• Journal of Intelligence and Information Systems
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• v.25 no.3
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• pp.89-115
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• 2019

This study was conducted to present the stylistic differences between Arthur Conan Doyle and Agatha Christie, famous as writers of classical mystery novels, through data analysis, and further to present the analytical methodology of the study of style based on text mining. The reason why we chose mystery novels for our research is because the unique devices that exist in classical mystery novels have strong stylistic characteristics, and furthermore, by choosing Arthur Conan Doyle and Agatha Christie, who are also famous to the general reader, as subjects of analysis, so that people who are unfamiliar with the research can be familiar with them. The primary objective of this study is to identify how the differences exist within the text and to interpret the effects of these differences on the reader. Accordingly, in addition to events and characters, which are key elements of mystery novels, the writer's grammatical style of writing was defined in style and attempted to analyze it. Two series and four books were selected by each writer, and the text was divided into sentences to secure data. After measuring and granting the emotional score according to each sentence, the emotions of the page progress were visualized as a graph, and the trend of the event progress in the novel was identified under eight themes by applying Topic modeling according to the page. By organizing co-occurrence matrices and performing network analysis, we were able to visually see changes in relationships between people as events progressed. In addition, the entire sentence was divided into a grammatical system based on a total of six types of writing style to identify differences between writers and between works. This enabled us to identify not only the general grammatical writing style of the author, but also the inherent stylistic characteristics in their unconsciousness, and to interpret the effects of these characteristics on the reader. This series of research processes can help to understand the context of the entire text based on a defined understanding of the style, and furthermore, by integrating previously individually conducted stylistic studies. This prior understanding can also contribute to discovering and clarifying the existence of text in unstructured data, including online text. This could help enable more accurate recognition of emotions and delivery of commands on an interactive artificial intelligence platform that currently converts voice into natural language. In the face of increasing attempts to analyze online texts, including New Media, in many ways and discover social phenomena and managerial values, it is expected to contribute to more meaningful online text analysis and semantic interpretation through the links to these studies. However, the fact that the analysis data used in this study are two or four books by author can be considered as a limitation in that the data analysis was not attempted in sufficient quantities. The application of the writing characteristics applied to the Korean text even though it was an English text also could be limitation. The more diverse stylistic characteristics were limited to six, and the less likely interpretation was also considered as a limitation. In addition, it is also regrettable that the research was conducted by analyzing classical mystery novels rather than text that is commonly used today, and that various classical mystery novel writers were not compared. Subsequent research will attempt to increase the diversity of interpretations by taking into account a wider variety of grammatical systems and stylistic structures and will also be applied to the current frequently used online text analysis to assess the potential for interpretation. It is expected that this will enable the interpretation and definition of the specific structure of the style and that various usability can be considered.

• Phonetics and Speech Sciences
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• v.11 no.1
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• pp.9-18
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• 2019

The purpose of this study is to determine whether the mean fundamental frequency (F0) changes depending on language, task, or language proficiency for Korean-English bilinguals. A total of forty-eight Korean-English speakers (28 balanced bilinguals and 20 Korean dominant bilinguals) participated in the study. Participants were asked to read aloud two types of tasks in English and Korean. For statistical analyses, the language ${\times}$ task two-way repeated ANOVAs were conducted within the balanced bilingual group first, and then group ${\times}$ language two-way mixed ANOVAs. The results showed that the females in both bilingual groups changed their mean F0 depending on the language they used and the tasks (p<.05), whereas no significant results were found in the males in either group under any conditions. The mean fundamental frequency in the Korean reading task was significantly higher than that in the English reading task for females in both balanced and Korean dominant bilingual groups. Thus, changes in mean F0 depending on language and context may reflect gender-specific characteristics, and females seem to be more sensitive to the socio-cultural standards that are imposed on them.

