Earticle

This study aims to examine the wider use of ‘tae-mun’ causative expressions diachronically and their discourse features in modern Korean conversation. For this purpose, discourse analysis method is applied to corpus data arranged from 19c․20c novels, dramas, movies and talk show progra. The results of this study presents : (1) ‘tae-mun’ has begun to be used as a connective expression from the end of 19c with other causative expressions like ‘ka-dak’ and ‘jon-cha’ and in the early of 20c, ‘tae-mun’ has been used as a sentence ending expression at the same time. (2) ‘tae-mun’ expressions has syntactic restricts rarely and it makes the wider use of ‘tae-mun’. (3) Through analyzing the discourse data, the interactive functions of ‘tae-mun’ are analyzed in terms of two big categories of [reason] and [justification] in spoken discourse context. These basic discourse functions can be sub-categorized into specific functions like [excuse], [persist], and [information] depending on the syntactic or pragmatic features and the state of the information which preceding and following phrases contain. (4) This phenomenon suggests the meaning of a certain grammatical expression is not fixed but keeps on changing in discourse.

This paper aims to examine the semantic function and compare the ‘degree of intention’ in the Korean expressions for the intention such as -겠어요‘, ’-(으)ㄹ게요‘, ’-(으)ㄹ래요 and ‘-(으)ㄹ거예요’. These expressions have primarily the meaning of ‘intention’ in common, but they have been used in the different environment of the discourse. Consequently, when learners acquire their usage of various expressions for the ‘intention’, we recognize that learners commit errors according to linguistic context, situational context. Therefore, I first explore their semantic function focused on the ‘intensity’, in so doing compare ‘the degree of intension’ in some Korean expressions for the intention. Furthermore, it has been shown to compare ‘the degree of intention’, which is combined by adverbs to the intention, answering to the imperative sentence, etc.

This paper examined the grammatical category of modality in Korean. It is not an easy work for adult foreign learners of Korean to learn every single modal endings in their utterance. Even it is not clear-cut for Korean teachers to teach how to use Korean modal endings. Native speakers of Korean do not have to learn it since they can intuitively acquire the notion of the modality. In light of this, the main purpose of this study is to analyse the modality in Korean. The modality is defined as a grammatical form of the quality or state in question. These include the assertion or denial of any degree or manner of affect, belief, certainty, desire, obligation, possibility, or probability on the part of the utterer. The notion of the modality was classified as epistemic modality and deontic modality. The epistemic modality was effectively described through the literature review for teaching Korean as a Foreign Language. The deontic modality, however, was not sufficiently accounted for. Therefore, what is also discussed is the distinction of ‘-eulrae’ and ‘-eulge’ to better understand for the deontic modality. The empirical study was performed through the corpus of KAIST. From the data, a total of 602 tokens was acquired: 301 tokens for ‘-eulrae’ and ‘-eulge’, respectively. The most important findings of this study were that ‘-eulrae’ has the functional meaning of [suggestions](50.5%), [threat](19%), and [desire](13%), Otherwise, the results revealed that ‘-eulge’ has the meaning of [promise] (80%) and [one’s will for here and now](20%).

This treatise analyzes Russian speakers’ pronunciation errors in learning Korean, aiming to clarify the phenomenon and reason of phonemes of their interlanguage. To begin with, it predicts the difficulties of pronouncing by means of contrast analysis and analyses Russian speakers’ practical pronunciation errors, there by examining diverse variations which appear in the intermediate stage, that is, the patterns of interlanguage. This treatise considers the reason of interlanguage based on analysis and skills. The individual phoneme is much interfered from the mother tongue.

This study surveys ‘그러-type’ conjunctive adverbs, focusing on the syntactical condition and meanings in which the conjunctive adverbs for concessive meaning can be used, and on their mutual replacement with other conjunctive adverbs which have similar meaning. In contrast to the existing researches, this study concentrates on ‘syntactical condition’ rather than ‘meaning’ centered approach. Based on the method, this study also presents the possibility of interchangeable usage of the conjunctive adverbs which have similar meaning. Following foreign student’s propensity to learn korean by rule and formular, instead of explanation, this article uses table and charts as an alternative to explanation.

