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舞踊藝術의 美的 意味

Title
舞踊藝術의 美的 意味
Other Titles
(The) Asthetic Meaning in the Dance Art
Authors
李貞斗
Issue Date
1984
Department/Major
대학원 무용학과
Keywords
무용예술미적 의미무용무용예술작품
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
백기수
Abstract
身體를 媒介로 해서 內面的인 情感的 衝動을 表現하는 舞踊은 現生人類(home sapiens)의 原初的인 段階로부터 存續되어온 것으로서, 가장 오래된 藝術로 容認되고 있다. 古代에 있어서 舞踊은 東西洋을 막론하고 詩·歌·舞와 함께 하나의 統合態를 이루고 있었던 것으로 寒認된다. 이러한 舞踊은 生命力에 高潮된 熱情이 身體를 움직이게 하여 춤을 추는 사람을 恍惚境에 到達하게 하는 것이었는데, 후에 이르러 獨目的인 하나의 藝術로서의 영역을 차지하게 되여 美의 現象의 場으로서 美的 價値를 갖게됨으로써, 藝術로서의 意味를 갖게된 것이다. 本論에 들어가 第Ⅱ章에서는 舞踊이 비롯된 경위와 무송現象的 側面에서 舞踊의 諸要素를 살펴봄으로써 舞踊에 對한 定義를 시도하였다. 그리고 藝術로서의 舞踊의 起源을 살펴보기 위해 藝術의 語義上의 意味 및 表現과 再現의 槪念을 敍述하고, 第Ⅲ章에서는 藝術現象의 實現過程面에서 他藝術과는 다른 舞踊藝術作晶의 存在方式에 관해 고찰해 보았다. 즉, 이를테면 회화와 같은 藝術의 경우에는 일단 作品으로 産出되면 藝術家를 떠나 藝術作品으로서 獨立된 存在로서 存在하게 되는데, 舞踊藝術의 경우에는 그와는 달리 舞譜에 옮겼졌다고 해서 舞譜 그 자체가 舞踊藝術作品이 될 수는 없고 이 舞譜에 따라 舞踊手가 舞臺위에서 公演할 때 비로소 하나의 作品으로서 成立하게 되는 것이다 이러한 무용예술작품은 物質的=精神的 存在로서 存在하는 藝術로서 그 實現形態上 時=空間的 次元에서 實現된다고 할 수 있는 점에서 第Ⅳ章에서는 舞踊藝術의 時=空間性을 살펴보았다. 第Ⅴ章에서는 그와 같이 實現되는 舞踊藝術作品에 있어서의 美的特性에 관한 문제를 論究했다. 이렇게 해서 舞踊의 原初的리 形態, 藝術로서의 舞踊, 舞踊藝術作品의 存在方式, 그 美的 特牲등 一連의 문제를 體系的으로 論함으로써 舞踊藝術의 美的 意義를 論空하려는 것이 이 論文의 主要한 內容을 이룬다.;The Dance, which expresses the internal and emotional impulse by the body, has been recognized as the oldest art which is existed from the original stage of homo sapiens, and it is also admitted in ancient, times as an unified form which was constituted with poem and music regardless of the East, and the West. Such dance makes the people, who are dancing, experience the ecstasy, and feel the liveliness by moving the body with highly increased passion. Dance is said to be originated from the way to fill the basic desire which is necessary for human beings to survive in the relation between nature and human beings, or God and human beings. It is not until dance comes to have the esthetic value as a field of beauty developing that it comes to have real meaning as an art. So, in chapter II, we study "How does the dance result from?," "What is the linguistic meaning of the words of dance?", and define dance by explaining various factors of dance briefly from the dance phenomenal viewpoint, and explain the linguistic meaning of art and the concept of expression and representation in order to observe the origin o f dance and also observe the Curt Sachs opinion which admits the origin of dance as an art in per-history, with those points of view, by illustrating concrete examples. In chapter Ⅲ, we study the existing form of dance art which is aifferent from other's in the process of realizing of art phenomenon namely, for example, if once the art like painting is made as a work, it isexisted as an independed artwork regardless of artist. But, on the contrary, in case of dance, even though we translate it into the dance notation, it can't be dance art-work, in it self, It is not until the dancer performs it on the stage following the dance notatior that it is formed as a work. In chapter Ⅳ, we discuss throughly problems about the characteristic of esthetic image of dance art-work which is realized like that. Thus, this thesis is principally consisted to observe the Asthetic meaning of dance art by studying a series of problems systematically, for example, the origin of dance as an art, the existing form of dance art-work, and the Asthetic characteristic, etc.
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