互动视角下汉语坦言性表达的功能探析

金恩柱 한국언어연구학회 2020 언어학연구 Vol.25 No.3

Frank expression is a common way of expression. This paper defines frank expression as a speech act, and studies its function from the perspective of interaction. According to the analysis of corpus, Chinese frank expression can be used for positive expression, negative expression and zero degree expression. In positive expression, frank expression is used to enhance sincerity. In the negative expression, confession is used to reduce the degree of face threat or prompt threat. In the zero degree expression, the frank expression is used to enhance credibility. In addition, the function of frank expression is intersecting.

Enforced expression of the CCAAT/enhancer binding protein a induces expression of C/EBPβ, C/EBPδand PPARγin BHK cell line

Lee, Ki Choon,Chang, Moon Baek,Park, In Kee 中央大學校 食糧資源硏究所 1997 食糧資源硏究所 論文集 Vol.4 No.-

A broad base of data has implicated a role of CCAAT/enhancer binding protein family of transcription factors in the control of gene expression and cell development. Because C/EBPs is expressed in a complex array during adipocyte development and promoters of C/EBPs contain C/EBP binding sites, we investigated the possibility that the enforced expression of C/EBPα regulates the expression of C/EBPβ and δ. Overexpression of the full-length C/EBPα in BHK cells by transfection increased expression of C/EBPβ and δ. In addition, ectopic expression of C/EBPα increases expression of both isoforms of C/EBPδ, p36C/EBPδ and p32C/EBPδ whereas p36C/EBPδ was not observed in non-transfected BHK cells. These data clearly demonstrate that overexpression of C/EBPα regulates expression of C/EBPβ and δ as well as the selection of translation initiation sites. Because promoter of PPARγ contains two C/EBP binding sites, we also examined the levels of PPARγ1 and 2 in transfected cells. Overexpression of C/EBPα induced expression of PPARγ1 without change in PPARγ2 whereas equal levels of PPARγ1 and 2 were expressed in normal BHK cells. In conclusion, C/EBPα regulates the expression of other members of C/EBP family and PPARγ, which may increase complex regulation of target gene expression.

言語 形式으로서의 表出에 대한 槪念 考察

송현정 한국어문교육연구회 2012 어문연구(語文硏究) Vol.40 No.2

This study focuses on the concepts of exposure as a language sign compared to expression in a broad sense. To explain this, we used three main concepts, that is, purpose for expression, linguistic form, and sub- stantialization. And we analyzed the discourses in the context. The summary of this research is as follows. We explained that expression in a broad sense needs to be defined exquisitely according to ‘with purpose and without purpose for expression’. In other words, expression involves purpose for expression, linguistic form, and substantialization and we need to distinguish whether it has purpose for expression or not. When speakers have a purpose on expression for something, we could call expression with purpose. Though, if speakers have no purpose for expressing, it is a reflexive act. So, we could state these things from another angle. In this study, we showed that ‘expression without purpose’ is ‘exposure of language’ on the context where they don’t have listener, while ‘ex- pression with purpose’ is ‘express with language’ which they get wording and arrangement with vocabulary. 본고는 表出이라는 槪念이 表現 槪念의 意味 要素 중에서 意圖性이라는 측면에서 차이가 있음에 주목하여, 화자의 의도가 적극적으로 개입되지 않은 감정의 노출과 심리 내용을 의도적으로 조합해서 발화하는 내용을 구분하지 않고 동일한 表現으로 보는 것을 재고한다는 관점을 취한다. 表出은 表現하고자 하는 의도에 앞서 反射的으로 실체화된 현상이며, 텍스트에서 表出과 관련된 制約 條件은 형식적인 측면에서 볼 때 文章의 길이에 반영이 되고, 내용의 측면에서 볼 때 화자의 瞬間的 感情과 感歎에 관여된다. 그리고 우리가 日常生活에서 實際的으로 表現하는 發話 가운데 ‘表現한다’기보다 ‘表出된다’고 보는 것이 더 적절한 것이 있음을 살펴보았다. 要컨대 본고에서 보는 表出의 槪念은 청자를 상정하지 않은 狀況에서 화자의 感情을 表象하는 ‘드러남’의 양상이고, 이에 비해 表現은 話者가 意圖를 가지고 言語 形式의 選擇과 配列로 實體化한 ‘드러냄’의 양상이다.

