• Title, Summary, Keyword: Semiotics

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Charaeteristics of Women′s Fashion in the 20th Century Based on the Threefold Structure of Semiotics (기호의 삼분구조에 의한 20세기 여성 패션의 특성 분석)

  • Kim Eun-Kyoung;Kim Young-In
    • Journal of the Korean Society of Costume
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    • v.54 no.7
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    • pp.41-54
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    • 2004
  • This study purposed to apply function form content, the three concepts that have been discussed by many philosophers since ancient times, to fashion design. Specific research goals are : first, to define fashion design based on the three concepts : and second, to examine how each of the three concepts function-oriented, form-oriented and content-oriented design have been expressed in women's fashion in the $20^{th} century. For these purposes. the author considered Morris' semiotics, which is the theoretical background of the three concepts, reviewed previous researches in design area, and applied the findings to fashion design. According to the result of applying the threefold structure of semiotics. which is the theoretical background of the three concepts, the pragmatic dimension of fashion design comprehends all functional rules related to the use of dress such as body motion and protection, health and safety. air flow and durability, and its syntactic dimension comprehend all the formal elements of visual design such as the structure, shape, line, color and material of dress. The semantic dimension of fashion design includes the symbolic meanings of dress expressed by emotion, sentiment and images. The three dimensions exist interdependently with one another. According to the result of considering the characteristics of the three concepts in the scope of women's fashion in the $20^{th} century. function-oriented design is characterized by practicality and simplicity, and has been expressed as the fashion of functionalism in the 1920s, that of minimalism in the 1960s, and the basic style from 1970s to 1980s, 1990s and the present. Form-oriented design has pursued aestheticism, putting stress upon form, and has been expressed with organic shapes imitating patterns found in nature in the 1950s and with optical art fashion in the 1960s. Content-oriented design attaches importance to transmission of delicate meanings related to the mental world of human beings, and is represented with symbolic forms. Such a characteristic has been expressed in fashion in the early 20th century influenced by surrealism and, with various types of design breaking established forms as well as metaphors and humors that characterize design in the late 20th century.

Semiotic Interpretation of Christian Dior's Fashion Makeup - Focusing on Morris' theories - (Christian Dior 매설메이크업의 기호적 해석 -모리스의 이론을 중심으로-)

  • Kim, Hyun-Mi;Jang, Ae-Ran
    • Journal of the Korean Society of Costume
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    • v.59 no.3
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    • pp.14-26
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    • 2009
  • This study is to investigate makeup shown in fashion collections of Christian Dior based on semiotical theory of Morris. Morris's theory developed from semiotics of Peirce composed of syntactics, semantics and pragmatics. Therefore, in the case of analysis of fashion makeup, syntactics investigates signs of forms, colors, textures and materials of makeup, semantics finds out meanings of the signs of syntactics and pragmatics analyzes aesthetic characteristics which the signs of syntactics and the meanings of semantics symbolize. Fashion makeup in Christian Dior Collections were expressed experimentalism sign, multi-culture sign and popularity sign. Experimentalism signs were expressed with graphic makeup and cyber techno makeup and multi-culture signs were done with ethnic make up and retro makeup. In addition, goth make up and hitch makeup showed popularity signs. This study found that the three types of signs were considered to reflect aesthetics of the contemporary fashion. Also, this study could conclude that fashion makeup was able to be interpreted by Morris' semiotics.

A Study on the Method of Semiotic Approach on Environmental Meaning (환경의미 분석을 위한 기호학적 접근방법 연구)

  • 김주미
    • Korean Institute of Interior Design Journal
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    • no.10
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    • pp.34-49
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    • 1997
  • Architectual environment in this study means a language and meaning complex which makes communication between human beings and environment possible. The purpose of this study is to propose a semiotic approach to analyze and examine meaning, as a semiotic system, and its effects, focusing on the generative meaning in the relationship between human beings and environment. For this purpose, it examines the academic status of modern semiotics in postmodernism and the possibility of its being metalanguatge for a study of a variety of cultural phenomena and desigv. It also provides two viewpoints as propositions for its analysis: it explains the necessity of environmental-discoursive attitude and social-semiotic viewpoint which understands environment as social-cultural reflectors. Finally, it provides framework and all the interpretative procedures for analysis of environmental meanings on the basis of the approach of semiotics of space. By applying the methods proposed this study to the case studies, it also proves validity of this approach and the potentialities of the application of semiotics. This study emphasizes not only denotative configuration of the architectural environment but also its connotative meanings. It maintains that designers, architects, and theorists should realize correctly today's changed value system and social and aesthetic paradigms. It also stresses the necessity of development of the new architectural language and meaning system.

