• 만화애니메이션 연구
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• 통권14호
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• pp.53-63
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• 2008

이 논문에서는 애니메이션에서 표현되는 '손'의 의미작용에 관해 연구해보고자 한다. 애니메이션에서 '손'은 단순한 조형적 제시나 의미전달뿐 아니라 내면의 의식과 이미지를 재창조하는 다양한 시도로 나타난다. 또한 '손'은 내러티브 형식으로서의 주체이자 객체로 개인의 의식과 사회적 현실을 동시에 반영하는 데 효과적인 역할을 한다. 따라서 본 연구 가 주목하는 것은 부분 또는 전체로 표현되는 '손'이 어떻게 애니메이션에서 작가의 의식과 시대성찰을 구현하고 있는가하는 점이다. 이처럼 '손'과 같이 일부로써 전체를, 또는 전체로써 일부를 나타내는 비유적 표현법으로 작품의 내용이 실제 세계를 드러낸다고 보는 시각은 수사학의 분야 중 제유에 가깝다고 보고 이를 분석들로 삼고자 한다. 이에 이지 트릉카(Jiri Trnka)의 작품 손(The Hand)을 필두로 애니메이션에 나타난 제유의 표현과 이를 통한 기법과 의미의 확장을 연구해 보고자 한다.

• 디자인학연구
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• 제20권2호
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• pp.77-88
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• 2007

Visual trope is one of the important appealing methods of creativity to induce voluntary consumer participation. In many cases, it delivers a message using metaphors. To define the concepts of_metaphor, we investigated methods of expression and significance of metaphor itself and associated forms; in all: metaphor, analogy, catachresis, metonymy, and synecdoche. We also considered the structure of each form to propose a method of metricizing the metaphor Consequently, we found that the metaphor of a visual trope is a type of operation and development of codes. We suggested models for each form type and concept of metaphor through the evaluation of metaphor significance and case study. Metaphor significance forms mutually close relationships with codes of pragmatics, semantics, and syntax. We suggested a type of metrics or a guideline for an expression method and evaluation of a visual trope appropriate for a metaphor form type. Therefore and importantly, the following study presents unique, but manifold results that are also useful in the field of design.

• 한국의류학회지
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• 제28권11호
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• pp.1415-1425
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• 2004

The purpose of this study was to analyze a theoretical frame of expressional area, the characteristics and the effects which is applied to fashion illustration by metonymic theory. The theoretical frame of expressional area was analyzed by category analysis and 150 fashion illustrations from 1900 to 1999 were analyzed by contents analysis. The results of this study were as follows: The expressions of metonymy were categorized by close-up, realistic expression, omission, borrowing of past style, simplification and deconstruction. First, close-up was presented as emphasis of small part of fashion by cutting the scenes, snapshot, emphasis, etc. Second, realistic expression was presented as description of related circumstance with fashion message through perspective and realistic description of circumstance related to figures. Third, omission was presented as seeking of essential core by removing color, pattern, texture or by omitting body and as emphasis of communication about dominant fashion message. Fourth, borrowing of past style was presented as reminding us of background of the past. Fifth, simplification was presented as using of form or color to alleviate tension of object and to restore the essential reality. Sixth, deconstruction was presented as fragmenting of image, flattening of body and clothing, weakness of form, and strength of color. In conclusion, metonymy made by experience system of thinking based on the reality, have extended expressional territory in pre-existing fashion illustration. And these ways not only will provide fashion image as illustrator's subjective intention and theoretical system of expression of message, but also will be useful way to strengthen communication for easier interpretation of fashion illustration.

• 디자인학연구
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• 제16권1호
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• pp.297-304
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• 2003

본 연구의 목적은 수사구조를 이용하여 웹 그래픽에 나타난 특성과 상호 관련성을 밝히고 이를 통해 언어구조에 제한하던 수사학의 활용 범위를 넓히는데 있다. 연구를 위해 네 가지 수사구조(은유, 환유, 제유, 아이러니)를 설정하여 흠 페이지의 웹 그래픽의 재료들을 중심으로 진행하였다. 개별적 그래픽의 특성을 파악하기 위해 기호학적 관점과 접근방법을 통해 분석, 해독하였으며 다음과 같은 결론을 모색 할 수 있었다. · 웹 그래픽은 기호의 본질적 특성인 차이로 인한 기호화 작용에 관여한다. · 웹 그래픽은 서술구조에서 출발하여 상징화구조로 이어지며 이때 응축과 전이작용을 중심으로 해독의 실마리를 제공한다. · 웹 그래픽은 수사학적 코드를 활용하여 기저의미의 해석소를 제공하며 수용자의 인식과정에 작용한다.

