위암종의 DNA ploidy : 종양의 표층부와 심층부의 DNA stemline의 이질성을 중심으로 Heterogeneity of DNA Stemline by the Superficial and Deeper Portions of Tumor

전이경,서연림 인제대학교 1993 仁濟醫學 Vol.14 No.3

본 연구결과 위암종에서 DNA ploidy는 환자의 나이와 성별, 종양의 침습 깊이와 림프절 전이 유무, 임상 병기 및 조직학적 유형과 통계학적인 연관성이 없었고, 동일 종양의 부위에 따른 DNA stemline 의 이질성을 보였다. 따라서 본 연구결과는 위암종의 DNA ploidy를 정확히 분석하려면 여러 부위에서의 표본채취가 요구된다는 것을 제시해 준다. We analyzed the DNA content of 40 gastric carcinomas using the flowcytometry. In 19 of 40 cases, the DNA content was measured separately in the superficial and deeper portions of a tumor. All were advanced gastric carcinomas. Twenty seven tumors(67.5% ) were aneuploid. There was no relationship between the ploidy and the clinical parameters, such as, age and sex of patients, histologic type and differentiation of a tumor, depth of tumor invasion, lymph node metastasis and tumor stage. Intratumoral differences in DNA ploidy were observed in 2 of 19 cases(10.5%). Therefore, to determine an accurate DNA ploidy, one must analyze multiple samples from the tumor specimen, because cases exist where subpopulation with DNA aneuploidy are detected only at limited sites within the same tumor.

GIS와 RS를 이용한 생태지도 작성기법에 관한 기초연구

이기철,이원화,윤해순,남춘희,김구연,김승환,서상현 한국지리정보학회 2004 한국지리정보학회지 Vol.7 No.3

본 연구는 낙동강 하구 일대의 생태계 변화와 생태 관련자료를 GIS DB로 구축하고 생태지도를 작성하였다. 생태지도 작성을 위해 1984년 11월 21일, 1997년 5월 17일에 촬영된 공간해상도 30m의 Landsat TM 위성영상과 국립지리원에서 발행된 1:25,000 수치지형도, 부산시에서 조사한 생물현황 자료를 바탕으로 DB를 구축하였다. 생태지도를 작성하기 위해, 첫째, 낙동강 하구 생태계 조사 보고서와 현재까지 진행된 생태지도에 대한 문헌 연구, 둘째, 시계열적 토지피복분류도 제작, 셋째, 동·식물상, 수질 등 생태계 항목별 BB 구축과 3단계 방식에 의한 생태계 평가, 최종적으로는 이러한 분석 결과를 바탕으로 생태계 관리를 위한 생태지도를 작성하였다. This study developed an ecological mapping technique with GIS database using the analyses of existing ecological survey reports and the change detection on the Nakdong river estuary. The data which are used to establish GIS DB include 2 Landsat TM images on Nov. 31, 1984 and May 17, 1997, 1:25, 000 topographical maps established by National Geography Institution and various ecological survey reports published by Busan metropolitan city government. The details for producing ecological map are as follows. At first, the current methods of ecomapping efforts and previous ecological surveys of Nakdong river estuary were carefully examined. Secondly, the land cover maps were created from the classified Landsat images of 1984 and 1997 for the spatiotemporal ecosystem analysis. Thirdly, the ecosystem was evaluated by using GIS ecological database based on the criteria of botany, zoology and water quality etc. Each criteria was reclassified into 3 stages which describe the overall quality of ecological condition. At last, the comprehensive ecological map was suggested as a prototype of ecosystem assesment and management tool with the discussion of further study. The findings of this study would be a milestone for preserving and managing the ecosystem.

