• Cross-Cultural Studies
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• v.26
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• pp.321-351
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• 2012

This paper attempts to clarify the similarity found in Seo Jungjoo's two books of poems, Seo Jungjoo Shiseon and Shillacho, and thereby to establish the continuity between Seo's early poetry and his mid-period poetry. This attempt arises from the realization that unfamiliar poetic material, background, and narration are merely surface features, and that in fact his early concerns nevertheless persist in terms of his poetic imagination and his Weltanschauung. Furthermore, this continuity seems to originate from shamanistic spiritual chaos that is consubstantially interrelated with the spirit of his deceased lover. After chaos and confusion subsided, the poet's endeavor to discover the lineal origin of his personal shamanism shows itself in Seo Jungjoo Shiseon, and we witness the embodiment of such endeavor in Shillacho. His interest in the skies as it is expressed in my poem, and Shilla as it is intimated by Gwanghwamun are sublimated in saso yeonjag and the words of Queen Seondeog into shamanic wisdom that served as the norm for both spiritual life and physical life in ancient times, and the wisdom is carried on further into the present in Seo's own times. Moreover, the star and the bell sound that were presented as signs of desirable Weltanschauung in Sangrigwawon are transformed into the symbols of shamanic wisdom, and into the inner magic formula that contributes to achieving the wisdom. This analysis offers as its result the evidence embedded in his poems that shows, first, that the two books correspond to merely two separate stages of his poetic concern, and second, that his early poetic concern persists, though transformed through a peculiar manner, into his mid-period poems.

• Koreanishche Zeitschrift fur Deutsche Sprachwissenschaft
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• v.7
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• pp.215-235
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• 2003

Karl $B\"{u}hlers$ Sprachtheorie orientiert sich an der Psychologie. Das zeigt sich im zweten Teil dieser Arbeit. $Au{\ss}erdem$ haben wir da gesehen, wie $pl\"{o}tzlich$ er im deutschen Gebiet seine Wissenschaft abbrechen und so eilig nach Amerika auswandern musste. Damit konnte er sein wissenschaftliches Ziel, also allgemeine Sematologie im Sinne der Logik der $Humanit\"{a}t$, nicht erreichen. Aber trotzdem $la{\ss}t$ sich erwarten, dass wir mit seinem $unverg\"{a]nglichen$ Buch und anderen Daten wieder starten $k\"{o}nnen$. Er nennt das Sprechereignis, das unsere Sinne $r\"{u}hrt$, den ersten Gegenstand der Sprachwissenschaft. Das ist etwas Einmaliges, ein Geschehen hier und jetzt im bestimmten Zeitraum. Das anschauliche Zeigen $geh\"{o}rt$ so zum Wesen der $nat\"{u}rlichen$ Sprache wie die Abstraktion und das begriffliche Erfassen der Welt. Karl $B\"{u}hler$ spricht von dem anschaulichen Zeigen, weil er betonen wollte, dass Deixis an die Weltanschauung gebunden ist; symbolische $Ausdr\"{u}cke$ sind begrifflich andererseits, weil sie von der Sprechsituation $unabh\"{a}ngig$ sind. Die zwei Elemente, die zum vollendeten Erkenntnis $geh\"{o}ren$, sind unelinierbar in jedem $Sprachph\"{a}nomen$ enthalten. Wir mobilisieren die zwei auf jeden fall zu unserem vollendeten Erkenntnis der Welt. Ich habe die These mit der Formel S = M$\times$P beschrieben, die als Cartesisches Produkt von pragmatischen Komponent und Proposition interpretiert werden soll. Diese $Erkl\"{a}rung$ kann auch $ad\"{a}quat$ auf Zeichensinterpretation angewandt werden.

• Journal of Digital Convergence
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• v.10 no.11
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• pp.659-664
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• 2012

This research has chosen the animation character creation as a part of research for effective communication with audience due to the character taste getting diversity. The way of characters creation in this research suggest as follows. First, animation character action and a way of thinking, which makes regulation factor is a global outlook. It expresses a outer factors include appearance, style, action, facial expressions, tone of voice, hobbies, occupation, status and internal factors shows nature, conception, culture. Second, the given condition of general tendency of animation character, Cultural background, and Key characteristics and experiences is built up by global outlook. Third, the attractive of animation character show up the familiarity, originality, fun, various senses, and flexibility. Fourth, it is harmony of new global outlook and character. The establishment of animation character is that the familiarity which is easy approach to audience with special global outlook, the originality which is different from other works, fun with laugh, at different times in different ways to interact with more flexibility, various sense to be delivered to audience for easy setting is the most desirable.