조선후기 시각문화를 통한 ‘한양(漢陽)’의 도시기호학 연구

김회철 고려대학교 응용문화연구소 2009 에피스테메 Vol.- No.3

This essay attempts to examine urban semiotics approaches with several territorial maps and various traditional paintings in the late Chosun period, especially in the area of ‘Hanyang,’ the old name for the capital, Seoul. Maps in late Choson period basically functioned as geographical objects, but it had various functions as political visions and created socioeconomic purposes. Thus it needs to focus on the reading of the map and study not only urban space, but also people, traffic, commercial business. Real-scenery landscape paintings, painted in the same period, is of great significance in highlighting how members of noble family commissioned a politically motivated painting and used it as a means of representing their political outlooks. These paintings have been interpreted to reflect various topographical meanings based on real cityscape, but sometimes these paintings were celebrated by many members of the high class society and came to be viewed as a visual representation of their political visions. In this essay, I have proposed some new way to understand urban semiotics of Hanyang. It cannot be understood completely without considering its complex urban semiotics context. Reading maps and paintings is specifically concerned to give an analysis of the semiotic structure of particular city, to deepen the analysis of the corresponding spatial structure. This leads us to rethink why and how the specific area of landscape images was created. Visual culture studies for approach to the city will be of great help in reaching a comprehensive understanding of how true-view landscape images were made and used as urban semiotics objects. As a result, it is emphasized that urban semiotics could contribute to a new and better understanding of Hanyang by way of frequent interchange with other disciplines such as sociology, economics and art history as well as maps and paintings of the stylistic approaches.

Où vont le livre et la lecture? : Des Humanités à la «culture numérique»

Pascal Lardellier 고려대학교 응용문화연구소 2010 에피스테메 Vol.- No.4

‘종이 위에 인쇄된 책'은 인터넷을 비롯한 신기술에 의해 머지않아 사라지게 될 것이라고 흔히들 예견하곤 한다. ‘책의 죽음'에 대해 염려하는 책들이 유행처럼 출간되고 있는 아이러니한 상황 속에서 많은 학자들과 출판계 전문가들은 책과 글쓰기의 종언을 확신하고 있는 듯하다. 본 논문에서는 책의 미래에 대해 미디어의 측면에서 고찰하는 것을 목적으로하며, 이를 위해 다양한 문화사회학적 관점들을 분석하고 있다. 오늘날 우리에게 익숙한 책의 형태는 오랜 시간 동안 인류의 기술적ㆍ문화적 발전의 역사와 함께 변화를 거치며 이루어진 하나의 과정으로 보아야 한다. 카세트테이프가 CD로 대체되고, CD는 다시 MP3와 USB기기에 의해 대체되어 온 불과 몇 년 사이의 변화들을 보면 오히려 책이라는 형태는 테크놀로지의 발전에 대한 저항력이 다른 매체에 비해 훨씬 크다는 것을 알 수 있다. 전자책을 비롯하여 디지털화하려는 시도가 출판시장에서 일어나고 있으나 종이에 인쇄된 책이 지닌 고유의 휴대성, 편이성, 전력 및 기타 기기들로부터의 독립성, 신체의 감각들로 전달되는 접촉성 등을 대체할 수 없을 것이다. 또한, 책은 형태를 지닌 하나의 사물일 뿐 아니라, 인류의 문화적ㆍ과학적ㆍ정신적 유산이자 무한한 생각을 담고 있는 하나의 ‘상징적 형태'이다. 책이 담아온 이러한 유산들은 여러 세기 동안 형태를 조금씩 달리하며 끊임없이 이어져 왔고, 책과 독서행위는 미래에도 계속 될 것이다. 이러한 논지를 밝히기 위해 필자는 책의 종언에 관한 11가지 주장을 중심으로 그것이 갖는 모순을 구체적으로 제시하며 디지털 매체가 여러가지 장점들에도 불구하고 책의 미래를 완전히 대신할 수 없음을 명확히 밝히고 있다.

