• Speech Sciences
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• v.6
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• pp.33-44
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• 1999

This paper aims to analyze whether the phenomenon of /u/$\rightarrow$/i/ is a hypercorrection or not in the North Korean dialects. Most North Koreans pronounce /i/(gold) as /kum/ because the vowel /i/ merges into the peripheral vowel space of /u/ in their dialects. The merger of back vowel is one of most distinctive characters in North Korean dialects. But some speakers pronounce /chubann/(exile) as /chiban/. This time /u/ in peripheral space moves to /i/ in central vowel space. It seems that the vowels /i/ and /u/ exchange places with each other when they uttered in North Korean. Though it was observed that the vowel movement of /i/$\rightarrow$/u/ was caused by the merger of back vowels, the reason why vowel /u/ moves in the opposite direction, that is, the central space of vowel /i/ has not been analyzed yet. This experiment starts with hypothesis that the movement of /u/$\rightarrow$/i/ might be caused by hypercorrection. The first step of this research is to analyze /u/$\rightarrow$/i/ pronunciation of North Koreans. The second step is to compare the results of North Korean pronunciation with those of South Korean pronunciation and observe whether tendency of /u/$\rightarrow$/i/pronunciation can also be found in the standard Seoul dialect and other South Korean dialects.

• Journal of the Korean Society of Food Culture
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• v.34 no.2
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• pp.112-128
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• 2019

The history of modern Korean 'kimchi' can be traced through the history of the wordforms 'dihi' (디히), 'dimchʌi' (딤?), and 'thimchʌi' (팀?) in ancient Korean texts. As native Korean words, the 'dihi' word line ('dihi', 'dii', 'jihi', and 'ji') constitutes an old substratum. This word line coexisted with the 'dimchʌi' word line (dimchʌi, jimchʌi, and kim∫chi) from the Hanja '沈菜'. 'Ji', which is the last word variation of 'dihi', and is still used today as the unique form in several Korean dialects. In standard Korean, however, it only serves as a suffix to form the derivative names of various kimchi types. 'Dimchʌi' is believed to have appeared around the $6^{th}-7^{th}$ centuries, when Silla began to master Chinese characters. Hence,'dimchʌi' reflects either the Archaic Chinese (上古音) or the Old Chinese (中古音) pronunciation of the Hanja, '沈菜'. With the palatalization of the plosive alveolar [t], 'dimchʌi' changed to 'jimchʌi'. The Yangban intellectuals' rejection of the palatalization of the plosive velar [k] led to the hypercorrection of 'jimchʌi' into 'kimchʌi'. It is precisely the hypercorrect 'kimchʌe' that gave the wordform 'kim∫chi', which has eventually become the standard and predominant form in today's Korean language. Regarding 'thimchʌe', it reflects the Middle Chinese (Yuan Dynasty) pronunciation of the Hanja '沈菜' and was used mainly in writing by Yangban intellectuals.

• Asia Pacific Journal of Corpus Research
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• v.1 no.2
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• pp.1-14
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• 2020

Previous work has shown that men both explain and value the act of explaining more than women, as explaining conveys expertise. However, previous studies are limited to English. We conducted an exploratory study to see if similar patterns are seen amongst Japanese speakers. We examined three registers of Japanese: conversational interviews, simulated speeches, and academic presentations. For each text, we calculated two measures: lexical density and the percentage of the text written in kanji. Both are indicators of expository language. Men produced significantly higher scores for the interviews and speeches. However, the results for the presentations depend on age and academic field. In fields in which women are the minority, women produce higher scores. In the field in which men are the minority, younger men produced higher scores but older men produced lower scores than women of the same age. Our results show that in academic contexts, the explainers are not necessarily men but rather the gender minority. We argue that such speakers are under social pressure to present themselves as experts. These results show that the generalization that men tend to explain more than women does not always hold true, and we urge more academic work on expository language.

• Phonetics and Speech Sciences
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• v.13 no.1
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• pp.25-36
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• 2021

This study examined the perception and production of eight English fricatives /f/, /v/, /θ/, /ð/, /s/, /z/, /ʃ/, and /ʒ/ by thirty Chinese English majors and thirty Chinese middle school students through a fricative identification test, an intelligibility test, and a goodness rating test and focused on error patterns and the perception-production relationship. The results showed that substitution errors occurred frequently in the perception and production of English fricatives by both the English majors and the middle school students. Further, the error patterns were attributed to various influencing factors such as the negative transfer from Chinese consonant inventory, hypercorrection or overcompensation mistakes, deficiency of L2 teaching, and acoustic similarities. Significant overall correlations were found between the fricative perception and production by the two subject groups but were not manifested in all the eight fricatives, indicating that Chinese learners' perceptual competence of target fricatives was not necessarily tied to their productive excellence of those sounds in all cases. Furthermore, precedences of perception over production were incompletely manifested in the eight fricatives, which suggested that perception might not always be a necessary prerequisite for production. Additionally, subject group and vowel context differences were observed. The English majors performed better than the middle school students, both perceptually and productively, and the subjects' performances in perception and production varied when vowel contexts changed.

• Lingua Humanitatis
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• v.2 no.2
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• pp.85-107
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• 2002

The word play on h(e)art-hunting has become a virtual commonplace in criticism of Chaucer′s Book of the Duchess. Less widely discussed is the third meaning of ME herte, "hurt." The "hart"/ "heart" pun is, however, only implicit in the poem, while the rhyme of "heart" and "hurt" in lines 883-84 makes clear the close association of the terms for Chaucer. Earlier commentators insisted that this was in fact an instance of rime riche or "identical rhyme," but if it is so it is striking that it is the unique instance of the rhyme in Chaucer, whose works are full of occasions for hurt hearts. The essay argues that this is, instead, an instance of near-rhyme and that the confusion in scribal spellings of ME hurten(with ′u,′ ′0,′ ′i,′ ′y,′ and ′e′ ) suggests uncertainties about its root vowel that modem linguistic study has not clarified completely. If the rhyme of herte ("hurt") with herte ("heart") is, however, established by these lines in BD, then it is probably reasonable to ask about all the occasions where characters in the poem are hurt by emotional or physical distress. In the cases of A1cyone and the Man in Blak, the hurt is revealed plainly as the death of a loved one, and Alcyone′s death and the Man in Blak′s return "homwarde" offer contrasting responses to the realization and acknowledgement of their loss. In the case of the Narrator, however, the exact nature of his "hurt" is nowhere made clear and the questions this Jack of clarity raises for the reader remain unanswered when the poem declares its "hert-huntyng" done. Further examination of the Narrator′s character and his role in the poem may reveal him to be a physician himself in need of healing, and this reading of his character may identify him as an ancestor as much of Chaucer′s Pardoner as of the Pilgrim Narrator of Canterbury Tales.