비/비인강 비호즈킨 림프종의 임상양상과 예후 인자

박순서(Soon Seo Park),서철원(Cheol won Suh),박종범(Jong Beom Park),박지운(Ji Woon Park),임소덕(Soo Duk Lim),허주령(Joo ryung Huh),남순열(Soon Yuhl Nam),김상윤(Sang Yoon Kim),이호규,장혜숙(Hye sook Chang),김태원(Tae Won Kim),이제환(Je Hw 대한두경부종양학회 1999 대한두경부 종양학회지 Vol.15 No.2

Objectives: To study the clinical features of the primary nasal/nasopharyngeal non-Hodgkin's lymphomas and to evaluate the implication of immunophenotyping as a prognostic factor. Patients and Methods: From January 1990 to December 1997,41 patients(median age, 41 years) of primary nasal/nasopharyngeal non-Hodgkin's lymphoma were studied. The clinical records and paraffin-embedded tissue blocks were reviewed retrospectively. The histologic features, immunophenotypic findings(pan-T, pan-B, CD3, CD56) and Epstein-Barr virus in situ hybridizatios were examined. The prognostic factors for clinical outcome were evaluated in these patients. According to Ann-Arbor system, there were 30 patiets(73%) with stage IE, 4(10%) with stage IIE, 3(7%) with stage IIIE, 4(10%) with stage IVE lymphoma. Among the patients with stage IE/IIE, 4 patients received local radiation alone, 4 received chemotherapy alone, 25 received combination chemotherapy and radiotherapy and 1 refused treatment. The patients with stage IIIE/IVE were given combination chemotherapy and radiotherapy. Results: Immunophenotyping were performed in 40 patients and staining results were as follows: 3(7%) patients with B cell, 17(42%) with T cell, 18(44%) with NK/T cell(CD56 positive), and two patients with unclassifiable result. Epstein-Barr(EB) virus in situ hybridization were performed in 28 patients and 23(82%) patients had positive EBV-encoded RNAs(EBERs). 21(55%) patients achieved a complete remission. There was no difference in complete remission between radiation alone and combination therapy. With median follow-up of 30 months, 5-years disease free survival of complete responders was 60% and 5-years overall survival rate was 36%. Multivariate analysis showed that better overall survival was related with absence of B symptoms, ECOG performance ≤1 and non-NK cells. Conclusion: Most of all cases were positive for EBER. Since NK/T phenotype carried the worst prognosis, analysis for CD56 expression should be done. Further prospective studies were warranted to evaluate the role of chemotherapy in stage IE/IIE.

워즈워스의 시에 나타난 신비주의와 상상력

박령(Park, Ryung) 새한영어영문학회 2014 새한영어영문학 Vol.56 No.4

Wordsworth is both a sensual naturalist and a transcendental mystic. His long poetic career shows the conflict and the unification of the two Wordsworths. Approaching his maturity, the poet gets strongly inclined for the transcendental imagination and the spiritual world of mystical vision. Wordsworth’s mysticism develops through several steps: sensual experience, creative sensibility, philosophical thought, and finally transcendental imagination. The imagination ultimately develops itself towards seeing into “the life of things,” and gets the mystical vision of immortality, ultimately establishing “a second nature” in his own mind. In “Tintern Abbey,” the sensual empiricist Wordsworth precariously conflicts with his transcendental mystic self, yet still remaining typically dependent upon the beauteous forms of nature. But in “Ode: Intimations of Immortality,” the poet presupposes the idea of pre-existence, revealing the immortality of human soul; thus his mystic self strengthens all the more. In The Prelude, through the repetitive recollections of “spots of time,” the poet exerts himself continuously to reinforce the transcendental imagination, and finally, in the vision of Mountain Snowdon, incarnates “the type of majestic intellect” in the emblems of nature, showing the tremendous strength of his imagination; his poetic mysticism has become complete.

