• Korean Journal of Child Studies
• /
• v.22 no.3
• /
• pp.17-29
• /
• 2001

In this study, children's representation of attachment was assessed by the Attachment Story Completion Task(Bretherton, Ridgeway, & Cassidy, 1990) administered to 101 5-to 6-year-old children(56boys, 45girls). Teacher-child relationship and social competence were evaluated by a questionnaire administered to preschool teachers. Based on the children's representation of attachment in their narrative responses to the story stems, 56.4% of the children were classified as having secure, 22.8% as insecure-avoidant, and 20.8% as insecure-disorganized attachments. Children with secure representation of attachment exhibited more social competence and fewer behavioral problems in the child-care setting than children with insecure representation of attachment. This study showed that the child's internal model of attachment formed from experience with caregiver is capable of transmitting social relationships outside the home.

• The Korean Journal of Archival Studies
• /
• no.69
• /
• pp.153-187
• /
• 2021

Narrative runs through the entire human life. 'Narrative' is a means of understanding and experiencing human life. The past, the present and the future are not disconnected. The past is open to the future. The future defines the meaning of the past, and the past rreturn as the horizon of life. Past, present and future temporality functions as a Narrative. Records reproduce the past time as Narrative, and recount the past according to reading behavior. Reality and records complement each other with a cyclic and dialectic structure. This paper examines the relationship between reality and records. This paper applies Paul Ricoeur's Hermeneutics to records as a tool to examine the relationship between reality and record. We want to look at how records interpret and relates to reality, and how social justice of collective memory should be should be achieved against them.

• The Journal of Industrial Distribution & Business
• /
• v.10 no.9
• /
• pp.25-36
• /
• 2019

Purpose - Consumers have memories of their past time that they have not experienced. So consumers want to experience the past time and get pleasure through historical contents such as movies or dramas. This is because the re-created the past time sets the identity of the consumers who live today, and in the process, it give consumers emotional comfort. Consumers do not remember and sympathize with all of their historical time. In general, consumers remember the time that their communities are proud of. As s result, historical content is seen as a hero, and through that, consumers can check their identity. Also consumers experience positive emotions such as self-esteem, gratitude and pride through identification with heroes. That is, through historical contents, consumers can identify themselves and replace the current negative emotions with positive ones. Therefore, this study presents narrative identity and historical nostalgia that can affect positive evaluation of historical contents and suggest the factors the can induce such effects. This study was conducted to explain what the consumption effect of historical content is from a marketing perspective and what constitutes a component of historical content as a factor driving this effect. Research design, data, and methodology - This study has developed a questionnaire with 8 Hypotheses. The Films ('Masquerade(2012)', 'Roaring Current(2014)', 'Assassination(2015)', 'The Age of Shadow(2016)') and dramas('Six Flying Dragon(2015-2016)', 'Mr. Sunshine(2018-2019)') were used as experimental contents. 268 college students participated in this empirical study, and structural equation model was used to verify hypotheses. Results - Frist, narrative identity affects positive evaluation of historical contents. Nostalgia affect positive evaluation of historical contents. and narrative identity affects positive response of historical nostalgia. Second, character act relevance, circumstance similarity, and character attractiveness have positive influence upon response of narrative identity. Lastly, empathy for story and vividness of representation have also positive influence upon response of historical nostalgia. Conclusion - This study contributes to the theoretical and managemental development of historical contents. This study shows that narrative identity and historical nostalgia are important for success of historical contents. In order for historical content to be successful, it must manage elements of character act relevance, circumstance similarity, and character attractiveness, empathy for story and vividness of representation.

• Korean Journal of Child Studies
• /
• v.29 no.3
• /
• pp.157-174
• /
• 2008

This study used the person-oriented approach to explore differences in narrative representations of 97 4-, 5- and 6-year old children (30 foster care, 40 biological family, 17 adopted). Using the MacArthur Story Stem Battery (Bretherton et al., 1990), observations were made to obtain children's narrative representations of content themes and performances. Descriptive statistics, ANOV A and hierarchical cluster analyses were performed. The results of this study were that : (1) Biological family children showed more empathy/helping representations. Foster care children and adopted children showed more anxious representations, and foster care children showed more dysregulated aggression. (2) Four clusters of foster care and adopted children and five clusters of family biological children were found.

• Korean Journal of Child Studies
• /
• v.26 no.6
• /
• pp.89-110
• /
• 2005

Subjects were 66 3- to 4-year-old-Children of unemployed mothers from upper middle class families. Attachment behaviors were measured with the Preschool Strange Situation(Cassidy and Marvin, 1992) and classified as secure, avoidant, dependent, or disorganized. Narrative representations of mothers by Children were obtained by video taped interviews using the MacArthur Story-Stem Battery and coded by the MacArthur Narrative Working Group(1997) system. Data were analyzed with descriptive statistics and t test. Results were that children in the secure group showed more positive representations of their mothers, more prosocial story themes, had higher scores in theme coherence and showed more positive emotional expression than those in the insecure group. The attachment behaviors of the 4 groups(A, B, C, D) were closely correlated with the attachment representations shown in MSSB.

