구조주의적 영화기호학 연구

김시무(Kim Seemoo) 한국영화학회 2003 영화연구 Vol.- No.22

The aim of this thesis is to study the Structuralist Semiotics of Film, especially the differences between the Semiotics of the Cinema by Metz and the Semiotics of the Cinema by Wollen. The intellectual movement called structuralism swept away in Europe in the 1960s. This main stream of thought had a great impact on film theory too. In terms of film, the adoption of the methods of the structuralism constitutes a challenge to classical film theory which represented by formalism and realism. In this period film semiotics championed by Metz came to the center of the analytic enterprise. In a sense, film semiotics was considered to be an epistemological break with the impressionistic, subjective methods of earlier film theory and criticism. In formation of contemporary semiotics, there are two source thinkers, the one is the Swiss linguist Ferdinand de Saussure and the other the American pragmatic philosopher Charles Sanders Peirce. Saussure founded the science of 'semiology' and Peirce the science of 'semiotics'. In A Course in General Linguistics (1916), Saussure called for a science that studies the life of signs. Saussure made what is now a famous distinction between langue(language) and parole(speech), He focused on langue rather than parole. Saussure' approach was to study the language system synchronically rather than diachronically. Saussure offered two-part model of the sign. Focusing on linguistic signs, he defined a sign as being composed of a signifier and a signified, For Saussure, a linguistic sign is not a link between a thing and a name, but between a concept(signified) and a sound pattern(signifier). Here the most important thing is that Saussure stressed the arbitrariness of the sign. That is, there is no necessary, intrinsic and inevitable relationship between the signifier and the signified, The Saussurean legacy of the arbitrariness of the signs leads semioticians like Metz to stress that the relationship between the signifier and the signified is conventional-dependant on social and conventions which have to be learned. In contrast to Saussure' s dyad model of the sign, Peirce offered a triadic model: the representamen, the interpretant and the object. The representamen is similar in meaning to Saussure' s signifier while the interpretant is similar in meaning to the signified. However, the interpretant has a quality unlike that of the signified: it is itself a sign in the mind of the interpreter. Peirce's model of the sign includes an object(referent) which does not feature in Saussure' s dyad model. Peirce is a compulsive taxonomist and he offered the three modes of signs: the symbol, the icon and the index. Here we explains the Peircean distinctions within a broadly Saussurean framework. The symbolic sign is a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional, so that the relationship must be learned. The iconic sign is a mode in which the signifier is perceived as resembling or imitating the signified. The indexical sign is a mode in which the signifier is not arbitrary but directly connected in some way to the signified. Under the influence of structuralism, a number of important studies were published on the filmic language, notably Metz' s Film Language: A Semiotics on the Cinema, and Peter Wollen's Signs and Meaning in the Cinema, etc. The main project of these film semiotics was to define the status of film as a language. Metz and Wollen share the premise that the semiotics of the cinema is the theory of film as a system of signs. Both Metz and Wollen believe that the theory of film must become part of semiotics. However, they disagree slightly about the nature of semiotics. Metz' s chief purpose was to get to the bottom of the linguistic metaphor by testing it against the most advanced concepts of contemporary linguistics. In the background of Metz's discussion was Saussure' s founding methodological question r

