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논문검색은 역시 페이퍼서치

인문논총검색

Seoul National University the Journal of Humanites


  • - 주제 : 인문과학분야 > 기타(인문과학)
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-3021
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 15권 0호 (1985)

모음 조화의 특성

이병건 ( Byung Gun Lee )
6,900
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On the basis of abundant evidence afforded by Korean and Turkish, it will be shown that the autosegmental analysis of vowel harmony(VH) the representative model of which is supplied in Clements(1980) is empirically and conceptually inadequate in crucial respects, and thin an alternative analysis of VH will be proposed. For the brevity of exposition claim (1) and principle (2) are presented in advance, and the examples that follow will furnish evidence for them: (1) Root-initial vowels(RIV`s) are lexically specified with harmonic feature(HF), but vowels elsewhere are not specified with it in regular cases. (2) The specified HF may not be changed by a word-level rule. Ex. 1: Alternant pairs like ya1a~yala are found in the 15th-century Korean. The latter alternant is derived by the optional disharmony rule which applies before VH. Its trigger y specifies the second vowel, not lexically specified with HF, with the HF [-ATR], skipping over the RIV lexically specified with the HF [+ATR]. By virtue of (1) and (2), it is inevitable that the disharmony rule should behave as it does. Exs. 2-3: In the 15th-century Korean, *V in the sequence Cy*V can be any vowel specified with HF in root-initial syllables(RIS`s), but it is invariably [+ATR] a elsewhere by a lexical redundancy rule(LRR). In spite of the LRR, the HF lexically specified, in accordance with (1), in RIS`s remains intact in observance of (2). The very same phenomenon also obtains in the present-day Korean. Ex. 4; In Korean, the first disappearance of a of the harmonic pair i : a (i.e. a>i) had taken place only in non-root-initial syllables(NRIS`s). The immunity of the RIS is attributable to (1) and (2). And the reason for the direction of the change a>i is that the feature complex [+voc, -cons, +high, +back, -round, 0 ATR] in NIRS`s, formerly realized as a or i by VH, ceased to be filled in with HF by VH, with the result that the unfilled feature complex as it was became fixed as neutral i, This strongly supports evidence for the latter part of (1). Exs, 5-6: As the direct consequence of a>i, i acts synchronically as neutral exclusively in NRIS`s, whereas the harmonic pair i and a still persist in RIS`s. The asymmetry is derivable from (2), (1) and an extension of (1) which says that every root should bear at least one HF as trigger of VH. In the present-day Korean, u is neutral only in NRIS`s. What is true of the neutral i is equally true of the neutral a. Ex. 7: In Korean, the second disappearance of a (i.e. a>a), which had remained in RIS`s after its first disappearance, cited in Ex 4, occurred in the late 18th century. The [-ATR] a lexically specified, in accordance with (1), with the HF could reasonably change to the [-ATR] vowel a, which is phonetically least different from a in the vowel systam, rather than to its former harmonic counterpart i of the [+ATR] set. It is to be noted that the change is in the different direction from that of the first change. Ex. 8: In the Istanbul dialect of Turkish, a short vowel is unrounded before a palatal exclusively in NRIS`s as in /UsI+mE+yIs/→[usumiyis], and the palatal umlaut rule is assumed to apply before two VH`s. The root-initial it lexically specified with the HF [+ round] is not to be affected by the umlaut rule. This is consistent with (1), and (2) is operative here. Ex. 9: In Turkish, only in NRIS`s are non-high vowels, in regular cases, specified with the HF [-round] by a LRR. In conformity with (2), the LRR cannot affect the HF [+round] lexically specified, consistent with (1), in RIS`s. According to Clements, in lexical representations the autosegments of HF in a separate tier are unbound in regular cases, but they are lexically bound to opaque vowels. The representations where RIV`s are not specified with HF are not empirically justified at all, except that they are an extension from the autosegmental tonal representations; in fact, they run counter to the empirical evidence for (1). Furthermore, in view of the fact that the HF`s of both RIV`s and opaque vowels function equally as triggers, the representations in which the unbound and bound autosegments of HF coexist are conceptually complex, and such represen±ations entail the establishment of two additional priority clauses to implement the well-formedness conditions, The natural corollary of (1) is that VH applies obligatorily and unboundedly affix-ward to the right and left, from the HF (i.e. the trigger) in a RIV (and an opaque vowel). Consequently, we can dispense with the well-formedness conditions, together with the two priority clauses, contingent upon the lexical representations sketched above. It must be added that the domain of VH is also defined by (1) and (2).

행동과 연극

홍기창 ( Ki Chang Hong )
4,900
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Since Aristotle defined tragedy as "an imitation of action," critics have been interested in the question how action is involved in drama. They have usually attempted to examine and define the nature of action as the means of comprehending the nature of drama. Characteristically, they have inquired into the nature of action from the spectator`s standpoint rather than from the doer`s, In this paper, I have tried to comprehend action from the doer`s viewpoint rather than from the spectator`s. From the doer`s viewpoint, one deals with the object or the other person in terms of the interchange of action and reaction. Acting upon and reacting to the object or the other person are the two phases or forms of human action. From these two forms of action, interestingly enough, the two forms of drama, namely, comedy and tragedy are derived. The form of comedy is founded upon the form of action that lies in acting upon the other person, while the form of tragedy is modelled upon the form of action that consists in reacting to the other rather than acting upon the other. As for the content of action, one does anything as the means to fulfil one`s desire and aim. When one acts upon the other, one aims to lead the other to have the same desire that one has. At the same time, the other also aims to lead the one`s desire to he assimilated with his own. Before they are led to have the same desire, they do not arrive at agreement or reconciliation. The interchange of action and reaction between one and the other thus ends either in their reconciliation through the assimilation of one`s desire with the other`s or in their rupture through the conflict between their desires. These two processes of action are concerned with the two different contents of comedy and tragedy. The content of comic action lies in the process of achieving reconciliation through the assimilation of one`s desire to the other`s, while that of tragedy is concerned with the rupture which comes from the conflict between the two parties` desires.

