bluuebunny/crossref_metadata_2025_split huggingface dataset:
QTL Associated with Yield in Three Backcross‐Derived Populations of Soybean
Authors: Guzman P. S. , Diers B. W. , Neece D. J. , St. Martin S. K. , LeRoy A. R. , Grau C. R. , Hughes T. J. , Nelson R. L. 
Published: January 2007

ABSTRACTSoybean [Glycine max (L.) Merrill] plant introductions (PIs) are potential sources of useful genes for breeding. We mapped quantitative trait loci (QTL) for yield and other agronomic traits, and determined QTL × environment (QTL × E) and epistatic interactions for yield in three backcross (BC) populations. The populations were developed using PIs as donor parents and ‘Beeson 80’, ‘Kenwood’, and ‘Lawrence’ as recurrent parents (RP). Sixty‐eight BC2F5‐derived lines in the Beeson 80 population, 74 BC1F5‐derived lines in the Kenwood population, and 94 BC3F2‐derived lines in the Lawrence population were tested along with the RP and checks in 2003 and 2004. Nineteen QTL for three other agronomic traits were identified, as well as 13 yield QTL. The yield‐increasing allele was from the PI parent for eight yield QTL. Yield‐increasing alleles were associated with delayed maturity for three yield QTL, and one allele was associated with increased lodging and plant height. All yield QTL mapped to regions where yield QTL have been reported previously. The significant QTL × E interaction was due to undetectable or weak QTL effects in some environments. Nine digenic interactions for yield were detected in the Kenwood population, and were mostly between loci exhibiting epistatic effects only. Our results support previous findings that the current elite North American soybean gene pool is more diverse than would have been predicted by the number of contributing ancestors.
Genetic Analysis of Corn Kernel Chemical Composition in the Random Mated 7 Generation of the Cross of Generations 70 of IHP × ILP
Authors: Dudley J. W. , Clark Darryl , Rocheford Torbert R. , LeDeaux John R. 
Published: January 2007

ABSTRACTTo identify and characterize quantitative trait loci (QTL) affecting kernel weight and concentrations of protein, oil, and starch in the corn (Zea mays L.) kernel, plants from generations 70 of the Illinois High Protein (IHP) and Illinois Low Protein (ILP) strains, previously developed by divergent selection for kernel protein concentration, were crossed. The cross was random mated (RM) seven generations and selfed twice to develop 500 F1RM7S2 lines. The lines per se were evaluated at three locations with two replications for 2 yr and testcrosses were evaluated at three locations in 1 yr. Genotypes were evaluated using 499 SNP markers on DNA from a bulk of leaf tissue from each line. As the parent plants used to make the original cross were not available for genotyping, previously reported multivariable and modified simple interval mapping (SIM) procedures were used. SIM identified more significant regions for all traits than did single marker analysis. Correlations and signs of QTL effects suggest development of high protein–high starch lines would be difficult but that it should be possible to develop high protein–high oil lines with minimal effects on kernel weight. The identification of a large number of QTL (at least 40 each for oil, protein, starch, and kernel weight) with small effects agrees in general with earlier estimates based on quantitative genetic theory and has implications for breeding strategies for improved corn kernel quality traits.
Gene Flow and Genetic Structure in the Wild–Weedy–Domesticated Complex of Phaseolus lunatus L. in its Mesoamerican Center of Domestication and Diversity
Authors: Martínez-Castillo Jaime , Zizumbo-Villarreal Daniel , Gepts Paul , Colunga-GarcíaMarín Patricia 
Published: January 2007

ABSTRACTThe role of gene flow in autogamous domesticated species diversity and their wild relatives is an issue that requires more field data. Using nine microsatellite loci, an analysis was done of the magnitude and direction of gene flow in the wild–weedy–domesticated complex of Phaseolus lunatus L. under traditional agricultural conditions in four regions on the Yucatan Peninsula, Mexico, its center of domestication and diversity in Mesoamerica. Two complementary methods were used. The Bayesian genotype assignment approach showed that recent gene flow was low at both the intraregional and interregional levels. The same was found with the frequency method for long‐term gene flow (Nm intraregional from 0.31 to 0.51, and Nm interregional = 0.44). In addition, the gene flow from domesticate to wild populations was three times higher than in the opposite direction. This asymmetry can be explained by regional agricultural practices and seed selection criteria. Domesticate alleles were shown to be entering wild populations of different agricultural regions, suggesting exchange of domesticated seed between farmers of different regions. These results are very important because they show that P. lunatus on the Yucatan Peninsula has a predominantly domesticate to wild gene flow. This situation may lead to genetic assimilation of wild lima bean by its domesticated counterpart and may lead to the possible escape of transgenes in this center of origin and diversity.
Genetic Mapping Forage Yield, Plant Height, and Regrowth at Multiple Harvests in Tetraploid Alfalfa (Medicago sativa L.)
Authors: Robins Joseph G. , Bauchan Gary R. , Brummer E. Charles 
Published: January 2007

