참고작품 : 이윤선 작품 ( 한국꽃예술 ( 화예 ) 디자인학회논문집 제 4 집 , 2001 )

이윤선 한국화예디자인학회 2001 한국화예디자인학 연구 Vol.4 No.-

디지털 시대의 강강술래에 대한 민속학적 小考

이윤선 한국민요학회 2004 한국민요학 Vol.15 No.-

Once this classification has been completed, it is important to provide meaningful discussion on how this can apply to today's culture and society. In order to reach the people of modern Korea, the important thing is that everybody be close to the practice and traditions of Ganggangsullae. Fortunately the open-structure of Ganggangsullae allows it to easily adapt to a computer environment. These days, a lot of communities in our society have tried to improve the relationship their people have with traditional culture. A relationship that has been deeply affected, if not destroyed, by the promulgation of the mass media. The benefits of returning to old traditions help foster a cooperative spirit in the people and help unify the community. So, this suggests that Ganggangsullae is worth studying. The basic features of a digital preservation of Ganggangsullae will encapsulate the spiritual values and culutural image through efficient media techniques. The basic aim of studying folklore is the preservation of the old and creation of a new. What is natural to say about the place of cycles, found so commonly in ecology, can also be said about the role of understanding and communication of cyber space for folklore. In the end, this study will suggest a new role of Ganggangsullae in the context of a modern society. One in which its traditions can be used as a basis for communication and the development of a cooperative spirit.

백화점 꽃 디스플레이의 구매효과에 관한 연구

이윤선 한국꽃예술학회 2004 한국꽃예술학회지 Vol.6 No.-

미크로네시아 핑글랩(Pingelap)섬의 구비전통, 구송(口誦)과 스틱댄스

이윤선 한국민요학회 2019 한국민요학 Vol.55 No.-

I have looked at the tradition of Chant and Stick dance, which are traditions of Micronesia Pingelap Island. Pingelap is a very small island an hour away from the Micronesian capital, Phonpei. It is called an island of color-blindness in the ecological condition of an isolated area. Songs that are sung on this island are mainly targeted for place name. This song is storytelling, historical places, kings and royalty, stories of ancestors. The song comes with stick dancing, a assemble dancing called Lioh Doki. The men in the house are chosen to be warriors, the meaning of dance contain that they repulse enemies and evil spirits. This song and dance are closely related to the tale. It can be interpreted that there are two scenes of oral tradition. Important places, including place names, are told in tale. One of the ways to handed this effectively is to choose the method of folklore. Stick Dance plays a role of play to relieve tension. Pingelap chant and stick dance are widely composed War dance which is Hawaii Hula Dance, New Zealand Haka Dance and Marshall Islands Zabb Dance etc. It can be tied Stick dancing with Yap, Kosrae, Pohnpei, Chuuk, in Micronesia. Through folk songs of folk tales and folk songs, they inherited memories of place and history, and passed down on the mechanism of recognition and allocated of small island spaces. 미크로네시아 핑글랩섬의 구비 전통인 구송(Chant)와 스틱댄스(Stick dance)에 대해 살펴봤다. 핑글랩은 미크로네시아 수도 폰페이에서 한 시간 거리에 있는 아주 작은 섬이다. 고립된 지역의 생태적 조건으로 색맹의 섬으로 불린다. 이 섬에서 불려지는 구송은 주로 지명을 대상으로 한다. 역사적 장소, 왕을 중심으로 하는 조상들의 이야기도 스토리텔링 된다. 스틱댄스는 리오도키라는 이름의 집합댄스가 전해온다. 집안의 남성들이 전사로 선발되어 악령이나 외부의 적들을 물리치는 내용을 담고 있다. 이 구송과 댄스는 설화와 긴밀하게 관련되어 있다. 구비 전통의 두 가지 풍경이 있다고 해석할 수 있다. 지명을 포함한 중요한 장소는 이야기로 전해지며 이를 효과적으로 전승하는 방법 중 하나로 구송의 방식을 택하게 된다. 스틱댄스는 긴장을 해소하는 놀이 기능을 담당하고 있다. 핑글랩의 구송과 스틱댄스를 종합해보면 넓게는 하와이 훌라댄스, 뉴질랜드 하카댄스와 마샬군도 자브와댄스와 함께 전쟁춤으로 묶을 수 있다. 작게는 미크로네시아를 구성하는 얍, 코스라에, 폰페이, 추크 주와 함께 스틱댄스로 묶을 수 있다. 설화나 구송 형식의 민요를 통해 지명과 역사에 대한 기억을 상속시키고 작은 섬 공간에 대한 인식과 분배의 메커니즘을 전승시켜왔다.

