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한국 근대춤의 문화표현적 특성에 관한 연구 : 교방굿거리춤과 최승희춤 움직임 분석을 중심으로
유미희 韓國舞踊敎育學會 2002 韓國舞踊敎育學會誌 Vol.13 No.1
The purpose of this study is to analyze characteristics of movement in traditional Korean dance and Shinmuyong, creative Korean dance, from socio-clutural perspectives. In this research, I focus on "Gyobang gutkeori-chum(a Folk Cultural Treasure in Gyeongsang-namdo area)," which is the origin of Salpuri-chum and "Se-gaji jeontong rideum(Three Traditional Rhythms:choreographed by Choe Seung-heui)." that includes authentic movement style of Choe Seung-heui. In this research, I notate parts of these two dances in order to examine gestures of arms and the body be using Labanotation. In addition, I establish choreometrics, in order to analyze movement of upper and lower body. Furthermore, I discuss the characteristics of movement based of Space harmony theory that is used to understand spatial structures and Effort-Shape elements. According to this research, Gyeobang gutkoeri-chum contains liberal, active and flexible movement characteristics and Choe Seung-heui's dance presents light and vigorous mood. Therefore, these two dances represent idealistic image of modern Korean culture which also relate to self-awareness of Korean woman. Traditional Korean dance emphasizes fertility and inner strength of female body which was the ideal image of womanhood in traditional Korean society. On the other hand, Choe's dance represents sensibility and enchanting feminine appearance. However, distinctive quality of Korean traditional dance could be observed in Choe's dance which contains traditional movement vocabulary, repeated movement sequence, and dynamic and improvisational movement.
유미희 韓國舞踊敎育學會 2000 韓國舞踊敎育學會誌 Vol.11 No.1
This paper deals with the issue of sexuality in relation with the social power structure. It's purpose is to disclose the social and psychological identity of modern women by analyzing the movements of Choi Seunghui's dance on the basic of the concept and character of sexuality and linking them to the made of appreciation of the audience. The results are as fellows: The feminine beauty and romantic sentiments of Choi's dance wart an expression of the image of traditional women, which occupied the minds of men and women alike as an aesthetic image of the time. With the costume of soft, thin and lustrous material, the wavering of the skirt seen in the movement of turning highlighted her feminine beauty, and her half-naked shape displayed in "Bodhisattva Dance" was an expression of her will to release the secretly oppressed sexuality by exposing the body as a symbol of femininity rather than as an object of conventional eroticism so as to overcome the physical difference of men and women seeing them within a broader framework of humanity. Especially, the androgynous look in Choi's dance was a method of expression to fuse finely the characters of men and women sharing the elements of dress of both genders beyond the fixed ideas of masculinity and femininity. For women, it was to cheese an active life as a working member of society, and for men it was to attempt a well-intentioned adventure for feminine sensitivity and beauty. The main point is that she was intercrossing the boundary of masculine and feminine styles in costume and action alike while changing her dresses, which demonstrated her flexibility for gender. Therefore, Choi's dance can be characterized as a hermaphrodite multiplex image, of which the feminine sexuality allowed all the desiring of women while compromising with the patriarchal unconsciousness . This paper is intended to present various viewpoints in the study of the history of dance by investigating the sociocultural character of modern dance, concentrating on New Dance, which is coming to the fore as one of the most important subject for discussion.
