정신분열병에 대한 리스페리돈의 효과 및 안정성

이민수,김용구,김영훈,연병길,오병훈,윤도준,윤진상,이철,정희연,강병조,김광수,김동언,김명정,김상훈,김희철,나철,노승호,민경준,박기창,박두병,백기청,백인호,손봉기,손진욱,양병환,양창국,우행원,이정호,이종범,이홍식,임기영,전태연,정영조,정영철,정인과,정인원,지익성,채정호,한상익,한선호,한진희,서광윤 大韓神經精神醫學會 1998 신경정신의학 Vol.37 No.1

연구목적 : 본 시험의 목적은 임상시험 시작전에 연구자들을 대상으로 PANSS Workshop을 통하여 PANSS, ESRS에 대한 국내에서의 표준화 작업을 구축하고 새로운 정신병 치료제인 리스페리돈의 효과와 안정성을 재확인하여 리스페리돈 사용에 대한 적정화를 이루는데 있다. 연구방법 : 1996년 4월부터 1996년 9월까지 국내 39개 대학병원 정신과에 입원중인 혹은 증상이 악화되어 입원하는 정신분열병 환자 377명을 대상으로 다시설 개방 연구를 시행하였다. 1주일간의 약물 배설기간을 가진후, 리스페리돈을 8주간 투여하였고, 기준점, 1주, 2주, 4주, 그리고 8주후에 평가되었다. 용량은 제1일에는 리스페리돈 1mg씩 1일 2회, 제2일에는 2mg씩 1일 2회, 제3∼7일에는 3mg씩 1일 2회 투여하였다. 이후 환자의 임상상태에 따라 임의로 증량할 수 있으며, 최대 일일 16mg을 초과하지 않도록 하였다. 추체외로 증상을 조절하기 위한 투약을 허용하였다. 임상증상 및 부작용의 평가는 PANSS(Positive and Negative Syndrome Scale), CGI(Clinical Global Impression) 그리고 ESRS(Extrapyramidal Symptom Rating Scale)을 사용하였다. 연구결과 : 377명중 343명(91%)이 8주간의 연구를 완결하였다. 치료 종결시점인 8주후 PANSS 총점수가 20% 이상 호전된 경우를 약물 반응군으로 정의할때, 약물반응군은 81.3%였다. 리스페리돈에 반응하는 예측인자로는 발병연령, 이전의 입원 횟수, 유병기간이 관련 있었다. 리스페리돈은 1주후부터 PANSS양성, 음성, 및 일반정신병리 점수상에 유의한 호전을 보여 효과가 빨랐다. CGI의 경우도 기준점에 비해 1주후부터 유의한 감소를 나타내었다. ESRS의 경우, 파킨슨 평가점수는 기준점과 비교해 투여 1주, 2주, 4주후 유의하게 증가되었다가 8주후 기준점과 차이가 없었다. Dystonia 평가점수는 1주후만 유의한 증가를 보였으며, dyskinesia 평가점수는 유의한 차이가 없었다. 혈압, 맥박수의 생명징후 및 일반 혈액학 검사, 생화학적 검사, 심전도 검사에서 유의한 변화는 없었다. 결 론 : 이상의 다시설 개방 임상 연구를 통해 리스페리돈은 정신분열병 환자에서 양성증상뿐만 아니라 음성증상 및 전반적인 증상에도 효과적인 것으로 사료된다. 보다 명확한 평가를 위해서는 다른 항정신병약물과의 이중맹검 연구가 필요할 것으로 생각되며, 또한 장기적 치료에 대한 평가도 함께 이루어져야 하겠다. Objective : The purpose of this study was to investigate the efficacy and safety of risperidone in the treatment of Korean schizophrenic patients. Method : This multicenter open study included 377 schizophrenic patients drawn from 39 university hospitals. After a wash-out period of 1 week, the schizophrenic patients were treated with risperidone for 8 weeks and evaluated at 5 points ; at baseline, and 1, 2, 4 and 8 weeks of treatment. The dose was increased from 2mg/day(1mg twice daily) to 6mg/day(3mg twice daily) during the first week and adjusted to a maximum of 16mg/day over the next 7 weeks according to the patient's clinical response. Medication to control extrapyramidal symptoms was permitted. The psychiatric and neurological status of the patients was assessed by PANSS, CGI, and ESRS scales. Results : 343(91%) of 377 patients completed the 8-week trial period. Clinical improvement, as defined by a 20% or more reduction in total PANSS score at end point, was shown by 81.3% of patients. The predictors of response to risperidone were associated older age, shorter duration of illness, fewer previous hospitalization. Risperidone had rapid onset of action ; a significant decrease of the total PANSS and three PANSS factor(positive, negative, general), and CGI was already noticed at the end of first week. For the ESRS, parkinsonism rating scores were significantly increased until week 4 comparing with baseline. Dystonia rating scores were significantly increased until week 1, and dyskinesia rating scores were not significantly changed during the study. Laboratory parameters including vital sign, EKG, hematological, and biochemical values showed no significant changes during the trial. Conclusions : This study suggests that risperidone is generally safe and effective against both the positive and negative symptoms in our group of patients.

