싸리버섯 추출물의 구강세균에 대한 항균활성

김기화 ( Ki-hwa Kim ),한소라 ( So-ra Han ),김별이 ( Byeol-lee Kim ),정상희 ( Sang-hee Jung ),오태진 ( Tae-jin Oh ) 한국치위생학회 2017 한국치위생학회지 Vol.17 No.3

Objectives: This study aimed to find out the antimicrobial activities of Ramaria botrytis (Fr.) extracts against oral pathogens. Methods: The antimicrobial activities of Ramaria botrytis (Fr.) extracts were evaluated against oral pathogens by the disc diffusion assay, and the minimum inhibitory concentrations (MICs) of ethyl acetate extracts were determined by broth dilution method. The strains used in this study were Staphylococcus aureus, Streptococcus mutans, Streptococcus sanguinis, Streptococcus sobrinus, Streptococcus anginosus, Streptococcus ratti, Streptococcus criceti, Actinomyces israelii, Actinomyces viscosus and Aggregatibacter actinomycetemcomitans. Results: The ethyl acetate extract of Ramaria botrytis (Fr.) effectively inhibited the growth of oral bacteria compared with acetone or ethanol extract. The ethyl acetate extract exhibited MIC values ranging from 3.75 to 15.00 mg/ml, and it showed antimicrobial activity against both Gram-positive and negative oral bacteria. Conclusions: The ethyl acetate extracts from Ramaria botrytis (Fr.) showed the antimicrobial activities against ten oral bacteria. Thus, the extract of Ramaria botrytis (Fr.) may be considered as an effective natural antimicrobial agent for the prevention of oral pathogens.

인문사회과학영역 : 라반의 Effort 요인들의 의미생성구조와 여덟 가지 기본 Effort Action들의 정서적 기호해석 적용가능성 고찰

김기화 ( Ki Hwa Kim ) 한국무용연구학회 2011 한국무용연구 Vol.29 No.1

This study research the structure of interrelation of meaning generation about Laban`s 4 Effort factors and semiotic interpretation of emotional about Effort Action, by means of 2 research methods-Greimas`s Semiotic Square Model and Watsons`s PANAS(Positive Affect Negative Affect Schedule) First, analyzed mutual relation of meaning generation which 4Effort factors substituted for Semiotic Square Model. Second, analyzed affective mean generation by means of mutual relation between affects and efffort movements as Laban`s 8 Effort Actions and types of affects(positive & negative affect) apply to semiotic square model. Effort Actions are likely to be strongly influenced by affects, as mutual relation between affect and effort Actions by semiotic square model. It`s know how them becoming affective meanings by effort factors are antagonistic relationship, contradiction relationship, implication relationship.

육체 : 십자가 성 요한의 인간학 2

김기화(Kim Ki-hwa) 신학과사상학회 2008 가톨릭 신학과 사상 Vol.- No.61

무형문화재 춤의 패러다임에 대한 재고(再考)

김기화 ( Kim Ki-hwa ),백현순 ( Baek Hyun-soon ) 한국무용연구학회 2021 한국무용연구 Vol.39 No.2

This study discussed the paradigm of Intangible Cultural Property dance in Korea. First of all, in order to examine the flow of the legal implementation of the Intangible Cultural Property system, we reviewed the Cultural Property Protection Act, the Intangible Cultural Property Law, the enforcement decrees and enforcement rules. In addition, the category of the institutional paradigm of dance for intangible cultural properties was discussed, and the stylistic paradigm of dance for intangible cultural properties was discussed. The research results are as follows. First, the criteria for designating individual items of intangible cultural properties must be specifically defined. Second, in the case of overlapping designation of cultural property items of national intangible cultural properties and city/province designated cultural properties, clear legal standards must be established. Third, there is a need for consensus and discussion on the de-designation of dance as an intangible cultural property. Fourth, the objectivity of the holder recognition procedure should precede and the criteria for verification should be clear. Fifth, the discourse on the typical dance of intangible cultural properties should be expanded and implemented.

