• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.556-570
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• 2015

The purpose of this study was to see the characteristics of oral media, which is orality and literacy combined, in order to analyze its effect on the age of Reformation and today, and to draw applicable points on the present Christian mission. The electronic age is an age of secondary orality, the orality of telephones, radio, and television, which depends on writing and print for its existence. Historically, it is a well-known fact that the shift from orality to literacy and on to electronic processing has engaged in social, economic, political, religious and other structures. With this perspective, the study was divided into two parts. In the first part, researchers dealt with the characteristics of primary oral culture, examined how it combined with media literacy and became oral media, and witnessed how reformers in the sixteenth century utilized it timely along with what the ending result was. In the second part, researcher observed the characteristics of electronic media based on literacy and orality, and presented several applicable points to the present state of the Christianity.

• Educational Technology International
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• v.13 no.1
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• pp.49-77
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• 2012

The development of mobile devices and network technology is changing the ways in which people communicate with one another. Mobile text message has emerged as one of the most frequently used form of communication, which also gave rise to various non-verbal texts such as emoticons. Nonetheless, the use of text messages has largely been denied in education because text messages often involve colloquial and non-verbal texts considered inappropriate or grammatically incorrect by the teacher. In efforts to provide a theoretical framework to better understand mobile e-text communication, this research compared the practical usages of non-verbal texts in the mobile e-learning environment. The study developed three types of text messages according to the degree of using non-verbal texts and their phraseology as instructors' messages, which were then distributed to 259 students via mobile text messaging. The perceptions of students were analyzed using a semantic differential scale and a questionnaire. The results showed clear differences in students' perceptions of non-verbal text and traditional text, and that optimally designed non-verbal texts turned out to encourage the students' interaction the most out of the three types of text messages. Following the discussion of the results, an expanded theoretical framework beyond Ong's concepts of orality and literacy is also suggested to understand the evolution of mobile e-text communication in education.

• Journal of Game and Entertainment
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• v.2 no.1
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• pp.56-63
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• 2006

It is handled here in this paper, the orality and literacy of scenario, as a basic study for the expansional aspects of scenario at first. And next, it is grasped the specialness and potential energy of scenario checking various matter of Gutenberg Galaxy provided as a literal civilization. Further, basing on the former, various peculiarities of scenario have been linked to the digital storytelling of the internet basic and image writing of visual culture, and the various supporting schemes for new scenario format and creative circumstances in order to build the importance and the ranking of scenario have been presented in the era of the digital image contents. After all, the intention of this study particularly is to lay great emphasis on the supporting schemes and Scenario Galaxy such as a specialized graduate school and national story & scenario agency from a national point of view.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.133-140
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• 2023

The origin of texts we refer to as literary or artistic may be imagination, but many are based on experiences. In fact, experiences can be the source of artistic imagination since imagination often builds upon experiences. Therefore, the act of verbalizing human experiences using them as raw material can become a great form of art. Transforming past experiences into stories and infusing them with vitality inevitably requires a creative process of reconstruction, which is essentially a literary process. As such, 'Personal Narrative' holds significance as a literary process that weaves facts into stories and shapes them into forms. Individual experiences are stored as personal memories, and these 'personal memories' continuously generate stories. Collections of individual stories are stored as multiple memories, which gradually form 'collective memories' with distinct social and cultural inclinations through the passage of time and invisible yet potent societal and cultural censorship. The problem lies in the fact that individuals may tend to align their own memories with the inclinations of collective memory rather than simply recalling what they personally experienced. In the context of actual history, personal memories and collective memories communicate with each other, producing non-fictional content close to reality and sometimes manifesting as fiction content enriched with imagination. 'Personal Narrative' holds a significant genre as one genre of non-fiction content within our culture.

• Cross-Cultural Studies
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• v.44
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• pp.211-237
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• 2016

This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, $Mallarm{\acute{e}}$ created his own concept of music and new creative principles of poetry from it. We analyze his "Divigation" and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, $Mallarm{\acute{e}}$ connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, $Mallarm{\acute{e}}$ called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, $Mallarm{\acute{e}}$ can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but $Mallarm{\acute{e}}$ created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.

• (The) Research of the performance art and culture
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• no.18
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• pp.315-346
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• 2009

Korean 'Sin-Pa' play is a way to examine self-reliance of Korean culture and influence of Japanese culture on the Korean one in the early modern times. Although the 'Sin-Pa' play has been estimated negatively in many aspects, such an estimation can be different depending on the methodology. Therefore, I tried to explain a characteristics of the rise of 'Sin-Pa' play. While making these trials, I made efforts to reappreciate the developing process of Korean 'Sin-Pa' play and its theatrical structure and value. Particularly, I focused on structure of 'Sin-Pa' play in the context of an actual cognition of colonized Korea. Based on the 'Sin-Pa' play's repertoires I found out that one of the representative characteristics of Korean 'Sin-Pa' play is a changing process from orality to literacy. And I made attempts to uncover some ideological functions and their effects of 'Sin-Pa' play, focusing on and whose story line is usually consisted of 'provocation-pangs-defeat' while it interacted with 'provocation-pangs-penalty' of the structure of melodrama under the contemporary cultural conditions. 'Sin-Pa'' play can be considered as a performance mode to accept the Japanese value embedded in the colonized Korea since the 1910s on the one hand and to resist the overwhelming power of western culture imported through Japan on the other hand. In other words, it was closely related with the cultural-field of that period. Based on these results of this research, I tried to outline what the mode of 'Sin-Pa' was, what it reflected, and what it desired for under the influence of the contemporary cultural conditions. I analysed double qualities of 'Sin-Pa' play as a dominant narrative and/or a resistant narrative considering its relationship with the people of colonized Korea. And also I examined the place of the 'Sin-Pa' play in the history of theatre and in the history of culture.