The discussion in this paper is based on mimetic theory and representational theory. Mimetic theory accounts for two points' one is that both poems and dances mimic objects, and the other is that the two genres use rredia to imitate objects. Representational theory helps to explain three specific things: one is that both poems and dances represent errotion, the second is that the two genres have nothing to do with the outer world, and the other is the fact that the receiver is oneself. The reception of rmtions is divided into the reception of representational rmtions and mimetic motions, which can be further subdivided into descriptive and explanatory mimetic rmtions. 'The reception of motions' is the general term Mimetic rmtions in Twelve Songs are both descriptive and figurative. Other Dance shows symbolic mimetic motions, which spontaneously flow because of two aspects. One is the fact that a symbol of mimetic rmtions is fairly abstract but not abstruse as seen in "rmtions rreet and build a house." The other is that mimetic rmtions in themselves are based on a suggestion which is one of symbolic attributes. The reception of representational rmtions is divided into the reception of narrative and aesthetic representational rmtions. Representational rmtions in Albinoni Adagio take their form from narrative ending suffixes such as ' ~)3tq' and ' iitsaq'. This is a ~--- .._-- ---- -- 100 / ~~Oj~ AiI16~(2003. 8) foundation for narrative representational motions. These representational motions corre from a dancer. Aesthetic aspects daminate in Waltz of the Snowflakes, Nutcracker Act One. It is partly because of the fact that this is ballet music based on a classical fairy tale, The Nutcracker and the Mouse King. The reception of scenes is divided into the reception of mimetic scenes and representational scenes, and mimetic scenes are subdivided into playful and folk mimetic scenes. 'The reception of mimetic scenes' is also the general term just as 'the reception of mimetic motions' is. Women Playing around a Fountain, choreographed by Nam Jeong-ho, deals with women's agonies and anxieties as well as their normal lives. Iindo Drum Dance sonorously produces a dancing motion which represents inside emotions, and sorretirres generates a spontaneous and simple dancing motion which adds vitality by romping round and hitting the drum hard. The reception of representational scenes is divided into the reception of collective and hallucinatory representational scenes. It is harmony that appears most frequently among motion types in Requiem by Igal Perry. Motions that comprise scenes embody the therre of 'repose of souls' in harmony with one another. One of Salpuri's Eight Scenes suggests a certain situation regarding the body. This situation reveals human beings who are becoming uniform and losing ego and coming to a halt, however, the dance sustains the ever-lasting vitality of humans.

The discussion in this paper is based on mimetic theory and representational theory. Mimetic theory accounts for two points' one is that both poems and dances mimic objects, and the other is that the two genres use rredia to imitate objects. Representational theory helps to explain three specific things: one is that both poems and dances represent errotion, the second is that the two genres have nothing to do with the outer world, and the other is the fact that the receiver is oneself. The reception of rmtions is divided into the reception of representational rmtions and mimetic motions, which can be further subdivided into descriptive and explanatory mimetic rmtions. 'The reception of motions' is the general term Mimetic rmtions in Twelve Songs are both descriptive and figurative. Other Dance shows symbolic mimetic motions, which spontaneously flow because of two aspects. One is the fact that a symbol of mimetic rmtions is fairly abstract but not abstruse as seen in "rmtions rreet and build a house." The other is that mimetic rmtions in themselves are based on a suggestion which is one of symbolic attributes. The reception of representational rmtions is divided into the reception of narrative and aesthetic representational rmtions. Representational rmtions in Albinoni Adagio take their form from narrative ending suffixes such as ' ~)3tq' and ' iitsaq'. This is a ~--- .._-- ---- -- 100 / ~~Oj~ AiI16~(2003. 8) foundation for narrative representational motions. These representational motions corre from a dancer. Aesthetic aspects daminate in Waltz of the Snowflakes, Nutcracker Act One. It is partly because of the fact that this is ballet music based on a classical fairy tale, The Nutcracker and the Mouse King. The reception of scenes is divided into the reception of mimetic scenes and representational scenes, and mimetic scenes are subdivided into playful and folk mimetic scenes. 'The reception of mimetic scenes' is also the general term just as 'the reception of mimetic motions' is. Women Playing around a Fountain, choreographed by Nam Jeong-ho, deals with women's agonies and anxieties as well as their normal lives. Iindo Drum Dance sonorously produces a dancing motion which represents inside emotions, and sorretirres generates a spontaneous and simple dancing motion which adds vitality by romping round and hitting the drum hard. The reception of representational scenes is divided into the reception of collective and hallucinatory representational scenes. It is harmony that appears most frequently among motion types in Requiem by Igal Perry. Motions that comprise scenes embody the therre of 'repose of souls' in harmony with one another. One of Salpuri's Eight Scenes suggests a certain situation regarding the body. This situation reveals human beings who are becoming uniform and losing ego and coming to a halt, however, the dance sustains the ever-lasting vitality of humans.

reception, representational motions, rnirretic motions, rnirretic scenes, representational scenes