Earticle

Structural semantics aims at the lexical description of meaning by means of the approaches and models based on structural principles. And the fundamental methods are the feature or component analysis, which provides a universal component inventory of meanings, as well as the lexical field analysis to uncovering semantic relations, which are the basis for the structure of our lexicon. While structural semantics excludes all extra-linguistic factors (world knowledge, encyclopedical knowledge etc.) from the meaning analysis, the central subject of cognitive semantics is the term or the concept. Terms are not bound to linguistic forms and have no forms of linguistic phenomena. Rather, they, as psychological units, imply all knowledges relevant for the individual during the perception process. For the linguistic semantics both directions differ less in their goals than in their theoretical approaches and in the procedure. For any description of natural language meaning, we need methods and procedures which are empirically and formally adequate. Both can be met by Fuzzy semantics, because the concept of ‘fuzzy’ sets may prove to serve as a formally and numerically flexible link to connect the two lines of research in semantics.

The formal semantics have its theoretical basis in the Aristotelian logic. Since the late 19th century, philosophers like Frege formalize linguistic expressions with mathematical concepts.In general, natural languages are considered to describe things and phenomena around us by linguistic expressions of various categories. In other words, the language connects linguistic expressions with a part of the world.The object of this work is to examine various facets of the world represented by natural languages. First of all, we analyze the denotations of French common nouns, noun phrases, proper nouns in the set theory. We examine also the semantic structure of the phrases whose predicate is action verb. And then, the analyses of sentential complements give us common nouns and noun phrases which represent the concept of proposition. After all, we can propose a model containing not only the individuals which represent things but also the individuals which represent propositions. Theses analyses can as well propose the sub-classification of adjectives by the compatibility with common nouns, in consequence we have the following sub-classification. - common nouns of thing : chanteur, professeur, table, voiture - common nouns of proposition : hypothèse, désir, opinion, rumeur - adjectives of thing : grand, français, rond, rouge - adjectives of proposition : certain, indubitable, inévitable, souhaitable

This paper aims to describe words similarity with intuition, objectivity, and measuring possibility.Measuring the words similarity have importance in that it gives us the standard with clearness. With the similarity standard we can decide which words could be called the ‘similar word’.But if we do not consider word's meaning in measuring the words similarity the result often does not comply with our intuition and not acceptable. So the measuring way should contain human intention which tells two words meaning are very close.To get the intention, dictionary's description were used. Because dictionaries are written by many experts in linguistics with accumulated efforts, we can regard it have proper description about words real meaning. So generally the descriptions comply with our intention. Descriptions were separated with words, and high frequency words were excluded. The result gives the words real meaning in forms of ‘word’.In addition to that, only the expressions which more than 2 dictionaries used are chosen. One dictionary some times can use unappropriated expressions, but if two or more dictionaries used the same expression, we can put higher trust on that expression. Consequently we get the objectivity.Finally when we use above results, we can draw its connection paths and calculate its similarity. When the two words are similar, they will have same expressions which tells its meaning. The same expressions, in other words ‘properties’ let the two words have connection path. And with this path, we clearly know they have similarity.When connection paths were drawn to all the words, the similarity can be counted. If two words have connection path directly we can say their similarity is 1st level, and if they are connected via another word we can say their similarity is 2nd level. In this way words similarity can be counted.And this paper designed the auto level-tracking program. It calculates the similarity level of two words. If there are some complements, the full process could be done automatically without human labor.

South Korea has made great progress in the economic and political spheres. However, South Korea has been plagued with more frequent violent collective actions by its people than other countries of comparable development. Why? With the intuitive help from Sapir-Whorf and the application of the idea of “frame” advanced by Lakoff, this study attempts to show that honorifics, which might be more sophisticated in Korean than in any other language of the world, could be responsible for this puzzling question. Honorifics in Korean, which were born and developed in the pre-modern environment, tend to prevent equality from being established among individuals and make people seek collective action in order to make their voices heard and resolve their interests on de-honorification.

