• Journal of Multimedia Information System
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• v.6 no.4
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• pp.309-316
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• 2019

Virtual Reality is broadly recognized as an "empathy machine". This reputation is due to the feeling of 'presence' that it provides to users, which is the sensation of being bodily present in a space, even when that space is virtual. The possibility of complete immersion attracts many creators looking to induce empathy and awareness about the most diverse subjects. One of the first types of VR non-fiction productions to be released was in the morally sensitive humanitarian documentary genre. This research aims to explore how VR productions differ from non-VR productions with a focus on humanitarian communication. Rather than targeting mechanical aspects of VR technology, this article compares the visual and narrative storytelling characteristics in VR and non-VR media. First, humanitarian communication and its nuances are explained. Then, 360° video filming characteristics are analyzed, followed by a comparison table contrasting VR and non-VR non-fiction. After evaluating VR non-fiction empirical studies, a discussion is initiated over the betterment of VR non-fiction storytelling in a way that could help it generate more empathy, since many productions seem to purely rely on the technology as a production novelty, and end up lacking emotional depth and audience engagement through story.

• Lingua Humanitatis
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• v.1 no.2
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• pp.91-104
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• 2001

Ford Madox Ford, the early twentieth-century writer most famous for his novel The Good Soldier, perceived his "business in life [as an] ... attempt to discover and to try to let you see where you stand." With this grand purpose in mind, Ford disregarded distinctions of genre in his prolific output of what we would consider novels, memoirs, literary criticism, travel writing, and history. Claiming that "the Novelist ... [is a] historian of his own time," Ford sought his own version of the "truth," a truth that was more faithful to his own subjective impressions than to verifiable "fact." Among these works that depict his age are a series of "memoirs" or "reminiscences," works published from the 1910s to the 1930s which carry out his Impressionistic purpose. What lies behind these memoirs is Ford′s view that his own individual history can be understood as his contemporary society′s collective history. This article explores Ford′s experimentation with boundaries of fact and fiction, and history and narrative, as he employs and expands the memoir form. In particular, 1 focus on two works, Memories and Impressions (1911) and It Was the Nightingale (1933), and Ford′s techniques in these memoirs, such as 1) the adoption of fictional personae from which to comment on his society at large and 2) the use of emblematic "parables" to encapsulate larger lessons of life within the minutiae of existence. Current theorists on the memoir form share interests in these questions of genre and of the social role of the memoir Nancy Miller, for instance, terms the memoir "the record of an experience in search of a community." This article engages these current discussions of the memoir genre by examining Ford′s early twentieth-century examples as innovative experiments that play with the boundaries between fiction and history, and personal impressions and collective truth.

• Journal of Korean Library and Information Science Society
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• v.41 no.4
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• pp.151-170
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• 2010

There is a growing interest in user-centered classification or reader-interest classification, as questions have arisen from the meanings and the effects of traditional library classification. American public libraries have used fiction genre classification called bookstore model as an alternative to the traditional classification schemes. As a result, accessibility to the collection was promoted and library service for their users was improved. This study intends to make a comprehensive inquiry about the philosophical background and functional features of genre classification. To the end, literature survey and interviews or e-mails with librarians in American public libraries were conducted.

• Journal of the Korean Home Economics Association
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• v.49 no.2
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• pp.97-109
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• 2011

The purpose of this study was to investigate the reading habits, reading patterns and reading motivation of 362 college students from the capital area majoring in child development or early childhood education. The main findings of this study were as follows. Firstly, 70 percent of students spent less than three hours a week on reading academic or school-related material, and 75 percent spent less than three hours a week on independent or recreational reading. Students most preferred reading the "cultural" genre and least preferred reading the "human life(spiritual)" genre. The "cultural" and the "human life(spiritual)" genres also represented the most and least frequently read genres, respectively. Secondly, students presented high-level reading patterns, in that they previewed the reading material before reading, understood the meaning of it during reading, and shared their reading experience with others after reading. Thirdly, the average reading motivation levels scored near the midpoint on a five-point scale. Fourthly, students with higher reading motivation levels displayed higher reading frequencies and preference levels for each genre, with the exception of the "fiction and humor" genre. Moreover, students with higher levels of reading motivation received higher ratings for their reading patterns.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.519-541
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• 2010

A number of recent Victorian studies have participated in a renewed focus on form. E. Warwick Slinn and Monique R. Morgan, for instance, have contributed to enhancing our understanding of the Victorian dramatic monologue. This paper aims to expand what they have addressed by revisiting the mechanics of the dramatic form as a form, in particular addressing two types of dramatic monologue represented with supreme adroitness by Robert Browning and Alfred, Lord Tennyson, both of whom successfully attempted to widen our epistemology through a large act of the poetic imagination and great intellectual power. To this end, this paper lays particular attention to the role of the reader who is regarded as a key element of the dramatic aspect of the genre. In the dramatic monologue proper, real readers are actively brought into dialogic relation with the speaker or the poet, or both, whereby it seeks to represent an act of play among the poet, the speaker, and the reader. What the genre achieves in this fashion is twofold. For one thing, it pushes itself sufficiently to the very centre of the complex of apparently various narrative motives that animate the genre; for another, it honours the world of multiple viewpoints more than any other previous form of literature, all the more so as readers' views vary across their own time, space, and socio-cultural contexts. Incidentally, in one way and another, the dramatic monologue is of kinship with a Jamesian type of fiction, which is noted for its exterior impersonality. So this paper concludes by suggesting some theoretical implications that the dramatic genre assumes for, not only the naturalist novel, but also the (post-)modernist one.

