DJ-1/park7 modulates vasorelaxation and blood pressure via epigenetic modification of endothelial nitric oxide synthase

Won, Kyung Jong,Jung, Seung Hyo,Jung, Soo Hyun,Lee, Kang Pa,Lee, Hwan Myung,Lee, Dong-Youb,Park, Eun-Seok,Kim, Junghwan,Kim, Bokyung Oxford University Press 2014 Cardiovascular research Vol.101 No.3

<P><B>Aims</B></P><P>DJ-1/park7, a multifunctional protein, may play essential roles in the vascular system. However, the function of DJ-1/park7 in vascular contractility has remained unclear. The present study was designed to investigate whether the DJ-1/park7 is involved in the regulation of vascular contractility and systolic blood pressure (SBP).</P><P><B>Methods and results</B></P><P>Norepinephrine (NE) elevated contraction in endothelium-intact vessels in a dose-dependent manner, to a greater extent in DJ-1/park7 knockout (DJ-1/park7<SUP>−/−</SUP>) mice than in wild-type (DJ-1/park7<SUP>+/+</SUP>) mice. Acetylcholine inhibited NE-evoked contraction in endothelium-intact vessels, and this was markedly impaired in DJ-1/park7<SUP>−/−</SUP> mice compared with DJ-1/park7<SUP>+/+</SUP>. Nitric oxide (NO) production (82.1 ± 2.8% of control) and endothelial NO synthase (eNOS) expression (61.7 ± 8.9%) were lower, but H<SUB>2</SUB>O<SUB>2</SUB> production (126.4 ± 8.6%) was higher, in endothelial cells from DJ-1/park7<SUP>−/−</SUP> mice than in those from DJ-1/park7<SUP>+/+</SUP> controls; these effects were reversed by DJ-1/park7-overexpressing endothelial cells from DJ-1/park7<SUP>−/−</SUP> mice. Histone deacetylase (HDAC)-1 recruitment and H3 histone acetylation at the eNOS promoter were elevated and diminished, respectively, in DJ-1/park7<SUP>−/−</SUP> mice compared with DJ-1/park7<SUP>+/+</SUP> controls. Moreover, SBP was significantly elevated in DJ-1/park7<SUP>−/−</SUP> mice compared with DJ-1/park7<SUP>+/+</SUP> controls, but this elevation was inhibited in mice treated with valproic acid, an inhibitor of Class I HDACs including HDAC-1.</P><P><B>Conclusion</B></P><P>These results demonstrate that DJ-1/park7 protein may be implicated in the regulation of vascular contractility and blood pressure, probably by the impairment of NO production through H<SUB>2</SUB>O<SUB>2</SUB>-mediated epigenetic inhibition of eNOS expression.</P>

박남수 시의 이미지즘과 사회성 고찰

박현수(Park Hyun-soo) 한국시학회 2004 한국시학연구 Vol.- No.10

This paper is aimed at examining the characteristics and limit of imagist poetry by analyzing Park Nam-Soo's works. Because Imagism eliminates an ideological or social aspects from it's aesthetics, it is difficult to find a social sense in imagist poetry. But After Park himself had given his early imagist poetry an social meaning, many critics misinterpreted his imagist poetry. We can call Park's utterance a retrospective modification. It is clear that Park's early poetry is imagist works without social meaning. Park extended his poetic horizon by passing the limit of early imagist poetry in which images are static and plain. He used narrative elements in the middle imagist poetry. Accordingly the absolute image in early poems gave place to the metaphoric image in middle poems. In the later poetry, the suppressed sociality by the principle of imagist aesthetics has revived. Park had written an epic in which a brilliant Korean hero, Euljimunduck, drove back the chinese enemy. It means that imagism is the opposite of sociality.