다중 탐색기반 고속 블록정합 움직임 추정 알고리듬

조영창,최병진,윤정오 경운대학교 산업기술연구소 2000 産業技術硏究論文誌 Vol.3 No.1(B)

Block based fast motion estimation algorithms are based on the assumption that the error in the mean absolute error space monotonically decreases to the global minimum. Therefore, in case of many local minima in a search range we are likely to find local minima instead of the global minimum. This situation is evident in the motion boundary. In this paper we propose the multiple search method. In the proposed method motions are estimated from the many candidate search regions. To reduce the additional search points we reduce the search points using the distance from the initial search point to the recently found vector points. In the simulation the proposed method shows more excellent results than that of other gradient based method especially in the search of motion boundary in PSNR.

초·중·고등학교에서의 연극 교과 지도 전략 연구(2) : 교과과정, 교육, 평가를 중심으로 Focusing on Curriculum, Pedagogy and Evaluation

조병진 淸州大學敎 學術硏究所 2005 淸大學術論集 Vol.6 No.-

The unique human valuer which evolve naturally from the kind of study on the theatre arts now are generally recognized as essential to our education for living in this changing world. In it's curriculum planning, the course design of theatre arts as a currucular subject should begin from the angle of respecting the natures of both education and theatre arts, maximizing human growth in the process of socialization and direct experience by the 'here and now'. The meaning of curriculum has been changed by various viewpoints. Three major definitions can be examplified; considering curriculum as 'a course of study', 'all kinds of learning experience by student under school suidance', 'a serious of structured product by intended learning'. Integrated curriculum represents tendancy towards the second, curriculum process, in general , takes three basic factors of objective, subject-matter and learning experience, evolution. The curriculum planning models can be classified into two categories, central planning and openness. The former is the widely used and accepted model which is characterized by an essential reliance on 'cold', objective analysis of objective needs and strategies. Also presents the characteristics divorcing form the reality of the learning process which regarded as essentially exploratory, reponsive and social. The planning of teaching should be based not so much on an often diversive discussion of 'aims', but on the use of the more pragmatic device of viewing classroom action in terms of specific teacher intention in relation to observed practice. This kind of planning, so called openness, would contain within it a consideration of both instructional and expressive objectives. The drama teacher is to challenge, not in instructing this pupils but in creating areas of learning for them. It is attitude of the teacher to this task which vitally affects what goes on in the lesson. the drama teacher must be prepared to share the process of learning with his pupils. The function of the drama teacher is to challenge, arouse, interest, make anxious, give confidence, co-ordinate achievement, encourage reflection. Teaching drama/theatre is not easy work. It is complex process which involve in-service training. Drama teacher needs to have an academic knowledge of all facets of the process (creative, aesthetic, social) of drama/theatre in performance. He, like other teachers, needs to function well on both intellectual and practical levels. He also needs to be able to work both diagnostically and developmentally. The criteria to judge the standards of any work in drama/theatre depends on prevalent trends and existing knowledge. In the early days of drama/theatre in school, standards of received pronunciation and elocution loomed large. But these were superceded by standards of spontaneity and extended play and in turn, by a stress on group development. Evaluation can be classified into to areas of evaluation and assessment. Evaluation is employed in looking at work in the expressive frame. It is summative, objective, instructional, behavioral and prescritive. In the area of evaluation a numerical value can be given. On the other hand, assessment is used to look at the quality of drama work in the meaning frame. The criteria for assessment is descriptive, invitational and evocative.

