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The Syntactic Constraint on Focus Identification of Only in L2 Acquisition
김소영 현대영미어문학회 2015 현대영미어문학 Vol.33 No.3
Theoretical approaches emphasize a syntactic constraint of only involved in identifying a sentence’s focused constituent. However, despite the important role of focus identification in a sentence comprehension (e.g. Jackendoff 1972; Rooth 1992), there has been little empirical investigation of its computation in L2 acquisition. The syntactic constraint of focus particle only is not well-documented area of second language (L2) learners. The current study attempts to explore non-native speakers’ knowledge of the syntactic constraint on focus identification of only. To investigate Korean learners of focus determination in English, a revised version of Truth Value Judgement task was employed. The findings indicate that although Korean learners of English have not been explicitly taught the c-command constraint in the classrooms, they have the ability to identify focus according to it. The results revealed the operation of the c-command constraint in the process of focus determination in L2 acquisition.
효봉 허소(曉峯 許炤, 1882-1942)의 회화연구 - ≪무이구곡도 10폭병풍≫을 중심으로 -
김소영 순천대학교 남도문화연구소 2022 南道文化硏究 Vol.- No.47
Hyobong Heo-so was a painter and calligrapher who was active in the early 20th century. This paper introduced Heo-so, who activity and freely used various fonts, including an ancient style of writing Chinese characters (篆書) in the calligraphy and painting part of modern Korea, and tried to derive the characteristics of Heo-so’s painting by examining the background, content, and composition of his work. Heo-so’s “Ten Panel-Screen Painting of Wuyi Mountain’s Nine Bends” is an example of both calligraphy and painting, and it is a work that draws attention as it shows a full-fledged expression of landscape paintings. In particular, this work was produced within the range of friendship with the family of Ahn Juk-san. It is thought that Heo-so produced the “Ten Panel-Screen Painting of Wuyi Mountain’s Nine Bends” that reflected consciousness as an heir to the academic genealogy and tradition of local Confucian scholars such as Hoebong Ahn Gyu-yong at the time. In the meantime, it was not possible to estimate his painting capabilities because Heo-so’s paintings were unknown, but this survey confirmed that various works such as landscape paintings, Sagunja, Songhakdo, and Dalmado survived. Heo-so’s paintings, which show a different aspect from Honam’s traditional art world in the 1920s and 30s, used their own painting methods in landscape painting, and showed unique handwriting methods in Sagunja and character paintings. In particular, his calligraphy leaves work such as Jeonseo, Yeseo, and Haengchoseo, so the calligraphy of Heo-so should be re-examined as an example of the diversity of Honam traditional paintings. 효봉 허소는 20세기 초반에 활동한 서화가이다. 이 논문에서는 근현대 한국 서단에서전서를 비롯한 다양한 서체를 자유자재로 구사하여 뚜렷한 활동을 했던 허소를 새롭게소개하고 그의 작품인 ≪무이구곡도 10폭병풍≫의 제작배경과 내용, 구성 등을 살펴허소 회화의 특징을 도출하고자 하였다. 허소의 ≪무이구곡도 10폭병풍≫은 글씨와 그림을 함께 볼 수 있는 예이며, 본격적인 산수화의 표현을 보여주고 있어 주목되는 작품이다. 특히 이 작품은 죽산안씨 집안과의 교유범위 내에서 제작된 것으로, 허소는 당시회봉 안규용 등 지방유학자들이 갖는 학문적 계보와 도통의 계승자로서 의식을 반영한무이구곡도를 제작했던 것으로 생각된다. 그동안 허소의 회화작품이 알려지지 않았기 때문에 그의 회화적 역량을 가늠할 수없었으나, 이번에 조사를 통해 산수화와 사군자, 송학도, 달마도를 비롯한 인물화 등다양한 작품이 남아있는 것을 확인하였다. 1920-30년대 호남의 전통화단과는 다른 양상을 보여주는 허소의 회화는 산수화에서 독자적인 화법을 사용하였으며, 사군자화나 인물화 등에서도 개성적인 필법을 보여준다. 특히 서예에서 전서와 예서, 행초서 등의작품을 남기고 있어, 허소의 서화는 호남 전통화단의 다양성을 보여주는 한 예로 재조명되어야 할 것이다.