Full Download Molecular Cell Biology Lodish 7th Edition Test Bank File PDF Free All Chapter
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2-1
Chemical Foundations
2
Molecular Cell Biology Lodish 7th Edition Test Bank
Ans: d
Ans: e
Ans: d
Ans: d
2-2
2-3
5. When two atoms differing in electronegativity are joined in a covalent bond, then the
a. electrons are shared equally between the atoms.
b. bond is nonpolar.
c. resulting compound is devoid of any dipole moment.
d. atom with the greater electronegativity attracts the bonded electrons more.
Ans: d
Ans: b
Ans: d
8. Adenosine is a
a. component of RNA.
b nucleotide.
c. pyrimidine.
d. a and b
Ans: a
Ans: d
Ans: d
2-4
Ans: c
12. A 1-mL solution of 0.1 M NaOH is diluted to 1 L at 25°C. What is the pH of the resulting solution?
a. 1
b. 7
c. 10
d. 13
Ans: c
13. The pKa of the weak base NH3 is 9.25. When present in lysosomes, a subcellular organelle—ammonia—is almost totally
protonated. Which of the pH values listed below is most likely to be that of the lysosome lumen?
a. 1
b. 5
c. 8
d. 14
Ans: b
14. If the equilibrium constant for the reaction A → B is 0.5 and the initial concentration of A is 25 mM and of B is 12.5
mM, then the reaction
a. will proceed in the direction it is written, producing a net increase in the concentration of B.
b. will produce energy, which can be used to drive ATP synthesis.
c. will proceed in the reverse direction, producing a net increase in the concentration of A.
d. is at equilibrium.
Ans: d
15. For the binding reaction A + B → AB, the dissociation constant is equal to
a. ( + )
b. ([A] + [B])/[AB].
c. Keq
d. a and c
Ans: b
Ans: a
a. dehydrated.
b. hydrolyzed.
c. oxidized.
d. reduced.
Ans: d
Ans: c
Ans: e
a. –1
b. 0
c. 1
d. 2.3
Ans: c
21. A reaction with a positive G value can be made energetically favorable by increasing the
a. G.
b. starting concentration of products.
c. starting concentration of reactants.
d. a or b
Ans: c
22. Photosynthesis by plants and certain microbes traps the energy in light and uses it to
a. reduce glucose into carbon dioxide.
b. synthesize ATP from ADP and inorganic phosphate.
c. generate ATP from the oxidation of reduced inorganic compounds.
d. none of the above
Ans: b
Ans: d
2-6
24. The interactions between two proteins such as an antibody and an antigen or a hormone and its receptor are quite strong
despite the fact that these interactions consist of relatively weak noncovalent bonds. How can this be?
Ans: Two proteins can bind tightly because of molecular complementarity, in which multiple noncovalent bonds
participate. Although each individual bond is weak, the cumulative effect of many noncovalent bonds is a relatively strong
and highly specific interaction.
Ans: The dipole of a water molecule is caused by the difference in electronegativity between O and H. The oxygen atom
has a greater electronegativity than the hydrogen atom. As a result, oxygen attracts the electrons in the O–H bond more,
and the oxygen side of the bond has a slight net negative charge. This results in a dipole moment.
26. What types of bonds are apt to be more common in the non-aqueous, interior environment of a protein than in the aqueous,
surface environment of a protein?
Ans: Proteins are arranged so that hydrophilic amino acids are on the surface of the protein and hydrophobic amino acids
are in the interior. Hence, hydrogen bonding and ionic interactions with water are particularly common at the protein
surface; hydrophobic interactions are more common in the protein interior.
Ans: You should choose L-tryptophan. All amino acids can exist as one of two stereoisomers ( D or L) because of asymmetry
around the carbon. Proteins consist of the L form of amino acids, and as these stereoisomers possess distinct biological
properties and are not readily interconverted, you should choose the form that is normally utilized by cells.
28. Cysteine often plays an important role in stabilizing protein structure. Explain how this works.
Ans: Two adjacent sulfhydryl (SH) groups can oxidize to form a covalent disulfide (S-S) bond. Disulfide bonds can
stabilize the structure of folded peptides or sometimes hold two separate peptide chains together.
