과학 텍스트의 비유 표현 연구

송현주(Song, Hyun-ju) 국어교육학회 2016 국어교육연구 Vol.61 No.-

The objective of this study is to analyze the use of figurative expressions in science textbooks and scientific articles. More specifically, it examines in depth the ‘usage patterns, positions, and functions’ of the figurative expressions that appear in these two types of scientific texts. Unlike the ordinary language, scientific texts contain many difficult concepts. Without using figurative expressions, scientific facts cannot be conveyed concisely and can hardly be richly and graphically described. Therefore, scientific texts are expected to have various communicative effects by the active use of figurative expressions. The most common patterns of figurative expressions in scientific texts include patterns such as ‘piyu/piyuhata’ (comparison/compare), ‘chelem’ (like), ‘ichelem’ (like this), ‘tusi’ (as). In addition to these, the use of quotation marks also suggests the presence of figurative expressions. While they can be organized as ‘advance organizer’, ‘embedded activator’, and ‘post synthesizer’ within the text according to position, figurative expressions are most likely positioned in the introductory part of the main texts in the case of textbooks and can be found in various positions in the case of newspaper reports. The function of figurative expressions is twofold. First, they assume an educational role by providing non-expert public with easy explanations that do not affect the scientific opinion. Second, the theory constitutive function, which is intended to an ex pert public, serves to ex plain a concept when formulating a particular theory. This study has collected analogical expressions from science textbooks and scientific reports to analyze their use qualitatively. However, it does not perform a quantitative analysis. This limitation is expected to be overcome in future research.

표문(表文)의 비유적 표현과 설득

송병우(Song Byung-Woo) 동남어문학회 2007 동남어문논집 Vol.23 No.-

The purpose of this study is to inquire into the persuasive means shown in Poymun of Koryo History. Among them, this study is focused on the methods contributing the figurative expression to the persuasion. That is to break away from the point of view that a figurative expression makes flowery words and has aesthetically the decorative function, and to examine from the viewpoint that it is the essence of a language and at the same time the constituent element of thought. In this manner, this study takes a view of a figurative expression in terms of the function of a rhetoric persuasion as a possibility with the view to nonexistent the inherent recognition devoid of a figurative expression. The subject of this study is figurative expressions shown in Pyomun of Koryo History. And this study intends to indicate that figurative expressions contribute to a persuasive function in addition to a decorative function in communication situations. Nevertheless it is not to say that the decorative function of figurative expressions is meaningless in a text. Besides it needs only to bring another essential aspect as well as the aesthetic nature to light. There are a variety of figurative expressions contributing to persuasion in Pyomun. This means of expression are a question rhetoric, a simile, an antithesis, a metonymy, and a metaphor. The figurative expressions have an influence on literary decoration on the one hand and indirectly on persuasion on the other hand. First, a question rhetoric expresses the contents of communication in an indirect method. In other words, a speaker persuades effectively a listener being not in a bad temper the listener because of a strong assertion or making merely his subjective assertion an objective fact. Second, a simile appears clearly the speaker’s mind that he praises and approves the act of the listener. This expression results in the effectiveness of transmission that the speaker makes clear and effectual the content of the admiration for the listener. Third, an antithesis produces an effect on raising vividly the opinion and assertion that the speaker wants to communicate. It makes universal validity of the opinion intending to transmit and makes good progress effectively for persuasion. Fourth, a metonymy is used when the speaker expresses the best admiration for the listener. It makes ultimately an effect on gaining the listener’s confidence and favorable impression. Finally, a metaphor transmits a plentiful meaning through a brief figure of speech. Also the metaphor used in Poymun is formally short. Yet the speaker shows oneself a modest attitude while the listener shows a noble person by the brief metaphor. Therefore it is very effective by means of persuasion through both humility and politeness.

