숭고의 기원과 미적 현상

하진숙 새한철학회 2023 哲學論叢 Vol.114 No.4

롱기누스는 시, 비극, 수사학에서 장엄함과 경이로움으로 경탄을 불러일으키는 것, 내적 힘이 작용하여 우리의 영혼이 고양되고 기쁨으로 충만하게 되는 것을 진정한 숭고로 정의한다. 이 글은 롱기누스의 숭고론에 기초하여 숭고의 기원과 미적 현상을 밝히는데 목적이 있다. 고대 그리스 신화, 디오니소스 제전, 비극은 숭고가 뮤즈 신의 영감을 얻어 시를 노래하는 시인으로부터 시작되었으며, 신적 열광에 사로잡힌 사람들의 광기, 격정, 해방감, 즐거움에 기초한 미적 현상임을 말해준다. 숭고는 시, 음악, 춤을 통해 탈아와 영감, 광기, 카타르시스를 경험할 때의 심미적 현상이다. 영감에 사로잡혀 자신의 일상적 자아를 망각하는 것, 광기를 통해 영원한 것, 아름다운 것, 위대한 것을 보는 것, 음악적 감화를 통해 혹은 모방된 사건을 통해 정화를 경험하는 것이 숭고 현상이다. 플라톤은 숭고 현상을 시인이 영감과 광기를 통해 신적인 것을 보는 것으로 이해하지만 아리스토텔레스는 무대 위에 연출된 사건을 통해 연민과 공포, 쾌감을 간접적으로 환기하는 것으로 이해한다. 롱기누스는 플라톤과 아리스토텔레스의 관점을 비판적으로 수용하면서 신적 성질이 언어의 기술을 통해 환기될 수 있다는 입장을 취한다. 즉, 자연과 기술이 상보적 관계를 맺고 있을 때 숭고가 위험에 노출되지 않고 그 목적을 달성할 수 있다고 본다. 고대 그리스에서 숭고는 단지 쾌락이나 감정의 흥분이 아니라 인간이 자기 한계 너머로까지 생명력을 확장해 가고자 하는 의지와 열정, 욕망에 기초한 생명철학적 가치를 지닌다. The purpose of this paper is to discover the origin and aesthetic phenomenon of the sublime based on Longinus's theory of the sublime. Ancient Greek mythology, the Ritual of Dionysus, and tragedy tell us that the sublime began with poets singing poetry inspired by the god Muse, and is based on the madness, passion, liberation, and joy of people caught up in divine enthusiasm. The sublime is an aesthetic phenomenon that occurs when one experiences self-forgetfulness, inspiration, madness, and catharsis through poetry, music, and dance. Oblivious to one's rational self while being caught up in inspiration, seeing eternity, beauty, and greatness through madness, and experiencing catharsis through musical inspiration or imitated events are all sublime phenomena. Plato understands the sublime as a poet's seeing the divine through inspiration and madness, but Aristotle understands it as indirectly arousing feelings of pity, fear, and pleasure while watching events staged on stage. Longinus critically accepts the views of Plato and Aristotle and takes the position that divine qualities can be evoked through the technology of language. The sublime of ancient Greece is not simply pleasure and excitement, but has a life-philosophical value based on the will, passion, and desire of humans to expand their life force beyond their limits.

작법무에 현시된 이념과 숭고미 -칸트의 숭고미 분석에 기초하여-

하진숙 한국무용예술학회 2019 무용예술학연구 Vol.73 No.1

This paper studies the sublime represented in Jakbeopmu(Buddhist ritual dance) based on the aesthetic theory of Immanuel Kant. Sublime is that human beings are aware of ideologies beyond their limits, and feel emotions elevated through that. Jakbeopmu represents the ideology of Buddhism through artistic symbols. Jakbeopmu express the fact that the reality of existence is empty by making the form of motion unperceptible. Through the repetition with variation, it moves one representation to another, showing that the world is made by the causality. Through these representations, the mind is awakened, and a great emotion is felt. In this respect, the aesthetic experience of Jakbeopmu can be interpreted as sublime.

Variable Axis Baseplate를 이용한 Non-coplanar 토모테라피의 유용성

하진숙,정윤선,이익재,신동봉,김종대,김세준,전미진,조윤진,김기광,이슬비,Ha, Jin-Sook,Chung, Yoon-Sun,Lee, Ik-Jae,Shin, Dong-Bong,Kim, Jong-Dae,Kim, Sei-Joon,Jeon, Mi-Jin,Cho, Yoon-Jin,Kim, Ki-Kwang,Lee, Seul-Bee 대한방사선치료학회 2011 대한방사선치료학회지 Vol.23 No.1

