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.

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.

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

영감과 모방, 음악과 언어의 관계 - 플라톤의 시가론을 통해

하진숙 부산대학교 인문학연구소 2024 코기토 Vol.- No.103

본 연구는 플라톤의 시가론을 통해 영감과 모방, 음악과 언어의 관계를 고찰하는 데 목적이 있다. 플라톤의 시가론은 영감과 모방의 차이를 밝히면서도 그것이 궁극적으로 무엇을 지향하고 있는지를 보여준다. 그는 시가의 본질이 영감과 선율에 있다고 보고 이를 각각 모방과 언어에 대립시킨다. 그는 인간이 부드러운 선율에 자신을 내맡기면 영혼이 신적인 것에 가까워진다고 하면서 시는 선율과 리듬에 따라 노래하는 것이며, 영감에 사로잡혀 신과 하나가 되는 것이라고 말한다. 그러나 시가 확정된 언어로 말해지고 글자로 쓰이게 되면 영혼이 사라져 버리고 그 영상만 남게 된다고 하면서 이러한 시는 언어라는 물감을 가지고 시에 색칠을 한 그림과 같다고 말한다. 플라톤에 의하면 인간이 신적인 것, 아름다운 것, 진리를 추구하는 것은 신으로부터 부여받은 본성이며, 신적 광기에 의한 것이다. 그는 시인의 광기를 무사 여신의 영감에서 비롯된 것이라고 하면서 이는 혼이 이성을 잃고 황홀경에 빠져 사건이 전개되는 곳에 스스로 가있다고 믿고, 사건이 벌어지는 순간의 감정을 온전하게 느끼는 것이라고 한다. 그러나 모방적 시는 기술의 영역에 속한다고 하면서 시가 모방하는 기술로 변하면 단지 장난이나 유희에 불과하게 된다고 지적한다. 또, 언어는 진리가 아니라 진리의 표상일 뿐이라고 하면서 언어를 진리 그 자체로 이해하거나 글자로 표시된 외부적 형태에 얽매여 사물의 진상을 보려고 해서는 안된다고 한다. 이와 같은 한계를 지적하면서도 플라톤은 모방과 언어를 통해 진리에 이를 수 있는 길을 열어 놓는다. 그는 인간이 어떤 것을 표현하기 위해서는 모방하는 것이 유일한 방법이라고 하면서 하나의 이름은 다른 이름에 바탕을 둔 모방이라고 말한다. 또, 진리는 신의 것이지만 인간은 지혜를 사랑하는 본성이 있기 때문에 이성을 통해 말의 의미를 파악하고 헤아릴 수 있다고 말한다. 지혜 사랑의 광기를 통해 인간이 신적 성질에 동화될 수 있다는 것이다. 영감의 본질이 신과 직접적으로 교류하고 신과 하나가 되는 것이라면 모방의 본질은 지혜 사랑을 통해 신적 성질에 동화되는 것이다. 이처럼 플라톤은 인간이 신의 성질에 가닿을 수 있는 방법을 영감과 모방, 음악과 언어라는 두 갈래 길을 통해 제시하고 있다. 본 연구는 영감과 모방, 음악과 언어의 관계를 고찰해봄으로써 예술에 대한 통합적 이해의 길을 모색하는 데 의의가 있다. The purpose of this study is to examine the relationship between inspiration, mimesis, music, and language through Plato's theory of poetry. Plato says that the essence of poetry lies in inspiration and rhyme, and contrasts them with mimesis and language, respectively. He says that when humans surrender themselves to soft melodies, their souls become closer to the divine. And it is said that poetry is singing according to melody and rhythm, receiving inspiration, and becoming one with God. However, when a poem is spoken in a definite language and written in letters, the soul of the poem disappears and only the image remains, and he says that such a poem is like a painting colored with the paint of language. According to Plato, human beings' pursuit of divine things, beautiful things, and truth is a nature given to them by God and is caused by divine madness. He says that the poet's madness comes from the inspiration of the Muse, which means that the soul loses reason and falls into ecstasy, believing that it is in the place where the event is unfolding, and fully feeling the emotions at the moment when the event unfolds. However, he points out that if poetry turns into an imitative technique, it becomes nothing more than mere entertainment. In addition, he says that language is not the truth, but only a representation of the truth, and that we should not understand language as truth itself or try to see the truth of things by being tied to external forms expressed in letters. Plato points out these limitations but opens the way to truth through mimesis and language. He says that the only way for humans to express something is to imitate, and that one name is an mimesis based on another name. He also says that truth belongs to God, but humans have a nature that loves wisdom, so they can understand the meaning of words through reason. It is through the madness of love for wisdom that humans can assimilate to divine nature. If the essence of inspiration is to directly interact with God and become one with God, the essence of mimesis is to assimilate to the divine nature through love for wisdom. In this way, Plato presents a way for humans to reach the nature of God through two paths : inspiration and mimesis, music and language. The significance of this study is to seek a path to an integrated understanding of art by examining the relationships between inspiration, mimesis, music, and language.

