『내가 죽어 누워 있을 때』 : 비천한 어머니의 기호계와 말하는 주체

최현숙 ( Choi¸ Hyun-sook ) 동국대학교 영어권문화연구소 2016 영어권문화연구 Vol.9 No.1

The purpose of this paper is to explore an abject mother and the interrelation between the semiotic and a speaking subject in William Faulkner's As I Lay Dying. William Faulkner centers dying(dead) Addie Bundren's monologue in the text. Her maternal authority, which embodies the semiotic, violates the border of the symbolic and disrupts the identity of a symbolic subject. As Addie's corpse breaks all of the boundaries and seriously has an effect on the Bundrens, the influence of the semiotic is found in the identity of her children and their use of poetic language. During the funeral the children underwent hardships by water, which this abject mother wields. Among the children Dewey Dell and Darl's monologues show the crisis of the eruption of the semiotic within a speaking subject. The self must give up their maternal body in order to enter the symbolic world, while Julia Kristeva claims the mother never be eliminated from the symbolic subject. In a case of Dewey Dell and Darl, their use of poetic language proves a threat of the semiotic. Although Faulkner represents the subversive power of abject mother through Addie, he doesn't simply give the semiotic a priority over the symbolic, but emphasizes the balance of the two. According to Kristeva, the semiotic system that proves a speaking subject, which has a creative power, ultimately leads to the signifying process of a subject. Therefore, Faulkner realizes the revolution of a poetic subject through Cash's transfiguration process; his reaction to the music mirrors well that he releases the pulse and rhythm of the semiotic into his rigid symbolic subject. A speaking subject should be the one who creates the signifying process of an artistic revolution controlling and accepting the impulse of the semiotic flexibly not being buried in the extremes of the semiotic or symbolic. In the end Cash replaces Darl as a speaker of the novel to place himself on the symbolic world.

공해이론의 기호학적 정초 - 아돌프 로스(Adolf Loos)의 장식미학을 중심으로

박여성 ( Park Yo-song ) 한국기호학회 2019 기호학연구 Vol.59 No.-

In this article, we aimed to build a semiotic foundation for a Theory of so-called Semiotic Pollution from the perspective of Ornament-Aesthetics by the Austrian Architect Adolf Loos (his main work is “Ornament and Crime”, the original title in German “Ornament und Verbrechen”), who critically conceptualized the modern european architecture during the BelleÉpoque era. Until now, the traditional semiotics - to our regret - has not paid sufficient attention to this topic, but we can observe some valuable viewpoints from related disciplines such as Architectural Aesthetics, Law, and Communication-Theory, which could substantially enrich our current discussions. Consequently, we set our goal to evaluate these attemps with more specific angle: i.e., the semiotic pollution as a phenomenon, ranging from Ornament via Hypertropy up to Crime. On the basis of Semiotic Systematics (cf. R. Posner), we deal with following issues in relevant chapters: Chapter I: Semiotic Pollution as a Topic for Interdisciplinary Research Chapter II: Related Observations from Architectural Aesthetics, Law, Communication-Theory Chapter III: Ornament-Aesthetics by Adolf Loos (cf. M. Muller, M. O. Fernandez) Chapter IV: Conclusion and future task: Semiosis-Maxims (cf. H. P. Grice). In conclusion, we summarize all the significant approaches concerning Semiotic Pollution, and submit hereby a proposal for academic issues and their applications to ‘Living World’(in German, Lebenswelt). For further research, we propose a ‘Topography of Semiotic Pollution’. With those results, we would like to analyze concrete cases from all the five sensoric (=visual, acoustic, gustatoric, olfactoric and haptilic) channels, which could expand the traditional field of Theoretical Semiotics. That is the very reason, why we here emphatically declare the meaning of Co-operation between Law, Philosophy of Language, Communication- Theory, and Semiotics.