Purpose: Helical Tomotherapy allows only coplanar beam delivery because it does not allow couch rotation. We investigated a method to introduce non-coplanar beam by tilting a patient's head for Tomotherapy. The aim of this study was to compare intrafractional movement during Tomotherapy between coplanar and non-coplanar patient's setup. Materials and Methods: Helical Tomotherapy was used for treating eight patients with intracranial tumor. The subjects were divided into three groups: one group (coplanar) of 2 patients who lay on S-plate with supine position and wore thermoplastic mask for immobilizing the head, second group (non-coplanar) of 3 patients who lay on S-plate with supine position and whose head was tilted with Variable Axis Baseplate and wore thermoplastic mask, and third group (non-coplanar plus mouthpiece) of 3 patients whose head was tilted and wore a mouthpiece immobilization device and thermoplastic mask. The patients were treated with Tomotherapy after treatment planning with Tomotherapy Planning System. Megavoltage computed tomography (MVCT) was performed before and after treatment, and the intrafractional error was measured with lateral(X), longitudinal(Y), vertical(Z) direction movements and vector ($\sqrt{x^2+y^2+z^2}$) value for assessing overall movement. Results: Intrafractional error was compared among three groups by taking the error of MVCT taken after the treatment. As the correction values (X, Y, Z) between MVCT image taken after treatment and CT-simulation image are close to zero, the patient movement is small. When the mean values of movement of each direction for non-coplanar setup were compared with coplanar setup group, X-axis movement was decreased by 13%, but Y-axis and Z-axis movement were increased by 109% and 88%, respectively. Movements of Y-axis and Z-axis with non-coplanar setup were relatively greater than that of X-axis since a tilted head tended to slip down. The mean of X-axis movement of the group who used a mouthpiece was greater by 9.4% than the group who did not use, but the mean of Y-axis movement was lower by at least 64%, and the mean of Z-axis was lower by at least 67%, and the mean of Z-axis was lower by at least 67%, and the vector was lower by at least 59% with the use of a mouthpiece. Among these 8 patients, one patient whose tumor was located on left frontal lobe and left basal ganglia received reduced radiation dose of 38% in right eye, 23% in left eye, 30% in optic chiasm, 27% in brain stem, and 8% in normal brain with non-coplanar method. Conclusion: Tomotherapy only allows coplanar delivery of IMRT treatment. To complement this shortcoming, Tomotherapy can be used with non-coplanar method by artificially tilting the patient's head and using an oral immobilization instrument to minimize the movement of patient, when intracranial tumor locates near critical organs or has to be treated with high dose radiation.

강남세브란스병원 토모테라피를 이용한 치료환자의 130예 통계분석 및 경험

하진숙,전미진,김세준,김종대,신동봉,Ha, Jin-Sook,Jeon, Mi-Jin,Kim, Sei-Joon,Kim, Jong-Dae,Shin, Dong-Bong 대한방사선치료학회 2008 대한방사선치료학회지 Vol.20 No.1

Purpose: We are trying to analyze 130 patients' conditions by using our Helical Tomotherapy, which was installed in our center in Oct. 2007. We will be statistically approach this examination and analyze so that we will be able to figure out adaptive plans according to the change in place of the tumor, GTV (gross tumor volume), total amount of time it took, vector (${\upsilon}=\surd$x2+y2+z2) and the change in size of the tumor. Materials and Methods: Objectives were the patients who were medicated with Tomotherapy in our medical center since Oct. 2007 August 2008. The Average age of the patients were 53 years old (Minimum 25 years old, Maximum 83 years old). The parts of the body we operated were could be categorized as Head&neck (n=22), Chest (n=47), Abdomen (n=25), Pelvis (n=11), Bone (n=25). MVCT had acted on 2702 times, and also had acted on our adaptive plan toward patients who showed big difference in the size of tumor. Also, after equalizing our gained MVCT and kv-CT we checked up on the range of possible mistake, using x, y, z, roll and vector. We've also investigated on Set-up, MVCT, average time of operation and target volume. Results: Mean time on table was 22.8 minutes. Mean treatment time was 13.26 minutes. Mean correction (mm) was X=-0.7, Y=-1.4, Z=5.77, roll=0.29, vector=8.66 Head&neck patients had 2.96 mm less vector value in movement than patients of Chest, Abdomen, Bone. In increasing order, Head&neck, Bone, Abdomen, Chest, Pelvis showed the vector value in movement. Also, there were 27 patients for adaptive plan, 39 patients, who had long or multiple tumor. We could know that When medical treatment is one cure plan, it takes 32 minutes, and when medical treatment is two cure plan, it takes 40 minutes that one medical treatment takes 21 minutes, and the other medical treatment takes 19 minutes. Conclusion:With our basic tools, we could bring more accurate IMRT with MVCT. Also, through our daily image, we checked up on the change in tumor so that adaptive plan could work. It was made it possible to take the cure of long or multiple tumor, the cure in a nearby OAR, and the complicated cure that should make changes of gradient dose distribution.

