The purpose of this paper is to examine the usage patterns and meanings of the final-ending '-či', focusing on the gramophone record drama and film of the early 20th century. The final-ending '-či' appeared in the late 18th century and was actively ...
The purpose of this paper is to examine the usage patterns and meanings of the final-ending '-či', focusing on the gramophone record drama and film of the early 20th century. The final-ending '-či' appeared in the late 18th century and was actively used in the late 19th century. As a result, it was found that in the late 19th century, the final-ending '-či' was used in various ways to represent various conversations such as statements, promises, and orders. However, among the '-či', '-či' was also identified, which showed a transitional character, neither used as a final-ending nor as a connective ending. Among the '-či' in the early 20th century, '-či' was used, which was difficult to see as a final-ending and difficult to see as a connective ending. However, in the early 20th century, unlike in the late 19th century, '-습/ㅂ-' could be combined in front of '-či', and some '-겠지-' heard the proposition directly and delivered what they already knew to the listener. In this paper, focusing on the fact that the meaning of [wits assumption] appears arbitrarily according to the context, only [already known] was set as the use of the epistemic modality of the final-ending '-či'.
And when the final-ending '-či' takes an action-related proposition as a semantic object, it was judged that the meaning of [proposal], [intention], and [promise] was expressed according to the context.