작업기억과 담화 이해 및 추리

趙明翰,高成龍,趙炳煥 대한민국 학술원 2007 학술원논문집 : 인문, 사회과학편 Vol.46 No.1

본 연구는 담화 이해와 추리에 관한 여러 실험들의 결과를 검토했고, 잘 알려진 실험 문장들을 변형하여 직관을 검토했고 또한 지식 구성을 간단히 하여 공명이론 기반의 시뮬레이션도 수행하였다. 실험 자료, 직관 자료 및 시뮬레이션 결과를 잘 설명하는 관점이 기억기반 접근임을 논의했으며, 더 나아가 이 접근에서 가정되는 작업기억과 장기기억간의 유연한 상호작용의 시각에서 개인차의 연구들을 고찰했다. 개인차 연구들의 핵심 결과는 비숙련 독자들도 숙련 독자들과 마찬가지로 관련 지식이 있으며, 더 나아가 관련 지식이 장기기억에서는 활성화되었음에도 불구하고 쓰이지 않을 수 있다는 것이었다. Zoh와 Ahn[2006]은 모순 정보를 담고 있는 문장들이 인과와 대초 추리 실험문장들 사이에 있을 때 비숙련 독자들도 숙련 독자처럼 인과와 대초추리를 하는 결과를 보고했다. 이 결과를 비숙련 독자들도 모순정보가 있을 때 더 세밀한 명제를 구성하여 전체적으로 정합성을 찾으려고 시도를 했으며 이 모순 문장들에 관한 누적된 처리 기술이 실험 문장으로 전이된 것으로 해석하였다. 결론적으로 Zoh와 Ahn의 연구가 담화 이해 및 추리와 같은 복잡한 인지 과제의 처리에서 핵심적인 역할을 하는 작업기억의 용량이 제한은 있으나 고정되어있는 것이 아니라 신축적이라는 것을 시사한다고 논의하였다. This study reviewed several experimental results on discourse comprehension and inference, examined our intuitions on the modified sentences constructed by changing one word in the well-known sentences, and carried out the computer simulation on the basis of the resonance model. We discussed that memory-based approach seemed to account for the results on the experiments and simulations pretty well. Furthermore, the studies on individual differences on inference were examined from memory-based approach’s viewpoint of the flexible relation between working memory and long-term memory. The crucial results were that less skilled readers was not ready to use the knowledge related to the inference, even though they had the knowledge, which was activated in long-term memory. Zoh and Ahn[2006] showed that less skilled readers made causal and contrastive inferences only when fillers with inconsistent information were used. This result was interpreted as showing that less skilled readers tried to construct more constrained propositions to seek the global coherence on the face of inconsistent information, and seemed to accumulate the knowledge and skills related to the inference, which were finally transferred to the comprehension of experimental sentences. We discussed that Zoh and Ahn’s study indicated that working memory for such complex cognitive tasks as discourse comprehension and inference waxes and wanes.

A Psychological Study on the Early Developmental Stages of Korean Child Language language and Cognition

ZOH, MYEONG-HA KOREAN SOCIAL SCIENCE RESEARCH COUNCIL KOREAN NATI 1976 Korean Social Science Journal Vol.4 No.1