기호계(the semiotic)의 시각적 재현과 무법의 공간

이문정 한국미술이론학회 2014 미술이론과 현장 Vol.0 No.17

The semiotic, one of Julia Kristeva's most important propositions, refers extensively to the pre-Oedipal phase, which signifies the beautiful chaos that cannot be fully described by the discipline of the symbolic. The semiotic released in the symbolic expands the limit of the subject and society, exhibiting the revolutionary power, which provides possibilities of exits, and brings about changes. By de-constructing coercive order, this revolutionary power elicits the lawless ethics where no empowered law exists. Kristeva regards art as atypical passage, through which the semiotic can come to the fore even in the symbolic. In contrast especially to literature that uses language as a medium, visual art can surpass the linguistic limitation because it is positioned as 'the thing going beyond a name even without a name' in the symbolic. Focusing on Jackson Pollock, Hans Haacke, and Robert Wilson, this paper examines the stereoscopic understanding of the semiotic, which Kristeva explained from the perspective of the visual representation of the semiotic. This paper also conducts analysis on Yayoi Kusama's work, which successfully achieves the representation of the semiotic. Art resuscitates the signification of creation and negation, diverging from identity by endlessly de- constructing history, concepts, ideologies, philosophy, and aesthetics, inherited through the representation of the semiotic. Art has the power to subvert the symbolic value system and create a new equilibrium and harmony, thereby conducive to a socio-political revolution. Therefore, art can create a lawless space, which retains a dynamic potential to exclude socio-cultural contrivance.

기호학의 새로운 사명 -교양교육에서 기호학의 역할

박일우 ( Il Woo Park ) 한국기호학회 2015 기호학연구 Vol.43 No.-

In this paper we attempted to review the trans-disciplinary characters of the Semiotic studies and its applicableness to the general education. Semiotics have been built up, from beginning, as an interdisciplinary science, but with flow of new media, it is endowed with another character; trans-disciplinary science or ‘point of view’ that envelopes all the epistemological approaches. Meanwhile, the current situation of college education in Korea is now suffering from a renovation of curricula and hard wares reconstruction that is an unavoidable result from the past wrong oriented history of college education and policies. Now, general education, as well as ‘major’ education, are forced to be reformed on the ground of the methodological ‘convergence’, of which none but semiotics have been made. This article treated two examples of new general education curricula developed from the semiotic point of view, and proposed that it is time for semiotic studies to participate and lead the age of reforming college education not only in its philosophical aspect but practical fields.

음식기호학의 이전사(以前史) - 브리야‒사바랭의 에세이를 중심으로

박여성 한국기호학회 2020 기호학연구 Vol.63 No.-

In this article, we aimed to interprete and evaluate a remarkable culinary Essay titled as Physiologie du Goût, which was written by a renowned french Jurist and Writer in the 19th century, Jean-Anthelme Brillat-Savarin (1755∼1825). Until now, there are some researches about his essay, but they mainly focused on the aesthetic and literary property of that text. Consequently, we set our specific goal to observe this monumental work from semiotic perspective. Therefore, we urgently need semiotic concepts based on the three macro-levels of Semiotics proposed by Ch. Morris and R. Posner: Semantics (narrative ‘semiotic square’ composed of gastro-semantic properties, cf. A. J. Greimas), Syntactics (spatio-temporal combinations and selections between culinary units/signs) and finally Pragmatics (intentional purposes between actants, milieu and signs) as well as Culture-Sociology (cf. G. Simmel 1977, 1992). In the relevant chapters, we deal with following issues: Chapter I: General purposes of this paper; Chapter II: Historiographical conditions for determining a Pre-History of Culinary Discourse; Chapter III: Pioneers of Culinary Studies: A. J. Greimas, R. Barthes and N. Elias; Chapter IV: Semiotic Elements in the Essay of Savarin; Chapter V: Conclusion: Prospective value of the culinary discourse of Savarin in the 21th Century. In conclusion, we summarize all the relevant observations concerning Physiologie du Goût, and submit a proposal for further researches. With the results of this paper, we would like to regard Physiologie du Goût as one of the greatest contributions which has fundamentally expanded the boundary of modern culinary studies (cf. J. M. Floch) and achieved its inspiration for Contemporary Practical Semiotics at all. That is the very reason, why we here declare his epoch-making essay as an unprecented Pre-History of Culinary Semiotics. 본고의 목표는 19세기 프랑스 혁명기의 법률가이자 문필가 장‒앙텔므 브리야‒사바랭(Jean-Anthelme Brillat-Savarin, 1755∼1825)의 에세이 “미각의 생리학”(Physiologie du Goȗt)에 서술된 미식학(美食學: Gastronomie)의 착상을 기호학의 원근법에 비추어 음식기호학(Kulinarische Semiotik)의 이전사(以前史)로 조명하는 데 있다. 사바랭의 에세이는 최근에 부상하고 있는 음식기호학의 구상을 200년이나 앞서는 선견이지만 그것을기호학적 관점에서 따져본 연구는 많지 않기 때문이다. 해석의 기초를 위해 그레마스(A. J. Greimas)의 기호사각형에 투영해 본 미식의 의미론적 속성, 바르트(R. Barthes)의“기호의 제국”에 언급된 음식기호의 통사적 구조 및 사회학자 엘리아스(N. Elias)가 지적한 근대화 과정으로서의 식사 예법에 깃든 화용적 요소의 원형을 관찰하고, 이를 바탕으로 사바랭의 담론에서 기호학 각 층위의 관점이 어떻게 선취되었으며 그것이 함의하는 바가 무엇인지 밝힘으로써 그의 에세이를 21세기의 시점에서도 손색없는 음식기호학의 탁월한 이전사로 평가하고자 한다.

