• Journal of the Korean Society for Library and Information Science
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• v.52 no.3
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• pp.35-59
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• 2018

A book review expands readers' choice of resources by providing them with the contents and bibliographic data of various books. It also functions as a reader support service designed to enrich their reading experiences. In particular, in the field of children's reading, literary devices are used to convey knowledge and information to children. Therefore, a review for a children's book should help children follow a book with further readings so that they can expand their literary imagination through comparative reading. In light of the above, this study looks into the case of a children's story entitled Little Red Riding Hood to identify the points that should be addressed in the "Literature Comparison" section of a book review in order to suggest further readings to readers. First, the review should provide an objective description of the content of Little Red Riding Hood. Second, it should explain the literary value of the reviewed book and the discourse that surrounds it so as to analyze its unique features that separate it from other literary works. Third, the review should provide bibliographic information on other works that use narrative structures adapted from those of Little Red Riding Hood. Fourth, it should broaden readers' choice and access by introducing, if any, works adapted from Little Red Riding Hood into other media.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.37-63
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• 2018

The purpose of this study is to determine in the minor characters in alternative versions of Pansori stories. Because, unlike the variations in the main characters, the changes in the minor characters seemed to clearly reveal the specific reasons to the enjoyers of Pansori literature. Bangja in Chunhyang-jeon serves as a narrator by providing information about characters and events, and enlivens the text by satirizing and ridiculing the feudalism class. He appears in certain narrative unit of Chunhyang-jeon and further expands in the order of encounter unit, farewell unit, and reunion unit. At the encounter unit, he helps the bachelor Lee and Chunhyang meet And in the farewell unit, he urges their separation and goes to Han Yang with his master Lee. At the reunion unit, Chunhyang's letter is delivered to the bachelor Lee. The following can be seen from the information above discussion. First of all, the 'Bangja' acquires the better occupation of stories. The enjoyers have changed that he regards as a important figure. Next, in Chunhyang-jeon, the expansion of the role of the Bangja was done in the direction of converging the few characters such as Mabu, Tongin, and the farmer. Especially, the increase of his proportion in the Pansori works can be related to the expansion of the theatricality. Finally, Bangja's frequency increases in the direction of the whole narrative, but it can not be seen as an increase that his role or function has increased. Because his function as a guide expands, but his function as a critic has diminished.

• Journal of Korea Game Society
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• v.22 no.1
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• pp.3-18
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• 2022

This study focuses on transtextuality of Easter egg and its effect on replayability. This paper categorizes Easter eggs of digital game into five types based on game elements, and applies Gerard Genette's transtextuality theory by analyzing function and meaning of Easter eggs based on quotation, allusion, and annotation of intertext and paratext. In conclusion, Easter eggs as transtext form game ritual by linking inside and outside of the game, as well as developers and players. Through this process, Easter egg enhances replayability of digital games by extending the narrative of the game.

• The Korean Journal of Archival Studies
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• no.65
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• pp.253-319
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• 2020

Hongdong Herstory in an narrative-based archival activities. This Herstory Workshop designed by a facilitator who is using her love for language and storytelling to empower all voices. Herstory Workshop has been opened at winter every year for a month. The place where the workshop opened is located at farming area. Hongdong Herstory Workshop has been the field where the members of the community having a talk together. 20 women have been participated at the Herstory Workshop. Herstory projects have been published every year. This essay is an trial for rearchiving the herstory projects. This essay focused on the narrative function of archives.

• Cartoon and Animation Studies
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• s.51
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• pp.83-105
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• 2018

In the actantial model of Algirdas Julius Greimas, a story makes 3 kinds of relationships with 6 actants, and, in these relationships, the desires of subjects and objects are operated. And, when the subject performs its desire, there are both assistance of helper and disturbance of opponent. And, the object of desire wanted by the subject is provided by sender and receiver. Using this actantial model, this study analyzed the narrative structure of the animation 'Dalbitgungjeon', and, by rearranging the subject of capacity, examined general stream of communication. Korean animations have tried to approach using archetypes of Korean culture as motifs with various perspectives. But, it is true that, compared with foreign animations dramatized using cultural archetypes, Korean animations still have something to be desired. Thus, this study analyzed the narrative structure of 'Dalbitgungjeon' which was recently producted using archetypes of Korean culture as its motif, and, rearranging the subject of capacity, examined general stream of communication. By doing this, this study tried to search for the method of producing an animation equipped with more advanced narrative structure. Of course, narrative structure of Greimas has been studied in various aspects. However, there are still not enough animation researches using cultural archetypes of Greimas. Considering such aspects, this study focused on searching for a method of using the formation of cultural archetypes based on the analysis of fables of Greimas.

