『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.-

본고에서는 기호학계에서 거의 주목하지 않았던 ‘기호학적 공해’에 대한 논의를 시도한다. 물리적 공해에 대해서는 기술·공학·법률 등 여러 차원에서 논의되어 해당 기준이 확립되었으나, 공해에 대한 기호학적 접근은 국내는 물론이고 유럽과 미국을 비롯한 세계기호학계에서도 걸음마 단계에 있기 때문이다. 이에 따라 필자가 이전에 제시했던 기호학적 공해에 대한 연구의 미비함을 보완하고, 인접 분야의 이론적·실제적 성과를 수용하면서 이 문제를 다루는 공론장을 촉구한다. 이를 위해 본고에서는 첫째, 오스트리아 격동기의 건축이론가 아돌프 로스(Adolf Loos)의 미학적 성찰을 바탕으로 장식(裝飾)에서 출발하는 미학적 시도가 과잉(過剩)을 거쳐 공해(公害)에 도달하는 과정에 주목하고, 둘째, 타인의 삶과 공동체에 물질적·정신적 피해를 입히고 급기야 범죄(犯罪)에까지 이르는 기호학적 공해의 지형도를 그려본다. 끝으로, 기호학이 생활세계의 파괴를 회복하고 소통참여자의 행복에 기여하는 방안으로, 영국의 언어철학자 그라이스(H. P. Grice)의 ‘대화 준칙’에 바탕을 두어 ‘기호세계 소통 준칙’을 제안한다. 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.

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.

기호학의 새로운 사명 -교양교육에서 기호학의 역할

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

기호학은 아직도 그 성격이 규정이 되지 않은 채로 진행되는 학문으로 보인다. 기호학의 태동기부터 진행된 일련의 논의는 그 외연이 넓어지기만 할 뿐 학문의 대상, 방법론, 목표는 정계(定界)에서 더 멀어지는 양상을 보였다. 기호학은 하나의 독립된 학문이 아니라 학제적, 학문, 나아가 초학제적 학문 혹은 관점으로 이해된다. 의미의 문제에 관심을 가지는 현상학, 수사학, 해석학은 물론, 매체의 변화에 따르는 오늘날의 모든 인식론적 모델이 넓은 의미에서 기호학의 구성요소로 참여한다. 이런 맥락에서 최근에 대두되는 ‘교육기호학’은 기호학 연구의 발전과정에서 필연적인 수순으로 보인다. 한편, 국내 고등교육의 환경은 심각한 상황에 놓여 있다. 급변하는 사회적 요구와 입학 자원 고갈은 가장 먼저 인문학과 같은 기초학문에 치명타를 남긴다. 그동안 무분별하게 팽창해왔던 대학은 구조조정이란 급류에 휘말리는 중이다. 이 위기의 시대에 교양교육은 다시 정립될 수밖에 없다. 그것은 곧 융ㆍ복합과 인성을 화두로 삼는다. 이 두 덕목은 앞으로 교육과정만이 아닌, 대학의 편제, 즉 하드웨어를 다시 규정하는 기준이 될 것이다. 기호학은 오늘날 대학교육의 위기를 제대로 된 고등교육의 기회로 만들 수 있는 하나의 타개책이 될 수 있다. ‘융ㆍ복합’과 ‘가로지르기’라는 방법론은 기호학의 전매특 허인 것이다. 교양교육, 나아가 학부과정의 교육과정은 기호학적 관점의 도입이 전제가 되어야 한다. 이 글은 그러한 관점을 교양교육의 장에서 실현한 사례 두 가지를 제시하면서, 이제 기호학은 시대의 요구에 부응하는 교육과정과 교육철학의 메카로서 새로이 태어나자는 제안을 하는 것이다. 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.

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. 한글서예의 국제화를 위해서는 그 동안 한자 중심의 전통세예를 탈피한 디지털시대 맞는 방법론을 찾아보는 것이 중요하다. 가장 한국적인 것이 가장 세계적이다 라는 말과 같이 서양 동양 중국 일본 한국 등 특정문화에 대한 편견을 버리고 문자의 독자성을 찾아서 거기에 맞는 방법론을 찾는 것이 중요하다. 논자는 그 방법론 중에서 문자텍스트와 이미지가 융합된 전형적인 도상텍스트를 중심으로 연구를 하고자 한다. 한글은 타 글자와는 다른 추상문자에서 출발하여 점차 이미지로 변환되어가는 문자 추상이 중심이 되므로 기호학 관점을 빌어 연구할 만한 충분한 가치가 있다.

