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Xueying Li,He Huang,Bing Xu,Hongqiang Guo,Yingcheng Lin,Sheng Ye,Jiqun Yi,Wenyu Li,Xiangyuan Wu,Wei Wang,Hongyu Zhang,Derong Xie,Jiewen Peng,Yabing Cao,Xingxiang Pu,Chengcheng Guo,Huangming Hong,Zhao 대한암학회 2019 Cancer Research and Treatment Vol.51 No.3
Purpose Rituximab with cyclophosphamide, doxorubicin, vincristine, and prednisone administered every 3 weeks (R-CHOP-21) is the standard care for diffuse large B-cell lymphoma (DLBCL). It is unknown whether the dose-dense R-CHOP (R-CHOP-14) could improve the outcome of the disease in Asian population. Materials and Methods Newly diagnosed DLBCL patients were centrally, randomly assigned (1:1) to receive R-CHOP- 14 or R-CHOP-21. R-CHOP-14 was administered every 2 weeks, and R-CHOP-21 was administered every 3 weeks. Primary end point was disease-free survival (DFS). Secondary end points included overall survival (OS), progression-free survival (PFS), response rate and toxicities. Results Seven hundred and two patients were randomly assigned to receive R-CHOP-14 (n=349) or R-CHOP-21 (n=353). With a median follow-up of 45.6 months, the two groups did not differ significantly in 3-year DFS (79.6% for R-CHOP-14 vs. 83.2% for R-CHOP-21, p=0.311), 3-year OS (77.5% for R-CHOP-14 vs. 77.6% for R-CHOP-21, p=0.903), or 3-year PFS (63.2% for R-CHOP-14 vs. 66.1% for R-CHOP-21, p=0.447). Patients with an International Prognostic Index (IPI) score ! 2 had a poorer prognosis compared to those with an IPI score < 2. Grade 3/4 hematologic and non-hematologic toxicities were manageable and similar between R-CHOP-14 and R-CHOP-21. Conclusion R-CHOP-14 did not improve the outcome of DLBCL compared to R-CHOP-21 in Asian population. With manageable and similar toxicities, both of the two regimens were suitable for Asian DLBCL patients. For high-risk patients with IPI ! 2, new combination regimens based on R-CHOP deserve further investigation to improve efficacy.
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벼 배유세포에서 (胚乳細胞) 분리된 미크로좀 내로의 저장 (貯藏) 단백질 이동
김우택,Xingxiang Li,Thomas W . Okita (Woo Taek Kim) 한국식물학회 1994 Journal of Plant Biology Vol.37 No.3
Developing rice endosperm cells display two morphologically distinct rough endoplasmic reticulum (ER) membranes, the cisternae ER (C-ER) and the protein body ER (PB-ER), the latter delimiting the prolamine protein bodies. We (Li et al., 1993) have recently shown that the storage protein mRNAs are not randomly distributed on these ER types; the C-ER is enriched for glutelin mRNAs, whereas the PB-ER harbors predominantly prolamine transcripts. To address whether these ER types have different capacities to translate these mRNAs and translocate their proteins into the lumen, a microsomal fraction enriched in C-ER vesicles was prepared from developing rice seeds When present in an in vitro translation system, the microsomes were able to proteolytically remove the signal peptide and internalize both preproglutelin and preprolamine within the microsomal vesicles. Of the two species, preprolamine was more effectively translocated and processed. These results suggest that the C-ER has the capacity to recognize and bind both storage protein mRNAs during protein synthesis. Moreover, efficient translocation and processing of glutelin requires additional factors that are deficient or absent in the in vitro system.
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馬興祥(Ma Xingxiang),徐利華(Xu li hua) 동아인문학회 2016 동아인문학 Vol.35 No.-
“Shi” is an important concept aesthetically in China classical art theory. The research of “Shi” has made a great progress sincethe 90’ last century. But there are still several questions need to be explained clearly. Essentially “Shi” is the demonstration of nature and moral life-force, and it’s nature of movement comes from that of “Qi”(氣) and “Yin Yang”(陰陽). The discussions about “Shi” in the esthetic fields began from the recognition and understanding of the natural “Di Shi”(地勢) and “Shui Shi”(水勢), instead of from the political power and influence. “Di Shi” and “Shui Shi” originally have the obvious esthetic characters which got enough focus and correspondingly produced lots of concepts in handwriting, drawing and literature fields. “Shi” is internal but not abstract. It is natural and consistent, which were recognized and explained esthetically by artists who thought “Shi” was the imitating patterns of nature. These artists talked about “Shi” by using lively describing words which shows the “imitating” of nature. “Shi” in art works means a type of life-force and fascination of nature. The representing of “Shi” needs “to Reserve Shi”(蓄勢) by “Using Thought”(用意) and “to Take Shi”(取勢) by “Using Pen”(用筆). “To Reserve Shi” aims at forming a tension-force between the opposite sides while “to Take Shi” forming a joint-force, which is the embodying of Chinese saying of “One Yin One Yang is the Dao”(一陰一陽之謂道). In Chinese classical culture, “Shi” is a spirit of never-dying and never-stopping of nature, as well as a never-changeablepursuit, which makes art works vivid and vigorous and gives them a permanent life. This is the essence of “Shi”, also of Chinese cultures and arts.
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