전후 비극적 전망의 시적 성취-박인환론

박현수 ( Park Hyun-soo ) 국제어문학회 2006 국제어문 Vol.37 No.-

김수영으로부터 비롯한 `겉멋`과 `피상성`이라는 부정적인 선입견 때문에 박인환 시는 시대에 대한 치열한 성찰이라는 측면이 평가절하되어 왔다. 그러나 박인환의 시를 꼼꼼하게 읽어보면 이런 판단이 얼마나 성급한 것인가 하는 점을 알 수 있다. 박인환의 전후 세계 인식은 철저하고 성실한 측면이 강하며 그의 시는 그런 인식을 잘 형상화한 것으로 보인다. 박인환은 해방 공간에서 명확한 현실 인식에 바탕을 두고 낙관적인 전망을 보여주는 시를 창작하였다. 그의 이런 시도 현실추수적인 경향에 의해 창작된 것으로 평가절하 되어왔다. 그러나 그의 시가 사상적으로 일관성이 있으며 표현의 적절성도 획득하고 있다는 점을 고려할 때 그의 해방공간의 시는 새롭게 평가될 필요가 있다. 박인환의 해방 공간의 시가 인민민주주의 민족문학론과 친연성이 있으며, 시적 성취도 역시 당대 다른 시들의 수준을 고려할 때 비교우위에 놓여있다. 1950년대 시 역시 해방공간의 낙관적 전망의 상실과 전쟁의 체험을 통해 형성된 비극적인 전망을 가장 절실하게 문학적으로 형성한 것임을 보여주었다. 그리고 그런 전망을 가장 잘 보여주는 초월적 이미지를 분석함으로써 박인환 시의 특성을 추출하였다. 초월적 권능을 상실한 초월적 존재, 파편적 세계관, 진보적 이념에 대한 비판, 폭풍의 이미지 등이 그것이다. 또한 이런 특성의 핵심으로 필연성이 사라진 전후 세계의 논리를 보여주는 `거저(그저)`라는 어휘에 주목하여 그 의미를 검토하였다. The negative preconception which originated from Kim Soo-Young who attached `foppery` and `superficiality` tag to Park In-Whan resulted in the devaluation of his intense self-reflection on his times. But with a careful reading on his poems, we can get to know that how hasty decision it is. Park In-Whan created poems showing a optimistic prospect based on a clear recognition of reality in the period of Liberation. His poems in those time were also underestimated as the creation just following the social trend. But considering the consistent thought and the use of adequate expression in his poems, we need to revalue his poems in the period of Liberation. Especially, in that he is suspected of being involved in the southern Korean Labor party according to the document of U.S military administration, more detailed approach is required. Park In-Whan`s poems in 1950`s also showed that the loss of positive prospect in the period of Liberation and the tragic prospect formed by the experience of 6.25 war were ingrained in the form of literature in real earnest. And the analysis of the transcendental images showing such prospect in his poems made it possible to extract the characteristics of his poems. Those are as follows: the transcendental being without transcendental power, the fragmentary world view, the criticisms on liberal idea and the image of storm. This paper also examined the meaning of `거저(aimlessly)`, as the key of the characteristics above ,which shows the logic of world after war without necessity. Park In-Whan`s world view after war is thorough and honest and his recognition as such seems to be successfully figured in his poems. Such a poetic achievement cannot be acquired without thorough reflection on the world- historical tragedy. Park In-Whan was the only poet in 1950`s who drew honestly with rhetorics suitable to himself the insight which is gained by confronting the gory face of `black god` or `the black angel of history`

김수영 시론에 있어서 전위성의 성격과 기원

박현수 ( Hyun Soo Park ) 한국문학언어학회(구 경북어문학회) 2014 어문론총 Vol.60 No.-

Kim Soo-young, a post-war Korean poet, has historical significance in Korean modern poetry in that he had intended to integrate Avant-garde(or modernism) and Engagement(political participation). But after that integration in his criticism, his avant-garde was still not escape the nature of aesthetic modernism. Because he had appreciated avant-garde as an aestheticist literary project, avant-guard and engagement in his criticism were always confrontational. His idea stemmed from Japanese Avant-garde of Shi to shiron by Haruyama Yukio and Nishiwaki Kitagawa. Haruyama and Nishiwaki’s avant-garde was an pure surrealist movement which was completely excluded from the possibility of political participation. In the 1960s, Kim recognized his own limitation and tried to overcome it. But because of his traffic accident, his efforts ended in an uncompleted project. By this limitation, Kim Soo-young’s try to integrate avant-garde and political participation produced enormous logical contradictions. Consequently most of his articles had tried to discuss the possibility of political participation in avant-garde poetry had ambiguities and leaps in his logic. In his criticism, many concepts such as ‘experimentation, ambiguity, chaos, freedom, resistant poems’ are often incoherent and lacking continuity.

