습관과 의미: C. S. 퍼스의 해석체 이론 연구

강미정 ( Mi Jung Kang ) 한국기호학회 2009 기호학연구 Vol.25 No.-

Habit or ultimate logical interpretant is regarded as genuine meaning in C. S. Peirce`s system of semiotics. In order to find out what kind of interpretant it is, we have to explore his taxonomy of interpretants. According to T. L. Short, Peirce developed two kinds of trichotomy: one is immediate, dynamic, final interpretant, and the other is emotional, energetic, logical interpretant. In the first classification, the immediate interpretant of a sign is the potentiality of its interpretation, the dynamic is every actual interpretation, and the final is the one interpretive result to which every interpreter is destined to come. In the second classification, an emotional interpretant is feeling or 1stness, an energetic interpretant is an action or 2ndness, and a logical interpretant is 3rdness, being a thought or habit-change. Classification of interpretants was pursued by Peirce for correcting the flaws in his early epistemology. Immediate interpretant as the peculiar potentiality can fix the clear contradiction of the thought-sign doctrine that every sign have its actual interpretant. Considering a sign`s significance as potential not actual allows its misinterpretablity. On the other hand, habit, the ultimate logical interpretant, can fix another contradiction that every semiosis has to proceed indefinitely. Around 1907, after Peirce found out the meaning of a concept is not just like habit, but habit itself, he came to consider that the ultimate logical interpretant is habit which does not have its own interpretant, if not an action produced from it. When a habit is formed or modified, the indefinite process of sign interpretation could be, if temporarily, stopped. The discovery of ultimate logical interpretant made Peirce`s pragmatism identified as his semiotics and his whole system more coherent. Furthermore, the meaning as habit which is a tendency toward action made Peirce`s system open to outer life and society.

E. Panofsky의 미술사학에 대한 재고찰 : K. Moxey의 문화정치학적 입장을 중심으로 On the Basis of K. Moxey's Cultural Politics

강미정 서울大學校 人文學硏究所 2003 人文論叢 Vol.50 No.-

Panofsky is one of the influential figures in the field of art history. But the nature of his thinking was rarely explored until 1980s when poststructualism has been introduced into art historical discipline. His methodology and theory in art history have attracted considerable attention as he was regarded to provide a methodological system that could be said semiotic. Keith Moxey is one of the new art historians who have adopted the poststructual theories of Derrida, Lacan, and etc., and considered art history as one of the practice of cultural politics. He has examined the writings of Panofsky in order to reveal that the positivist belief of the traditional historians is no more than a myth that can not be substantiated, and to show how Panofsky invested his own personal and cultural values into his interpretation of art works. This thesis was intended to reconsider art history of Panofsky in the light of Moxey's art historical strategy that can be called cultural politics. Panofsky had contrived the methodology called 'iconology' that can be used to interpret the works of art from all of the nations and ages. He thought it could provide the universal principle for treating every artwork properly, and by using it art historians could get to reach the truth about the work. However, according to Moxey, Panofsky was not so neutral in choosing and treating his subjects of analysis that he betrayed his own ideological bias in his writings. Moxey has observed that Panofsky preferred the subjects connected with Renaissance Humanism and made a personal commitment to reason and rationality. Why did Panofsky do that? Moxey has found his answer in Panofsky's private history. German Jewish cultural identity was constituted in the beginning of 19th Century when Enlightenment ideals were valued. As a member of German Jews, Panofsky valued rationality and the educational process by which his cultural identity might be acquired. When he left Nazi Germany to the United States before World War II, he should have felt the threat of destruction of humanistic values at the hand of irrational forces. As for Moxey, historical interpretation is not the task of treating truth about past. Traditional historians share positivist position that if they are faithful to empirical evidence they can reach the truth of the subjects. Nowadays, however, many historians don't believe that objectivity of historical writing is attainable. They don't think they can elaborate narratives that correspond perfectly with the circumstances they purport to describe. Like White and LaCapra, Moxey regards as a metaphysical fiction the epistemological foundation which traditional historians have been maintaining in historical interpretations. He believes historians do not deal with what might be called the raw facts of history. Instead, he argues, historians' understanding of the past is always mediated by the texts. According to his opinion, historical interpretation is recreative dialogues between the historian and the text in question. That is to say, a historian interprets the text on his own historical horizon and inevitably reflects the values derived from his own historical circumstances while he struggles to understand the strangeness and 'otherness' of the historical horizon of the text. Rejecting positivism of traditional art history, Moxey suggests politically committed form of art historical interpretation based on the theoretical developments of structuralism and poststructuralism. He conceives of art history as a form of political intervention. According to Moxey, art historical discourse must become cognizant of the historical circumstances in which it currently finds itself. He argues that what art historians have to do is not to search for the theories that can validate our historical interpretation but rather to evaluate and to select the theoretical alternatives that are most useful for a politically informed approach to historical interpretation. In the course of searching for a 'critical theory' that assumes knowledge which incorporates the values of the circumstances in which it is created, Moxey finds several semiotic theories most useful theoretical alternatives for his art history as a practice of cultural politics. Moxey was deeply influenced by Panofsky's theoretical and practical strategies. His analysis of Panofsky's art history can be regarded as the manifestation of his respect to him. However, his interpretative strategies are differentiated from Panofsky's on several points. While Panofsky had preferred to analyze 'great' works of art within traditional aesthetic canon, Moxey left the aesthetic standards of 19th Century and tried to explore the works that could not enter the place of aesthetic canon. Unlike Panofsky who believed he had been objective in choosing and dealing with the subjects, Moxey acknowledges that every perspective including his own is ideological. In conclusion, Panofsky's iconological methodology was received by Moxey with his semiotic position in a radically revised form.