경막외 혈종에서의 시야결손과 CT소견

조병일,하영수,강준기,송진언 대한신경외과학회 1982 Journal of Korean neurosurgical society Vol.11 No.4

The evidence of infarction within the territory of the posterior cerebral artery could be diagnosed clinically using follow-up CT scan in while it has been pathologically well proved entity when the tentorial herniation occurred particularly in cases of head trauma with intracranial hematoma, although its incidence was generally within 10%. Visual field defects in traumatic intracranial surface hematomas have been proposed as result of the compression of posterior cerebral artery or anterior cheroidal artery and directly optic tract or visual cortex. Authors experienced the infarction of occipital and temporal lobe on CT scans and the homonymous hemianopsia in 3 cases of 20 epidural hematomas after CT was available. The case histories and CT findings of the infarction were detailed and discussed. It may be stressed that the careful examination and frequent follow-up CT scan are performed even in epidural hematoma.

초·중·고등학교에서의 연극교과 지도 전략연구(1) : 개념 정리, 방향, 교수법을 중심으로 Focusing on Fundamental concepts, Characteristics and Teaching Styles

조병진 청주대학교 예술문화연구소 2002 淸藝論叢 Vol.20 No.-

Since early 1900's, the ideas of making use of theatre/drama as a teaching medium has been spreaded , and tried out in school and for some special social education. The result is to confirm its positive and efficient function as educational medium. Social function of theatre/drama demonstrates the positive value in education. Theatre/drama, as a most valuable function, creates the situation of total involvement/confrontation which makes the mobilization of human potentiality and creativity maximal. Also theatre/drama, for education, provides natural and funny atmosphere through actual experience, and expresses original human nature of which education should begin from considering The theatre for education in nature differentiates from professional theatre. To compare with professional theatre which aims at artistic outcome, the theatre, named educational theatre, places its final goal at education. Then it plays a part as teaching/learning medium. The essential quality of educational theatre should come from educational level, maximizing human growth, but not from professional artistic level, focusing on the audience. It is argued that theatre should be perceived as an essential part of the school curriculum. Then the function of theatre in school is debated in two major ways, emphasizing theatre's 'contextualist' function, focusing that theatre should be valued for its contribution to education, and suggesting that, while this function is important, at least as a survival strategy, it must not be allowed to subvert the prime 'essentialist' function of theatre. The act of theatre/drama is valued as a unique mode of learning to know about human behavior and its consequence. Also it is concerned with helping theatre teachers in school increase their effectives in teaching. In any consideration of teaching we must not only discuss 'the what' but also 'the how' of teaching. Teachers who whish to improve their practice consider the practical problems in an education system which encourages the teaching style of 'learning by students' but positively discourages 'learning by teachers,' and a number of 'discovery-based' teaching models. Typically drama work does occur in situations which have to be restructured continuously. Each lesson encounter is an exploration of ideas. The extent of the exploration will, however, be determined by the degree of negotiation of task between teacher and student, whether it be its planning or its process.

3년제 보건계학과 현장실습의 효율적 운영방안

조경진,박영선,박지환,이병기,정순희 高麗大學校 倂設 保健大學 保健科學硏究所 1997 保建科學硏究論集 Vol.6 No.1

For the the enhancement of educational efficiency in on-site training of 3-year health college program, the authors perofrmed a survey. From the survey result the authors came to conclusions as follows, The duration of training in the health college programs should be extended as one year through the extension of length of study. Evaluations in training sites were thought to be unreasonable, and therefore the evaluation system should be improved or newly developed. Educators in colleges are also urged to participate in various workshops to catch the new theory and changing technologies. All health alleges should try to expand their experimental facilities and equipments. Securing suitable training places is very difficult for some colleges located in small cities. At this point the governmental meddling is keenly required to ease the situation. Each training place must prepare its own educational program on which the educators can execute schedules. Training fee is another intricate matter for both collegs and training places. Some criteria for the amount per trainee and proper paying methods should be suggested in the earliest time. Considering the highly sophisticated equipment and higher wages for the manpower within the laboratories and relevanat places, the education in managerial aspects should be included in the programs. To enhance the effiency in the trainings, the student's daily report should be practical one not formalistic, and opportunities to handle the sophisticated equipments should be given to the trainees, and paying the careful consideration to trainees would be desirable.

