• The Journal of the Korea Contents Association
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• v.19 no.3
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• pp.213-222
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• 2019

This article aimed at change patterns of representations of male character and cinematic space in 2000s korean division films. The concept of division film is the unique particularity film in the narrative and representation about Korean division. The Gancheop is the special character of korean films and have been reproduced in a variety of ways. In the past, Korean films have been dealt with Korean Civil War and 'special nature' of inter-korean ties. But in the 2000s, the representation of Gancheop in films has begun to change and filmed in a variety of genres such like comedy, thriller, romance and so on. , , are consistent with close relationship of male characters. The relationship is represented as friend, brother, partner. The meaning of these changes symbolizes our concept of national unification.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1103-1122
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• 2009

In this essay, I compare the ways in which the mid-thirteenth century English romance, Floris and Blancheflour, represents relationships of the Spanish pagan queen to her adoptive Christian daughter who becomes her daughter-in-law, with the ways in which Chaucer's Man of Law's Tale and other so-called Constance romances delineate relationships between mothers-in-law and daughters-in-law. What draws me into these romances is the fact that they both convey the intergenerational relationships of women. However, the texts become distinct from each other in the way in which each depicts women characters and their relationships with one another. In this paper, I argue that the level of intimacy that the mother-in-law figure has with the daughter-in-law figure plays a defining role in making the former perform her agency for or against the latter. In the Man of Law's Tale and other Constance romances, the daughter-in-law figure is in every sense an alien or 'outsider' to the mother-in-law figure. To the contrary, Blancheflour in Floris is a sort of 'insider' to the queen because they lived in the same household for fourteen years-ever since the girl's birth. The queen, therefore, should have a high degree of intimacy with Blancheflour. I argue that the pagan queen's intimacy to the daughter of a Christian-European captive has enabled the queen to protect the girl as her adoptive daughter first and as a daughter-in-law second, namely contributing to her unreserved endorsement of the inter-racial-religious-class union between her only son, Floris, and Blancheflour. This is one major factor that distinguishes the relationship of the queen and Blancheflour in Floris from the dysfunctional relationships of mothers-in-law and daughters-in-law in the late medieval Constance romances, where women of different generations are strangers to each other, and no way is imagined for women of different races and religions to get along with each other.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.576-582
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• 2022

In this paper, we discuss the relative positioning of Wh-related English prepositions in a Wh-interrogative construction within the Optimality Theory [1-2]. By employing the two key constraints such as ^*Prep-Str and Align which are developed for the positioning of Wh-related prepositions from Romance languages such as French and Italian [3] and for the positioning of Wh-related prepositions from the middle English prose from 1500 to 1900 [4-6], and by slightly modifying the constraint hierarchy of ^*Prep-STR >>Align into ^**PrepSTR <<>>Align, Choi argues that his new theory can properly explain the unique behaviors of English Whrelated prepositions being able to take two 'optional' operations such as pied-piping and stranding to find legitimate landing sites in a Wh-interrogative construction [7]. However, this new analysis again reveals the following critical problems: (1) Unlike the 'light' English Wh-related prepositions which can two optional operations for legitimate landing sites in a Wh-interrogative construction, 'heavy' Wh-related English prepositions are not allowed to have such two options: they take just one option of pied-piping only. Thus, (2) his argumentation based on the existing constraints and the modified constraint hierarchy is neither general enough nor proper to explain the issue of the relative positioning for all English Wh-related preposition cases. To include such exceptional syntactic property of the 'heavy' preposition cases within the Optimality Theory, we suggest a new constraint of ^*HPrep-STR ranked at the highest position of the constraint hierarchy to disallow a 'heavy' or multi-syllabic Wh-related English preposition to stay alone at the end of a sentence. The new final hierarchy of constraints we suggest to explain the exceptional positioning of 'heavy' Wh-related prepositions together with the other 'light' Wh-related prepositions in English Wh-interrogative construction will be as follows: ^*HPrep-STR>>Align<<>>^*Prep-STR.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.23 no.4
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• pp.17-22
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• 2023