기표와 기의의 관계에서 드러나는 의미의 전략에 관한 연구 - 자의성과 필연성을 중심으로

김휘택 제주대학교 탐라문화연구원 2023 탐라문화 Vol.- No.73

Focusing on the arbitrary of signs, this paper examines the effect of the combination and separation of signifier and signified on determining the meaning by the subject, and examines one of aspects of the character of sign. The discussion of immutability and mutability centered on the arbitrariness of language signs reveals the contradictory nature of the relationship between the signifier and the signified. Due to the structure, the subject has no choice but to accept the sign in which the signifier and signified are perfectly combined. Therefore, the subject cannot help but be alienated from this structure. When moving from structure to the concept of structuring, the way in which the subject structures signification matters. To explain this, we took as an example the scene in which punctum and studium, the concepts proposed by R. Barthes, are mixed up in the signification of photography. Arbitrary in the field of art can be used as a strategy, and Warhol’s works demonstrate this well. H. Lefebvre’s discussion shows that the separated signifier and signified can be more self-evident than the sign, and expressionism and cubism enrich the meaning of the work with the strategy of destroying the unity of the signifier and signified. 본 논문은 기호의 자의성에 초점을 맞추어 기표와 기의의 결합과 분리가 주체의 의미 결정에 미치는 효과를 살펴보면서, 기호가 갖는 성격의 한 측면을 고찰했다. 언어기호의 자의성을 중심으로 이루어지는 불변성과 가변성의 논의는 기표와기의의 관계가 갖는 모순된 성격을 나타낸다. 구조로 인해 주체는 이미 기표와 기의가 완벽히 결합된 기호를 받아들일 수밖에 없다. 따라서 주체는 이 구조에서소외될 수밖에 없다. 구조에서 구조화의 개념으로 나아갈 때, 주체가 의미작용을구조화하는 방식이 중요하다. 이를 설명하기 위해, 우리는 바르트의 푼크툼과 스투디움이 사진에 대한 의미작용에서 뒤섞이는 장면을 예로 들었다. 예술 분야에서자의성은 전략으로 활용될 수 있으며, 워홀의 작품들은 이를 잘 보여 준다. 르페브르의 논의는 분리된 기표와 기의가 기호보다 더 자명할 수 있음을 보여 주며, 표현주의와 입체파는 기표와 기의의 일체성을 파괴하는 전략으로 작품의 의미를 더욱풍성하게 한다

엘리엇의 시: 기표의 좌절과 극복 -없음과 있음의 미학-

조전래 한국중앙영어영문학회 2009 영어영문학연구 Vol.51 No.1

Eliot’s poetry is considered aesthetics of absence and presence. The subject in earlier poetry which lacks in the true signified lies in the chain of desire and meaningless language, so the subject goes through frustration. Understood in these terms, the subject in earlier poetry is held to be the signifier without the signified. So it remains clear that the subject in Eliot’s earlier poetry is not a fixed subject at all. Seen from theological point of view, however, Eliot’s poetic subject changes into spiritual subject, which can be a new type of the subject to cope with materialism in the age of late-capitalism. Therefore it must be said that even if the subject in earlier poetry is split, it is complete through Logos in later poetry. Phrased in these terms, this paper aims at dealing with how the subject overcomes the frustration of the signifier, finally showing that Eliot’s poetic subject certainly rejects the Cartesian self in which the subject was further in despair.

이상 소설의 영화적 제휴 양상과 의미 : 소설 〈실화〉의 환술과 스크린 이미지

전우형(Chon Woohyung) 한국현대문학회 2011 한국현대문학연구 Vol.0 No.33

이상 문학을 거울에 비유할 수 있다면, 그것은 항상 작가 이상이나 문학의 이미지를 불투명하게 만드는 다양한 외부의 이미지들마저 함께 반사하는 이상스러운 거울이다. 그리고 그 거울을 들여다 볼 때면 항상 그 이미지들에 매료되고 이상 문학의 본질을 그곳에서 구하기도 한다. 이는 흔히 이상 문학의 탈경계적 성격이라고 지시되는데, 이때 영화의 간섭이 차지하는 비중은 비교적 크다. 이 논문은 이상 문학의 탈경계성을 구성하는 매개로서 영화와의 제휴 양상을 살펴보기 위해 씌었다. 그간 이상 문학의 영화적 상상력을 주제로 한 연구는 이중노출과 같은 영화의 기본적인 표현기법의 문면화 방식과 그 의미를 고찰하는 수준에 머무르는 경향이 있었다. 분명한 성과에도 불구하고 이런 식의 연구는 이상 문학세계를 오히려 후퇴시킬 우려가 있다. 이상의 문학을 영화의 일반적인 형식과 효과 너머의 거울로 비추어보는 일, 혹은 이상의 영화이해가 갖는 독특함과 그 실험적 형식을 살펴보는 일이 필요한 것이다. 이때 독특함은 영화, 특히 르네 끌레르 영화에 대한 창조적 해석으로부터 비롯된 것이지만, 엄밀한 의미에서 영화의 본질에 대한 가장 근접한 이해를 토대로 하고 있기도 하다. 도일 이후 유일한 소설인 〈실화〉에는 같은 시기영화에 대한 그의 관심이 급상승하는 계기이기도 했던 르네 끌레르 영화와의 제휴 양상이 비교적 강하게 나타나고 있다. 현실과 환상의 둔갑과 병치라는 르네 끌레르식 영화의 특징은 스스로를 속이며 존재하는 현실과 환상의 환술, 그리고 화려하지만 아무것도 반사하지 않는 스크린이라는 독특한 거울구조로 변하여 이상의 문학세계에 비교적 안정적으로 기입되었다. 이상이 끈질기게 천착한 기호놀이는 적어도 〈실화〉에 이르러 ‘부재하는 기표’와 ‘의식적 환상’이라는 영화적 상상력과 긴밀한 관계를 맺는 것처럼 보인다. 이상 문학의 영화적 제휴양상이 갖는 의미는 그가 맞닥뜨린 현실의 환멸을 몽환적이거나 화려하게 전시하고 그것이 실은 아무것도 반영하지 못하는 스크린 위에 펼쳐지도록 함으로써 그 환멸로부터 벗어나는 실험적 형식이라는 점에서 찾을 수 있다. This paper explores how Yisang's literature "crosses the boundary" through the interdisciplinary affiliation with cinema. His later works remarkably shows the influences of cinematic imagination, especially those of Rene Clair. True to cinema's essential qualities, Rene Clair's films tend to juxtapose reality and illusion. In his films, showy signifiers on screen do not yield any signified. Yisang has shown a predilection for Rene Clair's flims and "Shil-wha"(losing flowers), written by Yisang after his visit to Tokyo, attests to his influence. Reverberating with Rene Clair's flims, reality is transformed into illusion and vice versa in this novel. This can amount to 'magic art', a representative rhetorical device in Yisang's literature. This device reveals an empty signifier without any signified in it, accentuating Yisang's leading motif of "a modified mirror" paralleling cinema screen. In a word, this affiliation with cinematic imagination is crucial to Yisang's literature in general. Through the infinite play of the signifiers emptied of the signified and 'the conscious illusion,' Yisang could free himself from his frustration with the abject daily life and the depraved modern civilization he experienced in Tokyo as well as Kyungsung.