Wonderful Night, Merry Christmas! : 사적 카메라 그리고 침묵의 미학

김예경 고려대학교 응용문화연구소 2010 에피스테메 Vol.- No.4

This article concerns about the short film <Wonderful Nigh, Merry Christams !> (2004, 16'47) realized by Ieggi. It studies the later in relation with the underground film which comes into the world in earnest in sixty, or the personal films produced in America. The term ‘personal film' is used in two sens in its context: same as underground, film which tells personal life. This later in sixty took as base of its mind the early avant-garde movement. As anti-culture or counter-culture these avant-garde and underground movement raze in profound relation with the modernism. How the problem of the subject or individual in modernism has something with these new movements of art? Suzan Sontag says, in every time, it has to newly create the aim of spirituality suited for the time. In modernism, the desire of ‘new man' produced in cultural movement the desire of ‘new art'. What this later advocate against the established culture is ‘aesthetic of silence'. This study, as its first step, is given to the problem of subject and silence implicated in the underground film and finally in <Wonderful Night, Merry Christmas!>. 본 논문은 단편 영화 <Wonderful Nigh, Merry Christams!> (예기, 2004, 16'47)에 관한 것이며, 그것을 60년대에 본격적으로 탄생한 언더그라운드영화, 또는 미국을 중심으로 제작된 사적영화 personal film와의 관계 속에서 탐구하고자 한다. 본 논문에서 사적영화란 용어는 문맥에 따라 언더그라운드와 개인적 소사를 담은 영화라는 두 가지 의미로 쓰였다. 60년대의 사적 영화는 언더그라운드영화로서 앞선 전위예술운동을 정신적 기반으로 삼았다. 반문화 또는 저항문화로써의 이들 전후 전위예술운동, 언더그라운드는 모더니즘과 깊은 관계하여 일어난다. 모더니즘이 갖는 주체 또는 개체 indiviual문제는 이 새롭게 등장한 예술운동과 어떠한 관계를 맺는가? 수잔 손탁은 “어느 시대를 막론하고 그 시대에 적합한 ‘정신성'의 목표를 새롭게 재창조해야 한다”고 말한다. 모더니즘 안에서의 ‘새로운 인간'에 관한 욕구는 문화운동에서의 ‘새로운 예술'에의 욕구 또한 낳았다. 이 새로운 예술이 제창하는 것은 기존의 예술에 관한 ‘침묵의 미학'이다. 본 논문은 언더그라운드를 통해, 그리고 궁극적으로는 <Wonderful Night…>을 통해 드러나는 주체와 침묵의 문제를 탐구고자 한다.

문화의 기율과 자유 : 전자매체의 가능성의 한계

김우창 고려대학교 응용문화연구소 2007 에피스테메 Vol.- No.1

문화는 인간성 실현의 장이면서 또 그것을 제한하는 한계일 수도 있다. 오늘의 문화에 커다란 새 변수로 등장한 것은 정보매체의 발달이다. 이것은 문화의 가능성을 새로 여는 것일 수도 있으면서 동시에 그것을 잘못 판단하게 하는 유인이 될 수도 있다. 전자매체의 발달이 문화를 어떻게 변화시킬 것인가는 깊은 연구를 필요로 하는 일이다. 여기에서 말할 수 있는 것은 매우 소박한 견해일 뿐이다. 그것도 내가 할 수 있는 것은 말하자면 아날로그 시대의 관점에서 약간의 희망과 함께 보다 큰 우려를 표현하는 것에 그치지 않을까 한다. 아래에서 우선 문화가 무엇을 뜻하는가를 생각하고 새 문화의 현상을 그에 비추어 어떻게 보아야 할 것인가를 생각해보기로 한다.