전후 초월주의의 그늘과 그 극복

박현수(Park Hyun-Soo) 부산대학교 한국민족문화연구소 2009 한국민족문화 Vol.35 No.-

박재삼은 전후 남한 문학의 중심적 기류로 형성된 초월주의의 영향을 전범적으로 보여준다는 점에서 전후시의 특성을 이해하기 위해서 반드시 고찰하여야 할 시인이다. 그는 전후 초월주의의 중요 특성, 즉 전통성, 미학성, 초월성을 창조적으로 계승하여 자신의 시적 자양분으로 삼았다. 박재삼은 초월주의의 강력한 영향권 내에 있었다. 전통성은 그의 시에 나타나는 ‘한’과 연계된 정서의 적극적 표현이나 춘향전이나 흥부전과 같은 고전 작품의 의도적 인유에서 드러난다. 미학성은 생경한 현실 인식을 철저하게 여과시켜 개인적인 정서로 변용시키는 점에서 잘 드러난다. 초월성은 개별적인 존재가 죽음으로써 완료되는 것이 아니라 다른 존재의 탄생과 연계되어 지속성을 지닌다는 생각에서 확인된다. 그러나 박재삼은 초월주의의 영향과 길항하며 자신의 창조적인 공간을 마련하였다. 그의 창조성이 적극적으로 드러나는 지점은 그의 시에 나타나는 두 가지 불투명성이다. 하나는 불투명한 정서이고 다른 하나는 불투명한 구문론이다. 전자에서는 전후의 서정적 동일성에 대한 고민과 그 극복을 확인할 수 있고, 후자에서는 새로운 매체에 안착한 새로운 서정시의 방향에 대한 적극적 인식을 확인할 수 있다. Park Jaesam is one of the important poets in postwar Korean poets. He accepted the ideology of postwar transcendentalism, the ideology of Cheongmunhyup(Korean Youth Writer's Association; leaded by Kim Dongli, Jo Yonhyun and Seo Jungju). The ideology has three features; traditionality(the approval of Korean traditional thought and emotion), transcendentality (transcendental identifying self with the universe) and aestheticism(the exclusion of political issues from poems). But Park had a correct understanding of the problem of that ideology and overcame its problems creatively. First, When he accepted traditional elements by the rhetoric of temporality, he controlled a subject matter in his poems by reducing risks of the distortion of emotion to the minimum. Secondly, he wrote new lyric poems by the strategy of opaque, that is, the strategy of intentional ambiguity. Park used intentionally two kinds of ambiguity, one is the ambiguity of emotion(an ambiguous emotion), the other is that of grammar. This ambiguity made his poems new lyric poems, by keeping his poems away from the plain repetition of old lyric poems. Park's lyric poems are not only traditional but also modern. He succeeded to Korean traditional lyric poetry. At the same time, he made an effort to write postwar modern poems.

논문 : 1920년대 초기 『조선일보』 「문예란」 연구 -발굴과 위상의 구명

박현수 ( Hyun Soo Park ),홍현영 ( Hyun Young Hong ) 민족문학사학회·민족문학사연구소 2015 민족문학사연구 Vol.57 No.-

