Journal articles on the topic 'Juvenile Encyclopedia'

Objective. The aim of this study is to explore the potential pathogenesis of juvenile dermatomyositis by bioinformatics analysis of gene chips, which would screen the hub genes, identify potential biomarkers, and reveal the development mechanism of juvenile dermatomyositis. Material and Methods. We retrieved juvenile dermatomyositis’s original expression microarray data of message RNAs (mRNAs) and microRNAs (miRNAs) from NCBI’s Gene Expression Omnibus database (GEO, http://www.ncbi.nlm.nih.gov/geo/); through the R package of limma in Bioconductor, we can screen the differentially expressed miRNAs and mRNAs, and then we further analyzed the predicted target genes by the methods such as Kyoto Encyclopedia of Genes and Genomes (KEGG) pathway enrichment analysis and miRNA-mRNA regulatory network construction and protein-protein interaction (PPI) network using Cytoscape 3.6.1. Results. Compared with normal juvenile skin tissues, 6 upregulated microRNAs and 5 downregulated microRNAs were identified from 166 downregulated microRNAs and 58 upregulated microRNAs in juvenile dermatomyositis tissues. The enrichment pathways of differentially expressed microRNAs include cell adhesion molecules (CAMs), autoimmune thyroid disease, Type I diabetes mellitus, antigen and presentation, viral myocardium, graft-versus-host disease, and Kaposi sarcoma-associated herpes virus infection. By screening of microRNA-messenger RNA regulatory network and construction of PPI network map, three target miRNAs were identified, namely, miR-193b, miR-199b-5p, and miR-665. Conclusion. We identified mir-193b, mir-199b-5p, and mir-6653 target miRNAs by exploring the miRNA-mRNA regulation network mechanism related to the pathogenesis of juvenile dermatomyositis, which will be of great significance for further study on the pathogenesis and targeted therapy of juvenile dermatomyositis.

Termites have a distinct polyphenism controlled by concise hormonal and molecular mechanisms. Workers undergo double molts to transform into soldiers (worker–presoldier–soldier). Juvenile hormone analogs, such as methoprene, can induce workers to transform into presoldiers. However, the molecular mechanism underlying the worker-to-presoldier transformation in Coptotermes formosanus Shiraki is still not clear. We sequenced the transcriptome of workers four days after they had fed on methoprene-treated filter paper and control group workers, which fed on acetone-treated filter paper. The transcriptome of C. formosanus was assembled using the de novo assembly method. Expression levels of unigenes in the methoprene-treated group and the control group were compared. The differentially expressed genes were further analyzed by Gene Ontology (GO) term enrichment analysis and Kyoto Encyclopedia of Genes and Genomes pathway enrichment analysis. Tetrapyrrole binding, oxidoreductase activity, and metal ion binding were the only three enriched GO terms. Juvenile hormone synthesis was the first ranked enriched pathway. Carbohydrate, amino acid, and lipid metabolism pathways were also enriched. These three pathways may be related to fat body development, which is critical for presoldier formation. Our results have demonstrated the significance of JH synthesis pathways, and pathways related to fat body development in the artificial induction of presoldiers.

Insect meals are considered promising, eco-friendly, alternative ingredients for aquafeed. Considering the dietary influence on establishment of functioning gut microbiota, the effect of the insect meal diets on the microbial ecology should be addressed. The present study assessed diet- and species-specific shifts in gut resident bacterial communities of juvenile reared Dicentrarchus labrax and Sparus aurata in response to three experimental diets with insect meals from three insects (Hermetia illucens, Tenebrio molitor, Musca domestica), using high-throughput Illumina sequencing of the V3–V4 region of the 16S rRNA gene. The dominant phyla were Firmicutes, Proteobacteria and Actinobacteria in all dietary treatments. Anaerococcus sp., Cutibacterium sp. and Pseudomonas sp. in D. labrax, and Staphylococcus sp., Hafnia sp. and Aeromonas sp. in S. aurata were the most enriched shared species, following insect-meal inclusion. Network analysis of the dietary treatments highlighted diet-induced changes in the microbial community assemblies and revealed unique and shared microbe-to-microbe interactions. PICRUSt-predicted Kyoto Encyclopedia of Genes and Genomes (KEGG) pathways were significantly differentiated, including genes associated with metabolic pathways. The present findings strengthen the importance of diet in microbiota configuration and underline that different insects as fish feed ingredients elicit species-specific differential responses of structural and functional dynamics in gut microbial communities.

Systemic juvenile idiopathic arthritis (sJIA) is a severe autoinflammatory disorder with a still not clearly defined molecular mechanism. To better understand the disease, we used scattered datasets from public domains and performed a weighted gene coexpression network analysis (WGCNA) to identify key modules and hub genes underlying sJIA pathogenesis. Two gene expression datasets, GSE7753 and GSE13501, were used to construct the WGCNA. Gene Ontology (GO) and Kyoto Encyclopedia of Genes and Genomes (KEGG) enrichment analyses were applied to the genes and hub genes in the sJIA modules. Cytoscape was used to screen and visualize the hub genes. We further compared the hub genes with the genome-wide association study (GWAS) genes and used a consensus WGCNA to verify that our conclusions were conservative and reproducible across multiple independent datasets. A total of 5,414 genes were obtained for WGCNA, from which highly correlated genes were divided into 17 modules. The red module demonstrated the highest correlation with the sJIA module ( r = 0.8 , p = 3 e − 29 ), whereas the green-yellow module was found to be closely related to the non-sJIA module ( r = 0.62 , p = 1 e − 14 ). Functional enrichment analysis demonstrated that the red module was mostly enriched in the activation of immune responses, infection, nucleosomes, and erythrocytes, and the green-yellow module was mostly enriched in immune responses and inflammation. Additionally, the hub genes in the red module were highly enriched in erythrocyte differentiation, including ALAS2, AHSP, TRIM10, TRIM58, and KLF1. The hub genes from the green-yellow module were mainly associated with immune responses, as exemplified by the genes KLRB1, KLRF1, CD160, and KIRs. We identified sJIA-related modules and several hub genes that might be associated with the development of sJIA. Particularly, the modules may help understand the mechanisms of sJIA, and the hub genes may become biomarkers and therapeutic targets of sJIA in the future.