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.

칸트 『판단력비판』에서 합목적성과 미감적 감정의 관계

하진숙 대동철학회 2025 대동철학 Vol.111 No.-

이 글은 칸트의 �판단력비판�에서 “미감적 판단력”을 중심으로, 합목적성과 미적 쾌 및 숭고 감정 간의 관계를 고찰한다. 칸트는 미감적 판단력의 선험적 원리를 합목적성으로 규정하면서, 합목적성이 취미판단과 숭고판단에서 각각 다르게 성립된다고 설명한다. 취미판단에서는 합목적성이 대상의 표상과 주관의 인식력들과의 조화에서 성립된다. 이를 위해서는 대상이 인식력들의 상호작용을 가능하게 하는 한정된 형식으로 제시되어야 한다. 반면 숭고 판단에서는 직관이 포착할 수 없는몰형식적인 대상이나 무한정성이 표상되는 대상이 요구된다. 따라서 상상력이 대상의 형식과 관계하는 것이 아니라 무한을 떠올릴 수 있는 주관의 이성과 관계한다. 이처럼 합목적성이 성립되는 방식의 차이는 인식력들의 합목적적 관계를 의식할 때 느끼는 감정의 차이로 이어지며, 이는 곧 미적쾌와 숭고 감정의 차이를 낳는다. 미적 쾌는 상상력과 오성이 자유롭게 유희할 때 의식되는 직접적인 생명의 고양감이지만 숭고 감정은 상상력이 대상을 파악하지 못하는 한계로부터 이성을 환기시킬 때 일어나는 존경과 경외의 감정이다. 이는 생명력이 일순간 저지되었다가 한층 더 강력하게 일어나는 부정적 쾌의 감정이다. 칸트는 이러한 감정의 차이에도 불구하고 양자를 통일할 수 있는 근거를 도덕적 감정과의 합목적적 관계에서 찾는다. 판단력을 합목적적으로 사용하는 이유는 감관적향수로부터 도덕적 감정에로 이행하고, 이성법칙에 대한 존경을 미감적인 방식으로 느끼는데 있다는 것이다. 이는 미감적 판단이 비록 형식적이라 하더라도 도덕적 감정과 합치할 때만이 주관 안에서 합목적성을 얻게 된다는 것을 의미한다. 칸트의 비판 작업은 반성적 판단력을 통해 인간의 인식능력을 통합하고, 합목적성의 원리 아래 자연을 더 고차적으로 이해하려는데 목적이 있다. This paper explores the relationship between purposiveness, aesthetic pleasure, and the feeling of the sublime in Kant’ s Critique of Judgment, focusing on the “ power of aesthetic judgment. ” Kant defines the transcendental principle of aesthetic judgment as purposiveness, and explains that this principle operates differently in judgments of taste and judgments of the sublime. In judgments of taste, purposiveness arises from the harmony between the representation of the object and the cognitive faculties of the subject. To make this possible, the object must be presented in a limited form that allows the interaction of the cognitive faculties. In contrast, in the judgment of the sublime, the object must be presented as representing a formless infinity that cannot be grasped through intuition. In the judgment of the sublime, imagination is not related to the form of the object, but to reason, and thus evokes the idea of infinity. This difference in the way in which purposiveness operates leads to differences in the feelings experienced when perceiving aesthetic qualities. Aesthetic pleasure arises from the free play of imagination and intellect, and evokes a direct sense of vitality. Conversely, the feeling of the sublime arises when imagination fails to grasp the totality of the object, and this stimulates reason, evoking feelings of respect and awe. This negative pleasure occurs when vitality is momentarily blocked and then reactivated with greater intensity. Despite these differences, Kant finds the unifying ground of aesthetic judgment in its purposive relationship with moral feeling. The reason for using aesthetic judgment purposively is to experience respect for the moral law in an aesthetic way through the transition from sensory satisfaction to moral feeling. This suggests that aesthetic judgment, even if formal, acquires purposiveness within the subject only when it is consistent with moral feeling. Ultimately, Kant’ s critique aims to integrate human cognitive ability through reflective judgment and to understand nature in a higher order under the principle of purposiveness.

