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We are faced with a tragic incident in which a huge conflict such as terrorism, refugee issues and economic imbalances erupt around the world. Our society is no exception. In this sense, it is 'cultural diversity' that is considered an alternative to resolving conflicts. Cultural diversity has become an important direction in contemporary cultural policy because it is a value concept introduced by the contemporary demands. Cultural diversity means recognizing cultural differences. Cultural diversity reject cultural uniformity led by the majority. This is to achieve coexistence between different cultures by admitting differences. UNESCO defined that culture should be regarded as the set of distinctive spiritual, material, intellectual and emotional features of society or a social group, and that it encompasses, in addition to art and literature, lifestyles, ways of living together, value systems, traditions and beliefs. The Declaration of Cultural Diversity stated that "In our increasingly diverse societies, it is essential to ensure harmonious interaction among people and groups with plural, varied and dynamic cultural identities as well as their willingness to live together." The declaration stated that admitting the various differences among social members constitutes social integration and requires a 'tolerance' for practice. This paper conduct a study on the cultural diversity reflected in Youths theater. The four plays in this paper is a korean creative plays. This plays were free from prejudice to adolescents and expanded his practical understanding. And criticize discrimination against minority culture. Desirable Teenager and XXL Leotard Annasui Hand mirror reveal the same recognition. This plays criticizes the disgust of minority cultures such as sexual minority figures and outcast. Emphasize the importance of understanding differences and solidarity. And The Blue Nation warns of the dangers of a uniform community. Loners emphasize the coexistence of various cultures. Both of the works emphasize the importance of tolerance. These works criticize society in which majority cultures discriminate against and detest minority cultures. It presents a life that coexists with the practice of tolerance. In this regard, cultural diversity is revealed.

Novels and films meet their recipients namely audiences and readers respectively through its differential expression methods. These two are very different in terms of making-process as each uses either text or image but they also share common denominators as the art based on the narratives. On the basis of the narrative, there are active cross exchanges between novels and films in these days and while novels are transformed into films the narrative structure inevitably brings changes. This paper looked into how the changes are brought into when a novel makes into a film centering on the case of A man called Ove a Swedish novel, written by Fredrik Backman. During the course of transforming a novel into a film deletion or change of story is unavoidable leading to different recipients' experiences. Nevertheless, the reason why the film could receive positive reactions from the audiences was the use of the flashback technique. In the narrative structure of the novel, Ove the main character looks back his past to show and explains himself of the past and in the course of transformation the film make the most of the flashback technique efficiently. The technique could easily disturb the experience of the audience however this paper explored how the film overcome the shortcomings enabling the positive audience experience.

Silence and Pause mark one of Pinter’s dramatic features in terms of its language style. They are important elements in creating the dramatic tension in his plays. Thus, the way to explain silence and pause has become an important factor in understanding Pinter’s language. Silence and Pause are more effective and powerful in revealing the characters’ anger, fear and desperation than words. At the same time, they can create a kind of menacing aura which intensifies the dramatic tension. With the skillful employment of silence and pause, the playwright asks the audience to be an active participant in the psychological activity of the character. For the playwright, the dialogue, silence and pause have equal status in terms of communication. Language, silence and pause could communicate in some specific contexts. Pinter is good at using the strategy in which the characters use both language and silence at the same time. The thesis intends to use textual analysis to observe the creativity of Pinter’s language with a view to helping readers have a deeper understanding of the dramatic art of Pinter’s dramas.

This paper examines the creation process of Hangul from a new perspective. First, it is claimed that this new writing system, which King Sejong the Great himself invented and named Hunmin-jeongeum, is a set of phonetic symbols to represent the Sino-Korean pronunciation of Chinese characters. “Hunmin- jeongeum (訓民正音)” means the correct pronunciation of Chinese characters to be taught to the people. In other words, Hangul was made to represent the Sino-Korean pronunciation of Chinese characters based on Tongguk-jeongun (東國正韻), which is the book about the Sino-Korean pronunciation of Chinese characters that King Sejong had compiled by modifying the earlier Sino-Korean pronunciation of Chinese characters. Subsequently, King Sejong's second daughter, Princess Jeongui(貞懿), used Hunmin-jeongeum to indicate some phonological changes in the pronunciation of Chinese characters, and in the process, she realized that the new script could be used to represent Korean inflectional endings such as verbal inflectional suffixes, case markers, and particles. This recognition led her to use the new script to write the Korean language. During this period, the name of the new script was 'Eonmun (諺 文)', which literally means 'vulgar script,' and this name reflects the perception about Hangul viewed as a lower-level script compared to Chinese characters. During the period of Taehan Empire (大韓帝國), it was referred to as the 'national script (國文))' since Eonmun was considered a vulgar, depreciative term, but it was called Eonmun again during the period of Japanese colonial rule, and then the term Hangul was used in opposition to the use of the name. King Sejong initially invented only 27 letters to represent onset consonants, and they were used to transcribe Yùnhuì (韻會), the Chinese rhyme book. Then, a buddhist monk and scholar named Shinmi (信眉), a well-known authority on Buddhist scriptures of the period, participated in the creation of the new script, and letters for middle vocalic sounds of syllables, letters for vowels, were additionally invented. The characters of the writing system for Sanskrit, a language of ancient India, were divided into mātr (摩多) for vowels and vyanjana (体文) for consonants, and these letters were called 'half letter (半字),' and its education was called teaching alphabets or 'teaching half letter (半字敎)'. On the other hand, each letter of Siddham script represented a combination of a consonant and a vowel corresponding to a syllable, and this writing system was called 'full letter (滿字)'. The education of this script was called 'teaching full letter(滿字敎)', which refers to the education of Sanskrit characters or Siddham. Sanskrit characters are syllabic characters that represent combinations of consonants and vowels. Teaching of half and full characters (半滿二 敎) is an expression frequently appearing in Buddhist scriptures, and it refers to the education of Sanskrit characters. The renowned Buddhist monk, Shinmi, was well versed in Vyākaraṇa (毘伽羅論), the grammar of the ancient Indian inflectional language, and shèngmíng-jìlùn (聲明記 論), a phonological study of Vyākaraṇa, since he learned them through the Tripitaka Koreana of Buddhist scriptures. Thus, he contributed to the additional invention of 11 middle vocalic sound letters of Hunmin-jeongeum based on the mātr, vocalic letters of Sanskrit characters. Before that, 27 letters for consonants were created based on the onset consonant sounds of Chinese Phonology (聲韻學), and they were called 27 fănqìe (反切) letters. They are '27 Eonmun letters' mentioned in the letter of appeal that Choe. Manri (崔萬理) wrote against the creation of the new script.

