• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.134-135
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• 2005

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.351-355
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• 2006

1990년대 후반 이후 등장한 N세대 N generation라는 신조어는 넓게는 '10대 후반과 20대 초반의 새로운 세대'라는 'new'의 개념에서의 N세대 new generation를, 좁게는 '네트워크 network를 자유자재로 다루는 세대' 또는 '네트워크 속에서 생활하는 세대' 라는 '디지털 유저 digital user'의 개념에서의 N세대 network generation를 의미한다. 다시 말해, N세대는 디지털 디바이스의 정보와 지식을 바탕으로 자유롭게 디지털 세상을 넘나드는 젊은 디지털 유저 층이다. 본 연구의 목적은 디지털 디바이스 프로덕트 광고의 한 사례를 기호학적으로 분석하여 '"디지털 디바이스+ N세대=디지털 코드"라는 광고공식'과 '외연과 내연이 합해져 "기술적 시니피앙과 감성적 시니피에"의 상호작용적 조합 interaction'을 찾아보는 것에 있다. 여기서는 광고 분석의 사례로써 삼성 KENOX V4 광고를 이용한다. KENOX V4 는 N세대를 겨냥한 디지털 디바이스 프로덕트이며, 이 광고는 '외국 브랜드를 제압하는 의미의 V'라는 코드를 사용하고 있다. 자기만의 주장을 당당하게 할 줄 아는 N세대가 소년기에 가졌던 한국이라는 자부심이 그가 성인기에 들어선 이후에도 V라는 승리의 표상으로 나타나고 있는 것이다. V4 광고의 이미지는 N세대를 상징하는 강력한 '디지털 코드digital code'를 담아내고 있으며, 그 V4의 메시지는 '4백만 화소'라는 '기술적 시니피앙 technological significant'과 '4가지 승리'라는 '감성적 시니피에 emotional signifie'의 상호작용적 조합을 구성하고 있다.

• Journal of Korean Philosophical Society
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• v.131
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• pp.303-330
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• 2014

Les avis des philosophes sur la mort sont $diff{\acute{e}}rentes$ selon leurs visions du monde. Certains essaient de surmonter la peur sur la mort, en $n{\acute{e}}gligeant$ la mort, et certains essaient de vivre le vraie vie par la $m{\acute{e}}ditation$ de la mort. Chez Kierkegaard la notion de la mort se $pr{\acute{e}}sente$ comme key-world $tr{\grave{e}}s$ important, et cela signifie qu'il parle par la mort une vie $s{\acute{e}}rieuse$ et vraie. Pour Kierkegaard la mort signifie d'abord la mort de la vie mondaine ou la $n{\acute{e}}gation$ de soi, cela est en faveur de sa conception de la nature humaine $o{\grave{u}}$ l'homme est fondamentalement un ${\hat{e}}tre$ $probl{\grave{e}}matique$ et ${\grave{a}}$ la fois ceuli qui a un rapport avec $l^{\prime}{\acute{e}}ternel$. Le $d{\acute{e}}sespoir$ de l'homme sur la vie $pr{\acute{e}}sente$ peut devenir 'la maladie qui entraîne la mort' c'est-${\grave{a}}$-dire la mort spirituelle, mais il peut donner aussi une chemin par laquelle l'homme se dirige en tant qu'individu vers l'Absolu. Chez lui ${\hat{e}}tre$ $s{\acute{e}}rieux$ signifie devenir existentiellement par la $n{\acute{e}}gation$ de soi. Et l'absence de la $sinc{\acute{e}}rit{\acute{e}}$ signifie l'absence de soi en tnat $qu^{\prime}{\hat{e}}tre$ spirituel. Ainsi la $pens{\acute{e}}e$ $s{\acute{e}}rieuse$ sur la mort $n^{\prime}{\acute{e}}tant$ autre chose que de penser la mort comme la partie de $l^{\prime}{\hat{e}}tre$ $pr{\acute{e}}sent$, elle devient la source ${\acute{e}}nergique$ qui permet de vivre pleinement le $pr{\acute{e}}sent$ comme $r{\acute{e}}alit{\acute{e}}$ $li{\acute{e}}$ ${\acute{a}}$ $l^{\prime}{\acute{e}}ternit{\acute{e}}$. Sa $pens{\acute{e}}e$ $s{\acute{e}}rieuse$ sur la mort permet d'avoir une conviction religieuse par laquelle l'homme peut penser la mort corporelle comme aventure $li{\acute{e}}e$ ${\grave{a}}$ $l^{\prime}{\acute{e}}ternit{\acute{e}}$ et par laquelle l'homme peut penser aussi la vie $apr{\grave{e}}s$ la mort comme vraie vie que les justes avaient $d{\acute{e}}sir{\acute{e}}s$. Cette $pens{\acute{e}}e$ de Kierkegaard sur la mort signifie le sens $m{\acute{e}}taphysique$ sur la mort au sens $o{\grave{u}}$ elle est une $r{\acute{e}}alit{\acute{e}}$ $v{\acute{e}}cue$, et aussi la $pens{\acute{e}}e$ qui ${\acute{e}}claircit$ la sagesse des philosophes antiques ${\grave{a}}$ la perspective $chr{\acute{e}}tienne$ qui dit philosopher, c'est apprendre ${\grave{a}}$ mourir.

