• Language and Information
• /
• v.11 no.1
• /
• pp.53-76
• /
• 2007

Case markers in Korean are omissible in colloquial speech. Previous discourse studies of Caseless bare NPs in Korean show that the information structure of zero Nominative not only differs from that of overt Nominative but it also differs from that of zero Accusative in many respects. This paper aims to provide a basis for these semantic/pragmatic properties of Caseless NPs through the syntactic difference between bare subjects and bare objects: namely, the former are left-dislocated NPs, whereas the latter form complex predicates with the subcategorizing verbs. Our analysis will account for the facts that (i) the distribution of bare subject NPs are more restricted than that of bare object NPs; (ii) bare subject NPs must be specific or topical; (iii) Acc-marked NPs in canonical position tend to be focalized.

• Proceedings of the Korean Society for Language and Information Conference
• /
• 2007.11a
• /
• pp.57-66
• /
• 2007

Case markers in Korean are omissible in colloquial speech. Previous discourse studies of Caseless bare NPs in Korean show that the information structure of zero Nominative not only differs from that of overt Nominative but it also differs from that of zero Accusative in many respects. This paper aims to provide a basis for these semantic/pragmatic properties of Caseless NPs through the syntactic difference between bare subjects and bare objects: namely, the former are left-dislocated NPs, whereas the latter form complex predicates with the subcategorizing verbs. Our analysis will account for the facts that (i) the distribution of bare subject NPs are more restricted than that of bare object NPs; (ii) bare subject NPs must be specific or topical; (iii) Acc-marked NPs in canonical position tend to be focalized.

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