Earticle

This study made empirical reviews regarding the moment of which silence occurs in everyday conversations and animation conversations and functions and roles played by silence. The analysis results of this study can be summarized as follows: (A) Silence observed during the process of which the speaker carries on with the talk in everyday conversations can be understood as a signal that the speaker is thinking about what to utter in the mutual actions and a signal requiring the listener’s reaction. Silence observed along with the filler is interpreted as silence representing maintenance of the speaker’s turn to speak. Moreover, silence observed before dispreferred utterance and response utterance is identified as a signal implying dispreferred utterance, answer holding or avoidance, while silence longer than usual is often understood as a proper place to introduce a new topic. (B) Silence of the speaker observed in animation conversations in which all utterance processes are previously written and the dubbing artists act as the screenplay says is used as a means of delivering the content of utterance with clarity. On the other hand, silence used along with filler and silence used before dispreferred utterance and response utterance is utilized as a means of creating personality and psychological state of the characters. Silence observed in the scene of topic change that is longer than usual is used as a means of representing relationship among characters and creating scenes. According to the analysis results, silence in everyday conversations plays a role in boosting smooth communication with the counterpart, while silence in animation conversations play a role in expressing personality and psychological attitude and representing relationship among characters and creating scenes.

In this study, we analyzed 60 Korean learners’ suprasegmental features from the OPIc speech data administered by the ACTFL committee. According to the evaluation method prescribed by the ACTFL committee, the data are classified into six grades from the lowest IL to the highest AL, and it is meaningful that they can examine the spontaneous speech of Korean learners. Pauses, speech rate and F0 range were analyzed using the Praat speech analysis program. Pause duration was measured by detecting the silent period over 250ms. The speech rate was calculated by dividing the time spent on speaking sentence by the syllable per sentence. The F0 range was measured as the pitch curve of the sentence. The result of the study can be derived as follow: Factors that differ among the six groups of different grades and that appear to have high influence on grading are the inter-sentential pause duration, intra-sentential pause duration, and speech rate. In other words, the higher the grade, the shorter the duration of the pauses and the faster the speech rate. There were no statistically significant differences between the grades in the intra-sentential pause frequency and the F0 range.

This study aims to understand the foreign language learner’s internal process while they are translating. To figure out invisible internal process of the learner, Key logging during translation process, short interview after translating and behavioral observation were used. For considering behavioral characteristics for internal process, Pause, Deletion, Moving and Mistranslation were chosen. In particular, Pause was chosen to work as criterion when analyzing other behaviors. By analyzing those behaviors, three internal processes were found: (1)Deliberatiing on words or phrases following the pauses, (2)Considering ill-matched words or phrases between source text and target text, (3)Continuous checks on what writers had written down. Deliberations were generally found before the long-term pause. Learners were deliberating what to write on next phrases, due to their scarce knowledge of grammatical collocation of the target language. Considering ill-matched words or phrases between source text and target text shows variety of behaviors such as moving, deletion after the long-term pauses. According to the learners’ interview and researcher’s observation, it was arisen when the learners are fail to find the acceptable expressions in target language. Continuous checks on what learners had written down were generally found after the translation was finished. Entire part of target text was examined in this type of process. Thus, long period of pause was required for reading source text and target text, also deletion and moving was required for correcting mistranslated words or phrases. It infers that learners’ behaviors are combined to suggest certain meanings of internal process. Thus, these behaviors do not suggest solid internal process. With more elaborated analysis, this study would help understanding mental process while translation.

This study examines the temporal patterns and correlation amongtemporal variables during relay simultaneous interpretation ofspoken and sign language. To conduct this examination, the dataof the 2014 Sochi Paralympics live addresses inEnglish/Russian-Korean- Korean Sign language were used foranalysis. Speech time, the number of words and EVS (ear voicespan), TTS (tail to tail span), pause of source text and target texts(spoken and sign language) were compared for analysis. The resultof the analysis logically implies the following. First, in case of signlanguage interpretation, it needs more words to deliver the sameinformation compared to Korean. Second, due to the shortesEVS(ear voice span) of sign language, it can be shortened tobelow four seconds during relay interpretation. Third, pauses tendto become shorter as interpretation proceeds. On the contrary,speech proportion tends to rise. This may cause inconvenience tothe hearing-impaired deaf and viewers. Lastly, sign languageinterpretation is likely to be affected by spoken languageinterpreter who play, the role of a pivot rather than the speaker,and TTS(tail to tail span) can be the most important factor.