세계 주요 종교사상의 존재의 대둥지(The Great Nest of Being) 고찰 : 대순사상과 비교하여

허훈 대진대학교 대순사상학술원 2020 대순사상논총 Vol.35 No.-

이른바 ‘존재의 대둥지(The Great Nest of Being)’는 영원철학의 존재론으로서 영원철학의 핵심 개념이다. ‘존재의 대둥지’는 역사적으로 존재해 왔던 세계 종교들의 심층, 즉 존재와 의식의 홀라키(holarchy)를 단적으로 보여준다. 본고에서는 세계 주류 종교들의 심층을 파악하기 위해 다양한 존재의 대둥지를 고찰해 보고, 대순사상에 나타난 존재의 대둥지는 역사적으로 출현했던 이들 대둥지를 종합하는 성격을 지니고 있음을 밝힌다. 영원의 철학에 따르면, 궁극적 실재에 대한 여러 종교들의 차이가 실제(實際)의 차이가 아니라 단지 용어상(用語上)의 차이에 불과하다. 즉 ‘동일(同一)한 궁극적 실재에 대한 상이(相異)한 표현(表現)’에 불과하다는 것이다. 따라서-언어학적으로-존재의 대둥지에 나타난 궁극적 실재관은 ‘동일한 기의(記意, signifié)’, ‘상이한 기표(記標, signifiant)’로 요약된다. 그런데 선행연구에서 밝힌 바와 같이 대순사상에서의 궁극적 실재는 초월적ㆍ인격적 존재인 동시에 내재적ㆍ비인격적이다. 이러한 사실은 특히 대순의 종지(宗旨)에 구체적으로 명시되어 있다. 즉 대순의 종지는 기존 종교사상의 존재의 대둥지에서 나타나는 실재에 대한 개념들과 그 지향점을 함축적으로 내포하고 있을 뿐만 아니라, 기존 종교사상들이 내세웠던 이념들을 두루 아우를 수 있는-온 우주(The Kosmos)의 네 코너로서 사상한(four quardrants, AQAL)으로 고찰해 보면-범(凡) 우주적 이념을 두루 포괄한다. 따라서 대순사상의 종지(宗旨)는 궁극적 실재에 관한 세계 주요 종교사상의 동일한 기의(記意)를 아우르고, 상이한 기표(記標)를 해소할 수 있는 단초(端初)를 제공한다. ‘The Great Nest of Being (The Great Chain of Being)’ is a key ontological concept in Perennial Philosophy. The Great Nest of Being shows the depth of the world’s religions that have existed historically, and in this context, they represent holarchies of existence and consciousness. This paper examines the nests of various beings in order to grasp the depths of the world’s mainstream religions, and reveals that the great nest of being that appear in the Daesoon Thought has the characteristic of synthesizing other nests that have emerged previously in history. According to Perennial Philosophy, the differences among different religions in regards to ultimate reality are not differences in reality but merely differences in semantics. In other words, these differences are only ‘different expressions of the same ultimate reality.’ Thus, linguistically, ultimate reality in the great nest of being can be summarized as the ‘same in what is signifié (signified, 記意)’ and ‘different in the signifiant (signifier, 記標).’ As stated in a preceding study; however, ultimate reality in Daesoon Thought is both transcendent and personal, as well as intrinsic and impersonal. This fact is specifically stated in the Four Tenets (4大 宗旨) of Daesoon Thought. In other words, the Tenets of Daesoon implicitly acknowledge not only the concepts of reality and the direction that emerges from the base of existence in existing systems of religious thought, but also can encompass the ideologies of those systems of religious thought. Considering the four quadrants as the Kosmos (AQAL), it encompasses a universal ideology. Therefore, the tenets of Daesoon Thought encompass the same significance (meaning) of the major systems of religious thought throughout the world in regards to ultimate reality and provide a clue to the solution to the presence of different signifiers (signs).

