상승조 성조의 음조 변화 방향

박숙희(Bak, Suk-hui) 한국어문학회 2014 語文學 Vol.0 No.125

This paper examines the direction of pitch change of the rising tone and tonemic patterns focused on Gangneong, Jeongseon, Andong, and Daegu dialects. The phonetic representation of tone is described as follows with Roman letters : R(rising tone from L to H), ?ˇ (rising tone within L), ?(high and long tone), H(high tone), L(low tone), ?(lower tone). The rising tone has a low(L)-high(H) contour, thus that is longer more than 0.5 mora than others. The change of pitch of rising tone starts from weakening and losing the low-high contour. An than the length of syllable is dissipated. The descriptive analysis reveals that there is a pattern of pitch change of the rising tone; [R]→[?ˇ ]→[?]→[H]. This shows that the dissipating of rising contour leads the pitch to H of the ‘L-H’ contour. The pitch of tonemic pattern is also changed. I can say three patterns of that and those are ‘[RHL?]→[?ˇ HL?]→[?HL?]→[HHL?](Pattern A)’, ‘[RL₁]→[?ˇ L₁]→[?L₁]→[HL₁](Pattern B)’, ‘[RH₁]→[?ˇ ?₁HLⁿ]→ *[??₁HLⁿ]→[L?₁HLⁿ]→[L₁HLⁿ](Pattern C)’. Gyeongbuk Inland Regions shows Pattern A, Gangwon Inland Regions and Gangneong shows Pattern A and C, Pattern B is seen in the said all Regions. Unusually, in Samcheok and the eastern coast of Gyeongbuk, [?L₁] seems to be changing into [HHL?]/[HL₁](mainly into the former). To say something about that, we need further study of those dialects.

현대 한국인의 호(號) 사용 양상 연구

강희숙(Kang Hui?suk) 한국사전학회 2016 한국사전학 Vol.- No.28

Our ancestors used diverse, different names through their life time as rite of passage. Unlike them, most of modern Koreans use only one name through their whole life. This research focuses on analysing use aspect of pseudonym of modern Koreans based on the fact that nowadays there is a increasing number of people using pseudonym. Findings show that not only cultural artists like Confusian scholars of Hyanggyo, calligrapher, traditional painters or poets, and tea ceremony artists, but also professions like professors, doctors, lawyers and public officers on the research area are using pseudonyms. Most of the pseudonyms in traditional society were given by user him or herself, but now only 8.3% of pseudonyms were selfᐨnamed. More than half of the psedonyms are named by their teachers(53.6%). And characteristics of name authors became so diverse that 14.3% of people were given pseudonyms by their acquaintances, 7.2% by their friends, 4.5% by Buddhists monks, 4.2% by scholars of Chinese classics, and 3% by professional names. These pseudonyms are used as symbol of right or status, but is also confirmed that they also functioned as a sign that the person has such a high dignity that his or her real name should not be used freely. Also not like traditional pseudonyms were generally came from the name of the specific area the person dwelled or he or she consider it special, 44.2% of pseudonyms on this research derived from the person"s life lesson or life motto and they took the highest percentage of research. And there were not a few pseudonyms derived from native words such as "Yeoul, Jinsaem, Dolsaem, Danbi, Haemil, Butsame, Aran". Pseudonyms are symbols of social self identity that represent one"s will and mind, It is significant that it became possible to have an insight into the life motto of people use pseudonyms through this research

Identification of uricase as a potential target of plant thioredoxin

두희,김성한,남경희,이명석,Ora Son,이석하,천충일 Sookmyung Women's University Research Institute of 2010 여성과 건강 Vol.6 No.1

Identification of uricase as a potential target of plant thioredoxin

두희,김성한,남경희,이명석,Ora Son,이석하,천충일 Sookmyung Women's University Research Institute of 2010 여성과 건강 Vol.6 No.1

김용택 시어의 방언 문법론

강희숙 우리말글학회 2003 우리말 글 Vol.28 No.-

This study aims to observe and analyze dialectal characteristics of poetic words in the Kim Yongtaek’s Poetry. As a result of this study, first, I discovered that the principal property of Kim Yongtaek’s Poetry is realism and it is embodied by means of the strengthening of narration and the insurance of narrative distance. Secondly, I discovered that such syntactic components as honorific expressions, conjunctive endings, auxiliary verbs and particles, etc. that are observed in the Kim Yongtaek’s Poetry reveal the vernacular of Jeonbuk Area.

