• The Journal of the Acoustical Society of Korea
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• v.20 no.7
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• pp.69-75
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• 2001

Intra-speaker variation, noise environments, and mismatch between training and test conditions are the major reasons for the speaker verification system unable to use it practically. In this study, we propose robust end-point detection algorithm, noise cancelling with the microphone property compensation technique, and inter-speaker discriminate technique by weighting cepstrum for robust speaker verification system. Simulation results show that the average speaker verification rate is improved in the rate of 17.65% with proposed end-point detection algorithm using LPC residue and is improved in the rate of 36.93% with proposed noise cancelling and microphone property compensation algorithm. The proposed weighting function for discriminating inter-speaker variations also improves the average speaker verification rate in the rate of 6.515%.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.72-83
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• 2014

Film is a visual art. A process of film totally depends on our sense of sight. It indicates that a way of delivering narrative in the film is "showing", not "telling". There has already been established theories about "who sees" and "who tells" in narratology. It explains who the narrator is and how the narrator delivers in literary works which is represented in terms of "Point-of View". Therefore the study contents construct internal formal elements of the narrator and point of view into 2 individual researches, and the result can be summed up as below. From a narratological perspective, the narrator has roles and deeds as a narrative mediator who mediates the story and leads the story as presenting the origin with images and voices in the text extra and intra world through the process of producing the narrative inferred. To eliminate ambiguousness the term 'point-of view', this article applies 'focalization' theory to analyze narrative structure of film. The result of analysis shows that there are three focalizers in film; director, protagonist-character and camera. And aspects of film can be varied by distance of each focalizer. These distances between focalizers limit amount of visual information.

• Proceedings of the KSLP Conference
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• 2003.11a
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• pp.129-225
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• 2003

초점에 대한 언급이 Halliday(1967)에 의해 처음으로 시작된 이래로 초점의 개념에 대한 다양한 접근과 많은 논의가 이루어져 왔다. 일반적으로, 초점은 다음과 같이 정의할 수 있다. 첫째, 초점은 문맥에서 복구가 불가능한 요소를 가리킨다. 초점이라는 용어를 최초로 언급한 Halliday (1967)에 따르면, 초점이란 신정보를 가리키며 이전 담화 문맥에서 복구할 수 없는 정보가 곧 초점이다. 둘째, 초점은 전제 (presupposition)와 대응되는 개념이다. Jackendoff(1972)에 따르면, 담화 문맥에서 이루어지는 발화는 화자와 청자 사이에 공유된 정보와 그렇지 않은 정보로 나뉘며, 그 중 공유된 정보가 전제이고 이에 상보적으로 대응되는 비전제 (non-presupposed)가 곧 초점이다. 셋째, 초점은 화제(topic)와 대응되는 개념이다. Sgall(1973)과 Gundel(1974)에 따르면, 하나의 발화는 문맥상 화제와 초점으로 나뉘며 화제는 흔히 문장에서 무엇에 대해 말하려고 하는가'인 반면, 초점은 발화에서 화제를 제외한 나머지 부분으로서 담화에서 '화제에 대해서 서술되고 있는 바'를 나타낸다고 본다. (중략)

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.151-159
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• 2012

The purpose of this thesis is to figure out the mechanism that how can be shown the aesthetic distances of novel in the film. At discussion of the view point, novel can be told by two factors which are 'who is teller' and 'who is watcher' but in the film, novel's narration is divided into visual point and auditive point. And I will consider the phenomenon on the part of this difference. Next, I will argue about difference between novel and film from the Park Jongwon's aesthetic distances which interpreted Lee Munyeol's work. This thesis is going to observe that how the film adapted three types of view point and how that related the subject of the original novel. For this thesis, I tried to track 'the distances' between figure and identity, and reader and author. Also I did approach that how can be accepted the problem of 'aesthetic distance according to identity' based on this novel in the film and novel's text by reader. This study make a proposal or analysis to the differences between novels and films in terms of narrative point of view. Although it is shown by dividing into each chapter in novel and on connectivity in film, this paper finds out that both film and novel are shown the subject of reader's difference of the view point about 'author and director's identity'.

• The Journal of the Acoustical Society of Korea
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• v.11 no.1E
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• pp.86-97
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• 1992

인식어휘수가 1160단어이며 자동 전화번호 안내에 사용될 수 있는 한국어 대용량 음성 인식 시 스템에 관하여 소개하였다. 이 시스템은 네 개의 부시스템으로 구성되어 있다. 첫 번째는 HMM 방식으 로 입력음성중의 단어를 인식하는 처리부에서 인식할 어휘를 제한하므로써 인식시간을 감축시켜 주는 인식 시간 감축부이다. 이 부시스템은 언어학적 정보뿐만 아니라 음향학적 정보도 이용한다. 마지막은 음성인식 시스템의 파라미터를 새로운 화자의 음성에 신속하게 적응시켜 주는 화자적응부이다. 마지막 부시스템은 VQ 적응방식과 스펙트럼 mapping 방식에 근거한 HMM 파라미터 적응방식을 이용한다. 또 한, 본 논문에서는 대용량 음성인식 시스템의 성능을 향상시키기 위한 최근의 연구결과들에 관하여 살 펴보았다. 이 연구들은 화자 독립 음성인식을 위한 음향학적 처리부와 인식 시간 감축부의 성능향상에 초점이 맞추어져 있다. 마지막으로 화자적응을 위한 새로운 연구결과라도 기술하였다.

