• 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.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.

• Journal of Yeungnam Medical Science
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• v.41 no.1
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• pp.13-21
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• 2024

Gene therapy involves the introduction of foreign genetic material into host tissue to alter the expression of genetic products. Gene therapy represents an opportunity to alter the course of various diseases. Hence, genetic products utilizing safe and reliable vectors with improved biotechnology will play a critical role in the treatment of various diseases in the future. This review summarizes various important vectors for gene therapy along with modern techniques for potential craniofacial regeneration using gene therapy. This review also explains current molecular approaches for the management and treatment of cancer using gene therapy. The existing literature was searched to find studies related to gene therapy and its role in craniofacial regeneration and cancer treatment. Various databases such as PubMed, Science Direct, Scopus, Web of Science, and Google Scholar were searched for English language articles using the keywords "gene therapy," "gene therapy in present scenario," "gene therapy in cancer," "gene therapy and vector," "gene therapy in diseases," and "gene therapy and molecular strategies."

• International Journal of Contents
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• v.13 no.3
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• pp.43-48
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• 2017

As a computational approach to literary criticism, the method of character network analysis has attracted attention. The character network is composed of nodes as characters and links as relationship between characters, and has been used to analyze literary works systematically. However, there were limitations in that relationships between characters were so superficial that they could not reflect intimate relationships and quantitative data from the network were not interpreted in depth regarding meaning of literary works. In this study, we propose an improved method of character network analysis through a case study on the play . First, we segmented the character network into a dialogue network focused on speaker-to-listener relationship and an opinion network focused on subject-to-object relationship. We analyzed these networks in various ways and discussed how analysis results could reflect structure and meaning of the work. Through these studies, we strived to find a way of organic and meaningful connection between literary criticism in humanities and network analysis in computer science.

• Journal of Korea Multimedia Society
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• v.22 no.3
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• pp.395-402
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• 2019

Star characters play a key role in the background of contents that secure global competitiveness. In this study, we study the growth factors and transitional forms of Nintendo Super Mario Bros. and suggest the direction of nurturing Korean star characters. As a result of the analysis of Super Mario Bros., it was possible to derive the growth factors of Originality, repeatability, Continuity, Pertain, and Star Fame and the transition result of step development method. Robot Taekwon V was presented as a reference model while Korean game characters with global competitiveness were excavated. Robot Taekwon V, which combines the features of friendly, unique, symbolism, and narrative, could be used to present a development model of the type of jump development. In the jump development model, character development and Upbringing, diversification of genre, pioneering of new markets combined with new technology, and fostering of characters through linkage with other industries were presented.

• English & American cultural studies
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• v.18 no.4
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• pp.33-64
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• 2018

Through the experimental narrative construction by authorial divinity, Muriel Spark's novels and films based on her fiction show the difficulty of living like a human being under various inhumane and manipulative circumstances of the modern capitalistic society. By adopting flash-forward, self-reflection, and deceptive omnipotent viewpoints, her work has surprisingly predicted the post-modern trend in which humans are increasingly attracted and interpellated to the digitalized media. Muriel Spark called the recent anesthetic situation by stimulation "a driver's seat" because it is a symbol of how humans should act to maintain the critical subject. Emphasizing the value of self-reflection, religion and morality in the mechanized society, Muriel Spark stressed literature should play the role of helmsman who sails safely in the rough sea. In Muriel Spark's works, God is often synonymous with writers. As a Jewish immigrant she experienced alienation in Scotland, marital violence, prejudices of the London-based publishing world, Nazism, and Watergate. For her, the harsh reality of the modern society needs to be guided and complemented by something beyond human control. But rather than relying entirely on traditional Catholic doctrines such as Graham Greene and Evelyn Waugh, Muriel Spark has taken a personal, religious view of literature and insists that the genuine writer must play God's play. Seeking for the speculative vision for the future of human life in God's plan, she tries to understand the complex twisted motives of human beings which are often far from the ideal form. Simply put, her search of self-reflection, religion and ethics is modeled on the God's plan for the ideal human being who is supposed as the writer with the transfigurative imagination of the trinity.

