• The Korean Journal of Nuclear Medicine
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• v.32 no.2
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• pp.151-160
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• 1998

Purpose: Piccolo et al. advocated the usefulness of $^{99m}Tc$-MDP breast scan in differential diagnosis of breast mass with high accuracy. But there are little or no follow-up studies about it as we know. We studied $^{99m}Tc$-MDP uptake pattern and lesion/background ratio in patients complaining palpable breast lesions to evaluate the clinical usefulness of $^{99m}Tc$-MDP scan. Materials and Methods: Total 34 patients were studied with physical examination, mammo-gram and $^{99m}Tc$-MDP scan prospectively. Anteroposterior and both lateral view of breast were obtained 5 minutes after iv injection of 740 MBq $^{99m}Tc$-MDP. Breast uptake pattern of $^{99m}Tc$-MDP was analyzed by a grade system: 0=no uptake, grade 1=bilateral diffuse uptake, grade 2=asymmetric faint uptake, grade 3=focal hot uptake. 20 cases were pathologically confirmed by excision biopsy or aspiration biopsy. 14 cases were normal in physical examination and mammogram. Results: Pathologic results showed 7 carcinomas, 6 benign solid tumors, and 7 fibrocystic changes. Grade 3 pattern of $^{99m}Tc$-MDP uptake was noted in 4/7 carcinomas, 3/6 benign solid tumors, and 1/7 fibrocystic changes. Grade 2 pattern was 217, 0/7, 3/7 respectively. The average L/B ratio was 1.66 in carcinomas, 1.68 in benign solid masses, 1.20 in fibrocystic diseases, 1.05 in normal patients. L/B ratio was higher in carcinoma and benign mass groups than in fibrocystic change and normal control groups(p=0.005). But there was no statistical difference between L/B ratio of malignant mass group and benign mass group. Conclusion: $^{99m}Tc$-MDP scan is not suitable to routine clinical use for breast mass diagnosis. It might be used in limited conditions when whole body bone scan is planned.

• The Korean Journal of Nuclear Medicine
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• v.29 no.4
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• pp.533-540
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• 1995

Attenuation correction is important in producing quantitative positron emission tomography (PET) images. Conventionally, photon attenuation effects are corrected using transmission measurements performed before tracer administration. The pre-injection transmission measurement approach may require a time delay between transmission and emission scans for the tracer studies requiring a long uptake period, about 45 minutes for F-18 deoxyglucose study. The time delay will limit patient throughput and increase the likelihood of patient motion. A technique lot performing simultaneous transmission and emission scans (T+E method) after the tracer injection has been validated. The T+E method substracts the emission counts contaminating the transmission measurements to produce accurate attenuation correction coefficients. This method has been evaluated in experiments using a cylindrical phantom filled with background water (5750 cc) containing $0.4{\mu}Ci/cc$ of F-18 fluoride ion and one insert cylinder (276 cc) containing $4.3{\mu}Ci/cc$. GE $Advance^{TM}$ PET scanner and Ge-68 rotating pin sources for transmission scanning were used for this investigation. Post-injection transmission scan and emission scan were peformed alternatively over time. The error in emission images corrected using post-infection transmission scan to emission images corrected transmission scan was 2.6% at the concentration of $1.0{\mu}Ci/cc$. No obvious differences in image quality and noise were apparent between the two images. The attenuation correction can be accomplished with post-injection transmission measurement using rotating pin sources and this method can significantly shorten the time between transmission and omission scans and thereby reduce the likelihood of patient motion and increase scanning throughput in PET.

• Tuberculosis and Respiratory Diseases
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• v.54 no.1
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• pp.80-90
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• 2003

Background : Goblet cell hyperplasia is a critical pathological feature in hypersecretory diseases of the airways. A bacterial infection of the lung is also known to induce inflammatory responses, which can lead to the overproduction of mucus. Recently, mucin synthesis in the airways has been reported to be regulated by neutrophilic inflammation-induced epidermal growth factor receptor (EGFR) expression and activation. In addition, it was reported that migration of the activated neutrophils is dependent on the matrix metalloproteinases (MMPs), especially MMP-9. In this study, bacterial lipopolysaccharide (LPS)-induced goblet cell hyperplasia and mucus hypersecretion by EGFR cascade, resulting from the MMPs-dependent neutrophilic inflammation were investigated in the rat airways. Methods : Pathogen-free Sprague-Dawley rats were studied in vivo. Various concentrations of LPS were instilled into the trachea in $300{\mu}{\ell}$ PBS (LPS group). Sterile PBS ($300{\mu}{\ell}$) was instilled into the trachea of the control animals (control group). The airways were examined on different days after instilling LPS. For an examination of the relationship between the LPS-induced goblet cell hyperplasia and MMPs, the animals were pretreated 3 days prior to the LPS instillation and daily thereafter with the matrix metalloproteinase inhibitor (MMPI; 20 mg/Kg/day of CMT-3; Collagenex Pharmaceuticals, USA). The neutrophilic infiltration was quantified as a number in five high power fields (HPF). The alcian blue/periodic acid-Schiff (AB/PAS) stain were performed for the mucus glycoconjugates and the immunohistochemical stains were performed for MUC5AC, EGFR and MMP-9. Their expressions were quantified by an image analysis program and were expressed by the percentage of the total bronchial epithelial area. Results : The instillation of LPS induced AB/PAS and MUC5AC staining in the airway epithelium in a time- and dose-dependent manner. Treatment with the MMPI prevented the LPS-induced goblet cell hyperplasia significantly. The instillation of LPS into the trachea induced also EGFR expression in the airway epithelium. The control airway epithelium contained few leukocytes, but the intratracheal instillation of LPS resulted in a neutrophilic recruitment. A pretreatment with MMPI prevented neutrophilic recruitment, EGFR expression, and goblet cell hyperplasia in the LPS-instilled airway epithelium. Conclusion : Matrix metalloproteinase is involved in LPS-induced mucus hypersecretion, resulting from a neutrophilic inflammation and EGFR cascade. These results suggest a potential therapeutic role of MMPI in the treatment of mucus hypersecretion that were associated with a bacterial infection of the airways.