퍼스의 기호 개념과 기호 해석

노양진(Yangjin Noh) 새한철학회 2016 哲學論叢 Vol.83 No.1

이 논문의 주된 목적은 체험주의적 시각에서 퍼스 기호학의 핵심적 난점을 밝히고, 그 대안적 논의 방향을 제안하는 데 있다. 퍼스 기호학은 표상체, 대상체, 해석체라는 삼원 모형을 통해 ‘기호 산출자/사용자’인 인간의 여백을 마련했다는 점에서 기호학의 진전을 이끌었다. 그러나 퍼스는 기호적 의미의 원천 문제를 여전히 미완의 숙제로 남겨 두고 있는데, 그 주된 난점은 해석체 개념의 붙투명성을 통해 극적으로 드러난다. 퍼스는 해석체를 일종의 관념이 동시에 해석하는 의식이라는 이중적 의미로 사용하고 있는데, 그것은 퍼스의 이론적 부정합성 문제라기보다는 기호화의 발생적 본성에 대한 불투명한 해명에서 비롯되는 혼선으로 보인다. 필자는 체험주의적 시각을 통해 기호적 의미의 원천이 기호 산출자/사용자인 인간의 경험내용이라고 제안했으며, 그 근원적 소재를 물리적 층위의 경험으로 보았다. 즉 기호적 경험은 물리적 경험의 확장적 국면이며, 이러한 구도 안에서 그 확장을 이끌어 가는 핵심적 기제가 바로 ‘기호적 사상’(symbolic mapping)이다. 이런 구도 안에서 기호적 사상은 기호 산출자/사용자인 인간의 인지적 기제이며, 그것은 퍼스의 해석체 개념으로부터 분리되어야 다루어져야 할 기호적 경험의 기본적 기제다. 퍼스의 기호학에는 이 핵심적 기제에 대한 해명이 없으며, 이 때문에 해석체 개념은 불투명하고 산만한 분류의 형태로 남게 된 것으로 보인다. 기호적 사상 개념은 퍼스 기호학의 불투명성을 넘어서서 구체적 해명의 가능성을 열어 주는 결정적 실마리를 마련해 줄 것으로 보인다. The main purpose of this paper is to examine some difficulties of Peirce’s semiotics from the experientialist view and offer a new direction of explicating Peirce’s semiotic insights in more concrete terms. With the notion of “Interpretant,” Peirce opened up the sapce for accounting for the central role of human being as the symbol producer/user in symbolization. However, he had left the question of the ultimate source of the symbolic meaning unturned, which, as I shall suggest, grounds in the physical level of human experience. Peirce’s difficulty revolves around the opacity of the notion of Interpretant. Peirce himself presented Interpretant sometimes as an idea, and sometimes as an interpreting consciousness, and this seems to be a confusion caused by his unfit conception of symbolization itself. I have suggested that the source of symbolic meaning is the experience- content of human being as the symbol producer/user, and that it is ultimately grounded in the physical level of experience. Symbolic level of experience, on the other hand, is an extended aspect of the physical level of experience, where ‘symbolic mapping’ plays a central role. Symbolic mapping is a cognitive mechanism which is far more fundamental than Peirce’s triadic elements, and thus, it should be accounted for separately from Peirce’s triadic model. There seems to be no room for symbolic mapping in Peirce’s picture, and this seems to be the crux where Peirce’s semiotic inquiry fell into the intractable complication. The notion of symbolic mapping shall not end in disintegrating or subverting the whole structure of Peirce’s semiotics, but open up a new direction of advancing it in more refined empirical terms.

