Electron Spin Echo Envelope Modulation (ESEEM) data are reported for three gadolinium (III) chelates, Gd-EDTA, Gd-DTPA, and Gd-TTHA, in frozen D2O/CH3OD glasses. This series includes Gd-DTPA, an MRI contrast agent that is in clinical use. Three-pulse electron spin echo modulation patterns can be modeled to yield geometrical information; e.g., distances and numbers of Gd+3-OD interactions. Interpreted by a spherical shell model, the data for Gd-TTHA are accounted for by Gd+3 surrounded by seven deuterons at an effective distance of 3.9 A. We attribute these deuterons to second-coordination sphere solvent molecules, since it is likely that Gd+3 is fully coordinated by a TTHA ligand. For analysis of ESEEM from Gd-EDTA and Gd-DTPA, the second-sphere structures of Gd-EDTA, Gd-DTPA, and Gd-TTHA are assumed equivalent. 2H-ESEEM from inner-sphere solvent molecules gives the effective distance between deuterons and Gd+3 to be approximately 2.7 A for the inner-sphere water in both EDTA and DTPA complexes. The results of simulations also give the isotropic hyperfine and quadrupole coupling constants for solvent deuterium in these systems. Possible sources of error in the determination of r and q by this method are discussed.

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This article examines Sean O’Casey and Yu Ch’i-jin’s portrayal of the domestic realm in the Dublin Trilogy of the 1920s and Nongchon Trilogy of the 1930s, respectively. Yu is indebted to O’Casey for his themes and style in playwrighting, for he saw O’Casey’s works as models for his own dramatic depictions of colonial Korea. A close study of Yu’s approach and the two trilogies reveal that his “deep-rooted admiration” for O’Casey does not indicate Yu’s aims to Westernize Korean theatre, but rather reveals his desire to impact the Korean audiences with realistic depictions of their everyday struggles. Using Lionnet and Shih’s idea of “minor transnationalism,” I argue that this lateral relationship is an instance of transcolonial solidarity in which Yu echoes O’Casey’s methodology to contribute to establishing a national theatre and drama tradition as did O’Casey to the Abbey Theatre.

The genre of modern drama was established in Korea primarily during Japan’s occupation (1910–1945), by playwrights such as Yu Ch’i-jin who sought to represent Korean nationhood on stage. Yu was especially influenced by Irish playwrights, due to the parallels he recognized in the two colonial nations. Moreover, he was also concerned with the genre of modern drama on the global scale, as he agreed with his contemporaries that Korean literature must become interconnected with world literature. As a colonial writer, Yu wrote and staged Korean national drama that was inspired by Irish national drama, which he studied alongside other foreign – mostly European – literary traditions while studying in Japan. Françoise Lionnet’s concept of transcolonialism, a spatial approach to understanding the network of colonial literatures, will be used to analyze the complex set of influences on Yu’s writings.