Favourite Image Research Articles

My favorite flowering image: 'giant' Arabidopsis flowers.

A fascinating aspect of floral diversity is the dramatic difference in flower size observed in nature. The largest flowers in the world, Rafflesia arnoldii, span several feet while flowers of the genus Wolffia are microscopic. My own particular interest in flower size started when I overexpressed the Arabidopsis gene AINTEGUMENTA (ANT) and observed a larger flower phenotype.

ТЕМА СИБИРИ В МУЗЫКАЛЬНОЙ КАРТИНЕ МИРА КРАСНОЯРСКИХ КОМПОЗИТОРОВ: ОПЫТ СИСТЕМАТИЗАЦИИ

In cultural space of the past and present, Siberia is one of the relevant topics of contemporary Russian Art Studies and Culturologie. The peculiarity of regional identity and self-consciousness of a creative person, the specificity of style and art technique can be revealed through the prism of this theme. Forming regional cultural identity through works of art is becoming a promising perspective in interdisciplinary research related to the multidimensional study of the Krasnoyarsk Territory culture. The article is devoted to the issues of defining regional identity by exploring the theme of Siberia imprinted in the creative heritage of Krasnoyarsk composers of the late 20th — early 21st century. The paper attempts to systematize themes and images of music Siberiade in the works by Krasnoyarsk authors. The research has shown that the personality of the brilliant Krasnoyarsk artist Vasily Surikov has often been taken as a favourite image while his historical paintings have become a source of inspiration for a number of composers. The creative activities of our contemporary Viktor Astafyev who brought the Krasnoyarsk land worldwide fame has also attracted musicians’ attention. The image of the majestic Yenisei river — a symbol of Krasnoyarsk and Siberia — occupies a distinct niche in the music Siberiade. The research results enrich scientific knowledge about music culture of the region, complement cultural “landscape” of the Yenisei Siberia, determine the significance of the Krasnoyarsk composers’ contribution to forming a unique socio- cultural image of the region.

My favourite flowering image: two in one-a holoparasite growing inside a shrubby legume.

My favourite flowering image: two in one-a holoparasite growing inside a shrubby legume.

Speaking through the things of their lives: writing a memoir with my parents’ melancholy objects

In the process of writing my memoir about living with my adoptive parents, I have had to reconstruct their lives through the objects and things that they left behind. Our communication as a family – I was an only child – was fractured, difficult, sometimes non-existent. They kept secrets and spoke little about certain key aspects of their lives so that I knew little about them; this became clear after the death of my adoptive mother in 2001, when I discovered letters, documents, and a series of other objects that not only filled in gaps about their lives, but also told new stories. The photograph has been referred to as a ‘melancholy object’ by both Barthes and Sontag, and discussed as such by Gibson, and there is a photo of my parents in the 1950s, laughing together on their motor-boat, for which this description resonates. It is both my favourite image of them and an impossible contradiction, as I knew them only long after that time, when things had become more difficult, the boat had gone, and with it, seemingly, their happiness. This paper will discuss the use of such objects in the writing of memoir, with reference to my own experience and that of other adoptees in writing memoir.

The influence of familiar characters and other appealing images on young children's preference for low-quality objects.

This study examines the factors underlying young children's preference for products bearing a familiar character's image. Three-year-olds (N=92) chose between low-quality objects with images on or near the objects and high-quality objects without images. Children showed stronger preferences for damaged objects bearing images of a preferred familiar character than for objects bearing images of a preferred colour star, and they showed weak preferences for damaged objects with the character near, but not on, the object. The results suggest that children's preference for low-quality products bearing character images is driven by prior exposure to characters, and not only by the act of identifying a favourite. Statement of contribution What is already known on this subject? Children are exposed to characters in the media and on products such as clothing and school supplies. Products featuring familiar characters appeal to preschool children, even if they are of low quality. What does this study add? Three-year-olds prefer damaged objects with an image of a favourite character over plain undamaged objects. Children's preference is not solely a function of having identified a favourite image or of attentional cues.