항진적 표현과 은유적 표현의 서술어 기제에 관한 기호학적 접근 - ‘지각적 판단’과 ‘논리적 해석체’를 중심으로

홍승혜 한국기호학회 2022 기호학연구 Vol.72 No.-

The purpose of this study is to expand the discussion of the representational characteristics of propositional signs to the cognitive dimension by explaining the predicate mechanism of tautological and metaphorical expressions through Peirce’s concepts of semiotics. Above all, it is worth discussing the distinct sign mechanism of tautological expressions in that ‘A is A’ has become a commonly used sentence type in everyday life. I focus on that the predicate ‘noun+yida(=is)’ describes the property or state of the subject, like a verb or adjective, rather than categorizing the subject or placing the two concepts in an equivalence relation. I suppose that the idea that ‘noun+yida(=is)’ represents presupposes the speaker’s conceptualization of the object that the noun refers to. The conceptualization is based on ‘perceptual judgment’, the process of abstracting qualities from the object and interpreting them, and ‘logical interpretant’, which takes the form of propositional signs. This explains how the same expression can represent different predicate-ideas depending on the speaker and context. On the other hand, I point out that tautological expressions are distinguished from metaphorical expressions in terms of formality in that the two relata are the same. In addition, the difference between the two propositional signs is closely related to the motive for the interpreter to refer to the conceptualized idea and the representational effect of the signs. Meta-understanding of the predicate mechanism of two propositional signs is expected to support expanded research on language communication, including machine translation and reasoning skill training of artificial intelligence. 본 연구는 항진적 표현과 은유적 표현의 서술어 기제를 퍼스의 기호학 개념을 통해설명함으로써 명제 기호의 재현적 특성을 인지적 차원으로 확장하여 논의하는 것을목적으로 한다. 특히 ‘A는 A이다’와 같은 동격 항진적 표현은 하나의 문형으로서 일상적으로 빈번하게 사용되고 있다는 측면에서 고유한 기호적 특성에 관한 논의가 요구된다. 더불어 ‘명사+이다’ 형태를 띠는 두 명제 기호의 서술어는 주어를 범주화하거나두 개념을 등치 관계에 놓는 것이 아니라, 동사나 형용사와 같이 대상의 속성이나 상태를 설명한다는 점에서 주목할 만하다. 이에 본 연구는 ‘명사+이다’의 서술성은 명사가 지시하는 대상과 관련하여 화자가 특정 관념을 개념화하고 있음을 전제하며, 이는대상으로부터 특정한 자질(quality)을 분해하여 해석하는 과정인 ‘지각적 판단(perceptual judgment)’ 및 명제 기호의 형식을 띠는 ‘논리적 해석체(logical interpretant)’ 에 기반함을 논의한다. 두 개념은 같은 표현이 화자와 맥락에 따라 대상에 관한 다른서술 관념을 재현할 수 있는 원리를 설명해준다. 한편 본 연구는 항진적 표현의 경우명제 기호를 이루는 두 관계항이 같다는 점에서 은유와 형식적 측면에서 구분됨을 지적하고, 두 명제 기호의 차이는 해석자가 특정 관념을 참조하는 동기와 그로부터 비롯된 기호의 재현적 효과와 밀접한 관련성이 있음을 제시한다. 두 명제 기호의 서술어기제에 대한 메타적 이해는 일상적인 의사소통 차원에서뿐만 아니라, 기계 번역 및 인공지능의 추론 능력 훈련 등 언어기호를 매개로 하는 소통에 관한 연구들에도 도움을줄 수 있을 것으로 기대하는 바이다.