인간과 기계의 융합: 예술의 일상화는 가능한가?

하진숙 한국무용예술학회 2021 무용예술학연구 Vol.83 No.3

승무에 표상된 ‘무한성’과 ‘자기보존’-버크와 칸트의 숭고미 이론에 기초하여

하진숙 ( Jin-sook Ha ) 대한무용학회 2020 대한무용학회논문집 Vol.78 No.2

This study interprets the aesthetic characteristics of the Seungmu based on the sublime theories of Burke and Kant. According to Burke and Kant, sublime means the feeling of self-preservation that arises when one finds the ideology of infinity in the mind and overcomes one's own limitations. Artistic symbols indirectly represent the ideology of infinity. The movement of the symbol expressed in the Seungmu allows us to look beyond the image perceived by the senses and look into the human heart suffering, and foresee the freedom of being free from obsession. The continuation of the image that cannot determine the boundary arouses admiration in the mind because it represents an infinite space-time. In the sense that these feelings are given through pain beyond the limits of the senses, the aesthetic character of the Seungme can be understood as sublime based on self-preservation.

틈의 구조로 본 전통연희

하진숙 ( Jin Sook Ha ) 한국미학예술학회 2010 美學·藝術學硏究 Vol.31 No.-

탈춤의 창발성 - 물질성과 의미의 창발을 중심으로 -

하진숙 ( Ha Jinsook ) 한국무용예술학회 2021 무용예술학연구 Vol.81 No.1

This study analyzed the emergence in Talchum (Korean mask dance) based on Erika Fisher-Richte’s performance theory. The research method examined how the materiality and meaning of talchum emerged during the performance process. Talchum creates materiality by using body, sound, movement, and tools. Materiality is revealed through the performers’ actions, and the audience perceives materiality through the performers’ actions. As the audience’s perception is expressed as a physical reaction, the meaning is experienced aesthetically, and the performance appears as an unpredictable event. The artistry of talchum lies in the fact that physical and conscious changes occur in the process of creating meaning and experiencing meaning while the actor and the audience continue to perceive and react.

탈춤의 불확정적 형식과 상호수행성의 관계

하진숙 ( Ha Jin-sook ) 한국무용예술학회 2015 무용예술학연구 Vol.52 No.1

In the research, the relationship between indeterminate form and inter-performativity of Talchum has been investigated. It is possible to add to, delete, and change the text of Talchum according to its situation. Furthermore, time and space in Talchum can be changed according to the surroundings and conditions of a performance. The formative indeterminacy of Talchum would drive its audience to participate in some situations of the performance. Teum enables the performance to be reciprocal while making the opportunities of relax and chance, digression and participation, variation and creation between the actors and the audience. Therefore, Talchum has to include the activities of audience’ responses, and its meaning has to be moulded at the scene. Some characteristics of Talchum as a performance art lie in the transferred experience of its audience through the variableness of formative indeterminacy and improvising events, and the transfer into actor.

