KJCKorea
Journal Central

This study examines the linguistic wordplay techniques involving numerical combinations in the gambling terminology of Korea and Japan, highlighting significant differences between the two countries. In Korean gambling terminology, wordplay primarily serves mnemonic purposes through phonetic similarity. Additionally, it is common to see partial phonetic alterations of numbers to avoid confusion arising from homonyms or similar-sounding words. In contrast, Japanese gambling terminology features a broader range of wordplay. Instead of relying solely on homophones, this wordplay often incorporates a "third element" linked to the pronunciation of specific numerical combinations. This technique resembles those found in Japanese riddles and traditional animal-pair motifs. The study concludes that a distinctive form of "associative numerical wordplay," which differs from the conventional Japanese numerical combinations based on phonetic variety, is particularly well-developed within the context of Japanese gambling language.

This study explores how Spanish heritage speakers acquire phonologically and morphologically conditioned allomorphy, specifically in their production of articles. In Spanish, articles must agree with the gender of the corresponding noun. While most Spanish nouns have canonical gender endings (i.e., /o/ for masculine and /a/ for feminine), some nouns exhibit non-transparent gender assignments or mismatched articles. The current study analyzes these two types of allomorphy: (i) nouns that end in a consonant with irregular gender assignments (e.g., un jabón), which represent morphologically conditioned allomorphy, and (ii) feminine nouns that begin with a stressed /a/, requiring masculine articles to avoid hiatus (e.g., un alma), illustrating phonologically conditioned allomorphy. The results reveal that heritage speakers exhibited significantly lower accuracy in article selection compared to early bilingual speakers in the homeland, particularly in the stressed initial /a/ condition. Additionally, heritage speakers with higher proficiency tended to show greater accuracy in their article selection. Our findings indicate that heritage speakers, particularly those with lower proficiency, may encounter a higher cognitive processing load when accessing these irregular forms.

This study analyzes the evolution of gender sensitivity in Korean society since the 2015 "Feminism Reboot" and its impact on the portrayal of women in K-pop music videos. The findings reveal that before 2015, music videos were predominantly influenced by the "Male Gaze," which often objectified female bodies. For instance, AOA's "Miniskirt" exemplified 'sexualization' by fragmenting the female body; Lovelyz's "Hi~" illustrated 'botanicalization' by placing women in passive settings; and Davichi's "Don't Say Goodbye" showcased 'reification,' reducing women to objects for male bonding. Post-2015, following the Feminism Reboot, this representation began to shift. As a transitional piece, Wonder Girls' "Why So Lonely" highlighted the violence women face under patriarchy using a "mirroring" technique. Subsequently, songs like Sunmi's "Gashina" and ITZY's "DALLA DALLA" centered on "Self-love," promoting self-affirmation while rejecting external judgment. Additionally, Moonbyul's "Eclipse" ventured into "Gender Queer" themes by challenging the gender binary, using suits and group choreography that were traditionally male-dominated. In conclusion, the K-pop industry is transitioning from a unilateral production model. The examples of BLACKPINK and BTS illustrate how the public, now more ethically aware, is actively engaging in the creation and revision of content. This indicates that K-pop music videos are evolving into "collaborative texts," co-created by artists and audiences as they navigate gender sensitivity.