The purpose of this study is to analyze the symbolic meaning of the Tiger in Korean Folk Paintings, Minhwa, (hereafter, Minhwa) connected to its social contexts in Joseon period. Thinking of the Tiger Minhwa as a 'visual language' and regard the Tiger as a 'visual signifier' as well as the united-signifiers such as a Korean magpie, pine tree and so on in Minhwa. This research is to analyze these signifieds, 'Signified', what we say in this paper, have composed its symbolic meaning related to the social 'ideological complexes' and collective consciousness during Joseon period. In a word, the characteristic of the Tiger signifier has changed and spread out from the ideal trend to a worldly one. Since the late Joseon period, the change of the social contexts was, because of the civil classes who recognized the limitation of the Sung Confucianism(the doctrines of $Chi-Tz\={u}$), the predominated ideology of that time. To get rid of their uneasiness, they brought the Shamanism, Taoism and Buddhism at the front which were usually the lower class ideology or belief and tried to construct the collective consciousness and safety of their real lives. Therefore, the trend of this 'common conceptualization' show us the positiveness and flexibility to the Tiger signifier through the variation, appropriation and producing signifier. Moreover, even to the same Tiger, there were various meanings and most of them were concentrated in the meanings as follows ; Beoksa(in Korean term is to drive away evil spirits) and Gilsang, which is the good omen of a luck. All these were based on the value of 'this world'. In conclusion, through this research, the concept of the Tiger as a apotheosis has lowered its statutes and being secularized.
The movie offers a chance to observe the social signifier and the sensitivity of audiences who feel sympathy with the tragic history of crown prince Sado. While watching the movie, the audience halts between ideas whether to go back to "primary ego", or to play the unconscious hypocrisy or the ingrained social behavior which is to resolve the internal conflicts while they face two contrary opinions; one is the obedient subject to obey fatherness, as a symbol of historic value and convention in a society, and the other is the resistant body to break the bond of convention. The audience may feel some ambivalent feelings of the moral values between the paternal authority and the existential philosophical value of 'self'. This study will observe the audience's response of Sado toward the moral norms of the society when they face the signifier of father in the movie with experience the conflict between their resistant ego and madness. Also the study will discuss that the social landscape such as norms, order, and legal system is ever-changing and open to be subverted by the future even though audience hope that the present moral value with which we are content ever-last.
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.
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.
In the study, conceiving that signifying processes like model, setting, advertisement and description are important to promote the purchase of clothes that would satisfy consumer's desire by their expressing mode, I considered the processes of components of which fashion ads consist. As for the methods to study, I regarded the results presented from prior researches of clothing & textiles and other disciplines for the components of fashion ads and objectified their image that may be interpreted subjectively: and then, I adopted to analyse them using advertisement-semiological method to make clear the signifying processes. The results are as follow: 1. Fashion ad, one of visual symbols to transfer brand image, conveys the image with which various components are combined like model, clothes, setting and description as signs. ① the image of clothes amy be differently expressed according to social, cultural norm and individual characteristics, in the case of clothes, therefore, the signified can be regarded as the transferred image by design of the clothes① sign, and the abstract conception which may be rise to mind by the image in a ceratin culture. ② Each signifier such as countenance, line of vision, attitude and hairstyle of a model conveys different image, or the signified, respectively, and it amy operate as a sign that can express the brand image symbolically. ③ The signifiers like background, color and property symbolize the advertised merchandise of clothes and define it attribute.. 2. In the case of fashion ads, key referent systems are fashion phenomena, contemporary role image, social psychology, common morality, and social, economical and milieu.
This article aimed at semiotically analyzing and encoding the characteristics of Pop. Artistic style of a dress in the 2000's, and understanding social and cultural meaning to characteristics revealed at modern style of a dress. As research methods, Pop. Art factors were adjusted to non-individuality, openness, eroticism, parody through precedent research comparing and considering Pop. art, and 61 photos were selected, and they were analyzed into signifier and signified. It's analysis results are as follows. Non-individualistic image revealed modern style of a dress was intensively indicated at the pattern aspect of Pop. Art style of a dress, and any remarkable characteristics were not shown at the form aspect. Non-individuality was actively and progressively expressed due to the effect of the 2000's trends to pursue of frank desire, artistic and sensual life. For open image revealed at modern style of a dress, the characteristics were intensively highlighted at the details and accessories of style of a dress, and at the details and accessories of style of a dress, and at textile and pattern aspect, and notable signifier did not turn up. Pop. Artistic eroticism in the 2000's could be seen to unconditionally expose, or commercialize sex, but fashionably and gorgeously re-interpret it, which was found that the expression to women was changed in a free and emotionally-oriented way by the influence of feminism, expansion of feministic thought and optimism on New-millenium. At parody, simple and humorous parody rather than deep intended or heavy mattered one was seen, which means the effect of the 21st culture pursuing pleasure, fun and humor appeared as an positive parody phenomenon. It is found that the Pop. Art style of a dress in the 2000s shows up as a feministic, bright, cheerful Pop. Art in that it creates exaggerated harmony mixed with decorativeness ad functionalism, and pursue for frank desire and reflects optimistic trend of New Millenium seeking for fun and humor.
