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The Fourth Industrial Revolution defines the Modern society, with the gadgets and internet that influences everyday life as we know. In the core of the fourth industrial revolution is the ‘Big Data’, a naming of a storage of data that are randomly and anonymously stored when we use PC, Mobile phones and any other electronic gadgets that sends the users choices, preferences and other detailed information to a Cloud storage systems. The paper tries to define if the works produced by an AI which are made by reconstituting the data through an Algorithm. And if the works so made can be labeled as being genuine work of Art. Although works produced through the use of an AI have won various literary awards today, there lingers the question as to the value of the works in question when the Works are sorely an end product of the data that are reconstituted from Works already defined as those with an Artistic value, per se. Defining what may and may not constitute as an artistic value is an esthetical question. A problem that has to be faced to discern what may be and may be not considered as work of art. The value of Art rests with certain criteria which may not be duplicated nor copied or reconstituted from data that are stored, the value denotes that which defines the Humanistic values such as ethics, the use of ambiguity, polysemy, equivocality and spontaneity etc., in short the ‘Mind.’

This paper reflects on Sharon Choi’s outstanding interpreting for director Bong Joon-ho, the extraordinary public and media spotlight she attracted, and the implications of both her performance and reception for professional interpreters. First, the phenomenon of Sharon Choi is analyzed within the larger context of interpreting and translation’s deprofessionalization and amateurization, which are accelerated by advances in web-based translation technologies. The paper then examines the key factors behind Choi’s success, including her subject-matter expertise and exceptional communication skills. Finally, the paper discusses how Choi’s performance challenges existing theories about translation and the questions it poses to Translation Studies as well as translator training.

The present study discusses the methodological issues in the previous studies on intercultural health communication with migrant worker patients. It first points out that most of them have methodologically stuck to record reviews and questionnaire surveys, while only a few have adopted ethnographic approaches. It then argues that regardless of their specific approaches, they have taken “emancipatory modernism” at their heart in light of their advocacy for the less-privileged patients’ human rights and medical welfare despite their nearly exclusive focus on the patients from a limited number of countries and nearly exclusive attention to free-of-charge medical institutions. In so doing, the current study highlights the fact that the emancipatory modernistic studies have not paid sufficient attention to such methodological issues as the institutionally self-implemented distribution of the patients, the peculiarities of each institution, and their diachronic changes. As a result, the present study points out that it is about time for the more critical applied linguistic studies that take transformativity and self-reflexivity into account supplement, if not entirely replace such emancipatory modernistic approaches.

Aristophanes' comedy, Wasps, disclosed the court jury’s malicious judgement against powerless citizens at the Athens court in the 5th century BC. Also, the work openly satirized the jury’s faithful commitment to instigaitve power. Wasps accused the corrupt trial system by satire and disclosure and scolded the tyranny of misappropriating the city's tax revenues for the benefit of individuals in power. The theatrical treatment of concepts of satire, revelation, accusation, and derision in the work went beyond imagination and fantasy and encouraged Athenian audiences to cheerfully cultivate the cognitive consciousness of reality criticism. The dramatic action of satire and revelation in this work was a performance that rebuked the wrong practice of corrupt political power while comically narrating an aspect of contemporary trial system. This paper gives a brief look at an aspect of the trial system conceived in the addiction of power and Aristophanes’ theatrical ways of resisting the tyranny of corrupt political power by textual analysis.

There has been still a controversy about the conflicts between radical feminism and feminism of androgyny, so called the duel between stage two and stage three feminism if we use Julia Kristeva (209), although this kind of dichotomy is almost losing its ground when she says the latter one does not necessarily negate the former because all three feminisms are required and needed for the liberation of women. But the issue here lies at the fact that the harmonious androgyny is still precociously utopian even today when practical feminist issues including abortion and genital mutilation have not been yet remarkably resolved so far. Theories of radical feminism and the debate between stage two and three are still paradoxically needed to lay a foundation on to solve those practical problems of the society. Virginia Woolf’s famous feminist manifesto, A Room of One's Own (1929) is, therefore, still a good literary work to deal with this issue of which is a good or “the” best feminist position. Woolf could formulate and contain her idea of radical feminism in the age of Victorian-Edwardian England in which potently surveillant patriarchy prevailed, while hiding and camouflaging her feminist anger enveloped within the surface of androgyny. Again, however, despite risking the fallacy of authorial intention, which one is Woolf's real voice out of these two? Femininity or Androgyny? The expressed one or the suppressed one behind this narrative? Both or neither? My argument is that Woolf could reveal her anger and rage while pretending to conceal her radical notion of femininity under utopian androgyny. In spite of her fear of being called a radical or sometimes a sappy feminist, she could praise femininity by using multiple personae and evasive narrative technique.

