http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
개별검색 DB통합검색이 안되는 DB는 DB아이콘을 클릭하여 이용하실 수 있습니다.
통계정보 및 조사
예술 / 패션
<해외전자자료 이용권한 안내>
- 이용 대상 : RISS의 모든 해외전자자료는 교수, 강사, 대학(원)생, 연구원, 대학직원에 한하여(로그인 필수) 이용 가능
- 구독대학 소속 이용자: RISS 해외전자자료 통합검색 및 등록된 대학IP 대역 내에서 24시간 무료 이용
- 미구독대학 소속 이용자: RISS 해외전자자료 통합검색을 통한 오후 4시~익일 오전 9시 무료 이용
※ 단, EBSCO ASC/BSC(오후 5시~익일 오전 9시 무료 이용)
본 연구의 목적은 한국 전통무용으로서 조선시대 궁중에서 실연되던 종묘일무의 심미학적 성격 및 구조를 역사적 관점에서 규명하는 것이다. 우리나라에서 가장 오래된 의식무인 종묘일무는 「시용무보」를 통해 그 명맥이 이어져 내려오고 있다. 종묘일무가 처음 만들어져 행하여 졌을 때의 모습을 정확하게는 알 수가 없다. 그러나 현존하는 「시용무보」를 통해 미학적 개념 및 형태에 대한 재해석을 시도하였다. 이 연구를 통하여 다음과 같은 결과를 도출하였다. 1. 종묘일무는 동양의 가장 중요한 철학적·종교적 개념인 `음양사상`과 그리고 `삼재사상`을 반영하였다. 2. 종묘일무의 심미적 구조 및 춤동작은 동양예술의 다양한 선, 색, 모양 등의 개념을 반영하고 있다. 3. 시용무보에 대한 명확한 재해석을 통한 춤사위의 복원이 요구된다는 것이다. 이는 우리 전통문화의 올바른 계승 작업에 관한 중요성이 담겨있다. 4. 종묘일무의 춤사위에 있어서 사상적 근원에 따른 미학적 구조뿐만 아니라 그것의 실용성 가치에 대한 지속적이고, 부가적 추적 작업이 요구된다. 종묘일무는 일종의 검술·호신 동작의 특성 때문에 무예의 시각에서도 조명해 볼 수 있다. 5. 종묘일무는 동야의 도덕적 개념의 존중, 미덕, 평판 그리고 유교의 촉진 등을 반영하고 있다. 6. 종묘일무의 구성체계는 삼궁(三宮)의 수리(8·8·6·9)를 가져다가 삼재절구법(三才絶句法)으로 구성하였으며 수법(手法)은 좌수와 우수로서 하는 단수식(單手式), 쌍수식(雙手式), 양수식(兩手式) 등 세 가지법을 모두 활용하여 음양의 조화를 꾀하고 종용의 도를 기하였다. The purpose of this study was to investigate aesthetic nature and structure of Ill-Mu which is a Korean traditional dance performed in court in Chosun Dynasty period, from the historical perspective. For doing this, Siyoungmubo which is a classic music and dance book in this period was reviewed critically to interpretate traditional version of Korean court dance concept and style. The followings were proposed as the result of this study: 1. Ill-Mu reflect the concept of Yin and Yang and Samjae which have been major philosophical and religious thoughts in Eastern Culture. 2. Aesthetic structure and movement in Ill-Mu reflect various Eastern art concepts which are line, color, shape etc. 3. Ill-Mu is consisted of music, song, and dance for ritual ceremony. 4. Movement and dance style in Ill-Mu were utilized as self-defense in a some sense. 5. Ill-Mu reflect Eastern ethical concept including respect, virtue, reputation and cultivation in Confucianism.