• Korean Journal of Child Studies
• /
• v.25 no.6
• /
• pp.153-170
• /
• 2004

This study explored age and sex differences in preschoolers' narrative representations of their mothers. Subjects were 120 3-, 4-, 5- and 6-year-old children, with 15 boys and 15 girls in each age group. Using the MacArthur Story Stem Battery(Bretherton et al., 1990), observations were made to obtain children's narrative representations of their mothers. content themes and emotional responses. Boys' representations were more negative and less positive than girls' regardless of their age. Boys talked about more aggressive themes and showed more anxiety and less joy. Five and 6-year-old children had less negative and disciplinary representations of their mothers than 3- and 4-year-olds. Six-year-olds showed less prosocial themes than 3- and 5-years, and fewer aggressive themes than 3-and 4-year while they showed less joy, distress and concern responses than 3-years.

• The Journal of the Korea Contents Association
• /
• v.14 no.9
• /
• pp.85-92
• /
• 2014

This study analyzes what kind of representation strategies make popularity in Silence. As audiences come together in cyber public sphere, 'participatory spectatorship' is made. Its sources are classical narrative mode and collective memories which are the devices to goad audience to anger. Silence reveals self-reflexivity because fact-based film has effect on allowing the audience to be aware of the reality constantly. However, the devices which maximize audience's anger aroused ethical controversy. Silence's unethical expression is the strategy for representing the popularity and the methodology for social ethics.

• Archives of design research
• /
• v.18 no.1 s.59
• /
• pp.245-252
• /
• 2005

In this paper, I am going to analyze a commercial film narrative focused on a temporal order through the theory of narrative discourse by Gerard Genette. Advertisements has a special quality or feature to be convertible into mythological hyper reality to advertise an product effectively. In this process, narrative in a commercial film has visual variations using a temporal order to show an glamorously advertisements in television. The reason that narrative in a commercial film is subject to variation with a temporal order, duration, frequency is to get some aesthetic effect for making sure people see them. Under the influence of postmodernism, image making like a pop-art became the first consideration in a commercial film with the consequence that representation as a signifier came to be more important than object as a signified. As a commercial film have more sensational image as a result of visual variation, images in a commercial film became vague so that it does not explain or express an advertising concept dearly. However, those aspects have assets that it gives the TV audience a room for interpretation in advertisements by themselves.

• Korean journal of communication and information
• /
• v.26
• /
• pp.7-44
• /
• 2004

This paper proposed semiotic model to explain representation process of time in cinema. Limitations of cinematic narratology which explain representation process of time in cinema were indicated, then alternative explanations of Deleuzian philosophy of cinema were proposed. After discussion about articulations of cinematic code, Deleuzian concept of movement-image was suggested as semiotic minimal unit of cinema. In cinema, Movement-image is divided two different aspects ; "normal movement-image" and "abnormal movement-image". Therefore, two different semiotic representation process of time was reconstructed in accordance with Peircean semiosis theory. In this two different semiotic process, modern cinema emphasize the direct representation process of time with "abnormal movement-image". As Deleuze indicated, The "time-image" is presented in this semiotic process. The "time-image" makes it possible to consider "time itself" as philosophical fact which is laid between reality and cinema, This semiotic process more emphasizes pure expressionality than representationality. Deleuzian philosophical journey through cinema was started in this point.

• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.1279-1286
• /
• 2009

"Interactivity refers to the possibility of an audience actively participating in the control of an artwork or representation." Andy Cameron, Dissimulations Interaction can be described as a way or function that improves the participation of audiences/viewers to being immersed into the medium itself. Until now, however, in terms of interactive cinema, interaction has not shown a sufficient participation for audiences. Specifically, audiences/viewers described that the structure of storytelling has failed to satisfy their requirements, in order to participate in the structure of storytelling. The aim of the research itself, therefore, began to ask and wonder why audiences/viewers criticised the participation which audiences/viewers are able to control storytelling, in interactive cinema, could not satisfied them in order to control and follow a storyline of interaction. In general idea, in interactive cinema, the function which allows audiences/viewers to be immersed into the storylines, must allow the immediacies of interaction. Audiences/viewers must therefore be able to satisfy the general idea of interactive cinema through controlling the directions of every choice offered. They must also be able to be immersed in the interactive storylines. Which of the prime causes can be improved or re-considered, to satisfy the participation requirements of audiences/viewers? The intention of this research also began to investigate a suitable method of storytelling within a narrative structure of interactive medium (interactive cinema). Through questioning the matter (it will be described in a later chapter), this research will be focused on the relationship between narrative structured interaction and audiences/viewers, which is of prime importance in relation to interaction. To further the research, Pilot study (experiment with the basic interactive narrative structure) was offered in order to understand and maintain a suitable method of storytelling within a narrative structure of interactive cinema and it also was explored to understand how the aim of the research would be maintained for further qualitative research.