틈의 구조로 본 전통연희

하진숙 ( Jin Sook Ha ) 한국미학예술학회 2010 미학예술학연구 Vol.31 No.-

신명체험의 미적 특성에 관한 연구

하진숙 ( Jin Sook Ha ) 한국미학예술학회 2014 미학예술학연구 Vol.40 No.-

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.

작법무의 동작 구성과 미의식에 관한 연구 -불모산영산재를 중심으로-

하진숙 ( Jin Sook Ha ) 대한무용학회 2010 대한무용학회논문집 Vol.63 No.-

There are few studies on Jakbeopmu, Buddhist ritual dance. This makes me start this research. I explore the characteristics of Jakbeopmu, which has been performed at Buddhist temples in the southeastern region of Korea. The types of Yeongsanjae, Buddhist ritual, performed in Mt. Bulmo could be divided into Yeonwhamu(lotus flower dance), Baramu(Buddhist cymbal dance), and Beopgomu (monk`s drum dance). Each of them would be composed variably, according to each ceremonial process. Yeonwhamu imitates the movements of a crane. It leads people to return to Buddha, Buddhist beliefs, and Buddhist monks. Yeonwhamu is made up of several movements - folding & unfolding the arms with a flower, generally repeated three times, and facing each other. The dance reveals that the movements of the upper body are harmonized gracefully with those of the lower body. It shows the sublime beauty by leading to the calm world of Buddhism with Beompae, Buddhist chant. Baramu is performed with cymbals on hand. This suggests a united oneness of the world. The dance shows several movements, such as passing cymbals behind the head, folding & unfolding the arms, and turning around. When a dancer passes the cymbals behind the head, the cymbals moves round and round. When a dancer turns around, he/she tosses them up. The dance shows the aesthetic sensitivity and the sublime harmony, toward the united oneness of the world in the sublime and harmony. Beopgomu aims to lead all the people suffering from this world to Buddhist world. The dance show movements folding & unfolding the arms, beating a drum, and arching the back. The movements of Beopgomu are more active and bigger than other dances. All the movements of Beopgomu are seriously performed without any worries. This gives us delight and emancipated feeling without all the constraints. Jakbeopmu, Yeongsanjae performed in Mt. Bulmo shows the beauty of the sublime and the grace. It shows unique dance movements and rhythms, which folk dance in the southeastern region of Korea has. Therefore, this study leaves an area which can be further developed, regarding the relationships and influences between Jakbeopmu and folk dances.