ABSTRACTHybrids between Medicago sativa subsp. falcata and M. sativa subsp. sativa can result in high levels of heterosis for alfalfa forage production. However, commercially viable alfalfa cultivars also must have acceptable performance for other agronomic traits, including regrowth following harvest and appropriate autumn dormancy. In this study, we characterized an F1 population derived from the cross of the two subspecies for the genetics of forage production, forage height, and forage regrowth at three harvests in two Iowa locations for 1 yr. Quantitative trait loci (QTLs) controlling these traits were mapped on a genetic linkage map developed from this population. Broad‐sense heritabilities and genetic correlations among the traits were high. Marker alleles associated with QTLs for these traits were contributed by each parental genome, suggesting that both subspecies of cultivated alfalfa may contribute to the improvement of these traits. Multiple regression models accounted for between 11 and 44% of the trait variation. The most marker–trait associations were detected during the first harvest. Marker effects were generally similar across harvests. Markers associated with autumn regrowth tended to be different from those associated with regrowth earlier in the season, suggestive of the identification of autumn dormancy effects. The winter hardiness gene MsaciB is a candidate locus for yield and regrowth, being associated with yield across three harvests and with autumn regrowth. A subset of alleles was associated with more than one of the traits. Major alleles for the three traits appear to reside primarily on linkage groups (LGs) 3, 4, 5, and 7.
Characterization of Soybean Exhibiting High Expression of a SyntheticBacillus thuringiensis cry1ATransgene That Confers a High Degree of Resistance to Lepidopteran Pests
Authors: Miklos John A. , Alibhai Murtaza F. , Bledig Stefan A. , Connor-Ward Dannette C. , Gao Ai -Guo , Holmes Beth A. , Kolacz Kathryn H. , Kabuye Victor T. , MacRae Ted C. , Paradise Mark S. , Toedebusch Andrea S. , Harrison Leslie A. 
Published: January 2007

ABSTRACTWe report the generation of transgenic soybean [Glycine max(L.) Merr.] viaAgrobacterium‐mediated gene transfers of acry1Agene (tic107) fromBacillus thuringiensis(Bt) that exhibits a high degree of resistance against the lepidopteran pestsPseudoplusia includens(Walker) (soybean looper),Helicoverpa zea(Boddie) (soybean podworm), andAnticarsia gemmatalisHübner (velvetbean caterpillar). Three transgenic soybean lines (862, 726, and 781) were evaluated for expression, molecular composition, efficacy against target pests, and agronomic characteristics. We have designed and tested an expression cassette that consistently and reproducibly generates transgenic soybeans that accumulate the tic107 protein at levels as high as 6.12 μg mg−1of total extractable protein. Expression levels of this magnitude of aBtinsecticidal protein have never been reported in soybean. Previous reports have indicated expression levels 100‐fold lower in the highest‐expressing lines. In addition, the phenotypes of these high‐expressing lines were indistinguishable from their negative segregant and the transformation parent (Asgrow var. ‘A3237’). Insect bioassay data demonstrate complete protection against soybean looper, soybean podworm, and velvetbean caterpillar when negative controls exhibited defoliation as high as 98%. Unlike previous reports of transgenic soybeans, we report here highly efficacious, single‐copy, and normal phenotypes of transgenic soybean plants containing the highly expressedcry1Agene.
Antioxidant Responses of Creeping Bentgrass Roots to Waterlogging
Authors: Wang Kehua , Jiang Yiwei 
Published: January 2007