장르 드라마에서의 표정연기연구 - 드라마‘보이스2’를 중심으로 -

오윤홍 한국엔터테인먼트산업학회 2019 한국엔터테인먼트산업학회논문지 Vol.13 No.8

For the actors on video, facial expression acting can easily become ‘forced facial expression’ or ‘over-acting’. Also, if self-restraint is emphasized too much, then it becomes ‘flat acting’ with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a ‘zoomed-in face’ is the ‘pupil of the eye’, and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the ‘mouth’. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the ‘eye’. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of ‘personalization’ of a character, such as ‘emotional memory’, ‘concentration’ and ‘relaxation’ which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the ‘inner world’ should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

일본어 분노의 감정표현 사용양상 -담화상의 감정을 중심으로-

송연희 ( Youn Hee Song ) 한국일어일문학회 2014 日語日文學硏究 Vol.89 No.1

「怒」の感情に對する發話を類型別に分類し、さらにその使用類型の考察 を行い、分類された發話類型がどのようなパタ一ンで起き、感情が表出され るのか發話パタ一ンを分析し使用類型と特微を考察した。分析結果及び考察 による結論は次の通りである。發話の發話類型は、「感情語感情表出」「感 動詞感情表出」「理由說明」「理由質問」「禁止要求」「行爲改善要求」 「警告」「確認要求」「非難」の9つの形に大きく分類することができた。 發話類型は、「感情語感情表出」を最も多く使用していたが、他の發話類 型もそれぞれ使っていたことがわかった。しかし全體的には「直接感情表 出」より「間接感情表出」をより多く使っていたことが確認できた。また 「怒」の感情の類型類型は、相手にどのような影響や評似を期待し要求する 發話類型が多いものが特微であることがわかった。「怒」の發話類型が多い 理由は、憤怒というものは他人に被害を被った場合に發生するため、その理 由を問い質したり、またなぜ憤怒を表出するのかを云えようとしたり、その 問題を解決し「怒」の狀況から早く拔けだすために樣□な行爲を相手に要求 したりするようになるため多樣な發話類型を使い相手に自分の感情を云えて いたことがわかった。 發話パタ一ンの場合、憤怒(怒)の感情は、複數パタ一ンより一つの發話類 型だけを使い單獨發話の比率が多く現れた。感情の言語的步輸出を通して日 本語の文化背景などに關する全般的な樣態及び特微を把握するためには、實 生活の場面で資料を集め、また包括的な表現を對象にし、より精密な考察が 行われなければならないと考えており、このことはこれからの課題として行 きたい。 This paper was examine the type of use that is classifiedby type of expression about emotion of rage and investigatedthe patterns and characteristics of expression by analyzing the patterns of expression that expression of emotion appear an patterns by the type of expression classified. The results of the analysis and investigation is appears in the next conclusion. This types of emotional expression is could be largely classified into nine types such as expression of emotion by use emotional language, express of feelings by use emotion verbs, explanation of the reasons, question of the reasons, demand of prohibition, warning, demand of confirmation, blame as type of emotion expressed. The type of expression about emotion of rage characterized that many types of expression appeared by expecting or by requiring any impact or effect to the other party.Why many expression appear the type of expression about emotion of rage are as follows: rage is generally occurred by suffered damage to others. Therefore, it could see that his feelings deliver to the other party by using various types of expression because of that he want to ask the cause of reason, deliver the anger and because of that he calls for action to the other party to solve the problem to escape from the situation as soon as rage or anger. In patterns of expression, emotion of rage showed a much higher rate as single patterns that use only one kind than the multiple patterns. In order to understand the overall aspect and features about cultural background of Japanese through linguistic expression of emotion, it is collected data from the scene of real-life and alsois investigated accurately of more comprehensive the target. the more specific study wish to proceed to the next.

