• Annual Conference on Human and Language Technology
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• 2022.10a
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• pp.67-70
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• 2022

최근 자연어 생성 연구는 딥러닝 기반의 사전 학습 모델을 중심으로 활발하게 연구되고 있다. 하위 분야 중 하나인 텍스트 확장은 입력 텍스트를 출력에 잘 반영하는 것이 무엇보다도 중요하다. 기존 한국어 기반 텍스트 확장 연구의 경우 몇 개의 개념 집합에 기반해 문장을 생성하도록 한다. 그러나 이는 사람의 실제 발화 길이에 비해 짧고 단순한 문장만을 생성한다는 문제점이 존재한다. 본 논문은 이러한 문제점을 개선하면서 문학 스타일의 문장들을 생성하는 모델을 제안하였다. 또한 동일 모델에 대해 학습 데이터의 양에 따른 성능도 비교하였다. 그 결과, 짧은 요약문을 통해 문학 스타일의 여러 문장들을 생성하는 것을 확인하였고, 학습 데이터를 추가한 모델이 성능이 더 높게 나타나는 것을 확인하였다.

• Journal of Digital Convergence
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• v.13 no.4
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• pp.395-404
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• 2015

This study is exploring objective awareness of literary therapy by consideration of popular perception about literary therapy through analysis of big data. The purpose of this study is the deduction of meaning information through analysis in the viewpoint of big data at online social network service(SNS) about 'literary therapy'. Accordingly, the main way of research became content analysis of keyword linked to literary therapy by utilizing opinion mining method related to text mining. The study mainly grasped 'literary therapy' and analyzed 'bibliotherapy' comparatively. The period of study was from Oct. 10th to Nov. 10th, 2014(during 30 days), and SNS such as blog or twitter became the subject of search. Through the result of study analysis, the conclusion that the spread of literary therapeutic prospect, structural harmony of literary therapeutic field, and the solidity of perceptional axis about literary therapy are needed can be drawn. This study is worthwhile because it can investigate popular awareness about literary therapy and can suggest alternative for invigoration of literary therapy.

• Cross-Cultural Studies
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• v.48
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• pp.107-133
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• 2017

This study compares the history of modern Korean literature written in China with the history of South Korean literature, the history of North Korean literature and the history of national literature, explores aspects of narrative and therefore examines transcultural practice presented in such texts. There have hitherto been approximately 25 works on the history of Korean literature written in China, and 16 of 25 works are on the history of modern Korean literature. Regarding their purpose, the number of pedagogical works outstandingly exceeds the number of research works. In terms of perspective and contents, it can be divided into three categories; one that only embraces the history of South Korean literature, another embracing the history of North Korean literature only and the other embracing the history of South Korean and North Korean literature. This study has selected representative texts from each category and compared recognition and narrative aspects to that of the history of South Korean literature, the history of North Korean literature and the history of Chinese literature. It further examines loci of definitions' transfer and formation as well. As a result, this study reveals valuable understanding of recognition and narration of the history of Korean literature. First, this study offers an introspective attitude, as the history of modern Korean literature accentuates influence of only Western literature, overlooking influence of Chinese literature. Second, this study proposes a new narrative perspective on the history of Unified Korean literature through independent and objective identification of the history of North Korean literature. Last, it emphasizes popularization of literature - aside from pure literary-centrism - and expands possibilities of embracing distinct works relevant to multimedia.

• (The) Research of the performance art and culture
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• no.36
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• pp.103-135
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• 2018

The objective of this study is to re-examine the theory of Pansori (Korean musical storytelling genre) originating in Chinese tale-song literature. The said theory, first presented by Kim Hak-ju, succeeded in confirming the common points and association between Pansori and the Chinese tale-song literature, but failed to present the supporting ground for proving that Pansori originated in the said Chinese genre by comparing the contents of works and their performance type. In actuality, it was confirmed that the common factors of Pansori and the said Chinese genre naturally resulted from the performance situation where both genres should involve one singer chanting epics and simultaneously performing various roles and functions. In addition, it was confirmed that such identity of performance environment made the Pansori clown theory and the Gosagye tale-song(鼓詞系講唱) theory very similar. In addition, it was confirmed that, for one singer to present the wide spectrum of epic to the audience, the realistic description was the main part of literary style of both tale-song literature and Pansori, and furthermore it was revealed that, in the literary style of both tale-song literature and Pansori, the mixed use of time and temporal penetration were free. If a long performance of musical storytelling can be conceptualized in terms of 'tale-song' or 'oral epic', the Chinese tale-song literature and Pansori had similarity in the bigger frame of 'tale-song' or 'oral epic' and yet developed to have their own features.

• Journal of the Korea Convergence Society
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• v.11 no.2
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• pp.215-223
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• 2020

After the war, the circle literature movement took place in Japan around the 1950s. The subjects of the national movement, the Korean-Japanese, have produced and expanded their political rights and claims through circles and organs in conjunction with the literary movement. However, the results of analyzing the exchanges and conflicts between the political subjects of the Korean national movement and the literary circle movement as a concrete case to date are still insignificant. After liberation, the endless worries and confrontations to the post-colonialization of literary Koreans in Japan were analyzed as 'community with Republic of Korea and Japan', 'topic and creative language', and as 'conflict with Korean association in japan'. The process leading to dissolution was analyzed. The spirit of the era of Koreans in Japan in the 1950s identified in this paper is expected to suggest a new direction for the starting point of study of the humanities in Japan.