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

<헤어질 결심>에 나타난 비극적 사랑의 재현 양상 - 그레마스의 기호학적 관점을 중심으로 -

이윤기 한국현대문예비평학회 2023 한국문예비평연구 Vol.- No.80

The purpose of this study is to examine the aspects in which modern people's tragic love is reproduced by analyzing the narrative structure and generative trajectory process of Decision to Leave(2022) through Greimas' semiotics. Decision to Leave embodies human beings' unfulfilled desires in a confrontational structure. Greimas' semiotics' 'semiotic square' and 'actantial model' is going to be used for analyze to diagram the deep structure of meaning behind the binary oppositional elements presented in the film text. Decision to Leave is a text composed of parts 1 and 2. First of all, to structuralize actantial model on the surface semio-narrative structure, the difference is shown that Seorae and Hae-joon's desires were 'freedom' and 'legitimacy' in Part 1, but in Part 2, it is possible to verify thay they have desired for ‘love’ at the end. the objects of s , respectively, but in In the end, I can confirm that he desires ‘love’. However, the sender who recognizes and pursues ‘love’ as an object is different, and the details of love appear differently. In this process, Seorae is revealed to be an active woman and the sender of the entire narrative. Subsequently the semiotic square of Decision to Leave is constructed through ‘love’, the core seme of the film, and its opposite, ‘doubt’, and the aspect of the narrative that develops along the path of meaning is confirmed. Part 1 follows the path of ‘love’ → ‘non-love’ → ‘doubt’, and part 2 follows the path of ‘doubt’ → ‘non-doubt’ → ‘love’. Following that, through the spatial symbols of mountain and sea, to trace the reason why the mountain-like Haejun and the sea-like Seorae were bound to be misaligned, and finally, it derive the meaning of the bonsai beach as a fantasy place that they share but cannot unite together. The primary outcome of this work will be a diagram of the dichotomous transformation of Decision to Leave. Moreover, as the demand for public culture content of women's narratives increases, Seorae is a character that responds to a society. Seorae not only copes with patriarchal society and male power with the greatest ease but is also active in pioneering her own life and love. And because she moves with a definite plan, her independence is most emphasized. In an age where faith is absent, the love of modern people who gladly choose to ‘break up’ rather than connect with their loved one is tragic. The work of this article will help to understand how this tragic love is embodied in film. 본 논문은 그레마스의 기호학을 통해 영화 <헤어질 결심>(2022)의 서사 구조와 의미 생성 과정을 분석함으로써 현대인의 비극적인 사랑이 재현되는 양상을 고찰하는 데 목적을 둔다. <헤어질 결심>은 인간의 충족될 수 없는 욕망을 대립적인 구도로 형상화하고 있다. 이를 위한 분석 도구로 그레마스 기호학의 ‘기호 사각형’과 ‘행동자 모델’을 이용하여 영화 텍스트가 제시하는 이항 대립적 요소 이면에 자리한 심층적 의미의 구조를 도식화할 것이다. <헤어질 결심은> 크게 1부와 2부로 구성되는 텍스트이다. 먼저 텍스트의 표층 수준에서 비선형적 계열체의 요소인 행동자 모델을 구성해 보면, 1부에서는 서래와 해준이 욕망하는 대상이 각각 ‘자유’와 ‘정당성’이었다는 점에서 차이를 보이지만, 2부에서는 동일하게 ‘사랑’을 욕망하고 있음을 확인할 수 있다. 그러나 ‘사랑’을 대상으로 인식하고 추구하게 만드는 발신자가 다르고, 사랑의 세부적인 내용이 달리 나타난다. 이 과정에서 서래는 능동적 여성이자 전체 서사의 발신자임이 드러난다. 다음으로 영화의 핵심 의소인 ‘사랑’과 그 대립항으로서 ‘의심’을 통해 <헤어질 결심>의 기호 사각형을 구성하고 의미 행로를 따라 전개되는 서사의 양상을 확인한다. 1부는 ‘사랑’ → ‘비사랑’ → ‘의심’, 2부는 ‘의심’ → ‘비의심’ → ‘사랑’의 행로에 따라 이행된다. 이어서 산과 바다라는 공간의 기호를 통해 산과 같은 해준, 바다와 같은 서래가 어긋날 수밖에 없었던 이유를 추적하는 한편, 이들이 마지막으로 공유하는 장소이지만 합일될 수 없는 환상의 장소로서 분재(盆栽)적 해변의 의미를 도출한다. 이러한 작업의 1차적인 결과물은 기존의 연구들이 서술로서 제시했던 <헤어질 결심>의 이분법적 대립 양상의 도식일 것이다. 나아가 여성 서사를 다루는 대중문화 콘텐츠에 대한 수요가 증가하는 시대에 부응하여 가부장제 사회와 남성 권력에 대해 가장 여유를 갖고 대처할 뿐만 아니라 자신의 삶과 사랑을 개척함에 있어서도 적극적이고, 뚜렷한 계획을 갖고 움직인다는 점에서 그 주체성이 가장 부각되는 인물로서 ‘서래’의 의미를 확인할 수 있을 것이다. 이를 바탕으로 믿음이 부재하는 시대에 사랑하는 이와의 맺어짐 대신 기꺼이 ‘헤어짐’을 택하는 현대인의 사랑이 지닌 비극성이 영화에서 구현되는 양상을 읽어내는 데 도움이 될 것으로 보인다.