분절음 연쇄의 분포 정보와 한국어 음절하위 구성소

이용은(Lee, Yongeun) 경희대학교 언어정보연구소 2016 언어연구 Vol.33 No.S

Existing theories of probabilistic phonotactics suggest that language learners employ the distribution of segment sequences to infer the existence of prosodic units (e.g., subsyllabic constituents) during their phonology build-up process. The present study investigated the association strength of segment sequences inside Korean words and explored its implication for contrasting models of subsyllabic constituency in Korean. The results provided evidence of an asymmetry in mean association strengths between onsets and codas as they combine with the nucleus vowels inside syllable. Implications of the current findings are discussed regarding the predictions of the contrasting models of the prosodic constituency in Korean syllable.

『자에는 자로』에서 생명정치와 주권권력의 행사

이용은(Yongeun Lee) 한국셰익스피어학회 2013 셰익스피어 비평 Vol.49 No.4

This article aims to examine Angelo’s and Duke Vincentio’s biopolitics in Shakespeare’s Measure for Measure and ways in which their biopolitics solidifies or weakens the sovereign power of the governors. Biopolitics is a ruler’s attempt to politicize the life of human beings and a political exercising of sovereign power for strengthening the basis of sovereignty by exerting their force over human lives. Giorgio Agamben regards the possibility that all human lives are included in biopolitics as the focal point of modern politics. To begin with, Angelo demonstrates biopolitics through his actions toward Claudio, Isabella and Barnadine. Angelo tries to execute Claudio for the purpose that the subjects are fearful of his sovereign power. Therefore, Angelo’s decision to kill Claudio is an attempt to strengthen his sovereignty. However, his decision to kill Claudio is unusual at the time and causes other subjects to complain. Furthermore, his decision to kill Claudio demonstrates extremely ‘exceptional’ exercising of the sovereign power. Sovereignty is characterized by exceptionality, however, governors’ excessive dependency on exceptionality may bring about weakened sovereignty. On the other hand, Duke Vincentio does not show biopolitical philosophy. Instead, he pardons Barnadine, Angelo, Claudio and Lucio and sets some of them up for marriage. By pardoning them and arranging their marriages, he reveals the aspects of a ‘godly’ and ‘ungodly’ governor at the same time. He does not aspire to be a godly governor so that he is humanized and less divine because of his shortcomings. That he is not biopolitical on his subjects and that he reveals the aspects of ungodly governors paradoxically solidifies his sovereignty. He achieves social integration by not excluding any characters from the comic ending, subsumes the illicit desire of his subjects into the lawful boundary by arranging their marriages and suggests that mercy is the basis of governing by granting seemingly impossible pardons as shown in the cases of murderer, Barnadine and Lucio.

메타서사와 관객의 각성

이용은(Yongeun Lee) 한국셰익스피어학회 2016 셰익스피어 비평 Vol.52 No.2

This article aims to show that Testament by She She Pop is a piece of meta-narrative, and as a meta-narrative, it successfully induces audience awakening. Meta-narrative is a self-referential process in which the realistic representation of the plot is eliminated. Meta-narrative can be defined as a story about a well-known story and as a story commenting on the narrative activity. Testament has these two characteristics. It is also a documentary drama in which the real fathers of the actor/actress appear as a real father and act halfly as actors on the stage. Firstly, Testament is a story about King Lear, and as such, it comments on Lear in comparison with the fathers in Testament. The story begins with fathers who are old and retiring, and the old and retiring fathers are analogous to Lear, who is old and trying to divide his kingdom among his three daughters. Also, Lear’s demand for 100 knights is compared with many books of one of the fathers who is old and who has to live with his daughter. Many books that fill all the empty space of the daughter’s house are the same as Lear’s demand for 100 knights to be housed at Goneril’s house. Through this, the audience comes to ‘newly understand’ Lear’s position(father’s side) and his daughter’s position. Secondly, Testament is a documentary drama in which the real fathers of the daughter-actresses appear as actors and as persons living in the real world. The presence of ‘real’ fathers show meta-process in a way that it weakens the dramatic illusion. The meta-narrative that demands the audience recognition of the performance and reality induces the awakening of the audience because, through the real fathers on the stage, the audience members come to substitute themselves in the position of the real fathers and daughters on the stage. Thirdly, meta-narrative reveals how the performance should be interpreted by the audience. A daughter tells a father, “we are making a scenario, we are testing a scenario”, which signifies that what happens on the stage is only a scenario. The performance makes it clear that the performance is not the real world so that the audience needs to be distanced from the scenario. The audience comes to recognize that the performance does not demand the audience empathy by this distance. Instead, it demands the reflection of the audience on the situation. In these three ways, Testament successfully functions as a meta-narrative that induces a new reflection on the performance and reality.

