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잠재된 중추 신경 전이 뇌신경 모세포종으로 인한 자발성 뇌출혈
백현철 ( Hyun Chul Baek ),진성철 ( Sung Chul Jin ),안재성 ( Jae Sung Ahn ),권병덕 ( Byung Duk Kwun ) 대한뇌종양학회·대한신경종양학회·대한소아뇌종양학회 2007 대한뇌종양학회지 Vol.6 No.2
Neuroblastoma is the one of the most common solid tumors in pediatric oncology. The long-term survival of patients with advanced stage neuroblastoma has remarkably improved secondary to aggressive treatment protocols including autologous bone marrow transplantation(BMT). The central nervous system(CNS), once a rare site of disease, is becoming involved with increasing frequency. However, here we present an unusual case of acute intracerebral hemorrhage in a child with stage IV neuroblastoma, in which follow-up radiological imaging had not revealed involvement of the brain parenchyma or leptomeninge. A 27 month-old boy, who had been diagnosed with stage IV neuroblastoma, developed right hemiparesis and decreased consciousness abruptly ten months after diagnosis. Brain computed tomography revealed left temporal intracerebral hemorrhage(ICH) which had to be removed by emergency operation as soon as possible. Previous follow-up studies had not shown parenchymal or leptomeningeal involvement. Emergency craniotomy of the left temporal lesion demonstrated no dura invasion with an underlying massive cortical hemorrhage that did not involve a definite tumor mass. Even so, the hemorrhage was biopsied for the confirmation of brain metastasis. Metastatic neuroblastoma was histologically confirmed.
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백현순 ( Hyun Soon Baek ),이예순 ( Ye Soon Lee ),김현남 ( Hyun Nam Kim ),진주라 ( Ju Ra Jin ) 한국무용연구학회 2010 한국무용연구 Vol.28 No.1
This study is mainly based on literature research, aiming at the essence of `movement-in-stillness` and `excitement` in Korean dance; it explores the reality of two key elements in the dance, i.e. movement-in-stillness and excitement, how they are to be immanent and the relationship between them. The results are as followings; movement-in-stillness in Korean dance is meant to be the nature of dance, i.e. endlessness or the interaction between body and soul for moderation. Movement-in-stillness can be defined as philosophy, keeping circular principle of the universe.; it is the close concept of the truth, that is, has property like `Nothing is certain in this world`, essence of Korean dance. When expressed as dance, movement-in-stillness is shown as the technique of dance; it can also be said to be working of truth on monism. Excitement, in terms of shamanism, did mean the circumstance of dancers` motion, i.e. the state of being possessed of a spirit, but nowadays the excitement in Korean dance is regarded as a play of the interesting, the joyful and the pleasant. The dancers get excited in the unity of breath and show great performance in case of the harmony between breath and movement. Movement-in-stillness and excitement are meant to be techniques, accompanied by forming-humor-relaxation process or have been viewed as traditional aesthetic features of Korean dance. The origin of the key factors could be newly investigated, in the ideological and technical aspect of dance. In conclusion, movement-in-stillness and excitement are thought as the characteristics of Korean dance in that movement-in-stillness has the ideological property of the dance and excitement is revealed through the unity of body and soul, contact between dancers and spectators and harmony of feelings.
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기침과 가래를 주소로 하는 척수성 근위축증 -제 2형 환아 1례-
백현,김장현,Baek, Hyun,Kim, Jang-Hyun 대한한방소아과학회 2002 대한한방소아과학회지 Vol.16 No.1
Spinal Muscular Atrophy(SMA) is characterized by degeneration of the anterior horn cells leading to symmetrical muscle weakness and wasting of voluntary muscles. Depending on the age of onset, the maximum muscular activity achieved, and survivorship, 3 types of SMA are recognized: SMA type I=Werdnig-Hoffman disease; SMA type II=an intermediate form; SMA type III = Wohlfart-Kugelberg-Welander disease. We report on a 10-month-old male patient with SMA type II complained cough and sputum. We treated with Bopejungchungtang for his cough and sputum. After administration of Bopejunchungtang cough and sputum decreased and almost disappeared.
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백현순 ( Hyun Soon Baek ) 한국무용연구학회 2015 한국무용연구 Vol.33 No.2
This literature research aimed to investigate the following questions, what was the definition of heaven and earth in Korean dance? and why was the unity of Heaven, Earth, and Human pursued and what does it mean? . The research results were as follows: first of all, heaven was revered as almighty God, indicating creator, the sky and king of kings. Earth was generally said to be the site of human living and was seen as the extension of heaven. It was believed that heaven and earth constitutes the universe and that God administered the universe. On the other hand, Hsun-tzu looked upon heaven as objectively observable phenomena and according to Huainanja, written by Huainanwangliuan, heaven and earth was described as all natural phenomena between heaven and earth. Then, Korean thought about the unity of heaven, earth and human should be illustrated by the fact that the three basics of the universe take one fundamental, attaining the structure of providence of heaven, earth, and human. Third, The heart of Juyeok was moderation, which was defined as ``Human`` and focuses on the interpretation of human essence in terms of vertical position of the spatial structure of the universe, divided into Yin and Yang. Last but not least, ``Unified gesture of heaven, earth, and human`` in Korean dance had, in essence, implications of shamanism, nature, eternity, self-discipline and harmony between God and human.
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백현순 ( Hyun Soon Baek ),백민경 ( Min Kyung Back ) 순천향대학교 인문학연구소 2012 순천향 인문과학논총 Vol.31 No.2
This study was intended to suggest the methodology of dance analysis, which helps promote dancers` communication with the audience and enhance qualificative effects of dance performance by facilitating an understanding of dance on the audience`s part. The methodology employed here is document research based upon a qualitative one. The results are summarized as follows: First, all creative dance performance should have storytelling without regard to the duration or running time of the performance. Second, the narrative of creative dance is characterized by its plausibility, tapping into contemporary ideas and accordingly, it can be replaced with the contents of the work. In brief, the narrative being the contents of the performance, the audience finds it easy to figure out what the choreographer aims to convey through the dance work. Third, the storytelling of creative dance allows the audience to be immersed in the performance. This means that they feel more interested in how the work will be deployed and it will thus lead to enhancing the popular appeal of the work. Eventually, the paradigm analysis of Syd Field is an analysis table which creates an elaborate, well-organized structure for a dramatic solution of a story. In case, this particular method is applied to dance performance. It is expected that it will divide the work into an appropriate time frame so that it might help the audience to appreciate the performance without getting bored.
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