대행의 한마음사상에 나타난 교리적 근거 고찰

박소령(Park, So-Ryung) 대행선연구원 2018 한마음연구 Vol.1 No.-

불교의 원초적이면서 근본적인 표방은 ‘마음이 모든 법의 근본 이다[心爲法本]’라고 하는 것이다. 이것은 나를 비롯한 우주의 모든 생명의 근본이 바로 이 마음을 통해 직결되어 있음을 가리킨다. 다시 말해 마음은 주관적 자신을 비롯한 객관적 세계인 우주를 포괄하는 모든 일체만상의 총괄적 주체라 할 수 있다. 이러한 마음[心]에 관한 교리는 초기불교부터 부파불교, 대승불교에 이르기까지 불교교리 전반에서 일관되게 설해진다. 특히 대승후기 논서에 해당하는 『대승기신론』에서는 기존의 대소승의 여러 경전들의 심사상心思想을 배경으로 하여 종합적인 ‘일심一心’의 교리를 체계화 하였다. 『기신론』은 ‘일심이문一心二門’ 또는 ‘일심삼대一心三大’의 핵심적 교리체계를 갖추어 일심의 본체상과 현상의 작용원리뿐만 아니라 ‘일심진여一心眞如’의 세계로 회귀하는 대승의 실천원리를 제시하고 있다. 이러한 『기신론』의 ‘일심사상一心思想’은 불교사상사에 있어 인도불교의 종합수렴이며, 동아시아 대승불교권에 걸쳐 화엄, 천태, 정토는 물론 선종에 이르기까지 여러 종파에 지대한 영향을 미친 핵심적 사상이라고 할 수 있다. 이러한 불교 전통적 중심교리인 ‘일심사상’에 근거를 두고 있는 묘공당妙空堂 대행大行(1927-2012)의 ‘한마음사상’은 전통적 교법과 본질상 동일한 맥락을 가지면서도 그만의 독창적인 언설을 통해 시대와 상황에 맞는 실천교리로서 전개되었다. 이 ‘한마음사상’에는 전통적인 ‘일심사상’의 현대적 해석이 담겨있을 뿐만 아니라 대행 자신만의 독특한 실천적 사상체계가 담겨있다. 대행은 한마음을 나와 우주의 근본적 총체로 삼고 이를 주체적 주인공으로 구체화시켜 나를 비롯한 일체제불과 우주의 모든 생명이 근본적으로 직결되어 모두가 한마음인 공생共生・공심共心・공체共體・공용共用・공식共食으로 돌아가고 있다고 하는 실천언어로 되살려내었다. 특히 그는 확고한 믿음을 바탕으로 무조건 놓고 지켜보는 실천법인 주인공관을 제시하여 일상생활 속 언제어디서나 누구든 일체가 한마음으로 돌아가고 있음을 쉽게 자각하고 바로 실천할 수 있도록 하였다. The original and fundamental claim of Buddhism is that “the mind is the foundation of all truth”. This implies that the origin of all life in the universe, including myself, is directly connected through the mind. In other words, the mind can be regarded as the totality of the entire universe including the subjective individual self. This doctrine of mind is consistently spoken of throughout Buddhist doctrine, from early Buddhism to Mahayana Buddhism. In particular, the Awakening of Mahāyāna Faith , a text of later Mahāyāna Buddhism, systemized a comprehensive “One Mind” doctrine on the basis of various kinds of mind philosophy that provided the principle of practice for Mahāyāna Buddhists. The text explains the “one mind” as having two aspects: a thusness aspect (眞如門) and an arising-and-ceasing aspect (生滅門). In addition, the one mind is also said to exhibit three kinds of greatness: greatness in essence, greatness in aspects, and greatness in function. The “Hanmaum Thought” of Ven. Daehaeng (1927-2012) is based on this Buddhist traditional central doctrine of “One Mind Thought”. It was developed as a doctrine of practice that fits the times and situations by virtue of its original expression, even though it has the same context as the traditional doctrine. Ven. Daehaeng’s “One Mind Thought” not only includes a modern interpretation of the traditional “One Mind Thought” but also reveals her own unique thoughts on its system of practice. Ven. Daehaing takes the concept of “Hanmaum” (“One Mind”) as the fundamental totality of the universe and embodies it as “Juningong” (“True Self”). She revived it as a practical doctrine in which all Buddhas and all life in the universe are fundamentally connected directly to the One Mind, the Five Sharings. The Five Sharings are as follows: 1. Sharing the same mind, 2. Sharing the same life, 3. Sharing the same body, 4. Sharing working together, 5. Sharing all things together. In particular, she presented her views on the True Self together with an unconditional practice based on firm belief, so that anyone can easily realize they can return to the One Mind.