• Korean Journal of Health Education and Promotion
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• v.20 no.2
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• pp.35-61
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• 2003

Background： The purpose of this study was to develop a structured and individualized smoking prevention program for adolescents by utilizing a multimedia computer-assisted instruction model and to empirically assess its effect. Method： For the purpose of this study, a guide book of smoking prevention program for middle and high school students was developed as the first step. The contents of this book were summarized and developed into an actual multimedia CAI smoking prevention program according to the Gane ＆ Briggs instructional design and Keller's ARCS motivation design models as the second step. At the final step, the short-tenn effects of this program were examined by an experiment. This experiment were made for middle school and high school students and the quasi experimental design was the pretest - intervention - posttest. The measured data was attitude, belief, and knowledge about smoking, interest in the program, and learning motivation. Result： The results of this study were as follows： First, the guide book of a smoking prevention program was developed and the existing literature on adolescent smoking was analyzed to develop the content of the guide book. Then the curriculum was divided into three main domains on tobacco and smoking history, smoking and health, adolescent smoking and each main domain was divided into sub-domains. Second, the contents of the guide book were translated into a multimedia CAI program of smoking prevention througn Powerpoint software according to the instructional design theory. The characteristics of this program were interactive, learner controllable, and structured The program contents consisted of entrance(5.6％), history of tobacco(30％), smoking and health(38.9％), adolescent smoking(22.2％), video(4.7％), and exit(1.6％). Multimedia materials consisted of text(121), sound and music, image(still 84, dynamic 32), and videogram(6). The program took about 40 minutes to complete. Third, the results on analysis of the program effects were as follows： 1) There was significant knowledge increase between the pre-test and post-test with total mean difference 3.44, and the highest increase was in the 1st grade students of high school(p＜0.001). 2) There was significant decrease in general belief on smoking between the pre-test and post-test with total mean difference 0.28. In subgroup analysis, the difference was significantly higher in the 1st grade of high school (p<0.001), low income class (p<0.001), and daily smokers (p<0.01). 3) There was no significant difference in attitudes on his personal smoking between the pre-test and post-test. 4) The interest in the program seemed to lower as students got older. The score of motivation toward this prevention program was the highest in the middle school 3rd grade. Among sub-domains of motivation, the confidence score was the highest. Conclusion： To be most effective, the smoking prevention program for adolescents should utilize the most up-to-date and accurate information on smoking, and then instructional material should be developed so that the learners can approach the program with enjoyment. Through this study, a guide book with the most up-to-date information was developed and the multimedia CAI smoking prevention program was also developed based on the guide book. The program showed positive effect on the students' knowledge and belief in smoking.

• International Commerce and Information Review
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• v.15 no.4
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• pp.481-508
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• 2013

The purpose of this study is to research the specific ways of successful localization by analyzing the success and failures case for localization through the theoretical background and the strategic models of localization. The strategic models of localization are divided by management aspects such as the localization of production and sourcing, the localization of human resources, the localization of marketing, the localization of R&D, harmonious relationship with the local community and authority transfer between headquarters and local subsidiaries. And the specific measures of the successful localization are proposed within the framework of the strategic models by comparing and analyzing the success and failures case for localization of individual companies operating in Indonesia. The results indicate that there are successful companies which develop a suitable products for the local climate and failed automobile company which is weak for assembly of complete vehicle in terms of localization of production and sourcing. In case of localization of human resources, most companies recognize the importance of this part and endeavor to secure superior human resource through a related education. It is found that most of the companies perform R & D in their native country. In part of a harmonious relationship with the local community, Korean companies should contribute to the community and be friendly with local residents and make a good image of the company focusing on the cultural environment. In aspect of authority transfer between headquarters and local subsidiaries, there is a tendency to be determined by the head office rather than the joint participation. In the future, in order for Korean enterprise to be successful one in Indonesia market, a highly interdependent and complex forms between headquarters and local subsidiaries shall be performed and an active exchange of information and the selection of best talent regardless of nationality shall be promoted.