The cost of developing replacement nanny goats could be reduced by decreasing the age at puberty because this way nanny goats could be brought into production at an earlier age. The aim of the present study was to screen genes related to puberty to investigate the molecular mechanisms of puberty. Subtracted cDNA libraries were constructed for hypothalami from juvenile (Group A), pubertal (Group B) and age-matched control pubertal (Group E) Jining grey (JG) and Liaoning cashmere (LC) goats using suppression subtractive hybridisation (SSH). Differentially expressed genes were analysed by bioinformatics methods. There were 203 expressed sequence tags (ESTs) in the subtracted cDNA libraries that were differentially expressed between JG and LC goats at the juvenile stage, 226 that were differentially expressed at puberty and 183 that were differentially expressed in the age-matched control group. The differentially expressed ESTs in each subtracted cDNA library were classified as known gene, known EST and unknown EST according to sequence homology in the GenBank non-redundant (NR) and EST database. According to gene function analysis in the COG (Cluster of Orthologous Groups) database, the known genes were grouped into 10 subdivisions in Group A, into seven subdivisions in Group E and into nine subdivisions in Group B under three categories: cellular processes and signalling, information storage and processing, and metabolism. Pathway analysis in the KEGG (Kyoto Encyclopedia of Genes and Genomes) pathway database of known genes revealed that the three pathways that most differentially expressed genes were involved in were metabolic pathways, Parkinson’s disease and oxidative phosphorylation. Protein interaction analysis of the high homology genes revealed the most dominant network to be structure of ribosome/protein translation, oxidative phosphorylation and carbohydrate metabolism. The results reveal that the onset of puberty is a complex event involving multiple genes in multiple biological processes. The differentially expressed genes include genes related to both neuroendocrine and energy metabolism.

AbstractThe oriental armyworm, Mythimna separata (Walker) is a serious pest of agriculture that does particular damage to Gramineae crops in Asia, Europe, and Oceania. Metamorphosis is a key developmental stage in insects, although the genes underlying the metamorphic transition in M. separata remain largely unknown. Here, we sequenced the transcriptomes of five stages; mature larvae (ML), wandering (W), and pupation (1, 5, and 10 days after pupation, designated P1, P5, and P10) to identify transition-associated genes. Four libraries were generated, with 22,884, 23,534, 26,643, and 33,238 differentially expressed genes (DEGs) for the ML-vs-W, W-vs-P1, P1-vs-P5, and P5-vs-P10, respectively. Gene ontology enrichment analysis of DEGs showed that genes regulating the biosynthesis of the membrane and integral components of the membrane, which includes the cuticular protein (CP), 20-hydroxyecdysone (20E), and juvenile hormone (JH) biosynthesis, were enriched. Kyoto Encyclopedia of Genes and Genomes (KEGG) pathway analysis indicated that DEGs were enriched in the metabolic pathways. Of these DEGs, thirty CP, seventeen 20E, and seven JH genes were differentially expressed across the developmental stages. For transcriptome validation, ten CP, 20E, and JH-related genes were selected and verified by real-time PCR quantitative. Collectively, our results provided a basis for further studies of the molecular mechanism of metamorphosis in M. separata.

Abstract Conopomorpha sinensis Bradley is the dominant borer pest of litchi and longan in the Asian-pacific area. Reduction or interference of reproduction and mating of adult moths is one of the most used strategies to control C. sinensis. Insect reproduction is a critical biological process closely related to endocrine control. Conopomorpha sinensis genome and transcriptome information is limited, hampering both our understanding of the molecular mechanisms underlying hormone activity and reproduction and the development of control strategies for this borer pest. To explore the sex differences in gene expression profiles influencing these biological processes, de novo transcriptomes were assembled from female and male adult C. sinensis specimens. This analysis yielded 184,422 unigenes with an average length of 903 bp and 405,961 transcripts after sequencing and assembly. About 45.06, 22.41, 19.53, 34.05, 35.82, 36.42, and 19.85% of the unigenes had significant matches in seven public databases. Subsequently, gene ontology (GO) and kyoto encyclopedia of genes and genomes (KEGG) enrichment analysis revealed comprehensive information about the function of each gene and identified enriched categories and pathways that were associated with the 2,890 female-biased genes and 2,964 male-biased genes. In addition, we identified some important unigenes related to hormone activity and reproduction among the sex-differentially expressed genes (DEGs), including unigenes coding for ecdysone-induced protein 78C, juvenile hormone (JH)-regulated gene fatty acyl-CoA reductase, vitellogenin, etc. Our findings provide a more comprehensive portrait of the sex differences involved in the relationship of two important physiological features—hormone activity and reproduction in C. sinensis and members of the family Gracillariidae.

The microbial community structure of water is an important indicator for evaluating the water quality of the aquaculture environment. In this study, the investigation and comparison of the bacterial communities of pond cultivation (PC) and greenhouse cultivation (GC) between hatchling, juvenile, and adult growth stages of C. reevesii were performed. In addition, the V4 regions of the 16S rRNA gene were sequenced. The Chao1 richness estimator of the PC group was significantly higher than that of the GC group. The beta diversity showed that the microbiotas of the two groups were isolated from each other. The dominant phyla were Cyanobacteria, Proteobacteria, Actinobacteria, Bacteroidetes, Verrucomicrobia, and Planctomycetes in the PC group and Proteobacteria, Bacteroidetes, Firmicutes, Cyanobacteria, Chloroflexi, and Actinobacteria in the GC group. Both the numbers and the types of Kyoto Encyclopedia of Genes and Genomes (KEGG) pathway annotations differed between the PC and GC groups. The prediction of bacterial phenotype implied that the GC environment is more likely to deteriorate, and turtles are more susceptible to pathogens than those of the PC environment. In addition, a total of nine potential pathogenic bacteria were identified and the correlation of environmental factors analyses showed significant differences of bacterial species between the PC and GC groups, while the potential pathogenic bacteria showed significant correlation with the stocking density, temperature, pH, orthophosphate (PO4-P), and dissolved oxygen (DO) in both the PC and GC groups. Noticeably, this is the first report to describe the different microbiota characteristics of the different cultivation environments in the different growth stages of C. reevesii, which will provide valuable data for water quality adjustment, disease prevention, and the healthy breeding of turtles.

