맥락 개념의 재정립과 형식화

서정연(SUH Jung-Yeon) 프랑스문화예술학회 2015 프랑스문화예술연구 Vol.53 No.-

혼종의 언어를 바라보는 새로운 시각 -프랑스 파리 외곽지역의 이민2세대들의 언어를 중심으로-

서정연(Jungyeon SUH) 서강대학교 인문과학연구소 2021 서강인문논총 Vol.- No.61

본 고에서 우리는 프랑스 대도시 외곽지역인 방리유에서 발생해 이민 2세대의 언어이면서 현재 인터넷 매체를 중심으로 프랑스 10대와 20대의 구어로 널리 통용되고 있는 ‘시테의 젊은이들의 언어(langue des jeunes des Cités (LC))’를 새로운 언어담론 하에서 살펴보고자 하였다. 우리는 기존의 규범적이며 문제적 시각이 아닌 화자의 사회적 자본으로 언어를 바라보는 도시언어담론(metrolingualism)등의 최근 학술 동향을 지지하고 필연적으로 다양한 문화와 언어의 접촉지대(contact zone)에 놓인 화자의 다기호적 언어수행을 살펴보았다. 이 일탈적이며 유희적인 언어가 가지는 혼종성, 다양성, 유동성은 다양한 비언어적 요인에 의해 견인되는 화자의 창의적인 의사소통 전략으로 재정의되었다. 프랑스어권 관련 선행 연구 중에서 주체적인 화자 중심의 정체성 구축과 담화 전략을 주목한 사회언어학적 연구들을 통해 새로운 언어담론의 가능성을 확인할 수 있었다. 본 연구를 통해, 우리는 다중언어와 다문화 시대에 새로이 등장하는 화자와 그들의 언어를 설명할 수 있는 새로운 관점의 필요성을 역설하고, 문화를 풍성하게 하고, 유동적이고 절충적인 사회를 위한 자원으로서 언어를 바라보는 사회학적 논의를 제안하였다. This study aims to reconsider the language practice of French young people in suburban Paris within the new perspective of metrolingualisme. This lingual practice is mainly used by the youth from immigrant family in the suburban area of big cities in France. This language is composed of various altered forms of Standard French language, borrowings from foreign languages as Arabic, American Rap English, Romani and certain distinctive prosodic, which can be viewed as a kind of linguistic bricolage featured by the multilingualisme and multiculturalisme present in the suburban communities. But this linguistic practice has been repeatedly treated like a linguistic fracture caused by the problems of minority integration into mainstream French society, resulted from the stigmatizing of French media. This paper seeks to explain these hybrid linguistic forms in the Contact Zone, not as a problem nor right but as a resource of the users with divers societal background. We try to find that their genuine characters like hybridity, instability and variety can be seen as a tool of the user’s interactional strategies within their own discours context, which permits to construct a ‘‘third space’’ in which to enact and express certain aspects of identity that youths perceive to be different from those of dominant French culture and its language. The examples like some arabic interjection in phrases like ‘wesh(eh quoi, so what)’, ‘zaama(c’est-à-dire, so to speak)’, ‘wallah(je te jure ! I swear!)’ show that the youth use this discourse markers for constructing their own context for conversation, in which to confirm and exchange their social value. This hypothesis is supported by precedent studies of identificational function of the complex linguistical representations and those of the analysis for speaker’s interaction for the communication. In this study, we want to bring together pluridisciplinary concerns, specially sociology to linguistics for explaining the new linguistic practice of the metropolitan speakers in contact zone.

초등학교 실내안전사고의 특성연구

서정연(Suh Jeong-Yeon) 한국실내디자인학회 2003 한국실내디자인학회논문집 Vol.- No.36

테오 판 두스부르흐의 반-구축적 조형특성에 관한 연구

서정연(Suh, Jeong-Yeon) 한국실내디자인학회 2010 한국실내디자인학회논문집 Vol.19 No.3

Dutch artist, Theo van Doesburg had shown short but strong experimental aesthetics in his works through De Stijl movement. He played a leading role for editing De Stijl magazine and performed various formative works such as painting, sculpture, and architecture. In 1923 he opened the first De Stijl exhibition cooperated with Cornelis van Eesteren. In this architecture exhibition he showed rich formal spirits of counter-construction in his major design works, that is Maison Particuliere and Maison D’artiste among three houses projects. Formal characteristics of counter-construction can be summed up under two categories, time and space. Analytical results are as follows; First, the characteristics of counter-construction related to time category include two types of two mode. One is linear aspect of time based on the viewer’s movement. The other aspect is simultaneity caused by synoptical effect. These could be proved by the analysis of arrangement of color planes. Secondly, the spatial aspects of counter-construction are produced through two different ways of formal strategies. Van Doesburg arranged cubes in very irregular pattern. This treatment induces ambiguous void and creates feeling of subject’s space. And, through deleting, shifting, and extending he could make dynamic spatial effect by interpenetration between in and out. This fluid space thus introduces movements of one’s gaze and circulation. He denied traditional classical values which had ruled the western aesthetical discipline for centuries and believed that mankind can reach the realm of universal equilibrium by contrast and tension created by counter-construction. In this vein Theo van Doesburg was an avant-garde artist of Hegelian thoughts who adopted the dialectical method without following the formal characteristics from ancestors.

