Explore the vast range of titles available.

The rise of atmospheric oxygen as a result of photosynthesis in cyanobacteria and chloroplasts has transformed most environmental iron into the ferric state. In contrast, cells within organisms maintain a reducing internal milieu and utilize predominantly ferrous iron. Ferric reductases are enzymes that transfer electrons to ferric ions, either extracellularly or within endocytic vesicles, enabling cellular ferrous iron uptake through Divalent Metal Transporter 1. In mammals, duodenal cytochrome b is a ferric reductase of the intestinal epithelium, but how insects reduce and absorb dietary iron remains unknown. Here we provide indirect evidence of extracellular ferric reductase activity in a small subset of Drosophila melanogaster intestinal epithelial cells, positioned at the neck of the midgut’s anterior region. Dietary-supplemented bathophenanthroline sulphate (BPS) captures locally generated ferrous iron and precipitates into pink granules, whose chemical identity was probed combining in situ X-ray absorption near edge structure and electron paramagnetic resonance spectroscopies. An increased presence of manganese ions upon BPS feeding was also found. Control animals were fed with ferric ammonium citrate, which is accumulated into ferritin iron in distinct intestinal subregions suggesting iron trafficking between different cells inside the animal. Spectroscopic signals from the biological samples were compared to purified Drosophila and horse spleen ferritin and to chemically synthesized BPS-iron and BPS-manganese complexes. The results corroborated the presence of BPS-iron in a newly identified ferric iron reductase region of the intestine, which we propose constitutes the major site of iron absorption in this organism. Graphical abstract

In this essay, I argue that Psalm 23 serves as a thematic rubric through which to understand how Prospero’s machinations affect the progress of the redemption of King Alonso throughout the play. At the same time, however, recognizing Prospero’s moral complexities and deficiencies, I also argue that Prospero’s mercy toward and reconciliation with Alonso ultimately demonstrates the sovereign influence of a Providence beyond Prospero’s control—a Providence that works through charity and grace beyond Prospero’s initial intentions. This higher providential power, therefore, ought rightly to be seen as the ultimate shepherd of the play—one who works to affect not only Alonso’s but also Prospero’s spiritual restoration.

Here Mary Thomas Crane considers the brain as a site where body and culture meet to form the subject and its expression in language. Taking Shakespeare as her case study, she boldly demonstrates the explanatory power of cognitive theory--a theory which argues that language is produced by a reciprocal interaction of body and environment, brain and culture, and which refocuses attention on the role of the author in the making of meaning. Crane reveals in Shakespeare's texts a web of structures and categories through which meaning is created. The approach yields fresh insights into a wide range of his plays, includingThe Comedy of Errors, As You Like It, Twelfth Night, Hamlet, Measure for Measure,andThe Tempest. Crane's cognitive reading traces the complex interactions of cultural and cognitive determinants of meaning as they play themselves out in Shakespeare's texts. She shows how each play centers on a word or words conveying multiple meanings (such as \"act,\" \"pinch,\" \"pregnant,\" \"villain and clown\"), and how each cluster has been shaped by early modern ideological formations. The book also chronicles the playwright's developing response to the material conditions of subject formation in early modern England. Crane reveals that Shakespeare in his comedies first explored the social spaces within which the subject is formed, such as the home, class hierarchy, and romantic courtship. His later plays reveal a greater preoccupation with how the self is formed within the body, as the embodied mind seeks to make sense of and negotiate its physical and social environment.

The gene plays an important role in the transition from nursing to foraging in honeybees ( ). ( ) is a subspecies of the eastern honeybee, well-known for its pollinator role throughout China. Although shares many characteristics with , it is unclear whether plays a similar role to in foraging behavior. In this study, expression was quantified during the transition from nursing to foraging in Acmvl protein production was also characterized in different tissues in bees from three behavioral groups. Finally, in situ hybridization was used to describe expression patterns in forager bee brains. expression was low early in life but then showed a major peak, which suggests its role in labor division. Examination of tissue type revealed that Acmvl expression was highest in the thoraxes of nurse bees and the heads of forager bees. In bee brains, was selectively expressed in the somata of Kenyon cells in the mushroom bodies, optic lobes and antennal lobes. Taken together, these findings suggest that plays a role in the nurse–forager transition of