본 연구에서는 한국인 일본어학습자를 대상으로 해서 모델음성만을 들려주고 인토네이션 지도를 한 그룹과 모델음성지도에 덧붙여 인토네이션 곡선을 시각적으로 제시하고 지도를 한 그룹으로 나누어 그 효과를 조사했다. 그 결과, 학습자에게 인토네이션 곡선을 시각적으로 제시하여 지도한 그룹 쪽이 일본어 모어화자의 인토네이션에 가까워진다는 것을 확인하였다.

In this study, two groups of Korean Japanese Learners practiced reading the sentences written in Japanese for 4 weeks. One group was given only the model sound, and the other was given the intonation curve illustration. As a result, as well as the model sound by the Japanese native speaker, it was revealed that the one that showed an intonation curve illustration to the Korean learner got closer to the intonation pattern of the Japanese native speaker. In addition, the duration was suggested to get longer in Korean learners when there was a particle in the end of the phrase.

Fluency is commonly accepted as a reference criterion in assessing interpreter’s interpreting competence. Based on a taxonomy of three components, i. e. ungrammatical pauses, repeats and repairs ,this paper presents a quantitative analysis of trainee interpreters’ output. The results show the significant and directional impact on their production of disfluencies that happened on the repeats, but there is not significant directional impact on the pauses and repairs. Even though the study tackles the issue at hand, it fails to generate unanimous evidence to corroborate the hypothesis that output is more fluent in interpreter’s mother tongue than in the foreign language.

This paper aims to provide empirical data on the disfluencyphenomenon observed in consecutive and simultaneous interpreting bytrainee interpreters and identify potential differences in disfluencycharacteristics by interpreting mode. Ten target text(TT)s produced bytrainee interpreters (five consecutive and five simultaneousinterpretations) were collected and compared for their disfluencycharacteristics. Following a literature review, a total of seven disfluencyaspects were chosen as relevant for the analysis of TTs produced bytrainee interpreters. They include total duration ratio, articulation rate,phonation/time ratio, silent pauses, fillers, repetitions and repairs. Theresults showed that the TTs produced in the two modes of interpretingwere similar in terms of the total duration ratios and the averagelengths of silent pauses and fillers. However, the TTs demonstrateddiscrepancies depending on the mode of interpreting in the remainingdisfluency aspects measured in this study. It was found that thesimultaneous TTs showed a higher degree of disfluency than theconsecutive ones with slower rates of articulation, lower phonation/timeratios and more frequent pauses. On the other hand, the consecutiveTTs were marked with higher proportions of more interruptive,intra-meaning unit pauses and had more frequent fillers, repetitions andrepairs than the simultaneous TTs. Such differences in disfluencycharacteristics between the two interpreting modes may lead to a better understanding of the different types of difficulties that traineeinterpreters encounter.

In conference interpretation studies, temporal variables, among other research tools, have played an important role in unveiling the secret of the cognitive processes involved in simultaneous interpretation for the last few decades. As technology develops, applying computer-aided analysis of simultaneous interpretation speech signals has yielded reliable and objective data for quantitative processing. This article summarizes various temporal variables in English into Korean simultaneous interpretation to demonstrate their value in contributing to interpreting research. Included are pauses that show the efficiency of interpreters’ information processing, simultaneity, which is a unique aspect of simultaneous interpretation, and speech proportion, which refers to the ratio that speaking time occupies within the total time of the simultaneous interpretation. Ear voice span, the lag time between the beginning of an incoming message and the moment the interpreter produces his translation of the segment, was also examined. Additional variables were tail to tail span, the span during which interpreters lag behind speakers in concluding a TL(target language) utterance, and temporal aspects of newly emerging captioned simultaneous interpretation. Statistically significant relationships among these temporal variables demonstrate their significant potential as research tools.

This article investigates the change in mode (spoken to written) and orality in cinematic subtitles. There has been a lot of study on the oral effect of subtitling, but often it only focuses on spatiotemporal constrainsts and subtitlin techniques. The idea that orality can be lost in the subtitling pocess is spread. so we really feel the need to push research in this area. In addition, te dichotomy between ral and written communication and the dichotomy between meaning and form are barriers to research. Tehrefore the researchers consider subtitling a written shortcut used only to convey meaning. In reality, however, subtitles are synchronized to dialogue and thusact as a written transcript of oral communication. In addition, the subtitle is a unique mode of translation presupposing the coexistence of the source language and the target language. As such, it is best not to makethe distnction etween written and oral communication in this case. And we need to analyse the oral communication in this case. And we need to analyse the oral elements ad translating them in the subtitle. With this in mind, a method must be found to bridge the gap between spoken and written word. To do this, the concept of accurately reflecting orality in subtitles will be discussed.

