• (The) Research of the performance art and culture
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• no.22
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• pp.253-285
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• 2011

The number of "Performing Arts Festivals" is growing increasingly in South Korea. This trend is mainly held in large cities which are difficult to communicate closely among residents. South Korea, while the pace of city life and speed of development are very fast, increasing number of "Performing Arts Festivals" with communal characteristics is in the natural process of festival evolution in large cities. In the evolution of the contemporary festival, it is natural to see some increase of modern festival after the development of traditional and folk festivals. It is important that the "Performing Arts Festivals" express the two elements, artistic character and festivity, not only in distinctively but also in harmony. The "Performing Arts Festivals" should consider the process of the organization, human resources, networking systems of the human communication process, resource use, etc. For the success of the festival, we must obtain the complementary effects between two attributes:festival characteristics and artistic senses. Therefore, we chose the 'Festival d'Avignon' as the reference of the total representation of artistic characteristics and festivity. From the case of the Festival d'Avignon, we get the implications of the development of performing arts festival in South Korea. To explain the festival value and artistic significance of the Festival d'Avignon, we explained the spontaneity and openness to public participation, the relationship between spectators and works, the representation of memory and communicative image, etc. To explain the artistic attributes of the 'Festival d'Avignon', we explained the mission to reconcile the artistic and the popular, to promote the artistic know-how, understanding how to communicate with the public, to consider more artistic quality than commercial benefits. Essentially, this study shows the meaning and the vision to forecast the future as well as the recent proliferation in various fields of Performing Arts Festivals. This study may help to improve analytical precision of Performing Arts Festivals.

• Journal of Korean Philosophical Society
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• v.152
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• pp.59-79
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• 2019

The main purpose of this paper is to critically examine the intractable problems of Peirce's notion of 'symbol' as a higher and perfect mode of sign, and present a more appropriate account of the higher status of symbol from an experientialist perspective. Peirce distinguished between icon, index, and symbol, and suggested symbol to be a higher mode of sign, in that it additionally requires "interpretation." Within Peirce's picture, the matter of interpretation is to be explained in terms of "interpretant," while icon or index are not. However, Peirce's conception of "interpretant" itself remains fraught with intractable opacities, thereby leaving the nature of symbol in a misty conundrum. Drawing largely on the experientialist account of the nature and structure of symbolic experience, I try to explicate the complexity of symbol in terms of "the symbolic mapping." According to experientialism, our experience consists of two levels, i.e., physical and symbolic. Physical experience can be extended to symbolic level largely by means of "symbolic mapping," and yet is strongly constrained by physical experience. Symbolic mapping is the way in which we map part of certain physical experience onto some other area, thereby understanding the other area in terms of the mapped part of the physical experience. According to this account, all the signs, icon, index, and symbol a la Peirce, are constructed by way of symbolic mapping. While icon and index are constructed by mapping physical level experience onto some signifier(i.e. Peirce's "representamen"), symbol is constructed by mapping abstract level experience onto some signifier. Considering the experientialist account that abstract level of experience is constructed by way of symbolic mapping of physical level of experience, the symbolic mapping of abstract level of experience onto some other area is a secondary one. Thus, symbol, being constructed by way of secondary or more times mapping, becomes a higher level sign. This analysis is based on the idea that explaining the nature of sign is a matter of explaining that symbolic experience, leaving behind Peirce's realist conception of sign as a matter of an event or state of affairs out there. In conclusion, I suggest that this analysis will open up new possibilities for a more appropriate account of the nature of signs, beyond Peirce's complicated riddles.