The semiotic, one of Julia Kristeva's most important propositions, refers extensively to the pre-Oedipal phase, which signifies the beautiful chaos that cannot be fully described by the discipline of the symbolic. The semiotic released in the symbolic expands the limit of the subject and society, exhibiting the revolutionary power, which provides possibilities of exits, and brings about changes. By de-constructing coercive order, this revolutionary power elicits the lawless ethics where no empowered law exists. Kristeva regards art as atypical passage, through which the semiotic can come to the fore even in the symbolic. In contrast especially to literature that uses language as a medium, visual art can surpass the linguistic limitation because it is positioned as 'the thing going beyond a name even without a name' in the symbolic. Focusing on Jackson Pollock, Hans Haacke, and Robert Wilson, this paper examines the stereoscopic understanding of the semiotic, which Kristeva explained from the perspective of the visual representation of the semiotic. This paper also conducts analysis on Yayoi Kusama's work, which successfully achieves the representation of the semiotic. Art resuscitates the signification of creation and negation, diverging from identity by endlessly de-constructing history, concepts, ideologies, philosophy, and aesthetics, inherited through the representation of the semiotic. Art has the power to subvert the symbolic value system and create a new equilibrium and harmony, thereby conducive to a socio-political revolution. Therefore, art can create a lawless space, which retains a dynamic potential to exclude socio-cultural contrivance.

특정한 공간에서 같은 소재를 선택하여 재현한 TV다큐멘터리가 시대 변화에 따라 어떠한 차이를 보이고, 그것이 갖는 사회적 함의가 무엇인지를 살펴보기 위해 본 연구에서는, 1996년도 제작·방영 된 <에스키모와의 100일>과 2008년도 방송된 <북극의 눈물>의 서 사구조와 시퀀스 및 담화분석을 시도하였다. 연구결과 10여년의 간격 을 두고 제작된 두 다큐멘터리는 ‘공간 재현’에 있어서 여러 가지 차이 를 보이고 있다. 먼저 두 프로그램에서 보여주는 담론의 특성은 매우 다르다. <에스키모와의 100일>은 긍정적이고 미래지향적인 메시지를 담고 있다. 반면에 <북극의 눈물>은 북극 공간에서 살아가는 에스키 모인들의 삶을 매우 비관적으로 바라본다. 그리고 방송 기술의 발전에 따른 영상 재현방식의 차이를 확인할 수 있다. <에스키모와의 100일> 과 달리 <북극의 눈물>은 16:9의 와이드 화면에 담길 고화질 화면구 성과 고품질 음향으로 재현되어 시청자들에게 임장감 있는 영상미학을 선보였다. 또한 두 작품의 세계관은 큰 차이를 보인다. 전자는 북극 공 간의 문제를 ‘자체 지역에 한정’하여 이야기하지만, 후자는 북극 공간 에서 살아가는 사람들의 삶을 ‘전 지구적 시각’으로 바라본다. 즉 북극 의 문제를 전 인류적 시각으로 바라보는 세계주의적 이데올로기를 강 화하고 있다. 이처럼 북극 공간이 희망적 공간에서 비관적 공간으로 재 현되고, 이야기 구성이 개인적 에피소드에서 전 지구적 차원의 문제로 확장되었음을 알 수 있다. 이는 결국 시대의 변화가 사회 현상을 바라 보는 담론과 이데올로기와 밀접한 연관이 있음을 보여준다고 하겠다.

As a result of this study, an attempt to emphasize the effect of perspective through the factors of spatial constitution is considered that, in Mwaeom thought, the establishment of the basic situation for cherishing the religious experience as Seonjae Dongja's course of ascetic practice, was needed. Therefore, placing of gates, terrace make-up and the changing spaces and constitution that the space under a castle moves from narrow darkness to wide brightness, express the steps of the course of ascetism. Through this, it gives observers dramatic changes and expectation to their sensual feeling. The emphasis on the perceptibility of Muryang Sujeon, Anyang Loo and the terrace by using a perspertive technique can be interpreted as an intention to express the very delightedness at the last moment the truth is perceived.

The perspective representation and its effect that appeared in the tombs and mural paintings of koguryo are summarized as follows: First, The inside structure of the tombs is likely to show the deepness effect, placing each function in the front and both sides centering around the mane pillars and creating the boundaries and the spaces that have various visibility between the inside and outside spaces of the structure just like a traditional Korean house shows. In addition, The deepness effect is emphasized by suggesting that the spaces are countinued with a storage attached behind the main house or by forming the level and deployment in a narrow space like the scene that a large array is looked out from the main house. Second, The deepness effect is expressed by making the form of ceiling turn to a vertical space of an ascending image, constructing it just as the lotus lamp ceiling of a wooden architecture or drawing it just like the imaginary heavenly world with the sun the moon and mythical fairies and animals spread in it. Thried, The perspective effect is disclosed by drawing the mural pictures in an equally set bird's-eye view without regard to the disfance proportion according to the conceptual visualization which is not a visual penetration, adopting the multiple view points and moving view points that are moving around as an important manner of seeing. Fourth, The deepness effect is emphasized through the scene of changing spaces when they are looked out far or looked into depending on a viewpoint of the daily life by forming the fromes of paintings that we made up with actual pillars, Du Gong, crossbeams or that are painted in most tombs. Fifth, The rich spatial senses are reflected by originating the characters of the three directions, level, deployment and ascending. An example which can support the conclusion of this study can be given here. that is, the construction ground plan of a dwelling house of a nobleman at the end of Koguryo as a remain which was excavated at Dongdae Ja in Jip An.