• The Journal of the Korea Contents Association
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• v.9 no.4
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• pp.162-171
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• 2009

In directing a film, aesthetics are use for visual manifestation of narratives to audiences. Especially, colors have important roles in that process to express emotions and to convey the story. For 3D animation, they may play even more important roles due to the nature of colors being generated by computers. This paper studies the relationship between narratives and colors by analyzing how colors change by the rise and fall of tensions in narratives, and by investigating how emotional expressions are affected due to color changes.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.113-122
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• 2019

In the 1970s, under the tyrannical regulation and censorship of the Yushin regime, realistic dramatization techniques were forced to reveal their limitations. Choosing the 'allegory' technique, a double-meaning narrative structure, Lee Kang-baek sets up virtual spaces or unrealistic figures, both of which lack 'realism'. Lee Kang-baek has allergic the illusion of detadiscourse, the diaspora character, and the universality of 'Political Unconsciousness'. So it's linked to the perception of history in the 1960s. This creates a semantic network of public and casual perception of history. This was a 'bypass' strategy which more clearly disclose the violent politics. Therefore Lee Kang-baek's play shows the desperate situation of the diaspora character being oppressed by detadiscourse, and the desire of the author who can never give up on freedom of expression, though under that oppression. Furthermore, it was an attempt to acquire a timeless universality and symbolism about human freedom and liberation through the Allegory play technique.

• Lingua Humanitatis
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• v.1 no.2
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• pp.91-104
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• 2001

Ford Madox Ford, the early twentieth-century writer most famous for his novel The Good Soldier, perceived his "business in life [as an] ... attempt to discover and to try to let you see where you stand." With this grand purpose in mind, Ford disregarded distinctions of genre in his prolific output of what we would consider novels, memoirs, literary criticism, travel writing, and history. Claiming that "the Novelist ... [is a] historian of his own time," Ford sought his own version of the "truth," a truth that was more faithful to his own subjective impressions than to verifiable "fact." Among these works that depict his age are a series of "memoirs" or "reminiscences," works published from the 1910s to the 1930s which carry out his Impressionistic purpose. What lies behind these memoirs is Ford′s view that his own individual history can be understood as his contemporary society′s collective history. This article explores Ford′s experimentation with boundaries of fact and fiction, and history and narrative, as he employs and expands the memoir form. In particular, 1 focus on two works, Memories and Impressions (1911) and It Was the Nightingale (1933), and Ford′s techniques in these memoirs, such as 1) the adoption of fictional personae from which to comment on his society at large and 2) the use of emblematic "parables" to encapsulate larger lessons of life within the minutiae of existence. Current theorists on the memoir form share interests in these questions of genre and of the social role of the memoir Nancy Miller, for instance, terms the memoir "the record of an experience in search of a community." This article engages these current discussions of the memoir genre by examining Ford′s early twentieth-century examples as innovative experiments that play with the boundaries between fiction and history, and personal impressions and collective truth.

• The Journal of the Korea Contents Association
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• v.15 no.9
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• pp.47-60
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• 2015

Original play of theatrical troupe Yeonwoo Stage has gone through history represented by (i) the development period of "research on play," (ii) the resistance/growth period of "play movement," (iii) the prime/segmentation period of "metaphor for reality," (iv) the crisis/transition period of "rediscovery of reality," and (v) the challenge/advancement period of the "active development of repertoire." "Collective creation" based on the singe-representative system was a solution to overcome difficult circumstances, crisis facing the theatrical troupe and the lack of resources in the development period and the resistance/growth period, "co-creation" based on the five-representative system, the two-representative system, the system of an operation committee consisting five members, etc. in the prime/segmentation period and the crisis/transition period, and "planning and production" based on the single-producer system in the challenge/advancement period. "Collective creation" system was operated by the entire theatrical troupe, which was led by a director; "co-creation" system was operated by performers, who were directed by a director (-playwriter); and "planning and production" system was operated both internally and externally and was led by a producer. During its long history of developing original play, Yeonwoo Stage has (i) expanded the scope of Korean-style narrative, (ii) succeeded collective creation culture to the next generation, (iii) followed the trend of the times, (iv) attempted to attract popular empathy.