• (The)Study of the Eastern Classic
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• no.68
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• pp.409-437
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• 2017

The curiosity of the human afterlife created many imaginations. The Death Angel's Character are also the product of this imagination. This is because we needed a connection between this world and the otherworld in human' imaginations. The Death Angel revealed in detail in Shamanistic Epics. First, It is the person who performs the task assigned by The King of the Otherworld. Second, It is a person who can go to this world and the otherworld. Third, It is the person who takes the deceased to the otherworld. Fourth, It is the person who takes out the soul of human and modify the life list. Fifth, It is the person who sympathetic and humane qualities. This The Death Angel's character is actively accepted in modern contents. The most representative works are <49 Days>, , . Contemporary content, but the otherworld and the afterlife were accepted. And The Death Angel played an important role. Of course, this process also happens that modern changes. Namely, Function and personality retains existing character. And the appearance and background change a modern sense. As a result, The Death Angel became a new character through the encounter between the past and the present.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.227-264
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• 2021

This paper summarizes the concept of ludonarrative dissonance that occurred in the realm of full-scale game criticism, and materializes it with the latest work . In the process, it is examined that this game actively utilizes the ludonarrative dissonance to deliver cognitive experiences to players that go beyond the definition of gameness. Along with the all-round development of AAA-class games, the ludonarrative dissonance is emerging as an important task that each game must overcome. On the contrary, however, it should be noted that has a different effect than expected by revealing rather than overcoming the ludonarrative dissonance. The ludonarrative dissonance conveyed by has the effects of ironic interpretative possibilities. This paper looks at dissonance in two dimensions, and the first is the dissonance between the play-narrative structure inside the game. induces the player to recognize the dissonance and actively reconstruct the meaning of the whole game by reminding the player of the dissonance that occurs between the two structures. Second, it stimulates the cognitive dissonance that exists inside the player playing the game beyond the internal structure of the game. That is, by expanding the concept of gameness, it evokes the possibility that games can function more than a tool for convenient self-efficacy. As such, the ludonnarrative dissonance can be a more fundamental redefinition of game nature and an expression of a problem consciousness about the possibility of change.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.74-84
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• 2014

The places of the movie are not a just backdrop, are discribed by the character. Imagetelling movie is a character movie by itself. One of the famous korean director which made a imagetelling movie is a Kim-kiduk. Most of his movies are the lonely people who lives a insulated locale like a island. The is also lonely people who lives in insulated area in Seoul, Korea. The is the best movie of all his film life. This Thesis will explain how to make a narrative using a chunggye industrial tools center more effectively and define the power of the locale in the movie.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.191-219
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• 2020

This paper aims to identify the key features of the novel writing of Korean American immigrants and their meaning as one aspect of movement and contact occuring in the early modern period. The late return of the novels written by Nakcheong THUN in the 1930s is significant in that it restored ideas on the diversity of early modern mobility and confronted the history and culture of immigrants who were excluded from records and memories. Not only are these novels a product of the phenomenon of immigration, but they have also created a crack in the dichotomous perceptions of domination and subordination, center and periphery by envisioning it as a space that creates new history, culture, institutions and values. These novels treat the free love of intellectual, emotional, and ethical figures as a central event, demystifying Western free love, and at the same time, a society divided by various identities including class, race, and gender. The novels by Nakchung THUN visualize the active exchange between the immigrant and the indigenous community through the character of Jack, and imagines the heterotopia as a place where not for the immigrants' utopia, but for everyone's coexists. These novels have declared a kind of memory war on the subordinate and marginalized contact zones. The contact zones of the immigration area had been a place for experiencing extreme conflicts and discords, and at the same time, it has served as a place where various groups and communities are connected. The contact zones were common areas of solidarity and creation before being subject to division and occupation. The contact zones are far from the border or borderlands, so it is not a fixed and immutable deadlock. As a world free from central domination the contact zones have been a space that preoccupied history and culture through various encounters, and have been a community.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.665-681
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• 2022

This article compared and analyzed the SF films Snowpiercer and Space Sweepers, which embody the imagination of disaster for the future dystopian society. In common, the two films represent the future society as a society with a serious climate crisis and an extremely widening gap between the rich and the poor. Both films use similar narrative strategies: representing a isolated, twisted-willed scientist figure, building a main stage as catastrophic hierarchical capitalist society, and focusing on the conflicts between a dominant group possessing the science-capital-power and a resistant but ordinary subjects. However, there is the different framing on the future society in terms of representing nature, science technology, and human-nonhuman agency. This distinction is shaped by the narrative function of the objects represented by two films.