• Cartoon and Animation Studies
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• s.37
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• pp.197-219
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• 2014

, one of the Disney's animations, hit the 10 million audience mark for the first time in the history of animations released in Korea. 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 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 , 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 was an action of true love. From the semiotic square analysis on the meaning of , it was found out that 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 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 in Korea.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.261-285
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• 2016

Saseol-sijo, a form of sijo with longer verses, still affords pleasure to modern readers, even when it is read without the original performance context. In this study, I focused on Saseol-sijo that induces laughter through exaggeration and caricature while singing about eagerly waiting for a lover who has left. These texts describe concurrently the emotions that are contradictory to each other, such as nostalgia and laughter. In addition, this feature reflects human's inner emotions that are not unified but rather change dynamically. Craving creates a sense of nostalgia, and also produces a comical element in nostalgia, so that nostalgia and laughter can be co-exist without conflict. In this study, 'semiotic square' was applied as the framework for interpreting the Saseol-sijo, which demonstrates the coexistence of inconsistent meanings. As a result, a Saseol-sijo which sings about waiting for a lover can be interpreted through contraires such as prohibition and authorization, craving and concerns, exposure and concealment and concentration and dispersion. The nostalgic laughter in Saseol-sijo is generally based on the conflict between the craving self and the restrictive world. A character consumed by craving may seem ridiculous and pathetic in the view of others. However, people in general would find sympathetic humor and identify with characters who portray their weaknesses or repeat their mistakes. After all, this is the laughter of compassion and reflection which Saseol-sijo evoke.

• Journal of Korea Game Society
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• v.14 no.5
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• pp.15-24
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• 2014

Semiotics studies the structures and systems of all signs related to human life, thus being capable of analyzing games. "Playing games" can be deemed as an act of reading or interpreting games semiotically, which makes game producers "senders," games "texts," gamers "receivers," and gamers playing games "contexts." Since most games are in the multi-variable narrative format, however, it is not a frequent case that gamers interpret games in the ways intended by producers. This study thus set out to analyze and interpret the console game (2001) remembered as the same evaluation by many gamers in the way intended by the producer. For analysis, the study defined its story program by analyzing the plot and sequence. For semantic analysis, the study applied the Actor Model and the Semiotic Square Model to interpret . The process identified such codes as confrontation, assistance, collaboration, and control and confirmed that Ico and Yorda, non-subject characters, were transforming into subject ones. That is, tells a story of the main characters that used to lead a non-subject life earning lives of their own.

• Cartoon and Animation Studies
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• s.16
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• pp.101-112
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• 2009

The purpose of this study is to analyze trilogy by means of semiotics. trilogy constructs a story as a whole while each piece delivers a concluded ending. This study used 'modele actantiel' and 'carre semiotique' of Greimas in order to clarify not only the meaning structure but also the course of narrative of . is a compelling story which reverses the fairy tale of a beautiful princess and a heroic prince. Each piece of the trilogy unfolds as following; (1)ls the love of a princess and an ogre possible? (2)Can the marriage of the couple get confirmed? (3)Can Shrek be free again? The repeated meaning structure of trilogy is the binary opposition of nature versus culture, and the narrative course forms the meaning square on the basis of the opposition. Human culture represented by the lord Farquaad and Duloc castle signifies cleanness, order, complex, anxiety, paranoia, authoritarian, and violent. On the contrary, Nature represented by Shrek and the swamp signifies barbarity, freedom, confident, maturity, unstrained, and humar. The meaning of Shrek series is generated by the structure of the basic discrimination of culture versus nature. However, as story twists the bias and fixed idea, the meaning structure of Shrek shows a unique relationship of culture and nature. Although Shrek, an ogre, lives alone in a swamp because of the bias of human world, he is depicted as self-sufficient, comfort, and broad-minded. On the basis of this meaning structure, Shrek is not a story that an ogre(nature) strives to enter the human culture, nor a story that nature wins a victory at the confrontation between culture and nature, but a story that human(culture) and ogre(nature) overcome their fixed ideas through the transition from culture to nature and vice versa.