굴절의 음운 과정과 성조 변동

박숙희 영남대학교 민족문화연구소 2001 민족문화논총 Vol.24 No.-

The most strong constraints which dominate various phonological phenomena in vowel sequences in morphological boundaries of Korean is ^*VV constraint. The tone sandhi in combinations of tone is dominated by tone neutralization rules. There are two kinds of tone sandhi. One is the alternation of tonal pattern which is resulted obligatorily from phonological processes of phonemic level. The other is the alternation of tone which is motivated entirely by tonological features of tonal tier. For the description of these phonological phenomena, I employed Gim Cha-gyun's phonology(1981, 1990, 1997) and tonology(1977, 1993, 1999) based on generative phonology. After I compared various phonemic and tonal phenomena in inflectional forms of verbs of ten tone dialects of Korean, I ascertained four regular phonological facts. The first, when one vowel in the given vowel sequence is deleted, the tone of that syllable is deleted also. And that deleted tone is not represented at the surface form. The second, when both vowel in the given vowel sequence are contracted to one with tone contraction, Sangseong(H‥/M) pattern is represented at the surface form. But Gyeongnam Dialect, which does not respect ^*VV constraint, does not have this 'Geoseong(M)+Geoseong(M) →Sangseong(H‥/M)' rule. The third, there are two tone alternation rules. One is 'Pyeongseong(H) →Geoseong(M)'. When {Xa-, X∂-, Xu-} with Pyeongseong pattern followed by {-∂(X)/a(X)} with Geoseong pattern, that Pyeongseong pattern turns to Geoseong pattern. In some dialects, Pyeongseong pattern of {Xu-} is contracted with the following vowel to Sangseong pattern. The other rule is 'Sangseong(H‥/M)→Pyeongseong(H)'. All verbs with Sangseong pattern except about ten verbs which end consonants turn to the verbs with Pyeongseong pattern.

이문구의 소설과 움라우트

강희숙 우리말글학회 2004 우리말 글 Vol.31 No.-

This study aims to analyse the aspects of realization of umlaut in the three relay novels of Lee Mungu. Observing and analysing of the realization of umlaut is carried out on the two aspects on a large scale. At first, I considered the realization of umlaut in the works of Lee Mungu as reflecting the systematic features of Chungnam regional dialects. As a result, the productive realization and the various expanding of umlaut is identified. Secondly, I considered the realization of umlaut in the works of Lee Mungu as a phonological variation concerning the social characteristics such as age, sex, and social class of a character, the linguistic styles concerning the degree of familiarity between the participants in a conversation, their relative ages and ranks, the function of their conversation.(Chosun University)

자기조절학습전략 훈련이 독해학습부진아의 독해력과 학업성취도에 미치는 영향

홍숙희,박남수 대구대학교 사범대학 부설 교육연구소 2009 敎育硏究 Vol.4 No.2

조선후기 취고수의 기능

이숙희 한국음악사학회 2002 한국음악사학보 Vol.29 No.-

After the Hideyoshi Invasion called Imjin waeran 壬辰倭亂 in 1592 and the Manchurian Invasion, Pyo˘ngja horan 丙子胡亂 in 1636, the Choso˘n society was unable to undergo a historical change in terms of social institutions, economic systems, culture, and so on. The military band music was not exceptional in this historical trend of the late Choso˘n period. This paper is, therefore, intended to investigate the function of Ch'wigosu 吹鼓手, which was a kind of military band music appeared in the late Choso˘n period. This paper is based on various literary sources and iconographic materials : e.g. such literary sources as Kihyo sinso˘ 『紀效新書』, Yo˘n-byo˘ng chinam 『練兵指南』, Pyo˘nghak chinam 『兵學指南』, Pyo˘nghak chinam yo˘nu˘i 『兵學指南演義』, Ch'un'gwan t'onggo 『春官通考』, Man'giyoram 『萬機要覽』, Wo˘nhaeng u˘lmyo cho˘ngri u˘igwe 『圓幸乙卯整理儀軌』, etc.; and iconographic materials including Kim Hong-do's 金弘道 (1745-1806) Anru˘ng sinyo˘do 安陵新迎圖, Modang Hong I-sang p'yo˘ngsaengdo 募堂洪履祥平生圖, and so on. In conclusion it is pointed out that there were three functions of Ch'wigosu : 1) command and communication, 2) band music performance, and 3) taking one's turn in office or night duty called ipchik 入直. Instrumentation of Ch'wigosu varied according its function : e.g. Ch'wi-gosu for command and communication consisted of nine instruments such as horn called kak 角, conch horn (nagak 螺角), clarion (nabal 喇叭), conical oboe (hojo˘k 胡笛 or t'aepy'o˘ngso 太平簫), a kind of flute (palla 발라), cymbal (cha˘ng 鉦), small gong (na 나), a kind of percussion (solbal 솔발), and barrel drum (puk 북).

동사 운율구의 내부구조와 음조 실현

박숙희 한국어문학회 2003 語文學 Vol.0 No.80

In this article, I described various tonological phenomena of inflectional forms of the verb 'nagada(나가다)-class' of Gangwon dialect, Gyeongbuk dialect, Gyeongnam dialect. On the foundation of this work, I regard 'nagada(나가다)-class' is a prosodic verb phrase in phonetic level and the underlying tone pattern of this is, for example, 'na#gada(ㆍ나^(#)가ㆍ다)'/M^(#)H_(M-1)M/. And I say that all tonological representations of inflectional forms of this class are very regular. In Andong dialect of Gyeongbuk dialect, [MHHM_(0)] which is very unusual tonological pattern of Gyeongbuk dialect alternates with [MMHM_(0)] freely. And we can say that there might be some tonological assimilation cased by a psychological motivation which pursue simple and universal tonological pattern, because [MMHM_(0)] is one of the most universal patterns of all tone languages in Korean. On the other hand, in Gyeongnam dialect, a very important tonological phenomenon has been noticed. It is that the tonologicaI pattern of [MHHM_(0)](for example,ㆍ나^(#)ㆍ가ㆍ는ㆍ데) of inflectional forms of 'nagada(ㆍ나^(#)가ㆍ다)-class' has been represented systematically as low as 'Sangseong pattern' of [LMMM_(0)]. To say something about this, we should have much more data.