• Cartoon and Animation Studies
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• s.50
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• pp.75-99
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• 2018

Makoto Shinkai, an animated film maker in Japan, has been featured as a one-person production system and as a 'writer of light', but his 2016 release of "Your Name" was a departure from the elements that characterize his existing works. At the same time, by the combination of the traditional musubi(むすび) story, ending these, it was a big hit due to its rich narratives and attraction of open interpretation possibility. As it can be guessed from the title of this work, this work shows the encounter between the Japanese ancient language and the modern language in relation to the 'name', and presents the image that the role of the name(language) is repeatedly emphasized with various variations in events for the perfect 'encounter'. In this work, the interpretations of $Signifi\acute{e}$ for characters and objects are extended and reserved as a metaphorical role of the similarity, depending on the meaning of the subject which they touch. The relationship between words and objects analyzed through the structure of Signifiant and $Signifi\acute{e}$ is an epoch-making ideological discovery of modern times revealed through F. Saussure. Focusing on "the difference" between being this and that from the notion of Saussure, Derrida dismissed logocentrism, rationalism that fully obeyed the order of Logos. Likewise, dismissing the center, or dismissing the owner had emerged after the exclusive and closed principle of metaphysics in the west was dismissed. Derrida's definition of 'deconstruction' is a philosophical strategy that starts with the insight on the nature of language. 'Dissemination,' a metaphor that he used as a methodological concept to read texts acts as interpretation and practice (or play), but does not pursue an ultimate interpretation. His 'undecidability' does not start with infinity, but ends with infinity. The researcher testifies himself and identifies that we can't be an interpreter of the world because we, as a human are not the subject of language but a user. Derrida also interpreted the world of things composed of Signifiant and $Signifi\acute{e}$ as open texts. In this respect, this study aimed to read Makoto's works telling about the meeting of a thing and a thing with name as a guide, based on Derrida's frame of 'deconstruction' and 'dissemination.' This study intends to re-consider which relationship the Signifiant and $Signifi\acute{e}$ have with human beings who live in modern times, examine the relationship between words and objects presented in this work through Jacques Derrida's destruction and dissemination concepts, and recognize that we are merely a part of Signifiant and $Signifi\acute{e}$. Just as Taki and Mitsuha confirm the existence by asking each other, we are in the world of things, expecting musubi that a world of names calls me.

• Journal of Digital Convergence
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• v.13 no.11
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• pp.1-6
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• 2015

This study is based on semiotic analysis with a focus on film 'Veteran'. The film is to the reproduced movie in the sign for social problems facing our society. The purpose of this study is to interpreted the implication is that referents and presents of the film to be directed by semiotic. The methodology is the study that the Saussure's semiology as a signifier and signified, and Peirce's semiotic as iconic, index, symbols in contemporary scholars. The Semiotics is analyzed on the basis myth and ideology of Barth. The film director thinks the 'veteran' was replaced by the implications of the role of the actor as a signifier that is the out referent of our society. Thus, the film was sublimated into more than the real as myth in our society desires. So, our society is to implement the right ideas as ideologies process. that is, rewarding the good and punishing the evil, and eventually implement justice society. The implications of this study is going to create a society that is not for specific groups tycoon, is for mutual dependence like the interpretation of the song of the film veteran.

• Journal of Science and Technology Studies
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• v.14 no.1
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• pp.139-175
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• 2014

For the past 20 years, expert groups and citizens in Korea have debated on the usefulness of personalized medicine. These debates were mainly focussed on the possibility of the promise - people mainly discussed whether it was a probable future or if it was just a hype. Following Hedgecoe and Tutton(2002) who argue that it is only a 'rhetorial device', we will analyze about 9,000 news media coverages that deal with personalized medicine. With these data, we will show that the same terminology of personalized medicine have been used very differently according to the time and people who use it. Our research will show that this term has both diachronic heterogeneity and synchronic equivocality. This has happened because of the innate lack that exists in our symbolic system. Policy and governance regarding new technology is important because they provide quilting point to those slippery term/signifiant. Also we would like to carefully suggest that we might be able to call this phenomena as signifiant-politics.

• Journal of Korean Philosophical Society
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• v.148
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• pp.269-289
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• 2018

This article is designed to help ensure that "Laotzu's Tao and Saussure's Linguisticse's Linguistics" can meet properly. To carry out this project, I asked how to understand Laotzu's 'not the eternal Name(非常名)'. Comparing Kongzi's 'the Rectification of name(正命)' with Laotzu's 'not the eternal Name', The meaning of the two concepts becomes clear. Kongzi's 'the Rectification of name' is political philosophy to restore etiquette through language order. In comparison, Laotzu's 'not the eternal Name' refers to Randomness[arbitraire] of the symbol. It shows that the order of languages can be dismantled, and that the structure, norms, and etiquette of society, which are established by language order, can be dismantled. Laotzu's 'not the eternal Name' is a logic that defies language as an institution, as a symbolism, and as a logic of disintegration. To illustrate this point, Searsure's Linguistics was brought in for discussion. In Saussure's Linguistics, the arbitrary nature of the symbol is the same as the Lotzu's 'Not the eternal Name'. Three arguments were used to elucidate the logic of the resistance and the logic of Deconstruct of the Language structure. First, I explained that the discussion of 'Name' was not just about 'the name of an object' but about the system, laws and norms of a society. Second, I explained the argument that language order is a social institution and a social structure by taking the words Saussure and Lacon. Third, I explained that 'not the eternal Name' is an important term that reveals the arbitrary and arbitrary relationship between the signifiant and the signifie. These arguments explain that Laotzu's 'not the eternal Name' is the logic of dismantling the language as a system and as the symbolic.

