• 영어어문교육
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• 제15권4호
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• pp.345-364
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• 2009

This study attempts to provide a comprehensive framework for listening strategy use among university students in Korea in relation to TOEIC listening scores. In particular, this study tests whether motivation, based on the self-determination theory, mediates listening strategy use on listening comprehension (LC) process and whether reading comprehension ability moderates the use of listening strategy in LC achievement. One hundred seventy six freshmen students participated in the study during their first semester required English course. Self-report questionnaires were used to assess students' motivation and LC strategy use. The responses were statistically analyzed via the moderator and mediator model. The results indicate that internalized motivation mediates the use of listening strategy in LC achievement; however, reading comprehension skill doesn't affect students' use of listening strategies in relation to listening skill achievement. In other words, students who have internalized motivation were able to utilize listening strategies effectively in terms of achievement of the TOEIC listening skills. The findings of the current study offer in-depth understanding of the relationship among use of LC strategies, intrinsic motivation, and listening skill achievement shared by the mediator and moderator models.

• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2017년도 추계학술대회
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• pp.504-505
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• 2017

기존의 형태소 분석기는 문서 내에 사용된 단어들을 분류한다. 이를 기반으로 문장과 문단을 추출하는 시스템이 개발되고 있으나 해당 문서를 압축하여 주요 문단을 추출하는 시스템은 매우 미흡한 실정이다. 본 논문에서 제안하는 알고리즘은 문서 내에 사용된 키워드들의 가중치를 계산하고 키워드를 포함한 문단들을 추출한다. 이는 해당 문서를 모두 읽지 않고 키워드가 포함된 문단들을 읽음으로써 문서를 이해하는 시간을 줄일 수 있다. 또한 검색에 사용된 키워드의 개수에 따라 추출되는 문단의 수가 다름으로 사용자는 기존 시스템에 비해 다양한 패턴의 검색이 가능하다.

• 한국산학기술학회논문지
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• 제10권3호
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• pp.567-571
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• 2009

본 연구는 단어 재인에서 작업 기억의 역할을 규명하기 위하여 진행되었다. 단어 재인에서의 작업 기억 역할 규명을 위하여 단어 빈도와 직업 기억 부담을 조절한 명명 과제 실험을 실시하였다. 실험 결과 단어 빈도는 작업 기억 부담에 영향을 받는 것으로 분석되었다. 작업 기억의 부담은 고빈도 단어 재인에서보다 저빈도 단어 재인에서 더 높은 영향을 미쳤다. 이러한 결과는 작업 기억이 저빈도 단어 재인에서 더 많은 영향을 갖음을 시사하는 것이다.

• 수완나부미
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• 제14권1호
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• pp.9-29
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• 2022

Postcolonial critics have criticized Comparative Literature for exclusively studying literatures from the non-Western world through Western lenses. In other words, postcolonial criticism asserts that theorists and practitioners of comparative literature have traced the "assistance" of the classic "comparison and contrast" approach to an imperialist discourse, which sustains the superiority of Western cultures and economies. As a countermeasure to reading through the comparative lens, literary theories have offered a "juxtapositional model of comparison" that connects texts across cultures, places, and times. This paper examines practices of Comparative Literature in Vietnam, revealing how the engagement with decolonizing processes leads to a knowledge production that is paradoxically colonial. The paper also analyses implementations of this model in reading select Vietnamese works and highlights how conventional comparisons, largely based on historical influences and reception, maintain the colonial mapping of World Literature, centralizing Western, and more particularly, English Literature and in the process marginalizing the others. Therefore, the practice of juxtaposing Vietnamese literary works with canonical works of the World Literature will provoke dialogues and raise awareness of hitherto marginalized works to an international readership. In this process, the paper considers the contemporary interest of Comparative Literature practice in trans- national, trans-regional, trans-historical, and trans-cultural perspectives.

• 인지과학
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• 제21권4호
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• pp.481-503
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• 2010

이 연구는 초등학교 3학년 아동들이 나이에 알맞은 동화와 설명글을 읽을 때 보이는 안구 운동의 전반 특징과 낱말/어절 수준에 따른 특징을 우리글에서 처음으로 알아보았다. 아동들은 동화를 읽을 때 어절을 대략 213ms 동안 보다가 글 방향으로 3.6자 눈을 움직였고, 설명문을 읽을 때는 214ms 동안 보다가 글 방향으로 3.3자 정도 눈을 움직였다. 동화와 설명글 모두에서 앞으로 가서 다시 읽는 눈 움직임은 전체의 약 31%정도를 차지했다. 이런 전반 양상과 더불어, 어절 수준에서 어절 길이, 낱말빈도, 착지점 효과를 살펴보았는데, 아이들은 동화와 설명 글 모두에서 긴 어절을 짧은 어절보다 오래 주시하였고, 성인 독자와 마찬가지로 눈을 어절 가운데 근처에 착지하려는 경향성을 보였다. 또한 반복되지 않은 어절들을 분석했을 때 설명글에서 빈도가 낮은 어절들은 길이에 따른 주시시간이 차이를 크게 보였고 빈도가 높은 어절들은 길이에 따른 차이를 거의 보이지 않았다.

