• Cross-Cultural Studies
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• v.52
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• pp.313-339
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• 2018

The purpose of this study is to explore the manner in which Edith Wharton's Ethan Frome conveys contemporary, (culturally) imperialistic ideology. Especially by focusing on the difference between the European germ (or invasion) theory and the 'Americanized' invasion theory, this paper elucidates how the American $20^{th}$ century fiction represents contemporary 'fear' of the immigration of non-whites, that generated anti-immigration public sentiment in early $20^{th}$ century America. Also, this study investigates how racial or gendered biases contribute to attributing all (societal or individual) evils or illnesses to minorities such as (non-Nordic or non-white) immigrants, including women. Wharton's Ethan Frome isn't short of reflecting cultural imperialism.

• Journal of Digital Contents Society
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• v.16 no.2
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• pp.207-218
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• 2015

This study is to design and implement Smartphone application by applying the principles and processes of narrative therapy for the participants. The application is able for participants to fight out of the difficulty in question centered on the issue, and to be able to find a positive new stories to be evolving the story of their lives as well. Therefore, using the application will help them to live a healthier life out of the problems. As a way of currying the wounded heart of the youth, narrative therapy techniques were applied to Smartphone appliances accustomed to the youth. The youths' wounded minds will not only be easily cured but also can be a important factor in determining the direction of life. In this study, narrative flow was structured into four stages; relationships, externalization, creating new stories and strengthening the new story bsed on Doll & Doll' theory. Based on them, the Smartphone application for curing the wounded heart was designed and developed by utilizing narrative therapy techniques. The application was tested by 30 University students in Jeonbuk province in Korea and the results showed that they were satisfied with the application with relation to improving their heart health.

• Cartoon and Animation Studies
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• s.47
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• pp.193-215
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• 2017

This study has researched that tempo is an element influencing the fun of narrative webtoon. In spite of many elements that could create fun in narrative webtoon, the theory this study pays attention to is the accumulation and solution of tension. Lee Hyun-bee said in his book that the accumulation and solution of tension would be the element creating fun. Tensions of a story create the immersion by bringing readers into the story. However, if such tensions are maintained throughout the whole story, readers get insensitive to tensions, so that the accumulation and solution of tension should be used in turn to maintain the immersion. One of the directions creating the accumulation and solution of tension in narrative webtoon is the direction of tempo. When creating a narrative webtoon with the full-length structure, it is not easy to describe the whole incident from beginning to the end of it in order of time. Therefore, it is inevitable to have differences between story time and narrative time, and the difference of this time is called 'tempo'. This tempo creates fun when readers are immersed in the work, by adjusting breaths of the story in the direction of narrative webtoon. Such a role of tempo direction is based on the relation between the occurrence of tempo direction and information of the story. The information actually leading the story creates the accumulation and relief of tension which is the essential element of fun formation while tempo also maximizes the effects of accumulation and relief of tension. Tempo direction in narrative webtoons uses panels and gaps between them. The scene direction using panels and gaps between them considers tempo and dynamics because of the temporality of panels and gaps between them. This paper analyzes the use of tempo direction for narrative webtoon through the analysis on the 1st episode of . The significance of this study is to reveal that tempo direction is one of the factors creating fun in narrative webtoons, and also to suggest the theoretical grounds for researches on direction creating fun in the future.

• Korean Journal of Cognitive Science
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• v.17 no.2
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• pp.103-118
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• 2006

The main purpose of this paper is to investigate the effects of discourse topic and morpho-syntactic verbal information on the resolution of null pronouns in the Korean narrative text within the framework of the construction-integration theory (Kintsch, 1988, Singer & Kintsch, 2001, Graesser, Gernsbacher, & Goldman. 2003). For the purpose of this paper, two conditions were designed: an explicit condition with both a consistently maintained discourse topic and the person-specific verb modals on one hand, and a neutral condition with no discourse topic or morpho-syntactic information provided, on the other. We measured the reading tines far the target sentence containing a null pronoun and the question response times for finding an antecedent, and the accuracy rates for finding an antecedent. During the experiments each passage was presented at a tine on a computer-controlled display. Each new sentence was presented on the screen at the moment the participant pressed the button on the computer keyboard. Main findings indicate that processing is facilitated by macro-structure (topicality) in conjunction with micro-structure (morpho-syntax) in pronoun interpretation. It is speculated that global processing alone may not be able to determine which potential antecedent is to be focused unless aided by lexical information. It is argued that the results largely support the resonance-based model, but not the minimalist hypothesis.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.185-215
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• 2018

This paper tried to interpret new phenomenon in the narrative focusing on the tale. People telling about this story understood it in the way of recognizing and resigning the power of powerful destiny. This article poses a problem to that point. The male character begins the question "why?" And experiences a process of thoughtful thought. And he finds out his past life and pioneers his destiny. The find past life in this tale, it means 'an opportunity to choose oneself and life for themselves'. This can be interpreted as Samsara of Buddhism that does not insist on a fixed self. Experience of this process of reasoning according to narrative context of folktale will become literary therapy activity confirming the effectiveness of marital conflict narrative including the former motifs.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1085-1101
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• 2012

