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José María Paz Gago 고려대학교 응용문화연구소 2015 에피스테메 Vol.0 No.14
The deep roots of semiotics – Peirce, Husserl, Saussure, Greimas –founded by the Anglo-German and French traditions, have tried torecover its full phenomenological dimension in neo-semiotics. The beingand the world, the interpreter and the signs, the humanistic subject, thesubject of passions and emotions, meaning and object, these are allincluded in the process of signification. Staying close to things, of theworld of reality, as desired by the young Greimas, ensures its deepknowledge and knowledge of the sense of being and appearance. Les racines profondes de la pensée sémiotique -Peirce, Husserl, Saussure, Greimas - se retrouvent, les traditions anglo-germanique et française se recontrent dans une néosémiotique qui essaie de recuperer sa pleine dimension phénomélogique. L’être et le monde, l’interprète et les signes, le sujet humain, sujet de passions et d’émotions, et l’objet signifiant, tous impiqués dans le processus de la signification. Se maintenir le plus près possible des choses, du monde des réalités, comme le souhaitait le jeune Greimas, assure sa connaissance profonde, la connaissance du sens de l’être et du paraître.
La sémiotique du spectacle: Des origines (formalistes) au futur (numérique)
José María Paz Gago 고려대학교 응용문화연구소 2019 에피스테메 Vol.0 No.22
It is about proposing a history of theater semiotics, from the texts outlined by Eisenstein and the Russian formalists in the early twenties, who are advancing the future semiological study of the performing arts. This theater semiotics of the first generation will be followed by the structural analysis of the performance and, at the end of the century, the study of the reception of the spectacle. The incursion of digital technologies in the stage (virtual scenographies, actor-avatar: Avactor) means a new challenge for a theatrical semiotics of the fourth generation.