• 한국복식학회:학술대회논문집
• /
• 한국복식학회 2003년도 춘계학술대회
• /
• pp.22-22
• /
• 2003

본 논문은 산대놀이가 제의적인 성격과는 달리 숙종 이후부터 흥행을 목적으로 한 순수한 놀이문화로 변모하게 된 과정을 검토하고 광범위한 조선시대 나례와는 달리 17세기 이후 재창출된 문화로서 조선 전·후기의 문화적 특징을 연구하고자 한다. 쇠퇴기인 일제 강점기까지 민간 예능인들이 장시를 중심으로 양반에 대한 풍자 고발 문화를 복식에서 어떻게 형상화하였는지 그 구성상 특징과 상징적 의미를 논하고자 한다. 이 연구를 통해서 과거의 전통극을 현대적 의미로 대중화시킬 수 있다는 가능성을 확인하고 한국복식에서 공연복식의 위치를 규명하고자 한다.

• 한국의류학회지
• /
• 제27권12호
• /
• pp.1397-1404
• /
• 2003

2002년 월드컵 전야제에서는 한국문화를 소개해 세계인의 환호를 받았는데 그 중에는 칠석동 민속축제인 고싸움놀이가 펼쳐졌다. 칠석동 민속축제는 일반 서민복식의 전통복 형태를 보여주는 복식(服飾)을 실제 착용하고 축제를 행하고 있으므로, 점차 사라져 가는 전통복식을 놀이문화를 통해 직접 확인할 수 있다는 점에서 연구가치를 갖는다. 본 연구의 목적은 국제화 시대에 우리 전통문화에 대한 정체성 확립을 위해 시대적 변화에 따라 변해 가는 민속복식을 무형문화재로 지정되어 있는 칠석동 고싸움놀이를 중심으로 시대적 흐름을 통한 고싸움놀이의 전수과정에서 형성되어 온 민속축제복식의 구성과 특성을 살펴보는데 있다. 연구방법은 광주지역인 광산구 칠석동 마을을 중심으로 자료조사와 현장조사를 병행하였다. 자료조사는 민속에 관련된 전공서적과 무형문화재 조사보고서, 행사팜플렛 등을 참고하였고, 현장조사는 고싸움 축제에 참가하여 복식 전반에 대한사진촬영과 마을축제 참여하는 마을사람들을 중심으로 축제복식에 관한 면담조사를 하였다. 칠석동 고싸움 축제복식은 행사가 진행되는 내용에 따라 크게 4가지로 분류할 수 있는데 본격적인 고싸움이 시작되기 전날 밤에 당산나무에 제를 지내는 당산제 복식, 마을의 평안과 고싸움의 흥을 돋우기 위한 농악복식, 고싸움이 시작되기 전에 아낙네들이 손과 손을 맞잡고 둥글게 돌며 화합을 다짐하는 강강수월래 복식, 한해 풍년을 기원하는 고싸움복식이 있다. 칠석동 고싸움 축제복식의 특성을 요약하면 다음과 같다. 첫째, 구성면에서는 농경제의(農耕祭衣)와 안택축원(安宅祝願的)을 기원하는 민속놀이축제복식으로 일상생활에 착용하는 복식을 이용한 농경 의례복의 다(多)기능성이 강조된 것으로 나타났다. 둘째, 색상은 우리조상의 백의(白衣)의 상징인 일상복인 백색 위에 오방색을 사용하여 화려하고도 강렬한 원색의 색상조화가 특징적으로 나타났다. 셋째, 형태면에서는 양쪽어깨와 허리선의 면 분할이나 비례를 통해 허리부분의 동작에 따른 유동적인 선이 부각되고 있다. 특히, 평면구성의 단조로움은 흔들리는 몸동작에 따른 고름의 율동미와 축제복식의 착장 방법에 따른 한국복식의 형태미를 보여주었다.

• 복식
• /
• 제60권3호
• /
• pp.10-25
• /
• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• 복식
• /
• 제54권2호
• /
• pp.79-94
• /
• 2004

The main purpose of this study is to discribe the transfiguration process and the symbols of theatrical costume of Sandai masque(산대놀이) during the Choson Dynasty. Sandai masque as a popular play is a very important form in the history of the Korean theatre. Furthermore in order to analyze the mutual relationship and difference between in the early and later Chosen Dynasty, Narye has is stressed deeply a national amusement event. In the early years of Choson Dynasty, non-official culture such as outside of Seoul and Seoul were subject to the official culture of the Court. In the late years, actors become more and more libral, separating themselves from the systemical restriction. The main reason for this is the growth of capitals in private sectors as well as the growth in demand for entertainment among private citizens. On these backgrounds, the transfiguration process of Sandai masque have changed the treatrical costume. The treatrical costume carries symbolic meaning to the obserber. The value of symbol changes as the time passes, overtime thereby altering its meaning as well. The caracters and plots change inevitably over years but the basic theme remains. The symbols of theatrical costume of Sandai masque are mainly focused on three subjects: first, the entrance of a dragon and tiger originated in the exorcism for good harvest; second, color symbolism expressed in the confrontation between red and black; and third, associate characteristics of dress forms related to regoinal classification of the mask dance.