본 연구는 네덜란드, 스코틀랜드, 중국 등이 자국 골프의 기원론을 주장하는 근거를 보다 깊이 고찰·정리한 다음 골프 기원론에 대한 정확한 설명의 방향을 잡을 수 있는 자료 확보를 위해 수행된 것이다. 세 국가의 골프 기원론을 고찰한 결과 현 골프의 기원은 안개 속에 가려져 있다는 결론을 얻었다. 근대적 골프는 스코틀랜드에서 조직화되어 세계화되었다. 그러나 목동의 게임과 15세기 골프의 연결고리가 되는 단서는 없었다. 네덜란드 콜벤이나 콜프의 존재는 명확하지만 그것이 스코틀랜드로 전해졌다는 근거 또한 없다. 차이니스 버전 골프 취완의 존재 근거는 명확하다. 그러나 그것 역시 유럽으로 전해진 근거가 없기 때문에 취완이 골프의 조상이라는 주장은 문제가 있다. 향후 골프 기원의 정설은 미싱 링크의 발굴 여부에 달려있다는 결론이다. This articles aims to find an accurate narrative for the prevailing theory behind the origin of golf, after considering, in depth, the said theory. After considering the theories behind the origins of golf from three different countries, it was difficult to come to a definitive conclusion. Modern golf became an organised sport in Scotland and subsequently became a global sport. However, there was no evidence to suggest that the "Shepherd`s game" had a link to 15th century Scottish golf. It is also certain that "Kloven" or "Kolf" did exit in the Netherlands, but there is no basis to say that this sport was exported to Scotland. The Chinese version of golf "Chuiwan"also clearly existed but there is no evidence to support the theory that "Chuiwan" found its way into Europe. Therefore, the definitive theory behind the origins of golf will depend on the discovery of the missing link. If the missing link is not found, then the idea that Golf had its genesis in Scotland, its modern home, will remain forever.
Jongmyojeryeak, the No. 1 of intangible cultural asset of Korea has all the 500-year history of Chosun Dynasty contained in it and is the cultural heritage of the highest value and cultural importance. The UNESCO conference held in Paris, France this year declared it as `the masterpiece of human words-of-mouth and intangible heritage,` placing it to the level of the world`s admiration. This study intended to reconsider and illuminate Jongmyoilmoo of Jongmyojeryeak, the No. 1 of intangible cultural asset of Korea, assuming this kind of work would shed another new and fresh interpretation of traditional culture. Unlike other Korean traditional dances, Jongmyoilmoo has its details recorded in 『Siyongmoobo』which is one of the most valuable historic documents concerning Korean traditional dances, thus enabling itself to be preserved and inherited correctly. It surely falls under the category of Korea`s cultural assets of a great historic and artistic value. An analysis was made on the composition systems of technical term and its arrangement found in「Botaepyunggimoo」in『Siyongmoobo』which consists of today`s irregular and regular long and short rhythms, in order to search for the ways to harmonize each performance of Jongmyojeryeak and Jongmyoilmoo, that is, to match the theories and the practices. The results of the study are as follows: 1. There should be `Haphyung(centering upon chest)` at Gochooksamsung following the first beat of beginning music. And `Hasu(let down)` with the right hand should be made in one note or two notes at the first dancing passage of the second beat. 2. `Jeomyoo` and `Hasu` with the left hand should both be made in two notes at the first dancing passage of development step. 3. `Yangsugeogyon(put both hands on shoulder)` must be made in four or three notes from the left side with both hands at the first dancing passage of conversion step. 4. `Bokpa(grasp belly)` to the front side with both hands should be made in two notes at the first dancing passage of conclusion step. 5. Every last technical term of each passage including `Hasu` of introduction step, `Hasu` of development step, `Yangsuhasu(let both hands down)` of conversion step, and `Haphyung` of conclusion step should be made in one note or two notes whether it`s an independent dancing passage or complex one. 6. Every technical term at the other middle dancing passage should have two core notes from which one + or - note will be made. 7. The most important and last step to harmonize dance and music as one is to decide the bar of three notes among the bars of three or four notes which can be an independent or a complex dancing passage in any piece.
