국어 부정의문문의 통사적 연구

장경기 한국언어학회 2001 언어 Vol.26 No.1

국어의 부정의문문과 화행

장경기 울산대학교 1989 연구논문집 Vol.20 No.1

이 논문은 아래와 같은 문형과 화행의 관계를 밝히기 위해서 쓴 것이다. (1) 영희는 같지 않니 ? 이 문형의 특징은 일반적인 장형 부정문과는 달리 시제 표지가 '지'앞에 실현되고 있다는 점이다. 우리는 장경기(1986) 에서 이 문형을 동사적으로는 부정의문문이며, 화자의 전제라는 관점에서는 전용적 이차전제용법이라고 분석한 바 있다. 비 문자적 간접화행(nonliteral indirect speech act)은 문자적인 직접화행(literal direct speech act)을 통해서 간접적으로 수행되는 언어 행위이다. (1)의 직접화행은 다른 일반 의문문과 마찬가지로 '질문'이다. 그러나 (1)의 간접화행은 '진술' '감탄'등 적절한 상황에서는 여러가지 다양한 화행을 갖는다. 이 점은 비전제용법 및 일차전제용법의 부정의문문의 간접화행이 극히 제한적인 점과 비교할 때 이차전제용법의 부정의문이 갖는 주목할 만한 화용론적 특징이다. 이는 또한 국어의 화행론적 특성을 증명하는 의미있는 증거가 될 것이다. This paper aims to describe the relationship between negativw questions and speech acts in Korean. Our preceding paper(1986) has argued that Korean negative questions as will as English negative questions have unpresuppositional usages, primmary presuppositional usages, and secondary oresuppositional usages, which are categorized on the basis of speaker's presuppositions. Unlike the other ones, the secondary presuppositional usage is a marked case in that it aske for the hearer's confirmation about the speaker's affirmative presupposition through the syntactic negative question. We suppose that this pragmatic nature is deeply related to the potentiality of speech acts of negative questions. The nonliteral indirect speech act is an act performed indirectly by way of performing the literal direct speech act. Our argument is that, unlike the other ones, the negative question with the secondary presuppositional usage is much more pragmatic and therefore has relatively varied types of indirect speech acts such as statement, exclamation, ect, depending on the appropriate circumstances. Last but not least, this is seemingly not language-specific but language-universal.

There-구문의 통사적 연구

장경기 현대영미어문학회 2003 현대영미어문학 Vol.21 No.2

국어에도 부가의문문이 있는가?

장경기 한국영어영문학회 경남지부 1985 현대영미어문학 Vol.3 No.-

We assume that tag question is a language-universal phenomenon. So, in order to investigate tag question in Korean we first turn to the tag question in English which has been rather explicitly described in many respects. However, according to Ray Cattell (1973) and many other arguments, English tag question theory so far is not so satisfactory yet and also has a couple of thorny problems to be solved. In this paper we propose a new hypothesis for the task in terms of the notion of 'speaker's presupposition' and then provide several evidence seemingly to support our arguments. Next, we examine 성광수 (1980) and 전병쾌 (1984) respectively, two arguments on tag question in Korean. We argue that their theories both are in general much too English-oriented and these two grammarians almost directly relate terms and ideas of English tag question theory to the description of Korean tag question. Consequently, language- universality and language-particularity seem to be confused in their arguments. Alternatively, we show that tag question in Korean, like tag question in English, can be better described and more adequately explained by means of our hypothesis. We clarify to some extent language-universal characteristics and Korean-particular ones which are represented in Korean tag questions. Detailed empirical inquiry and concrete evidence are included in the paper.

바둑판을 은하계로 표현한‘은하 바둑판’에 나타나는 형상에 관한 연구 - <‘알파고 vs 이세돌’바둑 대전 –‘은하 바둑판’유화 展>을 중심으로 -