Czech metaphors about Europe: Havel vs Klaus

This article deals with the cleavage inside the Czech political elite regarding the Czech position on the European Union (EU). The cleavage is analysed by exploring the metaphors which two prominent political leaders, Havel and Klaus, used when they spoke about the EU. It is argued that the metaphors that were embraced by the former tended to be rejected by the latter and that Klaus spoke about the EU in increasingly negative terms. The study of the metaphors used in their texts and speeches elucidates not only the clash between the two politicians’ visions of Europe but also the nature of the split between two fundamental positions found on the Czech political scene. It is argued that the split goes back to the political debates in the early 1990s. Havel, who supported the idea of a European federation frequently, used metaphors that provided an image of a coherent whole and a unitary actor. On the other side, Klaus’s scepticism towards European integration and ‘unification’ corresponds with his scepticism towards these metaphors. His favourite image of Europe refers to a balance among competing units. Also, the growing negativity of Klaus’s discourse reveals a lack of positive alternatives to the current EU on his part.

The Image of the Labyrinth in the Novel “The Palace of Dreams

The image of the labyrinth is a very popular image in the world literature. It originates since mythology and it is spread since then in Homer, Ovid, Virgil, Dante, Chaucer, Spenser, Milton, and Blake’s works as well as others’ works. Modern literature gives us labyrinth – haunted genius in Yeats, Joyce, Kafka and Calvino, among others in, overt manifestations. Among others, the image of the labyrinth becomes a favourite image for Latin-American writers such as Borges or Marques. The image of the labyrinth is of special importance to the contemporary literature since we are allowed a metaphor by literature as regards variety enriched with other connotations, such as fear, anxiety, powerlessness, loneliness, isolation. This paper is focused on the novel “The Palace of Dreams”. Oftentimes “The Palace of Dreams” tends to become labyrinthic in some dimensions, presenting the relation between the individual and the autocratic power, the relation between Kafkian isolated individual and the large building which expresses the dominance of reign and power. The relation between the individual diminished to a servant and the building magnified to a palace is labyrinthic, since oftentimes dominance of the power of the labyrinth towards the individual does not only lie in his real dimensions, but also on the virtually outspoken magnitude upon the individual. The Palace exercises power on the psyche, which makes the building own the individual’s powers. DOI: 10.5901/ajis.2013.v2n9p255

My favourite flowering image: Maryland Mammoth tobacco

Almost 100 years ago, the study of Maryland Mammoth tobacco by Garner and Allard was one in a long series of studies that have led to a better understanding of how plants "decide" when to flower. deciphering how plants "decide" when to flower. The extreme phenotype of Maryland Mammoth tobacco, in which a single recessive mutation changes a day-neutral to a strictly photoperiod-requiring plant, impressively illustrates the action of the photoperiodic pathway of flowering.

My favourite flowering image

I selected my favourite image from a paper by Professor Friedrich Laibach, the founder of Arabidopsis research. His paper from 1951 is the first paper dealing with natural variation for flowering time in this species, a topic many scientists including myself, have followed up and has resulted in large steps forward in our understanding of flowering time regulation. How this topic came to be of interest in my laboratory in Wageningen is described in this short overview.

Hubble's greatest hits

What is your favourite image from the Hubble Space Telescope?

My favourite flowering image

When Nick Battey asked me to write an essay on my favourite flowering image, I rummaged through my mind and some old photographs, and while there are several aesthetically striking images (after all, the photographs are of flowers) three candidates stood out. In each of the cases, it was the first photographic evidence of a 'eureka' moment, one of those rare moments of revelation that one has in their scientific career.

