創作務踊에 있어서의 움직임에 對한 哲學的 考察

張禎允 東亞大學校 附設 스포오츠科學硏究所 1984 스포츠科學硏究論文集 Vol.2 No.-

The six movement theories chosen for this study examined that 1. Delsarte analyzed gesture and meaning ful movement in the context of dramatic art. 2. The development of musical concept through rhythmical movement was explored by Delsarte. 3. Laban investigated human movement as the total harmonization of an individual and applied to education, art, recreation, therapy, and industry. 4. Graham, in the theatre of Dance, projected body-centered movement, through which a man's inner being could be penetrated. 5. Humphrey-Weidman found imaginative movement values in the theatric forms of abstracted life. 6. Philosophical concept of movement as symbolic transformation were considered by Ellfeldt-Metheny. Theoretic concept of movement is either functional or expressive. As far as concerning creative dance movement in modern dance, we conceive the dance movement itself as a symbolic form or the virtual image related to an imaginary world created by the piece. After the revolution about dance concept by Merce Cunningham, the movement concept tends to follow the artistic trends in modern society, which I consider tentative and personal.

現代舞踊의 象徵性에 관한 考察

張禎允 東亞大學校附設스포츠科學硏究所 1986 스포츠科學硏究論文集 Vol.4 No.-

The research is focused on the symbolism in modern dance-the dance as an art. After studying the books by Susanne K. Langer and Ernst Cassirer, I analysed the difference between the art symbol and the symbol in art referring to their interpretation on the symbolism of a dance as a creative art. I described the choreographic process of the dance piece, "Initial", with an analysis of the form, the structure, the content and the idea which is organized and united as an expressive form. The main points of the thesis are following next; 1. According to the thought of Susanne K. Kanger, the work of art as a whole is proved to have the form of significance not in terms of its use of symbols. 2. When the significant form in perceived in a work of dance, the dance is a symbol itself. The significant form in dance is perecived as the interacting force or the dynamic image. However the movement, body or its muscle has each sign of feeling, it is only a medium of dance as art form or an expressive form. Therefore the media in a dance must be organized and united to achieve the form of expression as an art symbol of the dance. 3. The symbolism in dance need to be objectificed and articulated to be perceived and experienced by the perceivers. Symbolism in dance means the expression of the idea, -the ideas about the personal feeling and their forming process for the significance-indicates the expressive form.

체육미학의 탐구(2) : 체육의 美에 관해 The beauty in sport

장정윤 東亞大學校附設스포츠科學硏究所 1999 스포츠科學硏究論文集 Vol.17 No.-

This study intends to discuss the beauty as a subject of sport, and the beauty in sport as an aesthetic object. Aesthetic perspectives on sport bring up the questions about the beauty in sport how we perceive and define the sport as an aesthetic object. According to the consideration of this study, it turned out to be irrelevant to regard a game or sport as a work of art. However, the characteristics, styles, grace and the from of sport are approved as aesthetic elements which allow the andience to appreciate artistically, that is to perceive the object with aesthetic interests. Furthermore, the study mentioned about the differences and similarities of performing attitude in the atheletes comparing dancers, indicating of which experiences are quite apart from each other. In spite of the different nature of sport with artistic creation, the study focuses about kinesthetic perception and the aesthetic experience acknowledged in sport. In short, the study shows that we aesthetically recognize the sport, discussing the sport as an aesthetic object. Sport in general is also not an object of art philosophy. Sport is not an art. In order to re-establish the aesthetics of sport, we first of all must have insight into the element of sport, interpreting the unique nature, physicality, competing quality and mobility.

체육미학의 탐구(3) : 체육미학과 인격성:인격은 체육미학의 대상이 될 수 있는가?

장정윤 동아대학교 스포츠과학연구소 2000 스포츠科學硏究論文集 Vol.18 No.-

Beauty in sports comes from the technique and movement form of athelete's physical activities. It develops in accordance with the dynamics and personality that athelete has. There were not enough researches that discuss about athelete's personality as an aesthetic object, material and contents. However, the dynamic quality of sport expresses the personality of athelete as well as inspires the empathy of audience. This is regarded as one of aesthetic values in sports. This paper discusses about the variety of atheletes' personalities according to their physical body and activities. This paper also discusses about the expression of personalities which is constituted by the athelete's physical activities in the process of envolvement in sport games.