This study, guided by Engeström's (1999, 2001) activity theory which owes its theoretical lineage to sociocultural theory, explores how roles (peer feedback givers and receivers) and tasks are distributed among EFL students who engage in peer response. More specifically, as an extension of previous research of focusing on "stances" ESL students adopt, I investigate whether different roles in peer response groups make a difference in the nature of peer response and identify what underlays the different roles in peer group interaction. In addition, I examine whether different roles to the peer response create tensions and contradictions in peer response and how these created conflicts lead to changes in peer response activity system. The data I wish to consider is first-person narratives elicited from two EFL college students. I use Won's and Choi's (both pseudonyms) stories as a heuristic, which is a method that allowing one to proceed fruitfully in finding information. Foregrounded in this study are the students' different roles in the same peer response activity. A division of labor exists between Won/Choi and their peers - the way tasks are divided up and the way roles are structured. Yet Won and Choi adopted rather divergent roles when participating in peer response activity and carried out qualitatively different peer response activities. It is obvious here that the distribution of their roles in carrying out this particular peer response is shaped by Won' and Choi's perception about the validity of their peers' responses.

• The Journal of Korean Medical History
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• v.34 no.1
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• pp.59-74
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• 2021

Li Gao left a great mark in the history of Chinese medicine by founding Piwei (脾胃) theory. When explaining Li Gao's medical ideology, researchers explain that his medical ideology was created by curing hunger during wartime and treating diseases of people who suffered from battle field trauma. However, Li Gao also suffered from battlefield trauma for his experience of the Mongol siege of Kaifeng (開封城) from 1232 to 1233. It is the hypothesis of this study that Li Gao himself would have suffered posttraumatic stress disorder (PTSD), and this study reexamines the process more closely from the viewpoint of PTSD and posttraumatic growth (PTG). The conclusion of this study is that his achievement in medical history is a result of his PTG. Li Gao's narrative of Piwei (脾胃) theory contains elements that seek revenge against the Mongol soldiers, and Li Gao achieved extraordinary PTG by overcoming the trauma of the siege of Kaifeng step by step.

• Acta Via Serica
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• v.2 no.1
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• pp.7-30
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• 2017

Looking beyond the assumptions and arguments of commercial liberalism, which sees economic interdependence and cooperation as fostering peace, this paper demonstrates that peace as an ideal can be found in various theories of international politics. The author finds the commercial liberal perspective to peace to be too narrow to explain the opportunities and challenges posed along the Silk Road and proposes to look at the peace narrative on the Silk Road through the lens of other approaches to peace, including the more interdisciplinary field of peace studies, for a more comprehensive picture.

• Cartoon and Animation Studies
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• s.42
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• pp.213-240
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• 2016

The character is not dependent on an original story world any more. It is not limited to it's own story, but gets out and expands the other story with new character, background story, and event regardless of genre and media. The purpose of this study is to analyze why should this phenomenon happen from the media perspective and to build a character storytelling model through the specific examples. With the advent of the digital paradigm the storytelling model is emphasized character storytelling. Character is no longer limited to just one narrative and extended beyond the boundary narrative, media and genre. There are four background. First, disappearance of the big story with the advent of postmodernism and the emergnece of small story. Second, the emergence of fandom culture and charater's liberalization. Third, character as public goods with database. Fourth, changes in author's position. In fact, in the traditional narrative theory there has been discussion about the character all the time. But character storytelling meets transmedia storytelling, discussions were accelerated. The character was preceded by a narrative independent existence. Even if that character has occurred even while leading cause narrative. In this paper, we suggest two model as specific methodology to expand the story world fixed character. One is phychology transition, another is roll transition. This study get the value to build the new storytelling model with digital paradigm.

• Cartoon and Animation Studies
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• s.32
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• pp.245-261
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• 2013

This paper analyzes films by director Tarsem Singh in relation to the theory of the sublime. The medium of film works in dimensions of both spectacle and narrative. Tarsem's strength mainly comes from spectacle. The visual style of Tarsem is unique and undeniably beautiful, but in a strange and magnificent way, rather than sweet and pleasant. If you accept the premises of Kant and Lyotard that the beautiful is a positive pleasure and the sublime is a negative pain, Tarsem's spectacle is certainly closer to the sublime than the beautiful. The Fall proves the director's ability in both spectacle and narrative. The spectacle of this film is so overwhelmingly huge, and vivid, it easily surpasses spectators' maximum capacity of imagination, which leaves the spectators in awe. Spectacle tends to hinder thinking thus obstruct the flow of narrative, but at the same time it blocks rational suspicion about the narrative. The spectacle of the Fall works as the power to immerse the spectators into the internal logic of the film. Since the spectators are deeply moved by the spectacle, they willingly follow the narrative of the film, the tragic adventure of the heroes which again gives the audience deep catharsis.