just as they differ from our own standard. Naturally other nations adopt the same course, and we are free to believe that in many cases their vision of themselves is far more at fault than our own self image. In this respect a study of Alice and her standards might be not without profit to the nations. When we want to see ourselves, or, at least, our faces, we usually employ a mirror, and what we see depends very much on the mirror we use. Sir George Greenhill was the first professor of Applied Mathematics at the Eoyal Indian Civil Engineering College, Coopers’ Hill. He told us that at the end of the first session a reception was held and the science departments were on view. A young lady entering the physical laboratory and seeing an inverted image of herself in a large concave mirror naively remarked to her companion, “They have hung that looking glass upside down.” But those who fixed the mirror were not to blame, as the lady would have discovered had she advanced past the centre of the curvature. The reply of modern mathematics to the prayer of Eobert Burns is the Theory of Relativity I have some doubt whether Burns would have appreciated the answer. As a rule, we use a plane mirror to inspect ourselves. This reverses certain spatial relations which can be expressed best, perhaps, by stating that it presents a right-handed screw as a left-handed screw and vice versû, or changes a wine screw into a beer screw, as Clerk Maxwell would say, referring to the tendrils of the vine and the hop.
Theorems on Quadriplanar Coordinates
Authors: Robinson R. T 
Published: January 2007

Given a tetrahedron of reference ABCD, let λ, μ, ν, π be the cosines of the angles made by a line with the perpendiculars to the faces BCD, ACD, ABD, ABC respectively, these perpendiculars being drawn all inwards or all outwards; whereAλ1 + Bμ1 + C½1 + Dπ1 = 0Aλ2 + Bμ2 + C½2 + Dπ2 = 0A, B, C, D being the areas of the faces BCD, .. If P1 (α1, ²1, γ1, δ1) and P2 (α2, β2, γ2, δ2) are any two points, the lines PP1 and PP2 can be written(α - α1)/λ1 = (β - β1)/μ1 = (γ - γ1)/ν1 = (δ - δ1)/π1 = θ1,(α - α2)/λ2 = (β - β2)/μ2 = (γ - γ2)/ν2 = (δ - δ2)/π2 = θ2,to find the cosine of the angle between PP1 and PP2.