불혹의 인연 케임브리지

정의숙 한국중국희곡학회 1998 중국희곡 Vol.6 No.1

대학에의 비전과 이념의 대학

정의숙,Jeong, Ui-Suk 한국대학교육협의회 1983 大學敎育 Vol.3 No.-

다 전하지 못했던 감사의 마음

정의숙 성균관대학교 체육대학 1996 체육대학 학회지 Vol.12 No.1

뮤지컬에 내재(內在)된 춤의 극적 기능(dramatic functions)에 관한 연구

정의숙,노미정 한국무용예술학회 2011 무용예술학연구 Vol.34 No.-

The purpose of this study is to examine the dramatic functions of the dances featured in the musical West Side Story , which was first put on the stage in 1957,based on an analysis on the piece, with regard to the fact that the dances in the said musical above not only function as a decorative element but also have, to some extent, some influence on the delivery of the story and the expressions thereof. It is essential in producing a musical piece to understand the importance of the functions and the roles of the dances, as it helps using other elements of the piece more efficiently when organizing them as a whole. Since musical is a performing art in which the dances, performances, and the music are joined together to deliver the theme of the drama, the dances can take a very importance position in the production of the pieces and delivering them to the audience as they are of universal nature as a body language and at the same time unique in their expressions. As we analyzed the dramatic function of the dances in the musicals based on the four theories by Lisa Jo Sagolla, an American academic, we found out that, firstly,in its function in unfolding the plot, the dances in the musical are illustrative and help expressing the drama in a more interesting and easier manner, since the dances are universal languages. Secondly, in describing the characters, the dances in the musical present the inner world to the audience where it cannot be done effectively with other means of expressions, such as the lines and verbal languages. Also, in its moodbuilding feature, the dance uses historically evidenced movements in terms of the time and space to build the kind of mood required in a specific context over a very short time. The dance also plays the role of giving shapes to the theme of the piece,visualizing the complicated themes of the pieces to present them in elaborated manners. As we can see here, the dances in the musicals are of course important as they are, but also they help other genres in the piece bond together with each other to make it a more robust experience. Therefore, in order to facilitate such functions of the dances, it is necessary that not only the choreographer, but also any other staffs involved in production need to understand what they are all about. To let the dances restore theses functionalities, it is a priority to establish specialized training institutes to train choreographers or develop separate programs to train them within the university curriculum. If there are professional training courses available to be a musical choreographer, it would be of great assistance to train and educate those experts.

모리스 베자르(Maurice Béjart)의「볼레로(Bolero)」에서 표현된 성정체성 연구 - 남성의 몸 담론을 중심으로 -

정의숙,김주희 한국무용예술학회 2010 무용예술학연구 Vol.29 No.-

This study is purposed to mainly review the 「Bolero」of Maurice Béjart using the movement analysis method presented by Judith Lynne Hanna in order to examine how the sexuality immanent in the bodies of male dancers is formed and communicated and link the results with discourse about male bodies of today. Based on the results, in the space of the 「Bolero」, the main male dancer dancing on the round table secured a masculine space and the surrounding male dancers moved in feminine spaces. In terms of time too, the results indicated that the main dancer secured masculine time likewise while surrounding male dancers began moving in feminine time. The styles of movements consisted of a mixture of male styles and female styles and gazes taken by the dancers were all masculine eyes. As for gestures, expressions can be said to be masculine while the characteristics of movements can be said to be feminine. Therefore, according to the analysis method of Hanna, 「Bolero」was shown to be an epicene dance with an appropriate mixture of masculine factors and feminine factors. And, when seen by the trichotomy of Francois Delsarte, the mouth openings of dancers or repeated hip joint movements appearing more frequently at the later part of the performance represented sexual expressions which doubled (increased) sexuality. The bodies of male dancers showing the sexual and epicene movements of the 「Bolero」are in the same context as that of the directing technique currently shown in image media. The discourse about male bodies that are gradually created to have mixed sexuality and as ‘odies to be shown’expands to the social realm instead of the personal level of sexuality to reproduce male bodies as ‘ocial bodies’.

리더십증진 프로그램이 초등학생의 리더십 생활기술과 성취동기에 미치는 효과

정의숙,조붕환 한국상담평가학회 2010 상담평가연구 Vol.3 No.2

본 연구는 리더십 증진 프로그램이 초등학생의 리더십 생활기술과 성취동기 향상에 효과가 있는가를 검증하는데 있다. 연구대상은 대전광역시 M초등학교의 3학년이며, 본 연구자가 담임을 맡고 있는 학급을 실험집단으로 하였으며 실험집단과 사전검사 결과가 동질한 학급을 통제집단으로 하였다, 검사도구는 리더십 생활기술과 성취동기 검사지를 사용하였으며, 실험집단에는 재량활동과 특별활동 시간을 이용하여 주 2회 5주간 총 10회기의 리더십 증진 프로그램을 실시하였다. 통제집단은 사전․사후 검사만 실시하고 아무런 처치를 하지 않았다. 연구의 주요 결과는 다음과 같다. 첫째, 리더십 증진 프로그램은 초등학생의 리더십 생활기술 향상에 긍정적인 효과가 있었다. 리더십 생활기술 하위영역인 학습능력, 의사결정, 집단활동 영역에서 통계적으로 유의미한 차이가 있었다. 둘째, 리더십 증진 프로그램은 초등학생의 성취동기 향상에 긍정적인 효과가 있었다. 성취동기의 하위영역인 과업지향성, 자신감, 미래지향성 영역에서 통계적으로 유의미한 차이가 있었다. 이상의 연구 결과를 살펴볼 때, 리더십 증진 프로그램은 초등학생의 리더십 생활기술과 성취동기 향상에 긍정적인 효과가 있었으며, 따라서 이 프로그램은 초등학교 중학년 학생에게 리더십 생활기술과 성취동기 향상에 도움을 줄 것으로 기대된다.

