• KIPS Transactions on Software and Data Engineering
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• v.3 no.7
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• pp.285-292
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• 2014

A named entity recognition method is used to improve the performance of information retrieval systems, question answering systems, machine translation systems and so on. The targets of the named entity recognition are usually PLOs (persons, locations and organizations). They are usually proper nouns or unregistered words, and traditional named entity recognizers use these characteristics to find out named entity candidates. The titles of books, movies and TV programs have different characteristics than PLO entities. They are sometimes multiple phrases, one sentence, or special characters. This makes it difficult to find the named entity candidates. In this paper we propose a method to quickly extract title named entities from news articles and automatically build a named entity dictionary for the titles. For the candidates identification, the word phrases enclosed with special symbols in a sentence are firstly extracted, and then verified by the SVM with using feature words and their distances. For the classification of the extracted title candidates, SVM is used with the mutual information of word contexts.

• Journal of Convergence for Information Technology
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• v.7 no.6
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• pp.53-59
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• 2017

This study was attempted to identify the domestic research related to depression and stress. The subjects of the analysis were 1,875 college degree theses thrown in the National Assembly Library searched by the depression and stress keyword as of November 30, 2016. The analysis method visualizes atypical data with Word Cloud, which is one of the text mining techniques. We also used the R'LDA package and LDA to classify treatment and subjects. As a result of the analysis, 233(12.4%) of the total papers with therapeutic keywords were found. Application of treatment methods was art therapy, music therapy, horticultural therapy, cognitive behavior therapy, clinical art therapy, cognitive therapy, psychological therapy, depression treatment, group therapy, laughter treatment sequence. The study subjects were adolescents, elderly, patient, mother, child, female, parents, and college students in order. The results of LDA topic analysis for adolescents were classified into four topics: self-support, treatment program, relationship effect, and variable study.

• SUVANNABHUMI
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• v.2 no.1
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• pp.95-110
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• 2010

Poem plays an important role in Ca trù. Many music researchers say that singing Ca trù is singing poem. Of 46 tunes of Ca trù, there are more than 10 tunes expressed in available poems or styles of poetry; for example: in the tune Tỳ bà, the performer could sing Tỳ bà hành by Bạch Cư Dị being converted into seven-seven-six-eight-word-meter; in the reciting poem tunes, just reciting 5 Thien thai poems by Tào Đường or 3 Thanh Bình tune poems by Lý Bạch; in the reciting poetic essay (phú), reciting Tien Xich Bich and Hau Xich Bich by Tô Đông Pha. Others like bắc phản, cung bắc sometimes used six-eight word meters. Structurally, those are available for familiar types and beyond the scope of particular creativity because they do not originate from Ca trù's activity environment like recitative. Recitative is the main tune of Ca trù and has become an independent poem type. In terms of literature, recitative has a particular form structure and special type content. Unlike other tunes of Ca trù that only stop at some fixed works, recitative has increased to thousands of works in quantity and has been composed for many centuries. For those reasons, we confined ourselves the research to the creation which is the most typical of Ca tru: The recitative.

• Journal of Music and Human Behavior
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• v.13 no.2
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• pp.67-83
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• 2016

This study investigated the tonal characteristics in Korean emotion words by analyzing the pitch patterns transformed from word utterance. Participants were 30 women, ages 19-23. Each participant was instructed to talk about their emotional experiences using 4-syllable target words. A total of 180 utterances were analyzed in terms of the frequency of each syllable using the Praat. The data were transformed into meantones based on the semi-tone scale. When emotion words were used in the middle of a sentence, the pitch pattern was transformed to A3-A3-G3-G3 for '즐거워서(joyful)', C4-D4-B3-A3 for '행복해서(happy)', G3-A3-G3-G3 for '억울해서(resentful)', A3-A3-G3-A3 for '불안해서(anxious)', and C4-C4-A3-G3 for '침울해서(frustrated)'. When the emotion words were used at the end of a sentence, the pitch pattern was transformed to G4-G4-F4-F4 for '즐거워요(joyful)', D4-D4-A3-G3 for '행복해요(happy)', G3-G3-G3-A3 and F3-G3-E3-D3 for '억울해요(resentful)', A3-G3-F3-F3 for '불안해요(anxious)', and A3-A3-F3-F3 for '침울해요(frustrated)'. These results indicate the differences in pitch patterns depending on the conveyed emotions and the position of words in a sentence. This study presents the baseline data on the tonal characteristics of emotion words, thereby suggesting how pitch patterns could be utilized when creating a melody during songwriting for emotional expression.