본 연구는 목소리 구성 요소인 음색, 음높이, 휴지, 크기, 속도의 변화가 목소리에 대한 호감도와 화자에 대한 공신력 평가에 어떠한 영향을 미치는지를 살펴보고자 했다. 총 600여 명의 대학생 피험자들에게 실험물을 들려주고 그 반응을 분석한 결과, 음색이 풍부하고 음높이가 높고 휴지가 정상이며 속도가 느렸을 경우에 목소리에 대한 호감도가 높았다. 화자에 대한 공신력 평가는 음색이 풍부하고 휴지가 정상일 경우가 상대적으로 높게 나타났다.

This study investigated how the audience’s evaluation of a communicator’s credibility and the audience’s likeability toward the communicator are influenced by the change of his or her voice quality, pitch, pause, volume, and speed as phonic elements of voice construction. In order to examine the effects of voice on the audience’s evaluation of likeability to the speaker, we constructed voice with a rich quality and poor quality according to the experiment conditions. We let 600 college students listen to it, and than we analysed their responses. The results were voice with a rich quality showed higher likeability than voice with a poor quality.

Une des formes les plus visibles de l'interprétation est l'interprétation consécutive parce que l'interprète se retrouve devant l'auditoire auquel s’adresse le véritable orateur. Mais prendre la parole en public est une chose à laquelle même les novices font face - certains avec plus de succès que d'autres. Parler en public est enseigné dans les écoles secondaires, les collèges et dans le cadre de formations en entreprises afin d'aider les gens ordinaires à surmonter les diverses difficultés qu'ils rencontrent lors de leur prise de parole devant un auditoire. Ces problèmes que les gens ordinaires connaissent sont les mêmes que ceux que les interprètes doivent affronter lors de l'interprétation consécutive. Cet article examine quatre éléments impliqués dans la prise de parole en public - le trac, le contact visuel, la voix, les pauses et la prononciation. En prenant ces quatre éléments de la prise de parole en public et en les appliquant à l'interprétation consécutive, il est possible d’enseigner aux interprètes les moyens pour améliorer leur prestation d’interprétation consécutive, cette dernière constituant un excellent outil de relations publiques pour la profession.

This thesis aims to make clear how elaborately Samuel Beckett utilizes the qualities of music in his plays. His interest in music at an early age results from the feeling that the expressiveness of language is quite restrictive and limited. Such an interest is well established in the transformational structure of his works. Especially, as a solution to this linguistic crisis, his plays tend to employ musical qualities in the pursuit of structural accuracy. This quest is illustrated in his serial music works using these features and indicates a new direction of our musical understanding. His early novels, poems, and plays serve as the evidence of my point. Beckett's later plays, highlighted by silence, pause, and linguistic compression, show his greater interest in visual images as well as auditive qualities. Ghost Trio, in particular, a successful embodiment of Beethoven's musical piece, explores how music can function in a dramatic work to bring about desirable effect.

Suprasementals or suprasemental features such as stress, pitch, intonation and pause play an important role in spoken communication. This study assumes that the differences in suprasementals between English and Korean may interfere with the Korean EFL learners in proper understanding of English. Thus, the object of this study is to show differences in pause between English and Korean by analyzing both inter-sentential and intra-sentential pauses. For the purpose, two groups of data were selected: one, the dialogues and speeches from TOEIC test and the other, those from TOPIK test. The results show that pause in Korean is relatively longer than in English in both inter- and intra-sentential levels, and pause is not exactly consistent with the syntactic and semantic units in both languages

The paper examines the role ‘Silence’ and ‘Pause’ play and signify in Modern drama or simply Avant-garde theater through the analysis of Pinter’s drama The Homecoming. ‘Silence’ and ‘Pause’ in Modern drama are technical directional elements which transforms the fictive dramatic imagery to a mirrored imagery of reality. They may be defined as extensions of conventional language which are used preferentially to better mimic the reality that is being mirrored. ‘Silence’ and ‘Pause’ are non-verbal communicative tools and are sub-textual in manner. The use has become one of the distinguishing elements that represent and characterize the Modern drama in that they no longer remain as simple directions where needed to stop a continuation of action on stage but accentuate and futhermore demand and bring about an engagement from the audience/reader. The use of ‘Silence’ and ‘Pause’ represent for the dramatist an active recognition as to what an actual reality is and what the stage supposedly should reflect. In conclusion the use of the two elements functions in narrowing the perspective that separates the dramatist and the audience/reader regarding what is actually real and as to how reality be it fictional be represented on stage.

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.