• 한국복식학회:학술대회논문집
• /
• 한국복식학회 2004년도 International Costume Conference in Association with ICOM 2004 SEOUL
• /
• pp.68-69
• /
• 2004

• 한국융합학회논문지
• /
• 제5권4호
• /
• pp.137-146
• /
• 2014

본 연구는 3단계 지시따르기를 통한 수용언어촉진이 아스퍼거 아동의 반응시간에 미치는 효과에 대하여 알아보고자 실시되었다. 연구대상자는 3세 8개월 남아로, 반응이 느리고 지시따르기에 어려움을 보이는 특성을 보였다. 연구 설계는 행동간 복식기초선 설계법(multiple-baseline across behaviors)이었으며, 종속변인은 지시 후 아동의 반응에 걸리는 시간이었다. 연구결과 행동 1(손들기)의 경우 장면 1(자유놀이)의 기초선 반응시간 3회 평균 3.53초였던 것이 중재이후 평균 0.92초로 짧게 나타났다. 장면 2(생각놀이)의 기초선 반응시간 3회 평균 3.63초가 중재이후 평균 0.66초로 짧아졌다. 행동 2(지시수행하기)의 경우 장면 1(자유놀이) 6회 기초선 평균 3.12초에 나타난 반응이 중재 이후 평균 1.58초로 빠르게 나타났다. 장면 2(생각놀이)의 기초선 6회 평균 4.35초 였던 반응이 중재이후 평균 1.72초로 빠르게 나타났다. 행동 3(대답하기)의 경우 장면 1(자유놀이) 9회 기초선 평균 2.51초에 나타난 반응이 중재이후 평균 1.25초로 빠르게 나타났다. 장면 2(생각놀이)의 기초선 9회 평균 3.04초 였던 반응이 중재이후 평균 0.75초로 빠르게 나타났다. 본 연구를 통해 반응이 느린 아스퍼거 장애 아동의 수용언어 촉진에 3단계 지시따르기가 효과적임을 알 수 있었다.

• 복식문화연구
• /
• 제16권1호
• /
• pp.70-87
• /
• 2008

The purpose of this study is to examine how the entertainment culture has influenced the fashion of the college students since the year 2000, and to analyze the fashion trends of those who enjoy their entertainment culture. The entertainment culture is, therefore, perceived in the most sensitive way by the college students, who belong to the latter period of their adolescence, while influencing them. Especially recently, the entertainment culture of the college students has emerged as a new symbol of the overall fashion. And its effect on the fashion has become conspicuous. The 21st entertainment culture is comprised of "club culture", which is an off-line fad, and "on-line game culture". The result of this study is as follows: Firstly, the formative way that the so-called "club culture" influenced the fashion of the college students shows that their overall fashion trends are characterized by a 'caports image' and a 'childlike-amusing image'. Secondly, the formative fashion style, influenced by the so-called "on-line game culture", presents a 'post- structural image' by using heterogeneous material in order to introduce a new point of view, and by transforming the creation style and design. And it also presents a 'homosexual image' by crossing the attractiveness of both genders. This study is baseds on the documents study.

• 복식
• /
• 제57권2호
• /
• pp.86-99
• /
• 2007

In this study, the concept of play as an entertainment is redefined and applicable method of fashion design as a play are suggested by analyzing the feature of doll's costume design based on the play pattern. In literary study, the role of playing doll Is described and has been examined by the analysis of scholars' opinions. In positive study, the pattern and costume design of sample costume dolls are analyzed using 624 samples of the representative images collected from the literatures and real figures, and they are classified as collection dolls or fashion dolls in order to analyze the feature of fashion design in playing dolls. As a result of the analysis of doll's costumes based on its use, the costumers are divided into a real world costume which is similar to what human wear in daily life and a virtual costume which is used in the movie or play and the costumes only worn by the dolls. The examination of the type of costume worn by dolls, dress is principally dominant costume in collection doll, whereas in fashion doll, dress is still mainly worn but shirt blouse & pants, shirt blouse k skirt, jacket, coat, bathing suit. etc. are shown dispersedly as well. In the costume silhouette of dolls, collection doll uses mostly A line silhouette meanwhile fit and flare is mostly used in the fashion doll but other silhouettes are also relatively shown a lot. In the means of the color of the costume worn by dolls, collection doll is more similar to those in actual fashion design. On the contrary, the color of the costume that fashion doll is put on is more free and more various because the trendy rotors such as green, yellow, purple, etc are used.

• 복식
• /
• 제67권1호
• /
• pp.1-21
• /
• 2017

The Korean folk drama is one of the traditional art performances of Korean folklore, and it is usually characterized by mask dances. An investigation on the costume of Korean folk drama is of great historical significance because they present the variety of typical costume according to the characters. The Sandae-Nori drama of Seoul Gyeong-gi province which was designated as im- portant culture property, has the closest form to general Korean folk costume. The usual characters have their typical costume and reflect the costume of the latter Choson Dynasty period. The costumes are used as a tool of the drama to indicate the character, and the impression of the dance. The costume of the Korean folk drama is made to indicate the character because it is for the play. What is more, the costume of the Sandae-Nori drama of Seoul Gyeong-gi province shows the general aspect of folk costume of the world, which remains as the symbol of the traditional culture and shows more decoration and visibility.

• 복식
• /
• 제65권8호
• /
• pp.35-49
• /
• 2015

When parents and their children wear matching clothes, ranging from one item to the entire wardrobe, we call this the "family look." The purpose of this study was to identify the factors that influence family look clothes consumption. It was proposed that mothers' familism tendencies, playfulness, and demographic characteristics were the main factors that decided the extent of the purchase and usage of family look clothes. A survey was conducted between September 23 and 29, 2013 with mothers who have purchased and wore family look clothes. The age of the women ranged from 20s to 40s. The results showed that the number of family look items is influenced by mothers' familism tendencies and playfulness. Also the favorite family look style depended on the familism tendency, playfulness, and the age of the child(ren). The results of this study are expected to provide implications to apparel companies that produce family looks.