• Journal of English Language & Literature
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• v.57 no.6
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• pp.977-998
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• 2011

The purpose of this study is to investigate prospective teachers' perceptions of the peer review comments readily available to them during the writing process in a teacher training class. Given these needs, we employ a qualitative method of inquiry giving voice to the learner's own view of peer feedback. The data we wish to consider is first-person narratives elicited from four EFL college students, who are prospective teachers of English. With regard to the EFL students' narrative considered here, all were attentive to the feedback they received. Moreover, the way in which these EFL writers talk about peer response activity reflects that they still welcome peer feedback because of the benefits to be accrued from it. Although this study, covering only four EFL students in total, can hardly be considered conclusive, we attempt to offer a synthesis of their stories. First of all, students indicate that they received responses from "authentic readers" (Mittan 1989, 209). We do note, consequently, that students gain a clear understanding of readers' needs by receiving feedback on what they did well and on what seems unclear. Perhaps the greater effect of peer feedback claimed by these students is that they take active roles in utilizing peer comments. Since they feel uncertain about the validity of their classmates' responses, students feel that they have autonomy over their own text and can make their own decisions on whether they should accept their peer comments or not. This contrasts with their treatment of teacher comments that they accept begrudgingly even if they disagree with them. Four EFL writers talked a lot, typically in a positive way, about peer response to their writing, yet they have expressed reservations about the extent to which they should put any credence in comments offered by their fellow students. Perhaps this is because their fellow students are still developing writers and EFL learners. In turn, they were sometimes reluctant to accept the peers' comments. Thus, in EFL contexts, L1 use can be suggested during peer feedback sessions. In particular, we have come to feel that L1 use enables both reviewers and receivers to have more productive peer review experiences. Additionally, we need to train students not "to see peer feedback as potentially bad advice" (Silva et al. 2003, 111). Teachers should focus on training students to utilize their peers' comments. Without such training, students will either ignore feedback or fail to use it constructively.

• The Journal of the Korea Contents Association
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• v.17 no.10
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• pp.492-502
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• 2017

This study, by analyzing two recent television dramas, attempts to identify the ways how popular cultural texts deal with supernatural beings and to discuss political meanings of the ways in the context of neoliberal Korea. The results are: (1) The narratives make a clear line between the supernatural and the ordinary. (2) The supernatural is effectively used in the narratives to extend the boundary of conflict structure towards structural social problems that the society is now facing. (3) When the text resolving the conflicts, the supernatural is also critical, which makes the whle narrative in line with fantasy rather than reality. These results suggest that the conclusion of the previous studies, arguing the use of the supernatural by popular cultural texts tends to function as a form of resistance against neoliberal discourse structure, needs to be negotiated. It is also reaffirmed that we need to explain political meanings of popular cultural texts dealing with supernatural beings, with its double-sided and ambivalent effects.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.358-370
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• 2017

This thesis discusses the emerging system of value and structure of feeling in today's Chinese society through analyzing Chinese main theme TV series. The 2000s' Chinese main theme TV series represents Chinese's anger and nervousness into the structure of narrative, and they try to form a bond of sympathy with the audience by various characters which represent the common people. Main characters are no longer revolutionists who internalize ideas of socialism and collectivism, but they put emphasis on individuals' thoughts, tastes, and values, and freely express them. Individualism, which was negatively represented and excluded in main theme TV series before 2000s, are compromised and included in today's Chinese dramas. Even though dramas represent the superiority of communism, individuals' choice of various value and faith is positively and flexibly considered. There is a new phenomenon where female figures are no longer passive and dependent, but they are portrayed with given with unique roles and status. Although main theme TV series are directed under the state and government's supervision, they exist in the relation where market, state, drama text, and audience interact.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.479-489
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• 2015

The paradigm of communication is changing by the generalization of mobile computers and the extension of network service. In the mobile messenger communication, people are increasingly using character emoticons to substitute linear text. This means that the character emoticons are functioning as narrative characters so that they are becoming the nonlinear techno-code, which can substitute for the alphabet code. As Vil$\acute{e}$m Flusser said, the post-modern communication is arrived. In this kind of communication, storytelling with character emoticons are effective enough to tell various stories. In this point of view, this paper tries to prove the functions of character emoticons and suggests the classification of the character emoticon series. This paper also structures the post-modern communication model as a new paradigm of visual communication.

