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The somatic chromosomes of common wheat, Triticum aestivum L. (2 n = 6x = 42), and those of two of its diploid progenitors and T. speltoides , have been individually identified by a Giemsa staining technique. In wheat, telocentric chromosomes were used to aid the recognition of individual chromosomes, and an ideogram has been constructed depicting the C-band positions. There is no similarity in the C-banding of chromosomes within a homoeologous group, with the possible exception of group 5. Comparisons of the C-banding of the diploid species T. monococcum, T. speltoides , and T. tauschii with that of the A, B, and D genomes, respectively, in hexaploid wheat corroborate that T. speltoides could not be the donor of the B genome to wheat and that T. monococcum and T. tauschii are the probable donors of the A and D genomes, respectively.

The reading of three Japanese patients who had undergone section of the splenium of the corpus callosum for pineal tumours was examined by the tachistoscopic technique. Oral reading of isolated words and their comprehension (matching of words to pictures) in the left visual half-field were found to be impaired 1 yr post-operatively both for ideograms and for phonograms. Two or three years after operation, retests indicated that the deficit (unilateral alexia) was comparatively restricted to the reading of phonograms. It is argued that unilateral alexia is not due to a disorder in the visual perception of words.

A case of disconnection-type agraphia coupled with alexia was reported. The patient showed several asymmetrical manual capacities between the two hands, i.e., dissociated difficulty of Kanji (ideogram) writing between the two hands, left unilateral difficulty of Kana (phonogram) writing, right unilateral dyscopia of letters as well as geometrical figures, and right unilateral difficulty in drawing without a model. Anatomically, lesions involved most of the corpus callosum in its posterior portion including the splenium and the left medial occipital lobe. From these data, a possible liguistic capacity of the right hemisphere was suggested.

Publisher Summary This chapter explains that chromosome constitution of cells in vitro has been one of the most useful criteria for monitoring cell populations. Karyotypical analysis is useful for monitoring the normalcy of the cell populations under consideration. In all cytological preparations of animal cells, regardless of the method used, there are a certain proportion of ruptured cells. In heteroploid cell populations such as long-term cell lines where cells with many different chromosome numbers may exist, the elimination of artifacts becomes a difficult task. An idiogram is an idealized karyotype or a statistically representative karyotype. Therefore no single metaphase, whether it is the actual photograph or length measurements, can be considered as an idiogram. The utility of the conventional karyotype and ideogram analysis has many limitations. It is virtually impossible to determine paracentric inversions or reciprocal translocations of nearly equal portions without examining meiotic behavior. The difficulty has been partially removed by the recent inventions of many new procedures which would reveal characteristic chromosome bands.

Summary Fifty aphasic and 30 non-aphasic hemiplegic patients, screened for visuo-motor or visuo-spatial problems, performed a task of writing 20 high-frequency nouns designating familiar objects. For 10 of the nouns (non-imported words), the subject was required to write both in kanji (ideogram) and in hiragana (one type of phonogram) and for the other 10 (imported words) in katakana (another type of phonogram). Combined visual-auditory stimuli (the picture of the words and the names of the pictures spoken by the examiner) were employed for eliciting responses from the subject. Any response which fell short of the standard orthography of a given word was scored as an error and subjected to a detailed analysis. (The scates of the six aphasic subjects, which showed either zero error or 100% errors on the whole test, were excluded from the analysis.) The results may be summarized as follows: (1) In the kanji transcriptions of non-imported words, both the aphasic and non-aphasic groups made errors, the former group making a larger mean percentage of errors (38%) than the latter group (22%). (2) In the kana transcriptions of both imported and non-imported words, only the aphasic group made errors, the mean percentage errors being 53% for the former and 57% for the latter. (3) The types of kanji errors exhibited by both aphasic and non-aphasic groups were essentially similar to each other, "graphical confusions" being the most frequent type. (4) The types of kana errors, exhibited exclusively by the aphasic subjects, were quite different from those of kanji errors; “phonological confusion” accounted for the most of the errors while there was only a negligible amount of “graphical confusion.” (5) No correlation was found between the respective levels of performance of the aphasic patients in the kanji and kana tasks, indicating that the processing of kanji and kana can be impaired independently in different patients. (6) The aphasics with apraxia of speech showed, as a group, a significantly greater number of errors in the kana transcription of words than did the aphasics without it. These findings provide support for the hypothesis proposed therein, in part duplicating the previous result ( Sasanuma and Fujimura, 1971 ), that kana and kanji transcriptions can be processed in different modes, the former involving a “phonological processor”" and the latter without one.

