沈从文的1949年起 文学的政治性与暴力实感经验研究 - 沈从文的两种殊异的绝境之实感经验的“暴力”层面比较 -

안선희 중국인문학회 2019 中國人文科學 Vol.0 No.73

This paper gives an explanation of the lived experiences of simulacre, especially the chronotope experience of the traditional regional culture of Xiangxi, and studies of the Dynamics of lived experiences. This study holds that lived experiences are a real existence for the hypothesis to study spatiality and literary mediated. Among them, the purpose of this research is to elucidate the historical and political events in ShenCongwen's literature, which are related to archives and records. The collective and representation of memory embodied in the autobiography (《从文自传》) and letter from 18 to 26 volumes in the complete works of ShenCongwen. This study discusses that the lived experience of violence and the political nature of ShenCongwen's literature in 1949. In the autobiography of Congwen(《从文自传》,1932), A record-to several acquaintances" (《一点记录——给几个熟人》,1949), confession of a person (《一个人的自白》,1949), 42 letters and essay from 1948 to 1951 of 18 to 26 volumes in the complete works of ShenCongwen, this paper explains two typed of despair Simulacre and violent lived experiences in ShenCongwen's period from 1902 to 1922 and the period of attempted to suicide in 1949.

[예배돋보기] 문화적 취향에 따라 예배도 다르게 드릴 수 있다

안선희 새가정사 2008 새가정 Vol.- No.-

[예배 돋보기] 성만찬예전은 성만찬기도로 절정에 도달한다

안선희 새가정사 2007 새가정 Vol.- No.-

[예배돋보기] 예배는 다양한 구성요소들의 유기적 통합체다

안선희 새가정사 2007 새가정 Vol.- No.-

[예배 돋보기] 개회예전에서 우리는 무엇을 행하는가?