대행의 주인공 관법에 대한 고찰

박소령(Park, So-Ryung) 대행선연구원 2019 한마음연구 Vol.2 No.-

Buddhism is based on a mind or one mind, foundation of all truth in traditional. This implies that the origin of all life in the universe, including myself is directly connected through the mind. Buddhism presents Gwanbeop(A method of obtaining insight into Truth 觀法) as way of practice to realize essence of the mind, foundation of all truth. Practice of this Gwanbeop is a important way to go right to the main point of buddha world because it is based on main point our closest own mind. In particular, the Zen sect of Buddhism based on Mahayana's practice principle claims to Jikji Insim(Direct pointing to the mind 直指人心), Gyeonseong Seongbul(Seeing self-nature and attaining the Buddhahood 見性成佛) and emphasizes that cannot find out buddha anywhere without this mind. Therefore, Gwansim(Contemplation of the mind 觀心) can be practical and self-aware at this place is a unlimited practical character applied to anyone, anytime, anyplace, in any situation. In this context, Ven. Myogong Daehaeng(妙空 大行, 1927-2012) presents Hanmaum(One mind) as the totality of the entire universe including myself and stand for the Juningong Gwanbeop, system of practice to embodies it as subjective juningong(Buddha nature). The Juningong Gwanbeop of Daehaeng is based on Tathagata zen, practice thoughts of buddhism tradition. It is shown that Daehaeng claim to Juningong Gwanbeop as Tathagata zen directly. This Tathagata zen as practical thoughts of Mahāyāna spread out and developed in Patriarchal zen and has an effect on in East Asia region. It is shown Daehaeng's Juningong Gwanbeop consistently. So Tathagata zen, the key to buddhist traditional one mind has connection with Juningong Gwanbeop, the key to Daehaeng's one mind. Like this, Daehaeng's Juningong Gwanbeop has a practical character of Tathagata zen, directly coinciding with one mind of absolute equality, and that has character as living zen. In this aspect, Daehaeng is adhere to practical position unseparated life and buddhism based on essential own mind. Like this, free and traditional practical trend of Daehaeng makes everyone awaken a reason in everyday life. In other words, She recreates traditional Tathagata zen as Juingong Gwanbeop keeping up with the times and re-incarnated newly practical way of the living Zen that it makes moden people self-aware right now anyone, anyplace, anytime, in any situation. 불교는 전통적으로 모든 법의 근본을 ‘마음[心]’ 또는 일심一心에 두었다. 이것은 나를 비롯한 우주의 모든 존재가 바로 이 마음을 통해 직결되어 있음을 가리킨다. 이러한 모든 법의 근본인 마음의 본질을 깨닫기 위한 실천방법으로 불교에서는 또한 관법觀法을 제시하였다. 이러한 관법의 실천은 우리의 가장 가까운 자심自心에 요점을 두어 곧바로 불佛 세계인 본체에 직입할 수 있는 가장 주요한 방법이 된다. 특히 대승사상의 실천을 중심에 둔 중국 선종 또한 ‘직지인심直指人心 견성성불見性成佛’을 표방하여 이 마음을 떠나 어디에서도 부처를 구할 수 없음을 강조한다. 그러므로 당처에서 실천자각할 수 있는 관심觀心은 누구나 모든 시간과 공간 그리고 어떠한 상황 속에서도 실천할 수 있는 특징을 갖는다. 이와 같은 맥락에서 묘공당妙空堂 대행(大行, 1927~2012)도 나를 비롯한 우주의 근본적 총체로서 ‘한마음’을 제시하고 이를 주체적 ‘주인공主人空’으로 구체화시켜 이에 부합하기 위한 실천체계인 ‘주인공 관법’을 세우고 있다. 이러한 대행의 주인공 관법은 사상적으로 불교 전통적 실천사상인 여래선如來禪에 근거를 두고 있다. 이것은 대행이 ‘주인공 관법’을 여래선으로 직접 표방한데서 알 수 있다. 이 여래선은 대승적 실천사상으로서 중국 조사선으로 전개∙발전되어 동아시아 전반에 영향을 미쳤으며 대행의 주인공 관법에도 일관되어 있음을 알 수 있다. 그래서 불교 전통적 일심을 요체로 한 여래선과 대행의 한마음을 요체로 한 주인공 관법은 서로 통해있다. 그렇듯이 대행의 주인공 관법은 절대 평등의 ‘한마음 주인공[一心眞如]’의 원리에 즉각 부합하는 여래선적 실천성격을 가졌다. 또한 동시에 생활선적 성격을 지닌다. 이러한 측면에서 대행은 본래 자심을 바탕으로 하여 생활과 불교를 분리하지 않는 실천입장을 고수하였다. 이와 같이 대행의 전통적이고 자유로운 실천 경향은 현대 대중들에게 쉽게 일상의 이치를 일깨우도록 하였다. 다시 말해 불교 전통적 여래선을 시대에 걸맞는 주인공 관법으로 되살려 내어 현대의 급변하는 현상 속의 대중들에게 바로 누구든 모든 시간과 공간 그리고 어떠한 상황 속에서도 실천하여 자각할 수 있는 생활선적 실천법으로 새롭게 재탄생시켰다는 것이다.

