• Journal of English Language & Literature
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• v.57 no.6
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• pp.1131-1149
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• 2011

Michael McKeon, in The Origins of the English Novel, 1600-1740, sets forth a theoretical study of a large canon of seventeenth- and eighteenthcentury works, based upon the dialectic of genre formations, which attempts to analyze certain "instabilities" in generic and social categories- "instabilities" that McKeon identifies as "Questions of Truth" and "Questions of Virtue." In this paper, I argue with McKeon's optimistic reading of Samuel Richardson's work, Clarissa, or The History of Young Lady (1740), which concludes that-unlike Pamela's "manifest material and social empowerment"-Clarissa acquires "manifest discursive and imaginative empowerment" and "wins" (to use McKeon's terms) the "battle" with her antagonist, Robert Lovelace. What is difficult to accept in this reading of Clarissa is McKeon's claim that the "success" of Clarissa's resistance to Lovelace, despite the tragic rape, is evident in her "new-found power" which is represented in the heroine's spiritual "conversion"- her decision to die to protect her "version of truth and virtue." McKeon's spiritual "conversion" not only forces Clarissa to surrender her legal right to prosecute her rapist but also forces her to seek the shelter of her "father's house" in the afterlife because she can no longer "make others accept [her] own version of events as authoritative." Thus, in contrast to McKeon, I claim that Clarissa represents the necessary conditions for its heroine's "empowerment" primarily in language that suggests her manifest social invalidation; language which in particular emphasizes that her rape and torture by Lovelace forces Clarissa's spiritual "conversion" to seek her reward in the afterlife-thereby concluding that Clarissa's discursive and imaginative empowerment does not and cannot exist in the secular, material world.

• English & American cultural studies
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• v.13 no.1
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• pp.29-57
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• 2013

Patricia Waugh once regarded modernism fiction as 'the struggle for personal autonomy' against the opposition existing social institutions and conventions. Michael Cunningham's characterizations of Virginia Woolf and Septimus in The Hours show the two contrasting reactions to individual alienation and mental dissolution in the modern era. As the personifications of endurance and self-destruction against the mechanical power of contemporary world, Woolf and Septimus consist of just the world of diptych where the woman's role is confined to the angel in the house. By creating Mrs. Brown based upon his own alienated mother image, however, Cunningham succeeds in representing the more dramatically vivid world of triptych where woman can have her own room and self-realization despite still facing the dilemma of the traditional family. Accepting Joycean Bloom's optimistic and relaxing way of life in part, Mrs. Brown connects the labyrinths between the author's (and also Richard's) alienation with the theme of celebration of the life. Clarissa in postmodern New York setting is still a concealed and mystified character. Similar to Mrs. Dalloway, on the one hand Clarissa watches other people's tragedy with compassion. Cunningham's Clarissa, on the other hand, is no longer seeking for either winning or defeat in the spectacular world unlike her predecessors. In many resilient attitudes of everyday life Clarissa is closest to Mrs. Brown whom Virginia Woolf originally hopes to describe. Without any fear or rage toward the society Clarissa witnesses and achieves "the humanity, humour, depth" of female values by successfully turning the trivial life into an epic journey.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1067-1090
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• 2010

The epistolary novel, as developed and refined by Samuel Richardson (1689-1761), is concerned with distinctly private experience and the morality of individuals-Richardson's heroine writers. In contrast to nineteenth-century novels, which explore their subjects through the overview of a narrator with a singular moral outlook, the epistolary narrative allows Richardson to examine the various different ways in which individuals/heroines interpret, mold, and respond to their experiences in writing. In this paper, I argue that the authorial voice of Richardson does not control the narrative but rather is present in the prefaces, character sketches, notes and occasional interjections between letters. Although there is little doubt as to whether Richardson intended to make a particular moral point or attempted to control the effect of his novels on his readers, the heroines and their letters dominate the novels so that they put the authorial suggestions in a different light, reducing the author's to one voice among several. Thus, Pamela's letters are exemplary for the vigor and intelligence with which they appear to be written, rather than for the imposed morality of their ghost writer-Richardson. Although Clarissa is of a different social class from Pamela, both heroines are united in their oppression as victims of a patriarchal society. In Clarissa's letters, the heroine's situation and experience are seen through her own writing in dialogue with that of her confidante Anna Howe, and in contrast to the writing of her oppressors. Clarissa, then, becomes a struggle between different discourses in which their genesis and effect, and the societies and individuals from which they come are implicitly suggested in Richardson's text. While Richardson may or may not be guilty of taking the writing of women and using it for his own ends, his epistolary novels represent a deliberate and bold attempt to shape the novel in a way conducive to his heroines and to women writers.

