글로벌 게임시장의 성장에 따라 국내 게임이용자도 손쉽게 다양한 국가에서 접할 수 있게 되 었다. 그리고 이러한 글로벌 경쟁 속에서 현실의 다양한 문화 창의적으로 반영한 게임이 점증 하고 있다. 대표적인 것이 중국의 호요버스가 개발한 해제 월드 형<원심>으로, 해당 콘텐츠는 캐릭터와 공간디자인에 다양한 국가의 문 것이 특징이다. 이때 의상디자인은 캐릭터의 성격과 매력을 효과적으로 이국적인 특색을 드러내는 기호라는 점에서 특히 중요하다. 이에 이 글은 먼저 캐릭터 의상과 의상 기호에 관한 검토하고, <원심>의 문화 활용 전략을 간단히 살펴보았 다. 이후 퍼스의 기호학을 활용해 중국의 문화적 특색을 반<원신> 캐릭터 ‘운근’을 분석하였다. 분석 결과, <원신>의 캐릭터 디자인전략은 중국의 풍부한 문화적 문맥을 중심 코드를 적극적으 로 빌리는 한편, 캐릭터 성을 부각하는 방향으로 의상 구성요소를 변형 시 나타났다. 이후 분 석 결과를 바탕으로 차후 연구를 위한 발전 방향을 제시하였다..

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes’s semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes’s semiotics theory. Roland Barthes’s approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans’ costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman’s costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.

The consumption landscape is currently moving, making it hard for marketers and managers to anticipate consumers‟ needs and behaviors. With the digitalization of their daily life, ways of selling/communicating/involving with consumers has been re-invented, shifting from a traditional brick-and-mortar environment to a click-and-mortar -if not purely digital- one. Besides, consumers themselves have evolved from postmodern values to hypermodern ones: they do not buy a product anymore for purely functional or hedonic values, but for a combination of both. The hypermodern consumer is in on ongoing quest of “meaning” (Lipovetsky, 2004): the products he buys and services he consumes need to „make sense‟ and help him give some meaning to his life. Such life meaning is then communicated to his network, via (among other media) digital tools, turning a traditionally small network (primary group) into a much larger one (take bloggers for instance (Maman Larraufie & Sommer, 2015)). Still, very few consumers switch towards a 100%-digital way of consuming. They tend to melt physical stores along with digital expectations. The store therefore needs to be a showcase of the brand values, aligned with consumers‟ values of consumption. Some studies have even showed that brand and consumer personalities needed to be aligned to create some store involvement and attachment (Wilson, Wagner, & Maman, 2015). Semiotics is a discipline that focuses on understanding how meaning is produced for consumers (analytic process) or can be produced for consumers (constructive process). Therefore, it can be used to design marketing tools to build some meaning for consumers that would be consistent with their consumption values (Harmon, 2005; Mick, 1986). This would enable turning the store/the communication/etc. into some device enabling the consumer to make sense of his life. As presented before, the store is the current point of tension, as the reconciling showcase between virtual and real brand environments. In this presentation, I will stress out how structural semiotics (Greimas, 1966) can pragmatically help brand managers or marketers reconcile the rational and emotional dimensions behind the so-called store experience, while allowing the consumer associate some inherent meaning to the product/service showcased in the store. I will present several positioning deriving from it, and based on the objective of communication associated with the store, using the Jakobson‟s functions of speech (Jakobson & Halle, 2002). I use visual examples from various sectors of activity, from fashion to hospitality including jewelry, etc.

Accepting that luxury stands for timeless, my contribution sets out to address and clarify the issue by analysing three questions from the semiotic perspective of luxury branding. The first is, from where does luxury speak in Bulgarian context of so-called "Bulgarian rose" product? The second is, what is the luxury branding mechanism whereby philistine's culture change? The third is, how might we conceptualise the relationship between the timeless in production of luxury discourse and transformative role of philistine's culture? To celebrate the uniqueness of Bulgarian product in luxury, it is almost as dangerous a concept as intention. It belongs to many disciplines, including psychology, sociology, and semiotics. Drawing upon the works of standpoint Greek philosophers (Plato "The Republic", 380 BCE) and semioticians (Algirdas J. Greimas, On Meaning, 1987), the discussion of implementing luxury advertising in every corner of the business world is confronted by quite serious challenges. After an introduction to the topic, the discussion will be followed by analyses of concrete examples focusing on the cultural heritage resistance. Although the inquiry is conducted from one particular standpoint — luxury branding, the observations and suggestions it makes regarding education, cultural heritage and luxury advertising campaigns will lead us to conclusions at theoretical level of interpretation on renegotiating the future direction of acquiring knowledge in the ambiguous significance of luxury.