안선희 새가정사 2007 새가정 Vol.- No.-

[예배 돋보기] 개회예전의 기도는 기도의 기본이다

안선희 새가정사 2007 새가정 Vol.- No.-

할프린 신체부분은유기법 중심의 소매틱 즉흥춤 프로그램이 무용수의 신체자각과 표현에 미치는 영향

안선희,박은화 한국표현예술치료학회 2018 표현예술치료 연구 Vol.1 No.1

This thesis studies the topic of the effects of the somatic improvisation dance program, which centers on the body-parts metaphor technique, body awareness, and expression of modern dance majors. As for more in-depth content, this research constitutes a program centered on the body-parts metaphor technique, which deals with life experiences and symbols that are inherent to corporeal bone and muscles, above all other various dances and recovery methods of Halprin, and it applies this program to modern dance majors to study its effectiveness. Most of the improvisation dance process consists of moments and creations of novel works as movements are realized, not of moving towards a goal with specific topics or intentions, and this process can be seen as putting focus on change and creation by awakening the body’s latent senses. In that respect, the research in this thesis argues that, in order to reformulate a program centered on Halprin’s body-parts metaphor technique and to thereby achieve understanding of one’s body and creative expression, a creative program that instigates deeper understanding of one’s own body and ability to express creatively must be designed instead of lessons and coaching on techniques. Furthermore, a somatic characteristic of improvisation dance is that the human is the organic being of the body and the mind. This process, by suggesting the possibility of healing a person through he or she placing an 188 한국표현예술치료학회(제1권 제1호, 2018년도) unconditional trust in the physical/mental capability of humans, becomes a meaningful working process that can reveal one’s ability to express creatively through choreographing or creating, and that includes an internal healing process as well. With a movement-oriented expressive arts therapy program at the center, body-parts metaphor technique, which works with the body, is the integral application of expressive arts with the Jungian psychology of active imagination, the various methods of healing in Gestalt’s psychotherapy, etc. Based on such a theoretical background, this thesis attempts to practice the work of integrating the body and heart of the participants of this research, who are modern dance majors, using imagination and association to search for emotions and images remembered by each body part and connected with one’s life. This, ultimately, is also the aim of this research. At the same time, the somatic method is an important process in improvisation dance, and the program in this research is considered highly applicable because it is developed around the physical self-consciousness and the metaphorical relationship, both of which can actualize the process in a more specific manner. Therefore, this research proceeds through two-level studies: the first level consists of a program that revolves around a somatic body-part metaphor technique combined with improvisation dance, and the second level consists of examining physical/mental changes through physical self-consciousness and expression. In order to draw these processes, the following research questions have been posed. The first research question organizes a somatic improvisation dance program that revolves around Halprin’s body-parts metaphor technique. The second research question verifies how the program affects modern dance majors. Specifically, it looks at how a somatic program influences the physical self-consciousness and expression of modern dance majors. To test this, a total of seven people were divided into two groups and participated in the experiment. The following is a summary of the physical self-consciousness ability, expression, and physical/mental changes caused by the application of the somatic method of body-parts metaphor technique. First, after looking at the subcategories of physical self-consciousness capability, physical competence showed the greatest change, followed by physical interest and internal self-consciousness, a manner of order that revealed that the program influenced the participants’ physical self-consciousness competence. Second, after looking at the subcategories of the above analysis, expressivity showed the greatest change, followed by variety, individuality, and significance, leading towards the conclusion that the program is effective in improving the participants’ expressivity, variety, and individuality. As a result of both quantitative research as well as the analysis and observations of qualitative responses from individual participants, it is revealed that there is a special response from and effect on the physical, mental, and cognitive aspects of various areas. Therefore, this study, which examined the effects of the somatic improvisation dance program focusing on Halprin’s body-parts metaphor technique on the body awareness and expression of modern dance majors, analyzed the results before and after applying the program to the participants. The results showed that this program contributed to quantitative and qualitative changes in the research participants at various levels, and it was effective in improving their body awareness and creative expression. 본 논문은 할프린 신체부분은유기법을 중심으로 한 소매틱 즉흥춤 프로그램을 현무용 전공자 들에게 실시하여 즉흥춤 작업 과정에서의 신체자각과 예술 표현에 미치는 영향이 어떠한가를 연구 하고자 하였다. 현무용가이자 예술교육자로 현재까지 활동하고 있는 할프린의 다양한 춤과 통합적 교육 방 법들 중, 신체부분은유기법은 신체 부분의 구조와 기능으로 인해 뼈와 근육을 중심으로 행하는 동 작들이 삶의 특별한 경험들을 만들어 내고, 그 경험들이 삶의 상징성을 지니고 있다고 보는 현상 학적 작업 구조이다. 본 연구에서는 신체부분은유기법의 기본 관점 및 기법을 무용수들을 위한 프 로그램으로 재구성하였다, 또한 이 프로그램을 통해 참여자의 체험들을 분석해보는 것으로 이루어 졌다. 연구참여자들의 경험을 사전ㆍ사후로 분석해 본 결과 이 프로그램은 연구 참여자에게 실질 적인 도움이 되었으며 참가자들의 신체자각과 표현에 변화가 나타났다는 점에서 각 개인의 심리 적, 정서적인 부분에 긍정적 변화가 일어났다. 이러한 결과를 토로 그들의 창조적 예술 작업에 다양한 측면에서 자원이 확장되었다는 점과 더 나아가 무용교육의 기초자료로 활용할 수 있다고 하겠다.

沈从文的“实感经验”与20世纪中国文学的 “世界性因素”研究

안선희 중국인문학회 2019 中國人文科學 Vol.0 No.72

Lived experiences(实感经验) are a literary poetics originally proposed by Fudan University Zhangxinying(张新颖). Livedexperiencesareconsiderednecessaryinorder to challenge exceed philosophical theorizing of literary criticism and give us the cognitive knowledge to objectively criticize emotional simulacre regarding the schema between text and life. This paper discusses about the changes in the use of lived experiences poetics in the academic context of Fudan, as well as the interpretation of the narrative aesthetics in the methodology of lived experience in the poetics of Fudan's literary research. This paper sublimates the system of historical schema of ShenCongwen and lived experiences to the element of Weltliterature in the 20th century Chinese literature that inherits from history of Fudan comparative literature research.

