Earticle

2000년 이후 자치단체에서는 지역의 가치를 높이기 위하여 도시브랜드 심벌을 제정하여 도시마케팅에 활용하고 있다. 서울시는 2002년 월드컵을 앞두고 2000년 서울시 도시브랜드 'Hi Seoul' 심벌을 제정하였다. 제정 배경은 “서울시민의 공동체 의식을 함양하고 서울의 역동적 이미지를 브랜딩화하기 위해 대내외적으로 마케팅 할 수 있도록 하여 서울의 정체성, 시정비전, 목표 등 서울의 메시지를 명확하게 하기 위함”이라고 밝히고 있다. 그러나 2006년 서울시정개발연구원에서 발표한 보도 자료에 따르면 서울시 도시브랜드 심벌에 나타난 ‘Hi Seoul'은 역사, 전통, 문화 등 서울시를 대표하는 도시브랜드로서의 정체성과 차별성이 부족한 것으로 나타났다. 그러므로 본 연구에서는 서울시 도시브랜드 심벌에 나타난 문제점을 찾고자 한다. 분석방법은 의미구조 모형으로 서울시 도시브랜드 심벌의 제작의도인 그래픽 형태의 의미와 브랜드의 의미를 분석하였다. 분석 결과는 다음과 같다. 첫째, 서울시 도시브랜드는 심벌의 제작의도인 그래픽 형태의 의미요소와 브랜드의 의미요소는 연계성이 부족한 것으로 나타났다. 둘째, 서울시 도시브랜드 심벌의 그래픽 표현이 그래픽 제작의도와 다르다는 것을 알 수 있었다. 셋째, 색채는 전통 오방색을 기초로 적색, 황색, 청색을 사용하였다. 그러나 전통 오방색을 서울의 대표색이라고 보기 어렵다. 따라서 현재의 서울시 도시브랜드 ‘Hi Seoul' 심벌은 서울시의 정체성을 나타내고 있다고 보기 어렵다. 그러므로 도시브랜드 개발에 있어 도시의 정체성을 브랜드 심벌로 나타낼 수 있는 체계적인 연구와 방법이 필요하다. 앞서 나타난 문제점들을 해결할 때 서울시 도시브랜드는 시대의 유행이 아니라 한국을 대표하는 도시브랜드로 정체성을 형성할 수 있을 것이며 세계적인 도시들과의 경쟁에서 경쟁력을 가지게 될 것이다.

Since 2000, local governments have used city marketing, using the symbol of the city branding for improving their values. The Seoul government established Seoul's city branding, which called "Hi Seoul" in 2000. They defined it is for promoting communal spirit of a citizen of Seoul and making clear the message of Seoul, which are identity, vision, and purpose of Seoul, through the domestic and global marketing with branding the dynamic image of Seoul. According to the press release from Seoul Development Institute in 2006, however, "Hi Seoul" is not enough to express and represent history, tradition, and culture of Seoul as a city branding based on the press release. Therefore, the research tried to find some problems of Seoul's city branding. It analyzed the graphic form and the brand concept of the symbol, based on the structural model of significations. First, there is a low correlation between the meaning elements of the concept in the brand and the graphic form in the city brand symbol. Second, the symbol shows a lack of connectivity between the concept and the expressions of the graphic form. Third, the colors of the symbol are used Obang-colors from a general Orientalism that is hard to say it is typical colors of Seoul. In conclusion, it's a hard to agree that 'Hi Seoul' brand symbol represents the identity of Seoul. Therefore, we need a very systematic approach to solve these problems about relations of the identity of a city and its brand symbol. If these problems that I mentioned above are solved, the city branding of Seoul will have powerful competitiveness, and do not have to follow trendy styles because it expresses their own economic, social and cultural identities.

今天看來，《春秋》只是由一些短篇組成的年代記，可在過去，它却是具有特殊規範的'經'。誠然，《春秋》之所以成爲正典（經，canon）是由政治權力決定的，但其所持規範的具體內容與效力却是通過《公羊傳》與《左傳》而形成幷進一步具體化的。本論文探討的便是對《春秋》進行規範的《公羊傳》與《左傳》的闡釋體系。以往的硏究往往只偏重于分析顯現于《公羊傳》與《左傳》中的現象事實。可是，利用此種方法去分析《公羊傳》與《左傳》的闡釋體系未免過于牽强。因而筆者另辟蹊徑，在分析顯現于兩箇文本中的意指作用（signification）的基礎之上，重構《公羊傳》與《左傳》的內在結構方法。本論文硏究槪况如下：在第二章中，筆者援引符號學原理來重構《公羊傳》與《左傳》的內部結構。第三章在第二章所分析內容的內在結構的基礎上，考察了《公羊傳》與《左傳》的現象性特征。第四章以闡釋學爲中心，考察了《公羊傳》與《左傳》的意義。綜上所述，筆者得出如下結論：其一，《春秋》的規範化首先通過《公羊傳》與《左傳》而形成，幷在權力的作用下最終完成。其二，在規範《春秋》的《公羊傳》與《左傳》的闡釋體系中，意指作用具備着核心功能。其三，《公羊傳》與《左傳》的闡釋方式爲中國的經典闡釋學和文本闡釋學提供了結構性原形。

