무용에서 관찰의 상호성 연구

한혜리 한국무용교육학회 2022 한국무용교육학회지 Vol.33 No.1

In this study that has understood both creator and appreciator as observers, the reciprocity of observation could be presented in the concept and logic as follows. • The dance activates the evolutionary results based on oneself. The spontaneity of dance observation includes meanings such as sensing (body, individuality, & independence), perceiving (self-awareness, self-esteem, etc.), and viewing in another perspective (putting oneself in someone else’s shoes), and transcends differences of roles between the creator and the appreciator in the area of dance perception. • The contemporary dance that is presented by new dance facilitators handles the ideal society beyond the current society by using the tools such as communications of the body, senses, and perception based on the originality of independent individuals. • The process of observation in dance spontaneously realizes ego, so a human being integrates oneself with the world (human & nature as well as oneself) again.

동시대 무용의 가치 전도와 가치 창출

한혜리 한국무용교육학회 2017 한국무용교육학회지 Vol.28 No.4

The subject of this study is revaluation and creation of values in contemporary dance. For this study, the concept of dancing was explored by the function of contemporary dance and put forth a course for private and social revaluation of values in dance by analyzing the positions of postmodernism and the general public after categorizing elite dance until the modernism and dance in cultures after the postmodernism as the field of popular dance. Contemporary time refers to a time that demands a rational and psychological buffer zone or a healing space of emotional and psychological stabilization in the time of continuously occurring impacts; and, delaying the decision on dance found in an unfamiliar structure can be construed as a will to resist against the immediate response to a stimulation, and the function of such psychological training is the artistic value of postmodernism dance. The value of dance lies in the world of personality, not physical. Therefore, the function of dance in contemporary time may be proposed in terms of accessibility and the forms and values of contemporary dance have in our lives. What was drawn from the logic of this study was that, historically, dance functioned in the psychological world of the humanity but, in the relationship with society, its values were pursued by focusing its functions more in the domain of expert knowledge, such as enlightenment and criticism. Postmodernism considers a person an inevitable existence by viewing it as a fate and is a society that determines the value of an individual by affiliating to and existing as a whole. Dance in such a time, rather than as an apparition on vanishing stages, has been symbolized or sublimated and exists in the lives of the individuals living in such society.

지식 확장 무용교육과 상상력 무용 학습의 적합성

한혜리 한국무용교육학회 2020 한국무용교육학회지 Vol.31 No.3

The objective of this study is to explore the appropriateness of dance learning in terms of the fundamental function of learning, that is, utilizing knowledge to benefit daily life. To this end, this study presents the significances of knowledge expanding functions of dance and imaginative dance learning as below: Expansion of dance knowledge means to absorb ideological thoughts so that internalized knowledge is supplied unconsciously as nutrients to effective behaviors. Contemporary dance learning is viewed as a way of imagination education aiming at knowledge expansion that goes beyond the structural understanding of dance knowledge and documentary materials. Imaginative dance learning facilitates creativity through which we can see our life as they develop our epistemology towards reality, and furthermore, raise our awareness of what we should be. The demand and need in the contemporary society where the structure of dance knowledge forms a connection with the psychological structure of humanity are the very basis on which the appropriateness of dance learning methods is measured. In the process of dancing, individuals with self-esteem become a subject of perception and symbolize the perceived objects with the intention of communicating with other individuals with self-esteem. This is the basic structure of imaginative dance learning.

무용의 접근성과 유통 미디어와의 관계

한혜리 한국무용교육학회 2020 한국무용교육학회지 Vol.31 No.2

In discussing the structure of the distribution that comprises production and consumption, the environment in which dance is distributed as a public good is considered as media in this study, which has led to the conclusion as below through its investigation that links to the accessibility of dance. The accessibility of dance suggests that dance serves as a social institution which is provided as a benefit free from discrimination and inconvenience for those who are deprived of opportunities due to bodily condition, age, gender, and region. Thus, it refers to dance as a public good that goes beyond consumption or sharing. If the time when dance becomes significant through relating is the interaction time, the environment that enables such interaction is the dance media. Dance in the physical space of theater which belongs to traditional media finds its final stage in the delivery of dance through one-to-many relation. In organic media that has dance as live contents, a different type of relating begins the moment when contents are delivered. Dance, which is exposed to specific media, is continuously connected to other media through the activities of persons who are related. Thus, dance carries potential for shared evolution.

