• Journal of English Language & Literature
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• v.57 no.5
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• pp.871-887
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• 2011

In Lacanian terms, the real, which is a non-representative Ding an sich, is indirectly approachable only in and through language. This 'speaking of the real' is made possible through a restoration of the missing link between one signifier, S1 and another signifier, S₂, as is manifested in the Lacanian formula of metaphor. In Freudian terms of textual metaphor, the missing link is restored by substituting a new edition for an old edition of one's historical text of life. This is what this essay means by the metaphorical/dualistic structure of the analytic/literary text. And this is a way of talking about an intertextuality between literature and psychoanalysis in the sense of the 'text as psyche' and the 'psyche as text.' Applying the 'signifying substitution' to the Oedipus complex, the Oedipal child can find a meaning(s), "my erotic indulgement with my Mom is wrong" by metaphorically substituting S₂: the Name of the Father for S1: the Desire of the Mother. This meaning leads to the constitution of the human subject and the formation of the incest taboo, one of the most significant distinctive features of the human being as distinguished from the animals. We can see a similar metaphorical structure of S1-S2 taking place in the literary texts such as Macbeth and "Dover Beach": in the course of the stage of life being substituted for the primal scene in the former, and the plain of Tucydides for a bed scene in the latter, respectively.

• 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.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.65-75
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• 2012

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.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.441-454
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• 2004

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.

• International Journal of Advanced Culture Technology
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• v.4 no.4
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• pp.45-50
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• 2016

This is a humanistic study to trace phenomena logically the comprehensive therapeutic mechanism of the human body which is coded by the smart emotion of the rated signal conveyed by the Rated Sijo. The Gestalt, which is structured in the form of therapeutic metastasis conveyed by sentences, is intended to embody the principle of human response. So, this researcher explored the metastatic structure toward Gestalt of original human being through the passage of foreground and background by ergonomic and chemical structure. In the meantime, this researcher focused on revealing the structure of the field of existence by the symbol system in which the therapeutic mechanism of the human body is embodied. As a result, the basic framework of Gestalt literary therapy, which contributes to the improvement of the Quality of Life metaphorized as a mechanism of the symbol system by the metastasis of literary therapy or the electrical operation of the human body. As a result, the human body as a conductor through literature has turned out to be an original Gestalt structure pursued by literature. In addition, it was analyzed that the human body would accept signals such as emotions and Rated Emotions planted in the sentence, and synapse them into the human physiological psycho analytical symbol system. Therefore, it has been confirmed possibility that human existent environment and trauma are separated from the whole universe can push fully implement therapeutic techniques toward totalization by a combination of literary devices, especially appropriate electric signal combination of the Rated Sijo.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• Journal of Science of Art and Design
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• v.2
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• pp.193-221
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• 2000

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 Journal of the Convergence on Culture Technology
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• v.4 no.1
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• pp.75-84
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• 2018

This study aims to investigate cultural contents planning model by 'The Relation-Approach'. For this, I established conceptual framework of cultural contents, and suggested the General Model of Cultural Sentence Contents Planning: Concept Planning Model(CPM), Signifier Development & Choice Planning Model(SDCPM), Signifier Arrangement Planning Model(SAPM). The importance of culture is found in the importance of perceiving culture derived from the perception of importance of life. As culture is represented way of life constituted in the order of life, perceiving culture is regarded as perception of life in the view of that of cultural contents. Thus, cultural contents planning has not only its necessity and importance but also the meaning of existence in the aspect of being situated at the healthy order of life. Accordingly, A Study on the Cultural Contents Planning Model has usefulness in theory and practice, further more the possibility of attempting for the legitimacy and value contribution to the study of this realm will be accomplished.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.545-551
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• 2020

The Ddaekbo and Chinese envoy story has been known as a folktale criticising the helpless ruling class by the people. It's been explained that the hand gesture communication with the signifier theory. And it's been analysed that the Chinese envoy is in the 'The Other' position with Lacan theory. But it showed that the winning factor of Ddaekbo could be elucidated by the difference of the desire feature of two conflicting subjects in the study. It claims that the Ddaekbo's wanting is the impulse not the desire and he's won the test by the repetitive and persistence impulse. And it's proper that the position of the Chinese envoy is 'the return of The Real' not the 'The Other'. It's easy to understand the operating mechanism of the traditional folktale contents once the envoy's position is the return of The Real responding to the repetitive impulse of the inferior subject.

• The Research Journal of the Costume Culture
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• v.10 no.1
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• pp.60-75
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• 2002

The purpose of this research is to understand the gender identity expressed in Madonna music video texts and performances. Madonna has reconstructed the fluid identities through the variations of body, images, costumes, and attitudes . The results are as fellows; ① Her punky sexuality is to be seen the flash trash look, kitsch fashion, which reconstructs a good/bad taste, modesty/immodesty, the relations of under/outer wear using bawdy sexuality through her early Virgin tour. ② Her Heterosexuality is to be seen the glamourous look, traditional images of women, which represents the passive feminity of patriarch. ③ Her sadomasochism sexuality is to be seen the bondage look of dominatrix image, which deconstructs sexual taboos; represents sexual power. ④ Her bisexuality is to be seen androgynous look, the 3rd species look using masculinity/feminity signifier, which deconstructs the stereotypes of gender roles. ⑤ Her homosexuality is to be seen the fetish fashion by drag and lesbian, which deconstructs the dichotomy of normality/perversion; opens a possibility of women subjectivity of sexual desires.