존재론적 해석학과 춤의 본성

김혜라 민족미학회 2007 민족미학 Vol.7 No.-

Gadamer defines that a work of art is a place of truth which can be experienced by sensibility and specific way of understanding, therefore, the meaning is generated ontologically whenever one meets the artistic work itself. Especially he explained the way of art existence through playing; play is not to be depend on the person’s attitude nor subjectivity but to be expressed through the playing itself when it is performed with the players. Gadamer emphasized the existence of play to insist art can be truly completed when the play transformed to formative substance which gave the pleasure to the audience so that they can meet new world. In this study, I tried to connect the vitality, dialectic understanding and transformation to formative substance which is Gadamer’s main method of comprehension to Korean traditional mask performance, ‘Talchom’, which has strong live-power and promptness that can be possibly interpreted in various ways. ‘Talchom’ has vitality of actual energy from the realistic motion. It has not only concealed symbolism from the mask but also independence from open space of the performing place, ‘Madang’, which give the shaking of the site as a playground. ‘Talchom’ is a play itself because the dancer’s repeated performing motion’s energy generates tension and self-structure which leads the audience attracting with improvised changes. The character of a play seen in the vitality of ‘Talchom’, overwhelmed the performing place so that the dance exists by itself as a play that is the art itself. The intra-structure of ‘Talchom’ unified the meaning through the dialectic process: the struggle between the servant, ‘Maldduki’, and the nobleman, ‘Yangban’, is not an impact of themselves but an embraces of the conflict including intra-unrighteousness that becomes dialectic mutual benefit. Through the dialectic mutual benefit, the realistic criticism and heavy burden of life are un-concealed and audience can experience the sublimate of the sorrow, ‘Han’, to humor, ‘Heong’. This emotional shower and change happens instantly in the site and creates formative substance through the co-relationship between the performance and the audience. That is so called wonderful joy, ‘Shin-Myung’, which is the essence of Korean traditional art. Gadamer’s hermeneutics presented the objectivity of the text itself to overcome the subjectivity after modern aesthetics and he also thought that the character of play is the vitality which is the existing method of artistic work and peculiarity of being of the work. The meaning of art can be found as the implication of the history and legacy of the past through the current interpretation of the artistic work and revealed as the territory of experience and self-comprehension of spiritual-science which can not be assessed by scientific methodology. Hermeneutics of Gadamer made it possible that one can analyze and criticize a dance, as a factor of presence and body action with ontological and analytical structure beyond the subjective and objective formula of interpretation. Furthermore, he found the possibility of historical re-interpretation which can shorten the distance between traditional and modern art as an academic achievement.

성층권 극소용돌이 강화사례에 대한 GloSea5의 예측성 진단

김혜라,손석우,송강현,김상욱,강현석,현유경 한국기상학회 2018 한국기상학회 학술대회 논문집 Vol.2018 No.10

The prognostic factors influencing overall survival in uterine cervical cancer with brain metastasis

김혜라,이강국,허미화,김진영 대한내과학회 2019 The Korean Journal of Internal Medicine Vol.34 No.6

Background/Aims: The occurrence of brain metastasis (BM) has increased due to improved overall survival (OS) in uterine cervical cancer. However, research about prognostic factors and therapeutic guidelines for BM in uterine cervical cancer remains scarce due to the rarity of BM in this type of cancer. The present study evaluated the clinical characteristics and prognostic factors influencing OS in patients with BM from uterine cervical cancer. Methods: A total of 19 BM patients of uterine cervical cancer were analyzed retrospectively from January 1995 to December 2016. Results: The median and mean OS of all patients was 9.6 and 15.4 months. Treatment (vs. palliative care, p < 0.001), fewer than three regimens of chemotherapy before BM (vs. ≥ 3, p < 0.013), and chemotherapy after BM (vs. absence, p < 0.001) significantly increased the OS time. The Karnofsky performance status ≥ 70 (vs. < 70, p = 0.213), single BM (vs. multiple BM, p = 0.157), and small cell carcinoma (vs. others, p = 0.351) had numerically higher OS than others. Dual therapy (vs. single therapy, p = 0.182; vs. no therapy, p = 0.076) were associated with a longer OS time, but the difference did not reach statistical significance. In addition, the graded prognostic assessment (GPA) appeared to be a better prognostic tool than the recursive partitioning analysis. Conclusions: The results of the present study suggest active multimodal treatment including neurosurgery, radiotherapy, and chemotherapy for BM of uterine cervical cancer with single BM, good performance status, histology of small cell carcinoma, and a better GPA.

한국문화의 자생성에 대한 고찰 - 조선후기 향당교주를 중심으로 -

김혜라 한국무용예술학회 2006 무용예술학연구 Vol.19 No.-

Ethics of Genealogy in Michel Foucault’s Historical Works through the 1970s-1980s

김혜라 대한영어영문학회 2017 영어영문학연구 Vol.43 No.4

Although Michel Foucault’s works through the 1970s and 1980s have been understood in notions of genealogy and ethics, the works during these decades can be understood together within Foucault’s philosophy of history. Even though critics have viewed Foucault’s genealogy as a methodological stepping-stone for his next journey on ethics, the ways in which he understands history reveal that his genealogy, ethics, and history are interwoven with one other within a frame of ‘self-problematization.’ In this paper, I will suggest ‘self-problematization’ -- which is a mode of being ethical through a perpetual polemic attitude that motivates one to transform continually -- as a conceptual tool to grasp Foucault’s philosophy of history. Revisiting Foucault’s works through the 1970s and the 1980s and pondering how the earlier inchoate thoughts of history have been developed within the frame of ‘self-problematization’ in later years, I argue that Foucault’s investigation of history through genealogy becomes ethical, as the concepts of both history and genealogy undergo the continual reconfiguration within themselves.