빅토리아 시대 여성시인의 페미니즘

박령(Park Ryung) 새한영어영문학회 2001 새한영어영문학 Vol. No.

This paper tries to describe a portrait of a Victorian feminist woman-poet, reading Elizabeth Barrett Browning's Aurora Leigh, and to appreciate her as the 'mother' of subsequent women's poetry. Elizabeth's heroine, Aurora begins her poetic life rejecting her cousin Romney's proposal, thus suppressing her womanhood and identifying herself with a man. After several years' solitary and independent life, Aurora becomes a famous woman poet, and keeps writing an autobiographical poem for her 'better self'. Such an autobiographical writing leads to Aurora's realization that she cannot be a true artist without being a 'complete woman'. Finally, Aurora combines successfully her artistic fulfillment with her romantic one, marrying Romney, who describes the woman poet's future vision. Some modem feminist critics view this happy ending as the author's yielding to the ideology of patriarchy. But viewed from the women's socio-political and literary context of the Victorian age, Aurora's portrait shows us the utmost possible feminist one of the age. And this comes from the author's triumphant realism.

인공안구 구현을 위한 병렬 구조의 3자유도 회전 로봇 개발

박성령(Sung Ryung Park),양승한(Seung Han Yang) Korean Society for Precision Engineering 2014 한국정밀공학회지 Vol.31 No.6

여성시인과 남성뮤즈 : 실비아 플라스 시 속의 아버지

박령(Park Ryung) 새한영어영문학회 2003 새한영어영문학 Vol. No.