The postmodern culture since the later 20C breaks downa tradition a relation between the reality and languages or sign images expressing it. It develops in the way to review the meaning on the object's imitation or the representation to have been followed since Plato and represent the new state and concept of expressed things. Also, The visual art leads an change of paradigm by images giving up the visual resemblance or the function of representation and endowing them with the new sense. This essay has a purpose to study an important discussion about this change centered on Baudrillard and Lacan. A sociologist Baudrillard promotes the concept of 'simulation' through detecting the reality and the social and historical state of the image. Studying on the course of this change, he calls the step that the image escapes from the stage to reflect the reality and become the pure imitation by itself simulation. The image in the stage of simulation is called 'hyperreality' because it doesn't have any an indicator or a substitute and happens by models without the original or the reality. So he asserts that art is not to contain some absoluteness or transcendency as the past, but to be as the spectacle with characteristics of meaningless, emptiness, contingency. Lacan dismantles the concept of the absolute Cogito to have become the center of the western ideology, and creates the concept of 'Other'. He concludes also the reality exists but can't be captured, and it's impossible for the thinking subject can reach it. The concept of new image which can be thought as the Symbolic in Lacan is 'Signifier without Signified' since it isn't possible to be the transcendent Signifier fixing the meaning finally in it. His 'Gaze' theory is which to be emitted in other's area determines the subject. Equally Baudrillard and Lacan sets up the new state of the image through the end of representation system As for Baudrillard, art intends to the worthlessness and is nothing but imagination. But in Lacan a picture represents the subject being in process by the dialectic of desire.
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.
This study has resulted in the followings applying costume's form and meaning to the theory of structuralism established by Saussure and the extensive and contained meanings of Roland Barthes. The kinds of woman's costume of the Romanesque era were not various, but those of the royal family and aristocratic class were more various and decorated better than the lowly persons. So their social levels could be differed by the forms of the costume they wore. Each form of costume was differed according to the structural elements and showed the feature that the form is the costume of the era and social position's differences of the wearers' sexes, levels, and vocations in the same era. Costume's analistic body was the costume's form selected according to the central analystic elements, this showed the meaning of the era's levels and classes, that is, the costume's structure was reflected by the era's features. In the structure of the woman's costume in the Romanesque era, many religious features were emphasized and the elements forming each analystic body were classified and meant the society's features. (Korean J Human Ecology l(1) : 113∼125, 1998)
The forms of man's costumes in Byzantine Empire were changed according to each composition of costumes. Those forms of costumes had common features of each period when costumes were included. At the same time, however, the fact that differences existed in accordance with a social position including gender, class, occupation, etc. even though in same period were showed. Analytic elements of man's costumes in Byzantine Empire were selected by important factors. This showed the meanings of position and class in that time. The kinds of analytic elements in man's outwear were various but the forms of costumes were not developed because christianity influenced the forms of clothing in the Middle Ages. As the result of synthesis, the main factor of man's costumes was a tunic in Byzantine Empire of the Middle Ages The phases of the times were reflected on the structure of man's costumes in Byzantine Empire. In particular, religious feature was emphasized, and analytic elements of costumes having meanings showed the features of the society at the Middle Ages. For example, a central analytic element of man's costume, an outer garment was a tunic style of H-silhouette that hid the body line. This was influenced by the phases of the times. Namely, the costume stands as a symbol of the times, and also is a cultural sign that reflects phases like politics, economy, religion.
본 웹사이트에 게시된 이메일 주소가 전자우편 수집 프로그램이나
그 밖의 기술적 장치를 이용하여 무단으로 수집되는 것을 거부하며,
이를 위반시 정보통신망법에 의해 형사 처벌됨을 유념하시기 바랍니다.
[게시일 2004년 10월 1일]
이용약관
제 1 장 총칙
제 1 조 (목적)
이 이용약관은 KoreaScience 홈페이지(이하 “당 사이트”)에서 제공하는 인터넷 서비스(이하 '서비스')의 가입조건 및 이용에 관한 제반 사항과 기타 필요한 사항을 구체적으로 규정함을 목적으로 합니다.