• Journal of the Korea Convergence Society
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• v.9 no.7
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• pp.193-198
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• 2018

Applying VR technology to animation areas is emerging as a trend of recent years. So if you use this VR technology in traditional ink animation, 2D art piece is expected to be equipped with a new narrative style and visual and auditory language, making it a new animation genre. There's a lot of technical difficulties in putting the existing 2D ink image on a 360 degree display. VR ink animation has been created that gives depth to VR space by using layer extraction method based on depth of distance and placing layers extracted on curved surface that is aligned with depth in 360-degree space in the image of ink painting, which is the background of traditional ink animation. In the text, we took an overview on problems generated in extracting layers of distant view, close-range view and middle distant view from the existing image of ink painting and made suggestions of an effective way to approach them.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.225-233
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• 2012

This study is focused on the relationship of old and new media with the concept of cultural interface. This study try to find out their similarities and differences of media contents and interface through contents analysis of text. As a results, there are competible coexistance of transparent immediacy and hypermediacy as a double logic of remediation. And the features of remediation that borrowing, aggressive, and absorb are showed cross each other. A related studies are focused on the narrative structure of story and on analysis of character, events, and background. And the other studies are focused on the policy of new media distribution. But, recent new media emphasizes the visualization of 3D technology and that strategy. Also they tries to convert a various media contents. Therefore, it is important to check and prepare those environmental changes of media. Then, more researches will be applied to remediation and cultural interface of this study. And I hope that they will be find an alternative strategy of contents and interface on media.

• Cartoon and Animation Studies
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• s.32
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• pp.121-140
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• 2013

This study takes a look at diverse artistic strategies is taking as a graphic novel of participation. Pascal Croci has used and combined the forms to convey the message he want as a writer of an inclusive graphic novel, image-text. It is linked with an intrinsic to the graphic novel as well as tradition of realism in a wide variety of genres. This study takes a brief look at the realism art in each genre and confirms in relation to the artistic characteristics of intrinsic to the graphic novel is taking as a graphic novel of participation. is consists of the process of covering a case and the form of a broadcasting report and a fictional format emphasizes the objectivity in contents to highlight the journalistic characteristics of the general narrative. uses various artistic languages of realism. The audience feels a realistic case through the experience and writer's message is convey effectively. shows the generic openness of the graphic novel.

• (The) Research of the performance art and culture
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• no.32
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• pp.333-370
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• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.29-36
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• 2018

The purpose of this paper is to examine the temporal and spatial characteristics of mobile games through Mikhail Bakhtin's chronotope concept in order to examine the changes of mobile games and gaming. Based on chronotope, a concept that refers to the inner relation between time and space reproduced in the novel, I examined the inner relation between the space - time experience in the mobile game platform and the reconstruction of the mobile game text. The mobile game builds the present-here world based on the player's will while superimposing the act of playing through the mixed platform of existence based on the player with the time and space of everyday life. The chronotope of a mobile game with players as platforms is created in the current space of now-here rather than connecting to the virtual world. In this paper, I review the role of chronotope reproduction in mobile games, focusing on role-playing games and location based games. In the mobile role-playing game, an unhistorical chronotope appears in which the player has a loose sense of distance around the automatic combat system, while the narrative and relational experience is weakened. In a location-based game, a chronotope of player-driven generation that generates amusing meanings through the overlap of the virtual world and the real world appears.

• (The)Study of the Eastern Classic
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• no.49
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• pp.461-486
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• 2012

This article is an English translation of the five works on paper in The Classical Novels of Korea. They are , and First, omitted in the translation, was added, paraphrasing, mistranslation occurs. These features are usually symptoms typically appear in the translation Second, the analysis of attitudes about translation. Weakened and the rating is made to award or disparage, the interest was focused on the story. And listed by the case of the delivery of the story, rather than in the direction of emphasizing the development of the story has been translated. The prodigy man story of translation, depending on the purpose of the translation, select the text. And need to decide how to translate. Only then will be able to achieve international mutual understanding Korean literature.