• Cross-Cultural Studies
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• v.32
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• pp.29-61
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• 2013

When turning to determining a subject position for the digital age, one may look beyond the invention of its technologies and instead begin with the development of its aesthetic of networked communities, nodal expression, and collaborative identity. Virginia Woolf's The Waves demonstrates this aesthetic in both form and content. In this paper, I will examine the role of collaboration in the form of interdisciplinary composition, arguing that Woolf's use of musical form and dramatic monologue and dialogue structurally secure an investment in collaborative models of expression. Digital texts taut their inherent multimodality, but such compositions are also evident in pre-digital texts. In addition, I will decipher the subject position Woolf puts forward in The Waves by looking closely at how the characters determine their own identity and existence when they are alone, when they interact with one individual, and when they congregate as a group. These are exemplified more specifically in the representations of Rhoda and Bernard as equally refusing to collaborate between a self-defined identity and a group defined identity; Bernard's channeling of Lord Byron while writing a love letter; and Woolf's use of the red carnation as a repeated image of the intertwined nature of the characters' collaborative identity and mutual dependence on one another.

• Journal of Convergence for Information Technology
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• v.7 no.3
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• pp.127-137
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• 2017

Sally Potter's movie, Orlando is a bold re-make of Virginia Woolf's classic novel, Orlando: A Biography, in which an English nobleman survives 400 years - as a man and then a woman. This paper focuses on a study of the film of Orlando in light of the feministic view. In Woolf's gender-bending, time-traveling novel, Orlando, Woolf probes the ideology of patriarchal society through an androgynous persona. Sally Potter's adroit revision of Woolf's novel not only duplicates Woolf's Orlando but it also catches Woolf's feminism by using cinematic expertise. The film is incredibly true to Woolf's spirit. The most explicit changes were structural so the storyline was simplified. Thus Orlando gives us a license to travel freely from a man to a woman. In short, Orlando is not about feminism but the unity and harmony of male and female.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.415-427
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• 2009

Woolf s preoccupation with the interplay between gender, commercialism, and the modern city is exposed in higher relief by her feminist remapping of the city through a discourse of fl nerie, which is epitomized in her singular urban travelogues such as Street Haunting and The London Scene essays. A fanatical London-adventurer herself, she assumes the persona of the fl neuse in exploring the street of modern London and especially the public sphere of the marketplace, as represented in Oxford Street Tide. Living and working in the quarter of Bloomsbury, in close proximity to the capital s famous sites of tourism, entertainment, and mass consumption, Woolf was placed at the heart of urban spectacle. In spite of the lack of critical analysis of this high-profile writer s interest in such quotidian matters as shopping, fashion and appearance, which would be informed by a hierarchy of value within literary criticism, it seems that they are inextricably intertwined with her quest into more serious-minded topics that revolve around the twin pillars of her literary project: feminism and modernism. Her essays, in particular, suggest this point in one way or another, mirroring her extraordinary susceptibility to such concerns. For Woolf, street sauntering is synonymous with an act of creative mobility, by which she plays with the notion of shifting identities, rediscovers the urban rarities and splendors, and ultimately pins them down in her literary output. By adopting the identity of a masterly rambler/observer/explorer with an omnipotent gaze, she firmly anchors herself as an active interpreter of urban modernity and viewer of its spectacle. She thus challenges the idea of public space as a male domain, which is central to the classic androcentric discourse of loitering, spectatorship and urban modernity.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.531-560
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• 2008