Studies of the gene and miRNA expression profiles associated with the postnatal late growth, development, and aging of skeletal muscle are lacking in sika deer. To understand the molecular mechanisms of the growth and development of sika deer skeletal muscle, we used de novo RNA sequencing (RNA-seq) and microRNA sequencing (miRNA-seq) analyses to determine the differentially expressed (DE) unigenes and miRNAs from skeletal muscle tissues at 1, 3, 5, and 10 years in sika deer. A total of 51,716 unigenes, 171 known miRNAs, and 60 novel miRNAs were identified based on four mRNA and small RNA libraries. A total of 2,044 unigenes and 11 miRNAs were differentially expressed between adolescence and juvenile sika deer, 1,946 unigenes and 4 miRNAs were differentially expressed between adult and adolescent sika deer, and 2,209 unigenes and 1 miRNAs were differentially expressed between aged and adult sika deer. Gene Ontology (GO) and Kyoto Encyclopedia of Genes and Genomes (KEGG) analyses showed that DE unigenes and miRNA were mainly related to energy and substance metabolism, processes that are closely associate with the growth, development, and aging of skeletal muscle. We also constructed mRNA–mRNA and miRNA–mRNA interaction networks related to the growth, development, and aging of skeletal muscle. The results show that mRNA (Myh1, Myh2, Myh7, ACTN3, etc.) and miRNAs (miR-133a, miR-133c, miR-192, miR-151-3p, etc.) may play important roles in muscle growth and development, and mRNA (WWP1, DEK, UCP3, FUS, etc.) and miRNAs (miR-17-5p, miR-378b, miR-199a-5p, miR-7, etc.) may have key roles in muscle aging. In this study, we determined the dynamic miRNA and unigenes transcriptome in muscle tissue for the first time in sika deer. The age-dependent miRNAs and unigenes identified will offer insights into the molecular mechanism underlying muscle development, growth, and maintenance and will also provide valuable information for sika deer genetic breeding.

ABSTRACT To address the question of how microbial diversity and function in the oral cavities of children relates to caries diagnosis, we surveyed the supragingival plaque biofilm microbiome in 44 juvenile twin pairs. Using shotgun sequencing, we constructed a genome encyclopedia describing the core supragingival plaque microbiome. Caries phenotypes contained statistically significant enrichments in specific genome abundances and distinct community composition profiles, including strain-level changes. Metabolic pathways that are statistically associated with caries include several sugar-associated phosphotransferase systems, antimicrobial resistance, and metal transport. Numerous closely related previously uncharacterized microbes had substantial variation in central metabolism, including the loss of biosynthetic pathways resulting in auxotrophy, changing the ecological role. We also describe the first complete Gracilibacteria genomes from the human microbiome. Caries is a microbial community metabolic disorder that cannot be described by a single etiology, and our results provide the information needed for next-generation diagnostic tools and therapeutics for caries. IMPORTANCE Oral health has substantial economic importance, with over $100 billion spent on dental care in the United States annually. The microbiome plays a critical role in oral health, yet remains poorly classified. To address the question of how microbial diversity and function in the oral cavities of children relate to caries diagnosis, we surveyed the supragingival plaque biofilm microbiome in 44 juvenile twin pairs. Using shotgun sequencing, we constructed a genome encyclopedia describing the core supragingival plaque microbiome. This unveiled several new previously uncharacterized but ubiquitous microbial lineages in the oral microbiome. Caries is a microbial community metabolic disorder that cannot be described by a single etiology, and our results provide the information needed for next-generation diagnostic tools and therapeutics for caries.

Grass carp (Ctenopharyngodon idellus) is one of the most economically important aquaculture species and is widely cultured in China. However, its wild populations in many rivers are increasingly declining, and seawater intrusion is one of the most important threats to their survival. However, the mechanisms underlying the decline due to salinity pressure are still unknown. Here, we performed a comparative transcriptome analysis of C. idellus larvae in response to salinity exposures; a total of 481 differentially expressed genes (DEGs) were identified. These DEGs were significantly enriched in eight Kyoto Encyclopedia of Genes and Genomes (KEGG) pathways, among which steroid biosynthesis was the most important one, with the highest enrichment score. The pathway plays an important role in the development of the testes and ovary. Interestingly, all DEGs in steroid biosynthesis showed a down regulation, indicating that salinity exposure may pose damage to the fertility of C. idellus. Furthermore, three immunity-associated pathways (cytokine–cytokine receptor interaction, Toll-like receptor signaling pathway, and NOD-like receptor signaling pathway) were also significantly enriched, suggesting impaired immunity and a high risk of disease infection under salinity exposure. Overall, damage to both fertility and immunity would decrease the number of offspring and increase the risk of death due to disease infection. Our results provide a potential molecular mechanism underlying the decline of wild C. idellus populations in the Pearl River.