제 2 조 (용어의 정의)
① "이용자"라 함은 당 사이트에 접속하여 이 약관에 따라 당 사이트가 제공하는 서비스를 받는 회원 및 비회원을
말합니다.
② "회원"이라 함은 서비스를 이용하기 위하여 당 사이트에 개인정보를 제공하여 아이디(ID)와 비밀번호를 부여
받은 자를 말합니다.
③ "회원 아이디(ID)"라 함은 회원의 식별 및 서비스 이용을 위하여 자신이 선정한 문자 및 숫자의 조합을
말합니다.
④ "비밀번호(패스워드)"라 함은 회원이 자신의 비밀보호를 위하여 선정한 문자 및 숫자의 조합을 말합니다.
제 3 조 (이용약관의 효력 및 변경)
① 이 약관은 당 사이트에 게시하거나 기타의 방법으로 회원에게 공지함으로써 효력이 발생합니다.
② 당 사이트는 이 약관을 개정할 경우에 적용일자 및 개정사유를 명시하여 현행 약관과 함께 당 사이트의
초기화면에 그 적용일자 7일 이전부터 적용일자 전일까지 공지합니다. 다만, 회원에게 불리하게 약관내용을
변경하는 경우에는 최소한 30일 이상의 사전 유예기간을 두고 공지합니다. 이 경우 당 사이트는 개정 전
내용과 개정 후 내용을 명확하게 비교하여 이용자가 알기 쉽도록 표시합니다.
제 4 조(약관 외 준칙)
① 이 약관은 당 사이트가 제공하는 서비스에 관한 이용안내와 함께 적용됩니다.
② 이 약관에 명시되지 아니한 사항은 관계법령의 규정이 적용됩니다.
제 2 장 이용계약의 체결
제 5 조 (이용계약의 성립 등)
① 이용계약은 이용고객이 당 사이트가 정한 약관에 「동의합니다」를 선택하고, 당 사이트가 정한
온라인신청양식을 작성하여 서비스 이용을 신청한 후, 당 사이트가 이를 승낙함으로써 성립합니다.
② 제1항의 승낙은 당 사이트가 제공하는 과학기술정보검색, 맞춤정보, 서지정보 등 다른 서비스의 이용승낙을
포함합니다.
제 6 조 (회원가입)
서비스를 이용하고자 하는 고객은 당 사이트에서 정한 회원가입양식에 개인정보를 기재하여 가입을 하여야 합니다.
제 7 조 (개인정보의 보호 및 사용)
당 사이트는 관계법령이 정하는 바에 따라 회원 등록정보를 포함한 회원의 개인정보를 보호하기 위해 노력합니다. 회원 개인정보의 보호 및 사용에 대해서는 관련법령 및 당 사이트의 개인정보 보호정책이 적용됩니다.
제 8 조 (이용 신청의 승낙과 제한)
① 당 사이트는 제6조의 규정에 의한 이용신청고객에 대하여 서비스 이용을 승낙합니다.
② 당 사이트는 아래사항에 해당하는 경우에 대해서 승낙하지 아니 합니다.
- 이용계약 신청서의 내용을 허위로 기재한 경우
- 기타 규정한 제반사항을 위반하며 신청하는 경우
제 9 조 (회원 ID 부여 및 변경 등)
① 당 사이트는 이용고객에 대하여 약관에 정하는 바에 따라 자신이 선정한 회원 ID를 부여합니다.
② 회원 ID는 원칙적으로 변경이 불가하며 부득이한 사유로 인하여 변경 하고자 하는 경우에는 해당 ID를
해지하고 재가입해야 합니다.
③ 기타 회원 개인정보 관리 및 변경 등에 관한 사항은 서비스별 안내에 정하는 바에 의합니다.
제 3 장 계약 당사자의 의무
제 10 조 (KISTI의 의무)
① 당 사이트는 이용고객이 희망한 서비스 제공 개시일에 특별한 사정이 없는 한 서비스를 이용할 수 있도록
하여야 합니다.
② 당 사이트는 개인정보 보호를 위해 보안시스템을 구축하며 개인정보 보호정책을 공시하고 준수합니다.
③ 당 사이트는 회원으로부터 제기되는 의견이나 불만이 정당하다고 객관적으로 인정될 경우에는 적절한 절차를
거쳐 즉시 처리하여야 합니다. 다만, 즉시 처리가 곤란한 경우는 회원에게 그 사유와 처리일정을 통보하여야
합니다.