한글서예 문화의 국제화를 위한 도상기호학적 시론

김윤배 동방문화대학원대학교 문화예술콘텐츠연구소 2017 문화와예술연구 Vol.10 No.-

This study is a semiotic investigation work for Korean calligraphy, which carried on the legacy of traditional calligraphy focusing on Chinese character. Korean calligraphy has succeeded and developed the calligraphy system of Chinese character which has been practicing vitality based on line and stroke. In digital age which focuses on the Fourth Industrial Revolution and AI, the future generation faces the challenge to overcome the traditional calligraphy dependent on tool of brush. It does not mean to take advantage of specific ideology of "Thing with the most Korean feature can also succeed in the global market". Overcoming traditional calligraphy means to abandon prejudices about specific cultures such as Western and Oriental, Chinese, Japanese, and Korean and to find methodological possibilities on globalization of the superiority within Korean calligraphy while selecting identify of every letter. Among the debaters, one may wonder on reasons for finding methodological possibility in semiotics. Semiotics differentiates background, region, era,and nationality for typical icono-text integrated with text characters and images and analyzes and identifies the symbolism and stylistic characteristic. It is also a methodological tool for academical establishment. In order to suggest the direction for contemporary calligraphy which integrates image and text and forms the third system unlike text-based linguistics research and image-based iconography, the semiotic investigation can be the alternative to calligraphy research as tradition succession and modernization. Western semiotician such as Derrida, Roland Barthes and Peirce explained the relation between text and image, origin and development of text, symbolization process of shape in the perspective of Grammatologie(graphonomy) and perspective of diagram(text drawing) In graphonomy, the drawing is abstracted from the initial drawing, same as the Chinese character and the drawing focuses on image abstraction during the hieroglyphic process. On the other hand, text drawing starts from abstract text, same as Korean alphabet and the and text drawing focuses on text abstraction which gradually changes text to image. These are the significant distinction between traditional calligraphy and Korean calligraphy and they will be explained in detail later on. This study reconsiders the Saussure, a semiotician, thoughts saying "It is only meaningful within difference and through difference" which demonstrates formative semiotics Formative semiotics is suggested by Jean-Marie Floch, French art history scholar, and it focuses on formality rather than the essence of visual expression. It focuses on formative elements such as arrangement of shape, coor and topography. (especially semiotic square)perspective pursued by western semiotics. Through such reconsideration, the study aims to suggest differences in western typography and calligraphy and oriental traditional calligraphy and text drawing.

기호학적으로 읽는 오장환 시의 탈식민성

최윤정 한국문학이론과비평학회 2009 한국문학이론과 비평 Vol.45 No.-

This paper aims at reading the poetry by Oh Jang-Whan with the semiotics. He discovered the nation subjects who were suffered during the colonial period. By denying and revolting the colony real, because he was exhibited the spirit of the times, we confirm that Oh Jang-Whan pursued post-colonialism for 'The literature of human existence.' The second chapter analyzes <The bathroom take a bath> which Oh Jang-Whan embarked on poetic activities with semiotic square(semantic rectangle) of Greimas. Because the work of poetry offers the sense of the time by Oh Jang-Whan, we may be read systematically the relation and framework of society for the whole poetry texts. This analysis extracts the <resistance-assimilation> seme as the basic structure of semiotic square. This basic structure discovers how he gazed the reality of our colony. The third chapter present the modernity that Oh Jang-Whan aimed at, as a result of applying poetic format to semiotic square of Greimas. Then the <resistance-assimilation> seme operate on the whole text. By applying the <resistance-assimilatio> seme to the whole text, this paper show post-colonialism which draws progressive modernness. As the text which the proletariat(character of realism) and the masses(character of modernism) are overlapped, Oh Jang-Whan's text inflects realism and modernism, and then appears strategy of post-colonialism.