This study analyzed the genres of popular character web dramas and studied the development of story recommendations through the language model GPT. As a result of the study, it was confirmed that similar cliches are repeated in web dramas. In this study, a common story structure (cliché) was analyzed and a typical story structure was standardized and presented so that even unskilled video producers can easily produce character web dramas. For analysis, clichés of web dramas in the school romance genre, which is the most popular genre among teenagers, were listed in order of success. In addition, this study studied the story recommendation mechanism for users by learning the clichés that were analyzed and cataloged in GPT. Through this study, it is expected to accelerate the production of various contents as well as popular popularity through the acceptance of various databases from the standpoint of database consumption theory of web contents.

• (The) Research of the performance art and culture
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• no.39
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• pp.31-67
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• 2019

This thesis examines the difficulties of utilizing the narrative and music of Pansori: 판소리 in Changguk: 창극. For this examination, I consider that the reason for the difficulty of making Changguk is the difference between Pansori and Changguk as the genres. Most of the Changguk based on the traditional five Pansori works perform the narration and songs of Pansori literally. However, the original narrative of Pansori has a distinctive dual structure since the formation of its first and second half is created separately. As the drama genre visualizes the story and emphasizes the consistency of action, unlike Pansori, the duality of the original narrative can be seen as the inconsistency of the action. In addition, since the sounds of the original Pansori are rather explanatory than dramatic even in the climax scenes of Jeokbyeok battlefields, it is difficult to produce dramatic scenes in Changguk. The voices of the military, not in the original works, play important roles in revealing the hidden theme effectively in Changguk. However It is impossible to relocate the original text of Pansori into Changguk, as even the voices of the military lack verisimilitude in terms of narrative. Changguk can only be developed as its own work by actively researching and dismantling Pansori .

• Asia Marketing Journal
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• v.15 no.1
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• pp.155-168
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• 2013

This study describes consumers' movie choices in conjunction with other group members and attempts to reassess the effect of the online word of mouth (WOM) source in a joint decision context. The tendency of many people to go to movies in groups has been mentioned in previous literature but there is no modeling research that studies movie choice from the group decision perspective. We found that ignoring the group movie-going perspective can result in a misunderstanding, especially underestimation of genre preference and the impact of the WOM variables. Most of the studies to measure online WOM effects were done at the aggregate level, and the role of online WOM variables(volume vs valence) is mixed in the literature. We postulate that group-level analysis might offer insight to resolve these mixed understanding of WOM effects in the literature. We implemented the study via a random effect model with group-level heterogeneity. Romance, drama, and action were selected as genre variables; valence and volume were selected as online WOM variables. A choice-based conjoint survey was used for data collection and the models was estimated via Bayesian MCMC method. The empirical results show that (i) both genre and online WOM are important variables when consumers choose movies, especially as group, and (ii) the WOM valence effect are amplified more than the volume effect does as individuals are engaged in group decision. This research contributes to the literature in several ways. First, we investigate movie choice from a group movie-going perspective that is more realistic and consistent with the market behavior. Secondly, the study sheds new light on the WOM effect. At group-level, both valence and volume significantly affect movie choices, which adds to the understanding of the role of online WOM in consumers' movie choice.

• Journal of Intelligence and Information Systems
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• v.25 no.4
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• pp.67-88
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• 2019

