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이지향 한국무용기록학회 2012 무용역사기록학 Vol.26 No.-
러시아는 17세기 말 표트르대제 이후 국가정책의 일환으로 유럽에서 발레를 도입하여 국가적차원에서 적극적인 보호, 장려정책을 썼다. 그 후 발레는 상류사회의 문화개혁을 위한 목적으로 더욱 발전되었고 20세기초에 디아길레프의 「발레뤼스」로 러시아의 발레가 서구 유럽으로 진출하게 되면서 탁월한 러시아 발레가 유럽과 미국등지에서 ''신고전주의 발레''로 태동하게 된다. 1917년 러시아 사회주의 혁명으로 인하여 여러 어려운 과정을 거쳐 아나똘리 루나차르스키와 레닌 등 일부 혁명지도자들에 의해 발레가 보호, 지원, 장려받게되며 1930년대 중반이후부터 정부에서 제도적으로 육성하게 된다. 1927년 발레가 혁명의 정당성과 영웅성을 그린 작품들이 나오면서, 혁명의 주체였던 프롤레타리아들 대중을 위한 러시아 발레가 시작된다. 이 시대의 러시아 발레는 리얼리틱한 발레로 내용과 형식에 있어서 구체적인 스토리의 전개와 등장인물들의 심리적 표현들을 관객들이 쉽게 이해할 수 있도록 하였다. 이것은 주제의 선택 및 표현의 자유를 획득하였다고 할 수 있다. 러시아발레의 특징은 체계적이고 엄격한 시스템에서 정부의 제도적인 지원을 받아 우수한 발레인구를 많이 확보할 수 있었고 예술적 성공뿐 아니라 이후 대중에 그 뿌리를 내릴 수 있었던 것이었다. 대중들이 공감할 수 있었던 주제와 소재를 선정하여 발레의 대중화에 성공함으로써 <돈키호테>, <잠자는 숲 속의 미녀>, <백조의 호수> 등이 계승, 발전되어 전 세계에서 공연하게 된 역사적 의의를 혁명 후부터 도출하였다. The article provides a flow chart for the transitions of the Russian ballet in the time span between the late 17th century to the early 20th century. More than a historical flowchart of the Russian ballet, it confers further detailed understanding of causes and effects which had shaped today's unique Russian ballet. Ballet was never originated in Russia. Ballet was a form of high class dance which was imported from the western European countries in the 17th century. Its initial landing in Russia was promoted by Czar Pyotr I who had ambition to reform Russia into a more civilized as well as mightier state. The ballet was one of his national policy. The initial phase of the newly introduced ballet involved with active absorbing from invited ballet masters and choreographers. The western ballet style was readily accepted as a standard to follow. Ballet institutes such The Imperial Ballet Schools and Theatres were established and mostly centered at the cities St. Petersburg and Moscow with the supports of Russian monarches. As it approached 19th century, the Russian ballet which was originally adapted from other western countries for the purpose of cultural enlightenment of the ruling classes became more specialized. The expression of the ballet with splendor was the essence of all and more or less it became a heritage character of the Russian ballet. However, the recognition of the Russian ballet's true identity as ''Ballet Russes'' began in the early 20th century. This gaining of the world wide reputation of the Russian ballet owed to the work of Diaglilev along with his many recruited outstanding ballet dancers. They actively performed the so called ''neoclassical ballets'' or ''Ballet Russe'' overseas. As a result, the Russian ballet became the origin for the introduction of the neoclassical ballet overseas, particularly in Europe and America. This became meaningful in that the Russian ballet had gone beyond the status for the purpose of the limited cultural revolution. The neoclassical Russian ballet was rather a national symbol of arts. The Russian ballet then experienced vicissitudes of various changes in plots and styles after the socialist revolution in 1917. It was age of political and economical chaos, and there was no leniency for people who desperately sought daily necessities to enjoy the ballet. Worse than it, a large population of critics censured the ballet as an abominable product of the former imperial family and the bourgeois class. The proposal of abolishing the ballet performances was refuted by the very leader of the revolution. The communists, Lenin, Anatorii Luncharsky and others still willing to sponsor the progression of the ballet since they thought the ballet was required to nurture the public. However, the ballet in this time, transformed into a tool to the sociologist ideology. More and more ballets with unrealistic plots were removed and replaced by the ballets with proletarian tastes. In fact, the ballet productions after the revolution were characterized by their emphasis on the heroism and legitimacy to the revolution. On the other perspectives, the Russian ballet during the post revolutionary period was more down-to-earth. The plots and styles focused on detailed storytelling and the psychological representations to the audience. Under the constant support and supervision of the socialist government, the Russian ballet prospered and enabled to capture high quality ballet population. Important of all, the Russian ballet was able to maintain familarity from the general public and continuously be cherished as national heritage. Although the ballet under the influence of the communism brought some downturn of its true artistic purpose, the ballet survived and further prospered among the general public. With the strong will power of Russian ballet masters such as Agrippina Vaganova and others, the Russian ballet was able to retain its classic elements from the past. Thus, a wholistic or a well balanced ballet form emerged. Familiar topics of the classic ballets such as <Don Quixote>, <The Sleeping Beauty>, <The Swan Lake>, <The Nutcrackers> and still others were kept and performed all around world. Therefore, the Russian ballet resumed its artistic essence and was able to derive historical meaning to its ballet since the Russian revolution. After all, the Russian ballet was meant to develop for the purpose of artistic expression, not merely be manipulated for the purpose of socialist ideology.
