• 인문언어
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• 제8집
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• pp.389-408
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• 2006

This paper is a philological and epistemological study of the concept of the unconscious envisaged in Saussure. The study investigates whether the unconscious in Saussure can be put to question. Most Saussurian specialists have not as of yet raised any questions on this subject. The researches were simply limited to various comparisons between Saussurian concepts with those of Freud. The paper reconstructs the very concept of the unconscious in the Course in General Linguistics, using Lacan as a mediator between Saussure and Freud. Special attention is given to the linguistic subject who is unconscious about the law of langue, which contrasts it to the conscious of other social subjects and can be observed in the semiotic change of a social system. While not suggesting a hasty comparison between Saussure and Freud the paper draws an epistemological point of convergence. In other words, the paper tries to prove that the descriptive unconsciousness operates and intervene in the paradigmatic function of langue and that the topical unconsciousness operates to the syntagmatic function.

• 비교문화연구
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• 제25권
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• pp.679-694
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• 2011

La langue est un des ${\acute{e}}l{\acute{e}}ments$ $privil{\acute{e}}gi{\acute{e}}s$ de la $r{\hat{e}}verie$ chez Bachelard. La langue est une force fondamentale de l'imagination. D'une part, elle garde son propre valeur dans le processus de l'imagination, et d'autre part elle forme sa propre image. La $priorit{\acute{e}}$ de langue chez Bachelard a, en effet, quelque liaison avec la notion de Logos qui avait ${\acute{e}}t{\acute{e}}$ $trait{\acute{e}}$ depuis longtemps comme $v{\acute{e}}rit{\acute{e}}$ ${\acute{e}}ternelle$ dans la $m{\acute{e}}taphysique$ occidentale. Cependant, la notion de logos de Bachelard se $diff{\grave{e}}re$ de celle de $m{\acute{e}}taphysique$ occidentale. Tandis que la $m{\acute{e}}taphysique$ traditionnelle traite le logos comme un but ${\acute{e}}ternel$ de sa $m{\acute{e}}ditation$, Bachelard donne l'importance sur la $capacit{\acute{e}}$ linguistique et imaginaire du logos. Le $logosph{\grave{e}}re$ est un des exemples qui montre bien la $diff{\acute{e}}rence$ entre la notion de logos de Bachelard et celle de $m{\acute{e}}taphysique$ traditionnelle. Le $logosph{\grave{e}}re$ est un $n{\acute{e}}ologisme$ de Bachelard qui est fait pour $d{\acute{e}}signer$ $l^{\prime}atmosph{\grave{e}}re$ verbal de la $soci{\acute{e}}t{\acute{e}}$ contemporaine $gr{\hat{a}}ce$ ${\grave{a}}$ l'emission de radio. Bachelard comprend le $ph{\acute{e}}nom{\grave{e}}ne$ de radio en tant que $r{\acute{e}}alisation$ de $Psych{\acute{e}}$ dans la vie quotidienne. C'est $gr{\hat{a}}ce$ ${\grave{a}}$ la technologie moderne que nous pouvons avoir l'univers de langue plus facilement par rapport aux $si{\grave{e}}cles$ $pr{\acute{e}}c{\acute{e}}dents$. Selon Bachelard, la radio n'est pas un simple instrument de communication. C'est une porte pour entrer dans la $r{\hat{e}}verie$ universelle. La radio est une voix du monde qui exprime notre inconscient. Quand un $r{\hat{e}}veur$ $r{\hat{e}}ve$, son $r{\hat{e}}verie$ se $d{\acute{e}}veloppe$ en se discutant avec le monde. Alors, quand nous $r{\hat{e}}vons$, nous parlons au monde et nous ${\acute{e}}coutons$ du monde, de sorte que nous devenons les citoyens du $logosph{\grave{e}}re$. Dans son oeuvre Sur la Grammatologie, J. Derrida critique la $m{\acute{e}}taphysique$ occidentale en la intitulant logocentrisme. Derrida pense que la philosophie occidentale a comme le but final la $pr{\acute{e}}sence$ de logos. Cette $pr{\acute{e}}sence$ de logos ne peut ${\hat{e}}tre$ $r{\acute{e}}alis{\acute{e}}e$ que par la langue de la voix, non pas par la langue de $caract{\grave{e}}re$. $D^{\prime}o{\grave{u}}$ vient le logocentrisme ou le phonocentrisme de $m{\acute{e}}taphysique$ occidental. Mais Derrida pense que le logocentrisme n'est qu'un autre aspect de l'ethnocentrisme ${\acute{e}}troit$ de l'occident. La notion de $logosph{\grave{e}}re$ de Bachelard a quelques ressemblances avec logocentrisme par ses apparences. Cependant, elles ont une $diff{\acute{e}}rence$ fondamentale depuis leur $d{\acute{e}}part$. Tandis que logocentrisme $tra{\hat{i}}te$ la parole en tant que $mani{\grave{e}}re$ d'expression de raison qui est une puissance fondamentale de l'homme, Bachelard pense que la parole est un $r{\acute{e}}sultat$ d'une opposition et fusion de notre raisons et parole. Bachelard pense que la parole est une $r{\acute{e}}alisation$ de l'image qui est l'essence de notre $psych{\acute{e}}$. Pour lui, la parole, la quintessence de $logosph{\grave{e}}re$, est le champ de l'imagination $d^{\prime}o{\grave{u}}$ jaillissent les images. C'est pour cela que $logosph{\grave{e}}re$ se situe ${\grave{a}}$ l'antipode de logocentrisme. $Logosph{\grave{e}}re$ nous fournit un espace de $r{\hat{e}}verie$ de langue. Notre $soci{\acute{e}}t{\acute{e}}$ contemporaine $fourr{\acute{e}}e$ des images visuelles creuses est $d{\acute{e}}pouill{\acute{e}}e$ de plus en plus des espaces de $r{\hat{e}}veries$. C'est une des raisons que le $logosph{\grave{e}}re$ de Bachelard doit ${\hat{e}}tre$ $r{\acute{e}}activ{\acute{e}}$ aujourd'hui.

