• Language and Information
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• v.19 no.2
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• pp.19-36
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• 2015

The aim of this paper is to investigate the usage of Korean markers -(n)un and -i/ka in editorial texts focusing on information structure. Noun phrases ending with the markers -(n)un and -i/ka were annotated semi-automatically using a corpus obtained from an online newspaper. Two important factors to determine the choice of markers were examined with the annotated data: referential givenness/newness and position in a sentence. Referential givenness and newness were adopted as indicators of information structure, topic and focus respectively. In addition to quantitative analysis, qualitative analysis was conducted on the selected data. The results suggest that both the marker -(n)un and -i/ka could carry a topic and a focus reading. Sentence position also played a crucial role in determining the marker, and the marker -i/ka was used more frequently in a later position of a sentence than the marker -(n)un.

• Journal of English Language & Literature
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• v.59 no.4
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• pp.645-666
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• 2013

In the history of the study of Shakespeare's texts the eighteenth century marked the emergence of editors, and in the history of Shakespearean editing Edmond Malone's emphasis on documentary evidence inaugurated a new stage. Malone's antiquarian scholarship sought to establish Shakespeare in the theatrical context of his age and a historically informed view of the physical circumstances under which he wrote his plays. Malone's editorial use of historical sources in terms of Shakespeare's past formulated a new mode of ascertaining his authorship: the construction of Shakespeare as a man of the theatre as well as of literature. Malone was the first scholar to recognize Shakespeare's merits as an actor, and to introduce the concept of the theatrical Shakespeare, which has become the scholarly norm since. In this respect this paper is designed to demonstrate that Malone's editorial principle and practice are characteristic of the identification of the factual documents of Shakespeare's biography, the authentication of his material to attain his true text, and the construction of his personal experiences through intensive readings of his plays. In conclusion, Malone's new criteria laid the foundation for the progress towards authorizing Shakespeare, thereby canonizing him as a figure of the theatrical and literary authority.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.483-530
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• 2018

Unpacking and dispersing rights of various kinds formerly enjoyed by a selected few has been the constant motivation behind the democratization and modernization of human society. Human rights and later civil rights have continuously been constituted and reconstituted in response to the demands of the laboring class, slaves, women, subalterns, animals, and things, expanding beyond the boundaries of class, race, nation, sexuality, gender, species and organism. Calling attention to the ways in which literary and cultural texts have narrated rights so as to inscribe these human, nonhuman, and inhuman demands. Narrating rights offer opportunities to interrogate the lasting contributions of English language and literature to questioning, reforming, and practicing rights. The interrogation is particularly pertinent in this age in which revised and dispersed rights are creating new conflicts, requiring them to be narrated differently and imaginatively so as to allow all the parties in conflict to participate in working out the conflicts. With the 2017 theme of "Literature and Human Rights," JELL editorial collective hope to explore the relationship between literature and human rights in its multiple simultaneous, and plural manifestations in an open platform. "Narrating Rights" is a double-edged task that, on one hand, reflects the singular life conditions or contexts of a human, inhuman or nonhuman being and, on the other hand, aspires to the perpetual process of rights' universal application. Eleven out of all the keynote speakers at the 2017 ELLAK Convention were invited to this roundtable on Literature and Human Rights. The following transcription includes the dialogues of the eleven discussants.

• English Language & Literature Teaching
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• v.12 no.1
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• pp.1-27
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• 2006

This study investigated how EFL readers critically read texts which are written in English. Although critical reading has been discussed in advanced EFL and ESL contexts there has not been much research on the critical reading of beginning EFL learners. Many educators are recommending that a critical perspective be adopted so that L2 learners can become empowered rather than indoctrinated. In this study, the researcher has examined the critical reading practices of five beginning level EFL readers in Korea and five first language readers of English in the United States as they read a news editorial article. The significant findings were discussed related to critical reading practice of L2 readers. The findings of the study can help the educators in English education in improving the curriculum, the teaching methodology and the learning theory for EFL reading for critical reading.