So far we have discussed the stages of language development of our three children particularly relying upon the results of semantic analysis. Consequently, the developmental stages we have classified came from the results of rather qualitative criteria. However, mean length of utterance (MLU) has been recommended to use a better index of the development, where MLU is defined as the average length of the child's utterance in morphemes. A group of developmental psycholinguists at Harvard has proposed the term stage I for the period beginning with the emergence of the first multiword utterances and continuing until MLU reaches 2.0. Further stages are defined by increments of 5. to the MLU (Brown, 1973). We presented here our children's MLU in accordance with the developmental stages as shown in Table3. But it should be kept in mind that our MLU would not be directly comparable to the Brown's or others because we have not collected all the speech uttered in a certain period but only the different kinds of speech. Moreover, only the above two-word speech were included in calculating the MLU whereas one-word speech were omitted. However, Table 3 shows that our calculation of MLU also has a discerning power at least between tow-and three-word stages. In summing up, we adopted the term 'monoreme' from Werner and Kaplan to the first pseudowords produced by the children in the sense that they are neither words nor sentences in view of their function. Only insofar as they fulfill a grammatical and syntactic function in an utterance, a name becomes a word and combination of words becomes sentence. For this very reason, we defined the earliest two-word combinations 'duoreme' ; the initial word in the word-order of two-words were contentives that make reference to the objects, some state of conditions, or movements. Only at a later period, they became sentence in which the two-words has been related in their semantic function. Before emerging the three-and the above three-word sentences, there also appeared pseudo three-word sentences which we called 'trioreme', even though the duration of their emergence was not discrete but persisted to occur over a long time. From the end of this stage on, i.e., at the stage we have not yet analyzed its characteristics, comples derivational rules such as past and future tenses, and subject and object case markers were observed. The developmental stages we have so far observed are roughly corresponding to the early stage Brown has defined. He analyzed the child speech of stage I in almost all the aspects in detail, but failed to pay attention the specific stages such as duoreme and trioreme, probably, we have been deeply impressed by the fact that how elaborate steps our children made forward in their developing processes of language, apart from the fact that how astonishing regularities in the child speech is. One might say that the child language develops as if it would keet step with the pyramid-like staircase of five stages at least, namely, monoreme, duoreme, two-word sentence, troireme, three-and above three-word sentence, and so on. As one steps up the ataircase, the first step becomes the base for the second step-stone, and the next is also the same as the former one. The step-by-step characteristic of language acquisition might suggest some negative answers against the innateness hypothesis. However different child speech is from adult speech, it is evident that it gradually approach to the resemblance of its mother tongue. I think the innate hypothesis has been induced not only from the theoretical necessity but also from practical, ordinary life-oriented, necessity that has fascinate parents as to how a child masters the acquisition would never take place abruptly. Rather it seems more reasonable to say that the mystery of how a child becomes capable to speak rapidly can be solved only by understanding that he accomplishes necessary and due course on a step-by-step basis. By this word, however, we do not mean the gradual learning model as will be discussed later. Those who are fascinated by the Chomsky's hypothesis of LAD have a tendency to believe that ecidence for universal proves the hypothesis of innateness. Certainly the data from our three children support the universals with regard to the constructional rules as well as the semantic relationships. As Brown(1973, p.198) appropriately pointed out, "The Stage I meanings have proved to have some generality in