[ Objective] In order to study the effects of 2,4-D and 6-BA on callus cultivation from mature embryos of hsien rice. [ Method] 2,4-D and 6-BA were set at different concentrations in callus induction and differentiati...[ Objective] In order to study the effects of 2,4-D and 6-BA on callus cultivation from mature embryos of hsien rice. [ Method] 2,4-D and 6-BA were set at different concentrations in callus induction and differentiation mediums to study their effects on callus induction, seedling formation and regenerated seedlings rooting. [ Result] In the callus induction medium treated with 0.5 mg/L 2,4-D, the callus induction effects on the varieties like Jiayu 948, Yanghui 559, Yangxian 6547, Zhong＇erruanzhan, Minghui 86, Guanghui 998 and Zunxian 3 were the best; If 0.2 mg/L 6-BA was added into the callus induction medium containing the optimum level of 2,4-D, there was no obvious effect on induction rate of callus, but the differentiation and seedling of callus were inhibited; If the concentration of 6-BA was reduced appropriately in the differentiation medium, the seedling rate of callus would be not only no decreased but increased, meanwhile the quality of regenerated plants would be improved. [ Conclusion] The study results provided some references for the reasonable uses of 2,4-D and 6-BA in callus culture of hsien rice.展开更多
This article utilizes the trope of domesticity/domestication in order to explore notions of gendered temporality in Hou Hsiao-hsien＇s Cafe Lumiere （2003）. In dialogue with the Chinese writer Eileen Chang and Wester...This article utilizes the trope of domesticity/domestication in order to explore notions of gendered temporality in Hou Hsiao-hsien＇s Cafe Lumiere （2003）. In dialogue with the Chinese writer Eileen Chang and Western theories about women＇s time and domestic temporality, the article proposes that the works of both Hou and Chang can be described as instances of ecriture feminine that interrogate an ambivalence toward domesticity. Drawing on Chantal Akerman＇s film in contrast to that of Hou, the article further demonstrates how the use of the cinematographic long take domesticates time and space, as well as the ways in which the horror of everyday domesticity have been captured through what Rey Chow calls ＂feminine details.＂ Finally, the present article argues that Cafe Lumiere domesticates a fear of domesticity and pregnancy through a reconfiguration of linear and cyclical time, a reversal of gender roles in its protagonists, and a privileging of aurality over visuality in its cinematic style, such that it presents the potential for a new kind of union and a new kind of futurity premised upon reordered gendered forms of temporality.展开更多
基金Supported by the National Natural Science Foundation (30571049)~~
文摘[ Objective] In order to study the effects of 2,4-D and 6-BA on callus cultivation from mature embryos of hsien rice. [ Method] 2,4-D and 6-BA were set at different concentrations in callus induction and differentiation mediums to study their effects on callus induction, seedling formation and regenerated seedlings rooting. [ Result] In the callus induction medium treated with 0.5 mg/L 2,4-D, the callus induction effects on the varieties like Jiayu 948, Yanghui 559, Yangxian 6547, Zhong＇erruanzhan, Minghui 86, Guanghui 998 and Zunxian 3 were the best; If 0.2 mg/L 6-BA was added into the callus induction medium containing the optimum level of 2,4-D, there was no obvious effect on induction rate of callus, but the differentiation and seedling of callus were inhibited; If the concentration of 6-BA was reduced appropriately in the differentiation medium, the seedling rate of callus would be not only no decreased but increased, meanwhile the quality of regenerated plants would be improved. [ Conclusion] The study results provided some references for the reasonable uses of 2,4-D and 6-BA in callus culture of hsien rice.
文摘This article utilizes the trope of domesticity/domestication in order to explore notions of gendered temporality in Hou Hsiao-hsien＇s Cafe Lumiere （2003）. In dialogue with the Chinese writer Eileen Chang and Western theories about women＇s time and domestic temporality, the article proposes that the works of both Hou and Chang can be described as instances of ecriture feminine that interrogate an ambivalence toward domesticity. Drawing on Chantal Akerman＇s film in contrast to that of Hou, the article further demonstrates how the use of the cinematographic long take domesticates time and space, as well as the ways in which the horror of everyday domesticity have been captured through what Rey Chow calls ＂feminine details.＂ Finally, the present article argues that Cafe Lumiere domesticates a fear of domesticity and pregnancy through a reconfiguration of linear and cyclical time, a reversal of gender roles in its protagonists, and a privileging of aurality over visuality in its cinematic style, such that it presents the potential for a new kind of union and a new kind of futurity premised upon reordered gendered forms of temporality.
