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승무는 대표적으로 중요무형문화재 27호로 지정된 한영숙류와 이매방류로 나눌 수 있다. 그러나 두 승무는 같은 춤임에도 불구하고 전승지역이 다르고 계통적 차이 때문에 각기 다른 독특한 형식을 갖고 있다. 그러나 지금까지의 승무에 관한 연구는 어느 한 계보만의 춤사위 연구나 한영숙춤은 경기(중부류)이며 이매방춤은 호남류라는 지역적 관점에서 비교하는 연구가 주류를 이루었었다. 그러나 최근 이병옥에 의해 예인춤에는 재인계통춤과 기방계통춤이 다르다는 설과 민속춤 중에서 민간춤은 지역연고가 강하지만 예인춤은 지역연고가 약하다는 설을 제시하여 학계의 관심이 모아졌었다. 따라서 본 연구의 목적은 승무의 춤사위에 나타난 계통적 성향을 고찰하여, 한영숙 승무는 재인계통 승무이고 이매방 승무는 기방계통 승무임을 밝히는데 있다. 즉 이매방 승무와 한영숙 승무를 비교한 논문이나 연구실적 중 동작소를 분석한 논문, 승무 염불과장의 춤을 비교한 논문, 타령과장을 비교한 논문 등 3편에 대하여 계통적 관점에서 재분석하여 성향적 특성을 비교 고찰하였다. 그리하여 한영숙류와 이매방류를 중심으로 비교분석한 승무의 계통적 성향을 종합적으로 정리하면, 첫째, 한영숙 승무는 재인계통춤의 주된 특성인 남성성, 상향성, 진취성, 역동성, 외향성, 대담성, 기품미를 보이고, 이매방 승무는 기방계통춤의 주된 특징인 여성성, 하향성, 후퇴성, 미동성, 내향성, 소담성, 교태미를 보인다. 둘째, 두 승무의 성향에서 가장 많이 표출되는 부분은 계통적 특징이며, 그 다음은 본성적 특징, 그리고 지역적 특징이 조금 나타났다. 셋째, 두 승무가 계통적인 성향이 크지만, 한편으로는 뒤바뀐 전승자의 성별, 즉 기방계승무는 남장인 이매방이, 재인계 승무는 여자인 한영숙이 전승한 관계로 반계통적 성향도 적지 않음을 알 수 있었다. 넷째, 두 승무가 비록 계통성과 지역성이 다를지라도 동시대에 전승된 민족춤으로서의 사실상 유사한 점도 많아 차이점 못지않게 공통점도 간과 할 수 없음도 알 수 있었다. 결국 두 춤은 같은 한국민족의 춤이며, 동시대 춤이다. 그렇다고 혼합 되어서도 안 된다. 미미한 차이라 할지라도 서로 다른 유파를 끝까지 지키면서 전승해야한다고 본다. Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance`s unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style`s dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance`s dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han`s dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee`s dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation`s dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.
'스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.
The compassion for the poor and the marginalized consistently appears in Baek suk's poetry and is an important feature of his poetry. He emphasized the basic attitudes and feelings as a poet for whom the world and was the sorrow and compassion. Deer, his first collection of poems divided into his poetry. The early poems contained in deer are well exposed to the utmost compassion and in the later poems Baek Suk feels compassion towards yourself drawn. In this paper, by this time appearing to uncover patterns in relation to the speakers analyzed for compassion. After Deer, the internal speakers is projected to appear more, unlike during early childhood is gone. The persona and speaker match the poet, the poet appeared to the speaker. Thus, at the same time as changing the shape of the speaker when the speaker reviews the feelings of compassion toward gradually developed his own, and this aspect of self-compassion is transformed over time to go. First, it seems to lament the his own poverty and plight, but he generously understands about the positive aspects of world and himself, that is 'self-kindness'. The persona admitted to another destination with a deep love and sympathy and compassion, solidarity, it is said soon realize that the poet's vocation to be aware of a common humanity. And with respect to their situation as painful by accepting what mindfulness reaches out to realize it. Eventually without falling into negative 'self-pity' suffer from the negative as reaching out to rescue his will. These self-compassion and mindfulness of Baek suk can project a positive attitude of spiritual maturity and we need to revaluate such important qualities.
The purpose of this study is to understand the contributor of korean judo by studying of Lee, Kyung-Suk`s life and judo thought, who was founder of student studying abroad martial arts unions in Tokyo and Chosun-Yonmuguan(硏武官). This study covers his life, judo thought and achievements contributing to Korean judo history. The methods of this study are uses of newspapers, magazines and books. The result of this research is as follow. First, Lee, Kyung-Suk was grown in rich environment. Second, he learned many martial arts(judo, kendo, boxing) in Tokyo and was engaged briefly in politics after independent of Korea from Japanese empire. Third, his judo thought was patriotism, renovation and quest. Accordingly, Lee, Kyung-Suk was a truly great Judo-master.
