• 중국학논총
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• no.66
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• pp.1-13
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• 2020

After the "spatial turn" space narrative has become the hottest "doctrine". Howe er, the current space narrative to a bottleneck stage, a variety of reasons. "Spatial turn" of the modern trend of thought has a unshirkable responsibility. Has been, scholars turned to "empty" the complex relationship between space narrative and, type of narrative space narrative theory problem also not too clear by the noun, the term textual research, narrative of space studies provide some of the necessary theoretical support, to promote the healthy de elopment of the research on novel narrative space.

• International Journal of Contents
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• v.16 no.3
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• pp.51-65
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• 2020

Narratives arouse diverse and rich affective responses to recipients, and this is one of the reasons why narratives are universal and popular. Computational studies on narratives have established a formal model or system of the affective response based on the theory in psychology or media research, and have analyzed or generated a narrative that can evoke a specific affective response. In this paper, we propose a new computational model that can detect the affective response expected to appear in the narrative based on the narrative agent's knowledge. First, we designed a narrative representation model that can elaborately express the event structure and the agent's knowledge as well. Additionally, an analysis method was proposed to detect the three affective responses and the related situational information. Then, we validated the model through a case study about an actual movie narrative. Through the case study, we confirmed that the model captures the affective responses of the audience. The proposed model can be effectively used for the narrative analysis and the creation that must consider the affective responses of the recipient.

• Trans-
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• v.14
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• pp.65-92
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• 2023

The knowledge of the narrative agent not only constitutes the content and meaning of the narrative itself, but is also closely related to the emotional response of the recipient. Also, the disparity of knowledge between narrative agents is an important factor in making a narrative richer and more interesting. But It tends to be treated as a sub-topic of narration theory or genre/style studies rather than an independent subject of narrative studies or criticism. In this paper, I propose a model that can systematically and quantitatively analyze the knowledge of narrative agents. The proposed model consists of the knowledge structure that represents a narrative, the knowledge state that expresses the knowledge of narrative agent as a degree of belief, and the knowledge flow that means changes in the knowledge state according to the development of events. In addition, the formal notation of the knowledge structure and a probabilistic inference model that could obtain the state of knowledge were proposed, and the knowledge structure and knowledge flow were analyzed by applying the model to the actual narrative. It is expected that the proposed model will be of practical help in the creation and evaluation of narratives.

• Cross-Cultural Studies
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• v.23
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• pp.191-214
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• 2011

Today the company's brand sites are in tendency locating as a handy method to administrate company vision, value and image. So this study tried to examine the aspects of storytelling around Amore Pacific's brand site. To secure the discussion's centrality and concreteness, two issues are considered to be aimed in methodology. First, the menus of relevant site were examined to see if they are securing minimal narrative. This was an attempt to discuss the minimum narrativity that target text is supposed to possess, to objectify little more the term 'storytelling.' After considering the menus of relevant site through narratological ideas of Gerald Prince, the menus that satisfy the level of minimum narrative were hardly seen. Even 'OUR STORY', showing the intention of unraveling the vision and values within the company brand by stories, is not seemed to be reaching universal, objective storytelling. Second, pragmatic, reception theory were applied as another standard to judge storytelling possibilities of Amore Pacific's brand site. Roger C. Schank's script theory, being considered in the field of cognitive linguistics and cognitive psychology, became a handy tool for examining the interactions and its meaning between brand sites and its visitors. As a result, the relevant site could be seen as attempting storytelling following time sequence, through narrator kindly explaining 'visual image-event.' And it was conjecturable that, because of such function of narrator, visitors finishes storytelling in a personal shape by operating internal story based script. This study examined the level and methods of storytelling limited in online environment called as company brand site. But more studies are needed to be in progress, such as about the ways for company websites or brand sites to have an effective, continuous influence on potential consumers, narrator set-up ways suitable for character of subordinate menus, organizations of minimum narrative and so on.

