Unraveling syntactic and semantic effects on structural priming: Evidence from Korean

Eunkyung Yi,Hongoak Yun 한국언어학회 2019 언어 Vol.44 No.3

This study aims to unravel syntactic and semantic effects on structural priming that have not been clearly delineated in previous studies. We conducted two structural priming experiments, using two different methodologies widely used in the literature (picture description and sentence recall) and using Korean constructions that vary in syntactic structures (canonical/NP-eykey NP–(l)ulACC and noncanonical/NP–(l)ulACC NP–eykey orders) and in semantic types (-eykeyto and –eykeyfrom) independently. In Experiment 1 (picture description), we found a significant structural priming effect by syntactic prime types but not by semantic types. Experiment 2 (sentence recall) confirmed the results of Experiment 1 that structural priming is robustly modulated by syntactic manipulations but not by semantic manipulations. The present study adds support to the body of literature that showed structural priming is primarily a syntactic phenomenon. We discussed the results with reference to semantic theories and crosslinguistic differences.

An Experimental Investigation of Discourse Expectations in Neural Language Models

Eunkyung Yi,Hyowon Cho,Sanghoun Song 한국영어학회 2022 영어학 Vol.22 No.-

Implicit Causality and Discourse Relations in Korean

Eunkyung Yi 한국언어학회 2019 언어 Vol.44 No.1

This study reports on a preliminary investigation of intersentential discourse relations in Korean. Using story continuation experiment, we first investigated whether Korean speakers also show the causer biases of Implicit Causality (IC) verbs attested in other languages. We also examined coherence relations produced by Korean speakers in IC and non-IC contexts and compared them with those produced by English speakers in similar settings (Rohde 2008). We found subject- and object-biases associated with implicit causality verbs are replicated in Korean. The effects were, however, statistically only marginal largely due to Korean speakers’ relatively infrequent production of the explanation relation in the IC context. They produced more result- than explanation-relations after IC sentence prompts, as opposed to English speakers. We discussed what may possibly underlie these crosslinguistic differences, including grammatical differences such as word order and clausal linkage strategies in the two languages.

The Fake Reflexive Resultative Construction in English

Eunkyung Yi(이은경) 한국영어학회 2006 영어학 Vol.6 No.1

Comparing between linguists` and statistically-derived verb classes and its theoretical implications

( Eunkyung Yi ) 한국언어정보학회 2017 언어와 정보 Vol.21 No.1

This paper investigates the validity of narrow verb classes (Pinker 1989) in the context of perceived verb meaning similarity and exemplar-based categorization processes. I hypothesize that the most frequent and typical verb of putative verb class can play the role of a typical exemplar of that verb class, the verb class attractor hypothesis, and that verbs can be classified into smaller groups like narrow classes solely based on verbs` relative semantic distance to the exemplar verbs. By comparing the results of statistically-derived verb clusters to the ways linguists classify verbs via semantic componential analysis, I revisit the properties of narrow verb classes and the classifying criteria proposed in previous literature. The results of this study suggest that the notion of narrow verb classes is not only a theoretically useful construct but also a viable concept represented in speakers` semantic knowledge. (Seoul National University)

What Modulates the Resultative Alternation?

Eunkyung Yi 한국언어학회 2016 언어 Vol.41 No.4

This article is concerned with speakers’ syntactic choice between the Verb-Object-Result (VOR) and the Verb-Result-Object (VRO) construction (e.g., push the door open and push open the door). This syntactic contrast is referred to as the resultative alternation. The main goal of this article is to investigate whether the resultative alternation is modulated by (at least some of) the putative factors that are known to influence postverbal argument alternations. I examined some of the effects, namely, pronominality, definiteness, type of modification, semantic abstractness and word length of object NPs, on the syntactic choice between VOR and VRO in naturally occurring resultative sentences found in the British National Corpus. The frequency of occurrences revealed that VOR is the more frequent and canonical construction, as has been assumed in the literature, while VRO is in general less common but highly frequent when occurring with some particular verbs and particular result phrases. The results also showed that definiteness, post-modified structure and extended length of object NPs tend to increase the likelihood of occurring in the VRO construction, although it is in general the less frequent or less favored than the VOR construction. This study demonstrates that the resultative alternation does not arbitrarily occur but is constrained by semantic and syntactic properties of the postverbal NPs.