Purpose: This study aimed to compare the effects of rescue ventilation maneuvers on the quality of two-rescuer cardiopulmonary resuscitation (CPR). Methods: We implemented mouth to mouth (MMV), mouth to pocket mask (MPV) and bag-valve mask ventilation (BMV) maneuvers. Each team of two-nurses was randomized to perform three consecutive sessions of two-rescuer CPR by using three artificial ventilation maneuvers. Results: The subjects were 26 teams of nurses (female: 96.2%, male: 3.8%, age: 26.6 years). Failed ventilation was more frequent in BMV (2.23±2.21, p ＜.001) than MMV (0.31±0.74) and MPV (0.38±0.64). BMV had more compressions per minute (93.7±5.7) than MMV (87.0±7.2, p = .001) and shorter total compression pause time (46.1±5.8sec) and compression pause fraction (23.3±2.2%) than MMV (54.8±10.3sec, p = .001, 25.5±3.5%, p = .001, respectively) and MPV (53.1±7.1sec, p = .006 and 25.8±2.6%, p = .006, respectively). Conclusion: In our simulation study, BMV reduced the compression pause time and increased the number of compressions per minute, thus indicating CPR provided to patients was effective. However, considering the high rate of ventilation failure, we recommend periodic training.

The Korean supreme court said that Mrs Kim who was in a persistent vegetative state had a right to die if she had a presumed will or assumption of dying against Severance hospital in 2009. Presumed would be vague and can not be subjective to conjecture though, the court had a developed trial on the case. I recommend the higher valued notion such as the 'right to decide on the life extension' is more logical than assumptive will. To achieve this recommendation, I will search right to life, right to decision, human dignity and find the good relationship between them. In conclusion, I will announce that if PVS patients without advanced directives aren't able to express their will and no one could not assume their right to die in spite of meaningless life extension. So only the due and strict procedure about the extinction of meaningless PVS patients will allow them to sacrifice themselves or remove life extension ventilators. Also active euthanasia would be possible under the strict procedure of making advanced directives and the act of helping active euthanasia additionally, the crime of abetting suicide would not be executed in the legal scope.

｢수상레저안전법｣상 ‘일시정지·확인’은 수상레저기구를 타고 있는 사람이 이 법을 위반하였다고 인정하는 경우에 해양경찰관이 수상레저기구를 멈추게 하고 이를 확인 하거나 신분을 확인하는 것으로 표준적인 해양경찰작용에 해당한다. 이는 수상레저 활동의 안전유지와 위험관리 및 대응 영역에서 빈번하게 발생할 수 있는 위험을 예 방하고 대비하기 위한 해양경찰의 작용을 정형적으로 구성한 것이다. ｢수상레저안전법｣의 목적인 수상레저활동의 안전과 질서를 확보하기 위해 ‘일시정 지·확인’을 수상레저활동 안전관리의 표준조치로서 정립하고, 그 법적 성격을 명확하 게 구분하여 해양경찰 행정작용이 일관성 있게 적용될 수 있도록 법적 체계를 구성 하여야 한다. 이 표준조치는 해수면과 내수면에서 동일하게 적용되기 때문에 해양경 찰청이나 지방자치단체의 관계공무원이 이 표준조치를 집행할 때 신분증 제시에도 통일성을 지니는 등 ｢수상레저안전법｣의 각 영역에서 평등하고 차별 없이 적용될 수 있도록 법적 쟁점에 대한 정비가 이루어져야 한다.

Under the ｢Water Leisure Safety Act｣, “Pause and Confirmation" is a standard Coast Guard function when a person riding a water leisure vehicle recognizes that it has violated the Act, and the Coast Guard officer stops the water leisure vehicle and confirms it or confirms its identity. This is a formal composition of the Coast Guard's actions to prevent and prepare for risks that may occur frequently in the areas of safety maintenance, risk management, and response of water leisure activities. In order to ensure the safety and order of water leisure activities, which is the purpose of the ｢Water Leisure Safety Act｣, "Pause and Confirmation" shall be established as a standard measure for the safety management of water leisure activities, and a legal system shall be constructed so that the administrative functions of the Coast Guard can be applied consistently by clearly distinguishing their legal characteristics. Since these standard measures are applied equally at sea and water level, legal issues shall be maintained so that the relevant public officials of the Korea Coast Guard or local governments can be applied equally and without discrimination in each area of the ｢Water Leisure Safety Act｣, such as uniformity in presenting identification cards when implementing these standard measures.