a sampling of child speech studies, and I do feel tempted to hypothesize universality. But not innateness. Not innateness because. . . it is my impression that the first meanings are an extentsion of the kind of intelligence that Jean Piaget calls sensorymotor". Slobin's (1973, p.184-185) descriptions are more pertinent to our argument : "Studies which have considered the supposed intended meanings of children's utterances support a far-reaching principle which could be phrased as follows : New forms first express old functions, and new functions are first expressed by old forms. It turns out that this is a familiar principle in the psychology of cognitive development, and it is not surpring to find it in linguistic development as well." In conclusion, the Slobin's principle of linguistic development must be taken granted. in which what we have observed for the developmental stages may be included. In other words, we suggest that this principle may reflect nothing other than the step-by-step characteristics of language acquisition we have so far discussed. For example, when Gyeong said Mommy bread give for the first time in a trioreme form, it just expressed what he had expressed through the two-word sentence like Mommy give or bread give. Therefore, this is the case which can be phrased as new forms first express old functions. On the other hand, the same expression Mommy bread give is going to be used after a while to indicate the nonlinguistic context in which mother was giving bread to his sister. This is the case which can be phrased as new functions are first expressed by old forms. Slobin believes that this principle supports the cognitive prerequisite hypothesis for the development of grammar that language is used to express only what the child already knows. I think that Slobin deliberately disregard how new forms urge to modulate new functions and the vice versa. Originally the principle was described by Werner and Kaplan(1963, p.60) as following : "We believe that the shifts which take place from concrete action models to syntactic relations of a more abstract sort reflect the operation of the basic deveropment principle pertaining to form-function relationships. As one will recall, according to this principle, wherever functional shifts occur during development, the novel function is first executed through old, available forms ; sooner or later, of course, there is a pressure towards the development of new forms which are of a more functionspecific character, i.e., that will serve the new function better than the old forms." More emphasis put on the interaction between forms and functions in the Werner and Kaplan's phrases. While there is no doubt that linguistic structures are determined by the cognitive capacity of the child, the possibility has notto be excluded that new linguistic structures will serve the new function better than the older ones. It must be kept in mind that the new form of duoreme or trioreme was expressed first before our subjects explicitly expressed the two- or three-term semantic relationships. There is a strong possibility that the new function of two and three-term relations has been fascilitated to emerge by the force of the available form of duoreme or trioreme. Recently Schleginger(1976) has argued for the interaction between cognition and language in such way that cognition is responsible for the interpretation problem without the aid of language whereas the categorization problem depends on the language. Cognitive skill which enable a child to understand what is going on in his or her environment is called the interpretation problem. However, for example, "what are the boundaries of the agent concept? Mummy handing the bottle to the child is no doubt an event where an agent is performing some action, but what about mummy just holding the bottle? To take one further step, can the bottle be said to be an agent 'containing' the milk in the same way that mother is an agent holding the bottle? Clearly there are gradations here of 'agentiveness'"(Schlesinger, 1976, p.6). What he suggests is that the linguistic input would hepf a child to categorize the various agents into one concept, and that cognitive development and linguistic input may be mutually supportive. Of course, Schlesinger rightly has pointed out, it is usually not wise to side with a extreme theorizing.(All of the transeriptions presented in this paper are theli teral translation into English)

