• Korean journal of communication and information
• /
• v.45
• /
• pp.255-295
• /
• 2009

The purpose of this study was to investigate how much multi-cultural traits the multiculture-oriented TV programs would have and how they tended to represent it with what kinds of meaning structures. As an object of this study, the authors chose the Program of KBS-TV which had been discussed seriously to raise a multi-cultural issue as well as a sexuality issue of lady guests. They collected 70 weekly programs from Nov. 26 of 2006 to March 31, 2008, and finally selected and analyzed 5 weekly programs as main analytic data. They tried to analyze them with various semiotic research methods, especially, linguistic semiotic research methods and pictorial research methods. As results of this study, it was found that this Program was based on multiful-levels of meaning structure: that is, superficial level, representation level and in-depth level. The superficial level of this program presented various multi-cultural traits through many and various talks of lady guests. Its representation level indicated some patterns of discourses about issues and agendas of the talks among lady guests. The in-depth level was based on the sexuality of lady guests as well as the male-dominant ideology. It was finally implicated that this Program was based on the sexuality and feminity of lady guests even though it tried to advocate its multi-cultural traits.

• Archives of design research
• /
• v.18 no.3 s.61
• /
• pp.45-54
• /
• 2005

Visual messages are fundamental elements for performing communication and indicate the signs which are delivered from the communicator to the communicatee via channels, Generally, we can classify visual messages into two groups; linguistic factors which are rational and deliver abstract concepts and unlinguistic factors which are mental and can be expressed concretely. Especially, web site with receivers' low attention and concentration need images which can attract their attention to visual messages. That is, web site is a medium which allows us to feel visual and emotional experiences. We can call it a standard of sign systems which are consisted of various styles of digital texts. The main purpose of this study lies in that we'll analyze how homepage introductory page as one of the forms of digital text conduces a meaning action to the receivers and that we'll apprehend the structures of images and different types of signs via a semiotic approach and analyze the underlying meaning of the messages. In order to survey the structures of images we'll look into the attitude toward perceiving messages by using semantic differential method which has been developed mostly by Osgood and analyze the visual images by adopting sign types of Fuss. As the signification is created by combining signs, it is significant that we'll analyze the meaning of sings between the transmitters and receivers from the semiotic viewpoint and study the signification systems.

• 기호학연구
• /
• no.57
• /
• pp.59-90
• /
• 2018

This paper examines the discussions related to image and signification through the theories of Roland Barthes. We have already been able to see through the studies of Semiotics and Anne H?nault that the denotation is distinguished from the connotation in the linguistic dimension. Through the analysis of the advertising image of Barthes, we have seen that the syntagmatic relationship can make the sense of the image objective. From this study, we also emphasized that it is possible to subjectively interpret images that deviate from the syntagmatic relationship. In addition, we examined the concepts of Studium and Punctum by Barthes. With this we have found that the definition of a personal meaning to objects has a theoretically clear position. Finally, we have been able to understand the concept of 'le sens obtus' through the article ${\ll}$ Le troisi?me sens ${\gg}$. The notion of 'sens obtus' makes it possible to realize that the objective and clear sense of object is not the one chosen primarily from the subject. By facing an object such as an image to be interpreted, the subject is placed in a situation where he is not compelled to choose a meaning but rather he chooses one of the possible senses. This makes it clear that the semantic levels provided by semiotic theories are limited to the analytic dimension.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.31 no.1 s.160
• /
• pp.11-20
• /
• 2007

The purpose of this study is to analyze the various signs seen on TV commercials for school uniforms since year 2000, thus uncovering the connotative meanings in them. For this study, the semiotic approach has been used. The signs seen on the TV commercials are separated into linguistic and visual signs. They are found to have symbolic connotations. The results are as follows: First, there are plenty of signs expressing the sense of belonging to the student group and sense of conformity to his or her peer group. They are intended to garner their collective identity in the peer group of teenagers. Second, the TV commercials express the self that is realizing one's value dynamically. The frequent designation of 'I', 'me' and 'myself' represents that I am at the center of the world. Furthermore, the suggestion of diverse student roles beyond mere academic pursuits symbolically shows the ideal self that most teenagers wish to have. Third, the TV commercials implied a commercial ideology. That is expressed in the emphasis on aesthetic value that teenagers can realize their self only by consuming expensive school uniform brands. Forth, there are many signs related to appearance and appearance care. They are expressed with very specific signs such as 3 : 7 proportion, long legs, small face, and so on. Repeating or emphasizing the importance of looks and a certain brand name as the tool to accomplish better looks indicates that it contains the ideology of appearance management.