ABSTRACTAntioxidant enzymes protect plant cells from oxidative injury induced by hypoxia. The objective of this study was to identify the responses of antioxidant enzymes to different depths of waterlogging (WL) in creeping bentgrass (Agrostis stolonifera L.) roots. ‘Penncross’ and ‘G‐6’ were subjected to 21 d of WL at 1 cm (WL‐1) and 15 cm (WL‐15) below the soil surface, respectively. The turf quality of Penncross was not acceptable under both WL conditions, while G‐6 had an acceptable quality of 6.5 under WL‐15. The activity of superoxide dismutase (SOD) increased by 32 and 26% for Penncross and 83 and 44% for G‐6 under WL‐15 and WL‐1, respectively. One isoform of Mn‐SOD and three isoforms of Cu/Zn‐SOD were identified in both cultivars under all treatments. The activity of ascorbate peroxidase (AP) significantly decreased by 46 and 40% for Penncross, while AP activity decreased 25% and increased 9% for G‐6 under WL‐1 and WL‐15, respectively. One isoform of AP was identified with strong intensity in both cultivars under all treatments. The content of hydrogen peroxide (H2O2) and malondialdehyde (MDA, 1,1,3,3‐tetramethoxypropane) and the activities of glutathione reductase (GR) and peroxidase (POD) were not affected by WL for both cultivars. These results indicated that SOD and AP were mainly involved in WL‐induced antioxidant responses, and the partial WL could also significantly affect root antioxidant activities, particularly in WL‐sensitive cultivar.
Arthur Miller: Man and His Image
Authors: Weales Gerald 
Published: January 2007

Arthur Miller is one of those playwrights, like Thornton Wilder, whose reputation rests on a handful of plays. The quality of that reputation changes from year to year, from critic to critic, but now, five years after the production of his most recent play (the revision of A View from the Bridge), it is generally conceded—even by those who persist in not admiring his work—that Miller is one of the two playwrights of the postwar American theatre who deserve any consideration as major dramatists. Tennessee Williams is the other.There are many ways of approaching Miller's work. In the late Forties, after All My Sons and Death of a Salesman, popular reviewers tended to embrace him enthusiastically while consciously intellectual critics, displaying the carefulness of their kind, hoped that in explaining him they might explain him away.
The Problem of Judith
Authors: Dirks Mary Douglas 
Published: January 2007

Our misery is undeserved—we loved her. Judith created her own; she loved herself.—Judith, Act III, scene 1Judith, written by Jean Giraudoux in 1931, and predecessor of Elèctre (1937), Sodome et Gomorrhe (1943), and Pour Lucrèce (1944), is the only one of his plays which Giraudoux himself labeled a tragedy. Critics of the work have not denied him this label, although views of what constitutes the tragedy differ widely. One of Judith’s translators rather frivolously calls it “a fable of sex and God.” A German writer terms it a tragedy of Nature wronged, with God the Worm, destroyer of all things, as the ultimate villain. It has been called “a magnificent tragedy of spoliation,” as well as “the most profound and the most ambiguous of all of Giraudoux’ plays.“ And finally, Mr. Bert M-P. Leefmans regards Judith as the 20th century’s cry of despair from a sink of iniquity, or, as he puts it: “In Judith … the Fall is total, the beasts take over from mankind, and Judith … chooses, or is forced, merely to survive.“
The “Infernal Dialogue” of Giraudoux and Sartre
Authors: Pucciani Oreste F. 
Published: January 2007

The professional critic, says Jean-Paul Sartre, too often sees literature as a perpetual conversation between Pascal and Montaigne. Like Joan of Arc he has his voices. Across the ages he hears the clamoring of Voltaire and Rousseau, Heine and Madame de Staël, Gide and Malraux. It is an “infernal dialogue” since it leads nowhere. Its purpose is never to make Pascal and Montaigne come alive, but to kill off Gide and Malraux.This is brilliant and even true. Yet there is another truth. There is a dialogue, equally infernal, which is action and debate. The dialogue to which Sartre refers is most frequently only a monologue in which the critic has substituted his own voice, his own predetermined unifying point of view, for the opposing voices of two contestants. But the dialogue which is pursued within the rigorous confines of a restrictive truth cannot become a monologue.
Jean-Paul Sartre: Philosopher as Dramatist
Authors: Wreszin Michael 
Published: January 2007