Webtoon is a Korean-style digital comics platform that distributes comics content produced using the characteristic elements of the Internet in a form that can be consumed online. With the recent rapid growth of the webtoon industry and the exponential increase in the supply of webtoon content, the need for effective webtoon content recommendation measures is growing. Webtoons are digital content products that combine pictorial, literary and digital elements. Therefore, webtoons stimulate consumer sentiment by making readers have fun and engaging and empathizing with the situations in which webtoons are produced. In this context, it can be expected that the sentiment that webtoons evoke to consumers will serve as an important criterion for consumers' choice of webtoons. However, there is a lack of research to improve webtoons' recommendation performance by utilizing consumer sentiment. This study is aimed at developing consumer sentiment pattern maps that can support effective recommendations of webtoon content, focusing on consumer sentiments that have not been fully discussed previously. Metadata and consumer sentiments data were collected for 200 works serviced on the Korean webtoon platform 'Naver Webtoon' to conduct this study. 488 sentiment terms were collected for 127 works, excluding those that did not meet the purpose of the analysis. Next, similar or duplicate terms were combined or abstracted in accordance with the bottom-up approach. As a result, we have built webtoons specialized sentiment-index, which are reduced to a total of 63 emotive adjectives. By performing exploratory factor analysis on the constructed sentiment-index, we have derived three important dimensions for classifying webtoon types. The exploratory factor analysis was performed through the Principal Component Analysis (PCA) using varimax factor rotation. The three dimensions were named 'Immersion', 'Touch' and 'Irritant' respectively. Based on this, K-Means clustering was performed and the entire webtoons were classified into four types. Each type was named 'Snack', 'Drama', 'Irritant', and 'Romance'. For each type of webtoon, we wrote webtoon-sentiment 2-Mode network graphs and looked at the characteristics of the sentiment pattern appearing for each type. In addition, through profiling analysis, we were able to derive meaningful strategic implications for each type of webtoon. First, The 'Snack' cluster is a collection of webtoons that are fast-paced and highly entertaining. Many consumers are interested in these webtoons, but they don't rate them well. Also, consumers mostly use simple expressions of sentiment when talking about these webtoons. Webtoons belonging to 'Snack' are expected to appeal to modern people who want to consume content easily and quickly during short travel time, such as commuting time. Secondly, webtoons belonging to 'Drama' are expected to evoke realistic and everyday sentiments rather than exaggerated and light comic ones. When consumers talk about webtoons belonging to a 'Drama' cluster in online, they are found to express a variety of sentiments. It is appropriate to establish an OSMU(One source multi-use) strategy to extend these webtoons to other content such as movies and TV series. Third, the sentiment pattern map of 'Irritant' shows the sentiments that discourage customer interest by stimulating discomfort. Webtoons that evoke these sentiments are hard to get public attention. Artists should pay attention to these sentiments that cause inconvenience to consumers in creating webtoons. Finally, Webtoons belonging to 'Romance' do not evoke a variety of consumer sentiments, but they are interpreted as touching consumers. They are expected to be consumed as 'healing content' targeted at consumers with high levels of stress or mental fatigue in their lives. The results of this study are meaningful in that it identifies the applicability of consumer sentiment in the areas of recommendation and classification of webtoons, and provides guidelines to help members of webtoons' ecosystem better understand consumers and formulate strategies.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.123-160
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• 2020

Manga develops by reflecting a change of society, reader's needs, and their thoughts and changes of tastes, sensitively. Shojo manga and Jyosei manga also do. We can find several kinds of meaningful changes in Japanese Jyosei manga in the 2010s. The works which represent preciousness of daily life, women's narrative and self-realization are gradually increasing. In addition, the works that deal with very touchy issues such as sex discrimination at work, sexual harassment begin to emerge. It has never been found in the manga of the former era. While this paper analyzes the social and cultural causes of these changes of the works that exclude romance and treat gender issues focusing on recent works, it examines changes of Japanese Jyosei manga in the 2010s and their meanings. I investigate the current trends of Japanese Jyosei manga in the 2010s through Umimachi Diary that represents a precious everyday life with woman-centered narrative, Metamorphose no engawa that deals with women's story from a new perspective, Good-bye My Miniskirt that tackles gender issues. Furthermore I intensively analyze how Nagi's Long Vacation and Darucyan, which win popularity from women in their 20s~30, represent lives and troubles of contemporary Japanese women. Nagi's Long Vacation represents the heroine's quest for a self throwing everything out. While Darucyan deals with self-realization, it forms of a bond of sympathy of readers by representing the heroine who suffers sexual harassment and inequal conditions very realistically. Nagi's Long Vacation and Darucyan have something in common with portraying troubles and self-realization of the working women in their 20s based on a indigenous reality to Japanese society very realistically. However they are unusual in that it is different from the manga of the former era in dealing with heroine's troubles and their solutions. The most distinctive changes of Jyosei manga since 2010 are that real issues surfaced with social changes. In addition, these social contradictions result from irrational discriminations and old customs of Japanese society for a long time. Manga reflects subtly the portraits of the times, their images of women, and their values. These changes of Jyosei manga also show the concerns of readers at that time, and it means that women began to be aware of the issues.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.247-275
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• 2019