신명체험의 미적 특성에 관한 연구

하진숙 ( Jin Sook Ha ) 한국미학예술학회 2014 美學·藝術學硏究 Vol.40 No.-

신명은 한국인의 미적 정서이자 한국문화의 핵심적 가치로 거론되고 있다. 그러나 신명이 어떤 점에서 미적인 특질을 지니는지, 그리고 다양한 유형의 신명 체험이 단일한 성격으로 이해될 수 있는 것인지에 대해서는 명확히 대답하기 어려운 것이 사실이다. 이에 본 연구는 다양한 형태의 신명체험을 유형별로 분류하고 그 공통된 특질을 미적인 차원에서 조명하고 있다. 고전 자료에 나타난 신명(神明)의 의미 구조를 살펴보면, 신명(神明)은 외재적 신(神)과 내재적 명(明)이 결합된 용어이다. 신(神)은 신령이나 신령스러운 힘을 뜻하고 명(明)은 신령스러운 힘을 드러내는 직관이나 통찰력을 뜻한다. 신(神)과 명(明)의 결합은 북을 두드리고 춤을 추어 신의 뜻을 드러내 보이거나, 정신을 밝게 하여 천지변화의 이치를 깨닫거나, 눈과 마음의 작용을 버림으로써 대상과 합일되는 경지로 설명되고 있다. 신명은 다양한 방식으로 체험될 수 있으며 체험의 유형에 따라 양태나 양상이 다르다. 신명체험은 접신체험으로서의 신명, 노동체험으로서의 신명, 한풀이로서의 신명, 예술적 체험으로서의 신명으로 구분될 수 있다. 각 유형별 양상을 종합적으로 정리해 보면, 신과의 일체감, 감정적 고양, 직관적 통찰, 몽환적 부유, 황홀경, 무아경, 집단적 난장(亂場), 초월, 깨어있음, 밝음, 해방감, 치유, 씻김, 충만함, 창조적 비약, 전체로서의 세계인식, 인식의 용해, 몰입, 망아, 도취, 열광 등으로 나타난다. 이를 토대로 신명체험의 질적 공통성을 뽑아보면, 첫째, 신명체험은 관심과 몰입을 필요로 하는 특징이 있다. 신명은 적극적인 관심과 몰입에 의해 상호작용이 절정에 이르렀을 때 체험된다. 신명이 경험 그 자체에 관심을 기울이고 집중하면서 경험 안으로 빠져들 때 일어나는 적극적인 체험이라는 점에서 관심과 몰입은 신명체험에 전제된 미적 태도라 할 수 있다. 둘째, 신명체험은 자아의 실존적 지평이 상실되면서 존재의 확장과 초월을 경험하는 특징이 있다. 관심이 지향하는 바에 깊숙이 빠지게 되면 나와 세계를 구분하는 인식 작용이 멈추면서 나라는 존재는 망각되고 세계가 통합된 전체로 들어오게 된다. 이는 접신상태에서 느끼는 신과의 일체감, 열광과 도취에 빠져 타인과 내가 하나라고 느끼는 공동체적 융합, 맺힌 것이 풀어질 때 느끼는 해방감, 직관적 통찰에 의한 대상과의 합일로 드러난다. 이들 체험은 격렬한 행위로 표출되기도 하고 정적인 형태로 표출되기도 하지만 경험 그 자체에 주목하면서 경험에 빠져들 때 일어나는 체험이라는 점에서 이는 미적 체험으로서의 성격을 지닌다. 셋째, 신명체험은 어떤 형태로든 정서적 쾌감을 동반하는 특징이 있다. 체험의 양상은 다르지만 정서적으로 가장 고양된 상태에서 체험되고 밝고 즐거운 감정에 휩싸인다는 공통점이 있다. 황홀감, 권능감, 충만감, 해방감, 부유(浮游)감, 용해 등은 절정의 순간에서 맞이하는 정서적 쾌감의 성격들이다. 이상과 같은 점에서 신명체험은 곧 하나의 미적 체험으로 이해될 수 있다. Shinmyong is being discussed as one of the essential values of Korean culture and Koreans` aesthetic feeling. Yet, it is difficult to answer in which ways Shinmyong has aesthetic qualifications and if various types of Shinmyong can be understood as a unique characterization. Therefore the research would classify the types of diverse Shinmyong experiences and illuminate the common characterization on its aesthetic dimension. If we clarify its significance structure of Shinmyong, the term of Shinmyong has its meaning as the external God or some mysterious power and internal Light, which means God would be holy spirit and Light means insight or intuition emerging to men. The combination aspect between God and Light could be explained into the emergence of God`s will with drumming and dancing, an awakening to the principles of varying universe with a clear mind, and uniting with things with discarding the functions of eyes and mind. Shinmyong can be experienced into diverse types and its dimensions and aspects are different according to its types of experience. The types of experience could be classified into being possessed of a spirit, experiencing hard labor, satisfying one`s resentment, and experiencing aesthetic feeling. The aspects of the types are very diverse, so they can emerge as following: identity with god, emotional enhancement, intuitional insight, dreaming float, ecstasy, forgetting oneself, collective chaos, transcendence, being awake, being light, emancipation, healing, sit-gim(washing away), fulfillment, creative jump, world consciousness as a whole, resolved recognition, immersion, and forgetting oneself, etc. On basis of the data, to extract the common qualifications of Shinmyong experiences, at first, it has the characterization to need concern, concentration, and immersion. Shinmyong has the common qualification that it can be experienced when mutual interactions get ecstasy. Concerns and immersion can be aesthetic attitudes in that Shinmyong is positive experience. Second, Shinmyong experiences has the characterization of experiencing the extension and transcendence of beings, lost in existential horizon of self. Once one comes to immerse deeply into the world of concerns, one forgets the being of ‘I’ and the world comes into the being, stopping recognizing me and the other world as a difference. This means the emergence of the unity into the things by way of intuitional insight, the beings with God, the infusion of community people immersed into passion and pleasure, and the feeling of emancipation. These experiences express passionate actions, represent static emotions, but they have the characterizations of aesthetic experiences in that it is an experience which arise when it attends to the experience itself, being immersed into it. Third, it seems that Shinmyong experiences accompany any types of emotional pleasures. The aspects of the experience are diverse, but have the common trait of pleasant feeling and light upgraded emotion. Such feelings as ecstasy, capability, fulfillment, emancipation, floating feeling, and resolve have the characterization of emotional pleasure at the moment of ecstasy. As a result, the experience of Shinmyong can be understood as the characterization of aesthetic experience.