Affirmation of Desire : On ‘Recent Form of Morality' of F. Nietzsche

Huh, Kyoung 고려대학교 응용문화연구소 2010 에피스테메 Vol.- No.4

욕망에 관련된 니체(Friedrich Nietzsche, 1844∼1900)의 관점은 다양한 방법으로 조명할 수 있을 것이다. 나는 그의 사유에 나타나는 욕망(慾望, desire) 및 그를 바라보는 문화(Kultur)에 관련된 사유에 초점을 맞추어, 니체를 욕망의 ‘긍정'과 ‘추구'에 입각하여 새로운 인간상 곧 ‘위버멘쉬'혹은 새로운 문명을 창출하고자 하는 인물로서 바라보았다. 니체 역시 궁극적으로 인간이 문화를 벗어날 수 없음을 잘 알고 있었다. 문화를 벗어나 자연으로 돌아가려는 인간의 시도조차 하나의 인위(人爲, the artificial) 곧 문화이자 문명이다. 니체에 의하면 인간에게 남겨진 유일한 길은 기존의 문화와 도덕을 맹종하거나 자연으로 돌아가는 것이 아니라, 오히려 더 앞으로 나아가 새로운 인간과 문화를 창조하는 것이다. 그리고 그러한 창조자로서의 인간이 바로 세계를 긍정하는 자이자 창조하는 자로서의 어린아이이다. 이 어린아이 혹은 위버멘쉬는 자신의 욕망을 단죄하는 양심의 가책에 대하여 철학하여 그것을 물리치는 존재이자, 자신의 욕망을 절대적으로 긍정하는 존재, 자신을 단련시키고 훈육시키며 그리하여 병들지 않은 건강한 새로운 자기 자신과 문명을 창조하는 생성적 존재이다. 그러한 과정에서 그가 말하는 이른바 ‘도덕성의 최근 형식'이란 기존의 자신에게 주어진 도덕적 명제의 암기가 아닌, 그러한 명제 자체에 대한 비판 행위로서의 ‘왜?'를 묻는 행위이며, 다름 아닌 철학함의 행위이다. In this article, I try to examine the thought of Nietzsche(1844-1900) on Desire and Culture. Nietzsche considers culture as a crucial elements for building a new kind of human being, Übermensche. For Nietzsche, one who denies his desire is the one who still can't have an affirmation on himself. In that line of thought, Nietzsche analyses the mechanism of guiltiness or consciousness. Nietzsche affirms that we need a new way of seeing the morality given to us, that of the act of re-thinking on the morality itself for oneself, the act of reasoning over the given reason, the act of philosophizing the things given to us. And that's what Nietzsche calls the ‘recent form of morality.'

In the Garden of Ottoman Poetry: Spatial Design and Perception in Ottoman Poetry

Bünyamin Tetik 고려대학교 응용문화연구소 2023 에피스테메 Vol.- No.29

Space and time are existential phenomena that constitute the two fundamental planes of existence. The fact that the notion of space is met with the word "mekân", which derives from the root of “kevn” (existence) in Turkish, indicates an important link between space and existence in Ottoman culture. The relationship between space and human beings is twofold. While humans transform the space they live in, space shapes human life. Spaces produced, inherited, or naturally inhabited by humans acquire a semantic field within culture. Therefore, a place may have cultural codes that may seem foreign to outsiders. For the Ottoman culture, which today has no living members and has limited data in terms of social history, these cultural codes can be analyzed by examining literary texts. The perception of space is influenced by and reflects the philosophical and religious background of the culture. In Ottoman culture, existence is not seen as a value. The idea of wahdat/unity, which everything reflects the divine being, is widespread. Accordingly, space acquires an important symbolic indicator function. Every element in the garden has a symbolic meaning. For example, gardens are seen as a copy of "cennet" (paradise), which means a hidden/protected garden and the rose signifies Muhammad, and the tulip signifies the unity of God. The garden also reflects the aesthetic perception of Ottoman culture. A beautiful Ottoman individual is a garden in its entirety, as every part of it resembles a plant. Unorganized wilderness or dilapidated buildings in disrepair are unaesthetic. This situation can be read as indicators of the Ottoman civil-city (medeni-medine) relationship and the patronage relations of Ottoman poetry. Finally, the garden can also mirror social relationships through the personification of plants.

