• Cartoon and Animation Studies
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• s.41
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• pp.487-510
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• 2015

In recently, thanks to the development of computer and internet, and reinforcement of digital media literacy of ordinary people, many users of comics and animations recombine contents into various ways, including UCCs. In a glance, it seems these outputs violates the copyrights of contents. But in reality, they helps the growth of the ecosystem of contents market, with increase of contents users. The reason of these reproductions inclines the characteristics of animation media. Animation, which are constituted by plastic symbols, auditory symbols, and narrative symbols, and Comic, which supports stories of Animations, affects as 'Imaginary signifier'. These signifiers helps users of contents to dismantle and reassemble stories. These aspects are seen in doujin culture, animation soundtrack fandom, and voice actor fandom. But In this article, we will concentrate into cosplay culture. Cosplay culture shows more active appearances than another fandoms. In especially, cosplay stage and daily cafe show more active reproductions of characters and communications. However, they are done by youth fans, which has not enough financial abilities: therefore, events are not sustainable and discontinued. And they have another limits, like lack of opportunity of performance. In the reality of Korean society, which needs of community making by community member, and hybrid culture, comics and animation productions in Korea are in need of access positively and encourage reproductions of active receivers of animations.

• Journal of Korean Philosophical Society
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• v.129
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• pp.53-82
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• 2014

This paper analyzes the concept of Lacanian subject and the structural definition of sexual difference between man and woman, and criticizes some problems of those definitions. It seems to me, to do so, that it is important to know precisely the core terms of psychoanalysis quoted by Lacan. We should analyze the basic meanings and the relation of the Imaginary, Symbolic and the Real, of ideal ego and ego ideal, of phallus and signifier, of desire and the other, of consciousness and unconsciousness, of alienation and separation, etc. I'm going to discuss the relation between the Imaginary and the ideal ego in chapter 2, and then, deal with the relation between the Symbolic and the ego ideal in chapter 3. I'll explain both similarity and difference between the ideal ego and ego ideal through those discussions. In chapter 4, I'm planning to explain the relation among the other, desire and the subject of unconsciousness. In chapter 5, I'll analyze the meaning of phallus and signifier. I'll criticize the Lacanian structural definition of sexual difference on the basis of the work made in former chapters. These discussions will lead to my final conclusion that the concept of Lacanian subject and the structural definition of sexual difference are only dependent on reductionism regarding everything as symbolic, which has in itself a lot of contradiction. In order that All discussions about sexual difference have at least a objective meaning, they have to rely on anatomical differences between man and woman.

• Korean journal of communication and information
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• v.41
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• pp.75-107
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• 2008

The paper aims to figure out the meaning of money in terms of communication in which we can find the specific communicative and cultural form of money. In the modern capitalist society, we cannot limit money within the economical terms - for example, store of value, medium of exchange, unit of account and means of payment - because money mediates all human activities beyond the economic boundary and conveys specific meaning in the social and the cultural area. Money can be the medium of the cultural and the communicational as well as the medium of the economic. In this respect, we've try to articulate money with linguistic or semiotic insight. Through this theoretical dialogue, we find two significations of money as a medium of communication. The first signification is meta-signification which drives the individual to the unlimited accumulation of the money. Meta-signification displace the second signification of the money that is the singular, over-determined and the mosaic significations. In this process money can be the signifier without signification. And then, money is the Master signifier which all sign should be identified imaginary. Finally, Money is not only the re-presense (Darstellung) of all sings but also the representative (Vertretung) of all signs. But this double position creates some tensions and makes master signifier of money unstable. Man's analysis of Bonapartism, which shares the linguistic or semiotic insight, shows the crack of the re-presence between the representative. Like Marx's analysis, the money has the tension between two signification which makes the room for the struggle to signify.

• 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.

• International journal of advanced smart convergence
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• v.8 no.1
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• pp.153-158
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• 2019

Language and letter are represented by a combination of its signifier and signified. All symblos are commonly calling direct attention to people who are living in the physical world. However, in cyberspace, the image takes control once inhabited by the language. Cyberspace with anonymity and deoent physical nature has something with physical laws. In this space the statue transcends the imaginary realm. Ideology gives a greater connotation by giving a series of regulation to images floating in cyberspace. Even if various media have the same image, the meaning of the image changes depending on which ideology is used. The impact of this on the public is great. In this study, I discuss the ideology in cyberspace where is supposedly wide open to who visits and spreads all the thoughts without suppression and the human body. The main ideas would be who owns the ideology and what does it want to control and how the people would react to the ideology. This paper would eventually head the prototype that visualizes above ideas. Though the interactive media it will also show the subject in the real world is accept the images floating in the cyberspace without any doubts.