투르게네프의 『아샤』: ‘낭만화’로 구현된 혼종적 문화정체성

이은경(Eunkyung Yi) 한국노어노문학회 2021 노어노문학 Vol.33 No.3

본 논문은 투르게네프의 『아샤』(1858)를 통해 투르게네프식 ‘낭만화’의 의미와 동시대인의 혼종적 문화정체성을 살펴보았다. 서정성이 짙은 그의 일부 작품들은 시대적 요구와 사실주의 미학에서 벗어나 있다는 폄하를 받지만, 오히려 이러한 작품들이야말로 투르게네프식 주제의 의미화와 진정성을 잘 드러낸다. 투르게네프는 러시아문학의 세계화를 이끈 작가였다. 그는 『아샤』를 통해 해외에 거주하는 러시아인의 삶과 그들의 독특한 의식을 조명하였다. 몸은 타국 땅에 있지만, 영혼은 여전히 러시아에 속해있는 그들을 그리면서 개인의 운명적 멍에를 러시아 역사와 동일선상에 놓는다. 등장인물들의 미성숙함, 불안, 실수, 그리고 후회 가득한 모습은 이처럼 두 문화의 경계선상에 놓여있는 현실의 러시아인을 사실적으로 그려내었다. 독일의 라인강을 배경으로 벌어지는 사랑의 서사는 강렬한 러시아적 정서를 전하는 동시에 동시대에 대한 성찰과 러시아인인 동시에 유럽인으로 살아가는 이들의 혼종적 문화정체성을 정확하게 묘사한다. 등장인물들의 성장에 관한 다양한 이야기를 이끌어내면서 『아샤』는 이해불가능한 그럼에도 미숙하고 영원한 그리움의 대상인 아샤의 형상으로 ‘러시아성(Russianness)’을 구현하였다. This article examines the meaning of Turgenev-style "romanticism" that blossomed in the era of Russian realism through Turgenev"s Asya. Some of his lyrical works were denigrated for being outside the demands of the times and realistic aesthetics, but on the contrary, it can be said that it is these works that show well the meaning and sincerity of Turgenev"s themes. Turgenev was a writer, who led to globalization of Russian literature. His view was not confined to the interior of Russia, he also illuminated the lives, specific worldview and consciousness of Russians living abroad. Describing those who stay in foreign land but whose souls still belong to Russia, he put the fateful yoke of the individual on the same line with Russian history. The immaturity, anxiety, mistakes, and regrets of the characters realistically show the reality of Russians who are on the border of two cultures. Along with the embodiment of German romanticism through Asya Turgenev presents in a unique narrative style the thème of those russians who have European vision but at the same time miss their motherland Russia. In this respect, we can confirm that this work is a masterpiece that precisely describe the thoughts and behaviors of contemporary Russians. By drawing various stories about the growth of the characters, Asya embodies ‘Russianness’ in the form of Asya, who is incomprehensible and immature but still is an object of eternal longing.

