‘그 자신’의 통사와 의미
Syntax and semantics of ku casin
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There are two claims made in previous literature regarding ku casin, one implicit and the other explicit: (a) ku and ku casin are not syntactically related and (b) emphatic ku casin and non-emphatic reflexive ku casin are different lexical items (cf. G. Lee 2008). In this article I argue that those claims are both conceptually and empirically wrong and attempt to provide a unified syntactic analysis of both forms of ku casin, based on the fact that N casin, where N is a referring expression including a proper noun, is productive. Specifically, I claim that (a) ku in ku casin is not a pronoun following K. Choi (2013), (b) a common property of casin in both forms is reflexivity enforcement, and (c) differences in interpretation and distribution between the two forms are derived from (un)availability of covert head-movement of casin into V. I also claim that “sloppy readings” identified in both forms are not genuine sloppy identity readings, but “sloppy-like” readings in the sense of Hoji (1998).
Abstract
There are two claims made in previous literature regarding ku casin, one implicit and the other explicit: (a) ku and ku casin are not syntactically related and (b) emphatic ku casin and non-emphatic reflexive ku casin are different lexical items (cf. G. Lee 2008). In this article I argue that those claims are both conceptually and empirically wrong and attempt to provide a unified syntactic analysis of both forms of ku casin, based on the fact that N casin, where N is a referring expression including a proper noun, is productive. Specifically, I claim that (a) ku in ku casin is not a pronoun following K. Choi (2013), (b) a common property of casin in both forms is reflexivity enforcement, and (c) differences in interpretation and distribution between the two forms are derived from (un)availability of covert head-movement of casin into V. I also claim that “sloppy readings” identified in both forms are not genuine sloppy identity readings, but “sloppy-like” readings in the sense of Hoji (1998).
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