• Cross-Cultural Studies
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• v.49
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• pp.229-248
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• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.5
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• pp.3172-3179
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• 2015

This study suggests one of English teaching methods to improve English speaking proficiency for adult English learners. Contrary to the traditional English conversation teaching trends such as memorization of specific patterns or grammar-focused practices, the study introduces a storytelling based teaching of English speaking. To theoretically support the storytelling based English speaking teaching, the study investigates the possibility of the teaching method in three ways. First, the 12 speaking strategies focusing on contents of a story are introduced in the way of securing speech amounts as much as possible. Next, the five rhetoric components by Aristotle are introduced to relate to the storytelling teaching for the purpose of achieving the goal of speaking, which is to deliver what a speaker want to say more persuasively. Finally, through the investigation of the learner strategy uses, the possibility of storytelling English speaking teaching can be expected regardless of learners' low level of English proficiency.

• Annual Conference on Human and Language Technology
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• 1999.10e
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• pp.257-264
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• 1999

자연언어 처리에 있어 문장의 성분 구조를 파악하는 통사적 해석에서는 애매성 있는 결과가 많이 생성된다. 한국어의 경우 어순 등의 통사적 특성뿐 아니라 상황과 의미, 문맥이 문장의 분석에 더 중요한 역할을 하기 때문에 문맥 자유 문법에 의한 접근 방법만으로는 중의적 구조의 해결이 어렵다. 이는 또한 의미 분석시 애매성을 증가시키는 원인이 된다. 이러한 통사적, 의미적 중의성 해결을 위해 용언 중심의 하위범주화 사전을 구축하였다. 본 논문에서는 용언에 따라 제한될 수 있는 하위범주 패턴을 정의하고 패턴에 따라 하위범주 사전을 구축하였다. 하위범주화 사전에는 명사의 시소러스와 정합하여 보어를 선택 제한(Selectional Restriction)할 수 있도록 용언과 명사와의 의미적 연어 관계에 따라 의미마커를 부여했다. 말뭉치를 통해 수집된 용언 12,000여개를 대상으로 25,000여개의 하위범주 패턴을 구축하였고 이렇게 구축한 하위범주화 사전이 120,000여 명사에 대한 의미를 갖고 있는 계층 시소러스 의미 사전과 연동하도록 하였다. 또한 논문에서 구현된 하위범주화 사전이 구문과 어휘의 중의성을 어느 정도 해소하는지 확인하기 위해 반자동적으로 의미 태깅(Sense Tagging)된 2만여 문장의 말뭉치를 통해 검증 작업을 수행하고, 의존관계와 어휘의 의미를 포함하고 있는 말뭉치에 하위범주 패턴이 어느정도 정합되는지를 분석하여, 하위범주 패턴과 말뭉치의 의존관계만 일치하는 경우와 어휘의 의미까지 일치하는 경우에 대해 평가한다. 이 과정에서 하위범주 패턴에 대한 빈도 정보나, 연어 정보를 수집하여 데이터베이스에 포함시키고, 각 의미역과 용언의 통계적 공기 정보 등을 추출하는 방법도 제시하고자 한다.을 입증하였다.적응에 문제점을 가지기도 하였다. 본 연구에서는 그 동안 계속되어 온 한글과 한잔의 사용에 관한 논쟁을 언어심리학적인 연구 방법을 통해 조사하였다. 즉, 글을 읽는 속도, 글의 의미를 얼마나 정확하게 이해했는지, 어느 것이 더 기억에 오래 남는지를 측정하여 어느 쪽의 입장이 옮은 지를 판단하는 것이다. 실험 결과는 문장을 읽는 시간에서는 한글 전용문인 경우에 월등히 빨랐다. 그러나. 내용에 대한 기억 검사에서는 국한 혼용 조건에서 더 우수하였다. 반면에, 이해력 검사에서는 천장 효과(Ceiling effect)로 두 조건간에 차이가 없었다. 따라서, 본 실험 결과에 따르면, 글의 읽기 속도가 중요한 문서에서는 한글 전용이 좋은 반면에 글의 내용 기억이 강조되는 경우에는 한자를 혼용하는 것이 더 효율적이다.이 높은 활성을 보였다. 7. 이상을 종합하여 볼 때 고구마 끝순에는 페놀화합물이 다량 함유되어 있어 높은 항산화 활성을 가지며, 아질산염소거능 및 ACE저해활성과 같은 생리적 효과도 높아 기능성 채소로 이용하기에 충분한 가치가 있다고 판단된다.등의 관련 질환의 예방, 치료용 의약품 개발과 기능성 식품에 효과적으로 이용될 수 있음을 시사한다.tall fescue 23%, Kentucky bluegrass 6%, perennial ryegrass 8%) 및 white clover 23%를 유지하였다. 이상의 결과를 종합할 때, 초종과 파종비율에 따른 혼파초지의 건물수량과 사료가치의 차이를 확인할 수 있었으며, 레드 클로버 + 혼파 초지가 건물수량과 사료가치를 높이는데 효과적이었다.\ell}$ 이었으며 , yeast extract 첨가(添加)하여 배양시(培養時)는 yeast extract