Skin and fin biopsies of one male and tree femals were kindly provided by Dr. A. Jonsgard, Institutt for Marin Biologi, Oslo, Norway from the 1969 catch. All gave identical results. The smallest acrocentrics have satellites and engage in association. The X is the largest chromosome, the Y is the smallest. They are distinctive. In the female one X is later replicating although both are asynchronous to the autosomes. The Y is not clearly asynchronous. These findings are in agreement with those of Arnason who gives detailed measurements and an ideogram.

The Plant rDNA database (www.plantrdnadatabase.com) is an open access online resource providing detailed information on numbers, structures and positions of 5S and 18S-5.8S-26S (35S) ribosomal DNA loci. The data have been obtained from >600 publications on plant molecular cytogenetics, mostly based on fluorescent in situ hybridization (FISH). This edition of the database contains information on 1609 species derived from 2839 records, which means an expansion of 55.76 and 94.45%, respectively. It holds the data for angiosperms, gymnosperms, bryophytes and pteridophytes available as of June 2013. Information from publications reporting data for a single rDNA (either 5S or 35S alone) and annotation regarding transcriptional activity of 35S loci now appears in the database. Preliminary analyses suggest greater variability in the number of rDNA loci in gymnosperms than in angiosperms. New applications provide ideograms of the species showing the positions of rDNA loci as well as a visual representation of their genome sizes. We have also introduced other features to boost the usability of the Web interface, such as an application for convenient data export and a new section with rDNA‐FISHrelated information (mostly detailing protocols and reagents). In addition, we upgraded and/or proofread tabs and links and modified the website for a more dynamic appearance. This manuscript provides a synopsis of these changes and developments. Database URL: http://www.plantrdnadatabase.com

In a recent issue of the Bulletin, Mr. Sims-Williams argued that in the Sogdian ‘Ancient letters’ the ideogram usually read 'R, found in the address formula, is to be read 'D. Mr. Sims-Williams's arguments were based on palaeographic and on inner Sogdian linguistic considerations. At first glance the Aramaist might be reluctant to accept this reading for the ideogram since in the address formula of letters in the Arsham correspondence, both the material published by G. R. Driver and that found earlier at Elephantine, and in later texts such as the Bar Kokhba letters, the standard form before the addressee is 'L ‘to’. The purpose of this note is to show that there is ample evidence for the interchange of 'D and 'L in both Aramaic and Hebrew to make the use of 'D for the more usual 'L in a branch of the Achaemenian chancery plausible and the use of 'D in the ‘Ancient letters’ probable.

The preposition rm ‘with’ is common in Buddhist Sogdian texts, but has not been found in texts in Manichaean or Christian writing; nor is such a preposition known in any other Iranian language. Its peculiar distribution was noticed by Benveniste, who also remarked: ‘rm…se confond dans l'usage avcc δ'wn, δnn, et entraîne le cas oblique.… Il admet, comme δnn, la postposition pr'yw‘. These facts in themselves strongly suggest that rm is not merely a synonym, but a purely graphic variant, of δnn; and this is confirmed by the ease with which rm can be explained as an ideogram.

NE OF THE MOST COMMON TERMS applied to Ezra Pound's Cantos 't.J has been taken from the theory about the Chinese character which Pound derived from Ernest Fenollosa. Pound believed that almost all the characters are ideograms, that is, composed of two or more pictures which when put together create a new word; to choose a real ideogram as an example, "sun" and "moon" together mean "bright." He also believed that various elements put together in a canto (or in The Cantos as a whole) create a new concept. Canto XCIX is, like most of the cantos, an ideogram in the sense that it consists largely of passages from The Sacred Edict of K'ang Hsi juxtaposed to create a picture of the Confucian ideal of Chinese society. A good many of the passages themselves use Pound's theory by treating the characters as ideograms and analyzing them in accordance with what Pound believed to be their elements. There is a further use of ideogram in that passages from The Sacred Edict are juxtaposed with references to other sources and other civilizations. This canto is thus a good example for a detailed examination of one use of the ideogrammic method in practice, in both its narrowest and its broader senses, to see what Pound really did with it. Pound's frequent statement that only through particulars can we come to generalizations is nowhere better illustrated than in attempting to see how his theories are applied in The Cantos; by a close examination of his method in one canto one can learn how to read other cantos. It can hardly be expected that everyone will agree with the conclusions drawn from these particulars, but we will try to avoid the irritation and also the adulation, one or the other of which has characterized a good deal of Pound criticism. Certainly we should give ample illustrations of a unique method of composition. Canto XCIX is a continuation of Canto XCVIII, most of which also deals with The Sacred Edict, but since that canto has already been analyzed fairly completely, it will be treated only incidentally

