• Title/Summary/Keyword: 意図伝達

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The Effects of the Change of Operating Income Disclosure Policy under K-IFRS - Evidence from KOSDAQ Market - (K-IFRS 이후 영업이익 공시정책의 변화에 대한 연구 - 코스닥 시장을 중심으로 -)

  • Baek, Jeong-Han;Choi, Jong-Seo
    • Management & Information Systems Review
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    • v.33 no.3
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    • pp.167-187
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    • 2014
  • While Korean GAAP had detailed regulations for the measurement and disclosure of operating income in the past, K-IFRS did not provide specific rules for operating income until 2011. Some firms that adopted K-IFRS before 2011 did not disclose or calculated operating income in an inconsistent manner although operating income is usually considered as one of the core information items to assess firm valuation. Inconsistency in firms' treatment of operating income invoked much criticism from diverse users of financial statement. The Korean Accounting Institute (KAI hereafter) revised the K-IFRS rules relevant to operating income in September 2010 in response to the voices raised by the business community, whereby the operating income number is allowed to be calculated in conformity with the previous K-GAAP. This study was motivated by the revision of K-IFRS and aims to provide a clue on the validity of such policy decision. To achieve the research objective, we test the relative value relevance of the alternative operating income numbers under K-IFRS versus K-GAAP. Our main findings are as follows. The value relevance of operating income reported before K-IFRS is proved to be higher than after K-IFRS. K-IFRS operating income adjusted to the previous K-GAAP has greater explanatory power for market values relative to one calculated under the K-IFRS regime. In an additional analysis, the sample was decomposed according to whether the operating income under K-IFRS is greater than under K-GAAP. The difference in the value relevance of K-IFRS versus K-GAAP operating income is significant only in the subsample consisting of firms which reports higher operating income under K-IFRS compared to K-GAAP. Also, the firms which would have reported negative operating income on a consecutive basis are more likely to have chosen K-IFRS, resulting in higher numbers than otherwise. It is likely that firms facing the threat of delisting due to consecutive operating loss reporting are more likely to have adopted K-IFRS disclosure rules by which they could report higher operating income numbers. To sum up, these results corroborate the limitation inherent in the K-IFRS regarding operating income disclosures. This paper suggests that the recent revision of K-IFRS implemented by KAI is likely to mitigate some of afore-mentioned limitations effectively.

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Semiological Implication of Dance Images in TV Advertisement (TV광고에 나타난 무용이미지의 기호학적 의미에 관한 연구)

  • Park, Ayoung
    • Trans-
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    • v.1
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    • pp.21-44
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    • 2016
  • Advertisement is composed with symbol and sign with messages trying to express. Especially, ad with dancer introduces goods or meaning of contents with the motion of dance. In this, contents of dance or motion of dancer contains symbol and sign, understanding how ad and dance are expressed meanings with which symbol and the symbolic meaning of dance or dancer on ad. To that end, this study is for analyzing expressed symbol with dance corresponds with the aim of ad and finding the way or attitude of how normal people accept dance by reevaluating symbolic meaning of dance itself. In this study, advertisement producer and director's related data is secured for understanding direction and intention of producer, and previous study related with the study purpose, image, and effect are analyzed for understanding image of dance as a physical sign on TV advertisement. With data from www.TVCF.co.kr. TV advertisement analysis is conducted only with four ads in 2008(Nam Kwang Eng. & Const Co., Lotte Dept. Store(premium sale/gift card), Hyundai Motor Company Santa Fe -Pilobolus) and one ad in 2011(PNS The zone Sash Italy Arena di Verona when dance was used for advertisement with the highest frequency per year. Also, based on considered important factors from repeatedly watching each advertisement, scenes where movement or motion of dancer and screen word is greatly changed are analyzed as a priority. Image analysis of dance is conducted with structure studies based on physical image(line, costume, expression) and dan image(type motion, qualitative feature, mood of dance). As a result, the symbolic dance image appeared in TV advertisement can be discussed as follows. First, symbol and sign of dance on advertisement corresponds with material objects of advertisement. For instance, on the TV advertisement where Lee Youngwoo appeared, his motion as a signifer means challenge for the future of Nam Kwang Eng. & Const Co., with fast turn, jump, assemble turning jump, and sliding. Second, physical image of dancer depending on intention of sender corresponds in general, but there are somewhat differences in image of dance. This makes people to unconsciously recognize symbolic image of dance on TV ad while they watch it at the same time. Especially, when it comes to advertisement, it exposes frequently with broadcasting of organized programs from a broadcaster, living long-time memory. It can be differ based on idea and character of each of receiver. Advertisement is a medium making people naturally adopt cultural art for ordinary people in their lives. Broadcasting public art from TV advertisement widely exposes pure art to people, which was only avaliable for minority, sublimating it as an art of public culture.

