A Case of Congenital Nephrogenic Diabetes Insipidus Confirmed by Gene Analysis

조은영,오진희,고대균 대한소아청소년과학회 2005 Clinical and Experimental Pediatrics (CEP) Vol.48 No.6

Nephrogenic diabetes insipidus (NDI) is a disorder in which the secretion of antidiuretic hormone is normal, but the response of the renal collecting tubules to vasopressin is impaired. Compared with acquired NDI (a-NDI), which is secondary to chronic bilateral incomplete urinary tract obstruction with hydronephrosis, congenital NDI (c-NDI) is a very rare heritable disorder that usually follows the X- linked recessive pattern. Clinical symptoms of c-NDI can be non specific, and often the disease ultimately results in failure to thrive, or mental retardation. Recently, the diagnosis can be confirmed by direct sequencing analysis of the peripheral blood specimens. The long-term results of treatment for c-NDI are not satisfactory. Reports on the follow up of c-NDI cases are rare and there is no report on the cases treated with combinations of three drugs. We report herein a case of severe c-NDI in an 8 year-old-boy with a severely dysconfigurated urinary tract system. The patient and his mother showed a frameshift mutation on the AVPR2 gene on chromosome Xq28:.847_851delTGCTG (p.C283fsX90). The patient showed normal growth and development by treatment with combinations of hydrochlorothiazide (65 mg/m2), amiloride (0.3 mg/kg/d) and indomethacin (100 mg/m2), yet after five years he needed adjuvant cystostomy to relieve him from the residual symptoms of urgency with polyuria. 유전자 분석검사로 확진된선천성 신성 요붕증 1례가톨릭대학교 의과대학 소아과학교실조은영·오진희·고대균신성 요붕증은 항이뇨호르몬의 정상적 분비에도 불구하고, 신장의 집합관의 항이뇨호르몬에 대한 반응이 저하되어 요농축능에 이상이 초래되는 질환이다. 특히 선천성 신성 요붕증은 대게 반성 열성 유전 양식을 따르는 유전 질환으로 매우 드물어 소아에서는 간헐적 보고만 있어 왔다. 어린 소아에서는 증상이 비특이적일 수 있고, 임상적 진단도 쉽지 않은데, 최근에는 항이뇨 호르몬 수용체 유전자의 돌연변이들이 확인되어 유전자 검사로 확진이 가능하게 되었다. 기존의 보고들은 선천성 신성 요붕증이 진단된 환아들에 대한 이뇨제나 비스테로이드성 항염증제 등을 포함한 치료가 이루어진 증례보고이었으나 이들의 치료 후 장기적 추적 결과 보고가 극히 드물며, 이들 약제에 의한 치료 효과는 낮은 것으로 알려져 있다. 저자들은 극심한 이뇨로 인한 이차적 요로기관의 변형이 초래되었던 8세 소아에서 환아와 엄마의 말초 혈액 유전자 분석 검사상 Xq28 염색체 부위의 AVPR2 유전자의 돌연변이가 확인되었고 hydrochlorothiazide, indomethacin 및 amiloride 병합 치료 후 배뇨량은 하루 12리터에서 4리터로 감소하였고, 성장 발육도 정상이었으나 더 이상의 호전이 없고 일상 생활에 불편함이 지속되어 보조적 방광루 형성술을 시행받은 후, 증상 호전 및 심리적 안정을 얻었던 심한 선천성 신성 요붕증 1례의 5년간의 추적 관찰 결과를 보고하는 바이다.

