The purpose of this study is to produce virtual models of women aged in their 60s and to implement the virtual clothing with jackets. We referred to 3D images of standard and obese body types from the 8th Size Korea and attempted to create avatars based on their images through the various trials. Final virtual models were made to reflect the appearance of women in their 60s. For the standard body type, a 3D image with average body measurements was selected. Based on numerous trials aimed at turning her image into an avatar, the auto-converted avatar on CLO 3D was slimmer than the woman in the original image, and hence it was not suitable for the virtual model. After blending, we converted the image into an uneditable avatar for which only the joint points could be moved, thereby creating an avatar that was identical to the original image. We also selected an image of an obese woman with a “beer bottle” body shape from the 8th Size Korea. We created an avatar that resembled her shape by also converting it into an uneditable avatar for which only joint points could be moved. To use these avatars in virtual clothing, we removed masks of avatars and made faces, hair styles, and skin tones representing women in their 60s. The moderately-sized classic jackets were smooth on both virtual models and fitted satisfactorily. This study demonstrated the applicability of virtual model production of various body types or ages in special clothing studies.

沈從文의 습작기 소설 속 여성형상은 작품의 지역적 배경과 인물의 결혼 여부에 따라 서로 다른 특징을 지니고 있다. 北京을 배경으로 한 작품 속 여성은 대부분 작 가의 성적 욕구와 밀접한 관련이 있다. 기혼여성의 경우, 모두가 성에 자유롭고 적극 적인데, 이는 작가의 성적 욕구를 투사한 결과로 보인다. 미혼여성의 경우, 작가가 감히 근접하지 못할 아름다움의 화신으로서 등장하고 있다. 이는 작가가 젊고 아름 다운 여성을 학예의 여신 뮤즈로 승화한 것으로 추측할 수 있다. 湘西를 배경으로 한 작품 속 여성은 작가의 성적 욕구를 초월한 존재로 그려지고 있다. 기혼여성은 자애로운 어머니, 현명한 주부, 사랑스러운 부인의 모습으로 그려지고 있는데, 이는 도시 생활에 지친 작가가 행복한 추억의 공간으로 심리적 퇴행을 하고 있음을 보여 준다. 미혼여성은 湘西의 자연과 결합하여 정체를 알 수 없는 신비한 존재로 그려지 고 있는데, 이는 湘西라는 신화적 상상의 공간에서 작가가 내면의 아니마를 적극적으로 탐색하게 되었음을 보여준다

沈從文 소설연구에 있어 최근 새로이 부상하는 연구방법론으로 생태주의, 여성주의, 그리고 이를 결합한 생태여성주의 연구방법이 있다. 하지만 다양한 시도가 진행 중인 상황이라 아직은 주목할 만한 연구 성과가 나오지 않은 것으로 보인다. 이러한 상황에서 생태주의, 여성주의, 생태여성주의의 연구를 근원에서부터 사색하게 하는 아니마·아니무스와 관련된 이론은 향후 이들 연구에 있어 새로운 방향을 제시할 수 있을 것이다. 본 연구는 칼 융의 아니마․아니무스 이론이 생태여성주의 입장에서 沈從文 소설 속 여성형상 이해에 있어 유용하고 타당한 연구방법론이 될 수 있는지 그 가능성을 탐색하였다. 이를 위해 우선, 심리학적 측면에서 沈從文의 창작생애와 소설 창작 전반을 거시적으로 살펴봄으로써 沈從文이 잠재의식 속 아니마를 조우하게 되는 계기와 과정을 밝혀보았다. 다음으로 沈從文의 소설 속 여성형상들의 창작 시기별 전변과정이 沈從文의 잠재의식 속 아니마의 심화과정과 동일선상에 있으며, 이 아니마를 통해 沈從文이 시기별로 특유의 문학세계를 구축할 수 있었음을 살펴보았다.

『여선외사』는 청대에 창작된 백화장편소설이다. 본 논문은 이 소설이 ‘정난지변’을 소설의 주요 플롯으로 차용하면서, 전쟁을 이끄는 주체로 남성이 아닌, 당새아와 다양한 여성인물들을 전면에 내세운 점에 주목했다. 그리하여 먼저 소설 속 다양한 여성형상을 인물이 속한 세계에 따라 선계, 마계, 인간계로 나누어 특징을 분석한 후, 여성인물들의 가치와 신념이 작동하는 방식의 고찰을 통해 이러한 여성형상이 갖는 소설적 의미를 살펴보고자 한다.

본고는 『삼국연의』의 여성인물이 소설 속에서 어떻게 형상화 되었는지 살펴본 후, 여성 형상의 특징을 정리하였는데, 여성 등장인물은 자신만의 목소리나 감정을 발산하지 않고 개인적 욕망이 없는 것처럼 그려졌다. 『삼국연의』가 삭제해도 무방한 여성인물들을 ‘自我가 없는 존재’로 형상화한 것은 작가의 서사전략이다. 작가는 이들 여성인물들을 이용하여 중심인물들을 부각하고, 영웅을 판별하는 잣대로 이용했으며, ‘忠’이라는 이데올로기를 강화하기 위한 서사전략으로 활용하였다.