• Archives of design research
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• v.16 no.4
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• pp.433-442
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• 2003

The concept of pun was basically used to get rhetorical effect in verbal usage and it can be easily applicable to visual communication design. By substituting symbolic images for words of verbal expression, we can draw out some effective communication methods in forms of pun. For years, visual puns have been useful concept to convey a visual message from ancient hieroglyphics to modern arts and design. There are essentially three categories of visual puns. Literal pun upholds the primary meanings of the message literally by picking up a key symbol to create two or more meanings, meanwhile suggestive pun is created when one symbol is used as a key symbol or two or more symbols are combined to created one key symbol that can suggest and strengthen meanings. Comparative pun can be defined two or more symbols of nearly the same appearance are combined or juxtaposed two or more times to enhance overall statement. The concept of visual pun used for traditional area can also be effective ways of new media communication. Thus it is natural to see the concept of visual puns in website. How to handle the images in website is the most critical point for differentiation. But recently, web site designers just seem to focus on somewhat functional aspect. There are certain types of web design formats, and many designers are tend to follow these routines unconsciously. In this situation, the new aspect of visual puns for web design can be a possible design method to fortify the overall message. Through this concept, we can build up some clear identity compared to other web sites and can get alternatives to perform more effective communication ways as a problem-solving process.

• Cross-Cultural Studies
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• v.45
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• pp.33-54
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• 2016

This study presents a comparative analysis of the calligrammic poetic dictions shown in the poems of the French poets Guillaume Apollinaire and Paul Eluard and in those of the Korean poet Lee Sang. They were adventurers in the avant-garde movement who used experimental techniques that led to futurism, expressionism, cubism, dadaism, and surrealism. They applied a typographic technique that combined pictorial arrangements of fonts, shapes of compositions and between lines, letters of the alphabet, mathematical symbols, and graphical elements, such as circles or lines, to make up a poem that also looked like a painting. Their works, valued as visual lyric poems, break up language and combine anti-poems. They rejected traditional poetic dictions or grammar, but developed a paratactic poem that freely uses letters and symbols. Their calligrammic poetic dictions arouse dynamic images like space extension. Lee Sang's calligrams seem like abstract paintings that apply geometric symbols like those used in technical drawings. As a result, crossing the boundaries between language and pictorial art by using experimental materials and techniques, their poems deconstruct the creative standards of rational and traditional poetic dictions, creating an adventurous, expressive technique. Their calligrammic, avant-garde poems introduced a new spirit of art into both French and Korean modern poetic literature.

• Koreanishche Zeitschrift fur Deutsche Sprachwissenschaft
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• v.10
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• pp.201-229
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• 2004