• Cartoon and Animation Studies
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• s.39
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• pp.451-472
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• 2015

Lian Huan Hua(連環畵) has occurred in the history of China Cartoon was initially developed as a unique literary style of Chinese painting and narrative combined. Also Lian Huan Hua are also tend to form once the fusion 1920s was also a very creative fashion cartoon style. This is also referred to as chain cartoon. In 1950-1960, China 's Lian Huan Hua also mature a 'golden age' legal group reaches to indicate the unique formal features developed independently. This work is a dramatic expression of Lian Huan Hua narrative, shows a more realistic representation techniques and art forms such as portraiture is a very big breakthrough was achieved artistic maturity of the work increased significantly. by He You Zhi(賀友直) and by Hau San Chuan(華三川) is a masterpiece of artistry and maturity in the period leading side. Chapter 2 looked at the origin and development of Chinese Lian Huan Hua, it was seen by the fact that China achieved new progress in Lian Huan Hua upset every time the combination of content and form, In addition, the work of 1950-1960 in the development process of China's Lian Huan Hua confirmed the fact that they won the biggest achievement in artistry and maturity surface. Therefore, Chapter 3 how 'golden age' masterpiece of and the dramatic narrative of expression by analyzing a specific angle in the multifaceted image of the , realistic portraiture, such as the acquisition of Chinese concrete artistry Lian Huan Hua I want to show. Analysis of the figures depicting nature, landscape screens. consisted of highlights and background and techniques of utilization, production methods. The purpose of this research work is to identify two conditions of great Lian Huan Hua through analysis of concrete work and painting techniques such as framing and directing the Lian Huan Hua's artistic achievements is to investigate the influence of China in the early comics. These two works are focused on a realistic view of life and put out was to create a more effective representation of information it attempts to pass a new production techniques and will have the significance. Also completed was a new style absorbed throughout the aesthetic advantages are compelling own personality writers of Eastern and Western paintings are remarkable in that its performance. But the difference in the two works represent all types and painting techniques has a the mood of common China's lives.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.307-323
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• 2007

One of the distinguishing features of late Jeosun s Hanshi (poem in Chinese) is the numerous creation of Yeonjachyung Keesokshi (serial poem on folklore) which describes the folk manner and folk way of life in detail. Keesokshi s subject matter is the folklike in general including local features, geography, climate, local production, humanity, social conducts, and daily labor for living as well. By its material characteristics, Keesokshi reflects detailed life conditions of the society members in each levels, and represents the local customs as well as the folk emotions. Among the several kinds of Keesokshis, a Sesi Keesokshi focuses only in reciting the folk customs on each seasonal festival days, and the great numbers of such serial poems appear during the latter part of the Jeosun Dynasty. Its overall background is the transition of artistic trend which came after many social changes such as expansion of realism, uprising national consciousness, shaken status system, and the rising of 'Jeosun si motives in the Hansi history. Moreover, each writers various experiences and their interests in the reality and critical minds of common people contributed a crucial roll in creation of Sesi Keesokshi. 178 of the 584 remaining serial Sesi Keesokshi are written particularly about the folk customs in The Grand Full Moon Festival (the first full moon of a year by the lunar calendar). These Hanshis widely reflect the common ways of living by directly accepting the seasonal folk customs as the subject matters. Especially, close to the reality, these poems positively express the people's simple vigorous lives and create unrestrained lively image by describing the joys and sorrows of the folk ewistence along with their craving. Also, it is notable to have customs such as 'Shil-Ssa-Um' and 'No-gu-ban-kong-yang' as subjects for its rarity in other literatures.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.271-306
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• 2007

One of the distinguishing features of late Jeosun's Hanshi (poem in Chinese) is the numerous creation of Yeonjachyung Keesokshi (serial poem on folklore) which describes the folk manner and folk way of life in detail. Keesokshi's subject matter is the folklike in general including local features, geography, climate, local production, humanity, social conducts, and daily labor for living as well. By its material characteristics, Keesokshi reflects detailed life conditions of the society members in each levels, and represents the local customs as well as the folk emotions. Among the several kinds of Keesokshis, a Sesi Keesokshi focuses only in reciting the folk customs on each seasonal festival days, and the great numbers of such serial poems appear during the latter part of the Jeosun Dynasty. Its overall background is the transition of artistic trend which came after many social changes such as expansion of realism, uprising national consciousness, shaken status system, and the rising of 'Jeosunsi' motives in the Hansi history. Moreover, each writer's various experiences and their interests in the reality and critical minds of common people contributed a crucial roll in creation of Sesi Keesokshi. 178 of the 584 remaining serial Sesi Keesokshi are written particularly about the folk customs in The Grand Full Moon Festival (the first full moon of a year by the lunar calendar). These Hanshis widely reflect the common ways of living by directly accepting the seasonal folk customs as the subject matters. Especially, close to the reality, these poems positively express the people's simple vigorous lives and create unrestrained lively image by describing the joys and sorrows of the folk existence along with their craving. Also, it is notable to have customs such as 'Shil-Ssa-Um' and 'No-gu-ban-kong-yang' as subjects for its rarity in other literatures.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.