In academia, the parts outside the definitions in phonetic-semantic reference books are ambiguously termed, referred to as “revealed characters”, “word entries”, “lexical entries”, or “character entries”. Based on the meticulously revised Japanese manuscript of “Xuan Ying’s Phonetic-Semantic Explanations”, this paper conducts a comprehensive study on the origins of these parts, their relationship with the explanations, and their functions. It is discovered that this content not only originates from the scriptures but also from related prefaces or accompanying annotations. Their primary function is to “locate” and “identify the explained words”. Hence, they are termed as “label entries”. The function of the labels in “Xuan Ying’s Phonetic-Semantic Explanations” is to indicate the position of the interpreted terms in the scripture, and they do not form a relationship of interpretation and being interpreted with the exegesis as a whole.

There is a view in the scholarly community that although the Codex Yupian (卷軸本《玉篇》) was a detailed text with many explanations, it neglected the phonetic-meaning relations. Taking the Codex Yupian as the research material, we analyze the phonetic-meaning relations of the initial tone of one phonetic, initial tone of one phonetic+youyin (又音), initial tone of two phonetics, initial tone of two phonetics+youyin, initial tone of three phonetics, and no phonetic entries, and analyze the relations between phonetic and meaning in the context of literature, The similarities and differences in the meanings of the items, and the comparison with the Daguang Yihui Yupian (《大廣益會玉篇》), Jingdian Shiwen (《經典釋文》) and Codex Yupian, as well as the source of youyin and the corresponding relationships between phonetics and meanings, to illustrate that Codex Yupian edited by Gu Yewang (顧野王) has a very complicated explanation. This study shows that Gu Yewang had a clear explanatory style and a matching relations between sound and meaning, and that the emergence of multiple sounds and multiple meanings. It is the result of Gu Yewang’s “summarizing all the texts and studying all the classics” and “studying the Six Classics and studying all the Hundred Books”, and it is the result of the fusion of the peoples of the North and South Dynasties. It is also the result of the development of language under the ethnic fusion of the North and South Dynasties and the compilation of the literature of the time. The book plays an important role in standardizing and clarifying the relationship between morphology, phonology and meaning during the North and South Dynasties.

『광운(廣韻)』 의 입성운(入聲韻) 반절을 음운 자질에 근거해 성모와 주요모음, 운미의 자질 대응 관계를 분석한 연구를 살펴보면, 반절상·하자가 피절자와 일정한 대응 관계를 이루는 것을 알 수 있다. 본 연구는 『광운(廣韻)』의 음성운(陰聲韻) 반절을 분석하였다. 음성운은 운미가 모음이거나 없는 글자로 개미운(開尾韻), 서성운(舒聲韻)이라 한다. 입성운과는 구분되는 음성운 반절에서도 반절상·하자가 피절자와 일정한 대응 관계를 보이는지 확인하였다. 성모는 『광운(廣韻)』 자모(字母)의 조음자(articulator)에 기반하여 대응 관계를 분석하고, 운모는 운두(韻頭), 운복(韻腹), 운미(韻尾)를 나누어 호(呼), 등(等), 섭(攝)을 통해 대응 관계를 살펴보았다.

고대 운서의 반절 주음(注音)은 음가가 아닌 음 범주를 반영한 것으로, 반절의 표 음방식은 반절 상·하자 음운 자질에 근거하여 분석해야 한다. 음운 자질에 근거해 반 절 상·하자의 성모와 주요모음, 운미의 자질 대응 관계를 분석했고, 반절 상·하자가 피절자와 일정한 대응 관계를 이루는 것을 발견하였다. 반절 상·하자는 각 성모의 조 음자가 대응하며, 주요모음의 개구도가 대응하고, 운미는 V-C(Vocal-Cords), Lab(La bial), Cor(Coronal), Dor(Dorsal)의 자질이 다양하게 대응했다. 이러한 분석으로 반절 상·하자가 각 성모와 운모를 나타내면서도 서로 대응 관계를 이루는 유사 음운이 되 도록 고려했다는 결론에 이를 수 있으며, 반절 상·하자는 피절자의 음을 표기하기 위 해 선별된 최적의 쌍으로 정교하고 치밀한 관계에 있다는 것을 확인하였다.

