• 음성과학
• /
• 제8권4호
• /
• pp.275-288
• /
• 2001

The sentences with the same surface word order may be realized with the pragmatically different meanings, depending on the contexts under which they could appear. Semantically, their meaning differences have been explained in terms of the different information structures (Steedman 2000), whereas prosodically, they can be explained in terms of the different compositions of intonational components which make their own semantic contributions (Pierrehumbert and Hirschberg 1990). In other words, the different intonation realizations of the sentences with the same word order reflect the different information structures. In this paper, we investigate the relationship between the information structure and the intonational meaning by way of analysing the production of the sentences with ambiguous scopes of the English focus particle 'only'. In contrast to the previous quantitative approaches to the scopes of the focus particle 'only', two independent levels of information structure (Steedman 2000)-theme/rheme, and focus/ background-make it possible to consistently explain the intonational phenomena.

• 영어영문학
• /
• 제57권4호
• /
• pp.675-693
• /
• 2011

In its restricted sense, 'sound poetry' refers to the poetic performance that rejects words and verbal meaning and instead foregrounds the aural materiality of poetry. Behind this seeking for materiality lies a quest for a 'language of presence,' which operates through a denial of signification toward an ideal of the Adamic tongue, a purely emotional and universal language. In the same light, it is argued that sound poetry is a unique and unrepeatable event devoid of meaning due to its directness to the body allowing no intervention of intellectual and semiotic process. But language may involve perceptual meaning as well as verbal or conceptual meaning ascribed to words. This implies that even though devoid of conceptual meaning by means of using grammatically non-articulated sounds, sound poetry cannot but have meaning whose articulation is differently, i.e., iconically made about the aural features of the sounds. Perceptual meaning is unavoidable because everything we are conscious of is a reduced form, a repeatable pattern that works as a sign. 'Language of presence' is then actually impossible, and therefore sound poetry should be seen rather as a fest of diverse perceptual meanings.

• 음성과학
• /
• 제8권4호
• /
• pp.289-305
• /
• 2001

The conjunctive marker '-ko' in Korean can be interpreted as meaning either conjunctive 'and' or ordering 'and then'. The interpretation of '-ko' is ambiguous in written texts but not in spoken texts. It is because the meaning of the utterance is determined by the combination of the text with its prosody. The two meanings of ' -ko' can be explained by the theory of implicature, which was introduced by Grice (1973, 1981). This paper examines the meaning of the marker '-ko' with respect to the relation between its meaning and prosody. The results of the experiments in this paper showed that the prosodic phrasing in Korean influences the interpretation of the marker '-ko'. When two constituents combined by '-ko' are realized in the same accentual phrase, the marker can be interpreted as meaning 'exactly be orderly'. This meaning can be classified as the Particularlized Conversational Implicature (PCl) in Gricean theory. In the other cases of phrasing, the marker '-ko' can mean either 'conjunctive' or 'be orderly' by the Generalized Conversational Implicature (GCI). The fact that phrasing determines the interpretations of the marker '-ko' can be seen as supporting the view that prosody interacts with various levels of linguistic phenomena from phonology to pragmatics.

• 대한한의학원전학회지
• /
• 제29권1호
• /
• pp.43-54
• /
• 2016

Objectives : The word, Simju are usually regarded as Simpo. However, I recognized that Simju was not Simpo in Huandinsijing. Therefore, I tried to find out the meaning of Simju in Huangdineijing and also tried to find out the meaning of Simpo, Simporak and Porak in Huangdineijing because those words are related to Simju. Methods : I referred several annotations, which explained the words ; Simju, Simpo, Simporak, Porak and classified the meanings. Results : 22 Simju out of 25 in Huangdineijing didn't mean Simpo. Those meant Gwoleum of Sugwoleum. Rest of 2 Simju meant heart and 1 meant Simpo. Only one Simju meant Simpo even thogh Simju are usually regarded as Simpo. Conclusions : The word couldn't mean the same meaning comparing to what are usually used as a certain meaning, so researchers could consider to treat several words' meaning by time and places.