Father figure or male muse is the origin of Sylvia Plath's poetic myth. Father figure in Plath's poetry can be read first as her own father Otto Plath, and next, as her husband Ted Huges, and further, all the 'great gods' Plath loves and reveres in male-centered literature. Using and imitating male-centered language, Plath severely wishes to belong to and be successfully accepted by the male literary canon. But the death of her beloved father and the betrayal of her idolized husband leave her to the realization that as a woman poet she has to quest for her own identity by rebelling against the "jealous gods". Only by destroying the colossus-image of the father and killing him, she can establish herself as a genuine woman poet. Her 'father poems' represent that progress. Poems written before "The Colossus", such as "Lament", "All the Dead Dears", "Snakecharmer", "Full Fathom Five" and "Electra on Azalea Path", show Plath's deep love and grief for her dead father. In these poems Plath counts her father as a god-creator and wishes to reunite with him. Her identity as a poet, in her mind, can only be established in her relationship with the dead father. But in "The Colossus", her father is no longer a god, only a ruined statue. She, nevertheless, cannot help laboring to restore his broken images to remain as a woman poet. In "Daddy", Plath feels an inner necessity to kill her patriarchal vampire-father who always oppresses and undermines her creativity, performing the symbolic murder of him. Passing through these processes, Plath finally rejects the male muse. In "Ariel", reborn as a goddess, Godiva, she soars high up into the sky to unite with the center of creation, the sun.

워즈워스의 솔즈베리 시편 연구 - ' 도덕적 위기 ' 를 중심으로

박령(Ryung Park) 한국영어영문학회 1999 영어 영문학 Vol.45 No.1

N/A

크리스티나 로제티의 시에 나타난 자연

박령(Park Ryung) 새한영어영문학회 2011 새한영어영문학 Vol.53 No.3

Christina Rossetti inherits the traditional Christian view of nature, that can be said the anti-romantic view of nature. In traditional Christianity, the natural and the divine are separate; the divine is transcendental and not immanent in nature. So, Rossetti has the typological view of nature, which sees the natural world as mere world of types or emblems of the divine meanings and messages. As a religious allegorist, Rossetti tries to find in nature the religious analogy corresponding to the divine meaning. In “Consider the Lilies of the field,” “Symbols,” “A Better Resurrection,” “Winter: My Secret,” “Paradise,” etc, Rossetti reads the various religious analogies in the natural objects. They are usually used as devices to tell the activity of the divine love and grace, and the order of the universe imposed by God. Sometimes, Rossetti manipulates the natural scene and uses the nature’s voice itself for creating the religious parable. Rossetti, as a devotional poet, deliberately separates herself from the mirth of merrymaking nature, fearing that happy communion with nature serves as an obstruction to attaining God’s love. Only her very solipsistic self might reach the heavenly vision through the divine love. And this is what “An Old-World Thicket” and “The Thread of Life” reveal. Rossetti’s anti-romantic view of nature may be the result of her religious thought that nature has become totally corrupted by the original sin of human beings.

워즈워스와 ‘자연의 신화’

박령(Park Ryung) 새한영어영문학회 2000 새한영어영문학 Vol. No.

This article maintains that Wordsworth, after recovering from his 'moral crisis', tries to be reborn as a nature poet by establishing the 'Myth of Nature', a kind of poetic fiction, only to fail. "Tintern Abbey" and The Prelude are the foremost examples for reading the Wordsworthian effort to establish the Myth of Nature. In "Tintern Abbey", the poet argues that Nature provides him with such gifts as 'sensations sweet', 'feelings of unremembered pleasure', 'the blessed mood to see into the life of things', and 'a sense sublime'. He also intimates he can find the source of creative power in Nature. In other words, he tries to put a basis for the Myth of Nature. A close reading of the poem, with its mood of doubt and sadness, however, reveals that gifts of Nature are only what he wishes to have and not what he has. In 'spots of time' in The Prelude the poet wishes to embody the Presence in Nature that he regards as the source of poetic creativity, but only to present it as Absence. Recognizing a great vacancy between what he was once and what he is now, the poet tries to unify the two consciousnesses, only to fail. He comes to accept that the Presence in Nature is a fiction, that is, a myth that he himself has made with his creative mind. But, nevertheless, declaring that his poem is 'dedicated to Nature's self, and things that teach as Nature teaches', he remains faithful to his Myth of Nature.