"The Chinese 'word,' or ideogram, for red is based on things everyone KNOWS." (Pound 1960:22). Concrete poetry, going beyond the application of ideogrammic process as practiced by Pound, introduces space into the ideogram as a substantive element of poetic structure. In that way a new rhythmic, spatial-temporal reality is created. Traditional linear rhythm is destroyed. If we were to put this in Joycean terms (see Part I of Ulysses), we would say that concrete poetry results from the interaction of the verbal, from the ineluctable modality of the visible and the ineluctable modality of the audible, in a very short space of time through very short times of space. Joyce, like Pound, does not use the blank space of the page as an element of composition. He achieves in each of his famous metaphorwords a small verbivocovisual ideogram, to use his own terminology: silvamoonlake.1 This example also illustrates that "panaroma of all flores of speech," which Joyce began in Ulysses, and realized completely in his work of maximum complexity, Finnegans Wake. With reference to spatial achievements, one must cite above all the last, impressive work of Mallarme, Un Coup de D~s (1897). This is the first poetic work consciously and structurally organized according to space

For all the modules of Computervision's computer-aided design, engineering and manufacturing workstation, the CADDS station, the number of icons representing the various applications and tools is greater than 5000, with the new icon designs being added daily. This number of symbols is greater than the number of characters in the basic Chinese system of ideograms, according to one introduction to the language. Computervision had no icon design manual to ensure legibility, readability, and consistency among these signs, which were being developed by software groups in four different countries.

"Because to exist is to exist in time. But the ideogram conveys more than this. It projects the notion that this energy is to be conceived of as over and against temporal successiveness. That which is without limit is locked in confrontation with that which diminishes & destroys. In time, all things pass away. The timeless is at war with time. Since ALEPH is beyond limitation, this war is endless."

ALL WRITING originated in primitive man's natural attempt to picture objects, ideas, and events, as exemplified in Amerindian pictographs. Out of this grew ideographic writing, in which pictures are employed to denote specific objects or ideas, and secondarily the sound complexes or words denoting these objects and ideas, as in Akkadian cuneiform, Egyptian hieroglyphic, and Chinese. The most natural development of this ideographic writing is in the direction of syllabic writing, in which ideograms denoting words of one syllable become, through the rebus principle, the signs for syllabic sounds in addition to being signs for objects and ideas. This is the line of development followed, for example, by cuneiform

THE TEXTS PUBLISHED in my Miscellaneous Babylonian Inscriptions are most of them extremely difficult, especially in their present fragmentary condition. I have read Dr. Peters' comments on them with much interest and am grateful to him for his attempt to elucidate their meaning from the knowledge gained by his experience in Babylonia. His observations in most instances commend themselves. It is a question whether he has not at times over-worked the liturgical idea. While I have that feeling in reading his notes, I am not prepared to say that he has. The object of the present note is to discuss Dr. Peters' suggestion that text No. 1 is a hymn or liturgy in part in praise of a king of Kesh, who had rebuilt the temple at Nippur. This possibility, though it occurred to me when editing the text, was not seriously entertained, because so little is known historically of Kesh, that such a consideration seemed to land us in an historical mist. The suggestion is, however, worthy of more serious consideration than was then given it. If it should turn out to point to an historical fact, it might open a new vista in Babylonian history. The ideogram employed in our text for Kesh is Brinnow, No. 10859 (= CT 11.49, 32 ab). The question is, does this ideogram designate a city that was later designated by another ideogram, or does it refer to a city never designated by another ideogram? If the latter alternative is true, then Kesh disappeared at the dawn of written history and we know practically nothi'ng about it. If the former is true, then it is possible that something of its later history is known, or at least ascertainable. Clay (Empire of the Amorites, p. 104) identifies Kesh with Opis. He does this on the authority of Thureau-Dangin, who in SAK, pp. 20, 21, read the ideogram UUU-Kesh. Later in his work, however, (p. 225 note d) Thureau-Dangin recognized UTJU as referring to Opis. Clay's identification is accordingly erroneous. Kesh is designated by quite a different ideogram. If Kesh were the same as Opis

A drawing is defined as an image in which the composition of lines predominates over considerations of color. Drawings are conceived by the author as structures and non-structures, although any drawing is bound to be structural. In the drawings as non-structures, the elements of the unexpected, accidental, and automatic play a dominant role. In a drawing as a structure, any line must be deeply felt, and drawn on a surface with the conviction that it is necessary where it is placed. By surface is meant the entire picture surface which cannot be divided or separated to show merely any portion covered by lines. These drawings are considered as structures, because in them there is the arrangement of all the parts to the whole. The structure drawings are discussed under the following seven groupings: structures of things (including landscapes), structures of space, structures of the spoken, structures of signs, structures drawn to poems, dimension of time structures and structures drawn to music. The significance of size and of proportions in drawings as structures and non-structures is stressed, and special consideration is given to the largeness inherent in certain small-sized and even tiny-sized works of art. The author's minimum drawings are discussed both as single pictures and as assemblages. Three-dimensionality is shown not merely in superimposed drawings, but also in the author's vertical sky-scraper pictures and his horizontal promenade pictures, in which the dimension of time enters in the viewing of the picture by the beholder. The author emphasizes that his pictures, both drawings and paintings, differ fundamentally from the pictures by artists of ancient China and Japan, because of the entirely different conceptions of space. An attempt is made to correlate today's world view of science as a product of Western thought and the author's letterless writing. The latter is not any form of calligraphy either practiced in the orient or in abstractions by modern artists-of the West and East-who still suggest some definite meaning of letters, ideograms, or hieroglyphs.

