Earticle

Children’s drawings are one of the most important productive actions that enable the child to establish relationships with his environment and the outside world. Each picture drawn contains a piece of the child himself. Because he tries to express his inner world, his way of thinking, his relationship with his environment, and any problems he has; through his paintings. Therefore, due to their iconic qualities, they have a semiotic function and enable the child to be recognized and understood by those around him. As a means of communication or a sign that mediates communication, children's drawings also have aesthetic properties. Aesthetic appreciation in children's drawings transcends traditional norms. It's not about technical proficiency but about the purity of expression. A child's artwork often exudes a raw authenticity, unburdened by societal conventions, which resonates deeply with viewers. In this study, we would like to consider the importance of drawing, which is one of the semiotic function areas of communication in children, the aesthetic aspects of drawings, and how children communicate through drawing.

Translating can be considered as the process which switches one semiotic entity into another in a semiotic approach, under certain equivalent conditions to do with semiotic codes, pragmatic action and general communicative goals. In order to perceive full communicative purpose of an utterance in translation, we need to comprehend not only the pragmatic action, but also a semiotic dimension which control the interaction of different discoursal elements as signs. A semiotic function is also incarnated by idiolect and dialect. It is known that most of modern Arab writers are encouraged to write a formal classical style using Modern Standard Arabic that is the only style felt to be appropriate for literature in Arab cultures. However, in reality Arab writers including Naguib Mahfuz who won the Nobel prize in the literature in 1988, use ‘ammiyyah al-muthaqqafiin’ colloquial of the cultured. Even he called using colloquial Arabic in literature as a disease, he uses spoken Arabic form that is heavily influenced by modern standard Arabic (MSA) in dialogues of his novels This study examines the translatability of non-Modern Standard Arabic which is performed by such as dialects, colloquial expressions, some features like Arabic genitive construct(idaafa) and foreign loanwords in Naguib Mahfuz’s novels which translated in Korean. This paper calls for adopting a more semiotic perspective when translating unique texts filled with cultural and socio-political meanings.

The expressway is an important place of network supplying people, information, and goods from all the regions and allowing the proper flowing of them. But as of now, a new design method is required as the expressway which is going beyond the particular physical space itself and changes into another cultural space where information on the culture of various regions can be acquired. Thus, this study, considering the identities expressed in the expressway service areas as the text, the product of the symbolic system, and analyzing them from the point of semiotics, tries to present the design guidelines for the regional identities found in the expressway service areas. The study method is as follows. First, we prescribed expressive levels such as facade, shapes, colors, and materials, which belong to outer layer, as the syntactic code of the service areas. Secondly, we prescribed contents levels, such detailed elements as landscape, culture, industries, history, which belong to the deep structure of the regions' identities, as the semantic code of the service areas. Thirdly, based on these, this study tries to present the semiotic models on the regional identities found in service areas.

본 논의는 <호랑이와 곶감>을 ‘아이의 울음’이라는 청각 기호를 중심으로 새롭게읽고자 한 시도이다. <호랑이와 곶감>은 그간 곶감을 무서워하는 호랑이의 모습에 주목하여 희화화된 호랑이의 의미를 밝히는 데 집중하면서, 이야기 전개의 중요한 계기인 ‘아이의 울음’은 배경적인 사건으로 언급되었다. 이에 본 논의는 ‘아이의 울음’이청각 기호로서 어떻게 기능하며 수신자별로 어떻게 해석되는지를 분석하였다. <호랑이와 곶감> 속 아이의 울음은 ‘울음소리’라는 기표는 존재하지만 우는 이유(또는 울음을 그치는 이유)라는 일종의 기의가 텍스트에 제시되지 않는, 공집합[∅]적인 청각 기호의 하나이다. 이 공집합은 수신자 각각의 사회문화적 경험에 따라 자유롭게 채워지는 열린 의미의 공간이다. ‘아이의 울음’은 의도된 수신자인 어머니와 비의도적 수신자인 호랑이에게 각각 전달되며, 두 수신자는 서로 다른 방식으로 이 기호를 불완전하게 해석한다. 어머니는 해석 의지를 갖추고 있으나 기호를 해석하지 못한다. 반면 호랑이는 ‘공포’라는 단일한 원소로 공집합을 채워 넣으면서 기호를 해석하지만, 다른 해석의 가능성을 차단하는 오독을 보여 준다. 텍스트 밖의 청자 또한 호랑이의시점에 의해 제한된 정보를 받으며 아이의 울음을 제각기 달리 해석하게 된다. 이처럼 아이의 울음이 어떤 수신자에 의해서도 온전히 해독되지 않는다는 사실은, <호랑이와 곶감>을 구성하는 대립 관계의 기준이 ‘힘의 논리’가 아닌 ‘기호 해석의 가능성’에 있음을 시사한다. 그러나 <호랑이와 곶감>은 결국 기준조차 인간의 절대적인우위를 보장하지 않음을 보여 준다. 어떤 수신자도 아이의 울음을 온전하게 해독하지못하는 것은 해석의 실패가 아니라 기호의 열린 속성에서 비롯된 것이다. 결국 <호랑이와 곶감>은 기호란 완전히 해독될 수 없다는 기호의 본질적인 해석 불가능성, 그리고 인간과 동물, 어른과 아이가 불완전한 해석 사이에서 관계 맺고 있음을 보여 주는이야기라고 할 수 있다.

This study offers a new reading of the Korean folktale Horangi wa Gotgam by centering analysis on “the child’s cry” as an auditory sign. Previous scholarship has focused primarily on the figure of the tiger frightened by a dried persimmon, illuminating the meanings of the ridiculed tiger, while “the child’s cry” ? a pivotal moment in the narrative ? has been mentioned only as background. This paper examines how “the child’s cry” functions as an auditory sign and how it is interpreted by different receivers. In Horangi wa Gotgam, the child’s cry is an auditory sign whose signifier ? the sound of crying ? is clearly present, but whose signified, namely the reason for crying or for its cessation, is not provided in the text. It thus constitutes an empty-set[?] sign. This empty set forms an open semantic space, freely filled according to the sociocultural experience of each receiver. The child’s cry is transmitted to two receivers ? the mother as the intended receiver and the tiger as the unintended receiver ? both of whom interpret this sign incompletely, though in distinctly different ways. The mother, despite her interpretive intent, cannot access the signified of the sign. The tiger, by contrast, performs a misreading: it fills the empty set with a single element drawn from its own knowledge system ? fear ? thereby blocking other possible interpretations. Readers and listeners outside the text likewise receive limited information filtered through the tiger’s perspective, and each arrives at a different interpretation of the child’s cry. The fact that the child’s cry remains undeciphered by any receiver suggests that the underlying logic of Horangi wa Gotgam rests not on a hierarchy of physical force but on the possibility of sign interpretation. Yet even this standard offers no absolute advantage to humans. The inability of any receiver to fully decode the child’s cry is not a failure of interpretation but a consequence of the sign’s open nature as an empty set. Ultimately, Horangi wa Gotgam illustrates the essential undecodability of signs and shows that humans and animals, adults and children, relate to one another across incomplete interpretations.