• Korean Journal of Childcare and Education
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• v.11 no.1
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• pp.153-171
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• 2015

The purposes of this study were to explore the relations of preschoolers' narrative representation profile types to diurnal cortisol regulation pattern at home. Fourteen story stems from the MacArthur Story Stem Battery (MSSB, Bretherton, et al., 1990) were administered to 40 preschoolers(22 boys, 18 girls, aged 5) recruited from 8 kindergartens in the Seoul and Gyeonggi areas. And also, their saliva cortisol was collected. 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, et al., 2004). Data were analyzed by means of cluster analysis. Five response profiles emerged over the course of this research: Prosocial, Anxiety, Dyregulated aggression, Restricted, and Avoidance profiles. Cortisol at home showed decrease diurnal cortisol regulation patterns, however it showed a difference according to narrative response profiles. Restricted, Prosocial, and Avoidance profiles showed decrease diurnal cortisol regulation patterns. Anxiety profiles showed flat pattern, and Dyregulated aggression profile showed rising diurnal cortisol regulation pattern. These results show the preschoolers' internal representation may affect the diurnal cortisol reaction in daytime.

• Smart Media Journal
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• v.6 no.4
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• pp.88-93
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• 2017

The story of "A Tale of the Conquest over a Big Enemy from an Underground Nation" is a story that is distributed all over the world. This familiar narrative structure can be accepted without great objection even in places with different cultures. In case of storytelling with the elements extracted from the narrative according to the previous research, storytelling of the picture book was carried out using the element and structure of the narrative. One of the ways to content the story is called a re-writing. In this paper, we divided the components of picture book into literary subjects, plots, characters, and backgrounds. "A Tale of the Conquest over a Big Enemy from an Underground Nation" is analyzed in the same way. And presented storytelling of the picture book.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1265-1271
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• 2009

'I-Ching Storytelling Web-Cartoon Game' suggested by Prof. Shim and Research Group may provide users with the opportunity of writing story based on I-Ching. I-Ching is the cosmological thoughts intrinsic to East Asian culture. In the perspective of the narratology, I-Ching can bee seen as a kind of database of narratives since it classifies all events emerging from the meet between the actor(human-人) and the background(time/space-天地) as the story material into 384 narrative elements(sequence) and 64 themes(motive), and consistently constructs their causal relationships. So while trying to articulate I-ching with the digital storytelling methodology, we developed the web-cartoon game. With this game, users can creatively make their own story as a play by freely interpreting, retrieving, and recomposing those 386 narrative elements and 64 themes with the I-ching's narrative guideline.

• Trans-
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• v.14
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• pp.65-92
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• 2023

The knowledge of the narrative agent not only constitutes the content and meaning of the narrative itself, but is also closely related to the emotional response of the recipient. Also, the disparity of knowledge between narrative agents is an important factor in making a narrative richer and more interesting. But It tends to be treated as a sub-topic of narration theory or genre/style studies rather than an independent subject of narrative studies or criticism. In this paper, I propose a model that can systematically and quantitatively analyze the knowledge of narrative agents. The proposed model consists of the knowledge structure that represents a narrative, the knowledge state that expresses the knowledge of narrative agent as a degree of belief, and the knowledge flow that means changes in the knowledge state according to the development of events. In addition, the formal notation of the knowledge structure and a probabilistic inference model that could obtain the state of knowledge were proposed, and the knowledge structure and knowledge flow were analyzed by applying the model to the actual narrative. It is expected that the proposed model will be of practical help in the creation and evaluation of narratives.

• 기호학연구
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• no.54
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• pp.119-145
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• 2018

This paper attempts to divide the narrative into three levels and review the approach methodology to understand Princess Bari as a narrative. If the stratification of the narrative, the analysis of each levels, and the integrated approach to them are made, this can contribute to suggesting new directions and ways to understand and study Princess Bari. The story level of Princess Bari, the surface structure, is shaped by the space movement and the chronological sequential structure of the life task that started from the birth of the main character. This story shows how a woman who was denied her existence by her father as soon as she was born finds an ontological transformation and identities through a process. Especially, the journey of finding identity is mainly formed through the events that occur through the relationship with family members. This structure, which can be found in the narrative level, forms a deep structure with the oppositional paradigm of family members' conflict and reconciliation, life and death. The thought structure revealed in this story is the problem of life is the problem of family composition, and the problem of death is also the same. In response to how to look at the unified world of coexistence of life and death, this tradition group of myths makes a relationship with man and God. This story is mainly communicated in the Korean shamanistic ritual(Gut) that sent the dead to the afterlife. Although the shaman is the sender and the participants in the ritual are the receivers, the story is well known a message that does not have new information repeated in certain situations. In gut, the patrons and participants do not simply accept the narrative as a message, but accept themselves as codes for reconstructing their lives and behavior through autocommunication. By accepting the characters and events of as a homeomorphism relationship with their lives, people accept the everyday life as an integrated view of life and death, disjunction and communication, conflict and reconciliation, and the present viewpoint. It can not change the real world, but it changes the attitude of 'I' about life. And it is a change and transformation that can be achieved through personal communication like the transformation of Princess Bari into god in myth. Thus, Princess Bari shows that each meaning and function in the story level, composition level, and communication level is related to each other. In addition, the structure revealed by this narrative on three levels is also effective in revealing the collective consciousness and cultural system of the transmission group.