• New Physics: Sae Mulli
• /
• v.68 no.12
• /
• pp.1364-1373
• /
• 2018

A recognizable form having meaning is called a sign in semiotics. The sign is transformed into a physical counter form in this work. Its internal structure is restricted on the linguistic concept structure. We borrow the concept of a mathematical function from the utility function of a rational personal in the economy. Universalizing the utility function by introducing the consistency of independency on the manner of construction, we construct the probability. We introduce a random variable for the probability and join it to a position variable. Thus, we propose a physical sign and its serial changes in the forms of stochastic equations. The equations estimate three patterns (jumping, drifting, diffusing) of possible solutions, and we find them in the one-day stock-price flow. The periods of jumping, drifting and diffusing were about 2, 3.5, and 6 minutes for the Kia stock on 11/05/2014. Also, the semiotic sign (icon, index, symbol) can be expected from the equations.

• Cross-Cultural Studies
• /
• v.42
• /
• pp.241-260
• /
• 2016

The purpose of this article is to represent the types of advertising in the modern Russian language as 'Play of Words' (игра слов). The causal reason for this phenomenon is studied from the result of certain characteristics of advertising. The definition and characteristics of the language of the advertisement are analyzed in achieving the goal, as these factors reveal how language is used to maximize the effectiveness of the advertising. Academic research is needed in the collaborative fields of linguistics, psychology, economics, sociology, marketing, literature, art, and music. Modern advertisement is mixed with semiotic objects that consist of display, sound, and texts. While this study is not complete, the acknowledgement of the phenomenon 'Play of Words' between the creators of advertising and the consumer is undeniable. On one hand, advertising is recognized by linguists as the main factor that destroys the literary language. It represents the distortion of a standard language norm, as opposed to formal linguistic means used in advertising. In this research, we pay attention to the frequent use of foreign language borrowings and incorrect representation of foreign words, slang and jargon, that occur in misspelled usage of literary norms. The features that are revealed in this article are helpful to understand the purpose of advertising.

• Broadcasting and Media Magazine
• /
• v.10 no.1
• /
• pp.85-98
• /
• 2005

About the phenomenon of being imaged of everything, the scholars of the humanities who had studied on the simple reason structure in a text have been in a big agony how accept it. Especially, semiologists have studied about this for a long time and the points at issues of Saussure, Peirce as well as Umbeto Eco are more outstanding. Being based upon his philosophic interesting from medieval esthetics to modern semiotics, Eco was very concerned about the field of general esthetics and poputar arts like television and cartoons. He connected the mutual open-relations between 'signifier' and 'signified' debated in Semiotics with the open and vague modern arts and regarding it as a deviation from the custom, intensively studied the film-media. Saussure is a representative figure of semiotics and explained Sign and the character of semiotics as the division into two parts such as signifier/ signified, form/ substance, langue/ parole, synchrony/ diachrony. The triadic semiotics (the theory that Sign is composed of the triadic structure like sign, referent and interpretant) of Peirce put the new item- 'interpretant' in sign and referent to connect them and open the possibility to introduce time in to the Sign. In this paper, I try to analyze a cartoon film in the semiotic structure with the systemic, reasonable and logical approach and analysis as as possible. While the images shown through a film were depended on the romantic and impressional judge in the past, due to semiotics, it' s quite possible to correlate the procedure of symbolization to social coherence so that we analyze the incredible power of images to suck audiences with the systemetic Sign. I accept all ot film-images including a cartoon film as not the simple esthetic arts but a social custom and system, want to serve as a aid to properly understand world and humanbeings and prevent the film-image from being mystic. A cartoon and a cartoon film which were begun with the link of a text and an illustration give shape to all of images such as materials, places and even thoughts with a cartoon icon existed in only a cartoon. A cartoon and a cartoon film simply and exquistely conceptualize the complex and vague attribute of an organic creature and extend them infinetly beyond language. However, it can be exploited as a mysticism to temptate the general public and a faking material. In addition to that, it can distort our world-knowledge engaging a political power and the massive power of mass media. In this paper, being based on semiotics to approach a cartoon film in a scientific and organic system, I conclude that a non-linguistic cartoon expression is entangled with the manifold signs and implies the supplementary meanings just like a regular linguistic expression. It remarks that the iconic images of a cartoon film are composed of the social codes and can be analyzed on grounds of a linguistic system.