Control of autophagy initiation by phosphoinositide 3-phosphatase jumpy

Corrigendum10 September 2009free access Control of autophagy initiation by phosphoinositide 3-phosphatase jumpy Isabelle Vergne Isabelle Vergne Search for more papers by this author Esteban Roberts Esteban Roberts Search for more papers by this author Rasha A Elmaoued Rasha A Elmaoued Search for more papers by this author Valérie Tosch Valérie Tosch Search for more papers by this author Mônica A Delgado Mônica A Delgado Search for more papers by this author Tassula Proikas-Cezanne Tassula Proikas-Cezanne Search for more papers by this author Jocelyn Laporte Jocelyn Laporte Search for more papers by this author Vojo Deretic Vojo Deretic Search for more papers by this author Isabelle Vergne Isabelle Vergne Search for more papers by this author Esteban Roberts Esteban Roberts Search for more papers by this author Rasha A Elmaoued Rasha A Elmaoued Search for more papers by this author Valérie Tosch Valérie Tosch Search for more papers by this author Mônica A Delgado Mônica A Delgado Search for more papers by this author Tassula Proikas-Cezanne Tassula Proikas-Cezanne Search for more papers by this author Jocelyn Laporte Jocelyn Laporte Search for more papers by this author Vojo Deretic Vojo Deretic Search for more papers by this author Author Information Isabelle Vergne, Esteban Roberts, Rasha A Elmaoued, Valérie Tosch, Mônica A Delgado, Tassula Proikas-Cezanne, Jocelyn Laporte and Vojo Deretic The EMBO Journal (2009)28:3780-3780https://doi.org/10.1038/emboj.2009.349 This article corrects the following: Control of autophagy initiation by phosphoinositide 3-phosphatase jumpy09 July 2009 PDFDownload PDF of article text and main figures. ToolsAdd to favoritesDownload CitationsTrack CitationsPermissions ShareFacebookTwitterLinked InMendeleyWechatReddit Figures & Info Correction to: The EMBO Journal (2009) 28, 2244–2258. doi:10.1038/emboj.2009.159 Since the publication of this paper, the authors have noticed an error in Figure 2 panel C, page 2248. The displayed gel is wrong. The error occurred during the revision of the paper. The correct Figure 2 panel C is shown here. Figure 1.Jumpy blocks autophagic degradation. (C) C2C12 cells were transfected for 48 h with control (sc) or Jumpy siRNA, incubated for 4 h with or without 100 nM Bafilomycin A1 in full media, lysed, probed for endogenous p62 and actin by immunoblotting, and percentage of p62 was quantitated (mean±s.e.m., n=3). Download figure Download PowerPoint The authors apologize for any inconvenience caused. Previous ArticleNext Article Read MoreAbout the coverClose modalView large imageVolume 28,Issue 23,December 2, 2009Coleman shrimp ( Periclimenes colemani) on a Fire urchin ( Asthenosoma varium). Both animals are very rare and beautiful. These were found in the waters around Bali (Indonesia) by Sergey Parinov, a zebrafish geneticist working at the Temasek Life Sciences Laboratory, Singapore. Visit the photographer’s website at www.sergeyphoto.com. This image was originally submitted to our 2009 Cover Contest and selected as one of the top 10 submissions in the category “Non-Scientific Image” of that year. If you want to have your own favourite image featured on an EMBO Journal cover, visit covercontest.embo.org for more information on the 2010 contest –– and hurry up: the deadline for submissions is 15 January 2010 already. Volume 28Issue 232 December 2009In this issue FiguresRelatedDetailsLoading ...

My favourite flowering image

Choosing a favourite image is very difficult to do, not least because different images are important to us for different reasons. I have decided to focus here on an image that is not only intrinsically beautiful, but that also emphasizes the importance of looking and seeing properly when trying to understand the world around us. For me, this image, the adaxial surface of the petal of Veronica caucasia, exemplifies how looking at things in different ways can provide unexpected insights into the way nature works.

William Blake and the Body (review)

Connolly, Tristanne J. 2002. William Blake and the Body. New York: Palgrave Macmillan. $65.00 hc. xvii + 249 pp.Anyone familiar with the works of William Blake, particularly his later epic poetry, must be aware of the centrality of the in both his engraved and poetic images. Bodies and parts of bodies are displayed in a variety of grotesque manners throughout the illuminated texts. However, this area of Blake's aesthetic has been, for the most part, relatively glossed over or simply ignored. In 1974, Anne K. Mellor published Blake's Human Form Divine, and that text remained the first and last word on the subject, until now. Tristanne J. Connolly provides a valuable and long overdue service to Blake scholarship in her aptly named book, William Blake and the Body.By reexamining Blake's corpus under the light of more recent theorists such as Julia Kristeva, Mary Douglas, Alicia Ostriker, Elaine Scarry and Barbara Stafford, Connolly identifies the cultural influences that shaped Blake's conception of the and examines his dialectic with the over the course of his career, focusing primarily on the later epics. task of explicating any subject of Blake's can be daunting, in part because of the notorious difficulty and obscurity of much of Blake's work, but also because he had a very ambiguous attitude towards the human body. He saw the as simultaneously liberating and enslaving and, instead of attempting to reconcile these contradictions, he reveled in the paradoxes and complexities of embodiment throughout his artistic career. In her preface, Connolly writes, The is Blake's preoccupation not because of a confident admiration of it, but rather a troubled obsession. He has a love/hate relationship with his favourite image; he at once reviles and glorifies the human body (2002, vii). At the root of this ambiguity is the core of Blake's philosophical and aesthetic thought; and it is because of this complex multiplicity that the is such an important, yet thorny, subject in understanding Blake.Connolly's book is divided into seven chapters that trace the roots of Blake's anatomical knowledge and follow its threads through his most complicated works. first two look at textual and graphic depictions of bodies and the metaphor of the as text and graph. next two analyze the problem of embodiment in Blake's illuminated texts, particularly focusing on the birth and miscarriage imagery that dominates First Book of Urizen (1795) (Connolly's close reading of this poem is enlightening in its own right) and Blake's magnum opus, Jerusalem (c. 1804-1820). following two chapters examine the proliferation of dividing and commingling bodies in Blake's texts and negotiate the boundaries of the while elucidating such problematic Blakean terms as emanation and spectre. final chapter outlines and theorizes the lineaments of the eternal from which all other bodies flow. Thus, Connolly's book moves concentrically outward from the minute particulars of individual embodiment to the universalizations of the eternal body, highlighting their continuity and illustrating Blake's lifelong project of reconciling the individual with the larger community.By contextualizing Blake's work within the tradition of anatomy and engraving (practiced by some of Blake's contemporaries and friends such as William Cowper and John and William Hunter) and by placing him-as an engraver-within the parameters of the ongoing debate on theories of the artistic representation of nature, Connolly provides a strong historical foundation to Blake's aesthetic theory and method. …

