Earticle

예이츠는 테니슨 이후 가장 기교가 뛰어난 시인으로, 스펜서의 시학, 셸리의 시학을 자신의 시학과 연결 짓는 전통을 소중히 여겼다. 그의 현대시에 대한 공헌은 지대하며, 그는 결코 영문학의 시작법을 버리지 않고, 시어, 신택스, 리듬, 톤을 현대화 시킨다. 그는 “현대 시”(1936)에서 “시란 일상어의 리듬을 다듬은 것이고, 그 리듬을 깊은 정서와 엮어주는 것이다.”고 말한다.

Yeats is perhaps the best metrist in English after Tennyson, who has a deep respect for the tradition that links the poetics of Spenser’s era to that of Shelley’s and his own. His contribution to modern poetry is great; he has never abandoned the prosodic heritage of English by bringing diction, syntax, rhythm, and tone up to date. Yeats says in “Modern Poetry” (1936) that “[a] poem is an elaboration of the rhythms of common speech and their association with profound feeling.”

This paper investigates the emphatic use of demonstrative ku in Korean. Demonstrative ku has been well-known to indicate a deictic as well as anaphoric definite meaning. However, not much attention has been paid to its emphatic use. Literature on this topic is scarce; there has only been one study in Kang (2018) that provides a pragmatic analysis of emphatic ku. This paper examines the distribution of emphatic ku in comparison with a stressed demonstrative nominal (e.g., that CREEP) in English. It is proposed that emphatic ku is similar to an English stressed demonstrative nominal by not being used as a focal element, but by being used to indicate emphasis, building on its syntactic, semantic, and prosodic properties. It is also shown that emphatic ku is distinct from anaphoric ku. Emphatic ku modifies an adjective as an intensifier, while anaphoric ku occupies the specifier of DP as a function word. In addition, emphatic and anaphoric ku are shown to have distinct prosodic properties: namely, emphatic ku has a prosodically longer duration and carries the LH pitch pattern associated with an Accentual Phrase (AP) in Korean prosody, while anaphoric ku is shorter and carries either flat or falling pitch, indicating that it does not initiate a prosodic AP.

This study examines Koreans’ production of syntactically ambiguous English sentences with the scope of negation and focus adverbs. In the previous study done by Hirschberg and Avesani (1997) English speakers disambiguate scope of negation by varying the phrasing of the ambiguous sentence. Target utterances produced with wide scope rarely contain phrase boundaries, whereas those produced with narrow scope usually exhibit major or minor prosodic phrase boundaries in the middle of the utterances. In the production experiment we conducted to prepare for this paper, Korean subjects produced the same English utterances with prosodic boundaries in the middle of them for both wide and narrow scope contexts. The Korean subjects’ English competence made little difference in this case. In Hirschberg and Avesani’s study (1997) English speakers produce a focus adverb and the focused word with high pitch accents and deaccent all the other words within an utterance in a narrow focus context. In the case of broad focus context, namely, when a VP, not just a word, gets focused, English speakers produce high pitch accents for both the focus adverb and the whole VP. Korean subjects with good English competence produce the same English utterances like English speakers do, whereas Korean subjects with less English competence produce high pitch accents for most content words regardless of focus and information structure.

The purpose of this study is to investigate the effect that“interpretational prosody” (i.e. the characteristic prosodic features foundin simultaneous interpretation) have on the listener, particularly thelistener's comprehension and perceived quality of interpretation. Threedifferent versions of a simultaneously interpreted lecture were preparedto be lexically, grammatically, semantically identical to each other butwith different degrees of “interpretational prosody”. The videos wereshown to three different groups and the listeners were tested forcomprehension and recall through a multiple answer survey. Aquestionnaire adopting the quality criteria used by Collados Ais(1998)was also used to measure the listeners' perception of the interpretationquality. One-way ANOVA results found that there was no significantdifference among the comprehension scores of the three groups,showing that different degrees of SI prosody did not effect listenercomprehension. With regards to perceived quality, statisticallysignificant differences were found in terms of overall average as wellas interpreter-related and content-related criteria.