<헤드윅>은 한국 최고의 흥행 라이선스 뮤지컬 중 하나이다. 1998년 뉴욕 오프브로드웨이 초 연 이래 지금까지 전 세계 수십 개 국에서 공연되어오고 있는 <헤드윅>(원제: Hedwig and the Angry Inch)은 주인공 ‘헤드윅’ 역의 배우 한 명과 한 명의 코러스 ‘이츠학’, 그리고 펑크 록 밴드 ‘디앵그리인치’가 극 전체를 이끌어 가는 ‘원 맨 스탠드 업’ 형식의 콘서트 뮤지컬이다. 2014년 개막한 브로드웨이 프로덕션은 토니상 4개 부문 수상 등 주요 뮤지컬 상을 석권하며 브로드웨이 에서도 위용을 과시했다. <헤드윅>의 한국어 공연은 2005년 서울 초연 이래 2016년까지 총 11년 간 열 번의 시즌을 거치며 매 공연 대중과 평단의 찬사를 받아왔다. 특히 원작자인 존 카메론 미첼은 미국의 유력 주간지 엘에이 위클리와의 인터뷰에서 “서울에서의 엄청난 성공을 목도한 뒤 브로드웨이 프로덕션의 꿈을 꾸기 시작했다”고 밝힌 바 있다. 이는 한국의 <헤드윅>이 원작자 에게 마저 영감을 주었을 만큼 흥행성과 작품성의 측면에서 모두 의미 있는 성과를 이루었다는 것을 방증한다. 전 세계를 통틀어 <헤드윅>의 무대에서는 화려한 세트 전환이나 대규모 출연진의 역동적인 장면을 찾기 힘들다. 하지만 <헤드윅>은 단조롭거나 지루하지 않다. 그것은 들려주기(Diegesis)와 극적 재현 방식(Mimesis)을 넘나드는 헤드윅 특유의 재담과 연기가 시종일관 관객을 흡인하며, 이 두 방식이 교차될 때마다 그 한 켜 아래에서 극 공간 역시 다양하면서도 입체적으로 신속하게 변화하기 때문이다. 위베르스펠드에 의하면 무대 공간은 기본적으로 모태의 자격을 지닌 텍스트 공간을 전제로 한다. 텍스트 공간이란 “무대에서 형체로 나타났건 그렇지 않건 간에, 텍스트에 의해 환기되고 텍스트를 통해서 구축된 모든 상상적 공간을 지칭한다.” 이에 본고는 <헤드윅>의 흥행성과 작품성이 무엇보다 원작 텍스트의 힘에 기대고 있으며, 작품의 가장 큰 특성이 극텍스 트 공간의 심미성과 다의성이라고 보고 위베르스펠드의 기호학과 융의 분석심리학 이론을 바탕 으로 그 대표적인 양태를 ‘신화적 공간의 극적 알레고리’, ‘이원적 공간의 서사 충동’, ‘심리적 공간의 자기실현 과정’의 세 유형으로 나누어 보았다. 첫째, <헤드윅>의 극텍스트는 신화적 공간 을 구축하여 관객의 상상과 무의식의 지평을 넓혀주어 ‘불신의 자발적 중단’을 추동하는 한편, 신화적 공간은 그 자체로 극 공간에 대한 알레고리로서 기능한다. 이 공간에서 ‘헤드윅의 잃어버 린 반쪽을 찾는 여정’이라는 극의 목적이 처음 구축되기 때문이다. 둘째, <헤드윅>의 극텍스트 공간은 현동적 공간과 잠재적 공간으로 이원화하고, 현동적 공간은 다시 ‘결핍 공간’과 ‘특권 공간’으로, 잠재적 공간은 다시 ‘특권 공간’과 ‘초월적 공간’으로 이원화된다. 이 공간들은 그 의미 영역들 사이의 대립과 갈등 그리고 해소라는 변증법적 상호작용을 통해 끊임없이 서사를 충동한 다. 셋째, <헤드윅>의 극텍스트는 주인공 ‘헤드윅’의 마음 구조 그 자체이며 작품의 서사는 헤드 윅이라는 ‘자아’가 무의식으로의 여행을 통해 무의식원형인 ‘자기’를 발견하는 이야기이다. 텍스 트의 인물들은 마음의 구조의 각 요소에 상응하는 한편, 텍스트의 각 공간을 점유하는 의식⋅무 의식 층위의 콤플렉스들은 문자적⋅비문자적 기호를 통해 텍스트 공간에 종합적으로 도상화되 어 수신자들의 내면에 보다 다층적인 공간 심상을 불러일으킨다. <헤드윅>의 극텍스트가 생성하는 공간들의 다의성과 심미성은 작품의 의미를 더욱 풍성하게 하고, 자칫 단조로운 느낌을 줄 수 있는 단일 세트 무대의 단점을 보완할 뿐 아니라, 오히려 그것 을 장점으로 승화하며 독특한 미학적 효과를 창출한다. 본 연구는 <헤드윅>의 현재적 가치는 물 론 향후 한국에서 창작될 뮤지컬에서의 텍스트 공간 미학에 대한 가능성을 환기하였다는 데에 그 나름의 의의가 있다고 할 수 있다.

