• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.765-774
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• 2022

Neflix, a Global Over The Top(OTT) has produced various 'interactive contents' since 2015. The interactive contents mean the works in which the video users directly make choices suitable for circumstances on behalf of characters, and the conclusion of story is changed according to those choices. This thesis researches the works that attempted many narrative variations such as in 2020 and released in 2021. Compared to the previous interactive contents, these works had more diverse subjects and choices while the conflict factors and main messages of works were changed. Through this, this study examines and analyzes the diversified aspect and characteristics of narrative structure of the interactive contents in OTT.

• Journal of the HCI Society of Korea
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• v.9 no.2
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• pp.23-31
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• 2014

A variety of writing support systems focus on the information management or the feature analysis of the commercially successful narrative texts. In these approaches, the reader's role in the narrative creating process is overlooked. During a writing work, an author anticipates the reader's response or expectation to the narrative and he/she organizes the narrative either along or against the prediction about readers. Assessing and controlling the reader's comprehension in the development of events influences the aesthetic quality of the narrative. In this paper, we suggest a writing support system to visualize and adjust the characteristics of a narrative text related to the reader's comprehension, which is theoretically based on the narrative structure model and the event-indexing situation model. Under the development of the support system, we designed an interactive framework to create events as the basic units of story and arrange them onto both story- and discourse-time axes. Using this framework, we analyzed the organization of events about an actual film narrative. We also proposed both the continuity of the situational dimensions and the cognitive complexity as the characteristics to affect the reader's comprehension, hence we devised a method to visualize and evaluate them. This method was applied to the actual film narrative and the result was discussed in the aspect of the features of the narrative and wiring support strategies.

• Journal of Korean Classical Literature and Education
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• no.16
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• pp.297-326
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• 2008

I started this study to solve the doubt about actual condition of Oksosun stories. which was recorded in Cheonyerok(天倪錄) is the first form of Oksosun stories. But this story seems a very outstanding work. had a structure of romance. The hero's character was a romantic figure but Oksosun's character was a figure of Yadam. Afterward recorded in Gyeseoyadam(溪西野譚) and recorded in Cheongguyadam(靑邱野談) took place changes in the structure of the story. A lot of narrative paragraphs were removed in these stories. So and achieved the typical structure of Yadam. In recorded in Dongyahwijip(東野彙輯), the change of style was caused once more. So we can see the transmitting and changing flow of Yadam by this study; Romantic Yadam ${\rightarrow}$Typical Yadam , ${\rightarrow}$Noverized Yadam .

• The Journal of the Korea Contents Association
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• v.9 no.9
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• pp.143-150
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• 2009

A quest in MMORPG functions as a unit of game narrative. It is an essential part to progress game narrative and to construct player's own storyline. In addition, it makes player to expand her territory and helps with character growth by giving reward. A quest consists of four essential elements : the quest giver, the background story, the objective and the reward. A quest shows a blanch structure with two nodes which is same as Claude Bremond's elementary sequence. The sequence of each functions cannot be changed, therefore, it can be explained through a syntagma model. On the other hand, spatial disposition of quests follows a paradigm model. In order to construct a MMORPG narrative, a player connects quests into a single narrative by carrying out them.

• Journal of English Language & Literature
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• v.57 no.4
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• pp.625-649
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• 2011

Even though "An Outpost of Progress" and Heart of Darkness were based upon Joseph Conrad the sailor's same experience in Congo Free State, their narrative strategies are quite different. The realistic representation of "An Outpost of Progress," with which Conrad was not satisfied at all, was converted into the modernistic narrative strategy of Heart of Darkness so that the sympathetic power of the story should be improved. The conservative value system of realism is expressed by the omniscient author in "An Outpost of Progress," whereas the frame narrator of Heart of Darkness is proved to be an unreliable one whose norms and behavior are not in accordance with the implied author. The glorious history of the British Empire, which was proudly presented by the frame narrator at the beginning of Heart of Darkness, was strongly opposed by Marlow, another narrator, who said that the British Empire had been "one of the dark places of the earth" when ruled by the Roman Empire. The feeling of the frame narrator was uneasily changed into the gloomy mood when he described the Thames as the flow which "seemed to lead into the heart of an immense darkness" at the end of Heart of Darkness. Similar to the straightforward narrative strategy of representation in "An Outpost of Progress," the realistic approach of Part I in Heart of Darkness is considered by Conrad as insufficient to reveal the darkest truth of imperialism, which was declared by Kurtz as "The Horror! The Horror!" Thus Conrad uses the Chinese-box structure, in which Kurtz' episode is enveloped by Marlow's tale which is enclosed by the frame narrator's story, in order to penetrate into the mind of ordinary readers in the novelist's age of New Colonialism, while attacking the ideology itself of imperialism instead of critisizing its inefficiency and individualism.