• Communications of Mathematical Education
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• v.28 no.1
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• pp.45-55
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• 2014

Lacan gives an explanation on our real actual world by the concepts the "Real", the "Imaginary" and the "Symbolic". Although this three registers are not far from each other, they never can be unified. Among animals, only human has interest in the "truth". The concept of truth is discussed and debated in several contexts, including philosophy and religion. Many human activities depend upon the concept, which is assumed rather than a subject of discussion, including science, law, and everyday life. Language and words are a means by which humans convey information to one another, and the method used to determine what is a "truth" is termed a criterion of truth. Accepting then that "language is the basic social institution in the sense that all others presuppose language", Lacan found in Ferdinand de Saussure's linguistic division of the verbal sign between signifier and signified a new key to the Freudian understanding that "his therapeutic method was 'a talking cure'". The purpose of this paper is to understand Lacan's psychology and psychoanalysis by using the mathematical concepts and mathematical models, especially geometrical and topological models. And re-explanation of the symbolic model and symbols can help students understand new ideas and concepts in the educational scene.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.3
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• pp.357-370
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• 2013

The Republican Period of China (1912 to 1949) was when the archetypes of thought (constituting contemporary China) engaged in heated rivalry and were directly influenced by Korea through frequent exchanges. This study analyzes the characteristic of Chinese women's aesthetics towards the human body with a focus on visual materials (such as articles and illustrations concerning hairstyle, makeup, skincare, fashion, and gymnastics) featured in the Chinese women magazines of Fun$\ddot{u}$zazhi (婦女雜誌) and Linglong (玲瓏). This study analyzes these magazines and compares them with Korean counterparts. The movement of the developed and controlled human body was a common characteristic of this period; however, compared to the Chinese, the Japanese colonial period of Korea resulted in an introspective self-examination through excessively objectified eyes. Dress and adornment as the symbol of a new civilization acted as the most remarkable signifier. The overlapping of a western image with a Japanese image led to more resistance in Korea. The criterion for the value of a women's external appearance (that traditionally dualized womanly virtues) collapsed and dress was accepted as an expression of individuality instead of as a social class. The human body was traditionally recognized as a microcosm of the universe that dominated the natural principle of Yin-Yang and the Five Elements. However, the ideal human body was postulated and the aesthetic consciousness of the body changed into an imaginary view of the human body that proceeded to keep the body fit for and gave birth to the concept of supplementing the deficiency of the beauty of the human body with dress and makeup.

• Journal of English Language & Literature
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• v.58 no.4
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• pp.565-588
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• 2012

This paper aims at reconsidering 'suture,' a key concept in early Lacanian film criticism, with a view to narrowing a supposed gap between early Lacanian and later Lacanian film criticism. Early Lacanian film theorists, among whom Jean-Pierre Oudart, Jean-Louis Baudry, Laura Mulvey and Daniel Dayan, to name a few, are prominent, focus on cinematic signifying system as well as its ideological effects on shaping subjectivity of the audience. Initiated by Jacques-Alain Miller's article on suture as the logic of signifier and grafted into film as the logic of the cinematic by Oudart's writing, the concept of suture was established as a key word in early Lacanian film criticism. In their taxonomy, suture refers to the processes by which the audience are stitched into the story-world of a film. The audience are drawn into the film and take up positions as subjects-within-the-film such that they make sense of and respond to what the film represents as they are encouraged to do so by the film itself. On the other hand, later Lacanian film critics, who are much influenced by Lacan's later emphasis on the Real, focus on concepts such as gaze, petit objet a, fantasy, rather than suture. They are more concerned with the failure of suture and the disruption of the Symbolic than the ideological effects of suture and the consolidation of the Symbolic. They require a break from the previous approach of Lacanian film theory which centers around the Imaginary and the Symbolic. However, early Lacanian and later Lacanian film theory do not manifest as much disparity as they are supposed to do, for both are against the ideological manipulation of suture. Slavoj Žižek, a leading scholar of later Lacanian psychoanalysis, revives the concept of suture as a patch of the Symbolic which covers the gap, if not always successful.