I walked in a desert.And I cried,“Ah, God, take me from this place!”A voice said, “It is no desert.”I cried, “Well, but—The sand, the heat, the vacant horizon.”A voice said, “It is no desert.”Stephen CraneOne of die most interesting and provocative questions facing the student of the modern theatre is, to what extent the professional philosopher is capable of creating effective drama? Can a man steeped in the technical and systematic discipline of philosophical inquiry create a drama that is more than an abstract working out of a thesis? Can he create characters or situations that have the action and vitality necessary for dramatic presentation? The contemporary French philosopher, writer and essayist, Jean-Paul Sartre, provides the most rewarding study to those interested in the role of the philosopher as dramatist.
Trends in Canadian Theatre
Authors: Hendry Thomas B. 
Published: January 2007

During the past ten years, a theatre modelled more on European patterns than on anything to be found in North America has arisen in Canada and has established itself in the principal cities—Vancouver, Winnipeg, Toronto, Montreal, and Halifax—from coast to coast.This European look is not surprising: of 11 Canadian Artistic Directors, five are European by birth, three are French-Canadians whose first influences in professional theatre came from France, and only three are English-speaking Canadians whose first experiences in theatre were “North American”—of these, one has been strongly influenced by observation of the English repertory system and a second by the work of the Berliner Ensemble; the third is a rugged individualist who runs Canada's only frankly profit-seeking producing organization. All the other theatres are non-profit organizations administered by professionals under the guidance of volunteer Community Boards of Governors.
University Theatre: Embarrassing Riches
Authors: Levy Richard 
Published: January 2007

Recently, while touring with a New York road company, I performed at a number of universities across the country. I saw splendid, expensive facilities at schools which are doing little either to train students for theatre work or to nurture future audiences. And I saw ambitious and active departments making do with whatever was around when they began their programs years ago. There is little correlation between the money spent on theatre programs and the uses to which facilities are put.At the South Bend Campus of Indiana University, where theatrical activity is limited and where few students attend what productions there are, our road company played in an exquisite theatre with a costly lighting system so complex that the head of the theatre department confessed he had difficulty making use of it.
Lear Log
Authors: Marowitz Charles 
Published: January 2007

For Brook, Lear is a series of intellectual strands which only performance can tie together. Far from being an “unactable play,” he believes its full meaning can only be comprehended existentially—on a stage. He sees it mainly as a play about sight and blindness.Gloucester, who does not see Edmund's villainy, loses his eyes. Edgar, who does not see his brother's covetousness, loses his freedom. Lear, who does not see the corruption and rancor that see the within his family and state, loses his senses and ultimately his life. Everywhere one looks, one sees only the facades and emblems of a world and, ironically, as characters acquire sight, it enables them to see only into a void.Fable: A blind man, resolved to die, is led up a steep mountainside by one he takes to be a naked lunatic. The steep mountainside is, in reality, a flat field; the naked lunatic, his son.
Sixteen Years of the Piccolo Teatro
Authors: Grassi Paolo , Strehler Giorgio 
Published: January 2007

The Piccolo Teatro of the city of Milan, now entering its seventeenth year, represents both the result of a historical movement for the renewal of the Italian theatre and an entirely new phenomenon whose methods and orientations have served as a model for many similar organizations. Historical precedents can be found in the sustained efforts of persons like Eduardo Boutet, Eleonora Duse, Luigi Pirandello, and Silvio D'Amico; it was they who encouraged the Italian theatre to organize in permanent companies and to improve its technical and aesthetic levels, thus putting it on a par with the theatres of leading foreign countries.When the Piccolo Teatro began in 1947, the Italian theatre was characterized by two traditions: the star, and the traveling company. Throughout Europe the day of the great director (Stanislavski, Reinhardt, Copeau, etc.) had ended; but in Italy it had not yet begun.
Mendoza, Lesage, Beaumarchais
Authors: Bardon Maurice , E.B.  
Published: January 2007

