• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.103-111
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• 2012

This paper is a basic study for making a system that can predict the success and failure of entertainment contents at the initial stage of production. It proposes the user's emotion modeling of dynamic narrative on entertainment contents. To make this possible, 1) dynamic narrative emotion model is proposed based on theoretical research of narrative structure and cognitive emotion model. 2) configuring the emotion types and emotion value, proposed model of three emotion parameter(desire, expectation, emotion type) are derived. 3)To measure user's emotion in each story event of dynamic narrative, cognitive behavior and description of user(film, game) is established. The earlier studies on the user research of conceptual, analytic approach is aimed of predicting on review of the media and user's attitude, and consequently these results is delineated purely descriptive. In contrast, this paper is proposed the method of user's emotion modeling on dynamic narrative. It would be able to contributed to the emotional evaluation of entertainment contents using specific information.

• English Language & Literature Teaching
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• v.16 no.4
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• pp.185-200
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• 2010

Nathaniel Hawthorne seems to realize the reader's role in bringing his creation of fiction to completion. Almost all of Hawthorne's prefaces may be considered in terms of their contribution to the writer's narrative strategy. When he refers to the audience in the prefatory essay, "The Custom-House" and other prefaces to his major works as "the Reader," Hawthorne is establishing a mutual complicity that will continue throughout the following narratives. According to this rhetorical alliance, the writer's obligation is to get the story into the reader's imagination by any means possible, while the reader's share is to believe the story as much as possible while it is being told. The ultimate issue is thus not whether any event actually happened as Hawthorne reports it but whether readers are willing to grant the event credence while they are reading. Hawthorne's relationship with his audience is not congenial. In his prefaces, Hawthorne sometimes reveals a narrator who evades a fixed identity. The introduction of an unreliable narrator helps illuminate the unresolved, elusive ambiguity in Hawthorne's stories. Hawthorne seeks to make his narrative ambiguous frequently utilizing the very same indeterminacy so often cherished by poststructuralists. No critical term may be more firmly associated with the works of Hawthorne than ambiguity. Looking for new readers with more fresh eyes, Hawthorne's narratives always remain open to reinterpretation. After all, Hawthorne's prefaces (sometimes including unreliable narrators) help him become one of the most frustrating and fascinating novelists.

• Cross-Cultural Studies
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• v.48
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• pp.289-323
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• 2017

L'Espoir, a novel by Andre Malraux, contains traits of the genre of literacy reportage that depicts the full account of the Spanish Civil War as non-fiction based on his personal experience of participating in war; the novel has been dramatized into a semi-documentary film that corresponds to reportage literature. A semi-documentary film is the genre of film that pursues realistic illustration of social incidents or phenomenon. Despite difference in types of genre of the novel and the film L'Espoir, such creative activities deserve close relevance and considerable narrative connectivity. Therefore, $G{\acute{e}}rard$ Genette's narrative discourse of novel and film based on narrative theory carries value of research. Every kind of story, in a narrative message, has duplicate times in which story time and discourse time are different. This is because, in a narrative message, one event may occur before or later than another, told lengthily or concisely, and aroused once or repeatedly. Accordingly, analyzing differing timeliness of the actual event occurring and of recording that event is in terms of order, duration, and frequency. Since timeliness of order, duration, and frequency indicates dramatic pace that controls the passage of a story, it appears as an editorial notion in the novel and the film L'Espoir. It is an aesthetic discourse raising curiosity and shock, the correspondence of time in arranging, summarizing, deleting the story. In addition, Genette mentions notions of speech and voice to clearly distinguish position and focalization of a narrator or a speaker in text. The necessity to discriminate 'who speaks' and 'who sees' comes from difference in views of the narrator of text and the text. The matter of 'who speaks' is about who portrays narrator of the story. However, 'who sees' is related to from whose stance the story is being narrated. In the novel L'Espoir, change of focalization was ushered through zero focalization and internal focalization, and pertains to the multicamera in the film. Also, the frame story was commonly taken as metadiegetic type of voice in both film and novel of L'Espoir. In sum, narrative discourse in the novel and the film L'Espoir is the dimension of story communication among text, the narrator, and recipient.

• Language and Information
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• v.18 no.2
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• pp.141-168
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• 2014

Recognizing spatial information associated with events expressed in natural language text is essential not only for the interpretation of such events and but also for the understanding of the relations among them. However, spatial information is rarely mentioned as compared to events and the association between event and spatial expressions is also highly implicit in a text. This would make it difficult to automate the extraction of spatial information associated with events from the text. In this paper, we give a linguistic analysis of how spatial expressions are associated with event expressions in a text. We first present issues in annotating narrative texts with reference relations between event and spatial expressions, and then discuss surface-level linguistic characteristics of such relations based on the annotated corpus to give a helpful insight into developing an automated recognition method.

• The Korean Journal of Archival Studies
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• no.66
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• pp.37-67
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• 2020

Recently, industrial heritages have been transformed into cultural facilities in the wake of urban Regeneration. This focus is mainly on appearance, and the explanation is often abbreviated as a master narrative, and the placeness is not sufficiently inherited. The placeness of industrial heritage contains not only historical but also personal memories. Place memory must be collected and managed in order for the placeness that can be the source of identity to be preserved and utilized. To this end, this study suggested collecting place memories based on personal life histories. Using the case of collecting Andong Station and Cheongju Tobacco Factory, the life narrative was broken down into an event and the process of reinterpreting it as a place memory was proposed to implement archiving of industrial heritage sites. This methodology means that it can be supplemented rather than replaced.

