• Korean Journal of Community Nutrition
• /
• v.28 no.1
• /
• pp.61-73
• /
• 2023

Objectives: Prophylactic vaccines against high-risk human papillomaviruses (HR-HPVs) hold promise to prevent the development of higher grade cervical intraepithelial neoplasia (CIN 2+) and cervical cancer (CC) that develop due to HR-HPV genotypes that are included in HPV vaccines, but women will continue to develop CIN 2+ and CC due to HR-HPV genotypes that are not included in the quadrivalent HPV vaccine (qHPV) and 9-valent HPV vaccine (9VHPV). Thus, the current vaccines are likely to decrease but not entirely prevent the development of CIN 2+ or CC. The purpose of the study was to determine the prevalence and determinants of CIN 2+ that develop due to HR-HPVs not included in vaccines. Methods: Study population consisted of 1476 women tested for 37 HPVs and known to be negative for qHPVs (6/11/16/18, group A, n = 811) or 9VHPVs (6/11/16/18/31/33/45/52/58, group B, n = 331), but positive for other HR-HPVs. Regression models were used to determine the association between plasma concentrations of micronutrients, socio-demographic, lifestyle factors and risk of CIN 2+ due to HR-HPVs that are not included in vaccines. Results: The prevalence of infections with HPV 31, 33, 35 and 58 that contributed to CIN 2+ differed by race. In group A, African American (AA) women and current smokers were more likely to have CIN 2 (OR = 1.76, P = 0.032 and 1.79, P = 0.016, respectively) while in both groups of A and B, those with higher vitamin B12 were less likely to have similar lesions (OR = 0.62, P = 0.036 and 0.45, P = 0.035, respectively). Conclusions: We identified vitamin B12 status and smoking as independent modifiable factors and ethnicity as a factor that needs attention to reduce the risk of developing CIN 2+ in the post vaccination era. Continuation of tailored screening programs combined with non-vaccine-based approaches are needed to manage the residual risk of developing HPV-related CIN 2+ and CC in vaccinated women.

• BMB Reports
• /
• v.35 no.3
• /
• pp.251-254
• /
• 2002

The genetic factors that contribute to the development of coronary artery disease (CAD) are poorly understood. It is likely that multiple genes that act independently or synergistically contribute to the development of CAD and the outcome. Recently, an insertion/deletion (I/D) polymorphism of the human angiotensin I-converting enzyme (ACE) gene, a major component of the renin-angiotensin system (RAS), was identified. The association of the ACE gene D allele with essential hypertension and CAD has been reported in the African-American, Chinese, and Japanese populations. However, other studies have failed to detect such an association. It has been suggested that these inconsistencies may be due to the difference in backgrounds of the population characteristics. In the present study, we investigated the I/D polymorphism of the ACE gene in 103 subjects of both sexes, consisting of 59 normal controls and 44 patients with hypertension. The allele and genotype frequency were significantly different between the hypertensive and control groups (p < 0.01). Among the three ACE I/D variants, the DD genotype was associated with the highest value of the mean systolic blood pressure [SBP] and mean diastolic blood pressure [DBP] (p = < 0.05) in men, but not in women. In the overall population, the mean SBP and DBP was highest in DD subjects, intermediate in I/D subjects, and the least in II subjects.

• The Journal of Art Theory & Practice
• /
• no.15
• /
• pp.7-30
• /
• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• Journal of English Language & Literature
• /
• v.58 no.1
• /
• pp.21-42
• /
• 2012

Gloria Naylor's second novel Linden Hills (1985) explores the issues of self-exploration, empowerment, history, and memory by delineating the communal and familial tragedies and the distortion of values prevalent in a prosperous African-American urban community called Linden Hills. Drawing upon the Freud's concept of "primal scene" and "family romance," this paper aims to focus upon the Nedeed family, the founder of Linden Hills, and investigate the compelling traumatogenic force within the family, which is inseparably intertwined with the inversion of values and moral corruption permeating the entire community. The "primal crime" committed by the Nedeed ancestors serves to preserve and perpetuate a tyrannical rule by ruthless patriarchs who reign by underhanded strategies of purposefully neglecting and abusing others, including their own wives. The imprisonment, by Luther Nedeed, of his wife Willa in the family morgue epitomizes the long legacy running in the family-the oppression and burial of the pre-Oedipal, maternal history. Willa's accidental encounter, at the nadir of the family estate and her personal despair, with the faded records of the forgotten and abused Nedeed women exposes the violence-ridden ground of the family's primal scene and the absurdity of family romance the Nedeeds pursued. As the several lines of poem composed by Willie, Willa's male double, show, the hidden, forgotten history of the Nedeed women, in a sense, is the real, which cannot be assimilated to the social symbolic governed by the inhumane patriarchy of the Nedeed family and the success-oriented Linden Hills society. By portraying a catastrophic downfall of the Nedeed family and the futile outcome of its family romance, the ending of Linden Hills conveys implicitly that the contingent symbolic order and its oppressive control, however solid and invincible they may seem, can be toppled down by the real, its nameless forgotten Other.

• English Language & Literature Teaching
• /
• v.13 no.3
• /
• pp.117-132
• /
• 2007

Playwright Eugene O'Neill's expressionistic text-based approach to The Emperor Jones, with an emphasis on fixity, was at odds with African American actor Charles Gilpin's improvisational performance technique, stressing rupture, spontaneity, and discontinuity. The contemporary avant-garde performance troupe The Wooster Group likewise produces subversive and interrogative forms of identity in performing the play, which challenge the normative approach to gender, race, and an imagined orientation. The historical foundation of subversion and destabilization laid by O'Neill and Gilpin were manifold in the Wooster Group's production of The Emperor Jones, and not only formed a backdrop to it but also played a central role in the group's representation of race and even gender on the stage. In this essay, I use O'Neill's play, The Emperor Jones, a crucial example of racialized fantasies of identification, to explore how the modernist stage through the performances of Gilpin and The Wooster Group constructed racialized subjects of both its performers and audiences. Gilpin and the Wooster Group's strategies each shared a similar complexity in the portrayal of black identity in performance. Offering an examination of how ideologies of race and gender overlap in The Emperor Jones, I hope to show how each performance signifies a range of subversions and differences simultaneously and sometimes oppositionally that needs to be explored both holistically and in detail to offer a fuller picture of these remarkable attempts. Through this approach, I examine Gilpin's creative adaptations of O'Neill's text and illuminate how it is that the Wooster Group's appropriative use of blackface in their performance has come to gain critical acceptance.