A study on the Cultural Character of Russian Ballet
이지향 무용역사기록학회 2012 무용역사기록학 Vol.26 No.-
The article provides a flow chart for the transitions of the Russian ballet in the time span between the late 17th century to the early 20th century. More than a historical flowchart of the Russian ballet, it confers further detailed understanding of causes and effects which had shaped today's unique Russian ballet. Ballet was never originated in Russia. Ballet was a form of high class dance which was imported from the western European countries in the 17th century. Its initial landing in Russia was promoted by Czar Pyotr I who had ambition to reform Russia into a more civilized as well as mightier state. The ballet was one of his national policy. The initial phase of the newly introduced ballet involved with active absorbing from invited ballet masters and choreographers. The western ballet style was readily accepted as a standard to follow. Ballet institutes such The Imperial Ballet Schools and Theatres were established and mostly centered at the cities St. Petersburg and Moscow with the supports of Russian monarches. As it approached 19th century, the Russian ballet which was originally adapted from other western countries for the purpose of cultural enlightenment of the ruling classes became more specialized. The expression of the ballet with splendor was the essence of all and more or less it became a heritage character of the Russian ballet. However, the recognition of the Russian ballet's true identity as Ballet Russes' began in the early 20th century. This gaining of the world wide reputation of the Russian ballet owed to the work of Diaglilev along with his many recruited outstanding ballet dancers. They actively performed the so called neoclassical ballets'or Ballet Russe'overseas. As a result, the Russian ballet became the origin for the introduction of the neoclassical ballet overseas, particularly in Europe and America. This became meaningful in that the Russian ballet had gone beyond the status for the purpose of the limited cultural revolution. The neoclassical Russian ballet was rather a national symbol of arts. The Russian ballet then experienced vicissitudes of various changes in plots and styles after the socialist revolution in 1917. It was age of political and economical chaos, and there was no leniency for people who desperately sought daily necessities to enjoy the ballet. Worse than it, a large population of critics censured the ballet as an abominable product of the former imperial family and the bourgeois class. The proposal of abolishing the ballet performances was refuted by the very leader of the revolution. The communists, Lenin, Anatorii Luncharsky and others still willing to sponsor the progression of the ballet since they thought the ballet was required to nurture the public. However, the ballet in this time, transformed into a tool to the sociologist ideology. More and more ballets with unrealistic plots were removed and replaced by the ballets with proletarian tastes. In fact, the ballet productions after the revolution were characterized by their emphasis on the heroism and legitimacy to the revolution. On the other perspectives, the Russian ballet during the post revolutionary period was more down-to-earth. The plots and styles focused on detailed storytelling and the psychological representations to the audience. Under the constant support and supervision of the socialist government, the Russian ballet prospered and enabled to capture high quality ballet population. Important of all, the Russian ballet was able to maintain familarity from the general public and continuously be cherished as national heritage. Although the ballet under the influence of the communism brought some downturn of its true artistic purpose, the ballet survived and further prospered among the general public. With the strong will power of Russian ballet masters such as Agrippina Vaganova and others, the Russian ballet was able to retain its classic elements from the past. Thus, a wholistic or a well bala...
이지향,김기범 문화재방재학회 2022 문화재방재학회 논문집 Vol.7 No.2
문화재는 우리나라의 역사와 문화를 이해하기 위해 없어서는 안 될 귀중한 국민적 재산임에도 불구하고 크고 작은 화재로 문화재가 소실되는 피해는 지속적으로 발생해왔다. 특히 목조문화재의 경우 화재에 취약하고 화염 확산이 빨라 초기 진화 실패 시 큰 피해로 이어질 위험이 크며, 입지적 특성으로 소방대원의 접근성이 떨어진다는 문제점이 있다. 이에 본 연구에 서는 목조문화재를 중심으로 한국과 일본의 문화재 적용 소방시설의 현황을 파악하고, 소방시설 설치 기준 등 화재예방 대 책을 조사・분석하여 시사점을 도출하고자 한다.
