무용교과 독립을 위한 방안

김말복 ( Kim Mal Bog ) 한국무용예술학회 2003 무용예술학연구 Vol.11 No.-

무용창조에서의 질적인 사유

김말복 ( Kim Malborg ) 한국무용예술학회 2016 무용예술학연구 Vol.60 No.3

본 연구는 무용창조에서 드러나는 예술적 사유의 특성을 설명하고자하는 목적을 지닌다. 안무자들이 지적인 사유나 정신적 판단 없이 예술적 창조를 하는 것은 아니지만 대다수의 철학자들은 무용에서 어떤 개념이나 이론을 발견할 수 없다는 이유로 무용의 지적 가치를 폄하하는 경향이 있어 왔다. 따라서 본 연구는 무용창조과정에서 발견되는 사유의 특성을 미국 철학자 존 듀이(John Dewey, 1859~1952)의 ‘질적인 사유(qualitative thought)’의 개념을 빌어 설명한다. 논의의 관건은 무용작품을 사유의 결과 즉 사유체로 볼 수 있느냐하는 것이다. 하지만 그보다 먼저 지적되고 설명되어야할 것은 무용창조과정에서 드러나는 예술적 사유의 특성이다. 따라서 듀이의 사상적 영향아래 예술창조에 관한 뛰어난 연구를 한 비어즐리(M. C. Beardsley)와 제랄드 마이어스(Gerald Myers)의 ‘움직임의 질(movement quality)’개념을 중심으로 무용에서 발견되는 질적 존재적 특성을 지적한 뒤 안무자들이 무용창작과정에서 자신들의 매체를 다루고 사유하는 과정에서 나타나는 무용 사유의 대상과 특성을 설명하였다.

孫昌涉의 作品에 나타난 非人間化 問題 : 「血書」「被害者」「未解決의 章」을 中心으로

오말복 釜山大學校 人文大學 國語國文學科 1979 國語國文學 Vol.16 No.-

현상학적 무용해석의 과제

김말복 이화여자대학교 한국문화연구원 1993 韓國文化硏究院 論叢 Vol.62 No.1

This paper deals with the phenomenological approach to the art of dance by the well-known dance scholar Maxine Sheets. Towards that purpose, Chapter 1 explains briefly the phenomenology of Maurice Merleau-Ponty, who may be regarded as the driving force behind the phenomenological movement of the 20th century and was also a prominent philosopher in his own right. Regrettably, an in-depth analysis of his profound philosophy can not be given, and only those parts which are deemed as having relevance to the art of dance in light of Sheets phenomenological attempt have been mentioned. The ensuing chapter summarizes such attempt of Sheets based on her main book, "The Phenomenology of Dance", while looking into two other essays by her which were aimed at clarifying her thoughts in the aforementioned book. Sheets train of thoughts follows that of Merleau-Ponty, and thus a comparison between her thinking and Merleau-Pontys theory of art was also made. The third and final chapter lists the problems of Sheets thoughts and the issues which they give rise to as perceived by this writer. Therefore, the purpose of this paper lies in providing some clues to the direction of future development of her thoughts rather than in being a critical evaluation in the strict sense of the word. The method of research herewith will be in the first part to explain phenomenology based on Merleau-Pontys main book "Phenomenology of Perception" and some changes in thought which surfaced in the ontological philosophy of his latter years. An explanation of Sheets application of Merleau-Pontys thoughts to the discussion of dance will be given in the next chapter along with a review of how her phenomenological theory of dance is similar to that of Merleau-Ponty. It may seem that the first chapters sub-sections on ⅰ) the body-consciousness and its impact on traditional physical concepts and ⅱ) dialectics, duality, and dimensionality, and the second chapters sub-section concerning dance as a special art form may deviate from the main focus of this papers discussion. But the intent of this writer in including them is to explain the philosophical background of art, the intrinsic differences in content between ontological and art theories, and how these differences manifest themselves particularly in the art of dance. This writer would like to find the significance of this paper in explaining the structure and value of the phenomenological research method which has brought about new possibilities for dance as an academic field, while pointing out the errors in Sheets application of phenomenology and the accompanying problems and issues which remain to be resolved.

