格律詞派 硏究

白禎喜 국민대학교 어문학연구소 1982 語文學論叢 Vol.2 No.-

중국력대시가의 발생과 류변 (3) - 부 (賦) , 락부 (樂府) , 고시 (古詩) -

백정희 국민대학교 중국문제연구소 2000 中國學 論叢 Vol.16 No.-

한삼놀이 프로그램 사용이 후기고령만성질환자의 체력변화에 미치는 영향

백정희 한국무용과학회 2016 한국무용과학회지 Vol.33 No.4

중국 현대산문의 특질고(特質考)

백정희 국민대학교 중국문제연구소 2004 中國學 論叢 Vol.20 No.-

무용작품과 관중에 대한 고찰

백정희 한국체육철학회 1997 움직임의철학 : 한국체육철학회지 Vol.5 No.1

티베트의 라마 참과 한국의 처용무관계에서 무형문화의 이동 가능성

백정희 한국사상문화학회 2014 韓國思想과 文化 Vol.71 No.-

티베트의 라마 참과 처용무의 토대가 되는 처용설화의 발생과 그 연관의 가능성을 찾아보고 무형문화유산 유동의 가능성을 알아보기 위하여 문헌을 토대로 실행하였다. 첫째, 장희(藏戱)인 참(姜姆)은 장극 중 巫舞이다. 이는 티베트 지역에서 보편적으로 연희되고 있는 노래와 춤으로 표현하는 종합 예술로써 원시적이고 종교적인 제사의식이며 전통적인 驅儺활동이다. 티베트의 라마 참의 역사는 600여년이며 14세기 초 모금을 위하여 조직된 연희 단체에서 제작되어 각지로 유랑을 하면서 시작된 것이다. 둘째, 처용설화 자체는 현대사회가 추구하는 과학적 진실과는 거리가 있으며 여러 사관에 의한 사서에 기록된 것이 아닌 한사람(일연)에 의해 삼국유사에 기록된 것으로 시대적 사회상과 개인의 사상과 기원 등이 유입되어 만들어졌을 가능성을 갖고 있다. 한국의 전반적인 무용이 자연발생적이며 감성적 동작을 표방하는 반면 처용무는 古事를 바탕으로 하고 있으며 발생이후 현재까지 여러 차례의 변화가 있었으나 춤사위와 복식 등이 특이하다. 처용무의 탈은 한국의 어느 탈과 비교하여도 그 크기나 모양이 독특하다. 셋째, 실크로드가 중세 동서교역의 중심이 될 수 있었던 것은 당대 서역 상인을 칭하는 생호들이며 이 생호들은 페르시아, 소그드, 대식(아랍), 희홀, 유태의 상인들이다. 이들의 역할은 물질의 이동뿐이 아닌 정신적 이동에 큰 역할을 하였으며 무형문화유산의 이동에도 커다란 역할을 하였다. 생호들은 활발하였으며 예술가적 기질을 갖춘 실질적 예술가들도 함께 문화의 유동적 역할을 하였다고 판단한다. 넷째, 참으로써 장희가 티베트에서 연희된 기원은 14세기 초이며 이는 한국에서 조선조의 건립 시기로 삼국유사가 서술된 1145년과 1266~1289년의 차이가 있다. 또한 처용설화와 티베트의 불교 유입 설화가 그 내용이 매우 유사하다. 실크로드를 무형문화의 이동 통로로 볼 수 있다면 생호들의 예술성과 그들의 역할이 있었을 가능성은 매우 크다고 판단된다. 이것으로 연구자는 처용이 중앙아시아의 생호 중에서 예술성이 뛰어났다는 소그드인일 가능성을 제시한다. 라마 참에서 연희되는 처용무와 비슷한 춤은 한국에서 유입 된 것이며 처용설화의 주인공인 처용은 실크로드를 통해서 한국으로 들어온 중앙아시아의 상호인 소그드인으로 본다. 또한 처용설화가 그 내용은 별개로 하더라도 전체적으로 불교적인 색체를 띠고 있으며 이 또한 실크로드를 통한 사상적인 유입이라고 본다. 이로써 실크로드는 중앙아시아에서 한반도의 가장 끝자리인 울산(개운포)까지에 이르는 광대한 지역적 문화 소통에 기여한 것이라 결론 한다. 또한 실크로드는 동서를 연결하는 교역로로서 해상과 육상을 모두 일컫고 있는바, 실크로드의 동북 끝이 한반도가 아닐 가능성도 제시해 본다. 실질적으로 어떤 유형의 문화가 어떻게 유입되었다는 것은 그 문화의 후속 발전에 매우 커다란 영향을 미친다. 라마 참과 한국의 처용무는 서로 다른 지역에서 우연하게 비슷한 문화가 형성된 별개의 것이 아닌 서로 교통하면서 변화되어 빚어낸 인류의 무형문화예술의 소통의 유적인 것이다. The present research aimed to investigate the possible connection between Tibet’s Lama Chram and the Chur Yong mythology, which serve as the foundation of the Chur Yong Mu, as well as the possible circulation of intangible cultural assets by reviewing old literature. First, Chram (姜姆), a type of Jang Hee (藏戱), is a shaman dance(巫舞), a type of Jang Geuk(藏劇), a traditional theater play. Charm is an integrated art expressed by songs and dances commonly performed in Tibet. It is a primitive and religious memorial ritual, as well as a traditional驅儺 activity. Lama Charm of Tibet has a history of around 60 years, where it was began by a performing arts group for fundraising purposes. Second, the events described in Chur Yong mythology are slightly far from the scientific truth pursued by modern society. Unlike other historical topics written by multiple historians, the Chur Yong mythology were written by one person (Il Yun, a Buddhist monk) in a book called The Heritage of Three States (Sam Guk Yu Sa). As