이지향 한국저작권위원회 2010 계간 저작권 Vol.23 No.3
본 논문에서는 공연예술 분야에서 나타나는 저작권 관련 문제들 중에서 최근 관련 시장의 급격한 확대와 공연예술시장의 절반 이상을 차지하고 있는 뮤지컬 분야의 저작권보호에 관한 인식과 요인을 제작자와 저작자를 대상으로 실시한 실태조사 결과를 통해 분석하여 공연예술분야의 저작권 문제의 이해를 돕고 그 해결을 위한 제언을 도출하고 있다. 저작물의 침해와 보호에 관한 분쟁은 결과적으로 법학적 기반 위에서 해결 될 수밖에 없기 때문에 여러 예술분야로 구성된 종합예술인 뮤지컬 저작물의 법률적 성질을 저작권법과 기존 판례를 통해 조사하였다. 설문조사 결과에 의하면, 뮤지컬 전문종사자들은 최근 뮤지컬 시장의 확대에 따라 기대수익이 높아지면서 저작권에 대해 더욱 중요시 여기게 되었고 제작자와 저작자들의 인식이 강화되면서 저작권의 중요성을 인식하게 되었음을 본 연구를 통해 알 수 있다. 결국 이해 당사자들이 저작권에 대한 인식이나 이해도가 부족하여 저작권 관련 문제들이 발생하는 것으로 판단할 수 있겠다. 그리고 전문 종사자들은 저작권 관련 교육의 필요성을 느끼고 있는 것으로 조사되었고 저작권의 이해도를 높이면 인식이 강화된다는 점이 검증되고 있다. 저작권에 대한 이해도가 높아지고 인식이 변화하면 더욱 명확하고 합리적인 이해당사자 간의 관계형성이 구축 되게 된다. 이로 인해 저작권의 기능과 역할이 증대되어 작품의 질적 향상을 가져오게 되면 결과적으로 저작권법의 궁극적 목적인 공연문화산업의 발전을 도모할 수 있게 된다. 뮤지컬 저작권 관련 교육을 통한 인식강화와 이해도 증대는 공연예술 분야의 저작권 문제 해결의 첫 단계라는 점을 지적했다. 저작권에 대한 인식강화와 이해도를 확대시키고 이용허락계약의 체결방식, 표준계약서 작성이나 보급, 그리고 저작권료기준제시 등의 실무적 사항들을 조언하고, 교육시켜줄 전문기관의 필요성을 제기했다.
Studies on Body Fat Ratio and Nutrient Intakes of College Students
이지향,송경희 한국영양학회 2005 Nutritional Sciences Vol.8 No.1
The aim of this study researchs status of the nutrient intake between male and female students and the nutrient intake by BMI. This study was done to investigate the body composition and nutrient intakes of 340 college students (170 males, 170 females) in Gyeonggi area. Weight, height, BMI, and blood pressure of these college students were measured. Nutrient intake was assessed using the 24-hour recall method, and then calculated using the nutritional evaluation program[CAN Pro 2.0 professional (Korean Nutrition Society, 2002)]. Average height and weight were 176±5.1 cm, 70.60±1.1 kg in male students and 162.2±4.5 cm, 54.4±7.7 kg in female students respectively. Subjects were divided into three groups by BMI: underweight (less than 18.5), normal weight (18.5 to less than 23), and overweight (more than 23). The ratios of male and female subjects among these groups were 5.3% and 17.6% in underweight, 50% and 65.3% in normal weight, and 44.7% and 17.2% in overweight. Systolic and diastolic blood pressures were 124.0±1.5 mmHg and 76.1±14.8 mmHg in males and 110.1±12.9 mmHg and 70.1±10.8 mmHg in females, all in the normal range. Using nutrient values of the 7th Recommended Dietary Allowances, the nutrient intake was calculated to Korean RDA (%). Nutrients below 75% Korean RDA were Calcium, Vitamin B2, and Folate and nutrients above 100% RDA were Protein, Fe, Phosphorous, and Vitamin B6. BMI showed positive correlations with body fat (%)(p<0.01) and WHR(p<0.01). Nutritional education is desirable for the improvement of dietary behaviors, body composition and nutrient intake of college students.