• Journal of Korean Historical Folklife
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• no.27
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• pp.267-361
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• 2008

This article traces how the modern Chinese "nation" was constructed as an "imagined community" around Huang-ti (the Yellow Emperor) in late Qing. Huang-ti was a legendary figure in ancient China and the imperial courts monopolized the worship of him. Many late Qing intellectuals appropriated this symbolic figure and, through a set of discursive strategies of "framing, voice and narrative structure," transformed him into a privileged symbol for modern Chinese national identity. What Huang-ti could offer was, however, no more than a "public face" for the imagined new national community, or in other words, a formal structure without substantial contents. No consensus appeared on whom the Chinese nation should include and where the Chinese nation should draw its boundaries. The anti-Manchu revolutionaries emphasized the primordial attachment of blood and considered modern China an exclusive community of Huang-ti's descent. The constitutional reformers sought to stretch the boundaries to include the ethnic groups other than the Han. Some minority intellectuals, particularly the Manchu ones, re-constructed the historic memory of their ethnic origin around Huang-ti. The quarrels among intellectuals of different political persuasion testify how Huang-ti as the most powerful cultural symbol became a site for contests and negotiations in the late Qing process of national construction.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.199-222
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• 2022

It has been 100 years since the excavation of Geumgwanchong (Gold Crown Tomb), a tomb that was accidentally discovered in Noseo-ri, Gyeongju at the end of September 1921 during Japanese colonial rule. Although it is known for its discovery, not only in the Korean Peninsula but also in Asia and beyond, the excavation report was published in Japanese and English by the Government-General of Korea in 1924 and 1928, three years after the excavation. TOMB "KINKANTSUKA" or THE GOLD CROWN TOMB at KEISHU, AND ITS TREASURES) was published as a series of books and picture books. The excavation report was prepared by Kosaku Hamada (濱田耕作), who was a member of the Ruins Investigation Committee of the Japanese Government-General of Korea (later became the President of Kyoto Imperial University, Kyoto, Japan), and Sueji Umehara (梅原末治), who was commissioned to investigate the remains of the Japanese Government-General of Korea. In this paper, the preface was written in July 1922, about half a year after the excavation of tombs, which was much earlier than the official reports, in the 'Korean and Chinese reading book (稿本 高等朝鮮語及漢文讀本 巻五)' by Hamada Kosaku (濱田耕作) for high school students in Korea, which was titled 'New Excavated Artifacts in Gyeongju (慶州의 新發掘品)' with a subtitle '絶大의 發見', a slightly awkward expression in Korean, but it means 'a very big discovery'. The meaning has been introduced as a single unit, emphasizing its significance in terms of the achievements of the excavation of Geumgwanchong, academic and archaeological discoveries, and cultural history in Korean language rather than Japanese language. Since the manuscript was written immediately after the excavation, the excitement as an archaeological researcher at the time of the excavation and expectations for future research can be read as it is. In this paper, I would like to introduce the voice of the excited field leader of the Japanese Government-General of Korea after the excavation of Geumgwanchong in 2022, the 100th anniversary of the writing. In addition, the process from the discovery of the tomb to the preparation of the report was summarized in one chronological table to make it easier to understand the series of flows.

• Journal of the Daesoon Academy of Sciences
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• v.39
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• pp.69-97
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• 2021

