• Journal of Digital Convergence
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• v.19 no.3
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• pp.273-278
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• 2021

The purpose of this study is to help self-healing by identifying self-description by utilizing the self-description diagnosis of literary therapy and the resonance of the work narrative. Therefore, the research was conducted through the methodology of literature therapy, which uses the self-introduction team of literary therapy and basic photography team to understand their own narrative and to heal themselves through resonance with the work narrative. Through this study, we understood that it is possible to understand and identify and understand one's psychological problems through self-description and self-culture techniques. This case study revealed that it can be used as a new technique for understanding self-description by applying the methodology of literary therapy and for healing self-exploration through resonance with the work narrative.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.191-243
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• 2008

The purpose of this paper is to develope the husband and wife epic test. The results of this paper are as follows. First, in the epic of dividing mate, , , , , etc, the essential item of diagnosis is qualification criteria of a mate. Second, in the epic of pushing mate, , , , , , etc, the essential item of diagnosis is mistrust about mate, Third, in the epic of recovering mate, , , , , , etc, the essential item of diagnosis is ability of recovering couple relationship, Fourth, in the epic of protecting mate, , , , , , etc, the essential item of diagnosis is sympathy for mate.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.111-119
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• 2019

Time and space are the foundations of all the narrative. As the aim and content of narrative, spatial narrative plays an increasingly important role in the narrative movies. With the development and application of digital technique, the expressiveness of movie space is enhancing, and spatial narrative has become the focus of directors and critics. As a developing cinematic narrative form, spatial narrative is taking advantage in many aspects, including narrative structure, narrative effect, creative skills and audience acceptance, which can bring breakthrough and innovation to the creation of cinematic narrative. Based on the spatial theory in movies, the paper analyzes the space presentation approaches in the movie Hugo. Combined with the motivating factors, structure factors, symbolic significance and psychological factors of narrative space, the paper specifically analyzes the significance of spatial narrative in American movie Hugo. By researching the glamour of narrative space in the movie, the paper intends to provide certain reference value to the narrative expression of the movies today.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.84-93
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• 2014

Comics uses words to convey its content and meaning, while the comic image conveys the content as a narrative function to represent how language is combined with the text. This paper makes a comparison and analysis of the comics of Japan and South Korea, in terms of words and image expression, narrative techniques, and the way of communication, to study the characteristics of image narrative. The comic image of Jing ke is the other as a flow of narrative and getting rid of the current screen, to resonate with the readers. Go U-yeong's comics and Sumeragi Natsuki's set up a virtual narrative time and space through the line, surface, space and shade, to realize the reproduction of unhistorical facts and the significance of narrative with the artist's imagination. Sumeragi Natsuki's comics uses historical facts to represent exquisite narrative like still-life paintings. She focuses on the description of the objective facts of history, to seek the sensitive comic image beyond reality. The image narration of Go U-yeong's comics is a clash between his historical narrative among the subjective romantic image and the readers' awareness narrative flow that they insist inside. Therefore, he tries to keep balance. The instant image in his comics is not a reproduction of the historical real moment, but a reproduction image of the reality reconstructed by his own pursuit of narrative.

• Railway Journal
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• v.16 no.6
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• pp.38-48
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• 2013

• Journal of the Korean Society for Railway
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• v.7 no.3
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• pp.28-33
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• 2004

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.41-49
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• 2020

Narrative activities are closely related to the space where human beings live and their awareness of space. In the film Parasite (2019), Director Bong Joon-ho demonstrated his unique insights into the spatial layout of the city. He not only built opposing up and down spaces with clear differentiation of distinct classes, but also conducted complex and smooth narratives in space. Bong Joon-ho used realism to express differences and some unresolvable contradictions between the classes in capitalist society by showing the daily lives of people living in different spaces. This present research focuses on Bong Joon-ho's spatial narrative in the film Parasite, hoping to observe the relationship between characters and between social classes, further exploring Director Bong Joon-ho's spatial narrative awareness and his film creation style. The research reveals that space, an important element of film narrative, has been paid attention to in the film Parasite and space is the narrative's foundation in this film. The narrative of film space is not limited to physical space but also refers to the relationship between characters and the society in which they live, showing metaphorical significance. This film transcends a genre film, portraying the changes of social classes in the development of the society. The film as a whole is one combining ideology and artistry. Every viewer can feel resonated from this film and understand the thought-provoking social situation.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.185-194
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• 2010

The digital contents industry already heads toward the OSMU(One Source Multi Use) method of media. In case the success of the original novel recreates to a movie, the success of a movie is again noticed with the original novel. For this reason, a novel and movie are open at the same time, In this paper, we analyze through the case study of three fantasy films having the narrative structure of the germane myth : The Lord of The Rings, Harry Potter, The Chronicles Of Narnia based on the analysis basis : Hero's Journey 12 steps by J. Campbell, The analysis of scenes of each film visualizing the narrative structure of a novel can be used as the basic materials in the process of visualizing the scale of the original and message of a writer, we consequently believe that these analysis will be able to be applied the appropriate visual techniques (the special effect, the scene tractions, and etc.)in visualization of films.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1129-1136
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• 2009

The digital contents industry already heads toward the OSMU(One Source Multi Use) method of media. In case the success of the original novel recreates to a movie, the success of a movie is again noticed with the original novel. For this reason, a novel and movie are open at the same time, In this paper, we analyze through the case study of three fantasy films having the narrative structure of the germane myth : The Lord of The Rings, Harry Potter, The Chronicles Of Narnia based on the analysis basis : Hero's Journey 12 steps by J. Campbell, The analysis of scenes of each film visualizing the narrative structure of a novel can be used as the basic materials in the process of visualizing the scale of the original and message of a writer, we consequently believe that these analysis will be able to be applied the appropriate visual techniques (the special effect, the scene tractions, and etc.)in visualization of films.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.341-357
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• 2021

Didier Éribon's dialogue with Ernst Gombrich, first published in 1991 in France, stands as a curious example of interpreting a scientific mind into a popular narrative. On the occasion of its brand new translation in Korean, this essay examines the encounter of two different languages, that of scholarly art history and the other, of "entretien". Éribon's previous interviews with Georges Dumézil and Claude Lévi-Strauss have already shown the perfect use of dialogue that interprets in simple words some currents of European thoughts of 20th century at its highest level. The double identity found in the extraordinary profile of the author of The Story of Art should help us deal with this particular form of dialogue in depth, and expect another possibility of explaining and reconstructing academia.