This study aims to explore the semantic function and structure of the Korean word ‘ear’ as documented in the <Standard Korean Dictionary>. For this purpose, this research investigates how the meaning of ‘ear’ evolves through semantic processes, with a particular emphasis on denotation and connotation, influenced by social and cultural factors. Additionally, this study delves into the semantic function of idiomatic expressions, revealing that their meanings go beyond the sum of their constituent parts. This involves exploring various meanings of components that create new sign content in both object and metalanguage. This study also examines the semantic structure of the Korean word ‘ear’, highlighting the role of metaphor and its synchronization with the primary meaning. The semantic structures of idiomatic expressions combine metaphor and metonymy, resulting in third meanings when components merge. These combinations create conceptual metaphors based on relationships within the semantic web of narrative expression. While the study centers on ‘ear’, it suggests that similar investigations of other body part terms words could offer valuable insights into the Korean, leaving this as a potential focus for future research.

본 연구는 자살생존자의 애도과정을 자기서사 구조의 관점에서 분석하고, 자살생존자에게 특수하게 나타나는 죄책감과 전이성 자살불안이 문학치료 과정에서 어떻게 재의미화되는지를 규명하고자 했다. 이를 위해 자기서사이론에 기반한 문학치료 집단상담 사례를 질적 사례연구방법으로 분석했다. 집단상담에는 부모 사별 자살생존자 3명이 참여했으며, 분석 대상은 5년 전 아버지를 자살로 잃은 30대 기혼 여성이다. 분석 결과, 자살생존자의 애도는 ‘정서적 암흑기’, ‘고인과의 실존적 관계재구성’, ‘자기 정체성의 회복’이라는 구조 속에서 전개되었으며, 이는 정서⋅관계⋅정체성의 삼중 축으로 체계화될 수 있었다. 초기 단계에서 죄책감은 사건의 인과를 자기에게 귀속하는 서사 구조로, 전이성 자살불안은 자살의 반복 가능성을 미래 정체성에 투사하는 서사로 나타났다. 그러나 문학치료 과정에서 내담자는 이러한 해석 구조를 자각하고 재구성함으로써, 죄책감은 의미 부여의 틀을 전환하는 방향으로, 전이성 자살불안은 삶의 유한성에 대한 성찰로 재위치되었다. 본 연구는 자살생존자의 애도를 병리적 증상이 아닌 자기서사 구조의 전환 과정으로 재개념화하고, 문학치료가 이러한 구조적 변화를 촉진할 수 있는 활동임을 실증적으로 제시한다. 이는 자살생존자 상담에서 애도 개입과 자살예방 개입을 통합적으로 고려할 필요성을 이론적으로 시사한다.

This study examined the bereavement of suicide survivors from the perspective of the structure of the epic of self, focusing on the re-signification of guilt and transgenerational suicide anxiety in literary activities. Drawing on the theory of the epic of self, a qualitative case study was conducted based on a literary therapy counseling process with a suicide survivor. The study explored how guilt and transgenerational suicide anxiety are formed within the epic of self and how they are transformed through literary mediation. Findings indicate that bereavement unfolded through three structural phases: an emotional dark phase, existential reconstruction of the relationship with the deceased, and recovery of self-identity-systematized as the triple axis of emotion, relationship, and identity within the epic of self. Initially, guilt appeared as a self-attributive causal structure, while transgenerational suicide anxiety manifested as anticipatory fear of suicide recurrence. Through literary reading and creative writing, guilt was re-recognized as a constructed meaning system and its interpretive frame was deconstructed; transgenerational suicide anxiety was re-signified as existential reflection on life’s finitude. Creative writing functioned as a mediating mechanism that symbolically embodied relational reconstruction and identity re-establishment within the epic of self. This study re-conceptualizes suicide bereavement as a structural issue of the epic of self rather than a pathological symptom, and demonstrates the transformative potential of literary therapy in integratively addressing guilt and transgenerational suicide anxiety. The findings underscore the need to integrate bereavement intervention and suicide prevention in counseling practice.

