• Journal of Information Technology Services
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• v.12 no.1
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• pp.247-257
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• 2013

A narrative structure is essential for a story generator to create a story plot. In digital storytelling system, a narrative structure can be generally designed as a tree or a graph, and the story generator in the digital storytelling system creates continuous story plots based on the narrative structure. When a narrative structure is designed with a tree or a graph, it is hard for the story generator to create various kinds of story-plots due to the inflexible nature of a tree or graph structure. It may result in degrading the quality of story-plots to provide similar story-plot to various kind of user. In this paper, we proposed an approach to create a story-plot based on association analysis of data mining to overcome the disadvantage. In detail, we defined a narrative structure which consists of narrative patterns, and then implemented a story generator which creates a story-plot using the proposed narrative structure. As a result, we confirmed that implemented story generator was able to create a story-plot according to understanding level of user in case study.

• Korean Journal of Child Studies
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• v.31 no.5
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• pp.193-210
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• 2010

This study explored the common response profiles in the narrative stories of typically developing 5 year-old Korean Children. Fourteen story stems from the MacArthur Story Stem Battery (MSSB, Bretherton, Oppenheim, & the MacArthur Story Stem Network, 1990) were administered to 156(85 boys and 71 girls) children recruited from 8 Kindergartens in the Seoul and Gyung-gi areas. The children's responses were aggregated into 5 dimensions, based on content themes and performance scores which included emotions expressed and narrative coherence using the MacArthur Narrative Coding System (Robinson, Mantz-Simmions, Macfie, & MacArthur Narrative Working Group, 2004). Data were analyzed by means of cluster analysis. 5 response profiles emerged over the course of this research : Prosocial, Anxiety, Dysregulated aggression, Anxious/Avoidance, and Avoidance profiles. When 14 story stems were grouped into 3 story contexts (stories included interpersonal conflicts, moral conflicts, and empathy) and were analyzed separately according to the story contexts, 3 common profiles (a Prosocial profile, a Constrained profile and an Anxiety profile) emerged across the story contexts, however, there were additional, unique profiles for each of the story contexts.

• Journal of the Korean Home Economics Association
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• v.48 no.8
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• pp.1-12
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• 2010

The purpose of this study was to explore and examine the relationship between mother-child emotional availability and preschoolers' story stem narrative response. Eighty two 4-year-old preschoolers and their mothers participated in this study. This study used the following translated evaluation tools: Emotional Availability Scales(EA, 3rd edition) designed by Biringen and colleagues(1998) to examine the quality of the emotional relationship between mother and her child, and the MacArthur Story Stem Battery(MSSB) developed by Bretherton and colleagues with the MacArthur Narrative Group(1990) to measure preschoolers' narrative responses. The following statistical analyses were preformed descriptive, cluster analysis, and One-way ANOVA. The findings were as follows: First, 4 clusters of the narrative responses of 4-year-old preschoolers were prosocial story tellers, avoidant/dysregulated story tellers, constrained story tellers, and anxious story tellers. Second, the preschoolers in the prosocial cluster showed a high level of mother-child emotional availability and the preschoolers in the avoidant/dysregulated cluster showed a low level of mother-child emotional availability.

• The Journal of the Korea Contents Association
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• v.10 no.5
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• pp.107-114
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• 2010

A nonlinear story is generated through the interactivity with users using the interactive storytelling system. In a play or movie, audiences can watch one scene at a time, and in order to watch next scene, they should wait for the end of current scene. In the real world, however, various events can simultaneously happen at different places, and even those events performed by characters may dramatically affect the flow of the story. This paper suggests Constraint Based narrative structure to create such story, known as "Simultaneous Story Arcs", and "Multi Viewpoint" to simultaneously lead the direction of the stories in each place.

• Korean Journal of Child Studies
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• v.28 no.2
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• pp.39-53
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• 2007

This study investigated the relationship between young children's comprehension and story making(narrative) by age and gender. Subjects were 109 3-, 4-, and 5-year-olds at two child care centers in K Province. Data were analyzed by two-way ANOVA and simple regression analysis. Results showed differences in comprehension between 3-, 4- and 5-year old children and differences in story making ability between 3- and 5-year-old children. Children's comprehension and story making had positive relationships. Specifically, there were significant relationships with children's comprehension and story construct concept, sentence structure level, language(vocabulary and sentence structure). In sum, the results of this study reveal that young children's comprehension ability is partially related to story making ability by age.