This paper is about HyeKang, Choi Han-Ki(1803-1877)'s educational thought. HyeKang, Choi Han-Ki is one of the greatest Silhak(實學) philosophers at the end of Chosen(朝鮮) Dynasty and his modern - oriented features of Silhak philosophy have taken a important position through the history of Korean thought. He lived in the time of disorder. The power government had gone to ruin in the inside of the country, and at the same time, there was lots of threat of the West European Countries and all of these built up the national tention. Under these condition, he developed Chi philosophy as a new thought system and consolidated the philosophical outline. As a thoughter, HyeKang is a bridge-builder between Silhak philosophy and modernization thought. At the base of his Chi philosophy, he emphasized the scientific Silhak and modern-oriented features. In this way, HyeKang's thought system is based on his own philosophical work which was different from traditional Silhak thoughters and this way of thought influenced on the his educational thought. Especially, his philosophical concern starts from human and it also heads for human; therefore, the meaning of human plays a important role in his thought system. According to his opinion, he believes that the human does develop and expend his/hers ability infinitely through accumulating postnatal experiences. This aspect of human understanding makes him positive about regarding human as a object of education. At any rate, it's clear that education would always be related with the growth of human. It doesn't matter how we define education. Base on his empirical understanding of human, HyeKang really emphasized the need and importance of education. He convicted that anybody could reach at the ideal stage of human being only if he/she worked hard to developing his postnatal effort; therefore, by examining the distinctive features which are found in the HyeKang's educational thought, I think that his educational thought helps to connect the historical self-identity of education in Korea.
In Seongjong era of Koryo dynasty, the korean traditional rite of exorcism went through the great changes by earring out the royal rite of Daena or Daedong Narye on the model of Daena of the Tang age, namely Gona--the ancient Chinese Narye. Since then our royal rite of Daena in the end of the year had changed on account of our traditional view of exorcism. Ultimately these changes made for the formation of Korean Narye in early joseon just as chinese buddhism which had been introduced from India was brought in into Korea and formed korean buddhism by mixing our traditional folk belief. Comparing the features of Korean Narye formed in the middle age with those of ancient chinese rite, we can get a summary as follows: firstly, the Shibyisinsu(twelve gods and animals) was tranformed into the Shibyijisin(twelve gods). Secondly, the role of Jinja was turned from people who expel the spirit to spirit itself. Thirdly, there are some disguised characters such as Pangwan(the judge), Jowangsin(the kitchen god), and Somae(the unknown character up to now), which might be under the influence of Gumna, the Narye of Sung. Fourthly, in the year end Daena, they used the chicken which was believed to have the power of exorcising, reproduction and fertility. Among these four features, particularly the third and the forth allegedly have great effect on the formation of Korean Nahi as well as on the development of masked play.
The culture of the car exorcism and the superstitious belief in modern society which are formed and handed down in the base of religious beliefs for supernatural being or power is the culture indicator which can classify the maintenance of tradition and the aspect of transfiguration in the modern urban folk culture as the newly interpreted and reorganized folk culture connected with material and human circumstances with the change of the times rather than it is the newly formed folk customs in the modem society. In this study, we are considering various aspects of the car exorcism and the superstitious belief which are formed and handed down between drivers of fire engines and ambulances. Based on that we are also clarifying the characteristic of the urban folk culture in this folk culture of cars. The purpose of the car exorcism in modern society is not that guarantee the car sanctity or present the guardian divinity. It is focused on the prayer for security of members and organs through preventing the car accident and driving with ease. The car exorcism seems to follow the religious ceremony in appearance but it is not only that the concept of the target spirit(spirit of car) is weak but also that the glory ceremony which is the essence of the religious ceremony, the ceremony of the calling spirit and the ceremony of the sending spirit are not fixed cleary. The procedure of the religious ceremony is reduced to just have the formal pattern and the point of the ceremony is on the incantational ceremony to contrive fortune using a sacrifice regarding evil god as the cause of accidents. This sacrificial aspect of the car exorcism is considered as a original limitation of urban folks related to modern products. According to the research omens which are handed down between drivers of fire engines and ambulances classified cases of estimations of a day's fortune based on specific experience which is experienced when they are driving and before driving and cases of estimations of persons transported a day and a day's fortune based on the type of the person who is transported first. Contrary to the case of the former, the case of the latter is presented to ambulance drivers restrictedly. Omens are constructed by experiences and association generally. Experiences and association which are clues of omens are controled by the traditional thought and the manner of living of the group. In this paper the formative background and the symbolic meaning of the urban folk customs which are newly formed in modern society are studied that it is focused on the omen culture shared by a fire company.
'스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.