• CELLMED
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• v.12 no.4
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• pp.15.1-15.3
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• 2022

The purpose of this study is to examine the joy, anger, sorrow, and pleasure of Koreans in Arirang songs. Arirang is a representative song that strengthens the collective identity and social bond of Koreans. For Koreans who mainly eat rice, Arirang represents rice, life, and reason for its existence. Koreans have been singing Arirang together for a long time, overcoming pain, sadness, and hardships and consoling their minds and bodies. Arirang is a national music that is loved more and sung more often than the national anthem. The hill on the mountain is not a place to stay. The pass is a passing place. This gives us a lot of thought. We have various difficulties living in the world. The word Arirang means that Arirang is not one state. The end of joy, anger, sorrow, and pleasure is surely a joy. Arirang Pass (Arirang Gogae) is not a staying pass, but a crossing pass. Arirang, which contains joy, anger, sorrow, and pleasure, is a soul song and a consolation medicine for mental and physical health. We suggest that Arirang song compared to standard care may have beneficial effects on anxiety, hope, pain, and depression in patients.

• (The) Research of the performance art and culture
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• no.32
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• pp.243-267
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• 2016

Deonum preexisted prior to it being named. Of course, the object designated as deonum at that time is not the same as the object designated as deonum at this time. There have been historical transitions in the definitions of the term deonum. This paper traced the term deonum to its origin from another angle. On closer inspection about the possible use as the everyday language and the technical language in the field of arts except for pansori, the term deonum was essentially a word for a tune. Deonum was in the same category as deureum, a great word in the Korean traditional music. But the definition of deonum as a tune used in the early part of the former period of eight master singers or before that gradually disappeared for a long time. When the term deonum as an everyday language first entered the field of pansori, it meaned characteristic tune singed by master singers. As pansori develop artistically, the term deonum changed into the word refers to the sori part, and this example become common in the former period of eight master singers. Most sori part acknowledged as a deonum in the former period of eight master singers was a deonum as a creative repertories, the master singer's creative work, but a deonum as a popular repertories, the master singer's specialty, began to be acknowledged as a deonum after the latter period of eight master singers. The differentiation between the definitions of deonum as a sori part occured. And most sori part acknowledged as a deonum after the modern era of five master singers have belonged to a deonum as a specialty. In this context, it was confirmed that Cheong Nosik wrote Joseonchanggeuksa, with carefully considering the historical change of definitions of deonum. This book includes three definitions of deonum, a deonum as a tune, a deonum as a creative work, and deonum as a specialty.

• Journal of Service Research and Studies
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• v.8 no.3
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• pp.97-114
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• 2018

This study was intended to empirically examine the influence that the omni-channel brand experience would have on omni-channel brand relationship formation and achievements. All hypotheses were adopted, except for 1 hypothesis(Hypothesis 5), among 12 hypotheses. Specific results were as below: First, omni-channel brand experience had a positive(+) influence on brand trust(Hypothesis 1), brand identification(Hypothesis 2), and consumer-brand relationship(Hypothesis 3) as a whole. The brand trust had a positive(+) influence on brand identification(Hypothesis 4), but did not have statistically significant influence on consumer-brand relationship(Hypothesis 5). Meanwhile, brand identification had a positive(+) influence on consumer-brand relationship(Hypothesis 6). Second, consumer-brand relationship had a positive(+) influence on re-purchase intention(Hypothesis 7), word-of-mouth intention(Hypothesis 8), and brand extension acceptability(Hypothesis 9) as a whole. Finally, omni-channel brand showed the following relationship with and achievements. re-purchase intention had a positive(+) influence on both word-of-mouth intention(Hypothesis 10) and brand extension acceptability(Hypothesis 11) while word-of-mouth intention had a positive(+) influence on brand extension acceptability. The results of this study may provide theoretical and practical implications for marketing managers' understanding and strategy planning in connection with consumer experience and relationship formation promoted recently by omni-channel brands of distribution companies.

