• 한국정보통신학회논문지
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• 제8권4호
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• pp.804-806
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• 2004

본 논문은 한국어 문서로부터 음성을 합성해 낼 때 액센트를 자동적으로 만듬으로써 보다 명료하고 자연스러운 회화음을 내기 위한 형식화된 액센트 규칙을 제안하는 데 그 목적이 있다. 이 규칙은 이호영님의 액센트 규칙으로부터 이끌어 낸 것으로서, 그 내용은 다음과 같다. (1) 첫 음절의 음운(rhyme)이 -v인 경우에는 그 다음 음절에 액센트가 온다. (2) 첫 음절의 음운(rhyme)이 -v가 아닌 경우에는 첫 음절에 액센트가 온다.

• 인문언어
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• 제2권2호
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• pp.85-107
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• 2002

The word play on h(e)art-hunting has become a virtual commonplace in criticism of Chaucer′s Book of the Duchess. Less widely discussed is the third meaning of ME herte, "hurt." The "hart"/ "heart" pun is, however, only implicit in the poem, while the rhyme of "heart" and "hurt" in lines 883-84 makes clear the close association of the terms for Chaucer. Earlier commentators insisted that this was in fact an instance of rime riche or "identical rhyme," but if it is so it is striking that it is the unique instance of the rhyme in Chaucer, whose works are full of occasions for hurt hearts. The essay argues that this is, instead, an instance of near-rhyme and that the confusion in scribal spellings of ME hurten(with ′u,′ ′0,′ ′i,′ ′y,′ and ′e′ ) suggests uncertainties about its root vowel that modem linguistic study has not clarified completely. If the rhyme of herte ("hurt") with herte ("heart") is, however, established by these lines in BD, then it is probably reasonable to ask about all the occasions where characters in the poem are hurt by emotional or physical distress. In the cases of A1cyone and the Man in Blak, the hurt is revealed plainly as the death of a loved one, and Alcyone′s death and the Man in Blak′s return "homwarde" offer contrasting responses to the realization and acknowledgement of their loss. In the case of the Narrator, however, the exact nature of his "hurt" is nowhere made clear and the questions this Jack of clarity raises for the reader remain unanswered when the poem declares its "hert-huntyng" done. Further examination of the Narrator′s character and his role in the poem may reveal him to be a physician himself in need of healing, and this reading of his character may identify him as an ancestor as much of Chaucer′s Pardoner as of the Pilgrim Narrator of Canterbury Tales.

• 대한음성학회지:말소리
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• 제63호
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• pp.23-46
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• 2007

The purpose of this paper is to compare linguistic features of meter in Amoretti and Sonnets from the Portuguese. Amoretti was composed in the 16th century and Sonnets from the Portuguese in the 19th century. Two poems are very strict in satisfying $^*<_I$(LS that makes a lexical stress matched on a strong position. But they allow a peaked monosyllabic word to be matched on a weak position only if it does not violate $^*(\dot{\sigma}\;{\sigma})$. Syntactic inversions which are found in two poems occur to satisfy metrical constraints and rhyme. Particularly, syntactic inversions for rhyme are mainly found in Amoretti, but are rare in Sonnets from the Portuguese which includes many enjambment lines. Furthermore, this paper shows that syntactic inversions can be explained by the interaction of constraints, such as metrical constraints, SCI, and Binary Foot.

• 대한한의학원전학회지
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• 제32권1호
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• pp.29-48
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• 2019