I hope to demonstrate in this paper the degree to which the works of Leonard and Virginia Woolf, mainly The Wise Virgins, The Village in the Jungle, and The Voyage Out, are contained within the politics of home. In doing so, I aim to challenge some mainstream criticism that affirms their resistance to British imperial desire. Although their statuses as outsiders in the British Empire, being a Jew and being a woman respectively, allowed Leonard and Virginia Woolf to criticize British imperialism and a male-dominated culture as well as racial and cultural hierarchies to a degree, their works inevitably unveil their prioritization of the British white-oriented space. In some ways their authorial positions in relation to their texts uphold the imperial center as an invisible regime of truth in their narratives, supporting the patriarchal and imperial binary oppositional structure and its hierarchical order imposed not only on the British subject but also on the foreign, colonial others. Leonard's and Virginia's inconsistencies and ambiguities betray their racial distantiation and notions of British white superiority, as disclosed in their racially stereotyped descriptions and the absence of real communication between the British characters and the colonial, foreign others. The work of self-repetition, the major mechanism in the politics of home, dies hard in Leonard's and Virginia's 'antiimperial' works. Leonard's and Virginia's struggle to stand against the imperial desire needs a genuine ethical position in order to embrace the Other, which would allow us to explore further and guard against the pitfall of postcolonial criticism's being easily degenerated into a neo-colonial criticism, another politics of home.

• 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 the Korean Data and Information Science Society
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• v.17 no.4
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• pp.1029-1039
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• 2006

There are different kinds of methods to estimate the odds ratio for unemployment statistics in small areas, namely, the composite estimator, the Woolf estimator and the Mantel-Haenszel estimator. We can compare the reliability of these estimators according to the bias and MSE. The estimation procedures considered by this study have been applied to estimate the bias and MSE of the odds ratio between the male and female unemployment rate in some small areas. The Woolf estimator or the Mantel-Haenszel estimator is more stable than the composite estimator, but all these three estimators are similar to each other from the aspect of efficiency.

• Applied Chemistry for Engineering
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• v.25 no.1
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• pp.107-112
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• 2014

Using a chlorosulphonated polyethylene rubber solution for a binder of graphite powder and ferrocene for a mediator, a rose leaf tissue-embedded biosensor was built. Linearity on the Hanes-Woolf plot showed the reduction of the substrate was attained through the catalytic power of the rose peroxidase in the experimental range of electrode potential. Furthermore, 10 or more electrochemical parameters demonstrated that the electrode exerts its sensing ability quantitatively. The foregoing gave the full conviction that rose tissue can be used in place of the currently marketed enzyme for the practical use of enzyme electrode.

• 건축구조
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• v.15 no.3
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• pp.86-94
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• 2008

Darren Anderson Zbigniew Czajewski stuart Clarke lan Feltham Paul Geeson Marcin Karczmrczyk Richard kent David Killoin Zbingniew Kotynia Maciej Lewonowski Robert Lindsay Philip Monypenny Chris Murgatroyd Johnny Ojeil Raf Orlowski Andrzej Sitko Darren Woolf

• Applied Chemistry for Engineering
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• v.26 no.5
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• pp.624-629
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• 2015

A biosensor including the homogenized tissue of mugwort embedded in carbon paste, which senses hydrogen peroxide, was constructed and its electrochemical properties were validated using voltammetry. The good linearity of Hanes-Woolf plot implied that the reduction reaction of substrate was catalyzed by mugwort peroxidase at the electrode surface. Also the small value of symmetry factor, 0.28, indicated that electrochemical kinetics of the sensor is very sensitive to the change of electrode potential. Many experimental results collected above proved that the dissociation of hydrogen peroxide is dependent on the catalytic power of mugwort peroxidase qualitatively and quantitatively at the surface of the mugwort electrode. It is our firm belief that the marketed HRP can be replaced with mugwort tissue.

• Proceedings of the KSRS Conference
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• v.2
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• pp.950-953
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• 2006

SIMP is an international project funded by INTAS aimed at improving the information content, which can be inferred from multi-sensor satellite imagery of marine coastal areas. Scientific teams from Germany, UK, Portugal, and Russia focus on the development of novel tools for marine remote sensing of the coastal zone. In particular, the project teams' benefit from the fact that surface films may enhance the signatures of hydrodynamic processes such as plumes, internal waves, eddies, etc., on microwave, optical, and infrared imagery. The project's objectives are to develop a robust methodology for identifying slick-related phenomena/processes through their surface signatures and thereby, to improve the discrimination capabilities between slicks and other oceanic and atmospheric phenomena by taking into account information gained from satellite imagery quasi-simultaneously recorded at microwave, visible and IR wavelengths. The results of the two project years are summarized. Examples are given for the project’s web presentation, laboratory and field experiments, and of the analyses of various satellite data.