장경기 한국기초조형학회 2022 기초조형학연구 Vol.23 No.3

With the advent of the multimedia era, Go lovers are watching Go in the digital environment. Moreover, due to this trend, Go is being expanded as a cultural contents of online games. In response to this trend, the development of various visual expression methods for the world of Go and the operation of Go using digital technology is a request of the times. The purpose of this study is to present a method of visualizing the principles and meanings of Go. This study was conducted on the ‘oil paintings’ that compared the Go board to a galaxy. In addition, the scope of the study was set to the shapes that appear in the 'Galaxy Go board' painting. In ‘Hyun-hyeon-gi-kyung (the explanation book of Go written in the Southern Song Dynasty in China)’, where the principle of Go’s creation is described, it is explained that Go tried to contain the view of the universe at the time. Go board, Go stones, and the operation of Go contain the principles of the operation of the universe in all aspects. Go is a virtual world symbolized by lines, Go stones, and rules. The subject of this study on <‘AlphaGo vs. Lee Sedol’ Challenge Matches – ‘Galaxy Go Board’ Oil Paintings Exhibition>, which are the oil paintings with a total length of 193.9cm X 1295.5cm, each painted in the size of No. 200 from five Challenge Matches, expresses the galaxy based on the principle and meaning of Go. In these paintings, the Go board symbolizes cosmic galaxies, and the Go stones symbolize stars and nebulae. By expressing the state of the Go board as a collision and harmony of yin and yang, the battle of the Go challenge matches was shaped as a confrontation between the stars of the galaxy and between yin and yang. In this way, the painting processes, application principles, and results of the oil paintings of ‘Galaxy Go board’ were analyzed and considered in detail. Through this, in the era of digital technology image, the possibility of expansion in terms of visualization of the world of Go was presented. As a result, it was intended to contribute to broadening the scope of expression in visually expressing the world of Go. 멀티디지털시대에는 바둑도 그런 디지털 환경 속에서 두고 관전하며, 그런 속에서 온라인게임 등의 문화콘텐츠로 확장되고 있다. 이와 같은 시대적 배경 속에서 바둑세계, 바둑운행에 대한 시각적인 면에서의 디지털기술이미지를 활용한 다양한 표현 방법의 개발은 시대적인 요청이라 할 수 있다. 이에 본연구는 바둑의 원리와 본래 의미를 시각적으로 되살려내고 형상화해내는 한 방법을 제시하는 것을 연구목적으로 했다. 연구대상은 바둑판을 은하계로 표현한 ‘유화 작품’이다. 이 ‘은하바둑판’ 그림에 나타나는 형상에 관해서 연구하는 것을 본 연구의 범위로 설정했다. 바둑의 생성원리를 들여다볼 수 있는‘현현기경(玄玄棋經)’, 중국 남송 시대에 저술된 이 바둑 풀이집에서는 바둑이 당시의 우주관을 담아내려고 했음을 볼 수 있다. 우주 운행의 원리가 바둑판, 바둑돌, 바둑 운행 등에 있어서 모든 면에서적용되어 있다. 바둑은 곧 선과 바둑돌, 규칙으로 상징화한 가상세계인 셈이다. 이런 바둑의 원리와 의미를 바탕으로 해서 바둑판을 은하계로 표현한 <‘알파고 vs 이세돌’ 바둑 대전 –‘은하 바둑판’ 유화展>을 연구대상 작품으로 한 것이다. 다섯 판의 각 대국별로 200호 크기로 그린 총 길이 193.9cm X1295.5cm의 유화다. 이 그림에서는 바둑판을 우주 은하계, 바둑돌은 별, 성운 등으로 설정하였다. 바둑판의 판세를 음양 에너지의 충돌과 조화로 표현함으로써, 바둑 대결을 은하계 별들의 대결, 음양기운의 대결로 형상화했다. 이와 같은 ‘은하 바둑판’ 유화의 제작 과정과 적용된 원리, 그리고 결과물에 대해서 구체적으로 분석 고찰했다. 이를 통해서 디지털기술이미지시대에, 바둑세계가 가지는 시각화 측면에서의 확장 가능성을 제시하였다. 결과적으로는 바둑세계를 시각적으로 표현하는 데 있어서그 표현영역을 넓히는데 기여하고자 했다.

국어 부정의문문의 구조와 의미해석

장경기 한국영어영문학회 경남지부 1993 현대영미어문학 Vol.10 No.-

This paper's first aim is to justify that Korean negative questions have unpresuppositional usages, primary presuppositional usages, and secondary presuppositional usages according to the speaker's presuppositions just as English negative questions do. (cf. Cattell (1973), Jespersen (1933), Hudson (1975)) The secondary presuppositional usages is a marked one in that the question asks for the hearer's confirmation about the speaker's positive presupposition through a formal negative question. Our main argument is that Korean syntactic negative question has two types such as preverbal short-form negation and postverbal long-form negation and that these two types have not only the identical semantic behaviors but also the same presuppositional usages. This paper's second aim is to justify that the long-from negative question has an arbitray(exceptional) secondary usage, in which the sentence realizes its tense marker before '-chi(지)' instead of normal after- 'ha(하)' position and that falsify other two alternatives, Kim's 'confirmation sentence' argument(1981) and Chang's 'tag question' argument(1984). This paper's third aim is to justify Yang's (1989) model against Chomsky's (1975) in that above presuppostional usages of Korean negative questions show that the phonetic component influences the semantic component in the course of semantic interpretation.

