Xu Jinxiong(許進雄)’s Chinese Characters: Embracing Original Signification Series (字字由來頭, vol.1-7), was translated into Korean by the Humanities Korea Plus Hanja Civilization Research Center (HKPHCRC) in 2021. HKPHCRC has also published the Advanced Dictionary of Oracle Bone Script. Chinese characters reveal their original significations because they are a logographic writing. As a result, all Chinese characters connote their origins. Though the shape of Chinese characters has changed somewhat since the oracle bone script of 3300 years ago, when closely examined, their original significations can be recognized. In turn, we can grasp the developments of history and culture embedded in them. So, mastering Chinese characters does not mean just learning their superficial meaning but also learning their cultural history. They need to understand rather than memorize them.

Landscape urbanism suggests direction on the method of performing landscape through a practical strategy to deal with urban problems, by using landscape as a medium. However, even though such a practical topic has been advocated, failure to resolve the difference between theory and practice has been criticized. To identify the vagueness of the concept of landscape urbanism, this study aims to identify the differential properties of texts that appear in discourse. It analyzes the discourse on the word “landscape” and looks at the relation between texts and contexts that form the discourse from a semantic approach. The texts have been extracted from the discourse of Corner and Waldheim where their meaning and signification are derived through the contextualization and systematization of the word “landscape”. In landscape urbanism, the word “landscape” has a conceptual representation of the theory, and the textual context contained in “landscape” is complex and multi-layered. The major texts related to the word “landscape” have semantic relations that have denotative and connotative meaning. The affiliation with the subject of landscape relates to the denotative meaning, and the texts related to the properties of landscape have a connotative meaning. The lexicon of the word “landscape” is a complex system, which forms its signification through emergence and self-organization. Meanwhile, the word “landscape” has the individuality of texts in complicated relations, including inevitable vagueness and contingency, which limits the study in applying and evaluating the analysis objectively.

Over the past two decades, consumer moralism, or moralism about consumption in a broad sense, has received much academic attention in answer to the growing concern for fair-trade, corporate social responsibility, environmental sustainability, and other anti-consumption initiatives and movements (McGregor, 2006; Newholm and Shaw, 2007). This theoretical trajectory not only pay attention to how everyday consumption practice is shaped by and help shape certain sorts of ethical dispositions (Clive et al., 2005), but it also extends to the understanding of the intertwined relationship between morality, consumption, and consumers’ identity narratives (Thompson, 2011). While previous research has focused on understanding moral consumption as a politically and morally motivated collective practice (Luedicke et al., 2010; Thompson, 2007), limited research has been done on revealing how personal moral identity project institutionalize and contest the socio-cultural power structure through ascribing social meanings in consumption practice to legitimatize seemingly unethical behavior in the marketplace (Brace-Govan and Binary, 2010). This research concerned the creation and negotiation of moralistic identities among a group of young consumers in Hong Kong who engaged in counterfeit consumption. We focused on how consumers strategically appropriate moralistic meanings in their everyday counterfeit consumption, in which their identity work utilized these ‘alternative’ market resources to echoed with, or even reproduce, the entrenched Chinses social relationships and marketplace ideological conditions (Giesler and Veresiu, 2014; Luedicke et al., 2010).

커뮤니케이션의 사회적 구조가 거대화되면서 시각표현에 있어 커뮤니케이션과 코드화라는 기호작용은 중요한 연구 분야라 할 수 있다. 디자인은 시각(비주얼)적 측면인 조형 요소와 정보(메시지)적 측면인 표현하는 대상의 논리적 해석을 통해 효과적인 메시지 전달과 디자인의 기능을 극대화 할 수 있다. 영화포스터는 영화와 관객 사이를 이어주는 커뮤니케이션의 교량역할을 담당하고 있다. 또한 불특정 다수에게 공통의 메시지를 전달하는 매체이다. 영화의 함축적 메시지를 효과적으로 전달하기 위해서는 광고에서 표현되는 이미지가 중요한 요소라 할 수 있으며 그 대상의 시각화 발상과 의미작용에 대한 사례 분석은 대상의 일반적 표상과 기호과정에 관한 선행연구 될 것으로 보인다. 본 연구는 영화포스터에 나타난 가면을 대상으로 공통된 의미를 도출하고 영화포스터 표현에 있어 효과적인 메시지 전달과 전략적인 기의를 만들기 위한 기호작용에 대한 향후 연구의 기초 분석이라 할 수 있다.