마트료시카의 예술적 상상력 - 동아시아와 유럽의 문화 교류를 중심으로 -

이은경 ( Eunkyung Yi ) 한국외국어대학교(글로벌캠퍼스) 러시아연구소 2021 슬라브연구 Vol.37 No.3

본 논문은 러시아를 대표하는 공예품 마트료시카의 탄생과 관련하여 동아시아와 유럽의 문화 교류를 살펴보았다. 마트료시카가 탄생하게 된 직접적 원인은 일본 인형이었지만, 그 이면에는 동서양의 예술이 서로에게 영향을 주고받았던 문화적 교류가 바탕하고 있다. 여기에 러시아의 예술적 실험이 더해져서 오늘날의 마트료시카 형태가 만들어졌다. 1854년 일본이 개항하면서 유입된 일본의 공예품과 의복은 유럽인들을 사로잡았다. 그중에서도 풍속화 우키요에(Ukiyoe)에 대한 열광은 대단했고, 인상주의 미술에까지 상당한 영향을 미쳤을 정도였다. 이처럼 19세기 중후반 유럽에 일었던 자포니즘(Japonism) 열풍은 러시아에도 나비효과를 일으켰다. 일본의 목각인형은 러시아문화예술계의 명문가인 마몬토프(Mamontov)家의 공방에서 마트료시카로 새롭게 탄생된다. 마트료시카는 일본의 목각인형처럼 겹인형으로 만들어졌지만, 러시아문화를 담은 완전히 다른 공예품으로 창조되었다. 인형의 이름은 다산(풍요로움)을 상징하고 몸통에 그린 그림은 러시아인의 삶을 담아내었다. 동서양의 문화교류에 의한 산물이었던 마트료시카가 러시아의 대표적 공예품이 될 수 있었던 것은 예술에 대한 러시아만의 창조적 재해석 그리고 끊임없는 상상력이 만들어낸 다양한 실험 덕택이라 할 수 있다. This article examines the cultural exchange between East Asia and Europe in relation to the birth of the Matryoshka, a craft that represents Russia. The origin of Matryoshka is traced back to a japanese doll, but its birth has a background of cultural exchange between Eastern and Western art which influenced each other. Russian artistic experimentation is also added to this and as a result we can see the form of today’s Matryoshka. After Japanese ports reopened to Western trade in 1854, Europeans were fascinated by the Japanese handicrafts and clothes imported. One of the most admired thing among them was genre painting Ukiyoe, which had a great influence on Impressionist art. In the same way, the powerful fascination of Japanism, that occurred in Europe in the Mid to Late 19th century created a butterfly effect in Russia as well. Japanese wooden doll is newly born as a Matryoshka in the workshop of the Mamontov family, a prestigious family in Russian culture and art. Having the same layered form like japanese wooden doll, Matryoshka has been transformed into a completely different craft representing Russian culture. The name of the doll symbolizes fertility (abundance), and its painting on the surface shows the life and appearance (externals) of Russians. Matryoshka, a product of cultural exchange between East and West, has become a representative craft of Russia through a unique and creative reinterpretation of art and various experiments based on endless imagination.

소비에트 애니메이션의 ‘러시아적 캐릭터’ 모색과 구현 - 레오니트 시바르츠만의 캐릭터를 중심으로 -

이은경 ( Eunkyung Yi ) 한국외국어대학교(글로벌캠퍼스) 러시아연구소 2020 슬라브연구 Vol.36 No.4

본 논문은 러시아 최고의 애니메이터이자 감독인 레오니트 시바르츠만(Leonid Shvartsman)과 고전 애니메이션을 살펴보았다. 시바르츠만은 소비에트 시기 여러 감독과 작업을 하며 러시아 애니메이션에 크고 분명한 발자취를 남겼다. 러시아 애니메이션은 초기 단계에서 디즈니의 영향을 많이 받았다가, 1960년대 이후에는 소유즈물트필름의 개편과 신세대 감독들의 등장으로 인해 독자적 영역을 구축하였다. 소유즈물트필름이 소비에트의 교육 선전에 도구가 되었다는 비판도 많지만, 사회정화와 교육을 내세운 소비에트의 이념하에 선하고 건강한 캐릭터들이 창조되는 순기능도 있었다. 특히 시바르츠만의 캐릭터는 ‘러시아적인’, ‘러시아문화’의 옷을 입고 있다는 점에서 특징적이다. 디즈니의 영향을 받은 러시아 애니메이션이 디즈니 스타일에 잠식당하지 않고 이것을 극복하자는 모토 아래 만들어진 시바르츠만의 모색은 러시아적 캐릭터의 탄생을 가능하게 하였다. 시바르츠만은 유머야말로 세계를 구할 수 있는 작지만 가장 강력한 힘이라고 주장한다. 유대인적 혈통에서 비롯된 이러한 세계관이 그의 애니메이션에 깊이 녹아있다. 그러므로 시바르츠만이 그려낸 애니메이션은 다양한 민족과 삶이 어우러진 소비에트의 문화적 정체성을 잘 드러내는 것이라 할 수 있다. This article deals with Leonid Shvartsman, the most famous russian animator and producer and his classic animations. Shvartsman worked with many film directors in the soviet period and he left a deep footprint in the history of russian animation. In its early days, russian animation has been influenced a lot by Disney but after 1960s with the reorganization of Soyuzmultfilm and the emergence of a new generation directors it could create and establish its own area. Soyuzmultfilm has attracted a lot of criticism that it became a tool for the propaganda of Soviet education, but we also have to recognize its positive function of good and healthy characters created by the Soviet ideology which emphasize the importance of social purification and education. The trademark of the characters of Shvartsman is that they are dressed in clothes of ‘Russian’, ‘Russian culture’. In this point of view we can say that the efforts of Shvartsman, who tried to protect russian animation from the influence of Disney with the slogan: “not to be encroached, but to overcome the Disney style” made it possible the birth of russian characters. Shvartsman points out that humor is the smallest but the greatest power that can save the world. We can see that this view of the world derived from the Jewish lineage is deeply melted in his animation. Therefore, it can be said that the animation created by Shibarzman reveals well the cultural identity of the Soviets in which various ethnic groups and their lives are mixed with harmony.

