• International Journal of Computer Science & Network Security
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• v.22 no.7
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• pp.332-346
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• 2022

Digital transformation represents one of the main obstacles facing several government, private, and non-profit sectors that help stabilize digital transformation in the Arabic region. One of the helpful ways to improve the level of freedom, productivity, and flexibility among employees to accept the BYOD approach is using their own devices to perform their work both in and outside the workplace. This study focuses to present the differences between the main three economic sectors, which represent the most important pillars of the economy in Saudi Arabia within the Kingdom's Vision 2030. BYOD also has great importance to the stakeholders for raising their awareness by expressing the implications, if the concept of BYOD is widely and correctly adopted. The study uses the diffusion of innovation (DOI) framework and quantitative analysis data to determine the main dimensions and important factors that help increase the awareness of the target audience. The number of participants in this study was 830, and the participants are mixing between the government, private, and non-profit sectors. The main findings showed a significant impact of several factors such as the importance of knowledge, ease of use, employee satisfaction, risk awareness, and attention to increase the level of acceptance in three main sectors study for using the BYOD approach widespread and professional use.

• Trans-
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• v.12
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• pp.173-222
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• 2022

This thesis examines the 'universe' acceptance phenomenon, currently used as a content strategy in the K-pop field, from the perspective of K-pop audiences, and then attempts to identify their experience of acceptance and the meaning of the universe. For this, tweets related to the universe acceptance experience of Aespa, the group utilizing the universe as a content strategy the most actively, were collected, and this data was analyzed according to a phenomenological approach, an approach to explore the structure of personal experience and the essence of a phenomenon. As a result of analyzing using Moustakas' method, the semantic structure of the universe acceptance phenomenon of K-pop audiences was derived based on 21 thematic units. It was found that current K-pop audiences are experiencing active cultural consumption rather than unilateral or passive through acceptance of the universe. This means that K-pop audiences have the characteristics of active audiences that produce meaning, interact with other fans, and exert influence on outside of community. At the same time, these characteristics affect acceptance of the universe. Simultaneously, through active acceptance experience, it is found that K-pop audiences give a new meaning in the K-pop universe, as "marketing assets", "fandom community assets", and "K-pop industry expansion assets." Among them, the recognition of 'marketing assets' was reaffirmed as a basis for supporting related previous studies. In addition, it derived the new values of the universe in the K-pop field by discovering the meaning of "fandom's specific assets" and "assets of the K-pop industry for expansion". These meanings had not been found that previous studies from the producers' point of view. And then, for the purpose of expanding the value of the universe in the future, it was discussed the direction of the new meaning of the universe. Finally, this study is meaningful in that it revealed the semantic structure of the universe acceptance phenomenon and discovered a new meaning of the universe in the K-pop field. Additionally, it was intended to contribute to expanding the field of research by suggesting various follow-up studies from various perspectives.

• Asia pacific journal of information systems
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• v.19 no.3
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• pp.25-49
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• 2009

Advances in technology have resulted in the emergence of new information systems. The convergence of IT and manufacturing sectors has blurred the boundaries among industries. Also, such convergence has become established as a paradigm to build a new area. Especially the convergence of broadcasting and telecommunication, notably in the case of IPTV (Internet Protocol Television), is among the most salient examples of its kind in recent years as a major case of disruptive technology innovation. Despite its much fanfare, such convergence, however, has not fulfilled the expectation; it has not produced positive economic effects while negatively affecting the growth of IPIV. Stakeholders in and around IPIV including telecommunication companies, broadcasting corporations, and government bodies wish to gain control of IPTV under their wings. IPTV has drifted in the midst of conflicts among the stakeholders in and around IPTV, particularly telecommunication and broadcasting organizations in a broad sense. Our empirical research intends to deal with how audiences accept IPTV and how firms provide IPTV services to utilize their resources. Three research questions in this paper include, first, whether Technology Acceptance Model (TAM) can sufficiently explain the acceptance of IPTV as an information system. The second question concerns with empirically testing the playful aspect of IPTV to increase its audience acceptance. Last, but not least, this paper deals with how firms can efficiently and effectively allocate their limited resources to increase IPTV viewers. To answer those three main questions of our study, we collect data from 197 current subscribers of high speed internet service and/or cable/satellite television. Empirical results show that 'perceived usefulness (PU) $\rightarrow$ Intention to use' and 'perceived ease of use (PEU) $\rightarrow$ Intention to use' are significant. Also, 'perceived ease of use' is significantly related to 'perceived usefulness.' Perceived ease of handling IPTV without much effort can positively influence the perceived value of IPTV. In this regard, engineers and designers of IPTV should pay more attention to the user-friendly interface of IPTV. In addition, 'perceived playfulness (PP)' of IPTV is positively related to 'intention to use'. Flow, fun and entertainment have recently gained greater attention in the research concerned with information systems. Such attention is due to the changing features of information systems in recent years that combine the functional and leisure attributes. These results give practical implications to the design of IPTV that reflects not just leisure but also functional elements. This paper also investigates the relationship between 'perceived ease of use (PEU)' and 'perceived playfulness (PP).' PEU is positively related to pp. Audiences without fear can be attracted more easily to the user-friendly IPTV, thereby perceiving the fun and entertainment with ease. Practical implications from this finding are that, to attract more interest and involvement from the audience, IPTV needs to be designed with similar or even more user friendly interface. Of the factors related to 'intention to use', 'perceived usefulness (PU)' and 'perceived ease of use (PEU)' have greater impacts than 'perceived playfulness (PP).' Between PU and PEU, their impacts on 'intention to use' are not significantly different statistically. Managerial implications of this finding are that firms in preparation for the launch of IPTV service should prioritize the functions and interface of IPTV. This empirical paper also provides further insight into the ways in which firms can strategically allocate their limited resources so as to appeal to viewers, both current and potential, of IPTV.