『조선일보』의 「문예란」은 1921년 7월 4일부터 같은 해 8월 27일까지 『조선일보』1면에 개설되었다. 이 글의 목적은 『조선일보』 「문예란」에 실린 작품들을 발굴, 소개하고, 그 위상을 구명하는 것이다. 「문예란」이 개설되었던 때는 『조선일보』가 23회에 이르는 발매반포금지와 2차례의 정간을 겪고 점차 운영에서 정상을 찾아가던 즈음이었다. 「문예란」은 총 38회 개설되었는데, 시가 21편, 평론이 3편, 기행문이 1편, 수필이 1편 등 모두 26편의 작품이 실렸다. 「문예란」에 글을 수록한 작가는 변영로, 남궁벽, 김억, 박종화, 오상순, 오천석, 김찬영, 현진건 등이다. 변영로는 「문예란」에서 가장 활발한 작품 활동을 했으며 필자들의 교류에서도 중심에 있었다. 그는 진리가 확정된 세계에서 벗어나 불확실성에 투신하는 자세를 새롭게 창출될 문학의 핵심이라고 주장했다. 이 글은 남궁벽이 스스로 ``∼다``체로 번역해 발표한 「별의압흠」, 「말」 등을 소개하는 것을 통해 정본 확정의 문제를 제기했다. 또 작가의 과작을 고려할 때 새롭게 발굴, 소개하는 남궁벽의 시 5편이 지니는 무게 역시 가볍지 않다. 박종화의 시 가운데 「廢園에누어셔」는 「黑房秘曲」에 실린 시와 달리 3장으로 되어 있다. 특히 3장이 당시 박종화의 지우였던 정백, 홍사용 등의 갈등과 관련되어 주목을 필요로 한다. 이 글에서 소개하는 오상순의 두 시 역시 처음 발굴, 소개하는 시들이다. 이들은 어린 시절의 상상력이 깃든 언어를 가장 본질적인 것으로 파악하는 당시 오상순의 문학관을 드러내고 있다. 「문예란」의 필자들은 이미 문단의 승인을 받은 존재들이었다는 점에서 작품들 역시 문학청년 시기의 습작이나 투고작과는 다르다. 또 「문예란」의 필자는 각각의 동인지에 얽매이지 않는 문인들의 네트워크와 문학 활동을 파악할 수 있는 대상이기도 하다. 「문예란」이 지닌 가장 두드러진 의미는 『조선일보』를 비롯해 『동아일보』 『매일일보』 등 당시 신문 미디어에 같은 성격의 지면이 존재하지 않았다는 점에 있다. Literary section in Chosun Ilbo was first open on July 4, 1921 and lasted until on August 27 in the same year. The section was reported on the first page of Chosun Ilbo. The purpose of this article was to discover and introduce the pieces of literary work reported in Chosun Ilbo, and to bring light on the status of its literary section. The time when literary section was established was the moment Chosun Ilbo was returning to normal condition of running business after having twenty three times of prohibition of release and two times of suspension. The number of reported literary section was thirty eight, which included twenty one pieces of poem, three pieces of critique, one piece of travel essay, and one piece of essay. Thus, the total number of reported literary work was twenty six. Writers who participated in the section were as followed : Young-Roh Byun, Byuk Namgung, Uk Kim, Jong-Hwa Park, Sang-Soon Oh, Chun-Seok Oh, Chan-Young Kim and Jin-Gun Hyun. Among them, Young-Roh Byun was the most active writer in the literary section and was in the center of mutual exchange of opinion among the writers. He sought the core of literature in the attitude that was devoted to the uncertainty, which was off the world of concrete truth. This article supposed a question on determination of the formal copies by discovering and introducing the Byul-eui-ap-hem(별의압흠), and Mal(말) which were reported by Byuk. He translated these pieces for himself using style of writing, "∼ da". Moreover, as Namgung was not a prolific writer, the importance of five pieces of poem by Byuk Namgung should not be overlooked. Park`s poem, Lying in the closed garden(廢 園에누어셔), consisted of three chapters compared to that of his, which were issued in Secret songs in a black room(黑房秘曲). Especially, the third chapter of it was related to conflict among his companions, Baek Jung and Sah-Yong Hong. Therefore, it needs to be focused on that chapter. Two pieces of poem by Sang-Soon Oh were introduced for the first time. These represented Oh`s literary view at the moment, which the writer understood the language with childhood imagination as the most essential one. Writers of the literary section had already been approve by the literary circle. For this reason, the pieces reported in the literary section had a different character from their studies or submission before starting their literature career. In addition, the writers were the subject of the network and career activities among the writers who were not bound by literary coterie magazines. The most significant meaning of literary section was that the section with the same character did not exist in Dong-A Ilbo, Maeil Shinbo, or Chosun Ilbo itself. To prove this point, relation between news media and literature in early 1920s was discussed.