한글서예의 국제화를 위한 도상기호학적 시론

김윤배 동방문화대학원대학교 문화예술콘텐츠연구소 2017 문화와예술연구 Vol.10 No.-

한극서예의 국제화를 위해서는 그 동안 한자 중심의 전통세예를 탈피 한 디지털시대 맞는 방법론을 찾아보는 것이 중요하다. 가장 한국적인 것이 가장 세계적이다 라는 말과 같이 서양 동양 중국 일본 한국 등 특정 문화에 대한 편견을 버리고 우리 한글이 우수성과 문자의 독자성을 찾아 서 거기에 맞는 방법론을 찾는 것이 중요하다. 논자는 그 방법론 중에서 문자텍스트와 이미지가 융합된 전형적인 도 상텍스트를 중심으로 연구를 하고자 한다 아울러 본 연구에서는 서구기 호학이 천착해운 기호사각형 관점을 빌려 서양의 타이포그래피 나 캘리 그래피 동양의 전통서예 나 문자도에 나타나는 상이한 차이에 대한 물음 을 제기하면서 서예문화를 연구한다. 한글은 타 글자와는 다른 추상문자에서 출발하여 점차 이미지로 변환 되어가는 문자 추상이 중심이 되므로 기호학 관점을 빌어 연구할 만한 충분한 가치가 있다. This study is a semiotic investigation work for Korean calligraphy, which carried on the legacy of traditional calligraphy focusing on Chinese character. Korean calligraphy has succeeded and developed the calligraphy system of Chinese character which has been practicing vitality based on line and stroke. In digital age which focuses on the Fourth Industrial Revolution and AI, the future generation faces the challenge to overcome the traditional calligraphy dependent on tool of brush. It does not mean to take advantage of specific ideology of "Thing with the most Korean feature can also succeed in the global market". Overcoming traditional calligraphy means to abandon prejudices about specific cultures such as Western and Oriental, Chinese, Japanese, and Korean and to find methodological possibilities on globalization of the superiority within Korean calligraphy while selecting identify of every letter. Among the debaters, one may wonder on reasons for finding methodological possibility in semiotics. Semiotics differentiates background, region, era,and nationality for typical icono-text integrated with text characters and images and analyzes and identifies the symbolism and stylistic characteristic. It is also a methodological tool for academical establishment. In order to suggest the direction for contemporary calligraphy which integrates image and text and forms the third system unlike text-based linguistics research and image-based iconography, the semiotic investigation can be the alternative to calligraphy research as tradition succession and modernization. Western semiotician such as Derrida, Roland Barthes and Peirce explained the relation between text and image, origin and development of text, symbolization process of shape in the perspective of Grammatologie(graphonomy) and perspective of diagram(text drawing) In graphonomy, the drawing is abstracted from the initial drawing, same as the Chinese character and the drawing focuses on image abstraction during the hieroglyphic process. On the other hand, text drawing starts from abstract text, same as Korean ?bet and the and text drawing focuses on text abstraction which gradually changes text to image. These are the significant distinction between traditional calligraphy and Korean calligraphy and they will be explained in detail later on. This study reconsiders the Saussure, a semiotician, thoughts saying "It is only meaningful within difference and through difference" which demonstrates formative semiotics(especially semiotic square)perspective pursued by western semiotics. Through such reconsideration, the study aims to suggest differences in western typography and calligraphy and oriental traditional calligraphy and text drawing.

