• Journal of Chest Surgery
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• v.43 no.1
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• pp.33-38
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• 2010

Background: The use of video-assisted thoracic surgery (VATS) to perform major pulmonary resection with systematic node dissection (SND) for lung cancer by is commonly used in clinics. However, the feasibility of SND by VATS remains controversial. Video-assisted mediastinal lymphadenectomy (VAMLA) increases the quality of mediastinal lymph node staging in lung cancer. The video-mediastinoscope allows systematic lymphadenectomy by bimanual preparation. This study was conducted to assess safety and usefulness and clinical feasibility of VAMLA expanding Linder-Dahan mediastinoscope with VATS lobectomy for left sided lung cancer. Material and Method: Between February 2004 to April 2008, a total 50 patients who underwent VATS lobectomy for left sided lung cancer were analyzed retrospectively. Thirty patients (group A) underwent VAMLA followed by VATS lymphadenectomy and 20 patients (group B) underwent VATS lymphadenectomy for SND. Result: There were no statistical differences in operation times, chest tube indwelling times, or hospital days between the 2 groups. The number of dissected total nodes (p=0.001) and N2 nodes (p=0.013) were higher in group A than in group B, but there was no difference in N1 nodes. Postoperative complications included 2 prolonged air leakages (${\geq}$10 days) in each group, one pneumonia in group A, and one vocal cord palsy in group B. There were no early operative mortalities. Conclusion: Mediastinal staging of resectable lung cancer is performed by VAMLA. This new technique is the basis for VATS lobectomy particularly for left-sided lung cancer, because a higher percentage of mediastinal lymph nodes undergo complete resection using VAMLA.

• The Korean Journal of Nuclear Medicine
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• v.38 no.1
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• pp.41-51
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• 2004

PURPOSE: Tourette's disorder (TD), which is characterized by multiple waxing and waning motor tics and one or more vocal tics, is known to be associated with abnormalities in the dopaminergic system. To testify our hypothesis that risperidone would improve tic symptoms of TD patients through the change of the dopaminergic system, we measured the dopamine transporter (DAT) densities between drug-naive children with TD and normal children, and investigated the DAT density before and after treatment with risperidone in drug-naive children with TD, using iodine-123 labelled $N-(3-iodopropen-2-yl)-2{\beta}-carbomethoxy-3beta-(4-chlorophenyl)tropane$ ($[^{123}I]IPT$) single photon omission computed tomography (SPECT). MATERIALS and METHODS: $[^{123}I]IPT$ SPECT Imaging and Yale Global Tic Severity Scale-Korean version (YGTSS-K) for assessing the tic symptom severity were carried out before and after treatment with risperidone for 8 weeks in nine drug-naive children with TD. Eleven normal children also underwent SPECT imaging 2 hours after an intravenous administration of $[^{123}I]IPT$. RESULTS: Drug-naive children with TD had a significantly greater increase in the specific/nonspecific DAT binding ratio of both basal ganglia compared with the normal children. However, no significant difference in the specific/nonspecific DAT binding ratio of the basal ganglia before and after treatment with risperidone in children with TD was found, although tic symptoms were significantly improved with risperidone. CONCLUSION: These findings suggest that DAT densities are directly associated with the pathophysiology of TD, however, that the effect of risperidone on tic symptoms in children with TD is not attributed to the change of dopaminergic system.

• Journal of Chest Surgery
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• v.29 no.2
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• pp.177-184
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• 1996

Between 1987 and 1994, 21 patients were treated surgically for aortic aneurysm involving the thoracoabdominal aorta. There were 11 males and 10 females, and their age ranged from 20 to 67 years old and mean age was 41.5 years. Many complained of back pain, chest pain or discomfort, and flank pain, but three patients were asymptomatic. 15 patients had chronic dissection (71.4%) and 6 had nondissecting fusiform or saccular aneurysm(28.5%), and of those 15 patients with chronic dissection, 6(28.5%) had atherosclerosis assniated with hypertension, 5 (23.8%) were Martian syndrome, and 2 (9.5%) were associated with pregnancy. The diameter of an aneurysm ranged from 6cm to 12cm, and their extent was classified as type I in 7(33.3%), type II in 8(38.1%), type III in 3(14.3%), and type IV in 3(14.3%) patients based on Crawford classification for TAA . Diseased aorta was replaced with artificial vascular graft in all but one patient. In whom the aortic tear site due to pseudoaneurysm was closed by primary suture. For the spinal cord protection during the operation, we used partial cardiopulmonary bypass (FV-FA or PA-FA bypass) in 12 patients (57.1%), Biopump (LA-FA bypass) in 4(19.0%), total circulartory arrest and CPB in 2 (9.5%), Gott's heparinized shunt in 1(4.7%), and simple aortic cross clamping in 2 (9.5%). The most common complication after the operation was hoarseness due to unilateral vocal cord palsy which onured in 5 patients (23.8%), and the next common complication was wound infection in 4 patients(19.0%), paraplegia in 2 patients (9.5%), chylothorax in 1 patient(4.7%). The hospital mortality rate was 9.5% (2deaths), and there was no late death. Our experience shows that the graft replacement of TAAA had reasonable rate of mortality, low rate of serious complication, and provided good post operative state of the pati nts, and since the thoracoabdominal aortic operation is not a high risky procedure anymore, we recommend a radical operation for the indicated patients.