• 인지과학
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• 제34권4호
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• pp.315-347
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• 2023

이 연구는 시선 추적의 경계선 기법을 사용하여, 자연스러운 읽기 과정에서 중심와주변에 제시된 단어의 표기체계와 의미 정보가 표적 단어의 읽기에 미치는 영향을 알아보았다. 참가자는 중국어와 한국어 이중언어자였고, 읽기 문장은 한국어 단어와 중국어 단어가 혼용된 문장이었다. 참가자들의 읽기 과정은 안구 운동 추적 도구 EyelinkII를 통해 모니터링되었다. 화면에는 전체 문장이 제시되었고, 시선이 표적 위치로 이동하기 직전에 미리 제시되어 있던 미리보기 단어가 표적단어로 대체되었다. 표적단어는 언제나 한글 단어였고, 미리보기 단어는 (1) 표적단어와 동일 단어(예: 나라), (2) 동일 의미의 한자어 단어(예: 국가) (3) 동일 의미의 중국어 단어(예: 国家), (4) 무관련 중국어 단어(예: 围裙)였다. 2)와 3) 조건은 같은 단어로 표기 체계만 한글과 한자로 달랐다. 주요 측정치는 표적 단어에 시선이 고정되는 시간이었고, 동일 단어, 동일 의미 한자어 단어 그리고 동일 의미 중국어 단어 조건의 고정시간은 무관련 중국어 조건에서보다 짧았으며 주시시간은 동일한 의미 중국어 단어 조건에서 동일 단어 조건보다 짧게 관찰되었다. 이 결과는 중국어-한국어 이중 언어 사용자들이 중심와주변에서 의미 정보를 추출할 수 있음을 시사하고 중심와주변에 제시된 단어의 표기법과 의미 정보가 모두 읽기에 영향을 주었음을 보여준다.

• 말소리와 음성과학
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• 제4권3호
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• pp.137-142
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• 2012

The aim of this study is to investigate the usefulness of the multiple-choice name matching test (MC-NMT) in adults with aphasia by comparing the Korean version of the Boston Naming Test (K-BNT) and subsets of the Korean version of the Western Aphasia Battery (K-WAB). Thirty-nine patients who suffer from aphasia participated in the study. All patients were examined by the K-BNT, MC-NMT and K-WAB. The MC-NMT consisted of the 30 original BNT object stimuli which were presented with four response choices (written words) with similar frequency, including one correct and three incorrect responses. Cards containing the drawings were presented to the patient one at time. An item was passed if the patient chose the correct response within 10 seconds. We subdivided two groups into a total group and a low K-BNT group (at and below 15 points). We evaluated the correlation between the K-BNT, MC-NMT score and production, naming, repetition, comprehension, reading and writing scores in subsets of the K-WAB. There was a highly positive correlation between the K-BNT score and naming score of the K-WAB in total patients. However, the MC-NMT was highly correlated with reading scores in the K-WAB. In low score K-BNT patients, the K-BNT strongly correlated with production, naming and repetition scores of the K-WAB. These findings mean that K-BNT reflects motor language function. However, the MC-NMT was strong correlated comprehension, reading and writing of the K-WAB. This finding reflects sensory language function. We suggest that the combination of K-BNT and newly developed MC-NMT will be useful to evaluate speech functions in aphasic patients.

• 대한인간공학회지
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• 제33권6호
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• pp.499-513
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• 2014

Objective: The objective of this study was to examine frame ratio of text information and font size in the circle smartwatch. Background: Recently, electronic manufacturers try to develop the original metaphor of traditional wrist watch (circle) in terms of smartwatch. They endeavor to break the square display in order to improve emotional customer satisfaction. Method: The experiments examined twenty level of text information design, combinations of four frame ratios (1:1, 4:3, 16:9, 21:9) and five font sizes (6pt, 7pt, 8pt, 9pt, 10pt). Nineteen participants volunteered for the experiment. Dependent variables were WPM (Words per Minute), reading preference, design preference and total preference. Furthermore, small circle display was made by using circle display data (1.3inch), which was exhibited in IFA (International Funkausstellung) 2014. Results: As a result, ANOVA (Analysis of Variance) revealed that WPM, and task time preference affect the specific frame ratio and font size. Results of ANOVA for reading preference, design preference, total preference were grouped by post-analysis LSD (Least Significant Difference). Among users, display ratio (16:9, 21:9), and font size (9pt) were preferred. In conclusion, 16:9 display ratio and 9pt are adaptable for text information in 1.3inch circle display. Conclusion: From the study, it is shown that 16:9 display ratio and 9pt size are more adaptable for text information in 1.3inch circle display than others. It is mainly due to the fact that the order of frame ratio and font size may affect the usability of reading long text information in a small circle display. Therefore, when developers design a circle display, the square frame ratio and font size are required to be considered according to circle size. Application: The 16:9 display ratio and 9pt font size may be utilized as a text information frame in the circle display design guideline for smartwatch.

• 대한건축학회논문집:계획계
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• 제35권3호
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• pp.21-30
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• 2019

The purpose of this study is to investigate how Pritzker Architecture Prize as a social act has maintained an organic relationship with the architecture, the urban society through the speakings and writings of the laureates of the Pritzker Architecture Prize. The composition of this research is to grasp the background of the establishment of Pritzker Architecture Prize and the examination process, to examine its social meaning, and to identify the main flow of words from writings about the laureates through the literature survey and text frequency analysis. And is to interpret the meaning of urban society change and words about the laureates. As a result of the analysis of the flow, it is a tendency to move from ideology and style to newness and innovation, and now to publicity and sociality. Especially in recent years, a wide range of values are floated as much as the complicated issues of urban society and the natural environment. The various architectural activities that make up the urban life became more important than the building units existing like an icon. It is considered possible because the Pritzker Architecture Prize has been awarded for a sustainable common social act. In addition, through literature surveys, have also seen changes in the value of individual laureates, the mixing of styles, and the eclectic aspect. Therefore, the task of reading change should not be a process of finding a new style for a new age, but a task of acknowledging heterogeneity of each architect and recognizing diversity through pluralization.

• 미술이론과 현장
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• 제2호
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.