• Journal of Physiology & Pathology in Korean Medicine
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• v.29 no.2
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• pp.127-132
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• 2015

In order to grasp the clear concepts and variables to treat Shanghan diseases which has complex meaning by each medical literature, several concepts and analytic method of structuralism from early to late stage encompassing Saussure and Derrida were used. Main concepts are langue and parole, signifiant and signifie, syntagme and paradigme, denotation and connotation, synchronie and diachronie, identity of structure and differance etc. and methods are substituting these concepts to historical Shanghan theories from Zhongjing to Ming-Qing dynasty and comparisons of synchronie about their era. Essential qualities of Shanghan diseases are pathologic phenomena under the order of unification of nature and man formed through concrescence between individual human body and geo-climatico-socio-cultural environmental conditions, neither injuries by cold pathogen nor five types of exopathogenic febrile diseases. The former environmental elements can be inferred from general traits of desires and public pathological aspects of social members, and the latter personal factors from corresponding features to those pathogenic variables. In addition, the concepts of Shanghan disease are added successively up to now via Jin-Yuan's four great masters and Wenbing masters, and thus the new concepts of denotation became another connotation obtaining new signifiant. In this way, for the treatment of Shanghan diseases, new theories should be made for ranging prescription over the wenbing field; reflecting not only climatical variables but also each patient's physio-pathological features and sociocultural variables. Thereby an appropriate and reasonable therapeutical systems can be designed and can guide research direction hereafter.

• Koreanishche Zeitschrift fur Deutsche Sprachwissenschaft
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• v.10
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• pp.251-275
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• 2004

In diesem Aufsatz geht es um die Frage. womit Leo Weisgerber seine Sprachtheorie entwickelt hat. Er wurde von mehreren Theoretikern und Wissenschaftlern $beeinflu{\ss}t$, wie z. B. Wilhelm von Humboldt, Ernst Cassirer, Wilhelm Wundt, Ferdinand de Saussure usw. Aber in einigen besonderen Bereichen seiner Sprachtheorie wurde or besonders von F. de Saussure stark $beeinflu{\ss}t$. Leo Weisgerber hat sehr viele $Aufs\"{a}tze$ und $B\"{u}cher$ geschrieben. Aber darunter gibt es einige Werke, die seine Sprachtheorie zusarnmenfassend darstellen. Sie sind die folgenden: seine Habillitationsschrift(1925), Muttersprache und Geistesbildung(1929), Grundzuge der inhaltbezogenen Grammatik(1962). Wir haben daher versucht, zu erfurschen, welchen Einfluss Saussure auf diese Werke Weisgerbers ausgeubt hat. In der Habilitationsschrift konnten wir herausfinden, $da{\ss}$ Weisgerber die $Ans\"{a}tze$ Sausssures kritisierend aufgenommen hat. Wahrend Saussure Sprache nicht als einen Organismus betrachtet $h\"{a}lt$ Weisgerber Sprache $f\"{u}r$ einen lebendigen Organismus. $Dar\"{u}her$ hinaus ist nach Weisgerber die Unterscheidung, zwischen langue und parole $unn\"{o}tig$. Leo Weisgerber hat in dem Buch 'Muttersprache und Geistesbildung' seine Zeichen-Theorie zusammenfasst. Da war or damit einverstanden, $da{\ss}$ ein Zeichen aus signifiant und signifie besteht. $Au{\ss}erdem$unterscheidet or Sprache, $\"{a}hnlich$ wie Saussure, wie folgt : das Sprechen, der Sprachbesitz des einzelnen, Sprache als Kulturbesitz einer Gemeinschaft, das allgemein menschliche Prinzip Sprache im Sinne der fuel die Menscheit kennzeichnenden Sprachtaetigkeit. In 'Grundzugo der inhaltbezogenen Grammatik' stellt or dar, wie die Untersuchung der Sprachinhalte $durchgef\"{u}hrt$ werden soll. Nach ihm ist ein Wortinhalt immer $erkl\"{a}rbar$, durch ein Wert in einem Wortfeld. Dieser Begriff 'Wert' entstammt vom 'valour', den Saussure gemacht hat. Aber die Zeichentheorie Weisgerbers ist ein $bi{\ss}chen$ anders geworden. $W\"{a}hrend$ Saussure ein zweidimensionales Zeichenmodel (signifiant und signifie) aufstellt, stellt Weisgerber ein dreidimensionales Zeichenmodell dar, das aus drei Elemente (Lautform - geistige Zwischenwelt - $Au{\ss}enwelt$) besteht. Aus diesen Ergebnissen der Untersuchung konnen wir $schlie{\ss}en$, $da{\ss}$ Weisgerber mehr oder weniger von F. do Saussure beeinflusst wurde.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.270-274
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• 2007