인문사회과학영역 : 창의적 무용교육과 문제중심학습(PBL)

김기화 ( Ki Hwa Kim ) 한국무용연구학회 2011 한국무용연구 Vol.29 No.2

This study aims at introducing one of the creative teaching-learning approaches called PBL (Problem-based learning) in order to suggest a theoretical dance class model which supports the performing class in the uniformed dance education focused on apprentices. PBL suggests student centered environment, which the constructivist approach stressed, more specifically. Thus the approach can be said to be a model that truly carries out the learning principles of constructivist approach. In short, the study goal is to suggest a teaching learning model of how to adopt PBL to dance education. This study as a literature based on the qualitative research suggests a theoretical basis by studying PBL related literatures, researches and the previous studies in other art subjects, and then draws the following conclusions through the process of how to adopt PBL after watching ``Hahoe Mask Dance`` by taking a lesson from the course, Appreciation of Performing Dance. First, PBL undergoes so called self-directed learning process in which students learn about a subject in the context of problems by constructing knowledge in their own mind by themselves. Second, PBL makes possible to review through a process to share what they have learned in small groups after they learn by themselves individually. Third, PBL has two areas of discovering the nature of a problem and understanding its resolution, but these two must be conducted as a complementary process. Fourth, PBL includes different steps of beginning activities, suggesting problems and approaching them, deducing learning suggested by the problems, conducting self-study, adopting new knowledge to solve the problems and reflecting plans to solve them, writing the ways to solve the problems and summarizing them, and writing a journal of reflecting the learning. Fifth, dance theory education must be learning for creative physical expressions accompanied by intellectual activities, and of course, PBL fits in this creative development. Sixth, the unique element of PBL is that it consists of problems, students and an instructor, and in using the method the role of the instructor is a facilitator of learning who provides appropriate scaffolding of that process.

무용의 스토리텔링 구조연구

김기화(Ki-Hwa Kim),백현순(Hyun-Soon Baek) 한국콘텐츠학회 2012 한국콘텐츠학회논문지 Vol.12 No.1

본 연구는 무용예술의 신체적 언어가 서사적 담론체계로서 스토리텔링의 담론방식을 수용할 수 있는가를 연구목적으로 하고 있다. 무용은 무용수와 무대미술의 관계형성을 통해서 비유?은유?상징 등의 다양한 문학적 장치들로 담론의 체계를 형성할 수 있다. 스토리텔링의 개념에서 무용의 서사적 구성요소를 발현하는가에 대한 논의는 다음과 같다. 사물적 요소로서 배경은 무대미술과 무용수의 행위적 요소들에 의해서 시공간적 배경이 제시가능하며, 인물설정도 무용수는 그 자체가 1인칭 화자인 동시에 평면적인 인물성격 묘사가 가능하다. 무용의 사건적 요소는 무대미술의 요소들이 1차적인 사건적 동기의 배경을 제시하고, 무용수의 다양한 인간관계로서 독무, 듀엣, 군무의 상관관계를 통해서 갈등관계가 형성되고, 사건을 전개하는 과정으로서 플롯은 무용수의 마임적 행위, 제스처, 얼굴표정 등의 행위소에 의해서 이끌어간다. 무용이 서사를 발현하는 요소는 무용 예술 그 자체가 발현체가 되며, 서사의 전이구조는 무용언어가 갖는 고유의 문법이다. 안무가는 무용의 서사의 담론으로서 인물설정, 인물의 행위, 시공간적 배경을 연출하는 무대미술의 요소들, 플롯의 전개 등으로 이야기를 효과적으로 전달할 수 있도록 설득력 있는 무용텍스트를 구성해야 한다. This study aims to examine the physical language of dance arts acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dances narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancers diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancers mime actions, gestures, facial expressions, etc. The element of dances revealing narration is the dance art itself and the developing structure of narration is the dance languages own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage arts elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.

인문사회과학영역 : 한국창작춤 마음꽃의 표현기법 분석

김기화 ( Ki Hwa Kim ),임학선 ( Hak Sun Lim ) 한국무용연구학회 2011 한국무용연구 Vol.29 No.2

The term ``Korean Original Dance`` has developed into a genre creating a new wave through new perception and interpretation of Korean traditional culture since the emergence of Koreanology in 1970s. Since then, Korean Original Dance, up to this day, has converged into different esthetic areas and been accepted as the artistic spirit of consilience by forming new and creative art works in 1980s and growing to be a field with more diverse art works through auteurisme in which dancers had their personal esthetic system in 1990s. In light of this, this study aims at studying Hak Sun Lim`s identity as a dancer by analyzing expressional methods of ``Maeumkkot``, through which the study tries to systemize the dance choreography theoretically by studying the features of Korean Original Dance. The study chose a major text from the notes of choreography of Maeumkkot and the researchers` experience in performing the dance and analyzed the dance in the view of theoretical systems of icon and code. The expressional system in Maeumkkot is completed through theme movements, group formation, and time constraint elements. The theme movements elicit the theme of the work, sewing image and the three-dimensional moving formation created by the group formation show Soonyi`s sufferings, through which the dance helps viewers feel the emotional climax of Korean woman`s perseverance. The lithographic slide, which is a kind of small tool or a stage setting, creates the time and the place of the work. In particular, the variation that the slides show is interlinked with the content of the dance as a symbol of approaching the theme of the work, forming Soonyi`s beautifully esthetic sense of heart. The dance always has symbolism of minimal dancing movements, and three-dimensional image of dance formation that seems just as if we see sculptures. The code, which is the value of perseverance Korean woman has, emerges as an icon of value-laden information in performing Maeumkkot. The combination of the code and the icon means that visual forms produce visual ideology.