“가족의 서비스 욕구와 지역사회 자원”에 관한 토론 1 ( 조은영 )

조은영 한국정신보건사회복지학회 1998 춘계 학술대회 및 수련교육 Vol.1 No.-

[성음악의 숨결] 전례음악 교육의 적극적인 활성화 필요

조은영 미래사목연구소 2022 사목정보 Vol.15 No.1

Cactar de Mio Cid에 나타난 미래동사 형태 연구

조은영 한국스페인어문학회 2002 스페인어문학 Vol.0 No.25

사회지지체계로서의 가족과 지역사회에 대한토론

조은영 한국정신건강사회복지학회 1998 한국정신건강사회복지학회 학술발표논문집 Vol.1998 No.5

Prothrombin T165M과 Factor V R485K 유전자다형성과 관상동맥질환과의 관련성

조은영,유하정,배수진,김숙,이종은,고영국,박현영,이종호,장양수 대한심장학회 2005 Korean Circulation Journal Vol.35 No.6

Background and Objectives:An increased coagulation activity and an impaired antithrombotic function are associatedwith coronary artery disease (CAD). The purpose of this study was to evaluate whether the genetic variationsin the prothrombin and factor V genes are associated with CAD. Subjects and Methods:One hundred twentyeight patients having CAD and 168 healthy controls participated in this study. 98 of the CAD patients, who werenot taking anticoagulant drugs, and 132 controls were analyzed for their prothrombin (PT) and factor V (FV)coagulant activity. The genotype was determined by the SNP-IT method. Results:The genetic variation for thePT G2210A and FV R506Q (Leiden) was not detected in our standard samples. The genotype frequency of theT165M polymorphism in the PT gene of the CAD were not different from those of the control group. However,logistic regression analysis showed that 165MM genotype of the PT 165M polymorphism is associated with CADindependently (Odds ratio 1.82, 95% confidence interval 1.04-3.16). Subjects with 165MM homozygote had higherPT activity than those with the 165T carrier in the both groups (p<0.05). The prevalence of the RR+RK genotypein the factor V R485K polymorphism was significantly higher in CAD group than in the control group(92% in CAD vs. 82% in control, p=0.012). From the multivariate analysis, the odds ratio of the 485K carrier was2.48 for CAD (95% confidence interval: 1.87-5.66), in relation to the control subjects. No significant influencewas seen of the factor V R485K polymorphism on corresponding mean factor V activity in control group. Conclusion:The PT 165MM genotype was linked with elevated levels of PT activity. The PT T165M and FV R485Kpolymorphisms were associated with CAD in Koreans. 배경 및 목적: 본 연구는 한국인에서 혈액응고기전과 관련한 prothrombin 및 Factor V 유전자다형성의 발현빈도 및 관상동맥질환 발생과의 관련성에 대해 살펴보고자 하였다.방 법:168명의 정상 대조군과 128명의 관상동맥질환군을 대상으로 혈청지질농도와 혈액응고인자활성을 측정하고 prothrombin T165M, factor V R485K유전자 다형성을 SNP-IT방법 으로 분석하였다.결 과:정상 대조군에서 prothrombin T165M의 T:M 빈도는 0.44:0.56으로 CAD군의 0.39:0.61과 유의적인 차이는 없었다. 대조군의 factor V 485RR:RK:KK빈도는 18%: 44%:38%로 CAD군의 8%:54:38%와 유의적인 차이를 보였다. 대조군과 CAD군에서 prothrombin 165MM유전형군의 prothrombin 활성은 165TT+TM유전형군에 비해 유의적으로 높았으며 factor V 485K대립인자군의 factor V활성은485RR군에 비해 CAD군에서만 유의적으로 높았다. 성별, 혈청지질농도 및 인슐린저항성, 음주, 흡연등의 다른 위험요인을 통제했을 때 prothrombin 165MM유전형과 factor V 485K 대립인자는 관상동맥질환의 발생위험을 각각 1.82, 2.48배유의적으로 증가시키는 것으로 나타났다.결 론:Prothrombin T165M유전자다형성은 prothrombin 활성증가와 유의한 관련이 있으며 한국인에서 관상동맥질환의 발생 위험을 유의적으로 증가시키고 factor V R485K 유전자다형성 역시 관상동맥질환의 발생과 유의한 관련성을 나타냈다.

