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Comprehensive essay about fungi
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The Fungi Formerly Known as Dentinum Repandum
This paper will cover a description of Hydnum repandum, its ecology, and some research involving the species.
The first topic to be discussed in this paper is a description of Hydnum repandum, which was until recently referred to as Dentinum repandum. The description of the fungi will start with the appearance of H. repandum, and will be followed by the life cycle of the noted species.
The appearance of Hydnum repandum is quite unique. The stipe of the fungi can range from two to seven centimeters tall, and one to three centimeters thick (Wood). The surface of the stipe can range from cream to yellow in color, and is dry and smooth. The cap of the mushroom is two to ten centimeters broad, with a smooth, dry surface (Graham 84). The caps color can range from cream to orange. It has a thick flesh that is very brittle, with a mild taste and odor. The hymenophore has teeth that are 0.4 to 0.6 centimeters long. They are cream colored, and also brittle (Wood).
The life cycle of Hydnum repandum is fairly simple, as you can see from Figure 2. It falls into the subdivision of Eumycota, called Basidiomycotina (Ross 18). This group contains many large, fleshy fungi,
To begin this discussion on the life cycle of Hydnum Repandum, this text will start with the basidiospore germination (Webster 295). This results in a haploid mycelium with a single nucleus in each cell. It is then referred to as the monokaryon, or the primary mycelium (Ross 141). Following this, two genetically different thalli come together, and the nuclei move from one thallus into another. The migration of nuclei usually results in both of the thalli becoming dikaryotic (Ross 142). This nuclear migration is very quick, and every hyphal tip becomes binucleate. The subsequent growth of the mushroom is all dikaryon (Ross 143).
The next step includes the two nuclei of the dikaryon fusing through karyogomy (Ross 146). The resulting diploid zygotic nucleus then undergoes meiosis, and four haploid nuclei are formed in the basidium (Webster 280). The haploid nuclei move into projections on the basidium, which turn into spores. The spores are attached to the sterigmata until they are released (Ross 146). The cycle then starts over again.
The next topic for discussion in this paper is ecology. This will include, preferred habitats and interactions with abiotic and biotic elements of the environment.
This lab was designed to determine the identity of “mystery spores” by growing them on an agar lined petri dish and observing them growing over the course. While their growth, we learned about various divisions within kingdom Plantae and their characteristics. Using this information about different divisions within kingdom Plantae and our observations of the mystery spores, we created a phylogenetic analysis comparing the mystery spores with the following divisions: Chlorophyta (green algae), Marchantiophyta (liverworts), Bryophyta (mosses), and Pteryophyta (ferns). According to this analysis, we concluded that the mystery spores belonged to the division Pteryophyta. 2.
Sordaria fimicola is a species of microscopic fungus that is an Ascomycete and are used to test for genetic variation in the lab setting (Sordaria fimicola: A Fungus used in Genetics, Volk). These organisms are what are called model organisms, or species that has been widely studied usually because it is easy to maintain and breed in a laboratory setting and has particular experimental advantages (Sordaria fimicola, Volk). S. fimicola, because it is in the Ascomycota phylum, have a distinguishing reproductive structure called the ascus, which is surrounded by the perithecium. This cylindrical sac-like structure houses 8 haploid spores; created through meiosis to produce 4 haploid spores and then mitosis to make 8 (Lab Manual, pg. 59-68). Based on the genotype they will vary in order and color. There are 3 different ratios that can arise from the 8 ascospores: 4:4, 2:2:2:2, and 2:4:2 (black/wild type and tan coloration). The 4:4 ratio suggests that no crossing over had occurred because there is no difference in order of the color parents that were mated. The two other ratios suggest genetic recombination, or crossing over, because of the
A Greek drama is a serious of actions within a literary presentation in which the chief character has a disastrous fate. Many Greek dramas fall under theatrical category of a tragedy due to the tragic events and unhappy ending that cause the downfall of the main character. During the famous play “Antigone” the Greek author Sophocles incorporated several features of a tragedy. These features include a morally significant dilemma and the presence of a tragic hero. Grand debate over which character can hold the title of the tragic hero has discussed in the literally world for ages. A tragic hero can be defined as someone with a substantial personality flaw that causes them to endure great suffering with a reversal of character near the end. Antigone possesses certain traits that could potentially render her the tragic hero but Creon truly embodies all characteristics. Creon is the tragic hero in “Antigone” due to several qualities he displays throughout the play; he can’t accept a diminished view of himself, he endures great suffering and he is enlightened in the end.
Soule, Michael E et al. “Ecological Effectiveness: Conservation Goals for Interactive Species.” Conservation Biology 17.5 (2003) : 1238-1250.
Before Aristotle’s tragic hero model, tragic figures were open to interpretation. The play Antigone by Sophokles, written in 441 BC, existed during this period of ambiguity of what a tragic figure exactly meant. Antigone involves two principal characters that could potentially be the tragic figure, Kreon and Antigone. Kreon is the arrogant king who declares it illegal to give Polyneices, a soldier who had betrayed Thebes during war, a proper burial. Antigone is the sister of Polyneices who is determined to give him the proper burial that she, as his family, is obliged to carry out. Although misfortune falls upon both Antigone and Kreon, Kreon is the true tragic figure of Sophokles’ Antigone because he experiences a profound enlightenment and
A subject of debate in Sophocles’ play Antigone is which character complies with the characteristics of a tragic hero. The qualities that constitute a tragic hero are, in no particular order, having a high social position, not being overly good or bad, isolation, being tenacious in their actions, arousing pity in the audience, a revelatory manifestation, and having a single flaw that brings about their own demise and the demise of others around them. Creon possesses some of these qualities but, does not completely fulfill them all. Antigone does, however, conform to the persona of a tragic hero.