• Annual Conference on Human and Language Technology
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• 2012.10a
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• pp.185-190
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• 2012

본 논문은 동아, 조선, 중앙, 한겨레 신문의 2009년 신문 사설의 제목과 본문에서 나타나는 n-gram에 대한 논의이다. 구체적으로 자주 출현하는 단어들의 연속 단위 3~6개의 형태소를 추출하여 신문 사설에서 나타난 고빈도 형태소 연속체를 살펴본다. 또한 이들을 기사문에서 추출한 패턴과 로그공산비로 비교하여 신문 사설에서 더 특징적인 의미로 사용되는 어휘들을 살펴본다. 그 결과, 사설 본문에서는 3-gram은 '아야 한다'. 4-gram은 'ㄹ 것이다', 5-gram은 'ㄹ 수밖에 없다', 6-gram은 '아야 할 것이다' 등이, 사설 제목은 '것인가, 안 된다'가 하나의 용어처럼 사용되고 있었다. 이러한 형태소 연속체를 살펴봄으로써, 신문사설의 텍스트 특징과 정형적인 표현에 대해서 살펴볼 수 있다.

• The Research Journal of the Costume Culture
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• v.16 no.1
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• pp.1-21
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• 2008

The purpose of this study is to typify femininity and masculinity represented in mainstream women's and men's fashion magazines in Korea since 2000 and infer sexual ideology appearing in contemporary Korean society by content analysis with the view of plural sexuality. For the content analysis total 259 editorial fashion photography was analyzed. As the result, 5 femininities and 5 masculinities were typified, and then sexual discourse was inferred out of the frequency of each type and texts with the images. On the basis of previous studies and historical considerations of this topic, the types of sexuality represented in mainstream fashion magazines in Korea since 2000 were classified as follow.: in women's fashion magazines Traditional Femininity and Androgynous Femininity were almost similarily dominant sexuality, and Glamor Femininity, Babydoll Femininity, and Genderless sexuality were alternative. Meanwhile, in men's fashion magazines Traditional Masculinity formed clear dominant sexuality, and Macho Masculinity, Androgynous Masculinity, Adolescent Masculinity, and Genderless sexuality were alternatives. In addition, Androgynous Masculinity in women's fashion magazines occupied the highest frequency, while Glamor Femininity in men's fashion magazines did so. From this sexual discourses represented in mainstream fashion magazines in Korea since 2000 are as follow.: First, mainstream fashion in Korea sticks to the modern values preserving traditional sexual ideology even in this postmodern period of the former 21C. Second, Androgynous Femininity as another dominant femininity with Traditional Femininity connotes the change of conception of femininity in Korean society. Third, Androgynous Masculinity to females is preferred, while femininity to males is still regarded as fetish or adorned object. Fourth, the appearance of various alternative sexualities leads to pluralization of sexuality, and then fashion gradually codifies youthfulness and feminine values, such as body and sexual desire more than before.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.83-88
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• 2024

This paper analyzes the historical significance and aesthetic meaning of the emergence of 'artists as theoreticians,' a major aspect of contemporary art criticism practice, focusing on the editorial project of the British monthly visual arts magazine Studio International. The sharing of writings about art through publications confirms the lens of critical perspectives on contemporary art and serves as an opportunity to reflect on broader political and cultural conditions. In particular, this paper can function as a resource for assessing the art historical horizons created by the connection between artists and publications, rather than theorists or critics, on the magazine platform. This paper focuses on the debates formed through Studio International in the late 1960s, examining the magazine's stance on new developments in art, the practice of defining critical terms that accompanied it, and the responses to them. The texts of 'artists as theoreticians' such as Victor Burgin and Joseph Kosuth, published in Studio International, overcame the conventionality of art that relies on formal aspects, and argued that the concept of art as something named by the artist is possible as art that does not require the mediation of objects. The discourse practices of these artists became an important factor in destroying the authority of the historicist critical paradigm, thereby acquiring the art historical value of artists who took the position of theoreticians dealing with art.