• Journal of English Language & Literature
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• v.57 no.4
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• pp.675-693
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• 2011

In its restricted sense, 'sound poetry' refers to the poetic performance that rejects words and verbal meaning and instead foregrounds the aural materiality of poetry. Behind this seeking for materiality lies a quest for a 'language of presence,' which operates through a denial of signification toward an ideal of the Adamic tongue, a purely emotional and universal language. In the same light, it is argued that sound poetry is a unique and unrepeatable event devoid of meaning due to its directness to the body allowing no intervention of intellectual and semiotic process. But language may involve perceptual meaning as well as verbal or conceptual meaning ascribed to words. This implies that even though devoid of conceptual meaning by means of using grammatically non-articulated sounds, sound poetry cannot but have meaning whose articulation is differently, i.e., iconically made about the aural features of the sounds. Perceptual meaning is unavoidable because everything we are conscious of is a reduced form, a repeatable pattern that works as a sign. 'Language of presence' is then actually impossible, and therefore sound poetry should be seen rather as a fest of diverse perceptual meanings.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.15 no.6 s.99
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• pp.724-730
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• 2005

Literary works contain various human emotion and historical, cultural background. It is very significant to understand sound recognition and receptions represented in many literary works. This study aims to investigate the sound impression on ancient Korean Sijo( Korean Verse) involved various traditional korean emotion, which were expressed in different situations. Firstly we selected the appropriate Sijo to express sounds, and then classified the sound, analyzed the meaning of recognition to the sound. The number of 297 sounds were classified into 13 categories, and 20 emotional meanings. Especially, 'internal sadness' characterized the korean rooted emotion were more expressed than other meanings and this meaning were symbolized by the sound of wild geese and cuckoos.

• Cartoon and Animation Studies
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• s.20
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• pp.87-104
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• 2010

Animation creates meaning and affection by combinig image and sound like film. directed by Yuri Norstein is a good text for analyzing animation sound in that it combines image and various music and sound effects well. This study focuses on analyzing the way that sound function to make meaning in this text. Generally sound is categorized into dialogue, music, and sound effect. And animation has its own characteristic in each category. The voice for dialogue is created corresponding to the image of the character and the rhythm is very important in Animation. Plus Sound effect in animation can be said to mimic not just sound but also movement. This study analyzes sound based on three sound factors and the concepts of the point of listening, subjective sound, and sound bridge. Subjective sound using the point of listening of the wolf and the baby bestows a special position on the main characters in the text. It is the overall characteristic of the sound use of this text that the repetitive combination of sound and image, the linguistic and annotative function of sound effect, and comparatively conventional use of music and sound effect enhance the affection and readability.

• Lingua Humanitatis
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• v.6
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• pp.7-31
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• 2004

This paper argues that (1) word-for-word literary translation is not possible; all it does is achieve what Chukovsky characterized as 'imprecise precision' (1984:47), (2) contra to Nida (1969) and others, translation does not just mean translating meaning, and (3) therefore, a translator must negotiate an uneasy but inevitable compromise between accuracy and elegance. To make the translated passage just as pleasing, moving, and cathartic as the original passage as much as possible, a great deal of literary skill is required on the part of the translator. The iniquity of translators is not so much infidelity as infertility to produce an offspring worthy of an heir to the original writer. Translators are not traitors; they are traders, or literary merchants, who trade one form of linguistic unit for another, often meaning for form, or sense for sound, but sometimes form for meaning. A translator then is not a man of treason but is a tradesman.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2004.11a
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• pp.802-805
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• 2004

It is requures to understand the meaning of sound and cultural background of target spaces for soundscape design. The purpose of this study is to derive the general soundscape preserved in the mind of Korean people. Four kinds of traditional Korean songs, that is to say, Sijo (Korean verse), folk-song, Pansori (song for drama by Chang reciter), and popular songs, were used as tools of research subjects. That is because the sounds expressed in literature are very useful subjects for soundscape survey. Paragraphs containing description of sounds were selected from the lyrics of the songs. Then 11 sound categories were named, and 13 meaning categories were classified according to referential and emotional aspects, respectively.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2005.11a
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• pp.629-632
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• 2005

What does sound look like if we can see it? It might depend on the acoustic variables we want to see. In this article, we propose various ways to visualize or express sound field in much more intuitive manner. In particular, new visualization schemes that can effectively visualize sound intensity and 3D pressure field are proposed. This allows us to represent sound pressure, particle velocity and acoustic conductance at the same time, even in three-dimensional coordinate. Visualization examples corresponding to the proposed techniques show that we can successfully transfer the meaning of physical variable to visual space.

