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미국과 한국 여성잡지 광고에 나타난 ‘아름다움’ 은유 속의 문화 분석
조윤경 ( Yoon-kyoung Joh ),최영주 ( Youngju Choi ) 21세기영어영문학회 2020 영어영문학21 Vol.33 No.2
This paper compares beauty metaphors found in advertisements of American women’s magazines with those of Korean women’s magazines to see how BEAUTY is conceptualized in each culture. In American women’s magazines, beauty is conceived as something related to extraversion or what can be achieved through an effortful process. On the other hand, in Korean women’s magazines, we could observe the tendency that BEAUTY was understood as a result that can be simply given. Yet, two cultures share some source domains such as RADIANCE, PLANT, UPWARD ORIENTATION, YOUTH, and SCIENCE/HEALTH, indicating that BEAUTY is something very positive and worthy to pursue.
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조윤경(Yoon Kyoung Joh),금기숙(Key Sook Geum) 한국복식학회 1998 服飾 Vol.36 No.-
The wave of Avant-garde swept away all in the unique social background so called `October Revolution` and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres ; the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally expressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, Naum Gabo, Pevsner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920`s after the Revolution. The Soviet costume in 1920`s hold in common the characteristics of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Consturctive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise-style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the Constructive design has been represented all available fields. Many Constructivists including Stepanova, Povpova, Exter and Rodchenko took part in the textile design and costume design so as to evole their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are ; silhouette, form, motif, color and fabric. The first, the silhouette ; a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form : many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif ; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, triangle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey clolr has been mainly covered, but after middle term, a primary clolr or pastel tone has been seen, contrast of the fabric ; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the beauty which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.
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Adjectival Passives and the Generative Lexicon
조윤경 ( Yoon Kyoung Joh ) 대한언어학회 2015 언어학 Vol.23 No.2
For adjectival passives, it is generally known that a conversion process is necessary to shift the verbal category into an adjective. However, there is no consensus on exactly what kind of conversion process it must be. This paper would like to propose a type coercion mechanism introduced by the Generative Lexicon Theory for adjectival passives, considering their two sub-types. Kratzer (2000) and many others identify two types of adjectival passives: resultant state adjectival passives and target state adjective passives. This paper claims that the two types of adjectival passives can be generated if we take into account the Qualia Structure. When the agentive role is specified by the natural kind in the conversion process, the adjectival passive has the resultant state reading. However, when the agentive role is characterized by the causal chain in the coercion process, the adjectival passive has the target state interpretation.
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Two Types of Verbs Created with Concrete Nouns
Yoon-kyoung Joh(조윤경),Youngju Choi(최영주) 언어과학회 2017 언어과학연구 Vol.0 No.82
Clark and Clark (1979) claim that innovative denominal verbs in English select their meanings uniquely in a given context. However, recently, Choi (2016) suggests that Korean concrete-noun- hata verbs, which correspond to English denominal verbs, possibly select multiple meanings in one context. Adopting the relevance theory of Sperber and Wilson (1986) and Wilson and Sperber (2006), the paper demonstrates that Choi"s suggestion can also be applied to English denominal verbs. This paper also explains why most innovative denominal verbs in English seem to choose a single meaning in a given context. When verbs created with concrete nouns are less stable, they try to maximize cognitive effects by strengthening previously held assumptions and by eliminating false assumptions rather than adding more meanings.
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조윤경 ( Yoon Kyoung Joh ) 한국현대언어학회 2011 언어연구 Vol.27 No.1
This paper revises Sæbø``s (2009) uniform approach to the meanings of the verb have. First, I claim that the class of the verb have that Sæbø (2009) describes as the true verb have must be broken down into two sub-types: the locative have and the possessive have just like the suggestion of Harley (1998). Then, to express the semantic difference between the two types of have, I propose that the implicit argument for the possessive have is introduced only when the abstracting function of the verb have applies rather than being present underlyingly in the construction. This way, we can naturally approach the no-binding feature of the possessive have construction. My revision on the possessive have sentence further differentiates it from the relational have construction and this is welcomed since the relational have sentence reveals a definiteness effect that is not observed with respect to the possessive have sentence, as Landman (2004) observes. (Hankuk University of Foreign Studies)
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