Application of 1-naphthaleneacetic acid (NAA) or 1-aminocyclopropane-1-carboxilic acid (ACC) to maize roots growing in hydroponic solution inhibited root elongation, and increased radial growth, but the responses to those treatments differed in degree. Auxin was more effective than ACC as an elongation inhibitor and root swelling promoter. Whereas NAA fully inhibited elongation and maintained swelling over 48 h, ACC inhibited elongation partially (50%) and only promoted swelling for 24 h. It is well-known that auxin, like ACC, promotes ethylene production, but similar levels of ethylene production reached by means of NAA or ACC treatments did not elicit the same response, the response being always stronger to NAA than to ACC. These results suggest that the effect of auxin on root growth is not mediated by ethylene. Elongation and swelling of roots appear to be inversely related: usually a reduction in elongation was accompanied by corresponding swelling. However, these two processes showed different sensitivities to growth regulators. After 24 h treatment with 0.5 μM NAA or 5 μM ACC, root elongation was inhibited by 90% and 53% respectively, but the same treatments promoted swelling by 187% and 140% respectively. Furthermore, 1 μM ACC was shown to promote inhibition of root elongation without affecting swelling. The ethylene antagonist STS (silver thiosulfate) did not affect elongation in control or NAAtreated roots, but increased ethylene production and swelling. These results indicate that longitudinal and radial expansion could be independently controlled.
This article examines the relationship of disgust and perversion in Lovetown (Lubiewo bez cenzury) by Michał Witkowski. An overview of the reception of the book reveals that reviewers and critics have focused mainly on Witkowski’s portrayal of the LGBT community, the structure of the novel (dubbed the ‘queer Decameron’), and the textual (meta) creation of the writer’s voice, but it ignored his handling of disgust and perversion. Central to this reading of Lovetown, which draws on Sigmund Freud’s analyses of disgust and perversion, is the observation that the narrator interlards his lingo with neutral, ‘objective’ explanations of the main characters’ deviant behaviours. This glossary, written for the general reader, tends, in effect, to legitimize deviance. An in-depth analysis of the writer’s handling of the categories of the disgusting, the perverse and the sacred leads to the conclusion that Lovetown exemplifies a cathartic-therapeutic narrative in which disgust becomes a tool of self-fulfi llment.