• Korean Linguistics
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• v.62
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• pp.171-194
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• 2014

In this paper, I seek to differentiate the meaning of the auxiliary verb '-e ka-' from imperfective aspect in Korean. The progressive in imperfective is expressed by the 'be+V-ing' in English and '-ko iss-' in Korean. However the '-e ka-' in Korean can express the gradual progress meaning. This is similar to the progressive of some state verbs. These verbs cannot express the progressive aspect but it is possible if they can express the change of state in sentence. It is more corresponding to the '-e ka-' than '-ko iss-' in Korean.

• Journal of English Language & Literature
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• v.57 no.6
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• pp.1067-1088
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• 2011

While there is a high degree of convergence in linguistics in the treatment of the progressive as an aspect, the English progressive is unusually wide in its range of uses. This paper highlights the distinction between aspectual and non-aspectual progressives. The primary function of the progressive is to present a situation as ongoing, and this strictly aspectual use of the progressive is referred to as 'aspectual progressive'. On the other hand, the uses of the English progressive that are not, in a strict sense, aspectual is called 'non-aspectual progressive'. There are at least three basic uses of non-aspectual progressives. The first is the so-called progressive futurate (e.g., John is leaving tomorrow). In English, the present progressive can be used to express future time reference. This use of the progressive is regarded as a non-aspectual one, on the grounds that its meaning cannot be accounted for in terms of ongoingness. The second use is the habitual progressive (e.g., She's smoking a lot these days). Given that the habitual is an aspect, it is natural that the habitual progressive is not an aspectual progressive because one cannot view a situation in two different ways. In addition, ongoingness is not a defining property of the habitual progressive but is only a contingent or subsidiary property. The real essence of the habitual progressive is habituality. The third use of non-aspectual progressives is the experiential or interpretative progressive (e.g., You're imagining things), whose main characteristic is the subjectivity of the speaker's interpretation. The experiential or interpretative progressive does not serve a primarily aspectual function because the meaning of ongoingness has nothing to do with the content of the utterance.

• The KIPS Transactions:PartB
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• v.8B no.6
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• pp.685-692
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• 2001

This paper describes how to disambiguate the aspectual meaning of Japanese expression "-te iru" in Japanese-Korean machine translation Due to grammatical similarities of both languages, almost all Japanese- Korean MT systems have been developed under the direct MT strategy, in which the lexical disambiguation is essential to high-quality translation. Japanese has a progressive aspectual marker “-te iru" which is difficult to translate into Korean equivalents because in Korean there are two different progressive aspectual markers: "-ko issta" for "action progressive" and "-e issta" for "state progressive". Moreover, the aspectual system of both languages does not quite coincide with each other, so the Korean progressive aspect could not be determined by Japanese meaning of " te iru" alone. The progressive aspectural meaning may be parially determined by the meaning of predicates and also the semantic meaning of predicates may be partially reshicted by adverbials, so all Japanese predicates are classified into five classes : the 1nd verb is used only for "action progrssive",2nd verb generally for "action progressive" but occasionally for "state progressive", the 3rd verb only for "state progressive", the 4th verb generally for "state progressive", but occasIonally for "action progressive", and the 5th verb for the others. Some heuristic rules are defined for disambiguation of the 2nd and 4th verbs on the basis of adverbs and abverbial phrases. In an experimental evaluation using more than 15,000 sentances from "Asahi newspapers", the proposed method improved the translation quality by about 5%, which proves that it is effective in disambiguating "-te iru" for Japanese-Korean machine translation.translation quality by about 5%, which proves that it is effective in disambiguating "-te iru" for Japanese-Korean machine translation.anslation.

• Korean Journal of English Language and Linguistics
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• v.2 no.3
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• pp.329-372
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• 2002

Tobin (1993) argues that verbs can be classified according to the process/result distinction. He further claims that the grammatical development of the lexical verbs into auxiliary/aspectual verbs is motivated by the distinction. In this paper, first, I reconsider Tobin's (1993) claim in the viewpoint of the principle of persistence (Hopper 1991) or the source determination hypothesis (Bybee, Perkins, and Pagliuca 1994), which states that the meaning of the source construction determines the path of grammaticalization. I then classified tense/aspect/ modality markers according to Tobin's (1993) process/result distinction. Finally, I argue that Tobin's (1993) process/result distinction constrains the distribution of grammaticalized verbs among tense/aspect/modality markers not only in English and but also in Korean.