• Cross-Cultural Studies
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• v.23
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• pp.191-214
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• 2011

Today the company's brand sites are in tendency locating as a handy method to administrate company vision, value and image. So this study tried to examine the aspects of storytelling around Amore Pacific's brand site. To secure the discussion's centrality and concreteness, two issues are considered to be aimed in methodology. First, the menus of relevant site were examined to see if they are securing minimal narrative. This was an attempt to discuss the minimum narrativity that target text is supposed to possess, to objectify little more the term 'storytelling.' After considering the menus of relevant site through narratological ideas of Gerald Prince, the menus that satisfy the level of minimum narrative were hardly seen. Even 'OUR STORY', showing the intention of unraveling the vision and values within the company brand by stories, is not seemed to be reaching universal, objective storytelling. Second, pragmatic, reception theory were applied as another standard to judge storytelling possibilities of Amore Pacific's brand site. Roger C. Schank's script theory, being considered in the field of cognitive linguistics and cognitive psychology, became a handy tool for examining the interactions and its meaning between brand sites and its visitors. As a result, the relevant site could be seen as attempting storytelling following time sequence, through narrator kindly explaining 'visual image-event.' And it was conjecturable that, because of such function of narrator, visitors finishes storytelling in a personal shape by operating internal story based script. This study examined the level and methods of storytelling limited in online environment called as company brand site. But more studies are needed to be in progress, such as about the ways for company websites or brand sites to have an effective, continuous influence on potential consumers, narrator set-up ways suitable for character of subordinate menus, organizations of minimum narrative and so on.

• Korean Medical Education Review
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• v.22 no.3
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• pp.153-162
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• 2020

The aim of modern medicine is to prolong life by fighting death. Doctors have traditionally believed that this was an ethical good deed. The negative connotation surrounding death has led to the avoidance of terminally ill patients. But in a modern society where death is medicalized, doctors have to see dying patients every day and are in a state of guilt from implementing meaningless life-sustaining treatments. Therefore, medical schools should allow medical students to embrace a new perspective through death education. Yonsei University Medical College has implemented death education since 2017 as an optional class for first and second year medical students. Students watch videos related to death once a week for 6 weeks and submit their reflections by e-mail. The professor reads the students' reflections and gives them weekly feedback. Through this coursework, students realize that death is not a medical event, but rather a part of life and completion. The ultimate purpose of death education is to transform blind life-absolutist identity into narrative identity.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• International Journal of Contents
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• v.16 no.1
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• pp.25-33
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• 2020

We develop a simulation method that affords very high variability of virtual pedagogical situations involving many independent plans, still achieves authoring (or implementation) scalability. While each individual plan would be coherently drawn up by an agent for its respective goal, those independently-made plans might be coincidentally intertwined in their execution. The inevitable non-determinism involved in this multi-event plan encompassing pre-planned and unforeseen events is resolved by (multi-phase) dynamic planning and articulated sequencing of events in contrast to static planning and monolithic authoring in conventional narrative systems. Connections between events are dictated by their associated rules and their actual connections are dynamically determined in execution time by current conditions of background-world. This unified connection scheme across pre-planned and unforeseen events allows a multi-plan, multi-agent situation to be coherently planned and executed in a global scale. To further the variability of a situation, the inter-event coupling is made in a fine level of action along with a limited episteme of each agent involved. We confirm analytically the viability of our approach with respect to the situation variability and authoring scalability, and demonstrate its practicality with an implementation of a composite situation.

• International Journal of Contents
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• v.14 no.3
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• pp.7-16
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• 2018

The extent and depth of the event plan determines the scope of pedagogical experience in situations and consequently the quality of immersive learning based on our simulated world. In contrast to planning in conventional narrative-based systems mainly pursuing dramatic interests, planning in virtual world-based pedagogical systems strive to provide realistic experiences in immersed situations. Instead of story plot comprising predetermined situations, our inter-event planning method aims at simulating diverse situations that each involve multiple events coupled via their associated agents' conditions and meaningful associations between events occurring in a background world. The specific techniques to realize our planning method include, two-phase planning based on inter-event search and intra-event decomposition (down to the animated action level); autonomous and independent agents to behave proactively with their own belief and planning capability; full-blown background world to be used as the comprehensive stage for all events to occur in; coupling events via realistic association types including deontic associations as well as conventional causality; separation of agents from event roles; temporal scheduling; and parallel and concurrent event progression mechanism. Combining all these techniques, diverse exogenous events can be derived and seamlessly (i.e., semantically meaningfully) integrated with the original event to form a wide scope of situations providing chances of abundant pedagogical experiences. For effective implementation of plan execution, we devise an execution scheme based on multiple priority queues, particularly to realize concurrent progression of many simultaneous events to simulate its corresponding reality. Specific execution mechanisms include modeling an action in terms of its component motions, adjustability of priority for agent across different events, and concurrent and parallel execution method for multiple actions and its expansion for multiple events.