• Archives of design research
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• no.18
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• pp.153-162
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• 1996

underground space have many negative environmental clements which should be confirmed on location and line of action by the artificial signs. iccordingly, environmental graphics as visual language for popular signification-function have to be studied on sign theory of symbolic meanings. Ho\/ever, its usage has not only decorated by microscopiC appreciative eye but also lost its meanlllg as a visual language which was caused by the negligence of systematic management of the facility in charge Result of study, Visual environmental factors as a cause of behavioral attitude based on the study, which has been carefully considered as a communication of the visual language. Therefore, considering the underground environmental graphics as the: sign or the signification-function, It has to be studied on syntactic, semantic and pragmatic viewpoint. SpeCifically, to maKe the color and formation language a signification-function as a generalized connotation to the public, a distinctive classified Visual language must be applied.

• Cross-Cultural Studies
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• v.31
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• pp.309-330
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• 2013

This paper aims to examine distribution and patterns of Women(我們) on Chinese conversation textbook, and also suggest that Chinese class need to impose pragmatic perspective. For this purpose, this paper explores 35 Womens in 42 conversation units on three Chinese textbooks Hanyu Kouyu vol.1~3 at first. Women is more contributed on 'exclusive Women' among three categories (inclusive, exclusive, borrowed) than other two categories, is also contributed on 'symbolic usage' than 'gestural usage'. Second, this paper examines patterns of Women on the three categories. It shows: first, 'inclusive Women', 'exclusive Women', 'borrowed Women' all show up on the textbooks even though on the textbook vol.1(for beginner) surprisingly; Second, 'exclusive Women' may be a primary one of three categories in terms of the coverage of Women. Women covers those who are related with the speaker regardless of being on the spot, and also covers those which the speaker belongs to, for example, nationality, ethnicity etc. Consequently, the results show that Chinese speaking course, from now on, needs to consider pragmatic factors including existing semantic and syntactic factors, and from the pragmatic perspective, impose 'action'(including speech act, body gesture etc.) on Chinese conversation class for the learners' improvement in Chinese speaking.

• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.75-91
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• 2021

In this study, most of the previous researches on the analysis of apology are limited to comparative study of apology in different countries from the perspective of cross-cultural communication and analysis of apology in daily life. Therefore, by introducing pragmatics on apology strategy and cultural interpretation theories, this study tried to analyze apology and apology strategies in the seventh season of American TV series Desperate Housewives. Specifically speaking, based on Trosborg's classification of apology strategies, this study sorted out, classified and counted apology strategies in the seventh season of Desperate Housewives, and then 200 apology strategies were randomly selected and analyzed in detail. The statistical results showed that 'expression of apology' strategy was used at the highest frequency of 64.0%, followed by 'explanation or account' and 'minimizing the degree of offence'; 'Acknowledgement of responsibility', 'offer of repair' strategy, 'expressing concern for hearer' and 'promise of forbearance' were used relatively less frequently. The results can be interpreted by America's high individualism, low power distance and low-context culture having great influence on the frequency of American apology strategy. This study can increase understanding of apology and culture, reduce offence in communication with Americans, and make cross-cultural communication smooth, and meanwhile it is expected to enrich the research scope of TV drama art by analyzing language in TV drama art.

• 기호학연구
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• no.57
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• pp.121-153
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• 2018

In terms of the story told, we see that Oh! Soojung(Virgin Stripped Bare by Her Bachelors) is a film of the ideololgy of masculinity. However, from the point of view of the manner of presenting story, Oh! Soojung is a film that aims to devalue this ideology. How will it be possible? This is the principle of the irony that the speaker, by saying P, wants to make Q listen that devalues and contradicts P. Our study is tempted to explain the process of interpreting the irony in the film. The ideology of the film occurs when the presupposed contents have become the subject. For example Cendrion who tells a story of a girl married to a prince presupposes that the girl, Cendrion, is obedient. The subject of this story is that the presupposition: /the girls who want to be happy must be obedient/, which represents the ideology of masculinity. Presupposed content thus imposes on the public a collective and conservative value, as its enunciator belongs to the collective voice. Since ironisation occurs when the utterance itself is annulled, one must also deny or cancel the story told of Oh! Soojng: /Jeahun who is rich and Soojung who is obedient and virgin have become lovers/. Since there is no semantic mark within the utterance, irony is a voice that comes from without; this is how we understand irony in a purely pragmatic way. The outer voices are two things: the way to build the story: question of focusing, ocularization and auricularization, and the way to present the story: question the order, the frequency or the plot. Our study is focused on the question of frequency at Oh! Soojung which has a repetition structure in which the memory of Jeahun and that of Soojung are represented one after the other. Since the memories of two characters are not identical, the repetition is accompanied by differences. The differences at first allow the public to build their own story from the di?g?se of the film and then make the audience fall into confusion where we can not be certain of what we see and know in the di?g?se of the film, and finally make their knowledge questionable. About repetition, so that it can have validity in terms of the informativeness of the utterance, it must deny the existence of the previous repetition. This is how repetition cancels itself and consequently the utterance. We see that the irony of Oh! Soojung occurs by repetition with differences that cancels the story of the film.