• Journal of Global Scholars of Marketing Science
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• v.20 no.2
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• pp.219-230
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• 2010

Digital content makes big changes to our daily lives while bringing opportunities and challenges for companies. Creative firms integrate pictures, texts, videos, audios, and data by digitalization to develop new products or services and create digital experiences to promote their brands. Most articles on digital content contribute to the basic concept or development of marketing it in literature. Actually, compared with traditional value chains for common products or services, the digital content industry seems to have more potential value. Because quite a bit of digital content is free to the consumer, price is not necessarily perceived as an indicator of the quality or value of information (Rowley 2008). It becomes evident that a current theme in digital content is the issue of "value," and research on customers' perceived value of digital content is a necessity. This article argues that experiential value has an advantage in customers' evaluations of digital content. Two different but related contributions to the understanding of "value" of digital content are made here. First, based on the comparison of digital content with products and services, the article proposes two key characteristics that make experiential strategy available for digital content: intangibility and near-zero reproduction cost. On top of that, based on the discussion of the gap between company's idealized value and customer's perceived value, this article emphasizes that digital content prices and pricing of digital content is different from products and services. As a result of intangibility, prices may not reflect customer value. Moreover, the cost of digital content in the development stage may be very high while reproduction costs shrink dramatically. Moreover, because of the value gap mentioned before, the pricing polices vary for different digital contents. For example, flat price policy is generally used for movies and music (Magiera 2001; Netherby 2002), while for continuous demand, digital content such as online games and anti-virus programs involves a more complicated matter of utility and competitive price levels. Digital content companies have to explore various kinds of strategies to overcome this gap. Rethinking marketing solutions such as advertisements, images, and word-of-mouth and their effect on customers' perceived value becomes essential. China's digital content industry is becoming more and more globalized and drawing special attention from different countries and regions that have respective competitive advantages. The 2008-2009 Annual Report on the Development of China's Digital Content Industry (CCIDConsulting 2009) indicates that, with the driven power of domestic demand and governmental policy support, the country's digital content industry maintained a fast growth of some 30 percent in 2008, obviously indicating the initial stage of industry expansion. In China, anti-virus programs and other software programs which need to be updated use a quarter-based pricing policy. Customers can download a trial version for free and use it for six months or a year. If they want to use it longer, continuous payment is needed. They examine the excellence of the digital content during this trial period and decide whether to pay for continued usage. For China’s music and movie industries, as a result of initial development, experiential strategy has not been much applied, even though firms in other countries find the trial experience and explore important strategies(such as customers listening to music for several seconds for free before downloading it). For the above reasons, anti-virus program may be a representative for digital content industry in China and an exploratory study of the advantage of experiential value in customer's perceived value of digital content is done in the anti-virus market of China. In order to enhance the reliability of the survey data, this study focused on people who were experienced users of anti-virus programs. The empirical results revealed that experiential value has a positive effect on customers' perceived value of digital content. In other words, because digital content is intangible and the reproduction costs are nearly zero, customers' evaluations are based heavily on their experience. Moreover, image and word-of-mouth do not have a positive effect on perceived value, only on experiential value. That is to say, a digital content value chain is different from that of a general product or service. Experiential value has a notable advantage and mediates the effect of image and word-of-mouth on perceived value. The results of this study help provide an understanding of why free digital content downloads exist in developing countries. Customers can perceive the value of digital content only by using and experiencing it. This is also why such governments support the development of digital content. Other developing countries whose digital content business is also in the beginning stage can make use of the suggestions here. Moreover, based on the advantage of experiential strategy, companies should make more of an effort to invest in customers' experience. As a result of the characteristics and value gap of digital content, customers perceive more value in the intangible digital content only by experiencing what they really want. Moreover, because of the near-zero reproduction costs, companies can perhaps use experiential strategy to enhance customer understanding of digital content.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.28-39
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• 2011

While the broadband multimedia technologies have been developing, the commercial market of digital contents has also been widely spreading. Most of all, digital cartoon market like internet cartoon has been rapidly large so video cartooning continuously has been researched because of lack and variety of cartoon. Until now, video cartooning system has been focused in non-photorealistic rendering and word balloon. But the meaningful frame extraction must take priority for cartooning system when applying in service. In this paper, we propose new automatic frame extraction method for video cartooning system. At frist, we separate video and audio from movie and extract features parameter like MFCC and ZCR from audio data. Audio signal is classified to speech, music and speech+music comparing with already trained audio data using GMM distributor. So we can set speech area. In the video case, we extract frame using general scene change detection method like histogram method and extract meaningful frames in the cartoon using face detection among the already extracted frames. After that, first of all existent face within speech area image transition frame extract automatically. Suitable frame about movie cartooning automatically extract that extraction image transition frame at continuable period of time domain.

• Journal of the Korean Society of Costume
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• v.36
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.