• The Korean Publising Journal, Monthly
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• s.286
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• pp.10-11
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• 2000

• The Korean Publising Journal, Monthly
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• s.286
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• pp.22-22
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• 2000

• The Korean Publising Journal, Monthly
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• s.342
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• pp.46-47
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• 2004

• The Korean Publising Journal, Monthly
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• s.342
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• pp.78-80
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• 2004

• The Korean Publising Journal, Monthly
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• s.339
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• pp.56-58
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• 2004

• Korean journal of communication and information
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• v.68
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• pp.34-64
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• 2014

This paper analyzed the modes of human communication of the Korean enlightenment era through 9 new-style novels with the assumption that the fictitious world of novels reflect the social realities of that time. The most noticeable fact was that the communication environment of that time were remarkably diversified with the new media, such as newspaper, printed book, postal system, telegraph, telephone, and photo. But the communication of most people was mainly relied on traditional oral communication. In oral communication the hierarchical relationship and age were the most important variable as usual but the formality and etiquette were weakened than Late Chosun Dynasty. The distribution of written culture was enlarged especially by women and lower class. The contact with the foreign cultures which had become possible after the opening of ports brought about intercultural communication. In conclusion it can be said that the communication of people in the enlightenment era was mainly by oral communication but the reliance on the media was enlarged gradually.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.62-69
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• 2015

This study examined the effects of the level of narrativity of a culture content on the level of preference of a related culture content. The culture contents were categorized into novels, cartoons and TV programs according to the content type, and into dramas, comedies, and actions by the contents genre because previous studies found a high level of narrativity in novels and dramas. Based on the survey data on the movie preference, the following were found. First, when people prefer novels with high-level narrativity, rather than TV programs, which have low-level narrativity in a certain genre, they prefer watching movies in the same genre. Second, this relationship is even more reinforced when the genre of the original of the movie is drama, which has high-level narrativity, rather than comedies or actions, which have low-level narrativity. Narrativity plays an important role in the movie preference, especially when it comes to movie originals.

• Korean Journal of Cognitive Science
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• v.22 no.3
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• pp.299-326
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• 2011

The text such as stories, blogs, chat, message and reviews have the overall emotional flow. It can be classified to the text having similar emotional flow if we compare the similarity between texts, and it can be used such as recommendations and opinion collection. In this paper, we extract emotion terms from the text sequentially and analysis emotion terms in the pleasantness-unpleasantness and activation dimension in order to identify the emotional flow of the text. To analyze the 'dominant emotion' which is the overall emotional flow in the text, we add the time dimension as sequential flow of the text, and analyze the emotional flow in three dimensional space: pleasantness-unpleasantness, activation and time. Also, we suggested that a classification method to compute similarity of the emotional flow in the text using the Euclidean distance in three dimensional space. With the proposed method, we analyze the dominant emotion in korean modern short stories and classify them to similar dominant emotion.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.638-653
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• 2021

The study intends to understand the meaning of the family in the novel 「Aging Family」. The Novel texts were analyzed from the perspective of In-mo, the main character, using qualitative research methods. Findings show that his family members were non-blood related as well as blood related, and the meaning of his family was changed from a "family with no pride, no affection" to a family with "human affection" and "loyalty stronger than blood". Based on these results, some implications for family social welfare practices were discussed.

• Journal of English Language & Literature
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• v.58 no.1
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• pp.3-19
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• 2012

This paper argues that the hard-boiled detective fiction is not a commercialized imitation of the classical detective novels but a revisionist detective fiction. Producing a radically different type of detectives from the traditional ones, the hard-boiled detective fiction provides a new, opposing paradigm of criminality, class, and masculinity to the classical detective fiction. Classical detective novels, through the heroic portrayal of high-class detectives capturing and punishing lower-class criminals, reassure class hierarchy. Hard-boiled detective novels, however, representing the ruling classes as the root of social oppression and political corruption, define the power elite as criminals. Whereas the classical detective fiction displays aristocratic masculinity, the hard-boiled detective fiction embodies working-class masculinity. The classical detective is generally represented as a genteel dilettante solving the mysteries of crimes, in his leisure time, through logical reasoning and scientific techniques. The hard-boiled detective, however, solves crimes by using violence and earns his living from catching criminals. The hard-boiled detective also maintains an absolute independence by keeping a distance from all forms of authority and connection. The representation of hard-boiled detective as a tough, rebellious, independent guy can be interpreted as a reaction to the advent of corporate capitalism and the rise of labor control in the 1920s.