• Journal of Korea Society of Industrial Information Systems
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• v.15 no.5
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• pp.211-219
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• 2010

There are significant changes are in education field: the paradigm shift from teacher-centered and text-oriented learning to learner-centered and multimedia-oriented learning. Many researchers have proposed that the e-learning contents is one of the most important factors on e-learning performance. This study analyzes the effect of types of test information on learning performance in e-learning contents. The results show that the interaction effect between types and gender influences the comprehension of learning; the female prefers to the feedback and narrative type but the male prefer to the narrative type. The narrative type showed the highest score on the comprehension and satisfaction of learning among three different types. Also, the main effect of gender difference had no effect on e-learning performance.

• (The) Research of the performance art and culture
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• no.39
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• pp.31-67
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• 2019

This thesis examines the difficulties of utilizing the narrative and music of Pansori: 판소리 in Changguk: 창극. For this examination, I consider that the reason for the difficulty of making Changguk is the difference between Pansori and Changguk as the genres. Most of the Changguk based on the traditional five Pansori works perform the narration and songs of Pansori literally. However, the original narrative of Pansori has a distinctive dual structure since the formation of its first and second half is created separately. As the drama genre visualizes the story and emphasizes the consistency of action, unlike Pansori, the duality of the original narrative can be seen as the inconsistency of the action. In addition, since the sounds of the original Pansori are rather explanatory than dramatic even in the climax scenes of Jeokbyeok battlefields, it is difficult to produce dramatic scenes in Changguk. The voices of the military, not in the original works, play important roles in revealing the hidden theme effectively in Changguk. However It is impossible to relocate the original text of Pansori into Changguk, as even the voices of the military lack verisimilitude in terms of narrative. Changguk can only be developed as its own work by actively researching and dismantling Pansori .

• Journal of Digital Convergence
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• v.20 no.5
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• pp.751-759
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• 2022

Game graphics provide players with a sense of immersion, leading to active participation. This paper aims to analyze the mythological meaning for symbolic design of game skill visual effects that reproduce the narrative and the worldview of games borrowing myths. The research method classified the visual effect image into a symbol of the form of a universal archetype representation and a symbol of color expressing the narrative in the game, and analyzed it by applying Roland Barthes' semiological scheme. Through this study, it was possible to analyze the meaning of visual effects as a mythical meaning that can be universally sympathized and an implicit meaning that symbolizes the narrative of the game. The symbolic expression of the visual effect, which reproduces the narrative of the game reflecting the myth, can induce players to engage and participate, and the design direction was intended to provide the visual effect to have a unique symbolism that reflects the game's mythical worldview of the game.

• 한국노년학
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• v.38 no.1
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• pp.103-123
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• 2018

The purpose of this research is to study how an elderly male lives after the experience of bereavement, and to understand the experience's essence. The researcher picked 3 elderly men living alone after separation by death as test subjects and gathered information through in-depth interviews. The analysis of the information was done based on the three-dimensional space of narrative presented by Clandinin and Connely(2000), and it restructures the common experience under five meanings. The mutual themes of 'It's the life of a sinner, but not wanting to be seen as a widower to others', 'The fear for death, and the preparation for after death', 'Trying to stay alive for the children', 'Entering the world to find meaning in a gloomy life', and 'A lone goose lost in search of social warmth' came from the research results. The essence of the experience studied with the mutual themes as basis came out to be 'A struggle to take flight again after one broken wing'. This research has a major significance in that elderly males' experience of bereavement was studied in the dimension of time continuity, and that individual social interactions that are made by elderly males to continue their lives after the experience of bereavement were studied.

• Cartoon and Animation Studies
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• s.17
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• pp.37-51
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• 2009

Immersion is the key factor in determining success or failure for fictional narrative animations. It does matter to not only for the socio-economic achievements like box-office success but to the asthetical achievement, immersion is very important prerequisite character that are raised in terms of research needs. Fictional narrative animation shares the audience's immersive method with the narrative content and Virtual Reality, since animation has the character which narrates itself with the visual image format (including sound) and added the fact that 3D format which emphasizes realism compared with the recent 2D animation has been ubiquitous phenomenon. In other words, the artistic for called 'animation' is located between the view point that text has the immersive point intrinsic and oppositely, specific function of the certain media which stays extrinsic of the text enforce the participants into the immersion. In any case, the subject who experience immersion is the audience, so the most useful theory to research the phenomenon 'immersion' is Constructivism cognitive narrotologic approach which lies the peader-spectator as the centric notion and is more useful than text analysis or research on the visual effects. In this study, research and review about the studies on the audience's immersive experience would be preceded particularly aroud the constructivism theories, and examine the uniqueness and naures of the animation which makes the audience immersive.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Journal of Navigation and Port Research
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• v.45 no.5
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• pp.259-275
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• 2021

This study analyzed the decision-making process in ship finance for the choice between fixed and floating interest rates using behavioral finance theories. Results confirmed that causes and background of decision-making processes could be explicitly explained by the framework of behavioral finance theories. This study also determined whether decisions were irrational. A case-study research was applied as the methodology. Decision-making data on ship finance collected through narrative and questionnaire responses were analyzed and evaluated using behavioral finance theories. Theories of behavioral finance used in the analysis and research of this study included availability heuristic, anchoring effect, and opportunity cost theory. Narrative and survey responses were clearly explained by theories of behavioral finance. It was found that a shipping company suffered additional losses owing to decisions that included behavioral finance errors. Behavioral finance theories largely influenced the decision-making process of choosing between a fixed interest rate and a floating interest rate. Shipping finance decisions related to interest rate selections could be clearly explained by behavioral finance theories. Errors related to behavioral finance could result in irrational decisions. Thus, managers who are responsible for shipping finance should remain vigilant toward any behavioral finance errors when making shipping finance decisions.

• Korean Security Journal
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• no.34
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• pp.33-55
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• 2013

The purpose of this study is to investigate about exploring diversity of methodology in security research focused on the current status and applications of qualitative inquiry. Expenses to take advantage of a variety of qualitative research techniques in the field is divided, and explore the possibility of applying the security research. Expenses compared to quantitative research, qualitative research on the utilization is very low, and to perform a qualitative study in-depth interviews focused on morphological aspects of research and a paucity of practical deep and lacks specificity. Expense of qualitative research in various fields is presented challenges to Creswell(1998, 2007, 2013) proposed five kinds of qualitative research types narrative research, phenomenological research, grounded theory research, ethnographic research, case study research, look for it in the security field. Expenses theorize that it may lead to practical changes in the security field, causing an in-depth exploration of the changes in the escort industry. Expense opportunity to identify the social and cultural values in security field and security research. Varied and in-depth qualitative research through field and industry and the complementary role of security.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.1
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• pp.188-198
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• 2016

This study explored the experience of clinical nurses caring for foreign wives in Korea. A narrative study approach within the qualitative research paradigm was applied in this study. The data were collected using individual in-depth interviews with 10 clinical nurses who had at least 5 years working experiences caring for foreign wives and their children in the Women and Children's clinical setting. The narrative stories of the clinical nurses were analyzed in the frame of culture-bounded nursing care. In the culture-bounded nursing care, ethnocentric viewpoints, acceptable viewpoints, and culture-based viewpoints were identified within the time frame. Significantly, the narrator identified herself as a therapeutic caregiver in the culture-based viewpoints providing tailored caregiving for foreign wives. This study requires cultural sensitivity of nurses who care for the people with different cultural backgrounds. Self-awareness would be the starting point to reach culturally competent nursing care.