How Are Various Types of Picturebook Dynamics Semiotically Interpreted?

최영주 21세기영어영문학회 2014 영어영문학21 Vol.27 No.4

Picturebooks are a very special genre in that words and pictures cooperate to create the intended message of the authors/illustrators. Words and pictures often do not deliver the exact same message. It is this discrepancy which creates the tension and interest, which prompts readers to enjoy interpreting the message while moving from verbal to visual signs and vice versa, that is, visual to verbal signs. The existing literature separately deals with the categorization of word-picture interactions and the reader’s interpretation process while switching from one sign system to the other. This paper addresses the categorization and the interpretation simultaneously. It illustrates how three different types of the word-picture interaction are interpreted when readers switch their attentions from words to pictures and from pictures to words with the picturebooks A Big Fat Enormous Lie; The Little Mouse, the Red Ripe Strawberry, and the Big Hungry Bear; and All By Myself.

How Are Various Types of Picturebook Dynamics Semiotically Interpreted?

( Young Ju Choi ) 21세기영어영문학회 2014 영어영문학21 Vol.27 No.4

Picturebooks are a very special genre in that words and pictures cooperate to create the intended message of the authors/illustrators. Words and pictures often do not deliver the exact same message. It is this discrepancy which creates the tension and interest, which prompts readers to enjoy interpreting the message while moving from verbal to visual signs and vice versa, that is, visual to verbal signs. The existing literature separately deals with the categorization of word-picture interactions and the reader’s interpretation process while switching from one sign system to the other. This paper addresses the categorization and the interpretation simultaneously. It illustrates how three different types of the word-picture interaction are interpreted when readers switch their attentions from words to pictures and from pictures to words with the picturebooks A Big Fat Enormous Lie; The Little Mouse, the Red Ripe Strawberry, and the Big Hungry Bear; and All By Myself.

기호 해석 활동으로서의 게임 플레이 연구

류철균(Lyou, Chul-Gyun),조성희(Cho, Sung-Hee) 한국게임학회 2009 한국게임학회 논문지 Vol.9 No.3

이 논문의 목적은 디지털 게임 플레이에서 나타나는 기호 해석 과정을 설명하고, 각 해석 주체의 해석 의도를 통해 나타나는 의미의 층위를 규명하는 데 있다. 디지털 게임의 일차적인 저자는 게임 디자이너이며, 여기에 플레이어의 활동이 더해짐으로써 텍스트의 의미가 비로소 실현된다. 플레이어는 게임 텍스트에 존재하는 기호 해석을 통해 게임 플레이를 진행하며 이 과정에서 게임 텍스트를 일차적으로 만든 디자이너의 의도와 이것을 플레이하는 플레이어의 의도가 뒤섞이게 된다. 디자이너는 생산한 기호가 플레이어의 올바른 행위를 유발하기를 바라고 플레이어는 기호를 올바로 해석하여 자신의 의도대로 플레이를 진행시키기를 원한다. 이에 본고에서는 각 주체의 의도 실현 양상을 다섯 가지로 나누어 살펴보고, 특히 플레이어의 의도에 따른 텍스트 생성을 살핀다. The aim of this paper is to find out semiotic interpretation in digital gameplay and define layers of meaning which is provided by a game designer and a player. The primary author of the digital game is a game designer; however, to accomplish the whole meaning of the digital game, there must be a player's action. In digital games, the game designer leads to player's action and the player progresses the game at her desire. During the gameplay, each of the intention clashes and coincides through the semiotic interpretation. It can be classified under five sections that represent the game designer, the player and the game text.