• Proceedings of the Microbiological Society of Korea Conference
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• 2009.05a
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• pp.125-125
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• 2009

• STI Policy Review
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• v.4 no.1
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• pp.119-134
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• 2013

The Fukushima nuclear incident of 2011 served as an external shock that prompted Japan to reform its nuclear energy sector. The collusive relationship between the regulators within the Japanese government and the regulated power industry, as well as the lack of institutional independence of the regulatory agency, had derailed Japanese efforts to reform the sector for decades. The Fukushima crisis exposed these deeply-entrenched flaws in the system, causing public distrust and anger toward the government and the nuclear power sector. This paper discusses the institutional reform measures the Japanese government introduced in the wake of the Fukushima crisis to recover public confidence and revamp the sector to prevent future disasters. The paper also discusses the challenges the Japanese government faces on its road to a successful implementation of nuclear sector reforms.

• Journal of Microbiology and Biotechnology
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• v.33 no.12
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• pp.1543-1551
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• 2023

The recently published high-resolution R388 T4SS structure provides exciting new details about the complete complex of T4SS, including the components making up the stalk and arches, numerous symmetry mismatches between regions of the complex, and an intriguing interpretation of the closed stalk and radial symmetry of the inner membrane complex, which is related to pilus biogenesis assembly. However, there are a few unidentified densities in the electron microscopy map and portions of the identified component sequences for which the structure is not yet known. It is also unclear how well this minimized DNA-transporting T4SS predicts the structure of other T4SSs, such as expanded systems and those that transport proteins rather than DNA. In this review, we evaluate what can be inferred from the recent high-resolution structure of the R388 T4SS with respect to the Cag and Dot/Icm systems. These systems were selected because, given what is currently known about these systems, we expect them to present most structural differences compared to the R388 T4SS structure. Furthermore, we discuss bacterial physiology and diversity, the T4SS structures and their variations between different bacterial species. These insights may prove beneficial for researchers who elucidate the structure and functions of T4SS in different bacterial species.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.99-114
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• 2017

The uniqueness of Bali is inseparable from its culture and religion. Embedded in the cultural environment, textiles become one of the most important aspects in Balinese life as it is used as a medium in sacred ceremonies. Balinese textiles are made and used under special conditions according to Hindu teaching. This paper aims to observe the aesthetics of Balinese sacred cloths that are seen in their techniques, colors, and patterns. Quantitative research included in this study is based on 261 images taken from literature review and Museums. Field research was done in eastern part of Bali. This paper has divided the era between ancient and modern times. The ancient era before the 20th century used textiles for religious purposes. Modern era started from the colonialization period by the Dutch in Bali during 1910-1942 added economic values to the textiles. The independence of Indonesia in 1945 created Balinese textiles as a unifying value as one of the identity of Indonesia. The techniques are classified as Weft Ikat, Double Ikat, weave with Supplementary Weft, and Prada. The colors of the ancient era are 'fixed' with the restriction of the colors red, black, and white. The colors of modern era are 'festive' with combination of yellow, green, blue, and purple. The characteristics of patterns are geometric, natural, human, and animal groups. Field research in this paper observes Klungkung Village that produces Endek and Songket cloths. The aesthetics of Endek cloth is 'royal statement' and Songket cloth is a 'cultural heritage.' Nusa Penida Island produces Cepuk cloths and is a 'protective guardian.' Satria sub-district produces Prada cloths and appears to be an 'opulence charm.' Lastly, Tenganan Village produces Geringsing cloth which possesses a 'legendary legacy.' To sum up, Balinese sacred cloth essence is a balance of tradition and modern.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.67-78
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• 2016

