• Asia Marketing Journal
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• v.12 no.2
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• pp.53-81
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• 2010

Brand experience has received much attention from considerable marketing research. When consumers consume and use brands, they are exposed to various specific brand-related stimuli. These brand-related stimuli include brand identity and brand communications(e.g., colors, shapes, designs, slogans, mascots, brand characters) components. Brakus, Schmitt, and Zarantonello(2009) conceptualized brand experience as subjective and internal consumer responses evoked by brand-related stimuli. They demonstrated that brand experience can be broken down into four dimensions(sensory, affective, intellectual, and behavioral). Because experiences result from stimulations and lead to pleasurable outcomes, we expect consumers to want to repeat theses experiences. That is, brand experiences, stored in consumer memory, should affect brand loyalty. Consumers with positive experiences should be more likely to buy a brand again and less likely to buy an alternative brand(Fournier 1998; Oliver 1997). Brand attachment, one of dimensions of the consumer-brand relationship, is defined as an emotional bond to the specific brand(Thomson, MacInnis, and Park 2005). Brand attachment is target-specific bond between the consumer and the specific brand. Thus, strong attachment is attended by a rich set of schema that link the brand to the consumer. Previous researches propose that brand attachments should affect consumers' commitment to the brand. Brand experience differs from affective construct such as brand attachment. Brand attachment is based on interaction between a consumer and the brand. In contrast, brand experience occurs whenever there is a direct and indirect interaction with the brand. Furthermore, brand experience is not an emotional relationship concept. Brakus et al.(2009) suggest that brand experience may result in brand attachment. This study aims to distinguish brand experience dimensions and investigate the effects of brand experience on brand attachment and brand commitment. We test research problems with data from 265 customers having brand experiences in various product categories by using multiple regression and structural equation model. The empirical results can be summarized as follows. First, the paths from affective, behavior, and intellectual experience to the brand attachment were found to be positively significant whereas the effect of sensory experience to brand attachment was not supported. In the consumer literature, sensory experiences for consumers are often equated with aesthetic pleasure. Over time, these pleasure experiences can affect consumer satisfaction. However, sensory pleasures are not linked to attachment such as consumers' strong emotional bond(i.e., hot affect). These empirical results confirms the results of previous studies. Second, brand attachment including passion and connection influences brand commitment positively but affection does not influence brand commitment. In marketing context, consumers with brand attachment have intention to have a willingness to stay with the relationship. The results also imply that consumers' emotional attachment is characterized by a set of brand experience dimensions and consumers who are emotionally attached to the brand are committed. The findings of this research contribute to develop differences between brand experience and brand attachment and to provide practical implications on the brand experience management. Recently, many brand managers have focused on short-term view. According to this study, we suggest that effective brand experience management requires taking a long-term view of marketing decisions.

• Sim-seong Yeon-gu
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• v.31 no.1
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• pp.1-40
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• 2016

This thesis is a study on the symbolism of 'Yeondo', a prayer for the souls in purgatory of Korean Catholic Church as a 'psychic container' for the spiritual transformation in the psyche from a perspective of analytical psychology. Yeondo' could be the 'rites of passage' of the last judgement for the souls in purgatory which is in between the heaven and the hell. And both the bereaved and the dead go through the stages of separation, transition and incorporation which are the schema of the 'rites of passage'. In particular, they have a special sense of solidarity at the stage of transition, a middle state. The symbolic process of 'Yeondo' is a spiritual transformation of recovery of paradise which could access by the confusion of death, purification and the rebirth. A spiritual reborn process of death and rebirth takes place by contacting the collective unconscious. In 'Yeondo', the death is not the end of life but the beginning of the eternal life. The confusion and disintegration caused by death can be purified and start incorporating. The rites of a paradise recovery has the meaning of trying constantly for the recovery of a wholeness. Praying for the blessing of God and a help from saints in paradise for the sake of the dead means to require conscious cooperation for the Self-realization. Integrating and recognizing unconscious also means something beyond the conscious. The blessed souls in purgatory recovers the paradise experiencing specific purifying process heading towards Self. Going into the center, abyss of unconscious will be recognized as an absolute part of oneself. One becomes the inner man, the transformed personality who is reached by the path of self-knowledge, the kingdom of heaven within oneself and can have the transpersonal energy, which enables to access to God's world and union with God. All desire and the will become one with God. In the final analysis, praying for the blessing of God and a help from saints in paradise for the sake of the dead becomes the path for the more and more conscious expansion of the alive. Therefore, 'Yeondo' as an initiation is the individuation process of the alive and the dead to reflect on themselves.