차(茶)문화의 접점과 문화적 상징으로서의 사모바르

이은경 ( Yi Eunkyung ) 한국외국어대학교 국제지역연구센터 2021 국제지역연구 Vol.25 No.1

본 논문은 러시아문화에 있어 중요한 역할을 했던 ‘차’를 다루었다. 중국에서 유입된 차가 러시아의 일상 문화에 어떻게 접목되었는지와 차 문화의 결정체인 사모바르의 의미를 밝히고자 했다. 오늘날 사모바르는 러시아를 상징하는 하나의 상징물이 되었다. 러시아인의 ‘넉넉한 마음’을 대변할 뿐 아니라 화려함을 좋아하는 민족성과 기질을 보여주는 것이기 때문이다. 사모바르는 러시아 민속공예품으로 알려져 있지만, 사실상 러시아 고유의 것이라기보다는 복잡한 역사적·문화적 교류와 영향에서 비롯되었다. 사모바르는 찻주전자의 기능과 더불어 장식예술로서의 가치를 보여주었다. 차의 전파와 더불어 다기(茶器) 수입이 성행했던 서유럽의 환경과 비교해보면, 사모바르는 타문화를 재해석하여 고유의 것으로 재창출시킨 특별한 의미를 지닌다. 사모바르는 러시아의 문화상징이 됨과 동시에 실용성을 갖춘 응용예술로까지 확장되었다. 즉, 사모바르는 찻주전자로써 기능성을 충분히 가진 채 집안을 장식하는 예술품으로서 ‘러시아적’ 특성을 갖게 된 것이다. 사모바르는 이제 러시아를 대표하는 상징물로서 많은 외국인에게 러시아 고유의 문화로 받아들여지고 있다. 러시아의 생활양식과 맞물린 문화적 요소로 자연스럽게 인식되는 가운데, 세계 그 어디에서도 고유의 이름인 ‘사모바르’로 불리고 있는 것이다. ‘스스로 끓이는 기계’라는 뜻처럼 그 어떤 영향에 의한 것이 아닌 자생적으로 생겨난 것이란 의미를 획득하기에 이르렀다. This article deals with tea which played important role in Russian culture. It reviews how tea-drinking became a part of Russian daily life and the meaning of Samovar as an iconic symbol of tea culture. It is no exaggeration to say that today Samovar has become a symbol of Russia. It is because that Samovar represents ‘generous hearts’ of Russian people and reveals their ethnic characteristics and temperament who prefer the splendor. Samovar is known as a Russian folkcraft article but actually it is a result from complex cultural and historical encounters and their influence rather than Russia’s own thing. Samovar demonstrated its value as a decorative art along with the function of a teapot. Samovar has special meaning because it concerns the case of recreating unique things by reinterpreting other cultures, which is different from the situation in Western Europe, where tea wear became actively imported with the spread of tea. Samovar has become a cultural symbol of Russia, and at the same time it is considered as a work of applied arts with practical utility. In other words, functioning good enough as a tea pot, Samovar is appreciated as an art objet with 'Russian' characteristic which decorates the house. Nowadays for many foreigners Samovar is considered as a symbol of Russia, which represents original Russian culture. Being easily recognized by people as a cultural element closely connected with the Russian lifestyle, it is called in any part of the world by its own name “Samovar”. Like the name meaning ‘a machine that boils itself’, it looks as if it came out itself, not by the influence from other side.