현상학적 무용해석의 과제 = Issues in the Phenomenological Interpretation of the Dance

다국어 초록 (Multilingual Abstract)

This paper deals with the phenomenological approach to the art of dance by the well-known dance scholar Maxine Sheets. Towards that purpose, Chapter 1 explains briefly the phenomenology of Maurice Merleau-Ponty, who may be regarded as the driving force behind the phenomenological movement of the 20th century and was also a prominent philosopher in his own right. Regrettably, an in-depth analysis of his profound philosophy can not be given, and only those parts which are deemed as having relevance to the art of dance in light of Sheets phenomenological attempt have been mentioned. The ensuing chapter summarizes such attempt of Sheets based on her main book, "The Phenomenology of Dance", while looking into two other essays by her which were aimed at clarifying her thoughts in the aforementioned book. Sheets train of thoughts follows that of Merleau-Ponty, and thus a comparison between her thinking and Merleau-Pontys theory of art was also made. The third and final chapter lists the problems of Sheets thoughts and the issues which they give rise to as perceived by this writer. Therefore, the purpose of this paper lies in providing some clues to the direction of future development of her thoughts rather than in being a critical evaluation in the strict sense of the word.
The method of research herewith will be in the first part to explain phenomenology based on Merleau-Pontys main book "Phenomenology of Perception" and some changes in thought which surfaced in the ontological philosophy of his latter years. An explanation of Sheets application of Merleau-Pontys thoughts to the discussion of dance will be given in the next chapter along with a review of how her phenomenological theory of dance is similar to that of Merleau-Ponty. It may seem that the first chapters sub-sections on ⅰ) the body-consciousness and its impact on traditional physical concepts and ⅱ) dialectics, duality, and dimensionality, and the second chapters sub-section concerning dance as a special art form may deviate from the main focus of this papers discussion. But the intent of this writer in including them is to explain the philosophical background of art, the intrinsic differences in content between ontological and art theories, and how these differences manifest themselves particularly in the art of dance.
This writer would like to find the significance of this paper in explaining the structure and value of the phenomenological research method which has brought about new possibilities for dance as an academic field, while pointing out the errors in Sheets application of phenomenology and the accompanying problems and issues which remain to be resolved.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 메를로 퐁티의 현상학 개요
• 가. 현상학이란 무엇인가?
• 나. 현상학에서의 의식-신체와 그것이 신체개념의 변화에 끼친 영향
• 다. 현상학에서의 변증법과 이원성, 그리고 차원성의 문제
• 라. 퐁티의 철학의 전개
• Ⅲ. 맥신 쉿츠의 무용예술에의 현상학 접목 시도
• 가. 특이한 예술 형태로서의 무용
• 나. <무용의 현상학>에서의 현상학 접목시도
• 다. 이후 논문에서의 수정시도
• Ⅳ. 제언
• 가. 무용예술에의 현상학 적용의 문제점 - 방법, 차원, 대상, 실용성등의 문제
• 나. 쉿츠의 성과와 차후의 연구가능성
• 다. 자유
• Ⅴ. 결론
• 참고문헌
• 영문초록