• Asia pacific journal of information systems
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• v.17 no.4
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• pp.31-59
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• 2007

We frequently use search engines to find relevant information in the Web but still end up with too much information. In order to solve this problem of information overload, ranking algorithms have been applied to various domains. As more information will be available in the future, effectively and efficiently ranking search results will become more critical. In this paper, we propose a ranking algorithm for the Semantic Web resources, specifically RDF resources. Traditionally, the importance of a particular Web page is estimated based on the number of key words found in the page, which is subject to manipulation. In contrast, link analysis methods such as Google's PageRank capitalize on the information which is inherent in the link structure of the Web graph. PageRank considers a certain page highly important if it is referred to by many other pages. The degree of the importance also increases if the importance of the referring pages is high. Kleinberg's algorithm is another link-structure based ranking algorithm for Web pages. Unlike PageRank, Kleinberg's algorithm utilizes two kinds of scores: the authority score and the hub score. If a page has a high authority score, it is an authority on a given topic and many pages refer to it. A page with a high hub score links to many authoritative pages. As mentioned above, the link-structure based ranking method has been playing an essential role in World Wide Web(WWW), and nowadays, many people recognize the effectiveness and efficiency of it. On the other hand, as Resource Description Framework(RDF) data model forms the foundation of the Semantic Web, any information in the Semantic Web can be expressed with RDF graph, making the ranking algorithm for RDF knowledge bases greatly important. The RDF graph consists of nodes and directional links similar to the Web graph. As a result, the link-structure based ranking method seems to be highly applicable to ranking the Semantic Web resources. However, the information space of the Semantic Web is more complex than that of WWW. For instance, WWW can be considered as one huge class, i.e., a collection of Web pages, which has only a recursive property, i.e., a 'refers to' property corresponding to the hyperlinks. However, the Semantic Web encompasses various kinds of classes and properties, and consequently, ranking methods used in WWW should be modified to reflect the complexity of the information space in the Semantic Web. Previous research addressed the ranking problem of query results retrieved from RDF knowledge bases. Mukherjea and Bamba modified Kleinberg's algorithm in order to apply their algorithm to rank the Semantic Web resources. They defined the objectivity score and the subjectivity score of a resource, which correspond to the authority score and the hub score of Kleinberg's, respectively. They concentrated on the diversity of properties and introduced property weights to control the influence of a resource on another resource depending on the characteristic of the property linking the two resources. A node with a high objectivity score becomes the object of many RDF triples, and a node with a high subjectivity score becomes the subject of many RDF triples. They developed several kinds of Semantic Web systems in order to validate their technique and showed some experimental results verifying the applicability of their method to the Semantic Web. Despite their efforts, however, there remained some limitations which they reported in their paper. First, their algorithm is useful only when a Semantic Web system represents most of the knowledge pertaining to a certain domain. In other words, the ratio of links to nodes should be high, or overall resources should be described in detail, to a certain degree for their algorithm to properly work. Second, a Tightly-Knit Community(TKC) effect, the phenomenon that pages which are less important but yet densely connected have higher scores than the ones that are more important but sparsely connected, remains as problematic. Third, a resource may have a high score, not because it is actually important, but simply because it is very common and as a consequence it has many links pointing to it. In this paper, we examine such ranking problems from a novel perspective and propose a new algorithm which can solve the problems under the previous studies. Our proposed method is based on a class-oriented approach. In contrast to the predicate-oriented approach entertained by the previous research, a user, under our approach, determines the weights of a property by comparing its relative significance to the other properties when evaluating the importance of resources in a specific class. This approach stems from the idea that most queries are supposed to find resources belonging to the same class in the Semantic Web, which consists of many heterogeneous classes in RDF Schema. This approach closely reflects the way that people, in the real world, evaluate something, and will turn out to be superior to the predicate-oriented approach for the Semantic Web. Our proposed algorithm can resolve the TKC(Tightly Knit Community) effect, and further can shed lights on other limitations posed by the previous research. In addition, we propose two ways to incorporate data-type properties which have not been employed even in the case when they have some significance on the resource importance. We designed an experiment to show the effectiveness of our proposed algorithm and the validity of ranking results, which was not tried ever in previous research. We also conducted a comprehensive mathematical analysis, which was overlooked in previous research. The mathematical analysis enabled us to simplify the calculation procedure. Finally, we summarize our experimental results and discuss further research issues.