It has long been a familiar view among students of language that writing is not and cannot be anything other than a record of speech. It is recognized that the particular speech in question may never have been audibly uttered. But marks on paper, in order to be writing, must according to this view correspond at least to potential speech-sounds existing in the mind of the writer (if he has a mind) or represented by observed or assumed movements of the writer's vocal organs or other portions of his anatomy (if he has no mind), and must in either case enable any reader who knows both the system of writing and the dialect to utter the particular series of phonemes intended by the writer. I do not know how old this view may be. I have the impression that it is too old to have originated in any of those schools of thought which deny the existence, or the accessibility to scientific investigation, of human consciousness, but I am not prepared to document this impression. It seems clear that these schools of thought provide important support for the view at the present time. This opinion of writing seems to be the only one reflected in Edward Sapir, Language: an Introduction to the Study of Speech (New York, 1921, reprinted 1939; see especially pp. 19-21) or in Leonard Bloomfield, Language (New York, 1933; see especially Chapter 17, Written Records). A recent expression of the same view appears in Bloomfield, Linguistic Aspects of Science (International Encyclopedia of Unified Science 1.4; Chicago, 1939): 'Writing is a device for recording language by means of visible marks. By "recording" we mean that the beholder, if he knows the language of the writer and the system of writing, can repeat the speech which the writer uttered, audibly or internally, when he set down the marks' (6). The last-named work, however, contains other statements which seem to me to contradict this view. Thus Bloomfield states (7) that mathematical discourse (described as the 'most characteristic and powerful form' of 'the language' of science') 'can be transmitted only by means of a written record.' With reference to certain mathematical procedures he writes (30), 'The result is a system of writing which cannot be paralleled in actual speech.' Again (43), 'The ancient Greeks carried on mathematical demonstrations largely in ordinary language; it was the development, in the early modern period, of arithmetic and algebra, with its box-within-box markings of scope, that divorced scientific calculations not only from ordinary language but, to all practical purposes, from vocal

We have lived long in a generalizing time, at least since 450 BC. And it has had its effects on the best of men, on the best of things. Logos, or discourse, for example, has, in that time, so worked its abstractions into our concept and use of language that language's other function, speech, seems so in need of restoration that several of us got back to hieroglyphs or to ideograms to right the balance. (The distinction here is between language as act of the instant and language as the act of thought about the instant.) [HU, 3-4]

An experiment in the recall of visually presented Japanese Kanji ideograms suggest that Kanji may, like alphabetic words, be encoded phonetically, despite their lack of phonetic structure. The experiment, based on Kintsch's and Buschke's (1969) paradigm, assumed that similarity of items in a list increased errors in recall. Four lists were prepared, each containing 16 different Kanji. The first included phonetically similar pairs of characters; the second, semantically similar pairs; the third, visually similar pairs; the fourth was a control list containing no similar pairs. The subjects, 10 native speakers of Japanese, were presented with randomly ordered versions of each list, at one character per second. After a subject had seen an entire list, he was presented with a cue character selected from the list, and asked to recall the character that had been presented immediately before the cue. Confusion in recall was significantly greater for the phonetic list than for the other lists. These results strengthen the hypothesis that regardless of structure, visually presented linguistic items are, like speech itself, phonetically processed.

If Hugh Hefner has not accepted this book for serialization in Playboy, he should look into the possibility. The publisher, in fact, may have had Playboy in mind when he placed at the top of each page a paired male ideogram ([unk]). Ideogrammatic humor is a staple of the Hefner journal.This should not be construed as criticism of either Playboy or the book. The former, on occasion, publishes first-rate journalism, and as journalism the book cannot be faulted. Its description of the "gay world" of San Francisco homosexuals is extraordinarily readable. The vignettes of "Tom" and "Paul" and "Kenny" are fascinating. The language is discreetly racy. No expertise is required to comprehend the speculations about etiology. And the moral (every man to his cup of tea) could have been lifted bodily from Hefner's "Playboy Philosophy."It is not clear, however, that the book was intended as journalism. A large