• Transactions of the Korean Society of Automotive Engineers
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• v.6 no.2
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• pp.67-79
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• 1998

Inthe study, a method to evaluate the door closing sound has been developed. Based on the factor analysis, various adjective pairs which describe meaning of the door impact sound have been differentiated. This approach, called Semantic difference(SD) method, was originally developed in linguistics research on order to compare diverse mother tongue. This paper introduces at first how the door sound os generated and transmitted. After that, a factor analysis which is a tool of SD method is implemented to door closing sound for 12 domestic and 1 foreign car models. During investigation, the examined models are categorized into small, medium and luxurious size automobiles. The adjective pairs which attritbute to the door quality have been factorized into three group : expensive/ smooth, powerful/ heavy, and modern/dull. It turns out that the first factor : expensive/ smooth plays the most important role in door closing sound quality.

• Journal of the Korean Society for Precision Engineering
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• v.20 no.5
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• pp.116-123
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• 2003

These days, the researches related with the emotional robots are actively investigated and in progress. And human language, expression, action etc. are merged in the emotional robot to understand the human emotion. However, there are so many sound sources and background noise around the robot, that the robots should be able to separate the mixture of these sound sources into the original sound sources, moreover to understand the meaning of voice of a specific person. Also they should be able to turn or move to the direction of a specific person to observe his expression or action effectively. Until now, the researches on the localization and separation of sound sources have been so theoretical and computative that real-time processing is hardly possible. In this reason for the practical emotional robot, fast computation should be realized by using simple principle. In this paper the methods for detecting the direction of sound sources by using the phase difference between peaks on spectrums, and the separating the sound sources by using fundamental frequency and its overtones of human voice, are proposed. Also by using these methods, it is shown that the effective and real-time localization and separation of sound sources in living room are possible.

• Cross-Cultural Studies
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• v.33
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• pp.359-384
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• 2013

There is linguistic phenomenon that Korean syllable, morpheme and word are substituted with Chinese Character. These phenomenon is called Chinese Character Borrowing, the Chinese character used here is called Borrowed Chinese Character. Whereas borrowing Chinese character in Chinese is used for borrowing only sound for different word, borrowing Chinese character in Korean is used for assigning new meaning. Hence, by borrowing Chinese character in Korean, a syllable which had no meaning originally get new meaning, morpheme and word meaning has changed. At advertisement and campaign, Chinese Character Borrowing has lots of linguistical advantage such as visual immediacy, effectiveness of meaning expression. However, there are number of cases found that violate grammar rule and word constitution practice by Chinese Character Borrowing. For this reason, Chinese Character Borrowing has the problem polluting Korean along with another foreign words. Thus, this paper focus on study Chinese Character Borrowing phenomenon in Korean, and analysis its effectiveness and impact in Korean. In addition, analysis the problem of Borrowed chinese Character, and suggestion several alternative for right use of Korean is followed.

• Trans-
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• v.8
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• pp.29-53
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• 2020

This paper aims to study the aesthetics of ugliness in David Lynch's first film . First, as a background study, it examines the history of ugliness in the history of beauty and discusses the meaning of ugliness in an aesthetic sense. Furthermore, i will look at the aesthetic theory of Rosenkrantz's Aesthetic Theory, which has developed in-depth discussions about ugliness, and discusses similar or other aspects of opinion. Finally, to demonstrate the aesthetics of the application of ugliness in modern cinema, the specific sound of David Lynch's film is analyzed in detail and its relationship with images. Through this discussion, I would like to clarify the aesthetic meaning of ugliness as an aesthetic category in the field of film.