“Chao Xian Guan Yi Yu” is included in the C version of “Hua Yi Yi Yu”, recorded more than five hundred vocabularies about astronomy, geography, hunman affairs and so on in Ming dynasty. The material were all written by Chinese characters. It is not only the vital material for researching Korean language, but also an important clue for the study of official phonetics in Ming Dynasty. Until now most of the relative research are concentrated on Korean phonetics part. Ming dynasty's Chinese characters and phonetics are saved in “Chao Xian Guan Yi Yu". At the same time, as officially translated document uses characters for recording Chinese phonetic and vocabulary information, reflecting the situation of Mandarin at that time. The purpose of this paper is to study the accurate time of the book, background and the characteristics of Mandarin phonetics and vocabulary at the time of “Chao Xian Guan Yi Yu” based on the phonetics and vocabulary provided in the data, and determine that which Mandarin was offically used at that time through the phonetic and vocabulary of Chinese. 저

Zhu (朱) is a pictophonetic character and associative compound. Mu (木) and Zhu (丶) indicate the meaning, and especially the latter refers to the pronunciation as well. Its original meaning is wood with red inside. Zhu (朱) assumes the semantic function in pictophonetic characters. The meaning of the expression comes from two sources: one is that it derives from the extended meaning of Zhu (丶) as the phonetic symbol of Zhu (朱) means red or bright; the other is that it derives from the extended meaning or rebus of a short form for Zhu (鼄), which means ‘to cut off’ or ‘a name of the place’.

This study examines whether the lexical pitch accent of the Kyungsang dialect and /wɑ/ monophthongization are imitated by Seoul dialect speakers in an auditory naming task. The goal of the study relates to what is imitated in the phonetic signal. To answer this question, the study examines how relative salience between two linguistic features affects phonetic accommodation. Fifty words as produced by a speaker of the Kyungsang dialect served as stimuli for a shadowing task. The first and second formants of disyllabic words containing the diphthong /wɑ/ and the F0 of disyllabic words with the HL tone were acoustically analyzed for phonetic accommodation. Overall, the results suggest that in terms of the diphthong /wɑ/, participants were more likely to converge toward the Kyungsang model talker, producing their vowel as more monothongized. With respect to the lexical pitch accent, participants were less likely to converge to the model talker, producing the target words with the same tone.

『야화춘풍투고성(野火春风鬪古城)』은 이영유(李英儒)의 동명소설을 개편한 항일전쟁 주제의 현대 민족 가극으로 최근 몇 년간 오리 지널 가극 중 가장 영향력이 있는 가극 거작이다. 2005년 중국 항일 전쟁과 세계 반 파시즘 전쟁 승리 60주년을 기념하기 위하여 중국 인민 해방군 가극단이 이 가극을 창작ㆍ연출했다. 가극은 소설의 주 요한 줄거리를 취하고 북방의 한 고성 안에서의 중국 지도부의 지하 항일 전쟁 전투의 이야기를 표현했다. 본 논문은 『야화춘풍투고성』의 최종 발행한 VCD 판본에 의거하 여 문헌 연구ㆍ분석ㆍ종결 등의 방법을 통해 『야화춘풍투고성』극 중 여성 역할인 양모(楊母)를 착안점으로 하였다. 배경 창작에서부터 아리아의 음악 특징(언어ㆍ음성ㆍ노래를 포함) 등 방면까지 양모의 중요 아리아를 예로 들어 연구 결문 부분으로 진행하였다. 간단하게 문장의 맥락을 다듬고 『야화춘풍투고성』중 여성의 역할이 표현하 고 있는 음성 형태의 기초상을 해명하였다. 정감ㆍ어투ㆍ언어 등 각 종 방면의 요소들을 결합한 것이다. 본문을 통하여 성악 애호가들이 극중의 양모에 대해 더욱더 완전한 이해를 할 수 있기를 바란다. 동 시에 본문은 분석된 아리아의 노래 분석과 가창 처리 등을 매우 세 심하게 묘사하였다. 성악에 대해 공부하는 애호가들에게 참고와 도움이 될 수 있기를 바란다.

In recent years, the phonetic study of foreign dialects is wide and deep, but the study on the history of researches on phonetic aspects of foreign dialects is rare. Even rarer is that on the Chinese characters in Korean. With the help of China National Knowledge Infrastructure (CNKI), this paper attempts an exhaustive analysis of the content, method and condition of research on the basis of academic researches on phonetic aspects of Chinese characters in Korean. Thus, this work is expected to make clear the researches and problems in this field in China so as to facilitate quick references for other scholars.

