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김경은(Kyung Eun Kim),안문경(Moon Gyeong Ahn) 한국무용과학회 2007 한국무용과학회지 Vol.14 No.-
이 연구는 무용 안무가들의 창의성에 대한 개념과 요소를 탐색하기 위한 것이다. 이를 위하여 7인의 무용 안무가들을 대상으로 심층 면접을 실시하였다. 두 명의 연구자가 면접을 실시하였으며, 면접 후에 모든 자료를 필사하여 공통된 면접 자료별로 부호화하고, 각 자료의 주제어를 생성하여 결과로 제시하였다. 자료 분석의 신뢰성을 높이기 위하여 연구자간 삼각검증법이 적용되었다. 연구 결과 무용 안무가에게는 창의성이 있어야 한다. 그리고 무용의 창의적인 안무를 위해서는 7인의 안무가들 모두가 독창성이 필요하다고 하였고, 이 중에서 4인의 안무가는 독창적인 무용 안무가 관객에게 적응(이해)되어야 한다고 하였으며, 3인의 안무가는 안무 동작 또는 요소간의 조화가 필요하다고 제시하였다. 따라서 창의적인 안무의 심리적 요인(구인)은 독창성(originality), 적응성(adaptiveness), 그리고 조화(harmony)라고 결론 내렸다. 또한 무용 안무의 창의성은 작품의 내용 및 동작 표현이 독창적이면서도 관객에게 적응(이해) 가능하도록 조화롭게 구성하는 것으로 정의될 수 있다. This study intends to investigate the concept and factors for creativity of choreography in creative dance. For this purpose, 1) a review of literature regarding artistic creativity and choreography in dance were done; 2) an unstructured in-depth interview schedule was administered to a total of 7 choreographer, focusing on the creativity of dance choreography; 3) a qualitative analysis was done in terms of concept and factors for creativity of dance choreography through a series of description, coding, indexing with the application of triangulation method. Results indicated that dance choreographers needed an holistic creativity among elements of choreography and there were three different factors of creativity in dance choreography, i.e., originality, adaptiveness, and harmony. On the basis of these results, creativity of dance choreography is conceptually defined as"the harmonious composition of original and adaptive dance movements". Finally, the factors of creative choreography are originality, adaptiveness, and harmony of movements(factors).
팔굽혀 펴기 운동 시 지지면 간격에 따른 근 활성도 비교
오현석 ( Hyeon Seok Oh ),김지영 ( Ji Young Kim ),김경은 ( Gyeong Eun Kim ),이다희 ( Da Hee Lee ),유남우 ( Nam Woo Yoo ),최호정 ( Ho Jung Choi ),박평진 ( Pyeong Jin Park ),황현숙 ( Hyeon Suk Hwang ),김은혜 ( Eun Hye Kim ),강동연 ( 대한통합의학회 2013 대한통합의학회지 Vol.1 No.4
Purpose : The purpose of this study was to compare the muscle activities of infraspinatus, serratus anterior, upper trapezius, and triceps brachii in different supporting surface intervals during push-up exercise. Method : Subjects of the study were 18 healthy male students without any orthopedic or neurological injuries including neck and shoulder surgeries and can perform a push-up exercise required for the study. EMG was used to measure the muscle activities of four muscles. Result : There were statistically significant differences of all the muscles in three different supporting surface intervals(p<0.5). Muscle activity of upper trapezius was the highest(MVIC 39.40%) in the narrowest width and the lowest in the widest width. In infraspinatus, muscle activity was the highest(MVIC 36.23%) in the narrowest width and the lowest in the widest width. In serratus, muscle activity is the highest(MVIC 58.04%) in the widest width and the lowest in the narrowest width. In triceps brachii, muscle activity is the highest(MVIC 68.51%) in the widest width and the lowest in the narrowest width. Conclusion : Muscle activities are at the highest with the narrowest width in the upper trapezius and the infraspinatus. In the serratus and triceps brachii, however, muscle activities are at the highest with widest width.