본고에서는 음수율, 음보율 등 외래 운율론의 영향을 벗어나 우리 시가 연구에 서 자생적인 운율론을 출발시킬 수 있는 가능성에 대해 몇 가지 실험을 시도하였 다. 인공지능으로 운율 연구를 진행하는 것이 가능한지를 검증하기 위해, 비슷한 시행을 공유하는 실험군과 그렇지 않은 대조군으로 나누고 각각의 시행에 운율적 요소를 강화하는 것만으로 인공지능이 두 집단을 분류할 수 있는지 실험하였다. 이 과정에서 패턴 추적의 정확도를 높이는 전처리방법으로서 시행을 음절 단위로 나누어 실험하는 단계부터 음소 단위 시행 그리고 운율적 요소를 강화시키는 전처 리까지 다양한 방법을 구사하였다. 이를 통해 운율 패턴을 인공지능을 인식하게 하는 전처리최적화 방안을 마련하였고 운율적 요소의 강화가 시조 텍스트의 패턴 파악에 관여하는지의 여부도 확인할 수 있었다. 다음으로 Doc2Vec을 이용하여 문장 단위에서 운율 패턴을 검출할 수 있는 방 안에 대해 알아보았고, 동시에 운율적 패턴을 추적할 수 있는 요소가 무엇인지도 알 수 있었다. 마지막으로 텍스트 상에서의 반복되는 요소 추적이 이미지로도 추 적 가능한 것이지 알아보기 위해 이미지 분류에 사용되는 딥러닝 기술인 CNN을 이용하여 시조텍스트를 이미지로 변환한 데이터를 대상으로 실험하였다. 실험 결과, 텍스트에서 각운, 두운과 관련된 자음, 모음을 중첩시키는 방식으로 강화하고, 어말 휴지를 중첩시켜 운율적 요소를 강화시켜주는 방식만으로도 인공지능은 시조 텍스트에서 초, 중, 종장 구분은 물론이고, 율격적 패턴도 추적하는 것이 가능하였다. 이어진 CNN 실험 결과, 향후 연구에 인공지능 기술이 어떻게 이용될 수 있는지에 대해서도 시각 이미지화 된 시조 시형을 구분할 수 있음을 확인하고, 인간이 종이 위에 시 텍스트를 보고 운율을 파악하듯이 AI 기술로도 시각 이미지화 된 글자들에서 어떤 질서를 찾아낼 수 있으리라는 전망에 이를 수 있었다.

In this paper, several experiments ware attempted on the possibility of starting a self-sustaining prosody in our poetry study, beyond the influence of foreign prosody, such as syllabic meter and foot meter. To verify whether it is possible to conduct prosodic research with artificial intelligence, I divided gosijo texts into experimental group which shares a certain typical pattern and non-controlling groups, and tested whether artificial intelligence could classify the two groups only by strengthening prosodic elements in each group. In this process, as a preprocessing method to increase the accuracy of pattern tracking, various methods were used, ranging from experimenting by dividing lines into syllables to phonemic trials and pretreatment to strengthen prosodic elements. Through this, I prepared a pre-processing optimization plan to make rhyme patterns aware of artificial intelligence, and I could also check whether the reinforcement of prosodic elements is involved in AI’s identifying patterns in the sijo text. Next, using Doc2Vec, I investigated how to detect prosody patterns in sentence units, and at the same time, I were able to find out what factors can track prosody patterns. Finally, in order to find out whether repetitive element tracking in text can be traced as an image, an experiment was performed on data converted from Sijo text into images using CNN, a deep learning technology used for image classification. Experiments have shown that artificial intelligence can track rhythmical patterns as well as the first, the second, and the third lines in the gosijo text by reinforcing consonants and vowels related to rhyme, alliteration and casura in a way of overlapping them in text. CNN experiments confirmed how artificial intelligence technology could be used in future research, and predicted that AI technology would be able to find some regularity in visualized letters, just as humans could see text on paper and recognize rhyme.