디즈니 애니메이션 <겨울왕국>이 한국에서 개봉된 애니메이션 사상 첫 천만 관객을 동원했다. 겨울왕국은 주제곡 'let it go'의 열풍과 엘사, 안나, 울라프의 캐릭터 상품들을 비롯해 각종 신드롬까지 낳고 있다. 그렇다면 겨울왕국이 어떤 의미를 생성하고 있기에 이토록 한국에서 선풍적인 인기를 끌었는지를 생각해 볼 필요가 있다. 이 연구는 겨울왕국이 관객에게 전달하고자 하는 가치와 겨울왕국이 생성하는 의미는 무엇인지를 그레마스의 행위소 모형과 기호사각형을 이용하여 살펴보고자 한다. 행위소 모형으로 <겨울왕국>의 안나와 엘사를 분석한 결과, 안나는 엘사와의 관계회복과 아렌델의 여름을 되찾기를 욕망한다. 이것은 엘사에 대한 사랑과 아렌델사람들을 위한 사랑으로 말하여질 수 있다. 한편, 엘사는 자신의 설빙능력으로 인해 스스로를 가두기는 하지만 항상 자유를 갈망한다. 즉 엘사는 자신의 설빙능력을 제어하는 방법을 알아내 자신의 설빙능력으로 자유로워지를 욕망하는 것이다. 이러한 안나와 엘사의 욕망은 진실한 사랑의 행동을 통해 획득되어지며, <겨울왕국>에서 모든 갈등의 해결책은 진실한 사랑의 행동이다. 기호사각형으로 <겨울왕국>의 의미를 분석한 결과, <겨울왕국>은 현재의 비정상적인 삶을 과거의 정상적인 삶으로 바꾸고자 하는 과거지향적인 가치를 창출한다. 현재의 삶-한 여름에 추운 겨울이 찾아오고, 자매간의 소통이 단절되며, 비정상의 상태를 의도적으로 이용하여 자신의 이익을 취하려는 사람들-을 과거의 돈독했던 자매간의 우애와 순리적인 계절인 아렌델의 여름으로 바꾸고자 하는 것이다. <겨울왕국>에서 말하고자 하는 과거를 지향하는 가치는 21세기를 살아가는 우리의 현실과 비슷하다. 들었어도 믿기 어려운 소식들, 불안한 정세 등이 난무하는 현실에서 어렵고 힘들어도 정과 희망이 넘쳐났던 과거의 삶으로 돌아가고 싶은 우리의 정서와 맞물렸기 때문에 국내에서 <겨울왕국>이 승승장구하지 않았나 싶다.

<Frozen>, one of the Disney's animations, hit the 10 million audience mark for the first time in the history of animations released in Korea. <Frozen> not only raised the fever with its theme song, 'Let it go', as well as Elsa, Anna, and Olaf's character products but caused sensations in many ways. If so, we need to think about what kind of meaning <Frozen> did create in Korea to be so sensational. This study examines the value that Frozen intended to deliver and the meaning it generated by using Greimas actant model and semiotic square. From the actant model analysis on Anna and Elsa from <Frozen>, it was identified that Anna desired to recover her relationship with Elsa and to take summer back in Arendelle. Her desires can be interpreted as her love toward Elsa and people in Arendelle. Meanwhile, Elsa always desired freedom although she confined herself because of her ability to freeze. In other words, Elsa desired to free herself from her freezing ability by finding out how to control her ability. Such desires of Anna and Elsa were achieved by their actions of true love, and the solution of all the conflicts in <Frozen> was an action of true love. From the semiotic square analysis on the meaning of <Frozen>, it was found out that <Frozen> created past-oriented value with which characters tried to change their abnormal lives of the present into their normal lives of the past. The characters tried to change their present lives where freezing winter comes in the middle of summer, communication between the sisters is cut off, and people try to take advantage of the abnormal state deliberately, into the past when the sisters had a good relationship and the natural season of summer in Arendelle. The past-oriented value that <Frozen> tried to tell us is similar to our reality. In our reality with a lot of unbelievable news and unstable circumstances, we desire to go back to the past when we were filled with affection and hope even though our lives were tough and difficult. This sentiment must have contributed to the huge success of <Frozen> in Korea.