In this classic work, acclaimed Shakespeare critic C. L. Barber argues that Elizabethan seasonal festivals such as May Day and Twelfth Night are the key to understanding Shakespeare's comedies. Brilliantly interweaving anthropology, social history, and literary criticism, Barber traces the inward journey--psychological, bodily, spiritual--of the comedies: from confusion, raucous laughter, aching desire, and aggression, to harmony. Revealing the interplay between social custom and dramatic form, the book shows how the Elizabethan antithesis between everyday and holiday comes to life in the comedies' combination of seriousness and levity. \"I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture.\"--C. L. Barber, in the Introduction This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing thatShakespeare's Festive Comedyis as vital today as when it was originally published.

Shakespeare intended his plays to be seen, not read. With this thought uppermost in mind, Charney offers here a provocative analysis of Hamlet, the most stylistically inventive of all Shakespeare's plays, strictly in terms of its style-by which he means the distinct modes of expression used by the playwright in accomplishing his dramatic ends. Careful consideration is given to the stagecraft of the play, to lighting and sound effects, gesture and scenery. The play's imagery is discussed with attention to its style as well as to its content. Each of the three main characters is examined in terms of his unique mode of expression. Among the interesting discoveries this approach allows is a new perspective on the character of Hamlet, who is found to have four distinct styles which he employs as the occasion demands. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Robert Heilman gives an appreciation of Shakespeare as a whole man. Northrop Frye writes on balance and symbolism. Harry Levin shows how Shakespeare used names to indicate and enhance character. J.V. Cunningham looks at Shakespeare in his workshop; Gunnar Bokland, and Maynard Mack also contribute brilliant studies. Originally published in 1965. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

\"You people put importance on your lives. Well, my life has never been important to anyone. I haven't got any guilt about anything,\" bragged the mass-murderer Charles Manson. \"These children that come at you with knives, they are your children. You taught them. I didn't teach them. . . . They are running in the streets--and they are coming right at you!\" When a real murderer accuses the society he has brutalized, we are shocked, but we are thrilled by the same accusations when they are mouthed by a fictional rebel, outlaw, or monster. In Bitter Carnival, Michael Andr Bernstein explores this contradiction and defines a new figure: the Abject Hero. Standing at the junction of contestation and conformity, the Abject Hero occupies the logically impossible space created by the intersection of the satanic and the servile. Bernstein shows that we heroicize the Abject Hero because he represents a convention that has become a staple of our common mythology, as seductive in mass culture as it is in high art. Moving from an examination of classical Latin satire; through radically new analyses of Diderot, Dostoevsky, and Cline; and culminating in the courtroom testimony of Charles Manson, Bitter Carnival offers a revisionist rereading of the entire tradition of the \"Saturnalian dialogue\" between masters and slaves, monarchs and fools, philosophers and madmen, citizens and malcontents. It contests the supposedly regenerative power of the carnivalesque and challenges the pieties of utopian radicalism fashionable in contemporary academic thinking. The clarity of its argument and literary style compel us to confront a powerful dilemma that engages some of the most central issues in literary studies, ethics, cultural history, and critical theory today.

Strangely, though, Grandage shows less interest in Shakespeares fascinating preoccupation with the bisexual swing of human desire, the way in which the dividing lines between the genders can be so easily blurred: what a pleasure to watch Mark Bonnars Orsino and Indira Varmas delightfully smitten Olivia fall for Victoria Hamiltons Viola, all cross-dressed up as a most unlikely youth. Grandage views these romantic confusions as comic opportunities rather than for chances to explore darker aspects of sexual psychology. Designer Christopher Oram places this Twelfth Night on some Mediter-ranean sea shore, a line of enormous, louvred swing-doors opening and clos-ing to the summer, open air. It might be Edwardian times or later. Ron Cooks frock-coated Toby Belch, a bluff, belligerent alcoholic, and Guy Henrys Sir Andrew Aguecheek, a glorious, gan-gling dimwit, whose ungainly walk and silly-ass air of chronic bemusement suggest the infirmity of his hold upon life, both join forces with Samantha Spiros earthy Maria to take revenge upon Olivias steward.