Clearing trace of symbol which was gone with a series of pre-modern architecture history since the modern architecture (pursuing true nature from tradition which is repeated and imitated unconsciously). That is, What is the course of deconstruction? In the early part of the 20th century, We still accept the necessity of decoration in spite of its existence at one time being threaten. This means, even though symbolism in architecture has relative importance by situation of Times, it plays an important role to add the past to current style through 'Symbol'. The history of Times, a carrier which reflects Present on New Futures, makes memory by gathering data but we can not amplify our historical imagination with only data. Data is a past memory and evidence but we can not substitute that for historical experience. And it is difficult for future generations who don't live through that history to change their historical recognition with recollecting memories. They have to draw history with data but it is very limited in itself. However, They can collect historical memory through symbol in architecture. In this study, We pay attention to the symbolism of a memorial hall architecture. So We'll analyze dichotomy concept of Barthes's signifiant and signifie, visual sign and course of symbolic meaning on basis of Daniel Libeskind's Jewish Museum.

• Journal of Fashion Business
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• v.13 no.5
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• pp.23-36
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• 2009

The purpose of this research is to design and to produce actual high value added wedding dress comprised of the pear blossoms pattern(梨花紋), which is one of the traditional patterns which was not researched to this day, and of the Dang-$\breve{u}$i(唐衣) image which reflects our concept of beauty as if as a means of conducting empirical study for the application of traditional Korean patterns to the contemporary application. pear blossoms effectively signifie the image of beautiful bride thanks to the pure, graceful and clean image of white flower, both in the external and internal aspects. The Dang-$\breve{u}$i of the Chosun Dynasty, which is another motif is one of the representative clothing that expresses the beauty of the curve when it comes to the Korean culture as traditional wedding dress. Attempt was made to develop design for wedding dress that expresses the Korean style beauty that combined the tradition and the modern. Towards this end, the project was composed of the Korean-like Ewha, image of the Dang-$\breve{u}$i I, II and III to design three dresses. The Dress I presents the image of pure, elegant and beautiful bride, while Dress II represents the pure and city like trendiness of the Korean women today as bride. Dress III was made centered on the image of elegant, and chaste bride. As for the materials used, hand-woven silk and silk organza used for the traditional clothes. As for the ornaments, embroidery, quilted work, beads, corsage, burn-out and other techniques were used for expression.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.50-65
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the planarization of the body in Japanese avant-garde fashion. In order to inquire the formative style and aesthetic values expressed in Japanese avant-garde fashion, my study examines subjects from the discourse on the body to the fashion collections of the 20th and 21st century. The results of the study are as follows. Japanese avant-garde fashion focuses on a planarization of the body which questions the three dimensional construction of the body in more conventional clothing system. Un-structured, variable space posited between the body and clothes, participation of the wearer, attention to recent technology and material, and absence of gender identification characterizes the planarization of the body in Japanese avant-garde fashion. The absence of body in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body Ultimately, planarization of the body betrays the correspondence between signifiant and signifie in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in Japanese avant-garde fashion, focusing on the relationship between the clothes and body.