방사선 치료후 시간경과에 따른 염색체이상 빈도의 변화

송명재,하성환,이춘자,김희근,김미숙 대한방사선 방어학회 1994 방사선방어학회지 Vol.19 No.1

임파구의 염색체이상 빈도로부터 피폭자의 흡수선량을 구하는 방법은 사고로 인해 급성피폭을 받는 경우 유용하게 사용될 수 있다. 그러나 방사선 피폭 후 시간이 경과함에 따라 불안정 염색체이상을 가진 임파구는 감소하게 된다. 이에 방사선 치료후 시간 경과에 따른 불안정 염색체이상 빈도의 변화를 규명하고자 한다. 전골반에 50.4 Gy의 방사선 치료를 받은 총 20명의 자궁경부암 또는 자궁내막암 환자를 대상으로 41개의 검체를 얻었다. 채혈의 시기는 방사선 치료후 1일 3주, 6주, 12주, 24주, 52주, 104주, 156주, 208주, 520주로 하였다. 이들 말초혈액의 임파구에 대해 전혈미세배양을 실시한 후 임파구의 불안정 염색체이상을 관찰하여 Ydr, Qdr, Qdra를 얻었다. Ydr 값은 방사선 치료가 끝난 직후부터 3주까지 plateau를 보였고 이후 감소하는 경향이었다. Ydr의 평균값은 치료후 3주에 0.29에서 급격히 감소하여 2년후 0.05로 감소하였으며 이후 5년까지 서서히 감소하였다. 회귀분석을 실시한바 Ydr = 0.259×exp(-0.0429T)+0.0560×exp(-0.00106T)(time in weeks)로 나타났다. Qdr값은 치료 직후부터 24주까지 1.51 전후로 거의 변화가 없었으며 이후 감소하여 52주 이후에는 1.17 전후로 거의 일정하였다. Qdra 값은 치료 직후부터 12주까지 1.10 전후이며 이후 감소하여 52주 이후에는 0.81 전후였다. 피폭 후 시간경과에 따른 Ydr 값의 감소는 두 component exponential 모델을 잘 맞고 이 식을 이용하여 생물학적 선량측정이 가능하다. Qdr 값 및 Qdra 값은 피폭후 시간경과가 짧은 경우 피폭선량을 추정하는 지료로 사용할 수 있다. It is good method to use frequency of chromosome aberration in lymphocytes for a biological dosimetry in cases of accidental exposure to radiation. But in cases of past edposure, biological dosimetry is limited because the friquency of aberration decreases by time after exposure. To provide a basic data for estimationof past radiation exposure, the changing pattern of frequency of unstable chromosome aberration by time interbal after exposure was studied. Observation was made on peripheral lymphocytes of 41 blood samples from 20 patients treated for uterine cervical carcinoma and endometrial caricinoma. The patients received 50.4 Gy radiation to whole pelvis. Elapsed times after the completion of radiation therapy were 1 day, 3, 6, 9, 12, 24, 52, 104, 156, 208, 260 and 520 weeks. All the blood sample were microcultured. The Ydr, Qdr and Qdra were calculated form frequency of unstable aberration. Ydr did not decrease for 3 weeks after radiation therapy, and thereafter, decreased very rapidly and reached 0.05 at two years after radiation therapy and decreased very slowly until 5 years after radiation therapy. Relationship between unstable chromosome aberration and time interval after radiation therapy was described as Ydr = 0.2590.259×exp(-0.0429T)+0.0560×exp(-0.00106T)(time in weeks) Qdr remained constant at 1.51 until 24 weeks after radiation therapy and then decreased to 1.17 at 52 weeks. Therafter, it did not change. Qdra remained constant at 1.10 for 12 weeks after radiation therapy and decreased to 0.81 at 52 weeks. Thereafter, it remanined constant. Two superimposed exponential Ydr disappearance rate wuggests that it is possible to calculate the past exposure dose. When the elapsed time after exposure is short, Qdr and Qdra are useful papameters for biological dosimetry for past radiation exposure.

Clinical and histological significance of atypical glandular cells on cervical cytology(초)

최홍준 ( Hong Jun Choi ),( Woo Chul Kim ),( Ho Soap Hahn ),( Seok Geun Yoon ),( Yong Soon Kwon ),( In Ho Lee ),( Kyung Taek Lim ),( Ki Heon Lee ),( Jae UK Shim ),( Jung Eun Mok ),( Yi Kyeong Chun2 ),( Ta 대한산부인과학회 2009 대한산부인과학회 학술대회 Vol.95 No.-

한국 전통음악의 창작방법에 관한 연구 (I)