29. Triacylglycerol and cholesterol esters are nonpolar; in contrast, phospholipids are amphipathic molecules. Biomembranes
are based on phospholipids rather than on triacylglycerols. Why?
Ans: Biomembranes are based on phospholipids rather than on triacylglycerols because phospholipids as amphipathic
molecules can form planar lipid bilayers, whereas the nonamphipathic nonpolar triacylglycerols cannot. The amphipathic
property, the presence of a polar and nonpolar domain at opposite ends of the same molecule, allows phospholipids to form
hydrophilic associations with water at the same time as forming hydrophobic associations with each other through their
hydrophobic tails. Triacylglycerols are strictly hydrophobic in nature and hence in an aqueous environment tend to
associate with one another to form lipid droplets. This minimizes the contact of triacylglycerol with water. Recall the old
adage: oil and water do not mix.
Ans: An enzyme has no effect on the end equilibrium concentration of reactants and products.
31. The enzyme alcohol dehydrogenase is capable of catalyzing the oxidation of a number of different substances, including
ethanol, ethylene glycol, and methanol, to an aldehyde. The metabolic products of both ethylene glycol and methanol are
highly toxic to humans. A standard medical treatment for prevention of ethylene glycol or methanol poisoning is the
administration of a dose of ethanol. Why is this treatment effective?
Ans: The administration of a dose of ethanol is effective because the ethanol-like ethylene glycol and methanol are capable
of binding to the enzyme, alcohol dehydrogenase, and in binding can compete with the other substrates. A sufficient dosage
of ethanol can out-compete the other substrates, and hence the ethylene glycol and methanol are not metabolized to toxic
products. Gradually the ethylene glycol or methanol will be excreted from the body.
New question: How do cells maintain a relatively constant pH despite the fact that many metabolic processes produce
acids?
Ans: All cells contain buffers such as phosphate ions that can absorb or release protons or hydroxyl ions to stabilize pH
changes near neutral pH.
Ans: Urea will be less soluble at cold-room temperatures than at room temperature because the decrease in temperature
will decrease the term TS, increasing the value of G, because G = H − TS. The values of H and S are relatively
independent of temperature.
33. Phosphoglucomutase converts glucose 1-phosphate, the product of the reaction catalyzed by glycogen phosphorylase, into
glucose 6-phosphate. The Keq for this reaction is 19 under standard conditions. What is the G°´ for the reaction?
Ans: −1.741 kcal/mol, G°´' = −2.3RT log Keq, G°´' = −2.3 (1.987) (298) log Keq
34. Under what conditions is the G for a reaction different from the G°´?
Ans: G°´ is the Gibbs free energy of a reaction under standard conditions: pH 7.0, 1 M initial concentrations of all
reactants and products except protons and water, 1 atm pressure, 298°K (25°C). Variation of any of these parameters from
standard conditions, depending on reaction, can produce a different G value.
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Christmas picture-books—which, of course, is why that text is written
so seldom by the serious professional writers who, if they chose to
do it at all, could do it best.
Only a dozen painters are represented in Mr. Max Rooses’
volume, and the selection of this dozen is extremely arbitrary, or
would be if it were not, as we understand, the intention of the
publishers to follow up the present with at least one other volume.
Two women figure amongst the twelve. Miss Jacoba van der Sande
Backhuysen, the aged flower-painter, who died three years ago, and
then was seventy-one, deserved probably to be included. She is
included. Some of her work is of freedom and vigour, if some also
tends to be precise and impersonal. You cannot find in every
generation or in every land a Fantin-Latour or a Francis James; and
the flowers of Jacoba van der Sande Backhuysen are generally
welcome. But the introduction of Henriette Ronner, a popular and
quite delightful lady, with the narrow speciality of painting cats, was
surely scarcely merited. As for the men, the choice is hardly less
arbitrary. Israels, of course, is in his place, with his grey record of the
homely and the sad; and, though Alma-Tadema is a naturalised
Englishman, it is not surprising that the Dutch should be reluctant to
forget what at least was his origin. But if Alma-Tadema is to be
included, why is Van Haanen—a Dutchman still, probably, and the
truest and subtlest of all living painters of Venetian life and character
—why is Van Haanen to be left out? We receive gladly what is given
us of Bisschop, Weissenbruch, and Gabriel. But the omission of
such gifted Dutchmen as Mauve and Mesdag and Artz and Mathieu
Maris—even in a first volume—is memorable. Further, the omission
of the great name of Jacob Maris—certainly one of the most potent
of all contemporary masters—would be fatal to any pretensions that
the volume might make to completeness, or, if the phrase may be
accorded us, to even a temporary finality. But if it becomes the duty
of any qualified observer to note important omissions, compelling
further instalments of the history, it must be satisfactory to him to
chronicle such inclusions as those we have already cited as
welcome and reasonable, and it is nothing less than a pleasure to
find, not only contained, but placed in the forefront of the volume, the
name and work of Johannes Bosboom. To Bosboom, and his right of
place there, we will devote our remaining comments, and partly
because the large English public is still strangely deficient in the
appreciation of his work.