Objectives : The purpose of this study is to investigate which system the FanQie notation of "Taisu(太素)" followed by comparing FanQie notation appearing in "Taisu", with the Sound button(聲紐) and Rhyme system(韻類) of the FanQie notation appearing in the "Qieyun(切韻)" system phonology book and "Guangyun(廣韻)". Methods : Followed by organizing the FanQie list in "Taisu", in comparing this list with the top and bottom characters of FanQie in the "Qieyun" system phonology book and "Guangyun", this study explores the similarity of the system after noting the Sound button and the Rhyme system. Results & Conclusions : 1. Compared to FanQie of "Taisu" with that of "Qieyun" system, the Sound button and Rhyme system were 61.54% identical, and when comparing FanQie of "Taisu" with that of "Guangyun", the Sound button and Rhyme system were 55.45% identical. 2. Comparing FanQie top and bottom letters themselves of the "Taisu" and "Qieyun" system, of the 217 FanQie sound notation Chinese characters, FanQie top and bottom letters of 18 characters were the same, accounting for 8.29%, and when compared to the "Taisu" with the FanQie top and bottom characters of "Guangyun", 15 FanQie top and bottom characters were the same, accounting for 6.91%. 3. Of the total 11,500 characters in "Qieyun", the ratio of FanQie notation Chinese characters in "Taisu" was 1.89%, and among them, nine characters came out in "Taisu" FanQie notation while there was none in "Qieyun". This accounted for 4.15% of 217 FanQie notation sound Chinese characters in "Taisu", demonstrating that this represented a relatively high ratio. 4. Conclusionally "Taisu" was more closely related to "Qieyun" system phonology book than "Guangyun" in FanQie notation, and there is also a possibility that Yang Shangshan has created some FanQie notation by himself or additionally referred to other phonology books that are not "Qieyun" system phonology book.

• 말소리와 음성과학
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• 제10권4호
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• pp.53-66
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• 2018

This study investigated the development of English phonological awareness in preschool children based on a longitudinal study. It carried out a phonological matching task, mispronunciation task, articulation test, explicit phoneme awareness task, rhyme matching task, and initial-phoneme matching task for three-, four- and five-year-old children. A letter knowledge test was also added to the tests for the 5-year-old children. The results revealed that the development of phonological awareness follows a progression of syllable, then onset and rhyme, then phoneme. It was also revealed that language skills such as vocabulary, detection of mispronunciations, and articulation were partially related to the development of phoneme awareness. Finally, we also found that letter knowledge partially affected the children's development of phonological awareness.

• 중국학논총
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• 제66호
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• pp.63-84
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• 2020

王念孫在≪古韻譜≫收錄了≪詩經≫, 群經, ≪楚辭≫中押韻的例子。學術界對於王念孫古音觀念的研究方向主要側重於≪詩經≫, 與之不同的是本文的研究對象是≪楚辭≫。為了重新探討王念孫在≪古韻譜≫中主張21部之後又承認冬部單獨為一部這一主張, 本文通過對≪楚辭古韻譜≫裏的原例進行分析, 最後得出了從東部到冬部, 一共22個部。這個結果與王念孫最終所主張的古韻22部是一致的。

• 한국보육지원학회지
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• 제8권5호
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• pp.253-274
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• 2012

본 연구는 한국 전래동요 중에서 유아에게 적합한 것을 선정하기 위한 기준을 마련하여 유아교육 현장에서 전래동요가 효율적으로 적용되기 위한 가능성의 구안에 그 목적을 두었다. 이를 위해 설정한 연구문제는 첫째, 유아에게 적합한 한국 전래동요의 선정 기준은 어떠한가, 둘째, 선정기준에 따른 유아를 위한 한국 전래동요는 어떠한가이다. 먼저, 유아에게 적합한 한국 전래동요의 기준을 선정하기위해 유아교육 및 유아교육 관련 전문가 30명을 대상으로 델파이 조사를 통해 문항을 선정하였다. 수집된 응답들은 spss 12.0의 프로그램을 이용하여 평균과 표준편차를 계산하였다. 연구 결과 유아에게 적합한 한국 전래동요의 선정 기준은 '전통적 놀이공간과 놀이언어의 즐거움이 살아있는가, 옛 아이들의 생활 모습과 정서를 담고 있는가, 유아가 쉽게 이해할만한 내용인가, 유아가 흥미를 느낄만한 내용인가, 유아의 발달에 도움을 주는가, 유아가 쉽게 부를 수 있는 선율인가, 장단이 단순하고 반복적인가'로 나타났다. 또한 선정기준이 확정됨에 따라 이 기준을 바탕으로 유아에게 적합한 전래동요 112곡이 선정되었다. 112곡의 노랫말은 주로 '놀이의 즐거움'을 표현한 곡들로 전래동요의 전승을 위해서는 놀이가 함께 연행되어야 함을 시사한다.

