• 한국수학교육학회지시리즈E:수학교육논문집
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• 제32권3호
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• pp.407-433
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• 2018

본 연구의 목적은 담론적 관점에서 수학 교과서를 분석하기 위해 선행 연구를 바탕으로 분석틀을 재구성하고, 중1수학 교과서의 '그래프 정의'에서 단어와 시각적 매개체가 생성하는 의미와 그 통합 관계를 분석하는데 적용하는 것이다. 담론적 관점은 Sfard(2008)의 의사소통학적 관점과 Halliday(1985/2004)의 체계기능언어학을 바탕으로 발전된 사회기호학적 관점이 통합된 것으로 이를 바탕으로 본 연구에서는 단어와 시각적 매개체가 생성하는 의미는 교과서에 구현된 수학을 관념적 메타기능이 실현하는 의미 측면과 학생의 수학적 활동의 참여 유도성을 대인관계적 메타기능이 실현하는 의미 측면으로 구분하여 분석하였고, 단어와 시각적 매개체의 통합 관계는 텍스트적 메타기능 측면에서 분석하였다. 그 결과 첫째, 단어의 관념적 의미는 수학 담론의 밀도가 높았을 뿐 아니라 수학적 활동의 주체가 모호하였고 학생 참여를 요구하는 단어의 대인관계적 의미는 사고보다는 주로 행동 측면이 강조되었다. 시각적 매개체가 구성하는 관념적 의미에서는 내러티브 다이어그램이 결여되었고 대인관계적 의미에서는 정보 제공에 질적 차이가 있었다. 둘째, 단어와 시각적 매개체의 통합 관계는 구체화, 설명, 유사, 보완처럼 다양한 방식을 통한 풍부한 수학 의미 형성을 위해 통합 관계의 다양성을 지향할 필요가 있었다. 이러한 결과는 수학 교과서를 분석하는데 의미를 생성하는 도구로서 단어와 함께 시각적 매개체의 사용을 분석하고 단어와 시각적 매개체의 통합 관계를 분석하였기 때문에 담론적 관점에서 교과서 분석의 새로운 분석틀을 제공한 의미가 있다.

• 패션비즈니스
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• 제16권5호
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• pp.88-105
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• 2012

The purpose of this study is to examine the influence of popular culture in fashion politics phenomenon of leader. As study methods the literature study concerning fashion phenomenon and nature of popular culture were used for theoretical background and visual data from magazine, news paper, and internet were used for exploratory study. The results of this study are as follows. First, fashion politics phenomenon of leader in fashion merchandising through the marketing strategy is characterized as commercial profit. These characteristics enable the fashion industry and popular culture affect the formation to provide opportunity. Second, the fashion politics phenomenon of leader projected through mass media are the fashion icons and strong role models that are copied by consumers, conformity the popular, set a powerful fashion trend. The conformity by the mechanism of the interaction of the public will contribute to the formation of popular culture. Third, Semotics symbolism expressed in the fashion politics phenomenon of the leader, the intended message is communicated to the public by creating a positive image. Positive image of the leader of the public support and acceptance is the power to create.

• 한국실내디자인학회논문집
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• 제21권6호
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• pp.147-157
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• 2012

This paper aims to examine the fundamental relationship of what principles cause the aesthetic shapes in Korean sarangbang furniture of the $19^{th}$ century. Focusing on the Greimas' isotopic and semantic structure analysis, this research analyzed the traditional Korean men's furniture in four steps; signifier analysis, isotopic analysis, semantic structure analysis, and comprehensive interpretation. The results show that the expressive qualities of sarangbang furniture included visual symmetric aesthetics, and the hues of natural materials with dark tones. The manufacturing process emphasized the characteristics of natural materials; while diversity was respected in decorations, function as restrained form was also important with a concise image. Through these characteristics, sarangbang furniture revealed a balance, a harmony of contrastive elements, and a restrained aesthetics. Within these qualities, it was seen that aesthetic principles, such as "severance and communication," "artifice and nature," "restraint and manifestation," "toughness and softness," "filling and emptying" and "decoration and utility" were in a mutually supplementary relationship. At the basis of this aesthetic thought appears to be Confucianism, which had been the model for seonbi politics and scholarship.

• 한국의상디자인학회지
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• 제25권1호
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• pp.65-81
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• 2023

The purpose of this study is to interpret the semantic actions of body image symbolized in body expression images shown by micro-influencers body profiles to understand the body profile phenomenon of the MZ generation. As a result of collecting body profile data from micro-influencers, the body profile image types of female influencers on SNS were classified into four types, Athletic, Slim body, Natural, and, Glamorous. Images representing each type were analyzed using the Roland Barthes' Myth model analysis frame. As a result of the semantic analysis, influencers were found to be very active and bold, emphasizing certain body parts according to the type of body image they pursue. Fashion is strategically used to emphasize these aspects. It was found that the ideology of a 'subjective modern woman' was commonly expressed through emphasis on visual signs. This study is meaningful in that it can indirectly lead to the understanding the fashion culture expressed by the MZ generation and provide consumer information and essential data that can be used for communication strategies in the fashion market.