In this study, the connective suffix which expresses concessive relations, that is, {-a/eodo, -deorado, -(eu)ndeul, and -neuni} and syntactic grammatical morphemes such as {-(eu)l baeneun, -gie mangjeongiji, -(eu)n/neun sem chigo, and -(eu)n/ neundedo bulguhago} were comparatively collated in terms of semantics. In terms of semantics, {-gie mangjeongiji} and {-(eu)n/neundedo bulguhago} can be preceded by fact proposition as a proposition of preceding clause, and {-(eu)n/neun sem chigo} can be accompanied by only subjunctive proposition or hypothetical proposition. In terms of the influence of the semantics of preceding clause on the following clause, {-neuni}, {-(eu)l baeneun}, and {-gie mangjeongiji} exert greater influence than other concessive expressions. In terms of the semantics of modality of the following clause, there comes the modality of [supposition] and [negative negation] in the following clause of {-(eu}ndeul}, the modality of [affirmation] in the following clause of {-neuni} and {-(eu)l baeneun}, and the modality of [supposition] and [non-fact] in the following clause of {-gie mangjeongiji}, for the most part. The rest concessive expressions show semantics of modality with the various contents of the following clause.

This study aims to find out the distinctive features of two adverbial suffixes ‘-i/-hi' and ‘-ke’. Also it includes the chart to help people teach Korean as a foreign language. This study investigates the distinctive features of two adverbial suffixes ‘-i/-hi’ and ‘-ke’ with third group, and it investigates 3 aspects that are meaning, expression and focus. First is the meaning: what kind of implication two different forms of adverbial suffixes ‘-ke’, and ‘-i/-hi’ have respectively, and what kind of differences they have semantically. Second is the expression: what two different adverbial suffixes are expressed specifically in sentences. Third is the focus: where the focus of two adverbial suffixes lies in a sentence. The distinctive features of two adverbial suffixes ‘-i/-hi’ and ‘-ke’ are as following: The adverbial suffix ‘-i/-hi’ represents both the adjective’s original meaning and a new meaning which is slightly different. In contrast to the adverbial suffix ‘-ke’, the adverbial suffix ‘-ke’ is mostly uses the adjective’s original meaning. It focuses on the topic in the sentence. Therefore it expresses specifically the situation of the topic, circumstances, process and method. Also this study investigates the meaning of the adverb. This adverb has two forms ‘-i/-he, -ke’ which are derived from same abjective while they have two different meanings. Lastly, this study shows the chart which is designed distribute teaching Korean as a foreign language on the basis of characteristics and differences of the adverbial suffixes ‘-i/-he’ and ‘-ke’

The aim of this article introduce to structural analysis known as an approach to textural analysis in academic field of Structuralism. Structuralist analysis focuses on the structural relations which are functional in the signifying system at a particular moment in history. It involves identifying the constituent units in a semiotic system and the structural relationships between them. The analysing text-structure plays an important role for culture and art education. Structuralist analysis is compose of paradigmatic and syntagmatic relationship. Paradigmatic relationships can operate on the level of the signifiers or on the level of the signified. A paradigm is a set of associated signifiers or signifieds which are all members of some defining category, but in which each is significantly different. Syntagmatic relations are the various ways in which elements within the same text may be related to each other. In base of two relations I could try to analyse the structure of culture-artistic texts.