The original idea of Crispin, Rival of his Master does not belong to Lesage, but to the Spaniard Hurtado de Mendoza. In Los Empeños del mentir Mendoza depicts the cunning of an adventurer who, after having saved a gentleman from the clutches of three brigands, tries to marry the gentlemen’s sister by passing himself off as her expected fiancé.Similarly, in Lesage, Crispin will try to marry Angélique under the very beard, one might say, of her suitor Valére. But the resemblance remains superficial. Angélique and Valere are not the principal objects of the scheme the valet Crispin and his double, the valet La Branche, are concocting. The object is the sizable dowry of the young girl: 20,000 écus. And they very nearly make off with this dowry. Their knavery fails only because of a chance revelatory meeting. But this accident is not surprising; it is foreseen because the author has duly prepared it.
Strindberg and the Theatre
Authors: Lamm Martin 
Published: January 2007

Strindberg's never-abandoned plans for having an “experimental theatre” at his disposal were at the point of fulfillment early in 1907 when, after a long pause, he again began to write plays. During the previous autumn he had become acquainted with the young director August Falck, and they had agreed to found a theatre. It was in anticipation of its opening that Strindberg, during the first half of 1907 wrote the four chamber plays which more than any other of his works have established his reputation as a revolutionary spirit in the art of the drama.In the beginning this was not his purpose. The name chamber play had been taken from Reinhardt's Kammerspielhaus about which he had read articles in German periodicals, later found, with passages marked, in his library. His basic idea was to create an intimate theatre for which he imagined a repertoire in a subdued naturalistic style.
The Esthetic Fault of Strindberg's "Dream Plays"
Authors: Milton John R. 
Published: January 2007

Although August Strindberg is frequently considered to be the father of modern drama, contemporary criticism has not yet approached his expressionistic “Dream plays” with confidence. One group of critics maintains that the difficulty is due to the autobiographical nature of the plays; another asserts that it lies in dealing with a unique talent which cannot be judged according to traditional standards; and a third believes it resides in the esthetic of the dream-art relationship. It is this third category which I wish to examine in an attempt to locate the source of the difficulty and ultimate esthetic failure of the dream plays.Strindberg, successful in at least two notable instances with the drama of naturalism, abandoned these conventions shortly after his severe mental illness, better known as his “Inferno Experience.” It is easy to suggest that the plays that followed were direct results of this illness and that they are difficult to understand chiefly because they are products of a sick mind.
Notes on Identity
Authors: Rosenberg Harold 
Published: January 2007

The Riddles Of Oedipus.The central intuition of Greek tragedy, as of psychoanalysis, is that there is one, unique fact which each individual anxiously struggles to conceal from himself, and this is the very fact that is the root of his identity. Kierkegaard describes a type of despair in which the self “wills desperately to be itself—with the exception, however, of one particular, with respect to which it wills despairingly not to be itself.” Action is heroic when, in addition to displaying courage, fidelity, etc., it involves an overcoming of this automatic will to ignorance, when it reverses the process that repels the one particular and forces the actor to embrace it.Tragedy is the willful movement toward the hidden fact by which the hero is identified. The hero does not know what his action will disclose but he is impelled to the disclosure.
Murder of the Director
Authors: Vilar Jean 
Published: January 2007

Some artisan’s arguments— Rehearsals à l’italienne—The actor—Blocking—Necessary humility of set, music, lighting—Being able to summarize the play—Being able to detach oneself from it—Knowing each actor—Suggestion, not imposition.The following notes concern only a particular technique of theatrical art, that of transposing a written work from the imaginary realm of reading to the concrete realm of the stage. To look for anything more than “means of interpretation” in these often deliberately cryptic lines would be vain.When so many theories, ars poetica and metaphysics have been made up about this art, it is perhaps necessary that one advance, as a preliminary, a few artisan's considerations.One can never read the play often enough. Actors never read it often enough. They think they understand the play when they follow the plot more or less clearly—a fundamental error.
A Farewell to Something
Authors: Moore John R. 
Published: January 2007

When Samuel Beckett had his En Attendant Godot produced at the Théâtre de Babylone in Paris, he really started something. I saw the play there in 1953, and again in London (1955) and in New York (1956) as Waiting for Godot. Meanwhile it had toured France and Germany and been translated into several other languages. It was a far greater success than any of Beckett's previous works had been—and his first attempt to write for the stage.The most immediately striking thing about the play was its originality. Obviously avant-garde, it nevertheless retained all the seediness of a down-at-the-heel realism. On the surface it seemed simple almost to the point of idiocy, yet it implied all the complications that human intelligence has been able to create for itself. And it created an image of man's longing for ideal relationships with himself, with other men, with God, only to defile the image by suggesting doubts.