Earticle

The syllabification of an intervocalic consonant in a trochaic sequence in American English (AE) is problematic. For example, speakers disagree on the syllabification of /t/ in metal. This study proposes that AE has blurred syllabification within the trochaic foot and that this is connected to the importance of foot structure in AE phonology. Phonetic work on AE indicates that foot-initial phonemes are enhanced or demarcated (e.g. by aspiration and other means) making clear the syllable boundary at the beginning of the foot. Blurred syllabification helps enhance foot-initial demarcation by making foot-internal syllable boundaries less distinct. Evidence for blurred syllabification comes from schwa syncope (Zwicky 1972; Hooper 1978; Kenstowicz 1994). Consider the words like (a) chocolate and opera, where schwa syncope (SS) is likely versus (b) pelican and felony, where it is unlikely. The oddity of English SS is that it is preferred in (a) when the resulting consonant cluster after SS has a syllabification that is uncertain (i.e. blurred), but is avoided in (b) when the syllabification between the two consonants would be very distinct. Under a new conception of English SS developed in this paper, SS is viewed as a problem of foot structure reduction: SS reduces a dactylic foot into a preferred trochaic foot. The pattern of SS can best be understood if AE actually prefers nondistinct (or blurred) syllabification within a trochaic foot. This functionally helps to enhance the foot-initial boundary.

외르께늬 이슈뜨반(Örkény István, 1912-1979)의 <이탈리아(Itália)>는 1967년에 발표한 작품집 파리 끈끈이 위의 신혼부부(Nászutasok a légypapíron)에 처음으로 실린 에지뻬르쩨쉬(egyperces) 작품이다. 단지 여덟 개의 문장으로 구성되어 있는 이 작품은 많은 상징과 은유가 외르케니 특유의 초단편 소설, 에지뻬르쩨쉬라는 구조 속에서 씨줄과 날줄처럼 엮여져 있다. 본고에서는 이 작품의 내용적 의미에 대한 고찰로서, 우선 주된 모티브로 사용된 "이탈리아"가 어떠한 이미지로 작품에 차용 되었는지를 알아보고자 한다. 극히 짧은 작품 내에서 헝가리의 상황을 간결하면서도 재치 있게, 이탈리아와 관련된 여러 상징적인 요소들로 구성된 이 작품에 대해 상징의 근거를 배경으로 해석해 보았다. 또한 작품 전반에서 상반되는 이미지, 이중성(kettősség)의 계속되는 교차를 이 작품의 큰 특징으로 보고, 이를 중심으로 작품을 해석해 보았다. 작품 내에 나타나는 이탈리아에 대한 이미지에 대한 고찰과 이중성의 반복적 교차를 특징으로 한 작품 분석은 "이탈리아의 이미지" 자체가 헝가리인, 혹은 최소한 작가의 창작 당시 상황을 기본적인 배경으로 하고 있기에 별개의 주제가 아닌 하나의 큰 논의의 틀을 상정하여 본고에서 함께 다루어 보았다.

Orkeny Istvan's egyperces(a kind of short short story), <Italia> published in 1967 when the author was free from the formal and informal sanctions for about 17 years from the government. Although this work is composed of only 8 sentences, it is full of symbols and metaphors like his other egyperces. Relating to interpretation of his egyperces, once Orkeny Istvan compared the egyperces with the mathematical equations. This mathematical equation means that one member of the equation consists of the minimum which the writer would like to express, and the other member of the equation makes up the maximum that the readers can imagine. I tried to analyze this extremely short novel(egyperces) with the maximum of imagination. In this paper, I paid attention to the dual images in the antagonistic structure which we can find in the overall work like Italian conductor-Hungarian audience, opera performance-night entertainment, aristocratic figure-prostitute, guest-host, eternity like an art-momentary deal. And not only with the viewpoint of the contents, but also the expression of <Italia> like using italian words in the work, these dual images supply the readers with many frames of analysis. Among many frames of analysis, I tried to analyze the dual images as a political implications, because the Hungarian cultural policies imposed him on the sanction against the writer for 17 years. So I regard the image of <Un Ballo in Maschera> as a symbol of Risorsimento (Italian unification) and I suggested that through the very political movement, Orkeny show the contrasting ideals and Hungarian realities. For this collation of images, I attempted analyzing them with the theories of Plato and Aristotle relating to the Idea and Mimesis.