This study investigated whether sentence-initial pitch peaks increase proportionally with sentence length in both English and Korean, particularly under prosodic focus. We hypothesized that longer sentences would allow speakers to enhance focus prosody more effectively by raising pitch peaks compared to shorter sentences. To test this, production experiments were conducted with six native speakers of each language, who produced target sentences under neutral- and narrow-focus conditions. Target stimuli ranged from three to five words. The results showed that sentence-initial pitch peaks systematically increased with sentence length in both languages, confirming a positive relationship between initial pitch height and utterance length. This pattern suggests that speakers raise initial peaks as a strategy to accommodate longer utterances, reflecting a universal prosodic tendency. However, the increase in initial pitch height was nearly twice as large in English as in Korean, as confirmed by linear mixed-effects models. This cross-linguistic difference indicates that English speakers employ higher initial pitch peaks when marking prosodic focus, thereby exhibiting a language-specific prosodic pattern.

Previous literature proposed that the ongoing VOT merger between aspirated and lenis stops in Korean is prosodically conditioned. To assess this prosodic account across a variety of prosodic positions, twelve younger speakers were recorded using a novel method of eliciting the stops in four positions with different boundary strengths, distributed over single utterances under broad focus. Bolstering previous findings, the merger occurred phrase-initially (i.e., utterance-initially, IP-initially, AP-initially), while the contrast was maintained by clear separation of F0. Notably, the pivotal role of F0 was also observed phrase-medially (i.e., Wd-initially) in the presence of the VOT cues retaining the feature primacy, even influencing the pitch range of the entire phrase. Additionally, the cue-shifting from a VOT-based to an F0-based system was more advanced in females’ speech. The magnitude of cue-shifting is discussed in light of boundary strengths, focusing on how variant forms involved in ongoing sound change interact with speech prosody.

본고는 조선 후기 작자들의 논의와 작품을 직접 살핌으로써 조선 후기 변려문의 율격에 대한 이해를 증진하는 것을 목표로 한다. 선행연구를 통해 변려글쓰기 율 격의 면모가 상당 부분 밝혀졌으나, 이 과정에서 조선 후기 문인들이 율격에 대해 직접 논한 내용은 미처 다루어지지 않았다. 먼저, 조선 후기 작자들이 변려문 율격을 다룬 논의들을 검토하여 당대의 율격 과 ‘올바른 변려율격’에 대한 견해차를 살핀다. 이어, 그들이 든 예문을 통해 변려 문 율격 규칙들을 탐색한다. 작자와 독자들은 변려율격 규칙을 공유하고 있었으되 이를 직접적으로 설명한 문건은 없어 예문을 통한 재구성이 필요하다. 이를 그들 의 실제 작품에 적용하여 논의에 드러난 입장과 작품에서의 실천의 합치 여부를 살핀다. 대상 작가는 17세기 말의 남용익, 18∼19세기의 정약용‧홍길주와, 19세 기 후반∼20세기 초의 곽종석‧장석영이다.

Despite earlier accomplishments in reconstructing the metrics of parallel prose by examining well-known works, the voices of Joseon writers who discussed “proper” meters and practiced their thoughts in their works remained unheard. Accordingly, this study discusses the metrical thought and practices of Nam Yongik, Jeong Yakyong, Hong Gilgu, Gwak Jongseok, and Jang Seokyeong. We start by reviewing debates on “the proper meter.” Writers shared the conviction that the contemporary metrics of parallel prose had been simplified, but their reactions to it varied. Some thought that there was an “original correct form,” while others considered that metrics may and should differ according to the purpose of each. Next, we reconstruct their understanding of metrical rules by comparing those examples they gave as “metrically fine” and “metrically loose.” Lastly, we analyze the meters of their works by applying the metrical rules reconstructed from their discussions and examples. Unlike earlier studies, this directly examines the discussions by writers of late Joseon. Though some of these discussions have been examined, the details of each were not fully discussed, nor have the relationships among these discussions been studied before. It is hoped that this study will contribute to a fuller understanding of the prosody of parallel prose in the late Joseon period.