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Designing Mobile Framework for Intelligent Personalized Marketing Service in Interactive Exhibition Space (인터랙티브 전시 환경에서 개인화 마케팅 서비스를 위한 모바일 프레임워크 설계)

  • Bae, Jong-Hwan;Sho, Su-Hwan;Choi, Lee-Kwon
    • Journal of Intelligence and Information Systems
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    • v.18 no.1
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    • pp.59-69
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    • 2012
  • As exhibition industry, which is a part of 17 new growth engines of the government, is related to other industries such as tourism, transportation and financial industries. So it has a significant ripple effect on other industries. Exhibition is a knowledge-intensive, eco-friendly and high value-added Industry. Over 13,000 exhibitions are held every year around the world which contributes to getting foreign currency. Exhibition industry is closely related with culture and tourism and could be utilized as local and national development strategies and improve national brand image as well. Many countries try various efforts to invigorate exhibition industry by arranging related laws and support system. In Korea, more than 200 exhibitions are being held every year, but only 2~3 exhibitions are hosted with over 400 exhibitors and except these exhibitions most exhibitions have few foreign exhibitors. The main reason of weakness of domestic trade show is that there are no agencies managing exhibitionrelated statistics and there is no specific and reliable evaluation. This might cause impossibility of providing buyer or seller with reliable data, poor growth of exhibitions in terms of quality and thus service quality of trade shows cannot be improved. Hosting a lot of visitors (Public/Buyer/Exhibitor) is very crucial to the development of domestic exhibition industry. In order to attract many visitors, service quality of exhibition and visitor's satisfaction should be enhanced. For this purpose, a variety of real-time customized services through digital media and the services for creating new customers and retaining existing customers should be provided. In addition, by providing visitors with personalized information services they could manage their time and space efficiently avoiding the complexity of exhibition space. Exhibition industry can have competitiveness and industrial foundation through building up exhibition-related statistics, creating new information and enhancing research ability. Therefore, this paper deals with customized service with visitor's smart-phone at the exhibition space and designing mobile framework which enables exhibition devices to interact with other devices. Mobile server framework is composed of three different systems; multi-server interaction, server, client, display device. By making knowledge pool of exhibition environment, the accumulated data for each visitor can be provided as personalized service. In addition, based on the reaction of visitors each of all information is utilized as customized information and so the cyclic chain structure is designed. Multiple interaction server is designed to have functions of event handling, interaction process between exhibition device and visitor's smart-phone and data management. Client is an application processed by visitor's smart-phone and could be driven on a variety of platforms. Client functions as interface representing customized service for individual visitors and event input and output for simultaneous participation. Exhibition device consists of display system to show visitors contents and information, interaction input-output system to receive event from visitors and input toward action and finally the control system to connect above two systems. The proposed mobile framework in this paper provides individual visitors with customized and active services using their information profile and advanced Knowledge. In addition, user participation service is suggested as well by using interaction connection system between server, client, and exhibition devices. Suggested mobile framework is a technology which could be applied to culture industry such as performance, show and exhibition. Thus, this builds up the foundation to improve visitor's participation in exhibition and bring about development of exhibition industry by raising visitor's interest.

Exploring Science Teacher Agency as Agent of Change: The Case of Distance Learning Practice Due to COVID-19 (변화의 주체로서 과학 교사의 행위주체성 탐색 -COVID-19에 따른 원격 수업 실행 사례를 중심으로-)

  • Lee, Hyekeoung;Kim, Heui-Baik
    • Journal of The Korean Association For Science Education
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    • v.41 no.3
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    • pp.237-250
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    • 2021
  • Teachers play a key role in designing a students' learning experience. Teachers are asked to interpret the context in which they are located and to adjust their practice to fit circumstantial needs based on their teacher agency. In this study, we explore the emergence of teacher agency in distance learning caused by COVID-19 and we analyze factors shaping the teacher agency. For this purpose, we interviewed six secondary science teachers who practiced distance learning in 2020. Semi-constructed interviews and their artifacts were collected and analyzed. This study shows that teacher agency is captured when they respond to circumstantial change and modify their practice to achieve their professional purpose or adjust their practice in space for maneuvering or keep their practice consistent. This study also analyzes the factors that affect the emergence of teacher agency in two dimensions. One is individual and the other is contextual. In the individual dimension, educational values shaped by his/her experiences and short/long-term goals for the future support the emergence of teacher agency. In the contextual dimension, there are collaborative and flexible culture shared by the community, co-operation within the teacher community, and material support. On the other hand, in the individual dimension, the teachers' sense of their role, and no reflection for own practice constrain the emergence of teacher agency, and in the contextual dimension, performativity discourse and strong requirement without guidance constrain the emergence of teacher agency. We suggest an effective lens for establishing a strategy that support teachers' professional practice and the emergence of teacher agency.

Studies on a Characteristic of 『About Stage Drama Arts』 (연극론 『연극예술에 대하여』의 특성 연구)

  • Kim, Jeong-Soo
    • (The) Research of the performance art and culture
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    • no.22
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    • pp.123-155
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    • 2011
  • This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.