This study seeks to investigate the relationship between Prator's Hierarchy of L2 learning difficulty and segment-level pronunciation learning difficulties that were observed among Korean adult EFL learners in 2006. A total of 148 student participants at a college-level institute took part in an empirical study on the comparison between the effects of two different EFL pronunciation syllabi. Out of the 148, only 93 students yielded a complete set of pronunciation data, namely the pre- and post- test results of L2 sound identification and L2 word read-aloud tests. Two native English-speaking instructors of English and two non-native instructors of English each taught four 70-minute lectures to the participants. Based on the descriptive analysis, the participants showed identification accuracy results that generally affirmed the predictions suggested by Prator, while they showed somewhat puzzling results concerning their read-aloud accuracy scores. Two additional factors of L2 sound learning difficulty are suggested based on the results of the read-aloud tests: 1) the L1 orthographic system, which is relatively transparent compared to the L2 orthographic system, and 2) the phonological context in which a certain L2 sound occurs.

Le but de notre étude est d'éclairer la relation entre le sujet et l'objet poétiques dans l'univers littéraire de Rimbaud, surtout dans les premiers poèmes et Une saison en enfer. Pour Rimbaud, la recherche de sa nouvlle relation inconnue avec l'extérieur commence par le refus de tous les obstacles conventionnels de la tradition poétique et le reniement de son passé poétique qui l'enferme dans un monde devenu enfer, comme le montrent quelques poèmes: par exemple, «Pourtant, aujourd'hui, je crois avoir fini la relation de mon enfer. C'était bien l'enfer»D'abord, la rupture avec le passé, rupture avec la société, rupture avec les traditions poétiques semble être, chez Rimbaud, un premier signe de sa propre création poétique. En ce sens, l'attitude réformatrice du poète nous semble être en relation profonde avec les notions de créateur, mage, voyant, dits “démiurgiques”. Cette démarche poétique est avant tout la change et la réforme radicales de l'univers poétique, et la quête de la nouveauté, de l'inconnu et de l'infini qui s'opposent à son état actuel de la tradition et la convention poétiques, c'est-à-dire à toutes les autres cultures littéraires antérieures ou traditionnelles. Pour ce but, Rimbaud utilise dans ses poèmes, des termes liés à la réforme, au mouvement, à la destruction, etc., tantôt avec un sens destructif, tantôt avec un sens créateur. De ce fait, avec la fusion des sujets poétiques, les premiers poèmes et Une Saison en enfer sont, pour Rimbaud, l'univers poétique à la fois d'adieu au passé littéraire(«je n'ai rien derrière moi, que cet horrible arbrisseau») et d'entrée au nouveau monde littéraire, et annoncent un recommencement et un nouveau départ. Dès ses premiers poèmes, Rimbaud présente manifestement un changement et une transformation incessants du sujet ou des personnages poétiques. De plus, cela devient, nous semble-t-il, plus fréquent et vif, au fur et à mesure que son univers poétique s'avance des premiers poèmes aux Illuminations, en passant par Une Saison en enfer. Peut-être est-ce comme si, après l'abandon définitif de la poésie, Rimbaud l'avait montré pleinement dans sa vie réelle, où il n'a pas cessé de se transformer successivement en militaire, chef de chantier, marchand d'ivoires ou d'armes, etc.

The previous three thousand years of Judo-Christian imagination for Genesis and Fall were very much inured and accustomed to the notion that sexuality, especially that of women represented death. Even though the Old Testament made it clear that it was snake, not woman, which seduced Eve and then Adam, one was easily tempted to think the fall of mankind was because of Eve not simply because she was tempted first, but also because she was the one who gave death-inducing birth and life. To be phenomenological, one can say where there is life, there comes also death. Eve appeared too much with snake and people began to think she was herself snake through the so-called process of “co-extensiveness.” In the Aramic language, however, it was argued that Eve(hayya) and snake(hawwa) were, in their etymology, derived from the same root meaning “life”(hayat). It is St. Paul and St. Augustinus, among others who are mostly cited as the ones when one speaks of sexist Western culture. It will not be an over-emphasis that after them the tradition which identifies woman as sexuality, sin and death has been reestablished to be fortified. But the Bible makes certain that it is Satan who seduces Eve to eat the forbidden fruit. Besides, the fact that the resultive effect of the forbidden fruit is also knowledge and wisdom has not been given much critical reasoning and philosophical understanding. It brought about wisdom as well as death. Curiously however, the Bible also says the differentiation of right and wrong might prepare for the way of eternal life: “The Lord said, ‘These people now know the difference between right and wrong, just as we do. But they must not be allowed to eat fruit from the tree that lets them live forever’(Genesis 3:22).” It is now time to reinterpret the ignominious and ignoble Edenic fall: we fell to rise up again as Jesus died to regenerate. When the tree of knowledge and death blossoms, it also paves way for eternity, however serious and harmful the negative effect of reason and knowledge in the history of Western world. It is now therefore we recover the positive meanings of death whose purveyors are purported to be snake-woman. No death, neither life nor eternity. Death cannot be separated from regeneration and rebirth; it is the precondition of immortality.