• 정보학연구
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• 제4권2호
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• pp.69-81
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• 2001

지능형 기본구조에 의존하는 내용기반 정보검색 시스템을 발전시키기 위한 많은 노력들이 진행중이다. 실세계에 존재하는 상황을 구축하고 유지하며, 동적 지식 표현을 실용화하고, 문맥을 이용하고, 그리고 진보된 추론과 학습능력을 이용하여 실세계에 존재하는 상황을 구축하고 유지하는 능력을 지능이라고 간주하여 이 지능을 채택한 진보된 내용기반 정보검색시스템을 제안하였다. 지능의 이러한 요소들은 인간의 지각과 인지에 정합하는 의미적 수준에서 시각 정보를 검색하기 위한 효과적인 시스템을 만들어내기 위해 필요로 하는 것들이다. 본 논문에서는 인간이 가지고 있는 지능과 인지 심리학, 인공지능, 기호학의 분야에 존재하는 지능시스템의 구축에 관련한 연구들을 조사해 본 후, 기존의 내용기반 정보검색 시스템의 능력을 개선하기 위해 본 논문에서 제안한 멀티미디어 지식 표현 모형인 MMNet을 알아보고, 이것을 이용하여 시각 정보를 자동적으로 추출하기 위한 지능형 내용기반검색시스템 모형을 만들어 보았다.

• 조형예술학연구
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• 제4권
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• pp.5-25
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• 2002

It is not easy to get more attention as a prominent advertising expression among various types of numerous advertisements. Due to the voluminous expansion of advertising communications and the change of the media, new advertising creatives must be needed for serving to differentiate the message , inviting audiences to participate more positively in advertising communications This thesis aims at reviewing the absence as an advertising creative. And this thesis is about the significations of the absence. Chapter I describes the aim of this thesis about the absence as an advertising creative And Chapter II introduces the general concept, perception of the absence and its possibilities as an advertising creative And also mentions about the absence as one of paradoxical expressions with rhetorical theories as well as semiotics. Chapter III deals with the signification of the absence with introducing semiotic methods such as the theory of R. Barthes Chapter IV discusses the signification of the absence as an advertising creative talking into consideration of semiotic theories. And I categorize the types of the absence in advertising expressions. The absence is categorized into 5 types in this thesis. Type (1) is the absence of product which is supposed to be advertised, type (2) is the absence of product and make product image located out of main image of an advertising expression for introducing features of a product itself. And type (3) is the absence of the imaginary audience to invite an audience to participate more spontaneously. Type (4) is the absence of headlines, and type (5) is the absence of almost all visual images and verbal message but a corporate symbol or brand logo. The signification of S types of the absence can be described on the basic of semiotic theories, especially the theory of R. Barthes. It's my hope that this thesis about the absence as an advertising creative will serve as the basic theory for the empirical research about advertising expressions containing images of the absence.

• 한국식생활문화학회지
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• 제24권6호
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• pp.677-691
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• 2009

In this study, the symbols and visual expressions employed in the food culture content of official website designed to promote three cities in Korea, Seoul, Jeonju and Jeju, were subjected to semiotic analysis. In this study, it was assumed that these websites reflected the varying perspectives of the people behind the development and management of these routes of Internet communication, and the semiotic choices made in order to exemplify each city's food cultural image. The aim of the study was to analyze the communication strategies of food cultural branding in the terms of the online content regarding Seoul, Jeonju, and Jeju with a focus on the comparative points in these cities' official websites. This study included conducting semiotic content analyses of the aforementioned cities' official web pages in an attempt to determine the food branding strategies used to differentiation and produce more favorable perceptions of these three cities. Building upon the findings drawn from this comparative study, the present work can be used to determine more effective ways of strategically differentiating the images of local food culture associated with these cities from the view of brand communications. This study also demonstrates viable directions for designing web content for a city where the food cultural messages can be delivered in a thoughtful and effective manner.

• 조형예술학연구
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• 제9권
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• pp.49-87
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• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.

• 미술이론과 현장
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• 제14호
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• 조형예술학연구
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• 제4권
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• pp.26-66
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• 2002

Scribble methodology is developed from the modernist's effort of pursuing the free expression and painterlyness And in modernism period usual abstract mode is made by simple plastic ingredients. One of them is Scribble way. In the period of postmodern, the Scribbling is confused with destructive methodology like Iconoclasm, Vandalism and scribbling. Lucio Fontana and Robert Raushenberg had developed these methodology and made new direction in $1960\sim1970$. After 1980, there had been graffiti movement similar to scribbling in germany. There had been developed many kind of scribble methodology, in each artist and be prolonged destroy the price of our usual concept. These Styles are able to discerned as follows. Firstly, in case of Cy Twombly, he used very allusive signifier, which contain different motives come from the ancient ruins or myths. The methodology follows multi-codified meaning relationship. Secondly, the methodology was developed by Jean Michael Basquait as the type of Hispanic scribbling for ebony peoples and by Keith Harring as the type of Cartoon image of Mass-media based on technology. Thirdly, the multi-meaning style was developed by David Salle as the type of destructive methodology which are the ambivalent images conjoined difference time and term and by Gigmar Polke as the type of mixture of abstract and realistic shapes together which are based on the aesthetics which is based on pessimistic sight for contemporary civilization. It means the methodology is based on the multi-codification of postmodern semiotics. So the scribbling mode is subjected as important as the changedness of late 20th century painting developments.