Korean Red Ginseng Extract Alleviates Atherosclerotic Lesions in Apolipoprotein E Knockout Mice

정의숙,서진희,유란지,이용진,강주현,나승열,최양규 한국식품과학회 2014 Food Science and Biotechnology Vol.23 No.4

This study was to evaluate the anti-atheroscleroticeffect of Korean red ginseng (KRG) in apolipoprotein Eknockout (ApoE KO) mice. Female ApoE KO mice weredivided into 2 groups and were treated via intragastricinoculation for 21 weeks. The body weight increasedgradually in both the KRG extract inoculation group andthe control group inoculated with saline. Plaque lesionareas in the aortic sinus were reduced largely in the KRGinoculation group than in the control group. Triglycerideand inflammatory cytokines such as monocyte chemoattractantprotein-1 (MCP-1) and tumor necrosis factor-alpha (TNF-α) were significantly reduced in the KRG inoculationgroup. Additionally, the KRG inoculation group showedsignificantly lower cardiovascular inflammation by 18Ffluoro-2-deoxy-D-glucose positron emission tomography/computed tomography compared to that in the controlgroup. Taken together, KRG alleviates atherosclerotic lesionsthrough MCP-1 and TNF-α suppression. These resultssuggest that KRG could be a valuable therapeutic strategyfor the treatment of atherosclerosis.

영화 속에서 춤이 갖는 몸 담론 -영화「그녀에게 Talk to Her」에서의 피나 바우쉬(Pina Bausch)의 춤을 중심으로-

정의숙,변혁 한국무용예술학회 2011 무용예술학연구 Vol.32 No.-

Focusing on the dance performance by Pina Bausch featured in Talk to her (2002) this paper analyzes the role of dance and how the movement or body language evolves into verbal language in the movie, from the viewpoint of Carl Gustav Jung’s Analytical psychology, especially by applying his concepts of collective unconscious, shadow, persona, anima and animus. The analysis shows that Benigno, one of the main characters of the movie,represents the concept of shadow, as he transforms the female character Alicia’s unconscious body into conscious one. In addition, collective unconscious of people labelling Benigno’s act as offense corresponds to the concept of persona. Meanwhile, another female character Lydia’s body is matched with the concept anima, as her body remains unconscious, due to the collective unconscious of people. To sum up, collective unconscious makes Benigno and Lydia’s body unconscious, as two of them are, from the general public’s viewpoint, out of social category. The dance performances Cafe Müller and Masurca Fogo in the movie acted as projections from which they implied or highlighted the two female characters’ bodies switching between consciousness and unconsciousness. By doing so, those two performances provided the movie with a psychological structure. Cafe Müller illustrated Pina Bausch’s memories of her youth with dreamlike, eyes-closed and weightless steps, while Masurca Fogo consisted of couple dancing and lifting movements, bringing with a bright and lively impression. Unlike dance studies on Pina Bausch, this study considered how her dance performances provided psychological and symbolic foundations of the movie. It means that this study paved the way to see how differently the messages of PinaBausch’s choreograph could be interpreted and realized in other medium. In other words, this study provided a way to see her choreograph style (which contains her own notion) from different point of view, and it would make it able to see not only dance, but also the time’s characteristics, such as gender issue, social stratum, capitalism, ideology, and people’s notion from dance pieces. Also, taking human body as text, this study examined the piece of Pedro Almodovar Caballero, whose works consistently dealt with human body, from the viewpoint of movie as well as dance.

현대무용의 전통예술수용에 관한 소고

정의숙 대한무용학회 1992 대한무용학회논문집 Vol.14 No.-

Today, many choreographers have paid a considerably greater attention to a choreographing method which combines the modern art with the primitive art or traditional religion. It has attracted a lot of audiences and promoted the generation of creative thinking among choreographers. The present study examines the revelation of the new dance composition method in both western and eastern areas. In addition, it probes how prevalent it is in Korea through the interview with the famous folklorist, Professor Chung Byung-ho. It is thus inferred that the primitive arts and traditional religions can play an important role in modern dance composition.

대구경북첨단의료산업진흥재단 실험동물센터의 미생물학적 품질 검정 시스템 및 대외지원 서비스 소개

정의숙,박민경,정성훈,김훈주,박종형,서선민,최양규,한대용,고우석,김충용 한국실험동물학회 2017 한국실험동물학회 학술발표대회 논문집 Vol.2017 No.2