이성천 ( Sung Chun Yi ) 한국서양음악이론학회(연세대학교 음악연구소) 1992 음악이론포럼 Vol.2 No.-

The purpose of this study is to come to an understanding of the composition methods used in Korean Traditional Music and with it a finding of a new vocabulary for the subject with a comprehensive meaning. The history of music is the history of creativism. There are many different theories to the origin of music but one point we can be sure of is that humans created music. There also may be various theories as to what or how music was made, but there is no question that humans made it sung it, and performed it. And as we can sure that the history of Korea is the history of Koreans, l believe that at the beginning point of Korean history, music was made and that that music was played. But music can only be understood through written records if any were left, whether or not in the literal or illiteral era, if there was no system for writting down music and other records left of it, we can never know of that music. Korea did not develop a written language until a later period but even with having the use of Chinese letter, the music from ancient 15th century B.C. to 1st century B.C.(Era of three Kingdoms), and from 918 to 1392 (Koryo peiod) cannot be examined nor will its form ever be understood. Although Solmization(肉譜) was used during the Koryo period the writting of it was incomprehensible. Also Letter Notation(律字譜), and High-Low Letter Notation(工尺譜)was used to record Chinese Ceremonial Music(雅樂) and Popular Chinese Music(唐樂) but being also incomprehensible and it not being Korean music, these have been excluded from my studies.1392, the founding year of the Yi Dynasty is the first time one is able to study the musical forms in Korean Traditional Music. .In 1443, King Se Jong(1419-1450) developed the Hun-Min-Jung-Um(訓民正音), the Korean alphabet, and in 1447 created a complete system for recording music, the Mensural Notation System(井間譜). It was developed to write down Native Korean Music(鄕樂) and through these written records we are able to analyze the forms in music from the beginning of the Yi Dynasty. Thus in studying the composition methods in Korean Traditional Music, the most appropriate material for reference would be the first written records left in this era. The purpose of this study is to analyze the music from 1392 when Yi dynasty began, to 1450 the era of King Se Jong in order to further understand the composition methods of their time. In this era, there was no completely separate system for composing a new piece of music. Koryo songs and some of musics from < Poonga 12 Sibo >(風雅12詩譜) a part of 「Uire KyungJun Tonghae」(儀禮經傳通解)written by a Chinese named Joo-Hee(朱熹), was used as a base, piece for composing all new tunes.< Poonga 12 Sibo > is a collection of songs using text from Sikyung (詩經) which is one of Confucian Scriptures and these songs have been passed through from the Chinese Tang Dynasty(618-907) to Song Dynasty(960-1279). Therefore, we can conclude that the songs of < Poonga 12 Sibo > are Chinese. I have analyzed 8 pieces composed using < Poonga 12 Sibo > as their base pieces. These 8 tunes were written before the Se Jong era and have maintained the characteristic of the Chinese 7 tone system. But I have changed the notes of the Chuogwhangjong(潢鐘)and Chungtaeju(汰簇) in 12th Yul(律) down one octave, changed the starting note to Hwangjong(黃鐘), and the ending notes to Taeju(太簇)-Hwangjong(黃鐘)as in the Korean system of downward movement for its ending form. There are all together 12 songs in the < Poonga 12 Sibo > and of these, I have taken < NokMyung >(鹿鳴) < HwangHwangJaWha > (皇皇者華) < UhRyuh > (魚麗) < NamSanYuDae > (南山有臺) as the originating base pieces 1) and have composed 8 new ones < SuBoRoK > (受寶籙) < SuMyungMyung >(受明命) < HwaHwangUn >(荷皇恩) <YoongAnJiAk〉(隆安之樂) < HyuAnJiAk >(休安之樂) <MunMyungJiGok〉(文明之曲) < MuYulJiGok >(武烈之曲) and < GunChunJimg >(覲天庭) with new lyrics. Illustration 1 shows the relationship the base pieces and new songs. All the songs in the < Poonga 12 Sibo > are long so they have used either one movement in each song or if the movement is too short have used 2 to 3 movements. As a method of composing, they have either contracted the original piece or have used all of a melodic line to create the new piece. Before the SeJong era, the Chinese < Poonga 12 Sibo > was generally used as the base music for creating new compositions but King Se Jong used only Koryo songs of native Korean music to base new songs. Using < Chung San Byul Gok > (靑山別曲)as the base refaience music < Nab Shi Ga >(納氏歌) and < Hyu Myung > (休命) were composed; with < Suh Gyung Byul Gok > (西京別曲) the < Jung Dong Bang Gok > (精東方曲) was written; with < Han Lim Byul Gok > (翰林別曲)came < Hwa San Byul Gok > (華山別曲); <Man Jun Choon (滿殿春) to < Soon Ung > (順應) <Poong lb Song〉(風入松) to < Yoong Hwa > (陰化); < Ssang Hwa Gok > (變花曲); to < Jung Myung > (貞明); < Ga Shi Ri > (가시리) to < Hyung Gwang > (享光); < Ya Shim Sa > (夜深詞) to < Bo Yae > (保乂) ; with < Sa Mo Gok > (思母曲)wrote < Chang Hwi > (昌徽). Illustration 2 shows the relationship of Karyo songs and the new songs based on them. < Hwa San Byul Gok > was written by using all of < Han Lim Byul Gok > and < Yoong Hwa > was composed using only a part of <Poong Ib Song〉;s melodic line. The nest of the pieces used parts of their base piece's melodic lines and supplemented changed lines to create the new songs. Some of these changed lines are completely altered and only keep minimal characteristics of the base melodic line and rather than to call it a changed version of the base piece, we might call it a completely original line. Also the structure of the pieces can be divided into two forms-contraction and expansion. The two methods of composing were either to use all parts or some parts of the original piece, and in the case of using only some parts, the added changed lines would make it difficult to establish any reference to the base piece, also bringing about the expansion and contraction of the forms. I have analyzed 18 pieces composed from beginning of the Chosun era (Yi Dynasty)to the SeJong era and have organized their composition methods. 8 new pieces composed using < Poong 12 Sibo > as the base music are in strophic form and the pieces using Koryo songs as their base are in through composed form. A point to be aware of is that even when using the Chinese songs as the base piece, the new compositions always were written reflecting the Korean musical styles and during the King SeJong era, when independence was strongly stressed, they not only chose only Koryo songs for their base pieces but having supplemented the new compositions with varied melodies and so on. They showed beginning signs of creativism in composing new and original pieces without being bound to original melodic lines or the base. piece itself. Of course, in Korean traditional music, the act of composing did not just begin in the Chosun era. But in reaching my objectives in understanding of composition method by having chosen mateial from this period not only can we understand the essence(substance) of the music itself but because so many new pieces were composed in the beginning of the Chosun era that these pieces are the first and the oldest material we have that can be used for references. In older to understand the degree and the position that the composition methods used from end of the 14th century to middle of the 15th century (SeJong era)holds, I have compounded the beginnings of composition activities in the western music history. The beginning of western composition can be summarized by trope and sequence. Sequence can be considered to be a derivative of trope so I'll deal only with troping. Trope can be divided largely into 3 sorts ; one is to take the original melody and melismatize it; two is to place its text differently; three is to use both methods at once; but there is aLso a variety of other methods too complex to include in these divisions. Also when writting a new piece, sometimes a part of the original melody line is inserted into the new piece and/or is placed at beginning of the new piece. Troping uses mostly only the given piece or a given line. This was a method of composing used since the 9th century but coming into the 12th century the insertion or supplementation of parts or lines gave way to the creating of new lines at one's will. The difference between the western troping method of using the given melody or a given piece as the base piece with that of Korean traditional method is that although the composition method used in the Chosun era was that of being able to use the given music or line as a reference piece but the note itself and the ending styles could be changed and that many changed lines to supplement the new piece. The second objective study is to be able to find the most appropriate vocabulary in naming the activities and methods related to creating and composing of Korean traditional music. The reason is that music whether traditional or being written in the present are all called ‘composing’ and there is a need to reorgnize these different ideas. As stated above, in the beginning of the Chosun era the method of composition was that of using a base (reference) piece to create a new piece. So, from the position that this method is different from the method of creating a completely seperate and independent music,. I come to introduce the word 「Formation」 (形成) as a new word to describe the composing method of Korean traditional music. The reason I conclude to use the word ‘Formation’ is that not only from the understanding of the music in the Chosun era as described above, but from the view point of history, the various music forms such as San-jo, Pan-so-ri etc, that are included all have the qualities of having ‘Formation’, thus giving me reasons to quality this word The word 「Formation」, as in the past performers, is the creative action according to the performer, and composition is the creative action according to the composer I summarize that these are the two creative actions related to Korean traditional music. This study being the very first in analyzing the composition methods in Korean traditional music, I conclude my thesis with the beginning of my studies in composition methods of the Korean traditional music.

