Principles for Griffing's combining ability analysis

Shattuck, V. I.; Christie, B. R.; Corso, C.

doi:10.1007/bf01435180

Cited by 28 publications

(34 citation statements)

References 21 publications

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“…Griffing's diallel analysis is used in plant improvement programmes to identify superior parents for crossing and for characterizing general combining ability (GCA) and specific combining ability (SCA) (Shattuck et al 1993). Sprague and Tatum (1942) introduced the concept of GCA and SCA.…”

Section: Introductionmentioning

confidence: 99%

Analysis of genetic architecture for some physiological characters in sesame (Sesamum indicum L.)

Banerjee

Kole

2009

Euphytica

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Combining ability for some important physiological parameters in sesame were examined to understand the nature of gene action and to identify parents for breeding programme. Seven diverse genotypes of sesame, their 21 F 1 s and 21 F 2 s were grown in summer, 2003, in a randomized complete block design with three replications. Data were collected on leaf area index (LAI) at 30, 45, 60 and 75 days after sowing (DAS), crop growth rate (CGR) estimated between 30-45 DAS, 45-60 DAS and 60-75 DAS, days to peak flowering (DPF)

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Section: Introductionmentioning

confidence: 99%

Analysis of genetic architecture for some physiological characters in sesame (Sesamum indicum L.)

Banerjee

Kole

2009

Euphytica

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“…The introduction of a new genome (the tester line) can, however, have an effect on the expression of traits resulting in some inconsistency in QTL mapping when assessing traits in the same population with different tester lines (Gao et al 2016; Gao et al 2015). The ability to recover the constituent nuclei of strains as homokaryons allows the estimation of a breeding value for traits of these nuclei comparable to what is done in some plant breeding programs (Griffing 1956; Shattuck et al 1993). A selection of strains varying in the trait of interest can be protoplasted to recover the constituent nuclei of each heterokaryon.…”

Section: Mushroom Breeding Versus Plant Breedingmentioning

confidence: 99%

Developments in breeding of Agaricus bisporus var. bisporus: progress made and technical and legal hurdles to take

Sonnenberg

Baars

Gao

et al. 2017

Appl Microbiol Biotechnol

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True breeding of button mushrooms has hardly been done in the last decades, despite this species being one of the most cultivated mushrooms worldwide. Research done in the last 20 years has identified and characterised new germplasm and improved our understanding of the genetic base for some traits. A substantial collection of wild-collected strains is now available and partly characterised for a number of important traits such as disease resistance and yield. Most of the variations found in a number of important agronomic traits have a considerable heritability and are thus useful for breeding. Genetic marker technology has also developed considerably for this mushrooms in the last decade and used to identify quantitative trait loci (QTL) for important agronomic traits. This progress has, except for one example, not resulted so far into new commercially varieties. One of the reasons lies in the typical life cycle of the button mushroom Agaricus bisporus var. bisporus which hampers breeding. Joint investment is needed to solve technical problems in breeding. Special attention is needed for the protection of new varieties. Due to its typical life cycle, it is very easy to generate so called “look-a-likes” from protected cultivars by screening fertile single spore cultures. A consensus has been reached within the mushroom (breeding) industry to consider this method as the generation of essentially derived varieties as defined in plant breeding.Electronic supplementary materialThe online version of this article (doi:10.1007/s00253-017-8102-2) contains supplementary material, which is available to authorized users.

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“…28 The Times felt that he ‗keeps his upper lip too stiff, uses the lower lip and shows the under teeth almost exclusively, in a manner that produces excessive sibilance and gives him an air of -virulent ferocity‖'. 29 This restriction of the upper lip reinforces the nasal resonance, and the movement of the jaw suggests the opening of the mouth into the singer's formation.…”

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confidence: 93%

‘Rude am I in Meh Speech': Vocality and Victorian Shakespeare

Willis¹

2009

19: Interdisciplinary Studies in the Long Nineteenth Century

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In the Royal Shakespeare Company television series Playing Shakespeare, the final episode presents the most important contribution towards an understanding of the speaking of dramatic verse on the late Victorian stage. Entitled ‗Poetry and Hidden Poetry:Three Kinds of Failure', it examines the issue that moderator and Cambridge-educated Shakespearean director John Barton has consistently avoided throughout the previous eleven episodes, the subject of the term ‗poetry' as applied to Shakespearean vocality.Despite his insistence on the structures and rhythms of verse, Barton's anxiety over the visceral impact of words is palpable. Revealingly, the title and the segment dwell on ‗failure', conceding the inability of the contemporary actor to do full justice to Shakespeare's verse. Despite the complete thinking-out of a role, and an understanding of the mechanics of blank verse, he admits that the role never manifests itself with its full power on the stage despite the imagination it conjures from the page: ‗One can't quite put one's finger on what is wrong but there is a kind of textual, emotional and poetic thinningout'.1 He admits that, despite the intellectual realisation of a role, the playing of Shakespeare rarely builds into an overwhelming sensory experience. 2Actor Alan Howard interjects his own perceptions of that mystical moment when the alchemy of an actor's efforts transcends the conception of the role:I think that the other aspect of the actual sounds, the textures and the rhythms, invoke a word which perhaps we don't understand so well today. The word is ‗apprehension' as opposed to ‗comprehension'. Something we sense. I think that ‗apprehension' to the Elizabethans was a very palpable thing. They were sensually highly aware of how rhythms, sound and texture could combine with comprehension to bring about something which goes beyond just the sense. 3 Howard himself apprehends that the ‗sounds' of words -the intricate textures which Hall and Barton subjugate to the structural rhythms of the text -combine with the cognitive realisation of the script to generate sensation alongside intellectual satisfaction, the Aristotelian requirements of catharsis and instruction. Barton admits to difficulty in comprehending this effect:Although the line is quite naturalistic on the surface, it also has a poetic ring, uneasy, haunting and resonant, though it's hard to define it in words. We may not understand but we apprehend it. What word to describe it? It reverberates, it haunts, it rings a bell […] There's a resonance which can't be defined or pinned down. The second piece of evidence for Victorian ponderousness can no longer be supported after the rate of speech has been calculated. 15 If these poets, and the dominant actors of their age, actually speak the verse at an equivalent or faster rate of speech than their theatrical descendants, from where does the perception of protracted vocality emerge? I argue that this curious temporal effect is falsely presented to contemporary ears by the dominance of the vo...

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Principles for Griffing's combining ability analysis

Cited by 28 publications

References 21 publications

Analysis of genetic architecture for some physiological characters in sesame (Sesamum indicum L.)

Analysis of genetic architecture for some physiological characters in sesame (Sesamum indicum L.)

Developments in breeding of Agaricus bisporus var. bisporus: progress made and technical and legal hurdles to take

‘Rude am I in Meh Speech': Vocality and Victorian Shakespeare

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