• Journal of the Korean Society for Library and Information Science
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• v.52 no.3
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• pp.35-59
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• 2018

A book review expands readers' choice of resources by providing them with the contents and bibliographic data of various books. It also functions as a reader support service designed to enrich their reading experiences. In particular, in the field of children's reading, literary devices are used to convey knowledge and information to children. Therefore, a review for a children's book should help children follow a book with further readings so that they can expand their literary imagination through comparative reading. In light of the above, this study looks into the case of a children's story entitled Little Red Riding Hood to identify the points that should be addressed in the "Literature Comparison" section of a book review in order to suggest further readings to readers. First, the review should provide an objective description of the content of Little Red Riding Hood. Second, it should explain the literary value of the reviewed book and the discourse that surrounds it so as to analyze its unique features that separate it from other literary works. Third, the review should provide bibliographic information on other works that use narrative structures adapted from those of Little Red Riding Hood. Fourth, it should broaden readers' choice and access by introducing, if any, works adapted from Little Red Riding Hood into other media.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.115-147
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• 2017

This paper compared and reviewed the poetic theories and Chinese poems of the Korean author Kim Chang Heup and his Japanese counterpart, Kan Chazan. Kim Chang Heup and Kan Chazan shared largely the same opinions on poetry, and both rejected archaism. First, they did not just copy High Tang poetry. Instead, they focused on the (sometimes trivial) scenery right in front of them, and described the calm feelings evoked by what they had seen. They also adopted a sincere tone, instead of an exaggerated one, because both believed that poetry should be realistic. However the differences between the two poets are also noteworthy. Kim Chang Heup claimed that feelings and scenery meet each other within a literary work through Natural Law, and the linguistic expressions that mediate the two are philosophical in nature. However, Kan Chazan did not use Natural Law as a medium between feelings and scenery. Instead the Japanese writer said the ideal poetical composition comes from a close observation and detailed description of scenery. In sum, while Kim Chang Heup continued to express reason through scenery, Kan Chazan did not go further than depicting the scenery itself. In addition, Kim Chang Heup believed poetry was not only a representation of Natural Law, but also a high-level linguistic activity that conveys a poetic concern about national politics. As a sadaebu (scholar-gentry), he held literature in high esteem because he thought that literature could achieve important outcomes. On the other hand, Kan Chazan regarded it as a form of entertainment, thereby insisting literature had its own territory that is separate from that of philosophy or politics. In other words, whereas Kim Chang Heup considered literature as something close to a form of learning, Kan Chazan viewed it as art. One might wonder whether the poetics of Kim Chang Heup and Kan Chazan reflect their individual accomplishments, or if the characteristics of Chinese poetry that Korean and Japanese poets had long sought after had finally surfaced in these two writers. This paper argued that the two authors' poetics represent characteristics of Chinese poetry in Korea and Japan, or general characteristics of Korean and Japanese literatures in a wider sense. Their request to depict actual scenery in a unique way, free from the ideal model of literature, must have facilitated an outward materialization of Korean and Japanese literary characteristics that had developed over a long time.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.656-663
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• 2007

최근 인터넷 공간에서 사용자가 직접 만들어 내는 컨텐츠, 즉 UCC (user created contents, 이하 UCC)에 대한 관심이 그 어느 때보다 증가하고 있다. UCC란 기존의 온라인 컨텐츠 제공업자와 달리 일반 사용자에 의해 만들어져 게시판과 같은 도구를 사용하여 온라인 상에 존재하였다. 그런데 UCC 가 최근 들어 더욱 관심을 받고 있는 이유에는 사용자들이 직접 컨텐츠를 만들어 개제하는 것이 용이하도록 변화된 환경의 조성 및 컨텐츠 제작을 쉽게 할 수 있는 저작도구가 지속적으로 만들어지고 확산되었기 때문이다. 결과적으로 사용자 측면에서는 다른 사람들과 소통하는 통로가 확대되었고, 사업자 측면에서는 보다 컨텐츠를 풍부하게 확보할 수 있는 환경이 열린 것이다. 본 연구는 구비문학의 이론을 통하여 UCC의 활성화에 영향을 미치는 요소를 탐색적으로 살펴보는 것을 목적으로 한다. 구비 문학은 텍스트를 향유하는 사람들 사이에서 공유되는 이야기로서 그 생산 환경의 매커니즘과 텍스트의 발전 양상이 UCC와 매우 유사하다. 따라서 본 연구에서는 자료의 분석과 이론적 모형의 수립 과정 전반에 있어 구비 문학의 이론과 접근 방법을 사용하였다. UCC가 매우 활발하게 생산되는 주제를 선정하여, 그 주제에 해당하는 커뮤니티의 특성, 사용자들 간의 관계, 사용자 정책 등 차이가 있는 세 온라인 커뮤니티를 선정하였다. 선정된 온라인 커뮤니티의 게시판의 포스트와 댓글을 프로그램을 통하여 수집하고 분석하였으며, 그 분석된 데이터를 바탕으로 사용자를 선정하여 심층 인터뷰를 진행하였다. 심층 인터뷰 데이터는 근거이론은 이용하여 분석하였다. 본 연구의 결과는 UCC 확산이라는 새로운 인터넷 패러다임 속에서 이를 구비 문학의 이론으로 분석했다는 점에서 학문적 의의가 있다. 또한 성격이 다른 세 개의 사이트에서의 UCC를 비교함으로써 UCC를 기반으로 한 사이트 설계의 가이드 라인이 될 수 있는 실용적 의의를 가진다.

• Cross-Cultural Studies
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• v.48
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• pp.67-106
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• 2017

This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.

• Proceedings of the KHMA Conference
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• 2012.11a
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• pp.381-381
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• 2012