작품을 통해 본 근대무용의 사(史)적 흐름

김기화 ( Ki Hwa Kim ) 한국무용연구학회 2015 한국무용연구 Vol.33 No.1

This study aimed to analyze the dance performances of Korean modern dancers such as Goo-Ja Bae, Seunghee Choi and Takwon Cho. Furthermore it examined the relationship between the performances and modern times as well as its process of development. First, the concept of modern dance had emerged with the modernized stages for westernized dance performance. Second, the new dance of Ishii Baku ought to be called modern dance recognized as generic term for dance, in Korea. Third, Goo-Ja Bae was a pioneer of dance who had opened the institute of dance in Korea: Bae``s dance works, Arirang and A Maiden Carrying Water , based on Korean traditional dance, definitely provided the foundation of national dance history. Fourth, the reasons why the dance performances of Seung-Hee Choi were regarded as modern new dance were like this: Ishii Baku, her teacher, had a system of Neuer Tans, one of the European dance trends. Her performances had made an effort to give new style of dance by dint of combination of a myriad of dance. She had revealed them in a westernized way. Fifth, Taekwon Cho, he had introduced a dance poem, a dance drama, and a language of modern dance.

이동안 기본춤에 내재된 줄타기의 미학

김기화 ( Ki Hwa Kim ) 한국무용연구학회 2014 한국무용연구 Vol.32 No.1

As schools tend to increasingly adopt Korean traditional dance in their regular curriculum, the dance society needs to find solutions to teaching methods and definition of its identity. The past research of the traditional dance has seen its development from the perspective of mainly performance, based on the life of artists or the transmission of it. Research of its patterns, however, in fact has little achievements and that could be mostly explained by the lack of records and the limits of time and space the performing arts have inevitably in them. Nevertheless, to find basic patterns of dance shows the characteristics of it and provides concrete foundations for dance performances and ultimately gives a useful opportunity to take a high quality education accompanied by clear interpretation. From this, a style foundation of the basic dance of Lee Dong An``s line is studied in the paper. The basic dance of Lee is highly valued as an old law when we search for the characteristics of the style our traditional dance has. Its history has at least more than 150 years considering the transmission by Kim In Ho-Lee Dong An-Park Jeong Im, all of whom carried on the legacy of Hwasung Performer``s Hall. The perspective of the characteristic of this dance does not just lie in the beauty of form. If we see the life of Kim and Lee as a talented performer and evaluate their dance, we would get a whole new view about the nature of dance. In particular, as a well-known aerialist, Lee shows both dynamics and humor in his dance, which accordingly reveals a kind of the beauty of transcendence beyond life and death. I study the stylization of Lee``s basic dance by a correlation with tightrope in this paper. For this, qualitative research centered on interviews, field research and references has been used. After the investigation of possible relations between tightrope and Lee``s basic dance based on rhythm, space, movement, expressions, I could find there is a correlation between them. The results show that his basic dance adopted a transformed technique using elasticity of the rope used for acrobatics on tightrope.

춤지식의 디지털화 구축 방안

김기화 ( Ki Hwa Kim ) 한국무용연구학회 2016 한국무용연구 Vol.34 No.1

Today, much of recognition and decisions for action that many people are being made in the knowledge and information society. Against this backdrop, dance`s one-time and non-persistent characteristics occupying the central role in this field may put dance`s existence itself into threat. What`s worse, dance`s fundamentals are extremely fragile. These efforts call the needs for a new foundation for dance. Digitalizing dance knowledge would be a brilliant alternative yet how to build such a system has been studied so far. Those recognizing , in this study explored measures to build a digital system for dance knowledge. It would be a valuable study that is expected to be of use for the review followed by the planning stage of digitalization of dance knowledge.