무용 경험의 내면성과 공감의 속성

한혜리 한국무용교육학회 2024 한국무용교육학회지 Vol.35 No.4

This study interpreted individual identity through the inequality of body, and regarded the horizontal communication structure premised on inequality as the in- ternality of contemporary dance. In addition, this study presented the attributes of dance empathy occurred in the process of identity exchange between individuals in the horizontal communication structure as sharing reciprocity and experience between individuals forming the relationship in the structure of dance sharing. The attributes of internality and emotional empathy of dance in the sharing system drawn in the research process are as follows. Dance experience has a function to understand others with equal value of existence same as oneself in the horizontal communication system accepting the inequality of body. And in the dance experience, others exist as identity while the identity proving the existence of each one is recognized in the communication structure that expresses existing oneself through actions. Therefore, the contem- porary dance implies the ethical principles of forming the horizontal relationship that accepts the inequality of body as individual’s independent nature in the com- munication structure which understands others as identity. Emotional empathy, which enjoys interdependent relationship connected to emotional memories enlightened through sharing experiences with others, is a competence that can be enhanced through the design of public education, social public system, or public culture, and furthermore, it can reduce the formation of unequal and hierarchical social relations.

공연예술로서 무용에서 무대의 개념

한혜리 韓國舞踊敎育學會 1997 韓國舞踊敎育學會誌 Vol.7 No.-

Today when kinds of dance much more diversified, concept of stage is being expanded as people's understanding of a space for performance changes everyday. Now people cast off common thinking that dance can be performed or viewed only on and through a stage in the theatrical form, and this conceptual expansion make us illuminate our Korean dance from a quite different point of view since our dance has a historical background of not having demanded a special stage, i.e., a theatre. To say within the context of dance history, people's understanding of dance began to change, at first in the circle of intelligenzia, after the appearance of theatre. and an individual's original dance, a dance to be seen and an indoor stage of a theatre were considered as general premises of a dance. In the Western dance which has developed together with the existence of theatre after its appearance, a stage hasn't existed merely as a place for dancing. Rather it not only has exerted influence on the development of dance to cultivate special movements to capture spectators' eyes, but also has changed our concept of dance. That is, in dancing, level of dramatic accomplishment through a combination of side effects of all the mechanisms a theatre possesses as well as expressions through physical movements has become an important standard for appreciating and evaluating. From the beginning of dance, dance has changed its performing place from street through indoors and courts to a theatre, and eventually has established its position as a performing art to take diverse forms and types. And in modern times, as we can see that various places beside indoor theatres have been selected and used as a space for performance and new dance forms have appeared, the influence of conceptual changes toward stage upon dance is clear.

무용 경험의 지식 확장 구조

한혜리 한국무용교육학회 2019 한국무용교육학회지 Vol.30 No.4

This study is on the structure of dance experience linked to knowledge; independent participation in the process of recognizing dance was provided as the structure of dance experience. As the knowledge expansion, dance experience is eventually the behavior of participating independently on the cognitive functioning with the body. Here, this study considers that the independent participation becomes the structure of dance experience to have the factors of independent participation being intrinsic in the body, which was provided as introspection and spirituality. The concept derived in this study is summarized as follows. The premise is that dance experience is independent participation in the dance recognition behavioral process rather than recognizing the dance. Independent participation is the property of granting meaning to all those that are encountered in the structure of dance experience created by the mind of filtering and analyzing all observations. The body that is the entity of dance experience is the place (or organ) that penetrates through the lives of the soul, mind and environment in the concept of embodiment, and is also the place where the cognitive functioning occurs. Introspection as one of the factors of dance experience in the perceptual domain is the essence of human knowledge, and is the will in which the ego becomes human as the character. In the dance experience, mind enables dance to have meaning and purpose, and this spirituality is expanded to universal knowledge in the ordinary world as the ability learned through experience.

