영어정형시율의 언어강세에 대하여 : 필터 설정 문제를 중심으로 in Setting Up Metrical Filters

김기섭 한국영어영문학회 경남지부 1985 현대영미어문학 Vol.3 No.-

1,862 lines from 133 among 154 sonnets written by Shakespeare are analyzed and classified into match and mismatch. Some of the mismatching lines show labeling mismatch only, and the others reveal both bracketing and labeling mismatch. The lines clarified as mismatch Shakespeare and readers consider metrical have the cadences in question. According to the cadences the form of filters varies from Shakespeare I to III in phonological domains such as word or phrases by the strongest stress of which Peak and Falling Peak are discerned. This paper sets up filters of Shakespeare's sonnets in the order of the classes. The classes of the filters are emphasized as necessiated for the degree of the rarity of a cadence occurrence. The order of classes of Shakespeare's filters in his sonnets decided in this paper is 24) in rough order and 25) in complete order. Either the rarity of a cadence or the high frequency of a cadence in a poet's meter results from his likes and disikes. Hence occurs frequently a certain cadence while another very rarely. The limit of the rarity never tells the point of setting up the filters. We can find that either Kiparsky's filters (1977) or Hayes'(1983) are metrical rules not completely eliminating occurrence of certain cadences, as there are sporadic appearance of the lines overcoming the filter concerned. Therefore, there are few, if any, filters completely forbidding any cadence. What it means is to foretell the variety of poets' preference and to predict that various forms of cadence will appear in English verse as do the modern poetry- that is, English meter of fried form has been changed into free verse.

韓國語의 鼻音化에 있어서 規則順 매김과 英語誤諺音

金淇燮,沈舜植 慶尙大學校 1981 論文集 Vol.20 No.2

Koreans mispronounce English words by the misapplication of Korean Phonological Rules to English words. Among the mispronunciations of them those by the misapplication of Korean Nasalization Rule is typical. The present study attempts to clarify the rule ordering of Korean Nasalization Rule through analysis and interpretation of the phenomena shown in the mispronunciation of English words. Many Korean Phonologists like Hur, C. W. Kim, Kim Renaud argue that n-lateralization Rule: n→1% 1 is phonitic and natural and obligatory, while/??/to [??] is sometimes made through analogy (which argumentation is slightly dealt by Hur.) In this study the efforts are made to prove that 1→n/n is no less natural than 1→n/??-. The naturalness and plausibility of Nasalization, 1→n/n- in Korean is studied, analyzed and interpreted from the view-point of, 1) Hyman's argumentation of 'ease of articulation': [+lat] after/n/is to be easily assimilated to [n] which had the same distinctive features [+ant], [+cor] that the preceding/n/has, just as after/m/or/??/, 2) Surface Phonetic Constraints by Shibatanni and other phonologists that in word initial or after consonant Sino-Korean/1/is changed to [n]: 1←n/??#-, and, 3) Stampe's argumentation of processes and rules in his Natural Phonology, Accordingly in 1-Nasalization Rule argued by many phonologists is 1→n/n-coucluded to be included, while so far they have only regarded 1→n/??#- as not occurring in case of C being n. Therefore, rule ordering of Korean Nasalization should be made: n-Lateralization 1-Nasalization(where SPC 1→n/n-should be added) Plosivization Stop Nasalization with both examples given in mispronunciations of English words and those in Korean. However, those examples in Korean should be words of free morphemes, but not of bound ones. In the end, comparison of English words with i-Epenthesis in English words makes a serous suggestion that the latter lets Koreans commit fewer errors in pronunciation of English words as shown in 'hopeless' : 3 errors by 3 factors p→m, 1→n, i-Epentiesis in/houpilisi/to [houmnisi] vs. 2 by only one factor i-Epenthesis in/houplis/to [houpillsi].