• 대한음성학회:학술대회논문집
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• 대한음성학회 1996년도 10월 학술대회지
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• pp.252-257
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• 1996

La structure syllabique est un facteur important dan la prononciation d'une langue. Dans cette these, on a essaye de montrer que les caracteristiques de la syllabe varie d'une langue a une autre, et que les regles qui regissent la syllabe dan la langue maternelle a le dessue et done fait appliquer ses regles a la langue etrangere. Premierement, l'accentuation du coreen depend de la structure syllabique (qu'elle soit consonne-voyelle(CV) ou consonne-voyelle-consonne(CVC) et de la longueur de la voyelle. Ce qui fait que bien que le francais soit oxyton, et que la longueur et la qualite de la voyelle dependent de la structure syllabique, le francais, le francais parle par les coreens suit les regles du coreen. Autre caracteristique est que le coreen n'admet pas de suite de consonnes avant et apres la voyelle centrale comme dans "premier"[$pr{\partial}mje$] "autre"[o:tR]. D'ou l'insertion de voyelle superflue comme [${\varpi},{\;}{\wedge},{\;}{\partial}$]. Troisiemement, il existe une difference dans la coupe de la chaine parlee: en coreen la coupe ecrite(le blanc) egale a peu pres a la coupe orale(la pause) alors qu'en francais, c'est en groupe de mots que se fait la coupe. A l'interieur du groupe, les mots sont lies entre eux, soity par liaison, soit par enchainement. On peut remarquer donc une nette influence du coreen, ou la regle est de prononcer correctement par unites ecrites (equivalent des mots en francais) : la chaine parlee devient saccadee, avec un accent sur tous les mots, et des coups de glotte entre les mots, et l'une des voyelles [${\varpi},{\;}{\wedge},{\;}{\partial}$] inseree entre un mot se terminant par une consonne suivi d'un mot qui commence par une consonne.

• 한국HCI학회논문지
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• 제10권2호
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• pp.57-64
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• 2015

본 논문은 문학비평에서 사용되는 파라텍스트라는 개념을 통해 모바일 혼합현실 기술의 가치와 의미, 속성을 새롭게 조명한다. 물리적 장소가 메인텍스트이자 고정된 체계인 '랑그(langue)'라면 일반 사용자들이 현장에 남기는 참여적 저작과 시공간적 흔적과 발화는 '빠롤(parole)'에 해당하며, 이들이 혼합된 모바일 혼합현실 스토리텔링을 파라텍스트로 보았다. 이에 대한 구현 가능한 방법과 미적 변용의 실험 및 응용들을 제시함으로써 모바일 혼합현실 공간의 파라텍스트 개념을 구체화했다.