한글의 기원 및 창제 원리로서의 `상형`과 `고전 모방`의 재검토

김영환 ( Kim Yeong Hawn ) 한국언어문화학회(구 한양어문학회) 2012 한국언어문화 Vol.0 No.47

According to Hunminjeongeum, Hangeul was created on the principle of depiction of the outlines(象形) and imitation of Old Seal (倣古篆). Each of the five basic consonant letters is made according to the shape of the speech organs. The basic letters of the vowel were first created in the image of the sky, land, and man. For example, ` ` resembles the roundness of the sky, ` ` represents the flat earth and ` ` is the image of a standing man. But it can`t be true because letters of an alphabet are meaningless in itself, abstract formal signs, which can not be natural symbols or images. Arbitrariness of alphabetic sign excludes any kinds of imitation between alphabetic sign and other objects. There are not any motivation between an alphabetic letter and its signified. Alphabet has been created by means of formal abstraction from pictograms. But Chinese character used the method of composition from simple Chinese characters in creating new characters. The principle of depiction outlines and imitation of Old Seal implies iconic character or motivation between the signifier and the signified. In the traditional Korean society. Korean alphabet was disparaged as Eonmun which means script for vernacular language. So Hangeul was excluded from official use for centuries. The expression "dialect(方言)". which referred to Korean language, presupposes traditional Sino-centric world order. Korean alphabet was of little value for scholars and government officials, because it was different from Chinese characters. The so-called origin or principle of invention in creating Korean alphabet expressed in Hunminjeongeum is quite misleading or unnecessary apology.

추상적 개념의 효과적 시각커뮤니케이션에 관한 연구 -브랜드 아이덴티티의 화살표 기호 중심으로-

김시연 한국일러스아트학회 2019 조형미디어학 Vol.22 No.2

People today are familiar to using signs and symbols to communicate abstract concepts and ideas in their everyday lives. Among many symbols commonly used, this study focuses on the arrow symbol, used especially for brand identity. It shows how arrow symbol is used to communicate brand key words that are abstract concepts, with the consumer. Furthermore, this study classifies the signified meanings of the arrow as a signifier. Applied in brand identity, arrow with an obtuse angle has the energy towards the open end, therefore communicates stability over movement. Arrow with a right angle signifies the central concept of direction and movement. Arrow with an acute angle mainly communicates speed. This research hopes to open the way for logical expansion and usage of the arrow symbol in brand identity design, in a present time that stands at a point of broadening and departmentalizing signified concepts of symbols. 우리는 수많은 기호로 추상적인 내용을 소통을 하며 살고 있다. 본 연구는 다양한 기호의 시각화 중에서도 화살표라는 기호에 집중하고 특별히 브랜드 아이덴티티에 사용된 화살표의 이미지를 중점적으로 다룬다. 다양한 브랜드가 갖는 각각의 키워드가, 화살표라는 기호의 이미지와 어떻게 어우러져서 소비자와 소통하는지 알아본다. 또한 기호형태인 화살표가 갖는 다양한 기호내용를 구분한다. 브랜드 아이덴티티에서 둔각의 화살표는 삼각형이 열린 쪽으로 에너지가 집중되고 시선이 머물기 때문에 동적인 의미보다는 ‘안정’의 이미지가 강하게 나타난다. 화살표 끝이 직각을 이루는 화살표는 ‘방향’, ‘이동’ 등의 기호내용을 집중적으로 소통하고, 예각의 화살표는 ‘속도’라는 기호내용을 커뮤니케이션 할 때 제일 많이 사용된다. 본 연구는 화살표의 기호내용이 다양화되며 해석이 확장되고 세분화되는 현 시점에서, 특별히 브랜드 아이덴티티라는 특수한 영역의 현재까지 상황을 분석하고 정리, 구분하여 앞으로의 디자인 활용도와 커뮤니케이션 정확도를 더욱 높이고 논리적 확장이 가능하도록 한다.