such, the book may very likely reflect the personal ideas of the author, and the ideas of the time may have influenced the narrative of the story. Most Korean traditional dances (performing arts) are spontaneous. Meanwhile, naturally developed dances prefer expressing emotional gestures. Chur Yong Mu includes story(古事), and although it went through some variations throughout the years, the dance steps and costumes show its unique characteristics. Especially, the masks used in Chur Yong Mu are extremely unique compared with other Korean masks. Third, one of the entities that contributed to the Silk Road becoming a major area for trading between the East and the West was a group commonly called “Saeng Ho (生互)”, a company of merchants from Persia, Sogdia, Arabia, Hee Hol, and Jews , among other countries bordering western China. Saeng Ho was not only an important entity in the transportation of goods but also played an important role in circulating intangible cultural assets. Saeng Ho was active, and the artistic tastes of its members may have contributed greatly in the cultural exchange. Fourth, Jang Hee originated in Tibet in the early 14th century, or 1266 to 1289 years later than The Heritage of Three States (Sam Guk Yu Sa), which was written in 1145. Furthermore, the Chur Yong mythology and Buddhist-influenced mythologys of Tibet are extremely similar in context. Judging from the path of how intangible cultural assets were transported through the Silk Road, the artistic taste of the Saeng Ho members and their role were influential. From such observations, this dissertation offers the possibility that Chur Yong could be of Sogdian origin, brought by the Sogdia, one of the Saeng Ho groups of Central Asia with great artistic taste. A dance similar to Chur Yong Mu that is performed in the Lama Charm was introduced from Korea. Chur Yong, the titular character in the Chur Yong mythology, is presumed to be a Sogdian from Central Asia who came to Korea through the Silk Road. In addition, apart from the stories, the Chur Yong mythology heavily convey the characteristics of Buddhism, and this detail itself could be judged as an introduction of new ideology through the Silk Road as well. Overall, the Silk Road contributed greatly to the cultural exchange between Central Asia and its eastern neighbors, all the way to Ulsan, one of the corners of the Korean peninsula. Furthermore, as the Silk Road includes both land and sea routes that connect the East and the West, the northeast end may not be Korea. Indeed, the type of culture introduced and the manner of such introduction are extremely important influences in the follow up research on the development of culture. The Lama Charm of Tibet and Chur Yong Mu of Korea are not similar cultural aspects that were developed in completely different regions. They were established after a series of cultural exchanges, and presently, they have become a heritage of ...