Luxury consumption is intrinsically related to unusual expectations from the consumers, among which some are equally shared around the globe. For instance, Europeans, Americans and Asians claim that luxury products should be flawless and their producers (i.e. the luxury brands) should have some history and heritage (Wiedmann et al., 2007). What they put behind these two last notions can fluctuate, but they are systematically stressed out in studies, be they academic or applied, qualitative or quantitative. Therefore, it sounds fundamental for the luxury Maisons to communicate on their heritage and history (Wiedmann et al., 2012). While until the end of the XXth century brands could rely upon different message content and copy to do so, due to localized options of communication, the Internet has implied to complete revision of their approach. The Maisons’ websites, even if available in different languages, are unique platforms to showcase the brand’s history, ambience and offering to a worldwide audience. They should be able to reach consumers, both cognitively and emotionally, recreate the store atmosphere, while simultaneously stimulating some desire to discover new collections. They stand for an open-window on a boundary-free world, be it from the geographical or from the time point of view. However, as pointed out by academics and professionals from the very beginning, the road is paved with risks, especially in terms of brand image management (Geerts & Veg-Sala, 2012). This comes from the apparent non-compatibility between luxury and the online environment. However, such discrepancies have led to a complete redefinition of the luxury concept, with its new semiotics economy (Maman & Kourdoughli, 2014). Part of it is ‘heritage and history’, with little surprise. We can therefore raise the issue of a lack of academic research regarding how such Maisons communicate about their history (even if short) and heritage on their website, be it an institutional or a transactional one. The only studies we have found deal with the automotive sector (Wiedmann et al., 2011) or watch one (Baum, 2011), the second one being a Master’s thesis. It is the objective of the present study to fill in this gap, and to uncover the various ‘signs’ used by luxury brands to communicate their heritage and heritage to their worldwide audience. Besides, we wanted to understand whether different semiotic systems were used by French vs. Italian luxury brands, and whether other variables such as the place of origin or the ‘age’ of the Maison would lead to different signs. To reach this goal, we used a two-pronged approach. First we gathered data from 56 websites of fashion luxury brands, using an inductive approach of content analysis (Kim & Kuljis, 2007). A coding grid was thus built while data was collected, with a back and forth coding process. We also built upon the Gestalt principles to ‘judge’ whether the websites were more focused on 1) current fashion trends, 2) the brand itself or its designer(s), 3) the products offered, or 4) the past of the brand. A first researcher built the grid and filled it in, while a second one directly used the grid for coding. The two coding outcomes were confronted and discrepancies discussed until agreement was reached. Then, major trends and clusters were identified from the data, leading us to understand the various sign-systems used by the Maisons, using Peircian semiotics. We end-up our study with theoretical conclusions regarding the online communication of luxury fashion brands, and with practical recommendations for luxury brand managers.

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.

본 논문은 소비자의 브랜드 수용 및 확산에 신화의 속성을 내포한 브랜드 내러티브(brand narrative)가 가지는 의미의 연관성 규명과 함께 그동안 연구되어온 신화적 원형(mythological archetypes)을 브랜드 내러티브의 구축에 실제적으로 적용하기 위한 개념적 과정의 논의를 목적으로 한다. 이를 위해 원형으로서의 신화가 브랜드 내러티브와 결합하였을 때 적합한 의미 생성 경로로서 작용하는지에 대해 알아보고, 브랜드의 상징체계(symbol system) 구축에 관한 신화적 상징 재목적화(repurposing)의 매개 작용을 규명해보고자 한다. 아울러 Barthes의 기호학 체계를 통하여 신화의 의미 해석에 대해 탐구하고 브랜드 내러티브의 구축을 위한 원형 신화의 함축적 상징체계로서 적용 가능성을 분석함으로써 이를 통한 결론과 시사점을 도출하고자 한다. 본 연구는 신화와 제품 혹은 브랜드 간의 연관성 규명을 위해 부분적으로 활용해 온 기존의 이론들을 하나의 흐름으로 연결, 정립하여 연구 분석의 소재 및 방법을 확장시켰다는 점에서 의의가 있다.