The purpose of this study is to analyze the spatial signification and structure of Bonpuri. Bonpuri is named the shamanistic narratives, especially passed down in Jeju. Bonpuri has been studied in different perspectives. The classical perspectives are as follows: as a initiation narratives of female-shaman, or as a initiation narratives of ordinary hero. This study will especially focus on the integration of these two different views. Bonpuri symbolizes the female-initiation passage, on the other hand, it represents the divinity-initiation passage. The former mainly consists of birth,death and rebirth stages while the latter goes from not-engagement to engagement stages. These two level of narrative structures are, however, not completely separated. Engagement in the female-initiation passage is tend to be created in certain space. However, death and rebirth in the divinity-initiation passage is occurred in that same space as well. We can find some spaces which demonstrate same functions. Hence, it is can be confirmed that two different narrative structures are integrated in these specific spots having contrary values. Therefore, it speaks that female and divinity-initiation narratives are integrated in certain space in Bonpuri. This essay will subsequently consider the spatial movements of doing subjects in Bonpuri. The movements of doing subjects can be divided into reversible and irreversible patterns in Bonpuri. Only when the group of doing subjects have both of two abilities, they can be the main subject who control both female-initiation narrative and divinity-initiation narrative. Accordingly,the whole narratives and signification of Bonpuri. is ultimately completed.

This study aims to investigate the structural functions and implicit meanings of the “Deceptive Simulation Narratives” in Sino-Korean Fiction, with a focus on Jongok-jeon, Oyuran-jeon, and Hokgi-wigwi. “Deceptive Simulation Narratives” refers to a unique narrative strategy that employs “narrative signs”(敍事標識) such as fake letters, fake graves, and fake ghosts to mislead the protagonist—even making him believe he has turned into a ghost—ultimately leading him to a profound awakening. While previous scholarship has often categorized these works as “Defilement Novels”(毁節小說) due to the protagonists’ abandonment of their initial ascetic vows, this study contends that such a classification risks a reductive interpretation that merely satirizes the moral degradation of Yangban men. Instead, this research highlights that these “fake” narrative signs function not as mere tricks, but as paradoxes that dissolve the protagonist’s rigid preconceptions to reveal a deeper truth. The motifs of “becoming a ghost” and “becoming naked” are interpreted as a process of “symbolic death,” through which the fictional signifiers of social prestige and moral hypocrisy are shed. This process narratively illustrates a spiritual transition: moving away from the rigid sexual morality characteristic of the Seoul Yangban toward the mentalité of the provincial Yangban, which affirms innate human desires. In conclusion, the “Deceptive Simulation Narratives” serves as a sophisticated narrative device for internal reflection and criticism within the ruling class. It reveals complex dynamics of ethical conflict and reconciliation between provincial and Seoul Yangban—a nuance that cannot be fully explained through the conventional frameworks of simple satire or humor.

본 연구는 그림책 텍스트의 의미화 과정을 알아보기 위해 Barthes의 기호학과 Panofsky 의 도상 해석학을 이론적 기저로 삼아 그림책의 의미작용 모형을 가설적으로 설정했다. 그리고 설정된 모형에 따라 세 권의 그림책을 사례로 분석해 보았다. 세 권의 그림책은 일치, 보충, 대위 등 글과 그림의 관계 유형에 따라 선정되었다. 분석방법은 설정된 모형에 따라 사례를 찾아 설명하는 방식이었다. 그 결과, 세 권의 그림책들은 글과 그림의 관계 유형이 다르지만, 글과 그림이 각각 하나의 기호체로서, 또 둘이 하나의 융합기호체로서 기능을 하며, 그림책 텍스트가 중층의 의미구조를 이루는 것을 알 수 있었다. 따라서 그림책의 의미작용은1차, 2차, 3차의 의미화 과정으로 설명할 수 있었고, 이에 따라 그림책 읽기 지도도 내용파악, 의미해석, 의미 확장의 방향으로 지도해야 한다는 시사점을 얻을 수 있었다.

The purpose of this paper is to explore the structure and signification of text that is present in picture books. A case analysis was carried out according to a hypothetical model of structure and signification of picture books. The model was established based on the theories conceptualized by Barthes and Panofsky. In order to analyze the cases, three kinds of picture books were selected, which represented symmetrical, complementary, and counterpointing relationships. Though the books were different in terms of verbal and image relationship pattern, they were explained by multi-layered text structure and signification. This paper proposes a teaching method to read picture books, which involves reading books in three dimensions? grasping content, interpretation, and meaning extension.