Marshall, Rita, and Etienne Delessert. I Hate to Read! Mankato, MN: Creative Education, 1992. Print. As you might guess from the title, this book invites reluctant readers to discover the wondrous adventures that can be accessed through turning the pages of a book, as opposed to tuning into TV programs. The cover features the narrator—third-grader Victor Dickens—on a dragon’s back, with flames licking out of the pages of a stack of books. Readers are told that Victor is a “really good kid” “most of the time,” and many children will be able to relate to his academic difficulties: “Victor got As in math and Bs in science, but Fs when it came to the ABCs”. He calls himself a “victim of the hate to read syndrome”. One night, Victor is visited by a series of storybook creatures, including a crocodile in a white coat, a field mouse carrying gold coins, a pirate parrot, and a white rabbit in black barn boots; all of whom attempt to convince him to read. He repeats his usual mantra, “I hate to read,” until gradually he begins turning pages, and his imagination takes over. Fictional characters morph into people from his real life: Sleeping Beauty turns into Natalie Nickerson, on whom Victor appears to have a bit of a crush. The turning point comes when one of the characters whispers: “It’s fun to read even when you’re not supposed to.” This thought appeals to his sense of juvenile rebellion, and he continues in his literary reverie, even missing his favourite TV program. He imagines his teacher as a witch, throwing books into a cauldron, and his classmates, led by Natalie, shouting, “We hate to read!” Instead of joining in, however, Victor thinks of how sad he would be to lose all of his new friends, so he looks for them in his book: “And as he read each page, he just hated…to come to the end.” Writer and designer Rita Marshall and illustrator Etienne Delessert have each been awarded numerous literary prizes for their work. The large-scale drawings of the storybook creatures are whimsical and inviting. They also contain small details that might not be noticed on the first reading. For example, the toes and talons of the dragon on the cover also form crow-like birds with pointy beaks. In another image, letters of the alphabet are hidden in animal tracks. On the other hand, the book includes some literary references that would likely be lost on a typical third-grader. For example, Victor’s parents are said to have bought all 56 volumes of the Encyclopedia Britannica to help pique his interest in reading. It is unlikely that many families would have this set in their homes, nor would a child normally encounter one in an elementary school library. However, these details will perhaps prompt questions from curious readers. On the whole, “I hate to read” is highly likely to achieve its principal goal. Much like Victor, most children will probably hate to see it come to an end. Not to fear, they can continue to follow Victor’s adventures in “I Still Hate to Read,” which was published in 2007. Highly recommended: 4 out of 4 starsReviewer: Kim Frail Kim is a Public Services Librarian at the H.T. Coutts Education Library at the University of Alberta. Children’s literature is a big part of her world at work and at home. She also enjoys gardening, renovating and keeping up with her two-year old.

Maria Nikolajeva nasceu na Rússia e se mudou para a Suécia em 1981. Mestre em Inglês pela Universidade Estadual de Moscou (Rússia) e doutora em Literatura Comparada pela Universidade de Estocolmo (Suécia) – onde trabalhou por 25 anos –, é Professora e Catedrática de Educação na Universidade de Cambridge (Reino Unido). Já foi presidente (1993-1997) da International Research Society for Children’s Lierature e uma das editoras seniores da Oxford Encyclopedia of Children's Literature. Em 2005, recebeu o International Brothers Grimm Award pela contribuição de seu trabalho sobre literatura infantil. É autora de mais de 300 artigos e de algumas dezenas de livros, incluindo From mythic to linear: time in children's literature (2000), Power, voice and subjectivity in literature for young readers (2010) e Reading for Learning: cognitive approaches to children's literature (2014). Sua obra mais conhecida no Brasil é Livro ilustrado: palavras e imagens (Cosac Naify, 2011), escrito em 2001, com a professora Carole Scott.Por e-mail, gentilmente a professora Maria Nikolajeva nos concedeu esta entrevista, carregada de posicionamentos sobre leitura e literatura infanto-juvenil. Com presteza, a professora ainda nos presenteou com a versão em inglês dessa conversa. É possível perceber importantes nuanças reflexivas para além da realidade brasileira, pondo em evidência o escopo dos estudos que tratam da literatura infantil e juvenil, seja no âmbito do ensino e da pesquisa.

The article provides an in-depth analysis of the history of the origin of the term satire types of satire, definitions of the term satire in encyclopedias and scientific dictionaries. Representatives of satire in Russian, English and Uzbek literature are also mentioned. The article also includes opinions of famous scholars on satire, as well as their translation into Uzbek. The genre of satire has evolved since ancient times and covered almost all types of fiction. The satirist writers exposed the social events of the period in which they lived with humor and satire. They put the final conclusion on their works to readers themselves. Satirical works delight readers, they are immortal. In ancient Roman literature, Quintus Horace Flaccus, Detsim Junior Juvenile, Menippus Gadarsky elevated satire, while in English literature Daniel Defoe, Jonathan Swift, in American literature Mark Twain left a deep imprint in the hearts of readers with their works. In Russian literature, the works of Nikolai Gogol, Mikhail Saltikov-Shchedrin, Mikhail Zoshchenko further flourished the genre of satire. In Uzbek literature, the first examples of satire appeared in folklore, and later flourished in written literature. In the genre of satire, our ancestors Alisher Navoi, Turdi, Makhmur, Gulkhani, Haziq, Muqimi, Zavkiy created. Hamza Hakimzoda Niyazi, Abdulla Kodiri, Ghazi Yunus, Sofizoda, Gafrur Gulam, Abdulla Kahhor, Said Ahmad, Nemat Aminov, Sadulla Siyoev also contributed the further development of satire. The purpose of the article is to analyze the status of satire as a genre, the system of artistic interpretation of satirical works, the specific artistic expression of the moral and philosophical worldview and the stages of formation and development of this genre, its dynamics and its new forms, comparative-historical, comparative-typological analysis. Theoretical methods were used: comparative analysis, synthesis, comparative induction, deduction, and comparative-historical analysis. In results the genesis of the satire genre, the historical, theoretical and poetic foundations of the satire genre and the stages of its formation were established. The most common types of satire were analyzed. Conclusion 1. The folklore roots of satire and the peculiarities of satirical images in oral folklore have been identified. 2. The problem of the genesis of the genre of satire was considered on the basis of world artistic-philosophical, socio-cultural thinking. 3. The problem of the genre of satire is covered in the comparative literary aspect. 4. The peculiarities of the classification and types of the genre of satire were determined.