• Journal of Science of Art and Design
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• v.9
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• pp.49-87
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• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.

• Cartoon and Animation Studies
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• s.51
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• pp.83-105
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• 2018

In the actantial model of Algirdas Julius Greimas, a story makes 3 kinds of relationships with 6 actants, and, in these relationships, the desires of subjects and objects are operated. And, when the subject performs its desire, there are both assistance of helper and disturbance of opponent. And, the object of desire wanted by the subject is provided by sender and receiver. Using this actantial model, this study analyzed the narrative structure of the animation 'Dalbitgungjeon', and, by rearranging the subject of capacity, examined general stream of communication. Korean animations have tried to approach using archetypes of Korean culture as motifs with various perspectives. But, it is true that, compared with foreign animations dramatized using cultural archetypes, Korean animations still have something to be desired. Thus, this study analyzed the narrative structure of 'Dalbitgungjeon' which was recently producted using archetypes of Korean culture as its motif, and, rearranging the subject of capacity, examined general stream of communication. By doing this, this study tried to search for the method of producing an animation equipped with more advanced narrative structure. Of course, narrative structure of Greimas has been studied in various aspects. However, there are still not enough animation researches using cultural archetypes of Greimas. Considering such aspects, this study focused on searching for a method of using the formation of cultural archetypes based on the analysis of fables of Greimas.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.265-274
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• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.

• Journal of Intelligence and Information Systems
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• v.17 no.4
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• pp.279-292
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• 2011

Movie is a representative media that can transmit stories to audiences. Basically, a story is described by characters in the movie. Different from other simple videos, movies deploy narrative structures for explaining various conflicts or collaborations between characters. These narrative structures consist of 3 main acts, which are beginning, middle, and ending. The beginning act includes 1) introduction to main characters and backgrounds, and 2) conflicts implication and clues for incidents. The middle act describes the events developed by both inside and outside factors and the story dramatic tension heighten. Finally, in the end act, the events are developed are resolved, and the topic of story and message of writer are transmitted. When story information is extracted from movie, it is needed to consider that it has different weights by narrative structure. Namely, when some information is extracted, it has a different influence to story deployment depending on where it locates at the beginning, middle and end acts. The beginning act is the part that exposes to audiences for story set-up various information such as setting of characters and depiction of backgrounds. And thus, it is necessary to extract much kind information from the beginning act in order to abstract a movie or retrieve character information. Thereby, this paper proposes a novel method for extracting the beginning boundaries. It is the method that detects a boundary scene between the beginning act and middle using the accumulation graph of characters. The beginning act consists of the scenes that introduce important characters, imply the conflict relationship between them, and suggest clues to resolve troubles. First, a scene that the new important characters don't appear any more should be detected in order to extract a scene completed the introduction of them. The important characters mean the major and minor characters, which can be dealt as important characters since they lead story progression. Extra should be excluded in order to extract a scene completed the introduction of important characters in the accumulation graph of characters. Extra means the characters that appear only several scenes. Second, the inflection point is detected in the accumulation graph of characters. It is the point that the increasing line changes to horizontal line. Namely, when the slope of line keeps zero during long scenes, starting point of this line with zero slope becomes the inflection point. Inflection point will be detected in the accumulation graph of characters without extra. Third, several scenes are considered as additional story progression such as conflicts implication and clues suggestion. Actually, movie story can arrive at a scene located between beginning act and middle when additional several scenes are elapsed after the introduction of important characters. We will decide the ratio of additional scenes for total scenes by experiment in order to detect this scene. The ratio of additional scenes is gained as 7.67% by experiment. It is the story inflection point to change from beginning to middle act when this ratio is added to the inflection point of graph. Our proposed method consists of these three steps. We selected 10 movies for experiment and evaluation. These movies consisted of various genres. By measuring the accuracy of boundary detection experiment, we have shown that the proposed method is more efficient.

• The Mathematical Education
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• v.52 no.1
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• pp.65-82
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• 2013

This study has to do with storytelling. In this study, analyzed the domestic and international academic literature and scientific papers. The purpose of this study is to provide the meaningful basic material on mathematics education for the development of storytelling lesson model and teaching material. First, we analyze the causes and background storytelling appeared. The psychologists found that the human cognition's structure consists of a narrative system. And, We realize that the problem 'How will attract the attention of the students in math class' will be solved by storytelling. Second, the means of storytelling about the educational value and benefits were discussed in Mathematics Education. The story has a powerful force in the delivery of mathematical content. And, the story has strong power, led to feelings of students receiving transfer mathematical content. Finally, examined the characteristics of the psychology of learning in mathematics education by storytelling. We were studied about internal and external story. And, we studies on storytelling as the mediator, story as the knowledge transfer, story as the problem-solving process, story as the script.