• 한국콘텐츠학회논문지
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• 제13권2호
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• pp.157-174
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• 2013

시판되는 전통복식을 착용한 패션인형의 경우 서구적 얼굴이 주를 이루어 한복과 조화를 이루지 못하고 있다. 본 연구는 전통 패션인형에 적합한 얼굴을 개발하여 현대인들의 컬렉션으로써 전통 패션인형의 위상을 재정립하고자 문헌조사, 사례조사, 소비자 설문조사를 실시하고 이 결과를 토대로 얼굴을 디자인하였다. 전통복식을 착용한 패션인형의 얼굴형은 청순한 역삼각형이 많이 나타났으나 선호된 얼굴형은 역삼각형과 타원형이었고 이목구비는 자연스러운 조화를 이루는 세련된 느낌을 선호하였다. 전통 미인 얼굴은 타원형 얼굴형, 쌍꺼풀이 없거나 속 쌍꺼풀의 긴 눈, 도톰한 입, 코끝이 둥글고 오똑한 코를 선호하였다. 이상의 결과를 조합하여 볼을 약간 살린 역삼각형 얼굴형, 큰 눈과 눈동자를 축소하고 속눈썹 길이를 줄인 눈, 코끝이 들리지 않은 둥근 코, 폭이 작고 아랫입술이 도톰한 단정한 입으로 얼굴을 디자인하였다. 개발된 전통 패션인형 얼굴은 국내외 패션인형 마니아의 욕구에 부합하는 문화상품이 될 것이다.

• 한국의류학회지
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• 제37권5호
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• 비교문화연구
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• 제39권
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• pp.241-286
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• 2015

This study explores how folktales' motifs are used in diverse cultural contents such as literature, movies, or comics. More precisely, it is concerned with mysterious characters like Babayaga and Koshchei who appear in Russian fairytales. When the motifs of the reviewed literature are analyzed, the following three criteria are used for classification: New Writing, Rewriting, and New Version. Or course, it is New Writing that is far from the original work. Most of the collected works, including Joan Aiken's The Kingdom Under the Sea, Patricia Polacco's Babushka's Doll, Babushka Baba Yaga, and Tai?-Marc Le Thanh's BABAYAGA, belong to New Writing. The New Writing type mainly focuses on Babayaga's secluded life. In fairytales, Babayaga is depicted as the goddess of Mother Earth, the heroine of the Nature, or the ruler of the Animal Kingdom. That is why she lives in the deep and uninhabited wood. She is related to the Coming of Age ceremony. Her 'Hut on hen's legs' is an obstacle for immature protagonists to face before they come of age. Protagonists are supposed to solve the problems posed by Babayaga. If they succeed, they can get her magical help so as to complete their final mission. Babayaga is likely to appear as their antagonist. Protagonist may be subjected to a terrible ordeal created by Babayaga, and then come of age by recovering from that ordeal. Sometimes, Babayaga helps protagonists to get a grip on reality. That is why she lives in a hut in the deep and dark forest which is on the borderline between life and death. On the other hand, Marianna Mayer's Baba Yaga and Vasilisa the Brave has been classified as a controversial work between New Writing and Rewriting. It is apparently closer to New Version. However, it cannot be classified as a work of New Version because the author incorporates 'probability' into her work. Among the reviewed works, it is Korean Writer Rye, Kami's The Spider Woman's House that best reflects the essence of Babayaga. Babayaga and other characters are amusing in movies because most of the movies are animations for children. In one sense, it is positive that the scary characters in folktales are approachable to children. In other sense, however, it is regrettable that symbolic motifs are completely eliminated. In Mike Mignola's Hellboy, Japanese animations such as Index or Narutaru, on-line games such as Cabal or Vampire: The masquerade, the essence of the supernatural characters in folktales is completely eliminated, and only their 'belligerent power' stands out. It is desirable to put stories into perspective whether they are written or told. The literature property of folktales provides a special opportunity to readers. In this light, a variety of motifs have a good reason to be reborn as modern cultural contents. The bottom line is to maintain its true nature.