As shown in the text, there can be little doubt that the genetic mechanism is, for all practical purposes, equivalent to life itself. Consequently, it is unrealistic to seek knowledge of the origin of life and its subsequent evolution without si multaneously searching for an understanding of how this apparatus arose and evolved. Fortunately, the annual publication over the recent years of thousandS" of papers dealing with the genetic processes has brought the state of knowledge to a level where a synthesis of their major details in relation to life's history is feasible. Because of the voluminous body of literature, no single book can pos sibly treat all the ramifications of this fundamental subject; subdivision into multiple volumes is necessary. This volume, the first of a trilogy, explores the molecular aspects of the problem in connection with the precellular aspects up to the point of the origin of the cell. The second, currently in progress, is con cerned with the subsequent evolution of the cell as revealed by the energy related organelles and their genetic apparatuses and by ultrastructural details of other cellular parts. The third volume, as presently planned, deals with devel opmental, immunological, and other complexities at the organismic level and, in so doing, throws additional light on basic properties of the genetic processes themselves. Thus, the genetic apparatus provides the warp, and evolution the woof, of the intricate fabric that emerges.
In New World Drama, Elizabeth Maddock Dillon turns to the riotous scene of theatre in the eighteenth-century Atlantic world to explore the creation of new publics. Moving from England to the Caribbean to the early United States, she traces the theatrical emergence of a collective body in the colonized New World—one that included indigenous peoples, diasporic Africans, and diasporic Europeans. In the raucous space of the theatre, the contradictions of colonialism loomed large. Foremost among these was the central paradox of modernity: the coexistence of a massive slave economy and a nascent politics of freedom. Audiences in London eagerly watched the royal slave, Oroonoko, tortured on stage, while audiences in Charleston and Kingston were forbidden from watching the same scene. Audiences in Kingston and New York City exuberantly participated in the slaying of Richard III on stage, enacting the rise of the "people," and Native American leaders were enjoined to watch actors in blackface "jump Jim Crow." Dillon argues that the theater served as a "performative commons," staging debates over representation in a political world based on popular sovereignty. Her book is a capacious account of performance, aesthetics, and modernity in the eighteenth-century Atlantic world.
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