• Phonetics and Speech Sciences
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• v.13 no.3
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• pp.21-29
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• 2021

The present study investigated how one's cognitive resources are related to speech perception by examining Korean speakers' executive function (EF) capacity and its association with voice onset time (VOT) and f0 sensitivity in identifying Korean stop laryngeal categories (/t'/ vs. /t/ vs. /t^h/). Previously, Kong et al. (under revision) reported that Korean listeners (N = 154) in Seoul and Changwon (Gyeongsang) showed differential group patterns in dialect-specific cue weightings across educational institutions (college, high school, and elementary school). We follow up this study by further relating their EF control (working memory, mental flexibility, and inhibition) to their speech perception patterns to examine whether better cognitive ability would control attention to multiple acoustic dimensions. Partial correlation analyses revealed that better EFs in Korean listeners were associated with greater sensitivity to available acoustic details and with greater suppression of irrelevant acoustic information across subgroups, although only a small set of EF components turned out to be relevant. Unlike Seoul participants, Gyeongsang listeners' f0 use was not correlated with any EF task scores, reflecting dialect-specific cue primacy using f0 as a secondary cue. The findings confirm the link between speech perception and general cognitive ability, providing experimental evidence from Korean listeners.

• Journal of the Korean Society of Food Culture
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• v.34 no.2
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• pp.112-128
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• 2019

The history of modern Korean 'kimchi' can be traced through the history of the wordforms 'dihi' (디히), 'dimchʌi' (딤?), and 'thimchʌi' (팀?) in ancient Korean texts. As native Korean words, the 'dihi' word line ('dihi', 'dii', 'jihi', and 'ji') constitutes an old substratum. This word line coexisted with the 'dimchʌi' word line (dimchʌi, jimchʌi, and kim∫chi) from the Hanja '沈菜'. 'Ji', which is the last word variation of 'dihi', and is still used today as the unique form in several Korean dialects. In standard Korean, however, it only serves as a suffix to form the derivative names of various kimchi types. 'Dimchʌi' is believed to have appeared around the $6^{th}-7^{th}$ centuries, when Silla began to master Chinese characters. Hence,'dimchʌi' reflects either the Archaic Chinese (上古音) or the Old Chinese (中古音) pronunciation of the Hanja, '沈菜'. With the palatalization of the plosive alveolar [t], 'dimchʌi' changed to 'jimchʌi'. The Yangban intellectuals' rejection of the palatalization of the plosive velar [k] led to the hypercorrection of 'jimchʌi' into 'kimchʌi'. It is precisely the hypercorrect 'kimchʌe' that gave the wordform 'kim∫chi', which has eventually become the standard and predominant form in today's Korean language. Regarding 'thimchʌe', it reflects the Middle Chinese (Yuan Dynasty) pronunciation of the Hanja '沈菜' and was used mainly in writing by Yangban intellectuals.

• Journal of Korean language education
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• v.29 no.4
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• pp.255-294
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• 2018

The Buckwheat Season, evaluated as the best of Lee Hyo-seok's literature, is one of the short stories that represent Korean literature. However, vivid literary expressions such as lyrical and beautiful depictions, figurative expressions and dialects, which show the Korean beauty, rather make learners have difficulty and become a factor that fails in reading comprehension. Thus, it is necessary to revise and present the text modified for the learners' language level. The methods of revising a literary text include the revision of linguistic elements such as cryptic vocabulary or sentence structure and the revision of the composition of the text, e.g. suggestion of characters or plot, or insertion of illustration. The methods of revising the language of the text can be divided into methods of simplification and detailing. However, in the process of revising the text, many depend on the adapter's subjective perception, not revising it with objective criteria. This paper revised the text, utilizing by the Academy of Korean Studies, , and the by the National Institute of Korean Language to secure objectivity in revising the text.

