@article{oai:bunkyo.repo.nii.ac.jp:00003614,
 author = {李,　七女},
 issue = {2},
 journal = {文教大学国際学部紀要, Journal of the Faculty of International Studies Bunkyo University},
 month = {2005-01-01, 2009-12-21},
 note = {Hung signifies the sentiment that takes place when the mind is in joyful and pleasurable condition, and that is the word popularly used not only in the folk art but also in everyday life of the people in Korea. In this study I focused on the mental and physical structure as various elements which give birth to "Hung", and analysed the process of the appearance in Honam Sungmu, one of the Korean folk dances that I took it for an example. I beleave this makes us possible to build up a form of the system of Korean folk dance by making clear the actual state of "Hung" that has not ever been explained so much. So I tried to reexamine the recognition of "Hung" which was sensed by the performers of music and dance who are working at the practical place, and made sure the conception of "Hung", one of the essence of Korean art on the present day. And I studied about one of the ethnic religion called "Gud" the shamanistic ceremony, and explained the appearance of "Hung" as a spectator by field work and literary study. It is said that Sungmu is originated in the ritual of Buddhism. I inspected the making process of how this ritual had been fixed among people and grown up to the artistic dance of the present day through six aesthetic elements which compose the mode and the choreographe of Honam Sungmu ------ Jeong, Jung, Dong, Han, Hung, and Sinmyeong. The structural study of body movement about the origin of "Hung" was done by the analysis of films. They are the works that was presented in 1984, 1988, 1996, 1999 and 2001. The process of the study was started by the explanation of formation of Jang-Dan. And I tried to reflect on the classification of the movement of hands and feet. When I divide this extracted movement combination into the "positive movement" and the "negative movement", the combination of negative and positive combined in one Jang-Dan can be seen in various forms, but the combination of negative and positive at the scene with fixed phrases that cause "Hung" is not partial to one place but well balanced. Moreover, I could make sure that which kind of combination and phrases brought "Hung" to dancers, audiences and musicians by the result of this study and I have come to a following conclusion. At first "Hung" is the state of mind which emerges in the moving process from the deep sorrow (Han) to the climax of joy (Sinmyeong) and releases the ego, and that takes place when the performer is getting to lose the sense of presentation and moving to Sinmyeong (ecstasy). The "Hung", caused by the movement of hands and feet, is occured when the harmony is made between the positive expression and the negative expression of hands and feet. The movement combination becomes a series of fixed movement phrase. That has "the accelerative structure character" which begins with slow movement and gets faster, "the Eodbbag structure character" which starts the first pattern with silent movement and creating the beauty of dancing with "Eodbbag" (syncopation), and "the compound structure character" in which the mixture of "accelerative" and "Eodbbag" increases "Hung" . And when I watch the movement of hands and feet, the double structural element like tying and untying, silence and movement, strong and weak or negative and positive are repeated precisely. I can say I could inspect the appearance of "Hung" by means of analytic way.},
 pages = {45--61},
 title = {舞踊における『興』の美学的研究 : 李梅芳流の湖南僧舞を中心に},
 volume = {15},
 year = {}
}