2음절 한글표기 단어 시각적 어휘판단에서 음운표상의 역할

이용은(Lee, Yongeun) 언어과학회 2016 언어과학연구 Vol.0 No.79

Previous studies have reported that the consistency vs. discrepancy between the abstract and surface forms of words may mediate the visual access of the word forms, suggesting the involvement of phonological information in silent reading. The present study examined the role of phonological information in visually accessing two-syllable Sino-Korean words, extending previous studies both in terms of the magnitude of lexical-level factors controlled and the types of phonological changes that words undergo in visual lexical decision tasks. The present findings provide further support for the idea that phonological information is utilized in visually identifying words. The present study also provides novel findings suggesting that the number of phonological rules that words undergo may also play a role in visual identification of two-syllable Korean words.

퍼포먼스 텍스트로서의 <십이야>와 <타이투스 앤드로니커스>

이용은(Yongeun Lee) 한국셰익스피어학회 2012 셰익스피어 비평 Vol.48 No.1

Performance texts foreground the presence and shared experiences between actors and audiences to a greater extent than representation and communicated experiences. Furthermore, performance texts become largely presentational. This thesis positions <Twelfth Night>, directed by Yang Jeongung, and <Titus>, directed by Yun Sijung, as performance texts and analyses their characteristics. <Twelfth Night> centralizes the presence of actors and their shared experiences, as well as energy shared between the stage and the audience. At various points, fictional darama combines with non-dramatic reality. Male actors portray the roles of females, and subsequently, audiences gain an awareness of the male "bodies" of these actors. In these instances, presence becomes more significant than representation. In <Titus>, the barriers blocking the audience and the stage often disappear, and audiences become the cast and sometimes writers. Secenes of cruelty, in which many characters experience torture and murder, focus attention on the bodies of the actors. Subsequently, the audience and the stage develop shared experience, and fictional representation in the plot loses significance in comparison to the presence of "bodies" of actors.

유사즉각적 대화맥락에서 발화된 영어 담화표지어 특성 연구

이용은 ( Yongeun Lee ) 한국커뮤니케이션학회 2016 커뮤니케이션학연구 Vol.24 No.4

외국어 학습자가 비모국어로 이루어지는 대화맥락에서 목표언어의 담화표지어를 충분하고도 적절하지 못하게 사용하는 경우 커뮤니케이션 전반의 응집도와 효율성이 현저히 낮아진다는 것은 잘 알려진 사실이다. 외국어 대화맥락에서 이러한 담화표지어 사용의 중요성에도 불구하고 한국인 영어학습자들이 영어로 이루어지는 즉각적 대화맥락에서 어떤 영어 담화표지어를 어떠한 방식으로 사용하고 있는지에 관한 실증적 언어데이터 기반연구는 많이 부족하다. 본 연구는 틀린그림찾기를 통해 한국인 영어학습자들이 즉각적 영어대화맥락에서 어떤 영어담화표지어를 얼마나 자주 그리고 어떤 기능으로 사용하는지를 탐구하였다. 한국인이 아닌 다른 언어 영어학습자들에 대한 선행연구와 유사하게 본 연구에 참여한 한국인 영어학습자들도 영어담화표지어를 충분히 그리고 적절한 기능으로 사용하지 않고 있음을 본 연구는 보고한다. 또한 특히 영어담화표지어 yeah를 하나의 샘플로 삼아 한국인 영어학습자들이 이 특정 담화표지어를 원어민 영어화자들이 사용하는 것과는 질적으로 다른 비전형적 용도로 사용하고 있음도 보고한다. 이를 토대로 영어로 이루어지는 커뮤니케이션 환경에서 보다 더 상황적으로 또한 문화적으로 효과적인 의사소통이 되기 위해서는 한국인 영어학습자들이 교실환경에서 현재보다 더 다양한 영어 담화표지어에 명시적/비명시적으로 노출될 필요가 있음을 본 연구는 제안한다. Existing studies of discourse markers by non-native speakers of English suggest that lack of variety and inappropriate use of these conventionalized words/phrases by learners of English may render their spoken English communication significantly less coherent and thus ineffective. Despite the important role that the discourse markers play in everyday native spoken interactions, only few spoken corpus-based studies exist on how Korean speakers use English discourse markers, particularly in their spontaneous English communication. Using a speech task that encourages Korean speakers` producing spontaneous conversational English speech, the present study elicited the forms, relative frequencies and usage of English discourse markers adopted by the Korean speakers. Supporting previous studies in non-native use of English DMs, the present results indicated that Korean learners of English also used much more limited and less variety of discourse markers compared to native talkers. Using the focal Korean speakers` usage of the discourse marker yeah as a case study, the present study further shows that Korean speakers` usage of certain English discourse markers may be qualitatively different from the typical native usage. It is concluded that English discourse markers need to be taught in both explicit and implicit manner in classroom settings more often as the proper use of discourse markers can play a significant role in enabling Korean speakers to communicate in English in a more situationally and culturally appropriate manner.