표현 효과 중심의 문법교육적 관점에 입각한 학습자의 부정표현 선택 과정 유형 분석 연구

김범진 ( Kim¸ Beom-jin ) 서울대학교 국어교육과 2021 先淸語文 Vol.48 No.-

Negative expressions are used not only to deny a situation but also to express various expressive intentions of a person. Therefore, it is necessary to pay attention not only to the syntactic characteristics of negative expressions but also to the choice of negative expressions in which various contextual factors are considered. This study revealed how negative expressions are used for expressive effects and analyzed learner’s selecting process of negative expression. This study focuses not on the syntactic characteristics of negative sentences but on the effect of negative expressions. Thus, the concept of negative expression, which has been defined mainly from a syntactic point of view, has been redefined as an extended concept covering a semantic perspective. This study also suggested the concept of grammar education centered on expression effect which aims at the teaching of grammatical knowledge that can be used to understand a text and produce established text. Through this, this study secured the educational significance of negative expressions which can increase the linguistic resources that can be used as a rhetorical strategy and increase the linguistic sensitivity by paying attention to language expression. Then, the background of the expression effect of negative expression, the mechanism of context, and the context factors involved inthe choice of negative expressions were examined to establish the basis for the contents of education of negative expression. As preliminary work to of prepare the contents of negative expression, this study analyzed the aspect of students’ selecting negative expression through on a survey of 476 students. Based on the theoretical basis, the learner's process of selecting negative expression was analyzed based on whether the context was considered, whether it constituted the optional system and whether the expression intention was considered. According to these analyses, the learner 's process of selecting negative expressions was typified into five. This work is important in that it extensively redefines the concept of negative representation based on theoretical review. This study also analyzed the actual negative representation selection process of learners, which is meaningful as a pre-work to prepare negative representation training content based on grammatical educational perspectives centered on expression effects.

우리나라 전통 표현 활동의 개념 정립 및 교육 내용 요소

홍희정 ( Hong¸ Hee-jung ),임현주 ( Lim¸ Hyun-joo ) 한국무용교육학회 2021 韓國舞踊敎育學會誌 Vol.32 No.3

The purpose of this study is to present concept and educational content elements of Korean traditional expression activities so that education on traditional expression activities can be actively practiced through physical education and in the field of expression. For this study, a documentary survey and a Delphi survey were conducted. For the Delphi survey, 12 Delphi experts with long educational and research experience related to traditional expression activities were selected. A total of four Delphi surveys were carried out, and the following research outcomes were deduced: First, the concept of Korean traditional expression activities was presented as “an activity that expresses the unique traditions of our people with physical movements in a cultural style where Korea’s history, philosophy, sentiment and etc. are inherited that have been passed down for a long time.” Second, a total of 22 educational content elements were presented, including basic movements, motions and principles of traditional expression activities, and understanding the types of traditional expression activities. I hope that this study will provide an opportunity to recognize the importance of Korean traditional culture, and that education on Korean traditional expression activities will be more diversified in classes of the field of expression with the content elements of the education on traditional expression activities presented by the study in the future.

Ontogenetic Expression of Lpin2 and Lpin3 Genes and Their Associations with Traits in Two Breeds of Chinese Fat-tailed Sheep

Jiao, Xiao-Li,Jing, Jiong-Jie,Qiao, Li-Ying,Liu, Jian-Hua,Li, Liu-An,Zhang, Jing,Jia, Xia-Li,Liu, Wen-Zhong Asian Australasian Association of Animal Productio 2016 Animal Bioscience Vol.29 No.3

Lipins play dual function in lipid metabolism by serving as phosphatidate phosphatase and transcriptional co-regulators of gene expression. Mammalian lipin proteins consist of lipin1, lipin2, and lipin3 and are encoded by their respective genes Lpin1, Lpin2, and Lpin3. To date, most studies are concerned with Lpin1, only a few have addressed Lpin2 and Lpin3. Ontogenetic expression of Lpin2 and Lpin3 and their associations with traits would help to explore their molecular and physiological functions in sheep. In this study, 48 animals with an equal number of males and females each for both breeds of fat-tailed sheep such as Guangling Large Tailed (GLT) and Small Tailed Han (STH) were chosen to evaluate the ontogenetic expression of Lpin2 and Lpin3 from eight different tissues and months of age by quantitative real-time polymerase chain reaction (PCR). Associations between gene expression and slaughter and tail traits were also analyzed. The results showed that Lpin2 mRNA was highly expressed in perirenal and tail fats, and was also substantially expressed in liver, kidney, reproductive organs (testis and ovary), with the lowest levels in small intestine and femoral biceps. Lpin3 mRNA was prominently expressed in liver and small intestine, and was also expressed at high levels in kidney, perirenal and tail fats as well as reproductive organs (testis and ovary), with the lowest level in femoral biceps. Global expression of Lpin2 and Lpin3 in GLT both were significantly higher than those in STH. Spatiotemporal expression showed that the highest levels of Lpin2 expression occurred at 10 months of age in two breeds of sheep, with the lowest expression at 2 months of age in STH and at 8 months of age in GLT. The greatest levels of Lpin3 expression occurred at 4 months of age in STH and at 10 months of age in GLT, with the lowest expression at 12 months of age in STH and at 8 months of age in GLT. Breed and age significantly influenced the tissue expression patterns of Lpin2 and Lpin3, respectively, and sex significantly influenced the spatiotemporal expression patterns of Lpin3. Meanwhile, Lpin2 and Lpin3 mRNA expression both showed significant correlations with slaughter and tail traits, and the associations appear to be related with the ontogenetic expression as well as the potential functions of lipin2 and lipin3 in sheep.