조선시대 중국어 학습서에는 당시 중국 어휘의 발음을 諺文으로 표기하고 있다. 그러나 한국어 어음체계에 익숙한 한국인은 중국어 발음을 한국어로 표기함에 모국어의 영향을 받아 일정한 인지한계와 표기제한이 발생하게 된다. 중국 漢語의 어음변천내용을 고찰함에 중요한 근거로 활용되는 한국의 對音자료는 표음체계에 대한 충분한 분석과 이해가 전제되어야 정확한 자료의 가치가 제고된다. 본 논문에서는 『譯語類解』右音에 나타나는 ‘ㅗ’의 표기대상을 漢語 어음변천 자료를 토대로 분석한다. 이를 통해 조선시대 중국어 학습서의 표기법에 대한 신중한 접근과 표기내용에 대한 再考의 필요성을 확인한다.

한국에 유입된 한자어는 국어화한 보통명사, 고유명사, 새로운 개념어, 그 외 개별 음역 차 용어로 나눌 수 있다. 이들 중 국어화한 보통명사는 한국 한자음으로 표기하고, 개별 음역 차 용어는 단어마다 특유의 독음법이 정착하였다. 반면 고유명사와 새로운 개념어는 한국 한자 음과 중국 원지음을 기반으로 한 표기라는 두 가지 독음 방법 사이에서 혼란을 겪고 있다. 한자는 다른 외국어와 달리 국어의 영역에 있었으나 현대에 와서 외국어로 인식되기 시작했다. 한자어의 독음에 대한 논쟁은 이러한 인식 차이에서 기인한다. 본 논문은 이러한 관점에 서 중국에서 유입된 한자어를 분류하고 그 독음 표기가 가지는 문화적 의미를 분석한다.

The development of Nom characters is promoted on the basis of and in attachment with Chinese characters, and in this regard the Phonetic Annotation of the Thousand Character Classic 《千字文解音》 compiled in the late Nguyen Dynasty in Vietnam was a very practical textbook for learning Chinese characters and Nom characters. Based on categorizing Nom characters, the paper intends to clarify several notions on Nom characters of the Phonetic Annotation of the Thousand Character Classic. In the beginning, Nom characters can be divided into two major types: the directly borrowed Chinese characters and the independently invented ones. The former includes borrowing sounds, meanings, and both. The latter, according to the components of Chinese character formations, can be divided into the pictophonetic of Chinese characters and that of Nom characters. In the last part of the article, we summarize the relationship between Chinese characters and Nom characters. It is necessary not merely to consider the relationship but to understand the comparisons between them. With the aid of studying Nom characters, we can find that irrespective of whether they are directly-borrowed from Chinese or independently invented, the sound of Chinese characters is the most important feature for them. But we cannot ignore the ideographic parts of Nom characters because they, on the one hand, make up the phonetic deficiency of Chinese characters while promoting the development of Nom characters on the other. In our modern society, Chinese characters and Nom characters came to drift apart, and the latter especially was withdrawn from the historical stage, but the traditional culture of Vietnam is still recorded in literature both in Chinese characters and Nom characters. Moreover, the Nom character is one of the most important representatives of Vietnam’s traditional culture. For this reason solely, this research shall be a great help to further understanding of significant cross-cultural aspects between China and Vietnam, and more specifically of histories related to the spreading, application, and development of Chinese characters in Vietnam.

Fanqie (反切) is a traditional method of indicating the pronunciation of a Chinese character by using two other Chinese characters, one having the same consonant as the given character and the other having the same vowel (with or without final nasal) and tone. There are seven problematic aspects regarding Fanqie (反切) phonetic notation of polyphonic characters in The Grand Chinese Dictionary, 漢語大詞典. The first, the cited Chinese characters used as phonetic notations are wrong; the second, the attributions of phonological status about some polyphonic characters are not correct; the third, one or two phonetic notations are missing among several pronunciations of the polyphones; the fourth, the materials for phonetic evidences are neglected; the fifth, the evidences of some ancient sounds are lagging because of not finding the earliest evidence in citing ancient sound; the sixth, the main sounds and the secondary ones are reversed; and the last, the selected Chinese characters are not appropriate in some Fanqie phonetics.

Categorizing dialect and the phonetic notation (《方言類釋》) written in 1778 is a specialized dictionary which collected and recorded Chinese language vocabulary in the middle of Qing dynasty. As far as stylistic rules and layout is concerned, Chinese character was the main index and their pronunciations of Mongolia, Manchu, Japan, and Korean were recorded in Korean alphabet spelling. Xu Mingying (徐命膺) and Hong Mingfu (洪命福), who accepted the king's command, wrote the book so as to easily communicate with Japan and China. Chinese language had been changing. On the contrary, North Korean language conserved a lot of ancient Chinese words leading to a lot of problem communication with the Chinese. This is the reason why two authors had to accept the king’s command to finish the book. The book included abundant Chinese vocabulary also with "Chinese dialect" from Guangzhou, Guangdong province, Shanxi Fen states and southern Jiangsu, Hunan Changsha. These materials are the most valuable complement for the research on the history of modern Chinese history. At the same time those exterior material can also be added by Chinese scholars in the Qing dynasty for enriching interior dictionaries. At the same time, the dialect also provided such clues that are vocabulary rooted in powerful dialect.

