• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.503-515
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• 2016

The branded contents include various advertisements showing brand storytelling. A new mobile application service market for food delivery uses branded contents to become familiar with consumer in the beginning and built unique brand image in comparison with a rival company in the time of elaboration. This study analyzed the narrative type and structure of brand storytelling in branded contents of the three representative applications, 'Baedal Tong', 'The ethnic of Baedal', and 'Yogiyo'. Still a few study has researched the narrative type and structure of brand storytelling though different effects as narrative type. This paper divided four types of brand storytelling as the roll of brand through typology of Northrop Frye, romance, comedy, tragedy, and irony & satire. And it analyzed the narrative type and structure of branded contents of the three applications using these types and researched strategy in each time. The various narrative types beyond classical romance type are effective for brand positioning though market enter moment. This study will be helpful for the research about narrative strategy of branded contents.

• Lingua Humanitatis
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• v.1 no.2
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• pp.179-196
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• 2001

According to Formalist theory, form is not separate from content. Form does not merely convey or express content but can itself produce meaning. The close correlation of the narrative structure, more specifically the time structure of the narrative, and the narrative style of Kim Seung-Ok′s short story′"Travel in Mujin" provides a good example of this argument. The story opens with the first-person narrator, currently living in the bustling city of Seoul, back in his small provincial home town Mujin, where he brings up memories that had been hitherto suppressed. The revived memories are ordered into the narrator′s present thought structure, in effect bridging the vast psychological rift between the lost past and the present. The narrator′s travel in Mujin thus becomes a psychological journey, and Mujin becomes a psychological space where the narrator can experience the continuity of his own being. The "narrating I" excludes the principles of reality from his narrative, concentrating on the inner thoughts, recollections, psychological experience, and the level of consciousness of the "narrated I." This narrative attitude or style expresses the narrator-protagonist′s acceptance and affirmation of the thoughts and actions occur in Mujin (which he had till now been resistant to). It is also an affirmation of the narrative act itself. Before the travel back to Mujin, the narrator-protagonist′s thoughts about his home town was ambivalent-an attitude originating from nostalgia, together with the narrator-protagonist′s ambivalent attitude toward his youthful past. It is a reflection of the narrator-protagonist′s desire for purity intermingled with a disdain for his enervated existence in Seoul. This ambivalence is resolved by the "I" of the narrative present, and Mujin enables him to come to a renewed affirmation of his life.

• Trans-
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• v.16
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• pp.107-133
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• 2024

Narratives are fundamental to human cognition and social culture, serving as the primary means by which individuals and societies construct meaning, share experiences, and convey cultural and moral values. The field of artificial intelligence, which seeks to mimic human thought and behavior, has long studied story generation and story understanding, and today's Large Language Models are demonstrating remarkable narrative capabilities based on advances in natural language processing. This situation raises a variety of changes and new issues, but a comprehensive discussion of them is hard to find. This paper aims to provide a holistic view of the current state and future changes by exploring the intersections and interactions of human and AI narrative intelligence. This paper begins with a review of multidisciplinary research on the intrinsic relationship between humans and narrative, represented by the term Homo narrans, and then provide a historical overview of how narrative has been studied in the field of AI. This paper then explore the possibilities and limitations of narrative intelligence as revealed by today's Large Language Models, and present three philosophical challenges for understanding the implications of AI with narrative intelligence.

• English Language & Literature Teaching
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• v.17 no.3
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• pp.161-175
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• 2011

This paper examines Korean EFL high school students' reader responses on an expository text and a narrative text with the same topic. The purpose of the study is to investigate whether they have different reading models depending on the two genres and whether there are any differences depending on the learners' proficiency levels. The analysis focuses on textual, critical, and aesthetic reading models in the reader responses written in English by science-gifted high school students (N=30). The results show that the participants have different reading models in reading an expository text and a narrative text. They tend to read the expository text in a more critical way while reading the narrative text in a more personal and emotional way. Moreover, regardless of the proficiency levels, they wrote longer responses on the narrative text than the expository text. However, the proficiency level of English does not support any significant differences in the types of reading models. The findings provide Korean EFL high school students' characteristics in L2 reading and suggest the pedagogical implication to pursue linguistic development as well as reading for pleasure.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.7 no.6
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• pp.1433-1448
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• 2013

