• Journal of Korean language education
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• v.28 no.4
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• pp.245-271
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• 2017

This study aimed at investigating the lexical diversity in the "Frog Story" narratives of Korean-Chinese bilingual children. Six bilingual speakers of Korean children- four boys and two girls- were audio recorded as they produced narratives based on pictures from the Mercer Mayer book "Frog, where are you?" The order of narration was counterbalanced. The vocabularies from narratives were analyzed by type, token, TTR (type-token Ratio) and D value using the CLAN (Computerized Language Analysis) program. The findings showed that the pattern of lexical diversity in Korean is similar with the Chinese, but the TTR and D value of Chinese still remain low in comparison with those of Korean. In addition, Korean language seems to have significant influence on Chinese in the language usage pattern and vice versa.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.640-650
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• 2016

This study analyzed the narratives of love of "delusional" characters in the works of Jungae Lee and Shijin Yoo, whose cartoon creations were prominent in the 1990s and the early 2000s. Their delusional characters can be characterized by excessive obsession with their objects of love, rejection of realistic logic, madness, and extreme selfishness. They make a type of characters whose traces have disappeared not only in the South Korean society of the 21st century, where love and dating are included in the discourse of self-development and dramatic pathos is regarded as the waste of feelings, but also in creative works. It is still, however, needed to pay attention to the selfishness and collapse of those delusional characters that reject the order of the world and focus only on their love because they make the audience betray the sentimentality of melodramas stimulated by the popular culture and reconsider the concept of "love" itself. While Jungae Lee displays the progress of delusional characters and their narratives of love toward collectivized compulsion with the Messiah motif of Christianity, Shijin Yoo presents a narrative of delusional characters with lost memories reacting to hysterical fantasies and eventually choosing their collapse. Their two narratives are significant in that they propose the archetype of personal desire eliminated by the narratives of love in melodramas.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.409-417
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• 2020

Oral-Performance in itself, which successfully narrates one's life, constitutes a kind of decent Verbal arts. The term 'Sijipsali-Narrative' refers to oral narratives portraying a series of events in the course of Women's Life-Story which arise from family life and socio-cultural issues through marriage. As a result, Sijipsali-Narrative belongs to a subcategory of Women's Life-Story. Sijipsali-Narrative can be divided into two categories as follow. One type of Sijipsali-Narrative is the 'Family-Connection sijipsali-narrative,' which results from the relationship between a daughter-in-law and the rest members of the family. Among the 'Family-Connection sijipsali-narratives,' including several forms of Sijipsali such as that of father-in-law and that of husband and that of children, Sijipsali of the mother-in-law is most distinctive. The other type of Sijipsali-Narrative is 'Sociocultural-Connection Sijipsali-narrative', which comes not from human relationship but from general issues a narrator is suffering from as a daughter-in-law in a family. The most universal narrative comes from Sijipsali connected with poverty and historical events, and family history, appearance, attitude of the daughter-in-law and so on can be materials for the narratives. Actually, the two types of Sijipsali narrative is not so much distinguished from each other as intermingled with each other. Sijipsali arising from family relationship can inevitably be related with poverty and some events, which result in conflicts among family members and so harass daughter-in-laws. This thesis has a clear-cut orientation to overview the aspects of the Relationships and Hardships on a 'Sijipsali' Narratives in Korean Women's Married Life.

• Women's Health Nursing
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• v.26 no.3
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• pp.205-212
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• 2020

Purpose: This study aimed to identify the components of preterm birth (PTB) through women's personal narratives and to visualize clinical symptom expressions (CSEs). Methods: The participants were 11 women who gave birth before 37 weeks of gestational age. Personal narratives were collected by interactive unstructured storytelling via individual interviews, from August 8 to December 4, 2019 after receiving approval of the Institutional Review Board. The textual data were converted to PDF and analyzed using the MAXQDA program (VERBI Software). Results: The participants' mean age was 34.6 (±2.98) years, and five participants had a spontaneous vaginal birth. The following nine components of PTB were identified: obstetric condition, emotional condition, physical condition, medical condition, hospital environment, life-related stress, pregnancy-related stress, spousal support, and informational support. The top three codes were preterm labor, personal characteristics, and premature rupture of membrane, and the codes found for more than half of the participants were short cervix, fear of PTB, concern about fetal well-being, sleep difficulty, insufficient spousal and informational support, and physical difficulties. The top six CSEs were stress, hydramnios, false labor, concern about fetal wellbeing, true labor pain, and uterine contraction. "Stress" was ranked first in terms of frequency and "uterine contraction" had individual attributes. Conclusion: The text network analysis of narratives from women who gave birth preterm yielded nine PTB components and six CSEs. These nine components should be included for developing a reliable and valid scale for PTB risk and stress. The CSEs can be applied for assessing preterm labor, as well as considered as strategies for students in women's health nursing practicum.