• Journal of Information Technology Applications and Management
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• v.27 no.5
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• pp.69-80
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• 2020

Recently, luxury brands are selling their products to consumers using their own direct online channels. In the online channel, marketing strategy through storytelling is needed because consumers do not have enough product experience. Therefore, luxury brands are actively utilizing social media and delivering stories includes their birth and growth. Unlike mass media, social media communicates with consumers more quickly and frequently and delivers the story of brand naturally. This study classifies luxury brands into four groups based on story recognition of luxury brands and self-esteem, and analyzes and materializes each group of the propensities of luxury brand consumption. It also tries to draw strategic implications for effective SNS advertising by analyzing narrative transportation on SNS advertising, interests in videos, and the interests in story based on these typified groups of luxury consumption. The result of the analysis shows that there is a difference in consumption propensity among consumers who were classified into four groups according to story cognition of luxury brands and self-esteem. There is also a difference in the response to narrative images through SNSs, such as narrative transportation, interests in videos, and interests in brand stories.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.217-252
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• 2018

In the [Samguk sagi], is the origin story of , a Pansori novel from the late Joseon period. is derived from an Indian folktale. This article examines the narrative changes from the Indian folktale. Through this, I attempt to examine how the short fable developed into a fascinating story with numerous variants like . The five kinds of stories that I have observed all indicate the development of a common narrative. They also have a common character: terrestrial animals, deputy, and aquatic animals. However, in the original story, the more the character is brought up, the greater the persuasiveness of the action. In addition, the scale of the conflict expands due to the reorganization of the incident. Moreover, the theme of the narrative has diversified by utilizing the space as a contrast. Discussions reveal that a single story or storyteller does not create a fascinating story. The implication being that several narratives and numerous people together make the narrative changes.

• Journal of the Korean Home Economics Association
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• v.39 no.7
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• pp.71-84
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• 2001

The purpose of this study was to investigate the development of preschoolers'narrative competence. The subject were 60 preschoolers aged 3 through 5 years who were enrolled in the day care center All the subjects were asked to produce a new story. All the story children toad were recorded on audiotape. The data were analyzed Qualitatively and quantitatively using content analysis and the statistical package for Social Science 9.0. The main results of this study were as follows. 1) Significant age difference was observed in preschooler's narrative structure. Older children produced structurally more complex stories containing setting, character, initiating event, attempt and consequence than younger children. 2) Significant age difference was observed in preschooler's narrative length. Older children used significantly more words and sentence when they produced stories than younger children.3) Preschooler'narrative structure was significantly correlated with narrative length.

• Journal of Korea Multimedia Society
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• v.20 no.9
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• pp.1596-1605
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• 2017

This study recognizes the narrative of the movie as a semiotic system and proposes a structured storytelling analysis model through theoretical basis and empirical analysis. It classifies as 'Narrative 17 Process' which considers the narrative of successful 11 animations as a continuous process of formal structure. It extract the paradigmatic sub-narrative units(NU) centered on the act of the character in each process. The structural pattern of the story types are extracted by comparing and analyzing with 5 NU analysis elements presented in this study. As a result, the 4 story types were consistently classified by the SSD distance value. Therefore, this study propose a storytelling analysis model that can be effectively applied to scenarios and narrative composition stages of movie production.

• International Journal of Advanced Culture Technology
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• v.8 no.1
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• pp.213-217
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• 2020

In this paper, we present that Virtual Reality (VR) is a type of media that has attracted interest in storytelling and media utilization. VR was first discussed as a specific narrative medium with traditional story medium. Via this discussion, The innate difference of VR is that the role of the media users in which the narrative is communicated were active in the development of the narrative unlike that of most classical narrative media. We also discussed specific features related to VR based on the theories of traditional literary criticism, movie reviews, and plays. Through these discussions, we aruged two directions of VR storytelling production as an narrative medium, its specificity, and its expressiveness for VR producers. First, story processing and characters can be introduced as part of continuing a new narrative by altering the interaction history that appears in VR stories to user interest ratings. Second, VR interaction responds intuitively to the idea that it represents a trajectory across the story surface of all possible interactions. More specific theories and controvercials are discussed.