• Sijohaknonchong
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• v.43
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• pp.41-66
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• 2015

A study on rhythm of a sijo was mostly conducted based on rhythm theory. As it is considered to define the rhythm of a formal sijo based on three verses, its significance has been recognized. However, if rhythm is understood to be superior to cadence or versification, it seems necessary to examine the rhythm of a sijo as a verse with a fixed form as well as a highly individual rhythm of each and every lyric poet, which is informal rhythm, in order to fully understand them. In this case, prosodie analysis by H. Meschonnic (1932~ 2009) can be a significant methodology. As this study gropes for a possibility to examine the rhythm of a sijo from a new perspective instead of existing rhythm theory through the application of H. Meschonnic's prosodie analysis, it can be regarded as an essay. Prosodie newly suggested by Meschonnic is referred to as linguistic organization of consonants and vowels and indication of their paradigm, and it conflicts the perspective that traditionally separates linguistic sound from meaning for dichotomous understanding. It is due to the fact that the organization of consonants and vowels is a unit that constitutes a complicated layer of significant sound and meaning. Accordingly, prosodie analysis that is irregularly and aperiodically distributed within poetic text can be considered as methodology aimed at explaining how a poem is integrated in terms of sound and semantics. The core of prosodie analysis is to examine how the phonologic system stands against the theme of a poem. It ultimately has the same way of establishing literary style of a poet as it is to explain a unique aesthetic structure that individual poems have and show distinct characteristics of linguistic use by a poet. Prior to application of the prosodie analysis to sijo in general, the study preparatorily conducted prosodie analysis on < Ouga > by Gosan Seon-do Yun.

• Journal of KIISE
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• v.43 no.11
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• pp.1307-1314
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• 2016

Virtual Hangul keyboards like Chun-Ji-In, Narat-Gul, and QWERTY are based on eyesight recognition, in which input letter positions are fixed in the smartphone environment. The input method of a fixed-position style is not very convenient for visually impaired individuals. In order to resolve the issue of inconvenience of the Hangul input system, we propose a new paradigm of the finger-touch based Hangul input system that does not need eyesight recognition of input buttons. For the convenience of learning the touch-motion based keyboard, finger touches are designed by considering the shape and frequencies of Hangul vowels and consonants together with the preference of fingers. The base position is decided by the first touch of the screen, and the finger-touch keyboard is used in the same way for all the other touch-style devices, regardless of the differences in size and operation system. In this input method, unique finger-touch motions are assigned for Hangul letters that significantly reduce the input errors.