• 한국디지털건축인테리어학회논문집
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• 제3권2호
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• pp.14-19
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• 2003

In this paper, I tried to apply the viewpoint and the method of "Cultural Study" to the analysis of a Architecture. "SE HAN DO(歲寒圖/ Jeonghee Kim 金正喜/ 1844)", the masterpiece of the "literary artist's paintings"(文人畵) is used as a 'TEXT‘(: parole) and analysed to show how artist's value and social-cultural ideology (as a 'CONTEXT':langue) are projected to the space and architectural vocabulary.

• 비교문화연구
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• 제37권
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• pp.211-231
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• 2014

Comment faciliter l'apprentissage du français pour rendre notre enseignement plus efficace? Beaucoup de recherches ont ${\acute{e}}t{\acute{e}}$ $men{\acute{e}}es$ sur cette question; en $r{\grave{e}}gle$ $g{\acute{e}}n{\acute{e}}rale$ l'enseignement de la langue d'une part et l'expression ${\acute{e}}crite$ et la $r{\acute{e}}flexion$ d'autre part ${\acute{e}}taient$ $men{\acute{e}}es$ $ind{\acute{e}}pendamment$. Notre intention dans ce $pr{\acute{e}}sent$ travail a ${\acute{e}}t{\acute{e}}$ d'introduire et $d^{\prime}e xp{\acute{e}}rimenter$ pendant $l^{\prime}ann{\acute{e}}e$ scolaire des cours associant le $d{\acute{e}}bat$ $d^{\prime}id{\acute{e}}e$ et la $r{\acute{e}}flexion$ $th{\acute{e}}matique$ avec l'apprentissage linguistique(grammaire, vocabulaire${\dots}$), afin de susciter $l^{\prime}i nt{\acute{e}}r{\hat{e}}t$ des apprenants, leur $curiosit{\acute{e}}$ et leur $vivacit{\acute{e}}$, au $del{\grave{a}}$ des $d{\acute{e}}fis$ $pos{\acute{e}}s$ par la langue française. Nous avons en particulier $utilis{\acute{e}}$ une $publicit{\acute{e}}$ comme support d'apprentissage des bases linguistiques et comme moteur $d^{\prime}{\acute{e}}veil$ ${\grave{a}}$ la civilisation française pour mobiliser leur attention et stimuler leur $activit{\acute{e}}$ cognitive par $l^{\prime}interdisciplinarit{\acute{e}}$. Nous avons donc $expos{\acute{e}}$ ici les exemples d'argumentation autour les deux $s{\acute{e}}quences$ publicitaires conduites avec les ${\acute{e}}tudiants$ et les arborescences $d{\acute{e}}gag{\acute{e}}es$ de ces analyses. Presque concomittamment ${\grave{a}}$ "voir" et "${\acute{e}}couter$", l'information est $trait{\acute{e}}e$ par $l^{\prime}activit{\acute{e}}$ "$d{\acute{e}}coder$". Nous approfondissons ensemble cette $interpr{\acute{e}}tation$ $s{\acute{e}}miotique$, et l'analyse de la façon dont la $publicit{\acute{e}}$ capte l'attention du spectateur nous $am{\grave{e}}ne$ ${\grave{a}}$ $d{\acute{e}}gager$ des faits de $soci{\acute{e}}t{\acute{e}}$ et ${\grave{a}}$ y $r{\acute{e}}fl{\acute{e}}chir$; comment, avec l'exemple de la $publicit{\acute{e}}$ jouant la musique $d{\acute{e}}licieuse$ de la gourmandise, nous entrevoyons la $r{\acute{e}}alit{\acute{e}}$ obscure de $l^{\prime}ob{\acute{e}}sit{\acute{e}}$ infantile. Ces approches interdisciplinaires ${\grave{a}}$ partir du multi-$m{\acute{e}}dia$ $r{\acute{e}}pondent$ ${\grave{a}}$ la $n{\acute{e}}cessit{\acute{e}}$ de distance critique que requiert la $soci{\acute{e}}t{\acute{e}}$ contemporaine. $L^{\prime}{\acute{e}}tude$ d'une $s{\acute{e}}quence$ publicitaire ne permet certes pas $d^{\prime}appr{\acute{e}}hender$ la $soci{\acute{e}}t{\acute{e}}$ française dans sa $globalit{\acute{e}}$, mais en $consid{\acute{e}}rant$ que notre travail consiste tout autant ${\grave{a}}$ stimuler la $facult{\acute{e}}$ critique $qu^{\prime}{\grave{a}}$ favoriser l'apprentissage linguistitique, notre $strat{\acute{e}}gie$ nous permet de $r{\acute{e}}aliser$ plusieurs objectifs autour d'un $m{\hat{e}}me$ axe d'enseignement.