• 대한상한금궤의학회지
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• v.6 no.1
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• pp.1-25
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• 2014

Objective : The purpose of this study is exploring value of Shanghanlun six diagnostic system as Narrative Medicine by analyzing cases. Methods : In the article, we examined the theory of narrative medicine and current studies. And then key elements of narrative medicine was defined. On the basis of these, two medical cases were analyzed by reordering in accordance with time sequences and causality for confirming narrative factors. Results : The narrative approach to analyzing cases shows us that different diseases could be the result of same pathological patterns based on Shanghanlun. This tells us following four aspects. [1] Shanghanlun is the causes-oriented records and the text includes narrative factors. [2] Shanghanlun six diagnostic system is a process of constructing plot of medical case history through the clinical interpretation of contextual meaning of patient's life. [3] In the process of diagnosis, Schemata and script are engaged in assuming and confirming six patterns diseases. [4] The subjective factors of an individual can be applied universally through the provision of Shanghanlun. Conclusions : Narrative factors of Shanghanlun six diagnostic system suggest the possibility and value of Shanghan Medicine as Narrative Medicine in terms of Medical Humanities, essence of medical diagnosis and therapeutic action.

• 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.

• Archives of design research
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• v.18 no.1 s.59
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• pp.245-252
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• 2005

In this paper, I am going to analyze a commercial film narrative focused on a temporal order through the theory of narrative discourse by Gerard Genette. Advertisements has a special quality or feature to be convertible into mythological hyper reality to advertise an product effectively. In this process, narrative in a commercial film has visual variations using a temporal order to show an glamorously advertisements in television. The reason that narrative in a commercial film is subject to variation with a temporal order, duration, frequency is to get some aesthetic effect for making sure people see them. Under the influence of postmodernism, image making like a pop-art became the first consideration in a commercial film with the consequence that representation as a signifier came to be more important than object as a signified. As a commercial film have more sensational image as a result of visual variation, images in a commercial film became vague so that it does not explain or express an advertising concept dearly. However, those aspects have assets that it gives the TV audience a room for interpretation in advertisements by themselves.

• International Journal of Advanced Culture Technology
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• v.8 no.1
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• pp.213-217
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• 2020

In this paper, we present that Virtual Reality (VR) is a type of media that has attracted interest in storytelling and media utilization. VR was first discussed as a specific narrative medium with traditional story medium. Via this discussion, The innate difference of VR is that the role of the media users in which the narrative is communicated were active in the development of the narrative unlike that of most classical narrative media. We also discussed specific features related to VR based on the theories of traditional literary criticism, movie reviews, and plays. Through these discussions, we aruged two directions of VR storytelling production as an narrative medium, its specificity, and its expressiveness for VR producers. First, story processing and characters can be introduced as part of continuing a new narrative by altering the interaction history that appears in VR stories to user interest ratings. Second, VR interaction responds intuitively to the idea that it represents a trajectory across the story surface of all possible interactions. More specific theories and controvercials are discussed.

• Journal of Korea Society of Digital Industry and Information Management
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• v.15 no.3
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• pp.111-118
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• 2019

Chapter 1 and 2 of this study examined the methodology of modern storytelling using the hero narrative structure. This involved analyses of Joseph Campbell's monomyth structure, which is the prototype model of modern storytelling and Christopher Vogler's story structure in which the monomyth structure is classified into 3 Acts and 12 Stages. In addition, the movie 'Captain America' was analyzed based on Vogler's narrative structure theory. According to the analyses results, the hero of 'Captain America' fully follows Christopher Vogler's hero narrative structure but in some cases, he does not follow the existing hero narrative structure. It is interpreted that this is because heroes of modern tales have different birth backgrounds from mythical heroes. There is also a difference even in the stage where a hero completes all adventures and returns home between modern tales and myths due to different social backgrounds. Therefore, these findings provide a basis for modification and supplementation of a modern hero epic. Through this analysis, the modified modern hero narrative structure is evaluated to be appropriate as a basic model for modern storytelling. Further, it is expected that those who frame a film script can complete a new hero epic while following the structure of syntagmatic systems by selecting a level among Northrop Frye's paragmatic systems based on this structure and considering story themes and heroes' personality and characteristics.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.105-114
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• 2013

The purpose of this paper is to explain the operation and meaning of the narrative, which is one of the main principles for the contents construction, especially focusing on the concepts 'difference' and 'desire'. The classical aesthetic taught us that the differences between diverse characters and reality models are the effective strategy for the reading the story. But this paper focuses on the structural difference of the event (story) and performance (discourse) of narrative, which are regarded as the basic condition of narrative. This difference is to describe in terms of the media theory and psychoanalysis. This paper also seeks to interpret the recent korean film to exemplify that the creation of difference for the fulfillment of desire is the basic element of the narrative constitution.