염상섭과 모델소설 ― 「해바라기」, 『너희들은무엇을어덧느냐』를 중심으로

( Park¸ Hyun-soo ) 성균관대학교 대동문화연구원 2020 大東文化硏究 Vol.112 No.-

이 글의 목적은 「해바라기」, 『너희들은무엇을어덧느냐』 등 염상섭의 모델소설이 지닌 성취와 한계를 가늠하는 데 있다. 염상섭은 자신이 모델을 가지고 소설을 쓴 경험이 흔하지 않음을 밝힌 바 있는데, 그것은 모델소설에 대한 부정적인 인식에 기반을 두고 있었다. 염상섭이 『동아일보』에 두 소설을 연재한 것은 『동명』이 종간되고 『시대일보』가 창간되기 전이라는 시기와 겹쳐진다. 염상섭은 ‘문인회’의 취지를 밝히는 등 그 결성을 위해 애쓰기도 했다. 당시 작가들에게 꾸며낸 이야기를 통해 삶의 진실을 구현한다는 허구 개념에 대한 이해는 쉬운 일이 아니었음에도 이전 시기 서사에 대한 부정적인 인식은 사실에 대한 경도로 이어졌다. 이는 조선의 근대문학에 직, 간접적인 영향을 주었던 일본 근대소설이 사소설로 귀결되는 과정에서도 나타난다. 1920년대 전반기 『동아일보』, 『조선일보』, 『시대일보』 등에 연재된 소설에는 필자인지 번역자인지 모를 이름이 부기되어 있는데, 그것은 연재물을 ‘소설’이나 ‘문학’보다는 흥미 위주의 읽을거리로 여겼던 인식에 따른 것이었다. 많은 독자를 견인하기 위해 ‘기사’로서 문학에 부여된 역할은 흥미 위주의 콘텐츠로 지면을 메우는 것이었다. 실존하는 모델을 상정한 것은 당시의 허구 개념에서 크게 벗어나지 않았으며, 신여성을 모델로 함에 따라 독자를 견인하는 역할 역시 효과적으로 수행할 수 있었다. 「해바라기」, 『너희들은무엇을어덧느냐』 등에 대한 평가는 신문 미디어의 요구를 수용하면서도 현실에 대한 묘파를 제대로 행했는지 가늠하는 것이 되어야 할 것이다. This study studied the achievements and limitations of < Sunflower(해바라기) > and < What did you get?(너희들은무엇을어덧느냐) >. Yeom Sang-seop said he had a rare experience writing model novels. It is because of the negative perception of model novels. Yeom Sang-seop published the two novels serially in the newspaper between the end of < Dong-Myeong > and the first publication of < Si-Dae newspaper >. Yeom Sang-seop also tried to form of 'literary society'. At the time, it was not easy for writers to understand the concept of fiction. However, the negative perception of narratives in the previous period led to an emphasis on facts. Modern Japanese novels had a direct and indirect influence on the modern literature of Joseon. Japanese modern novels also resulted in private novels. In the first half of the 1920s, it was difficult to know who wrote the novels serialized in < Dong-A newspaper >, < Jo-Seon newspaper >, and < Si-Dae newspaper >. That is because they thought of the series as an interest-centered story, not as 'novel' or 'literature'. In order to attract a large number of readers, the newspaper demanded interesting content. Writing a novel with a model did not deviate from the fictional concept of the time. Because it was modeled after a new woman, it was able to attract many readers. Research on < Sunflower > and < What did you get? > should reveal whether the demands of the newspaper media have been properly accepted and whether the author's perception of reality has been properly revealed.

내시경적 조임근절개술후에 발생한 췌십이지장 가성동맥류 1예

박수영,김윤정,박진한,전현수,박시형,이영진,이은지,김지현 仁濟大學校 白病院 2010 仁濟醫學 Vol.31 No.-

We reported a case of pancreatic pseudoaneurysm, involving pancreaticoduodenal artery, developed after endoscopic retrograde cholangiopancreatography(ERCP) with endoscopic sphinterotomy. A 54 year old woman was transferred to our hospital due to sustained hematochezia and hypovolemia. A week before admission, she underwent ERCP with endoscopic sphinterotomy for acute cholangitis in local clinics. She developed abdominal pain and hematochezia at 12 hours after the procedures. A post procedure contrast enhanced computed tomography of abdomen demonstrated a pseudoaneurysm in inferior portion of pancreatic head. This was not present on the pre procedure contrast enhanced computed tomography of abdomen and was thought to arise from the pancreaticoduodenal artery as a complication of the pre sphincterotomy. She was brought to our emergency room in a state of hypovolemia. A upper endoscopy showed active bleeding from ampula of vater. An celiac angiography demonstrated pancreatic pseudoaneurysm involving inferior pancreaticoduodenal artery and selective coil embolization of was performed.