스기모토 타카시의 디자인에 나타나는 흔적의 의미에 관한 연구

서정연(Jeong Yeon Suh) 한국가구학회 2015 한국가구학회지 Vol.26 No.1

Interior designer Sugimoto Takashi uses salvaged material and natural thing for aesthetical purpose. These material performs not just as fun stuff but as design tool in order to set up cultural meaning which modern society always lacks for. The method of communicating the meaning is the multi-layered trace on them. There are three types of trace. They are harsh texture of surface, untrimmed outline, and gathering & arrangement. Through these formation methods of trace, Sugimoto can suggest various curtural meanings such as vanishing value of old-fashioned lifestyle, primitive energy of nature, and sincere touch of somebody. As a result, the trace in Sugimoto’s design is an endeavor to exist tradition(the long ago) and nature(the far away) in here-and-now interior space.

루이스 칸의 조형개념과 붙박이 가구의 디자인연구

서정연(Jeong Yeon Suh) 한국가구학회 2024 한국가구학회지 Vol.35 No.1

American architect Louis I. Kahn is an architect who paid attention to the fundamental power and possibilities of space. Compared to the representative architectural works he designed, there are relatively few studies on small-scale housing works. Moreover, there is no research on built-in furniture included in the housing design. Kahn designed all the built-in furniture himself, and he had interest and passion for furniture, such as coming to the office alone and designing furniture on weekends. This study started with a small clue showing Kahns passion for furniture. There were few prior studies, so data on his built-in furniture were collected from photos in the collection of works dealing with Kahns housing design. Of the housing works he designed, nine were actually built, of which a total of five houses had built-in furniture enough to be analyzed, and they were studied to find their formative characteristics. In conclusion, the characteristics of built-in households in the five housing works designed by Louis Kahn can be summarized as follows. First, the form of built-in furniture is simple and humble, but the formative role is very important. Second, in early housing work, it is a form attached to the wall, but in later works, it often takes an independent form. Third, built-in households showed new possibilities for built-in furniture by combining them with window systems. Fourth, the formability of the built-in furniture is located on the extension of the formative vocabulary of architecture. Fifth, by designing built-in furniture only with wood, it was intended to maintain connection with tradition and to form a warm place for the house.

가구디자인에 있어 자연과 기술의 기호적 내포에 관한 연구

서정연(Jeong Yeon Suh) 한국가구학회 2013 한국가구학회지 Vol.24 No.2

Nature and technology are very popular themes in the everydayness of modern world. In our industrial age which is based on technology nature becomes an lost origin and basic environment. On the other hand, technology is conceived as future hope and realistic environment. Through 1960s they had been transformed as signs and connoted into furniture design. As signs, they structured environment, organized space, and bred their own aesthetics. In this context, Danish designer Verner Panton presented nature as experiential landscape and Italian designer Joe Colombo expressed technology as amusing machine. What they showed were not real but sign of nature and machine. Nonetheless they were successful to create aesthetic atmosphere and meaningful projects. Also they showed the potentiality that furniture design might include discoursive issues and values. They also extended functional interesting between furniture and body to cultural domain of social viewpoint in behavioral pattern.

Bernard Tschumi의 초기 작품을 중심으로 본 움직임 연구

서정연(Suh, Jeong-Yeon) 한국실내디자인학회 2009 한국실내디자인학회논문집 Vol.18 No.1

Architect Bernard Tschumi had explored a new architectural conception through his own notional devices such as space, event and movement during 1970s. But, among these notions, the concept of movement was ambiguous and difficult to adopt it for architectural design strategy. Because the movements in everyday"s behaviour or in dancing art are significantly different from architectural thought. However he had succeeded in coining the creative notion of movement as almost real body"s and of living flesh. He invented an acute methodology and bold interpretation for his early experimental works. So, this paper tried to understand and analyse his concept of movement focused on his early works. The results of this paper"s discussion are as follows; First, Tschumi"s movement concept is dynamic one operated by desire and can violate space in physical level as well as metaphysical level. Next, the movement performs the role of generator which deforms space or even generate it. Third, his movement can be readable only when you go down and bring it in practice. Also it is unblocked potentiality, undetermined sequential material and unfinished practice. Fourth, when Tschumi"s movement could be thought as walking, this walking movement makes up a story through rhetorical speech acts that are presented by turns and detours.