제 11 조 (회원의 의무)
① 이용자는 회원가입 신청 또는 회원정보 변경 시 실명으로 모든 사항을 사실에 근거하여 작성하여야 하며,
허위 또는 타인의 정보를 등록할 경우 일체의 권리를 주장할 수 없습니다.
② 당 사이트가 관계법령 및 개인정보 보호정책에 의거하여 그 책임을 지는 경우를 제외하고 회원에게 부여된
ID의 비밀번호 관리소홀, 부정사용에 의하여 발생하는 모든 결과에 대한 책임은 회원에게 있습니다.
③ 회원은 당 사이트 및 제 3자의 지적 재산권을 침해해서는 안 됩니다.
제 4 장 서비스의 이용
제 12 조 (서비스 이용 시간)
① 서비스 이용은 당 사이트의 업무상 또는 기술상 특별한 지장이 없는 한 연중무휴, 1일 24시간 운영을
원칙으로 합니다. 단, 당 사이트는 시스템 정기점검, 증설 및 교체를 위해 당 사이트가 정한 날이나 시간에
서비스를 일시 중단할 수 있으며, 예정되어 있는 작업으로 인한 서비스 일시중단은 당 사이트 홈페이지를
통해 사전에 공지합니다.
② 당 사이트는 서비스를 특정범위로 분할하여 각 범위별로 이용가능시간을 별도로 지정할 수 있습니다. 다만
이 경우 그 내용을 공지합니다.
제 13 조 (홈페이지 저작권)
① NDSL에서 제공하는 모든 저작물의 저작권은 원저작자에게 있으며, KISTI는 복제/배포/전송권을 확보하고
있습니다.
② NDSL에서 제공하는 콘텐츠를 상업적 및 기타 영리목적으로 복제/배포/전송할 경우 사전에 KISTI의 허락을
받아야 합니다.
③ NDSL에서 제공하는 콘텐츠를 보도, 비평, 교육, 연구 등을 위하여 정당한 범위 안에서 공정한 관행에
합치되게 인용할 수 있습니다.
④ NDSL에서 제공하는 콘텐츠를 무단 복제, 전송, 배포 기타 저작권법에 위반되는 방법으로 이용할 경우
저작권법 제136조에 따라 5년 이하의 징역 또는 5천만 원 이하의 벌금에 처해질 수 있습니다.
제 14 조 (유료서비스)
① 당 사이트 및 협력기관이 정한 유료서비스(원문복사 등)는 별도로 정해진 바에 따르며, 변경사항은 시행 전에
당 사이트 홈페이지를 통하여 회원에게 공지합니다.
② 유료서비스를 이용하려는 회원은 정해진 요금체계에 따라 요금을 납부해야 합니다.
제 5 장 계약 해지 및 이용 제한
제 15 조 (계약 해지)
회원이 이용계약을 해지하고자 하는 때에는 [가입해지] 메뉴를 이용해 직접 해지해야 합니다.
제 16 조 (서비스 이용제한)
① 당 사이트는 회원이 서비스 이용내용에 있어서 본 약관 제 11조 내용을 위반하거나, 다음 각 호에 해당하는
경우 서비스 이용을 제한할 수 있습니다.
- 2년 이상 서비스를 이용한 적이 없는 경우
- 기타 정상적인 서비스 운영에 방해가 될 경우
② 상기 이용제한 규정에 따라 서비스를 이용하는 회원에게 서비스 이용에 대하여 별도 공지 없이 서비스 이용의
일시정지, 이용계약 해지 할 수 있습니다.
제 17 조 (전자우편주소 수집 금지)
회원은 전자우편주소 추출기 등을 이용하여 전자우편주소를 수집 또는 제3자에게 제공할 수 없습니다.
제 6 장 손해배상 및 기타사항
제 18 조 (손해배상)
당 사이트는 무료로 제공되는 서비스와 관련하여 회원에게 어떠한 손해가 발생하더라도 당 사이트가 고의 또는 과실로 인한 손해발생을 제외하고는 이에 대하여 책임을 부담하지 아니합니다.
제 19 조 (관할 법원)
서비스 이용으로 발생한 분쟁에 대해 소송이 제기되는 경우 민사 소송법상의 관할 법원에 제기합니다.
[부 칙]
1. (시행일) 이 약관은 2016년 9월 5일부터 적용되며, 종전 약관은 본 약관으로 대체되며, 개정된 약관의 적용일 이전 가입자도 개정된 약관의 적용을 받습니다.