시론의 재구성을 위한 만해 사상의 본질 탐구

박현수(Park, Hyun-soo) 한국어문학회 2016 語文學 Vol.0 No.131

As a prerequisite for the reconstitution of Manhae(Han, Yong-un)’s poetics, this paper aims at exploring the prime aspects of his thoughts. First, the historical development of his thoughts is reviewed. And the key points of his thought is dealt with, as a next step, from the three perspectives : 1. insentient being can see its own nature(無情見性論), 2. buddha-nature is possible to be seen.(佛性可見論) 3. post-nationalism. First, the discourse that insentient being can see its own nature(無情見性論) is an argument that all beings possess the buddha-nature and therefore insentient beings like trees and stones generally understood as things lacking the practice ability are capable of attaining the Buddhist goal of enlightenment with its own numinous awareness. Accordingly, the practice and the results which are treated as the preserve of the practitioners like Zen masters should be opened to all sentient or insentient beings. The discourse that insentient being can see its own nature(無情見性論) proves the depth of thoughts in the late period of his life that embraces everything as an agent of life. Second, the discourse that buddha-nature is possible to be seen(佛性可見論) is an argument that all beings seen with our eyes as well as the dharma-nature in the absolute dimension are the buddha-nature and the seeing itself is already “seeing the true nature(見性).” The argument that the buddha-nature verified by our sensory organ and this phenomenal world itself is the buddha-nature accords great importance to the real world in which we get a toehold. Lastly, the discourse of post-nationalism is an argument that all cosmic things, according to the spirit of buddha i.e. the fundamental principle of buddhism, shall be dealt with in the dimension of absolute equality and therefore should not be limited by the particular concepts like nation or bloodline. His argument like this give us a opportunity of reflection on our customary practice of understanding him as an nationalist in every way. The attempts to understand him as a nationalist through and through might restrict his broad-mindedness and latent potentials within narrow framework. His arguments summarized above originate from the thorough buddhist fundamentalism. Compared to his early writing The Treatise on the Chosun Buddhism Reform(조선불교유신론), his thoughts after that time can be briefly described as a buddhist fundamentalism. The core of the later thoughts of Manhae is to interpret the buddhism more fundamentally based on his view points concerning the meaning of buddha-nature and world. The meaning and possibility of Manhae’s poetics should be extracted from this.

NSIP와 BOOP의 고해상전산화단층촬영 소견과 비교

백상현,박재성,차장규,홍현숙,김대호,박성진,조준희,이혜경,최진수 순천향의학연구소 2003 Journal of Soonchunhyang Medical Science Vol.9 No.2

Purpose: BOOP and NSIP also share similar clinical features such as subacute flu-like illness, the finding of bronchoalveolar lavage, the result of pulmonary function test and more favourable outcome than usual interstitial pneumonia(UIP). The author try to compare the HRCT findings of NSIP with BOOP by pattern and distribution of diseases. Materials and Methods: HRCT findings of histopathologically proven NSIP(Group Ⅰ; 6, Group Ⅱ; 7, Group Ⅲ; 2) in 15 patients(5 male, 10 female, age range, 39-69 years; mean age, 53 years), BOOP in 15 patients(6 male, 9 female, age range, 26-76 years; mean age, 52 years) were reviewed retrospectively. Results: The common pattern of the two diseases was admixed consolidation, ground glass attenuation & reticular densities with/without architectural distortion(NSIP; 53.3%, BOOP; 46.7%). The main component of the pattern wan predominantly consolidation(NSIP; 46.7%, BOOP; 73.3%) and ground glass attenuation(NSIP; 40.0%, BOOP;20.0%). Architectural distotion was more provinent finding with NSIP(mild ; 3, moderate ; 4, severe; 2) compared with BOOP(mild; 7, moderate; 2, severe; 0). The predominant overall distribution was lower lung, peribronchovascular & peripheral lung field in both of the two entities(NSIP;73.3%, BOOP; 73.3%). Peribronchovascular involvement was more common with NSIP(100%) than BOOP(80%), whereas peripheral involvement was more common with BOOP(93.3%) than NSIP(80%). Conclusion: The HRCT findings of NSIP and BOOP were similar in pattern and distribution. But NIP manifested more frequently ground-glass attenuation, whereas BOOP showed more frequently consolidation. Architectural distortion was more severe with NSIP than BOOP. NSIP invoved more frequently peribronchovascular space and BOOP were more common in peripheral lung field.