• Journal of Intelligence and Information Systems
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• v.20 no.2
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• pp.109-122
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• 2014

People are nowadays creating a tremendous amount of data on Social Network Service (SNS). In particular, the incorporation of SNS into mobile devices has resulted in massive amounts of data generation, thereby greatly influencing society. This is an unmatched phenomenon in history, and now we live in the Age of Big Data. SNS Data is defined as a condition of Big Data where the amount of data (volume), data input and output speeds (velocity), and the variety of data types (variety) are satisfied. If someone intends to discover the trend of an issue in SNS Big Data, this information can be used as a new important source for the creation of new values because this information covers the whole of society. In this study, a Twitter Issue Tracking System (TITS) is designed and established to meet the needs of analyzing SNS Big Data. TITS extracts issues from Twitter texts and visualizes them on the web. The proposed system provides the following four functions: (1) Provide the topic keyword set that corresponds to daily ranking; (2) Visualize the daily time series graph of a topic for the duration of a month; (3) Provide the importance of a topic through a treemap based on the score system and frequency; (4) Visualize the daily time-series graph of keywords by searching the keyword; The present study analyzes the Big Data generated by SNS in real time. SNS Big Data analysis requires various natural language processing techniques, including the removal of stop words, and noun extraction for processing various unrefined forms of unstructured data. In addition, such analysis requires the latest big data technology to process rapidly a large amount of real-time data, such as the Hadoop distributed system or NoSQL, which is an alternative to relational database. We built TITS based on Hadoop to optimize the processing of big data because Hadoop is designed to scale up from single node computing to thousands of machines. Furthermore, we use MongoDB, which is classified as a NoSQL database. In addition, MongoDB is an open source platform, document-oriented database that provides high performance, high availability, and automatic scaling. Unlike existing relational database, there are no schema or tables with MongoDB, and its most important goal is that of data accessibility and data processing performance. In the Age of Big Data, the visualization of Big Data is more attractive to the Big Data community because it helps analysts to examine such data easily and clearly. Therefore, TITS uses the d3.js library as a visualization tool. This library is designed for the purpose of creating Data Driven Documents that bind document object model (DOM) and any data; the interaction between data is easy and useful for managing real-time data stream with smooth animation. In addition, TITS uses a bootstrap made of pre-configured plug-in style sheets and JavaScript libraries to build a web system. The TITS Graphical User Interface (GUI) is designed using these libraries, and it is capable of detecting issues on Twitter in an easy and intuitive manner. The proposed work demonstrates the superiority of our issue detection techniques by matching detected issues with corresponding online news articles. The contributions of the present study are threefold. First, we suggest an alternative approach to real-time big data analysis, which has become an extremely important issue. Second, we apply a topic modeling technique that is used in various research areas, including Library and Information Science (LIS). Based on this, we can confirm the utility of storytelling and time series analysis. Third, we develop a web-based system, and make the system available for the real-time discovery of topics. The present study conducted experiments with nearly 150 million tweets in Korea during March 2013.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.163-206
