무용미학 연구의 성과와 과제

오율자 한국무용학회 2007 학술대회 Vol.2007 No.1

예술에 있어서 상상력의 근원

오율자 한국체육철학회 2010 움직임의철학 : 한국체육철학회지 Vol.18 No.1

This research's primary goal is to explore origin and meaning of imagination in arts. The debate regarding arts has been ongoing for quite some time. Imagination is one of the core components of arts. It is needless to say that finding a clear-cut solution to the debate regarding imagination is a daunting, if not impossible, task. Arts can and should be considered as an ability to create a distinct and unique world using an artist's imagination. Thus, role of imagination in arts and artistic expressions can only be perceived and interpreted by trained perspectives. Generally, imagination refers to humans' capability of conjuring up things in our minds, whether it is based on real experience or not. However, such desire-driven "fantasy" only serves humans' own egos and should be considered separate from "imagination." Imagination mimics, re-interprets, and re-creates images into symbols. Imagination is an outburst of humans' mental capability, as well as our desire to forsee and plan our future. Therefore, imagination does not have solid theoretical foundation nor physical perception; imagination is based on amorphic foundation that defies categorization and only accepts senses and emotions as its guidelines. The problem can be summed up in the following 4 areas. 1. Origin of imagination in arts comes from language, capability and state of human minds. 2. Imagination in arts frees from the concept of rationality and logic of everyday world; it grants us unique and distinct worlds in where we are allowed roam freely 3. Imagination is not based on whims that change depending on our daily experience. It is a accumulative emotion that is derived from commonly accepted concepts and harmony among such concepts. 4. Imagination can better be understood, not as theoretical concept, but as free-form sense and emotion. Role of imagination in arts is that of a core component as well as motivation. Human mind can be categorized into 3 distinct realms: Sense, Reason, Imagination. What drives human imagination still largely remains as a mystery. Mythically speaking, the engine behind human imagination can be defined as action of certain deities or reflections of human souls. Psychologically speaking, it is sometimes defined as manifestation of status of human brain including mental illness. Thus, a more comprehensive approach should be taken for the research. 본 연구는 예술에 있어서 상상력의 근원과 의미를 탐색하는데 연구의 목적이 있다. 예술은 독자적 세계로서 존재하며 상상력을 창출하는 능력이다. 예술표현에서의 상상력은 교육된 지각에 따라 표현되기도 하며 해석되기도 한다. 일반적으로 상상력이란 우리 마음대로 공상할 수 있는 능력으로 지칭될 수도 있지만 인간의 욕망에 근거한 자의적인 공상으로부터는 구별되어야한다. 상상력은 이미지를 모방하며 허구의 상을 만들어낼 뿐만 아니라 상징적인 이미지를 만들어내는 인간의 정신활동이며 미래를 기획하는 인간 능력의 발산이다. 상상력은 이론적 인식이나 물리적 지각, 또는 개념의 특성의 표현이 아니라 보다 자유로운 상태에서 구성되는 감각적 이미지들이다. 따라서 예술에서의 상상력은 직접적인 실용성이나 객체적 현존성과는 무관한 방식으로 수용된다. 이상의 문제를 요약하면 다음과 같다. 첫째, 예술에 있어 상상력의 근원은 정신의 내적 능력, 정신의 언어이며 정신의 형태이다. 둘째, 세상의 비합리적인 것으로부터 우리를 해탈시키고 독자적 세계로서 정신적 해방을 얻는다. 셋째, 그때그때 접하면서 느끼는 대상에 따라 감정이 변화하는 것이 아니라 수용된 개념들의 조화를 통해 총체적으로 느끼는 감정이다. 넷째, 이론적 인식으로부터 보다 자유로운 감정이다. 따라서 예술에서의 상상력은 예술 활동의 근원이며 토대가 된다는 결론이다. 인간정신의 상상력을 가동하는 주체는 신화나 마법, 영혼의 매체, 심리적 측면에서 정신적 질병까지도 포함하므로 상상력의 근원에 대한 보다 폭넓은 연구가 시도되어야할 것으로 제언한다.

한국무용지도자의 실버문화교육 현장 실태

오율자,권명주 한국무용학회 2008 학술대회 Vol.2008 No.1

인문 , 사회과학논문 : 서원 , 김문숙의 춤의 관점

오율자(Yul Ja Oh) 대한무용학회 2001 대한무용학회논문집 Vol.30 No.-

한국 창작무용음악의 효과적인 제작방법에 관한 연구

오율자(Oh, Yul-Ja),이정화(Lee, Jung-Wha) 한국체육철학회 1997 움직임의철학 : 한국체육철학회지 Vol.5 No.2

Dance is general art. Therefore, to produce a work, it needs to cowork with other, arts and dancers need to get expert knowledges about related fields as well as dance. Specially, in these fields, music which has closed relation with dance in the embryological theory has a great influence on the effective production of dance and choregraphic flow, so it is much more required to study about music. Recently, the works of creative dance have got to need more objective and concrete dance music as the operation of creative dance has been proceeding briskly. As the result, it is easilly shown that choreographers take dance music to musicains, which makes a new dance music type called Creative dance music. However, as creative dance music needs more coworking hours between choreographers and musicains other fields do, it causes lots of problems to be solved. So this study presents effective production methods of Korea creative dance music by grasping every problem and finding improvements in order to approach creative dance music production methods which can make an effect on elevation of the quality of Korea dance creation.