• Cartoon and Animation Studies
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• s.44
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• pp.263-284
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• 2016

The transformation of plots using the archetypical narratives is not just a repetition of the past story, but finding a new suitable meaning for present time and society. Due to this, the story can be variated depending on what the transformation has the main point for. Disney's animation overcomes the narrative feature of the past classic fairy tale that worked only for particular age and people, and recognized as a contemporary story that can give impression to more various people. This study use Vladimir Propp's Morphology of the Folktale, Carl Gustav Jung's complexes and shadow theory to examine how this animation is modernly recreated by transforming the archetypical narrative. As a result, we can find characteristics of structure and function for contemporary story, and those also work with characters in the recreated animation. Through this study we discovered that Disney's animation is a transfiguration of archetypical narrative through the exhaustive analysis, and this could be the helpful research for the future creation of animation which uses the archetypical narratives.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1035-1056
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• 2009

Korean adoptee narratives have proliferated over the last ten years as adopted Koreans have begun to represent their own experiences of violent dislocation, displacement and loss in various forms of literary and artistic works, including poems, autobiographical works, novels, documentaries and films. These narratives by Korean adoptees have intervened in the current diaspora discourse to question further the traditional categories of race, ethnicity, culture and nation by representing the unique experiences of the forced and involuntary migration of adopted Koreans. For a long time, the adoption discourse has been mostly constructed from the perspectives of adoptive parents. Therefore the voice of adoptees as well as that of the birth mothers have not been properly heard or represented in adoption discourse. According to Hosu Kim, the U. S. adoption discourse, feeling pressured to deal with the stigma of the commodification of children, changed from viewing the adoptees as children who had been rescued from poverty and abandonment to considering them as a gift from the birth mothers. With the emergence of the gift rhetoric in transnational adoption, the birth mothers erased from adoption discourse have begun to be acknowledged as one of the central characters in the adoption triad. If Korean adoptees are the "the ghostly children of Korean history," the birth mothers are their "ghostly doubles" who "bear the mark of a repressed national trauma." Somebody's Daughter represents the female experiences of becoming an adopted child and of being a birth mother. In particular, the novel makes a birth mother, the forgotten presence in adoptee narratives, into a central figure in the triangular relationship created by international adoption. The novel historicizes the experiences of a Korean adoptee growing up in America as well as those of a mother who had suffered silently from feelings of unbearable loss, guilt, grief and from unforgettable memories. In addition, narrating the birth mother's story is a way to give humanity back to these forgotten women in Korean adoption history. Revisiting the site of loss both for a mother and a daughter through the novel is an act of collective mourning. The narratives about and by Korean adoptees force Korean intellectuals to reflect seriously upon Korean society and its underlying ideology which prevents a woman from mothering her own baby, and to take an ethical and political stand on this current social and political issue.

• Journal of Ethics
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• no.84
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• pp.243-274
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• 2012

The purpose of this study is to study the community narrative ethics of China·Taiwan film. in the context of globalization and locality. I especially wish to look this part through narrative·hermenutical approach and communitarian ethics against contemporary liberalism and individualism. In particular, this article focuses on the works of Hou Hsiao-Hsien, Zhang Yimou, Lee Ang, Tsai Ming-Liang, Chang Tso-chi and Chen Kaige. China and Taiwan's main directors show family and country's community narratives through the self understanding and identification that we call narrative conception of the self. The idea of local community and identity is related with inheritances, history and tradition from the past of my family, my city, my tribe, my nation. Main directors make and have the story of those communities which I derive my identity. And community narratives from the life histories that define us form local community's solidarity should have the openness to other communities. Community narratives shouldn't be separated from the aspect of globalization and locality. After all, I examined whether the local community narratives reveals meaningfully from the standpoint of globalization and locality through China·Taiwan film.

• The Journal of the Korea Contents Association
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• v.10 no.3
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• pp.175-186
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• 2010

The development and expansion of American style mass media in 1938 created contemporary narratives comparable with the Greek narrative in the past, and one of the leaders is comic book 'Superman.' Although American hegemonism or expansionism was rejected by autonomous independent countries including the Third World nations, the heroic narratives transcending the diverse races and peoples in the U.S. were supported by mass cultures and media and had huge impacts on heroic narratives and various media in many other countries. In particular, 'Superman' occupies an epochal position in the history of comic books as it reinterpreted a universal and contemporary heroic narrative model into a Greek hero and a Christian hero and suggested it visually.

• 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.

• Education of Primary School Mathematics
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• v.19 no.4
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• pp.361-380
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• 2016

This study aims to reflect on mathematical imaginations in learning mathematics and elementary students' mathematical imaginations. This was approaching a study of imagination not as psychological problems but as objects and methods of mathematics learning. First, children's mathematical narratives were analysed in terms of Egan(2008)'s basic cognitive tools using imagination, that is, metaphor, binary opposites, rhyme rhythm pattern, jokes humor, mental imagery, gossip, play, mystery. Second, how children's imaginations change under different grades was addressed.