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論周邦彥《清真詞》「層折逆反」之創構型態(三) :化用與反用歷史經籍文辭
양진기 한국중국언어문화연구회 2011 한중언어문화연구 Vol.- No.25
Based on the “Ch’ing chen chi” (清真詞) by Chou Pang-yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永) characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning-point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition” (過片) Zhou’s work showed elegant, deliberate and reserved style. This paper, focusing on the third type of emotional gradation through repetitive inversion, discusses the linguistic contrast due to the conversion or reversion of literature in the “Ch’ing chen chi”, which leads to a reserved style of writing.
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論周邦彥《清真集》「層折逆反」之創構型態(二)創構型態(二) :意象語之意義反跌與時空錯置
양진기 한국중국언어문화연구회 2010 한중언어문화연구 Vol.- No.24
Based on the “Ch’ing chen chi” (清真詞) by Chou Pang‐yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning‐point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition”(過片) Zhou’s work showed elegant, deliberate and reserved style. This paper,Based on the “Ch’ing chen chi” (清真詞) by Chou Pang‐yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning‐point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition”Based on the “Ch’ing chen chi” (清真詞) by Chou Pang‐yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his t...
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論周邦彥《清真集》「層折逆反」之創構型態(一) --以 「領字」作為語法標記之活用與層轉
楊晉綺 한국중국언어문화연구회 2010 한중언어문화연구 Vol.- No.23
Based on the “Ch’ing chen chi” (清真詞) by Chou Pang-yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning-point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition”(過片) Zhou’s work showed elegant, deliberate and reserved style. This paper,focusing on the first type of emotional gradation through repetitive inversion,discusses the flexible and transition usage of the “leading words” serving as the marking function appearing in the “Ch’ing chen chi”.
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고성능 텍스쳐 매핑을 위한 압축된 텍스쳐의 캐쉬 시스템 설계
양진기(Jin-Ki Yang),박우찬(Woo-Chan Park),한탁돈(Tack-Don Han) 한국정보과학회 1998 한국정보과학회 학술발표논문집 Vol.25 No.2Ⅲ
보다 현실적인 3차원 영상을 얻기 위한 텍스쳐 매핑은 대부분의 그래픽 시스템에서 사용하고 있다. 3차원 그래픽 시스템이 생성한 객체의 표면 위에 2차원 이미지를 입힘으로써 그래픽 시스템의 성능저하를 가져오지 않으면서 영상의 현실성을 높이는 텍스쳐 매핑은 텍스쳐 이미지를 저장하기 위해 많은 메모리가 요구되며 고성능 텍스쳐 시스템을 위해 빠른 메모리 접근과 광대한 대역폭이 요구된다. 본 논문에서는 벡터 양자화(Vector quantization) 압축기법을 이용하여 텍스쳐 이미지에 대한 효율적인 압축을 통해 많은 메모리 요구를 해결하며 압축된 텍스쳐 이미지의 효율적인 캐싱을 통해 빠른 메모리 접근과 광대한 대역폭 문제를 해결할 수 있는 구조를 제시한다. 본 논문에서 제안된 구조는 버퍼링을 통해 메모리 접근 시간을 숨김으로써 고성능 텍스쳐 시스템을 지원할 수 있다.
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