Johannes Bosboom was born at the Hague in 1817. He died in
1891, aged seventy-four, and in the artistic world of Holland he had
by that time long enjoyed complete and cordial recognition; to
painters and to the best critics—above all, perhaps, to that rich
painter, M. Mesdag, collector as well as artist—belong the majority of
the best of his works. The art of Bosboom is displayed to some
extent in oil pictures, but more finely, on the whole, in the great
series of his water-colours. He is a painter essentially of the
succession of Rembrandt—a master of the arrangement of light and
shade—holding his own honourably in the presentation of
landscape, but known chiefly, and known on the whole most to his
advantage, as a painter of church interiors. His earlier work is in
method drier and smaller than his later. The maturity of his genius
finds him as broad as Cotman or Dewint. He has the restfulness and
dignity of these men when they are at their best. He has not
Cotman’s gift of colour, and in those very church interiors to which
Cotman would have given a colourist’s charm—as his kindred work
in the possession of Mr. James Reeve and the late Mr. J. J. Colman
assures us—Bosboom’s preoccupation is with tone, and with sense
of space; though, of course, in his colour he is never inharmonious.
Each is great in his own way, and the one is almost as profoundly
poetic as the other, though Bosboom, if anything, excels Cotman in
the restful picturesqueness of his vision. With him, invariably, as in
the great artist we have mentioned by the side of him, the detail is
nothing but a part of the whole. It is never aggressive; it is never
importunate; it is even for the most part effaced. Bosboom, dealing
with church interiors, is not, like Sir Wyke Bayliss, a painter of great
scenes as well as of great architecture. For him the pageant has no
attraction, and in the painting of a ceremonial or a service, such as
the ‘Taking the Sacrament in Utrecht Cathedral,’ he is not really at
his best. He is best when his church is quiet, and all its spaciousness
‘tells.’ See, for instance, the admirable ‘Church at Trier’—immense,
velvety, solemn—and, likewise, the not less masterly water-colour,
the ‘St. Joris Church at Amersfoort.’ An architectural draughtsman, in
the technical or narrow sense, he is never, from beginning to end—a
fact that is partly due to the broader and more poetic bent of his
genius, and partly, too, no doubt, to his observation having been
chiefly exercised and his imagination chiefly stirred by interiors
quaint rather than elegant, massive and large rather than exquisite in
detail, picturesque rather than perfect. The book of Mr. Max Rooses’
editing, will, in England, have not been without its service, if it, or
even our own comments on it, should secure wider attention to the
work of a master as eminently human and sympathetic as he is
austere and sterling. But, for the fuller comprehension of Bosboom
here, in England, there should be gathered together in a single place
a fair array of his work; and we commend to the enlightened dilettanti
of the Burlington Fine Arts Club this appropriate and honourable
enterprise.
‘The publication of the “Pastorals” may be said to have revealed not only
a new talent, but a new literary genre. The charm of the writing never fails.’—
Bookman.
‘In their simplicity, their tenderness, their quietude, their truthfulness to the
remote life they depict, “Pastorals of France” are almost perfect.’—Spectator.
‘Mr. Wedmore has gained for himself an enviable reputation. He has the
poet’s secret, how to bring out the beauty of common things.... The “Chemist
in the Suburbs,” in “Renunciations,” is his masterpiece.’—Saturday Review.
‘We congratulate Mr. Wedmore on his vivid, wholesome, and artistic work,
so full of suppressed feeling and of quiet strength.’—Standard.
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