We investigated factors contributing to transferring an L1 allophonic change in L2 speech of 20 Korean learners of English. Realization of the Korean obstruent nasalization rule depended on the segmental environment. Stops underwent greater nasalization when the following nasal was homorganic (e.g., /ʃɪpmənt/ → [ʃɪmmənt]), compared to non-homorganic sequences (e.g., /kwɪknəs/ → [kwɪŋnəs]). The L1-transfer was also conditioned by prosodic factors. As a prominence effect, more nasalization occurred when the target word/phrase was elicited to be unfocused by context, compared to focus-driven utterances. This effect was found exclusively in the advanced learner group (N=10) but not in the intermediate group (N=10), suggesting that fluent L2 speakers better inhibit the L1 phonological process particularly in attended speech. Further, a boundary effect showed that visually-presented word boundary helped inhibit nasalization for both groups, but that even advanced learners experienced difficulty in inhibiting word-internal nasalization, particularly in unattended speech.

시안(詩眼)은 고전시가 비평용어로서 한 편, 또는 한 구에서 가장 뛰어난 미적 효과를 발휘하는 글자를 말한다. 원대 문인들은 송대 시학의 성취를 계승하여 시법(詩法)의 개 념으로 창작의 문제를 사고했다. 당송대의 명시 명구를 분석하여 규범화하고 이를 체계 적으로 익히면 높은 수준의 창작이 가능하다고 생각했다. 원대 문인들은 글자 선택의 원 칙을 제시할 때 합당(當), 적절(切)이란 개념을 자주 썼다. 그런데 이 말에 대한 구체적인 설명이나 예시를 보면 시의를 정확하게 전달하면서도 속되지 않고 전아하며 현실을 비 판할 때도 노골적이지 않고 완곡해야 한다는 의미이다. 그들이 자법에서 말하는 아름답 다(佳)는 말은 대체로 이런 성격이다. 원대 시학이 송대 사대부 취향의 문학전통을 계승 하고 있음을 보여주는 사례일 것이다. 높은 수준의 전고 사용을 강조한다는 점도 그렇다. 그리고 이를 기초로 작성된 표현들이 문학적 맛(味)을 도출할 때 명작이 탄생하는 것이 다. 시안의 구사에 대해 송대 문인들은 한 구에 한 개의 시안, 오언시는 세 번째 글자, 칠언 시는 다섯 번째 글자를 기본 원칙으로 했다. 그런데 원대 문인들은 이에 비해 좀 더 유동 적으로 생각했다. 양재와 방회는 어느 위치에나 시안을 둘 수 있으며 여러 구절에 분산되 어 복수로 있을 수도 있고 구절마다 있을 수도 있다고도 했다. 특히 방회는 허자 시안 구 사의 중요성을 강조했다. 그러나 시안론의 문제는 기교를 지나치게 강조하여 시 창작을 기능화, 도식화한다는 점에 있다. 반면 황창로는 시안의 필요성에는 동감하지만 인위적인 기교가 아니라 창작의 묘오를 체득하여 자연스럽게 얻어지는 시안을 중시했다. 그는 자연미를 인공미보다 우월한 미감으로 생각했다. 황청로의 시안론은 원대 시안론의 문 제를 보완하는 의미가 있다. 시의 예술적 특성에 대한 본질적 사고를 제시했을 뿐 아니라 시안론의 흐름이 명청 시대에 이르러 새롭고 다양한 방향으로 갈 수 있는 단초를 제공했 다고 평가할 수 있다.

