무용의 예술적 경험에 관한 연구

오율자(Oh, Yul Ja) 한국체육철학회 1996 움직임의철학 : 한국체육철학회지 Vol.4 No.1

John Dewey`s `Art as Experience` is that universal experience, which is gained from daily experience, is the expression of the organized spiritual world of experience which is attached to artistic experience by aesthetic attitude. That is, daily experience is regarded as an object of art and the conversion into art of dance through the body is looked upon as a domain of true experience. The aim of the art of dance is to grasp how daily experience is immanent in the art of dance. Accordingly, the result of this paper on the artistic experience in dance as follows. 1. Dance is the expression of the spiritual world beyond the body and the art of dance can`t be in proportion to the size of the spiritual world, for it is confined to only the human movement. 2. Dance is not only simple movement and experience, but is completeness through the integration of movement which occurs when dispersed objects are united and organized, and their meanings are concretely understood and linked together. 3. Dance is not satisfied with an object. It is not the description but the process of dance that matters in taking an artistic view of all the objects. 4. Dance is removed from the training of technics, which enjoins tolerance and the experience of the perception and cognition acquired through the direct relationship between artistic objects and things is very important. According to the above, by reducing art to real life in society and bringing artists` interest in the surroundings of our life, J. Dewey tries to connect directly art with experience. His view as such is to sublime social needs into education. Nowadays, our education has laid emphasis on the intellectual activities. In fact, though there is logics which treats with intelligence, it is not until the late in 18th century that aesthetics or artistics which deals with emotion is recognized as a learning. In the coming 21th century. we should not only think of intelligence and emotion but touch them as well. With such interests and efforts, we should revive the powers latent within abundant human emotion and develop the education of modern art.

인문 , 사회과학논문 : 서원 , 김문숙의 춤의 관점

오율자(Yul Ja Oh) 대한무용학회 2001 대한무용학회논문집 Vol.30 No.-

한국무용에서의 미학적 논의

오율자 ( Yul Ja Oh ) 대한무용학회 2005 대한무용학회논문집 Vol.42 No.-

춤에서의 신명체험에 관한 연구

오율자 ( Yul Ja Oh ) 대한무용학회 1995 대한무용학회논문집 Vol.18 No.-

한국 창작무용음악의 효과적인 제작방법에 관한 연구

오율자(Oh, Yul-Ja),이정화(Lee, Jung-Wha) 한국체육철학회 1997 움직임의철학 : 한국체육철학회지 Vol.5 No.2

Dance is general art. Therefore, to produce a work, it needs to cowork with other, arts and dancers need to get expert knowledges about related fields as well as dance. Specially, in these fields, music which has closed relation with dance in the embryological theory has a great influence on the effective production of dance and choregraphic flow, so it is much more required to study about music. Recently, the works of creative dance have got to need more objective and concrete dance music as the operation of creative dance has been proceeding briskly. As the result, it is easilly shown that choreographers take dance music to musicains, which makes a new dance music type called Creative dance music. However, as creative dance music needs more coworking hours between choreographers and musicains other fields do, it causes lots of problems to be solved. So this study presents effective production methods of Korea creative dance music by grasping every problem and finding improvements in order to approach creative dance music production methods which can make an effect on elevation of the quality of Korea dance creation.

무용예술의 미적체험에 관한 연구

오율자(Yul Ja Oh) 한국체육철학회 1995 움직임의철학 : 한국체육철학회지 Vol.3 No.1

John Dewey told that the fundamental objective of the art-work`s creation and appreciation and appreciation is to seek aesthetic quality and the meaning of aesthetic objects, reconstruct them by oneself, generalize them, and consquently try to aesthetic value orintation through the activities of value research. In view of pursuing the aesthetic value in the aesthetic experience, the better understanding occupies important position, especially limitting the aesthetic value object to dance-art. In this respect the purpose of study is to help choreographers, dancers and audience to understand the structure and the essense of the aesthetic experience. In addition, I tried to find the thought-difference by comparing Korean dance with modern dance, ballet about aesthetic value through the questionnaire. The major contents of my study are as follows: First, tried to find What is the structure of aesthetic experience?. Second, tried to find How the aesthetic value is explained?`. Third, tried to find What is the essense of aesthetic experience?. The last, tried to find the specific results by comparing Korean dance with modern dance, ballet when having the aesthetic value. This study is expected to be helpful for choreographers, dancers and audience to appreciate the dance-art-work effectively through the better understanding of the aesthetic value and the aesthetic experience itself in dance-art.