남북송사비교연구

白禎喜 淑明女子大學校 中國文化硏究所 1982 中國 文化 Vol.1 No.-

서울시 공공임대주택 입주자 주거환경 만족도와 물리적 환경 실증 분석

백정희 한국주택학회 2017 한국주택학회 학술대회 발표논문집 Vol.2017 No.2

미세먼지 관리권역 설정에 관한 연구

백정희,송재민 한국지역개발학회 2019 한국지역개발학회 학술대회 Vol.2019 No.5

A Study on The Burnout According to Experience of Professional Dancers

백정희 한국무용과학회 2008 한국무용과학회지 Vol.17 No.-

The purpose of this study is to evaluate dancers' degree of burnout and to help dancers execute their highest potential and achieve self-realization. For these purposes, the following hypotheses were suggested: 1. There will be a significant difference in the degree of psychological burnout depending on the dancers` years of experience in their dance group. 2. There will be a significant difference in the degree of impersonalization depending on the dancers` years of experience in their dance group. 3. There will be a significant difference in the degree of achievement depending on the dancers` years of experience in their dance group. For this study, a total of 100 subjects were selected using a cluster sampling from dancers who were active as of 2008 and 99 subjects were used. SPSS 12.0 for Windows was used to analyze the data of this study. Each hypothesis was tested with a significance level of P<0.5. For significant variables found from one-way ANOVA, Shaffe's post hoc tests were conducted. And SPSS 12.0 for Windows was also used to analyze them. The results of the study are as follows: The difference in emotional exhaustion depending on dancers' years of experience in their dance group was found to be as follows: The emotional exhaustion of dancers with 4-7 years of experience (M=30.66, SD=3.80) was found to be higher than that of dancers with 1-3 years of experience (M=28.14, SD=3.43) and dancers with 8 or more years of experience (M=27.62, SD=3.33); and the difference was found to be statistically significant [F(98)=6.310, p<.01]. Even from Schaffe's post-hoc tests, the burnout of dancers with 4-7 years of experience was found to be higher than that of dancers with 1-3 years of experience, and with 8 or more years of experience. The difference in impersonalization depending on dancers' years of experience in their dance group was found to be as follows: The impersonalization of dancers with 1-3 years of experience (M=33.66, SD=3.80) was found to be higher than that of dancers with 4-7 years of experience (M=28.14, SD=3.43) and dancers with 8 or more years of experience (M=27.62, SD=3.33); and the difference was found to be statistically significant [F(98)=3.689, p<.05]. Even from Schaffe's post-hoc tests, the impersonalization of dancers with 1-3 years of experience was found to be higher than that of dancers with 4-7 years of experience, and with 8 or more years of experience. The difference in personal accomplishments depending on dancers' years of experience in their dance group was found to be as follows: The personal accomplishments of dancers with 1-3 years of experience (M=28.37, SD=3.01) and dancers with 4-7 years of experience (M=28.29, SD=3.05) were found to be higher than that of dancers with 8 or more years of experience (M=27.62, SD=3.33); but the difference was not found to be statistically significant [F(98)=.188, p>.05]. The purpose of this study is to evaluate dancers' degree of burnout and to help dancers execute their highest potential and achieve self-realization. For these purposes, the following hypotheses were suggested: 1. There will be a significant difference in the degree of psychological burnout depending on the dancers` years of experience in their dance group. 2. There will be a significant difference in the degree of impersonalization depending on the dancers` years of experience in their dance group. 3. There will be a significant difference in the degree of achievement depending on the dancers` years of experience in their dance group. For this study, a total of 100 subjects were selected using a cluster sampling from dancers who were active as of 2008 and 99 subjects were used. SPSS 12.0 for Windows was used to analyze the data of this study. Each hypothesis was tested with a significance level of P<0.5. For significant variables found from one-way ANOVA, Shaffe's post hoc tests were conducted. And SPSS 12.0 for Windows was also used to analyze them. The results of the study are as follows: The difference in emotional exhaustion depending on dancers' years of experience in their dance group was found to be as follows: The emotional exhaustion of dancers with 4-7 years of experience (M=30.66, SD=3.80) was found to be higher than that of dancers with 1-3 years of experience (M=28.14, SD=3.43) and dancers with 8 or more years of experience (M=27.62, SD=3.33); and the difference was found to be statistically significant [F(98)=6.310, p<.01]. Even from Schaffe's post-hoc tests, the burnout of dancers with 4-7 years of experience was found to be higher than that of dancers with 1-3 years of experience, and with 8 or more years of experience. The difference in impersonalization depending on dancers' years of experience in their dance group was found to be as follows: The impersonalization of dancers with 1-3 years of experience (M=33.66, SD=3.80) was found to be higher than that of dancers with 4-7 years of experience (M=28.14, SD=3.43) and dancers with 8 or more years of experience (M=27.62, SD=3.33); and the difference was found to be statistically significant [F(98)=3.689, p<.05]. Even from Schaffe's post-hoc tests, the impersonalization of dancers with 1-3 years of experience was found to be higher than that of dancers with 4-7 years of experience, and with 8 or more years of experience. The difference in personal accomplishments depending on dancers' years of experience in their dance group was found to be as follows: The personal accomplishments of dancers with 1-3 years of experience (M=28.37, SD=3.01) and dancers with 4-7 years of experience (M=28.29, SD=3.05) were found to be higher than that of dancers with 8 or more years of experience (M=27.62, SD=3.33); but the difference was not found to be statistically significant [F(98)=.188, p>.05].