장애학생을 위한 STEM중심 진로교육요소와 접근성 향상 전략 탐색

장정윤,이영선 이화여자대학교 특수교육연구소 2014 특수교육 Vol.13 No.1

The purpose of this study is exploring activities and strategies for effective STEM-focused career education for students with disabilities. In this study, we reviewed studies on STEM education as career and/or technical education for students first, and explore studies on STEM educations which students with disabilities participates for the second analysis. Results from the first analysis suggests that activities for successful STEM-focused career education program include 1) hands-on activities, 2) mentoring, 3) meeting with professionals in STEM fields, 4) technology use, and 5) workplace trip. The second analysis concludes that there are several effective strategies, while implementing STEM education students with disabilities as follow: 1) using content enhancement strategies, 2) applying universal design for learning (UDL), 3) fostering self-determination, 4) utilizing technology, and 5) providing collaborative supports. From the results of analyses, implications and discussions for designing and delivering STEM-focused career education programs for students with disabilities are provided. 본 연구는 장애학생을 위한 STEM중심 진로교육프로그램 요소와 전략에 대한 탐색을 위해 분석의 범주를 2가지로 나누어 초․중․고등학생을 대상으로 실시한 진로요소를 포함한 STEM교육프로그램(분석1)과 장애학생을 대상으로 한 STEM교육 프로그램의 요소(분석2)를 분석하고자 한다. 이를 위해 분석1에서는 11편의 국외문헌들을 대상으로 1)저자, 2)연구 참여자, 3)프로그램 유형, 4)프로그램 내용 및 평가, 5)해당 STEM영역, 6)진로교육요소를 분석틀로 하여 분석하였다. 분석2에서는 10편의 국외문헌들을 대상으로 1)저자, 2)연구대상, 3)연구 유형, 4)연구내용, 5)교수방법 및 지원방법을 분석틀로 활용하여 분석하였다. 분석1의 결과 STEM교육에서 활용되는 효과적인 진로교육요소는 체험활동, 멘토링, 전문가와의 만남, 테크놀로지 활용, 직업현장방문으로 나타났다. 분석2의 결과 장애학생을 위한 지원 전략은 내용향상 전략, UDL, 자기결정, 테크놀로지 활용, 협력적 지원으로 나타났다. 이러한 분석1과 분석2의 결과를 바탕으로 장애학생을 위한 효과적인 STEM중심 진로교육프로그램의 전략과 요소가 제안되었고, 효과적인 프로그램의 개발 및 활용과 관련한 논의가 이루어졌다.

피아니스트 김원복(金元福)의 1950년 이전까지의 음악 활동: ‘음악가족’을 중심으로

장정윤 이화여자대학교 음악연구소 2023 이화음악논집 Vol.27 No.1

Pianist Won-pok Kim (金元福, 1908-2002) was one of the most talented female musicians of her time. She had experience studying abroad in modern Korea under the Japanese Empire and remained active well into old age. For women musicians, marriage was often a turning point in their lives and careers, but Kim had the unique circumstance of having both her father and husband as musicians, which provided her with valuable support for her musical endeavors. Kim Won-pok’s “musical family” began with her father, Hyengchoon Kim (金亨俊, 1885-1965), who was one of the leading musicians of his time, and continued with his colleague Nan-p’a Hong (洪蘭坡, 1898~1941) as well as Hong’s nephew and Kim’s spouse, Sung-yoo Hong (洪盛裕, 1908-1936). Together with them, Kim continued her musical activities. This study examines the period before 1950 when Kim Won-pok was in close contact with these three individuals and examines the circumstances surrounding her musical activities during this period. 피아니스트 김원복(金元福, 1908-2002)은 식민지 조선에서 일본 유학을 경험하고 노년까지 왕성하게 활동했던 음악가이다. 여성 음악가에게 결혼은 인생과 경력에 있어서 하나의 전환점이 될 수밖에 없었는데 김원복은 아버지와 남편이 모두 음악가였기 때문에 이들로부터 음악 활동에 대한 지지를 기대할 수 있었던 특별한 환경을 가졌던 인물이라 할 수 있다. 김원복의 ‘음악가족’은 음악계의 선배이자 아버지였던 김형준(金亨俊, 1885-1965)을 시작으로 그의 동료였던 홍난파(洪蘭坡, 1898-1941) 그리고 홍난파의 조카이자 배우자인 홍성유(洪盛裕, 1908-1936)로 이어지며 이들과 함께 김원복은 활발하게 음악 활동을 이어간다. 본 연구는 김원복이 세 인물과의 접점에 있었던 시기인 1950년 이전까지를 중심으로 이들과 함께 어떠한 상황에서 김원복이 음악 활동을 해나갔는지 살펴본다.