• Cartoon and Animation Studies
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• s.47
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• pp.193-215
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• 2017

This study has researched that tempo is an element influencing the fun of narrative webtoon. In spite of many elements that could create fun in narrative webtoon, the theory this study pays attention to is the accumulation and solution of tension. Lee Hyun-bee said in his book that the accumulation and solution of tension would be the element creating fun. Tensions of a story create the immersion by bringing readers into the story. However, if such tensions are maintained throughout the whole story, readers get insensitive to tensions, so that the accumulation and solution of tension should be used in turn to maintain the immersion. One of the directions creating the accumulation and solution of tension in narrative webtoon is the direction of tempo. When creating a narrative webtoon with the full-length structure, it is not easy to describe the whole incident from beginning to the end of it in order of time. Therefore, it is inevitable to have differences between story time and narrative time, and the difference of this time is called 'tempo'. This tempo creates fun when readers are immersed in the work, by adjusting breaths of the story in the direction of narrative webtoon. Such a role of tempo direction is based on the relation between the occurrence of tempo direction and information of the story. The information actually leading the story creates the accumulation and relief of tension which is the essential element of fun formation while tempo also maximizes the effects of accumulation and relief of tension. Tempo direction in narrative webtoons uses panels and gaps between them. The scene direction using panels and gaps between them considers tempo and dynamics because of the temporality of panels and gaps between them. This paper analyzes the use of tempo direction for narrative webtoon through the analysis on the 1st episode of . The significance of this study is to reveal that tempo direction is one of the factors creating fun in narrative webtoons, and also to suggest the theoretical grounds for researches on direction creating fun in the future.

• Journal of Korea Game Society
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• v.15 no.1
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• pp.45-54
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• 2015

This study analyzes the change of MMORPG in terms of conversion of narrative mode and discusses user identity according to the narrative mode, focused on and . These two games represent the conversion of narrative mode from Romance which has ideal story for it's main plot, to Irony, which has no background story. This change leads players to have performative persona composed by player's personal motive, compared to the persona composed by narrative motive.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.207-214
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• 2012

Today, museum exhibition can be divided into two sub-categories: a. informative exhibition with various useful auxiliary media to convey knowledge and b. appreciative exhibition considering aesthetic conveyance and visual/perceptual environment. In addition to this, the concept of memorial exhibition as a field that tangible and intangible memories are transmitted and reproduced is creating another genre of exhibition. As an example of such a memorial exhibition above, the work of de-constructive architect Daniel Libeskind was selected. Jewish Museum and Imperial War Museum North both of which maximized the exhibition space by grafting architectural language to exhibition narrative were analyzed and compared to see if the same architectural language can be displayed differently in another form of exhibition after being drawn into the exhibition space depending on the changes in time and perspective. Therefore, in the narrative display combining the selection of exhibition contents and storytelling, the formative language of space can confirm that exhibition narrative as an ending structure changed into a retelling story with more extended meanings through interactive factors. Eventually, in this formative narrative, when the display of historical facts and exhibition themes is combined with the architectural language in an exhibition hall according to the approach direction, the memorial exhibition can create a formative language stimulating sensibility in the memories of space and a differentiated formative exhibition space where one is truly moved by oneness of contents.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.105-114
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• 2013

The purpose of this paper is to explain the operation and meaning of the narrative, which is one of the main principles for the contents construction, especially focusing on the concepts 'difference' and 'desire'. The classical aesthetic taught us that the differences between diverse characters and reality models are the effective strategy for the reading the story. But this paper focuses on the structural difference of the event (story) and performance (discourse) of narrative, which are regarded as the basic condition of narrative. This difference is to describe in terms of the media theory and psychoanalysis. This paper also seeks to interpret the recent korean film to exemplify that the creation of difference for the fulfillment of desire is the basic element of the narrative constitution.

• Cartoon and Animation Studies
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• s.42
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• pp.213-240
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• 2016

The character is not dependent on an original story world any more. It is not limited to it's own story, but gets out and expands the other story with new character, background story, and event regardless of genre and media. The purpose of this study is to analyze why should this phenomenon happen from the media perspective and to build a character storytelling model through the specific examples. With the advent of the digital paradigm the storytelling model is emphasized character storytelling. Character is no longer limited to just one narrative and extended beyond the boundary narrative, media and genre. There are four background. First, disappearance of the big story with the advent of postmodernism and the emergnece of small story. Second, the emergence of fandom culture and charater's liberalization. Third, character as public goods with database. Fourth, changes in author's position. In fact, in the traditional narrative theory there has been discussion about the character all the time. But character storytelling meets transmedia storytelling, discussions were accelerated. The character was preceded by a narrative independent existence. Even if that character has occurred even while leading cause narrative. In this paper, we suggest two model as specific methodology to expand the story world fixed character. One is phychology transition, another is roll transition. This study get the value to build the new storytelling model with digital paradigm.