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On the coefficients of gamma-starlike functions
Derek K. Thomas 대한수학회 2018 대한수학회지 Vol.55 No.1
We give several sharp estimates for some initial coefficients problems for the so-called gamma starlike functions $f$, analytic and univalent in the unit disk $\mathbb{D}:=\{z\in\mathbb{C}:|z|<1\}$, and normalized so that $f(0)=0=f'(0)-1$, and satisfying $\real \Big[\Big(1+\frac{zf''(z)}{f'(z)}\Big)^{\gamma } \Big(\frac{zf'(z)}{f(z)}\Big)^{1-\gamma}\Big]>0$.
The Distillation of New Zealand’s Postwar Social History in Robert Lord’s Joyful and Triumphant
Derek McGovern 21세기영어영문학회 2017 영어영문학21 Vol.30 No.2
Acclaimed New Zealand playwright Robert Lord’s final play, Joyful and Triumphant (1992) is set in a small New Zealand town, and offers a forty-year (1949-1989) cultural and social history of his country’s society through the vicissitudes of the extended Bishop family and neighbor Alice Warner. This article examines how Lord, through, the use of eight scenes comprising eight Christmas Days at the Bishop family’s home over four decades, demonstrates significant changes in New Zealand society regarding such contentious issues as race relations and sexuality. The play also demonstrates that political differences between New Zealanders can be overcome, as evidenced by the late-blooming friendship between the patriarch of the Bishop family, George, a working-class supporter of the left-leaning Labour Party, and the affluent, middle-class Alice, a fervent supporter of the conservative National Party. At the same time, the play demonstrates the ideological fluidity of New Zealand’s two main political parties in the 1970s and 1980s, and questions the point of blind adherence to either of them. In addition, the play examines the rituals and stresses of Christmas, demonstrating that gender roles during the festive holiday remain essentially unchanged from 1949 to 1989, while ruefully acknowledging that the growing degree of political correctness in New Zealand, as in the case of George’s well-meaning daughter, Rose, sometimes results in unwitting victims.
The Tragic Clash of Cultures in Vincent O`Sullivan`s Shuriken
( Derek Mcgovern ) 21세기영어영문학회 2016 영어영문학21 Vol.29 No.2
Shuriken (1983), the first stage play of New Zealand playwright Vincent O’Sullivan (1937- ), is based on the real-life mass shooting of Japanese prisoners that occurred during World War Two at New Zealand’s only prisoner-of-war camp. 48 Japanese and one New Zealander died in the shooting, and it remains the only incident of its kind to have occurred on New Zealand soil. O’Sullivan’s play, although mostly fictionalized in terms of its characters and the events that precede the shooting, constitutes an attempt to understand why this tragedy (or massacre, as some have deemed it) occurred. This paper, taking its lead from O’Sullivan’s stated conviction that there was nothing that could have alleviated the Japanese prisoners’ distress at being incarcerated by an enemy, nor anything that could have helped their New Zealand captors to appreciate fully the true nature of their despair, examines how the play ominously foreshadows the fatal shooting through a series of cultural misunderstandings on both sides. In doing so, it demonstrates how O’Sullivan’s play refrains from overtly blaming either the Japanese prisoners or the New Zealanders for the tragedy. In addition to arguing that the cultural clashes depicted in Shuriken have universal relevance, this paper also examines how the play employs elements of non-naturalism to illustrate the cultural gulf between the two sides.
( Derek M. Erion ),( Hyun Jun Park ),( Hui Young Lee ) 생화학분자생물학회(구 한국생화학분자생물학회) 2016 BMB Reports Vol.49 No.3
In the past decade, the incidence of type 2 diabetes (T2D) has rapidly increased, along with the associated cardiovascular complications. Therefore, understanding the pathophysiology underlying T2D, the associated complications and the impact of therapeutics on the T2D development has critical importance for current and future therapeutics. The prevailing feature of T2D is hyperglycemia due to excessive hepatic glucose production, insulin resistance, and insufficient secretion of insulin by the pancreas. These contribute to increased fatty acid influx into the liver and muscle causing accumulation of lipid metabolites. These lipid metabolites cause dyslipidemia and non-alcoholic fatty liver disease, which ultimately contributes to the increased cardiovascular risk in T2D. Therefore, understanding the mechanisms of hepatic insulin resistance and the specific role of liver lipids is critical in selecting and designing the most effective therapeutics for T2D and the associated co-morbidities, including dyslipidemia and cardiovascular disease. Herein, we review the effects and molecular mechanisms of conventional anti-hyperglycemic and lipid-lowering drugs on glucose and lipid metabolism. [BMB Reports 2016; 49(3): 139-148]
Derek McGovern 새한영어영문학회 2021 새한영어영문학회 학술발표회 논문집 Vol.2021 No.10
British playwright, novelist and social commentator J.B. Priestley (1894-1984)’s most famous theatrical work, the thriller-cum-socialist morality play An Inspector Calls (1946), underwent a major revival in the early 1990s, leading to a positive critical reappraisal that has not abated to the present time. In 2015 the play received its first major television adaptation in a BBC production of the same title, written by noted playwright Helen Edmundson and directed by the BAFTA-award-winning Irish director Aisling Walsh. The adaptation by hailed by the Guardian as a sensitive reworking of the play that “translates into gripping 21<SUP>st</SUP>-century television.” This presentation examines the principal changes that were made to the play in adapting it for the medium of television. In particular, it addresses how the adaptation removes some of the ambiguity surrounding the play’s mysterious character, Inspector Goole, through the addition of purely visual scenes that indicate that he is a supernatural being rather than a human, arguing that this change disrupts Priestley’s delicate balance between realism and science fiction, while at the same time distracting the audience from the play’s moral concerns through its new emphasis on the Inspector. The presentation also examines how the adaptation, through its inclusion of often poignant flashbacks involving the play’s exclusively off-stage character, Eva Smith, seeks to encourage greater audience identification with her plight.