• English & American cultural studies
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• v.14 no.2
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• pp.77-96
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• 2014

As the cyberspace several decades ago created a cyber fiction fever, the augmented reality as the future of imagination can generate another kind of literary genre and new social ambiance where books tend to come to life more realistically. This newly created "smart fiction," "smart movies," and "smart environment" will be full of fun, hopes and conveniences. But addiction to smart kinds will create unwanted dangerous plethora like ghost-like avatars, wild animals and Farid due to the limitations of human control over hi-technology. If so, the adventures we plan to take will turn fantasy into horror in no time. Instead of loving new scientific things blindly, the emphasis hereafter must be put rather on the potentially negative aftermaths of the new innovative technology. Some viewers after watching the film Avatar are still suffering from the syndrome called "avatar blues," a homesick for Pandora. After their experiencing of the experimental 3D effects in books and media, audience and readers are required to actively deal with the increased lack of the darker cave which the comparatively unsatisfactory present can never fill with fixity and limit. Like the prevention against the addictive online game or the manual of 3D television or 3D printer, the extreme off-limits and safety zone for this virtually and expendably subverting technology must be seriously reviewed by community before using and adopting it. Also, these technologically expanded and augmented environments must be prudently criticized by the in-depth study of literature just as cyber space begun by Gibson's cyber fiction and its criticism.

• Korean Journal of Child Studies
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• v.23 no.4
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• pp.105-118
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• 2002

Nonfiction as a genre of children's literature is distinguished from fiction by emphasis. In fiction the story is central, and in nonfiction the facts are central, but the nonfiction writer needs to find a way to create his or her own personal vision for the book to be more than a mere collection of facts. Nonfiction has often used fictional elements to present data : it re-creates believable characters, discovers plot lines, establishes points of view, describes settings and presents carefully designed illustrations. Sometimes the author's worldview is revealed in nonfiction writing. For example, in Orbis Pictus(l657), John Amos Comenius based his writing on a Christian worldview and created text and pictures as a device to teach students the world God created.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.17 no.1
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• pp.63-79
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• 2006

This study suggested the necessity of subject access for understanding on the contents of children's books which library would select children's books efficiently. Especially it was presented examples of efficiency on subject access analyzing Korean translation fiction of Newbery Medal Winner's books. Besides subject on the contents of books, it suggested fiction genre and gender and age of protagonist as elements which should be taken into account in process of Subject Headings development.

• Journal of Engineering Education Research
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• v.18 no.6
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• pp.57-63
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• 2015

The purpose of this paper is to find a method to combine engineering education and the humanities by means of the movie genre. Although the science technology has developed and our living standard has improved, humanities has a tendency to be underestimated. Humanities has been treated as something antiquated, uninteresting or worn-out because it has no economic value or usefulness in itself. Engineering students need flexible, analytic and critical thought as well as the qualities in constructing key questions and trying to solve themselves. Communicative and understanding abilities are also required to them. Movies as a constructive visual device show problems with the reality. Especially, the science-related movie genre offers them an opportunity to think over why humanities matters as well as what matters in human being. The movies make engineering students think, discuss and argue on the humanity.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.20 no.1
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• pp.23-38
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• 2009

The purpose of this study was to suggest the collection codes and simplification of call numbers for children's easy access to the children's materials. The classification schemes, author tables, expansion of classification schemes, collections codes, classification numbers used in domestic and foreign children's libraries were surveyed through questionnaires and interviewing with librarians. As a result, in foreign children's libraries, it was common practice to shelve children's materials separately into various collections and sub-collections, to mark the spine with collection code and the lead characters of the author's last name, and not to stick with their classification scheme when it comes to highly circulated children's materials such as fiction, picture book, biographies and so on. Also, in domestic children's libraries, it was found that a collection code was used a few and each call number was almost assigned by KDC number. Therefore, it was suggested that the types and codes of collection and sub-collection were divided as non-fiction, fiction, fiction/mystery, fiction/science fiction, picture book, cartoon, language, folks and fairy tales, biographies, legend, concept book, holiday, award, dinosaur, insect, DIY, transportation, tall book, pop-up, story book, board book, reference, magazine, series, new book, video, and audio and were easily expanded by combining age tables or fiction genre. Also, new simplifying methods of building call numbers with collection codes were suggested.