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Title of Dissertation NAMING MOVEMENT: NOMENCLATURE AND WAYS OF KNOWING DANCE IN FRENCH AND KOREAN COURT DANCES A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Sue In Kim January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Luke Kahlich, Dance Shigenori Nagatomo, Religion Steven Zohn, External Member, Music Studies i © Copyright 2010 by Sue In Kim ii ABSTRACT Naming Movement: Nomenclature and Ways of Knowing Dance in French and Korean Court Dances Sue In Kim Doctor of Philosophy Temple University, 2010 Doctoral Advisory Committee Chair: Dr. Joellen Meglin This study examines dance terminologies and documentation of Korean and French court dances, Jeongjae and Belle Dance, respectively. For Belle Dance, Raoul Feuillet‘s Chorégraphie (1700) and Pierre Rameau‘s Maître à Danser (1725) provide lists of movement terms, definitions of them, and instructions for how to enact them. For Jeongjae, Jeongjae mudo holgi (呈才舞蹈笏記), written in the nineteenth century, comprises diagrams and descriptions of dance movements. These sources have their own ways of converting dance movement into language, revealing the divergent perspectives toward body movement in each culture. Their divergent modes of documenting dance demonstrate the characteristic ways of expressing and constructing knowledge of body movement of their historical and cultural contexts. By comparing the terminologies and documentation that carry historically and culturally specific concepts, I explore underlying assumptions about what kinds of information are considered knowledge and preserved through articulation in words and graphic symbols. This study addresses the research question, what do dance terminologies and iii processes of documentation suggest about perspectives on dance movement in two distinct dance cultures. To articulate the differences, this study examines selected documents as a whole and dance terms in specific. The significance of characteristic features found in the textual analysis will be illuminated through an exploration of intertextual relationships between the dance texts and important sources of the period that focus on the body and how it is conceived in relation to the human being. This study suggests that, dance documents, which translate selected aspects of dance movement into words and graphic symbols, encapsulate historically and culturally specific ways of knowing dance movement. Intending to capture movement analytically and visually, Belle Dance treatises attempt to establish objective knowledge of dance. This mode of knowing corresponds to philosophical and practical milieus that constructed the theory of mind-body dualism, mathematical foundations of modern science, and reliance on sense perceptions. In contrast, Jeongjae documents take the performer‘s experience as the standard point of view, considering his or her inner experience as well as observable results of movement. Correspondingly, Korean traditional culture adhered to a holistic view of the body and promoted implicit expressions to describe body movements. iv NOTE The transliteration of Korean terms follows Ministry of Culture and Tourism proclamation No. 2000-8. Proper names of institutions follow the spelling provided by the institutions in question. Korean personal names are written by family name first, followed by a space and the given name. For Korean given names containing two syllables in general, the syllables are hyphenated. Because many Korean authors to which this dissertation refers share a common family name, both family and given names are used in in-text and footnotes to avoid confusion. For Korean authors who have published in English and used alternate romanizations for their names, the spelling used in the original publication is retained. Chinese and Japanese names also follow the standard order of surname first. Translation of Korean studies terminology follows the Glossary of Korean Studies issued by The Academy of Korean Studies. v ACKNOWLEDGEMENT Writing this dissertation has been one of the most significant academic challenges I have ever faced. Without the support, patience, and guidance of the following people, this study would not have been completed. It is to them that I owed my sincere appreciation. My deepest gratitude goes to my advisor, Dr. Joellen Meglin. I have been very fortunate to have an advisor who gave me the guidance when I was lost, yet at the same time allow me the freedom to explore on my own. Her patience and support had helped me to overcome many crisis situations and finish this dissertation. I am grateful particularly for her sharp critiques and meticulous feedback from the perspective of a dance historian and Baroque dance expert. Dr. Luke Kahlich, as the second advisor, led me to philosophical significance of dance writing, which later became one of the primary impetuses of this dissertation. I am also thankful that he attentively oversaw my maturation as a scholar from the moment I entered the doctoral program. Dr. Shigenori Nagatomo‘s insightful comments and constructive criticisms at different stages of my research were thought-provoking and they helped me focus my ideas. I am grateful to him for holding me to a high research standard, and thus teaching me how to do research. His expertise in East-Asian philosophy and language added a desirable dimension to this research. vi Special thanks goes to Dr. Steven Zohn, a music scholar, for accepting the appointment of being the outside examiner on my committee. Despite the limited time given to him to read my dissertation, he made substantial comments throughout the documents. I am deeply appreciative of his commitment. The Department of Dance at Temple University has been a big family. I wish to thank Dr. Welsh and Dr. Bond, as well as the entire dance faculty and administrative staffs for their support during my studies there. I have to give a special mention for the support given by Dr. Sarah Hilsendager, whose generosity and wisdom I warmly appreciate. Most importantly, none of this would have been possible without the love and patience of my family. My family has been a constant source of love, concern, support and strength all these years. Particularly, I would like to thank my husband, Choi Dong- yeol, whose love, support, and constant patience taught so much about persistence and endurance. vii TABLE OF CONTENTS PAGE ABSTRACT ....................................................................................................................... iii NOTE ...................................................................................................................................v ACKNOWLEDGEMENT ................................................................................................. vi LIST OF TABLES ........................................................................................................... xiv LIST OF FIGURES ...........................................................................................................xv CHAPTER 1. ON THE SURFACE OF MY CONSCIOUSNESS: A REFLEXIVE ACCOUNT OF THE RESEARCH ...............................................................................1 2. SCULPTING A MAZE: RESEARCH PLAN .............................................................12 Materials ..........................................................................................................13 Methods and Procedure....................................................................................15 Use of Terms ....................................................................................................19 Significance......................................................................................................21 Choice and Delimitation of The Subjects ........................................................23 The Korean Court Dance, Jeongjae .....................................................23 French Baroque Dance, Belle Dance ...................................................27 3. LANGUAGE, CULTURE, AND DANCE: CRITICAL REVIEW OF RELATED LITERATURES .......................................................................................35 Linguistic Recapitulation of Dance Movement ...............................................36 viii Movement Reality Presented by Language .........................................36 Derrida‘S Deconstruction and Politics Of Language ...........................41 Presupposition Embedded in Western And East-Asian Langugage ............................................................................................46 Translating Movement into Words ..................................................................52 Understanding Body Movement Within The Socio-Linguistic Sphere ..................................................................................................52 The Linguistic Relativist Account of The Basic Material of Dance ...................................................................................................56 Dance Writing as A Cultural Product ..................................................60 Curing Ephemerality of Dance By Writing .........................................66 Conclusion of Chapter 3 ..................................................................................70 4. ANALYSIS OF DANCE DOCUMENT: JEONGJAE ................................................73 General Purpose of The Document ..................................................................74
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