• Journal of Korean Philosophical Society
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• v.148
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• pp.269-289
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• 2018

This article is designed to help ensure that "Laotzu's Tao and Saussure's Linguisticse's Linguistics" can meet properly. To carry out this project, I asked how to understand Laotzu's 'not the eternal Name(非常名)'. Comparing Kongzi's 'the Rectification of name(正命)' with Laotzu's 'not the eternal Name', The meaning of the two concepts becomes clear. Kongzi's 'the Rectification of name' is political philosophy to restore etiquette through language order. In comparison, Laotzu's 'not the eternal Name' refers to Randomness[arbitraire] of the symbol. It shows that the order of languages can be dismantled, and that the structure, norms, and etiquette of society, which are established by language order, can be dismantled. Laotzu's 'not the eternal Name' is a logic that defies language as an institution, as a symbolism, and as a logic of disintegration. To illustrate this point, Searsure's Linguistics was brought in for discussion. In Saussure's Linguistics, the arbitrary nature of the symbol is the same as the Lotzu's 'Not the eternal Name'. Three arguments were used to elucidate the logic of the resistance and the logic of Deconstruct of the Language structure. First, I explained that the discussion of 'Name' was not just about 'the name of an object' but about the system, laws and norms of a society. Second, I explained the argument that language order is a social institution and a social structure by taking the words Saussure and Lacon. Third, I explained that 'not the eternal Name' is an important term that reveals the arbitrary and arbitrary relationship between the signifiant and the signifie. These arguments explain that Laotzu's 'not the eternal Name' is the logic of dismantling the language as a system and as the symbolic.

• Journal of Korean Philosophical Society
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• v.129
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• pp.167-191
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• 2014

Pour Kierkegaard la condition de l'homme naturel est tragique. $D^{\prime}{\hat{e}}tre$ $s^{\prime}{\acute{e}}veiller$, ${\hat{e}}tre$ ignorant et $d{\acute{e}}nier$ sur son vrai ${\hat{e}}tre$, tous causent le $d{\acute{e}}sespoir$. En plus l'homme ne peut avoir une conviction sur son bonheur $jusqu^{\prime}{\grave{a}}$ la mort. Donc sa $th{\acute{e}}orie$ du bonheur ne se base pas sur le bonheur. Tous le monde vit dans une situation $o{\grave{u}}$ il y a une distance entre $l^{\prime}{\hat{e}}tre$ $pr{\acute{e}}sent$ et son vrai ${\hat{e}}tre$. La vie ${\grave{a}}$ la perspective ${\acute{e}}thique$ s'apparaît comme se diriger vers son vrai ${\hat{e}}tre$ et ceci signifie $d^{\prime}{\acute{e}}tablir$ son ${\hat{e}}tre$ $int{\acute{e}}rieur$ en s'echappant la vie $esth{\acute{e}}tique$ qui est la vie sensitive et directe, et aussi faire s'identifier son ${\hat{e}}tre$ $ext{\acute{e}}rieur$ ${\grave{a}}$ son ${\hat{e}}tre$ $int{\acute{e}}rieur$. Le $p{\acute{e}}ch{\acute{e}}$ signifie la $s{\acute{e}}paration$ de son vrai ${\hat{e}}tre$, cela est la source de tout mal. L'obtention parfait de $l^{\prime}{\hat{e}}tre-soi$ exisge ${\hat{e}}tre$ en $pr{\acute{e}}sence$ devant l'Asolu(Dieu) en tant qu'individu unique, et s'accorder avec l'Absolu. Mais du fiat $m{\hat{e}}me$ que ceci est impossible pour tous, tout le monde ne peut vivre qu'ayant un peu de $p{\acute{e}}ch{\acute{e}}$. Donc l'aspect de la vie ${\acute{e}}thique$ s'apparaît une vie dynamique qui $d{\acute{e}}passe$ $soi-m{\hat{e}}me$ sans cesse. En contradiction qu'avec l'analyse sur $l^{\prime}{\hat{e}}tre$ $pr{\acute{e}}sent$ qui est si tragique, la vertu de cette vie ${\acute{e}}thique$ est si optimiste. Elle est l'amour. Cet amour est $tr{\acute{e}}s$ excellent qui $d{\acute{e}}passe$ toute la vertu ${\acute{e}}thique$. En $v{\acute{e}}rit{\acute{e}}$ pour Kierkegaard, bien que le salut $lui-m{\hat{e}}me$ sera donner par la foi, le principe de cet amour est l'unique vertu qui ammene l'homme vers la foi et vers le salut. C'est pourquoi son ${\acute{e}}thique$ est essentiellement s'apparaît 'une ${\acute{e}}thique$ de l'amour', et la recherche sur cet amour, son principe et son aspect reste comme uneque $t{\hat{a}}che$ de $l^{\prime}{\acute{e}}thique$.