The Korean crude drug "Suk Wi" has been used as the folk remedy for diuretic and gonorrhea. The botanical origin of the crude drug has never been studied pharmacognostically. To clarify the botanical origin of Suk Wi, studied on the morphological and anatomical characteristics of pyrrosia species growing wild in Korea i.e., P. linearifolia, P. lingua, P. Petiolosa, P. tricuspis and Suk Wi from Korea on Korean market. As a result, it was made clear that Suk Wi from Korea was derived from pyrrosia lingua and P. Petiolosa.
The practice into Chu Zi's Ceremonies & 'Bunchunganghoga' of Sarimin the 16th Century This article investigates how the Confucian ritual and morals was popularized in the society as Bunchunganghorok & Bunchunganghoga. The Sarim's intellectual class tried to renovate the transmissional life styles and manners to Cofucian rituals and canons in the 16th Century. Lee Suk-riang was the jaejisajok(在地士族) of Bunchun(汾川) in the 16th Century. His family had lived in Bunchun from generation to generation and exercised their's influence over that country. Lee Suk-riang carried out the 'Ceremony on the first & fifteenth days of the lunar month' and composed 'Bunchunganghorok' in Bunchun. 'Ceremony on the first & fifteenth days of the lunar month' was state plainly in 'Gugajabui'(居家儀禮) that was written by Samagwang. Suk-riang united this ceremony with hangyak(鄕約, the country's convention). This ceremony performed to band together Suk-riang's family and to eastablish order of his family. His ultimate aims was that enlighten the country's people by Cofucian rituals and canons. Suk-riang tried that his family fulfill 'filial duty & fraternity & family concord' by way of the moral rules to govern the Five Human Relations. His family fufilled 'filial duty & fraternity & family concord' by means of the compulsion that the observation & punishment' be attended and internalized 'the family's morals' by means of the influence as singing the poetry 'Bunchunganhoga'. Chu Zi's Family Ritual was popularized our life on grounds of this internalization.
The Korean crude drug "Suk Wi" has been used as the folk remedy for diuretic and gonorrhea. The botanical origin of the crude drug has never been studied pharmacognostically. To clarify the botanical origin of Suk Wi, studied on the morphological and anatomical characteristics of Pyrrosia species growing wild in Korea i.e., P. linearifolia, P. lingua, P. petiolosa, P. tricuspis and Suk Wi from Korea on Korean market. As a result, it was made clear that Suk Wi from Korea was derived from Pyrrosia lingua and P. petiolosa.
본 논문에서는 이상적인 인간상의 하나로 제시되고 있는 지식인 개념을 가지고 황우석 전 서울대학교 교수의 연구부정행위의 전개 과정과 그의 행동 양상을 살펴보았다. 황우석 사태의 전개 과정에서는 그의 연구 대상 및 연구 방법이 어떻게 변화되어 왔는지를 살펴보았다. 이를 통해 그의 연구 성과가 축적 발전하다가 논문 조작에 이르는 과정을 볼 수 있었다. 지식인 개념으로 본 황우석의 행동 양상에서는 그가 ``지식 소유자``로서의 지식인의 행동 양상을 주로 보였으며, 온전한 의미의 지식인의 행동 양상을 보여 주지 못했음을 지적하였다. 황우석 사태에 대한 분석을 통해 지식인은 ``지식 소유자``에 멈출 것이 아니라 지식, 지성, 도덕성, 비판 정신, 창조 정신, 공공성 등을 균형 있게 갖춘 온전한 지식인이 되어야 한다는 점을 강조하였다. This essay reviewed the progress of Hwang Woo Suk Scandal and his behavior modus viewed from the standpoint of intellectual concept. Hwang behaviored as a man of knowledge. He established a stem cell line from a cloned blastocyst in 2004 and socalled ``the patient-specific embryonic stem cells`` in 2005. But these researches are fabricated. He violated the bioethics and research ethics. He did not behaviored as intellectual. Intellectual should have knowledge, wisdom, morality, critical thinking, creativity and publicity.
Supposing that somatotype evaluation results would have significant differences between the public group with less amounts of exercises and the special group with intensive exercises for three to four times a day, this study aimed at comparing the mutual consistency between the results determined by somatotype evaluation tools such as visually calculated index(VCI), Rohrer's Index(RI) and Body Mass Index(BMI). The public, taekwondo players and judo players groups were com˗ posed of fifty persons, taekwondo players and judo players passed through VCI determination, respectively. Their height and weight were examined and analyzed with somatotype evaluation tools. Comparison of somatotype dispersion of RI and VCI showed that most women were determined by VCI as lean type but were deter˗ mined by RI as normal type. And that women were determined by VCI as fat type but were determined by RI as normal type. Therefore both men and women showed significant differences in VCI and RI. Comparison of somatotype dispersion of VCI and BMI showed that both men and women were overestimated or underestimated by VCI rather than by BMI. Comparison of somatotype dispersion of RI and BMI showed that men were less determined by BMI as lean type compared with women; both men and women less determined by BMI rather than by RI as normal type; and both men and women, in particular, were more determined by BMI as fat type but men were more determined by BMI rather than by RI as fat type. Total somatotype consistency by tools showed that VCI has the greatest possibility of determining the public group, compared with other groups as lean type and that the consistency of the three tools were relatively higher for the taekwondo players and judo players groups, compared with the public.
