Creation Of Plots Research Articles

Visualizing genomic information across chromosomes with PhenoGram

BackgroundWith the abundance of information and analysis results being collected for genetic loci, user-friendly and flexible data visualization approaches can inform and improve the analysis and dissemination of these data. A chromosomal ideogram is an idealized graphic representation of chromosomes. Ideograms can be combined with overlaid points, lines, and/or shapes, to provide summary information from studies of various kinds, such as genome-wide association studies or phenome-wide association studies, coupled with genomic location information. To facilitate visualizing varied data in multiple ways using ideograms, we have developed a flexible software tool called PhenoGram which exists as a web-based tool and also a command-line program.ResultsWith PhenoGram researchers can create chomosomal ideograms annotated with lines in color at specific base-pair locations, or colored base-pair to base-pair regions, with or without other annotation. PhenoGram allows for annotation of chromosomal locations and/or regions with shapes in different colors, gene identifiers, or other text. PhenoGram also allows for creation of plots showing expanded chromosomal locations, providing a way to show results for specific chromosomal regions in greater detail. We have now used PhenoGram to produce a variety of different plots, and provide these as examples herein. These plots include visualization of the genomic coverage of SNPs from a genotyping array, highlighting the chromosomal coverage of imputed SNPs, copy-number variation region coverage, as well as plots similar to the NHGRI GWA Catalog of genome-wide association results.ConclusionsPhenoGram is a versatile, user-friendly software tool fostering the exploration and sharing of genomic information. Through visualization of data, researchers can both explore and share complex results, facilitating a greater understanding of these data.

Berlinische Dramaturgie: Gespraechsprotokolle der von Peter Hacks geleiteten Akademiearbeitsgruppen (review)

Reviewed by: Berlinische Dramaturgie: Gespraechsprotokolle der von Peter Hacks geleiteten Akademiearbeitsgruppen Antje Budde Thomas Keck and Jens Mehrle, eds.Berlinische Dramaturgie: Gespraechsprotokolle der von Peter Hacks geleiteten Akademiearbeitsgruppen [Berlin Dramaturgy: Recorded Conversations of the Academy Working Group Led by Peter Hacks]. Schriftenreihe der Peter-Hacks-Gesellschaft. Berlin: Aurora-Verlag, 2010. 5 volumes. Pp. 2000. €126.00 (Pb). This publication project, based on recorded discussions of a dramatic working group initiated and led by the playwright and poet Peter Hacks between 1972 and 1990 at the East German Academy of the Arts – an assembly of accomplished artists working across disciplines – consists of five volumes of well-annotated and contextualized archival material. The fifth volume provides the reader with a very helpful contextualizing afterword by Jens Mehrle (7–18), as well as the retrospections and critical reflections of some of the participants (19–40, 69–97). Most prominent are hilarious descriptions of the set-ups for the meetings, which provided participants with food and alcoholic drinks. Furthermore, the volume contains a useful index of the names, works, and terminology that appear in volumes one through four, as well as photographic documentation that captures the more atmospheric aspects of the meetings and their theatrical contexts (41–68). Volumes one through four are in chronological order and are thematically organized. All volumes include an extensive apparatus (up to a hundred pages) that provides background information and clarifies historical constellations that affected the strategies for group discussion. The participants were invited by Peter Hacks, and the topics of conversation followed his suggestions and covered a wide range of topics, including Hegel’s dramatic theory, Gustav Freytag’s five-act plays, classical and romantic drama, dramaturgy, the aesthetics and history of socialist realism, and techniques for playwriting. My favourite discussion topic is entitled “Die Entstehung der Fabel aus dem Fassungsvermoegen des Zuschauergehirns” (4: 135–82), which means, “Plot creation evolving from the capacity of spectators’ brains,” and which starts with the well-meant advice to dramatists not to write anything important during the first three minutes of a play because [End Page 584] the spectators are still too busy with themselves, coughing, chatting, and finding comfortable positions in their seats. The archival compendium reads – since women are mainly absent – like an androcentric and patriarchal anatomy of a failing political system that was quite literally imploding between 1972 and 1990, its predictable death ending with the unpredictable unification of the two German Cold-War states and an embrace of neo-liberal capitalism. Also imploding were rigid, classical structures of drama, and that transformation becomes progressively clearer as younger playwrights enter the discussions. This publication project is, in a somewhat old-fashioned way, entitled Berlinische Dramaturgie [Berliner Dramaturgy], which, no doubt, plays with references to Gotthold Ephraim Lessing’s Hamburgische Dramaturgie [Hamburg Dramaturgy]. That association is reinforced by Thomas Mehrle’s afterword, “Arbeit der Poesie” [Labour of Poetry] (5: 7–18), the title playing with a suggestion by Hacks that participants think more about the labour involved in creating skilful poetry than about the inverse –“The Poetry of Labour”– which was the title of another working group at the academy (5: 9). Hacks’s concern with informed skill, historical knowledge, and artistic professionalism is echoed by Mehrle’s choice of an introductory quotation from Dramaturgie, in which Lessing – a highly influential innovator and experimentalist in bourgeois drama and theatre philosophy – complains about playwrights who want to invent the dramatic wheel over and over while ignoring the achievements of their forefathers (5: 7). Hacks was extremely unsatisfied with the state of dramaturgical education in East Germany, which, in his assessment of the situation, had led to a serious deterioration in the professional skills of young playwrights and had contributed to the proliferation of inferior work in the arts sector (5: 15–16). Hence, Hacks insisted on the value of the five-act dramaturgy of classical plays as well as on the value of Gustav Freytag’s dramatic theory and practice, based on this ideal and idealized dramatic form. Hacks was convinced that classical dramaturgy should be studied, particularly by younger playwrights, who seemed to him to be in the unpleasant habit of “reinventing” already discovered and ideal solutions to...