Genetic Diversity and DNA Polymorphism in Platycodon grandiflorum DC. Collected from East-Asian Area

Chun-Geun Park,Zhi-Yi Yan,Sang-Chul Lee,Tae-Kwon Shon,Hee-Woon Park,Dong-Chun Jin 韓國藥用作物學會 2005 한국약용작물학회지 Vol.13 No.2

Broadening the genetic base of Platycodon grandiflorum DC. cultivar to sustain improvement requires assessment of genetic diversity available in P. grandiflorum DC.. The objective of this study was to analyze the genetic variation, genetic relationship among 48 samples collected from East-Asian Area by means of RAPD-PCR (random amplified polymorphic DNA-polymerase chain reaction) markers. From the 18 primers tested, produced total 211 bands with an average of 11.7 bands per primer and obtained 103 polymorphic band with an average of 5.7 bands per primer,s revealed relatively high percentage of polymorphic bands (48.8%). The genetic similarities calculated from RAPD data varied from 0.688 to 0.994 and were clustered to six major groups on a criterion of 0.78 similarity coefficient. The present study has revealed the significant genetic similarity among the samples tested. The analysis of genetic relationships in P. grandiflorum using RAPD-PCR banding data can be useful for the breed improvement.

The tyrosine kinase inhibitor nintedanib activates SHP-1 and induces apoptosis in triple-negative breast cancer cells

Chun-Yu Liu,Tzu-Ting Huang,Pei-Yi Chu,Chun-Teng Huang,Chia-Han Lee,Wan-Lun Wang,Ka-Yi Lau,Wen-Chun Tsai,Tzu-I Chao,Jung-Chen Su,Ming-Huang Chen,Chung-Wai Shiau,Ling-Ming Tseng,Kuen-Feng Chen 생화학분자생물학회 2017 Experimental and molecular medicine Vol.49 No.-

Triple-negative breast cancer (TNBC) remains difficult to treat and urgently needs new therapeutic options. Nintedanib, a multikinase inhibitor, has exhibited efficacy in early clinical trials for HER2-negative breast cancer. In this study, we examined a new molecular mechanism of nintedanib in TNBC. The results demonstrated that nintedanib enhanced TNBC cell apoptosis, which was accompanied by a reduction of p-STAT3 and its downstream proteins. STAT3 overexpression suppressed nintedanib-mediated apoptosis and further increased the activity of purified SHP-1 protein. Moreover, treatment with either a specific inhibitor of SHP-1 or SHP-1-targeted siRNA reduced the apoptotic effects of nintedanib, which validates the role of SHP-1 in nintedanib-mediated apoptosis. Furthermore, nintedanib-induced apoptosis was attenuated in TNBC cells expressing SHP-1 mutants with constantly open conformations, suggesting that the autoinhibitory mechanism of SHP-1 attenuated the effects of nintedanib. Importantly, nintedanib significantly inhibited tumor growth via the SHP-1/p-STAT3 pathway. Clinically, SHP-1 levels were downregulated, whereas p-STAT3 was upregulated in tumor tissues, and SHP-1 transcripts were associated with improved disease-free survival in TNBC patients. Our findings revealed that nintedanib induces TNBC apoptosis by acting as a SHP-1 agonist, suggesting that targeting STAT3 by enhancing SHP-1 expression could be a viable therapeutic strategy against TNBC.

Letter: cervicocerebral atherosclerosis and its hepatic and coronary risk factors in patients with liver cirrhosis

Yi-Chun Huang,Chih-Wei Chen,James Chun-Chung Wei 대한간학회 2022 Clinical and Molecular Hepatology(대한간학회지) Vol.28 No.2

Enhanced Photocatalytic Performance of Heterojunction BiOI/BiOIO3 Nanocomposites Under Simulated Solar Light

Yi Ling Qi,Xu Chun Song,Yi Fan Zheng 성균관대학교(자연과학캠퍼스) 성균나노과학기술원 2017 NANO Vol.12 No.3

Novel heterostructure BiOI/BiOIO3 nanocomposites were successfully prepared through a facile deposition method at room temperature. BiOIO3 is a noncentrosymmetric compound that has an internal self-built electric field. BiOI was applied as a visible light absorber to sensitize semiconductors owing to its smallest bandgap. The coupling between BiOIO3 and BiOI can combine their advantages and improve photocatalytic properties. Compared with the single BiOI and BiOIO3, the heterostructure BiOI/BiOIO3 nanocomposites displayed a significantly enhanced photocatalytic activity for the Rhodamine B (RhB) degradation. The enhanced photocatalytic performance is deduced closely related to the formation of BiOI/BiOIO3 heterojunction interface whose presence is regarded to be a favorable factor for the transfer and separation of the photogenerated electrons and holes.

The Identity of Traditional Korean Music

Yi Sung-chun The Academy of Korean Studies 1997 Korea Journal Vol.37 No.3