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• 2010

Um die Jahrhundertwende des 20. Jahrhunderts besinnt sich Theater als ein Kunstwerk auf seine eigene $Realit{\ddot{a}}t$, $K{\ddot{o}}rper$, Raum und Zeit. Die Existenzweise des Theaterkunstwerks ist $Auff{\ddot{u}}hrung$. Die Kennzeichen der $Auff{\ddot{u}}hrung$ ist Transitorik, Unmittelbarkeit und Ereignishaftigkeit. $Auff{\ddot{u}}hrungsanalyse$ der Theaterwissenschaft als Disziplin wird lange Zeit $vernachl{\ddot{a}}ssigt$, weil $Auff{\ddot{u}}hrung$ ein Opfer der Zeit ist. Angesichts der $Auf{\ddot{u}}hrungsanalyse$ $mu{\ss}$ man eine Invariante zur $Verf{\ddot{u}}gung$ stellen, um einen Gegenstand zu analysieren. Die Inszenierung als ${\ddot{a}}sthetischer$ Gegenstand ist einmalig und unwiederbringlich. Das $B{\ddot{u}}hnengeschehen$ ist materielle $Realit{\ddot{a}}t$, die von dem Zuschauer sinnlich - optisch und akustisch - erfahren wird. Die Inszenierung realisiert sich in 'drei $B{\ddot{u}}hnengestalten$': 'Intendierte $B{\ddot{u}}hnengestalt$', 'realen $B{\ddot{u}}hnengestalt$' und 'vermeinte $B{\ddot{u}}hnengestalt$'. Die $Auff{\ddot{u}}hrung$ konkretisiert sich im Kopf des Zuschauers nicht als eine reale $B{\ddot{u}}hnengestalt$, sondern als ein '${\ddot{a}}sthetisches$ Objekt', 'als Abdruck der $B{\ddot{u}}hnenvorg{\ddot{a}}nge$'. Der Platz des $Auff{\ddot{u}}hrungsanalytikers$ ist der des Zuschauers, des Rezipienten. Die ${\ddot{a}}sthetische$ $B{\ddot{u}}hnengestalt$ ist eine Rekonstruktion der selektiven wahrgenommenden $Auff{\ddot{u}}hrung$, die der 'realen $B{\ddot{u}}hnengestalt$' ${\ddot{a}}hnelt$. Diese Rekonstruktion als neue $Sch{\ddot{o}}pfung$ des Rezipienten ist "Simulacrum", das der dem Objekt $hinzugef{\ddot{u}}gte$ Intellekt ist. Der Begriff der $Auff{\ddot{u}}hrungsanalyse$ wird Synonym $f{\ddot{u}}r$ die Interpretation als hermeneutischer $Proze{\ss}$. $F{\ddot{u}}r$ die Methode der $Auff{\ddot{u}}hrungsanalyse$ gibt es Strukturanalyse und Transformationsanalyse. Strukturanalyse geht $ausschlie{\ss}lich$ von der $Auff{\ddot{u}}hrung$ aus. Transformationsanalyse geht von der Transformation des Textes aus. $F{\ddot{u}}r$ diese Arbeit steht dramaturgische Analyse von Shakespeares Romeo und Julia als erste Grundlage. Die Handlungsentwicklung von Romeo und Julia ist klar in '$f{\ddot{u}}nf$ Akte' eingeteilt, die insgesamt aus 24 Szenen bestehen. Die Gesamthandlung von Romeo und Julia baut sich $pyramidenf{\ddot{o}}rmig$ nach dem Schema der steigenden und fallenden Handlung auf: Exposition/ Ausgangssituation (bis zur ersten Begegnung des Liebespaares auf dem Fest), erregendes Moment als Steigerung (von der Verliebtheit bis zur $Eheschlie{\ss}ung$), Wendepunkt/ Peripetie (Mercutios Tod), retardierendes Moment (Julias Scheintod) und Katastrophe (Vereinigung im Grabe). Die Handlung des $St{\ddot{u}}ckes$ gliedert sich in eine Haupt- und eine Nebenhandlung: dominierend ist die Liebeshandlung zwischen Romeo und Julia, daneben steht die Entwicklung der Fehde zwischen den Familien von Montague und Capulet; sie sind 'sich gegenseitig bedingend, steigernd, hemmend und vernichtend'. Parallelisierung und Kontrast der Figurenkonstellation werden in den jeweils sozial oder im