Despite the now-traditional tendency of noir scholarship to call attention to the retrospective and constructed nature of this genre— James Naremore argues that film noir is best regarded as a “mythology”— one feature that has rarely come under question is its association with the city (2). Despite the existence of numerous rural noirs, the depiction of urban space is associated with this genre more consistently than any other element. Even in critical accounts that attempt to deconstruct the solidity of the noir genre, the city is left as an implicit inclusion, and the country, an implict exclusion. Naremore, for example, does not include the urban environment in a list of the central tenets of film noir that he calls into question: “nothing links together all the things described as noir—not the theme of crime, not a cinematographic technique, not even a resistance to Aristotelian narratives or happy endings” (10). Elizabeth Cowie identifies film noir a “fantasy,” whose “tenuous critical status” has been compensated for “by a tenacity of critical use” (121). As part of Cowie’s project, to revise the assumption that noirs are almost exclusively male-centered, she cites character types, visual style, and narrative tendencies, but never urban spaces, as familiar elements of noir that ought to be reconsidered. If the city is rarely tackled as an unnecessary or part-time element of film noir in discursive studies, it is often the first trait identified by critics in the kind of formative, characteristic-compiling studies that Cowie and Naremore work against.Andrew Dickos opens Street with No Name: A History of the Classic American Film Noir with a list of noir’s key attributes. The first item is “an urban setting or at least an urban influence” (6). Nicholas Christopher maintains that “the city is the seedbed of film noir. […] However one tries to define or explain noir, the common denominator must always be the city. The two are inseparable” (37). Though the tendencies of noir scholars— both constructive and deconstructive— might lead readers to believe otherwise, rural locations figure prominently in a number of noir films. I will show that the noir genre is, indeed, flexible enough to encompass many films set predominantly or partly in rural locations. Steve Neale, who encourages scholars to work with genre terms familiar to original audiences, would point out that the rural noir is an academic discovery not an industry term, or one with much popular currency (166). Still, this does not lessen the critical usefulness of this subgenre, or its implications for noir scholarship.While structuralist and post-structuralist modes of criticism dominated film genre criticism in the 1970s and 80s, as Thomas Schatz has pointed out, these approaches often sacrifice close attention to film texts, for more abstract, high-stakes observations: “while there is certainly a degree to which virtually every mass-mediated cultural artifact can be examined from [a mythical or ideological] perspective, there appears to be a point at which we tend to lose sight of the initial object of inquiry” (100). Though my reading of these films sidesteps attention to social and political concerns, this article performs the no-less-important task of clarifying the textual features of this sub-genre. To this end, I will survey the tendencies of the rural noir more generally, mentioning more than ten films that fit this subgenre, before narrowing my analysis to a reading of Moonrise (Frank Borzage, 1948), Thieves’ Highway (Jules Dassin, 1949), They Live By Night (Nicholas Ray, 1949) and On Dangerous Ground (Nicholas Ray, 1952). Robert Mitchum tries to escape his criminal life by settling in a small, mountain-side town in Out of the Past (Jacques Tourneur, 1947). A foggy marsh provides a dramatic setting for the Bonnie and Clyde-like demise of lovers on the run in Gun Crazy (Joseph Lewis, 1950). In The Asphalt Jungle (John Huston, 1950), Sterling Hayden longs to return home after he is forced to abandon his childhood horse farm for a life of organised crime in the city. Rob Ryan plays a cop unable to control his violent impulses in On Dangerous Ground (Nicholas Ray, 1952). He is re-assigned from New York City to a rural community up-state in hopes that a less chaotic environment will have a curative effect. The apple orchards of Thieves’ Highway are no refuge from networks of criminal corruption. In They Live By Night, a pair of young lovers, try to leave their criminal lives behind, hiding out in farmhouses, cabins, and other pastoral locations in the American South. Finally, the location of prisons explains a number of sequences set in spare, road-side locations such as those in The Killer is Loose (Budd Boetticher, 1956), The Hitch-Hiker (Ida Lupino, 1953), and Raw Deal (Anthony Mann, 1948). What are some common tendencies of the rural noir? First, they usually feature both rural and urban settings, which allows the portrayal of one to be measured against the other. What we see of the city structures the definition of the country, and vice versa. Second, the lead character moves between these two locations by driving. For criminals, the car is more essential for survival in the country than in the city, so nearly all rural noirs are also road movies. Third, nature often figures as a redemptive force for urbanites steeped in lives of crime. Fourth, the curative quality of the country is usually tied to a love interest in this location: the “nurturing woman” as defined by Janey Place, who encourages the protagonist to forsake his criminal life (60). Fifth, the country is never fully crime-free. In The Killer is Loose, for example, an escaped convict’s first victim is a farmer, whom he clubs before stealing his truck. The convict (Wendell Corey), then, easily slips through a motorcade with the farmer’s identification. Here, the sprawling countryside provides an effective cover for the killer. This farmland is not an innocent locale, but the criminal’s safety-net. In films where a well-intentioned lead attempts to put his criminal life behind him by moving to a remote location, urban associates have little trouble tracking him down. While the country often appears, to protagonists like Jeff in Out of the Past or Bowie in They Live By Night, as an ideal place to escape from crime, as these films unfold, violence reaches the countryside. If these are similar points, what are some differences among rural noirs? First, there are many differences by degree among the common elements listed above. For instance, some rural noirs present their location with unabashed romanticism, while others critique the idealisation of these locations; some “nurturing women” are complicit with criminal activity, while others are entirely innocent. Second, while noir films are commonly known for treating similar urban locations, Los Angeles in particular, these films feature a wide variety of locations: Out of the Past and Thieves’ Highway take place in California, the most common setting for rural noirs, but On Dangerous Ground is set in northern New England, They Live by Night takes place in the Depression-era South, Moonrise in Southern swampland, and the most dynamic scene of The Asphalt Jungle is in rural Kentucky. Third, these films also vary considerably