• Journal of architectural history
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• v.12 no.4 s.36
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• pp.49-62
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• 2003

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.

• Korean journal of communication and information
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• v.54
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• pp.76-97
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• 2011

What are the meanings of abduction as a methodology of Cultural Studies? By contextualizing Charles Sanders Peirce's logic of abduction in the discipline of Cultural Studies, I explore the epistemological discussion on the modern scientific research methodology of social sciences. Abduction is a kind of logical inference, which is often associated with guessing or intuition. Peirce's method of abduction and Cultural Studies' contextual formation in effect address an alternative methodology to positivism. Criticizing the modern Eurocentric structure of knowledge construction, I suggest that the virtue of abduction, as a logic of discovery, should be re-discovered in the context of Cultural Studies. Abduction holds important lessons for Cultural Studies as well as social sciences in general because of its focus on intuition, empathy, and intellectual collaboration. Through its elaboration of the logic of abduction, Cultural Studies is able to maintain not only its epistemological ground but also its methodological communicability.

• Journal of Fashion Business
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• v.25 no.5
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• pp.114-130
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• 2021

The purpose of this study is to analysis BTS's image based on Peirce's semiotics. Methodologies of this study are literature study to analyze the structure of idol image based on Peirce's theory of signs, case study and FGI analyzing the semiotic characteristics of BTS images. The research results of analyzing the semiotic features of BTS images by period of the BTS album are as follows. First, in the early days of their debut, they emphasized the image of hip-hop and expressed their will to resist and rebel against the older generation with a challenging and strong image. Second, during the 'The most beautiful day of life' period, image of wandering, rebellion, growth, and youth of teenagers was expressed. Third, in the 'Love Yourself' period, BTS showed various image changes between natural and pure image to splendid image by expressing the process of finding confidence during chaotic moment of growing. Fourth, during the 'Map of the Soul' period, the exploration and reflection on themselves were expressed in an outwardly splendid and bright manner, while at the same time expressing the inner darkness in a contrasting manner. Fifth, in the 'pandemic period', they expressed hopeful energy and willness with the image of mature and attractive man and bright and casual image. Their growth and change have been directly linked to the change of their image, and their image showed a successful signification with complementary combination of icons, indexes, and symbols.

• Archives of design research
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• v.18 no.1 s.59
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• pp.5-16
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• 2005

As for the public, it is hard to understand semiotics because of the scope of an enormous semiotics education. This study is making semiotics of Charles Sanders Peirce the subject. I thought that utilization can hold his semiotics study in a visual design field. First of all, this study considered design related papers related to the existing semiotics again and study found an error of the existing semiotics study and understanding did category concept with re-definition about semiotics of Peirce. Explained a symbol mark through understanding of semiotics of Peirce. This study was able to get the following conclusion through these results. 1) A symbol mark means one product, sonics, company oneself with a custom. Therefore, it is a rule symbol in the Representation side. 2) A symbol mark symbolizes an object with one symbol, so a symbol mark is a symbol in an object. 3) Because a symbol mark exists through a social rule, in semiotics definition of Peirce, this must become understanding with a Argument symbol. 4) A symbol mark is what a company or an organization field used from the past, and the public are recognizing this how. Therefore, it works as fact a company attaches a symbol mark to own product, and to show the public a symbol mark. A symbol mark is Dicent Sign in Interpretant. A rule and understanding about a lot of types which have various mutual relation, Peirce classification and understanding of a symbol mark tells to demand is holding that understanding a type of semiotics with the concept that is not an image to us.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.461-470
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• 2023

This paper analyzes the spatial representations constructed by reality, filming, and narrative in the works of Hong Kong film director Wong Kar-wai, and how these spaces influence Hong Kong's urban culture, perception, and interpersonal relationships. To analyze Wong Kar-wai's films, Charles Sanders Peirce's semiotics concepts and Paul Virilio's spatial concepts were applied. Through this, we examined how the meaning embedded in the spatial representations of Wong Kar-wai's films could become a crucial factor in their success. Wong Kar-wai focused on the values of human relationships formed by society in his subject expression, directly representing the human inner world and prompting audiences to think about it. In this paper, we categorized the spaces depicted in Wong Kar-wai's films as public, private, and connective spaces, and analyzed them as a means to show the living environment and emotions of Hong Kong's youth. Through this, we determined that the spatial representations in Wong Kar-wai's films effectively demonstrate the cultural interpretation function of Hong Kong's citizen consciousness at the junction of Eastern and Western cultures and social connections. In conclusion, Wong Kar-wai's works provide a rich understanding of contemporary people's lives, emotions, and urban spaces, offering valuable insights into Hong Kong's film industry and cultural values.