John Marcher’s Self-Becoming in Queer Temporality in Henry James’s “The Beast in the Jungle”

김혜라 대한영어영문학회 2020 영어영문학연구 Vol.46 No.3

Kim, Hera. “John Marcher’s Self-Becoming in Queer Temporality in Henry James’s ‘The Beast in the Jungle.’” Studies in English Language & Literature 46.3 (2020): 41-59. Ever since Eve Kosofsky Sedgwick and Leo Bersani showed two ground-breaking analyses, criticism of the male protagonist John Marcher in Henry James’s “The Beast in the Jungle” has followed their two main leads. Between Sedgwick and Bersani, this essay on Bersani’s side keeps a critical distance from psychoanalytical approach that probes into Marcher’s identity as a hidden secret, what Sedgwick calls homosexual panic in heteronormativity. Employing recent queer theory’s discussion of queer temporality, this essay examines Marcher’s alternative mode of selfhood that does not follow the dominant timeline of heteronormativity. In the frame of queer temporality, I focus on how James undermines the factual sense of timeliness through the failed remembrance of past in Marcher and May’s first encounter in the first half of this essay. Doing so, I illuminate the significance of the blurred timeliness in the past temporality on account of its destabilization of the legitimacy of the hidden truth in the past in psychoanalysis. In the second half of this essay, I examine how James pushes the complexity of the temporality through Marcher’s mobilizing consciousness in the immediacy of present moment. Along with Marcher’s intensified sense of mobilizing consciousness, I conclude that such psychic mobility in the consciousness only in the present is James’s profound means of inventing the self as becoming in its constant revision of the past. (Chonnam National University)

도태 유우의 유선조직에서 분리된 세균의 항생제 감수성

김혜라,이정치,김상기,윤병철,서계원,이정길,이채용 한국임상수의학회 2004 한국임상수의학회지 Vol.21 No.2

Causative agents of mastitis were isolated from glandular tissues of 101 culled Holstein cow udders and tested with antimicrobials by standardized disc diffusion method. Pathogens most commonly isolated were coagulase-negative staphylococci (43.9%) and streptococci (21.4%). Most of the udders (88.5%) showed mixed infections with more than two species of bacteria. Antimicrobial sensitivity tests revealed that 90.0% and 84.5% of the isolated organisms were susceptible to amoxicillin and gentamicin, while most organisms were resistant to erythromycin. Coliforms were resistant to ampicillin, cephalothin, cefazolin, erythromycin, kanamycin, neomycin, penicillin and tetracycline and streptococci to erythromycin, kanamycin, neomycin, trimethoprim/sulfamethoxazole and tetracycline.

젖염소 분방유즙에서 체세포에 대한 연구

김혜라,이정치,정지영,이윤경,신성식,이채용 한국임상수의학회 2007 한국임상수의학회지 Vol.24 No.2

계절 꽃 이야기 - 봉선화

김혜라 대동문화재단 2021 대동문화 Vol.125 No.-

현대 춤 작품에 대한 게슈탈트(Gestalt)적 해석 가능성 연구 -센웨이(Shen Wei)의 「커넥트 트렌스퍼 Connect Transfer」 작품을 중심으로-

김혜라 한국무용예술학회 2011 무용예술학연구 Vol.34 No.-

The purpose of this study is to interpretate the complex meaning of the contemporary dance which can not be easily understood at once using Gestalt’s perception. This study try to figure out the phenomenal meaning of the contemporary dance through seeing expression structure of the art work. Therefore,this is the trial to understand the actual dance work by Gestalt’s main concept and visual perception. First of all, this study set up the concept through Gestalt psychologist’s experimental examples. “Allness, simplicity and structural properties” are these. Through these concepts, th visual perceptive tendency are adjusted to the analysis of dance. In detail, adjusting to the dance phenomenon and structural character of the dance, directing to simplicity, to organic texturing and psychological changing factors in dynamic field could be captured as visual perceptive principle. Connecting to Gestalt’s concept and the art work’s visual perceptive principle, based on allness meaning change which is one of the main concept of Gestalt, it is adjusted to the dance work analysis as a semi-premise. Fist, the main phenomenon in whole work, the title phenomenon was set. Find the meaning of the work through the strongest perceptive topic by Gestalt. Secondly, analyze the characters of the structural parts which consist the main phenomenon. Therefore, figure out the detailed structural phenomenon which form theme images. Then, find the resulted meaning through the relationship. Thirdly,recombinate the medial property and relationship. It can find the total conformational sense and expressional character via recombination between each parts properties and relationship’s meaning. Forthly, I try to find the form of total structural texture and the meaning’s relationship. Therefore, this study try to figure out the total form image and structure. Finally, based on all the setting and adjusting, I try to find the work’s phenomenal meaning via choreographer’s reasoning and previous work’s expression. I actually use these concepts to ShenWei’s Connect Transfer . In detail, this study described the physical space’s phenomenal meaning sensed as co-relationship between the dancer’s motions and background space and interpretate that the sensing experience’s meaning based on expressivity and artistic space’s meaning which sensed by total structural formality and expressivity. This study try to interpretate the dance as an experience which is a communication between audience and choreographer rather the relationship via formal one through composing all the mentioned factors. As a conclusion, through the discussion by Gestalt perspective experience, this study suggest the vital understanding of dance via phenomenal experience of total artistic work, propose the easier way to understand complex contemporary dance through this method which give new possible dance interpretational method.