Aristotle once said that a Greek Tragedy must include an important person that has a flaw. By this flaw, the audience should feel pity and fear. Creon, a character in the Greek tragedy “Antigone”, resembles a perfect example of a tragic hero. This play was written by Sophocles, a historic playwright during the 5th century. It begins with the illegal burial of Polyneices, Antigone’s beloved brother. Creon, the King of Thebes, is coerced to condemn his niece Antigone to death. Being loyal to his city, Creon follows through with his punishment of Antigone. By doing so, his character is changed forever. Creon has the qualities of a tragic hero: he is a good person with superior status, he has a tragic flaw, and he comes to realize the role he plays in his own downfall.
The origin of the Sophocles’ Greek tragedy “Antigone” has created much controversy about the definition of a tragic hero, as defined by Aristotle. A literary character that makes a judgment error that leads to his/her own downfall. Both Creon and Antigone challenge each other’s conception of the divine and civic law while each has lawfulness in their argument. It is evidently noted that Antigone is the hero of the tragedy; she was a romantic idealist whose beliefs on family loyalty and religious values could not be condemned by civil laws.
Sophocles was able to incorporate Poetics in his tragedy of Antigone. We see two different characters, moved with two different purposes: one ethical and one pathetic. Through the complication and unraveling we see how Antigone embodies the fundamentals of what a Greek tragedy is.
The play “Antigone” by Sophocles displays many qualities that make it a great tragedy. A tragedy is defined as a dramatic or literary work in which the principal character engages in a morally significant struggle ending in ruin or profound disappointment. In creating his tragedy “Antigone”, Sophocles uses many techniques to create the feelings of fear and pity in his readers. This in turn creates an excellent tragedy.
Sophocles, one of Athens great ancient writers lived through the fifth century B. C. (496-406). In such period of time, theater was considered to be both a religious and civic event. Religious because it happened only twice a year in the honor of the god of wine and crops, Dionysus; civic because every Athenian citizen was invited to take part in the famous three days of drama. Each day, during those days, a tragic play was presented for the audience’s edification. Those plays featured some important mythical or legendary event the audience is familiar with. The main character and the overall story being acted out are also known by every spectator. With that said, the play writer had some expectations to meet and some criterias to follow. Sophocles, in Oedipus the King, had to meet the standard schematic of a tragic play. He needed the base of a traditional plague, lead with a prologue followed by a parados. Many episodes would be added to the parados, as well as many odes. He would close the play with an exodos. There are also some more meaningful details the audience is expecting to see. Those details are included in the great greek philosophe Aristotle’s concept of tragedy. In this essay I will discuss the traditional schematic of a tragic play as well as the particular facts one is expecting to encounter. With Aritstotle’s concept of tragedy, the analysis of Scodel Ruth and Michelakis Pantelis, a scholar and a cultural critique, I will draw on how Oedipus the King fits within the popular theater of the fifth century.
A tragedy is defined as a dramatic composition, often in verse, dealing with a serious or somber theme, typically that of a great person destined through a flaw of character or conflict with some overpowering force, as fate or society, to downfall or destruction. The play Antigone by Sophocles displays many qualities that prove to form into the epitome of a tragedy. Tragedy is usually marked with a person of great standing—in this case, a King—who falls because of hubris, or extreme pride. Antigone proves to live up to both of these definitions which is proven through its themes. Sophocles uses many techniques in this tragedy to contribute to the overall theme. This theme is accomplished by creating emotions in the readers to evoke the understanding of the theme. In the play Antigone, Sophocles uses the themes of pride, power, and femininity to convey his overall theme of tragedy.
The dilemma of identifying the true hero, or heroine, of Sophocles’ Antigone has tortured students for years. It is indeed a difficult decision to make. The basis for this decision is what the reader perceives to be Sophocles’ dramatic issue in this play. The dramatic issue of the play is twofold: Antigone is a fanatic who is driven by her religious fever to bury the body of her criminal brother, Polyneices, against the edict of Creon. In the second part, Sophocles shows how the new King Creon’s refusal to change his decision in the face of adversity is admirable, but at the same time his political morals end up destroying his family. His fall from grace is tragic, whereas Antigone's fall is welcome. In this manner, Sophocles sympathizes with Creon, and thus he becomes the hero of the Antigone.
When the title of a play is a character's name, it is normally assumed that the character is the protagonist of the play. In Sophocles' Antigone, most people probably believe Antigone to be the tragic heroine, even after they have finished watching the play. It may be argued, however, that Creon, not Antigone, is the tragic character. When we examine the nature and concept of the Greek Tragedy and what it means to be a tragic character, it becomes clear that Creon is indeed the tragic hero of the play Antigone.
This essay gives a basic idea of what organizational culture is, and emphasis on the controversial issues of managing organizational cultures. As there are various definitions for organizational culture, and none of them are universally agreed. Therefore, for an easier understanding by readers, the definition of organizational culture given in this essay focusing on levels of culture, and will be discussed t together with Schein's(1983) framework. Before talking about managing organizational cultures, the types will be introduced first. Because, there are some descriptions about managing different types of organizational cultures, in the following content.