비유를 활용한 대학 글쓰기 교육 방안

홍미주(Hong Miju),송현주(Song Hyunju) 한국문화융합학회 2021 문화와 융합 Vol.43 No.9

이 연구의 목적은 대학 글쓰기 수업에서 ‘비유’를 활용한 글쓰기 교육 내용을 구성하고, 학생들의 비유 사용에대한 인식 및 비유 사용의 효과를 살펴보는 것이다. 그동안 ‘비유’는 수사법의 하나로 문학 작품을 감상하는 데초점을 두고 다루어져 왔을 뿐, 다양한 장르에서 글쓰기의 효과를 높이기 위한 방법으로는 주목받지 못했다. 그러나 비유는 전달하기 어려운 개념을 표현할 수 있게 해 주며, 복잡한 내용을 간결하게 표현할 수 있게 하고, 특정개념을 더 풍부하고 상세하게 전달해 준다는 점에서 다양한 장르에서 필자의 주제 의식을 효과적으로 전달할 수있는 방법이다. 따라서 대학의 글쓰기 교육에서 학생들이 비유의 기능과 효과를 인식하고, 비유를 활용해 주제의식을 효과적으로 전달할 수 있는 방법을 교육할 필요가 있다. 이에 본 연구에서는 대학의 글쓰기 수업에서 비유를활용한 글쓰기 수업을 설계하여 진행하고, 비유 및 비유를 활용한 글쓰기에 대한 학생들의 인식을 파악하여, 비유를 활용한 글쓰기 수업의 필요성과 수업 방안을 제안하였다. This study examines the teaching contents and effectiveness of figurative expressions in academic writing in the context of academic writing classes. Figurative expressions hitherto have mostly been treated as rhetorical devices for the appreciation of literary works but dismissed as tools that increase the effectiveness of writing in other genres. However, figurative expressions prove to be an effective way to show the writer’s topic awareness in various genres by helping them express concepts that are hard to convey, explain concisely complex notions, and communicate a given idea in a richer and more detailed manner. Therefore, academic writing courses need to teach learners how to recognize the functions and effects of figurative expressions and use them effectively to convey their topic awareness. Thus, this study designs a teaching plan for academic writing that makes use of figurative expressions and suggests not only the need for teaching academic writing that uses figurative expressions but also the importance of identifying learners’ perceptions of figurative expressions and writing with such expressions.