• 영미문화
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• 제9권1호
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• pp.51-70
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• 2009

For a long time Westerners have considered the Orient as unknown and mysterious, but Orientals soon came to be seen as weak and dependent, or feminine. The Oriental woman became a synecdoche for the Orient itself. We can find this theme in several British plays that deal with the Orient and Oriental women, including Shakespeare's Antony and Cleopatra and Dryden's All for Love. Both of these plays have Egypt as their setting and Cleopatra as a main character. For a better society, Shaw emphasizes the importance of education. In Caesar and Cleopatra, Shaw sees Egypt as a weak and dependent country which needs the help of Rome. Accordingly, he depicts Cleopatra as young and ignorant, needing to be educated in her role as a queen. Shaw finds possibilities for growth and independence in the Egyptians and Cleopatra, who recognize themselves as Egyptians and pursue their identity apart from the colonialization of Rome. Here the Egyptians attempt to resist and escape the oppression of Rome. Young, dependant and ignorant Cleopatra becomes independent and knowledgeable as the result of her education by Caesar and in the end she becomes a real Egyptian queen. According to Shaw, the Orient and women have the potential to develop themselves and ultimately to overcome the government of Western countries and men. In this play, Shaw emphasizes the potential of the Orient and women and the importance of education. Shaw thinks women can grow and develop through education. Especially through Cleopatra's growth, his thought can be applied for Oriental women as well as Western women. His thought is beyond the 19th century British society in which this play was written. Through this play, we can see Shaw's thought is not limited by race, time and place and also has universality to transcend everything.

• 영어영문학
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• 제57권5호
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• pp.839-870
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• 2011

This study compares and contrasts Jane Austen's novels of sensibility with those of Rousseau and Goethe. In Julie, or The New Heloise and The Sorrows of Young Werther, the passionate but doomed love of the heroine and her lover is juxtaposed with her passionless marriage to the virtuous husband. In Sense and Sensibility and Pride and Prejudice, Austen revises Rousseau and Goethe's novels of sensibility to accommodate them to the puritanical English literary conventions. She parodies the basic plot of Menage a trois found in their novels of sensibility and transforms her novels into British Bildungsroman, focusing on the heroines' maturation. In Sense and Sensibility, Marianne stands up against the mercenary and snobbish high society. However, Austen represses Marianne's sensibility since the indulgence in sensibility can bring about sexual fall, as is evidenced by the cases of the two Elizas. Marianne's dangerous fever following Willoughby's betrayal emphasizes that female sexual desire should be punished for her continued existence in the high society. The taming of her sensibility and body through the fever is posited as a prerequisite for the happy marriage. In Pride and Prejudice, Elizabeth favors the deprived Wickham over the wealthy Darcy. As Wickham turns out to be a debauched lover, Darcy snatches sexual charms from him and is transfigured into one of the most virtuous and attractive husbands in Menage a trois of the novels of sensibility. Acknowledging sexuality as a vital element of a courtship, Austen embeds sexual desire in dances and glances. However, Elizabeth has to repress sensibility and desire and the complete gratification of desire is continuously deferred to some indefinite period in the future. Marriage is a synecdoche for the union of the bourgeois and the aristocracy in Austen's Bildungsroman and Marianne and Elizabeth are bestowed with happy marriage in return for repressing their sensibility and desire. Since their 'normality' and 'maturation' have been achieved at the expense of subversive sexual power of deviant sensibility, they look too impotent to gratify their desire when they finally secure comfortable but mediocre upper class life.

• 대중서사연구
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• 제25권3호
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• pp.267-302
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• 2019

'설화'는 크게 '신화', '전설', '민담'의 세 가지 형태로 구분되며, 역사 시대 이전부터 구전으로 전승된 이야기들을 일컫는다. 본 연구는 문화 연구의 관점에서 동북아시아 문화의 원천으로서의 설화를 거시적·담론적으로 연구하기 위해, 설화의 '상징성'에 초점을 맞춰 동서양의 설화를 둘러싼 담론을 비교연구하여 동북아시아 설화연구의 특성을 짚어 보고자 한다. 즉, 근대화를 거치면서 탈신화화되고 탈주술화된 서구 사회와 동북아시아에서 설화가 갖는 상징적 의미를 찾아보려는 것이다. 설화는 오랜 기간을 거쳐 민간에서 구비전승되며 변화한 것은 물론 근대화 과정 속에서 문자화되며 고대의 원형적 모습을 잃고 현대성 속에서 '오염'됐을 수밖에 없다. 그럼에도 근대화가 탈각시킨 자연과 인간의 '유사성'의 원리는 아직까지도 설화에서 찾을 수 있다. 때문에 서구에서는 설화 중에서도 신화를 중심으로 잃어버린 주술적 사유를 복원하려는 연구가 이어지고 있다. 따라서 본 연구에서는 한국, 중국, 일본의 동북아시아 국가들이 압축 근대화를 겪으며 상실한 신화적 사유의 상징성을 설화의 비유적 특성과 함께 고찰해보고자 한다.