• Sijohaknonchong
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• v.42
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• pp.29-68
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• 2015

This article focused on the development and current status of Sijo-chang, the Korean classical vocal genre, which is the text as a fixed form of Korean classical poems. Historically, Sijo-chang has originally emerged from Hyangga鄕歌 during Silla period (BC. 57- AD. 935). However, the current Sijo-chang has been developed from the latter of Joseon朝鮮 period(AD. 1392-1910) in 1800s. Since 1800s, Sijo-chang derived from the Gyeong-je Pyeong sijo京制 平時調, which was established in Seoul, was able to accelerate its musical types and regional characteristics among the Korean peninsula. By setting a clear division of two time periods between 1800s and those periods since 1900s to today, this article mainly explains how Sijo-chang has been developed historically. First of all, in order to appraise the musical styles and characteristics of Sijo-chang in 1800s, comparing the current musical types of Sijo-chang and those printed old score books which has its historical musical characteristics during 1800s is necessary. Secondly, this paper concentrated on the transmitted lineages of representative vocalists among the regional-based Sijo-chang from 1900s to today. During those periods, the Sijo-chang has formed its particular regional-based musical characteristics among the Korean peninsula such as Yeong-je嶺制 of Gyeongsang province慶尙道, Naepo-je內浦制 of Chungcheong province忠淸道 and Wan-je完制 of Cheolla province全羅道. Although it was not a type of regional-based Sijo-chang, as a creation with reference based on certain regional types of Sijo-chang in 1960s, this paper introduced the inheritance process of Seogam-je石菴制 which was made by Jung Gyeong-tae鄭坰兌 named Seogam石菴 as his pen name. Since Seogam-je has been singing as the most influential musical types of Sijo-chang through the mainly southern region of Korean peninsula and even in Seoul, it was highly significant to research it. In addition, this paper elaborately highlighted the developments of various Sijo-chang based on its historical performances, studies, and the composed pieces from the early 1900s or the mid-1900s. In conclusion, in order to set a vigorous development of Sijo-chang, this paper raised several concerns among the future of Sijo-Chang and the significance of its traditional value.

• Cartoon and Animation Studies
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• s.39
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• pp.261-295
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• 2015

Cyber singer appeared in the late 1990s has disappeared briefly appeared. although a few attempts in the 2000s, it did not show significant successes. cyber singer was born thanks to the technical development of the IT industry and the emergence of an idol training system in the music industry. It was developed by Vocaloid 'Seeyou' starting from 'Adam'. cyber singer that differenatiated typical digital characters in a cartoon or game may be subject to idolize to the music as a medium. They also feature forming a plurality of fandom. therefore, such attempts and repeated failures, this could be considered a fashion, but it flew content creation and ongoing attempts to take advantage of the new media, such as Vocaloid can see that there are expectations for a true Cyber-born singer. Early-Cyber singer is made only resemble human appearance, but 'Sciart' and 'Seeyou' has been evolving to becoming more like the human capabilities. in this paper, stylized cyber singer had disappeared in the past in the process of developing the technology to evolve into own artificial life does not end in failure cases, gradually led to a change in public perceptions of the image look looking machine was an attempt in that sense. With the direction of the evolution of the mechanical function to obtain a human, fun and human exchanges and mutual feelings. And it is equipped with an artificial life form that evolved with it only in appearance and function. in order to support this logic, I refer to the study of the coevolution of man and machine at every Bruce Mazlish. And, I have analyzed the evolution of cyber singer Bruce research from the perspective of the development process since the late 1990s, the planning of the eight singers who have appeared and design of the cyber character and important voices to be evaluated as a singer (vocal). The machine has been evolving coevolution with humans. cyber singer ambivalent development targets are recognized, but strive to become the new artificial creatures of horror idea of human desire and death continues. therefore, the new Cyber-organisms are likely to be the same style as 'Seeyou'. because, cartoon forms and whirring voice may not be in the form of a signifier is the real human desires, but this is because the contemporary public's desire to be desired and the technical development of this type can be created at the point where the cross-signifier.