The Platonic Dialectic and the Aristotelian Critique

Zoh, Johann조요한 숭실대학교 철학과 1986 思索 Vol.8 No.-

공공디자인. 그 성공의 조건

조경진(Zoh Kyung-Jin) 대한건축학회 2010 建築 Vol.54 No.5

오태석의 6ㆍ25 3부작 연구 1

조보라미(Zoh Borami) 한국현대문학회 2008 한국현대문학연구 Vol.0 No.25

본고는 오태석의 6ㆍ25 3부작 (〈산수유〉, 〈자전거〉, 〈운상각〉)의 구조적 상동성을 밝히고자 하는 의도 아래, 오태석의 최고작 중 하나로 일컬어지는 〈자전거〉를 먼저 분석한다. 이에 대한 분석을 통해 〈자전거〉에 대해 다음과 같은 새로운 사실이 밝혀진다. 〈자전거〉는 다른 6ㆍ25 3부작과 마찬가지로 전쟁세대와 전후세대가 골고루 등장한다. 그러나 다른 두 작품과 달리 전후세대를 중심인물로 취하며, 이것은 작가 오태석이 속한 세대라는 점에서 또다른 문제성을 함축하고 있다. 플롯의 측면에서 볼 때, 〈자전거〉는 ‘명시적 플롯’ 이면에 ‘숨겨진 플롯’이 존재하는 이중 구조로 파악된다. 그리고 이를 통해 전쟁세대 가해자의 죄의식은 물론, 전쟁의 피해가 전후세대에까지 미친다는 6·25 3부작의 두 가지 이야기-구조가 효과적으로 드러난다. 한편, 이 극에서 문둥이의 존재는 우리나라 역사상 좌익의 알레고리로 볼 수 있다. 또한, 극중에서 문둥이 일가의 이야기에 집착하는 윤서기는 허구 속 등장인물로서의 역할을 넘어 극작가 의식을 이어받은 것으로 볼 수 있다. 이로써 〈자전거〉에 나타난, 6ㆍ25의 비극에 대한 알레고리적 성격은 더욱 심화된다. 또한, 절정에 이르기 직전 의도적으로 시간을 지연하면서 긴장을 고조시키는 방식 역시 상동적인데, 〈자전거〉에서는 특히 연극 놀이라는 비사실적 방식으로 이루어지고 있다. This thesis analyzes 〈the Bicycle〉 in respect of the Korean War(6.25) trilogy of Oh Taeseok. The trilogy is homologous in the respects of character, plot and the way of making tension. Through this analysis, new facts about 〈the Bicycle〉 are revealed as follows: Both the war-experiencing generation and the post-war generation appear in 〈The Bicycle〉 as the other works of the Korean War trilogy. But the protagonist(Mr. Yoon) in 〈Bicycle〉 belongs to the post-war generation, to which dramatist Oh also belongs. The events related with the leper family in this work constructs the foregrounding plot(the overt plot), while the concealed past of Mr. Yoon's uncle who set fire on a registry during the Korean War constructs the secret(the covert plot) in this work. And the events which a bull attacked Mr. Yoon but the dead rescued him become the other secret. Hereby, 〈the Bicycle〉 can be explained as a double structure where both the foregrounding plot and the secrets reside. And that, Mr. Yoon who mysteriously attached to the story of the leper's family can be seen as the playwright's consciousness in this work. With this, the allegorical features about the tragedy of Korean War in 〈the Bicycle〉 deepens more than before.

