To date, the intraseasonal variation of raindrop size distribution(DSD) in response to the Madden–Julian Oscillation(MJO) has been examined only over the Indonesian Maritime Continent, particularly in Sumatra. This p...To date, the intraseasonal variation of raindrop size distribution(DSD) in response to the Madden–Julian Oscillation(MJO) has been examined only over the Indonesian Maritime Continent, particularly in Sumatra. This paper presents the intraseasonal variation of DSD over the Indian Ocean during the Cooperative Indian Ocean experiment on Intraseasonal Variability in the Year 2011(CINDY 2011) field campaign. The DSDs determined using a Joss–Waldvogel disdrometer,which was installed on the roof of the anti-rolling system of the R/V Mirai during stationary observation(25 September to 30 November 2011) at(8°S, 80.5°E), were analyzed. The vertical structure of precipitation was revealed by Tropical Rainfall Measuring Mission Precipitation Radar(version 7) data. While the general features of vertical structures of precipitation observed during the CINDY and Sumatra observation are similar, the intraseasonal variation of the DSD in response to the MJO at each location is slightly different. The DSDs during the active phase of the MJO are slightly broader than those during the inactive phase, which is indicated by a larger mass-weighted mean diameter value. Furthermore, the radar reflectivity during the active MJO phase is greater than that during the inactive phase at the same rainfall rate. The microphysical processes that generate large-sized drops over the ocean appear to be more dominant during the active MJO phase, in contrast to the observations made on land(Sumatra). This finding is consistent with the characteristics of radar reflectivity below the freezing level, storm height, bright band height, cloud effective radius, and aerosol optical depth.展开更多
The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein...The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.展开更多
基金financially supported by the Ministry of Research, Technology and Higher Education of the Republic of Indonesia under International Joint Collaboration and Scientific Publication Grant No. 02/UN.16.1.17/PP.KLN/LPPM/2017
文摘To date, the intraseasonal variation of raindrop size distribution(DSD) in response to the Madden–Julian Oscillation(MJO) has been examined only over the Indonesian Maritime Continent, particularly in Sumatra. This paper presents the intraseasonal variation of DSD over the Indian Ocean during the Cooperative Indian Ocean experiment on Intraseasonal Variability in the Year 2011(CINDY 2011) field campaign. The DSDs determined using a Joss–Waldvogel disdrometer,which was installed on the roof of the anti-rolling system of the R/V Mirai during stationary observation(25 September to 30 November 2011) at(8°S, 80.5°E), were analyzed. The vertical structure of precipitation was revealed by Tropical Rainfall Measuring Mission Precipitation Radar(version 7) data. While the general features of vertical structures of precipitation observed during the CINDY and Sumatra observation are similar, the intraseasonal variation of the DSD in response to the MJO at each location is slightly different. The DSDs during the active phase of the MJO are slightly broader than those during the inactive phase, which is indicated by a larger mass-weighted mean diameter value. Furthermore, the radar reflectivity during the active MJO phase is greater than that during the inactive phase at the same rainfall rate. The microphysical processes that generate large-sized drops over the ocean appear to be more dominant during the active MJO phase, in contrast to the observations made on land(Sumatra). This finding is consistent with the characteristics of radar reflectivity below the freezing level, storm height, bright band height, cloud effective radius, and aerosol optical depth.
文摘The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.