죽음을 통한 자아 성찰 연구 : 존 밀턴(John Milton)의 「리시다스」"Lycidas"를 중심으로

장정윤 숙명여자대학교 지역학연구소 1999 지역학논집 = Research Institute of Regional Studies Vol.3 No.-

「리시다스」는 바로 이런 상투적인 진실을 너무나 자연스럽게 시적으로 표현하고 있다는 점에서 문학적인 가치를 인정받고 있다. 즉 리시다스의 죽음속에서 시인의 삶을 구체화시킨다는 주제를 인간이 맺고 있는 관계뿐만 아니라, 자연 속에서도 찾아볼 수 있었던 것이다. 낮의 아름다움과 생기를 밤의 평화와 여유있는 시간을 통해 얻을 수 있는 것이라는 점을 강조하였고, 태양의 일몰을 바라보면서 일출의 장엄함과 새로운 내일에 대한 희망을 표현하였다. 또한 물에서도 죽음의 바다에서 세례, 혹은 양수를 의미하는 탄생의 물을 동시에 표현하여 모든 것에서 죽음과 삶이 매우 밀접하게 연경되어 있고, 죽음을 통해 삶이 가치 있게 된다는 주제를 보여준다. 결국 「리시다스」에서 보여주는 인생은 죽음을 기다리는 과정이다. 이때 우리는 그 기다림을 단지 허무하게 생각할 것인가 아니면 죽음을 극복하여 얻게 될 기쁨을 생각할 것인가에 대한 선택을 해야 한다. 릴케는 죽음을 ‘극복 한다’는 말은 ‘넘어 선다’것을 의미한다고 보았다. 그러나 이때 잊지 말아야 할 것은 “우리는 넘어서는 것을 지탱하고 넘어선 쪽에서 삶이 존재하고, 그 속에서는 인간들이 느낄 수 있는 기쁨이 보상으로 남아있다는 것을 보여주기 위한 작품인 것이다.

무용미학의 제문제들에 관한 고찰(2)

張禎允 東亞大學校 1995 東亞論叢 Vol.32 No.-

This paper issues on the aesthetics of Modern Dance 1900's~1980's Chapter 2 deals with fundamental inquires beared by modern dance, dancer, choreographer and dance production as well as dance criticism. I also discussed in the chapter dance theories in regard with general aesthetics of dance theories by Rudolf von Laban, John Martin and Sunsanne K.Langer. Analysing the terms dervied from their thoughts such as aesthetic consciousness, aesthetic judgement and aesthetic medium, I found out the various aesthetic view points implied in modern dance. Those conceptual problems and problems of aesthetic viewpoints of modern dance are concerning to contemporary dance styles and their using of dance movements. The aesthetic elements of dance movements by Isadora Duncan, Doris Humphrey, Martha Graham and Hose Limon were examined. Aesthetic viewpoint after 1950's were analysed in the dance of Alwin Nikolai and Merce Cunningham. Terminological problems of 'expression' and 'meaning' in the dance after 1950's were resolved and analysed in the phenomenological explanation by Sondre Fraleigh. In spite of all attempts to deny the expressive dance movements, to exclude the dance technique and to replace with the usual pedestrain movements, post-modern dance approved that dance must be realised by dance movements so that to be apprehended as a new dance. Modern dances of 1900's ~1980's are considered to demand the specific body quality to dance, and to show transforming process of creativity.

