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Books on the topic 'Lac Operon'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

The lac Operon: A short history of a genetic paradigm. Berlin: Walter de Gruyter, 1996.

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2

Lee, See-Lai. Studies on regulation of expression of the verotoxin operon and of the 39K replication protein of plasmid pFA3 using gene and operon fusions to lac Z. Ottawa: National Library of Canada, 1990.

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3

Lao piao shuo xi. Beijing: Wen wu chu ban she, 2004.

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4

Zhiqi, Li, and Huang Caiyin, eds. Wo de shen xian lao ba. Taibei Shi: Bu ke wen hua chu ban shi ye bu, 2007.

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5

Ping min lao guan Luo Jiabao. Xianggang: San lian shu dian (Xianggang) you xian gong si, 2011.

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6

Zhuang yuan lao dan: Zhao Baoxiu. Beijing: Zhongguo cheng shi chu ban she, 2011.

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7

Jing ju yuan lai ru ci mei li. Beijing Shi: Zhongguo you yi chu ban gong si, 2009.

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8

Lan hua bu shang de Kun qu. Beijing Shi: Sheng huo, du shu, xin zhi san lian shu dian, 2008.

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9

Ziyuan, Zhang, ed. Jing ju lao dan ming jia chang qiang shang xi. Beijing: Zhongguo xi ju chu ban she, 1989.

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10

Xu Yulan: Ren ru bai yu xi ru lan. Shanghai Shi: Shanghai jin xiu wen zhang chu ban she, 2013.

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11

Zhongguo xi qu xue yuan., ed. Jing ju de li shi, xian zhuang yu wei lai. Beijing Shi: Zhongguo xi ju chu ban she, 2006.

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12

Lai xun shi Yue ju qu ji.: The room of inspiration collection of Cantonese opera numbers (I). [Xianggang]: Zhong hua shu ju (Xianggang) you xian gong si, 2000.

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13

Jing ju lao sheng liu pai zong shuo. Beijing: Zhonghua shu ju, 1986.

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14

Tan, Qianhong. Han Wudi zhi chu hui wei fu ren: Han Wudi zhi jin yuan chan juan meng li lai. [Xianggang]: Feng xing chang pian you xian gong si, 2012.

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15

Operae libertorum: Untersuchungen zur Dienstpflicht freigelassener Sklaven. Stuttgart: Steiner Verlag Wiesbaden, 1986.

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16

Zhengli, Ye, ed. Shen gong xi zai Xianggang: Yue ju, Chao ju ji Fu lao ju. Xianggang: San lian shu dian (Xianggang) you xian gong si, 1996.

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17

Hai shang lan yuan: The blooming flower of Shanghai kunqu. Shanghai Shi: Shanghai yuan dong chu ban she, 2012.

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18

Jing ju lao sheng liu pai zong shuo. Beijing: Zhong hua shu ju, 1986.

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19

Apreda, Rodolfo. Administradoras de fondos de jubilaciones y pensiones: Qué son y cómo operan. Buenos Aires: Ediciones Macchi, 1993.

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20

Oke, Janette. A gown of Spanish lace. Minneapolis, MN: Bethany House Publishers, 1995.

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21

Oke, Janette. A gown of Spanish lace. Thorndike, Me: G.K. Hall, 1996.

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22

Fuguang, Zhang, ed. Chu ci lan yun: Li Chuchi kun qu wu shi nian. Beijing Shi: Wen hua yi shu chu ban she, 2008.

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23

Doria, Carla Masi. Civitas operae obsequium: Tre studi sulla condizione giuridica dei liberti. Napoli: Jovene, 1993.

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24

Vázquez, Carmen García. Contribución al estudio del usus, la habitatio y las operae servorum. [Cádiz]: Universidad de Cádiz, 1995.

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25

Jikun, Yao, ed. Qing chu yu lan: Zhang Jiqing Kun qu wu shi wu nian. Beijing: Wen hua yi shu chu ban she, 2009.

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26

Marie, Robertson Eleanor. Ai shang Meiguo lao. Taibei Shi: Xi dai shu ban gu fen you xian gong si, 1996.

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27

Zhou, Mingtai. Dao Xian yi lai li yuan xi nian xiao lu. Beijing: [Zhongguo xi qu yi shu zhong xin], 1985.

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28

Xiaobing, Lai, and Cui Jiannan, eds. Min qu qian chang: Cui can ban lan xiao ju zhong. Fuzhou Shi: Hai chao she ying yi shu chu ban she, 2005.

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29

Lao Tian kan xi: Jing ju xi mi liu shi nian kan xi ji yi. Beijing Shi: Xue yuan chu ban she, 2014.

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30

Ye you kong hua lai huan meng: Jing dou lin qu lu II. Taibei Shi: xiu wei zi xun ke ji gu fen you xian gong si, 2013.

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31

Hemingway, Ernest. Lao ren yü hai. Zhonghe Shi Taibei Xian: Shu Hua chu ban shi yeh yu xian gong si, 1986.