영어분열문의 본질

장경기 울산대학교 1988 연구논문집 Vol.19 No.2

이 논문은 분열문의 개념과 범위를 엄밀하게 정의하고 규정하여 분열문의 본질을 더욱 타당성있게 기술하는데 목적이 있다. 이 논문의 전반부는 분열문에 대한 Jespersen(1933,1909-1949,1937), Quirk et al.(1972,1985), Bolinger(1977), Givon(1979), EK & Robat(1980)와 같은 선행연구를 검토하는 부분으로, 후반부는 분열문의 본질에 대한 우리의 종합적인 주장을 전개하는 부분으로 이루어져 있다. 이 연구의 결과 드러난 우리의 주장은 다음과 같다. 1.분열문이란 be동사에 의해서 한문장이 강조부분과 전제부분의 두문장으로 나누어진 특수구문이다. 2.분열문은 크게 it-분열문과 WH-분열문으로 분류되며 it-분열문의 대표적 유형은 -that-분열문이고 WH-분열문의 대표적 유형은 what-분열문이다. 3.it-분열문의 it는 역행대용어이며 that은 관계대명사가 아니고 병렬문장의 연결사이다. 4.what-분열문의 what은 관계대명사이며 what-절은 종속절이다. 5.it-분열문과 what-분열문은 변형관계에 있는 것이 아니라 상보관계에 있다. 6.분열문의 화용론적 용법은 화자가 강조부분을 전경화하고 전제부분을 배경화하여 강조부분에 청자의 주의를 끌고자 하는 것이다. 7.분열문의 용인가능성은 궁극적으로 담화상의 개연성에 의해서 결정된다. The paper aims to define and characterize the notion and the scope of the cleft sentence, and furthermore, to adequately describe the nature of the cleft sentence. The first half of the paper examines the preceding studies such as Jespersen(1933,1909-1949,1937), Quirk et al.(1972,1985), Bolinger(1977), Givon(1979),and EK & Robat(1980). The second half of the paper presents our comprehensive arguments on the nature of the cleft sentence. Our arguments are as follows: 1.A cleft sentence is syntactically defined as a special construction where a single clause has been divided into two separate sections, a presupposed one and a focused one, each with its own verb. 2.A cleft sentence is cateporized into two kinds such as it-cleft and WH-cleft. The general type of the former is it-that-cleft and the general type of the latter what-cleft. 3.The identity of it in it-cleft is a cataphor, and that in it-cleft is not a relative pronoun but a connective for paratactic slauses. 4.The identity of what in what-cleft is a relative pronoun, and what-clause is a subclause. 5.The relation of it-cleft and what-cleft is not syntactically transformational but functionally complementary. 6.The pragmatics of the cleft sentence is that the speaker draws the hearer's attention on the focus, foregrounding the focus and backgrounding the presupposition. 7.The general acceptability of the cleft sentence depends on the contextual plausibility.

국어의 부정의문문과 전제

장경기 서울대학교 어학연구소 1986 語學硏究 Vol.22 No.1

This paper argues that pragmatics of yes-no questions in Korean parallels that of English in that Korean also has unpresuppositional usages, primary presuppostional usages, and secondary presuppositional usages, which are categorized on the basis of the speaker's presuppositions. (cf. Cattell(1973), Jespersen(1933), Hudson(1975)). Unlike the other ones, the secondary presuppositional usage is a marked case in that it requires hearer's confirmation about the speaker's positive presupposition through a negative yes-no question. Besides, Korean has an arbitrary secondary presuppositional usage, in which the question realizes its tense before '-chi' instead of after 'ha-'. Because of this unambiguous interpretation, Kim T.S (1981) names the sentence a 'confirmative sentence' and Chang S.C. (1984) analyzes it as a typical tag question. Unlike their approaches, we argue that the marked type is a special form of general secondary presuppositional usages, which seems to exist in Korean only.

수사의문문과 전제의문문의 통사적 연구

장경기 현대영미어문학회 2012 현대영미어문학 Vol.30 No.4

This study aims to closely examine the most prevailing theory of the rhetorical question and then explicitly argue that there exists another sentence type entirely different from the real rhetorical question both syntactically and pragmatically, despite the surface similarities of the syntactic structure and pragmatic function between them. We designate the new sentence type as the presuppositional question. From the viewpoint of the Universal Grammar we provide some English and Korean relevant syntactic evidence supporting our new argument. We argue that the true rhetorical question cannot comprise our new presuppositional question and that both the rhetorical question and the presuppositional question must be strictly defined and also explicitly described as an independent sentence type of each other including any other sentence types. We conclude that the rhetorical question cannot be the presuppositional question by nature and vice versa.

수정격여과조건과 격승계가설

장경기 한국언어학회 1993 언어 Vol.18 No.2