• 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 the Korean BIBLIA Society for library and Information Science
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• v.33 no.1
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• pp.25-45
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• 2022

This study was to develop KORMARC-bibliographic format reflecting cataloging trends after LRM using literature review, analysis of MARC 21 discussion papers, and comparison of the fields in MARC 21 and KORMARC. The acceptance and consideration of fields and sub-fields that need to be revised in KORMARC are as follows. First, in terms of LRM / RDA, fields 381 or 387 for the representative expression, field 881 and the change and addition of its sub-fields for the manifestation statement, and data provenance code to ▾7 sub-field for date provenance may be considered. Second, in terms of Linked Data, ▾1 sub-field for RWO, and field 758 for related work identifier can be added. Third, for the data exchange of KORMARC and BIBFRAME, it should be developed in consideration of mapping with BIBFRAME classes and attributes in KORMARC. Fourth, additional fields such as 251 version information, 334 mode of issuance, 335 expansion plan, 341 accessibility content, 348 format of notated music, 353 supplementary content characteristics, 532 accessibility note, 370 associated place, 385 audience characteristics, 386 creator/contributor characteristics, 388 time period of creation, 688 subject added entry-type of entity unspecified, 884 description conversion information, 885 matching information could be developed. This study will be used to revise KORMARC-bibliographic format and to build and utilize bibliographic data in domestic libraries.

• The Korean Journal of Archival Studies
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• no.57
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• pp.5-33
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• 2018

Records, especially the authentic records the nation secured, have an ontological feature of proof that is able to persuade the current present of the past present, and inherent in it is faith that originates from fundamental objectivity. Therefore the image of silence that such strictness of records creates realizes the detonation of specific memories through the act of visual exhibition. This research started from the notion that records achieve social vitality and return through its exhibition, as well as the critical awareness that it 're-mediate' the past and memory through interactions with image. The reason for viewing the archival exhibition as the subject of user analyzation is that in the process where exhibition sorts and arranges records, it is the tool and mediation that most distinctly exposes the identity of the archives. Hence, this research first analyzes national archives, particularly the exhibition of "presidential" records, which is in the center of memory conflict, in the viewpoint of the cultural practice of memory. Afterwards, it discusses empirical research and results on how users accept and resist the meaning of the exhibition through actual surveys of users after their viewing of an exhibition.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.111-119
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• 2019

Time and space are the foundations of all the narrative. As the aim and content of narrative, spatial narrative plays an increasingly important role in the narrative movies. With the development and application of digital technique, the expressiveness of movie space is enhancing, and spatial narrative has become the focus of directors and critics. As a developing cinematic narrative form, spatial narrative is taking advantage in many aspects, including narrative structure, narrative effect, creative skills and audience acceptance, which can bring breakthrough and innovation to the creation of cinematic narrative. Based on the spatial theory in movies, the paper analyzes the space presentation approaches in the movie Hugo. Combined with the motivating factors, structure factors, symbolic significance and psychological factors of narrative space, the paper specifically analyzes the significance of spatial narrative in American movie Hugo. By researching the glamour of narrative space in the movie, the paper intends to provide certain reference value to the narrative expression of the movies today.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.79-86
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• 2019

Drama, as an artistic stage performance style of traditional life style, has built a bridge of communication between the two nationalities in China and Korea. However, the different performance procedures and cultural backgrounds of different countries make the theatrical arts of China and Korea present different stage manifestations. The dissemination and influence of the Chinese drama and in Korea are mainly studied in this paper. By using the methods of work analysis and text analysis, this paper further explores the evolution history of drama communication, the influence of Chinese drama on Korea, which embodies the cultural transmission, and explores the influence of communication and the acceptance degree of the audience. It has the significance and value of research, at the same time, it promotes the long-term development of national culture.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.148-158
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• 2013

This research attempts to analyse the 'Gangnam style' which has achieved worldwide recognition and became the first YouTube video to reach a billion views on December 2012, since it has released on 15th of July, 2012. Why 'Gangnam style' is so popular and how Cy's music video has spread across the world remarkably in very short period of time? It is suggested that the 'Gangsnam style' phenomenon can be explained by 'Kirtsch' and 'Meme', however there is no pertinent analysis in an academic way. In this respect, this research is concerned with addressing the 'Gangnam style', global cultural phenomenon, by the Kitsch related to the acceptance of global audience and the Meme engaged with global diffusion of music video in a cultural view. Therefore, this research reviews a broad range of literatures and seeks characteristics of two theories, on the ground of this, 'Gangnam style' will be investigated to verify the reason caused cultural phenomenon.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.