유미희 한국초등체육학회 2015 한국초등체육학회지 Vol.21 No.3
이 연구는 처용설화에 나타난 처용의 춤과 성서의 법궤설화에 나타난 다윗의 춤을 비교 분석함으로써 동서양 춤 의 통시적 관점을 통해 초등교육에서의 춤의 가치를 탐색하는데 그 목적이 있다. 연구방법으로는 문헌연구를 중 심으로 처용의 춤과 다윗의 춤 관련 서적, 논문, 인터넷 자료 등을 바탕으로 하여 춤의 연행배경, 내용, 그리고 음악, 의상, 움직임의 특징과 같은 여러 요소들을 종합적으로 살핌으로써 춤의 의미와 특성을 밝히고 있다. 본 연 구결과는 다음과 같다. 첫째, 처용의 춤과 다윗의 춤은 벽사(辟邪)와 진경(進慶)의 의식적인 춤으로 신과의 화해와 평화를 추구하고 있다. 둘째, 처용과 다윗은 예술적 능력의 소유자로 길거리 가무에서 처용은 자유분방하고 절제 된 움직임을 사용하는가 하면 다윗은 빠르고 격정적인 춤으로 신에게 제사를 드리고 있다. 셋째, 처용과 다윗의 춤은 인간과 신의 조화로운 관계를 표현하고자 하는 것으로 이는 초등무용교육에서 다문화교육의 하나로 화해와 공존을 추구하는 다문화적 시민성을 양성하는데 중요한 기제가 될 수 있다. 넷째, 춤문화의 보편성과 특수성을 통해 동서양의 문화를 이해하고 소통하는데 중요한 척도가 될 수 있다. The objective of this study was to provide a diachronic viewpoint of dance in the Eastern and Western worlds through exploring the meanings of dance observed in Cheoyong’s dance and David’s dance. As to research methods, the meaning of dance in each cultural region was explored mainly through literature review, focusing on the background and contents of dance performance, the characteristics of dance movements, etc. The results of this study are as follows. First, Cheoyong’s dance and David’s dance were ritual dances for keeping away evil spirits and seeking blessings, and they pursued reconciliation and peace with God. Second, Cheoyong and David were extraordinary characters with outstanding artistic talents. In worshiping God, on the other hand, Cheoyong used unrestrained and moderate movements while David used solemn but quick and violent movements in his street dance. Third, Cheoyong’s dance and David’s dance expressed the human will to establish harmonious relationships, and therefore, they may be effective as an important mechanism in implementing multicultural values as a type of cultural education in school.
유미희 韓國舞踊敎育學會 2009 韓國舞踊敎育學會誌 Vol.20 No.2
The objective of this study was to understand the current state of dance education in Korea and prospect its future by examining the development of Korean dance education in response to historical and social changes as the factors of educational environment. Through literature review and field surveys, I studied school dance education based on the government's education policies, other dance education activities outside school, and the trends of research on dance education in academic circles, and presented the results and problems of dance education in Korea. In the results of this study, dance education in Korea can be divided into three periods according to the government's education policies. The first period is the early period (1945∼1961) when the concept of education dance and the perception of professional dance education were established with the foundation of the Chosun Education Dance Research Institute. The second period is the authoritarian period (1961∼1992) from 1960 to the beginning of the 1990s when dance education was fully institutionalized. The third period was the democratization period (1993∼2008) when 'the publicness of dance education' was emphasized. In this way, from the 1^(st) National Curriculum to the present, dance education in Korea has been regarded as an area of physical education in elementary and secondary education, and its contents have been gradually developed into an art curriculum. In educational policies or systems, however, there are problems to be solved as follows. First, in the aspect of educational equality, opportunities for dance education should be provided to all people with none excluded. Second, the dance curriculum should be specialized. Dance education, which is regarded as a part of physical education, cannot produce its educational and artistic values in terms of the contents and operation of education. Thus, for the specialty and identity of the dance curriculum, dance education should be separated from physical education and secure its specialty and autonomy in the contents and operation of education. Third, the differentiation of advanced dance education is required in order to cope with changing needs of society and to provide productive job opportunities. Each university should have distinguished education goals and construct dance infrastructure in each area for raising creative international manpower. Fourth, dance capitals should be expanded for lifelong education. When the four solutions are implemented, dance education in Korea will display its strength and influence.
