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근시성 맥락막 신생혈관 환자에서 유리체내 라니비주맙 주입술 후 발생한 열공망막박리
지동현(Donghyun Jee),공석준(Suk Joon Kong),나태윤(Tae Yoon Ra) 대한검안학회 2010 Annals of optometry and contact lens Vol.9 No.2
목적: 근시성 맥락막 신생혈관이 있는 병적 고도근시 환자에서 유리체내 라니비주맙 주입술 후 발생한 열공망막박리 1예를 보고하고자 한다. 대상과 방법: 44세 여자환자가 근시성 맥락막 신생혈관을 동반한 병적 고도근시로 진단받고 1차례 우안 유리체내 라니비주맙 주입술을 시행받았다. 결과: 시술 후 2주 후에 환자는 급격한 시력감소를 호소하였고, 우안 열공망막박리로 진단받았다. 그 후 환자는 유리체 절제술과 실리콘 기름 주입술을 시행받았다. 마지막 경과 관찰 시, 수술 후 황반부 망막은 잘 유착되어 있는 상태이나 6시 방향으로 망막하액이 소량 남아있는 상태이다. 결론: 근시성 맥락막 신생혈관을 동반한 병적 고도근시 환자에서 유리체내 라니비주맙 주입술은 열공망막박리 발생과 연관이 있을 수 있으므로, 이러한 합병증에 대해 시술 전 충분한 인지가 필요하며, 시술 후 급격한 시력감소가 있을 경우 열공망막박리 가능성을 깊이 고려해 보아야 한다. Purpose: To report a case of rhegmatogenous retinal detachment following intravitreal ranibizumab injection in the treatment of myopic choroidal neovascularization (CNV) with pathologic high myopia. Methods: A 44 year old woman was diagnosed with myopic CNV and treated with intravitreal ranibizumab injection. Results: The patient developed a sudden decline in vision two weeks after the injection, and was subsequently diagnosed with rhegmatogenous retinal detachment. She underwent standard three-port pars plana vitrectomy with silicone oil injection. The macular was still attached, but subretinal fluid was remained at the inferior peripheral retina at the patient’s final follow-up visit. Conclusions: Intravitreal ranibizumab injection used for the treatment of myopic CNV can be associated with rhegmatogenous retinal detachment. Patients need to be informed about this potential complication, and higher suspicion is needed in patients who report sudden vision loss after the treatment.
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無調音樂의 事象 및 背景 論理 考察 : 쇤베르크, 「달에 홀린 삐에로」를 中心으로
公錫俊 연세대학교 교육대학원 1982 연세교육과학 Vol.21 No.-
There exists a considerable literature on studying Schoenherg and his style, some of them contains more detailed. Since Pierrot has been paid to the considerable attention the present study is devoted primarily to the techniques of composition ; such are melodic or motivic construction, harmonic innovation, contrapuntal devices within the colorful texture, and varieties of all aspects in twentieth century atonal idiom, The ultimate goal of the approach is to impel the basic idea and historical development of modernism to young composers who are apt to wander about their works. The technical wanderities make them being frustrated and conflicted in construction of an axis of their work. It is no exaggeration to say that student composers tend to not think of historical development of modern music, they are prefer to use notes at random. Concerning this it is the best way to reach understanding a historical work through analytical layers of basic phenomena of modern idiom. Pierrot, one of the group of cyclic songs, melodramas consists of three parts from Albert Giraud's poem, musical set by German text translated by Otto E. Hartleben. Concerning the vocal voice called 'Sprechstimme', the most striking feature and peculier device of the work, is particularly specialized in real performance in which the vocalist must not sing or sustain a real pitch of the notes, not simply speak either. The innovation that gives performer entirely unexperienced speaking song of the style is defficult in its presentation of the idea by which Schoenberg indicated in the preface to the score. More of the designations it must be pointed out that the instrumentation of the work gives vocalist no help the acting of pitching. Schoenberg's harmonic idea gives us so complicated formations that it can soly be described the negative formula such an emancipated dissonance and chromaticism. In regarding harmony there is nothing for it to interpret chord organizations liable to their preserving descriptions, but to shift in meaning, for example, triad or seventh chord. Harmony now can neither functioned nor progressed in its own war as in tonality. Schoenberg, however, was careful to draw his chordal placements in context. Questionable melody also evokes a new conception to that of familiar one, finally it makes use of entirely offending the moral sense ; concise or fragmental snatches of notes series. Contrapuntal devices in the service of the texture exhibit the mast complicate phenomenon of the picture; free transpositions of the theme or thematic materials in canon or canon cancrizans are used. As in the case of harmony the contrapuntal treatment is no more exact intervallic controls of Dux and Comes in fugal writing, possible locations of them in any pitches or parts were made up, and futher use of aspects, dismembers of the subject or short members of the theme turned into possibility. Variety of forms and textures as a whole show a radical procedures and a striking departure within his philosophical gesture. The structure of the work is so short, but its elaborating greatness exists in its form. Especially motivism and its contrapuntal treatment were favorite devices of Schoenberg in style. Reaching an idea of the work Pierrot Lunaire by thinking what is important is that it is necessary to e famine every cases as mentioned above. To the young composers What will he gives them in locating basic conception of their work as a text or a stepping stone of twentieth century idioms as well as techniques of compositions.
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