• (The) Research of the performance art and culture
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• no.39
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• pp.669-700
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• 2019

Farmers' band music is a religious ritual in Korea. It is a solemn ritual to exhibit the auspicious holiness of the people to the God. Most of the ritual is accomplished by music. The music of the farmers 'band, in this sense, has its meaning as the expression of holiness by sound. In this paper, I will explore the principle to make various rhythms of farmers' band music, especially focusing on the chaegut (lit. "stroke music"). It is very symbolic because the name of the music shows the strokes of the gong, called jing, in a rhythmic phrase. In this sense, the chaegut is man-made music based on the specific principles in accordance with the strokes of the gong. Among many chaegut rhythms, samchae (lit. "three strokes") to chilchae (lit. "seven strokes") are the main rhythms. They were made after the principle of 'forward with drums, backward with gongs' in Five way procession. It the basic principle of military procession from the early Joseon Dynasty. The procession follows with the sound of the drums and gongs. There was always a principle of "five strokes" to control the procession. The "five strokes" became the basis of the making of chaegut rhythms. The rhythms of the samchae to chilchae are based on the rhythm of samchae. The samchae has three gong strokes in a cycle, which exhibits the chaotic moment with the rhythmic noise. The name of the rhythm exhibits the correspondence of the signifiant, that is the name "three strokes" and the signifié, that is the real three strokes of gongs in music. Other four rhythms has made up from the samchae with half cycles are added in accordance with the strokes of the gongs. In this way, the chaegut shows the principle of "five strokes" in the military procession. The rhythm of ochae jilgut is a mixture of ochae (lit. "five strokes") and jilgut (lit. "road music") which is usually performed on the road to a mountain shrine. The musical structure of ochae jilgut corresponds to the colotomic structure of Southeast Asian music and the 15th-century music of old musical scores. The rhythm of gilgunak chilchae is a mixture of gilgunak (lit. "road military music") and chilchae (lit. "seven strokes"). The rhythmic structure is similar to other regional music, sijo ("short song") of the literati music and norae garak (lit. "some melody") of the shaman music. In sum, the chaegut is very artistic music made from the military procession of the Joseon Dynasty. The name of the rhythm corresponds with the strokes of the gong in a cycle. In this way, the chaegut shows the principle of music-making to exhibit the ritual characteristics of the Korean people.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.65-75
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• 2012

Throughout the agraian society, industrial society, information society, and the knowledge-based society, the word father has become the representation of the law, oder, control, protection, and discipline. This study, with traditional fairy tale "Le petit chaperon rouge", aim to analyze the child readers a notion familly around 'me' and conceiving the father as the unit of the institution; also, in the Korean film , cinema audiences feeling keenly the necessity of the conventional family values and looking for the poster of principal agent of law and order. Generally the father is protector of 'me' and simutaneously, is incorporal being; even if he is inessential, he has, only by the name, great influence with people(law, order, control, discipline, are operating only with the name as the father God does). Our study will show how the signifier father operates and what similarity is between the film and the traditional fairy tale. A father is recognized as a tyrant or criminal, but a man is always realized to undertake a duty of resisting unjust powers and protecting nonperson. Those opposing structures was well represented in epic works such as"Le petit chaperon rouge" and . The father described in children's tale appeared as a symbol of desire and oppression, therefore youngster readers realized around 'Me' the concept of family through the absence of a father and received the father as a unit in the system. A father in a film has been described as a protector of nonperson, and a main part in the institution and order of traditional family. In both genre, the psychological signifiant of father still has been shown based on the symbol of father as a social institution.

• Archives of design research
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• v.16 no.4
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• pp.207-214
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• 2003

The reason why rhetoric is important to a moving image is that a moving image communicates through non-verbal communication language. At first, rhetoric in a moving image functions to be persuasive in the story of a moving image. Second, rhetoric works to enhance an aesthetic value for a moving image. Thus we feel good when we are watching a moving image with well embeded rhetoric. On the other hand, we see extened rhetoric to enhance an imaginary because of a hollywood movie with visual effect and a digital movie. Visual images now formed using more signigier compared to signified for signification. Also we see that every signifier structured metaphorically to function as a sign. In this paper, 1 am going to explain the principles of rhetoric applied to a moving image so that we can better understand a signification on visual image.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.609-623
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• 2017

This study intends to find the meaning of signs' configuration in Korean and British school uniform advertisements, to investigate through reproduction of such signs what influences on students' identity issues are, and to discover the cultural significance of the both nations by analysing sexuality discourses around these ads. The authors apply semiotic analysis methods such as two-stage meaning structure and critical discourse analysis. The research subjects are School uniform advertisements of both in South Korea and in the UK. Through this study, women objectification, the power imbalances between men and women, and child erotica were revealed, and also the uniforms of the meaning and value turned out to be distorted. In addition, on the basis of critical discourse analysis, two nations' school uniform ads, which heavily focused on sexual objectification and commercialism, transformed aspects of unusual esthetic value, reminded of Lolita fantasy, implied wrong justification of deviant sexual orientation, and, caused Korean and British students the confusion of sexual identity and values.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.