• Speech Sciences
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• v.11 no.2
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• pp.89-104
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• 2004

This paper investigates previous theories on English focus realization and attempts to find out the overall acoustic characteristics of English focus. It has been argued in previous studies that English focus can be defined as a new information that is not recoverable from the context (Halliday 1967), a complementary element of presupposition (Jackendoff 1972), and what is predicated about the topic in a sentence (Sgall 1973, Gundel 1974). The phonetic realization of English focus in an utterance has been said to be either L+H*/H*, or falling accent. Yet it is a more or less simplified pattern not based on real data obtained from native speakers of English, and it does not consider the various pragmatic and contextual situations. In our experiments we found that native speakers uttered English focus sentences in different ways according to the different focus structure. Another notable result is that Korean speakers, when provided with the same experimental material, are neither able to distinguish different focus types nor deaccent the elements that are not focused in an utterance.

• Korean Journal of Cognitive Science
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• v.11 no.1
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• pp.81-92
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• 2000

Elliptical fragments are common in natural language dialogues between humans. Since most elliptical fragments should be interpeted within the context. it is not easy for computers to recognize the speaker's intention from the elliptical fragments. In t this paper we propose a model to recognize speaker's intention from elliptical fragments 1 in Korean by expanding the tripartite plan-based model proposed by Lambert. We add new discourse recipes to define user's discourse actions through elliptical fragments. In order to use plan inference process. we must represent utterances as actions. e. g .. r e elliptical fragments are represented as surface speech acts. In surface speech act representation. we include the information of 'Josa' (case markers in Korean), because t the information of 'Josa' plays a very important role in analysing speakers' intention in Korean. Finally. by using an object and discourse focus theory, the system can recognize the intention that a user is trying to compare between two plans by uttering elliptical fragments

• Proceedings of the KSPS conference
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• 2006.11a
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• pp.75-79
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• 2006

In this study, we investigate ways that focus is realized in English utterances produced by native speakers of English and Korean learners. As compared to the previous studies which deal mainly with functional aspects of focus as a part of intonational structure, we attempt to provide more quantitative information on F0 and discover the extent to which Korean learners distinguish focus types in their English utterance production. On the test sentences designed to be disambiguated by correct focus realization, it is found that, even advanced-level Korean learners, unlike native speakers, hardly employ F0 to clarify the specific meaning of English utterances.

• Speech Sciences
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• v.9 no.4
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• pp.215-234
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• 2002

This study is designed for two purposes. The first one is to compare the realization and perception of English contrastive focus between Korean learners of English and native speakers of English. The second purpose is to study the phonological and phonetical features of contrastive focus by examining the results of production and perception experiments. English native speakers' results show that the English contrastive accents are generally accompanied by higher peak heights. The findings agree with the results of Bartels & Kingston (1994). Unlike native speakers of English, Korean speakers seem to be poor at relating the phonetical features of contrastive focus to their actual speech. Korean speakers' results are especially unsuccessful when the contrast is not distinctly grasped through syntactic structure, or when the function words are contrasted. Furthermore, Korean speakers' utterances tend to have pitch accents on every content word, whether the word is contrasted or not.

• Cross-Cultural Studies
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• v.41
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• pp.113-140
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• 2015

This paper explains how the basic and instinctive emotion "joy" is verbally expressed in Russian and Korean. In particular, the main concern of this pater is on the cultural context with which the emotion "joy" is related and the ways in which the emotion "joy" has a wide range of uses. The semantic and pragmatic characteristics of the uses of the expression "joy" can be explained through the cultural and historical backgrounds in both languages. In Russian, joy has two variants, radost' and udovol'stvie. It is very difficult to distinguish a significant difference between them; however, the former is mainly connected with more mental, spiritual, cultural, and religious contexts, whereas the latter is mainly related with more concrete, instantaneous contexts and daily life. The former produces an impression that has a more wide, spiritual, and macroscopic attitude toward a situation, whereas the latter produces an impression that has a microscopic and instantaneous attitude toward a situation. Compared with the Russian expressions, the Korean equivalents, 기쁨 and 즐거움, have a very similar opposition like that of the Russian. The former is based on a more logical and causal relation between an anticipation or desire and the current situations, whereas the latter is based on the participation of speakers in a situation and has a very instantaneous characteristic, like a udovol'stvie in Russian. Thus, it can be reasonable argued that the Russian udovol'stvie and the Korean 즐거움 share many similar semantic properties. In brief summary, in both languages there exists two distinctive variants that show a privative opposition to express the emotional concept of joy.