본 연구는 학교 교육 현장에서의 무대 화술교육에 있어 실제 적용이 가능한 올바른 대사 분석 방법 및 숨겨진 의미, 휴지, 억양, 단락 나누기의 원리와 그 훈련 방법을 제시함으로써 연극 교사들이 학생들을 올바르게 지도하는 능력을 함양하는 것에 그 목표를 둔다. 이를 위해 희곡분석의 단계를 1차부터 3차까지 제시하고, 그중 1차 단계인 대사 분석이 전체 연습 과정에서 가장 중요하며, 단계별 접근의 필요성을 강조하였다. 즉, 1차 대사 분석에 속하는 숨겨진 의미, 휴지, 억양, 단락 나누기 등은 작품의 주춧돌이 되는 시작점이자 버팀목이 되기 때문에, 이를 충분히 이해시키고 올바르게 표현하는 방법의 필요성을 기술하였다. 이를 토대로 대사 분석과 화술 연기표현의 실제를 숨겨진 의미, 휴지(pause), 억양(intonation), 단락 나누기 등 네 개의 범주로 나누어 고찰하였다. 우리 연기교육 환경에서 학생 배우들을 위한 표준화된 대사 분석과 화술 연기 훈련법이 존재하는가? 안타깝게도 인근 음악과 미술 장르 등의 교육적 접근 방법에 있어 그 기초가 튼튼하고 분명한 가운데, 심화 과정에서 분화되는 것과 달리 유독 우리 연기예술에서 가장 기초라 할 수 있는 대사 분석과 화술 연기의 표준화된 방법론은 매우 미약하거나 공론화되지 않았다. 연구 결과 특히 연기에 있어 화술은 배우의 대사 분석을 토대로 한 올바른 표현 능력을 길러줄 수 있고, 관객과의 상호소통에 있어 가장 구체적이고 실제적인 수단이자 방법이 됨을 확인할 수 있었다. 따라서 학생 배우들이 대사에 숨겨진 참 의미를 찾고, 휴지 및 억양 그리고 단락 나누기를 통해, 과연 그것이 대사가 지닌 의미와 감정에 적합한지를 점검하고 교정하도록 도와주는 지침서가 꼭 필요한 것이다. 우리의 무대 화술교육에서 학생 배우들을 위한 가장 기초적인 방법론, 즉 표준화된 교재나 훈련법이 존재하지 않기 때문에 발생하는 병폐는 실로 심각하다. 그 결과 선행 교육기관과 현행 교육기관의 연계가 부족할 수밖에 없으며, 교육 방법론에 있어 단계별 수준 향상을 꾀할 수 없음은 물론 나아가 현장 예술과의 심각한 괴리현상으로 연극계 전반의 혼란을 겪을 수밖에 없다. 본 연구가 감히 지금까지의 ‘화술’연구를 대체할 만큼의 전문성을 갖추고 있진 못하겠지만, 부디 우리나라 청소년의 눈높이에 맞는 화술교육 개발의 영역과 방법론을 개척하는 데 있어 하나의 작은 실마리가 되기를 바란다.

This study aims to cultivate the ability of theater teachers to properly guide students by presenting hidden meanings, pauses, accents, and paragraph sharing principles and training methods that can be practically applied in stage speech education in the school education field. To this end, the stage of play analysis was presented from the first to the third, and the first stage of dialogue analysis was the most necessary in the entire practice process, and the importance of a step-by-step approach was emphasized. In other words, the hidden meaning, pause, intonation, and paragraph sharing, which belong to the primary metabolic analysis, serve as the starting point and support for the work, so the necessity of fully understanding and expressing them correctly was described. Based on this, the practice of dialogue analysis and primary speech acting expression was divided into four categories: hidden meaning, pause, intonation, and paragraph division. Is there a standardized dialogue analysis and speech skills acting training method for student actors in our acting education environment? Unfortunately, while the foundation is strong and clear in the educational approach of nearby music and art genres, the standardized methodology of metabolic analysis and speech acting, which is the most basic of our acting arts, is very weak or not publicized. As a result of the study, it was confirmed that speech skills, especially in acting, can develop the correct expression ability based on the actor's dialogue analysis, and is the most specific and practical means and method of communicating with the audience. Therefore, a guide is essential to help student actors find the true meaning behind the lines, check and correct whether they are suitable for the meaning and emotion of the lines through pauses, intonations, and paragraph sharing. The ills caused by the absence of the most basic methodology for student actors in our stage speech education, namely standardized textbooks or training methods, are indeed serious. In particular, there is a lack of connection between prior educational institutions and current educational institutions, and it is impossible to improve the level of education methodology step by step, and furthermore, due to a serious gap with field art, the theater industry is bound to experience confusion. Although this study does not dare have enough expertise to replace the previous "stage speech” research, I hope it will be a small clue to pioneering the area and methodology of the development of speech education that fits the perspective of Korean teenagers.