Novel Endoscopic Criteria for Predicting Tumor Invasion Depth in Superficial Esophageal Squamous Carcinoma

최지영,Suh Eun Bae,Ji Yong Ahn,이정훈,Young Soo Park,Do Hoon Kim,Kee Don Choi,Hye-Sook Chang,Ho June Song,Gin Hyug Lee,Jae Won Choe,Se Jin Jang,정훈영 대한의학회 2020 Journal of Korean medical science Vol.35 No.41

Background: Accurate prediction of tumor invasion depth in superficial esophageal squamous carcinoma (SESC) is essential for deciding the appropriate treatment strategy. We proposed novel endoscopic criteria to differentiate between mucosal and submucosal esophageal cancers and to evaluate the diagnostic accuracy and usefulness of the criteria. Methods: A total of 352 patients who underwent endoscopic or surgical resection for SESC between 1991 and 2010 were included. First, the novel endoscopic criteria were created based on the endoscopic features of 60 randomly selected patients as follows: for T1m cancers, I. flat or slightly elevated or depressed lesion with smooth/even surface of any size, II. slightly elevated lesion of ≤ 1 cm with granular or uneven surface, III. hyperemic flat lesion of ≤ 3 cm with granular or uneven surface, IV. slightly depressed lesion of ≤ 2 cm with uneven surface and for T1sm cancers, I. irregularly (unevenly) nodular or protruded lesion of any size, II. slightly elevated lesion of > 1 cm with granular or uneven surface, III. hyperemic flat lesion of > 3 cm with granular or uneven surface, IV. irregularly (unevenly) depressed lesion of > 2 cm, and V. ulcerative lesion of any size. Next, the endoscopic findings of the remaining 292 patients were reviewed according to the criteria. Results: The accuracy of novel endoscopic criteria was 79.5% (232/292). The sensitivity and specificity of mucosal cancers were 78.4% and 81.0%, respectively, whereas those for submucosal cancers were 81.0% and 78.4%, respectively. The accuracy for mucosal cancers was high (97.3%, 72/74) when the lesions were flat or slightly elevated/depressed with smooth/even surface regardless of size, whereas that for submucosal cancers was high (85.7%, 18/21) when the lesions were irregular/nodular protrusions regardless of size. In multivariate analysis, macroscopic type IIb lesion was identified as an independent factor affecting accuracy (P < 0.05). The difference in recurrence-free survival rates between endoscopically mucosal and submucosal cancers was significant (P = 0.026). Conclusion: The novel endoscopic criteria appear to be accurate and useful in predicting invasion depth in SESC. Our criteria might help not only to decide the treatment strategy between surgery and endoscopic resection but also to predict the outcomes of SESC.

‘학습으로서의 드라마’에서 ‘예술로서의 드라마’로 나아가기

최지영(Choe Ji Young) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.21

"Uni zu Koln", "Kolner Uni" 혹은 "Uni Koln" -장소명칭의 유형과 그 구성 원리에 대하여

최지영 ( Ji Young Choe ) 한국독어독문학회 2010 獨逸文學 Vol.116 No.-

Die vorliegende Arbeit handelt von den,NN-Ketten`, die als Ortbezeichnungen fungieren. Da sie sich strukturell einerseits von NN-Komposita und andererseits von Nominalphrasen unterscheiden, wurden sie von mir NN-Ketten genannt. Durch die Textanalyse, die im Rahmen dieser Arbeit durchgefuhrt wurde, hat sich ergeben, dass die NN-Ketten im Deutschen sich in funf verschiedene Typen klassifizieren lassen, wahrend es im Koreanischen nur einen einzigen Typ gibt. Die Bildung der NN-Ketten als Ortbezeichnung wird gesteuert von dem Figur-Grund-Prinzip als eine Tendenz der kognitiven Wahrnehmung, dem Righthand Head Rule fur die Wortbildung sowie der Kopfperipheritat als syntaktische Phrasenstrukturregelung. Die sechs verschiedenen Typen der NN-Ketten unterscheiden sich darin, ob sie sich eher von dem Righthand Head Rule oder von dem Kopfperipheritatsprinzip beeinflussen lassen. In bezug auf das Kopfperipheritatsprinzip spielt auch die Sprachspezifik eine Rolle, sodass sie im Deutschen linksperiphere Bildung ergibt, wahrend sie sich im Koreanischen stets als rechtsperiphere Struktur zeigt. Im ubrigen konnte festgestellt werden, dass das Figur-Grund-Prinzip in der jeweiligen Sprache bei der Bildung der NN-Ketten mit den Strukturprinzipien interagiert.