니체의 무용관

장정윤 韓國舞踊敎育學會 2000 韓國舞踊敎育學會誌 Vol.11 No.1

The purpose of this essay is to elucidate how influential and meaningful the philosophy of Nitzscle is for the current development of dance. In his many prominent philosophical authologies, Nietzsche has left a lot of detailed and sophisticated descriptions of dance movement and dance. In some sense he opothesized dance as a god position. Moreover, he scarely refuted the impending Socratismus which considered the body as a slave to the soul. He, thus, can be regarded as the first philosopher who liberated the body from societal codification and aesthetic delimitation. When we discuss the philosophy of dance by Nietzsche, we have to solve out two problems. The first is the reason why Nietzsche mentioned 'dance' throughout the philosophical-thinking process. The second is the way how we comprehend the autistic, thinking process of Nietzsche. For Nietzsche, the through of body-mind unity, Dionysiac impulse, the divinity and the liberation of body importantly forms the concept of dance which we discussed in concrete while comprehending the phrases. The philosophy of dance by Nietzsche, creased fundamental principle to which artists and scholars continue to refer to this day. In recent years, contemporary societies have been characterized by a heightened attention to the body, expressed in the changing relation of individual identity to health, sexuality and bodily image. The rise of body in consumer culture as a symbolic value has been accompanied by a progressive socialization of the body. Postmodern dance celebrates the body as subject : the joyful, aesthetically organized creative body. The body resist the instrumentalization of contemporary society. The dance becomes body's speech. Through dance, the body can create speech for present life. Although the dance is used as the philosophical symbol, Nietzsche showed clearly the dance can become the thinking means and meanings. Furthermore, Nietzsche was the first philosopher in the world, who consider the dance movement philosophically. All the philosophical perspectives of Nietzsche which were nourished in dance from the early twenty century onwards. By the redefinition of body images, of body perceptions, the philosophy of Nietzsche created foundational principles to which artists-choreographers and dancers- and scholars continue to refer this day.

정서·행동장애학생이 참여한 봉사학습 프로그램 분석

장정윤,이영선 이화여자대학교 특수교육연구소 2013 특수교육 Vol.12 No.1

본 연구는 정서·행동장애학생이 참여한 봉사학습 프로그램과 관련하여 이루어진 국외 문헌들을 종합적으로 검토한 후, 봉사학습의 단계와 필수요소를 분석하고 재구성하여 정서·행동장애학생들에게 의미 있는 봉사학습의 단계와 요소들을 제안하고자 하였다. 이를 위해 정서·행동장애학생이 참여한 봉사학습 프로그램과 관련된 11편의 국외 문헌들을 분석 자료로 활용하여 저자(발표연도), 연구 참여자, 연구 유형, 프로그램 내용, 평가 방법, 연구 결과를 중심으로 1차 분석 하였다. 2차 분석은 정서·행동장애학생이 참여한 봉사학습 프로그램에 대한 단계 및 요소별 심층 분석으로서, 활동 계획·준비, 활동 실행, 활동 평가, 수료의 4단계와 지역사회 요구탐색, 개인적인 흥미와의 연관성, 교육과정과의 연관성, 봉사학습 준비교육, 진행과정 모니터링, 지속적, 정기적 시행, 다양한 협력자들의 참여, 반성적 성찰, 활동 후 평가, 성취에 대한 자축과 격려의 10단계를 적용하여 총 8편의 논문을 대상으로 실시되었다. 분석결과, 8편의 연구에서 지속적·정기적 시행, 활동 후 평가, 반성적 성찰, 봉사학습 준비교육요소 순으로 많이 포함하고 있었고, 개인적 흥미와의 연관성과 진행과정 모니터링요소는 비교적 낮은 포함률을 보였다. 이러한 분석 결과를 바탕으로 정서·행동장애학생들을 위한 봉사학습프로그램의 개발 및 활용과 관련하여 논의가 이루어졌다. The purpose of this study were two folds: (1) to review and analyze overseas research on service-learning programs for students with emotional and behavioral disorders(EBD) and (2) to suggest meaningful stages and elements of service-learning programs for students with EBD. For this study, 11 research on service-learning programs for EBD students were chosen and analyzed on authors(year), participants, type of research, program contents, evaluation design, results. Secondary analysis is focused on the 4 stages(planning and preparation, implementing the activity, evaluation, ceremony) and 10 elements(search for community needs, connection to personal interest, link to curriculum, preparing students for service-learning, progress monitoring, regular and ongoing implementation, partnership, reflection, program evaluation after implementation, celebration) of implementing service-learning programs for EBD. The elements most frequently discussed were (a) regular and ongoing implementation, (b) program evaluation after implementation, (c) reflection, and (d) preparing students for service-learning. Least mentioned were (a) connection to personal interest and (b) progress monitoring. From the result of the analysis, implications and discussions for further studies and practice were conducted.