구조주의적 영화기호학 연구

김시무(Kim Seemoo) 한국영화학회 2003 영화연구 Vol.- No.22

The aim of this thesis is to study the Structuralist Semiotics of Film, especially the differences between the Semiotics of the Cinema by Metz and the Semiotics of the Cinema by Wollen. The intellectual movement called structuralism swept away in Europe in the 1960s. This main stream of thought had a great impact on film theory too. In terms of film, the adoption of the methods of the structuralism constitutes a challenge to classical film theory which represented by formalism and realism. In this period film semiotics championed by Metz came to the center of the analytic enterprise. In a sense, film semiotics was considered to be an epistemological break with the impressionistic, subjective methods of earlier film theory and criticism. In formation of contemporary semiotics, there are two source thinkers, the one is the Swiss linguist Ferdinand de Saussure and the other the American pragmatic philosopher Charles Sanders Peirce. Saussure founded the science of 'semiology' and Peirce the science of 'semiotics'. In A Course in General Linguistics (1916), Saussure called for a science that studies the life of signs. Saussure made what is now a famous distinction between langue(language) and parole(speech), He focused on langue rather than parole. Saussure' approach was to study the language system synchronically rather than diachronically. Saussure offered two-part model of the sign. Focusing on linguistic signs, he defined a sign as being composed of a signifier and a signified, For Saussure, a linguistic sign is not a link between a thing and a name, but between a concept(signified) and a sound pattern(signifier). Here the most important thing is that Saussure stressed the arbitrariness of the sign. That is, there is no necessary, intrinsic and inevitable relationship between the signifier and the signified, The Saussurean legacy of the arbitrariness of the signs leads semioticians like Metz to stress that the relationship between the signifier and the signified is conventional-dependant on social and conventions which have to be learned. In contrast to Saussure' s dyad model of the sign, Peirce offered a triadic model: the representamen, the interpretant and the object. The representamen is similar in meaning to Saussure' s signifier while the interpretant is similar in meaning to the signified. However, the interpretant has a quality unlike that of the signified: it is itself a sign in the mind of the interpreter. Peirce's model of the sign includes an object(referent) which does not feature in Saussure' s dyad model. Peirce is a compulsive taxonomist and he offered the three modes of signs: the symbol, the icon and the index. Here we explains the Peircean distinctions within a broadly Saussurean framework. The symbolic sign is a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional, so that the relationship must be learned. The iconic sign is a mode in which the signifier is perceived as resembling or imitating the signified. The indexical sign is a mode in which the signifier is not arbitrary but directly connected in some way to the signified. Under the influence of structuralism, a number of important studies were published on the filmic language, notably Metz' s Film Language: A Semiotics on the Cinema, and Peter Wollen's Signs and Meaning in the Cinema, etc. The main project of these film semiotics was to define the status of film as a language. Metz and Wollen share the premise that the semiotics of the cinema is the theory of film as a system of signs. Both Metz and Wollen believe that the theory of film must become part of semiotics. However, they disagree slightly about the nature of semiotics. Metz' s chief purpose was to get to the bottom of the linguistic metaphor by testing it against the most advanced concepts of contemporary linguistics. In the background of Metz's discussion was Saussure' s founding methodological question r

Nostalgia as the Figure of Semiotic Mediation in the Literary Discourse: The Case Study of Shemiran House by Goli Taraghi

Reza Rezaei,Arsalan Golfam,Ferdows Aghagolzadeh,Hamid Reza Shairi 고려대학교 응용문화연구소 2016 에피스테메 Vol.0 No.15

Nostalgia, originally a psychological term, is a recurrent concept in the literary works. The meaning of the term encompasses homesickness, regret for past, and a desire for an earlier time. The immigrant authors have also dealt with the theme of nostalgia to a great extent. In this article, the authors by choosing the Shemiran house, the novel written by Goli taraghi Persian contemporary immigrant writer, aims to respond to the following question by adopting post ─ Greimassian approaches to semiotics. How and under what circumstances nostalgia would be considered as semiotic and discursive mediation? How it would be possible to establish a relationship between this notion and the question of identity in the host culture? In the light of theoretical frame work of tensive semiotics, cultural mediation and semiosphere theory of Lotman, the hypothesizes of this article in one hand prove that nostalgia creates a tensive zone which is temporally and spatially bounded and on the other hand it causes the transmission of values to the present time of enunciator which results in the scission of being and the challenge between Self and I. The interaction of guest and host semiosphers leads to the formation of a hybrid identity as well.