과정드라마를 기반으로 한 몸으로 글쓰기

최지영 ( Ji Young Choe ) 한국무용교육학회 2015 韓國舞踊敎育學會誌 Vol.26 No.4

The heart of process drama is found from the roles students (participants) play in dramatic situation which is created by drama teachers. Drama teachers are to trigger intimately connected dramatic situation in order to provoke student`s role playing activities. At this moment, students` role-playing activities are bound to be done through the body movements, and it is the body movement that creates living fictional world. This fictional world is created through constant and interactive communication between participants, and all these processes provide vivid experience to participants. The vivid experience mentioned now provides intrinsic stimulus, which brings about changes in participants, and such stimulus is created when participants are immersed in dramatic situation. Likewise, process drama is created by dramatic actions and participants play their roles while they are immersed in dramatic situation. As a result of all these processes, a character is created. However, this does not mean the reenactment of existing character through practice but the creation of new character through role playing activities. In addition, such character creation is realized only when it is accidentally met with the creative time and space called dramatic situation which are provided by drama specialist. Such an accidental meeting with dramatic situation embarrasses participants very much and put them in an ambiguous situation. In such a situation, they are to play their given roles and create logical experience for context awareness at the same time. In this sense, process drama-based dramatic actions by participants could be considered as body writing. Process drama-based performative writing could be defined as a great simultaneous process of both aesthetic experience and integrated experience which causes logical thinking expansion. Aesthetic experience is defined as an experience which makes participants perceive given object or environment different with special attention. In such experience, participants come to make efforts to express, react and continue communication with others. Sometimes expression, reaction and communication happen independently, successively, or spontaneously, and such various and diversified dramatic experiences reconstructed and expanded participants` experiences in a stereoscopic way.

직시 구도의 언어문화적 변이

최지영 ( Ji Young Choe ) 韓國獨語獨文學會 2007 獨逸文學 Vol.104 No.-

기술문서 3항술어구문의어순 -통제언어의 관점에서-

최지영 ( Ji Young Choe ) 한국독어독문학회 2009 獨逸文學 Vol.111 No.-

Die vorliegende Arbeit handelt von der Stellung der NP-Argumente der dreistelligen Verben, die in den techinischen Dokumente vorkommen. Anhand der in dieser Arbeit vorgenommenen Korpusanalyse hat sich herausgestellt, dass sich die Stellung der Ziel- und Thema-NP in den techinischen Dokumenten des Koreanischen-anders als im Deutschen oder Englischen-nicht von dem sog. “heaviness" Prinzip ableiten lasst, sondern eher als eine Strategie aufzufassen ist, die vom Hersteller der Dokumente zur Vermeidung der strukturellen Ambiguitat gewahlt wird. Die Praferenz fur die Reihenfolge `Thema-NPexp(Rel)+Ziel-NP+V` vor `Ziel-NP+Thema-NPexp(Rel)+V` ist somit darauf zuruckzufuhren, dass die Ziel-NP in der ersteren eindeutig als ein Argument des Matrixverbs analysieren lasst, wahrend die in der letzteren auch ein Argument des Relativsatzverbs sein kann. Fur die restlichen NP-Typen des Thema-Arguments, NPexp(N), NPexp(NN), NPexp(Gen) und NPexp(Koord), gilt allerdings die kanonische Stellung nach der Ziel-NP als optimal.

