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원지성 수평반고리관 양성돌발성체위변환성 어지럼증에서 Barbecue 및 변형 Semont 수기법의 조합에 의한 단기치료 효과
정규환,백무진,김용완 대한이비인후과학회 2012 대한이비인후과학회지 두경부외과학 Vol.55 No.7
Background and Objectives Benign paroxysmal positional vertigo (BPPV) of horizontal canal shows reversible direction changing positional nystagmus and diverse clinical courses because of the frequent clinical presentation of cupulolithiasis. The aim of this study is to find out the early effect of particle repositioning maneuver (PRM) including the barbecue and the modified Semont in single treatment session for the apogeotropic horizontal canal BPPV. Subjects and Method Thirty-three episodic vertigo patients with direction-changing apogeotropic horizontal nystagmus were enrolled in this study. The patients were initially treated with barbecue rotation and the second PRM was applied 15 minutes after the first PRM. Barbecue rotation was applied when the positional nystagmus was changed its direction to that of geotropic. The modified Semont maneuver or barbecue rotation was randomly applied when nystagmus was not changed. Patients were followed-up 2 or 3 days after the initial visit and the nystagmus was rechecked to determine the single session treatment result. Results The combination of PRMs in a single treatment session was effective in 23 out of 33 (69.7%) patients. An initial barbecue rotation was effective in 17 patients (51.5%); geotropic nystagmus was obtained in 12, and no nystagmus in 5. Eleven out of 16 (68.8%) patients with persistent apogeotropic nystagmus after initial treatment were successfully treated with the second PRM. There was no statistical difference between the second PRMs of the modified Semont maneuver and barbecue rotation (p=1.000). Conclusion The combination of PRMs including barbecue rotation and the modified Se-mont maneuver in a single treatment session showed a comparable success rate as the previously reported studies.
정규환 한국밀턴학회 1997 중세근세영문학 Vol.7 No.-
Both as a critique of and an apologetic for Milton, Blake composed Milton, his confessedly autobiographical poem. At the beginning Blake asks "what mov'd Milton" to leave heaven and go into the abyss in order to redeem himself and his sixfold Emanation. The reader receives the answer in "Bard's Song." Focusing on this section, this paper tries to shed some light on the interrelationship between Blake, Hayley, and Milton. It is in particular focused on rather a certain polemical relation between Blake and Milton around poetic influence, and on how the 'polemic' develops in Blake's life and poetry. It investigates into the nature of the influence of Milton on Blake, which the latter gratefully acknowledges, and into his own evaluation of the influence as well. It is through the conscious act of choice that Blake takes over a Miltonic self substituting for his own. Thus Milton in Blake's poem Milton is a poetic self of Blake. As a result, Blake's poetry assuredly claims itself to enter into the English canon. Rintrah, Palamabron, and Satan are three sons of Los. Derived from three classes of Calvinistic theology they respectively represent not only three aspects of human psyche but multilateral power structure of human relations politico-economic and religious. They perform a kind of 'family drama,' which evolves around a schema of conflict and confrontation among the three personas. It reflects a rich panoply of complex allegories which derives from the problematic Blake-Hayley connection Blake experienced in the early 1800's. While he criticizes Hayley's misleading description of Milton in his biography of Milton, Blake creates Milton in order to correct Milton's psychological and artistic errors, as Blake points out, shackled by a Pharisaic notion of established religion. Writing his prophetic poem Milton, Blake recognizes in the biblical tradition the idea that the soul of the prior poet-prophet is reincarnated in the posterity, and positively employs it for himself. The poem came into being in the course of Blake's effort to posit his identity through the process of identifying the shared bases of spiritual and emotional ties with Milton. Figuratively speaking in terms of music, "Bard's Song" plays the role both of a prelude to a grand symphony with multidimensional and contrapuntal structure and of a movement small in scale, each motif of which nevertheless as a matrix for the whole musical composition unfolds the other movements through a number of its variations. If we compare Milton to an architectural artefact, it could be said that "Bard's Song" works as its cornerstone or bird's-eye. It is the introduction to Milton which is essential to understanding of the relationship between Blake and Milton in the context of history of art and of ideas. It also functions as a useful and powerful synopsis of the poem with which the poet wins a superb poetic achievement by embodying his mental strife in a 'sublime allegory,' which is led around the polemic of literary influence inseparably connected to the shaping of the core of Blake's poetics. From the "Bard's Song," Blake's reader may grasp the end of a golden string for ranging through the maze of Milton a Poem, not without some bountiful rewards.