유미희 한국무용기록학회 2007 무용역사기록학 Vol.13 No.-
본고는 해방공간기(1945년 8.15해방~1950년 6.25발발 이전)의 무용교육과 그 활동상황을 고찰함으로써 한국무용교육의 역사적 위상과 동향을 새로이 인식하고 향후 무용교육 발전방안 모색의 단초를 제시하는데 그 목적이 있다. 해방공간은 우리 역사에 있어서 정치적 혼란 속에 각 분야에서 다양한 활동이 펼쳐진 시기로 민족의 해방을 기점으로 주체성 찾기에 여념이 없었으며 그 과정에서 혼돈과 반목을 거듭하면서 새로운 진로 모색에 집중한 시기였다고 할 수 있다. 무용의 역사에 있어서도 해방공간기는 시대적 변화와 조류에 편승하면서 현대 무용교육의 토대를 마련한 중요한 시기라 할 수 있다. 이에 본고는 이론적 배경으로서 해방공간의 사회 문화적 흐름과 교육계 동향을 살펴보고 무용에 있어서의 조직체를 중심으로 무용인들의 일반적 활동사항을 고찰한 후 그 속에서 전개되었던 무용교육의 흐름을 통해 해방공간기의 무용교육의 특징과 의의를 결론적으로 제시하고 있다. 연구방법은 평전, 신문, 잡지, 서적 등 문헌연구를 중심으로 하였다. 연구결과 해방공간기 무용교육의 특징은 '새교육'이라고 하는 미국의 신사조 열풍속에서 아동의 창의력과 개성에 입각한 교육 방법을 추구하고 있었으며 창작무용은 이러한 시대적 요구를 잘 반영하는 교육적 형태 중 하나였다고 할 수 있다. 특히 조선교육무용연구소를 중심으로 전개된 교육활동은 해방공간기의 무용교육의 형태와 그 의의를 구체적으로 예시하고 있는 대표적 형태이며 이는 다음과 같다. 첫째, 춤 아카데미의 산실로서 네 개의 분과에 따른 다양한 교과과정의 배정, 이론과 실기를 분리한 교육내용으로 무용에 있어서 체계적인 교육과정을 전수했다고 할 수 있다. 둘째, 리드믹(rhythmic) 율동에 기초하여 감정과 연관된 신체운동의 조화를 꾀한 유리드믹의 훈련방법으로 개인의 내적감정을 자유롭게 표현할 수 있는 창작무용교육의 기틀을 제시했다는 점이다. 셋째, 무교추의(무용교과독립추진위원회)의 최초의 형태이며 무용교육인력을 배출했다고 할 수 있다. 무용교육을 목적으로 조직된 최초의 단체라는 점과 함귀봉을 비롯한 조선교육무용연구소의 활동뿐 아니라 김세택, 이병위 등을 통해 보급된 교육무용은 '신교육'이라고 하는 시대적 요구에 잘 부합되면서 개인의 자발성과 창의성을 중심으로 하는 새로운 교육방식의 하나로 전개되었다. 이 모든 움직임은 각종 강습회를 통해 교육무용을 지도할 교사의 배출을 가능케 했을 뿐 아니라 발표회와 예술제를 통해 교육 무용을 선보임으로써 무용에 대한 인식 전환과 대중화에 일조를 했다는데 그 의의가 크다고 할 수 있다. This paper examines the dance education during the Post-Liberation Period in Korea (from the end of WWII up to the beginning of the Korean War: August 15, 1945 ~ June 25, 1950), which corresponded with radical changes in contemporary socio-political circumstances. By doing so, this paper further aims to understand the status and trend in dance education in Korea and make suggestions for future dance education. First, I will examine the trend in socio-cultural and educational arenas during the Post-Liberation Period and then, focusing on the organizational activities regarding dance, explore the activities performed by dancers in general; by considering the educational trend in such activities, I attempted to present major features and significance of the dance education during the Post-Liberation Period. The research has been mostly based on philological sources including biographies, newspapers, magazines, books, etc. From the results of this research, the most conspicuous feature of the dance education during the Post-Liberation Period turned out to be a methodology to develop the creativity and personality of every individual child, which had been greatly influence by the so-called 'new education'-a newly adopted trend from America at the time. Creative dance was one of the educational forms that well reflected such demands of the Age. In particular, the educational activities exercised by Choseon Educational Dance Institute illustrate the forms and meanings of the dance education during the Post. Liberation Period as follows: First, diversity in curriculum divided by four separate departments and separation of theory from practice suggest that the Institute had a systematic curriculum for dance education. Second, the Institute utilized the urhythmic training method based on rhythmic movements, which aimed at physical exercise balanced with feeling, and therefore it paved the way for the creative dance education in the future where individuals' inner feelings can be freely articulated. Third, the Institute became a predecessor of the Committee for Promoting Dance as Separate Academic Subject and nurtured a number of professional dance educators. The first organization aiming at dance education and the educational dance popularized by Gui-bong Hahm, Sae-taek Kim, and Byongwi Lee satisfied the demands of the new education and was developed as a new educational methodology that centers on one's spontaneity and creativity. Through dance classes, presentations, and art festivals, the dance education during the post-liberation Period was able to produce more instructors to participate in the educational dance; and further, by insisting that dance be approved as a separate subject in the academic curriculum, it contributed to raising public awareness about dance and promoting its importance as a formal academic subject.