This paper aims to review new aesthetical aspects shown in movie “Old Boy.” The word “new” was used here to highlight its postmodern features, different from those in traditional western modernity. It also tries to explain the link between the movie’s post modernity with East Asia’s aesthetics. Old Boy’s peculiar features also come from denial of the subject and abnormality witnessed throughout the movie. The movie uses hypnotism to dramatize the rivalry between Oh Dae-su and Lee Oo-jin. Particularly, it provides a most effective tool for Lee to control Oh. Oh also picks up hypnotism to forget the memory of the incest with his daughter. Oh is becoming a new person being controlled and manipulated by hypnotism. The abnormal plots in this movie shake the basis of “subject concept,” bedrock of most modern movies. This proves that Old Boy is a kind of post modernity movie. In East Asia, there has been no strong subject concept. Rather sorcery still prevails throughout nations, which will not change even in the 21st century. This sorcery-centered mentality can be compared with Irrationality from which Max Webber struggled to be liberated. Webber believed that modernization could be possible only when people were disillusioned with sorcery. But Old Boy turns to the irrationality again, placing more emphasis on magical power that manipulates characters’ sub-consciousness than on rational decisions and behaviors. In this regard, Old Boy is a film that represents not only post modernity but East Asian features as well. Post modernity and East Asian features in “Old Boy” come from breakdown of cause-and-effect relationship and much emphasis on destiny. Unlike the original work, Old Boy does not have either typical rival plots or cause and effect link, still providing viewers with impressive stories. As a result, it succeeds in highlighting power of “irrational destiny,” reflecting the reality where rational control of life may not be possible in the first place. Perception of unknown future is one of post modernity’s sublime expressions. East Asian people tend to accept destiny very easily. To them, the world is a place where yin and yang alternate according to ups and downs of chi. Pleasure is followed by agony and ascent followed by descent, albeit not all the time. This proves that the world is a place where two opposite things coexist. It also explains why East Asian people accept destiny as part of universal principles while westerners think of it as irrational. No wonder that aesthetics in Old Boy does not cause rejection from East Asian population. Lastly, Old Boy’s post modernity and East Asian features can be explained by reviewing its hybridity and Ahurum. Unlike the original, the line between fantasy and reality in the movie is blurred as the former frequently interrupts the latter. Sometimes, emotion surplus intensifies images of fantasy. It seems that the movie is straddling between reality and fantasy all the time. Also the movie is not just filled with serious stories but dotted with humorous lines and scenes here and there. Seriousness and humor make a single body and create a peculiar aesthetical emotion. This hybridity explains the post modernity in the movie. Encompassing two opposite things is called Ahurum in East Asia. Our traditional arts always emphasize the beauty of “tighten” and “loosen.” It means that you should neither tighten all the time (not always tragic) nor loosen all the time (not always humorous). Harmonization between tragedy and humor is of great importance. You can draw analogy from the alternation between reality and fantasy in Old Boy. Fantasy and reality mingle together seamlessly. The beauty of East Asia’s aesthetics is Jungyong which means keeping a “halfway” between two opposite values. In this regard, Old Boy’s hybridity comes from East Asian features.

近代児童文学の父である方定煥は、韓国人にとって ｢小波(ソパ)｣ という雅号で親しい存在である。つまり、韓国人にとって ｢小波｣ という言葉は、方定煥を想起させるものである。しかし、日本人にとっても ｢小波｣ という言葉は、近代児童文学の父である人物を想起させる言葉として働く。その人物とは、巖谷小波である。1891年に発表した彼の児童文学の処女作 ｢こがね丸｣ は、日本の近代児童文学を開いた画期的な作品として評価されている。その後 ｢お伽噺｣ という用語を用いて、昔から伝わる民話や名作などを改作し、｢日本昔噺｣ ｢日本お伽噺｣ などの叢書を刊行した業績によって、現在まで児童文学の先駆者として位置づけられている。1896年初めて口演童話を試みた巖谷小波は、1930年ころまで日本全国を廻りながら口演童話活動を行った。彼の口演童話活動は日本国内にとどまらず、1913年から1930年まで全4回にわたって朝鮮半島に足を運んでいる。一方、方定煥は、1917年から執筆活動を初め、1920年を前後に活発な口演童話活動を行っていた。すなわち、方定煥と巖谷小波は、同時代に日本と朝鮮に存在した二人の ｢小波｣ なのである。本稿は、今まで先行研究がなかった巖谷小波の朝鮮における活動を紹介することに意義を持ち、なお、巖谷小波が朝鮮で活動した同時期に朝鮮に存在したもう一人の ｢小波｣、方定煥の存在に焦点を合わせたものである。同時代に日本と朝鮮で、児童文学という開拓地に携わっていた ｢小波｣ とう名が持つ意味合いについて考察する。