A Study on the Effect of Organizational Learning Culture Perceived by Members on Task and Contextual Performance in the Mediating Effect of Organizational Communication (구성원이 인식한 조직학습문화가 조직 커뮤니케이션을 매개로 과업·맥락성과에 미치는 영향에 관한 연구)

  • Kang, Hee Kyung
    • Asia-Pacific Journal of Business Venturing and Entrepreneurship
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    • v.17 no.3
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    • pp.201-214
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    • 2022
  • This study theoretically and empirically examined whether organizational communication mediates the effect of organizational learning culture perceived by members in the organization on task performance and contextual performance. Organizational learning culture is defined as a culture that is good at creating, acquiring, transferring, and modifying behavior to reflect new knowledge and insights. The hypothesis of this study is that the perceived organizational learning culture can increase performance through organizational communication between members. In particular, we measured communication within the organization into three types: upward, horizontal, and downward. These communications were set as mediating variables. In empirical studies, independent variables were perceived organizational learning culture, mediation variables were upward, horizontal and downward communication, and dependent variables were task performance and contextual performance. Hypothesis 1 is that the organizational learning culture will have a positive effect on employees' tasks and contextual performance. Hypothesis 2 is about the mediating effect of communication on the relationship between Hypothesis 1. In the empirical study, after verifying the validity and reliability of the research variables, correlation analysis and hypothesis verification were conducted. Hypothesis 1 was verified through regression analysis, and all detailed hypotheses were supported. To verify Hypothesis 2, we conducted a bootstrap test using process macro to separate the total, direct, and indirect effects and examine the significance of the indirect effects. As a result, Hypothesis 2 was partially supported. Downward communication mediated organizational learning culture and task and contextual performance, and horizontal communication mediated organizational learning culture and contextual performance. The mediating effect of upward communication was not significant. The results of this study contributed to the suggestion of implications, research limitations, and research directions. Organizational learning culture is the direction and intention of the organization to achieve its goals through the learning and growth of its members. By strengthening internal motivation, organizational members can take voluntary desirable actions that help groups and organizations as well as essential tasks given. since this relationship appears as a medium of downward communication, organizations can strengthen the relationship between organizational learning culture and performance through leadership education.

The Market Segmentation of Coffee Shops and the Difference Analysis of Consumer Behavior: A Case based on Caffe Bene (커피전문점의 시장세분화와 소비자행동 차이 분석 : 카페베네 사례를 중심으로)

  • Yu, Jong-Pil;Yoon, Nam-Soo
    • Journal of Distribution Science
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    • v.9 no.4
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    • pp.5-13
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    • 2011
  • This study provides analysis of the effectiveness of domestic marketing strategies of the Korean coffee shop "Caffe Bene". It bases its evaluation on statistical outputs of 'choice attributes,' "market segmentation," demographic characteristics," and "satisfaction differences." The results are summarized in four points. First, five choice attributes were extracted from factor analysis: price, atmosphere, comfort, taste, and location; these are related to coffee shop selection behavior. Based on these five factors, cluster analysis was conducted, with statistical results classifying customers into three major groups: atmosphere oriented; comfort oriented; and taste oriented. Second, discriminant analysis tested cluster analysis and showed two discriminant functions: location and atmosphere. Third, cross-tabulation analysis based on demographic characteristics showed distinctive demographic characteristics within the three groups. Atmosphere oriented group, early-20s, as women of all ages was found to be 'walking down the street 'and 'through acquaintances' in many cases, as the cognitive path, and mostly found the store through 'outdoor advertising', and 'introduction'. Comfort oriented group was mainly women who are students in their early twenties or professionals, and appeared as a group to be very loyal because of high recommendation to other customers compared to other groups. Taste oriented group, unlike the other group, was mainly late-20s' college graduates, and was confirmed, as low loyalty, with lower recommendation activity. Fourth, to analyze satisfaction differences, one-way ANOVA was conducted. It shows that groups which show high satisfaction in the five main factors also show high menu satisfaction and high overall satisfaction. This results show that segmented marketing strategies are necessary because customers are considering price, atmosphere, comfort, taste, location when they choose coffee shop and demographics show different attributes based on segmented groups. For example, atmosphere oriented group is satisfied with shop interior and comfort while dissatisfied with price because most of the customers in this group are early 20s and do not have great financial capability. Thus, price discounting marketing strategies based on individual situations through CRM system is critical. Comfort oriented group shows high satisfaction level about location and shop comfort. Also, in this group, there are many early 20s female customers, students, and self-employed people. This group customers show high word of mouth tendency, hence providing positive brand image to the customers would be important. In case of taste oriented group, while the scores of taste and location are high, word of mouth score is low. This group is mainly composed of educated and professional many late 20s customers, therefore, menu differentiation, increasing quality of coffee taste and price discrimination is critical to increase customers' satisfaction. However, it is hard to generalize the results of study to other coffee shop brand, because this study have researched only one domestic coffee shop, Caffe Bene. Thus if future study expand the scope of locations, brands, and occupations, the results of the study would provide more generalizable results. Finally, research of customer satisfactions of menu, trust, loyalty, and switching cost would be critical in the future study.

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Showing Filial Piety: Ancestral Burial Ground on the Inwangsan Mountain at the National Museum of Korea (과시된 효심: 국립중앙박물관 소장 <인왕선영도(仁旺先塋圖)> 연구)

  • Lee, Jaeho
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.96
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    • pp.123-154
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    • 2019
  • Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.