in the balance of settings. If the three typical locations of the rural noir are the country, the city, and the road, the distribution of these three locations varies widely across these films. The location of The Asphalt Jungle matches the title until its dramatic conclusion. The Hitch-hiker, arguably a rural noir, is set in travelling cars, with just brief stops in the barren landscape outside. Two of the films I analyse, They Live By Night and Moonrise are set entirely in the country; a remarkable exception to the majority of films in this subgenre. There are only two other critical essays on the rural noir. In “Shadows in the Hinterland: Rural Noir,” Jonathan F. Bell contextualises the rural noir in terms of post-war transformations of the American landscape. He argues that these films express a forlorn faith in the agrarian myth while the U.S. was becoming increasingly developed and suburbanised. That is to say, the rural noir simultaneously reflects anxiety over the loss of rural land, but also the stubborn belief that the countryside will always exist, if the urbanite needs it as a refuge. Garry Morris suggests the following equation as the shortest way to state the thematic interest of this genre: “Noir = industrialisation + (thwarted) spirituality.” He attributes much of the malaise of noir protagonists to the inhospitable urban environment, “far from [society’s] pastoral and romantic and spiritual origins.” Where Bell focuses on nine films— Detour (1945), The Postman Always Rings Twice (1946), Out of the Past (1947), Key Largo (1948), Gun Crazy (1949), On Dangerous Ground (1952), The Hitch-Hiker (1953), Split Second (1953), and Killer’s Kiss (1955)— Morris’s much shorter article includes just The Asphalt Jungle (1950) and Gun Crazy. Of the four films I discuss, only On Dangerous Ground has previously been treated as part of this subgenre, though it has never been discussed alongside Nicholas Ray’s other rural noir. To further the development of the project that these authors have started— the formation of a rural noir corpus— I propose the inclusion of three additional films in this subgenre: Moonrise (1948), They Live by Night (1949), and Thieves’ Highway (1949). With both On Dangerous Ground and They Live by Night to his credit, Nicholas Ray has the distinction of being the most prolific director of rural noirs. In They Live by Night, two young lovers, Bowie (Farley Granger) and Keechie (Cathy O’Donnell), attempt to escape from their established criminal lives. Twenty-three year old Bowie has just been released from juvenile prison and finds rural Texas refreshing: “Out here, the air smells different,” he says. He meets Keechie through her father, a small time criminal organiser who would be happy to keep her secluded for life. When one of Bowie’s accomplices, Chicamaw (Howard DaSilva), shoots a policeman after a robbing a bank with Bowie, the young couple is forced to run. Foster Hirsch calls They Live by Night “a genre rarity, a sentimental noir” (34). The naïve blissfulness of their affection is associated with the primitive settings they navigate. Though Bowie and Keechie are the most sympathetic protagonists of any rural noir, this is no safeguard against an inevitable, characteristically noir demise. Janey Place writes, “the young lovers are doomed, but the possibility of their love transcends and redeems them both, and its failure criticises the urbanised world that will not let them live” (63). As indicated here, the country offers the young lovers refuge for some time, and their bond is depicted as wonderfully strong, but it is doomed by the stronger force of the law.Raymond Williams discusses how different characteristics are associated with urban and rural spaces:On the country has gathered the idea of a natural way of life: of peace, innocence, and simple virtue. On the city has gathered the idea of an achieved center: of learning, communication, light. Powerful hostile associations have also developed: on the city as a place of noise, worldliness and ambition; on the country as a place of backwardness, ignorance, limitation. (1) They Live By Night breaks down these dichotomies, showing the persistence of crime rooted in rural areas.Bowie desires to “get squared around” and live a more natural life with Keechie. Williams’ country adjectives— “peace, innocence, and simple virtue”— describe the nature of this relationship perfectly. Yet, criminal activity, usually associated with the city, has an overwhelmingly strong presence in this region and their lives. Bowie, following the doomed logic of many a crime film character, plans to launch a new, more honest life with cash raised in a heist. Keechie recognises the contradictions in this plan: “Fine way to get squared around, teaming with them. Stealing money and robbing banks. You’ll get in so deep trying to get squared, they’ll have enough to keep you in for two life times.” For Bowie, crime and the pursuit of love are inseparably bound, refuting the illusion of the pure and innocent countryside personified by characters like Mary Malden in On Dangerous Ground and Ann Miller in Out of the Past.In Ray’s other rural noir, On Dangerous Ground, a lonely, angry, and otherwise burned out cop, Wilson (Rob Ryan), finds both love and peace in his time away from the city. While on his up-state assignment, Wilson meets Mary Walden (Ida Lupino), a blind woman who lives a secluded life miles away from this already desolate, rural community. Mary has a calming influence on Wilson, and fits well within Janey Place’s notion of the archetypal nurturing woman in film noir: “The redemptive woman often represents or is part of a primal connection with nature and/or with the past, which are safe, static states rather than active, exciting ones, but she can sometimes offer the only transcendence possible in film noir” (63).If, as Colin McArthur observes, Ray’s characters frequently seek redemption in rural locales— “[protagonists] may reject progress and modernity; they may choose to go or are sent into primitive areas. […] The journeys which bring them closer to nature may also offer them hope of salvation” (124) — the conclusions of On Dangerous Ground versus They Live By Night offer two markedly different resolutions to this narrative. Where Bowie and Keechie’s life on the lam cannot be sustained, On Dangerous Ground, against the wishes of its director, portrays a much more romanticised version of pastoral life. According to Andrew Dickos, “Ray wanted to end the film on the ambivalent image of Jim Wilson returning to the bleak city,” after he had restored order up-state (132). The actual ending is more sentimental. Jim rushes back north to be with Mary. They passionately kiss in close-up, cueing an exuberant orchestral score as The End appears over a slow tracking shot of the majestic, snow covered landscape. In this way, On Dangerous Ground overturns the usual temporal associations of rural versus urban spaces. As Raymond Williams identifies, “The common image of the country is now an image of the past, and the common image of the city an image of the future” (297). For Wilson, by contrast, city life was no longer sustainable and rurality offers his best means for a future. Leo Marx noted in a variety of American pop culture, from Mark