We hope that more diverse interests will arise in the novels by Park Gye-hyeong By looking at writers and works in time, we identified the key element of Park Gye-hyeong's novels as 'romantic'. Romantic nature of this time is lyrical, sentimental, spiritual, unrealistic and idealistic. Based on a romantic understanding of the world, the core sanction of the novel is love, focusing on feelings of sadness, and on the aspects of joy, separation, and pain that arise from loving relationships rather than the aspects of joy. Based on the feelings of grief, the novels end with failure, death and betrayal, thus embodying tragic romanticism. Before her marriage, Park Gye-hyeong's novels were love stories that revealed her longing for beautiful love based on sensibility. The idyllic world and longing for nature reveal a romantic world-view. Ultimately, it is a fictional worldview that the author seeks to despair and long for, and to find the sincerity and morality of love in an environment that does not. Park Gye-hyeong, who became a housewife, expressed that she wanted to write a piece that can give readers a sense of nostalgia by embodying "romance at a high level," not "sentimental." In subsequent works, physical relationships are treated as failures of love and spiritual relationships as the fruit of love, revealing the lofty spirituality, idealistic longing and religious nature of love. Park Gye-hyeong confessed her shame about her previous work when she published a new one after more than two decades of writing. And after more than two decades of reflection, her new novel had a new theme of "recovering destroyed humanity." However, the search for "humanity" in the two novels released after the write-off tends to be somewhat hasty at the end of the novel. The question of human nature, sin and forgiveness, is the next best thing to save as a way of life, rather than as a result of the intense inner agony and behavior of the characters within the narrative, and this also shows a sudden shift in religiousness at the end of the novel. Therefore, the romantic meaning of the superficial is superficial.

• The Journal of the Korea Contents Association
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• v.20 no.11
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• pp.368-377
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• 2020

In this paper, the transmission and the phases of the memories in the novels dealing with Vietnam War have been studied. As a research method, Aleida Assmann's memory theory which plays a role in culturoloy theory is utilized. This study shows firstly that the others' voices excluded from the official memories of Vietnam War have emerged. Vietnam War novels released after 1990s actively reflecting the others' voices transmitted fresh the cultural memories. As the stories of civilian massacre, defoliant victims, and children of mixed bloods, Lai Daihan excluded from the official memories have emerged as a main them in the Vietnam War novels, they have become resistant memories. Existence and Formality, a Vietnam War novel by Bang Hyeonsuk brings up how to remember Vietnam War. His another novel, Time to Eat Lobster shows that without the fundamental retrospect and introspection of Vietnam War, Korea can't help but have the identity of America. Secondly, this paper shows that the tragedy of Vietnam War remains as a trauma that human bodies remember. White War by Ahn Jeonghyo shows that the memory moves back to the past in the process of struggle. In the novel, Slow Bullet by Lee Daehwan the phases of demage from defoliants lead to the family's tragedy. The Red Ao Dai by O Hyeonmi shows how a Korean-Vietnamese overcomes negation of his father and win his identity. In A Sad Song in Saigon shows that a mixed blood, Sairang who suffered from the confusion of his identity and his story fell down to a romance novel because of the weakness of narrative.