This study presents empirical evidence of the benefit of viewing narrative video clips on embedded virtual reality (VR) websites of hotels to relieve travel anxiety. As the effectiveness of using VR functions to relieve travel anxiety has been shown, we proposed that a VR website enhanced with narrative video clips could relieve travelers' anxiety about accommodations by showing the important aspects of a hotel. Thus, we created a website with a narrative video showing the escape route from a hotel room and another narrative video showing the surrounding neighborhood. We then conducted experiments by having human subjects explore the enhanced VR website and fill out a questionnaire. The results confirmed our hypothesis that there is a statistically significant relationship between relief from travel anxiety and the use of narrative videos on embedded VR websites of hotels.

• Journal of Korea Multimedia Society
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• v.19 no.3
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• pp.659-672
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• 2016

In animated films, characters materialize narratives through acting. The narrative is an element to materialize accurate delivery of lines and emotions. The non-verbal actions should express lots of emotions and lines in scenes, and also they can be used as a way of empathy. This study analyzed the visualization factors of narrative focusing on a cat character frequently shown in animated films. For this, the visualization factors of non-verbal actions expressed in characters' personal space and dynamic space were extracted. Based on this, it aims to suggest the emotion expressing method of characters to realize effective narrative visualization. In the future, it aims to be used as reference data in case when producing non-verbal communication for 3D characters.

• Korea Journal of Hospital Management
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• v.1 no.1
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• pp.170-187
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• 1996

This paper proposes a change process model for organization development in health care organizations and provide an OD case exemplar of nursing service unit at Virtual Hospital. This case exemplar was written in a narrative form rather than in an argumentative form as an embodiment of organization development process as is viewed from the cultural/interpretive perspective rather than from the technical/rational one. This case exemplar illustrates the change process which consists of four interrelated components: change intervention, organizational target variables, individual organizational member, and organizational outcomes. It also demonstrates the applicability of the narrative rationality which involves narrative probability and narrative fidelity to the story where the learning organization, shared governance, and empowerment are fully emplotted and enlivened. The implications for organization development in health care organizations are discussed.

• Journal of Korea Game Society
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• v.11 no.3
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• pp.31-42
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• 2011

This article is designed to investigate the nature of gamestorytelling as action-narrative through analyzing player acting in game context. Gamestorytelling is a narrative product which makes up of acting by players with story elements by producers, in a different such as novels, movies that express of showing and telling. The tradition of action-narrative can be found in myth and play.

• Journal of Korea Multimedia Society
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• v.22 no.6
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• pp.729-737
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• 2019

This study defined the animation space as the concept of map based on the space of Joseph Campbell's heroic narrative. The space in which the animated character exists is an image symbolic language that reflects the inner and outer growth stages of the hero. I focused on the spatiality that plays the role of the power to lead the narrative and examined the meaning as the mediator that leads the heroic narrative. First, 6 spatial variables were derived by observing 'Hero's Journey 'which is used as a basis of US commercial animation scenario. Second, spatial variables are defined as 64 zones and proposed as 'Spatial Map Model of the Hero's Journey' (SMMH). Third, the character space of was applied to 'SMMH', and the change of space utilization rate and spatiality and the narrative meaning were analyzed. This study extended the narrative of animation space which was not actively studied to map concept. It is possible to provide a different viewpoint in animation production and research.

• American Studies
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• v.44 no.2
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• pp.193-210
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• 2021

Theresa Hak Kyung Cha's Dictée proliferates with many pronouns. Whether the various subjects invoked in Dictée refer to a single common figure remains ambiguous. By paying close attention to the ambiguity of narrative voice, this essay examines how the creation of narrative ambiguity in Dictée is closely linked to the author's employment of the second person voice. This essay particularly attends to how Cha explores the narrative possibilities of the second person voice in the text's "Calliope/Epic Poetry" section in order to reflect upon experiences of exile and migration on a transnational scale. Through the intimacy and narrative ambiguity of the second person voice, Cha is able to create an epic on migration that is not only transnational in scope, but also invites the reader to engage with the self-alienating aspects of exilic and immigrant life in an unusually intimate yet powerful manner.