Twain to TV westerns and magazine advertising, a “yearning for a simpler, more harmonious style of life, and existence ‘closer to nature,’ that is the psychic root of all pastoralism— genuine and spurious” (Marx 6). Where most rural noirs expose the agrarian myth as a fantasy and a sham, On Dangerous Ground, exceptionally, perpetuates it as actual and effectual. Here, a bad cop is made good with a few days spent in a sparsely populated area and with a woman shaped by her rural upbringing.As opposed to On Dangerous Ground, where the protagonist’s movement from city to country matches his split identity as a formerly corrupt man wishing to be pure, Frank Borzage’s B-film Moonrise (1948) is located entirely in rural or small-town locations. Set in the fictional Southern town of Woodville, which spans swamps, lushly wooded streets and aging Antebellum mansions, the lead character finds good and bad within the same rural location and himself. Dan (Dane Clark) struggles to escape his legacy as the son of a murderer. This conflict is irreparably heightened when Dan kills a man (who had repeatedly teased and bullied him) in self-defence. The instability of Dan’s moral compass is expressed in the way he treats innocent elements of the natural world: flies, dogs, and, recalling Out of the Past, a local deaf boy. He is alternately cruel and kind. Dan is finally redeemed after seeking the advice of a black hermit, Mose (Rex Ingram), who lives in a ramshackle cabin by the swamp. He counsels Dan with the advice that men turn evil from “being lonesome,” not for having “bad blood.” When Dan, eventually, decides to confess to his crime, the sheriff finds him tenderly holding a search hound against a bucolic, rural backdrop. His complete comfortability with the landscape and its creatures finally allows Dan to reconcile the film’s opening opposition. He is no longer torturously in between good and evil, but openly recognises his wrongs and commits to do good in the future. If I had to select just a single shot to illustrate that noirs are set in rural locations more often than most scholarship would have us believe, it would be the opening sequence of Moonrise. From the first shot, this film associates rural locations with criminal elements. The credit sequence juxtaposes pooling water with an ominous brass score. In this disorienting opening, the camera travels from an image of water, to a group of men framed from the knees down. The camera dollies out and pans left, showing that these men, trudging solemnly, are another’s legal executioners. The frame tilts upward and we see a man hung in silhouette. This dense shot is followed by an image of a baby in a crib, also shadowed, the water again, and finally the execution scene. If this sequence is a thematic montage, it can also be discussed, more simply, as a series of establishing shots: a series of images that, seemingly, could not be more opposed— a baby, a universal symbol of innocence, set against the ominous execution, cruel experience— are paired together by virtue of their common location. The montage continues, showing that the baby is the son of the condemned man. As Dan struggles with the legacy of his father throughout the film, this opening shot continues to inform our reading of this character, split between the potential for good or evil.What a baby is to Moonrise, or, to cite a more familiar reference, what the insurance business is to many a James M. Cain roman noir, produce distribution is to Jules Dassin’s Thieves’ Highway (1949). The apple, often a part of wholesome American myths, is at the centre of this story about corruption. Here, a distribution network that brings Americans this hearty, simple product is connected with criminal activity and violent abuses of power more commonly portrayed in connection with cinematic staples of organised crime such as bootlegging or robbery. This film portrays bad apples in the apple business, showing that no profit driven enterprise— no matter how traditional or rural— is beyond the reach of corruption.Fitting the nature of this subject, numerous scenes in the Dassin film take place in the daylight (in addition to darkness), and in the countryside (in addition to the city) as we move between wine and apple country to the market districts of San Francisco. But if the subject and setting of Thieves’ Highway are unusual for a noir, the behaviour of its characters is not. Spare, bright country landscapes form the backdrop for prototypical noir behaviour: predatory competition for money and power.As one would expect of a film noir, the subject of apple distribution is portrayed with dynamic violence. In the most exciting scene of the film, a truck careens off the road after a long pursuit from rival sellers. Apples scatter across a hillside as the truck bursts into flames. This scene is held in a long-shot, as unscrupulous thugs gather the produce for sale while the unfortunate driver burns to death. Here, the reputedly innocent American apple is subject to cold-blooded, profit-maximizing calculations as much as the more typical topics of noir such as blackmail, fraud, or murder. Passages on desolate roads and at apple orchards qualify Thieves’ Highway as a rural noir; the dark, cynical manner in which capitalist enterprise is treated is resonant with nearly all film noirs. Thieves’ Highway follows a common narrative pattern amongst rural noirs to gradually reveal rural spaces as connected to criminality in urban locations. Typically, this disillusioning fact is narrated from the perspective of a lead character who first has a greater sense of safety in rural settings but learns, over the course of the story, to be more wary in all locations. In Thieves’, Nick’s hope that apple-delivery might earn an honest dollar (he is the only driver to treat the orchard owners fairly) gradually gives way to an awareness of the inevitable corruption that has taken over this enterprise at all levels of production, from farmer, to trucker, to wholesaler, and thus, at all locations, the country, the road, and the city.Between this essay, and the previous work of Morris and Bell on the subject, we are developing a more complete survey of the rural noir. Where Bell’s and Morris’s essays focus more resolutely on rural noirs that relied on the contrast of the city versus the country— which, significantly, was the first tendency of this subgenre that I observed— Moonrise and They Live By Night demonstrate that this genre can work entirely apart from the city. From start to finish, these films take place in small towns and rural locations. As opposed to Out of the Past, On Dangerous Ground, or The Asphalt Jungle, characters are never pulled back to, nor flee from, an urban life of crime. Instead, vices that are commonly associated with the city have a free-standing life in the rural locations that are often thought of as a refuge from these harsh elements. If both Bell and Morris study the way that rural noirs draw differences between the city and country, two of the three films I add to the subgenre constitute more complete rural noirs, films that work wholly outside urban locations, not just in contrast with it. Bell, like me, notes considerable variety in rural noirs locations, “desert landscapes, farms, mountains, and forests all