신화 해석의 생물학적 비평 가능성 연구 : 건국신화 속 어머니-여신(女神)의 존재 양상을 중심으로

정인혁 ( Jung In-hyouk ) 한국문학이론과 비평학회 2009 한국문학이론과 비평 Vol.44 No.-

This thesis intends to study the possibility of biological critics about the mythical existence of the mother-goddess through the epigenetic rules of the incest avoidance. Edward. O. Wilson emphasize the unity of knowledge by the biological understanding about a man. It is 'consilience'. He says that the gene, brain of a man and culture are doing co-evolution and interaction. The relationship between the gene and culture is explained by the notion of 'epigenetic rules' and 'gene-culture coevolution'. The joining of the natural science and culture is possible through the 'interpretation'. There is a close connection between the universal rules of human culture and the evolutionary processes. It could reveal that the connection of gene with culture by interpreting of the art text. The way of joining gene and culture is the semiotic and structural interpretation. This thesis studied about the reappearance of epigenetic rules of incest avoidance through the text of myth. In addition, this thesis intends to study the possibility of biological critics about the problematic of interpretation of myth.

뉴미디어 공간형식의 의미와 내러티브 인지 -퍼스 기호학적 접근을 중심으로

이윤희 ( Yun Hee Lee ) 한국기호학회 2011 기호학연구 Vol.30 No.-

This paper aims to inquire into the phenomena of New Media culture, looking into how people communicate and are modeled by the New Media genre by means of interpreting activity. Based on the hypothesis that New Media text takes a representational form of consciousness in the same way as language does so, however, I argue that the representational form in New Media is more contextually bound and dependent than that in language, including collateral observation and experience which are mediated by the iconic-indexical uses of sign rather than the symbolic system in language alone. In other words, unlike the language system based on the principle of generality, New Media combines the symbolic feature with the iconic and indexical form based on similarity and contiguity. From this aspect I make the point that the nonverbal (prelinguistic and extralinguistic) representational form requires narrative cognition in that the narrative mode of cognition allows one to connect verbal and nonverbal realms, passing from contextualizing and textualizing to recontextualizing by virtue of narrational interpreting activity. Semiosis in narrational interpreting activity can be observed in the reading practice of New Media genre as in YouTube and Blog which have characteristics of a First and a Third in Peircean semiotics. Ultimately, the act of reading or interpreting New Media genre by narrative mode of cognition is a way of looking at the dialogic communicational act, eliminating the boundary of semiotic realms between the verbal and the nonverbal, moving from perceiving to acting and knowing.