문화는 역사보다 시시각각 처하게 되는 현재적 시점에 탄력적으로 작용하는 현상이다. 역사만큼 거창한 틀을 지닌 문화는 현대의 발전상과 더불어 그 변모를 하루가 다르게 보여주고 있다. 다문화의 향유, 개성의 색채라는 표상 아래 우후죽순과 같은 수많은 현상들이 한낱 유행과도 같은 현상임에도 불구하고 문화인양 혼돈의 형태로 이 시각, 우리의 사회현상으로 존재양상을 보이고 있는 지금, 전통문화는 보존되어야 살아남고, 활용되어야 발전할 수 있으며, 국가적 정통성을 확보하는데 반드시 필요한 필수불가결한 포괄적 문화형태이다. 전통문화는 우리문화의 뿌리이며, 주체성의 원천인 것이다. 21세기 문화의 세기에 문화경쟁력은 우리의 전통문화와 전통예술에서 나온다고 할 수 있으며, 또 그래야만 한다고 힘을 실어 말하고 싶다. 전통문화예술은 다양한 문화예술의 근간이며 다변화된 세계에 자랑스럽게 내놓을 수 있는 우리 민족의 기본정신인 것이다. 문화의 세기 라는 말이 세간의 화두가 된 이래 문화로 향한 관심이 사회 전 분야에서 부각되고, 더불어 우리 전통문화의 중요성에 대한 인식도 그 어느 때보다 확산, 고조되었다. 우리 것, 가장 한국적인 것은 곧 전통에 바탕을 둔 문화요소를 의미하지만 이러한 문화적 조류의 배경에는 우리의 전통만이 세계 다른 지역의 문화와 구별되는 특수성으로 대우받을 수 있는 것을 가정할 수 있다. 이 가정 속의 의도는 곧 우리의, 우리만의 문화적 특수성을 간직한 전통문화가 대내적으로는 문화적 정체성을, 대외적으로는 문화적 우수성을 담보한다는 점이다. 본 연구는 문헌 및 선행연구 고찰을 중심으로 한다. 특히 전통문화의 복원과 재현을 중점적으로 행하는 국립국악원의 공연사례연구와 비교가 이루어졌으며, 현재 이루어지고 있는 전통문화의 복원을 통해 다각적이고 현실적인 문화수용 단계의 방안을 제시하는데 목적이 있기에 국립국악원의 사례연구를 통해 방안 제시가 주된 연구 방법이다. 국립국악원의 극장공연에서는 전통문화원형의 고수라는 기틀위에 프로시니엄 극장적 특성효과가 자아낼 수 있는 재미의 요소를 첨가하는 기본 틀로 작품의 특성화를 삼자는 제안이다. 전통문화의 재현과 전승이라는 양대 산맥의 화두를 세계적 문화시대에 맞춰 국제적인 위상과 후속세대로의 문화적 물림에서 가장 효율적인 방안으로 차별화되고 활성화된 접근방식을 택하자는 것이다. 또 다른 제안은, 조금 더 활성화된 방안으로, 서울시에 존재하는 가시적인 전통건축 유산물인 경복궁, 창경궁, 경희궁과 같은 상징적인 역사물의 궁 안에서 행해지는 국악원의 작품재현형태이다. 무대 위의 재현작업이 아닌, 그 옛날 궁에서 행해지던 지리적인 공통점에 재현의 주안을 두는 것을 말한다. 쉽게 말해 실사와 같은 재현작업에 총력을 기하는 공연은 궁궐 안에서 이루어져야 한다고 본다. Traditional culture is our roots of cultures and the source of subjecthood. In the 21 century, the culture periods, cultural competitive power comes from our traditional cultures and arts and also it should be. Traditional cultures and arts are the roots of various cultures and arts and our national fundamental spirits which can be introduced very proudly all of the world. Since culture century has a topic of conversation interests about cultures have increased all of the field in the society. In the mean time, perceptions related to importance of our traditional cultures have been spread and risen dramatically. As ours or the most Korean style mean cultures component based on tradition, our tradition only can treat distinctiveness and differ from other countries cultures. This could be explained that our distinctive traditional cultures guarantee cultural identity domestically and demonstrate superiority internationally. This study was conducted by examining sundry records and previous studies. Especially this study utilized case study of the National Classical Musician which performed restoration and reappearance of traditional cultures. The purpose of this study was to propose a plan for diverse and actual culture acceptance steps through restoration of traditional cultures. This study proposes hat fun factors should be added to effect proscenium stage characteristics on the foundation to stick to original tradition cultures when performances are held in the National Classical Musician. It could be the most effective way to enhance international position and transmit our traditional cultures to the next generations when recently the topic of condensations are reappearance and transmission of traditional cultures. Another proposal is the reappearance of the National Classical Musician performs art works in the historical palaces such as Kyngbok Place, Changgyeong Place, and Kyunghee Place in Seoul. This is not a meant that just reappearance works on the stage, but focusing on reappearance of geography common. In other words, actual art works to reappear must be performed within the Place. This works could effect positively on various benefits in many ways. Because the Place is located in Seoul, many domestic or foreign tourists are likely to visit to view the performances. Particularly it is expected that a lot of family units and students will visit the Place. This study wants to emphasize that the most perfect tradition culture reappearance is intangible cultural assets will be actually performed in the Place exists tangible historical treasures.