• Cross-Cultural Studies
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• v.25
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• pp.597-626
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• 2011

Civil college is a public educational institute for theoretical and practical learning. This study examines the social context behind France's civil college and how it is being operated. Many studies have been conducted in Korea to examine Germany in terms of lifelong learning or adult learning, but there is almost no study on France. Therefore, this study was conducted to analyze the history and operation of civil college, the "college outside college," in France and what Korea should learn from it. The civil college of France can be discussed in two contexts: first, it is AUPF, which stands for the French association of civil colleges, and it was mostly influenced by Northern Europe and Germany. Second, it is Caen Civil College, which was established by M. Onfray based his philosophical collaboration. The European civil college opened almost 1,000 courses in 2010-2011 for a variety of subjects, including Foreign Languages, Mother Tongue, the Dialects of Alsace, Philosophy, Cosmology, History, Art History, Psychology, Sociology, Astronomy, Botany, and Natural Science. Courses in Fine Arts include drawing, painting, sculpture, photography, music, and theater. For another form of civil college, Philosopher M. Onfray has been operating Caen Civil College since 2002 for general education and cultural education. It is not acknowledged by conventional philosophers, but it is contributing to the popularization of philosophy. In conclusion, the civil college in France has brought in-depth philosophical discussions out of the lecture rooms in an effort to popularize learning, making lifelong learning more accessible to the general public.

• International Journal of Computer Science & Network Security
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• v.21 no.3
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• pp.206-211
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• 2021

Internet users are increasingly invited to express their opinions on various subjects in social networks, e-commerce sites, news sites, forums, etc. Much of this information, which describes feelings, becomes the subject of study in several areas of research such as: "Sensing opinions and analyzing feelings". It is the process of identifying the polarity of the feelings held in the opinions found in the interactions of Internet users on the web and classifying them as positive, negative, or neutral. In this article, we suggest the implementation of a sentiment analysis tool that has the role of detecting the polarity of opinions from people about COVID-19 extracted from social media (tweeter) in the Arabic language and to know the impact of the pre-processing phase on the opinions classification. The results show gaps in this area of research, first of all, the lack of resources when collecting data. Second, Arabic language is more complexes in pre-processing step, especially the dialects in the pre-treatment phase. But ultimately the results obtained are promising.

• 중국학논총
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• no.64
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• pp.23-51
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• 2019

All research methodologies have a certain research purpose and application range. Therefore, it cannot be conclusively said that some methodologies are superior. Each research methodology has only different research purposes and application ranges. The various theories and methodologies related to the study of Chinese dialect sounds have not been in a confrontational relationship with each other. But the need for analysis of new phenomena has led to the emergence of new methodologies and it has been deepening the depth of the study together, supplementing the theories of the past. The emergence of new theories and methodologies has not only always provided another means for dialect analysis methods, but has also deepened awareness of the changing rules of dialects, the interrelationships between rules and the causes of change. The Chinese dialect is richly embedded in various phenomena that can be seen in human languages. In analyzing the phenomenon of the Chinese dialect, we should first closely observe and judge whether it is the result of internal historical changes in the dialect itself or changes formed by contact or influence with the external dialect, and apply the analytical method accordingly. Sometimes there is a phenomenon formed by a number of complex factors, not one, that requires a comprehensive analysis that combines a variety of theories and methodologies.

• Phonetics and Speech Sciences
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• v.6 no.4
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• pp.53-65
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• 2014

The current research examines whether pitch contour shapes in North Kyungsang pitch accent contrasts provide a phonetic dimension for phonological discreteness in a mimicry task. Two pitch accent continua resynthesized were created for HH vs. HL and HH vs. LH. To confirm a phonetic dimension for accounting for pitch accent categories in North Kyungsang Korean, the mimicries of speakers of two dialects (i.e., North Kyungsang & South Cholla) were compared. One of the findings showed that, for North Kyungsang speakers, the range of mean f0 peak times was a phonetic dimension undergoing a continuous shift within a stimulus continuum for both HH vs. HL and HH vs. LH. On the other hand, for South Cholla speakers, there were no apparent shifts around categorical boundaries for either HH vs. HL or HH vs. LH. Regarding individual mimicries on f0 peak timing, there are many variations. For HH vs. LH, three North Kyungsang speakers showed a discrete pattern reflecting a shift in phonological categories, but for HH vs. HL, there was no such distinction showing a categorical shift, though there were statistically significant differences for two speakers. Interestingly, one of the North Kyungsang speakers showed a continuous phonetic dimension for both HH vs. HL and HH vs. LH. Lastly, the f0 valley timing did not exhibit a discrete or gradient phonetic dimension for speakers of either dialect. On the basis of these results, what is interesting is that the tonal target such as high tone in North Kyungsang pitch accent categories within the autosegmental-metrical (AM) theory may be realized within individual cognitive systems for representing the interaction of perception and production.