삼각연극의 창시자 메레디즈 몽크의 실험성

조병진 청주대학교 학술연구소 2004 淸大學術論集 Vol.3 No.-

Meredith Monk has tried to purify contaminated modern society with her magical, theatrical techniques of performing arts. She negated the conventional concept of traditional Western theatre or dance, instead sought to find her own theatrical languages, isolating herself from the main stream of post-modern dance, centering around the movement of the Judson Dance Theatre. By doing so, she gained a freedom to use any theatrical elements, including everyday objects or technological equipment. Applying non-verbal acting like gesture, mime, vocal sound and everyday activity to her works, she destroyed the boundary of theatre and dance and created her works, and unique techniques for performing arts. She extended the concept of theatre space to that of everyday life, and in many her works considered the spectators as an important theatrical element which could change the environment of performances. Spectators participated in a sense of community as a part of the performance when they were carried by a bus from one performance place to another, followed from scene to scene, or moved freely around a performing area to see events. By contrasting the opposite worlds of reality and fiction, Monk created a surrealistic atmosphere in her works, wakening the spectators to hidden, unconscious aspects of existence.

초ㆍ중ㆍ고등학교에서의 연극 교과지도 전략 연구(2) : 교과학습과정을 중심으로 Focusing on the Processes of Course Learning

조병진 淸州大學校學術硏究所 2006 淸大學術論集 Vol.7 No.S

In its curriculum planning, the course design of theatre arts as a curricular subject should begin from the angle of respecting the nature of both education and theatre arts, maximizing human growth in the process of socialization and direct experience by the 'here and now.' Curriculum process, in general, takes four basic factors of objective, subject matter, learning experience and evaluation. The objectives of theatre/drama teaching can be identified from at least three directions. The first, the long term objective of theatre arts teaching is to help the students to understand themselves and the world they live in. The teacher is trying to set up situation where they can discover why people behave as they do. The second one is to develop and encourage the individual potential creativity of students. The theatrical experience makes the situation of total confrontation/involvement as possible. The third is for students to achieve understanding of the medium of theatre arts. Unlike in professional play production, the goals of theatre/drama in school are not 'for' aesthetic experience, but 'thought' it. Lesson planning is a process whose nature is constrained more by its subject-matter content than by the cultural assumptions of the planners. The learning process is to involve probing and exploring the new information or situation. It is to involve tenative response in interaction with other people, and to involve a process of negotiation in which broad agreements on meanings and acceptable responses are hammered out. Thus, lesson planning is to be involved all factors related to the lesson. Theatre/drama teacher is engaged in creating areas of learning for students, but not in instruction them. Also he has to prepare to share the process of learning with students. The success of the lesson depends on the teacher. The teacher makes his students challenge, arouse, interest, and encourage reflection. Evaluation can be classified into two areas of evaluation and assessment, Evaluation is employed in looking at work in the expressive frame. In the area of evaluation a numerical value can be given. On the other hand, assessment is used to look at the quality of drama/theatre work in the meaning frame. The criteria for assessment is descriptive, invitational and evocative. Evaluation contains the implication of danger that teachers will only rate students to give grade, thus it will finally bring about dividing them into two groups of success and failure. But assessment helps teaching process with the informations of students' nature, accumulated through the whole period of drama/ theatre lesson.