In der vorliegenden Albeit wird die funktionale $Dom\"{a}ne$ der Konkomitanz unter funktional-typologischen Gesichtpunkten untersucht. Dabei wird ein funktionales Rahmenwerk fur die Untersuchungen $\"{u}ber$ die verschiedenen komitativen und intrumentalen Relationen entwickelt. Es gibt eine Reihe von Partizipantenrelationen in der funktionalen $Dom\"{a}ne$ der Konkomitanz, $\n\"{a}mlich$ 'Partner', 'Companion', 'Vehicle', 'Tool', 'Material' und 'Manner'. Diese Partizipanten $k\"{o}nnen$ als Konkomitant bezichnet werden. Sie bilden ein Kontinuum $bez\"{u}glich$ der Empathiehierarchie sowie der Kontrollhierarchie. Konkomitanten $k\"{o}nnen$ bei ihrer syntaktischen Kodierung $gem\"{\a}{\ss}$ den spezifischen Typen der konkomitanten Relationen und ihren absoluten Eigenschaften variieren. Es werden sieben verschiedene Typen der Kodierungsstrategien vorgestellt, d.h. konkomitante $Pr\'{a}dikation$, adpositionale Markierung, Kasusmarkierung, Verbderivation, inkorporation, Konversion und lexikale Fusion. In einer gegebenen Sprache kann es $nat\"{u}rlich$ feinere Variation, die z.B. mit den Graden der Grammatikalisierung und Lexikakisierung dieser Kodierungsstrategien zu tun hat, geben. Die Distribution der strukturellen Apparaturen auf der funktionalen $Dom\"{a}ne$ der Konkomitanz ist innerhalb einer Sprache nicht einheitlich. Dies gilt auch $f\"{u}r$ den Sprachen (z.B. Deutsch und Englisch), die gewohnlich als ein typisches Beispiel fur den Synkretismus zwischen Komitativ und Instrumental angesehen werden. Die $Pr\"{a}position$ mit im Deutschen $dr\"{u}ckt$ nur eine Teilmenge der verschiedenen konkomitanten Relationen aus. Tlansportrnittei' und Material' werden also nicht durch die $Pr\"{a}position$ mit $ausgedr\"{u}ckt$. Beim Ausdruck der konkomitanten Relationen verwendet Deutsch konsistent die Strategie der adpositionalen Markierung. Andere $m\"{o}gliche$ Strategien $k\"{o}nnen$ als ein minimaler Sonderfall angesehen werden. Koreanisch $verf\"{u}gt$ hingegen auf zwei Ausdrucksstrategien, $n\"{a}mlich$ konkomitante $Pr\"{a}dikation$ und Kasusmarkieriing. Die Auswahl zwischen den beiden Strategien ist meistens von den Empathieeigenschaften der Konkomitanten $abh\"{a}ngig$. Auch innerhalb einer Ausdrucksstrategie spielt die Empathie der Konkomitanten eine wichtige Rolle bei der Auswahl der Strukturmittel. Einen Synkretismus weisen im Koreanischen 'Partner' & 'Companion' einerseits und 'Vehicle' & 'Tool' & 'Material' andererseits auf, Die Ersteren werden durch die auditive Kasusmarkierung und die Letzteren durch die instrumentale Kasusmarkierung ausgedruckt. Ein Synkretimus beim Ausdruck der verschiedenen konkomitanten Relationen ist in den Sprachen, die nur konkomitante $Pr\"{a}dikation$ aufweisen, nicht zu erwarten, denn ein konkomitantes $Pr\"{a}dikat$ gibt die Art der Beteiligung der Konkomitanten an der Situation lexikalisch mehr oder weniger explizit wieder

• MALSORI
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• no.31_32
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• pp.173-193
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• 1996

불어의 "묵음 e(e muet)"에 대한 정의를 내리기는 매우 까다롭다. 불어에서 "e"가 "묵음 e(e muet)"로 불리우는 이유는 "e"가 흔히 탈락되기 때문이다. 현재 "e muet"는 다음 발화체에서 볼 수 있듯이 열린음절에서만 나타난다. "Je/le/re/de/man/de/ce/re/por/ta/ge/." [omitted](나는 그 리포트를 다시 요구한다. : 이 경우 실제 발화시 schwa 삭제 규칙이 적용된다.) 둘째, 접두사에 나타나는 "e muet"는 s의 중자음 앞에서 s가 유성음, [z]로 발음되는 것을 막기 위해 쓰인다. "ressembler[omitted](닮다); ressentir[omitted](느끼다)" 같은 경우, 셋째, 몇몇 낱말의 경우 고어의 철자가 약화되어 "e muet"로 발음이 되고 있다. "monsieur[$m{\partial}sj{\emptyset}$](미스터), faisan[$f{\partial}z{\tilde{a}}$](꿩), faisait[$f{\partial}z{\varepsilon}$]("하다"동사의 3인칭 단수 반과거형)"등. 또 과거 문법학자들은 이를 "여성형의 E"로 불렀는데, 이는 형태론적으로 낱말의 여성형을 남성형과 구분짓기 위해 사용되고 있기 때문이기도 하다. 예를 들어, "$aim{\acute{e}}-aim{\acute{e}}e$"(발음은 둘 다 [${\varepsilon}me$]로 동일하다 : 사랑받다)의 경우. 현대불어의 구어체어서 "e muet"는 어말자음을 발음하기 위해 쓰이고 있다. 예를 들어, "pote[pot](단짝)-pot[po](항아리)". 이러한 "e muet"는 발음상으로 지역적, 개인적 및 문맥적 상황에 따라 그 음색 자체가 매우 불안정하며 여러 가지 음가(열린 ${\ae}$ 또는 닫힌 ${\O}$)로 나타난다. 예를 들어 "seul[$s{\ae}l$](홀로), ceux[$s{\O}$](이것들)"에서와 같이 발음되며, 또한 원칙적으로 schwa, [${\partial}$]로 발음이 되는 "Je[$\Im\partial$]"와 "le[$l{\partial}$]"의 경우, Paris 지역에서는 "Je sais[${\Im}{\ae}{\;}s{\Im}$](나는 안다); Prends-le[$pr{\tilde{a}}{\;}l{\ae}$](그것을 집어라)"로 발음을 하는 한편, 프랑스 북부 지방세서는 동일한 발화체를 [${\ae}$]대신에 [${\o}$]로 발음한다. 실제로 언어학적 측면에서 고려되는 "e muet"는 schwa로 나타나는 "Je[$\Im\partial$]"와 "le[$l{\partial}$]"의 경우인데, 불어 음운론에서는 schwa에 의해 대립되는 낱말짝이 없기 때문에 schwa를 음소로 인정할 것인가에 대해 논란이 있다. 그러나 불어에서 schwark 음운론적 역할을 한다는 사실은 다음과 같은 예에서 찾아 볼 수 있다. 첫째, 발음상으로 동사의 변화형에서 "porte[$p{\jmath}rte$](들다: 현재형), porte[$p{\jmath}rte$](과거분사형), porta[$p{\jmath}rte$](단순과거형)"등이 대립되며, 이휘 "Porto[$p{\jmath}rte$](포르토)"와도 대립된다. 둘째, 어휘적 대립 "le haut[$l{\partial}o$](위)/l'eau[lo](물)"와 형태론적 대립 "le[$l{\partial}$](정관사, 남성단수)/les[le](정관사, 복수)"등에서 "묵음 e"는 분명히 음운론적 역할을 하고 있다. 본 논문에서는 이와 같이 음색이 복잡하게 나타나는 "e muet"의 문제를 리듬단위, 문맥적 분포 및 음절모형 측면, 즉 음성학 및 음운론적 측면에서 다양하게 분석하여 그 본질을 규명해 보고 "e muet"탈락현상을 TCG(Theorie de Charme et de Gouvernement) 측면에서 새롭게 해석해 보았다.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.243-266
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• 2004