• Journal of the Korean association of regional geographers
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• v.8 no.3
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• pp.281-294
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• 2002

Inhabitants make a specific cultural landscape in various ways according to his culture. In this paper, I consider the characteristics of cultural landscapes distributed in Sangju. I divide Sangju-City Area owing to physical criteria(relief and drainage basin}, appreciate them according to human criteria(administrative district of Joseon Period, dialects, periodical market area} and classify into 6 small regions: (1) Nakyang Region is the traditionally central place based on alluvial plain marginal to Byeongseong stream and Dong stream, and on hills of Sabeol. (2) Nakdong Region is the traffic center which the water transport of Nakdong river and the land transport of Yeongnamdaero cross each other. (3) The upstream region of Byungseong stream is the agricultural region connected with Nakyang Region. (4) Jungmo Region is a intermontane basin where grape cultivation using its specific climate flourish. (5) Wharyeong Region is a mountainous sightseeing district based on the beautiful scenery and Gyeonwhueon's remains of Sogni mountains and Yongyu valley. (6) Hamnyeong Region is the district of Goryeonggaya realm where 3 whites(cocoon, dried persimmon, rice) are abundant.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.26-40
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• 2010

The purpose of this study is the Tibetan folk costumes'characteristics and change of design in stage. The subjects are the Tibetan costumes in the Spring Festival Gala of CCTV. The basic characteristics of Tibetan folk costumes are fat waist, long sleeves, overlap, and right ren. Tibetan costumes consist of Tibetan gowns, aprons, shirts, belts, Tibetan hats, headgear, ornaments, all of these compose the traditional image of the Tibetan people. Because of the long-term closed survival, the development of Tibetan costumes has no much vertical differences and changes. The costumes of Weizang(衛藏), Ali(阿里), Gongbu(工布), Kham(康巴), Amdo(安多) have different features which are divided according to different dialects. Study the changes of design Tibetan stage costumes from 25times, we can get that during the 1986~1992, people emphasis on the activities of dancers, styles are simple, just to grasp the characteristics of the Tibetan costumes. In the 1993~1999, the dancers put on the real-life Tibetan clothing on stages. By the 2000s to now, Tibetan stage costumes have much more changes in forms and colors which are more complete and complex. The types of Tibetan costumes include Tibetan all clothing, they all express the changed forms and colors without exception. So in this period are artistic Tibetan folk costumes.

• Korean Journal of Heritage: History & Science
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• v.35
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• pp.236-282
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• 2002

Among elements of play, there are puppets performances and shadows performance which are replacing actors by puppets and shadows. Puppet performance is characteristic of expressing various movements and symbols at its conveniences by the reduced models of human form with various materials. Shadow performance is realized in various colors that cannot be discovered in other countries by expressing mysterious cubic effect in reflecting the light against various forms. Mansukjung Nolum is a unique shadow performance that has been inherited in Korea. There are found many shadow performances inherited in the northern Europe and South-eastern Asia. Recently the silhouette animation in application of shadow performance is made. In the northern Europe and South-eastern Asia, they performed in white and black color while Mansukjung Nolum is performed in natural colors. Since they adopted the leather materials for making puppets, their opaque feature cannot reflect the colored light. But in Korea we adopted the specially colored semi-transparent Korean paper, which gives the colored shadows to spectators. Mansukjung Nolum consists of three acts for arousing attention of fallen monks destroying the teaching of Buddha. Seosanbakchumji Nolum is a puppet performance inherited in a village in Seosan, Choongnam instead of wandering artists. The story and form of performance in Namsadangpae's puppet play is mostly similar to it, but it is woven by its villages natural environment and specific dialects, reflecting their consciousness in mind. The villagers made the puppets and manipulate them in communicating their wisdom of life between them. Parkchumji Nolum is a kind of integral art combining puppet manipulation, witticism, songs and dances. The hero of Parkchumji discloses the social and structural conflicts of feudalism, in arousing the spectators' rich attention of self-awareness and lessons.