‘Eye of Poem“ is a term of criticism of classical poem, which means the letters showing the most excellent aesthetic effect in one paragraph or one sentence of poem. The precondition of the eye of poem is the creativity of linguistic command. For this, first, after throwing away outdated expressions, the new and unfamiliar poetic diction should be found. The writers in Yuan Dynasty of China emphasized the importance in the selection of letters in creation of poems and thought that the artistic taste shall be made through the pursuit and use of euphemistic expression and elegant words. In the use of Eye of Poem, the scholars during Yuan dynasty has the following principles. Only one Eye of Poem shall be used for one paragraph; It shall be put in the third letter in the Five character poem or in the fifth letter in the Seven character poem. But the scholars in the Yuan dynasty were more flexible than this principle. YangZai and FangHui argued that they may be put at any place, and that they may be scattered any place or put in multiple or in any paragraph. Especially, FangHui emphasized the exercise of Heoja Eye of Poem. But the problem in Eye of Poem is that it puts too much emphasis on the skill, thus leading the creation of poem to the issue of function and graphics. On the other hand, HuangQingLao agreed on the necessity of Eye of Poem but emphasized the natural one which is acquired through the embodiment of creation rather than artificial skill. he thought that the natural beauty is better than the artificial beauty. HuangQingLao’s Eye of Poem has an implication that it makes up for the problem of Eye of Poem during Yuan dynasty.

As communicative competence has become a primary goal of English education in many Asian contexts, EFL curricula increasingly focus on students’ speaking performance. Considering the demands of cultivating competent L2 speakers, this study investigates factors associated with L2 speaking performance in a Korean EFL college classroom setting. Fifty-one students enrolled in a basic English speaking course participated. They completed five tasks measuring two linguistic variables (i.e., learners’ perception of segmental and suprasegmental features), a cognitive variable (i.e., short-term memory), and two language ability variables (i.e., listening comprehension ability and vocabulary size). They also completed a production task (i.e., picture narration). The results indicate that sensitivity to suprasegmental features (e.g., pause, stress, and intonation) and listening ability are associated with the quality of the learners’ spontaneous speech production, while sensitivity to segmental information (e.g., minimal pairs), short-term memory, and vocabulary size are not. These findings suggest the importance of explicit instruction in suprasegmental features to improve L2 production as well as perception ability, and that integrating listening and speaking instruction in L2 curricula may be the most effective means of improving learners’ speech.

This paper concerns the optional and obligatory occurrences of got along with a lexical or a (semi-) auxiliary have. It identifies the distribution of the dummy got precisely and shows that its occurrence is governed by semantic and prosodic conditions. Theses semantic and prosodic conditions are implemented in the framework of Distributed Morphology (Halle & Marantz 1993, 1994), a Minimalist Theory version of grammar. Finally, based on the generalizations and restrictions, a few implications and consequences of Distributed Morphology are discussed.

2007년 헬렌 벤들러의 예이츠 시 운율 분석은 주로 정형시에 초점이 맞 추어 있었다. 그러나 예이츠의 정형시와 자유시를 종합적으로 운율을 분석한 연구는 제한적이었다. 그래서 이 연구는 예이츠의 정형시와 자유시에서 도출되는 의미와 소리 의 유기적인 조화와 패턴을 고찰하는데 그 목적이 있다. 특히 시에서 사용된 청각적인 의미와 소리를 유기적으로 합치시키는데 중요한 가교 역할을 한다는 기능을 예이츠의 대표적인 정형시와 자유시를 중심으로 미시적인 분석과 거시적인 패턴을 통해 예증함 으로서 접근했다. 예이츠의 시는 소리를 원형적인 연결 고리로 사용하여 의미와 유기 적인 관계를 갖고 있다. 이러한 원형적인 소리의 이미지는 점진적인 소리의 연쇄 효과 를 통해 인간의 이성 논리의 모순을 신비한 종교 체험으로, 혼란을 안정으로, 육신을 영혼으로, 소란한 소리를 정적으로 새로운 의미를 창출시키는데 중요한 역할을 하고 있다.

Modern studies on Yeats’s poetic work maintain a limited focus on his use of prosody in his poetry. What is often neglected is discussion on Yeats’s prosodic variations as well as traditional prosody. However, he uses extraordinarily complex variations from traditional prosody to free verse in his poems. This study analyzes how Yeats’s prosodic variations signify the organic unity of sound and sense in his poetry. Prosodic unity empowers understanding of essential themes and arguments, qualifies contradictions and illogics, mystifies archetypal and contemporary references, and justifies poetic sound and sense organically within the text and the context of Yeats’s poems.

