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      • KCI등재후보

        BRCA1 및BRCA2 유전자 돌연변이에 기인한 한국인 유방암 및 난소암 위험도: 예비 연구 결과보고

        한상아,박수경,안세현,손병호,이민혁,최두호,노동영,한원식,이은숙,한서경,김이수,정용식,김구상,서영진,문병인,남석진,노우철,이정언,김성원,한국유방암학회 한국유방암학회 2009 Journal of breast cancer Vol.12 No.2

        Purpose: To estimate the cumulative risk till each age (penetrance) of breast and ovarian cancers among female family members with BRCA1 and BRCA2 mutation. Methods: Among the 61 BRCA1 mutation carriers in the 42 families and 47 BRCA2 mutation carriers in 31 families identified at 5 academic breast clinics, the probands were excluded to estimate the cumulative risk till each age of breast cancer in the Korean BRCA1 and BRCA2 carriers. Using Kaplan-Meier analyses, cumulative cancer risk estimates were determined. Results: By the age 70, the female breast cancer risk for the BRCA1 and BRCA2 mutation carriers was 72.1% (95% confidence interval [CI]=59.5% to 84.8%) and 66.3% (95% CI=41.2% to 91.5%), respectively, and the ovarian cancer risk was 24.6% (95% CI=0% to 50.3%) and 11.1% (95% CI=0% to 31.6%), respectively. The contralateral breast cancer risk at 5 years after primary breast cancer was estimated as 16.2% (95% CI=9.3% to 23.1%) for the 52 breast cancer patients with the BRCA1 mutation and 17.3% (95% CI=9.7% to 24.0%) for the 35 breast cancer patients with the BRCA2 mutation. Conclusion: The penetrance of BRCA mutations in Korea is largely consistent with the previous studies on Western populations. However, the small number of the cases, the high proportions of probands in the study subjects, the short term follow-up, and large confidence intervals are the limitations of the current study. The Korean Hereditary Breast Cancer Study (KOHBRA Study) may definitely answer this question.

      • KCI등재후보

        略論中國古代思想中的“上下”

        유방 서강대학교 생명문화연구소 2015 생명연구 Vol.35 No.-

        The word “Upward and Downward” 上下 is common in the ancient literature, such as “before forming” 形而上 and “after forming” 形而下, is important to distinguish between the concept of Dao 道 and Qi 器. However, the two words were generally considered to be the usage to express the difference as an attached character. This article pointed that Upward and downward originated from the qi-centered discourse, in which the Qi is not the entity, but describing the transformation. It can also indicate the marginal of Tian-di 天地, Bright-darkness 幽明, Linving-Ghost 人鬼, Noble and humble 尊卑, are all thought to reflect the changes in China-based root characteristics. “上下” 是古代文獻中常見的用詞, 如 “形而上” 和 “形而下” 是分別道和器的重要概念. 然而, “上下” 一般被認為是語言的習慣表達, 只是提示區別, 並無特別用意. 本文認為, “上下” 其實來自于古人以氣為存在本原的思想, 而氣並非本體, 而是指形如氣一樣的變動. “上下” 還可以指示天地、幽明、人鬼、尊卑等世界諸面向的邊際, 都反映了中國思想以變動為本根的特徵.

      • KCI등재

        『표준국어대사전』의 ‘X어지다’류 합성 동사에 대한 고찰

        유방 한민족어문학회 2018 韓民族語文學 Vol.0 No.82

        This study aims at examining the combination aspect and put forward coherent registrable standards about ‘Xəʤida’ type compound verb of the Korean Pyojun Dictionary. ‘ʤida’ is registered in the Korean Pyojun Dictionary as an auxiliary verb and has two meanings as ‘passivity’ and ‘change of state’. Lack of coherent registrable standards is the problem for registration. The Korean Pyojun Dictionary takes into account the construct, frequency of a word and how the existing words can be combined before registering the words. But in some words like ‘t'ɨgəwəʤida’, ‘sɨlpəʤida’, ‘himdɨrəʤida’, etc, ‘ʤida’ is combined with the main word and mean ‘passivity’. Also, there are some words like ‘tiʤibəʤida’, ‘ʧ'iʤəʤida’, etc which can use the passive form of main words to show the phrasing of ‘passivity’ without ‘ʤida’. This is due to the lack of coherent registrable standards. Therefore this study illustrates coherent registrable standards about ‘Xəʤida’ type of compound verb which is registered in the Korean Pyojun Dictionary. 이 글의 목적은 『표준국어대사전』의 ‘X어지다’류 합성 동사에 대한 결합 양상을 살펴보고 일관성이 있는 등재 기준을 제시하는 데 있다. 『표준국어대사전』에서는 ‘지다’를 보조 용언으로 처리하고 그 의미를 ‘피동’과 ‘상태의 변화’로 제시하였다. 사전에 등재되어 있는 ‘X어지다’류 합성 동사에 대한 결합 양상을 살펴보면서 ‘X어지다’류 합성 동사의 등재에 관해서는 일관성이 있는 등재 기준이 없다는 것을 확인하였다. 사전에서는 구조나 빈도, 언중의 인식 정도에 더하여, 의미적으로 특수하게 변했거나 기존 어휘들이 투명하게 결합된 것으로 설명될 수 있는지를 두루 고려하여 표제어를 선정한다. 그러나 ‘X어지다’류 합성 동사 가운데 ‘뜨거워지다, 슬퍼지다, 힘들어지다’ 등과 같이 ‘지다’가 선행 성분에 투명하게 결합된 것들이 많이 등재되어 있다. 또한 피동사 파생이 가능한 동사에도 ‘-어지다’가 결합될 수는 있으나, ‘뒤집어지다, 찢어지다’ 등과 같이 단순히 ‘피동’의 의미로 볼 수 있는 것들도 별도의 합성 동사로 등재되어 있다. 이에 본고에서는 일관성이 있는 등재 기준을 모색하고 제시한다.

      • KCI등재

        论诗歌意象语言的内部言语和外部言语生成

        유방,한재균 중국어문학연구회 2012 중국어문학논집 Vol.0 No.72

        Stimulated by the outer world, the poets generate the creation motivation, which enables them to organize the inner speech of the poetic image language. The process of constructing and organizing the inner speech of the poetic image language is a kind of process in which the poets, conditioned by the national culture, appropriately select the objective things as the carriers of images, and construct the poetic image language so as to express their feelings. Once the inner speech of the poetic image language has been constructed, it must be externalized to be sounds or words, and then the whole processof constructing the poetic image language can be completely finished. By the aid of the external phonetic device, semantic device and grammatical device, etc., the poets will finish the transformation of expression from the inner speech to the metaphorical external speech.

      • KCI등재

        文化语境视域下的汉英诗歌感伤意象

        유방,한재균 중국인문학회 2012 中國人文科學 Vol.0 No.51

        Poetic image is the essential factor andsoul of poetry. Language tends to be the carrier of the poetic image. Actually, the process of creating a poem is a kind of process in which the poet will select suitable concrete objects to be the poetic images, and construct the poetic image language so as to express his subjective feelings vividly. The construction of poetic image is not completed at poets’ pleasure, but conditioned by the cultural context. In order to understand the deep meaning of the poetry correctly, the cultural context which the poetic images depend on must be taken into consideration. The different Chinese and English cultural backgrounds make great impact on poets’thinking models and aesthetic interests, and endow the Chinese and English poetry with typical "sadness images". This paper, by using the theories of cultural linguistics, makes an analysis on typical "sadness images" in both Chinese and English poetry.

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