영화 "물랑 루즈(Moulin Rouge)" 에 표현된 19세기말 프랑스 의상에 관한 연구

이윤선,박선경 한국패션디자인학회 2002 한국패션디자인학회지 Vol.2 No.2

소비가치와 소비자의 인지욕구가 온라인 쇼핑 웹사이트에 대한 신뢰성을 매개로 만족도에 미치는 영향

이윤선 사단법인 한국벤처혁신학회 2023 벤처혁신연구 Vol.6 No.4

This study aims to confirm that consumers' satisfaction with online shopping websites has changed to a phenomenon different from the past. In other words, in a situation where the use of e-commerce is expanding worldwide after the pandemic and various types of commerce such as mobile commerce and social commerce are formed, the consumer's information processing and decision-making process are meaningful in examining the behavior that has been changed based on the perceived motivation level of consumers by the new environment according to the consumption value and personal characteristics perceived by the consumer. In other words, the purpose of this study was to investigate the effect of consumption value and need for cognition on the satisfaction toward online websites as a mediating role in the trust of the website. As a result of testing Hypothesis 1, not only the hedonic value of the consumer for the website but also the utilitarian value had a positive influence on the satisfaction toward the website, and in particular, the utilitarian value showed a relatively greater influence than the hedonic value. However, the negative relationship between the need for cognition and satisfaction was found to be at a significant level under one-sided verification. In Hypothesis 2, only the utilitarian value among the consumption values of 2-1 showed a positive effect on satisfaction through a mediating role of trust. It was confirmed that the utilitarian value among the consumption values was an important factor in the satisfaction toward the website. The significance of this study is that, unlike previous research results, not only consumption value based on senses and emotions but also utilitarian value has a greater influence. Therefore, utilitarian value and need for cognition have a stronger influence on satisfaction if they play a mediating role based on the trust of the website used by consumers. These findings reflect the current market trend of online consumption, and they are helpful in the management and strategy of online websites based on consumer behavior understanding and major factors.

섬지역 강강술래의 뜀뛰기 전통과 求愛방식-신안, 진도를 중심으로-

이윤선 한국민요학회 2011 한국민요학 Vol.32 No.-

This study has its purpose on looking into the jumping tradition of Ganggangsullae in islands area at the aspect of courting act and way. To do this, the study examines two records; Biography of Dongyi, Book of Wei in Records of Three Kingdoms and a series of biographies of Liang Xu, which can be the basic arguments on the courting tradition in the origin of Ganggangsullae. The study attempts to look into two areas largely; one area is the zone of Bigeum island, and Sachi island, and Soochi island in Shinan county and the other is the case of Jindo island in Jindo county and Woosooyoung in Haenam county. In the case study of Shinan county, Ganggangsullae have been called as ‘Ttwimttwigi(jumping)’ or ‘Sullaejil(tag-play)’. It contains the characteristic of courting play performed by young men and women. One of the characteristic is young men’s transmitting act of a handkerchief to their lovers in the middle of jumping. ‘Sugeonnoki(a game of drop-the- handkerchief)’ which is a kind of extra palying could also be interpreted with the same context. The case of Jindo county doesn’t prefer verbal calling, but the case also uses the term of ‘Ttwimttwigi(jumping)’ contextually. Especially, this case is shown as young men’s act to get in the way of young women’s Ganggangsullae performance. According to Book of Jindo County, the Ganggangsullae of Jindo is a total term of the various plays centered into a circle dance and is the play that young women allure young men. The study also finds out the case of Woosooyoung in Haenam county is not different. Conclusionally, the study argues that Ganggangsullaes in the southwestern islands and coastal area are performed by two steps; the first is the ‘Eorugi’ step which is started from Gin-Ganggangsullae and connected to Jajin-Ganggangsullae, and the second is the ‘Gyeorugi’ step which is connected from Jajin-Ganggangsullae to extra plays; and ‘Ttwimttwigi (jumping)’ is the step of sexual congress. This means that young women do ‘Eorugi’ to allure young men by singing a folk song slowly and solemnly, and then young men participate in this circle dance, and finally they check other genders’ mind by a prepared handkerchief. Subsequently performing Jajin-Ganggangsullae with fast-tempo Ttwimttwigi way, they enter into the step to perform various Gyeorugis. Pairs to have check each other’s mind go forward to the step of courtship, proposal and so on. Therefore, as shown in the old book, Ganggangsullae of the southwestern islands and coastal area could be said to the most primitively antient-typed folk play. 본고는 섬 지역 강강술래의 뜀뛰기 전통을 구애행위와 구애방식이라는 측면에서 접근해보고자 시도되었다. 강강술래의 기원에 대해 구애 전통을 논거 할 수 있는 『삼국지 위서 동이전』과 『양서열전』의 기록을 모티프로 삼았다. 크게 두 지역의 강강술래 전통을 살펴보고자 했는데, 신안군의 비금도, 사치도, 수치도의 사례와 진도의 사례를 보고하고, 해남군 우수영의 사례도 거론하였다. 신안군의 경우는 강강술래를 ‘뜀뛰기’ 혹은 ‘술래질’로 호명해왔다. 여기에는 총각과 처녀들의 구애놀이적 성격이 다분히 들어있는데, 그 특징적인 것 중의 하나가 ‘뜀뛰기’를 하는 도중에 손수건을 연인에게 전달하는 행위다. 부속놀이 중에 ‘수건놓기’ 놀이도 사실상 이런 맥락에서 해석할 여지가 있다. 진도군의 경우는 동사형 호명을 선호하는 것은 아니지만 맥락적으로는 ‘뜀뛰기’라는 용어를 사용하고 있으며 특히 처녀들의 강강술래 놀이판에 총각들이 짓궂게 훼방 놓는 놀이가 유형적으로 나타난다. 『진도군지』를 통해서도 드러나듯이 강강술래가 圓舞(輪舞)를 중심으로 다양한 놀이를 총칭하는 용어이자 처녀들이 총각을 유인하는 놀이라는 점이 드러난다. 해남군 우수영의 강강술래도 크게 다르지 않다는 점을 확인하였다. 결론적으로 서남해 도서 해안지역의 강강술래는 긴강강술래에서 자진강강술래로 이어지는 ‘어루기’의 단계와 자진강강술래에서 부속놀이로 이어지는 ‘겨루기’의 단계로 이어지는데 이 교접합을 이루는 단계가 바로 ‘뜀뛰기’라는 점을 논거하였다. 이는 처녀들이 느리고 장중한 민요 부르기를 통해 총각들을 유인하는 ‘어루기’를 하고, 총각들이 輪舞에 동참하게 되면 준비했던 손수건을 주고받는 등 마음을 확인한다. 이어 매우 빠른 템포로 ‘뜀뛰기’ 방식의 자진강강술래를 하다가, 다양한 ‘겨루기’가 이루어지는 놀이단계로 들어가게 된다. 물론 이때 서로 애정이 확인되는 쌍들이 있으면 구애, 구혼 등의 단계로 들어가게 되는 것이다. 따라서 고서에서도 확인하였듯이, 한국 서남해 도서지역의 강강술래야말로 가장 원초적인 고형의 민속놀이라고 말할 수 있다.

[기독교와 한국 전통문화의 화해를 위하여 09] 칠성의 꿈, 윷판바위에서 윷놀이까지

이윤선 대한기독교서회 2020 基督敎 思想 Vol.739 No.-

소포만의 간척기(干拓期) 민속음악 변화연구-남도들노래, 진도만가, 진도북놀이를 중심으로-

이윤선 목포대도서문화연구소 2006 島嶼文化 Vol.27 No.-

민요의 혼자 부르기와 여럿이 부르기에 대하여 -진도지역 유희요를 사례 삼아-

이윤선 한국민요학회 2009 한국민요학 Vol.26 No.-

This study attempts to look at the mechanism of inserting and competing used in “speaking alone” and “speaking together” found in Heunggerae (Sori), Dungdeongae Taryeong, Jindo Arirang (Sanaji Taryeong), and Gang-gang Sullae. To explain this, different singing methods of “singing alone” and “singing together” were enumerated. Heunggerae Taryeong expresses one’s feeling by speaking alone or through a monologue. Yukjabaegi has signs of “speaking alone” remaining in its refrain. In other words, it has the musical tone of “speaking alone”. It mainly shows melodious tones by using revealing tones and stretched tunes. Dungdeongae Taryeong is a round song which started from “speaking together”. It shows how the structure is made to emphasize the interactivity of singing back and forth. Especially, the playful character of the song stands out a lot. And this is closely related to the rhythmical characteristic of labor work. The editorial sequence which leads the story clearly emphasizes this. Gang-gang-sullae is a typical form of a bundle song which consolidates “speaking alone (singing alone)” and “speaking together (singing together)”. It can be seen as a bundle song. After analyzing all the examples, the aesthetic side of speaking, playing, laboring shown in “singing alone” and “singing together” and the inserting and competing which made convergence with the rhythm and melody was explained in a general overview.