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The Text Analysis of Plasticity Expressed in the Modern Art to Wear (Part II) - Focused on the West Art Works since 1980s - (현대 예술의상에 표현된 조형성의 텍스트 분석 (제2보) - 1980년대 이후 서구 작가 작품을 중심으로 -)

  • Seo, Seung-Mi;Yang, Sook-Hi
    • Journal of the Korean Society of Clothing and Textiles
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    • v.29 no.7
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    • pp.926-937
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    • 2005
  • The analysis category of Art to Wear was text analyzed from the research material of 100 projects put together by fashion specialist. The conclusion of Art to Wear was comprehended the general features of it were compared and analyzed from a semiotics context. According to this analysis, the formative features of modern Art to Wear is categorized into three different dimensions from a semiotics light. The formative features of modem Art to Wear in the light of syntactic dimension was divided as an open constructed shape of Space Extension, non-typical Deformation, Geometrical Plasticity. The formative features of modem Art to Wear in the light of semantic dimension express symbolic meaning through metaphorical sign. These sign reflect the body image of the life and death and its objective of Abjection, Hybrid of discultural appearance and the image of Hyper-reality, which are features used to comprehend the inner meaning. The formative features of modem Art to Wear in the light of pragmatic dimension divided the artist emotion and meaning system delivered by Emotive Image, the Phatic Image that arouse inner signification and the Poetic Image which contain artistic and aesthetic meaning within it.

A Study on The Triadic analysis of Korean Traditional Space Design by Peirce's Semiotics (퍼어스 기호학에 의한 한국전통공간디자인의 삼원론적 분석에 관한 연구)

  • Park Kyung-Ae;Hur Bum-Pal
    • Korean Institute of Interior Design Journal
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    • v.14 no.3
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    • pp.103-113
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    • 2005
  • As today's cultural environment entered the information society, one of the biggest trends of future is the interests of nationalism. The purpose of this study is to interpret interrelation between sign and space design and analyze Korean contemporary space how to universalize traditional conception and attitude in design. The process of this study is illustrated as follows: At first, this study contains basic concepts and theories of semiotics and discusses the possibilities of semiotic approaches in spatial designs. Since the most outspoken theorist in this field can be found in writings of C.S. Peirce, American philosopher, the theoretical basis for this research Is taken from the Peirce's Semiotics. Secondly, this research tries the conceptual approaches based on traditional thoughts of Koreans formed with the philosophic background occurred with the universe, religion and the nature. And then, it approaches for the typical characteristics of Korean traditional space to interpret the meaning and adopt the triadic structure of sign. The structure is classified in status, icon, index, and symbol to analyze the Korean contemporary space design. Finally, it examines the expression structure of the nature of Korea that is succeeded in contemporary space design as the semiotic analysis of the application examples ; and studies the examples that try to set and solve the concept of space in modern society as the real issues in our cultural situations.

The Text Analysis of Plasticity Expressed in the Modern Art to Wear (Part I) - Focused on the West Art Works since 1980s - (현대 예술의상에 표현된 조형성의 텍스트 분석 (제1보) - 1980년대 이후 서구작가 작품을 중심으로 -)

  • Seo Seung Mi;Yang Sook Hi
    • Journal of the Korean Society of Clothing and Textiles
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    • v.29 no.6
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    • pp.793-804
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    • 2005
  • The new paradigm of the 21st century demand an openly different world of formative ideologies in respect to art and design. The purpose of this study is focused on trying to comprehend aesthetic essence of clothing as an, with the investigation of artistic theories manifested by art philosophers. Art to Wear was categorized into style to understand its artistic meaning as well as to analyze its character. Upon the foundation of semiotics theory, the feature of Art to Wear and its analysis category were argued in the context of Charles Morris three dimension of semiotics analysis. The conclusion to the research is like so. The feature and analysis category of Art to Wear upon a semiotics perspective was divided into syntactic dimension, semantic dimension and pragmatic dimension. The analytical categorization upon the perspective of syntactic dimension fell into the category of topology, shape and color. The semantic dimension of Art to Wear was divided into categories of denotation and connotation. In addition, the pragmatic dimension of Art to Wear analytical categorization was divided into a delivering function and common function.