It is generally known that the 1960's was one of the most significant periods in Korean theatrical history. Over the course of this decade, Korean theater changed from modern to contemporary. Among the symptoms of this change were the appearance of a new generation and new theater companies, the pursuit of anti-realist theater, and the emergence of interest in the populace. Inevitably, serious conflicts and confusions arose in dramatic circles, specifically between the old generation and the new generation, between realism and anti-realism, and between commercialism and art-for-art’s-sake. More significantly, this research assumes that the transformation of Korean drama was caused by a change in consciousness for both producers(theater people) and consumers (audiences), both of whom grew increasingly concerned with the new issue of ‘the populace,’ as opposed to the traditional issue of the nation. In analyzing this transformation, this research attempted to find its internal and ultimate motive by exploring the movement of ‘theater popularization’ and the discourse concerning ‘the populace.’ In concrete terms, this research investigated the diverse aspects of theatrical movements for the populace that have been practiced by the dominant theater companies called ‘Sinhyeup’, ‘Sanha’, ‘Minjung’, and ‘Silhum’. In addition, this study analyzed the discourses in which the artistic directors (Hearang Lee, Bumsuk Cha, Keunsam Lee) and those companies declared their own theatrical purposes. As a result of this extensive exploration, this research arrived at the following conclusions.First, throughout the 1960's, the populace was generally recognized as the audience in terms of admission receipts. But the specific audiences for whom each of the artistic directors produced were quite different from one another. In this respect, the popular theater that those directors and companies pursued implied different meanings: theater for a large number of audiences, simple and easy theater, theater in accordance with modern taste and sensibilities, and so on. For this reason, the popular theater ironically displayed each different form as realism and anti-realism.Second, these differences seem to relate to a generational shift. That is to say, the new generation and the old generation regarded the populace and the popular theater from different viewpoints. This difference in viewpoint is significant because it enables us to understand both theatrical phenomena. On one hand, it presents the particularity of 1960's theater, such as its conflicts and confusions, in terms of theatrical forms and techniques for the popular theater. On the other hand, it allows us to infer the reason why the form of Korean theater would change from singular to diverse: from realist theater to various kinds of anti-realism, such as the epic theater or the absurd theater of the 1970's. Finally, the change in producer and audience consciousness toward the populace and the popular theater injected diversity and modernity into 1960's theater. More specifically, the diversity reflected the various theater producers’ different viewpoints, and the modernity resulted from theater people’s strugglesto meet the desires and needs of the populace.

In contemporary drama the stage has developed from being just a space where one expressed oneself to a space with symbolic significations. The connotative meanings associated with stagecraft today has taken on importance such that it has become the defining element of the dramatic piece itself.This paper will elaborate how absurd can be defined in the American contemporary drama. The reality required and maintained in American drama is quite different from European drama in that one tends for an abstract sense of reality while in the other stage itself becomes the subject of the absurd. Albee's Zoo Story an american absurd drama gives us an inside look into what actually compromises the notion of absurd in American contemporary drama. The absurd in American contemporary drama can be defined as an abnormal situation created due to lack of communication in the modern society. The reality staged is a mirrored reflection of the society we inhabit. Through this mirrored reality the audience sees the reflection of oneself which is the very essence that which the absurd theatre tries to recreate. By recreating reality through illusion the drama conveys to the audience that the staged play is infect real and that we live in a society that is very much in conflict. The reality recreated on stage is the very method by which the absurd is communicated to the audience.