무용의 예술적 경험에 관한 연구

오율자(Oh, Yul Ja) 한국체육철학회 1996 움직임의철학 : 한국체육철학회지 Vol.4 No.1

John Dewey`s `Art as Experience` is that universal experience, which is gained from daily experience, is the expression of the organized spiritual world of experience which is attached to artistic experience by aesthetic attitude. That is, daily experience is regarded as an object of art and the conversion into art of dance through the body is looked upon as a domain of true experience. The aim of the art of dance is to grasp how daily experience is immanent in the art of dance. Accordingly, the result of this paper on the artistic experience in dance as follows. 1. Dance is the expression of the spiritual world beyond the body and the art of dance can`t be in proportion to the size of the spiritual world, for it is confined to only the human movement. 2. Dance is not only simple movement and experience, but is completeness through the integration of movement which occurs when dispersed objects are united and organized, and their meanings are concretely understood and linked together. 3. Dance is not satisfied with an object. It is not the description but the process of dance that matters in taking an artistic view of all the objects. 4. Dance is removed from the training of technics, which enjoins tolerance and the experience of the perception and cognition acquired through the direct relationship between artistic objects and things is very important. According to the above, by reducing art to real life in society and bringing artists` interest in the surroundings of our life, J. Dewey tries to connect directly art with experience. His view as such is to sublime social needs into education. Nowadays, our education has laid emphasis on the intellectual activities. In fact, though there is logics which treats with intelligence, it is not until the late in 18th century that aesthetics or artistics which deals with emotion is recognized as a learning. In the coming 21th century. we should not only think of intelligence and emotion but touch them as well. With such interests and efforts, we should revive the powers latent within abundant human emotion and develop the education of modern art.

무용예술의 미적체험에 관한 연구

오율자(Yul Ja Oh) 한국체육철학회 1995 움직임의철학 : 한국체육철학회지 Vol.3 No.1

John Dewey told that the fundamental objective of the art-work`s creation and appreciation and appreciation is to seek aesthetic quality and the meaning of aesthetic objects, reconstruct them by oneself, generalize them, and consquently try to aesthetic value orintation through the activities of value research. In view of pursuing the aesthetic value in the aesthetic experience, the better understanding occupies important position, especially limitting the aesthetic value object to dance-art. In this respect the purpose of study is to help choreographers, dancers and audience to understand the structure and the essense of the aesthetic experience. In addition, I tried to find the thought-difference by comparing Korean dance with modern dance, ballet about aesthetic value through the questionnaire. The major contents of my study are as follows: First, tried to find What is the structure of aesthetic experience?. Second, tried to find How the aesthetic value is explained?`. Third, tried to find What is the essense of aesthetic experience?. The last, tried to find the specific results by comparing Korean dance with modern dance, ballet when having the aesthetic value. This study is expected to be helpful for choreographers, dancers and audience to appreciate the dance-art-work effectively through the better understanding of the aesthetic value and the aesthetic experience itself in dance-art.

춤에서의 신명체험에 관한 연구

오율자 ( Yul Ja Oh ) 대한무용학회 1995 대한무용학회논문집 Vol.18 No.-

인문 · 사회과학편 : 무용예술(舞踊藝術)의 미적가치(美的價値)에 관한 연구(硏究)

오율자(YulJaOh) 한국체육학회 1993 한국체육학회지 Vol.32 No.1

John Dewey told that the fundamental objective of the art-work`s creation and appreciation is to seek aesthetic quality and the meaning of aesthetic objects, reconstruct then by oneself, generalize them, and consquently try to aesthetic value orientation through the activities of value research.In view of pursuing the aesthetic value, the effective activities of aesthetic value research occupies important position, especially limitting the aesthetic value object to dance-art.In this respect, the purpose of study is to help choreographers, dancers and audience to understand effectively the aesthetic value of dance-art.The major contents of my study are as follows;First, try to define, arrange the essence and the characteristics of dance-art. Second, try to understand better the structure of the aesthetic aspects of dance and the general aesthetic value in art. Third, try to find the aesthetic value of dance art in detail.This study is expected to be helpful for choreographers, dancers and audience to appreciate the dance-art-work effectively through the better understanding of the aesthetic value in dance-art.

여성주의적 관점으로 본 무용 예술에 관한 연구

오율자(Oh, Yul Ja),서리라(Suh, Li ra) 한국체육철학회 1998 움직임의철학 : 한국체육철학회지 Vol.6 No.2

When we address feminism as a liberation of human being through an exploration of women`s identities, the 「Art of Dances」 plays a vital role in expressing the soul through choreograghy and improvisation, using the human body as its means of expression, thus making dance better than any other form of art for achieving the socialization of women. This paper reviews the evolution of western modern dance and the history of Korean women s dance from the late 19^(th) century to the early 20^(th) century from a feministic point of view, i.e., how the feministic trend of the dancers develop its expression and directions in dach different social structure, how the concept of dance has changed through time in the Korean society, which is very patriarchial and chauvinistic, and how the absolute domain ratio of female dancers in the dance population contributes to the socialization of Korean women. Whin dance is considered as a way of expressing the inner world by a series of body movements, the visionary image of dance itself constructs a contraction image of men and women, and in other related subjects and/or themes, this image is again reflected onto dance pieces on stage. The position of women in dance is greatly influenced by a series of complex historical and cultural factors. Considering the dance drill exercises, its policy, its organization and supporting policy, and an evaluation of how its works, the effect of political power and male-oriented social structure, coupled with a power-oriented economic system and ideological concepts, greatly influences the weaker role of women versus that of men. Women, directly or indirectly influenced by feminism, endeavour to pursue and achieve a renovative progression through their emotions and strong will. As a result, the increase in the female dance population in Korean society contributes to an independent female portrait. This signifies that dance is no longer an exhibition of body, but an expression of soul, a general language of art. Therefore, looking at the future role of women in the 21^(th) century, Korean dance as an art should develop its own innovative form in search of the value of women.