Multiple Equilibria in Proteins covers the multiple interactions between small ions and molecules and a protein molecule. The book also deals with the physicochemical mechanisms of this interaction and the information about protein structure and the forces stabilizing that structure. The text discusses the mathematical description of complex formation, the thermodynamic analysis of binding data, and various theoretical models which can be used to describe the phenomena of small molecule-macromolecule interactions. The measurement of complex formation; the binding of neutral molecules; and hydrogen-ion equilibria are also considered. The book further tackles metal-ion binding; the binding of organic ions by proteins; as well as protein-protein interaction. Chemists and biochemists will find the book useful.
Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present.
Excavations at Cliffs End Farm, Thanet, Kent, undertaken in 2004/5 uncovered a dense area of archaeological remains including Bronze Age barrows and enclosures, and a large prehistoric mortuary feature, as well as a small early 6th to late 7th century Anglo-Saxon inhumation cemetery. An extraordinary series of human and animal remains were recovered from the Late Bronze Age–Middle Iron Age mortuary feature, revealing a wealth of evidence for mortuary rites including exposure, excarnation and curation. The site seems to have been largely abandoned in the later Iron Age and very little Romano-British activity was identified. In the early 6th century a small inhumation cemetery was established. Very little human bone survived within the 21 graves, where the burial environment differed from that within the prehistoric mortuary feature, but grave goods indicate ‘females’ and ‘males’ were buried here. Richly furnished graves included that of a ‘female’ buried with a necklace, a pair of brooches and a purse, as well as a ‘male’ with a shield covering his face, a knife and spearhead. In the Middle Saxon period lines of pits, possibly delineating boundaries, were dug, some of which contained large deposits of marine shells. English Heritage funded an extensive programme of radiocarbon and isotope analyses, which have produced some surprising results that shed new light on long distance contacts, mobility and mortuary rites during later prehistory. This volume presents the results of the investigations together with the scientific analyses, human bone, artefact and environmental reports.
To study the settlement process of undocumented migrants, Jacqueline Hagan examines one of Houston's Maya communities, the approximately 900 Maya from a township in the Department of Totonicapan, Guatemala. She traces this Maya community from its genesis in 1978, when a few men left the township in search of economic opportunity, to the complex effects of the 1986 Immigration Reform and Control Act (IRCA). Based on several years of living and participating in the Totonicapan Maya community in Houston and a visit to the Guatemalan home community, Hagan's research combines interviews, community participation, and observation to evaluate immigration policy. Hagan shows that these immigrants do not passively accept U.S. immigration policy, but instead interpret it and base their actions on their own agenda within the context of their local community. The results, often quite unexpected by national policy makers, question popular myths about the settlement of immigrant communities. The author discusses the different settlement experiences of men and women and the effects of IRCA on family and community structure. Analyzing how legal status influences settlement behavior and international networks, she finds that strong community-based networks and social ties with a home community lead to successful adaptation. Author note: Jacqueline Maria Hagan is Assistant Professor of Sociology at the University of Houston.
The extraordinary life and work of architect Amaza Lee Meredith, and the role modernism and material culture played in the aspiring Black American middle class of the early twentieth century. Amaza Lee Meredith Imagines Herself Modern tells the captivating story of Amaza Lee Meredith, a Black woman architect, artist, and educator born into the Jim Crow South, whose bold choices in both life and architecture expand our understanding of the Great Migration and the Harlem Renaissance, while revealing the importance of architecture as a force in Black middle-class identity. Through her charismatic protagonist, Jacqueline Taylor derives new insights into the experiences of Black women at the forefront of culture in early twentieth-century America, caught between expectation and ambition, responsibility and desire. Central to Taylor’s argument is that Meredith’s response to modern architecture and art, like those of other Black cultural producers, was not marginal to the modernist project; instead, her work reveals the tensions and inconsistencies in how American modernism has been defined. In this way, the book shines a necessary light on modernism’s complexity, while overturning perceived notions of race and gender in relation to the modernist project and challenging the notion of the white male hero of modern architecture.
Fell's Point history can be told as a "tale of two cities:" abolitionists and violent secessionists; fire-bombing murderers and community organizers; million-dollar condos and low-income projects; and world champion boxers and a myriad of panhandlers. This dichotomy has created a neighborhood unlike any other in Baltimore. One of the oldest neighborhoods in America, Fell's Point has witnessed much in its 300-plus years. Originally Baltimore's deepwater seaport, Fell's Point's privateers were crucial to winning of the War of 1812. After shipbuilding moved out and waves of immigrants moved through the community, it gradually fell into decline in the first half of the 20th century. In the 1960s, dedicated preservationists began a decade-plus-long battle to defeat city plans to demolish it for a highway. Today, Fell's Point is a thriving, artistic, and eccentric community that welcomes one and all to experience its history, its culture, and its people.
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