This study aims to survey the creation process of female figure as a whole by linking features of female association depending on Shen cong wen's creation period with the characteristics of female figures of each time. Female figures at the first creation period are, in many cases, just passive subjects looked into the eyes of the male writer. This is largely because of a woman named Ma, Yao Mei, and Ding ling, who were those Shen associated when he first started writing literatures. They were women who hided their true colors of wicked women under the veil of positive image of girl and seem to have a huge impact on the creation of female figures by Shen at the initial stage of his literature creation process. At the second period, female figures in his literatures are varied and colorful. There are novels in which a woman is a main character and stories, in many cases, are delivered from a point of view of a woman. Ding ling and Zhang zhao he associating with Shen at that time had a great impact on this. Literatures by Shen in this period were a dedication for the love and friendship with friends and lovers. Female figures at the third period have contradictory characteristics; sometimes it is too ordinary and plain, and others it is too abstract and difficult. This is related to the fact that the association with women did not directly motivate his creation at that time due to the reality called marriage and a special circumstance: war. But, in this period, he was absorbed in creation to capture the lively motion and beauty of life that he had constantly envisioned. In conclusion, by investigating the relationship between his association with women and female figures, the author has been able to identify the meaning of coincidence and women when it comes to creation, as the way he had expressed. His creative tendency was determined according to the nature of women he was in association with each time and the female figures did not stray from the shadows of women he was in association with. This feature on the creation of literatures by Shen suggests that his literary world and female figures are to be interpreted and studied in various ways in the fields such as eco-feminism and gender psychology.

中國因爲在社會主義時期不能形成眞正的女性話語，所以新時期開始了，很快就恢復了以男性爲主的秩序，女性的社會作用與地位狹小了，對女性的視覺與認識也退步了。這些現實可以通過電影裏的女性形象看出，隨着新時期的進展，女性從公共領域移到私人領域，淪爲性慾的對象。從性與性別的角度來看，可以分成三種類型:性別的共有與性的恢复、性別的交叉與性的顚覆、性別的固定與性慾的强調。就是说，進入新時期，女性恢復了自己的性，而被該完成男女性別的壓迫感受到痛苦。女性屬於公共領域同时被母親的作用受壓迫。政治領域也變成個人和經濟領域，從此可以看到消弱國家意識形態而逐漸重視物質條件的社會變化。另外,女性在發揮男性作用之時穿男裝而在發揮女性作用之時穿女裝，就展示性別的交叉與性的顚覆的形態。這在區分男女和按照性規定性別，表現爲徹底阻擋女性的社會活動和造成性認同的混亂。前两類是給女性許容她們出入性和性別的範圍，而性別的固定與性慾的强調這類型意味着女性只能遂行女性作用，女性爲男性存在。所以强調對女性的性慾。另外這些女性塑造爲坏女人的形象，這也就是反映女性成爲性的消費對象，同時反映女性的成長。可是爲了纠正新時期以后重返的以男性爲主的秩序，女性找到自己眞正的座位，就需要和中國社會的發展一起，應該形成眞正的女性話語和進行對女性問題的認眞的摸索。

This research aims at developing the dress form for the aged women based on their body shapes using the three-dimensional body scan data with the body shape categorization(according to the previous research). To accomplish this goal, the sample group of representative body shape of the 50% of median was selected by using the high frequency proportion range of each type of body shape of the aged women, and the sample group of representative body shape of each type was averaged in a three-dimensional way by using the morphing method of a three-dimension reverse-engineered software. RP in the form of torso was produced based on the shape data of the final model and the data was formed into an actual object, by which an aged women’s dress form model was drawn out. The differences of the girth of the bust, hip and waist between the developed dress form model and the existing dress form model were examined. The result showed that the developed dress form had a bigger size of waist girth than that of bust and hip girth, compared to the existing dress form, which shows that it reflects the aged women’s tendency of abdomen obesity, so it’s expected to be more proper for the human bodies of the targeted age group than the existing dress form. These research results may help design the clothing suitable for the body shape of the aged women so that their demand for the clothing of good fit will be satisfied in the future.

The purpose of this study is to classify body shapes of aged women by using 3D body scan data. For the body shape analysis and classification, 3D body scan data of 270 aged women were used, and 16 main measurements consisting of a human body were used to conduct factor analysis, cluster analysis and discriminant analysis. The analysis were performed on all ‘the method using the absolute value’, ‘the method using index of height and weight’, and ‘the method using index of height,’ and according to the classification results, the method which categorizes body shapes best in terms of their shapes was adopted. As the factor analysis result using the numerical value of height to categorize the body shapes of the aged women, factor 1 was the thickness and width for the height, factor 2 was the height of the upper part of the body for the height, factor 3 was the height of hips for the height, and factor 4 was the height of belly for the height. When the body shapes were categorized with the deducted factors as variables, they were divided into two types. Type 1 was a short and fat body shape(▅ type) and 55.6% of the subjects were of this type. Type 2 was for the body shape whose vertical height, including weight, was long but all kinds of width and thickness were small, that is, tall and thin body shape(▋ type), and 44.4% of the aged women were in this case.