현대공예의 구상적 표현을 통한 내러티브 유형 연구

한상덕,강연미 한국기초조형학회 2019 기초조형학연구 Vol.20 No.4

The purpose of this study is to classify the forms of figurative expression in contemporary craft into three types. By analyzing the works of contemporary craft artist in accordance with each category, it is to explore the possibility of original development of craft as an expression medium. As a research method, the features of theme and the process of the contemporary crafts which develop the story through the figurative expressive methods, were analyzed from the craft's viewpoint. The subjects of the study were limited to the American and Europe contemporary craft artists. In the mid of 20th century, the spread of postmodernism destroyed the communal ideology and create a culture that emphasized personal feelings. Contemporary craft is influenced by these trends developed into expression media of visualizing personal emotions. The expression is divided into abstraction and figurative expression. Among them, this study analyzed the general definition and the way of how artists convey the story in order to study the aspect of development of the figurative expression. Figurative expression means conveying a metaphorical story through a visual symbol reminiscent of an actual object. While the symbol system of visual symbol has various forms according to the artist’s intention, this study is classified into the following categories: allegory, satire, and fable. In Chapter 3, based on the contents of Chapters 1 and 2, I analyzed 6 contemporary craft artists and examined the specific features of craft as an expression medium. This study analyzed the metaphor and symbols of ordinary sort of day, the conditions of satire, which are allegories according to the type of story to be conveyed, and the aspect of personified expression of characters that is the core of fable. As a result, contemporary craft based on natural materials and sophisticated hand techniques have the attributes of aesthetic value and emotional ties. Therefore, the figurative expression in contemporary craft is not only the formative value, it is concluded that it is an original medium capable of intimate communication of emotions by universality. 본 연구의 목적은 현대공예에 나타난 구상적 표현을 통한 내러티브의 유형을 분류하고 이를 통해 관련 작가들의 작품을 분석하여 표현매체로서 현대공예의 독창적인 발전 가능성을 모색하는 것이다. 연구 방법으로는 구상적 표현방식을 통해서 이야기를 전개하는 현대공예 작품의 주제 및 제작 과정의 특징을 공예의 시각에서 분석하였으며, 연구 대상은 현재 활동하는 미국과 유럽의 현대공예 작가로 한정하였다. 20세기 중엽 포스트모더니즘의 확산으로 인해 공동체적 이데올로기가 파괴되고 개인의 감정과 내면을 중시하는 문화가 형성되었다. 이러한 시류에 영향을 받은 현대공예는 개인의 감정을 드러내는 표현매체로 발전하였다. 표현 매체는 추상과 구상표현으로 크게 나뉘는데 이 중 구상적 표현은 실제 대상을 연상시키는 시각 기호를 통해서 은유적인 이야기를전달하는 것을 의미한다. 이때 시각 기호의 내러티브는 작가의 의도에 의해 여러 형식을 보이는데 이는 알레고리, 풍자, 우화의 세 가지의 유형으로 나뉘며 이를 바탕으로 6인의 현대공예 작품을 해석하여 표현매체로서 현대공예의 특징과 성격을 구체적으로 살펴 볼 수 있다. 알레고리에는 일상의 고통을 장신구로 표현한 스미스와일용 기물의 메타포를 다루는 밈리취-그레이, 풍자에는 비즈공예 기법을 활용하여 사회적 문제를 고발하는 스콧과 현대인의 삶을 유머러스하게 표현한 메트캐프, 우화에는 뜨개질 옷을 입힌 의인화된 동물의 판 데어 레스트와 인간의 이면을 표현한 시각 이미지를 입체위에 덧씌워 초현실적인 캐릭터를 창조하는 이수포프를 대표적인 현대공예 작가로 들 수 있다. 이들은 표현 의도와 형식에는 차이를 보이지만 재료에 중심을 두며 정교한 손기술을 바탕으로 하는 공예의 속성을 통해 독특한 조형성과 정서적인 유대를 구현하였다는 공통적인 특징을 보인다. 이러한 분석은 현대공예에서의 구상적 표현은 조형적 가치뿐만 아니라 크기나 형식의 고유한 보편성에 의해 감정의 내밀한 소통이 가능한 독창적인 매체라는 결론을 나타낸다.

프랑스어 야생 동물명 비유 표현과 코퍼스 분석

황순희 국제언어인문학회 2020 인문언어 Vol.22 No.1

Over the years much interest has been paid to the research of idioms and metaphors in cognitive semantics. Not surprisingly then, there has been a good deal of related research, however, there are relatively few studies on animal figurative expressions. The present study aims to examine metaphorically extended meanings of wild animal figurative expressions in French through 3 representative corpora’s analysis. For this purpose, eight wild animal words loup(wolf), renard(fox), serpent(snake), ours(bear), poisson(fish), oiseau(bird), canard(duck), ver(worm) , 145 related figurative expressions and 1,646 uses in corpora were analyzed and categorized based on semantic molecules. Our findings show that firstly, eight wild animals’ figurative expressions and their extended meanings could be categorized. Which related to five components such as human being, event, object & abstract, time and arbitrary construction. Secondly, there were differences in semantic categories of figurative expressions according to animals. For example, ‘malevolence’, ‘cruelty’ and ‘greed’ are the most frequent semantic molecules associated with ‘loup(wolf)’, whereas, ‘rudeness’ and ‘coarseness’ are conceptualized in ‘ours(bear)’. Furthermore, wild animal expressions demonstrate different French speakers’ modes of thought and cognition compared with ‘plant’ based figurative meanings.