여성주의적 관점으로 본 무용 예술에 관한 연구

오율자(Oh, Yul Ja),서리라(Suh, Li ra) 한국체육철학회 1998 움직임의철학 : 한국체육철학회지 Vol.6 No.2

When we address feminism as a liberation of human being through an exploration of women`s identities, the 「Art of Dances」 plays a vital role in expressing the soul through choreograghy and improvisation, using the human body as its means of expression, thus making dance better than any other form of art for achieving the socialization of women. This paper reviews the evolution of western modern dance and the history of Korean women s dance from the late 19^(th) century to the early 20^(th) century from a feministic point of view, i.e., how the feministic trend of the dancers develop its expression and directions in dach different social structure, how the concept of dance has changed through time in the Korean society, which is very patriarchial and chauvinistic, and how the absolute domain ratio of female dancers in the dance population contributes to the socialization of Korean women. Whin dance is considered as a way of expressing the inner world by a series of body movements, the visionary image of dance itself constructs a contraction image of men and women, and in other related subjects and/or themes, this image is again reflected onto dance pieces on stage. The position of women in dance is greatly influenced by a series of complex historical and cultural factors. Considering the dance drill exercises, its policy, its organization and supporting policy, and an evaluation of how its works, the effect of political power and male-oriented social structure, coupled with a power-oriented economic system and ideological concepts, greatly influences the weaker role of women versus that of men. Women, directly or indirectly influenced by feminism, endeavour to pursue and achieve a renovative progression through their emotions and strong will. As a result, the increase in the female dance population in Korean society contributes to an independent female portrait. This signifies that dance is no longer an exhibition of body, but an expression of soul, a general language of art. Therefore, looking at the future role of women in the 21^(th) century, Korean dance as an art should develop its own innovative form in search of the value of women.

Disciplinary Dance : 미적체험으로서의 신명현상에 관한 연구

오율자 ( Yul Ja Oh ) 한국체육학회 1996 국제스포츠과학 학술대회 Vol.1996 No.1

전남 서남부 지역 5일장에서 채소묘의 유통실태

조자용(Ja Yong Cho),유성오(Sung Oh Yu),박윤점(Yun Jum Park),배종향(Jong Hyang Bae),양승렬(Seung Yul Yang),김병운(Byoung Woon Kim),장홍기(Hong Gi Jang),허북구(Buk Gu Heo) 한국원예학회 2005 원예과학기술지 Vol.23 No.4

재래시장에서 판매되는 채소묘의 유통 효율성을 높이기 위한 기초 자료를 얻기 위해 2005년 4월 중순부터 6월 중순까지 전남 서남부 지역의 5일장을 중심으로 3회에 걸쳐 채소묘의 유통실태를 조사하였다. 각 지역의 5일장에서 채소묘를 판매하는 곳은 9~39개소 였다. 판매처별 판매량은 751-1,250개의 묘를 판매하는 곳이 29.9%, 1,251개 이상을 판매하는 곳이 34.4%였다. 5일장에서 판매된 채소묘는 20종류 이상이었다. 판매처 비율이 높은 묘는 고추류(89.2%), 가지(60.5%), 토마토류(59.8%), 호박류(33.7%), 참외(33.1%), 오이(32.5%), 그리고 수박(26.1%) 등이었다. 채소묘의 1주당 가격은 품목과 지역에 따라 차이가 있었으며, 트레이묘는 200~250원, 포트묘는 400~500원 정도였다. 채소묘 판매자들은 92.3%가 여성이었으며, 50대 이상이 83.9%였다. 채소판매자중 90% 이상이 판매품목과 판매자에 대한 정보를 소비자들에게 제공하지 않고 있었다. This study was conducted to collect the basic materials for the effective marketing of vegetable seedlings on the five-day traditional markets of south-western Jeonnam districts from April to June, 2005. Nine to thirty nine street stalls in the local traditional markets sell the vegetable seedlings. About 29.9% of the street stalls in the traditional markets sold more than seven hundred and fifty-one vegetable seedlings, and 34.4% of street stalls sold more than one thousand and two hundred and fifty one seedlings. Over twenty kinds of vegetable seedlings were marketed in the five-day traditional markets. Higher rates of selling places for vegetable seedlings were in the order of the kind of peppers (89.2%), egg plant (60.5%), the kind of tomatoes (59.8%), the kind of pumpkins (33.7%), oriental melon (33.1%), cucumber (32.5%), and water melon (26.1%). There were differences of selling prices per vegetable seedling among the list of items and districts. Prices of one vegetable seedling with tray and pot were two hundred to two hundred and fifty won, and four hundred to five hundred won, respectively. Sellers about 92.3% for vegetable seedlings were women, and sellers about 83.9% were over fifty years old. Over 90% of sellers for vegetable seedlings did not offer the informations of selling items and sellers to the consumers.

ARMA-PL: Tackling Nested Periods and Linear Trend in Time Series Data

Jung-Yul Suh,Sae-jae Lee,Hyun-Seung Oh,Ja-Hwal Koo,Lim Taek,Jin-Hyung Cho 한국산업경영시스템학회 2010 한국산업경영시스템학회 학술대회 Vol.2010 No.춘계

Time series exhibiting linear and periodic trends is analyzed Detailed method of extracting nested periods and resulting periodic components, finding the best fit ARMA model for non-linear and non-periodic component, and setting up control boundary are presented. The concept of time scale is introduced to better understand periodic dynamic.