• 동의생리병리학회지
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• 제22권4호
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• pp.709-717
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• 2008

$Ch\acute{e}n\;Xiuyu\acute{a}n$(陳修園) was a famous doctor and educator of the late Tang Dynasty. He was well known both for his books for beginners, and for his unique medical theories based on his profound research of <$Sh\bar{a}ngh\acute{a}nl\grave{u}n$(傷寒論)> and <$J\bar{i}nku\grave{i}y\grave{a}ol\ddot{u}e$>. He wrote <$Y\bar{i}xues\bar{a}nz\grave{i}j\bar{i}ng$(醫學三字經)> to establish the basic textbook for the beginners to set up right principles in pursuing their medical career. <$Y\bar{i}xues\bar{a}nz\grave{i}j\bar{i}ng$> was written in rhyme form, so that it can be easily memorized and used in future practices. There are quite many medical books in rhyme form, but this book is very unique as $Ch\acute{e}n\;Xiuyu\acute{a}n$ annotated his own notes, which is rare in this form of books. This feature makes <$Y\bar{i}xues\bar{a}nz\grave{i}j\bar{i}ng$> very outstanding, also with the fact that $Ch\acute{e}n\;Xiuyu\acute{a}n$ was the one with profound understanding and original theories based on medical bibles such as <$N\grave{e}ij\bar{i}ng$(內經)> and <$Sh\bar{a}ngh\acute{a}nl\grave{u}n$(傷寒論)>. We have translated this precious educational material into korean, hoping that this work could be of any help to students of korean medicine. And while doing this work, we have found followings: <$Y\bar{i}xues\bar{a}nz\grave{i}j\bar{i}ng$> covers the entire fields of medicine from theoretical discussions to practical clinical information. Nevertheless, as this is written in rhyme form, there are few phrases that are not easily understood for the sake of rhyme. Beginners probably may have difficulties in reading this book. To make this difficulty alleviated, and to develop our own educational material, we need to study further on the notes that $Ch\acute{e}n\;Xiuyu\acute{a}n$ annotated himself.

• 인지과학
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• 제26권3호
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• pp.323-355
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• 2015

후기 한국어-영어 이중언어화자의 자소-음소 변환규칙(grapheme to phoneme conversion rule, GPC 규칙)에 따른 영어 규칙성 효과(regularity effect)가 단어수준과 하위단어수준에서 나타나는지 알아보기 위해 단어명명과제, 각운판단과제, 음소제거과제를 진행하였다. 전체 단어수준(whole word level)에서의 규칙 양상을 살펴보기 위해, [1] 영어단어명명과제(English word naming task)를 사용하였고, 단어 단위보다 하위 단계에서의 규칙성 효과를 알아보기 위해 [2] 라임판단 과제(rhyme judgement task)와 음소수준(phoneme level)에서의 과제인 [3] 음소탈락과제(phoneme deletion task)를 사용하였다. 실험 참가자들은 세 종류의 과제를 모두 수행하였고, 총 43명의 후기 이중언어화자가 실험에 참가하였다. 실험결과, 세 과제 모두에서 규칙성 효과가 나타나 한국어-영어 이중언어화자가 영어(L2) 단어 처리 시 GPC 규칙을 적극적으로 활용하고 있다는 사실을 확인하였다. 사후분석으로써 세 과제 사이의 상관분석을 진행한 결과, 단어명명과제와 라임판단과제 간 상관이 가장 높게 나타났다. 비록 영어 모국어 화자의 이전 연구결과와는 달리 라임판단과제와 단어읽기과제 간 상관이 높게 나타났지만, 이는 실험 참가자의 L2 능숙도가 모국어화자만큼 높지 않았기 때문인 것으로 보인다. 본 연구는 후기 한국어-영어 이중언어화자가 영어 GPC 규칙을 사용하여 영어단어읽기 처리를 하고 있음을 확인하였다.

• 중국학논총
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• 제68호
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• pp.29-53
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• 2020

《古韵谱》是王念孙研究古音的著作, 其中收录了《诗经》, 群经, 《楚辞》。《诗经》是研究古音最重要的资料, 本文以《古韵谱》中的《诗经》为研究对象。《诗经古韵谱》的韵例在数量上占有压倒性的优势, 通过该资料得出王念孙创造了古音21部的结论。但是王念孙的韵部体系从21部变为了22部, 原因是从21部中的"东部"独立出来了一个"冬部"。王念孙的22部是清代古音学考古派的最终结果, 因此它具有重大的意义。