학습자 정서 표현을 통한 시 감상 교육에 대한 고찰

김혜진 ( Kim Hyejin ) 서울대학교 국어교육과 2019 先淸語文 Vol.46 No.-

This study looks at “emotion” as the key to the appreciation of poetry and aims to develop an education method that focuses on the activities for expressing learner’s emotions. The emotional experience that learners have in poetry reading is meaningful in that it is a subjective acceptance of poetic text. However, because it is an abstract phenomenon that happens within one’s inner thoughts, it is hard to recognize it as a concrete concept. In order for learners to effectively internalize these literary experiences, elaborate ‘expression activities’ are required. As with the discussion claiming that meaning is created through expression, the thought process behind recognizing emotions is closely related to the words expressed in language. Furthermore, since the process of expressing one’s emotion is a concrete manifestation of poetry appreciation, it is possible to continuously communicate with the poetic text for consistency in appreciation. Therefore, this study tries to prove the premise that rational and creative activities of expressing emotions can guide the subjective appreciation of poetry in learners; based on this, this study aims to design poetry education. In order to investigate the types of emotions learners experience during poetry reading and to design an appropriate education method for its thought process and expression, this study selected poetry reports of actual learners as analysis data. In addition, to categorize the patterns of expressing emotions, this study referred to related theories and established the scope and form of expressions that can be judged as being emotions. As a result, the study focused on emotion as a form of “communication” that emphasizes the interaction between learners and the text. Expressions such as physical sensation and mood, which are experienced during the communication process without sophisticated cognitive processing, were included as emotional expressions. Based on the classification of emotions in cognitive linguistics, the principle of emotional expression was divided into the acceptance of literal expressions and the expansion of figurative expressions. Through association and analogy, which is the point where the thought process behind the expansion of emotions and expression through language converge, the latter was again divided into the association as subjective meaning and the analogy as objectification using similar images to classify the principle of figurative expressions. Based on this, aspects of learner data were categorized as follows. First, depending on the role of learners during communication with poetic text, the literal expressions using emotional vocabulary were manifested as the state of uncertainty during a poetry reading, the re-statement of emotional expression in the poetic text, and the subjective expression of emotion as a third person. Second, figurative expressions from association showed the imaginary experience of learners communicating with the poetic text in accordance with the concept of association in cognitive linguistics. The aspects of emotions embodying the void of poems were classified into a physical response from an emotional state, causal behaviors from experience, and mood caused by imaginative reconstruction. Third, figurative expressions from analogy objectified emotions using similar images the learner calls to mind through the concept of analogy in cognitive linguistics. According to the results of the communication between the learner and the poetic text, this was expressed as an objectification by the learner’s personal context or as an objectification by communication with the text. In order for such activities of expressing emotions to be effective, the learner who has communicated with the poem must recognize one’s emotions, choose a method to express the emotions according to the context, and express them through creative and appropriate expressions, which requires the concretization of rational communication between the context of the learner and the text. For instructing such educational contents, this study suggested the following methods: sharing the scaffold of emotional stimulation and expression through activities such as small group conversations; engaging in the role of the learner as a third person to activate meta-thinking; thinking aloud to concretize and elaborate the abstract process of poetry reading through; and re-writing activities to maintain the room for communication between the learner and the poetic text. The purpose of this study is to investigate the experience of poetry reading through the analysis of poetry reports of actual learners. Focusing on the activities of expressing emotions of learners, the study concretized active appreciation of poetry. This study is meaningful in that it suggested that the empathic ability of learners may be enhanced through communicating emotions.