內在的 再分節 規則

金淇燮 慶尙大學校 1982 論文集 Vol.21 No.2

The Resyllabification Rule of English words by Kim-Renaud in 1974: ?? and that of Kim, K.S. in 1977: ?? raise problems of, (a) uncertainty of splitting an sonorant consonant before the other, (b) no explicit solution of syllable adjustment, (c) no answer of resyllabification at/[+tense] [+obs]-(#), and (d) deficiency of rule consistency. For the solution of the above problems the present study revises the above rules by clarifying the nature of resyllabifying English words, from the standpoint of the broad transcription in Korean of resyllabification of English words. The represented phenomena of resyllabification of English words (see Ⅱ B 11 in this paper) were hypothesizes to result from internalized resyllabification rule formed by Korean phonolgical rule (henceforth : p-rule) in collision with English P-rule. Based on this collision, resyllabification of English words is studied, classified, and analyzed with Internalized Resyllabification Rule of English Words formulated. Hence the minor rules. They are as follows :1) syllable initial/-ized consonant syllabification, 2) sonorant-preceding consonant syllabification, 3) tense vowel+consonant syllabification, and 4) syllable boundary adjustment rule (henceforth : BAR). This paper puts high emphasis on the role and establishment of BAR. Accordingly, BAR is classified into four minor rules : BARa by which syllable boundary # is assigned to vowel, BARb assigning # to (scanned by ICS or SCS), BARc to [+SEC] (seven syllable ending consonants), and BARd to the sonorant consonant when SCS is applied (if it is preceded by a vowel.) However, the relation between free variations and naturalness of resyllabification are not explicated in detail.

The Relevance of Metrical Complexity and Prosodic Hierarchy

Key Seop Kim 한국중앙영어영문학회 1995 영어영문학연구 Vol.37 No.1

A Textsetting for Reading SprungRhythm

Kim Key-seop The Korean Society Of Phonetic Sciences And Speech 1996 말소리 Vol.31 No.-

Hopkins의 도약률(Sprung Rhythm)은 영어의 운율자질인 강세에 의한 엄격한 정형률을 고수하고 있다. 즉 약강 5보격이나 약강 6보격의 정형률을 지킨다고 Hopkins는 주장한다. 일반 독자나 운율비평가는 이를 인정한다. 문제는 시인의 음량(quantity) 기준에 의하여 강, 약 자리를 어떻게 충족시키고 있느냐 하는 점이다. 모든 비평가는 Hopkins의 음량 기준의 지나친 편의성과 임의성, 및 응통성?에 대하여 그의 음량 이론을 수용하려하지 않는다. 그러나 Kiparsky는 Hopkins의 설명에 따라 시인의 도약률을 분석하면 시인의 음량 이론이 이유 있음을 설명해 보인다. Kiparsky의 분석에서 문제점은 없는가? 만약 있다면 그것은 바로 Hopkins의 음량이론의 문제점이 될 것이다. 이 연구에서는 Hopkins의 편지 속의 설명은 실제로 독자의 낭송 속에서 어떻게 실현될 것인가 즉 '귀로 듣고 감상(ear and taste)'할 때 나타날 리듬형, 즉 낭송의 틀에 의한 분석을 시도하였다. 그것은 도약률이야 말로 읽히기 위한 것이며 '보는 시'가 아니라는 전제에서이다. 여기에서는 낭송에서 나타날 도약률의 음량과 장단, 즉 지속시간을 하나의 '낭송보(Textsetting for Sprung Rhythm)'에서 투사해 보고자 했다. 그 낭송보는 Hayes & Kan(1994)의 '어린이의 민속노래 보(Textsetting for Children's Folk Songs)'를 원용하였다. 약강 4,5,6보격, 강약 4,5,6보격의 일정한 강세 모습과 일정한 지속시간을 보여주는 도약률의 '낭송보'는 다음과 같다('약'자리와 '강'자리의 간격은 일정하게 보고 '강'의 돋들림은 격자로 더 높게 표시하였다). 이와 같은 낭송보는 독자, 즉 낭송자의 낭송 가능 범위를 그려 준다. 즉 약자리의 두개나 그 이상의 음절을 한꺼번에 낭송할 수 있음을 보여 준다. 그 음은 자연히 연음(slurring)이 되기 마련이다. 그러므로 이 연구는 다음과 같은 사실을 규명해 준다. 첫째, 어떤 시행도 규칙적인 박으로 낭송된다. 둘째, 음량은 박자에 의하여 좌우된다. 즉 강과 약자리의 일정한 지속시간의 범위 내에서는 몇 개의 음절도 낭송이 가능하다. 그것은 일정한 간격의 자리를 나타내는 격자로 결정된다. 따라서 모라(morae)의 개념보다도 박자의 개념으로 도약률은 낭송된다. 셋째, 모든 약자리와 강자리는 일정한 간격과 실제의 박(묵박도 포함)에 의하여 규칙적이다. 넷째, 외율음보는 격자의 길이내에서 낭송된다. 그러나 이 연구의 기본은 시인과 독자의 율형(Metrical Pattern)에 대한 의식과 의도(intention)가 전제된다. 이것은 이 연구의 문제임과 동시에 장점이다. 시율의 분석은 보는 율형이 아니라 읽고 낭송하는 율형으로 분석되어야 함을 보여 준 것이 이 연구의 기여이다.