This paper is based on fieldwork conducted from July 6, 2003 to July 24 of 2003 among the Tungusgroups Hezhe, Daur, Oloqun, Owenke, and Mongolian in the areas of Heilongjiang and Inner Mongolia Provinces. Recognizing the need for more in-depth study among these groups, the present research shows that the Tungus people are archeologically, historically, and linguistically different from Korean Han ethnic group and challenges the link between Korean and Tungus groups since the Bronze Age. The comparison between the "House Spirit" belief of the Tungus people and Koreans reveals certain commonalities in the "Maru," "Kitchen," and "Samshin Spirit" practices. There are two possible reasons for such commonalities. Historically, the Korean Han ethnic group and the Tungus people were geographically intimate, and contact or transmission between the two groups occurred naturally. Also, immigration of refugees from the fallen Koguryo and Puyo to the Tungus region added another dimension of cultural contact. In contrast to the common features shared between the two groups, there also exists differences between the two groups House Spirit blief. The Korean Han group's "House Spirit" belief is based on the agricultural practices that separates the inside sacred and outside secular world of the houses, whereas the Tungus ethnic group's "House Spirit" belief is based on mobile herding life style with a less distinction between in and outside of house. Additionally, each Korean "House Spirit" has its own distinctive personality, and each spirit is placed and worshipped according to its function. In the Tungus group, all the "House Spirits" are located and worshipped in "malu," and some of the spirits are non-conventional house spirits. Moreover, Korean "House Spirits" form a kinship structure, placing Songju, the highest spirit, at the center. In the Tungus practice, such structure is not found. The tight cohesive family formation among the house spirits in the Korean "House Spirit" belief is also the most distinctive feature in its comparison with Chinese belief. In China, the highest spirit is Jiang Taigong or Qiwu, and the house spirits do not have kinship relations. Korean's Outhouse Spirit and Chowangshin are related to the Han Chinese's counterpart on certain levels? however, their basic structures are different. It is clear that the correlation of "Malu" "Chowangshin" and "Samshin" between Korea and Tungus indicate important role of Tungus cultural elements within Korea's "House Spirit" belief.

• Smart Media Journal
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• v.10 no.1
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• pp.16-24
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• 2021

The exiting word embedding methodology such as word2vec represents words, which only occur in the raw training corpus, as a fixed-length vector into a continuous vector space, so when mapping the words incorporated in the raw training corpus into a fixed-length vector in morphologically rich language, out-of-vocabulary (OOV) problem often happens. Even for sentence embedding, when representing the meaning of a sentence as a fixed-length vector by synthesizing word vectors constituting a sentence, OOV words make it challenging to meaningfully represent a sentence into a fixed-length vector. In particular, since the agglutinative language, the Korean has a morphological characteristic to integrate lexical morpheme and grammatical morpheme, handling OOV words is an important factor in improving performance. In this paper, we propose parallel Tri-LSTM sentence embedding that is robust to the OOV problem by extending utilizing the morphological information of words into sentence-level. As a result of the sentiment analysis task with corpus in Korean, we empirically found that the character unit is better than the morpheme unit as an embedding unit for Korean sentence embedding. We achieved 86.17% accuracy on the sentiment analysis task with the parallel bidirectional Tri-LSTM sentence encoder.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.