지역사회 노인의 고위험 음주에 영향을 미치는 요인에 관한 연구

한혜리,이용주 한국노년교육학회 2024 노년교육연구 Vol.10 No.2

This study aimed to identify high-risk drinking behaviors among community-dwelling older adults aged 65 and over and to explore the demographic and health-related factors influencing these behaviors. The analysis utilized data from the Korean Longitudinal Study of Ageing (KLoSA), specifically the 8th wave (2020), focusing on 4,405 community-dwelling older adults aged 65 and above. To determine factors influencing high-risk drinking, a binomial logistic regression analysis was conducted. The results showed that men were significantly more likely than women to engage in high-risk drinking, and that those aged 65–75 were more likely to drink at high-risk levels than those over 75. Additionally, the absence of a spouse and lower frequency of social contact were significantly associated with high-risk drinking. Among health-related factors, smoking was associated with a notably higher rate of high-risk drinking. Based on these findings, practical intervention strategies for preventing and mitigating high-risk drinking among older adults are suggested.

Study on the Thermal and Electrical Conductivity Properties of Titanium-sputtered Materials

한혜리 한국의류학회 2022 한국의류학회지 Vol.46 No.3

Titanium exhibits substantial corrosion resistance, strength, and ductility, with a specific gravity of approximately 4.5 and a melting point of approximately 1800°C. It is currently used in aircraft parts and space development. This study considered the thermal characteristics, stealth effects of infrared thermal imaging cameras, electromagnetic shielding, and electrical conductivity of Ti-sputtered materials. Base materials of different densities and types were treated using titanium sputtering. Infrared thermal imaging showed a better stealth effect when the titanium layer was directed toward the outside. The film sample presented a better stealth effect than the fabrics did. In each of the samples subjected to titanium sputtering, when the titanium layer was directed outward, the untreated sample or exposed titanium layer showed surface temperatures lower than those of the samples with the titanium layer oriented toward the heat source. Additionally, after the titanium sputtering treatment, the films conducted electricity (low resistance) better than the fabrics did. All titanium-sputtered specimens presented reduced electromagnetic wave transmission and significantly reduced infrared transmission. These results are expected to apply to military uniforms (soldiers' protective clothing to gain the upper hand on the battlefield), medical sensors, multifunctional intelligent textiles and etc.

무용 경험 미디어의 기능 연구

한혜리 한국무용교육학회 2025 한국무용교육학회지 Vol.36 No.1

“A Study on the functions of dance experience media” is an inquiry of dance value formed by dance participatory experience in the social/community system and dance communication media. This study explored the mediation of dance me- dia based on the content like dance experience and perception, value of dance experience mediated through social system, and attributes of dance media, and the results of this study are as follows. As an act for participating in mutual playfulness of two cognitive abilities such as sensibility and intelligence, the dance experience eliminates the doubts about each individual’s cognitive ability. The dance experience in symmetric relation is improved and expanded when the body is perceived as a symbol connected to communication with others be- yond a sensory tool, and the dance experience community formed by the participa- tion of each subjective ego is a group of individuals who mutually infuence others by going through diferent conficts. The collective imagination of subjective individuals participating in dance ex- perience is realized through the media that mediate dance as a symbol. As the accessibility of dance experience, the social/community system forms the participatory community accompanied by efort rather than consumption. The dance media mediate dance of symbolic form in the method of communi- cation. In the symbolic form, the technical medium organizes and controls space and time by using new methods in the communication structure of dance, and also provides the method of using space and time according to the goal of dance com- munication. The selection of dance communication media requires the control over the operating principles of technical medium, and the interactive rules and procedures of media. The synchronic function of symbolic form dance acceptance of dance media has expanded the accommodation space of dance to the whole earth, and the ac- ceptance of dance through the media provides the experience of global perception beyond the methods of experience, observation, and contact.