놀이요법이론과 행동수정이론의 비교연구

정청자 이화여자대학교 대학원 1986 硏究論叢 Vol.14 No.-

여고생들의 무용학습실태와 의식에 관한 조사

정청자 江原大學校附設 體育科學硏究所 1995 江原大學校附設體育科學硏究所論文集 Vol.- No.19

This study was aimed to survey the actual codition, the sense on dance or appreciation of dance, and the consciousness of dance major of the high school girl students. The following conclusion was drawn out after an investigation tested on the number of 754 girl students from 8 schools on K province. 1) It truned out that 98% of the students had experienced the dance class, and the reason for not having experienced was because there are only male teachers. 2) It appeared that the dance class was conducted mainly in the classroom and the number of class fell short of. The class was being focused on dance theory, folk dance, aerobic dance, and creative dance. It also proved that 80% of the basic movement was taught in the practical class. 3) The degree of interest in the dance class showed high, and the general reason for not being intersted in was attributed to the learner's own problem such as the lack of interest and aptitude. 4) They showed a negative tendency towatds the influence of dance of life in the future, and 10% expressed for the dance class to be useless in reality while 65% saw it necessary. 5) In terms of the dance class for male students it turned out to be necessary from the psychological and socialogical point of view. The preferable items in the dance class tumed out to be aerobic dance, social dance, folk dance, showing the tendency of doing it with lively and light mind. 6) The lack of the opportunity to appreciate dance performance and little interest showed their negtive penchant, and they preferred play and music listening to dance. They also showed a negative opinion on majoring the dance.

創作舞踊學習의 創意性 伸長效果에 관한 硏究

정청자 江原大學校附設體育科學硏究所 1994 江原大學校附設體育科學硏究所論文集 Vol.- No.18

The Purpose of this study is to find out the effects of creativity development on the learning of creation Dance. 40 women (20 control & 20 experimental) abot 16 years old were voluntered as subjects. Duration of experimentation were 2 hours per a week and lasted 12 weeks. Results are following: 1. Experinantal group is better in the ability of work creation than those of control group, but there were significant difference. 2. They showed significant effects on openness, fluency, versatility, and creativeness in cognetive chareteristics of creativity.

餘暇活動 參加의 社會的 要件 : 椿川市內 主婦들을 中心으로 Like above results based on researches about social in women's leisure activity in Chunchon city can be derived

鄭淸子,夫基源,朴南煥 江原大學校附設 體育科學硏究所 1984 江原大學校附設體育科學硏究所論文集 Vol.- No.9

S. E. S. is one of the elements in resolving participation for individual leisure activities and is static leisure activity rather than dynamic activity. It is probable that that women try to participate in leisure activity dynamically, their husbands, however, have initiative in women's activities. However, it is certain that social elements in the step from family of orientation to family of procreation cannot be found apparently. This(research) remains a few questionable problems. One of them is to explain several elements except for choice of leisure activities and effective factors in participation in leisure activity; resolving participation in activities not only for women but all of the members in family.

아시아권 民俗舞踊의 文化史的 考찰

鄭淸子 강원대학 1983 人文學硏究 Vol.18 No.1

무용동작의 특성

정청자(Jung Chong Ja) 한국여성체육학회 1988 한국여성체육학회지 Vol.2 No.-

The dancing motion can be characterized as a mode of motions, suited for the composing principles of arts, given by an intentional and conscious formalization of all kinds of experience of everyday life. And, the motion can be achieved when the motion, expressing experienced emotional state, is consiously formalized by harmoneous induction of rhythms. Therefore, the dancing motion is a arts of formal and rhythmical expression of human emotion which is originated from ones instinctive desire and the combination of his mental faculty with physical energy. Everyday motion, on the other hand, may be defined as a purposeful, innately instinctive, subjective and reflective natural motion. In conclusion, the dancing motion may be generalized as the ideal culture-arts composed with the meaningful, reasonable and rational expression of human emotion whereas everyday motion as a primitive instinct.

東萊학춤의 民俗的 價値

鄭淸子 江原大學校附設體力硏究所 1980 江原大學校附設體育科學硏究所論文集 Vol.- No.5

The folkloric and artistic value of the Dong-Rae Hak-Choom, a crane folk dance, have been considered. The dance has been risen and developed over a period of hundred years as a popular art in Dong-Rae area, and was assigned as the Pusan Local Intangible Cultural Property Number 3. in 1977. The dancer's motion of the dance, wearing black hat and while traditional ceremonial costume, looks so delicate, gentle and degnified that is associated with the figure of a crane which has been esteemed as the symbol of a lofty scholar throughout the period of Rhee Dynasty. It comes to a conclution that the dance is a beautiful fruit produced in consequence of harmoneous combination of the crane esteeming thought of the age, life enjoying will of the people and artistic sense of the dancers, indicating that the dance is a valuable folk dance.

레저스포츠의 槪念追求 爲한 硏究

鄭淸子,朴南煥 江原大學校附設體育科學硏究所 1985 江原大學校附設體育科學硏究所論文集 Vol.- No.10

This study is designed to examine what is leisure-sport and the transition of sport. Leisure-sports, the conception combined leisure and sport, are amusements(plays) as a social instrument in spare time of human life and extension of physical ability and a kind of organized social phenomena in observing many rules.

중등체육교육과정 변경에 따른 무용 교육 내용의 변천 고찰

정청자,이무영 江原大學校附設 體育科學硏究所 1992 江原大學校附設體育科學硏究所論文集 Vol.- No.17

The curriculum of the secondary physical education in Korea has been reformed four times, in 1963, 1973, 1981 and 1987 respectively, ever since it was first established in 1955 by The Ministry of Education. And, the dance education program, being merely a part of the physical education in the course throughout the period, has been naturally changed accompanied by the reorientation of the curriculum. In the initial stage, 1955∼1963, the dance education was treated as insignificant and all they could do in the class was to cram the existing works because the first curriculum established in 1955 attached stress mostly on health, hygiene and physical strength. From 1963 to 1973, the second stage, the education for the whole man was particularly emphasized, and in dance education, thereafter, stress was placed on cultivation of the creativity and the power of expression that can help oneself to express ones body motion. The distinctive feature for the third stage, 1973∼1981, was that the program became active since it was settled to form 15% of the course. And the program was classified into theory of the dances, creative dances, Korean folk dances and foreign folk dances. The main point of the program in the fourth stage, 1981∼1987 was substantially the same as that of the third stage wish minor difference in that the foreign folk cances were assigned into three different school grades so as to make the student familiar stepwise with various cultures and customs from all parts of the world. In the last stage, from 1987 to date, the great emphasis was placed on the original dance in which student's originality can be exercised through the creative action expressing inner world of human nature by means of body motion. Consequently, this study apparently indicates that the secondary dance education program has been ceaselessly progressed even though the pace has not been agreeable. It should be urged, however, to reconsider and improve in that 1) a given condition for the dance education program such as class hours, teachers and familities in charges fall far behind the other part of the art course, music and fine arts: 2) this program is restricted only for the girls, and 3) this program is not yet liberated from the physical education.

中國舞踊에 關한-考찰

鄭淸子 강원대학 1982 人文學硏究 Vol.17 No.1