• Journal of Korean Philosophical Society
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• v.152
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• pp.59-79
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• 2019

The main purpose of this paper is to critically examine the intractable problems of Peirce's notion of 'symbol' as a higher and perfect mode of sign, and present a more appropriate account of the higher status of symbol from an experientialist perspective. Peirce distinguished between icon, index, and symbol, and suggested symbol to be a higher mode of sign, in that it additionally requires "interpretation." Within Peirce's picture, the matter of interpretation is to be explained in terms of "interpretant," while icon or index are not. However, Peirce's conception of "interpretant" itself remains fraught with intractable opacities, thereby leaving the nature of symbol in a misty conundrum. Drawing largely on the experientialist account of the nature and structure of symbolic experience, I try to explicate the complexity of symbol in terms of "the symbolic mapping." According to experientialism, our experience consists of two levels, i.e., physical and symbolic. Physical experience can be extended to symbolic level largely by means of "symbolic mapping," and yet is strongly constrained by physical experience. Symbolic mapping is the way in which we map part of certain physical experience onto some other area, thereby understanding the other area in terms of the mapped part of the physical experience. According to this account, all the signs, icon, index, and symbol a la Peirce, are constructed by way of symbolic mapping. While icon and index are constructed by mapping physical level experience onto some signifier(i.e. Peirce's "representamen"), symbol is constructed by mapping abstract level experience onto some signifier. Considering the experientialist account that abstract level of experience is constructed by way of symbolic mapping of physical level of experience, the symbolic mapping of abstract level of experience onto some other area is a secondary one. Thus, symbol, being constructed by way of secondary or more times mapping, becomes a higher level sign. This analysis is based on the idea that explaining the nature of sign is a matter of explaining that symbolic experience, leaving behind Peirce's realist conception of sign as a matter of an event or state of affairs out there. In conclusion, I suggest that this analysis will open up new possibilities for a more appropriate account of the nature of signs, beyond Peirce's complicated riddles.

• 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.

• Korean Journal of Ichthyology
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• v.1 no.1_2
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• pp.83-92
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• 1989

The pharyngeal teeth and the masticatory process of the basioccipital bone were compared in ten species of Korean bitterlings. Three species, Acheilognathus lanceolata, A. limbatus, A. signifier and Rhodeus ocellatus, which are characterized by the absence of serrations on the side of the pharyngeal teeth, are found to, have reduced occlusal grooves on the outside of occlusal margin, Among Korean bitterlings, differences are found in the developmental degrees of the anterior part of the masticatory process, the grooves on the occlusal surface and the chewing area on the pharyngeal first tooth. The occlusal grooves in herbivorous species are considered to be more developed than those in omnivorous species. Considering these findings, the combination of developmental degrees in the three pharyngeal elements suggests generally the phylogenetic relationships among the Korean bitterlings.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.87-95
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• 2013

"Gone with the wind"(1939, Directed by Victor Fleming) was produced in the stylistic conventions of the classical hollywood cinema, and thus the musical employment also followed the norms of the style, such as late Romantic musical style, serving the narrative, signifier of emotion, and giving continuity and unity. But, at the same time, the statement of the classical theory that the music hides and tailors itself to support the drama - invisibility, inaudibility, narrative cuing and so on - does not seem to explain the musical employment of "Gone with the wind." On the contrary, it hires music to put itself forward, and often times it stops the narrative to show musical spectacles for which the image is tailored to fit the music. These are more of music theatre or music drama features rather than the conventional underscore of the films in that period. In this study analysed the musical employment of "Gone with the wind" to see how it took full advantage of music to lead the narrative in a more active way and to make musical spectacles, by borrowing the technique and style of music theatre, such as, overture and entr'acte, similarities with film musicals, Wagnerism influence, and the use of songs.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• Korean journal of communication and information
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• v.71
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• pp.116-154
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• 2015

