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Semiotic reading of Yi Mun-yeol's "Geumsijo" - Focusing on the semantic structure and iconicity of actions

  • Journal of Popular Narrative
  • 2023, 29(3), pp.203-225
  • DOI : 10.18856/jpn.2023.29.3.007
  • Publisher : The Association of Popular Narrative
  • Research Area : Interdisciplinary Studies > Interdisciplinary Research
  • Received : September 20, 2023
  • Accepted : October 19, 2023
  • Published : October 30, 2023

Park Sang-ik 1

1강원대학교

Accredited

ABSTRACT

In this article, we explored the process of converting deep structure into surface structure to extract the narrative grammar of “Geumsijo”. The characters in “Geumsijo” are people who train and wander in order to ‘find’ their artistic soul or something they have not acquired. The key word is the verb ‘to find’ or ‘to find’, and as a result of examining the deep structure and surface structure by converting the verb ‘to find’ into the simplest sentence that is a combination of a noun and a verb, the text of this novel It was found that the core of the deep structure, which consists of the semantic opposition of the act of ‘training (suffering): completion (achievement)’, is variously reproduced and transformed in the surface structure, advancing the narrative. In addition, through the layer that is the ‘text surface’ and the story layer that reconstructs the events placed in the text through time, it was revealed that the actions as relationships with events are presented in a confrontational manner and operate organically in the overall structure of the novel text. The opposites were separation: separation, training (suffering): completion (achievement), and riddle: solution, respectively, and they were operating with semantic discriminative qualities. These distinctive qualities can be explained as a semantic network of ‘finding’ that integrates the artistic theories of Seokdam and Gojuk, which were in a relationship of contradiction and opposition. And the painting of Geumsijo in ‘Geumsijo’(novel) was understood as an icon. An icon can be mainly defined as a sign that refers to an object by virtue of its similarity to that object, and it acts as a signifier through primaryity, that is, unique characteristics. However, for Gojuk, the Chinese character icon called Geumshijo was an object of abstraction that could not obtain its own characteristics. Based on the iconicity that depends on the media format, the iconicity of Geumsijo was developed and interpreted into the realm of sub-iconic metaphors. The two-way conflict between Gojuk and Seokdam was by no means exclusive, but was a ‘search’ for unity to approach each other’s territory. The characters in “Geumsijo” are people who train and wander in order to ‘find’ their artistic soul or something they have not acquired. The key word is the verb ‘to find’ or ‘to find’, and as a result of examining the deep structure and surface structure by converting the verb ‘to find’ into the simplest sentence that is a combination of a noun and a verb, the text of this novel It was found that the core of the deep structure, which consists of the semantic opposition of the act of ‘training (suffering): completion (achievement)’, is variously reproduced and transformed in the surface structure, advancing the narrative. In addition, through the layer that is the ‘text surface’ and the story layer that reconstructs the events placed in the text through time, it was revealed that the actions as relationships with events are presented in a confrontational manner and operate organically in the overall structure of the novel text. The opposites were separation: separation, training (suffering): completion (achievement), and riddle: solution, respectively, and they were operating with semantic discriminative qualities. These distinctive qualities can be explained as a semantic network of ‘finding’ that integrates the artistic theories of Seokdam and Gojuk, which were in a relationship of contradiction and opposition. And the painting of Geumsijo in ‘Geumsijo’(novel) was understood as an icon. An icon can be mainly defined as a sign that refers to an object by virtue of its similarity to that object, and it acts as a signifier through primaryity, that is, unique characteristics. However, for Gojuk, the Chinese character icon called Geumshijo was an object of abstraction that could not obtain its own characteristics. Based on the iconicity that depends on the media format, the iconicity of Geumsijo was developed and interpreted into the realm of sub-iconic metaphors. The two-way conflict between Gojuk and Seokdam was by no means exclusive, but was a ‘search’ for unity to approach each other’s territory.

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