처용무에 나타난 음양론적 의미

김말복 ( Mal Borg Kim ) 한국기호학회 2002 기호학연구 Vol.11 No.-

무용수의 몸

김말복 한국무용예술학회 2005 무용예술학연구 Vol.15 No.-

20세기 초엽 독일 현대춤에 나타난 실존적 의미와 해석

김말복 ( Malborg Kim ),이지원 ( Jiwon Lee ) 한국무용예술학회 2014 무용예술학연구 Vol.47 No.2

Opposition to Positivism and Rationalism, Existentialism was born out of social unrest and, a futile and unreasonable reality that pierced the 20th century. Starting from Kierkegarrd, Niche, Heidegger, and to Sarte, humanity was disappointed and suspicious within the relative faith. So the focus of existentialism is on looking toward the inner self, establishing a true human character and going back to our ego. As Sarte once said, where everyone faces death, being human is a choice between life and death. Actionable movement, where we know the properties of life, choose life’s problems on our own, and take responsibility for it, encounters the art, movement, and worries of the modern society of modern dancers. Dances of early modern dancers can be explained in several characteristics when interpreted with Existentialism. First is that they stand strongly against rationalism that ignores one’s true identity, will and emotion. They are also against a uniform beauty that combines all other specific characteristics of individuals with a rational standard and they have made their own new beauty. This is an emotional side or of their experience and identity. Second is men’s irrational existence in a struggle that started with anxiety of living and emptiness of life to find one’s true self expressed in death. The various interpretations and development of death is a face of transcendent humanity that confronts reality, does not lose hope and shows strength. The third is a recreation of open construct, space and time. Existentialist portrayed one’s unique value in thought of space, time and images of color, and refused a fixed frame or limitations utilizing open endings. Representative of this philosophy was the German dancers Wigman and Jooss who depicted active men in their work. They did not portray someone in a stereotype or within a set of values but showed ones’ self with the results of what they experienced. Wigman expressed with the body an existential being through a witch who realized her destiny with her own will and at the same time an incomplete being who sought self-salvation while denying traditional rules. Jooss also made experienced confessions and autonomous movement by creating divergent interpretations and characters of death. Their s are a confession of subjective thought, truth, introspection and action that leads to limitations of existentialism and conquest. This research dealt with early modern dance but has limits to encompassing the existential being dominantly seen today. One hopes that diverse interpretations of dance will be achieved upon the conceptual properties of Existentialism.

기호학적 관점에서 바라본 춤의 현대성과 표현

김말복 ( Malborg Kim ),이지선 ( Jeesun Lee ) 한국무용예술학회 2014 무용예술학연구 Vol.48 No.3

The study aims to highlight the modernity of dance and the meaning of expression again in the semiotic methodology, which had a great effect on philosophical thought throughout the 20th century when dancing was accepted as an independent genre of art. The study discussed the appearance of expression theory in which dance was approved as modern art as well as the meaning of dance expression from the perspective of semiology, that is the concept of the structural thinking of sign-signifier-signified and the concept of dynamic semantics. The key concept of semiology is to discover a principle by identifying the semantic phenomenon as a semiologic phenomenon and by structuralizing the system of its signification from the dichotomous view. Such a recognition of a structure is a result of an effort to discover and understand scientifically human reasoning and the consistent system of subsequent communication. Also an effort to unearth the law of reasoning and communication through movements in dance emerged consistently throughout the 20th century, and it is possible to see that movement language has been recognized as a communicative sign system just like semiologic methodology, and to put forth effort in building and spreading such a system. Headed by F. Delsarte, movement theorists including R. von Laban and E. Dalcroze approached and structuralized movement scientifically and this becomes the foundation of the sign of dance. They tried to understand the human body in which signs are expressed and to reveal the sign principle accordingly. Also, the choreographers of modern dance developed their own languages and began to establish dancing movement in accordance with the sign principle. The structural approach to movement and meaning by the choreographers of modern dance stands on the same principle of the research method of a semiologic view. Audiences who view modern dance must have been able to experience maximized appreciation of art when the principle matched the logic of the creation of signs by the choreographers while interpreting the signs against their own background. The theories of critics and leading artists in modern dance may be the result of constructing the logic of a signifier and meaning of such modern dance and of trying to have this recognized by the audience. Through the build-up of the process, modern dance has been poised as a beloved modern art that is able to reflect the zeitgeist of modern people and to express the search of meaning that the people of the times tried to pursue.

억압에서 해방으로: 춤과 몸

김말복 한국무용예술학회 2005 무용예술학연구 Vol.16 No.-

Nowadays academic discourses on body are the vogue in various research fields. But the seriousness and the richness of the body centered thinking really started since the development of body culture, which this writer named to explain the physical cultural phenomena of the 20th century.Therefore this paper followed the development of the body culture in Europe and America from the end of the nineteenth century to the first half of the twentieth century. And compared that with the introduction of body culture to korea through the influx of the modern civilization of the west in the early twentieth century. Also this paper explained ballet as the first and the main instrument of codifying the civilized body gestures. The physical characteristics and the body centered trend of the twentieth century culture were explained with the wild enthusiasm for gymnastics and body exercise, jazz and spectacle dance and the popular dance fever in and out of the musicals and movies. Also to understand the shock of the body as the sexual object and the western paradigm of body in korea, the traditional confucian concept of body and the method of cultivating one?s mind and body were looked into and this writer named the literary characteristics of the Chosun dynasty?s cultural atmosphere as the ?anti-body culture?.This study pointed out that the modernization of the korean culture in the early twentieth century were deeply influenced by and developed with the western paradigm of body and beauty. Also this paper examined the indexes of ?the liberated body?, that is. healthy, young, supple and attractive body in modern society. And in the post modern era, human speaks through their body.

춤을 사랑한 조선의 왕 - 효명세자

김말복 한국무용예술학회 2006 무용예술학연구 Vol.17 No.-