• Language and Information
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• v.19 no.1
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• pp.103-117
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• 2015

Not fully satisfied with the treatment of the so-called two nows in Korean by Lee & Choi (2009), this article seeks to furnish the issue with a firmer ground to base on in the relevant conversation. A close comparison between now and cikum appearing in the present perfect and present tense results in the two findings that (i) a crucial difference between the two adverbs is that Korean cikum lacks English now's ability to be identified with the reference time and (ii) further, seeming differences between them are not real but in fact due to tense and aspectual discrepancies between English and Korean. Thus, it claims, contra Lee (1976) and Park (2004), that cikum is a temporal locating adverb which invariably locates the event time of a given eventuality at the utterance time. In particular, it motivates that a past-tensed sentence with cikum should be understood as holding in the recent past mainly from pragmatic inferences rather than semantic entailments.

• Language and Information
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• v.3 no.1
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• pp.39-63
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• 1999

Korean manner-of-motion verbs have different characteristics from locomotion verbs syntactically and semantically, and they are aptly encoded as having the primitive semantic element MOVE, not GO of Jackendoff(1990)'s Conceptual Semantics framework. This point is shown on the basis of their behavior, the inability to take the Goal 'NP-lo' phrases, the Purposive 'S-le' clauses, the 'NP-ey' phrases, and the atelic interpretation. It is further shown that the apparent locomotion verb behavior of some manner-of-motion verbs, 'exocentric' phenomenon in their meaning composition, is merely a transferred aspect of manner-of-motion verbs. Three kinds of strategies, transformational, quasi-transformational, and lexical ones, are examined to describe this phenomenon, and the lexical one is determined to be the most appropriate. The remaining part of this paper pursues the possibility of adopting Tenny's(1987, 1994) 'Aspectual Interface Hypothesis' in establishing an argument linking system with special attention to 'measuring-out', but concludes that the hypothesis can be accepted only in a restricted part of verbs, and with a modified notion of measuring-out like Jackendoff's(1996).

• Korean Journal of English Language and Linguistics
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• v.2 no.4
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• pp.519-536
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• 2002

This paper is to provide an analysis of the aspectual nature of naked infinitives(NIs) of English perceptual reports. Higginbotham(1983) proposes that only ‘active’ or ‘transient’ verbs can be used as NIs of English perceptual reports, but ‘state’ verbs cannot. This is called “confinement to the active or transient”. But there will be one problem when NIs of English perceptual reports are negatives. This is why the meaning of negative NIs of English perceptual reports may be static, which isn't in line with “confinement to the active or transient”. There are similar problems with ‘state’ NIs of English perceptual reports. In this paper some of these problems can be solved with the “Event Structure” of Pustejovsky(1991). According to Pustejovsky(1991), ‘process’ and ‘transition’ verbs have sub-eventual individuation units, but state verbs have no such units. It is the units that make it possible for ‘process’ and ‘transition’ to be perceived. As a result ‘process’ and ‘transition’ verbs are suitable for NIs of English perceptual reports. Nevertheless, there are still some problems unsolved. Moreover some state verbs are grammatically used as NIs of English perceptual reports. This paper proposes that these state verbs have “potentiality of transition”, and the potentiality comes from only the combination of the two parts of the complement - the subject and the naked infinitive. And the potentiality causes the “Event Structure” of Pustejovsky(1991) to be modified. And this modification makes it possible for us to explain aspect of NIs of English Perceptual Reports. It is concluded with some implication for Korean learners of English as a Foreign Language.

• Cartoon and Animation Studies
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• s.49
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• pp.465-491
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• 2017

This paper analyzes the short animation film which faithfully follows the external dimension of cartoons, and studies the hidden subject and the way of narrative in the back of the figure. In this process, we analyze the theme of using the analysis method of mosaic image. The narrative of cartoons is usually the majority in discussing the differences in the aspectual part. However, this animation uses cartoons to reach the linear narrative of ordinary narrative movies. As Janet Murray explains, if a 'mosaic image' approaches a theme through a mosaic approach, we can limit the 'mosaic film' that are introduced in the film format among them. First of all, conceptually uses the characteristics of 'mosaic image', at the same time, it utilizes a work utilizing the narrative features of 'mosaic film'. By analyzing this animation film by bifurcation, the first half reveals the characteristics of open-minded mosaic video platform, and the second half introduces the linear narrative method of film narrative. This paper divides the narrative method of 'multi plot Film' into three types: mosaic narrative film, network narrative film, and multi-draft film. Thus, we can analyze the ending of as a narrative method of 'network narrative film' which is composed of parallel or juxtaposed stories. In other words, if the early part of the animation follows the 'mosaic narrative' as an 'extension of ensemble film', the latter part faithfully follows 'network narrative'. Even in the way of talking about the subject, this animated film uses the way of speaking the mosaic image. Considering the aspectual tendency of cartoons, it can be said that this film derives the meaning of 'humor' or 'satire' in an open way. If the first half refers to 'the ambiguous routine of modern man', the latter half draws a profound theme called 'the reality of human selfishness in modern society'. is a film for a wide range of social criticism designed for adults who can interpret meaning.