현대 인물화의 정신표현 연구

강유림(kang, yoo-lim) 동서미술문화학회 2012 미술문화연구 Vol.1 No.1

본 논문에서 말하는 인물화에 내재된 정신성은 동양화론에서 말하는 전신(傳神) 의 연장선상에 있으며 이를 토대로 현대 인물화의 확장된 의미의 정신성을 이해하고자 하는 것이다. 인물화에 대한 근원과 화론적 접근을 다루면서 현대 인물화가 가진 인물의 정신과 표현구조, 전통 화론으로서 기운생동과 이기론의 개념을 이해하고자 한다 이는 현대 사회에 대두된 cyber space의 인물이나 인터넷상의 가상 존재가 실재처럼 활동하는 것에 대한 사회학적 접근 이다. 연구자는 전신의 개념을 통해 인물화의 가치를 확립하면서 스스로 터득한 사회구조와 현시대의 정신성이 반영된 인물화에 집중한다. 전통 인물화의 제작 기법이 의미론으로서 접근과 함께 정신 표현의 주요 관점으로 자리하는 입장을 정리한다. 이는 예술가의 창작의지와 인물화로 제작되는 인물의 정신적 의지가 분리되었던 과거와 달리 현대인물화는 예술가와 표현된 인물이 일체하거나 분리되거나 상관없이 상호 공존하면서 회화작품으로 정신이 드러난다. 어떤 특정 인물의 외형을 닮게 그려내는 목적을 제외한 인물화는 인물의 정신이 감상자에게 전달됨을 기본으로 한다. 이러한 연구는 전신에 대한 새로운 입장을 정리하는 것이 아니라 전통의 개념을 계승 발전하는 것에 대한 일조이다 시대가 변하면 새로운 정신이 형성되고 이를 수용할 형식과 표현기법의 변화가 수반된다 여기에 보충되는 가치를 밝히면서 인물화의 구체적 화론을 형성하는데 의의를 둔다. The purpose of this study was to reveal the meaning of the underlying spirits in contemporary figurative paintings. Even though such underlying spirits are basically in company with the spirit transmission of traditional art theory, they are different from the usual ones in a sense that they have brought up the new subject, `fictitious character`. The author approaches this matter by analyzing the spirits implied in contemporary figurative paintings, how they are expressed, as well as by understanding the concepts drawn from the traditional art theory: “liveliness” and “natural principles of the spokes theory.” In this study, the author will clarify the value of figurative paintings and focus on those which reflect the contemporary spirit and the social structure based on the concept of spirit transmission. Another discussion followed will be the fact that the main production technique of traditional figurative paintings was based on semantics and was focused on expressing the spirits. This will show the difference between the traditional figurative paintings and the contemporary ones. The contemporary figurative paintings allow the mutual existence of the painter and the figure of the painting while the traditional figurative paintings separate the characters of the two. Except for the figurative paintings which are painted with the intention of painting a certain figure that resembles his or her appearance, they basically express the figure`s spirit to the viewer. It advocates in expressing the spirit of the figure rather than the painter`s, such idea supports the traditional concept, not that it tries to support the new concept. As time goes, the new spirits are created and the new ways of expressing them continuously appear. Therefore, in this study, the author seeks to illustrate the values to be added regarding this matter and to form a concrete art theory of figurative paintings.

비유적 의미 분석을 통한 어휘의 의미 확장 가능성

김선영 한국언어문화교육학회 2015 언어와 문화 Vol.11 No.2

In this study, an attempt to resolve the issue of transparency between vehicle and topic in order for a better communication using simile expressions. The most desirable form of utilized vocabularies in which transparency has been resolved was set-up to be registrated as simile expressions and presented as figurative meanings. This was seen as extending vocabulary meaning, and thus possibility of extending meaning depending on its figurative meanings and their usage was observed. Fewer the figurative meaning owned by vocabularies and greater the fixedness of mainly used form of those vocabularies lead to interpreting it as having a greater possibility of extending vocabulary meaning. Depending on such possibility, extending meaning was classified into four types. Type 1 was registrating as an entry while Type 2, separate from entry, was presenting it in a format with connectors. In Type 3, presented vocabulary meanings were numbered to add figurative meanings. Lastly in Type 4, collocation was designated as idiomatic phrases. This study provides the fundamental research for resolving the issues of transparency between vehicle and topic in simile expressions, and raises the necessity of focusing on figurative meaning of vocabularies.