연상적 의미와 우리말 연상사전의 작성

조명한(ZOH Myeong-han) 서울대학교 언론정보연구소 1969 언론정보연구 Vol.6 No.-

‘한국적인 심성의 근원’을 찾아서 : 최인훈 문학의 도정(道程)

조보라미(Zoh Borami) 한국현대문학회 2010 한국현대문학연구 Vol.0 No.30

탈식민주의적 시각은 최인훈 문학에 대해 본질적으로 접근하는 방법 가운데 하나이다. 이것은 작가 자신이 ‘5부작’으로 읽히기를 바랐던 주요 소설-『광장』, 『회색인』, 『서유기』, 『소설가 구보씨의 일일』, 『태풍』-이나 그 외 다른 소설은 물론, 희곡으로의 장르 전환에 대해 해명할 수 있는 중요한 단서를 제공한다. 최인훈 소설은 서구의 가치와 문화가 한국을 지배하는 현실을 반복해서 표현하고 있으며, 이에 대한 경계심을 늦추지 않고 있다. 또한 후기 소설에는 이에 대한 극복 방안이 모색되고 있는데, 우선 『태풍』은 세계 패권국의 지배권 경쟁구도 가운데 약소국들의 국제적 연대의 필요성과, 민족이라는 고정 관념을 유보한 채 잡종성을 하나의 대안으로 제시하고 있다. 그런가 하면 『소설가 구보씨의 일일』은 식민지적 현실을 극복할 대안으로 불교를 중심으로 한 전통의 회복을 제시한다. 이때 『태풍』이 최인훈 소설사의 구도 속에서 다분히 예외적인 형식을 띠며 그 해결책 역시 독특하다면 『소설가 구보씨의 일일』은 작가의 다른 소설들과의 연계성이 강하다. 한편 최인훈 희곡은 이러한 탈식민주의적 인식의 연장선상에서 한국의 문화적 경험을 적극적으로 담보하고자 하는 의도에서 창작되었다. 이것은 무엇보다 최인훈 희곡이 한국의 설화나 고전소설을 소재로 한 것과, 무대지시문과 대사에 있어 한국어의 아름다움을 최대로 살리고자 한 데서 확인된다. 또한 한국의 고유한 심성인 정(情)과 한(恨)을 바탕으로 한 인물을 형상화하고, 비극적인 극의 내용과 상반된 축제적 결말을 통해 한(恨)을 작품 구조의 측면에서 구현하고 있다. 그 외에 굿과 농악, 각설이 타령과 풍년가 등 연극적인 표현양식을 통해서도 ‘한국적인 것’이 구현된다. 그런데 이때 최인훈 희곡에서 ‘한국적인 것’은 남을 인정하는 바탕 위에서 나의 것을 주장하는, 보다 폭넓은 논리를 가지고 있음이 주목된다. 즉, 최인훈 희곡은 언어에의 의존도를 낮추고 움직임과 소리, 빛 등 비언어적 요소를 강화한다는 점에서 현대 연극의 흐름과 일치하며, 기존에 실용적이고 부차적인 기능만을 가져온 무대지시문에 본질적이며 미학적인 기능을 부여함으로써 세계 희곡/연극의 측면에서 새로운 미학을 드러낸 의의가 있다. 이런 점에서 〈옛날 옛적에 훠어이 훠이〉에서 아기장수의 생애를 예수의 생애와 유비하고 있는 것은 한국이라는 ‘특수성’과 세계라는 ‘보편성’을 결합시키기 위한 의도로 해석할 수 있다. 결국 최인훈 문학은 일본의 식민 체험은 물론 서구의 영향력이 점차 그 지배력을 강화하는 20세기 한국의 상황 속에서, 작가 자신이 ‘한국적인 심성의 근원’이라고 표현한바 한국의 정체성을 모색하는 작업이었다고 할 수 있다. The view of postcolonialism is one of the essential ways of approaching the literature of Choi Inhoon. It applies to his main novels which the writer Choi called 'pentalogy'-the Square, the Gray Man, Seoyugi, The Day of a Novelist, Gobo, and Typhoon- and the other novels as well. And it also provides the key to apprehending why he writes plays in 1970's. Writer Choi's novels express and criticize the reality that western culture dominates the Korean society. And his later novels, Typhoon and The Day of a Novelist, Gobo show how to overcome it in different ways. On the one hand, Typhoon represents the need of international solidarity of small nations against the world powers, and hibridity instead of a rationally homogeneous belief. On the other hand, The Day of a Novelist, Gobo provides the recovery of tradition centering Buddhism. In this respect, The Day of a Novelist, Gobo is in the main line of Choi Inhoon's novels, different from Typhoon. Meanwhile, Choi Inhoon's plays are also created in the postcolonial view, especially to express the Korean identity in positive way: At first, Writer Choi's plays deal with various folk tales and traditions; his works display the most attractive merits of Korean language; they also display the protagonists' emotional depiction of affection(情) and tragedy(恨) representing Korean mentality; they display a great aesthetic appeal of tragedy launched by some ritual ceremony in the end in a way of ironic interaction with grave main contents; in addition, Korean identity is also expressed by shamanistic and farming songs along with folk songs during the performance on the stage. Choi In-hoon's plays are conscious of universality. Writer Choi's plays reinforce the nonverbal elements such as movement, sound, light instead of verbal elements, which accords to the contemporary theatre toward performance beyond the text. And stage directions have essential and aesthetic function instead of practical and secondary function, thereby reveals the new aesthetics in the world of drama. In this respect, the analogy of the life of baby commander(아기장수) and that of Jesus in Long long time ago, whoee whoee(〈옛날 옛적에 훠어이 훠이〉) can be interpreted to integrate the specificity of Korea and the universality of world. In conclusion, Choi Inhoon's literature is to search for the Korean identity which the writer Choi called 'the essence of Korean mind', in the dominance of Japan and western culture in the 20th century of Korea.

Construction of a variable-temperature scanning tunneling microscope system with in situ micro four-probe measurement ability

Inhae ZOH,Myungchul OH,Yong-Chan YOO,Hanho LEE,Minjun LEE,Hoyeon JEON,Sungmin KIM,Sunwouk YI,Chao ZHANG,Young KUK 한국진공학회 2016 한국진공학회 학술발표회초록집 Vol.2016 No.8