The purpose of this study is to reveal the difference in the signification of ‘e’, ‘eseo’, ‘ro’, and ‘reul’ by comparing the signification of the ‘e V movement’, ‘eseo V movement’, ‘ro V movement’, and ‘NP reul to V movement’ sentence structures from the perspective of ‘windowing of attention’ cognition semantics. In addition, this study examines the properties of verbs (including extended signatures) that have movement signification in which the ‘NPe’, ‘NPeseo’, ‘NPro’, ‘NPreul’ construction structure combines them in movement paths, depending on the difference between 'distribution of attention. In the movement frame of event, movement path events are activated by ‘e V movement’, ‘eseo V movement’, ‘ro V movement’, ‘reul V movement’. The ‘e V movement’ opens an attention window to the final stage of open movement paths and blocks attention from the initial and medial stages. Therefore, the combination pattern of the windowing of attention of the ‘e V movement’ can be expressed as ‘initial gapping + final windowin’. The combination pattern of windowing of attention of the ‘eseo V movement’ can be summarized as ‘initial windowing + final gapping’. The ‘ro V movement’ can evoke both the medial stage- and final stage-related scenes of movement paths. However, the final stage windowing of the movement is more prominent than the medial stage windowing of the movement. The windowing combination pattern of the ‘ro V movement’ can be seen as ‘initial gapping + medial windowing + final secondary windowing’. The ‘reul V movement’ can activate ‘closed path’ frames of events. ‘eul(을)/reul(를)’, a component of the construction structure, can be explained by a postposition attached to an object, result, or object in which movement is involved. If one kind of component changes in the ‘NP postposition V movement’ construction structure, other components often change accordingly. Also, the contextual signification of the entire sentence and an imaginary marker, the way in which a person perceives and expresses the internal temporal structure of an event or state of affairs, can also affect the combination of each component. It is difficult to list all possible situations, but in this study, only the aspect of the verb and aspect that has the closest relationship was considered. Humans create significant language forms through the correspondence between basic image schema and language signs extracted from them with numerous world experiences. When the movement signification represented by the movement verb reflects cognition experiences such as initial, medial, and final stage windowing of attention of movement paths evoked by ‘e’, ‘eseo’, ‘ro’, ‘reul’ construction, it can form a sentence structure of the same series.

목적: 본 연구는 한국어 신체어 ‘얼굴’의 의미를 기호론적으로 의미작용과 의미구조를 밝히는 데 목적이 있다. 방법: 다의어 ‘얼굴’의 의미작용을 ‘외시/공시’, ‘얼굴’ 관련 관용 표현의 의미작용을 ‘대상언어/상위언어’ 측면에서 고찰하였다. 또한 다의어의 의미구조를 ‘은유’, 관용 표현의 의미구조를 환유와 은유의 측면에서 고찰하였다. 결과: 다의어의 의미작용은 ‘얼굴’의 1차 의미에서 개인의 정서와 사회․문화적으로 동기화되어 의미가 확장되었고, 관용 표현은 구성 요소들의 다의의 의미가 1차 의미가 되고, 이것이 결합되어 제3의 의미인 기의를 형성하고, 그 의미에 대응하는 기표를 형성하고 있음을 알 수 있었다. 다의어의 의미구조는 유사성을 바탕으로 한 은유였다. 관용 표현의 의미구조는 은유와 환유가 함께 작용한다. 둘 이상의 구성 요소가 서술 표현의 그물망 내에서 ‘인접성’에 바탕을 환유 구조가 형성되고, 개념적으로 ‘은유’가 나타나고, 서술적 표현의 의미에 따라 다양한 특성을 지시하는 환유의 특성을 나타내고 있었다. 결론: 언어가 갖고 있는 기호의 의미 특성을 바탕으로 한국어 신체어 어휘뿐만 아니라 한국어 어휘의 의미작용과 의미구조에 대한 연구가 이루어져야 되리라 본다.

Purpose: This study was to explain the signification and semantic structure of the Korean body language ‘face’ in a semiotic manner. Methods: The meaning of the polysemy ‘face’ was examined in terms of ‘denotation/ connotation’, and the meaning of idiomatic expressions related to ‘face’ in ‘object language/meta language’. The semantic structure of polysemy was considered in terms of metaphor, and the idiomatic expressions was considered in both metonymy and metaphor. Results: The polysemy was expanded from the primary meaning to the individual’s emotions and social, cultural motivation. In idiomatic expressions, the meaning of the multiple meanings of the constituent elements became the primary meaning, and these were combined. It can be seen that the third meaning, the signified, is formed and the signifier corresponding to that meaning is formed. The semantic structure of polysemy was a metaphor based on similarity. In idiomatic expressions, metaphor and metonymy work together. Two or more components formed a metonymy structure based on ‘contiguity’ within the web of narrative expression. Conclusion: Based on semiotics, it is necessary to study Korean vocabulary, including the Korean body language.