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.-

PSC교육 기반 자유주제 발표 수업에 대한 학습자 인식에 대하여 -‘일본어학의 이해’ 수업 효과와 학습자 역량 변화-

조은영 대한일어일문학회 2026 일어일문학 Vol.110 No.-

본 연구는 趙恩英(2024) 연구의 후속 연구로 PSC교육을 기반으로 자유주제 발표 수업으로 진행된 ‘일본어학의 이해’ 수업의 기말 레포트를 분석하여 수업에 대한 학생들의 인식을 조사한 것이다. (1) 자유주제 발표 준비로 변화된 점은 자기주도학습 태도 형성, 일본어에 대한 심층적 이해, 정보 활용 역량, 학습동기, 비판적 사고, 발표 역량의 강화 등 다층적인 교육적 효과였다. (2) 자유주제 선정 기준은 흥미 기반, 자료 접근성, 난이도 고려, 문제의식, 개인 경험이라는 것을 확인할 수 있었다. (3) 발표 자료를 찾는 과정의 어려움은 정보신뢰성 판단과 일본어 원문 이해의 어려움, AI활용 및 한계, 디지털 역량 부족이었다. (4) 일본어 학습의 변화와 역량의 변화는 일본어를 단순한 암기 대상이 아닌 탐구의 대상으로 인식의 전환과 자기주도학습 역량, 학습 동기 및 정서 변화, 학습 수행 역량, 설명 및 표현 역량, 사고 역량의 변화였다. (5) 리액션 페이퍼 작성 영향으로는 사고확장, 학습내용 복습 및 이해 강화, 자기 성찰, 집중도 향상, 표현 및 정리 능력 향상이었다. (6) 전체 수업에 대한 개선점으로 수업 운영 구조, 발표 주제 난이도와 내용의 편차, 발표 중심 수업에서의 상호작용 부족, AI 활용 한계, 학습 환경 등이었다. As a follow-up study to Cho Eun-young (2024), this study examines learners’ perceptions of a PSC-based free-topic presentation course, Understanding Japanese Linguistics, through an analysis of students’ final reports. The findings are as follows. (1) Preparing free-topic presentations led to multifaceted educational effects, including the development of self-directed learning attitudes, deeper understanding of Japanese, improved information utilization skills, increased learning motivation, enhanced critical thinking, and strengthened presentation skills. (2) Topic selection was based on interest, accessibility of resources, level of difficulty, problem awareness, and personal experience. (3) Major difficulties included evaluating information reliability, understanding Japanese source texts, limitations in AI use, and insufficient digital literacy. (4) Learners showed a shift from viewing Japanese as a subject of memorization to an object of inquiry, along with improvements in self-directed learning, motivation and affect, task performance, expressive ability, and cognitive skills. (5) Reaction papers contributed to expanded thinking, reinforced understanding, self-reflection, improved concentration, and better organization and expression. (6) Areas for improvement included course structure, disparities in topic difficulty, limited interaction, limitations in AI use, and learning environment issues.

사회지지체계로서의 가족과 지역사회에 대한토론

조은영 한국정신건강사회복지학회 1998 한국정신건강사회복지학회 학술발표논문집 Vol.1998 No.5

[성음악의 숨결] 전례음악이 하느님을 찬미하는 도구로 온 교회에 울려 퍼지기를 희망하며

조은영 미래사목연구소 2021 사목정보 Vol.14 No.5

치매노인 가족원의 부담감에 영향을 미치는 요인

조은영 한국자료분석학회 2016 Journal of the Korean Data Analysis Society Vol.18 No.4

This study is a descriptive investigation research which was attempted to grasp effects of ADL, family strength of the elderly with dementia, and then seized factors which effected influences to burdens of family caregiver. Data collection was carried out through structured questionnaire by objecting 95 caregiver at 7 dementia centers in Seoul and Gyeonggi Province and analyses were made by using descriptive statistics, t-test, ANOVA, correlation analysis, multi-variate regression analysis with SPSS 23.0 program. As research results, the burden average of family caregiver was 82.19, family strength was 106.24, and ADL of the elderly with dementia were 2.53 in average. Burdens of family caregiver had significant negative correlation with ADL (r=-.370, p<.001), and there was significant negative correlation with family strength (r=-.257, p<.005). Relevant factors which affected influences to burdens of family caregiver included family strength, ADL and overall explanatory power was 18.9%. Regarding matters of having to consider as the arbitration method to reduce family members’ burdens of the elderly with dementia, promoting family strength was necessary in family members’ aspects, and it implies that preparing the method which can promote or maintain ADL in aspects of the elderly with dementia. 본 논문은 치매노인의 일상생활수행능력과 치매노인 가족의 가족건강성 정도를 파악하고 가족원의 부담감에 영향을 미치는 요인을 파악하고자 시도된 서술적 조사연구이다. 자료수집은 서울, 경기지역 7개 치매센터에서 치매노인의 주 가족원 95명을 대상으로 구조화된 설문지를 통해 이루어졌으며, 수집된 자료는 SPSS 23.0 프로그램을 사용하여 실수와 백분율, 평균과 표준편차, t-test, ANOVA(Scheffe 사후검증), Pearson 상관계수(correlation coefficient), 다중 회귀분석(multiple regression analysis)을 이용하여 분석하였다. 연구결과, 가족원의 부담감 평균은 82.19점, 가족건강성은 106.24, 치매노인의 ADL은 2.53점이었다. 주 가족원의 부담감은 치매노인의 ADL(r=-.370, p<.001)과 유의한 음의 상관관계가 있었으며, 가족건강성(r=-.257, p<.005)과도 유의한 음의 상관관계가 있었다. 가족원의 부담감에 영향을 미치는 관련요인은 가족건강성과 치매노인의 ADL로 전체 설명력은 18.9% 이었다. 치매노인의 가족원부담감 감소를 위한 중재방법에 고려해야할 사항으로 가족원 측면에서는 가족건강성의 증진이 필요하며, 치매노인 측면에서는 ADL을 증진 또는 유지시킬 수 있는 방안 마련이 필요하다.

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.

[성음악의 숨결] 전례에서의 성가대의 역할

조은영 미래사목연구소 2025 사목정보 Vol.18 No.3

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...