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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국여성체육학회 한국여성체육학회지 한국여성체육학회지 제5권
발행연도
1991.12
수록면
69 - 87 (19page)

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초록· 키워드

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The purpose of this study is to correctly understand dance as an artform and then to identify the proper object of dance criticism. the proper object of dance criticism. In studying or appreciating dance, the major problems seem to arise from its involvement of many different artforms. That complexity is to be the key to the philosophical understanding of dance. The basic principle for solving the philosophical problems presumed in this study is that dance should be addressed in terms of the artform as it is actually practiced, appreciated and evaluated. Thus the definition of dance requires the capacity for explaining the considerable range of phenomena which have been recognized as artforms over an historical period of several centuries, and also with regard to current diversity in dance. Recently dance has seated as an autonomous artform and the essential roles of music, drama, expression of emotion, costumes, scenery and lighting must be recognized in addition to the important role of human movement in the artform. The traditional definitions of dance which merely list components or types of phenomena. Even if they may be useful for their limited purpose and context, they fail to pass the minimal tests of adequacy for defining dance such as specifications of necessary and sufficient conditions, distinction between dance and other human phenomena, distinction between dance and other artforms. In order to understand the nature of dance better, several conditions in terms of the context of appreciation and evaluation, as well as specification of components are required : (1) the types of criteria used to evaluate phenomena must be determined. (2) mental, intellectual or abstract aspects, as opposed to purely physical or sensual aspects, should be considered with the relative importance in determining goodness of a dance work. (3) human movement and music, as opposed to other components, should be considered with the relative importance in determining the `goodness` of a dance work. As a result, an adequate philosophical definition should not be normative. That would take the form : "X would be an example of dance if it consisted of some or all of a certain set of phenomena and those phenomena are evaluated according to certain types of principles." In reviewing the ontological status of the artform, it is essential to recognize the complex characteristics of the artform itself. If dance is considered to consist solely of movement, a virtual image, or a fusion of several media, many problems of evaluation is nonsensical. So dance is better understood as multi-media consisting of primary media of movement(non-movement by movable human body) and music or rhythm, plus secondary media such as costumes, scenery, lighting and the like. from the multi-media character of dance, the problems of evaluation, such as the standard of appropriateness between media, and the standard of appropriateness of a media to the total work and also the different use of those standards. have special importance. Most theories which identify the works of dance use appeals to notational systems but they fail to describe hove acceptable the compliance between notation and performance is established. It is due to the character of dance, whose instrument is the unique and quite variable human body and whose medium consists of various components with relative importance given to different media in different dance genre, that the actual performance necessitates wide tolerance for variation. A model for the determination of compliance in applying identity standards is taken from the practice in copyright infringement. Thus, more adequate identity theory should have a notation (or other fixations) as an absolute standard and a set of principles for substantial similarity determined by lay observers as an application of standards. Then, what should be the proper object of dance criticism? Conventionally, dance critics use information external to a performa

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