The purpose of doing this study is to identify the velar nasal distribution and to explain the phonological phenomena relating to the sequence ng either in words or suffixation from different angles which are based on a harmonic approach. For this, first we consider rule-based analyses such as boundaries (Wolfram and Johnson 1981), a sonority restriction (Roca and Johnson 1999), and lexical levels (Borowsky 1986). However, those showed some limitations of explanation as to the interrelation of g deletion and syllabification closely related to the sequence ng. As an alternative, we examined the constraints-based analyses depending on some constraints such as Max (More-Salient C) >> No Complex Coda >> Max (Less-Salient C) (Lee 1997) or parochial constraint (long([+tense])) and analogical constraint (OO(long, song; ɔ) & OO(long, song; ŋ)), etc. (Green 2001). But those explanations were complicated due to a lack of conciseness as well as either biased towards the deletion of the final consonants or the contexts of vowels occurring before the velar nasal. Therefore, in a harmonic approach, we could explain the issues (g deletion and syllabification of g) relating to the sequence ng more concisely through foot structures in level constructions than through the other analytical methods mentioned.

This paper aims to study aspectual meanings and features of the Korean passive verb. The aspect of a passive verb will change with meaning. When expressing the meaning of result, a passive verb is used as an Achievement and when expressing the meaning of possibility, it is used as a State. A passive verb derived from an Achievement, an Accomplishment or a Semelfactive could express the meaning of result, while a passive verb derived from an Activity could not. In addition, the subject of a passive verb that expresses the meaning of possibility could be a target argument or a tool argument, and the latter does not involve the passive meaning. Through this discussion, we can better understand the meanings of Korean passive verbs and how aspectual features vary depending on their meanings.

Ungan is a universal Korean letter of the Joseon Dynasty that was widely used from the king to the common people. What is unique in the name of the opponent used in speech and speech is that the second person pronoun 'Inside' is being used. The use of 'Inside' is mainly used in 'My husband's wife', 'jang․Jangmo's son-in-law' and 'Handsu-dong.‘ What's unusual is that 'Janae' is being used as the title of 'wife ⇒husband.' At the end of Jeollanam-do, 'young man' is called 'Janae' by 'old man’. The letter "±" in "Internal" by "Won's Mom" has many "Friendliness.“ "Janae" in the Korean letter has a strong sense of closeness. That's why it's a quality [+adult, +treatment, +formality, +sense fo closeness, +friendly, +high].

This study is focused on the problem of interpretation of the Temptation Test Dialogues between Jesus and Devil (Matthew 4:1-11), which are expressed as an indirect speech act. These dialogues have a structure which can be interpreted differently by readers, because the points of the test questions and answers are out of line. Dostoevsky evaluated these dialogues as having influenced the discussion of Russian religious philosophy through the issue of bread and freedom in the <The Brothers Karamazov>. In his work he gave many criticisms to Jesus, but there were not any questions about the ambiguous attitude of Jesus’ answers in the dialogues. And some researchers of dialogue text have studied this conversation in terms of dialogue strategy, but did not pay any attention to Jesus' response attitude. They did not point out the problem of violation of Grice's the cooperative principle, even though these dialogues have unnatural forms of responses. The inference method for these dialogues is based on Searle's(1981) inference algorithm of the Inference theory, Relevance theory, Cooperative principle and the Speech act theory, through which the dialogues were expressed as indirect speech act with conversation implicature.