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32

Hemingway, Ernest. Lao ren yü hai. Tainan Shi: Xiang yi chu ban she, 1998.

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33

Hemingway, Ernest. Lao ren yü hai. Taibei Shi: Lin yü wen hua shi yeh yu xian gong si, 1992.

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34

Shu ying you lan: Zhongguo Kun qu de dang dai chuan cheng yu fa zhan. Beijing Shi: Wen hua yi shu chu ban she, 2014.

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35

Clark, Mary Higgins. Xiao shi de lan yi nü hai. Taibei Shi: Gao bao guo ji you xian gong si Taiwan fen gong si, 2007.

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36

editor, Liao Yuhui, ed. Liao Yuhui lao shi de jing dian wen xue: Bei huan li he xi qu gu shi. Taibei Shi: Wu nan tu shu chu ban gu fen you xian gong si, 2013.

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37

Jing ju lao sheng dan hang liu pai zhi xing cheng yu fen hua zhuan xing yan jiu. Taibei Shi: Guo jia chu ban she, 2008.

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38

B, Kalaavathi. Grid and Cloud Computing: With Lab experiments as per Anna University Syllabus of R-2013. Chennai, India: AR Publications, 2016.

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39

1927-, Hamilton David A., ed. Opera plot index. New York: Garland Pub., 1990.

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40

Hemingway, Ernest. Lao ren yu hai: The old man and the sea. [Tai]bei Shi: Jiu yi chu ban she, 1998.

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41

Hemingway, Ernest. Lao ren yu hai: The old man and the sea. Tainan Shi: Da xia chu ban she, 1996.

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42

Thalacker, Karen. The new lawyer's handbook: 101 things they don't teach you in law school. Naperville, Ill: Sourcebooks, 2009.

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43

Kleinsmith, Lewis J. Lac Operon: Apple Ii/Manual and 48K Diskette. Wadsworth Pub Co, 1986.

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44

Kleinsmith, Lewis J. Lac Operon: IBM Pc, Jr, Xt, At/Manual and 128K Diskette. Wadsworth Pub Co, 1986.

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45

Preston, Katherine K. The American Opera Company. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0007.

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This chapter focuses on the philanthropist Jeannette Thurber, who founded the American (National) Opera Company (1885) to encourage high-caliber performances of continental operas translated into English. Her company was heavily subsidized by New York society and supported by establishment music critics. But both Thurber and her musical director Theodore Thomas misunderstood the American opera audience, and mounted serious works designed for cultural uplift, to the neglect of Italian and French operas that were popular among the general public. Society members were not interested in English-language opera because it was not sufficiently exclusive; middle-class operagoers were repelled both by the trappings of elitism and the expensive tickets. A close reinterpretation of the company’s failure reveals much about American operatic taste; it is also important in the context of this book because scholars have blamed the company’s spectacular demise on a general lack of support for English-language opera.

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46

Graziano, John. Italian Opera in English: Cinderella, Adapted by M. Rophino Lacy, 1831, from Gioachino Rossini, La Cenerentol (1831). Routledge, 1994.

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47

Williams, Carolyn. Comic Opera. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.3.

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W. S. Gilbert (librettist) and Arthur Sullivan (composer) wrote fourteen works of musical theatre from 1871 to 1896, often called the ‘Savoy operas’ after 1881, when producer Richard D’Oyly Carte built the Savoy Theatre to house them. They crafted a distinctive genre of English comic opera through parodies of previous genres both high and low, both English and Continental. The operas are absurdist, parodic, and satirical, but are played in a deadpan style and are punctuated with resonantly affecting numbers. The comic operas by Gilbert and Sullivan are an essential precursor of the modern musical, and their depiction of English society is humorous yet critical, replete with satire of English institutions, the law, the professions, gender relations, and empire. They examine the theatricality of everyday life, the dynamics of socialization, accidents of birth and circumstance, the effects of tutelage and authority, Victorian exhibition culture, social class, gender, and nationalism.

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48

Faulkner, William. Als ich im Sterben lag. Rowohlt Verlag GmbH, 2012.

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49

Faulkner, William. Als ich im Sterben lag. Schoenhofs Foreign Books, 2002.

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50

Shirley, George. Il Rodolfo Nero, or The Masque of Blackness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0013.

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In this chapter, the author reflects on the issue of race in opera and its impact on black singers. He first recounts his European operatic debut in Milan in 1960, singing the role of Rodolfo in Giacomo Puccini's La Bohème, and how his performance prompted numerous references to “il Rodolfo nero”(“The black Rodolfo”) in many Italian newspapers. The author reveals how blackness has figured in his theater performances since he entered the singing profession, including those with the Scottish Opera and the Metropolitan Opera. He notes that black singers of opera remain minorities in the profession numerically and racially; they are rarely, if ever, selected to interpret white roles in operas that focus on life in contemporary white society. He concludes by saying that he will not discourage young black singers from following their dreams of singing the great roles, and that the profession must respect what the artist brings vocally, musically, and dramatically as well as the opera-loving public's voracious appetite for great singing.

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