The standard of semantic arrangement among the microstructures of dictionaries is not fully elucidated neither at the level of dictionary compilation nor at the level of lexicographic research. The principle of arrangement of meanings in each dictionary is closely related to the compilation philosophy and the intended forms of dictionaries. In this paper, through the examples of Korean and French dictionaries, under the hypothesis that the arrangement strategy of multiple acceptions, that is, of the polysemy, selected order determines the form and identity of the dictionary, it is intended to show that it is a structure of order and hierarchy based on analogy and cognitive logic, rather than the enumeration and parallelism of semantic acceptions. For example, <Littré Dictionary> has a historical point of view, <PL> adopts a thoroughly synchronic attitude, and <PR> hass a unique hierarchical structure that synthesizes diachronic and synchronic point of views. In particular, <PR> explores the problem of how to establish a semantic continuum as well as the direction of subdividing meanings for a complex semantic arrangement structure. More specifically, we have analyzed different types of numbering of meanings, highlighting above all cases where specialized meanings are described under the same number, with other terminological meanings or other general meanings. Sens splitting or degrouping as well as sens lumping or regrouping methodologies are relevant to make understandable sinuous polysemes, ramified in all directions.

The aim of this study is two-fold. The first is to contrast segmental sounds of Modern Greek and Korean for Korean learners of the Greek language. The second part is some pronunciation instruction suggestions. Our study resulted in an account of specific instances in which pronunciation errors occurred. The first is pronunciations of similar segmental sounds which exist in Korean, but have differences in the way they are articulated. Greek distinguishes plosives (/p/, /b/, /t/, /d/, /k/, /g/) and fricatives (/f/, /v/, / θ/, /ð/) according to the vibration of the vocal cords while Korean distinguishes consonants from aspiration and tension. The second is pronunciation of sounds that do not exist in Korean language (/f/, /v/, /θ/, /ð/, /ɾ/). Third, it is pronunciation of allophones. Korean learners sometimes do not recognize the differences depending on the phonological environment when many allophones exist in a single phoneme. There is a tendency to pronounce all the allophones the same as the representative phoneme (e.g., [ɣ] and [ʝ] as [ ] in Korean equating [ ] and /ɣ/, and pronounce [Σ] as /s/, which should sound differently by /s/ and /z/, depending on the phonological environment). In the case of vowels, the sounds of all five vowels of Greek (/i/, /ɛ/, /ɐ/, /o/, /u/) exist in Korean. Therefore, pronunciation of the segmental sound itself is not expected to be difficult, and errors in vowels are likely to occur in diphthongs and stress. In the part of pronunciation instruction, we suggest implicit pronunciation instruction based on the beginner’s level instructions for the Greek proficiency test, focusing on segmental sounds /θ/, /ð/, /ɣ/ and its allophones [ɣ] and [ʝ]. The elements influencing pronunciation include not only segmental sounds but also suprasegmental elements. However, this study could be a starting point for Modern Greek pronunciation research on acquisition and teaching, given that they partly interact with each other.

This study identified effects of the relationship between corpus closure and three variables; corpus size, generality of linguistic feature, and genre balance. Three linguistic features; nouns, past tense, and conditional clauses, having distinctive generality differences, were selected, and their frequencies were measured in COCA (Corpus of Contemporary American English) and its downsized and less balanced samples in order to extract correlation efficiencies between them. The statistical analyses revealed that bigger corpus size, higher generality of linguistic feature, and well balanced genre positively affect similarity growth between COCA and the samples. Since higher similarity means a higher degree of corpus closure, it is postulated that less specific linguistic features or well balanced texts are prone to be in a closure state earlier than opposite cases. The study results are not absolute, but an overall tendency, particularly with regards to the generality of linguistic features. Nevertheless, this study suggests that a primary requirement of a sound corpus is to mirror a variety of features of its population as much as possible in order to assure reliability of any studies based on it. Researchers have to estimate the size of the target text by considering its genre balance and the generality of the intended lexicon and grammar for feasibility of the study before planning data collection.