Officially given a historical signifier as Gwangju Democratic Movement since 1987, far-right and conservative group have restated that $5{\cdot}18$ is a rebellion and a riot that was committed by rebellious elements who obeyed North Korea's command or who were connected with North Korea. As those who had been responsible for the rebellion, revolt and riot were rewarded, far-right and conservatives' collective narrative that a country was born where the pro-North Korea left became dominated aroused extreme hostility towards $5{\cdot}18$. Far-right and conservatives involved in many different fields such as political party, university, press and media and civil group carry out incendiary discourse politics with intention to reestablish history and memory of $5{\cdot}18$ in their own story. Many people at online sites such as Ilbe Storehouse who are considered 'young right wing' is a main route to spread the far-right groups' remarks on $5{\cdot}18$. Ilbe is a main channel to reconstitute and reproduce the far-right conservatives' remarks and information on $5{\cdot}18$. Ilbe is one of main area where remarks of disparagement and ridicule, hostility and hatred on $5{\cdot}18$ unfurl. This study collects $5{\cdot}18$-related remarks and stories unfolded at Ilbe and examines how these remarks and stories make significance as to $5{\cdot}18$ and how information resources which remarks are dependent upon are connected each other. In this process, this study intends to find implications of incendiary politics that echoed of remarks on $5{\cdot}18$ have which at the online site Ilbe and by the far-right conservatives.

• Korean journal of communication and information
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• v.75
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• pp.9-42
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• 2016

This study critically examines the social and personal meanings that luxury consumption have in contemporary Korean society through understanding the consumption experiences of men in their 30s. Interviews with nine male consumers who are committed to luxury brands, especially those that produce suits, watches, fountain pens, and shoes, were conducted to collect qualitative data. We found that participants are satisfied with the whole process of luxury brand consumption including buying, using, and managing and try to consume the products for self-expression, congruent with their lifestyle and identity. Individuals have learned how to consume the luxury brand from their role models. Their consumption follows hybrid and postmodern patterns and combines luxury brand products with non-luxury one. In contemporary Korean society, using the luxury products is considered necessary to achieve some advantages in social contexts and can be also functioned as a sort of social signifier and self-help, as well as, a tool for self satisfaction or well-being.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.57-87
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• 2014

This article re-reads the messages of the text, 'Incendies', the uncanny actions and the strange words of protagonist Nawal, through the ideas of Jacques Lacan, particularly his notion of sexuation with posing questions about most of the previous reviews which are based on femininity or motherhood. For Lacan, masculinity and femininity are not biological essences but symbolic positions, and the assumption of one of these two positions is fundamental to the construction of subjectivity. So 'man' and 'woman' are merely signifiers that stand for these two subjective positions. Each side is defined by both an affirmation and a negation of the phallic function, by both an inclusion and exclusion of absolute non-phallic jouissance. Unlike the man, the woman is 'not-all' identified with the phallic function, demonstrating the undecidability and impossibility of totalising the woman. Although the woman is bound to do castration through being subject to the phallic function, she is also related to the signifier of the barred Other, S(Ⱥ) which stands for a gap or lack in the Other. Thus, as a consequence of not being entirely within the symbolic, she has an Other Jouissance, Feminine Jouissance, because it's possible to face emptiness of the Symbolic, the Real only in the place of the woman for new Ethics/Politics. This paper finds that Nawal is not completely defined by the phallic function and she is a subject of death drive that practices the signifying cut with passing through the fantasy as a screen for the desire of the Other. Nawal is situated on the position of the woman as 'not-all' unlike masculinity in Lacanian sexuation. This article shows that her strange acts are love, that is the true ethical acts. Above all her acts are related to the ethics of pure desire beyond the ethics of the Good of Aristotle. In that sense the character of Nawal of 'Incendies' is similar to the one of 'Antigone' as a character in all aspects. In psychoanalysis they all are true subjects that face a void, emptiness in a symbolic structure. They assume underlying impossibility of being/the Symbolic. They don't represent the images of compromise and peace in the normally accepted meaning of the word. A love that they show is not compassion but blind recognition of the excluded, embracing uniqueness of the excluded. This thesis finds resultingly Nawal's acts which can't be understood from viewpoint of feminism practice the ethics of the real, the politics of the real.

• Cross-Cultural Studies
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• v.49
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• pp.229-248
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• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.