The purpose of this study is to examine the Korea Narye and it's formation and development in Korea based on our traditional rite of exorcism religious ceremony to lay all bad spirits and ghosts which may cause illness and disaster. This paperalso overviews the impact of the Narye on the Korean tradition in terms of ritual and play. The following is a summary about some aspects of ancient Busan culture related to the rite of exorcims, which provided the cultural background for accepting the Korea Narye. There are two types of Kedongdaenayi, the large Narye rite held in December, which was practiced at that time. One was the Chinese tradi-tional Nayiwhich originated from the Nayi in the Tang era and other was the modified Nayi, the mixture with that of Tang and our traditional rite. The modified Nayi was the type of shaman ritual composed of the rite to exercise wicked spirits and the performance of music and dance. Since the middle of the Koryo era, Narye had become the yearend fes-tival based on the musical performance and dance rather than the formal rite, with so many female dancers who were unnecessary in the ori-ginal Narye. Korean Narye and Nahee can be classified as court Narye, temple Narye, military Narye, local gorvernment Narye, and folkloric Narye. It is also believed that the formation and development of the Maegut and masked play had a great impact on the development of Naryed and Nahee and vice versa. The original purpose of the military Narye was to expel wicked spirits and encourage the soldier, and in turn affected the development of the folkloric Maegut. The local government Narye showed the characteristics of the local area. Judging from the fact that area where the current Sandaedonggamgeuk type of masked play was originated from, coincide with that of the Sandae Narye that was often performed for welcoming ambassadors, tradi-tional masked palys are considered to have originated from the local government Narye.
'스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.
본 논문은 惠岡 崔漢綺의 가계를 통해 그 사회적 지위의 상승과정을 알아보고, 학문생애를 통해 그의 학문의 대체적 편력을 살펴보았다. 그 결과 혜강은 당시의 심각한 사회적‧시상적 소용돌이 속에서 ‘氣學(기학)'이라는 그 나름의 독자적 학문체계를 열어 나갔다. 본 연구는 최한기 사상의 보다 객관적인 검토를 위해 혜강이 생존했던 시기의 네 왕조(純祖, 憲宗, 哲宗, 高宗)의 실록을 중심으로 한 시대적인 사상의 흐름에 초점을 맞춰 논의하였다. Hyegang Choi, Hanki(惠岡) 崔漢綺 : 1803~ 1877) is considered as an important man of the history of thought in the late period Chosun. Choi, Hanki left an enormous amount of writings which reflected his idea about academical work in the late and middle of 19th century. In spite of his important achievements in our history of idea, the study on Choi, Hanki is somewhat insufficient to satisfy. This Study analysed the external conditions to form his ideas, or his life, academic activities, and periodic, social background. In the 19th century Chosun Dynasty where concerns over crisis created by various factors at home and abroad were prevalent, Choi, Hanki built up his own academical system in which named it as 'Chihak'(氣學). Academy was developed by his own concepts and system, not by collection and interpretation of books like other Neo-Confucianism. Namely, he got out of current idea of Confucianism and pursued his unique cosmological, ontological, and epistemological rationalism. He developed the academic view of Neo-Confucianism based on Chihak and contributed to the late 19th century Chosun history of idea. Hyegang was far from basing on the exclusive traditional Confusianism value system and the theory of cosmopolitanism, he built a modern view of the world. Based on the theory of western natural science and technology and overcome the traditional Confusianism, he developed a creative ideas. Regretfully, Hyegang's idea was not accepted in the 19th century Chosun. However some question raised through his advanced and open thought criticized on the old academic theory. I think it might be his strong will to do his own academic system thoroughly.