'Déconstruction' is a system of thought that induces the emergent property that characterizes contemporary philosophy. The tradition of ancient Greek philosophy evolved over and over again, giving rise to the Renaissance and Enlightenment. It seemed to have reached its end under the historical perspective of modernity. However, contemporary philosophy wanted to see more possibilities through the deconstruction of modern philosophy. If modern philosophy dreams of a strange cohabitation between God and man with the humanistic completion of Plato's philosophy, modern philosophy rejects even that through deconstruction. Although Plato's classical metaphysics is a stable system centered around the absolute, it is ultimately based on God and religion. Under that system, human autonomy is only the autonomy bestowed by God. Contemporary philosophy is one of the results of efforts that try to begin philosophy from the original human voice through deconstruction. Instead of epistemology dependent on metaphysics, they wanted to establish epistemology from human existence and realize the best good that would set humans free through deconstruction. As such, it is no mistake to say that deconstruction is also an extension of the modern topic of human freedom. Deconstruction and human freedom act as one body in that the two cannot be separated from each other. Oddly enough, Daesoon Thought, which seems to have religious faith and traditional conservatism as main characteristics, has an emergent property that encompasses modern and contemporary times. The period of Korea, when Kang Jeungsan was active and founded Daesoon Thought, has an important meaning for those who have a keen view of history. Such individuals likely think that they have found a valuable treasure. This is because that period was a time when ideological activities were conducted due to an intense desire to discover the meaning of human freedom and envision a new world without copying the ways of the West. Instead they looked to face internal problems and raise people's awareness through subjectivity. In other words, the subtle ideas created by Korea's self-sustaining liberalism often take the form of what is commonly called new religions in modern times. Among these new religions, Daesoon Thought, as a Chamdonghak (true Eastern Learning), aims to spread a particular modern value beyond modern times through the concept of Haewon (the resolution of grievances) that was proclaimed by Jeungsan. The Haewon espoused in Daesoon Thought is in line with the disbandment of modern philosophy in that it contains modernity beyond modern times. First, Haewon means to resolve the fundamental resentment of human existence, which arose from Danju's grievance. Secondly, Haewon in Daesoon Thought encompasses the Haewon of the Three Realms of Heaven, Earth, and Humanity centers on a Haewon-esque style of existence called Injon (Human Nobility). Haewon in Daesoon Thought can be understood in the same context as Derrida's philosophy of Deconstruction. Modern deconstruction attempts to expose the invisible structures and bonds within human society and attempt to destroy them. In a similar way, Haewon endeavors to resolve the conflicts among the Three Realms by releasing the bonds of fundamental oppression that hinder the Three Realms of Heaven, Earth, and Humanity.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.191-200
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• 2020

Companies are seeking to maximize profits through exports and imports in the ultra-fast, ultra-high-speed modern society. It is only possible to sustain its survival if it targets the global market, not based on any specific region. The K-POP group is also targeting overseas markets in a manner similar to the various global strategies used when companies make inroads into foreign markets, including exports, contracts and direct investment. The K-POP group is engaged in various forms of activities, ranging from simple forms of performance (export) that are visited and staged by an invitation from a certain foreign country to series performances (license) by an invitation from a local promoter and tour performances using its capabilities. The K-POP group is seeking to go beyond the art of single-stage performances and make a systematic plan and make inroads into foreign countries in the form of direct investment suitable for each foreign country. The K-POP group made inroads into overseas markets in the form of simple performances from the late 1990s to 2005, when 'Korean Wave' was first introduced. Group H.O.T., etc. are typical examples. Since then, it has sought to enter overseas markets in the form of franchises by accepting overseas members by 2018, starting with Super Junior in 2005. Since then, the K-POP group in the form of joint investment attempted as group IZ*ONE in 2018 appeared, and a voice story came out in September 2018 when South Korea's JYP Entertainment and Tencent of China joined forces. Unlike K-POP Group, which has entered foreign markets with a global strategy based on the existing export method (H.O.T.), 'Boystory' is a representative group that is made with joint investment, which is a direct investment method. In February 2020, RBW released 'D1Verse,' a five-member group selected by Vietnam's reality show, as a joint investment-type group. This shows the possibility that domestic and foreign companies will release a group in the form of joint investment in order to pursue both globalization and localization.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.59-72
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• 2020

