• Korean Journal of Labor Studies
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• v.14 no.2
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• pp.201-229
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• 2008

본 논문에서는 노동자문화정치의 관점에서 파업을 새롭게 정의하고, 파업을 비롯한 노동자 문화실천의 정치적 효과를 분석하기 위한 방법론적 요소들을 검토하였다. 여기서 파업은 참여주체들의 다양한 사고와 합리성들을 중심으로 형성되고 확장되는 내재적인 정치의 장인 동시에, 다양한 기표적 실천들이 전개되는 문화정치의 장으로 정의되었다. 파업의 발생과 전개의 각 과정과 국면에 대한 문화정치적 분석 요소로서 장소성, 공간, 시간, 정서, 기호자원, 담론이 고려되었고, 이 요소들에 초점을 두고 민주노조 파업에서 드러나는 문화정치적 제약들을 H사 노조 사례를 통해 검토하였다. 문화정치적 제약들은 노동자 문화의 생산과 수용에서의 제약으로 드러난다. 노동자문화 관련 텍스트들의 분석과 조사 자료를 통해서 볼 때, 그것들은 첫째로 노동자 문화 활동가들의 생산 실천 상의 제약과 관련있고, 둘째로, 노동자 대중의 노동자 문화 수용 혹은 소비에서의 도구성과 시 공간 상의 제약과 관련있는 것을 확인했다. 본 논문은 이러한 제약들이 70년대 이후에서 90년대 전반에 이르는 시기와는 달리, 현 시기 노동운동의 문화적 자원들이 신기술과 사회문화적 변화에 걸맞게 변화 확장되지 못하고 오히려 축소된 데 기인한다고 추론하였다. 따라서 지속적인 운동의 조건과 기반을 능동적으로 조성하기 위해서는, 파업을 비롯한 노동자 문화의 생산과 수용 전반에 걸쳐서 작용하는 재현체계 상의 제약, 특히 기호자원의 한계라는 근본적인 제약을 넘어서기 위한 노동자 문화정치의 필요성이 제안되었으며, 문화실천에 몸담고 있는 문화활동가나 노조활동가들이 파업과 일상 활동 속에서 문화정치적 주제들을 찾아 이론화하고 정책에 반영하는 문화활동 방안이 제안되었다.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.88-96
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• 2015

The universe of discourse presented in the visual image is bound up with the experience and culture of parties; its sender and recipient. Signification of visual message is revealed through the mutual independent process. The mechanism where production of signifiant by sender and reception of metaphoric signifiant function unconsciously can be applied to Lacan's theory;"The unconscious is structured like a language". By applying Lacan's metaphoric formula which takes linguistic approach to visual image it is suggested that analysis of signification is possible. This analysis can be a base for seeking varied level of signifiant presented in visual metaphor logically and practically. Metaphoric structure of the signifiant and the matrix analysis can develop a creative idea and propose a practical way for the visual image production. Thus empirical study about nastic response and the future analysis result is expected to be possible.

• The Journal of the Convergence on Culture Technology
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• v.4 no.1
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• pp.75-84
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• 2018

This study aims to investigate cultural contents planning model by 'The Relation-Approach'. For this, I established conceptual framework of cultural contents, and suggested the General Model of Cultural Sentence Contents Planning: Concept Planning Model(CPM), Signifier Development & Choice Planning Model(SDCPM), Signifier Arrangement Planning Model(SAPM). The importance of culture is found in the importance of perceiving culture derived from the perception of importance of life. As culture is represented way of life constituted in the order of life, perceiving culture is regarded as perception of life in the view of that of cultural contents. Thus, cultural contents planning has not only its necessity and importance but also the meaning of existence in the aspect of being situated at the healthy order of life. Accordingly, A Study on the Cultural Contents Planning Model has usefulness in theory and practice, further more the possibility of attempting for the legitimacy and value contribution to the study of this realm will be accomplished.

• 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.

• 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.

• (The)Study of the Eastern Classic
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• no.66
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• pp.303-330
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• 2017

The purpose of this article is figuring out the modern understanding of SimChong Jeon's narrative and its storytelling strategy in the movie (2014). In the movie, there are three steps which are based on the temporal flow of narrative. shows the web-like structure of desire especially by focusing on the male character Sim Hakkyu. The relationship among characters in is gradually broken because of the desire. Moreover, the desire pushes Sim Chong who is Sim Hakkyu's daughter into the sacrifice. This part seems similar with the narrative of SimChong-Jeon which has been transmitted since 18~19 century in Choson dynasty. However, also tells a different story which describes the progress of Sim Hakkyu's seeking the real relationship filled with love. This difference is able to make people read with the 'stroytelling' point of view. All the lack or problem in is closely related to the desire of Sim Hakkyu. His narrative is something different from the typical story of SimChong-Jeon. A new narrative of Sim Hakkyu is not Sim Chong centered story but rather the anti of it. 'The other narrative' in seems social practice of storytelling in order to break down the preconception of SimChong-jeon called 'cannon'. This is the storytelling strategy of and it suggests the another way of creating new narrative which is based on the classical cannon.

• Korean journal of communication and information
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• v.51
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• pp.26-46
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• 2010

This study interprets Cheong-gye-cheon restoration as a process of space production during expansion of capitalism, and performs discourse analysis in order to find out that how media discourse has been related to the production of Cheong-gye-cheon space in each period of historical changes. This paper is particularly concentrating on discovering regulation in discourse which connects people's experiences and perception towards certain ways in the relationship between newly producted space and media discourse. This paper construes the period of 1960s as a process which pre-modern bodies and facilities were changed into modern and urban 'daily life' by practicing a space which splitted in a concept of time efficiency. In 1980s, media represented the facilities which had been constructed at the Cheong-gye-cheon space as a 'disqualified facilities for a center of the city'. This is because, tertiary industries were emerged at the 'Gang-nam' in this period which widen the gap of finance between 'Gang-nam' and 'Gang-Buk'. The government wanted to redevelop this space in order to function accumulating capital efficiently. Therefore shop owners nearby Cheong-gye-cheon were forced to move out. The discourse, 'disqualified facilities for a center of the city', implicates this process. The media discourse in the 2000s produced the 'myth' through the 'signifier' such as artificially flowing water, fine scenery, historical but artificial structure and etc.. However, people can experience symbols of the artificial structures which leads people to the luxurious restaurants, coffee shops, and etc.. Naturally, the spectacles produced by media direct people to the homogeneous pattern of consume. This phenomena can be explained as a process which people practice, intentionally or non-intentionally, the capitalistic mode of production which changed from a period of production to a period of consumption.