• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.660-663
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• 2009

Consumers express how they evaluate what they purchased by writing reviews especially when they purchased products online. By analyzing the reviews about a product, it will be possible to find out what the consumers liked and disliked about the product. It will be also possible to identify the general consensus on what matters in purchaing certain product type such as a laptop if many reviews about many instances of a particular product type is analyzed. However, it takes a lot of time to manually analyzing the reviews. Thus, we propose to use two natural language processing oriented computational techniques to analyze a large number of reviews. The techniques are text classification and information extraction. We developed an review analysis system and conducted experiments against the reviews about the laptop computers posted on the Naver information portal.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.378-385
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• 2017

The aim of this study was to analyze cohesion and word information among different types of questions in the English reading section of the College Scholastic Ability Tests (CSAT). The types of questions were divided into three categories: macro reading, micro reading, and indirect writing. Reading texts from 1994 to 2017 CSAT were analyzed by Coh-Metrix, an automated evaluation program of text and discourse. The findings of this study indicated that there were statistical differences among the three categories of questions for noun overlap, stem overlap, adversative and contrastive connective, additive connective, pronoun incidence, age of acquisition, concreteness for content word, imagability, and meaningfulness. The information of the findings bore pedagogic implications for developing textbooks, questions for CSAT, and reading strategies by students.

• Cross-Cultural Studies
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• v.26
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• pp.173-200
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• 2012

This paper examines ${\acute{e}}pist{\acute{e}}m{\grave{e}}$ of ${\acute{e}}criture$ and its politics in Kim, Soo-Yung's poems, focusing on 'language-letter' images such as "speech", "language", "printing type", "letter", "brush", "book" and so on. While the previous papers fail to present the overall framework of analysis on 'language-${\acute{e}}criture$' images and to show political dimensions of discourse analysis, this paper tries to overcome these limitations. It explains images of 'speech' and 'language' on the basis of Heidegger's ontological thought, and analyzes writing-images such as 'type', 'letters' using Derrida's concepts of 'archi-${\acute{e}}criture$' and '${\acute{e}}criture$'. It also gives a new name to multiple images of 'book' in his poems as 'politics of ${\acute{e}}criture$' based on problematic such as Badiou's 'ethics of truths' and Derrida's '${\acute{e}}criture$'.

• Cross-Cultural Studies
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• v.49
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• pp.95-126
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• 2017

The purpose of this paper is to compare learners' academic texts with academic texts of native speakers and to examine the usage patterns of learners' objectification strategies in detail. In order to achieve objectivity as a discourse mechanism applied to describe the results of academic inquiry in a scientific way with universality and validity, we analyzed concepts and signs such as related intentionality, accuracy, and mitigation of the linguistic markers of objectification strategies. As a result of the comparison, it was analyzed that there are intersectional overlaps with the signs that reveal objectivity, signs indicating related mechanisms, and there is a different set that is differentiated. Objective markers can be broadly classified as emphasizing stativity of research results, separating research subjects from research results, and generalizing research contents. Sustainable expressions and noun phrases emphasize statehood, and non-inhabited expressions, passive expressions, and self-quotations are maintained in the distance between the claimant and the writer, and the pluralization through first-person pronouns and suffixes contributes to generalization. In the case of the learner, the non-inhuman expression of the quotation type appears to be very less compared to the maw speaker, which could be due to the lack of recognition of the citation method of the Korean academic text. Next, in the generalization of the research contents, the expression of 'we' was very less compared to the maw speakers.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.117-144
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• 2020

The film Burning (Lee Chang-dong, 2018) is one of the most noted Korean films in recent years as a work that unfolds an elaborate narrative in a delicate visualization. This film is a multi-vocal text in which different types of characters appear and scattered objective facts and ambiguous subjective desires are intertwined, so it is a text that has room for diverse interpretations. This article attempts to read Burning as an ethical discourse centered on the protagonist Jong-su, noting that the film raises universal and significant ethical issues that transcend the specific social and historical conditions of a contemporary Korean youth. I would like to examine the situation in which Jong-su is facing and his reaction to it, above all, from the perspective of Jong-su's ethical awakening and leap forward. Jong-su, a young South Korean non-regular man living in the present, encounters and connects with Hae-mi and Ben and attempts to understand the mysteries of the world. His trajectory, which the film shows closely, inevitably intersects the social and historical dimension of confusion and frustration of a young man graduated from the Department of Creative Writing, the reality of family dissolution and the individual psychological dimension of the sudden disappearance of his lover Hae-mi. Burning is a magistrate film that depicts Jong-su as an ethical subject oriented toward 'communal togetherness' while confronting the world and exploring its mysteries despite all his unfavorable conditions, such as his social position of the precariat youth and the epistemological uncertainty of reality perception. It is read as a story of his painful growth, in which Jong-su is becoming a 'writer', who once was a helpless non-regular delivery worker.

• The Mathematical Education
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• v.62 no.1
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• pp.95-115
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• 2023

Even the teachers who agree with the necessity of effective mathematical discussions find it difficult to orchestrate such discussions in the actual lessons. This study focused on analyzing the difficulties 15 elementary school teachers faced in applying "the five practices for orchestrating productive mathematics discussions" to their lessons. Specifically, this study analyzed the process of planning, implementing, and reflecting on the lessons to which three or four teachers as a teacher community applied the five practices. The results of this study showed that the teachers experienced difficulties in selecting and presenting tasks tailored to the student levels and class environment, monitoring all students' solutions, and identifying the core mathematical ideas in student solutions. In addition, this study revealed practical and specific difficulties that had not been described in the previous studies, such as writing a lesson plan for effective use, simultaneously performing multiple teacher roles, and visually sharing student presentations. This study is expected to provide practical tips for elementary school teachers who are eager to promote effective mathematical discussions and to provoke professional discourse for teacher educators through specific examples.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.

• (The)Study of the Eastern Classic
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• no.55
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• pp.115-145
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• 2014

In this paper, the transition of the status of Chinese novels and the change of the knowledge field in the modern times from the end of 19th century to the early 20th century, the transition period between the tradition and the modern times, have been investigated based on Liang Qichao's assertion of the Revolution of the Novel World. How the traditional novels have been evaluated, how modern novels enlightened a people and changed the political society, and what role novels acted in the change of the knowledge field are investigated. Especially I looked into the accumulations of knowledge and changes inside China which were overlooked in the previous researches which focused on the inflow of the Western culture and its impact on Chinese culture. Firstly the evaluation and classification of the traditional novels are considered. Because the transition of the status of novels and the classification method of the catalog of books are tightly coupled with the change of academic ideologies. Later I tried to understand novels as a way of thinking the modern times with a discussion on the changes of modern knowledge society and the consideration of Liang Qichao's Revolution of the Novel World in the two viewpoints, i.e. the relationship between novels and political society, and novels and the style of writing. Liang Qichao raised novels to the topmost position of literature. He pushed the traditional poetry off the top position and replaced it with popular novels. As the outside impact of Western culture made Chinese novels a tool for enlightening the ignorant people and the medium of propagating the knowledge, the status of novels was elevated to the highest level which novels had never reached in the past. With the limitation that the valuation was not based on the aesthetic appreciation of art but based on the value for politics and society, novel was a discourse of life and death to save the country and a container of knowledge to rebuild the people's mind and convert the crisis of the national ruin.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.