프랑스어 부사 `certes`의 발화적 개입 양상 연구

서정연 ( Suh Jung-yeon ) 한국기호학회 2016 기호학연구 Vol.48 No.-

프랑스어 부사 `certes`에 드러나는 다성성 polyphonie, 즉 양보적 논증관계 argumentation concessive를 Culioli(1973)와 Descles & Guentcheva(2002)에서 제안된 발화연산작용 operation enonciative의 틀 안에서 재조명하였다. 담지연산자 operateur de la prise en charge와 발화연산자 operateurs enonciatives간의 다층적 연산작용을 통해 프랑스 부사 `certes`의 양태적 의미 값을 규명하고 기술하였다. 이러한 시도를 통해 선행이론의 `다성성 polyphonie(Ducrot 1984)`, `거리두기 distanciation(Adam 1990, 1997)`, `발화적 이질성 heterogeneite enonciative(Authier-Revuz 1984) 등의 메타 언어적 개념을 발화자의 `담지 연산 operation de la prise en charge enonciative`을 중심으로 하는 복합적인 발화연산작용의`언어적 발현 과정`으로 설명하고자 하였다. 마지막으로, 이러한 발화연산작용을 기본으로 텍스트 의미 구조 형식화를 시도한 Chagnoux(2008)의 `발화 좌표계 기반의 역동적 텍스트 그래프 graphe de dynamique textuelle inter-referentielle`를 빌어, 텍스트 담화 구조의 큰 틀 안에서 발화양태범주를 규명할 수 있는 가능성을 타진해 보고자 했다. Ce present travail a pour but de considerer la notion de l`alterite` dans les langues, surtout dans les expressions avec l`adverbe modal, `certes`. Depuis Ducrot (1984), il l`a designe le marqueur de concession avec le connecteur `mais`. Beaucoup de linguistes essaient de degager leurs invariants semantiques comprenant la notion de concession et celle de l`assetion mais d`une maniere indirecte ou distanciee. Ici, nous proposons tout d`abord de redefinir la notion de l`enonciation au sens de Culioli qui le traite dans le mouvement processuel pas a celui de Benveniste tout en travaillant sur la relation intersubjective dans le discours. Avec la theorie de l`enonciation developpee et etablie par Descles & Guentcheva (2002), nous reanlysons les enonces de type `CERTES (P)` et essayons d`identifier ses invariants semantico-discursifs a l`aide des operateurs enonciatifs. Dernierement, nous presentons un systeme de graphe conceptuelle, `le modele de dynamique textuel de relations interreferentielles` par Chagnoux (2008) afin de pouvoir analyser les differents niveaux du texte d`une maniere operatoire pour une representation formelle du discours.

베르나르 츄미의 사건개념 연구-『Architecture and Disjunction』을 중심으로-

서정연 ( Suh Jeong Yeon ) 대한전시디자인학회 2019 전시디자인연구 Vol.16 No.1

1968년 5월 혁명에 영향 받은 베르나르 츄미는 근대건축의 실패한 기획인 계몽적 이성과는 다른 길을 추구한다. 그는 국제상황주의자운동의 혁명실천방법과 조르주 바타이유의 에로티시즘적 접근을 기반으로 새로운 건축적 개념들을 주조하였는데, 그 중의 하나가 사건개념이다. 근대건축의 이념인 기능과 달리 사건은 그 성격과 내용이 명확히 규정되기 어렵다. 이에 츄미의 이론서인『Architecture and Disjunction』를 근거로 사건개념을 분석한 바, 다음과 같은 이해를 얻을 수 있었다. 첫째, 사건은 신체적 움직임을 통한 내면적 의미의 갱신이다. 둘째, 사건은 근대건축의 규율을 넘나드는 위반의 기획을 통해 공간의 새로운 가능성을 탐색하고 의미를 발견한다. 셋째, 사건은 신체의 일탈적 움직임을 기반으로 신체-공간의 관계를 질적으로 변화시키며, 격렬하고 급진적 속성으로 인해 폭력에 비유된다. 이상과 같은 사건의 개념적 속성은 그의 Glass Video Gallery와 Le Fresnoy Art Center등의 예시를 통해 확인할 수 있다. Influenced by the May Revolution of 1968, Bernard Tschumi pursues a different path from the enlightening reason, a failed project of modern architecture. He casts new architectural concepts based on the revolutionary practice of the Situationalist International movement and the erotic approach of Georges Bataille, one of which is the concept of event. Unlike function, which is an ideology of modern architecture, event is difficult to define clearly its character and content. After analyzing the concept of event based on Tschumi's theoretical book 『Architecture and Disjunction』, I could understand the followings. First, an event is a renewal of the inner meaning through physical movement. Second, events will explore new possibilities of space and discover hidden meaning through planning violations that go beyond the discipline of modern architecture. Third, events are based on the deviant movement of the body, changing the body-space relationship qualitatively. The events of this change are likened to violence because they must be intense and radical. The conceptual properties of events like this can be found through his exhibition space design Glass Video Gallery and Le Fresnoy Art Center as examples.