1인 창조기업 성공사례 : 힘컨텐츠 : 창직·창업 현장

조은영 한국콘텐츠진흥원 2013 케이콘텐츠 Vol.2013 No.5

적에서 동맹으로: 20세기 중반 미국미술 속의 일본 내셔널리즘

조은영 서양미술사학회 2009 서양미술사학회논문집 Vol.31 No.-

During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US. Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art. However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public. The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect. This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria. Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintesse... During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US. Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art. However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public. The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect. This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria. Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintessence o...

Enhancing the Mechanical Properties of 3D-printed MOF Monoliths through the Surface Functionalization for Water Uptake

조은영,최재령,이희정 한국공업화학회 2023 한국공업화학회 연구논문 초록집 Vol.2023 No.1

기술?가정교과 의생활 영역에 대한 여고생들의 학습 요구

조은영 한국가정과교육학회 2003 한국가정과교육학회지 Vol.15 No.4

The purpose of this research is to analyse the composition of theories and practical activities in clothing and textiles in TechnologyHome economics textbooks in the 7th National Curriculum and find out learning requirement of students in the area.For this research, a survey was conducted using questionnaires with 280 high school students living in Daegu and the rate of response was 78.9%.The results of this study are as follows.1. After analysing the curriculum of Practical Arts subject in elementary school and TechnologyHome Economics subject in secondary school, we could find out that more emphasis is put on practical activities in elementary school and high school. On the other hand, theories are considered more important in middle school.2. Students have similar preference both for theories and for practical activities as a way of learning in class and show positive responses to practical activities unless they're giving too much pressure as a part of performance test.3. According to their learning requirement, several teaching-learning contents in clothing and textiles in TechnologyHome economics are selected such as materials, clothes designs, how to get dressed well, how to make a reasonable purchase on clothes, and the process of manufacturing various clothes, etc. Therefore it would be desirable to provide the students with the learning opportunity to the extent where even the students who haven't chosen the selected-advanced course can take part in class actively.주제어(Key Words) : 학습 요구(learning requirement), 교수-학습(teaching-learning), 수행평가(performance test), 실기(practical activities) 본 연구는 7차 교육과정에 의거하여 기술가정 교과의 의생활영역의 이론과 실기의 구성에 대해 알아보고 의생활영역에 대한 학습자의 학습 요구를 살펴보는 것을 목적으로 하였다. 연구를 위해 대구지역 고등학교 2학년 여고생 280명을 대상으로 설문 조사하였으며 응답율은 78.9%였다. 본 연구의 결론은 다음과 같다.1. 제7차 교육과정에서 초등학교 실과와 중등학교 기술가정교과의 의생활영역을 분석한 결과 초등학교와 고등학교에서는 실기 위주의 학습에 중점을 두고 있었으며, 반면에 중학교의 경우에는 이론 위주의 학습에 더 강조점을 두고 있었다.2. 의생활영역에 대한 여고생들의 학습 요구를 살펴보면, 먼저 학습 방법에 있어서 이론 수업과 실기 수업을 비교적 비슷하게 원하고 있었으며, 수행평가로 실기에 대한 부담이 줄어든다면 실기 수업에 대해 더욱 긍정적으로 수용하고 있음을 알 수 있었다. 3. 학습자의 학습희망에 따라 기술가정교과의 의생활영역의 교수-학습 내용을 선정할 수 있었으며, 이를 구체적으로 살펴보면 ‘의복의 소재’, ‘체형에 맞는 의복의 착용 방법’, ‘의복의 디자인’, ‘의복의 합리적인 구입과 선택’, 그리고 ‘의복의 제작 과정’이었다. 이들 내용에 대해서 교수자는 심화선택교과로 가정과학을 선택하지 않는 학습자들을 대상으로 하였을 때 선택적으로 그리고 최소한으로나마 교수할 필요가 있다고 사려된다.