• Journal of Veterinary Clinics
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• v.28 no.5
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• pp.497-505
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• 2011

Natural orifice transluminal endoscopic surgery is a newly emerging technique recently, with its many potential advantages in clinical practice. Cholecystectomy by Hybrid NOTES in this work, performed with single working channel endoscope in conjunction with a laparoscopic grasping forceps in dogs, is a "bridge" between laparoscopic procedure and pure NOTES. Three different approaches for cholecystectomy were carried out; transgastric, transcolonic and transvaginal. In all three approaches, abdominal opening was made by a 5 mm trocar, followed by making pneumoperitoneum of 4 mmHg with $CO_2$ insufflator. Transgastric cholecystectomy, single working channel endoscope was advanced to the peritoneal cavity through gastric incision in antral region made by endoscopic needle knife. Endoscope was retroflexed to visualize the gall bladder. Transcolonic access, incision for endoscopic entry was done at right ventral wall of descending colon, 15 cm inside from the anus. Incision in transvaginal access was made at right-ventral region, just caudal to the caudal tubercle. With the simple traction by the laparoscopic grasping forceps, good visualization of surgical field was obtained in all three groups. Cystic duct and artery were ligated with endoclips; for complete gall bladder dissection from liver, L-knife was used. Closure of incision sites were done in transgastric and transcolonic cholecystectomy by endoclips, not in transvaginal approach.

• Korean Journal of Veterinary Research
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• v.36 no.4
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• pp.949-966
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• 1996

To establish the method for the most effective radiography and fluoroscopy, the abdominal organs of cats were investigeted using omnidirectional angles with the center of the body as the axis using an omnidirectional protective shielding X-ray system and a $360^{\circ}$ rotary restraint unit for use in small animals. The organs examined were the diaphragm, liver, stomach, colon, spleen and kidney. The results obtained in the present study were as follows: 1. Regardless of gas in the stomach present or not, it was feasible to distinguish the left and right crura in the lumbar portion of diaphragm in the oblique projection inclined over $30^{\circ}$ and under $90^{\circ}$ from the lateral projection. 2. Outlines of the exterior left lobe and the interior right lobe of the liver were observed in the oblique image inclined up to $60^{\circ}$ from the lateral image, while that of the exterior right lobe was noted in the oblique image inclined up to $60^{\circ}$ from the ventrodorsal-dorsoventral images. 3. It was necessary to have gas present in the stomach for detailed morphological observations of the stomach. It was most clearly observed in the right $30^{\circ}$ ventral-left dorsal oblique projection($120^{\circ}$ image) and the left $60^{\circ}$ dorsal-right ventral oblique projection($300^{\circ}$ image). 4. Morphology of the colon was observable in detail by the oblique projection inclined over $30^{\circ}$ from the lateral projection. 5. To observe the whole spleen it was required to have images from the ventrodorsal projection ($90^{\circ}$ image) to the right $60^{\circ}$ ventral-left dorsal oblique projection ($150^{\circ}$ image) as well as those from the dorsoventral projection ($270^{\circ}$ image) to the left-right lateral projection $0^{\circ}$ image). 6. Dorsal and ventral sides of the kidney were observable in the oblique images inclined $30^{\circ}$ from the lateral image. 7. Considering above findings collectively, it was thought that the results of present study might be useful for the analysis of abnormalies in each organ of cat.

• Cross-Cultural Studies
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• v.48
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• pp.193-222
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• 2017

In this study, I examined the relationship between the pattern of Tungp'o (東坡体)'s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名) the Chinese characters play, developed in the Edo period in Japan. I found out the following. First, Nanji and Iruiimyo's method of Chinese character transformation is like Tungp'o(東坡体)'s characters play and Paza(破字), that is to make an analysis of Chinese character. For example, to extend or shorten to character's length, and to increase or reduce the character's size. And, I also found out there is no block type characters play in Nanji and Iruiimyo. Second, I also found that the similarity of the method of Chinese character transformation between the pattern of Tungp'o(東坡体)'s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名). The method of to flip character (180 degrees) and to letting character lie down (90 degrees) is very similar each other. But there is no method to make incline of character (45 degrees) in Nanji and Iruiimyo. Third, I found that the method to extract part of character also exists in Chinese and Japanese characters play. And, I also found that the method to decompose characters in half from the pattern of Tungp'o(東坡体)'s characters play, but I can't find this method from Nanji and Iruiimyo. To decompose characters in half is very like the method of paja. So, we can understand that Nanji and Iruiimyo is located in the middle stage of the pattern of between Tungp'o(東坡体)'s characters play and Paza(破字).

• (The)Study of the Eastern Classic
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• no.59
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• pp.157-181
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• 2015

This thesis pursued exchanges of Hwangsang with Chusa Family, who existed in the 19th century. What was Chusa to Hwangsang and what was Hwangsang to Chusa? The answer is concluded to the question of which existence Chusa was to Hwangsang but not of which existence Hwangsang was to Chusa. However, disregarding social positions of the nobles and the commoners, brothers of Chusa also cherished Hwangsang and respectfully treated him as a poet at all times. Chusa was a critic who recognized Hwangsang as a successor to Dasan poetics and became a patron of the literary circles on the other hand. Hwangsang's Chinese poems related to Chusa Family are counted as 45 JE 52 SU in total which consist of 31 JE 34 SU in "CHIWONYUGO" and 14 JE 18 SU in "CHIWONSOGO", On the other hand, Chinese poems which Chusa wrote for Hwangsang are only a few pieces shown in "WANDANGJEONJIP". Hwangsang first met three brothers including Chusa in September 1853 when he came up to the capital for the 4th time. Jeong Hak-yeon, the oldest son of Dasan Jeang Yak-yong, played an important role in the whole process that Hwangsang met Chusa's three brothers and was recognized as a poet. As the oldest son of Dasan Family, Jeong Hak-yeon made efforts in various ways for Hwangsang. Hwangsang tried his efforts to exhibit his ability as a poet to Chusa and to get Chusa's introduction of his poetical works. Considering Chusa's importance in then literary circles, the introduction seemed to reflect recognition by the literary circles in the metropolis and it also showed that Hwangsang was no more than an obscure poet in the provincial area. Poetical composition of Hwangsang for Chusa three brothers commonly contained friendship, intimacy and special respect at all times. Seeing from exchange process between Hwangsang and Dasan Family or Chusa Family, it is found that mutual exchanges were actively made in the mid-nineteenth century overcoming regional differentiation between capital and province, or feudalism class distinction of social positions of the nobles and the commoners.