Macrophyte colonization in a freshwater tidal wetland (Lyme, CT, USA)

Seed bank sampling and creation of plots cleared of standing vegetation showed that aboveground vegetative propagules were more important than seeds in colonization of a freshwater tidal wetland but that the relative importance of sexual reproduction varied among species. Nine submerged species established in colonization plots. Of these colonization events, 60% were achieved by plant fragments, either in the sediment or floating in the water, and 16% resulted from vegetative growth. Only 4 of 16 submerged species in the community were represented in the seed bank. The collection of vegetative propagules in nets demonstrated that drifting propagules were very abundant and that the relative abundance of species in the propagule stream corresponded most closely with the standing community.

El mágico aprendiz (review)

Arizona Journal of Hispanic Cultural Studies 293 is a fundamental problem when trying to link one to the othet. He aigues that postmodernism is essentially "a critique of the modernist position and of all-encompassing explanations ofthe collective social and historical processes" (178) and the PostBoom , as he himself has described it, tends to rely on—or at least aspire to—the reconstruction of a positive order. The political and historical concerns of the Post-Boom even require the return to old models of realism that have been systematically mesmerized by postmodernism(s). Nevertheless, Shaw realizes that the Post-Boom is not entirely incongruous with postmodernism because some of the writers he studies have also been studied for theii postmodern characteristics . To resolve this contradiction, Shaw ends his article in a very postmodern fashion, by saying that the criteria he proposes for the Post-Boom movement is not categorical but "loose." He adds that there should not be full reliability to master narratives in literary history, thus shaking the grounds for the possibility of a solid PostBoom generational frame. This self-questioning does not suffice, however, to dissipate the sense of coherence in this book which has been laboriously constructed by countless arguments. Consequently, Shaw's final statement is quite ironic for it makes his book have an ambiguous finaU, common in well-known Boom novels. Rony Garrido University of Arizona El mágico aprendiz Tusquets Editores, 1999 By Luis Landero Although Luis Landero reached instant fame with his first novel, Juegos de U edad tardÃ-a, winning both the "Premio de la CrÃ-tica" and the "Premio Nacional," his prose has developed substantially widi the publication ofCabalUros de fortuna and this, his third novel, El mágico aprendiz. While he has never abandoned his particular brand of magical realism, his writing has tended gradually to focus somewhat more on the realist side ofthat duality, leading him, from the second to the third novel, to a work that, while maintaining the fantastic nature of a prose that has delighted his readers, delves more realistically into the transcendental problems that touch the contemporary human being. If his first novel created a kafkaesque figure whose very name, Gregorio, reflected the existential frustrations of the likes of Gregor Samsa, in El mágico aprendiz the allegorical nature ofthat figure has given way, in the person of MatÃ-as Moro, to a more palpable character who exists within a fantastic world that drifts much more readily into a comfortable Madrilenian tedium that easily represents the life of many contemporary middle-class Spanish bureaucrats . The first paragraph ofthe novel demonstrates clearly the role of the fantastic in the creation ofthe particular reality Landero seeks to invent. The work begins in medias res, with the presentation of a noticia that begins as a rumor and is gradually developed but always through hearsay, third persons , conjectures, etc. The paragraph thus announces to the reader from the outset that the novel's sense of reality will be contingent upon the various subversions that are created by the subordination of reality to narration, fantasy, and adventure. The tension between reality and fantasy , or perhaps one might say verisimilitude and fantasy, is at the heart of everything Landero has written thus far. Therein lies the importance of Concepción Arenáis 294 Arizona Journal of Hispanic Cultural Studies statement, quoted by Manuel Tejedor in a letter early in CabalUros de fortuna, "Sólo la ilusión nos hará del todo libres." This concept lies at the base of all of Landero's fiction as far as the creation of plot is concerned , though his novels tend to end with the destruction of that illusion or a negative vision of where that illusion has taken the various characters. This dichotomous approach to the role of illusion may be seen as Landero's definition of the novel genre: when the novel reaches its conclusion, the illusion is simply terminated, or vice-versa. Fiction is the opposite of truth, and as such its purpose is none other than to tell a story, which Landero does very well. If there has been a drawback in Landero's technique, however, it has been precisely these...

近世京都における高瀬新屋敷の成立と変容 : 領主的土地所有の存続と地屋敷の創出

近世京都における高瀬新屋敷の成立と変容 : 領主的土地所有の存続と地屋敷の創出

Some graphical aids for univariate exploratory data analysis

The main parts of exploratory data analysis (EDA) are discussed. For data presentation the quantile plot and quantile-box plot are proposed. Special techniques for empirical probability density construction and empirical quantile-quantile plot creation are described. Some graphically oriented methods for selection of optimum power transformations are presented. These graphical aids in EDA are demonstrated on Hinkley's well known data.

In Defence of Homer

In his two talks on Homer today Professor Dodds has given an excellent report on the Homeric question as it now is and presented his own moderate and pacific view with candour and persuasiveness. I am delighted to find myself in agreement with him in many questions, most of all in his appreciation of the work of Milman Parry. Milman Parry's proof that the Iliad and Odyssey were composed in an oral tradition is the most important and original contribution to the Homeric question in this century, and its importance is only gradually being seen. But Milman Parry's work does not seem to me to remove the creative poet from the Iliad and Odyssey, as some scholars, including Professor Dodds, seem to think. It shows only that their originality does not consist in their language, but in the use they put it to, and in the creation of plot and character.