포괄적 음악감상 활동이 유아의 창의적 미술표현력에 미치는 영향

이수경,최진숙 한국조형교육학회 2011 造形敎育 Vol.0 No.39

This research is intended to examine the effects of comprehensive music appreciation activities on young children's creative 2D expression and 3D expression. First, we analyzed how comprehensive music appreciation activities affected the creative artistic expression ability of young children and found that the overall creative artistic expression ability appeared higher in the experimental group than in the comparative group. This was found in the post-test after the study. Second, in the post-test, the overall 3D artistic expression process points were higher in the experimental group than the comparative group Third, in the post-test, the overall 3D artistic expression ability points were higher in the experimental group than in the comparative group. In generalizing the above research results, we have seen that the influence of comprehensive music appreciation activities on 2D drawing expression and 3D artistic expression of young children, is positive and effective. Therefore, in order to improve the creative artistic expression and whole-child education of young children, the artistic activity programs associated with the diverse comprehensive music appreciation activities is considered as being very useful.

의도표현에 대하여-‘-려 하(다)’, ‘-려고(요)’, ‘-려고 하(다)’를 중심으로

양지현 배달말학회 2013 배달말 Vol.52 No.-

Wording ‘-ryeo’ is often used in modern Korean language when one intends to express one's 'intention'. This writing is a study on formation process and meaning․syntactic characteristics of ‘-ryeo ha(da)’ and ‘-ryeogo ha(da)’ as well as ‘-ryeogo(yo)’ which appears at the end of sentence. First of all, ‘-ryeo ha(da)’ has been used since the middle age. Wording ‘-ryeo ha(da)’ is ‘-rieo ha(da)’ combined with ‘-ri-’ which renders [+internality] to preceding predicate. ‘-ryeo ha(da)’ is an expression focusing on [+internality] such as 'intention' of a doer or 'a guess' of a speaker rather than an expression revealing a certain behavior. However, it sometimes is used to express 'direct behavior' of a doer even if a doer is not the first person. First, such ‘-ryeo ha(da)’ is not restricted by the person of doer with respect to behavior. In addition, such an expression is possible even in case a doer is inhuman noun. Second, 'an' negative statement is only possible when intention of a doer is to be shown in a negative expression. Third, ‘-ryeo ha(da)’ cannot be used in a negative expression if a doer is a inhuman noun. ‘-ryeogo’ of ‘-ryeogo(yo)’ is deemed that 'ha-' diminished from ‘-ryeo hago’, which resulted in ‘-ryeogo’. The stem 'ha-' in the second phrase is omitted when two phrases diminish. ‘-ryeogo’ first appeared as conjunctional ending. The conjunctional ending ‘-ryeogo’ is realized as ‘-ryeogo(yo)’ at the end of a sentence through grammaticalization process. ‘-ryeogo(yo)’ is an expression to expose only 