Alter entsprechenden Figuren aus den beiden verfeindeten Familien gezeigt. Die Thematik des $St{\ddot{u}}ckes$ kommt in dem Oxymoron "loving hate" (I.1.175) zum Ausdruck. Shakespeare $l{\ddot{a}}sst$ die Liebeshandlung von Romeo und Julia in der Art der de casibus-$Trag{\ddot{o}}die$ spielen; deren Handlungsmuster ist 'dargestellt im Rad der Fortuna, das einen Menschen $emportr{\ddot{a}}gt$ und wieder $abst{\ddot{u}}rzen$ $l{\ddot{a}}sst$'. Das $St{\ddot{u}}ck$ Romeo und Julia ist eine experimentelle $Trag{\ddot{o}}die$. Es beginnt als $Kom{\ddot{o}}die$ mit $Z{\ddot{u}}gen$ einer Romanze, die sich aus dem Motiv der privaten Liebe und Heirat entwickelt. Pater Lorenzo und die Amme treten mit Lorenzos Wissen von der magischen Kraft der $Kr{\ddot{a}}uter$ und der $Geschw{\ddot{a}}tzigkeit$ der Amme $h{\ddot{a}}ufig$ in der $Kom{\ddot{o}}die$ auf. Die Handlung von Romeo und Julia erreicht mit Mercutios Tod den Wendepunkt, der die komische Welt zur tragischen umwandelt. $F{\ddot{u}}r$ die Sprache gibt es Prosa der Diener wie die Alltagssprache der einfachen Leute und zugleich Verse der Adeligen. Shakespeare verwendet eine kontrastreiche Metaphorik $f{\ddot{u}}r$ Raum und Zeit. Dreimal geschehen am Tag die $K{\ddot{a}}mpfe$ der verfeindeten Familien auf den ${\ddot{o}}ffentlichen$ $Pl{\ddot{a}}tzen$. Der Tag wirft ein Licht auf den Hass und die Gewalt. Die Nacht aber ist die $Sph{\ddot{a}}re$ der Liebe, wo Romeo und Julia ihre heimliche Verbindung verborgen halten $k{\ddot{o}}nnen$. Die Liebenden treffen sich in der Nacht und in dem ummauerten Raum. Oh, Tae-Suks "Romeo und Julia" wird in der Form des Madangguks gestaltet. Die Handlung in Oh, Tae- Suks Textfassung ist also nicht nach dem Prinzip der $Kausalit{\ddot{a}}t$ und Folgerichtigkeit zu lesen wie im Shakespeare-Drama. Wegen dem Ignorieren der $Kausalit{\ddot{a}}t$ des Handlungsablaufes und dem Fehlen der Motivation der Handlung ergibt sich hier keine individuelle psychologische Figurencharakterisierung. Die Figuren sind typisiert. Die koreanische Textfassung mit den extremen textlichen $Verk{\ddot{u}}rzungen$ und den zwei szenischen $Hinzuf{\ddot{u}}gungen$ $pr{\ddot{a}}gt$ die Inszenierung dahingehend, dass an die Stelle der Wortsprache mehr $K{\ddot{o}}rpersprache$ und szenische Bilder treten. Die langen Sprechpartien der Figuren im Shakespeare-Drama werden meistens $gek{\ddot{u}}rzt$ und $beschr{\ddot{a}}nken$ sich entweder auf Informationen ${\ddot{u}}ber$ die Situation oder zur Handlungsentwicklung. Und der Handlungsablauf erfolgt in Episoden sowie Musik, Lied und Tanz; Musik, Lied und Tanz dienen einerseits dem ${\ddot{U}}bergang$ der Szenen, sind aber andererseits auch selbst Teil des Handlungsablaufs. $W{\ddot{a}}hrend$ Shakespeare die Sprache der $W{\ddot{o}}rter$ in den Vordergrund $r{\ddot{u}}ckt$, $st{\ddot{u}}tzt$ Oh, Tae-Suk sich mehr auf die Sprache des $K{\ddot{o}}rpers$, die ja zugleich bildhaft ist. $Daf{\ddot{u}}r$ nimmt die Inszenierung Tanz und Lieder. Oh, Tae-Suks Inszenierung entwirft Shakespeares $Trag{\ddot{o}}die$ in der Form des Madangguks als Spiel und zugleich als erkennentnisorientiertes, nachdenkliches Theater $f{\ddot{u}}r$ den koreanischen Zuschauer, das dem traditionellen koreanischen Theater als Unterhaltungstheater nicht $m{\ddot{o}}glich$ ist, in dem sich das Volk von der Wirklichkeit erleichterte und sich $vergn{\ddot{u}}gte$. Oh, Tae-Suk formt das Publikum zum 'Wir' und zugleich zum 'Ich'. Mit dem Zusammensein der $v{\ddot{o}}llig$ andernen Theaterkulturen schafft der Reigisseur das hybride Theater und dadurch bildet $f{\ddot{u}}r$ die moderne koreanische Gesellschaft eine neue kulturelle $Identit{\ddot{a}}t$ heraus.