'스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.
본 연구는 고석규 시에 나타나는 공포와 불안, 죽음의 세계를 고찰하고자 하였다. 고석규는 개인의 사상적 이유로 인하여 어린 나이에 월남하여 군인으로 직접 전쟁에 참여하였다. 고석규가 전쟁을 통하여 느낀공포와 죽음의식은 전쟁에서의 타자의 죽음에 직면하면서 자신도 곧 죽을지 모른다는 두려움으로부터 촉발된 것이다. 전쟁에서 체험한 인간의 폭력성과 휴머니즘의 상실감은 그의 내면 깊이 각인되어 끊임없이 그를 고통스럽게 만들었고, 그는 죽은 자와 산 자가 공존하는 부조리한 현실 속에 내던져졌다. 이러한 부조리는 그에게 극심한 불안감을 야기하였는 데, 이 불안은 웃음과 울음의 양가적 양상으로 표출된다. 그 양상은 자기방어, 카타르시스, 광기 등으로 다양하게 발현된다. 고석규는 불안 속에서 자신이 죽음으로 향하고 있는 존재라는 사실을 깨닫고 인간의 유한성인 죽음에 대한 허무와 자기 소외감을 절감한다. 또한 그는 폐허가 되어버린 도시의 거리를 방황하며 수많은 주검과 공포와 맞닥뜨린다. 그리고 자신의 육체를 파편화된 상태, 불구의 상태로 인식하면서 자신의 정 신은 이미 죽어 있으며, 육체 또한 망가질 대로 망가진 상태로 인식한다. 그리고 그는 삶이 무엇인지, 죽음이 무엇인지에 대해 골똘히 사유한다. 이러한 사유 속에서 그는 자신의 내면에서 침묵의 형식으로 들려오는 양심의 소리를 듣는다. 그것은 죽음으로부터 도피할 것이 아니라 죽음과 대면하여 죽음에 대해 반항해야 한다는 것이다. 그것은 바로 죽음에의 선구(先驅)였다. 그리고 그는 시의 길을 뛰어넘어 비평의 세계로 나아간다. 그것은 시에서 이루지 못한 공포와 죽음의 세계를 재인식하기 위함이었다. 고석규는 죽음이 아무 것도 없는 무(無)가 아니라 침묵으로 존재하는 여백, 부재로 존재하는 여백으로 파악한다. 이 여백으로 인하여 인간은 그 여백을 채울 수 있는 존재의 가능성을 획득할 수 있기 때문이다. 여백의 사상을 바탕으로 한 그의 글쓰기는 공포와 불안과 부조리를 초월하고 죽음을 초월할 수 있는 하나의 가능성이었다. This study attempts to consider the world of horror, anxiety and death shown in Ko Suk-gyu's poems. He defected to South Korea due to personal ideology when he was young and he entered the war as a soldier. Consciousness of horror, anxiety and death he experienced through the war was due to the horror that he might soon be killed on the battlefield, facing death of soldiers. Human violence and loss of humanity which he experienced on the battlefield was deeply stamped on his mind so that it distressed him. He was hurled into the irrational reality where the living and the dead coexist. This irrationality causes intense anxiety so that this anxiety was expressed in ambivalent ways of laugh and weeping. These patterns were expressed in the various forms of self-defence, catharsis, madness, etc. Go Suk-gyu realized in anxiety the fact that he was a being towards death and he felt the futility about death, that is to say human finitude and a sence of self-alienation. Also he faced a lot of the dead bodies and horror, wandering in the city streets in ruins. And he recognized that his mind was ready dead and that his body was fully ruined, acknowledging that his body was fragmented state, that is deformed body. And he deeply thinks what is life and what is death. Through this thinking, he listened voice of conscience in the form of silence in his inner side. That is not fleeing from death but fighting against death. That is anticipation to death. And he went out into the world of criticism across the route to poem. That is to have new understanding about the world of horror and death which he could not overcome in his poetic worlds. His new understanding was not that death is nothing where anything is nonexistent but that death is empty space where silence exists, that is to say empty space filled by absence. Man can acquire the possibility of existence to fill the empty space because empty space exists. His writing on the basis of concept of this empty space was a possibility that he could transcend horror and irrationality, and then transcend even death.