로마노 과르디니(R. Guardini 1885-1968)의 예배이해 연구

안선희 한국실천신학회 2018 신학과 실천 Vol.0 No.61

예배의 변화에 대한 열망이 깊어가는 시대이다. 이 시대에 대한 성찰은 독일 신학자 로마노 과르디니(R. Guardini 1885-1968)를 떠오르게 한다. 과르디니는 오늘과 마찬가지로 ‘예전에 대해 열광하는 시대’를 살며, 목회를 하고, 신학을 가르쳤다. 오늘 한국사회와는 다른 역사적, 문화적 배경의 과르디니가 소위 ‘예전에 열광하는 시대’를 살면서 제시한 통찰이, 그 어느 때 보다 예배에 관한 논의가 활발한 현재의 한국교회에 성찰의 실마리를 제공할 가능성이 있다. 이런 이유에서 이 논문은 로마노 과르디니의 예배이해를 연구한다. 예배이해는 예배자의 삶의 자리와 인간에 대한 이해를 비롯해서 세계관 및 문명이해와 깊은 연관 속에 있다. 그래서 이 논문에서는 과르디니의 생애와 사상의 울타리를 먼저 서술하고, 그의 예배이해를 다룬다. 로마노 과르디니는 무엇보다도 먼저, 예배와 삶, 정신과 행위, 놀이와 진지함 등 자칫 대립 또는 모순적인 이항대립쌍이 통합되어야 할 것을 강변한다. 나아가 예배는 경제행위와 같이 분명한 목적을 지닌 행위와는 달리, 무(無)목적적이라고 주장한다. 그에 의하면, 예배는 마치 놀이와도 같다. 다른 목적을 달성하기 위해 복무하는 행위가 아니라, 그것 자체로 목적인 ‘놀이로서의 예배’이다. 마지막으로 자칫 예배의 미학이 놓치기 쉬운 점을 지적함으로써 당시 예전갱신의 방향성을 제시하고 있다. 예배에서의 아름다움에 대한 추구가 씁쓸한 인간구원의 문제를 넘어서지는 못한다는 것이다. 오히려 모든 표현방법과 수단을 통해 드러나고, 말해지고, 성취되어야 할 것은 진실, 영혼의 운명, 실제의 삶이다. 과르디니의 ‘예배의 진지함’에 대한 통찰은 아름다운 한국교회의 예배를 예리하게 성찰하도록 돕는다. 로마노 과르디니의 신학적 작업들은 제 2차 바티칸 공의회의 예전갱신에 근거가 되었다. 과르디니는 무엇보다도 의식적이고 능동적이며 완전한 예배에의 참여의 중요성을 언급한다. 구체적으로 진정한 참여는 예배자의 ‘고요’, ‘침묵’, ‘집중’ ‘행동’을 통해 가능하다. Thirst for a change in liturgy is stronger than ever in Korea now. The insight into this thirst brings German theologian R. Guardini, who lived in ‘the age of enthusiasm for liturgy,’ serving church, and teaching theology. His insight from different historical and cultural background could give a clue for insight to Korean church in its active discussions on liturgy. To understand liturgy is to understand the life and the world view of the people involved in liturgy, and their understanding of humanity and civilization, also. The life and thoughts of Guardini will be described at first, and his understanding of liturgy will be covered later. Guardini argued that the seemingly opposite elements like liturgy and real life, mind and behavior, seriousness and playfulness should be integrated. Unlike other activities with clear purposes as economic one, liturgy is an aimless activity for itself. Liturgy is like a play, which serves no other purposes but its own, ‘liturgy as a play.’ He also pointed out things liturgical aesthetics in suggesting the direction for liturgical renewal in his time. He believed the pursuit for the liturgical beauty could not be prioritized over the problem of human salvation. Rather, it is truth, destiny of spirit, and real life that must be revealed, told, and accomplished by any methods and means of expressions. His insight into ‘liturgical seriousness’ inspires a critical reflection on Korean liturgy, which seeks for liturgical beauty only. Guardini’s theological work provided a ground for the liturgical renewal of the Vatican Council II. He emphasized conscious, active, and full participation in liturgy, which could happen by ‘quietness,’ ‘silence,’ ‘concentration,’ and ‘action.’

[예배돋보기] 말이 전부가 아니다

안선희 새가정사 2008 새가정 Vol.- No.-