An Overview on the Determinants of Classical Turkish Literature Aesthetics

Yakup Yeşilyaprak 고려대학교 응용문화연구소 2023 에피스테메 Vol.- No.29

The aesthetics of classical Turkish literature is influenced by a quite rich background. The period of classical Turkish literature covers a period of approximately six centuries in the history of Turkish literature. However, the factors shaping its aesthetics date back much further. The determinants of this aesthetics can be traced back to Sumerian, Babylonian and ancient Indian, Iranian, Greek and Arabic thought. It also bears significant traces of the Roman and Byzantine periods. These traces are generally mythological, theological, philosophical and mystical. In addition to these traces, it is possible to argue that various religions and beliefs, especially Islam, have influenced the aesthetics significantly. Moreover, some ontological, epistemological, psychological and moral theories are among the determinants. Phenomena such as music, plays, rituals, daily life practices and political developments are among the other factors that influence the aesthetics of classical Turkish literature. This study attempts to provide an overview of the determinants of the aesthetics of classical Turkish literature and how they have been transformed into aesthetic expression. By doing so, the study aims to provide a better understanding and recognition of the aesthetics of classical Turkish literature. The main question to be answered in the study is “What kind of perception of art and beauty do the texts of classical Turkish literature have and how is this perception shaped?”. This question will be answered through some examples from the texts of classical Turkish literature. The examples are selected from those that can be used to make general judgments about the aesthetics of classical Turkish literature.

랜드마크의 토폴로지 : 남산타워를 중심으로 한 도시 공간 소통구조

김현식 고려대학교 응용문화연구소 2009 에피스테메 Vol.- No.3

솟대는 삼한시대(서력기원 전후부터 AD 300년경까지의 시기)의 소 도에서 유래했다고 전해지며 현재 까지 이와 관련된 풍속이 남아 있 는 우리의 오랜 전통적 양식 가운데 하나이다. 도시의 구성 요소에서 랜드마크의 중요성을 설파한 케빈린치의 주장에 덧 붙여 현대에서 솟 대가 가지고 있는 전통적 랜드마크의 의미를 되짚어 이를 재정립한다 는 것은, 전통의 경계적 요소와 소통의 구조를 표방했던 지역적 분절 과 그 분절 마디의 연결에서 벗어나, 유연함을 갖는 분절적 단위의 소 통을 위한 우리 도시의 진정성을 찾아낼 수 있는 방안이다. 시각적 유대는 같은 도시공간에서의 도시구성원에게 부여 할 수 있 는 동질감의 첫 번째 척도이다. 이는 도시공간에서 가시적 성격이 확 고히 드러나는 어떠한 인공물에 부여 할 수 있는 가치이기도 하다. 케 빈린치는 랜드마크의 특징으로 가장 눈에 띄고 알기 쉬운 것이라 정 의 한다. 그러한 랜드마크는 도시민에게 시각적 충족요소를 지닌 대상 으로 도시민 공통의 이데올로기를 제공 한다. 서울의 스카이라인 어디 에서도 볼 수 있는 십자가는 도시의 정체성을 시각적으로 정의하고 있다는 관점도 일맥상통한 부분이다. 도시 공간에서 랜드마크의 정립은 시각적 유대를 통한 정체성의 확 립과 도시민 소통 구조의 회복이며 이를 통하여 진정한 의미의 도시 정체성 확립의 방안을 마련할 것이며 이는 랜드마크를 통한 전체적이 며 개별적 차원의 동태성의 부여에 있고, 도시민 주체의 랜드마크에 대한 토폴로지적 차원을 연구함은 바로 이것, 도시 진정성의 회복을 목적으로 한 토폴로지적 우주론의 표상이다. ‘Sotdae’ [솟대] is a long pole designed and built in traditional Korean style. It is commonly accepted that the Sotdae is from Sodo in Samhan Era, which dates from the beginning of the Christian era to approximately 300 A.D. Customs and practices relating to Sotdae continue to be found in modern times. Following Kevin Lynch’s theory pointing out the importance of a landmark as a significant component of a city, I tried to reestablish Sotdae’s traditional meaning in present day. I think that it is possible to restore the authenticity of Seoul City so that each segment of the city can communicate with better greater flexibility. A visual bond within the city is the first barometer which offers a sense of unity to the citizens. It is also of significant value for an artificial object to possess an absolute visible presence in the particular urban space. Lynch describes obvious visual exposure as the distinctive feature of a landmark. The landmark, as an object that is visually satisfying, also provides a sense of association or a common ideology for the citizens. For example, it is the connected issue of numerous cross signs in the Seoul skyline, which defines the city’s identity visually. Setting up the presence of landmarks in an urban space is to establish the city’s identity with visual bonds and to restore the communication structure of its citizens. Therefore the city’s landmark will provide a means to strengthen the city’s identity by supplying certain dynamics to the city in general and thus influence a sense of individual dimension. Studying the city’s landmark topologically is to understand the representation of the topological cosmology and thus to comprehend the restoration of the authenticity of Seoul City.

