• School Mathematics
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• v.14 no.3
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• pp.297-313
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• 2012

The purpose of this paper is to discuss the potential and to examine the effect of narrative, as an alternative approach to teach formal proof in more easier and comprehensible way. Identifying the key elements of narrative in proof, we constructed a narrative that derives the equation of function translation. We examined the effect of teaching through the narrative, in comparison with teaching the corresponding proof, on low-achieving students' instrumental understanding and relational understanding of function translation. Since we found no statistically significant differences between the experimental and the comparison group, this study could not conclude that teaching through the narrative was more effective than teaching the corresponding proof. But there were some qualitative differences in the relational understanding responses and the evaluation of the teaching between two groups. These findings suggested some potential of narratives that complement the formal proof.

• Journal of Korea Game Society
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• v.9 no.3
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• pp.53-66
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• 2009

The purpose of this study is to show typology of Non Player Character(NPCs) and to look out what narrative functions of NPCs are served in Massively Multi-player Online Role-Playing Game(MMORPG). As the relationship with player characters and the propensity of actions, NPCs are classified 4types; passive helper, active helper, passive antagonist, active antagonist. Each type performs different functions of game narrative. Especially passive helper functions as a essential glue of movement in game world and makes the chain of quest narratives. Active antagonist functions as the cause of space perspective and creates dramatic effect of game narrative. Those functions make spacial, dimensional and extensible game narrative.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• Journal of Oral Medicine and Pain
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• v.49 no.3
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• pp.43-48
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• 2024

This narrative review discusses the changes in the masticatory system due to the physiologic aging process in humans and how these changes should be considered when diagnosing and managing temporomandibular disorders (TMDs) in older adults. Age-related changes in the masticatory system, specifically the temporomandibular joint (TMJ) and masticatory muscles, are associated with an increased prevalence of degenerative TMJ osteoarthritis in older adults, changes in muscle function and often affect masticatory function. Considering older adults' physiologic changes and comorbidities and their quality of life, diagnosing and managing TMDs in older adults needs a more comprehensive approach than in younger adults. Managing TMDs in older adults can improve orofacial function, such as mastication, leading to improved physical function and quality of life by reducing the risk of frailty.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1279-1286
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• 2009

"Interactivity refers to the possibility of an audience actively participating in the control of an artwork or representation." Andy Cameron, Dissimulations Interaction can be described as a way or function that improves the participation of audiences/viewers to being immersed into the medium itself. Until now, however, in terms of interactive cinema, interaction has not shown a sufficient participation for audiences. Specifically, audiences/viewers described that the structure of storytelling has failed to satisfy their requirements, in order to participate in the structure of storytelling. The aim of the research itself, therefore, began to ask and wonder why audiences/viewers criticised the participation which audiences/viewers are able to control storytelling, in interactive cinema, could not satisfied them in order to control and follow a storyline of interaction. In general idea, in interactive cinema, the function which allows audiences/viewers to be immersed into the storylines, must allow the immediacies of interaction. Audiences/viewers must therefore be able to satisfy the general idea of interactive cinema through controlling the directions of every choice offered. They must also be able to be immersed in the interactive storylines. Which of the prime causes can be improved or re-considered, to satisfy the participation requirements of audiences/viewers? The intention of this research also began to investigate a suitable method of storytelling within a narrative structure of interactive medium (interactive cinema). Through questioning the matter (it will be described in a later chapter), this research will be focused on the relationship between narrative structured interaction and audiences/viewers, which is of prime importance in relation to interaction. To further the research, Pilot study (experiment with the basic interactive narrative structure) was offered in order to understand and maintain a suitable method of storytelling within a narrative structure of interactive cinema and it also was explored to understand how the aim of the research would be maintained for further qualitative research.