Video games have become a powerful tool to tell a complex story realistically thanks to modern technology. Rockstar Games' Red Dead Redemption 2 (2018), is a video game title that touts cinematic qualities such as superb acting by the voice actors and jaw-dropping cinematography as well as a rich narrative following the protagonist, Arthur Morgan's quest for redemption. Using Aristotle's Poetics and Robert Mckee's Aristotelian theory on storytelling, this study highlights Arthur's gradual change from a ruthless gunman to an altruistic hero, from which it derives the theme of redemption, and his super-objective to protect those he cares about. Then, it also explains a variety of possibilities in the narrative of the game determined by the opened-ended game mechanics, particularly the "honor" system, which reflects Arthur's moral choices on the narrative presentation with different sets of dialogue and endings. However, the study ultimately argues Red Dead Redemption 2 to be incohesive in its storytelling due to "ludonarrative dissonance," a concept coined by Clint Hocking, which indicates a conflict between the narrative and game mechanics of a video game. It's mainly because the game's various narrative choices bring changes to neither the theme nor Arthur's super-objective. Furthermore, the double-standard of evaluation in the "honor" system, and its numeric ranking system of honor also lend themselves to ludonarrative dissonance even further. After all, the study ultimately claims ludonarrative dissonance in Red Dead Redemption essentially disrupts the game's narrative unity, which is Aristotle's one of most emphasized upon traits of any story and signifies the game's instability as a storytelling medium.

• Journal of Intelligence and Information Systems
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• v.29 no.3
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• pp.57-78
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• 2023

COVID-19, which started in Wuhan, China in November 2019, spread beyond China in 2020 and spread worldwide in March 2020. It is important to prevent a highly contagious virus like COVID-19 in advance and to actively treat it when confirmed, but it is more important to identify the confirmed fact quickly and prevent its spread since it is a virus that spreads quickly. However, PCR test to check for infection is costly and time consuming, and self-kit test is also easy to access, but the cost of the kit is not easy to receive every time. Therefore, if it is possible to determine whether or not a person is positive for COVID-19 based on the sound of a cough so that anyone can use it easily, anyone can easily check whether or not they are confirmed at anytime, anywhere, and it can have great economic advantages. In this study, an experiment was conducted on a method to identify whether or not COVID-19 was confirmed based on a cough sound. Cough sound features were extracted through MFCC, Mel-Spectrogram, and spectral contrast. For the quality of cough sound, noisy data was deleted through SNR, and only the cough sound was extracted from the voice file through chunk. Since the objective is COVID-19 positive and negative classification, learning was performed through XGBoost, LightGBM, and FCNN algorithms, which are often used for classification, and the results were compared. Additionally, we conducted a comparative experiment on the performance of the model using multidimensional vectors obtained by converting cough sounds into both images and vectors. The experimental results showed that the LightGBM model utilizing features obtained by converting basic information about health status and cough sounds into multidimensional vectors through MFCC, Mel-Spectogram, Spectral contrast, and Spectrogram achieved the highest accuracy of 0.74.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.349-392
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• 2019

In the 1960s of Korea, the normalization of diplomatic relations between Korea and Japan led to a sense of a vigorous anxiety and fear that "Japan will once again come to the Korean peninsula". As a reaction to this, the discourse on the criticism of 'Japanese Style' strongly emerged. If the prior discourse of criticism was to express the national antipathy toward the colonial remnants that had not yet been disposed of, the critical discourse of the 1960s was the wariness of the newly created 'Japanese Style' in popular culture, and to grasp it as a symptomatic phenomenon that 'evil-minded Japan' was revealed. Thus, this new logic of criticism of the 'Japanese Style' had a qualitative difference from the existing ones. It was accompanied by a willingness to inspect and censor the 'masses' that grew up as consumers of transnational 'mass culture' that flowed and chained in the geopolitical order under the Cold War system. Therefore, the topology of 'popular things=Japanese things=consuming things' reveals the paradox of moral demands that existed within Korean society in the 1960s. This was to solidify the divisive circulation structure that caused them to avoid direct contact with the other called 'Japan', but at the same time, get as close to it as ever. It is a repetitive obsession that pushes the other to another side through the moral segregation that strictly draws a line of demarcation between oneself and the other, but on the other hand is attracted to the object and pulls it back to its side. This paper intends to listen to the different voices that have arisen in the repetitive obsession to understand the significance of the dissonance that has been repeated in the contemporary era. This will be an examination of the paradoxical object of Japan that has been repeatedly asked to build the internal control principle of Korean society, or to hide the oppressive and violent side of the power, and that can neither be accepted nor destroyed completely as part of oneself.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.