• 복식문화연구
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• 제8권5호
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• 한국의류학회지
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• 제29권1호
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• pp.13-22
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• 2005

The purpose of this study is to understand the feature and phenomena of women's costume in Choson dynasty by the approach of semiotics. In order to do so, F Saussure's linguistic symbol theory, C. Peirce's conception on semiology theory and cultural semiology of R. Barthes ware used as tool to analyse traditional women's costumes in $Chos\v{o}n$ dynasty. And I choose basic conceptions based on their semiotic theory. which were langue & parole. dennotation & connotation, paradigm & syntagm, code, and analysed. structure of sign, communication though the non-language. The fashion of the $Chos\v{o}n$ dynasty contains various meaning as sign symbol system and makes the communication possible as it is mentioned above. We nay understand the sign symbol system described in the fashion sign by analysing the structure and meaning operation of sign on the basis of social, political, and idealistic background of the times, to understand the polysemy quality of the fashion.

• 한국전자통신학회논문지
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• 제5권5호
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• pp.459-464
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• 2010

컴퓨터 프로그램은 기계, 우주, 항공, 의학을 비롯한 사회 전 분야에서 필요로 한다. 하지만 프로그래밍 교육과정은 수많은 교재와 동영상 강의에도 불구하고 어려워하고 있다. 프로그래밍 언어는 매우 다양하지만 대부분의 언어들은 동일한 구조를 사용하며, 표현 방식에 차이가 있을 뿐이다. 그래서 하나의 프로그래밍 언어를 습득하면 또 다른 언어를 배우는데 많은 시간과 노력을 기울이지 않아도 된다. 대부분의 프로그래밍 언어들은 일반적으로 순서, 선택, 반복 구조를 사용한다. 프로그래밍을 배우는 사람에게 중요한 것은 프로그램의 문법이 아니라 프로그램의 구조나 알고리즘이다. 본 논문에서는 순서도를 활용해 구조화된 프로그래밍을 학습할 수 있는 언어 학습 시스템을 설계하고 구현하였다.

• 동의생리병리학회지
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• 제29권2호
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• pp.127-132
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• 2015

In order to grasp the clear concepts and variables to treat Shanghan diseases which has complex meaning by each medical literature, several concepts and analytic method of structuralism from early to late stage encompassing Saussure and Derrida were used. Main concepts are langue and parole, signifiant and signifie, syntagme and paradigme, denotation and connotation, synchronie and diachronie, identity of structure and differance etc. and methods are substituting these concepts to historical Shanghan theories from Zhongjing to Ming-Qing dynasty and comparisons of synchronie about their era. Essential qualities of Shanghan diseases are pathologic phenomena under the order of unification of nature and man formed through concrescence between individual human body and geo-climatico-socio-cultural environmental conditions, neither injuries by cold pathogen nor five types of exopathogenic febrile diseases. The former environmental elements can be inferred from general traits of desires and public pathological aspects of social members, and the latter personal factors from corresponding features to those pathogenic variables. In addition, the concepts of Shanghan disease are added successively up to now via Jin-Yuan's four great masters and Wenbing masters, and thus the new concepts of denotation became another connotation obtaining new signifiant. In this way, for the treatment of Shanghan diseases, new theories should be made for ranging prescription over the wenbing field; reflecting not only climatical variables but also each patient's physio-pathological features and sociocultural variables. Thereby an appropriate and reasonable therapeutical systems can be designed and can guide research direction hereafter.