일반논문 : 예(禮), 유교적 의미 기호 -유교 의례의 해석학 시론-

이용주 ( Yong Ju Lee ) 충남대학교 유학연구소 2008 儒學硏究 Vol.18 No.-

이 논문은 종교의례를 종교의 궁극적 의미 내지 세계관을 드러내는 기호, 나아가 종교적 성스러움을 실현하고자 하는 몸짓이라는 규정하고, 그런 관점에서 여러 종교 의례들과의 비교를 통해 유교적 의례(예)의 의미를 해석하는 가능성을 탐색한다. 기호로서 의례는 인간의 몸짓이라는 기본 요소와 그 몸짓의 이념적 근거, 그리고 공동체라는 의미 형성의 장을 필요로 한다는 것, 또, 시간과 공간이라는 제약 속에 있는 몸의 한계로 말미암아 몸짓 기호는 시간과 공간의 한계를 수용함과 동시에, 그 시간과 공간을 성스러운 시간과 공간으로 변화시키는 구원론적 기능을 가진다는 사실을 함께 살펴보았다. 유교의 예禮는 일반적인 종교 의례와 다르지 않다. 그것을 일반적 종교와 분리시키거나, 아니면 자폐적인 유교 경학經學의 대상으로 한정하는 태도로는 유교를 총체적으로 이해할 수 없다. 나는 유교의 예가 전형적인 종교 의례의 구조를 가지고 있으며, 당연히 종교 연구, 의례 연구의 영역 안에서 탐구되어야 한다고 생각한다. (보편과 특수의 긴장은 당연히 인정되어야 한다. 모든 종교는 같으면서 다르다.) 우리의 유교 연구, 동양 연구는 동양의 특수성을 지나치게 강조하는 파로키얼리즘적(지역주의) 관점에서 벗어나지 못하는 측면이 있다. 그리고 유교의 예를 일반적인 종교의례와 분리시켜 생각하는 선입견이 확고하게 자리를 잡은 결과, 예는 낡은 이데올로기의 부수물이라는 선입견에서 쉽게 벗어나지 못하는 딜렘마에 빠지고 만다. 이런 선입견을 버리지 못하는 한, 유교의 총체에 대한 객관적인 연구는 영원히 불가능하며, 그 총체의 역사적 의미를 이해하지 못한 채전통의 계승, 유교의 현대화 운운하는 주장들은 그야말로 공염불로 그치고 말 것이다. 이 글에서 나는 유교의 예禮를 일반적인 종교의례의 구조 속에서 이해함으로써 그것이 지니고 있는 이중성을 동시에 살펴보아야 한다고 지적했다. 종교가 열망하는 세계의 이 지니고 있는 이중성을 동시에 살펴보아야 한다고 지적했다. 종교가 열망하는 세계의 변혁은 구체적으로는 시간과 공간의 성화聖化를 통해 실현된다. 구체적인 몸이 살아지는 시간과 공간을 도외시한 변혁은 생명력을 가질 수 없다. 모든 종교는 몸짓의 개혁을 통해 세계의 변혁을 꿈꾸는 소망을 지니고 있으며, 그 소망은 몸짓을 통해 드러나기 마련이다. 유교의 예 역시 예외는 아니다. 예는 질서화의 요청이자 동시에 변혁의 요청인 것이다. 의례는 한편으로는 기존에 규정된 형식을 유지하는 보수적인 몸짓이지만, 시간과 공간에 전혀 다른 의미를 부여함으로서 현실을 변혁하는 힘으로 작용한다. 의례에 동반되는 의례적 도구, 소품들은 주체의 의지를 강화하는 효과를 가진다. 유교 의례를 포함하는 모든 종교 의례는 단순한 몸짓이 아니라, 인간의 필연적 존재론적 한계를 뛰어넘고자 하는 종교적 열망, 탈주적 열망을 표현하는 변혁의 기호이다. 문화적으로 구조화되고 의미 부여된 기호인 종교의례는 끊임없이 자기 개혁의 시도를 거치면서, 사회를 개혁하고 해당 종교의 궁극적 이념이 실행되는 사회로 만들고자 하는 변혁적 열망을 드러낸다. 종교 연구자는 방관적 기록자가 아니라, 종교의 사회 변혁적 가능성에 관심을 가져야 한다. 종교 연구자는 해석자의 입장에서, 종교적 몸짓과 그 몸짓의 문화적 의미를 읽어내고, 그것을 통해 인간의 종교적 본성과 종교가 인간 사회의 역사발전에서 작용하는 의미를 더욱 깊이 있게 이해할 수 있다. In this preliminary essay on the semiotic interpretation of Confucian ritual(li), I am trying to evaluate Confucian ritual as a way of ``acting out``(bodily action) expressing Confucian world-view. I see ritual as culturally structured human action. Religious ritual is also a form of ritual, with the special feature of admitting the presence of ``the sacred`` in human society. Religious human action which is structured and conditioned culturally in a society, is an action to express human salvatory aspiration. Confucian ritual was generally understood as just an institutional system for social order or a set of etiquettes. But, in this article, I am trying to present a new approach to see Confucian ritual not just as a social order or etiquettes but as an expression of Confucian ideal of life and world. Confucian world-view is very religious not because it considers the nether world or the world of super-naturals, but because it has strong aspiration for fulfillment beyond this-worldly everyday life. Another point of my research is that ritual is a kind of sign whose implicit meaning is to be interpreted. Confucian ritual is not an exception. As a sign, Confucian ritual action(li) has manifold meanings, and in a specific historical milieu it can has a conservative regulative power as well as a radical transforming power. Ritual as a sign is a double faced culturally structured action. By understanding this double sided face of ritual, we can understand the human aspiration to overcome this worldly limitations. In that meaning, all human cultural action is religious in its implicit connotation. A historian of religions should be a decipher of implicit emancipatory meaning in religions especially their ritual expressions.