교육연극에서 드라마전문가(drama specialist)의 역할형성 및 핵심요건 -과정중심연극의 특성을 중심으로-

최지영 ( Ji Young Choe ) 한국연극교육학회 2015 연극교육연구 Vol.26 No.-

In the Educational Drama & Theatre, a drama specialist is the primary agent of planning, executing and operating all sorts of programs for it. When we examine history of educational drama and theatre, we can see that drama specialists have focused on the exploration and expression of dramatic action itself. The following summarizes drama specialist`s roles into five categories based on the essential identity as such: The first role of a drama specialist is to work as a guide for ``playmaking``. The role was defined by Winfred Ward in 1920`s, who was an American pioneer in the field of children`s drama and theatre. To attract spontaneity and self-expression from participants using improvisation and stories was the core of its roles, and it paved the way for spreading the differentiated ``playmaking`` method out of the existing production-based stage performance method. The second role is to work as a drama leader who brings out development and expression from participants. In 1940`s, Peter Slade, an English pioneer in the field of theatre for children, recognized children`s gestures and doings as artistic practices and named it ``child drama``. He had a notion that the most important role of a drama specialist is to bring out hidden artistic potentials and qualities in children. The third role is to work as an active agent of drama structure. In 1960`s, Dorothy Heathcote, an English pioneer in the field of educational drama, insisted that drama should be served as rather a system for bringing out personal growth than a methodology. Such her argument led to the creation of ``Living through Drama`` structure. The fourth role is to work as a facilitator in performance and theatre. Having started TIE(Theatre in Education) movement in UK during the 1960`s, it experimented with a concept that performance can stimulate and change participants more dynamically than drama class in a closed environment. As a performance project, it utilized overall processes such as discussion and simulation during performance, pre-performance research and post-performance discussion as well as traditional performance style. Drama specialists played actor-teacher roles in it. The last role of a drama specialist is to work as an expert who can bring out aesthetic induction from participants. In the late 20th century, the term of ``teaching artist`` appeared, whose roles focused more on aesthetic experience together with educational methodology. The term was established and spread by Maxine Greene, an American educational philosopher. Through such a great deal of effort by drama specialists, Educational Drama & Theatre came to have a process and participant-centered academic identity. In drama specialist`s roles, creating participants` spontaneity is the core role, and this is where Educational Drama & Theatre is differentiated from production-based performance. Based on these points, I conducted an experiment on a structure that can create participants` spontaneity through drama. The followings are three types of structures in creating roles of drama specialist, which were shown in my experiment. The first structure refers to drama specialist-centered structure. In this structure, a drama specialist creates drama structure and then participants experience drama in the created drama structure. It is usually aimed at children or younger students and participants are to perform one or more duties. This structure is applied to most of DIE and process drama, playmaking class as well as participation in theatre. The second structure refers to the subject-centered structure. In this structure, subjects are to complete theatre works on their own, and drama specialists are to advise, guide and support them to complete a piece of theatre. In this case, the subject of theatre is offered by the drama specialist at the starting point of drama. Otherwise, the drama specialist may determine the subject with participants. This structure is usually applied to the youth theatre for juveniles. The third structure refers to the co-artist-centered structure which is applied to forum theatres, including TIE(Theatre in Education). In this case, both specialist and subjects are exposed to dramatic scenes with conflict as it is. The drama specialist works as a facilitator who can help participants concentrate on dramatic tension and all essential matters. However, the ultimate goal of it is to end the common dramatic situations that drama specialist and all participants face, including subjects. By comprehensively organizing all these academic explorations, I could draw a conclusion about following key elements of drama specialist: First, a drama specialist shall create drama structure enabling participants to engage in spontaneous creation activity Second, a drama specialist shall keep dramatic tension sustained in drama structure, and induce participants to be immersed in drama for their emotional identification experience. To make it possible, the drama specialist is to be equipped with abilities to manipulate time and space in a dramatic way. Lastly, a drama specialist shall be able to bring out communication through aesthetic induction, and drive participants to recognize artistic moments and immediately react to it. Such experience will lead participants to the communication with themselves and the world, which they have never experienced before. This study demonstrated a drama specialist is a holistic and integrated expert who can bring out aesthetic experience as well as exploration on objects and subjects from participants. Therefore, the existing drama specialist training courses are considered insufficient to cultivate talented and desirable drama specialists who are described in the above. I hope that this paper can serve as a useful starting point for understanding more about the nature and roles of drama specialist.

만화 생각층위 요소의 기능과 실현 양상

최지영 ( Ji Young Choe ) 한국독일언어문학회 2013 독일언어문학 Vol.0 No.62

Die vorliegende Arbeit behandelt die Denkblasen und Inserts, diejenige sprachlichen Elemente im Comic also, die jeweils Denkakte und innere Bewusstseinszustande der diegetischen Figuren darstellen. Dabei geht es hauptsachlich einerseits um die Frage, welche Funktionen diese Elemente bei der comicspezifischen multiperspektivischen Narration ausuben, und andererseits um die Darstellung ihrer Kombinationsmoglichkeiten mit anderen sprachlichen Elementen in der diegetischen Kommunikations- situation. Die in dieser Arbeit vorgenommene Anlayse des ausgewahlten Comic-Werks hat ergeben, dass die Inserts insbesondere in eine enge Interaktion mit dem Bildanteil eintreten und z.B. den raschen Perspektivenwechsel unterstutzen und verstarken, die das Bild allein nicht so effektiv zur Schau hatte stellen konnen. Die szenische Multi- perspektivitat, die die Denkblasen bewerkstelligen, basiert dagegen nicht auf der Interaktion von Bild und Sprache; es geht dabei um eine simultane, parallele Realisierung von unterschiedlichen Perspektiven innerhalb eines Pannels, wobei die Denkblase neben Bild und Kommentar eine konstitutive Rolle spielt. In der diegetischen Kommunikationssituation lassen sich die Denkblasen und Inserts sowohl mit Sprechblasen als auch untereinander kombinieren. Auffallend dabei ist die Praferenz fur die Gedanken- reprasentationen im allgemeinen und darunter insbesondere die Koordinationen von Sprech- und Denkblasen, die inhaltlich voneinander abweichen und das Prinzip von “Tatemae und Honne” zu reflektieren scheinen.

동기식 전송장치의 구성관리(CM)기능의 구현

최지영(Choe Ji Young),박재민(Park Jae Min),송주빈(Song Joo Bin),김재근(Kim Jae Guen) 한국통신학회 1993 한국통신학회 학술대회논문집 Vol.12 No.1

형용사구의 분석을 위한 기능범주들

최지영 ( Ji Young Choe ) 한국독어독문학회 2001 獨逸文學 Vol.80 No.1