• 말소리와 음성과학
• /
• 제3권2호
• /
• pp.11-22
• /
• 2011

The purpose of this study is to find the influence of Chinese falling-rising tone on the pitch pattern of corresponding Sino-Korean words delivered by Chinese learners of Korean and to examine how the falling-rising tone of corresponding Chinese words affect the pitch patterns of Sino-Korean words. The scope of this research is limited to Chinese learners of Korean, especially when they pronounce same-form-same-meaning Sino-Korean words. In this study, Chinese learners pronounced both Chinese words and corresponding Sino-Korean words. Learners' pitch patterns were recorded and analyzed using software and compared with the tone of corresponding Chinese words. Experimental results showed that Sino-Korean words were affected by Chinese 'falling-rising tone - high and level tone' when they started with lenis sounds. On the other hand, when Sino-Korean words started with aspirated sounds they were affected by Chinese 'falling-rising tone - high and level tone', 'falling-rising tone - falling-rising tone', and 'falling-rising tone - falling tone'. In conclusion, the Chinese learners' pitch patterns of Sino-Korean words are affected by Chinese falling-rising tone, especially when Sino-Korean words start with aspirated sounds.

• 복식
• /
• 제53권1호
• /
• pp.67-75
• /
• 2003

From ancient times. lotus pattern had esthetic factor and symbolic factor. Lotus pattern was introduced to China, and it was grafted together with Chinese peculiar culture symbol system, thereafter it has changed and developed. The Chinese taking a serious view meaning that things include, and they frequently use several lucky omen patterns in their everyday life. In this study, I investigated laying stress on symbolism about Lotus patterns of China lucky omen patterns, and I wanted to present possibility that can approach to Chinese culture in new angle. Through result of this study, symbol of Lotus patterns can divide two directions. First, symbol by natural properties of lotus are same as following. 1. Lotus grows in the mud, but it is uncontaminated - clearness and uprightness, 2. Root, branches, loaves and flowers are vegetative together, and all of basis and branches are exuberant. - plenty, 3. Bear fruit simultaneously with blooming, and it is procreant. - fecundity and many descendants. Symbol that use same pronunciation and intention are same as following. 1. 'Lian(연)'-'Lian(연)' : repeatability, continuance, plenty and intercommunicate, 2. 'Lian(연)'-'Lian(염)': integrity, 3. 'He (하)'-'He(화)' : peace, harmony and combination, 4. 'He(하)'-'He(하)' : clear river, 5.'He(하)'-'He(하)' ; all work goes well. When the Chinese use lotus patterns in lucky omen patterns, same pronunciation and pitch of Chinese language more prominent than natural properties or the image of Buddhism. I guess that it cause praying individual's peace and happiness more serious than philosophical meaning or symbol that base in Buddhism for ordinary people.

• 패션비즈니스
• /
• 제26권4호
• /
• pp.83-99
• /
• 2022

The purpose of this study was to analyze the form and meaning of shaman's costumes worn by each gutgeori in Seoul jaesugut and to derive the characteristics of Shaman's costume at gutgeori. Observational research was conducted for three years by participating in the site of two types of gut, which are divided into local jaesugut for the well-being of the region and individual jaesugut that takes place based on personal request. Seoul jaesugut consists of 12 different gutgeori according to the deity it serves and meaning: Bujeongcheongbae, Gamangcheongbae, Bulsageori, Sangeori, Josanggeori, Sangsangeori, Byulsanggeori, Sinjanggeori, Daegamgeori, Seongjugeori, Changbugeori, and Duitjeon. The shape and colour of the shaman's costume worn in each gutgeori are related to the meaning of the gutgeori. Followings are the characteristics of the shaman's costume from gutgeori. First, shaman's costume adopted traditional costumes that symbolized the characteristics of god represented in each gutgeori. Second, gutgeori consists of multiple gods, and shaman's costumes were adopt to represent the superior god among these gods. Third, sometimes the costumes were adopted according to the characteristic of the god instead of its divinity. Fourth, even if the gods were different, if the roles of the gods were the same, the same form of shaman's costume could be taken. Fifth, the process of gut showed the harmony of yin and yang using the principle of five elements through the colour of shaman's costume.