• Journal of Korean Dental Science
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• v.16 no.2
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• pp.105-114
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• 2023

The axial contour and proximal contact of the prosthesis affect periodontal health, food impaction, and patient satisfaction. This narrative review provides a summary of articles regarding the axial contour and proximal contact of a fixed dental prosthesis on periodontal health and physiologic function. By acquiring a comprehensive understanding of the axial contour and proximal contact of teeth and prostheses, as well as their functional significance, the virtual design of fixed dental prosthesis can be optimized to maintain periodontal health and promote physiologic function effectively.

• 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.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.2
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• pp.12-27
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• 2003

The purpose of this study is to look for an environmental design method based on open narrative structure, and to promote various experiences and interpretations of space through user's engagements. That is to say, the designer does not lead specific events through separate Boning but using the continuous open composition users are provided with margins for their imaginations. Spatial formulation through open narrative structure gives us various thoughts and it plays an important role in making a sequential space. Like an abstract painting, it is a complex story making or arranging a montage of images containing stories that elicit the reader's engagement through diverse interpretations. Like this, open composition exists in an ambiguous state and it is possible to interpret unfinished‘evolving work’within it. Utilizing open narrative structure, this study attempts to apply the idea of sequencing and open composition in the case of designing Arirang Culture Park. Open composition should induce various engagements by users and could be a medium which organically connects nature, culture and people. The spatial strategies of‘ambiguity’ and‘transparency’are like a bundle of complex and heterogeneous factors. Finally, the study focuses on the ‘integration’of the main ideas that compose multilayered space. ‘Voidness’and‘thickening’are also used for spatial strategies in open narrative structure. As alternative plans for undecided programs of the space, the voidness can be a strategic design program with flexibility about changes of futures. Also, thickening can be a strategic design program for functional reinforcement of the space, for the dramatic effects and for the generation of incidental events. Although both voidness and thickening seem paradoxical, we can see they are similar in the way that both focus on various spatial uses and by how they do not function as one-to-one correspondence, but as multiple correspondences. Therefore, open narrative structure is possible to apply in designing space and it can be an alternative design strategy for inducing multiple interpretations of space.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.113-124
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• 2014

Ah! My Goddess has impressive narrative structure including a "narrative as a discourse," a "narrative as a story" and a "narrative by narrator": in a narrative as a discourse, North and South Korean soldiers make friendship; in a narrative by a narrator, main characters (including Sun-ho, Seok-gu, Ju-hwa, Chang-seop and Dong-hyeon) appear in the outer story and narrate the inner story of characters (including Dong-hyeon, Goddess and Seok-gu) within the frame of a play within a play; and in a narrative as a story, reality and fantasy intersect by the appearance of the "Goddess." This narrative structure contributes largely to 1) the character formation of space, 2) the strategic minimization of the stage, 3) the multiplicity of main characters, 4) the repetition of similar life story, and 5) the flexible change of a point of view. And the musical number serves as dramatic functions such as 1) pursuing the multiplicity of characters, 2) maximizing the effect of the expression of tragic feelings, 3) drawing audience's interest by irony and fantasy, 4) evoking the nostalgia for delicate feelings and pure wishes, and 5) ordinary female characters' playing the role of healing and salvation, thereby contributing to the reconstruction of reality and the style of fantasy.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.35-43
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• 2019

There has been not the research on the reason of success based on the characteristic of narrative and characters of , I defined the major characteristic of this genre as family animation, and aimed at researching strategic character and narrative. The characteristics of each characters are identified, and compared with other animation, soap opera, and sitcom. The portion that characters participated in the narrative was analyzed, and the relationship between the point and viewers was also researched in the specific episodes. 1) The characters against the ideal ones function to satirize the fixed idea pursued by the mass, and stimulate the viewers' desire. 2) All the characters are protagonist and sometimes antagonist, or advisor. The circulating position expands the target of viewers, and decreases the cultural discount. 3) It produces a couple of layered narrative, then children, teenagers, and adults enjoy the each different depth of the narrative, resulted in the target expansion. Considering on the limit of theme and target in Korean animation, I expect the findings above will enable to produce more valuable and consistent contents. Later, characters in the Korean family animation is to be researched and the expandability and sustainability would be ensured.