The Relevance of Syllable To Musical Note for English Pronunciation Teaching

Key-Seop Kim 한국외국어교육학회 1999 Foreign languages education Vol.6 No.-

영어정형시율의 언어강세에 대하여 -필터 설정 문제를 중심으로-

김기섭 ( Kim¸ Key-seop ) 현대영미어문학회 1985 현대영미어문학 Vol.3 No.-

1,862 lines from 133 among 154 sonnets written by Shakespeare are analyzed and classified into match and mismatch. Some of the mismatching lines show labeling mismatch only, and the others reveal both bracketing and labeling mismatch. The lines clarified as mismatch Shakespeare and readers consider metrical have the cadences in question. According to the cadences the form of filters varies from Shakespeare Ⅰ to Ⅲ in phonological domains such as word or phrases by the strongest stress of which Peak and Falling Peak are discerned. This paper sets up filters of Shakespeare’s sonnets in the order of the classes. The classes of the filters are emphasized as necessiated for the degree of the rarity of a cadence occurrence. The order of classes of Shakespeare’s filters in his sonnets decided in this paper is 24) in rough order and 25) in complete order. Either the rarity of a cadence or the high frequency of a cadence in a poet’s meter results from his likes and disikes. Hence occurs frequently a certain cadence while another very rarely. The limit of the rarity never tells the point of setting up the filters. We can find that either Kiparsky’s filters (1977) or Hayes ‘(1983) are metrical rules not completely eliminating occurrence of certain cadences, as there are sporadic appearance of the lines overcoming the filter concerned. Therefore, there are few, if any, filters completely for- bidding any cadence. What it means is to foretell the variety of poets’ preference and to predict that various forms of cadence will appear in English verse as do the modern poetry-that is, English meter of fixed form has been changed into free verse.

현대 영시 정형률의 율독(律讀)과 낭송(朗誦)의 괴리(乖離)

김기섭(Kim Key-Seop) 한국영어교과교육학회 2004 영어교과교육 Vol.3 No.1

  Two pieces of tapes titled "THE POET SPEAKS" have provided, since it was produced in 1982, a great benefit for readers who try to appreciate listening to, and repeating after, the real voices of the poets who wrote the poems. The present research aims to help readers of poems to relate the scansion with the poets" reading of their own poems. Based on the Prosodic and Metrical Phonology expounded and set up by prosodists and metricists since 1960"s, the study also tries to prove the acoustic analysis of the poets" readings to be very useful to the scansion and clarify the poetic meaning. The target lines which sound, read, and appear to be unnatural or of cadence, have been chosen, made scansion of, and analyzed through the program praat and wave and the tool Computerized Speech laboratory. The result of the study provides the correspondence of the scansion to the reading/reciting of the poems by the figures of the size of decibels, or the scalar values of the intensity represented as the energy of the strong position of all the feet of the poems in the fixed meter the poets have read. It shows more than 99.99% match of the scansion with the strong position of the feet including reasonable inversions of the feet. Even the smallest deviation less than 2% of the 288 feet was to prove the acoustic analysis to be indispensable to the rhythmic flow and the understanding the smallest deviance of the meaning of the poem readers read.

Impact of Concomitant Genetic Alterations on EGFR-TKI Efficacy By Targeted NGS Analysis: A Multicenter Prospective and Real World Study

( In Ae Kim ),( Key Young Lee ),( Seung Joon Kim ),( Sung Yong Lee ),( Chang Min Choi ),( Jae Cheol Lee ),( Tae Won Jang ),( Seung Hun Jang ),( Chan Kwon Park ),( Wan Seop Kim ),( Jae Young Hur ),( He 대한결핵 및 호흡기학회 2023 대한결핵 및 호흡기학회 추계학술대회 초록집 Vol.136 No.0

격자이론(Grid-based theory)에 의한 영시의 운율분석 : W.B. Yeats, J. Milton, W. Shakespeare의 시를 중심으로

金淇燮 한국영어영문학회 1984 영어 영문학 Vol.30 No.3