T. S. 엘리엇 시에 나타난 없음과 있음의 미학: 기표의 좌절과 극복

이용환 현대영미어문학회 2008 현대영미어문학 Vol.26 No.3

Eliot's poetry is considered aesthetics of absence and presence. The subject in earlier poetry which lacks in the true signified lies in the chain of desire and meaningless language, so the subject goes through frustration. Understood in these terms, the subject in earlier poetry is held to be the signifier without the signified. So it remains clear that the subject in Eliot's earlier poetry is not a fixed subject at all. Seen from theological point of view, however, Eliot's poetic subject changes into spiritual subject, which can be a new type of the subject to cope with materialism in the age of late-capitalism. Therefore it must be said that even if the subject in earlier poetry is split, it is complete through Logos in later poetry. Phrased in these terms, this paper aims at dealing with how the subject overcomes the frustration of the signifier, finally showing that Eliot's poetic subject certainly rejects the Cartesian self in which the subject was further in despair.

The Obvious Object of Male Desire: the Representation of Male Desire as a Floating Signifier in El (1953) and That Obscure Object of Desire (1977)

조영준 고려대학교 스페인 라틴아메리카 연구소 2019 스페인라틴아메리카연구 Vol.12 No.1

Desire is a crucial motif in Bunuel’s films, which have delved into hypocritical and contradictory moral conditions in bourgeois society. Through his films, Bunuel shows his antipathy against bourgeois morality, which, he thinks, paralyses the human spirit. Bunuel criticized the thought and morality of middle class in our bourgeois society, and according to him, anesthetized and spiritually numbed bourgeoisie has unquenchable desire, Insects and animals in his films express and emphasize our incomprehensible world. Insects and animals are catalysts to facilitate the function of suturing the gap of narrative flow. Bunuel makes use of animals to remark that there are many inexplicable events, and animals are metaphors for what the better human beings are supposed to be, while insects in his films do not give a powerful impression. In El, Francisco's desiring subject is that of a child trapped in the fetish. Being imprisoned in the Imaginary, he cannot know the world of language, therefore he can know only his own misrecognized ideal ego. His paranoia results from the tortured subject confined in an image of his own ego. In That Obscure Object of Desire, Bunuel uses two actresses in his film who represent difference, an incessant sliding of the signified under the signifier. Two alternating actresses signify the evanescence and the fluctuation of the signified, which symbolizes Mathieu's desire to own Conchita's body. Also, by appearance, the two actresses indicate ambivalent aspects of Conchita. Two actresses visualizes and concretize the split of male fantasy. In Bunuel's films, two male protagonists, Francisco and Mathieu are, like their deformed desires, the representatives of the symbols and metaphors that echo distorted bourgeois society. Through delving into twisted male desire, Bunuel sharply points out the warped contradiction hidden at the smooth surface of bourgeois society.

인공지능과 인간의 의사소통에 관한 기호음성학적 일고찰

이산호,김휘택 중앙대학교 외국학연구소 2019 외국학연구 Vol.- No.50

Our research is at the most basic stage for natural voice communication with artificial intelligence. The direct connection between phonology and emotions or the meaning of the text does not reveal the reality. Multidisciplinary tasks are required in this regard. Convergent collaboration from phonetics, phonology, linguistics, psychology, to data science, will play a crucial role in reinforcing the phonetic aspects of human reality. Convergent collaboration from phonetics, phonology, linguistics, psychology, to data science, will play a crucial role in reinforcing the phonetic aspects of virtual reality that humans experience. With this perception, we first reviewed a situation in which phonological studies were excluded in terms of meaning. And the reason was found in André Martinet's theory, 'Double articulation'. We tried to explain theoretically that research on the direct relationship between phonology and meaning is possible. For this study, we borrowed part of Benveniste's thesis, "Sémiologie de la langue" and the Prosody theory of Meschonnic. What we have noted in these studies is that the factors that can affect the meaning of texts and works are not just at the stage of the signified of a sign. Meschonnic concludes that "Signifier creates meaning everywhere, that is, 'signifiance' produced by the signifier." And poetics already show that research on this continues. However, this study should be conducted not only on qualitative research on phonology but also on quantitative research on whole phonology and meaning.