Research on ancient Indonesian 'sacred cloths' is essential since it shows a different perspective into Indonesian identity. Based on its function, the 'sacred cloths' are either made as a medium for religious ceremonies or as a medium for the living and the dead. The consuetude of preparing and creating the 'sacred cloths' are done to achieve the finest 'sacred cloths' worthy to be presented to God. The research aims to analyze the characteristics of ancient Indonesian textiles and to focus on the 'sacred cloths.' The research is divided into two parts, and this paper is the first part. The paper analyzes the characteristics of ancient Indonesian textiles by focusing on the period, religion, region, and color of the 'sacred cloths.' The subsequent research analyzes the characteristics of ancient Indonesian textiles by focusing on the techniques and the patterns of the 'sacred cloths.' In this first part of the main research, the analysis reveals that animism developed in various ways in Indonesia from 500 BC to AD 1800. It was also as kingdoms of Buddhist, Hinduism, and Islam. The changes of religion may differ according to its region. Indonesian regions are divided into six big regions that produce textiles. These islands are Sumatra, Borneo, Java, Celebes, Nusa Tenggara, and Bali. By space and time, the colors of Indonesian textiles represent the ideology of one religion. Indonesia produces primary colors of red, yellow, and blue(RYB). The colors are produced by extracting leaves of Indigo, Indian Mulberry root shell, Sappanwood's branches, Candlenut fruit, Turmeric root, and Mangosteen rind. Indonesia is a religious country, therefore the meaning of creating each 'sacred cloth' shows piety of the maker and the wearer.

• Journal of the Korean Society of Costume
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• v.67 no.4
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• pp.38-57
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• 2017

Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the characteristics of Balinese costumes by focusing on the Legong dance costume. Quantitative research was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illustrates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers. Bali dancing is grouped into Wali dance(sacred), Bebali dance(theatrical), and Balih-balihan dance(entertainment). The Legong dance is included in the Balih-balihan dance, and its costume developed from 1920 until present. The characteristics of Legong dance costumes are 'Theatrical,' 'Angelic,' 'Charming,' and 'Decorative.' In conclusion, the balance of religion, culture, and art gives a unique trait in Bali. The Balinese social system, which is based on Hinduism, has influenced art and its function. This relationship creates a strong structure to the Balinese ceremonial costume, especially the Legong dance costume.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.34-49
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• 2016

The ancient 'sacred cloths' of Indonesia have diverse characteristics. The purpose of this study is to analyze the characteristics of ancient Indonesian textiles, focusing on 'sacred cloths.' The research is divided into two parts. The first part analyzes the creation period, religious importance, region where the cloths are found, and color of the 'sacred cloths.' The second part focuses on the textile-making techniques and the ritual patterns of the 'sacred cloths.' This research is the second paper. This research analyzes 225 Indonesian sacred cloth examples chosen for their religious function in ceremony, and reviews 10 books and 8 research papers. Field research was done in the Museum of Bali, the Indonesian Museum of Textiles, and nine weaving production houses in eastern Bali. Indonesian sacred cloths express their cultural philosophy and function through production techniques, colors, techniques, and visual patterns. The 'sacred cloth'-making techniques are classified as Batik, Prada, and Ikat. The regions that contribute to the textile production determine what patterns show up on the cloths. Sumatran patterns are philosophical, lavish, and prestigious. Bornean patterns are barbaric and prestigious. Balinese patterns are complex, decorative, warm, festive, calm, and aristocratic. Javanese patterns are symbolic and repetitive. Celebes patterns are artistic and simple. Nusa Tenggara patterns are symbolic and narrative. The forms shown on the textiles, whether geometric, human and animal, natural objects, or abstract patterns, determine how to classify the varied patterns. As a result, ancient Indonesian sacred cloths characteristics portray Indonesian identity as Bhinneka Tunggal Ika(Unity in Diversity).