오태석 역사극에 나타난 사실과 허구의 긴장관계

조보라미(Zoh Borami) 한국현대문학회 2009 한국현대문학연구 Vol.0 No.28

오태석은 1994년 〈도라지〉로부터 시작하여 현재까지 한국 근현대사에 대한 역사극을 지속적으로 발표하고 있다. 본고는 이 중에서 〈도라지〉, 〈천년의 수인〉, 〈잃어버린 강〉, 〈앞산아 당겨라 오금아 밀어라〉 등 4작품을 중심으로 사실과 허구의 긴장관계에 대해 분석하고, 이것을 바탕으로 작가의 역사관을 고찰한다. 본고에서 우선적으로 주목한 것은, 오태석 역사극이 정도의 차이는 있지만 역사적 사실에 대한 상세한 탐구를 기반으로 하고 있다는 사실이다. 그리고 이러한 역사적 사실 중에는 일반인의 통념과 다른 것도 있어 오태석 역사극에 대한 섣부른 오해를 낳을 수 있는 소지 역시 있음이 발견된다. 그러나 오태석 역사극이 물론 역사적 사실만으로 이루어진 것은 아니다. 사실과 허구를 양 축으로 오태석 역사극을 놓고 볼 때, 〈도라지〉는 사실의 축에 가장 가까운 작품으로, ‘역사극’과 ‘역사 서사’의 경계에 위치한다. 또한, 〈천년의 수인〉과 〈잃어버린 강〉은 역사적 인물을 주인공으로 하되 허구적 요소가 적지 않게 나타남으로써 역사적 기대지평과 허구의 관습적 기대지평이 공존한다. 그런데 이 두작품은 역사적 사실과 다른 부분으로 말미암아 역사왜곡 논란에서 자유롭지 못하다. 반면, 〈앞산아 당겨라 오금아 밀어라〉는 허구적 인물과 허구적 사건을 중심적으로 다룬다. 따라서 역사 왜곡의 문제를 피해가는 것은 물론, 허구적 이야기를 과감하게 창조함으로써 작가의 역사관을 드러내는 데도 효과적으로 기여하는 바 오태석 역사극의 성격상 가장 적합한 형태라 하겠다. 이들 역사극을 통해 작가는 가해자와 피해자 간의 용서와 화해, 곧 한국 역사상 친일과 반일, 좌익과 우익의 대립을 지양하는 시각을 드러낸다. 이것은 미래지향적 역사관으로 표현될 수 있는데, 이 때 작가가 상정하는 미래란 민족주의적 시각으로 파악될 수 있다. Oh Taeseok has presented many historical dramas since 1994 which deal with modern history of Korea seriously. Among them, this thesis treats these four plays: Doraji(도라지), A Thousand Year Prisoner(천년의 수인), A Lost River(잃어버린 강), and Pull, Ap-san; Push, Oh-geum(앞산아 당겨라 오금아 밀어라〉. Especially this thesis focuses on the tension between historical fact and imagination at first, and then examines the author's historical view. Oh Taeseok's historical plays are based on historical facts, even though the degrees of dependence are different. Doraji, which deals with the lives of Kim Ok-gyun and Hong Jong-woo, the enlightenment intellectuals, is most dependent on historical facts among these works. A Thousand year Prisoner, of which the character is Ahn Du-hee, an assassin of Kim Gu, and A Lost River, which deals with the life of Ahn Jung-geun, the famous activist for independence in the period of Japanese Imperialism, base on historical facts also. But these works are full of historical imagination and both the historical and the conventional expectation reside there. That is, protagonists of these works are historical characters, so reader/spectator of these works requires the historical expectation from these works. But some events conflict with historical facts, so charge of historical distortion arises. On the other side, Pull, Ahp-san; Push, Oh-geum, which treats the Jeju revolution in 1948, treats fictional characters and events. So reality effect depends on the custom of realism, not on the outside of the text, whereby it avoids the problem of historical distortion. And that, this work creates fictional events which serves the representation of the historical view of the playwright. So it can be said that this form (invented historical drama) is suitable for Oh Taeseok's historical drama. After all, through these works Oh Taeseok reveals the historical view of rejecting the confrontation of pro- and anti-Japanese group, or that of the right wing and the left wing. This view can be interpreted as a historical view toward the future, and the future the playwright hopes can be seen as nationalism.

[프로젝트 리포트] 서울도시건축전시관

조경찬(Zoh, Kyung Chan) 대한건축학회 2019 建築 Vol.63 No.10