「Madame Bovary」와 플로베르의 주관적(主觀的) 사실주의(寫實主義)

오현우 ( Hyun Woo Oh )
5,100
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Pour Fiaubert, la verite ne sera atteinte qua si l`on recherche l`universel. L`artiste et le romancier ne doivent pas chercher a donner la particularite du monde, mais a degager les traits profonds des types comme des types commie des bourgeois de la reallte banale et quotidienne. Tant que cela leur est impose commie un devoir, ils ne sont pas libres de choisir l`objet d`ecriture. Le romancier dolt avoir l`impassibihte du spectateur devant la scene, pour saisir la realite de l`objet avec le plus de justesse. De plus, il dolt eviter de se laisser prendre dans son roman, bien qu`il puisse se montrer dans les phrases qu`il felt avec is souci de la perfection. On ne parvient a la verite universelle qu`a travers l`impersonnalite. Flaubert est le romancier qul veut que le roman soit objectif, impersonnel, impassible. Il est naturei qu`il se garde de presenter au lecteur Ia sympathie ou l`attendrissement de l`auteur. Dans cette optique la litterature n`est jamais la confidence d`un individu. En effet le romancier dolt s`efforcer d`exprimer ce qui est reel comme le medecin et le naturaliste observent et examinent l`objet avec sang-frold. Flaubert est considere en general comme le maitre de l`ecole realiste, mais il sort du realisme dans le cas ou il manifeste le pessimisme patell a celui des romantiques au sentiment de la solitude morale et de la melancolie anxieuse, ou qu`il adhere a la beaute formelle at a l`esthetique du style. Enfin il est, peut-on dire, au confluent de romantisme et realisme. Cela nous permet de conclure qu`il pratique le "realisme subjectif" a sa maniere propre.

Valery의 Charmes와 「자아」

홍승오 ( Seung O Hong )
5,200
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Persuade que le. genie se caracterise par l`application plus ou moins consciente d`une methode originate, Paul Valery, s`est efforce de surprendre les secrets de l`activite intellectuelle. C`est pourquoi, le sujet principal de son recueil de Charmes est, pour ainsi dire, le drame de la creation poetique ou celui de la creation de l`intellect. D`apres lui, la creation poetique est l`exercice de l`esprit indispensable a la connaissance, c`est-a-dire, elle est un moyen utile a l`esprit, lui permettant d`obtenir la connaissance stricte. Or, lorsque l`esprit fait un acte createur pour acquerir la connaissance stricte, nous ne pouvons pas ne pas reconnaitre qu`entre l`esprit et ce qui est cree par lui intervient necessairement ce qui existe originellement avant toute autre chose, c`est-a-dire quelque etre qui est le sujet de l`esprit. Cet etre, c`est ce qu`on peut appeler le moi d`un auteur, d`un poete. En analysant les poemes de Charmes, nous avons essaye de degager comment le moi valeryen impose sa presence a l`univers et realise la synthese poetique.

독일어 형용사의 구조와 시제 -부가적 구문을 중심으로-

서충남 ( Tschung Nam Seo )
5,200
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Allgemeines Ziel dieser Arbeit ist die Analyse der Struktur des Adjektivs. Es wird dabei auch untersucht, wie der syntaktische Charakter des pradikativen und attributiven Adjektivs angemessen im Rahmen der GB-Theorie beschrieben werden kann, welche Rolle auch noch das Merkmal (±Tense) spielt. Im ersten Abschnitt untersuche ich die Frage, wie das Adjektiv als eine sprachliche Einheit angemessen analysiert und kategorisiert werden kann. Im Bezug auf der syntaktischen Rolle kann sich das dt. Adjektiv von dem Verb nicht so klar unterscheiden, wie das englische Adjektiv, weil das dt. Adjektiv seiner Erganzung konstanten Kasus zuweisen kann. Im zwiten Abschnitt behandele ich die allgemeinen, syntaktischen Probleme des pradikativen Adjektivs und betone die Wichtigkeit des Merkmals [±Tense]. Deshalb. setzte ich vorlaufig voraus, daB die Struktur des pradikativen Adjektivs S → NP+INFL+XP (wie Fanselow` (1983)) sei. Im dritten Abschnitt analysiere ich die Struktur des attributiven Adjektivs. Hier behaupte ich, daB die adjektivische Struktur nieht (11), sondern (16) sei, Z.B. ist die Struktur wie (17) der wichtigste Beweis dafur. Im vierten Abschnitt disputiere ich die Behauptung von fanselow und die Problerme seiner Weise Er kann den Untersehied zwischen dem pradikativen Adjektive und dem attributiven Adjektiv, unterschiedliche Gebrauche beider Adjektive nicht erklaren. Z. B. kann er den syntaktischen, besehrankten Charakter der Adjektive "fruher, los usw" nicht erklaren. Dafur kann das Merknal [±Tense], namlich INFL, eine Rolle spielen. So behaupte und betone ich die Notwendigkeit, es zu formulieren.
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