'MONT BLANC': TRANSCENDENCE IN SHELLEY'S RELATIONAL SYSTEM

'MONT BLANC': TRANSCENDENCE IN SHELLEY'S RELATIONAL SYSTEM

Translating Poetic Forms

We live in an age that has begun congratulating itself on being a great age for translation. This self-congratulation is premature: we live, actually, in a time when Homer and Virgil are translated into prose. That is something the great Elizabethan translators never did: attend to the words of poems and not the forms. This discussion will be an attempt to inoculate the reader against this destructive and self-defeating practice. We may think we know what 'translating' means, but perhaps 'poetic form' is a bit mysterious to us. My favourite image for poetic form is the competitions of international gymnastics. There are three distinct competitions: the parallel bars, the vaulting-horse, and the free display on a large square of carpet. Now, the athletes who work on the parallel bars simply could not do those amazing and thrilling gyrations without the bars; the bars are like the poetic conventions: not a hindrance, but a necessity for producing that particular kind of athletic magic. The vaulting-horse gives us a different kind of aerial dance, which results from a run, a trajectory, and a landing. Substituting a net for the landing-mat would make the exercise quite different: different dangers, different limits; different limits, different content. We might think that the free display on a large square of carpet is a less formal matter: it might seem to offer as much 'freedom' as 'free verse'; but the carpet with its uncrossable edge is also a condition set by someone other than the gymnast: it forms a frame of a certain size that must be sensibly filled and made use of. Now, if we were to describe a gymnastic competition to somebody who had never seen one, the very first thing that we would have to do would be to explain these rules. We would not start with 'She did two somersaults and a side twist' unless the other person already understood the circumstances; if talking to a Martian on Mars, we would have to go still further and explain the strength of our earthly gravity. I believe, then, that translators are similarly bound to give some account and preferably inside the translation itself, not in a note of the limits and conventions chosen by the maker of the original poem. I shall never forget the shock

Bee Imagery in Plutarch

There can be few Greek prose authors who outdo Plutarch in fondness for elaborate similes, and a determination to sustain at length vocabulary appropriate to both objects of comparison within the simile, once it is embarked upon. In the essay Quomodo adulescens (Mor. 32e) he uses a favourite image, in which a young man aspiring to be educated in quality literature is recommended to follow the example of the bee, which extracts material for its honey from the most pungent plants: μν οὖν μλιττα ϕυσικς ν τοῖς δριμνττοις ἄνθεσι κα ταῖς τραχντταις κνθαις ξανενρσκει τ λειτατον μλι κα χρησιμώτατον, οἱ δ παῖδες, ἂν ρθς ντρϕωνται τοῖς ποιμασιν, κα π τν ϕαλονς κα τπους ὑποψας χντων ἕλκειν τι χρσιμον μωσγπως μαθησναι κα ὠϕλιμον. In another such essay (De recta, Mor. 41e–42b) he elaborates this theme at greater length as follows: