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차명희 ( Cha Myung-hee ) 무용역사기록학회 2009 한국무용사학 Vol.10 No.-
본 연구는 통영북춤을 동양사상으로 접근하여 춤의 형상의미를 밝히려는데 목적이 있다. 통영북춤은 큰북(교방고)을 중심에 놓고 4인의 무용수가 북을 둘러싸고 돌아가며 북을 치는 춤이다. 이 때 4인의 무용수는 오행(五行)을 나타내는 4방색의 복식(服飾)을 입고, 동ㆍ서ㆍ남ㆍ북으로 나뉘어 춤을 춘다. 춤추는 도중에 창사(唱詞)도 부르고 있어서, 노래하며 춤추고 악기를 연주하는 형식의 악(樂)ㆍ가(歌)ㆍ무(舞) 일체의 군무(群舞) 이다. 본 연구에서는 통영북춤을 기(起)ㆍ승(承)ㆍ전(轉)ㆍ결(結)의 4단계의 형식 구조로 나누어 보았다. 각 단계별 춤사위와 공간구성 작대(作隊) 등에서 동양사상적 특징을 형상(形象) 의미로 고찰(考察)할 수 있었다. 결론을 요약하면, 통영북춤은 처음 도입부에서 태극(太極)의 움직임을 드러낸다. 다음 음양(陰陽)의 분화(分化)와 오행의 형태를 드러내었고, 북을 중심으로 사정방(四正方)과 팔방(八方)을 도는데 우선(右旋)을 한다. 이로써 북을 치는 가운데 팔괘(八卦)의 모습이 보인다. 회선의 춤을 마치고, 마지막 종결부에서는 일렬횡대로 되돌아오는데, 이는 종시(終始)가 서로 만나는 양상이다. 이와 같이 시작과 끝이 맞물린 순환의 지속성을 함축한 통영북춤은 자연의 상징성을 이용하여 시간적ㆍ공간적 평화, 즉 우주 질서의 공존과 태평을 기원하고, 풍년을 기원하는 등의 형상의미를 보이려 했다는 것을 알 수 있었다. This paper aims to study the Oriental thought inherent to the Tongyeong dance with the accompaniment of drum playing and thus to identify the meaning of the dance form. The Tongyeong dance with the accompaniment of drum playing involves centering a big drum and the four dancers surrounding the drum and beating it one after another while dancing. The four dancers wear dresses in four-direction colors which symbolize the five elements of the Chinese cosmogony, are positioned east, west, south and north and then dance. They, while dancing, sing songs, therefore conducting a group dance which sings, dance and play an instrument. In this study, the structure of the Tongyeong dance with the accompaniment of drum playing is divided into four stages of introduction, development, turn and conclusion. The characteristics of Oriental thoughts were studied in dance movements and formations of each stage. In conclusion, the introduction stage of the Tongyeong dance with the accompaniment of drum playing reveals the movement of Taegeuk (the Korean cognate of Taiji, the Taoist concept of yin and yang). Also, the next stage reveals the differentiation of yin and yang and the form of the five elements, and the dancers turn clockwise around the four right directions and eight directions with the drum placed at the center. This reveals the form of Palgwe (八掛: eight powers of the universe) while the drum is being beat. After completing a circling dance, the dancers retreat in a line at the last conclusion stage, and this ending time symbolizes a form of mutual encounter. As such, the Tongyeong dance with the accompaniment of drum playing, which implies the continuity of the circulation of beginning and ending, was intended to use natural symbols and show the meaning of forms which symbolize prayers for peace beyond times and spaces, namely, the coexistence and peace of the universe`s order, and for a good harvest.
연천 전곡 용암대지 물거미 서식지의 생태 및 지형환경 연구
이민부 ( Lee Min-boo ),이상영 ( Lee Sang Young ),김란순 ( Kim Lan Soon ),차명희 ( Cha Myung Hee ) 한국지형학회 2016 한국지형학회지 Vol.23 No.4
This study aims to survey ecology and geomorphology of the water spider habitat located in the shallow wetlands and suggest the reservation methods of the healthy ecosystem of water spider, which is only one species in the world, in Jeongok Lava Plateau of Yeoncheon, Central Korea. This study investigated 173 categorizing vascular plant species in the water spider habitat wetland, reserved by the Korean natural monument. One of the most dominant species is Gijangdaepul(Isachne globasa), which is very important for the water spider habitat. Now the habitat is becoming in the crisis because of the increasing temperature and becoming dryer climate by the global warming and human impacts such as cropland irrigation canal and road constructions. For the more stable and healthy habitat of water spider species, further the study and endeavor are needed to restore wetland vegetations and sustain geomorphic conditions including the lava landform, clay and silt soil layer and surface water systems.
차명희,박혜인 啓明大學校 生活科學硏究所 1994 科學論集 Vol.20 No.-
This study is intended to identify the dichotomized structure of both sexes in the marriage life of husband and wife. This study used, as a qualitative method, a deep interview on the discrepancy between a dyad about their marriage realities. 20 couples were interviewed by the ethnomethodology. And the main results are as follows. In terms of marriage processes, husbands showed an active tendency while wives a passive one. This seems attributable to the effects of socialization. And in terms of role performance, roles were divided into public and private between dyads in the middle class, while couples together performed public roles in the lower class, but did not do private ones together. Consequently, couples were revealed to sympathize only half of each other's understanding and sympathy, and each of them recognized in a way that marriage realities between a couple are different. However, the origins of these discrepancy are a lot related to a society with the double standard, a structural division of role, and to discriminatory social areas, there should be alternatives for the realities in this respect.