연극교육에 있어 교과계획, 교수법 및 평가 과정에 대한 교육론적 고찰

조병진 청주대학교 학술연구소 2004 淸大學術論集 Vol.2 No.-

Since early 1900's, the ideas of making use of drama/theatre as a teaching medium has been spreaded, and tried out in school and for some special social education. The result is to conform its positive and efficient function as educational media. Then the circular processes of education are consisted of the three steps of curriculum planning, pedagogy and evaluation, and it is needed that the threes one another preserve coherent characters in educational level. The curriculum planning models can be classified into two categories, central planning and openness. The former is the widely used and accepted model which is characterized by an essential reliance on 'cold', objective analysis of objective needs and strategies. Also presents the characteristics divorcing from the reality of the learning, process which regarded as essentially exploratory, responsive and social. The planning of teaching should be based not so much on an often diversive discussion of 'aims', but on the use of the more pragmatic device of viewing classroom action in terms of specific teacher intention in relation to observed practice. This kinds of planning, so called openness, would contain whin it a consideration of both instructional and expressive objectives. It is concerned with helping theatre teachers in school increase their effectiveness in teaching. In any consideration of teaching we must not only discuss 'the what' but also 'the how' of teaching. Teachers who wish to improve their practice consider the practical problem in an education system which encourages the teaching style of 'learning by student' but positively discourages 'learning by teachers', and a number of 'discovery-based' teaching models. Evaluation can be classified into two areas of evaluation and assessment. Evaluation is employed in looking at work in the expressive frame. It is summative, objective, instructional, behavioral and prescriptive. In the area of evaluation a numerical value can be given. On the other hand, assessment is used to look at the quality of drama /theatre work in the meaning frame. The criteria for assessment is descriptive, invitational and evocative. Evaluation contains the implications of 'a danger that students will only be exposed to that kind of drama/theatre work which the teacher knows well and can construct criteria', ‘impling a pre-arranged by teacher and narrowly defined curriculum of drama work’, impling a sense of finish or no more spontaneous development. Also summative evaluation looks only at the surface, and encourages teachers to ignore the dynamic power of group. Assessment is formative, that is, cumulative and on-going. It therefore is required that teacher has to make time to maintain an assessment journal in which he notes student progress, his diagnosis of student problems, and an assessment of his own work.

전기화상후 Prostaglandin F2a와 Thromboxane B2의 증가에 대한 Flurbiprofen, Prednisolone 및 Gabexate mesilate의 억제효과

조병채,김인규,변진석,백봉수 大韓成形外科學會 1991 Archives of Plastic Surgery Vol.18 No.1

This study was conducted to clarify the inhibitory effect of flurbiprofen, prednisolone, and gabexate mesilate on the synthesis of prostaglandin F2a and thromboxane B2 in the tissue of electrical burn. one hundred sixty Sprague-Dawley rats, 250gm of body weight in average, were divided into 4 groups of control, flurbiprofen, prednisolone and gabexate mesilate administred group. Fourty rats of the each group were subdivided into 1st, 2nd, 4th, 7th postburn day with 10 rats in each subgroup. Ten rats were used for normal values of prostaglandin F2a and thromboxane B2. Flurbiprodfen 30mg/kg was given per mouth, and prednisolone acetate 5mg/kg and gabaxate mesilate 50mg/kg were administred intramuscularly 5 minutes after burn injury and then once a day. All but bone tissue of within 2cm area of the current entry were harvested and ground into homogenate. The levels of prostaglandin F2a and thromoboxane B2 were measured by Radioimmunoassay. The results were as followings: In normal rat tissue, the level of prostagland F2a and thromboxane B2 were 15.8±1.8 and 17.6±2.8ng/mg protein in each. In the control group the levels of both prostaglandin F2a and thromboxane B2 increased abruptly to 5 times and 7 thimes in the first day and maintained the same level in the second day. After then they rapidly decreased and returned to a near normal level in the fourth day. The increase of thromboxane B2 was more remarkable than that of prostaglandin F2a. In the flurbiprofen group, the level of thromboxane B2 was not inerease but kept at a normal level. The average level of prostaglandin F2a in the post-burn first and second day was 59.5% lower than of the control group. The average level on the post-burn first and second day was 61% lower in thromboxane B2 and 33% lower in prostaglandin F2a in the prednisolone group, and 68% lower in throboxane B2 and 48% lower in prostaglandin F2a in the gabexate mesilate group, compared to the control group. These findings suggest that electrically injured tissue is vigrously progressive due to rapid increase of thromboxane B2 and prostaglandin F2a, as inflammatory mediators, in the post-burn first and second day, is nonprogressive after the post-burn fourth day. The flurbiprodfen was the most effective of the three drugs(flurbiprofen, gabexate mesilate, prednisolone in order of effectiveness) to suppress the synthesis of thromboxane B2 prostaglandin F2a of the electrieally injured tissue.