Joh and Choi (2017) demonstrates that some extended meanings of the adjective chakhata such as ‘great’ and ‘not great’ are implicatures rather than denotations unlike Lim (2014) which treats those meanings as denotations along with other extended meanings. Developing this idea further, Choi and Joh (2017) claims that Korean chakhata prefers R-implicature different from the English counterpart which is claimed to prefer Q-implicature. This paper examines another scalar adjective cohta in Korean in comparison with the Korean adjective chakhata to see whether the previous observation can have wider applicability and argues that cultural differences on compliments can account for the contrast observed between Korean scalar adjectives translated to ‘good’ and their English counterparts.

This paper investigates temporal phenomena such as temporal domain formation and simultaneity of times involved in when-clauses in a larger chunk of sentences. Tenses are interpreted in a limited domain and temporal domains are selected and shifted in a discourse in accordance with contextual factors such as the presence of overt time expressions, topic change, shared knowledge, and so on. This paper also affirms that tense interpretation is pragmatically shaped. Though times denoted by the tensed verbs in the clauses connected with when do not accurately overlap, the use of when is licensed by a pragmatic constraint which makes it possible to ignore minute temporal details.

This study explores text-setting phenomena in English and Korean children’s songs, asserting that the constraints that regulate the alignment of a specific language to music differ according to the typological and phonological difference of the language. Within the Optimality Theory framework, the two representative constraints that pertain to text-setting are tested with children’s songs in English and Korean. As a result, the metrical constraint critically operates for universal text-setting patterns in English verses, whereas the grouping constraint ranks high for Korean verses. These reversed rankings represent that English follows a stress-to-beat mapping system while Korean versification works at a syllable-to-note mapping system. Based on this difference, this study attempts to observe the text-setting patterns in English children’s songs by native Korean speakers. Through the analysis, it is observed that English versification by native Korean speakers shows different text-setting patterns from the universal patterns by native English speakers. The Korean participants prefer to fulfill the grouping constraint rather than the metrical constraint in English text-setting. In addition, the native phonological grammar also affects English syllabification since vowel epenthesis occurs after an obstruent coda in English lyrics. This nativization process of English verse causes idiosyncratic text-setting form by native Korean speakers. Through the analyses, it is suggested that the relative importance of constraints depends on a specific language, and that the native phonology can affect the versification of a foreign language.

In this study, we discuss the basic technology of dialogue systems based on the deep neural network for natural language processing(NLP). Deep learning has become a basic technique in dialogue systems. Many researchers investigated on applying neural networks to the different components of a traditional task-oriented dialogue system, including natural language understanding, dialogue state tracking, and natural language generation, We study the recent technical advances on task-oriented dialogue systems and extent to the non-task-oriented system. We find that the end-to-end models are prevailing and representative in most of recent research papers. Also, it is blurring the boundaries between the task-oriented dialogue systems and non-task-oriented systems. In particular, the chit-chat dialogues of generative method are modeled by the end-to-end model directly. The task-oriented systems are also moving towards an end-to-end model with reinforcement learning. It is noting that current end-to-end models are still improving. We discuss some possible research directions and the technical challenges. In the future, we expect that accuracy of dialogue system will be improved further by employing reinforcement learning method.

The paper aims at investigating the cross-linguistic distribution of modal auxiliaries by analyzing the written corpus of TOEFL writing samples contributed by 121,000 test takers. The writing samples were POS-tagged and only modal auxiliaries were extracted from the collection of tagged words. The results showed that the learner corpus had a higher percentage of modal auxiliaries than L1 corpora. While English speakers are reported to use around 1.45% of modal auxiliaries in their writing, the L2 learners of English in the TOELF11 corpus make use of modal auxiliaries by 0.5 to 1% more. Simple correspondence analysis conducted on the TOEFL11 corpus also revealed that Romance languages were closer with each other than other groups of languages, and East Asian languages such as Korean and Japanese were measured to be closer to each other than other languages with regard to the distribution of modal auxiliaries. Turkish posed a problem in that even if Turkish belongs to the Altaic language family along with Japanese and Korean, it did not show close relationship to these East Asian languages, but to Chinese and German. Even though more research were to be done, the simple correspondence analysis adopted in this paper turned out to be a robust tool that could capture the closeness of languages regarding the distribution of modal auxiliaries.

Conducting a perception experiment with three loanwords differing in the number of syllables, this study evaluated logically possible tonal patterns within an Accentual Phrase (AP) to identify the most preferred AP tonal patterns. Although Seoul Korean’s basic AP tonal pattern is THLH, several variations, such as LLLH, LHLL, and LLLL, were accepted as preferred. These findings lead to several generalizations about the nature of AP tonal patterns when an AP begins with a Low tone-inducing segment: 1) A High tone cannot occupy an AP-initial position; 2) The distribution of a High tone is less variable than does a Low tone within an AP; and 3) A Low tone can appear anywhere within an AP. To integrate these tonal variations into the grammar of Seoul Korean intonation, this study provided several constraints within the framework of Optimality Theory. The preferred tonal patterns found in the perception experiment generally match the observed tonal patterns in previous studies, meaning that the preferred tonal patterns are neither random nor fuzzy.