A Study on Women's Costume Representations in $Chos\v{o}n$ Dynasty by the Approach of Semiotics (기호학적 접근을 통한 조선시대 여자 복식표현연구)

  • Kim Hyun-Jin;Chae Keum-Seok
    • Journal of the Korean Society of Clothing and Textiles
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    • v.29 no.1
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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.

Semiotic Analysis on A Pre-service Teacher's Thinking Process in the Analysis and the Development of Mathematics Teaching Materials (예비교사의 수학 교수 자료 분석 및 개발 사례에 대한 기호학적 분석)

  • Kim, Sun Hee;Kim, Tae Ik
    • School Mathematics
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    • v.15 no.2
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    • pp.353-367
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    • 2013
  • A mathematics pre-service teacher T analyzed American mathematics textbooks and developed his teaching material for instruction. This study analyzed his thinking processes and results in the view of semiotics. If we regard the textbook as a sign and the unitary conversion that students should learn as an object of the sign, the interpretant of the sign is the pre-service teacher's analysis, which is conducted at the aspects of a subject matter knowledge and student understanding. T interpreted the textbook versatilely in terms of his knowledges and experiences. He developed his teaching materials as diagrams, did the diagrammatic thinking and became to have the hypostatic abstraction. This study is significant because it used semiotics for explaining T's thinking process.

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A Study on the Interrelationship with Interior space and Furniture - Focused on Peirce's Theory - (실내 공간과 가구의 상호관계성 연구 - 퍼스의 기호학을 중심으로 -)

  • Baek, Jung-Min;Hur, Bum-Pall
    • Korean Institute of Interior Design Journal
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    • v.20 no.3
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    • pp.127-134
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    • 2011
  • Interior design has diverse functions and roles according to recent changes in life and cultural style. As the meaning of space varies, the furniture as another element of the space should also be planned and included in the beginning of the project to accomplish its functional role on the finished space and not only be placed. The relationship between Interior space and furniture should be studied and understood at the same realm because they have a complementary relationship. The final destination of design, which is very challenging to accommodate people, the designer needs to approach to the interior space and furniture in a cognitive view. The study of Semiotics views in a knowledgeable and epistemological way every element as a sign and by the relationship of their characters it makes to understand the structure of the signs. Charles Sanders Peirce, a leader of Semiotics in USA, classified the structure of Sign into Representamen, Object and Interpretant to complete the theory which could systematically describe physical characteristic and function of the Sign and its significance in practical use. Peirce stated that all nine types of Sign would be generated if each structure of Sign in combined with three categories of Sign such as Firstness, Secondness, and Thirdness. In this study, based on Peirce's nine types of Sign, the interrelationship between space and furniture in interior design was investigated with examples in Living Space, Office Space, and Commercial Space, respectively. In the category of Representamen, which can be classified into Qualisign, Sinsign, and Legisign, it is a feature of Living Space to be expressed in harmonized and stabilized ways. In Office Space vertical/horizontal elements and open expression are differently showed depending on fields. And splendid and interesting expressions are showed in Commercial Space. In the category of Object, which can be classified into Icon, Index, and Symbol, each function of Sign has distinctly been showed as Symbol in Living Space, Index in Office Space, and Icon in Commercial Space, respectively. In the category of Interpretant, which can be classified into Rheme, Dicisign, and Argument, it was found that space image of Living Space is transferred to human being, Office Space regulates human bing, and Commercial Space binds human being with the space. In conclusion the function of the interior space and the furniture could be explained in another way with re-interpretation of interrelationship among interior space elements in the concept of Semiotics. It is expected that interpretation with Semiotics in interior design will grow to new theory of design.

기호학적 분석을 통한 영상애니메이션 연구

  • Lee Jong-Han
    • Broadcasting and Media Magazine
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    • v.10 no.1
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    • pp.85-98
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    • 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.