This paper sought to analyze the frequency of appearance of final consonants in Korean in order to provide basic data for teaching foreign learners pronunciation. In this paper, the audio materials contained in the elementary textbooks, ‘Korean as a foreign language 1, 2’ were transcribed into Hangul and the frequencies of appearance of phonemes were analyzed using SynKDP ver 1.6. The results showed that the frequency of final consonants out of all phonemes was approximately 14%. Of the final consonants, 88% were shown to be sonorants /m, n, ŋ, I/ and 12% were shown to be obstruents /p˥, t˥, k˥/. The frequency of appearance of nasal sounds /m, n, ŋ/ was shown to be quite high at approximately 66%. The ratio of obstruents that became nasal sounds by the nasal assimilation, was shown to be approximately 16%. Lateral /l/ sound showed a frequency of 21% and only 1% of them were identified to be the result of the lateralization of obstruents. Meanwhile, approximately 74% of obstruent final consonants involved fortition, and only approximately 26% were pure obstruent final consonants. Finally, cases where the aspiratization occurred after neutralization were found in only 57 words out of 5,577 words in total. Pedagogical implications are discussed.

漢字是漢字文化圈中中日韓越四國語文的表述文字，歐西語文則主要由拉丁字母組合而成。 由於種種原因，過往以拉丁字母表述漢字的情況並非罕見。然而在東西文化交流與全球一體化的過程中，亦曾出現過一些以漢字或漢字元素表述西方語文的理論和著作。本文選取了其中部分著作，按其內容分成「語音譯寫」與「同源再生」兩個類別, 並藉此分別探討其在語言文化及教育學術上的功能,特別是漢字化西方語文在漢字研究、漢字教育及提升語文互懂性方面所帶來的啟示。 本文寫作過程中，筆者有幸訪問了「漢字化德文」(2013) 作者, 德國漢字工作者——藍霄漢(Sky Darmos) 先生，謹此致謝。

Phonetic Complement of the homophone system in ShuoWencame from different periods. The Character-building ability of the same phonetic complement is different in different periods. According our study, more than half of the phonetic complements in ShuoWenhave already existed in the Shang Dynasty. Only 10%-20% of the phonetic complements were appeared in the other periods. Almost a third part of characters which existed in the Shang Dynasty were largely chosen as phonetic complement at that time.

The present study aims to examine the realization of English reduced vowels by Korean learners. Little seems to be known about the acquisition of reduced vowels by L2 learners in spite of the importance of their correct use in avoiding a foreign accent. Three groups of Korean subjects and native American-English subjects participated in the study, and five types of test materials were created considering phonological position, morphological structure, and English orthography. The frequencies of F1 and F2 were measured and their scatter plots were drawn for the analysis. The findings of the present study are summarized as follows. First, L1 influence was identified in the realization of English reduced vowels by Korean learners. The characteristic of the syllable-timed language of Korean was represented and L1 transfer of the Korean vowel [ ] was shown in the results. Second, English proficiency of Korean learners was reflected in the production of the reduced vowels. Third, the early experience of staying in English-speaking countries helped Korean learners acquire English reduced vowels.

This paper investigates Korean EFL learners’ perceived phonetic dissimilarity of English liquids /l/ and /r/ to test the Korean learners’ relative acquisition difficulty of the two English liquids. Contrary to the prediction of the contrastive analysis hypothesis, a hypothesis from Flege’s (1995) Speech Learning Model asserts that the greater the perceived phonetic dissimilarity between an L2 speech sound and the closest L1 sound, the more likely learners will be to discern the difference between the L1 and L2 sounds. Fifteen Korean EFL learners were asked to judge how well English /l/ and /r/ in various phonological environments represent the Korean liquid, using a scale ranging from 0 (“not like”) to 6 (“exactly the same”). The results of the judgment task showed that Korean L2 learners perceived English /l/ to be more similar to Korean /l/ than English /r/ in syllable-initial, consonant cluster, and intervocalic positions, but not in syllable-final position. The results of the present study are expected to provide a basis for future research which investigates Korean learners’ perception and production of English /l/ and /r/.