qualify as settings for consideration,” but he also notes that “Diverse as these landscapes are, this set of films uses them in surprisingly like-minded fashion to achieve a counterpoint to the ubiquitous noir city” (219). In Bell’s analysis, all nine films he studies, feature significant urban segments. He is, in fact, so inclusive as to discuss Stanley Kubrick’s Killer’s Kiss as a rural noir even though it does not contain a single frame shot or set outside of New York City. Rurality is evoked only as a possibility, as alienated urbanite Davy (Jamie Smith) receives letters from his horse-farm-running relatives. Reading these letters offers Davy brief moments of respite from drudgerous city spaces such as the subway and his cramped apartment. In its emphasis on the centrality of rural locations, my project is more similar to David Bell’s work on the rural in horror films than to Jonathan F. Bell’s work on the rural noir. David Bell analyses the way that contemporary horror films work against a “long tradition” of the “idyllic rural” in many Western texts (95). As opposed to works “from Henry David Thoreau and Walt Whitman to contemporary television shows like Northern Exposure and films such as A River Runs Through It or Grand Canyon” in which the rural is positioned as “a restorative to urban anomie,” David Bell analyses films such as Deliverance and The Texas Chainsaw Massacre that depict “a series of anti-idyllic visions of the rural” (95). Moonrise and They Live By Night, like these horror films, portray the crime and the country as coexistent spheres at the same time that the majority of other popular culture, including noirs like Killer’s Kiss or On Dangerous Ground, portray them as mutually exclusive.To use a mode of generic analysis developed by Rick Altman, the rural noir, while preserving the dominant syntax of other noirs, presents a remarkably different semantic element (31). Consider the following description of the genre, from the introduction to Film Noir: An Encyclopedic Reference Guide: “The darkness that fills the mirror of the past, which lurks in a dark corner or obscures a dark passage out of the oppressively dark city, is not merely the key adjective of so many film noir titles but the obvious metaphor for the condition of the protagonist’s mind” (Silver and Ward, 4). In this instance, the narrative elements, or syntax, of film noir outlined by Silver and Ward do not require revision, but the urban location, a semantic element, does. Moonrise and They Live By Night demonstrate the sustainability of the aforementioned syntactic elements— the dark, psychological experience of the leads and their inescapable criminal past— apart from the familiar semantic element of the city.The rural noir must also cause us to reconsider— beyond rural representations or film noir— more generally pitched genre theories. Consider the importance of place to film genre, the majority of which are defined by a typical setting: for melodramas, it is the family home, for Westerns, the American west, and for musicals, the stage. Thomas Schatz separates American genres according to their setting, between genres which deal with “determinate” versus “indeterminate” space:There is a vital distinction between kinds of generic settings and conflicts. Certain genres […] have conflicts that, indigenous to the environment, reflect the physical and ideological struggle for its control. […] Other genres have conflicts that are not indigenous to the locale but are the results of the conflict between the values, attitudes, and actions of its principal characters and the ‘civilised’ setting they inhabit. (26) Schatz discusses noirs, along with detective films, as films which trade in “determinate” settings, limited to the space of the city. The rural noir slips between Schatz’s dichotomy, moving past the space of the city, but not into the civilised, tame settings of the genres of “indeterminate spaces.” It is only fitting that a genre whose very definition lies in its disruption of Hollywood norms— trading high- for low-key lighting, effectual male protagonists for helpless ones, and a confident, coherent worldview for a more paranoid, unstable one would, finally, be able to accommodate a variation— the rural noir— that would seem to upset one of its central tenets, an urban locale. Considering the long list of Hollywood standards that film noirs violated, according to two of its original explicators, Raymond Borde and Etienne Chaumeton— “a logical action, an evident distinction between good and evil, well-defined characters with clear motives, scenes that are more spectacular than brutal, a heroine who is exquisitely feminine and a hero who is honest”— it should, perhaps, not be so surprising that the genre is flexible enough to accommodate the existence of the rural noir after all (14). AcknowledgmentsIn addition to M/C Journal's anonymous readers, the author would like to thank Corey Creekmur, Mike Slowik, Barbara Steinson, and Andrew Gorman-Murray for their helpful suggestions. ReferencesAltman, Rick. “A Semantic/Syntactic Approach to Film Genre.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 27-41.The Asphalt Jungle. Dir. John Huston. MGM/UA, 1950.Bell, David. “Anti-Idyll: Rural Horror.” Contested Countryside Cultures. Eds. Paul Cloke and Jo Little. London, Routledge, 1997. 94-108.Bell, Jonathan F. “Shadows in the Hinterland: Rural Noir.” Architecture and Film. Ed. Mark Lamster. New York: Princeton Architectural P, 2000. 217-230.Borde, Raymond and Etienne Chaumeton. A Panorama of American Film Noir. San Francisco: City Lights Books, 2002.Christopher, Nicholas. Somewhere in the Night: Film Noir and the American City. New York: Simon and Schuster, 1997.Cowie, Elizabeth. “Film Noir and Women.” Shades of Noir. Ed. Joan Copjec. New York: Verso, 1993. 121-166.Dickos, Andrew. Street with No Name: A History of the Classic American Film Noir. Lexington: UP of Kentucky, 2002.Hirsch, Foster. Detours and Lost Highways: A Map of Neo-Noir. New York: Limelight Editions, 1999.Marx, Leo. The Machine in the Garden. New York: Oxford UP, 1964.McArthur, Colin. Underworld U.S.A. London: BFI, 1972.Moonrise. Dir. Frank Borzage. Republic, 1948.Morris, Gary. “Noir Country: Alien Nation.” Bright Lights Film Journal Nov. 2006. 13. Jun. 2008 http://www.brightlightsfilm.com/54/noircountry.htm Muller, Eddie. Dark City: The Lost World of Film Noir. New York: St. Martin’s P, 1998.Naremore, James. More Than Night: Film Noir in its Contexts. Berkeley, C.A.: U of California P, 2008.Neale, Steve. “Questions of Genre.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 160-184.On Dangerous Ground. Dir. Nicholas Ray. RKO, 1951.Out of the Past. Dir. Jacques Tourneur. RKO, 1947.Place, Janey. “Women in Film Noir.” Women in Film Noir. Ed. E. Ann Kaplan. London: BFI, 1999. 47-68.Schatz, Thomas. Hollywood Genres. New York: Random House, 1981.Schatz, Thomas. “The Structural Influence: New Directions in Film Genre Study.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 92-102.Silver, Alain and Elizabeth Ward. Film Noir: An Encyclopedic Reference Guide. London: Bloomsbury, 1980.They Live by Night. Dir. Nicholas Ray. RKO, 1949.Thieves’ Highway. Dir. Jules Dassin. Fox, 1949.Williams, Raymond. The Country and the City. New York: Oxford UP, 1973.