송현옥의 <햄릿: 여자의 아들>에서 은유의 작동

이용은(Yongeun Lee) 한국셰익스피어학회 2015 셰익스피어 비평 Vol.51 No.3

This thesis aims to reveal how Songhyunok’s Hamlet: Son of a Mother achieves the metaphoric suggestiveness. Songhyunok’s Hamlet utilizes metaphors to overcome realistic representation by means of metaphoric gestures and metaphoric scenography. Metaphors say some things and mean some other things. This roundabout way of telling refrains from literal meaning, therefore providing significant meanings that are beyond the exact meaning. Thus it induces the audience to rethink of the situation, overcoming the limits of realistic representation. Metaphoric gestures in Song’s Hamlet are used in several ways. Sometimes they provide meanings that are not delivered by language, or they are culture-specific so that they embody the ontological beliefs inherent in the Korean culture. Furthermore, metaphoric gestures function as poetic metaphors. Metaphoric scenography is a means for meeting the audience in a new way. By means of these metaphoric modes the work can successfully intensify the existing meanings, make comments on the contemporary world, and engage the audience in an unconventional way. In these ways, this performance overcomes the limits of realistic representation by utilizing many forms of metaphor.

언로드 성능 형상을 위한 디스크 범퍼의 제작 및 실험 연구

이용은(Yongeun Lee),이용현(Yonghyun Lee),이형준(Hyungjun Lee),박노철(Nocheol Park),박경수(Kyungsu Park),박영필(Youngpil Park) 한국소음진동공학회 2007 한국소음진동공학회 학술대회논문집 Vol.2007 No.11

햄릿의 자기(Self)의 재형성

이용은(Yongeun Lee) 한국셰익스피어학회 2010 셰익스피어 비평 Vol.46 No.1

Up to Act 4, Hamlet remembers the ghost. His actions, plots, and thinking have been the result of his compulsion to know which is related with the death drive. The death drive is characterized by self-destruction and aggressivity toward others. Hamlet indulged in this state of passivity, non-action, in many soliloquies, and in grappling with the impossible. At the same time he is so openly aggressive towards others that he torments Ophelia and Gertrude, distrusts women in general, and kills Polonius. He is not fashioning himself in an affirmative manner. However, in the 5th act, Hamlet begins to take care of himself and to refashion himself. Self-fashioning is a concept different from the pursuit of knowing that is contributive to self-indulgence. It is represented in the attitude of cherishing one's own self, one's own emotions, the spiritual aspect of life, and laboring to cherish them in reality. In Act 5, Hamlet decides to kill Claudius not only because Claudius killed Hamlet's father but also because Claudius tries to kill Hamlet himself. Hamlet also reveals his love for Ophelia, which he had denied before. He shows his inner feeling. His inner emotion, not the Ghost, becomes the most meaningful thing to Hamlet. Furthermore, he decides to engage in a losing game with Laertes, who was stronger in his fencing ability. It is Hamlet’s first time to be engaged in a losing game. He had often outwitted others and had never seriously failed. The fact that he is engaged in this losing game signifies that he does not care about winning over others and accepts that dying is something not to be afraid of and that death is so close to life. His changed attitude implies that he does not remember the ghost any more, which means that he has no guilty conscience towards the death of his father. Therefore Hamlet does not dwell on retaliating. The matter of living and dying does not torment him any more because he comes to accept the concept that dying is not the end of his life and dying is the action of Providence. Now Hamlet influenced by the ideas of the Reformation is refashioning himself. His attitude becomes serene and different from the soliloquy scene in which he was agonizing over the matter of living and dying and he has stronger inner power. And he engages in a losing game and expresses his love toward Ophelia. Hamlet comes to refashion in a new and positive manner.

맥베스의 불안

이용은(Yongeun Lee) 한국셰익스피어학회 2017 셰익스피어 비평 Vol.53 No.3

Macbeth is a king who feels endless anxiety. Generally anxiety has two types: one type is triggered by the unstable conditions in which someone lives, and the other is triggered when someone confronts the death. Unstable conditions can cause people to evade death, thus inducing him to live an unoriginal life, while the death anxiety invites him to confront himself, leading to increased self-awareness. Macbeth has these two types of anxiety. However, except for one moment in his life, his main anxiety has the unoriginal orientation. Therefore, his life is self-oriented. His world is narrowed to his strong concern about maintaining his kingship. Therefore, he has no intention to construct a better or more moral society even though he is a king. Therefore, he has only been concerned about his kingship, which leads to many killings of his kin. His interest is only himself, which is represented by his struggle to keep his position, such as by visiting the witches, killing Banquo, massacring Macduff’s family and fighting against Young Siward and Macduff at the end of the play. His reduced interest in Lady Macbeth and the world surrounding him is also another manifestation of his concern for himself. His uncontrollable fixation on himself is wholly the product of his inherent anxiety. In other words all the actions of Macbeth result from his anxiety about his life and his position. Macbeth has one moment of insight into his own life, that is, his monologue in which he says life is short and signifies nothing. At this moment he confronts himself and his death and his anxiety takes on ‘original’ characteristics. He is divested from his unoriginal anxiety at this moment. However, this moment is very short-lived and he returns to his unoriginal attitude about life, as clarified by his fights with Young Siward and Macduff just after he confronts his inner self. His fighting with Macduff is his desperate effort to keep his position as king and shows that he is still dependent upon the witches’ futile prophesy. This proves that Macbeth, instead of being a tragic hero who reaches an insightful awareness of his life, death and anxiety, is a person who is unaware of the deep motives for his actions, who is inundated with unoriginal anxiety, and who finally loses himself.