• Broadcasting and Media Magazine
• /
• v.10 no.1
• /
• pp.99-112
• /
• 2005

Christian Metz, the precursor of cine-semiology, considered cinema as a language in the sense that it is a set of messages grounded in a given matter of expression, and a signifying practice characterized by specific codifications. According to Metz, film forms a structured network produced by the interweaving of cinematic codes, within which cinematic subcodes represent specific usages of the particular code. For Metz, cinematic language is a totality of cinematic codes and subcodes, and history of the cinema is the trace of the competition, incorporations and exclusions of the subcodes. He also suggested a filmic text is not just a list of codes in effect, but a process of constant displacement and deformation of codes. Following Metz' textual analysis methodology, I investigated the formal configuration of Hayao Miyazaki‘s animation, Spirited Away. It is interesting to trace the interweaving of cinematic codes in Spirited Away, i.e. codes of lighting, color, movement, and auteurism, across the animation. I focused on the first scene at the bridge to Yubaba's bathhouse, analyzing each cinematic code and its subcode applied. The first bridge scene is carefully constructed to stand out the confrontation of Chihiro (with Haku) and the bathhouse. The bathhouse is not just a building, it represents the powerful witch, Yubaba, yet to appear on the scene, and functions as an antipode to Chihiro. In each shot, every subcode within the codes of framing, direction, angle, color, lighting and movement is used to maximize the contrast between the dominant bathhouse and the feeble 10-year-old girl. In Spirited Away, the subcodes within each cinematic ode are constantly competing and displacing each other to augment the antithesis between the characters and develop the narrative. As Metz's argument that film constitutes a quasi-linguistic practice as a pluricodic medium, Spirited Away communicates with the spectators with the combination and displacement of these cinematic codes and subcodes.

• 기호학연구
• /
• no.56
• /
• pp.7-44
• /
• 2018

The objective of this paper is to propose a classification of Korean taste terms, especially Korean taste adjectives, from the perspective of cognitive science. The classification of Korean taste terms is here grounded in the definition of 'taste sense', 'flavor' and 'taste' which is usually employed in disciplines of cognitive science. There have been a large number of domestic researches in field of taste terms. Accordingly, a lot of research findings on the classification of taste terms have steadily been released showing the differences among researchers. These different classifications are largely based on the fact that researchers have applied their subjective criteria rather than their objective in order to categorize taste terms. According to previous studies, it is well-known that, in everyday usage, the term 'taste' covers a much wider range of qualities than those perceived through the taste receptor cells alone. In addition, we take it for granted that as much as 80~90% of taste comes from olfactory modality. It is also important to note that the texture and temperature of food, the color of food, the sounds of food, and atmospheric cues have an essential effect on taste perception. Many scientists have already pointed out that taste evaluations are influenced by a number of individual and sociocultural factors. Eating and tasting are important parts of our everyday life, so that linguistic approaches to taste perception seem to be of great significance. We can assume that a classification of taste terms from the perspective of cognitive sciences may shed light on the perceptive mechanism through which we perceive taste. It should be noted that this paper is an advanced work prepared for the follow-up study which will try to make a geometric model of word field 'taste terms' existing or probably existing in the mental lexicon of human beings.