L’interprétation simultanée est une forme de communication orale spécifique qui se distingue par des éléments prosodiques tels que les intonations ou les pauses, éléments-clé tant pour le texte d’origine que pour le texte-cible. Les pauses figurent parmi les phénomènes durationnels destinés à segmenter le continuum acoustique en unités d’information. De plus, elles révèlent les processus cognitifs qui sont à la base de toute production de parole. Le présent article analyse le taux de parole et la structure des pauses dans un corpus authentique de prestations d’interprétation simultanée dans le couple linguistique anglais – allemand tout en étudiant leurs fonctions et leurs interactions avec d’autres phénomènes prosodiques.

This paper focuses on motivating affix subcategorization constraints in order to explain deviant stress patterns caused by affixes. The main idea is that affixes select their prosodic base for affixation. These subcategorization constraints, formulated in Alignment schema, consist of four different types: Align-to-σ', Align-in-σ', Align-to-Ft, and Align-in-Ft. Data from various languages are considered to motivate these constraints. It is shown that these constraints offer systematic explanation to the role of affixes in stress assignment and to apparently deviant stress patterns caused by affixes.

Objective To investigate the hemispheric contributions to prosody recognitions and interference effects of semantic processing on prosody for stroke patients by using the Korean language.Methods Ten right hemisphere damaged patients (RHD), nine left hemisphere damaged patients (LHD), and eleven healthy controls (HC) participated. In pure prosody recognition task, four semantically neutral sentences were selected and presented in both sad and happy prosodies. In interference task, participants listened to emotionally intoned sentences in which the semantic contents were congruent or incongruent with prosody. Participants were asked to rate the valence of prosody while ignoring the semantic contents, and thus, reaction time and accuracy were estimated.Results In pure prosody recognition task, RHD showed low accuracy as compared to HC (p=0.013), and the tendency of group response showed that RHD performed worse than HC and LHD with regards to accuracy and reaction time. In interference task, analysis of accuracy revealed a significant main effect of groups (p=0.04), and the tendency implied that RHD is less accurate as compared to LHD and HC. The RHD took longer reaction times than HC in congruent and incongruent items (p<0.001).Conclusion Right hemispheric laterality to prosody processing of Korean language in stroke patients was observed. Interference effects of semantic contents to prosody processing were not observed, which suggested unique characteristics of prosody for Korean language. These results could be referred as preliminary data for future researches on Korean languages.

The current paper intended to investigate the performance of affective prosody by Chinese English as a foreign language (EFL) learners. More specifically, the current study examined and compared aspects contributing to perceived vocal affect in the speech of Chinese EFL learners and native English speakers (hereafter NSs). The data were collected from 20 university students who took part in two recording sessions designed by the authors. In comparison to previous studies on L2 acquisition of English prosody, this research offers a detailed description of the performance of affective prosody in the speech of Chinese EFL learners. The results show that, for the majority of Chinese EFL learners, their pitch range and vowel duration are narrower and shorter than for NSs, all of which contribute to their low scores for affective involvement. In addition, a number of pedagogical suggestions have been proposed by this study, which will help Chinese EFL learners to deal with the prosodic problems they encounter when speaking English.

The government of Kim Jong Il (Kim Chŏngil) modified the meaning and purpose of during the North Korean famine and the early Military-First period (1994–2002). During the economic recession after the Soviet bloc collapsed, the North Korean government was incapable of providing material rewards to workers. Thus, the state attempted to transform labor into a spiritual rather than material practice. Despite the shortage of material resources and energy, the regime had to make the workers stay in their workplaces to maintain social stability. At that time, North Korean fiction often described people who worked for spiritual enlightenment rather than for material gain. In the novel and historical prose of this period, protagonists work not for their livelihoods, but for their honorable death; they voluntarily martyred themselves for their country, party, and leader Kim Jong Il. This study explores Song Sangwŏn’s Ch’onggŏm ŭl tŭlgo (Taking up bayonets) (2002) to examine how North Koreans worked, lived, and died at the turn of the twentieth century.