다중감각 표현의 비유적 의미구성

임태성(Lim, Taesung) 담화·인지언어학회 2020 담화와 인지 Vol.27 No.1

This study examined the meaning construction of figurative multisensory expressions through conceptual blending scheme. Sensation is one of our basic experiences, and inter-sensory combination is also one of the involuntary physical experiences. This multisensory language, which is a combination of senses, is divided into vocabulary, expression, and figurative expansion. The figurative multisensory expressions are largely grouped into two types; one is a type of man-related multisensory expressions and the other is a type of non-man-related multisensory expressions. First, it is revealed that the former type stands for characters, attitudes, and emotions of persons. Especially, in a figurative multisensory expression describing the characters of men as of rough taste, such as ‘The male is rough taste (The male has a positive personality)’, the sense of positiveness is newly emerged from the sense of ‘rough taste’. And in other expressions describing the characters of men as of soft taste, such as ‘The male is soft taste (The male has a positive personality)’, the sense of positiveness is projected from the original sense of soft taste with no change. Second, it is found that the non-man-related multisensory type stands for environment of things. Especially, in figurative multisensory expressions describing a culture as of cool scent, such as ‘The culture is cool scent (The culture is positive)’, the sense of positiveness is newly emerged from the sense of cool scent.

『금병매화집』의 인물 형상 표현 연구

강현실(Kang, Hyun-Sil)(姜賢實) 대한중국학회 2021 중국학 Vol.75 No.-

조함미가 그린 『금병매화집』의 인물 형상 표현을 분석하여 그 주요한 특징과 화가의 해석을 추적하였다. 화가는 화집에 등장하는 수많은 인물을 여성 인물, 남성 인물, 군상 등 세 부분으로 나누어 각기 +주요한 표현 초점을 설정하였다. 여성 인물에 대해서는 ‘신’(神)과 ‘신사’(神似)를 추구하는 중국화 전통의 연장에서, 남성의 시각에서 ‘여성스러움’ 또는 ‘여성미’를 나타내는 다양한 ‘태’(態)를 형상화하였다. 남성 인물에 대해서는 주인공부터 소인물에 이르기까지 개성 있는 형상을 부여하여 화집의 세계를 생동감 있게 만들었다. 또 즐겨 그린 군상 묘사를 통해 군중의 속물성과 타락한 세태를 비판하여 소설의 주제를 심화시켰다. 화가는 이들 형상을 통해 민국시대 말기 부호와 고관 등 가진 자들의 사치와 성애를 탐닉하는 혼란상을 비판하였다. This research tried to extract the feature of the figure expressions in the Ilustrations of Jin Ping Mei(金甁梅畵集). Cao Hanmei(曹涵美) first divides the many characters that appear in the Ilustrations of Jin Ping Mei into three parts, such as female characters, male characters, and group images, and focuses on the main expressions of each, and works relatively systematically. The most important contribution in the expression of female figures can be the various expressions of ‘bearing’(態), which is the pursuit of ‘Spirit’(神) and ‘Similarities in Spirit’(神似). It is an extension of the ancestral tradition and is performed from the gender perspective of ‘femininity’ seen from the perspective of a man. In the expression of the male figure, it is another great advantage that it has made the world of the Ilustrations of Jin Ping Mei come alive in the direction of giving each of the main figures as well as small figures. In addition, the painter deepened the theme of the novel by adding criticism of the audience’s profane consciousness and social conditions through a group image drawing. The novel itself criticizes the state of the late Ming era, but here the painter pursues libido and wealth of those who are in the era of decency at the end of the Republic of China.