Definition of Turkish Family Structure and Kinship Networks (A Sociolinguistic Approach)

Züleyha Hande Akata 고려대학교 응용문화연구소 2023 에피스테메 Vol.- No.29

The Turkish family structure is the most basic and smallest social sign of Turkish society. Within the network of relationships that starts in the nuclear family and constitutes the larger structure of society, family, and kinship networks allow inferences to be made about the society as a whole. The development of family and kinship networks in Turkish society is also reflected in the linguistic vocabulary. There are many words that define these relationships. The vocabulary constitutes concrete signs of family relations in social life on the basis of the language-society relationship. Words, which are the most concrete signs of language, have taken on an important function in the creation and transmission of the perception that is the source of the Turkish family structure. In determining and analyzing this perception, it is also possible to make a reverse reading through these words. The subject of this study is how the vocabulary and definitions related to the family structure and kinship networks of Turkish society can be interpreted from a sociolinguistic perspective. The sample of the study consists of the vocabulary and definitions of kinship networks in the Güncel Türkçe Sözlük [The Current Turkish Dictionary], which is the standard dictionary of Türkiye Turkish. On the basis of this vocabulary, indicating kinship networks, the Turkish family structure has been first be revealed at a scriptural level. Then, the semantic values of the vocabulary indicating kinship networks according to family structure, gender, generation and age, blood and marriage, types of language, and language contacts have been determined. The social roles attributed to the individual according to this signification have been evaluated by taking into account the theories and methods of sociolinguistics. The aim of this study is to define the Turkish family structure and to analyze the perception of family in Turkish society by considering language-society relations.

The Place of Narrative in Traditional Turkish Theater: The Example of Rural Chamber Plays

Ezgi Metin Basat 고려대학교 응용문화연구소 2023 에피스테메 Vol.- No.29

When traditional Turkish theater studies are analyzed, it becomes clear that genres are contextually classified as having rural or urban settings. Plays with sural settings are divided into theatrical village plays; the plays with urban settings, on the other hand, are divided into Karagöz, ortaoyunu, and Meddah. Rural chamber plays, which constitute the subject of this study, appear as a type of theatrical village plays. These plays are different in terms of time and content from the theatrical village plays that predominately have ritualistic features and follow the natural calendar. Rural chamber plays are entertaining plays that bring the community together at henna nights, weddings, or a suitable house for the villagers. The body and verbal comedy predominate in the plays, and the game setting is selected from a living area in the village; actors and audience are made up of village residents. With these features, plays fall outside the definition of Western modernist theater. However, they are quite remarkable in that they are a unique genre that includes the concepts of "theater,", "performance" and "theatricality" that changed in the 19th century. These plays, which embody all the dynamics of the Eastern Theater, are crucial as they bring the lifestyle, residents, and settings of a rural area to a theatrical space. Due to urbanization, the reduction of living space in rural areas, and changes in how people view entertainment, this playing technique, which is now all but extinct, contains significant information for creating and redefining the notions of traditional Turkish theater. It is critical to consider, redefine, and evaluate these plays, which reflect the village's agenda in terms of content and structurally the relationship between play, theater, and performance in terms of both cultural heritage and creating a distinct type of theater. The play examples included in this study were chosen from those that were played by residents of the villages of Gülef and Musallar, which are located within the boundaries of the province of Kastamonu. The plays were archived by the participant observation method in the field study. For this reason, they are original examples in terms of demonstrating the traditional theater genres that have been living in Türkiye recently.