• Journal of Chest Surgery
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• v.32 no.3
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• pp.255-261
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• 1999

Background: Atrial fibrillation is one of the most prevalent of all arrhythmias and in up to 79% of the patients with mitral valve disease. This study examined whether the atrial fibrillation that occur in patients with mitral valve operation could be eliminated by a concommitant maze operation without cryoablation. Material and Method: From May 1997 to April 1998, 14 patients with atrial fibrillation associated with mitral valve disease underwent Maze III operation without cryoablation. Preoperatively there were 6 men and 8 women with an average age of 46.2${\pm}$10.7 years. Eleven patients had mitral stenosis, and three had mitral insufficiency. The associated heart diseases were aortic valve disease in 4, tricuspid valve regurgitation in 1 and ASD in 2. Using transthoracic echocardiography, the mean left atrial diameters was 54.7${\pm}$5.3 mm and thrombi were found in the left atrium of 2 patients. Postoperatively the ratio between the peak speed of the early filling wave and that of the atrial contraction wave (A/E ratio) was determined from transmitral flow measurement. Operations were mitral valve replacement in 13 including 4 aortic valve replacements, 1 DeVega annuloplasty and 2 ASD closures. Maze III operation was performed in 1 patient. Result: Five patients (38%) had recurred atrial fibrillation, which was reversed with flecainide or amiodarone at the average time of postoperative 38.8${\pm}$23.5 days. Postoperative complications were postoperative transient junctional rhythm in 6, transient atrial fibrillation in 5, reoperation for bleeding in 3, postpericardiotomy syndrome(1), unilateral vocal cord palsy(1), postoperative psychosis(1), and myocardial infarction(1). Postoperatively A/E ratio was 0.43${\pm}$0.22 and A wave found in 9(64%) patients. 3 to 14 months postoperatively (average follow- up, 8.1 months), all of patients had normal sinus rhythm and 9(64%) patients had left atrial contraction and 11(79%) patients were not on a regimen of antiarrhythmic medication. Conclusion: We conclude that Maze III operation without cryoablation is an effective surgical treatment in atrial fibrillation associated with the mitral valve disease.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• Phonetics and Speech Sciences
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• v.11 no.1
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• pp.51-61
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• 2019

The purpose of this study was to develop a smartphone based voice therapy program for patients with voice disorders. Contents of voice therapy were collected through analysis of mobile contents related to voice therapy in Korea, experts and users' demand survey, and the program was developed using Android Studio. Content needed for voice therapy was collected through analysis of mobile contents related to voice therapy. The user satisfaction evaluation for application was conducted for five patient with functional voice disorders. The results showed that the mobile contents related to voice therapy in Korea were mostly related to breathing, followed by voice and singing, but only 13 applications were practically practiced for voice therapy. Expert and user demand surveys showed that the patients and therapists both had a high need for content that could provide voice training in places other than the treatment room. Based on this analysis, 'Home Voice Trainer', an smartphone based voice therapy program, was developed. Home Voice Trainer is an application for voice therapy and management based on Android smartphones. It is designed to train voice therapy activities at home that have been trained offline. In addition, the records of voice training of patients were managed online so that patients can maintain voice improvement through continuous voice consulting even after the end of voice therapy. User evaluations show that patients are satisfied with the difficulty and content of voice therapy programs provided by home voice trainers, but lack of a portion of user interface, such as the portion of home button and interface between screens. Further study suggests the clinical application of home voice trainer to the patients with voice disorders. It is expected that the development study and the clinical application of smart contents related to voice therapy will be actively conducted.

• 기호학연구
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• no.54
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• pp.93-117
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• 2018

The process of creating Hunminjeongeum described in Haerye version of Hunminjeongeum shows a rule of signification by which a signifiant represents a referent. In this article, I will suggest two types, the mythical and the anti-mythical, that affect the iconic relation between signifiant and referent, and consider how they are realized in Hunminjeongeum. The mythical type is shown as Yin-Yang and the Five Elements Theory and Three Elements Theory of Heaven, Earth and Man dominating the thought of intellectuals at that time. It had became mythos, that is the object of absolute belief, by connecting with the power of King at that time. It is very metaphysical and involves a kind of grand narrative. It is also the voice from the past in time and from China in space. It is reflected in Hunminjeongeum's letter system intactly. Meanwhile, the anti-mythical type also affects the creation of Icon in Hunminjeongeum. Even if Hunminjeongeum had been created from King Sejong's project, its intention seemed to be educational and practical. That is the problem of that time, not of past time, and for common class, not for ruling class. It can be considered as logos in that it had been planned and processed at a real-life situation at that time. Some arguments between King Sejong and liege Choi, Manri about the validity of Hunminjeongeum also show that the creation of Hunminjeongeum had involved the problem of critical logos. Above all, in that referents of Icons of Hunminjeongeum are the figures of human vocal organs, we can suggest that these Icons also implied an Indexicality implying actual connection between voice and body. It can be considered as a deconstrucion of metaphysics and grand narrative that had been dominated by foresaid mythical type. Hereafter, from time when Hunminjeongeum have been widely used, mythos of metaphysics and grand narrative that had dominated Hunminjeongeum have been deconstructed and Hunminjeongeum has become to realize its potential competence of pragmatic sign system for the convenience of common people. Therefore, I expect that the cultural potentiality of Hangul today can be realized by such tendency of logos incessantly deconstructing mythos, that is one direction of mythosemiosis.