홍국 첨가 김치가 고지방식이를 투여한 흰쥐의 체중변화 및 지질대사에 미치는 영향
유미희,이효정,임효권,황보미향,김현정,이인선,Yu Mi Hee,Lee Hyo Jung,Im Hyo Gwon,Hwang Bo Mi Hyang,Kim Hyun Jeong,Lee In-Seon 한국생명과학회 2005 생명과학회지 Vol.15 No.4
홍국 김치의 투여가 고지방식이를 섭취한 흰쥐의 혈청지질구성과 간장기능에 미치는 영향을 조사하였다. Sprague-Dawely계의 흰쥐를 I군(정상식이군), II군(정상식이+홍국 $5\%$ 첨가 김치분말 $1\%$군), III군(고지방식이군), IV군(고지방식이+김치분말 $1\%$군), V군(고지방식이+홍국 $2.5\%$ 첨가 김치분말 $1\%$군), 그리고 VI군(고지방식이+홍국 $5\%$ 첨가 김치분말 $1\%$군)으로 나누어 각 군마다 8마리씩 4주간 사육하였다. 실험 종료일의 체중은 고지방식이급여로 고지방식이군은 정상군 보다 높은 수치를 보였으나, 홍국 김치 투여군에서는 홍국의 농도에 관계없이 체중의 증가가 유의적으로 감소하였다. 단위 체중당 간장 및 비장의 중량은 정상군에 비해 고지방식이 군에서 증가하였고, 김치 및 홍국 김치의 투여에 따라 감소하였으나, 신장의 중량은 각 군들 간에 유의성은 없었다. 중성지질의 농도는 정상군에 비해 고지방식이군에서 높았으며, 홍국 김치의 투여에 따라 감소하였고, 동맥경화와 밀접한 상관관계가 있는 LDL 콜레스테롤과 총콜레스테롤의 농도 및 동맥경화 지수는 김치 및 홍국 김치 투여군에서 유의적으로 감소하였다. 혈장 중 AST활성은 고지방식이군에서 증가하였고, ALT 활성은 각 군간에 차이를 보이지 않았다. Obesity is emerging as one of the major risk factors of death in Korea as well as western societies. This study was performed to investigate the effect of kimchi with Monascus purpureus (Hongkuk) on liver function, plasma lipid composition of rats fed high fat diet for four weeks in rats. Rats were divided into the following 6 groups; I group (normal diet), II group (normal diet with $1\%$ kimchi powder using $5.0\%$ Hongkuk), III group (high fat diet), IV group (high fat diet with $1\%$ kimchi powder), V group (hish fat diet with $1\%$ kimchi powder using $2.5\%$ Hongkuk), and VI group (high fat diet with $1\%$ kimchi powder using $5\%$ Hongkuk). Weight gains showed to decrease in group IV, V, VI. Food intake and food efficiency ratio were no significantly different among the groups. Plasma total cholesterol showed to decrease with kimchi using Hongkuk. LDL-cholesterol levels were lower in kimchi using Hongkuk than that of control group. These results demonstrated that the kimchi and kimchi using Monascus purpureus(Hongkuk) decreased weight gains and lowered serum cholesterol levels in rat.