'intention․intent' instead of showing 'behaviour' of a doer. ‘-ryeogo(yo)’ is an expression which can be realized only when a speaker and a listener, i.e. conversation participants, are doers; if a doer is the third person, it will be an ill-formed sentence. ‘-ryeogo(yo)’ has a meaning of 'intention․intent' so that 'an' negative statement is only possible in a negative expression. ‘-ryeogo ha(da)’ can be understood that the following clause in a complex sentence connected with ‘-ryeogo’ is replaced by 'ha(da)’. ‘-ryeogo ha(da)’ is a composition of ‘-ryeo hago ha(da)’ and therefore, it is thought that 'ha(da)’ is used once more than ‘-ryeogo ha(da)’ or ‘-ryeogo(yo)’ of conversational expression. ‘-ryeogo ha(da)’ reveals not only intention of a doer but also existence of a certain direct․indirect behavior to conduct intention. From the syntactic viewpoint, ‘-ryeogo ha(da)’ has not a big difference from ‘-ryeo ha(da)’. It is same as ‘-ryeo ha(da)’ in following aspect; it has no restriction from the person of a doer; its expression is possible even in case a doer is an inhuman noun; and, 'an' negative statement is only possible to expose intention of a doer in a negative expression. However, in an expression to directly ask intention of a doer, ‘-ryeogo(yo)’ or ‘-ryeo ha(da)’ is more natural than ‘-ryeogo ha(da)’ which reveals external motional nature. 이 글은 ‘-려 하(다)’와 ‘-려고 하(다)’, 문말에 나타나는 ‘-려고(요)’에 대해 연구한 것이다. 의도를 나타내는 ‘-려고’가 처음부터 쪼갤 수 없는 기본 형태인지, ‘-려 하(다)’는 ‘-려고 하(다)’의 ‘-고’가 수의적으로 탈락될 뿐, ‘-려고 하(다)’와 ‘-려 하(다)’는 동일한 것인지 등에 대해서 그 형성과정을 통해 해답을 찾고자 하였다. 또한 대부분의 논의가 접속어미로서의 ‘-려고’에 집중되어 있거나 다른 의도 표현과의 관계 속에서만 살피고 있을 뿐, ‘-려 하(다)’나 ‘-려고 하(다)’, 문말에 나타나는 ‘-려고(요)’에 대해서는 크게 관심을 두지 않고 있으므로, 각각의 의미적․통사적 특성에 대해서도 연구해 보고자 하였다. 먼저, ‘-려 하(다)’는 중세에서부터 쓰였다. ‘-려 (다)’는 선행용언에 [+내면성]을 부여하는 ‘-리-’가 결합한 ‘-리어 (다)’이다. ‘-려 하(다)’는 어떤 행위를 드러내기 위한 표현이라기보다는 행위주의 ‘의도’나 화자의 ‘추측’과 같은 [+내면성]을 나타내는 데에 초점이 맞추어진 표현이다. 그러나 행위주가 일인칭이 아닌 경우, 행위주의 ‘직접적인 행동’을 표현할 때도 쓰인다. 이런 ‘-려 하(다)’는 첫째, 행위에 대한 행위주의 인칭 등에 제약을 받지 않는다. 또한 행위주가 무정명사인 경우에도 표현 가능하다. 둘째, 부정 표현에서 행위주의 의도를 드러낼 때는 의지부정인 ‘안’ 부정문만 가능하다. 셋째, ‘-려 하(다)’는 행위주가 무정명사일 경우, 부정표현을 쓸 수 없다. ‘-려고(요)’의 ‘-려고’는 ‘-려 고’로 쓰던 말에서 ‘-’가 줄어들어 ‘-려고’가 된 것으로 볼 수 있다. 두 어구가 줄어들 때는 둘째 구의 어간 ‘하-’가 생략된 것이다. ‘-려고’의 첫 등장은 접속어미로서이다. 접속어미 ‘-려고’는 문법화 과정을 거쳐 문말에 ‘-려고(요)’로 실현된다. ‘-려고(요)’는 행위주의 ‘행위’는 드러내지 않고, 오로지 ‘의도․의향’만을 드러내는 표현이다. ‘-려고(요)’는 담화 참가자, 즉 화자와 청자가 행위주인 경우만 실현 가능한 표현으로, 행위주가 삼인칭일 때는 비문이 된다. ‘-려고(요)’가 ‘의도․의향’의 의미를 가지고 있으므로 부정표현에서 의지 부정인 ‘안’ 부정만 가능한 것이다. ‘-려고 하(다)’는 접속어미 ‘-려고’로 연결된 복문의 후행절이 ‘하(다)’로 대체되었다고 볼 수 있다. ‘-려고 하(다)’는 ‘-려 고 하(다)’ 구성이므로, ‘-려 하(다)’나 담화 상 표현인 ‘-려고(요)’ 보다 ‘하(다)’가 한 번 더 쓰인 것이라고 볼 수 있다. ‘-려고 하(다)’는 행위주의 의도를 드러낼 뿐만 아니라 의도를 수행하기 위한 어떠한 직접적․간접적 행위가 있음을 나타낸다. 통사적 측면에서 ‘-려고 하(다)’는 ‘-려 하(다)’와는 크게 차이 나지 않는다. 행위주의 인칭에 제약을 받지 않는다는 점, 행위주가 무정명사인 경우에도 표현이 가능하다는 점, 부정 표현에서 행위주의 의도를 드러낼 때 ‘안’ 부정문만 가능하다는 점 등은 ‘-려 하(다)’와 동일하다. 다만, 행위주의 의도를 직접적으로 묻는 표현에서는 외적인 동작성이 드러나는 ‘-려고 하(다)’보다는 ‘-려고(요)’나 ‘-려 하(다)’가 더 자연스럽다.