• 한국실내디자인학회논문집
• /
• 제14권3호
• /
• pp.12-19
• /
• 2005

In contemporary society, Labyrinth and maze are used with the same meaning. They are also used by translating various meanings. But labyrinth and maze are exactly different meaning. The purpose of this study is to inquire about difference for understanding essential meaning between labyrinth and maze. First of all, this study is to grasp composition principles and the characteristics of space through example of labyrinth and maze from ancient to contemporary, prescribe about essential meaning between labyrinth and maze and examine contemporary architecture which is fit for essential meaning. As compositional Principle in labyrinth and maze applied to comtemporary architecture, the labyrinth are centrality, property of one-sideness, determinable space, on the contrary the maze are out of centrality, property of multi-sideness, indeterminable space. Finally, The aim of this paper is analyze exhibition space that suit to the characteristics of composition principle and find the characteristics in labyrinth and maze. Examples of exhibition space are Aldo Van Eyck's 'Sculpture Pavilion', Kazuyo Sejima's '21st Century Museum of Contemporary Art', Ben van berkel's'Museum Het Valkhof'. These research we studied the visitor's circulation and the architectural structure in exhibition space with the spatial characteristics and the compositional principle in labyrinth and maze.

• 대한간호학회지
• /
• 제28권1호
• /
• pp.47-59
• /
• 1998

The purpose of this study was to identify calls, roles and attitudes of the Christian medical staff in a modern medical system for holistic healing through belief in God's healing methods and God's view about medical treatment. The meaning of healing in the Bible is derived from Rapha in the Old Testament, it's meaning is 'heal wound', 'restore to original condition', 'repair', 'console' and 'be heal'. In the New Testament, the meaning of healing is 'to serve' and 'be in one's service' derived from Therapuein and preserve', 'rescue', 'save a life from death' derived from Sozo. The term of soteriology originated from Sozo. Therefore the meaning of the healing in the Bible is restoring original completeness to the same as Cod's characteristics. The meaning of disease is physical, psychological, social and spiritual imbalance or disharmonious. Disease is usually depravity from moral life to immoral life and abnormal life process with accompaning specific symptoms. Medical staff were called to God's work. recognized God's will for them, and absolutely leaned on God's power to intervene and work above spatial-temporal transcendently. They use spiritual power with medical treatment skills, help sick people to possibly have dynamic and individual relation with God and help to maintain their well-being and complete healing. Attitudes of medical staff were compassion and love, virtue of modesty, strong and daring, patience with belief, healing with God's word, using spiritual insight, play. using medical knowledge and techniques, continuing spiritual training, laying on of hands and repentance.

• 한국실내디자인학회논문집
• /
• 제5호
• /
• pp.53-58
• /
• 1995

The purpose of this study is to explore how people's evaluation and preference on color palettes differ based on their cultural background. This study used the same color palettes developed by Youngsoon Park and Denise Guerin(1992). Fourteen representative adjectives are used to analyze the meaning evaluation and preference on the six color palletes. 425 undergraduate students are se-lected from Korea, Japan, U.S. and England and ques-tionnaire was used as survey instrument. The results show that there are significant differences among the four countries in the meaning evaluation and preferences on the color palettes and the characteristics of color palettes influence the differences among the countries. The differences among the countries decrease in case of color palettes composed of warm color with low or medium value difference and chroma difference, while the differences increase in case of color palette characterized by strong color contrast with high or medi-um value difference and chroma difference. The result of color meaning evaluation can be catego-rized into Western and Eastern culture. Korea and U.S., and Japan and U.S. showed significant differences in the most words and Korea and Japan showed similarities in the most words. Therefore it can be concluded that cul-tural backgrounds related to race, region and history in-fluence the color meaning evaluation and preference. Fur-ther study should explore the relationship between color and culture using more various color instruments such as color palettes in order to categorize the various aspects of culture.